The Centre for All Canadians

THE CENTRE FOR ALL CANADIANS

Confederation Centre of the Arts Five Decades of Inspiration and Excellence

Harvey Sawler THE CENTRE FOR ALL CANADIANS

Confederation Centre of the Arts Five Decades of Inspiration and Excellence

Images © Confederation Centre of the Arts

For other photo credits please refer to page 188.

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior written permission of the publisher, or, in case of photocopying or other reprographic copying, a license from The Canadian Copyright Licensing Agency.

Although the author and publisher have made every effort to ensure that the information in this book was correct at press time, the author and publisher do not assume and hereby disclaim any liability to any party for any loss, damage, or disruption caused by errors or omissions, whether such errors or omissions result from negligence, accident, or any other cause. This publication is not intended to document the full 50-year history of Confederation Centre of the Arts; rather it provides a view of the Centre and its rich range of experiences through the voices of those who have been part of its 50 years.

Selections from this book are also available for viewing online at www.confederationcentre.com/centreforcanadians

Aussi offert en français sous le titre Le Centre pour tous les Canadiens

Permission requests and ordering information: Confederation Centre of the Arts 145 Richmond Street Charlottetown, Prince Edward Island, C1A 1J1 [email protected]

Text: Harvey Sawler Translation: Monique Lafontaine Design: Graphic Detail Printed in Canada

ISBN 978-1-928128-00-7

Lemieux, Jean Paul Charlottetown Revisited, 1964 oil on linen 197.2 x 380.4 cm Collection of Confederation Centre Art Gallery Commissioned with funds from Samuel and Saidye Bronfman, Montreal

This document is a digital sample of The Centre for All Canadians. The hard-cover book can be purchased at The Showcase gift shop in Confederation Centre and various bookstores across P.E.I. We would love to hear your feedback – share your own Confederation Centre memories, or leave your comments at [email protected].

ACKNOWLEDGEMENTS

The Centre for All Canadians was a collective effort that inspired many fine memories of Confederation Centre of the Arts’ stellar 50 years. As publisher, Confederation Centre thanks author Harvey Sawler, who collected heartfelt stories from near and far, high and low and created the text to frame our 50 years of culture and heritage programming. As we look back over the decades and forward to our next 50 years we can’t help but be inspired by such sincere response from our “Centre community.” Harvey’s prodigious outreach yielded insightful and moving responses from remarkable Canadians from across the country, and we must extend sincere thanks to all of those who took the time to think back to their own experiences with Confederation Centre and allow their contributions to be shared with Canadians via this publication. Confederation Centre of the Arts also wishes to acknowledge the generous support from Grant Thornton, who provided financial support toward the publishing costs as part of their 50th anniversary gift to the Centre. Kate Westphal of Graphic Detail has delivered a rich, first-class design, displaying both creative brilliance and extreme patience in the process. Confederation Centre staff were unfailingly generous with their time and memories. Archivist, Paige Matthie, was not only persistent in her pursuit of obscure photos and credits, but provided excellent editing and proofreading services. Translator Monique Lafontaine has an eagle eye for details in both languages and managed to deliver large quantities of French-language copy while meeting short deadlines. Chief Marketing Officer Carol Horne set the publishing project in motion and provided copyediting and proofreading. Special thanks to two Centre alumni for their collaboration, recollections and collections: retired stagehand Rick Warren for providing dozens of insights into people and events linked to the Centre; and Gary Craswell – who held numerous roles at the Centre over 30 years – for digging into his personal collections of Centre memorabilia. We must also acknowledge Ed MacDonald’s thorough research that detailed how the germ of an idea eventually became Confederation Centre. Finally Confederation Centre would not continue to exist and thrive without the generous support of its many sponsors, members and donors and funders such as the Department of Canadian Heritage, the Province of Prince Edward Island, the City of Charlottetown and Atlantic Canada Opportunities Agency. x THE CENTRE FOR ALL CANADIANS 1 THE CENTRE FOR ALL CANADIANS

THE CENTRE FOR ALL CANADIANS

“Something wonderful has happened in Charlottetown...a symbol of genuine national meaning has been created.” - NATHAN COHEN, IN 1965, RENOWNED THEATRE CRITIC FOR THE TORONTO STAR

Charlottetown’s wonderful small town ease and innocence can be misleading. It’s the most safe-feeling, intimate, and comfortable of all the Canadian provincial capitals: Starbucks made headlines when they first came to town; triangular street corner gardens are tended voluntarily by the employees of nearby businesses; volunteer firefighters still respond to the startling blast of an emergency horn; and a bronze statue of Sir John A. Macdonald unwinds on a streetscape bench as he ponders nationhood, while to his left a shop window showcases everything Anne of Green Gables. Anyplace else and Canada’s first prime minister would be vaunted high upon a pedestal. In Charlottetown, people sit down, put their arm around him, and take selfies. Contrast this scene to 150 years ago and the extraordinary arrival aboard S.S. Victoria of a throng of prestigious-looking, top-hatted men, all destined for a nation-building conference. Then look back 50 years to the surprising proceedings of October 6, 1964. Queen Elizabeth II and Prince Philip, Governor Royal Variety Performance host, General Georges Vanier, Prime Minister Lester B. Pearson, federal cabinet ministers, premiers and the Lorne Greene (centre), at the press conference for the event crème-de-la-crème of Canadian entertainment all gathered at the newly minted Confederation Centre of the Arts theatre for a Royal Variety Performance. Not London’s Royal Albert Hall, not Toronto’s Royal Alex, but a Royal Variety Performance…in Charlottetown! The star-studded bill featured legendary The Queen backstage with performers Carlou Carter, Dave Broadfoot, Portia Québec author, actor, and director Gratien Gélinas in distinguished monologue; the operatic resonance of White, and (back facing) founding Portia White; comedians; a Centennial Choir; and a host of others. The affair was emceed by no less than Charlottetown Festival Artistic Director “The Voice of Canada.” Lorne Greene had gone from anchoring CBC radio’s national news to starring on Mavor Moore the night of the official opening and Royal Variety Performance, the popular NBC television show Bonanza, and was one of the most familiar faces in Canada. It is said that 6 October 1964 the Islanders who crowded the Centre’s stage door that evening were more keen to get a glimpse of Greene than to see Her Royal Majesty Queen Elizabeth II. Yes, the advent of Confederation Centre of the Arts certainly altered the physical landscape of down- town Charlottetown, but on October 6, 1964, the Centre also altered central Canada’s contrived Island stereotypes of lobster fishermen and farmers hauling potatoes. The bright theatre lights attracted the 2 THE CENTRE FOR ALL CANADIANS

Frank MacKinnon

Eric Harvie

Theatre guests eagerly await a performance on the Confederation Centre of the Arts main stage

attention of royalty and other notables and thrust the city onto the Canadian cultural scene to a degree that is seldom acknowledged or understood. At the centre of it all were three key figures: the latter-day “brothers of Confederation,” Frank MacKinnon and Eric Harvie, who essentially built the place, and the fervent Canadian artistic force, Mavor Moore. The fortuitous chance chat between MacKinnon and Harvie occurred in a Vancouver elevator in July of 1958 when both were delegates to a meeting of the newly formed Canada Council. As described in historian Edward MacDonald’s 2013 publication, Cradling Confederation, MacKinnon’s dream and passion for creating a local, multi-purpose building dedicated to Charlottetown’s role as the Mavor Moore Cradle of Confederation was quickly taken up and expanded upon into a national memorial concept by Harvie, who had remarked: “Now that is an idea that interests me.” Moore wasn’t in that elevator, busy as he was producing shows at the Canadian Broadcasting Corporation, but the rise of Charlottetown’s arts centre was about to become his obsession too. Howard Cable created the musical arrangements and conducted for that 1964 entertainment spectacle. Cable has been one of Canada’s most prolific entertainment figures over the decades – conductor, arranger, music director, composer, scriptwriter, radio and television producer. He describes how that October night affirmed Charlottetown’s emerging role as a vital and integral part of the Canadian arts landscape. 3 THE CENTRE FOR ALL CANADIANS

