Groomed for it

by Kasey Dunn,

I could have been one of the four women who came forward from Soulpepper to call for an end to the abuse in their workplace. I could have been one of them, being grilled about why I kept accepting jobs. Trying to explain that I had no other option, and couldn’t say anything. Those four women represent many.

I went to theatre school at George Brown, right across the hall from Soulpepper. I met many of the actors named in these articles. I met Albert Schultz. I remember him telling us that he was the most important man in Canadian theatre, and that we should take every opportunity to get to know him. I heard all the rumours; we used to whisper about them in the lobby. “What are you willing to do to get the job?”

As Kristin Booth alluded to, actors are groomed to believe abuse is normal. That grooming begins in theatre school.

How to Start a Cult
Fear and guilt are central. A fearful person is one who cannot think critically, allowing the leadership to maintain control.

We lived in a constant state of fear. You could be cut at any point if the faculty decided you were not talented enough. We were told that this would make us better. We came to accept and even celebrate it, hoping for our friends to be culled to make the herd leaner, stronger, better, leaving more roles for us.

When I was in second year, I was simultaneously a lead in two plays, and was stage manager for a third. It would all be presented as part of a 6 play performance. After the dress rehearsal, I was taping the props table as the director gave notes. He asked me if I played the ukulele.

No I didn’t.

Could I learn before tomorrow?

No. I couldn’t.

“Come on, anyone can play a ukulele. Even a monkey could do it,” came a voice from my peers.

I began to cry. I was exhausted, I was sick, I was overwhelmed. I was trying to track props and remember all my lines for the 10 hour long production, afraid that I was a bad actor, and ready to be kicked out. No, I could not learn the ukulelele over night. Sorry.

I got a poor mark on my report card. “Too thin-skinned” said my notes.

Isolation – Cults cut off members from the world. There is no free time to think or analyze. Members may be deprived of adequate sustenance and/or sleep.

We were in school from 9am-10pm, 6 days a week. At times, the days were even longer than that. We were hungry, tired, and sick. We weren’t allowed to take sick days, so we would be at school with bronchitis, touching each other and sharing small spaces. Our breaks were minimal, sometimes as short as 20 minutes for lunch. I went to the administration once, to ask if we could please have a longer lunch. I was instructed not to complain. Many before me had done it. Was I not going to be able to cut it?

You cannot legally pay people to work the hours we worked, or to be treated the way we were. Yet we paid them for the chance to be there, and feared we might be asked to leave.

When they thought we were getting too chubby they introduced mandatory 8am cardio classes.

Induced Dependency and Elitist Mentality – The group is all that is good. As part of cult tactics, members are made to feel special. Cults demand absolute, unquestioning devotion, loyalty and submission.

We were told that George Brown is the best school, with the best instructors, and the best reputation. You are lucky to be here. Be thankful. Thousands auditioned, and you were chosen – so make the most of this opportunity. Our teachers were above reproach. Their demands were to be met without question. There was no one we could go to when we felt something was wrong. The structure of the school was a hierarchy of fear.  

If you ask a question about a note you are given, you are labelled “defensive, hard to work with.” The correct response is silence, and to simply do it.

We had one teacher who would repeatedly show up unprepared for class, and we were falling behind on our dialect and accent work. Our directors were constantly telling us that our accents were an embarrassment. When we told the administration that we were falling behind, our concerns were brushed aside. Tired of this, I purchased a book with CD’s to help myself learn the accents I needed, and introduced my classmates to the book. When the administration found out, I was called to the office on lunch (which I missed) and reprimanded for reading a book that I didn’t have permission to read, for undermining the instructor by reading it, and for ring-leading this “revolution.” I was told not to read the book again.

The ends justify the means. Because the leaders are doing very important things members are led to believe that their behaviours are justified.

I remember our acting instructor appealing to us for pity once, after a particularly hard class. “Imagine what I go through,” he said. “I wade through the trenches year after year with these terrible young actors. Trying to make them better. It’s hard. Imagine watching this garbage!”

