Buddies in Bad Times Theatre
About Buddies
Buddies in Bad Times Theatre is the world’s largest and longest-running queer theatre. For 47 years, Buddies has carved out a sexy, disobedient edge in Toronto’s theatre scene and has been a world leader in amplifying queer voices and developing their stories for the stage. In its yearround theatre season, Buddies is a home for artistic risk—a place where emerging talent hone their radical visions, and where established artists can present daring works other theatres shy away from. Since 1979, Buddies has welcomed over one million audience members and premiered over 1,000 new works for the stage.
Buddies is situated on the traditional lands of the Haudenosaunee, the Anishinaabe, and the Wendat, and the treaty territory of the Mississaugas of the Credit. We acknowledge them and any other Nations who care for the land (acknowledged and unacknowledged, recorded and unrecorded) as the past, present, and future caretakers of this land, referred to as Tkaronto (“Where the Trees Meet the Water”; “The Gathering Place”). Buddies is honoured to be a home for queer, trans, and 2-Spirit artists on these storied and sacred lands that have been stewarded by Indigenous Peoples for thousands of years before the arrival of colonial settlers.
MESSAGE FROM THE ARTISTIC DIRECTOR
MESSAGE FROM THE CHAIR
The 2023/2024 season was a milestone anniversary for Buddies in Bad Times led by our new leadership team: Interim Operations Director Kristina Lemieux, and artistic director ted witzel. An artistically full season with a world premiere by Raf Antonio, a new production of Tony Kushner’s Angels in America, the fruition of a piece that began in our Emerging Creators Unit by daniel jelani ellis, and the presentations of queer artists from across the country: Calgary-based Tiffany Thomas, and the trailblazing Winnipeg duo We Quit Theatre.
Celebrating our 45th anniversary, we expanded our Queer Pride Festival to our longest programming to date: six-week series featuring artists VAG HALEN, Panti Bliss, the Queer Songbook Orchestra, Mae Martin, Chelazon Leroux, our Emerging Creators Unit co-hort, and many more. A party is not complete without a good host. ted and Kristina introduced a new hosting culture, moving towards creating welcoming, affirming spaces for those who share this space.
At the board level, we remember and thank the stewards who guided us in our past, while inviting the new. We thank the leadership of our past board chair, Brendan McMurtry-Howlett, and outgoing Managing Director, Daniel Carter, for their work in
transitioning our new artistic and operational leadership. After an extensive community call, we welcomed three new board members, Sedina Fiati, Jesse Griffiths, and Alex Rand, sharing their expertise to our current board.
Buddies has a legacy of creating queer theatre for over 45 years. This space is the intersection of art and the diverse communities queers can find home. To be queer is to be political. Our responsibility is to those who seek refuge in our shared community. We are graced with the countless folks who have and continue to make this a reality.
Our deepest gratitude for the volunteers, artists, staff, patrons, donors, and sponsors who help make this possible. We are welcoming our patrons back to Buddies, giving us a solid basis to transform guided by our new leadership team and our revamped Buddies’ values: Liberation. Audacity.
[Artistic] Rigour. To 45 years, and 45 more, and more!
31,249 people came through our doors 70% of the lead artists creating work in our season were people of colour
36% of the lead artists creating work in our season were trans or non-binary 107 public performances produced by Buddies
$194,454 disbursed in artist and professional fees
Michael Man
PUTTING QUEER STORIES ON STAGE
CREATOR/PERFORMER
Our 45th anniversary season kicked off in September with the mainstage premiere of danjelani ellis’ speaking of sneaking—a piece originally created as part of Buddies’ then-Young Creators Unit in 2011.
Ranging from intimate solos to epic journeys, our 2023-24 mainstage season blended emerging and established artists, familiar and new works, and local and touring presentations.
speaking of sneaking first started as a Young Creators Unit piece at Buddies before coming back to the mainstage this season. Could you speak to the journey of the show in between?
After the YCU presentation in 2011, I worked independently for a number of years until joining Why Not Theatre’s RISER program in 2017/18. Within RISER I was able to invite a team of collaborators including d’bi.young anitafrika as director+dramaturge, Rachel Forbes designing set and costumes, Andre du Toit designing lights, Jesse Ellis designing sound, and Brian Solomon as choreographer. The RISER production received five Dora Award nominations in 2018
for Outstanding Production, Play, Direction, Performer, and Lighting Design. In 2019, speaking of sneaking travelled to Trinidad as part of a CaribbeanCanadian contingent of artists for the Caribbean Festival of Arts, CARIFESTA.
How has it evolved both as a piece and in how you relate to it over the years?
In the YCU iteration, I explored my emerging identity as a Canadian — a Black queer Jamaican young man new to Toronto. I was particularly interested in language and code-switching as it relates to queerness. What is the language of the uprooted Black queer body? How is this body expressed in Toronto?
