We are seeking proposals for projects, excerpts, and works-in-progress of approximately 25 – 35 minutes in length.

Programmed works will be performed as part of a shared festival bill at a one-ticket event that takes the form of an ‘art party meets night market.’

Audiences will be able to see half of the entire festival programming each night. Artists are expected to perform only once per night. 

While presentations are not expected to be “complete” they should be in “performance mode.” Even if that performance mode is a bit rough.

Another way of describing the stage of development that projects being showcased at Tremors should be at is:  ‘able to – and seeking to engage an audience’.

Submissions are welcomed from individuals, collectives, and organizations.

Key Dates

Shared Residency period (optional): June 7 – 20, 2027
Tech period: June 21st – 24th, 2027
*Industry Dress: June 24th, 2027
Performance Dates: June 25th – June 27th, 2027
Residency Location: Progress Lab 1422, Vancouver, BC, CAN (Unceded MST)
Performance Location: (Secret Location), Vancouver, BC, CAN (Unceded MST)

 * The “Industry Dress” is the only night where we perform all of the shows in one night. It’s often attended by programmers who might not be able to attend the festival multiple nights so that they can see everything. This is a very casual, fun and supportive evening – and programmers are aware that they’re watching a rehearsal. It’s also often a chance for all of the acts at the festival to be able to see each other’s work since shows run simultaneously on the public nights. 

Venue Information

Since 2020 TREMORS has taken place at our home base of Progress Lab 1422. The way it usually works is that we make the space available to programmed artists 24/7 for an optional shared residency period (1-2 weeks) to further work on their projects, and then we showcase in the following week at Progress Lab.

We will still be offering the residency period at Progress Lab 1422, and there is a chance we may showcase there as well as per usual, however for the 2027 fFestival we will showcase the work at a (for now) Secret off-site location that can accommodate a larger audience.

While we are not able to say much about the Secret off-site location quite yet – we can say that the 2027 festival will be best suited to projects that could play in a non-traditional – “pop-up” venue. 

What We Provide

• Presentation fee (generally between $3,000 – $6,000 CAN depending on scale and scope) 
  • Please Note for Out of Town artists: We are unable to provide Travel funding above the presentation fees. However, we will be happy to support you in travel applications to National, Provincial, and Local granting bodies in any way we can. 
• Letters of Support/Confirmation as required. 
• Presentation space including technical services and equipment
• Calling Stage Management
  • (Meaning we can call cues based on a cue list once we begin the tech process, however we do not provide stage management during rehearsals.)
• Marketing and Publicity services
• Box Office and Front of House services
• An archival of your performance at the festival (single camera) for future use.
• (Optional) Residency space leading up to the festival for rehearsals and other uses.
• (Optional) Mentorship on grant writing/revenue development, producing, and long term project management.

How To Apply

Please fill out the application form and include a single PDF or video file with all of the relevant information. If you can’t upload your application, please email Jiv Parasram at jiv[at]rumble.org

Please submit no later than 11:59 PM PST. September 15th 2026.

Applications should include the following information in PDF/Video form:

Essential application requirements: 

• An artist statement introducing yourself or your collective and the project you are proposing (ideally maximum length of 2 pages single spaced.)**
  

Additionally, we require: 

• A list of collaborators on your project
  • Either names and bios (if confirmed) or number of collaborators and roles (if unconfirmed). 
• Relevant production or development history of the project you are proposing.
  • For example, if it was developed through a residency with another organization, or if you held a reading or showing yourself. 
• Whether you have any conflicts, or limitations in your availability between June 7th  – June 27th 2027
  
  

Support Material: 

It is recommended that you submit at least one item of support material.

This can include: 

• Additional material about the project you are proposing
• Archivals, Script excerpts, and other materials of the project and its development to date.
• Past examples of work from you, and your collaborators. 
  • In the case of submitting past work, it’s helpful if you let us know how you think it relates to your application and the project you are proposing for Tremors. 

Support material length guidelines:

You may submit as much support material as you like, however the committee will only be required to read up to 10 pages, and watch/listen to up to 12 minutes of recorded material.

So it is advisable to provide time codes, and page ranges that you would like us to prioritise. 

Optional application requirements (that are very helpful for us, and appreciated.)

• A short description of your objectives in presenting at Tremors (if known).
  • Essentially – what questions are you looking to have answered, or what questions are you asking yourself in the development of your project.
• Any known technical information you can provide us
  • For example, if your project requires projection, or installing a significant set item. 
• Any community connections you have, or are seeking to make
  • For example – if you are making a piece about harm reduction, are their organizations you are already connected to? Are there organizations you would like to be connected to that we might be able to help with?

PLEASE NOTE: If you have not received a confirmation of receipt on your application within two weeks of submission, please follow up to confirm that it has been received.

**Regarding the 2-page maximum length Artist Statement and Project Description: We recognize that some projects may require a longer description, particularly if they are working in a form that requires additional cultural or historic context. In these cases, it is ok to go over the page limit. That said, brevity is still appreciated where possible. 

