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Home , Cabaret (musical), Greg Kotis, Mark Hollmann, Passion (musical), Ray of Light Theatre, South Pacific (musical)

So if you’ve got to go, you’ve got to go through me! music & lyrics by book & lyrics by

Managing Artistic Director Caleb Marshall Director ofInterim Education Director & Programming of Education Heather Alana Hibbert Burns

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CONTACT US Derrold Norgaard, FCPA [email protected] Grant Kratofil, CPA [email protected]

202-4400 Chatterton Way T: 250-598-6998 Victoria, BC V8X 5J2 F: 778-265-6155 From the College Directors Since March of 2020, we have all had to forge a way forward. Our work changed overnight, and we could look back at our own naivete in the ‘before time’ with a longing nostalgia. Perhaps in a generation there is an event that so deeply impacts the very nature of life on this planet that it becomes their defining moment. As a society we have had to forge a way forward. As educators we have had to forge a way forward, as education is essential to our future. As live performers, we are working to forge a way forward in an industry that was the first to close and will be the last to fully return; and yet ‘live performance’ is so crucial and necessary to expressing our very soul and the struggles we confront. Our season theme is not rebuilding or reshaping our world. That sounds too easy. It is also not simply “time to start over” or “the dawn of something new”, as if it’s all happening whether we choose to participate or not. No, it’s forging a way forward, because it is hard work. It’s as hard as bending metal and will put the full strength of our human endurance to the test. The choices we make now, how we choose to stay safe and yet forge ahead, will define us for decades. Our choices will determine if the next generation is prepared to lead when their time comes. They need education, art and expression, and we need stories told that both inspire and motivate, while reflecting our reality and choices back to us. This season takes us from familiar isolation and frustration to disobedience, the emergence of free-will and self-determination, and ultimately, for all our characters – and all of us.... the need to adapt. We look forward to exploring these themes with you this year. In-person or from a distance, the power of storytelling is not diminished.

Caleb Marshall Managing Artistic Director From the College Directors Welcome to our productions of Urinetown. We are so pleased and proud to be sharing these productions with you as we come to the end of a truly unique school year. As a recent arrival to the college with deep roots at CCPA, I have had the unique pleasure of joining this exceptional at the mid-point of their project to “forge a way forward.” What a privilege it is to be collaborating live and in-person in the theatre, and to witness the countless new ways our students have found of learning, working and creating in this challenging, ever-shifting environment! The capacity to adapt, to pivot in the moment towards something new, is a foundational lesson in theatre education. Thank you for your continued support and interest in the important stories that our students have invested such time, energy and in telling, and for adapting and pivoting in the moment right alongside us.

Alana Hibbert Interim Director of Education CONGRATULATIONS TO CCPA’S TALENTED STUDENT BODY AND DEDICATED FACULTY AND STAFF FOR YOUR CONTINUING EXTRAORDINARY PERFORMANCE

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WWW.RANDALLANTHONY.COM From the Urinetown Directors This year, choosing our year-end musical was a more complicated undertaking than ever before, to ensure we could properly complete our students’ training during a global pandemic. We always carefully consider a number of factors when choosing show content: how well suited is the age-appropriateness, demographic, and distribution of roles for our student body? As theatre has the dual purpose of both entertaining and reflecting the world back to itself, can we also choose work that has thematic resonance and is timely for the world we are living in? Following a year where everyone on the planet was concerned for our future, Urinetown offers us a much-needed release, with humour, inspiring music, and jabs at corporate power, government mismanagement, global sustainability, and of course the musical genre itself. From an educational and entertainment point of view, the variety of musical styles in the show allow the students to explore many genres; gospel, jazz, , and glitzy show tunes. There are a number of nods to search for as you watch. Being set in a somewhat dystopian future, Urinetown also gave us the opportunity to incorporate COVID-19 protections. Masks, barriers and a long socially-distanced lineup to the bathroom fit seamlessly into the world of the play. To reduce numbers, ensure student safety, and provide the best learning experience possible, we also made the decision to produce two separate, distinct productions of the show. Both productions are exciting, energetic, funny, and poignant, and offer their own unique flavour as the students discovered their own take on the characters. This expanded process required an expanded team, many of whom had, of course, lost the majority of their employment in the last year. The College was proud to offer the opportunity to create again in a supportive learning environment, and is immensely grateful to our design, stage management, and production teams, our live orchestra of professional musicians, and, of course, our students, who embraced the uniqueness of this journey with an open heart, enthusiasm, energy, dedication, and a deep commitment to prevail. -Urinetown Creative Team