I was also interested in complicating the traditional understanding of the ‘crookedness’ of the Jamaican archetypal ginnal. “Every Yardie know a ginnal is a person who is not to be trusted.” The play presents a case in defence
DANJELANI ELLIS ↘
of the ginnal. For a person like the play’s Ginnal — Black and queer — to survive in the white supremacist capitalist heteropatriachy constructed and sustained by the oppression of racialized and queer people, sometimes it is necessary to be crooked and play the trickster to reach safety.
The mythological has outgrown the autobiographical as the play has evolved over the years. Where the YCU iteration drew heavily from my experiences as a queer newcomer, the later iterations have delved into mythologizing afro-diasporic archetypes (Anansi + ginnal) as queer deities. I now relate to the piece as an Anansi tale of how ginnals came to be, where Anansi is a messy pansexual.
d’bi.young has been a bit of a mentor for you during the life of the show. Could you speak to what working with her has been like?
In creating the YCU iteration, a major source of inspiration was the novel ‘Zami: A New Spelling of My Name’ by Audre Lorde. This novel is considered the genesis of a new genre coined by Lorde as biomythography, which is the combination of history, biography, and myth. I sought creative mentorship from d’bi because their biomyth monodrama work felt like an accessible framing of Lorde’s biomythography in a performance context, as well, their breadth of work, and life experiences, include direct engagement with several of the issues the play investigates. Working with d’bi has been transformative.
iteration was truly a dream team of collaborators. I worked with d’bi.young anitafrika as director+dramaturge, Rachel Forbes designing set and costumes and Andre du Toit designing lights on previous iterations. In continuing to investigate the language of the uprooted Black queer body, we confirmed that one of the ways this body is expressed is through dancehall - and the dancehall within the piece was present but not nearly as potent as it needed to be - we set the intention to delve more deeply into the dancehall of it all.
Stephon Smith joined as sound designer - a rapper, songwriter, producer, and sound designer from Toronto with a background in Hip-Hop, R&B, Reggae, and Dancehall and deep roots in Jamaica - he was well suited to heighten the storytelling with thumping dancehall and the supernatural sonic atmosphere for the spirit realms.
Jaz Fairy J joined the circle of collaborators as choreographer to lead the exploration and integration of the dancehall element of the physical language of the play. Jaz has over 15 years experience in the performing arts and has created over 30 original dance works. It is essential for me to be collaborating with Black artists who are rooted in the Afro-Caribbean traditions and methodologies. Jaz and Stephon’s presence as creative leaders on this team was an honour.
play is first and foremost for them and all displaced Black queer folks throughout the Afro-Caribbean diaspora so it’s especially meaningful when I receive reflections and feedback from them. A standout moment occurred after a performance, when I was being congratulated outside the theatre by a community member, “Great show, thank you so much, it was beautiful” and she was interrupted by a bashment-gyal, “It’s not just beautiful, it’s our life!”
How did you assemble the design team that brought this show to life?
The design team from the 2023
Are there are any audience responses or sparked conversations that stand out for you?
One of the recurring goals for speaking of sneaking is to celebrate the ‘funny-mans, bashment gyals, dancehall kweens’. Queer Yardies are at the centre of the work and the
Is speaking of sneaking something that you’re continuing to think about? What’s on the go for you, creatively?
I’m constantly thinking about speaking of sneaking and would love the chance to go back into that web. I wholeheartedly agree with Karen Fricker’s assertion in her Star review, “a show that deserves a longer life at other Canadian theatres and on the touring circuit.”
I’m looking forward to acting in Kanika Ambrose’s Moonlight Schooner in Nov/Dec 2025 at Canadian Stage, co-produced with Necessary Angel.
REIMAGINING RHUBARB
A staple of Buddies programming since our beginnings, Rhubarb is a hotbed of experimentation, a space where artists and audiences come together to redefine what it means to create and experience art.
The 2024 edition of Rhubarb (our 45th!) featured a programming committee representing four Toronto companies: Buddies, TO Lovein, Obsidian Theatre Company, and SummerWorks, represnted respectively by Ludymlla Reis, Leelee Oluwatoyosi Eko Davis, danjelani ellis, and STARLIGHT.
How did you first hear about and get involved with Buddies?
I’m Brazilian Canadian, and was based in Ottawa since moving to Canada. I came here to do a masters in directing, and then I stayed, and then continued doing theater after that. Once I graduated and as an outsider, as a foreigner and immigrant, I did a lot of googling about Canadian theatre, and I think I first heard of Buddies in that way. The first Buddies production I actually ever saw was Kiinalik when it toured to Ottawa, which was right before the pandemic closed the theaters there in March 2020. And then shortly after that, I caught wind of the open call for Rhubarb for 2021, and made it to
the interview with Clayton, the year that Rhubarb was a book. So I learned even more about Buddies through Rhubarb then.