I remember feeling bad for him, for how hard his job was – this man who had just told me that he had a hard time thinking of me as a woman, or imagining men being attracted to me – because he was doing god’s work.

This same man who told my best friend that she seemed like “one of those kids who was caged in the basement for years.”

Who told me that I belonged on the 4th floor somewhere, filling out forms from 9-5.

Who I watched degrade classmate after classmate, for being too gay, too prudish, too inexperienced (are you still a virgin?) too stupid, too smart, too tall, too unattractive. There were no boundaries. After all, we were making better actors here – and actors have to be open and ready for anything.

The member may be pressured to publicly confess sins, after which he is viciously ridiculed by the group for being evil and unworthy.

The worst sessions were the acting classes when you would stand in front of the class while the instructor picked and prodded to find your psychological weaknesses. They would comment on your age, height, weight, style, musical taste, and personality trying to find the key to unlock you and break you. Did your parents beat you? Were you the “fat kid”? Were you made fun of? We would admit to our worst secrets, which would consequently be used to explain to the class why we were bad actors.

They say acting school is about breaking you down so that they can build you back up. First of all, what kind of garbage is that, and what the fuck is it even supposed to mean? But secondly, I must have missed the ‘building up’ half, because I graduated believing that I was “too tall, and awkward about it,” “Over the hill (let’s face it you’re no spring chicken),” “weak and thin-skinned,” while also “too hard to work with and defiant.”

Dread – Once complete dependence is established, the member must retain the leader’s good favor or else his life falls apart.

Dread is the definition of my life for those 3 years. I woke up in the morning dreading going to school. I would cry.  I dreaded evaluations. I dreaded one-on-one meetings where extremely personal and inappropriate things were said that you would be pushed to laugh about over beers with classmates later. I also dreaded being kicked out. End of career. Only those who were successful would ever be true artists.

I could have been one of those four brave women, but I don’t know that I ever would have found the courage to speak up. I don’t know that it would have crossed my mind as an option. I don’t know that I would have been able to realize anything was wrong with the picture, because Albert Schultz would just have been the next person in a long line of people who had held my career in their hands and told me that I should live in fear while thanking them.

Maybe I was lucky. I didn’t get a great job at Soulpepper fresh out of school. I was slogging it in audition rooms, with agents and casting directors, classes and headshots. I had a lot of time and failure that allowed me to realize that there were some pretty big sacrifices that I wasn’t willing to make. I started my own theatre spaces with a belief and a dream that there was another way to tell stories that would let you be your own boss, and not at the mercy of someone in an extreme power imbalance. I found my partner, Vikki, who was also on a hunt for a different solution – and together we built our company Brick and Mortar. Read her story here.

Together we are trying to change the conversation, and help other artists break themselves out of the cult. Brick and Mortar will not be a part of accepting what we have been taught or allowing it in our spaces. We do not want anyone experiencing that dread when coming into our studios. We have begun developing a zero tolerance policy within our spaces and a support network where female identifying people can feel safe to report abuse. If you’d like to participate or hear more, there is a form at the bottom of this article.

Thank you to Diana Bentley, Patricia Fagan, Kristin Booth, and Hannah Miller.

How to start a cult sources:



Stories We Tell Ourselves.

by Vikki Velenosi,

That’s all I could say after I heard of the allegations against Soulpepper’s artistic director Albert Schultz this week.
Let me be clear: My wow response didn’t come from hearing that yet another powerful man serially sexually assaults women. That has become almost a daily anecdote. My wow response came from this one hitting closer to home.

As soon as I heard the news on Wednesday, I read the CBC article outlining some of the alleged actions of Albert Shultz. As someone who works in theatre, and had heard rumours about Albert Schultz’ behaviour, I was eager to hear the details. However, as I read, I was shocked at how many of the published accusations were almost identical to some of my own past experiences. I never worked with Albert Schultz, but I definitely experienced very similar behaviour at the hands of male directors and cast mates. For example, I have had my butt smacked on numerous occasions. One cast member even showed their balls to me as I was about to go on stage. When I was 15 a cast mate who was 10 years my senior hugged me from behind and put his hand down my shirt. A director once got up on stage to show another performer how to “touch a woman romantically” as he pressed himself against me and stroked my body. Another director pretended to hump me each night before I went on stage as an act of good luck. Then of course there was the unwanted hugs, unwanted comments about my body, my breasts, my level of “hotness.”

