Ovation Vol. 19 No. 5 by Royal Manitoba Theatre Centre

Royal Manitoba Theatre Centre

Vol 19 No 5 | mar/apr 2012

Yasmina Reza Translated by

Christopher Hampton Generously sponsored in part by

Gail Asper and the late

Babs Asper

Generously sponsored by

Tracy Letts

Message fro m the Artistic Director

We each must have a forgotten moment

the truth, which no one really

in our long-ago childhoods

audience, of course, for truth

when savagery gave way to

is our raison d’être).

civility. Suddenly, we learned

The characters in Letts’

that a quiet “please” could

August: Osage County have

accomplish more than a

no pretensions about the art

screamed “I want.” It is a mo-

of co-existence, even at the

ment as important as our first

beginning of the play, as the

wants to hear (except the

step or our first tooth but,

family patriarch makes one

unlike walking or chewing, it is a skill that can slip

final attempt to keep the domestic carnage at

away from us only too easily when we are angry

bay by hiring a Cheyenne housekeeper. When the

or afraid.

father disappears a week later, the family comes

William Golding’s Lord of the Flies explored the brutality lurking behind the mask of civilization, but allowed adult readers a consoling distance. Golding’s regressive castaways were children, after all; no grown-up could so quickly unlearn

together in an unholy quest to discover the truth about his disappearance, a search that reveals more about each family member than anyone is comfortable knowing. Letts could have called the play Lay Waste to Oklahoma for Me.

the deeply ingrained codes of conduct that allow

When a friend saw August in New York, a man

society to function. Well, playwrights Yasmina

in the audience stood up and yelled, “Why are

Reza and Tracy Letts are about to snatch that

you all laughing? This isn’t funny!” And yet, other

consolation away from us, with their dark, hilari-

people’s problems can be funny, especially in the

ous visions of adult barbarity.

hands of great social satirists like Reza and Letts.

Reza’s God of Carnage opens with four sophisticated parents intent on using cooperation and reason to solve a problem created by their violent

The two playwrights make their characters hit a rock-bottom that is actually a comic springboard for self-knowledge, ours and theirs.

little children. But will they? When the adults congratulate themselves on their mastery of “the

Yours always,

art of co-existence,” the play seems to erect a smug signpost to the dangers ahead. The play was originally titled Lay Waste to England for Me, and for good reason: the play unravels each character’s good intentions, and leaves nothing except mar/apr 2012

Royal Manitoba Theatre Centre

Theatre Abbreviation Legend

Arts Club ATF ATP BAM Belfry Blyth Broadway CBC Centaur Citadel COC CS Dora Drayton Dry Cold GCTC Grand Mirvish MTYP NAC Necessary Angel Neptune NFB NTS Persephone PTAM PTE Rainbow RNT Royal Alex RSC RWB Segal Shaw SIR SNAC Soulpepper Stratford TA Tarragon TC TNB Toronto Free TPM TSO U of M U of T Black U of W VP West End WJT WSO YTP

Arts Club Theatre Company, Vancouver BC Atlantic Theatre Festival, Wolfville NS Alberta Theatre Projects, Calgary AB Brooklyn Academy of Music, NYC The Belfry Theatre, Victoria BC Blyth Theatre Festival, Blyth ON New York Theatre District Canadian Broadcasting Corporation Centaur Theatre Company, Montreal QC The Citadel Theatre, Edmonton AB Canadian Opera Company, Toronto ON The Canadian Stage Company, Toronto ON Dora Mavor Moore Award, Toronto ON Drayton Entertinment, Ontario Dry Cold Productions, Winnipeg MB The Great Canadian Theatre Company, Ottawa ON The Grand Theatre, London ON Mirvish Productions, Toronto ON Manitoba Theatre for Young People, Winnipeg MB National Arts Centre, Ottawa ON Necessary Angel Theatre Company, Toronto ON Neptune Theatre, Halifax NS National Film Board of Canada National Theatre School of Canada, Montreal QC Persephone Theatre, Saskatoon SK Popular Theatre Alliance of Manitoba, Winnipeg MB Prairie Theatre Exchange, Winnipeg MB Rainbow Stage, Winnipeg MB Royal National Theatre, London, England The Royal Alexandra Theatre, Toronto ON Royal Shakespeare Company, Stratford-upon-Avon, England Royal Winnipeg Ballet The Segal Centre for Performing Arts, Montreal QC Shaw Festival, Niagara-on-the-Lake ON Shakespeare in the Ruins, Winnipeg MB St. Norbert Arts Centre, Winnipeg MB Soulpepper Theatre Company, Toronto ON Stratford Festival, Stratford ON Theatre Aquarius, Hamilton ON Tarragon Theatre, Toronto ON Theatre Calgary, Calgary AB Theatre New Brunswick, Fredericton NB Toronto Free Theatre, Toronto ON Theatre Projects Manitoba, Winnipeg MB Toronto Symphony Orchestra University of Manitoba University of Toronto University of Winnipeg Vancouver Playhouse Theatre Company, Vancouver BC Theatre District, London, England Winnipeg Jewish Theatre Winnipeg Symphony Orchestra Young People’s Theatre, Toronto ON

CMYK

MTC gratefully acknowledges the support of all corporate and individual donors and foundations, and the assistance of:

Pantone

We acknowledge the support of the Canada Council for the Arts which last year invested $5.9 million in the arts in Manitoba.

With the generous support of the Manitoba Arts Council

With the generous support of the City of Winnipeg through the Winnipeg Arts Council

Nous remercions de son soutien le Conseil des Arts du Canada, qui a investi 5,9 millions de dollars I’an dernier dans les arts au Manitoba.

Vol 19 No 5 | mar/apr 2012

Royal Manitoba Theatre Centre 174 Market Avenue Winnipeg, Manitoba R3B 0P8 Box office: 204-942-6537 Administration: 204-956-1340 www.mtc.mb.ca For advertising inquiries tel: 204-934-0309 e-mail: promo@mtc.mb.ca Printing: Premier Printing Ltd. Ovation is published six times per theatre season and has a total circulation of 115,000. MTC is a member of the Professional Association of Canadian Theatres and engages, under the terms of the Canadian Theatre Agreement, professional artists who are members of the Canadian Actors’ Equity Association. Scenery, Carpentry and Show Running Crew at the John Hirsch Theatre at the MTC Mainstage and the Tom Hendry Theatre at the MTC Warehouse are members of IATSE Local 63.

Ushers | MTC’s loyal volunteer ushers are available at every performance to assist patrons. Latecomers | Latecomers will be seated at the discretion of the House Manager. Courtesy to others | Talking, candy wrappers and coughing are distracting to fellow patrons and actors. We ask each patron to please keep noise to a minimum during a performance. Thank you for your cooperation. Scents and Allergies | A number of MTC patrons have expressed concerns regarding medical reactions caused by scented products, so much so that they can’t enjoy the show. Please consider others before using items such as colognes, perfumes and hairspray. Your thoughtfulness is appreciated. Hearing enhancement | Sennheiser Infrared Listening Devices are available free of charge in the lobby at the John Hirsch and Tom Hendry Theatres, supplied by the MTC Volunteer Corps of Ushers Capital Campaign donation. Please see the House Manager for details. Prohibited | The use of cameras and recording devices is strictly prohibited. Pagers and cellular phones must be turned off. To be contacted in an emergency, leave your name and seat number with the House Manager. Warnings | On occasion, MTC’s productions may contain scriptspecific smoking of non-tobacco products, special effects and language/content warnings. For more information on specific productions, please visit www.mtc.mb.ca. Subscriber Membership | Any person in whose name season tickets for either the John Hirsch or Tom Hendry Theatres have been purchased shall be a member of the Centre for one year, commencing on the date payment has been received for that season’s tickets.

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RBC Dominion Securities Inc.* and Royal Bank of Canada are separate corporate entities which are affiliated. *MemberCanadian Investor Protection Fund. ÂŽRegistered trademark of Royal Bank of Canada. Used under licence. RBC Dominion Securities is a registered trademark of Royal Bank of Canada. Used under licence. ÂŠCopyright 2011. All rights reserved.

Doowah Design Inc. Client: DZWM Job no: 1135

setting the stage

Go d of Carnage

about God of Carnage by Di Brandt God of Carnage was originally set in the suburbs of Paris. The setting was changed to Brooklyn for the Broadway premiere in New York, where people tended to say after seeing the play, “Oh, it’s so Brooklyn! Only in Brooklyn do people talk like that!” But in fact, despite its very specific locations and references to local neighbourhoods, the play translates well to any modern urban setting. It played to rave audiences in London in 2008, and has been equally well received wherever it has played internationally. Playwright Yasmina Reza’s genius is to take an ordinary domestic situation, the kind that might happen to any modern people, with a fairly simple conventional analysis offered to explain it. And then, as soon as we’ve understood and agreed to the situation and conventional analysis, to skewer us all—characters, audience, situation—by turning the whole thing upside down and inside out. Soon we’re squirming, laughing, crying, pointing fingers, blushing, and ruefully reaching out to each other, hugging, trying to keep friendly connections going despite all the awkward and damaging, but also occasionally poignant and tender, revelations that have been made upon closer examination, all of which we can widely identify with in ourselves. Reza’s 1995 hit comedy, Art, which played to rave audiences all over North America, involved the buying and assessing of avant-garde contemporary art, and the fragility and strength of friendships in a world where aesthetic agreement—and therefore shared understanding between even close friends—is hard to come by, in a commercially determined market, buttressed by overintellectualized discourse. In God of Carnage, the situation is even more volatile and touchy. After a few minutes of polite talk, the meeting between the two couples unravels quickly into accusations and arguments and name-calling, each of the four adults taking sides with and against each other at different times in the chaotic and slightly hysterical 90 minutes of their visit. Before the afternoon is over, all four characters in God of Carnage have dropped their polite personas and revealed nastier, or in some cases simply more human, honest sides. 6

