{"id":6567,"date":"2026-06-02T22:41:32","date_gmt":"2026-06-03T01:41:32","guid":{"rendered":"https:\/\/www.twisitheatreblog.com\/?p=6567"},"modified":"2026-06-04T11:08:48","modified_gmt":"2026-06-04T14:08:48","slug":"tanya-davis-patrick-blenkarn-cole-lewis-sam-ferguson-on-bringing-mass-for-shut-outs-2021-to-stages-fest","status":"publish","type":"post","link":"https:\/\/www.twisitheatreblog.com\/?p=6567","title":{"rendered":"Tanya Davis, Patrick Blenkarn, Cole Lewis & Sam Ferguson on Bringing Mass For Shut-Outs & 2021 to Stages Fest"},"content":{"rendered":"\n

Eastern Front Theatre<\/a>\u2019s Stages Festival kicks off with Manual<\/em> today, June 3rd, at the NSCAD<\/a> Library and continues with seven other pieces at venues mostly in and around Alderney Landing Theatre until Sunday June 7th. There is also an Industry Series, co-produced by Richie Wilcox and Dustin Harvey that begins tomorrow. Two of the shows that are coming in from other provinces, Mass For Shut-Outs,<\/em> which comes from Prince Edward Island, and 2021<\/em>, which began back in 2022 at the Yale Centre for Collaborative Arts and Media<\/a>, and was developed in Residency at Tarragon Theatre<\/a> in Toronto, at Theatre Mitu <\/a>Artists at Home Residency in Brooklyn, at Playwrights Workshop Montr\u00e9al <\/a>Residency, and Theatre Im Pumpenhaus in M\u00fcnster, Denmark, among others, feature artists who have lived and worked here in Halifax in the past. I had the opportunity to chat with Tanya Davis, about Mass For Shut-Outs<\/em>, and Patrick Blenkarn, along with his collaborators Cole Lewis and Sam Ferguson, about 2021<\/em>. <\/p>\n\n\n\n

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Tanya Davis is a poet, spoken word artist, and singer songwriter from Prince Edward Island, who moved to Halifax in 2005. She was Nova Scotia\u2019s poet laureate from 2011-2013, and she just ended her tenure as poet laureate for Prince Edward Island this year. She became internationally known in 2010 when How to Be Alone<\/em>, an animated film directed by Andrea Dorfman illustrating her spoken word piece of the same name, went viral on YouTube<\/a>. <\/p>\n\n\n\n

Explaining Mass for Shut-Outs<\/em> Davis says, \u201cI grew up Catholic, and I\u2019m not anymore, and I realized that I kind of liked the framework of Catholic Mass, because it\u2019s kind of theatrical, and there were some things about it that moved me, even as the content really bothered me. So, Mass For Shut-Outs <\/em>is sort of my take on a communal experience that brings people together, that critiques the Catholic Church a little bit, and also asks questions about why we are drawn to religion in the first place. What about it is interesting? What about it is problematic? So, there\u2019s a few things that are direct plays on what happens at Catholic Mass, and the rest of it is a lot of commentary, poetry, music, and [is] very loosely based on the framework of that kind of service.\u201d <\/p>\n\n\n\n

Davis\u2019 earliest iteration of the piece was developed while she was still living in Halifax. \u201cMy first attempt at it was that I took the Mass and every single part of it, all 26 parts, in order, and I kind of rewrote them, frame by frame. It was fun, but I don\u2019t know if it accomplished what I wanted to do at the time\u2026 Then, years later I wrote this version, which is a lot lighter. I think at the time when I first worked on it I was feeling heavy about the concept of not having a God, and what is God, and all this stuff. Now, I don\u2019t feel heavy about it anymore. Maybe the grace of being older and a bit less ensconced in my own ruminative mind that I\u2019m just like \u2018there\u2019s some things about it that are interesting.\u2019 There\u2019s some things about it that are frustrating. There\u2019s some things about it that are funny. So this show, Mass for Shut-Outs<\/em>, is a lot lighter than the first time I tried it. There\u2019s a lot more levity and jokes, but there\u2019s a couple serious points where I am maybe questioning a little bit like why is it that we have these religions, and since Catholicism is the framework I was raised in, that\u2019s the scaffolding on which I can play.\u201d\u00a0<\/p>\n\n\n\n

