Alex Poch-Goldin is a Canadian playwright whose work has been produced
nationally and internationally. A graduate of The Eugene O’Neill Theatre Center and the Dome Theatre in Montreal, he has developed work for The Canadian Stage Co., Tarragon Theatre, Factory Theatre, Theatre Passe Muraille, Buddies in Bad Times, Winnipeg Jewish Theatre and Cahoots as well as Theater Gastpiele-Kempt in Germany.He has created opera/dance hybrids of Edith Wharton’s The House of Mirth and Joris-Karl Huysman’s
Against Nature with the Coleman/Lemieux Dance Co.
His plays include: The Bad Luck Bank Robbers, The Right Road To Pontypool, The Great Shadow (4th Line theatre); Yahrzeit (Toronto Jewish Playwriting Award/German national tour); The Life of Jude, Jim and Shorty, Security, Louie’s Dilemma. His plays...
Alex Poch-Goldin is a Canadian playwright whose work has been produced
nationally and internationally. A graduate of The Eugene O’Neill Theatre Center and the Dome Theatre in Montreal, he has developed work for The Canadian Stage Co., Tarragon Theatre, Factory Theatre, Theatre Passe Muraille, Buddies in Bad Times, Winnipeg Jewish Theatre and Cahoots as well as Theater Gastpiele-Kempt in Germany.He has created opera/dance hybrids of Edith Wharton’s The House of Mirth and Joris-Karl Huysman’s
Against Nature with the Coleman/Lemieux Dance Co.
His plays include: The Bad Luck Bank Robbers, The Right Road To Pontypool, The Great Shadow (4th Line theatre); Yahrzeit (Toronto Jewish Playwriting Award/German national tour); The Life of Jude, Jim and Shorty, Security, Louie’s Dilemma. His plays Cringeworthy and This Hotel were both nominated for Toronto Dora Awards for Outstanding New Plays. He has six plays published by Scirocco Press.
Alex’s original opera The Shadow was produced to critical acclaim
by Tapestry New Opera. He has developed projects for CBC Radio, Bravo! Television
and was a nominee for the prestigious Siminovitch Prize for playwriting
Alex is also an acclaimed actor and has worked extensively in theatres across the country
(Soulpepper/Canadian Stage/Tarragon) and in film and television.
His latest play Make Up was cited at the Eugene O’Neill Playwights’ Conference
for its profound impact on the festival jurors.