If you fuck with what we do and think we might be able to helpfully contribute to your season/festival/project, let’s talk. As a company, we operate on a project-by-project basis, tailoring our individual roles to the specific needs of what we’re working on. This is one of the ways we try to challenge traditional hierarchies and methodologies of performance, and a value we carry into our collaborations. On a practical level, we can offer variations on—>

WELL THERE’S THE OBVIOUS

We have work that’s itching to be programmed. Any of the projects featured on our website are available for touring. We’re a cheap date. We also have a small mountain of projects that take a wide variety of forms and sizes—plays (with characters and dialogue, we promise), participatory performance extravaganzas riffing on office work culture, expanded cinema interventions into reality tv—that are right on the edge of being audience ready. Give us a little push. Let’s find the project that works for you and your audience.

COMMISSIONS

Want us to write an adaptation of Jane Eyre that’s secretly about family abolition and systemic ableism? Want us to imagine an online Google Doc participative performance experience for your theatre festival? Want us to tell you about our most cherished performance dreams and write us a blank cheque to bring them kicking and screaming into reality? You are an email away from joining the We Quit Theatre Cinematic Universe.

DRAMATURGY/SCRIPT DEVELOPMENT/DIRECTORIAL VISION

Most of the time, Gislina is our specialist here, having honed his dramaturge/director/big-picture chops on shows like our award-winning intermedia performance 805-4821, Mexican rock band Mariachi Ghost’s original musical Rencor Vivo, and Buddies in Bad Times smash hit Roberto Zucco, among many others. On each of these projects, Gislina offered crucial insight, advise, and research support for the artists, helping them clarify, expand, and achieve their creative goals. Whether you’re looking for an artist to help shape the text of your overhead projector / poetry / performance art project, do scene work with non-actor performers for your autobiographical rock opera, or help you find your way through the labyrinth of the French existential serial killer play you’re directing, Gislina is the ultimate swiss-army knife collaborator.

COMPOSING/SOUND DESIGN

Dasha’s bread and butter gig for almost a decade has been sculpting the sonic worlds of theatre, dance, and film. She has worked with worked with Buddies in Bad Times, the Stratford Festival, Royal Manitoba Theatre Centre, Prairie Theatre Exchange, Buddies in Bad Times, Cercle Molière, Theatre Projects Manitoba, OneTrunk Theatre, Frances Koncan, Waawaate Fobister, Debbie Patterson, and Alexandra Elliott, amongst many others, and is a proud member of IATSE local ADC659 (Associated Designers of Canada). Her designs have ranged from cinematic folk to industrial metal to adapting 17th century legal documents into art-pop bops. Don’t hire me to sound design your musical. More info about her work as a sound designer can be found at princessdasha.com.

EDUCATION

As a company and individuals we have offered university level lectures, class visits, and workshops in a wide variety of topics, including sound design, dramaturgy, and non-traditional project development.

THE ALL-EMBRACING “OTHER”

One of our upcoming projects began with a dance artist and an actor who wanted to work together but didn’t know where to start reaching out to us and asking if we wanted to collaborate with them. 5 years and 3 rounds of successful development funding later, we are about to premiere this work under the We Quit Theatre banner. So: if you’re working on something and think of us, send us a message, and let’s see where the conversation takes us.