PRODUCTION SPONSORS
SEASON SPONSORS
FROM THE EXECUTIVE and a RTISTIC d IRECTOR S
Welcome back to the Belfry! Welcome to the talented Cast and Stage Management team of 1939, and to Lighting Designer Louise Guinand. And welcome back to Jani Lauzon, who co-wrote this play with Kaitlyn Riordan, and has directed it so elegantly.
To quote the Globe & Mail: “Jani Lauzon and Kaitlyn Riordan’s excellent play…(is) set in the past but speaks better to our here and now.”
Past productions at the Belfry have dealt with Residential Schools—primarily Kevin Loring’s Where the Blood Mixes, which powerfully examined the lasting and generational trauma that those institutions inflicted. In 1939, Jani and Kaitlyn “wanted to focus on the strength and wit that the students used to try to endlessly cope and navigate their circumstances.” In making this choice, they have endowed the five students we meet with resilience and hope.
This production, with this cast (comprised of artists from the West Coast and Central Canada), rehearsed and performed at Canadian Stage, in a production based on the one that Jani created at Stratford.
Once they closed in Toronto, the set and costumes were packed up and shipped to Victoria. The actors, stage management team, lighting designer and director flew here, and had a week in which to re-rehearse, add in the technical elements, and adjust to our stage.
We would like to acknowledge and thank our producing partners—Brendan Healy and Monica Esteves and their team at Canadian Stage in Toronto, and the Stratford Festival, which commissioned the play and gave it its premiere in 2022.
We are proud to be sharing this story with you.
With our sincere thanks and best wishes—
Michael Shamata, Artistic Director Isaac Thomas, Executive Director
By Jani Lauzon and Kaitlyn Riordan
Cast
Brefny Caribou
Merewyn Comeau
Catherine Fitch
Nathan Howe
Grace Lamarche
Amanda Lisman
James Dallas Smith
John Wamsley
Susan Blackbird
Evelyne Rice
Sian Ap Dafydd
Father Callum Williams
Beth Summers
Madge Macbeth
Joseph Summers
Jean Delorme
This performance runs 2.5 hours including a 20-minute intermission.
The première production opened on September 11, 2022, at the Studio Theatre.
Antoni Cimolino, Artistic Director & Anita Gaffney, Executive Director.
Creative Team
Jani Lauzon Director
Jessica Carmichael Dramaturg
Joanna Yu* Set Designer
Sim Suzer Associate Set Designer
Asa Benally
Costume Designer
Barbara Morrone-Sanchez Associate Costume Designer
Louise Guinand* Lighting Designer
Sruthi Suresan
Associate Lighting Designer
Wayne Kelso Sound Designer & Composer
Sarah Miller Stage Manager
Maya Bowers
Richard Comeau
Amanda Lisman
Jane Gooderham
Waawaate Fobister
Assistant Stage Manager
Fight Director
Fight Captain
RP/Cockney/French Dialect Coach
Anishinaabemowin Translations/ with Roger Fobister Sr. Language Coaching
Wahsonti:io Kirby
Kanien’kéha Translations/ Language Coaching
Emma Edwards Land Acknowledgement Recordings
* Indicated designers on this production are represented by the Associated Designers of Canada, IATSE Local ADC659
The Belfry Theatre is a member of the Professional Association of Canadian Theatres and engages professional artists who are members of the Canadian Actors’ Equity Association under the terms of the jointly negotiated Canadian Theatre Agreement.
dIRECTOR ’ S nOTES
Directing 1939 has been one of the most profound experiences of my life. In June of 2024, Survivors of the Shingwauk Residential School, along with their families, gathered outside on a beautiful sunny day in Sault St. Marie to listen to a staged reading I had the pleasure of directing. To have the Survivors there, smiling, laughing, crying… I have no words. The five Indigenous students in 1939 are based on Survivors’ journeys of strength, tenacity, resilience and the most incredible courage. The students are resourceful young people who are struggling to find their way through a system thrust upon them. A system that, at its core, had/has a malicious intent. And while the figures of authority in 1939 are not representative of the monsters that permeated the schools, they are, as a result of their own dreams and desires, complicit.
In 1885 John A. Macdonald, in response to the Red River Resistance said:…”we have done all we could to make them work as agriculturists;… and forgetting all the kindness that had been bestowed upon them,..in trying to rescue them from barbarity; forgetting that we had given them reserves,—, they rose against us.”