The playbill of the Royal Variety Performance from the evening of the official opening of Confederation Centre of the Arts, 6 October 1964 4 THE CENTRE FOR ALL CANADIANS

Moore was at the forefront of a creative cluster which, through the latter 1950s and early 1960s, had taken countless hours of quality variety entertainment into the homes of Canadians via CBC television, the cluster including such personalities as Norman Campbell, Don Harron and Alan Lund. Moore and his colleagues had been at the epicentre of a creative explosion – producing, composing, writing, directing, choreographing, unearthing talents like international singing star Robert Goulet, and transitioning musical icon Glenn Gould from radio to television. The airwaves were rich with a blend of what Cable calls “light music,” ballet, comedy, dance, and productions such as the 1956 made-for-TV musical, Anne of Green Gables. With this sudden emergence of Confederation Centre way off in the then-obscure Island capital, these artists began to shift their focus from Toronto to Charlottetown. According to Cable, CBC television’s commitment to variety programming had begun to wane, a trend reinforced by the conclusion of English entertainment acts at Expo ’67 in Montréal and the demise of the Canadian National Exhibition grandstand variety shows. In Special guests in attendance of the formal stepped Charlottetown, filling the void by becoming the leading producer of Canadian musical theatre opening of the Confederation Centre Art Gallery, including former Governor General, entertainment, delivering 71 original productions in all since Anne of Green Gables first danced her way Vincent Massey, and Frank MacKinnon, one onto the Confederation Centre stage in 1965. of the founders of the CCOA, 1964 The Royal Variety Performance was more of a watershed moment than most Islanders or Canadians have ever appreciated. References to the Centre as the so-called “potato warehouse” soon wore off. The place at the corner of Queen and Grafton streets took on a meaningful sense of place all its own, and a role greater than an adjunct to historic Province House. A one-and-only Canadian national memorial had sprung out of the ground. From that evening on, every time the curtain rose on a new production, the national critics were fixed in their seats. A new wave of Canadian cultural history was set in motion. Importantly, from the very beginning, Confederation Centre’s main stage has been shared by “name” entertainment from away along with members of the local community. Charlottetown-born vocalist Maida Rogerson, for example, was on the bill that 1964 night performing a song from Anne of Green Gables’ overture. 5 THE CENTRE FOR ALL CANADIANS

The Centennial Choir on the plaza outside the theatre upper foyer on the day of the official opening and Royal Variety Performance, 6 October 1964 6 THE CENTRE FOR ALL CANADIANS

The main stage has always been the primary attention-getter over five decades, but Confederation Centre of the Arts is much, much more – a multi-disciplinary, multi-use arts and community facility that is home to visual arts exhibitions, choral groups, children’s programming, a full-service restaurant, conference-hosting, a retail shop and a library. That the Centre’s choirs have toured internationally seems to defy all logic. The fact that Charlottetown is the location of an art gallery of national stature is just as astounding as the staging of that Royal Variety Performance. You will read herein that artists from across the nation are proud to have their works featured in the Gallery’s permanent collection and performers have special memories of their appearances at Confederation Centre. The Centre for All Canadians has been created to provide a visual and narrative portrayal of Confederation Centre of the Arts, to capture the essence of the Centre’s purpose – past, present, and future – and to celebrate many of the fascinating people who have made magic happen across the entire spectrum of the arts. As you will read, for many of those people invited to revisit the Centre through words, the place holds deep meaning and memories. Thankfully for us Canadians, as it turns 50, Confederation Centre of the Arts stands erect and proud at the crossroads of Canada in Charlottetown, the capital whose wonderful small-town ease and innocence sets the stage and presents the unfurling canvas for even greater things to come. 22 THE CENTRE FOR ALL CANADIANS

Doug Boylan, Chief Librarian of the Confederation Centre Public Library, Legislative Librarian, and Provincial Archivist, in the Gallery, 1965 23 CANADIAN VISUAL ARTISTS

CANADIAN VISUAL ARTISTS

“Whether part of the world-stream of art, or restricted to a more limited nationalism, provincialism and regionalism, the creation of our collections is what museums are all about.” - FOUNDING DIRECTOR MONCRIEFF WILLIAMSON, CONFEDERATION CENTRE ART GALLERY

Over the years Confederation Centre has at times claimed to operate the largest gallery between Montréal and London, England. But the six successive directors over the past 50 years have discovered that Confederation Centre Art Gallery’s cachet is not about its size; it is, as noted in the late Moncrieff Williamson’s quotation, about having purpose. The expressed purpose of the Confederation Centre Art Gallery is “to inspire appreciation, understanding, and enjoyment of Canada’s diverse cultural heritage by collecting, conserving, presenting, interpreting, and communicating the work of Canadian visual artists.” The impressive modernist architecture of the four principal galleries and three smaller exhibition spaces provide abundant space for programming along with public sculpture courts and outdoor pavilions. Imagine how busy the Gallery has been since 1964, considering that it opened without any formative collection to speak of and today holds more than 17,000 works of art, artifacts, and archival records. Canadian artworks in the collection include such highlights as the original hand-written manuscript of Island author Lucy Maud Montgomery’s Anne of Green Gables and other Montgomery novels; a growing range of historic, modern, and contemporary Canadian visual art; the fine crafts collection which arrived in Charlottetown direct from Expo ‘67’s Canadian Pavilion, an exhibition curated by the Gallery’s founding Director Moncrieff Williamson; and the extensive holdings associated with renowned portrait painter Robert Harris (1849-1919), whose biography Williamson wrote. Together, these form the distinctive historic nucleus around which the Gallery’s contemporary collection has grown. The first issue of ArtsAtlantic, a visual arts The Gallery has, through the decades, worked with hundreds of artists, mostly Canadian, and often publication based out of the Confederation leading figures in the national arts scene, as well as younger artists from the region and across the Centre Art Gallery country. Collectively, they are responsible for an array of thought-provoking, educational, entertaining, and engaging works. “Our exhibitions program is the richer for their contributions,” current Director 24 THE CENTRE FOR ALL CANADIANS

Montgomery, Lucy Maud First page of the Anne of Green Gables manuscript, 1905 Handwritten in pen and ink on paper 21.5 x 16.5 cm Collection of the Confederation Centre Art Gallery, CM 67.5.1 Kevin Rice says, “which are evolving and delving in varied ways into issues of artistic practice, cultural representation, and by extension, nationhood.” On the theme of nationhood, the Gallery’s purpose has a natural tie-in to Confederation – in general ensuring some visual reflection of the country, and more specifically through such special collections as a commissioned series of large-scale Canadian-themed paintings. The first of these commissioned murals came from the Québec painter Jean Paul Lemieux (1904-1990). His Charlottetown Revisited, 1964 (chosen as this book’s cover) is described by experts as being characteristic of Lemieux’s use of sombre, subdued colour and expression of restrained movement, reflecting a life-long fascination with images of solitude and isolation and the inexorable passage of time. In this vision of Canada, dark (almost ominous) large-scale figures with top hats (the founding Fathers) are positioned at either side of a vast expanse, considered to be symbolic of the physical and psychological Canadian landscape. 26 THE CENTRE FOR ALL CANADIANS

