March 6 to 31, 2018

The Humans
by Stephen Karam

#tcThe Humans
T O N Y- N O M I N AT E D B R O A D WAY M U S I C A L

The
Secret
Garden
Book and Lyrics by
Marsha Norman
Music by Lucy Simon
Based on the novel by
Frances Hodgson Burnett
Directed by Stafford Arima
Set and Costume Design Cory Sincennes
Lighting Design Bonnie Beecher
Sound Design Joshua Reid

April 17 to May 19
“A world where beauty
and love blossom”
          

Bring the whole family for as little as $35 a ticket!*

#tcSecretGarden theatrecalgary.com 403-294-7447
*Limited quantity. Call for details. PHOTO BY DAVID COOPER.

Arts Commons
Max Bell Theatre
Welcome friends.
In 2007, I saw a play by an unknown
playwright in a small 62-seat black box
Off-Broadway theatre located underneath
another Off-Broadway theatre. The play was
called Speech & Debate, and it was written by
a relatively new playwright named Stephen
Karam. Speech & Debate opened in October
and immediately sold-out its one-month
run. The theatre company announced an
eight-week extension and the rest is history
– the "rest" being that Stephen Karam went
from an unknown playwright in 2007 to an
in-demand playwright whose play, The Humans, went on to be a finalist
for the 2016 Pulitzer Prize for Drama and the winner of the 2016
Tony Award for Best Play. The Roundabout Theatre Company in New
York City made a commitment in 2007 to take a risk on new writers,
and it took eleven years for that (once) new voice to reach Theatre
Calgary. New voices are exciting. They bring with them fresh ideas and
innovative ways of interpreting narrative. It’s part of the adventure of
theatre-going to experience works of writing that might not be familiar.
New plays and musicals have a place in our theatre as well as theatres
across Canada. For there will come a time when a relatively unknown
Calgarian playwright will debut their work at Theatre Calgary and
then, 11-years later, have that work debut on Broadway. How thrilling
would that be? I hope you enjoy The Humans.

STAFFORD ARIMA
Artistic Director

Theatre Calgary would like to acknowledge that this performance

is taking place on the traditional territories of the people of the
Treaty 7 region in Southern Alberta, including the Siksika,
Piikani, Kainai, and the Stoney-Nakoda and Tsuu T'ina First
Nations. Calgary is also home to the Metis Nation of Alberta,
Region 3.
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Limited tickets remaining!

April 7, 2018 the hudson

Email lgilley@theatrecalgary.com to secure yours.
All net proceeds from The Garden Unlocked
will go to support Theatre Calgary
DIRECTOR’S NOTES
“What happens onstage should be just as complicated and
just as simple as things are in real life. People are sitting at
a table having dinner, that's all, but at the same time their
happiness is being created, or their lives are being torn apart.”
Though these words were written over a hundred years ago by
Russian playwright Anton Chekhov, they perfectly describe the
contemporary American play you are about to see.
The Blakes face ordinary challenges: love and heartbreak,
parent-child conflict, fear of aging, and of course, money,
money, money. They are gathered for Thanksgiving, which is a
time to honour the traditions that bind a family together, but can also be a marker of
how much things have changed.
The people in this play are so recognizable, so relatable. No one is a villain. Each
character can be gracious and generous – or petty and selfish – just like any of us.
Seen in a certain light, they are also emblematic: they represent the disappearing
middle class in North American society, as they struggle to keep up with soaring
inequality, rising costs, scant savings, and disappearing job opportunities. As Erik
says, “Don’t you think it should cost less to be alive?”
The apartment in which they gather is located in New York City’s historic Chinatown.
That’s just a few blocks from where the Twin Towers were destroyed on September 11,
2001. The place feels haunted by the griefs and sorrows of previous waves of working
people who once lived, loved, and died right where Brigid and Richard have chosen
to make a new home.
Like a beacon in the night, this family stays together thanks to their sense of
humour, their shared history, and unquestioning support for each other through
good times and bad. That makes them hugely sympathetic, at least to me. But can
they withstand threats from without and within? Will the Blakes survive?
Our existences may often seem ordinary, unheroic. This play shows us that life is
actually funny, tragic, terrifying and heartbreaking… all in one November afternoon.
VANESSA PORTEOUS
Director
Theatre Calgary gratefully acknowledges the support Theatre Calgary is a member of
provided by the City of Calgary through Calgary Arts the Professional Association of
Development, the Government of Alberta through Canadian Theatres, and operates
The Alberta Foundation for the Arts, the Government within the jurisdiction of The
of Canada through the Canada Council, Canadian Canadian Theatre Agreement.
Heritage, and all corporate and private contributors. Theatre Calgary employs
technicians under a collective
agreement with the I.A.T.S.E.

Theatre Calgary is a resident

company of Arts Commons,
operating out of Arts Commons
Max Bell Theatre.
FRONT COVER: PHOTO BY DAVID COOPER.
 D A N C E . S I N G . A C T.
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 Arts Commons Max Bell Theatre
March 6 to 31, 2018

presents

THE HUMANS
by Stephen Karam

Director VANESSA PORTEOUS

Set Design CAMERON PORTEOUS
Costume Design JENNIFER LEE ARSENAULT
Lighting Design KIMBERLY PURTELL
Original Music & Sound Design PETER MOLLER
Assistant Director CHRISTOPHER HUNT
Voice Coach JANE MACFARLANE

TC Mentors program:
SKYLAR DESJARDINS – Set
SARAH UWADIAE – Lighting

The Parting Glass

Vocal arrangement by Elinor Holt,
assisted by Spider Bishop

interACTive
Enhance Your Experience
TALK THEATRE THURSDAY
MARCH 8 – Assistant Director
CHRISTOPHER HUNT
– In the Upper Lobby
MARCH 15 – Design Mentee
SKYLAR DESJARDINS
– In the Upper Lobby
Get an insider’s perspective on the process
of making theatre. Meet an artist from the
production’s creative team before the show,
in conversation with a member of Theatre
Calgary’s artistic staff.
TALKBACK TUESDAY
MARCH 13, 20, 27
– In our Theatre
Join us for a lively post-show discussion
with members of the cast.
SPOTLIGHT SATURDAY
MARCH 17 – Development Associate
LAUREN GILLEY
– In the Main Lobby
Come listen to a member of our
development team speak to the spirit of
giving, philanthropy and Theatre Calgary
as a charitable organization.
SENIOR SATURDAY
MARCH 24 – Director
VANESSA PORTEOUS
– In the Upper Lobby
Before the performance begins, Senior
Saturday patrons are invited to enjoy some
snacks followed by an engaging chat with
a theatre professional or relevant expert,
providing insight into the performance.
THE YOUNG ARTISTS WORKSHOP
Are you a student who is interested in the
performing arts? Join our Young Artists
Workshop! Registration includes: tickets to
the show, a pre-show workshop, and pizza
and pop before the show. Membership is open
to students in Grade 9-12. Capacity is limited
to 50 students.
Remaining performance dates for our 50th
season are:
MARCH 13 and APRIL 24
EDUCATORS CIRCLE
Are you an educator? Do you love theatre
and need a break from marking or planning?
Join our Educators Circle. Benefits include:
Tickets to all five mainstage shows*, Ability
to exchange tickets to another date and
purchase additional tickets at 20% off. All
members will be invited for two exclusive
backstage tours throughout the year. Visit
www.theatrecalgary.com to register today!
*some conditions apply
GO BEHIND THE CURTAIN
Go beyond being an audience member and
see what else we have to explore. Theatre
Calgary offers a number of additional
theatrical experiences such as Backstage
Tours, Skype in Schools, Workshops, Panel
Discussions, Industry Nights, and Play Guides.
GET ONLINE
Find further details about our
programming at www.theatrecalgary.com
Follow us on Facebook, Twitter, and
Instagram:
@theatrecalgary
#tcInteract
COMMUNITY ENGAGEMENT
We are always looking for ways to engage
with all citizens of the City of Calgary and
surrounding area. If you have a community
event, project or initiative that you think
Theatre Calgary could partner with, contact
us to start the discussion today!
For all of these programs, and
any other learning or community
engagement inquiries,
please contact:
Chris Stockton – Senior Manager
of Learning and Engagement
(403) 294-7440 ext. 1122
cstockton@theatrecalgary.com
 THE CAST
(in alphabetical order)

Brigid Blake LILI BEAUDOIN

Momo Blake BARBARA GORDON
Deirdre Blake ELINOR HOLT
Richard Saad SHEKHAR PALEJA
Erik Blake RIC REID
Aimee Blake AYLA STEPHEN

SETTING
An apartment in New York City's Chinatown. Present day.

Stage Manager RUBY DAWN EUSTAQUIO

Assistant Stage Manager CARISSA SAMS

Head of Lighting CATHARINE CRUMB

Head of Sound BRONWYN BOWLBY
RF Technician CHRIS JACKO
Head Stage Carpenter SCOTT MORRIS
Head Dresser RACHEL MICHELLE SHERIDAN

CAMERAS AND AUDIO/VISUAL RECORDING DEVICES ARE NOT PERMITTED IN THE THEATRE.
VIDEO AND AUDIO RECORDING OF THIS PRODUCTION ARE STRICTLY PROHIBITED.