As I read these women’s stories, and the memories of my own past experiences came back to me, the thought actually crossed my mind: but it’s theatre, those things aren’t the same when it’s theatre. And I had to stop myself.

After joining and sending my support to women who came forward in the #metoo movement this past year, I was actually still holding onto the belief that theatre was somehow exempt from all the same rules. In reading this article about Albert Shultz I realized that I still considered that some forms of sexual power plays are to be expected and are normal and are okay.

When I was in theatre school, the cardinal rule was that you had to be “easy to work with.” If you wanted to get the job or the role, talent wasn’t enough. If you were “difficult” you were un-hirable, kicked-out, possibly blacklisted. It was a lesson ingrained in us over and over. As such, any abuse we endured in theatre school seemed totally justified. It was just to prepare us for the real world. It was as if the more you could flourish amidst abuse, the more successful you would be one day.

I had the privilege this summer of getting a spot in the Toronto Fringe Festival. I am lucky enough that my business partner and bestie Kasey is also a kick-ass creator/producer. We wrote and performed a show based on the real-life story of trying to “make it” as actors and discovering that we had the power to make it all along. (Yes, we did compare it to Wizard of Oz and no, we didn’t have ruby slippers). We started the creation process by writing down every story we could think of on our journeys of becoming actors and starting up our own studios and theatre company, Brick and Mortar. We wrote them all down on little cards and eventually spread them out on the floor. I remember us having the realization, wow, a large portion of these stories are about us being sexually harassed or assaulted.

One of the biggest driving factors behind opening our own spaces and starting Brick and Mortar was that we were tired of playing into the culture of abuse and misconduct in theatre. Both of us felt that quitting theatre was not an option so we were determined to find another way.

So why did I read these stories of women accusing a powerful man in theatre and automatically want to justify a working environment where anyone can treat me or touch me in a way I don’t want? Because somebody made me believe when I was very young that being agreeable to anyone in power was my job and that abuse is to be expected in this industry and that only the strong and quiet survive. They taught me that because someone taught THEM that. And even though I have now found ways to avoid most situations in theatre where I may become vulnerable, I have still kept the belief, all this time, some abuse was ok. My hope was that, through Brick and Mortar, more artists would be inspired to produce their own work in order to rise above the pain and the mental anguish that comes through the traditional channels of “making it.” I realize now that this is not good enough.

Today, I make a commitment based on the four brave women who came forward to take a stand against Albert Schultz that I will no longer accept what I have been taught nor will I condone it or allow it in any of our spaces.

We have begun developing a zero tolerance policy within our spaces and a support network where female identifying people can feel safe to report abuse. I will be approaching other spaces to join us. If you’d like to participate or hear more, there is a form at the bottom of this article.

Thank you to Diana Bentley, Patricia Fagan, Kristin Booth, and Hannah Miller. You have inspired me to change the story.

Vikki Velenosi is an actor, creator and producer. She is the co-founder of Brick and Mortar Theatre and Studios, a company dedicated to providing clean, affordable space to independent artists and producers.

Ashtrays, empty pint glasses, ex-lovers… We can’t wait to see The Elephant Girls!

“Without doubt, they were the most notorious girl gang Britain’s ever seen.” –Brian McDonald, The Gangs of London Clever.

A fascinating piece of lost women’s history, this is the gripping tale of the all-female gang which terrorized London for over 100 years. Parry Riposte Productions tells us that The Elephant Girls is a story both captivating and repelling, humorous and terrifying. You won’t be able to look away. We wanted to know more about this hit play, coming to the 5th Annual One More Night Festival.

If your show was on Netflix, which category would it be in?
British True Crime Drama

What would my 90 year old Grandma love about your show?
The sex and violence.

