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Home , Chip (rapper), Come Fly Away, Mirvish Productions, Sara Topham, Shakespeare festival, Sophie (musician)

A SHAKESPEARE-INSPIRED MIXTAPE CURATED BY ROBERT MARKUS, JULIA NISH-LAPIDUS AND JAMES WALLIS

PRODUCTION SUPPORT IS GENEROUSLY PROVIDED BY BARBARA & JOHN SCHUBERT PRODUCTION CO-SPONSOR LAND ACKNOWLEDGEMENT Welcome to the . It is a great privilege to gather and share stories on this beautiful territory, which has been the site of human activity — and therefore storytelling — for many thousands of years. We wish to honour the ancestral guardians of this land and its waterways: the Anishinaabe, the Haudenosaunee Confederacy, the Wendat, and the Attiwonderonk. Today many Indigenous peoples continue to call this land home and act as its stewards, and this responsibility extends to all peoples, to share and care for this land for generations to come. CURATED BY ROBERT MARKUS, JULIA NISH-LAPIDUS AND JAMES WALLIS DIRECTED BY JULIA NISH-LAPIDUS AND JAMES WALLIS

THE SINGERS GABRIEL ANTONACCI ROMEO, ENSEMBLE JACOB MacINNIS RICHARD, ENSEMBLE JENNIFER RIDER-SHAW BEATRICE, ENSEMBLE KAITLYN SANTA JUANA JULIA, ENSEMBLE

THE BAND

MUSIC DIRECTOR, KEYBOARD ACOUSTIC BASS, ELECTRIC BASS REZA JACOBS JON MAHARAJ ACOUSTIC GUITAR, ELECTRIC GUITAR DRUM KIT, ORCHESTRA SUPERVISOR KEVIN RAMESSAR DALE-ANNE BRENDON

The videotaping or other video or audio recording of this production is strictly prohibited. A MESSAGE FROM OUR ARTISTIC DIRECTOR WORLDS WITHOUT WALLS Two young people are in love. They’re next- cocoon, and now it’s time to emerge in a door neighbours, but their families don’t get blaze of new colour, with lively, searching on. So they’re not allowed to meet: all they work that deals with profound questions and can do is whisper sweet nothings to each prompts us to think and see in new ways. other through a small gap in the garden wall between them. Eventually, they plan to While I do intend to program in future run off together – but on the night of their seasons all the plays we’d planned to elopement, a terrible accident of fate impels present in 2020, I also know we can’t just them both to take their own lives. pick up where we left off. The world has changed; we have changed. Something Sound familiar? It’s the story of Pyramus huge has happened to us and within us. and Thisbe, as told by the ancient Roman How do we express that together? poet Ovid, one of Shakespeare’s favourite authors. Most of us know it from the comical In one significant sense, 2021 sees us play-within-the-play in A Midsummer Night’s return to our roots. Two open-sided Dream – but it’s also essentially the same canopies, one erected at the Festival story Shakespeare told in . and the other on the grounds of the new Tom Patterson Theatre, shelter It certainly resonates with us today. We appropriately distanced seats. Sharing know what it’s like to be isolated in our the same visually gorgeous design, these homes, separated from our loved ones, structures enable audiences to gather in reduced to interacting through online safety and comfort in the open air. equivalents of a hole in the wall. And we know about other barriers, too: walls of But more than that, they bring an inherently prejudice, mistrust and hatred that can be festive quality to the season. Just like our as fatal as any pandemic. original tent in 1953, these new canopies signal that a very special event is taking But there’s more to Ovid’s story. The blood place here in Stratford: a new artistic of the lovers, seeping into the ground, beginning. is absorbed by the roots of a mulberry bush – and turns its berries from white Meanwhile, we have also been able to to a deep and vibrant red. And with that make provision for limited-capacity indoor metamorphosis comes the families’ performances at the Studio Theatre. As realization of the tragedy their enmity always, your safety, and the safety of our has wrought. artists and staff, is our very first priority, and all three of our 2021 venues will operate That idea of metamorphosis, of awakening in strict accordance with public-health and new growth arising from loss, informs guidelines. our 2021 season. Our artists, like the rest of us, have been living through a time of But far from placing limitations on our seismic shock to their psyches – but it creativity, the need to work within the has also been a time of transformative parameters required of us – with shorter regeneration. It’s as if we’ve been in a performances, smaller casts (no more than eight actors per show) and physical distancing on stage – has stimulated our artists to new feats of imagination as they devise novel modes of performance. Our 2021 playbill encompasses Shakespeare, music, modern classics and new work, presented in ways you’ve never seen at Stratford before. And it’s not only the pandemic that has opened us up to new ideas and experiences. The Black Lives Matter protests of last summer brought home to us how far our society still remains from overcoming those other dividing barriers of systemic inequity and oppression. So our playbill celebrates difference as well as universality, widening our definitions both of a classic and of who we are. To learn more about our work on anti- racism please visit our website. The pandemic has taken a dreadful toll, both in lives and in lingering psychological effects. We at the Festival may be powerless against the former, but we have a crucial role to play in addressing the latter. If theatre has anything to teach us, itis about the resilience of the human spirit. Our new season was born of our determination to emerge from this crisis more inventive, more inclusive and more creative than ever. I hope it will excite you and engage you, bring renewed joy into your life and inspire you as we dream together of a world without walls.

Antoni Cimolino Artistic Director

PHOTOGRAPHY BY SCOTT WISHART SPONSORS

OUR THANKS TO THE FOLLOWING FOR THEIR GENEROUS SUPPORT Proud Season Partners New Play Development Support is generously provided by The Foerster Bernstein New Play Development Program Festival Theatre Support for the 2021 season in the Festival Theatre Canopy is Production & Program Sponsors generously provided by Daniel Bernstein & Claire Foerster Tom Patterson Theatre Support for the 2021 season of the Tom Patterson Theatre is generously provided by Supporter of Equity, Diversity and Inclusion initiatives, with thanks to Sylvia Chrominska.

Stratford Festival On Film Sponsor Performance Hosts Burgundy Asset Management, Famme & Co. Professional Corporation, Sommers Generator Systems, Sylvanacre Properties Ltd., The Woodbridge Company Limited

The Stratford Shakespearean Festival of and the Stratford Shakespearean Festival of America are registered charities in Canada and the U.S. respectively.

The Stratford Festival gratefully acknowledges the generous support of these contributors to our success:

An agency of the Government of Un organisme du gouvernement de l’Ontario THANK YOU TO OUR DONORS AND MEMBERS WE COULDN’T DO IT WITHOUT YOU…

Our generous donors and Members have recognized that this is a critical time for the Stratford Festival and have stepped up to do their part to help us get back on stage and to ensure that we will continue to produce the excellent theatre they have come to count on from the Festival. Our deepest gratitude to all our donors who make gifts and pledges to support the Festival in so many ways. See below for current listings

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EXPAND YOUR EXPERIENCE IN STRATFORD AND ONLINE!