THE HUMANS runs one act, with no intermission.

The Original Broadway Production of THE HUMANS was produced by Scott Rudin, Barry Diller,
Roundabout Theatre Company, Fox Theatricals, James L. Nederlander, Terry Allen Kramer, Roy Furman,
Daryl Roth, Jon B. Platt, Eli Bush, Scott M. Delman, Sonia Friedman, Amanda Lipitz, Peter May,
Stephanie P. McClelland, Lauren Stein, and The Shubert Organization; Joey Parnes,
Sue Wagner, and John Johnson, executive producers.
Commissioned and Originally Produced by Roundabout Theatre Company, New York, NY
(Todd Haimes, Artistic Director; Harold Wolpert, Managing Director;
Julia C. Levy, Executive Director; Sydney Beers, General Manager).
THE HUMANS had its world premiere in November 2014
at American Theater Company, Chicago, Illinois
(PJ Paparelli, Artistic Director).
THE HUMANS is presented by special arrangement
with Dramatists Play Service, Inc., New York.
THE DEVIL IS IN THE DETAILS
By Jenna Turk

A fresh script is like a treasure map, and playwright Stephen Karam has filled
his for The Humans with clues, riddles, and signposts leading to a golden bounty
of a production. A meticulous and thoughtful artist, Karam has utilized specific
punctuation, detailed formatting, and instructive notes in his text – gifts for
the artists tasked with bringing it to life. However, these details are more often
than not unknown to the audience. Take a look inside his script and explore the
complex textual world of The Humans…

To begin, The Humans includes three separate quotes as its epigraph: a verse
from Federico García Lorca's poem “Dance of Death” written not long after the
stock market crash in 1929, an excerpt from Freud's 1919 essay The Uncanny
discussing the true meaning of the word, and a listing of man's most basic fears
from Napoleon Hills's best-selling self-help book, Think and Grow Rich, first
published during the Great Depression. This leaves us looking at what Karam
meant in citing these three works, but he believes the audience should decide for
themselves, “We live in a culture that wants answers to questions about art, and I
think it's really harmful--[it] leads to discussions that lead an audience to believe
there is only one correct answer.” Still, director Vanessa Porteous brought them
up on the first day of rehearsals, thanking Karam for his guidance. What exactly
is the show about? Porteous exclaimed, “We know what it’s about – he’s already
told us.” She highlighted Freud’s definition of uncanny and discussed how in life
there is always potentially a threat from outside, but the uncanny implies there is
perhaps a threat of something inside ourselves as well. This uneasiness plays into
the fears listed in Hill’s book that Porteous emphasized as she described the style
of the show, “The performances will be realistic with scene work that is rooted
and authentic, while the uncanniness will come from sound and lighting.” The
disquiet described in all three of Karam’s chosen quotes colour this play not as a
simple family drama, but as a kind of supernatural thriller or a chiller.

There are three notes included in the script. The first states, “A slash ( / ) means
the character with the next line of dialogue begins their speech.” This was first
done by innovative British playwright Caryl Churchill in 1982 in her play, Top
Girls, but is now commonly used by modern-day playwrights. So, it is fairly
standard for Karam to employ.

His second note reads, “Dialogue in brackets [ ] is expressed nonverbally.” This

is not so standard, and is rather an innovation in itself. Karam has written in
seemingly silent moments that are in fact filled with intention and thought.
For example, the play opens with Erik, the patriarch, alone onstage where the
audience witnesses him in a kind of dumb show responding to the house around
him. In fact, each moment of revelation is written out by Karam. When Erik is
initially startled, the script reads:
So the first line of the play does not actually belong to daughter Aimee, but the
audience simply doesn’t hear it. Karam says, “Actors are smart; if you tell them
to roll their eyes they feel locked into something...if you give an actor: ‘[I can't
believe you're such an idiot.]’... then maybe they'll roll their eyes or maybe they'll
shake their head or do any number of things.” These written silent moments are
throughout the script; see if you can spot them.

The third note insists that “The Humans takes place in one real-time scene —on
a two-level, four-room set—with no blackouts.” This is very specific. Karam
continues to detail his use of “UPSTAIRS” and “DOWNSTAIRS” to remind the
artists that the stage is meant to have an “exposed ‘dollhouse’ view” at all times.
This note directly informs all aspects of the production: how the set is built,
how the director stages the show, and how the audience is meant to take it all
in. It also helps the actors to remember what all else is happening concurrent
to their own actions. Karam’s specificity makes him a very present part of each
production – an unusual occurrence with published works, when the playwright
is quite often in a different city, country, or time period. Here, the playwright
Stephen Karam remains a kind of present absence; ever the collaborator.

Finally, when one looks at the script for The Humans it is impossible to miss
Stephen Karam’s affinity for the ellipsis. He uses them to begin sentences, in
the middle, and at the end. While an ellipsis generally marks the intentional
omission of a word or implies a slight pause, it can also suggest an unfinished
thought, ending the sentence in silence. This lends a natural melancholy to the
 PROUD TO
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text, and in Karam’s hands the ellipsis creates an eerie sense of longing. Kelly
Nestruck noted it in his review of the Toronto production for The Globe and
Mail, “Everything seems so real in his script that it takes on a surreal character.
Everything feels so natural that it begins to feel supernatural. It's like the
uncanny valley of theatre.”

The Humans might seem like an “easy” show to produce –no period set pieces,
no elaborate costumes, and no complicated dance numbers, but it in fact takes
a LOT of work to make it appear as real as it does. Much of that effort belongs to
playwright Stephen Karam and his writing style. These intricacies are what make
Stephen Karam not simply a gifted writer, but a true technician. [Don't you think?!]
If the devil is in the details, Karam’s meticulous script is all the better for it.

“In family life, love is the oil that eases friction,

the cement that binds closer together, and the
music that brings harmony.”
– Friedrich Nietzsche

SOURCES
Epigraphs: Think and Grow Rich by Napoleon Hill was first published by the Ralston Society in 1937; Penguin, New York, 2005. The Uncanny by Sigmund
Freud was first published by Imago, Bd. V., 1919; The Uncanny, Penguin, New York, 2003. “Dance of Death” by Federico García Lorca, published in Poet in
New York, Grove Press, New York, 2008.

“Feature: 9 things about Churchill” https://www.sydneytheatre.com.au/magazine/posts/2017/may/feature-9-things-about-churchill

Nestruck, Kelly. (2018, February 9). Review: The Humans is a play where everything seems so real that it takes on a sur-
real character. The Globe and Mail. Retrieved from https://www.theglobeandmail.com/arts/theatre-and-performance/
review-play-the-humans-where-everything-seems-so-real-that-it-takes-on-a-surreal-character/article37927644/

Karam, Stephen. The Humans. New York: Theatre Communications Group Inc., 2015.
SPOTLIGHT ON 50:
FROM THE DRAFTING TABLE – REFLECTIONS FROM DESIGNERS
by Stephen Hunt

