Northen Light Theatre - 2017/18 Season

2017 — 2018

season

THE TESTAMENT OF MARY DO THIS IN MEMORY OF ME SLUT № 42

NORTHERN LIGHT THEATRE WOULD LIKE TO THANK OUR GENEROUS 2017/2018 SPONSORS & SUPPORTERS

Northern Light Theatre 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.

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DIRECTOR’S NOTES

SISTER, SISTER

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SEANCE (ANXIETY)

NORTHERN LIGHT THE ATRE

BONNIE & CLYDE

“S

ecrets, Anxiety and Untimely Death” was the title of our 41st season of edgy, challenging works for loyal Edmonton audiences like you.

Three widely varied productions shared the themes of dangerous secrets, violence, and the looming threat of inevitable death. SISTER, SISTER was an intimate battle between skewed sisters haunted by their shared past. SEANCE was part of a large-scale interactive installation entitled ANXIETY

by Theatre Yes in collaboration with six other theatre companies from across the nation. And we closed the season with BONNIE & CLYDE: The Two Person, Six Gun Musical about two infamous romantic criminals on the run.

Our 42nd season – “The Virgin, The Whore, and Something In 2 0 17-2 0 18 S E A S O N P R O G R A M

Between” – looks to be just as exciting and controversial.

The Madonna-Whore complex, first identified by Sigmund Freud, is said to develop in men who see women as either saintly Madonnas or debased prostitutes. In sexual politics, the view of women as either Madonnas or whores limits women’s sexual expression, offering two mutually exclusive ways to construct a sexual identity.

While our season title is tongue-in-cheek, it does offer a clever umbrella overview under which to gather three plays that explore women’s identities in regards to sexuality, religion, and the Christian/Catholic morality of the society in which they have been raised.

Our first play deals directly with the Virgin Mary. The season closes with a woman who has been publicly branded a “SLUT” for embracing her rapacious libido. And the brand new world premiere play “in-between” concerns a young girl and her attempt to break gender stereotypes and still embrace God in a repressed Catholic household in Montreal, circa 1963.

We thank you for your continued support of local theatre, and look forward to seeing you – and engaging in the inevitable discussions that these plays produce ...

Sincerely, TREVOR SCHMIDT Artistic Director Northern Light Theatre

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SUBSCRIBE TO NLT SOCIAL MEDIA It is not too late to subscribe to NLT! Missed out? Looking for special gift? NLT offers a mid-season subscription pass, available through to March 23, 2018.

For details and tickets, visit www.northernlighttheatre.com

MID-SEASON SUBSCRIPTION PRICES

Preview $20.00 Adult $35.00 Student/Senior $25.00 (Prices do not include GST)

www.facebook.com/ pages/NorthernLightTheatre ca.linked.com/in/NorthernLightTheatre @NLTEdmonton @northernlighttheatre Sign up at www.northernlighttheatre.com

SUBSCRIBER PERKS

Preferred Seating: Subscribers get first dibs on the best seats in the house. Simply call our office to book your seats in advance, no need to wait in line for front row seats!

Bring a guest: We want to meet your friends. NLT subscribers get a complimentary ticket to one of the shows in our 2017-2018 season so they can bring a date to share the play.

Meet our friends: NLT subscribers receive 50% off their single ticket purchase to any show in L’UniThéâtre’s upcoming 2017-2018 season. www.lunitheatre.ca Exclusive to NLT Subscribers!

Don’t miss out on special draws, prizes, and one time offers that are only available to NLT subscribers.

