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50th Anniversary Season

MICHAEL: This is a landmark year—the Belfry’s 50th. And, of course, it’s also my final season as Artistic Director. It seemed to make sense: stay for the 50th, then hand the reins to someone else.

ISAAC: You've seen so many changes during your 18 years here. The past four years alone have brought huge changes.

MICHAEL: Yes! And whenever there are major societal or cultural changes, the arts need to remain flexible—to allow themselves to adapt, and grow.

ISAAC: True. If arts organizations don’t respond to change, they can so quickly become irrelevant.

MICHAEL: And what's so gratifying is that our audiences have stayed with us as we’ve adjusted to changes. Someone recently asked me what the Artistic Director’s job is. I said, “To take a journey with the audience.”

ISAAC: What I love about the work, and about this theatre and its role in Victoria, is that the art is accessible to everyone. The decision by Ivan, and you, and Ian in Box Office, to adopt the Pay What You Want ticketing model, was such a positive way of inviting audiences back after COVID. Our decision to maintain that policy was a risky one—but it’s paid off. And it signals that we see the state of the world, we recognize the role of art, and we believe in everyone's right to participate.

MICHAEL: Pay What You Want is also about community.

“Paying It Forward” is such a significant gesture—members of our community paying a little bit more, making it possible for others to attend.

ISAAC: It also indicates that people believe the work is good and has value.

MICHAEL: The audience’s appreciation of (most of) the plays we do—makes it possible for us to do the kinds of plays we do! That's the real Belfry magic! We're able to do plays that other theatres might shy away from. And that's thanks to years of good theatre at the Belfry—long before either of us. The loyalty our audiences feel is due to the content of the work—the stories, the ideas. The journey!

ISAAC: I did a lot of research on the Belfry before I arrived, but what you’re talking about—that's not something anyone could truly know until they’ve experienced it. Even then, I couldn't feel it, or understand it, until I’d been here for a good two years. What the Belfry means to people who’ve been coming here for 35, 45, 50 years—to the volunteers, to the donors... to the community! You can’t manufacture that—it has to be built year by year, and play by play.

MICHAEL: Yes! Plus, the building itself is so beloved! The Belfry as a place—what it stands for—its “ethos”—its plucky spirit—its courage—that dates back at least as far as Glynis’s time. There’s such a special feeling in this theatre—it's tangible!. And I am just so f***ing glad that I haven't broken it! I mean that!—seriously!

ISAAC: There’s still time! But yes, it is a special place. Magical. A landmark. Perfect. (Well...not quite perfect! The roof needs to be repaired, and the exterior needs to be painted! but nonetheless...) Here’s to the Belfry’s 50th season!

MICHAEL: Cheers!

Photo by Jo-Ann Richards, Works Photography

Michael Shamata Isaac Thomas ARTISTIC DIRECTOR EXECUTIVE DIRECTOR

The Belfry Theatre is on the land of the People, known today as the Songhees and Kosapsum Nations. The people have been keepers of this land for millennia and we offer our respect and gratitude for our presence on this territory.

A comedy that spears the farcelike machinations of politics

“theatrical, entertaining…insightful and funny” Calgary Herald

“genuinely moving, sincerely funny” —Globe & Mail

“funny, literate and highly entertaining” —Macleans Magazine

December 13, 1979: the day of the parliamentary vote on Joe Clark’s austerity budget. The vote is almost certain to bring down his government. A parade of politicians, including Pierre Trudeau, John Crosbie, and Flora Macdonald—try to offer advice— but honest hapless Joe is determined to stick to his principles—even if it means triggering an election he’s bound to lose.

WHY I CHOSE THIS PLAY

This is an hilarious look at ethics in politics—a worthy discussion—especially at this particular time—! It’s a play about Canadian politics and Canadian values. I love that Joe Clark refuses to compromise his morals, even if it means he’s doomed to fail. It’s a character trait worth celebrating. It also makes politics hilariously funny—and that’s another valuable quality right now! —Michael Shamata

BY MICHAEL HEALEY

Directed by Glynis Leyshon

A one-woman show about taking a big bite out of life.

“Writing this play was not an intellectual exercise. This play truly came from my heart, and my mom’s heart.”

