Eléonore Lamothe is a recent graduate from McGill University where she majored in Drama and minored in Mathematics. Being brought up in Nova Scotia with a Belgian mother and a Québécois father, she was always switching between French, Acadian and English, ce qui donne du Franglais, une langue qui danse sur les frontières culturelles. Night Cows/Les vaches de nuits has been a true labor of love and she would like to thank Katey for having the vision, Rosie and the Decters for making the play's world come alive in a whole new way, and all the people who have been involved in putting this beautiful text on its feet. Et merci Jovette Marchessault pour un texte qui, lui aussi, danse sur les frontières.
Patient Partner at PRAM (Participatory Research at McGill) and Theatre Practitioner, Katey Wattam uses therapeutic arts based practices to create recognition through participation. An interdisciplinary artist of mixed settler and Anishinaabe ancestry, Wattam approaches theatre as a way of mining her and other bodies for their “blood memory,” uncovering experiences and traumas (past and present) for the purpose of reclaiming and decolonizing bodies, minds, and spaces. Heavily influenced by the voice and breath work of Linklater, Berry & Rodenburg, and movement-based methodologies such as Viewpoints, Laban, and Pochinko mask & clown technique–her process is one that accesses and pulls from ones’ corporeal realities. She feels most at home in bodies of water, nuzzling her nose into sunflowers, and under the light of grandmother moon. She is so grateful for her moo(n)cow family and what they created.
Rosie is a musician and writer based in Montreal. She has worked for a variety of local media and arts organizations, including CKUT Radio, Geordie Theatre, and, currently, the Quebec Writers’ Federation. She also sings and plays synth in Bodywash, who are releasing their debut album, Comforter, this fall. She’s been honoured to be a part of such a magical production and hopes to hear moos in her sleep until the end of time.
Anna Jane McIntyre is an interdisciplinary artist and microactivist. Her work investigates how people perceive, create and maintain their notions of self and culture through behaviour and visual/audial/olfactory/contextual cues. Through her work, McIntyre acknowledges the active nature of negotiating culture.
Ranging from commercial signage to puppetry to immersive installation McIntyre's projects explore the questions of why, how and who while surfing the complexity, continuum and contradictions existing within our self-definitions. An animist at heart, she specialises in reconfiguring previously owned materials. McIntyre's artistic language is a constantly evolving mashup of Caribbean, British and Canadian cultural traditions. (96)
Lauren has been knitting since she was a kid thanks to the patience and guidance of her mother. Since learning, she’s been in love with the craft and learned other fibre arts like needle felting and sewing. She helps coordinate an intergenerational knitting club in Milton-Parc that creates a space for seniors and young people to learn new knitting and crochet skills from their peers in a comfortable and relaxed social environment. During the day, Lauren is the Research and Curatorial Coordinator at the Museum of Jewish Montreal.
Nikita is an emerging theatre artist with a focus on stage management and lighting design, and she has been ever so lucky to help Night Cows become a reality. She has had the privilege of working on shows with Geordie Productions (A Christmas Carol), Montreal, Arts Interculturels (Elle’s Black Space Mission), and Black Theatre Workshop (Rendezvous With Home), among others. Nikita is honoured to find herself at home in various locations across the globe, including Dubai, Trichur, and Chennai, but for now she is based in Montreal, QC.
music, cows and nighttime are three of my biggest loves. working on this project has been healing and inspiring.
i play guitar, synthesizer, and lap steel during the show.
Born at the heart of a thunderstorm that no one bared witness too but himself, Easton fled to the top of B.C’s highest mountain and gave a leap with so much beleif that it led him to this here night. while in the air, he raced an elm tree to the very tip of the sun and won by a tooth length just before nodding off in a bed of clouds. He dreamt of blue room, orangey shade, and a crooked cradle that could only be his own. He sat in the middle and retreated to each corner, one by one, always and forever. I love my mother. I love my father. I love my sisters. I love the air we breath and the music we make with it.
Hannah Kirby is an emerging lighting designer based in Montreal. Originally from Ottawa, Hannah came to Montreal in 2010 to study at McGill University and is now going into her final year of study at the National Theatre School of Canada. Her theatrical interests include Lighting Design, Directing, and Technical Direction. Hannah would like to thank Katey for her vision on this project, and for inviting her to be part of the team.
Yuan Kelly is a Canadian-Chinese theatre-lover from Singapore, currently studying Education at McGill University. Being a poet, blogger and general experimenter with the written and spoken word, she was drawn to the poetic quality of the Night Cows text. Yuan believes that theatre can be a powerful tool for activism and exploring repressed narratives, and is grateful to have had the opportunity to work with such a talented group of individuals to see the text come to life in a modern context.
Through the MAI's Mentorship Program, this production has benefited from financial support provided by the Ministère de la Culture et des Communications du Québec and the Ville de Montréal under the agreement on the cultural development of Montreal 2017-18.
Grâce au programme d'accompagnement du MAI, cette production à bénéficié du soutien financier du Ministère de la Culture et des Communications, et de la Ville de Montréal dans le cadre de l'Entente sur le développement culturel de Montréal 2017-18.