The intersection of performing arts and historical education offers a powerful medium for communities to engage with their past. At the University of Windsor in Canada, a unique theatre collaboration is bringing local history to life through a production that examines themes of freedom, justice, and resilience. Those who monitor developments in Canadian arts education will find this partnership between academic institutions and community organizations particularly noteworthy for its approach to experiential learning and cultural preservation.
Understanding The Price of Freedom: A Historical Theatre Production
The Price of Freedom, written by Windsor-based author and filmmaker Carlos Anthony, tells the story of John Anderson, a freedom seeker who escaped slavery in the United States and became the center of a high-stakes legal battle in Canada. Accused of killing a bounty hunter in self-defence, Anderson’s case raised fundamental questions about extradition, sanctuary, and the meaning of justice in a country that had positioned itself as a refuge for the oppressed.
The play unfolds through multiple narrative threads: courtroom proceedings that test legal principles, Anderson’s memories of his escape from slavery, and the political pressures surrounding Canada’s role during this turbulent period. Originally premiering in February 2025, the production has been restaged through a collaboration between the University of Windsor’s School of Dramatic Art and Arts Collective Theatre (ACT), demonstrating how theatre can serve as both entertainment and education.
Anthony was commissioned to write the play through ACT’s Co-lab initiative, a program that develops new works focused on social justice themes in partnership with not-for-profit organizations and artists. The project originated to mark the Amherstburg Freedom Museum’s 50th anniversary, grounding the production firmly in local Windsor-Essex County history.
The Historical Context Behind the Performance
John Anderson’s trial took place in what was then known as Sandwich, now part of Windsor, Ontario. This geographic proximity makes the story particularly resonant for local audiences. The production follows Anderson’s journey from escape through the Underground Railroad, including his farewells to family, encounters with those who assisted his flight, and the safe houses that provided refuge along the way.
By staging this narrative in the community where these events occurred, the production creates a direct connection between contemporary audiences and their historical predecessors. This localized approach to history offers a contrast to broad historical narratives, allowing viewers to understand how national issues played out in their own neighborhoods.
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Building Bridges: University and Community Theatre Partnership
The restaging of The Price of Freedom represents a deliberate effort to strengthen connections between the University of Windsor and the surrounding community. David Court, director of the University of Windsor School of Dramatic Art, emphasized that the department has supported ACT on prior productions and viewed this collaboration as an extension of ongoing relationship-building.
“We want to bring our local community closer to the University and foster collaboration among students, faculty and community members,” Court explained. This philosophy drives the production’s structure, which brings together individuals ranging from 19 to 65 years old in a shared creative endeavor.
Chris Rabideau, ACT artistic director, framed the student involvement as a pilot project with broader implications. “What makes this so compelling is that it’s a mix of students and community members who love theatre,” he noted. “Students deserve these opportunities to work with production companies to elevate their craft.”
This partnership model offers a template for other institutions seeking to integrate academic programs with community cultural organizations. Rather than treating university theatre as separate from professional or community practice, this approach recognizes the mutual benefits of collaboration.
Explore our related articles for further reading on university-community arts partnerships.
Student Experiences: Performance as Experiential Learning
For students involved in the production, The Price of Freedom provides more than performance opportunities—it offers integrated learning experiences that connect classroom theory with practical application. Approximately nine students are earning academic credit through their involvement, working across various roles including performance, stage management, set design, and costumes.
Micah Franklin, a fourth-year dramatic art student, learned about the production through an acting class taught by Professor Meaghen Quinn, who serves as the UWindsor faculty advisor. Through a work-study placement with ACT, Franklin gained hands-on experience while earning course credits—a combination that exemplifies experiential learning in action.
Franklin portrays Maria, John Anderson’s wife, a role she describes as “the anchor to John’s past.” The character’s strength and determination presented an opportunity rarely available in classical theatre. “It’s not very often you get to play a female lead who is both strong and determined, but also willing to let things go while still standing up for what she cares about most,” Franklin observed.
Beyond acting, Franklin serves as the production’s fight captain, working with fight coach Brianna Love to maintain safety and integrity in choreographed sequences. This dual role expanded her skill set in unexpected directions. “I’d never done fight choreography or stage combat before this, and working with Brianna and my fellow actors has been really rewarding,” she said.
Technical and Design Learning Opportunities
The educational benefits extend beyond the stage. Court described how production design students collaborated with professional set designer Dante Blair to create the show’s visual environment. “We pulled items from our production shops and facilities and collaged a design together, which was painted and assembled with help from students and community volunteers,” he explained.