QUESTIONS? Please see our Frequently Asked Questions on the sidebar of this page. For any other questions please email jiv[at]rumble.org

About Tremors

Occurring once every two years, the TREMORS Festival has been a major component of Rumble’s programming for some time. The exact structure of the festival has shifted over the years, adapting to what we see as the current needs in the Independent theatre and performance sector in the city of Vancouver, BC (unceded MST).

Originally, Tremors was a presentation series evolving out of ‘The Young and the Restless’ which showcased full-length projects by Emerging collectives.

Next, Tremors focused on training –  producing three full-length productions of existing scripts executed by groups of emerging artists receiving mentorship from established artists.

Most recently, Tremors has shifted its model to utilize its platform to provide an intermediary showcase opportunity of short works or works-in-development for artists – where work is ready to engage an audience – but it is also still early enough that it may continue  to change based on what is discovered. In this way, artists don’t have to go ‘all the way to premiere’ to start to understand how a project functions with a live audience. Some Tremors projects continue on to full development – others may end at the festival. Both are great – our intention is to allow the space for experimentation in a supportive and relatively low-stakes situation.

The post CALL FOR SUBMISSIONS- Tremors Festival 2027 appeared first on Rumble.

Come one, come all to Ionesco’s Cabaret! 

Society is collapsing. The crowd is losing its mind. Someone brought wine.

For 3 nights only, Progress Lab transforms into an absurdist cabaret featuring Eugène Ionesco’s Frenzy for Two, and The Leader, alongside the debut audio/visual novel installation Lost Hands by Tim Carlson. 

Part double-bill, part art party, Ionesco Cabaret’s is a playful encounter between friends and foes, entangling audience members in love-collisions, mass persuasion, and social unraveling.

Come for the theatre. Stay for the existential dread.

Starring

Nyiri Karakas | Khoa Mai | Sophia Radford | Christiaan Westerveld

The Leader (1953) directed by David Mesiha

The Leader is coming. The crowd cheers. Everyone loves him. No one knows why…

Sharp, chaotic, and unsettlingly familiar, this dark satire is a portrait of mass hysteria, adoration and blind devotion. Witness how easily power and persuasion takes hold—and how seductive it can feel as it happens. 

Frenzy for Two (1962) directed by Richard Wolfe

A tortoise and a snail. Different or the same? 

A high-stakes collision of love, ego, and survival. As the world fractures outside, a couple clings to conflict instead of connection, picking fights over nothing, while chaos creeps closer and closer to their door. A front-row seat to a relationship unravelling while everything else burns. 

Lost Hands (Photo Installation)

Lost Hands is an audio/visual novel by Tim Carlson/feral.i.d. Echoing themes in Frenzy for Two and The Leader, absurdly worrisome narratives play on multi-channel speakers while a slideshow of absurdly worrisome found objects provide evocative documentation of said worrisome absurdity. Created with literary/philosophical support from Richard Wolfe.

Cast

Nyiri Karakas* [Performer] is a theatre artist from the North Shore. Nyiri pursued a Masters in Acting at East 15 Acting School, in London, UK, where she was part of a residency at Shakespeare’s Globe. Theatre credits: Dance Nation (The Search Party); Heroes of the Fourth Turning (Mitch & Murray Productions); Medicine (Pi Theatre); Gaslight (Western Canada Theatre/Chemainus Theatre Festival); Sense and Sensibility (Arts Club); Children of Fire (Nightwood Theatre/Aluna Theatre); The House of Bernarda Alba (Modern Times Stage Co./Aluna); A Midsummer Night’s Dream (Shakespeare Bash’d); The Penelopiad (Hart House Theatre). Film/TV: Tiny Pretty Things (Netflix).

Originally from Portland, Oregon, Khoa Mai started his acting journey in Vancouver Canada, after a decade working in the construction industry.  His trade gave him an intimate knowledge of people and the real world.  Then his real passion was ignited when he learnt and trained through film and plays at the Phillip Granger Conservatory. “I never thought about the theatre.  It was a foreign, strange and uncomfortable place.  Then, all of a sudden, something clicked and it was like I didn’t want to be anywhere else”.

Sophia Radford [Performer] is an actor and musician. She is thrilled to be involved in this project! Sophia holds a BFA in Theatre (Performance) from the University of Victoria, and has performed across Western Canada. Select credits include: Waiting for the Parade (Pivot Theatre), The Guardsman (Blue Bridge Repertory Theatre), and The Audition (Theatre Inconnu). You can catch her next in Blackbird at the Vancouver Fringe. 

Christiaan Westerveld* [Performer] has appeared on stage in An Intervention (Mitch and Murray Productions), At Sea, Staring Up (JUTE Theatre), Polygraph (Pi Theate/Theatre Le Seiziéme) The Leisure Society (Peninsula Productions), Suburban Motel: Featuring Loretta (Punchback Theatre) and Don’t Forget Your Pants (Share Theatre). He has also written (Best Of Men, How Much Are Those Feelings In The Window?) and directed (A Steady Rain) plays at the now closed Havana Theatre on Commercial Drive. His film and television credits as an actor include The Flash, The Man In The High Castle, Chilling Adventures Of Sabrina, Van Helsing, DC’s Legends Of Tomorrow, Supernatural, Animal Control and Woody Woodpecker. He is a QUT graduate of the Bachelor Fine Arts Acting program.

