Sinkhole_1024

Adjani Poirier’s Sinkhole
(or six ways to disappear)

Playwright, director, and one of the actors discuss the play and their careers in the theatre

By Irwin Rapoport

January 20, 2025

Adjani Poirier‘s new play, Sinkhole (or six ways to disappear), being presented by Infinithéâtre from January 20 to February 1 at the Théâtre La Chapelle, delves into a wide range of emotions and themes. The play focuses on community and the bonds that tie it together.

“When a sinkhole swallows an apartment building and a beloved community member goes missing, the tight-knit, intergenerational neighbourhood is thrown into chaos,” states Infinithéâtre’s press release, “Through interconnected stories, Sinkhole explores the human subconscious, the fear of vanishing, and the unbreakable strength of a working-class community fighting to stay connected. An electrifying journey into what it means to disappear – and what it takes to be found.”

Poirier, a theatre artist based in Tiohtiá:ke/Montreal, wrote the play during the pandemic. “A play that I read when I was quite young and that affected me a lot was David Fennario’s Balconville. There’s this discussion of class and what it means to be in Montreal,” she said. “ When I sat down to write Sinkhole it was during the lockdown so I would just sit on my back balcony all day, that was my whole world, and I ended up creating my own kind of version of Balconville.”

Sinkhole explores the human subconscious, the fear of vanishing, and the unbreakable strength of a working-class community fighting to stay connected. An electrifying journey into what it means to disappear – and what it takes to be found.

– Infinithéâtre press release

Poirier is a National Theatre School of Canada playwriting graduate. She currently serves as the Assistant Artistic Director at Black Theatre Workshop.

“Her work blends magical realism to explore themes of home, queer desire, and the subconscious, often highlighting the tensions between systemic oppression and the enduring power of love and connection,” states the press release.

Directed by Keith Fernandez, the dynamic cast features Alyssa Angelucci-Wall, Alexandra Laferrière, Olaoluwa Fayokun, Warons Setshwaelo, Matthew Kabwe, and Sophie-Thérèse Stone-Richards.

“Art gives me a space to dream of things that seem insurmountable,” he said. “I make art so that I can tell queer stories, that is very important to me, and it has always been at the forefront of why I create art.”

As part of La Chapelle’s More Bilingual Than Ever program, subtitles in French will be available for all of the performances. These translations by Elaine Normandeau are made possible through the generous support of The Cole Foundation.

For more information and tickets:
lachapelle.org

Sinkhole

Adjani Poirier, Keith Fernandez, and Olaoluwa Fayokun speak about the play and their passion for the theatre in the following Q&A:

WM: Can you provide more details about the writing of the play and describe your writing style?

Poirier:  When I first sat down to write Sinkhole (or six ways to disappear), the city was in the midst of one of many COVID-19 lockdowns. I didn’t leave my house much, and I spent a lot of time on my back fire escape balcony. It was hard to imagine life outside of this one space I inhabited day in and day out, so I decided what better time than now to write a play set right here in my back alley? The characters and stories came from my imagination, but the space was very much my everyday physical reality. It was a magnificent escape to get lost in these character’s stories during a time of such deep social isolation.

Growing up in the heart of Montreal, I had the good fortune of being immersed in theatre from a young age. One of the formative theatre experiences of my youth was seeing Condoville at Centaur Theatre (the sequel to the much beloved Montreal classic Balconville). Something about the aesthetic and energy of the play stuck with me, it felt so genuinely like Montreal, and ever since I’ve dreamt of creating a play inspired by Balconville and Condoville, but created through the lens of my own experience living in Montreal as a working-class queer, Black bilingual Anglophone.

My writing style blends naturalistic dialogue with magical realism, with strong character relationships driving the story. I write for theatre because it’s a blueprint for action. The words themselves have power and are fun sounds to play with and put together to make meaning. But the words are more than words, they’re instructions and invitations to make a story come to life. Plays are meant to be created together, through artistic collaboration, and writing for theatre is a way for me to be a part of that shared experience.

‘I’ve dreamt of creating a play inspired by Balconville and Condoville, but created through the lens of my own experience living in Montreal as a working-class queer, Black bilingual Anglophone.’

– Adjani Poirier, playwright, Sinkhole

WM: Who are the playwrights that have influenced you and which plays have most impacted you?

Poirier: I’ve been influenced by many different playwrights over the years. As a young writer I looked to Canadian playwrights Donna-Michelle St.Bernard and Jordan Tanahill as two artists who were doing really interesting things with their plays and writing styles, and was like hmm, I want to do that too. A play I recently read and was deeply impacted by was American playwright Aleshea Harris’ Is God Is – I was very impressed with how unapologetic the writing is and the creativity she’s taken with form.

I also spent my early 20s apprenticing and working with The Bread and Puppet Theatre in Vermont, a political theatre company that does large-scale pageant-like shows with giant papier-mache puppets. My practice now is definitely influenced by the radical politics and DIY aesthetic of that company.

WM: How do you choose your themes and what are you working on currently?

Poirier:  I am interested in exploring the complicated intersections of life, and how they influence our sense of self and our relationships to each other. I’ll usually start a project with a vague idea of a theme and a strong idea of a character who lives in the world of the play, and build out from there. Writing is the way that I go about figuring out the world and my place in it, and my themes usually spring out of the things I’m generally obsessed with thinking about: ideas of home, queer desire, money (having it and not having it), friendship and the subconscious.

