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Posted: Monday July 21, 2014
George Rideout

George Rideout was raised in Texas and moved to Canada in his teens. He now teaches theatre at Bishop’s University in Lennoxville, Quebec, where the annual New Plays Festival presents one-act plays written in his playwriting class. His own work as a playwright is more widely celebrated, winning numerous regional and national playwriting
awards. His plays often reflect on cross-cultural relationships, particularly as they exist in times of great social change. They include Texas Boy (which has had more than thirty different productions), The Longstreth Line, Walking on the Moon, 689 Spadina Ave., The Austin Texas Twist Championship, The Tall Girl_, and An Anglophone Is Coming to Dinner.

LATEST George Rideout NEWS

November 2014 : Michel, Ti-Jean, and Verdun, QC in the Montreal Review of Books

August 2014 : Michel & Ti-Jean Has Arrived!

July 2014 : Watch the Trailer: Michel and Ti-Jean

July 2014 : Our Fall 2014 Lineup!


Michel and Ti-Jean

“An unexpected surprise, a daring, novel, audacious idea that actually works on stage.”
– The Métropolitain

“If it all seems a little retro in the digital 21st century – bus trips, literary legends, wide collared shirts, moustaches, heavy drinking – there’s one theme coursing through Michel & Ti-Jean that still resonates. That’s the emotional roller-coaster that ensues when a talented, ambitious young person goes for a ride on the fame cycle, and how hard it is when the ride stops.”
Calgary Herald

“As a bio-play, this one succeeds marvellously in the tricky art of having famous people tell us about their life and work without awkward exposition. These two go further, spilling out their angst, drawing conclusions, messing up the stage in the sometimes painful, more often joyful process. … Michel & Ti-Jean is one of those landmark cultural events after which Montreal, Quebec will never be the same, a play that redefines how we live together and how that existence, so changed in recent decades, can make great art.”
– Rover Arts

“At its core, this play is about the granting of permission and forgiveness. Tremblay seeks permission to succeed where Jack, his hero, has failed. … And what he wants most of all is permission to write. What Kerouac wants from Tremblay is more complicated, but it seems to boil down to forgiveness. … Michel and Ti-Jean is not about a man who gave up on himself but, rather, one who is fighting like hell to believe in himself again.”
Montreal Review of Books

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