THE GHP COL LECTIVE
I N A S S O C I AT I O N
WITH
BUDDIES IN BA D T I M E S T H E AT R E PRESENTS
THE GAY HERITAGE PNROJECT OV 17 – DEC 8 LEAD CORPORATE SPONSOR
QUEER MEDIA PARTNER
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BUDDIES IN BAD TIMES THEATRE
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BUDDIES IN BAD TIMES THEATRE | THE GAY HERITAGE PROJECT
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THE GHP COLLECTIVE IN ASSOCIATION WITH BUDDIES IN BAD TIMES THEATRE PRESENTS
THE GAY HERITAGE PROJECT CREATED AND PERFORMED BY DAMIEN ATKINS, PAUL DUNN & ANDREW KUSHNIR DIRECTED BY ASHLIE CORCORAN DRAMATURGE J. PAUL HALFERTY SET & LIGHTING DESIGN KIMBERLY PURTELL PROJECTION DESIGN CAMERON DAVIS SOUND DESIGN THOMAS RYDER PAYNE ASSISTANT DIRECTORS STEPHEN JACKMAN-TORKOFF & ADRIAN SHEPHERD-GAWINSKI STAGE MANAGER KRISTOPHER WEBER CHORAL MEDLEY / ARRANGEMENTS ANDREW KUSHNIR CHOREOGRAPHY THE GHP COLLECTIVE HEAD OF PRODUCTION CHARISSA WILCOX TECHNICAL DIRECTOR ADRIEN WHAN CHAMBER TECHNICIAN SUZIE BALOGH CREW PAULA BURROWS, LUKE DOBSON, LISA FOX, VERNE GOOD, LIZ MCDERMOTT, SHANE MACKINNON, SHANNA MILLER, MICHELLE RAMSAY, ERIC READ GRAPHIC DESIGN LIGHTUPTHESKY.CA PHOTOGRAPHY TANJA-TIZIANA, DOUBLECROSSED.CA THANKS KAYLA PODOLAK, MIKE FORD
CONNECT WITH BUDDIES /buddiesinbadtimes
/yyzbuddies
@yyzbuddies #GayHeritageProject
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BUDDIES IN BAD TIMES THEATRE | THE GAY HERITAGE PROJECT
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Welcome to the world premiere of The Gay Heritage Project! When Andrew, Damien and Paul first approached me with the idea for this project four years ago, I was struck by its ambition. The attempt to weave together all the disparate threads that have contributed towards today’s western gay identity seemed, well, almost impossible. Our community is made up of so many forgotten people, of so many lost stories, and of so many suppressed lives. How does one unearth a past that has been buried for so long? Moreover, how does one define a common cultural heritage without simplifying a complex and multifaceted set of histories? In my conversations with them, it became clear that their motivation was not to define a closed-ended and definitive account of what constitutes our heritage as gay people. They told me about feeling disconnected, as gay men, from general history and sensations of isolation and alienation because of this lack of connection. They hoped that they would feel less alone by attempting to discover what a gay ancestry might be. This moved me and the project became absolutely necessary despite its enormity. At the core of this show is the importance for all of us to excavate the past in order to gain a better understanding of who we are and to foster a greater sense of connectivity with others. Andrew, Damien, and Paul have jumped into this investigation with great curiosity, heart, and rigor. As you will see, the result of their search is poignant, affirming, and layered. Ultimately, it is hoped that this piece will inspire you to enrich your present by undertaking your own journeys into the past. Thank you for joining us!