Creative Team

Tim Carlson [Lost Hands | Creator] is a theatre-maker, writer, musician and performing arts producer/consultant. He creates new work under the label feral.i.d. Tim co-founded Theatre Conspiracy (1995) with Richard Wolfe, and served as Artistic Director 2008-2022. He led the creation of Foreign Radical, which toured nationally in English and French, and the UK (Edinburgh Fringe First Award 2017; published in Canadian Theatre Review 2018). He has written over a dozen plays, including: Victim Impact (The Cultch, 2018); Extraction (The Cultch, 2013); and Omniscience (Vancouver, Berlin, Lisbon and Chicago; Talonbooks, 2007). He recently produced Offending the Audience for The Biting School. His fiction has been published in subTerrean and Prairie Fire. Lost Hands is his first audio/visual initiative since Holiday in Hell (1984), supported by a Saskatchewan Youth Initiatives grant. (@feral.i.d)

Brianna Bernard [Technical Director] is a theatre artist who takes an interest in both the creative and practical departments of art and live performance. With a background in technical direction and production management, Brianna has worked on productions such as My Little Tomato, Dead Drone, Tomboy and Faye’s Room. She holds a BFA in Theatre Production & Design from Simon Fraser University. Originally born and raised in Jamaica, Brianna is thankful to now work, create and reside on the stolen lands of the Coast Salish peoples of the xʷməθkwəy̓əm (Musqueam), skwxwú7mesh (Squamish), and səl̓ílwətaɬ (Tsleil-Waututh) nations.

Emily Friesen [Costume Designer] is a multidisciplinary designer, artist, and graduate of the University of Victoria theatre program. Select credits: The Fiancée (WCT) Ms Holmes and Ms Watson- Apt 2B (Gateway)  If You Could Read My Mind: The Songs of Gordon Lightfoot, Kindred (Belfry), Women of the Fur Trade (Firehall Arts Centre) We Are Boy Band, Metamorphoses (Studio 58), The Last Five Years, Ride The Cyclone, Salt Water Moon, The Legend of Sleepy Hollow (Blue Bridge Repertory), Great Works Festival (Puente/BBRT), The Lion, the Witch, and the Wardrobe, Allihipporhinocrocodilligator(Kaleidoscope), Snow White (Carousel), The Mixolydian (Green Thumb), Othello, The Children’s Hour (UVic Phoenix Theatre), and It’s Just Black Hair (Staging Equality). http://emilyfriesen-theatredesigner.com/

Claine “Gorgoth” Lamb [Sound Designer] is a Vancouver-based sound artist and videographer working at the intersection of extreme metal and avant-garde horror sound design. Their main projects: Misyrion, FL3SH ERR0R, and Gorfan, explore the visceral limits of sonic intensity and emotional expression. Alongside their artistic practice, Claine works as an audio technician at Lobe, a 4DSOUND spatial audio studio, where they develop immersive, multidimensional audiovisual environments. With over a decade in the underground music scene, Gorgoth channels chaos and catharsis through the transmutation of emotional expression into brutal sonic architecture.

Kayleigh Sandomirsky* [Stage Manager] is a Vancouver-based production manager, Equity stage manager, producer, curator and performer, who works across both theatre and dance. She is also the Operations Coordinator for The Chop Theatre, has toured both large scale and independent performances across Canada and internationally, and is currently developing her skills in design and Tour Management.

Recent Stage/ Production Management credits: BOLT (PM – Jeanette Kotowich), Wolf Cull (SM – Cheyenne Scott), Everything Has Disappeared (SM – Mammalian Diving Reflex/ Unit Theatre), Women of the Fur Trade (PM – Touchstone Theatre), and Matriarchs Uprising Festival (PM – O.Dela Arts). 

Parjad Sharifi [Lighting Designer] is an Iranian-Canadian scenographer, performance maker, and associate professor of theatre at University of the Fraser Valley. Parjad has been nominated for and has won multiple Jessie Richardson Awards for his designs. His recent design work includes set and lighting design for Rice and Beans’ Lasa NG Imperyo (Taste of Empire), performed at the PuSh International Performing Arts Festival. Other notable recent projects include set design for The Arts Club’s Teenage Dick and lighting design for The Arts Club’s Dolly Parton’s Smoky Mountain Christmas Carol. At UFV, Parjad’s recent directing credits include productions of Rhinoceros by Eugène Ionesco, Art by Yasmina Reza, and Pariah (Outcast) by August Strindberg.

Artyom «Arty» Urdabayev [Projection Designer] graduated from Vancouver Film School with Film
Production diploma, and University of the Fraser Valley with a Bachelor’s Degree in Media Arts. While
studying at UFV, he discovered a world of theatre. Arty has worked as a Lighting and Projection Designer
and Operator on the different shows including Twitch (UFV, Harrison Festival of the Arts), Interpret Festival
(UFV) and Miracle on the 34th Street (Gallery7). When not meddling with the lights or video, you can find
him hiking in the mountains or geeking out about a niche technology.