After Davis left Halifax she went to Montr\u00e9al and then to Ottawa, where she wasn\u2019t doing very much art and was contemplating a career change. She returned to Prince Edward Island, where she grew up, in December of 2019, with the plan to spend the winter there, and then, of course, Covid helped her change her plans. <\/p>\n\n\n\n

\u201cIt was a very good place to be during Covid, and then since then I\u2019ve been busier than ever, and it\u2019s been really unexpected and lovely. I feel like I\u2019ve had some really cool opportunities in the last few years that I didn\u2019t think I would get by moving back to this very tiny place. I\u2019ve been writing a lot of poetry. I got to go to Australia to perform, and Japan to perform, and so, I\u2019m kind of not pursuing the arts in the same way I did when I lived in Halifax- I still play music, there\u2019s music in the show, but I really sort of embraced that what I love most is words, and so I\u2019m writing a lot more things. I\u2019ve written a solo show that I performed here last summer, and just stepping more into poetry and stage work as a words person\u2026 it\u2019s taken me down a different path, and it\u2019s been really great and unexpected.\u201d <\/p>\n\n\n\n

Davis says the title is inspired by the \u2018mass for shut-ins,\u2019 where Catholic masses are televised for those who can\u2019t make it to church in person. \u201cI took the play on words \u2018mass for shut outs\u2019 for people who have been shut out<\/em> of the church.\u201d She started writing audio poems during the lockdowns, and when the world opened back up she realized that what she had written was a show. <\/p>\n\n\n\n

\u201cBeing back here during Covid and realizing that I still had things to say, and I had to say them in a new way, and just the access of living on PEI, it\u2019s a tiny place, so the audiences are small, obviously, there\u2019s not as many people, but you can, if you have an idea here, kind of just make it happen in a different way because there\u2019s also not as many gatekeepers. Lots of people know me here, so I can kind of just be like \u2018I\u2019m going to try this show, I\u2019m going to try this new thing, and kind of make it happen.\u2019\u201d<\/p>\n\n\n\n

The show premiered at a small festival called Radiant Rural Halls<\/a>, organized by This Town is Small, an artist-run centre on PEI. \u201cTheir festival was specifically to put shows in rural places on PEI, like small community halls, not necessarily in downtown Charlottetown. So I wrote it initially for that. It was very well received, and people loved it. It felt good. It felt like a new way for me to work where I intentionally brought my poetry back to the centre.\u201d She says that she likes offering an audience an \u201cextended thought process,\u201d rather than performing or publishing one poem at a time. \u201cI like to explore serious content, but my life got better since I moved back to PEI, and I didn\u2019t expect that. I like living in a small place again. I\u2019ve been able to feel happier, which made me realize I\u2019ve spent a lot of time purposefully ruminating and feeling really heavy. And the world is really heavy. The world is worse than it was ten years ago when I was more morose, Now I\u2019m less morose because I\u2019m like, \u2018well, here I am. I want to work. I want to make art with people. I want to try to help. It doesn\u2019t have to be so dour all the time.’\u201d <\/p>\n\n\n\n

Davis says that the arts scene in Prince Edward Island is very spread out, and continues to spread more and more beyond the city centres of Charlottetown and Summerside. \u201cPeople live all over the island\u2026 There\u2019s just people everywhere. I think there\u2019s starting to be more art happening in other places. In the summer there\u2019s so many festivals all over. There\u2019s a fiddle festival over here, and a bluegrass festival over here, and an Acadian festival up there.\u201d She says, like everywhere, money is tight and folks are hesitant to spend money unless they know they are going to enjoy themselves. Davis points out that Islanders have loved tribute shows for this reason. \u201cI think that\u2019s happening in lots of places because coming out of the pandemic and into this global crisis of the cost of living, people want to know that they\u2019re going to like what they go see. They don\u2019t want to take a chance to spend $40.00 on something that they don\u2019t know for sure. Whereas, they know that they love Fleetwood Mac\u2026 We could use some more funding for the arts too, just like I know Nova Scotia has been having lots of crazy cuts lately. It\u2019s not pristine and Golden Era, but there\u2019s still lots of people here working to live in the arts.\u201d<\/p>\n\n\n\n

