CITADEL THEATRE ROB B I N S
ACADEM Y
2012/2013
private
lives BY NOﾃ記 COWARD 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 PRIVATE LIVES 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 PRIVATE LIVES
David Cornish Robert & Marlene Crosbie Marilyn Darwish 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 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 C.R. French
Bill Grace Paul Greenwood Brad Armstrong Emily Hannem Halfdan Baadsgaard Beatrice Harke Maurice & Annette Bastide Henriette van Hees Barb & Jim Beck Robert Henderson Andrew & Barbara Belch Judith Hugh Joan Blackburn Erik & Fanziska Jacobsen Angie Bogner Keith & Elizabeth Bowering Paula Jamison Lorraine Jenkinson E. Ross Bradley Larry Judge Norma Brekke Dorothy Kaiser Jack Brown Bernie & Dorothy Keeler Robert & Doris Bury Anita Kozyrskyj Donna Campbell Krawford Construction James & Joan Carlson Timothy & Joanne Caulfield Patricia Langan Don & Gwen Lawrence Audrey Clark Allen Lee Patrick & Luxie Crowe Ray Leppard Delbert & Jane Dahl Chris & Cecilie Lord Betty Lou Docherty Andre Louw Francis & Muriel Dunnigan Mary Machum Roland Duquette Douglas MacDougall Carmen & James Dykes Diane Mark Marion Elder Estelle Marshall Elizabeth Ruthanna Elson Kurt Masse & Sarah Leib Noella Fagnan Lorraine & Donald Fankhanel Gordon Moorhouse Robyn & Kevin Mott Rose Fowler
($100 - $199)
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
PRIVATE LIVES 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 PRIVATE LIVES
THE CITADEL WOULD LIKE TO THANK THE FOLLOWING FOR THEIR ASSISTANCE ON
C O U R T E S I E S
Dr. Ghalib Ahmed and the friendly staff at Coast Edmonton House.
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.
PRIVATE LIVES 9
Recognizing our Corporate Partners
Media Sponsors
10 PRIVATE LIVES
PARTNERS
CITADEL THEATRE ROB B I N S
ACADEM Y
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. 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 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
You Can liFt people up in so many diFFerent ways. EPCOR’s Community Essentials Council (ECEC) invests in a wide variety of community causes – everything from breakfast programs for youth to outreach support programs for seniors. Learn more about the work we do beyond wires and water. Visit epcor.com/community
ss n a o n i i t p u p We me s . Feel fr ee o h r u o
m a s e the . o d to
We hope you enjoy Private Lives.
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the kite runner
“IT’S A STORY March 9 - 31/13 WORTH KNOWING, ADAPTED BY MATTHEW SPANGLER A PLAY WORTH BASED ON THE NOVEL BY STAGING AND A KHALED HOSSEINI PRODUCTION DIRECTED BY ERIC ROSE CO-PRODUCTION WITH WORTH SEEING.” THEATRE CALGARY CITY BEAT
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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 Private Lives, Students Club members will be entertained and energized by members of Edmonton’s Rapid Fire Theatre. This pre-show presentation will provide a unique glimpse into the improvisational process, and how performer-created theatre can play a role in the development of characters and plays. Rapid Fire Theatre has recently made its home at the Citadel Theatre, and we are excited to have Edmonton’s premiere destination for improvised comedy be our guest presenters for Students Club. 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.
