season sponsor title sponsor WELCOME Every December I visit the other London, in England. While preparing for the trip last year I took notice of a new produc- tion that was the talk of town and selling out: Barber Shop Chronicles. It was being performed at one of my favourite theatres in the world — the National Theatre of England. I snapped Supporting up a ticket and crossed my fingers. The moment I walked into the the- atre, my heart lifted and I burst into a the arts, big smile. It was clear that something special was unfolding. I was instantly transported, engaged, and swept up in the thrill of the event. When I returned to Canada I started making inquiries — locally. tracking down the playwright and the theatre producers. It is a dream come true for me to bring a great new play from this beloved theatre to our stage. We are committed to being world curious here at the Grand Theatre and this production is the first of many international productions to come. This fine company of artists joins us in the middle of their tour, which began in October in Arizona and has been touring on the us West Coast. We are the only Canadian stop on their journey, and following their time here, they head directly to the Kennedy Center in Washington, dc. We are truly in fine company. Barber Shop Chronicles dazzles on every level — but what I will always remember is how powerful a story can be when it is presented directly and honestly, with a whole pile of theatrical fun. It is a thrill to welcome the company of Barber Shop Chronicles to Canada.

dennis garnhum artistic director

Each year, through various donations and sponsorships, we are committed to helping our local communities. We would like to acknowledge the history of the traditional territory in which the Grand Theatre operates. We would also like to respect the longstanding relationships of the three local First Nations groups of this land and We’re proud to be the 2018/2019 season place in Southwestern Ontario. The three First Nations communities closest in proximity to the Grand are the sponsor of the Grand Theatre. Chippewa of the Thames First Nation (part of the Anishinaabe), the Oneida Nation of the Thames (part of the Haudenosaunee) and the Munsee-Delaware Nation (part of the Leni-Lunaape).

18-1626 The Grand Theatre_Ev2.indd 1 20/08/2018 12:06:49 PM spriet stage, noVember 15 to 24, 2018 opening night noVember 16

Since 1883, Club House has been committed to bringing Canada the purest flavours possible. From our family in London, Ontario, to yours—we’re proud to have found a home away from home in so many Canadian cupboards. A Fuel, National Theatre, and West Yorkshire Playhouse co-production

Writer INUA ELLAMS Director BIJAN SHEIBANI Designer RAE SMITH AFTER 135 YEARS CANADIANS KNOW Lighting Designer JACK KNOWLES Movement Director ALINE DAVID Sound Designer GARETH FRY PURE FLAVOUR Music Director MICHAEL HENRY Fight Director KEV McCURDY TASTES BETTER Associate Director STELLA ODUNLAMI Associate Director LEIAN JOHN-BAPTISTE Assistant Choreographer KWAMI ODOOM Barber Consultant PETER ATAKPO Company Voice Work CHARMIAN HOARE Dialect Coach HAZEL HOLDER Tour Casting Director LOTTE HINES Starring Jan Alexandra Smith as Scrooge Wallace / Timothy / Mohammed / Tinashe TUWAINE BARRETT Tanaka / Fifi MOHAMMED MANSARAY Musa / Andile / Mensah MAYNARD EZIASHI Ethan ALHAJI FOFANA Samuel ELLIOT EDUSAH Winston / Shoni SOLOMON ISRAEL Tokunbo / Paul / Simphiwe PATRICE NAIAMBANA Emmanuel ANTHONY OFOEGBU Kwame / Fabrice / Brian KENNETH OMOLE Olawale / Wole / Kwabena / Simon EKOW QUARTEY Elnathan / Benjamin / Dwain JO SERVI Abram / Ohene / Sizwe DAVID WEBBER

Design Associate CATHERINE MORGAN Re-lighter and Production Electrician RACHEL BOWEN Lighting Associate LAURA HOWELLS Sound Associate LAURA HAMMOND Wardrobe Supervisor LOUISE MARCHAND-PARIS

Pre-Production Manager RICHARD EUSTACE Join us this Production Manager SARAH COWAN Company Stage Manager JULIA REID holiday season! Deputy Stage Manager FIONA BARDSLEY Assistant Stage Manager SYLVIA DARKWA-OHEMENG The classic returns in Costume Supervisor LYDIA CRIMP a gender-flipping twist Costume and Buying Supervisor JESSICA DIXON that’s sure to delight!

Immerse yourself in this Co-commissioned by Fuel and the National Theatre. Development funded by Arts Council England with the support of Fuel, spectacle of Scrooge and National Theatre, West Yorkshire Playhouse, The Binks Trust, British Council ZA, Òran Mór and A Play, a Pie and a Pint. Cover photo by Dean Chalkley. her transformation at the The Grand Theatre is an active member of the Professional Association of Canadian Theatres (PACT) and engages, under the hands of the three ghostly terms of the Canadian Theatre Agreement, professional artists who are members of the Canadian Actors’ Equity Association. By Charles Dickens The Grand Theatre acknowledges with thanks the co-operation of Locals 105 and 828 of the International Alliance of Theatrical spirits of Christmas Past, Stage Employees, Moving Picture Technicians, Artists, and Allied Crafts of the United States, its Territories and Canada, and The Adapted by Dennis Garnhum Present, and Future. London Musicians’ Association Local 279. Directed by Megan Watson The videotaping or other video or audio recording of this production is strictly prohibited. Set Designer Allan Stichbury, Costume Designer Kelly Wolf, Coming this December Lighting Designer Bonnie Beecher, Sound Designer Jim Neil season sponsor title sponsor title accommodation sponsor partners THANK YOU TO OUR SPONSORS

THE SPRIET STAGE IS GENEROUSLY SPONSORED BY HELEN & ANDY SPRIET.

season sponsor program sponsors Grand Gala Accessing Season Hosting Assistive Hearing Presenting Sponsor the Arts Partner Devices title sponsors

Timothy Findley’s The Wars Barber Shop Chronicles A Christmas Carol

100 Schools Students Club

Vigilante August Wilson’s Fences Mamma Mia! An Undiscovered Shakespeare COMPASS New Play Development Barber Shop Chronicles Wardrobe Accommodation Partners Internship high school project

Title Sponsor Make a Diff erence Program Partners partners Community Pillar Partner Westminster Florist Hotel Wine Framing Wardrobe & Props College Foundation government funders Vehicles Apparel Catering Lighting Printing Lease the Luxury. Q&A WITH INUA ELLAMS

