Spirit and Legacy of Black Music Curated by Beau Dixon

SPIRIT AND LEGACY OF BLACK MUSIC CURATED BY BEAU DIXON

PRODUCTION SUPPORT IS GENEROUSLY PROVIDED BY MARY ANN & ROBERT GORLIN AND BY SYLVIA SOYKA LAND ACKNOWLEDGEMENT Welcome to the Stratford Festival. It is a great privilege to gather and share stories on this beautiful territory, which has been the site of human activity — and therefore storytelling — for many thousands of years. We wish to honour the ancestral guardians of this land and its waterways: the Anishinaabe, the Haudenosaunee Confederacy, the Wendat, and the Attiwonderonk. Today many Indigenous peoples continue to call this land home and act as its stewards, and this responsibility extends to all peoples, to share and care for this land for generations to come. CURATED, DIRECTED AND MUSIC DIRECTED BY BEAU DIXON

THE SINGERS ROBERT BALL ALANA BRIDGEWATER BEAU DIXON CAMILLE EANGA-SELENGE GAVIN HOPE (STANDBY)

THE BAND

CONDUCTOR, KEYBOARD DRUM KIT BEAU DIXON PAUL ANTONIO ACOUSTIC GUITAR, ELECTRIC GUITAR PERCUSSION ROHAN STATON JOE BOWDEN

ACOUSTIC BASS, ELECTRIC BASS ORCHESTRA SUPERVISOR ROGER WILLIAMS

The videotaping or other video or audio recording of this production is strictly prohibited. A MESSAGE FROM OUR ARTISTIC DIRECTOR WORLDS WITHOUT WALLS Two young people are in love. They’re next- cocoon, and now it’s time to emerge in a door neighbours, but their families don’t get blaze of new colour, with lively, searching on. So they’re not allowed to meet: all they work that deals with profound questions and can do is whisper sweet nothings to each prompts us to think and see in new ways. other through a small gap in the garden wall between them. Eventually, they plan to While I do intend to program in future run off together – but on the night of their seasons all the plays we’d planned to elopement, a terrible accident of fate impels present in 2020, I also know we can’t just them both to take their own lives. pick up where we left off. The world has changed; we have changed. Something Sound familiar? It’s the story of Pyramus huge has happened to us and within us. and Thisbe, as told by the ancient Roman How do we express that together? poet Ovid, one of Shakespeare’s favourite authors. Most of us know it from the comical In one significant sense, 2021 sees us play-within-the-play in A Midsummer Night’s return to our roots. Two open-sided Dream – but it’s also essentially the same canopies, one erected at the Festival story Shakespeare told in Romeo and Juliet. Theatre and the other on the grounds of the new Tom Patterson Theatre, shelter It certainly resonates with us today. We appropriately distanced seats. Sharing know what it’s like to be isolated in our the same visually gorgeous design, these homes, separated from our loved ones, structures enable audiences to gather in reduced to interacting through online safety and comfort in the open air. equivalents of a hole in the wall. And we know about other barriers, too: walls of But more than that, they bring an inherently prejudice, mistrust and hatred that can be festive quality to the season. Just like our as fatal as any pandemic. original tent in 1953, these new canopies signal that a very special event is taking But there’s more to Ovid’s story. The blood place here in Stratford: a new artistic of the lovers, seeping into the ground, beginning. is absorbed by the roots of a mulberry bush – and turns its berries from white Meanwhile, we have also been able to to a deep and vibrant red. And with that make provision for limited-capacity indoor metamorphosis comes the families’ performances at the Studio Theatre. As realization of the tragedy their enmity always, your safety, and the safety of our has wrought. artists and staff, is our very first priority, and all three of our 2021 venues will operate That idea of metamorphosis, of awakening in strict accordance with public-health and new growth arising from loss, informs guidelines. our 2021 season. Our artists, like the rest of us, have been living through a time of But far from placing limitations on our seismic shock to their psyches – but it creativity, the need to work within the has also been a time of transformative parameters required of us – with shorter regeneration. It’s as if we’ve been in a performances, smaller casts (no more than eight actors per show) and physical distancing on stage – has stimulated our artists to new feats of imagination as they devise novel modes of performance. Our 2021 playbill encompasses Shakespeare, music, modern classics and new work, presented in ways you’ve never seen at Stratford before. And it’s not only the pandemic that has opened us up to new ideas and experiences. The Black Lives Matter protests of last summer brought home to us how far our society still remains from overcoming those other dividing barriers of systemic inequity and oppression. So our playbill celebrates difference as well as universality, widening our definitions both of a classic and of who we are. To learn more about our work on anti- racism please visit our website. The pandemic has taken a dreadful toll, both in lives and in lingering psychological effects. We at the Festival may be powerless against the former, but we have a crucial role to play in addressing the latter. If theatre has anything to teach us, itis about the resilience of the human spirit. Our new season was born of our determination to emerge from this crisis more inventive, more inclusive and more creative than ever. I hope it will excite you and engage you, bring renewed joy into your life and inspire you as we dream together of a world without walls.

Antoni Cimolino Artistic Director

PHOTOGRAPHY BY SCOTT WISHART SPONSORS

OUR THANKS TO THE FOLLOWING FOR THEIR GENEROUS SUPPORT Proud Season Partner New Play Development Support is generously provided by The Foerster Bernstein New Play Development Program Festival Theatre Support for the 2021 season in the Festival Theatre Canopy is Production & Program Sponsors generously provided by Daniel Bernstein & Claire Foerster Tom Patterson Theatre Support for the 2021 season of the Tom Patterson Theatre is generously provided by Supporter of Equity, Diversity and Inclusion initiatives, with thanks to Sylvia Chrominska.

Stratford Festival On Film Sponsor Performance Hosts Burgundy Asset Management, Famme & Co. Professional Corporation, Sommers Generator Systems, Sylvanacre Properties Ltd., The Woodbridge Company Limited

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Check online for details and for a schedule of events. STRATFORDFESTIVAL.CA/FORUM FREEDOM: CURATOR’S NOTES A VOICE FROM WITHIN

BY BEAU DIXON

Ever since the first slave ship landed at Jamestown in 1619, Black music has ultimately been about freedom. From the moans of the negro spirituals, the sonic tones of an electric guitar, or the fury of an urban rapper speaking the truth with two turntables and a microphone, people have been pulled in by these revolutionary sounds. Black music gives us a voice to express the joy and burden of our shared history. Truthfully, sometimes it feels like it’s the only voice we’ve been given. But what does it mean to be free? In a music industry predominantly run by white business executives, many Black artists were promised success, fame, and fortune – only to lose the rights to their own songs because of a lack of knowledge and support on how to protect their work. Decades of folk, blues, reggae, dancehall, and R&B hits suffer exploitation and re-branding as historically Black musical genres are absorbed into the mainstream, a trend that continues today. Perhaps most tragically, as these styles of music are appropriated, the voices of Black artists, and their social and political messages, are lost. Black music, at its heart, is about freedom – not just the idea of social and economic freedom driven by racial injustice, but a freedom of the mind and soul. It’s possible that the Black voice is singing for all people who are seeking freedom from within. It would be impossible to encapsulate in just one performance the influence Black music has had on popular culture. I must leave that up to scholars and academics who have been teaching it for decades. Instead, for the next ninety minutes, with the help of my talented brothers and sisters, we will lift up just a few of these voices – the lesser-known and forgotten artists, and the celebrated successes; shining a light on the history, culture, spirit, and legacy of Black music. TAKE PART IN EDUCATIONAL PROGRAMMING AND ACCESS RESOURCES FOR: STUDENTS AND TEACHERS YOUTH AND FAMILIES POST-SECONDARY STUDENTS AND SCHOLARS THEATRE ENTHUSIASTS OF ALL AGES!

LEARN MORE: stratfordfestival.ca/Learn | [email protected] | 1.800.567.1600

Education Support Partner FREEDOM ON THE SPIRITUALS OF FUNK, THE GOSPEL OF SOUL, THE HOUSE OF BLUES, THE SWING OF RAGTIME, THE JAZZ OF RAP: THE BACKBEAT OF FREEDOM AND/OR THE RHYTHM OF LOVE….

