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Annual Report 13 ANNUAL REPORT 13 “An internationally regarded celebration of classic and contemporary theater.” THE BUFFALO NEWS Clockwise from top left: Donna Belleville as Mrs Higgins in Pygmalion; Andre Sills as Paul in The Intelligent Homosexual’s Guide; Gray Powell as Vito in The Intelligent Homosexual’s Guide; Melanie Phillipson as Helene and Kimberley Rampersad as Nickie in Sweet Charity; Peter Millard as William in You Never Can Tell; Diana Donnelly as Maeve in The Intelligent Homosexual’s Guide; Jonathan Tan as Smee in Peter and the Starcatcher; Laurie Paton as Stella in Light Up the Sky; Martin Happer as Black Stache in Peter and the Starcatcher. PETER AND THE STARCATCHER CHAIR’S REPORT a play by Rick Elice, based on the novel by Dave Barry and Ridley Pearson, music by Wayne Barker, directed by Jackie Maxwell, movement direction by Valerie Moore, musical direction by Ryan deSouza, designed by Judith Bowden, lighting designed by Kevin Lamotte. Charlie Gallant as Boy with Graeme Somerville, Kelly If the Board of Governors for 2015 is marked by a specific legacy, it will be remembered as a year Wong and Billy Lake. of deep introspection, reflection and planning for the future of the Shaw Festival. In late 2013, our Artistic Director, Jackie Maxwell, announced that she would be leaving her position. Then our Executive Director, Elaine Calder, decided to retire after a long and illustrious career to her home in British Columbia. Both, as previously noted, were more than generous with notice, and in fact Jackie even allowed for a significant crossover with her appointed successor, as she herself had received from Christopher Newton some 14 years ago. The Board began the dual processes of searching for successors, speaking with major artists and administrators from across Canada, North America and, indeed, the world. Lead by Michele Darling for the Executive Director search and Peter Jewett for the Artistic Director, committees were struck and dug deeply into their respective charters. Months of discussions with dozens of high profile candidates showed an embarrassment of riches and finally resulted in unanimous recommendations for both positions. Tim Jennings, our energetic and insightful new Executive Director, was the first to be chosen. His entrepreneurial spirit and financial savvy made him a clear choice and he succeeded Elaine, arriving in late September as the 2015 season came to an end. We can’t thank Elaine enough for her leadership at The Shaw over the last four seasons and wish her well in her retirement. Tim was chosen early enough to allow him, in his first official act, to join the final weeks of the process in choosing his artistic partner, Tim Carroll, whose international prestige, remarkable insight into the actor’s process, and excitement around the further development of the acting company made him an obvious choice. TC (as we now distinguish him from our other Tim) will work as Artistic Director Designate throughout Jackie’s final season in 2016 while planning the 2017 season. While 2015 saw significant issues with our mainstage ticket sales, as you will read, the overall season was highly subscribed and wonderfully regarded. Productions like the world premiere of Michel Marc Bouchard’s The Divine: A Play for Sarah Bernhardt, Jackie’s wonderful production of Peter and the Starcatcher, Eda Holmes’ stunning direction of Tony Kushner’s The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures and the tour de force performances in The Twelve-Pound Look were highlights for me, and for so many. I must thank again our Board especially, but truly all of our staff, volunteers and patrons, for everything they do and will do to ensure the ongoing success of The Shaw. Thank you all! andrew m. pringle “A reminder of the peculiar magic and particular power that only live theater possesses. Like Neverland, this cast has turned the theater into a place you might not want to leave.” the buffalo news ARTISTIC DIRECTOR’S REPORT 2015 was an extremely rich year artistically, as initiatives that we have been developing over time came to fruition in vital and creatively rewarding ways. The idea of setting aside a show specifically for family programming was put to the test with Peter and The Starcatcher, and the result was an unconditional success. Audience members ranged from age 6 to 86, all wonderfully engaged in this delightful tale, told with brio and energy. This has given us a great audience base for Alice in Wonderland next season. Two new pieces that had been in development saw their world premieres. Erin Shields’ lean and forceful adaptation of Ibsen’s The Lady from the Sea was given a beautiful production by director Meg Roe, with Moya O’Connell and Ric Reid leading a hugely committed cast. Then there was Michel Marc Bouchard’s The