Brendan Healy, Artistic Director
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The Gay Heritage Project was born of a desire to reach out with one hand to those in the past and with the other to those in the present and make a connection so that those of us in the present could feel a part of something larger, so that we could feel the benefit of a heritage. In 2008, I experienced a personal awakening, while doing research for a role in a new play, I read about a particular event in gay history: one that filled me with outrage, sorrow, and a longing to connect. It was my gut impulse to go to Damien and Andrew, because they are my dear gay friends, of many years, and they, like me, are also out gay theatre artists, who have already, like me, explored the politics and experiences of being gay in their writing and performance. Andrew recently took some time to reflect on our journey together: “All three of us have been wrestling with our feelings of loss, deprivation, of somehow having been robbed of something, and with that, the joy and pleasure of discovery, of reclaiming, of queering. And it’s all better with company. We’re all doing this together. We’re meant to. That’s why we didn’t write a blog or book about gay heritage, that’s why we decided to make a piece of theatre. Because heritage is an activity, an exchange, a social rite, a theme party. The Gay Heritage Project is an expansion of the self with others. A collective blooming. It is an opportunity to publicly – like a wedding – commit to the future, to resolve to be big in the world, full in love, forgiving. It’s a vow to ourselves, to one another. To be more alive to the world. To be excited by its questions, its differences. To find new liberties. To share those liberties. To initiate ourselves, and perhaps others, in a kind of free thinking, and free feeling.” The Gay Heritage Project entered our lives five years ago, and we have been working at it steadily ever since, and it has changed us. The question we began with - is there such a thing as gay heritage? - though infinitely complicated, is right in its simplicity and its yearning. Our hope has always been to open the gate for anyone wanting to seek, to claim, to not be alone. — Paul Dunn Creator/Performer, The Gay Heritage Project
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In a promotional video for The Gay Heritage Project, the show’s performer-creators Damien Atkins, Paul Dunn, and Andrew Kushnir ask, “What is gay? What is heritage? What is a project?” – their tongues firmly placed in their own cheeks. These questions might seem straightforward, and the humour with which they asked them in the video depends on their seeming banality. In fact, these questions are complex, their answers multiple and open-ended. At the beginning of their journeys on this project, I think Damien, Paul, and Andrew thought they had, or with hard work would find, answers to these questions. At the end, I think it’s a different story. In Drama from Ibsen to Brecht, Raymond Williams writes, “All serious thinking about art must begin from the recognition of two apparently contradictory facts: that an important work is always, in an irreducible sense, individual; and yet that there are authentic communities of works of art, in kinds, periods and styles.” It seems to me that Williams’ ideas about art are also true of identity, and especially true of The Gay Heritage Project. What its means to be gay and/or queer is intensely individual and, at the same time, collective and historical. It follows that The Gay Heritage Project, a performance that is collectively created using Vocal Masque, and which addresses the concept of gay heritage, is both an intensely individual and communal exploration. Damien, Paul and Andrew began by taking their own personal heritage and their personal experiences of being gay men as their starting points; in time, working together, with me and others, they expanded and problematized their own conceptions of identity, history, and community. Moving from the individual to the communal and back again, they have tried to connect with others in the historical past and in the present. Sometimes this was easy. At other times it was difficult, presenting historiographical and even ethical questions about how we relate with others, in the past and in the present. These artists know that connection with others, theatrical and otherwise, and the construction of identities and communities is always limited, often difficult, and can even be dangerous. Despite these daunting realities, this performance is, I think, a hopeful one. Hopeful because it is optimistic. It wants us to come together as people and as queers, to laugh, think, and question. It wants us to encounter each other as we collectively engage with the pasts that these artists have investigated, and which they imagine for us tonight. It’s optimistic because it’s an investment in some overdetermined, but nevertheless formative ideas: history, community, identity, heritage, and legacy. Ultimately, their answers to “what is gay, what is heritage, and what is a project” are what you will experience in the theatre tonight: a trenchant, funny, and smart exploration of identity, community, and history. A queering of the concept of heritage. —Paul Halferty, Historical Consultant, The Gay Heritage Project
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WHAT IS HERITAGE? Heritage is the full range of our inherited traditions, monuments, objects, and culture. Most important, it is the range of contemporary activities, meanings, and behaviors that we draw from them. Heritage includes, but is much more than preserving, excavating, displaying, or restoring a collection of old things. It is both tangible and intangible, in the sense that ideas and memories--of songs, recipes, language, dances, and many other elements of who we are and how we identify ourselves--are as important as historical buildings and archaeological sites. Heritage is, or should be, the subject of active public reflection, debate, and discussion. What is worth saving? What can we, or should we, forget? What memories can we enjoy, regret, or learn from? Who owns “The Past” and who is entitled to speak for past generations? Active public discussion about material and intangible heritage--of individuals, groups, communities, and nations--is a valuable facet of public life in our multicultural world. Heritage is a contemporary activity with far-reaching effects. It can be an element of far-sighted urban and regional planning. It can be the platform for political recognition, a medium for intercultural dialogue, a means of ethical reflection, and the potential basis for local economic development. It is simultaneously local and particular, global and shared. Heritage is an essential part of the present we live in--and of the future we will build.
