Videocabaret: Trudeau and Levesque, Trudeau and the FLQ

PL AYBILL videocabaret in association with soulpepper presents:

trudeau and the flq

Trudeau and Levesque

The History of the Village of the Small Huts, 1963-1970 VideoCabaret Michael Hollingsworth

The History of the Village of the Small Huts, 1971-1982

VideoCabaret Michael Hollingsworth

V

ideoCabaret'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 ‘videocabaret’ style for plays about mass-media politics, and invented the ‘black-box’ style of the twenty-one-part cycle: The History of the Village of the Small Huts.

Since 2000 VideoCabaret has staged eighteen new productions of the History Plays – four centuries of history as funny as frostbite. New audiences embrace the plays because they have caught a piece of time, une tranche de vie. 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.

VideoCab develops scripts and nurtures guest artists in a studio at the legendary Cameron House, where the Ferraro family has nourished the arts for 33 years. Since 2013, thanks to the generous vision of Albert Schultz and Leslie Lester, VideoCab has enjoyed a partnership with Soulpepper.

VideoCabaret received the 2013 Dora Awards for Direction and Ensemble; 2014 Awards for Astrid Janson’s costumes and Mac Fyfe’s performance as Pierre Trudeau; 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 oC a b a r e t Se a son Spon sor

THE HISTORY OF THE VILLAGE OF THE SMALL HUTS

by Michael Hollingsworth

T

he History Plays are seriously humourous satires combining comedy, tragedy, pathos and farce to dramatise Canada’s history from Chief Donnacona and Jacques Cartier to Prime Minister Mulroney and President Bush the First.

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

I

n 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 30 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 a 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 : l e f t p hoto: E n s e m b l e 2 0 14: Au ror a B row n e , Gr e g C a m p b e l l , R ic h a r d A l a n C a m p b e l l , M ac F y f e , L i n da P ry s taw s k a & M ic h a e l a Wa s h bu r n . R igh t PHoto: R ic h a r d A l a n C a m p b e l l a s R e n é L é v e squ e , M ac F y f e a s P i e r r e T ru de au. P hotos: M ic h a e l C o op e r .

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 premiere 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.

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

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 .

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 makeup they play any age, sex or ethnicity; they exit as one character and re-enter 30 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 .

creative TEAM: Michael Hollingsworth Writer & Director

Aurora Browne Richard Alan Campbell Cyrus Faird Mac Fyfe Craig Lauzon Linda Prystawska Michaela Washburn Acting Ensemble

Deanne Taylor

Associate Director

Astrid Janson Costumes

Andrew Dollar Lighting

Brad Harley Adam Barrett Scenic Designers

Melanie McNeill

Associate Costume Designer

Nick Andison Chris Clifford Cameron Davis Bongo Kolycius

Video Consultants

Lina Falomkina

Proscenium Swag

Andrew Dollar Stage Manager

Joanne Rumstein-Ellis

Assistant Stage Manager

Adam Barrett Producer

Rick/Simon

Graphic Design (Avoid Graphics)

Bongo Kolycius, Chris Clifford Video

Michael Cooper Photography

Nijole Mockevicius Bookkeeper

Jordana Weiss

Apprentice Stage Manager

Deanne Taylor Adam Barrett VideoCabaret Producers

For VideoCabaret

Suzanne DePoe (Pres.)

Janet Burke Marni Jackson Alice Klein Allan Novak Board of Directors

Deanne Taylor Michael Hollingsworth Artistic Directors

Jake Blackwood Sound Design & Additional Music

Alice Norton Wigs

Andy Paterson Brent Snyder Music

Brad Harley

Props & Drawings

Adam Barrett Video

Natassia Brunato Johanna Edwards Lina Falomkina Rachel Forbes Alexandra Jo Mancini Leana Mukhina Costume Makers

Anne Barber Alicia Kuntze Arber Makri Props Assistants

Courtenay Goodwin Annie Lefebvre Michelle Tracey Wig Assistants

Andy Moro

Lighting & Video Consultant (FLQ)

IN MEMORY OF BILL CLEMENT (1929 – 2015)

military intelligence officer, policy analyst, author, raconteur, cameron house icon, and friend of VideoCab.

trudeau and the flq

The History of the Village of the Small Huts, 1963-1970

Trudeau and the FLQ begins in 1963, as a global generation of post-colonial postwar youth is dropping LSD and marching for peace, or bombing police stations and killing for independence.

