Studio Theatre - pool (no water)

presents an amateur production of

pool (no water)

by Mark Ravenhill

September 19th to 28th, 2013 7:30 pm Matinee September 26th 12:30 pm TIMMS CENTRE for the ARTS, University of Alberta

Tickets $11 - $22 available at the TIMMS CENTRE box office and TIX on the Square

www.studiotheatre.ca First produced by Frantic Assembly, Lyric Hammersmith and Drum Theatre Plymouth at the Lyric Hammersmith, London on 31 October 2006.

HARCOURT HOUSE ARTIST RUN CENTRE

pool (no water)

by Mark Ravenhill

The Group – (in alphabetical order) Brett Dahl Vincent Forcier* Kristi Hansen* Ainsley Hillyard Gianna Vacirca Creative Team Director/Movement Director Set and Costume Designer Lighting Designers

Video Designer Sound Designer

Nancy McAlear* Guido Tondino Victoria Zimski Guido Tondino Victoria Zimski Matthew Skopyk

Stage Management Stage Manager Assistant Stage Manager

John Raymond* Mona Jiang

Directing Advisors

Jan Selman Lin Snelling

There will be no intermission * Participate courtesy of Canadian Actors’ Equity This production is in partial fulfillment of Nancy McAlear’s MFA Directing thesis.

Rights for this amateur production are courtesy of Casarotto Ramsay & Associates LTD First produced by Frantic Assembly, Lyric Hammersmith and Drum Theatre Plymouth at the Lyric Hammersmith, London on 31 October 2006.

Contents 4 Message from the Chair • 5 Director’s Notes • 8, 9, 10 Dramaturgical Notes • 12, 13 Photos • 16 Production Team • 19 Drama News • 20 Staff / Front of House • 22 Donors

A Conversation with Artistic Director and Department Chair, Kathleen Weiss Pains of Youth, Bloody Poetry, and Blood Wedding - isn’t the new season a little…dark?

Yes, there are some serious themes in the plays we are doing, but these plays are also beautiful and mysterious. They are full of glorious poetry in both language and imagery.

Are you concerned that these dark titles might scare off audiences?

Popular culture is wrestling with a lot of dark subject matter right now – just look at the critically acclaimed television series Breaking Bad. My hope is that audiences, particularly students across campus, are going to be attracted by the fact that we are daring to go to some darker places. I hope audiences take some risks with us.

I care fiercely about our audience. The very point of all the work we do is to engage and connect with the audience. All our teaching addresses this in one way or another.

The Studio season is a major teaching tool for Drama. It must provide a challenging and varied range of roles for the talented graduating BFA Acting class and interesting opportunities for the department’s stage managers and technical production students. The Timms is itself a state-of-theart laboratory that allows faculty and MFA designers to experiment with the latest innovative technology. It empowers directors (MFA directors, faculty directors and guests from the profession) to present plays that provoke and unsettle, the kind of plays that are not typical in more commercial settings.

Do you think the season will be entertaining?

Yes, I do, but theatre can do so much more than entertain. It gives us a glimpse of the underbelly of the daily grind of life and reveals what is visible and invisible in the same moment. It articulates our longing to reach one another and our sense of loss when we fail. It awakens new possibilities and ways of understanding the other.

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“The people you love become ghosts inside you and like this you keep them alive.”

I love this poem by Robert Montgomery because it expresses for me what plays do. They keep the ghosts of truths, both ancient and present alive in us and spur us to remember what it means to be human on days when we have become so busy, we have just stopped seeing one another. The plays in this season let us hear conversations we wish we could have, and present images that resonate beyond the literal. Yes, some of the images are dark but we do not need to be afraid of the picture. From the safety of the auditorium, one can travel to the darkest corner of the psyche, and emerge triumphant.

You seem pretty excited about the season ahead.

Yes, because I believe the journey ahead will be an affirmation of the imagination.

“The imagination will not down. If it is not a song, it becomes an outcry, a protest. If it is not flamboyance, it becomes deformity; if it is not art, it becomes crime. Men and women cannot be content any more than children with the mere facts of a humdrum life- the imagination must adorn and exaggerate life, must give it splendor and grotesqueness, beauty and infinite depth” William Carlos Williams.