BY GEORGE ELLIOTT CLARKE

Popular music is largely Black – I mean, folk music and Black forms of dance and African – in its roots, or in its reaction to speech (such as the Southern drawl), giving – I mean, against – the African (or Black) birth to country and western by the end of influence. If one points to country and the nineteenth century. (By the way, the western, or positions Nashville versus minstrel shows and blackface performers Motown, as a form of popular music were just as popular in Canada, giving rise particularly popular with persons of to homegrown country and western music Caucasian persuasion, one still has to make stars such as Hank Snow.) room for an African instrument at its very heart, namely, the banjo. Of course, one might want to claim that classical music is untouched by Black or The hoedown instrument that sets cowboy African influence, but some composers boots tappin’ and gingham skirts twirlin’ were Black – like Samuel Coleridge-Taylor is derived from West African musical – or may have been part Black, such as a devices that are essentially a gourd or certain Ludwig van Beethoven. Certainly, shell belly with a long, stringed, stick- Beethoven’s Kreutzer Sonata (1804) was formed neck. The banjo was in use among originally entitled the Bridgetower Sonata, enslaved African peoples in the Caribbean for the Polish-born Black violinist George as early as the seventeenth century but Polgreen Bridgetower, who first debuted was globally popularized by an African- the piece and made a signal alteration in it Canadian duo, the Fabulous Bohee that pleased Beethoven. However, shortly Brothers – James and George – of Saint thereafter, the two had a public fistfight in John, New Brunswick, in the later Victorian London, England, because they were rivals era. The Bohee Brothers took the banjo to for the favours of the same fair maiden. As England and counted royalty as their pupils, a result, Beethoven changed the title of the and became the first “African Americans” sonata. to be recorded by Thomas Alva Edison for his brand-new invention, the phonograph, To think of opera is, again, to encounter circa 1890–92. Black characters such as Giuseppe Verdi’s Otello (1887), of course, or to encounter the The banjo was first popularized among racist erasure of Percival’s Black brother, white Americans in the 1830s and 19-teens, Feirefiz, in Richard Wagner’s Parsifal (1882). thanks to the touring minstrel shows and The singular American operas, such as blackface comedy troupes whose skits the Gershwins’ Porgy and Bess (1935), and sketches and Dixie ballads blended combine the rhythms of jazz and European melody. Importantly, contemporary slang for semen.) They were joined in these Broadway musicals derive from Black house bands by Cajun fiddlers, who were, ragtime “operas” such as Scott Joplin’s of course, descended from the Acadians Treemonisha (1911) or Eubie Blake’s Shuffle deported from Nova Scotia in 1755. Along (1921). Playing the piano as a percussion Jazz, ragtime, and blues have all directly instrument gave rise to stride piano influenced other forms of popular music, (boogie-woogie) – and thus ragtime – with such as rock ’n’ roll, but jazz is possibly the its particularly complex, percussive – most radical Africanization – so to speak – “syncopated” – melodies. Not only that, of classical European musical practices, and but Miles Davis, the great jazz trumpeter, it derives – just like country and western said that the most important instrument and later rock ’n’ roll – from the African in his bands was always the drum; and population base distributed across the so one may be tempted to hear even the Americas due to the Western European snorts and brays and whines and whinnies prosecution of the transatlantic slave trade, of trumpet and saxophone as the ethereal beginning in 1492 with Columbus’s invasion equivalents of drum and cymbal. (Note of the so-called New World and enduring that African-American “marching bands” well into the later nineteenth century. feature brass and woodwind instruments tooted and blasted as if they are percussive The simplest way to understand jazz is cannons.) that it imposes an African sense of rhythm or time upon European melody. Although But jazz is ultimately based on the snapping European composers have generally or popping or stretching apart or cutting relied upon a metronomic sense of time or up of European melodic approaches via measured rhythms, African hands and feet an African sensibility, wherein melody is and ears had evolved a complex physical enslaved by rhythm, is forced to serve sense of polyrhythmic forms based on the rhythm. Even vocalization is changed up, drum and dance. These traits had been so that notes become a kind of infinitely carried into enslavement – perhaps most silly putty, as a singer applies melisma notably in New Orleans, where enslaved to the vowels and/or syllables of a song. Africans were allowed one day off, Sunday, No wonder, then, that scat singing from their coerced labour, and so many develops as a surreal accompaniment to gathered on that day in Congo Square (now song and instruments all forced to dance Louis Armstrong Park) to drum and dance. at rapid tempo by the drum-besotted instrumentation. (Come to think of it, scat Also crucial to the eventual development singing is likely the basis of doo-wop; then of jazz out of New Orleans is the truth that again, perhaps even the yodel in country not only was that city a major slave market, and western is indebted to the Black with enslaved Africans arriving from Africa, Southern drawl.) Because all instruments the Caribbean, and South America, but in a jazz combo are forced to react to the it was also the slave market serving the drum, bebop is born. sexual desires of white men. After the end of slavery in America by 1865, the sexual Swing – the big-band symphonic sound slave market became instead a series (with Dixieland jazz as a corollary) – of brothels, in which Black musicians, to represents, arguably, an attempt to tame entertain the guests, began to play the and comfortably stretch the initial, dynamic piano – not as a string instrument but as jitterbug effect of “hot” jazz. Then, stripped a percussion instrument, wherein every down to an emphasis on melody (over key is a little drum. (The word jazz is itself rhythm), in the equally stripped-down Beatnik-era jazz combos, “hot” jazz chills and remembered and sung, and lines and to “cool” jazz. To understand the difference verses could be altered as needed, even between bebop and cool jazz, juxtapose plantation by plantation. (Here is the basis Davis’s version of “Alone Together” (1955) for improvisation in jazz.) with that recorded by Chet Baker (1956). Intriguingly, Davis, who came of age in the Out of the need to express resentment bebop era and then pioneered cool jazz for separation from children or spouses, (alongside Canadian composer Gil Evans), and to express longing for freedom and desired, in the late 1960s, to marry jazz and salvation, came the collective inspiration funk (the gritty, thumping, earthy form of from which the spirituals arose. African- soul – less Motown and more Memphis). American polymath W.E.B. Du Bois called He had a conversation with Jimi Hendrix them “sorrow songs” (1903) because they (African-American pioneer of electric guitar seem, at their base, to be a mournful drone, and hard rock who had strong connections a melodically drawn-out moan: so plangent to Vancouver, B.C.) about doing an album and aching, funereal and bitter. Even the together that would also involve James celebratory “Christmas” song “Go Tell It Brown. Unfortunately, Hendrix died in 1970, on the Mountain” is closer to a dignified and so that potentially historic grouping anthem than it is to rousing cheer. Then never happened. But Davis did borrow again, if one thinks of the voice in the Brown’s drummer to get the funk groove spirituals as being akin to an organ, one that he needed for his jazz fusion (jazz with can realize the roots of gospel (the song rock ’n’ roll) masterpiece, On the Corner of individual salvation) in the spirituals; (1972). indeed, gospel is a genre of music heavily dependent on organ and piano as well as To go back to blues, one has to again go drums. (Think of Mahalia Jackson or Aretha back to the enslavement of Africans in Franklin or many soul singers of the 1960s Dixie (but also the land of the North Star who developed their modalities in Black – lest we forget). Slavery was a system churches.) But what also comes out of the of violence-enforced mass forced labour collectivized oppression that infuses the that was necessary for practically every spirituals is the individual experience of form of resource extraction until the pain and loneliness that informs the blues. inventions of labour-saving machinery. To grow and harvest the sugar cane to The blues is such a lonesome music, it produce sugar, or to grow and harvest the is often – classically – one voice self- cotton for textiles, or to mine the precious accompanied by guitar. Whereas the metals that could fund the expansion of spirituals are chants and shouts for imperial navies, mass enslavement of freedom, for liberty; the blues are a cry human beings – without much care for their for love – true love. Under enslavement, health and welfare – and also relying upon the opportunity for Black people to form rape, torture, massacres – was deemed a life-long bonds with parents, children, or proper business practice. Naturally, sound lovers was extremely limited. Once freed, resistance to this most vile and primal they entered an industrial world which still form of capitalism developed among the often separated them from family members enslaved, and they used what they had at or companions, and one in which they were their immediate disposal – their limbs (to still subject to poverty and injustice. The clap, to stomp) and their voices (to holler, to blues are the individual secularization of cry, to pray, to sing). Because their labour the religiosity of the spirituals. Indeed, as was communal, group songs could be emancipated African Americans left the invented to develop a rhythm and melody spirituals of Dixie behind and drifted north to ease their tasks; these songs were heard up the Mississippi River, so did the spirituals morph into the blues, the perfect music of blues, rock ’n’ roll is about sexuality, both the big-city ghetto with its alienated and the bliss and the hurts of intimate love or weary proletarians and lumpenproletarians, loving. (Hear also disco – the “cymbalic” or finding solace in whisky and a whining hi-hat soundtrack of the bar-hopping “Me singer and a bottleneck-whiny guitar. Generation.”)