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NORTHERN LIGHT THE ATRE

2017–2018

THE SMALL GLORIES PHOTO BY MARC J CHALIFOUX PHOTOGRAPHY

nashville hurricaneE THURSDAY, NOVEMBER 2

michael bernard fitzgerald FRIDAY, DECEMBER 15

the east pointersS SATURDAY, MARCH 3

birds of chicago FRIDAY, NOVEMBER 3

calvin vollrathL THURSDAY, JANUARY 11

lindi ortegaTEGA FRIDAY, MARCH 16

alex*cubaA SATURDAY, NOVEMBER 4

lisa loebEB FRIDAY, JANUARY 12

kobo town THURSDAY, MARCH 29

bobs & lolo SUNDAY, NOVEMBER 5

magic pirate ship Starring

fortunate onesES FRIDAY, APRIL 13

vishtèn THURSDAY, NOVEMBER 9

THURSDAY, FEBRUARY 1

amanda lindhoutT FRIDAY, APRIL 20

jadea kelly and sweet alibi FRIDAY, NOVEMBER 10 william princeCE THURSDAY, DECEMBER 7 the ennis sisters FRIDAY, DECEMBER 8

the purple pirateE

frank warren SATURDAY, FEBRUARY 3 morton the magician in: ta da!

Created by Sheldon Casavant SATURDAY, FEBRUARY 17 josh ritter FRIDAY, FEBRUARY 23 & SATURDAY, FEBRUARY 24

kamikaze firefliesES SATURDAY, APRIL 21 beth portman and the good find TUESDAY, APRIL 24

music - theatre - speaker - family - matineeE

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The Arden Theatre Box Office 780-459-1542 • ardentheatre.com

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NLT thanks RGE RD for their ongoing support of live theatre

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Alberta Premiere

NORTHERN LIGHT THEATRE PRESENTS

THE TESTAMENT OF MARY

BY COLM TÓIBÍN

OCT 27–NOV 04 STUDIO THEATRE ATB FINANCIAL ARTS BARNS 10330 - 84 AVENUE 7:30pm Nightly 2:00pm Sunday Matinée

PREVIEW OCT 26

TICKETS

$25 Student/Senior, $30 Adult, $20 Sunday Matinee (prices do not include GST) Available at the door, 780-471-1586, and www.northernlighttheatre.com

They want what happened to live forever.

What is being written down they say will change the world. … All my life when I have seen more than two men together I have seen foolishness and I have seen cruelty.”

HOLLY TURNER Mary

TREVOR SCHMIDT Director, Set & Costume Designer

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Originally produced on Broadway by Scott Rudin Productions.

Commissioned by Dublin Theatre Festival and Landmark Productions with the support of Irish Theatre Trust.

JENNIFER BEST Stage Manager

ADAM TSUYOSHI TURNBULL Production Manager & Lighting Designer 11

PLAYWRIGHT COLM TÓIBÍN 12

Photo credit: David White/NZ Listener/REX

T

he Testament of Mary began as a short novel by Irish writer Colm Tóibín. The book was published on November 13, 2012 and it was on the shortlist for the 2013 Man Booker Prize.

The Huffington Post commented favourably on Tóibín’s attempts to humanise Mary, saying: “The Testament of Mary is a reminder that Jesus indeed had a mother, and she was nobody’s fool.” Tóibín first produced the book as a monologue for the 2011 Dublin Theatre Festival, under the name of Testament. In April 2013, ‘The Testament of Mary’ opened on Broadway with Fiona Shaw, directed by Deborah Warner and was nominated for a Tony Award for Best New Play. It has also been released as an audio book with Meryl Streep.

Tóibín says he knew, even as he was writing the book, that he was creating a controversial figure. “I realized that, sometime when I was working, that I was

breaking glass,” he says. “And yes, I was aware that the figure speaking was not the mild woman of the paintings, the imploring and very yielding woman that you see at the foot of the cross or that you hear about in the Gospels; that she was somebody who was deeply traumatized and very angry, and also sharp and also intelligent and also ready to defend herself if necessary.”

When the American Society for the Defense of Tradition, Family and Property protested at the first preview of the play and again at its opening, asserting the depiction of Mary in the play as blasphemous, the producers issued a statement which read, in part: “The Testament of Mary explores, in a very serious way, something that matters deeply to us all. It is neither anti-Mary nor antiChristianity, but rather a portrait of a very human woman- a mother- who is trying to make sense of and come to terms with the tragic death of her son... let the work speak for itself”.

