A Season of Storytelling with Globe Theatre

This past year, I had the incredible honour of creating the illustrations for the Globe Theatre’s 2023–2024 season — a season that offered “a taste of what’s to come” as the company prepares to return to its newly renovated home.

For someone like me, who grew up in Regina and walked these streets dreaming big, seeing my artwork printed larger than life and displayed on the side of the Artesian, a place so central to the city’s creative heartbeat — was surreal. It was a joy to be able to point it out to my daughters and say, “Look, Mommy drew that.” To have your kids see your artwork on a wall that people walk past every day is a kind of magic that hits differently. 

Working with the Globe Theatre team to visually represent this season’s shows — from the spontaneity and vulnerability of Blind Date, to the cozy nostalgia of Making Spirits Brighter, the high-energy musical nods in The Globe Cabaret, and the powerful, culturally resonant story of Cafe Daughter — was an artist’s dream.

Each piece needed to carry its own visual rhythm while still feeling part of a cohesive campaign unified through Globe Theatre’s brand colours, a consistent illustration style, and a careful balance of mood and meaning. For Blind Date, I used bold reds to create a cheeky, romantic composition: two wine glasses, one half-drunk, and a melted candle, symbols of a night gone sideways or just beginning. For The Globe Cabaret, I focused on musical nostalgia with a grand piano and a pink feathered boa, spotlighted like a memory from backstage. Café Daughter was more intimate, a stack of textbooks, a steaming mug, chopsticks, and a pot of coffee, visually expressing Yvette’s dual cultural identity and intellectual drive. The steam shaped like a feather was very tricky! And Making Spirits Brighter came to life as a snow globe filled with storybook whimsy: animals, mittens, and a frosty microphone conjuring the warmth of holiday storytelling through radio. While each illustration stands on its own, they were designed to work collectively, pulling out key symbols and emotional tones from each show and gently weaving them together across the season.

This season marked a transition for the Globe — the final season of “dating around town” before returning to their home base. That transitory energy, of movement and anticipation, felt familiar to me as an artist and parent. We’re always shifting, growing, looking toward what’s next while carrying the weight of where we’ve been.

Being asked to help visually capture this season — to be trusted with representing these shows and stories in a way that would live on posters, programs, and street-facing signage — is something I’ll never take lightly. As an Indigenous artist and designer, moments like this aren’t just career milestones; they’re personal affirmations. They’re proof to my daughters (and to the kid I used to be) that we belong here. That our stories belong here. That our work is seen and valued.

I’m so grateful to Globe Theatre for the opportunity, and to every person who took a second glance walking by the Artesian and saw something that caught their eye, sparked curiosity, or made them feel something.

I’ll never forget standing on the sidewalk, one hand holding my kid’s, the other pointing up at the illustration, and saying quietly, proudly: “That’s mine.”