PRIVATE LIVES 21
The acclaimed new comedy by
Alan Bennett
a new play by James Graham ‘A funny and moving political epic.’ The Times
Daily Express
March 21
Daily Telegraph
May 16
Proudly Supported by
Visit cineplex.com/events for tickets and participating theatres ntlive.com
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by Noël Coward Starring (in alphabetical order) TIM CAMPBELL.. ................................................ Victor Prynne Diana Donnelly.. ........................................... Amanda Prynne GENEVIEVE FLEMING. . ..................................... Sibyl Chase JOHN ULLYATT.. ................................................ Elyot Chase CAT WALSH........................................................ Louise Directed by.......................................................... BOB BAKER Set & Costume Design by ................................ LESLIE FRANKISH Lighting Design by............................................. ROBERT THOMSON Music & Sound Design by. . ............................... JOEL CRICHTON Fight Captain. . ..................................................... TIM CAMPBELL Dance Sequence Choreography. . .................... LAURA KREWSKI Vocals by ............................................................ JENIE THAI Stage Manager................................................... MICHELLE CHAN Assistant Stage Manager.................................. SANG SANG LEE Apprentice Stage Manager............................... ISABELLE HÉBERT ACT I The terrace of a hotel in France. A summer evening, 1930. ACT II Amanda’s flat in Paris. A few days later. Evening. ACT III The same. Next morning. Private Lives is presented through special arrangement with Robert A. Freedman Dramatic Agency, Inc. 1501 Broadway, Suite 2310, New York, New York (212) 840 5760
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.) Sponsors
PRIVATE LIVES 23
PLAYWRIGHT Noël Coward virtually invented the concept of Englishness for the 20th century. An astounding polymath — dramatist, actor, writer, composer, lyricist, painter, and wit — he was defined by his Englishness as much as he defined it. He was indeed the first Brit pop star, the first ambassador of “cool Britannia.” Born in suburban Teddington on 16 December 1899, Coward was on stage by the age of six, and writing his first drama ten years later. In a visit to New York in 1921 he was inspired by the liveliness of Broadway, and he injected its energy into staid British drama and music to create a high-octane rush for the jazz-maddance-crazy 1920s. Coward’s style was imitated everywhere, as otherwise quite normal Englishmen donned dressing gowns, stuck cigarettes in long holders and called each other “dahling”. His revues propagated the message, with songs sentimental (A Room With A View, I’ll See You Again) and satirical (Mad Dogs and Englishmen, Don’t Put Your Daughter On the Stage, Mrs. Worthington). His between-thewars celebrity reached a peak in 1930 with Private Lives, by which time he had become the highest earning author in the western world. With the onset of World War II he redefined the spirit of the country in films such as This Happy Breed (1944), In Which We Serve (1942), Blithe Spirit (1945) and, perhaps most memorably, Brief Encounter (1945). In the postwar period, Coward, the aging Bright Young Thing, seemed outmoded by the Angry Young Men, but, like any modern pop star, he reinvented himself, this time, as a hip cabaret singer: “Las Vegas, Flipping, Shouts ‘More!’ as Noel Coward Wows ‘Em in Cafe Turn” enthused Variety. By the 1960s, his rebirth was complete — and Hay Fever was the first work by a living author to be produced at the National Theatre. He was knighted in 1970, and died in his beloved Jamaica on March 26, 1973. Since his death, his reputation has grown. There is never a point at which his plays are not being performed, or his songs being sung.
24 PRIVATE LIVES
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Colin MacLean is the dean of Edmonton theatre reviewers. In 2007, Colin was presented with a Lifetime Achievement Award for Outstanding Contribution to Theatre in Edmonton at the Sterling Awards.
Let us shed a tear for poor Mimi. She’s still out there searching for the love
she never found. Not even last year with her successful run at the Citadel. In fact, her quest for companionship met with such empathy (and copious laughter) here that she has come back for another try.
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Mimi, for those of you who missed last year’s hugely entertaining Blind Date, is a sexy French clown, complete with red nose and matching lipstick and dress. She has been stood up for the evening and, there in the bistro where she has been abandoned, and with a clown’s eternal optimism, she approaches the audience to select a partner for the evening. Who knows where it will lead? A little conversation or a long-time relationship? Even a golden future – a marriage, a child? Mimi is the creation of master improvisor Calgarian Rebecca Northan. Northan is an accomplished, multi-talented theatre virtuoso who has entertained troops in Bosnia, appeared in comedy festivals and has amassed a considerable body of theatrical work including movies (with Dustin Hoffman) and running her own Shakespearean company. She’s been at it for quite a while. “My brother and I had this bench in our home in Calgary and we would drag it into the living room,” she remembers with an audible chuckle. “We’d cover it with a blanket to make a curtain and we’d do commercial parodies for my parents. I remember us being brilliant. I have no idea what my parents would say about it.” At the age of 16 she was studying improv with that famous Calgary home of improvisational theatre, Loose Moose.
