Supporting the Arts, Locally

season title sponsor sponsor Supporting the arts, locally.

Each year, through various donations and sponsorships, we are committed to helping our local communities.

We’re proud to be the 2017/2018 season sponsor of The Grand Theatre.

17-1670 Grand Theatre ad-Ev1b.indd 1 2017-08-17 10:01 AM Happy New Year. We begin our new year with a very exciting offering: a world premiere of a brand new play developed within a program at the Grand called COMPASS. The COMPASS New Play Development Program will provide direction and point the way to the stories we will tell — sometimes local and sometimes national in scope. Our first play under this exciting banner is the one you are about to experience, Silence. I have adored this play ever since reading the first draft a few years ago. Our playwright, Trina Davies, spent many years writing her play and she’s been fearless in the telling of it. This play actually came to life before I came to the Grand, during my time at Theatre Calgary. Through Theatre Calgary’s development program we examined the play with various workshops. We assembled actors, read through the story and dissected the meanings, then asked a lot of questions. The writer, the dramaturg (think of her as a coach), and the director asked questions, cut scenes, added scenes, and together we played. This script has gone through many re-writes since we first worked on it and every draft has been a beautiful step forward. I am grateful that Theatre Calgary has allowed us at the Grand Theatre to take this play to the finish line and be our world premiere. This summer, the cast was brought together to continue the development of the play. We added designers and used the workshop to focus us towards the presentation of our new production. We came together, we laughed, we cried. More than anything we felt the play truly come to life. It was clear: we were ready to go into rehearsal. I think one of the most important things a theatre can do is produce new work. You will see more stories of local and national interest on our stages. Some of these new plays will have future life beyond our stage. We hope to see them out in the world and you will be able to say, “I saw it first...” dennis garnhum artistic director

We would like to acknowledge the history of the traditional territory in which the Grand Theatre operates. We would also like to respect the longstanding relationships of the three local First Nations groups of this land and place in Southwestern Ontario. The three First Nations communities closest in proximity to the Grand are the Chippewa of the Thames First Nation (part of the Anishinaabe), the Oneida Nation of the Thames (part of the Haudenosaunee) and the Munsee-Delaware Nation (part of the Leni-Lunaape). How we connect has changed. Who we connect hasn’t.

Canada has grown greatly in the last 150 years. So has Bell. From a few hundred metres of stovepipe wire running along a fence in Brantford, Ontario, to a world-class communications network spanning from coast to coast to coast, Bell has been keeping Canadians and their businesses connected for over a century. spriet stage, january 16 to february 3, 2018 opening night january 19 Silence By Trina Davies CAST Gertrude Mercer McCurdy Hubbard SUZANNE BENNETT Alexander Graham Bell GRAHAM CUTHBERTSON Eliza Bell CATHERINE JOELL MACKINNON Berta (Roberta) Hubbard MADELYN NAROD Mabel Gardiner Hubbard (Bell) TARA ROSLING Gardiner Greene Hubbard MICHAEL SPENCER-DAVIS PRODUCTION TEAM Director PETER HINTON Set / Costume Designer MICHAEL GIANFRANCESCO Lighting / Projection Designer BETH KATES Lighting / Projection Assistant JEFF PYBUS Sound Designer RICHARD FEREN Stage Manager MICHAEL HART Assistant Stage Manager SANDI BECKER Apprentice Stage Manager KELLY BOUDREAU Directing / Design Intern HOWARD J. DAVIS ASL Interpreters JUDE THOMAS, ROSALIE VISSERS

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Silence: Mabel and Alexander Graham Bell was commissioned and developed through FUSE: The Enbridge New Play Development Program at Theatre Calgary as part of the 2017 Canada Plays Project. Trina Davies is a member of Playwrights Guild of Canada. Silence: Mabel and Alexander Graham Bell is produced by arrangement with Kensington Literary Representation, 34 St Andrew Street, Toronto ON, M5T 1K6, [email protected] The videotaping or other video or audio recording of this production is strictly prohibited. The Grand Theatre is an active member of the Professional Association of Canadian Theatres (PACT) and engages, under the terms of the Canadian Theatre Agreement, professional artists who are members of the Canadian Actors’ Equity Association. The Grand Theatre acknowledges with thanks the co-operation of Locals 105 and 828 of the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists, and Allied Crafts of the United States, its Territories and Canada, and The London Musicians’ Association Local 279. THANK YOU TO OUR SPONSORS