It is a difficult time of change for the University of Alberta. How can people support the Department of Drama?

Coming to see our work is the greatest support anyone can offer. We are responding to the darkness of this time by celebrating our work as artists, researchers, and teachers.

You join with us in that just by being here. We value and welcome your presence.

Director’s Notes The first time I read this play, I felt uncomfortable. I also felt excited by the images and movement that it conjured in my imagination. Over the course of a two year period, I returned to the play numerous times. What I appreciate about pool (no water) is the raw honesty in which Mark Ravenhill expresses what I believe we all often feel but rarely like to admit. Every time I hear the text spoken, I discover something new, and every time I have a visceral reaction.

In this play, Ravenhill explores the themes of friendship and professional jealousy. Can we truly be happy for others’ success, or does the success of others only make our own accomplishments feel like failures? While the characters in this play are artists, I believe the struggle to compare ourselves, to desire recognition for our hard work, and to feel that we are making an impact is within all of us.

I’ve found that expressing negative emotions or thoughts is not always met with approval.

It can make people uncomfortable and so I make an effort to put my most positive face forward, sharing the truth with close friends or, conversely, strangers whose judgment doesn’t impact my self-esteem. Expressing all aspects of our inner lives requires a leap of faith in the face of possible rejection. My challenge to you is to step off the ledge into the unknown at least once a day.

For me this production represents not only the culmination of my studies, but also an opportunity to challenge myself in ways I never have. It has forced me to give over to uncertainty and trust in exploration. Every day, I arrive in the rehearsal hall with insecurities and a fear of failing those that require my leadership, and every day I am inspired by the courage, talent, generosity, and commitment of everyone involved on this project. While this play delves into the darker corners of our psyches, I can honestly say I have never been happier working on a piece of theatre.

Fall Hours:

Mon - Fri: 7 PM - 12:30 AM Sundays: 7 PM - 11 PM

780-4-WALK-ME

su.ualberta.ca/safewalk

Nancy McAlear

WE’LL WALK YOU HOME. 5

an evening with

ANNA MARIA TREMONTI Anna Maria Tremonti is the award-winning host of CBC Radio One’s most popular news-magazine radio program, The Current. She is a former foreign correspondent and war correspondent, who also boasts extensive experience covering Canadian politics. Join this captivating speaker as she shares some of her experiences from 30 years of reporting across Canada and the world, and explains how they have helped form her world view.

Friday, Sept. 27 7 p.m.

Myer Horowitz Theatre $15 per person www.alumni.ualberta.ca

Calgary 93.7 fm Edmonton 94.9 fm

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Mark Ravenhill (1966 - ) by Aleks Sierz, Rose Bruford College Mark Ravenhill is one of the most controversial and successful British writers to emerge in the 1990s. Within a decade, he moved from putting on small productions at fringe venues to becoming an Associate at the National Theatre in 2003. Born on 7 June 1966, Ravenhill is the eldest son of draughtsman Ted Ravenhill and his wife Rita. Growing up in Haywards Heath, West Sussex, Mark had a “pleasant and untroubled” childhood, and an early interest in theatre: “We didn’t have any money to go to the theatre, so my brother and I started making theatre before we knew what it was. We put on plays from when we were about four to eight.” Mark also attended drama classes at his comprehensive secondary school and appeared in a production of Anne of Green Gables. After school, he took A-levels at a sixth-form college in Chichester and read Drama and English at Bristol University 1984-7. His first jobs included freelance directing and drama teaching. The 1993 London New Play Festival staged a short play, “Close to You”, and the following year his 10-minute “Fist” was part of a festival of erotic pieces at a fringe venue.

Then, in 1996, the title of Ravenhill’s full-length debut, Shopping and Fucking, catapulted him into notoriety, giving typesetters headaches and causing a stir. It succeeded in entering public consciousness in a way few other plays have done since John Osborne’s Look Back in Anger in 1956. In 1997, Ravenhill became literary director of Paines Plough, a new writing company, and developed his flair for publicity.

