Greater Vancouver Professional Theatre Alliance (GVPTA)

Programs + Initiatives

The Spotlight program is supported by: 

2021 Spotlight on Theatre

This page includes the full text of each of the featured individuals' reflections along with their bio and links to connect with them via their social channels. To return to the main Spotlight page with featured images, click here

Click each Spotlight featured individual's name below to read their reflections on theatre and learn a bit more about them. 

Please check back for additional reflections in the days and weeks ahead. 

Click each name below to read their reflection.
Adam Grant Warren

I’ve been lucky enough to work across a whole bunch of different storytelling platforms — from radio, to film, to fiction — but I always come back to theatre. Because, for me, theatre has always offered the strongest invitation to share. Lots of platforms do that but, in theatre, the invitation goes both ways.

As a playwright and a performer, I share something with you, the audience. And in coming to witness, you share something with me — and with each other. We make something new together each night of a run, and whatever we make is just for us because we’re the ones who decided to come together at that time. Then, once the time has passed we — just us — share a memory of the making because the next day a new audience makes a new show.

I guess that’s what theatre means to me: a commitment to come together and make a singular experience. I miss that. I’m excited for a time when we can do it again, and I know that time will come.

In 2021, I have a new play scheduled to premiere with Touchstone Theatre. It’s called Lights, and it’s about hope amidst a different kind of adversity. Right now, I don’t know what shape the space in which we share that show will take, but I’m excited to find out. If we need to stay apart that’s alright because, as much as I’m excited to share with all of you, I’m also excited to count myself among the people who are working to find new ways for us to share with each other. Ways that don’t just adapt the spaces we’ve known together, but create new ones for us to explore.
About Adam

Born and raised in Newfoundland, and now based in Vancouver, Adam’s 20-plus-year career in performance has taken him from coast to coast in Canada. West-coast highlights include Jessie Awards for his performances in Real Wheels Theatre’s CREEPS and Touchstone’s Kill Me Now. He’s also enjoyed critical acclaim for his solo show, Last Train In; and his ongoing work with All Bodies Dance Project. Outside performance, Adam has active practices in fiction and arts education. He’s currently pursuing an MFA in Creative Writing at UBC, with the generous financial assistance of a BC Arts Council Senior Scholarship. 

Learn more about Adam at

Anthony Santiago

Theatre was a word I didn't think or talk about for about 20 years of my life as an adult. When I decided to return to it three years ago, I had no idea how much had changed. As a first-generation Canadian of Trinidadian immigrants, being obsessed with the stage tanked any dreams my parents may have had of a future doctor or teacher living under their roof. 

Doing theatre was THE ONLY thing that mattered to me as a child. In fact, so much so that for two summers I would bus 1 ½ hours each way to attend a summer theatre camp as a teen. 

After attending theatre school, I worked extensively but noticed that only a tiny percent of the roles (<1%) I played were specifically characters of African descent. Color-blind casting had become the norm. 

I left the theatre to start a family and a new career. Upon my return, I have found a whole new generation of theatre practitioners who are rocking the foundation of the Old World theatre scene with demands for non-Eurocentric work, inclusion, representation, and actionable accountability. The ShipmentFun HomeChildren of God and Hot Brown Honey, etc are wonderful examples of this. 

Color-blind casting which was once seen as progressive has become rightfully assessed as regressive. I personally have had the privilege of performing in productions like Sweat, Coriolanus, and Best of Enemies

As an actor of Afro-Caribbean descent, what a delight it is to see the great strides theatre has made and will continue to make.

About Anthony

Anthony is a Jessie Award winning actor based in the traditional, ancestral and unceded territory of the Coast Salish peoples–Squamish, Tsleil-Waututh and Musqueam Nations. He has performed in numerous productions across Western Canada with companies such as Raincity Theatre, Pacific Theatre, Ensemble Theatre Company, The Citadel Theatre and Manitoba Theatre Company.

Find Anthony on Facebook.

Chris Francisque
Being able to make a living doing what you love to do is a unique feeling. It feels surreal and like you’ve found a cheat-code in life that few know about. To have the thing you love to do be theatre, adds another layer of surrealism to it. One of the most precarious industries in the world is acting. So to be able to live beyond just paying my bills, and to actually live a pretty comfortable life by doing something we learn to do as children, (play pretend) is something that I will forever be grateful for.