What would my 90 year old Grandma hate about your show?
The sex and violence. (One 83 woman marched out of an Edinburgh performance, shouting “That’s disgusting! Filth, filth, filth!”).

What would Donald Trump tweet about your show?
“Nasty woman. Loser. So sad!”

If your show had a Tinder profile, what would you put on there to make me Swipe Right?
Maggie Hale — Convincing straight girls to “give it a go” since 1917.

What else should people know about this show?
The show has queer content, features a lesbian character, performed and written by a lesbian. On your way out of the theatre, you will be asking yourself: Did that really happen? How much of the story is true?

Twitter: @margo_thespian @PRPtheatre
Instagram: @margo.thespian
Facebook: The Elephant Girls, Margo MacDonald, Parry Riposte Productions

Get your tickets: HERE

Elephant_Girls_Promo_3⭐⭐⭐⭐⭐ – CBC
⭐⭐⭐⭐⭐ – Planet Nation
⭐⭐⭐⭐⭐ – Capital Critic’s Circle
⭐⭐⭐⭐⭐ – Winnipeg Free Press
“Best of Fest” and “Critic’s Pick” – Ottawa Fringe
“Critic’s Choice” – Hamilton Fringe
“Must See” – Arts Ally
“The Elephant Girls is one show you must see…bracing, vivid, sharply-observed.” – Lynn from Toronto

“The Forty Elephants” was a gang that terrorized London, England for over 100 years. And their members were 100% women.
With a pint glass in hand, Maggie Hale—the gang’s suit-wearing, bloody-knuckled, girl-chasing,”Enforcer”—tells the forgotten tale of how the Girls lived high on a lifetime of crime, and how it all came crashing down.

😱🤣😎😍 #LostStory #TrueStory #CrimeDrama #GirlGang #GrippingStory 

Written and Performed by: Margo MacDonald
Directed by: Mary Ellis

Previously Performed: Ontario Street Theatre: Southern Ontario tour 2017, Hamilton Fringe 2017, Winnipeg Fringe 2016, Edinburgh Fringe 2016, Ottaway Fringe 2015

Get your tickets: HERE

GREY tells us we need to start looking at every angle of a story.

Richard Buttle has spent twelve years in prison for murder. Today is the day of his first parole hearing. While he desperately wants to be free he needs to convince the board in front of Charlie Alexander, the father of the boy he killed.
We are excited to keep the conversations going about the important topics in Grey at The One More Night Festival.

We asked playwright Chantal Forde a few questions about the production, which has been described as packing an “emotional wallop.” She told us to come for the drama – stay for the conversation.

Why do you think audiences want to see Grey?
We push boundaries. We say things that make people uncomfortable. So why would anyone want to see this? Because it addresses the complexity of human behaviour. Because we forget that people have a layered history and wealth of experiences that lead us to our decisions – the good and the bad. Because we, as generally good citizens, don’t like to admit that we too have prejudices and biases.

What will we see in your show that we haven’t seen before?
It’s not that you haven’t seen it, it’s that you’ve never seen it from so many angles. This is about perception, information and bias. How do you see the story?

Why Toronto, why this show, and why now?
This is a show that resonates on many levels and is particularly, and sadly, relevant with the current North American racial tension. While the show doesn’t deal with racial conflict head-on, it is often lingering in the background. This story asks the audience to examine their biases and how they came to be.

What would my 90 year old Grandma love about your show?
That it plays with your perceptions.

What would my 90 year old Grandma hate about your show?
That it plays with your perceptions.

What are critics saying about Grey?
“There’s not a weak link to be found among the superb five-actor cast though, with each actor creating a fully realized character that I could connect with.” – My Entertainment World
“True crime hits the stage in this provocative exploration of the space between right and wrong.” – Now Magazine

Twitter: @perceptionsplay
Facebook: @perceptionplay
Instagram: threefiveproductions

Grey plays Saturday October 21, at 7PM
The Commons Theatre
587a College St

Get your tickets HERE


“It absolutely blew me away… A [rating]” – My Entertainment World
“Top 5 Fringe Picks” – Bygone Theatre

After 12 years, Charlie must once again face the man who murdered his son at a parole hearing. Someone’s a bully. Someone’s a murderer. Someone’s a hero. Someone’s to blame.
Murder is black and white. Until it isn’t.

