Prize-winning play readings in Infinithéâtre’s ‘PIPELINE’, Dec. 5-8

Infinithéâtre’s annual reading series returns with 4 plays, including winners from this year’s WRITE-ON-Q! playwriting contest

Montréal, November 26th, 2019 – Every year Infinithéâtre proudly presents a selection of its newest discoveries in PIPELINE, an annual series of free public play readings where the audience takes centre stage, offering valuable feedback that furthers script development and helps choose future seasons.

Guy Sprung, Infinithéâtre’s artistic director, invites the public to be part of the excitement and share their views from Thursday, December 5 to Saturday, December 7 at the Rialto Studio and Sunday, December 8 at KIN Gallery.

PIPELINE is four plays in four days, including the Kevin prize, first place winner from Infinithéâtre’s annual Write-On-Q! script writing competition, named in memory of the late Kevin Tierney, renowned Canadian film producer, Montreal Gazette columnist & Infinithéâtre Board Member. The playwrights will be in attendance.

This marks the 14th year for the PIPELINE reading series. In its ongoing mandate, Infinithéâtre seeks innovative and challenging new works by Québec and Indigenous playwrights to bring to the stage. The Write-On-Q! competition feeds much of the series. Submitting their work are not only produced playwrights, but also unknown writers including students in writing programs at universities and theatre schools, along with plays coming from CEGEP & university professors, journalists, editors, actors, screenwriters, poets, directors, novelists and various literary award-winners. The winning and runner-up scripts are selected by an independent jury, chaired this year by playwright/actor Alexandria Haber, which included Gerry Lipnowski, Patricia Saxton and Marianne Ackerman. Juries receive their copies with the names of the playwrights redacted.

Artistic Director Guy Sprung is very pleased with the over 35 high-quality Write-On-Q! entries this year and invites audiences to hear some of Montreal’s finest actors led by talented directors read scripts that could become future local productions, adding relevant, Québécois theatre to the landscape. Over half of the submissions this year are from culturally diverse Quebeckers. Said Sprung, “I’m looking forward to the public readings of four differing, very powerful pieces of new writing. These are potent, pertinent, controversial and fabulously written pieces of theatre for audiences to dissect.”

2019 Pipeline professional readings include the winner of Write-On-Q!’s First Place $3000 Kevin Prize—Oren Safdie for Colour Blind and the Second Place prize, $1500—Divide and Rule by Vishesh Abeyratne.

PIPELINE gives the public a unique opportunity to voice their opinions through lively talkback discussions following each reading—an important part of any play development. Providing invaluable input for the playwrights, talkbacks allow the audience to address questions or issues that the text generates, in a relaxed, open forum with the authors, directors and actors. PIPELINE successes include Battered and Book of Bob by Arthur Holden; Oren Safdie’s Unseamly and Mr. Goldberg Goes to Tel Aviv; Michael Milech’s Honesty Rents by the HourConversion, Progress! and Trench Patterns by Alyson Grant; Marianne Ackerman’s Triplex Nervosa; Michaela Di Cesare’s Successions; Alexandria Haber’s Alice and the World We Live In; and Quebec Writers’ Federation’s Playwriting Prize winner Paradise Lost by Erin Shields.


Our Lady of the Ice

Written by Alyson Grant
Directed by Cristina Cugliandro
December 5th, 7PM at Théâtre Rialto (5723 Park Ave)

Our Lady of the Ice is set in Antarctica in a church carved out of ice–much like the actual church called Our Lady of the Snows–and outside where it is slightly too warm and Aurora Australis is occasionally flashing even though it’s not the right time of year. Dead penguin chicks dot the landscape and are also mysteriously showing up on the altar of the church presided over by a female Catholic priest, one of a growing number worldwide, all excommunicated, of course. At the thematic centre of the play is the dead body of a young female journalist who had been working with the priest, both of whom had clearly gotten too close to systems that are meant to remain invisible. Representatives of those systems are the invisible “Guests” who increasingly menace the priest through their footman Cal, owner of a luxury hotel where the unseen Guests are staying. Things move inexorably towards something that has the feel of myth while also seeming hauntingly current.

Alyson Grant is a native Montréaler who has had three plays produced with Infinithéâtre. She has worked at Dawson College as an English Literature teacher for over twenty years and was for several years a freelance writer for the Montreal Gazette

“Pipeline has been of invaluable help in getting previous plays in shape. Working with a director and actors moves the process to that thrilling collaborative stage, and then Pipeline audiences weigh in with what resonates and what does not. The whole process is intense but a gift.”