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Would like this to be the old page 14

COMING IN 2018-2019

THE CARDIAC F SHADOW

BY CLAY McLEOD CHAPMAN CO-PRODUCED WITH

our women were procured from the Ravensbruck concentration camp, hand-selected by SS Second Lieutenant Dr. Sigmund Rascher, Air Force physician, and “volunteered” for a series of experiments that would eventually come to be known as the Cold Conference — tests specifically designed to determine the endurance of the human body to extreme temperatures. Where does the human spirit go when the body must remain behind, frozen inside an atrocity?

SALON EVENTS Northern Light Theatre is pleased to bring back our Salon-Styled Events SUNDAY AFTERNOON DIRECTOR’S CIRCLE

Preshow, 1:00pm, Studio A, FTA

The Director’s Circle provides an exclusive insider’s view beyond the curtain. Join Artistic Director Trevor Schmidt as he takes you through the ins and outs of each play, from discovering the script to the fully realized production.

THE TESTAMENT OF MARY Sunday, October 29 DO THIS IN MEMORY OF ME* Sunday, March 18 SLUT Sunday, April 8

GUEST SPEAKER SALON

Post Show, Studio Theatre, FTA Facilitated by Cristina Stasia and with our expert guest speakers, our Salon Event offers a thought provoking post-show discussion and exploration of the themes raised in each play.

TESTAMENT OF MARY Wednesday, November 1 DO THIS IN MEMORY OF ME* Friday, March 23 SLUT Wednesday, April 11

THURSDAY NIGHT TALK BACK** Post Show, Studio Theatre, FTA

Meet the Actors and other members of the creative team in this post show Q & A. THE TESTAMENT OF MARY Thursday, November 2 SLUT Thursday, April 12 * at La Cité Francophone ** There will not be a Talk Back for Do This In Memory Of Me 14

Dr. Cristina Stasia is an award-winning university lecturer and the Director of Instruction at the Peter Lougheed Leadership College. She received her Ph.D. in English from Syracuse University, where she specialized in film and feminist theory.

In recognition of her teaching excellence and innovative pedagogy in the Faculty of Arts, she received the William Hardy Award for Excellence in University Teaching and, via the Last Lecture competition, was voted by students as one of the top three most inspiring instructors at the University of Alberta. Her commitment to experiential learning and putting theory into practice via community engagement lead to being recognized as one of Edmonton’s “Top 40 Under 40” by Avenue magazine, and as a YWCA Woman of Distinction nominee in the Educator category. Cristina is founder and chief consultant of Level Consulting; as a gender equity consultant she has worked with the City of Edmonton, provincial ministries, private businesses, and community groups to address equity gaps in policy and best practices. She is the founder and chair of AIM (Accessing Information not Myths), which led the changes to sex education and consent education in Edmonton Public schools. She also serves on the City of Edmonton WAVE (Women’s Advocacy Voices of Edmonton), where she chairs the policy committee.

NORTHERN LIGHT THE ATRE

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The best seat in the house could be your bed.

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Reserve online at metterra.com Rooms starting from $180/night 10454 82 Ave NW, Edmonton, AB @MetterraHotel

Edmonton’s only professional French theatre company

2017-2018 Season bibish de kinshasa (Hotel-Motel Productions, Québec)

by Marie-Louise Bibish Mumbu Adapted by Philippe Ducros English Surtitles October 18—21 LES Neiges

by Michel Garneau Community Production No Surtitles December 7—10 tempus extraordinarius (Théâtre Fools & Feathers, Paris)

by Sophie Brech and Louis Fortier English Surtitles February 7—10 En MÉMOire de moi Do this in Memory of Me Coproduction with Northern Light Theatre

by Cat Walsh April 13—25 Alternating French/English performances

Tickets, showtimes, and more at lunitheatre.ca Theatre of La Cité francophone — 8627 91 Street, Edmonton

EMERGING ARTISTS & MENTORSHIP NLT remains committed to new and emerging talent. This year we are pleased to welcome Ava Bishop (Western Canada High School), Everett Sokol (Red Deer College Motion Picture Arts), and Jake Tkaczyk (University of Alberta, BFA Drama) as assistant directors throughout the season.