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The “big” questions being explored here are the nature of morality, and behind that, more generally, the nature of being human. Is morality a polite veneer we place over our essentially selfish and potentially angry, lying, cheating, devious, and sometimes violent selves, or is it an agreedupon social code we can honestly aspire to live by? And if so, what happens to the nastier sides of ourselves, what should be done with them? These questions find some of their most challenging applications in the daily situations of families, and the urgent demands of parenting. We begin passionately defending our own children in a sort of blood and guts “tribal” way against the world, and then how should we navigate the tricky waters of adolescence where children begin to take on the world themselves? Should we keep defending and protecting them? Should we step aside and let them figure things out themselves, however messy that might be? What code of conduct is there to appeal to in the absence of community consensus and elder advice? What does it all add up to? Which is our real self: the better, more polite one we try to be, as best we can and as circumstances permit, or the baser one we typically descend to under duress? How best to raise our children and shepherd them through the liminal zone of adolescence: by perpetuating the myths of innocence we feed them in their childhood, or by encouraging their disillusionment and toughening them up for a competitive life in the dog-eat-dog adult world to come? Or is it the other way around: is it childhood that’s “savage” and adulthood that’s been hopelessly over-domesticated, so much so that we can’t help being occasionally thrilled by the spontaneous small animal brutalities of children? Passionate engagement with these emotionally volatile questions in a social setting between two sets of parents who care deeply about their own children makes for fabulous drama indeed! We are left shaking with laughter and rueful identification with their bruises, follies, gestures of compromise and solidarity, and tendernesses, in this exciting 90-minute theatrical ride.

Di Brandt is the award-winning author of numerous books of poetry, fiction and literary criticism, and lives in Brandon, Manitoba.

next at

photo: Greg tjepkema

ONE FAMILy IS AbOUT TO fAce the Music

CREATED by REbECCA NORThAN

STARRINg JENNIFER LyON

April 19 – MAy 12

April 5 – 21

“Next to Normal is one of the bravest musicals to hit the mainstream – a jolt of raw, contemporary pain, propelled by a rock ‘n’ roll pulse. It makes your heart swell.”

“A blind date with Mimi is a night to remember.” “A flight of theatrical fancy that is absolutely magical”

In this “feel-everything musical” featuring soul-soaring rock and stirring ballads, Diana’s family decides being next to normal will just have to be enough. Don’t miss the award-winning show that took broadway by storm.

There’s nothing like the thrill of a first date...anything can happen! you’ll experience all the excitement and awkwardness of blossoming love as Mimi, a Parisian temptress, goes on a blind date with a different man every night – plucked right out of the audience!

–nEw York timES

– Edmonton Sun

— toronto Star

WArninG Strong language, mature themes

FIND OUT MORE AT

www.mtc.mb.ca

Curtain Calls

clafouti,

“So, is it a cake or a tart? by Miles Potter

Empathy: Noun; The ability to understand and share the feelings of another. The characters in Yasmina Reza’s God of Carnage are as full of opinions as any characters I’ve ever met in any play. They hold forth at the drop of the proverbial hat on many subjects: child rearing, marriage, cooking, the purpose of life, western society and the ills of Africa. They struggle—valiantly, sadly, hilariously—as they attempt to come to terms with their dilemma, which is essentially (as they see it): who did what to whom, and who is responsible; or more simply, who is to blame? We begin to see them launch into yet another attempt to resolve their differences, to essentially sort out their lives, and we begin to wonder, why are they failing so dismally? Despite all the convictions, all the strongly defended positions, they cannot seem to resolve anything. In fact, this could be described as that rare beast, a comedy without a climax, without any winners or losers. This is because what the play reveals about the characters (who rather proudly present themselves as representative of western values) is that they are incapable of resolving anything, for themselves or for their children. As funny as their conduct may appear to us, what is tragic for them is not what is present in the play, but what is missing; missing from all their characters, all their actions, and all their relationships: see the definition above. I think Ms. Reza would like us to make sure this attribute does not continue to “go missing” in our lives, our society and our western values, lest we end up as lost as abandoned hamsters. 8

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Serious question.” – Michael in God of Carnage In God of Carnage, Veronica (Shauna Black) serves clafouti to her guests – her “own little recipe,” as she says. Hers is a special combination of apples and pears, with a secret ingredient – gingerbread crumbs – thrown into the mix. Curious to try the dessert for ourselves and hopefully answer Michael’s question, we baked a more traditional clafouti – using cherries and no gingerbread – and served it to willing God of Carnage company members and MTC staffers. Like the characters in God of Carnage, we had some difficulty reaching a consensus.

“It’s not a tart. It’s a cake.” – Vickie Papavs, Actor, God of Carnage

“It looks like a tart.” [eats] “It tastes like a little slice of heaven. It’s a tarty cake.” – John Cassini, Actor, God of Carnage

“I think it’s a flan-y tart.” – Peter Jotkus, Assistant Stage Manager, God of Carnage

“It looks like a tart to me.” – Miles Potter, Director, God of Carnage

Go d of carnage

Inspired to bake a clafouti of your own?

“It’s neat. It’s different. Spongy. What defines a tart or a cake? It’s a degree closer to cake than tart.”

Try this simple recipe (results pictured at left) and decide for yourself if clafouti is a cake, tart or something else altogether.

– Stephanie Lambert, Special & Donor Events Coordinator

“It’s good. It’s dense. It’s not a tart. I’d give some leeway to cake.” – Rob Ring, Director, Winnipeg Fringe Theatre Festival & Master Playwright Festival

“It doesn’t have any sort of rising agent in it, therefore it’s not a cake. It is, however, very delicious. Also not a tart.”

yield | Makes 8 servings active time | 20 minutes total time | 1 hour 10 minutes

– Kristine Betker, Director of Fund Development

“Neither a cake nor a tart. I would call it a flan. Delicious!” – Sue Caughlin, Marketing & Communications Manager

Inspired by the simple cherry desserts from the Limousin region of France, this baked custard can be served warm or at room temperature. Feel free to use pitted or unpitted cherries.

“I’m not comfortable calling it either a cake or a tart. I don’t think I know enough about baking terminology to know exactly what it is. It’s almost a custard with a crust.” – Teri Stevens, Publicist & Online Media Coordinator

“It’s kind of quiche-ish. My mom’s is a bit more bready. If you use cherries you can then count the pits and say the children’s rhyme ‘Tinker, Tailor, Soldier, Sailor’ to figure out who you will marry, or become.”

1 pound fresh cherries, stemmed and pitted, or frozen pitted cherries, thawed, drained 1 cup whole milk 1/4 cup heavy whipping cream 4 large eggs 1/2 cup all-purpose flour 1/2 cup sugar 3/4 teaspoon finely grated lemon zest 3/4 teaspoon vanilla extract 1/2 teaspoon kosher salt Powdered sugar

– Camilla Holland, General Manager

“It’s more tart than cake. I don’t think it’s a cake, but it’s good.” – Alan Waite, Assistant General Manager

“It just tastes like some sort of weird jelly. It’s a cake.” – Natascha Hainsworth, Outreach Coordinator

“It’s very nice. Very good. I would call it a tart.”

Special Equipment | 10” springform cake pan or eight 2/3 or 3/4-cup ramekins or custard cups

– Yvonne O’Connor, Accounting

“It’s a horizontal trifle, that’s what it is.”

Preheat oven to 375°F. Butter cake pan or ramekins. Arrange cherries in a single layer in pan.

– Laurie Lam, Producer

“It’s not going to make me vomit, is it?” [eats] “It’s definitely not pie. It’s a flan.” – Michael Joyal, Development Assistant Clafouti baked by Lisa Rae Swan. Photo by Mark Saunders.

Combine milk and cream in a small saucepan; bring just to a simmer over medium heat. Set aside. Combine eggs, flour, sugar, lemon zest, vanilla, and salt in a medium bowl; whisk to blend. Gradually whisk in hot milk mixture; whisk until custard is smooth. Pour custard evenly over cherries in pan. If necessary, gently shake pan to allow custard to settle. Bake clafouti until custard is set and top is golden brown, about 30 minutes for ramekins and 45-55 minutes for cake pan. Let cool 3 minutes, then run a knife around pan sides to loosen clafouti (if using a cake pan). Dust top with powdered sugar; cut into wedges and serve.

Recipe:

www.epicurious.com/recipes/food/views/Cherry-Clafouti-365670 mar/apr 2012

Steven Schipper, Artistic Director

Camilla Holland, General Manager

Presents a co-production with

by Translated by

Yasmina Reza Christopher Hampton

March 15 â&#x20AC;&#x201C; April 7, 2012

Director Set & Costume Designer Lighting Designer Fight Director Stage Manager Assistant Stage Manager Apprentice Stage Manager

Miles Potter Gillian Gallow Gerald King Carson Nattrass Evan R. Klassen Peter Jotkus Sandra Morton

The Cast (in alphabetical order)

Michael Novak Oliver Becker Veronica Novak Shauna Black Alan Raleigh John Cassini Annette Raleigh Vickie Papavs

setting

A living room.

God of Carnage runs approximately 1 hour and 15 minutes, no intermission.

God of carnage was produced on Broadway by Robert Fox, David Pugh & Dafydd Rogers, Stuart Thompson, Scott Rudin, Jon B. Platt, The Weinstein Company, and the Shubert Organization. God of Carnage is presented by special arrangement with Dramatists Play service, Inc., New York.

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ARTISTS

Oliver Becker

Shauna Black

Michael Novak

Veronica Novak

MTC The Seafarer, The Diary of Anne Frank, The Weir (with CS).

