About the Author
Colleen Murphy
Author
Born in Rouyn-Noranda, Quebec, and raised in Northern Ontario, Colleen Murphy won the 2016 and 2007 Governor General’s Literary Award for English Language Drama for her plays Pig Girl and The December Man / L’homme de décembre respectively. Both plays were also awarded a Carol Bolt Award. Other plays included The Society For The Destitute Presents Titus Bouffonius, Armstrong’s War, The Goodnight Bird, The Piper, and Beating Heart Cadaver, which was short-listed for a Governor General’s Literary Award. She is also a librettist—Fantasma for composer Ian Cusson, My Mouth On Your Heart for composer August Murphy-King, and Oksana G. for composer Aaron Gervais—and an award-winning filmmaker. She has been Writer-in-Residence at six universities and Playwright-in-Residence at two Canadian theatres as well as at Finborough Theatre in the UK.
Related Blog Posts
Short Story Month: The Auction from Long Story Short
The plays in Long Story Short: An Anthology of (Mostly) 10-Minute Plays (Playwrights Canada Press) may only be ten-minutes each, but they pack plot and character development into an ephemeral, mighty piece of theatre. The anthology features 25 short plays, but to sample the ... Read more
This Week in Book Events: November 2-8th
Just because launch season is slowing, it's FAR from over: there's Words festival in London, plus all the great reading series and launches you could ever hope to shake a stick at (though we don't know why you would hope that, we respect your choices).
Are you hosting an event ... Read more
In House: Playwrights Canada Press
In House is a regular column, highlighting the various publishers that have books featured and available for purchase on All Lit Up. Find out things like what sorts of books they publish, where in Canada they call home, and how they got their start.
Dreaming Awake: Reading a play versus seeing it performed
Reading the play was way different than reading the books and novels I’d read up to that point because on the page nothing came between me and the characters – their words, their spit, the way they’re feeling – there was no ‘he said then she said’, no descriptions ... Read more
