Two interesting plays coming to local stages
We asked the creator of For What We Labour about setting a farce in Ancient Greece and staging it in a Hamilton home, and we talked to the artistic director of the Hamilton Theatre Project about the darkly comic and provocative Within the Glass.
For What We Labour: A Comedy of Heirs (Hiccup Productions)
Playwright/producer: Renata Ona
Director: Tamara Kamermans
Host/stage manager: Pamela Blackwood-Marques
Synopsis: “For What We Labour is an energetic farce set in Ancient Greece. Featuring an unexpected pregnancy, meddling gods, and escalating family chaos, the play combines the structure of a soap opera with the conventions of classical theatre. Filled with sharp dialogue, and larger-than-life characters, the production offers a fast-paced comedy about family, consequences and hijinks gone wrong (and right?).”
For What We Labour is conceived as an “energetic farce” which starts its busy summer journey in a “fairy garden in an historic Hamilton neighbourhood.”
The play’s creator, Renata Ora, was kind enough to share her thoughts about the inspiration behind the play, the ever-evolving interpretations that happen onstage, and the busy summer ahead for For What We Labour and its team.
What makes For What We Labour an interesting and special story?
“To me, For What We Labour is interesting because it’s a farce comedy that plays up concepts like blended families and comedic consequences for unwise actions. It’s very quick and dialogue driven. And in some key scenes, when all actors are on stage, there is so much organized chaos. The actors have worked really hard to tease out every bit of comedy from the script and every time I watch it, something new happens. I love that. And it’s fascinating for me to watch that process of interpreting unfold. For What We Labour IN THE GARDEN is especially special because this venue is incomparable. Pamela Blackwood-Marques has provided such a whimsical space for this story to unfold.”
How were you inspired to write a comedy set in Ancient Greece?
“When we think of Ancient Greek stories, the women are either fantastically beautiful so as to inspire war or kidnapping, they are goddesses, and/or they are mothers of heroes…. When Plautus wrote a play called Pot of Gold, where a miser fakes being poor so no one steals his money, the protagonist mentions an average woman, his pregnant daughter, but that’s it. No details. And that was the straw that broke the camel’s back for me. In For What We Labour I just wanted to write about average people, including women, during that time period. The protagonist is a seemingly intelligent but spoiled young woman who gets pregnant, which intercepts her plans. The man who gets her pregnant is a problem gambler and he courts her to get the money back that she won from him. I don’t know that this has ever happened in real life, but these are the kind of problems that we, as an audience, are more likely to face than the Trojan War. And I just wanted to make them funny and interesting. Plus, Ancient Greece is a glorious setting! Beautiful costumes, pompous speech, and meddling gods and goddesses.”
Who will most enjoy the play? Who will be challenged by it?
“This play will hit best for those who love farce, especially physical comedy. Anyone who gets easily offended by (tasteful!) fart jokes will be challenged by it.”
What do you most want the audience to take away from the play?
I want the audience to enjoy the night out! The story is silly, the costumes are mesmerizing, the actors are fantastic, and the venue is beautiful. In addition, there will be live music that adds to the ambiance. Well worth the money that goes toward support of independent theatre.
Just how limited/intimate is the seating?
“At maximum, we can seat 25 people per night. Everyone will be nestled on the front porch, back deck,or in the parlour of a gorgeous and interesting Hamilton home. The back deck has this beautiful glass railing; indeed, it was updated last year specifically to accommodate an outdoor audience!”
What's up next for you?
“For What We Labour IN THE GARDEN is the first event of our busy summer season! We are so excited for the next event, which is that we will be filming For What We Labour to air on Cable14 (community television). [For What We Labour RECORDED LIVE!] will take place at Dundas Little Theatre on Tuesday, June 23, 6 p.m. Tickets are available for $30 and we’re especially excited to announce that half of ticket proceeds will go towards building Keaton’s House, a children’s hospice that will be located in Dundas.”
For What We Labour will also be participating in next month’s 2026 Hamilton Fringe Festival, beginning July 16 through July 25 at St. Luke’s Mission, 454 John St. N.
What advice would you give someone about trying to have an artistic career and producing independent theatre?
“(1) Know the end goal for your product (aka: the script/story); (2) Keep being open and curious about the process; (3) Most importantly: be flexible. In the same way that I was not expecting to write a play about Ancient Greece, if I’d had a predetermined idea of how this process was going to go I would have given up a long time ago. And if I had given up every time a wrench was cast at my feet, I would have had a lot of wrenches and no play in a fairy garden this summer.”
The cast of For What We Labour includes Tyler Brent (Aplistos, Dionysus); Trisha Seecharan (Anthisma); Liz Buchanan (Evrostos); Renata Ona (Hamartia); Pia Shaw (Lamprosa); Gianni Elia (Paratolmos); and Johnny Thirakul (Pyknos)
NEED TO KNOW
Continues Thursday, June 11, 6 p.m., Saturday, June 13, 3 p.m., Sunday, June 14, 4 p.m.
114 Herkimer St., Hamilton
Tickets: $25 with tickets free for children under 12.