LIVE IN LAZARIDIS HALL Be among the first to experience a performance in the new Lazaridis Hall, designed as the home of The Meighen Forum in the new Tom Patterson Theatre. ONLINE The Digital Meighen Forum brings expert commentary and artistic insights directly to your device. Dive into the play before your Stratford trip, or revisit and reflect after you’ve returned home.

Check online for details and for a schedule of events. STRATFORDFESTIVAL.CA/FORUM PLAY ON!: CURATORS’ NOTES A SHAKESPEARE-INSPIRED MIXTAPE

BY ROBERT MARKUS, JULIA NISH-LAPIDUS AND JAMES WALLIS

We started this process as strangers, connected by our passion for music, theatre, and Shakespeare. As we began our collaboration, our bond grew as we wondered: What is the relationship between Shakespeare and popular music? Where do they differ and where are they similar? These are the questions that we have been investigating as we created Play On!

Shakespeare and popular music are embedded in our lives in both obvious and more subtle ways. Whether we know it or not, we likely encounter both daily. So how do we explore the link between these two ever-present entities? Through our collective interests, passions, and abilities, we discovered intriguing links in both art forms.

In his time, Shakespeare wasn’t dissimilar to popular music. While now his work is considered “high art,” it was created for the masses. An art form that could be enjoyed by the “groundlings,” standing at the foot of the stage, as much as by royalty. The plays’ themes, characters, and stories can offer something for everyone: reminding us of the value of human life, searing a poetic image in our minds, or helping us re-examine the importance of our relationships to each other.

Similarly, popular music has such a vast reach that it has likely touched everyone’s life in a significant and unique way. A song can transport you back to a moment in time, connect you to someone you knew long ago, or give you the inspiration to deal with the present.

With their poetry, emotion, and complexity, these art forms have the ability to make you feel, think, and remember.

In this , we have sought to make the familiar unfamiliar again. We know you know the songs, and you may know the words of Shakespeare. We want to welcome you to celebrate and examine these two constants in our lives, perhaps through how they interact with and contradict one another. We hope to open up new and exciting perspectives about Shakespeare and music for you. So we invite you to relish the familiar songs and words, and perhaps discover something in them that you’ve never heard before. But most of all, we hope you’ll remember the joy of live theatre and its transformative power.

“If music be the food of love” – well, you know the rest.

Up Close and Musical AVAILABLE NOW ON STRATFEST@HOME TAKE PART IN EDUCATIONAL PROGRAMMING AND ACCESS RESOURCES FOR: STUDENTS AND TEACHERS YOUTH AND FAMILIES POST-SECONDARY STUDENTS AND SCHOLARS THEATRE ENTHUSIASTS OF ALL AGES!

LEARN MORE: stratfordfestival.ca/Learn | [email protected] | 1.800.567.1600

Education Support Partner PLAY ON! “IN SWEET SUCH ART”: SHAKESPEARE AND POPULAR MUSIC

BY JAMES WALLIS

Without even knowing it, we’ve all danced in popular culture is markedly separated around or sung along to tunes inspired by from the historical figure of the Renaissance Shakespeare. His influence is far-reaching playwright from Stratford-upon-Avon. The and can be found in all corners of the musical man is inconsequential, with the name landscape, both obvious and unexpected. now associated with an aura of pervasive Shakespeare, for better or worse, was enlightenment that has been firmly stamped planted into the roots of our popular culture in our Western culture, and especially the from the days when his plays were first colonized world of Canada. The over-arching staged. Music, including theatrical usages of connotation of veneration that Shakespeare music and more widespread, popular music, or “Shakespearean” encompasses is nicely is not immune to the transference of idea, summed up by Marjorie Garber in her text, or story from Shakespeare’s plays to the book Shakespeare and Modern Culture: consciousness of the population. “ ‘Shakespearean’ is now an all-purpose adjective, meaning great, tragic or resonant: The history of the connection between it’s applied to events, people and emotions, popular music and Shakespeare has recently whether or not they have any real relevance been illuminated most in the incredibly to Shakespeare.” She goes on to say, “over millennial Internet project of the “listicle.” time the adjectival form of the playwright’s Usually around Shakespeare’s birthday name has become an intensifier, indicating a (marked on April 23, which, interestingly, degree of magnitude, a scale of effect.” is also the date on which he died), there comes a list of popular musicians who used Therefore, does popular music become the muse of Shakespeare to create a hit. more complex or significant when taking Such staples of as , influence from Shakespeare? Some would , Elton John, and , as argue yes, depending on how the material well as more genre-based artists like The is repurposed into a different artistic form. Kaiser Chiefs, The Sex Pistols, and 2Pac, While Shakespeare has an influential position have used Shakespeare as a lyrical and in books, film, and theatre, popular music, thematic influence. Some used his plots or which in our contemporary world can now poetry to express a distinct idea or trope be consumed in varied and extensive ways, they wanted to underscore in their music or clearly has more power over people’s day- lyrics. Others took Shakespeare as a cultural to-day lives. Therefore, does Shakespeare’s monolith and, through their music, sought work become more widely known by its to bite their thumbs at established ideas or association with popular music? elitist expectations of grandeur that are often associated with him. Still, the presence of The history of Shakespeare’s relationship Shakespeare remains. with popular music is by no means isolated to the twentieth century. Starting as soon as the The cultivation of Shakespeare as a presence were restored after the great English Civil War of 1642 to 1651, and continuing show an appreciation and interrogation of with the Shakespearean operas of Verdi the plays and characters, composed with in the nineteenth century and, of course, a myriad of sounds, both symphonically Mendelssohn’s overture for A Midsummer textured and uniquely performed. Night’s Dream in 1826, Shakespeare’s work had a long-standing relationship with , country, hip-hop, and even the classical music, through opera, symphonic rebellious anthems of English punk rock have renderings, and ballet. As popular music all had parlays with Shakespeare, providing has undergone an explosion through the critical insight into his plays that differs in use of technology to record it and therefore interesting ways from theatrical history or expand its reach, Shakespeare has continued literary criticism. Whether it be through the to inspire musicians, both from a variety of allusive musicality of Elvis Costello or in backgrounds and outside of the theatrical the sombre fantasy songs of Radiohead, medium. Shakespeare transforms within popular music, beyond the stagings of the Globe With this came a different engagement with Theatre to imaginative soundscapes created Shakespeare and his plays. Unlike former through distinct rhythms fulfilled by the musical appropriations of Shakespeare, in individual musician’s unmistakable “sound.” which the narrative or character of a certain play was the essential conceit transferred In fact, the transference of Shakespeare to to the symphonic or operatic medium, later popular music goes both ways, as seen in representations in popular music have Baz Luhrmann’s iconic 1996 filmRomeo + homed in on a piece of text, or a thematic Juliet, the soundtrack of which became a or poetic meaning that the composer generational mixtape for the violent tragedy interprets from Shakespeare. In some cases, of love and fate. The collection of songs that Shakespeare’s dramatic ideas, or even the score Luhrmann’s modern vision of Verona man himself, can be found as the subject of have seeped their way into discussions admiration or parody. of the play’s overall meaning. The film’s representations of crucial story moments Beyond adapting the plays to their musical – such as Romeo and Juliet’s meeting, form, the words of Shakespeare can be separated by a fish tank, with “Kissing You” evocative to musicians in various genres. by Des’ree sonically draped over the raucous Their use in twentieth-century jazz is vast Capulet party – are unforgettable, and and presents assorted influential models as help redefine how the play is viewed and examples. One of the most prominent is Duke understood. Ellington’s 1957 album Such Sweet Thunder, a broad exploration of Shakespeare’s But just as important as the seemingly characters and themes through swinging favourable reinterpretations of Shakespeare’s jazz orchestrations. Such Sweet Thunder was text in music are the vitriolic takedowns of his inspired by Ellington’s work with the Stratford ubiquitous standing in our Western culture. in 1956, when he both Either from such lighthearted superstars as performed as a guest artist and provided The Beatles, deliberately toying with the incidental music for Michael Langham’s perception of their own music’s meaning in “I production of Timon of . Ellington’s Am the Walrus,” or rapper Akala’s provocative interpretation of Shakespearean characters lyric “It’s Shakespeare, reincarnated” in his through such songs as “Lady Mac” and song “Shakespeare,” the icon Shakespeare “Song for Sister Kate,” and his reappraisal can be easily depicted as the poster boy of of Shakespeare through the Black American colonial, universal discourse in need of being experience and the essential art form of jazz, checked and demolished through musical expression.