Davis says that when she initially left PEI she never wanted to come back. \u201cOf course, a lot has changed since then,\u201d she says, \u201cway more people live here now, there\u2019s been more immigration; there\u2019s been more acceptance; it\u2019s just cooler than it used to be. I think I had this sort of big city mentality, and this worry that if I couldn\u2019t make it in somewhere like Montr\u00e9al that I would fail, that it was a certain kind of failure.\u201d She says she remembers marvelling over folks she knew when she lived in Halifax who were moving back to smaller Maritime cities wondering why they would ever do that. \u201cI feel bad for my younger self [for thinking that way], but I don\u2019t think I was alone in thinking that you had to make it in this certain way. It\u2019s just not true. Life can be whatever you want it to be. And people live everywhere, and I love that.\u201d <\/p>\n\n\n\n

Davis says that one of the reasons that she loves performing this show inside a church is because she loves the architecture. \u201cI know they\u2019re complicated, and I know they\u2019re triggering, and there\u2019s a whole wealth and privilege thing. It\u2019s complicated; I want to acknowledge that. And I don\u2019t want these buildings to get torn down, and put up as parking lots, which has happened to churches. When I lived in Halifax I went to a church that was getting torn down. We snuck in at night and got some things because it was already in the process of being razed to the ground. Another church by me now is a condominium. It mostly doesn\u2019t even look like a church anymore. And that\u2019s fine, we need housing, maybe we don\u2019t always need these churches, but sometimes I wonder if we use them differently, and they weren\u2019t just for Sunday mornings for people who celebrated this one kind of God\u2026 they\u2019re beautiful buildings, and we don\u2019t build beautiful buildings anymore. We build shitty plastic buildings. It makes me sad when work that people have put so much time into gets demolished, even though it represents this kind of oppressive history. I still would rather revamp the oppressive history and keep these buildings.\u201d <\/p>\n\n\n\n

\u201cI like doing [the show] in churches because I think they\u2019re beautiful spaces. I can say that now because I don\u2019t feel as burdened by being in them as I used to. For awhile when I was younger and really angry at church and what I went through to leave it, I wouldn\u2019t have wanted to go in a church, so I recognize that not everyone will want to go into a church to watch a show\u2026 I also think I want to reclaim them a little bit, and take the edge off them a little bit. I think part of the motivation to do this show in a church is rooted in that. Like, we can be in here too. It doesn\u2019t mean we\u2019re buying into their rules.\u201d<\/p>\n\n\n\n

Davis says that beginning with their first performance at the Radiant Rural Halls Festival it seemed important to have a space for the audience to gather and chat after the performance, like a little church reception. \u201cPeople were so animated after, and they really wanted to talk because it\u2019s just like a conversation starter, whether or not people are religious, have had religious experiences, it\u2019s still in our culture to either have had them or to see the iconography or to feel fucked up about it\u2026 so there\u2019s always something to talk about. During the show are are a couple of opportunities for participation- there\u2019s a couple sing alongs and prayers that people can read, and then afterwards, I feel like it\u2019s sort of nice to have this casual debrief where people can chat about the show (or not), or\u00a0about their history (or not). [People] had so much to say, and because there\u2019s food and snacks, that puts people at ease. It felt like an important part of the show because a little bit of the show addresses collective gathering. One of the things that I liked about church, even though I thought the content was boring, was being in a room with a bunch of people. Culturally, we have some spaces like that- especially if you go to music, art events, sports, we have some times for that, but we don\u2019t have that many, and I think it\u2019s an important part of us being social creatures, and I think our ability to socialize is being compromised lately in the world because of social media and just the way we live our lives.\u201d\u00a0<\/p>\n\n\n\n

\u201cI\u2019m excited to do [the show] in Halifax because I love Halifax. I haven\u2019t performed there much in the last bunch of years, but it\u2019s an important part of my artistic life, and it\u2019s definitely where I started and got a lot of buoyancy from my beginnings there, and had such a beautiful community of artists, and, at the time, mostly musicians, but also poets, and because I did an early version of the show there it feels like kind of a homecoming to come back at this more grounded place in my career and to be presenting the show in a way that feels more like it\u2019s landed for me\u2026 [and] that [it] represents me as a bit more of a mature artist.\u201d<\/p>\n\n\n\n