Courtesy of The Center for Heritage and Society – The University of Massachusetts, Amherst Campus
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VOCAL MASQUE TECHNIQUE The term “Vocal Masque” is a bit of a misnomer. The second part, “masque” means “an entertainment.” The first part is harder to justify, since in our version of the method the actor uses not just his voice but his entire body to create and perform the scenes. But this was the name of the technique when we learned it, so in the interest of tradition, we have kept it. There are a few very different forms of Vocal Masque (most of them using found text), but the one we use we have adapted from the teachings of Ken Brown, who taught Paul and Damien at Grant MacEwan College. Paul and Damien taught Andrew the technique when they began working on The Gay Heritage Project in 2008. Our version of the Vocal Masque technique is a creation method that uses an actor’s improvisational skills. The actor chooses a topic, or theme. Then, using this theme as a jumping off point, the actor starts to brainstorm. The germ of an eventual scene can lie in almost anything: a piece of music, bits of dialogue, a character. At some point in this process (the brainstorming continues to the end), the actor starts to improvise scenes based on these starting off points. The actor is encouraged to play as many characters as they can, play inanimate objects, or play scenes from strange perspectives (i.e. play a domestic argument scene from the point of view of the kitchen table). The form really supports and rewards these kinds of theatrical choices. The actor creates as much material as possible on their feet, only stopping to write it down when it has some shape. This is to encourage writing that is immediate, intuitive, and heartfelt. After the initial creation of the scenes, the actor is encouraged to keep a detailed written record of the scenes as they evolve. In this way, the process results in a recognizable dramatic script. Vocal Masque has the ability to entertain, provoke and instruct all at once, but it is not necessarily a narrative driven event. The Vocal Masque attains significance and meaning through the accumulation of specifically observed details: emotional, physical, behavioral and literary. It is constructed like a collage or poem, using contrast and comparison, and varying tone, rhythm, and style. Since 2007, Paul and Damien have been teaching this version of Vocal Masque at the National Theatre School of Canada. We’ve been especially pleased and honoured to have two former students - Stephen Jackman-Torkoff and Adrian Shepherd-Gawinski (NTS class of 2013), joining us on The Gay Heritage Project as assistant directors. Their insight, skill, and support has been invaluable to this process.