He goes on to say: “we must vindicate the position of the white man, we must teach the Indians what law is…”
The Survivors I have had the pleasure to meet and get to know have worked hard all their lives to find peace, love and self acceptance after experiencing unspeakable things as a result of the assumption of superiority instilled by men like Macdonald. Their strength continues to humble me. They remind me of why doing this work is important. Thanks to Canadian Stage and the Belfry Theatre for recognizing the importance of this story, this glimpse inside a system intent on breaking the spirits of Indigenous children. This is not just a play. This is an offering to you all. And through the power of storytelling, using Shakespeare as a playground (for all you Shakespeare naysayers, I say blame the system not the artist), we are here to honour the Survivors and to build on this journey that we are calling reconciliation.
Jani Lauzon
aC kn O wl E dg EME n TS & R ESOURCES
Jani Lauzon and Kaitlyn Riordan are members of the Playwrights Guild of Canada.
1939 was originally commissioned by the Stratford Festival, Ontario, Canada. Special thank you to Shakespeare in the Ruff who, through the Canada Council, helped support the initial script development.
The playwrights wish to thank the following for their support of 1939:
Antoni Cimolino, Anita Gaffney, Keira Loughran, ted witzel and Rachel Wormsbecher from the Stratford Festival; Eva Barrie and AJ Richardson from Shakespeare in the Ruff; Rev. Dr. Stephen Drakeford and Nancy Hern from the Anglican Church of Canada and its archives, Krista McCracken from the Algoma University archives, Rebecca Burton from
The Playwrights Guild of Canada, Keith Barker, Jessica Carmichael, Alessandro Costantini, Waawaate Fobister, Roger Fobister Sr., David Mildon, Sorouja Moll, Yvette Nolan and all the folks at YES! Theatre. And most importantly our Elder Script Consultants: Pauline Shirt, Shirley Horn, Edna Manitowabi, Elizabeth Stevens and:
The playwrights would also like to thank the actors and stage managers who participated in past workshops or productions: Marion Adler, Brendan Chandler, Kat Chin, Richard Comeau, Morgan Cook, Lisa Cromarty, Jake Deeth, Sarah Dodd, Deborah Drakeford, Sheldon Elter, Jacklyn Francis, Sarah Gartshore, Renate Hanson, Robert Harding, Braiden Houle, Nicole Joy-Fraser, Madison Kalbhenn, Wahsonti:io Kirby, Shira Leuchter, Cheri Maracle, Kathleen MacLean, Brendan McMurtry-Howlett, Jeff Meadows, Chris Mejaki, Lisa Nasson, Joelle Peters, Gregory Prest, Mike Shara, Tara Sky, James Dallas Smith, Kelsey Tyson, Aqua Nibii Waawaaskone, John Wamsley, Gordon Patrick White, Katie Wise and Mackenzie Wojcik.
There are, amongst many other reports, firsthand experiences on a freely accessible pdf called The Survivors Speak on the National Centre for Truth and Reconciliation website. www.nctr.ca/records/reports/
There are many different books and plays with multiple perspectives on the Residential School experience. Here is a small sample.
The Fire Still Burns: Life in and After Residential School by Sam George (2023) Five Little Indians by Michelle Good (2020), The Knowing by Tanya Talaga (2024)
The Witness Blanket: Truth, Art and Reconciliation by Kirstie Hudson (2022)
INDIAN ACT Residential School Plays an anthology edited by Donna-Michelle St. Bernard Where The Blood Mixes by Kevin Loring, They Know Not What They Do by Tara Beagan God and the Indian by Drew Hayden Taylor, Nôhkom by Michael Greyeyes
o ther resources
• 24 Hour Residential School Crisis Line at 1-866-925-4419 for emotional support. www.irsss.ca
• Pathways Society: victoria-southisland.pathwaysbc.ca/programs/867
• The Indian Residential School Survivors Society operates a 24-hour crisis line to support survivors and families across British Columbia: 1-800-721-0066
• First Nations, Inuit and Métis seeking immediate emotional support can contact the Hope for Wellness Help Line toll-free at 1-855-242-3310, or by online chat at hopeforwellness.ca.
