Interview with Julie McIsaac & Corey Payette

Julie McIsaac & Corey Payette are Vancouver-based theatre artists and composers. They are co-writers of Les Filles du Roi, and have been collaborating on the creation of this new musical for the past two years. At the beginning of the October 2016 rehearsal process, they sat down with Fugue to discuss the work and the next phase of its development.

How did this project begin? 

Julie McIsaac: We’ve been working on this show for the past two years. I was chatting with [Fugue Artistic Director] Laura Di Cicco three years ago, and she was asking me about projects and stories I wanted to tell. I told her about my upbringing in a Francophone community in Ontario - my mother is French Canadian and I went to French school until I was 18. And in school, all the history I learned was very much through the lens of French Canada and Western Europe. One of the things I learned about while in school was this era in our history, where the King of France, as part of this mission to colonize and populate the New World, collected young women - orphans and widows and anyone who wanted to go - and put them on a boat and sent them across the ocean to New France in the 1600s. I was 14 when I learned about the filles du roi, and I was reeling because these girls were between 12 and 20 years old, and so I was thinking, “whoa, what!? They’re leaving everything they know and getting on this boat and going away?!”

And, this mission worked – because from that point onwards, if you look at the statistics, the population of New France started growing exponentially. There were things like bonuses, too – if you had ten kids, you got this much money, if you had twelve kids, you got more money. So basically these women were being paid for their reproductive prowess, which, as a contemporary women, is really hard to get my head around.                                                    

So, I was interested in feminizing that narrative, and digging into what the women would have been thinking and feeling. I really wanted to work with Corey as a composer, because we’d met through other projects. I brought the idea to him, and I’m grateful to have him on board, because I would not want to tell this story without him, and the perspective that he brings.

Corey Payette: When we came into it, we were just exploring the theme of les filles du roi, and trying to uncover who these young women were and why they would come. It’s important to acknowledge that my background is Oji-Cree First Nations, from Northern Ontario, and when we started working on this show, it was around the same time that my Mamère, on my Dad’s side, said, “Oh, we’re actually not from Northern Ontario, our family moved here in the early 1900s, we’re actually from Kahnawà:ke,” which is right across from Montreal. So when Julie started telling me about the women who arrived in New France, I said, “Oh, well, my family is from this place, right across the water.” And I thought, wouldn’t that be fascinating, to be able to explore this story, through the perspectives of all the people who were here at the time?

When we began, it really started from a place of land. We were talking about survival, and what the reality would be for les filles, living on the land and surviving. And no one had a greater understanding of that land than the Indigenous people in the area. Once we acknowledged that, we couldn’t go back to just imagining it as a story of only these young women. We realized that the story is so much more rich and complex than we imagined it to be.

JM: And then, during the summer, in the midst of this process, I found out that I actually have an ancestor that is a fille du roi. On my mother’s side, if we trace my grandfather all the way back to his male ancestor’s arrival in New France in 1670, that man married a fille du roi.

CP: Which also changed our approach to the material, because we are personally connected to it. It’s not about uncovering this lost history of years ago, it’s like, we are in that history. It lives in us. And in many ways, this work is about that reconnection. So that was the direction we went, and explored with this outreach and community building trip we took in September. We went to Kahnawà:ke and I was hearing the stories about my great, great, great grandfather, who was a Chief, who negotiated peace deals with the Dutch and the English in that time, and finding out that they actually moved from Ahkwesáhsne, which is a community that is further south in Quebec. So we went there, and received the most grounding that this piece has had. We talked with community leaders, and with people from there who were able to give us a much broader sense of the history from an Indigenous perspective at that time. And that was transformative for our whole process – it changed everything. When you hear what the Indigenous people actually thought of this contact at the time, or the actual history of that area, it made you realize, “oh okay, this isn’t something we just have to guess at.” Because this history is not written in a textbook, it’s something that is passed down through an oral culture.

The script for Les Filles du Roi is written in three languages – English, French and Mohawk. What’s it like to co-write this show in these three languages?

JM: It’s really hard, but I’m okay with it being hard, because we recognize that we’re doing something that isn’t often done.  We’re creating this show because of a lack of the stories that we see on our stages.

CP: Both Julie and I grew up in French/English households and schools, and that’s a uniquely Canadian experience. That’s one reason why it’s important to have characters speaking in French and English. But further to that, is the fact that we really don’t have Mohawk or other Indigenous languages on our stages at all.

