Lunchbox Theatre

Lunchbox Theatre Blog

Meg Braem on what the audience can expect from the reading of A Worthy Opponent

2012-2013 Season,Stage One,Video Interviews — Maeike van Dijk @ June 14th, 2013

Meg Braem is the playwright for A Worthy Opponent. The play is being workshopped as part of the Suncor Energy Stage One Festival. The readings take place every Friday at 12:10 pm and 6:10 pm and Saturday at 12:10 pm. The festival runs from June 7 – June 22 and tickets are free. For more information about the festival and other reading visit our website at

James Hutchison on the key characters in Under the Mistletoe

2012-2013 Season,Stage One,Video Interviews — Maeike van Dijk @ June 13th, 2013

James Hutchison is the playwright for Under the Mistletoe. It is being workshopped as part of the Suncor Energy Stage One Festival. The reading takes place Saturday, June 15 at 12:10 pm. The readings take place every Friday at 12:10 pm and 6:10 pm and Saturday at 12:10 pm. The festival runs from June 7 – June 22 and tickets are free. For more information about the festival and the readings visit our website at

Winn Bray on how she came to write That Men May Fly

2012-2013 Season,Stage One,Video Interviews — Maeike van Dijk @ June 13th, 2013

Winn Bray is the playwright for That Men May Fly. It is being workshopped as part of the Suncor Energy Stage One Festival. The reading takes place Friday, June 14 at 12:10 pm. The readings take place every Friday at 12:10 pm and 6:10 pm and Saturday at 12:10 pm. The festival runs from June 7 – June 22 and tickets are free. For more information about the festival and the readings visit our website at

Caroline Russell-King on continuing the Palliser Suite plays

Stage One,Video Interviews — Maeike van Dijk @ June 13th, 2013


Caroline Russell-King is the playwright for Funeral Fore! It is being workshopped as part of the Suncor Energy Stage One Festival. The reading takes place Friday, June 14 at 6:10 pm. The readings take place every Friday at 12:10 pm and 6:10 pm and Saturday at 12:10 pm. The festival runs from June 7 – June 22 and tickets are free. For more information about the festival and other readings visit our website at

Swerve preview of Tale of the Tape: Ignite! vs.Suncor Energy Stage One

2012-2013 Season,Stage One,Suncor Energy Stage One Festival — Maeike van Dijk @ June 12th, 2013

Dave Kelly workshops his new play Dad, Day 1 at the Suncor Energy Stage One Festival. The festival kicks off at Lunchbox Theatre on Friday, June 7.
Photograph by: Postmedia Archive , Swerve

A fresh crop of one-act plays sprout this week in Calgary (must be all the rain helping them along)—how does Sage Theatre’s festival for emerging artists compare with Lunchbox Theatre’s series of workshopping works?


Candles on the Cake Sage Theatre will be blowing out nine on its metaphorical cake.

New-Play Smell Lingering. Some of these plays have been performed before and are well into their development.

Watch Out For Ocean Fox, a docudrama by Victoria playwriting duo Francesca Albright and Jude Thaddeus Allen about American diving master Jef Fox. “He led a fascinating life,” says Sage Theatre artistic director Kelly Reay. The play is based on interviews the playwrights did with people who knew Fox performed by one actor playing many characters.

Prenatal Production Nine Months is an Arbitrary Number is a play by Adam Hunter Collier about a woman who decides to raise a baby in a jar since it’s a thrifty option in a depressed economy. “It’s a satirical look at the commodification of everything in Western culture,” says Reay.

Emerged Artists Christopher Duffy’s n00b (shown at the fest in 2010) was produced by Vertigo Y-Stage. Albright and Allen’s Castle in the Sky (2011), about the 2006 Medicine Hat murders, has toured Alberta and B.C.

Ignite!: Wednesday, June 12 to Saturday, June 15 at Pumphouse Theatre, 2140 Pumphouse Ave. S.W. $13; three-show pass, $30. PH.

Suncor Energy Stage One

Candles on the Cake We’re getting near fire-hazard territory for Lunchbox Theatre’s Stage One—this is the 24th edition of the fest.

New-Play Smell Strong. Some plays have already had their world premiere (such as That Men May Fly), but other plays’ first drafts were finished scant weeks before the festival.

Watch Out For Dad, Day 1 by Dave Kelly (who is writing it for himself to ultimately perform), about the experience of being a new parent. “It’s Dave Kelly—it’s always funny and charming, but it’s also really vulnerable,” says Lunchbox Theatre artistic director Glenda Stirling.