Divide and Rule

Written by Vishesh Abeyratne
Directed by Tamara Brown
With: Holly Gauthier-Frankel, Rahul Gandhi and Arun Radhakrishnan
December 6th, 7PM at Théâtre Rialto (5723 Park Ave)

In a thrift shop in British Columbia, a heated exchange between two Sri Lankan employees breaks out into a fight. Their manager tries to defuse the situation, bringing intercultural tensions and charged racial politics to the fore. But there may be more to the conflict than the two men are letting on…

Born and raised in Montreal, Vishesh Abeyratne holds a BFA in Playwriting from Concordia University. His plays include Indifference (Newmarket National 10-Minute Play Festival), The Procrustes Pitch (Between Us Productions, New York), and Exposure (published by YouthPLAYS Inc., Los Angeles). Vishesh now lives and works in Ottawa, where he lends his services as a dramaturg to Catherine Ballachey’s Emerging Creators’ Unit. When not writing plays and making theatre, Vishesh works as a proposal writer helping IT professionals find employment in the federal government.

“All art is inherently political, Infinithéâtre made a bold political statement choosing Divide and Rule; I appreciate the level of gumption. In the face of the Legault government’s xenophobic mischief, I believe that the play’s frank engagement with racism, prejudice, toxic masculinity and the self-serving manipulation of identity politics is distressingly urgent. I’d like there to be an element of finely tuned danger in the room – and laughter. Lots of nervous, uncomfortable laughter.”

Colour Blind

Written by Oren Safdie
Directed by Philip Akin
December 7th, 7PM at Théâtre Rialto (5723 Park Ave)

Colour Blind is a fictionalized account of the jury deliberations surrounding the selection of an architect for the Smithsonian National Museum of African American History and Culture in Washington, D.C., designed by David Adjaye, completed in 2016.

The play lifts the veil that renders the process of architectural production bewildering, and invites the audience into the usually sealed-off space where critical decisions about architecture are made.

The jurors consist of a racially diverse cast of characters that include the museum director and his associate, an architecture critic and starchitect, and the museum’s treasurer and a community organizer.

Can they all put their personal politics aside and agree on one design?

Oren Safdie helmed the Malibu Stage Co. where his off-Broadway/London hit Private Jokes, Public Places debuted. His next play, The Last Word also moved off-Broadway, starring Daniel J. Travanti. Other productions include Unseamly, Checks & Balances, The Bilbao Effect, West Bank, UK, Jews & Jesus and La Compagnie, which he developed into a pilot for CBS. Four of his plays garnered a New York Times Critic’s Pick. As a screenwriter, Oren scripted the film You Can Thank Me Later starring Ellen Burstyn, which won the Grand Jury Prize at the Newport Film Festival; and the Israeli film Bittersweet. He has taught playwriting and screenwriting at the University of Miami, Douglas College in Vancouver, and California School of the Arts. His most recent play, Gratitude, will open in New York in 2021.

Infinithéâtre’s Write-On-Q! playwriting competition has been a great motivator to my writing. Color Blind is my 4th play set in the world of contemporary architecture, but has the least to do with architecture, dealing with issues of racial identity that have recently flared up in the United States and Canada. Things that were appropriate years ago—or even yesterday—are highly inappropriate today. There are those who would disapprove of anyone addressing issues in a culture other than their own. I believe there can be value in getting an outsider’s point of view, if done properly. If not, let the writer pay the price; if writers are restricted from imagining, society will pay the price.”

Mazel Tov

Translated by Marc-André Thibault
Directed by Ellen David
With: Alex Weiner, Patrick Émmanuel Abellard, Elana Dunkelman and Howard Rosenstein
December 8th, 2PM at KIN Gallery (397a Saint-Catherine St W)

Isabelle is Jewish, Patrick isn’t.

They are getting married.

During the celebration, Phillip, Patrick’s best friend, makes a gesture that is perceived as anti-Semitic.

Several guests are angry, in addition to Isabelle, who strikes Phillip, and seriously harms him.

The wedding is not the one we hoped for.

The marriage is even worse…

Since his actor’s training at the Conservatoire d’art dramatique de Québec, Marc-André has been very active in theater as an actor, an author, translator, director and producer with the company he created, Théâtre Bistouri. He likes to tell stories that mix humor and drama, and he stands out with his frank plays and his sharp dialogue. He also wrote Tout craché, and translated from English to French, A skull in ConnemaraConversations with my PenisMadraBeing Norwegian and Straight

“I’m excited to hear my play in English for the first time. I’d like to hear the audience laugh, and hopefully to be moved. Simple as that. When I see a show that can make me laugh and cry, it means I’m 100% into it.” 

Thursday Dec. 5th to Sunday, Dec. 8th,
Discussion to follow each reading
Tickets are free to reserve; a $10 donation at the door is suggested (limited seating)
To reserve: 514 987-1774 ext. 104 or RSVP online or by email

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