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Silence began with a phone call from Dramaturg Iris Turcott. She had an idea: Alexander Graham Bell. She wanted me to write a play about him. She was particularly fascinated with the fact that Alec taught his family dog to say “How are you Grand-mamma?” by using treats and some jaw adjustments. She loved that image. While that didn’t make it into the play as a scene, it set me out on a path that meandered through sound and silence, shadow and light, love and connection. I read every book I could find about Bell, his work and his family. As I read, I found I was pulled towards Mabel, rather than Alec. She was an extraordinary person who captured my admiration and imagination. During this time something else happened. I met my partner. I started to ponder the potentially epic proportions of long-term relationships, and in particular, communication within these relationships. So much of what is under- stood has nothing to do with the words that are used, but is communicated in a look, a touch, a gesture, the positioning of a shoulder. How do we connect? How do we stay connected? In 2014, Dennis Garnhum and Shari Wattling at Theatre Calgary officially commissioned Silence. I immediately called Iris and asked her to be involved. She was as excited as I was. I finished my research, and travelled with my partner Cliff to Nova Scotia, where we were given access to the archives of the Bell Museum in Baddeck; and to Boston, where we skulked around Mabel’s old neighbourhood trying to find her house. In June 2016, Iris, Peter Hinton and I travelled to Calgary for the first workshop of Silence. Outside of our downtown hotel was a picnic table where Iris and I talked for hours. One morning she pointed at my necklace, a gift from Cliff, and said, “What is that? It’s important.” It led to a conversation about how she felt that I had changed over a decade, and that she was happy for me. She was always in my corner. Always. That was the last time I saw her. This play is for those who have loved and for those who have been loved. For those who have spilled over in their all-consuming love for another, and for those afraid they might not have enough love to give. For me, this one is for Iris. And for Cliff. Hold those you love a little tighter tonight. trina davies

MABEL AND ALEXANDER GRAHAM BELL, SABLE ISLAND, 1898. PHOTO BY ARTHUR W. MCCURDY. SAVE THE Date

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May24 2018 DIRECTOR’S NOTES

Silence is a love story, but like many love stories it is a ghost story too; haunted by its own power, its own mythologies, and the formidable obstacles that in the lovers’ time, and, despite technological advances and cultural awakenings, still continues today. We can look at this play and ask ourselves, “What has changed?” We can follow this love story and ask ourselves, “What did love overcome, and what was this love unable to endure?” Like many love stories, it is also a story about loss. Somehow, the measure of love is always loss. When Mabel Hubbard gained her deafness, she discovered in herself untapped resources and skills, and a creativity and power that many women of her tara rosling as mabel gardiner social class and standing never would. Perhaps it hubbard (bell) in rehearsal. was this genius that Alec fell in love with. However, what was lost was this elusive spark, this sometime madness/sometime genius which clearly Mabel saw in Alec and he, too, in her. Theirs was a love that was/is constantly surprising and unexpected. Society has a tendency to focus on disability rather than ability, and this is a story of all that human beings are capable. Love by its nature makes its own rules. In Trina Davies’ telling it is something more than biography; Bell is neither a hero nor a villain, Mabel neither vanguard nor victim; both are terribly awkward and vulnerable, flawed and human. Silence chronicles a history that is beautiful and painful and immerses the audience in the imagined experience of what Mabel heard and saw in her lover and her time. peter hinton

left: graham cuthbertson as alexander graham bell with catherine joell mackinnon, using the double hand alphbet/british sign language, as eliza bell. right: trina davies, peter hinton, and michael hart in rehearsal.

GUEST ARTISTS

Suzanne Bennett Gertrude Mercer McCurdy Hubbard for the grand theatre: Jacques Brel is Alive and Well and Living in Paris (co-production with NAC Ottawa). theatre credits (selected): Naked Hamilton (Soho Playhouse NYC); Brantwood (Theatre Sheridan); The Situationists (Buddies in Bad Times Theatre); Colours in the Storm (Theatre Aquarius); Dancing at Lughnasa (Annex Theatre); The Philanderess (John Candy Theatre); Camelot (Stratford suzanne bennett Festival); Hello Again (Tarragon); Une Soirée avec Jacques Brel (Théâtre Français de Toronto); Anne of Green Gables (Charlottetown Festival); A Midsummer’s Night’s Dream (Flower Festival). other: Head of Acting, Honours Bachelor of Music Theatre Program at Sheridan College. Graham Cuthbertson Alexander Graham Bell for the grand theatre: Debut. theatre credits (selected): A and R Angels (Crow’s Theatre); Constellations (Canadian Stage); Glengarry Glenn Ross (Segal Centre); The Goodnight Bird (Kay Meek Centre); August, An Afternoon in the Country (Centaur Theatre). film graham cuthbertson and tv credits: The Girlfriend Experience, I’m Not There, The High Cost of Living, Being Human. Catherine Joell Mackinnon Eliza Bell for the grand theatre: Debut. theatre credits (selected): Cas9 (Robertson Theatre); Ultrasound (Cahoots Theatre); ASL Improv Showcase (Deaf West); Voices of Chornobyl (Antaeus Theatre/Deaf West). film and tv credits (selected): Murdoch Mysteries, Widow’s Web, Silent Hill, Kenny Vs Spenny. other: BFA Graduate of School of Image Arts, Ryerson University; co-founder and Festival Director catherine joell mackinnon of the Toronto International Deaf Film and Arts Festival; Deaf Community Consultant for DATT-Deaf Artists and Theatres Toolkit, Cahoots Theatre; ASL coach & Continuity for Emmy & Golden Globe winner Fargo (2015). Award-winning filmmaker and internationally known for her work in documentaries, film, and television. awards: ACTRA Woman of the Year Award 2016. Madelyn Narod Berta (Roberta) Hubbard for the grand theatre: Debut. theatre credits (selected): Evita (JDP Theatre Productions); Bare (WINDS); Annie (Steppin’ Out madelyn narod Theatrical Productions); Les Misérables, Anything Goes, 42nd Street, The Mikado, New Faces 2012 (SLC Stage); Munschables (Puddle Jump Players); The 25th Annual Putnam County Spelling Bee, Hair (Toronto Youth Theatre). other: Graduate of St. Lawrence College’s Music Theatre Performance program. Lease the luxury. Own the lifestyle.