😮😓😍😳 #ARated #Drama #MoralAmbiguity #TopFringePick

Written by: Chantal Forde
Featuring: Andrea Carter, Asante Tracey, Kion Flatts, Mandy Roveda, Kenton Blythe.

Previously Performed: Toronto Fringe 2017
Get your tickets HERE

Fractals will leave you (and your grandma!) wishing you’d brought a friend.

Fractals follows a writer named Geraldine and her muse Phyllis, a cab driver. The show was well received in Toronto and Fundy Fringe Festivals, and we are excited to give audiences the opportunity to catch this critically acclaimed show once more in The One More Night Festival.

We had a few questions for Fractals’ creator Krista White (including: When does the album come out!!).

If your show was on Netflix, which category would it be in?
Gay & Lesbian / Independant/ Musical/ Drama/ Comedy/

That is a lot of categories! What will we see in your show that we haven’t seen before?
A dog who blows away in a hurricane who is NOT Toto!

What would my 90 year old Grandma love about your show?

What would my 90 year old Grandma hate about your show?
That she didn’t bring her friends.

What would Donald Trump tweet about your show?
“She’s no miss universe but she’s bigly cute, and hugely funny, and I am so proud of how well I wrote that show. It was big of me, wasn’t it?”

Tell me three things I should know about the playwright. (Bonus points if it rhymes)
She sings like a bird,
She loves the written word,
Loves hockey, so I heard.

The main character of your play appears on Judge Judy. Who is suing who, and why?Geraldine sues Phyllis, a cabbie who shows up even when a taxi has not been requested. She drops the case though, because Phyllis offers free fares.

Come for the storytelling but stay for the music AND storytelling.

Instagram: _kristawhite

Fractals plays Saturday October 21 at 4pm
The Commons Theatre

587a College St
Get your tickets HERE


⭐⭐⭐⭐⭐ – Grid City Magazine
“Fan Favourite” – Fundy Fringe Festival
“Fringe 2016 Highlight” – Mooney on Theatre
“DO. NOT. MISS. THIS. SHOW… The woman beside me said, “she’s amazing!” about 12 times.” – Fundy Fringe Patron

Do you or I or anyone know what makes us who we are? In this captivating and hilarious one woman show, writer and nature enthusiast, Geraldine just might find the answers with the help of a cab driver named Phyllis.

🤣😲😊😍 #Comedy #HilariousStory #Music #Existential #CabDrivers #Storytelling

Written and Performed by: Krista White
Previously Performed: Toronto Fringe Festival, 2016; Fundy Fringe Festival, 2017

Get your tickets HERE

Joanne O’Sullivan, a Veteran in Standup, Explores How She Grew Funny

She Grew Funny was a hit at the 2017 Toronto Fringe, and sold out the last three shows. We are thrilled to give audiences one more chance to catch Joanne O’Sullivan in The One More Night Festival.  The autobiographical show – a mix of the funny and serious –  asks: “What did losing your mother so young do to you?” She Grew Funny is a look into the age-old connection between tragedy and comedy and how our pasts can irrevocably affect our future.

We asked Joanne to tell us why audiences love this show, and she kept us giggling with her answers.

What will we see in your show that we haven’t seen before?
Me, three months older.

What emojis best describe what you see on audiences’ faces when you perform this show?
Is there a “everyone’s face is completely obscured because I’m staring into a spotlight” emoji?

If I followed the main character of your show on Instagram, what would my feed be full of pictures of?
Two enormous cats and her very cute 7-year old daughter.

What would Donald Trump tweet about your show?
“At first I was like, who writes a show about their dead mother? Sad. But then I found out the dead mother was HOT. Tremendous play.”

If your show had a Tinder profile, what would you put on there to make me Swipe Right?
Joanne. Holding a mic. And when she’s nervous she really grips it.