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JAKE TKACZYK

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DIVERSITY & NLT The service of NLT to our community is driven by a few specific interests agreed upon by artists, staff, administrators, and board; the further representation of women on our stages, diversity in casting, the showcasing of new and emerging artists, new (local) play development, mentorship opportunities, and our student internship program.

We believe that our theatre should look like our city, and that by offering unique opportunities to new talent, we show that we consider these relationships important investments in the future of NLT.

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World Premiere NORTHERN LIGHT THEATRE PRESENTS

DO THIS IN MEMORY OF ME /

EN MÉMOIRE DE MOI

BY CAT WALSH

A NORTHERN LIGHT THEATRE & L’UNITHÉÂTRE PRODUCTION

MAR 15–MAR 25 PREVIEW MAR 13

LA CITÉ FRANCOPHONE 8627-91 STREET

TICKETS

7:30pm Tue, Mar 13 | Thu Mar 15 | Sun, Mar 18

$25 Student/Senior, $30 Adult, $20 Sunday Matinee (prices do not include GST)

2:00pm Sun, Mar 18 | Sun, Mar 25

Available at the door, 780-471-1586, and www.northernlighttheatre.com

Tue, Mar 20 | Fri, Mar 23 | Sun, Mar 25

“Okay. Dear Lord, if this is a sign, and I’m sure it isn’t a sign, please make sure Martin is okay? Even if he is annoying sometimes, well most of the time, I didn’t want him to… to be kidnapped or lost or anything. I didn’t want any harm to come to him. Besides you wouldn’t harm another kid to answer my prayers… would you?”

Do This In Memory of Me was written with the financial support of the Edmonton Arts Council and workshopped through the 2016 Citadel Playwrights’ Forum.

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NICOLE ST. MARTIN Genevieve

BRIAN DOOLEY Father Paul, Genevieve’s Father

STEVE JODOIN Martin Theriault, St. Pancras of Rome

TREVOR SCHMIDT Director, Set & Costume Designer

KIIDRA DUHAULT Stage Manager

ADAM TSUYOSHI TURNBULL Lighting Designer

DARRIN HAGEN Composer / Sound Designer

MATT SCHUURMAN Multimedia Designer

MANON BEAUDOIN French Translation NORTHERN LIGHT THE ATRE

PLAYWRIGHT CAT WALSH

I

was really excited to write something that would be presented in two languages-- I attended a bilingual theatre program at Ottawa U, and I was always very fascinated by the difference in styles and approaches. So I tried to think about an idea and a setting that would be resonant in both languages, but perhaps a little differently in each one.

The initial idea for the play was taken from my own childhood, when I really wanted to be an altar server but couldn’t because girls weren’t allowed to at our church. Even though this was in the 80’s, I guess our parish was old school about that. When I was younger I was also really captivated by the supernatural

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aspects of the church-- visions, healings, miracles-- and the more gruesome things like incorruptible bodies and stigmata. For someone like me with a big imagination, the idea that God could, at any moment, have such an impact on the physical world and on my physical person, was profoundly frightening. But also something I was profoundly curious about-- so it was something I really wanted to see, but also didn’t. Like staring in the mirror with your flashlight trying to will yourself to say “Bloody Mary” the third time.

Cheers, Cat

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NORTHERN LIGHT THEATRE PRESENTS

SLUT

BY BRENDA McFARLANE

APR 06–APR 14 STUDIO THEATRE ATB FINANCIAL ARTS BARNS 10330 - 84 AVENUE 7:30pm Nightly 2:00pm Sunday Matinée

PREVIEW APR 05

TICKETS

$25 Student/Senior, $30 Adult, $20 Sunday Matinee (prices do not include GST) Available at the door, 780-471-1586, and www.northernlighttheatre.com

I guess I just think that sex is a gift from a benevolent Universe and all we’ve got to figure out is how to unwrap it.”