Merve Yoruk [Assistant Set Designer] is a set and costume designer, originally from Istanbul, holding a BFA in Stage and Costume Design from Mimar Sinan Fine Arts University. She has worked on major theatre productions, collaborating with well-known directors and designers, with credits including Crocodile Fever (Arcola Theatre, London), Equus, Peter Pan, Urinetown the Musical (Zorlu Performing Arts Center, Istanbul), as well as work presented at the IKSV Istanbul Theatre Festival. She currently lives in Vancouver, where she is expanding her perspective, growing her network, exploring new methods, and pushing the boundaries between analog and digital production design.

* The participation of these Artists are arranged by permission of Canadian Actors’ Equity Association under the provisions of the Dance•Opera•Theatre Policy.

The post Ionesco’s Cabaret appeared first on Rumble.

100,000 years ago Guillermo, Marcus and Mr. Magnificent! (2) made a show called Ali & Ali and the aXes of Evil. The Vancouver Province called it “The smartest Canadian political theatre of the 21st century, and the funniest.” After a couple of weeks trying to see if the madness of 2026 is worth having another go, they’ve agreed to share their findings with you through an exclusive discounted event somehow funded by the Canada Council for the Arts.

This blurb might be all they’ve done. Which is ok, because Mr. Magnificent! has questions for you. Would you buy Ali & Ali skin care products made with “52 Virgins Olive Oil” and shipped – tariff free – directly through the Strait of Hormuz? Is Big Daddy (aka Mark Carney) the Manchurian Candidate? Is Kid Rock the modern day Bob Dylan. Is journalism now even more archaic than theatre? (3) 

1.  Or not
2. Not his real name
3.  There are more questions

Meet the Creative Team

Mr. Magnificent! first realized his magnificence when floating in the womb. His greatest artistic achievement was serving as a page for Sir Ian McKellan – for one day. He was once accidentally held hostage by a gangster in the basement of a strip bar, eluding a proper beating through one of the greatest performances of all time. Mr. Magnificent wishes for peace on earth and thanks his family for supporting his career.

Guillermo Verdecchia is delighted to be back in Vancouver working with his dear pals Marcus and Camyar. When not engaged in theatrical collaborations, Guillermo reads much of the night and dreams of going south in winter.

Given these strange times, Marcus is relieved to be back considering these characters with his OG bestie collaborators — what’s his name and the one with the goofy bio. Soon Marcus will turn 60, which is still younger than what’s his name.

The post Studio Visit: Ali & Ali and the End of Everything appeared first on Rumble.

Several times a year, Rumble hosts the Living Room, a gathering for the artistic community to get together and talk about what’s going on. All of it. It’s a great opportunity to connect, network, and share news in a casual and fun environment. Refreshments are served. (That’s for the mingling….mingling snacks.)

So listen, think, speak. Be welcome. Expect creative contributions around provocative ideas, and some good laughs.

More info here!

April 27, 2026 – Where My People At? A Black Artists & Industry Workers’ Salon

Calling all Artists of the Black/African diaspora! We’d love to connect with you! 

Rumble Theatre in collaboration with GVPTA and host, Adonis King, invite Black artists and cultural workers to Where My People At? A Black Artists & Industry Workers’ Salon. Happening Monday, April 27 at 7:30 pm at Progress Lab (1422 William St.).  

How often have you heard that we’re “hard to find”? *eyeroll emojil* We know that the Black population is steadily growing in Vancouver, but how many of us still find it hard to find a Black artistic community? There is a long and significant history of Black Arts and excellence in BC. For instance, the widely known Hogan’s Alley was home to several influential Vancouver artists and athletes including Leonard Lane, Ernie King, Barbara Howard and the Gibson Siblings. The Sepia Players, Vancouver’s first Black theatre company, was founded in 1969! 

The community was here, and despite the city’s best efforts, we’re still here. So, come join us for an intergenerational Black Artist’s chat and hangout. Meet your elders and the next generation. Eat some food and deepen the bonds of our community as we explore the legacy of Black Arts in Vancouver; past, present and future. 

We will be joined by special guests; Celeste Insell, Siobhan Baker and Britany Buren. 

Doors will open a half hour early at 7 pm. Light food and refreshments will be provided. 

This is a FREE event and registration is required. 

Time: 7:30 pm (doors open at 7:00 pm)
Location: Progress Lab 1422 – Studio (1422 William St – map)
Tickets: Free Registration Here! (Capacity is limited, please RSVP ahead of time)

Got questions you want to bring to the Living Room? Fill out the Registration Form or email Alisha the day before with the Subject Line: Living Room Questions for April 27th, and the questions you have relevant to the theme.

About the Artists

Adonis Critter King is a queer, Black, trans and non-binary, inter-disciplinary artist, theatre creator, writer, director, producer, and dramaturg. Their work uses Afrofuturism and Afro-surrealism to explore the intersection of the divine and the mundane, technology and spirituality, horror and joy, to examine the change and sacrifices required for our personal and collective liberation.

Adonis was the 2016 Youth Poet Laureate of Victoria, received the 2020 Witness Legacy Award for Social Purpose and Responsibility Through Art, and the JAYMAC Outstanding Production Award (2025).

Celeste Insell was born in Jacksonville, Florida in the early 1950’s. Her family moved around but in the 1960’s they finally settled in the Bronx.