What does your show give me that cat videos on Youtube can’t?
I’m not sure. Few things are better than cat videos on Youtube. But at 50 minutes in duration, She Grew Funny won’t keep you from cat videos very long.

Tell me what I should know about the playwright. Bonus points if they rhyme.
Joanne is a comic who wrote a play,
It’s the third that one she gets to say,
It was the hardest to write, but her pain did pay,
’cause Brick and Mortar gave her one more day!

As you leave the theatre, Joanne hopes you will be left thinking about how her tale relates to your own stories.

She Grew Funny plays Friday, October 20, at 9pm
The Commons Theatre
587 College St Toronto
Get your tickets HERE


NNNN – Now Magazine
“Top 12 Fringe Pics” – Derrick Chua, Intermission Magazine
“O’Sullivan is a true original” – Toronto Star
“What an amazing, inspiring night. Thank you, Joanne O’Sullivan. I was deeply, deeply moved.” – Jacklyn from Toronto

When a person deals with loss and tragedy at a young age, what do they become? Writer for CBC’s This Hour Has 22 Minutes and The Baroness Von Sketch Show, Joanne O’Sullivan tells a touching, funny and true story of how her life changed when her daughter turned 6, the same age she was when her own mother died of Cancer.

🤣😳😭😍 #LaughAndCry #Comedy #SoulOTheatre #BringTissues

Written and Performed by: Joanne O’Sullivan
Directed by: Chris Earle

BikeFace will make you want to set out on an adventure of your own!

BikeFace is a two-wheeled adventure of Canadian proportions, spinning strange-but-true tales from a ride across the country! This intimate-style storytelling show has never been performed in Toronto – that is, until now! The One More Night Festival is very excited to have this award winning show as part of our lineup. We chatted with creator Natalie Frijia to bring you the details about BikeFace.

Why Toronto, why this show, and why now?
1. I don’t see enough shows with women in adventuring roles. I don’t seen enough adventure on stage period… but at this moment, seeing a woman in a story like this, I believe is important.
2. The show touches on issues of sexual assault and consent, which is clearly an important topic being discussed in the city.
3. We’re somehow still in a time when women are cautioned about what is safe / unsafe for them to do. “Why now” is because it’s time for that attitude to take a hike, permanently.

If your show was on Netflix, which category would it be in?

What would my 90 year old Grandma love about your show?
90-year-old grandmas have seen this show before, and the thing they say most afterwards is, “Oh, what a story! I remember this one time…” and then they proceed to tell me about the most adventurous thing they’ve ever done. It’s a good story-generator!

What would my 90 year old Grandma hate about your show?
… But grandmas also routinely tell me I should be more careful and maybe not meet so many scary people on the road. 😛

What does your show give me that cat videos on Youtube can’t?
I want to say “cats can’t ride bicycles”, but really… if they wanted to…

Tell me three things I should know about the playwright.
I’m working on a PhD in theatre and environmental studies.
I stage manage circus shows and I take classes in trapeze!
Most of my stories come from people I’ve met or places I’ve been while traveling on my bicycle. 🙂

“BikeFace is so much more than the story of a woman crossing Canada on a solo bike trip. It’s the tale of any woman who has sought to do something that might be a little more adventurous than society is comfortable with” – The Vue

Twitter: @natandthebike
Insta: natandthebike

BikeFace plays Thursday October 19, 7PM
The Commons Theatre
587a College St
Get your tickets HERE


⭐⭐⭐⭐⭐ – The Vue
⭐⭐⭐⭐ – Global News
“Will have you laughing non-stop.” – Kings River Life
“Incredible, captivating, engaging, real, funny” – Saskatoon Audience Member

Just a little over 100 years ago, the woman who rode a bicycle was expected to undoubtedly develop a weakened hart, epilepsy, exhaustion, appendicitis, distension, nervous attacks, insomnia, physical injury or, worst of all, the dreaded “Bikeface.”
In this two-wheeled advanture of Canadian proportions, Bike Face spins the tail of one woman who takes a bike trip from Halifax to Vancouver and finds out just how far she’ll go for adventure.

