THE BOY IN THE MOON

season sponsor Supporting the arts, locally. WELCOME

This production comes to us from Crow’s admiring the courage to tell a story truth- in . I am always fascinated fully. This play is a fine example of sharing by how stories can take many forms and be the ultimate paradox of life — joy through told in many ways. When I first heard about pain and pain through joy, one moment tears this play, I wondered how the writings of and the next moment laughter. While the The Globe and Mail journalist and author Ian story of the Brown family is unique, its heart Brown would move into the words of a play remains familiar in our inexplicable power by playwright Emil Sher, and then float into to love these people with whom we have been the hands of one of our most admired direc- fated to share our lives. tors, Chris Abraham. To take this curiosity As this play spread into my heart it affirmed further, Crow’s Theatre attracted a sublime so many things to me — be honest and dare acting company and creative team to tell the to let the power of love overtake you, no story on an intimate stage. matter how painful. I am beyond thrilled that Each year, through various donations When I first saw this production last year, Crow’s Theatre has brought its production to and sponsorships, we are committed I was overwhelmed. I remember a feeling I the Grand. to helping our local communities. don’t often have in the theatre — the feeling that I was holding my breath throughout — Welcome. We’re proud to be the 2018/2019 season holding on to every word and every thought, sponsor of the Grand Theatre. seeing the beauty through the pain and dennis garnhum artistic director

18-1626 The Grand Theatre_Ev2.indd 1 20/08/2018 12:06:49 PM Founded in 1983, Crow’s Theatre is an award-winning new-play theatre company. Over the 36 years since its inception, the mcmanus stage, november 20 to december 1, 2018 company has established itself as a trailblazer in developing and curating new contemporary Canadian theatre.

Under the artistic direction of Chris Abraham, one of Canada’s foremost and multi-award winning theatre and film directors, dramaturgs, and teachers, critics and audiences alike have THE BOY IN THE MOON consistently and enthusiastically received the organization’s artistic work. A Crow’s Theatre Production By Emil Sher Through partnerships with theatre companies and artists across Canada, both established and emerging, Crow’s is able to develop, Based on the book by Ian Brown produce, and often tour some of Canada’s most coveted and exciting new theatrical works. Crow’s has been fortunate to work cast with the likes of the National Arts Centre, the , the Segal Centre for Performing Arts, Porte Parole, among others. Hayley KELLY MCNAMEE Some notable Crow’s productions include ETERNAL HYDRA, THE Johanna LIISA REPO-MARTELL WEDDING PARTY, THE WATERSHED, SEEDS, TRUE CRIME, THE Ian DAVID STORCH BOY IN THE MOON, and I, CLAUDIA.

In 2017, Crow’s opened its inaugural venue, Streetcar Crowsnest, production team in the heart of Toronto’s East End neighbourhood, which is home Director & Choreographer CHRIS ABRAHAM to 1.3 million Torontonians. A new cultural hub for this vibrant Assistant Director MARIE FARSI community, Streetcar Crowsnest hosts Crow’s Theatre’s annual theatre season, as well as a variety of other programming, events, Set & Costumes Designer SHANNON LEA DOYLE and more. Crow’s Theatre is in the midst of its third season at Lighting Designer ANDRÉ DU TOIT Streetcar Crowsnest. Lighting Designer KIMBERLY PURTELL Video Designer & Production Manager REMINGTON NORTH Sound Designer THOMAS RYDER PAYNE Assistant Sound Designer DEANNA H. CHOI .” “ Every so often (…) Toronto’s Choreographer MONICA DOTTOR theatre creators and theatregoers get a space that they deserve — Stage Manager AJ LAFLAMME and the latest is Crow’s Theatre Producer KRISTINA MCNAMEE Streetcar Crowsnest THE GLOBE & MAIL The adaptation of The Boy in the Moon was commissioned by the Belfry Theatre and the Great Canadian Theatre Company. It was first performed at The Great Canadian Theatre Company, ,ON , on September 14, 2014. The development and production of the premiere was made possible by the Charles Dalfen Tribute Fund. The script was revised in 2017 with the support of Crow’s Theatre.

Emil Sher is a member of Playwrights Guild of Canada.

