Ontario Off Stage

by Brandon Moore, Community Theatre and Communications Manager

Conversation Starters

• Bernadette Hardaker, General Manager of Theatre Orangeville, shared on the PACT blog how they made the arts an election issue in last year’s provincial and municipal elections as we look ahead to this year’s federal election.
• Videos from the livestream of the 2018 SPARC Symposium (Supporting Performing Arts in Rural Communities) held in Cobalt are now available on their YouTube channel.
• Emma Stenning (new Executive Director of Soulpepper) and Naomi Campbell (new Artistic Director of Luminato) had a conversation on HowlRound as part of the series on transitions in theatre leadership – “We Can’t Work in Isolation.”

Behind the Scenes at Ontario’s Theatres

Nightwood Theatre's production of Grace by Jane Doe
Rose Napoli and Michaela Washburn. Photo by Dahlia Katz.

• Jane Doe wrote for Intermission Magazine about the process of writing Grace (now on stage from Nightwood Theatre) and the experience of processing trauma.
• Orpheus Musical Theatre Society in Ottawa announced their 2019/2020 season.
• “Do you work during the wintertime?” The staff of Blyth Festival answered this question from their community.
• Submissions are now open for the Playwrights Guild of Canada’s 2019 Tom Hendry Awards.

In Case You Missed It

• Stories from the Professional Theatre Training Program, featuring training projects in administration and managing direction, artistic producing, lighting design, general management, and dramaturgy.
• We’re inviting applications to our Professional Theatre Training Program and Youth Theatre Training Program for the March 1 deadline. Note that we are implementing new deadlines for these programs throughout 2019 and 2020, and have changed our applicant eligibility requirements.
• ONstage Openings this week in Toronto, Cobourg, Peterborough, Kingston, Perth, and Oshawa.
• Browsing Our Bulletin Board, including workshops, grant deadlines, calls for nominations, and more.

You can also receive news from Theatre Ontario every month by email. Our archives are online and the January issue is now available.

Stories from the Professional Theatre Training Program: Rhiannon Collett

Our Professional Theatre Training Program (PTTP) offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline (except performance.)

Rhiannon Collett begins training in artistic producing with Tom Arthur Davis and Jivesh Parasram at Pandemic Theatre in Toronto

(December 17, 2018) It seems like recently everyone is talking about audience engagement. I’ll be honest: as a playwright, I’m kind of a theatre ghost. I like nothing more to slip into the back of the house, watch the show, and leave. No one knows who I am? Awesome. Engaging with the audience as a whole has always seemed like a lot. Talkbacks make me nervous. Answering questions is hard, and scary and sometimes it feels like a group dramaturgical session (“I just don’t really get what you were trying to do there…”). There are poor interpretations, miscommunications and hurt feelings (mine). I admit that “theatre ghosting” may not be the most responsible move, but fear ye not—the end of 2018 has proved overwhelmingly full of opportunities for me to grow as an artist directly engaged with their audience.

I’ve been living in Montreal for the past 5 weeks, working on the world-premiere of my show, The Kissing Game with TYA company Youtheatre. For over a month I’ve been primarily an actor (with the occasional bout of frenzied playwriting revisions.) I’ve been performing an openly queer narrative two times a day in high schools across the Greater Montreal Area. Every day we do a talkback. Sometimes I get a standing ovation. Sometimes I get heckled. Sometimes they want to know if I’m gay “in real life.” Sometimes they have nothing to say. Sometimes, like yesterday, they decide they’re going to try their very hardest to distract me for the entire 45 minute run and I had a near-perfect show quand-même. Point being—there has been lots of audience engagement, and it has turned out to be the most difficult and worthwhile part of this tour. The kids are alright, and very gay.

One thing that I’ve come to appreciate through my time on school tour is that engaging with an audience is a skill. When I think about standout audience engagement, I think about Tom and Jiv’s work at Pandemic. This is because I was the audience they engaged many, many times, even when I didn’t like their work. Even when I had something to say that was challenging. I had a strong objection to the show? Pandemic hired me to write my thoughts for their ‘zine. I had difficulty with some audience participation? Tom and I discussed it, and my thoughts were incorporated into the final production. My perspective as an audience member (and as an emerging artist) has always been heard at Pandemic, and it has profoundly changed the way that I experience their work (and the way that I think about how my own work could exist.)