In one newspaper article, he explored his childhood obsession with the BBC sciencefiction series “Dr Who”, and then attracted controversy when he worked on the BBC cult TV series, “This Life”. After his storyline was dropped, there was speculation that he’d killed off the main characters and introduced too many gay ones. Although untrue, this temporarily ended his TV career. His health also deteriorated: Ravenhill, who describes himself as “queer” rather than “gay”, developed AIDSrelated toxoplasmosis, at first misdiagnosed as brain cancer. In 1998, Ravenhill attracted more controversy when Education Secretary David Blunkett denounced Shopping and Fucking as a waste of public money. On another occasion, Ravenhill was attacked for refusing an invitation to a Buckingham Palace reception. But, in 2001, the staging of Mother Clap’s Molly House at 8

the National Theatre signalled his arrival at the summit of British theatre.

The title Shopping and Fucking perfectly sums up the play’s themes of sex and consumerism.

When it was accepted for production by Out of Joint theatre company, legal advice stated that the title could not appear on posters or in adverts. Under the Indecent Advertisements Act 1889, amended by the Indecent Displays (Control) Act 1981, words such as “fuck” are banned from public display. (The law was originally passed to stamp out the explicit adverts that prostitutes put in shop windows.) To solve the problem, the title was written Shopping and F***ing.

The play begins with Lulu and Robbie trying to persuade their junkie flatmate Mark to eat some food. Then, in a series of rapid scenes, their attempts at self-improvement come under threat. Mark books into a clinic, but is thrown out. On the streets, he finds Gary, a teenage rentboy who falls for him. Meanwhile, Lulu’s attempt to get a job involves stripping off for middle-aged Brian, who tests her by giving her 300 Ecstasy tablets to sell. In a fit of intoxicated idealism, Robbie gives away the drugs and Brian threatens the couple with torture. To raise the money they owe him, they sell telephone sex. The climax of the story comes when Mark introduces Gary to Lulu and Robbie. They play a truth and dare game, which includes a gross story about having sex with royalty in a gents toilet and culminates in Gary’s offer to pay off their debts if they penetrate him with a knife and give him a “a good hurt”. Later, Brian arrives and expounds his philosophy that “Money is civilisation”; he settles his accounts with Robbie and Lulu. The play ends with harmony restored as the three flatmates share a meal.

Ravenhill’s play is an urban fairy tale, full of knowing references to postmodernism – as in Robbie’s speech: “A long time ago there were big stories. Stories so big you could live your whole life in them. The Powerful Hands of the Gods and Fate. The Journey to Enlightenment. The March of Socialism” – and modern gadgets such as CCTV and videos. Ravenhill’s playful attitude to his characters involved naming them after members of the pop group Take That, and his style mixes anarchic energy, social realism and fantasy. His theatrical influences include not only

David Mamet, Brad Fraser, Caryl Churchill and Anthony Neilson, but also the “blank fictions” of American novelists such as Bret Easton Ellis, Douglas Coupland and Dennis Cooper.

“Nostalgia’s a tricky bitch isn’t she?” In the end, Nick turns down Jonathan’s offer of work in Eastern Europe and goes back to Helen, who now welcomes him.

The critical reaction to the play, which premiered at the Royal Court Theatre Upstairs, was generally favourable – it was one of the first plays of the 1990s where the sexual orientation of the characters was rarely mentioned in reviews – and it transferred to the West End. Ravenhill’s next three plays were experimental minor works.

Faust Is Dead is a free updating of the Faust myth commissioned by the Actors Touring Company, which toured the show in 1997. Then came Sleeping Around (1998), a Paines Plough project which used four writers –Ravenhill, Hilary Fannin, Stephen Greenhorn and Abi Morgan – to create a contemporary version of Arthur Schnitzler’s La Ronde. Then Handbag (1998) ambitiously told two stories simultaneously – one about contemporary parenting and the other about Oscar Wilde’s The Importance of Being Earnest – and was developed, like Faust Is Dead, by ATC.

