In a city grappling with shrinking performance spaces and rising barriers to entry, a new theatre festival is quietly carving out room, both literal and creative, for artists who might otherwise be left out.
The idea of One Acts Now began simply. For founder Colin Nash and co-artistic directors Danielle Davidson and Heidi Hawkins, all with roots in the theatre world, it emerged from a shared frustration: there was no obvious place to stage small, original works. Nash explains, “We kept coming back to this idea of a short play festival.”
An open call for scripts circulated on social media, inviting submissions from anyone with a piece of original writing they wanted produced, including those without extensive experience. Many people expressed interest and it was narrowed down to select scripts.
From the outset, the creative team favoured openness over gatekeeping. There was no strict hierarchy separating seasoned professionals from newcomers. Directors were recruited through a second call, then matched with scripts. Auditions were open to anyone willing to perform a monologue — comic or dramatic. “It felt experimental,” Nash says.
Heidi Hawkins, director, actor, and acting coach, joined after hearing about the project on Instagram. She recognized what made this initiative distinct. “This is what’s missing in Montreal,” she says. “We have the Fringe, which is amazing, and full-length productions, but there isn’t this space for short, accessible one-acts.”
Out of the initial submissions, nine plays made it to production. The selection process, however, wasn’t about judging artistic merit so much as practical feasibility. With limited rehearsal time, minimal tech, and tight transitions between performances, simplicity became essential. “Some pieces just weren’t possible within the constraints,” Davidson explains. “We had to focus on what could realistically be staged.”
Each play runs between ten and twenty minutes, with just two minutes allotted between performances to strike and reset. Elaborate sets are out and the emphasis is squarely on actors, writing, and imagination. The festival provides resources: space, technical support, and a framework within which artists can experiment. “We’re not just offering a show,” Nash says. “We’re offering the process.”
The program defies easy categorization. “Some pieces are whimsical, some inspire hope and awe, others are dark or risky,” says Davidson. There’s at least one musical. Hawkins’ own production takes the unexpected historical figure of Phineas Gage, the 19th-century railroad worker who survived a metal rod passing through his skull, and reimagines his story through a blend of lecture and re-enactment.
The diversity extends beyond genre to experience level. One production pairs seasoned performers with a newcomer still learning basic stage terminology. “Working alongside professionals is an incredible place to grow,” Hawkins says.
For audiences, the experience is intimate and intentionally inspiring. “When you watch something highly produced, and it can feel untouchable,” Hawkins says. “But here, you might think: I could do that. Or even: I could do that better.”
That reaction is exactly what the founders hope to spark. “We want people to feel engaged,” Nash explains. “We want them to imagine themselves up there, creating something and rediscover that sense of possibility.”
The response to Moment Theatre Collective’s One Acts Now suggests the festival is greatly desired. The initial two-night run sold out within 48 hours, prompting organizers to add a third evening. For a first-time event, built largely through volunteer labor and word of mouth, the enthusiasm has been striking.
“It’s a labour of love,” Nash says. “No one’s getting paid. But the collaboration, the energy, it’s unbelievable.”
One Acts Now is taking place April 18, 19, and 25 at Theatre VME (5337 Blvd St Laurent). Info HERE.