I’m able to experience the lives of people from different countries, different faiths, different sexual-orientations, different ideologies, without any judgement...and be paid for it?! But beyond the superficial element of money, I’m able to see how me just doing what I love, can affect someone on a deeply emotional level. I’ve had people reach out to me and tell me everything from how my performance made them appreciate live theatre in a way they never thought they could, to seeing themselves represented on stage, to being able to experience such a broad range of emotions in a relatively short period of time.

However, the aspect of doing theatre and succeeding in it that I love the most is what it means to reshaping what is possible in my family. I come from a Haitian family where being an actor, is not on your list of possibilities. I am changing that and influencing the next generation in my family, and Haitians in general that when you do what you love, you will never fail.
About Chris
Chris was born in Montréal, Québec and was raised on the south shore in St-Hubert. Ever since he was a child everyone around him told him that he would be an actor.

He took theatre from middle school, all through high school and post-secondary.

He made his theatre debut in 2015 in Surrey Little Theatre's production of Truth and Reconciliation, for which he won two best supporting actor awards. Since then, he has been in seven other plays and signed to MNT Agency in 2016. Chris has been featured in over 10 commercials, and booked various television and film roles. This past summer he won his first Jessie Award for “Outstanding Performance by an Actor in a Supporting Role” for his portrayal of Franco Wicks in Superior Donuts.

Find Chris on Instagram and Facebook.
Corey Payette
We began around a fire that we tended to never let it go out. 
The stories we told of our histories, of our memories, and of the days when we weren’t so old. 
When the stories needed a bit more character, we raised our voices to act them out, in a hoarse shout, 
but if we didn’t get into it, you really wouldn’t understand what it was all about. 

Once the voices rang, that’s when music came, first in unison before we split off. 
To sing as one, hearts sync as beating drums, 
reaching out to touch what we could become.
When we needed to remember the stories we wrote them down.
Maybe we spoke them into the voice notes on our phones.
We gathered around a folding card table, heads down bent over scripts, 
dissecting the truths we were all after.
The points veered off on tangents 
until we forgot what we were arguing about in the first place. 
And then we needed to lay on the ground, or dance around, 
to break out of that headspace.
To remember who we were, outside of that middle place we created in our imaginations.

It was the vision of what we could create together that drove us. 
That we could actually just be us, and that that would be enough. 
It was the recognition that what we were doing was special. 
A privilege. And the oldest practice we would ever do. 
That telling a story may be the most powerful thing any person has ever or could ever do.

That fire is still burning, 
it is embers inside, 
until the day, 
not so far away, 
we may be able to gather 
and feel our spirits align.
About Corey

Corey Payette is proud of his Oji-Cree heritage from Northern Ontario, and has worked across Canada as a playwright, actor, composer, and director. He is the Artistic Director of Urban Ink (Vancouver, BC), past Artist-in-Residence with English Theatre at Canada’s National Arts Centre, and the founder of Raven Theatre (Vancouver, BC), focusing on new works by Indigenous artists. As a theatre creator, his original musical Children of God (book/music/lyrics & direction), musical Les Filles du Roi (music & direction, with co-book/lyrics with Julie McIsaac), Sedna (music composition & direction, co-created with Reneltta Arluk and Marshall McMahen), and his next musicals have been commissioned from Bard on the Beach, Musical Stage Company, and the Stratford Festival. His album The Music from Children of GodThe Music from Les Filles du Roi, the published scripts, and the piano/vocal songbook are available on his website, iTunes, and Spotify.

Find Corey on:

Instagram @coreypayette
Jessica Oostergo
My first theatre experience is a memory that I will always treasure. I was quite young, maybe 8 or 9, and my family decided to go see a theatre production together. Although I don't recall which theatre or show it was, I remember the red velvety chairs and the lights hanging over head. An actor on stage was getting worked up and he slammed a white chair down on to the stage. One of the legs of the chair snapped off. For a split second he broke character. The look on his face was minor, but enough to make me smile along with him. It was clear that the chair was not supposed to break, and this had probably never happened before. He tried to stand it up, but with only three legs it couldn't quite stay balanced, and he fumbled with it for a few moments before he decided to just lay it down. A few audience members chuckled along with him. Other performers glanced over to the chair, but the show had to carry on. More performers entered the stage, glanced over at the chair, and carried on. 

As a group, performers and audience members experience these series of events together. No show will be exactly the same as the last. What is going to happen next? We will just have to wait and see. This is the magic of theatre.
About Jessica
Jessica is a set and costume designer, born and raised in Richmond, BC.