Harris, Robert Ante-room of the Atelier Bonnat, Paris, 1882 oil on panel 31.6 x 38.5 cm Collection of Confederation Centre Art Gallery, CAG H-77 Gift of the Robert Harris Trust, 1965 The 2012 ArtsSmarts Exhibition of children’s art in the Confederation Centre Art Gallery

The other artists, and their murals in the series, are Jack Leonard Shadbolt’s 1964 Flag Mural; John Fox’s The Québec Conference, 1964; Jane Ash Poitras’ Those Who Share Together, Stay Together, 1997; Yvon Gallant’s Afterbirth / La délivre, 1998; and Wanda Koop’s Native Fires, 1999. Each of these murals serves to inject its own remarkable drama, topicality, controversy and humour into unique visual narratives on the subject of Confederation. The Confederation Centre Art Gallery’s purpose, in summary, is to inspire appreciation and understanding of Canada’s cultural heritage through collecting and presenting the work of Canadian visual artists. The purpose, meanwhile, of the Royal Canadian Academy of the Arts (RCA) is to celebrate “the achievement of excellence and innovation by visual artists across Canada, encouraging new generations of artists, and facilitating the exchange of ideas about visual culture for all Canadians.” The RCA has strong links to the National Gallery of Canada, but when you read the fine print, the RCA and the Confederation Centre Art Gallery also seem very philosophically aligned. Iconic works by two other artists are also associated with the Gallery. Both have strong connections to Charlottetown and national arts organizations such as the Royal Canadian Academy (RCA). One artist, of course, is Robert Harris, whose art and archives (oil paintings, drawings, sketchbooks, archival papers) have deeply enriched the permanent collection in Charlottetown. Another is long-time Island resident Henry Purdy, whose towering welded steel sculpture, Centennial Dimension, 1972, is a landmark on the Centre’s plaza. Purdy enjoys an enduring relationship with the Centre as an artist, as former member of the Fathers of Confederation Buildings Trust, and as a volunteer and donor. Figuratively speaking, the two have been hanging around the Gallery for nearly the same length of time – since the beginning really. 28 THE CENTRE FOR ALL CANADIANS

Harris was a founding member of the RCA and served as its president beginning in 1893. Purdy also served as the RCA’s Vice President for Atlantic Canada, making him, next to Harris, the only other “Islander” (Harris was actually born in Wales and Purdy in Nova Scotia) to have played a leadership role with the RCA. Along with its RCA relationship, the Gallery is also closely associated with the Canada Council, the Canadian Museums Association (CMA), the Canadian Art Museum Directors Organization (CAMDO) and the Atlantic Provinces Art Gallery Association (APAGA) among others. These relationships and participations often involve advocacy and cultural policy issues that contribute to best practices in the key art museum functions – collections management, exhibitions, research, publications, communications, audience development, and education programs. The Gallery has served as host to major national and international exhibitions, artists, writers, musicians and filmmakers for lectures, readings, talks and workshops. The Centre’s Gallery also hosts artists-in-residence programs, studio classes for youth and adults, educational tours, and has initiated and curated hundreds of exhibitions while hosting countless travelling shows. And not everything that matters in the visual arts is taking place inside the galleries themselves. A key part of the Gallery’s philosophy involves bringing art to where the people already are. Virtually every public area of Confederation Centre serves as exhibition space, from Alfred Joseph’s totem pole and Tom Benner’s copper moose gracing an interior courtyard to the paintings engaging the diners in Mavor’s restaurant. The long-running Art-to-the-schools Program has made original art available on loan to Island public schools has been a very successful volunteer initiative by the Friends of Confederation Centre. This “art-is-everywhere” philosophy, combined with a free admission policy to promote accessibility, are elements which set the Centre apart from other arts institutions and which allow it to go beyond the use of traditional gallery spaces in efforts to inspire and challenge Islanders and visitors from across Canada and around the world.

A skateboarding performance by local teens outside the Confederation Centre Art Gallery, 1993 Alfred Joseph’s Man and Dogfish keeping watch over the concourse and Memorial Hall, 1972. The carved and painted cedar Tsimshian totem pole was donated by the Native People of British Columbia to commemorate the centenary of the Province of British Columbia’s union with Canada in 1871. Confederation Centre Art Gallery, 1965 64 THE CENTRE FOR ALL CANADIANS 65 THE CHARLOTTETOWN FESTIVAL

THE CHARLOTTETOWN FESTIVAL

“…in the short space of a few years, the Festival has won a prominent place within the cultural life of our country.” - HONOURABLE JUDY LAMARSH IN 1967, FORMER SECRETARY OF STATE FOR CANADA UNDER PRIME MINISTER LESTER B. PEARSON

As per Honourable Judy LaMarsh’s observation, just how did The Charlottetown Festival arrive in such a prominent place in the cultural life of Canada anyway? After all, like Charlottetown’s improbable place in Canadian history books, the existence of the Festival in the capital city of Canada’s smallest province has been both extraordinary and unexpected. It’s true that The Charlottetown Festival has employed great writers and composers, some of the country’s leading set and lighting designers, esteemed costume designers such as Frances Dafoe, Canadians who’ve led the national pack in terms of acting, singing and dancing capability; the Beverly D’Angelos, Gordon Pinsents, Barbara Hamiltons, and Brent Carvers of the Canadian theatre world. But the answer to the Festival’s surprising success is more subliminal, rested in three key words: leadership, creativity, and daring. As audience members, we tend to think little about how the musical theatre end-product gets to the stage in the first place. We simplify the experience through personal takeaways like our favourite shows, the most hummable show tunes, the most thrilling dance routines, the elaborate sets or the indelible effect of a performer delivering a truly dazzling performance. Similar can be said for the film genre: best picture of the year, most memorable scenes, most emotive musical score and most compelling stars. But one difference between theatre and film has to do with audience regard for and familiarity with the director. As film audiences, we can recall directors like Scorsese, Spielberg, Tarantino, Hitchcock and Coppola, whose names stand several feet high on the cinema screen. We know who they are, and we scrutinize our film choices based on their reputations. But in the musical theatre genre, directors are far less evident, obscured perhaps by the live presence and vividness of the stage action, glitz, songs, and laughter. This relative obscurity is perhaps more pronounced 66 THE CENTRE FOR ALL CANADIANS

for the artistic director, that person even further removed from the spotlight who exercises the overarching control over production choices, directorial decisions, and overall artistic vision. At most, they’re showcased in a short biography and thumbnail photograph in house programmes read in dimly lit theatres. This is no different in Charlottetown, including the relative obscurity. Over the same 50 years during which Canada has had nine prime ministers and 10 governors general, The Charlottetown Festival has had just six artistic directors. The majority of people would be hard-pressed to name even one or two of the Festival alumni. This is in spite of the fact that the six – Mavor Moore, Alan Lund, Walter Learning, Jacques Lemay, Duncan McIntosh and Anne Allen – have provided that essential leadership, creativity and in many instances, daring. They have all come from experiences elsewhere which readied them for Charlottetown; they are the six who have put their personal and professional reputations on the line. They have chosen the shows, pleaded before the Centre board for production and casting money, auditioned and counselled the talent, frequently directed, overseen vocal rehearsals, choreographed…and prayed. They’ve prayed restlessly in the green room and in the wings in the same manner as marketers pray that audiences will clamour for tickets. The artistic director’s dichotomy is that they are obscured in success, but front and centre in the face of disaster. Their reputations, more than anyone else’s, have always been on the line. They are the ones who famed Canadian comedians Wayne and Shuster referred to in Charlottetown as the “riverboat gamblers.” Even more to the point, Charlottetown’s artistic directors, as young and newly minted Adam Brazier will discover as he assumes the helm in 2014, have had a particularly tough job. Without the luxury of proven Shakespearean, Shaw or Coward classics to draw from, the task has usually required creating something from the ground up, working with limited production budgets, few if any resources for work-shopping to see if a show has legs, crazily pinched rehearsal schedules, short preview runs to iron out the kinks and often, shaping hopeful young Canadians into marquee-calibre performers. They are the MacGyvers of the theatre world. All the more, there is that relentless pressure in Charlottetown over the matter of Canadian content, violated daringly by Lund with the Gershwin revue By George! and controversially by Learning with the Elvis import Are You Lonesome Tonight?, two of the shows which generated enough box office to actually help mount and sustain Anne of Green Gables–The Musical™ and other The 1968 cast of Anne of Green Gables truer Canadian productions. Their daring and sensationalism served Charlottetown well by striking a balance between pure mandate and the reality of surviving at the box office. 67 THE CHARLOTTETOWN FESTIVAL