Throughout our 50th Anniversary Season, we take a look back at the storied
history of bringing plays to our stage.
Little did Patricia Flood
know it, but the curling
play was about to take over
her life.
That ‘curling play’ was
W.O. Mitchell’s comedy
The Black Bonspiel of
Wullie MacCrimmon, W.O.
Mitchell’s 1978 comedy that
had its world premiere at
Theatre Calgary.
Her first task? Design a
fake curling rink. That’s
what the design team
– set, lights, costumes, Michael Ball in The Black Bonspiel of Wullie MacCrimmon.
sound, and these days, (Photographer unknown)
video projections – of
every Theatre Calgary
play is there for: to transform the world inside a script into something real, and
tangible.
“It’s the play expressed visually,” says Flood. “Theatre is not just about the actors
reading the lines of the play,” she adds. “It's the whole experience – and design is
vital to that, because it communicates on a whole other level to you.”
So how does one design a fake curling rink in a theatre – Theatre Calgary’s old
home, the QR Centre? “Sheets of masonite,” says Flood. “With many, many layers
of paint and varathane over top that were sanded down and painted. “We would
spray the bottom of the rocks with silicon” she adds. “We would put them in the
water where the characters would water the ice – and it was really slick, so they
could slide on it.” It was so slick, Flood had to build a fence at the end of the rink
to stop the rocks that misfiring actors rolled right through the circle. “It was
wonderful,” she says.
Black Bonspiel was also a huge hit. “It became my life work for a while,” Flood
says. “We did so many productions of that (particular show). I did one at Theatre
New Brunswick. We did it twice at Theatre Calgary, (and eventually) we went
all through Alberta (doing the show across the province). The whole thing was
amazing.”
That production worked better than a production of an anti-war show called
Platoon, which featured radio-controlled blood packs that exploded when
triggered by the stage manager, she says. The problem was that the QR Centre
was also a radio station, and the transmitter signals set off the blood packs all
the time, so the cast members kept bursting into blood at inopportune moments,
until they switched to manually fired blood packs.
Flood, who was a resident set designer for Theatre Calgary in the late 1970’s
and early 1980’s, was only one of many, many designers who have worked at
Theatre Calgary over the past half century, building and designing sets, creating
costumes and underscoring it all with sound and light and – lately video
projections that have distinguished Theatre Calgary productions from anyone
else’s in Calgary.
If the playwright, actors
and director speak the
emotional language of a
play, then the design team
reinforces it with a unique
visual language – and you
can’t have one without the
other, says Kevin Lamotte, a
longtime lighting designer
at The Shaw Festival who
has also designed the lights
for every Theatre Calgary
Stephen Hair, Karl H. Sine in A Christmas Carol.
production of A Christmas (Photo by Trudie Lee)
Carol since 2000.
“A lot of lighting cues are those emotional things (moments),” Lamotte says.
“They’re either kind of driven by the writer, or sometimes, when a scene works,
when you’re in rehearsal, you just get this feeling.”
“There will be structural cues I call ‘felt and not seen’,” says Lamotte. “Like (for
example), a long lighting cue going here – most people as an audience member
wouldn’t be able to say oh, the lighting is changing. It’s just that the lighting
is tightening in an emotional scene. And if that emotional scene breaks, often
times there will be a long, slow release of that. It’s like following the kind of
emotional rhythm of a play, so a lot of time lighting responds to that, too.”
“All that,” he says, “to say there’s not a disconnect between design and emotion.”
In addition to every A Christmas Carol of the 21st century, Lamotte did the
lights for Enron, To Kill a Mockingbird, One Flew Over the Cuckoo’s Nest, and
others – because, he says, Theatre Calgary keeps offering him challenging and
compelling work.
“They’ve (Theatre Calgary) had really really great programming over the years,”
Lamotte says. “The thing for designers is, (we ask) what show are you doing?
Cuckoos’ Nest? OK – I’ll come. Designers want to be on those things – that’s the
kind of material. They’re more than challenging things, they’re just real sort of
the jewels in our (theatrical)
canon. They’re the great plays.
Every designer wants to be
on those.”
For Terry Gunvordahl,
Calgary’s award–winning set
designer, one of the biggest
challenges – and greatest
design pleasures – was when he
switched from designing sets
for shows in the QR Centre to
shows in the Max Bell Theatre
beginning in 1985. The cast of Enron. (Photo by Trudie Lee)
That meant going from a ‘letter
slot’ stage (about 14 feet high,
and 40 feet wide), to the Max
Bell’s wide and high stage,
which afforded Gunvordahl
a whole new set of design
possibilities.
Although Gunvordahl had
fun designing shows at the QR
Centre, including a production
of Eugene O’Neill’s A Moon for
the Misbegotten, in which he
built a hillside – and planted
grass, only to have the show’s
opening postponed. Edward Atienza and Eric Schneider in A Moon for the
Misbegotten. (Photo by George Gammon)
“I think it was an actor problem”
Gunvordahl says. “We had to
recast. They delayed the actual opening for four or five days. And then, the grass
started to grow.”
Once the Max Bell Theatre opened – Gunvordahl designed the sets for Twelfth
Night, the theatre’s inaugural production – it was a bit like being a kid at
Christmas for a set designer with a head full of possibility.
“It was wonderful,” he says. “and that first season, we had a lot of money. You just
felt constricted in the QR Centre, and there were no restrictions – this (Max Bell)
was a blank slate. This was a canvas you could just go crazy – and I did. I went
crazy on it.”
Nowhere was the possibility presented by the Max Bell stage more illuminated
than a production of the alpine drama, K2, which Gunvordahl built sets for.
“There was an (onstage) avalanche and I had (to build) this mountain that floated
in the middle of the space,” he says. “What we never at the QR Centre was traps
– and I had a floor of traps! So I
took them all out and exploited
that space.”
Since those 1970’s and 1980’s days,
the tools of stage design have
evolved in stunning ways. Lamotte
works now with LED lights and
a colour palette that gives him a
tremendous selection of colours to
work with, rather than the 16 he
once was limited to. Set designers
now share the stage with projected
images, another game changer that
has turned some nights in to the
theatre into something resembling
a night at the movies.
And the representation has evolved
too – from literal representations
of fancy furniture in upscale New John Evans and Michael Kirby in K2.
York city and London homes to (Photo by Chris Thomas)
something a lot more imaginative,
sometimes (think: The Little Prince) expressionistic.
21st century set design has one foot in the theatre world and one foot in the art
world – and that’s fine by Gunvordahl. “I never liked literal anyway,” he says. “
I always tried to push the boundaries on that – and sometimes, with the right
director, it would work great!”
“I do like the way design is going,” he adds, “and that writers are writing (that
way as well).”
“They understand that the audience doesn’t need literal so much anymore,” he
adds. “Our audiences are coming along, so they don’t need step by step, take
them by the hand.”
Ultimately, creating theatre is a collaborative effort – and for Flood, her fondest
memories of working at Theatre Calgary were some of the directors she got the
opportunity to let her imagination fly for.
“It’s always more fun to have some freedom,” she says. “In those days at Theatre
Calgary, I worked with a lot of directors who were really open to whatever I
wanted to give to the show. That was a real pleasure, working with Rick McNair,
who was the artistic director there for a long time while I was there,” she says.
“He used to say, well what can you come up with? Let’s have some fun.”

Theatre Calgary’s Spotlight on 50 is generously supported by

BMO Bank of Montreal.
 DISCOVER
LEGACY GIVING
at Theatre Calgary
SHARE YOUR PASSION WITH
FUTURE GENERATIONS
by remembering theatre calgary in your will,
you can help ensure that future generations
enjoy theatre calgary as you do today.

Your gift will help Theatre Calgary to achieve our

ambitious artistic goals:
· To produce the finest theatre imaginable, featuring talented artists
from our community and across the country;
· To seek out the most compelling stories from around the world -
stories that stimulate our imaginations, emotions, and conversations;
· To give young people a chance to discover theatre through our
interactive learning programs;
· To nurture the next generation of artists through our emerging artists
programs and;
· To stand amongst the best theatres globally as a leader in innovative,
inspiring, and diverse programming.

please consider leaving a lasting legacy

for theatre calgary’s future

for more information on leaving a legacy gift for

theatre calgary, you can visit our website or contact:

SHIRLEY YURCHI
manager of individual and planned giving
403-294-7440 ext 1002
donations@theatrecalgary.com

the set of a t h o u sa n d s p l e n d i d s u n s . photo by kevin berne

 Apr. The Theatre Calgary Production of

07
Billy Elliot the Musical
May Book and Lyrics by Lee Hall, Music by Elton John
11 Originally directed in London by Stephen Daldry
2019 Choreography by Yukichi Hattori
Directed by Stafford Arima
Set and Projections: Scott Reid, Costumes: Cory Sincennes,
Lighting: Alan Brodie, Sound: Joshua D Reid

Theatre Calgary, in association with Cyndi and

World Premiere Matt Crandell presents the World Premiere of

Honour Beat Mary and Max

By Tara Beagan A New Musical
Directed by Michelle Thrush Music and Lyrics Book by
September 2 – 29, 2018 by Bobby Cronin Crystal Skillman

Set and Projections: Andy Moro, Costumes: Jeff
Chief, Lighting: Patrick Beagan, Composer and
Vocals: Pura Fé
Based on a film by Adam Elliot
Directed by Stafford Arima
October 14 –
November 10, 2018
Orchestrations and Music Supervisor:
Anna Ebbesen, Set and Costumes: Bretta
Gereke, Lighting: Kim Purtell, Projections:
Sean Nieuwenhuis, Sound: Peter McBoyle
 2018–2019
A Season of
New Beginnings
Subscribe today for as low as $200
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403-294-7447 theatrecalgary.com

Kidoons, in association with

Theatre Calgary and
The 20K Collective, presents
the World Premere of

A Christmas BOOM X The Scarlet

Carol Written, Directed, Letter
and Performed by
By Charles Dickens By Phyllis Nagy
Rick Miller
Adapted by Adapted from the
January 13 –
Dennis Garnhum novel by Nathaniel
February 9, 2019
November 29 – Hawthorne
Multimedia Irina Litvinenko,
December 23, 2018 Projection Nicolas Dostie, Directed by
Lighting Bruno Matte, Composer Micheline Chevrier
and Sound Creighton Doane,
Set Costumes and Props February 24 –
Virginie Leclerc
March 23, 2019
Set and Costumes: Judith
Bowden, Lighting: Harry Frehner

Stafford Arima, Artistic Director

 Building stronger
communities
one act at a time.

At BMO, we take pride in our local communities.

Through various sponsorships and community
involvement, we are committed to helping.
BMO Bank of Montreal is proud to support
Theatre Calgary.

MEET MEMBERS
OF OUR CAST
THE TROTTER & MORTON GROUP OF COMPANIES
IS A PROUD SUPPORTER OF THEATRE CALGARY.
LILI BEAUDOIN Brigid Blake
Theatre Calgary debut. Elsewhere: Originally from Vancouver, Lili’s
past credits include Gracie (ATP); Sister Judy (Arts Club); The Tempest, A
Midsummer Night’s Dream, Love’s Labour’s Lost, Comedy of Errors (Bard
on the Beach). Offstage, you might hear Lili’s voice on a video game,
or on cartoons such as My Little Pony, Beat Bugs, Rainbow Ruby, and
Littlest Pet Shop. Thanks to Ryan and Woo for all the support through
this process!

