The word “unprecedented” has been pervasive since I began my tenure at Canadian Stage nearly seven years ago. Unprecedented global pandemic. Unprecedented government-mandated closures. Unprecedented economic inflation. Unprecedented polarization. And now, unprecedented shifts in our world’s geopolitics.

At each juncture, I have been called to reflect on what is required from an arts institution like Canadian Stage. For guidance, I have often returned to the seeds of Canadian Stage, which were planted nearly a century ago when pioneering actor and director Dora Mavor Moore began her quest to establish the first professional theatre in Toronto. Dora had been inspired by W.B. Yeats, who had co-founded Ireland’s national theatre, the Abbey, in 1904. Yeats was unqualified in his ambition: the Abbey was meant “to bring upon the stage the deeper emotions of Ireland.” Dora wanted the same for Canada and, eventually, Canadian Stage was born to bring upon the stage the deeper emotions of Canada.

Like many Canadians, I am experiencing a torrent of emotion about our sovereign democracy being threatened. Unprecedented times yield unprecedented emotions.

Our 25.26 season brings together some of our nation’s most accomplished artists to dive into these waters. They examine how history and politics impact our daily lives and our most intimate relationships. They offer new narratives. They create pathways towards forgiveness and healing. They create laughter, beauty, and hope.

Among the emotions that I feel is an intensified patriotism for our great country. It is an honour to be a part of an organization with such a long legacy of putting Canadian stories on its stages. And I am proud that, under Monica and my leadership, Canadian Stage has grown into the city’s largest employer of Canadian theatre artists and technicians. We are a nation of extraordinary talent and Canadian Stage is a place to revel in it.

Although Canadian stories remain the core of next season, I am also inviting Canadian artists to work on three American plays that speak to today’s world in vital, original, and insightful ways. I stay committed to Canadian Stage’s internationalist mandate despite my outrage. It is often said that art knows no borders. I believe that this is because the human experience is universal.

I love the theatre because it reminds us of our shared humanity. And I love our country and its people because Canada strives to do humanity well.

May Canada and its stages remain strong and free.