On Sunday I head back to Toronto and start my mentorship in artistic producing with Pandemic—I’ll be assisting on the world premiere of Johnnie Walker’s play Shove It Down My Throat at Buddies in Bad Times. A large part of my mentorship with Tom and Jiv will be about how to engage with audiences outside the production. Shove combines lots of topics that I am extremely interested in—it’s a true-crime gonzo docu-play that explores queerness and complicity.

The next application deadline for the Professional Theatre Training Program is March 1, 2019.

Learn more about Theatre Ontario's Professional Theatre Training Program

Theatre Ontario’s Professional Theatre Training Program is funded by the Ontario Arts Council, an agency of the Government of Ontario.

Congratulations to the Professional Theatre Training Program Fall 2018 Grant Recipients

We are pleased to announce the latest recipients of training grants through Theatre Ontario’s Professional Theatre Training Program (PTTP). We thank all those who applied to the program.

Over $25,900 was awarded in total among the following 9 recipients:

• C.J Astronomo training in production management with Simon Marsden at the Stratford Festival
• Claire Burns training in administration and managing direction with Shawn Daudlin at Buddies in Bad Times Theatre in Toronto
• Rhiannon Collett training in artistic producing with Tom Arthur Davis and Jivesh Parasram at Pandemic Theatre in Toronto
• Allie Marshall training in video design and new media skills with Nick Bottomley at Outside the March in Toronto
• Laura McCallum training in general management with Laura Pomeroy at Studio 180 Theatre in Toronto
• Hanlon McGregor training in playwriting with Diane Flacks
• Holly Meyer-Dymny training in projection design with Cameron Davis at Studio 180 Theatre in Toronto
• Keshia Palm training in dramaturgy with Marjorie Chan at Cahoots Theatre in Toronto
• Naomi Wright training in directing with Robin Witt at Writers Theatre in Chicago, USA

Over $131,000 was requested during this application round. The next application deadline for this program will be in early 2019. Prospective applicants should Stay Connected with Theatre Ontario for more information about that deadline.

Our Professional Theatre Training Program (PTTP) offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline except performance.

Learn more about the Professional Theatre Training Program

This program is funded by the Ontario Arts Council, an agency of the Government of Ontario.

(Updated November 13 at 1:30pm to include an omitted recipient.)

Stories from the Professional Theatre Training Program: Sabah Haque

Our Professional Theatre Training Program (PTTP) offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline (except performance.)

Sabah Haque trained in artistic producing with Tom Arthur Davis and Jiv Parasram at Pandemic Theatre in Toronto, Vancouver BC, and Victoria BC

(October 1, 2018) There are so many ways to make theatre. An infinite amount. There are fun ways, and not-so-fun ways. Sometimes, I get stuck in not-so-fun ways. Why? Why dwell in not-fun? I am over the idea that we must suffer for our career. I am over the idea of being a blank slate for other people to write on. Deconstruction doesn’t work for me. I like to build things.

I’m becoming a stronger communicator and advocate for myself. It does make me feel uncomfortable—I hate the feeling of talking out of turn, or burdening a group of excited artists with my problems, or challenges. But there lies the problem: the way communication and confronting challenges with a creative team is framed in my mind. Who framed it that way? I have some ideas, but it’s hard to be sure. Wherever it came from, I’m going to get rid of that self-conscious, unproductive, annoying piece of wood.

Working with Jiv Parasram, Tom Arthur Davis, and Donna-Michelle St. Bernard throughout the spring and summer of this year, I rediscovered my agency, turned up the volume on my thoughts, and slowly found the courage to share them. I like being loud. I like challenging people. I like to be challenged. That’s the point! To challenge. To change. To try, and fail. Most importantly, to have fun. I will never forget to have fun. It’s easy to forget that when you’re hustling.

It’s been wonderful to see Jiv, and Tom thrive through their own set of values, creative curiosities, and collaborative practices. They get shit done, and they have a good time doing it. That’s my dream! I realized it this year, and I think I can keep realizing it as I move through my career.

This is where change starts. In my mind, in my own work, in my collaborations. And, as the funny, hard-working, chillax team at Pandemic Theatre showed me: change ripples.

