CITADEL THEATRE ROB B I N S
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2012/2013
the kite runner A DA P T E D B Y
M AT T H E W S PA N G L E R BASED ON THE NOVEL BY
KHALED HOSSEINI
BOB BAKER ARTISTIC DIRECTOR PENNY RITCO EXECUTIVE DIRECTOR
SEASON SPONSOR
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Bob Baker Artistic Director penny ritco executive Director Board of Governors
Marshall Shoctor, Q.C. Chair Arliss Miller Past Chair J. G. Greenough, F.C.A. Treasurer Solomon Rolingher, Q.C. Secretary David D. Bentley, F.C.A. Frederick K. Campbell Jacqueline Charlesworth Marc de La Bruyère Anne Foote (Honourary) Ada Hole Ralph B. MacMillan Sandy Mactaggart (Honourary) Jack McBain Tom Redl Aroon Sequeira Ex Officio Chris Sheard Kayla Shoctor Ralph Young Dr. Robert Westbury
Board of Directors Aroon Sequeira President Ralph Young Past President Catrin Owen Vice President Stuart Lee Treasurer Ken Bautista Guy Bridgeman Lesley Cormack Jane Halford Ted Hole Mike House Richard Kirby Al Maurer Lisa Miller Dave Mowat Margot Ross-Graham Gaurav Singhmar Larry Staples Sheila Witwicky
HonoUrary Directors
Jack N. Agrios, Jan Bentley, Joanne Berger, Christine Bishop, Dan Block, Frank Calder, Gary G. Campbell, Betty Carlson, Donald A. Carlson, Marilyn Cohen, Reg Copithorne, Len Dolgoy, Allison Edwards, Dennis Erker, Grant Fairley, John C. Forster, Frank Gibson, James Gillespie, Jean Hamilton, Brian Hetherington, Gary Killips, Beverlee Loat, Maureen McCaw, Eva McGregor, Susan Minsos, Terry Nistor, Bob Normand, Ted Power, Jerry Preston, Henry (Hank) Reid, Rob Reynolds, Charlotte Robb, Barbara Shumsky, Esther Starkman, Marianne Takach, Merle Taylor, Mr. Justice Dennis R. Thomas, Brian Tod, John Tweddle, Brian Vaasjo, Chief Justice A.H. Wachowich, Bob Walker, Dr. Marvin Weisler, Bart West, Eve Willox, David Wilson, Doris Wilson, John Yerxa
2012/13 Season ...................... A FEW GOOD MEN By Aaron Sorkin September 15 - October 7, 2012
NEXT TO NORMAL Book and lyrics by Brian Yorkey Music by Tom Kitt October 20 - November 11, 2012
A CHRISTMAS CAROL Adapted by Tom Wood Based on the story by Charles Dickens November 30 - December 23, 2012 Presented by
PRIVATE LIVES By Noël Coward February 2 - 24, 2013
BLIND DATE Created and performed by Rebecca Northan February 13 - 24, 2013
RIDE THE CYCLONE Written by Jacob Richmond Music by Brooke Maxwell & Jacob Richmond February 22 - March 10, 2013
THE KITE RUNNER Adapted by Matthew Spangler Based on the novel by Khaled Hosseini March 9 - 31, 2013
THE PENELOPIAD By Margaret Atwood March 30 - April 21, 2013 Presented by
MONTY PYTHON’S SPAMALOT Book & lyrics by Eric Idle Music by John Du Prez & Eric Idle April 20 - May 19, 2013 Presented by
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PREMIER | SUPPORTERS We gratefully acknowledge the significant support of our donors who make it possible for the Citadel to present world-class theatre that is accessible, intelligent, passionate and relevant.
ANNUAL SUPPORT Artistic Director’s Circle
Barbara Poole Jerry & Mary Preston Sir Francis Price & ($5000 +) Justice Marguerite Trussler David & Jan Bentley Penny Ritco Marc de La Bruyère & Arnold & Grace Rumbold Stacy Schiff In Memory of Sheila Edwards Kayla Shoctor Marshall & Debby Shoctor Ada Hole Eira Spaner Harry & Muriel Hole Moira & Larry Staples John & Maggie Mitchell Buddy Victor Tom & Corrie Redl Paddy Webb and Family Rob & Beth Reynolds Sheila Witwicky Aroon Sequeira Prem & Saroj Singhmar STAR Weir Family Fund ($1000 - $2499) Ralph & Gay Young Affinity Dental Group
Director’s Club ($2500 - $4999)
Madam Justice Darlene Acton Bob Baker & Tom Wood Dr. & Mrs. Luis & Alexis Baptista Guy Bridgeman & Dianne Ross John & Judith Cosco Doug & Wendy Davey Dr. Elizabeth Dixon & Dr. Ben Macedo Grant Dunlop & Erika Norheim Allison & Glyn Edwards Leslie Frankish Cecil & Anne Hoffman Wolfgang & Elizabeth Kaminski Don & Lorna Kramer Leo J. Krysa Family Foundation Sandy & Cecile Mactaggart Jack & Lorraine McBain Arliss Miller Norbert & Patricia Morgenstern Fran & Al Olson Esther Ondrack Playhouse Publications Ltd.
The Honorable John & Ruth Agrios Shirley Allder Anonymous (2) Bill & Dorothy Astle Becker Bruce & Carol Bentley Dr. Doug & Mary Bosko Joyce Buchwald David & Marlene Burnett Butler Family Foundation Frank Calder Janelle Conrad J. Susan Davis Len Dolgoy & Catherine Miller Richard A. Gil Gregory Greenough J. D. Hole Brenda & John Inglis Investor’s Group Sherwood Park Gail & Andrew Jarema Linda & Siegfried Kowand In Memory of Dr. Kris Kristjanson James & Maggie Laing Stuart & Sherry Lee
Robert & Dawn Lemke Peter & Dorothea Macdonnell Fund Kim & Linda Mackenzie Colleen Maykut Don & Lynn McGarvey Keith & Brenda McNicol Lisa Miller & Farrel Shadlyn Q.C. Ove & Susan Minsos David J. Mundy Catrin Owen PCL Construction Inc. Solomon & Marilyn Rolingher Michele Sawatzky & Ed McDonald Suggitt Group Ltd. David Verbicky Betty Lou Weir Bart & Carole West Dave Wilson & Wendy Kotow Stephen Yettaw International Stone Sculptor
lead
($500 - $999) Carol & Rae Allen Dagny & Graeme Alston Bonnie Andriachuk & Darrel Ewaschuk Fiona & Stephen Bamforth Jim & Helen Banks Barbara Blackley Chris & Leah Burrows Ronald Cavell Z. & M. Chrzanowski Jack & Marilyn Cohen Louis & Marcelle Desrochers Dr. Rod & Pat Eidem Heinz Feldberg Dale Gregg Ken & Karin Hayward Ghislaine Hebert Elizabeth, Rosalina & Cynthia Hicks THE KITE RUNNER 5
PREMIER | SUPPORTERS Norman & Valerie Kneteman Ken & Jennifer Kouri Christine Kyriakides Dr. Ed & Nikki Lazar James MacDonald Teresa Mardon – Royal Lepage Suzette Marxheimer Ian & Linda McConnan Douglas & Claire McConnell Norma & Gordon McIntosh Gordon & Agneta McKenzie Maureen & Jim Moran Bill & Joyce Mustard Ruth Nakai Lewis & Lindsay Nakatsui Fred & Helen Otto Tom & Judy Peacocke Fay Plomp Poster Tech Curtis & Sandra Prosko Richard Remund Henry & Helen Resta Antoni & Lucyna Rojek Alan Rose Marianne & Kent Stewart Neil & Merle D. Taylor Lorne Warneke Harry & Heather Zirk
ensemble
($200 - $499) Lorne & Anne Anfindsen James Archibald & Heidi Christoph Veronica Azizi Bacon Family Fund Roderick E. Banks William & Carol Barton Joan Bensted Beverley Boren Norman & Anne Burgess Susan & James Burns Lorne Carson Gordon & Janet Clanachan John Colter Lesley Cormack 6 THE KITE RUNNER
David Cornish Robert & Marlene Crosbie Marilyn Darwish L.A. Dushenski Karen Farkas Gail Faulkner Jean Fukushima Betty & Mike Gibbins Frank Gibson W.L. Gibson Shirley Gifford Gaie Goin Gwen Gordon Joan Green Lilian Green Sheila Gynane Neil & Carol Handelsman Leonard & Sonia Hawreliak Patsy Ho Ray & Elaine Hook Mike & Kathy House Dr. Robert & Laurel Hudson Mary Hurlburt & Norm Stacey Elesavata Hymonyk Norman & Evelyn Jensen Dr. Jerry & Miriam Katz Doris Kent Liz Kohle Jack & Diane Latham Mary Lister Nancy Lord Mervyn & Teresita Lynch Neil & Pamela Martin Ian McLernon Linda Medland Davis Dr. A & Evelyn Meer Al Morrow Craig Neuman Roy Nickerson Ian & Lou Nicol Diane Oberg & Marty Taylor Vital & Colleen Ouellette Kathy Packford Fred & Mary Paranchych Leslie & Rick Penny Sheila Petersen
Gordon & Margaret Peterson Jean & Edward Posyniak Diana Purdy Dr. Paul & Lexine Puszczak Andrew & Carol Raczynski William & Heather Ritchie Phil Roy Orla Ryan Allan & Marianne Scott Glen & Margaret Sharples Richard Sherbaninuk Doug & Devika Short Ellie Shuster Barbara Sinn Dale & Jane Somerville Elaine Solez Spark Heating and Air Conditioning Ltd. Keith & Beverley Spencer Elout Starreveld Delores Stefaniszyn Campbell & Rosalind Sydie Allison Theman Maggie Thompson Kathleen Tomyn John & Alana Tucker Marion & Darcy Turner John & Liz Tweddle Chris Vilcsak Doug Warren Robert & Ann Weir John Wodak Susan Wright Sarah Wylie Dr. Randall & Nancy Yatscoff
PREMIER | SUPPORTERS Super Subscriber Lorraine & Donald Fankhanel Gordon Moorhouse ($100 - $199)
Brad Armstrong Halfdan Baadsgaard Maurice & Annette Bastide Barb & Jim Beck Andrew & Barbara Belch Joan Blackburn Angie Bogner Keith & Elizabeth Bowering E. Ross Bradley Norma Brekke Lori Bristow Jack Brown Robert & Doris Bury Donna Campbell James & Joan Carlson Timothy & Joanne Caulfield Brent Christopherson Audrey Clark Patrick & Luxie Crowe Delbert & Jane Dahl Patricia Dawson Betty Lou Docherty Francis & Muriel Dunnigan Roland Duquette Sheila Dyck Carmen & James Dykes Marion Elder Elizabeth Ruthanna Elson Noella Fagnan
Rose Fowler C.R. French Bill Grace Paul Greenwood Emily Hannem Beatrice Harke Henriette van Hees Robert Henderson Erik & Fanziska Jacobsen Paula Jamison Lorraine Jenkinson Larry Judge Dorothy Kaiser Brian & Ida Kaliel Francis Kato Bernie & Dorothy Keeler Anita Kozyrskyj Krawford Construction Inc. Patricia Langan Don & Gwen Lawrence Allen Lee Ray Leppard Maureen & Myron Liviniuk Chris & Cecilie Lord Andre Louw Mary Machum Douglas MacDougall Diane Mark Estelle Marshall Kurt Masse & Sarah Leib
Robyn & Kevin Mott Mary O’Connell Thomas O’Leary Garry Orris Marian Palahniuk Donna Pawliw Gerald Piro Susan Priestner Helen Primrose Marcia Rigney Deborah Salo Wayne Sartore Carolyn Scheidt Maria Schneider Charles & Marilyn Schroder Nancy Scrymgeour Sol & Shirley Sigurdson George Smith Brian Sproule Jean & Gerry Staring Mary Sturgeon Tony Thai & Alvin Schrader D. Edward Toole Larry Trekofski Peter Vana Susan Watson Liane Wenckowski Betty & Bill Young Dr. & Mrs. Antonio Zaragoza
To learn more about our Supporter Program and levels of support and benefits, please visit www.citadeltheatre.com or call Sydney Stuart at (780) 428-2142 or sstuart@citadeltheatre.com. As a registered charity, we rely on the generosity of our donors & sponsors.
