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New website

Our new website is http://www.redbettytheatre.org



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Ganga’s Ganja needs your help!

‘Tis the time for giving!

How about helping us reach our goals for our next production DSC_0376

Ganga’s Ganja that opens at Storefront Theatre in Toronto

in April 2017? Then we’ll be really merry- fa la la la la la la la la!


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A brand new website !

For all news, updates and show information check out our new website:


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Hamilton City Arts Award win!

We are proud to say that Red Betty Theatre’s founder Radha Menon is the recipient of the Theatre Award at the City of Hamilton’s Arts Award 2106, held last week at the Scottish Rite. We congratulate Radha and all the other award winners on this recognition by their home city .  Most of Radha’s best work has been developed and produced in Hamilton. Also congratulations to Rose Hopkins, Radha’s choice as emerging theatre artist.

For a full list of Arts Award 2016 recipients :

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Follow the Playwright!

Radha S. Menon

Radha S. Menon’s Rukmini’s Gold tells the stories of five generations of a family over the course of 130 years, taking place at different train stations throughout the world. Moving, reflective, and dreamlike, this character-driven memory play transports the audience throughout time and space to deliver all the joy and heartbreak that comes from lives fully lived.

The play begins in India in 1960 with Rukmini, an elderly woman, sitting alone waiting for a train. A young girl approaches her and they begin talking about Rukmini and her journey. The play then transitions into a series of scenes at train stations in the U.K., Uganda, and Canada, highlighting various members of Rukmini’s extended family throughout time (1886 – 2014). The characters sparkle right off of the page, equal parts hilarious, devastating, and deeply real. They demonstrate that the threads that connect us all are never severed, but live on in the dreams of those from our past and the memories of those we have left behind. Most importantly, Rukmini’s Gold reminds us to continue on our journeys, whatever they are, and to discover what is golden in our lives.

“Look at your hand. These junctions; long convoluted journeys. They can’t stop running. It’s impossible. All this will remain…like Granny’s flat feet.” – Girl


CLICK the link below


AND VIEW Radha S.Menon reading from this play:


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Four Years Straight- Best Of Theatre 2015

Thanks to View Magazine Theatre Reviewers for including our production of Rukmini’s Gold  in its Best Of Theatre  2015.

Rukmini’s Gold appeared at this year’s Fringe but its acclaim preceded it. It was the winner of Toronto Fringe’s 2015  New Play Contest.  Writer Radha S. Menon certainly deserved this award. This production is the wave of the future. It breaks away from the standard patriarchy and wholly embraces the voice of the other. Her writing is a genre of its own: her messages of our time”

Red Betty Theatre is very honoured to have received this distinction every year since our first Hamilton production, a workshop of Ganga’s Ganja in 2012. Our other notable productions include Rise Of The Prickly Pear ( 2014) and Ghost Train Riders (2013).


Asha Vijayasingham, Ronica Sajnani and Tony Sciara in Ganga’s Ganja at Citidel Theatre in 2012.

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Rukmini scoops Critics Choice Awards

At the end of a really hot run Rukmini’s Gold playwright Radha S. Menon was awarded the Critics Choice Award at the closing of Hamilton Fringe Festival 2015 and Maya Huliyappa-Menon was awarded a Larry Award by Hamilton comedian Larry Smith at the Fringe Club last night!  What a ride it has been.

LarryAward HamFringe Award

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Raise the Hammer Review of Rukmini’s Gold.

Within the first minute, it is clear why Rukmini’s Gold won the 2015 Toronto Fringe Festival’s New Play Contest. Radha Menon’s dialogue is crisp, clear, vivid, and musical, and it mines the depths of human character and characterization. This would be clear from any couple of pages of the script or if you stumbled in randomly and watched a couple of minutes of the show.

On stage, the little old lady, exquisitely played by theatre veteran Dia Frid, comes across as vulnerable, empathetic, and wholly believable. She is, after all, the archetypal grandmother, an elderly woman everyone can identify with, across race, culture, nationality, and time.

Moreover, the old woman is in trouble. She feels alone and invisible, and looks like a ghost in her white sari. We see her despondent on a deserted platform, burdened by a decaying suitcase (metaphor for life’s journey) and an old jewelry box as a train leaves the station. She has missed her train. And we have already bonded with her, with her predicament, regardless of what in heaven or hell might have brought her to this point.

A 12-year-old girl (Sindhuri Nandhakumar) appears. “Can I sit beside you?” she asks the old woman. “I’m going with you.”

Who is this impudent girl and what does she want of the old woman? Let your imagination loose. This is one of the show’s enigmas. Given its format, the two scenes that feature the old woman and the girl, of necessity, bookend the play.

Radha Menon has an uncanny ability to make us empathize with almost every one of her many characters-good or bad-that we meet in her story, and, indeed, we are introduced to some pretty ambiguous and even unsavory characters. Yet they are all rendered complex, never one-dimensional, and we truly feel for them.

A wooden bench sits centered on a bare stage throughout the show, throughout its many stand-alone scenes.

“Wait. Wait for me.” “It’s gone. I missed it.” These laments echo throughout the play (think metaphor for life’s journey). Trains missed. Opportunities missed. Opportunities grabbed. Opportunities squandered. Brothers, sisters, mothers, daughters, separated in space, in time, and in mind.

The action jumps backward and forward in time, covering more than a century in the lives of the certain diaspora members of an extended Indian family. All scenes take place at train stations situated in India, Uganda, the United Kingdom and in Canada. From the old woman’s point of view: are these scenes real? Are they imagined? Do they happen in the past, or do they portend the future?

The old woman (Dia Frid) remains on stage throughout the ninety minutes of the play, sometimes ignoring, sometimes seemingly paying attention to the action in the vignettes, sketches, or scenes, call them what you will. Individually, they are beautifully conceived and executed, heart-wrenching, each one complete with its own inciting incident, turning point(s) and climax. Direction (Wes Berger), and acting are uniformly impressive, meaningful and virtually flawless. A joy to watch.

See her show in its present form while you can. I’ll wager we haven’t seen the last of her brilliant saga.


Written by John Bandler.


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Hamilton Spectator Review on Rukmini’s Gold


Journeys are at the heart of Rukmini’s Gold, a touching memory play that offers the heartbeat of connection at Hamilton’s Fringe.

Rukmini’s Gold is a fully fleshed version of playwright Radha S. Menon’s Ghost Train Riders from Hamilton Fringe 2013.