Note: The last line of the play is a shout of “Hail Malthus!”. Thomas Robert Malthus was a 19th-century political economist who believed “that the increase of population is necessarily limited by the means of subsistence.” Urinetown strikes the perfect balance between being uproariously silly while at the same time being dark and profound. Creative Team Naomi Costain director (choreography & staging) Toronto-based (but Victoria-raised), Naomi has performed leads in theatres across from in (Segal Centre), Janet in Drowsy Chaperone (MTC, Theatre Calgary), to Roxie in (Neptune Theatre), and 7 seasons at the . Selected choreography credits include The Wedding Singer (St. Lawrence College), Sister Act (L.O.T.), The Hobbit (The Capitol Theatre), as well as premieres of For Life (STC) and Michael Doherty and Caleb Marshall’s musical adaptation of A Christmas Carol (TNB / STC). As a teacher, Naomi has been on faculty at Randolph Academy and Sheridan College. She has taught in dance studios across Southern Ontario for 20 years, and adjudicates dance competitions across Canada. Naomi holds her Advanced RAD Ballet and studied Solo Seal in the UK. She spent 3 summers in the Banff Centre ballet program and trained at Laine Theatre Arts in , England.

Michael Doherty director (music director) Michael Doherty is a Toronto-based composer, sound designer, music director and multi-instrumentalist. He is the composer and co-lyricist of two full-scale musicals: A Christmas Carol and For Life, as well as the composer and adapter for Brecht’s The Caucasian Chalk Circle, which has been performed many times throughout North America. He is a multiple Theatre Nova Scotia Merritt Award nominee and winner. He was honoured with the musician’s achievement award at the East Coast Music Awards in 2008 and received the Playhouse Honours award from the Fredericton Playhouse in 2014. Michael has been an artist in residence at both Theatre New Brunswick and the Sudbury Theatre Centre. As a teacher, Michael has taught at St. Thomas University, the University of New Brunswick, Dalhousie University, Mt. Alison University, and St. Lawrence College. Creative Team Caleb Marshall director (design & staging) / livestream director Caleb Marshall is the Managing Artistic Director of the Canadian College of Performing Arts. He has produced over 80 theatre productions as the Artistic Executive Director of the Sudbury Theatre Centre and the Artistic Producer for Theatre New Brunswick. Internationally he served as Resident Director on a UK/European tour for Shakespeare’s Globe, and appeared in productions by The Old Vic, The Imperial War Museum and the Edinburgh Fringe. Caleb spent four seasons in the Stratford Festival’s acting company and has premiered roles for the National Arts Centre, Canadian Stage, and the Blyth Festival. He has also played numerous principal roles in film and television. Caleb has maintained a life-long commitment to education and training. He holds a BFA Honours in Acting from York University, an MFA with Distinction in Theatre Directing from Middlesex University, London (UK). He has received the Christopher Plummer Fellowship Award, the Stratford Festival’s Eliot Haze Playwright Development Award, and was recognized by the New Brunswick Arts Board with an Excellence Award in the Arts.

Jeff Poynter associate director (associate music director) Jeff Poynter is a multi-instrumentalist who performs frequently with the touring indie- folk band West My Friend, with a Victoria collective of jazz manouche musicians, as a freelance musician, and as a music leader at Broadview United Church. He also maintains a private studio, where he teaches children and adults piano, accordion, saxophone, clarinet, and guitar. Jeff is a faculty member at the Victoria Conservatory of Music and enjoys accompanying students and professionals alike. Recent shows include (Blue Bridge), Mamma Mia (Chemainus Theatre), Rocky Horror 2017/2018/2019 (Atomic Vaudeville), and (GNS).

Creative Team Amalia Schelhorn associate director (associate choreographer) A graduate of Canada’s National Ballet School, Amalia spent most of her decade- long performing career touring North America and Europe with the National Ballet of Canada in Toronto. She was the first member to be promoted directly from the corps to the rank of first soloist. Her repertoire encompassed solo roles in many of the great classic and contemporary ballets. After a period freelancing in , modern dance, and jazz, Amalia and her husband moved to Vancouver Island to raise their four children. She adjudicates dance festivals, guest teaches, choreographs for dance and theatre, and continues to perform. She has produced her own show Momnipotence and Other Expressions of Motherhood. In addition to her position at the Canadian College of Performing Arts, Amalia teaches at Raino Dance and the Victoria Academy of Ballet.