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Rebecca was already a well known performer when she got the call. A Toronto company was presenting an adult burlesque program in what is known as a “spiegeltent” on Toronto’s Harbourfront. “I had no idea what to do so I looked at the program. It included burlesque performers, comedians, musicians and contortionists. ‘But,’ I thought, ‘no clowns. You can’t do a show in a tent without a clown.’” And so Mimi was born. She began as a two minute exercise which became a 10 minute bit which included a guy selected from the audience. It was a spectacular success and Rebecca knew that she (and her co-developer/husband, Bruce) were onto something. “I thought, ‘What would happen if we took the time to really get to know the guy?’” Since then Mimi (and her various on-stage beaus) en if we hat would happ have played New York (to glowing reviews – including the usually grumpy took the time to New York Times) and in venus all over know really get to North America. There are four Mimi’s now ready for the road, a European tour is in the offing and, perhaps, a triumphant return to Broadway.
‘W
the guy?’
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PRIVATE LIVES 29
h “...Sometimes I wis
Not a bad career development for a girl who once thought clowns were really scary. “The only exposure e b I could I ever had to a clown was those awful birthday clowns.” Then in more like 1994, she saw Mump and Smoot and her attitude toward the art form changed. Mump (Michael Kennard) and Smoot (John Turner), known as the “clowns of horror,” produce interactive, largely improvisational plays for adult audiences and, along the way, pried open the whole idea of clowning. I note proudly (as they do as well) that they scored their first major success at the Edmonton Fringe. Remembers Rebecca, “At one point I said to myself, ‘Oh gawd, I’m a clown. I’m the thing I was always so terrified by.’” So, realizing that she was working in a red nose without knowing anything about the art form, she studied with Kennard and Turner (as well as with Karen Hines and other experts). “What I love about a great clown is that love and heartbreak are there at the same time. All the emotions we try to hide, the clown has the courage to show. That’s why we love a good clown because it taps into our humanity. Mimi absolutely loves everyone she meets. Actually Blind Date could be a really
her.”
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“We always want the date to look really good and so we all try to make whatever idea he comes up with happen.”
creepy show but the red nose keeps it theatrical – a constant reminder that what we are doing here is fun. I think Mimi is comprised of all the best parts of me. She always manages to keep the love. Sometimes, I wish I could be more like her.” In Blind Date Mimi’s boyfriend for the evening is always treated with respect. They are not brought onstage to be the butt of Mimi’s frustration or to be a foil for barbed humour. “We always want the date to look really good and so we all try to make whatever idea he comes up with happen.” The idea of giving the date near divine powers of creation has created some perilous twists and turns. Most of them have been hilarious (Rebecca maintains Mimi has never had a “bad date”) but there have been some dark moments. In St. Paul, a very attractive fellow – indeed a seminary student – was driving Mimi around the stage when they were stopped by a traffic policeman. The fellow lifted the cop’s gun and shot him. Dead! “We fast forwarded into the future and we were still together so I asked him, ‘Did you get
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pardoned? ‘No,’ he said, ‘I shot that guy and I’m in prison.’ So we ended the show on death row.”
loped
ve “...I think we’ve de a kind of gut instinct
Rebecca has based the show on the improv techniques that were on who would developed by artistic director Keith Johnstone of Loose Moose. “Johnstone’s idea was not to create comedy. What he wanted was what he called ‘spontaneous theatre.’ He’s famous for saying, ‘Stop being funny.’ He always said, ‘I’m sick and tired of four black chairs on a stage. I want a real couch. And a table with a tablecloth.’ There was always a rowboat backstage and an electric car you could drive and a swing that would lower from the ceiling. And there were always a couple of improvisors backstage who would listen to the show and react to what was being said.” Enter then, Blind Date’s sceneographers (one of whom is Jamie, Rebecca’s brother and partner in those rainy Sunday afternoon family improvs). The Blind Date company (two sceneographers/sound technician) arrive at a theatre and immediately ask to see their prop room. “We ask if we can have this and can we have that?”
work best.”