Thank you to all of our supporters. Charitable BN 11922 7387 RR0001
THE KITE RUNNER 7
PREMIER | SUPPORTERS We are proud to recognize our Premier Supporters, our partners in the creation of theatre at The Citadel Theatre/Robbins Academy. The Hole Family • The John and Barbara Poole Family Fund the Eldon & Anne Foote Fund • The Robbins Foundation Canada The Joseph H. Shoctor fund
Government & Foundation Supporters
Dr. Joseph H. Shoctor, 1922 – 2001
executive producer and founder, the citadel theatre
Joe’s vision brought professional theatre to Edmonton Joe’s dream built The Citadel Theatre Joe’s spirit continues to inspire the theatre we create today Joe’s legacy lives on through a generous gift to The Citadel from his estate
HENRY HOLE, 1884 - 1954 On the Citadel’s 30th Anniversary, a gift was made by the Company of Harry Hole, James F. Hole, Ralph K. Hole and Robert W. Hole on behalf of the Hole family — in honour of their late father, Henry Hole. The Citadel Theatre is proud to honour Henry Hole’s integrity, compassion and leadership in the dedication of this complex to his memory.
8 THE KITE RUNNER
THE CITADEL WOULD LIKE TO THANK THE FOLLOWING FOR THEIR ASSISTANCE ON
the kite runner Dr. Ghalib Ahmed and the friendly staff at Coast Edmonton House.
C O U R T E S I E S
Special thanks to: Evelyn Ackah, Ackah/Business Immigration Law; Sarah Amiry; Nina Lee Aquino; Tatiana Buymistrova; Calgary Opera; Canadian Stage; Mark Crawford; Camille Gingras; D.D Kugler; Thomas Morgan Jones; John Kirkpatrick; Natasha Mytnowych; Kristina Nicoll; Jenna Rogers; Melvin & Julia Rose; Feral & Cengiz Temelli; David van Belle; Rylan Wilkie; Adrienne Wong; David Yee.
ELECTRONIC DEVICES No doubt we have all been distracted by a cell phone, pager or watch alarm ringing or lighting up when attending the theatre. For every performance which is unmarred by one of these distractions, we will donate $5 to the Actors’ Fund of Canada. ALLERGY ALERT For the safety of those with allergies, please refrain from the use of perfumes or scented products before coming to the theatre. H E A R I N G A D VA N C E M E N T H E A D S E T S We offer headsets to patrons with hearing difficulties. Ask the usher at the door of the theatre. These are provided free of charge. You will be asked to leave your driver’s license as a deposit until the headset is returned at the end of the performance.
T H E A T R E
AVAILABLE IN THE SHOCTOR AND MACLAB THEATRES.
L AT E S E AT I N G We endeavor to minimize the distraction for our patrons and the actors when seating latecomers. If you arrive late for a performance, you will be seated at the first appropriate moment in the play in designated latecomer seating. You are welcome to move to your assigned seat at intermission. If you must leave the theatre during a performance you will not be allowed to return to your seat until intermission.
THE KITE RUNNER 9
Recognizing our Corporate Partners
Media Sponsors
10 THE KITE RUNNER
PARTNERS
CITADEL THEATRE ROB B I N S
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Citadel Theatre Corporate Subscription Program A TICKET PROGRAM designed specifically to benefit companies like yours. Please support the businesses that support the Citadel Theatre.
B & B DEMOLITION LTD. BDO CANADA LLP ERNST & YOUNG LLP FELESKY FLYNN LLP FIRST TRUCK CENTRE EDMONTON LTD. KPMG LLP WESTERN CANADIAN SOFTWARE WILLIAMS ENGINEERING CANADA The Corporate Subscription Program helps you by providing:
• A unique way to retain and thank both your clients and suppliers. • Effective staff incentives and rewards. • An opportunity to publicly show your support and commitment to the ongoing enrichment of our community.
• First class priority service with Citadel Theatre customer service representatives and invites to networking opportunities. For more information on this exciting program, please contact Angelica at amenck@citadeltheatre.com or 780.428.2109
SEASON TICKET HOLDERS BENEFITS Season Ticket Holders receive exclusive perks from our partners. Show your SEASON TICKET HOLDER ID Card* after tonight’s performance to receive the following:
• Moriarty’s • •
Complimentary Manager’s pour of wine with purchase 100 Bar & Kitchen Complimentary glass of champagne with purchase Lux Steakhouse & Bar Complimentary glass of champagne with purchase Brittany’s Lounge 15% off entire bill Normand’s Bistro Discounted set menu Underground Tap & Grill 15% off entire bill
• • • • Riverside Bistro Complimentary glass of wine (up to $10 value) RESTRICTIONS AND CONDITIONS APPLY * For replacement ID cards, please contact box office at 780.425.1820 * Offer does not apply to the Choose Your Own Packages
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“ NOBODY MAPS THE FEMALE PSYCHE THE WAY MARGARET ATWOOD DOES... WHAT A TREASURE SHE IS.” NEWSWEEK MARGARET ATWOOD’S
the Penelopiad March 30 - April 21/13 DIRECTED BY BRENDA BAZINET FEATURING PARTICIPANTS OF THE 2012/13 CITADEL/BANFF CENTRE PROFESSIONAL THEATRE PROGRAM
CO M I N G N E X T TO T H E M AC L A B T H E AT R E
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STUDENTS CLUB The Maclab Enterprises Students Club is a Citadel Theatre program that offers a unique glimpse into the world of professional theatre to a wide range of junior and senior high school students from Edmonton and surrounding areas.
On the first three Tuesdays and Wednesdays of our Mainstage productions, Students Club members gather to enjoy a small reception before the show and then participate in a highly engaging, interactive presentation/ demonstration involving one of the Citadel’s talented theatre artists. Following the performance, students are then invited to stay for a lively talkback session with members of the production’s cast and crew. Prior to seeing The Kite Runner, Students Club members will be entertained and educated by a member of Edmonton’s video and design collective, Show Stages. Local artist and collective member, Elijah Lindenberger works in new media and theatre. His pre-show presentation will provide a unique glimpse into projected media and interactive audio-visual experiences. If you would like to become part of this season’s Students Club, or require more information about the program, please contact Shar Powell, Booking Coordinator, at 428-2127. For individual students who are interested in joining please email Shar at spowell@citadeltheatre.com and leave your name, contact information and the name of the school you attend.