BARBARA GORDON Momo Blake

For Theatre Calgary: Filthy Rich, The Dining Room, 6 Rms Riv Vu.
Elsewhere: Barbara is delighted to be back in Calgary, having most
recently performed here in Benefit for Downstage Theatre in 2015. She
has performed in many theatres across Canada over the past 45 years,
from the Playhouse and the Arts Club in Vancouver to Mulgrave Co-op
and 2B Theatre in Nova Scotia. Most recently she appeared in Toronto,
in Diane Flacks’ provocative Unholy for Nightwood Theatre. Over the
years she’s appeared at most Toronto theatres, where she has been
honoured with two Dora awards. Her film career has included such
Canadian works as the upcoming indie, Business Ethics, Life, Still Mine,
Men With Brooms, Hypercube, Dead Ringers, and Skinwalkers. Canadian
television work includes continuing roles in Road to Avonlea, This is
Wonderland, Little Mosque on the Prairie, The Best Laid Plans, and many
television movies.

ELINOR HOLT Deirdre Blake

For Theatre Calgary: Mom’s The Word - For Crying Out Loud, Jake and
the Kid, Our Town, A Christmas Carol (2004), Dangerous Corner, Holiday.
Elsewhere: Elinor is a working mother of three and is married to
musician, Spider Bishop. Together they have raised a family and paid
off a mortgage here in Calgary, doing what they love. For almost 30
years Elinor has worked extensively in theatres here in the west and
as far east as Hudson, Quebec. After this she will head to Edmonton
to perform in Fly Me To The Moon with Shadow Theatre. This summer
Elinor will return to The Caravan Farm Theatre to act, sing and perhaps
play a little trombone in Law of the Land.

SHEKHAR PALEJA Richard Saad

Theatre Calgary debut. Elsewhere: Based in Vancouver, Shekhar grew
up in Calgary and is excited to return for this exceptional play. He's
appeared in theatres across Canada including: Bard on the Beach,
CanStage, Arts Club, Vancouver Playhouse, Touchstone Theatre, Pi
Theatre, Alberta Theatre Projects, Globe Theatre, and National Centre of
Performing Arts (India). A few Film & TV credits include recurring roles
on Arctic Air, Arrow, Battlestar Galactica, Gracepoint, Motive, Sanctuary,
Second Chance. Shekhar is also an award winning author. His latest
novel An Extraordinary Destiny was published in 2017 by Brindle &
Glass. www.paleja.ca
 RIC REID Erik Blake
For Theatre Calgary: The Philadelphia Story (Shaw Festival production,
2015). Elsewhere: Ric has been a member of the Shaw Festival company
for 15 years. While there he has performed in Come Back Little Sheba,
Me and My Girl, When the Rain Stops Falling, Magic Fire, Lady from
the Sea to name a few. He and his wife, Kelly, Co-founded Lyndesfarne
Theatre in the Niagara area and she directed him in Shakespeares
Villians, American Buffalo, 39 Steps and many others. Across the country
he was Atticus in To Kill a Mockingbird and Robert in Proof for both
Edmonton and Winnipeg, and Charlie in August: Osage County at the
Citadel. His television credits include Suits, Rookie Blue, and The X-Files.

AYLA STEPHEN Aimee Blake

Theatre Calgary debut. Elsewhere: Goodnight Desdemona (Good
Morning, Juliet), As You Like It, Twelfth Night, Julius Caesar, Love’s
Labour’s Lost, A Midsummer Night’s Dream (The Shakespeare Company);
oblivion (Third Street Theatre); Scorched (Sage Theatre). Ayla was
nominated for a Betty Mitchell Award in 2016 for her performance in
Goodnight Desdemona (Good Morning, Juliet). She regularly laces up her
Chuck Taylor’s to perform sketch comedy with The Late Late Breakfast
Show, and can often be found improvising with The Kinkonauts and at
Loose Moose Theatre. She sends much love to her Mum, always.

VANESSA PORTEOUS Director

For Theatre Calgary: Timothy Findley’s The Wars (Production
Dramaturg). Elsewhere: From 2009-17 – Artistic Director at Alberta
Theatre Projects. For ATP: To the Light (world premiere), Gracie (ATP/
Belfry Theatre), Cockroach (world premiere), Charlotte’s Web, The Red
Priest (Eight Ways to Say Goodbye), You Will Remember Me (world
premiere), Red, The Penelopiad, Heartbreaker (world premiere), Tyland
(world premiere), The Erotic Anguish of Don Juan (world premiere &
revival - ATP/Magnetic North, revival at ATP), The Syringa Tree (twice),
Why Freud Fainted (world premiere), Pinocchio (world premiere - ATP/
Magnetic North, revival at ATP), Plan B, Proof, The Hobbit, Respectable
(world premiere), The Gifts of The Magi. Elsewhere (Selected): Christina
The Girl King (world premiere - Stratford Festival); The Penelopiad (Arts
Club); When That I Was (The Shakespeare Company); Queen Lear (world
premiere - Urban Curvz); The Enchanted Child (Calgary Opera). Awards:
Two Betty Mitchell Awards for Outstanding Direction. Upcoming: The
world premiere of Bronte: The World Without by Jordi Mand (Stratford
Festival). For Bruce. @ATPvporteous

“What can you do to promote world

peace? Go home and love your family.”
– Mother Teresa
 CAMERON PORTEOUS Set Design
For Theatre Calgary: The Crucible. Elsewhere: Head of Design for the
Shaw Festival from 1980 to 1997. Select Credits for Shaw: Major Barbara,
Cavalcade, Caesar and Cleopatra, Cyrano de Bergerac, Saint Joan, and
in 2005, Journey’s End. Set and Costume Designs: Harold Green Jewish
Theatre, Tarragon Theatre, Young Peoples Theatre, Canadian Stage and
the Royal Alexandria- Toronto, The Stratford Festival, Grand Theatre –
London, National Arts Centre, Citadel Theatre; Theatre Aquarius, Shea’s
Theatre - Buffalo, New York, Arts Club, Vancouver Playhouse. Opera
Designs: Hamilton, Vancouver, National Arts Centre, Canadian Opera
Company. Cameron taught from 2006-13 at the Ryerson University
Theatre School. Film/Television: Production Design: Barrymore, Bailey’s
Billions, Emmy award-winning Beethoven Lives Upstairs, Composers,
Artists Series and Inventors Specials. Exhibitions: St. Petersburg, Russia.
Niagara and Toronto - a retrospective “Risking the Void.” Retrospective
of designs 2012 Prague Quadrennial. Cameron is a member of the
Directors Guild of Canada and the Associated Designers of Canada.

JENNIFER LEE ARSENAULT Costume Design

Theatre Calgary debut. Elsewhere: Charlotte’s Web, 1979, The Circle
(ATP); Madagascar (Storybook); The Drowning Girls (Theatre Northwest);
Let the Light of Day Through (Lunchbox); Goodnight Desdemona
(Good Morning, Juliet) (The Shakespeare Company/Handsome Alice
Theatre/Hit & Myth Productions); NYC vs YYC, Prison Divas (Cowtown
Opera); Cowboy vs Samurai (Chromatic Theatre). Assistant Designer –
Carousel, She stoops to conquer (Stratford Festival); The Last Voyage of
Donald Crowhurst, Butcher (ATP); The Hollow, The Mousetrap (Vertigo);
Everybody Knows This is Nowhere (Theatre Junction). Jennifer holds
an MFA in theatre design from the University of Calgary, and a BFA
in scenography from the Université du Québec à Montréal. She is a
member of the Associated Designers of Canada. @JennLeeArseno

KIMBERLY PURTELL Lighting Design

For Theatre Calgary: The Drowsy Chaperone. Elsewhere: Kimberly is
a Toronto based lighting designer for theatre, opera and dance. Her
designs have been critically acclaimed across Canada, the United
States, the United Kingdom, Prague, China, Hong Kong, Taiwan, Moscow
and Mongolia. Most recently she designed Life After, Declarations
(Canadian Stage), Mamma Mia (Citadel Theatre), Timon of Athens, The
Virgin Trial, The Madwoman of Chaillot (Stratford Festival), The Madness
of George III, Androcles and the Lion (Shaw Festival), Life Reflected
(National Arts Centre Orchestra). She recently toured Canada and the
US with Emily Haines and the Soft Skeleton. Upcoming designs include
Snow Child (Arena Stage, Washington DC) and Bronte: The World
Without (Stratford Festival). Kimberly has received three Dora Mavor
Moore Awards, the Pauline McGibbon Award and a Montreal English
Theatre Award.

