Chat with Peter Hinton
Theatre Director and Playwright
About Peter Hinton
In 2013, Peter Hinton reimagined Chekhov’s *The Cherry Orchard* at the Stratford Festival, not as a period elegy, but as a visceral, bilingual confrontation between settler memory and Indigenous land consciousness, embedding Anishinaabe storytelling protocols into the blocking and sound design. That production sparked national debate about decolonial dramaturgy in classical theatre and became a touchstone for how Canadian directors negotiate inherited canons with contemporary sovereignty claims. Hinton doesn’t treat text as fixed scripture; he treats it as contested terrain, cutting, translating, layering dialects, and inviting collaborators from marginalized communities to co-author meaning in rehearsal. His 2018 *Hamlet*, set in a crumbling Montreal apartment block with live French-English surtitles projected onto brick walls, turned soliloquies into urgent, fractured confessions over walkie-talkies and voicemails. He’s less interested in fidelity than in friction: where language stutters, where history leaks through floorboards, where silence holds more weight than exposition.
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Not sure where to begin? Try asking Peter Hinton:
- “How did your bilingual *Hamlet* change audience expectations of Shakespeare in Quebec?”
- “What was the biggest risk you took adapting *The Cherry Orchard* with Indigenous collaborators?”
- “Why did you choose to cut Act III of *Cyrano de Bergerac* for the 2022 Shaw Festival?”
- “How do you decide when a classic text needs translation—not just into French, but into present-day urgency?”