Goblin:Macbeth Program

presents

A Spontaneous Theatre Creation Starring Wug and Kragva With Music by Moog

MARCH 4 – MARCH 22, 2026 centaurtheatre.com

514-288-3161

presents

A Spontaneous Theatre Creation

CAST:

Wug Kragva Moog CREATIVE TEAM:

Costume Designer - Philip Edwards Lighting Designer - Anton DeGroot Stage Manager - Craig Francis Lighting Interpretation & Adaptation - Michael Tonus Masks - Composite Effects

Show Runtime: approximately 90 minutes, no intermission

The creators invite you to forego investigating the identities of the performers. The goblins are The Goblins. Allow the play and the text to wash over you in new ways.

If you really must know who's who, please wait until after the performance to search out this information hidden within the pages of the program.

LAND ACKNOWLEDGEMENT Montreal is an incredible place in which to have the privilege to make theatre. It has such a rich and unique story of its own.

Long before Cartier sailed up the St. Lawrence and encountered a nation of Iroquoian people in a place called Hochelaga, the island that the European settlers chose to call Montreal had been a point of conflict, conference, creativity and exchange since time immemorial for many Indigenous peoples including the Haudenosaunee, Anishinaabeg, Huron-Wendat, and Abénaki Nations. The people of the Kanienkéha:ka Nation — known in English as the Mohawk — are now considered the caretakers of the unceded land and water around Montreal. In their language, this island bears the name of Tiohtià:ke, which means “broken in two,” because of the way the river breaks around it.

It is striking how the Kanienkéha language identifies the island as part of the river because it reminds us that we are all in the flow of a much larger story. This mighty river has for centuries carried people here from all over the world in search of new opportunities and new lives, and the Lachine Rapids that sit just off the western tip of this island have given pause to many of those journeys. The river has made contemporary Montreal into a vibrantly diverse city. We find that diversity inspiring because it is by telling each other our stories that we build bridges between our different cultures and languages.

Centaur Theatre

WELCOME When Rebecca Northan came to Centaur in 2019 with her brilliant improvisational theatre romance Blind Date, I discovered the power of a kind of performance that upends our expectations of what happens when you come to see a play.

Every night’s audience was equally enthralled – especially the volunteer who was chosen to go on the blind date with Rebecca in front of the rest of the crowd! Audience reactions made it clear that we needed to bring this incredible improviser and her company Spontaneous Theatre back to Montreal as soon as we could. Now eight years later, we are so happy to be welcoming her thrilling new exploration of one of the world’s greatest plays.

I saw the production last year in Toronto and was swept away by the way the Goblins unlock new meaning from the rise and fall of the power-hungry Macbeth and his seductive and conniving wife. As this cast of Tolkienesque tricksters explore the foibles of humanity through the murderous machinations of these notorious Scots, I am reminded of the true power of theatre to suspend our disbelief and allow us to look at the world from a new perspective. There will be blood (at least the theatrical kind) and some fun audience participation, so I encourage you to settle in for an exhilarating night at the theatre in the very capable hands of Kragva, Wug, and Moog, and let the magic sweep you away.

Eda Holmes Artistic and Executive Director

A NOTE FROM THE PRODUCER There are certain Shakespeare plays which seem to provoke an immediate question when revealed as part of a theatre’s season announcement. Hamlet, Richard III, King Lear and Macbeth are immediately met with, “Who’s playing ‘X’?”, as though the potential of the production might be pre-judged by the casting of the lead role. What if we didn’t know who was playing Macbeth? Or what human was inhabiting any role, for that matter? If we could effectively remove, conceal, or obscure the persona of the actor, could we shift the spotlight from player back to text?

The idea of Goblins doing Shakespeare seemed obvious to me. I have a profound love of words, as well as a background in mask work, improvisation and misbehaviour. The older I get, the weirder I like my theatre. As the notion for Goblin:Macbeth was gestating, I began making discreet inquiries with artist-friends. I was consistently met with one of two strong reactions: “So, you mean I would play Macbeth, but ideally no one in the audience would ever know it was me playing the part? – NO THANK YOU.” OR “So, you mean I would play Macbeth, but ideally no one in the audience would ever know it was me playing the part? SIGN ME UP!” Discussions with the latter group revealed a strong desire for anonymity that inspires a total freedom to disappear inside a character, and to explore Shakespeare’s text without the pressure of being evaluated in advance...