THE KITE RUNNER 19
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Citadel Theatre presents in co-production with THEATRE CALGARY
the kite runner
Adapted by MATTHEW SPANGLER Based on the novel by KHALED HOSSEINI The Cast (in alphabetical order) ANOUSHA ALAMIAN......................................... Amir ABRAHAM ASTO............................................... Wali DALAL BADR...................................................... Soraya POORIA FARD.................................................... Kamal OMAR ALEX KHAN............................................ Rahim Khan GERRY MENDICINO.. ........................................ General Taheri ALI MOMEN........................................................ Assef SALAR NADER................................................... Musician PARNELLI PARNES........................................... Ali MICHAEL PENG................................................. Baba CONOR WYLIE................................................... Young Amir BAHAREH YARAGHI......................................... Mrs. Nguyen, Vocalist NORMAN YEUNG.............................................. Hassan Director................................................................ ERIC ROSE Set & Lighting Design........................................ KEREM ÇETINEL Costume Design................................................. GILLIAN GALLOW Sound Design.. .................................................... MATTHEW WADDELL Original Music, Cultural Consultant................. SALAR NADER Assistant Director, Movement Coach............. NATASHA MARTINA Fight Director...................................................... HAYSAM KADRI Voice Coach........................................................ JANE MACFARLANE Dance Captain.................................................... ALI MOMEN Fight Captain. . ..................................................... PARNELLI PARNES Stage Manager................................................... JENNIFER SWAN Assistant Stage Manager.................................. EMMA BRAGER Apprentice Stage Manager............................... ISABELLE HÉBERT ACT I Kabul, Afghanistan 1973 – 1975. SETTING
ACT II San Francisco Bay Area 1981 – 2001. Pakistan and Afghanistan 2001.
THE KITE RUNNER has one 20-minute intermission. THE KITE RUNNER is produced by special arrangement with Mark Orsini, BRET ADAMS, LTD., 448 West 44th Street, New York, NY 10036. www.bretadamsltd.net THE KITE RUNNER received its world premiere on March 27, 2009, at the San Jose Repertory Theatre, Rick Lombardo Artistic Director, Nick Nichols – Managing Director. It was directed by David Ira Goldstein. THE KITE RUNNER also received a developmental production at San Jose State University in February 2007. The film THE KITE RUNNER was released by Dream Works Studios in 2007. The Citadel engages, under the terms of the Canadian Theatre Agreement, professional artists who are members of the Canadian Actors’ Equity Association. Production personnel for the Citadel Theatre are members of the International Alliance of Theatrical Employees (I.A.T.S.E.)
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DIRECTOR’S
NOTES How will I tell a story that takes place in a country of which my primary source of understanding comes from war-torn images on the news? March: Read and re-read, researched, listened to, and watched Khaled Hosseini’s The Kite Runner. The story is what I think about when I wake up and what is floating in my imagination when I fall asleep. Went to a local Afghan Nowrūz (New Year’s) celebration and heard Salar Nader’s gifted fingers speak the music of the Afghan Tabla. As one person commented, “Salar is the most sought after percussionist of his generation.” Salar will be playing live onstage throughout the production. June: I have just spent 3 months scouring the entire country to find a brilliant, diverse 12-person cast with backgrounds that span the Middle East and Persian origins. July: It’s 45 degrees Celsius. The call to prayer is being sung out over a loudspeaker. I am traveling in Turkey, staying in the ancient city of Mardin, one of the oldest settled areas in upper Mesopotamia. The city is literally carved out of the side of a mountain. I am working on the design for The Kite Runner with Turkish set and lighting designer Kerem Çetinel and Montreal-based sound designer Matt Waddell. We have just finished smelling the rose water perfume that inexplicably wafts from one of 10 extant footprints of the Prophet Muhammad (peace be upon him). August: A small Afghan man with a giant smile and bushy moustache is teetering on top of a produce shelf to lift down a colourful kite for me. Playwright/Adapter Matthew Spangler is giving me the San Francisco Bay Area Kite Runner tour. We have stopped into an Afghan grocery store where they sell authentic kites and glass string. I buy three beautifully patterned kites made from thin bamboo, vibrantly coloured tissue paper and glue. Next stop: the famous San Jose Flea Market. October: Just finished a 6-hour Skype call with Kerem who is in Istanbul. The set design for The Kite Runner is due in a few days. Here are some of Kerem’s notes: “ - Act 1’s world is poetic. It is borne from the art and landscape of Afghanistan—its stories, its textures, its calligraphy, its religion and its sky. - Act 2 Part 1 is the new world made up of epic structures, loud music, big cars and bright lights. It has a rough and in-your-face beauty of its own, yet it is very different from home. - Act 2 Part 2 is about transformation of what was into what is. It the loss of poetry and culture as portrayed through a decaying harsh land, which is a ghost of the past.” Dec 31: Our first day of rehearsal. The cast, artistic team and staff of Theatre Calgary are gathered in a large circle. The excitement to read the play out loud for the first time is like electricity in the room. Anousha Alamian (who plays Amir) takes a deep breath and speaks the first words of the play, “I became what I am today at the age of twelve….”
22 THE KITE RUNNER
All great art is an invitation to know the world differently. For this small-town guy from Northern Ontario, directing The Kite Runner has already been one of the richest experiences of my life. It is my sincere hope that this performance will extend the same invitation to you. Eric Rose Director
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about the
author and playwright Khaled Hosseini
Author
Khaled Hosseini was born in Kabul, Afghanistan, in 1965, the oldest of five children. His father was a diplomat with the Afghan Foreign Ministry and his mother taught Farsi and History at a large high school in Kabul. In 1976, the Afghan Foreign Ministry relocated the Hosseini family to Paris. They were ready to return to Kabul in 1980, but by then Afghanistan had already witnessed a bloody communist coup and the invasion of the Soviet army. The Hosseinis were granted political asylum in the United States and in 1980 the family moved to San Jose, California. Hosseini attended Santa Clara University where he earned a bachelor’s degree in Biology before attending the University of California, San Diego’s School of Medicine, where he earned a medical degree in 1993. He then completed his medical residency at Cedars-Sinai Hospital in Los Angeles. While in full-time medical practice, Hosseini began writing his first novel, The Kite Runner, in 2001. The Kite Runner, published in 2003, has since become an international bestseller published in 70 countries. It spent 219 weeks on the New York Times Bestseller List (in spot #1 for four of those weeks). In 2006 Hosseini was named a goodwill envoy to UNHCR, the United Nations Refugee Agency and he has since been working to provide humanitarian assistance in Afghanistan through The Khaled Hosseini Foundation. His second novel, A Thousand Splendid Suns, was published in May of 2007.
MATTHEW SPANGLER
Playwright
Matthew Spangler’s adaptation of The Kite Runner earned five San Francisco Bay Area Theatre Critics’ Circle Awards, including awards for Original Script and Overall Production. His other plays include: Tortilla Curtain, based on the novel by T.C. Boyle (a recipient of an Edgerton Foundation New American Play Award); one-person shows of James Joyce’s Dubliners and Finnegans Wake; A Paradise It Seems, an adaptation of John Cheever’s short stories; Mozart!, a musical theatre adaptation of Wolfgang Amadeus Mozart’s letters; as well as adaptations of John Steinbeck’s fiction, Ernest Hemingway’s short stories, and Thomas Wolfe’s The Lost Boy. His plays have been produced by the Cleveland Play House, the Actors Theatre of Louisville, San Jose Repertory Theatre, the Arizona Theatre Company, San Diego Repertory Theatre, New Repertory Theatre (Boston), the Edinburgh Fringe Festival, and the Avignon Theatre Festival, among others. The Kite Runner will be produced by the Nottingham Playhouse and Liverpool Playhouse in the spring of 2013. Matthew is an Associate Professor of Performance Studies at San José State University in California. He holds a Ph.D. in Performance Studies from the University of North Carolina at Chapel Hill, an M.Phil. in Theatre from Trinity College in Dublin, and a B.S. in Performance Studies from Northwestern University.
24 THE KITE RUNNER
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KITE FIGHTING Kite flying and kite fighting has been a very popular pastime in Afghanistan for over a century. Known in Dari as gudiparan bazi, the activity was banned by the Taliban from 1994 to 2002. Traditionally, kites are constructed from lightweight bamboo sticks and tissue paper and Photo by Eric Sutphin. range in size from 30cm to 120cm. The most important element is the tar, a cotton, hemp or thin wire line that is coated with a thick combination of paste and finely ground glass, known as shisha, to make the line sharp for cutting. Once dry, the line is then wound on a drum known as a charkha. During a kite fight, or jang, the object is to use the wire of your kite to ensnare another kite and cut your opponent’s line and bring it to the ground. Often this is done with a team of two players per kite — one player who holds the charkha and spools the line, and one player to control the kite in the air. When a kite is cut loose, it can be claimed by the winner, or it is considered azadi rawest, or “free and clear,” meaning ownership will pass to whoever retrieves it. A competition-winning kite is highly prized and kite running is a significant part (up to 70%) of competitive scoring. Many people, especially children, have been injured from falling off roofs or running into traffic in pursuit of a falling kite. Before the Taliban, kite flying competitions were commonly held in communities throughout Afghanistan, and especially within the city of Kabul. The winter is a popular time for competition due to strong winds and school closures during the icy season. Both children and adults gather to compete and lay wagers on the competing kites, often representing different streets within a neighbourhood. Each block would have a champion (known as a sharti) with the best record for not losing a fight.
“Healing is a matter of time, but it is also sometimes a matter of opportunity.” – Hippocrates
AFGHAN DIVERSITY AND CONFLICT With its diverse geological terrain, long history of invasion and warfare, and unique position at the cross-roads between Europe and East Asia, Afghanistan is a complex mosaic of ethnic groups and languages. The three most populous are Pashtun, Tajik and Hazara.
Young boys in Ghazni, Afghanistan, 2009. Photo credit ISAF Public Affairs.
