Delta Stageworks Theatre Society takes its inspiration from the Canadian theatre art form of ‘collective creation’, a play development process that got its start with Theatre Passe Muraille in the 1970s. Working with a core group of actor/writers, Theatre Passe Muraille would – in some iterations of their collective creation process – take up residence in a community and interview local residents around a theme of social inquiry. The resulting play would be performed for the community, offering a reflective insight into often complex social issues.
Recognizing that in our fast-paced, highly mobile world people are looking for ways to make authentic connections with their community and the place they live, in 2000 writer/director Peg Keenleyside was inspired to begin creating opportunities for people to engage with storytelling and the history of their community through collective creations.
Delta Stageworks Theatre Society brings innovative theatre arts based community projects to Delta with the goal of connecting people who live here with local stories and social issues past and present. We bring together both professional theatre artists, community-based theatre artists and community groups in educational workshops, collective creations and site-specific presentations to offer innovative theatre productions to Delta audiences.
We are grateful to our Board of Directors for their time and talent in guiding the Society’s direction.
A founding member of Delta Stageworks, Peg is a writer/director and independent theatre producer with credits in both professional and community theatre. She has also worked across Canada as an actor and is a member of the Canadian Actors Equity Association (CAEA) and the film and TV performers union UBCP/ACTRA.
A graduate of the University of Alberta and the Banff Centre of Fine Arts, Alberta, she trained in the playwrighting practice called Collective Creation as well as traditional forms of theatre.
Based in Toronto in her early career years, she co-wrote and appeared in a number of new Canadian plays, including Smoke Damage (Nightwood Theatre), Blue City Slammers (Blyth Festival) and Hockey Wives (FactoryTheatre). She also produced the critically acclaimed Hockey Wives with awards from the Canada Council and the Ontario Chalmers Foundation. Peg was also an early member of the renowned Nightwood feminist theatre collective; a new play development touchstone for emerging women’s theatre voices in Canada founded in Toronto in the 1980s.
As a theatre artist Peg has appeared on stages across Canada including with the National Arts Centre (Young Company), Canadian Stage, The Blyth Festival and Richmond Gateway.
Peg’s directing and producing credits include In Their Nightgowns, Dancing (UBC Brave New Works) and the Canadian political comedy Proud at Capilano University. She has also written, directed and produced for community theatre and site-specific heritage theatre events; including Delta’s Sidekick Players and the City of Lynden, Washington, Pioneer Museum (2000 & 2001). Most recently she initiated a site-specific community heritage/arts presentation, Delta 1914-1918: A Historical Reenactment (City of Delta).
Peg is also a freelance writer with local businesses, community organizations and arts groups. Peg has lived in South Delta since 2003 where, with her husband actor Eric Keenleyside, she has raised her two children.
Eric Keenleyside is an actor (CAEA, ACTRA/UBCP, SAG) with decades of experience on stage and screen. A founding member of Delta Stageworks Theatre Society, he brings experience as a workshop leader and theatre educator to the company’s projects.
He was the Assistant Director for the company’s 2018 project, Delta 1914-1918: A Historical Reenactment, and had a lot of fun researching Delta’s history and helping reenactors portray life in the Ladner area during the First World War. The experience was rich and rewarding and has led to more curiosity about the history of our community.
Eric is a graduate of the University of Windsor with a BFA in Acting, and apprenticed at the Stratford Festival at the beginning of a career that has taken him from Toronto, Ontario to Los Angeles, to Lynden, WA, and to Tsawwassen, BC, where he lives with his beautiful and talented family.
In 2020, Eric can be seen in the Hallmark TV series Martha’s Vineyard Mysteries as Police Chief Madieras and on all three seasons of the comedy series Loudermilk as Father Michael.
To find out more about Eric Keenleyside’s film and TV credits, visit his IMDB page:
2020/2021 ASSOCIATE ARTISTS
Just before graduating high school, Cameron began his professional career on the CBC family favorite, The Beachcombers, where he played Graham Blake for 6 seasons and later in the revamped TV Movies, The New Beachcombers. He continued on the series, while studying the craft of acting at California Institute of the Arts, where he received his B.F.A. in Theatre in 1990.
He continued working in theatre in Los Angeles in roles ranging from ‘A Midsummer Night’s Dream’ and ‘Fortune in Men’s Eyes’. Early film roles included Denys Arcand’s ‘Love and Human Remains’ which premiered at the Toronto Film Festival and Mika Karasmaki’s ‘L.A. Without a Map’, alongside David Tennant.
Cameron has over 90 screen credits, including television roles on ‘Beverly Hills 90210’, Walt Disney’s ‘Little House on the Prairie’, ‘24’ and the upcoming Quibi streaming series, ‘When the Street Lights Go On’.
He recently was part of the high school touring production of ‘Man Up’ which made a stop in Ottawa for a performance for Members of Parliament.
Cameron received his B.Ed. from UBC in 2014 and is currently the Head Acting Instructor at the Delta Film Academy Acting Program.
He volunteers as co-coordinator and coach of the South Delta Challenger Baseball Program for young people with cognitive or physical challenges.
Cameron has been a resident of South Delta since 2003. He is a member of UBCP/ACTRA and SAG.
Traditional name Tulkweemult, from Snaw-Naw-us First Nation, Vancouver Island.
Sam Bob has performed nationally in television, film, radio, and theatre.
He is a Jessie Richardson GVTA nominee for Best Actor in Headline Theatre’s Out of the Silence and nominated Best Actor by Dreamspeaker’s Film Festival for Dana Claxton’s The Red Paper.
