"The tent was hot—it was very beautiful, but it was also very hot, and people used to feel sorry for the fellows because they were running around in armour, swinging great swords, and we were dressed in what appeared to be fragile, pretty little outfits, but they were made of nylon, early nylon, you sweated like a horse. We all had to take salt pills or we’d faint from sweating so much. But it was exhilarating, and we were young and strong—I couldn’t do it again."
"We chose the name TNM because it meant vast and we felt that the world belonged to us. Denise Pelletier and I, and also Huguette Oligny, were really the core of the people who played at the Nouveau Monde.
It was really understood that the question of money was really beside the point. We wanted to do theatre. We wanted to do real theatre."
"There was absolutely no doubt in its heyday during the ’40s, Canadian radio drama was considered the best in the world."
"I think that radio actually, the original stuff that was coming out of Canadian radio, was probably the closest we ever got to forming our own artistic kind of identity in this country: it was very uniquely of Canada."
"It was thrilling because you definitely had the feeling that something was happening, something positive was
happening, and you were largely responsible. We did our best to make a lot of complicity built into the whole thing: we were all suspects in the same crime."