The Great War

PL AYBILL videocabaret in association with soulpepper presents:

the great war The History of the Village of the Small Huts, 1914 – 1918 VideoCabaret

Michael Hollingsworth }{ A pproxi m at e ru n ni ng t i m e: 2 hou rs & 15 m i nu t es i nclu di ng a 15 m i nu t e i n t er m ission

VideoCabaret’s founding playwrights Michael Hollingsworth and Deanne Taylor created the first theatre productions integrating video-cameras, piles of hot-wired TVs and live rock’n’roll. With renowned designers and actors they honed a ‘video-cabaret’ style for plays about mass-media politics, and invented the ’black-box’ style of the 21-part cycle: The History of the Village of the Small Huts.

Since 2000 VideoCabaret has staged 18 productions of the Small Huts plays, four centuries of history as funny as frostbite. Audiences embrace the plays because they teem with characters and timeless conflicts, political and hormonal. The plays resonate with today’s headlines because they are built on Canada’s founding fault lines where a never-ending drama of hideous wrongs, inexcusable cockups, noble dreams, tragic failures, and hilarious hopes, plays out.

VideoCabaret develops scripts and nurtures guest artists in a studio at the legendary Cameron House, where the Ferraro family has nourished the arts for thirty-five years.

Since 2013, thanks to the vision of Albert Schultz and Leslie Lester, VideoCabaret also enjoys a partnership with the extraordinary Soulpepper company. In 2017, VideoCabaret will mark the 150th anniversary of Confederation with four plays in repertoire: Confederation; The Red River Rebellion; The Canadian Pacific Scandal; and The Saskatchewan Rebellion.

VideoCabaret has received scores of honours including recent Dora Awards for Direction, Ensemble, Costumes, Performance; and the Toronto Theatre Critics’ Award for Outstanding Body of Work and Ensemble Extraordinaire. Michael Hollingsworth is a recipient of the Silver Ticket Award for outstanding contribution to Canadian Theatre.

V i de oCa b a r e t Se a son Spon sor

THE HISTORY OF THE VILLAGE OF THE SMALL HUTS

by Michael Hollingsworth The History Plays are seriously humorous satires combining comedy, tragedy, pathos and farce to dramatise Canada’s history from Chief Donnacona and Jacques Cartier to Prime Minister Mulroney and Elijah Harper.

New France (Donnacona, Champlain, Brebeuf, Frontenac) The British (Plains of Abraham, Pontiac, The Loyalists, The War of 1812) The Mackenzie-Papineau Rebellion • Confederation • The Red River Rebellion The Canadian Pacific Scandal • The Saskatchewan Rebellion • Laurier The Great War • The Life & Times of Mackenzie King WWII • The Cold War • Trudeau & The FLQ • Trudeau & Lévesque The Life & Times of Brian Mulroney (Written with Deanne Taylor)

making history

by Deanne Taylor In 1982 Michael Hollingsworth was known for hip black comedies (one of them closed by the Toronto police) and video-rock stagings of Orwell’s 1984 and Huxley’s Brave New World; he may have seemed the playwright least likely to spend the next thirty years writing about Canadian history. But that year, Canada presented a pageant in which a British Queen and a Québécois prime minister marked the repatriation of the constitution.

Michael was drawn to the drama, and suddenly became aware that he barely understood its significance. Born to Welsh and Irish parents, he had arrived in Canada at the age of five and, like most Canadians of the TV generation, knew more about the Alamo than the Algonquin.

Humbled by ignorance and driven by passionate curiosity, he posed a question – “Why is this country the way it is?” – and set out to answer it. He ransacked used-book stores, read original materials at the library and devoured the Dictionary of Canadian Biography, thrilled to find that Canada’s history was as tragic and ridiculous as any country’s. For a young playwright in search of characters and plots, here was treasure.