Divine – a labour of love for all concerned that deeply moved our audiences. This production was led by standout performances from young company members Ben Sanders and Wade Bogert O’Brien, and this generation continued to embrace leadership throughout the season. In Pygmalion, for example, compelling young actress Harveen Sandhu stepped up to the plate as Eliza Doolittle, creating a delicious sparring partnership with Patrick McManus in Peter Hinton’s superb contemporary update. And while our musical company gave their all in Morris Panych’s stylish production of Sweet Charity, several members of the cast appeared in another new venture – our sold out Kurt Weill Cabaret The Next Whisky Bar. We ranged from the high comedy of Light up the Sky and You Never Can Tell to the provocative drama of Caryl Churchill’s Top Girls, back to the comic lunch time gem, J.M. Barrie’s The Twelve- Pound Look – and our actors excelled in all, finally triumphing in The Intelligent Homosexual’s Guide. This brilliant play by Tony Kushner, the ultimate Contemporary Shavian, was skillfully directed by Eda Holmes and celebrated high octane acting at its best with a dream cast led by Jim Mezon. Offstage, we said a fond farewell to Executive Director Elaine Calder as she retired after a truly brilliant career, and welcomed Tim Jennings into the position in September, whose energy and ideas are already infusing the organization. As most of you know, I gave notice over a year ago that the 2016 season would be my last, leaving time to find my successor and effect an overlap between the two of us. And so I now welcome Tim Carroll to the Shaw Festival. A director of international repute and a great advocate of actors and acting companies, it is already clear after only a few weeks as Artistic Director Designate, he is well on the way to taking the Festival on the next part of its artistic journey. THE DIVINE: A PLAY FOR SARAH BERNHARDT by Michel Marc Bouchard, translated by Linda Gaboriau, directed and drama- I know that next year will see me saying many farewells. Meanwhile, however, we have a glori- turged by Jackie Maxwell, designed by Michael Gianfrancesco, lighting designed ous new season that will take the stage very soon, and so for now I will simply say a heartfelt by Bonnie Beecher, original music and sound design by John Gzowski. thank you to the company for their hard work and brilliance, the Board for their hard work and Fiona Reid as Sarah Bernhardt. enthusiasm and, of course, our audience, for supporting it all. “As solid a justification of the Shaw Festival’s own existence jackie maxwell as anything Maxwell has presented in her time as artistic director.” the globe and mail “Bouchard’s best work, and the most exciting new Canadian play in years” national post “A brilliant production by PYGMALION by Bernard Shaw, directed by Peter EXECUTIVE DIRECTOR’S REPORT Peter Hinton...strong where Hinton, set designed by Eo Sharp, costumes designed by his work, for all its gorgeous Christina Poddubiuk, lighting designed by Kevin Lamotte, projections designed by Beth Kates and Ben Chaisson. incidental qualities, is always strongest: in its Patrick McManus as Henry Higgins and Harveen Sandhu as Eliza Doolittle. emotional reality.” The opportunity to reflect on a year gone by is something non-profit Executive Directors the national post world over look forward to and dread in equal parts. It’s an opportunity to clearly state the issues and celebrate the successes. As the ‘new guy’, I play a slightly different role, in that I am asked to look back on a season I inherited in its final days, one troubled by serious financial issues, and to tell my board and our members what caused those issues and ensure them we can avoid repetition. Here goes. 2015 posted a deficit. A big one. At a loss of just over $1.76 million, it is one of the larger deficit years The Shaw has seen. The loss against the original budget was closer to $3.5 million, so I want to offer praise in that the damage control imposed by Board and Staff was significant, to say the least. The causation of the deficit was due to poor ticket sales on the main stage. In fact, fundrais- ing numbers, ancillary sales and performance in our smaller three venues were all up and we achieved enormous success with family audiences and also in the Studio. To mitigate the immediate impact and give us room to shift our practices, we have secured three- year term financing to ensure that we have the operating strength to erase the deficit quickly without unnecessarily creating negative impact on our artists, our staff or the patron experi- ence. My thanks to our Foundation Board and our Trustees for this terrific work! The 2015 budget was aspirational, pushing forward a strategic agenda to increase numbers of patrons served – a worthy goal.
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