Our Dinner with Friends on Thursday, March 12, 2026. proved once again that some of the best nights at Centaur happen around a dinner table.

Guests gathered at Restaurant Bonaparte for an elegant and lively meal before making their way to the theatre for the wildly inventive Goblin: Macbeth. With goblins involved, the night was guaranteed to include a bit of chaos, plenty of laughter, and a few unexpected moments along the way. When the mischievous visitors made their appearance, the room erupted in delight!

One of the joys of Dinner with Friends is the mix of familiar faces and new ones around the table. Long-time supporters, recent friends of the theatre, and first-time guests all shared the evening together, a reminder that these small gatherings are one of the most enjoyable ways to discover Centaur and to experience the theatre in a more personal way.

We are grateful to everyone who made the evening a success: our wonderful guests, the table hosts who brought friends together, and the many donors who supported the event. We would also like to extend a special thank-you to the generous anonymous donor whose matching gift doubled the impact of every donation made that night.

Dinner with Friends has become a favorite Centaur tradition. Each evening is intimate, welcoming, and full of personality, with its own mix of guests, stories, and surprises. Seats are always limited, and with friends, theatre, and the occasional goblin involved, no two nights are ever the same.

June 18, 2025

The magic of theatre was on full display on June 18 at the Centaur Spectacular! Gala in Old Montreal. Hosted in Centaur Theatre’s newly renovated 122-year-old heritage building, the evening raised $100,000 in support of excellent and relevant English-language theatre for all Montrealers.

Guests arrived on a red carpet that swept them from the cobblestone streets of Old Montreal into a lavish, Moulin Rouge!-inspired lobby designed by Roberto Menegati of Menegati Design. With rococo furniture, chaise lounges, and rich floral arrangements, the décor transported guests to 19th-century Paris. Photographer Andrée Lanthier captured the glamour as guests posed in front of a hand-crafted papier-mâché heart. Among the VIPs were Centaur Board Chair Susan Da Sie and husband Denis Asquini; Board Chair Emeritus Michael Baratta (representing corporate Patron KPMG); Board members Anthony Czaharyn with wife Hera Bel, Sofia Ruggiero with spouse and corporate Patron Denis Leftakis (Redemac Inc.), and Norma Tombari. Other corporate Patrons included Jean-François Dion and Nathalie Roussin (The Kent Group), Michael Fedele (Execaire Aviation) with love Danièle Simoneau, and longtime supporters such as Anna Giampà-Fiorelli with husband Matteo, Belle and Ernie Grivakis, Toni Pontarelli, Tom and Dana Velan, and Honorary Consul of Armenia Levon Afeyan with love Ana Papazian. The SAQ was represented by Francesca Torasso and partner Bruce Bessner.

After prosecco in the lobby, guests enjoyed a cocktail dînatoire in the theatre’s gallery, catered by the multi-talented Roberto Menegati. With tender medium-rare steak, juicy shrimp, and delectable mushroom penne served alongside charcuterie towers and a number of tasty hors-d’oeuvres, complemented by an SAQ-sponsored open bar, the dining portion of the evening was a hit among guests. Downstairs, “The Garden of Underearthly Delights” speakeasy featured a mixologist crafting signature cocktails.

At sunset, guests entered the newly upgraded theatre (C2), now boasting a $4.2M renovation supported by provincial and federal governments. Artistic & Executive Director Eda Holmes thanked attendees and corporate Patrons before introducing the Mistress of Ceremonies, actor Leni Parker, who stars next season in Kisses Deep by Michel Marc Bouchard. With a feather boa and top hat, Parker was joined by co-stars Yves Jacques and Lyndz Dantiste for a charming performance backed by Sarah Segal-Lazar and her band, The Tony Sopranos.

Next came burlesque performer Darragh Mondoux (Votre-Dame), whose cheeky routine coincided with the fly-tower lifting to reveal the theatre’s full transformation—a strip-tease for the stage. With excitement high, the auction launched, featuring prizes like a 5-night stay at The Crane in Barbados, Canadiens VIP tickets, and a romantic package from Maidor and L’Orignal. Enthusiastic patrons even outbid their own partners!

Guests capped off the night in the gallery with desserts from Mini Muffins MTL and Non Solo Pane. Parting gifts included gourmet Italian chocolates, provided by longtime donor Marisa Testa, and a pair of tickets to any Centaur play next season—ensuring the theatrical magic continues.

A BIG THANK-YOU TO OUR CORPORATE PATRONS FOR THEIR EXCEPTIONAL SUPPORT!

Michel Tremblay is Quebec theatre’s most cherished son. His writings have travelled around the world since the 1960’s, capturing the imagination of multiple generations of theatre lovers. 

Born on the Plateau Mont-Royal in 1942, he grew up surrounded by the working-class Francophone community of Montreal and strong women who would later influence his work. He became a staunch advocate for marginalized communities and women’s rights and was a vocal critic of the Catholic Church’s dominance at the time. As a gay man himself, he brings a deep human understanding to his characters, depicting people of all backgrounds in his novels and plays, showcasing his love for the beautiful imperfections of humanity. 

