MAGGIE & PIERRE

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At the height of , while Pierre Minister. Immediately this play has become Elliot Trudeau was our Prime Minister, relevant and exciting all over again for brilliantly wrote a very top- new and delightful reasons. I love to think ical, focused play examining the extraordi- about Justin observing his parents’ colour- nary relationship of the Prime Minister and ful behaviour. There is little doubt that it his wife Margaret. informed him and helped shaped the man we know to be our Prime Minister. Griffiths then went on to star in the incredi- bly quirky love story, playing all three roles: We are thrilled to welcome timeshare Pro- reporter, Pierre, and Maggie. It toured all ductions, who created this version, which over and remains one of the most premiered at the Thousand Islands Playhouse popular, important, and dazzling produc- in 2017. tions in Canadian theatre history. Welcome. I can’t imagine that Linda could have pre- dicted that the Trudeaus’ child, Justin, dennis garnhum Each year, through various donations would end up in Ottawa in the role of Prime artistic director 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 We’re proud to be the 2018/2019 season would also like to respect the longstanding relationships of the three local First Nations groups of this land and sponsor of the Grand Theatre. place in Southwestern . The three First Nations communities closest in proximity to the Grand are the 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 UP NEXT: Travel further back in time with... mcmanus stage, february 12 to february 23, 2019 Vigilante Maggie & Pierre THE GHOSTS OF THE DONNELLY’S RETURN IN THIS By Linda Griffiths with Paul Thompson A timeshare Production Directed by Rob Kempson EXPLOSIVE ROCK MUSICAL! Starring Kaitlyn Riordan

cast Maggie/Pierre/Henry KAITLYN RIORDAN

production team Director ROB KEMPSON Vigilante - Waiting for ad content from Emily Set and Costume Designer JUNG-HYE KIM Lighting Designer OZ WEAVER “ ” Sound Designer STEVEN LAFOND free press Research Assistant MARIAH HORNER Stage Manager ALICE FERREYRA

Maggie & Pierre is produced by arrangement with Kensington Literary Representation, 34 St Andrew Street, , ON, MST 1K6 416-848-9648.

Maggie & Pierre previewed in the Backspace at Theatre Passe Muraille in Toronto, Ontario, on November 30, 1979. It opened in the Mainspace at Theatre Passe Muraille on February 14, 1980. The Grand Theatre is an active member of the Professional Association of Canadian Theatre (pact) and engages, under the terms of the Canadian Theatre Agreement, professional artists who are members of the Canadian Actors’ Equity Association. The Grand Theatre acknowledges with thanks the co-operation of Locals 105 and 828 of the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists, and Allied Crafts of the United States, its Territories and Canada, and The London Musicians’ Association Local 279. Tickets Selling fast! Written, Composed, and Directed by The videotaping or other video or audio recording of this production is strictly prohibited. Jonathan Christenson Feb 19 to Mar 9 Produced by Catalyst Theatre (Edmonton) in collaboration with Canada’s National Arts Centre spriet stage season sponsor Premiere commissioned by the Citadel season sponsor title sponsor Theatre (Edmonton) The Pulitzer Prize and Tony Award-winning DIRECTOR’S NOTES august drama, recently adapted for the screen with Denzel Washington and wilson’s fences Viola Davis. I love Canada. I love how it is beautiful and vast and diverse and complicated. And to me, this play is important to the creation of the Canada that I love. It represents a significant moment in Canadian theatre history by reflecting a significant period in Canadian political history. Linda Griffiths, along with a number of visionary contemporaries, set out to create work that would help to establish a Canadian Identity. Maggie & Pierre chronicles a time when our country was developing a voice of our own, and it is in telling that story that Linda first established her voice as a writer. It is such a blessing to have a play like this in our country’s theatrical canon, and I feel so lucky to have been able to revisit this seminal work with such a talented group of artists. We dedicate this production to Linda Griffiths, and to both the rigor and hope that she inspires.

ROB KEMPSON

ACTOR & PLAY WRIGHT LINDA GRIFFITHS.