In Québec, Francophone bosses join the ranks of Anglo bosses, the Birth Control Pill challenges the power of the Church, the ’Quiet Revolution’ is under way – too quiet for the labourers, the students, the usual suspects “dans la rue” demanding “Le Québec aux Québecois”. As the Centenary of Confed-eration approaches, the Front de Libération du Québec cranks up the volume, and Professor Trudeau pirouettes to power on a stage lit by bombs.

Wilfrid Laurier defined ‘Canadian’ as a political nationality not based on ethnicity, language or creed. What Laurier dreamed, Pierre Trudeau is determined to make a reality.

Prime Minister Trudeau and the FLQ are set on a collision course, bound for the ‘October Crisis’ when the most violent manifestations of Québec nationalism are answered by the heaviest federal response.

This eye-opening mind-blowing gut-wrenching play features Felquiste Maurice, Pierre La Porte, René Lévesque, Charles DeGaulle, Maggie Sinclair, and seventy timeless Canadians who embody the era of purple haze and political assassination.

THE CAST OF CHARACTERS: AURORA BROWNE FLQ Suzanne, Bertrand, Maggie Sinclair, Factory Worker, Minister Jean Marchand, Queen Elizabeth, Disco Woman, Chorister, Trudeaumaniac, Consul’s Paramour, Soldier

RICHARD ALAN CAMPBELL FLQ Pierre, Anglo Reporter, RCMP Inspector, Factory Boss Smith, PQ Leader René Levèsque, Disco Man, FLQ Marc, Chorister, Hippie, Movie-Goer, Consul Bodyguard, Pierre Laporte’s Nephew

CYRUS FAIRD FLQ Paul, Cabinet Minister Gérard Pelletier, General Charles De Gaulle, Goon, Disco Man, Hippie, Cameraman, Masseuse, Policewoman, Policeman

E n s e m b l e 2 0 14: Au ror a B row n e , Gr e g C a m p b e l l , R ic h a r d A l a n C a m p b e l l , M ac F y f e , L i n da P ry s taw s k a & M ic h a e l a Wa s h bu r n .

MAC FYFE Pierre Trudeau, Bank Teller, Consul Bodyguard, Policeman

CRAIG LAUZON Maurice, Hippie, Chorister, James Cross, FLQ Bob

LINDA PRYSTAWSKA FLQ Jacques, Québec Reporter, Student, Bistro Waitress, Québec Premier Johnson, Québec Premier Bourassa, Factory Worker, Policeman, Trudeau’s Disco Date, Chorister, Hippie, Trudeaumaniac, Soldier

MICHAELA WASHBURN Yvonne Tremblay, Student, RCMP Inspector, Factory Worker, Prime Minister Lester Pearson, Deputy Premier Pierre Laporte, Mrs. James Cross, Letter Mailer, Chorister, Blotto The Hippie, Disco Woman, Trudeaumaniac, Cameraman, American Consul P hoto: M ic h a e l C o op e r .

Trudeau and Levesque

The History of the Village of the Small Huts, 1971-1982

René Lévesque dreams of Les Québecois governing la Patrie, Québec; Pierre Trudeau dreams of Les Canadiens governing Canada from sea to sea. Their visions are irreconcilable The play begins in the aftermath of kidnappings and murder by the FLQ. Under the War Measures Act many were arrested and few charged, but public opinion still favours strong measures. A special unit of the RCMP and Québec police are unleashed in the hunt for terrorists. RCMP Inspector Strangeways, Montréal Detective Giguère, and FLQ informer ‘Poupette’ commit theft and plant dynamite with FLQ members such as Professor Sartre.