Thanks to Pandemic Theatre, and Theatre Ontario for supporting my training and deep existential dive into my theatre practice. It’s been rad.

Related Reading:

• Read Sabah’s first update
• Read Sabah’s second update

The next application deadline for the Professional Theatre Training Program is March 1, 2019.

Learn more about Theatre Ontario's Professional Theatre Training Program

Theatre Ontario’s Professional Theatre Training Program is funded by the Ontario Arts Council, an agency of the Government of Ontario.

Stories from the Professional Theatre Training Program: Sabah Haque

Our Professional Theatre Training Program (PTTP) offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline (except performance.)

Sabah Haque training in artistic producing with Tom Arthur Davis and Jivesh Parasram at Pandemic Theatre in Toronto, Vancouver BC, and Victoria BC

(June 4, 2018)  Our tour to the Coast Salish territories was like a classic family adventure movie. It was fun, scary, and sort of unpredictable.

The Pandemic Theatre crew, made up of the incredible Tom Arthur Davis and Donna-Michelle St. Bernard, toured to Intrepid Theatre’s UNOFest, a festival of solo shows on the traditional and unceded territory of the Lekwungen People, now known as the Songhees and Esquimalt Nations (known to settlers as Victoria, British Columbia) to present The Only Good Indian with local artist Justine Shore—who is generous, hilarious, and exquisite. We took a beautiful and windy ferry ride to meet up with Jiv Parasram on the traditional and unceded territories of the Squamish, Musqueam, and Tsleil Waututh Peoples (known to settlers as Vancouver) to present the show at Up In The Air Theatre’s rEvolver Festival with local artist Adele Noronha – who is a wonderfully charming, clever, and brave.

Here are some of my accomplishments: I climbed a ladder 4-6 times a day for four days (with incredible amounts of encouragement from technician Carolyn Moon); I climbed rocks to get closer to the Pacific Ocean (all by myself with lots of squealing); I ran several shows on Q-Lab (which mostly involved pressing space bar), I rode a bike on the road and in a park (under heavy supervision—Tom thought I crashed at one point); and I managed to convince people to like me by the powers of sass. Huzzah!

That last part wasn’t that hard. Folks at Intrepid Theatre and Up In The Air Theatre are some of the kindest theatre pros I’ve ever had the pleasure to meet. With some heathy encouragement from my mentors Jiv, Tom, and Kristina Lemieux from Generator, I broadened my artistic network—and made new Facebook-official friends. I’m really excited by the prospect of collaborating with artists across Canada. We are pretty talented.

Networking has always been a challenging aspect of my work. I feel pretty socially daft, and don’t like the feeling of being kind to someone for the sake of my career. Networking isn’t about making people like you. It’s about finding people who jive with you, who you want to work with, who you want to learn from, who you can and can’t stand with. I’ve realized it’s an important part of the self-care aspect of working.

Audience engagement is full of wonderful and horrifying surprises. After showing of The Only Good Indian, we invite the audience to a long table discussion (I live tweeted every single one) to discuss the show. Facilitating conversations about colonization, genocide, and occupation isn’t easy. I watched Donna-Michelle, Tom, and Jiv do it with grace. In the same way that they mentor, they create a positive, and safe environment for folks to share their thoughts. They offer people time, and opportunity. They offer a few jokes (jokes are really important). I wasn’t brave enough to co-facilitate one this time around. Maybe next time.

I also saw some cool theatre! Christine Quintana’s Good Things to Do at rEvolver Festival made me cry; I saw Yolanda Bonnell’s bug at rEvolver Festival—Yolanda is such a beautiful performer.

I also had privilege of sitting in on a rehearsal of Victim Impact, which Jiv is directing. It was really lovely to meet more artists from the South Asian diaspora.

Over the last year, I have learned a lot about what mentorship means to me, and what makes it work. Mentoring with Pandemic Theatre and Generator means I get to laugh while I work, that I’m free to ask for anything at any time, and I get to learn through my mistakes with guidance from artists in the room.

I’ve been lucky to have mentorship throughout my career as an emerging artist. It’s brave work to put yourself out there. I’m really glad I did. Jiv, Tom, Donna-Michelle, and Kristina are the most generous artists I have ever met. Their support of my career is unwavering. And boy, are they ever funny.