What inspired you to write this play? Own the Lifestyle. Years ago I learnt of a charity that was trying to train barbers in the very basics of counselling, and I never realised how intimate the conversations could get between barbers and clients. Initially I wanted to be voyeuristic and create poems. Just to record the conversations and try and write about the interactions between these men. No one would fund me to do this, but the idea stayed with me. The idea of the poems turned to conversations, to scenes, to settings, to drama, to politics, to anthropology, to history, to the contemporary — to everything really. I wanted to capture the fragility of black men in their own setting. How did you approach the piece? I went to London, South Africa, Uganda, Nigeria, and Ghana. I met individuals, transcribed and recorded, mixed things together, created whole new characters, scrapped some and cre- ated this play that is 40% verbatim 60% invented. It was a lot of work drawing strands together. I’ve written quite a few drafts — I’m approaching the tenth now — and each time I am refi ning, cleaning up, reducing, realising aspects of the play. I’ve tried to create that sense of camarade- rie and a safe space for the men in the play to be themselves. What is the significance of the different places in the play? Simply because they’re Anglophone Africa rather than Francophone Africa, I wanted to create a diasporas, conversation between black African men in the uk and black African men on the continent. And those were the places I had the most friends and ins into barber shops. What do you want people to take away from the piece? Just how vast, complex, and nuanced the continent is. The very many types of black men that exist. The stereotypes created for us, for the actors on television, all of them lack in grace and specifi city and are tired and dated. It is just so multilayered, a plethora of identities that we don’t have represented in the uk and I wanted to share that. To show the kaleidoscopic nature of masculinity on the continent and here. What advice would you give aspiring writers? To be themselves. To chase their most ridiculous thoughts, inspirations, and starting points down the rabbit hole and see what you fi nd and what bears fruit. That’s it. So much of every- thing that I do comes from just that. Most of the time, I feel that I’m an inspiring writer. When I sit down to write a poem or a play I scratch my head and think, ‘How do I do this again? What is this all about?’ I think writing always has to feel new and slightly terrifying. Just be your- self, see how your identity or background informs your interest and start from that. That’s something that can never be taken away from you: your own uniqueness, way of questioning, idiosyncrasies, and infi nitely reductive misconceptions of the world. Those are new lenses to shine a story through and see what comes out the other end. Fear predominates in conversations about Gambia in the 1980s where in Wolof, they mental health issues. It is used in connection say denga mankeh — similar to ‘one missing to people’s perception and knowledge about a screw.’ the range of treatment options available. It When I arrived in the uk I experienced is linked to the spectre of being sectioned disorientation followed by a period of pro- under the Mental Health Act, of the police found sadness, and this was partly instru- being involved, of the effects of antipsychotic mental in my decision to train to become a medication, of stories of individuals with psychotherapist. But I also made the choice mental health problems inexplicably dying because of the prevailing fear, stigma, and in police cells. shame within the black community (‘black’ Amongst London’s ethnic minority groups, in this article is used in reference to black this fear mutates when it intersects with British, African Caribbean, and African), STRONG ideas about mental illness from their vari- which places a lid on psychological problems, Baffour Ababio looks at why men in black communities ous countries of origin. In Ghana’s capital, stemming their expression and thwarting Accra, for example, the perception of mental access to timely treatment. There seems to be health problems conflates sometimes with a notion that once an individual is touched by the mysterious happenings mental illness, they can behind the walls of the Accra never return to the way psychiatric hospital; a percep- There is an things were; that they are tion reinforced by the sight of marred for life. mentally ill people wandering urgent need When I started train- the streets begging, wearing ing, there were very few rags, sometimes naked. for early professional spaces to Most languages use derogatory engage black people in terms to talk about their men- intervention talking therapy, and the tally ill. In Lagos, Nigeria the mental health treatments Yoruba term were (meaning in issues of offered were geared BLACK insane) is linked to the Yaba largely towards medica- avoid speaking out about mental health hospital, while the Shona word mental health tion and hospitalisation, Benzi (meaning stupidity) is often seen as necessary used to talk about the sascam hospital in treatment in the context of the stereotype of Harare, Zimbabwe, adding further stigma the ‘black, dangerous male.’ As one of the few to these much-feared — and usually urban — black, male psychotherapists in the uk, psychiatric hospitals. The attitudes towards I felt I could play an important role in helping mental illness in these developing countries other men talk about their problems. vary between the urban and rural areas. In Until the 1980s it was difficult for members the rural areas communities seem more set- of the black and ethnic minority groups in tled with the dynamic existence of familiar, the uk to access psychotherapy or coun- caring relationships with the mentally selling. Places like Nafsiyat Intercultural ill person. Therapy Centre set up stalls during that Recently, I have been struck by memories of period, to work with them. Black and ethnic the stereotypes I held growing up in Accra minority groups were excluded from tradi- and of using the Ga term Sɛkɛyɛlor (meaning tional psychotherapy because of the idea that MALE mad person). I recall visits to Banjul in The they were not ‘psychologically minded.’ My training came about through a collaboration confused — was he being too sensitive? Why did not approve of him and thought his In relation to their numbers within the between Nafsiyat and ucl and it challenged did she refer to ‘bones’ and not ‘any hard spoken English was not up to par. Eventually general population, black people are over- me to confront the racism implicit in much foods?’ John embarked on an affair and took to represented in psychiatric hospitals; partic- medical and psychotherapeutic theory. drink, becoming alcohol-dependent. ularly in locked wards, probation services The concept of the strong, black man — Intercultural psychotherapy acknowledges and prisons. Black men are over-represented interpreted to mean an aversion to talking During this time, John developed a rapport the reality of mental illness but argues that in the diagnosis of serious mental illnesses about emotional problems – results in the with his barber and would travel to north the course, recovery, outcome, and symptoms such as schizophrenia, resulting in labelling accumulation of stress. And the stereotype of London to see him. He enjoyed sitting in are shaped by the cultural and social context. and reinforcing mistrust and suspicion of the strong, black male inevitably seeps into the chair — akin to the counselling chair, mental health professionals. These experi- There is an urgent need for early intervention spaces where male interaction often occurs, perhaps — as his barber stood behind him, ences enable negative perceptions of mental in issues of mental health, particularly as the such as sport (participating or watching), the cut his hair and conversed with him. Despite illness to be directed towards places of help, black community in the uk operates under barber shop and the gym. This could mask or this interaction, John’s drinking spiralled out like The Paterson Centre for mental health the pressure of striving to be seen as capa- inhibit vulnerability and further discourage of control, into domestic violence, arrest and in west London. ble of survival and of becoming financially men from opening up, due to the fear that a breakdown. His marriage ended and so did successful. The link between this pressured it might be deemed an indication of homo- his relationship with his children. It is a fear which deters people from seeking environment impacting underlying vulner- sexuality or bisexuality. This silence also help. To change this, we need to find ways With proper support, the trust and routine abilities and widening indicates the com- to raise awareness of local mental health of this weekly session with the barber could psychological fissures is a munity’s position resources, particularly culturally appropri- have enabled John to seek help sooner from strong one. The stress of Black men are over- not to air its ‘dirty ate services in black communities – and this his GP, who could have facilitated a referral racism, migration, ves- linen’ in public. could mean collaborating with barbers. What to an appropriate psychological, medical tiges of the colonial expe- represented in the if we could work to embed a working knowl- Barber Shop and cultural intervention to complement the rience, the fragmentation edge of signs, symptoms and treatment of Chronicles barber’s time with him. of communities, and the diagnosis of serious mental illness within these communities? It’s describes the set- processes black men expe- When I saw John for psychotherapy, it was not entirely about focusing on deficits, it is ting within which rience in the mental health mental illness clear that the cause of his breakdown was also about acknowledging existing strengths the barbering system, stoke the fear of multifactorial and intersectional. Amongst within these communities, its people, its occurs. The client sitting in the chair, a cloth addressing the early signs of mental health other things, he had unaddressed issues resilience, its contributions, its coping mech- wrapped around him, introduces a degree of problems, contributing to increased rates from his encounter with the civil war in his anisms and facilitating and celebrating them. intimacy and vulnerability in the interaction. of mental illness. country of origin. His sense and experience It resonates with my work as a psychothera- of community had already been fragmented Racism has its overt expressions but is also pist and made me consider the possibilities before he arrived in the UK and he attempted Baffour Ababio is a Psychoanalytic Intercultural experienced as micro-aggressions. A black of collaborations between barbers and to recreate a family around him. His mar- Psychotherapist and clinical supervisor in private prac- male client who consulted me for psycho- therapists. tice and at nafsiyat Intercultural Therapy Centre, riage was in part undermined by the inter- therapy talked about his internalisation of where he has also worked as Head of Clinical Services. I remember visiting my barber the day before nalised colonial issues of fluency in English the stereotype of the ‘dangerous black male.’ Alongside his clinical role, he has also developed a my wedding on the pretext of getting a good and the stress of getting a middle-class job career in managing mental health services, integrat- He described running the gauntlet to work haircut for the big day. I now see my barber to placate his in-laws. John also struggled to ing a community-based response to support recovery daily: observing the empty seat next to him as the ‘best man’ no one knew about, and strike the balance of being vulnerable with from a broad range of mental health problems. He not being readily taken, the frustrations of completed his training at University College London our talk that day prepared me for my rite of his wife whilst remaining the ‘strong man’ he disempowerment at work, walking home late and The Guild of Psychotherapists. He is a member of passage. For my clients, too, the barber shop felt he had to be. and hurrying to overtake the white woman the United Kingdom Council for Psychotherapy (ukcp) can provide a place of refuge. and The British Association for Psychoanalytic and in front — to reassure her. He would arrive In my work with John, he disclosed his fear Psychodynamic Supervision (bapps). home and snap at his wife and children, ‘John,’ who saw me for psychotherapy, had of breakdown and of being diagnosed with unwinding with a drink. He realised his left his country of origin in Africa – a coun- schizophrenia. This fear is real insofar as it anger was displaced. He went to the dentist; try where he was exposed to the brutalities of is based on actual reported cases within the a white, female dentist put a temporary fix on civil war. He arrived in the UK and found a black population, where patients are two to his molar and cautioned him not to chew any job in transport, met a black British woman, three times more likely to be involuntarily bones. He left the dental surgery angry but got married and had children. His in-laws hospitalised under the Mental Health Act. GUEST ARTISTS

