Marcus Youssef – författare

In this sequel to the hilarious and hard-hitting The Adventures of Ali & Ali and the aXes of Evil, the agitprop collaborative team of Camyar Chai, Guillermo Verdecchia, and Marcus Youssef turns its idiosyncratic brand of political satire to new global realities.Following the election of U.S. president Barack Obama in 2008, collective optimism for a more tolerant, peaceful, and co-operative post-Bush world spreads to Canada – and to the backroom of Salim’s Falafel Shoppe in Toronto. There, Ali Hakim and Ali Ababwa, refugee entertainers from the fictitious, war-torn country of Agraba, are inspired to write a stage play in celebration of the new president’s message of “hope and change.” The premiere of their Yo Mama, Osbama! (or, How We Learned to Stop Worrying and Love the Half-Black President) halts abruptly when an RCMP constable arrives at the theatre and arrests the pair for its financial ties to the Agrabanian People’s Front, an alleged “terrorist organization” on the Canadian government’s watch list.Continuity becomes more apparent than change when Ali and Ali are swiftly put on trial. As the hapless playwrights try to defend themselves in the farcical deportation hearing that unfolds, racial and cultural stereotypes are invoked – and lampooned – as quickly as dubious evidence is presented. But, in the midst of the biting comedy, more serious questions are raised about the cost for some when we endeavour to protect the “freedoms” of others.Cast of 1 woman and 3 men.

Two buddies, theatre artists and long-time friends Marcus and James, sit at a table and pass the time together playing a made-up game in which they name people, places, or things – Pamela Anderson, microwave ovens, their fathers, Goldman Sachs – and debate whether they are successful or not; in other words, whether they are winners or losers. Each friend seeks to defeat the other, and because one of these men grew up economically privileged, and the other did not, the competition very quickly adds up. Winners and Losers showcases the work of two giants of the Vancouver indie theatre scene. James Long’s Theatre Replacement develops work specific to particular places and the people who live in them. Marcus Youssef’s Neworld Theatre investigates questions of power, culture, and belonging.

Their first collaborative work is a staged conversation that embraces the ruthless logic of capitalism, and tests its impact on our closest personal relationships as well as our most intimate experiences of self.

Two buddies, theatre artists and long-time friends Marcus and James, sit at a table and pass the time together playing a made-up game in which they name people, places, or things – Pamela Anderson, microwave ovens, their fathers, Goldman Sachs – and debate whether they are successful or not; in other words, whether they are winners or losers. Each friend seeks to defeat the other, and because one of these men grew up economically privileged, and the other did not, the competition very quickly adds up. Winners and Losers showcases the work of two giants of the Vancouver indie theatre scene. James Long’s Theatre Replacement develops work specific to particular places and the people who live in them. Marcus Youssef’s Neworld Theatre investigates questions of power, culture, and belonging.

Their first collaborative work is a staged conversation that embraces the ruthless logic of capitalism, and tests its impact on our closest personal relationships as well as our most intimate experiences of self.

Like many outgoing young women, Fatima feels rebellious against parents she sees as strict. It just so happens that she is Egyptian-born and wears a hijab. When anti-Muslim graffiti appears on the walls of her school, Fatima transfers to a new school. The guidance counsellor there, Mr. E., does his best to help Fatima fit in, but despite his advice she starts an unlikely friendship with Jorah, who has a reputation for anger issues. Maybe, just maybe, Fatima and Jorah start to, like, like each other …As their mutual attraction grows, the lines Fatima and Jorah cross as they grow closer become the subject of an intense exploration of boundaries – personal boundaries, cultural boundaries, and inherited religious and political boundaries. Fatima and Jorah discover that appearances matter; they’ve been exposed for their whole lives to images that begin to colour their relationship: images of the Middle East, the working class, and how teenage boys and teenage girls behave. Put all these reactive factors together in the social laboratory that is a high school and observe: is there a solution for Fatima and Jorah?High school, like no other social space, throws together people of all histories and backgrounds, and young people must decide what they believe in and how far they are willing to go to defend their beliefs. Inside a veritable pressure cooker, they negotiate cross-cultural respect and mutual understanding. Jabber does its part to challenge appearances – and the judgments people make based on those appearances.

Lily has always felt in-between. She looks Vietnamese but thinks of herself as white – her parents adopted her from an orphanage in Vietnam. Her parents both have good jobs, but her best friend Brit is always super broke. When Karim – a guy she’s liked for a long time – shows interest in her for the first time, Brit starts to hang out with some grade-twelves who wear T-shirts saying "white pride." After Karim confronts Brit about her racism, a series of fear-induced misunderstandings lead to a lockdown, and Lily finds herself truly in-between, forced to make seemingly impossible choices about whose side she's on, and which friend she's going to believe. Set in a school facing the real-life challenges of immigration, income inequality, and fears of violence, The In-Between is a realistic, complex, and believable exploration of the conflicts students navigate in contemporary schools. Like Youssef’s international hit Jabber, seen by hundreds of thousands of young people across North America and Europe and winner of Berlin's Ikarus Prize, The In-Between brings humour, sensitivity, and a deftly authentic ear to the adult-sized questions all young people must begin to confront as they enter their later teens.

A bold new work from award-winning playwrights James Long and Marcus Youssef

Thirty years from now, three social planners visit Vancouver’s Russian Hall, long abandoned due to earthquakes and flooding, with a seemingly straightforward task: repurpose the hall for common use. But the trio soon discover the project won’t be an easy fix. An eccentric squatter, armed with a trove of Soviet industrial films on 16 mm stock, has made the damaged hall their home … and they’re not leaving.

James Long and Marcus Youssef's multimedia play Do you mind if I sit here? dares us seriously to consider the possibilities of radical transformation and to imagine a future born from our most important beliefs, fears, and hopes.

Cast of 3 actors of any gender

In this elaborate agitprop theatrical collaboration, the internal contradictions and duplicitous double-speak of the “war on terror” are exposed as the propaganda vehicles for the neo-colonialism of the West that they are. “Ali Hakim” and “Ali Ababwa,” refugees from the imaginary country “Agraba,” attempt to seduce their audience into providing them with food, refuge, security, freedom and the material benefits of Western consumer society, failing miserably at every step. A hard-hitting presentation of a play-within-a-play assaults the audience as Youssef, Verdecchia and Chai do Shakespeare, Shaw and Swift one better with an endless string of buffooneries and absurdities derived from an inversion of the clichés defining the geo-politics of the Middle East at the beginning of the 21st century.Informed by the research of Paul Krugman and Noam Chomsky, sent up by the post-modern cultural relativism of “Jean Paul Jacques Beauderrièredada,” this political satire is not for the faint of heart.Cast of 4 men.