(TUNB) A Conversation with Anna Chatterton on Liatorp

Anna Chatterton is a librettist, playwright, and performer. She is also a two-time finalist for the Governor General’s Literary Award for Drama—in 2018 for her play Gertrude and Alice (co-written with Evalyn Parry), and in 2017 for her play Within the Glass. Her solo play Quiver was a finalist for the 2019 Hamilton Literary Awards in Fiction. Anna’s plays have been produced by the Shaw Festival, Nightwood Theatre, Tarragon Theatre, and Alberta Theatre Projects, among others. Anna has been a playwright-in-residence at Nightwood Theatre, the National Theatre School of Canada, Tarragon Theatre, and Tapestry Opera. She lives in Hamilton Ontario.1

In 2017, she was the artist in residence for NotaBle Acts. As such, we were absolutely thrilled to hear more from her, and to present this exclusive interview with Theatre UNB on the upcoming production of her short play Liatorp. In this humorous and melancholic piece, a couple struggles through their relationship’s past and future while assembling a notoriously difficult Ikea unit.

“It is a calm optimistic time, the beginning of your relationship”

Liatorp as a play begins with the characters as a young couple, but quickly spans a large period of time in their relationship. Deftly woven with quippy comments and inner monologue, the early play gives room for each of the characters to travel through an emotional journey – while still remaining brisk and funny.

“I allowed myself permission to play with time as I wanted, I said I’m not going to look at this in a realistic sort of way. I’m just going to allow them to be in an Ikea and then be at home. I just decided to give myself the liberty and the freedom to to be fluid with time and location.”

The play draws inspiration from the altogether too familiar woes of furniture assembly.

“Liatorp was inspired by an article that I read about a piece of furniture from Ikea that is notorious for being so hard to put together that it has caused divorces. I thought that was pretty hilarious but also very metaphoric.”

“So I decided to set it between a couple. I was thinking — this is a couple that is not getting along famously, and there’s got to be some sort of a journey. And so who are the type of people that might break up as a result of the difficulty with this piece of furniture.”

She describes going on a deductive journey through the characters-wondering if the couple had kids, if they communicated enough.

“It was that sort of thing, — placing problems in their relationship that would allow this crack to occur between them, so that there was something simmering underneath already. This was what allowed everything to shatter, as the glass (of the Liatorp unit) does in the play.”

Of course, the students playing the characters (Shelby Gilley and Adrien Saliendra) are significantly younger than the characters they play throughout the majority of the script – who start off their journey as prospective homeowners in their early-mid twenties, but move quickly into their thirties burdened with the passage of time. This provides a unique set of challenges and opportunities for actors.

“I’ve been in their shoes, where you’re in university or theatre school, and you’re playing people that are older than you. There’s part of you that doesn’t fully comprehend things as you would when you’re older. But I think that there’s part of you that has observed (these relationship dynamics) or of course understands breakups. I think that’s universal, no matter what age you are.”

“They may not be grappling with owning a house, or what floors they are choosing for their bathroom, but at the core, most people have been in relationships, and they’ve had them break down.”

“It’s also playing house in a way. When you’re a kid and you play house, you’re pretending to be growing up. You’re imitating what you’ve observed in your life. I assume that these 18/19 year old theatre students are sort of playing house a little bit with this play, where they’re projecting themselves into the future and trying it on for size.”

Additionally, while the play was written long before COVID-19, it seems prescient in its appreciation of interpersonal drama as a microcosm for global issues. The shadow of climate change, and an unspoken anxiety for the future casts a heavy shadow over the latter half of the script. It speaks to today, where we find ourselves (more literally) trapped in our homes.

“At the end, with (Matt) talking about global warming, – that hasn’t gone away, it’s only gotten worse. But we are kind of ignoring it because of the pandemic. (As) a metaphor for grappling with the larger world. It’s both epic and domestic.”

“They’re doing things that we aren’t of course. We aren’t doing going to IKEA and that sort of thing, but it’s true. They are kind of trapped together in this house. And there is something bigger and larger going on that is a bit of a metaphor for the relationship- which is the break down of normality.”

In a play built so heavily around the collision course a a relationship can take, it begs the question for the audience – was it all inevitable?

“That’s a really great question. I love thinking about that. I think actually, it’s very clear to me what they could have done. This is, I think, part of the reason probably why I wrote about it”

“I think it’s about communication. I think it’s about a relationship, if you’re not staying in clear communication with with each other – it can reach a point where you’ve gone too far. […] If they had stayed close to each other, every inch of the way, instead of sort of turning their backs to each other, I think it could have maybe been saved.”

Liatorp will be put on as part of Duels and Duet. More information, including dates and ticketing can be found on our Facebook event page at:

Theatre UNB Presents: Duels and Duets

Want to hear more from the author? Chatterton’s interest in memory and domestic drama continues in her upcoming work on the memory loss of Agatha Christie:

 “When she was in her 20s, she disappeared for 10 days, and nobody knew where she was. It was the largest manhunt at the time in the UK, in search for her. When she was found, she was found at a spa, where she had been enjoying herself for the last 10 days, pretending to be someone else. And then until the day she died, and and beyond, she claimed that it was amnesia. And so it’s this big mystery, which is so funny, because she’s a mystery writer!”