Michael committed himself to writing a comprehensive cycle of plays to be called The History of the Village of the Small Huts (an early translation of the Huron-Iroquois word Canada), basing his writing on the premise of three founding nations: Native, French and British. His mind was well stocked with plays from every era, and his project inclined him toward the ancient and Renaissance theatres, with their epic stories, teeming characters and minimal sets. As he began to write New France, the outsized characters of Canadian history aligned with stageworthy archetypes – kings and courtiers, warriors and lovers, saints and hypocrites, old husbands and young wives – who personify the eternal tragi-comedy of the human heart. c ov e r i l l u s t r at ion : A da m Ba r r e t t

With unerring taste for the sublime and the tormented, Michael reduced hundreds of historic figures to 48 essential characters, and papered the walls of his apartment with a totally unproduceable 400-page draft. Working with fearless actors in lively workshops, he rediscovered the old tricks of theatrical “doubling” – early exits, delayed entrances, monologues to hold the stage while costumes are changed – and then devised charts of characters and scenes to track the actors’ paths. The stories of Donnacona and Cartier, Champlain and Anadabijou, Brebeuf and Atironta, Frontenac, Garangula, Les Filles du Roi and dozens more were condensed until they could be staged with a cast of nine on the slim resources of VideoCabaret and Theatre Passe Muraille. Since the première of New France in 1985, Michael has launched a thousand fools upon the stage in 25 productions of an expanding repertoire of History Plays.

To mount these grand productions on modest budgets depends on the priceless collaboration of many great souls. From the beginning, Michael worked with visionary designers over multiple productions, and each added immeasurably to the ongoing creation of the style. Chris Clifford’s video-landscapes for Michael’s earlier work revealed the power of closely framed gestures, quick highlighted appearances and a limitless cast of characters. In writing the History Plays, Michael reclaimed this dramatic vocabulary for the empty stage with rapid cross-plotting, in pithy scenes, defined by the stage direction: “The lights fade out, in another playing area the lights fade in.” Lighting and set designs by Jim Plaxton (1985–99) and Andy Moro (2000-2012) match the playwright’s formal idea, using shards of light to frame the actors, and brief blackouts to edit their appearances and vanishings. To fill these flickering scenes with unforgettable images, Astrid Janson designs hyperbolic costumes that transform the actors’ bodies with bellies, bottoms, breasts or biceps, and instantly establish period and place without further scenery.

The props and puppets by Brad Harley and Shadowland, and the wigs by Alice Norton, complete a handmade spectacle of great beauty and wit.

M ic h a e l Hol l i ngs wort h & De a n n e Tay l or .

P hoto: m ic h a e l c o op e r .

The History Plays are ultimately brought to life by seven or eight actors, playing dozens of continuing characters in tiny shards of light with Dervish-level choreography. The challenge has always attracted marvellous actors, forming a slowly changing ensemble whose veterans pass on to newcomers the arts of finding one’s light and not losing one’s moustache. Between productions, Michael develops new drafts with the company who take the stage with cold pages in hand, channel astonishing characters, track seven character arcs and provoke bellyfuls of laughter. In rehearsal, lighting and sound designs are integrated from day one; the actors intensify their characterizations and trim all but the most eloquent moves or gestures, trusting the precise frames of light to magnify a raised eyebrow. In stylized make-up they play any age, sex or ethnicity; they exit as one character and re-enter thirty seconds later as another; backstage, the intricate dance of costume changes and prop-handling never pauses. Playing with the actors, through thousands of cues are the invisible performers: the composers and the managers of lighting, sound, and stage.

Michael and his collaborators have created a vast human comedy – a nose-tweaking, beard-pulling, rib-tickling, gut-wrenching satire of Canada’s heroes and hosers, winners and losers – that does answer the question “Why is this country the way it is?” with regular eerie resonance. But finally, it is the audience who make epic theatre possible, who enlarge cardboard swords into armies, who allow a few actors and bits of costume to conjure a world. In Michael’s generous theatrical vision, many characters contend for the spotlights of history, many players harmonize their artistry, and the most trusted collaborator in the dramatic journey is the audience, for it is on the stage of your imagination that the company plays.

m ic h a e l hol l i ngs wort h w i t h gr e g c a m p b e l l , r ic k c a m p b e l l , m ic h a e l a wa s h bu r n a n d au ror a b row n e . p hoto: de a n n e tay l or .

