Board of Directors
Director | Pronouns: she/her/hers
Carmen Aguirre is a Chilean-Canadian, award-winning theatre artist and author who has written and co-written over twenty-five plays, including Chile Con Carne and Other Early Works, The Refugee Hotel, The Trigger, Blue Box, Broken Tailbone, and Anywhere But Here, as well as the #1 international bestseller Something Fierce: Memoirs of a Revolutionary Daughter—winner of CBC Canada Reads 2012— and Mexican Hooker #1 and My Other Roles Since the Revolution. She is currently writing an adaptation of Euripides’ Medea, commissioned by Vancouver’s Rumble Theatre, Moliere’s The Learned Ladies for Toronto’s Factory Theatre, and Fire Never Dies: The Tina Modotti Project for Vancouver’s Electric Company Theatre. Her digital piece for Ontario’s Stratford Festival entitled Floating Life will premiere in spring 2021. Reframed, an outdoor performance piece about online discourse, conceived and co-created with The Electric Company, premiered in October 2021, commissioned by Ottawa’s National Arts Centre for its Grand Acts of Theatre initiative.
Carmen is a Core Artist at Electric Company Theatre, a co-founding member of the Canadian Latinx Theatre Artist Coalition (CALTAC), and has over eighty film, TV, and stage acting credits, including her award-winning lead role in the Canadian premiere of Stephen Adley Guirgis’ The Motherfucker with the Hat, and her Leo-nominated lead performance in the independent feature film Bella Ciao!. She looks forward to starring in Cecilia Araneda’s debut feature film, Intersection, and in the Canadian premiere of Melinda Lopez’s one-woman show Mala, at Arts Club Theatre. Carmen is a 2020 Siminovitch Prize finalist, the most prestigious theatre award in Canada and a graduate of Studio 58.
President | Pronouns: he/him/his
Camyar is a multi-award-winning theatre, film, television, and radio practitioner. As a writer, his work ranges from the co-creation of a political satire to dreaming up allegorical musicals. His plays have been published by Talonbooks and the Canadian Theatre Review. As a director and actor, he has worked for professional companies and festivals across Canada as well as appearing in numerous television and film productions.
Camyar’s work as a producer and manager began with his founding of Neworld Theatre, where he produced one of the PuSh Festival’s first locally produced hits, Crime and Punishment. He has served on several arts boards, advisory groups, and granting juries and has worked as an arts broadcaster and educator. He also took a three-year hiatus from the professional arts circuit and broadened his perspective working in social services. Currently, Camyar is the Program Manager, Community Cultural Development at the City of Richmond. He has a Master of Fine Arts degree from the University of British Columbia is also a Certified Lifecycles Capacity Consultant.
Vice President | Pronouns: she/her/hers
Sadira Rodrigues is an educator, curator, writer, and arts administrator. From social-profit enterprises such as artist-run-centres and public galleries to museums, grant funding, and higher education, she has assembled deep knowledge of the arts and culture sector in Canada and beyond.
She is committed to working across disciplines and has been fortunate to engage with artists and organizations in dance, theatre, music, and the visual arts. She has been the recipient of numerous grants to support both her curatorial and academic research activities. In addition to institutional roles, she has kept an independent curatorial practice, organized conferences and cultural events, lectured, and participated on numerous society boards. As a settler-immigrant, her work is committed to examining decolonization and Canadian cultural institutions. She is currently the Director/Curator of the Sunshine Coast Arts Council, and Co-Director of Coppermoss, a retreat space on the Sunshine Coast that considers decolonial acts, land-based pedagogy, and creative practice.
Secretary & Treasurer | Pronouns: she/her/hers
Camilla Tibbs is the Executive Director at Gateway Theatre in Richmond. Camilla grew up partly in the UK and partly in Vancouver, switching countries at fairly regular intervals until recently.
Her arts management experience includes working as the Executive Director of the Vancouver Writers Fest, the General Manager of Touchstone Theatre and Co-Producer of the PuSh Festival (prior to its launch as an independent society), plus positions in the marketing and fundraising departments of the Arts Club Theatre Company, the London Symphony Orchestra, and the Vancouver Chamber Choir. She has served as the President of the Jessie Richardson Theatre Awards Society, Vice President of the Touchstone Theatre board, and a member of the Women’s Leadership Circle Advisory at the Vancouver Board of Trade.