The Boy in the Moon is staged by arrangement with Kensington Literary Representation, 34 St. Andrew Street, Toronto, ON, M5T 1K6, 416.848.9648, [email protected].

The Grand Theatre is an active member of the Professional Association of Canadian Theatre (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.

The videotaping or other video or audio recording of this production is strictly prohibited. season crowstheatre.com sponsor A Daring & Immersive Experience PLAYWRIGHT’S NOTES

“If he could answer a question, what would you ask?” The Ian Brown we meet on stage asks this question about his son, Walker. His wife, Johanna Schneller, is ambushed, then replies: “I wouldn’t know where to start.” Ian’s book is fuelled by layered, tangled questions about Walker, about himself, about our relationships with the Walkers CABARET of the world. April 9 to 27 A stage is not the place for tidy answers. An audience shouldn’t step into a theatre expecting any. Life is layered and complicated, all the more McManus Stage so when it means weaving a boy like Walker into the fabric of our lives. Adapting The Boy in the Moon was more than simply a great privilege Opens April 11 linked to a deep responsibility. It was a reminder that theatre is a com- munal experience, and it is in community where we find the answers to season sponsor the questions —­ raw, necessary, urgent — laid bare on stage.

emil sher

THE MAKING OF CANADA’S MOST FAMOUS ROMANCE MAGGIE & PIERRE By Linda Griffiths with Paul Thompson A Timeshare Production Directed by Rob Kempson Starring Kaitlyn Riordan February 12 to 23 McManus Stage