Here are some memorable conversations from my trip:

“What about you, Sabah? I heard you’re glamourous.”

Me: I wish I was a male peacock.
“Sabah, you are a male peacock.”
Me: Yaaaas.

“You are the most outrageous intern ever.”

“Swiffer that floor, gurl!” (Directed at Eureka when she lip-synced for her life.)

“What kind of bird is that?”
Me: Like, a normal bird.

I did miss you, Toronto. Hot garbage never smelt better. Now that we’re back, we move into the final phase of my PTTP training—touring grant + festival application writing. That touring life was pretty sweet. I would like to do it again. Maybe I’ll write my own version of The Only Good Indian to tour beyond Canada. Maybe… #sabahtudefortheworld

Until next time~

Sabah

Related Reading:

• Sabah’s first update

The next application deadline for the Professional Theatre Training Program is October 1, 2018.

Learn more about Theatre Ontario's Professional Theatre Training Program

Theatre Ontario’s Professional Theatre Training Program is funded by the Ontario Arts Council, an agency of the Government of Ontario.

Stories from the Professional Theatre Training Program: Sabah Haque

Our Professional Theatre Training Program (PTTP) offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline (except performance.)

Sabah Haque begins training in artistic producing with Tom Arthur Davis and Jivesh Parasram at Pandemic Theatre in Toronto, Vancouver BC, and Victoria BC

(April 10, 2018)  I. Am. STOKED. Working with Jiv and Tom over the past year has been fun, and full of discoveries. To travel with The Only Good Indian, the first show we’ve worked on together, with THE Donna-Michelle St. Bernard, who’s always keeping it real, is a seemingly small but GIANT dream come true. I have never been to the west coast, so that in itself is thrilling. But to go to the west coast to work on theatre with three of the coolest, authentic, daring, and pleasant artists I know? Do I know a word to describe that?

I’ve already booked my travel and accommodations. I have an uncle and cousin who live in Vancouver—already planned to have lunch. My friend visited Vancouver over the summer and sent me Snapchats of his adventures—already planning to send those same snaps. I am meeting with Kristina from Generator, and Jiv and Tom this week to chat about the west-coast-based artists I am to meet—already day-dreaming about those coffee meet-cutes instead of doing my job. I get to meet MORE cool, authentic, daring artists. #FanGirl

I am looking forward to learning more about touring, experiencing that touring life, and to continue to contribute to The Only Good Indian. I imagine I will be spilling an endless stream of questions, sharing lots of laughter, and wrestling with the challenges of facilitating long table discussions and navigating QLab. I am looking forward to being someone Tom, Jiv and Donna-Michelle can rely on while they focus on their performance. I am looking forward to meeting new people, asking new questions, and making my world bigger.

The only thing that really expresses how I feel about this program is the triumphant cackles that rumble from my gut. Happens every few hours. They conclude with a grin and leave a warm feeling in my sappy heart, just like a slice-of-life anime.

Thank you so much for supporting this phase of my training with Pandemic Theatre.

Until next time

The next application deadline for the Professional Theatre Training Program is October 1, 2018.

Learn more about Theatre Ontario's Professional Theatre Training Program

Theatre Ontario’s Professional Theatre Training Program is funded by the Ontario Arts Council, an agency of the Government of Ontario.

Congratulations to the Professional Theatre Training Program Spring 2018 Grant Recipients

We are pleased to announce the latest recipients of training grants through Theatre Ontario’s Professional Theatre Training Program (PTTP). We thank all those who applied to the program.

Over $42,500 was awarded in total among the following 13 recipients:

• Thomas Alderson will train in directing with Ashlie Corcoran at Arts Club Theatre Company in Vancouver BC
• Sehar Bhojani and Brendan McMurtry-Howlett will train in artistic direction with Jillian Keiley at the National Arts Centre of Canada in Ottawa
• Logan Raju Cracknell will train in lighting design with David DeGrow at Cahoots in Toronto and on tour
• Sabah Haque will train in artistic producing with Tom Arthur Davis and Jivesh Parasram at Pandemic Theatre in Toronto, Vancouver BC, and Victoria BC
• Christine Horne will train in directing with Eda Holmes at Canadian Stage in Toronto
• Taryn Jorgenson will train in directing with Richard Rose at Tarragon Theatre in Toronto
• Stephanie Kast will train in writing and producing with Joshua Bainbridge in North Bay
• Tijiki Morris is training in directing with Erin Brubacher at Aga Khan in Toronto
• Scott Emerson Moyle will train in intimacy direction with Tonia Sina at Intimacy Directors International in Toronto and Chicago USA
• Nancy Anne Perrin will train in design for opera with Michael Gianfrancesco at the Canadian Opera Company in Toronto
• Samyuktha Punthambekar will train in arts management with Mitchell Marcus at Musical Stage Company in Toronto
• Julia Tribe will train in community engaged theatre and performing arts with Ruth Howard at Jumblies Theatre in Toronto
• Anne White will train in directing and artistic direction with Adam Paolozza at Bad New Days in Toronto

Over $98,000 was requested during this application round. The next application deadline for this program is October 1, 2018.

Our Professional Theatre Training Program (PTTP) offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline except performance.

Learn more about the Professional Theatre Training Program

This program is funded by the Ontario Arts Council, an agency of the Government of Ontario.

Apply to the Professional Theatre Training Program

Are you an artist seeking financial support for professional development or a "change of direction" in your career?

Submissions are now open for the March 1, 2018 deadline for our Professional Theatre Training Program (PTTP). The Professional Theatre Training Program (PTTP) offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline (except performance.)

Planning an application? Watch our FAQs video about PTTP.

Related Reading

• Learn more about Theatre Ontario's Professional Theatre Training Program
• Read profiles of recent Professional Theatre Training Program projects

This program is funded by the Ontario Arts Council, an agency of the Government of Ontario.

Browsing Our Bulletin Board

"Launching Your Career" workshop at Theatre Ontario

Coming Up from Theatre Ontario

• Preparing an OAC application? Get the inside scoop at our “Grant Writing Information Session” pre-recorded webinar with Pat Bradley of the Ontario Arts Council available on September 5.
• Answers to your FAQs about the business of acting at our “Launching Your Career” workshop with Rachel Kennedy and special guest Thom Allison on September 13 at 3pm in Toronto.

Check out all of our upcoming Career Stream and Creator Stream workshops.

Upcoming on The Bulletin Board

• Deadline for submissions to apply for the National Theatre School’s “Artistic Leadership Residencies” is August 18.

New on The Bulletin Board

• The MT Space presents #SURVIVE_RESIST_CREATE at IMPACT17 in Kitchener-Waterloo, a conference with industry professionals, creators, and allies, on September 28 to 30.

Check out these items, and other postings from our members.

• Grants
• Calls for Submission and Nominations
• Volunteer and Non-Paying Positions
• Community Events and Conferences
• Workshops at Ontario Theatres and Other Arts Service Organizations
• Adult Continuing Education Programs
• Youth Training Programs

Theatre Ontario individual members can also access Auditions, Job Postings and Discount Ticket Offers on our Theatre Ontario Individual Member Resources on our website

Apply to the Professional Theatre Training Program

Are you an artist seeking financial support for professional development or a "change of direction" in your career?

Submissions are now open for the October 2, 2017 deadline for our Professional Theatre Training Program (PTTP).

Planning an application? Watch our FAQs video about PTTP.

The Professional Theatre Training Program (PTTP) offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline (except performance.)

Learn more about Theatre Ontario's Professional Theatre Training Program

Read profiles of recent Professional Theatre Training Program projects

This program is funded by the Ontario Arts Council, an agency of the Government of Ontario.

Stories from the Professional Theatre Training Program: Donna Marie Baratta

Our Professional Theatre Training Program (PTTP) offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline (except performance.)

Donna Marie Baratta trained in artistic producing and curation with Laura Nanni at SummerWorks in Toronto

Laura Nanni and Donna Marie Baratta

(April 30, 2017) Before I began this adventure, my first blog post spoke to the giddy joy I felt while receiving the incredible news that I would work with Laura Nanni in Artistic Producing and Curation for six full weeks. That giddy joy remained throughout my time and now, almost one full calendar year later, I am immensely grateful to Laura because I have gained confidence in my role as an Artistic and Managing Director through my time with her.