In her early twenties, she moved to Toronto and studied acting at Ryerson (TMU) and Drama Studies at York University. In the 1980’s, in Vancouver, Celeste landed a role in an Arts Club production; and was cast in a hit production of “For Colored Girls” at City Stage. In 1982, She was also cast in her first Principal speaking role in a made for TV movie performing in a scene with Bette Davis.

She has written plays and poetry; given spoken word performances; and organized community events. During the 1990’s she was active in the Black community; and helped found “Crossroads Theatre ”in the 1980’s (a multicultural theatre company) and was also an Associate Producer for a Sepia Players production called “A Double Bill”.

Siobhan Barker is a published, nationally recognized, and multiple award winning bilingual creative and performer honouring ancestral teachings of the Griot. Having worked in schools, festivals, and special events, they are celebrated as a mesmerizing storyteller that captivates audiences of any age. They have developed a groundbreaking ceremonial practice of opening events in recognizing and celebrating African ancestors across the diaspora. They are an expert consultant in equity, disability justice, accessibility measures, body liberation, and the Director of Hogan’s Alley Society Community Care; Housing, Culture & Land Stewardship Programs.

Britney Mocca is a Vancouver-based actor with 10+ years of experience in film and television. Her credits include High Potential, Upload, and Untamed. She trained at Capilano University and holds degrees in Psychology and Performing Arts. Britney also teaches at Arts Umbrella and is currently in fellowship training as a film programmer.

The post Living Room Series – Where My People At? A Black Artists & Industry Workers’ Salon appeared first on Rumble.

Composer + Musician Anju Singh and Bharatnatyam Dance Artist Arno Kamolika will share 4 short experiments from their research studio dates supported by Rumble Theatre. The artists are exploring this classical Indian dance form in relationship to contemporary music and composition as the two artists survey the potential for collaborations between Arno’s movement work and Anju’s sound work for music, dance, theatre, and opera applications.

This informal event will show experiments in progress rather than completed works and invite visitors to learn more about the two artists’ research.

To learn more about Bharatnatyam Dance click here.

The post Open Studio Visit With Anju Singh and Arno Kamolika appeared first on Rumble.

Karen Hines is an award-winning, genre-defining creative. As a writer, director and cult-comedian, she is the long time director of High Performance Rodeo favourites, Mump & Smoot.

Also known for her short films featuring the character Pochsy, Karen has traveled the globe to international critical acclaim.

My Name Is Karen is a work-in-progress and a satirical examination of the “Karen meme”.

Cast & Crew

Karen Hines – Creator and Performer
Blake Brooker – Dramaturgy
Peter Moller – Images

Produced by:

June Fukumura and Paige Louter

Karen Hines’ high performance satires have won multiple production and literary awards and citations including twice being finalist for the Governor General’s Literary Award and shortlisted for the Siminovitch Prize in Theatre She is the author of The Pochsy Plays, All the Little Animals I Have Eaten, Drama and Crawlspace among others – all published by Coach House Books. She is a Dora Award-winning performer and director (Pochsy, Mump & Smoot) and her short films featuring the character ‘Pochsy’ have screened on five continents. Combining such disparate elements as magical realism, pink brand feminism, performance clown and horror, Hines’ works have won her a reputation as "One of the gems of Canadian theatre" (Toronto Star). Her true life real estate horror Crawlspace (Boca del Lupo, cross-Canada tour) is currently streaming on CBC Radio and her Pochsy IV recently closed to sold-out houses at Toronto’s VideoCabaret. Hines is a Gemini nominee and for three years played “Karen” in the Emmy Award-winning Newsroom (CBC/PBS)

Paige Louter (she/they) is a queer theatre creator and producer based in so-called Vancouver. She holds an MA in Drama and Theatre from the University of Galway, and works as a performer, writer, outside eye, and intimacy director. Paige produced The Café (ITSAZOO/Aphotic) and Sunrise Betties (ITSAZOO), produced/assistant directed Meeting (ITSAZOO/Pacific), co-produced and performed in The Wolves (With a Spoon/Rumble; Jessie Nomination: Outstanding Production) and performed in The Lonesome West (Cave Canem), Twelfth Night (Tottering Biped) and Coarse: The Brontes (Edinburgh Fringe). Year-round, they work as ITSAZOO’s Co-Artistic Producer and Currently Arts’ Operations Manager. Upcoming: solo shows God Joke Play and Nod.

June Fukumura is a multidisciplinary, nisei (second-generation) Japanese-Canadian theatre artist living on the unceded territories of the xʷməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) Nations, colonially known as Vancouver. She is the Co-Artistic Director of Popcorn Galaxies, an experimental theatre company dedicated to re-enchanting the everyday through unconventional, site-responsive and site-specific new works. Since 2013, Popcorn Galaxies has created over fourteen productions and has been presented in Vancouver, Richmond, Edmonton, Whitehorse, and Dartmouth. Her personal artistic practice includes: acting for theatre/film/tv/voice over, clowning/bouffon, puppeteering, directing, dramaturgy, devising, and writing. She has worked with a number of theatre companies across Canada including The Stratford Festival, Theatre Calgary, Arts Club Theatre, Theatre Replacement, Vancouver Asian Canadian Theatre, Playwrights Theatre Centre, The Chop Theatre, Little Onion Puppet Co., The Biting School, and Hong Kong Exile. As a dyslexic artist, she also works as a speaker, advocate, and educator. She is passionate about creating diverse, inclusive, and safer spaces for all neurodiverse and neurodivergent artists. June holds a BFA in Theatre Performance and a Certificate in Sustainable Community Development from Simon Fraser University.