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season sponsor extended Set & Costume Designer Jung-Hye Kim, Lighting Designer Oz Weaver, Sound Designer Steven Lafond. Chris Abraham Director & Choreographer GUEST ARTISTS Chris Abraham is a multi-award winning theatre and film director, dramaturg, and teacher who has worked with Canada’s foremost artists and , including the , Canadian Stage Company, Kelly McNamee Hayley Tarragon Theatre, Segal Centre, Centaur Theatre, Globe Theatre, and Kelly feels extremely privileged to be remounting this beautiful show. Theatre Junction, among many others. Chris has been the Artistic She has appeared in television series such as Murdoch Mysteries, 12 Director of Crow’s Theatre since 2007. At Crow’s he has directed chris Monkeys, Rogue, Sensitive Skin, and The Next Step Aftershow. Other the- abraham numerous award-winning plays including, The Watershed, The Seagull, atre credits include Domesticated (Company Theatre/CanStage); Steel Winners and Losers, Someone Else, Eternal Hydra, I, Claudia, Boxhead, and Magnolias (Highland’s Summer festival); and Legally Blonde (the lot). The Country. He has directed widely across the country including 7 sea- She is also one of three in an all-female, vocal, folk trio called Lunar sons at the Stratford Festival. Recently Chris directed (Stratford kelly mcnamee Bloom. You can follow them @lunarbloomband Festival); (Bard on the Beach). In 2003, Chris directed the film adaptation of I, Claudia (Gemini award). A graduate of NTS, Chris Liisa Repo-Martell Johanna later served as Co-Director of the school’s renowned directing program Liisa last appeared in Festival Players production of A Beautiful View. (2006–2010). In 2013, Chris was awarded the Siminovitch Prize, the select theatre credits include: What A Young Wife Ought to most prestigious prize for Canadian performing arts. Know (2b theatre company); The Boy in the Moon (Crow’s Theatre); The marie farsi Watershed, Seeds (Crow’s Theatre and Porte Parole); Other Desert Cities Marie Farsi Assistant Director (The Citadel Theatre); Creditors (Coalmine Theatre); Happy Place, Uncle Marie joins Crow’s for the 2018–19 season as Associate Artistic Director. liisa Vanya, Antigone, The Lesson, School for Wives, Top Girls (Soulpepper); elsewhere: Marie co-runs Babelle Theatre in , and recently repo-martell Eternal Hydra (Crow’s Theatre); Midsummer Night’s Dream (Stratford directed — All My Friends Are Animals (with Axis Theatre); This, Here; Festival); (Stratford Festival). Movements 1&2; Rivulets (Babelle Theatre, 7 Jessie Richardson Award nominations including Outstanding Direction and Production in Small David Storch Ian Theatre); Seabird is in a Happy Place (2015 winner of the oob Short Play for the grand theatre: Picasso at the Lapin Agile, Patience. for Festival/NYC). Surveil — A Comedy About Being Watched (Hip. Bang! - crow’s theatre: What Lies Before Us (Manitoba Theatre Centre, shannon lea Vancouver Fringe Artistic Risk Award); Crème Glacée (La Seizième); John doyle Citadel, Canadian Stage). recently: The Nether (Coal Mine/Studio & Beatrice (Vortex Théâtre); The 4th Graders Present an Unnamed Love- 180); Picture This, Noises Off (Soulpepper); Cake and Dirt, In the Next Suicide (Rumble Theatre). other: Marie was the recipient of the 2015 Room—The Vibrator Play, Misanthrope (Tarragon); Arigato, Tokyo (Buddies Prix Power Corporation du Canada as an emerging Franco-Canadian david storch in Bad Times). directed: Instructions to Any Future Socialist Government theatre artist. She was also an Assistant Director at the Stratford Wishing to Abolish Christmas (Coalmine Theatre); Bunsch-o-Munsch, Festival, Bard on the Beach and the Arts Club. Munsch-o-Mania (George Brown Theatre School); The Hours That Remain (Gwaandak Theatre, Talking Stick Festival, Native Earth, Saskatchewan Shannon Lea Doyle Set & Costumes Designer Native Theatre); The Road to Mecca (Soulpepper). Shannon is a scenographer from Toronto. She holds a bfa in Sculpture and Installation from ocad University and is a graduate of the Soulpepper Theatre Academy. In 2017 her work earned a Dora Mavor Moore award and she was named one of the top ten theatre artists in Toronto by now magazine. her design credits include: Girls Like That (Tarragon Theatre), John (The Company Theatre), The Last Wife (The Belfry Theatre / gctc), (Canadian Stage), The Boy in the Moon, Breath In Between (Crow’s Theatre), La Bête, Vimy, The Just, The Heidi Chronicles, The Anger of Ernest and Ernestine, The Dybbuk (Soulpepper Theatre); I’m Doing This For You (Hayley McGee), Merrily We Roll Along, Violet, Billy Elliot, Hairspray, Fiddler on The Roof (yes Theatre). Shannon is a co-founder of the sustainable design company Triga Creative. www.shannonleadoyle.com @shanoui @trigacreative André du Toit Lighting Designer Thomas Ryder Payne Sound Designer André du Toit is a lighting designer for live performance based in for crow’s theatre: The Boy in the