Pashtuns are the largest ethnic group, comprising an estimated 45% of the population. Since the mid-18th century, Pashtuns have dominated Afghan politics and culture. Their language, Pashto, is recognized as one of the country’s two official languages. The majority of Pashtuns are Sunni Muslims. Tajiks are the second-largest ethnic group, making nearly one-third of the population and composing much of the middle class as farmers, traders and government officials. Tajiks are predominantly Sunni Muslims and their predominant language is Dari, the Afghan variant of Farsi (Persian) and the other official language of Afghanistan.
A Hazara man in Afghanistan, 2005. Photo by Steve Evans.
Hazaras are the most oppressed ethnic minority and the third largest ethnic group. They are believed to be descended from the soldiers of Genghis Khan’s army that swept through Afghanistan in the 11th century, perhaps explaining their more Asiatic physical features. Many Hazaras worked as servants for wealthy Pashtun households until the Soviet invasion. Most Hazaras are Shi’a Muslims and are therefore also a religious minority. The split between the two main branches of Islam, Sunni and Shi’a, occurred early in the religion’s history during a series of civil wars after the death of Muhammad in 632 CE. Shiites believed that only a direct descendant of Muhammad could become the religion’s leader, whereas Sunnis accepted the rule of leaders from the wider community. This schism is still deeply felt today. In most Islamic countries, Sunnis (who are at least 75% of Muslims worldwide) hold state power and make up the political establishment, while Shiites are connected with opposition movements. This is the case in Afghanistan, where Sunni Pashtuns and Tajiks hold power while Shiite Hazaras are marginalized. But neighbouring Iran is a notable exception, with a large Shi’a majority that has ruled since the 1979 revolution.
THE KITE RUNNER 27
TIMELINE OF EVENTS IN MODERN AFGHAN HISTORY 1880 – 1901 – Abdur Rahman Khan, the “Iron Amir” creates a unified Afghanistan by breaking the power of local tribes and clans and through a process known as “Pashtunization,” or the forcible moving of Pashtuns into non-Pashtun regions. A series of uprisings by Hazara leaders results in the massacre of an estimated 60% of Hazaras and continued hatred between Pashtun and Hazaras for years to come. 1919 – 1929 – King Amanullah Khan (grandson of Abdur), declares Afghanistan fully independent from the British prompting the third of the Anglo-Afghan wars. A peace treaty is signed in August, 1919, securing Afghanistan’s independence. King Amanullah initiates a series of ambitious social and political reforms that infuriate rural religious conservatives and Amanullah abdicates and flees the country in 1929. 1933 – 1973 – King Mohammed Nadir Shah is assassinated in 1933 and his son Mohammed Zahir Shah rules for the next 40 years. During this time, Afghanistan receives foreign financial aid towards economic expansion and modernization – primarily from the United States and the Soviet Union. 1973 – King Zahir’s cousin, Mohammed Daoud Khan seizes power in a military coup. Daoud declares Afghanistan a republic. As President, Daoud implements reforms (including the emancipation of women and the suppression of Islamic fundamentalism) and lessens the country’s dependence on the Soviet Union after many years of financial and political support. 1978 – Known as the Saur Rebellion, the People’s Democratic Party of Afghanistan (PDPA – backed by the Soviet Union) violently overthrows the government and Daoud and his family are killed. 1979 – The PDPA implementation of a socialist agenda and abolishment of traditional Muslim customs inspires the uprising of mujahidin (guerilla warrior) resistance groups against the government. The PDPA allows the Soviet Union to invade to provide security and assist in the fight against rebellious factions.
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King Zahir Shah, 1963.
Pullout of Soviet troops from Afghanistan, 1988. Photo by Mikhail Evstafiev.
1989 – The Soviets withdraw from Afghanistan after a decade long conflict that leaves over a million dead and several million refugees fleeing to neighbouring Pakistan and Iran. 1992 – Civil war erupts as the communist government collapses and rival mujahidin factions vie for control of the country. 1996 – The Taliban, holding control over Kabul and Kandahar, establishes an Islamic fundamentalist theocracy (known as the Islamic Emirate of Afghanistan). 2001 – The United States launches an invasion of Afghanistan after the Taliban’s refusal to hand over Al-Qaeda operatives responsible for the September 11th attacks on the World Trade Center. 2004 – A democratic election is held and Hamid Karzai is declared President. In the following year, parliamentary elections are held and a National Assembly is inaugurated. 2012 – NATO announces a plan for withdrawal of military forces from Afghanistan by 2014.
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An Afghan child flies a kite. Photo credit: USMC.
LANGUAGES OF AFGHANISTAN The official languages of Afghanistan are Dari and Pashto. Dari, the Afghan dialect of Farsi or Persian, is the first language of about half of Afghans and the second language of many more, making it the lingua franca of the country’s various ethnic groups. Pashto, the native language of the Pashtun people, is the first language of around 40% of Afghans and 15% of Pakistanis. Both Dari and Pashto are Indo-European languages and are written in Arabic script—but they are not mutually intelligible. Since Afghanistan is an Islamic country, speakers of both languages also use Arabic words and phrases in their daily speech. Here are some Dari, Pashto, and Arabic words that you might hear during the play: Baba: Father (Dari) Agha: lord, but often used as a term of respect like sir or mister in English (Dari) sahib: friend, but often used politely to mean sir or mister (Arabic) jan: a term of affection meaning dear, usually used after a person’s name or title (Dari)
nang and namoos: honour and pride, the central tenets of Pashtunwali, the strict moral code followed by many Pashtuns in Afghanistan (Pashto) khoda hafez: literally meaning may God protect you, this phrase is a polite way to say goodbye (Dari) tashakur: thanks (Dari)
boboresh: an exhortation heard at the kite tournament, meaning cut him! (Dari)
balay: yes (Dari)
shahbash: an accolade meaning congratulations or well done (Dari)
Written by Shari Wattling, Artistic Associate and Zach Moull, Assistant Dramaturg, Theatre Calgary
Kaka: a respectful word for uncle, also used politely to address an unrelated older man (Dari)
Sources
bachem: my child (Dari) Mashallah: literally meaning Allah has willed it, this phrase expresses thankfulness for a positive event (Arabic)
Sharifah Enayat Ali, Cultures of the World: Afghanistan, 2006. Arizona Theater Company, The Kite Runner Play Guide, 2009. Jeffrey A. Gritzner, Afghanistan, 2002. Joe Hoyt, Afghanistan 1970 – 1975: Images from an Era of Peace, www.imagesofafghanistan.com. Ralph H. Magnus and Eden Naby, Afghanistan: Mullah, Marx, and Mujahid, 1998. Shaista Wahab and Barry Youngerman, A Brief History of Afghanistan, 2007. www.afghana.com/Entertainment/Gudiparanbazi.htm
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Patmos, Rhodes, Delos – a holy sanctuary for a millennium before the first Greek hero unsheathed his sword, the black sands of Santorini where, it is said, the ruins of Atlantis sleep in its circular embrace. One can never see the Aegean, its islands rising wraith-like from an azure sea, without the feeling that Jason and the Argonauts are out there, just over the horizon, pursuing their quest for the Golden Fleece. Actually, the Aegean is not a large sea – at least in terms of, say, the Pacific Ocean. A strong leader and a compliment of hardy sailors could navigate it in a fairly short period. Even if they had to traverse from Ancient Troy in Asia Minor, through the islands dotting the Aegean, around the southern peninsula of Greece, into the Ionian Sea and thence on to Ithaca. So then, why did it take Odysseus 20 years to make it home to his beloved wife, Penelope? I know, the Gods played their little games with him, but you are certainly left with the feeling that the Hero of Troy (and the warrior who thought up the Trojan Horse) was in no hurry to return to his loyal and loving wife. History and myth have long imbued Odysseus with the mantle of hero but in Margaret Atwood’s The Penelopiad, opening at the end of March at the Citadel, Canada’s preeminent author suggests the time has come to reexamine that heroic image through a modern lens and the eyes of the woman who waited. And waited.
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Even without Atwood, our image of what a hero is has changed. Our heroes tend to be firemen who rescue children from burning buildings, olympic athletes with disabilities and Doctors Without Borders. In ancient times, heroes were great warriors whose fame often depended on how many of their enemies they slaughtered in battle – including women and children. The hero Paris passed himself off as a diplomat but the horny fellow had just one aim – that was to seduce (and probably rape) the beautiful Helen, wife of the king of Menelaus. Helen herself may have had the “face that launched a thousand ships,” but she melted into her violator’s arms abandoning Menelaus and Hermoine, her nine year old daughter. Between them, they blithely set off the Trojan War. Hercules ravished virgins and murdered his own children. Take Odysseus. He tricked the 15 year old Penelope into marrying him by rigging a contest. They lived in Ithaca where they, apparently, were quite happy – however Odysseus was soon called to the Trojan Wars and departed. He was not to return for 20 years – 10 of them fighting, another 10 wandering around the Aegean. He conquered the fearsome one-eyed Cyclops and conducted a number of highly charged sexual liaisons – including a lengthy tryst with the witch-goddess Circe. In references to his dalliances he always maintained that the Gods made him do it – but then what priapic hero hasn’t used that one.