This parable boasts the junk phrases and gadgets of contemporary life: Nadia speaks in psychobabble; Victor wears a spiky, sado-masochistic-chic collar; Tim says he “downloaded” Victor after seeing polaroids of his “fucking crazy body” on the internet; one telephone answer machine message begins: “Me returning your call returning my call returning...”; a bleeper tells Tim when it’s time to take his pills. Above all, the idea of the polaroid camera, whose images are both instantly gratifying and short-lived, works as a powerful metaphor for contemporary pop culture.

In 1999, Ravenhill finished Some Explicit Polaroids – a ninety-minute play produced by Out of Joint. With its leftist politics, Some Explicit Polaroids has much in common with Shopping and Fucking, taking another sceptical look at contemporary consumer society. It is based on Ernst Toller’s 1927 play, Hoppla, wirleben!

[Hurrah, This Is Life!] and combines a 1970s state-of-the-nation play with an acerbic critique of both 1990s youth culture and traditional leftist militancy. Nick, a leftwing radical, is released from prison after serving fifteen years for a savage attack in 1984 on Jonathan, an entrepreneur. He calls on Helen, his former partner, and finds that she has turned into a New Labour councillor with ambitions to become an MP. She doesn’t want him, so Nick drifts around the city, meeting Nadia, a lapdancer who spouts self-help clichés and lives with Tim, an HIV-positive man whose boyfriend is Victor, a “Russian doll” addicted to trash. But while these youngsters just want to party, Nick struggles to adjust to a world whose values he doesn’t understand. When Nadia is beaten up by her boyfriend, he wants her to react with anger, but she responds by “thinking positive”. Meanwhile, Helen, who is being blackmailed about her radical past by Jonathan, persuades Nick to meet him. As old leftie and new entrepreneur come face to face, it seems that both miss the old certainties of struggle. As Jonathan says:

After writing a short for television, and a radio play, Ravenhill’s next project, Mother Clap’s Molly House, was his most ambitious. Subtitled “A play with songs”, it was the product of a collaboration with musician Matthew Scott, and developed with students at the London Academy of Music and Dramatic Arts (LAMDA). As in Handbag, Ravenhill uses two parallel stories, divided this time by three centuries. In London, 1726, Mrs Tull helps her husband run a tally shop which hires dresses to prostitutes. After his sudden death, she is forced to run the business herself, developing new skills such as book-keeping and a tougher character. As the business stalls, she transforms the establishment into a “molly house”, a private gay club where men meet, dress up, drink and dance. Her maternal attitude to the men, their rampant desires and the unrepressed pleasure of their activities, which include “giving birth” to wooden dolls, present a picture of bawdiness and gaiety. In 2001, by contrast, the scenes set during a gay orgy at a London flat convey a more disenchanted sensation: here, everything, however free, is formalised and prescribed. Gay identity is no longer an adventure of the emotions, but has become a predictable set of behaviours.

Ravenhill accompanied his new play with newspaper articles about staging sexuality, saying that “anyone who has been to the theatre regularly in the past 10 years cannot have helped noticing that there’s been an awful lot of anal sex on the British stage”. He argued that most of these encounters feature “violence and humiliation” but that in Mother Clap’s Molly House he intended to show “men on the British stage having anal sex much as they do in

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life – frequently and for fun”. One of the most quoted lyrics from a song in the show was: “You call it sodomy. We call it fabulous.” After a wellattended run at the National Theatre, Mother Clap’s Molly House transferred to the Aldwych Theatre in the West End in February 2002.

Despite good reviews, this large-cast musical show was not a commercial success. A year later, Ravenhill’s 60-minute play for young people, Totally Over You, was put on during the 2003 Shell Connections youth theatre festival at the National Theatre. Its theme is celebrity culture and teenage desire.