The process has led to some interesting moments. One that almost broke Rebecca up was when the date said, “Well, let’s go to the casino,” and all she could hear were the sceneologists running around backstage trying to set up an instant casino. Another demanded to be taken to Hawaii and a beach and couple of palm trees somehow appeared. “We were in New York. We have beer and wine props available backstage but my date asked for Grey Goose and cranberries. And he was insistent. Luckily there was a microbar at the back of the building so Jamie bolted down the stairs, ran through the basement, up the stairs, into the bar, ordered a vodka and cranberry and ran all the way back.” There is, however, a structure. Although it is obviously improv, Blind Date is a complex production with a story that has a beginning, middle and end. “The (general shape of the show) may depend on what happens on any given night but the date is on stage with me for 90 minutes so we have developed a structure that will provide stability and structure for them. Our ultimate responsibility is taking care of the date.” And how is this most fortunate of fellows chosen for his romantic liaison with the lissom clown? Well, the Citadel setting is a Parisian bistro and the theme is carried into the foyer. Before the show, the cast comes out and tries to make everyone feel at home but are also scoping out the audience. “We are looking
32 PRIVATE LIVES
for someone nice. Someone you’d like to meet at a party and spend some time talking to. I think we’ve developed a kind of gut instinct on who would work best.” So Mimi returns to The Club (at the Citadel Theatre) on February 13 just in time for Valentine’s Day. There are not many shows in theatre that are sure fire but Blind Date is one of them. And, as anyone who saw the show last year will attest, you can certainly see it again. Or multiple times. Because Blind Date is never the same twice as we join Mimi in her search for true love.
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PLAY A prolific and life-long theatre artist, Noël Coward was born in England in 1899 and began acting at age eleven. He published more than 50 plays throughout his career, including Hay Fever, Design for Living, Present Laughter and Blithe Spirit (the latter two being produced here at the Citadel in 2002 and 2005 respectively). Though an accomplished playwright, Coward was also a cabaret performer, musician and songwriter, and a prominent public figure. He lived through the transition from late-Victorian to modern England, including both World Wars (the second of which he was a spy for the English forces), and offers today’s theatregoers a glimpse of various eras, from the roaring twenties to post-war Britain. Private Lives is one of his best-known romantic comedies and most produced plays, written by Coward in 1930 and set around that time. Private Lives introduces us to Elyot and Amanda, each passionate, stubborn, hot-headed and quick-witted divorcees who run into each other in France while honeymooning with their new, much more down-to-earth spouses. Coward wrote the play while touring Asia. He contracted the flu while travelling and wrote the bulk of the play in four days while bedridden. His friend and partner Gertrude Lawrence was the first to read his drafts via telegram back in England. “Nothing wrong with it that can’t be fixed,” was her initial reaction. Lawrence and Coward would star in the first production of the play at the Phoenix Theatre in 1930. The play was adored by audiences, if not completely understood by reviewers, and was an instant financial success. A Broadway production followed in 1931, and Private Lives has since seen revivals across the globe with the likes of Maggie Smith and Elizabeth Taylor playing Amanda, and Richard Burton and Alan Rickman as Elyot.