In Ghost Train, Menon created Rukmini, a gnarled old Indian woman, wise as her years, warm as a summer night and certainly nobody’s fool. Clutching a battered old bag, stuffed with carefully saved memories, her talon of a hand scrunches a faded photograph, a connection with the past.

The journey Rukmini is about to take has a whiff of mystery about it. It isn’t some ordinary ride. Perhaps it will transport her to the past or to her future in some lazy old Valhalla, or its equivalent. As she waits impatiently for her train, a young girl, cheeky and full of nuisance, worries her rest. Here the play takes a brooding metaphysical turn.

It became apparent this girl was the old woman’s younger self. This confrontation between past and present is, to my mind, the crux of Menon’s play.

She takes us on multiple journeys and we confront both time and change. She allows us the concomitant joy of shedding old skin and suddenly discovering new. The play hustles us from India to Africa, to England and Canada. Along the way, we are reminded of the sacrifices immigrants made, the small treasures they took with them and the new worlds they embraced.

The characters in Rukmini’s Gold are parts of a vast diaspora, but they are also members of a world family of people with hopes and dreams. Sometimes those hopes die in the weeds that grow along train tracks. Sometimes they throw up lovely wildflowers.

Journeys are everything in Menon’s play. So are the gold bracelets and bangles that are reminders of passing on a legacy.

In this now-finished version of Menon’s play, the stakes are greater, the journey is farther and the dramatic world opened up more seductive.

Wes Berger has directed a good cast that connects with Menon’s rangy storyline.

Ellora Patnaik is moving in several appearances, finding truth in every line she utters. Vivek Hariharan is a handsome presence, economically sustaining rich dramatic moments. Dia Frid is transcending as Rukmini, a luminous, graceful old creature, not so much worn by time as polished by its caress.

Tony Sciara is sweetly touching as Mr. Cricket, never going too far with the comedy. And Brittany Miranda and Sindhuri Nandhakumar (Maya Huliyappa-Menon at some performances) find lovely moments of connection.

A work of graceful eloquence, Rukmini’s Gold is a Fringe play that’s a must-see. Performed July 22, 25, 26 at Mills Hardware, 95 King St. E.


Gary Smith has written on theatre and dance for The Hamilton Spectator for more than 35 years. His Fringe reviews are based on final previews.


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Hamilton Reviews are Coming In!

Veronica Appia, editor-in-chief of The Theatre Reader, writes that Rukmini’s Gold “is a heart-warming drama that transports its audience”

The play opens  in 1960 and we see Rukmini… may have missed her train, but this production puts us on our own train — one that travels to the past and to the future to see both the beautiful and sorrowful treasures that make up Rukmini’s life.

This is an intelligently written piece that melds real history and family values with surrealism, as we not only travel through time in this piece, but get to see Rukmini’s past self and present self exist simultaneously.

The actors all put on authentic and potent performances that keep us engaged and thinking throughout the show’s entirety, slowly making our way through this historical maze.

Despite its cultural content, Rukmini’s Gold is a selfless, universal story about the timeless notion of learning to value what is most important in life.

Gary Smith of the Hamilton Spectator says that “Journeys are at the heart of Rukmini’s Gold, a touching memory play that offers the heartbeat of connection” before stating that:

[Menon] takes us on multiple journeys and we confront both time and change. She allows us the concomitant joy of shedding old skin and suddenly discovering new. The play hustles us from India to Africa, to England and Canada. Along the way, we are reminded of the sacrifices immigrants made, the small treasures they took with them and the new worlds they embraced.

The characters in Rukmini’s Gold are parts of a vast diaspora, but they are also members of a world family of people with hopes and dreams. Sometimes those hopes die in the weeds that grow along train tracks. Sometimes they throw up lovely wildflowers.

Journeys are everything in Menon’s play. So are the gold bracelets and bangles that are reminders of passing on a legacy.

In this now-finished version of Menon’s [earlier Ghost Train Riders], the stakes are greater, the journey is farther and the dramatic world opened up more seductive.

Wes Berger has directed a good cast that connects with Menon’s rangy storyline.

Ellora Patnaik is moving in several appearances, finding truth in every line she utters. Vivek Hariharan is a handsome presence, economically sustaining rich dramatic moments. Dia Frid is transcending as Rukmini, a luminous, graceful old creature, not so much worn by time as polished by its caress.

Tony Sciara is sweetly touching as Mr. Cricket, never going too far with the comedy. And Brittany Miranda and Sindhuri Nandhakumar (Maya Huliyappa-Menon at some performances) find lovely moments of connection.

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Why Radha wrote Rukmini’s Gold

It was midnight when I stood alone waiting for a night train at a deserted station in North Cornwall.

There was no sign of life anywhere, it was eerie and desolate and I worried that my train may never come. That’s when I had a vision of Rukmini, an elderly lady waiting alone in her white sari, clutching nothing but her precious baggage. And I wondered what it would be like to meet oneself in a place like this? Would I recognise myself after fifty or more years?

Thus the path of this play began and continued as I explored my own family’s journey from India and around the world.

I dedicate Rukmini’s Gold to my dear late mother Kamla Kumari Menon with love and immense gratitude.

Design by Lynne St. Clare Foster

Design by Lynne St. Clare Foster

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Take a peek of Rukmini’s Gold on stage in Factory Theatre!

"He loves her?"

“He loves her?”


“I’ve got my ticket!”


“Where’s my sitar?”


Our fabulous company from left to right: Brittany Miranda, Vivek Hariharan, Dia ‘darling’ Frid, Maya Huliyappa-Menon, Ellora Patnaik, Tony Sciara & Rishma Malik

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Rukmini’s Gold Features a NOW Magazine Outstanding Performance!

NOW Magazine comes through again.  Turns out that our very own Ellora Patnaik in her three roles in Radha S. Menon’s Rukmini’s Gold offered one of the Outstanding Performances of the 2015 Toronto Fringe, according to the Now reviewers.  Check out the full article here: https://nowtoronto.com/stage/fringe-2015/fringe-favourites/

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One more rave for Toronto’s Rukmini’s Gold

From the blog of Burke Campbell, he states that “[t]here are moments of great beauty and grandeur in Rukmini’s Gold accompanied by “a lot of laughs, heart, and warmth”.  For more…

There are legions of plays dealing with immigrant families. Most illustrate how these people arrive in a new place and the endless difficulties they encounter. Ultimately, the new comers integrate into various societies, but at a terrible cost, often suppressing their identities and turning their confusion and rage inward, towards themselves and even towards people they feel occupy a lower social rung.