“A MASTERPIECE” variety

Starring March 19 to April 6 Ordena Stephens-Thompson and Spriet Stage Nigel Shawn Williams Directed by

SEASON SPONSOR TITLE SPONSOR Djanet Sears

Set Designer Astrid Janson, Costume Designer Rachel Forbes, Lighting Designer Jason Hand, Sound Designer Verne Good. Jung-Hye Kim Set and Costume Designer GUEST ARTISTS Jung-Hye Kim is a Toronto-based set and costume designer. design credits: Now You See Her (Quote Unquote Collective); Shirley Valentine (Thousand Islands Playhouse); Maggie & Pierre (Tarragon Theatre); Kaitlyn Riordan Maggie/Pierre/Henry Prairie Nurse (Factory Theatre); Set: Flying Heart (Theatre Direct); The Kaitlyn Riordan is a three-time Dora nominated actress and play- Birds And The Bees (Thousand Islands Playhouse); Kiss (Theatre Smash); wright. She was born in , studied in England (at The London Snow Queen (Theatre New Brunswick); Tideline (Hart House Theatre jung-hye kim Academy of Music & Dramatic Arts), lived in nyc, and now calls and Canadian Rep Theatre); A Grand Time In The Rapids (Thousand Toronto home. When not acting, she’s the Artistic Director of critically Islands Playhouse); Costume: Das Ding (Theatre Smash); Costume: acclaimed Shakespeare in the Ruff (Ruff), where her play, Portia’s Julius Armstrong’s War (Canadian Rep Theatre); Set: Don’t Dress for Dinner Caesar, premiered last summer and was named one of the Top 9 shows (Thousand Islands Playhouse); Durango (Fu-gen theatre and Theatre kaitlyn riordan of 2018, by The . theatre credits (selected): After the Smash); Small Axe (Project Humanity and The Theatre Centre); Set: Fire (The Theatre Centre/Punctuate!); Noises Off! (The Segal Centre); Driving Miss Daisy (Thousand Islands Playhouse); Set: Minotaur (ypt); Romeo & Juliet (Ruff); Something Fishy (Lighthouse Theatre); Mockingbird Costume: Pacamambo (Canadian Rep Theatre); Set: Passion Play (Outside (Next Stage Festival); Macbeth: Walking Shadows (Ruff); Look, no Hans! the March, Convergence Theatre and Sheep No Wool Production); Boblo (Drayton Entertainment); The Merchant of Venice, Blithe Spirit (Stratford oz weaver (Kitchenband Production and The Theatre Centre, Dora nomination for Festival). other: She is thrilled to be back in the world of the ‘origi- outstanding set design); Set: The Great Mountain (Red Sky Performance nal’ Trudeaus here in London, after presenting Maggie & Pierre at the with ypt); Pub Opera (Tapestry New Opera); After Akmatova (Tarragon Thousand Islands Playhouse in Gananoque and at the Tarragon Theatre Theatre); Montparnasse (Theatre Passe Muraille and Groundwater in Toronto. Theatre, Dora nomination for outstanding costume design); The Middle rob kempson Place (Canstage, Project Humanity, Belfry Theatre, gctc); The Big Rob Kempson Director League (Young People’s Theatre); If We Were Birds (Tarragon Theatre and Rob Kempson is a theatre artist and educator, working primarily as a Groundwater Theatre). director and playwright. writer/director credits (selected): Trigonometry (timeshare/Factory); Mockingbird (Next Stage Theatre Oz Weaver Lighting Designer Festival); SHANNON 10:40 (timeshare/Videofag); explicit (Rhubarb Oz Weaver is a Toronto based lighting designer, production manager, Festival); #legacy (Harbourfront Centre); The HV Project (Community). and producer. upcoming credits (selected): We Now Recognize director: Electric Messiah (Soundstreams); 9 to 5: The Musical (Project Humanity); A Blow in the Face (Nightwood Theatre); Kopernikus (Randolph College); The Ballad of Stompin’ Tom (Sudbury Theatre (Against the Grain Opera); Follow the Path (Toronto Centre for the Centre); Box 4901 (SummerWorks); The Canadian, Maggie & Pierre, Arts). theatre credits (selected): Lighting Designer: Miss Bennet: Million Dollar Quartet, Daisy Amazed Me, Violet’s the Pilot, Rose’s Clothes Christmas at Pemberley (Citadel Edmonton); Selfie (ypt); Maggie & (Thousand Islands Playhouse); Robert (co-directed with Briana Brown, Pierre (Various); BANG BANG (Factory Theatre); Hamlet, All’s Well That Toronto Fringe); Songs for a New World (Claude Watson). writer/com- Ends Well (Canadian Stage); LULU v.7, Its All Tru, Rhubarb Festival 2016 poser credits: The Way Back To Thursday (Theatre Passe Muraille/ (Buddies in Bad Times); Production Manager: Dr. Silver (Musical Stage Touchstone Theatre). other: He was a member of the 2014 Stratford Company/Outside the March); IMPACT Festival (mt Space); Freedom Festival Playwrights’ Retreat, and the Associate Artistic Director at the Singer (Project Humanity); The Cage is the Stage @ The PowerBall (Power Thousand Islands Playhouse from 2014 – 2017. upcoming: Director for Plant); Producer: The Dietrich Group; Le Grand Continental, Until the The Snow Queen (Canadian Children’s Opera Company). More info at Lions, Bearing (Luminato). other: www.ozweaver.ca robkempson.com or on Twitter at @rob_kempson. Steven Lafond Sound Designer Steven Lafond is an award-winning sound designer, composer, and TRUDEAU’S WHITE producer currently residing in the greater Toronto area. He’s had the pleasure of composing original music, designing sound, performing,and PAPER POLICY producing for theatrical productions and films across Canada for the past nine years. Steven studied Classical Music Theory at Carleton University and Technical Production for Theatre and Live Events at In 1969, ’s government proposed steven lafond a policy on the rights of the Indigenous Peoples Sheridan College. He also owns and operates Magic Studio Productions, of Canada, which would come to be known an entertainment production company based in Ottawa and Toronto. as The White Paper, and was the backbone of theatre credits (selected): Outside Mullingar, 17 Men, Ed & Ed: his proposal. For many, this was Trapped! (Gros Morne Theatre Festival, NL); Up To Low, Stuff Happens yet another attempt to assimilate Indigenous (National Arts Centre); Maggie & Pierre (Thousand Islands Playhouse Peoples and in response to the public outrage, and Tarragon Theatre); Agency (The Theatre Centre); The Servant of the government eventually shelved the White Two Masters (Odyssey Theatre); This is War, Goodnight Desdemona (Good Paper policy. Morning Juliet) (Great Canadian Theatre Company). other: You can mariah hear more of Steven’s work in the upcoming production of Out at Buddies In representing Trudeau on stage, on the horner in Bad Times this April. traditional lands of the Chippewa of the Thames First Nation (part of the Anishinaabe), the Mariah Horner Research Assistant Oneida Nation of the Thames (part of the Based in Kingston, Mariah Horner was the director of the Storefront Haudenosaunee), and the Munsee-Delaware Fringe Festival from 2016–18 and currently works with SpiderWebShow. Nation (part of the Leni-Lunaape), we seek to acknowledge the fraught relationship between She was the inaugural winner of the Patrick Conner Ticket Award in settler and Indigenous Peoples. Trudeau was a 2018. Since co-founding the Cellar Door Project in 2013, Mariah has powerful leader, who lived a complex life and produced fourteen new works with the site-specific company in ceme- had many flaws. Though this play explores a less teries, record stores, bars, parks, and the Diefenbunker. Mariah played political side of his life, primarily his relation- alice Kate Unger in George F. Walker’s hbo Canada Series Living in Your ferreyra ship with Margaret Sinclair, in the interest of Car and recently graduated from uOttawa with an ma in Theatre Theory not ignoring the harm done by his White Paper & Dramaturgy. policy, here we include Harold Cardinal’s voice, who penned a powerful response to the White Alice Ferreyra Stage Manager Paper in his book ‘Unjust Society’, later known theatre credits: The Canadian (Thousand Islands Playhouse); Ladies as The Red Paper. and Gentlemen, Boys and Girls (Roseneath Theatre); Hamlet (Tarragon Theatre); Godspell (Theatre Sheridan); The Drowsy Chaperone, Footloose, “The history of Canada’s Indians is a The Addams Family, Spring Awakening, Spelling Bee, Curtains, If We Were shameful chronicle of the white man’s