Bonnie Monaghan in the 1976 Charlottetown Festival production of By George! 68 THE CENTRE FOR ALL CANADIANS

Ben Baggs as a young Elvis in the 1988 production of Are You Lonesome Tonight? 69 THE CHARLOTTETOWN FESTIVAL

Jamie Ray and Peter Mews in their roles as Anne and Mathew in The Charlottetown Festival’s first production of Anne of Green Gables, 1965

Of course, Charlottetown’s artistic directors would be unique in any Canadian musical theatre masters’ thesis in that each has served as the guardian of Anne, the entertainment wunderkind of Canadian-ness. This responsibility and the extent to which Anne has held such lasting and universal appeal on stage, has long been evident in her never-ending run here at home or her international tours. In fact, Guinness has confirmed that Anne of Green Gables-The Musical™ holds the world record as the longest running annual musical theatre production! The long-lasting appeal is evident in the tears of countless Japanese “young office ladies,” whose pilgrimages to Charlottetown to see and hear Akage No Anne (Anne of the Red Hair), have for them been life-altering events. And in the hopeful face of the late American woman who attended dozens of Anne shows during the early 1980s because she believed in her heart that the production’s simple goodness would purify her of cancer. Few stop to think that it’s been the artistic directors who’ve kept Anne so heartfelt and pure. 70 THE CENTRE FOR ALL CANADIANS

The cast of Singin’ & Dancin’ TONIGHT, a highly popular show that appeared at The Charlottetown Festival for three seasons, 1982 71 THE CHARLOTTETOWN FESTIVAL

Artistic direction in Charlottetown has been the most subliminal of things, with audiences feeling the effect of the six without ever realizing it. For it is their vision and energy which are channeled from the writers and designers to the cast to the audience during every choreographed movement and note sung, like a human body conducting electricity. Evidence a moment in which Alan Lund stepped in to re-energize the rehearsal-exhausted cast of the Festival hit, Singin’ & Dancin’ TONIGHT! Never one to run on idle, Lund was frustrated by a male dancer’s lack of oomph during rehearsals. It was time for a demon- stration. Halting the practice, Lund whisked away the dancer’s partner, drove one leg to full extension, dipped her backwards over his knee in a single, decisive thrust and held her there. The sheer power of his movement and the statue they formed drew a stunned silence amongst the cast, crew and a few who sat watching in the theatre. It was an honest-to-God, magical Gene Kelly moment which served as a powerful lesson for the cast. It was this demonstrable form of leadership, creativity and daring which drove audience reaction on opening night and in every successive performance until the show’s marvellous run ended in 1984. Such has been the high standard for every Charlottetown Festival company member and yes, for the company’s continuum of artistic direction, over the years. The Festival’s new artistic director, Adam Brazier, looks forward to celebrating Canadian stories through musical theatre. For decades The Charlottetown Festival was thought of as Canada’s Broadway, an incubator for new musical works that would travel the country. The Festival has the potential to uphold that reputation as Canada’s leader in developing new and exciting stories through visual and performing arts. Brazier longs for stories “written by Canadians for Canadians,” stories that will hold a mirror up to ourselves and ask questions that both challenge and entertain us as a province and as a nation. Brazier is betting his career that his new posting at Confederation Centre of the Arts is the place where he can make this happen. He aims “to accomplish what our founding fathers have – create a strong vision and voice that bring our nation together, a national arts centre that programs content worthy of that title.”

Music Director, John Fenwick, works with Gracie Finley and Alan Lund ahead of 1968’s production of Anne of Green Gables 72 THE CENTRE FOR ALL CANADIANS

THE CHARLOTTETOWN FESTIVAL THROUGH THE YEARS...

1964 1973 1981 1987 1992 Anne of Green Gables Anne of Green Gables Anne of Green Gables Anne of Green Gables Anne of Green Gables Ballade Fauntleroy Are You Lonesome Tonight? A Closer Walk with Patsy Cline 1965 Les Feux Follets Aimee! Babies - Bless Them All! Le Café acadien Anne of Green Gables Joey Magcap Salt-Water Moon The Great Adventure Wayne and Shuster Cocktails for Two Hundred Chris Elliott Comedy Show Head à Tête Laugh with Leacock 1974 The Three Bears Take Two Modern Housewives and… Spring Thaw Anne of Green Gables The Venerables 1993 Johnny Belinda 1982 Noel Coward Anne of Green Gables 1966 Kronborg 1582 Anne of Green Gables Billy Bishop Goes to War The Shooting of Dan McGrew Anne of Green Gables Skin Deep Spirit of a Nation The Ottawa Man 1975 Singin’ & Dancin’ TONIGHT 1988 A Closer Walk with Patsy Cline Private Turvey’s War Anne of Green Gables My Many Husbands Anne of Green Gables The Princess and the Handmaiden Children’s Theatre Johnny Belinda The Winkle Pickers Are You Lonesome Tonight? Le passion de Narcisse Mondoux Kronborg 1582 Alexandra - The Last Empress 1967 1983 Happy Birthday Irving 1994 Anne of Green Gables 1976 Anne of Green Gables The Mind Boggles Anne of Green Gables Paradise Hill Anne of Green Gables Singin’ & Dancin’ TONIGHT Dead Air Puttin’ on the Ritz Yesterday the Children The Rowdyman Johnny Belinda Rumplestiltskin Dads Were Dancing By George! The Kneebone Connection New Canadian Kid Lovers in Bedeque Rose Latulipe Step Right Up, Ladies and I’ll Be Back Before Midnight Rendez-vous acadien Children’s Theatre 1977 Jellybeans The Venerables Spirit of a Nation Anne of Green Gables Take Five Pirates 1968 By George! 1989 Anne of Green Gables The Legend of the Dumbells 1984 Anne of Green Gables 1995 Johnny Belinda The Road to Charlottetown Anne of Green Gables Encore! Anne of Green Gables Sunshine Town Ye Gods Maud for Myself A Closer Walk with Patsy Cline Beyond the Fringe 1978 Singin’ & Dancin’ TONIGHT Merlin & Arthur Guys and Dolls Children’s Theatre Anne of Green Gables Sleeping Arrangements Not Available in Stores We Will Not Forget Windsor Little Red Riding Hood I’ll Be Back Before Midnight Step Right Up, Ladies and 1969 The Legend of the Dumbells Jellybeans Anne of Green Gables Eight to the Bar 1985 1990 Spirit of a Nation Life Can Be Like Wow Lies and Other Lyrics Anne of Green Gables Anne of Green Gables Johnny Belinda Fauntleroy Don Messer’s Jubilee 1996 Children’s Theatre 1979 Swing The Strike at Putney Church Anne of Green Gables Anne of Green Gables Sleeping Arrangements Les belles histoires de Thaddée Spirit of a Nation 1970 On a Summer’s Night Hansel and Gretel à Damien A Closer Walk with Patsy Cline Anne of Green Gables Les Feux Follets After Marlene! Rendez-vous acadien Private Turvey’s War Eight to the Bar 1986 Bogeyman Blues We Will Not Forget Jane Eyre The Family Way Anne of Green Gables Lunch with Leacock Children’s Theatre Winnie Babies - Bless Them All! Brendan Behan: Confessions of 1997 Swing! an Irish Rebel Anne of Green Gables-The Musical™ 1971 1980 Rapunzel The Island Soirées Johnny Belinda Anne of Green Gables Anne of Green Gables How she Lied to Her Husband 2 Pianos, 4 Hands Jane Eyre Love in the Backseat Chris Elliott Comedy Show 1991 18 Wheels Mary, Queen of Scots Fauntleroy Salt-Water Moon Anne of Green Gables Barachois Children’s Theatre Les Feux Follets Pumpboys and Dinettes Broue/Brew Drill Queens Comedy Flash in the Pan Culture Shock I am a Bear Rik Barron’s Family Concert 1972 Come by the Hills When God Comes to Breakfast, A Child’s Garden of Verses Somewhere in the World Anne of Green Gables The Three Bears You Don’t Burn the Toast Lorne Elliott Comedy Mary, Queen of Scots Happily Ever After The Night the Raccoons Les Feux Follets Went Berserk Squeeze! Ballade Children’s Theatre 73 THE CHARLOTTETOWN FESTIVAL