We wrote the first draft of Les Filles du Roi in English, just to get the structure of it. And now, we are seeding the Mohawk and French languages throughout, and asking questions like, “when is this character going to speak in this language?” and “is this character able to understand the other character they are speaking to?” Often there is no direct translation for Mohawk, so sometimes the translation is just aiming to get the gist of what a phrase means, and that’s been really fascinating, to allow that to reveal certain elements of character or story that perhaps we would not have known otherwise. We’re hoping, in June, to be able to work with an Elder on the script, to help us get it right and make changes.

How is music influencing this process?

JM: Every song has a different process of creation. Some songs, as Corey was writing the melody, the lyrics were coming to him. And then there’s other moments where Corey has a melody, but this character would be speaking in French. We’ve spent hours working on French song lyrics. Because, generally, it takes a more words in French to express the same idea in English. That’s tricky, and makes it harder to be concise, and also grammatically accurate, and poetic and expressive.

CP: I wouldn't say it’s an easy process, but I think, each song is inspired by something different, and emerges in its own way. I’m excited to see how this music resonates with other people, and to see if people start picking up on the hints we are dropping in each of the melodies, whether they are moments where we’re calling back to some old French Canadian song, or if it’s something that’s more rooted in a drumming song, or a walking song that an Indigenous character would sing. At this point, we’re just putting things out there, and then we’ll see what lands with people.

What are you hoping to get out of this next phase of the process?

JM: It’s great having actors in the room, because, as much as Corey and I try and get into the character’s heads, that’s very different than an actor sitting down and just inhabiting that world, that one character’s through line. So the questions that come up for them, the insights they bring, are so valuable. They question things, they offer insights that help us to know what’s on the page, versus what’s in our heads. You need to have the actors in space, interacting with one another, to truly understand relationships, and to see what they are like off the page. That’s an exciting piece to bring in. And then there’s the chorus, who will join us, and that is a real presence that is going to be really impactful.

CP: I’m hoping to engage the cast in a critical discourse around this work; giving them the freedom to speak, and share their ideas. It’s helpful to get us all on the same page in terms of what we’re doing in this stage of development. We’re not aiming towards production yet, so that gives us an enormous amount of freedom, an enormous amount to play with, which I’m excited about. And then, we just have to trust in that process, and give the actors the freedom to explore these characters and who they are. All of that works helps to influence the writing and development of the work as it moves into its next stage. 

Interview with Artistic Director Laura Di Cicco

Laura’s career as an actor, singer, writer, director and producer has spanned nearly 30 years. She graduated from the University of British Columbia and has worked in Toronto, Ottawa and Vancouver. In Ottawa, Laura worked with Odyssey Theatre’s mainstage and helped found Lazzi Lazzi, the company’s touring wing. Laura worked for the CBC as a freelancer for Radio One and Two. Some of her Ontario credits include Street Legal, Friday the 13th, Turandot, Ondine and The Audition. In 1996, Laura moved back to Vancouver and performed  with companies including Green Thumb Theatre, Ruby Slippers, Theatre Conspiracy and Axis Theatre. Laura has also played the (in)famous Leni Riefenstahl in Mieko Ouchi’s The Blue Light for Keyano Theatre’s 2010 season. In 1998, Laura was a co-recipient of a Jessie Richardson Award for a tour with Axis Theatre. Vancouver film and television credits include Saving Milly, The League of Lefties, Noah’s Arc and Traveler. Laura also performs in the award-winning independent film Floating Away.  In 2004, Laura founded Fugue Theatre, and dedicated Fugue’s work to the commissioning and production of original Canadian operettas, musicals and plays with music. Laura will be playing Jacob Marley in Jacob Marley’s Christmas Carol at the Jericho Arts Centre in December. In Les Filles du Roi, Laura plays the character of La Madame.

Tell me about the character you play in Les Filles du Roi.

I play a character called La Madame. She is one of the original colonists in the New World. She is tough as nails and a force to be reckoned with. She needs to be, as conditions are extremely harsh and she has had to steel herself within these circumstances in order to survive. La Madame is the one who greets and prepares the boatload of filles du roi as they begin their lives in the New World.

What is compelling about your character? What is most challenging?

I admire her strength and ability to survive. The challenging aspect is to try to have her remain human in the face of her tough exterior.

