Testimonials

PARC has been incredibly helpful to me these past four years! For starters, I have received PARC’s “Home Deliveries” on each of the three plays I have written so far. “Home Delivery” provides an in-depth critique of one’s play along with encouragement and suggestions. This is one of the perks of a PARC membership. In addition to a HD and monthly newsletters describing current plays, listing competitions and festivals far and wide, PARC offers fascinating workshops which I’ve jumped at every chance I got. Many of these workshops were online, due to distance and/or pandemic considerations. But I also took a live workshop from Pamela Halstead in the spring-summer of 2020, and it was from her workshop that I began what would become “Deenie’s Exit” performed for the PEI Fringe festival in the summer of 2021. With our own PARC community here on PEI, we have met in pubs all through the winter months, read each other’s plays out loud, given each other ideas and encouragement, and done writing exercises together. In fact, this Friday, Jan 27th many of us from PARC are going to see Benton Hartley in “Every Brilliant Thing.” In another great initiative, PARC, in conjunction with Young at Heart Theatre and King's Playhouse's own ‘Fresh from The Island', chooses two plays each year to work on in greater depth. With the guidance of experienced dramaturges and professional actors, writers are encouraged to drill down on their plays, work on structure and character, and eventually experience a public reading of their works. PARC is a great organization, connecting Atlantic playwrights to each other and celebrating the widely varied contributions each of us has to make to the theatre. I feel lucky to be one small part of it.

I didn't expect when I attended my first PARC cabaret that I was meeting people who would become such a major part of my life and career. From the moment I shared my first script, I've found nothing but support, and connection to a community that never fails to inspire and motivate. I find confidence in my own work when I have such a vast network of people and resources to connect and create with.

Pull All Resources Close, Pen A Rarity, Certain Pursue Advice: Revise, Critique… Produce, Applause, Repeating Curtain! HEY! PARC yer bottoms, gather ‘round. I’ll tell a tale through rhyme and sound. (‘Cause this is better when it is sung- For I write musicals that trip-off- tongue! ;) ) PARC and others like P.G.C. Can thus assist playwrights like you and me: They offer contacts, funding, dramaturgs, Whether you’re remote, or in bigger burgs. They support with retreats, showcases, and more. PARC advocates PLAYWRIGHTS; we’re who they are FOR! PARC’s got initiatives that really inspire, They help motivate me when I’m down to the wire On deadlines not met, or if ‘block’ has set in. (Their virtual workshops set my brain in a spin!) They embrace all cultures and communities, too. I’m so grateful for PARC – and they’ll welcome YOU!

I have just had the incredibly surreal experience of participating in the first day of rehearsal of a play I never expected to write and, once written, never expected to be produced. As I listened to the freshly printed draft read by some of the finest actors I know, under the direction of a director I have adored for over a decade, I feel dazed with the knowledge that this is it. This is the apex. The years and decades of work and sacrifice have converged in this moment of something (hopefully) original being created and brought to life by a community of artists. And now the fun begins. What a joy and a privilege. None of this would have been possible without the support and enthusiasm of PARC. This play that began as a whisp of a whisper was shepherded over the years through the Playwrights Retreat and multiple workshops, as the incredible leaders of this organization believed and held faith that this story was worth telling. As a young playwright, so many of my first opportunities as a playwright were found through the submission notices contained in the PARC newsletter. As I look through the last decade at whatever success I have achieved, it's hard to imagine what that decade would hold without my relationship with PARC. Playwriting is a career I would not wish on anyone, but when you alight on those moments of perfect creative collaboration, it's hard to resist the spark of the divine. Thank you PARC for this spark.

I’ve been involved in community theatre for many years, helping to bring the words of others to life through acting, directing and backstage work. I never considered the possibility that I would one day assume the role of playwright because I didn’t think of myself as a writer. Creative writing often involves a great deal of vulnerability and as a trans person who didn’t have access to gender-affirming care as a youth, I had built thick walls around that young child within who used to love creating fantastical worlds and characters. As a trans activist, I’ve been telling my story via presentations and workshops on creating inclusive spaces for the 2SLGBTQQIA+ community. When anxiety and uncertainty brought on by the pandemic caused me to revisit creative writing as a way of coping, I started playing with the idea of telling my story through a theatrical script. As someone who had never written a play before, having the opportunity to work with the wonderful dramaturge Lara Lewis - through both the PARC Home Delivery Program and PARC’s partnership with the 2021 Fresh From the Island: A New Works Festival - in the development of What’s Eating You? was incredibly helpful. Lara’s patience, care and knowledge of queer issues enabled me to navigate difficult and traumatic parts of my story in a way that was ultimately empowering and healing. I am forever grateful to her and to PARC’s ongoing support as I further develop my script. PARC has helped me to reconnect with my love of writing and discover how powerful the stage can be for telling our stories and bringing attention to important social causes.