MICHELLE TODD Matilda

TREVOR SCHMIDT Director, Set & Costume Designer

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SLUT is produced through special arrangement with the playwright and Original Works Publishing. You may purchase this play and many others by visiting the Original Works website at www.originalworksonline.com

ELIZABETH ALLISON Stage Manager

ADAM TSUYOSHI TURNBULL Production Manager & Lighting Designer 31

PLAYWRIGHT BRENDA McFARLANE 32

The following is excerpted from a conversation with playwright Brenda McFarlane.

NLT: I suppose the first question everyone asks (people being the prurient little pervs that they are) is “How much of this show is based on your real life?” Or perhaps, (more appropriately) – “What was the inspiration for writing ‘SLUT’?”

BMcF: I don’t mind answering the first question more clearly and honestly than I have in the past, perhaps because I am now respectably married - which certainly deserves a bit of contemplation in itself. Anyway, the play “SLUT” absolutely reflects my personal approach to sexuality and aspects of my life experience.

I’ve never considered myself a slut but I certainly worried that others might think I am. There seems to be a lot of contradictions regarding sexuality and being a woman. On one hand, we are frequently shown confident women having a lot of sex – especially in television

comedies like the Mindy Project, Girls, Broad City. When Sex and the City was on, I was acutely aware of the disconnect between the fun fiction of the show and the uncomfortable reality.

I wrote “SLUT” from my convictions and as a reflection of the many conversations I had with both men and women about sex.

What disturbed me most during these conversations is the approach that sex had to be either a bit of dirty fun – sort of mutual masturbation – or motivated by love and commitment to each other.

Almost all the single women I talked with seemed to steadfastly denounce casual sex – even when or maybe especially when – they actually engaged in it. In most cases the notion of actively pursuing casual sex seemed repugnant to them. They cited an inability to keep emotion out of sex, that they got attached, or they simply didn’t enjoy sex without human connection. On the other hand, the women I met who openly celebrated casual sex spoke of their sexual partners with indifference and perhaps even an edge of contempt.

NORTHERN LIGHT THE ATRE

I found both points of view incredibly limiting.

Some of the women who refused to consider having sex outside of a relationship (or THE relationship) had not had sex in months or years despite expressing a desire for it. On the flip side, I found that modern women had learned to embrace the objectification of men with a gusto which I thought really took some of the fun out of sexual connection with a fellow human being.

How are you and Matilda alike – and different?

The play “SLUT”, and the character Matilda, is a reflection and an encapsulation of my experience as an urban woman. Like me, Matilda refuses to rely on finding THE ONE before she can enjoy love and sex. Unlike me, Matilda has a bigger heart, is funnier, sweeter and has thought less about her sexuality until the play begins. In this way, I have made her both more innocent and more spontaneous. Matilda lacks the level of bitterness or cynicism I find in myself. Until this night, she has successfully avoided thinking about the social price she pays for wanting both sex and love outside of a relationship. I think Matilda has fewer defenses because she is less aware of internalized sexual shame. When she is confronted with it, she is much more surprised. Tonight she 2 0 17-2 0 18 S E A S O N P R O G R A M

is forced to publicly admit to the emotional cost of living and loving fully and sexually. Doing this is difficult because it paints her as victimized by her own lack of self-restraint. I doubt I would have the courage to do what she is able to do. Finally, it was extremely important to me to give Matilda a great ease about safe sex and condoms because I find it highly disturbing that so many portrayals of sexuality occur without acknowledging this fundamental aspect of good sex.

“SLUT” walks a fine line between comedy and examination of some big, serious themes. How did you find the balance between the two in the development of the script?

