The creators invite you to forego investigating the identities of the performers. The goblins are The Goblins Allow the play and the text to wash over you in new ways
If you really must know who's who, please wait until after the performance to search out this information hidden within the pages of the program.
LAND ACKNOWLEDGEMENT
Montreal is an incredible place in which to have the privilege to make theatre. It has such a rich and unique story of its own.
Long before Cartier sailed up the St. Lawrence and encountered a nation of Iroquoian people in a place called Hochelaga, the island that the European settlers chose to call Montreal had been a point of conflict, conference, creativity and exchange since time immemorial for many Indigenous peoples including the Haudenosaunee, Anishinaabeg, Huron-Wendat, and Abénaki Nations. The people of the Kanienkéha:ka Nation known in English as the Mohawk are now considered the caretakers of the unceded land and water around Montreal. In their language, this island bears the name of Tiohtià:ke, which means “broken in two,” because of the way the river breaks around it.
It is striking how the Kanienkéha language identifies the island as part of the river because it reminds us that we are all in the flow of a much larger story. This mighty river has for centuries carried people here from all over the world in search of new opportunities and new lives, and the Lachine Rapids that sit just off the western tip of this island have given pause to many of those journeys. The river has made contemporary Montreal into a vibrantly diverse city. We find that diversity inspiring because it is by telling each other our stories that we build bridges between our different cultures and languages.
Centaur Theatre
WELCOME
When Rebecca Northan came to Centaur in 2019 with her brilliant improvisational theatre romance Blind Date, I discovered the power of a kind of performance that upends our expectations of what happens when you come to see a play. Every night’s audience was equally enthralled – especially the volunteer who was chosen to go on the blind date with Rebecca in front of the rest of the crowd! Audience reactions made it clear that we needed to bring this incredible improviser and her company Spontaneous Theatre back to Montreal as soon as we could. Now eight years later, we are so happy to be welcoming her thrilling new exploration of one of the world’s greatest plays. I saw the production last year in Toronto and was swept away by the way the Goblins unlock new meaning from the rise and fall of the power-hungry Macbeth and his seductive and conniving wife. As this cast of Tolkienesque tricksters explore the foibles of humanity through the murderous machinations of these notorious Scots, I am reminded of the true power of theatre to suspend our disbelief and allow us to look at the world from a new perspective. There will be blood (at least the theatrical kind) and some fun audience participation, so I encourage you to settle in for an exhilarating night at the theatre in the very capable hands of Kragva, Wug, and Moog, and let the magic sweep you away.
Eda Holmes Artistic and Executive Director
A NOTE FROM THE PRODUCER
There are certain Shakespeare plays which seem to provoke an immediate question when revealed as part of a theatre’s season announcement. Hamlet, Richard III, King Lear and Macbeth are immediately met with, “Who’s playing ‘X’?”, as though the potential of the production might be pre-judged by the casting of the lead role. What if we didn’t know who was playing Macbeth? Or what human was inhabiting any role, for that matter? If we could effectively remove, conceal, or obscure the persona of the actor, could we shift the spotlight from player back to text?
The idea of Goblins doing Shakespeare seemed obvious to me. I have a profound love of words, as well as a background in mask work, improvisation and misbehaviour. The older I get, the weirder I like my theatre. As the notion for Goblin:Macbeth was gestating, I began making discreet inquiries with artist-friends. I was consistently met with one of two strong reactions:
“So, you mean I would play Macbeth, but ideally no one in the audience would ever know it was me playing the part? – NO THANK YOU.”
OR
“So, you mean I would play Macbeth, but ideally no one in the audience would ever know it was me playing the part? SIGN ME UP!”
Discussions with the latter group revealed a strong desire for anonymity that inspires a total freedom to disappear inside a character, and to explore Shakespeare’s text without the pressure of being evaluated in advance...
Continues on next page
A NOTE FROM THE PRODUCER
...In rehearsals we found a new permission to play, question and explore with a loving irreverence. It gave us a new appreciation for Shakespeare’s work.
The Goblins come to the text with curiosity, but no preconceived notions. To them, Macbeth is not Shakespeare’s most unsettling and cursed play – they already come from a world where fairies, ghosts, witches and magic are pedestrian. Our Goblins are able to push past all that phantasmagoria to highlight a humour that is so often glossed over in human productions that favour a macabre atmosphere. Our Goblins reveal that to pair tragedy with humour, as Shakespeare intended, is a profoundly human impulse that highlights the horror, while allowing us to bear it.
