David Yee is a mixed race (half Chinese, half Scottish) playwright and actor, born and raised in Toronto. He is the co-founding Artistic Director of fu-GEN Theatre Company, Canada’s premiere professional Asian Canadian theatre company. A Dora Mavor Moore Award nominated actor and playwright, his work has been produced internationally and at home. He is a two-time Governor General’s Literary Award nominee for his plays lady in the red dress and carried away on the crest of a wave, which won the award in 2015 along with the Carol Bolt Award in 2013. Yee has been in residence at Tarragon Theatre, Factory Theatre, the Stratford Festival, Cahoots Theatre and often works with theatre training institutions (NTS, U of T, TMU) to create new works for graduating cohorts using his unique Bespoke method of play creation. He currently teaches playwriting at the University of Toronto, and has worked extensively in the Asian Canadian community as an artist and an advocate.

“The art I have always pursued offers no simple answers. Rather, it compels us to ask better questions. It chases what is essential about our experience, what is urgent, what is honest.” – David Yee

Born in Egypt, where she spent her childhood, Maryse arrived in Montreal at the age of 9½, where she learned English by watching “Happy Days”. In 1991, Pierre Bernard, the director of Quat’Sous, not content with simply making her his assistant, also offered her the opportunity to undertake her first translation, Traces d’étoiles (Brilliant Traces) by Cindy Lou Johnson. The play was such a success that it marked the beginning of an unexpected career.  Since then, she has completed over 75 translations. Her work has helped introduce the French-speaking Quebec public to numerous Canadian authors, such as Daniel Brooks, Kate Hennig, Daniel MacIvor, John Mighton, Morris Panych, Erin Shields, and George F. Walker. She has also translated American, British, Scottish, and Irish authors: Christopher Durang, Margaret Edson, David Greig, David Hare, David Mamet, Douglas Maxwell, Harold Pinter, Philip Ridley, and Simon Stephens.

Her work on George F. Walker’s Motel de passage (Suburban Motel) series received the Masque Award for Translation in 2000 and was shortlisted for a Governor General’s Award, but it was her translation of Greg MacArthur’s Toxique ou L’incident dans l’autobus (The Toxic Bus Incident) that earned her this honor in 2011.

Many of her translations have been published—L’Homme laid (Boréal), the Motel de passage series (vlb éditeur), Bye Bye Baby (L’instant scène), Traces d’étoiles (Lux), Toxique (Dramaturges éditeurs)—or adapted for the screen by noted directors such as Claude Desrosiers (Traces d’étoiles) and Louis Bélanger (Le Génie du crime).

In 2026, audiences will be able to see her translations of Joan Yago’s “À partir de là” at La Licorne and David Lindsay-Abaire’s Parachute libre at the Rideau Vert.

Trained as an actor at the Conservatoire d’art dramatique de Montréal, Catherine Vidal has devoted herself to directing since 2009, the year she staged Agota Kristof’s Le grand cahier, a hit with critics and audiences alike. With a passion for both major works of contemporary world theater and fresh interpretations of the classical repertoire, she received the 2012–2013 AQCT Award for Best Direction in Montreal for David Harrower’s Des couteaux dans les poules and the 2018–2019 AQCT Award for Best Production for Stefano Massini’s Chapitres de la chute, which she co-directed with Marc Beaupré. She recently directed Anton Chekhov’s The Seagull, in an adaptation by Guillaume Corbeil. In 2016, she was the second recipient of the Jean-Pierre Ronfard Fellowship, and in 2020, the first winner of the Jovette-Marchessault Award. Catherine Vidal has been co-artistic and executive director of the Théâtre de Quat’Sous since September 2023.

Over the years, Mikhaïl has taken on numerous roles on television. We’ve seen him in 19-2, Au secours de Béatrice, Les jeunes loups, Mémoires Vives, Prémonitions, En tous cas, Ruptures, Jérémie Une autre histoire, Sans Rendez-vous, C’est pour ça que je t’aime II, and Détective Surprenant. Since 2022, he has been a regular cast member on Indéfendable I-II, airing daily on TVA. On the big screen, in 2013 he landed the title role in Alain Chartrand’s film La maison du pêcheur*. In 2015, he played the role of Alexis in Guy Édoin’s feature film *Ville-Marie. He was also part of the cast of The 20th Century (Matthew Rankin), Fabuleuses (Mélanie Charbonneau), and, in 2024, Au revoir Pluton (directed by Sarianne Cormier). In addition, Mikhaïl has appeared in many theater productions, including La Divine Illusion (TNM), Romeo and Juliet (TNM), Death of a Salesman (Théâtre du Rideau Vert), Perplexe (Licorne), and Coriolanus (TNM). 

