The Villains Theatre is a dedicated to creating transformative theatrical experiences
what's the latest?
This April, Page 1 Theatre brings a week-long queer theatre festival called OutFest to The Bus Stop Theatre, featuring a new play by our…Read More
This December, the Villains are supporting a production by a past collaborator, Sarah Deller (you may remember them from their…Read More
The Villains Theatre is honoured to create work in Kjipuktuk, at the Great Harbour, which has been and continues to be the unsurrendered, unceded territory of the Mi’kmaq people. This territory is covered by the “Treaties of Peace and Friendship” which Mi’kmaq and Wolastoqiyik (Maliseet) people first signed with the British Crown in 1725. These treaties did not deal with surrender of lands and resources but in fact recognized Mi’kmaq and Wolastoqiyik (Maliseet) title and established the rules for what was to be an ongoing relationship between nations.
We acknowledge that this company is run by two individuals who are white settlers, and that settler presence in this land is a result of the systems of colonialism, gentrification, and displacement. As we reflect on how we benefit from the use of this land, we can consider: what are we doing to reconcile our shared history, in order to ensure justice and equity?
We are all treaty people. By learning about the treaties that we are a part of, we can take action to ensure that we and our governments abide by and respect these treaties.
The Villains also recognize that Indigenous and Black & African Nova Scotian artists are underrepresented in the Canadian theatre community. We strive to eliminate oppressive practices and to critically examine settler colonialism within our institutional structure.
We are grateful to be able to live, work, play, and create on this land.
The Villains Theatre is mandated to:
- Create new theatrical work
- Develop and present our productions in Kjipuktuk/Halifax
- Collaborate with artists across all levels of experience
- Be an active and engaged member of our community
- Provide safe and accessible spaces for our teams and audiences
- Look for opportunities to tour our work nationally and internationally
- Produce accessible events and community outreach activities
- Listen to feedback and learn from our mistakes
- Explore ways to develop professionally, both as artists and as a company
- Artistic collaboration that fosters curiosity, respect, and innovation
- Creating theatre that navigates our shared human experiences
- Presenting work in our community and beyond
- Communicating clearly with each other and with the world
- Accessible spaces where everyone feels welcome
- Engaging with our peers, audiences, and mentors
- Developing sustainable practices, both artistically and administratively
- Creating work that is thoughtful in content and equitable in process, addressing historical injustices through our actions
Awards & Accolades
MERRITT AWARD WINNER 2022: Hansel und Gretel in: der Garten von Edible Horrors: a Terrible Parable (Outstanding Adaptation by a Nova Scotian Playwright: Dan Bray).
MERRITT AWARD NOMINEE 2022: Hansel und Gretel in: der Garten von Edible Horrors: a Terrible Parable (Outstanding Ensemble; Outstanding Indie Production Outstanding Original Score: Ian McFarlane, Dan Bray, & Rachel Lloyd), Observatory Mansions(Outstanding Adaptation by a Nova Scotian Playwright: Dan Bray; Outstanding Lighting Design: Vicky Williams).
MERRITT AWARD NOMINEE 2020: Fox (Outstanding Costume Design: Kaelen MacDonald), Zomblet (Outstanding New Script by a Nova Scotian Playwright: Dan Bray).
LOCAL XPRESS' BEST OF 2016: The Spanish Tragedy
MERRITT AWARD NOMINEE 2016: Arden (Outstanding New Script by a Nova Scotian Playwright: Dan Bray), The Duchess of Malfi, (Outstanding Production by an Emerging Company; Outstanding original score: Michael Robson), Outstanding original score: Michael Robson)
MERRITT AWARD NOMINEE 2014: The Roaring Girl (outstanding original score: Jenny Trites)
MERRITT AWARD NOMINEE 2013: The Jew of Malta (outstanding original score: Garry Williams)
THE COAST'S TOP PLAYS OF 2014: Gallathea "Sometimes a play just makes your heart sing, and this 16th-century script did that for me. It was beautifully staged and filled with memorable, quirky performances. It conveyed a simple but important message: love is love."
THE COAST'S TOP PLAYS OF 2013: The Roaring Girl"An original take on a 17th century comedy with original music and a feminist bent? Yes please!"
THE COAST'S TOP PLAY OF 2012: Kill Shakespeare "This was a unique theatre experience...[an] engaging storyline coupled with an intriguing format"
THE CHRONICLE HERALD'S TOP PLAY OF 2012: Kill Shakespeare