Michael Sinclair, Chair is the General Manager of Obsidian Theatre Company Inc., Canada’s largest culturally specific theatre company. Prior to assuming the position at Obsidian, he was very active in the theatre community, being a professional stage manager for over 20 years, a job which took him across the country from PEI to Vancouver and internationally to Barbados. In that time, he worked in commercial, festival, large regional and local theatres, and touring internationally, nationally, regionally and schools but working mainly in the Toronto area. A graduate from Concordia University majoring in Accounting, Michael worked for a Chartered Accounting firm before branching out into the theatre business, but always had a love for the theatre as he was involved in community theatre while still pursuing his accounting career. He is on the board of Stage Managing the Arts (SMArts), and a member of Canadian Actors Equity Association (CAEA), Stage Management Committee.
Margaret Evans is a Dora nominated actor and producer. Selected stage credits include the Dora Nominated productions of The Tin Drum: an original adaptation of the novel by Günter Grass with UnSpun Theatre, Rob Kempson’s Mockingbird, as well as Jesus Chrysler by Tara Beagan with Praxis Theatre. Margaret’s producing career began with a grant from Theatre Ontario to work with Nightwood Theatre and continued thereafter with Dreamwalker Dance. From 2009- 2011, Margaret was the General Manager for Praxis Theatre, where she developed such works as The Stranger, Tim Buck 2 and Section 98. As an Artistic Associate in the Performing Arts Department at Harbourfront Centre, Margaret was the Festival Curator for HarbourKids from 2008-2011, and the Coordinator for the Hatch Emerging Artists Residency from 2011-2014. She was also an Artistic Associate of the World Stage team from 2008-2014, working on such productions as Boca Del Lupo’s PHOTOG, ISÔKO Theatre’s adaptation of Colleen Wagner’s The Monument, and as the principal coordinator of the Toronto production of the community led Complaints Choir. Margaret joined Crow’s Theatre as Associate Producer in 2015, where she remained until 2020. In 2017, she was part of the team that opened the new performance venue, Streetcar Crowsnest, hailed as the East-End of Toronto’s largest, most ambitious theatre space to date. While at Crow’s, Margaret was part of the producing team for over 65 productions, partnerships, guest company productions, and community events. She is especially proud to have developed and led the Scotiabank Creative Youth Program - Crow’s Theatre’s first programming and education series for Children and Families. A graduate of the University of King’s College (Halifax) and the Actors Studio Drama School (New York), Margaret was a member of TAPA’s Indie Caucus for many years. She is committed to sharing her knowledge in supporting and expanding the capacity of artists at various stages of their careers and is honoured to be working alongside the inspiring artists on this committee.
Monique Mojica (Guna and Rappahannock nations) Actor/Playwright/Dramaturg is passionately dedicated to a theatrical practice as an act of healing, of reclaiming historical/cultural memory and of resistance. Spun directly from the family-web of New York’s Spiderwoman Theater, her theatrical practice embraces her artistic lineage through mining stories embedded in the body in connection to land and place. Monique has taught Indigenous Theatre in theory, process and practice at Brown University, the University of Illinois, the Institute of American Indian Arts, McMaster University and is a former co-director of the Centre for Indigenous Theatre. She has lectured on land-based embodied research and taught performance workshops throughout Canada, the US, Latin America, New Zealand and Europe. She was most recently seen onstage in the role of Aunt Shadie in Marie Clements’ The Unnatural and Accidental Women, the inaugural production of the new Indigenous Theatre department at The National Arts Centre, with the National Arts Centre Orchestra in the European tour of I lost my Talk as part of the Life Reflected series, Izzie M.: The Alchemy of Enfreakment written by Monique with a diverse artistic collaborative team and in Tara Beagan's Honour Beat for Theatre Calgary. Upcoming projects include the role of dramaturg for Kaha:wi Dance Theatre’s Sken:en created by Santee Smith. She is the founder and Artistic Director of the Toronto-based Chocolate Woman Collective.
Mimi Mok is currently the Business & Development Director at The Theatre Centre, a nationally recognized live-arts incubator and community hub in Toronto’s West Queen West. She works closely with General & Artistic Director Aislinn Rose, and the Board of Directors to steward the organization.
Mimi has worked in the cultural sector in Toronto and Hong Kong, mainly in fundraising and board relations. Prior to joining The Theatre Centre, Mimi worked in theatre, dance, and music, for organizations including Canadian Stage, Canada’s Ballet Jörgen, and the Hong Kong Philharmonic Orchestra. In 2014, she managed Esprit Orchestra’s China Tour, which included the Asian premieres of works by iconic Canadian composers Murray Schafer and Alexina Louie.
Mimi holds an MBA from the Schulich School of Business, with a specialization in Arts, Media and Entertainment Management. At Schulich, she received the Brian Dixon Founders’ Award for high academic achievement and demonstrated contribution to the cultural sector. She is on the TAPA board serving on the finance committee and the indie caucus.
Trevor Schwellnus is a Toronto-based Scenographer – designing sets, lighting, and video for performance with independent artists. He has developed his approach to direction and dramaturgy through Collaborative creation in a designed environment at Aluna, leading the creation of Nohayquiensepa (Nooneknows) and What I learned from a decade of fear. His design work for Aluna’s La Comunión, Madre, and For Sale launched him on his artistic path. He is currently developing a focus on the integration of artistic disciplines and intercultural practices with a language-based focus. In 2015 he was shortlisted for Canada’s Siminovich Award. Trevor has collaborated in theatre and dance with Modern Times, Jumblies, Fixtpoint, Alameda, Cahoots, Liza Balkan, Buddies in Bad Times, Independent Aunties, Obsidian, Tarragon, Small Wooden Shoe, One Reed, Marie-Josée Chartier, Ame Henderson’s Public Recordings, selfconscious Theatre, Susie Burpee, Sasha Ivanochko, Theatre Passe Muraille, and others. He has 5 Doras (of 14 career nominations), a Harold, and a Children’s Choice Award.