The Great War: Michael Hollingsworth

Brad Harley

Writer & Director

Props & Drawings

Deanne Taylor

Adam Barrett

Co-Director

Video Projections

RICK CAMPBELL JAMIE CAVANAGH MAC FYFE JACOB JAMES DAVID JANSEN AVIVA ARMOUR OSTROFF LINDA PRYSTAWSKA

Brent Snyder

Acting Ensemble

Assistant Sound Design

Astrid Janson Melanie McNeill

Courtney Goodwin Rebecca McDermid Zoe Camille Kime

Costumes

Alice Norton

Music

Jake Blackwood Sound Design

Eric Bellamy

Wig Apprentices

Andrew Dollar

Rachel Forbes Lina Falomkina Marianne Alas

Lighting

Costume Makers

Wigs

Avik Mukherjee Anne Barber Props Makers

Andrew Dollar Production & Stage Manager

Joanne Rumstein-Ellis Assistant Stage Manager

Bennett Hyslop Tankhouse Technician

Jesse Gilmour Production Assistant

Adam Barrett Deanne Taylor VideoCabaret Producers

Contributors from the 2010 production: Paul Braunstein, Greg Campbell, Richard Clarkin, Kerry Ann Doherty, Anand Rajaram, Dylan Roberts, Sarah Armstrong, Peter Bowyer, Andy Moro, and Justin Roddy.

Videocabaret: Deanne Taylor Michael Hollingsworth Artistic Directors

Adam Barrett Producer

Andrew Dollar Director of Production

Astrid Janson (Costume) Mel McNeill (Costume) Andrew Dollar (Set/Lights) Alice Norton (Wigs) Brad Harley (Props) Resident Designers

Mac Fyfe

Michael Cooper

Resident Artist

Photography

Cliff Cardinal

Nijole Mockevicius

Resident Playwright

Bookkeeper

Rick/Simon

Suzanne DePoe (Pres.)

Janet Burke Marni Jackson Alice Klein Margie Zeidler

Graphic Design (Avoid Graphics)

Adam Barrett Bongo Kolycius Chris Clifford Video

Board of Directors

The great war

The History of the Village of the Small Huts, 1914-1918

It is the summer of 1914 in Canada. Young men are reading Kipling or flirting with their best friend’s gal, others are raising chickens or killing raccoons. Though many cultures are struggling to maintain or establish their voices in the national dialogue, British Canada is a well-fed young bulldog with a loud bark, a large bite, and the absolute run of the place.

Sir Robert Borden is Prime Minister, and Sir Wilfrid Laurier is an Opposition Leader whose caucus and province are divided by Quebec nationalists Henri Bourassa and Armand Lavergne. Prime Minister-in-waiting Arthur Meighen keeps Borden’s government tightly disciplined, except for Minister of Militia Sam Hughes.

At Rideau Hall, Queen Victoria’s son, Duke of Connaught, presides with his Prussian Duchess. The Duke is the uncle of England’s King, Russia’s Czar and Germany’s Kaiser, whose empires are engaged in a family quarrel soon to be known as "the war to end all war". With Quebec dissenting, the loyal colony of Canada sends a tenth of its population to defend the British Empire.

The play follows Canadian officers and infantrymen through the battles of the Ypres Salient, Vimy Ridge, Passchendaele, the Somme, and Amiens, as the war devours ten million lives. The front-line story features General Arthur Currie, British General Julian Byng, and characters named in no history book: officers Stephen Ramsey, Robert Adams, and the heretofore unknown soldiers, Dave and John.

Through the action on the Western Front, the home front is glimpsed. Canadian soldiers charge machine-guns as conscription-resisters are shot in the streets of Quebec City.

