Honeytrap program

Honeytrap

a play written and directed by Ruby Issacs Nov 19 - 20, 2025

Content notice: This play alludes to and depicts sexual violence and assault. These scenes are handled with care and the actors are not being harmed. If you find yourself needing a moment, please don’t hesitate to step outside of the theater. However, if you do step outside, you will not be able to re-enter.

Honeytrap contains themes of sexual violence and abuse, and because of this we have chosen not to profit off of the play. After paying the cast and crew, all proceeds from ticket sales will be going to the Montreal Sexual Assault Centre. If you are able, we encourage you to make a further donation to the MSAC. You can find the donation link on the landing page or in the Instagram bio of @honeytrap_play.

Cast

(in order of appearance)

Honey............................Elise Holbrooke

Sam........................................Misha Nye

Jodie..................................Evelyn Faber

Suzie................... Sof Andrade Quintero

Stage Manager

Gemma Martin

Crew

Props

Margot Fauchet

Intimacy Director

Dana Prather

Producers

Tamiyana Roemer & Sofia Belayachi

Publicity

Evelyn Logan

Sound

Lola Harrington

Set Design

Abby Wyland

Costumes

Araminta Corbett & Círdan Monteith

Written and Directed by

Ruby Isaacs

Director's Note-- This is a play about moving through the world as a young woman. It was inspired by many women I hold dear to my heart and more specifically, by their anger. I’d encourage you not to rush into judging any character in this play, but instead to reflect on the moral repercussions of the story: How would you have acted in the characters’ situations? What would you have done differently? How have these characters been failed by institutions of justice, and how can we change that? Most importantly, this is not a fable or a fairytale. It doesn’t reflect every survivor’s story, but it’s Honey’s story, and speaking for all of us involved, we love her.

I started crafting Honeytrap in early 2025, and it’s surreal to see it on tonight, with so many people I adore in the room. I want to thank the crew and production team for all their hard work, and the actors for all the emotional and physical energy they have given to this production. Over the months of preparation and rehearsals, every single person has poured their heart and soul into making tonight happen, and I couldn’t be more grateful. I would also like to thank our financial backers, who allowed us to put on a production with total creative freedom. Lastly, thank you to everyone who has shown up tonight. My two main goals in mounting this production were the ability to pay young artists for their time and commitment, so half of your ticket will be going towards that, and my second goal was to donate a large portion

of the profits to charity. The Montreal Centre for Sexual Assault, given the play’s topic, felt like the obvious choice. They do incredible work, and I’d encourage anyone reading to make a personal donation if they can.

Honeytrap has been a labour of love, and being surrounded by people who bring such light, joy, and talent to the table has made it incredibly rewarding. Thank you for coming tonight and thank you for your open minds. Enjoy the show!

some behind the scenes photos:

color scheme for costumes

designed by Círdan Monteith and Araminta Corbett

maraschino cherries encased in ice

bright white

Honeytrap red

coffee brown

HT coral

bright red

A still from I Spit on Yout Grave, dir. Meir Zacarchi

Set notes-- For the set, I envisioned a separation between two spaces: the public and private.

Abby’s set drawing

The public space would be versatile, switching from a pub, to a café, to an interview setting. My plan consisted of a small, simple table and two chairs. Because this public space had to represent a variety of settings, it had to be impersonal and malleable. The black chairs provide a blank canvas for the actors and the audience in these different environments, while the cushions create visual interest while staying within the set’s color palette.

The private space was most important, but also most complicated. Ruby and I first discussed there being a table between Honey and Sam, but quickly realized the events that transpire in the space require more closeness and intimacy between the actors than that would allow. I suggested a bed, and Ruby agreed. A bed does more than hold the actors up—it implies

the intrusion Sam makes into Honey’s space, but also her body. The bed connotes a sexual action, and more than that, the vulnerability it requires.

To keep with the minimalist set, we decided on a mattress and a bedside table. On top of the bedside table are a lamp and various items of Honey’s. These set dressing pieces provide light (literally) and warmth (figuratively) to the space. They are personal and necessary, signaling that this room’s function as a place of “business” is haunted by Honey’s personal involvement; try as she might to seem professional and anonymous, she cannot hide her lipsticks, her water glass, and her jewelry. Her lamp, too, reminds the viewer that this space is a bedroom (despite its previous use as a basement), where one comes to rest and hide from the world. But poor Honey cannot escape or rest—even in her room, even in her bed.

The items for this set were purchased mostly secondhand in the interests of sustainability. The two black chairs and bedside table (along with some extra items) were found at the Lachine EcoDepot. The small black table was acquired from Facebook marketplace. The sheets and red pillow were bought from Simons, and everything else was borrowed here and there from crew and friends. set design by Abby Wyland

Thursday 20th Nov 10pm-late 4671 st Laurent at Starbar after the last show!

program by Evelyn Logan