Ravenhill has a reputation among some critics as a theatrical enfant terrible purveying sensationalist drama, but actually he is profoundly moral and traditionally socialist in his vision of contemporary society. His plays have been performed all over the world, and they’ve been admired for their ability to sum up the zeitgeist, and for their refreshingly witty and ironic tone. But despite his characteristic irony, there is a lot of anger in his work, which is full of potent theatrical metaphors critical of

mainstream culture, whether of commercial capitalism or of gender identity. The most lacerating images of his plays challenge platitudes about the market economy and sexuality; they also remind us of a much darker social reality, peopled by the homeless, the addicted, the lost. They explore contemporary life, using gadgets, pop culture icons and poststructuralist ideas, but his motives are moral and his values leftist. Not for him the relativism of postmodern philosophy; he prefers humanistic ideals. On the level of ideas, his work continues to push at boundaries and to provoke debate.

The main risk is that the very cultural references which make his plays so thrillingly contemporary may one day do more than anything else to date them. If his weak points – naive plotting, unsympathetic heroes, poor characterization – raise questions about his genius, his stagecraft is confident and ever ambitions.

Citation: Sierz, Aleks. “Mark Ravenhill”.

The Literary Encyclopedia. 17 March 2004.

Reprinted with permission from The Literary Encyclopedia.

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Looking back at the 2012-13 season Ghost Sonata

1. Sereana Malani and Melissa Thingelstad 2. Ian Leung and Marie Nychka

1.

2.

The Memorandum

3. Perry Gratton and Cayley Thomas 4. Edmund Stapleton and Lianna Makuch 5. Patrica Cerra

3.

4.

Bengal Tiger at the Baghdad Zoo 6. Angelique Panther 7. Matthew Yipchuck

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6.

7.

5.

The Missionary Position

8.

9.

8. Cast of The Missionary Position 9. Ben Gorodetsky and cast of The Missionary Position

Saint Joan

10. Patrica Cerra and cast 11. Patricia Cerra

10.

The Last Days of Judas Iscariot

11.

12.

12. Cast of The Last Days of Judas Iscariot 13. Nancy McAlear, Oscar Derkx, Adam Klassen

13.

All photos by Ed Ellis 13

at the t i m m s c e n t r e for the a r t s

GET YOUR SEASON

FLEX PASSES

3 student tickets for $25 | 3 adult tickets for only $48 pool (no water)

blood w edding

September 19 – 28

March 27 – April 5

pains of youth

w hen the r ain stops falling

October 31 – November 9

May 15 – 24

bloody p oetry November 28 – December 7

love’s l abour’s lost February 6 – 15

The Flex Pass punch card is available at the TIMMS’ box office and redeemable in any combo at any of the six shows in the 2013/14 season.

Flex Pass sponsor:

w w w.studiothe atre.c a

University of Alberta | Department of Music

MAINSTAGE 2013 CONCERTS 2014 GET YOUR SEASON FLEX

6 concert tickets for $60 LA BELLE ÉPOQUE Sept. 20 at 8 pm THREE CENTURIES OF PIANO TRIO MASTERPIECES Sept. 28 at 8 pm MUSIC OF THE 21ST CENTURY FOR SAXOPHONE, ELECTRONICS & PIANO Oct. 6 at 3 pm OPERA FANTASIES Oct. 18 at 8 pm THE COMPANY OF HEAVEN BRITTEN AT 100 Nov. 17 at 8 pm

PASSES

ON THE PATH TO BACH AT MACH: WINDOWS INTO T HE TIMES, TEACHING & TRADITIONS Jan. 19 at 3 pm BEETHOVEN’S PIANO & VIOLIN SONATAS, PART TWO Jan. 24 at 8 pm

PERCUSSIVE WINDS Mar. 16 at 3 pm FROM TCHAIKOVSKY WITH LOVE Mar. 23 at 8 pm WORLD MUSIC SAMPLER Apr. 4 at 8 pm

UNIVERSITY OF ALBERTA HIGH SCHOOL HONOUR BAND WITH THE SYMPHONIC WIND ENSEMBLE Feb. at 3 pm BRASS FIREWORKS Feb. 12 at 8 pm

THE FLEX PASS IS SIX CONCERT TICKETS REDEEMABLE IN ANY COMBINATION AT ANY OF THE 12 UALBERTA MUSIC MAINSTAGE CONCERTS. AVAILABLE ONLINE AT WWW.YEGLIVE.CA.