“My humanity is bound up in yours, for

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– Desmond Tutu
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PETER MOLLER Original Music & Sound Design
For Theatre Calgary: The Shoplifters, Macbeth, Seven Stories, Sherlock
Holmes. Elsewhere: The 39 Steps, Drowning Girls (Vertigo); All The Little
Animals I Have Eaten, Fat Jack Falstaff’s Last Hour (One Yellow Rabbit);
Butcher, Tyland, The Syringa Tree (ATP); Othello (The Shakespeare
Company). Awards: Betty Mitchell Awards for Sound Design – Butcher
(ATP); Boy Gets Girl (Theatre Junction); Mesa (Ghost River); Beowulf (Old
Trout Puppet Workshop). Sterling Awards (Edmonton) – Mesa (Workshop
West). Peter has run Egg Press Co., a graphic and sound design
establishment since just after the dawn of time or, as he remembers it,
1976. Lately he’s been exploring the songs of the obscure Danish band
“The Sacrificial Leaves” with Calgary expat Mark Bandola. The result,
Peter Moller & Mark Bandola Interpret The Songs Of The Sacrificial
Leaves, is available as a vinyl record from Concrete Discs. More info
available at eggpress.ca

CHRISTOPHER HUNT Assistant Director

For Theatre Calgary: 41 productions, including: Twelfth Night, The
Audience, The Light In The Piazza, The Great Gatsby, 7 Stories, An Ideal
Husband, Glorious, Humble Boy, Hay Fever, Copenhagen, True West,
Rough Crossing, Private Lives, Memoir, The Importance Of Being Earnest,
Charley’s Aunt, Amadeus, Tartuffe. Elsewhere: Flight Risk (Lunchbox);
The Ballad of Weedy Peetstraw (Caravan Farm); The Goodnight Bird
(Centaur); Much Ado About Nothing (Globe). Awards: Seven of Calgary’s
Betty Mitchell awards, most recently for 1979 with ATP. Film/Television:
Heartland, Caitlin’s Way, Shanghai Noon, You Know My Name.
Christopher lives in Calgary with his family - Elizabeth, Grady, Arden &
Charlie the dog.

RUBY DAWN EUSTAQUIO Stage Manager

For Theatre Calgary: A Christmas Carol (2007, 2015-17), Much Ado About
Nothing, Enron, Anne of Green Gables – The Musical. Ruby Dawn is
excited to be playing with TC again. Elsewhere: Nine Dragons, Wait Until
Dark, The Big Sleep, Shear Madness, Sweeny Todd (Vertigo); Becky’s
New Car, The Highest Step In The World (ATP); Girl Crush, In On It, Scarlet
Women (Lunchbox); The Money Shot, Evil Dead the Musical (GZT/Hit &
Myth); Crime Does Not Pay (Downstage); A Beautiful View (Sage). She
is also a member of the cast and crew of Dirty Laundry, Calgary’s only
improvised soap opera. Ruby Dawn thanks Aaron for being super dad,
and her sweetest little Mili.

CARISSA SAMS Assistant Stage Manager

For Theatre Calgary: Stage Manger – As You Like It, Hamlet (Shakespeare
by the Bow), A Midsummer Night’s Dream (Shakespeare in the Park).
Assistant Stage Manager – Skylight, The Light in the Piazza, Bad Jews.
Apprentice Stage Manager – Dear Johnny Deere, One Man, Two Guvnors,
BOOM (High Performance Rodeo). Chaperone – Christmas Carol (2012
-16), Mary Poppins. ELSEWHERE: Assistant Stage Manager – 39 Steps,
Our Man in Havana, I’ll Be Back Before Midnight; Apprentice Stage
Manager - The Haunting, In the Heat of the Night (Vertigo); The Surrogate
(Lunchbox); Stage Manager – The Good Bride (Handsome Alice).
 SKYLAR DESJARDINS TC Mentors Program – Set
Theatre Calgary debut. Elsewhere: Splendour, Mother Courage and
Her Children, Inside, Macbeth, Man equals Man (School of Creative
and Performing Arts - University of Calgary); IGNITE! Interdisciplinary
Series 2017, A Millennial’s Guide to Dating in the 21st Century (Sage);
Window (Ghost River); Urinetown: the Musical (Grindstone); Aeschylus:
Fragments (Theatre Encounter); Impulse, Totem (PQ 2015); The Exquisite
Hour (Lunchbox); Polonious and His Children (Blue Elephant Theatre).

SARAH UWADIAE TC Mentors Program – Lighting

Theatre Calgary debut. Sarah Uwadiae is a Nigerian theatre artist who
currently rounded up her MFA Design (Set, Costume and Lighting) at
the University of Calgary. Costume design credits in Canada include:
Metamorphoses, Splendour (U of C MainStage); Hol/Ō/, 1-7-9-2-4-5,
Macbeth, Mother Tongue, (Taking Flight Festival, U of C). Sarah is
honoured to be a part of this mentorship program and she looks
forward to artistic creations and collaborations with TC in years to
come. Love and gratitude go to her family and friends. @sarahuwadiae

“This was the trouble with families.

Like invidious doctors, they knew
just where it hurt.”
– Arundhati Roy

Special Thanks & Acknowledgements

Adrienne Wong
Stephen Karam
 STEPHEN KARAM Playwright
Stephen Karam’s plays include The Humans (Tony Award, Obie
Award for Playwriting, Drama Critics’ Circle Award, and Pulitzer
Prize finalist), Sons of the Prophet (Drama Critics’ Circle Award
and Pulitzer Prize finalist), and Speech & Debate. His adaptation
of Chekhov’s The Cherry Orchard premiered on Broadway as part
of Roundabout’s 2016 season; his film adaptation of The Seagull
starring Annette Bening will premiere in 2018. Recent honors
include two Drama Desk and Outer Critics Circle Awards, a Lucille
Lortel Award, a Drama League Award, and a Hull-Warriner Award.
Stephen is a graduate of Brown University and grew up in Scranton,
PA. stephenkaram.com

