Matt MacInnis is the stage manager you don’t just want, you need! This man is organized, passionate about theatre, and is not afraid to throw you some sass if you’re getting out of line.

We drank margaritas for this interview with Matt, and in the most perfect ‘stage manager’ of ways, he sent me a specific recipe that I was to use. Let’s just say, wow! Were they ever strong! We chat with Matt about how stage managers don’t have agents and therefore need to book jobs and negotiate for themselves, being a part of new Canadian works, and ‘Stage Write’ an app for stage managers and dance captains.

Come hang with us, grab a drink (if you’re not driving) and get your weekly fix of musical theatre banter with beverages.

Today’s episode features Stafford Arima and Michael Rubinoff, who share their experiences of taking new works from the ground floor, to stages around the world, and how Canadians can continue to push boundaries and develop their stories for global audiences. Hosted by Tracey Flye.

Michael Rubinoff is a Canadian producer and the Artistic Director of Musical Stage Company in Toronto. A Tony Award winning producer, his Broadway credits include Come From Away, which he helped develop from its earliest stages in Canada to international success. As the founding Artistic Producer of the Canadian Music Theatre Project (CMTP) at Sheridan College, he has shepherded numerous new musicals from workshop to world premiere. Michael’s work spans Broadway, the West End, and North American touring productions, with a focus on developing and championing new Canadian musical theatre.

Stafford Arima is a Canadian director and the current Artistic Director of Theatre Calgary. He works internationally across Broadway, the West End, and major regional theatres, with directing credits including Allegiance on Broadway and Ragtime in Concert at New York City Center. Stafford has led productions at institutions including Theatre Calgary and the Stratford Festival, and is known for his work on large-scale musicals and new works development. His career reflects a commitment to bold storytelling and cross-cultural collaboration on major stages worldwide.

This episode is a snippet from CGDC’s Expanding our Vision as Canadian Creators. CGDC is grateful to the Canada Council for the Arts for their support in this programming.

This episode is a round table discussion featuring Ray Hogg, Ali Hand of the Disability Collective, and Greg Carruthers of EveryBODY on Stage. They break down the definition of unconscious bias, how it can shape our stages and what we, as creatives, can do to challenge it.

Ray Hogg is an award-winning theatre artist who brings over 25 years of experience as a director-choreographer, artistic leader and educator. Ray is currently the Resident Director of the Toronto production of &Juliet, the founder and Artistic Director of Prime Mover Theatre Company, and was the Artistic Director of Rainbow Stage and Musical Stage Company. Known for his dynamic, visually arresting productions and his commitment to mentoring emerging artists, Ray remains a bold voice for equity and innovation in the performing arts.

Greg Carruthers Toronto-based choreographer, actor, body-positive activist, and the founder and Artistic Producer of EveryBODY on Stage. From Bradford, Ontario, he studied Music Theatre Performance and has since choreographed major productions throughout Canada and internationally. Through EveryBODY on Stage, Greg advocates for fat-positive representation and accessibility in theatre, and continues to mentor emerging artists while rethinking casting, movement, and narrative for all bodies.

Ali Hand is a Toronto-based disabled theatre artist, advocate and Director of Accessibility & Consultation at The Disability Collective. Ali Hand blends her performance background with visionary leadership in accessibility and inclusion. With training in American Sign Language, Deaf Culture and accessibility-focused leadership, she works to dismantle barriers in the arts, ensuring a broader range of creators and audiences can participate in Canadian theatre.

This episode is a snippet from CGDC’s Expanding our Vision as Canadian Creators. CGDC is grateful to the Canada Council for the Arts for their support in this programming

This episode features Canadian born international producer, Thomas Swayne who unpacks the role of the theatre producer and explores the importance of the director-producer relationship. Hosted by Stephanie Graham.

Thomas Swayne is an Executive Producer with Sonia Friedman Productions. He works on some of the most ambitious theatrical projects on Broadway and beyond. His producing credits include Dead Outlaw, Stranger Things: The First Shadow, Merrily We Roll Along, New York, New York, The Piano Lesson, Funny Girl, and Harry Potter and the Cursed Child. With experience spanning Broadway, the West End, and international touring productions, Thomas brings a wealth of knowledge in developing and producing groundbreaking work that resonates with audiences worldwide.