Munitions factories are filled with working wives who become working widows. Under British Command, the Canadian forces suffer 171,000 wounded, 59,000 killed, shattering the colonial faith forever. Pride and grief kindle a desire for an independent destiny.

THE CAST OF CHARACTERS: RICK CAMPBELL

Solicitor General Arthur Meighen, Servant, Colonel Arthur Currie, Sir Wilfrid Laurier, Soldier, Factory Foreman

JAMIE CAVANAGH

Private Dave Anderson, Armand LaVergne, Minster of Militia Sam Hughes

MAC FYFE

Lieutenant Robert Adams, Duke of Connaught (Governor General of Canada), German Prisoner, Military Messenger, Soldiers, Mute Patient

JACOB JAMES

Lieutenant Stephen Ramsay, Henri Bourassa, British Soldier, Army Chaplain Scott, Soldiers, Trenchfoot Patient

DAVID JANSEN

Sir Robert Borden, Johnnie’s Mother, Colonel Otto Von Schlippenschloppen, General Julian Byng, Dwayne, Soldier

AVIVA ARMOUR OSTROFF

Duchess of Connaught, Dave’s Father, Private John, Private Jacques, Mabel, Mlle Armentiere, Soldiers, Mute Patient, Nurse

LINDA PRYSTAWSKA

Edith Ramsay, Laura Borden, Madge, Soldiers, General Alderson, Nurse, Mlle Armentiere

BIOGRAPHIES: AVIVA ARMOUR-OSTROFF – ACTING ENSEMBLE Most recently, Aviva appeared in Hedda Gabler (Necessary Angel/Canadian Stage) and in Age of Arousal (Factory Theatre). Aviva is a member of ARC (Actor’s Repertory Company) and was nominated for a Dora Award for her performance in ARC’s production of Moment. Other acting credits include He Left Quietly, winner of the SummerWorks Best Production Award, Annie Sullivan in Western Canada Theatre’s The Miracle Worker, and Layne Coleman’s film, The Shape of Rex. RICHARD ALAN CAMPBELL – ACTING ENSEMBLE For VideoCabaret: Ten productions. Selected theatre: Serge in Art (Theatre North West); Hamlet, The Tempest (Driftwood Theatre); Ruined (Obsidian/Nightwood Theatre); Miracle On 34th Street (STC), Christmas Carol, It’s A Wonderful Life (Theatre New Brunswick); The Tempest, The Taming Of The Shrew (Theatre by the Bay); King Lear (Driftwood Theatre); The Graduate (The Grand Theatre); seven shows for Shakespeare in the Rough; Audience Unveiling Protest (The CO.) Film/TV: Reign, Murdoch Mysteries, Charlie Bartlett.

JAMIE CAVANAGH – ACTING ENSEMBLE Jamie has been nominated for multiple Elizabeth Sterling Haynes Awards and has performed in cities all over the world. Recent acting credits include: Thomas Novachek (Venus in Fur), and Mercutio (Romeo and Juliet), for the Citadel Theatre; Antipholus of Ephesus (Comedy of Errors), and Mercutio (Romeo and Juliet) for St. Lawrence Shakespeare Festival; Michael Armstrong (Armstrong’s War) for Theatre Network; Sky Marx (Genius Code) for Surreal SoReal Theatre/Catalyst Theatre.

MAC FYFE – ACTING ENSEMBLE Mac’s latest theatre credits include playing Valmont in STC’s Dangerous Liaisons and Anatole in Soulpepper’s Thirst Of Hearts workshop. TV credits include Dr. Dey on Saving Hope And stints on Reign and Cracked. Trudeau in Trudeau and the FLQ, (Dora Award) Brutus in Julius Caesar (Ottawa Shakespeare Company); The War of 1812,The Elephant Song, and King John (Stratford Festival); Playboy of the Western World (Theatre Junction); Romeo and Juliet, The Tempest (Resurgence Theatre). This is his seventh season with VideoCabaret.