In Ottawa, Trudeau begins married life, and strives to defuse Québec nationalism by renewing Canada’s constitution. His first effort is thwarted by Québec's Liberal Premier and Deputy Minister Claude Morin. Trudeau will fight four elections and a referendum to win a mandate to reconstruct the deal.

In Québec, Lévesque and Jacques Parizeau recruit Morin as a star candidate for the Parti Québecois and architect of their ‘separation strategy’. It will take them ten years to discover that Morin is an informant for the RCMP. In the final constitutional battle, Lévesque breaks a deal with the provinces, the provinces break a deal with Québec, and there are enough knives in enough backs to continue the quarrel forever. In 1982 a British Queen and a Québecois Prime Minister sign Canada’s new constitution, as the Québec Legislature lowers its flag to half mast.

THE CAST OF CHARACTERS: AURORA BROWNE Margaret Trudeau, Cabinet Minister Jean Chrétien, Québecois Father

RICHARD ALAN CAMPBELL Premier René Lévesque, Civil Servant, Advisor, Bill Wyman, Papparazzo, Conservative Minister Crosbie

CYRUS FAIRD PQ Minister Jacques Parizeau, RCMP Inspector Strangeways, Anglophone Reporter, Charlie Watts, Beautiful Person,Saskatchewan Premier Allan Blakeney, Québecois Baby

CRAIG LAUZON PQ Minister Claude Morin, Montreal Detective Giguèrre, Civil Servant, Mick Jagger, Prime Minister Joe Clark

LINDA PRYSTAWSKA Charlotte Petit aka Poupette, Premier Robert Bourassa, RCMP Bodyguard, Nfld. Premier Brian Peckford, Advisor, Beautiful Person, Québecois Mother, Queen Elizabeth, Soldier, Psychiatrist, Camera Operator.

MICHAELA WASHBURN Yvonne Tremblay, Waitress, Professor Roger Sartre, Francophone Reporter, Alberta Premier Lougheed, Keith Richards, Andy Warhol

MAC FYFE Pierre Trudeau

R ic h a r d A l a n C a m p b e l l a s R e n é L é v e squ e , M ac F y f e a s P i e r r e T ru de au.

P hoto: M ic h a e l C o op e r .

BIOGRAPHIES: Aurora Browne – Acting Ensemble Theatre credits include Romeo and Juliet, The Little Prince (Resurgence Theatre); An Inconvenient Musical (Factory Theatre); Family Circus Maximus, Psychedelicatessen, The Bush League of Justice (The Second City Toronto) and GASH! (SummerWorks).

Improv credits include Monkey Toast, Show Stopping Number: The Musical, Dreadwood, Wand Portal, Peak Falls, Mixed Company, Golden Ages: The Musical (Globe Theatre).

Richard Alan Campbell – Acting Ensemble For VideoCabaret: Nine productions. Selected theatre: Prospero in The Tempest (Driftwood Theatre); Harari in Ruined (Obsidian/Nightwood Theatre); Miracle On 34th Street, 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; Vanek in Audience Unveiling Protest (The CO.) Film/TV: Reign, Murdoch Mysteries, Charlie Bartlett.

Cyrus Faird – Acting Ensemble Cyrus is an alumnus of The American Academy of Dramatic Arts New York. He has trained in Los Angeles with Hank Azaria and Joel Bishoff; studied at UCLA’s School of Film/Theatre and University of Toronto. He has earned two Dora Award nominations for performances as Baby in Jez Butterworth’s Mojo and Wayne in Tom Walmsley’s The Jones Boy. Other credits: Death of a Salesman, Caligula, Fortune and Men’s Eyes.

Mac Fyfe – Acting Ensemble Mac has been working in television as Dr. Dey on CTV’s Saving Hope. Other recent TV credits include stints on Reign and Cracked. Theatre credits: Trudeau in Trudeau and the FLQ, (Dora Award); Fitzgibbon and various in The War of 1812 (VideoCabaret); Brutus in Julius Caesar (Ottawa Shakespeare Company); The Elephant Song (Stratford Festival); Playboy of the Western World (Theatre Junction); Romeo and Juliet, The Tempest (Resurgence Theatre). This is his sixth VideoCab production.