As the Artistic Director of Fugue, why is it important to you to develop this show?

This show is an extremely important story to tell. Not only is it deeply connected to Canada’s history but it also addresses critical contemporary issues such as immigration, racism and women's issues, within a compelling narrative that is full of heart.

What are you most looking forward to as you begin this process?

I love watching this project grow. I love being part of a creative process, and rehearsing and seeing things develop. I'm sure that the show will change even more as we go into next year and towards a full-scale production. But so far, seeing things move from a small cast of performers to include a chorus of young women, who are all from different cultural backgrounds, is quite special.


The in-concert presentation of Les Filles du Roi takes place November 4 & 5, 7pm at the Orpheum Annex. Admission is free. Click here for Facebook event.


Interview with Jeff Gladstone

Jeff Gladstone has performed on stages across Canada including Bard on the Beach, Arts Club, Vancouver Playhouse, Belfry Theatre, Theatre Calgary, Prairie Theatre Exchange and many more. Jeff got his start in Calgary where he learned improv with Keith Johnstone, and is a teacher and ensemble member with Vancouver TheatreSports League. Film & television credits include iZombie, Motive, Second Chance, and the upcoming feature Drawing Home. A three time Jessie nominee, Jeff recently played Cassio in Othello and Dionyza in Pericles at Bard on the Beach, performed with Colin Mochrie at The Vogue, and produced the celebrated podcast The Life Game on CBC Radio. Jeff is playing the role of Clarke in Les Filles du Roi.

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Tell me about the character you play in Les Filles du Roi.

Clarke is an English spy entrenched in the French camp. He is masquerading as Joseph Toussaint, a French trader.

What is most compelling about this character? What is most challenging?

It's so much fun to play a spy - a character who presents themselves as something that isn't quite what or who they are. Clarke has secret objectives that drive everything he does, and is hiding something from everyone. It's always a great challenge to take on an unsavory character, find their charm and expose their vulnerability.

What are you looking forward to as you begin this process?

It's a rich and complex story, rooted in our nation’s history, specifically the parts of it that some people would rather forget. Plus, the music is gorgeous.

How long have you been involved in the creation process of this show?

This is my first time working with the Les Filles du Roi script, although I've worked with the team on other projects. I wrote Out Like Flynn for Fugue Theatre 8 years ago, which was the first musical ever commissioned by the company. Out Like Flynn was about Hollywood actor Errol Flynn’s famed last night in Vancouver in 1959. I wrote and composed it over two years, and it was nominated for the award for outstanding original script at the 2008 Jessie Awards. Laura Di Cicco produced and performed in that show, and Julie McIsaac also performed in it. Corey Payette and I worked on a murder mystery show I wrote for the Wrecking Ball Cabaret at the Vogue Theatre in 2011.


The in-concert presentation of Les Filles du Roi takes place November 4 & 5, 7pm at the Orpheum Annex. Admission is free. Click here for Facebook event.



Interview with Kaitlyn Yott

A descendant of the people of Haida Gwaii, Kaitlyn is a Vancouver-based actress of both the stage and screen. Trained in theatre since the age of fourteen, Kaitlyn has recently graduated from Capilano University’s Musical Theatre Diploma Program. Kaitlyn is also an avid writer and public speaker. Recently, this lead her to speak on behalf of Capitano University at Free The Children’s We Day concert at Rogers Arena in 2014. It is her dream to continue to inspire others by the power of spoken word, and to continue to share her own experiences in order to create a conversation and initiate change.

Tell me about the character you play in LFDR.

I am playing the role of Kateri, a young Mohawk girl, and younger sister to Jean-Baptiste. She is soon to be Clan Mother, and takes this role very seriously. In order to properly lead her people, she is eager to know all there is to know about the French traders - their customs, their religious beliefs, and their language. Her brother attempts to protect her innocence, but she urges him to see that she is about to take on a massive role within their community, and wants to be seen as a woman, rather than a child. Her personality contains a delightful combination of incredible wisdom, childlike wonder, stubbornness and fierce loyalty. She trusts her instincts - at times too much - but always has a strong head on her shoulders.

What is most compelling to you about this character? What is most challenging?

What I love most about Kateri is how fierce she is, and how much she trusts herself. She is impulsive, but has a strong and open mind. Her youth allows her the ability to see the best in people - she has a fresh perspective among older minds. However, as history plays out her innocent perspective meets devastation, the breaking of trust, and the realities of her people’s situation.