Birds, Nine (Randolph Academy for the Performing Arts); Seussical Jr. disinterest, his deliberate trampling of PIERRE TRUDEAU AT A PRESS CONFERENCE IN (Capitol Theatre); Anne of Green Gables, Evita, Shrek the Musical (Lower Indian rights and his repeated betrayal PARIS, 1977 (GETTY IMAGES). Ossington Theatre); Anne of Green Gables, Back in ’59 (Highlands Summer of our trust. Generations of Indians have Festival); Assistant Concert Manager 2013–2017 (Tafelmusik Baroque grown up behind a buckskin curtain of Orchestra); Apprentice Stage Manager for The Bakkhai (Stratford indifference, ignorance and, all too often, Festival); The Magic Flute (Canadian Opera Company); City of Angels plain bigotry. Now, at a time when our (Theatre By The Bay); The Story (Theatre Columbus); The Test (The fellow Canadians consider the promise Company Theatre). upcoming: Henry VIII, Birds Of A Kind (Stratford of the Just Society, once more the Festival). Indians of Canada are betrayed by a programme which offers nothing better than cultural genocide.” timeshare productions OPPOSITE: LINDA GRIFFITHS IN THE ORIGINAL PRODUCTION OF MAGGIE & PIERRE, 1980 (LINDA GRIFFITHS FONDS AT THE UNIVERSITY OF GUELPH LIBRARY ARCHIVAL AND SPECIAL COLLECTIONS).