Prenatal Production Speed Dating for Sperm Donors by local scribe Natalie Meisner. Paige and Helen want to have a baby and, as the title lays out, try to find a sperm donor through speed dating. “There’s a lot to talk about,” says Stirling. “It’s very funny because very serious, big life decisions are always rife with comic opportunity.”

Emerged Artists “Most of the shows that we’re doing next year came through Stage One,” says Stirling. Also, plays featured at Stage One have been expanded from their one-act starts, including Ken Cameron’s Harvest and Neil Fleming’s Last Christmas.

The Last Word There’s plenty to like at both fests (enterprising theatre fans can probably fit most of both into their schedule), but you can’t argue with free. Lunchbox’s Stage One takes this one.

Suncor Energy Stage One: Friday, June 7 to Saturday, June 22 at Lunchbox Theatre, 160, 115 9th Ave. S.E. Free. 403-265-4292,

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Swerve preview of The Lover: Lunchbox Theatre’s RBC Emerging Director Presentation

Articles and Reviews,RBC Emerging Director's Showcase — Maeike van Dijk @ May 23rd, 2013

Q+A with Valmai Goggin

Valmai Goggin

Valmai Goggin

From inside the Lunchbox, the director emerges. After spending the year in deep at Lunchbox Theatre as its RBC Emerging Director, Valmai Goggin now gets the chance to take the reins of her own show. She has chosen to direct The Lover, Harold Pinter’s 1962 dark, comedic tale of the sexual adventures of a married couple. Goggin sat down with Jon Roe to talk about what she learned and why she picked The Lover.

What was the biggest lesson you took away from this year? Directors often work in a little bit of a bubble in that you don’t often get to collaborate with other directors on projects. There’s a sense of, what is everyone else doing? Getting to work on four shows with four very different directors with four very different processes—it was nice to see the things in common and it was nice to see the deviations people make based on their own process and based on the script.

Was directing always part of your plan? Yeah. Like many people, I started out as an actor and within a couple years really fell in love with directing. I’ve been pursuing that for a quite a few years now.

What made you want to pursue directing? Probably the fact that I’m better at directing than I am at acting. As a director, you get to have your hands in a lot of different pots, so to speak, in terms of being able to tell the story not only from an acting perspective, but also in terms of design and environment. The bird’s eye view of the storytelling process was really appealing to me.

Did you dabble in directing prior to your MFA in directing at the University of Calgary? I spent a couple of seasons at an outdoor Shakespeare company in Sackville, N.B. and did some work there. When I really became serious about directing, I was actually living in Iqaluit, NU. and doing quite a bit of community theatre up there, including their first-ever production of a Shakespeare play. It was working up there that really renewed my interest in directing and clarified for me that I really did want to go back and pursue a higher level of training and hone my craft.

Why were you up in Iqaluit? My boyfriend and I moved up there for pretty basic student financial reasons: to get rid of some loans and a change of scenery. We went up there with a very short-term plan of staying, and ended up staying there for two years. We fell in love with the town and the people. There really is a lovely little arts community up there. We literally did community theatre out of pockets and on our kitchen tables. It really was an incredible experience. I think everyone should live up north at some point, it’s so beautiful.

Were you going to school? No, I was a wildly unqualified business sales administrator for Northwestel, which is the telecom up there. My boyfriend worked as a graphic designer. We were doing theatre in our off hours and it became clearer and clearer to me that I wanted to pursue that as a full time profession.

Why’d you pick The Lover to direct? Harold Pinter has always been my favourite playwright. His experimentations and use of language are really fascinating. His ability to communicate so much with staccato or condensed dialogue is quite extraordinary and powerful. The Lover really spoke to me as a very challenging text, both for myself as a director and for the actors, for us to wade through and navigate the story. It’s also a really classic Pinter play in that it’s the darkest of dark comedies. You’re really trying to navigate a story where people are laughing at one moment and suddenly faced with something strange and disturbing in the next. It seemed a great fit in the Lunchbox space, in terms of being able to tell the story in the theatre. Also, I really wanted a script I could sink my teeth into with a team of talented professionals.