Shakespeare can withstand this kind of interpretive skirmish, and in many ways can be re-examined and relearned. As Adam Hanson writes in his book Shakespeare and Popular Music, “sampling and remixing Shakespeare changes him, but also develops existing potentials in his work. Popular music amplifies ambiguities and contradictions in this work, and between it and the dominant discourses of Shakespeare’s period and our own. At the same time, popular music’s use of Shakespeare realizes contradictions within such music, and within its relations to the contexts in which it is made and consumed.” The symbiotic relationship between old (Shakespeare) and new (popular contemporary music) can be transformative and mutually beneficial, even if Shakespeare is the clear target of politically minded musical critique.

We should celebrate those who challenge the status of Shakespeare as well as reinterpret his works in ways that provide new contexts. In that way, the presence of Shakespeare within popular music will most likely continue. And with this continued relationship, still open to further appraisal and inspiration, we can look forward to many more iterations of the annual listicle, where the emergent musician can deepen our appreciation of Shakespeare through their experience, and with their chosen art. This continued relationship and malleability shows Shakespeare truly as an artist “for all time,” including the iTunes generation.

James Wallis is a director, teacher, and actor. He’s the Co-Founder and Co-Artistic Director of the theatre company Shakespeare BASH’d and a former member of the Michael Langham Workshop for Classical Direction at the Stratford Festival. PLAY ON! SONGS “Sigh No More” “Ophelia” By Ben Lovett, , By Jeremy Fraites and Wesley Schultz and “O, Valencia” “(Just Like) Romeo and Juliet” By Colin Meloy By Frederick Gorman and Bob “Exit Music (For a Film)” “Love Story” By Colin Greenwood, Jonathan Greenwood, Edward By Taylor Swift O’Brien, Philip Selway and Thomas Yorke

“Check Yes Juliet” “I Am the Walrus” By Travis Clark, Samuel Hollander and David Katz By and Paul McCartney

“Cruel to be Kind” “Take a Bow” By and Kenneth Edmonds By Ian Gomm and Nick Lowe

“The King Must Die” “Limelight” By Neil Peart, Geddy Lee and Alex Lifeson By Elton John and Bernard Taupin “Somewhere” “Brush Up Your Shakespeare” By Leonard Bernstein, Stephen Sondheim By and Arthur Laurents From Kiss Me, Kate From Choral arrangement by Mac Huff “Billy S” By and Skye Sweetnam James Robertson “Romeo and Juliet” “A Case of You” By Mark Knopfler By Joni Mitchell “Gold” “Can You Feel the Love Tonight?” By Prince By Elton John and Tim Rice From Curtain Call “Limelight” Reprise

COPYRIGHT & PUBLISHING

“Sigh No More,” “The King Must Die,” “Romeo and Juliet” and “Gold” published by Universal Music Publishing Group. “(Just Like) Romeo and Juliet,” “Billy S,” “A Case of You” and “I Am the Walrus” published by Sony/ATV Music Publishing. “Love Story” published by Universal Music Publishing Group and Sony/ATV Music Publishing. “Check Yes Juliet” published by Sony/ATV Music Publishing, BMG and Reservoir Media. “Cruel to be Kind” published by BMG and Universal Music Publishing Group. “Brush Up Your Shakespeare” and “Exit Music (For a Film)” published by Warner Chappell Music. “Can You Feel the Love Tonight?” published by Walt Disney Music Company, Wonderland Music Company, Inc., and TCF Music Publishing, Inc. “Ophelia” published by Kobalt Music Publishing. “O, Valencia” published by BMG. “Take a Bow” published by Warner Chappell Music and Sony/ATV Music Publishing. “Limelight” published by Anthem Entertainment. “Somewhere” published by Universal Music Publishing Group and Boosey & Hawkes. THE SINGERS THE BAND

Gabriel Antonacci Music Director, Keyboard Jacob MacInnis Reza Jacobs Jennifer Rider-Shaw Acoustic Guitar, Electric Guitar Kaitlyn Santa Juana Kevin Ramessar Acoustic Bass, Electric Bass Jon Maharaj Drum Kit, Orchestra Supervisor Dale-Anne Brendon

ARTISTIC CREDITS

Curators Assistant Lighting Designer Technical Director Robert Markus Christian Horoszczak Robbin Cheesman Julia Nish-Lapidus James Wallis Stage Manager Cabaret Series Development Directors Kim Lott Franklin Brasz Julia Nish-Lapidus Production Assistant Esther Jun James Wallis Rebecca Beith Director of Music Music Director Production Stage Manager Franklin Brasz Reza Jacobs Cynthia Toushan Music Administrator Janice Owens Lighting Designer Producer Kaileigh Krysztofiak David Auster Sound Designer Casting Director Peter McBoyle Beth Russell Creative Planning Director Music Arrangements Jason Miller Reza Jacobs Music Preparation Michael McClennan BACKSTAGE PRODUCTION CREDITS