🤣😏😍😳 #Adventure #Comedy #CyclingStories #Suspense #Puppets 

Written and performed by: Natalie Frijia
Directed by: Emma Mackenzie Hillier

Previously Performed: Regina, Winnipeg, Saskatoon, Edmonton Fringe Festivals and in the US (Fresno, CA).

Get your tickets HERE

Two Time Just For Laughs Award Winner Al Lafrance brings us “I Think I’m Dead”

I Think I’m Dead is the story of one man’s struggles with insomnia and depression, and the odd life choices that can be caused by sleep deprivation and anxiety. The show hasn’t been seen in Toronto – yet – so we are very excited to showcase it at The One More Night Festival ! Creator Al Lafrance says that what tends to stands out the most for him is the audience response. We tethered him down for a brief moment to get a fast idea about what to expect at the show, besides the many laughs.

You’ve travelled all across the country with this show. What are reviews saying about you and I Think I’m Dead?
“Lafrance is sharp as a tack, funny as hell, and endearing as they come.” – The Vue
“so off-the-cuff and casual, you can’t help but be inspired” – Edmonton Journal
“well-told, relatable” – The Winnipeg Free Press

If your show was on Netflix, which category would it be in?

What would my 90 year old Grandma love about your show?
Its honesty and openness, my love of Billy Joel.

What would my 90 year old Grandma hate about your show?
The swearing.

If your show had a Tinder profile, what would you put on there to make me Swipe Right
A picture of me in a wrestling ring, I think.

What does your show give me that cat videos on Youtube can’t?
Existential dread?

What is the one thing you want audiences to be talking about as they leave the theatre?
Their own mental health.

How can we follow you on social media?
Facebook: “Thunder Blunder Theatre”
Twitter: @notsweirdal
Insta: @notsweirdal

We at Brick and Mortar cannot verify that you are not, not Weird Al. If you had to 
Come for the fight club references, stay for the horrifyingly poor life choices!

I Think I’m Dead plays Sunday, October 22, 9PM
The Commons Theatre
587a College St
Get tickets HERE


⭐⭐⭐⭐ – CBC Manitoba
⭐⭐⭐⭐ – Vue Weekly
⭐⭐⭐⭐ – Winnipeg Free Press
“His sense of humour is probably unbeatable” – CBC Manitoba
“Sharp as a tack, funny as hell, endearing as they come” – Vue Weekly

What do you get when you cross a Just for Laughs Award Winner with sleep deprivation, insomnia and anxiety? One heck of a hilarious, caffein-obsessed, existential show.

🤣😝😍😎 #JustForLaughs #Comedy #TrueStory #Autobiographical #CaffeineObsession

Written and Performed by: Al Lafrance
Previously Performed: Montreal Improv, Edmonton Fringe 2017, Halifax Fringe 2017, Guelph Fringe 2017

Get tickets HERE

Circles “could be one of the best pieces of theatre to come out of Toronto this year…”

Circles might be based on The Inferno of Dante Alighieri’s Divine Comedy, but Dead and Lovely Collective promises us we will leave the theatre thinking: “I never thought a 14th century religious text could rock so hard!” We asked them a few questions about their upcoming production in the 5th Annual One More Night Festival.

Describe how audiences react to Circles, using Emojis only.
🍆 😱🙈🤢😎👺

If your show was on Netflix, which category would it be in?
Critically acclaimed independent features, Cult sci-fi & fantasy, Showbiz Dramas, Faith & Spirituality Movies

Who is this show for?
Anyone who loves music! It is a totally unique approach to music in theatre. It’s a mix between a rock concert and a play, with a bit of magic.
Ok… maybe not your 90 year old grandma. Its loud, and it’s dirty.

If I followed the main character of your show on Instagram, what would my feed be full of pictures of?
Broken glass, dive bar bathroom pics, out of focus concert pics (from fake concerts staged in their garage)

What are critics saying about Circles?
“To be clear here, Circles isn’t a jukebox musical; every one of the 22 live songs are original pieces by Lucas Penner, and musically they’re fantastic. The songs are catchy and unique, blending spoken word, jazz, punk and dark pop together to create a mosaic of styles that works really well with the anarchic feeling of an open mic evening.” – Vance Brews, Mooney on Theatre

This is a story of a band called Dante playing at what they think is a regular open mic, but turns out to be an infernal trap and night of horrors.
Come for the tunes, stay for the rest of eternity!

