I work with independent artists on funding, development and producing. Sometimes I’m writing an application; sometimes I’m coordinating a development period or helping prepare for a production.
We start with what the artist wants to make and what’s needed next.
Beauty and the Beast: My Life
Written and directed by Niall McNeil, an artist with Down syndrome, Beauty and the Beast: My Life marked his first project as a director. Independently produced by Niall McNeil Productions and presented at The Cultch in 2025, it brought his writing, paintings and imagination into a performance combining theatre, movement and music.
I worked on producing, project coordination, funding and development logistics, with Niall leading the artistic decisions.
The production received the 2025 Jessie Richardson Theatre Award for Significant Artistic Achievement: Artistic Innovation in Theatrical Form.
The Flin Flon Cowboy
An autobiographical country musical created with and performed by Ken Harrower, a gay artist who has used a wheelchair since birth. The work follows his life from Flin Flon and the foster care system to finding community and making a life as an artist in Toronto.
I worked as a producer and grant writer during development toward the 2024 co-production by the Flin Flon Cowboy Collective and Theatre Passe Muraille, in association with Why Not Theatre.
The River / Myriad Dance Projects
In 2023, audiences travelled by raft along Widzin Kwah, the Bulkley River, near Smithers, BC, encountering performance on the river and its banks. Developed over seven years in Likhsilyu Clan Territory, the project brought contemporary Witsuwit’en art and intercultural performance together with the river itself.
The collaboration involved Witsuwit’en artists, advisors and matriarchs, with support and guidance from Witsuwit’en Dinï ze’ and Ts’akë ze’. Myriad Dance Projects produced the work in partnership with Tara Cheyenne Performance.
Alongside grant and organizational support, I worked on the ground in production management, helping coordinate the project on and along Widzin Kwah.
How I approach this work
Sometimes the next step is a budget; sometimes it’s a conversation with a presenter or more time in rehearsal. I help work out what’s needed and how to make it possible, with the artist making the artistic decisions.