\u00a0Patrick Blenkarn, one of the co-creators of 2021<\/em>, also began his career here in Halifax while he was here attending King\u2019s College. He is currently based in Vancouver, and he says that when he looks across the country for a place where artists aren\u2019t just doing work similar to 2021<\/em>, non-traditional work that play with narrative, and are interactive, and technologically innovative, but that has a history of artists playing with these ideas, Halifax, with artists like ZUPPA<\/a>, Dustin Harvey and Secret Theatre<\/a>, and HEIST<\/a>, stands out. He also says that when he is looking for a \u201cdoor that [he] can actually knock on\u201d to form a collaboration, \u201cespecially at an indie level, a hyper-experimental level\u201d it\u2019s Eastern Front Theatre\u2019s Stages Festival where he knows he will find a kindred spirit in the \u201cstrongly laughing Kat McCormack, who is ready to try something crazy, whether it\u2019s the Frenchy’s musical or what we\u2019re doing.\u201d<\/p>\n\n\n\n

For 2021<\/em> Blenkharn is a co-creator, programmer, and performer. His collaborators are Cole Lewis, a co-creator, writer, data curator, and performer, and Sam Ferguson, a programmer, and music and sound designer. <\/p>\n\n\n\n

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During the Covid-19 pandemic, with the borders closed, Cole Lewis was caretaking for her father, and would text funny anecdotes about her experience to Blenkarn and Ferguson. Following this there was a period of time when Lewis wasn\u2019t making theatre, the only stretch in her adult life when that was the case, and Blenkarn was encouraging her to make something new, and he suggested that they create something about that significant year in her life. \u201cWe were interested initially in the idea of caretaking and caretaking across borders, and also what it was to caretake for somebody whose politics are extraordinarily different than my politics,\u201d says Lewis. They got together and applied to the Greenhouse Residency at Tarragon Theatre in Toronto. At first they were considering a \u201ccollage style on a table, and maybe filming little houses to tell this story of being lost in the healthcare system across borders in two different systems.\u201d Blenkarn had an idea for a video game, coming from his earlier work Asses Masses<\/em>, and how that \u201cmight better represent being lost in the maze of a hospital.\u201d Then Lewis was invited to do a talk at Yale\u2019s Collaborative Centre for Arts and Media, and they asked if she could relate the show to AI. \u201cI was like, well, there\u2019s no AI in the show.\u201d They thought perhaps they could relate the idea to Alan Turing, widely considered to be the \u201cfather of theoretical computer science,\u201d and they gave Lewis a passage from Turing that ended up being in the show. \u201cThose two things, Patrick\u2019s drive for a video game and that invitation for AI are ultimately what the form then of the show arose. We started to play with that. And so we are all self-taught in different ways\u2026 Sam and I worked heavily on the AI, and taught ourselves to build this little model.\u201d\u00a0<\/p>\n\n\n\n

Before the pandemic Lewis, Blenkarn, and Ferguson worked on a shadow puppet live cinema piece called 1991<\/em>. \u201cThat was the most recent thing we had known how to do, but also all of our lives have changed [since] Covid, and a lot of skills have been picked up in different departments\u2026 we\u2019ve been super juiced by a certain technical literacy that we didn\u2019t have before, and that opened up new avenues to exploring the project, but also was very pertinent to the subject matter. And, increasingly, we started to spin on this idea around technology\u2019s role in both facilitating care, but also making it impossible, kind of undermining the sort of clinicality of technology, the clinicality of the clinic, as in a hospital, and imbuing it with a kind of social and collaborative warmth. So, the form that we ended up landing on is a live narrated game, preceded by Cole telling a story about material objects on stage, and each of those objects used to belong to her father. We work through the material remains of a person, and we get a certain image of them. And it\u2019s complicated\u2026 and all of that [complexity] feeds into why maybe those politics or that psychology is there represented in the same. So, through those material objects then we do a treatment of digital, like digital world, digital simulation, and then we say, okay, so we\u2019ve met the person through their material artifacts, now we are going to meet them through this sort of virtual simulation where we take on their perspective inside of that space. And as they\u2019re exploring this place, the story of their last few weeks is narrated by none other than their real daughter, who, during those times in their life, was in dialogue with her as one of the sole bridges from across the border. And upon winning that game, however long it takes us to beat it, we are rewarded with data and abstracted data, pure data, where we meet an AI resurrected version of the man as accurately reconstructed by Cole and Sam. And then we have a chat with him, and he\u2019s everything that maybe we hoped he\u2019d be? Like we work all this time to save someone and then we get to live with them,\u201d explains Blenkarn. \u00a0<\/p>\n\n\n\n

