{"id":72513,"date":"2026-11-10T09:00:41","date_gmt":"2026-11-10T14:00:41","guid":{"rendered":"https:\/\/spacing.ca\/toronto\/?p=72513"},"modified":"2026-11-10T09:57:36","modified_gmt":"2026-11-10T14:57:36","slug":"the-nights-nobody-saw","status":"publish","type":"post","link":"https:\/\/spacing.ca\/toronto\/2026\/11\/10\/the-nights-nobody-saw\/","title":{"rendered":"The nights nobody saw"},"content":{"rendered":"

Tommy Taylor is a Hamilton\/Toronto-based playwright, documentary theatre artist and former frontline shelter and harm reduction worker.<\/em><\/p>\n

\n

For years, I worked nights: Respite sites. Church basements in the Out of the Cold program. The Women’s 24-Hour Drop-In in the downtown east end. Shelter hotels during the pandemic. Almost nobody else saw what happened on those shifts. It wasn’t hidden, exactly. It just happened at 3 a.m., to people the city had already decided not to look at.<\/p>\n

In October, I put some of those nights on stage. You Should Have Stayed Home Too<\/em><\/a> ran as a workshop presentation at Theatre Aquarius in Hamilton and Crow’s Theatre new Cabaret space in Toronto. The show comprised of me, a screen full of photos and news clips, and JUNO-nominated singer-songwriter Abigail Lapell. Lapell weaves in the lost songs of my aunt, Vikky Taylor, who was best friend and bandmates with Joni Mitchell and Neil Young, while running her own kind of drop-in out of a Yorkville apartment in the 1960s (you can read about her in books on the Yorkville 60’s scene by music historians Nicholas Jennings <\/a>and Mike Daley<\/a>).<\/p>\n

Every night ended with a post-show discussion of frontline workers, those with lived experience and organizers. The last Toronto night culminated with a Ward 14 candidates’ debate.<\/p>\n

People keep asking, “why theatre? Why not an op-ed, a report, another deputation?” I’ve done all of those. Here’s the honest answer.<\/p>\n

Two kinds of staying home<\/h3>\n

The title is a sequel. In 2010, I was unlawfully arrested and detained at the Toronto G20, and I made a play about it called You Should Have Stayed Home<\/em><\/a>. Ten years later, the whole country was ordered by COVID-19 to do exactly that. Except some of us were told we were “essential,” and the people we worked with had no home to stay in.<\/p>\n

So while Toronto stayed in, I went to work six or seven nights a week in a city so empty I could wander freely through intersections at 2 a.m., moving from park to park to check on shelter guests who had been pushed outside<\/a> by social distancing. In July, 2021, I was at the Lamport Stadium encampment as police on foot, on bikes, and on horseback cleared people who had nowhere else to go. Twenty-six people were arrested that day. I’d been on the wrong side of a police line before. The difference was that this time, the people being pushed out couldn’t go home afterward. The park was their home.<\/p>\n

Your compassion holds you hostage<\/h3>\n

In the first spring of the pandemic, I started getting calls and texts from colleagues at the Fraser St. respite site<\/a> \u2014 one of those structures that the city said would be temporary until more housing was built, yet it and others remain, years later. The City was sending in more people than physical distancing allowed, because a low-barrier respite site was where it put the people other shelters wouldn’t keep. My colleagues were frightened for their guests and for themselves. But they couldn’t say so publicly. Agencies like theirs depend on City funding, and an agency that loses its funding can’t help anyone.<\/p>\n

So, I picked up some shifts at the site and I broke one of the oldest rules of shelter work and took photographs. Those photos and my testimony became part of the case when a coalition of legal clinics and advocates took the City to court in April 2020. I lost my job, but within weeks the City signed a settlement committing to physical distancing <\/a>in every shelter, respite and drop-in it funded (that October, a judge found it still hadn’t kept<\/a> that promise).<\/p>\n

That is what I mean when I say that in Toronto, your compassion holds you hostage. The people who know the most are the people who can say the least, because speaking up puts the very help they provide at risk. Don’t like how it’s being done? Complain to the City, which is funding you. Lose funding, and now you can help no one. Theatre is one of the few places I can say all this out loud, in my own name, with no shelter’s funding on the line.<\/p>\n