R.J. Peters production manager / set & light design / livestream director R.J. is so excited and feels very honored just to be working, let alone working with so many amazing people. R.J. is the set & light design mentor and production manager at the Canadian College of Performing Arts. Favourite recent design credits include: God’s Lake (Castlereigh Theatre Project), The Penelopiad, Cabaret, Mary Poppins, Middletown, Working (CCPA), The Rocky Horror Show, Matt and Ben (Atomic Vaudeville), Spring Awakening (Belfry), Mennonite Mafia, and Ski Bum: The Musical (Iron Mountain Theatre). R.J. is a founding member of both Gotta Getta Gimmick and Iron Mountain Theatre. R.J. would like to thank his partner Andrea Lemus for her constant support, encouragement and laughter through these crazy times, and also his family, who continue to provide so much support in this crazy career. Writers Mark Hollmann music & lyrics

Mark Hollmann received the Tony Award®, the National Award, and the for his score to Urinetown the Musical, which had its start in the 1999 New York International Fringe Festival. It won Outer Critics Circle, Drama League, and Lucille Lortel Awards for best musical in addition to garnering 10 Tony Award® nominations. Other shows as composer/lyricist include Yeast Nation (2011 New York International Fringe Festival, Perseverance Theatre, American Theatre Company, and ), Bigfoot and Other Lost Souls (Atlantic Stage and Perseverance Theatre), The Man in the White Suit (New York Stage and Film), The Girl, the Grouch, and the Goat (University Theatre, U. of Kansas), Alchemist the Musical (Seattle Fringe Festival), Jack the Chipper (Greenview Arts Center, Chicago), Kabooooom! (University Theater, U. of Chicago), I Think I Can and Deal with It! (Berkshire Theatre Festival), and Fare for All (Mount Vernon Hotel Museum & Garden, NYC). Actor and/or co-writer for the Cardiff Giant Theater (Chicago) productions The Rack, Theater of Funny, The Mercy Ripper, LBJFKKK, Love Me, All Eight Die, and After Taste, the last of which he also directed. TV: songs for Disney Channel’s . He has served on the Tony Nominating Committee, serves on the Council of the Dramatists Guild of America, and is a member of ASCAP. He is also a member of Sure Foundation Lutheran Church in Woodside, Queens, where he serves as a part-time pianist. He and his wife Jilly live in with their sons, Oliver and Tucker.

Greg Kotis book & lyrics

Greg Kotis wrote the book and co-wrote the lyrics for Urinetown the Musical, for which he won two in 2002. His new play, Pig Farm, opened at The Roundabout Theatre in and at The Old Globe Theatre in San Diego in 2006. Currently, he is developing two new musicals with Mark Hollmann: Yeast Nation (the triumph of life), an original story that tells the tale of the dawn of life on Earth, and The Man In The White Suit, a musical version of the 1951 Alec Guiness film. Other plays includeEat the Taste (at New York’s Barrow Street Theatre), Jobey and Katherine, Baron von Siebenburg Melts Through the Floorboards, and Give the People What They Want. Greg lives in Brooklyn with his wife Ayun, his daughter India, and his son Milo.

Hello to the Red and Green casts of the Canadian College of Performing Arts! A quick word to wish you and everyone both onstage and off a happy opening and a happier run ofUrinetown ! I’m rereading a book called “Sapiens” about the history of our species. One theory the author posits is that storytelling is our greatest superpower. Storytelling allows us to organize, coordinate, predict the future, heal as individuals, bond as a community, and generally make sense of the world around us (or at least try). Theater is probably one of the oldest forms of storytelling, it’s been around for thousands of years, and most likely will be around as long as there are people who want to tell and hear stories. So, whatever the future may hold for you, whether it’s in theater, the arts, or elsewhere, it’s good to know there are a few more storytellers joining the rest of us who still can’t quite make sense of the world. Thanks for lending your time and talent to this show, I hope all goes well, and break a leg! -Greg Kotis IF IT’S HAPPENING, IT’S HERE.

