About the Company


To create, through a collaborative process, new and original Canadian plays that combine a physical theatre tradition with social and personal issues relevant to our time and place.


-Create and present performances that investigate and inspire citizenship
-Contribute original scripts to the canon of Canadian plays
-Advance the skills and security of professional theatre practitioners through the creation and production of original theatre
-Advance the role of the performing arts as an active ingredient in public life


We are an artist-run, independent company in downtown Toronto. We produce large-scale outdoor winter theatre and collaboratively created comedies that explore political institutions, public vocations, and civic life.

Co-founders, Leah Cherniak and Martha Ross,created ground-breaking plays through a collaborative model that placed actors at the centre of the work.

Our creations uncover life on our common ground, places that we are connected to but do not visit, places that bind us together and have no roof. Places where we fail, fall, and get up again.

Our work sits at the intersection of women, comedy, public space, and physical theatre. We champion anti-heroes, characters who are met in unexpected, forgotten spaces such as the public sector, the local riding office, or outdoors in the absurdity of winter.

The public has a complex relationship with women. We give them stage time to sort it out.

Our physical comedy grows out of the long lineage of commedia dell’arte and street performance, where scenes are founded on an encounter between an actor and a problem and sorted out in public.

Our annual activities include an outdoor winter production, the premier of a new work for the mainstage, the commissioning and development of up to three new works, all using collaborative models inspired by our foremothers.


Common Boots Theatre began  when two young actors returned from France armed with a unique way of making theatre. Martha Ross and Leah Cherniak trained together under renowned physical theatre master Jacques Lecoq, whose techniques break the barriers between performer and audience by placing the actor at the centre of the work and placing the audience in the performance. The works scripted the chaos of managing modern life and featured characters that were both original and familiar. Over time the style evolved, a porous fourth wall was erected, and a writer joined the actors to shape the work into a script.

The Poor Alex Theatre in the heart of Toronto’s Annex neighbourhood served as home base. Together with Crow’s Theatre and Theatre Smith-Gilmour, the company managed the Poor Alex and established it as a vibrant centre for premiering new work. It was during this time that Jennifer Brewin joined as its first General Manager.

While resident at The Poor Alex, the company developed its particular brand of collective creation. Since then the company has contributed more than 30 original works to the Canadian canon. The Anger In Ernest And Ernestine has had 18 major productions around the world and has been translated into Spanish and French. The Attic, The Pearls And 3 Fine Girls has been produced across Canada and internationally, and continues to connect the company to countless schools, theatre programs and amateur companies.

Jennifer Brewin became the artistic director in 2009. Jennifer specializes in the creation and production of new work, with an emphasis on large-scale, outdoor performance. She has created new plays for British Columbia’s Caravan Farm Theatre, the National Arts Centre, Toronto’s Evergreen Brick Works, and at the Canadian National Memorial in Vimy, France.  She was co-artistic director of the Caravan Farm Theatre and associate artist at the National Arts Centre English Theatre.

Jennifer was tasked with reinterpreting the company’s founding practices for a new generation of artists and audiences. Site-specific performances were added in 2011, with the establishment of annual outdoor winter production at Toronto’s historic Evergreen Brick Works.

The name “Theatre Columbus” had been chosen to convey a spirit of exploration and discovery. However, it carries a history of genocide and colonization. In 2015, the company changed its name to Common Boots Theatre, to celebrate and encourage inclusion and collaboration.

In 2013 Common Boots created a new play called The Public Servant.This work was collectively created physical comedy, the same clown-without-the-nose that had been carefully crafted by Leah and Martha. Jennifer brought a more overtly political lens to that work; where Theatre Columbus had lived in the personal, Common Boots lives in the public, while still focusing on the unlikely hero. The spirit of our founding mothers lives on in our process, form and comedy.

In 2013 Common Boots created a new play called The Public Servant and most recently The Election.  Both works were devised through collaboration engaging with knowledge gathering and improvisation.

Most recently the company has moved towards audio digital performances. Exploring the link between the body and space as foundations for a new dramaturgy where physical performances privlidge listening over watching. In 2019 the company inaugurated the new venture with SCADDING at the Toronto Fringe Festival.

Common Boots has been honoured with 10 Dora Mavor Moore Awards and 53 nominations; and the Chalmers Best Canadian Play Award, for The Betrayal, as well as nominations for Dr. Dapertutto and The Attic, The Pearls And 3 Fine Girls.