Justine A. Chambers
Director | Pronouns: she/her/hers
Justine A. Chambers is a dance artist and educator living and working on the unceded Coast Salish territories of the Sḵwx̱wú7mesh, Musqueam and Tsleil-Waututh Nations. Her movement-based practice considers how choreography can be an empathic practice rooted in collaborative creation, close observation, and the body as a site of a cumulative embodied archive. Privileging what is felt over what is seen, she works with dances that are already there — the social choreographies present in the everyday.
Her recent choreographic projects include Semiprecious: Semaphore, Waking Hours, And then this also, One hundred more, tailfeather, for all of us, it could have been like this, ten thousand times and one hundred more, Family Dinner, Family Dinner: The Lexicon and Semi-precious: the faceting of a gemstone only appears complete and critical. Chambers’ work has been hosted by the Vancouver Art Gallery, Sophiensaele (Berlin), Contemporary Art Gallery, Morris and Helen Belkin Art Gallery, Hong Kong Performing Arts Festival, Agora de la Danse (Montreal), Cantor Fitzgerald Gallery (Haverford College), Canada Dance Festival (Ottawa), Nanaimo Art Gallery, Artspeak, Burrard Arts Foundation, Mile Zero Dance Society, Dance in Vancouver, Festival of New Dance (St. John’s) and Art Museum at University of Toronto. Chambers is the recipient of the Lola Dance Prize (2018), and was selected for the Visiting Dance Artist Program at the National Arts Centre (2018-present). Chambers is currently Artist in Residence at SFU’s Community Engaged Research Initiative (CERi). She is Max Tyler-Hite’s mother.
Lisa Cooke Ravensbergen
Director | Pronouns: kwe/she/her/hers
A tawny mix of Ojibwe/Swampy Cree and English/Irish, Lisa resides on the stolen, occupied, and unceded territories of the Sḵwx̱wú7mesh, Səl̓ílwətaʔ/Selilwitulh, and xʷməθkʷəy̓əm Nations (aka Vancouver). She is an award-winning, multi-hyphenate theatre artist and emerging scholar working across Turtle Island as a performer, play-maker, dramaturge, director, writer, curator, space-holder, and teacher.
Her work is rooted in Indigenous protocol, ontologies, and decolonial methodologies and is recognized nationally and internationally for its rigour and artistic excellence. She supplements her eclectic theatre practice and research with the delights of motherhood and the challenges of self-produced works. Lisa is an Associate Artist with Full Circle: First Nations Performance, a member of LMDA, and Playwright-in-Residence with Delinquent Theatre.
Director | Pronouns: he/him/his
Johnny Wu is a bilingual Taiwanese-Canadian interdisciplinary, international performer and creator. As a graduate from Simon Fraser University with a double major in Theatre performance and Criminology, his work seeks to investigate humanity through exploring social justice via storytelling. Johnny believes that storytelling, on stage or screen, is a craft rooted in compassion — inviting participants to submerge themselves into the circumstance and experience the joys and traumas first hand to understand diverse lived experiences from an empathetic mind, critical to the catalyzing of social change. Understanding is the key to change, and storytelling is the hand that turns the key.
Johnny has trained nationally and internationally with mentors from schools such as Yale, Columbia, NYU, Carnegie Mellon, York University, and National Theatre School, as well as many other independent studios. His theatre credits include The Pink Line: Pain Held Tight presented at the Queer Arts Festival, These Violent Delights presented at the Summerworks Performance Festival, Movement consulting for Animus Anima//Anima Animus presented at The Public Theatre in New York City, Creative consulting for Portrait of my DNA presented at the PuSh Festival. His film and TV credits include Bunny Man placed first in the 10-minute short category and voted as Fan-Choice for best Overall Short at the Mighty Asian Filmmaking Marathon hosted by Vancouver Asian Film Festival. The film screened at 13 international festivals, including the Asian American International Film Festival, Diversion International Shot Film Festival, Cinequest Film & Creativity Festival, CAAM Fest. He can also be seen in CW’s Legends of Tomorrow and Kung Fu.