The process of researching and consulting during the development of the play 1939 Our focus for writing the work was two-fold. First, we were responding to the question that Murray Sinclair asked of all of us: “What can we do to engage in reconciliation?” And secondly, we were asking ourselves what a story about the incredible resilience of the students at a Residential School would look like. With Yvette Nolan’s permission we watched an interview with her mother, Helen Thundercloud, as she talked about her experience with a teacher in Residential School who taught her Shakespeare—which helped bring about the layering of Shakespeare into the script.
We are aware that there are many incredible plays written about Residential Schools. A perfect place to start would be Indian Act: Residential School Plays edited by Donna Michelle St. Bernard through Canadian Play Outlet. You can find reference to it here: www.canadianplayoutlet.com/products/indian-act-residential-school-plays-by-donnamichelle-st-bernard. We made a choice to use a different lens. We wanted to focus on the strength and wit that the students used to try to endlessly cope and navigate their circumstances.
Kaitlyn and I began our work by researching and reading the TRC Calls to Action and focusing on #83, which calls on “the Canada Council for the Arts to establish, as a funding priority, a strategy for Indigenous and non-Indigenous artists to undertake collaborative projects and produce works that contribute to the reconciliation process”. Included in the plethora of reading that we did were Canada’s Residential Schools: The Métis Experience Volume 3 and Forgotten, The Métis Residential School Experience by the Legacy of Hope Foundation. Aside from reading books, we knew that we also needed to reach out to Survivors and Knowledge Keepers. Not to validate the experience but to ask for guidance in the process.
We began our conversations with Elder Elizabeth (Liz) Stevens, from Kettle and Stony Point First Nation, who is the Elder in Residence at the Stratford Festival. Liz has a family history with Residential Schools and is an advocate of language reclamation. Liz was present at our first workshop at Stratford, in 2019, and continues to be involved with the process as an advisor. We visited her at her home in her community and have spent many hours discussing the importance of language and were encouraged by Liz to include language in our play, which we were also committed to.
In the summer of 2019, we went up to Algoma University for a research trip at the archives through the Children of Shingwauk Alumni Association (CSAA). We met with Shirley Horn, a member of the Missanabie Cree First Nation, (I had met Shirley previously at Soulpepper Theatre Company) who at the time was the Chancellor of the University. Through Shirley, we met with several Survivors, all part of the Alumni Association they had created. In her position as Chancellor, Shirley was now advising the University on how to honour the legacy of the Survivors of the Shingwauk Residential School that had become the main building of Algoma University. Shirley was intrigued by our project and joined our group of cultural advisors. She attended zoom workshops as well as read future drafts so that she could give us feedback.
At the Algoma archives, we did extensive research and continued to build the relationship with the CSAA in various ways. First, Stratford collected $5 from every ticket sold for 1939 to donate to CSAA for the important work they are doing. Next, in the spring of 2024, a bus of Elders and University students came to the production of 1939 in Sudbury. Then, this past June, we brought the cast up to Sault St. Marie to do a staged reading, with the help of YES! Theatre, for the Survivors and their families. Some of us attended the Sunrise Ceremony and the whole cast was present during the feast with the Survivors.
We also reached out to and engaged with Elders Edna Manitowabi, who is Odawa/Ojibway from Wikwemikong, Manitoulin Island, and Pauline Shirt, who was a Plains Cree Elder from Saddle Lake, Alberta. To start with, they read the script and give us feedback. Edna encouraged us to keep pursuing the humour, citing that it was not only a form of resilience for the students but also medicine for the audience—both Indigenous and nonIndigenous. Pauline came to Stratford with her daughter Luanne Harper to lead us in a circle and to give the entire cast, crew and design team teachings around the medicines and the importance of water.
This group of cultural advisors came together for an event held at Stratford in the summer of 2022, called “Stories From Our Grandmothers,” that invited audiences to come and hear about the work they have done and are doing in their communities to help with healing and rebuilding what colonization attempted to take from them. The Festival also hosted an event with Bev Sellars, whose book about her experience as a Residential School Survivor; They Called Me Number One, was a big influence in the writing of the play.
Our Reflection Space in Toronto, a very important aspect to the experience of the show, has been led in the various locations by a variety of incredible First Nations facilitators. Kelly Fran Davis, a member of the Haudenosaunee Confederacy of the Grand River Territory was in Stratford, Ontario, and was consultant to those who led the process in Sudbury and Toronto. In Sudbury, the facilitators were a group of Elders and Knowledge Keepers brought together by local Indigenous Knowledge and Language Keeper Will Morin. In Toronto, at Canadian Stage, a team of facilitators were led by Trina Moyan, a nehiyaw iskwew from Frog Lake First Nation. Lately, we have been inspired by Mattea Roach’s quote: “When the book ends, the conversation begins”. We have found this to be true in our reflection space. When the play ends, the conversation, for some, begins; for others, it grows.