His theatre productions include Crees in the Caribbean and Popcorn Elder with Saskatoon’s GTNT theatre. Also, he was in DrylipsOughta Move to Kapuskasing at the Arts Club. Paradise in the Wasteland with Tahmanous Theatre. Age of Iron, Farewell, maladjusted and Ecstasy of Rita Joe at the Firehall Arts Centre, Time Stands Still–Native Earth Theatre/Toronto, Swaa’ahmut and maladjusted with Theatre for Living, as well as several festival productions with Kevin Lorings Savage Society.
Mr. Bob can also be seen in a Netflix film Blackway with Anthony Hopkins, he is currently in Loudermilk airing on Amazon Prime, a comedy in which he has a recurring role as ‘Cloud’. He also appears in the Canadian Screen Awards and American Indian Film Festival award-winning feature film called Monkey Beach based on Eden Robinson’s book.
Sam has also taught free community theatre classes at the Vancouver Friendship Centre for several years. He attended residential school at Kuper Island.
Cory Haas is a bilingual director, theatre-maker, performer, and actor trainer. He is also the artistic director of no comment. th(é)âtre.
He holds an MFA from the Central School of Speech and Drama in London, and a BPA from Capilano University in Vancouver. This year, he was awarded the National Theatre School prize for artistic development. He is using that money to work with the Artistic Director of Théâtre la Seizième, on a year-long mentorship with the company.
Recently, he co-created Nos Repaires #1 with Siona Gareau-Brennan for Théâtre la Seizième, and is developing projects with his company, most notably Scandi Noir, a Francophone piece called Dilemme and a solo piece title Can we agree on something?
Cory also teaches, coaches and leads workshops on a range of approaches, most notably on devising practices and ensemble practices.
Cory’s work has taken him across Canada, the UK, Denmark, and Switzerland.
Renee Iaci is an actress, director and storyteller who lives in Delta.
She is a co-founder and co-artistic director of shameless hussy productions.
Her acting credits include Bedtime Stories for Amazons, Bonnie Dangerously, Marion Bridge (Jessie award nominee) and Summer of My Amazing Luck.
Her directing credits include the hussies’ Jessie Richardson award winning production of Frozen (Outstanding Actor) as well as Woman Idiot Lunatic Criminal, My Left Breast, Son of a Bitch Stew, the drunken life of Calamity Jane, and most recently, Evan Placey’s Girls Like That.
Renee was nominated for Outstanding Director at the 2014 Jessie Richardson Awards for her work on Dissolve, by Meghan Gardiner. The following year Love Bomb (also by Meghan Gardiner) won two Ovation awards including Outstanding Production. Dissolve and Love Bomb continue to tour NorthAmerica.
Renee is a graduate of the BFA Acting program at UBC.
Since receiving a BFA from York University, Marilyn Norry has spent 40 years cultivating careers in acting, writing, teaching, editing and producing (CAEA, UBCP/ACTRA).
Favourite stage roles include Heidi Holland in The Heidi Chronicles (Vancouver Playhouse), Hagar Shipley in The Stone Angel (Firehall Theatre), Eleanor of Aquitaine in The Lion in Winter (UnitedPlayers).
On screen she has worked with directors Steven Spielberg (The BFG), Gillian Armstrong (Little Women), Brian De Palma (Mission to Mars), and with actors Johnny Depp, Sam Shepherd, Leonardo di Caprio and many, many great actors who live and work right here in BC.
She is also the creator and producer of My Mother’s Story, a multimedia campaign encouraging people to write the story of their mothers’ lives so women’s history is valued, saved and shared.
In the fall of 2018 I took part in a reenactment created by Peg Keenleyside to celebrate the 100th anniversary of the WWI Armistice in 1918. Throughout my adult life I have been involved in theatre, but have never before been a part of a historical reenactment.
I couldn’t have chosen better because Peg is a master at this craft. The whole experience was a joy on so many levels. Apart from being back in the theatrical world, the fact that this was based on truth and realism was amazing. I found the whole experience stimulating and fulfilling.
I have lived in South Delta for almost 40 years and apart from the obvious, I knew very little of its history and nothing of the different families who experienced the trials and tribulations during and after the 1st World War. I now feel a much stronger connection to my community. Researching through old newspapers and online at the Delta Archives was an education in itself. I didn’t want the project to end.
I loved the idea of sharing our knowledge with other Deltans who were just as interested as we (the reenactors) were and perhaps giving others the thirst for knowledge of the history of our community. I would welcome the chance to be involved in other such projects and share the knowledge with the rest of our community.
It is a wonderful idea to create another reenactment in 2020 based on an historical reflection of our community as it was in the 1920’s. Interestingly, this follows as a natural progression in time from the production last fall.
Your work last year reflected the raw realities of life here in the early 1900’s on various levels which has an impact unlike that conveyed by the written word. As an elderly Mrs. Kirkland, my status was a rather privileged one but my behavior and that of my family reflected the spirit of community, co operation and effort for home and country. Of course like others, my family was touched by WW1 and the plight of returning suffering men led me to develop a rest and relaxation camp to aid in recovery.
Your reenactment approach conveys a heartfelt message of the life and times which shaped our past. I for one cannot pass the Kirkland House or the Ladner Cenotaph without thinking of our predecessors. Thanks to you and your artistic efforts you will provide another gift to share with this community.
I enjoyed how the scenes were put together and how it was fluid and, for the most part, ‘unrehearsed’. Each scene would unfold a little differently each time it was performed as each reenactor would change the dialogue in unpredictable ways…it added an element of fun and surprise for all involved, reenactors and audience alike