MTC First appearance.

OTHER THEATRE Selected: Hosanna, Richard iii,

Sylvia, Test Drive, Picasso at the Lapin Agile, Six Degrees of Separation (TA); Hockey Mom, Hockey Dad, Heatwave, Cricket and Claudette (Blyth); The Melville Boys, The Miser (Sudbury Theatre Centre); A Midsummer Night’s Dream (Festival of Classics); Missing (Factory Theatre); Amadeus (CS/Citadel); Who’s Afraid of Virginia Woolf? (Persephone); five seasons with the Shaw Festival.

Zastrozzi (Stratford); The Pillowman, Frozen (Citadel); Beyond Mozambique, Better Living, Escape from Happiness (Factory Theatre); Wild Mouth, Side Man (Tarragon); The Beauty Queen of Leenane (CS); The Cripple of Inishmaan (Centaur); The Miser, Macbeth, The Millionairess (VP). TV King, Lost Girl, Rent-a-Goalie (three seasons)

(Showcase); The Line (TMN).

OTHER THEATRE Sherlock Holmes: The Final Adventure,

FILM/TV TV: Warehouse 13, Murdoch Mysteries, The Bridge, Kevin Hill, Sue Thomas: F.B.Eye, An American in Canada, Puppets Who Kill, Blackfly, La Femme Nikita, A Nero Wolfe Mystery. Film: Cursing Hanley, Zombie Dearest, Troubled Waters, Cold Creek Manor. TRAINING Stratford Festival’s Birmingham Conservatory

for Classical Theatre; College of Sports Media. For a full list of theatre abbreviations, please Refer to legend on page 4

ET CETERA For Sarge. I miss you, pal.

MTC would like to honour the memory of

Babs Asper, and her generous sponsorship of this production of God of Carnage.

Ruth “Babs” Asper 1933-2011

ARTISTS TRAINING Graduate of the University of Alberta’s BFA

John Cassini

Acting program.

Alan Raleigh

ET CETERA Home is Toronto, where she resides with

husband Murray and son Owen.

Yasmina Reza Playwright MTC First appearance. OTHER THEATRE A founding member of 3rd Street Theatre in Los Angeles, where he appeared in Edmond, Geography of a Horse Dreamer and One for the Road. Other theatre in LA: They Shoot Horses, Don’t They? (Greenway Court Theatre); Cash Deal (Actors Studio). In Vancouver: Rabbit Hole (Arts Club); Stiff Cuffs (Beaumont Theatre); Beirut, For What We Reap, Italian American Reconciliation (Station Street Arts Centre). FILM/TV An accomplished TV and film actor in both Canada and the US, John has received several Gemini nominations, Leo Awards, developed TV shows for various networks and produced five feature films. TV credits include: series regular on Robson Arms, Da Vinci’s Inquest and Intelligence. Feature credits include: Alive, Se7en, The Game, Break a Leg (writer/producer and winner of nine film festival awards). Training Lifetime member of the Actors Studio. ET CETERA He dedicates his performance to his two boys, Martin and Luca.

Yasmina Reza is a French playwright and novelist based in Paris, whose works have all been multiaward-winning, critical and popular international successes, and translated into 35 languages. In addition to God of Carnage, she has written seven plays: Conversations après un enterrement (Conversations After a Burial), La Traversée de l’hiver (The Passage of Winter), Art, L’Homme du hasard (The Unexpected Man), Trois versions de la vie (Life x 3), Une pièce espagnole (A Spanish Play) and Comment vous racontez la partie (How You Talk the Game). She is the author of six novels: Hammerklavier, Une désolation (Desolation), Adam Haberberg, Dans la luge d’Arthur Schopenhauer (On Arthur Schopenhauer’s Sledge), Nulle part and L’Aube le soir ou la nuit (Dawn Dusk or Night). Films include: Le pique-nique de Lulu Kreutz (Lula Kreutz’s Picnic), directed by Didier Martiny, and Chicas (based on Une pièce espagnole), written and directed by the author.

Vickie Papavs Annette Raleigh

Christopher Hampton Translator

MTC One Flew Over the Cuckoo’s Nest (with TC), Medea (with Mirvish), Much Ado About Nothing. OTHER THEATRE Vickie has appeared in many

productions across the country, in both large and small theatres. Selected favourites include: Mourning Dove (Ark Productions); Last Romantics, It’s All True (Necessary Angel); The Winter’s Tale (Centaur); Ah! Wilderness, The Merry Wives of Windsor (Stratford); Twelfth Night, The School For Scandal (Banff Centre); Miss Julie (Orange Dog). FILM/TV Vickie has appeared in numerous film and television productions. Most recent: The LA Complex, King, Flashpoint, Murdoch Mysteries, If I Were You, The Four Sisters, The Gathering. She also lends her voice to television cartoons as well as TV and radio commercials.

mar/apr 2012

Christopher Hampton’s theatrical work has garnered three Tony Awards, two Olivier Awards, four Evening Standard Awards and the New York Theatre Critics Circle Award. Prizes for his film and television work include an Academy Award, two baftas, a Writer’s Guild of America Award, the Prix Italian and a Special Jury Award at the Cannes Film Festival. His plays for the Royal Court include Treats, Savages, The Philanthropist, Uncle Vanya, Total Eclipse, Marya and When Did You Last See My Mother? Other plays include Embers, Three Sisters, Art, Sunset Boulevard, The Talking Cure, Alice’s Adventures Under Ground, White Chameleon, Tales from Hollywood, Don Juan Comes Back from the War, Tales from the Vienna Woods, An Enemy of the People, The Wild Duck, Hedda Gabler, Life x 3, Tartuffe, Les liaisons dangereuses, The

ARTISTS Unexpected Man and Conversations After a Burial. Hampton’s plays have been performed at the Royal Shakespeare Company, the Almeida, the Royal National Theatre, and both London’s West End and Broadway. His television credits include The Ginger Tree, Hotel du Lac, The History Man and Able’s Will. He has written the screenplays for Atonement, Imagining Argentina, The Quiet American, The Secret Agent, Mary Reilly, Carrington, Total Eclipse, Dangerous Liaisons, Wolf at the Door, The Good Father, The Honorary Consul, Tales from the Vienna Woods and A Doll’s House.

received a Dora Award (The Drawer Boy, Toronto), a Jessie (The Taming of the Shrew, Vancouver) and a Masque Award (Picasso at the Lapin Agile, Montreal). TEACHING Miles has taught and directed at the National Theatre School, George Brown College, Dalhousie University, the University of Ottawa, the Globe Conservatory and the University of Missouri at Kansas City.

Gillian Gallow Set & Costume Designer

Miles Potter Director

MTC One Flew Over the Cuckoo’s Nest (with TC). OTHER THEATRE Set & Costume Designer: Night MTC Seventeen previous productions, including

Medea (1992, 2008), Macbeth (1990), Born Yesterday and Much Ado About Nothing (2005). OTHER THEATRE Miles has directed for most major

theatres across Canada, including three commercial plays for Mirvish Productions at the Royal Alex, the Winter Garden and the Ed Mirvish Theatre. He has

(NAC/Human Cargo); Appetite (Exchange Rate Collective/Theatre Passe Muraille); The Syringa Tree (Grand); The Bear (Preface Theatre/Art Gallery of Ontario). Set Designer: The Mill (Theatrefront); Ruined (Obsidian). Costume Designer: Awake and Sing! (Soulpepper); The Pillowman (CS); Ubuntu (Tarragon/ Neptune); Pride and Prejudice, The Graduate (Grand).

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9285 - ACU - Ovation 4.75 in x 3.75 in (half page) : full color

ARTISTS Upcoming: King Lear (NAC); The Devil We Know (Blyth); Hirsch (Stratford).

The Merry Wives of Windsor, The Tempest (River City Shakespeare Festival).

TRAINING York University, BFA.

TV Actor: Keep Your Head Up, Kid: The Don Cherry

ET CETERA Gillian is the recipient of three Dora

Story, A Bear Named Winnie, The Shields Stories, Category 7: The End of the World, Falcon Beach.

Mavor Moore awards.

TRAINING BFA in Acting from the University of Alberta.

Gerald King Lighting Designer

ET CETERA Carson will be directing Footloose: The

Musical for Rainbow Stage this summer. Betty Award: Outstanding Performance in Urinetown; Equity/Stage West Emerging Theatre Artist of the Year Award (2006); six-time recipient of MTC’s Jean Murray – Moray Sinclair Scholarship.

MTC Jake’s Gift, The Rainmaker.

Evan R. Klassen

OTHER THEATRE La Cage aux Folles, Death of a Salesman,

Stage Manager

The Fantasticks, Dirty Rotten Scoundrels, The Drowsy Chaperone (VP); Romeo et Julietta, Madama Butterfly, Salome, Così fan tutte (Vancouver Opera); Carmen, Vanessa, The Rake’s Progress (Pacific Opera Victoria); The 25th Annual Putnam County Spelling Bee, Much Ado About Nothing, Ubuntu (TC); Axis Theatre, Arts Club, Opera Omaha, Opera Lyra, Manitoba Opera, Edmonton Opera, the Citadel, National Ballet, Ballet BC, Western Canada Theatre, the National Arts Centre, Bard on the Beach. TRAINING Nova Scotia College of Art and Design,

member of Associated Designers of Canada. ET CETERA Gerald has received eight Jessie Richardson

Awards for Lighting Design.

