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Andrea Scott has never forgotten the moment when her dreams of becoming a writer were quashed. 

It was during a Grade 9 English class.

“I remember proclaiming something I felt was very literary and my English teacher shot me down so quickly,” says the University of Toronto Mississauga alumna and former instructor at �鶹��Ƶ Mississauga. “It killed my desire to be a writer and I’ve never forgotten her.”

The death of Scott’s writing ambitions would prove to be premature. She just wrapped up a contract writing for Disney and recently her play , which tells the story of a family in the lead-up to a Jamaica Independence Day celebration, made its debut at the Stratford Festival. 

Scott’s journey to becoming an award-winning playwright and screenwriter began when she temporarily gave up on writing in high school, and turned her attention to the stage. She received an honours bachelor of arts degree in theatre and drama studies through �鶹��Ƶ Mississauga’s , with a minor in English.

She later earned a master’s degree in drama through �鶹��Ƶ’s School of Graduate Studies and the Faculty of Arts & Science.   

She recalls being “an annoying theatre kid” at �鶹��Ƶ Mississauga, but says she had many professors who encouraged her and gave her a well-rounded theatre education. 

“It is good to have a three-dimensional education regarding the ‘why’ of certain stories and the historical context,” Scott says. “I have a lot of those books still on my shelf because they inform how I write.” 

Following graduation, she pursued an acting career in Toronto. As she auditioned for TV shows, she noticed a theme: Black characters often supported the protagonist – who was usually white – and didn’t have robust stories of their own.  

When she auditioned for the role of a grieving mother who had lost her son to gun violence, she turned her attention back to writing. 

“I was like, ‘Yeah ... I could write better than this,’” Scott says. 

She wrote her first play, Damaged, a one-woman show that debuted at s rock.paper.sistahz festival. Her second play, Eating Pomegranates Naked, was included in the SummerWorks Performance Festival. 

It was a turning point for Scott.

“There were people lining up to see the play who did not know me and had never heard of me, and that felt very validating,” she says, adding that the play also earned her the RBC Arts Professional Award. “That was the moment where I realized, ‘Maybe I could do this.’” 

Scott continued to achieve success with her plays, including Better Angels: A Parable, Don't Talk to Me Like I'm Your Wife (produced by her production company, ) and the award-winning Controlled Damage. She also taught playwriting to undergraduate students in �鶹��Ƶ Mississauga’s department of English and drama.   

In 2020, Scott worked in the writers’ room on the CBC/BET production The Porter. Following that, she worked on Murdoch Mysteries for three seasons and wrote four episodes. 

“Murdoch Mysteries was a huge achievement for me,” Scott says. “I never assumed that I would ever get a job quite like that.” 

Scott recently wrote for the upcoming Disney series High Potential, which stars Kaitlin Olson (It’s Always Sunny in Philadelphia) with Veronica Mars creator Rob Thomas as showrunner.   

“The first time that I got to walk into the Disney lot, it just did not seem real,” she says. “It was a dream come true.” 

On Aug. 10, Scott made her Stratford debut with the world première of Get That Hope. She says she was inspired to write the play after seeing Eugene O’Neill’s Long Day’s Journey Into Night. 

“All I kept thinking was, ‘Why don’t we have plays like this about Black Canadian families?’” she says. 

Scott is working on a new play called Truthfully Jackie about Jackie Robinson’s time playing for the Montreal Royals in 1946. 

While she has seen success throughout her career, Scott says she has also faced challenges – including not being taken seriously enough. 

“I’m a woman, I’m a Black woman, and I’m really tiny – like five feet tall. But I have this voice, and I try to use it to make sure people take me seriously,” she says, adding that her advice for budding writers is to not take criticism to heart. 

“Reacting emotionally to something that was maybe constructive criticism won’t help you,” Scott says. “Also, write and write and write – and don’t close off any kind of source material that you can be inspired by. You never know where it might come from.” 

Get That Hope runs until Sept. 28 in the Stratford Festival's Studio Theatre.