L-R: Benvolio (Anastasia) looks on as Mercutio (Ben Francis) and Tybalt (Marcus Williams) perform a fight. From Romeo and Juliet (July 2018), Anastasia was alos the fight director.
Content note: This profile contains mentions of sexual misconduct.
Anastasia’s connection to theatre began early, sparked by a junior high school production that made something click deep inside. “I saw a production the grade 8s had created for a ‘Welcome New Students’ night and felt an intense pull to be involved,” she recalls. “I haven’t stopped yet.” That lifelong passion eventually led her to Pine Tree Players, where she first appeared as an actor in the 2018 Canmore Summer Theatre Festival production of Romeo and Juliet, and earlier that same year she was the fight director for I Hate Hamlet.
Anastasia came to her role as an intimacy director out of necessity, as a growing number of theatre companies realized they needed to change the way they produced work with intimate moments. She had heard far too many stories from peers who had experienced harm and felt unable to speak up because of the power dynamics in rehearsal spaces. “If I could help facilitate and prevent harm for even one individual,” she says, “my goodness, I was gonna try.”
Anastasia leads an intimacy workshop for the cast of Treasure Island (June 2025).
In her work, Anastasia draws inspiration from the pioneers of the field, including Tonia Sina, Alicia Rodis, Siobhan Richardson, and Amanda Cutting, as well as from creative collaborators who were practicing ethical, actor-centred approaches long before intimacy direction was formally recognized. Her philosophy is firmly process-focused, rooted in the belief that strong storytelling begins with trust. “I know I have done my job well when actors feel free to say no, take risks, collaborate and play within the context and boundaries outlined,” she explains. When performers feel supported in rehearsal, that freedom translates directly to clarity and confidence onstage.
Creating that foundation begins long before actors step into a scene. Anastasia studies scripts, assesses moments of risk, and works with directors to understand both the overarching vision and the smallest narrative beats.
I know I have done my job well when actors feel free to say no, take risks, collaborate and play within the context and boundaries outlined.
Anastasia connects with actors one-on-one to discuss consent and boundaries, and when time allows, facilitates workshops that build shared language around communication, care, and closure. Central to this work is ensuring performers have tools to step out of emotionally demanding material—so that difficult characters remain onstage, not carried home.
L-R: Marcus Williams and Chris Yee in I Hate Hamlet (April 2018).
The rise of the #MeToo movement brought long-overdue attention to misconduct in the performing arts and helped establish intimacy professionals as an essential part of modern production. For Anastasia, this shift has been both validating and energizing. While the work can be complex and technically demanding, what she finds most gratifying is the joy of collaboration—the shared moment when something clicks and the scene comes to life.
Whether mentoring emerging intimacy professionals or supporting artists through vulnerable moments, Anastasia brings thoughtfulness and rigour to every production. By fostering trust and collaboration in the rehearsal room, she helps actors engage fully and safely in the creative process, while ensuring moments of intimacy serve the story with clarity and intention. Pine Tree Players is grateful for the care and expertise she brings to the rehearsal room, and for the way her work enhances the overall quality of each production.
told to and abridged by Jen Tweddell
About the Author: Jen is passionate about building community and is constantly in awe of the talent and creativity of folks in the Bow Valley. When she’s not producing plays or chairing board meetings you can find Jen out on her bike or cross country skiing.