Radha S. Menon has written such a conventional saga, following the genealogical line of a Pakistani family, whose members migrate over time to Canada, England, and African countries. However, Rukmini’s Gold differs markedly from most of these plays in one specific regard. As a playwright, Menon has a special ability to create compelling characters. These characters don’t seem constructed. Rather, they appear to flow naturally from her particular imagination, fully realized.

A railroad train is the central metaphor of Rukmini’s Gold, recently produced at the Toronto Fringe. It’s the train that carries family members to the far corners of the earth. It’s apt, then, that the play begins with the old woman, Rukimini, played by Dia Frid, waiting at a train station.  She’s not just old, she’d cagey. She knows when and where to wait, so she can navigate the most efficient path to boarding the train, when it arrives. But all of her neat plans are tossed into disarray with the arrival of a young girl, who mercilessly teases her. Slowly, we realize the girl may be the manifestation of a family descendant, or even Rukmini herself when she was young. Rukmini’s Gold is a memory play, and as such, it unfolds in a “timeless moment” where all time is one—and past, present, and future are joined.

Again, what makes this drama worthwhile is the strength, humour, and dignity of the characters. For instance, there’s an amazing scene where actor Ellora Patnaik stands alone on stage in an orange sari and explains her socially successful life in England. She also speaks of her relationship with her sister and with her sister’s daughter. The monologue evolves from slight and funny into a chilling portrait of a woman’s denial of her actions, and her overwhelming guilt at the outcome.

He concludes with this:

Radha S. Menon is a seriously gifted writer and one hopes Rukmini’s Gold returns, sharper and more refined. This production has a great deal of energy, and there’s some very fine, often remarkable acting in it. I look forward to other work by this clearly passionate playwright.

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Get aboard the generational journey returning home

Winner of the Toronto Fringe’s 2015 New Play Contest, Rukmini’s Gold is about connections and moments of departure. An old Indian woman clutching her suitcase hobbles onto a deserted platform, distraught at missing her train. Set in stations around the world over 150 years, this heartwarming and amusing play tracks the passages of family and diaspora.

Initially presented as Ghost Train Riders at the 2013 Hamilton Fringe Festival, the piece soon received development with Sasha Kovacs. Director Trilby James staged a reading in February in London, U.K, as part of Kali Theatre Talkback 2015. After a hit run at in Toronto, Rukmini’s Gold returns to Red Betty’s hometown, playing at Mills Hardware at the Hamilton Fringe.

Written by Radha S. Menon (finalist for the Woodward/Newman International Playwriting Prize and an honorable mention for the Herman Voaden Playwriting Contest) and directed by Wes Berger (Outstanding Direction from NOW Magazine for The Naked Ballerina), Rukmini’s Gold features a cast of eight actors who play nineteen roles from the South Asian diaspora over ninety minutes.  Dora-winning designer Kelly Wolf costumes the different eras and settings.

Red Betty Theatre

in association with The Hamilton Fringe Festival presents

Rukmini’s Gold

Written by Radha S. Menon                                                          Directed by Wes Berger

Featuring Brittany Miranda, Dia Frid, Ellora Patnaik, Maya Huliyappa-Menon, Tony Sciara, Vivek Hariharan and Sindhuri Nandhakumar

Stage Managed by Laura Lakatosh            Costume and Prop Design by Kelly Wolf

Opens July 16 and runs to July 26

Mills Hardware           95 King Street East

Performance Times: (Run time 90 minutes)

Thursday July 16 @ 9:00pm

Saturday July 18 @ 7:30pm

Sunday July 19 @ 3:30pm

Monday July 20 @ 7:30pm

Wednesday July 22 @ 6:00pm

Saturday July 25 @ 2:00pm

Sunday July 26 @ 6:00pm


At-the-door tickets: $10

Tickets go on sale June 24th and can be purchased online (hamiltonfringe.ca/tickets), or in person during the festival.  Each patron is required to make a one-time purchase of a Fringe Backer Button for $5.  Please note there is absolutely no latecomer seating.

Rukmini poster

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Fringe Best Bets!

In case the 8 excerpted reviews below aren’t enough to draw you into Factory Theatre to see our show, maybe being included on this list from NOW Magazine is:


As the humongous theatre fest wraps up, here are some must-sees

Only one more chance Sunday July 12th at 7pm to see Rukmini’s Gold in Toronto, before we pack up and head home to the Hamilton Fringe.

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The Toronto reviews keep coming in!

From My Entertainment World, reviewer Lisa McKeown awarded us a B+ and called our Toronto opening “very, very enjoyable”:

The dialogue is entertaining and… each scene held my attention. My favourite was Ellora Patnaik as ‘one of the prettiest girls of Slough’, who embodies her character’s heartbreak and snobbery beautifully, cracking jokes and managing to embrace a level of sincerity in her character.

Avrum Regenstreif writes on Ontario Arts Review:

The setting for RUKMINI’s GOLD by Radha S. Menon is a bench on a typical railway station platform, that might be a station platform anywhere in the world. This simile for a universal place represents the event of leaving to somewhere else by minorities forced out by circumstances beyond their control. In the short space of a one-act 90-minute play,  this superb ensemble touches, in a serious way – colonialism, racism, sexism, ageism, forced emigration, and discrimination against older traditional societies by one group seeking to exploit another in Africa, India, the UK, and Canada. The title of the play derives from and reflects the classical medium of exchange: – anything of value that can be easily worn or carried on a person, of relatively high value which can be melted down, sold or exchanged by those who must emigrate. Clothes and accessories not only reflect gender and class but also age plus the carrying-on of memory and historical record. Skin colour and skin tone is not only a visible indicator of racial origin, but also of class and social status. With brilliant insight into universal realities, Menon has written a play which deals with all of these important issues with great humour, subtlety and grace. The seven cast members ably portray all of these issues.

Martin Morrow, writing for The Torontoist, gives us 4 stars and says:

Winner of this year’s Fringe new-play competition, Radha S. Menon’s sprawling comedy/drama deftly tracks the 20th-century South Asian diaspora through a series of episodes set at different train stations in India, the U.K., and Toronto, and linked by an elderly woman’s gold heirlooms. Touching on everything from racism and shadism to arranged marriages and workers’ rights, replete with a magic-realist framing story, Menon’s play is complex and captivating… The production by Menon’s Hamilton-based Red Betty Theatre sports delightful performances from a cast of seven—some in multiple roles—under the lively direction of Wes Berger.