Mieko Ouchi

This is the story of Mieko Ouchi’s mother, Dorothy, and the pilgrimage she makes after the unexpected death of her husband. To the surprise—and distress—of her children, she announces that she wants to take the 26-foot-long RV that she and her husband purchased for a retirement tour, and drive to the Burning Man Festival in the middle of the desert. It turns out to be an odyssey of self-discovery.

WHY I CHOSE THIS PLAY

This is a play about letting go—of expectations, of fear, of grief—and reimagining your life. Far from my preconceptions, the Burning Man Festival is all about love and community. I am moved by the way in which Dorothy is embraced by other attendees—whatever their age or inclination. The love she receives—and gives—moves me deeply. —MS

MIEKO OUCHI

Directed by Mieko Ouchi

DECEMBER 2—21, 2025

BONUS PRODUCTION

As Ebenezer Scrooge, faded theatrical diva Esmé Massengill slinks, sulks, and slanders her co-stars in this campy and salaciously funny version of the classic story.

“risqué and riotously hilarious” —Toronto Star

“I was completely won over” —Globe & Mail “Burkett is a legend of Canadian Theatre… a total force” —Intermission Magazine

This holiday season we welcome back Ronnie Burkett, the winner of more awards than can be listed here— including the Governor General’s Award for Lifetime Achievement in the Arts.

It’s an R-rated affair, strictly for audiences 16 and older.

WHY I CHOSE THIS PLAY

Ronnie Burkett is one-of-a-kind—a national treasure. He mesmerizes and amazes me every time I see his work—! As a Christmas Carol aficionado—this is a version I could never have imagined—it’s wild and out-of-control. Half the fun is watching Ronnie work his magic, the other half is enjoying the shock of this irreverent, lascivious circus—! —MS

RONNIE BURKETT THEATRE OF MARIONETTES

THE DAISY THEATRE PRESENTS A CHRISTMAS CAROL

Simple and theatrical storytelling—two “brothers” confronting the chasm between them.

“a gift for all lovers of theatre” —Stage Door

“powerful and moving” —Toronto Star

“lovely, simple…touchingly told” —Globe & Mail

Childhood friends Kwame and Will reunite in Ghana for the funeral of a loved one, and discover how much has changed since they separated 25 years earlier. Telling their story in a beautiful combination of dialogue and movement, the play is both fiercely personal and curiously abstract. It’s a meditation on grief and diaspora, starring playwrights M’Carthy and Cook.

WHY I CHOSE THIS PLAY

I was won over by not only the play, but also this production. It has emotional depth, powerful performances, and uses movement to tell the story in a way that we have rarely seen at the Belfry. It’s a story, simply told, of an easy friendship that has somehow gone wrong, and explores the meaning of brotherhood, the power of time, and the weight of the past. —MS

FEBRUARY 3—MARCH 1, 2026

CREATED BY TAWIAH M’CARTHY AND BRAD COOK WITH ANNE-MARIE DONOVAN

Directed by Philip Akin

MARCH 10 - 14

Benevolence

Created, Performed and Directed by Kevin Matthew Wong

Like many Canadians, Kevin has always wondered about his roots. Kevin is Hakka (客家 )…he thinks. Hakka (“guest people”) are a branch of Han Chinese, who have continuously migrated.

Out of the blue, he gets a phone call asking him to write a play about Hakka identity. His fact-finding mission leads him to Victoria and the Tam Kung Temple, Canada’s oldest Chinese Temple.

From creator and performer Kevin Matthew Wong comes a charming and intimate story that transforms into a layered Chinese Canadian tale spanning continents, migrations, and generations.

“...technically masterful and emotionally resonant.”

—Intermission Magazine

“Hilarious play that leaves plenty to ponder.”

—Next Magazine

“...an entertaining and informative autobiographical solo show about...Wong’s journey to discovering his roots.”

Stage Door

Our annual SPARK Festival will feature play readings, works-in-progress, and countless other goodies that will be announced in the new year.

MARCH 10 - 22

Big Stuff

Written and Created by Matt Baram and Naomi Snieckus

Co-Created and Directed by Kat Sandler

Starring Matt Baram and Naomi Snieckus

Comedy duo—and married couple—Matt Baram and Naomi Snieckus invite you to join them as they explore Big Stuff. With their unique style of humour, honed at Second City and in comedy clubs around the world, they debate the emotional power of everyday objects.

