About Us


Keith Digby was born in Coventry, England and educated at St. Mary’s College, London and the University of Alberta. He was worked at the top levels of live theatre in Canada, including a season at the Stratford Festival, Ontario. There he worked with eminent Canadian director, Jean Gascon, and helped create the festival’s submission to the Applebaum-Herbert Royal Commission on the Arts.

While in Edmonton, Keith worked with John Neville OBE at Edmonton’s Citadel Theatre, and created The Phoenix Theatre. At Theatre 3, he directed the award winning premiere of Sharon Pollock’s internationally acclaimed drama, Blood Relations.

Keith completed a well spent decade and a half as a teacher at Brentwood College, BC, where he was Director of Fine and Performing Arts. He continues to teach screenwriting and mentors emerging screenwriters. He is also a frequent adjudicator of theatre festivals across Canada and in the US, and a jurist for Theatre BC’s national playwriting competition. He also conducts workshops in acting and directing throughout BC.

As a commissioned screenwriter for Centre Film Sales and Mediabus Productions in London, England, Keith has completed five screenplays and two film treatments.

His sitcom series, Con Jobs, has been optioned to the noted UK production company Green Bay Media. Keith has had five scripts optioned, and a story credit on Young Alexander, a feature-length production (Kersley Enterprises). He was also a series writer on Time Exposures for CHEK TV.

Keith’s co-written ‘claustrophobic thriller’ feature film Trunk premiered at the Victoria BC Film Festival, and is now in the hands of international distributor IndustryWorks. His co-written stage play, Sherlock Holmes and the Canary Girls premiered at the Kenton Theatre in England.


Michael Armstrong is an actor, director, playwright, and educator. He has a BA in English Literature and a MFA in Playwriting. He has directed, acted, and led workshops in theatre for twenty years. He has written a dozen plays, both comedy and tragedy, most of which have been inspired by actual historical events. He has a deep interest in the role of catharsis in personal growth and explores this theme in much of his writing: how personal tragedy can break us open, strip us clean, and make room for new life. It is a gamble that does not always pay out.

Michael has been adjudicator in Theatre BC’s Canadian Playwriting Competition and has run the competition a number of times. He has worked as a dramaturg on numerous occasions and is very interested in developing new work for the stage.

The Risk Theatre Modern Tragedy Competition is a wonderful opportunity for playwrights across the English speaking world to explore a genre that gets few hits these days.


Edwin Wong believes that the time is right to reboot the ancient and storied art of tragedy. After reading Taleb’s Fooled by Randomness and The Black Swan, he developed risk theatre to align tragedy with modern concepts of chance and uncertainty. The result is a tragic stage where every dramatic act is a gambling act and risk runs riot. His book, a drama manifesto, is called The Risk Theatre Model of Tragedy: Gambling, Drama, and the Unexpected. It was released in February 2019 by Friesen Press. His thoughts on theatre as well as excerpts from his book can be found at melpomeneswork.com. Wong received a MA in Classics from Brown University where he concentrated in ancient theatre.

Wong has taken risk theatre on the road, presenting his vision of theatre to enthusiastic audiences at the University of Victoria, the University of Calgary, UMass Boston, and the Society of Classical Studies AGM. He travels frequently and would love to speak at your next theatre event. He is focussed on making the Risk Theatre Modern Tragedy Competition bigger and better every year.

detail from The Dead Man’s Hand