Amanda Campbell of the blog, The Way I See It, writes that:

Rukmini’s Gold, winner of the 2015 Toronto Fringe New Play Contest, is an ambitious epic play that chronicles one family through five generations as they travel from India to Africa to the United Kingdom and then to North America, exploring the idea that family, and a sense of one’s heritage makes one richer than any physical piece of gold.

There are a great many strengths in Radha S. Menon’s play, which is a snippet of ten different scenes, spanning over a century and all taking place in a train station. The concept here, of chronicling the sprawling extended family of one, elderly, South Asian woman, is an interesting one. There are themes of genetics and the ways in which different branches of family trees converge and disconnect over time, ending up with people with seemingly different ethnicities, nationalities, and experiences, actually being quite closely related. It also explores the cyclical nature of familial stories. Many of these stories are also grounded ardently in the woman’s experience, which is refreshing to see, and the relationships between mothers and daughters and sisters are the most richly mined.

[T]here is absolutely a great, epic play (or perhaps even a novel) in here; there is a lot about these people and their story that is, as yet, un-mined and that’s a lot of what makes these people most captivating.

Cathy McKim of Life with More Cowbell adds that there is “[r]eally nice work from this ensemble” and that:

The scenes between Rukmini and the girl are particularly compelling and bookend the play nicely. [Dia] Frid’s Rukmini plays up her age – her “condition” – but she is sharp as a tack and decidedly feisty. [Maya] Huliyappa-Menon’s Girl is precocious, energetic and bright, full of playful mischief. Who she is, I’ll leave for you to decide for yourselves – so you’ll have to go see this.

With shouts to the beautiful, evocative – and haunting – work of costume/props designer Kelly Wolf and sound designer Nicholas Walsh.

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Reviewers Recommend Rushing to Rukmini!

When the lights come up on a simple wooden bench in the Factory Theatre, Red Betty’s production of Rukmini’s Gold, as part of the Toronto Fringe Festival, promised to show us a story about “where we come from and where we are going”. In the hour and a half after that, the story was told with a delicacy and charm that kept me leaning forward in my seat.

The piece starts off with the matriarch of a large Indian family, Rukmini (played by Dia Frid), waiting for a train. After her opening monologue, in which Frid proves her knack for both comedy and sincerity, the show breaks into scenes from her family’s life. These range from before her death to years after, taking place anywhere from Uganda to Canada.

The reviews are trickling in following our strong opening last night, which was greeted by a wonderfully warm audience response.  Above and below are excerpts from Maighdlin Mahoney’s review for Mooney on Theatre:

Stand out performances were given by Frid as well as Ellora Patnaik, who masterfully handled the complicated stories while keeping their characters both charming and poignant.

Supporting these performances was a gorgeous script, by Radha S. Menon, that shifted gracefully between hilarity and heartbreak. Every character Menon has written is given a chance to prove themselves beautifully complex as they explore their connection to their family and their culture, their hopes and their regrets.

In the end, the show explored a myriad of themes surrounding this expanding family, including approval, separation, first meetings and final farewells, in a way that was accessible and wonderfully challenging. It is a witty and honest commentary on the way our cultures meet and change, and how family pushes us apart but ties us together.

Also of note, blogger Jason Silzer (Staged in Toronto) calls Rukmini’s Gold “worth taking the time to check out” in his Day 1 recap of the Fringe:

Rukmini’s Gold won the 2015 Toronto Fringe new Play Contest, and it is not hard to see why. The script was tight, the scenes well formed, and the plot and theme paired well.
As the play opens, Rukmini, played by Dia Frid, sits waiting for a train in Samsara in 1960, reflecing on her life. She is about to make a journey, the nature of which becomes quickly apparent. Acting as a pivot for the whole show, we see how her life an experience connect directly and indirectly with her predecessors and successors as scenes from 1911 to 2008 play out at train stations in India, Canada, and the U.K.
…[T]here is a lot to like about this show. The dialog is witty and engaging, and the characters are well formed. A personal highlight was a monologue of a woman who had, for various reasons, watched as the lives of her sister and niece fall slowly apart; a powerful moment indeed.

Debbie Fein-Goldbach writes in her review for NOW Magazine:

Menon imbues the script with intriguing historical facts and creates a strong sense of cultural and familial tradition. …Ellora Patnaik stands out playing two sisters in back-to-[back] scenes especially when she delivers an emotionally charged monologue. …[T]he gold jewelry heirlooms that appear [in] every scene enrich the story by connecting the generations.

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Now Magazine preview for Rukmini’s Gold

Jon Kaplan of Now Magazine had this to say about us in a Preview article published today for our Toronto Fringe run of Rukmini’s Gold!

“Tracing a journey that continues over a century in time, spanning three continents and looking at five generations of an extended family, Rukmini’s Gold considers what is ultimately important in life.

Each of its 10 scenes is set in a train station, in countries as disparate as India, England, Uganda and Canada.

“I’ve travelled across so many continents on trains,” recalls playwright Radha S. Menon, whose earlier show, The Washing Machine, was part of the Fringe’s 2012 Next Stage Festival. “And the trips are much more than a move from one location to another. Journeys can be metaphoric as well as real, for travellers are always embarking on a new part of their lives, with a hope of adventure, work or whatever.”

Rukmini’s Gold – winner of the 2015 Fringe New Play Contest, sponsored by Exclamation Foundation – grew out of a vision Menon had in a rural British train station of an old woman in a white sari carrying a bag and waiting for the London sleeper.

Was the train ever going to come, she wondered, or had she missed it? She became the character of Rukmini, who meets a young girl full of boundless energy and joy in life. The girl has some surprising knowledge about the more timid woman.

“Rukmini has something to learn from the girl, as the aged character holds onto experiences that make her bitter, sad, angry and disappointed. She has to learn to move on.”

The show began life as a 20-minute work, part of the Hamilton Fringe Gallery Series, where it was called Ghost Train Riders. Now it’s a full-length piece whose development was helped by Kali Theatre, a London, England, company that promotes the work of South Asian women.

Its characters aren’t all South Asian, however; there are Brits and native Canadians as well as other figures.

“Despite the cultural aesthetic and content, the story is universal. Everyone has to face their own mortality and that of those they’re close to, how to prepare, to find the right position for a new birth.