The spirituals seek deliverance; but the The sexual vibe of much Black music is blues seek somebody who’ll love you the precisely why it has almost always been way you deserve to be loved. Gospel is “sanitized” by Caucasian performers and/ the joy of salvation; but the blues is the or censored by Caucasian authorities. Black sorrow of love undone. Jazz was born in the forms of musical expression – reggae, raunchy couplings available in bordellos; calypso, jit, etc. – are almost always but blues is about couplings that never turn reflective of the need for liberty and the into sustained love. The blues develop – yearning for love. with gospel – with the Black underclass – either in the industrial cities like Chicago Now, let us consider rap, which is usually or in the backwater, oppressive hamlets collectivist – as with spirituals or doo-wop down the Mississippi and into Dixie. One – and thus a product of group improvisation of the first recording stars was Ma Rainey, around a melody or beat. Or rap is a blues songstress, and she sold a million individualist, wherein the singer/speaker records – but many went to Black people is celebrated for dynamic lyrics, wherein who did not own phonographs. But folks almost any two words can be forced to bought Rainey’s records – those Black rhyme by eliding syllables, treating vowels discs – because they knew the voice in the to melisma, and/or rhythmically distorting grooves was the voice of their troubles, pronunciations. (So rap is kissin’ cousin to their hardships, their love-broken hearts Jamaican dub poetry and to Anglo spoken and/or lovelorn hearths. word.) Rhymes are often polysyllabic (a nod to Tin Pan Alley and Broadway), Take the stride piano of ragtime, the staccato (the voice used percussively), and melisma of the spirituals (or gospel so playfully improvised or attenuated that or blues), the scat singing of jazz, the rap recitative can begin to sound like scat percussive playing of instruments in jazz, singing (a borrowing from jazz). Or verses and add doo-wop, and you end up with unfurl rapid-fire but discernible wit (jive) early rock ’n’ roll, which is a Black music and commentary on personal or socio- at its birth (but “covered” by Caucasian political ills. (In this sense, rap connects singers and musicians – and then has to blues and calypso.) Another innovation been so covered up that now it’s rare to in rap is its application of percussion to consider Black artists as being rock-’n’- musical technology: lips “pop” words or roll performers). Like ragtime, jazz, and sounds into the mic, or vinyl records are

2021 PRODUCTIONS STREAMING THIS FALL WATCH FOR DETAILS: STRATFORDFESTIVAL.CA/ATHOME manually moved back and forth upon turntables to produce rhythmic scratching noises. That rap has become the major musical form globally – and has held that position for more than forty years – despite attempts to censor its often anti- Establishment, misogynist, self-hating (“n-word” everywhere), homophobic, pornographic, and foul-mouthed rants or diatribes (a censorship effort that reminds me of the vociferous campaigns against rock ’n’ roll), says that rap remains a powerful and legitimate musical form for group and individual expression: a kind of bullhorn of the street and bully pulpit of the boudoir. Noticeable too is the truth that its inherent, subversive Blackness ain’t nevah evah been suppressed…. P.S. According to musicologist Timothy Kimbrough (1960–), European musical notation cannot accommodate Black music’s special emphasis on rhythm and percussion. He has invented his own notation system to suit African-derived musical performance. See U.S. Patent #6977334.

George Elliott Clarke is E.J. Pratt Professor of Canadian Literature at the University of Toronto. He is is an Officer of the Order of Canada, served as the Poet Laureate of Toronto from 2012 to 2015 and was the Canadian Parliamentary Poet Laureate from 2016–2017. F REEDOM SONGS “Freedom for My People” “Slave Driver” By Sterling Magee and Adam Gussow By Bob Marley I. NEGRO SPIRITUALS “Redemption Song” By Bob Marley “Trouble So Hard” By Vera Hall “Home is Where the Hatred Is” By Gil Scott Heron “Hold On” Traditional “Inner City Blues” By Marvin Gaye and James Nyx “Follow the Drinking Gourd” Arranged by Eric Bibb “Someday We’ll All Be Free” By Donny Hathaway II. SILENT VOICES “What’s Going On?” “When the Levee Breaks” By Marvin Gaye, Renaldo Benson By Kansas Joe McCoy and Memphis Minnie and Alfred Cleveland

“Hound Dog” “Black Man” By Mike Stoller and Jerry Leiber By Stevie Wonder and Gary Byrd “Midnight Special” ENCORE By Lead Belly “Lift Every Voice and Sing” “Crossroad Blues” Traditional By Barend Fransen, Robert Johnson and Ferdinand Lancee “Change is Gonna Come” By “Take My Hand, Precious Lord” Sam Cooke By Thomas Dorsey “Freedom” “I Wish I Knew By Arrow Benjamin and Carla Williams How It Would Feel to Be Free” By William E. Taylor and Dick Dallas READINGS III. MESSAGE LOST IN THE VOICES “Emancipation Poem” By Haui (Howard J Davis) “Pata Pata” From My Wide Sargassi By Miriam Makeba and Jerry Ragovoy “What is Freedom?” “One Love” By Lance Dixon By Bob Marley Quotations from Ralph Ellison and Langston Hughes “Zimbabwe” With thanks to George Randolph By Bob Marley

COP Y RIG HT & P UBLISHING

“Freedom for My People” published by Gussow Music. “Trouble So Hard,” “Take My Hand, Precious Lord” and “When the Levee Breaks” published by Warner Chappell Music. “Hound Dog” published by Warner Chappell Music and Universal Music Publishing Group. “Midnight Special” published by TRO Essex Music Group and Global Jukebox/Cultural Equity. “Crossroad Blues” and “Pata Pata” published by Concord. “Someday We’ll All Be Free,” “Zimbabwe,” “Slave Driver,” “Redemption Song” and “One Love” published by Universal Music Publishing Group. “Inner City Blues,” “What’s Going On?” and “Black Man” published by Sony/ATV Music Publishing. “Home is Where the Hatred Is” published by Red Brick Songs. “Change is Gonna Come” published by ABKCO Music. “Follow the Drinking Gourd” published by B-Connected. THE SING ERS THE BAN D

Robert Ball Conductor, Keyboard Alana Bridgewater Beau Dixon Beau Dixon Acoustic Guitar, Electric Guitar Camille Eanga-Selenge Rohan Staton Gavin Hope (Standby) Acoustic Bass, Electric Bass, Orchestra Supervisor Roger Williams Drum Kit Paul Antonio Percussion Joe Bowden

A R TIS TIC C REDIT S

Director, Curator Script Consultants Producer and Music Director Lance Dixon David Auster Beau Dixon Robert Ball Casting Director Alana Bridgewater Beth Russell Lighting Designer Camille Eanga-Selenge Creative Planning Director Kaileigh Krysztofiak Gavin Hope Jason Miller Sound Designer Cultural Consultant Technical Director Peter McBoyle Tsholo Khalema Robbin Cheesman

Music Arrangements Stage Manager Cabaret Series Development Beau Dixon Melissa Rood Franklin Brasz Music Preparation Production Assistant Esther Jun Rebecca Beith Michael McClennan Director of Music Production Stage Manager Franklin Brasz Assistant Lighting Designer Cynthia Toushan Music Administrator Christian Horoszczak Janice Owens BACKSTAGE PRODUCTION CREDITS