What is challenging, like playing any young character, is finding the balance of my 23 year-old knowledge versus her 13 year-old mind. It is beneficial to be able to bring this kind of depth to a younger character, but there is also a process of un-learning. It’s a rewarding challenge, though. I get to roam free of the walls we build up as we get older, and return to my limitless, authentic self.

What are you looking forward to as you begin this process?

Being a part of an original, Canadian work! I am so proud to be a part of Les Filles du Roi for what it represents, what it will teach, and what impact it will have in the world of Canadian musical theatre. It has also been a dream of mine to help originate a character. To know that my experiences, thoughts and perspectives have helped shape Kateri as a character is a gratifying feeling. I feel like the proud mom of a character baby!

How long have you been involved in the creation process of this show?

I’ve been with the project for almost a year, through three iterations of the development process. Each time I have come back to it, I am only in more awe of the incredible creative minds of Julie McIsaac and Corey Payette, and all the hard work they have put into this show. They are inspirations to me, and I feel very lucky to have been a part of this.

The in-concert presentation of Les Filles du Roi takes place November 4 & 5, 7pm at the Orpheum Annex. Admission is free. Click here for Facebook event.

Interview with Raes Calvert

Raes is a Métis theatre artist from Vancouver. He is a co-founder and co-artistic director of Hardline Productions and is excited to premier his new show Redpatch in the spring of 2017. Recently returning from touring the USA with Presentation House Theatre's production of  Where the Wild Things Are, Raes is excited to be working with Fugue Theatre for the first time. Raes is a graduate of Studio 58. He plays the role of Jean Baptiste in Les Filles du Roi.

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Tell me about the character you play in Les Filles du Roi?

I play the character of Jean Baptiste. He is an important figure in his Mohawk community, as he is a representative that trades with the French, English and Dutch. One thing I find amazing about this character is his ability to adapt. He is resourceful, careful, and guarded, and is proud of where he has come from. He is young and still has lots to learn, yet he is also wise and cares deeply for his sister Kateri, who will soon be a leader of their people.

What is most compelling to you about this character? What is most challenging?

The most compelling thing about my character is his ability to adapt to his surroundings. He knows three or four different languages, because of the people whom he trades with. He is an adept traveller, skilled in wilderness survival, and is also loyal to his family, particularly his sister Kateri.

As I’m finding the intricacies of this character, I’m noticing how Jean Baptiste negotiates his desires, especially when he knows that what he wants may not work out in his favour. The most challenging thing about my character is trying to understand some of the choices he makes and deciding why he makes those decisions.

What are you most looking forward to as you begin this process?

I am looking forward to working with artists that i have not worked with before, as well as working with Corey Payette and Julie McIsaac again. I am excited to be part of a new Canadian work that features Indigenous characters and tells their story in a meaningful way. Also, having the opportunity to sing in this production and further develop that aspect of my artistic practice is exciting to me.

What resonates most with you in this story? 

The fact that I am Métis myself gives me a strong, personal connection to Jean Baptiste, who is half Mohawk and half French. Another thing that resonates with me, is that the characters in Les Filles du Roi are facing challenges that are both historical and contemporary: being trapped in abusive relationships, having to make sacrifices for loved ones or for your community, and more. Much of this story is about surviving struggle, and how it challenges us to adapt, to persevere in a world that is not always kind or easy to navigate.

The in-concert presentation of Les Filles du Roi takes place November 4 & 5, 7pm at the Orpheum Annex. Admission is free. Click here for Facebook event.

Interview with Cate Richardson

Cate Richardson is an actor/singer/violinist from Nanaimo, and a graduate of the Canadian College of Performing Arts. Favourite theatre credits include Castle in the Sky (Castlereigh Theatre Project), Mozart & Salieri (Seven Tyrants Theatre), and The Yellowpoint Christmas Spectacular (Razzle Dazzle Productions). She is playing the role of Marie Jeanne in Les Filles du Roi.

Who do you play in Les Filles du Roi?

Marie Jeanne is a young girl from France who has been chosen to travel to the colony of New France, to marry and begin a new life. She has all kinds of dreams and expectations about this new life, but I think she has many questions and doubts too. When she arrives, her experiences in New France are not at all what she had expected.