Circles plays Thursday, Oct 19 at 9pm
at The Commons Theatre
587a College St

Get your tickets HERE


In this adaptation of Dante’s Inferno, a band called Dante plays what they think is an open mic. As this innocent performance turns into an infernal trap and a night of horrors, their friendships and musical careers are put to the test.
Post-punk, jazz, dark-pop, theatre. This production is redifining how music works in theatre with 20 original songs by coposer Luke Penner woven into a compelling and complex narrative.

😱😳😂😈 #Musical #LiveMusic #Thriller #AdultsOnly
Created and Performed by: The Dead and Lovely Collective

Previously Performed: The Cameron House, 2017

Get your tickets HERE

Mockingbird Close will leave you asking: “What Really Happened??”

“Fake news! These people are lying. Totally unfit parents. Should be locked up. That wife is a beautiful, gorgeous woman though. At least she has that going for her.
– Imagined Tweet from Donald Trump, if he had seen Mockingbird Close.

Mockingbird Close is a Canadian play that had never been produced outside Alberta until INpulse Theatre mounted it at the RED Sandcastle Theatre in September 2017. It is edgy, unique, and fully entertaining. We believe that Torontonians deserve to experience 55 minutes of pure, unadulterated entertainment one more time, so we sat down with the team of INpulse Theatre to ask more about what we can expect from Mockingbird Close at the 5th Annual One More Night Festival.

First of all – what does your show give me that cat videos on Youtube can’t?
Why should I leave my house?
Mona Hobbs. ’nuff said. See the show. She’s the human “sad cat diary” video, but live!

What will we see in your show that we haven’t seen before?
Two actors play seven characters: Leonty and MacInnis play an entire neighbourhood over the course of less than an hour, and they never miss a beat!
Physical, stylized movement.
No one is who he or she seems!

If your show was on Netflix, which category would it be in?
Dramedy, Drama, Dark Comedy, Suspense

What have people said about this show after previous productions?
“gripping, darkly funny”
“it borders on absurd without ever losing itself.” – Mooney on theatre
“Leonty and MacInnis are a two-person master class in their performances” – Cowbell

You’ve been asked to perform your show in front of city council before they make final decisions on a big new law. What laws are they considering passing?
“All Neighbours must participate in the Block Parent Neighbourhood Watch”
“No witches allowed in Mockingbird Estates”
“Babies should be allowed to wear dresses and bows whether they are boys or girls”
“Policy on Adultery – Be faithful to your spouse in 1956”

How can we follow you on social media?
FB: @INpulseTheatre
Insta: @inpulsetheatre
Twitter: @INpulse_Theatre #mockclose

We say: Come for the facts, but stay for the fiction!

Mockingbird Close plays Sunday, October 21nd at 9:00 PM
The Commons Theatre: 587a College Street
Part of The One More Night Festival 
Get Tickets: HERE

⭐⭐⭐⭐ – Edmonton Journal
“It’s haunting” – Mooney on Theatre
“Part fairy tale, part psychological thriller” – Life with More Cowbell
“A theatrical buffet” – Vue Weekly
“Grabs you by the throat” – Megan from TorontoMeet the perfect 1950’s family; Iris, hank and their small son. They live in a nice home, in a nice, crime-free, gated community.
Then something happens and their little boy disappears. Nothing make sense and the neighbours aren’t helping.
In this haunting, intense drama, two actors play both the devastated parents and the neighbours they beg for help.😱😳😰😍 #Suspense #Dramedy #Mystery #WhodunnitWritten by: Trevor Schmidt
Starring: Tiana Leonty and David MacInnis
Directed by: Ryan F. Hughes
Produced by: Tracey Beltrano and Tiana Leonty

Get Tickets: HERE