He wrote his first play, Le Train, in 1959 at the age of 17. This work earned him the first of many awards, the Young Authors Contest prize from Radio-Canada. Tremblay went on to write with remarkable frequency, producing nearly one play per year until 1990, along with several novels. 

In 1968, Tremblay revolutionized Quebec theatre with the creation of Les Belles-Sœurs. This groundbreaking play, written in joual, gave a voice to working-class women and challenged the theatrical conventions of the time. It introduced a raw, authentic language that resonated deeply with Quebecers and triggered a cultural upheaval. Through this work, Tremblay broke taboos, highlighted the struggles and aspirations of a long-marginalized social class, and celebrated the vibrancy of a theatre deeply rooted in Quebec’s identity. 

Les Belles-Sœurs paved the way for a series of major works, including À toi, pour toujours, ta Marie-Lou and Les anciennes odeurs. These deeply human plays explore themes of family relationships, identity, memory, and the passage of time. Tremblay portrays strong women, marginalized individuals, and artists searching for self-affirmation, giving his theatre a universal appeal. 

Alongside his theatrical works, Tremblay has also had great success in literature. His novel cycle Chroniques du Plateau-Mont-Royal, beginning with La grosse femme d’à côté est enceinte, tenderly portrays the lives of his childhood neighbourhood’s residents. Through a cast of colourful and endearing characters, he paints a vivid fresco blending humour, tragedy, and the poetry of everyday life. His novels, like his plays, celebrate the resilience and inner richness of ordinary people, often overlooked by society and history. 

Recognized and honoured worldwide, Tremblay has received numerous awards throughout his career, including the Governor General’s Award for Drama, the Order of Canada, and the Ordre national du Québec. His influence extends far beyond Quebec, with his works being translated and performed internationally, from the rest of Canada to France and even Japan. 

Over the years, Centaur Theatre has established itself as the meeting point between Quebec’s Anglophone community and Michel Tremblay’s plays by staging numerous translations of his works. The first was Albertine in Five Times (Albertine, en cinq temps) in 1985, which opened our 17^th season. Several others followed, such as The Guid Sisters (Les Belles-Sœurs) in 1992, For the Pleasure of Seeing Her Again (Encore une fois, si vous permettez) in 1998, Past Perfect (Le Passé antérieur) in 2003, Assorted Candies (Bonbons assortis) in 2006, Forever Yours, Marie-Lou (À toi, pour toujours, ta Marie-Lou) in 2008, and Hosanna in 2018. Our production of the English-language world premiere of For the Pleasure of Seeing Her Again in 1998 was one of the most popular in our history, even going on to tour North America. We are thrilled to be staging this beautiful play once again and to have the opportunity to introduce Tremblay’s work to the next generation of theatre lovers. 

Alice Ronfard is a pillar of Quebec’s performing arts scene. She began contributing to the theatre at a very young age by assisting her father Jean-Pierre Ronfard, who was also a director. Over the years, she has directed more than forty plays and operas. She has received numerous awards, including the Grand Prix de la Communauté urbaine de Montréal for a translation of Shakespeare’s The Tempest that she undertook with her mother, the novelist Marie Cardinal. 

Throughout her career, she has staged numerous classics of French drama, including The Tidings Brought to Mary by Paul Claudel, Cyrano de Bergerac by Edmond Rostand, and The Miser by Molière. She has also delved into Quebec’s theatrical repertoire with Julie by René-Daniel Dubois and Héliotropes by Michel Garneau. More recently, she has collaborated on and directed contemporary works such as Chroniques and Exhibition by Emmanuel Schwartz, with whom she will work again on For the Pleasure of Seeing Her Again. 

Beyond theatre, Ronfard has directed several operas, including Euripides’ The Trojan Women, which earned her the Gascon-Roux Award for Best Direction. She has also overseen dance productions and even curated an exhibition at the Musée de la Civilisation in Quebec City titled Women, Body, and Soul. 

She led the Acting Department at the National Theatre School of Canada alongside André Brassard, the renowned director and first actor to play the Narrator in Encore une fois, si vous permettez (For the Pleasure of Seeing Her Again) when it premiered at Théâtre du Rideau Vert in 1998. She has also taught at several drama schools, including the Conservatoire d’art dramatique de Montréal. 

More recently, alongsideher longtime friend and colleague, the late André Brassard, she embarked on a major project: La Traversée du siècle. This production, staged in several Francophone theatres in Quebec and Ottawa, weaves together various writings by Michel Tremblay from across the course of his long and illustrious career. The project allowed her to further explore Tremblay’s world and gain a deeper understanding of this great Québécois writer. According to Ronfard, the success of La Traversée du siècle was a testament to the creative genius of both Tremblay and her late friend Brassard. 

For the Pleasure of Seeing Her Again will be the first play Alice Ronfard directs in English, and we are honoured to welcome her to Centaur Theatre. She will be joined by several artists and designers with whom she has previously collaborated, including set designer Gabriel Tsampalieros, lighting designer Julie Basses and sound designer Joris Rey, all of whom worked on La Traversée du siècle.

Thanks to the extraordinary support of the Ministère de la Culture et des Communications du Québec and Canadian Heritage’s Official Languages Program, we are thrilled to announce the completion of Phase One of our exciting renovation project at Centaur; this has allowed us to add a state-of-the-art fly tower above the stage in our larger proscenium theatre, known to everyone as Centaur 2! 

