Chillingly comic with nail-biting tension, Late Company will close out Dundas Little Theatre’s impressive 2025-2026 season. Late Company finds two families meeting for dinner a year after a tragic loss but the gathering only unravels grief, blame, and the lasting impact of bullying impossible to keep off the table. The play, written by award-winning Canadian playwright Jordan Tannahill, shines a harsh and necessary light on 21st century society and its volatile youth culture, asking the urgent question: are we too late?

I had the pleasure of a virtual interview with director Francesca Brugnano and together, we discuss her creative process with the cast, the show’s themes and how this production will, undoubtedly, impact audiences regarding this ongoing epidemic of bullying within our society.

What inspired you to direct Dundas Little Theatre’s production of Late Company?

FB: This play’s high emotional stakes drew me to this piece. I was particularly inspired by how the story centers on an ordinary dinner setting to unpack extraordinary grief and rage and empathy, creating a space where silence, tension, and small gestures carry as much weight as the dialogue. I love how this play will spark meaningful conversations about responsibility, compassion, and how we process loss, while also offering actors deeply layered roles to inhabit.

What have been some highlights of developing the show? What has been your favourite part of the process?

FB: Some of the biggest highlights in developing this show have been those unexpected moments where love and tenderness emerge right in the middle of the chaos—when a scene that feels tense or emotionally raw suddenly reveals a quiet, human connection underneath. Watching that balance come to life in rehearsal has been incredibly rewarding.
My favourite part of the process, though, has been getting to know the actors not just as performers, but as people; as they dig into their characters, they often share parts of themselves, and that vulnerability deepens the work in a really meaningful way. It’s created a rehearsal room built on trust, empathy, and collaboration, which feels especially important for a piece like this.

What have been some challenges developing the show and how have you overcome them?

FB: We are working on some special set elements/effects to give Joel, the teenager who has committed suicide, a real, visceral presence on stage. His tragedy haunts every moment of this play. We want to honour the story by allowing the characters to feel fully human rather than defined solely by their trauma. We do this by leaning into the moments of stillness, tenderness, and even humour.

How has the company explored the show's themes of anti-queer bullying, accountability and the importance (or, perhaps, ineffectual use) of restorative justice?

FB: We been very intentional about grounding the work in real-world context and care, including collaborating with Queer Connect, an inclusive Hamilton queer collective that aims to facilitate support throughout the queer community. I have also been working with a dramaturge with lived-experience whose insight has helped us better understand the experiences behind the play’s events, ensuring that our portrayal feels honest, respectful, and informed.
In rehearsal, we’ve created space for open dialogue, reflection, and learning, allowing the cast to engage with the material not just as a script, but as something that resonates beyond the stage, and in their everyday lives.

For those unfamiliar with Late Company, how does this play speak to audiences and what do you hope audiences take away from seeing this production?

FB: Late Company asks viewers to reflect on their own choices, and consider the people in their own lives who may need support. I hope audiences leave the theatre feeling moved and that they recognize the importance of empathy, the power of listening, and the need to act with kindness and accountability in their own lives. Artistically speaking, the audience will see incredible performances by powerhouse actors set in a powder keg… and all will hold their breaths as they wait for the match.

Thank you Francesca for such fantastic insights into your directing process for Late Company! Look for my full review of the production coming April 26.

Late Company opens April 24 and runs until May 10.

LATE COMPANY TICKETS