Tuwaine Barrett Wallace / Timothy / Mohammed / Tinashe Tuwaine trained at Mountview Academy of Theatre Arts. Credits at Mountview include: The Alchemist, Macbeth, A Lie of the Mind, Ghosts, Othello, If You Don’t Let us Dream, We Won’t Let You Sleep. His work in theatre includes: Blue Orange (Soho Theatre), A Streetcar Named Desire, A Season in the Congo (Young Vic). tV includes: Rellik; A Discovery Of Witches; Silent Witness. Film TIME FOR THE includes: Drop. Elliot Edusah Samuel This is Elliot’s fi rst professional role after completing his training at lamda in 2018. Theatre credits at lamda include: Taming of the Shrew, Suckerpunch, All’s Well That Ends Well, The Flick. SECOND ACT Prior to this, Elliot’s theatre credits include: As You Like It (The Brit School); Heartfelt (Theatre Royal Stratford East). Maynard Eziashi Musa / Andile / Mensah Maynard Eziashi’s work in theatre includes: The Winter’s Tale, Pericles, Season of Migration to the North (Royal Shakespeare Company); Free Fall (Pleasance); Faith v Reason (Bush); A Jamaican Airman Forsees his Death (Royal Court); A Respectable Wedding (Almeida). tV includes: Bad Boys, The Changeling, Hallelujah Anyhow. Film includes: The Contract, Kiss Kiss (Bang Bang), Ace Ventura: When Nature Calls. Alhaji Fofana Ethan Alhaji won the 2017 Children’s bafta Award for Best Performance for his role of Ryan in MODEL Screwball. His television credits includes Silent Witness, Holby City (bbc); Josh, Siblings (bbc3); SUITES Brotherhood (Big Talk / Comedy Central); series regular in Youngers, series 2 (Big Talk / e4). OPEN! Solomon Israel Winston / Shoni Solomon trained at lamda. Theatre credits include: The Fantastic Follies of Mrs Rich, Duchess o f M a l fi , Miss Littlewood, Kingdom Come, Twelfth Night, The Comedy of Errors, The Tempest (Royal Shakespeare Company); The Pulverised (Arcola / York Theatre Royal); Dutchman (Young Vic); Octagon (Arcola); I Know All the Secrets in My World (Tiata Fahodzi); Chigger Foot Boys (Ovalhouse); Juicy and Delicious (Nuffi eld Southampton);Taking Steps (Old Laundry Theatre). tV credits include: Lovesick, Doctor Who, I Live With Models, Josh, Brothers with No Game, Law and Order, Holby City, Quick Cuts. Radio includes: Three Strong Women (bbc). Mohammed Mansaray Tanaka / Fifi Mohammed’s theatre credits include: One Flew Over the Cuckoo’s Nest (Sheffi eld Crucible); lead roles in Mrs. Dalloway, Jekyll & Hyde and Othello for the National Youth Theatre’s Rep West End Season. He also has Musical Theatre experience having partaken in Oliver! (Theatre Royal Drury Lane) and Daddy Cool (Shaftesbury Theatre, World Tour). His television credits include: Tracey Beaker Returns (cbbc), Law & Order UK, The Bill (itV). Film credits include: My Brother the Devil (Rock Rest Entertainment). Patrice Naiambana Tokunbo / Paul / Simphiwe Theatre: The Man Who Committed Thought (Fringe First Award Winner); Rosamunde Hutt’s New Nigerians (Arcola); The Secret Lives of Baba Segi’s Wives (Femi Elufowoju Jnr Ensemble); The Caretaker (Bristol Old Vic); Iyalode of Eti, Duchess of Malfi (Utopia Theatre); Othello, The Histories Cycle, The Spanish Tragedy, Cymbeline, The Lion The Witch and The Wardrobe (Royal Shakespeare Company); Pericles (Shakespeare’s Globe); Steven Berkoff ’s Coriolanus (West Yorkshire Playhouse); Marcello Magni’s Tell Them That I’m Young and Beautiful, R a g a m u ffi n (Double Edge Theatre). tV: The Bible, Torchwood, Silent Witness, Casualty, In Exile. Film: Turn up Charlie, Spectre, Monochrome, Schweitzer. Founder of Tribal Soul Arts. Anthony Ofoegbu Emmanuel Anthony’s theatre credits include: Circle Mirror Transformation (home, Manchester); Titus Andronicus, Julius Caesar, Antony & Cleopatra (The Royal Shakespeare Company Rome Season, 2017-2018); Twelfth Night (Nottingham Playhouse); Death and the King’s Horseman (Royal National Theatre); Twelfth Night (Royal Theatre, Northampton); Oedipus at Colonus (Nevada Conservatory Theatre); Treemonisha (Hackney Empire and Battersea Arts Centre); The Beatifi cation of Area Boy (West Yorkshire Playhouse, world tour). tV credits include: Moonfl eet, Spooks, Casualty, Chambers, Family Aff airs, The Bill. Film credits include: J u s t i fi e d , Bad Day, Dead Room, Plato’s Breaking Point, The Killing Zone, Samson and Delilah. Kenneth Omole Kwame / Fabrice / Brian Kenneth Omole trained Rose Bruford Drama School. His theatre credits include: Assata Taught Me (Gate Theatre); The Cane (The Bush Theatre); This Language (Edinburgh Fringe). Kenneth was also nominated for Best Actor at the 2017 Stage Debut Awards. Ekow Quartey Olawale / Wole / Kwabena / Simon Theatre credits include: Amadeus (National Theatre); People, Places & Things (National Theatre / Headlong / Exeter Northcott); Peter Pan (National Theatre); A Midsummer Night’s Dream (Theatre Royal Bath); As You Like It (National Theatre); Richard II (Shakespeare’s Globe); The Absence of War (Headlon, uk Tour); Spring Awakening (Headlong / West Yorkshire Playhouse, uk Tour); Long Story Short (Pleasance Theatre); Eye Of a Needle (Southwark Playhouse). Film / tV credits include: Call the Midwife (bbc); Enterprice (bbc3); Undercliff ,e Zapped, Porters, The Current War, Titus Andronicus with Peter Capaldi for Shakespeare’s Globe. Ekow was nomi- nated for the prestigious 2015 Ian Charleson Award. Jo Servi Elnathan / Benjamin / Dwayne Jo’s theatre credits include: Chess (London Coliseum); The Life (Southwark Playhouse); Dirty Dancing (uk & European Tour); Sunny Afternoon (Harold Pinter Theatre); City of Angels (Donmar Warehouse); A Midsummer Night’s Dream (Regent’s Park); Jersey Boys (Prince Edward Theatre); Before The Dawn — Kate Bush (Hammersmith Apollo); The Enchanted Pig (New Victory Theater, New York); The Human Comedy (The Young Vic & Watford Palace); Guys and Dolls, Jailhouse Rock, Ragtime (Piccadilly Theatre); Cinderella (Old Vic Theatre); Disney’s The Lion King (Lyceum Theatre). Film & Television: Muppets: Most Wanted (Disney); Saturday Live (Triffi c Films);The Royal Variety Performance (Granada). David Webber Abram / Ohene / Sizwe David trained at Rose Bruford. Theatre work includes: Death and the King’s Horseman, Leave Taking (National Theatre); The Hudsucker Proxy (Nuffi eld Southampton and Liverpool Playhouse); Catch-22 (Northern Stage); Sweet Bird of Youth (Old Vic); Government Inspector (Young Vic); What’s in the Cat for Contact (Royal Court); One Love (Bristol Old Vic / Talawa); The Big Life (Apollo, West End). tV includes: Chewing Gum, Prime Suspect, Youngers, Nan, The Royal Bodyguard, How Not to Live Your Life, Being Human. Film includes: Captain Phillips, The Children Act, Broken, Tipping the Velvet, 51st State, Among Giants, The Avengers, Getting Hurt. Inua Ellams Writer Born in Nigeria, Inua Ellams is a cross art form practitioner, a poet, playwright and performer, graphic artist and designer and founder of the Midnight Run — an international, arts-fi lled, night-time, playful, urban, walking experience. He is a Complete Works poet alumni and a designer at White Space Creative Agency. Across his work, identity, displacement, and destiny are reoccurring themes in which he also tries to mix the old with the new: traditional African storytelling with contemporary poetry, pencil with pixel, texture with vector images. His poetry is published by Flipped Eye, Akashic, Nine Arches & several plays by Oberon. Bijan Sheibani Director Bijan’s recent theatre credits include Dance Nation (Almeida); Circle Mirror Transformation (Home, Manchester); The Brothers Size (Young Vic / Actors Touring Company); Barber Shop Chronicles (National Theatre / Fuel / West Yorkshire Playhouse). He has also directed extensively at the National Theatre of Great Britain where his credits include The Kitchen, Our Class, Emil and the Detectives, and A Taste of Honey. Recent opera credits include Nothing (Glyndebourne) and Tell Me The Truth About Love (Streetwise Opera). He was an associate director of the National Theatre from 2010-15, and artistic director of Actors Touring Company from 2007-10. Rae Smith Designer Rae Smith’s recent designs in the uk include: Nightfall (The Bridge); Translations; Macbeth (National Theatre); The Lion, the Witch and the Wardrobe (West Yorkshire Playhouse); Girl from the North Country (Old Vic / Noël Coward Theatre / The Public Theater, ny ); This House (National Theatre / Garrick Theatre / uk tour); The Goat or Who is Sylvia? (Theatre Royal Haymarket); Stella (Hoxton Hall / Holland Festival). Other designs include: wonder.land, The Light Princess, War Horse (National Theatre, Tony and Olivier Awards); Cav and Pag (Met Opera ny); The Tempest (Birmingham Royal Ballet). Further info: www.raesmith.co.uk. Upcoming work includes Inua Ellams’ The Little Prince. Jack Knowles Lighting Designer The Importance of Being Earnest (Vaudeville); Machinal, They Drink it in the Congo, Boy, Carmen Disruption, Game (Almeida); Happy Days, Parliament Square, Our Town, Twelfth Night, A Streetcar Named Desire, Wit, The Skriker, There Has Possibly Been An Incident (Royal Exchange); Dan and Phil: Interactive Introverts, The Amazing Tour is Not on Fire (World Tours); Instructions for Correct Assembly, 2071 (Royal Court); Caroline, or Change (Chichester Festival Theatre); Circle Mirror CLOTHING FOR ALL SEASONS Transformation (Home mcr); Wonderland (Nottingham Playhouse); Beginning (also Ambassadors Theatre); Cleansed (National Theatre); Committee (Donmar); 4.48 Psychosis, Reisende auf einem Bein, Happy Days (Schauspielhaus, Hamburg); Junkyard, Pygmalion (Headlong). www.jackknowles.co.uk 1152 Fanshawe Park Road East 519 451-9066 tynershortenclothiers.com Aline David Movement Director Theatre work includes: Dance Nation, The House of Bernarda Alba (Almeida); Macbeth, The Merchant of Venice (rsc); Romeo and Juliet, A Taste of Honey, Damned by Despair, Antigone, The Kitchen, Greenland, Our Class (National Theatre); The Brothers Size, Dutchman, Eurydice (with act); Elektra (Young Vic); Nothing (Glyndebourne Opera / Den Jyske Opera); The Mighty Waltzer, 1984, Macbeth (Royal Exchange); The Iphigenia Quartet, How to be Another Woman (Gate); The Tempest (National Youth Theatre); First Love is the Revolution (Soho); Romeo and Juliet, A Taste of Honey, Alice (Sheffield Crucible); The Merchant of Venice (rsc); Of Mice and Men (Birmingham Rep). Gareth Fry Sound Designer Gareth’s us work includes Harry Potter and the Cursed Child, The Encounter (with Pete Malkin), Shun-kin, The Noise of Time (Complicité); Black Watch, Let The Right One In (National Theatre of Scotland). Gareth’s work includes over 20 productions at the Royal National Theatre, over 20 at the Royal Court and countless more, including the Opening Ceremony of the 2012 Olympic Games. Awards include two Tony Awards, two Drama Desk Awards and an irne award. As well as three Olivier Awards, an Evening Standard Award, and two Helpmann Awards. Michael Henry Music Director Michael is a composer, vocalist and musical director. md work includes: An Octoroon, The Amen Corner, Emperor and Galilean, FELA!, Death and the King’s Horseman (National Theatre); They Drink It in the Congo, Mr. Burns (Almeida); SYLVIA (Old Vic); The Brothers Size, FEAST (Young Vic). Live backing vocals include George Michael, Chaka Khan, and Pet Shop Boys. Studio vocals include Diana Ross, Robbie Williams, and Billy Bragg. Compositions include Rocket Symphony for 500 voices and fireworks andStand for 16 voices at the bbc Proms 2006. He has sung acapella extensively with Flying Pickets and The Shout. Stella Odunlami Associate Director Stella Odunlami is a theatre-maker and researcher. She most recently presented the sound installation and performance piece London Wall: 1980 something (V&A). Work as a director includes: Made Visible (The Yard); Dies Irae (Hoxton Hall); Hidden (33% Festival at Ovalhouse); Preserves (Hen and Chickens); Black Cab Music (Lyric Hammersmith). She was previously resident assistant director at the Gate, where she worked on Joseph K, Fatherland and Electra. Proud to support the Other work as assistant director includes: The Revenger’s Tragedy (Hoxton Hall); Crocodile Accessing the Arts program. (Riverside Studios); Bad Blood Blues, Come Dancing (Theatre Royal Stratford East). Leian John-Baptiste Associate Director We’re working together with the Grand Theatre In the past, Leian has made short films and launched a website (House of Black) to showcase to help create a future we can all look forward to. and celebrate young Black British filmmakers. Earlier this year he worked as an Assistant Director to Oliver Award nominee Bijan Sheibani at the Young Vic on The Brothers Size (writ- ten by the Oscar winning writer of Moonlight, Tarell Alvin McCraney). More recently he has directed Waterfalls at Theatre Royal Stratford East and Stop & Search at Theatre 503. Leian plans to do more directing for stage and also get back into directing for screen, something he has not done much of since studying Broadcast Media at Brunel University. td.com/thereadycommitment