Head Carpenter Director of Production Technical Director William Malmo Simon Marsden – Scenic Construction Head Electrician Associate Director of Andrew Mestern Sean Poole Production Technical Direction Assistants Head Property C.J. Astronomo Laura Coleman Zach Fedora Timothy Hanson Scene Shop Manager Transportation Head Sound Evan Bonnah-Hawkes Dirk Newbery Andy Allen Associate Technical Director James Thistle Crew David Campbell Michael Watters Production Administrator Wardrobe Show Head Carla Fowler Maxine Tubbe

PROPERTIES SCENIC CARPENTRY COSTUME

Head of Properties Head Carpenter Costume Director Dona Hrabluk Ryan Flanagan Michelle Barnier Assisted by Assistant Head Carpenter Sewer Michelle Jamieson Paul Cooper Emma Pawluk Shirley Lee Assisted by Costume Buyer Properties Buyer Simon Aldridge Erin Michelle Steele Kathleen Orlando Paul Hyde Warehouse Coordinator Scott King Kimberly Catton Corey Mielke SCENIC ART John Roth Head of Wigs and Makeup Jody Satchell Gerald Altenburg Head Scenic Artist Scott Schmidt Duncan Johnstone Mark Smith Cliff Tipping Assistant Scenic Artist Michael Wharran

ACKNOWLEDGEMENTS

Special thanks to Dr. David Thompson, MD, Stratford; Dr. Jennifer Anderson, MD, MSc, FRCSC, St. Michael’s Hospital, Toronto; Heather Gillis, PT, M.Sc. Anat., FCAMPT, Darcy Trefiak, PT, B.Sc.P.T., FCAMPT, Physiotherapy Alliance, Stratford; Dr. Simon McBride, MCISc, MD, Health Sciences Centre Vocal Function Clinic; Dr. Brian Hands, MD, FRCSc, Vox Cura voice care specialists, Toronto; Dr. Leigh Sowerby, MD, MHM, FRCSc, St. Joseph’s Hospital, London; Dr. John Yoo, MD, London Health Sciences Centre; Dr. Thomas Verny, MD, DHL, DPsych, FRCPC, FAPA, Stratford; Dr. P. Neilsen, Goderich; Dr. Laurel Moore, MD, Dr. Sean Blaine, MD, Dr. Erin Glass, MD, Dr. Jacob Matusinec, MD, STAR Family Health Team, Stratford. Pianos tuned and maintained by Stephenson Concert Group.

The videotaping or other video or audio recording of this production is strictly prohibited. THE COMPANY

GABRIEL ANTONACCI DALE-ANNE BRENDON REZA JACOBS JACOB MacINNIS

GABRIEL ANTONACCI 2021: Romeo in Play On! Eighth season. Stratford: Ed Gammidge in The Music Man, Phantom in The Rocky Horror Show, Al in , Henrik Egerman in A Little Night Music, Rolf Gruber in , Pinball Lad in Tommy, and appeared in , Guys and Dolls, HMS Pinafore, and Carousel. Elsewhere: Johnny alternate in Green Day’s American Idiot (first US tour); Hank Majewski inJersey Boys (Dancap); Gilbert in Anne of Green Gables (Charlottetown). Film/TV: Captain von Trapp in The Pacifier. Training: Etobicoke School of the Arts. Online: /: @GabrielNacci. Et cetera: Huge thanks to Stratford and Colin McMurray for this opportunity. Thank you to my wife, Robin Calvert, for being the absolute best. This show is dedicated to his puppy, Sophie.

DALE-ANNE BRENDON 2021: Drum Kit for Why We Tell the Story and Play On! Stratford: Drummer for Tommy (2013), (2011), Evita (2010). Elsewhere: Substitute drummer for (Toronto), drummer for Randy Bachman’s Heavy Blues album and tour (2015), drummer/percussionist for Jeans ’n Classics – North American touring band, percussion for Grey Gardens at Berkeley Street Theatre, Toronto (2016). Endorser of Yamaha drums, Sabian cymbals, ProMark drumsticks. Online: daleannebrendon.com; .com/daleannebrendon.

REZA JACOBS 2021: Music director of and Keyboard for Play On! and composer and sound designer of A Midsummer Night’s Dream. Third season. Stratford: Musician for Up Close and Musical; composer, sound designer of . Elsewhere: Reza is an award-winning composer, sound designer and music director known for his versatility in style and genre. His credits include sound design and composition for the Shaw Festival, Factory Theatre, Tarragon, Passe Muraille, Volcano, Cahoots, YPT, Luminato Festival and Harbourfront’s World Stage Festival. He has won Dora Awards for Music Direction for Life After (Musical Stage Company), London Road (Canadian Stage), and Caroline, or Change (MSC). He has played Ted in 2 Pianos 4 Hands, most recently at the NAC, and has toured with Andrea Martin as her music director. His favourite gig of all time is being partner to Stephanie and father to Arabel and Iris. He also wishes to express his gratitude for his agent and friend, Emma Laird.

JACOB MacINNIS 2021: Richard in Play On! Stratford debut. Jacob MacInnis (they/them) is a Tkaronto-based performer and visual artist. After training for three years at Sheridan College’s Music Theatre Performance Program, Jacob has gone on to entertain audiences all over Turtle Island in countless musicals, concerts and cabarets. In 2014 Jacob was nominated for a Award, and won the Toronto Theatre Critics’ Award for Best Supporting Actor in a Musical (James and the Giant Peach, YPT). You can follow Jacob on Instagram @jacobmacinnis, check out their visual art @jacobmacinnisart, or listen to their original music on Spotify, Apple Music, or anywhere you listen. Jacob sends love to all the folx at TH, to their family, and to Tucker. #braverthanbrave

2021 PRODUCTIONS STREAMING THIS FALL WATCH FOR DETAILS: STRATFORDFESTIVAL.CA/ATHOME THE COMPANY

JON MAHARAJ KEVIN RAMESSAR JENNIFER RIDER-SHAW KAITLYN SANTA JUANA

JON MAHARAJ 2021: Basses for Why We Tell the Story and Play On! Stratford debut. Jon Maharaj is a JUNO Award-winning bassist who has performed and/or recorded with The Tenors, Emilie-Claire Barlow, Allison Au, Amanda Tosoff and many others. He has toured North America extensively with a variety of artists and has performed overseas, everywhere from Tokyo to Monte Carlo. He is currently playing bass in the Canadian company of the Tony-winning musical Come From Away, a position he has held since January 2018. Jon is also on faculty at Humber College in Toronto, where he has been teaching since 2003.

