{"id":7213,"date":"2026-10-22T23:46:53","date_gmt":"2026-10-23T02:46:53","guid":{"rendered":"https:\/\/www.twisitheatreblog.com\/?p=7213"},"modified":"2026-10-23T00:03:34","modified_gmt":"2026-10-23T03:03:34","slug":"the-cast-of-neptunes-deepwater-on-delving-to-the-depths","status":"publish","type":"post","link":"https:\/\/www.twisitheatreblog.com\/?p=7213","title":{"rendered":"The Cast of Neptune’s Deepwater on Delving to the Depths"},"content":{"rendered":"\n

I was listening to the Stratford Festival<\/a>\u2019s Everyday Forum<\/em> podcast and the panel was discussing Stratford\u2019s production of Arthur Miller\u2019s Death of a Salesman<\/em>, which closes this weekend. It\u2019s directed by Dean Gabourie and stars Tom McCamus and Lucy Peacock. Death of a Salesman <\/em>was written in 1949. A remount production just closed on Broadway, on August 9th. It starred Nathan Lane and Laurie Metcalf. It was directed by Joe Mantello. I saw the play at Soulpepper back in 2010, starring Joseph Ziegler and Nancy Palk, directed by Albert Schultz. The play was produced here at Neptune Theatre <\/a>in both 2004 and back in 1970. This is how many American plays work, of course; they are written, and then they continually get revived. It\u2019s an old conversation, but a no less important one, about how Canadian plays don\u2019t often have this same trajectory. Not only is it extremely rare to have a Canadian play revived, like Death of a Salesman<\/em>, upwards of 75 years after it premiered, it can be a miracle for a Canadian play to make it just to a second run at all- anywhere- ever.\u00a0<\/p>\n\n\n\n

All this to say that it is significant that Haligonian playwright Dan Bray play\u2019s Deepwater<\/em>, which premiered at the Bus Stop Theatre in 2024<\/a>, is now being remounted and produced by both the Villains Theatre<\/a> and Neptune Theatre in the Scotiabank Theatre to allow this work to reach a wider audience. I sat down with the cast of the play- Amy Reitsma, Chris George, and Liliona Quarmyne to chat about bringing these characters to life for a second time in a much expanded theatrical world on the Studio Stage.<\/p>\n\n\n\n

Liliona Quarmyne plays Questa Bennett, an inspector with the RCMP \u201cwho is the best at what she does. She is unparalleled- the really difficult cold cases always get sent to her because she\u2019s extremely good at her job, and she thinks the way that other inspectors and investigators do not think. [She\u2019s] specifically good at finding missing people, and specifically missing children. There is only one child that she has never found in all her career. She will do whatever she needs to do [to find them],\u201d Quarmyne says. Amy Reitsma plays May, a \u201cmarine biologist, mother and partner\u201d and Questa is investigating the disappearance of her six year old daughter Lucy. \u201cMy mother has also died,\u201d says Reitsma of May\u2019s experience, \u201cand so there\u2019s a bit of a mysterious circumstance surrounding this, like there is with any child that goes missing, and so I\u2019m not necessarily being interrogated, but I\u2019m being interviewed by Questa, and together we are trying to figure out- where is Lucy<\/em>– and that involves going through my life and exploring my history, and kind of fleshing out the character of May.\u201d Chris George plays Casper Collins, the partner of May, and the father of Lucy. \u201cI\u2019m also there to provide more of the history and more of the history of our relationship, and build out the profile, and see what happened over the course of our relationship and life together,\u201d he says.\u00a0<\/p>\n\n\n\n