Craig Lauzon – Acting Ensemble Craig is a Sterling Award nominee for his portrayal of Mooch in Kevin Loring’s Where the Blood Mixes at the Theatre Network in Edmonton. He is a former Artistic Associate at Native Earth Performing Arts and past host of the Dora Mavor Moore Awards.

Craig has also appeared in: King Lear by William Shakespeare (N.A.C.); Where the Blood Mixes by Kevin Loring (Theatre Aquarius/Western Canada Theatre); Thunderstick

by Kenneth T. Williams (Theatre Network/Persephone Theatre).

Linda Prystawska – Acting Ensemble Previous plays with VideoCabaret: Trudeau & the FLQ, The War of 1812, The Life & Times of Mackenzie King, Laurier, CP Scandal, and Red River Rebellion. Other credits: 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 and Antony and Cleopatra (Stratford Festival). Linda has performed in theatres across Canada, the U.S., Germany, Holland and Belgium.

Michaela Washburn – Acting Ensemble Michaela is a two-time Dora nominated Métis artist of English, Irish, French and Cree descent. Theatre credits: The Hours That Remain (Magnus); The Speedy (UnSpun); Where the Blood Mixes (Western Canada, Aquarius, Theatre Network); The Rez Sisters (Factory, Theatre North West); White Biting Dog (Soulpepper); Such Creatures (Passe Muraille); Trudeau & the FLQ, The War of 1812, Saskatchewan Rebellion (VideoCabaret).

Michaela looks forward to premiering Kenneth Williams’ In Care with SNTC. Adam Barrett – Producer, Video Coordinator This is Adam’s fourth show with VideoCabaret and first as Producer. He is a freelance graphic designer, associate publicist and videomaker with Sue Edworthy Arts Planning, and has been known once in a while to tread the boards himself.

Jake Blackwood – Sound Designer and Operator Recent Credits: 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, Lighting Design & Operation This is Andrew’s ninth 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).

Joanne Rumstein-Ellis – Assistant Stage Manager Joanne is happy to be back for her second show 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 2001-2003; Assistant Stage Managing with Drayton Festival Theatre 2000-2003.

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 for VideoCabaret; The Taming of the Shrew (Canadian Stage); Farther West (Soulpepper).

She has designed the costumes for 13 productions of Michael Hollingsworth’s award-winning History Plays, including The Great War and The War of 1812 (Stratford co-production).

Melanie McNeill – Associate Costume Designer Melanie is back for her ninth VideoCab show. Melanie has worked extensively with Eldritch Theatre and Theatre Francais de Toronto. Other companies include 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) Andrew James Paterson – Composer Andrew is currently the coordinator for the 8 fest small-gauge film festival. Paterson is a recipient of the 2014 Tom Berner Award for his support of independent film and video-making in Toronto.

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.

Jordana Weiss – Apprentice Stage Manager Jordana is a member of the Soulpepper Academy in a joint stream of Stage Manager/ Producer. Her credits at Soulpepper include The Norman Conquests trilogy, Idiot’s Delight, Tartuffe, The Crucible, and Spoon River. She also coordinated many of the concerts in Soulpepper’s Salon series.

donations to videocabaret for the trudeau plays so far... $50,0000 BMO Financial Group $2500 - $5000 Bruce and Elda Ratford, Margaret Zeidler, The Westaway Charitable Foundation, The McLean Foundation, The F.K. Morrow Foundation $1000 + Cathy and Barry Joslin, J.Hans Kluge, Stephen Smith, Julia P. Stavreff $500+ John McKellar, Avie Bennett, Ed Mirvish Family Foundation, Marianne Teminski, Paul Kolycius, Stephen Lico, Mark & Bettie TullisJane & Eb Zeidler $300+ Jim Aldridge & Vinetta Strombergs, Pia Kleber, DD Kugler, Paul Bennett, Victoria & Walter Prystawski, Michael Cooper, Tony Benattar and Liberty Boot Co.