IF IT’S HAPPENING,CFAX1070.COM IF IT’SIT’S HAPPENING, HERE. IT’S HERE. CFAX1070.COM CFAX1070.COM The Canadian College of Performing Arts presents URINETOWN music & lyrics by Mark Hollmann book & lyrics by Greg Kotis Urinetown was produced on Broadway in September, 2001 by and Dodger Theatricals in association with TheaterDreams, Inc., and Lauren Mitchell. Creative Team director (choreography & staging) Naomi Costain director (music director) Michael Doherty director (design & staging) / livestream director Caleb Marshall associate director (associate music director) Jeff Poynter associate director (associate choreographer) Amalia Schelhorn production manager / set & light design / livestream director R.J. Peters costume design Shannon Carmichael projection & video design Pedro M. Siqueira production stage manager / production associate Eleanor Kschischang stage management mentor Jackie Adamthwaite deputy stage managers Kathryn Boyd & Victoria Stolting assistant stage managers Marissa McClymont & Hannah Ockenden sound technician Lukas C. Smith qlab technician Miriam Dumitra head of props Marissa McClymont head scenic painter Carole Klemm technical assistant / scenic painter / spotlight operator Emil Mogensen scenic painters Andrea Lemus & Kyra Reine spotlight operator Tessa Thompson assistant directors Jean Hart, Abby McCallum, Yasmin Pena, & Brandon Wong assistant choreographer Alexa Ste. Marie dance captains Shania Cabilao, Jaren Guerreiro, & Mimi Hicks voice & text coach Erin Ormond Content Advisory some mature content, a gunshot, screaming, and strobe lighting effects Urinetown is approximately 1 hour and 50 minutes in length, with a 15-minute intermission.

Urinetown is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. mtishows.com The Company

Year I

Gina Shania Victoria Benjamin Yasmin Dustyn Maxwell Evelyn Elizabeth Brayden Rain Bayliss Cabilao Callin Cooper D’Oshun Forbes Gallagher Hawes Hilderman Iverson Lord Mahendra

Michaela Lara Kaylee Devon Jeremy Sian Brandon McLean Mullings Ross Side Walker Sinclair Tisserand Wong

Year II

Alison Statia Elizabeth Sara Nat Jaren Jean Mimi Cooper Madeline Hannah Mackenzie Bendall Benny Fehr Gargaro Glass Guerreiro Hart Hicks Hiebert Jane Kinch Langdon

Leo Naomi Grace Abby Greg Kane Tiffany Adrian Hailey Josie Tyler Emma Livora Lorenzo Martin McCallum Murdoch O’Scalleigh Oud Palek Sabourin Schmalz Spencer Sainte-Marie

Eilidh Heather Tyrus Tew Watt Williams-Penney The Company Red Cast Green Cast Billy Boy Bill Gina Bayliss Mimi Hicks Bobby Strong Jeremy Sinclair Dustyn Forbes Caldwell B Cladwell Adrian Palek Jaren Guerreiro Dr. Billeaux / Rosenbloom Brandon Wong Eilidh Tew Hope Cladwell Heather Watt Madeline Jane Hot Blades Harry Kane O’Scalleigh Brayden Lord Joseph “Old Man’ Strong Ben Cooper Tiffany Oud Josephine “Ma” Strong Shania Cabilao Josie Schmalz Julie Cassidy Kaylee Ross Lara Mullings Little Becky Two-Shoes Sara Gargaro Devon Side Walker Little Sally Grace Martin Nat Glass McQueen Hailey Sabourin Mackenzie Langdon Mrs. Millenium / UGC Emma Sainte-Marie Michaela McLean Officer Barrel Maxwell Gallagher Elizabeth Fehr Officer Lockstock Leo Livora Greg Murdoch Penelope Pennywise Alison Bendall Elizabeth Hilderman Police / UGC Executive 1 Evelyn Hawes Victoria Callin Police / UGC Executive 2 Rain Mahendra Tyler Spencer Robby the Stockfish Naomi Lorenzo Hannah Kinch Secretary / Roosevelt Paris Iverson Sian Tisserand Senator Fipp Cooper Hiebert Tyrus Williams-Penney Soupy Sue Statia Benny Jean Hart Tiny Tom Abby McCallum Yasmin D’Oshun