I was lucky enough to win a free membership to PARC through NotaBle Acts Theatre Festival many moons ago and I'm very grateful for that introduction. Since I started pursuing this career path PARC has been an asset! I'm always looking to learn and soak up new ways of working and the workshops offered through PARC have been instrumental in doing just that. There are so many opportunities to learn and grow and PARC makes finding those opportunities so much easier. New Brunswick doesn't have the most thriving scene for theatre so not only does PARC help with its workshop offerings, but it has also helped me stay up to date on all the incredible work that's happening across the Atlantic region. The center has made me feel like I belong to a wider artistic community even when I start to feel isolated in my small (but lovely) town. It's important right now that we invest in telling new stories, especially from underrepresented people. While I was developing Fruit Machine back in 2017, I couldn't predict the volatile environment that queer people would be facing in 2023, specifically in New Brunswick. I'm so grateful that Fruit Machine has been able to tour and reach people across the province, and have people be so moved by the history I'm trying to share. Sometimes as an artist, you wonder if your work is important to the public, or just to your artistic sphere. Several times I've been pulled aside by audience members telling me how Fruit Machine needs to travel, it needs to be seen, and that the subject matter was something they wish they had known sooner. It's an important reminder that what writers and storytellers do is important. It opens the door to better understanding and empathy that will hopefully lead to effective social change.

I came to writing through dramaturgy - the work and training I did with PARC helped me clarify the kind of stories I wanted to tell, and for that, I'll always be grateful. Seeing the artistic process from a dramaturgical side made me itch to be a writer in that scenario, and it's been a really lovely transition.

As a theatre maker who has been based in the Easternmost point of this land we live and play upon, there are many, many months that I would not have making a living if I didn't write, co-write or collectively create my own work. I don't know many artists who don't write. So I'm surrounded by a lot of inspiration. Sometimes all that inspiration can turn to intimidation, and that can turn into a fear of writing a single word. I experience this from time to time. No clicking of the keyboards can feel terminal for writers like me. Because it's only one of the things I do, I can put it off endlessly. PARC has gotten me through some of those quiet moments. Over the years, I've availed of the Kitchen Table readings, the Workshop Assistance, and the Playwrights Cabaret, to get me back in the writer's seat. Because I'm one of those "deadline driven" writers, I've also scanned the PARC newsletter to find a submission deadline, wrote as if I was going to submit, read my work and decided not to, but felt a real sense of accomplishment as "adjustment" when I was back on track with my project again.

Young at Heart Theatre has been producing original theatre for nearly 20 years on PEI. We have collaborated with many artists over the years, and have produced plays by several writers from PEI and other provinces. The Fresh From the Island Festival is another project that Young at Heart is involved in, and we have successfully workshopped 8 plays over the past three years. We joined PARC because we believe in the work they do to foster and nurture the talents of Atlantic playwrights. PARC is a partner in the Fresh From the Island Festival and other new works festivals around the east coast. The work they do is exceptional. We look forward to more projects and partnerships with PARC in the future.

PARC has been one of the most significant contributions to my development as a writer. From the newsletters to the community events to the developmental support (both practical and emotional), PARC has connected me to opportunities and community that have allowed me to improve and deepen my practice.

PARC has been instrumental to my development as a playwright. I have benefited from workshops, the playwright's retreat, which I highly recommend, dramaturgical assistance, and invaluable guidance as I maneuver the Canadian theatre landscape. The support that PARC has provided to me and so many other playwrights ensures our stories could be told as we envision them. I am thrilled PARC exists to continue nurturing emerging and established playwrights in Atlantic Canada.

In all the work I have done, and Live Bait has done (including well before I started), PARC has been a guiding light and invaluable partner. Going back to the superbly talented Jenny Munday, through Pam Halstead’s incredibly supportive tenure, and now in the nurturing hands of Santiago Guzmán, PARC has strengthened, challenged, and nurtured countless artists of all ages connected to Live Bait, and of course well beyond us. A one-of-a-kind organization, that makes the often challenging process of birthing a new play not only less terrifying but even a soul-affirming experience. Thank you, PARC, from the bottom of my heart!

PARC has been instrumental in supporting our work. Each year we organize two workshops as part of OutFest. Local artists in our emerging category have the opportunity to work with Dramaturg Annie Valentina 1:1. These workshops provide support for each of the artists, allowing them time and space to develop their projects ask questions, and experiment. In addition, PARC has helped us to connect with artists across Atlantic Canada, which has really enriched our festival and our work in a variety of ways.

PARC has helped me so much over the last couple of years. Being a part of PARC makes me feel like I always have folks and mentors that I can rely on. Writing especially during a time when the world is set ablaze can feel really hard and lonely. PARC gives a writing community.

