Let's Talk Antigonish Podcast
The question that launched this episode was a simple one, posed by Anuj after a conversation with Justin one day: why doesn’t the theatre put on more plays about harder-hitting social issues like racism, war, and other difficult topics? It’s a fair question, and it opens a door into a genuinely fascinating conversation about what it means to run a professional theatre company in a small Nova Scotia town. Andrea Boyd, Artistic Director of Festival Antigonish, has been answering versions of this question her entire career. She does so here with warmth, candor, and enthusiasm for the magic of theatre. The 2026 Summer Lineup But first, a rundown of the upcoming Festival Antigonish season. The 2026 Festival Antigonish season [https://www.festivalantigonish.ca/whats-on/upcoming-shows] opens with Murder at Ackerton Manor by Stephen Gallagher — a smart, funny spoof of Agatha Christie in which three actors play seven characters. Quick changes, physical comedy, and a genuinely clever mystery underneath the silliness. Boyd describes it as the kind of play that brings people together through pure shared laughter. The second production is The Greatest Play in the History of the World by Ian Kershaw — a one-woman show, a love story, described by Boyd as otherworldly and utterly charming. She travelled to Fredericton to see the Theatre New Brunswick production, cried through the final five minutes, and knew she had to bring it here. Kershaw, for context, was one of the writers behind Coronation Street. Performer Amanda Kellock carries the whole show. Third is Beyond the Sea by Kristen Da Silva, a two-hander — two actors, minimal staging, unfolding in real time. Boyd describes it as the kind of play where the relationship developing on stage becomes genuinely lovely, funny, and then surprisingly deep. Ian Sherwood and Stephanie McDonald are the cast; Sherwood is also performing a standalone concert while in town. The children’s production this year is The Biggest Little House in the Forest, a one-woman-with-puppets show that Boyd promises will delight even the very youngest audience members. On the music side: a June fundraiser concert by Carolyn Curry in support of the Bridge the Bauer capital campaign; a concert by Old Man Luedecke, whom Boyd first encountered years ago at the Edmonton Folk Festival and has never forgotten; and the Ian Sherwood and Friends show. The Theatre Itself: What’s Happening with the Bauer Longtime listeners will know there have been questions about the Bauer Theatre’s operational future given pending fire safety upgrades. The short version for this summer: the theatre has permission to operate, with renovations now scheduled to begin in the fall. For the past couple of years the stopgap has been what the company affectionately calls ghost watch — a dedicated person wandering the building during performances, checking every room, filling in a form to confirm nothing is on fire. They prefer to think of it as looking for Hector, the theatre’s resident ghost. Two Companies, One Building, One Mission A useful piece of context for anyone new to Antigonish’s theatre landscape: there are two separate organizations operating out of the Bauer. Theatre Antigonish is the community company — all-volunteer, a town and gown operation founded in 1974. Festival Antigonish, started in 1987, is the professional summer theatre company with a mandate to bring paid, professional artists to the stage. Both are registered non-profits; both operate under the shared principle, as Boyd frames it, of building community through the creation of excellent theatre. The community company, Boyd notes, actually gives her more flexibility to take artistic risks — it doesn’t depend on the same ticket sales to survive. For example, Theatre Antigonish produced Girls Like That by Evan Placey a few years back, a play about girls bullying each other in the digital age, so incendiary that a school that had booked it as a field trip cancelled at the last minute because, as they put it, it was too much like what was happening at their own school. Boyd still finds that heartbreaking. Those were exactly the kids who should have seen it. The Tension at the Heart of Every Season To answer Anuj’s question as to why the theatre can’t produce more risky plays along the lines of Girls Like That, Boyd is clear eyed: “If we don’t sell tickets we die.” A Canada Council jury once told her in the same breath to take more artistic risks but also to sell more tickets — two instructions that are, she points out with dry amusement, not always compatible. The shift away from the old repertory model, where three plays ran simultaneously and audiences could choose different shows on different nights, removed a useful buffer: one of those three could be a risk play, subsidized by the other two. With the current model, every production carries more weight. In short: the theatre must put on plays that draw a large audience, or risk losing the ability to function from a financial standpoint. It can’t all be hard-hitting plays with social commentary that only die-hard theatre fans would enjoy. And yet. The New Canadian Curling Club — a play about immigration and belonging — was one of Festival Antigonish’s bestselling productions ever. Boyd credits playwright Mark Crawford for writing work that somehow manages to be both genuinely funny and genuinely important. That sweet spot exists. Finding it consistently is the challenge. Why Theatre At the Professional Association of Canadian Theatres conference in Whitehorse, Boyd attended recently, she found herself stumped when asked to answer a simple question posed by the organizers: Why theatre? Her answer, when she found it, was a memory. She was twelve, didn’t fit in, wasn’t a sports kid, and didn’t have a lot of friends. She saw a sign advertising auditions, walked into a room, and ended up reading the famous Saint Joan monologue by George Bernard Shaw. One by one the drama teacher thanked each student and moved on. When he got to Boyd, he didn’t stop her. He said: keep going. That moment — being in a room where the fact that she was a little weird didn’t matter, where she was fully herself, where she knew what she was doing and where she belonged — is still what the rehearsal room is for her, decades later. Getting In the Door For anyone who’s curious but hasn’t made it to the Bauer yet, Boyd runs through the ways in: pay-what-you-can preview nights (the night before opening, when the show first meets an audience), a Pride night with a pre-show party, relaxed performances with slightly raised house lights and reduced sound cues for those who benefit from a gentler environment, and an arts and culture market happening through the season. Volunteers are welcome — summer ushering is entirely volunteer-run — and Theatre Antigonish year-round is always looking for actors, stage managers, designers, and light board operators. Tickets and full season information at festivalantigonish.ca [https://www.festivalantigonish.ca/]. More info on this summer’s shows at this link: https://www.festivalantigonish.ca/whats-on/upcoming-shows [https://www.festivalantigonish.ca/whats-on/upcoming-shows] Thanks to Whidden Park Campground [https://www.whiddens.com/], a Community Sponsor of the Let’s Talk Antigonish Podcast. Interested in becoming a sponsor? Email us at letstalkantigonish@gmail.com [letstalkantigonish@gmail.com] Get full access to Let's Talk Antigonish at letstalkantigonish.substack.com/subscribe [https://letstalkantigonish.substack.com/subscribe?utm_medium=podcast&utm_campaign=CTA_4]
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