This hands-on approach to design education gives students experience with resource constraints, collaborative problem-solving, and the practical realities of mounting a theatrical production—skills that translate directly to professional theatre careers.
Bringing Local History to School Audiences
One of the production’s most significant educational components is its outreach to younger students. The cast and crew will perform 25 shows for Greater Essex County District School Board elementary and high school groups throughout the month. This ambitious schedule reflects a commitment to making local history accessible to the next generation.
Franklin, who plans to pursue a Bachelor of Education after completing her undergraduate degree, sees direct connections between this work and her future career. “I believe the arts, especially drama, allow for barrier-free access to learning,” she explained. “If you think history is boring, you haven’t seen our show yet.”
This perspective aligns with research showing that theatrical presentations can increase historical engagement and retention compared to traditional classroom instruction. By experiencing historical events through performance, students develop emotional connections to the material that textbook readings alone may not provide.
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The Artistic Vision: From Screen to Stage
The production’s development process involved translating a cinematic sensibility into theatrical form. Anthony, whose background is in screenwriting, initially conceived the story with an animated feature in mind. Rabideau, as a theatre director, worked to adapt this vision for the stage.
“He’s a screenwriter and author by trade, so he sees things like a screen, and as a play director, I had to take his big visions and bring them into a more theatrical aesthetic,” Rabideau explained. “In doing that, I think we created a highly exhilarating show that people really enjoy.”
This translation process required creative problem-solving. The play incorporates elements typically associated with thriller genres—Franklin described it as having a “spy-thriller vibe”—while maintaining historical accuracy and emotional depth. The result is a production that moves beyond conventional historical drama to create something that feels immediate and urgent.
The Rehearsal and Revision Process
The restaging process itself became a learning opportunity. Rather than simply recreating the previous production, the team approached the script as new material. With a different cast, a new performance space, and a fresh set designer, the production evolved organically.
“They had an idea of what it was last year, but with a whole new cast, a new performance space and a brand-new set designer, the expectations from last year have faded away, and we’ve been able to build a whole new play out of the same script,” Franklin noted. This approach to restaging—treating familiar material as an opportunity for discovery rather than repetition—reflects professional theatre practices that students can carry into their careers.
Looking Ahead: Expanding Reach and Recognition
The production’s impact extends beyond Windsor. ACT has been invited to perform The Price of Freedom in Fredericton during summer 2026, with some students expected to travel with the show. This touring opportunity represents a significant professional development moment for participating students.
“Going out to perform in another part of Canada is an incredible opportunity,” Rabideau said. For Franklin, the possibility is particularly meaningful given the timing: “I’d be over the moon to bring this story to another part of the country, especially ahead of Emancipation Day on Aug. 1.”
Franklin highlighted an important aspect of Canadian historical awareness. “I feel like Emancipation Day within Canada isn’t as recognized. Everybody knows about Juneteenth in the U.S., but how many people know August 1st as Emancipation Day?” she asked. The Fredericton performances offer an opportunity to increase recognition of this date and the Canadian stories associated with it.
“This is a celebration of Black excellence and Black resilience through the years here,” Franklin concluded. “And I’m really happy to be part of this celebration.”
Implications for Theatre Education in Canada
The University of Windsor-ACT collaboration offers several lessons for theatre education programs across Canada. First, it demonstrates the value of partnerships between academic institutions and community organizations. By working with ACT, students gain exposure to professional practices and community-engaged art that complements their classroom learning.
Second, the production shows how theatre can serve as a vehicle for exploring and preserving local history. Rather than relying solely on traditional historical narratives, programs can develop original works that connect directly to their communities’ pasts.
Third, the integration of academic credit with practical experience creates pathways for students to develop comprehensive professional skills. Whether through performance, technical production, or stage management, students graduate with both theoretical knowledge and applied experience.
Court expressed hope that this collaboration would open doors to additional community partnerships: “I hope this opens the door to more collaboration with community projects and programs moving forward.” For those who monitor trends in Canadian theatre education, this production suggests a model worth watching.
Public performances of The Price of Freedom are scheduled at the Hatch Studio Theatre on May 1 and May 22, with tickets available through Arts Collective Theatre. As this production demonstrates, the stage remains a powerful space for examining our collective past and imagining more just futures.
Interested in studying dramatic art at the University of Windsor? Submit your application today to explore programs that combine academic rigor with hands-on experience.