Head Carpenter Director of Production Technical Director Nick Glenn Simon Marsden – Scenic Construction Head Electrician Associate Director of Andrew Mestern Chris Knarr Production Technical Direction Assistants Head Property C.J. Astronomo Laura Coleman Zach Fedora Tim Hartman Scene Shop Manager Frank Incer Head Sound Evan Bonnah-Hawkes Transportation Michael Walsh Associate Technical Director Dirk Newbery David Campbell Crew James Thistle Wayne Nero Production Administrator Wardrobe Show Head Carla Fowler Maxine Tubbe

PROPERTIES SCENIC CARPENTRY COSTUME

Head of Properties Head Carpenter Costume Director Dona Hrabluk Ryan Flanagan Michelle Barnier Assisted by Assistant Head Carpenter Sewer Michelle Jamieson Paul Cooper Emma Pawluk Shirley Lee Assisted by Costume Buyer Properties Buyer Simon Aldridge Erin Michelle Steele Kathleen Orlando Paul Hyde Warehouse Coordinator Scott King Kimberly Catton Corey Mielke SCENIC ART John Roth Head of Wigs and Makeup Jody Satchell Gerald Altenburg Head Scenic Artist Scott Schmidt Duncan Johnstone Mark Smith Cliff Tipping Assistant Scenic Artist Michael Wharran

ACKNOWLEDGEMENTS

Special thanks to Dr. David Thompson, MD, Stratford; Dr. Jennifer Anderson, MD, MSc, FRCSC, St. Michael’s Hospital, Toronto; Heather Gillis, PT, M.Sc. Anat., FCAMPT, Darcy Trefiak, PT, B.Sc.P.T., FCAMPT, Physiotherapy Alliance, Stratford; Dr. Simon McBride, MCISc, MD, London Health Sciences Centre Vocal Function Clinic; Dr. Brian Hands, MD, FRCSc, Vox Cura voice care specialists, Toronto; Dr. Leigh Sowerby, MD, MHM, FRCSc, St. Joseph’s Hospital, London; Dr. John Yoo, MD, London Health Sciences Centre; Dr. Thomas Verny, MD, DHL, DPsych, FRCPC, FAPA, Stratford; Dr. P. Neilsen, Goderich; Dr. Laurel Moore, MD, Dr. Sean Blaine, MD, Dr. Erin Glass, MD, Dr. Jacob Matusinec, MD, STAR Family Health Team, Stratford. Pianos tuned and maintained by Stephenson Concert Group.

The videotaping or other video or audio recording of this production is strictly prohibited. THE COMPANY

PAUL ANTONIO ROBERT BALL JOE BOWDEN ALANA BRIDGEWATER BEAU DIXON

PAUL ANTONIO 2021: Drum Kit for Freedom. Stratford debut. After attending Humber College for drums and percussion, Paul found himself busier than expected, playing for dozens of local artists/bands, and notably becoming the first-call drummer for artists in the South Asian and Middle Eastern communities. In the 90s, he was a founding member of the band Shade, which toured Canada, USA and Mexico, and boasted a music video in-rotation on MuchMusic for “Monday Morning.” Paul has played for Juno Award winner Jesse Cook, Charlotte Church on The Jay Leno Show, Jully Black, Saukrates, Gord Depp, and Juno Award winners Mike Occhipinti and Paul Neufeld (NOJO). When not on the road, Paul would keep himself busy teaching drums and doing recording sessions. He eventually started his own band, Lady Kane, which mainly performed at corporate events, weddings, and enjoyed a three-month tenure at the Grand Hyatt in Muscat, Oman. ROBERT BALL 2021: Singer in Freedom. Second season. Stage/Theatre: A Little Black Lie – Tarragon Theatre; Songs for a New World – Chestnut Street Playhouse; various review shows – Royal Caribbean Productions; Funkentine Rapture (vocal director) – CUNY College; Dream Girls – Brooklyn Parks Department. Film/TV: Lead, Cuckoo (short); lead, A Little White Lie (short); principal, Fatal Attraction (TVOne). Concerts: Up Close and Musical – Stratford Festival, Blockorama – Toronto Pride, Friday Night Live – ROM, Soul in the City – Casa Loma, Beaches Jazz Festival, Capital Pride, Brooklyn Pride, Jamaica Pride, 12.12.12 and Reflections (cabarets) – Triad Theatre, NYC. Opened for: Mary Mary, CeCe Winans, Shawn Desman, Maestro, Keshia Chante, Mya, Big Freda, Nikki Yanofsky. Recordings: Clark Sisters – Lifetime movie; “Running Back to You” and “Encore” featuring Robert Ball – Gfuzion; Need – EP; “Mon Amour” and “Love’s All” featuring Robert Ball – Terry Jahz Lewis. JOE BOWDEN 2021: Percussion for Freedom. Stratford debut. Joe Bowden performed in multiple episodes of the hit series Frankie Drake Mysteries and various commercials, including 2021 Pride, Destination Canada and Toronto Raptors. Canadian Stage’s 2009 production of Ain’t Misbehavin’, 2011 Syncopation: Life in the Key of Black gala concert, a fundraiser for the Archie Alleyne Scholarship fund. Joe has performed for five seasons as a member of the NBA Champion Toronto Raptors’ 6ix Stix Bucket Band. 2021 nominations for two ECMA awards for his fourth album, Roots – Tales of the Urban Yoda. ALANA BRIDGEWATER 2021: Singer in Freedom. Stratford debut. Soulpepper: Ma Rainey in Ma Rainey’s Black Bottom, Wild Woman in Rose. Elsewhere: Motormouth Maybelle in Hairspray (Charlottetown Festival); various in Spoon River (Signature Centre, NYC). Film/TV: Mysticons, Total Dramarama, Hannibal, Wayne. Radio/Recordings: Narrator in The Journey to Jazz and Human Rights (Jazz FM Radio); Mr. King Dice in Cuphead. Training: University of Windsor Music Theatre Program. Awards: NYF Radio Awards Gold Award for Journey to Jazz and Human Rights and Rose (2020). Online: AlanaBridgewater.ca. Et cetera: Love to NLM, Tanisha and Mom. BEAU DIXON 2021: Curator, director and music director of and Singer, Keyboard in Freedom. Second season. Stratford: Guys and Dolls, HMS Pinafore. Elsewhere: Ghost Quartet (Crow’s Theatre); Marjorie Prime, The Father (Coal Mine Theatre); The Colour Purple (Neptune Theatre); Hamlet, Harlem Duet (Tarragon Theatre); Ma Rainey’s Black Bottom, 27 Club, Secret Chord (Soulpepper Theatre); Motherf@#!er with the Hat (Alberta Theatre Projects); As You Like It/Titus Andronicus (Canadian Stage/Shakespeare in High Park). Film/TV: Untouchable: Power Corrupts (Discovery), Save Me (CBC), The Expanse (Amazon/Alcon), Station 11 (Paramount/HBO). Radio/Recordings: Music director/composer for Pippin ‘Reimagined’ (Sheridan); composer for The Big Sleep (Vertigo Theatre); sound design/composer for Poison (Coal Mine), Detroit Folk (solo album/independent), From Here to East City (solo album/independent), available on iTunes. Training: Self-taught. Awards: Two Dora Awards, two Toronto Critics Awards, Calgary Critics Award. Online: beaudixon.com. Et cetera: Beau dedicates this season to his family. THE COMPANY

CAMILLE EANGA-SELENGE GAVIN HOPE ROHAN STATON ROGER WILLIAMS

CAMILLE EANGA-SELENGE 2021: Singer in Freedom. Third season. Broadway: The Book of Mormon. Stratford: Slightly in Wendy & Peter Pan, Ensemble in Monty Python’s Spamalot, Chiffon in Little Shop of Horrors, Ensemble in Billy Elliot the Musical. Regional: Radio in Caroline, or Change (Musical Stage/Obsidian/Winter Garden); Dorothy in The Wizard of Oz (Ross Petty Panto/Elgin); Home For the Holidays (Big HQ); The Book of Mormon (Chicago, Melbourne); Grease (Irregular Entertainment/Winter Garden); Ghost: The Musical (Drayton Entertainment); Felicia in Queen for a Day: The Musical (April 30th Entertainment); Little Inez in Hairspray (Capitol Theatre). Film/TV: Sleeping Together (FREEFORM), The Boys (Amazon/Sony Pictures TV). Training: Bachelor of Music Theatre Performance from Sheridan Institute. Online: @camilove90. Et cetera: Camille is delighted to be returning to Stratford! She sends love to her mom, family and friends, and the Talent House for their incredible support.