“Just as importantly, we all have to discover what is truly golden in terms of lasting wealth.””

smaller Rukmini

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Rehearsing Rukmini

As we finish our last rehearsals for Rukmini’s Gold, here’s a look back at one of the first times we were in the rehearsal room, at the Toronto Fringe.  http://fringetoronto.com/now-in-the-lab-rukminis-gold/

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Playwright Radha S. Menon radio podcast – check it out!

Radha discusses her life, her influences, her career and – of course – the upcoming show, Rukmini’s Gold.  52 minutes but a great listen.


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Ticketing Links

We know you’re looking for ways to join us to see Rukmini’s Gold – well, here’s how to buy your tickets now.

Tickets for our run at the Toronto Fringe (July 1-12, 2015) are available here.

Tickets for our run at the Hamilton Fringe (July 16-26, 2015) are available here.

And if neither of those options work for you to join us in person, consider picking up a t-shirt or button to commemorate Rukmini’s Gold here.

We hope to see you at the theatre!

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Hamilton Fringe Shows Grow from Gallery to Mainstage, including Rukmini!

Two of the full-length shows programmed at the Hamilton Fringe Festival this year premiered as short pieces in the Gallery mini-Series: Trevor Copp’s Air appeared at the 2014 Fringe and Radha Menon’s Ghost Train Riders (which has now been developed into the full-length Rukmini’s Goldwas a part of the 2013 festival.

What is the value of having an audience while your show is still “young”?

RADHA:   I fall in love with many of my characters and as with other things one loves, one hope that others will love them too. Having audiences see seed plays really helps because it gives a writer the certainty that this story and these characters are worth the time spent developing them. I was blown away by the audience response from Ghost Train Riders at our Gallery Series show – it struck a chord with so many people, mostly everyone was able to relate to this play and all the positive feedback reassured me that this certainly should be a full-length play.

Read more here

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Rukmini Comes to Toronto

We have an announcement to make.  Remember Passengers?  And Ghost Train Riders?  Well, the play that has been read and developed by Kali Theatre in London, U.K. is now ready for audiences.

Rukmini’s Gold

Winner of the 2015 Toronto Fringe New Play Contest

Soon to be the most buzzed-about show at the Toronto Fringe Festival, Rukmini’s Gold will play for seven performances between July 1 and July 12 on the Factory Theatre Mainspace.  Starring Brittany Miranda, Dia Frid, Ellora Patnaik, Maya Huliyappa-Menon, Rishma Malik, Tony Sciara, Vivek Hariharan and Sindhuri Nandhakumar, this 90-minute play directed by Wes Berger is about journeys, connections and moments of departure.

A little old lady clutching a battered old suitcase hobbles onto a deserted platform distraught at missing her train.  Set in stations around the world, surpassing a century, it tracks the passage of family and diaspora as the dawn of industry determines the global movement of labour.

 Rukmini poster

Writer: Radha S. Menon

Stage Manager: Laura Lakatosh     Producer: Christopher Douglas

       Assistant Director: Nicole Wilson     Lighting Design: Brandon Goncalves

Costume and Prop Design: Kelly Wolf     Sound Design: Nicholas Walsh

Director: Wes Berger

Factory Theatre Mainspace in Toronto

Wednesday July 1 8:15pm

Saturday July 4 5:15pm

Monday July 6 10:15pm

Tuesday July 7 6:30pm

Wednesday July 8 5:15pm

Friday July 10 12:00pm

Sunday July 12 7:00pm

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All Aboard!

Rehearsals have begun. Designers are designing, actors are acting, producers are…

I think you get the drift!


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Red Betty Theatre founder Radha S. Menon has been shortlisted as a finalist for Playwright of the Year by The Bridge Initiative Women in Arizona Theatre. Judges read 102 scripts blindly to choose 14 finalists. The full version of Rise Of The Prickly Pear, that was written early this year thanks to grants from The Shaw Festival and Obsidian Theatre was submitted and caught the imagination of the judges. Playwright of the Year will be announced shortly.

Fingers crossed!

http://bridgeinit.weebly.com/2015-playwrighting-and-directorship-contest.htmlRiseOfThePricklyPear1 RiseOfThePricklyPear4

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Three years running- Best in theatre from View critics!

‘Rise of the Prickly Pear’
Playwright Radha S. Menon and Director Tony Sciara of Hamilton’s Red Betty Theatre presented the dramatic & evocative Rise of the Prickly Pear at the 2014 Hamilton Fringe as well as The Box Toronto and The Staircase Theatre in Hamilton. Central to this story set in revolutionary–era Cuba is the emotionally complex interplay between the beautiful & impetuous Hermosita (Carla Garcia) and her calculatingly pragmatic mother Marianna (Tamara Kamermans). It’s a richly told story of love — romantic and familial — but also of loss, disillusionment and betrayal. Menon’s next project, Rukmini’s Gold, recently had a staged reading in London, England, and was awarded Winner of the 2015 Toronto Fringe New Play Contest.

“Ghost Train Riders”
Red Betty Theatre did a stunning read through of Ghost Train Riders at The Staircase Theatre last winter. It was a snowy night and attendance was low due to weather, but the performances were top notch and the original script by Radha S. Menon a breakthrough in both style and content. From here, the production went on to win the 2015 Toronto Fringe New Play Contest and enjoyed a prestigious staged reading in London, England, this February. Menon’s work speaks to the future of theatre. It focuses on strong women and authentic representations of race and culture. It breaks through some older concepts of style and linear story telling as well which makes for unexpected and rewarding journeys in her work for the artists involved and the audience members.

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Rise of the Prickly Pear on CBC ‘As It Happens’

Carla Garcia talks with CBC’s Carol Off and Jeff Douglas about her family connection to Rise of the Prickly Pear on ‘As It Happens’. Her grandfather played a very important role in the Cuban revolution. Years later, Carla enjoys a ‘role of a lifetime’. Click below, Part 1, Carla comes in at 20:20


Rise of the Prickly Pear

Rise of the Prickly Pear

Rise of the Prickly Pear

Featuring Carla Garcia, Tamera Kamermans, Jsin Sasha, Leo Sciara

Written by Radha S Menon

Directed by Tony Sciara 

Asst Director: Luis Arrojo


Click Here for Tickets at The Box Toronto

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Get Ready Toronto…

November 6-9


Click Here for Tickets at The Box Toronto

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Opening In Toronto! November 6-9. Reserve Now!