The play’s interpretation can swing between comedy or a bit more dramatic. Do you hit the middle of the road in that sense? I think so. As with all of Pinter’s plays, it does swing the pendulum between the comic and the dramatic. Navigating between the two is part of my task as a director. It’s sometimes more powerful when you can rocket people from one extreme to the other in a one act play. I think heading too far in one direction or the other can be a bit of a misdirection. As we work our way through the script and try to break down to play, we’re trying to negotiate what are those moments of comedy and what are those moments of drama. You do all that work in the rehearsal hall and you get up in front of an audience and who knows what they’re going to think is funny or what they think is sad. It’s part of the fun and terror of it all.

Is the play going to be set in the ’60s? The play was written and set in 1962. I’ve kept it there because I feel it is a bit of a period piece in terms of the characters and the world that they live in. We toyed with the idea of updating it, but I think it’s a stronger story when you keep it in that early ’60s time period.

The sexual nature of the story was quite shocking at the time for audiences. What can contemporary audiences take away from it? Pinter wrote it at a time when the Sexual Revolution was sort of starting to get underway. Second-wave Feminism was starting to pick up and the idea of people talking openly about their relationships and the emotional and sexual qualities of that was really starting to get some traction. It really would have shocked audiences in the day. It stands the test of time because it’s really an examination of the games that we play and the rules that we set up in our relationships and in our dealings with other people. And how tenuous and breakable that can be when a person decides not to adhere to the rules or not to follow the game that’s been set up.

What’s next for you? I’m really delighted to stay on for a little bit more with Lunchbox as a festival assistant and director for this year’s Stage One Festival. I’m really excited to be working with new scripts and sitting in on some of those processes. I’m teaching for Artstrek 2013 this summer in Red Deer. I really love to teach and that’s always been a big part of my artistic career. And then in September I’m really delighted to be taking over the artistic producer role with Evergreen Theatre. It’s a theatre for young audiences company in Calgary. Their mandate involves environmentally or science-based arts education for children. We workshop and develop scripts with a curriculum component, usually something science or environment based. The shows are rehearsed and toured to schools around the province. Evergreen Theatre also runs a residency program where they send artists into schools for a week to create a show from scratch with the students. One of their newest mandates is the Big Green Puppet Bus. They’ve bought an old transit bus and converted it into a movable puppet theatre for children. I’m replacing Jacqueline Russell, who’s the outgoing artistic producer.


The Lover: RBC Emerging Director’s Showcase. Thursday, May 30 to Saturday, June 1 at Lunchbox Theatre, 160, 115 9th Ave. S.E. $10. 403-265-4292,

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Gay Calgary Magazine Preview of Almost a Love Story

Almost a Love Story,Articles and Reviews — Maeike van Dijk @ May 22nd, 2013

12-09-AALS-400Discovering Dad’s Other Life

Almost a Love story Explores a Son’s Encounter with his Deceased Dad’s Lover

By Janine Eva Trotta

Is it possible to truly love two people at the same time? What does it mean to a son to find his father has a male lover?

Almost a love story is not the typical play that shows at Lunchbox Theatre but it is a script which, once Artistic Director Pamela Halstead read through it, was clearly in need of the opportunity to be brought to stage.

“When Louis [B. Houston, the play’s writer] asked me to read the script he prefaced the request with the caveat that he knew that Lunchbox would not be able to produce it,” she recalls. “I read it and loved it but wondered about whether it was a good fit or not. I decided to workshop it in our annual Stage One Festival and see where we could get the script to and how the audience would respond. The response was so positive that I decided to program the show in the regular season.”

This is the story of a young man who, following his Father’s death, realizes that a close friend of his father was in actuality a lover. He decides to confront this man, and in trying to reconcile the identity of the father he thought he knew, finds his own sexual identity must endure redefining.

“I think the most important thing this show does is provide a different perspective,” Halstead says. “And the questions of sexual identity and choices that we make around how we conduct ourselves as sexual creatures; and the nature of relationships and honesty or betrayal.”

Halstead recounts a Stage One reading last June, for which an older patron had sat in by accident. That older woman came to her and said, though she had never been comfortable with homosexuality, she liked the play and felt that the two men had genuinely cared about one another.

“If the play can open up any discussion around human relationships it will have been successful,” Halstead says.

The play will have full opportunity to inspire just that type of dialogue and more. Almost a Love Story is part of Lunchbox Theatre’s Education Comes Alive Program, which is targeted to schools in the region.

“There is a study guide available and post-show talk backs scheduled for school groups that attend,” Halstead says. “In the play Daniel (the son) also wants to be an actor and is working on his Shakespearean monologues for auditioning for University, and Callum (the lover) assist him with that. This literary connection is also an excellent tool to connect the play to the student’s curriculum.”