I’m currently working on the final draft of my two-hander play Scorpio Moon, which will premiere this spring in Montreal with Imago Theatre. It’s a story about friendship, betrayal and art set in a crumbling abandoned warehouse!

‘I… spent my early 20s apprenticing and working with The Bread and Puppet Theatre… a political theatre company that does large-scale pageant-like shows with giant papier-mache puppets. My practice now is definitely influenced by the radical politics and DIY aesthetic of that company.’

– Adjani Poirier, playwright, Sinkhole

WM: How did you prepare to direct the play and how was the cast assembled?

Fernandez: I was very fortunate to have the chance to connect with the playwright Adjani Poirier early in the process. She offered a great deal of insight into the world of the play, the things that were important to her as she was writing it and the themes that are resonant in the show. After that, it was a deep dive into the world of Montreal! How people like to spend their summer days here, and how communities and neighbours rely on each other. I went through the script and built a timeline for each of the characters so I could understand where they begin, where they end and what changes them through the course of the show. With this being a new work, we had room for discussion, growth and change with the script which is a gift and a great challenge. I always knew I wanted to work with local performers for this show.

I am thankfully very connected to our small, mighty and talented theatre community here, so we reached out to performers who we were interested in for the roles in the show and held short cold reads in a relaxed setting. Auditions are so gruelling and not everyone can showcase their best within this setting, so this alternative allowed us the space to play while getting to know these artists as people. Considering the chemistry of the cast in the room is just as important as having actors who can embody the characters. We have an abundance of talent and heart on stage!

WM: Are there any directors that you look to for inspiration and are there productions which provide guidance?

Fernandez: YES! I’ve been a long-time admirer of Michael Arden‘s work as a director. I admire his innovative approach to theatre direction and performance. His ability to blend traditional storytelling with modern sensibilities is truly inspiring. Arden’s direction of productions like the Tony Award-winning revival of Once on This Island showcases his talent for creating immersive experiences that resonate emotionally with audiences. I got my start in performing in professional musicals, so they hold a very special warmth for me. My mentor Brian Hill has also helped shape my directorial vision in the room through his advice and our conversations about theatre that we were both excited and perplexed by.

‘I was very fortunate to have the chance to connect with the playwright Adjani Poirier early in the process. She offered a great deal of insight into the world of the play, the things that were important to her as she was writing it and the themes that are resonant in the show.’

– Keith Fernandez, director, Sinkhole

WM: What drives you as a director and how do you get the best out of your actors?

Fernandez: I love to tell queer stories, and I love to champion BIPOC talent! These are two tenets I have held true to since I made the leap into directing and producing. My work philosophy is shaped by my identity as a queer person of colour, driving me to share stories that reflect diverse experiences and perspectives. I find joy in collaboration and the sense of play inherent in theatre creation, believing that laughter is a crucial element that fosters connection and keeps the creative atmosphere vibrant.

I am motivated by the opportunity to bring critical awareness to audiences, helping them recognize that experiences outside their own are valid, exciting, and beautiful. The moment when the entire team aligns with the director’s vision fuels my passion. I value collective success and thrive on the excitement of others’ ideas and contributions.

As a director, specificity and clear communication are the best gifts I can give to my actors as we shape the show and tell a story together. These are skills I am continuously working to develop. I also always lead with care first – they are humans before they are actors. Having been on the other side of the table, I am deeply aware of the skill it takes to be a performer. I am humbled by the immense talent of actors and love it when they challenge me.

WM: How did you prepare for the role?

Fayokun: I started by reading the play multiple times, first reading it for larger overarching themes and getting a grasp of what the central question the play was wrestling with. From there, I read it multiple times to examine the arc of my character and the other characters in the play. Following that, I utilized various textual analysis tools in combination with my intuition, to harness truths about the character, understand my character’s needs, and locate where in my own experience/world I saw the character. From there, it was a matter of building specificity, and transforming my research/work into actionable character choices and experimentation.

‘Aspects of the play that appeal to me are the comedic tempo written into the text, the loving but messy nature of the character’s relationships, and the relatable topics/themes touched on within the play.’

– Olaoluwa Fayokun, actor, Sinkhole

WM: Which aspects of the play appeal to you?

Fayokun: Aspects of the play that appeal to me are the comedic tempo written into the text, the loving but messy nature of the character’s relationships, and the relatable topics/themes touched on within the play.

WM: What do you enjoy about acting and do you have any role models?

Fayokun: What I enjoy about acting is that it offers one the opportunity to transform and forces one to grow. Going through one’s day-to-day life, I can somewhat feel stuck in the identity I have constructed for myself or others have constructed for me. Thus, a craft like acting and a space like the stage, allows me to stretch those confines and adopt a different voice, spine, and worldview. Furthermore, acting is an immensely human craft that constantly challenges and reveals things to me. Whether or not I like what it brings up, it leaves me with truths and forces me to ask questions like “Will I give myself permission to fail?”, “Am I doing the task or everything around it?”, “What if I’m wrong?”, “What if I’m right?”, “Am I really listening?”, etc. Regarding role models, some of them include: James Baldwin, Sheryl Lee Ralph, Donnell Mclachlan, and Denzel Washington.


Images: David C Wong

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Irwin RapoportIrwin Rapoport is a freelance journalist with a bachelor’s degree in history and political science from Concordia University.



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