THIS PAGE: K AITLYN RIORDAN IN MAGGIE & PIERRE, TARR AGON THEATRE, 2018.

AN INTRODUCTION TO MAGGIE & PIERRE

Maggie & Pierre by Linda Griffiths with Paul Moore Awards, a Gemini Award, two Chalmers Thompson (also titled Maggie and Pierre: A Awards, a Betty Mitchell Award, the Quizanne Fantasy of Love, Politics and the Media) recounts International Festival Award, and Los Angeles’ the lives of Prime Minister Pierre Trudeau and a.g.a. Award. She was twice nominated for the Maggie Sinclair between 1974 and 1980, as they Governor General’s Literary Award for Drama met, fell in love, had a family, lived together (The Darling Family, 1992; Alien Creature, 2000), and fell apart in the public eye. A reporter char- awarded the Barker Fairly Visitorship at the acter acts as commentator, voyeur, and liaison University of Toronto in 2011, and was given with the audience. The production premiered the Playwrights Guild of Canada Lifetime at Theatre Passe Muraille in 1980, directed by Award in 2013. Her theatrical plays include Thompson and starring Griffiths. It toured the Alien Creature: a visitation from Gwendolyn country and won a Dora Mavor Moore Award. MacEwen, The Darling Family, The Duchess: a.k.a. Wallis Simpson, and Age of Arousal. Her last play, Linda Griffiths was one of Canada’s greatest Games: Who Wants to Play, premiered at Alberta creative talents. As playwright and actor, Theatre Projects in March 2014. Griffiths was the winner of five Dora Mavor TRUDEAUMANIA POLITICIANS, PRESS, AND THE PUBLIC EYE “Everybody watched…millions” Maggie & Pierre

When Pierre Elliott Trudeau came to power when Pierre won a majority in 1974, reporters in 1968, he established a relationship with the knocked on the door of to people and press of Canada. Both were capti- chat with the Prime Minister and Margaret vated by Trudeau’s personal life in particular: about this victory. The couple conversed with as a handsome bachelor when he became Prime the press for a while, until they decided it was Minister, he drew much attention. Even more time to get back to their evening. It’s a scene so, his candor when speaking to reporters far different from the precisely scripted and sparked much conversation: in addressing carefully stage-managed victory parties that we accusations about his use of language in see in today’s politics—or, indeed, the carefully the House of Commons, Trudeau famously curated “candid” photos now common on commented with exasperation, “What is the social media. nature of your thoughts, gentlemen, when you The press stepped into the private lives of say ‘’ or something like that? Margaret and Pierre Trudeau, often at unex- God, you guys!” In another instance, a reporter pected moments, and the couple’s responses to asked him how far he was prepared to go to that attention were often improvised and off- stop the flq during the , and he the-cuff. In their son, , we see a confidently replied “Well, .” different approach to media access—polished, When Margaret and Pierre married, the structured, and controlled. Camera phones press played an even more central role in the and social media allow public figures to take Trudeaus’ public lives: reporters were always their image into their own hands. Celebrities present, always waiting for the moment where can now choose to invite the world directly into they might capture yet another peek into the their homes—perhaps, a more intimate form private lives of Canada’s first family. of access than the country had to Pierre and Margaret. However, there is a key difference: Much has changed since 1971, and from our the social media lens is always filtered, allow- perspective in 2019, the lack of general fear ing the new Trudeaus to carefully construct and security around political leaders seems their public image. strange. The level of access that both the public and the media had to the family is unheard of Almost 50 years ago, Margaret and Pierre in North American politics today: for instance, were at the heart of the paparazzi’s rising interest in the lives of public figures, and the “We watched her because the pair’s impromptu comments and casual press camera loved her. The media access were hallmarks of that new paradigm. Following the intense media scrutiny of her made her, as it had made marriage, stepped out of the Trudeau: just as with him, public eye for many years. Today, both she and there were iconic images of Justin Trudeau have adopted a quintessentially 21st century approach to the public: letting Margaret that would be etched them in, but on their own terms. in the Canadian psyche.” meghan o’hara MARGARET TRUDEAU, 1972 Nino Ricci, in “Private Failure”, education and outreach coordinator (TORONTO STAR/GETTY IMAGES). Maclean’s magazine A DARING AND IMMERSIVE EXPERIENCE IN THE MCMANUS Cabaret EXTENDED! April 9 to May 11

Book by Joe Masteroff Based on the Play by John Van Druten And Stories by Christopher Isherwood Music by John Kander, Lyrics by Fred Ebb title sponsor

In Tribute to Gloria and Joseph Gilbert.

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