To see more of Anna’s work, and where to purchase it, check out:

Anna Chatterton | Playwrights Canada Press

1 Bio thanks to Playwrights Canada Press

(TUNB) Meet the Artists: Goblin Market

A Conversation Between Playwright and Cast on Clothes, Character, and Isolation

McKenna Boeckner is a a recent graduate of a masters degree at UMD. He’s currently enrolled in the Ph. D. English program at UNB in creative writing, and has had a number of works produced via NotaBle Acts, Spearhead Theatre, and the Plain Site Theatre Festival. Recently, Plain Site and Spearhead Theatre teamed up to present a reading of his work, A Real Boy; Or, The Pinocchio Project

Even more recently, we’ve been absolutely thrilled to partner with NotaBle Acts to present his latest work: Goblin Market. Featuring Courtney Parker and Breanna Fagan as Lizzie and Laura (respectively), Goblin Market is a tender and earnest look at companionship and intimacy in times of isolation.

At Theatre UNB, we seldom have the opportunity for a cast to meet the playwright, so we were absolutely thrilled to host this discussion. While the entire meeting contains far too many spoilers to share in its entirety, here are some of the highlights.


“During this pandemic, I’ve been very isolated, as I assume most people are. And that causes lots of anxiety and ruminations. And so I decided to write down all my feelings into plays. And that’s produced a series of it’s three right now, three shorts, queer COVID plays, one of them has been produced in the plain sight Theatre Festival, this one’s being produced here. And there’s one that hasn’t been produced yet, but maybe will be in the future.”

“I always returned to past relationships that I’ve had, or past experiences I’ve had. And this play arises from something that my mom says growing up in Northwestern Ontario walking the Grandview path, because sometimes we would find discarded clothing items or underwear in the bushes. And if me and my siblings would ask my Mom, what that was or why that was there. She’d say, oh, something bad happened. And that’s such like a vague answer. And I guess it produced like, a bunch of different thoughts in my head. Maybe there’s Goblin Man, and maybe there’s something monstrous going on. So this play really comes from that. That thought, and that comment by my mom.”

Goblin Men in the play serve as a constant symbol for the external threat of nasty, untrustworthy men and male-dominated environments. But the play itself is very centred around a very intimate story between two girls. Laura and Lizzie’s friendship is caught in the crossfire of Laura’s shady new boyfriend and the loneliness brought on by quarantine. Perhaps unsurprisingly for such a relevant story, the cast had quite enthusiastically connected with the characters, and were eager to share their interpretations of their lives outside of the script. We began discussing what the characters dressed like, which quickly led to deeper observations.


“For Laura, since she just came out of foster care, I was discussing with Len (the director) what she would wear and we were both thinking: no, she wouldn’t wear anything that would be remotely expensive or anything. So it’s more like lazy clothes. “

“I find she kind of hides her feelings, but at the same time says exactly what she thinks.”


“I find for Lizzie it’s hard to put into words how I picture her. I picture her as like one of my friends— like my one of my old friends from high school. She really doesn’t know what she wants. She’s fighting in her mind. She doesn’t know how to express how she feels. And so it’s almost like she’s constantly fighting with herself. I feel like that takes over a big part of her personality. So I don’t think she really dresses to impress.”

Both characters dressed simply, but small details of why and when all added up to a larger picture for the actors. The common theme emerging was one of anxiety.


“I forgot who it was, but somebody was describing my writing. And they said that I like to find conflict and the awkwardness of quiet situations.”

“Lots of plays are very “yelly” plays, there’s people raising their voice and yelling at each other. And my writing doesn’t usually tend towards that. It tends towards people talking quietly or not being able to say things they want to say. And maybe that’s my anxiety of not being able to express myself coming out through my writing.”

“When I’m writing young characters, for example, they say and do things that my young self wouldn’t have done. Because I was very, very shy in high school, I ate lunch under stairwells, because I didn’t know how to talk to people. So it’s almost as if my subconscious self is coming out through my characters and saying the words that I don’t know how to say in my own voice. So in that sentence, both these characters are me. Perhaps more vibrant parts of myself, or conflicting parts of myself.

This complex character development made for a challenging but engaging experience for the actors.


“It’s definitely difficult to kind of think through (character development), especially for me being a first year drama student. Lizzie really doesn’t know what she wants. And in that way it is hard as an actor to try to show what I want.”

“But going through the play multiple times, once you’ve finished it, it makes it easier to start again. I know once I start, how she feels by the end of it. And that’s really her turning point— when she does decide what she wants. And so, when starting it again, I have that kind of idea in the back of my head, that I can show physically how she gets there.”

Each artist then took turns sharing their thoughts about the purpose of the play, and what audiences should leave thinking about.


“My mind immediately goes to the thoughts from Laura’s perspective, almost that there is more to the pandemic than meets the eye, for the majority of people. I think I was frustrated with people — although it’s good to discuss — talking about what face masks to where, or what is the correct distance to go between people or to scoot around people in a grocery store, if you should pass them at all. Because, there is so much the pandemic that isn’t discussed, such as people who are leaving foster care and don’t have a place to stay afterwards, because the pandemic. Different stories like that. So I guess I’d like a more expansive awareness of this, while still being respectful toward the COVID rules, because those are important.


I would like people to leave the play thinking about the choices that they make. How they feel the things that they don’t say, or the things that they struggle with saying, and the kind of the benefits that can come out of saying something that you’re not necessarily comfortable with. 


“In this play, there’s a lot communication, but there’s a lot of lack of communication.”

“So I agree with Courtney. I want people to think after they watch the play, ‘if I want to say something, if I feel something, I’m gonna say it.’”

Goblin Market will be put on as part of Duels and Duet. More information, including dates and ticketing can be found on our Facebook event page at:

Theatre UNB Presents: Duels and Duets