Tickets here
More information here
Within the Glass (Hamilton Theatre Project)
Playwright: Anna Chatterton
Director: Brandon Vedelago
Stage manager: Rachel More
Synopsis: “After a devastating mix-up at a fertility clinic results in an embryo being implanted in the wrong woman, two very different couples are forced to confront one another. Over the course of a strained and increasingly surreal evening, they grapple with an impossible decision about the future of the child – and their own. What unfolds is both unsettling and darkly funny, as the absurdity of the situation exposes fault lines in their relationships, desires, and carefully laid plans.”
Calling Within the Glass a “darkly comic” and “provocative” play, Hamilton Theatre Project promises a “riveting, high-stakes theatrical experience starring a sharp, contemporary exploration that dares to ask: what makes a parent?”
Amber Mills is the artistic producer of Hamilton Theatre Project, and she generously answered some questions about the upcoming production, which will be the play’s Hamilton debut, including the motivation for choosing it and what she hopes audiences will take away from it.
How is Within the Glass special and how is its story important?
“Within the Glass is special for many reasons. It is a contemporary Canadian work that was developed at the Tarragon Theatre in Toronto, and following its run there, it was published and nominated for the Governor General's Award for drama! It centres around two very different couples going through a fertility journey, a topic that is often avoided or swept under the rug. And it manages to do all that AND be funny!”
How did you come to work with playwright Anna Chatterton on this project?
“I found a copy of the play at the Hamilton Public Library, believe it or not! I was reading plays in search of a project; the parameters were that it had to be small, four people is about the max with a little company like ours. It was a thrill to open Anna's play and immediately think, I can see this in Hamilton! We are so fortunate that Anna was able to answer questions and come to a rehearsal. Definitely a rare treat to ask the playwright questions directly.”
Why is this show being staged at McMaster?
“Our connection to McMaster is two-fold: our brilliant stage manager, Rachel More, works there full-time and serves as our primary point of contact, and last year we were asked to remount our production of Constellations at McMaster, which marked the beginning of our relationship. We are delighted to use such a beautiful, underutilized, resource-rich space in the summer months.”
Who will most enjoy the play? Who will be challenged by it?
“Anna has written a play that centres around a topic so many people have a story about – the journey to becoming a parent. Whether you have experience dealing directly with infertility or not, the high-stakes, very human story will draw you in and make you ask – what would I do if I were in this impossible situation?”
What do you most want the audience to take away from the play?
“This play starts conversations. There is no neat bow, no solving any issues, just questions. I hope people will walk away and talk about everything the play brings up for them.”
What's up next for Hamilton Theatre Project and Anna Chatterton?
“I can't speak for Anna, although she's always got many irons in the fire. We at Hamilton Theatre Project don't know what our next production will be yet, but rest assured, it'll be an intimate story, told with heart.”
What advice would you give someone about trying to have an artistic career and producing independent theatre?
“In Canada, being an artist of any kind means going out and making work for yourself. Whatever ambitions you have, don't wait for anyone else to give you the opportunity, go make it for yourself.”
The cast of Within the Glass includes Hamilton-based actors Adam Lemieux (Death of a Salesman, Dundas Little Theatre), Amber Mills (Constellations, TVO’s Hi, Opie!), Colin Palangio (Soulpepper Theatre) and Alma Sarai (Tottering Biped Theatre).
NEED TO KNOW
June 16 through June 20, 8 p.m.
Matinee June 20, 2 p.m.
Robinson Memorial Theatre
Chester New Hall
McMaster University
1280 Main St. W., Hamilton
Tickets: $20 (student/senior/arts worker), $25 (adult)
Tickets here or with cash at the door
More information here
FOOTNOTES: Two local companies win WODL Awards
Theatre Burlington was a double winner at the Western Ontario Drama League (WODL) Awards.
At last month’s Western Ontario Drama League (WODL) festival, Theatre Burlington’s production of Mary’s Wedding by Stephen Massicotte was named outstanding production of a Canadian play. Dan Gallo and his team of Joe LaPenna and John Spanik also won for outstanding lighting design and execution.
Mary’s Wedding received seven nominations in all, including best director for Moe Dwyer, and Outstanding Visual Production. On the technical side, nominations included best costumes (Helena Adamczyk), outstanding set design (Michael Hannigan), and outstanding sound design (Michelle Spanik).
Dundas Little Theatre took home three awards at the same annual WODL festival, held this year in Hanover, Ont. DLT won for its production of Home, I’m Darling! including one for Melissa Roberts, who received the special adjudicator's award for a first-time director.
DLT also took home outstanding visual production and outstanding set design and execution (Michelle Chin (design), Blair Smith (lead), John Bello, Roy Carroll, Ian Cowe, Rod Crombie, Joey Gallo, Anne Hogan, Gloria Liu, Stewart Patch, Bram Pieper, Pauline Prowse, Bob Snider, Daniel Van Amelsvoort, Olivia Balkwell, Anne Baltaga, Sylvia Baltaga, Emily Burse, Julian Maganinho).
Nominations for Home, I’m Darling! also included outstanding production out-of-festival; Antoinette Laleon (Judy) for outstanding performance in a major role; and best costumes (Jane Snider, Elaine Sharp, Emily Burse, Natalie Burse, Sonia Goncalves, Piper Grice, Sydney Grice, Jessica Thomas-Troian).