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BIOGRAPHIES DAMIEN ATKINS CREATOR/ PERFORMER For Buddies: Real Live Girl. Selected credits: Angels in America, The Way of the World, The Caretaker, King Lear, The Importance of Being Earnest (Soulpepper); Someone Else, Unidentified Human Remains…, Shopping and Fucking (Crow’s Theatre); Seussical (YPT); The Clockmaker (Tarragon); Geometry in Venice, Amadeus, Cabaret (Segal Centre); The Retreat From Moscow (Neptune Theatre); Into the Woods, Sweeney Todd, Amadeus, Frost/Nixon, 7 Stories (Canadian Stage); four years at Stratford, one year at Shaw. As playwright: miss chatelaine (TPM, The Grand); Good Mother (Stratford); Real Live Girl (Buddies/The Grand/MTC); Lucy (Canadian Stage, Ensemble Studio Theatre - NYC, Delaware Theatre Co.); The Mill, Part Four: Ash (Theatrefront). Damien has been a playwright-in-residence at the University of British Columbia, The Canadian Stage Co. and Crow’s Theatre. He has been nominated for four Dora Awards for acting and writing, winning twice. Upcoming: London Road (Canadian Stage), Beatrice and Virgil (Factory Theatre). ASHLIE CORCORAN DIRECTOR Ashlie is Artistic Director of the Thousand Islands Playhouse for which she has directed Third Floor, The 25th
Annual Putnam County and Salt-Water Moon. She is also the Artistic Producer and founder of Toronto’s Dora Award winning Theatre Smash for which she has directed Tiny Dynamite, Tijuana Cure, A Boy Called Newfoundland and The Ugly One and produced Norway. Today. Ashlie also directs opera, including The Magic Flute at Opera Philadelphia, Don Giovanni, Le Lauréat and Three Sisters Who are Not Sisters at the Glenn Gould School, RCM and The Bear, Cinderella, Isis & The Seven Scorpions and The Brothers Grimm at the Canadian Opera Company. Ashlie is a past Shaw Festival Director Intern, was nominated for a Dora Mavor Moore Award (for The Ugly One), was shortlisted for the Pauline McGibbon Award and is a past Urjo Kareda Emerging Artist at the Tarragon Theatre. Upcoming: THE UGLY ONE: Theatre Smash/ Tarragon Theatre CAMERON DAVIS PROJECTION DESIGNER Selected credits include: projection designer: Yukonstyle (Canadian Stage); CRASH (Theatre Passe Muraille); Beyond the Farm Show (Blyth Festival); Feng Yi Ting (Spoleto Festival USA/Lincoln Center Festival/Luminato Festival); Chile con Carne (Alameda Theatre); Every Letter Counts (Factory Theatre); Cruel and Tender (Canadian Stage); Swimmer (68) (Hopscotch Collective); The Book of Esther (Blyth Festival); Rock ‘n’ Roll (Canadian Stage/Citadel); video designer: Dance Marathon
BUDDIES IN BAD TIMES THEATRE | THE GAY HERITAGE PROJECT
(bluemouth inc - various international festivals). Cameron also teaches and mentors projection design at the National Theatre School of Canada. PAUL DUNN CREATOR/ PERFORMER Paul’s recent acting credits include the world premiere of Tim Luscombe’s Pig, (here at Buddies earlier this season), Puck in A Midsummer Night’s Dream (Driftwood Theatre), Woof in HAIR (Grand Theatre, London), Hermann in East of Berlin (Tarragon Theatre and national tour), and performances in After Akhmatova (Tarragon), Peter Pan and Dangerous Liaisons (Stratford), The Middle Place (SummerWorks), Hana’s Suitcase (YPT premiere and tour), The Goat, or Who is Sylvia? (Canadian Stage), After the Orchard (NAC), Snowman, Steel Kiss/ Gulag (Buddies in Bad Times), and his own one-man show BOYS (Theatre Direct). He was a member of the Stratford Festival’s acting company for seven seasons, appearing in numerous Shakespeare plays, as well as Shaw’s Caesar and Cleopatra, David Young’s Glenn, and the premieres of Timothy Findley’s Elizabeth Rex and Peter Hinton’s The Swanne. As a playwright, his work includes BOYS, High-GravelBlind, and Offensive Shadows. Paul is a graduate of Grant MacEwan University and the National Theatre School of Canada, where he has been a regular guest instructor.