GAVIN HOPE 2021: Standby in Freedom. Stratford debut (and thrilled about it!) Canadian Stage: The Tempest, As You Like It. Mirvish: Simba understudy, Ensemble, The Lion King; Collins/Benny understudy, Ensemble, RENT. Elsewhere: Peter, Living With Henry (NYMF); Ben, Smokey Joe’s Café (Stage West Calgary); California Dreaming (Stage West Mississauga); Falstaff, Carousel, Manon Lescaut, Romeo & Juliet (Calgary Opera). Radio/Recordings: Two-time Juno-nominated member of Canadian acapella pop quartet The Nylons (six studio albums), Juno-nominated top 40 (Anything Like Mine) and vocal jazz (For All We Know) recording artist. Headlining vocalist for Jeans ’n Classics – symphonic pop concerts in USA and Canada (Earth, Wind & Fire, Motown, Stevie Wonder, Prince and more). Film/TV: The Natalie Cole Story, Blues Brothers 2000, Secret Path (with Della Reese), Queer As Folk, The Big Beat Heat, Mr. Rock ’n’ Roll: The Allan Freed Story. Training: Music, University Of Calgary, multiple choral ensembles and self-taught.

ROHAN STATON 2021: Guitars for Freedom. Stratford debut. Based in Toronto, Canada, Rohan is known around town as a dynamic guitarist/performer. He’s performed with popular artists such as Jully Black, Soular, Dione Taylor and One, to name a few. He’s shared stages and studios with some of the world’s top session players for award shows, film soundtracks, TV series and CD projects. Career highlights include live stage performances with funk guru George Clinton, The English Beat, Jevetta Steel , Ken Tobias and Sebastian Bach. When not performing on stage or in studio, he composes/produces scores for film and TV shows such asMutant X, Style by Jury and Brides of Beverly Hills.

ROGER WILLIAMS 2021: Basses for Freedom. Stratford debut. Roger Williams is a Toronto-based, Jamaican-born musician who calls on the music of his forefathers. From jazz, soul, R&B and the blues to reggae and ska, it burns through the smoking bass lines of his upright and electric basses. A highly regarded, sought-after musician, he has toured extensively with many artists such as Jully Black, Divine Brown, Ernest Ranglin and Shakura S’Aida, nationally and internationally. He has shared stages and supported artists like Buddy Guy, Ronnie Baker Brooks, Lee Oskar, Ruthie Foster, Bijan Mortazavi, Siavash Ghomayshi and Tommy Castro, to name a few.

Up Close and Musical AVAILABLE NOW ON STRATFEST@HOME ARTISTIC COMPANY

CHRISTIAN HOROSZCZAK KAILEIGH KRYSZTOFIAK PETER McBOYLE MELISSA ROOD

CHRISTIAN HOROSZCZAK 2021: Assistant lighting designer of Why We Tell the Story, You Can’t Stop the Beat, Play On!, R + J, Edward Albee’s Three Tall Women and Freedom. Stratford debut. Elsewhere: Lighting design for All the Sex I’ve Ever Had (Mammalian Diving Reflex; Tokyo, Kyoto and Frankfurt),Entrances and Exits (Howland Company), Kiviuq Returns (Qaggiavuut!/Banff Centre). Assistant lighting design forFall for Dance North. Training: National Theatre School, Banff Centre, Queen’s University. Et cetera: Christian is endlessly grateful for the years of generosity and love from family, friends and mentors throughout his life. Much love to Ryan and a special dedication to Tim Fort.

KAILEIGH KRYSZTOFIAK 2021: Lighting designer of Why We Tell the Story, You Can’t Stop the Beat, Play On!, Freedom and Finally There’s Sun. Ninth season. Stratford: Lighting designer, Othello, The Comedy of Errors. Assistant lighting designer, six seasons (2011-2016). Selected credits: A Chorus Line, Tommy, A Word or Two, Jesus Christ Superstar. Studio Theatre technical director, 2013. Elsewhere: Honour Beat (Grand), After the Fire, The Particulars (Punctuate, The Theatre Centre); Kinky Boots, Newsies (Drayton Entertainment); Salt-Water Moon (Mirvish, Factory, Why Not); Wildfire (RARE, Soulpepper); The Emancipation of Ms. Lovely, The Breath in Between (Crow’s); Superior Donuts (Coal Mine); Laurier (Charlottetown Festival, TNB); Beaver (Storefront); Noises Off (Soulpepper); A Line in the Sand, The Crackwalker (Factory Theatre); Hana Hashimoto (Carousel Players). Training: National Theatre School of Canada. Et cetera: Course Lecturer at Ryerson University, Instructor at the NTSC, General Manager of Lights On Stratford, a two-time Dora nominee and a 2020 Pauline McGibbon Award nominee.

PETER McBOYLE 2021: Sound designer of Why We Tell the Story, You Can’t Stop the Beat, Play On!, Freedom and Finally There’s Sun. 26th season. Stratford (selected): Over 60 productions including Billy Elliot, Little Shop of Horrors, The Music Man, The Rocky Horror Show, Guys and Dolls, A Chorus Line, Shakespeare in Love, Crazy for You, A Word or Two. Elsewhere: Peter has worked at most major Canadian theatres and in US cities such as New York, Las Vegas, Boston, Los Angeles, Dallas and Atlanta. Broadway credits: Come Fly Away and Barrymore. Tours include Sister Act, Catch Me If You Can, Come Fly Away, Legally Blonde and West Side Story. Recent projects include Little Canada (Toronto), Immersive Van Gogh (Canada/US), Battle of the Blades (CBC). Training: Bachelor’s and Master’s degrees in Music (McGill). Awards: Suzi (Atlanta), Come Fly Away; Dora nomination, Caroline, Or Change, Fire. Et cetera: Thanks to Meghan, Ella and Beatrice for their unending support.

MELISSA ROOD 2021: Stage manager of Freedom. 21st season. Stratford: Favourites include Coriolanus, Shakespeare in Love, The Last Wife, Tommy, Jesus Christ Superstar, Henry V, and Christopher Plummer’s A Word or Two. Elsewhere: Rood stage-manages for theatre, dance and opera; on new translations and world premières; with one-woman shows to casts of thousands; in Inuktitut and Ummonian; from the Middle East to the Arctic Circle. Training: Sheridan College (Technical Production); University of Waterloo (Social Work). Awards: Proud recipient of the KP Hay Award. Et cetera: As an arts educator and youth advocate, Melissa is engaged in research with Dr. Trish Van Katwyk and Dr. Yukari Seto, investigating dance as a therapeutic tool, and community development through the arts. Love to those who kept her heart safe in these long months, and gratitude to those inviting her to help tell a different story. ARTISTIC COMPANY

BETH RUSSELL CYNTHIA TOUSHAN

BETH RUSSELL 2021: Casting director for the Stratford Festival. 13th season. Broadway and West End: As Senior Vice President, Casting and Creative Development for Livent, Beth was responsible for productions including Parade, Ragtime, Candide, Show Boat and Kiss of the Spider Woman; as well as productions of Joseph and the Amazing Technicolor Dreamcoat, Show Boat, Sunset Boulevard, Aspects of Love and The Phantom of the Opera in Canada, the United States, Australia, Singapore and Hong Kong. Elsewhere: Co-Producer of CBC-TV’s Triple Sensation, National Casting Director for CBC Radio Drama and Artistic Associate for Toronto Arts Productions (now Canadian Stage). Also, as an agent, Beth has represented actors, directors, choreographers, writers and composers.

