Photo credit: Rachael King Johnson

Photo credit: Rachael King Johnson

Marie is a theatre director, dramaturg and producer, who has trained and worked across Canada and internationally. Currently, she's working as the Associate Artistic Director at Crow’s Theatre with Chris Abraham in Toronto. She’s the founder and Co-Artistic Director of the formally-experimental company Babelle Theatre in Vancouver. Her theatrical interests are broad – from staging classical texts, new Canadian plays, sketch comedy and theatre for young audiences, to developing new works with writers and devising contemporary puppetry. 

Marie is not afraid of risk, of bending physical space and theatrical conventions to offer a different point of entry into the arts for younger and more adventurous audiences. She's an artist with very playful conceptions of dramatic convention – her shows operate under one set of rules and then they subvert those rules ever so slightly, again and again.

Her work with Babelle has been described as trippy, intelligent and wildly inventive. For the past several years, she has been pursuing a unique practice in Vancouver and has made a definitive mark in her west coast community. She has directed for and collaborated with many companies across the country, such as Rumble Theatre, Théâtre La Seizième, and Porte-Parole. She was also an Assistant Director at the Stratford Festival, Bard on the Beach, and the ArtsClub.

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What I remark most about my work today is its international influence. My love for different cultures and theatre has taken me across the globe to study Theatrical Biomechanics of Meyerhold in Perugia (Italy), Jingju, an acrobatic form of Chinese Opera at the National Academy of Chinese Theater Arts in Beijing (China), and more recently Wayang Kulit, the traditional Balinese shadow puppetry (Indonesia). These theatrical forms are often perceived as strictly codified and tightly structured. However, I’m precisely interested in the creative tension that exists between innovation and creative expression on one side, and tradition and structure on the other. I believe this tension is central to great theatre. 

As a story-teller, I’m interested in making audiences work. I’m interested in what we don’t understand rather than what we do. I believe that our lives will remain essentially mysterious, and I want to tell stories in which the audience experiences mystery itself. I choose possibility over probability.