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J. PAUL HALFERTY DRAMATURG J. Paul Halferty is in the final stages of completing his Phd dissertation, a history gay male theatre in Toronto at the University of Toronto. His work has been published in Theatre Research in Canada, Canadian Theatre Review, and in the anthology Queer Theatre in Canada. He is associate editor of TRANS(per)FORMING Nina Arsenault: An Unreasonable Body of Work, published by Intellect Press, and is a contributor to the anthology. He has taught at York University, the University of Toronto, and at Brock University, mainly in the areas of theatre history, acting, gender and sexuality studies. STEPHEN JACKMANTORKOFF ASSISTANT DIRECTOR Stephen JackmanTorkoff is a 2013 graduate of the acting program at the National Theatre School of Canada. He was raised in Richmond Hill Ontario by his adoptive parents Carol and Paul. He enjoys acting, painting, writing, dancing, forests, oceans, vegetables, motor homes, elephants, and now directing. “Big thanks to the GHP team for asking me to be a part of this... and my mom for being my mom. Peace! Xoxo” ANDREW KUSHNIR CREATOR/ PERFORMER Andrew is a Torontobased actor, playwright and community arts
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worker, as well as creative director of Project: Humanity (PH), an organization raising awareness of social issues through the arts. Select acting credits: Passion Play (Convergence/Sheep No Wool/Outside The March), Spelling Bee (Thousand Islands Playhouse), The Middle Place (PH, Canadian Stage, Theatre Passe Muraille, national tour), Frankenstein (Catalyst Theatre, 3 national tours), Habitat (Theatre Network), The Last Five Years (Theatre&Co.), Offensive Shadows (Studio 180). His play The Middle Place is an award-winning piece of verbatim theatre about youth homelessness, which has toured Toronto high schools, has been produced for general audiences in Toronto three times, and has toured nationally. Andrew is currently playwright-in-residence at the Tarragon Theatre and developing a new verbatim work at The Theatre Centre. He is a graduate of the University of Alberta’s BFA Acting program and a 2013 recipient of the university’s Alumni Horizon Award. Upcoming: COCK (Studio 180) THOMAS RYDER PAYNE SOUND DESIGNER Thomas Ryder Payne is a Toronto based composer and sound designer. Starting as a songwriter with a 4-track recorder, Thomas has followed a varied musical career including studying with composer James Tenney, recording and touring for six years with the Juno nominated band Joydrop and producing numerous records. Recent work has focused on theatre, dance and film including designs for Soulpepper (Kim’s Convenience, La Ronde), Stratford
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(The Matchmaker, Othello), CanStage (Someone Else, Middle Place), Tarragon (The Little Years, If We Were Birds, Leo), Toronto Dance Theatre (Everyday Anthems), NAC, Theatre Calgary, GCTC, Nightwood, YPT, Factory, Modern Times, Crows and many others. Thomas has received 2 Dora awards and 12 nominations. KIMBERLY PURTELL SET AND LIGHTING DESIGNER Kimberly is thrilled and honoured to be working with this fabulous group of artists on The Gay Heritage Project. Most recently she designed the lights for Proud (GCTC), Waiting for Godot (Stratford Festival), Race (Canadian Stage), Entertaining Mr. Sloane and La Ronde (Soulpepper), Falsettos (Acting Up Stage), The Normal Heart (Studio 180), Svadba (Philadelphia Opera), Loveloss (Dancemakers), and the set and lighting for Crash (Theatre Passe Muraille). She is a recipient of the Pauline McGibbon Award and three Dora Awards for lighting design. ADRIAN SHEPHERDGAWINSKI ASSISTANT DIRECTOR Adrian is a performer and music-maker from North Bay, Ontario. Past roles as an actor include Lucentio in Taming of the Shrew (Andrew Shaver, Repercussion Theatre) Malvolio in Twelfth Night (Jason Byrne, NTS) and a member of the enormous ensemble of the 2013 Summerworks Festival’s The Life of Jude. He has also written, arranged and directed
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music to the lyrics of Federico Garcia Lorca, Edward Bond, and Alex PochGoldin for productions in Montreal and Toronto. Adrian enjoys riding his bike in Downtown Toronto, listening to sad Drake songs, and watching movies by Nora Ephron. He is a graduate of the National Theatre School of Canada. KRISTOPHER WEBER STAGE MANAGER Elsewhere: Assistant stage manager of Othello, Mary Stuart, Evita, Macbeth, West Side Story (Stratford Festival). Assistant stage manager of The Admirable Crichton, When the
Rain Stops Falling (Shaw Festival) and Anne of Green Gables – The Musical (Charlottetown Festival); stage manager for Romeo and Juliet (Shakespeare Link Canada), 100 Mile Playwright Festival (Grey Bruce Arts Collective); assistant stage manager, A Dickens of a Christmas (Canadian Children’s Opera Company); apprentice stage manager of Jersey Boys (Dancap Productions). Event services supervisor at BC Place for the Vancouver 2010 Olympic and Paralympic Winter Games. Training: Bachelor of Arts, Queen’s University. Awards: 2007 Guthrie Award for outstanding contribution to the Festival by a young artist (Stratford Festival).