This run of Almost of Love Story will be the play’s first professional showcase to the public, though amateur actors performed an earlier draft as part of a community theatre festival in which it received award.

The play will be performed Monday to Saturday at 12:10pm with “Happy Hour” performances Fridays at 6:10pm and “Date Night showings Saturdays at 7:30pm, from April 29 to May 18, 2013.

“We have not started rehearsals yet but I am looking very much forward to working on this beautiful and challenging script with such an amazing group of actors.” Halstead said at the time of writing, noticing that the biggest challenge of directing such a play is its non-linear timeline.

“The play jumps in seconds from the present to the past and between characters and through memory,” she says. “So keeping not only the actors but the audience clear about where we are in the non-linear storytelling and to do it in a way that flows is the challenge.”

The show promises a well-seasoned cast known to Calgary theatergoers.

Christopher Hunt, who plays David, the father living a dual life, is touted “one of the finest actors in the city having graced every stage in town” by Halstead, and is a past recipient of numerous Betty Mitchell awards for his performances.

Frank Zotter, based out of Edmonton, plays Callum, David’s lover. Lindsay Burns plays Ellie David’s unaware wife, who upon discovering the truth about her husband allows her maternal instinct to protect her son overpower her own feelings of hurt and betrayal.

David the son, is played by recent Mount Royal graduate Joe Perry, while Callum’s neighbor and confidant, Henry, is played by former Artistic Director of Shadow Productions, Hal Kerbes.

Halstead has worked across the country as a director, spending the last ten years working primarily on new play development both at Lunchbox Theatre and Ship’s Company Theatre in Nova Scotia.

“ …both companies with long historic of premiering new Canadian plays,” she says.  She was familiar with Almost a Love Story’s writer Louis B. Hobson as, in addition to writing plays, critiquing them for the Calgary Sun.

“I am thrilled to be working on the world premier of Almost a Love Story,” Halstead says.

Calgary Sun review of Almost a Love Story

Almost a Love Story,Articles and Reviews — Maeike van Dijk @ May 7th, 2013
Hal Kerbes as Henry, Frank Zotter as Callum, Christopher Hunt as David, Lindsay Burns as Ellie and Joe Perry as Daniel in Almost a Love Story by Louis B. Hobson. Photo courtesy Lunchbox Theatre Almost a Love Story Lunchbox Theatre till May 18 Director: Pamela Halstead Starring: Lindsay Burns, Christopher Hunt, Hal Kerbes, Joe Perry and Frank Zotter.

Hal Kerbes as Henry, Frank Zotter as Callum, Christopher Hunt as David, Lindsay Burns as Ellie and Joe Perry as Daniel in Almost a Love Story by Louis B. Hobson. Photo courtesy Lunchbox Theatre
Almost a Love Story
Lunchbox Theatre till May 18
Director: Pamela Halstead
Starring: Lindsay Burns, Christopher Hunt, Hal Kerbes, Joe Perry and Frank Zotter.

This Story Truly Tugs on Heartstrings

By Neil Fleming, Calgary Sun | Wednesday, May 1, 2013

There is no question that Louis B. Hobson loves the theatre.

For over 30 years he has been a fixture in our local community, at times as a drama teacher, mainly as theatre critic, but sometimes as a playwright, a contributor.

Almost A Love Story, which opened this week at Lunchbox Theatre, is a love-letter from Hobson to the world of the theatre.

The characters are actors, or they want to be actors.

When their own words escape them, they turn to the words of Shakespeare to convey how they really feel.

They can distil any of life’s problems down to a lyric from some old Broadway show tune.

But this is just the backdrop to what Hobson really wanted to explore — love.

Love in all of its messed up, life-changing, unforgiving, and unexplainable glory.

The story follows Daniel (Joe Perry), a young man who is auditioning for the National Theatre School who recruits the aid of acting teacher Callum (Frank Zotter), a friend of his late father David (Christopher Hunt).

But Daniel knows that Callum and his father were more than just friends, and what he has really come for are answers.
Zotter is wonderfully understated and sympathetic as David’s secret tryst.

Hunt manages to get us to love him for all his faults, despite his infidelities, and newcomer Joe Perry shows us he can more than hold his own in such company.

Hobson has obviously drawn on his wide theatrical background to create a framework that is at the same time simple and straight-forward, but also intricate and clever.