This episode is a snippet from CGDC’s Expanding our Vision as Canadian Creators. CGDC is grateful to the Canada Council for the Arts for their support in this programming.

This episode is a snippet from CGDC’s Assistant and Associate Program series. Today, we demystify grant writing and self funding with two dynamite creators, Laura Piccinin and Stephanie Graham.

Laura Piccinin is a Canadian producer, writer, and performer whose work bridges storytelling, new work development, and collaborative creation. She is known for producing and creating projects that amplify underrepresented voices and push the boundaries of theatre and performance. Laura’s artistic practice blends humor, heart, and innovation, and she brings a deeply thoughtful, artist-centered approach to every stage of a production.

Stephanie Graham is a Canadian director, choreographer, and producer whose work is known for its clarity, heart, and infectious energy. She creates bold, movement-driven storytelling that celebrates collaboration, champions artists’ voices, and brings Canadian stories to life in vibrant, imaginative ways. With experience across theatre, musical theatre, and new works development, Stephanie is committed to guiding teams and audiences through transformative, memorable performances.

CGDC is grateful to the Canada Council for the Arts for their support in this programming.

This episode is a snippet from CGDC’s Assistant and Associate Program series. Today, we demystify ‘Collaborating with Designers’ in a round table discussion with Deanna Choi, Robin Fisher, Jareth Li, and Sean Nieuwenhuis.

Deanna Choi is a Canadian sound designer working across theatre and live performance. Her work is known for its emotional precision and immersive soundscapes that deepen storytelling and support bold, contemporary stage work. Deanna has collaborated with a wide range of artists and companies, bringing a nuanced, musical approach to sound that enhances both new works and reimagined classics.

Robin Fisher is a Canadian set and costume designer whose work spans theatre, opera, and live performance. Known for visually bold, story-driven designs, Robin creates environments and costumes that support character, movement, and narrative with clarity and imagination. Her work has been seen on stages across Canada, contributing to both new creations and re-envisioned classics.

Jareth Li is a Canadian lighting designer whose work is rooted in collaboration, curiosity, and care for the storytelling process. He is known for creating lighting that supports performers and deepens narrative rather than calling attention to itself, with a particular passion for new work development. Jareth’s designs span theatre, dance, and interdisciplinary performance across Canada, where he is valued for his thoughtful, artist-first approach.

Sean Nieuwenhuis is a Canadian projection designer whose work spans theatre, opera, and live performance across the country. Known for his cinematic storytelling and seamless integration of technology and design, Sean has collaborated with leading directors and companies to help shape visually bold, emotionally resonant productions. His work plays a key role in expanding how stories are told on stage through digital and visual media.

CGDC is grateful to the Canada Council for the Arts for their support in this programming.

This episode is a snippet from CGDC’s Assistant and Associate Program series. Today, we demystify ‘Being an Executive Director’ with the brilliant, Claire Sakaki.

Claire Sakaki is the Executive Director of Bard on the Beach Shakespeare Festival, where she oversees organizational leadership, strategic planning, and the alignment of artistic vision with sustainable operations. With a background spanning Soulpepper Theatre Company, Toronto Dance Theatre, the Canadian Opera Company, and Weston Playhouse, Claire brings a deep understanding of how leadership, culture, and structure intersect in large arts organizations. A recipient of the national John Hobday Award in Arts Management and the 2025 Mallory Gilbert Leadership Award, Claire is a respected advocate for artistic excellence, community engagement, and inclusive theatre practices across Canada.

CGDC is grateful to the Canada Council for the Arts for their support in this programming.

This episode is a snippet from CGDC’s Assistant and Associate Program series. Today, we demystify ‘Being an Artistic Director’ with iconic director, Mary Francis Moore.

Mary Francis Moore is an award-winning director, dramaturg, and arts leader known for her work developing new Canadian theatre. Currently the Artistic Director of Theatre Aquarius and a driving force behind its new works initiatives, she has helped shepherd dozens of projects from early drafts to full production. With a career spanning major regional theatres and national festivals, Mary Francis is celebrated for her collaborative approach, her commitment to Canadian voices, and her dedication to building platforms for emerging storytellers.

CGDC is grateful to the Canada Council for the Arts for their support in this programming.