Alex Eddington

My residency was extremely valuable to me in several ways. First, it is a nationally-recognized residency that will doubtless open more doors for me as my theatre career progresses. Second, the personal and professional connections that I made are many, diverse, and deep. And third, the artistic experiences that Tarragon was able to provide me with brought my own artistry forward. I applied to the residency with a dual-discipline proposal that complements my own interest, and this was how the residency played out: I spent the first half of it shadowing and assisting three professional sound designers (one of whom was Christian Barry, a former UKRG recipient) on three productions in Tarragon's season; and I spent the entire 20-residency writing my first full-length play -Emily C."

Tessa King

My overall objectve for my residency was: To investigate the role of the playwright and playwright-centred development models in the future of Canadian theatre. This goal was achieved through various observational and practical artistic opportunities and experiences. I have gained a new understanding and perspective on the process and importance of playwrights and playwright centred development models. I have also been exposed to new development models which have greatly influenced my own practice as a writer. The residency gave me a chance to talk to others and open my mind to new ways of working.

Christian Barry

In my time at the Tarragon, I have had the joy of working on shows that I truly loved, the pleasure of forging bonds with the most inspiring of artistic peers, and the privilege of working under the mentorship of not only one, but now two of Toronto’s foremost artistic directors in Richard Rose, and Andy McKim. My mandate for the residency can best be summed up as: To broaden my understanding of the role of the director-dramaturge in bringing new works to the stage. This goal was indeed achieved through many diverse and engaging experiences.

Alan Dilworth

For his residency year, Alan assistant Richard Rose in the directing of the production and workshop of Rosa Laborde's Leo and the production of Charlotte Jone's Humble Boy. He also assistant directed with Ross Manson on Michael Redhill's Goodness and with Eda Holmes on Diane Flacks and Richard Greenblatt's Care. He also worked with Andy Kim co-ordinating the Play Reading Week and Spring Arts Fair.

I learned so much in such a condensed amount of time, I know I will be unpacking my theatrical suitcase for many years to come. This is an outstanding program. Given its hands-on, "thrown into the scrum" nature, it can play a pivotal role in the development of an emerging artist.

Beatriz Pizano

Beatriz Pizano spent the 2004-2005 season as an emerging writer/director in residence.

In September she began work as a Script Coordinator for the developmental workshop of Care. In late November she was the assistant director in Bea’s Niece. Next, she worked on Goodness. In late January she helped organize the readings for the Playwrights Unit. Last but not least, she completed her residency working as an assistant director/script coordinator for Alice’s Affair directed by Eda Holmes.

In addition to her work at the theatre, during these eight months she also completed three drafts of her new play entitled Madre and began work on yet another script, The Communion. It later went on to be produced as a fifteen minute radio play for the CBC. In addition, she directed a successful production at the Summerworks Festival called Capturing Freedom.

Lee Wilson

My season at the Tarragon gave me the opportunity to assist on two Canadian premiere main stage shows, a workshop of an important new Canadian adaptation, a play reading week of new Canadian plays, being able to watch some of the finest actors in the country, apprenticing one of the top Canadian directors/developers of new works, witness the incredible theatre model of the Tarragon and staff, and the ability to ask questions about the running of a professional theatre.

Kilby Smith-McGregor

Kilby Smith-McGregor says her Tarragon experience provided her with an extraordinary atelier in artistic leadership, from the practicalities of scheduling and resource management to the finer points of directing, dramaturgy, along with an understanding of the skills needed for inspiring a team of collaborators. Working closely with several playwrights through their own development processes, and being present within the Tarragon’s dramaturgical process was invaluable. It helped her assess and refine her own craft as a playwright. She gained an understanding of the new play development process in context. While receiving mentorship herself, she was also able to mentor others through participation in the Tarragon youth programs. She has left the Tarragon with expanded breadth and vision, as well as artistic and mentorship relationships that she will carry into the future.