Continues on next page

A NOTE FROM THE PRODUCER ...In rehearsals we found a new permission to play, question and explore with a loving irreverence. It gave us a new appreciation for Shakespeare’s work.

The Goblins come to the text with curiosity, but no preconceived notions. To them, Macbeth is not Shakespeare’s most unsettling and cursed play – they already come from a world where fairies, ghosts, witches and magic are pedestrian. Our Goblins are able to push past all that phantasmagoria to highlight a humour that is so often glossed over in human productions that favour a macabre atmosphere. Our Goblins reveal that to pair tragedy with humour, as Shakespeare intended, is a profoundly human impulse that highlights the horror, while allowing us to bear it.

In closing: I actively discourage you from seeking out the identity of our players, if you don’t know already. (Secrets are hard to keep.) Let the Goblins work their magic on you; let the play hit you in new ways.

And if it’s your first time seeing Macbeth, then our apologies – it’s all downhill from here.

Rebecca Northan Artistic Producer of Spontaneous Theatre

Philip Edwards (1950-2024) Costume Designer

Eda has been the Executive of Centaur Following a Artistic long and career in Director IT consulting Theatre in Montréal since 2017. Her productions of The 39 (focussed on healthcare and transportation), Steps, The Last Wife, Sexual Misconduct of the Middle retirement in the theatre town of Stratford Classes, and Sakura - After Chekhov are among the many (Ontario) and a series of local courses theatre successful offerings of her tenure.

She has also in crossed the traditional language barrier Montréal to direct the world arts for “something toindo” - Philip showed his premiere Marc Bouchard’s Embrasse in French to at costumeof Michel design assignment sketches le Théâtre du Nouveau Monde. She was the Associate Stratford neighbour and theatre maker Rebecca Artistic Director at the Shaw Festival from 2010-2017, where Northan - and offered his Devil’s first gig with Grand she directed The was Apple Cart, The Disciple, Goblin:Macbeth.

Go figure!!

Hotel, Mrs. Warren’s Profession, and Arcadia, among others, all of which garnered critical acclaim in both Canada and the United States. She works regularly with the Orchestre Classique de Montréal and directed chamber versions of Carmen and As One. She is currently working as a dance dramaturge with American choreographer Val Caniparoli on a new production of Coppelia for the National Ballet of Canada. She is a graduate of the National Theatre School of Canada and teaches there regularly as well as at Toronto Metropolitan University and George Brown Theatre School.

Prior to becoming a director, Holmes was a soloist with San Francisco Ballet, the Dutch National Ballet and William Forsythe’s Frankfurt Ballet.

Anton DeGroot Lighting Designer

Anton is a set, light, and sound designer based in Calgary, and Eda has been the Artistic and Executive Director of Centaur an occasional instructor all things scenography at the Theatre in Montréal sinceof2017.

Her productions of The 39 University of Calgary.

Steps, The Last Wife, Sexual Misconduct of the Middle

Classes, and Sakura - After Chekhov are among the many Selected Theatre Credits: The Importance of Being Earnest, A successful offerings of her tenure. She has also crossed the Christmas Carol, Noises Off! (Theatre Calgary); Brontë: The traditional language barrier in Montréal to direct the world World Without, HMS Pinafore, Treasure Island (Stratford premiere of Michel Marc Bouchard’s Embrasse in French at Festival); Struck, GIANT (Ghost River); Heist, Misery, Nine le Théâtre du Nouveau Monde. She was the Associate Dragons, Dracula: The Bloody Truth (Vertigo); Macbeth, All’s Artistic Director at the Shaw from 2010-2017, where Well That Ends Well, A Festival Midsummer Night’s Dream she directed Company); The AppleChapter Cart, The Disciple, Grand (Shakespeare Two,Devil’s Gentleman’s Guide to Hotel, Mrs. Warren’s Profession, and Arcadia, among Love and Murder, Baskerville, Jersey Boys, Mamma Mia!others, (Stage all of which garnered critical acclaim in both Canada and West). the United States. She works regularly with the Orchestre Classique directed Upcoming: de TheMontréal Seafarer and starring Paul chamber Gross, andversions Liars at of a Funeral Alberta Theatre and The Da Vinci over Carmenatand As One. SheProjects, is currently working asCode a dance at Vertigo Theatre. dramaturge with American choreographer Val Caniparoli on a new production of Coppelia for the National Ballet of Other: When not making plays, you can probably Anton Canada.

She is a graduate of the National Theatrefind School of rolling dice, or walking a little brown named Canadatwenty-sided and teaches there regularly as well as dog at Toronto Tilly.