CYNTHIA TOUSHAN 2021: Production stage manager of the Festival Theatre Canopy. 25th season. Stratford: Shows include Chicago (interrupted by COVID-19), Billy Elliot, A Chorus Line, Crazy for You, Fiddler on the Roof, Camelot, Oklahoma!, West Side Story, My Fair Lady, Man of La Mancha, Hello, Dolly!, The King and I and others. Elsewhere: Over 40 years as a stage manager in live entertainment including gala events, music concerts, opening ceremonies and fundraising events including A Christmas Carol for the Stratford Hospice. Over 25 years with the Canadian Opera Company as a stage manager; production stage manager and resident director of Jersey Boys, Toronto; 25 years as a singer/dancer and choreographer in Canadian theatre; associate director/choreographer to her mentor, Alan Lund. Et cetera: Love to Paul, daughters Stephanie and Jennifer, son-in-law Andrew, and her grandchildren, Kennedy, Koston and Connor. I am so grateful to be back at work.

WITH ALEXIS GORDON AND BEAU DIXON THE BIRMINGHAM CONSERVATORY Janine Pearson is the Director of the Birmingham Conservatory. In January 2022 she will begin her leadership of the newly reimagined two-year professional training program that nurtures talented young artists for a future career in live theatre. The program includes, among other activities, classes in voice, movement and text with Festival coaches and distinguished guest instructors. The Birmingham Conservatory is made possible by the support of the Birmingham family, the Stratford Festival Endowment Foundation and the Department of Canadian Heritage. Support for the 2021 in-season work of Conservatory participants is generously provided by the Marilyn & Charles Baillie Fund.

Past Birmingham Conservatory participants include And contributing to STRATFEST@HOME: these members of our 2021 company: Dan Chameroy 2003 Sara Farb 2013 Ijeoma Emesowum 2015/16 Eva Foote 2019/21 Jessica B. Hill 2014/15 Paul de Jong 2000 (coach) Chilina Kennedy 2009 Andrew Iles 2017/18 André Morin 2014/15 Beck Lloyd 2019/21 Emilio Vieira 2015/16 Kennedy C. MacKinnon 1999 (coach) Antoine Yared 2012/13 Jonathan Mason 2019/21 Lisa Nasson 2019/21 Thomas Olajide 2014 (associate) André Sills 2005 Shannon Taylor 2014 Sara Topham 2000 Amaka Umeh 2019/21 Micah Woods 2019/21 Mamie Zwettler 2017/18

THE LANGHAM DIRECTORS’ WORKSHOP Overseen by Antoni Cimolino, Artistic Director, and Langham workshop alumnus Esther Jun, Director of the Langham Directors’ Workshop, this program seeks the most promising directing talent and provides them with fertile ground to explore, play, and hone their craft. The Workshop endeavours to help cultivate the directors’ interests, refine their aesthetics, and enable them to create inspired and boundary-pushing work – not only for the Stratford Festival’s stages, but across the globe. Participants this season: Marie Farsi, Sadie Epstein-Fine, Christine Horne, Sara Jarvie-Clark. Alumni this season: Jessica Carmichael, Ravi Jain, Esther Jun, Julia Nish-Lapidus, Peter Pasyk, James Wallis. We extend our thanks to the Department of Canadian Heritage and to the Philip and Berthe Morton Foundation. The Langham Directors’ Workshop is sponsored by THE STRATFORD FESTIVAL LABORATORY Founded by artistic director Antoni Cimolino in 2013, and overseen by Antoni and ted witzel, the Laboratory is the Stratford Festival’s research and development wing: a suite of experiments and investigations that drive our artistic and organizational evolution in an era of exciting cultural change. Advancing inclusive and innovative practice, the Lab: • INCUBATES NEW WORKS for our stages by supporting long-term and unconventional development processes. • CONDUCTS EXPERIMENTS through our resident Lab Ensemble, to build our capacity to support other forms and cultural protocols, and to create new relationships with artists from across Canada and beyond. • BUILDS CONNECTIONS with the national artistic community by hosting and supporting gatherings of makers to share practices, questions, challenges and strategies. • FOSTERS ENSEMBLE by offering full-company sessions to encourage horizontal learning and build a shared spirit among the huge group of artists who come together at the Festival every season. • OPENS DIALOGUE, internally and externally, by creating spaces to reflect on the Festival’s role as a heritage institution and the growth and change necessary to ensure that it remains a vital asset to Canada’s cultural ecology. Like any successful R&D wing, the Lab will be agile and flexible in its response to the changing landscape. The scope of its activities will expand and shift as we identify new challenges and opportunities to serve our community of artists and audiences, locally, nationally and beyond. Support for the Laboratory is generously provided by the Dalio Foundation and by an anonymous donor. The services of the Metcalf Foundation Dramaturgy Intern were made possible through Theatre Ontario’s Professional Theatre Training Program, funded by the Ontario Arts Council.

Funding for artisan apprenticeships is provided by the William H. Somerville Theatre Artisan Apprenticeship Fund, funded by the J.P. Bickell Foundation and by Robert and Jacqueline Sperandio.

A member of the Professional Association of Canadian Theatres, the Stratford Festival engages, under the terms of the Canadian Theatre Agreement, professional artists who are members of Canadian Actors’ Equity Association. Stage crew, scenic carpenters, drivers, wigs and makeup attendants, wardrobe attendants, facilities staff and audience development representatives are members of Local 357 of the International Alliance of Theatrical Stage Employees (IATSE). Scenic artists are members of IATSE Local 828. The musicians, musical directors, conductors, and orchestra contractors engaged by the Stratford Festival are members of the Toronto Musicians’ Association, Local 149 of the American Federation of Musicians of the United States and Canada. Toronto’s Premier International Dance Festival

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FAF_StratfordProgAd-2021.indd 1 2021-06-08 5:26 PM STRATFORD SHAKESPEAREAN STRATFORD SHAKESPEAREAN FESTIVAL FESTIVAL OF CANADA – 2021 ENDOWMENT FOUNDATION – 2021 FOUNDER BOARD OF DIRECTORS Tom Patterson OFFICERS BOARD OF GOVERNORS Interim Chair: Daniel S. Bernstein, Westport, CT OFFICERS DIRECTORS Chair: Carol Stephenson, London, ON David Adams, Montreal, QC Vice Chair: Robert H. Gorlin, Northville, MI Robert Astley, Waterloo, ON Treasurer: David Adams, Montreal, QC Paul Brisson, London, ON Secretary: Joy Wishart, Stratford, ON Peter G. Restler, Brooklyn, NY Cathy Riggall, Stratford, ON GOVERNORS Kim Shannon, Toronto, ON Ikram Al Mouaswas, Toronto, ON Nargis Tarmohamed, Exeter, ON Karon C. Bales, Stratford, ON Chip Vallis, Stratford, ON Yaprak Baltacioğlu, Ottawa, ON John K. Bell, Cambridge, ON The Stratford Shakespearean Festival Endowment Barbara E. Crook, Ottawa, ON Foundation Board mourns the loss of Director Robert Franklin H. Famme, Stratford, ON Badun, a member of the Endowment Foundation J. Ian Giffen, Toronto, ON Board from 2017, and as its Chair from 2020, until his passing in April of 2021. Rob is remembered by Nancy L. Jamieson, Ottawa, ON his fellow Directors for his unwavering service and Pamela Jeffery, Stratford, ON unique combination of expertise, wisdom, leadership Jaime Leverton, Toronto, ON and humility. John D. Lewis, Grosse Pointe Farms, MI Harvey McCue, Ottawa, ON Address: c/o Corporate Secretary, Stratford Festival, M. Lee Myers, London, ON P.O. Box 520, Stratford, ON N5A 6V2 David R. Peterson, Toronto, ON Peter G. Restler, Brooklyn, NY STRATFORD SHAKESPEAREAN FESTIVAL Brian J. Rolfes, Toronto, ON Martha Sachs, Juno Beach, FL OF AMERICA – 2021 Kay Schonberger, Toronto, ON BOARD OF TRUSTEES Alan Shepard, London, ON OFFICERS David Simmonds, Toronto, ON Kristene Steed, Stratford, ON Chair: Linda K. Rexer, Ann Arbor, MI Lawrence N. Stevenson, Toronto, ON Vice-Chair: John Gardner, Mishawaka, IN Harriet Thornhill, Oakville, ON Treasurer: Kate Arias, Chicago, IL Secretary: Kevin Turner, Birmingham, MI EX OFFICIO TRUSTEES Artistic Director: Antoni Cimolino Executive Director: Anita Gaffney John D. Lewis, Grosse Pointe Farms, MI Past Chair: Sylvia Chrominska, Stratford, ON Christie Peck, Birmingham, MI Mayor of Stratford: His Worship Dan Mathieson Cindy Person, Rochester Hills, MI Chair, Stratford Shakespearean Festival of America: Mary Stowell, Winnetka, IL Linda K. Rexer, Ann Arbor, MI EX-OFFICIO Address: c/o Corporate Secretary, Stratford Festival, Past Chair: Gloria Friedman, Chicago, IL P.O. Box 520, Stratford, ON N5A 6V2 Executive Director: Anita Gaffney, Stratford, ON Chair, Stratford Festival of Canada: Carol Stephenson, London, ON