Carson Nattrass Fight Director

MTC Grumpy Old Men: The Musical, White Christmas, The Drowsy Chaperone (with TC), Jitters, Fiddler on the Roof, The Real Thing, The Innocent Eye Test (with Mirvish), Humble Boy, Evita (with TC). OTHER THEATRE Recent credits (selected): The House

at Pooh Corner (MTYP); Hairspray, Cats, Rent (Rainbow); Sweeney Todd (Dry Cold); Much Ado About Nothing, The 25th Annual Putnam County Spelling Bee, Dirty Rotten Scoundrels (TC); The Last Five Years (Act Natural Productions); Bordertown Café (PTE); Rigoletto (Edmonton Opera); Country Legends (Drayton); Candide, Il Trovatore, Transit of Venus, La Bohème, The Elixir of Love, Don Giovanni, Lucia di Lammermoor, Così fan tutte (Manitoba Opera); three seasons with the Shaw Festival. ET CETERA Evan is celebrating his 10th season of stage management at MTC and is excited to be headed to Vancouver with the God of Carnage company.

MTC Fight Director: Jitters, Much Ado About Nothing. Actor: The Boys in the Photograph (with Mirvish), Pride and Prejudice, Glengarry Glen Ross, Guys and Dolls (with TC/Citadel), A Christmas Carol, My Fair Lady, Much Ado About Nothing. OTHER THEATRE Actor (selected): Nevermore (Catalyst/

Persephone); The 39 Steps (Persephone); Death of a Salesman (WJT); Urinetown, Assassins (Dry Cold); The Forbidden Phoenix (MTYP); Molly’s Veil, BoeingBoeing, No Way to Treat a Lady (Festival Antigonish); I Love You, You’re Perfect, Now Change (Belfry/PTE); Liar, Walking on Water, Godspell (PTE); The Full Monty, Urinetown (Ground Zero Theatre/Hit & Myth Productions); With a Twist (Lunchbox Theatre); Just So (Globe Theatre); Strike! – The Musical (Danny Schur); Cats, Hairspray, Miss Saigon (Rainbow);

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Royal Manitoba Theatre Centre

ARTISTS

Peter Jotkus

Sandra Morton

Assistant Stage Manager

Apprentice Stage Manager

MTC The Overcoat (Canadian tour), The School for Wives.

MTC Calendar Girls (with Mirvish).

OTHER THEATRE Death of a Salesman, The Drowsy

OTHER THEATRE Tosca (Manitoba Opera); The Ghost

Chaperone, Fiddler on the Roof, Wit, Toronto, Mississippi, The Coronation Voyage, Hello, Dolly!, Noises Off (VP); Next to Normal, Jacques Brel is Alive and Well and Living in Paris, Dinner with Friends (Arts Club); A Midsummer Night’s Dream (Bard on the Beach); Mrs. Warren’s Profession, The Seagull, An Ideal Husband (Shaw); Orfeo, Don Giovanni (Opera Atelier). TRAINING York University; the Banff Centre; graduate

of the National Theatre School of Canada. ET CETERA Program Coordinator (Banff/Citadel

Professional Theatre Training Program, Bob Baker Program Director); Venue Supervisor (Vancouver 2010 Olympic Games, Coca-Cola Global Hospitality Program); Assistant to the Director General, Robin Phillips (Citadel Theatre); Assistant Director (Stratford Festival Young Company, Robin Phillips).

Sonata (U of W, StrindbergFest 2011); Bush Ladies (Theatre by the River, Winnipeg Fringe Festival); No Offense …, Ripple Effect, Cabaret of Monologues, FemFest (Sarasvàti Productions); The Law and the Order: Cdn Files, Jump for Glee (Celebrations Dinner Theatre). TRAINING Sandra graduated from the U of W with a

B.A. in Theatre Production/Stage Management. She has worked since 2005 as Stage Manager with her multi-talented mentor, Paula Olko, on John Taylor Collegiate’s spring musicals. ET CETERA She is also an apprentice for iatse and

has worked as backstage crew for Cats and Hairspray (Rainbow), with thanks to the late Ken Peter.

Buster Keaton’s

The General SATURDAY, APRIL 28 I 8:00 PM We present Keaton’s 1926 silent masterpiece The General in a digitally restored print with Carl Davis’s celebrated musical score performed live with the WSO. Silent movies were meant to be seen in theatres, where the audience morphs into a comedy meter responding en masse to each gag. Experience all the thrills and spills in this comic gem! Richard Lee, conductor Film with music

Tickets available at the Winnipeg Symphony Orchestra and all Ticketmaster outlets WSO Box Office

949-3999 www.wso.ca I 1-855-985-ARTS

parking

The ringing of a cell phone during a performance can be quite distracting for both actors onstage and audience members. did you know texting and vibrating phones can be equally disruptive?

In our recent surveys, the number one comment and concern has been about parking. Here are some handy tips and information to improve your parking experience.

in an effort to eliminate cell phone disruptions during performances, the royal manitoba theatre centre will make a donation to the actors’ fund of canada for every cell phone-free performance.

1 Feel like those machines are taking longer to process your payment? They are!

as of

We talked to Impark and they explained that cold weather makes the machines slower than usual, and combined with new credit card security measures, each credit card transaction now takes approximately two minutes (up from 30 seconds per transaction). Coins are the best way to speed up this process; most of the machines in our immediate vicinity will cost you $4 to $10 in the evening. Daytime rates vary.

tuesday, february 28 we’ve had

137

2 Check out the MTC website for a detailed parking map. We have a map online at www.mtc.mb.ca/parking and will be updating it regularly with information about nearby lots. Depending on the weather, there are a whole host of parking options on the other side of Main Street that you may not know about. The Civic Parkade next to the Public Safety Building links underground with the Concert Hall next door, and then it’s just a quick step across the street to MTC.

shows this season without a

RING, BUZZ BEEP or

ks to Many than ! nce our audie

Most of our patrons, and those of the Concert Hall, focus on the parking lots that are north of the theatre. (The parking lot immediately attached to our theatre will always fill up first). However, there are a number of options heading south towards the Portage/Main corner. At the corner of Rorie and Bannatyne is a parking lot that is rarely full. We open the lobby door at the south end of the building so if you’ve got your tickets in hand, you can save walking past the lobby. 4 There are big plans ahead to improve the situation. MTC has been involved in the planning process for a new parkade, to be built on James Street adjacent to the Tom Hendry Warehouse. This isn’t a short-term solution, but it will be a game-changer in terms of nearby parking options. 16

mar/apr 2012

GreG ellwand in StronG PoiSon (2009/10). Photo by bruce Monk.

3 Think southward, and discover underused lots in our neighbourhood.

If you use your cell phone at IntermIssIon, to please remember e turn It off befor re-enterIng the theatre.

Education & Outreach

Have you ever wondered what happens behind the scenes at MTC?

become acquainted with theatre lingo like flat, deck, fly, trap and ghost light. And on the topic of ghosts, you’ll hear about our ghoulish resident George. Don’t worry, he’s more Casper than Headless Horseman.

We invite you to see how a production goes from concept to the stage by taking a backstage tour. Tours typically begin in the lobby, where we share information about the building’s architecture, the history of the organization and the story of MTC’s founders, John Hirsch and Tom Hendry. We often visit the carpentry and scenic art shops, the props and wardrobe departments, storage facilities, backstage dressing rooms and performers’ green room, as well as the theatre itself. MTC staff members often chat with tour groups about the projects they’re currently working on, giving visitors a glimpse at sets, props and costumes for upcoming shows.

Facility tours are an excellent way to discover more about theatre in general and MTC in particular. Whether you’re a teacher hoping to excite your students about the arts or a community organization looking for a new outing, an MTC tour is a wonderful group activity.

In addition to details about the physical space, groups are treated to theatre lore. Why do you say break a leg instead of wishing good luck? What happens when you say Macbeth inside a theatre? Why is it considered taboo to whistle? You’ll learn about these superstitions and 18

mar/apr 2012

While we always try to accommodate specific schedule and information requests, tour participants should be aware that some departments may be temporarily inaccessible due to workload and safety reasons. Our backstage area has several flights of stairs so tour groups should be prepared for a complimentary workout! MTC’s knowledgeable staff and volunteers lead tours free of charge. Ideally, we tour groups of 10 to 20 people, but can accommodate larger parties by breaking into smaller groups. The excursion takes 45 to 60 minutes, and needs to be pre-booked with MTC’s Outreach Coordinator at 204-934-0304 or outreach@mtc.mb.ca.

Photo by Tracy Backus

A tour group enjoys a chance to walk the boards of the John Hirsch Mainstage during an MTC facility tour.

STRONGERCOMMUNITIESTOGETHER

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Feb 23, 2012

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Royal Manitoba Theatre Centre Restaurant Partners

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Before Curtain

After Encore

TRE VISI

SENSI

Setting the Stage

Frank Adamson as

Martha Henry as

Brigitte Robinson as

David Warburton as

Violet’s husband and patriarch of the Weston family.

Bev’s wife and matriarch of the Weston family.

Violet’s younger sister, Charlie’s wife, and mother of Little Charles.

Husband of Mattie Fae and father of Little Charles.

Beverly Weston

Steven Ratzlaff as

August: Osage County

Sharon Bajer as

Bill Fordham

Barbara Fordham

Husband of Barbara and father of Jean.

Eldest daughter of Bev and Violet. Wife of Bill and mother of Jean.

Violet Weston

Miriam Smith as

Mattie Fae Aiken

Julia Arkos as

Ivy Weston

Karen Weston

Middle daughter of the Weston family.

Youngest of the three Weston sisters. Engaged to Steve.

Charlie Aiken

Arne MacPherson as

Steve

Heidebrecht Karen’s fiancé.

Robert Glen Thompson as

Little Charles Aiken Son of Mattie Fae and Charlie.