\u201c1991<\/em> was shadow puppets and kind of overhead projector and kind of this layered media. We were experimenting with technology there. Sam was doing live voice modification, so it\u2019s a continuation, I would say, of that kind of work, and I also narrated that show live, and performed a character in that show live, and it was loosely based on my life, so this becomes a continuation- and because, in 2021<\/em>, all my caretaking was mediated by screens, so I had to attend doctor\u2019s appointments this way [on Zoom], and I would try to arrange for homes, my dad was unhoused, so I would try to get him housing. I\u2019d be trying to get him healthcare\u2026 everything was through a telephone or a screen. So, this kind of media relationship conceptually actually really works and makes sense for us inside the world\u2026,\u201d says Lewis. “When we are trying to share someone that we know and we love with other people sometimes we share through stories, sometimes we share through objects kind of [a] show and tell, and here we kind of go a step beyond that and say, \u2018why don\u2019t you now come in and play him and get a sense of who he is’, and then that also becomes a different version of show and tell. Then the data through an AI is mixed in, another version of show and tell, and in all these different versions we\u2019re kind of building him together, and because you can\u2019t ever share your own father or mother or guardian with anyone in the way that you intimately know them, it\u2019s always going to be a different version of [him]. One of the lines in the show is \u2018the exposure changes depending on who holds it.’ So, the idea of who my dad is changes depending on that evening\u2019s show, and who we all are together in that space. And there\u2019s danger in that, but there\u2019s also really good possibility.\u201d <\/p>\n\n\n\n

Blenkharn explains that someone from the audience is invited up to play the game, and that both he and Lewis are there for that audience member, making sure they feel safe and taken care of. \u201cIf someone is chosen to play the game, they have the option to play the whole show, that\u2019s up to them, or they can tap out and switch with someone\u2026 I\u2019m not looking for the person who is necessarily most like my dad or anything, and we try to make that very clear to the audience. We have people of all ages, we\u2019ve had children come up, all genders, all races, all sorts of intersections are welcome on stage. One of the lines in the play is \u2018you don\u2019t have to identify with my dad. He could have benefited from other perspectives,\u2019\u201d says Lewis. It\u2019s also important for the audience to know that there is no possibility of failure. If at any point they want to stop, they can, and that just offers up an exciting new opportunity for how the game continues. <\/p>\n\n\n\n

Sam Ferguson composed the sound design, and says that he was inspired by some video game music, specifically citing the score from Hollow Knight <\/em>(2017). \u201cWe got a lot of synth sounds, but there\u2019s also guitar and drums, and Patrick\u2019s a real kind of virtuoso of a musician.\u201d   <\/p>\n\n\n\n

Lewis\u2019 dad was a Trump supporter, a Canadian Vietnam veteran, was unhoused at the end of his life by choice; he loved Canadian healthcare because he hated to pay for anything, but he didn\u2019t want to live here. \u201cAs we\u2019ve taken this show already to two very different places, New York City and Vancouver, it\u2019s amazing how many people have this kind of bifurcation in the family. And one of the things that we really want to show is- how do we talk about it? How do we talk to them? How do we support or explore the reality that so many people find themselves in when you have a kind of communication breakdown about certain things. Some things can transcend that breakdown. There\u2019s moments in life that can call you to transcend those crunchy bits,\u201d says Blenkarn. <\/p>\n\n\n\n