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This is upscale urban living Michael Spencer-Davis Gardiner Greene Hubbard for the grand theatre: Art, The Stone Angel. theatre credits (selected): A Christmas Carol (Western Canada Theatre); Timon of Athens, The Changeling, The Madwoman of Chaillot (Stratford Festival, 7 seasons); The Hound of The Baskervilles (Globe Theatre); Boeing Boeing, The Pitmen Painters (Theatre Aquarius); Having Hope at Home (Neptune Theatre); Innocence Lost (Centaur/National Arts Centre); Pride and Prejudice michael (Theatre Calgary/NAC); Romeo and Juliet (NAC); Medea (Royal Manitoba spencer-davis Theatre Centre/Mirvish); Macbeth (NAC/Citadel); The Elephant Man (CanStage); Einstein’s Gift (Citadel). other: michaelspencerdavis.com Tara Rosling Mabel Gardiner Hubbard (Bell) for the grand theatre: Debut. theatre credits (selected): Alice in Wonderland, Top Girls, Lady Windermere’s Fan, When the Rain Stops Falling, Saint Joan, The Heiress (Shaw Festival); A Midsummer Night’s Dream, Twelfth Night (Stratford Festival); If We Were Birds (Dora Award), Hush, Perfect Pie (Tarragon Theatre); Penelopiad (Nightwood, tara rosling Dora Award); The Glass Menagerie (TNW); Lonesome West (CanStage); The Miracle Worker (ATF), See Bob Run (Factory Theatre, Dora Nomination). film and tv credits: The Firm, Murdoch Mysteries, Crash & Burn, The Listener, The War Next Door, The Uncles, The Five Senses, Deeply, Taking of Pelham 123. Trina Davies Playwright Trina is based in Vancouver BC Canada. Her award-winning plays include Shatter, Multi User Dungeon, The Auction, The Bone Bridge, and Waxworks. The Romeo Initiative was a finalist for the Governor trina davies General’s Award for Drama and was the winner of the National Enbridge Prize for Established Artist. Her plays have been performed across Canada and as well as in the United States, Germany, Italy, and India. She has participated in artist residencies at the Stratford Festival, Banff Centre, the Playwrights Theatre Centre, and the Bella Vita Playwrights Retreat in Italy. She is currently working towards the world premiere of her play Waxworks (to be revealed). trinadavies.com Peter Hinton Director peter hinton for the grand theatre: Atlantis, Picasso at the Lapin Agile. theatre credits (selected): Missing (Pacific Opera); An Octoroon, Alice in Wonderland, Pygmalion, Cabaret, Lady Windermere’s Fan, When the Rain Stops Falling (Shaw); Louis Riel (Canadian Opera Company); All’s Well That Ends Well (Shakespeare Company); Taming of the Shrew, Shakespeare’s Universe, The Odyssey, Fanny Kemble, The Duchess of Malfi, Into the Woods, The Swanne (Stratford). other: Artistic Director, English Theatre at Canada’s National Arts Centre 2005-12. Professional mentor, York University/Canadian Stage MFA program in directing. Made an Officer of the Order of Canada, 2009.