4972-0818 Catherine Morgan Associate Designer Catherine was Associate Designer on St. George and the Dragon (National Theatre) and Assistant Designer on The Goat (Theatre Royal, Haymarket). She has worked for designers THE BOY IN THE MOON such as Stewart Laing, Giles Cadle, Leslie Travers, Jamie Vartan, Soutra Gilmour, Antony A Crow’s Theatre Production, by Emil Sher based on a book by Ian Brown McDonald and Tom Cairns. Associate design credits include: The Hairy Ape (Old Vic, Park Avenue Armory, ny); Dido & Aeneas / La Voix Humaine (Opera North). Recent design credits include: Salad Days (The Union Theatre, Bath Theatre Royal); Screwed (Theatre 503); The One “Deeply Day of the Year (Finborough). She recently participated in the fi nal for the Dutch Opera “Gripping” Design Award. noW magaZine poignant” the globe and mail Sarah Cowan Production Manager Sarah has production managed in venues such as the National Theatre (uk), Manchester Royal Exchange, Theatr Clwyd Cymru, Soho Theatre, Opera Holland Park, and York Theatre Royal amongst others. She has worked in theatre for almost 20 years with experience ranging from large scale shows to site-specifi c projects. One of her favourite pieces (aside from Barber Shop Chronicles of course) was a production called Before I Sleep with Dreamthinkspeak. She is now going international and following touring the usa and Canada with this show will be heading to the Sydney Theatre Company to Production Manage with them for a while. Julia Reid Company Stage Manager season sponsor Next on the McManus Stage Julia trained in Stage Management at the Royal Central School of Speech & Drama. Theatre photo oF david storCh and liisa repo-martell by dahlia KatZ. credits include: Things I Know To Be True (Frantic Assembly, uk Tour); Fatherland (mif / Frantic Assembly / Royal Exchange Manchester); Twelfth Night, Cat on a Hot Tin Roof, Scuttlers, Three Birds, Rats Tales, Good, Punk Rock, Private Lives (Royal Exchange Manchester); A Midsummer Night’s Dream (international tour, Propeller); The Late Middle Classes (Donmar); Julius Caesar (rsc Swan); In the Night Garden (uk Tour); Been So Long, A Prayer for my Daughter, The Good Soul of Szechuan (Young Vic); Rough Crossings, Angels in America, Paradise Lost (Headlong). Fiona Bardsley Deputy Stage Manager Fiona trained at lamda in the Stage Management and Technical Theatre course. She then worked in the fringe and the Soho Poly Theatre. Fiona worked at the Royal Court as Deputy Stage Manager on many plays including Road, A Lie of the Mind, and Ice Cream and Hot Chocolate. Fiona’s credits at the National Theatre as dsm include: The Shaugraun, Arcadia, Dealers Choice, Amy’s View, Skylight. World tours of Richard III, King Lear, Hamlet, The History Boys, Power, Frankenstein, Collaborators, Battle Royal, Humble Boy, Gagarin Way, The Talking Cure, Gethsemane, The Eff ect, Beyond Caring, Hedda Gabler, Exit the King. Sylvia Darkwa-Ohemeng Assistant Stage Manager Sylvia is a Rose Bruford Graduate in Stage Management. Her credits include: The 33% Festival (Creative Youth Department at Oval House); 24hour plays (Old Vic: New Voices); NineRooms (Old Vic Tunnels); Monologue Slam, RichMix, Future Fest, Eclipse, Grandfathers (ntc); Half Breed (India Tour, Soho Theatre); A Guide to Second Date Sex, Strong Arm (Edinburgh Festival: Underbelly Venue); Jungle Book (Birmingham Rep / Roundhouse); Ada Ada Ada (Proximus Lounge, Brussels); Brainstorm (Temporary Space); Putting Words in Your Mouth (Roundhouse); Take-Over Season, Storylab (Tricycle Theatre); nyt Playing Up Season (Arcola); Halfbreed (India Tour); Boys (Vaults Festival); Nine Night (National Theatre: The Dorfman). Fuel, co-producer Fuel produces an adventurous, playful and signifi cant programme of work — live, digital, and across art forms — for a large and representative audience across the uk and beyond. We collaborate with outstanding artists with fresh perspectives and approaches who seek to explore our place in the world, expose our fears, understand our hopes for the future, create experiences which change us and in turn empower us to make change in the world around us. Fuel Director Kate McGrath and Inua Ellams met in 2008, after Kate saw the beginnings of DO what became Inua’s fi rst play, The 14th Tale, at bac. Fuel helped Inua develop this debut and produced it, premiering it at the Edinburgh Festival, winning a Fringe First, touring it in the uk and internationally, and presenting it at the National Theatre. Since that fi rst meeting, Fuel has worked closely with Inua, producing Untitled, Knight Watch, The Long Song Goodbye, Black T-shirt Collection, The Spalding Suite, and Barber Shop Chronicles since its inception. Fuel YOUR previously toured Inua’s An Evening with an Immigrant where with poems, stories and extracts from his plays, he tells about his life through the lens of his experience of immigration. Upcoming Fuel projects include: Touching The Void, adapted by David Greig and directed by Tom Morris, opening at the Bristol Old Vic in September 2018, and The Half God of Rainfall by THING Inua Ellams at the Kiln Theatre in April 2019.

National Theatre, co-producer Lots of people will tell you how they did things in the past. Especially if you’re running a business or advancing your career. Yet while listening is The National Theatre makes world-class theatre that is entertaining, challenging and inspiring. And we make it for everyone. smart, you’re not limited to what was. That’s true in getting your business to the next level. It’s true in how you balance career aspirations and life. We stage up to 30 productions at our South Bank home each year, ranging from reimagined classics — such as Greek tragedy and Shakespeare — to modern masterpieces and new work Southwestern Ontario is thriving thanks to innovative people. We know by contemporary writers and theatre-makers. The work we make strives to be as open, as because Libro Credit Union is their banking partner. diverse, as collaborative, and as national as possible. Much of that new work is researched and developed at the New Work Department: we are committed to nurturing innovative work from You’re making new rules. That’s how we live here. And Libro is how we new writers, directors, creative artists and performers. Equally, we are committed to educa- bank here. tion, with a wideranging Learning programme for all ages in our Clore Learning Centre and in schools and communities across the uk. The National’s work is also seen on tour throughout the uk and internationally, and in collab- Get inspired by others who are doing their own thing in southwestern orations and co-productions with regional theatres. Popular shows transfer to the West End Ontario. Share your story! and occasionally to Broadway. Through National Theatre Live, we broadcast live performances to cinemas around the world. Visit libro.ca/mylifehere National Theatre: On Demand. In Schools makes acclaimed, curriculum-linked productions free to stream on demand in every primary and secondary school in the country. Online, the nt off ers a rich variety of innovative digital content on every aspect of theatre. We do all we can to keep ticket prices aff ordable and to reach a wide audience, and use our public funding to maintain artistic risk-taking, accessibility, and diversity. West Yorkshire Playhouse, co-producer Welcome to the home of incredible stories. There has been a Playhouse in Leeds for almost 50 years; from 1968 to 1990 as Leeds Playhouse, and then with the opening of a brand new theatre on its current Quarry Hill site it became West Yorkshire Playhouse. West Yorkshire Playhouse is a leading uk producing theatre; a cultural hub, a place where peo- ple gather to tell and share stories and to engage in world class theatre. We make work which is pioneering and relevant, seeking out the best companies and artists to create inspirational theatre in the heart of Yorkshire. From large scale spectacle, to intimate performance we develop and make work for our stages, for found spaces, for touring, for schools and commu- nity centres. Our 2015/16 production of Chitty Chitty Bang Bang played to over 500,000 people across the country — our production of Beryl played to 100 in a village hall in Wickenby, Lincolnshire. We create work to entertain and inspire. As dedicated collaborators, we work regularly with other theatres from across the uk, inde- pendent producers, and some of the most distinctive, original voices in theatre today. We Custom Entertainment & Fireplace Cabinets develop work with established practitioners and fi nd, nurture and support new voices that NOW OFFERING Murphy Beds! ought to be heard. We cultivate new talent by providing creative space for new writers, emerg- ing directors, companies, and individual theatre makers to refi ne their practice. CALL FOR A FREE CONSULTATION! Alongside our work for the stage, we are dedicated to providing creative engagement oppor- DESIGN CENTRE 519.652.0013 2200 Wharncliffe Road S, London ON www.allensbuiltins.ca tunities that excite and stimulate. We build, run, and sustain projects which reach out to everyone from refugee communities, to young people and students, to older communities and people with learning disabilities. At the Playhouse, there is always a way to get involved.