... and not the Westons Samantha Hill as

Jean Fordham Daughter of Bill and Barbara.

mar/apr 2012

The sprawling Weston clan of Osage County, Oklahoma, is tricky to keep track of at the best of times; there are three generations, two sets of sisters, three husbands, one pillpopping matriarch and many dark secrets. This family tree will help identify just who’s who in the household.

Melanie Dean as

Johnna Monevata Bev and Violet’s live-in housekeeper.

Cory Wojcik as

Sheriff Deon Gilbeau Local sheriff.

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Curtain Calls August: Osage County Set & Costume Designer Brian Perchaluk adjusts a figure in his maquette.

Photo by Matthew TenBruggencate

Balancing the Iconic and the Intimate by Matthew TenBruggencate

How do you fit a three-storey house into 13 feet of space? That’s the task designer Brian Perchaluk faced when director Ann Hodges approached him one opening night last year, asking him to design the set (and costumes) for August: Osage County. The original 2007 production featured an onstage, multi-storey house that proved so iconic, subsequent Broadway, touring and international productions have nearly always resurrected it. But the Tom Hendry stage at the Warehouse—the venue for August: Osage County—only has 12 feet 5 inches between floor and I-beam. 24

mar/apr 2012

“At first, we tried to be more naturalistic,” Perchaluk says, “to have more walls, more stairs. We had staircases with eight steps at one point, separating the floors. But a person standing on the top floor of that configuration would have their head in the lighting grid. It felt forced. We just didn’t have the space.” The solution: a more abstract, poetic concept. “Ann and I talked about the ‘Big House’ set design, trying to figure out what statement it made on the family and the generations—what the family used to be. What could we find that could be as important to our production?” Perchaluk kept coming back to the windows. Shuttered in the first two acts, the house’s windows are barriers that keep outsiders from peering in—and the Weston family from looking

August: Osage County out. If windows are the eyes of a house, these eyes are tightly shut, like the absent eyes in T.S. Eliot’s poem “The Hollow Men.” The eyes are not here There are no eyes here In this valley of dying stars In this hollow valley Other poetic sources, referenced by the script, also emerged to help guide Perchaluk’s design, such as John Berryman’s “The Curse.” Only the idiot and the dead Stand by, while who were young before Wage insolent and guilty war By night within that ancient house, Immense, black, damned, anonymous. Perchaluk has tried to weave these colours into his minimalistic set. The windows hang in dark voids. Rooms appear to be near each other, but have a distinct disconnect—a quality Perchaluk lifted from the central family. Tufts of dead, dry grass suggest a desolate, Oklahoma plains beyond the walls. The goal is to suggest a house formerly of substance, diminished by abandonment and neglect. While layering in these stylistic elements, Perchaluk is blunt about his main goal as designer for August: Osage County—functionality. After all, a play with 13 actors using five main acting areas (often simultaneously) requires a very particular arrangement to make logical sense to an audience. And prevent bodies from bouncing off each other. “Most of the energy has been focused into the geography—fitting this play into this space … it hasn’t been frustrating, more a process of refinement,” says Perchaluk.

“It’s such a rich, well-crafted piece, the set just has to function so the story will happen as best it can. I really think the set should be an afterthought—that’s usually how I approach my work. You need to give the actors space to do the play. That’s where the bang for your buck is; it’s not about the set. The poetry is secondary, but it’s simmering there underneath.” Perchaluk’s attitude is backed up by a long resume; this is his 50-ish design for MTC (he says 50-ish after losing count over the years). The Roblin, Manitoba native actually credits MTC with sparking his interest in theatre. As a child, he was deeply impressed by the touring productions the theatre sent to his school, eventually heading to the University of Winnipeg and National Theatre School to launch his career in theatre design. He’s pleased for chances to give back to MTC, particularly on a play as provocative and well-crafted as August: Osage County. “With some plays, it’s an uphill battle and you work and work, but you know the play is going to be a dud. When you’re starting off with a great piece like this—it’s 80 per cent there, in the script. You just need to make sure you support it and don’t screw it up.” Even with a tight playing space, that doesn’t seem likely. Director Ann Hodges sums up the advantages of Perchaluk’s design. “We don’t have the iconic image, but we will place this family drama—this vicious play—20 feet away from the audience. We will, instead of the icon, have intimacy.”

Matthew TenBruggencate is a local actor, director and Creative Communications student who blogs at automattictransmission.blogspot.com.

Photo by Mark Saunders

Perchaluk’s maquette.

Steven Schipper, Artistic Director

Camilla Holland, General Manager

Presents

Tracy Letts March 8 – 24, 2012

Director Set & Costume Designer Lighting Designer Sound Designer Fight Director Dialect & Text Coach Assistant Director Apprentice Director Stage Manager Apprentice Stage Manager

Ann Hodges Brian Perchaluk Larry Isacoff Michael Wright Jacqueline Loewen Shannon Vickers Daria Puttaert Leigh Anne Parry Chris Pearce Jessica Freundl

The Cast (in alphabetical order)

Beverly Weston Karen Weston Barbara Fordham Johnna Monevata Violet Weston Jean Fordham Steve Heidebrecht

Frank Adamson Julia Arkos Sharon Bajer Melanie Dean Martha Henry Samantha Hill Arne MacPherson

Bill Fordham Mattie Fae Aiken Ivy Weston Little Charles Aiken Charlie Aiken Sheriff Deon Gilbeau

Steven Ratzlaff Brigitte Robinson Miriam Smith Robert Glen Thompson David Warburton Cory Wojcik

setting

Place: A large country home outside of Pawhuska, Oklahoma, sixty miles northwest of Tulsa. Time: August 2007. There will be two short intermissions. Generously Sponsored by

August: Osage County Premiered June 2007 at Steppenwolf Theatre Company in Chicago, IL, Martha Lavey, Artistic Director; David Hawkanson, Executive Director Steppenwolf’s Production of August: Osage County opened on Broadway at the imperial theatre on December 4, 2007. It was produced by Jeffrey Richards, Jean Doumanian, Steve Traxler, Jerry Frankel, Ostar Productions, Jennifer Manocherian, The Weinstein Company, Debra Black/Daryl Roth, Ronald & Marc Frankel/Barbara Freitag, and rick steiner/Staton Bell Group. “Lay down Sally” (Eric Clapton, Marcy Levy and George E. Terry) © (Renewed) Throat Music Ltd (PRS) and eric Patrick Clapton (PRS) All rights on behalf of Throat Music Ltd and Eric Patrick Clapton administered by Warner-Tamerlane Publishing Corp. All rights on behalf of Throat Music Ltd administered by WB Music Corp. All Rights Reserved. Used by Permission.

August: Osage County is presented by special arrangement with Dramatists Play Service, Inc., New York. Thank you: Michael Barnes (Wayne State University), Rod Beilfuss, Jim Johnson (accenthelp.com)

mar/apr 2012

ARTISTS

Frank Adamson

Sharon Bajer

Beverly Weston

Barbara Fordham

MTC Mr. Adamson has appeared in 24 shows at MTC, most recently: Grumpy Old Men: The Musical, One Flew Over the Cuckoo’s Nest (with TC), Shakespeare’s Dog (with NAC), Our Town, The School for Wives (with VP), To Kill a Mockingbird (with Citadel), King Lear, The Crucible. OTHER THEATRE Selected: Arsenic and Old Lace, Walsh

(TC); The Trials of Ezra Pound (Stratford); A Delicate Balance, The Wild Guys, The Stone Angel (Persephone); Bat Masterson’s Last Regular Job (Toronto Free); The Norbals, Inquest (PTE); The Seagull (Globe); South Pacific, Brigadoon, Fiddler on the Roof, Annie Get Your Gun (Rainbow). FILM/TV The Lazarus Project, The Big White, Population 436, Something Beneath, Six Figures, Reckless Disregard, My Mother’s Ghost, The Arrow, The Terry Fox Story, Corner Gas, Street Legal and five years on Seeing Things.

MTC Steel Magnolias, Top Girls, Humble Boy, Of Mice and Men, Six Degrees of Separation, Angels in America, Our Country’s Good, Romeo and Juliet (Theatre for Young Audiences production), Les Belles Soeurs. OTHER THEATRE Selected: The Secret Mask, Marion

Bridge, Zadie’s Shoes, Liar, The Edible Woman, Marvin’s Room, Walking on Water, The Stone Angel (PTE); Urinetown, Company (Dry Cold); The Weir (Western Canada Theatre/Belfry); Molly’s Veil, Boeing-Boeing (Festival Antigonish); Dying to Be Thin, The Odyssey, The Secret Garden (MTYP); Going Home (WJT); Generous (Theatre by the River). FILM/TV “Betty”—The Atwood Stories (W Network), Children of My Heart (Alliance/Atlantis), Cowboys and Indians: The J.J. Harper Story (APTN/CBC), Falcon Beach (Global), Shall We Dance? (Miramax), Trucks (USA Network), The Stone Angel (Alliance), Heater (Marble Island Films). TRAINING Graduate of Studio 58. Two seasons at the

Julia Arkos Karen Weston

Stratford Festival in the Michael Langham Workshop for Classical Direction. ET CETERA Sharon has written six plays: Burnin’

Love, Molly’s Veil (PTE); Hersteria (Winnipeg Studio Theatre); To the Country (Winnipegger Ensemble); Scrabble from the Apple (WJT); Jesus Does Laundry Too (TPM). Love to Carson. MTC An Inspector Calls.

Melanie Dean

OTHER THEATRE Julia has worked with: Soulpepper

Theatre Company (Toronto); Kaleidoscope Theatre, Playwrights Theatre Centre, Arts Club, Mothership Collective (Vancouver); MTYP, PTE, WJT, Theatre Projects Manitoba, Manitoba Association of Playwrights (Winnipeg).

