Biography   3 comments

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.

I grew up in Regina where I eventually worked on an MA in English at the University of Regina, which was interrupted when I went to Toronto to complete an MFA in Playwriting at York University. Following that, I wrote plays in Toronto for a number of years for the Act IV Theatre Company while at the same time working in a number of communications-related positions, including the editor of the Frontier College Press. After a brief stint back in Regina in the early ’90’s, at which time my daughter Hanna came into the world, I moved to Calgary in 1994, and 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. After  leaving ATP, I became a feature columnist for the Calgary Herald for the next five years while at the same time continuing to write plays for other theatres. My plays have been produced around the world in several  different languages. Queen Lear, which I wrote in 2009 for Calgary actress Joyce Doolittle on the occasion of her 80th birthday, went on to other productions in other cities, including a two year run in Istanbul and throughout Turkey (in translation).  I am currently working on several new projects, including a volume of poetry, “Nocturnal Emissions,” a new play, “Those White Things in the Ocean,” and I’ve just completed a novel, “The Piano Teacher,” which I plan to publish on Blurb in the spring of 2015. I am the writer in residence at Calgary’s St. Mary’s University College and I teach a special communications course for internationally educated professionals, mostly from the world of medicine, at  Alberta Business and Educational Services.  I live in downtown Calgary, proudly without a car. I’m an avid cyclist and in winter a happy enough rider of public transportation.

Posted July 29, 2011 by Eugene Stickland

3 responses to “Biography

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  1. Hi Eugene, found you by accident. I went to Scott too (a couple of years younger) remember you and (Campbell?) entertaining us at lunch in the halls — once pretending the floor was a wall which you climbed. Glad to see a Scott alumni doing well with interesting work. I plan to read some of your stuff. All the best.

    Carol Solomon (nee Mack)
  2. Hi Eugene…I am writing on behalf of the Airdrie Public Library and wondered if you would be interested in joining us for a reading during our 2017 Author Series on a Saturday in November? Please email me as I would love to send you further details.

  3. 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.


    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


    If you’re interested, I can send you a copy –

    chris wind

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