1998 2003 2009 THE CHARLOTTETOWN FESTIVAL Anne of Green Gables-The Musical™ Anne of Green Gables-The Musical™ Anne of Green Gables-The Musical™ TOURING PRODUCTIONS Johnny Belinda Dracula: A Chamber Musical Disco Cirque Anne of Green Gables Letter from Wingfield Farm Fire Stan Rogers - A Matter of Heart (Canada, New York, London, Osaka) Bending the Bows Eight to the Bar Charlie Farquharson and Singin’ & Dancin’ TONIGHT Barachois Arianna Them Udders Sunshine Town Drill Queens Comedy La famille Ross en concert Sketch-22 Mary, Queen of Scots Somewhere in the World Barachois Abegweit: The Soul of the Island Kronborg: 1582 Gadelle Johnny Belinda 1999 2004 En Acadie By George! Anne of Green Gables-The Musical™ Anne of Green Gables-The Musical™ Vishten The Legend of the Dumbells Emily Something Wonderful Lies and Other Lyrics Forever Plaid A Closer Walk with Patsy Cline 2010 Come By the Hills Barachois Broadway Heroes Anne of Green Gables-The Musical™ Ballade Acadilac Les Feux Follets Hairspray Drill Queens Comedy Fête acadienne Buddy: The Buddy Holly Story THE CHARLOTTETOWN FESTIVAL Somewhere in the World Musique de l’Acadie Sexy Laundry ON TELEVISION The Cottars The Last Resort Johnny Belinda 2000 Island Flavours Abegweit: The Soul of the Island Les Feux Follets Anne of Green Gables-The Musical™ Come By the Hills Emily 2005 2011 Singin’ & Dancin’ TONIGHT Forever Plaid Anne of Green Gables-The Musical™ Anne of Green Gables-The Musical™ Barachois Canada Rocks: A Musical Revue The Full Monty CAST ALBUMS Drill Queens Comedy A Closer Walk with Patsy Cline Buddy: The Buddy Holly Story Anne of Green Gables The Conjuror Suite Hedgerow Come All Ye The Music of Evangeline Somewhere in the World C’est What? Separate Beds Ceilidh on the Road The Talking Stick 2006 2001 Anne of Green Gables-The Musical™ 2012 Anne of Green Gables-The Musical™ Canada Rocks!: The Hits Anne of Green Gables-The Musical™ Stan Rogers - A Matter of Heart Musical Revue Ring of Fire: The Music of 2 Pianos, 4 Hands Celtic Blaze Johnny Cash Ceilidh on the Road Shear Madness Come All Ye Barachois Les Feux Follets The Kitchen Witches Celtitude Confederation Bridge Concert Series The Confederation Players Somewhere in the World Les Feux Follets 2007 2002 Anne of Green Gables-The Musical™ 2013 Anne of Green Gables-The Musical™ The British Invasion: A Musical Revue Anne of Green Gables-The Musical™ The Legend of the Dumbells Shear Madness Evangeline If You Could Read My Mind: Salt-Water Moon Dear Johnny Deere The Music of Gordon Lightfoot Les Girls Les Feux Follets Fire Ode à l’Acadie The Confederation Players Ceilidh on the Road Confederation Bridge Concert Series Menopositive! The Musical Alberta Fusion 2014 Songs of the Island Anne of Green Gables-The Musical™ The Happy Prince 2008 Canada ROCKS! Barbara Budd Concert Series Anne of Green Gables-The Musical™ Searching for Abegweit: The Songs Barachois America Strikes Back! British Invasion II & Stories of Lennie Gallant Celtitude The Ballad of Stompin’ Tom The Confederation Players Late Night at the Mack series Stones in His Pocket We Are Canadian Québec à la carte 128 THE CENTRE FOR ALL CANADIANS

Shadbolt, Jack Leonard Collection of Confederation Centre Art Gallery, Flag Mural, 1964 Commissioned with funds donated by the enamel on canvas board Molson Family, Montreal, 1964 213.5 x 376.0 cm 129 50 REMARKABLE CANADIANS

“I remember what a big deal it was. I remember the excitement around it.” - ANNE MURRAY, REFLECTING ON HER FIRST MUSICAL THEATRE EXPERIENCE IN 1966, WHEN SHE SAW CONFEDERATION CENTRE’S

ANNE OF GREEN GABLES–THE MUSICAL™

It’s said that we are reflected in the company we keep and that if you associate with eagles you can soar to great and new heights. So it is that Confederation Centre of the Arts soars highest with the company it has kept over the past 50 years – remarkable Canadian leaders and visual and performing artists. Little was it anticipated how eager 50 of those remarkable Canadians would be to share their thoughts about the Centre and what this place has meant in their lives. With a touch of creative license, we’ve received approval to include some posthumously and others as a collective through a single voice. Their contributions turn out to be, simply, remarkable. We have learned through their contributions that Confederation Centre has been a place for beginnings, for friendships, for career-launching moments and for artistic dreams imagined and fulfilled. If you are reading this, odds are that you already have an affinity to Confederation Centre of the Arts for one reason or another, including perhaps artistic dreams yet to be imagined and fulfilled. You may be a consumer of the Centre’s programs or you may have served as a volunteer. Reading The Centre for All Canadians may trigger your own memories. While you will undoubtedly enjoy visiting with the 50 Remarkable Canadians who have taken the time to share their memories of the Centre, we also invite you to share your own memories by visiting www.confederationcentre.com/centreforcanadians THE RIGHT HONOURABLE ADRIENNE CLARKSON

The creation of the Confederation Centre of the Arts in Charlottetown was a magnificent achievement which has helped to highlight everything that Prince Edward Island means to Canada. BRUCE COCKBURN

Confederation Centre was always a welcome and enjoyable stop in the course of a tour of Atlantic Canada. Being well looked after and playing a fine sounding room is what we hope for. Thanks for always coming through! 141 50 REMARKABLE CANADIANS

ROSE COUSINS

I was five when I first encountered the warm, red, glorious Confederation Centre. It was, of course, to see Anne of Green Gables. The thrill of that room has never gone away. I saw Sharon, Lois & Bram and Fred Penner there. Years later, my mother and I saw the epic Leonard Cohen. Canadian icons. I set foot on that stage for the first time myself to play with Joel Plaskett in 2009, on my birthday no less. Most recently, in November 2013, I had the absolute honour of playing the Homburg Theatre with The P.E.I. Symphony. Confederation Centre brims with the work of hundreds of artisans who show their wares each year at the annual craft fair and all of the art that hangs or rests in the building all year long. It is a proud place to celebrate the Canadian arts on Prince Edward Island. 146 THE CENTRE FOR ALL CANADIANS 147 50 REMARKABLE CANADIANS