What is a fly tower, you ask? It is an addition above the stage with a mechanized rigging system that can lift set-pieces and technical equipment high into the air, enabling us to create real theatre magic for you, our loyal and passionate audience. For the last 56 years, we have not had the capacity to perform the kinds of tricks this brand-new motorized system allows us to do. In the past, we had to cobble parts together and reinvent the wheel for each production to hang the bare minimum of lights and curtains above the stage. Now we can safely fly scenery and completely change sets in a matter of hours (instead of days). Unlike our colleagues in the Francophone theatre scene, Montreal’s English-language theatre community has never had access to a theatre with a fly-tower. This is a creative game-changer for us. This renovation also includes a complete upgrade of our ventilation system in the theatre, which includes adding a HEPA filter system that keeps the air in the room as fresh and clean as possible. 

We will unveil the newly renovated theatre on May 13^th with our new English-language production of Michel Tremblay’s love letter to his mother, For the Pleasure of Seeing Her Again, starring the brilliant actors Ellen David and Emmanuel Schwartz. Get your tickets today so that you don’t miss the opportunity to be part of this transformational moment in Centaur’s history!

Coming Home to Centaur

Centaur Theatre is thrilled to announce the unveiling of our state-of-the-art wheelchair lift on October 4, 2024 at 6pm. This significant addition brings us one step closer to our goal of being a truly accessible theatre for all Montrealers. This achievement is made possible by a generous donation from Marisa Testa, who has chosen to honor the memory of her late husband, Tiziano, in a profoundly meaningful way.

Tiziano Giacomini, who passed away on April 3, 2002, was a man known for his incredible sense of humor and eloquence. His presence was a gift to those around him, and his love for the arts, especially theatre, was evident in the many cherished memories he and Marisa shared at Centaur. Their appreciation for the theatre’s ability to transport audiences into new realms was a cornerstone of their relationship and joy.

The wheelchair lift holds a particularly deep significance for Marisa. It serves as a poignant tribute to Tiziano and her brother, who spent the last five years of his life in a wheelchair. This lift not only symbolizes Tiziano’s enduring spirit but also embodies the support and compassion that the Testa family has consistently shown to the community. From their generous donations to local institutions honoring Marisa’s brother and parents, to their contribution that alleviates the constant hum of medical equipment in healthcare settings, the Testas have consistently demonstrated their commitment to making a difference.

Tiziano and Marisa’s story is also a tale of shared heritage and passion. Marisa, a proud Italian-Canadian, carries her family’s legacy from Colle San Magno in central Italy, while Tiziano hailed from Piedimonte in Northern Italy. Their love for each other and their shared experiences were deeply intertwined with their cultural backgrounds, which enriched their lives and their commitment to community service.

In remembering Tiziano, Marisa often reflects on the heartfelt eulogy shared at his memorial service. It spoke of Tiziano’s many passions: his love for reading, his enthusiasm for aviation, and his unyielding humor that brought joy to those around him. His enjoyment of theatre and comedy, his adventurous spirit, and his love for learning and teaching were all part of what made him so special. His affection for convertible cars, animals, and his deep appreciation for life’s simple pleasures showcased a man who lived with zest and genuine warmth.

The wheelchair lift at Centaur Theatre stands as a testament to Tiziano’s legacy—a lasting symbol of love, accessibility, and the joy of coming together in shared experiences. As we unveil this new feature, we honor not only Tiziano’s memory but also the profound impact of his life and the Testa family’s ongoing dedication to the community.

In celebrating this year’s theme, “Coming Home to Centaur,” we are reminded of the importance of inclusivity and the ways in which we can all contribute to a more accessible and welcoming world. Tiziano Giacomini’s spirit, captured through this generous donation, continues to inspire and remind us of the profound impact one person’s legacy can have on many lives.

As we look forward to the future and the renovation of Centaur’s building, let us all take a moment to appreciate the strides we’ve made and the ways in which we can honor the memories of those who have touched our lives in such meaningful ways. Tiziano Giacomini’s legacy lives on in the inclusive stories we tell here at Centaur Theatre, making it a place where everyone can truly come home.

Ron Meisels: Patron and former Board Member

Last Friday the Centaur Theatre had a long-awaited opening.

I have been a trusted attendee for over 35 years, sometimes as a board member, sometimes as an actor, and many times as a fundraiser, but for the last two years I had to stay back from attending, because I could only get about with a walker. No getting into the theatre, no climbing steps.

Last Friday, my wife and I had the privilege (among others) of using the new elevator.

This was a long-awaited part of the Centaur. Now, once again, we will be able to attend their plays.

The elevator is large enough for a walker, a sitting person and an attendant. Within five minutes we were sitting upstairs to attend the show.

Ron Meisels

Imagining the Future:  Theatre, Magical Realism, and Global Warming

by Adjani Poirier

Centaur Theatre invited Adjani Poirier to contribute her thoughts on climate change and theatre-making in relation to A Play for the Living in a Time of Extinction, which premiered at Centaur in 2022. We are sharing her writing again in preparation for the French-language adaptation, Une pièce pour les vivant·e·x·s en temps d’extinction, playing at Théâtre La Licorne from September 18 – October 6 as part of our Centaur+ programming.