Band Understudies Jeff Poynter piano Gina Bayliss Penelope Pennywise Joey Smith double bass Ben Cooper Senator Fipp Jon Eng percussion Yasmin D’Oshun Hope Cladwell Monik Nordine woodwinds Jean Hart UGC swing Scott MacInnes brass Lara Mullings Little Sally Tiffany Oud Hot Blades Harry Kaylee Ross Little Becky Two-Shoes Emma Sainte-Marie McQueen Tyler Spencer Officer Barrel Behind the Scenes The Stage Management Team If, as Shakespeare says, “all the world’s a stage”, then stage management should be seen as one of the noblest professions; unfortunately, outside our industry, it’s generally just misunderstood. The stage itself takes very little management, it’s the people. I often tell anyone who asks what a stage manager does to think of us as train conductors, counsellors, custodians, time-keepers, life coaches, teachers, crossing guards, paper-pushers, magic makers, hand holders, first responders, drill sergeants, and cheerleaders. When the College decided to do two full-scale productions of Urinetown, we knew it was going to be no small task, and we knew it was going to require a larger-than-usual team of stage managers to support that process. Since 2011, CCPA has been bringing back alumni to work as assistant stage managers on the year-end musical. Who better to understand the College’s process, the intense rehearsal schedule, and the professional standards we hold the students to, than people who have walked in those shoes? I have had the great fortune to work alongside those alumni for the last 10 years. A unique production, under a unique set of circumstances, called for a unique team set up. The plan we came up with included a Production Stage Manager at the helm to guide the early stages of rehearsals. The PSM was later joined by two alumni Deputy Stage Managers, one assigned to each company. This trio navigated the early staging rehearsals and implemented additional COVID safety protocols into the rehearsal process. Two weeks later the final two members of the team, alumni Assistant Stage Managers, completed the quintet. In my current role as Stage Management Mentor, I have had the privilege of assembling and guiding this team through this challenging process. Trying to find a way to stage manage two companies, working on the same show, with one creative team, under the same roof, on the same days, in the midst of a global pandemic, took a little out of the box thinking. I could not be more proud of the work they have done, the care they have given, the talent they bring, and the lightheartedness that they do it all with. They inspire me, and I am grateful that they chose to be a part of this production. Eleanor, Kathryn, Victoria, Hannah and Marissa, thanks for answering the call - we could not have done this without you.

Jackie Adamthwaite Stage Management Mentor Creative Team Shannon Carmichael costume design Shannon has been costuming for stage and film for more than twenty years. She has had a long relationship with the Canadian College of Performing Arts, working with them since their second season. Shannon is very pleased to share her experience as a Costume Designer and as Head of Wardrobe as she mentors their multi-talented students. Memorable projects include: Beauty and the Beast, Mary Poppins, The Great Gatsby, Young , , Puttin’ On the Ritz, and . Pedro M. Siqueira projection & video design Pedro graduated from the Canadian College of Performing Arts, where he further developed his studies in acting, singing and dancing. Recently, Pedro has been assisting the theatre community in Victoria with his tech theatre skills, artistic talent, and unique perspective from his diverse background. He has worked for Puente Theatre, Theatre SKAM, SNAFU Dance Theatre, Story Theatre, VOS, CCPA, and Atomic Vaudeville locally.

Eleanor Kschischang production stage manager / production associate Eleanor is honored to be able to work on Urinetown this season at CCPA. The accomplished directors, staff and faculty, along with the dedicated students, made each day full of laughs! Eleanor is lucky to be able to apply her BFA in Theatre Management, Lighting Design and Dramaturgy to all aspects of her position at the college. Eleanor has spent the previous eight years working independently throughout Ontario, as well as four seasons with Drayton Entertainment. Creative Team Kathryn Boyd deputy stage manager Kathryn is so grateful to be on the stage management team as an alumni of CCPA. After graduation, she was the Stage Management Mentor at St Margaret’s School, producing and expanding their performing arts curriculum. She earned the Graduate of the Year Award from the National Association of Career Colleges, in recognition of her leadership, inspiration, and passion in her career goals. Kathryn is so excited to be back and show you Urinetown! The musical - not the place. Victoria Stolting deputy stage manager Victoria is delighted to be back on the CCPA stage management team for the 4th time now! Time has flown by since she graduated Company C in 2017. Since then, she has been working non-stop in theatre and film as a performer, costumer, voice actor, etc.! Recently she signed with a local talent agency, DEI Talent. Victoria has loved getting to know this amazing cast and crew; what a special gift this show is to the world!