Supported by:

My Name is Karen is made possible with financial support of the Playwrights Guild of Canada. 

The post My Name is Karen appeared first on Rumble.

Several times a year, Rumble hosts the Living Room, a gathering for the artistic community to get together and talk about what’s going on. All of it. It’s a great opportunity to connect, network, and share news in a casual and fun environment. Refreshments are served. (That’s for the mingling….mingling snacks.)

So listen, think, speak. Be welcome. Expect creative contributions around provocative ideas, and some good laughs.

More info here!

March 26th, 2026 – Mental Health Through An Artist’s Lens Long Table

Join us for a special Living Room edition where the evening will bring 14 participants together to dive into this topic in the form of a Long Table Discussion. 

What is a “Long Table” you ask? It’s a discussion format created by artist Lois Weaver. Inspired by the need for more inclusive and informal public conversations, this form uses a long table to encourage self-moderated dialogue and establish an “everybody has a seat at the dinner table” community-based atmosphere.

Co-facilitators: Alisha Davidson, Angie Descalzi, Carmen Ostrander

Paper, pens and markers will be provided along with tea and snacks.

Time: 5:30 pm (doors open at 5:00 pm)
Location: Progress Lab 1422 – Studio (1422 William St – map)
Tickets: Free Registration Here! (Capacity is limited to 14 people, please RSVP ahead of time)

Got questions you want to bring to the Living Room? Fill out the Registration Form or email Alisha the day before with the Subject Line: Living Room Questions for March 26th, and the questions you have relevant to the theme.

FAQ’s

What is a Long Table?

A Long Table, conceived by Lois Weaver of the lesbian theater duo Split Britches, is a physical space and non-hierarchical process for people gathering in conversation on topics of communal concern. It allows for an abundant, free flow of ideas, opinions, information and energy. The Long Table structure requires a physical long table to embody an “everybody has a seat at the dinner table” atmosphere; chairs, paper table cloth, pens and markers for note taking, scribbles, etc and an etiquette sheet. Learn more about the project, origin and etiquette practice for the Long Table here.

What if I just want to listen, do I have to participate in the conversation?

You are 100% welcome to just sit and listen.

Why this topic in this format?

Associate Producer Alisha Davidson was interested in holding a living room to give space for artists to talk openly about the state of mental health; not just within the context of the industry but also the greater context: the price of living still climbing, funding cuts, social and political shifts, and global and climate upheaval a.k.a..how are ya’ll doing right now?

We are all dealing with a lot; while still making art and while still confronting the ways in which our global communities are splintering and understanding ways we can stand up against violent systems of imperialism. But how do we actually talk about it? The heavy or the taboo? Hence, the Long Table format was brought to Rumble’s attention as the format itself was born from the need to explore difficult topics openly, equitably and non-hierarchically.

Do I have to disclose any personal information?

There is absolutely no requirement to disclose anything you don’t want to.

What should I bring?

Bring your whole self, as you are!

What is the intention of the space?

Provide a meaningful space for exchange, reflection and the sharing of ideas. Bring our own expertise based on our lived and shared experiences. Start conversations that are on-going (removing the need to finish them).

The post Living Room Series – A Long Table on Mental Health Through An Artist’s Lens appeared first on Rumble.

Kids Market is organized by Parents for Palestine. We are a multi-racial, interfaith, inclusive community of families on unceded Coast Salish territories. We support a Free Palestine. We advocate for safety, dignity, and love for all children. We are building a world where Palestinian children can thrive on their ancestral homelands without fear. Together, we are creating an inclusive, welcoming movement. We build child-friendly spaces, organize Palestinian-centered cultural and educational events, engage in solidarity work, and use our voices as parents to demand justice for Palestinian people

We accept cash and card payments! Follow @ParentsforPalstineYVR for a sneakpeek of everything we have to offer!

Accessibility

The post Kid’s Market for Palestine appeared first on Rumble.

What the Critics Have Said About The Effect:

“The Effect evokes the deliciously unsettling feeling that all of us are nothing more than bundles of chemicals in ongoing experiments” – The Guardian

“a knockout human drama” – London Theatre

“a parable for the modern age” – Harpers Bazaar

About the Show

Is it Love?
Or is it Chemical?

A dark, razor-sharp thriller by Emmy-winning writer of Succession, Lucy Prebble. The Effect dives into the chemical nature of love through the lens of a clinical drug trial. Connie and Tristan enter a study for a new dopamine-regulating antidepressant. They fall in love. Or do they? As dosages rise, desire and obsession intensify, and the boundary between genuine emotion and altered chemistry begins to blur. This provocative and timely co-production between Rumble Theatre and ITSAZOO Productions asks: If you can’t trust your heart and you can’t trust your mind—what’s left?