Johnna Monevata

TV Credits include: Lucky Christmas, Less Than Kind,

Eureka, Dead Like Me, Deadzone, Tru Calling, The X-Files.

MTC First appearance.

ET CETERA Thank you, Matt, for your support,

OTHER THEATRE The Life of Ruth (MTC play reading);

patience and encouragement!

Stretching Hide (University of Brandon); Twelfth Night, The House of Bernarda Alba (U of W/Gas Station Arts Centre); BBQ (PTE); Picnic (U of W); The Crisis in Oka, Manitoba (Red Roots Theatre). FILM My Winnipeg (Buffalo Gal Pictures). TRAINING University of Winnipeg Theatre

Department, B.A. (Hons.). For a full list of theatre abbreviations, please Refer to legend on page 4

mar/apr 2012

ARTISTS

Martha Henry

Arne MacPherson

Violet Weston

Steve Heidebrecht

MTC A Midsummer Night’s Dream, The Hostage, The Threepenny Opera, Mother Courage, The Lady’s Not for Burning—all for John Hirsch. For Eddie Gilbert: The Three Sisters, Heartbreak House, Hedda Gabler. Under Steven Schipper: Director of The Crucible and King Lear. OTHER THEATRE Member of Stratford Shakespeare

Festival Company 1962-1970, 1973-1980, 1994-2011. Director of Stratford’s Birmingham Conservatory for Classical Theatre. Upcoming: Director of Hedda Gabler, Shaw Festival, 2012. ET CETERA Lifetime member of Actors’ Equity

Association; Governor General’s Performing Arts Award; Order of Ontario; Companion of the Order of Canada.

Samantha Hill Jean Fordham

MTC Mrs. Warren’s Profession, Shakespeare’s Dog (with NAC), King Lear, The Crucible, Our Country’s Good, Transit of Venus (regional tour), Mr. A’s Amazing Maze Plays and Romeo and Juliet (Theatre for Young Audiences productions), An Inspector Calls. Director: The Threepenny Opera (with SIR). OTHER THEATRE Way to Heaven, Talk, The Father

(WJT); Lenin’s Embalmers (WJT/Harold Green Jewish Theatre Company); Iago in Othello, title role in Hamlet, title role in Richard iii, The Merchant of Venice, The Odyssey (SIR); Encore (TPM). Selected directing: Stretching Hide, Cruel and Unusual Punishment, Noble Savage, Savage Noble (TPM); Head, A Midsummer Night’s Dream, The Tempest, Much Ado About Nothing, Macbeth (SIR); eight productions of Robert Munsch stories for PTE. FILM/TV Arne has appeared in more than 25 locally shot film and television projects. TRAINING Graduate of the Bachelor of Fine Arts

(Acting) program at the University of Alberta. ET CETERA Arne’s most cherished theatre experiences

MTC First appearance.

were Candy From a Baby and Molotov Circus, both of which were collaborations with his children Gislina and Solmund, and his partner Debbie Patterson.

OTHER THEATRE Spring Awakening (Winnipeg Studio

Theatre); The Light in the Piazza (Patrick Street Productions); Cats, Beauty and the Beast, Peter Pan (Rainbow); The Light in the Piazza, Nine (Dry Cold); Head (SIR); Savage in Limbo, Nicholas Nickleby (Studio Theatre); Romeo and Juliet (University of Alberta). FILM/TV Closures (City Bird); Bad Meat, Fear Itself (NBC); “Betty”—The Atwood Stories (W Network); The Nature of Nicholas (Nicholas Productions). TRAINING Graduate of the University of Alberta BFA

Acting Program (with distinction) and the U of W BA Theatre Program. ET CETERA Received an Ovation nomination for her

work in The Light in the Piazza with Patrick Street Productions, Vancouver. Love and endless thanks to B.A., my hero. www.samanthahill.ca

Steven Ratzlaff Bill Fordham

MTC It’s a Wonderful Life: A Radio Play, Glengarry Glen Ross, Our Town, The Philadelphia Story (with TC). OTHER THEATRE Lenin’s Embalmers (WJT/Harold

Green Jewish Theatre Company); Essay/The Russian Play, Broken Glass, Einstein’s Gift, Funny Girl, Anne Frank and Me (WJT); Sweeney Todd, The Light in the Piazza, Urinetown (Dry Cold); Last Man in Puntarenas (TPM); Girl in a Goldfish Bowl (PTE/Belfry); Molly’s Veil (PTE). TRAINING University of Winnipeg. ET CETERA Steven’s play Dionysus in Stony Mountain

will be opening soon at Theatre Projects Manitoba.

mar/apr 2012

ARTISTS

Brigitte Robinson

Miriam Smith

Mattie Fae Aiken

Ivy Weston

MTC Marie in Calendar Girls (with Mirvish). OTHER THEATRE Brigitte has performed in more than

MTC Steel Magnolias, Strong Poison, Our Town, The Real Thing, A Christmas Carol, Much Ado About Nothing.

25 productions with the Shaw Festival, including favourites Return of the Prodigal, You Can’t Take It With You, Cavalcade, Marathon 33 and The Importance of Being Earnest. Other selected credits: The Sound of Music (Mirvish); Present Laughter, Blithe Spirit (Citadel); Fallen Angels (Segal); Can’t Pay? Won’t Pay!, Goodnight Disgrace, Talking with …, Sinners (NAC).

OTHER THEATRE Bingo!, Burnin’ Love, Moonlight and

FILM/TV Selected: Murdoch Mysteries, St. Urbain’s

Beach.

Horsemen, Code Breakers, Murder in the Hamptons, Punch and Judy, Switchback (host, CBC Live), Renovation Zone (host, CTV Montreal), Rich Bride, Poor Bride (host, Lifetime).

TEACHING Instructor for PTE School at PTE.

Magnolias, How It Works, Girl in the Goldfish Bowl, Molly’s Veil (PTE); The Father, Broken Glass, Einstein’s Gift (WJT); Urinetown, Assassins (Dry Cold); The Elmwood Visitation (TPM). FILM/TV The L Word, Amreeka, Holiday Switch, Falcon

TRAINING Graduate, University of Ottawa; Cours de

Civilization, La Sorbonne, Paris, France. ET CETERA Brigitte lives in Niagara-on-the-Lake.

She is delighted to be performing again at MTC!

is proud to sponsor the Royal Manitoba theatRe CentRe

production of

ARTISTS

Robert Glen Thompson

Cory Wojcik

Little Charles Aiken

Sheriff Deon Gilbeau

MTC Glengarry Glen Ross.

MTC First appearance.

OTHER THEATRE The Sound of Music (Rainbow);

OTHER THEATRE Strike! – The Musical (Danny Schur);

The Merry Wives of Windsor, Romeo and Juliet (SIR); Pariah, After Magritte, The Dumb Waiter, The Resistible Rise of Arturo Ui (MTC Master Playwright Festivals); A Prairie Boy’s Winter, A Whole Buncha Munsch, Love You Forever & More (PTE); November, The Diary of Anne Frank (WJT). FILM/TV Amreeka, ATM, Wrong Turn 4, For the Moment,

The Arrow, The Saddest Music in the World, A Bear Named Winnie. ET CETERA Up next: Exeter in Henry v with SIR.

David Warburton Charlie Aiken

MTC Strong Poison, Pride and Prejudice, Shakespeare’s Dog (with NAC), The Importance of Being Earnest, The Tempest, A Christmas Carol, The Dresser, My Fair Lady, Feelgood (with GCTC), Richard iii, The School for Wives (with VP), King Lear, The Crucible, Travels with My Aunt, Season’s Greetings, Henceforward (with TC), A Midsummer Night’s Dream, Lips Together Teeth Apart (with Belfry). OTHER THEATRE Favourites include: Falstaff in Henry

iv Parts 1 and 2 (SIR); Max in Where the Wild Things Are (MTYP); Frosch in Die Fledermaus (Manitoba Opera); Fagin in Oliver Twist (ATP); Michael in Someone Who’ll Watch Over Me (PTE); The Stone Angel (NAC); The White Knight in Alice Through the Looking Glass (Stratford).

Good News, The Wizard of Oz, Peter Pan (Rainbow); A Midsummer Night’s Dream, Head (SIR); Urinetown (Dry Cold); November (WJT). FILM/TV Mad Ship, Keep Your Head Up, Kid: The Don Cherry Story, Wild Cherry, Less Than Kind. TRAINING University of Winnipeg Department of

Theatre & Film, University of Manitoba Faculty of Education. ET CETERA Cory is the head of the drama department

at the new Nelson McIntyre Collegiate Arts Education Studio. Lots of love to his family!

Tracy Letts Playwright Tracy Letts is the author of the plays Killer Joe and Man from Nebraska (named one of Time Magazine’s Top Ten Plays of 2003). He is an ensemble member of the Steppenwolf Theatre Company. His appearances there include Homebody/Kabul, The Dazzle, Glengarry Glen Ross, Three Days of Rain and Picasso at the Lapin Agile. Film appearances include Guinevere, U.S. Marshals and Chicago Cab. TV appearances include The District, Profiler, The Drew Carey Show, Home Improvement and Seinfeld. Tracy made his directing debut at the Lookingglass Theatre with Glen Berger’s play Great Men of Science Nos. 21 & 22.

Ann Hodges Director

FILM/TV Children’s Ward, In Suspicious Circumstances, Home Movies, Crimestrike, For the Moment. TRAINING The Rose Bruford College of Speech

and Drama.