A graduate of UQAM’s École supérieure de théâtre, Chloé Barshee has gained extensive stage experience. She is a co-founder of the Collectif Grande Surface, with whom she presented the original production Et quand vient le silence at Théâtre La Chapelle in 2015. Chloé is also a co-founder of the Théâtre Everest company and the creator of the play Bâtardes, which premiered at MAI (Montréal, arts interculturels) in 2018 and was subsequently revived for a tour of cultural centers across Quebec, as well as at the Rencontre Théâtre Ados and finally at Toronto’s Théâtre Passe Muraille in 2022. She played Adsila in the Molière, Shakespeare, and Me in 2017, presented at the Théâtre du Rideau Vert. Her talent earned her the role of La Muse in the new production Nous serons éternels, which premiered in April 2019 at Théâtre Lachapelle. She also took part in the new production Le vent va tourner, presented on the Magdalen Islands in the summer of 2019. In 2020, she appeared in the theater productions Guide d’éducation sexuelle pour le nouveau millénaire (Théâtre Denise-Pelletier) and Splendide jeunesse (Théâtre aux Écuries). We also saw her in another new production, L’amour au 21ème siècle (based on WikiHow), presented at the Théâtre Lachapelle in 2022. Recently, she took the stage in the Yukon with Dernière Frontière, the latest production by Théâtre Everest, followed shortly by Sportriarcat at Espace Libre in March 2023. She has appeared on television in the series Nous, Le Bonheur, Alertes-IV, Un Gars Une Fille, Avant le Crash 3, and Dérive. In 2024, Chloé landed her first recurring role on the series Les Lutins magnifiques. In 2025,  Chloé was seen in the feature film Juste Xavier.

Since graduating from the Conservatoire d’art dramatique de Montréal in 2020, Inès Su-lin Defossé—who is fully bilingual—has built a rich career in both theater and film.  On stage, her notably leading roles include Sexual Misconduct of the Middle Classes (Centaur Theatre) and Contre toi (Duceppe). She is currently writing her first play, which explores the close bond between a mother and her daughter and their Chinese-Malaysian roots. On television, she landed the role of Zoé in Sans rendez-vous (ICI Télé), then joined the casts of District 31, Doute raisonnable, Après le déluge, Gâtées pourries, À deux doigts, and Les Armes, among others.  In film, she has notably collaborated with Chloé Robichaud, Sophie Deraspe, Vincent Bonin-Arena, Corbin Joss, Édith Jorisch, Katia Shannon, and Malindi Kindrachuk. She also works in dubbing and voice-over.

https://www.agencegoodwin.com/artistes/ines-defosse

Born in Seoul and raised in Montreal, Seung-Hun moves effortlessly between languages and cultures, driven by a sensitive perspective and a keen curiosity. A former reservist in the Canadian Armed Forces, he combines physical discipline and artistic commitment with rare intensity. A 2025 graduate of the National Theater School of Canada, he made his professional debut in theater (at the Jamais Lu Festival, in Objets précieux in 2026, and in Le Département de la mort at Théâtre Quat’Sous in 2027) as well as on screen (in De plein fouet and Méchant numéro). Trilingual, daring, and deeply committed, he shapes each character with precision and poetry, striving to move, stir, and foster dialogue between worlds.

I was born in Seoul, grew up in Rosemère, and now live in Montreal. I work as an actor, writer, director, and improviser. M’entends-tu?, Empathie, Les Mutants, Fredy, L’opéra de Quat’Sous, Chlore, Sylvie aime Maurice, Je viendrai moins souvent, Premières fois, la LIM, Qu’est-ce qu’on a fait au bon Dieu?

Victor Andres Trelles Turgeon is a graduate of the National Theatre School of Canada. He has made a name for himself in film (Henri Henri, Le Torrent, Jouliks, 1+1+1, Sapins), television (Salmigondis, Victor Lessard, M’entends-tu?, Les Bracelets Rouges, STAT, Bon matin Chuck, Détective Surprenant), and English-language productions (Quantico, Blood and Treasure, Bellevue). He will soon appear in Emprises (Duo, 2024) and Les Armes (Aetios, 2024–2025). On stage, he has stood out in productions such as Fredy, Amuleto, and Éclats et autres libertés. A multiple award nominee (including at the Gémeaux Awards and Québec Cinema Gala), he continues to pursue a thoughtful and committed artistic journey.

A 2007 graduate of the Conservatoire d’art dramatique de Montréal, Cynthia has enjoyed a prolific career in television, film, and theater. She has appeared in numerous series, including Trauma, Mémoires vives, Plan B, Classé secret, and Bête noire. She particularly stood out in District 31, where she played Da-Xia Bernard throughout the series’ seven seasons—a role that earned her a Gémeaux Award nomination in 2018. On stage, she has excelled in several productions, notably Consentement, Top Girls, Janette, Yukonstyle, and Le projet Polytechnique, in addition to exploring the world of puppetry with Alice in Wonderland. On the big screen, she played Jade Bossé in L’Empire Bo$$é and Julie in L’Origine des espèces. Her performance in the latter film earned her a nomination at the 2017 Gala Québec Cinéma in the Best Supporting Actress category.

After graduating with a degree in production from the École de théâtre de Saint-Hyacinthe in 2016, Étienne Marquis has since built a versatile career in Montreal’s theater scene. He has collaborated with Théâtre de la Marée Haute, Espace Libre, Théâtre à l’eau froide, and the Centre du Théâtre d’Aujourd’hui, among others. At the same time, he has been involved in numerous productions as technical director, production manager, and lighting designer. Since 2025, he has served as technical director at Théâtre de 4’SOUS.