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Meanwhile, the virtuous Penelope was waiting for him to return. Princes from all over the area descended on her home thinking that Odysseus would never come back. They all proclaimed their love but in an age where 15 year old girls were prized sexual objects, Penny was getting along in years. What they really wanted was the family fortune. The suitors demanded Penelope choose one of them and, fearing violence, she came up with an ingenious idea. She started a shroud for her father-in-law promising she would choose a mate when she was done. But at night, when the fires burned low, she would let out what she had done during the day. In the meantime it was party city for the corrupt princes. They were eating and drinking up Odysseus’ gold. Wisely, Penelope did not trust them and sent her 12 innocent handmaidens out as spies. The poor girls were seduced, raped and generally ravaged by the louts but Penelope got her information – even sending the maidens back after their violations. Odysseus was finally allowed by the gods to return but he did so disguised as a beggar. After a few days of assessing the situation, he grabbed his trusty bow and arrow and slaughtered all of Penelope’s suitors and then urged Telemachus, his son, to hang the maidens because, he thought, they participated in the unending orgy. Only later did he learn that they were only acting as Penelope’s agents. Oops!
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“I wouldn’t call it feminist. Every time you write something from the point of view of a woman people say it is feminist.” Atwood first published The Penelopiad in 2005 as part of a series of books based on various myths. She wrestled with a number of epic tales but with little success and was about to abandon the project when she remembered that, as a teenager, she had been fascinated by the tragic story of the 12 maidens. She decided to approach the story from the point of view of Penelope, using classic Greek tragedy structure. Penelope would address the reader in monologues and then a chorus would comment on the action. Is this a “feminist, revisionist fable?” Not so says Atwood, “I wouldn’t call it feminist. Every time you write something from the point of view of a woman people say it is feminist.” Most myths remain fluid in their telling anyway so why not tell it from a new point of view? Observes Atwood in her forward to The Penelopiad, “Mythic material was originally oral and local – a myth would be told one way in one place and quite differently in another.”
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“Mythic material was originally oral and local – a myth would be told one way in one place and quite differently in another.” In the book (and subsequent play), Penelope regards her life from 21st century Hades. Resigned, wry, strong-willed and sly, but a bit worn down by it all, she tells her tale of fidelity and loneliness and reviles her cousin, the beautiful Helen, for ruining her life. In a television interview, Atwood noted now that Penelope is in the underworld, “She’s going to tell her own story. She doesn’t get as much airtime as Clytemnestra or Helen because she was not a tragic figure. She never killed anyone or she was not killed herself.” Penelope is apparently unimpressed with Odysseus’ tale calling her husband a liar who drunkenly fought a one-eyed bartender and then boasted it was the Cyclops. She rejects the idea that she was a loyal wife (she was just trying to survive) and generally illuminates Atwood’s point that the truth occupies a third position between the myth and other biased points of view. The 12 maidens (Greek Chorus), described as “alternatively haunting and vaudevillian,” speak from their point of view, and because they hold both Odysseus and Penelope responsible for their destruction, they haunt them in Hades. Penelope speaks, often in simple poetry, peppered with Atwood’s dry humour and melancholy, bittersweet voice. The chorus articulates in many narrative styles including a jump rope rhyme, a lament, a folk song, an idyll, a sea chanty, a ballad, a lecture, a court trial and several songs. The book was translated into 28 languages and rose to the top of the best seller lists. But Atwood (and others) noted the potential for a “theatrical dimension.” So, she adapted it to the stage and even was featured as Penelope in a modest early production. “She’s old and so am I,” she told a reviewer. Despite his flaws, Atwood holds a surprising respect for Odysseus. “It’s surprising how many women there are in the Odyssey and they all help him. That’s why I made him so charming. He’s the kind of guy women like – he takes an interest in them. He doesn’t get his way with force. He’s no thug. He was fun to be around.” Since then the play, with its ancient tale leavened by Atwood’s skilled writing, has had a number of productions (including the Royal Shakespeare Company and Canada’s National Arts Centre) and has met with a good deal of approval – critics citing her ability to bring new insight and a modern sensibility to an old, old story. The Citadel production is an all female cast of 13 (12 of whom are participants of the Citadel/Banff Centre Professional Theatre Program – chosen from some 250 who applied). The cast includes such well-known local actresses as Beth Graham, Nadien Chu, Mary Hulbert and Sarah Machin Gale. The work will be helmed by renowned Canadian director Brenda Bazinet. The Penelopiad opens in the Maclab Theatre on March 30. 38 THE KITE RUNNER
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the kite runner
ANOUSHA ALAMIAN
BIOS Amir
The Kite Runner (co-production with Theatre Calgary) is Anousha’s first appearance at the Citadel Theatre. Recent credits include The Merry Wives of Windsor and King John for Bard on the Beach; Othello, Hamlet, Romeo & Juliet and A Midsummer Night’s Dream for The Classical Theatre Project; Much Ado About Nothing for Canadian Stage and Homebody/Kabul for Mercury Theatre. His film and television credits include Afghan Luke; Chaos; Hellcats; Diverted; Fringe; Degrassi; The Border; Regenesis and Mayday. He was also a regular on the CBC radio drama Afghanada. Born in Iran, Anousha moved to Montreal with his family at the age of eleven. Anousha is a graduate of Dawson College and Ryerson University.
ABRAHAM ASTO
Wali
The Kite Runner (co-production with Theatre Calgary) is Abraham’s first appearance at the Citadel Theatre. Other credits include Romeo & Juliet and Macbeth for The Classical Theatre Project; HABIT for Luminato Festival; The Dinner for Toronto Fringe Festival (Patron’s Pick); World Festival for Soulpepper; The Skin of Our Teeth, Uncle Vanya and The Seagull for George Brown Theatre and The Triangle Factory Fire Project for Stagecraft Company. Abraham is a graduate of the University of Toronto (English Specialist Program) and the George Brown Theatre Conservatory.
THE KITE RUNNER 41
BIOS
the kite runner DALAL BADR
Soraya
The Kite Runner (co-production with Theatre Calgary) is Dalal’s first appearance at the Citadel Theatre. Other credits include As You Like It, The Winter’s Tale, Three Sisters, Bartholomew Fair, Phedre, Love’s Labour’s Lost, Romeo & Juliet and Caesar & Cleopatra for Stratford Festival; Neverending Story for Skirball Center NYC/ Roseneath; Antony & Cleopatra for SITR; Tideline for Factory Theatre; Relative Good for GCTC and Tales From Ovid for Centaur Theatre. Her film and television credits include Cracked (recurring) for CBC; Flashpoint for CBS/CTV; Combat Hospital for ABC/Global; King for Showcase/Global; Z.O.S. (recurring) for HBO/TMN; Little Mosque on the Prairie for CBC; 72 Hours-True Crimes for TLC/ CBC; The Fifth Estate-The House of Shafia, The Cold War Series for CBC (voiceover); The Current-The Story of Mohammed Bouazizi for CBC Radio (voiceover) and Covert Affairs for ABC (voiceover). Look for Dalal in the feature film A Brand New You and Port Hope on CBC. Dalal is a graduate of the University of Victoria, the National Theatre School of Canada, and the Birmingham Conservatory. Follow her on Twitter @1dalalbadr or visit www.dalalbadr.com. Dalal would like to thank her friends and family for all of their love and support.
POORIA FARD
Kamal / Zaman
The Kite Runner (co-production with Theatre Calgary) is Pooria’s first appearance at the Citadel Theatre. Other credits include Horses at the Window for Siavash Shabanpour/Go Play Producing; Solitary for InspiraTO Festival; And the King Dances: Versailles’s Variations, Swimming for Shore, Twelfth Night and Comedy of Errors for Humber College. His film and television credits include voiceover work for Circumstance (Winner of Sundance People’s Choice Award 2011). Pooria, born in Iran and now based in Toronto, is a 2012 graduate from the Theatre Performance program at Humber College. He has co-founded Go Play Producing, which has Pedro and the Captain in the works for 2013. Tweet him @pooriafard
“A real friend is one who walks in when the rest of the world walks out.” – Walter Winchell 42 THE KITE RUNNER
the kite runner OMAR ALEX KHAN
BIOS Rahim Khan
The Kite Runner (co-production with Theatre Calgary) is Omar’s first appearance at the Citadel Theatre. Selected theatre credits include Romeo and Juliet, Glengarry Glen Ross and The Seafarer for MTC; Moonlight and Magnolias for PTE; Three Sisters for Zone41; Pygmalion and Johnny Belinda for Montgomery Theatre and Betrayal for Winnipeg Jewish Theatre. Omar will be on television in the upcoming season of HBO Canada’s Less Than Kind and in the CBC biopic The Jack Layton Story this year. Omar is a native Winnipegger.
GERRY MENDICINO
General Taheri
Gerry was last seen at the Citadel in Three Men on a Horse. He has performed in theatres across Canada including The Kite Runner for Theatre Calgary; Speed the Plow for Elysian Theatre; 42nd Street for Limelight Dinner Theatre; One Flew Over the Cuckoo’s Nest for Leah Posluns Theatre; Italian Funeral and Other Festive Occasions for Drayton Entertainment and his one-man show Baby Boom Blues for Solar Stage. His film and television credits include King of Kensington; host of The Polka Dot Door; Busy’s dad in Ready or Not and Uncle Taki in My Big Fat Greek Wedding. Gerry graduated from the University of Windsor Drama School in 1973.
