Théâtre Sainte-Catherine
A Collective Hub for Artists and Non-Artists Alike
During a long, lazy, blazing-hot summer day on school break, a group of neighborhood kids and I were shuffled off to a local library’s community room for my first-ever improv workshop. The instructor was Ken John “KJ” Grant— host and writer of the Canadian classic The Polka Dot Door kids show — little kid me was impressed. Truthfully, it was my sister who was more into acting and theater at the time; I was all about learning instruments and music. But that summer, we played silly games, made each other laugh, and got lost in the joy of nonsense. I’ll never forget one game where we used alliteration to pair adjectives with classmates’ names. Watching KJ, an adult, gleefully shout, “Super Sam!” while striking a superhero pose had us all doubled over with laughter. It was pure fun, an exploration of playful creativity that I tucked away in the back of my mind as I pursued my own artistic path.
Cut to decades later: I was a budding burlesque performer in a little hole-in-the-wall bar in Montreal, debuting my act where I stripped and played piano simultaneously. It was also my first run-in with a drunk heckler. Coming from the world of classical music, where making a peep during a performance was sacrilege, I was rattled but managed to silence the heckler and finish my act flawlessly. The experience left me thinking: If I’m going to keep performing in these bars, I need to rework my crowd-work muscles. A friend told me about a free improv workshop that ran every Sunday at Théâtre Sainte-Catherine, with no pressure and all play. I went for the first time in 2014, and that same joy of making up nonsense on the spot came rushing back. Since then, I’ve visited Théâtre Sainte-Catherine’s Sunday Night Improv workshop on and off over the years, but it wasn’t until this past year that I became a regular, attending nearly every week—and when time permitted, their free French improv workshop, Les Lundis, as well.
Photo by Joseph Fuda
A short walk from Berri-UQAM metro, nestled on bustling Sainte-Catherine Street and directly across from Club Pussy Corps Danseuses Nues, sits Théâtre Sainte-Catherine Café-Bar. Its iconic black-and-white marquee calls to the curious, the creative, and the slightly offbeat. More than just a theater, TSC is a multi-use creative arts space with a café, bar, and a rebellious ethos—proudly dubbing itself “theater for people who don’t like theater.”
The theater was founded by Eric Amber—a storyteller, street performer, comedian, filmmaker, writer, and anarchist from Calgary, Alberta. After inheriting the building, Eric transformed the former pizzeria into a theater, gutting the space to create the now-iconic second-floor walkway and atrium while framing offices on the upper floors. He soon partnered with fellow Calgarian Sandi Armstrong, a connection from their days at the world-famous Loose Moose Theatre, where both had trained under Keith Johnstone—the man who, quite literally, wrote the book on improv. Together, they began teaching improv in the space Eric had built, laying the foundation for what TSC would become.
The building's storied past—a hospital for sex workers run by nuns, a pizzeria with the best slice on the block, and even a hardware store—echoes TSC's own spirit: layered, full of life, and always evolving. Paranormal investigators once attempted to document the theater's supposed ghosts but were thwarted by mysterious illnesses and events. Whether or not you believe in ghosts, there's no denying that TSC feels like a space with a soul.
Today, Théâtre Sainte-Catherine Café-Bar serves as both a creative hub and a venue for Le Nouveau International, a multidisciplinary arts organization founded by Sandi Armstrong, Mark Louch, and Alain Mercieca. While TSC provides the physical space—complete with its 100 seat intimate theater and cozy café-bar—Le Nouveau International drives the artistic programming, producing theater, improv, and other creative ventures. Mark and Alain, artistic collaborators for over a decade, were approached by Eric Amber to purchase the business. Sandi, already a fixture at TSC, had also collaborated with Alain on various projects. Together, they formed Le Nouveau International in 2009, with Sandi serving as President, Improv Teacher, and Director; Alain as Artistic Director; and Mark as Artistic Producer and General Manager.
Over the years I’ve attended movie viewings, comedy album tapings, plays, improv, burlesque, music events, workshops as well as performing myself, all the while soaking in TSC’s energy. I wanted to learn more about the theater’s origins, ethos, and its place in Montreal’s art scene. To do that, I sat down with the trio behind the magic: Sandi, Mark, and Alain. What followed felt like an improv show of its own—a lively riff on the history, quirks, and heart of Théâtre Sainte-Catherine.