I am very grateful to PARC as they have been a valuable resource for me. With the help of Pamela Halstead, former Artistic Director for PARC, in October 2023 The Yankee Gale was workshopped with the support of the King's Playhouse in Georgetown, PEI. I am now very excited to be working with Pamela once again, along with Robert Tsonos, Watermark Theater, in Rustico PEI, as The Yankee Gale continues to move forward with PARC's support.

When I lived in Montreal, I worked for many, many years at Playwrights’ Workshop Montreal. When I returned to Nova Scotia, it was important to me to find my writing community and PARC felt like home. PARC is special because their whole purpose is to make theatre better! There are precious few places one can go for advice and mentorship from like minded and highly skilled colleagues. In a few short years, they have become an incredibly important support for me. I simply wouldn’t feel my plays were complete without them.

When I became a member of PARC, I quickly found a place I could turn for both practical support and kinship. I have had the opportunity to participate in many workshops, from Dramaturgy to Grant Writing, to being given funds to run my own Jenny’s Table Reading. While I always take advantage of the monthly newsletters to peruse possible opportunities, I find the most comfort in knowing that through PARC, I have found my place in the Atlantic theatre community.

The community, creative spirit and energy, and the level of feedback and mentoring provided by PARC form a vital resource for Atlantic Canadian playwrights. It’s the gem in the region’s crown of cultural organizations.

PARC is the only organization that east coast playwrights have to turn to for help with readings, promotion, dramaturgy and writing colonies. PARC is also the only organization in this region that is actively building a library of plays by east coast writers. The importance of PARC to the Maritimes’ cultural fabric cannot—and should not be—underestimated.

My time at the Playwrights Colony has been the highlight of my experiences as a PARC member. Having a full week devoted entirely to developing my play under the guidance of an experienced dramaturg was truly a gift - it gave me the time and space I craved to focus on my craft and develop my script in a supportive community.

This is the only organization in Atlantic Canada that assists playwrights in developing their work. Such assistance is invaluable and its merit cannot be overstressed.

There is nothing more life changing for a playwright than support. PARC has found efficient,effective and I think inexpensive programs to offer support across the board to both new and experienced playwrights from our region.

From offering support from the first stages of a play to production, the services that PARC provides to Atlantic Canadian Playwrights is invaluable.

I like to think of the work PARC does as an important, independent “research and development wing” of the Atlantic Canadian theatre scene. Independence means a “purity” in the process in that playwrights write about the things they are truly passionate about. And passion is the wellspring of all great art. PARC’s services are essential if we are to nurture our writers.

PARC has proven itself to be an effective medium for the education, promotion and development of playwrights and playwriting in Atlantic Canada. Since its founding in 1991, PARC has brought together playwrights and dramaturges with actors and directors to workshop some of the most exciting new plays that have come out of the region. PARC is vital to the health of our community.

Playwrights Atlantic Resource Centre provides a service to playwrights, which theatre companies are unable to furnish, but companies are able to take the completed or nearly completed work and provide a production opportunity. Playwrights Atlantic Resource Centre is an essential first stage in this process. Writers need the opportunity that PARC can provide.

PARC is an invaluable asset not only to the playwrights of the Atlantic region, but also to its actors and theatre companies. PARC is doing the developmental work that we cannot always afford to do, yet we get to reap the many benefits.

PARC stands firmly behind the playwrights of this region, helping them develop their work, gain confidence, hear their words aloud and test the realities of production. Best of all, PARC’s encouragement makes it possible for writers to stay here, at home, where regional theatres can best find their talents and put them to work on our stages!

In my opinion, PARC offers an invaluable service to Artistic Directors throughout the region, in providing a conduit through which the work of Atlantic Canadian playwrights, and particularly new Atlantic Canadian playwrights, can be made accessible to theatres in the region.

Each play development centre has its own personality and PARC is unique in its relationship to the entire region; PARC connects the playwrights of four provinces in a way that no theatre can or will.

I credit PARC with a continued effort to bridge the distance between creative minds in Atlantic Canada that often have no choice but to work in seclusion. PARC provides top notch dramaturgical support with top notch talent. The importance of early and effective dramaturgical support for the development of a distinct regional theatrical voice can not be declared loud enough. The work that PARC has done, and aims to do, is unquestionably essential to the growth of the Atlantic Canadian voice.

By its very existence, PARC showed me there was an information and support group for Atlantic Canadian playwrights. I have received critical evaluation of some of my early work from which I have learned a great deal. I find that PARC is a great source of encouragement.

PARC is essential. The organization provides essential services that support new work for the theatre. Writing for the theatre involves a complicated interface between playwright, director and audience. The work off the page has to engage that process long before the first production. PARC makes that possible for playwrights in the Atlantic Region. PARC is not a sit on its bum and gab kind of organization. PARC gets creative work done.