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THE KITE RUNNER 43
BIOS
the kite runner ALI MOMEN
Assef, Dance Captain
The Kite Runner (co-production with Theatre Calgary) is Ali’s first appearance at the Citadel Theatre. Other credits include Everything Is Terribly Nice Here for Ghost River Theatre; A Midsummer Night’s Dream for Canadian Stage; Serious Money, Born Yesterday, An Ideal Husband, After The Dance and Wonderful Town for Shaw Festival and Interrogation for Modern Times Stage Company. His film and television credits include Cracked and The Border for CBC; The LA Complex for CW; Combat Hospital for ABC and How To Be Indie for YTV. Tweet him @alimomen
SALAR NADER
Musician, Original Music, Cultural Consultant The Kite Runner (co-production with Theatre Calgary) is Salar’s first appearance at the Citadel Theatre. Other credits include original composer and musical director for The Kite Runner for San Jose Repertory Theatre. Salar has performed in many respected venues and noted music festivals including Carnegie Hall, Kennedy Center, Berlin Philharmonic, London Symphony Hall, Montreal Jazz Festival, Teatro De La Ville (Paris), and most recently at the opening of the 2012 London Summer Olympics. Classical collaborations include Kronos Quartet, Berlin Philharmonic Orchestra, pop/hip-hop genre rapper/producer Lil Jon, reggae star Shaggy, and the Gypsy Kings to name a few. His film and television credits include The Reluctant Fundamentalist; Namesake; Vanity Fair; The Heat; Bridesmaids and Bad Teacher. His awards include a Grammy in 2012 for his involvement in Best Blues album Revelator, Tedeschi Truck band. In 2011 he was invited back to Afghanistan as principle music teacher at ANIM (Afghan National Institute of Music). His musical training began at the age of seven under 2-time Grammy award winning artist Zakir Hussain. www.SalarNader.com
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the kite runner
PARNELLI PARNES
Ali, Fight Captain
The Kite Runner (co-production with Theatre Calgary) is Parnelli’s first appearance at the Citadel Theatre. Other credits include Much Ado About Nothing, Antony and Cleopatra, Othello, The Comedy of Errors, Julius Caesar, Timon of Athens, A Midsummer Night’s Dream, Measure for Measure and The Merchant of Venice for Bard on the Beach; Orpheus Descending, The Brothers Karamazov and Measure for Measure for Stratford Festival; Tideline for Touchstone Theatre/Neworld Theatre; Tear the Curtain! for Electric Company Theatre; Pharaoh Serket, The Hobbit, Peter Pan, Merlin and It’s a Wonderful Life for Carousel Theatre; Stuff Happens and Banana Boys for Firehall Arts Centre; Around the World in 80 Days for Gateway Theatre; The 8th Land for Pi Theatre; Photog and Hive 2 for Boca Del Lupo; Cariboo Magi for Pacific Theatre; Dog Eat Dog for The Only Animal; Coup D’etat for WCT and The Pavillion for Osimous. Parnelli is a graduate of Studio 58 and The Birmingham Stratford Conservatory.
MICHAEL PENG
Baba
Michael appeared at the Citadel in The Sound of Music and Julius Caesar. Other acting credits include The Kite Runner for Theatre Calgary; Parlour Song, Shimmer and Bashir Lazhar for wishbone theatre; Richard III and As You Like It for Freewill Shakespeare Festival; An Accident for Northern Light Theatre; Race for Theatre Yes (Canadian premiere); Eurydice for Studio Theatre; Mourning Dove for Kill Your Television; Waiting for Godot, An Ideal Husband, Einstein’s Gift, Proof, Problem Child, Some Assembly Required and Uncle Vanya for Theatre & Company (11 seasons); Goodnight Desdemona, Good Morning Juliet for Touchmark Theatre and The Foursome for Drayton Entertainment. Michael earned an MFA in Directing at the University of Alberta in 2008 and continues to call Edmonton home, where he is also co-Artistic Director of the acclaimed, award-winning independent company, wishbone, founded in 2009. Thanks to Kate, Eric Rose, Dennis Garnhum, Bob Baker, Jen Swan, Emma, Jane, Kerem, and all creative, production and administrative teams on The Kite Runner. You inspire me with your imagination, passion, commitment and courage. For Leo, bear wrestler and grandfather…
46 THE KITE RUNNER
the kite runner CONOR WYLIE
BIOS
Young Amir
The Kite Runner (co-production with Theatre Calgary) is Conor’s first appearance at the Citadel Theatre. Other acting credits include BEUTFL PRBLMS and BEUTFL CARATS for Radix; Then You’re From the Future Too for Maiko Bae Yamamoto and FUSE at the Vancouver Art Gallery; project x (faust) for Leaky Heaven Circus; What Are You Looking For? for Resounding Scream Theatre and The Last Seven Words of Fernando Pessoa, The Alice, Iphigenia in Aulis and Machinal for SFU. As an associate dramaturg, his credits include Dress me up in your love..., for Theatre Replacement. As a director, Conor’s credits include Enoshima Island for SFU; Three More Sleepless Nights for his company O, o, o, o. and the Vancouver Fringe. Conor is a Vancouver-based theatre artist and recent BFA Honours graduate of Simon Fraser University, particularly interested in interdisciplinary collaboration, new play creation, post–dramatic theatre, and site–specific performance. This summer, Conor will be performing in and serving as assistant director for Patricia Gruben’s new play, The Secret Doctrine for SFU. Conor would like to dedicate his performance to his father, Mike Wylie.
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BIOS
the kite runner
BAHAREH YARAGHI Mrs. Nguyen, Vocalist
The Kite Runner (co-production with Theatre Calgary) is Bahareh’s first appearance at the Citadel Theatre. Other credits include Prisoner of Tehran for Theatre Passe Muraille/Contrary Company; Hallaj for Buddies in Bad Times /RHCentre/IMPACT/ Modern Times Stage Company; Homeland (Dora nominated) for Vancouver Fringe 2011/Toronto’s Small World Music/Godot Art Productions; Inside for David Ferry/Daniel MacIvor; Romeo & Juliet and A Midsummer Night’s Dream for Shakespeare in Action; Hope Blitz for Theatre Passe Muraille and An Ordinary Wonder for Next Stage Theatre Company/Yevgenia Falkovich. Her film and television credits include Instant Star for CTV and Covert Affairs for USA. Bahareh is a Toronto-based performer and a recent honours graduate of Humber School of Creative & Performing Arts. She is a member of the Actors Repertory Company and was recently nominated for the Equity Emerging Theatre Artist Award in Toronto. Upcoming in the spring is Bea at Factory Theatre, ARC, Aleksandar Lukac.
NORMAN YEUNG
Hassan
The Kite Runner (co-production with Theatre Calgary) is Norman’s first appearance at the Citadel Theatre. Other credits include Settlers for Birdtown & Swanville; Fugitives for Western Theatre Conspiracy; Exit the Dragon for Vancouver Asian Canadian Theatre; Filthy Rich for Firehall; You’re a Good Man, Charlie Brown for Gateway Theatre and Peer Gynt, The Bacchae, Timon of Athens and Macbeth for UBC. His performance piece In this moment. premiered at Scotiabank Nuit Blanche, and his opera Black Blood (as librettist) was presented by Tapestry New Opera, both in 2012. Norman’s film and television credits include Resident Evil: Afterlife; Todd & the Book of Pure Evil; Rookie Blue; King and The Tracey Fragments. Norman’s play Pu-Erh was nominated for four Dora Awards, including Outstanding New Play. Norman will be directing a film, Anne Darling, in 2013. His painting and drawing exhibitions/clients include Art Gallery of Ontario, Flying Rooster Contemporary Projects, Bruce Mau Design, LVMH, MTV, and many more. Norman has a BFA in Acting/Theatre (UBC) and a BFA Honours in Film (Ryerson University).
48 THE KITE RUNNER
the kite runner ERIC ROSE
BIOS
Director
The Kite Runner (co-production with Theatre Calgary) is Eric’s first production at the Citadel. Other credits include artistic associate (2003 – 07), director of Jake and the Kid, Our Town, A Christmas Carol (2004 – 05) and The Guys for Theatre Calgary; playwrightin-residence at ATP (2007 – 10); director/dramaturg for ONE for Ghost River Theatre and director/co-writer for The Highest Step in the World for Ghost River Theatre/ATP. Eric has received the 2012 CITT Award for Technical Merit, 2010 Betty Mitchell Award (Outstanding Production) for The Highest Step in the World; short-list Gwen Pharis Ringwood Prize in Playwriting; ONE – 2011 Betty Mitchell Award (Outstanding Production), Betty Mitchell nomination (Outstanding Direction), SummerWorks Canadian Stage Award for Direction. Eric is the co-Artistic Director of Ghost River Theatre. He was recently named to Avenue Magazine’s Top 40 Under 40 class and received the 2012 Lieutenant Governor of Alberta Emerging Artist Award for his body of work as a theatrical innovator. Eric would like to dedicate The Kite Runner to his father Melvin Rose whose encouragement and belief has made all the difference.
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THE KITE RUNNER 49
BIOS
the kite runner KEREM ÇETINEL Set and Lighting Design
Previously at the Citadel, Kerem designed Thought Crimes. Other credits include set & lighting for The Kite Runner for Theatre Calgary; set, costume and lighting design for Scythe for Dammitdance; The Sound of Music for Keyano Theatre; Faithless for OYR/Azimuth; Hamlet for Theatre Prospero; Monster for Kill Your Television; Fat Pig for Northern Light Theatre; Helen’s Necklace for Shadow Theatre; Death and the Maiden for Globe Theatre (Regina); My Name is Rachel Corrie for Theatre Yes; Dark of the Moon for Phoenix Theatre (UVic); Bash’D! for Theatre Passe Muraille; Pretty Little Instincts for SNAFU Dance; Death of a Salesman and A Streetcar Named Desire for Blue Bridge Theatre; The Trespassers for Belfry/Vancouver Playhouse and Reverie for Ghost River Theatre. His previous work abroad includes Elma Hirsizlari for National Theatre of Turkey and Speaking in Tongues for Tiyatroperest (Istanbul). Kerem is a member of the Associated Designers of Canada and has a MFA in Theatre Design from the University of Alberta.