One last important aspect of consultation was the use of what we call the “Spirit Images.” The vision behind these images, that appear like magic on the chalk boards, was to layer in the concept that the ancestors and children who never made it out of the school were sending messages of hope to the current students. Similar to the sound design, the metaphor for a directorial vision was that the walls held memories and could talk. I reached out to David “Sunny” Osawabine, a Cultural and Spiritual Advisor for the Debajehmujig Storytellers in Wikwemikong. Sunny received the teachings of the Peterborough petroglyphs by his mentor Eddie King. Sunny led the crew, cast, admin and design teams of both the Sudbury and Canadian Stage production through the teachings behind the creation of the petroglyphs and the general meanings of the images that were chosen for the play.
At all stages of the consultation the Elders and Knowledge Keepers were offered tobacco and were well compensated, either through Stratford or through Kaitlyn and I personally.
Jani Lauzon
Ca ST
brefny Caribou Susan Blackbird
Brefny Caribou is a performer, writer, and educator of Cree/ Irish-settler descent based in Tkaronto. Holding an MFA in Acting from York University she loves telling Indigenous stories and making people giggle. She has worked across Turtle Island on productions of The Tempest (Theatre Rusticle), Otîhêw (Shakespeare in Action), and completed three seasons at the Stratford Festival in Little Women (Beth March), and The Rez Sisters (Zhaboonigan Peterson). Brefny has worked as an Acting Tutorial teacher at Sheridan College since 2019 and is entering her third year facilitating the Indigenous Arts Program at the Paprika Festival. Her writing has been featured in many festivals including Groundswell (Nightwood Theatre), Brave New Works (Theatre Aquarius) and the Weesageechak Begins to Dance festival (NEPA).
Merewyn Comeau Evelyne Rice
Merewyn Comeau (she/they) is a multidisciplinary artist who lives on the unceded territories of the Musqueam, Squamish, and Tsleil-Waututh Nations in “Vancouver, BC.” She is a graduate from Capilano University’s Musical Theatre program. Identifying as Western European settler with mixed Indigenous ancestry, navigating, and reclaiming their paternal lineage is a transformative journey that continues to challenge, shape, and heal them. This healing is ongoing and one she deeply honours; continuing to listen, learn and seek answers. Select credits include the world premieres of: Les Filles du Roi (Urban Ink), Sedna (Caravan Farm), Echoes of the Homesick Heart (Western Canada), Th’owxiya: The Hungry Feast Dish (Axis), The Mixolydian (Green Thumb), and Elephant and Piggie’s “We are in a Play!” (Carousel/ Canadian premiere).
Catherine fitch Sian Ap Dafydd
Catherine Fitch graduated with a BFA from the University of Calgary and from the National Theatre School in 1990 and has been working on stage and on screens big and small ever since. Most recently, she performed in POTUS at the Segal Centre in Montreal, in Gloria at the Toronto Jewish Theatre and has spent eight seasons at the Blyth Festival working on new Canadian plays. She has been nominated for three Gemini/CSA awards and won a Gemini Award for best supporting actress in Butterbox Babies. She also appeared as “Maria” in the much-loved series Slings and Arrows. In her spare time, Catherine is looking forward to spending time with family and friends who make their home in this beautiful part of the world. It is an honour to be a part of this production.
nathan Howe Father Callum Williams
Nathan (he/him) is an actor/playwright with an MFA in Scriptwriting from TMU, BFA in Acting from USask, and is a graduate of The Globe Theatre Conservatory. This spring, he, his fiancée Pippa, and their cat Goalie moved to Vancouver! Recently he did sound design for Hamlet (Shakespeare on the Saskatchewan) and participated in Green Thumb Theatre’s Playwrights’ Gym. Past Belfry credits include Leo in 4000 Miles and Alligator/Philip in Salt Baby (also at the Globe, MT Space, Gwaandak, YAC, Talking Stick, and Live Five *SATAward for Supporting Performance). Other Acting: Women of the Fur Trade (Stratford), Red Velvet (Crow’s), Stones in His Pockets, Reasonable Doubt, Fiddler on The Roof, Treasure Island** (Persephone Theatre **SATAward for Original Composition & Sound Design), Matchstick (Persephone/ GCTC), Seminar (Mirvish/MTC), and three seasons at The Blyth Festival. Up next: his Christmas play, A Christmas Play, has a public reading (Sum Theatre’s First Monday), he’s directing Mr. Burns (Live Five) and performing in Women of the Fur Trade (Globe). Nathan is thrilled to be back at the Belfry!
grace lamarche Beth Summers
Grace Lamarche is a Cree/Métis actor and theatre artist based in Toronto. She is so excited to be making her Canadian Stage and Belfry debuts. Other theatre credits include: Weltamultiek (director/Paprika Festival), Skyscraper (actor/ Paprika Festival), Birth (actor/Toronto Fringe), Blood Wedding, Cymbeline, Per Gynt and Engaged (George Brown Theatre School). Grace is a graduate of George Brown Theatre School and the Paprika Festival’s Director’s Lab.
amanda lisman Madge Macbeth
Amanda is grateful to live on the traditional territories of the Lək̓ʷəŋən and W̱SÁNEĆ Peoples. A graduate of the University of Victoria (Anthropology), University of Alberta (Acting), the Citadel Banff Theatre Program, and Stratford Festival’s Birmingham Conservatory, Amanda’s theatre credits include three seasons at the Stratford Festival (including Titus Andronicus, Cyrano de Bergerac), and performances with Alberta Theatre Projects (Betty Mitchell Award, Venus in Fur), Royal Manitoba Theatre Centre, Western Canada Theatre, the Segal Centre, the Arts Club, the Citadel, Blue Bridge (Critics’ Choice Spotlight and M Award, My Fair Lady), and the Belfry (A Christmas Carol, Serving Elizabeth). TV credits include Suits, iZombie, and Supernatural. Amanda is also a theatre educator and a community support worker.
James dallas smith Joseph Summers
James Dallas Smith is a performer with Ohsweken Mohawk (Turtle Clan) and Scottish (McKinnon Clan) heritage. He’s thrilled to be performing at the Belfry for the first time. Favourite credits include: Almighty Voice and His Wife (Dora Nomination for Outstanding Performance), Where the Blood Mixes, King Lear (Soulpepper), The Secret to Good Tea (Royal Manitoba Theatre Centre), Hamlet (No More) (Canadian Stage), This is How We Got Here (Native Earth Performing Arts), The Donnelly's Part I, Part II and Part III (Blyth), The Drawer Boy, Proof (Centaur). J.D. lives in Toronto with his wife, beloved kitten, and small, barbarian child.
John Wamsley Jean Delorme
John Wamsley is of Anishinaabe-Ojibwe and British descent, and a member of the Alderville First Nation. He is an actor, dancer and theatre creator. Theatre credits include Richard II, Grand Magic, Love’s Labour’s Lost, 1939 (Stratford Festival); A Midsummer Night’s Dream (Shakespeare BASH’d); Timothy Findley’s The Wars (Grand Theatre); The 25th Annual Putnam County Spelling Bee (Hart House Theatre); The Importance of Being Earnest (Theatre Erindale). Film and TV credits include Save the Date (Watersign Productions); Revenge of the Black Best Friend (CBC Gem). John is a graduate of the Theatre and Drama Studies Program at the University of Toronto Mississauga and Sheridan College. Big love to Mom, Dad, Meagan, and Andrew. Thank you for everything. johnwamsley.ca
CRE aTIVE TE a M
Jani lauzon Director & Co-Playwright
Jani Lauzon is a director/writer/multidisciplinary performer of Indigenous/ French/Finnish ancestry. Canadian Stage credits: Comedy of Errors, R&J, St. Carmen of the Main. She is a multi-nominated actress/writer/director/singer songwriter and puppeteer. Directing awards: John Hirsch Director’s Award (OAC) and Toronto Critics Best Directors Award. Her company Paper Canoe Projects produces her own work: A Side of Dreams, I Call myself Princess, and Prophecy Fog. Director credits include: Yaga (Belfry), Where the Blood Mixes, and Almighty Voice and his Wife (Soulpepper), Rope (Shaw Festival), I Call myself Princess (The Globe Theatre). Memorable theatre; Cordelia/Fool (NAC), Shylock (SITR) and the Neighbour/Servant (Modern Times/Aluna Theatre). janilauzon.com papercaneoprojects.com
Kaitlyn riordan Co-Playwright