She wants to keep everything. He wants to throw it all away! Is she a pack rat? Is he a monster? And what about you—? Do you have “things” you just can’t part with—?

★ ★ ★ ★ ★ “Don’t miss it! If there’s any justice in this world, it will tour the country, continent — and world.”

Glenn Sumi (Critic’s Pick)

“Baram and Snieckus are as much fun as you can have without taking your clothes off”. —Toronto Star

AUDIENCE ADVISORY

This production contains one or two uses of strong language and examines mature themes, including sexual innuendo. And loss… so that’ll be fun! Matt and Naomi gently interact with audience members from time to time. Recommended for ages 14+.

As human and as funny as life—and just as fragile.

“deeply moving…also very funny”

—Toronto Star

“emotionally powerful”

—Globe & Mail

“extraordinary”

—Intermission Magazine

“Casey” is Casey House in Toronto—Canada’s first hospice for men dying of AIDS. “Diana” is Princess Diana—who visited Casey House in 1991—and changed the world’s attitude towards the disease. Thomas has spent five months in Casey House waiting to die. Now he’s hoping he’ll live long enough to meet the Princess he idolizes.

WHY I CHOSE THIS PLAY

As a gay man, I lived through this horrific time— so much fear and so little information. We heard stories of hospital staff too frightened to deliver meals to AIDS patients (which was actually the impetus behind the founding of Casey House). Thomas in this play reminds me of so many men who contracted this disease, facing death with a mixture of anger and sadness—and a helluva lot of snap and flair—! MS

BY NICK GREEN

Directed by Michael Shamata

Season Tickets

Once again, we are offering three price options. Whichever price you choose, your subscription includes a ticket to each of our four Mainstage productions.

REGULAR

($138 PER PERSON)

Our standard subscription price.

PAY IT FORWARD

($178 PER PERSON)

For those patrons who wish to help offset the cost of offering pay-what-you-can tickets this season; the Belfry invites you to choose the Pay It Forward option and open the door for others.

PAY-WHAT-YOU-CAN

For those who are not in a financial position to afford the regular subscription price, the Belfry is pleased to be able to offer this Pay What You Can option. While we suggest $98.00 (per person), we will accept any amount affordable for your circumstances.

FEES AND TAXES

A $4.00 order fee & 5% GST will be added to each subscription, regardless of the price you choose to pay. Order fees go toward the Belfry Futures Fund, which supports capital improvements and ongoing stability.

SINGLE TICKETS

Single tickets for all our productions are offered with PayWhat-You-Can and Pay-What-You-Want price options and will go on sale mid-August.

TICKET EXCHANGES

Tickets may be exchanged for another performance (within the current season’s Mainstage series / subject to availability) provided they are being held at the Box Office or returned to us prior to the performance for which they were issued.

Audience Engagement

B4PLAY (IN-PERSON + ONLINE)

Our live talk show hosted by CBC Radio’s Gregor Craigie and featuring artists from the upcoming show, along with experts from the community, has been designed to provide insight into each Mainstage production.

Each event is held the Saturday before Opening, is free to attend, live-streamed on Facebook, and is available as a podcast on our website.

TALKBACK THURSDAY

Following the third Thursday performance of each show, actors return to the stage to answer your questions and provide insight into the play you have just experienced. These Q & A sessions last approximately 20 minutes.

VOCALEYE

For patrons with low or no vision, we offer one VocalEye performance during most Mainstage productions. Trained Audio Describers provide descriptions of the visual elements of the show, allowing people with low vision to enjoy the theatrical experience without missing any of the details. Touch tours are available following the performance. More information at the Box Office -250-385-6815.

SCRIPT LIBRARY & READING COPIES

You’re welcome to visit our lobby (during normal business hours), curl up on the green couch* and read a copy of the scripts from our current season, or delve into our extensive collection of Canadian scripts.

*If we are in rehearsals, we can’t guarantee the green couch.

AUDIENCE ADVISORIES

The Belfry is a contemporary theatre for an adult audience. Our plays may contain strong language and mature content. If you have any concerns before or when you book your tickets, please speak to our Box Office. Reading copies of the scripts are available through the Box Office.