Lewis said that she\u2019s encountered confusion from others about how she could maintain any kind of relationship with her father, or even how she could continue to love him, given his political beliefs. \u201cOne of the core questions from the beginning for us, from our Tarragon application, was how do you give dignity in death to somebody you fundamentally disagree with. I can honestly say I love my dad, but I didn\u2019t love his politics. I didn\u2019t love his racism. I didn\u2019t love his misogyny. I didn\u2019t love some of the choices he made. It\u2019s interesting because for some people that brings out, they want me to bring him down.\u201d She says that the show gives folks the opportunity and \u201cpermission to have their own experience and feelings.\u201d It also allows them to think about what they might do if they were in Lewis\u2019 situation. <\/p>\n\n\n\n

Lewis also stresses that it\u2019s a funny show too, despite it\u2019s more serious themes. <\/p>\n\n\n\n

Some of the humour can come from the audience, especially the person who is playing the game. If they are not particularly skilled at playing video games, for example, this can make, Brian, Lewis\u2019 dad, move in stilted or roundabout ways, that can make him seem disoriented and confused, which can be apt for someone wandering around a hospital. \u201cSomeone who is really empathetic and cares about all the choices is a Brian who is wistful,\u201d says Lewis. \u201cTheir choices actually impact the narrative deeply each night, and then some of those choices get fed into the AI, so they even feed the AI conversation that ends the show.\u201d \u201cThere\u2019s a lot of rooms in a hospital,\u201d says Blenkarn, \u201cthere\u2019s a lot of Easter eggs that we\u2019ve put in just for fun, and there\u2019s a lot of opportunity for a mischievous Brian who does not listen to his daughter.\u201d <\/p>\n\n\n\n

This allows for the participants to really play with the performers in collaboration, because whatever the audience member does on stage, Lewis narrates the story live, and Blenkarn plays Ferguson\u2019s music in a way that mirrors the action. The audiences also often yell out in attempt to help the person playing the video game, and the player has the opportunity to either listen to the crowd or to go their own way. \u201cAnd that fits our character too,\u201d says Blenkarn, \u201cso being able to create performance that is a container for this kind of variability, but also where it just genuinely feels like doing something together- we\u2019re here together, we\u2019re going to play out this story- let\u2019s see how it goes- let\u2019s see what happens.\u201d\u00a0<\/p>\n\n\n\n

Lewis says that she has heard past audience members arguing with one another that the version of the show they saw was better. \u201cThey feel like they saw the same show, but their understanding of [Brian] is slightly different. Since the audience is such an essential part of the performance, as much as they can simulate it on Zoom, they have learned what works, and what doesn\u2019t, and what can work better, through running the show in front of an audience. \u201cWe\u2019re always surprised,\u201d says Blenkarn, \u201cI don\u2019t think it\u2019s ever fair to say that we know entirely what we\u2019re doing.\u201d You can never entirely predict what might happen. During one show in Vancouver a participant poured water all over the desk and nearly short circuited all the equipment. \u201cYou don\u2019t learn that stuff until it goes wrong,\u201d he says. But, he says, that is also all part of what makes the show feel so alive.<\/p>\n\n\n\n

\u201cThere\u2019s no audience participation with the AI,\u201d says Lewis, \u201cbut at that point they\u2019re so engaged, they feel like they have built the character of Brian, they feel like they know him so well, that that arc of that conversation, which has this structure of questions, but is improvised because I never know what the AI will say\u2026. Hopefully it raises important questions about caregiving beyond the grave. How do we care for that data? How do we care ethically? What are we doing right now in this moment going forward? Because it\u2019s, unfortunately, these questions on AI and data and ethics are not in the future. They\u2019re now.\u201d <\/p>\n\n\n\n

Lewis says that when her father was dying in 2021 there were articles in The Guardian<\/em> about creating these AI \u201cgrief bots.\u201d \u201cThat horrified me,\u201d she says. In creating this show they have met folks working on technology to improve these kind of bots. Video games have introduced the idea of the \u201cmeta human,\u201d where folks can 3D scan their face to create these digital avatars so much more easily. \u201cSo that year of 2021, the technology and our relationship to it, just really shifted.\u201d <\/p>\n\n\n\n