Michael Gianfrancesco Set & Costume Designer for the grand theatre: The Spitfire Grill, It’s a Wonderful Life. theatre credits (selected): Stratford Festival, Shaw Festival, Canadian Opera Company, National Ballet of Canada, Les Grands Ballets Canadiens, Opera Atelier, Tarragon, Buddies in Bad Times, CanStage, RMTC, Citadel, Theatre Calgary, Segal Centre, Studio 180, Against the Grain, Young People’s Theatre, Neptune, Queen of michael Puddings Music Theatre. other: Set Design for Shaw’s Cabaret fea- gianfrancesco tured at the Prague Quadrennial for Performance Design and Space in 2015. Recipient of the Virginia and Myrtle Cooper Award in Costume Design, Ontario Arts Foundation. Beth Kates Lighting & Projection Designer for the grand theatre: Debut. theatre credits (selected): 1837: The Farmers’ Revolt, Mr. New Year’s Eve: A Night With Guy Lombardo, The Last Donnelly Standing (co-creator & designer), Ipperwash, SEEDS (Blyth Festival); Vigilante (Catalyst); MacHomer, Bigger Than Jesus Brimful of Asha beth kates (Wyrd); (Why Not Theatre / Soulpepper); Yichud (Theatre Passe Muraille); Ragtime, Alice in Wonderland, Pygmalion (Shaw Festival); Ross Petty Panto 2011-16. other: Award-winning Set, Lighting, Costume, and Projection Designer. Developing (with Brendon Allen) My Teacher is a Monster by Peter Brown and a project inspired by The Farm Show. First credited Digital Dramaturg in Canadian Theatre (Blyth Festival). bethkates.com and playgroundstudios.ca Richard Feren Sound Designer richard feren for the grand theatre: Debut. theatre credits (selected): Unholy (Nightwood); Daughter (QuipTake, Pandemic, Theatre Centre); Asking For It (Nightwood, Necessary Angel, Crow’s Theatre); Waiting For Godot, CAGE, A Doll’s House, The Testament of Mary (Soulpepper); Confederation & Riel, Scandal & Rebellion (VideoCabaret); Little Pretty and The Exceptional (Factory Theatre); The Magic Hour (Theatre Centre); TomorrowLove™ (Outside The March). film and tv credits (selected): The Anniversary, Burning, Burning, A Trip To The Island, Past Perfect, numerous shorts. other: 7 Dora Awards; 1999 Pauline McGibbon Award; shortlisted for the 2012 Siminovitch Prize. Convenient and Stylish Condo Living in Downtown London Michael Hart Stage Manager for the grand theatre: Einstein’s Gift, Strawberries in January, Schippel the Plumber, Macbeth, The Wind In The Willows, Great Expectations. theatre credits (selected): 21 seasons at the Stratford Festival including Timon of Athens, The Madwoman of Chaillot, The Adventures of Pericles, The Swanne Trilogy among others; Liv Stein (Canadian Stage); Constellations (Centaur/Canadian Stage); The Death Of The michael hart King (Modern Times); The Winter’s Tale (Groundling); Bombay Black (Factory); Manon, Sandra and the Virgin Mary (Pleiades); Saint Carmen of The Main (NAC, Canadian Stage); Romeo and Juliet (NAC); Mother Courage and Her Children (NAC, MTC). upcoming: The Rocky Horror Show (Stratford). Sandi Becker Assistant Stage Manager for the grand theatre: Miracle on 34th Street The Musical, The Hobbit, PlayWrights Cabaret 2011, Macbeth (HSP), Dreamgirls. theatre credits (selected): Twelfth Night/King Lear (Canadian sandi becker Stage Shakespeare in High Park); Birds of a Feather, La Maleta, Dib and Dob and the Journey Home (Roseneath Theatre); The Harrowing of Brimstone McReedy, Frankenstein’s Boy (Eldritch Theatre); Taming of the Shrew, Hamlet, The Odyssey, A Midsummer Night’s Dream (Driftwood Theatre Group); Ultrasound (Cahoots, Theatre Passe Muraille); Tick Tick Boom (Angelwalk Theatre); Stockholm (Seventh Stage/ Nightwood). Kelly Boudreau Apprentice Stage Manager kelly boudreau for the grand theatre: Debut. theatre credits (selected): Beauty and the Beast, It’s a Wonderful Life (Theatre Aquarius); Mamma Mia!, Joseph and the Amazing Technicolor Dreamcoat (Drayton Entertainment); John (The Company Theatre); On Golden Pond (Rose Theatre Brampton); Macbeth, Romeo and Juliet (Classical Theatre Project). other: Graduate of the Technical Production program at Sheridan College. Howard J. Davis Directing & Design Intern howard j. davis for the grand theatre: Debut. theatre credits (selected): Video Designer: The Mountaintop (Black Theatre Workshop/Neptune Theatre); Assistant Director: Louis Riel (NAC); Video Designer: The Millennial Malcontent (Tarragon Theatre). Actor: Bombay Black (Factory Theatre); Pygmalion, Sweet Charity (Shaw Festival). film & tv credits: Downsizing, 12 Monkeys. other: Howard’s award- winning, internationally-screened short film, C’est Moi, premiered at the Hollywood Black Film Festival. BFA in Performance Acting from Ryerson Theatre School. upcoming: Video Designer: Oh What a Lovely War (Shaw Festival); Actor: Tick Tock Inc. cestmoifilm.com howardjdavis.com commercial | digital | wide format

