Penny
McDonald

Kafka’s Monkey is a work that found us at exactly the right time.

We had spoken about this play for years—its weight, its wildness, its humanity—but when Penny finally said, “What if I do it, and you direct me?”, we both knew the moment had come. What followed was an intense, five-month creative journey—one that stretched us, grounded us, and reminded us why we do this work in the first place.

This is a story about survival. About displacement. About what is lost when we are taken from where we belong—and what it costs to adapt. But it’s also a story about hope, and about what it means to be seen. As artists, we’ve tried to hold that balance: to honour the weight of Red Peter’s story while making space for compassion, humanity, and presence.

We built this show on a foundation of trust, rigour, and the Alexander Technique. Every rehearsal began with it—breath, body, awareness. It kept us honest. It kept us connected. And it allowed us to explore this character and this world with clarity, depth, and care.

From working with world-renowned coaches like Howard Fine, Jean-Louis Rodrigue, Rob Maxwell, and Julianne Eveleigh, to the contributions of our generous local collaborators, bodyworkers, and support networks, this show is the product of an extraordinary community. It’s also deeply personal. For Penny, it marks a return to the stage in a role that demands everything—voice, body, heart. For Jacob, it’s a step into directing with full presence, without stepping on stage himself.

This production has taught us both something about endurance, and something about love. And we hope, in witnessing it, you’re reminded of what connects us all—humans, animals, performers, audiences. That we survive. That we adapt. But more than anything, that we feel.

Thank you for being here.

— Penny McDonald & Jacob Golding