Be sure to like The Gay heritage Project page to get your daily dose of LGBTQ history tidbits, contemporary queer commentary, and community shout-outs /thegayheritageproject
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THE GHP COLLECTIVE The GHP Collective is Damien Atkins, Paul Dunn, and Andrew Kushnir. The GHP Collective Wishes to Thank Brendan Healy, Ian Arnold, Mark Crawford, Aaron Willis, Julie Tepperman, Christopher Stanton, Jessica Greenberg, Shelley Simester, David Oiye, Iris Turcott and The Factory Theatre, Cleve Jones, Sky Gilbert, Annamieke Wade and The Tarragon Theatre, LemonTree Creations, The Canadian Lesbian and Gay Archives, The GLBT Historical Society (San Francisco), Ken Brown, Sherry Bie, The Canada Council for the Arts, The Ontario Arts Council, The Toronto Arts Council. And our parents. The Gay Heritage Project is indebted to a slew of extraordinary queer writers, historians, academics, theorists and philosophers. Here’s a sample of 5 of the 28 titles we consulted during the construction of the piece. For the full list, check out buddiesinbadtimes/com/blog
How To Be Gay by David Halperin
The Tragedy of Today’s Gays by Larry Kramer
Never Going Back: A History of Queer Activism in Canada by Tom Warner
Inventing AIDS by Cindy Patton
The History of Sexuality by Michel Foucault
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THANK YOU The GHP Collective wishes to give a big gay thank you to the following donors who supported our Indiegogo fundraising campaign Anonymous Matt Allison Lauryn Allman Catherine Arbuckle Aviva Armour-Ostroff Ian Arnold Ashley Ballanty Maev Beaty and Alan Dilworth Nicholas Billion Richard Binsley Shauna Black Christopher Blackwell Kyle Blair Maggie Blake Nathaniel Bryan Antonio Cayonne Laura Condlln Beverley Cooper James Day Alison Deon Sarah Dodd Monica Dottor Brian Downie Dee Downie Roxanne Duncan Maria Dunn Andre Du Toit Kinnon Elliot Monica Esteves Patricia Fagan Deborah Lynn Ferguson Lois Fine Barry Freeman Brendan Gall Stephen Gallagher
Kyle Golemba Charlotte Gowdy Carmen Grant Julia Gray Michael Hart and Ron Kennell Brendan Healy Fiona Highet Christine Horne Tracey Hoyt John Hughes Jeremy Jelder Brendan Jensen Bethany Jillard Peter Katz Amy Keating Robert Kempson Laurie Koensgen Courtney Lancaster Cyrus Lane Jesse Lavercombe Jordi Mand Julie Martell Ian MacLennan Matthew McGeachy Tracy Michailidis Betty Mouton Jessica Moss Catherine Murray Nicola Pantin Mark Pawlowsky Corey Payette Wes Pearce Cara Pifko Keith Pike Dana Pugh
Elyne Quan Glynis Ranney and Mike Nadajewski Marc Richard Jo Jo Rideout Mike Ross Bob and Marlene Sachter Katie Saunoris Mike Shara Mellisa-Jane Shaw Pamela Sinha and John Mighton Sarah Stanley Christopher Stanton Carly Street Lilya Sultanova Sharyn Sutherland and Geoff Atkins Julie Tepperman and Aaron Willis Sara Topham Jay Turvey Penny Tration Nicole Underhay Tiffani Van Buckley Johnnie Walker Bohdan and Orysia Wasyleczko Mark Wasyleczko Jesse Watts Bob White Deanna Yerichuk and Rostik and Sasha from Zaporizhia
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PIG
MBE BY T I M LU S C O
CTOBER 6, 2013 SEPTEMBER 14 – O