MTC Top Girls, Jitters, Our Country’s Good. OTHER THEATRE The December Man, Moonlight and

Magnolias, Marion Bridge, The Rez Sisters, Speak, Painting Churches (PTE); Urinetown—SATAward for Outstanding Production, Quarry, Beauty and the Beast, Strike! (Persephone); Encore (TPM); Anne (Neptune);

mar/apr 2012

ARTISTS Urinetown (Dry Cold); Idomeneo (Pacific Opera); Madama Butterfly, Die Fledermaus, L’elisir d’amore (The Elixir of Love) (Manitoba Opera); Twelfth Night, A Midsummer Night’s Dream, Romeo and Juliet, Macbeth (SIR). Upcoming: La fille du régiment (The Daughter of the Regiment) (Manitoba Opera); Ariodante (Calgary Opera); The Lonely Diner (Blyth).

Larry Isacoff Lighting Designer

TRAINING Graduate, National Theatre School and

University of Winnipeg. One of 10 international directors invited to participate in a workshop with Peter Brook at the National Theatre in London. ET CETERA Ann has written numerous translations

and libretti for opera companies, including the acclaimed Naomi’s Road for Vancouver Opera, to be presented again in the 2012/13 season.

MTC The Fighting Days, The Shunning, The Seafarer, Looking Back – West, Bleeding Hearts, Rope’s End, The Retreat from Moscow, Fully Committed, Mating Dance of the Werewolf, The Miracle Worker, Cloud Nine, Bedroom Farce, How I Got That Story, The Affections of May, Mrs. Klein, The Gin Game, Paper Wheat. OTHER THEATRE Globe Theatre, 25th Street Theatre,

Winnipeg’s Contemporary Dancers, PTE, MTYP.

Brian Perchaluk

ET CETERA Larry divides his time between engaging

Set & Costume Designer

theatre projects and teaching yoga.

Michael Wright Sound Designer MTC More than 40 productions, including recent and favourites: The Fighting Days, The Shunning, After Miss Julie, Steel Magnolias (2010), Educating Rita, The Boys in the Photograph (with Mirvish), Pride and Prejudice, Shakespeare’s Dog (with NAC), Our Town, Trying, My Fair Lady, The Lonesome West, To Kill a Mockingbird (with Citadel), Patience, Quills, Travels with My Aunt, Picasso at the Lapin Agile, Oleanna, M. Butterfly (with NAC), Morning’s at Seven, A Midsummer Night’s Dream, Filthy Rich. OTHER THEATRE Brian’s work has been featured at

theatres across the country, including two seasons each at the Shaw and Stratford festivals. Selected recent credits include: Vimy (NAC/GCTC); To Kill a Mockingbird (TC); The Secret Mask, Burnin’ Love, The Savannah Disputation (PTE); Sweeney Todd, The Light in the Piazza (Dry Cold); King Lear, Fidelio (Atlantic Ballet Theatre of Canada); The Moonlight Sonata of Beethoven Blatz (TPM); Spring Awakening (Winnipeg Studio Theatre); Les Disparus (Theatre Vice Versa Theatre).

MTC The Fighting Days, Romeo and Juliet, The Seafarer, Looking Back – West, Top Girls, Rope’s End, Fully Committed, The Last Five Years, The Beauty Queen of Leenane, Cherry Docs. OTHER THEATRE North Main Gothic, The Monster

Trilogy, The Elmwood Visitation, Age of Arousal (TPM); Everything is Coming Up Roses (Gearshifting Performance Works); Mmm Munsch, Something Drastic, Puppet Munsch (PTE); Macbeth (SIR); The Designated Mourner (Persona Theatre); Hedwig and the Angry Inch (Winnipeg Fringe Theatre Festival); Hedwig and the Angry Inch Atrocity Tour 2004 (Rose Tinted Productions, UK). FILM The Last Harvest, Métis, Métis Not, Dead Mothers Kitchen Floors. ET CETERA Michael is active in the music world with

over two dozen album credits. He lives in Winnipeg with his partner Arlea and is a member of iatse 63.

TRAINING Brian is a graduate of the National Theatre

School and the University of Winnipeg. ET CETERA Brian has received a Gemini Award for

outstanding production design and Jessie Richardson and Prix Rideau awards for outstanding set design. He is a member of the Associated Designers of Canada.

mar/apr 2012

ARTISTS

Jacqueline Loewen

Daria Puttaert

Fight Director

Assistant Director

MTC Fight Director: Romeo and Juliet, The Seafarer. Actor: Top Girls. OTHER THEATRE Selected fight directing: Tosca, Carmen

(Manitoba Opera); Macbeth, The Merry Wives of Windsor, The Taming of the Shrew (SIR); All Restaurant Fires Are Arson (PTE).

MTC Actor: The Fighting Days, The Shunning, Top Girls, Pride and Prejudice, Shakespeare’s Dog (with NAC), The Tempest, A Christmas Carol. OTHER THEATRE Actor: The Moonlight Sonata of

TEACHING Jacqueline has taught stage combat at MTYP and PTE, and assistant taught at the U of W.

Beethoven Blatz, Stretching Hide (TPM); Strawberries in January, Unity (1918) (PTE); Honour (PTE/Belfry); Troilus and Cressida, Measure for Measure (Tom-Tom Theatre); To the Country (Winnipegger Ensemble); Stripped-Down Hamlet (SIR).

ET CETERA Jacqueline is very pleased to be working

FILM Zooey and Adam (Bed Bug Films).

with both MTC and such fine performers.

TRAINING Graduate of the National Theatre School

and the University of Winnipeg.

Shannon Vickers Dialect & Text Coach

ET CETERA Love to Jamie.

Leigh Anne Parry Apprentice Director

MTC Mrs. Warren’s Profession, Steel Magnolias, Top Girls. OTHER THEATRE Voice/Text/Dialect Coaching:

Village Wooing (zone41 theatre); Bingo! (PTE); The Moonlight Sonata of Beethoven Blatz (TPM); BanffCitadel Professional Theatre Program (2011); The Merry Wives of Windsor (SIR); Fen (Sarasvàti Productions); A Midsummer Night’s Dream (CS).

MTC Assistant Stage Manager: Summer of My Amazing Luck.

TRAINING Shannon earned an MFA in Theatre Voice

TRAINING Currently working on a BA Honours in

Pedagogy at the University of Alberta. She is working towards certification in Knight-Thompson Speech and Accent Work. ET CETERA Shannon teaches Voice, Speech and

Text for the University of Winnipeg’s Department of Theatre and Film, where she also coaches student productions. She is the Director of Membership for vasta (Voice and Speech Trainers Association).

OTHER THEATRE Apprentice Director: Bedbug

(Adhere And Deny). Stage Manager: Oedipus Rex (Theatre by the River). Directing at the University of Winnipeg. ET CETERA A big thank you to Ann Hodges and Arts

and Cultural Industries of Manitoba for this directing mentorship.

Chris Pearce Stage Manager

MTC Selected: Seventeen productions at the Mainstage including, most recently, Romeo and Juliet; seven productions at the Warehouse. OTHER THEATRE Three Sisters (zone41 theatre); Car-

men (Manitoba Opera); The December Man, Where

mar/apr 2012

ARTISTS the Blood Mixes (PTE); The Light in the Piazza (Dry Cold); Kindness (MTYP). ET CETERA Three seasons at the Edinburgh Fringe.

TRAINING Jessica is a graduate of the U of W Depart-

ment of Theatre and Film, majoring in Stage Management and Production.

Seasons at the Stratford, Shaw and Charlottetown festivals. In his free time, Chris volunteers at Save Our Seine and trees Winnipeg.

Jessica Freundl Apprentice Stage Manager Production Sponsor

MTC Grumpy Old Men: The Musical, The 39 Steps,

White Christmas, Looking Back – West. OTHER THEATRE Hairspray (Rainbow); Henry iv Parts 1

and 2 (SIR); King’s Park (Moving Target Theatre Company); The Father (WJT); Lenin’s Embalmers (WJT/ Harold Green Jewish Theatre Company); Kayak (Sarasvàti Productions’ FemFest); Juliet and Romeo, Doctor Faustus: A Fantasy, Pericles: Prince of Tyre, The Distance from Here (U of W); Saint Joan, The Bush Ladies (Theatre by the River); Patience, The Pirates of Penzance (Gilbert & Sullivan Society of Winnipeg).

The Asper Foundation is a private philanthropic organization that undertakes and develops initiatives in the areas of culture, education, community development and human rights in Winnipeg and Israel. It is the founding member of a consortium that spearheaded the establishment of the Canadian Museum for Human Rights as a Canadian National Museum in 2008.

LP013_Lawton_Violin_ad_noTag_4.75 x3.75:Layout 1 11/03/2009 9:24 AM Page 1

tewardship Stewardship is an important cause for Lawton Partners and we proudly support charities and programs that help improve the quality of life in Manitoba. www.lawtonpartners.ca

Corporate G iving

The Royal Manitoba Theatre Centre has a legacy of balanced budgets and fiscal responsibility, thanks in large part to the ongoing generosity of individual donors and the significant support of the corporate community. Needless to say, these partnerships are important to the work we do onstage and behind the scenes. All great cities—thriving cities—have a vital arts community with significant artistic capital: a solid and growing core of entrepreneurs, artists and arts organizations in the business of producing new ideas and, of course, wonderful live theatre! A strong arts community reflects the health of a city’s economy and provides an indication of its quality of life. Both indicators are key in attracting and keeping professionals and businesses in Winnipeg, where the arts and creative industries contribute $1 billion in economic activity and employ more than 25,000 workers. Each year, MTC employs an average of 450 individuals who bring high-quality theatre to Manitoba audiences at affordable prices. Winnipeg’s corporate community contributes to MTC through donations and sponsorships. Corporate sponsorships support a highly valued arts organization while allowing businesses to reach more than 300,000 patrons each year. In addition to this tremendous visibility, MTC’s comprehensive recognition package provides sponsors with opportunities for corporate hospitality—a fantastic way to entertain clients and customers.