Recent design credits include The Amaryllis (Firehall/The Search Party), The Dolls House Project (Studio 58), Transform Cabaret Festival (The Cultch/Urban Ink), House and Home (Firehall), It’s A Wonderful Christmas-ish Holiday Miracle (Arts Club Theatre), The Marvellous Wonderettes (Chemainus Theatre Festival), and The Father (The Search Party).

Jessica is a two-time Jessie Richardson Award Winner. She is a graduate of Studio 58, an Interaction Design student at Emily Carr University, and a member of the Associated Designers of Canada. 

Find Jessica online at:
Instagram @Joostergo
LinkedIn @Joostergo
From guerilla theater in all its DIY glory to big exciting Broadway shows, I have been lucky enough to enjoy the artistry that is live theater. I have been moved by breathtaking performances, magical designs, incredible stories.

I miss live theater.

Decades ago, I started my career playing in musical groups. Live music has really shaped my life and career. At coffee shops I would play for children, small clubs where I would entertain my community and huge festivals where it all seemed surreal.

I miss live music.

One of the things that both live theater and live music have in common is the audience. The shared energy that every audience emanates is like nothing else in the world. Every audience is different, every show is different, every day is a different experience. For me, that is the most exciting part!

We work hard to give you a more than tangible storytelling experience and you give us your time and energy, which is really precious.

I miss you.

This year has taught me to be grateful for what I have, trusting that everything will work out fine, and hopeful for a safer future.

Please take care of yourself and your neighbors.

I cannot wait to see you all again, at the theater!
About khattieQ

khattieQ is a performer from Puerto Rico. Co-creator of 2020 Fringe New Play Prize winner Catalina La O Presenta: Ahora Conmigo which features original music. khattieQ was the guitarist and vocalist for punk band BLXPLTN. khattieQ has played as a professional musician with over twenty bands, cutting their teeth on the famous Austin, Texas live music scene. Most notably, they toured as drummer for queer femme core band The Tuna Helpers. Professional credits include Denim Doves and Casta for Salvage Vanguard Theater in Austin, TX, Heaven Born Wind at the University of British Columbia in Vancouver and Frank Theater’s Be-Longing.

Find khattieQ on Instagram and on their website.

Laura Fukumoto

Theatre convinces me anything is possible. Theatre convinces me magic is real. If you are already an acolyte of the theatre, you know about its holy moments. I’ve been lucky enough to participate in theatre for much of my life: as an actor, designer, writer, and co-conspirator, so my theatre exists between gasps of laughter, and wild ideas shared on midnight walks. My theatre exists in the drama (on stage and mostly off) that gives me an opportunity to ponder the “Why?” of human choices. 

We all have good days and bad days with our theatre relationship. Magic is made by old fashioned grit, sweat, and tears, after all. But have you ever seen a character fill her stage with rage, and feel rage with her? Have you ever whispered the voices of a book out loud, as if the world could come alive around you? (And it can). It’s a reminder that there is much in this world to fill you with child-like Wonder. It is a holy space in which I can believe in goodness, and see the goodness drawn out of other people, like a thread of possibility.

About Laura

Laura arrived on the stolen land known as Vancouver over a decade ago, and is now a performance poet, playwright, and local cloth wizard with a BFA from UBC. Most recent costume design credits include Straight White Men with Itsazoo. More recently Laura wrote and directed the honourably mentioned Where the Quiet Queers Are at Vancouver Fringe 2019, co-wrote and performed The Mending Circle at the Powell Street Festival Telethon with Carolyn Nakagawa, and has performed her poetry at events and festivals across Vancouver.

Find Laura on Instagram.

Lili Robinson
At its core, theatre is storytelling. As my first theatre mentor said, all it takes is people in a room. (Oh, the things we took for granted.)

When I was ten I joined my first acting troupe, something made possible for me by a full bursary provided for low-income families. It was a revelation: I had found my people. Those weird and wonderful kids, the unparalleled feeling of building something together, just with our bodies and our voices… I knew immediately that theatre was where I belonged.

Now, I’m a few years into my professional career, living through a global pandemic, the rebirth of the civil rights movement, and a climate crisis that could render all the rest of it irrelevant. In the scope of my own work, two things are clear: 

1) My work must serve the communities I come from or else there is no point.
2) Artistry is mediumship. As Carmen Aguirre puts it, “The truest art is a form of listening.” 