WWW.MUSIC.UALBERTA.CA For Details And Venues

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Flex Pass sponsor:

Production Team Production Manager: Technical Director: Production Administrative Assistant:

Gerry van Hezewyk Larry Clark Jonathan Durynek

Wardrobe Manager:

Joanna Johnston

Head Scenic/Stage Carpenter: Scenic Carpenter:

Darrell Cooksey Barbara Hagensen

Head Scenic Painter: Painters:

Sydney Gross Alison Yanota Maria Burkinshaw Kevin Green

Properties Master:

Jane Kline

Lighting/Video Supervisor: Lighting Technicians:

Mel Geary Jeff Osterlin Joan Wyatt Kim Creller Megan Koshka JosĂŠe Chartrand Travis Metzger Cheyenne Sykes Joel Adria Jacinda Marshall Rhys Martin

Sound Supervisor:

Matthew Skopyk

Running Crew Lighting: Sound Operator: Stage Carpenter/Video Operator:

Joan Wyatt Rhys Martin Kate Quinn-Feehan

Production Acknowledgements Christie Lites Edmonton Herb Ratsch, Art Design Printing Inc.

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2013 Alumni Recognition Awards

by Rick Pilger Andrew Kushnir, ‘02 BFA, an up-and-coming artist dedicated to addressing questions of social justice through the theatre, will be honoured on September 25, 2013 with a University of Alberta Alumni Horizon Award. This award celebrates outstanding achievements of University of Alberta alumni early in their careers.

Andrew Kushnir is a sought-after actor and playwright who has emerged as one of Canada’s leading practitioners of verbatim theatre - plays created from transcripts of original interviews.

As the creative director of Project: Humanity, a Toronto-based group committed to raising awareness of social issues through the arts, Kushnir (who was known as Andrew Wasyleczko in his U of A days) created the award-winning play The Middle Place. Crafted word for word from interviews at a youth shelter, it went on to a national tour. As current playwright-inresidence at Tarragon Theatre in Toronto, Kushnir

is working on a multilingual epic about Ukraine’s struggling democracy. Other works in progress include a look at the intersection of homophobia and racism in Canadian society and a piece about at-risk high school youth and the drama teachers working to enrich their lives.

The 2013 Alumni Recognition Awards Ceremony will be held on September 25, 2013, at 7:00 pm, at the Winspear Centre for Music. This event will be free and will be followed by a reception. For more information about the Alumni Recognition Awards and to register please visit the Alumni Awards page at www.alumni.ualberta.ca .

Featured in the Fine Arts Building Gallery October 1 – 30

世界の美術学校の版画集

PRINT Resonance University of Alberta | Canada Musashino Art University | Japan Royal Academy of Fine Arts Antwerp | Belgium Silpakorn University | Thailand University of Tennessee, Knoxville | United States

Opening Reception

This exhibition was organized and circulated

Thursday, October 3, 7 – 10 PM

by the Musashino Ar t University Museum & Library and Professor Ryuta Endo

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Administrative Staff

Kathleen Weiss: Chair, Department of Drama Julie Brown: Assistant Chair Administration David Prestley: Theatre Administrator / Events Coordinator Jonathan Durynek: Box Office Coordinator / Events Assistant Ruth Vander Woude: Graduate Advisor / Chair’s EA Connie Golden: Undergraduate Advisor Helen Baggaley: Administrative Assistant / Office Coordinator With assistance from Faculty of Arts staff: Salena Kitteringham: Fine Arts Communications Lead Terah Jans: Fine Arts Communications Marketing Specialist Joanna Manchur: Fine Arts Recruitment Coordinator

Production Staff

Gerry van Hezewyk: Production Manager / Administrative Professional Officer Larry Clark: Technical Director, Timms Centre for the Arts Darrell Cooksey: Head Carpenter Jonathan Durynek: Production Administrative Assistant Mel Geary: Lighting Supervisor Joanna Johnston: Costume Manager Jane Kline: Property Master Don MacKenzie: Technical Director, Fine Arts Building Ann Salmonson: Cutter Matthew Skopyk: Second Playing Space Technician / Sound Supervisor Karen Swiderski: Costumer, Fine Arts Building

