_This is a fun play, in other words, and a satisfying play, ably performed and directed at a clip by Guy Sprung in this excellent Infinithéâtre production.

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_ A lawyer steps into the muck and mire of a struggling Montreal literary magazine and finds himself swept up in more than he bargained for.

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"As for Holden's style: 'He's not all over the map - he covers the map', [Guy} Sprung added.

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“[Guy] doesn’t fear risk,” said Holden. “He courts it. I’ve benefited greatly from being one of the playwrights on whose work he’s taken a chance.” This is certainly the raison d’être for Infini, one of the few Canadian companies devoted exclusively to premiering new work."

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I think writing in English in Quebec has evolved into a metapolitical activity. Its political ramification lies precisely in the fact that it’s no longer an act laden with political baggage. (Of course, if Michel Tremblay started writing in English, that would be political. But let’s not lose sleep worrying.) By and large, I think Anglo Quebecers have come around to understanding – or, among those who don’t really understand, at least accepting with resignation – that there is a nation called Quebec, and that English-speakers play a vital role in mediating that nation’s perception of the immense continental culture in which it subsists.

- Ars Poetica playwright Arthur Holden in an online interview with Poetry Quebec


To read the full interview click here.

“ … le comédien Ardon Bess … rend avec intelligence et mesure les traits d’un homme déchiré.”         

- Daniel Lemay, LA PRESSE, Joe Louis: An American Romance, Feb. 2011

“This is certainly a love story: a union of time and space, of sexism and racism, of white and black, and most importantly, of an extremely talented, multi-radical cast and creative team.”

- Thea Fitz-James, McGILL TRIBUNE, Joe Louis: An American Romance, Jan. 2011 

“Alternat avec viruose aisance … Robert King … est solide et puissant, chargé de toute l’absurdité de la guerre.”       

Yves Rousseau, LE QUATRIEME, Bolsheviki, Nov. 2010

"Bolsheviki is vintage Fennario, gritty, authentic, touching … making its radical-pacifist point while paying due respect to veterans.” 
– Pat Donnelly, THE GAZETTE, Bolsheviki, Nov. 2010

“Robert King … grabs the audience by the collar from the moment he … climbs the stage” 

- Neil Boyce, MONTREAL MIRROR, Bolsheviki, Nov. 2010