ROUNDABOUT THEATRE COMPANY

Roundabout Theatre Company (Todd Haimes, Artistic Director) was founded in 1965 and has
grown from a small 150-seat theatre in a converted supermarket basement to become one of
America’s most significant producers of theatre. This not-for-profit company, with more than
44,000 season subscribers, is committed to producing definitive productions of classic plays
and musicals alongside new plays by today’s writers, ensuring that audiences and artists
alike have access to high-quality, professional stagings of important works of world literature.
With three distinctive homes, the American Airlines Theatre, Studio 54, and the Harold and
Miriam Steinberg Center for Theatre/Laura Pels Theatre/Black Box Theatre, Roundabout has
the unique opportunity to showcase these works in a venue perfectly suited to enhance the
production. Since moving to Broadway in 1991, Roundabout productions have received 150
Tony nominations, 135 Drama Desk nominations, and 154 Outer Critics Circle nominations.
Production highlights include Anna Christie (Tony, Drama Desk, and Outer Critics Circle
Awards for Best Revival), She Loves Me (Outer Critics Circle, Drama Desk, and Olivier Awards
for Best Revival of a Musical), Nine (Tony, Drama Desk, and Outer Critics Circle Awards for
Best Revival of a Musical), Assassins (Tony and Drama Desk Awards for Best Revival of a
Musical), Intimate Apparel (Outer Critics Circle and Audelco Awards for Best Off-Broadway
Play), Twelve Angry men (Drama Desk and Outer Critic’s Circle Awards for Outstanding
Revival of a Play), The Pajama Game (Tony Award for Best Revival of a Musical), and Cabaret
(Tony, Drama Desk, and Outer Critics Circle Awards for Best Revival of a Musical), one of
the longest running musical revivals in Broadway history. Since 1995, when Roundabout
expanded its repertoire to include premieres of new plays, the company has produced works
by such talented writers as Brian Friel, Paula Vogel, Richard Greenberg, Lynn Nottage, Beth
Henley, Harold Pinter, and Jon Robin Baitz. The Man Who Came to Dinner, the first production
at the American Airlines Theatre on 42nd Street in 2000, and the star-studded production
of The Women in June 2002 have been seen on channel Thirteen/WNET and other PBS
stations nationally. Beyond its work on stage, Roundabout is recognized as a national leader
in audience development and offers a comprehensive program of initiatives, including the
Social Series, the Early Curtain Series, the Wine Series, the Gay and Lesbian Series, HIPTIX
(targeting young professionals), and related humanities events and publications. Roundabout
launched ACCESS ROUNDABOUT, a program which offered over 22,000 dramatically
discounted tickets during the 2007-2008 season. In addition, through arts education
programs, Roundabout reaches more than 7,000 New York City public high school students
and their teachers each year. With a focus on in-depth programming, these activities range
from partnerships with two New Century High Schools (a NYC Department of Education
Initiative) and professional development for teachers to in-school year-long residencies and
student matinees at its Broadway and Off-Broadway theatres. Through national tours, live
broadcasts, education and outreach programs, and its work on three stages, Roundabout
touches the lives of millions of theatergoers, students, and artists across the country.
THEATRE CALGARY STAFF
ADMINISTRATION & FINANCE SCOTT MORRIS, Head Stage Carpenter
KRISTEN DION, Director of Finance & Administration STEVE PILON & ANDREW RAFUSE,
BRENT FALK, Accountant Co-Head Scenic Carpenters
TAMMIE RIZZO, Accountant RACHEL MICHELLE SHERIDAN, Head Dresser
JOCELYN PHU, Executive Assistant, RON SIEGMUND, Head of Wigs
Government Relations Coordinator FRONT OF HOUSE STAFF – MAX BELL THEATRE
VICTORIA THARAKAN, Office Coordinator LEE BOOTH, Front of House Manager, Volunteer &
ARTISTIC Guest Services Coordinator
STAFFORD ARIMA, Artistic Director KIRSTIE GALLANT, Bar & Guest Services Coordinator
LESLEY MACMILLAN, General Manager BARBARA BOOTH, SHIRLEY COSTLEY, NORMA
HANSEN, SIENNA HOLDEN, LAURA KWAS, JULIA
SUSAN MCNAIR REID, Company Manager
MEEDER, MITZI METZGER, TAMSIN MILES, KIM
JENNA TURK, Artistic Associate SIMMONS, DEBORAH SYDORCHUK
JANE MACFARLANE, Resident Voice Coach
BARTENDING STAFF - MAX BELL THEATRE
COMMUNICATIONS & MARKETING KEVIN BAILEY, ATTRINA BLYTHE, RAYNAH BOURNE,
CHRISTOPHER LOACH, Director of Communications NATALIE BUCKLEY, MARY CHISHOLM, CONNER CHRISTMAS,
LISA MACKAY, PAM DOWNEY, ALEXA ELSER, ELIZABETH FERGUSON,
Director of Marketing & Audience Development DANIELA HEJRALOVA, MANDY KOCH, KELLY MALCOLM,
LAUREN MARSHALL, CARLY MCKEE-BERTWISTLE,
KRISTINE ASTOP,
MATT MOGHADAM, STEPHANIE MORRIS, GRACE
Database & Systems Manager
OLIVER, DAVID SKLAR, MEGAN STEPHAN, TOM WOOD,
SARAH LAMOUREUX, JASMIN ZENCHYSON
Digital Communications Manager
BUILDERS FOR THE HUMANS
VIRGINIA REMPEL, Audience Services Supervisor
JENNIFER KINCH, SET
Database & Systems Administrator STEVE PILON, Co-Head Scenic Carpenter
RYAN FRISCHKE, Audience Services Associate ANDREW RAFUSE, Co-Head Scenic Carpenter
HAYLEY FEIGS, Audience Services Associate WESTON WOOD, Scenic Carpenter
CECILIA MCKAY, Audience Services Associate
PROPERTIES
ALICIA SZCZGIELSKI, Marketing Intern
LILLIAN MESSER, Head of Props
DEVELOPMENT CELINA BAHARALLY, Assistant Head of Props
SARAH HUGHES, Associate Director of Development,
PAINTERS
Individual Giving
LOUIS BEAUDOIN, Head Scenic Artist
SHIRLEY YURCHI,
Manager Individual & Planned Giving WARDROBE
LAUREN GILLEY, Development Associate MICHELLE LATTA, Head of Wardrobe
RONALD PETERS, Business Development KATIE KLINGVALL, Wardrobe Coordinator
CIANI MUZA, Development Coordinator
ROSEMARIE JOHNSTON, Bingo Volunteer Coordinator
LEARNING & ENGAGEMENT
CHRIS STOCKTON,
Senior Manager of Learning & Engagement
JAMIE TYMCHUK, Learning & Engagement Associate
PRODUCTION
AMELIA MARIE NEWBERT,
Production & Operations Manager
ADAM SCHRADER, Technical Director
GRAHAM KINGSLEY, Assistant Technical Director
LOUIS BEAUDOIN, Head Scenic Artist
CATHARINE CRUMB, Head of Lighting
CHRIS JACKO, Head of Sound
MICHELLE LATTA, Head of Wardrobe
LILLIAN MESSER, Head of Props
BOARD OF DIRECTORS
Leaders in our arts and cultural community
BOARD EXECUTIVE MAGGIE SCHOFIELD
Executive Director, Calgary Downtown Association
MARGO RANDLES, Chair
Active Community Volunteer ALI SHIVJI
Managing Director, Optima Living
CRAIG D. SENYK, Vice Chair,
Director of Portfolio Management, EDITH WENZEL
Mawer Investment Management Ltd. President, International Results Group
JOY ALFORD, Corporate Secretary TRECIA WRIGHT
Business Development Executive
CATHERINE SAMUEL, Artistic Committee Chair
– National Accounts, Van Houtte Coffee Services
Partner, McCarthy Tetrault LLP
WARD ZIMMER
KELLY BERNAKEVITCH,
Partner, Deloitte
Audit & Finance Committee Chair
Executive Vice President, MNP, LLP
THEATRE CALGARY
RICHARD S. HANNAH,
ENDOWMENT FOUNDATION
Development Committee Chair
Vice President, Corporate Services, Gibson Energy BOARD EXECUTIVE
PAUL POLSON, Facility Committee Chair CHADWICK NEWCOMBE, Chair
Vice President, Stuart Olson Construction Kahane Law Office
KATHRYN HEATH, ELLEN CHIDLEY, Vice Chair
Governance & Nominating Committee Chair Consultant
JAMES READER, WARD ZIMMER, Secretary / Treasurer
Human Resources Committee Chair Partner, Deloitte
Managing Director, Corporate Financial Services,
ATB Financial BOARD MEMBERS
CHADWICK NEWCOMBE, Past Chair IAN BEDDIS
Kahane Law Office Former Director & Branch Manager (Retired),
Scotia McLeod Inc.
BOARD MEMBERS PETER EDWARDS
MICHELE BEITEL Vice President, Human Resources and Relations,
Canadian Pacific
PETER EDWARDS
Vice President, Human Resources and Relations, GORD HARRIS
Canadian Pacific P. Eng., M&A Consultant

STEPHEN HAIR RYAN HOULT

Artistic Consultant CEO, Hatsize Learning

BERNETTE HO TRICIA LEADBEATER

Partner, Norton Rose Fulbright Canada LLP Director, Wealth & Management, Richardson GMP

NARMIN ISMAIL-TEJA DR. NORMAN SCHACHAR, M.D.

Principal, impact@work inc. University of Calgary Department of Surgery

TRICIA LEADBEATER
Director, Wealth & Management,
Richardson GMP
RIAZ MAMDANI
CEO, Strategic Group
IAN MCAULEY
President, American Hotel Income Properties REIT LP
DOUG PAGE
Director of Government Relations, TransCanada
KATE RYDER
Senior Legal Counsel, Cenovus Energy Inc.
DR. NORMAN SCHACHAR, M.D.
University of Calgary Department of Surgery
HERE’S YOUR CUE
With Willis & Kathleen Winter

How long have you been

subscribers and what got you
started?

We’ve been subscribers since the 70s.

Back then we went to a Christmas
play that we really enjoyed and we’ve Willis – retired Electrical Engineer.
Kathleen – works contract doing record keeping,
been with Theatre Calgary ever since. mostly oil & gas & accounting

As subscribers, some benefits

are getting the best ticket prices
and having your dates booked in
“We realize that
advance. Is that important to you?
the price of our
We definitely like that our dates are
pre-set, it makes sure we get out as it’s subscription
a nice date night for us and yes, the
price is great, we like discounts. But doesn’t cover the
mostly we just enjoy going to
the theatre! cost of the plays.”
For many years you have
With support from individuals like
generously included a donation
yourselves, Theatre Calgary strives
with your subscription renewal.
to stand amongst the best theatres
Why do you feel it’s important to do
in the world. Do you think that adds
this, and is the timing important?
value to our city?
It’s because we realize how much
It does add value, people are attracted
we enjoy the theatre and we wanted
to a city where there is a variety of
to make sure we supported it. As for
things to do or see. The attraction of
the why now – well, if we’re already
Calgary is that it isn’t just about the
paying for our subscription, why not
hockey or football or the stampede;
just add the donation and get it all
there are many arts and cultural
done at once – the tax deduction is
things to take in as well.
nice too. We realize that the price of
our subscription doesn’t cover the Now that we are heading into our
cost of the plays and we do recognize 51st season, and Stafford Arima’s
that without donors and sponsors first season of programming, how
you wouldn’t be able to put on the important do you think it is to show
plays that you do. support for a new Artistic Director?

We think it’s important to have that

change and are looking forward to
the idea of a different variety of plays
being presented. So yeah, we want to
support the new Artistic Director, we
believe it keeps things fresh
and interesting.
Are there any shows you’re looking
forward to in the 2018-19 lineup?
Well the lineup looks like a really nice
variety of plays, but Honour Beat is
the show we are most looking forward
to. We’re also looking forward to
Billy Elliot the Musical and of course
BOOM X as we liked the first BOOM.
What impact do you think
supporters like yourselves have on
the plays at Theatre Calgary?
What would you say to others to
encourage them to support the
theatre?
We would remind people that there’s
more to life than just what you do
as a career or watching TV or being
too involved with other electronic
devices. Live theatre can expand your
horizons – it allows you to see things
or experience things that you might
not otherwise. Donating helps you
feel you have some ownership in what
goes on the stage and that you can
make a difference somewhere, which
could be to the theatre, to the other
people watching the show, but most
especially to yourself.

It allows you to pick plays that are a

bit riskier or more costly to do. It helps
expand the limits of what you can
present on your stage which makes it
more interesting and exciting to see
what’s coming next.