Slow violence<\/h3>\n

The writer Rob Nixon coined the term “slow violence” to describe harm that happens “gradually and out of sight,” damage spread across so many years and places that it rarely registers as violence at all. Nixon was writing about oil extraction, toxic waste and environmental harm to the poor. But he also argued that because slow violence doesn’t fit the news cycle, it takes writers and artists to make it visible.<\/p>\n

That’s the shelter system. A bulldozer in a park makes the six o’clock news. The years of nights before that happens don’t: Out of the Cold mornings when people got a transit token and raced across the city hoping for one of the few cots in the next church’s basement; a 70-year-old asleep on a wet drop-in floor; countless men and women I had to turn away into the cold because there was nothing left in the system. No single night is a scandal. Added up, it’s a body count.<\/a><\/p>\n

And it’s older than the pandemic. My aunt’s door in Yorkville, 60 years ago, was open to any starving musician who needed a meal and a spot on the floor. No rent. No intake. No assessment. No waitlist. The tents we see now aren’t a new problem. They’re what that problem looks like after decades of being managed instead of solved. The pandemic is their origin story,<\/a> but those decades of neglect set the stage.<\/p>\n

On November 6, Prime Minister Mark Carney promised to put Canada on a path to end homelessness within 10 years<\/a>, with nearly $30 billion in Budget 2026 for supportive housing, rent help, and mental health and addictions care. After decades of managing, \u201cend\u201d is the right word to finally hear from Ottawa, and 10 years is an honest timescale for slow violence. But this isn’t the first 10-year plan<\/a> we’ve been handed. In it, Ottawa is paying to build the homes and the provinces are expected to run them and staff the supports. In Ontario, that\u2019s the same government that shuts down supervised consumption sites<\/a>. I heard \u201cbuild back better\u201d in 2020, too. I\u2019ll believe this one when the cots are empty.<\/p>\n

What a room can do<\/h3>\n

Journalism has to move on to the next story. Politics needs a villain and a four-year timeline. People who are housed see the tent on their walk to work, but never the night inside it. A theatre is a room where people agree to sit in the dark with something for ninety minutes and can’t scroll past it. Other forms are finding the same door. Maggie Helwig’s book, <\/a>Encampment,<\/em><\/a> <\/em>about the community that lived in her church’s yard in Kensington Market, does in prose what I’m trying to do on stage.<\/p>\n

A room can also be practical. Partway through the show, I walk the audience through the method for reversing an overdose, step by step, with the naloxone kit that was on my hip every shift. People leave with the knowledge of how to save a life. In the spreading toxic drug crisis<\/a>, it’s a skill more and more of us can use. Then, audiences could stay after the show and talk about housing with the people living it and doing the work, and one night, hear from candidates for council on what they planned to do about it.<\/p>\n

The weight of carrying it<\/h3>\n

The hardest part isn’t performing. It’s the obligation. People disappear from these systems: moved, released, evicted, incarcerated, gone. You wonder if you’re the last person who remembers they were there. Putting their stories on stage means asking, every night, whether I’m honouring them or using them. It means getting it right for my colleagues, many of whom are still on shift tonight. I have been so fortunate to be approached by colleagues and those living rough who have seen the piece who say that I have somehow been able to capture what those days and nights were like, that they are seeing themselves reflected honestly and sharing experiences they’ve never been able to relate to the world. It has been the most humbling and meaningful work I’ve ever put together. Following this workshop run we’re hoping to find a producing partner to share this work with audience across Ontario and all of Canadian, where this reality needs to be thought about and discussed.<\/p>\n

The advocates I shout-out to on stage (as part of my journey working frontlines and advocating for better) aren’t history either. One of them, Diana Chan McNally (a Spacing Radio regular<\/a>), was working at the Toronto Drop-In Network when I was its manager. On October 26, Parkdale\u2013High Park elected her<\/a> to city council.<\/p>\n

In 2020, we were all told to stay home. Thousands of people in this city didn’t have one to stay in, and still don’t. Theatre won’t house anyone. But it can make it a lot harder to look away.<\/p>\n

\n

Tommy Taylor is a Hamilton\/Toronto-based playwright, documentary theatre artist and former frontline shelter and harm reduction worker. He is currently in the Masters of Disaster and Emergency Management program at York University and is the winner of the 2026 City of Hamilton Arts Award. <\/em>www.tommytaylor.ca<\/em><\/a><\/p>\n

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