UNIVERSITY OF WINDSOR SCHOOL OF DRAMATIC ART uwindsor.ca/drama Congratulations to our past students and graduates at the Stratford Festival this season: Antoni Cimolino, Artistic Director Andrew Iles

UWindsor School of Dramatic Art Undergraduate Degrees in: • BFA Acting • BA Drama • BA Drama and Concurrent Education • Drama in Education and Community (Applied Theatre) Turn Passion Pictured: Cast of Beauty and the Beast by Laurence Boswell, 2019-2020 Season. Directed by Monica Dottor, set by Joshua Quinlan, costumes by Esther Van Eek, lighting by Kirsten Watt. Photo by Melissainto Stewart. Purpose Subscribe now STRATFEST@HOME

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Artistic Director Head of Voice Human Resources Manager of Information Janet McFarlane Antoni Cimolino Kennedy C. MacKinnon Manager & Technology Larisa Orlova The Head of Voice & Coaching positions Krystal Holmes Paul Muncaster Nancy Plummer Executive Director at the Stratford Festival is generously Wesley Pope Anita Gaffney endowed by David Green & Mary Winton Green Associate Health Systems Administrator Sherry Priestap & Safety Manager Andrei Martchenko Jane Rowcliffe DIRECTORS’ OFFICE Head of Voice Emerita Wes Mazur Tara Spencer Ann Skinner Help Desk Technician Producer Payroll Manager Tristan Hughes Clare Stockley Glen Sutherland David Auster Alexander Technique Kathy McKellar Jeremy Meagher & Movement Coach Sandy Thistle Creative Planning Kelly McEvenue Payroll Coordinator Senior Developer Rachel Tourout Director Marcos Guimaraes Bryan Richardson David Wick Jason Miller Movement Coach Brad Cook Payroll/HR Assistant ROKU & Android Stage Door Guards Casting Director Leah Vandermeulen Developer Trevor Bannon Beth Russell Voice, Text Pintu Jat Ryan Cleveland & Dialect Coaches Company Mandy Illman Director of the Foerster Nancy Benjamin Accommodations Facilities Kyle Llewellyn Bernstein New Play Supervisor Jane Gooderham Facilities Manager Darlane Payne Development Program Janine Pearson Cindy Cnockaert Bob White Jeff Heggie Casual Stage Door Speech-Language Assistant Facilities Guards Director of the Pathologist & Voice ADVANCEMENT Manager Mattan Jones Birmingham Coach Senior Director of Val Bielecki Ihor Orenchuck Conservatory Lori Holmes Advancement Janine Pearson Rachel Smith-Spencer Assistant Manager, Singing Coach Facilities Services MARKETING, Director of the Jennie Such Playwright’s Circle Sandy Davis AUDIENCE Laboratory, and Artistic Manager DEVELOPMENT, Associate for Research Text Coach Sharon Butler Carpenter COMMUNICATIONS & Development Tim Welham Micah Hussey & CORPORATE Membership Manager SPONSORSHIP ted witzel Chief Engineer Professional Ceairy Free Director of the Langham Development Program John Luesink Senior Director of – Voice Coaches Major Gifts GTA Marketing and Audience Directors’ Workshop, Shift Engineers Peter N. Bailey & Campaign Manager Development and Artistic Associate Richard Arnold Michael Adams for Planning This program is generously sponsored Heather McMartin by Douglas and Janet Watson Paula Burns Esther Jun Chad Wheeler Digital Projects Major Gifts Coordinator Guest Coach & U.S. Patron Manager Associate Producer Ginette Hamel Electricians Hamid Oki Bonnie Green Christine Seip Tony Iacobellis Associate Producer of Music Membership Coordinator Ryan Wagner Audience Development Digital Programming and Director of Music Susan Mavity Head Gardener The Meighen Forum Franklin Brasz Director of Audience Membership Anita Jacobsen Julie Miles Development Director of Music Administrator Seasonal Gardeners Sarah Hamza New Play Development Emeritus Donna Hyde Joelle Bullbrook Associates Berthold Carrière Playwright’s Circle Elizabeth Lazear Front of House Carmen Aguirre Administrator Manager of Patron Kamana Ntibarikure Music Administrator Student Gardeners Janice Owens Jennifer McCaw Services Mũkonzi Mũsyoki Maxwell Britton Kris Bernard Ronan Curneen Casting Associate ADMINISTRATION FINANCE, FACILITIES Jacob Dekok Senior House Manager Marcel Stewart Administrative Director & INFORMATION Madeline Mortimer – Festival Theatre Manuel Muncaster Casting Assistant Shelley Stevenson TECHNOLOGY Sam Tynkkynen Jennifer Emery Finance Archives Head of Maintenance House Manager Director of Finance, Ron Brown – Tom Patterson Theatre Company Manager Archives Director Hilary Nichol Facilities & Information Mark James GiannaMaria Babando Technology Maintenance Staff Dar Del Chiaro Corporate Secretary Darryl Huras Studio & Forum Archives Coordinator Blair Holden House Manager & Executive Assistant Christine Schindler Thomas Lemenchick to the Artistic Director Controller Terry Hastings Cataloguing & Emily Rooke Myrna Lewis Joy Wishart Larry Shurrie Ushers Digitization Archivist Paula Bentley Executive Assistant to Stephanie Vaillant Finance Manager Art Tucker Leanne Atkinson Karen Brooks the Executive Director Housekeepers Marion Burr Archives Assistant Jen Culligan Nora Polley Senior Accountant Lori Adcock Jessica Darling Producing Coordinator Todd Bridges Robert Barrett Kimberly De Haan Shira Ginsler Education Marc Boisvert Sarah Elliott Accountant Lynn Brown Beth Fischer Director of Education Alexandria Pretty Laboratory Coordinator Lois Adamson William Clelland Hayden Fischer Rachel Wormsbecher Finance Assistant Jeff Daigneault Keagan Goforth Education Administrative Shelley Assayag Diane Dench Judy Hart Production Coordinator Manager Catherine Dishman Debra Holota – Digital Projects Katherine Laing Information Jacqueline Dodier Charlie Kevill Gregory McLaughlin Patti Hinz Holly Matthews Education Associate Technology Christine Koehler Beverley Meyer Forum Assistant Stephanie Johns & Application Alexis Rowlinson Shawn Larder Cam Ohler Development Robert Lee Wendy Orchard Human Resources Interim Director of IT Marjorie Lundrigan Nancy Patterson Coaches Director of Human & Application Sebastian Marshall Valerie Pinder Head of Coaching Resources Development Laura Martin Nikkie Priestap Paul de Jong Dawnette Baldeo Darren Worswick Haille MacLeod Mary Rankin Pat Ranney Cafés & Catering Social Media Manager Dale Ratcliffe Catering Events Manager Stephanie Leger GUEST SERVICES Terry Raymond Victoria Parkinson Pat Reavy Groups & Schools FOR ASSISTANCE AND Victoria Sandquist ExecutiveLIMITED EDITION Chef Sales Manager ACCESSIBILITY Carol Schlemmer Kendrick Prins Heather Martin We’re here to help. If you require Susan Steven Marketing Manager, EXCLUSIVE PICNICS Larke Turnbull Head Chef assistance, please ask the House Kevin Hallman Analytics Lois Tutt Adrienne Steer Manager or any other member of Victoria VanDenBeltCOMMEMORATIVE Event Coordinators WATCHESthe Stratford Festival team. Milton van der Veen Carlie Bero Graphic Designer ON THE ALONZO TERRACE Faye Wreford Lynne DeWys Shelby Boyd Caroline Yates COVID-19 SAFETY Cafés & Catering Staff Tessitura Administrator Masks are encouraged to be Parking Lot Attendants