KEVIN RAMESSAR 2021: Guitars for Why We Tell the Story and Play On! Eighth season. Multi-instrumentalist, conductor, and composer Kevin Ramessar enjoys collaborating on stage, in the studio and in the classroom. He teaches at Wilfrid Laurier University and is a frequent adjudicator and guest instructor. Stratford: Romero in , Guitars in A Chorus Line, Tommy, Jesus Christ Superstar, Evita; onstage musician in Bartholomew Fair, Fuente Ovejuna. Broadway: Beautiful: The Musical, Jesus Christ Superstar, Gettin’ the Band Back Together. Elsewhere: orchestra; We’re Gonna Die (Second Stage); London Road (Canadian Stage). Recordings: Spanish, classical and fingerstyle guitar recordings available in Store Sojourn( , Echoes, Acoustic Christmas). Publications: Musicians Institute Curriculum Series: The Guitar Program, Reading (Volumes 2, 3, 4), WBH MusicWorks. Online: kevinramessar.com. Et cetera: Co-founder of Virtual Broadway (virtualbway.com).

JENNIFER RIDER-SHAW 2021: Beatrice in Play On! 11th season. Stratford: Ten seasons including Velma Kelly in , Janet in The Rocky Horror Show, Josephine in HMS Pinafore, Maggie in A Chorus Line, Sally Simpson in Tommy, Peggy Sawyer in 42nd Street. Elsewhere: Jennifer recently revived the role of Sally Simpson in The Who’s Tommy In Concert, performing alongside Pete Townshend at The La Jolla Playhouse. She has also performed on stages across Canada: Royal Manitoba Theatre Centre, Charlottetown Festival, Grand Theatre, Theatre Aquarius, Drayton Entertainment, Ross Petty Productions. COVID: Jen became a trained lash extension technician during 2020: @thelashroombyjen. Training: Music Theatre Performance (Sheridan), Acting (Red Deer College). Et cetera: Thank you to YOU, the patron, for returning to the theatre. I am filled with gratitude to be a part of the 2021 Stratford season. Love to Robert, Bruce & TH, Mom and Dad.

KAITLYN SANTA JUANA 2021: Julia in Play On! Kaitlyn is excited to be making her Stratford Festival debut! Broadway: . Broadway/Tours: Mirvish Productions’ Dear Evan Hansen, Toronto, Disney Cruise Line. She is a graduate of AMDA NY and is originally from , British Columbia. Sending love and gratitude to the team at the Stratford Festival, The Talent House, and her family and friends. Instagram: @kaitsantajuana.

Up Close and Musical AVAILABLE NOW ON STRATFEST@HOME ARTISTIC COMPANY

CHRISTIAN HOROSZCZAK KAILEIGH KRYSZTOFIAK KIM LOTT ROBERT MARKUS

CHRISTIAN HOROSZCZAK 2021: Assistant lighting designer of Why We Tell the Story, You Can’t Stop the Beat, Play On!, R + J, ’s Three Tall Women and Freedom. Stratford debut. Elsewhere: Lighting design for All the Sex I’ve Ever Had (Mammalian Diving Reflex; Tokyo, Kyoto and Frankfurt),Entrances and Exits (Howland Company), Kiviuq Returns (Qaggiavuut!/Banff Centre). Assistant lighting design forFall for Dance North. Training: National Theatre School, Banff Centre, Queen’s University. Et cetera: Christian is endlessly grateful for the years of generosity and love from family, friends and mentors throughout his life. Much love to Ryan and a special dedication to Tim Fort.

KAILEIGH KRYSZTOFIAK 2021: Lighting designer of Why We Tell the Story, You Can’t Stop the Beat, Play On!, Freedom and Finally There’s Sun. Ninth season. Stratford: Lighting designer, , . Assistant lighting designer, six seasons (2011-2016). Selected credits: A Chorus Line, Tommy, A Word or Two, Jesus Christ Superstar. Studio Theatre technical director, 2013. Elsewhere: Honour Beat (Grand), After the Fire, The Particulars (Punctuate, The Theatre Centre); , Newsies (Drayton Entertainment); Salt-Water Moon (Mirvish, Factory, Why Not); Wildfire (RARE, Soulpepper); The Emancipation of Ms. Lovely, The Breath in Between (Crow’s); Superior Donuts (Coal Mine); Laurier (Charlottetown Festival, TNB); Beaver (Storefront); Noises Off (Soulpepper); A Line in the Sand, The Crackwalker (Factory Theatre); Hana Hashimoto (Carousel Players). Training: National Theatre School of Canada. Et cetera: Course Lecturer at Ryerson University, Instructor at the NTSC, General Manager of Lights On Stratford, a two-time Dora nominee and a 2020 Pauline McGibbon Award nominee.

KIM LOTT 2021: Stage manager of Play On! 24th season. Stratford: Stage manager credits (selected): Wendy & Peter Pan (interrupted by COVID-19), Mother’s Daughter, The Matchmaker, , Evita, West Side Story. Assistant stage manager credits (selected): Treasure Island, The Lion, the Witch and the Wardrobe, South Pacific, The King and I, The Scarlet Pimpernel, , . Elsewhere: Stage manager credits (selected): Ring of Fire, Hana’s Suitcase, Annie, Twist and Shout (Grand Theatre); My Fair Lady (Drayton Entertainment). Et cetera: To my loved ones, here and in Shanghai: let’s enjoy the adventures.

ROBERT MARKUS 2021: Co-curator of Play On! and Singer in Why We Tell the Story. Fourth season. Stratford: Up Close and Musical (Stratfest@Home), The Rocky Horror Show, Tommy, The Music Man, Fiddler on the Roof. Elsewhere: Dear Evan Hansen (Mirvish); Lil’ Red Robin Hood (Ross Petty Productions); Joseph and the Amazing Technicolor Dreamcoat (Theatre Aquarius); Jacob Two-Two Meets the Hooded Fang, Seussical, James and the Giant Peach (YPT); Our Town, Sweeney Todd (Shaw Festival); UnCovered: Queen and Bowie (Musical Stage Company); Dream a Little Dream, Shrek (Grand Theatre); Chicago, Twist and Shout (Drayton Entertainment); Next to Normal (Citadel Theatre/ Theatre Calgary); The Rocky Horror Show, A Christmas Carol (Citadel Theatre); Jesus Christ Superstar, Chicago (Mayfield);Hunchback (Catalyst). Film/TV: If I Only Had Christmas (Hallmark Channel). Training: BFA, University of Alberta. Online: robertmarkus.com. Instagram: @rjbmarkus. Et cetera: Special thanks to family, friends, TH, and JRS, for their constant support. ARTISTIC COMPANY

PETER McBOYLE JULIA NISH-LAPIDUS BETH RUSSELL CYNTHIA TOUSHAN

PETER McBOYLE 2021: Sound designer of Why We Tell the Story, You Can’t Stop the Beat, Play On!, Freedom and Finally There’s Sun. 26th season. Stratford (selected): Over 60 productions including Billy Elliot, Little Shop of Horrors, The Music Man, The Rocky Horror Show, Guys and Dolls, A Chorus Line, Shakespeare in Love, , A Word or Two. Elsewhere: Peter has worked at most major Canadian theatres and in US cities such as New , Las Vegas, , , and . Broadway credits: Come Fly Away and Barrymore. Tours include Sister Act, Catch Me If You Can, Come Fly Away, Legally Blonde and West Side Story. Recent projects include Little Canada (Toronto), Immersive Van Gogh (Canada/US), Battle of the Blades (CBC). Training: Bachelor’s and Master’s degrees in Music (McGill). Awards: Suzi (Atlanta), Come Fly Away; Dora nomination, Caroline, Or Change, Fire. Et cetera: Thanks to Meghan, Ella and Beatrice for their unending support.