Moon, The Wedding Party, A&R Toronto. recent designs include: The Orchard (Shaw Festival); Angels, The Watershed (with Porte Parole); The Seagull, Someone Else. else- Now You See Her, Mouthpiece (Quote Unquote Collective); Prince where: Designs for Stratford, Shaw, Mirvish, Soulpepper, CanStage, (Why Not Theatre); Jerusalem (Outside the March/Company Theatre); Tarragon, Factory, TPM, YPT, Modern Times, Aluna, BIBT, Nightwood, Animal Farm, A Delicate Balance, Vimy, The 39 Steps, (Soulpepper); Italian Toronto Dance Theatre, NAC, Theatre , GCTC, RMTC, and many andré du toit Mime Suicide, Three Red Days, Paolozzapedia, The Double (Bad New Days); others. Thomas has received 2 Dora awards and 17 nominations. thomas ryder Harlem Duet (Tarragon Theatre); Love and Information(Canadian Stage); payne The Assholes, As I Lay Dying (Theatre Smith-Gilmour); Asking For It (In Deanna H. Choi Assistant Sound Designer Association); Helen’s Necklace, Watching Glory Die, Tideline (Canadian for crow’s theatre: The Wolves (Sound Design & Composer); The Rep Theatre); FLORENCE (The Dietrich Group); Oraltorio (MotionLive Wedding Party. upcoming: The Penelopiad (Grand Theatre). else- Collective); This is The Point, Ralph + Lina (Ahuri Theatre). André has where: Paradise Lost (Stratford Festival); Happy Place (Prairie Theatre won three Dora Mavor Moore Awards for Outstanding Lighting Design Exchange); Pearle Harbour’s Chautauqua (Theatre Passe Muraille); 1837: and has been nominated for twelve. The Farmers’ Revolt (Blyth Festival); Midsummer (Thousand Islands Playhouse); The Monument (Factory); Selfie (Young People’s Theatre); kimberly purtell Kimberly Purtell Lighting Designer Mixie and the Halfbreeds (fu-GEN); Fortune of Wolves, The Boat, Laurier for crow’s theatre: The Boy in the Moon, A&R Angels, The Wedding deanna h. (Theatre New Brunswick); Ipperwash (Native Earth); LO, Or Dear Party, The Watershed (with Porte Parole); The Seagull, We Are Not Alone choi Mr. Wells (Nightwood); Rope Running Out (lemonTree). film credits (with Segal Centre); Someone Else. selected design credits: Breath include: Prey. other: Nominated for the Pauline McGibbon Award of Kings: Rebellion, Breath of Kings: Redemption, Bunny (Stratford Festival); (Ontario Arts Council). www.deannahchoi.com Mrs. Warren’s Profession, Our Town (Shaw Festival); Concord Floral (Canadian Stage); The Barber of Seville (Pacific Opera Victoria); All But Monica Dottor Choreographer Gone (Necessary Angel); Life Reflected (National Arts Centre Orchestra). Monica Dottor is a 9 time Dora Mavor Moore Nominated* director(1×), Kimberly is the recipient of the Pauline McGibbon Award, three Dora actor(3×) & choreographer(4×), & costume designer(1×). Credits: remington Mavor Moore Awards, and a meta. Nickelodeon’s Star Falls, Big Love (U of Windsor), Bears* (Punctuate north Theatre/Alberta Aboriginal Arts), The 94 Club (Crave Productions), The Remington North Video Designer and Production Manager monica History of Drinking in Cavan, Hero of Hunter Street, Bad Luck Bank Robbers, dottor Remington North is a Career Technical Director with a specialty in Who Killed Snow White (4th Line), Malaria Lullaby(Company Blonde), facility development. In the last four years he has opened two prominent Tweet Tweet, The Other, Rose, Sisters, Iphegenia, Glenn, A Tender Thing, Theatre Venues in Toronto as the inaugural td. Aside from management, Eurydice, Marat/Sade* (Soulpepper), Her2, The Penelopiad* (Nightwood) Remington is fortunate to still be able to explore theatrical and environ- upcoming: A Blow in The Face (Nightwood). ment design with so many wonderful creative teams. selected design credits: Video Design & Production Manager — The Boy in the Moon (Crow’s Theatre); Lighting & Video Design — True Crime (Castleton Massive& Crow’s Theatre); Intangible Trappings (Lester Trips Theatre); Naked Ladies (Too Much Information); Video Design — Oraltorio, A Theatrical Mixtape (MotionLive Collective). AJ Laflamme Stage Manager selected stage management credits: The Overcoat, Declarations, Liv Stein, Chimerica, Julie, London Road, The Arsonists, Red, Another Africa THE (Canadian Stage); A&R Angels (Crow’s Theatre); Musik für das Ende (Soundstreams); Onegin (Musical Stage Co./NAC); The Ballad of Stompin’ Tom (Sudbury Theatre Centre); Buddy:The Buddy Holly Story, Maggie & Pierre, You Are Here, Into the Woods, Pirates of Penzance (Thousand aj laflamme Islands Playhouse); Rocking Horse Winner (Tapestry Opera); All Shook DELICATE Up (Globe Theatre), The Unplugging, Bingo! (Factory Theatre); Waiting Room (Tarragon Theatre); A Beautiful View, The Africa Trilogy (Volcano Theatre);It’s A Wonderful Life, Kim’s Convenience, Spoon River, La Ronde, ART OF CREATING AN True West (Soulpepper); Tosca, La Traviata, Die Zauberflöte, Le Tragedie de Carmen (Highlands Opera Studio). upcoming: Next to Normal (The Musical Stage Company). ON-STAGE FAMILY emil sher Emil Sher Playwright stage work for the young and the