$200+ Brian Dawson, Della Golland, William Graham, Barbara Tangney, Sian Ferguson, Eloise M. Thurier, Roger Moore, Kathleen Agar, Daniel David Moses, Robert Allsop & Catherine Nasmith, Anne & Bob Bower, William C. Graham, Derrick Chua $100+ Nick Tracey, David Fox, Robert Bernecky, Jon Kaplan, Yvette Nolan, Sally Lyons, Marilyn Job, Rob Shelton, Richard Teminski, Anne Farquharson, John Butler, John Doyle, Marian Gibson, Lisa Steele & Kim Tomczak, Ann Stuart, Barbara Yip, Anonymous $50+ David Ackerman, Geoffrey Allan, Ruth Cameron, Nathalie Dérome, Lisa Douglas, Christian Mueller, Norman Reynolds, Tim Rivers, Paula Wilson & Adrian Shubert, Keith Holding, Neil Orford, Mary Koutoubos Diana Macpherson & Jeff D’Hondt, Anna Teper, Jonathon Brett Still

Acknowledgements for Trudeau and the the FLQ: Video projections: a condensed excerpt from Battle of Algiers by Gillo Pontecorvo, images inspired by Tom Thomson, Claude Tousignant, the Bahia Palace, Marrakech.

Additional music: Booker T & the MG’s (Green Onions); Beegie Adair (La Vie En Rose); Jacques Brel (Ne Me Quitte Pas); The Marvelettes (Hey Mr. Postman); La Révolution Française (Québecois); Chubby Checker (Let’s Twist Again); Jimi Hendrix (Hey Joe); The Beatles (I Am The Walrus, Tomorrow Never Knows, Revolution); Bobby Gimby (Canada, arranged by Jake Blackwood); Ennio Morricone (The Battle of Algiers Opening Sequence); The Rolling Stones ( Jumpin’ Jack Flash); John Barry ( James Bond Theme).

Acknowledgements for Trudeau and Lévesque: Video Projections: Intro to The Mary Tyler Moore Show, Images inspired by JEH McDonald, Notre Dâme de Montréal. Additional music by Rolling Stones (19th Nervous Breakdown, Can’t You Hear Me Knocking, Honky Tonk Woman, Gimmie Shelter); Django Reinhardt (La Mer); Edith Piaf (No Regrets) , Jaques Brel (Ne me Quitte Pas) Les Québecoises (Nous Sommes Québecois); La Revolution Francaise (Nous Sommes Québecois); Kool Vibes and Carlton (Guantanamera) The Beatles (Tomorrow Never Knows); Donna Summer (I Feel Love); Dragonbard (Away in a Manger); Hot Chocolate (Everyone’s a Winner); Beegie Adair (La Vie en Rose); Giacomo Puccini (Si, mi chiamano Mimi); Ennio Morricone (The Good, the Bad and the Ugly theme); Guitalian Quartet (Habanera from Carmen, G. Bizet); Stan Gets and Charlie Bird (Desafinado).

THANK YOU FOR ATTENDING!

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

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 original theatrical vocabulary, new plays, and strong repertoires.

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

Westaway Foundation, McLean Foundation, F.K. Morrow Foundation, Bruce & Elda Ratford, J. Hans Kluge, Paul Kolycius, Rick/Simon, Margie Zeidler for their great generosity to the productions of The Trudeau Plays.

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.

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

We acknowledge the generous contributions of Coach House Press, Mendl Schwarz and Incredible Printing, The Stratford Festival, David Auster, Robbin Cheesman, Janice Copeland, John Deniston, David Patrick, Allan Arfin at Jump IT, Sam Ferranti at Freeman AV, Sim Video, Fearless Film & Video, Sani Crjien at Christie Lites, Brad Clark at Field Service, Active Surplus, Mark Foster at The Great Hall, Creative Post, James King, and Winnie Wong.

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, Nick Tracey, Brad Lepp, Tal Hebdon, Craig McDermott, Erin Vandenberg, Katie Saunoris, Greg Poulin, Peter Harte, Jacob Whibley, Nathan Kelly, Molly Gardner, Fiona Suliman, and the YC Café.

the CAMERON HOUSE