Climate change frightens me. Like a monster lurking in the shadows, it feels ominous and scary. It’s a BIG situation that merits BIG reactions, often leaving me feeling helpless, unsure of what to do, stuck. 

Will the ocean rise and wash me away? Maybe… Will the ocean rise and wash me away less if I buy the correct energy-efficient light bulb? It’s hard to say…

Figuring out what to do in reaction to a catastrophe that’s so much bigger than myself is not an easy feat. When faced with this overwhelm, I look to storytellers to try and make sense of the world. 

To quote queer science fiction writer Nalo Hopkinson,

“Marginalized people need a better world, we all do, but people who are on the fringes of it very much need a better world, and in order to figure out how to get there, we first have to be able to imagine it.”

Aha! I love this sentiment; as a queer woman of colour, it rings so true!

Nalo Hopkinson: Who gets left out of the future? from TED Ideas on Vimeo.

This idea is relevant to the discussion of global warming because a) marginalized people are disproportionately affected by the effects of climate change and b) figuring out how to navigate the complexities of climate change requires a lot of imagination.  

So, How Do We Imagine the Future?

As a playwright, I use my craft to imagine what the future could be through stories on stage. 

Theatre has always been my preferred method of understanding history, of untangling challenging questions, and of working through difficult emotions. 

In my play Still Gay When I’m Not In Love, I use magical realism to explore global warming and what might happen if the Earth chose to teach humanity a lesson: 

“THE EARTH HAS HAD ENOUGH!  Her words, not mine. But I’m inclined to agree. Or rather I would be, if I were not impartial, which I am. She could no longer tolerate the abuses she was suffering at the hands of humanity, so she set fire to herself. To her entire planetary body. The fires will burn for 24 hours, and then: SHE WILL BEGIN AGAIN!”

Still Gay When I’m Not In Love, Adjani Poirier

These are the words spoken by the character Angel of Death, a beautiful celestial bureaucrat. They are addressing the entirety of humanity, who has been violently thrust into a kind of purgatory because our lovely home planet decided she was fed up with the environmentally destructive shenanigans we humans were getting up to.  

The idea is that when people return to the new “phoenix risen from the ashes” version of Earth, they’ll have the opportunity for a do-over — new forms of society, new ways of creating community, new people in charge. The big question the play asks is: in the face of the ongoing climate crisis, how do we build a better tomorrow for future generations? 

Spoiler alert: the play doesn’t have all the answers. But it raises a lot of questions that contribute to an ongoing discussion around people’s thoughts, feelings, fears, and ideas around issues related to climate change.  

The beautiful thing about theatre is that it’s a collaborative art form; it requires many artists with a variety of different skill sets to come together and create something. And then it invites audiences to witness and experience the work together. The very act of telling stories through theatre allows us to access an understanding of life on Earth that is connected, playful, and thought provoking.  It’s the perfect antidote to the stress imposed by the neoliberal notion that our individual behaviours will make or break the future of our planet. 

Stories shape how we think about tomorrow. They move us, change us, wake us up, and beg us to ask difficult questions that can’t be answered with a simple yes or no. They plant seeds of ideas for what is possible and provide roadmaps for how to get there — as well as what to look out for along the way.

Telling stories through theatre makes me feel like I am part of something bigger than myself.

Theatre is like an electric current, carrying us from one place to another and igniting a spark in our imaginations. 

And I do truly believe that imagination is a key element in figuring out how to work toward a future that will hold us well.

Adjani Poirier is a queer theatre maker who currently lives and writes in her hometown of Tiohtiá:ke/Montreal where she studies playwriting at the National Theatre School of Canada. Her plays include Scorpio Moon, which was featured in Centaur Theatre and Playwrights’ Workshop Montreal’s 2022 Queer Reading Series; Celebrity Dogs, part of Boca del Lupo’s national project Plays2Perform @ Home; Still Gay When I’m Not In Love; and On Life and Living: A History of AIDS Community Care Montreal. She curated the 2021 edition of QueerCab with Buddies in Bad Times Theatre.

The sun was shining on a crisp fall day in September as members of Centaur’s Director’s Circle gathered at the beautiful Pub Burgundy Lion in St. Henri for our Thank-You Tea Party. This extraordinary group of supporters were joined by Artistic & Executive Director Eda Holmes as well as three wonderful artists involved in Centaur’s upcoming season—playwright Alice Abracen, actor Adam Capriolo, and director Rose Plotek. Thanks to some stimulating conversation and an elegant High Tea service replete with sandwiches, scones, and macaroons, a marvelous time was had by all!

Thank you very much to all those who attended and to every member of our Director’s Circle, whose generosity makes so much possible!

INTRO

Marcel Jeannin, one of Quebec’s most beloved stage and voice actors, returns to Centaur Theatre as Jon Macklem in Sexual Misconduct of the Middle Classes. Jeannin is a Centaur favorite, having first stepped onstage over three decades ago for Woman in Mind in 1989. Jeannin took time to chat with Centaur about his current production, and how things have changed (or not)!

After 12 productions, how does it feel to be back onstage at Centaur?

