Blyth Festival has announced its 2025 season and the playbill is, once again, set to deliver the theatre’s signature mix of laughter, tears, and a celebration of Canadian history.
Artistic director Gil Garratt has chosen five shows that highlight our constant need to change and adapt to new realities in the world around us – a theme he finds grows more relevant with each passing day.
“We’re living through an era of seismic change not seen since the industrial revolution,” says Garratt. “Reflecting this, our 2025 season features stories of characters grappling with similar realities. Many find themselves pitting long-cherished values against the need to keep up with change in everything from technology and political stability to economics and immigration.”
He promises a good combination of comedy and drama, and plenty of music, in a season that includes both new works and old favourites, each of which speaks to Canada’s unique history, culture, and strong rural roots.
The season includes the following plays:
“Quiet in the Land” by Anne Chislett, on the Outdoor Harvest Stage
One of the most lauded plays in Blyth’s 50-year history, this blockbuster chronicles the tensions in a small Amish community when a father rises to become bishop while his son enlists to fight overseas in the First World War. This timeless story explores the wrenching forces of modernity, pacifism and family - forces made even more relevant in today’s heightened atmosphere of political polarization. Originally commissioned by the Blyth Festival, “Quiet in the Land” won both the Governor General’s and the Chalmers Awards when it was first produced in 1981.
“Sir John A: Acts of a Gentrified Ojibway Rebellion,” by Drew Hayden Taylor, on the Margaret Stephens Stage in Memorial Hall
Part road trip, part grand heist gone wrong, this uproarious 2017 comedy pits two pals bent on retrieving a culturally-important Anishinaabe artifact against the British Museum. Throw in a kooky hitchhiker and the ghost of Sir John A., himself, and you’ve got a perfect cocktail of history, hijinks, and hilarity, along with a heaping side of biting satire. One of Canada’s most beloved authors, Taylor’s trademark ability to examine Canada’s colonial past with both humour and humanity, is on full display in this sparkling production hailed on its Ottawa premiere as “a theatrical perfect 10.”
“The Wind Coming Over the Sea” by Emma Donoghue, world premiere, on the Margaret Stephens Stage in Memorial Hall
This newly-commissioned work by Donoghue, an internationally-decorated, Irish-Canadian writer, tells the story of two real-life immigrants fleeing famine-ravaged Ireland in the 1840s. Driven by poverty and hunger to seek a better life, Henry Johnson and Jane McConnell Johnson decide to emigrate to Canada. Henry goes ahead to secure work while Jane stays behind with their two young children. Their letters sail across the sea, capturing the heartache of separation and the anticipated blessings of starting over. Based on the actual letters of the real Jane and Henry, Donoghue’s latest work for the stage dances away from home into the unknown. Filled with traditional Irish songs, it looks unflinchingly at both the promise and the peril of emigration, telling a story sure to touch the heart of every Canadian.
“Radio Town: The Doc Cruickshank Story,” by Nathan Howe, world premiere, on the Margaret Stephens Stage in Memorial Hall
In Depression-era Wingham, Ontario, local inventor Doc Cruickshank built a working radio transmitter after finding a set of instructions in “Popular Mechanics” magazine. What started as a mere electronic lark soon blossomed into a tiny radio station, connecting farmers, church ladies and an entire community. Soon enough, Doc opened up the airwaves to local musicians and songwriters, such as Earl Heywood, the Ranch Boys, Ernie King, Cora Robertson and more. Suddenly, his little hobby became a sensation. What followed were four meteoric decades as Doc built what would become a national television and radio broadcaster – Canada’s answer to the Grand Ole Opry. The storied CKNX launched the careers of Canadian icons, including Shania Twain, Al Cherny and Tommy Hunter, and became a household name from coast-to-coast. Saskatoon playwright Nathan Howe’s gorgeous new country musical chronicles Doc’s rise from early days to glory days, and his dilemma in choosing how best to pass on his legacy.
“Powers and Gloria,” by Keith Roulston, on the Margaret Stephens Stage in Memorial Hall
Edward Powers has built a furniture empire in his tiny hometown. But when ill health forces him to hand the factory over to his ambitious son, everything Edward has built is suddenly in jeopardy. Enter Gloria, a young gal from the wrong side of the tracks, hired to help Edward get back on his feet. This unlikely duo is all that stands between Edward’s legacy and his son’s stubborn greed in this sparkling comedy from beloved Blyth playwright and founding general manager, Keith Roulston. This play was commissioned by and premiered at the Blyth Festival in 2005 to wild success and critical acclaim. The delightful banter between the irascible Edward and his vivacious (if slightly wild) companion, mingles with a serious examination of a common inter-generational conflict to produce a thoughtful comedy full of heart.
Tickets for the 2025 season go on sale Jan. 27, for Blyth Festival members, and to the general public in early April. Flex passes and gift certificates are available for sale now by calling the Blyth box office at 1-877-862-5984, or at www.blythfestival.com.
The 2025 season of the Blyth Festival runs from June 18 to Sept. 20.
The Blyth Festival is a professional theatre located in Blyth, Ontario. It was established in 1975 with a mandate to produce professional repertory theatre that reflects the culture and concerns of the people of southwestern Ontario and beyond.
In its 50-year history, Blyth has premiered 156 new Canadian plays and entertained more than one-million people from every province and territory in Canada across the United States and from every corner of the globe. Plays from the Blyth Festival have won Governor General’s Awards, been produced in 29 countries, and been translated into dozens of languages, including American Sign Language.