Since Dan Bray started writing this play ten years ago the subject matter of missing children has become an even more delicate one for Nova Scotians. Lilly and Jack Sullivan disappeared from Lansdowne Station on May 2, 2025, and Dylan Ehler has been missing from Truro since May 6, 2020. We discuss how the impact on the community can both be a situation where the parents are desperate to keep their child from fading from the headlines and their case being forgotten, and one where amateur online sleuths put forth their own theories and speculations about the case- sometimes in ways that create more trauma and pain for the child\u2019s loved ones. \u201cThere\u2019s something that happens with missing kids,\u201d says Quarmyne, \u201cwhere it\u2019s like the public and the community- everyone wants to have a theory, and everyone wants to solve [the case], and know what happened. That they have a sense of who these humans are, and what their world was, and what the relationship with parents and teachers and friends and community was…\u201d \u201cIt\u2019s almost nice to be able to do that in the context of a show where- yes! You can come to the play, and you can try to solve this mystery… and you\u2019re not ruining someone\u2019s life,\u201d says George. \u201cIt\u2019s heavy subject matter. It\u2019s a heavy process. It\u2019s definitely something where there\u2019s always some sort of fascination with the public- that\u2019s why murder mystery documentaries exist- I think it\u2019s because the stakes are so high too, because you say \u2018oh- this is something worth my attention, this is something worth my knowledge’, and it does consume you because it is such a horrible thing to happen when it happens.\u201d\u00a0<\/p>\n\n\n\n

\u201cAnd anyone can relate to the fear of it,\u201d adds Quarmyne, \u201cthe potential of it. The knowledge that nothing is guaranteed. The children that we love in our lives are vulnerable beings.\u201d Both Quarmyne and Reitsma are mothers, and both relate stories of a few minutes where their sons were out of their sight, and how terrified they felt. Reitsma says that when her son was momentarily lost in an elaborate corn maze in France she felt \u201crage and fear\u2026 in that instant we [didn\u2019t] have time to think that it\u2019s going to be okay, we just have to find him <\/em>because\u2026 there\u2019s so many things that could happen to him.\u201d The actors bring their own life experiences into inhabiting these roles, and the play draws a poetic connection between the profound mystery surrounding Lucy and the profound mysteries in the depths of the ocean that her parents study. <\/p>\n\n\n\n

The actors say that reimagining the play in this larger space has meant that while the words on the page haven\u2019t changed the concept here at Neptune is different than it was at the Bus Stop Theatre. \u201cIt was so immersive in the Bus Stop, and here it doesn\u2019t necessarily feel like as much of a fishbowl, but it does feel more like you\u2019re in the ocean, because there is so much more space, but then we have maintained some of that intimacy of certain scenes that we had established at the Bus Stop, which is an interesting challenge because when you\u2019re in a big space and you\u2019re doing really close scenes it\u2019s being able to still communicate that message out to the audience without having the benefit of having them right by you to watch,\u201d says Reitsma. \u201cThe work that the designers have done, and the imagination and creativity\u2026\u201d she says. \u201cIt\u2019s really incredible,\u201d adds George. \u201cI remember in the first run thinking that the tech was the fourth character, and it absolutely remains true [here]. There\u2019s a reason why MacKenzie [Cornfield] was nominated for a Merritt [Award] for projections, Jackson [Fairfax-Perry] was nominated for a Merritt [Award] for sound design- we\u2019re working with the top people in Halifax- they\u2019re so good at what they do, and it felt so delightful to get to go on stage and start to play in the space that they\u2019ve created, and adding in all those textured elements is really phenomenal because they\u2019re just all so good. Katrin [Whitehead]\u2019s set is amazing- every aspect really is the fourth, and fifth, and sixth, and seventh character of the show because it creates the atmosphere and creates that sense of depth and space, which is lovely to get to play in- and it really helps the story, and makes us more confident on stage doing potentially weird theatre,\u201d says George.\u00a0<\/p>\n\n\n\n

\u201cThere’s this really challenging, but also playful, space- it creates this kind of liminality- I feel, for me at least, where I\u2019m in the world, but I can\u2019t see the world- we know that there are projections playing on us, behind us, around us, but we can\u2019t see them necessarily, so you\u2019re sensing their presence, and there\u2019s this delicious play between what might be happening and what\u2019s actually happening, which, technically, can be quite challenging,\u201d says Quarmyne. She gives an example of director Burgandy Code telling her that she needs to find a new way to move during a specific moment because of something that the projections are doing. \u201cIt might not be a way that is initially intuitive to the character, but it is the way that serves the story, so it\u2019s interesting to learn to interact with this tech [like it\u2019s a character] that you can feel, see, sense sometimes, but not always.\u201d\u00a0<\/p>\n\n\n\n