Short answer: It feels great! Although that feeling is mainly due to being back onstage after two years of doing theatre on Zoom and masked play readings!

TAKING SIDES by Ronald Harwood with Susan Glover, Marcel Jeannin Season 29 (1997-98) 

RELATIVE GOOD by David Gow with Marcel Jeannin and Mikel Mroué photo Yanick MacDonald Season 39 (2007-2008) 

VINCI by Maureen Hunter, Marcel Jeannin and Carrie Colak photo Yanick MacDonald Season 34 (2002-2003)  

– Your last role was in Paradise Lost, which ran in our 50th season in 2019. This was a large cast with 11 actors while Sexual Misconduct… is a two-hander. How has this changed your approach to the production and your role?

– Nothing really changed in terms of my approach to a role, although I varied my preparation slightly. The biggest difference was my need to be “off-book” at the beginning of rehearsals. Usually, I prefer to learn my lines in rehearsal by osmosis: involving my body in the process of marrying the thoughts to the words and letting my body inform or inspire certain thoughts. For this production, I felt that process wasn’t an option because of the amount of text, and that much of that text is direct address to the audience: my de facto scene partner for a good part of the play with whom I felt the need to connect to as soon as possible. I consulted with dramaturg Maureen Labonté and implemented her method of close reading of a text. My habitual way of analyzing a script is from a motivational point of view, whereas hers is a strict structural analysis, which proved to be very useful on a piece like Misconduct, as it removes the actor’s “self-interest” from the first reading and takes a lot of preconceptions, prejudices and suppositions out of the initial appraisal of the work.

I also requested a few one-on-one script sessions with director Eda Holmes a few months prior to rehearsal. Speaking as a man, it is a very disquieting piece to be a part of, and I felt the production could possibly fall into a few traps I was keen to avoid. As the play is about Perspective, I wanted to be sure that the director and I completely understood each other’s point of view, the points of view of the characters, and agreed with what the play was saying

– As this is a small cast, you’ve gotten to work closely with your cast and crew. What was it like working with Eda Holmes? With Inès Defossé? What have you learned from them, as fellow creators?

– I last worked with Eda about twenty-seven years ago at NTS when I was only a few years into my career and she was making a career shift from dancing to directing. Her directing style at the time was very movement based and I subsequently incorporated elements of her process into my own and have used them ever since, so it was a thrill when she called to offer me the part. When we started working together again after more than a quarter-century, it felt like not a day had gone by. I am getting a kick of seeing how she has grown as an artist. Her direction, which was always very clear, has gotten even more concise, and she has since developed a laser-like succinctness when putting forth her ideas, which makes my job a lot easier. It also forces me to be clearer and concise in my own work and gives me a little extra drive as I try to anticipate her next steps, so that I feel I am always moving the process forward rather than bogging it down.

I met Inès at the audition, and it was the first time in a long while that I met an actor who was so open, available and honest in an initial meeting. It was also a shock because she is still relatively new to the business, but she brings in a confidence that belies her years. In rehearsal, she has only doubled down on those qualities, and her generosity as a performer forces me to make sure that I am constantly open and taking advantage of her wonderful offers, and that I am also pulling my own weight. She is a terrific stage partner.

It’s important to note that although it is a two-hander, there are actually quite a few people who have been in the room with us creating this piece, whose own work and input is an intrinsic part of the heartbeat of the play. To name just a few, Georgia Holland who is part of the Stage Management team is a fundamental part of the all-important tempo of the show. During rehearsal and run-throughs, she displayed a preternatural ability to anticipate needs with regard to props, scenery shifts, etc. Much of the flow of the show is in her hands. Chelsea Dab is our assistant Director who offered invaluable advice and insight during the process. Luciana Burcheri was adroit at navigating us through the relatively new process of Intimacy work with precision and conciseness, (crucial, when Time is a precious resource). Finally, Danielle Skene is at the helm throughout, safeguarding the integrity of the designers’ and director’s work (and even the actors’ own work at times, despite ourselves!) In the end, I’ve come to appreciate and value these aspects of a production more than ever. They are not only the net under the high wire, they are also the high wire itself!

– Looking back on your 12 productions, was there a landmark production or role of yours that you remember fondly?

– It’s hard to pick just one. God of Carnage and The Comedy of Errors are big favourites of mine. Besides being absolutely brilliant scripts to work on,  I was surrounded in both instances by people I love, respect and admire, and perhaps most importantly, people with whom I have had a long, personal and professional relationship. The benefits of this are twofold: you all come in with an established working shorthand, which gives you the freedom to make choices or offers that are instinctively followed up on by the other actors, or allow you to intuit what idea someone else is trying and support it, all without ever really discussing anything (like good jazz musicians do). In the second instance, I believe you need people you can trust when working on a comedy. Rehearsing comedies is joyous, painstaking, exhilarating and brutal work, much like a good marriage. There are many moments where tempers fray or frustrations build, and it would be impossible to continue without feeling that forgiveness was always there in the room, if not instantly then at least by the end of the day. It is only with that trust that we can really begin to take risks, and it is only through risk that you get comedy.