Content Advisory: This is a close-proximity experience with flashing lights, haze and loud sounds. This production includes sexual content, adult language, discussions of depression and mental health, and portrayals of pharmaceutical trials.

Ticketing

Preview – $20
Artist / Discounted performances – $25
All other shows – $30 REGULAR / $40 I ︎ INDIE THEATRE

Click here to get your tickets!

Progress Lab is wheelchair accessible.

If you have any specific access needs or if ticket prices are a financial barrier please email: Angie at angie[at]rumble.org

Show Schedule

WEEK 1

Preview: Friday, November 7 at 7:30 pm

Opening Night: Saturday, November 8 at 7:30 pm

Discounted Evening: Monday, November 10 at 7:30 pm
Discounted Evening:Tuesday, November 11 at 7:30 pm

Evening: Wednesday, November 12 at 7:30 pm
Evening: Thursday, November 13 at 7:30 pm
Evening: Friday, November 14 @ 7:30 pm

Discounted Matinee: Saturday, November 15 @ 2 pm

Evening: Saturday, November 15 @ 7:30 pm – $30 & $40 tickets.

WEEK 2

Discounted Evening: Monday, November 17 at 7:30 pm
Discounted Evening: Tuesday, November 18 at 7:30 pm

Evening: Wednesday, November 19 at 7:30 pm
Evening: Thursday, November 20 at 7:30 pm
Evening: Friday, November 21 at 7:30 pm

CLOSING NIGHT: Saturday, November 22 at 7:30 pm

Plan Your Visit

For more information on how to get to Progress Lab 1422, please click here.

Meet the Cast & Creative Team

Paige Louter / CONNIE

Paige Louter (she/they) is a queer theatre creator and producer based in so-called Vancouver. She holds an MA in Drama and Theatre from the University of Galway, and works as a performer, writer, outside eye, and intimacy director. Paige produced The Café (ITSAZOO/Aphotic) and Sunrise Betties (ITSAZOO), produced/assistant directed Meeting (ITSAZOO/Pacific), co-produced and performed in The Wolves (With a Spoon/Rumble; Jessie Nomination: Outstanding Production) and performed in The Lonesome West (Cave Canem), Twelfth Night (Tottering Biped) and Coarse: The Brontes (Edinburgh Fringe). Year-round, they work as ITSAZOO’s Co-Artistic Producer and Currently Arts’ Operations Manager. Upcoming: solo shows God Joke Play and Nod.

Andy Kalirai  / TRISTAN

Andy Kalirai (he/him) is an actor and writer born and raised in Vancouver. He’s trained with Railtown Actors Studio and Tempest Theatre. Select credits include: Guards At The Taj (Vancouver Fringe), I & You (Tempest Theatre), Zahak: The Serpent King (The Biting School), and Gemini (Monsoon Festival) which he also wrote.

Meghan Gardiner / DR. LORNA JAMES

Theatre credits include: The Cull, The Sound of Music, Beauty and the Beast, A Christmas Story: the Musical, Blood Brothers, Paradise Garden, Evita (Arts Club Theatre), How The World Began (Pacific) The Boy in the Moon (Neworld Theatre), The Music Man, I Lost My Husband (Gateway Theatre), Dead Metaphor, Urinetown (Firehall Arts Centre) and The Last Five Years (Western Canada Theatre). Television credits include: The Flash, Family Law, The Good Doctor, Firefly Lane, A Million Little Things, Beyond, Backstrom, The L Word, Motherland, Supergirl and several Hallmark movies. Meghan is a YWCA Women of Distinction nominee and has written ten professionally produced plays.

Anthony Santiago (he/him) / DR. TOBY

Anthony is delighted to be making his ITSAZOO and Rumble Theatre debut.

Selected theatre credits include: Death and the King’s Horseman, King Lear, The Diviners
(Stratford Festival); Oliver!, Anne of Green Gables: The Musical (Gateway Theatre);
Heaven, Angels in America (The Citadel Theatre); Company (Raincity Theatre); Coriolanus, Love’s Labour’s Lost, The Winter’s Tale (Bard on the Beach); A Prayer for Owen Meany, Dark
Road, Superior Donuts (Ensemble Theatre Company)

Film & TV: Motherland: Fort Salem, Sonic the Hedgehog, SCTV

Other: Four-time Jessie award nominee and two-time winner; two-time Ovation award nominee.

Much love to my Beloved wife Alexis and my kids James and Nya-Manet

Jiv Parasram/ DIRECTOR

Jivesh Pararam (He/Him) is an award-winning multi-disciplinary artist, and facilitator of Indo-Caribbean descent. His work has toured Nationally and Internationally. Jiv is the founding Artistic Producer of Pandemic Theatre, and became the Artistic Director of Rumble Theatre following three years as the Associate Artistic Producer at Theatre Passe Muraille. He was a member of the Cultural Leader Lab with the Banff Centre and Toronto Arts Council. His public service work has included collaborations with the Ad Hoc Assembly, The Canadian Commission for UNESCO, and as an advisor to the National Arts Centre. His current cultural practice centres decolonization through aesthetics. As both a creator and a dramaturge Jiv has been involved in the development of numerous new plays and creation projects, several of which have gone on to be nominated for a Governor General’s Literary award in Drama. 