519.866.5558 | [email protected] www.sportswood.on.ca

24647_SW_GrandTheatreAd.indd 5 2017-04-11 11:49 AM COMPASS New Play Development is dedicated to creating and premiering new work on the Grand’s stages. This program reflects our belief that in order to be a relevant theatre company, we must develop and premiere our stories on our stages. The Grand will commission, write, produce, and premiere original plays that are relevant to our city, our province, and our country. And while these homegrown plays will begin here, our stories will be shared with theatres and stages around the world. COMPASS is dedicated to igniting imagina- Stay tuned for invitations to free public readings tions by bringing a modern, unconventional, of plays in development. Your feedback can have and brand new sense of theatre engagement a dramatic effect on the creative direction of the to London. plays as they grow and evolve. PLAYS IN DEVELOPMENT

GUY LOMBARDO’S NEW YEAR’S EVE LONDON BRIDGES is a contemporary with orchestrations and original music by comedy in two acts: Act One in London, Dave Pierce, book and direction by Dennis England, Act Two in London, Ontario, each Garnhum. This musical celebration of a written by a playwright of that region. The local hero will celebrate Lombardo and his play tells the story of two worlds colliding orchestra, The Royal Canadians, in a sweep- during one unforgettable visit. ing spectacle that traces his legendary rise to “Mr. New Year’s Eve.” AMBROSE SMALL: AN EXTRAVAGANTLY MUSICAL, MYSTERIOUSLY GRAND STARLIGHT TOUR is a musical drama GHOST STORY will have its World Premiere with music and lyrics by Leslie Arden and Halloween 2020 in celebration of the Grand’s based on the book by the late Cathy Elliot. 50th Anniversary Season. Canadian theatre The story is centred on events reported in tycoon Ambrose Small built London’s Grand Saskatchewan in the early 2000s that trace Theatre in 1901. On December 2, 1919 he van- back to the 1970s. A series of investigations ished, never to be found. Set against the wildly revealed a practice by the Saskatoon police of scandalous vaudeville era, Ambrose Small will taking First Nations people to the city limits invite audiences to explore the Grand as an and abandoning them at the side of the road interactive, site-specific musical adventure. in the dead of winter. The practice became commercial | digital | wide format known as “starlight tours.” Development of Guy Lombardo’s New Year’s Eve, London 519.866.5558 | [email protected] Bridges, and Ambrose Small: An Extravagantly Musical, Development of Starlight Mysteriously Grand Ghost www.sportswood.on.ca Tour Sponsored by Story Sponsored by

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Currently my screensaver is a photograph of Iris Turcott at the National Gallery in Ottawa. She is standing in the room that houses Barnett Newman’s Voice of Fire. For those of you who do not know Newman’s painting, it is about 18 feet high and 7 feet wide, and is simply a bright red vertical stripe on a deep blue background. Some of you may remember the uproar when in 1990 the National Gallery purchased the work for $1.7 million — a good number of hard-working Canadians balked at our government spending nearly two million dollars on something frivolous that “my kid could paint.” In my photograph, Newman’s painting is framed out on the right, and on the far left is Iris, not looking at the painting but rather reading the text that describes the painting on the small placard on the wall. To me this photograph is a perfect portrait of Iris, and I love it for a number of reasons. I love it because Iris was a voice of fire and, like the painting itself, she vibrated with clarity, vulgarity, and a deceptive primary complexity; to see these two formidable forces together is frightening, inspiring, and life-affirming. And I love this photograph because Iris is in our National Gallery. She belongs in some sort of national gallery of theatre as there are so many beloved theatre artists in this country who have had their work blossom under the demanding and exalting gaze of Iris: Judith Thompson, Anusree Roy, Ronnie Burkett, Brad Fraser, Joan MacLeod, Michel Marc Bouchard, Tomson Highway, and on and on. And I love this photo because in it Iris is not looking at the painting, rather she is reading about the painting. Her way of understanding anything was through the word, the word, the holy word. Words were everything to Iris and she used them all — the most obscene and the most sacred — in an effort to unlock the mysteries we carried, to face the fears that chased us, and to welcome our shadows and radiance. And finally I love the photograph because in it, due to the Newman and its controversy, there is a conversation about the worth of things. When the Grand first contacted me to ask if I might write a few hundred words that would honour Iris, I immediately heard Iris’ voice asking, “Are they going to pay you for it?” Although Iris often worked for nothing, she was adamant that her playwrights be paid. She believed — no, she knew — that this work we do is a service to society, to the human spirit, and, as frivolous as it might seem to some, it is essential and its value must be recognized. Of course it’s a pleasure for me to spend the moments of these few hundred words remembering Iris and I don’t want to be paid. Though I would ask, should you be either a person of means or a person on a budget, consider offering a toonie or a twenty or a thousand or two toward this theatre and its new play development. To honour Iris. Art is an investment. And by the way Voice of Fire is worth $50 million today. daniel macivor playwright London-born Iris Turcott was the dramaturg who worked with the writer on the development of this play. Iris was known as an extraordinary champion of new work for stages across Canada. Silence will be the first play to emerge through our COMPASS program. The Grand Theatre dedicates Silence to the memory of Iris Turcott.

