"This haunting work may be the best piece of theater this country has produced this millennium."--"The Globe and Mail"

In "Heavens," the fourth and final instalment of his critically lauded Blood Promises cycle, Wajdi Mouawad crafts a fierce and poignant play that penetrates the intersection where violence, terror, beauty, and art converge. Isolated in a secret location, an international team of intelligence personnel are given the task of intercepting and decoding cryptic messages from terrorists. The sudden and unexplained suicide of one of the case's key agents forces the team to probe into their colleague's life in hopes of discovering what he knew, and stopping the attack before it's too late.
Wajdi Mouawad was born in Lebanon in 1968. Mouawad fled the war-torn country with his family; they lived in Paris for a few years, then settled in Montreal. In 1991, shortly after graduating from the National Theatre School, he embarked on a career as an actor, writer, director, and producer. In all his work, from his own plays--a dozen so far, including "Journee de noces chez les Cromagnons" ("Wedding Day at the Cro-Magnons'"), "Littoral" ("Tideline"), and "Incendies" ("Scorched"- which served as the basis for the Academy Award nominated film "Incendies")--Wajdi Mouawad is guided by the central notion that "all art bears witness to human existence through the prism of beauty." From 2000-2004 he was the artistic director of Montreal's Theatre de Quat'Sous; in 2005 he founded two companies specializing in the development of new work: Abe carre ce carre in Canada (with Emmanuel Schwartz), and Au carre de l'hypotenuse in France. He is the recipient of numerous awards and honours for his writing and directing, including the 2000 Governor General's Literary Award for Drama ("Littoral"), the 2002 Chevalier de l'Ordre National des Arts et des Lettres (France) and the 2004 Prix de la Francophonie. He is currently Artistic Director of the National Arts Centre French Theatre.

A call late at night has Wahab springing into action. Despite a blinding snowstorm, an irritating bus driver, and a spinning wheel of worries, Wahab travels to his dying mother's hospital room. A journey of two kinds, "A Bomb in the Heart" is about a young man's relationship to his mother, the pain of loss, and about understanding the voice deep within.

In Act 1, Claude, 55, visits his father Alex, 77, in an Alzheimer's ward, intimately tending to his bodily functions and needs while hopelessly trying to reach his silent, vacant father with a series of monologues to settle old scores and misunderstandings between them.In an astonishing and eerie reversal of roles, in Act 2 it is Alex who visits his son Claude in the same Alzheimer's ward and it is Alex's turn to rant and rail at what he perceives to be his mute son's contempt for his own working class life.With a cruel and disconsolate irony, we come to see that his father's lifelong attempt to mock and censure Claude's work as consisting of nothing but mediocre, misrepresentative lies, has been the very driving force behind Claude's compulsion to continue to reveal the  truth" of human relationships as he so desperately wants his father to understand it.

All great art has the ability to move people collectively, to create within it some essential, participatory expression of their humanity, their culture, their heritage. But who creates this art?
What is it that gives some individuals the power or the gift to create such works? Who are these works written for? Does the composer have a particular muse, or are they inspired by an abstraction, a composite muse? Who owns this great art? Is it illegitimate for either the author, the muse, or the people to claim it as their own? Do they all have a moral right to its power, its imagination, its authenticity?
Can great artists be forced to create utilitarian works specifically designed for some great or even banal purpose, to forge a nation or to pay one's creditors, or does such an exercise always and necessarily create an empty shell?
Can a lover of Verdi ever, in any sense, become Verdi? If so, what happens to the person they left behind, no matter how briefly? Who is the "real" Verdi? Can he ever be found, and loved, by anyone?
Normand Chaurette addresses all of these questions in his farce on the most ritualized, contrived and yet the most powerful of all art forms: the opera. But his answers remain as ineffable as the questions that seek them. In the end, who we are--composer, performer, or audience--is a collaboration of our illusions on a stage from which we remain forever absent.
Cast of 1 woman and 4 men.

When Pierre and Simone planned a vacation to the Irish coast, they were hoping to revive their failing marriage. What they weren't expecting was to stumble upon the body of Mary, a drowned woman, during a walk along the beach. As the couple begin to piece together Mary's history, her presence integrates itself into their lives.