Radha S Menon’s hit play Rise of the Prickly Pear opens at The Box Toronto this week! Won’t you join us?

Thursday, Nov. 6  8PM

Friday, Nov. 7  8PM

Saturday, Nov.  8PM

Sunday, Nov. 9  2PM

Best to RESERVE ahead of time CLICK HERE

Here’s some more pictures taken during our fabulous run at The Staircase Theatre:

"Why?" Leo Sciara and Carla Garcia

“Why?” Leo Sciara and Carla Garcia

"Oh no! " Carla Garcia and Tamara Kamermans

“Oh no! ” Carla Garcia and Tamara Kamermans

Jsin Sasha as Futuro

Jsin Sasha as Futuro

Directed by Tony Sciara 

Asst Director: Luis Arrojo


Click Here for Tickets at The Box Toronto

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A Chat with the Hamilton Spectator

MAHONEY: Grandfather of actress kept Che Guevara smiling

When Carla Garcia read the script of Radha Menon’s play, set during the Cuban Revolution, she knew that the role of Hermosita was perfect for her.

And when Radha saw Carla read the part, she knew the young actress was perfect for it.

Perfect, all around. But Radha, a Hamilton playwright, did not suspect just how perfect until she learned more about Carla’s special passport into the character and her unique access to the events against which the action occurs.

The backdrop of Radha’s story is Cuba in 1958. Che Guevara and his army of “bearded ones” are burrowed into the Sierra Maestra mountains, poised for a great surge.

Yes, Carla, 24, is Cuban — she grew up just outside of Havana — but the revolutionary struggle happened long before she was born. How could she know anything about the feeling and quality of those times?

The answer lies in the colourful past of a man named Luis Carlos Garcia. He is 98 now, lives in Havana where he is a legend of sorts (a film has been made of his life http://vimeo.com/82497444), and he pulled Carla’s first tooth.

That’s what grandfathers do, especially if they also were dentists by profession.

But Luis Carlos Garcia, Carla’s grandfather, was not just any dentist. He provided dental care to the aforementioned Che Guevara.

Yes, even iconic revolutionaries get toothaches.

“Not just a dentist,” says Carla. “He was a secret agent for the revolution, making dentures and prosthetics for disguising the appearances of rebels and forging passports and false IDs.

“When Che went into hiding, my grandfather often went with him,” says Carla. “Fidel and Raoul and the generals would visit his clinic.”

Her grandfather, whose nickname was Fisin, became a revolutionary when he was 17.

“He could see that the government didn’t work and was ready to do anything to fight against it. There were situations where my grandfather was close to death, even at 17. He was very courageous. Everything he did, he did from his heart.”

Naturally, this part of her grandfather’s character was of little interest to a small girl. She knew, vaguely, that he had some historical importance in Cuba.

“I remember being in their house, my grandmother cooking and going up to their room to look at pictures.”

One time, she had a loose tooth.

“He said, ‘Let me look.’ I said, ‘No, no, no, no!!!’ He said, ‘I’m just going to look.’ So I let him and when he pulled away he said, ‘There, look.’ My tooth was in his hand.”

Carla left Cuba in the 2000s, disaffected with the revolution.

“It is not working,” she says, despite her great admiration for her grandfather.

This internal dividedness may help inform her inspired performance as Hermosita, a young woman torn between her love for one of Che’s soldiers and her complex relationship with her forceful mother (wonderfully played by Tamara Kamermans), who is hard-headed and brutally practical, or so it seems.

Radha, who lives in Hamilton and teaches at the Toronto Film School, conceived of the play when on vacation in Cuba.

“I was lying on the beach, watching a mother and daughter, and it came to me almost fully formed.”

When Radha told colleagues and students she was looking for someone to play Hermosita, they said, “Carla!!”

(The young actress had studied at the school.)

So now you know how Hamilton is host to the granddaughter of Che Guevara’s dentist.


Photo Credit Jim Rennison Hamilton Spectator

Video conversation below:


Rise of the Prickly Pear Opens Again!

In Toronto Nov 6-9

 The Box Toronto 

89 Niagara St.

Click HERE for Map

Click HERE for Toronto Tickets

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Hamilton Is Talking About ‘Rise of the Prickly Pear’

“All my writings are about women,” says Radha Menon cofounder with Tony Sciara of Red Betty Theatre. “We have powerful relationships that transcend the grave.”

For seven years, Menon has lived in Hamilton creating evocative theatre pieces, three of which have been directed by her husband, Sciara   “I can trust him. He has fantastic comic timing. A lot of myself is dark humour. My plays [although haunting] are funny.”

Her new play, Rise of the Prickly Pear, is set in 1958 revolutionary Cuba. “I have always been a follower of Karl Marx doctrine”, she says. “but the reality has never been reached.”

Photo Credit Mike Cameron

Photo Credit Mike Cameron

A masterful writer about the fragility of beauty, she explores the parallelism of fleeting female loveliness and the utopian hopes of a nation. Both are prey to the ambition and control of others. The prickly pear cactus, pervasive in steamy Cuba, is rough and dangerous to handle, yet it hides the sweetest fruit. It hides the original dream inside the coarse demands of reality.

Her play has two parallel stories that come together at the end. One is about an aging prickly woman trying to guide the love life of a young beauty; the other centers on a peasant boy who has joined Che and the revolutionaries in the Sierra Maestra.

“Women have rarely been given a platform to tell their stories,” Menon says. Born in Malaysia, raised in Britain and schooled in India, she started her work life as a performer. “Roles for women like myself were very stereotypical. How round can you roll a roti?  That’s when I began writing. My stories are character driven. They are intimate and need a live audience.”

There’s a quality to Menon’s work that makes you catch your breath. I still carry haunting images from her masterful piece Ghost Train Riders. She explores society’s need to put people in boxes, based on appearance, age or political inclinations. “I play upon that.” Indeed, her plays break the boxes of audience expectations. They surprise you as the characters find ways to reinvent themselves, to defy categorization.

Back by popular demand after sold out houses at the Fringe, the talented cast of Prickly Pear pushed beyond even the playwright’s expectations. “They made me cry,” Radha Menon says with both pleasure and perplexity, “and I wrote the damned thing.” By Patricia Bradley for the View Magazine.


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Last Week in Hamilton…

We’re back on the Stage at the Staircase Theatre (27 Dundurn St) Tonight !