Lewis said that one of the players they had was only eleven years old. \u201cWatching an eleven year old at the very last moments of breath for the character of my dad\u2019s life in the show, you got to see both, you imagine him as an older man dying of cancer, and also see the child still inside him very visibly in front of us at the same time. It was amazing. And if it\u2019s a young woman, then we see the potential of him towards me as his daughter. There\u2019s so many ways we get to read the player of the audience complicating him. I love that. My favourite part of the show is getting to sit back and just enjoy and narrate and watch the players\u2026 I would argue, my dad would totally disagree with me, but there\u2019s also a young 26 year old woman in him that he can\u2019t be misogynistic about, and there\u2019s probably a 78 year old woman in him, and all these kinds of variations that he could learn more about himself if he had more time and opportunity to pay attention.\u201d   <\/p>\n\n\n\n

Eastern Front Theatre\u2019s Stages Festival runs June 3-7th, 2026 with the Main Stage shows happening at Alderney Landing Theatre (2 Ochterloney Street, Dartmouth), and other shows popping up in venues on both sides of the harbour. Festival Passes are $60.00 and provide access to all the productions. Industry Series Passes range in price between $40.00 to $60.00 on a PWYC scale.\u00a0Both are available here, along with more information.\u00a0<\/a>Prices for individual performances vary from free to $26.00.\u00a0<\/strong><\/p>\n\n\n\n

There is a very thorough Accessibility Guide Available Here<\/a> (Scroll Down). Alderney Landing Theatre is accessible for wheelchair users, there are two all gender washrooms, Phonak Roger FM\/DM System available at Alderney Landing Theatre. Automatically connect via Wall Pilots or borrow a Telecoil device to sync with hearing aids and cochlear implants. Devices with headphones are also available. Please see the Box Office for assistance onsite. ACCESSIBLE TICKET PRICES: All performances have pay-what-you-can-afford pricing. If cost is still a barrier, please email info@EasternFrontTheatre.com<\/a>. Volunteers see shows free of charge! Sign up here!<\/a><\/strong><\/p>\n\n\n\n

Canadian Theatre Criticism is an essential part of a healthy and thriving theatre community. It helps theatre companies find new audiences for their shows, deepens audiences\u2019 engagement with local artists and the work being created in their communities, and it is one of the best ways to preserve a snapshot of an ephemeral art form for future generations of theatre lovers. TWISI relies on support from its Subscribers<\/a>, folks like you who care about the survival of local and independent arts coverage. Please consider becoming a Subscriber today<\/a>, or click here for more information<\/a>. Thank you so much for supporting TWISI. <\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Eastern Front Theatre\u2019s Stages Festival kicks off with Manual today,<\/p>\n","protected":false},"author":1,"featured_media":6569,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[4673,4672],"tags":[8981,4592,5570,3807,8950,4639,8978,4664,3670,8982,8949,4662,8976,3808,8979,3535,8951,4661,3908,7352,5169,3746,8977,8975,8980,3876,8974,8206],"class_list":["post-6567","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-article","category-interview","tag-alan-turing","tag-alderney-landing-theatre","tag-andrea-dorfman","tag-charlottetown","tag-cole-lewis","tag-dartmouth","tag-denmark","tag-dustin-harvey","tag-eastern-front-theatre","tag-guilt-by-association","tag-nscad-library","tag-patrick-blenkarn","tag-playwrghts-workshop-montreal","tag-prince-edward-island","tag-radiant-rural-halls","tag-richie-wilcox","tag-sam-ferguson","tag-secret-theatre","tag-stages-festival","tag-summerside","tag-tanya-davis","tag-tarragon-theatre","tag-theatre-im-pumpenhaus","tag-theatre-mitu","tag-this-town-is-small","tag-vancouver","tag-yale-centre-for-collaborative-arts-and-media","tag-zuppa"],"yoast_head":"\nTanya Davis, Patrick Blenkarn, Cole Lewis & Sam Ferguson on Bringing Mass For Shut-Outs & 2021 to Stages Fest - The Way I See It Theatre & Music Blog<\/title>\n<meta name=\"description\" content=\"Eastern Front Theatre\u2019s Stages Festival kicks off with Manual today, June 3rd, at the NSCAD Library and continues with seven other pieces at venues mostly in and around Alderney Landing Theatre until Sunday June 7th. 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