LENNIE GALLANT

For a kid growing up in Rustico, P.E.I., Confederation Centre was the epitome of culture and grandeur. I remember well my first time, as a grade 4 student, going with my school to hear the symphony perform and listening to them tune up before the show, thinking that I wasn’t sure I liked this classical music stuff. It was a great relief when the real show started. The experience was fantastic and I was hooked! A few years later I was in the school choir and actually performing in that same theatre for the judges and the other Island schools in competition. I was so nervous, being on that venerable stage, that I had to step down from the riser I was on, and blindly make my way off the stage to sit down before I blacked out. To say I was in awe of this institution is an understatement. It represented wonder, excitement, escape, and possibility to a small village Acadian kid from down the road. It was a dream of mine to someday be able to play my own music in this theatre that had taken me on so many flights of imagination. I have since realized that dream, having given concerts at the Centre many times over, and the experience never fails to get my senses buzzing. Recently I performed there for the second time with the P.E.I. Symphony. For me, there is little in the world that could top playing my own songs with a wonderful symphony orchestra on that particular stage, and not having to blindly make my way off before the concert was over.

Lennie Gallant performing in October of 2013 with the P.E.I. Symphony Orchestra, Confederation Centre main stage 151 50 REMARKABLE CANADIANS

DON HARRON

The July 27, 1965 opening night of Anne of Green Gables in Charlottetown was the most important event of my 78-year history in show business, although ironically I was not even in attendance. Instead, I was on set in the middle of the Mojave Desert filming a sequence of ABC’s The Fugitive with actor David Janssen. After the final curtain call in Charlottetown, the musical’s composer and co-lyricist Norman Campbell telephoned me, “We got away with it. The Islanders accept what we’ve done with their story!” I had watched Norman direct the 90-minute Canadian Broadcasting Corporation black-and-white television version of the new musical production in 1956, which turned out to be my last Canadian entertainment enterprise for nearly a decade. Believing, after three years of being with the Shakespeare Festival in Ontario, that I’d be cast as Chorus in the 1956 production of Henry V alongside Christopher Plummer, I was instead offered the lesser role of Lord Scroop. “Scroop you!” I told Artistic Director Michael Langham and alternatively headed south of the border where I plied my craft at the Shakespeare Festival in Connecticut playing opposite Katherine Hepburn and then on to theatres on Broadway and American television. (I had enjoyed a great relationship with Stratford’s founding Artistic Director, Sir Tyrone Guthrie, who had just given the mantle over to Langham). But it was ultimately Anne of Green Gables, The Charlottetown Festival and Artistic Director Mavor Moore which combined to bring me back to Canada, where I’ve remained unfailingly ever since.

Don Harron in the persona of his famous alter ego, Charlie Farquharson 155 50 REMARKABLE CANADIANS

His Excellency was the keynote speaker at the 2010 Symons Lecture on the State of Canadian Confederation.

HIS EXCELLENCY THE RIGHT HONOURABLE DAVID JOHNSTON GOVERNOR GENERAL OF CANADA

One of the highlights of my mandate as governor general took place at Confederation Centre of the Arts in November 2010, when I had the privilege of delivering the Symons Lecture on the State of Canadian Confederation – a wonderful forum for discussing Canada and an example of the important role the Confederation Centre plays in the life of this country. It is a cultural institution which truly honours our remarkable history as Canadians. 156 THE CENTRE FOR ALL CANADIANS

KAREN KAIN ARTISTIC DIRECTOR, THE NATIONAL BALLET OF CANADA

Throughout my ballet career, I have had the pleasure of touring across the world but some of my fondest memories are of touring right here in Canada. I made my first company appearance in P.E.I. in 1974 while we were touring with Giselle. I remember the warm reception that I received during that initial visit and always looked forward to returning to perform in P.E.I. during tours in the 70s and 80s.

Karen Kain as Giselle in Giselle 158 THE CENTRE FOR ALL CANADIANS

JEAN PAUL LEMIEUX (1904-1990)

“I paint because I like to paint. I have no theories. In my landscapes and my characters I try to express the solitude we all have to live with, and in each painting, the inner world of my memories. My external surroundings only interest me because they allow me to paint my inner world.”

“I try to convey remembrance, the feeling of generations...” 159 50 REMARKABLE CANADIANS

STEPHEN LEWIS

When I spoke in October 2008 on stage at Confederation Centre of the Arts, the event was aptly billed as “An Evening with Stephen Lewis and Friends.” It was a lively evening featuring the talents of Lennie Gallant, Ruth Mathiang and other musicians. The event was initiated, organized, and enthusiastically supported by an engaged group of Islanders in support of Farmers Helping Farmers and the Stephen Lewis Foundation. I felt tremendously at home. 161 50 REMARKABLE CANADIANS

GENE MACLELLAN (1938-1995) CATHERINE M ACLELLAN

Like many people, the very first time I went to the Confed Centre was with my family to see Anne of Green Gables. (It was the same day my dad bought my brother a BB gun which my brother later used to shoot me in the back.) I also have vague memories from being very small and seeing my dad perform in various spaces inside the Centre. It became my standard for what a performance space should be. It never really occurred to me as a child that I would someday be standing on those stages performing my own songs. Whenever I am in the bowels of that great building, getting ready in the dressing rooms and wandering the halls, I always look at the pictures hanging on the walls of the past performers and feel a direct sense of being connected to a very rich and long tradition. A dream of mine was to stand up with my dad and sing, though we never got the chance. But just to have been there with my dad as a child, and now to stand on the main stage and sing both his songs and mine, I feel that he is there with me every time. 163 50 REMARKABLE CANADIANS

ANTONINE MAILLET

I brought “Pelagie” and her “charrette” to the stage of Confederation Centre of the Arts several years ago, and it was the Acadian in me, rather than the writer, who responded with most emotion. When the Acadians were deported in the 18th century, they carried only their language, their memories, and their indefatigable resilience. It was only on their return to Acadie that their story was told aloud, a story that had been largely ingored. L’Acadie was no longer a “country” but would exist forever, to the last breath as a “people.” The collective memory of Acadie is shared through our arts and culture, always the last word in our history. One hundred years after the founding of Canadian confederation, the opening of Confederation Centre of the Arts in 1964 served to remind us that arts and culture are the positive expression of a country, and the promise of its future.