Dramaturg, director, and actor, Iris completed an Honours Degree in English and Drama at Western University, and a Bachelor of Education specializing in theatre at the University of Toronto. She spent What is dramaturgy? 17 years as company dramaturg at Canadian Stage, and worked at the Stratford Festival in the devel- The entire world of a play is its opment of Daniel MacIvor’s Best Brothers (2012) dramaturgy. It is a study of the and Judith Thompson’s The Thrill (2013). In 2013, wide and various elements that she became the dramaturg at Factory Theatre. define what the play is; a view of Iris Turcott was active in arts education and pub- all the parts in relation to each lishing. She taught at the National Theatre School other. Together the playwright and of Canada and served on the board of directors for the dramaturg examine the style, the LMDA (Literary Managers and Dramaturgs of structure, language, as well as the the Americas). She was also co-founder and co- characters, how they relate to each artistic director of Playbill Theatre. other, and what they reveal. Getting In 2013, she was selected as Playwrights Guild a play from development, through of Canada’s Honorary Award recipient for her production, to opening night is the devotion to Canadian theatre, and her work with process of dramaturgy. In other Canadian plays and playwrights. words, it is the realization of the Iris Turcott died of cancer September 22, 2016. theatrical composition. NORTH AMERICAN PREMIERE CHARIOTS OF FIRE Stage Adaptation by Mike Bartlett Screenplay* by Colin Welland Coming April 2018 Spriet Stage NORTH AMERICAN PREMIERE “Fabulous theatricality... thrilling and irresistible” the times, london

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NOTES FROM THE BRILL IMAGINE: THE MUSIC APRIL 5 The timeless songs OF JOHN LENNON MAY 26 of Carole King, James Taylor, Strawberry Fields Forever, BOWIE AND PRINCE and more. Featuring David Nowhere Man, Imagine, and FEBRUARY 8 Blamires, Rique Franks, more. Featuring vocalist Stephanie Martin, Kathryn Jean Meilleur. SOLD OUT! Rose, and Johnny Rutledge.

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There is a longstanding and controversial debate about Deaf education. Two major figures, Edward Miner Gallaudet, an American educator and administrator, and Scottish-born Alexander Graham Bell, known as the inventor of the telephone, promoted opposing views: Gallaudet encouraged the use of sign language in schools for the Deaf*, while Bell advocated that Deaf children should be taught to speak and lipread. Today, many schools for the deaf offer a bilingual-biliteracy bicultural approach, teaching language skills in both American Sign Language (ASL) and English and acknowledging the impor- tance of fostering Deaf culture. This brief timeline outlines Gallaudet and Bell’s involvement with Deaf education and the development of ASL.

1800 Various signing systems are utilized education, opening the first college for the deaf — in Deaf communities. the National Deaf-Mute College in Washington, DC. All classes and communication are conducted 1817 Thomas Hopkins Gallaudet trains in in ASL. Renamed the Gallaudet University in French Sign Language, and opens the first 1986, known as the only university in the world free public Deaf school in America, known dedicated to Deaf and hard-of-hearing students, today as the American education, and research. School for the Deaf EDWARD MINER located in Hartford, GALLAUDET, 1900 Connecticut. The school grows rapidly, and Deaf students from all over the United States attend. At the THOMAS HOPKINS school, American Sign GALLAUDET, C.1850 Language developed from signs that students brought with them, as well as signs adapted from French Sign Language. 1870s While Gallaudet promotes the education of Deaf students using ASL, Alexander 1858 The first Ontario school for the deaf Graham Bell begins to promote oralism, follow- is established. Now located in Belleville, the ing in his father’s footsteps by teaching his Deaf Sir James Whitney School for the Deaf, is a students to speak and speech-read instead of sign. residential school for Deaf education. 1880s At the Milan Conference, educators of 1864 Gallaudet’s son, Edward Miner the deaf gather to discuss the merits of oral versus Gallaudet, continues to advance Deaf manual languages. The conference declares oral

* The Canadian Association of the Deaf notes that “Deaf” with a capital “D” is a sociological term referring to those individuals who are medically deaf or hard of hearing who identify with and participate in the culture, society, and language of Deaf people, which is based on Sign language. OPPOSING VIEWS: A HISTORY OF ASL AND ORALISM

education superior and passes a resolution banning teaching in sign language. However, Gallaudet remains committed to ASL education. Bell continues to champion oral education as the superior method for teaching Deaf students, and in 1883, gives an address to the National Academy of Sciences espousing these beliefs.