\u201cIt doesn\u2019t overpower the story,\u201d says Reitsma of the tech. \u201cIt\u2019s very supportive of the story, and it feels very unified that we\u2019re all telling the same story.\u201d\u00a0<\/p>\n\n\n\n

\n
\"\"<\/a>
Chris George and Liliona Quarmyne Photo by Stoo Metz <\/figcaption><\/figure>\n<\/figure>\n\n\n\n

Burgandy Code directs the piece, and she directed the premiere at the Bus Stop two years ago as well. Quarmyne and George just recently worked with her as fellow actors this past summer at Shakespeare By the Sea<\/a>, so it\u2019s interesting to now be working with her in a different capacity.\u00a0<\/p>\n\n\n\n

\u201cShe\u2019s honestly one of the most creative directors I\u2019ve worked with; she\u2019s also one of the wordiest,\u201d says Reitsma, and all three burst into laughter. Reitsma says that Code set up this room where she wanted the actors to feel empowered to give feedback and to have open communication and a more equitable room than the typical hierarchical theatre structure. \u201cThat was really hard for me,\u201d admits Reitsma- to change her approach in rehearsal to a space where she has a bit more agency. She says that one day in rehearsal she was trying something, when Code interrupted to say something and she told her to stop talking. \u201cI was mortified because I\u2019d never spoken to a director like that, but it was fine, and it was funny, and we all moved on, and it was actually a really nice experience to be able to have those little bubbles that we all get in in rehearsal, and to be able to express that, and then move on. We\u2019ve had some difficult conversations in a fairly open way, I would say.\u201d \u201cShe is unafraid to swing hard with the full knowledge that we could fall on our butts. We could all fail, but she has deep trust in us, and deep trust in the vision, and deep trust that we won\u2019t fail<\/em>– it\u2019s entirely possible that we will, but she goes for it anyway, and she pushes, like with love, but she pushes hard, and there\u2019s never a point of settling. There\u2019s never a point of \u2018oh okay, we\u2019ve got there.\u2019 It\u2019s like, \u2018okay, we arrived at this point, and now we\u2019re going deeper, and deeper, and deeper, and we just keep peeling and peeling and peeling and peeling,\u201d says Quarmyne. Reitsma says this can be frustrating as an actor too, \u201cthere are moments when your ego is challenged.\u201d \u201cIt requires a lot of bravery,\u201d agrees Quarmyne, \u201cIt\u2019s very scary.\u201d \u201cAnd patience from her, and from us,\u201d says Reitsma. \u201cI\u2019ve definitely had moments where I\u2019ve been like, \u2018can we just decide when is good enough?\u2019 But the answer is never, of course, it shouldn\u2019t be.\u201d\u00a0<\/p>\n\n\n\n

\u201cOn the surface Dan has written a murder mystery,\u201d says Quarmyne. \u201cChekov, it\u2019s Chekhov,\u201d says Reitsma, referencing the dense layers of famed Russian playwright Anton Chekhov who wrote The Seagull <\/em>in 1895. \u201cWhen you crack the play open the themes that are in this play are so relevant to how we live in the world, and live in Nova Scotia, there\u2019s such important themes that really speak to the times we\u2019re living in, and that\u2019s pretty neat,\u201d says Quarmyne.<\/p>\n\n\n\n

\u201cI had the great pleasure, along with Liliona, of getting to work with Burg as an actor this summer. We\u2019ve gotten to spend so much time together, and you don\u2019t often get to work with the same people back to back, which is really nice. I remember the first time I was cast in Deepwater<\/em> I had not met Burgandy, but I had asked around, and was like, \u2018hey, tell me about Burgandy,\u2019 and all I heard is that ‘she is deserving of her Halifax icon status’, and oftentimes I hard from multiple people that in a show Burg will be the stand out actor because she is very raw and vulnerable, and is an incredible talent as an actor, and I think she really brings that sense, having seen her go through the acting process through multiple steps of play, and trying out different ideas, that\u2019s how she is as a director, in terms of bringing forward these different ides, and wanting to play, and wanting things to be different, and wanting you to do different choices, and to experiment, and to play around, and so really being able to dive in and engage with that is definitely sometimes a challenge\u2026 but the benefit of this being a remount is that we definitely have a little more time to play- already coming in with that foundation of experience- and to be able to really change the show in a very different way from its original inception. It was definitely exciting to go through that progress,\u201d says George.\u00a0<\/p>\n\n\n\n