The action steps seamlessly back and forth in time as the backstory echoes the discoveries being made by the current characters.

Kudos to the deft hand of director Pamela Halstead for choreographing this intricate dance.

The transitioning between past and present is aided in no small part by Scott Reid’s elegant design, and Dewi Wood’s subtle score.

The play itself is not entirely without fault.

There are a few bits of clunky backstory in the early scenes and the characters of jilted wife Ellie and flamboyant neighbour Henry seemed to lack the same depth that exists in the trio of father, son and lover. But for me, there were enough moments of pure emotion that I walked away moved by the story.

The dialogue sizzles when Lindsay Burns as Ellie stands her ground opposite Callum.

We see honest attraction when Zotter and Hunt trade lines of Shakespeare in a scene-study class.

Hal Kerbes hits the mark when larger-than-life Henry trills a touching little Broadway ditty to comfort his dear friend.

These are moments as a writer you hope you can provide to your actors.

Those moments when it’s easy for them to believe what they are saying, because then those of us watching will believe, too.

Calgary Herald review of Almost a Love Story

Almost a Love Story,Articles and Reviews — Maeike van Dijk @ May 7th, 2013
Colleen De Neve, Calgary Herald Hal Kerbes, Frank Zotter and Joe Perry in Louis B Hobson’s Almost a Love Story, at Lunchbox Theatre Photograph by: Colleen De Neve, Calgary Herald

Colleen De Neve, Calgary Herald Hal Kerbes, Frank Zotter and Joe Perry in Louis B Hobson’s Almost a Love Story, at Lunchbox Theatre
Photograph by: Colleen De Neve, Calgary Herald

Lunchbox serves up twisty, beguiling yarn with Almost a Love Story

By Stephen Hunt, Calgary Herald May 6, 2013

Lunchbox Theatre’s new production, Almost a Love Story, is full of ghosts.The drama, by longtime Calgary Sun critic Louis B. Hobson, tells a tangled tale of a love triangle that dare not speak its name, and it apparently isn’t until well after David (Christopher Hunt) one of the principals has died, that it does. Hobson’s emotional suspense story tells the story of Daniel (Joe Perry), a 19-year-old University of Calgary student who shows up unannounced one day to ask Callum (Frank Zotter), a prof in the theatre, department, if he will coach him for a National Theatre School audition.At first glance, no biggie — but then, as they get further into the process, we discover that Daniel has a secret objective in addition to his primary one — namely, getting to the bottom of the love affair that Callum had with his dad while he was married to his mom Ellie (Lindsay Burns).It’s all told, in Hobson’s script, through a series of memories, where we get to see the whole backstory unfolding, as David and Callum recite Shakespeare to one another and in the process, fall in love.Hobson’s drama is as melodramatic as a soap opera — there’s even a gay-next-door-neighbour character, Henry (Hal Kerbes), Callum’s neighbour, who translates everyone’s emotional angst into the appropriate show tune — but it’s also filled with characters you find yourself caring about by the end of the play. And in another way, it’s a little bit of a ghost story, wrapped in the emotional mystery that Daniel undergoes to get a clear idea of who his father really was when he was alive. Perry, who plays Daniel, spends most of Almost a Love Story coming to terms with his father’s emotional betrayal at the same time he finds himself bonding with his father’s former lover, who might be a rat for being the catalyst for dad cheating on mom, but is also a hell of a Shakespeare tutor.Despite the over the top storyline, Perry’s Daniel navigates the discovery of his father’s secret life with a grounded diligence that roots the story in the hands of a character searching in earnest for the truth about his family’s emotional past.

It produces an odd but effective sort of narrative that feels a little bit Pedro Almodovar (if he was a Calgary drama critic), a little bit of a (prairie) Tennessee Williams — and a whole lot of One Life to Live. Almost a Love Story also manages to engage you on the human level — you watch, and your head spins at all of the plot twists, but Perry — and Lindsay Burns, as Ellie, in particular, as Daniel’s cuckolded mom — deliver such nuanced performances that you buy in just the same.

When Burns’ Ellie, a Red Deer mom and wife in a kind of stupefied denial, finally confronts Callum about David, she delivers a knockout performance that reminded me of a similar scene in Paddy Chayefsky’s Network, in which Beatrice Straight won Best Supporting Actress essentially for a single scene.

It doesn’t all work, however. Chris Hunt’s David, who’s the linchpin of this particular love triangle, delivers such a low-key interpretation of David that you might feel tempted to ask, “All this drama for this guy?”