(Scene: A Zoom interview. Three figures appear on screen—Sandi, Mark, and Alain. Velvet, the interviewer, adjusts her camera, fingers poised over her keyboard, ready to dive into their story.)
Alain: “Just a technical note: it’s Le Nouveau Internation-AL, with the bilingual twang. The New International is a hardcore communist group. Good for them, but let’s not confuse the two.”
Velvet: “Gotcha.” *typing while listening intently*
Sandi: “Wow, I didn’t know that.”
Alain: “Yeah, they have materials and stuff—they’re radically left. And good for them.”
Sandi: “Good for them. Okay, so what was the inspiration for starting the company? Is that the question?”
Velvet: “Yes, why did you guys start this?”
Alain: “The first thing I remember was Théâtre 314. The pre-TSC, TSC, Le Nouveau TSC. Mark calling me and saying— *goofy voice* ‘Do you want to do a fucking theater? We’re going to live there and make art.’ *Laughing* And him saying, like, ‘I’m in it if you’re all the way in.’ With Sandi, it was obviously the Euro Deli café...” *bilingual giggle*
Sandi: “—But, I was already the TSC connection with Eric. Then Alain was doing a show there one night while I was bartending. I asked him *old timey goofy voice*, ‘What is this, a rehearsal?’ And he goes, ‘No, it’s a show!’ *Laughing* Then he comes into my work later and says, ‘I’ve got this role for you—an ornery barista.’”
*Everyone laughs*
Mark: “We decided to create a non-profit because we thought we’d be eligible for funding and we thought it was cool. But also because we wanted something more than just the four walls—a company that could make movies, poetry, anything. It could exist beyond the theater space.”
Velvet: *winking at the reader she narrates* The three artists waxed on about pivotal moments in the theater’s history, highlighting the symbiotic relationship between Théâtre Sainte-Catherine as a venue and Le Nouveau International as its driving artistic force. Yes-anding each other like true improvisers, they described a space where art, community, and creativity collide in beautiful chaos.
Sandi: “Shows that changed the shape of the theater are pretty memorable to me. Like the haunted house we did for five years, and Jesus Christ Super Band. When I first started at the theater the stage was under the spiral staircase and the seats were where the stage is now. With those productions we redefined the theater while using every inch of it. There is a real versatility with the theater which we’ve taken advantage of by continually transforming it to become unrecognizable to how it was before.”
Alain: “Yes and, for me it's obviously the productions Dépflies and Café Café. Café Café was seen at Theater 314 and it became indicative of our vibe and part of why we were offered to purchase TSC from Eric. Café Café was more Quebecoise than any of my plays before and it was the first time I was working with both Sandi and Mark. The best iteration of the play was Café Café Paris which we did at TSC. That got on the map more than any of my other plays before.”
Mark: “I’d like to add, every time you see so many people involved in one project. It's very ephemeral - like 50 people put their heart and soul into a thing - and then in two hours it's done. Every time you see something like that happen it's magical.”
Alain: “Building on what Mark just said, Just For Laughs brought that idea to a more spectacular level. We have these big moments with legendary after parties and celebrities and international comics from all over the world. Our theater was the hub for coolness. All the festival artists, and the local Montreal artists came together. Artists from LA and across the world loved coming and doing a set at TSC because it felt like a real space where real artists come to do real sets. It didn’t feel like a giant cold theater or a tiny basement bar.”
Sandi: “To piggyback on that, people wanted to (come to TSC) because of that vibe that we built with Café Café. Then when JFL happened we were all still the same people but the theater stood up. We had made a definition of who we were, stayed true to that, and it ended up being the thing that people loved the most.”
Velvet: *a gentle exhale and quiet reflection*
And what is that vibe? Some might call TSC’s aesthetic a bit sloppy, loose, or goofy—but those critiques miss the point entirely. Their roots are firmly planted in the philosophy of Keith Johnstone, who famously encouraged his students to lower their guard, embrace failure, and find joy in spontaneity. By playfully lowering his own status while teaching—fumbling words or seeking help from students—Johnstone dismantled intimidation, creating a space where taking risks felt safe. TSC embodies that ethos. For them, improvisation isn’t just a technique; it’s a cheeky exuberant rebellion against the seriousness that has alienated so many from traditional theater.