\u201cIt\u2019s pretty special to be in the room with someone who is so deeply caring about their work and holds onto it both tightly and loosely at the same time,\u201d says Quarmyne of playwright Dan Bray. \u201cEspecially in the reworking we\u2019ve done in this process. I think there\u2019s a lot of potential that a playwright could really hold it and be like, \u2018no, it\u2019s supposed to be this<\/em>– this<\/em> is the vision, this <\/em>is the shape, this<\/em> is what I was going for,\u2019 but I think Dan has managed this really beautiful balance of saying, \u2018here is my work, here are my words, my framing, then Burgandy, you\u2019re the director, now you take it and you make it yours- and by extension ours.\u201d\u00a0<\/p>\n\n\n\n

\u201cI think it\u2019s awesome to see the new generation of playwrights come forward,\u201d says George. He references the posters of this current season on the walls around us in the Neptune Studio lobby, and he says, \u201cYou have your hits, you have your Les Mis<\/em>, you have your Grinch<\/em>, Little Women<\/em>, you have these well known properties that you have to program because people will come see them, people want to see them, but huge shout out to Jeremy [Webb] for also caring enough to invest in the new Nova Scotian playwrights who are coming out. Dan\u2019s a great playwright. It\u2019s so awesome to see Nova Scotia investing in itself, and people coming out and supporting that, and wanting to see the talent that Nova Scotia has to offer. It makes Halifax one of the most special places that I have worked, and there\u2019s a reason why I keep coming back here, and I\u2019m likely going to move here. It\u2019s just a beautiful environment for creativity.\u201d\u00a0<\/p>\n\n\n\n

\u201cIt is really fantastic to be working on a new play at Neptune written by a local playwright in this time when the arts are literally fighting for their lives in Nova Scotia, and to have the privilege of being able to work on a new play like this is something I don\u2019t take lightly, and I just want to see more of this happening, because there is so much<\/em> talent here, and we often have to fight so hard for what we get, and we\u2019ve always had to fight hard for what we’ve received, but there is so much potential here. I really feel that if we had more investment, real investment not charity<\/em>, investment in the arts in Nova Scotia<\/strong>, it would just bubble, bubble, bubble, and grow because Dan is the tip of the iceberg- he\u2019s a wonderful playwright, and he\u2019s very talented, and there\u2019s so many other [talented folks who live here too],\u201d says Reitsma. <\/p>\n\n\n\n

Neptune Theatre and The Villains Theatre’s production of Dan Bray’s Deepwater<\/em> directed by Burgandy Code opens October 23rd, 2026 and runs until November 1st at Neptune Theatre’s Scotiabank Studio Theatre (1589 Argyle Street, Halifax). Performances run Tuesday to Saturday at 7:30pm with 2:00pm matinees on Saturday and Sunday. Tickets range in price between $29.00 and $49.00 based on seating (but all seats are good!). They are available for purchase online here<\/a>, by calling the Box Office at 902.429.7070, or visiting in person at 1591 Argyle Street, Halifax. <\/strong><\/p>\n\n\n\n

CONTENT WARNING: This production uses haze, flickering lights, water-based vaping, and mature content. For a full list of content warnings please\u00a0click here<\/a>.<\/strong><\/p>\n\n\n\n

Industry Night<\/strong><\/a>
Tuesday, October 27 – 7:30pm<\/p>\n\n\n\n

Masked Performance
<\/strong>Sunday, November 1 – 2:00pm

Talkback<\/strong>
Thursday, October 29 – 7:30pm<\/p>\n\n\n\n

Neptune Theatre has a range of Accessibility Options for folks (Both Fountain Hall and the Scotiabank Stage are accessible for wheelchairs. Patrons can now purchase wheelchair seats for individual shows online with the promo code WHEELCHAIR. For more information, please contact the Box Office.). Click here for more thorough information.<\/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":"