34 PRIVATE LIVES
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bios
TIM CAMPBELL
Victor Prynne
Last season, Tim appeared as Happy Loman in Death of a Salesman. Recent theatre credits include A Midsummer Night’s Dream for the Shakespeare Theatre Company (Washington DC); Death of a Salesman and Who’s Afraid of Virginia Woolf? for Soulpepper; Private Lives for Chicago Shakespeare Theater; Shakespeare: If Music Be... for Art of Time; A Streetcar Named Desire for Blue Bridge; Ed’s Garage for the Grand Theatre; Moliere for Tarragon Theatre; the title role in Macbeth for Rose Theatre; Stones in His Pockets for Globe Theatre; Glory Days for Theatre Aquarius; The Last Days of Judas Iscariot for Birdland; Romeo and Juliet for STC; A Midsummer Night’s Dream for Resurgence Theatre and nineteen productions over six seasons with the Stratford Festival. Recent film and television credits include Nikita for CBS; Warehouse 13 for Universal/Syfy; The LA Complex for CTV; Saving Hope for CTV/NBC; Deadly Hope for Lifetime; The Firm for NBC; Lost Girl for Showcase; Combat Hospital for ABC; Against The Wall for Lifetime/NBC; Flashpoint for CBS/CTV; Killshot for the Weinstein Company; Murdoch Mysteries for Shaftesbury and Hollywoodland for Focus Features.
36 PRIVATE LIVES
bios
Diana Donnelly Amanda Prynne
Diana’s last appearance at the Citadel was in August: Osage County. Previously in Edmonton she appeared in East of Berlin, a touring Tarragon Theatre production that played at Theatre Network, Royal Manitoba Theatre Centre and Touchstone Theatre (Vancouver). Recent credits include Blithe Spirit for The Segal Centre in Montreal; St Joan (title role) for Theatre Calgary; The Importance of Being Earnest for the Globe Theatre; Half an Hour, Harvey, Major Barbara (title role), Arms and the Man, Love Among the Russians and Bus Stop for the Shaw Festival; The Shaughraun for Pittsburgh’s Irish and Classical Theatre; Who’s Afraid of Virginia Woolf?, The Way of the World (Soulpepper Theatre/ National Arts Centre co-production), Ring Round the Moon and Top Girls for Soulpepper Theatre; Strawberries in January for the Grand Theatre; As You Like It and Twelfth Night for Resurgence Theatre and Romeo and Juliet and A Midsummer Night’s Dream for Repercussion Theatre. Recent television credits include The LA Complex. She is a graduate of the National Theatre School of Canada. Love to Jeff and Lennox.
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GENEVIEVE FLEMING
Sibyl Chase
Genevieve is delighted to be making her official Citadel debut in such a fun and spirited production. Selected performance credits include Death of a Salesman for Vancouver Playhouse; A Christmas Carol for WCT; The Merry Adventures of Robin Hood for Carousel Theatre; The Priory for United Players and Rick: The Rick Hansen Story for MTYP, which visited the beautiful Citadel Theatre in 2011. Genevieve is the Associate Director of Vancouver-based Hardline Productions, for which she directed 500 Days to Mars for Studio 58; Coercion for Neanderthal Arts Festival; Never Swim Alone and Twelve Angry Men. Upcoming projects include playing Erin in the premiere of Us & Everything We Own for Twenty-Something and the release of Hardline’s short film Letters from a Stone Cold Killer. Genevieve is a graduate of Mount Allison University and Studio 58. Visit her online at www.genevievefleming.com.
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bios
JOHN ULLYATT
Elyot Chase
Last season at the Citadel, John appeared as Biff in Death of a Salesman and The Rocky Horror Show as Dr. Frank-N-Furter. He has appeared in memorable Citadel productions such as Billy Bishop Goes to War, Beauty and the Beast, Sweeney Todd, A Christmas Carol, The Drowsy Chaperone (co-production with the National Arts Centre), The Wizard of Oz, Doubt, a parable, Cabaret, The Pillowman, I Am My Own Wife, Stones in His Pockets and The Mystery of Irma Vep. Recently, John was Dr. Madden in Next to Normal (Citadel/Theatre Calgary co-production), Billy Flynn in Chicago at the Mayfield and directed Firefly Theatre’s Operation EVAsion. John is a founding member of Firefly Theatre – Edmonton’s unique circus theatre, with whom he created and performed in Duck Duck Bang and Primordial Blues. He is also a notable street artist whose works include The Human Fountain and the 21st Century Gargoyles. John will appear later this season as Sir Lancelot in Monty Python’s Spamalot at the Citadel.