GILLIAN GALLOW
Costume Design
The Kite Runner (co-production with Theatre Calgary) is Gillian’s first production at the Citadel. Other credits include One Flew Over the Cuckoo’s Nest for Theatre Calgary; set & costumes for King Lear and Thirsty for NAC; Hirsch for Stratford Festival; God of Carnage for MTC/Vancouver Playhouse; Night for Human Cargo/ NAC; Calendar Girls for Grand Theatre; Appetite for Volcano/ Theatre Passe Muraille; set for The Mill for Theatrefront; costumes for Awake and Sing for Soulpepper; Pride and Prejudice and Cinderella for the Grand Theatre. Gillian is the recipient of 3 Dora Mavor Moore Awards. She is the costume designer for the upcoming shows Dust at ATP and The Three Musketeers at the Stratford Festival.
“The beginning of atonement is the sense of its necessity.” – Lord Byron 50 THE KITE RUNNER
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BIOS
the kite runner
MATTHEW WADDELL
Sound Design
The Kite Runner (co-production with Theatre Calgary) is Matthew’s first production at the Citadel. Other credits include Everything is Terribly Nice Here and ONE for Ghost River Theatre; Travels with My Aunt for Montgomery Theatre and Mary’s Wedding for ATP. Matthew received the 2011 Betty Mitchell Award for Outstanding Theatre Sound Design for ONE. Matthew is an audiovisual designer, musician, and multimedia programmer based in Montreal and Calgary. He is active in the Montreal experimental and improvised music community with his bands Mor† and Corse and has performed at a number of festivals including Mutek, Suoni Per Il Popolo, Le Festivaldes Musiques de Creation Jonquiere, and the Biennale d’art performatif de Rouyn-Noranda. He has attended artist residencies at the Banff Centre for the Arts and the Society for Arts and Technology.
NATASHA MARTINA
Assistant Director, Movement Coach The Kite Runner (co-production with Theatre Calgary) is Natasha’s first production at the Citadel. Her director credits include Vimy for Bzzt! Trap Door Theatre; Dysmorphia for Ground Cover Theatre; All Through the Night, The Odyssey, Attempts on Her Life, Ends of the Earth and The Interview from America Hurrah for Greystone Theatre. As movement director, credits include A Christmas Carol for Persephone Theatre; Trail of Crumbs for Miscellaneous Theatre Festival (London) and Their Very Own and Golden City for East 15 Acting School (London). As an actor, credits include Edward II & Richard III for California Shakespeare Festival; Hercules for National Children’s Theatre (Minneapolis) and Kindertransport for Invisible Theatre (Tucson)/Center Stage Theatre (Seattle). Natasha is an Associate Professor specializing in Movement for Actors in the Department of Drama at the University of Saskatchewan.
52 THE KITE RUNNER
the kite runner HAYSAM KADRI
BIOS
Fight Director
The Kite Runner (co-production with Theatre Calgary) is Haysam’s first production at the Citadel. Other credits as an actor include A Christmas Carol (2012), Enron, To Kill A Mockingbird and Much Ado About Nothing and as a fight director To Kill a Mockingbird and A Christmas Carol (2011 - 12) for Theatre Calgary; Dr. Jekyll and Mr. Hyde, Twelve Angry Men, Sherlock Holmes: The Final Adventure and Black Coffee for Vertigo Theatre; Shakespeare’s Dog, Robin Hood and Oliver Twist for ATP; Jim Forgetting for Verb Theatre; Bashir Lazhar for Downstage; Othello, Much Ado About Nothing, Romeo and Juliet, Macbeth and As You Like It for Shakespeare in the Park; Scorched for Sage Theatre; A Midsummer Night’s Dream for Caravan Farm Theatre (Armstrong BC); Macbeth for Shakespeare Company and The Bear for Lunchbox Theatre.
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THE KITE RUNNER 53
BIOS
the kite runner
JANE MACFARLANE
Voice Coach
The Kite Runner (co-production with Theatre Calgary) is Jane’s first production at the Citadel. Other credits include over 30 productions in the past 12 years, including Pride and Prejudice, Enron, To Kill a Mockingbird, Much Ado About Nothing, One Flew Over the Cuckoo’s Nest, 7 Stories, An Ideal Husband, The Miracle Worker and 10 years of A Christmas Carol for Theatre Calgary; Toad of Toad Hall, That Elusive Spark, Treasure Island, Vincent in Brixton and The Syringa Tree for ATP; Filth and Train Spotting for Sage Theatre and Submarine for Lunchbox Theatre. Jane teaches Voice and Acting in the Performance Program at Mount Royal University. She is the Resident Voice Coach for Theatre Calgary.
JENNIFER SWAN
Stage Manager
Jen was last at the Citadel for Studies in Motion: the Haunting of Eadweard Muybridge. Most recent credits include The Kite Runner for Theatre Calgary; Hansel & Gretel for Vancouver Opera in Schools; God of Carnage for the Belfry Theatre and assistant stage manager for Tear the Curtain! for Electric Company/ Canadian Stage. Other credits include five seasons as resident stage manager at the Belfry Theatre (Victoria); The Trespassers, One Last Kiss and Mary’s Wedding for Vancouver Playhouse; two winter shows at Caravan Farm Theatre (Armstrong, BC); four North American tours and eight years working with Theatre SKAM (Victoria) and six weeks in New York with Any Night for DualMinds Theatre. Jen has been part of Vancouver’s Electric Company Theatre as their Company Manager since 2008.
EMMA BRAGER Assistant Stage Manager
Emma Brager is a native Calgarian with a great fondness for Edmonton, and she is very proud to be a part of bringing this production up north. Emma was last at the Citadel for Death of a Salesman and August: Osage County. Other credits include The Kite Runner, Cats, Much Ado About Nothing, A Christmas Carol (2010 - 12), and Jake and the Kid for Theatre Calgary; Evil Dead: The Musical, Race, reasons to be pretty, My First Time, The Lieutenant of Inishmore, Cocktales, Writer’s Block and Trout Stanley for GZT/H&M; This is Cancer! at the 2010/2011 Edmonton Fringe Festival and Bashir Lazhar and Bone Cage for Downstage. 54 THE KITE RUNNER
the kite runner
BIOS
ISABELLE HÉBERT Apprentice Stage Manager
Isabelle most recently worked on Private Lives at the Citadel. Isabelle has a BFA in Stage Management from the University of Alberta. At the University, she stage managed Fuddy Meers, Skylight, Taxi Tales and Supernova in Hamlet, and has also assistant stage managed whisper, Eurydice and Blue Window. Isabelle has stage managed for Opera Nuova where she has worked on Ariadne auf Naxos, Falstaff, Roméo et Juliette and Béatrice et Bénédict. She has apprentice stage managed The Mikado for Edmonton Opera and has interned in Sulmona, Italy on L’Elisir d’Amore for the Centre for Opera Studies in Italy.
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STAFF
TOM McCABE President
MICHELLE LATTA Head of Wardrobe
JULIE ELKIW Wigs & Hair
DENNIS GARNHUM Artistic Director
ELIZABETH SUTHERLAND Cutter
LILLIAN MESSER Head of Props
LESLEY MACMILLAN Producer
SUSAN MONTALBETTI Breakdown Artist
CELINA BAHARALLY Props Builder
AARON NEWBERT Technical Director
SARAH CODE Stitcher
GERRY GERLINSKY Head Scenic Carpenter
MATT THOMPSON Assistant Technical Director
CARLEY POWELL Wardrobe Assistant
LOUIS BEAUDOIN Head Scenic Artist
RON SIEGMUND Wig & Hairstylist
THE KITE RUNNER 57
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58 THE KITE RUNNER
CITADEL THEATRE ROB B I N S
ACADEM Y
The Citadel Theatre BEYOND invites you to join us THE STAGE The Club
at the Citadel provides a unique, versatile performance space to the downtown Arts District.
20
$
RÉJEAN COURNOYER CABARET: THE MUSIC OF JACQUES BREL Friday, March 22 • 8:00PM Saturday, March 23 • 8:00PM
Mark these dates on your calendar SHAKESPEARE MASTER CLASS WITH JAMES MACDONALD Sunday, March 10 • 2:00PM BRAVE NEW WORKS PLAY READING Saturday, March 16 • 2:00PM MUSICAL THEATRE WORKSHOP WITH DON HORSBURGH SUNDAY, APRIL 7 • 2:00PM AFTER HOURS WITH THE CAST OF SPAMALOT FRIDAY, MAY 3 • 10:30PM *Programming & artists subject to change.