This year has gone by quickly; in festival curation you are always working and trying to meet a new deadline, one that is set not only for your upcoming Festival but next year’s Festival too. Since my time with Laura, I successfully launched Superior Theatre Festival’s first summer Festival in August 2016 and continued to build the second season’s programming, partnerships and funding. Unfortunately we were not able to work together that whole time but instead in bursts of time around my teaching. This meant I was able to experience most aspects of building a festival, even if in a small way.

What is important to note is our Festivals’ circumstances, location, ecology and resources are very different but I was given permission to dream big while working with Laura because I got a glimpse of where Superior Theatre Festival could go. I also saw the reality of running a festival
—losing sponsorship and having to seek sponsorship from another institution to cover that lost funding. The reality is, the managing part of the Festival demands a lot time and the Artistic part that you crave usually comes in second place.

While in the office from January to April 2017 I did things such as: sort submissions into folders, draft letters to actors or other theatre companies, create a programming document for shows as they were added to the Festival, watch Sears Festival shows to program, read plays that were submitted, share my thoughts with the team and sit in on meetings and artist conversations. I went through periods of it being just Laura and I in the office to more and more staff being involved as we got closer to the Festival. What I realized is a lot of learning happens in the in-between times
—the time between a meeting, in a cab to an event, while grabbing a coffee, getting a drink or between Sears shows. I got a very real glimpse into what it is to run a festival and I was fortunate to be able to apply that knowledge to my own Festival during that process. That made this mentorship invaluable.

To wrap up, I thought I’d distill the “Top 3 Things” I’ve learned during these last few months in the office:

1. Openness: The ability and foresight to ask the right question at the right time is key to building a healthy collaboration. I was included in conversations with artists about their work prior to an offer to be in the Festival and I was privileged to hear the kinds of questions Laura asked and how she asked them. She had a way of having the artist’s back at the same time as asking difficult questions about how to cite the work and how SummerWorks could support their work.

2. Curation: You have to make the tough decisions. With over 250 submissions to SummerWorks Laura had a lot of reading to do. She was intimately aware of all of the submissions and would ask me to read some of the plays that she wanted my opinion on. One of the best questions she asked me was:  “What questions would you ask of this play to move you to say either yes or no?” The questions I would ask of the play might then be used as a springboard for a conversation with an artist about their work. Curating a festival like SummerWorks means making hard decisions every day and also speaking to artists about when the timing is right for a project. Sometimes it’s a piece you want to program but the company’s idea is very ambitious and they simply need more time to fundraise so that they don’t lose money on their venture. I appreciated hearing Laura talk an artist out of this year`s Festival for a more glorious next year—one that is true to the artist’s vision. Even though she loved and wanted to program the project, the producing company needed more time and resources to realize their vision. To me, that was a wonderful realization—this year’s applicants might be next year's shows. In curation you are in it for the long game—not the short game. It is about creating relationships and trust with artists and knowing that you can support their work in a healthy way for everyone—especially the artist.

3. Transparency as a Leader: There was so much care and openness in SummerWorks’ process.  Laura let artists know where she was at in the selection process through email and when to expect to hear from her. This seems like a simple idea but as an artist myself, it meant the world to know where SummerWorks was in their process. It meant the world to be in the loop.

I was inspired every day during this mentorship. Laura took such care with each submission and as an artist I was heartened to witness her love of projects and her love of the artists. I wish this mentorship wasn’t over and I wish that I could continue to work with SummerWorks through to their Festival this year but I also have a festival to run so I hope that this is just the beginning of a lifetime of learning about Curation and Artistic Producing. A huge thank you to Laura Nanni; she is so encouraging and I am lucky to have her as a friend. Thank you Theatre Ontario and the OAC for giving me this opportunity. I am eternally grateful and hope one day to be able to return the favour to another emerging festival curator.

Related Reading:

• Donna Marie Baratta’s first report
• Donna Marie Baratta’s second report

The next application deadline for the Professional Theatre Training Program is October 2, 2017.

Learn more about Theatre Ontario's Professional Theatre Training Program

Theatre Ontario’s Professional Theatre Training Program is funded by the Ontario Arts Council, an agency of the Government of Ontario.