Interview: Oh, Canada! Why London is the Perfect Stage for Canadian Storytelling

Kay Brattan and Katherine Alpen tell us about Great Canadian Theatre Festival

For two nights this month, the vibrant energy of Canadian playwriting returns to one of London’s most historic pub theatres for the 2nd annual Great Canadian Theatre Festival. Hosted at Islington’s celebrated Old Red Lion Pub and Playhouse, this two-night showcase promises a diverse programme celebrating the sheer breadth, originality, and boundary-pushing nature of Canadian theatrical storytelling.

The festival is spearheaded by a passionate, international creative team, including Canadian actor and producer Katherine Alpen, international director Stephen Atkins, and Kay Brattan, the multi-Fringe Theatre Awards-nominated director and Artistic Director of London-based Little Lion Theatre. Together, they are dedicated to sharing distinct Canadian voices with UK audiences and building a thriving artistic community across the Atlantic.

We sat down with Kay and Katherine to discuss what audiences can expect from this year’s lineup, the magic of the Old Red Lion stage, and exactly why London is the perfect home for a festival celebrating Canadian theatre.

This is the 2nd annual Great Canadian Theatre Festival. Looking back at last year’s debut, what did you learn, and how has the festival evolved since that first edition?

Katherine: Last year’s festival was largely focused around one new play, this time around we’ve expanded considerably to include four pieces of new Canadian writing! The team has quadrupled in terms of producing and cast and it’s so exciting bringing new energy to this project.

Kay: This is actually my first year being involved with the festival through Little Lion Theatre, so I wasn’t part of last year’s inaugural edition. Katherine reached out to me as a fellow Canadian theatre maker living in London, and it felt like a natural fit. We both care deeply about creating opportunities for Canadian artists and bringing Canadian stories to UK audiences.

What’s exciting this year is seeing that community grow. Little Lion has always focused on championing new work by Canadian writers, and this programme includes artists based not just in Canada and the UK, but around the world. It feels like the festival is expanding its reach while staying true to its original mission, and I’m looking forward to helping build those connections and seeing where they lead in the future.

What is your process for selecting the plays and talent featured in the line-up? What are you looking for when deciding what makes it to the stage?

Kay: We were really interested in putting together a lineup that showcases the range of stories Canadian artists are telling right now. We’re looking for work that has a strong point of view, feels relevant to the world we’re living in, and offers something unique in terms of voice or form. This year’s programme brings together artists at different stages of development, from long-time Little Lion collaborators to Canadian theatre makers based both in the UK and abroad. Supporting new work is at the heart of what we do, so it’s exciting to create a space where these plays can be shared with audiences and continue to grow. The four pieces cover an incredible range of themes, from politics and the climate crisis to family relationships and the housing and cost-of-living crisis. Some are thought-provoking, some are deeply personal, and some are very funny, but together they offer a snapshot of the richness and variety of contemporary Canadian theatre.

Beyond just putting on a great show, what are your ultimate goals for the festival in terms of building community among Canadian expats, UK theatre-makers, and local London audiences?

Kay: I’ve always been passionate about championing Canadian artists in the UK, so for me the festival is about creating a platform for Canadian voices to share their work with new audiences. London has such a vibrant new-writing scene, and it’s exciting to be able to contribute to that while showcasing the breadth of Canadian talent. It’s also about creating opportunities for development. There’s nothing quite like seeing a piece in front of an audience and learning from their response. Those moments are such an important part of making new work. Ultimately, I hope the festival helps build a stronger community of Canadian theatre makers in London while creating connections with UK artists and audiences. If it sparks new collaborations and gives artists a space to grow their work, then we’ve achieved something really valuable.

Katherine: When I first moved here, I kept bumping into Canadians by chance, and I wanted to create a dedicated space to cross paths especially with those of us who have moved overseas to make our goals a reality. UK theatre makers know the value and contribution of Canadian artists to their industry, we merely want to build a base for new writers to join in that community and have a place to share their work. London audiences can only benefit from us sharing our voices and stories.

How do you think hosting this festival in London opens doors for Canadian artists looking to make an international impact?

Katherine: There isn’t currently a dedicated festival supporting new Canadian writing in London and writers, especially emerging talent, need platforms to hear their pieces read aloud. This is how all great plays and pieces start: being heard and shared. Who knows where the pieces that are introduced could go from here? It builds momentum for Canadian work to end up on London stages, which is what we want to see.

Kay: Hosting the festival in London gives Canadian artists the chance to share their work in one of the world’s most exciting theatre cities. New work festivals are often where projects find their next step, whether that’s future development, new collaborators, or a full production. We’ve seen that firsthand at Little Lion. Our autumn production of We’ll Burn That Bridge When We Get To It began as a staged reading we presented in 2021. Creating opportunities for artists to test new work is often the first step in helping a piece grow, and we’re hopeful this festival will help launch the next generation of Canadian plays onto bigger stages.

London has one of the most vibrant theatre scenes in the world. Why is it important to carve out a specific space for Canadian playwriting and performance right here in the heart of the UK?

Katherine: Canadian theatre deserves a spotlight in the UK because it too has a very vibrant theatre scene itself, that is sometimes overlooked by the huge cultural influence of the US. Canadian identity is expressed through its art and we preserve our unique culture, our multiculturalism, our immigrant’s stories, our first nation’s influence through theatre and art. It needs to be protected and this vibrant scene is the perfect place to shine a light on it.

Kay: London’s theatre scene is incredibly exciting, but it can also feel overwhelming, especially for artists arriving from abroad. That’s why it’s important to create dedicated spaces where Canadian theatre makers can showcase their work, connect with one another, and build a sense of community. When I first moved here, it took time to find my footing, but I was lucky to discover a brilliant network of artists who became collaborators and friends. If this festival can help provide that same sense of connection for other Canadian artists, then that’s something I’m really proud of. Ultimately, it’s about more than putting work on stage, it’s about celebrating Canadian theatre makers and creating a space where they can feel supported and seen.

What unique flavor or perspective does Canadian theatre bring to London audiences that they might not be found in domestic productions?

Katherine: From my own conversations with UK citizens (as an expat over the last 5 years), I have discovered there is a disconnect between people’s perception of Canada and the reality of the lived experience of Canadians. Beyond the stereotypes there is a wealth of unique and varying perspectives that can be shared through theatre that the UK people otherwise would have no knowledge of. I would say we can share the nuance of Canadian life through our work, away from generic comparisons and tropes.

Kay: I think one of the challenges is that many people here don’t really know what Canadian theatre is. There’s an assumption that Canada sits in the shadow of the UK or the US, but we have an incredible wealth of playwrights and unique voices telling stories from distinctly Canadian perspectives. I’ve spent the last few years directing Canadian playwrights in the UK, and people are often surprised to learn where the work comes from. They respond to the writing, the characters, and the stories first, and then discover it’s Canadian. For me, that’s what’s exciting. Canadian theatre is diverse, ambitious, and full of fresh perspectives, and I want to help introduce more of those voices to audiences here in London.

Where do you see the Great Canadian Theatre Festival heading in the next five years?

Katherine: I see it blossoming into an institution for new writers to share their work and a place where Londoners can find out more about the rich cultural heritage and talent coming out of Canada. I also see it being a launching pad for the next generation of writers to create a platform for their work and have it seen by people that can take fledgling pieces to the next level of development.

Our thanks to Kay and Katherine for taking time out of festival planning to chat with us. The Great Canadian Theatre Festival comes to Old Red Lion Pub and Playhouse on Sunday 29 and Monday 30 June.