The Final Schedule for Hamilton:

Wednesday, Oct 29 – 8PM

Thursday, Oct 30, 8PM

Friday, Oct 31, 7PM

Saturday, Nov 1, 8PM

Here’s some fabulous shots from last week

Family History Revealed to  Hermosita, played by Carla Garcia

Family History Revealed to Hermosita, played by Carla Garcia

Much is revealed by Marianna

Much is Revealed by Marianna, played by Tamara Kamermans

Marianna, played by Tamara Kamermans

The young Hermosita: “I have been kissed…”

Carla Garcia in Rise of the Prickly Pear

Carla Garcia in Rise of the Prickly Pear


Photo Credit Mike Cameron

Photo Credit Mike Cameron

Directed by Tony Sciara 

Asst Director: Luis Arrojo

At The Staircase Theatre 

October 29, 30 at 8PM

October 31 at 7PM

Sat Nov 1 8PM


 Click HERE for Hamilton Tickets 

In Toronto Nov 6-9

Click Here for Toronto Tickets

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Opening In One Week!

Rise of the Prickly Pear opens in one week on Thursday, October 23 at the Staircase Theatre

Click HERE for Tickets 

Here’s a few shots from our dress rehearsal last night. Things are heating up!

Leo Sciara as Ramon, Carla Garcia as Hermosita

Leo Sciara as Ramon, Carla Garcia as Hermosita

Hamilton’s own Tamara Kamermans as Marianna. What secrets does she carry?


Escape! Will they be caught?


Viva La Revolution!

Jsin Sasha as Futuro

Jsin Sasha as Futuro

Directed by Tony Sciara 

Asst Director: Luis Arrojo

At The Staircase Theatre 

October 23, 24, 25 at 8PM

October 26 Matinee at 2PM

October 29, 30 at 8PM, Friday Oct 31 7PM

Sat Nov 1 8PM

RESERVE TODAY:  Click HERE for Tickets 

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Come To Cuba with Red Betty Theatre!

Radha S Menon’s latest hit play Rise of the Prickly Pear hits Hamilton at the Staircase Cafe Theatre

( 27 Dundurn St N) Thursday, October 23 for a 9 Show Run! Check out our cast below – and let them transport you to Cuba in October…

RESERVE TODAY:  Click HERE for Tickets

Opens Thurs. Oct 23!

Opens Thurs. Oct 23!

RESERVE TODAY:  Click HERE for Tickets

While a revolution grips Santiago De Cuba in 1958, Hermosita and Marianna start a revolution of their own over a powerful General. How will Futuro and Ramon change the outcome of this haunting wrangle for love and power? Meet the players:


Carla Garcia as Hermosita

Carla Garcia as Hermosita

Leo Sciara as Ramon

Leo Sciara as Ramon

Tamara Kamermans a Mariana

Tamara Kamermans a Mariana

Jsin Sasha as Futero

Jsin Sasha as Futero


Directed by Tony Sciara

Asst Director: Luis Arrojo

At The Staircase Theatre

October 23, 24, 25 at 8PM

October 26 Matinee at 2PM

October 29, 30 at 8PM, Friday Oct 31 7PM

Sat Nov 1 8PM

RESERVE TODAY:  Click HERE for Tickets

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At The Staircase Theatre in October!

We are thrilled to be bringing Radha S Menon’s Rise of the Prickly Pear back to Hamilton! After a terrific run during the 2014 Fringe Festival we return to the Staircase Theatre. Opening night is Thursday October 23 at 8PM! Carla Garcia (Exigency, Angels In America) is back as the steamy and tempestuous Hermosita.

Carla Garcia plays Hermosita

Carla Garcia plays Hermosita

Set in 1958 Santiago De Cuba, Che Guevara and his ‘bearded ones’ are holed up in the Sierra Maestra fighting bitterly as revolution grips the nation in a dire struggle against imperialism. Rise Of The Prickly Pear is a story of forbidden love–? lost and found. Two women, three men and a prickly pear… in a comical wrangle for love and lust. Who can avoid slivers as they bite their way to the top? Who will be consumed?Hamilton In October: Freshly cast (4:30 and Played) is Jsin Sasha.

Jsin Sasha

Jsin Sasha

You may remember Jsin from the Theatre Aquarius staged reading of Radha’s play Sashaland last October. Also Featuring Tamara Kamermans and Leonardo Sciara. Directed by Tony Sciara.

Advance Tickets ($20) available on line BrownPaperBagTickets.com

$25 at the Door The Staircase Theatre 27 Dundurn St.

October 23, 24, 25    8PM

Matinee October 26   2 PM

October 29, 30, 31    8PM

November 1           8 PM

Click & Reserve Today!

Remember: Beauty’s a fickle mistress who tolerates NOTHING

from her lover ‘Old Man Time’

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Our new poster is stellar!


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The Prickly Pear is Rising!


Our next production Rise Of The Prickly Pear will be at Artword Artbar in Hamilton and part of the Hamilton Fringe Festival.

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We’re in the News again!

Women In Theatre P.7

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Double Whammy for Red Betty Theatre!

Double Whammy for Red Betty Theatre!

For the second year in a row, theatre critics from View Magazine include two Red Betty Theatre productions: Ghost Train Riders and

Passengers in their best of this year’s theatre in Hamilton

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CBC shout out for Passengers

PassengersCBC shout out for Passengers

CBC arts journalist talks about her interview with Radha Menon about Red Betty Theatre’s reading of a new play Passengers. It was a great night with a hugely responsive audience.http://www.cbc.ca/video/news/audioplayer.html?clipid=2424353120


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Saw Ghost Train Riders and loved it?

Saw Ghost Train Riders and loved it?

Now you can go for a longer ride with Radha S Menon’s new play Passengers

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New play Passengers Reading

Passengers Reading

Catch the first staged reading of Radha S Menon’s new play Passengers directed by Sasha Kovacs, thanks to an OAC development grant!

Saturday 14th December 7 P.M. at the Staircase Theatre in Hamilton

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Staged reading of new play Seshaland at Theatre Aquarius

Evolved from one-act play Ganga’s Ganja, Seshaland tells the story of two sisters who have removed themselves from mainstream society.
Come to Theatre Aquarius in Hamilton for a staged reading of this new play!
Friday October 4th
FREE to the public

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Lost Soles at London Design Festival

Lost Soles at London Design Festival

Starring Clive Llewellyn and directed by Nick Myles, Marooned, a short play by Radha S Menon debuted at the Lost Soles Exhib as part of London Design Festival.

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Strong women at Hamilton Fringe!