How did you get involved with Rhubarb?
For 2024’s Rhubarb I got to be involved because the model was a partnership with multiple organizations: Obsidian, SummerWorks, TO Love-in, and Buddies, and I was the planning committee member from Buddies. It was a great group of people, and so that was pretty easy to engage in conversations about it.
In the transitional period that 2023-2024, with ted starting as artistic director, and Clayton moving on from the Rhubarb Festival Director role in the summer, it was quite impressive that they had a fulsome festival come February 2024: a two week long festival with the perspective of all these different programmers, but still, at the end of the day, a Rhubarb Festival.
LUDMYLLA REIS ↘
You led the “coffee and conversation” initiative at the festival this year - what was that like?
That was a proposal of mine, considering that I was going to come for the festival from out of town, so I was going to be here for all of it. In many ways, we were coming— you know, we’re still kind of coming— out of a pandemic, and kind of losing spaces where we can just engage with people about a show that you saw. So I really wanted to have that, and I realized that as part of the committee, I could probably propose that and then probably do it.
And it was great! We had a lot of people at each weekend session. It was a lot of people’s first time coming to Buddies, or who were new to town entirely. So it provided a low-stakes time to show up and talk about the festival, and make connections.
How did that group programming experience inform your work as you stepped into the full Festival Director role yourself?
I remember that the call for Festival Director applications closed a few days after the festival closed itself, and I remember thinking to myself, “Okay, I’m gonna go to the festival. And then after the festival, I’ll decide if I want to commit to it.” It was going to be my first time being able to be at a Rhubarb. Because, you know, since I graduated, the pandemic had happened, and Rhubarb had pivoted to a book.
I think what made me say, “Okay, great, I will go for it”, was understanding a bit of what Rhubarb meant to the community, by experiencing it. It was in many ways, quite a privilege to understand a bit from a curator perspective: Being
at Rhubarb and understanding what it served. And to me, what it served was this space, this very specific space where you kind
NURTURING CREATIVE DEVELOPMENT
Whether it’s our residency program, Rhubarb, or the Emerging Creators Unit, supporting new works and emerging artists is a cornertsone of Buddies artistic endeavours.
Our 2024-25 ECU cohort was led by artist Stephen Jackman-Torkoff, and included isi bhakhomen, Byzmuth Ffrench,and Heddy Graterol.
Together, the group developed their three individual pieces throughout the season, culminating in a sold-out sharing at our Queer Pride Festival in June.
How did you first hear about and get involved at Buddies?
My first time here was Rhubarb 2020. I was eighteen years old, and my friend said, “Come to Buddies for this.” And I said, “What? There’s a queer theatre?” And after coming, all I wanted was to work here, but then the pandemic happened. And then in 2021, Buddies started hiring again for box office roles, and then I was the first hire back, which is pretty cool! I started December 16, and my first show was Chris Tsuijuchi’s Chris-terical Christmas Cabaret.
So I was working in hosting with some really cool hourly staff. That was really fun too,
especially as a young artist, just stepping into theatre spaces, having everyone that walks through the doors, whether it’s artists or curators or whoever, just be really sweet and nice. And I could ask questions, and they’d answer them, I’d be like, “Oh my God, what was that process like?” And they would tell me about it.
What compelled you to apply for the Emerging Creators Unit?
So my dream without capitalism is that I just get to make art all the time, and I get to curate spaces and really create an experience around the works. The ECU that year was being run by Stephen Jackman Torkoff. And I like Stephen’s work, because their practice is, like going into random parks and working on a piece that they’re trying to make, and really changing it to the scenery and just playing. And my work is based in playing around, devising, throwing things at the wall and watching them drip down, so I was just really excited to work with Stephen.
BYZMUTH FFRENCH ↘
And then also the piece that I was working on… I had created a piece called At the Dinner Table in a cohort of VUKA with Theatre Passe Muraille, and I like to make things in trilogies. And so this piece I made at ECU, Please Feel My Hair was supposed to sort of be the second portion of that trilogy.
What was the process like for you, and how did it affect your project?
Everyone’s craft was so different in that cohort. So, like, one human, Heddy, was a dance creative, and isi, a theatre creative (but more script-oriented, where I’m more tracking cues and moments). So it was really nice to be cocreating at the same time.
Also, ECU gives you money for a mentor or someone to help you along on the process. So I was able to pay my cousin to first teach me how to produce things music-wise, and then also help me produce five tracks for the piece. And then also, just opening my eyes to where I could potentially expand it in the future, and who I could bring on a team to help build it more.