Kaitlyn Riordan is an actor and a playwright of Irish and French descent. She lives in Tkaronto, but originally hails from Tiohtià:ke. She was part of the leadership team at Shakespeare in the Ruff from 2012–2021. Theatre acting credits include Orphan Song (Tarragon), Noises Off! (Segal Centre), Maggie & Pierre (Thousand Islands Playhouse, Timeshare, The Grand), The Merchant of Venice and Blythe Spirit (Stratford), The Winter’s Tale, Romeo & Juliet, Macbeth, Cymbeline, and Two Gents (Shakespeare in the Ruff). Playwriting credits include Portia’s Julius Caesar (Shakespeare in the Ruff, Hart House, Little Lion Theatre – UK) and 1939 (Stratford, Sudbury Theatre Centre). Plays in development include Gertrude’s Hamlet, I Sit Content – a story of Emily Carr, and The Nude Nun. Kaitlynriordan.com
Joanna yu Set Designer
Joanna is an award-winning set and costume designer working mostly in theatre, dance, and opera. Canadian Stage credits include: Maanomaa, My Brother (costumes); How to Fail as a Popstar (set and costumes); Much Ado About Nothing, Measure for Measure (set). Recent credits include Salesman in China (set, Stratford Festival); Snow in Midsummer (costumes, Shaw Festival); Three Sisters (set, Soulpepper/Obsidian); Prison Dancer, the Musical (set, Citadel, NAC); The Queen in Me (set and costumes, COC, NAC); ‘da Kink in my Hair (set, Soulpepper/TO Live); Forgiveness (costumes, Arts Club/Theatre Calgary). Joanna is the recipient of the Virginia and Myrtle Cooper Award, the Pauline McGibbon Award, and a Dora Award. Joanna serves on the board of directors for the Associated Designers of Canada (ADC659).
sim suzer Associate Set Designer
Costume Designer for A Year With Frog and Toad (The Capitol Theatre), Costume Designer for Dark of the Moon (George Brown College), Set Designer for Sweeter (Cahoots Theatre), Set Designer for Bad Roads (Crow’s Theatre), Costume Designer for Love’s Labour’s Lost (Stratford Festival), Set and Costume Designer for The Game of Love and Chance and A Grand Night for Singing (Shaw Festival), Set Designer for Anahita’s Republic (Bustle and Beast), Costume Designer for Low Pay? Don’t Pay! (George Brown College), Costume Designer and Associate Set Designer for Everybody (Shaw Festival), Set and Costume Designer for our place (Cahoots Theatre), Costume Designer for Munsch (George Brown College), and Costume Designer for In This (Tiger Princess Dance Projects). simsuzer.com
asa benally Costume Designer
Citizen of the Navajo and Cherokee Nations. The Rez Sisters, 1939 (Stratford Festival); T’ l – The Wild Man of the Woods (Royal Winnipeg Ballet); The Clearing (Shaw Festival); Whale Song, Devilfish (Perseverance Theater); The Winter’s Tale (HERE Arts Center); Seven Minutes (Waterwell); Where We Belong (Woolly Mammoth Theater, Baltimore Center Stage, Goodman Theater, The Public); Mrs. Warren’s Profession (Gingold Group); Blues for an Alabama Sky (Keen Company, Drama Desk Nomination); Somewhere Over the Border (Syracuse Stage); Too Heavy For Your Pocket (George Street Playhouse); Skeleton Crew (Westport Country Playhouse); Father Comes Home… (Juilliard); Measure for Measure (Public Theater Mobile Unit); Cymbeline (Yale Repertory Theater); The Taming of the Shrew, Measure for Measure (Frog and Peach Theater Co.); The Brobot Johnson Experience (Bushwick Starr); Tricks the Devil Taught Me (Minetta Lane Theater); Coriolanus, The Seagull (Yale School of Drama); Roberto Zucco (Yale Cabaret). Training: M.F.A Yale School of Drama. B.F.A. Parsons School of Design. asabenally.com, Instagram: @Asa_Benally_Design.
barbara Morrone-sanchez Associate Costume Designer
Barbara is an emerging costumer with a passion for design. Canadian Stage credits include Dresser for Public Enemy. Other theatre credits include Assistant Costume Designer Romeo & Juliet, Love’s Labour’s Lost, Women of the Fur Trade, and Casey & Diana (Stratford Festival).