Lisa Goebel (she/her) / INTIMACY DIRECTOR

Select credits: choreographer/intimacy director for Bright Star (GTP/Mirvish), The Dark Lady (Bard on the Beach), A Doll’s House (Arts Club), and Pride & Prejudice (Western Canada/Gateway). Associate movement director/intimacy director for Choir Boy (Arts Club), and intimacy director for Die Fledermaus (Vancouver Opera), Yaga (Touchstone Theatre), and Waitress (Arts Club). Lisa is a certified intimacy director through Intimacy Directors and Coordinators and is a graduate of Studio 58.

Jack Goodison / TD & SOUND DESIGNER

Jack (He/Him) is a Technical Director and Sound/Video Designer who originates from the UK, now living in Vancouver. He works to create an atmosphere that immerses the audience into the world of the show, letting them escape reality and lose themselves in theatre. He has worked all across the UK and now designs on the ancestral and stolen lands of the Squamish, Musqueam and Tsleil-Waututh nations. 

Select TD/design credits include: Theatre Conspiracy (Himmat), Rice and Beans Theatre (Peace Country), Pi Theatre / Seizieme Theatre (Polygraph), Rumble Theatre (Las Pasiones de Don Pasquale; Chochito Rey; A Tavola), Axis Theatre (Where Have All the Buffalo Gone), Douglas College (The 39 Steps; Jane Austen Action Figure; Orlando; Mad Forest), Vancouver Opera (The Pearl Fishers).

Christine Quintanta (she/her) / COSTUME DESIGNER

Born in Los Angeles to a Mexican-American father and a Dutch-British-Canadian mother, Christine is now a grateful visitor to the unceded lands of the Musqueam, Squamish, and Tsleil-Waututh people. Christine is an actor, playwright, and (very) emerging costume designer. For Rumble Theatre, she has served as co-playwright and costume designer for Shakespearean telenovela Chochito Rey (workshop production) and co-creator of Good Things To Do (digital tour).  For ITSAZOO Productions, she has been a faithful audience member for every show in Vancouver.  Thank you to her mentor Laura Fukumoto, and her fashion designer mom Kim Brower for their inspiration and support! Christinequintana.ca 

Monica Emme / SET, PROPS, PROJECTION DESIGNER

Monica Emme (she/her) is a set designer, props and puppet creator, and general maker, currently based in Vancouver.  Monica holds a Bachelor of Fine Arts from Toronto Metropolitan University and a diploma of Stagecraft and Event Technology from Douglas College.

Some favourite credits include: Set design: Every Day She Rose (Zee Zee Theater), Snow White (Carousel Theatre for Young People), Hadestown Teen Edition, & Newsies Jr. (Arts Umbrella); Production design: The 25th Annual Putnam County Spelling Bee (Arts Umbrella); Props: Peace Country (Rice & Beans Theatre), In My Day (Zee Zee Theatre), & Stuart Little (Carousel Theatre for Young People).

Find Monica at www.monicaemme.com

Phil Miguel (he/him) / LIGHTING DESIGNER

Originally a health care worker for the FVRD for over a decade, Phil decided to take his life in a slightly less dramatic direction and began his career in theatre. Over the most recent decade he has been a designer, director, actor, and producer in Vancouver spawning two theatre companies (Clockwork and Cave Canem) with multiple acclaimed and nominated productions. His past designs include lights for the best production nominated Lonesome West with Cave Canem Productions, set for Gramma with Pacific Theatre, and props for Wakey Wakey with Pacific Theatre. As production manager he enjoys learning how to create reconstructable pumpkins and sanskrit scrabble tiles and trying to figure out how to make things concurrently water and fire proof.

Maria Zarrillo (they/them) / STAGE MANAGER 

Maria Zarrillo (they/them) is a queer, non-binary Arts Manager with a background in organizational leadership, producing, stage management, advocacy, and research. They have worked with a variety of companies and communities in these capacities both locally and nationally. In addition to their freelance career, Maria is the Managing Director of Rumble Theatre. Maria is a graduate of Studio 58’s production program, the University of Winnipeg with a major in Theatre & Film and a minor in Human Rights, and has a Master of Arts in Justice Studies from Royal Roads University. Maria’s research looks to Queer Utopian Theory as a framework for addressing systemic inequities in the Canadian performing arts sector.

The post The Effect appeared first on Rumble.

‘The horse in Arabic is a symbol of freedom. But to us, this horse is much more. This horse is us.’

Built from the debris of a major invasion, the Horse of Jenin sculpture became a constant presence in Alaa’s life growing up in Occupied Palestine. It stood proudly in the center of the city for twenty years, symbolizing hope and resistance.

Then, on OCT 29, 2023, an Israeli bulldozer entered the city, ripping the sculpture from its place — and from its people.

Now, Alaa is left wondering… What happened to the horse?

Combining storytelling, mask and stand-up comedy, The Horse of Jenin explores the everyday life of a boy growing up in Jenin in Occupied Palestine who, like every child in the world, just wants to play and have fun.

Content Advisory: Recommended for ages 13+. Contains mature themes.

The post The Horse of Jenin appeared first on Rumble.