GOD OF CARNAGE by Yasmina Reza with Mark Camacho, Ellen David, Janine Theriault and Marcel Jeannin Photo Lucetg.com Season  43 (2011-2012)  

THE COMEDY OF ERRORS Stephen Lawson, Marcel Jeannin, Danielle Desormeaux photo Yanick MacDonald SEASON 41 (2009-2010)    

– Since you’ve begun, how has Centaur changed? How has it remained the same?

– Centaur hasn’t changed as much as the neighborhood has! The other day on St-Antoine, I was given my first ever ticket for exercising a Montrealer’s Divine Right to jaywalk. To think, when I was working on The Stone Angel in 1995, I used to take my breaks at my then-girlfriend-now-wife’s loft around the corner on Le Moyne Street, where she was paying $500.00 a month for 3000 square feet! I remember driving my car to work and being able to park just about anywhere in Old Montreal. Now, when stopped at a red light, I’ll either get a parking ticket or someone will try to turn my Honda into a condo. I miss the quieter, simpler, (cheaper!), pre-gentrification days. I take comfort in the fact that Stash’s is still around!
As for the Centaur itself, I suppose what hasn’t changed is the underlying vibe of the place. I’ve seen many people move on or pass away over the years, yet I still feel their energy in the halls. People like Griffith Brewer, Mary Thomas and designer Michael Eagan to name a few (the latter giving me my best opening night gift ever: a piece of the Berlin Wall)! When I look at all the wonderful people who are running the place now, who are part of my professional “family,” I feel they continue in the spirit of those who have come before, insomuch as they are among the hardest working, caring, fun and down-to-earth artisans I have ever had the pleasure of knowing. If this sounds overly sentimental, it is partly because after two years of being deprived of close contact with these people, I am so grateful to be able to work with them again!
As to what has changed at the Centaur, I can say that it’s great to see so many young people attending the shows alongside the regular audience of subscribers that has supported the theatre over the years.

– The last time you were onstage at the Centaur was before COVID. How has the COVID-19 pandemic shaped your craft as an actor, and as a writer?

– Actors exist in one of two states: Working, or Looking For Work. The pandemic obliterated those two states, so for the first time in my thirty-odd years as a professional, being out of work didn’t come with the usual anxiety, as there was no work to be had. In a way, I felt a certain measure of peace with the idea that most of the world was in the same boat (i.e. not knowing what comes next). Like many, I used the opportunity to take stock and reevaluate certain lifestyle choices and habits, with the aim of improving my life and by extension, my work. I read the books I had always been meaning to read, saw the films I had always been meaning to see, and did my utmost to keep discovering or learning something new every day. I think in the end it has brought a little more focus and depth to my approach.
On the downside, as the health emergency is still not quite over, I live with the constant concern that a production may be shut down at a moment’s notice; that the sword of Damocles hangs over the whole process, because one positive test can postpone or close the show. I knock wood as I say this, because it is a great fear that the hard work of all the people in a production has the very real possibility of never seeing the light of day, which would be a real waste. The pandemic has made a fragile and ephemeral art even more evanescent.

– While in isolation, you made this hilarious video that you shared to your Facebook page: Marcel Jeannin. Can you explain more the thought process behind making The Lions Sleep Tonight, as well as your thoughts on the general response to the video?

– When the lockdown hit, many of us in my profession were forced to quickly set up ersatz voice studios in our homes to keep from missing out on the recording sessions that had suddenly become remote. If we wanted to eat, we had to learn to become sound engineers, videographers and editors almost overnight. I created this little project as an exercise to learn how to use and test all the new equipment and software I had been forced to purchase. I gave myself a small writing challenge by composing a little skit for four voices with a lot of overlapping dialogue (and some harmonizing), and then I gave myself a little film acting challenge by playing all four characters. This last bit proved to be a fun but daunting puzzle. As I had no actor other than myself to work off of (or anyone reading the other lines offstage for me), the trick was to play one character and keep all the lines of the other characters (and their timings) in my head, to react at the proper time and in the proper direction, and of course to say a particular character’s lines at the right moment. Multiply all that times four! As each character was shot in “one”, if my timing was slightly off at any point, the take became unusable. I shared the result with my friends on social media, and a few people got a good laugh out of it. There is a surreal, paranoiac, cabin-fever tone to the whole bit that I’m sure was a universal feeling for the first few weeks of the pandemic, and that most of my friends recognized.

The Lions Sleeps Tonight with Marcel Jeannin X 4    

– Many of your past roles, including God of Carnage have been quite funny. How have you brought these comedic chops to this role? Jon Macklem has some self-aware, funny moments, but also a darker, complex psychology.

– Jon Macklem is an ordinary, hard-working, well-meaning man who has achieved some measure of success. One day, he finds himself in a “strange land” which threatens to destroy everything. There is a very simple maxim: “When playing tragedy, find the humour; when playing comedy, find the tragedy” (and play that tragedy for all it is worth)! While Kings and Gods are the subjects of Tragedy, the Common Person is the mainspring of Comedy. Paradoxically, the closer to the breaking point the Common Person is pushed, the better the comedy, and the funnier it is. When we did Shakespeare’s The Comedy of Errors, director Peter Hinton gave me an invaluable and brilliant piece of direction for my character, who finds himself lost in a literal “strange land”: he told me to remember that from my character’s Elizabethan point of view, the inhabitants of this particular “strange land” were magical and dangerous. It was not a Disney “strange land”, where the inhabitants were benign talking crabs or singing teapots. It was a land where the charming person I was talking to could at any moment start vomiting frogs! I was to look at my surroundings as if I was trapped in a living nightmare, a Bosch painting, with no way out. How is that for being pushed to the breaking point! It’s fascinating to think about why the everyday person put into miserable circumstances in Drama is such an effective engine for laughter. Maybe it is as Mel Brooks says: “Tragedy is if I cut my finger. Comedy is if you walk into an open sewer and die.” Maybe laughter is our way of saying: “I’m so relieved it is you going through this and not me, ‘cause it could very well be me!”