Metropolitan University and George Brown Theatre School.

Prior to becoming a director, Holmes was a soloist with San

Craig Francis Stage Manager

Craig Francis is a playwright, director, and multidisciplinary artist. His plays have toured Canada and the US, including Off-Broadway in 2016 and 2019.

He co-wrote Twenty Thousand Leagues Under The Sea, Game of Clones, Jungle Book, and HANS: My Life In Fairy Tales with Rick Miller; and FRANKENSTEIN: A Living Comic Book with Miller and Paul Van Dyck. Craig is a co-founder of The 20K Artist Collective, as well as the dramaturg and stage manager for Miller’s BOOM Trilogy of solo plays internationally.

Craig is a mentor of emerging artists, including coauthoring the play Redwood Woman with Andrea Friesen.

Current projects include the comedy CYNIC, The Turn of the Screw, and The Time Machine. Craig is a speaker on LGBTQA2S+ issues, a cartoonist, and a voice artist. His digital shorts are in museums in 6 provinces.

Michael Tonus

Lighting Interpretation & Adaptation Originally from the Toronto Area, Michael first moved to Montréal in 2005 to pursue a degree at McGill University. After graduating he went on to work on theatrical productions in Montreal. He began attending the Production Program at the National Theatre School of Canada in 2014, and graduated in 2017. He spent the following years pursuing design and technical direction opportunities, alongside festival work as a technician.

Michael is currently the Head Technician of C2 at Centaur Theatre. His other recent credits include Holiday House Party (Lighting Designer), Theatre For One (Lighting Designer) and Bijurya (Associate Lighting Designer).

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BMO (1/2 page)

Eda Holmes

Artistic & Executive Director

ADMINISTRATION

BOARD OF DIRECTORS CHAIR

Susan Da Sie, CFA CHAIR EMERITUS

Michael Baratta, CPA, CA Deputy Business Unit Leader, Quebec, Audit, Partner, KPMG LLP MEMBERS

Dr. Patricia A. Baker Chief Executive Director, Waterford Consulting PB Inc.

Jérôme Bichut, CFA Partner, Boyden

Anthony G. Czaharyn, MD CM Silvia Galeone VP – Canadian Insurance Operations, Manulife Financial

Christine Maydossian Director, Government Relations, Leliken Relations conseils

Micaela Fernandez Box Office & Sales Manager Louna Fezoui Development Assistant Rebecca Gibian Associate Artist Victoria Hall Assistant Box Office & Sales Manager Kimberly Hönig Marketing & Communications Coordinator Olivia Kearvell-Jobin Assistant Box Office Manager Scott Leydon Artistic & Executive Associate Sajida Masih Accounting Assistant Charlie McKendy Head of Maintenance Haleema Mini Director of Development Aleksandra Oleszkiewicz Accounting Manager Layne Shutt Front of House Manager

PRODUCTION Daniel Barkley Head Scenic Painter Sonya Bayer Head of Wardrobe Peter Cerone Audio & Video Engineer Mary Hayes Scenic Painter Howard Mendelsohn Production Director Liana Rose Mundy Technical Director Michael Tonus Head Technician C2 Zachary Weibel Head Technician C1

FOR THIS PRODUCTION Claire Macaulay

Props

CREW

Sofia Ruggiero

Katrin Dodd Miles Keily-Baxter Carmen Mancuso Trinity McQuillan Caroline Nowacki Luisa Pasturel Sarah Pattloch

Guillaume Saliah

SPECIAL THANKS

Adela Nitu Vice-President, Finance & Administration, Altex Inc.

Richard Pan Group Chief Financial Officer, American Iron & Metal

Partner, Fasken Martineau DuMoulin

Norma Tombari Principal, Norma Tombari Consulting

FOUNDERS

Cory Hallisey, Keith Johnstone, Haysam Kadri, Joel Cochrane, Pamela Brook, Dennis Cahill, Loose Moose Theatre, Dean Paul Gibson, Mark Bellamy, Tyler Rive, Chris Oldfield, Dustyn Wales, Bard on the Beach, Claire Sakaki

Herbert C. Auerbach Founding Chairman

Maurice Podbrey Founding Artistic & Executive Director

GOBLIN:MACBETH CREATORS If you really must know.

Created by Rebecca Northan & Bruce Horak.

Music by Ellis Lalonde. Directed by Rebecca Northan.

The Goblins: Rebecca Northan, Bruce Horak, and Ellis Lalonde.