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PRIVATE LIVES 39
bios
CAT WALSH
Louise
Cat is thrilled to be making her Citadel debut! You may also have seen her as Amanda in Housebound for Elementary Particles Theatre; Jane in She Came From Planet X! for Cowardly Kiss Theatre; The Baroness in The Amaze-o-nauts Must Die!, or in 50 Plays About… Love, both for Bedlam Theatre Concern. She was also lucky enough to spend two months touring to Western Canadian schools in l’UniThéåtre’s production of Le Nez. Other favourite roles include Marina in Tony ‘n’ Tina’s Wedding for Arts Court Theatre and Linda in Les Belles Soeurs for Great Canadian Theatre Company. An accomplished playwright, Cat is the author of The Laws of Thermodynamics After Vermeer and The Rhythm Method. She was invited to participate in the Citadel’s Playwright Forum, part of the Robbins Academy, where she wrote and developed her quantum-inspired play Fetch. Cat is a core member of Edmonton’s Bedlam Theatre Concern, and a graduate of the University of Ottawa.
BOB BAKER
Director
Since returning to his hometown of Edmonton fourteen years ago, Bob Baker has rejuvenated and expanded the Citadel Theatre as Artistic Director. Programming season after season of world-class theatrical productions each year, Mr. Baker has ushered in an era of growth at the Citadel. Three years ago Mr. Baker was instrumental in incorporating four of the Citadel’s existing creative development programs under one umbrella: The Robbins Academy. The Robbins Academy consists of the Eldon and Anne Foote Theatre School, the Citadel Young Companies, The Citadel/Banff Centre Professional Theatre Program and ongoing Play Development activities, creating Canada’s newest and most comprehensive program for creative development in professional theatre. Mr. Baker was recently honoured with the Queen’s Diamond Jubilee Medal for exceptional service, excellence and community involvement, a University of Alberta Distinguished Alumni Award, is a member of Edmonton’s Cultural Hall of Fame and is a recipient of a PACE award from Alberta Association of Colleges and Technical Institutes. Private Lives is the 48th play that Mr. Baker has directed at the Citadel. He was the Artistic Director during the successful turn-around of both the Phoenix Theatre in Edmonton (1982-87) and the Canadian Stage Company in Toronto (1990-98). Later this season, Mr. Baker will direct Monty Python’s Spamalot. 40 PRIVATE LIVES
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LESLIE FRANKISH Set & Costume Designer
Earlier this season, Leslie designed set & costumes for A Christmas Carol. Selected Citadel credits include set and costume design for The Sound of Music, Pride and Prejudice, Beauty and the Beast (Sterling Award), Oliver!, The Constant Wife, Peter Pan, Blithe Spirit, Cat on a Hot Tin Roof, Measure for Measure, and Present Laughter. Ms. Frankish began her career at the Citadel in the 1980’s as a resident designer for the Citadel Youth Theatre. Other resident designer positions include The Phoenix Theatre, 1984 – 1987 and The Shaw Festival, 1988 – 1999 where her designs included Pygmalion, Misalliance and Mrs. Warren’s Profession. As well, Ms. Frankish has designed for major theatres across Canada including set and costume design for Angels in America I & II, Singer and Into the Woods for Canadian Stage Company; Hard Times, Lilies and Claptrap for the National Arts Centre; La Bête for Theatre Calgary; A Little Night Music and The Caretaker for the Vancouver Playhouse; The Homecoming for the Stratford Festival and most recently Heartbreak House and A Man & Some Women for the Shaw Festival. Leslie was also the senior production designer of the Opening and Closing Ceremonies for the 2010 Winter Olympics in Vancouver. To see pictures of these and other shows visit lesliefrankish.com.