– You have also participated in Urban Tales–a series of holiday-themed monologues. Did this in any way help you prepare for the longer monologues that Jon delivers?

– I think so, yes. Each one-character play, monologue or soliloquy is in essence, an actor in a one-on-one relationship with an audience, where the actor’s subtext is: “I’m going to tell you a story…” Start telling a story and you have an alchemical reaction: the actor and audience enter into a kind of dance where a singular experience is created. Almost everybody has an “Uncle Jim”. My Uncle Jim was a great joke teller. I never remember his actual jokes, but I remember vividly the experience of listening to him telling them. The experience of him telling the stories and us, his audience, listening to the stories was more complex and profound than the actual jokes themselves. I can’t help but think that with every kick at the can, an actor (hopefully) learns a little more about the mechanics and dynamics of storytelling and, at the same time, learns to become more empathetic and open to the audience, essentially putting themselves in their place. In the back of their mind, the storyteller always carries the weight of Diaghilev’s famous challenge to Cocteau: “Astonish me!”

URBAN TALES 2011 Marcel Jeannin photo Yvan Bienvenu

At long last, we are daring to dream that we will be back together in the theatre again. If you are reading this then it is likely that you are someone who is already at least a little bit familiar with Centaur Theatre – and I want to tell you how great it is to be back in contact! If you are completely new to us then I extend a warm welcome to the party!

I was talking to a friend the other day about the fact that this will be our first subscription season since the pandemic and she said that she loves being a subscriber because it is like being in a secret conversation with the Artistic Director. I asked her what she meant and she said that when she comes as a subscriber to see a show, she never tries to find out anything in advance but rather sits down in the darkened theatre and tries to glean what the person who programmed the show was trying to say, how one show relates to another and what story the whole season tells. 

I was so happy to hear her say that because as I program a season, I am always trying to start a conversation with the audience. I try to create a “playlist” that will ask the kinds of questions that will open new doors to the world we live in. I know that some people will like some things more than others but I always hope that they will find a compelling narrative in the way the plays speak to each other – a narrative that I intentionally embed in the program as a whole.

All through the pandemic, the one thing that kept me inspired was the beautiful city of Montreal itself. Not only the physical beauty that extends from the natural grandeur of the mountain down to the charm of our own historic neighbourhood in Old Montreal but also the beautiful diversity of the people who live here.

I lived near Parc Jeanne Mance and every weekend I would see collections of people, families having picnics or friends slacklining or playing a strange game where four people bounce a small ball off a mini trampoline?! and I would hear not only French and English but also tones and rhythms of languages from all around the world. The fact that it is a bi-lingual city gives people so many more ways to connect with each other. After the pandemic, I have felt a voracious need to connect not only with my friends and family but with all the people I am finally able to cross paths with again as we all return to some kind of normal.

That notion runs through the programming for this season. It is not only embedded in the plays in the subscription series but also in everything from Dark Divas the fantastic jazz concert we are offering in December headlined by the extraordinary Ranee Lee to the collection of exciting work in the Wildside Festival to wonderfully wacky inventions of Ronnie Burkett and his merry band of marionettes in Little Willy.

There is also a secret within a secret in the programming of this year’s Brave New Looks installment by the exceptional young playwright Alice Abracen and her play What Rough Beast (March, 2023). If you are a subscriber I highly recommend you make sure to come and see this show as well because I think that there is a great conversation there waiting to happen!

Cheers, Eda

Centaur hosts an intimate fundraising soirée in celebration of the return of live theatre

There was nary a cloud in the sky on the sun-kissed evening of June 8^th, as Centaur Theatre and its Board of Directors hosted MONTREAL UNDER THE STARS, an intimate fundraising soirée in celebration of the return of live theatre. The evening was filled with merriment and camaraderie and ended up raising almost $30,000 in essential funds for the theatre.

The organizers and stars: Co-Chairs Silvia Galeone and Anna Giampà, Centaur’s Artistic Director Eda Holmes, designer James Lavoie and playwright Steve Galluccio. Photo by Hector Rodriguez Neda.

Guests stepped off the historic cobblestone streets of Old Montreal onto the charming interior garden of The Burgundy Lion Group’s Pub Wolf & Workman, an elegant British-style eatery just around the corner from Centaur. In addition to donors, patrons, and other Centaur associates, the evening was also graced with the presence of six stars of the Montreal theatre scene who served as the evening’s special guests. These included multidisciplinary artist and performer Laurence Dauphinais, playwright Steve Galluccio (creator of the hit play Mambo Italiano), set and costume designer James Lavoie, as well as actors Marcel Jeannin, Richard Jutras, and Antoine Yared. The first of many toasts of the night was to everyone’s good company and to the thrill of being able to finally gather in-person once again with a close community of theatre artists and theatre lovers.