Front of House

Staff: Bonita Akai, Danielle Dugan, Al Gadowsky, Becky Gormley, Caitlin Gormley, Tasreen Hudson, Marie-Andrée Lachapelle, Laura Norton, Emily Paulsen, Andrew Shum, Faye Stollery, Cheryl Vandergraaf, Catherine Vielguth Volunteers: Cristian Badiu, Debbie Beaver, Susan Box, Franco Correa, Sarah Culkin, Alana De Melo, Jonathan Durynek, Mary and Gene Ewanyshyn, Terri Gingras, Ron Gleason, Darcy Hoover-Correa, Marie-Andrée Lachapelle, Don Lavigne, Sareeta Lopez, Tom and Gillian McGovern, Marlene Marlj, Conner Meeker, Jennifer Morely, Carmen Nieuwenhuis, Alice Petruk, David Prestley, Catherine Vielguth, Jane Voloboeva, Diane Wright, Anisa Youssefi, Danoush Youssefi

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Donors Heartfelt thanks to the individuals, foundations and organizations listed below for recognizing the importance of the arts by directly investing in the Department of Drama’s innovation and leadership in theatre training and performance.

A round of applause to our supporters!

Baha & Sharon Abu-Laban Kevin Aichele Janet Allcock Ella May & Leonard Apedaile Douglas & Annalisa Baer Roderick Banks William & Carole Barton Karin Basaraba Jim & Barb Beck Lindsay Bell Joan Bensted William & Kathleen Betteridge Rhoini Bhatia-Singh Alan Bleviss Morley Bleviss Richard Bowes David Brindley & Denise Hemmings Kathryn Buchanan Linda Bumstead Rachel Christopher Brent Christopherson David Cormack Daniel Cunningham Brian Deedrick Lesley Cormack & Andrew Ede W Gifford Edmonds Jim & Sheila Edwards Family Fund Jim & Joan Eliuk Larry & Deborah Ethier Renee Fogel Shirley Gifford Sheila Gooding Bohdan & Elaine Harasymiw Alex & Joan Hawkins Murray & Pauline Hawkins Christopher Head Stephen Heatley Steven Hilton

Philip Jensen & M Kathleen Mitchell-Jensen Azim & Shenaz Jeraj Marco Katz & M. Elizabeth Boone M A Keene Gerald Kendal Jane King Matthew Kloster Patricia Langan Nicole Mallet John & Peggy Marko Gordon & Norma McIntosh Rod & Heleen McLeod Pamela Milne June & Rod Morgan Betty Moulton Peter & Elaine Mueller Philip & Kathleen Mulder Terrance O’Connor Award Fund Dale Olausen Jack & Esther Ondrack Julie Brown & Joseph Piccolo Josephine Pilcher Cormack Ronald Pollock Patricia Rocco Helen Rosta Kenneth & Joan Roy Valerie Sarty Alan & Ramona Sather Peter & Olga Savaryn Alison Scott-Prelorentzos Jan Selman & Curtis Palmer Albin Shanley Sol & Shirley Sigurdson Phillip Silver St. Peter’s Anglican Church ACW Allan Stichbury Richard & Rita Taylor Sheryl Turner

Thomas Usher Gilda Valli Henriette van Hees Sonia Varela Carlye Windsor Jerry & Deborah Yee Stephen Yorke Various Anonymous Donors In Kind Erica Boetcher David Jones Vincent Kadis Rosalind Kerr Ron Lavoie David Lovett Brian & Lorraine McDonald David Prestley Robert Shannon Karen Swiderski Kathleen Weiss Various Anonymous Donors

This list includes those who donated to various Drama funds from August 1, 2012 - August 1, 2013.

List compiled August 30, 2013. Apologies for inadvertent omissions or errors. Contact 780-492-2271 for corrections.

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