Paul Beckett has been out of the theatre scene due in a large part to the pandemic. But over this time, Paul has been finding his way with writing. Please keep your eyes peeled and your ears open for he and his partner’s one-act play “The Village Girl and the Frog King”, which will be airing are a radio production on Vancouver Co-operative Radio, CFRO. The play which probably brought Paul his greatest attention was a one-man show solo piece about the late 19th century Parisian artist, Henri de Toulouse Lautrec. That had to be about thirty years ago. Currently, he is working under CAEA contract to workshop the translation of Quebec writer Martin Bellemare’s piece about 4 men, seniors, driving from Monteal to Vancouver in search of a long-lost love.

Jay Brazeau has been featured in dozens of films and many more TV series and specials, best known for his role as Sam Fisher in Cold Squad, as Harlan in Stargate SG-1, and for voicing Uncle Quigley in Sabrina: The Animated Series, and as Bobby in Double Jeopardy, as Referee in the Air Bud Films, and his film role in We’re No Angels. A busy stage actor, credits include Duddy and Brighton Beach Memoirs (The Citadel), Moonlight and Magnolias and Other People’s Money (Vancouver Playhouse); Urinetown (Firehall Arts Centre); Hairspray (Mirvish), ); The Producers (Arts Club Theatre); Fiddler on the Roof (The Rubicon Theatre, California) and “Man in chair” in the Drowsy Chaperone (National Arts Centre).

Allan Morgan has been a professional actor for more than 30 years, with his home in Vancouver. He is currently one of the artists in residence at the Massey theatre in New Westminster. Allan’s acting work has taken him across the country, and he has been the recipient of numerous awards for his work. He has also written two one-person shows: Pride for the Young Gay, the Un-Gay and the Jaded Queen in All of Us, as well as, I Walked the Line.

John Innes was an early graduate of the National Theatre School (’67). He has performed in every major regional theatre in Canada, including 12 seasons with the Stratford Shakespeare Festival where he received a Tyrone Guthrie Award twice. He has also performed in regional theatres in the United States including three seasons with the Denver Center Theatre Company. In all, he has been a working actor for over 55 years.

Johanna Nutter (she, euro-settler, multidisciplinary artist) developed her passion for translation through acting: being one of few perfectly bilingual theatre artists, she played leading roles at Centaur (Good People, You Will Remember Me) and La Licorne (Les Événements). The attention of both circles came thanks to the success of her solo my pregnant brother/mon frère est enceinte, which she translated during a residency in Tadoussac, accompanied by Linda Gaboriau. The show toured across Canada and Quebec in both languages, and to the UK and Belgium. Subsequently, she translated the works of Annick Lefebvre (Barbed Wire), Guillaume Corbeil (You’ll Go Looking for Her), and Florence Longpré & Nicolas Michon’s ballet-theatre hybrid CHLORINE, which she also produced and directed at Centaur, with her company creature/creature.

Julia Henderson has a PhD in Theatre Studies from the University of British Columbia; her disserta-tion explored how theatre and performance practices contribute to cultural constructions of aging and old age in contemporary North American theatre. She is now a SSHRC-funded Postdoctoral Fellow with Concordia University where her research focuses on the Imagination Network of Gibsons’ Raising the Curtain project, a community-engaged initiative that involves collaborative creation with people with the lived experience of dementia. Julia’s research on dramaturgies of age offers insights on how dramatic structure, design, staging, performance style, and marketing might influence understandings of ages across the life course. She is Vice Chair of the North American Network in Aging Studies and on the Governing Board of Concordia University’s Ageing + Communication + Technologies Project. Her work on ageing and theatre has been published in Theatre Research in Canada, The Journal of American Drama and Theatre, Theatre Journal, Canadian Theatre Review, Age, Culture, Humanities, RIDE: The Journal of Applied Theatre and Performance, and the Thornton Wilder Journal. Recently, Julia has guest-edited an upcoming issue of Theatre Research in Canada titled “Age and Performance: Expanding Intersectionality”— the first to address the topic of age.

*Artists appear courtesy of Canadian Actors’ Equity Association under the Dance Opera Theatre Agreement. This project is produced with the co-operation of the UBCP/ACTRA.

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