Critically noted play explores immigration, identity and unlikely friendship
Production highlights growing demand for socially driven, independent theatre in Canada
MONTREAL — Independent theatre producers in Montreal are capitalizing on strong audience demand as Wine & Halva, a socially driven stage production, returns for a second run following a sold-out debut.
The play, written by Deniz Başar and directed by Art Babayants, will run from May 9 to May 23 at Rangshala in Cité-des-Hospitalières. The production is presented by Sort Of Productions and Art Babayants in association with Postmarginal, in collaboration with Teesri Duniya Theatre.
Blending humour with social critique, the play centres on the relationship between Derya, a Turkish immigrant, and Farias, a Canadian gay white man, as it examines themes of migration, identity and economic precarity.
“How can I be racist? I’m vegan!”
Audience demand drives remount
The decision to remount the production reflects both audience appetite and the continued relevance of its themes within Canada’s evolving cultural and economic landscape.
Set against the backdrop of a stylized Istanbul coffee house, the play uses narrative storytelling to explore how individuals navigate belonging and difference. Organizers say the immersive setting—complete with pre-show Turkish coffee—aims to deepen audience engagement while reinforcing the work’s cultural context.
“This is a powerful story of an unlikely friendship that breaks cultural barriers and reveals the true meaning of connection,” said director Babayants.
The production will be presented with French subtitles and includes post-show talkbacks for selected performances, positioning it as both a cultural and community dialogue initiative.
Themes reflect broader labour and social realities
At its core, Wine & Halva examines the intersection of identity and economic vulnerability. The character Farias is portrayed as working in a low-wage service job with limited prospects, while Derya arrives in North America to pursue academic goals, only to encounter unexpected social marginalization.
“I actually really like diversity when it is all there to pamper me. But I just don’t like conflict, you know?”
Through these contrasting experiences, the play raises questions about privilege, systemic barriers and the complexities of cross-cultural relationships—issues that continue to shape public discourse in Canada’s labour market and immigration system.
“My tears are the most useful weapon I have against non-white people and I find it very empowering to exercise my abilities.”
Independent theatre as a platform for social commentary
The production also underscores the role of independent theatre in addressing contemporary social issues while operating within tight financial and operational constraints.
Başar, a first-generation immigrant from Turkey to Canada, draws on narrative traditions from West Asia and the Middle East to frame the story. The script combines humour and discomfort to challenge audience assumptions, offering what producers describe as both an emotional and intellectual experience.
The creative team includes performers esi callender, Caroline Nowacki and Corbeau Sandoval, along with a multidisciplinary production crew spanning scenography, lighting and sound design.
Industry observers note that productions like Wine & Halva highlight how smaller theatre companies are leveraging culturally specific storytelling to attract diverse audiences and remain competitive in Canada’s arts sector.
Accessibility and pricing strategy
Producers have adopted a tiered pricing model aimed at improving accessibility while maintaining financial sustainability. Tickets are priced at $35, with a limited number of $20 reduced-rate options available. Pay-what-you-can performances are scheduled for May 13 and 14.
The show runs Wednesday through Sunday evenings at 7 p.m., with additional matinee performances on select weekend dates.
By combining accessible pricing, community engagement initiatives and timely subject matter, Wine & Halva reflects a broader trend in Canada’s performing arts industry toward inclusive and socially responsive programming.
As the production returns to the stage, its commercial success and thematic resonance point to sustained audience interest in theatre that not only entertains but also interrogates the complexities of modern identity and belonging.