I was listening to the Stratford Festival\u2019s Everyday Forum podcast<\/p>\n","protected":false},"author":1,"featured_media":7214,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[4673,4672],"tags":[4654,3494,5543,3219,3829,3340,7932,3459,7609,3337,3447,3242,4666],"class_list":["post-7213","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-article","category-interview","tag-amy-reitsma","tag-burgandy-code","tag-chris-george","tag-dan-bray","tag-jackson-fairfax-perry","tag-jeremy-webb","tag-katrin-whitehead","tag-liliona-quarmyne","tag-mackenzie-cornfield","tag-neptune-theatre","tag-neptune-theatre-scotiabank-studio","tag-the-bus-stop-theatre","tag-the-villains-theatre"],"yoast_head":"\nThe Cast of Neptune's Deepwater on Delving to the Depths - The Way I See It Theatre & Music Blog<\/title>\n<meta name=\"description\" content=\"I was listening to the Stratford Festival\u2019s Everyday Forum podcast and the panel was discussing Stratford\u2019s production of Arthur Miller\u2019s Death of a Salesman, which closes this weekend. It\u2019s directed by Dean Gabourie and stars Tom McCamus and Lucy Peacock. A Death of a Salesman was written in 1949. A remount production just closed on Broadway, on August 9th. It starred Nathan Lane and Laurie Metcalf. It was directed by Joe Mantello. I saw the play at Soulpepper back in 2010, starring Joseph Ziegler and Nancy Palk, directed by Albert Schultz. The play was produced here at Neptune Theatre in both 2004 and back in 1970. This is how many American plays work, of course; they are written, and then they continually get revived. It\u2019s an old conversation, but a no less important one, about how Canadian plays don\u2019t often have this same trajectory. Not only is it extremely rare to have a Canadian play revived, like Death of a Salesman, upwards of 75 years after it premiered, it can be a miracle for a Canadian play to make it just to a second run at all- anywhere- ever.\u00a0All this to say that it is significant that Haligonian playwright Dan Bray play\u2019s Deepwater, which premiered at the Bus Stop Theatre in 2024, is now being remounted and produced by both the Villains Theatre and Neptune Theatre in the Scotiabank Theatre to allow this work to reach a wider audience. I sat down with the cast of the play- Amy Reitsma, Chris George, and Liliona Quarmyne to chat about bringing these characters to life for a second time in a much expanded theatrical world on the Studio Stage.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.twisitheatreblog.com\/?p=7213\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Cast of Neptune's Deepwater on Delving to the Depths - The Way I See It Theatre & Music Blog\" \/>\n<meta property=\"og:description\" content=\"I was listening to the Stratford Festival\u2019s Everyday Forum podcast and the panel was discussing Stratford\u2019s production of Arthur Miller\u2019s Death of a Salesman, which closes this weekend. It\u2019s directed by Dean Gabourie and stars Tom McCamus and Lucy Peacock. 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I sat down with the cast of the play- Amy Reitsma, Chris George, and Liliona Quarmyne to chat about bringing these characters to life for a second time in a much expanded theatrical world on the Studio Stage.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.twisitheatreblog.com\/?p=7213\" \/>\n<meta property=\"og:site_name\" content=\"The Way I See It Theatre & Music Blog\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/twisihalifax\" \/>\n<meta property=\"article:published_time\" content=\"2026-10-23T02:46:53+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-10-23T03:03:34+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.twisitheatreblog.com\/wp-content\/uploads\/2026\/10\/858666586_1684563923299458_1524611573538739939_n.png.jpeg\" \/>\n\t<meta property=\"og:image:width\" content=\"1350\" \/>\n\t<meta property=\"og:image:height\" content=\"1080\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Amanda Campbell\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Amanda Campbell\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"14 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.twisitheatreblog.com\/?p=7213#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.twisitheatreblog.com\/?p=7213\"},\"author\":{\"name\":\"Amanda Campbell\",\"@id\":\"https:\/\/www.twisitheatreblog.com\/#\/schema\/person\/2acdb91c67a7c73bbe572ed62f39cf80\"},\"headline\":\"The Cast of Neptune’s Deepwater on Delving to the