15
$ CITADEL THEATRE AND RAPID FIRE THEATRE PRESENT
LATE NIGHT CABARET: A VARIETY SHOW Thursday, March 28 • 9:00PM
For more details including ticket information for these events and for other performances please check:
citadeltheatre.com/ beyond-the-stage
CITADEL THEATRE ACADEM Y
ROB B I N S
PRESENTED BY
TM
The 2005 Tony Award Winner Best Musical BOOK & LYRICS BY ERIC IDLE MUSIC BY JOHN DU PREZ ERIC IDLE DIRECTED BY BOB BAKER STARRING JULIEN ARNOLD SUSAN GILMOUR RUSSELL ROBERTS FARREN TIMOTEO JOHN ULLYATT
April 20 - May 19/13 COMING NEXT TO THE SHOCTOR STAGE
780•425•1820
TICKETS START AT $
35
citadeltheatre.com
STAFF
BOB BAKER
Artistic Director •
PENNY RITCO
ARTISTIC ASSOCIATES FTS Teaching Assistants Cheryl Sinclair James MacDonald
Director, Citadel/Banff Centre Professional Theatre Program
Brian Dooley
Director, Play Development
Doug Mertz
Director, FTS & Young Companies
Don Horsburgh
Resident Music Director
Sophie Gareau-Brennan Payroll Accountant Josh Languedoc GUEST SERVICES Andrew Ritchie Kimberlee Stadelmann
ADMINISTRATION
Marianne Bouthillier
Associate Executive Director
Peni Christopher
Asst. to the Artistic Director/ Company Manager
Geoffrey Brumlik
Laurie McInnes
Wayne Paquette
AUDIENCE DEVELOPMENT
Academy Associate Academy Associate
Diana Stevenson
Manager, Foote Theatre School
Young Company Instructors Shannon Boyle Stephen Delano Heather Inglis Jackie Pooke Linda Rubin Kate Ryan FTS Instructors Christine Bandelow Shannon Boyle Ashley Butler Gregory Caswell Crystal Hanson Sally Hunt Binaifer Kapadia Meghan Koshman Annette Loiselle Patrick Lundeen Barbara Mah Michele Miller Anna Paquin Marcie Pringle Kate Ryan Matt Schuurman Liana Shannon Jennifer Spencer Eileen Sproule
Director/ Box Office Manager
Neil Le Grandeur House Manager
Debbie Theuss
Rentals Manager
Shar Powell
School Booking Coordinator
Business & Legal Affairs Kristen Hiemstra
Josh Wickard
Assistant Box Office Managers
Hannah Whittaker
Larissa Crocetti
Neil Le Grandeur
Jane Voloboeva
Thomas Scott
Guest Services Supervisors Myrna Gosnell Amanda Gregoire Mark Harding Theresa Hovdestad Tara-Lee LaRose Alyssa McGowan Terry Schmolcke Mark Stubbings Marlee Yule Guest Services Representatives Mike Anhorn Joyce Dominguez Carol Dreger Jessica Glover Marg Gronnestad Christina Harbak Jacob Liska Mike Liu Rebecca Loudon Stuart McDougall Brittany Molner Abbie Murison Carly Neis Valerie Smart Shirley Tran Dave Wolkowski
Director
Promoter Promoter
Patrick Lundeen Associate
FACILITY Louis Barron Director
Maintenance Doug de Vries Manager
Roger Millen
Assistant Maintenance Manager
Bee Clean Services Security Alberta Crowd Management Building Porter William Cardle Tara Gale
FINANCE Sherry Card, CMA Director
Daniel Jee
Accounts Payable/ Receivable
Assistant Rentals Manager Front of House Assistant
Executive Director
MARKETING, Sales & Greg Cardinal Fund DEVELOPMENT Scenic Carpenter Jann Smith
Serge Menard
Neil Luipasco
Sheila Cleasby
Administrator Senior Manager, Fund Development
Jason Magee
Manager, Media Relations
Angelica Menck
Manager, Corporate Relations
Sydney Stuart
Manager, Fund Development
Megan Wenger
Associate, Robbins Academy Marketing
Bevin Dooley
Outreach Coordinator
PRODUCTION Cheryl L. Hoover Director
Bill Heron
Technical Director
Michelle Chan
Resident Stage Manager
Patrick Fraser
Assistant Technical Director
Stephanie Ripley
Assistant Technical Director
Kyla Maki
Administrative Assistant
Owen Hutchinson Head of Audio
Scenic Carpenter Head of Electrics
Scott George Lafluer Assistant Head of Electrics
Andrea Steinwand
Head of Scenic Paint
Richard Stevens
Assistant Head of Scenic Paint
Nicole Diebert Scenic Paint
Jim Meers
Head of Props
Charlotte Hunt
Assistant Head of Props
Perry Harris
Rental Technician
Marc Anderson
Head Stage Carpenter
Andrew Hill
Assistant Head Stage Carpenter
Scott Bricker
Stage Carpenter
Kelly Menard
Stage Carpenter
Patsy Thomas
Head of Wardrobe
Kayla Fulton
Assistant Head of Wardrobe
Lorraine Price
Head of Wardrobe Running
Ian Trace
Ava Diehl
Peter Locock
Barb Becker
Assistant Head of Audio Head of Scenic Carpentry
Chris Hayes
Assistant Head of Carpentry
Dresser
Wardrobe Maintenance
Samantha Rumball Head of Wigs
Tammy Boutin Wigs
Laurie Amundson, Johanna Andreoff, Tracy Arnell, Gale Arneson, Nelda Arnst, Judith Babcock, Trinity Barrow, Connie Banigan, Jerry Bayrak, Marion Bayrak, Donna Bell, Shelley Benson, Erika Beyer, Ursula Blumentrath, Jeanine Bonot, Florence Borch, Ken Borch, Shirley Boven, Loveth Bradley, Jon Brenda, Shirl Brown, Allan Budlong, Eileen Budlong, Collin Campbell, Patrick Caron, Dee Cartledge, Patricia Caley, Paulette Cameron, Gina Chea, Janet Cutinha, Joyce Dahl, Carol Dreger, Shirley Dunn, Clifford Edwards, Hayley Ehnes, Janet Fayjean, Margaret Ferro, Lil Filewych, Jeanette Flesher, Matthew Fok, Brenda Fraser, Wendy Fraser, Gilberte Gagne, Irene Gagne, Doreen Gagnon, Louise Gagnon, Jeanne Garland, Jackie Genest, Glenda Goodwin, Mervan Gorrie, Myrna Gosnell, Nancie Graves, Christine Hall, Ashton Harker, Jeffrey Haswell, Tomoko Hayashi, Rosemarie Heaney, Brad Heller, Marilyn Hemsing, Linelle Henderson, Daniel High, Amelia Hihn, Maria Hollinshead, Ron Homenchuk, Laura Hughes, Judy Hume, Bruce Johnson, Madalyn Johnson, Deborah Keller, Carol Klass, Eva Kopecka, Darlene Kowalchuk, Beth Kuban, Arndt Kuethe, Janice Kuethe, Kim Lang, Nicole LeBlanc-Lamarre, Lowella Lee, Louise Leibel, Gabrielle Lent, Maureen Letchford, Coral Levang, Ron Levang, Karen Lewis-Caron, Arnel Limpiada, Fran Linklater, Jennifer Liu, Elizabeth Luchko, Marlene Lukevich, Bozena Macek, Ross MacHetchuk, Dawn Madill, Nicholas Mather, Nicole McCormick, Shana McInnes, Chelsea McKay, Donna McKay, Tom McLean, Karen Miller, Janice Minamide, Monica Molina-Ayala, Joan Murchie, Sulochana Muthia, Florence Nieberding, Dennis Nolan, Gaetan Nolet, Gina Nolet, Barbara Olynyk, Linda Orlecki, Nicole Orlecki, Wendy Poirier, Joan Poletz, Anna Popowich, Gail Poston, Joyce Powell, Dennis Powers, Petra Prendergast, Kevin Przyswitt, Renee Przyswitt, Doreen Pysar, Kara Rathie, Tracy Renz Augustin, Monica Robillard, Louise Rogucki, Monica Rogucki, Audrey Ross, Ian Ross, Liam Ross, Irene Roy, Helen Rusich, Joyce Schwan, Angela Seery, Gail Simons, Valerie Smart, Cheryl Solatycky, Phyllis Solsberg, Evelyn Stark, Eileen Stephens, Antonia Stuica, Annabelle Tandingan, Shahna Tariq, Shu-Wen Tham, Liz Tweddle, Rose Unguran, Mona Vandersluys, Jane Voloboeva, Brenda Voyce, Maureen Wagner, Lindsey Whitson, LeAnn Wilk, Kay Willekes, Bonnie Woloschuk, Denise Woollard, Laura Wylde, Paul Yates, Lil Yewchuk
CITADEL VOLUNTEERS
The Citadel is grateful for the kind generosity of its volunteers listed below. If you want to volunteer with the Citadel, please call Neil Le Grandeur at 780-428-2137 or e-mail foh@citadeltheatre.com.
The Citadel Theatre Playbill is published nine times per year by Playhouse Publications Ltd. The contents of The Citadel Theatre Playbill may not be reproduced in whole or in part without the written permission of the publisher. All rights reserved by Playhouse Publications Ltd.
Inquiries should be made to: Playhouse Publications Ltd. 950 Bell Tower 10104-103 Ave., Edmonton, Alberta T5J OH8 Ph: 780-423-5834 • Fax: 780-413-6185 www.playhousepublications.ca PLAYHOUSE PUBLICATIONS LTD. President & Publisher: Rob Suggitt Vice President: Stephen Kathnelson Art Director & Designer: Christine Kucher Advertising Sales: Barry Powis, Kerry Duperron Administration: Amber Grmek The Citadel Theatre Playbill is a product of Playhouse Publications Ltd., an affiliate of Suggitt Group Ltd. President & CEO: Tom Suggitt President & CFO: Rob Suggitt Playhouse Publications Ltd. also publishes The Arden Theatre playbill, the Edmonton Opera program, the Calgary Opera program, the FTA Arts at the Barns Magazine, the Hockey Edmonton Magazine and the Hockey Calgary Magazine.
For advertising exposure in The Citadel Theatre playbill, contact Kerry Duperron at: 780-701-1951 or e-mail: kerry@playhousepublications.ca
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