Marcus’ plays are published by Talonbooks and Playwrights Canada Press. Marcus’ work has received numerous awards, including the Siminovitch Prize for Theatre, the Vancouver Mayor’s Arts Award, the Rio-Tinto Alcan Performing Arts Award, the Chalmer’s Canadian Play Award, the Seattle Times Footlight Award, two Arts Club Silver Commissions, the Vancouver Critics’ Choice award (three times), the Canada Council Staunch-Lynton Award as well as multiple local awards in Montreal, Toronto and Vancouver. They have been produced across North America, off-Broadway and in Britain, Ireland, Iceland, Greece, Germany, China, Denmark, Belgium, the Czech Republic and the Netherlands. We ask artists and audiences to embrace work which challenges assumptions about the nature of theatre and its function in the world.Marcus Youssef’s fifteen or so plays, about half written in collaboration with pals, include Winners and Losers, Leftovers, King Arthur’s Night, Jabber, The In-Between, Ali & Ali and the aXes of Evil, Everyone, Adrift, Peter Panties, and A Line in the Sand. While diversity remains a core value, our programming now asks a broader range of questions about political responsibility, identity, and difference. We tell stories that are as complicated and contradictory as the enormously small country we live in.Historically, our work is rooted in an experience of ethnic and cultural diversity. Neworld Theatre creates, produces, and tours new plays and performance events.
Conversations, interviews and arguments collide with Yamamoto and Long’s aesthetics resulting in theatrical experiences that are authentic, immediate and hopeful. Our work is about a genuine attempt to coexist. Whether working together or apart, we use extended processes to create performances fromintentionally simple beginnings. Theatre Replacement is an ongoing collaboration between James Long and Maiko Bae Yamamoto. Marcus’ work is the recipient of the Rio-Tinto Alcan Performing Arts award, the Chalmers’ Canadian Play award, the Seattle Times Footlight award, and numerous local theatre awards in Vancouver, Montreal and Toronto. He sits on the advisory board of the Canadian Theatre Review, and is currently co-chair of the City of Vancouver’s Arts and Culture Policy Council. Marcus has been artistic director of Neworld Theatre since 2005, and co-founded the East Vancouver artist-run production centre Progress Lab 1422 in 2009. They have been performed at festivals and theatres across North America, Europe and Australia, and are published by Talonbooks and Playwrights Canada Press. Marcus Youssef's (writer/performer) plays and performance events include Ali and Ali & the aXes of Evil, How Has My Love Affected You?, A Line in the Sand, Peter Panties, Jabber, and Adrift. He is a graduate of SFU’s School of Contemporary Arts.
As a freelance artist he has worked as a director, writer and actor with Rumble Productions, Neworld, urban ink, The Only Animal, Boca Del Lupo, The Chop Theatre, CBC radio and The Electric Company, among others. James has taught performance and methods of creation to established artists across Canada and to students at The University of British Columbia, The University of Regina, Simon Fraser University, Studio 58 and Seattle’s Cornish College of the Arts.
The company’s work has been presented in multiple cities across North America and Europe and includes Clark and I Somewhere in Connecticut, Sexual Practices of the Japanese, Train, BIOBOXES: Artifacting Human Experience, WeeTube, and Dress me up in your love among others. James Long (writer/performer) founded Theatre Replacement with Maiko Bae Yamamoto in 2003.
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Both companies are OtB alums whose past appearances at OtB include Sexual Practices of the Japanese (2007), The Adventures of Ali & Ali and the Axes of Evil(2007), That Night Follows Day (2009) and How to Disappear Completely (2013). Their companies, Theatre Replacement and Neworld Theatre, have been responsible for dozens of original works and innovative engagements. James Long and Marcus Youssef are stalwarts of Vancouver BC’s theater scene.
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