PRODUCTION CREDITS Globe built by Creative Metalwork. Model-maker Tom Paris. Thanks to Ashley Jackson, Professor of Imperial and Military History, Defence Studies Department, Faculty of Social Science and Public Policy, King’s College London, Visiting Fellow, Kellogg College Oxford. Thanks to: Krystle Lai, Kate McGrath, Bijan Sheibani, Stella Odunlami, Fisayo Akinade, Hammed Animashaun, Peter Bankolé, Maynard Eziashi, Simon Manyonda, Patrice Naiambana, Cyril Nri, Kwami Odoom, Sule Rimi, Abdul Salis, David Webber, Anthony Welsh, Rae Smith, Jack Knowles, Aline David, Gareth Fry, Michael Henry, Kev McCurdy, Peter Atakpo, Charmian Hoare, Hazel Holder, Sebastian Born, Tom Lyons, Rufus Norris, Ben Power, Emily McLaughlin, Nina Steiger, Wendy Spon, Douglas Ejikeme Nwokolo, Michael Ekewere, Ros Brooke-Taylor, Nick Starr, Peter Nice, Nadine Patel, Fusi Olateru, The British Council, Jo and Alison Elliot, Rambisayi Marufu, Billy Wolf, Christina Elliot, Alice Massey, Chesta Clarke, Shonisani Lethole, Milisuthando Bongela, Mandal Mazibuko, Dwain, Abel, Jay, Thabiso Mohare, Lebo Mashile, Tendai, Jessica Horn, Michale Onsando, Daniel, Aleya Kassam, Njoki Ngumi, Maimouna Jallow, Ian Arunga, Brian Munene, George Gachara, Njeri Wagacha, Mugsas Blick, Phiona Okumu, Cathy Adengo, Beverly Namozo, Simon, Alex, Dre Jackson, Jimmy, Patricia Okelowange, Jessica Horn, Jude Atebe, Wallace Egbe, Fiona Hecksher, Wana Udobang, Tolu Ogunlesi,Wole Oguntokun, Adreonke Adebanjo, Kenneth Uphopho, Ore Disu, Jude Atebe, Tj Owusu, Mary Owusu-Bempah, Seth EboArthur, Nii Ayikwei Parkes, Fiifi Ayikwei Parkes, Omara Ayikwei Parkes, Marianne San Miguel, Billie McTernan, Belinda Boakye, Belinda Zhawi, Bridget, Anna & Joseph Minamore, Leeto Thale, Simon Godwin, Mensah Bediako, Daniel Ward, Jo Servi, Syrus Lowe, Denver Isaac, Ekow Quartey, Tunji Lucas, Tunji Kasim, Kobna Holdbrook-Smith, Seun Shote, Kurt Egyiawan, Ivanno Jeremiah, Daniel Francis, Calvin Demba, Sope Dirisu, Daniel Poyser, Poetra Asantewa, Shade & Kay Odunlami, Xavier de Sousa, Jamie Hadley and the team at The Cut Festival of Barbering, and the late David MacLennan and his team at A Play, a Pie and a Pint at Òran Mór, Catherine Morgan, Laura 481 Richmond Street Hammond, Louise Marchand-Paris, Julia Reid, Fiona Bardsley, Sylvia Darkwa-Ohemeng, Peter Atakpo, Lotte Hines, Tuwaine Barrett, Elliot Edusah, Alhaji Fofana, Bayo Gbadomsi, Solomon Israel, Anthony Ofoegbu, Kenneth Omole, Jo Servi, Rachel Bowen, 519-432-4092 Laura Howells, Richard Eustace and Sarah Cowan. garlicsoflondon.com This event was made possible by support from the British Council. The British Council is the uk’s international organisation for cul- tural relations and educational opportunities. We create friendly knowledge and understanding between the people of the uk and other countries. We do this by making a positive contribution to the uk and the countries we work with — changing lives by creating opportunities, building connections, and engendering trust. 2018/19 flex packages

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the boy in grandtheatre.com the moon Directed by 519.672.8800 Megan Follows “A MASTERPIECE” season sponsor variety Starring Seana McKenna the donnellys The global smash-hit musical return Vigilante Cabaret “ ” come to the london Free press kit kat club ...if you dare WETIN’ DEY? NIGERIAN PIDGIN AND ITS MANY PIKIN By K lá Túb sún