To put it in perspective, Confederation Centre was established in the region where Champlain first made landfall in 1604, and which one century earlier the explorer Verrazano recalled Greek antiquity by naming the area Arcadie! ANNE MURRAY

Prince Edward Island has always had a special place in my heart. In 1966, the summer before I began my only year of teaching, at Athena Regional High School in Summerside, I went to see Anne of Green Gables. I remember what a big deal it was, the excitement around it and I remember how great the lead, Jamie Ray, was in her role as Anne Shirley. I just loved it. It was the first time in my life I’d seen a musical theatre production, except for a Gilbert and Sullivan show I was in with my brother, Bruce, one of the productions my Aunt Betty used to stage at her summer camp in New Annan, Nova Scotia. That was very good but this was the real thing, a full scale musical at Confederation Centre theatre. There was no place like it in the Maritimes, except the Fredericton Playhouse and it was only half the size. Little did I know that I would one day walk onto that same stage and perform with the cast of Singalong Jubilee. I went on to see yet another production of Anne, Cliff Jones’ Kronborg: 1582, and Babies and loved them all! Eventually, I played my own part in The Charlottetown Festival, performing in the Sunday Night Festival of Stars lineup with my own band and a string section from the Atlantic Symphony in Halifax. It was a memorable evening. 172 THE CENTRE FOR ALL CANADIANS

JOEL PLASKETT

I kicked off the tour for my triple record Three at Confederation Centre. I was nervous, both because it was a new album being performed live for the first time, and also because it was my first experience headlining such a prestigious venue on Prince Edward Island. The show was great, the audience was amazing and the classy theatre made me feel like I’d reached a new level in my career. 174 THE CENTRE FOR ALL CANADIANS

CHRISTOPHER PRATT

I remember being at Confederation Centre of the Arts in Charlottetown shortly after it opened, in the Moncrieff Williamson days. I remember the very warm welcome I received at the Gallery and the house party that evening where I met several local artists, collectors, etc. That was actually my first visit to P.E.I., and strangely since I had been at Mount Allison in New Brunswick for several years, only after I had spent time in every other province of Canada. My memory of the now defunct Newfoundland Railway is still very strong, and I frequently take the notion to do another painting based on those experiences. It’s great that the painting has found a sophisticated home.

Pratt, Christopher Station, 1972 Pratt, Christopher oil on board Winter at Whiteway, 2004 133.5 x 83.3 cm oil on canvas Collection of the Confederation Centre Art Gallery, CAG 72.10 203.2 x 203.2 cm Purchased with funds donated by Dr. Eric L. Harvie, Calgary, Alberta, 1972 Private Collection 178 THE CENTRE FOR ALL CANADIANS

MARK STAROWICZ

One of the proudest moments of my life was to step onto the stage of Confederation Centre and to give the Symons Lecture in 2006. I still think there might have been some kind of mistake inviting me to follow in the steps of Jean Charest, the Premier of Québec, and Roy McMurtry, Chief Justice of Ontario, but I wasn’t going to argue. I had worked on the first history of Canada for the television age, and I was honoured to stand in the birthplace of our Confederation and reflect on that history. I warned then, and I repeat now, that we have to nourish and defend our cultural institutions, or we will slowly lose the legacy of those founders. “The airwaves belong to the nation,” Graham Spry said when he argued for a sovereign Canadian broadcasting system to preserve our stories and our values. That battle – to tell our story – is going to have to be re-fought by every generation on Canadian stages, cinema screens, in books, music and art. We are living through the greatest global information revolution since Gutenberg. Never has so much changed so quickly in the published word, in photography and cinema, and all the visual arts. In this world, we either share our stories with the world, or we will not be heard in the growing chorus of creative voices. That’s why this is such a special place. In the cradle of Confederation, we mark our coming together as a nation not with ostentatious pillars of marble, but with a living home to the arts, a home that celebrates the past and welcomes the future, and affirms that Canada is a living ongoing project that involves us all. JONATHAN TORRENS

I grew up in Sherwood, just outside of Charlottetown. It was an idyllic upbringing filled with bike rides, street hockey and backyard games. Safe to say that while my little world was all I needed, it might have been lacking a bit in culture. Fortunately, Confederation Centre brought the world to me. It’s where I was first exposed to a wide variety of acts from a very young age. From the symphony to Swan Lake, from Anne to Reveen, whether I realized it at the time or not, every experience was like kindling for the fires of my showbiz dream. There was one encounter in particular I’ll relish forever: as a young would-be classical guitarist (who studied with some incredible local players like Paul Bernard), I got to see my idol up close and in concert there. She was flawless in her playing and, to my six-year-old self, heart-stopping in her appearance. I sat in the house, in wide-eyed wonder, watching the great Liona Boyd blow the roof off the place. She not only signed my guitar after the show but kissed me on the cheek as well. It was as close to heaven as I’d ever been. I realize this would be a better story had I become a professional classical guitar player...still, Confederation Centre was tangible proof to me at the time that the world was bigger than I thought and my world didn’t end at the end of my street. There are times I still think I’ll have the chance to play Gilbert. I blame that crazy notion on Confederation Centre itself. To six- year-old me, it was where anything was possible. 188 THE CENTRE FOR ALL CANADIANS

iv CCOA Archive. Photo: Dwayne Brown, 2013 45 CCOA Archive. Photo: Gail Hodder, 2013 vi CCOA Archive. Photo: Dwayne Brown, 2013 48 CCOA Archive and the Public Archives and Records Office of Prince Edward Island vii CCOA Archive. Photo: Dwayne Brown, 2013 [Acc2594, Item 2038] viii Library and Archives Canada, George P. Roberts, 1864, C-000733 49 CCOA Archive, 2012 x Public Archives and Records Office of Prince Edward Island. Photo: William Taylor, 55 Courtesy of Becka Viau R. Gordon White; [William Taylor or R. Gordon White, Acc5099/50, P0003555] 56 Courtesy of The National Ballet of Canada. Photo: Robert Etcheverry 1 CCOA Archive, 1964 57 CCOA Archive. Photo: Frances Davies A.R.P.S.; Public Archives and Records Office of Prince 2 CCOA Archive. Photo: Barrett & MacKay Edward Island [Acc2594, Item 2229] 2 CCOA Archive. Photo: Bob Brooks Photo 58 Courtesy of Theatre New Brunswick 2 Handout, Glenbow Archives, c.1937-1940 58 Courtesy of Theatre New Brunswick 2 CCOA Archive 59 Courtesy of The National Ballet of Canada. Photo: John Hall 3 CCOA Archive, 1964, Donated by Gary Craswell, 2014 60 Courtesy of the National Arts Centre Orchestra. Photo: Dwayne Brown 3 CCOA Archive, 1964, Donated by Gary Craswell, 2014 61 CCOA Archive. Photo: Dwayne Brown, 2013 4 CCOA Archive. Photo: C.D. MacKay; Public Archives and Records Office of Prince Edward 62 CCOA Archive. Photo: Dwayne Brown, 2013 Island [C.D.MacKay, Acc2594, Item 2044] 63 Courtesy of David Clayton Thomas 5 CCOA Archive. Photo: George Wotton, 1964 64 CCOA Archive, 1964-2013 6 CCOA Archive. Photo: Dwayne Brown, 2013 65 CCOA Archive. Photo: Dwayne Brown, 2013 7 Courtesy of Dave Broadfoot 66 CCOA Archive, 1968 8 CCOA Archive. Public Archives and Records Office of Prince Edward Island 67 CCOA Archive. Photo: George Zimbel, 1976 [Acc2594, Item 2067] 68 CCOA Archive, 1988 9 CCOA Archive. Photo: Frances Davies, A.R.P.S., 1964, Public Archives and Records 69 CCOA Archive. Photo: George Wotton, 1965 Office of Prince Edward Island [Acc2594, Item 2062] 70 CCOA Archive, 1982 10 CCOA Archive, 1963, Public Archives and Records Office of Prince Edward Island 71 CCOA Archive, 1968 [Acc2594, Item 2110] 73 CCOA Archive. Photo: Light and Vision, 2013 11 CCOA Archive, 1964 74 CCOA Archive. Photo: Dwayne Brown, 2013 12 CCOA Archive. Photo: George Zimbel, 1973 75 CCOA Archive. Photo: Dwayne Brown, 2013 13 CCOA Archive, 1963, Public Archives and Records Office of Prince Edward Island 76 CCOA Archive. Photo: Dwayne Brown, 2013 [Acc2594, Item 2112] 77 Courtesy of Walter Learning 14 CCOA Archive. Photo: Dwayne Brown, 2013 78 CCOA Archive, 1981 15 CCOA Archive, Canada Post Office Department [Postage Stamp Press Release], 1964 79 CCOA Archive. Photos: George Wotton, 1965 16 CCOA Archive. Photo: George Zimbel, 1964 80 CCOA Archive. Photo: Dwayne Brown, 2013 17 CCOA Archive, 1980 81 CCOA Archive. Photo: Dwayne Brown, 2013 18 CCOA Archive, Photo: Light and Vision, 2013 82 CCOA Archive. Photo: Wayne Barrett, 1976 19 Courtesy of Professor Thomas H. B. Symons 83 CCOA Archive. Photo: George Zimbel, 1972 20 CCOA Archive. Photo: Dwayne Brown, 2013 84 CCOA Archive. Photo: Dwayne Brown, 2013. Portrait photo courtesy of Garnett Gallant 22 CCOA Archive. Photo: George Wotton, 1965 85 Courtesy of Rick Warren 23 CCOA Archive, 1977 86 CCOA Archive. Photo: Dwayne Brown, 2013 25 CCOA Archive. Photo: Dwayne Brown, 2013 87 CCOA Archive. Photo: Dwayne Brown, 2013 27 CCOA Archive. Photo: Gail Hodder, 2012 88 CCOA Archive, 1972 28 CCOA Archive. Photo: Ben Kinder, 1993 89 CCOA Archive, 1985 29 CCOA Archive. Photo: George Zimbel, 1972 90 CCOA Archive. Photo: Dwayne Brown, 2013 30 CCOA Archive 91 CCOA Archive. Photo: Dwayne Brown, 2013 32 Courtesy of Ann Sherman, 2001 92 CCOA Archive. Photo: Robert C. Ragsdale A.R.P.S., 1971 33 CCOA Archive, 1983/1993/2000/2001 93 CCOA Archive. Photo: George Zimbel, 1975 36 CCOA Archive. Photo: Gail Hodder, 2014 94 CCOA Archive. Photo: Dwayne Brown, 2013 38 CCOA Archive. Photo: Kevin Rice, 2012 95 CCOA Archive. Photo: Dwayne Brown, 2013 39 CCOA Archive. Photo: Kevin Rice, 2012 96 CCOA Archive. Photo: Dwayne Brown, 2013 42 CCOA Archive. Photo: Bob Brooks, 1965 97 CCOA Archive. Photo: George Zimbel, 1973 43 CCOA Archive. Photo: Gail Hodder, 2011 98 CCOA Archive. Photos: Dwayne Brown, 2013 99 CCOA Archive. Photo: Dwayne Brown, 2013 189 LIST OF CREDITS