JACOB JAMES – ACTING ENSEMBLE For Videocabaret, The Life and Times of Mackenzie King, War of 1812, Trudeau and the FLQ. Seven seasons with The Stratford Festival, Four with The Thousand Islands Playhouse, Two with The Globe Theatre Regina, Theatre Aqaurius, Neptune Theatre.

Graduate of The National Theatre School, Birmingham Conservatory (Stratford Festival), and York University’s Teaching Artist program. Film/TV: TURN: Washington’s Spies (AMC), Martian Chronicles (BBC), Fireman Sam, The 99, Marco Polo (animated series).

DAVID JANSEN – ACTING ENSEMBLE David has performed leading roles in theatres throughout Canada and the U.K.: Tarragon, Canadian Stage, Mirvish Productions, Soulpepper, Passe Muraille, Necessary Angel, Factory, The Theatre Centre, five years at the Stratford Festival, four years at the Shaw Festival, and a season with The Peter Hall Company, among others.

David also directs, teaches, and works at the Tarragon as Interim Literary Coordinator.

He and his wife Fiona have two daughters, Molly and Nora.

LINDA PRYSTAWSKA – ACTING ENSEMBLE Previously with VideoCabaret: Trudeau and Levesque, Trudeau & the FLQ, The War of 1812, The Life & Times of Mackenzie King, Laurier, CP Scandal, and Red River Rebellion. Recent: Great Expectations (Neptune Theatre), Dangerous Liasons (STC), The Castle (Storefront), Other: Angels in America, Trainspotting (Canadian Stage); Adult Entertainment, Suburban Motel (Factory Theatre); Macbeth, Midsummer Night’s Dream, Pinocchio (YPT); War of 1812, Troilus and Cressida, Antony and Cleopatra (Stratford Festival).

ADAM BARRETT – PRODUCER/VIDEO Adam has worked in indie film development and production, as a marketing and communications co-ordinator for over thirty-five independent theatre productions in Toronto, and as a freelance graphic designer for over ten years. This is his sixth season with VideoCabaret, and his second as Producer.

JAKE BLACKWOOD – SOUND DESIGNER Recent Credits: Trudeau and Levesque (2015), Trudeau and the FLQ (2014); The War of 1812 (Dora nomination for Outstanding Sound Design); The Life and Times of Mackenzie King, The Great War (VideoCabaret); Fighting Fire with Snow, Adrift, Speaking of Which (Production Designer, World’s End Theatre Company). He has designed for the stage on remote Fogo Island, NL, the Stratford Festival, the Magnetic North Theatre Festival in Ottawa, and the Fringe Festival in Toronto.

ANDREW DOLLAR – PRODUCTION/STAGE MANAGER, SET/Lighting DESIGN This is Andrew’s tenth show with VideoCabaret. Past Soulpepper credits: (re)Birth; E.E. Cummings in Song, Window on Toronto and The Aleph. Other credits: Live Wrong and Prosper, Second City Guide to the Symphony (The Second City); How to Build a Bunker (Factory Theatre); The Glass Menagerie, and The Fantasticks (Red Barn Theatre).

BRAD HARLEY – SHADOWLAND THEATRE (PROPS, VIDEO DRAWINGS) Brad has collaborated with VideoCabaret since 1982, winning Dora Awards for Costume Design for the History Plays in 1999, 2001 and 2002. Brad is co-artistic director of Shadowland Theatre with Anne Barber, and the company’s chief designer. Shadowland is renowned for bold, expressive design, traveling outdoor shows and parades. Many performances engage communities in telling their own stories, using puppetry, mask, stilt-dance, fire, spectacle arts and live music.

ASTRID JANSON – COSTUME DESIGN Her work as a set, costume and production designer has been seen on many stages across Canada as well as in Europe and the US. Recent projects include Trudeau & the FLQ and Trudeau and Levesque for Videocabaret and The Adventures of A Black Girl in Search Of God for Centaur Theatre and the National Arts Centre. She has designed the costumes for 13 productions of Michael Hollingsworth’s award-winning History Plays, including The War of 1812 (Stratford co-production).

