Annick Lefebvre (elle) holds a degree in playwriting and theatre critique from UQAM (2004). She is the founder of Le Crachoir, a company dedicated to placing the author, female or not, at the centre of the creation-production-performance process. She has written several plays, including Ce samedi il pleuvait (shortlisted for the 2013 Michel-Tremblay Award); La machine à révolte (shortlisted for the 2015 Louise-LaHaie Award); J’accuse (shortlisted for the 2015 Michel-Tremblay Award, the 2015 Critics’ Choice Award from the Association québécoise des critiques de théâtre [AQCT] and the 2015 Governor General’s Literary Award); Les barbelés (shortlisted for the 2019 Critics’ Choice Award from the AQCT); ColoniséEs (winner of the 2019 Michel-Tremblay Award and shortlisted for the Governor General’s Literary Award); and several short scripts for collective events. She adapted J’accuse twice, once for a production in Belgium, and once for a French production. Annick Lefebvre was chosen as protégée by playwright Olivier Choinière, laureate of the 2014 Siminovitch Prize. Her plays are published by Dramaturges Éditeurs.

Johanna Nutter (she, euro-settler, multidisciplinary artist) developed her passion for translation through acting: being one of few bilingual theatre artists, she played leading roles at Centaur and La Licorne. Johanna is known for her solo play my pregnant brother/mon frère est enceinte, which she translated during a residency in Tadoussac, accompanied by Linda Gaboriau. The show toured across Canada and Quebec in both languages, and to the UK and Belgium. Subsequently, she translated the works of Annick Lefebvre (Barbed Wire), Guillaume Corbeil (You’ll Go Looking for Her), and Florence Longpré & Nicolas Michon’s ballet-theatre hybrid CHLORINE, which she also produced and directed at Centaur, with her company creature/creature. www.creature/creature.org

Selected theatre credits: Educating Rita, Watermark Theatre; Piaf/Dietrich, Mirvish Productions; Les Misérables, Artsclub; Sweeney Todd, Pride and Prejudice, Citadel Theatre; A Misfortune, Next Stage; Pélagie, Canadian Stage.

Alexandra Laferrière (she/ her) is a Montreal actor. She is a graduate of John Abbott College’s Professional Theatre Acting Program and participated in Black Theatre Workshop’s Artist Mentorship Program, receiving guidance and support from established local artists. During her mentorship, she performed in Black Theatre Workshop’s critically acclaimed production Gas Girls, her professional debut. She played Miranda in the Montreal Fringe show Miranda and Dave Begin Again, the winner of Segal Centre’s Award For Most Promising English Theatre Company. She received her first META nomination for her role as Vanessa in Black Theatre Workshop’s Simone Half & Half. Select credits include: Camille: The Story (Au-delà du visuel), Virginia Wolf (Geordie Theatre), The West Woods (Mulgrave Road Theatre, NS).

Bobby Theodore (he/ him) is a scriptwriter, dramaturg, and translator. After graduating from the National Theatre School of Canada’s playwriting section in 1998, he was a Governor General Award finalist in 2000 for his translation of 15 Seconds by François Archambault. Since then, Bobby has gone on to translate over 35 plays from French to English and has received 2 Betty Mitchell Awards (with François Archambault) for Outstanding New Play. For the stage, he co[1]created 300 Tapes (with Ame Henderson), which premiered at the Theatre Centre in Toronto and at Alberta Theatre Projects in Calgary. His most recent projects include a translation of Paradise in Flames by François Archambault, a transadaptation of Public Enemy by Olivier Choinière (published by Playwrights Canada Press, produced by Canadian Stage), and working as content developer and scriptwriter on the new visitor experience for Province House in PEI.  Currently, Bobby is working two passion projects: a translation of Olivier Choinière’s La dernière cassette, a moving portrait of a once renowned and respected director AB, aka André Brassard, which draws inspiration from Beckett’s Krapp’s Last Tape; and he is co-writing (with playwright JC Niala) The Importance of Being Oscar Wilde’s Valet, a counterfactual exploration of Wilde’s relationship with Stephen Stephens, a Black minstrel performer he hired as his valet while touring the US.