I’ve only just been introduced to Marie Jeanne but I am looking forward to sinking my teeth into the character. Her life experience is different from mine in so many ways, but I identify with her gumption and resilience. She comes into a situation full of hopes and dreams, and when those dreams begin to fade and break, she doesn’t placidly accept her new fate. She wrestles – successfully or otherwise – with some enormous challenges, and finds a way to raise her voice. Even when that voice isn’t heard, she continues to push and resist and fight. That’s a pretty amazing characteristic for someone who is up against so much, and I love her for it. I think audiences will too.

What is most compelling about Marie Jeanne as a character? What is most challenging?

In addition to the resiliency and strength that I mentioned earlier, Marie Jeanne is also extremely vulnerable. She is carrying the weight of many different burdens. The patriarchal oppression she faces as a woman are compounded by her poverty, the loss of her sister, and her isolation. These burdens affect the way she lives and relates to people, but the way she manages to continue fighting is remarkable, and relevant to women contending to similar struggles in contemporary society.

I’ll be curious about how the character will evolve during this process. I have many questions about her background. Why did she end up coming to New France? What enthralled her about the new colony, and what scares her? What led her to have the strong convictions she has?

What are you looking forward to as you begin this process?

I am looking forward to seeing French and Mohawk characters interact, and witnessing how they find ways of communicating in spite of and because of their differences. I’m currently in my third year of a degree in social work, and colonization and the centuries-long implications of that process are at the forefront of a lot of Canadian social work pedagogy. This show speaks to those issues as they were first beginning in what is now Canada, and highlights many of the intersecting discriminations, including those that Marie Jeanne, as a young woman, would experience. I am hoping to bring my (limited but growing) knowledge of those problems to the script, and look forward to seeing how that manifests in the workshop.

The in-concert presentation of Les Filles du Roi takes place November 4 & 5, 7pm at the Orpheum Annex. Admission is free. Click here for Facebook event.


Discovering a family connection to les filles du roi

This summer, Julie McIsaac, co-writer of Les Filles du Roi, made an exciting discovery: that she herself is a descendent of a fille du roi. Here, she shares her story of this unexpected personal connection to the historical world of the play.


When I was in elementary school – probably around ten or eleven years old – I remember going over to my grandmother’s house to interview her for a school project.  We were to find out about our family’s history, and I remember feeling uncomfortable sitting there in the afternoon quiet, just the two of us at the dining room table.  Typically I would be visiting my Mémère’s house in the company of some thirty-plus relatives, and if you get any more than three of my ma tantes together, it’s a party.  Imagine book & lyrics by Michel Tremblay, with music by Dolly Parton… that’s sort of the right feel.  

So I was suddenly shy, reluctant to ask my Mémère some of the questions on the assignment sheet.  My Pépère had died only a couple years before, and I wanted to avoid mentioning him; I didn’t want to make her sad.  And maybe that’s why I didn’t dig into his side of the family very much, I can’t quite remember.  What I do know is that since then, I’ve always thought that my mother’s ancestors came over from France in the mid-1700s.  

Then this summer, sitting in the passenger’s seat of my mom’s car, as we’re driving past the gravel road that leads to the site of the “Robitaille homestead” where my grandfather was born, she tosses a book into my lap, something that her uncle Louis has recently self-published.  I begin flipping through it, and immediately recognize places, faces, photos – and all those names that made me laugh as a child: Urgel, Velma, Albertine...

My mother is one of ten children, and though that makes for a big extended family, most of her relatives have lived their entire lives in and around our hometown, so for the most part, I know the people in these pages, or at least I know of them.  But when I get to the last page of the book, I pause.  There’s something I haven’t seen before.  A genealogy tracing the Robitaille line back to the 1600s.  And there he is, Jean Robitaille, marrying Marguerite Buletez in Quebec, 1670.  

I’ve never heard of this Jean Robitaille.  Which is odd, seeing as my mother carries his name inside her own: Jeanne Robitaille.  And Marguerite?  Never heard of her before, either.  And then, hey, wait a minute.  1670.  That’s right smack in the middle of the French government’s les filles du roi initiative.  Could this Marguerite be…?  

As one does in these moments of wonder, I turn to Google. 

And turns out, the answer is yes.


The in-concert presentation of Les Filles du Roi takes place November 4 & 5, 7pm at the Orpheum Annex. Admission is free. Click here for Facebook event.