42 PRIVATE LIVES
bios
ROBERT THOMSON Lighting Designer
Robert Thomson is widely recognized as one of Canada’s most prolific and versatile lighting designers for theatre, opera and dance. His many designs for the Citadel include A Christmas Carol, August: Osage County, Wizard of Oz, Macbeth, Oliver! and Peter Pan. Over twelve consecutive seasons at the Stratford Shakespeare Festival, his 28 productions include collaborations with Jonathan Miller, Jennifer Tarver, Peter Hinton, Christopher Newton, Des McAnuff and Antoni Cimolino. Next season he is designing The Merchant of Venice. He served as Resident Lighting Designer for 12 seasons at The National Ballet of Canada, designing over 25 productions, and through 24 seasons at the Shaw Festival (ten as Head of Lighting Design) he is credited on more than 55 productions. He has worked with a diverse range of Canadian companies, including the National Arts Centre, Canadian Stage, MTC, Globe Theatre, Theatre Aquarius and Montreal’s Segal Theatre and Centaur Theatre. Internationally, his designs have been featured at Lincoln Center Theater, Metropolitan Opera, Goodman Theatre, Hartford Stage, ABT and Stuttgart Ballet. Mr. Thomson’s award-winning design for Robert Lepage’s Bluebeard’s Castle/Erwartung has been seen across Canada and around the world. His acclaimed designs have garnered a Sterling Award, four Dora Mavor Moore Awards and was recently presented the prestigious Siminovitch Prize in Theatre for 2012.
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bios
JOEL CRICHTON Music/Sound Designer
Joel is an Edmonton-based actor, composer, and writer. Previous sound design/composition credits include Jack Goes Boating for Shadow Theatre/Sage Theatre; Beowulf the King for Workshop West Theatre and Equus for University of Alberta. He is currently Playwright-in-Residence for Workshop West Theatre, and is also co-writing a new children’s play for Concrete Theatre. His produced works in recent years include Divide, Twenty-Five and Death: LIVE! His full-length album, Pins on a Map, was released last summer and is available online. See Joel’s work this February in Murielle, presented by Arts at the Barns, and in Tape at the U of A media room in March. You can also catch him in Year After Year, a new movie musical to be released in the spring. Follow him on Twitter @JACrichton!
MICHELLE CHAN
Stage Manager
Earlier this season, Michelle was stage manager for A Christmas Carol and A Few Good Men (Citadel/Royal Manitoba Theatre Centre co-production). Other Citadel stage manager credits are The Sound of Music, God of Carnage, The Rocky Horror Show, Little Women: the Musical, August: Osage County, Billy Bishop Goes to War, Beauty and the Beast, Sweeney Todd, Blackbird, The Wizard of Oz, The Forbidden Phoenix, Vimy, Wingfield’s Inferno, The Pillowman, Bird Brain, Fully Committed, Vanya, Shakespeare’s Will, Wingfield on Ice, Stones In His Pockets, Homeward Bound and The Sword in the Stone. Assistant stage manager credits at the Citadel include Oliver!, Peter Pan, Blithe Spirit, Cat on a Hot Tin Roof, The Sound of Music, Grease, Servant of Two Masters, Hamlet, Cabaret and Art. Other favourite stage manager credits include Mothership Down with Paper Tiger Productions; Afterplay for Blarney Productions; Evelyn Strange, Cocktails at Pam’s and Fever Land for Teatro la Quindicina and The 7th Circle and A Hero for All for Fringe Theatre Adventures. Big thanks to Sang Sang and Isabelle.
44 PRIVATE LIVES
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SANG SANG LEE Assistant Stage Manager
Last season, Sang-Sang was an apprentice stage manager for The Sound of Music and The Rocky Horror Show. Other Citadel credits include A Christmas Carol, Billy Bishop Goes to War and As You Like It. Elsewhere, she has worked on Hunchback for Catalyst Theatre; The Super Groovy 70s, Six Dance Lessons in Six Weeks and Dirty Rotten Scoundrels for Mayfield Theatre; Richard O’Brien’s Rocky Horror Show for Odd Lot Theatre; Seussical for St. Albert Children’s Theatre; Monteverdi’s Orfeo for the U of A Centennial and Little Women and Crazy For You for Grant MacEwan. She is a graduate of Grant MacEwan’s Theatre Production program. Many thanks to Michelle and Isabelle.