At its core, TSC taps into the “play state,” the same uninhibited creativity you see in children at play. No one would call a child’s game sloppy or unfocused—it’s a pure expression of imagination, unburdened by fear of mistakes. TSC brings that joy to the stage, fostering a space where playfulness is celebrated, risks are encouraged, and creativity flourishes. It’s not about being polished; it’s about being alive. And that’s why, for both performers and audiences, TSC feels like a rare kind of magic.
Sandi: "Café Café was more poetic than Dépflies, I’d say. Alain’s character was a poet and writer—well, he always is in his plays—but this one was specifically about the artist’s journey through life. It captured this hub of crazies coming and going, with a huge philosophy that felt very Montreal, like so much of Alain’s work. For me, it was the first time I truly felt that whoever was in the room was having a unique, one-of-a-kind experience. And I live for that. I LIVE for that. That’s why improv means so much to me, but Café Café was such a beautiful package of it all."
Alain: "We’re definitely part of the (Montreal) art scene, with art being made here all the time, *bilingual giggle* but we also have our own community. Sometimes it feels like we’re a little apart from it, but that’s normal for a small theater. We’ve always been a bit of a bubble, trying not to be a clique while still building a like-minded crew. At the same time, we get big shows that bring in outside artists, so there’s always this balance. We call it ‘bookings and our shows.’ Sometimes they overlap, but often they’re separate worlds. Managing that balance—making our shows creatively fulfilling while leveraging bookings to sustain us and we feel proud of to a certain extent.—that’s the flow of TSC."
Mark: "I’d say TSC is a theater of opportunity—a first chance for artists. It’s a place to learn, grow, and try things out. We want it to be an accessible, open space for young artists, and that applies to both our in-house shows and external bookings. The mantra is always, ‘Why not give them a try?’ Even if a show might not seem like a sure thing, we take the chance. It’s the same with improv—a revolving door where we see someone with potential, give them stage time, and watch them grow. Over time, they end up in our recurring shows, become part of multiple communities, and then—before you know it—they’re off to Toronto or LA, maybe even on TV. It’s about nurturing talent and helping young artists move on to bigger things."
Sandi: “I think the improv classes, both the free English workshop Sunday Night Improv and the free French improv workshop Les Lundis, keep us connected to the broader community. Even though we have our own audience, the classes help us stay in touch with what’s happening around town. People know TSC is open; there’s always something artistic going on. And because we don’t have an audition process or anything like that, there are no hurdles to climb. You can just show up, be part of it, and see what we have to offer.”
Alain: “The improv community—it’s wild how much it has grown. I never would have imagined it would become what it is today or that we’d develop such a strong identity. And then there’s the café community—so many amazing artists pass through there, with vernissages and events happening all the time. It’s taken a while to find harmony between the café crowd, the artists, the improv scene, and everything else, but seeing it all come together has been incredible.
Nothing brings me more warmth than walking into the theater and finding a new set of paintings on the wall, a café staff member—often an artist themselves—talking about an upcoming show, or an old friend from the improv community dropping by after years away. Recently, someone came back after seven years, and it felt like nothing had changed. They said it still felt like home, like they belonged. It was beautiful to see that the community we’ve built—this mix of improv, art, and bilingual collaboration—still resonates so deeply. To me, that’s what makes Théâtre Sainte-Catherine so special.”
*All three founders—Sandi, Alain, and Mark—glow with warmth and pride through the Zoom window as they listen to one another reflect on the theater and the community they’ve built alongside friends. Mark inhales sharply, blinking twice, as if steadying himself against the swell of emotion.*
Velvet: *notices a pop-up alert from Zoom* Sorry folks, it looks like we’ll have to cut our chat off here. Thank you for your insights and yo- *The Zoom window abruptly closes*
*Velvet sits back in her desk chair with a sigh and a chuckle. She closes her laptop with a smile*
Velvet: What's next.. *wink*
Théâtre Sainte-Catherine is a collective hub for artists and non-artists who wish to explore, connect, and have fun. Programming this year includes Sketchfest, DeBark Festival a bilingual improv festival, their free weekly improv workshops and shows (reduced ticket price when attending the workshop) every Sunday and Monday, as well as, for the first time at TSC Theatresports; a form of improvisational theatre which uses the format of a competition and teams.