MELANIE MCNEILL – ASSOCIATE COSTUME DESIGNER Melanie is back for her tenth VideoCab show. Melanie has worked extensively with Eldritch Theatre and Theatre Francais de Toronto. Other companies include Soulpepper, Theatre Gargantua, YPT, Obsidian Theatre, Mirvish Productions, Theatre 20, ProArte, Driftwood and many more. She also does some work in TV, mostly creating cool things for TfO. Melanie has received one Dora Award, three Dora nominations, and a Prix Rideau Award.

ALICE NORTON – WIG DESIGN AND MAKING Alice’s background in carnival and parade and her penchant for caricature have been essential ingredients in the success of her collaboration with Astrid Janson and VideoCabaret. She also runs her own salon House of Big Hair on Toronto Island.

Recent works: The History of the Village of Small Huts (VideoCab 2003 to present); Shakespeare in the Park (Canadian Stage); Emily’s Piano, James and the Giant Peach, Annie (YPT); Hansel and Gretel (Shadowland); e-dentity (Theatre Gargantua /Mirvish) JOANNE RUMSTEIN-ELLIS – ASSISTANT STAGE MANAGER This is Joanne’s third season with VideoCabaret. Past credits include working as Head Representative at the Toronto International Film Festival for the past eleven years (2003-2014); Stage Manager at Magnus Theatre 2002 and at the Workman Theatre 20012003; Assistant Stage Managing with Drayton Festival Theatre 2000-2003.

RICK/SIMON – GRAPHIC DESIGNER Rick has designed VideoCabaret’s distinctive graphic images since the earliest productions, including printed communications and also video-elements of numerous shows. He has long been associated with Coach House Press and is the director of Avoid Graphics. These activities are supplemented by stilt-dancing engagements in Canada, the U.S. and Trinidad.

BRENT SNYDER – COMPOSER Brent was a gifted and prolific composer and performer. He led a dozen brilliant art-rock bands, built his own recording studio, and from 1981 until his death in 1993 was closely associated with VideoCabaret, performing with The Hummer Sisters and creating his masterpiece – almost 400 thematic and abstract score pieces for the 400 year arc of the History Plays. He has been nominated for several Dora Awards.

SUPPORT for the great war so far... season sponsor BMO Financial Group PEACEMAKERS Bruce & Elda Ratford Westaway Charitable Foundation Margie Zeidler ALLIES Hans J Kluge Mark & Bettie Tulli SECRET WEAPONS John D. McKellar Marianne Teminski Paul & Ann Marie Ferraro

heroes Robert Allsopp Paul Bennett Birgit Siber Barbara Tangney troopers Barbara Fingerote Brian Jantzi Jon Kaplan Dr. Sean Sleeth Richard Teminski Nick Tracey cannon fodder Liza Balkan Christian Mueller

Help VideoCabaret Fight THE GREAT WAR AGAINST CULTURAL AMNESIA Your chums are supporting The Great War – how about you?

Please see the enclosed slip for how to help the War Effort.

Ja n e t Bu r k e , C l i f f Sau n de r s, Mac k e n z i e Gr ay, A l a n B r i dl e , H ug o Da n n .

PHOTO: joa n n e hov e y

Coming in 2017 for canada’s sesquicentennial CONFEDERATION

THE HISTORY OF THE VILLAGE OF THE SMALL HUTS, 1861-1867

The play dramatises the deal-making behind the Confederation fireworks on July 1, 1867, as all resistance is overcome by dreams of expansion and nightmares of American annexation. John A. Macdonald bestrides the play with a bottle in one hand and a country in the other, beguiling, persuading, and trading with legends such Georges-Etienne Cartier, George Brown, and D’Arcy McGee. Two young men meet in a Montreal law office: Wilfrid Laurier, an ardent anti-Confederationist; and the Métis Louis Riel who is preparing for the role of public enemy.

