The 27th edition of the Wildside Theatre Festival runs from January 18th to February 8th, bringing original, odd, and awe-inspiring new works to Old Montreal.
Historically, Wildside was the showcase destination for some of the city’s standouts from the prior summer’s St. Ambroise Fringe Festival, giving experimental and independent works that won acclaim centre stage at the Centaur come winter.
Tetsuro Shigematsu’s Empire of the Sun (2016), the Me-Too era bouffon black comedy Don’t Read the Comments by Sarah Segal-Lazar (2020), and the pre-Me-Too era solo performance art piece by Leslie Baker, Fuck You! You Fucking Perv! (2015), are among the most memorable recent shows for me.
For this year’s festival, Wildside’s curator, Rose Plotek, has created a lineup of new works from artists and theatre companies based mostly in Montreal. Still Life is an English language premiere of a French play examining a young woman’s experience of generalized anxiety, produced by Talisman Theatre, and Ricki is realized by the prolific minds at Scapegoat Carnivale. The emerging artists company Scaredy Cat Theatre presents Plays for the End of the World, an anthology of slice-of-life scenes exploring morality, violence, grief, and the haunting specter of loneliness.
A special edition of Confabulation, a bi-coastal storytelling series promises to demonstrate how brevity is the key to wit. And rounding out the programming is a Montreal music series sure to fill the Centaur’s lobby bar with a raucous atmosphere.
Artists from each of these events shared a bit about what the Wildside Festival means to them, and what they hope audiences will derive from their experiments in indie drama, during what the theatre scene lovingly dubs: “the hottest two weeks of winter.”
Alison Darcy, co-director of Ricki
“I feel very lucky to co-direct this show. I am also so curious to see how audiences will react to the way we are playing with tone and delivery, along with some of the bolder choices we have decided not to shy away from. But mostly I hope that they feel the characters’ journeys align with them, that the story can flood their senses and leave them with questions and ideas.
The Wildside Festival gives freedom to go where you want with your art, jamming on wilder and wilder ideas with all the mad creatives we have on this show, and not letting practicalities stop our imaginations too much.”
Anisa Cameron, producer & co-creator of Choose Your End
“Our favorite thing about Choose Your End is how the arc of the story we are offering clicked into place through the songs we have written. We are excited for audiences to be surprised by the levity you can experience by embracing the end of the world as we know it. The spirit of the Wildside Festival means pushing the boundaries of what we consider theatre to be.”
Anna Morreale, performer & creator of Plays for the End of the World
“I’m really excited for audiences to witness our first project as a company. Our collective was born out of our shared experiences in Montreal, but we haven’t been able to perform here yet. I think this work will really speak to audiences in this city and that we will really benefit from their feedback.
Wildside is such an important festival for theatre that is both emerging and courageous. This project doesn’t necessarily fit a lot of traditional theatre’s aesthetics or mandates, but it works perfectly at this festival. Being anglophone theatre makers, it’s so important for us to have spaces like the Wildside who are devoted to developing and showcasing new work.”
Rhiannon Collett, translator of Still Life
“I think that translation is an extremely valuable bridge between the anglophone and francophone communities in Montreal. It’s a really magical experience to translate someone else’s work — whereas playwriting feels like probing a raw nerve, translation is refreshing in its distance. When translating, I feel a fierce connection to the piece and a commitment to ensure that the heart of it is felt authentically in a new language.
I love this play more every time I read it, and I think that many members of the audience will relate to the themes, which, tragically, seem to become more relevant every year. I always walk away from a reading of this play feeling a little less alone in my struggles and I hope you will, too. Also, it’s really fucking funny.“
Sarah Segal-Lazar, director of the Music Series
“With the Centaur Music Series, I create and curate music shows that are thematically or culturally linked to the plays that Centaur programs. For the Wildside edition, I’ve been inspired by how Montreal-centric the Scapegoat play Ricki is, so my band and I will be rocking out in the gallery, featuring songs all about the 514.”
I love the Centaur Music series because it’s a beautiful venn diagram of theatre lovers and music lovers. We get people who just saw the play upstairs and are sticking around for the music, as well as folks who’ve come just for the music event. Wildside has a long tradition of having music in the gallery, so I know that it’ll be an absolute blast.”◼︎
The Centaur Theatre Presents the Wildside Festival in collaboration with La Chapelle Scènes Contemporaines, 18 January – 8 February 2024.
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