once-young include: Johanna Schneller and Ian Brown’s Schneller and Kelly McNamee as their Sanctuary Bluenose Derailed Beneath the Banyan Tree The Book of Ashes , , , , , 20-year-old son, Walker, has what they call daughter Hayley. Hana’s Suitcase and his adaptation of by Karen Levine. He is delighted “a cocktail-party personality” — charm- The Boy in the Moon On the morning of its first preview at Crow’s that the Crow’s Theatre production of was selected ing, but multiple-sided. In the first year The Globe and Mail Theatre in 2017, the real-life couple and as one of the top 10 productions of 2017 by , and was of his life, Walker was diagnosed with their stage doubles (also parents) met to nominated for a 2018 Dora Mavor Moore Award for Outstanding New Cardiofaciocutaneous Syndrome (cfc), a The Boys of Vedem discuss the question of replication versus Play. works-in-progress include: , a play com- rare genetic disease that profoundly affects interpretation, fears related to ego, and the missioned by Seattle’s act Theatre based on the true story of impris- both physical and intellectual development. ian brown oned Jewish teens who created a secret magazine in the midst of the riddle of knowing and loving a child by way Holocaust; April, a new play Emil is developing for and with the divine Brown first documented his and Schneller’s of omission. experience raising Walker in a series of Globe Louise Pitre; and Then the Lyrics, a young adult novel. A laureate of the Liisa Repo-Martell: As an actor, I think and Mail features, which eventually became 2014 K.M. Hunter Artist Award in Literature, Emil’s debut novel for you always feel like an advocate for your his award-winning 2009 memoir, The Boy young readers, Young Man with Camera, was a Governor-General’s character. You want people to understand in the Moon: A Father’s Search for His Disabled Award finalist. www.emilsher.com them in the richest, most complex and truest Son. way. [With this role] I also feel protective in Ian Brown Author Some years later, playwright Emil Sher a way that I wouldn’t feel if I were playing a Ian Brown is an acclaimed roving feature writer for The Globe and Mail. adapted the book into a frank piece of verba- Chekhov character. He is equally well-known for his work on cbc Radio, where he was the tim theatre; from life, to column, to book, moderator of Talking Books for more than a decade, and hosted Sunday Johanna Schneller: It all started with Emil to stage. Morning and Later The Same Day, and on tvo. He is the author of four Sher — who was so respectful and gentle books, including, most recently, Sixty and The Boy in the Moon, upon As with Brown’s finely documented journey in his interviewing. I think both [Ian and which Emil Sher’s play is based. It won the rbc Taylor Prize, the bc to know Walker within the boundaries of I] were very moved by how careful every- National Award for Canadian Non-Fiction, and the Trillium Book Award, CFC, these versions attempt to make legible body was to make sure that we were fairly and was chosen by the New York Times as one of the ten best books of 2011. something that is anything but easy to read represented. or write. In his spare time Brown paints, reads, and skis in the back-country. He David Storch: It’s daunting knowing that the lives in Toronto with his wife, Johanna Schneller, and their two children. First performed at Ottawa’s Great Canadian actual Ian will be there. Theatre Company in 2014, Sher’s adaptation Ian Brown: It’s daunting on the other side, has now been produced by Crow’s Theatre, too, because the concern is that I will finally directed by Chris Abraham, starring David see myself objectively — what I did, how I Storch as Brown, Liisa Repo-Martell as behaved in those days. What I thought. Not [mortifyingly] cried. I expect that if I saw IB: How do you deal with that [in perfor- JS: You guys mentioned being changed by the “More than other it every day for the rest of my life, I would mance]? Something that’s too painful? process or the material. I wonder if you could probably cry. Mostly because of something put that into words? DS: It’s a funny question, because we’re that always makes me cry in any movie or projects, one is going through the pretend pain. We’re DS: Meeting Walker made this whole process play, which are people trying their best and imagining your struggle. We try to root it much more complex for me. He wasn’t what I not necessarily making it. inspired to let go somewhere in our own experience, and then had imagined. There was such light and life IB: Walker used to do this thing when he there’s the power of the imagination to meet coming out of him that it made all the ques- was in pain — hitting his head, which would you halfway. tions of the play that much harder to answer. of one’s ego and make it hurt more, and he would cry even LRm: Acting is an interpretive art. It’s never IB: There was a geneticist who I met at one harder. You could see that he