Marissa McClymont assistant stage manager / head of props Marissa McClymont is a recent graduate from the Canadian College of Performing Arts, and is thankful to be a part of the creative team for Urinetown during this crazy time. As both Props Master and Assistant Stage Manager for the show, she is excited to help bring the joy of theatre back to the people who are missing it dearly. Marissa is a local to Victoria, BC, and spends most of her time with her puppy basset hound, Gerald. Gerald hopes you enjoy the show! Creative Team Hannah Ockenden assistant stage manager Hannah is filled with joy to be back working at CCPA! Since graduating from Company C in 2017, Hannah has worked on stage and behind both in Canada and abroad. Highlights include (Calgary ) as Assistant Director and Dinah, A Winter’s Tale (GVSF) as Costume Designer and Mopsa, and White Horse Theatre Tour as many characters and an adventurous traveller! Hannah has loved getting to know a new generation of CCPA students. Enjoy their beautiful work! Lukas C. Smith sound technician With over eight years of experience working on live events, Lukas is a dynamic theatre professional with a passion for sound. Building on his past experiences working with organizations like the Banff Centre For Arts and Creativity, the Belfry Theatre, and the Chemainus Theatre Festival, Lukas strives to create an immersive audio experience to support any production. Lukas is excited to be a part of CCPA’s production of Urinetown and is sure you will enjoy the show!

Special Thanks Terry and Kevin Costain, Paul Croy (Croy and Co. Stage Lighting), Anne and Chris Daley, Peter Pokorny, Britt Small (Atomic Vaudeville), Alexa St. Marie, and Meredith Zwicker

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2080 OAK BAY AVENUE Churchmouse| RECEPTION: 250.595.1914 Books: Saturdays 10 am – 1 pm Thousands of gently-used books available for a donation in support carltonhouse.ca of local charities: www.stmarysoakbay.ca/churchmousebooks Concert Series: from time to time Sacred music to sustain us on the Journey. Seasonal noon-hour series, plus more throughout the year: www.stmarysoakbay.ca/concerts The Centre for Community: all the time Workshops, conversations, shared meals—a safe, inclusive space to learn in community: www.stmarysoakbay.ca/centre-for-community 1701 Elgin Rd • 250-598-2212 • www.stmarysoakbay.ca Band Jonathan Eng percussion Jonathan studied at University of Victoria, Humber College and the Banff Centre for the Arts. His versatility is shown through a wide range of work, in symphonies, musical theater orchestras, big bands, and working with fife and drum groups. He is an active Canadian Forces primary reservist, and has previously led a premiere jazz quintet to play for the Governor General and the US Ambassador to Canada. He is also an active educator in the community. Scott MacInnes brass Scott MacInnes received his MMus from the University of Victoria (11) and his BMus at the University of Toronto (05). Scott holds the position of Principal Bass Trombone with the Vancouver Island Symphony as well as a teaching position at the University of Victoria. He is extremely active as a chamber musician as a member of both the Pinnacle Brass Quintet and iTromboni. Scott is also the Artistic Director for both the Meridiem Wind Orchestra and the BC Brass Collective. Monik Nordine woodwinds Woodwind player Monik Nordine has received several prestigious arts awards, including a Juno Award nomination for her work on the album Cruel Yet Fair (1997) with John Korsrud’s Hard Rubber Orchestra, and has toured with Hugh Fraser’s band VEJI. She has recorded three albums as a leader: Not Just To But Over the Moon (1998), Departure (2010), and The Old-New Town (2017), and can be found in Victoria and online wearing a turquoise wig. Band Joey Smith double bass Joey is a bassist, guitarist and arranger. B.S. in Music Education 1977 UT Chattanooga. Toured with the Glenn Miller Orchestra from 1985 - 1987. Masters in Jazz Studies and Contemporary Media from Eastman School of Music in 1990. Faculty at the Victoria Conservatory of Music since 2004. Played CCPA shows since 2013 with Heather Burns. Currently performing with The Great American Song Book Trio. Recently played on Brooke Maxwell’s Ride The Cyclone album. Numbers Overture Orchestra Too Much Exposition Lockstock and Company Urinetown Full Company It’s a Privilege to Pee Pennywise and the Poor It’s a Privilege to Pee (Reprise) Lockstock and the Poor Mr. Cladwell Cladwell, Hope, McQueen, and the Staff of UGC Cop Song Lockstock, Barrel, and Cops Follow Your Heart Hope and Bobby Look at the Sky Bobby and the Poor Don’t Be the Bunny Cladwell and the Staff of UGC Act One Finale Bobby, Cladwell, Hope, and Company Intermission What is Urinetown? Company Snuff That Girl Hot Blades Harry, Little Becky Two Shoes, and the Poor Run, Freedom, Run! Bobby and the Poor Follow Your Heart (Reprise) Hope Why Did I Listen to That Man? Pennywise, Fipp, Lockstock, Barrel, Hope and Bobby Tell Her I Love Her Little Sally, Bobby, Soupy Sue, Tiny Tom, and Josephine We’re Not Sorry Little Sally, Hot Blades Harry, Josephine, Soupy Sue, and Company I’m Not Sorry (Reprise) Cladwell and Pennywise I See a River Hope, Little Becky Two Shoes, Josephine, and Company Behind the Scenes

