Lilly and Morgan Beaumont are comfortable in their routine until Parker, a homeless man, lands on the balcony of their new condo. After scaring the older couple half to death, he pours himself into the holes of their relationship, agitating them with talk of sex—talk that drives Lilly out into the night and sends Morgan on the road to another heart attack.

Carroll Aikins’s play The God of Gods (1919) has been out of print since its first and only edition in 1927. This critical edition not only revives the work for readers and scholars alike, it also provides historical context for Aikins’s often overlooked contributions to theatre in the 1920s and presents research on the different staging techniques in the play’s productions. Much of the play’s historical significance lies in Aikins’s vital role in Canadian theatre, as director of the Home Theatre in British Columbia (1920–22) and artistic director of Toronto’s Hart House Theatre (1927–29). Wright reveals The God of Gods as a modernist Canadian work with overt influences from European and American modernisms. Aikins’s work has been compared to European modernists Gordon Craig, Adolphe Appia, and Jacques Copeau. Importantly, he was also intimately connected with modernist Canadian artists and the Group of Seven (who painted the scenery for Hart House Theatre). The God of Gods contributes to current studies of theatrical modernism by exposing the primitivist aesthetics and theosophical beliefs promoted by some of Canada’s art circles at the turn of the twentieth century. Whereas Aikins is clearly progressive in his political critique of materialism and organized religion, he presents a conservative dramatization of the noble savage as hero. The critical introduction examines how The God of Gods engages with Nietzschean and theosophical philosophies in order to dramatize an Aboriginal lover-artist figure that critiques religious idols, materialism, and violence. Ultimately, The God of Gods offers a look into how English and Canadian theatre audiences responded to primitivism, theatrical modernism, and theosophical tenets during the 1920s.

Rick, Ted, Donnie, and Cameron are home for their fifteen-year college reunion; a great time to go out for a game of golf and catch up on each other’s lives. Unlike their college days, the conversation doesn’t include talk of beer and final exams, but of colonoscopies, home-security systems, alcoholism, Buddhism, and more.

Fish Eyes is the story of Meena, a classically trained Indian dancer who, despite being obsessed with Bollywood movies and her dance career, just wants to be like the rest of her high-school friends. When she develops a massive crush on Buddy, the popular boy at school, Meena contemplates turning down an incredible opportunity to pursue him, even if he barely notices her. Boys With Cars follows Naz, also a classically trained Indian dancer, who dreams of getting out of small town Port Moody to attend the University of British Columbia. But when Buddy causes a stir over Naz at school, Naz's university plans begin to crumble quickly. Let Me Borrow That Top centres on Candice, a girl who appropriates Meena's Indian dance skills and bullies Naz after a nasty rumour spreads through the halls of their high school. But like her two enemies, Candice shares a passion for Indian dancing, and has just been accepted to the Conventry School of Bhangra. Will she leave behind the comforts of home to pursue her dreams?

From masturbation to motherhood, body shaming to burlesque, Catherine Hernandez reveals the reality of living as a queer woman of colour. Set to the music of her life, The Femme Playlist shows what it's like to be sexy and proud, slutty and loud, queer and brown. I Cannot Lie to the Stars That Made Me is an around-the-campfire guide to mourning and healing for women of colour, written after Hernandez and her daughter left an abusive relationship. As a group of women share their stories around a campfire, they pray for each other and give as much strength as their bodies will allow.

The tale of a mother and daughter dealing with grief and teen angst in small town Ontario. Late night, on a lonely Huron County road, fifteen year old Eloise Bernhardt has an extraordinary supernatural encounter. What she sees changes her life forever. This is a story of a mother and her teenaged daughter who have lost their way, and how they are fighting their way back to loving each other. It is a story that questions what we believe in, examines how we judge each other and asks the universal question; "What is out there, beyond the stars?" By turns funny and touching, with a little of the unworldly thrown in for good measure, this a play that will grab you and keep you entertained until the last word is spoken.

The Sri Lankan civil war has left many scars on Thangan and his family, most noticeably the loss of his eldest son and the crippling epileptic seizures brought on by his torture. As the final days of the war play out, the family bears witness from their new home of Toronto. Thangan's other son Kanan comes home from a protest, shaken that someone referred to him by his brother's name. His young daughter Kavitha innocently dances around with a mysterious pair of anklets that she found. And Thangan's wife Sevi is consumed with feeling responsible for her broken family. Amidst the ongoing trauma, the family is faced with the possibility of Thangan undergoing neurological surgery. Will the surgery give them a chance to heal, or will it cause even more pain? Presented in both English and Tamil, this poetic play is both medical and mystical, drawing a connection between trauma and memory that creates a stark reminder of loss, hope, family, and freedom.

Francisco will forever be haunted by the sight of his best friend Juan lying on the floor of a train station, pierced by five bullets. He’ll remember that sight as he flees the political uprising in Uruguay that night. He’ll remember when he’s holding a dying homeless man in Windsor Station in Montreal eight months later. He’ll remember when he’s a successful architect. He’ll remember when he’s having an affair with a Québécoise pianist named Claire. He’ll remember when he’s much older, a vagrant sleeping in a café that was once part of Windsor Station, where he meets his son, an activist in the student strikes in Quebec. As he tries for a better life, Francisco’s past keeps finding him, until it blurs with the present in a series of hallucinations, challenging him to reclaim his identity and his rights.

Elsa is a typical fifteen-year-old growing up in the early 1960s. Her world revolves around independence, boys, and being popular at school, despite growing concerns surrounding the Cuban missile crisis. In fact, this is Elsa's opportunity to let loose before the world blows up. Knee-deep in teenage angst, her mission is clear: get drunk for the first time and lose her virginity. Though Elsa is old enough to feel the tense political climate, she is young enough to believe there might be a cure for everything. A comedic and compassionate sequel to Ardal's award-winning You Fancy Yourself, The Cure for Everything is a coming-of-age story about a teenager who discovers that the world is more complex than she could have imagined.