What was it like presenting your project at Buddies Queer Pride Festival?
It was really special to have my art be a part of Buddies Pride. I’m very much involved through my job, but it was nice to have my creativity be the biggest part of it. And, for instance, my uncle was able to come to the showing. And he was the one that was driving me to all my rehearsals growing up. So it was really nice to have him in more of a more professional setting. And he was like, “Oh, my God, all that gas money paid off!” And he was a little nervous, because stairs are not the best for him right now, so the fact that Buddies is more accessible than some
other spaces, he was so happy to have come.
And all the laughter! It was really an ECU audience. There’s such a good blend of people that are there to support artists they know, and then people who are also creators in theatre. And that was really nice too, because I was able to share my piece with an audience that could understand and sit with the uncomfortable parts, while still laughing and engaged and everything. So that was, like, really cool to see, and the forgiveness of an ECU audience.
You’ve moved on from hosting staff, to hosting lead, and now experience coordinator. What has that journey been like, and do you feel the ECU affected its course?
As an hourly box office attendant, the stakes in the building were not that big, because I would sell people tickets when they go, without much understanding of the back end operations of the theatre. And when I became hosting lead, that expanded so much, and that was also the same timeline as me getting into the ECU. And I think I also had a bit of imposter syndrome, because there was just so much change and growth in one period of my life journey.
And so ECU definitely helped with getting more grounded in the way I create, then it manifested in understanding that, “Okay, I’m going to try something, I’m going to learn something, and make a mistake and a change, and then it’s gonna work out at the end of the day.” And that’s definitely led to how I program and curate events. But then also, taking time to plan out the process for that experimentation has definitely come from how I learned to create in the ECU. I think the way Stephen teaches is so experience-driven and it’s so rooted in the world-building of it all. And I think that’s what I mean when I say that I want to build an experience when people come see things— it’s like, I want them to feel like they’re entering into a world, or like a little storybook for a night and then going home to whatever storybook they live in.
Any last thoughts on the ECU? Yeah, it’s so fun! It’s so fun because there aren’t many spaces in Toronto that you get to just be queer and try things with, truthfully, no stakes. Like, I think the only stakes are the ones that you’re holding yourself to. I think that’s why I enjoyed the space so much, because you could just fool around, play the fool, be silly, and do whatever you want, and it’s perfectly acceptable.
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JANUARY
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A Pencil Kit Productions and Buddies production, with the support of Charles Street Video
WHITE MUSCLE DADDY
BY
CO-DIRECTED
MARCH 20-31, 2024
A Pencil Kit Productions and Buddies production, with the support of Charles Street Video
WHITE MUSCLE DADDY
CO-DIRECTED BY RAF ANTONIO AND TRICIA HAGORILES
MARCH 20-31, 2024
The Company
Artistic Director TED WITZEL
Artistic Associate ERUM KHAN
Interim Director of Operations
KRISTINA LEMIEUX
Technical Director CONRAD MCLAREN
Production Manager REBECCA VANDEVELDE
Producer
AIDAN MORISHITAMIKI
Sales + Operations Manager
JAKE RAMOS
Facility Manager PAUL THERRIEN
Tallulah’s Cabaret Manager AL THOMAS-HALL
Marketing Associate NATASHA RAMONDINO
Fundraising + Events Associate
CHASE HIEBERT
Rentals Coordinator
KATHERINE TEEDARTHUR
Emerging Creators Unit Director
STEPHEN JACKMANTORKOFF
Youth/Elders
Programming Coordinators
LEZLIE LEE KAM + USMAN KHAN
Community + Educational Programming Producer
JACOB LIN 林鴻恩
Hosting Leads
BYZMUTH FFRENCH, MASON MCDONALD, SASKIA MULLER
Hosting Team
IFETAYO ALABI, BRAWK HESSEL, DIVINE MARKSOWUSU, ASHER
ROSE, SARAH ROWE, MAIREAD STEWART, DANNY SYLVAN
Head of Security
AIDAN McKENDRICK
Bar Personnel
RICHARD BELL, CHARLEE BOYES, DANIEL HOANG, VISHMAYAA
JEYAMOORTHY, RONNIE LÉGÈRE, DANIEL ROJAS, ASHER, TY SLOANE
Residency Program Artists
ZAIBA BAIG
CELIA GREEN
JULIE PHAN 潘家雯
HEATH V. SALAZAR
Board of Directors
ALEXANDER HUTCHISON, MICHAEL MAN, ANU RADHA VERMA
Season illustrations
Mitch Duncan
Season graphic design Awake Studio
Photography credits Jeremy Mimnagh (mainstage productions unless otherwise noted), Henry Chan (Rhubarb + Emerging Creators Unit), Nathan Nash (Angels in America), Shane D’Costa (45th Birthday Party]