Over 500 languages are spoken in Nigeria famous kingdoms like Benin, Ghana, Mali to communicate with the indigenes, through Europeans but as a native language of con- today, according to most accounts, although and Songhai. At the time, Benin, now in a later version of this language which, likely, tact and of trade with other ethnic groups many of them are dying, endangered, or present day Nigeria, was said to be one of the had undergone sufficient evolution. This in Nigeria. This is the characteristic of the near-extinct. Three major languages spo- oldest and most highly developed states in later contact with the British, via the slave language that helped it become the most ken more widely than others are Hausa in the coastal hinterland. trade, missionary invasion and colonialism used language in the country by the time it the north (with about 70 million speakers), further improved the intelligibility of the got independence from the British in 1960. To trade with these kingdoms and establish Igbo in the east (with about 24 million), and language, with English words added to sup- By then, coastal communities, though with a cordial relationship beneficial to both Yorùbá in the west (with about 40 million plement the earlier Portuguese ones. other native languages of their own, had parties, a mutually intelligible language speakers). Other languages include Edo, adopted NP as a full native language and had to be employed. It is unclear what kind The use of the word ‘pidgin’ in identifying Fulfude, Berom, Efik, Ibibio, and Isoko. spoke it among themselves and to their of Portuguese these sailors spoke, but it is the language as it exists in Nigeria today has Because of the multiplicity of languages in children. possible (and even likely) that they spoke a added some confusion to understanding its the country and the need to communicate crooked and unrefined one, befitting that current state. To linguists, a language is a The syntax of Nigerian Pidgin is more simi- among different ethnic groups, English, or societal class of illiterate seamen. The con- pidgin only in the initial state of its creation, lar to the local West African languages than Nigerian English, has served as a connecting tact of that pirate-type ship-lingo Portuguese when it serves as the lubricating vessel the European ones. That probably explains tissue, but only in formal circles: schools, with the language of the coastal Africans of communication between two strange why it used to be called ‘Broken English,’ or government, courts. In the informal sector, resulted in what eventually became Pidgin, peoples (in this case, between the early ‘Broken’ for short, when it was perceived to however, where most Nigerians function and later Nigerian Pidgin. Europeans and Africans). After a generation be a language of the unschooled, unsophis- every day, in the markets, on the streets, of contact, the language begins to evolve, ticated people, a language spoken by those at restaurants, Nigerian Pidgin (NP) has At the time, however, it was a mere contact filled with words and phrases from either unable to grasp the complexity of English. emerged as a crucial and important feature. language, retaining elements of both cul- language and others, and give the language a To say ‘I am leaving’ in NP, one would say I tures, enough to facilitate communication Nigerian Pidgin doesn’t have its roots in unique character. At this stage it stops being dey go, which is a lean and simple rendering along with hand gestures and other universal English, but in Portuguese. In about 1456, just a ‘contact language’ and becomes a living of that basic action. ‘I will be right back’ is signs. But it got the job done and helped when the first Portuguese ship reached one. We call this stage ‘creolisation.’ rendered as I dey come. This simple syntax, cement the relationship between the sea- Senegal via the Gambia river, Sierra Leone covered with the fleshing of English, makes faring Portuguese and the West African The creolisation of Nigerian Pidgin hap- about four years later, and other parts of the it easy to use by Nigerians who eventually kingdoms. So when the British showed up pened gradually, with the adoption of the region in due time, it made contacts with adopted it as a local language. hundreds of years later, they found it easier language not just as a contact lingo with from the speaker’s original ethnic back- ground continues to enrich the character of Better soup na Cunny man die, cunny each individual output. Abeg I beg money kill am man bury am Where NP has dominated is in the informal Good things don’t It takes a thief to sphere of television and radio entertainment, Commot Go / Gone in Nollywood and the Nigerian music indus- come easy catch a thief try, which reaches not just all Nigerians, but also most Africans. On the streets of Nairobi, Gorimapa Skin cut Johannesburg or Accra today, one is likely E don tey wey nyash Na condition make to hear Wetin dey?, Wetin dey happen? or How Haba Sound of far?, or any one of NP’s common greetings dey for back crayfish bend (meaning: ‘What’s up?’, ‘What’s going on?’, exclamation / There is nothing Hard times encourage ‘How’re you doing?’) even in the mouths of exasperation non-Nigerians. This has happened through new under the sun adaptation the influence of Nigeria’s entertainment industry. Jor Sound of In 2009 a conference on Nigerian Pidgin at exasperation, However Portuguese still has some influ- today across the world, from Peckham to the University of Ibadan proposed to drop pleading, cajoling, ence. Words like sabi and pikin, which came Chicago, Houston to Baltimore. They are not the name ‘pidgin’ altogether, and call the from Portuguese saber/sabir and pequeno/ markedly different from the Nigerian ver- language ‘Naija,’ a nickname once reserved anger pequenino, words for ‘know’ and ‘little child’ sions, except in accent, influenced by their for referring to the country in an endearing respectively, have remained in NP, to mark new environments and company. way. This has not caught on beyond those the true origin of the language. So, for exam- academic circles, and it likely never will Nko What about... It is estimated that NP is the most spoken ple, You sabi dat pikin? means ‘Do you know because of the tension between what the aca- language across Nigeria today, spoken as that child?’ As you’ll notice, the pronuncia- demic intervention represents (stiffness) and a first language by over 30 million people, Oga Boss / Chief tion has also evolved as well, so that a ‘th’ is what NP truly is (dynamism). It is the jolly and as a second language by the rest of the pronounced instead as a ‘d.’ playfulness, accessibility and musicality of country (about 140 million). However, the NP that continues to help convey the conviv- Oya Let’s go There are also many different dialects of language has never enjoyed the respect of the ial spirit of Africa’s most populous country, Nigerian Pidgin today, depending on where country’s elites. It currently has no official along with colours and sound, to the rest of it is spoken. Words are borrowed from each status and is neither used in education, nor the continent. Pata Pata Ultimately of the languages that have influenced NP — governance. But in the early 60s, through the words like àbí (a question marker) and é are efforts of early Nigerian writers in English more common in the west, while words like like W lé óyínká, Chinua Achebe, JP Clark Kola Tubosun is a Nigerian writer, linguist and editor, Sabi Comprehend / nna and unu come from Igbo in the east. The and Cyprian Ekwensi, fully formed Pidgin- with work and influence in technology, education, and journalism. He is a Fulbright Fellow (Southern know / understand Niger Delta has the highest concentration of speaking characters were introduced to Illinois University Edwardsville, 2009) and recipi- NP speakers and here the version spoken is Nigerian literature. This helped elevate the ent of the Premio Ostana Special Prize for Mother widely regarded as the most authentic form, language a bit more into the mainstream. Tongue Literature (2016) for his work in indigenous Sha Innit / well sometimes as a first language. Places like language advocacy. He writes and translates in Yorùbá In Nigeria today, NP functions in an infor- Sapele and Benin are regarded as norm-pro- and English. His chapbook, Attempted Speech & Other mal capacity, lubricating contact and com- Fatherhood Poems (September, 2015) was published by ducing communities, where the language has Wetin What / What is munication between people of all classes, Saraba Magazine. He is the founder and head lexicogra- the most root and influence. gender, ethnic groups, and educational pher of YorubaName.com and can be found on Twitter at @kolatubosun. And of course, because of the diasporic status. It is the language of the streets, and of migration of Nigerians to other parts of the uneducated market women in cosmopolitan world, there are more refined NPs spoken cities. The flavour infused in each expression Goodbye Junk. AMBROSE Hello Relief. SMALL Trusted Junk Removal Since 1989 compass New Play Development is dedicated to creating and 1-800-468-5865 premiering new work on the Grand’s stages. This program refl ects 1800gotjunk.com our belief that in order to be a relevant theatre company, we must premiere our stories on our stages. Last season, we produced Silence: Mabel and Alexander Graham Bell by playwright Trina Davies. That work opened the National Arts Centre’s fi ftieth season, and Trina is now hard at work on a new play about Ambrose Small as part of compass. Here’s what she had to say about this script’s development: “On December 2,1919 Ontario theatre tycoon Ambrose Small sold all of his theatres, including the Grand, for a massive amount of money. The same day he disappeared. He left behind all of the money, a jealous wife, a disgruntled employee, gambling buddies, and a mistress. A little bit vaudeville, a little bit ghost story, the play will invite patrons to experience the Grand as they never have before. The compass program invited me to ‘Dream Big.’ I can hardly wait to share this big dream with Grand audiences.”

ABOVE: TRINA DAVIES AND AMBROSE SMALL. LEFT: THE GRAND THEATRE, 1921.

deVelopment sponsored by HERE’S YOUR CUE TITLE SPONSOR McCORMICK CANADA

McCormick Canada and its iconic brands — Club House, Billy Bee, Frank’s, French’s and McCormick Gourmet — are as diverse as its employees. Founded in 1883, we have a long history in our community and we are proud to call London home. Diversity and inclusion are at the forefront of the McCormick culture. From the diversity of our products to the diversity of our employees, McCormick is inclusive to all. This year, McCormick ranked 37th in the Diversity Inc. list of top 50 companies for diversity.

McCormick has a long-standing tradition of making diversity and inclusivity the true back “We are so pleased to have McCormick Canada back on board as a pro- bone of the company. duction title sponsor this season for Barber Shop Chronicles. Last season, McCormick spiced up our patrons’ experiences and this year their spon- sored production provides a wonderful opportunity to showcase their global brand and efforts in diversity and inclusion. We again thank the McCormick Canada team for their support.” McCormick Canada has its own employee ambassador group which focuses deb harvey on diversity, founded in 2013 and branded as CanDI (Canadian Diversity and executive director, Inclusion) in 2017. CanDI brings multiple events and celebrations to life every grand theatre year allowing all employees to take part and feel at home. Some of the events the group highlighted this year, but not limited to, were: lgbtq, Chinese New Year, Autism Awareness Day, bbq around the globe, Black History Month, as well as our very own Global Diversity and Inclusion Day. 20 18

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THANKYOU Over $190,000 raised to support the Grand’s ‘Make a Difference’ programs. Co-Chairs: Peter Markvoort & Collin Johnstone Committee: Anita Shah, Tom TillmanN, Judy White