1880-1940 During this time, despite the popularity of Bell’s beliefs, many schools for the deaf continue to sign, and more Deaf communities begin to organize. These include: the Ontario Association of the Deaf, Canada’s first Deaf organization, comprised primarily of graduates and teachers from the School for the Deaf in Belleville; and the Canadian Association of the Deaf.

MABEL AND ALEXANDER GRAHAM BELL WITH DAUGHTERS, 1963 The Ontario School for the Deaf ELSIE (LEFT) AND MARIAN, 1885 © PARKS CANADA in Milton opens, with residential and day programs serving elementary and second- the Rights of Persons with Disabilities. This ary Deaf and hard-of-hearing students. It declaration represents a historical moment was renamed in 1975 after former Ontario for the Deaf community, acknowledging the premier Ernest C. Drury. errors of the 1880 Milan Congress and the harmful consequences that have resulted 1973 London’s Robarts School for the from these resolutions. Deaf is established, offering both day school and residential options. Present Today, oralism has waned in favour of a bilingual-biliteracy and bicultural 2010 The Board of the 21st International approach. ASL is used in many geographic Congress on the Education of the Deaf areas, but other sign languages also exist, formally voted to reject all of the 1880 Milan though there is no universal sign language. resolutions. Highlighting the linguistic ASL is reported as a first language in West human rights aspect, the declaration calls Africa, Central African Republic, Barbados, upon all nations to adhere to the principles Hong Kong, Philippines, and Singapore. In of the United Nations, emphasizing espe- many other countries it is widely learned as cially those outlined in the Convention on a second language.

compiled by katie flannery and sarah plummer of western university, and lorin macdonald. sources: ontario association for the deaf, canadian association for the deaf, the canadian encyclopedia, start asl, and world federation for the deaf.

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STORYTELLING AS ACTIVISM sally armstrong PHOTO BY PETER BREGG March 12 at 6pm A discussion of the complexities of ‘human rights’ versus ‘human wrongs,’ and the significance of sharing under-told stories on the stage to enlighten, humanize, and effect change. Speakers are Sally Armstrong (Award-winning Activist, Journalist, Author, and Member of the Order of Canada), and Carey Perloff (Director, A Thousand Splendid Suns). THE PURSUIT OF EXCELLENCE April 12 at 7pm What happens when you strive to be ‘the best?’ bruce sellery When you are at the top of your game where do you go from there? Join us for this Chariots of Fire-inspired conversation focusing on panel sponsor how pursuing excellence in any field shapes a person. Moderated by Bruce Sellery (Television Host). Speakers to be announced.

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1000 Seats is a new pilot project launched as part of the Grand Theatre’s London Proud initiative. 1000 Seats will offer ten seats for 1000 every performance in the Spriet Stage Series to first-time theatre goers. Londoners who have never been to the Grand — for any reason seats — are welcome to access tickets. We are opening our doors to share this extraordinary season with over 1000 new faces. Seats will be released two weeks prior to the first performance of each production.

For more information or to book seats under the 1000 Seats program, please contact a patron services representative in our Box Office at 519.672.8800 Thelma Rosner, She is lost forever, 1992, oil on canvas, Collection of Museum London. Purchase, 1992 EMBODIMENT December 23, 2017 to April 1, 2018 Ivey Galleries

In Embodiment, numerous works RELATED PROGRAMS & EVENTS by Canadian women artists come Adult Art Class: Acrylic Painting together to examine the creation of January 9 to Feb 13 social meaning on a variety of levels, from the personal to the global. The Exhibition Opening Reception January 28 exhibition addresses concepts of identity, and in particular, assumptions Culture Club Talk: A History of about the attributes, behaviours, and Women in Canadian Art roles of women. A number of selections February 8 also encompass the sense of belonging Family Day: found in groups, providing perspectives International Women’s Crafts on diverse communities, and even February 19 spiritual beliefs underpinning lived March Break Camp: Go Figure experience. March 12 to 16 Visit museumlondon.ca/exhibitions for full details

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GRAND Visionaries $5000-20,000+ Ambassadors’ Circle / Patrons’ Circle / Directors’ Circle Pace-setting support at this elite level will, in turn, provide you with the most exclusive and personalized benefits, designed to bring you up close and personal with the artists working at our theatre, as well as the Artistic and Executive Directors. Benefit highlights include: complimentary hosting opportunities for select performances, curated events with the Artistic and Executive Directors, Opening Night subscription, and more. GRAND Champions $2500-4999 london proud club Grand Champions have made a commitment to transforming the Grand, on and off the stage. As a Grand Champion, you will attend specially designed events with like-minded supporters that will unlock the backstage experience of play production. Benefit highlights include: reserved and preferred seating at all panel discussions, exclusive behind-the-scenes events, a season finale reception, your name directly associated with one of our 100 schools performances, and a personalized house account. GRAND Supporters $10-2499 Associates / Friends / supporters Your support will enable us to expand and enhance programming. Benefit highlights include: recognition in house programs, drink tickets, season poster collection, and complimentary coat checks.