But to be fair to Hunt (no relation), in most of his scenes, he’s already dead — a plot device director Pam Halstead otherwise navigates about as unobtrusively as one can direct scenes where a dead guy shows up to chime in with his two cents.And speaking of ghosts, the entirety of Almost a Love Story is infused with a passion for theatre that is quite touching. The two men — Callum and David — fall in love over their shared passion for theatre. Daniel chooses to ignore (economic) reality to chase his dream of becoming an actor, thus fulfilling his father’s unrequited dream. His fondest memories of his dad were of reading plays together. And Henry (Kerbes) might be a stereotypical queen, but Kerbes gives him such a spark — he really knows how to nail a show tune! — that’s it’s tough not to take an interest in what Henry has to say. In fact, maybe what’s missing, more than anything from Almost a Love Story, is a little more Henry. After all, if Daniel is hell-bent on finding out who his theatre-loving bisexual father really was, in his own dreamy, escapist way, Henry is this twisty little beguiling yarn’s ultimate historian.

Almost a Love Story at Lunchbox Theatre through May 18. or 403-265-4292.  Three stars

© Copyright (c) The Calgary Herald

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Job Posting: Summer Marketing and Communications Assistant

Job Posting — Maeike van Dijk @ May 6th, 2013

Lunchbox Theatre is looking for a dynamic individual to be the Summer Marketing and Communications Assistant for mid-May to August 2013!

Job Description

The Marketing and Communications Assistant will assist the Marketing and Communications Manager with research, planning and execution of marketing initiatives for the 2013/2014 season during the summer of 2013. The position duties will include:

  • writing marketing, communications and public relations materials
  • working with, entering and analysing patron data
  • assisting with the creation of marketing plans and marketing strategies / tactics
  • research into marketing opportunities and costs, assisting with budget finalization
  • assisting with marketing plan implementation, evaluation and revision
  • assisting with running public outreach booths at the following festivals:
    • Lilac Festival: Sunday, May, 26th, 2013
    • East Village Street Festival: Monday, July 1st, 2013
    • Sun and Salsa Festival: Sunday, July 21st, 2013
    • Inglewood Sunfest: Saturday, August 3rd, 2013
    • Marda Gras: Sunday, August 11th, 2013

The Summer Marketing and Communications Assistant will report to the Marketing and Communications Manager.


The successful candidate should be a current student in the arts, marketing, communications, public relations or have equivalent course work or work experience, and have a love for the performing arts. Skills and qualities required include:

  • An avid interest in the arts
  • Strong communications skills
  • Ability to self-start and learn quickly
  • Very strong organization skills
  • Ability to work independently and in close connection with a small team

The Summer Marketing and Communications Assistant will be supervised by the Marketing and Communications Manager. Opportunities for the successful candidate to direct their work and ensure they meet their own learning objectives will be accommodated as much as possible. Training on specific software systems will be provided.

Expected Start Date: May 20th, 2013
Expected End Date: August 30th, 2013
Submission Deadline: Monday, May 13th 2012, 4:30 pm
Interviews: May 14th to 17th, 2013
Hourly Wage: $10.63
Hours per week: 40

To apply, please send a cover letter that addresses the skills, attributes and qualifications detailed above, as well as a resume, to:

Kathryn Blair
Marketing and Communications Manager
Lunchbox Theatre

Three professional references will be requested from candidates who are invited to an interview.

NOTE: This position is dependent on the employer receiving funding from the Canada Summer Jobs (CSJ) wage subsidy program. Eligible student participants must:

  • Be between 16 and 30 years of age at the start of the employment;
  • Have been registered as full-time students in the previous academic year and intend to return to school on a full-time basis in the next academic year;
  • Be Canadian citizens, permanent residents or persons to whom refugee protection has been conferred under the Immigration and Refugee Protection Act; and,
  • Be legally entitled to work in Canada in accordance with relevant provincial/territorial legislation and regulations.

Lunchbox Theatre is an equal opportunity employer, and is interested in receiving applications from a broad spectrum of qualified people who are representative of the Province’s diversity.

About Lunchbox Theatre

The world’s longest running lunchtime theatre, Lunchbox Theatre is a professional company that caters to downtown office workers over the noon-hour by producing at least seven plays per season, as well as the Suncor Energy Stage One Festival and the RBC Emerging Director Program. Lunchbox Theatre is located at the base of the Calgary Tower.

Download PDF of Job Posting

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