Thank you for saying that. I am painfully aware how many people have said to me – in one way or another – that the plays I want to write are not important or worthy of attention. At my best, when not defeated by futility, these kind of dismissals fuel my writing and make me want to be HEARD. When writing dialogue, I try to think of all points of view of the characters and when I think I am representing them well, humour naturally emerges.

At times, I also think of the audience and will write imagining their experience and I find comedy in that too.

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OUR MANDATE NLT’s mandate is to challenge both artist and audience alike by producing and developing provocative scripts – language rich texts that are dark, poetic, funny – which reflect a complex world and lead us to question our hierarchy of values.

DONORS Adam Halliday Adam Metcalf Allan D. Booth Amanda Schutz Amelia Pask Snook Anu Homes Arif Kassam Barbara Dacks Ben Henderson Bente Roed Brenda McNicol Brent Christopherson Brian Deedrick Brian Dooley Bryan Mortenson Carla Costuros Catherine Hedlin Christine DeWitt Christopher Head Coralie Cairns David Prestley Debbie Trueman Denise Pridmore Derek Volker

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Doreen Piehl Doug & Alanna Waldie Dr. Janet Wright Elaine Solez Ellen Chorley Eric & Kathy Newell Farrel Shadlyn Flo Schultz Francis & Greta Sitwell G. Douglas Oakley Gail Yakemchuk Georgina Payzant Gin May Gina Moe Gina Puntil Glenda Stirling Gloria Chalmers Gordon Moe Hannah Whittaker Heather Swain Heather Waldie Ian Jackson j’Amey Holroyd Jan Hardstaff Jan Jackson

Janet Wright Janice MacDonald Jeff Haslam Jill Clayton Jill Konkin Jillian Gamez Jocelyn Proby Jody Smith John Faltinson John Quinn Joselyn Proby Josh Semchuk JP Fournier Judy & Richard Zwicker Kathy Williams Krystina Silva Laurie Blakeman Lilly Mieddzinski Lindsay Robinson Lora Brovold Maralyn Ryan Mike Morin Mohamed & Nassim Jaffer Monica Bishop

Nicholas Ternes Nikolas Romaniuk Nimet Kanji Patrick Chorley Paul Melancon R. Shannon Randy Williams Ray Christenson RBC Foundation Richard Zwicker Rose Delta Developments Ross Bradley Ross Bragg Sara Wright Shelley Martin Sonia Varela Sterling Lawrence Tetyana Ryabets-Zuk Thomas & Carol Auston Trevor Theman Valerie Braiden Yesh Faltinson

NORTHERN LIGHT THE ATRE

VOLUNTEERS Adam Halliday Adam Mitchell Adrianne Salmon Ainsley Hillyard Al Gadowsky Alice Oscar Andrea Murphy Andrew Ritchie Andy Jenkins Anna Davidson Anne Carr-Wiggin April Banigan April Killins Ashlee Pearce Barb Bracko Beth Dart Bethany Hughes Brooke Liefso Cameron Jorde Cara Paul Carla Perry Carol Auston Cat Walsh Catherine Hedlin Catherine Wenschlag Charlette Nodrick Chris Kavanagh Clayton Plamondon Colleen Chapman Dana Rayment Darielle Corsaro Debbie Bryson

Delia Barnett Ed Bouthillier Elise Dextraze Elva Rice Emma Wilmott Erin Valentine Erin Voaklander Eva Cairns Evan Hall Fred Sproule Gina Puntil Giorgia Severini Gordon McCann Hanna Kate Skibin Heather Chorley Heather Inglis Heidi CollinsMcCann Hitomi Suzuta Holly Turner Ian Jackson Jan Jackson Jane McGrath Janet Wright Janice MacDonald Janna Hove Jason Chinn Jason Hardwick Jen Peebles Jennifer Graham Jessica Glover Jillian Wong John Brisson

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NORTHERN LIGHT THEATRE BOARD John Quinn Julie Ferguson Katrina Beatty Kiidra Duhault Kristen Finlay Krystina Silva Lana Michelle Hughes Laurel Sproule Lauren Kinney Len Bracko Liz Allison Jorde Lora Brovold Lori Mienhart Louise C. Mallory Luc Tellier Maggie Baird Maralyn Ryan Mari Chartier Marian Griffiths Marianne Bouthillier Marina Mair Mark Finlay Mary Hulbert Meagan Prus Megan Dart Melissa Mayville Merran Carr-Wiggin Michelle Kennedy Mieka Tilley Mitch Caddick Nicole St. Martin

Pete Morely Rachel Rudd Randy Williams Rebecca Merkley Rhonda GirouxSoderstrom Rhonda Kozuska Jeff Kozuska Rob Evers Rob Tibert Robin Way Ross Bradley Sarah Culkin Sarah Van Tassel Shari Haas Sheiny Satanove Sterling Lawrence Sue Quon Susie Moloney Tasha Weenk Tatyana Rac Taylor Chadwick Theresa Wynn TJ Mair Tom Auston Trent Crosby Twilla McLeod Valerie Braiden

Northern Light Theatre’s governance is overseen by our dedicated Board of Directors. We are very grateful to this group of individuals who volunteer their time on behalf of the company.

They are brave individuals who believe in NLT’s mandate and philosophy of artistic risk balanced with fiscal responsibility providing the company with both guidance and support.

Tom Austin Sterling Lawrence Darielle Corsaro Janet Wright Gina Payzant Adam Halliday Vieri Berretti Hitomi Suzuta Rahul Deol Anne Marie Szucs 35

NLT FUNDRAISING AT NLT

engages in fundraising year-round, striving to create fun, interactive activities to engage and celebrate with our patrons. This past year NLT held the 4th Annual Battle for the Limelight, our 7th Annual Online Auction, as well as a fabulous (and now infamous) Tiki Party. In addition, NLT also receives gaming funds through monthly bingo fundraisers and a Casino held every two years. Fundraising is vital to NLT’s success, making up nearly 50% of our operating costs. We are incredibly grateful to all of our donors who go above and beyond in their support, keeping NLT viable as a provider of challenging and provocative theatre in Edmonton.

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Over the next year NLT has three major fun filled events planned, meant to raise $50,000.00. All donations made to NLT will receive a charitable tax-receipt, with the funds going directly towards the company’s artistic programming.

SILENT AUCTION

NLT’S FABULOUS THEME PARTIES

March 2018 will see the return of our online auction for its 8th year, offering over 50 prizes donated by local businesses. Every year we have a large number of businesses and individuals who donate fabulous prizes to this fun, virtual event. Items will also be displayed at La Cité Francophone during the run of “Do This in Memory of Me” from Tuesday, March 13 to Sunday March 25 – so come out to see the show, check out the auction swag and then bid online!

NLT will be hosting a good ‘ol fashioned Hoedown on June 2, 2018!

Activities include a corn roast, live music, bandanas and calf roping.

(Okay, maybe that last one is only in our imagination!) Come dressed in your most comfortable or classy western wear and join us for an evening o’ fun and friendship, all in support of NLT.

NORTHERN LIGHT THE ATRE

BATTLE FOR THE LIMELIGHT The 4th Annual Battle for the Limelight, organized and hosted by Northern Light Theatre, was held on September 9, 2017 in Old Strathcona. Sponsored by the Old Strathcona Business Association, this year’s event was a tremendous success. The race required over 60 volunteers, involved over 30 partnering businesses, and had nearly 100 BFTL racers representing 20 theatre companies.

An event with many moving parts, this “Amazing Race”-styled event is a considerable undertaking, benefiting the

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many arts organizations that participate each year. Each team registered in the race raises funds for their own company in the form of pledges, which they then keep. It truly is a community spirited fundraiser that benefits all who participate.

Donations to the BFTL are accepted year round. To make a donation to NLT, and to see a full listing of the 2017 participating teams, sponsors, and pit stop hosts please visit NLT’s website at www.northernlighttheatre.com

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