Thirty years before, James Baldwin said something similar: “When I’m writing, I’m listening.” I have both these quotes up above my desk, along with something Makambe Simamba said of her play Our Fathers, Sons, Lovers, and Little Brothers: “To them, this was a play. To me, this was a prayer.” 

Yes, theatre at its root is not just story, but prayer: a bridge between the flesh and what’s beyond it; a chance to reflect, and then to vision something new. 

And right now, we need every prayer we can get.
About Lili

Lili Robinson (she/they) is a playwright, poet, actor and community organizer based on the unceded territories of the Musqueam, Squamish, and Tsleil-Waututh First Nations. Lili is passionate about centering voices at the intersections of queerness, Black diaspora, socio-economic diversity and femme identity in her work. Having completed a year as the Artistic Producing Intern at Theatre Replacement in 2019, Lili is currently the Emerging Playwright in Residence at Rumble Theatre, and recently completed the 2020 Emerging Playwrights’ Unit at the Arts Club. Mx, Lili’s debut play, was the recipient of the Fringe New Play Prize in 2019, supported by Playwright’s Theatre Centre and the Fringe. Since then, Mx has been selected for PTC’s “Camp Week” of their winter WrightSpace residency, as well as a livestream workshop reading as the selected play for Alley Theatre’s Site-Specific Reading Series. Mx was also the winner of the Cultchivating the Fringe Award in 2019, earning the show a spot in the Cultch’s upcoming 2021 spring season.

Find Lili on Instagram and Facebook.
Manami Hara

It sounds very cliché but you don’t choose to become an artist, it’s a calling you answer. So, at the tender age of 18, I uprooted myself from the comfort of home in Japan and moved to Canada to follow my dream to become a stage actor in North America. I know I can’t survive in this world without being involved in a creative process. Over the span of 3 decades, I expanded my craft and became a theatre artist who wears many hats. Collaborating with my fellow artists makes me whole. It’s a humbling and gratifying experience. I’m passionately devoted to create Theatrical work because I can connect with real people at an intellectual, emotional, intimate, daring, joyful and poignant level. I am inspired to create theatre to transport audience from their day to day life and offer an experience, time and space for them to imagine, think, cry, laugh, and love. My artistic endeavours have taken me on many different paths and teaching acting and story-telling to students of all ages has become one of my passions. To witness my students getting inspired by their own discoveries and growing their confidence as an artist and person is beyond rewarding. I’m so grateful I’m in a profession where I can continue to challenge myself, explore, learn, grow and share my craft no matter how old I get. I’m striving to be like Miso, I get better with age and last forever!? 

About Manami
Manami Hara immigrated from Japan to pursue Theatre career in North America.  She’s an actor, playwright, instructor, interpreter/translator, dramaturge and a director.  She’s worked with companies across Canada including NAC, Theatre Passe Muraille, Factory Theatre, Grand Theatre, Globe Theatre, One Yellow Rabbit, Arts Club, Boca del Lupo, Carousel Theatre, The Cultch, Firehall Arts Centre, Frank Theatre, Gateway Theatre, NeWorld Theatre, Pi Theatre, Playwrights Theatre Centre, Presentation House Theatre, Ruby Slippers, Rumble Productions, Theatre Replacement, Touchstone Theatre, vAct, Vancouver Playhouse and Yayoi Movement Theatre.  Manami is passionate about collaborative creative process.  She’s a graduate of Studio 58. 

Find Manami on Instagram.
Raes Calvert

Ever since I was a young I’ve had a passion for creating and telling stories. As I got older I became more interested in how we as artists, communicate these stories to audiences. 

Each professional theatre artist that I know understands the term “theatre magic”, however in my experience each artist’s version of “theatre magic” is different. For me it is the unique moment of presence and harmony that is shared collectively in a space between the audience and performers. Where the outside world and it’s complications melt away and we are drawn into a different realm that invokes some form of reflection or relationship. It cannot truly be quantified in words, because it is not dependent on words alone. 

I have experienced this “magic” listening to live music, watching dancers or seeing artists perform in a language I do not understand. I explain it this way: It’s one thing to listen to your favourite song through headphones, it’s an entirely different thing to go to a concert and experience your favourite song played live in front of you. 

As we move into 2021, I look forward to when we can once again assemble and share these stories with one another. Where the “theatre magic” can once again have what it needs to live: A story, a space, artists and audience.