“This is the end beautiful friend” well not really- it’s the beginning as Red Betty Theatre develops Passengers this summer with a reading in the fall. Everything bodes well as the good reviews keep coming!

Check these two out:



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A great run!

Eight shows in three days, new theatrical buddies and many green smoothies later the Ghost Train finally stopped. It has been wonderful to see how many people were moved by this play; old & young, it seems everyone is affected by train journeys.

One review is in- check it out!


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Radha Menon Talks to The Women’s Press

Radha Talks to The Women’s Press

By Anqi Shen

For its tenth anniversary, the Hamilton Fringe Festival gives an outlet for independent theatre performances, highlighting stories about women and immigrants. A grassroots, unjuried festival, the Fringe puts on more than 300 productions each summer in theatres in Hamilton’s downtown core. We recommend four shows running from July 18 to 28, all of which feature women in the production team or in the plays themselves.


Ghost Train Riders (Photo by: Radha Menon)

Ghost Train Riders

Red Betty Theatre
Dates: July 19, 20, 21
Venue: Factory Media Centre, 228 James St N

Radha S. Menon’s plays have all been about ‘finding place’, and Ghost Train Riders, is no exception. The 20-minute piece is the first installment of a longer experimental play entitled Passengers, comprising six scenes set in different train stations around the world. The play is, in Menon’s words, “a global expression of the constant state of change in our lives.”

“This play is about two Indian women taking a final journey to a place they’ve been waiting to go to for a long time,” said Menon, who has been interested in exploring patterns of migration and the human urge to wander. Ghost Train Riders addresses cultural barriers that immigrant women face through a woman’s internal reflections about her life.

Three years ago, Menon founded the Red Betty Theatre, using the space to give voice to women and immigrants. Having started out as an actor, Menon said she couldn’t find any roles that didn’t have some sort of stereotype of minority women. Now, she writes her own plays “to address the real issues all women and families face,” she said, and to encourage other immigrant women to write and perform.

“In Canada, we’re a large part of culture but we’re very invisible in culture. In a world that is white male dominated, being a non-white woman, it’s harder to have your voice heard. I really encourage immigrant women to come out and support their sisters.“

Tickets: $8 (with purchase of $4 Festival button)

Ghost Train Riders at the Factory Media Centre ( 228 James St. N, Hamilton)

Written by Radha S Menon, Directed by Tony Sciara

Featuring: Dia Frid, Maya Huliyappa-Menon

Friday:  July 19th: 6:30pm & 8:30pm
Sat:  July 20th: 3:30pm & 5:30pm & 8:30pm
Sun: July 21st: 4:30pm & 7:30pm & 9:30pm

Tickets: hamiltonfringe.ca/tickets Info 289 698-2234


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How Far Will You Travel? At the Factory Media Centre July 19-21

Ghost Train Riders at the Factory Media Centre ( 228 James St. N, Hamilton)


Ghost Train Riders is part of an experimental play entitled Passengers about journeys in life. As the name suggests, it’s about travelers moving from point A to point B, six standalone scenes that tell their own tales, set in geographically unique stations around the world. It’s a global expression of the constant state of change in our lives and how the journeys we take affect everything no matter how mundane.

Ghost Train Riders at the Hamilton Fringe Gallery Series July 19-21st

PlayWright: Radha S Menon

Director: Tony Sciara

Featuring: Dia Frid, Maya Huliyappa-Menon

Two women meet – and travel the distance – in this haunting exploration of life’s passages. How far will you travel? Be first in line for this part of the ride: sometimes in life your train comes late – sometimes it comes on time.

Friday:  July 19th: 6:30pm & 8:30pm
Sat:  July 20th: 3:30pm & 5:30pm & 8:30pm
Sun: July 21st: 4:30pm & 7:30pm & 9:30pm

Tickets: hamiltonfringe.ca/tickets Info 289 698-2234

 A local Hamilton company, Red Betty Theatre is dedicated to the development and support of new Canadian work by women that reflects cultural diversity and global experience in either its formal aesthetic, process, or content.


New Play ‘Ghost Train Riders’ at Hamilton Fringe 2013

Dia Frid, Maya Huliyappa-Menon rehearse for Ghost Train Riders

Dia Frid, Maya Huliyappa-Menon rehearse for Ghost Train Riders

Red Betty Theatre Presents: Ghost Train Riders

at the 2013 Hamilton Fringe Festival Gallery Mini-Series

 The premier performance of Radha S Menon’s Ghost Train Riders – a moving and memorable drama – will keep you captivated to the end.

Ghost Train Riders is the first in an exciting new series by award-winning playwright Radha S Menon called Passengers. The series features interconnected shows that tell vastly different stories about life’s passageways.

In Ghost Train Riders two women meet – and travel the distance – in this haunting exploration of life’s passages. How far will you travel? Be first in line for this part of the ride: sometimes in life your train comes late – sometimes it comes on time.

Featuring Dia Frid and Maya Huliyappa-Menon

Directed by: Tony Sciara

Red Betty Theatre continues to produce powerful and multi-layered performances: The hit play Ganga’s Ganja premiered at the 2012 Hamilton Fringe Festival. The award-winning play Learning to Swim was part of b current’s 2013 festival series. Join us for another exciting event July 19-21st!

$8 (with Festival button purchase) 20 Minutes; Warning: Fog Machine

Factory Media Centre: 228 James Street North, Hamilton, ON

Show Times:

Friday, July 19th: 6:30pm & 8:30pm

Saturday, July 20th: 3:30pm & 5:30pm & 8:30pm

Sunday, July 21st: 4:30pm & 7:30pm & 9:30pm

Tickets: hamiltonfringe.ca/tickets

Info: 289 698-2234

See You There!

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We want your input!

We are excited to announce a staged reading for the new full -length version of our crowd pleasing fringe hit, Rise Of The Prickly Pear by Radha S. Menon that featured Carla Garcia and Tamara Kammerman, directed by Tony Sciara. This one act play is set during the Cuban revolution in Santiago where characters deal with betrayal on all fronts. The newly written second act is set in 1980 in Miami where the characters reunite and must confront each other. We want you to experience the full play and join us, the playwright and actors for a talkback after the reading so you can tell us what you think and share any questions or comments with us, so the playwright can test out this new version of the play .

Details: 7.30 P.M on Saturday April 16th at HARRRP, 705 Main St. E, Hamilton, ON.

ROPP poster_edited-1.jpg

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