Play your part in

Theatre Calgary’s second act
As Willis and Kathleen said theatre can expand your horizons; it allows
you to see things or experience things that you can’t otherwise.
Theatre Calgary is helping to make Calgary a vibrant city for people to
live, work, and play in, along with helping to build the artistic community.
As we launch into our second act, and Stafford’s exciting Season of
New Beginnings, we would ask you to join Willis and Kathleen in
subscribing to our theatre and making a donation to support our
work. You can help us provide inspired creativity to create a strong city.
Ticket sales and subscriptions cover approximately 60% of our costs, the
generosity of people like you help us to program exciting and challenging
productions. Please consider playing your part in our 2018-19 season, join
our cast of supporting family by making a donation.
THANK YOU TO OUR DONORS
Applauding 50 years of loyal support.
ARTISTIC CHAMPIONS
PRODUCER’S CIRCLE
($25,000 +)
Joy Alford & Dan Magyar
Michelle O’Reilly Foundation
Craig D. Senyk,
Mawer Investment
DIRECTOR’S CIRCLE
($10,000 +)
Frank & Diane Babienko
Chadwick & Jillian Newcombe
Alex Osten
Margo & Brant Randles
Rod & Betty Wade
Edith & Cal Wenzel
Tanya Zumwalt
DESIGNER’S CIRCLE
($5,000 +)
Brent Allardyce,
Allardyce Bower Consulting
Michele & Paul Beitel
Dave & Roxanne Dunlop
Don & Joan Greenfield
Brian & Barbara Howes
Chris & Tracy Lee
Dennis Nerland
& Jennifer Pollock
C.A. Siebens
Wettstein Family
ACTOR’S CIRCLE
($2,500 +)
Anonymous
Stafford Arima,
in memory of Daisy Arima
Christine Armstrong
& Irfhan Rawji
The Armstrong Family
George & Colleen Bezaire
Bruce & Mary Comeau
Laurel Edwards
Peter Edwards
& Maxine Leverette
Jason W. Hadley
Stephen Hair
Brian Hook & Kathryn Heath
Ryan Hoult & Kate Andrews
Laurie & Barry Kenley
Tim & Alana Kitchen
Tricia Leadbeater
Louise Bernette Ho
Professional Corporation
Riaz & Zai Mamdani
Keith & Gwen McMullen,
Fireside Property Group Ltd.
Geri & Alan Moon
Janis & Bruce Morrison
Jock & Diana Osler
Doug Page & Christine Rogerson
Susan & Jim Reader
Vera Ross
Catherine Samuel & Todd Pringle
Janice & James Sanford
Salima & Ali Shivji
Darwin Smith & Erica McBeth
Roger & Lorna Smith
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Williamson/McAuley Family
Trecia & Kim Wright
CORPORATE
DRESS CIRCLE
($3,900 +)
ARC Financial Corporation
Jeff Boyd, Royal Bank of Canada
Canadian Natural Resources
Limited
Canadian Pacific
Franklin Templeton Investments
Brian French, Where Magazine
Terry Gale, Standard General
iA Financial Group
Ray Limbert & Associates,
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GMP
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Consultants
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James Bergeron & Aileen Delaney
Louise Berlin
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Blue Sky Services Inc.
Dave & Marilyn Bradley
Michael Broadhurst
Jeanne Bulger
Jim & Pat Burns
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Christina & Mark Caldwell
A.S.L. & Wendy J. Campbell
Lorna Carlson & Lloyd Good
Ellen & Bill Chidley
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Lois Cole
Steacy Collyer & Bryan Pinney
Denis Couturier
Frances & Bob Coward
DIALOG
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S/S James
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Gibson Energy
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& Mohamed Teja
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Bill & Elspeth Kirk
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John & Vici Kortbeek
Sandy & Parnell Kowalski
Bob & Mary Lamond
Cameron Lang, Carpet Superstores
Rick & Val Lautischer,
Awin Insurance
Dr. Laurie Lemieux
& Dr. Wayne Rosen
Elaine Lo
Ray & Bernice Mack
Lisa Mackay & Chris Petrik
Bob & Peggy MacLeod
Danielle & Jason Maksimow,
Norton Rose Fulbright
Stephen & Wendy Mason
Trish Matheson & Dave Dyer
Dr. Lloyd & Tracy Maybaum
Dr. J.E. Mccruden
Christopher & Vicki McPhee
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Tony Morris, Norton Rose Fulbright
Mortgage Connection
Stuart & Catherine Mugford
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Bill O’Kruk & Alison Clift
Bob & Rhonda Osness,
Osness Insurance Ltd.
C. Gordon & Joan Packer
Donald & Leslie Park
Allan & Allison Pedden
Paul Polson,
Stuart Olson Construction
Aaron Potvin & Naomi Merkley
Bonnie Ramsay & Richard Leslie
Al & Margaret Rasmuson
Sheila & Reno Redenbach
Donna Riback
George Rogers
& Cathy Christensen
Bob & Jean-Ann Rooney
Susan & Richard Roskey
Allan & Denise Ross
Kate and Jon Ryder
Juli & Paul Sacco
Norm & Kathy Schachar
Byron & Marnie Schmidt
Maggie Schofield
Gudrun & Peter Serendynski
Kelly R.H. Shannon
Jeffrey & Karen Spiers
James M. Stanford
Dr. M. Steele & Dr. A. Daly
Strategic Group
Vera Swanson O.C.
Lynn Tanner & Margaret Graw
Bob Taylor
& Madeleine Taylor King
Harry & Linda Taylor
TransCanada Corporation
Michael & Susan Tumback
Randal & Pam Van De Mosselaer
Gordon & Annie VanderLeek
Paul Ventura
Jud Virtue, Norton Rose Fulbright
Alida Visbach & Paul Corbett
Diane Volk
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Mike & Theresa Watson
Shari Wattling & Trevor Rueger
Patti Weldon & Kevin Taylor
Ken & Stephanie Wilson
Ward & Denise Zimmer
ADOPT-A-PLAY
($2,500 FOR THE SEASON/
$500 PER PLAY)
ADOPT WHOLE SEASON
Dave & Marilyn Bradley
Lynda Dunfield
Stuart Olley & Myra Diaz
Joanne Schaefer
James M. Stanford
THE HUMANS
Demiantschuk Burke & Hoffinger
Robert & Andrea Sartor
OTHER 2017-18 PLAYS
Anonymous
John Armstrong & Karyn Leidal
Roy & Roberta Barr
Sandy & Neill Coad
Brian & Yvonne Conway
Robert D.D. Cormack
Karol Dabbs
Darin & Belinda Dunlop
Dr. Donald Gladman
& Irene Shewchuk
Ted Jablonski
& Monique Courcelles
Louise & Mark Lines
Howard & Janet McLean
Stuart & Catherine Mugford
Alan & Shelly Norris
Carolyn S. Phillips
Norm & Kathy Schachar
Mike Stillwell
John & Peggy Van De Pol
LEGACY CIRCLE
LEGACY LEADERS
Martha Cohen Estate
Jo-Ann De Repentigny Estate
Barbara Peddlesden Estate
LEGACY VISIONARIES
Paul & Michele Beitel
Denis Couturier
Alex Osten
Norm & Kathy Schachar
Allen & Valerie Swanson
INDIVIDUAL DONORS
INVESTOR
($5,000 +)
Edmonton Community
Foundation
The Flanagan Foundation
SUSTAINER
($1,500 +)
The David & Janet Bentley
Family Fund, at the Edmonton
Community Foundation
Harry & Martha Cohen
Foundation
Gord & Eva Hoffman1
Barb & Yukio Kitagawa
McCarthy Tetrault Foundation
Netherlands Investment
Company of Canada Limited
O’Donoghue Family Fund
The Printing House
Norm & Kathy Schachar Family
Legacy Fund, at the Calgary
Foundation1
1
Friends of the Bard
BENEFACTOR
($1,000 +)
Anonymous
Diana & David Ballard
Nolan & Carol Blades
Stacey & Dale Burstall
Cakeworks
Stephanie Felesky
Barb & Yukio Kitagawa
Michael Mezei & Andrea Hopps
Alan & Geri Moon
Graydon & Dorothy Morrison
Fund at the Calgary Foundation
Susan O’Brien
Osten-Victor Fund,
at the Calgary Foundation
Bernadette & Thomas Raedler
Dr. Douglas Rix
& Deborah Ferguson
Colleen & William Tobman
Wanklin Family Fund at the
Calgary Foundation
Jody Wood & Quentin Pittman
ASSOCIATE
($400 +)
Anonymous
Baher Family Fund
at the Calgary Foundation
David & Gwen Baker
Larry & Karen Benke
Carol Beringer
& Phil Boisvert
Gary & Tracey Boehm
Chris Brooks & Daniel Heng
Bruce & Heather Brunette
Ian & Gwen Burgess
John & Monique Buysschaert
Barrie & Joan Cameron
Bill & Laurie Clay
Robert D.D. Cormack
CW4W Afghan, Calgary Chapter
Edward & Jean Czaja
Gloria J. Davis
DLA Piper (Canada) LLP
Geremia Charitable Trust
G.M. Gillette
Ian & Michele Gunn & Family
Danelle Hames
Brian & Barbara Howes
James Hughes
IBM Canada Employees’ FRIEND Brenda & Gordy Cannady
Charitable Fund ($100 +) Marlys & Ted Carruthers
Cindy Johnson Royer Fund Anonymous Cenovus Energy Inc.
at the Calgary Foundation Dinesh & Rajendra Agrawal Marjorie Challand
Bill & Kit Kennedy Sherrill & Robert Allan Donna Chapman
B & K King Fund F. Garfield Anderson In honour of Ellen Chidley
at the Calgary Foundation
David & Bev Andrews Jim & Eleanor Chinnick
Roy Klassen
Stephen Arsenych Margaret Churchill
Lee’s Picture Frame Warehouse
Bernice & Ken Baher J. Clapson
Jean Macnab
C. Baker CNL Resources Ltd.
C. Marshall
Don & Carol Baker Maureen Cook
Joan & Robert Martin
Jane Barlet Hessdorfer Ira Cooper & Erin Storey
Leslie & Roger McMechan
Blair & Gail Baxter Greg Coupal
Brian Mills & Susan Tyrrell
Jane Baxter Tom & Carol-Ann Cox
Leyton Morris
The Belangers & The Mix The Craig Family
Nancy & Glen & The Willis Family
Charitable Gift Fund Tom & Bev Benson
Allan & Donna Black D. Christensen
Nexen Energy ULC
Gerry Bowland Shan Cross
C. Gordon & Joan Packer
Diane & John Boyd M. & C. Crothers
Murray & Corlieene Pennell
Dave & Marilyn Bradley A. Cush
Bill & Erisa Penner
Brian Brausen Thomas & Winifred Day
Michael & Margaret Perlette
Barb & Alex Brough Mike DeNicola
Jeff Pivnick & Jayne Thirsk
K.R. Brown Luigi & Joyce De Somma
Repsol Oil & Gas Canada Inc.
Mike & Judy Brunner Erisa Didkowsky-Penner
Richard Kennedy P.C.
R. Bryant Elizabeth Dixon
The Schmitz Family Foundation
Helga Budwill Ric & Lynda Dormer
Malcolm Turner
Judy Burgess Helga Dressel
& Barbara Black
Sharon & Royal Burritt Denis & Patricia Duke
Linda & Gord Vogt
Jared & Diana Burwell Willa & Don Dumka
Willis Winter
David & Sebina Butts Gay Dunlop
Robert Woodrow
Richard & Eleanor Byers Tricia Durkin

