We’re excited to announce our latest project!
Bearwalker is an exciting new play that retells the story of New France as a sexy, historical thriller. Set in 1661, Bearwalker tells the tale of a young French bride that goes missing. Has she run away with her lover or is there something more sinister in the forest?
Touching on the European myth of the loup-garou (werewolf) and the Indigenous legend of the Bearwalker, this play challenges the traditional colonial narrative by giving a strong voice to both female and Indigenous characters.
Fans of Thought For Food saw Genevieve Adam’s captivating performance as Lucio in last fall’s Measure for Measure and we’re thrilled to be producing the second instalment of her New France Trilogy.
We’re currently raising funds in support of Bearwalker. There are fantastic rewards that include scripts, treats and a special Feast & sneak peek of the show. Almost all reward categories include tickets to the show, so head on over to Indiegogo and help us bring Bearwalker to the stage.
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Thought for Food’s most recent productions have been critical and audience hits.
The all-female Measure for Measure was praised for its originality and depth: “it would be a challenge to avoid the intoxicating effect of this production. If you’re looking for an interesting (and relevant) new take on a classic Shakespeare tale, Thought For Food’s interpretation should not disappoint.” (The Theatre Reader) “Thought for Food’s Measure for Measure is an immersive, sensual experience. I loved everything about it!” (Mooney On Theatre).
The Trial of Judith K. (a feminist retelling of Kafka’s The Trial) earned accolades for its wit “laugh-out-loud funny before it hits you with its shockingly dark ending.” (Stage Door), “like watching the Red Queen’s court from Alice in Wonderland – utter madness.” and for the strong performances that were described as “SNL worthy” (Theatre Reader).
The Memo (dissident playwright Václav Havel’s masterpiece of absurdism) skewered disturbingly familiar issues in modern corporate culture with a madcap, scathing accuracy that made the production “hilarious and frightening as all good absurdist drama should be” (Christopher Hoile, Stage Door). Critics described it as “a definite must-see!” (The Charlebois Post) and “as freshly funny as it was fifty years ago, and frighteningly just as relevant” (Mooney On Theatre).