Depths\",\"datePublished\":\"2026-10-23T02:46:53+00:00\",\"dateModified\":\"2026-10-23T03:03:34+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.twisitheatreblog.com\/?p=7213\"},\"wordCount\":3018,\"publisher\":{\"@id\":\"https:\/\/www.twisitheatreblog.com\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.twisitheatreblog.com\/?p=7213#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.twisitheatreblog.com\/wp-content\/uploads\/2026\/10\/858666586_1684563923299458_1524611573538739939_n.png.jpeg\",\"keywords\":[\"amy reitsma\",\"burgandy code\",\"chris george\",\"dan bray\",\"jackson fairfax-perry\",\"jeremy webb\",\"katrin whitehead\",\"liliona quarmyne\",\"mackenzie cornfield\",\"neptune theatre\",\"neptune theatre scotiabank studio\",\"the bus stop theatre\",\"the villains theatre\"],\"articleSection\":[\"Article\",\"Interview\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.twisitheatreblog.com\/?p=7213\",\"url\":\"https:\/\/www.twisitheatreblog.com\/?p=7213\",\"name\":\"The Cast of Neptune's Deepwater on Delving to the Depths - The Way I See It Theatre & Music Blog\",\"isPartOf\":{\"@id\":\"https:\/\/www.twisitheatreblog.com\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.twisitheatreblog.com\/?p=7213#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.twisitheatreblog.com\/?p=7213#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.twisitheatreblog.com\/wp-content\/uploads\/2026\/10\/858666586_1684563923299458_1524611573538739939_n.png.jpeg\",\"datePublished\":\"2026-10-23T02:46:53+00:00\",\"dateModified\":\"2026-10-23T03:03:34+00:00\",\"description\":\"I was listening to the Stratford Festival\u2019s Everyday Forum podcast and the panel was discussing Stratford\u2019s production of Arthur Miller\u2019s Death of a Salesman, which closes this weekend. 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It\u2019s directed by Dean Gabourie and stars Tom McCamus and Lucy Peacock. A Death of a Salesman was written in 1949. A remount production just closed on Broadway, on August 9th. It starred Nathan Lane and Laurie Metcalf. It was directed by Joe Mantello. I saw the play at Soulpepper back in 2010, starring Joseph Ziegler and Nancy Palk, directed by Albert Schultz. The play was produced here at Neptune Theatre in both 2004 and back in 1970. This is how many American plays work, of course; they are written, and then they continually get revived. It\u2019s an old conversation, but a no less important one, about how Canadian plays don\u2019t often have this same trajectory. Not only is it extremely rare to have a Canadian play revived, like Death of a Salesman, upwards of 75 years after it premiered, it can be a miracle for a Canadian play to make it just to a second run at all- anywhere- ever.\u00a0All this to say that it is significant that Haligonian playwright Dan Bray play\u2019s Deepwater, which premiered at the Bus Stop Theatre in 2024, is now being remounted and produced by both the Villains Theatre and Neptune Theatre in the Scotiabank Theatre to allow this work to reach a wider audience. 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It starred Nathan Lane and Laurie Metcalf. It was directed by Joe Mantello. I saw the play at Soulpepper back in 2010, starring Joseph Ziegler and Nancy Palk, directed by Albert Schultz. The play was produced here at Neptune Theatre in both 2004 and back in 1970. This is how many American plays work, of course; they are written, and then they continually get revived. It\u2019s an old conversation, but a no less important one, about how Canadian plays don\u2019t often have this same trajectory. Not only is it extremely rare to have a Canadian play revived, like Death of a Salesman, upwards of 75 years after it premiered, it can be a miracle for a Canadian play to make it just to a second run at all- anywhere- ever.\u00a0All this to say that it is significant that Haligonian playwright Dan Bray play\u2019s Deepwater, which premiered at the Bus Stop Theatre in 2024, is now being remounted and produced by both the Villains Theatre and Neptune Theatre in the Scotiabank Theatre to allow this work to reach a wider audience. 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Not only is it extremely rare to have a Canadian play revived, like Death of a Salesman, upwards of 75 years after it premiered, it can be a miracle for a Canadian play to make it just to a second run at all- anywhere- ever.\u00a0All this to say that it is significant that Haligonian playwright Dan Bray play\u2019s Deepwater, which premiered at the Bus Stop Theatre in 2024, is now being remounted and produced by both the Villains Theatre and Neptune Theatre in the Scotiabank Theatre to allow this work to reach a wider audience. 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