About Raes

Raes Calvert is a multidisciplinary Métis theatre artist living and working in Vancouver. After graduating from Studio 58, he became Co-Founder and Co-Artistic Director of Hardline Productions. As a performer he has toured Nationally and International with such companies as Axis Theatre, GreenThumb Theatre, MTYP, Urban Ink and The Presentation House Theatre. He is a four time Jessie Richardson Theatre Award nominee and one time recipient. Raes received a REVEAL Indigenous Art Award from the Hnatysyn Foundation in 2017. He also has a BPA degree from Capilano University.

Renae Morriseau

I love the community of theatre - the crew, cast, producers - all working together to tell a story. Creating and supporting community engaged stories to directing works, to contributing my music, and acting has been a spiritual journey into the human condition. 

Live theatre is where there is a symbiotic relationship with the witnesses that come and see the work, and the community of theatre gets to orchestrate the emotional hue of the human condition. Theatre is a way that the systems we're born into get to be played out and perhaps the witnesses have a chance to move into the grey areas of their moral code. Theatre is a safe space to see alternative views to some of the issues and concerns in society that usually get relegated to the margins. It’s hope made actionable and to me that’s what life is about.

About Renae

Renae Morriseau is a Cree (nehiyaw iskwew ᓀᐦᐃᔭᐤ ᐃᐢᑫᐧᐤ) and Saulteaux woman (nahkawiskwêw ᓇᐦᑲᐃᐧᐢᑫᐧᐤ) from the Treaty 1 Territory. She’s been creating artistic works for awhile now and has journeyed across Canada and internationally in film, television, theatre and music. As an actress, singer, writer, producer and director in both television and theatre, she has honed her skills by observing, listening, and supporting the artistic works of others who have also supported her artistic passions and focus in sharing community stories in a good way - miyopimatisowin ᒥᔪᐱᒪᑎᓱᐃᐧᐣ.

Find Renae and her projects at:

LinkedIn @renaemor
Shanae Sodhi
Similarly to many of us in the industry, my definition of what theatre means to me is changing vastly at the moment. The most major thing that theatre means to me is a live, present, accessible connection to the world. I grew up in a low income neighborhood, so it was my only way to see the macrocosm outside of the hood.

Art is a microcosm of the greater society. So I take my art as a place to immersively have my say in my society, especially when it comes to social issues which our system of governance gives us little space to voice. Its what feels closest to a democratic process of experiencing different points of view. Its a commitment to sharing a story/experience with an audience of sometimes strangers. Hopefully strangers. And the most present place I can find myself able to fully connect with different experiences than mine.

The work which excites me the most carries a politic/experience within it that I either don’t agree with or do not understand. One that I am curious about hearing and believe the world, or just my community around me, should give more space to engage with. Art that simply serves as a reprisal of another voice without sharing its own refraction, bores me to death. Even if it is a story that resembles my own. I love artists for their ability to speak worlds into suspended reality through their own personal expression.
About Shanae

Shanae is a graduate of Studio 58 where he was one of the establishing members and Head Organizer of the school's Student Diversity Committee. A student lead group working to strengthen marginalized groups within the theatre community by empowering students with the tools and knowledge to engage in conversations of inclusivity. His work is framed through decolonization and intersectionality. He works as Rumble Theatre’s Associate Artistic Producer. Recent producing credits: Tremors Festival (Rumble Theatre), Coyuntura 2020 (Canadian Latinx Theatre Artist Coalition), Straight White Men (ITSAZOO Productions), and Mx (winner of 2019 Fringe New Play Prize and Cultchivating the Fringe Award).

Find Shanae on Instagram and Facebook.

Sophie Tang

When I was a kid, I loved playing with Lego, I would make all sorts of objects, buildings, etc. My family thought I might become an architect. I also played piano for years when I was younger, and almost went to a high school specialized in music. As I got older, I started university as a visual art major, I especially loved painting, and at one point I thought I might become a visual artist. 

All of these experiences made me who I am today and lead me to a perfect balance: a theatre designer. 

When I design sets, I often look for ideas from architectures in different periods. For both lights and set, I always find design inspiration in the music/sound effects from the show. I sometimes sense colors or shapes in music, for example: A sad moment could be what I call a “warm sadness” or “cool sadness” depending on the feel of the music. Bach is triangular, or sharp edged, while Chopin is organic shaped, smooth or rounded. When I design lights, it feels like painting with light onstage. I see the stage as my canvas, the lighting instruments are my brushes, and colors and brightness are my paint. 