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Tom Burnett Debbie & Bob Schram Carol Stephenson Lynn Davis Roberta & Dr. Robert Sokol Susanne & Marty Thrasher Dr. Deborah & Ron Koudys Helen & Andy Spriet Judy White GRAND Visionaries $5000-20,000+ Linda & Dr. Cecil Rorabeck Ambassadors’ Circle / Patrons’ Circle / Directors’ Circle PATRONS’ CIRCLE $10,000-19,999 Noreen De Shane David Russell of The Diane & Michael Smith and Pace-setting support at this elite level will, in turn, provide you with the most Lynne & Bill Gray Apartment Shoppe The Smith Family Foundation exclusive and personalized benefits, designed to bring you up close and person- al with the artists working at our theatre, as well as the Artistic and Executive AMBASSADORS’ CIRCLE $5000-9999 Directors. Benefit highlights include: complimentary hosting opportunities for Susan Carlyle & Dave Southen Peter Markvoort Quantum Verdi select performances, curated events with the Artistic and Executive Directors, Caroline & Rodney Hancock Kathleen Murphy & The Zelinka Family Harry Joosten Opening Night subscription, and more. Lerners LLP 1 anonymous GRAND Champions $2500-4999 GRAND CHAMPIONS LONDON PROUD CLUB $2500-4999 Jane & Justin Amann Elizabeth & Allan Drewlo Ian B. Johnstone Jenny, Matt & Finn Parr london proud club Bertha Archambault Alison & Blair Fantillo Marilyn & Brent Kelman Carey & Holden Rhodes & Jackie Johnston Form & Build Supply Inc. Suzanne Lanthier Dr. Nicole le Riche Grand Champions have made a commitment to transforming the Grand, on Auburn Developments FosterTownsend llp Cathy & Bob Lawless & Dr. John Howard Joan & Richard Bain Dennis Garnhum Meg McLachlin & Elaine Stalker & and off the stage. As a Grand Champion, you will attend specially designed Anne & Bruce Barran Mary Jane & Paul Harding Kevin Reilly Jack Norman events with like-minded supporters that will unlock the backstage experience Brisson/Toal Foundation Deb Harvey Drs. M.L. Myers Tourism London Carswell Partners Inc. Lily & Grant Hopcroft & W.P. Hayman Dr. Katherine Turner of play production. Benefit highlights include: reserved and preferred seating Jim Cressman Elana Johnson & Susan Nickle Mark Wilton Jacqueline Crosby & Christopher Collins North Moore Catering at all panel discussions, exclusive behind-the-scenes events, a season finale George Kerhoulas Dawn & Franco Paron reception, your name directly associated with one of our 100 schools perfor- mances, and a personalized house account. GRAND SUPPORTERS ASSOCIATES $1000-2499 Joanne & William Assini Dramac Literary & Andrea Lum & Linda & Bill Ross GRAND Supporters $10-2499 Doreen & Mike Bartlett Musical Properties Witek Zaleski Michael Rubinoff Diana Bennett & D.E.L. Consulting Lesley MacAskill & rTraction Associates / Friends / supporters Spencer Lanthier Jennifer Duncan Chris Jackman Pam Samuels Rachel & Andy Berdan Susan & Allan Edwards Mary-Jane & Rick Mann Irene Sankoff Your support will enable us to expand and enhance programming. Benefit Best Western Eleanor & Arthur Ender Heather Manness Eleanor Schnall Lamplighter Inn Ann & Bill Fleming Lynda & William McCauley Heather & Peter Scott highlights include: recognition in house programs, drink tickets, season poster Ken Brown Hayman Construction Inc. Ina Pakkert Migneron Anita & Amit Shah Susan Brown & Ann & John Judson Kate Milner & Anne & Tom Siess collection, and complimentary coat checks. Barry Deathe Andrew Petrasuinas Michael Koenig Gillian Soskin Elaine Burdon-Michener & R. Lawton & S. Chitovas Vandana Nagpal-Shah David Michener & Piyush Shah Shelly & Robert Siskind Dianne Lesperance Dr. Paul E. Cooper O.P.S.E.U. Nicole Spriet & Join today or upgrade your giving level to access the exclusive benefits that Sharon & Brian Lessard Sandy Mikalachki & David J. Hiebert Vasso Papukna & speak to you. Contact [email protected] or 519.672.9030 Lois & Murray Cummings Sandra & Don Letton Claude Kortas Kathleen & Denis Sykora Dianne Cunningham Locomotive Espresso Dr. Janet Pope The United Church of Canada ext. 262. A complete list of benefits is available at grandtheatre.com. London Foods Ltd. Jackie & John Porter Rick Verrette & Liz & David Macdonald Architects Tillmann Shane Carty George Jolink Nora MacLeod Ruth Robinson Janet & James Caskey Shirley & John Vine Brenda Manning Kathy Arnezeder Janet & Jim Cassidy Reconnect with life ... Mrs & Mr R.J. White Darlene & Larry Marshall Linda Arsenault & Joan & Paul Cavers imagine the possibilities. Jeannie & Tim Whitty Sandra Maxwell & Sanjay Mehta C. Chamberlain & C. Bell Judith & Wilson Rodger Hugh McArthur Noah Aychental M.E. Chamberlain Elene & Bernard Wolfe Ann & Ron McClatchie Carol & Ted Aziz Sherry & Stephen Jacki Yellowlees Libby & Earl McMillan Joni Baechler Chambers 2 anonymous Rick Mercer Barbara Bain Burns Cheadle Lisa & Brad Gowan Lynne Baker Robert Chiasson FRIENDS $500-999 Molly Maid London Doug Bale Donald Chunn 1807 Wonderland Rd. North Silvia Orsini & Fraser Ball Suite 102, London N6G 5C2 Elena Aggelopoulos Musical Theatre Ken Clark Productions Mary Bancroft Susan Agranove Sharon & William Clarke Kathryn Myers Joan & Michael Bancroft 519.473.5850 Jill & Brian Allen Diana & Charles Coates Colleen O’Brien Luella Barath & Sharon & Harold Arbuckle Janet Collins 460 Springbank Drive Susie & Larry Patrick Paul McKnight Elizabeth & Stephen Bolton Eileen & Hugh John Cook Suite 108, London N6J 0A8 Catherine Patterson James Baxter Joan & Stephen Cordell Terianne & David Brebner & James Ferguson Charlotte Ann Bell Alison & Barry Brown Pat Robertson-Corner 519.936.5850 Pride London Festival Beverly & David Bell & Byron Corner Marilyn Buttery Karen & Rick Pritchett Dave Bennett Catharine Cornhill Maxine & William Chiu Lili Rechnitzer Brenda & Kerry Benson Kenneth Cossoy Free Patient Parking at both locations Ashley Conyngham Linda & Scott Ritchie Jane & Don Benson Grace Coutinho Jennifer & Angelo Mrs. & Dr. Paul Romanson Gertrude Berringer D’Ascanio Eilene & Allen Crosier Liana Sanders Ingrid & Monica Betz Noreen & Ken Davis Sue & Christopher Dahmer Alan Sellery Isabelle & John Biehn Jennifer & Peter Day Diny & Tom Dalby