JULIA NISH-LAPIDUS Langham Directors’ Workshop, 2019 2021: Co-curator and co-director of Play On! Third season. Stratford: Assistant director: , All’s Well That Ends Well (interrupted by COVID-19). Elsewhere: Co-Artistic Director and Co-Founder of Shakespeare BASH’d (Best Site-Specific Theatre Company, NOW Magazine, 2018 and 2019). Director: , Richard III, The Comedy of Errors, The Duchess of Malfi (staged reading) (Shakespeare BASH’d); Romeo & Juliet (& Joni) (Untitled Productions); The Duchess of Malfi, The Revenger’s Tragedy (Ryerson Theatre School); The Tom and Gertie Letters Project (SpringWorks); Talk to Me Like the Rain and Let Me Listen, This Property is Condemned (Playwright Project). Text coach: (Theatre by the Bay); Titus Andronicus (Hart House). Co-creator: Modern Love (Canadian Stage/ Next Stage). Training: Sheridan/University of Toronto. Online: @ShakesBASHd, shakespearebashd.com.

BETH RUSSELL 2021: Casting director for the Stratford Festival. 13th season. Broadway and West End: As Senior Vice President, Casting and Creative Development for Livent, Beth was responsible for productions including Parade, Ragtime, Candide, Show Boat and Kiss of the Spider Woman; as well as productions of Joseph and the Amazing Technicolor Dreamcoat, Show Boat, Sunset Boulevard, Aspects of Love and The Phantom of the Opera in Canada, the , Australia, Singapore and Hong Kong. Elsewhere: Co-Producer of CBC-TV’s Triple Sensation, National Casting Director for CBC Radio Drama and Artistic Associate for Toronto Arts Productions (now Canadian Stage). Also, as an agent, Beth has represented actors, directors, choreographers, writers and composers.

CYNTHIA TOUSHAN 2021: Production stage manager of the Festival Theatre Canopy. 25th season. Stratford: Shows include Chicago (interrupted by COVID-19), Billy Elliot, A Chorus Line, Crazy for You, Fiddler on the Roof, Camelot, Oklahoma!, West Side Story, My Fair Lady, Man of La Mancha, Hello, Dolly!, The King and I and others. Elsewhere: Over 40 years as a stage manager in live entertainment including gala events, music concerts, opening ceremonies and fundraising events including A Christmas Carol for the Stratford Hospice. Over 25 years with the Canadian Opera Company as a stage manager; production stage manager and resident director of Jersey Boys, Toronto; 25 years as a singer/dancer and choreographer in Canadian theatre; associate director/choreographer to her mentor, Alan Lund. Et cetera: Love to Paul, daughters Stephanie and Jennifer, son-in-law Andrew, and her grandchildren, Kennedy, Koston and Connor. I am so grateful to be back at work. ARTISTIC COMPANY

JAMES WALLIS

JAMES WALLIS Langham Directors’ Workshop, 2016/17 2021: Co-curator and co-director of Play On! Fourth season. Stratford: Assistant director of , Bunny, Romeo and Juliet and . Elsewhere: Director: Romeo and Juliet, Love’s Labour’s Lost, Macbeth, The Merry Wives of Windsor, Edward II (staged reading), , The Changeling (staged reading), Twelfth Night, (staged reading), Othello, A Midsummer Night’s Dream (co-director) (Shakespeare BASH’d – also Co-Founder and Co-Artistic Director); Shakespeare in Hospitals (Spur of the Moment Collective); As You Like It (Theatre by the Bay); Reasons to Be Pretty (Labute Cycle); Titus Andronicus (Hart House Theatre); Henry IV Part 1 and 2 (Theatre Erindale); The Tom and Gertie Letters Project (Springworks); Pygmalion, The Revenger’s Tragedy, The Duchess of Malfi (Ryerson); Romeo & Juliet (& Joni) (Untitled Productions – co-director workshop). Training: Ryerson Theatre School. Online: @ShakesBASHd; shakespearebashd.com. Et cetera: Thanks to Julia for everything.

2021 PRODUCTIONS STREAMING THIS FALL ON

WATCH FOR DETAILS: STRATFORDFESTIVAL.CA/ATHOME THE BIRMINGHAM CONSERVATORY Janine Pearson is the Director of the Birmingham Conservatory. In January 2022 she will begin her leadership of the newly reimagined two-year professional training program that nurtures talented young artists for a future career in live theatre. The program includes, among other activities, classes in voice, movement and text with Festival coaches and distinguished guest instructors. The Birmingham Conservatory is made possible by the support of the Birmingham family, the Stratford Festival Endowment Foundation and the Department of Canadian Heritage. Support for the 2021 in-season work of Conservatory participants is generously provided by the Marilyn & Charles Baillie Fund.

Past Birmingham Conservatory participants include And contributing to STRATFEST@HOME: these members of our 2021 company: Dan Chameroy 2003 Sara Farb 2013 Ijeoma Emesowum 2015/16 Eva Foote 2019/21 Jessica B. Hill 2014/15 Paul de Jong 2000 (coach) Chilina Kennedy 2009 Andrew Iles 2017/18 André Morin 2014/15 Lloyd 2019/21 Emilio Vieira 2015/16 Kennedy C. MacKinnon 1999 (coach) Antoine Yared 2012/13 Jonathan Mason 2019/21 Lisa Nasson 2019/21 Thomas Olajide 2014 (associate) André Sills 2005 Shannon Taylor 2014 2000 Amaka Umeh 2019/21 Micah Woods 2019/21 Mamie Zwettler 2017/18