SEVEN-THIRTY DINNER AT M c M AC KO N BY A L LY S O N M PA N Y WITH TH E CO
, 2013 OCTOBER 12 – 20
ERS STRANGE SIKST I M C R O S BY C U R AT ED BY
OCTOBER 25, 2013
T ERITAGE PROJEC THE GAY HAT KINS, BY DA M I E N HNIR ANDREW KUS PA U L D U N N & EMBER 8, 2013
EC NOVEMBER 17 – D
THE VIRGIN MARY D N A A R D N SA , N MANO E M B L AY BY M I C H E L T R
UARY 2, 2014 JANUARY 11 – FEBR
IVAL TH UBARB FEST THE 35 RH NANNI A R R EC TO R L AU FE ST IV A L D I
, 2014 FEBRUARY 12 – 23
THE WANDERERS BY K AW A A DA
MARCH 1 – 23, 2014
URE YSELF IN THE FUT M TO G IN LK TA E M ASSARD BY M A R I E B R
HACKERLOEVRET BY S K Y G I L B
2014 APRIL 30 – MAY 11,
KSAND SKIN & QUIC SHNAN BY H A R I K R I
MAY 21 – 24, 2014
Photo: Tanja-Tiziana, doublecrossed.ca
L 6, 2014 MARCH 26 – APRI
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BUDDIES IN BAD TIMES THEATRE
ESTABLISHED 1979
OUR MISSION Buddies in Bad Times Theatre creates vital Canadian theatre by developing and presenting voices that question sexual and cultural norms. Built on the political and social principles of queer liberation, Buddies supports artists and works that reflect and advance these values. As the world’s longest-running and largest queer theatre, Buddies is uniquely positioned to develop, promote, and preserve stories and perspectives that are challenging and alternative. Buddies achieves artistic excellence through its mainstage season programming, artist-residency program, and youth-based initiatives. Buddies serves a broad segment of the population who share a passion for theatre that celebrates difference.
THE COMPANY ARTISTIC DIRECTOR
BRENDAN HEALY
GENERAL MANAGER
SHAWN DAUDLIN
HEAD OF PRODUCTION
CHAMBER TECHNICIAN
SUZIE BALOGH
CABARET TECHNICIAN
JAZZ KAMAL
FINANCE MANAGER
CYNTHIA MURDY
CHARISSA WILCOX
BOX OFFICE/FOH MANAGER
MANAGER OF MARKETING AND COMMUNICATIONS
ASST. BOX OFFICE/ FOH MANAGER
BARRY HIGGINS
MARK AIKMAN
RACHEL STEINBERG
RHUBARB FESTIVAL DIRECTOR
BAR MANAGER
LAURA NANNI
YOUNG CREATORS UNIT DIRECTOR
EVALYN PARRY
YOUTH PROGRAM COORDINATOR
CHY RYAN SPAIN TECHNICAL DIRECTOR
ADRIEN WHAN
PATRICIA WILSON
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OUR VALUES Buddies in Bad Times Theatre has identified three core values that serve as guiding pillars for all our activities and operations. DIFFERENCE: With our art, we simultaneously celebrate difference and question the mechanisms through which differences are constructed and maintained. With our space, we create an accessible, non-judgmental, and inclusive environment for everyone regardless of sexual orientation, gender identity, economic position, race, creed, age, national origin, physical ability, or mental ability. With our daily interactions, we foster respect and dignity among all people. EXCELLENCE: We provide our audiences with unforgettable theatre experiences, and we give our artists and staff the resources they need to achieve the highest standards of excellence. COMMUNITY: We believe that the theatre plays a vital role in the educational, social, and economic health of a community. We strive to be a positive force by encouraging collaboration and constructive dialogue among the various groups and individuals who make up our community.