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ISABELLE HÉBERT Apprentice Stage Manager
Isabelle is very excited to be part of her first stage management team 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. Later this season at the Citadel Isabelle will be apprenticing on The Kite Runner.
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A N ATO M I C VA U D E V I L L E P R O D U C T I O N
STAFF
BOB BAKER
Artistic Director •
ARTISTIC ASSOCIATES ADMINISTRATION James MacDonald
Director, Citadel/Banff Centre Professional Theatre Program
Brian Dooley
Director, Play Development
Doug Mertz
Director, FTS & Young Companies
Marianne Bouthillier
Associate Executive Director
Peni Christopher
Asst. to the Artistic Director/ Company Manager
Laurie McInnes
Geoffrey Brumlik
Hannah Whittaker
Wayne Paquette
Neil Le Grandeur Thomas Scott
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 FTS Teaching Assistants Sophie Gareau-Brennan Josh Languedoc Andrew Ritchie
Debbie Theuss
Rentals Manager
Shar Powell
School Booking Coordinator
Kristen Hiemstra Josh Wickard
Assistant Box Office Managers
Business & Legal Affairs Guest Services
AUDIENCE Don Horsburgh Resident Music Director DEVELOPMENT Academy Associate
PENNY RITCO
Director
Promoters
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
Cheryl Sinclair
Payroll Accountant
GUEST SERVICES
Kimberlee Stadelmann Director/ Box Office Manager
Neil Le Grandeur
House Manager/ Volunteer Coordinator
Supervisors Larissa Crocetti 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 Gabby Lent Jacob Liska Stuart McDougall Brittany Molner Abbie Murison Carly Neis Celyne Runzer Valerie Smart Shirley Tran
Executive Director
Sydney Stuart
Manager, Fund Development
Megan Wenger
Associate, Robbins Academy Marketing
Bevin Dooley
Outreach Coordinator
PRODUCTION
Director
Jann Smith
Administrator
Neil Luipasco
Senior Manager, Fund Development
Jason Magee
Manager, Media Relations
Angelica Menck
Manager, Corporate Relations
Scenic Paint
Amy Kucharek Scenic Paint
Jim Meers
Head of Props
Charlotte Hunt
Assistant Head of Props
Cheryl L. Hoover
Vincent Meseck
Bill Heron
Angie Sotiropoulos
Michelle Chan
Perry Harris
Director
Technical Director Resident Stage Manager
Patrick Fraser
Assistant Technical Director
Stephanie Ripley
Assistant Technical Director
Kyla Maki
Administrative Assistant
Owen Hutchinson Head of Audio
Props Props
Rental Technician
Marc Anderson
Head Stage Carpenter
Dan Beggs
Stage Carpenter
Scott Bricker
Stage Carpenter
Patsy Thomas
Head of Wardrobe
Kayla Fulton
Assistant Head of Wardrobe
Judith Darough
Cutter Assistant Head of Audio Kathleen Morley First Hand Peter Locock Head of Scenic Ava Diehl Carpentry Stitcher
Ian Trace
Chris Hayes
Assistant Head of Carpentry
Greg Cardinal
Stage Carpenter
MARKETING, Sales & Serge Menard Fund DEVELOPMENT Stage Carpenter Joyce LaBriola
Nicole Deibert
Sheila Cleasby
Head of Electrics
Scott George Lafluer Assistant Head of Electrics
Denis Pellerin Electrics
Meaghan Skerik
Margie Berggren Milliner
Karen Beames
Boots & Shoes
Lorraine Price
Head of Wardrobe Running
Barb Becker
Wardrobe Maintenance
Samantha Rumball Head of Wigs
Tammy Boutin Wigs
Electrics
Andrea Steinwand
Head of Scenic Paint
Richard Stevens
Assistant Head of Scenic Paint
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.
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