In closing: I actively discourage you from seeking out the identity of our players, if you don’t know already. (Secrets are hard to keep.) Let the Gobl let the play hit you in new And if it’s your first time se then our apologies – it’s all
Rebecca Northan
Artistic Producer of Spo
Philip Edwards (1950-2024)
Costume Designer
Following a long career in IT consulting (focussed on healthcare and transportation), retirement in the theatre town of Stratford (Ontario) and a series of local courses in theatre arts for “something to do” - Philip showed his costume design assignment sketches to Stratford neighbour and theatre maker Rebecca Northan - and was offered his first gig with Goblin:Macbeth. Go figure!!
da has been the Artistic and Executive Director of Centaur heatre in Montréal since 2017. Her productions of The 39 teps, The Last Wife, Sexual Misconduct of the Middle lasses, and Sakura - After Chekhov are among the many uccessful offerings of her tenure She has also crossed the aditional language barrier in Montréal to direct the world remiere of Michel Marc Bouchard’s Embrasse in French at e Théâtre du Nouveau Monde. She was the Associate rtistic Director at the Shaw Festival from 2010-2017, where he directed The Apple Cart, The Devil’s Disciple, Grand otel, Mrs Warren’s Profession, and Arcadia, among others, l of which garnered critical acclaim in both Canada and he United States She works regularly with the Orchestre lassique de Montréal and directed chamber versions of armen and As One She is currently working as a dance ramaturge with American choreographer Val Caniparoli on new production of Coppelia for the National Ballet of Canada. She is a graduate of the National Theatre School of Canada and teaches there regularly as well as at Toronto Metropolitan University and George Brown Theatre School. Prior to becoming a director, Holmes was a soloist with San Francisco Ballet, the Dutch National Ballet and William Forsythe’s Frankfurt Ballet
Anton DeGroot
Lighting Designer
Anton is a set, light, and sound designer based in Calgary, and an occasional instructor of all things scenography at the University of Calgary
Selected Theatre Credits: The Importance of Being Earnest, A Christmas Carol, Noises Off! (Theatre Calgary); Brontë: The World Without, HMS Pinafore, Treasure Island (Stratford Festival); Struck, GIANT (Ghost River); Heist, Misery, Nine Dragons, Dracula: The Bloody Truth (Vertigo); Macbeth, All’s Well That Ends Well, A Midsummer Night’s Dream (Shakespeare Company); Chapter Two, Gentleman’s Guide to Love and Murder, Baskerville, Jersey Boys, Mamma Mia! (Stage West)
Upcoming: The Seafarer starring Paul Gross, and Liars at a Funeral at Alberta Theatre Projects, and The Da Vinci Code over at Vertigo Theatre
Other: When not making plays, you can probably find Anton rolling twenty-sided dice, or walking a little brown dog named Tilly
Eda has been the Artistic and Executive Director of Centaur Theatre in Montréal since 2017 Her productions of The 39 Steps, The Last Wife, Sexual Misconduct of the Middle Classes, and Sakura - After Chekhov are among the many successful offerings of her tenure. She has also crossed the traditional language barrier in Montréal to direct the world premiere of Michel Marc Bouchard’s Embrasse in French at le Théâtre du Nouveau Monde She was the Associate Artistic Director at the Shaw Festival from 2010-2017, where she directed The Apple Cart, The Devil’s Disciple, Grand Hotel, Mrs. Warren’s Profession, and Arcadia, among others, all of which garnered critical acclaim in both Canada and the United States. She works regularly with the Orchestre Classique de Montréal and directed chamber versions of Carmen and As One. She is currently working as a dance dramaturge with American choreographer Val Caniparoli on a new production of Coppelia for the National Ballet of Canada She is a graduate of the National Theatre School of Canada and teaches there regularly as well as at Toronto Metropolitan University and George Brown Theatre School Prior to becoming a director, Holmes was a soloist with San
Craig Francis Stage Manager
Craig Francis is a playwright, director, and multidisciplinary artist. His plays have toured Canada and the US, including Off-Broadway in 2016 and 2019
He co-wrote Twenty Thousand Leagues Under The Sea, Game of Clones, Jungle Book, and HANS: My Life In Fairy Tales with Rick Miller; and FRANKENSTEIN: A Living Comic Book with Miller and Paul Van Dyck. Craig is a co-founder of The 20K Artist Collective, as well as the dramaturg and stage manager for Miller’s BOOM Trilogy of solo plays internationally
Craig is a mentor of emerging artists, including coauthoring the play Redwood Woman with Andrea Friesen. Current projects include the comedy CYNIC, The Turn of the Screw, and The Time Machine. Craig is a speaker on LGBTQA2S+ issues, a cartoonist, and a voice artist His digital shorts are in museums in 6 provinces.