photos by Peter Pokorny LANGHAM, your way. flexible, affordable space rentals

now accepting rental requests www.langhamtheatre.ca/about/venuerental About the College We gratefully acknowledge the Lekwungen-speaking peoples, also known as the Songhees and Esquimalt Nations, on whose traditional territory we are honoured to learn, create, and perform. Founded in 1998, the Canadian College of Performing Arts offers three unique conservatory style post-secondary training programs, where emerging artists receive intensified, rigorous skill-based alternatives to academically oriented university programs. The curriculum is built on equal respect for all disciplines, and the belief that collaboration, partnership and community are the essence of theatre. We believe cultural leadership is cultivated through mentorships, community rooted volunteerism and fostering new creation. We measure success by preparing a student to be a motivated self- employed business and an inspired artist, whose voice will better illuminate the human condition when they confidently enter the profession. Staff Board of Directors Mark Adams Finance Officer Austin Eckert Director Tony Adams Audience Services Officer Barbara Greeniaus Board Chair Jackie Adamthwaite Stage Management Mentor Roxanne Helme Director Andrew Barrett Communications & Marketing Officer Jean Ives Secretary Michelle Buck Operations Manager Duncan Low Director Shannon Carmichael Head of Wardrobe Randall Mang Director Maia Crockett Executive Assistant / Design & Publications Jean Medland Director Nicole Hergert Engagement Officer Derrold Norgaard Treasurer Alana Hibbert Interim Director of Education Patricia O’Brien Director Emma Kirkland Development Officer Yukari Peerless Director Eleanor Kschischang Production Associate Maureen Shaw Director Caleb Marshall Managing Artistic Director Michael Shepherd Vice Chair R.J. Peters Production Manager Michael D. Reid Public Relations Liaison Joan Yates Director Mark Riishede Registrar Danny & Bonnie Sabados Facility Caretakers Honorary Board Mel Cooper C.M., O.B.C., LLD Faculty Chair - TELUS Victoria Community Board Glenda Balkan-Champagne, Michael , Duncan Stewart CSA Heather Burns, Naomi Costain, Mike Doherty, Casting Director, Stewart Whitley, NYC Jane Edler-Davis, Luba Ellis, Alison Greene, Kim Greenwood, Jessica Hickman, Jim Hill, Program Advisory Committee Stacey Horton, Matthew Howe, Ming Hudson, Thom Allison Performer Kayvon Koshkam, Jacques Lemay, Caleb Marshall, Stuart Aikins Casting Director Nathan McDonald, Kiiri Michelsen, Jeremy Miton, Kathryn Laurin CEO, Victoria Symphony Tiffany Miton, Angela Mousseau, Duncan Ollerenshaw, Glynis Leyshon Director Erin Ormond, Arlene Overman, Sara Partridge, Michael Shamata Artistic Director, Belfry Barbara Poggemiller, David Roland, Amalia Schelhorn, Lisa Stevens Actor, Choreographer Alexa Ste. Marie, Treena Stubel, Brian Tate, Jovanni Sy Actor, Playwright, & Director Janice Tooby-MacDonald, Jessica Van der Veen, Christopher Weddell, Jonathan Winsby, and Raugi Yu 250 595 9970 | ccpacanada.com The Canadian College of Performing Arts is a program of the Canadian Heritage Arts Society. Charitable registration #131341356RR0001 Our Supporters Thank you for supporting the development of emerging artists by donating to the College. Your charitable donation has helped provide excellent performing arts training to talented youth from across the country and around the world! We are pleased to recognize donors who have given $100 and above.

