Sue Balint is an independent arts manager who currently collaborates with selfconscious, Aluna Theatre, Modern Times Stage Company, SummerWorks, and princess productions. Recent work includes producing SummerWorks’ innaugural Progress and Aluna Theatre/Modern Times’ co-production of Blood Wedding (Bodas de Sangre) (six Dora awards). Sue is a founding ensemble member of Theatrefront, and served as Producer for their Dora award-winning play cycle, The Mill (Parts 1-4). She also previously worked with visual artist/architect Philip Beesley, managing development and communications for his studio’s domestic and international installations. Sue’s work as a playwright/dramaturge includes fforward (two Dora nominations) and RETURN: The Sarajevo Project (five Dora nominations), both with Theatrefront. Other collaborations include DNA Theatre (The Large Glass), The Theatre Centre (Body Geometry: The Seventh Angel), Goossun Art-illery (HamletZar) and R. Murray Schaffer’s Patria Music Projects (Asterion). Sue holds degrees in Theatre and Religion (Queen’s University) and Journalism (King’s College).

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A graduate of the National Theatre School of Canada, Natasha is a writer, director and actress.

Natasha played Anne Frank in Montreal (Segal Centre) and Hamilton (Theatre Aquarius), she had a recurring role on the Canadian television show Bomb Girls, and she won a Dora Award for Get Yourself Home Skyler James (Roseneath Theatre). Natasha produced her first full length play, The Peace Maker, as part of the 2013 Next Stage Festival. Natasha directed This Is Your Script, a collective creation for Paprika Festival for youth between the ages of 17 and 21 and directed Cowboy Mouth, by Sam Shepard and Patti Smith, as part of The Playwright Project in May, 2013. She was the assistant director for the Montreal debut production of the Governor General Award winning play, If We Were Birds with director Micheline Chevrier. Natasha is a co-creator and associate director for self concious theatre’s mothermothermother... Upcoming: Natasha is excited to assistant direct the world premiere of the stage adaptation of Beatrice and Virgil, directed by Sarah Stanley. She is currently writing, producing and starring in a web series called Flush about intimacy and vulnerability set only in bathrooms.

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Judith Snow (October 29, 1949 – May 31, 2015) was a social inventor and an advocate for inclusion communities that welcome the participation of a wide diversity of people. She was also a visual artist and Founding Director of Laser Eagles, an organization making creative activity available through personal assistance to artists with diverse ability,

Judith consulted and did workshops on peace and inclusion, person centered planning, personal assistance, support circle building, family support and inclusive education. Her goal was to foster an understanding of how people with disabilities can be full participants in communities everywhere.

Judith did this work out of a background of being labelled disabled herself. Among other experiences she lived in a chronic care environment for four years. With the assistance of a strong support circle, the Joshua Committee, she was able to lobby the Ontario Government to pay directly for her attendant care. She is the first person in Canada to receive money for this support that goes with her and is not controlled by an agency or institution. This means Judith’s star can shine everywhere!

More about Judith Snow’s work can be discovered at World Peace through Inclusive Transformation,, her personal blog,, and her stories blog – Ahh, but that’s another story…,

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Selfconscious is a performance company that was established in 2008 as a merger between two separate theatre companies: Die in Debt and Absit Omen Theatre. It began because Sarah Garton Stanley and Michael Rubenfeld really liked spending time with each other and making work together. They also both share the belief that other people and being alive are both very confusing. They think that this is probably why they get along so well and also why they both remain interested in using the theatre as a place to explore how hard it is to do and be the things they most want to do and be. But they also believe that it is possible. So they keep trying.

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Michael is a performance maker originally from Winnipeg and now residing in Toronto. He is a Dora Award-nominated performer and playwright and has worked on stages across the country and in parts of the United States. In 2002 he launch the Absit Omen Playwrights’ Unit with Hannah Moscovitch, which was a bi-monthly space for writers to explore new work. Two years later, they launched Absit Omen Theatre, where they produced a number of new works including Essay, The Russian Play and Mexico City (Moscovitch) and Present Tense, Spain and My Fellow Creatures (Rubenfeld). The company was collectively nominated for over 10 Dora-Mavor Moore Awards, including


Sarah is a Montreal original now living between Ottawa, Kingston and beyond. She founded her first theatre company, The Baby Grand, in Kingston, in 1985 and went on from there to co-create Women Making Scenes, in Montreal and Die in Debt in Toronto, (a company that became synonymous with groundbreaking, large canvas site-specific work.) Sarah is a founder of The Harold Awards in Toronto and became the first and only female Artistic Director of Buddies in Bad Times Theatre. She was the Associate Director at The Factory Theatre and the inaugural Associate Artist at The Magnetic North Theatre Festival. Sarah has been nominated or won several awards including

Our work revolves around ourselves.  Literally.  We are the protagonists and our personal stories are the entry point into how we explore narrative. We use the theatre as a space to be the artistic detectives in our own lives.  We believe that through the very specific, sincere, rigorous and imaginative telling of our own stories, we can help lead ourselves and subsequently our audiences towards new understandings and transformational possibilities. We are also very interested in other people’s stories and how they intersect with and inform our own. To satiate this interest, we often work with non-traditional performers who help us explore the theatrical proposal that the theatre is a place to start conversations but not finish them. It is also a reminder that we are all in this thing together.  We are interested in how hard things are to comprehend and use ourselves as lab-rats in the hopes that we can make things a bit better for everyone.
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