Actors Antoine Yared and Laurence Dauphinais. Photo by Michael Cooper.

Once guests sat down to enjoy a delicious three-course meal featuring dishes cooked to perfection by the skilled and gracious staff of Wolf & Workman, Centaur Board members Silvia Galeone and Anna Giampà, Co-Chairs of the Event Committee, thanked everyone in attendance for their generous support, in particular corporate patrons Fednav Ltd. and Manulife/Manuvie. The mic was then passed to Centaur’s Artistic & Executive Director Eda Holmes, who gave an exciting, top-secret sneak peek of Centaur’s upcoming 54^th season. Ooh’s and aah’s could be heard around the room as Eda teased the audience with information about some of the projects that will be gracing the floorboards of Centaur’s stages later this year.

Event Co-Chairs Anna Giampà and Silvia Galeone, with Centaur’s Artistic Director Eda Holmes. Photo by Michael Cooper.

As the twilight hour approached and the libations continued to flow, the night kicked into high gear with the exciting live auction, stewarded by auctioneer extraordinaire Marcel Jeannin. Centaur’s generous patrons pulled out their wallets to bid on some enticing prize packages, including an all-included weekend staycation in the Old Port, round-trip train rides to Halifax and Stratford, and a pair of bottles of some of the most coveted and critically acclaimed wines in the world. Everyone was so caught up in the excitement and Mr. Jeannin was such a convincing salesman that some guests were even bidding against themselves! The final prize of the night, and the cornerstone of the auction, was an intimate evening with Mr. Steve Galluccio, won by two of Centaur’s luckiest patrons.

Guest Michael Cooper and actor Marcel Jeannin. Photo by Hector Rodriguez Neda.

The night wrapped up with more drinks, more toasts, and lots of laughs. As they picked up their parting gifts on the way out, many guests commented on how nice it was to finally be able to gather once again in-person and to mingle with the actors and artists who bring Montreal theatre to life. Centaur and its Board of Directors were proud to host such a lovely and well-received soirée and are excited to do it again soon. Vive le théâtre!

Yves-Patrick Rusuku and Marie Achille of Manuvie. Photo by Michael Cooper.

Steven Wright and Anastasia Nakis of Schwartz’s. Photo by Michael Cooper.

Guests Miriam Roland and Nancy Rosenfeld. Photo by Michael Cooper.

Guests Mary Rana, Thao Phan, and Arlene Bratz Abramowicz. Photo by Michael Cooper.

Playwright Steve Galluccio and actor Richard Jutras. Photo by Michael Cooper.

Centaur’s Board of Directors with the stars of the evening. Top row, from left: Board member Silvia Galeone, actor Antoine Yared, Board members Anna Giampà, Robert Yalden, and Susan Da Sie; designer James Lavoie; Board member Guillaume Saliah, and actor Laurence Dauphinais. Bottom row, from left: playwright Steve Galluccio, Artistic & Executive Director Eda Holmes, and actors Richard Jutras and Marcel Jeannin. Photo by Michael Cooper.

Co-Chairs

Silvia Galeone and Anna Giampà, Board Members, Centaur Theatre Company

Event Patrons

Fednav Ltd.

Manuvie

Major Donors

VIA Rail

Wolf & Workman

ONE MORE WEEK! Centaur’s final show of the season is a timely and urgent play that tackles climate and environment in a tour de force performance by award-winning actor Warona Setshewalo. Now playing until May 15, 2022, A Play for the Living… sets the stage for engaging and thought-provoking theatre.

Scroll through for a round up of quotes and reviews. Centaur staff takes your health and safety seriously – read more on our protocols here. We are thrilled to be back making theatre – and we couldn’t do it without YOU!

A Play for the Living in a Time of Extinction

Read the reviews

Cult Montreal

“A Play for the Living in a Time of Extinction is sobering yet hopeful”

Westmount Mag

“For Those Who Care About the Environment or Enjoy Excellent Theatre”

Théâtralités Review

“English Theatre: Miranda Rose Hall’s «A Play for the Living in a Time of Extinction»: Swan Song”

Curtains Up

“Wake-Up Call At Centaur’s A Play For The Living In A Time Of Extinction”

Jano Lapin

“The Climate Crisis Takes Centre Stage at the Centaur Theatre”

Montreal Gazette Review

“The Heat is On…”

Montreal Gazette Preview

“Centaur Theatre Goes Green with A Play for the Living in a Time of Extinction”

Video – Playwright Miranda Rose Hall

CBC interview with Director Rose Plotek

Thanks to CBC Montreal “Our Montreal” for the in-depth interview with director Rose Plotek. In the interview, we learn the approach the play takes is one of care – care for each other, for the creatures with whom we share this planet, and care for the Earth itself. This holistic point of view is highlighted by the collective nature of theatre, Plotek explains. View the interview here.

Take part in an immersive experience between audience and performer that rejuvenates the spirit and sets the stage for hope for each other and our planet. See you at the theatre!