Realwheels Theatre rebrands as Glitch Theatre for launch of 2025-26 season
Faye’s Room by disability-identified playwright Alex K. Masse marks company’s first mainstage production with new rebrand
Faye’s Room. Photo by Chelsey Stuyt
GLITCH THEATRE IS the new name of Vancouver-based company Realwheels Theatre, which has rebranded just in time to kick off its 2025-26 season.
Led by an artistic team that includes co-artistic director Adam Grant Warren, managing co-artistic director Shawn Macdonald, and producer Jordyn Wood, the company describes the name change as a spark for all the future possibilities in store. It also reflects an understanding of disability as a spectrum that extends beyond the physical.
Glitch will continue to support the creation of contemporary theatre-based performances driven by disability-identified artists. In a release, the company notes that “By embracing what is traditionally seen as a flaw, Glitch Theatre becomes an act of radical redefinition, transforming perceived error into a vibrant source of artistic possibility.”
(From left) Glitch Theatre’s co-artistic director Adam Grant Warren, company producer Jordyn Wood, and managing co-artistic director Shawn Macdonald. Photo by Nico Dicecco
The world premiere of Faye’s Room by Alex K. Masse will launch Glitch’s upcoming season from November 8 to 23 at The Cultch’s Vancity Culture Lab. It marks the company’s first mainstage production since the pandemic, and the first since its rebranding, too.
Faye’s Room follows autistic lesbian Faye Murphy, who works at a queer café and is capable of summoning a magical sensory room to hide in as needed—but that backfires when she gets trapped in the room with her least-favourite coworker Chase McLure, a heterosexual man. Indignation soon turns to understanding as the two form an unlikely bond.
Masse, who is a neurodivergent nonbinary lesbian, works as a playwright and musician. Faye’s Room is their first produced work. It explores such themes as neurodivergent solidarity and internalized ableism.
Faye’s Room will be put on by a primarily neurodiverse cast and crew led by directors Mily Mumford and Angelica Schwartz. It stars Hailey Conner as Faye and Mason Temple as Chase, plus Sabrina Symington and Marlee Michael Pearl as fellow café employees.
Tickets to Faye’s Room go on sale September 12. ![]()
Emily Lyth is a Vancouver-based writer and editor who graduated from Langara College’s Journalism program. Her decade of dance training and passion for all things food-related are the foundation of her love for telling arts, culture, and community stories.
Related Articles
The show, produced by Theatre Conspiracy in association with Pi Theatre, finds contemporary resonances in Eugène Ionesco’s 20th-century works
Wug, Kravga, and Moog deliver a take on Sophocles’ Greek tragedy that, in addition to copious amounts of crude humour, has its share of chillingly effective moments
Ensemble Theatre Company taps into the humid haze of a Tennessee Williams classic where love and self-deception mingle
Standout performances and design bring infectious energy to Disney’s tale of love and self-discovery
Bold update by Kate Besworth brings mythic figures closer to us while continuing to ask the ancient questions posed by Sophocles
Fierce company transforms characters by committing to the popular musical’s blend of disco, soul, and gospel
Presented by the fest and Boca del Lupo, the multifaceted one-woman show carries long-standing reflections on workout culture and the life-altering effects of a pandemic
Now streaming on Knowledge.ca, John Bolton–helmed movie stars Niall McNeil, Marcus Youssef, Veda Hille, Nathan Kay, and more, in a mix of artists with and without Down syndrome
With live music and innovative touches, a collective of established Vancouver stage artists brings eco-horror play about disappearing bees to life at the Vines Den
Part of Ensemble’s summer festival, Jiehae Park’s play references Macbeth as it takes on the power dynamics of U.S. college admissions
Great performances and impeccable set design and stage management ensure that the comedy about a hapless theatre company is a chaotic mess in all the right ways
In playwright Kate Besworth and director Ming Hudson’s adaptation, contemporary language highlights the continuing relevance of Sophocles’ 5th century BC tragedy
Bold and bloody new take on “the Scottish Play” speaks effectively to an era of intense societal fears, with postapocalyptic atmosphere to burn
The Vancouver performer straps on the platform shoes and readies her powerhouse voice for musical based on the movies she grew up watching
Homage to Eugène Ionesco is presented by Rumble Theatre and produced by Theatre Conspiracy in association with Pi Theatre
In a shamelessly fun update, the comedy’s colourful schemers, lovers, and busybodies are regulars at a Vancouver community centre during World Cup fever
WUG, KRAGVA, and MOOG return to the Shakespeare festival for a hysterical take on the titular Greek tale
The Arts Club director says the smash-hit U.K. show is one of the most technically demanding comedies ever written
At The Cultch’s York Theatre, wonderfully weird characterizations meet gravity-defying feats in a raucously unpretentious banger that has “hit” written all over it
Whether you’re looking for a quick drink and snack, conversation, reflection, or people-watching, these airy meeting places hit their marks
Playwright Kate Besworth and director Ming Hudson team up for a contemporary adaptation of the classical Sophocles tragedy