Lifetime of Giving Artistic Director’s Circle $5,000 - $24,999 Maria Dominelli Dunning/Lemay Harry & Dorothy Gray Foundation Founders’ Circle $25,000+ Barbara Greeniaus Patricia & Kenneth W. Mariash Sr. Jean Ives and James Griffith Bruce MacKenzie & Family Hugh & Helen Mogensen Fund through The Estate of Betty Willkinson the Victoria Foundation Daniel Parker & Parker Johnston Industries Derrold Norgaard Alice May Salmon Fund through the Randall Mang Victoria Foundation Patricia Margaret Shanahan Fund through the Victoria Foundation Jim Hill Joan Wells Patricia Firth Annual Donors Inner Circle $1,300 - $4,999 Edwin Pincher Sheridan Greeniaus Puente Theatre Society Ted Greeniaus Mavis Begg Quimper Consulting Inc. Roxanne Helme Albert and Shelia Fowler Aaron Severs Kalef The Joe Wo Joint Spousal Trust Maureen Shaw Tammy Kay Ailsa Odermatt Michael Shepherd Jacqueline Kolson Marguerite Rowe Jacqueline St Denis Mary Ann Ladroma Shirley Rose Mitchell Fund Trafalgar/Pro Patria Branch #292 Nancy Langdon through the Victoria Foundation Sharon Tunnell Gary Lee FW and KE Strawn Samis Micheal and Ann Tyler Fund Glynis Leyshon Sustainers $300 - $1,299 through the Victoria Foundation Caleb Marshall Antonina Wasowska Mia Maki Jackie Adamthwaite Gary Weir Peter and Marianne McGahon Stuart Aikins Barbara Wilson ML Meadow Anonymous Elizabeth Monk John Basey Supporters $100 - $299 Janet Morningstar Berwick Retirement Royal Oak Ltd. I.A.T.S.E Sara Neely Sherry & Tom Black Anastasia Andrianova Maggie O’Scalleigh Sylvia Bradley Clayton Baraniuk Joan Peggs Richard Cavaye Jane Blaney Marion Percy Mel Cooper Rosemary Cameron Margaree Porteous Michael Doherty Chanah Caplan S. Salomenssen Jolene Ens Bertha Churchill Saskatoon Institute for Michael Gaudet Dorothy Cook Medical Simulation David Grierson Arts Legacy Fund Deborah Cooper Elana Scraba through the Victoria Foundation Naomi Costain Dennis Tam Ursula Holmsten Maia Crockett Robert Taylor Barbara Housser Tom Croft The Benevity Community Impact Fund William Hosie Christina Crlijenkovic Judy Thompson Betsy Ives Jade Davis Kenneth Thornicroft Brian Jackson Linda Deslauriers Jessica Van der Veen T. Langford Double A Painting Ltd. Erlene Waghorn Jacques Lemay Jane and Hermann Edler Barbara Waldner Helen Lindholm Alissa Grams Karen Wilson Nicole Malcom Gloria Greeniaus Yanik Giroux Performing Arts Studio Cathy McKeon John Greeniaus Joan Yates Patricia O’Brien

Every effort is made to recognize your donation as per your wishes. To update your listing, renew your support, or add to your donation, please our Development Officer, Emma Kirkland, at 250 595 9970 ext. 201, by email at [email protected], or donate online at ccpacanada.com/support. Recognizing donations received between October 1 2019 and April 30 2021. Our Supporters

Government & Foundation Support

Corporate and Community Partners

Star ($5,000+)

Lead ($2,500 - $4,999)

Principal ($500 - $2,499)

If you would like to become one of our community partners, please contact Emma Kirkland at [email protected].

CHARTERED PROFESSIONAL ACCOUNTANTS Rite Storage is a supporter of the artistic community and we wish the singers, dancers and actors of CCPA the best of Congratulations on your luck with their upcoming season. continued success! We are locally owned and Operated With over 25 years experience in the business. Sandy J. Lee, CPA, CA, CGA Adam H. Sharpe, CPA, CA We provide a convenient and Douglas K. DeBeck, CPA, CA professional self-storage experience. You’ll find a wide variety of options at Professional advisors in accounting, both our locations from indoor heated assurance, tax and management units of all sizes to vehicle storage both consulting. covered and uncovered.

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