THE LANGHAM DIRECTORS’ WORKSHOP Overseen by Antoni Cimolino, Artistic Director, and Langham workshop alumnus Esther Jun, Director of the Langham Directors’ Workshop, this program seeks the most promising directing talent and provides them with fertile ground to explore, play, and hone their craft. The Workshop endeavours to help cultivate the directors’ interests, refine their aesthetics, and enable them to create inspired and boundary-pushing work – not only for the Stratford Festival’s stages, but across the globe. Participants this season: Marie Farsi, Sadie Epstein-Fine, Christine Horne, Sara Jarvie-Clark. Alumni this season: Jessica Carmichael, Ravi Jain, Esther Jun, Julia Nish-Lapidus, Peter Pasyk, James Wallis. We extend our thanks to the Department of Canadian Heritage and to the Philip and Berthe Morton Foundation. The Langham Directors’ Workshop is sponsored by THE STRATFORD FESTIVAL LABORATORY Founded by artistic director Antoni Cimolino in 2013, and overseen by Antoni and ted witzel, the Laboratory is the Stratford Festival’s research and development wing: a suite of experiments and investigations that drive our artistic and organizational evolution in an era of exciting cultural change. Advancing inclusive and innovative practice, the Lab: • INCUBATES NEW WORKS for our stages by supporting long-term and unconventional development processes. • CONDUCTS EXPERIMENTS through our resident Lab Ensemble, to build our capacity to support other forms and cultural protocols, and to create new relationships with artists from across Canada and beyond. • BUILDS CONNECTIONS with the national artistic community by hosting and supporting gatherings of makers to share practices, questions, challenges and strategies. • FOSTERS ENSEMBLE by offering full-company sessions to encourage horizontal learning and build a shared spirit among the huge group of artists who come together at the Festival every season. • OPENS DIALOGUE, internally and externally, by creating spaces to reflect on the Festival’s role as a heritage institution and the growth and change necessary to ensure that it remains a vital asset to Canada’s cultural ecology. Like any successful R&D wing, the Lab will be agile and flexible in its response to the changing landscape. The scope of its activities will expand and shift as we identify new challenges and opportunities to serve our community of artists and audiences, locally, nationally and beyond. Support for the Laboratory is generously provided by the Dalio Foundation and by an anonymous donor. The services of the Metcalf Foundation Dramaturgy Intern were made possible through Theatre Ontario’s Professional Theatre Training Program, funded by the Ontario Arts Council.

Funding for artisan apprenticeships is provided by the William H. Somerville Theatre Artisan Apprenticeship Fund, funded by the J.P. Bickell Foundation and by Robert and Jacqueline Sperandio.

A member of the Professional Association of Canadian Theatres, the Stratford Festival engages, under the terms of the Canadian Theatre Agreement, professional artists who are members of Canadian Actors’ Equity Association. Stage crew, scenic carpenters, drivers, wigs and makeup attendants, wardrobe attendants, facilities staff and audience development representatives are members of Local 357 of the International Alliance of Theatrical Stage Employees (IATSE). Scenic artists are members of IATSE Local 828. The musicians, musical directors, conductors, and orchestra contractors engaged by the Stratford Festival are members of the Toronto Musicians’ Association, Local 149 of the American Federation of Musicians of the United States and Canada. Toronto’s Premier International Dance Festival

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FAF_StratfordProgAd-2021.indd 1 2021-06-08 5:26 PM STRATFORD SHAKESPEAREAN STRATFORD SHAKESPEAREAN FESTIVAL FESTIVAL OF CANADA – 2021 ENDOWMENT FOUNDATION – 2021 FOUNDER BOARD OF DIRECTORS Tom Patterson OFFICERS BOARD OF GOVERNORS Interim Chair: Daniel S. Bernstein, Westport, CT OFFICERS DIRECTORS Chair: Carol Stephenson, London, ON David Adams, , QC Vice Chair: Robert H. Gorlin, Northville, MI Robert Astley, Waterloo, ON Treasurer: David Adams, Montreal, QC Paul Brisson, London, ON Secretary: Joy Wishart, Stratford, ON Peter G. Restler, , NY Cathy Riggall, Stratford, ON GOVERNORS Kim Shannon, Toronto, ON Ikram Al Mouaswas, Toronto, ON Nargis Tarmohamed, Exeter, ON Karon C. Bales, Stratford, ON Chip Vallis, Stratford, ON Yaprak Baltacioğlu, Ottawa, ON John K. Bell, Cambridge, ON The Stratford Shakespearean Festival Endowment Barbara E. Crook, Ottawa, ON Foundation Board mourns the loss of Director Robert Franklin H. Famme, Stratford, ON Badun, a member of the Endowment Foundation J. Ian Giffen, Toronto, ON Board from 2017, and as its Chair from 2020, until his passing in April of 2021. Rob is remembered by Nancy L. Jamieson, Ottawa, ON his fellow Directors for his unwavering service and Pamela Jeffery, Stratford, ON unique combination of expertise, wisdom, leadership Jaime Leverton, Toronto, ON and humility. John D. Lewis, Grosse Pointe Farms, MI Harvey McCue, Ottawa, ON Address: c/o Corporate Secretary, Stratford Festival, M. Lee Myers, London, ON P.O. Box 520, Stratford, ON N5A 6V2 David R. Peterson, Toronto, ON Peter G. Restler, Brooklyn, NY STRATFORD SHAKESPEAREAN FESTIVAL Brian J. Rolfes, Toronto, ON Martha Sachs, Juno Beach, FL OF AMERICA – 2021 Kay Schonberger, Toronto, ON BOARD OF TRUSTEES Alan Shepard, London, ON OFFICERS David Simmonds, Toronto, ON Kristene Steed, Stratford, ON Chair: Linda K. Rexer, Ann Arbor, MI Lawrence N. Stevenson, Toronto, ON Vice-Chair: John Gardner, Mishawaka, IN Harriet Thornhill, Oakville, ON Treasurer: Kate Arias, Chicago, IL Secretary: Kevin Turner, Birmingham, MI EX OFFICIO TRUSTEES Artistic Director: Antoni Cimolino Executive Director: Anita Gaffney John D. Lewis, Grosse Pointe Farms, MI Past Chair: Sylvia Chrominska, Stratford, ON Christie Peck, Birmingham, MI Mayor of Stratford: His Worship Dan Mathieson Cindy Person, Rochester Hills, MI Chair, Stratford Shakespearean Festival of America: Mary Stowell, Winnetka, IL Linda K. Rexer, Ann Arbor, MI EX-OFFICIO Address: c/o Corporate Secretary, Stratford Festival, Past Chair: Gloria Friedman, Chicago, IL P.O. Box 520, Stratford, ON N5A 6V2 Executive Director: Anita Gaffney, Stratford, ON Chair, Stratford Festival of Canada: Carol Stephenson, London, ON

UNIVERSITY OF WINDSOR SCHOOL OF DRAMATIC ART uwindsor.ca/drama Congratulations to our past students and graduates at the Stratford Festival this season: Antoni Cimolino, Artistic Director Andrew Iles

