Sometimes theatres and other places need by bio so I have just left this in the third person, so if you came looking for it, you can just cut and paste.
Eugene Stickland grew up in Regina where he eventually worked on an MA in English at the University of Regina, which was interrupted when he went to Toronto to complete an MFA in Playwriting at York University. Eugene wrote plays in Toronto for a number of years for the Act IV Theatre Company before moving to Calgary in 1994. While in Calgary, Eugene enjoyed a 10 year stint as Alberta Theatre Projects’ playwright in residence, writing 6 plays for the company in that time, along with others for other theatres across Canada. On leaving ATP, Eugene became a feature columnist for the Calgary Herald for the next five years. His plays have been produced around the world in many different languages. Queen Lear has just closed its second season in Istanbul, in Turkish translation and has been translated into Russian, with a production in Moscow anticipated next season. Eugene is currently working on several new projects, including a volume of poetry, “Nocturnal Emissions,” and a new play, “Those White Things in the Ocean.” Eugene was recently appointed writer in residence at Calgary’s St. Mary’s University College and teaches English at Alberta Business and Educational Services. He lives in downtown Calgary.
Hello Eugene – Thought you might be interested in Soliloquies: the lady doth indeed protest. It’s available as an ebook (smashwords) and a theatrical piece (with the soliloquies interwoven) – the whole thing was performed recently in Maryland, and just three soliloquies a while back in Toronto, but it’d be nice to see more exposure of the work…
Here’s the blurb:
Lady MacBeth kill herself? Please. And Portia – you don’t think someone that intelligent would be a little pissed at being bait, and trophy? And Juliet, well, Juliet just wants to have – sex.
Soliloquies: the lady doth indeed protest is a collection of soliloquies by Ophelia, Lady MacBeth, Regan, Portia, Desdemona, Kate, Isabella, Juliet, Marina, and Miranda – protesting the role given to them by Shakespeare.
Exquisite poetry. Fresh new audition pieces.
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As Founder and Artistic Director of Judith Shakespeare Company NYC I’ve made it a priority to find more opportunities for women in classical performance, and this work certainly provides very exciting opportunities for women performers. I know many actresses who would love to get their hands on this material!
As a Shakespeare director, I’m thrilled by the perspective which Chris’ pieces provide of the plays and characters which they challenge – I believe these will be sought after by theatre companies which also do solid classical work, as new material for their audiences, embraced by a season of Shakespeare plays.
As a feminist, I’m excited by how these characters come alive and point up the perceptions and misperceptions that have shaped their literary and theatrical destinies.
As a dramaturg, I’m more than pleased to find modern playwrights who can write in heightened language and/or verse. This is a rare gift, and Chris has this gift. My own company recently began a play development program called RESURGENCE which seeks to find, develop, and produce such work. Chris’ piece fits our criteria exactly, as it also provides provocative roles for women.
Joanne Zipay
Artistic Director and Producer
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If you’re interested, I can send you a copy –
chris wind