THE RED RIVER REBELLION

THE HISTORY OF THE VILLAGE OF THE SMALL HUTS, 1867-1870 Prime Minister Macdonald plans to turn the west into one big Ontario. Louis Riel and Métis leaders want local autonomy.

Across the country radical Protestants and Catholics plot assassination and terror, backed by American continentalists. In moderate minds, like that of young Laurier, Canada’s secular and multi-cultural ideals are nurtured.

THE CANADIAN PACIFIC SCANDAL

THE HISTORY OF THE VILLAGE OF THE SMALL HUTS, 1870-1878 Canada’s businessmen compete to own the revolutionary technologies of the day the railway and telegraph lines. Prime Minister Macdonald establishes the traditions of Federal-Provincial relations by wooing British Columbia into Confederation with a railway, and making a side deal to swap the CPR contract for a large campaign donation. Caught red-handed taking a bribe, Macdonald heads for the political wilderness but not for long. Métis leader Louis Riel, though a hunted man with a price on his head, is elected as an MP from Manitoba but denied his seat by Orange Lodge fanatics.

THE SASKATCHEWAN REBELLION

THE HISTORY OF THE VILLAGE OF THE SMALL HUTS, 1879-1885 Louis Riel returns from exile to join Saskatchewan Métis leader Gabriel Dumont and Cree Chief Big Bear, to fight for what we now call land claims, human rights, local government. The government response escalates ruthlessly from violent military action to mass starvation. In 1885, the Last Spike is hammered, Riel is condemned, and the West is open for business.

Macdonald’s decision to execute Riel is opposed by Laurier and so enrages Quebec that the Conservatives are sent to the penalty box for decades. Laurier wins a seat and takes his fight for a secular society into politics, and begins his fight for a national identity not based on religion, language, religion, or race.

THANK YOU FOR ATTENDING!

416 866 8666 soulpepper.ca Young Centre for the Performing Arts Toronto Distillery Historic District

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Soulpepper is an active member of the Professional Association of Canadian Theatres (pact); the Toronto Alliance for the Performing Arts (tapa) and Theatre Ontario, and engages, under the terms of the Canadian Theatre Agreement, professional artists who are members of Canadian Actors’v Equity Association. Scenic Artists and Set Decorators employed by Soulpepper are represented by Local 828 of the International Alliance of Theatrical Stage Employees.

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videocabaret gratefully acknowledges the following: Canada Council for the Arts, Toronto Arts Council, Ontario Arts Council and the taxpayers, for their long-term support and commitment to the development of new plays and strong repertoires.

NOW Magazine & Alice Klein for magnifying our communications mightily as Media Sponsors since 2000.

We acknowledge the generous contributions of BMO Financial Group & Nada Ristich for their unmatched support of original work, and their wondrous contribution to our company as Season Sponsor since 2007.

we thank our production partner soulpepper and their hardworking kindhearted staff for welcoming us into their art-crammed home: Albert Schultz, Leslie Lester, Laura McLeod, LJ Savage, Brad Lepp, Tal Hebdon, Laura Bonang, Katie Saunoris, Greg Poulin, Peter Harte, Jacob Whibley, Daniel Malavasi, Lisa Li, Molly Gardner, Fiona Suliman, and the YC Café.

Allen Zhang, Coach House Press, Mendl Schwarz and Incredible Printing, Janice Copeland, John Deniston, David Patrick, Sam Ferranti at Freeman AV, Sim Video, Fearless Film & Video, Sani Crjien at Christie Lites, Brad Clark at Field Service, Active Surplus, Creative Post, and James King.

season sponsor:

government support:

Westaway Foundation, McLean Foundation, FK Morrow foundation, Margie Zeidler, Bruce & Elda Ratford, Barry Joslin, Mark & Bettie Tullis, Stephen Smith, J. Hans Kluge, John McKellar, Paul Kolycius, Rick/Simon for their great generosity over many years

Cosmo Ferraro, Ann Marie Ferraro, Paul Ferraro, and the artist-haven known as The Cameron House for incubating and nurturing our plays and players since 1982.

media & studio sponsors: