Infinithéâtre stages exciting, entertaining, relevant theatre that explores and reflects the issues, challenges, and possibilities of contemporary Québec from the perspective of its diverse English-language minority. Our work is driven by the fundamental belief that theatre that speaks to and about the lives, the hopes, and the tragedies of its home community has the best possibility of creating an electric connection between stage and audience that is the essence of great theatre.
Infinithéâtre is the one theatre in Québec (in French or English!) whose mission is to develop, promote, produce, and broker only plays written or adapted by Québec writers and Indigenous writers from within the territory called Canada. We do this because we believe fundamentally that producing our own writers will generate subject matter and themes relevant to Montréal and Québec and result in the strongest possible engagement and live interaction with our audience.
150 years ago, Montréal was the acknowledged centre of power and finance for all of Canada. Fifty years ago, with writers like Hugh MacLennan, Mordecai Richler, and Leonard Cohen, Montréal was still the creative engine of the English Canadian Literary scene. The Quiet Revolution, the Québec independence movement, the great Anglo Exodus of 1970s, the rise of Toronto as the metropolis of Canada, and the financial bonanza of the hydrocarbon exploitation in the West totally metamorphosed Canada and left English-language Montréalers wondering if we are outliers on the fringe of Mainstream Canada.
Who are we, the English-language writers and theatre workers of Québec, now? Increasingly, we are culturally-diverse, minority-language, proudly English Québecker-Canadians. Infinithéâtre tries, with our work, to reflect this unique existential nexus.
Québec is our home. We are comfortable with, even proud to be part of, the distinct society of Québec. Infinithéâtre refers to itself as "Le théâtre Québecois in English”. Just read the article AD Emeritus Guy Sprung wrote for Le Devoir on this subject. Some of the tsunami of comments this article provoked will illustrate how confusing it can be to be an English–language Québecker.
(The Montréal Gazette printed a translated version of the Devoir article.)
Infinithéâtre has, on occasion, crossed the language divide. The Jean Duceppe Theatre Company translated our world premiere of Trevor Ferguson’s play, Long, Long, Short, Long, and produced it as Le Pont for the their subscription season in Place des Arts. More recently, when we premiered Alyson Grant’s play, Conversion, we ran French surtitles on some nights, attracting French-speaking audiences, a practice we would eventually like to normalize. This last spring, Howard Rosenstein, star of our long-running Kafka’s Ape, performed the Herculean task of learning the play in French so we could tour Le Singe de Kafka to French Maisons de la Culture in Montreal.
A second fundamental axiom in Infinithéâtre’s drive to stage exciting theatre is our belief that performing in non-traditional venues heightens and focuses the audience's attention and renders the whole experience more alive. A non-traditional venue gives a play both context and subtext.
Our focus on new plays has, of necessity, demanded we focus on script development. We have three separate tactics, methodologies of trying to discover, encourage, and develop great new plays. Write-on-Q is our annual playwriting competition. With total prize money of $5,000, it is the single most valuable literary competition in English Québec. Many Québec playwrights now admit they synchronize their creative writing clocks to the Tuesday after Labour Day, the annual deadline for our competition. WoQ has, over the years, delivered much of Infinithéâtre’s programming. This year, we are also introducing The-Write-Stuff, a new playwriting competition for youth aged 12-18.
The Pipeline, our public reading series, features the winning plays from WoQ alongside the Artistic Director’s selection of other exciting unproduced plays. Public discussions follow each of the play readings, with the feedback and audience reaction helping us develop the plays and program future seasons.
With official endorsements from virtually the entire Québec English-language theatre community, Infinithéâtre also inaugurated an in-house playwrights’ unit. The Unit has been a stunning success, with four of the seven plays developed in our first 2016 cohort given full productions by four other theatre companies. Big Bang Artists' Laboratory, our new development initiative, will continue this great tradition.
A third fundamental axiom underlying Infinithéâtre programming is our conviction that we need to reach out to, and dialogue with, high school and college students. Action Infini is our school outreach program with study guides and post-show discussions. We also, when possible, take our work directly to schools. We think it is vitally important to build future audiences for theatre. This is Infinithéâtre:
Great new plays that come from and speak to our community
Non-traditional performance venues
Reaching out to high school and college audiences.