® Ruth Sellery Werezak Jim Blake Jan & Guy De Rose Judy-Kay Darby Kathryn Sherwin Sherri Lynn & Bonnie Dawe www.bentleyhearing.com Mrs. & Mr. W.M. Dobell Elaine & Ian Simpson Brandon Bocchini Ron C. Dawson etfo Thames Valley Douglas Bocking Teacher Local Jodi Simpson Joyce L. De Vecchi Albert C. Boniface etfo Upper Canada Local Marilyn Skinner & Thomas Bonnie & Ian Deakin Ad_4.75x3.75_2017_CMYK.indd 1 2017-11-05 10:33 PM Wolder Jackie Borrie Doris England Bruce Dean Joanne & Jack Smit Lorraine Boutette Muriel & Robert Estey Marsha L. DeFore Davalyn & Peter Spence Joan & Robert Boyce Marilyn & Art Fidler Nadyne & Bob Dell Denise Spiessens Shelley Bradford Val & Gary Foerster Pat Delmore Diane Stead & Franklin Brasz Marg & Glen Gagan Brian Dittmer Karola Wollstein Lesley Brinkman Joyce Garnett Dave Dixon & Norma Stokes Betty & Bruce Brown Ljuba & Bob Gerow M i c h a e l K e n n i fi c Merle Suttie Mrs. & Dr. Tom Brown Gift Funds Canada Sandra & John Dixon Andrea Sweiger & Elise Bruce Steve Doubt Eva & Jim Good Derek Brochu Alice & Phillip Bruce Marilyn & Ken Douglas Hahkatina Consulting Inc. Teachers Supporting Susan Bryant & Mike Vicki & Gord Drimmie Rhonda Hallberg Students MacDonald Bea & Gavin Hamilton Marjorie & Douglas Swayze Betty & Bill Duffi eld Shelley & Al Bulckaert Cheryl & Ron Earnshaw Barbara & Paul Hebert Beverly & James Thompson Bernadine & Bruce Margaret & John Hewitt Jurgen Tietz Jeanette & Stuart Burnham Eberhard Eleanor Huang & Maureen & Michael Tilson Sharon & Bill Burns Penny Eizenga Jack Jung Dr. Jane Upfold Linda & Larry Burt Clarice & Stan Elliott Yaacov Iland Sarah Vela Anne & Shane Butcher Liz & Jim Etherington Brenda Jackson West Middlesex Carol Butler Ann Fallon Sandy Jamieson Walk-In Clinic Faye Butters Joan & Glenn Johnson Denise & Ronald Wexler William Fallon John Bynum Barb & Bruce Fearnall T.W. Johnstone Company 7 anonymous Lori & Chris Cahill Limited Elise & John Feightner M.F. Caldwell Susan & John Kennedy SUPPORTERS $100 -499 Linda & Louis Ferraro Rosalind Callard Jan Filman Terence Kernaghan & Maurice Keidan Judy & Jack Abell Joan Finegan & Kirsten Knight & Pamela Cameron Craig Emptage Wesley Adam Mel Goodale Ron Cameron-Lewis Mary Margaret & Dr. Henry J. Albers Sabina & Irwin Finestone Gary Koreen Marguerite Annen Claire Capaldi Charlotte Forberg Alexandra LaCombe Yvonne & Dr. Ross Lou Carlson Laurie Forberg Catharine & Trev Luke Archibald Barbara Carter Virginia Ford Lorie Forwell & Inspirations Dancewear Karen Lilley Emilie Newell Ryan Schroeyens Sarah Stewart Diane Weiler Hay Foundation William Clark Jane Irwin Betsy & Tony Little Margaret & John Nicholson Karen & Peter Schwartz Karen Stone Ruth & David Werezak J.P. Bickell Foundation Paige Foskett & Susan & Howard Isaacs Barbara Lubell & John Nolan Margaret & Barry Scott Margot Stothers Kathryn J. Weston Sifton Family Foundation Jacob Morris Janet Izumi & Keith W. Ken Milne Meghan O’Hara & Carolyn & Jack Scott Stratford Festival Beth & Peter Whatmore The United Church of Dorothy & George Foster Mochizuki Linda Lustins Rory Morris Catherine & Gordon Sellery Janice & Paul Strickland Judy & Gerry Wheaton Canada Foundation — Elizabeth Fowler Rachel Jacobson Brenda & Ross Macdonald Bonnie & Tony Orvidas Valerie & John Sharpe Joan & Ken Sumnall Margaret & Mark Whitley Mary & Norman Warner Fund Peter Fragiskatos J. Kent James Andrea MacKenzie Deborah & Joe Owens Ann Sherrill Nancy & Keith Sumner Sandy & Chris Whittall Suzanne Fratschko Elliott Constance Jefferess Drs. Arlene MacDougall & D.E. Panabaker Westminster College Margaret & Robert Shirley JoAnn & John Sweeny Lucy Williams Foundation Jim Frederick Ann Jenkins Christopher Mackie Jeanette Pastorius Celia & Rod Silverson Linda Sykora Faye & Rod Willis Deanna Friesen Jeanette & James Jenkins Jen MaCrae Doreen & Ron Paulger Anne & Archie Skirving Anna Tanguay Cheryl & Mark Willison ENDOWMENTS & Marna & Paul Mary Beth Jennings Suzanne Majhanovich Ingrid Pawley Kathleen & Ron Slaughter Dennis R. Tapp Monique & Dr. Malcolm Fujimoto-Pihl GIFTS THROUGH the Allan Johnson Hazil Malone Thomas Peace Sandra & Frank Sloan Diane Thrasher Wood Bev & Ron Fuller Leslie & Peter Johnson Sande & Gerry Marcus Sandra & Robert Pearson Susan Smith-Goddard Time Out Sharon Wright-Evans LONDON COMMUNITY Nadine & Gerald Collin Johnstone Jane Marinelli Simm John Peebles Ann & Orlando Zamprogna Gallacher Sandra & Jack Snelgrove Joan & Ross Totten FOUnDATION Suzette & John Jordan Linda & Claudio Martin Lesley & Paul Pergau Lynne Zarbatany Aaron Garber Kay Somerville Tradwave The Barbara & John Danielle & Greg Kaiser Janet & Heinz Mayr Bonnie Pilkington Anne Souter & Kelly & Fred Tranquilli Colleen Zettel Cronyn Fund Norah Gibbons & Gwen McBurney Alexander Springer Maureen & Shayne Ann Pinchin William Dawson Christine & Jake Van Dyk 14 anonymous The McNee Family Fund Kasiurak Carol & Bill McCagherty Liz Giles Sandy Pironaggi Judith & Robert Southcott Judith Walker The Megan Holliday Cheryl Kaufman Jeremy McCall Marylou & Harvey Gleason Louise Pitre Mariann & Randy Southen Lori Ward FOUnDATIONS Memorial Fund Colton Kaufman Beverley McCann Rigmor & Gary Glen Blair Poetschke Kim & Paul Spriet Warpaint Media Inc. Brisson/Toal Foundation The Richard & Beryl Judie Kavanagh Jill McCartney Ivey Fund Margaret Glover Marg & Boris Polishuk Brian Stefanits Beth-Anne & Alex Wasko The Paul Butler & Chris Heather & David Keast Ann & Ron McClatchie The William & Katharine Tania & Steven Goodine Mary Poole Helena Steinmetz Gisela Wasse Black Foundation Hilda & Miles Keenleyside Julie & Doug McDermid & Bruce Hewitt Kostuk Family Fund Margaret & Bruce Gordon Diane & Gary Price Nadine Wathen Gift Funds Canada Sarah Kelly Julie McDonald Irla & Don Stewart The Wilson & Judith Lynn & Robert Gould Jan Purvis Dorothy Weatherstone Good Foundation Inc. Scott Killian Karen McDonald Janet E. Stewart Rodger Fund Michael Grace Lisa Putman & Bruce Reed Viola & John Weil The Jack & Barbara Jill & Don King Nancy & Ian McDowell Toula Grace Nancy Quinn & Marianne & Paul Kippax Ann McEwan-Castellan Jeff DeLuzio Jo-Ann Pearce Gramlich & Tom Gramlich M.E. Kirk Ken McGuffin Bruce Rankin in Memoriam Cheryl Granka Jennifer Kirkham Nan McIntyre Kate Rapson & Jeff Carson Thank you to those who gave in memory of Shirley Brown. Katherine Gray Steve Kleiman Kandice McKee & Marjorie Ratcliffe Thank you to those who gave in memory of Wes DeShane. Wes was a dear friend of the theatre and will be missed. Desi Brownstone Sheila Greason Rose & William Klein Bonnie & Peter Regier Thank you to those who gave in memory of John Keith McMartin. C. Anne McKenzie Kendra & Adam Green Jean & William Knowles Matthew Reid We remember Mary Eleanor Miller and thank her and her family for their generous gift to the theatre. Nancy & Bill McKeough Jutta Lily & Heinz Gregor Patricia Knowles Betsy Reilly Rene McKinnon Cathy & Greg Grondin Shelia & Stan Kogon Anne Reuber Mark McLean Roland Haines Helen & Albert Koop Eleanore Reynolds PROSCENIUM SOCIETY Gail McNeil Gail Hakala Steve Kopp Kathleen & Douglas Marilynne McNeil Richards Nell Haldane Susan & John Koval We are deeply grateful to the compassionate individuals Membership to the Proscenium Society is available to Alexandra LaCombe Michelle McNeill & Doris & Frank Robak who have made the important and thoughtful decision to those who have chosen to make a planned gift in one or Marina Hamilton more of the following ways: Antje &David Laidler Sean Noguera Glenda Robinson make a planned gift to the Grand Theatre. We honour them Stephanie Hanna through their membership in the Proscenium Society. • Bequests (donations through your will) Yvonne & Bruce Lambert The McNichol Family Nancy & Jonathan Romsa Penny Hanson & Teresa & Ron McRae • Listed Securites Peter Baldwin Martha Lambert Trudy Roth Walker Barbara Belbeck Diane & Gary Alan Price Noreen & Howard & Lloyd Walker • Life Insurance Beneficiary Designation Ceri & David Harris Josie & Chris Lane Lynn Davis Glenda Robinson McTaggart Gwen Rowse & Tony Morais • Charitable Remainder Trust and gifts of Najet & Hanny Hassan Sandra Langman Cathy & James Dunlop E.J. Small William Meaden Jonas Rubinoff Residual Interest Margaret & Bruce Hastings Donna & Ben Lansink Dr. Nicole le Riche & Judy White Jennifer Meister Ellen & Lloyd Rubinoff Dr. John Howard • Charitable Gift Annuities Margaret Hawkins Jennifer & Wayne Michael Wojtak Susan & Harold Merskey Dianne & Rick Rumney Mary & Roger Lillyman • Life Insurance Policies, RRSP, RRIF Denise Hay Lawrence Louise Milligan Lynda & Howard Rundle Susan Nickle Helen & George Hayman Shirley & William Lawrence Molly & Alan Mills Rita & Charles Rupar Patricia Hoffer We remember the following members of the Grand Theatre family who have made a bequest to the theatre. Lois Leatham & John Mitchell Inge & Paul Russell Brenda Holland Their legacy will help ensure that the Grand continues to flourish. Dr. T.R. Balakrishnan Liam Mitchell Cindi Ryde & Nancy & Martin Holmes Dr. Alison Lee Sandra Mogensen Chris Arenburg Hazel E. Bell Theresa Cutler Beryl Ivey Donald Smith Cheryl Hooper Dr. Donald Lee & Louise Morley Joe Saddy Marista Ateena Brooks Helen Ann Day Elizabeth Ann Jones Doris Spence (Mikolaski) Margaret Howe Robert De Hoog Stephanie & Ken Morrison Julia Salton Walter R. (Wally) Duffield Myrtle McCallum Elizabeth Stratton Robert Crawford Buck Gord Hume Jacques Leger Brett Morritt Cathy Saunders Innis Hammond J. Douglas McCullough A. M. Cuddy Brenda & Morrison Hurley Beth & Corey Legue James Nagy Judith Saunders Barbara Horne Mary Eleanor Miller Mary Husson Heather & Michael Lerner Barbara & Dr. Garry Janet & Rob Saunders Joseph Samuels Heather & Paul Huston Jeanne LeSage Nancekievill D. & A. Schaffelburg Patricia & Richard Jeanette & Rudy Lewis Diane Nash Nancy Schiefer Hutchison To learn more, please contact Suzanne Lanthier, Director of Development at Marie Liddell Elizabeth & Gary Neilson Henry Schindler Jeffrey Hyttenrauch 519.672.9030 x 251 or [email protected] Fran & Steve Ligget David Nelms Greg Schinkel Dee Dee & Paul Ingram PARTICIPATING RESTAURANTS

RESTAURANT DINING PRICE CONTACT INFO STYLE RANGE

Black Trumpet Restaurant 523 Richmond Street 519-850-1500 Casual blacktrumpet.ca Fine dining $$$ The Church Key Bistro Pub 476 Richmond Street 519-936-0960 Casual thechurchkey.ca Fine Dining $$$ DINNER just Fellini Koolini’s 155 Albert Street 519-642-2300 Italian AND A fellinikoolini.com Mediterranean $$$ Garlic’s of London $ 481 Richmond Street 519-432-4092 Upscale garlicsoflondon.com Rustic Cuisine $$$ GRAND THEATRE PLAY 99 Marienbad Restaurant 122 Carling Street 519-679-9940 Casual marienbad.ca Fine dining $$$ Each Dinner and a Play Package includes one ticket* Michael’s on the Thames to a Spriet Stage performance and a $35 gift certificate 1 York Street 519-672-0111 Casual to one of the fabulous participating restaurants! michaelsonthethames.com Fine dining $$$ Moxie’s Grill & Bar Treat yourself or someone special 441 Richmond Street 519-936-0745 Treat yourself or someone special moxies.com Premium Casual $$$ Toboggan Brewing Company 585 Richmond Street 519-433-2337 519.672.8800 tobogganbrewing.com Brew Pub $$$ Villa Cornelia 142 Kent Street 519-679-3444 Continental CALL THE BOX OFFICE TODAY! villacorneliarestaurant.com Fine Dining $$$ Vito’s Italian Restaurant Park & Enter 185 Queens Ave. 519-673-0990 Authentic villacorneliarestaurant.com Italian Dining $$$ Winks Eatery 551 Richmond St. (on Albert) 519-936-5079 *Valid for A seating winkseatery.com Casual Dining Pub $$

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