Rewrite History: Free Theatre Creation Program for Youth

Attention Youth and Parents
Starting October 16:
Free Theatre Creation Program for Youth Ages 14-25


Do you question
what you've been told about the past?
Join professional theatre-makers
and find your voice.

Challenge the status-quo.

Rewrite History.

"Rewrite History"
Free Theatre Creation Program
for Youth Ages 14-25
Julie McIsaac
(The Out Vigil)
Deneh'Cho Thompson
(The Girl Who Was Raised by Wolverine)

Free to youth ages 14-25. Open to all skill levels and experience.

For all young people interested in creating new, incendiary works for the stage.

Whether you’re an aspiring playwright, composer, songwriter, performer, director or choreographer, join professional theatre makers Deneh and Julie for this series of four theatre creation classes. Participants will be encouraged to question what we’ve been taught as “history”, using these discoveries as a springboard for the creative process. Together we’ll test and develop our capacity as artists to challenge the status quo, and rewrite history.


Sunday, October 16
Sunday, October 23
Sunday, October 30
Sunday, November 6


2:30 PM - 4:30 PM


The Italian Cultural Centre
3075 Slocan St, Vancouver, BC





Announcing expanded Indigenous collaboration for Les Filles du Roi

Canada Council funding supports collaboration with Mohawk community

Co-creators  Julie McIsaac  and  Corey Payette  in a reconstructed Iroquois long-house circa 1450 in Tsiionhiakwatha Archeaological Site, Saint-Anicet, Quebec. Thanks to Michel Cadieux (Archaeologist) for his hosting.

Co-creators Julie McIsaac and Corey Payette in a reconstructed Iroquois long-house circa 1450 in Tsiionhiakwatha Archeaological Site, Saint-Anicet, Quebec. Thanks to Michel Cadieux (Archaeologist) for his hosting.

First-time funding from the Canada Council allowed Fugue Theatre Society to support co-creators Julie McIsaac and Corey Payette in research that took place in Quebec and New York State this September. There, they began a collaboration process with Mohawk community and Elders to expand Indigenous input in the development of the upcoming trilingual musical, Les Filles du Roi. This work marks a significant step forward for Fugue Theatre by directly linking the company’s drive for artistic excellence with its mandate to promote equity and diversity within Canadian theatre. 

Funding from the Canada Council supports the overall development of the show. As the project continues, it will allow Fugue to hire a Quebec-based Indigenous outreach coordinator. Their role will be to provide guidance on Mohawk cultural protocols, prepare relationships with community and to seek potential collaborators, such as language experts, story keepers and Elders. Indigenous composer\playwright\actor Corey Payette followed a similar process with the Tk’emlúps te Secwépemc in the development of his musical, Children of God, which premiers at the National Arts Centre in 2017.  In continuing their research, the artistic team hopes to incorporate Mohawk language into the script to create a trilingual musical.

A concert presentation is scheduled for November 4 & 5th at The Annex Theatre in Vancouver, and will include talk-backs from community.


Les Filles du Roi May Workshop

Exciting new directions...

Hello everyone,

We wanted to share some photos and news from our latest workshop for Les Filles du Roi, which took place May 16-20, 2016 at the Italian Cultural Centre.

The focus of this workshop week was character development and fine-tuning the first 20 pages of the script. Co-creators Julie McIsaac and Corey Payette worked with dramaturge Anita Rochon and a cast of wonderful actors to explore the draft and flesh out characters. By the end of the week, an eager audience confirmed that the characters and stories really are coming to life. We're especially excited that the character of Katari, a young Mohawk girl, is emerging as one of the focal points of Les Filles du Roi.  After the excerpt, we polled the audience to see which character they were the most curious about, and the unanimous choice was Katari.  That's very exciting for us, as we continue to explore our collaboration between Settler and Indigenous viewpoints. We also heard that audiences are fascinated by the history of les filles du roi. Many shared that they had read about les filles in school, but were now coming to learn just how much was missing from these accounts. We even had two audience members whose own families traced back to this history!

I think I speak for the entire Fugue Team (and the audience at the reading!) when I say that I can't wait to find out where the story goes next.

Here are some photos I snapped at the workshop. From left to right, you'll see Anita Rochon, Kevin Loring, Laura Di Cicco, Robyn Wallis, Kaitlyn Yott, Jesse Martin, Corey Payette and Julie McIsaac. Hope you enjoy, and stay tuned for more!

Barbara, for The Fugue Team