One proud sponsor and long-time supporter is law firm Thompson Dorfman Sweatman LLP. “TDS sponsors MTC as a way for us to support the arts in Winnipeg,” said general manager David Bailey. “TDS is celebrating its 125th anniversary in 2012 and its lawyers have always believed in giving back to the community. “The sponsorship also allows us to entertain major clients of the firm and to solidify our relationship with that client. MTC has always provided quality plays and our clients thoroughly enjoy their evening at MTC with our firm,” added Bailey. “MTC’s facility for entertaining clients, the Cargill Boardroom, is a very nice facility and the right size for entertaining a large number of clients.” In addition to sponsorship opportunities, corporate donations allow a company to take advantage of a variety of donor benefits, such as the popular corporate subscription. With a corporate donation of $600, employees receive the best deal in town—an incredibly low price for a season of amazing theatre. A $600 gift also entitles four employees to attend a working rehearsal, a private backstage tour for 10 guests and acknowledgement in three issues of Ovation.

Please contact Kristine Betker, Director of Fund Development, at 204-934-0305 to make your corporate gift or to discuss sponsorship opportunities at MTC.

Len Cariou in the 2007 John Hirsch Mainstage production of Our Town.

mar/apr 2012

len cariou photo by Odyssey Photography. Background photo by grajewski fotograph inc.

www.pwc.com/ca

Everyone loves a mystery PwC applauds the Royal Manitoba Theatre Centre and the Manitoba Bar Association for bringing us The Mousetrap, and reminds the audience not to reveal the identity of the killer. A good mystery never goes out of style.

MOUSETRAP

© 2012 PricewaterhouseCoopers LLP. All rights reserved. In this document, “PwC” refers to PricewaterhouseCoopers LLP, an Ontario limited liability partnership, which is a member ﬁrm of PricewaterhouseCoopers International Limited, each member ﬁrm of which is a separate legal entity. 1535-01

The ROYAL MAniTObA TheATRe CenTRe And The MAniTObA bAR AssOCiATiOn pResenT The 2012 COMMuniTY pLAY

the

by AgAthA Christie

DireCteD by

steven sChipper

“One Of the mOst skillfully written murder mysteries ever prOduced” – New York Times

May 2 – 5, 2012 Tom Hendry WareHouse | 7:30 pm curTain

TickeTs $95 On sale nOW!

Call 942-6537 CliCk www.mtc.mb.ca/mousetrap GeNerouslY spoNsored bY:

spoNsors:

Doowah Design inc. Client: MTC Job no: 2225 insertion: January 18, 2012 MTC Mousetrap ad - Ovation / CMYk / 4.75”x3.75”

desiGN spoNsor:

Proceeds from this fundraising Play benefit the royal manitoba theatre centre and its Programs.

We need YOUR

SUPPORT. dOnate tOdaY! MTC relies on the generosity of donors and friends to help produce great theatre at accessible prices.

gifT today!

donate online at

www.mtc.mb.ca or call 956-1340 today!

L-R Fiona Reid as Chris and Fiona Highet as Annie in Calendar Girls. Photo by Bruce Monk.

Make your

Supporting Partners

MTC expresses sincere thanks to our major corporate and government sponsors. Black

SEASON PARTNERS |

CMYK

John Hirsch Mainstage |

Production co-Sponsors

Gail Asper

Tom Hendry Warehouse | production sponsors

Deborah Gray

and the late

Babs Asper

Deborah Gray

Pantone

John Hirsch Mainstage | Performance SPONSORS

theatre for young | audiences

wordplay |

| BACKSTAGEâ&#x20AC;&#x2C6;PASS: THEATRE | perspectives for STUDENTS

S T R O N G E R C O M M U N I T I E S T O G E T H E R TM

regional tour |

black & white |

Community play |

Talkbacks |

Design Sponsor |

Gala Ball

2011

winnipeg fringe theatre festival |

Exchange The

DISTRI CT

ShawFest 2012 |

media sponsors |

S T R O N G E R C O M M U N I T I E S T O G E T H E R TM

mar/apr 2012

Behind the scen es Honorary Members

Accounting/Finance

Patron Services Office

His Honour, Lt. Governor Philip S. Lee The Honourable Greg Selinger, Premier of Manitoba His Worship, Mayor Sam Katz

Sharon Burden, Accounting Yvonne O’Connor, Accounting Shelley Stroski, Controller

Executive Officers

Administration

Gary Hannaford, FCA, Chair Kerry Dangerfield, chair-elect/

Brian Adolph, IT Manager Zaz Bajon, General Manager Emeritus Natascha Hainsworth, outreach coordinator Camilla Holland, General Manager Daphne MacMillan, Administrative Secretary Debbie Neufeld, Reception/Marketing Assistant Alan Waite, Assistant General Manager

Laurie Fletcher, Patron Services Office Manager Melanie Sexton, Ticketing Services Director Jennifer Skelly, Tessitura Application Coordinator Patron Services Representatives: Katie Adamson, Sheena Baird, Alison Derksen, Natercia Doucet, Anna-Laure Koop, Victoria Popp, Michaela Porter, Jessica Ross

chair, community relations

Patrick Green, Treasurer/ Chair, Organizational Performance David Carefoot, Assistant Treasurer Anthony C. Fletcher, Secretary Robert Eastwood, chair, resource development Jim McLandress, Chair, Governance & Strategic Planning

Trustees David Atkins Brenlee Carrington Trepel David Christie Derrick Coupland Sandy Gousseau Jeff Lamothe Bruce Leslie Michelle Weinberg Rick Workman Richard L. Yaffe Brenda Zaporzan

Advisory Council Gerry Couture, Chair Gail Asper Morley Blankstein Doneta Brotchie Angus Campbell Hy Dashevsky Glen Dyrda, FCA John F. Fraser Jean Giguere Charron Hamilton Yude Henteleff Ken Houssin Gordon Keatch Colin R. MacArthur, QC Patrick J. Matthews Claire W. Miller Jeffrey Morton, FCA Hon. Jack Murta Lillian Neaman Shelley Nimchonok Andrew Ogaranko, QC James Pappas John Petersmeyer Lawrence Prout Jeff Quinton Patricia Rabson Margaret Redmond Susan Skinner Al Snyder Maureen Watchorn

mar/apr 2012

Artistic Jeff Kennedy, Wordplay Coordinator Laurie Lam, Producer Robb Paterson, Associate Artistic Director Steven Schipper, Artistic Director Melinda Tallin, Artistic Coordinator

Carpentry Louis Gagné, Layout Carpenter Brent Letain, Master Carpenter Chris Seida, Scenic Carpenter Lloyd Thomas, Carpenter

Communications Sue Caughlin, Marketing & Communications Manager Doowah Design, Design Bruce Monk, Photographer Brent Phillips, Director of Marketing & Communications Mark Saunders, Marketing & Communications Coordinator Teri Stevens, Publicist & online media coordinator

Development Kristine Betker, Director of Fund Development Garth Johnson, Major, individual & planned Giving Officer Michael Joyal, Development Assistant Stephanie Lambert, Special & Donor Events Coordinator

John Hirsch Theatre Front-of-House Deborah Gay-de Vries, Front-of-House Manager Sheena Baird, Assistant House Manager Kim Cossette, Assistant House Manager Jamie Chapman, Curtis Hainsworth, Jonny Hall, Elfie Harvey, Kelsey Johnson, Sherri Kostecki, Tia Levine, Robyn Milligan, Rachael Neal, Jessica Olson, Kayla Parke-Wilson, Amariah Peterson, Angela Rajfur, Caroline Shields, Cristin Sinclair, Kevin Stroski, Phyllis Van Drunen, Rita Vande Vyvere, Chelsea Zacharias, Derek Zorniak

Maintenance Andrew Drinnan, Building Superintendent Chris Fletcher, Assistant Building Superintendent

Paint Susan Groff, Head Scenic Artist Lawrence Van Went, Scenic Artist

Production Laura Enns, Bookkeeper/Assistant Ian Kirk, Assistant Technical Director/Tour technical director Laura Lindeblom, Assistant Production Manager Rick MacPherson, Technical Director, Tom Hendry Theatre Russell Martin, Production Manager Benjamin Ross, Technical Director, John Hirsch Theatre Robert Smith, interim assistant technical director

Properties Peter Baureiss, Properties Builder/Buyer Larry Demedash, Senior Properties Builder Kari Hagness, Head of Properties Cari Simpson, Apprentice Properties Builder James Sutherland, Properties Builder

Stage Crew Beverly Covert, Wigs & Makeup Supervisor Hart Greenberg, Head Carpenter Joan Lees-Miller, Head of Wardrobe Claude Robert, Head Electrician John Tomiuk, House Stage Hand Michael Wright, Head of Sound

Tele-Sales Representative Sandra Rubin

Tom Hendry Theatre Randy Harder, Head Electrician Rick MacPherson, Technical Director Alison Nutt, Head Carpenter Burkhard Weiss, Carpenter Greg Wood, Head of Sound Michael Wright, Head of Sound Brenda Zachanowich, Stage Hand

Tom Hendry Theatre Front-of-House Kim Cossette, Front-of-House Manager Scott Tweedy, Assistant House Manager Phyllis Hildebrand, Tia Levine, Pam Neal, Cristin Sinclair, Chelsea Zacharias

Wardrobe Thora Lamont, Cutter Barb Mackenzie, Sewer Lorraine O’Leary, Head of Wardrobe Lois Powne, First Hand Jackie Van Winkle, Buyer/Accessories

Winnipeg Fringe Theatre Festival & Master Playwright Festival Samantha Harrison, Festival Assistant Chuck McEwen, Executive Producer Rob Ring, Interim Festival Director

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