I love theatre, because of its endless potentials and creative freedom, and because for me, it feels like it was meant to be.

About Sophie
Sophie Tang is a Jessie Award Winner and Nominee, as well as an Ovation Award Nominee. She holds a MFA theatre design degree from UBC and a BFA theatre production and design degree from SFU. Recent credits: East Van Panto: Panto Come Home! (Lighting) - Theatre Replacement, 12 Dates of Christmas (Lighting) - Arts Club Theatre, Straight White Men (Lighting) - ITSAZOO Productions, Little Volcano (Lighting)- Veda Hille x Theatre Replacement, Peter Pan (Lighting) - Carousel Theatre, Kuroko (Set) - Vancouver Asian Canadian Theatre.

Find Sophie on InstagramFacebook, and her website
Tai Amy Grauman

I am spending most of my time resurfacing, remembering and rediscovering Métis love stories from my people. There are a lot of reasons why I’m doing this, mainly because it is the only way to track the stories of the Métis women in my family.  By tracking down their husbands, the women become traceable by consequence. Not all of them are happy stories, but occasionally I find the story of the 'great loves' that are absolutely incomparable and better than any other love stories in western culture (in my humble opinion). I am choosing to find those stories and write those stories because I love to dream. For me, I can’t rewrite all the horrible things that have happened to my people, I can’t undo any wrongs that have been done and I can’t rewrite the horrible mistreatment of Métis women in Alberta. But, what I can do is find pieces of their hearts through the men they loved. Those stories and dreams are what is keeping me going through this pandemic and they teach me how we survived all those horrible things that have happened. And hopefully, one day I can watch those women’s spirits come alive onstage. I dream that one day they will dance, laugh and sing on Canadian stages in a post pandemic world. And the day they dance on stage, I imagine that this pandemic will just be a distant dream.  

About Tai

Tai Amy Grauman is Métis, Cree and Haudenosaunee from Ardrossan, Alberta. She is an actor and a playwright. Tai recently received the Métis Nation of Alberta's Award for Outstanding Youth of 2020. She also received the Jessie Richardson Award for Most Promising Newcomer in 2018 as well as the City of Vancouver Mayor’s Arts Award for Emerging Theatre Artist (2015), nominated by Margo Kane. Tai is an artistic associate at Savage Society and an associate artist at the Citadel Theatre. Tai is working on commissions with Nightswimming, Axis Theatre and the Arts Club. Recently, Tai adapted Mary’s Wedding and will be playing Mary in the upcoming production at The Citadel.  

Find Tai on Instagram @graumantaiamy and on Facebook.

Yvonne Yip
What does theatre mean to me? 

When I think about that and 2020, I find my thoughts going to what I miss about theatre, and why we do it in the first place.

It is the tenacity, precision, creativity, and dedication. The honesty and vulnerability shared on stage. The craftsmanship and attention to detail inside a prop where the audience will never see. It is the resilience of organizations as they try to pivot to digital presentations when theatres are shut down.

It is that perfect moment when everything lines up: the adrenaline when you nail a complicated cue sequence or super-fast quick change, and when a theatre with over a thousand kids are cheering and calling out as a puppet appears.

It is the joy of coming together with a group of artists of various ages, backgrounds, and lived experiences and sharing in a common goal and purpose. The intricacy of the rehearsal process with all its fun and frustration.

For a magical period in time you are part of this small community, a stage family. Something beautiful is created, gets shared with the audience, and then disappears forever to only live on in people’s memories.

It is when hard work is also play. it is knowing that despite the long hours, the drama and sometimes insanity, and all the uncertainties of choosing a life in theatre, that you wouldn’t want to trade it for anything else.
About Yvonne
Yvonne was born in colonial Hong Kong, and immigrated to Canada with her family as a child. She is a Vancouver based stage manager and currently the Interim Producer with Neworld Theatre. 

Favourite credits include Neworld Theatre's King Arthur's Night; ItsaZoo Production’s Competition Is Fierce; Boca del Lupo’s Fall Away Home; Electric Company Theatre’s Palace Grand, Caravan Farm Theatre’s Mother Courage and Her Children; Gateway Theatre’s King of the Yeessss; the 2010 Paralympic Opening Ceremonies; and touring with Mermaid Theatre of Nova Scotia to the Kingdom of Bahrain and South Korea.