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Thank you to those who gave in memory of John Keith McMartin. PROSCENIUM SOCIETY We are deeply grateful to the compassionate individuals Membership to the Proscenium Society is available to who have made the important and thoughtful decision to those who have chosen to make a planned gift in one or make a planned gift to the Grand Theatre. We honour them more of the following ways: through their membership in the Proscenium Society. • Bequests (donations through your will) • Listed Securites Barbara Belbeck Susan Nickle • Life Insurance Beneficiary Designation Lynn Davis Diane & Gary Alan Price • Charitable Remainder Trust and gifts of Cathy & James Dunlop Glenda Robinson Residual Interest Dr. Nicole Le Riche & Dr. E.J. Small • Charitable Gift Annuities John Howard Judy White • Life Insurance Policies, RRSP, RRIF Mary & Roger Lillyman Michael Wojtak

We remember the following members of the Grand Theatre family who have made a bequest to the theatre. Their legacy will help ensure that the Grand continues to flourish. Hazel E. Bell Theresa Cutler Beryl Ivey Donald Smith Marista Ateena Brooks Helen Ann Day Elizabeth Ann Jones Doris Spence (Mikolaski) Walter R. (Wally) Duffield Myrtle McCallum Elizabeth Stratton Robert Crawford Buck Innis Hammond J. Douglas McCullough A. M. Cuddy Barbara Horne Joseph Samuels To learn more, please contact Suzanne Lanthier, Director of Development at 519.672.9030 x 251 or [email protected] e together & conne Com ct at

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RESTAURANT DINING PRICE CONTACT INFO STYLE RANGE

Black Trumpet Restaurant 523 Richmond Street 519-850-1500 Casual blacktrumpet.ca Fine dining $$$ Villa Cornelia Restaurant 142 Kent Street 519-679-3444 Boutique Casual villacorneliarestaurant.com Fine Dining $$$ The Church Key Bistro Pub 476 Richmond Street 519-936-0960 Casual thechurchkey.ca Fine Dining $$$ Fellini Koolini’s 155 Albert Street 519-642-2300 Italian fellinikoolini.com Mediterranean $$$ Icarus Resto Bar 519 Richmond Street 519-601-7110 Mediterranean Fine icarusrestobar.com Dining $$$ Garlic’s of London 481 Richmond Street 519-432-4092 Upscale garlicsoflondon.com Rustic Cuisine $$$ Marienbad Restaurant 122 Carling Street 519-679-9940 Casual Save up to 20% on theatre tickets! marienbad.ca Fine dining $$$ Michael’s on the Thames 1 York Street 519-672-0111 Casual Treat yourself or someone special michaelsonthethames.com Fine dining $$$ Moxie’s Grill & Bar 441 Richmond Street 519-936-0745 519.672.8800 moxies.com Premium Casual $$$ Spruce on Wellington CALL THE BOX OFFICE TODAY! 731 Wellington Street 519-434-9797 Modern spruce-wellington.squarespace.com Fine Dining $$$ Toboggan Brewing Company 585 Richmond Street 519-433-2337 tobogganbrewing.com Brew Pub $$$ Winks Eatery 551 Richmond St. (on Albert) 519-936-5079 winkseatery.com Casual Dining Pub $$ $$: $10-$15 $$$: $16- $24 2017_Nash_13_outl.indd 1 11/30/2017 10:51:03 AM

Docket No. File Name 1020 2017_Nash_13 PUBLICAT ION:______Grand Theatre Artwork supplied by CLOSING: Dec 01/17 Rolex Canada Ltd.- Marketing Department INSERTION DATE:______Jan 15 - Feb 3, 2018 Contact: Ana Catucci, Director STARTED: Nov 30/17 Email: [email protected] AD SIZE: Full page bleed COMPLETED: Nov 30/17 TRIM: 11 ”W x 8.5”D INK-JET PRINTOUT IS NOT A BLEED: THIS ADVERTISEMENT MUST BE USED ONLY 0.25” around COLOUR-ACCURATE PROOF COLOUR: CMYK AND MAY HAVE BEEN FOR SPECIFIC PUBLICATION AND DATE, Rolex Canada Ltd., 50 St. Clair Ave West, To ronto, ON M4V 3B7, T: 416.968.1100 - F: 416.968.2315 REDUCED TO FIT PAPER. AND MUST NOT BE MODIFIED. 2017_Nash_13_outl.indd 1 11/30/2017 10:51:03 AM