100 CCOA Archive, 1971 149 Courtesy of Jian Gomeshi. Photo: Berni Wood Photography 101 CCOA Archive, 1975 150 Photo: Michael Peake, QMI Agency 102 CCOA Archive. Photo: Dwayne Brown, 2013 151 Courtesy of Don Harron 103 CCOA Archive. Photo: Dwayne Brown, 2013 152 Courtesy of Tommy Hunter 104 CCOA Archive. Photo: Dwayne Brown, 2013 153 Courtesy of Ron Hynes. Photo: Lynn Horne 105 CCOA Archive. Photo: Dwayne Brown, 2008 154 Courtesy of Ron James 106 CCOA Archive, 1978 155 MCpl Dany Veillette, Rideau Hall © Her Majesty The Queen in Right of Canada represented 107 CCOA Archive, 2011 by the Office of the Secretary to the Governor General, (2010). Reproduced with the 108 CCOA Archive, 2007 permission of the Office of the Secretary to the Governor General, 2013 109 CCOA Archive, 1986 156 Courtesy of the National Ballet of Canada. Photo: David Street 110 CCOA Archive, 2011 157 Courtesy of Wanda Koop 112 CCOA Archive. Photo: Dwayne Brown, 2013 158 Courtesy of Musée national des beaux-arts du Québec, 1975 113 CCOA Archive. Photo: Robert C. Ragsdale A.R.P.S., 1965 159 Courtesy of Stephen Lewis. Photo: Farhang Ghajar/CBC 114 CCOA Archive. Photo: George Wotton, 1965 160 Courtesy of Allan Harding MacKay. Portrait photo: Alex Meboom 114 CCOA Archive. Photo: Light and Vision, 2013 161 Courtesy of Catherine MacLellan. Photo of Catherine MacLellan: Rob Waymen 115 CCOA Archive. Photo: Fraser McCallum, 2013 162 Courtesy of Barra MacNeils 116 CCOA Archive. Photo: Light and Vision, 2013 163 Courtesy of Antonine Maillet 116 CCOA Archive, 2010 164 Courtesy of Sheila McCarthy 116 CCOA Archive, 2012 166 Courtesy of Catherine McKinnon 117 CCOA Archive. Photo: Light and Vision, 2011 167 Courtesy of Stuart McLean. Photo: Bruce J. Dynes 118 CCOA Archive, 2012 168 Courtesy of Frank Mills 119 Courtesy of Oscar Cormier, 2013 169 Courtesy of Anne Murray. Photo: Katy Ann Davidson Photography 120 CCOA Archive. Photo: Dwayne Brown, 2013 171 Courtesy of Kelly Peterson. Photo: Tad Hershorn 121 Courtesy of Catherine Hennessey, 1965 172 Courtesy of Joel Plaskett. Photo: Ingram Barss 122 CCOA Archive, 1980 173 Courtesy of Jane Ash Poitras. Portrait photo: Curtis Trent 123 Courtesy of Catherine Hennessey 174 Courtesy of Christopher Pratt 124 CCOA Archive. Photo: George Zimbel, 1972 176 Courtesy of Henry Purdy. Portrait photo: Light and Vision 125 CCOA Archive, 2011 177 Courtesy of Jimmy Rankin 127 CCOA Archive, 1985 178 Courtesy of Mark Starowicz 130 CCOA Archive. Photo: Jack LeClair, 2001 179 Courtesy of Jonathan Torrens 131 Courtesy of Tom Benner. Portrait photo: David Redding. Sculpture photo: Patrick Callbeck 180 Courtesy of Valdy 132 Courtesy of Liona Boyd. Photo: Don Dixon 181 Courtesy of Vishten 133 Courtesy of Brian Burke 182 Courtesy of the artist and Catriona Jeffries Gallery, Vancouver 134 Photo © Edward Burtynsky, courtesy Nicholas Metivier Gallery, Toronto / Howard Greenberg 184 CCOA Archive. Photo: Dwayne Brown, 2013 Gallery, and Bruce Wolkowitz Gallery, New York. Portrait photo: www.birgit-kleber.de 185 CCOA Archive. Photo: Dwayne Brown, 2013 135 Courtesy of Édith Butler 186 CCOA Archive. Photo: Dwayne Brown, 2013 136 Courtesy of Herménégilde Chiasson. Portrait photo: Margaret Eaton 187 CCOA Archive. Photo: Light and Vision, 2013 137 Courtesy of The Right Honourable Adrienne Clarkson. Photo: Michael Chambers Photography 138 Courtesy of Lindee Climo 139 Courtesy of Bruce Cockburn. Photo: Kevin Kelly 140 Photo copyright and courtesy of Stompin’ Tom Ltd. 141 Courtesy of Rose Cousins. Photo: Mat Dunlap 142 Courtesy of Gerry Dee 143 Courtesy of Diane Dupuy. Photos: Barry Shainbaum 144 Courtesy of Aganetha Dyck. Portrait photo: William Eakin 145 Courtesy of Don Ferguson. Portrait photo: www.CallbackHeadshots.com 146 Courtesy of Lennie Gallant. Photo: Darrell Theriault 147 Courtesy of Lennie Gallant. Photo: Claude Emond 148 Courtesy of Yvon Gallant. Portrait photo: Daniel Chiasson