UWindsor School of Dramatic Art Undergraduate Degrees in: • BFA Acting • BA Drama • BA Drama and Concurrent Education • Drama in Education and Community (Applied Theatre) Turn Passion Pictured: Cast of Beauty and the Beast by Laurence Boswell, 2019-2020 Season. Directed by Monica Dottor, set by Joshua Quinlan, costumes by Esther Van Eek, lighting by Kirsten Watt. Photo by Melissainto Stewart. Purpose Subscribe now STRATFEST@HOME

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Artistic Director Head of Voice Human Resources Manager of Information Janet McFarlane Antoni Cimolino Kennedy C. MacKinnon Manager & Technology Larisa Orlova The Head of Voice & Coaching positions Krystal Holmes Paul Muncaster Nancy Plummer Executive Director at the Stratford Festival is generously Wesley Pope Anita Gaffney endowed by David Green & Mary Winton Green Associate Health Systems Administrator Sherry Priestap & Safety Manager Andrei Martchenko Jane Rowcliffe DIRECTORS’ OFFICE Head of Voice Emerita Wes Mazur Tara Spencer Ann Skinner Help Desk Technician Producer Payroll Manager Tristan Hughes Clare Stockley Glen Sutherland David Auster Alexander Technique Kathy McKellar Jeremy Meagher & Movement Coach Sandy Thistle Creative Planning Kelly McEvenue Payroll Coordinator Senior Developer Rachel Tourout Director Marcos Guimaraes Bryan Richardson David Wick Jason Miller Movement Coach Brad Cook Payroll/HR Assistant ROKU & Android Stage Door Guards Casting Director Leah Vandermeulen Developer Trevor Bannon Beth Russell Voice, Text Pintu Jat Ryan & Dialect Coaches Company Mandy Illman Director of the Foerster Nancy Benjamin Accommodations Facilities Kyle Llewellyn Bernstein New Play Supervisor Jane Gooderham Facilities Manager Darlane Payne Development Program Janine Pearson Cindy Cnockaert Bob White Jeff Heggie Casual Stage Door Speech-Language Assistant Facilities Guards Director of the Pathologist & Voice ADVANCEMENT Manager Mattan Jones Birmingham Coach Senior Director of Val Bielecki Ihor Orenchuck Conservatory Lori Holmes Advancement Janine Pearson Rachel Smith-Spencer Assistant Manager, Singing Coach Facilities Services MARKETING, Director of the Jennie Such Playwright’s Circle Sandy Davis AUDIENCE Laboratory, and Artistic Manager DEVELOPMENT, Associate for Research Text Coach Sharon Butler Carpenter COMMUNICATIONS & Development Tim Welham Micah Hussey & CORPORATE Membership Manager SPONSORSHIP ted witzel Chief Engineer Professional Ceairy Free Director of the Langham Development Program John Luesink Senior Director of – Voice Coaches Major Gifts GTA Marketing and Audience Directors’ Workshop, Shift Engineers Peter N. Bailey & Campaign Manager Development and Artistic Associate Richard Arnold Michael Adams for Planning This program is generously sponsored Heather McMartin by Douglas and Janet Watson Paula Burns Esther Jun Chad Wheeler Digital Projects Major Gifts Coordinator Guest Coach & U.S. Patron Manager Associate Producer Ginette Hamel Electricians Hamid Oki Bonnie Green Christine Seip Tony Iacobellis Associate Producer of Music Membership Coordinator Ryan Wagner Audience Development Digital Programming and Director of Music Susan Mavity Head Gardener The Meighen Forum Franklin Brasz Director of Audience Membership Anita Jacobsen Julie Miles Development Director of Music Administrator Seasonal Gardeners Sarah Hamza New Play Development Emeritus Donna Hyde Joelle Bullbrook Associates Berthold Carrière Playwright’s Circle Elizabeth Lazear Front of House Carmen Aguirre Administrator Manager of Patron Kamana Ntibarikure Music Administrator Student Gardeners Janice Owens Jennifer McCaw Services Mũkonzi Mũsyoki Maxwell Britton Kris Bernard Ronan Curneen Casting Associate ADMINISTRATION FINANCE, FACILITIES Jacob Dekok Senior House Manager Marcel Stewart Administrative Director & INFORMATION Madeline Mortimer – Festival Theatre Manuel Muncaster Casting Assistant Shelley Stevenson TECHNOLOGY Sam Tynkkynen Jennifer Emery Finance Archives Head of Maintenance House Manager Director of Finance, Ron Brown – Tom Patterson Theatre Company Manager Archives Director Hilary Nichol Facilities & Information Mark James GiannaMaria Babando Technology Maintenance Staff Dar Del Chiaro Corporate Secretary Darryl Huras Studio & Forum Archives Coordinator Blair Holden House Manager & Executive Assistant Christine Schindler Thomas Lemenchick to the Artistic Director Controller Terry Hastings Cataloguing & Emily Rooke Myrna Lewis Joy Wishart Larry Shurrie Ushers Digitization Archivist Paula Bentley Executive Assistant to Stephanie Vaillant Finance Manager Art Tucker Leanne Atkinson Karen Brooks the Executive Director Housekeepers Marion Burr Archives Assistant Jen Culligan Nora Polley Senior Accountant Lori Adcock Jessica Darling Producing Coordinator Todd Bridges Robert Barrett Kimberly De Haan Shira Ginsler Education Marc Boisvert Sarah Elliott Accountant Lynn Brown Beth Fischer Director of Education Alexandria Pretty Laboratory Coordinator Lois Adamson William Clelland Hayden Fischer Rachel Wormsbecher Finance Assistant Jeff Daigneault Keagan Goforth Education Administrative Shelley Assayag Diane Dench Judy Hart Production Coordinator Manager Catherine Dishman Debra Holota – Digital Projects Katherine Laing Information Jacqueline Dodier Charlie Kevill Gregory McLaughlin Patti Hinz Holly Matthews Education Associate Technology Christine Koehler Beverley Meyer Forum Assistant Stephanie Johns & Application Alexis Rowlinson Shawn Larder Cam Ohler Development Robert Lee Wendy Orchard Human Resources Interim Director of IT Marjorie Lundrigan Nancy Patterson Coaches Director of Human & Application Sebastian Marshall Valerie Pinder Head of Coaching Resources Development Laura Martin Nikkie Priestap Paul de Jong Dawnette Baldeo Darren Worswick Haille MacLeod Mary Rankin Pat Ranney Cafés & Catering Social Media Manager Dale Ratcliffe Catering Events Manager Stephanie Leger GUEST SERVICES Terry Raymond Victoria Parkinson Pat Reavy Groups & Schools FOR ASSISTANCE AND Victoria Sandquist ExecutiveLIMITED EDITION Chef Sales Manager ACCESSIBILITY Carol Schlemmer Kendrick Prins Heather Martin We’re here to help. 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Three Tall Women

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A Midsummer Night’s Dream The Rez Sisters I Am William Serving Elizabeth

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