When the arts need our support,

we’re there.
Norton Rose Fulbright is proud to sponsor
Theatre Calgary, as they take to the stage
for their 50th season.

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Jane Ebbern & Kevin Johnston
Steve & Shawan Edworthy
Robert Elsworthy
Len & Fran Esler
Dwayne & Rita Ewanchuk
F. Ferguson
G.J. Filyk
B. Flood
Sarah & Ethan Flynn
Cathie Foote & Art Frank
Beverley Fujino
Denis E. & Yolande Gagnon
Jan Geggie
Bob & Carol Gerein
Barb & Dan Giba
Gordon & Dorcas Giesbrecht
John Gilpin
Christine & Keith Gingerick
Jane & Alan Glover
Ronald & Helen Goodman
Pauline & Don Gray
Dennis & Ardele Gregory
Irene & J.G. Grier
Kent Haidl
Elizabeth Hamel
Barbara Hay
Catherine Heaton
John Heffer
Laurie Hillis
Brent & Tammy Hironaka
Louis & Penny Hogan
Aldyth Holder
Gillian & John Hopkins
Neil & Sue Huckle
Carolyn & Henry Huisman
John Humphrey & Laura McLeod
Carol Jensen
Janice & Barrie Johnson
Glen & Joan Johnston
Edward Juarez
Evelyn Keddie
Brian & Darlene Kelly
Annalise King
Phyllis & Larry King
John & Maureen Kirby
Joyce Kneeland
Maryann Kowalsky
& Wayne Silvernagle
Helle & Juri Kraav
Herb & Kathy Kroeker
Ruth Kroon
George & Suzannah Kurian
Lorne & Pat Larson
Diana & Roger Leach
Robert & Linda Lesoway
Larry & Corrie Loomes
Frank & Donna Losoncy
Barb & Jack Lough
Cathy Loughlin
Gwen Loveless
Al & Sandy Lucas
Andrew & Emily Lukacik
Debbie MacDonald & John Sojak
Mary & Don MacLeod
Karen MacPherson
Evelyne & Harvey Martens
James & Donna McDonald
Marilyn Mcelheran
Ron & Sylvia McIntosh
Tonya McKechnie
Glenda & Douglas McLean
Shirley McNamara
Medley Family
Annette M. Messer
Dr. Julian Midgley
David & Maureen Mitchell
Jean L. Mitchell
Margaret Montgomery
Barbara Morin
Muir Family
Forbes & Margaret Newman
Todd & Jean Nickel
Chuck & Daphne Nicolle
Wayne & Marilyn Niddrie
John & Dianne O'Rourke
The Paddon Hughes Development
Co. Ltd.
Bev Palko
John & Karen Palmer
James Parkes & Laura Hobson
Mike & Lorie Pesowski
Louella & Wayne Pethrick
Ross & Robin Phillips
William Phillips
Ronald & Marjorie Potts
James & Gabriella Prette
Sue & Wayne Ramsden
Del Rath
RBC Foundation
Wendy & Dan Reid
Cindi Reopell & Don Watt
Mary & Ernest Rewucki
Ian & Cheryl Richmond
Gay Robinson
Howard & Karen Roppel
Dr. Peter Roxburgh
Robert & Rosalie Rudolf
Doreen Sandercock
Christine Sargeant
William Scheidt
Monty & Yolande Schnieder
Ken & Sharon Schoor
Jo-Ann Schwartzenberger
David Severson
Rob & Cheryl Sheppard
Barb & Don Sibbald
Tim & Doris Sidlick
Dr. Wilma Slenders
& Victor Didkowsky
Monty Slim & Sylvie Monfette
Kelly Smith & Dan Fichter
Ken & Barb Smith
Paulette & Rick Smith
Penny Smith
Susan Spratt
Barb Squires & Robert Elsworthy
Kelly Stacey
Ray & Pat Stauffer
Elizabeth Stock
& Alistair Shepherd-Cross
Douglas & Laurie Strother
Dave & Darlene Swanson
Valerie & Allen Swanson
Aliya Tafber
James & Roberta Taylor
R. & M. Tebo
L. & M. Tenzer
Kathryn Thomas
Mark & Linda Thomas
Dianne & Owen Thomson
Lynne J. Thornton
Helene Tonnisen
Bill & Carol Twasiuk
John & Elizabeth Varsek
Jane Virtue & Sean McMaster
Jan & Robert Walsh
M. Weerstra
Glenda & Keith Wellon
Dennis & Sylvia Wheatley
Bob & Wendy Whyte
Robert V. Whyte
Ken Wiens
Val & Larry Wolfe
George Woodings
Lora & Terry Wyman
Herrat Zahner
Helen & Paul Zeman
Doris Zellweger
Andy & Mary-Anne Znotins
SENATORS
William R. Blain, Q.C.
Don Boyes
Derek Bridges
Joyce Doolittle
Kay Grieve
David Haigh
Harry Hartley
Margaret Hess, Q.C.
Les Kimber
Jan McCaghren
Victor Mitchell
Barbara Morin
Gerry Nichol
Fred Scott
Lynne J. Thornton
Derek Warren
Nomi Whalen
For more information on donating
to Theatre Calgary, contact
Shirley Yurchi at
403-294-7440 ext 1002 or
donations@theatrecalgary.com.
More than
ink on paper.
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McAra Unicom, CBN
Commercial Solutions
is about more than
ink on paper.

We’re about you.

(403) 250.9510 | CBNCS.com

INVESTING
IN OUR COMMUNITY
The Mackie Wealth Group
is proud to invest in
creating outstanding art
with Theatre Calgary
Let us help you achieve
your dreams
www.MackieWealthGroup.com

Richardson GMP Limited, Member

Canadian Investor Protection Fund.
THANK YOU TO OUR SPONSORS & PARTNERS
Making outstanding productions possible
THE HUMANS MEDIA PARTNERS

PRODUCTION & SEASON SPONSORS

ACCESSIBLE ARTS SPONSOR SPOTLIGHT SPONSOR W.O. MITCHELL ROOM SPONSOR

STR ATEGIC

INTERACTIVE LEARNING PROGRAM SPONSORS DRESS CIRCLE SPONSOR

EMERGING ARTISTS PROGRAM GALA SPONSORS

& SHAKESPEARE BY THE BOW

STR ATEGIC

OFFICIAL SUPPLIERS

COMMUNITY PARTNERS

SEASON MEDIA PARTNERS

For more information on sponsorship opportunities, please contact Sarah Hughes, Associate Director of
Development, Individual Giving: 403-294-7440 ex. 1056 shughes@theatrecalgary.com
 BALCONY 2

BALCONY 1

ORCHESTRA

BA LC ON
Y2

BA LC ON
Y1
BA LC ON

M EZ ZA N
BA LC ON

NE

Y2
M EZ ZA NI

Y1
IN E

is proud
to support Theatre Calgary.
STAGE

cbc.ca/calgary @CBCCalgary CBCCalgary @CBCCalgary