was trying a blank page. We always have the blueprint point and I asked him, “Will I be able to find feel swept up in to fix it. It was the act of him trying to fix it of a script, so that’s the frame within which Walker’s mind?” And he said, “There are and thinking that he could make it better, we’re creating. Because it’s verbatim, there’s people who believe that the mind exists in therefore hurting himself more, that would the act of sharing a lot revealed in [playwright Sher’s] choice the genes, but [I] believe that the mind exists collapse my chest and make me start to cry. of words and punctuation that we don’t even between people.” But it was the hope of it. the story.” know about, or that we didn’t have to work Courage, humour, endeavour. “Those only LRm: It’s a really powerful, I would say, toward. exist when a brain engages with another LIISA REPO-MARTELL altered state to inhabit [Johanna and Ian]. IB: Every time I think about this, or talk to brain.” This is not some idiot like me saying More than other projects, one is inspired to [Liisa and David] even, I see it as an exer- it — this is a guy who has studied the mind let go of one’s ego and feel swept up in the act cise. There’s a way out of grief. I wrote the all his life! When you see [Liisa and David] to mention bizarre physical mannerisms — of sharing the story. It feels like we’re calling book because I was convinced that there was perform, you realize that’s exactly what’s head cockings, leg twistings, rocking back on people’s secret pain, and living it for them something important there. There is some- happening. and forth, all of which I’m sure David will in some way. capture brilliantly. thing about being with Walker that equalizes LRm: There are spooky elements to doing it. DS: Yes [the experiences] that are often too us, makes us the same. So we have to reinvent LRm: A fundamental truth is that we’re never That’s why I said “altered state,” somehow. painful or too private to actually feel you companionship. And I always thought that going to get it right. Our raw material is our- When you see people in extremis, dealing want to burden other people with, or what- was important; that he had something to selves, and our own experience and imagina- with something that doesn’t have any good ever other psychological hang-ups you have give on that level. Johanna, for a long time, tion. So it’s an act of empathy, but we’ll never answers, you understand that there are so about sharing such things. disagreed with me. She’d say, “He’s not reflect [your] exact experience. I think I’ve many problems like that. I think this piece Gandhi. His value does not come from help- approached it not trying to do impressions or JS: When the articles in The Globe first came requires you to constantly interrogate ing everybody else.” But when I see this, and I imitations, but as if it’s an alternate universe out, people kept coming up to us and saying, yourself, which is probably not true of a lot see these two, this effort, Emil’s writing and where all these things happened to me. “I read that story about Walker!” Then they’d of things. add, “My uncle’s sick,” or something. You Chris’s direction? That makes me think it’s IB: It’s like Trump. JS: I think you can get it right, and from what realize that everyone is carrying something not just something I say to make myself feel I’ve seen, you have. The way you get it right, better. It’s real. around, and nobody is talking about it. I JS: I was going to say that it’s like life! as actors, is to be true to the intention. And I think it’s good, not only in terms of kids like DS: That Walker is important. really feel that. I feel your desire to get at the Walker, but in talking about the imperfect- LRm: He did a charm offensive on us. He was truth of what Ian and Emil were saying about ability of life, and the need to connect with naomi skwarana at his kingliest, most gracious self. We had a from the globe and mail, may 2017 this story. It doesn’t matter if they’re not people in those imperfections. Emil making really delightful time. exact replicas of us. this play, and Liisa and David acting in this IB: The added irony of it is that you’re trying play, spreads what I’m going to fearlessly say JS: He took each one of them by the hand to give voice to this person, Walker, who has is goodness. and graced them. He has a cocktail-party personality. no voice. It’s all a bit of a — DS: I think it’s goodness, too, and I think an LRm: House of mirrors. essential quality of [Ian’s] writing is the gen- IB: Yes, and like most cocktail-party person- erosity toward the reader, expressed through alities, he has a totally other side [laughter]. JS: So far, everyone I’ve seen in these honesty about your lived experience; one of parts has played them so fully that I have the central facts of your life — Walker. 2018/19 season Book now and packages SAVE up to 25%

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