Don’tMaureen miss Abbott this exceptionalMichele Keutsch opportunityworn at all indoorto own and outdoor AT THE TOM PATTERSON THEATRE Tracy Adams Amanda Boemer Ian Elliott Reporting Coordinator venues, as per government Sara Brown Leanne Herbert Malvern James MacKinnon Dona Campbellpiece of Stratford Festival healthhistory! guidance. Please respect Ardeshir Sasani Lisa Campbell Video Production physical distancing and the Gavin Stephenson- Meghan Fritch Jackman Coordinator direction of Stratford Festival staff Arrianne Fulig Sarah McNeil and volunteers working to keep INDIVIDUALLY CATERED PICNICS FOR A GROUP OF 2 TO 10 GUESTS. Brent Sylvester Katherine Hopf Bob WellsWOMEN’S KaylaAND Jantzi MEN’S WATCHES,Groups & Schools Officer HANDCRAFTED everyone safe. FROM THE ONLY 2 SEATINGS PER DAY. $200 FOR 2 GUESTS, $50 FOR Stephanie Kropf-Untucht Joanne Schalk Ticketing Amanda Langis CAMERAS, CELL PHONES AND EACH ADDITIONAL GUEST UP TO 10. & Membership Corinne Montgomery Social Media Coordinator OTHER ELECTRONIC DEVICES ORIGINAL TOM PATTERSONIsabela Stille THEATRE RED OAK STAGE Associate Director, Lori Noon We welcome your photo memories Ticketing & Membership Janice Pavelin Marketing Coordinator Jo-Anne Hood TidmanOnly 200Wendy Seguin of each styleMelinda available, Timmins each ofwith your Stratfordits unique Festival experience; Fraser Tamas however, all cameras, audio and Includes private seating, butler service, and sparkling wine. Manager, Ticketingproduction Liam Taylornumber engraved on the back,video made recorders exclusively must be turned off & Membership Joe Walsh PUBLICITY Patrick King by RevivalPublicity by Director Martin & Co.during the performance. In addition, A splendid spread of gourmet sandwiches, cured meats, artisanal Stratford Festival Ann Swerdfager please turn off all mobile devices, as Customer Service their sounds and lights will disturb cheeses, decadent desserts and much more. Coordinator Shop Publicist Bev Nicholson Interim Retail Manager Amy White actors and other guests. Victoria Parkinson Special Orders FOOD AND DRINK Coordinator Merchandising THANKS TO OUR Colleen White Coordinator VOLUNTEERS! We offer a selection of snacks and Chaslyn Stevenson- beverages. However, in accordance Box Office Supervisors Hastings The Stratford Festival with COVID-19 protocols, guests Debbie Steinacker acknowledges the Christine Teeple Avon Supervisor members of The Friends must be seated to consume any Cindy Ramier of the Festival for their concessions. While masks can be Ticketing & Membership continued contributions. removed when enjoying food and Representatives Sales Associates This dedicated group Gay Allison Kristina Baron-Woods of volunteers provides beverages, they are encouraged Myrtle Baker George Bertwell thousands of hours of be worn at all other times. Drinks Cindy Bissell Michele Gillan support annually. They can be enjoyed throughout the Anna Burton Shelly Gilson can be found everywhere performance, but no food may be Hilary Culp Theresa Gleadall – welcoming patrons to Christine Darragh Tania Harvey the theatre, answering consumed while actors are on stage. Susan Davis Sherry LeSouder questions, working on Geena DeWeerd Kristina McCann special projects, assisting LATE ARRIVAL AND Chardon Dingwall Ashley McGowan at Meighen Forum events READMISSION Paul Duncan Shireen Sasani and so much more! We If you arrive late or leave the Frank Etwell Kim Switzer are so grateful for all Martin Fielding they contribute to making auditorium during the performance, Graeme Gionet Corporate each season possible. we will make every effort to seat you Suzanne Grandy Sponsorship at a suitable break. Please follow the 2021 President: Lori Hicks Associate Director of Jennifer Hord Kim Thompson direction of ushers at all times. Sponsorship Marianne Hord Yvonne Hord Lorraine Patterson 2021 Vice-President: FIRST AID Barry Becker Janice Kastner Sponsorship Coordinator We take patron health and safety Anna Kowalchuk Heather Martin seriously. Any member of our team Donna Lawley will coordinate first-aid assistance Cameron Leyser Marketing for you if required. Automated Maria Loghrin Director of Marketing Jane Mallory Trudy Watson external defibrillators (AEDs) are Aislinn McCauley$349.00 available at all our$299.00 venues. Meredith McCauley Associate Director, Brand Savannah+ McIntyreshipping Carly Douglas IN CASE OF EMERGENCY+ shipping Ruth Ann Miller Janice Mitchell Video Production In case of an evacuation, please Cheryl Moses Manager follow the instructions of Stratford Kelly Nicholls Genna Dixon Festival staff, who will escort you to Tara Nimmo Kathy Partridge Graphic Design Manager safety. If you discover a fire, please Barbara Redden Christopher Kelly activate the fire alarm and notify a Raphe St. Pierre Direct Marketing Stratford Festival team member. Sheila Taylor Manager Susan Varcoe PREORDERJessica Klumper YOURS TODAY BY CONTACTINGPROTECTING YOUR PRIVACY Distribution Centre Interim [email protected] Production To view our patron and donor Mailroom Coordinator Manager privacy protection policy please FOR DETAILS AND BOOKING, CALL 1.800.567.1600. Candy Neumeister Kaitlyn Krestiankova visit stratfordfestival.ca/privacy WATCHES INCLUDE A 2’YEAR MANUFACTURER’S WARRANTY STRATFORDFESTIVAL.CA 2 62 LIMITED EDITION EXCLUSIVE PICNICS COMMEMORATIVE WATCHES ON THE ALONZO TERRACE Don’t miss this exceptional opportunity to own AT THE TOM PATTERSON THEATRE a piece of Stratford Festival history! INDIVIDUALLY CATERED PICNICS FOR A GROUP OF 2 TO 10 GUESTS. WOMEN’S AND MEN’S WATCHES, HANDCRAFTED FROM THE ONLY 2 SEATINGS PER DAY. $200 FOR 2 GUESTS, $50 FOR ORIGINAL TOM PATTERSON THEATRE RED OAK STAGE EACH ADDITIONAL GUEST UP TO 10. Only 200 of each style available, each with its unique production number engraved on the back, made exclusively Includes private seating, butler service, and sparkling wine. by Revival by Martin & Co. A splendid spread of gourmet sandwiches, cured meats, artisanal cheeses, decadent desserts and much more.

$349.00 $299.00 + shipping + shipping

PREORDER YOURS TODAY BY CONTACTING [email protected] FOR DETAILS AND BOOKING, CALL 1.800.567.1600.

WATCHES INCLUDE A 2’YEAR MANUFACTURER’S WARRANTY STRATFORDFESTIVAL.CA 2 63

Powerful. Moving. Inspirational.

We are proud to support the Stratford Festival and the artists who have been captivating audiences with exciting, innovative and entertaining productions since 1953. BMO is the 2021 season sponsor of the new Tom Patterson Theatre.

21-1775 Stratford ad_Ev1.indd 1 2021-06-25 9:14 AM STUDIO THEATRE

Three Tall Women

FESTIVAL THEATRE CANOPY

R + J

CABARETS

Why We Tell the Story You Can’t Stop the Beat Play On! Freedom Finally There’s Sun

TOM PATTERSON THEATRE CANOPY

A Midsummer Night’s Dream The Rez Sisters I Am William Serving Elizabeth

stratfordfestival.ca 1.800.567.1600 | 519.273.1600 1 1 800 567 1600 | 519 273 1600