Michael Tonus
Lighting Interpretation & Adaptation
Originally from the Toronto Area, Michael first moved to Montréal in 2005 to pursue a degree at McGill University. After graduating he went on to work on theatrical productions in Montreal. He began attending the Production Program at the National Theatre School of Canada in 2014, and graduated in 2017. He spent the following years pursuing design and technical direction opportunities, alongside festival work as a technician.
Michael is currently the Head Technician of C2 at Centaur Theatre. His other recent credits include Holiday House Party (Lighting Designer), Theatre For One (Lighting Designer) and Bijurya (Associate Lighting Designer).
THANK YOU TO ALL OUR DONORS
Centaur gratefully acknowledges our Director’s Circle of donors who make so much possible through their generosity. Your generous support allows us to continue to be a beacon of excellence, relevance, and diversity.
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THANK YOU TO ALL OUR DONORS
Centaur gratefully acknowledges our Director’s Circle of donors who make so much possible through their generosity. Your generous support allows us to continue to be a beacon of excellence, relevance, and diversity.
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THANK YOU FOR SUPPORTING CENTAUR
Centaur Theatre gratefully acknowledges the following corporations and foundations, whose generous support allows us to continue to be a beacon of excellence, relevance, and diversity.
JOIN OUR GROUP OF GENEROUS SUPPORTERS!
There are a number of ways to link your organization to Centaur – a recognizable brand synonymous with excellence and diversity –including tax-deductible donations, production sponsorships, program partnerships, naming rights, and patronage at our annual Gala.
For more information, contact: Haleema Mini, Director of Development haleema@centaurtheatre.com • 514 288-1229 #235
2025/2026 Sponsors
Subscription Campaign Sponsor
Hydro-Québec
Theatre of Tomorrow Sponsor
Canada Life
Music Series Sponsor
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Manuvie
Production Partner (Kisses Deep)
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Via Rail
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Zeller Family Foundationn*
* Indigenous Artist Residency Donors
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*** Event Supporters
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Stikeman Elliott LLP / S E N C R L , s r l *
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Muses ($1,000 – $2,499)
Aliments Luda Foods
André Albert Morin, MNA for Acadie* Blake, Cassels & Graydon LLP*
Canderel Management Inc
Claudine & Stephen Bronfman Foundation**
Ian Lafreniere, Minister Responsible for Relations with First Nations and Inuit*
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MacKinnon, Bennett & Company Inc
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Manon Massé, MNA for Sainte-Marie-Saint-Jaques
Manulife Wealth Inc Mr Thierry Jabbour*
Mercer Canada Ltd
TD Asset Management*
The Valerie Pasztor Foundation
Eda Holmes Artistic & Executive Director
BOARD OF DIRECTORS
CHAIR
Susan Da Sie, CFA
CHAIR EMERITUS
Michael Baratta, CPA, CA
Deputy Business Unit Leader, Quebec, Audit, Partner, KPMG LLP
Cory Hallisey, Keith Johnstone, Haysam Kadri, Joel Cochrane, Pamela Brook, Dennis Cahill, Loose Moose Theatre, Dean Paul Gibson, Mark Bellamy, Tyler Rive, Chris Oldfield, Dustyn
Wales, Bard on the Beach, Claire Sakaki
GOBLIN:MACBETH CREATORS
If you really must know.
Created by Rebecca Northan & Bruce Horak
Music by Ellis Lalonde. Directed by Rebecca Northan. The Goblins: Rebecca Northan, Bruce Horak, and Ellis Lalonde