BOX OFFICE PERSONNEL
DARCY STOOP FRANNY MCCABE BENNETT JADE CAMPBELL SCOTT NICK MACINNES TERRY BUSEY THOM BRYCE GABRIELLA COOK JOANNE TSUNG BAR PERSONNEL
GLENN DWYER MICHAEL MACKID VICTORIA GARGARELLA Buddies in Bad Times Theatre is a member of the Professional Association of Canadian Theatres (PACT), the Toronto Alliance for the Performing Arts (TAPA), is a participating member of the Creative Trust, and engages under the terms of the Canadian Theatre Agreement (CTA), professional artists who are members of Canadian Actors’ Equity Association (CAEA). *courtesy of the Canada Council for the Arts
BOARD OF DIRECTORS DEREK BILLSMAN (PRESIDENT) RUSSELL MATHEW (TREASURER) DAVID SALAK ELLEN RAY HENNESSY MARY BREEN KARIM KARSON AYSE TURAK CATHRIN WINKELMANN ELLIOT SMITH KARIM KARSAN MICHAEL BODSWORTH
THE ALEXANDER STREET THEATRE PROJECT BOARD OF DIRECTORS CATHY GORDON (PRESIDENT) RUSSELL MATHEW (TREASURER) J. PAUL HALFERTY KRISTYN WONG-TAM
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BUDDIES IN BAD TIMES THEATRE
THANK YOU
Buddies gratefully acknowledges our community of supporters who make everything we do possible
THE DIRECTORS CIRCLE VISIONARIES JIM LAWRENCE & DAVID SALAK PAUL HAINS
BENEFACTORS
LEGACY CIRCLE ED CABELL & ROY FORRESTER JIM ROBERTSON & JIM SCOTT RUSSELL MATHEW & SCOTT FERGUSON
A.J. GOULDING & JASON HUANG
LAWRENCE BENNETT
BRENDAN HEALY
LESLIE BALL
BRIAN TERRY
LISAJ LANDER & RUTHANN TUCKER
CHRIS MONTAGUE
MARK GERMAN
DEAN ODORICO
MARK PEACOK
DEREK BILLSMAN
MICHAEL BOYUK
ED CABELL & ROY FORRESTER
NIGE GOUGH FOUNDATION AT THE TORONTO COMMUNITY FOUNDATION
JAMES TENNYSON JASON CHURCHILL JIM ROBERTSON & JIM SCOTT JOE SIEGFRIED & BRAD DOUGHERTY KARIM KARSAN & JOHN RIDER KEN AUCOIN & GERALD CROWELL
PEARSE MURRAY RUSSELL MATHEW & SCOTT FERGUSON SALLY WALKER SARAH HUNTER SHAWN DAUDLIN
KEN MOFFATT
MONTHLY DONORS BRENDAN HEALY
KARIM KARSAN & JOHN RIDER
CATHY GORDON
KEN AUCOIN & GERALD CROWELL
DAVID SALAK & JIM LAWRENCE
LISAJ LANDER & RUTHANN TUCKER
DEREK BILLSMAN
MARY BREEN
DIANA KHONG
MICHEL BEAUVAIS
ED CABELL & ROY FORRESTER
MITSUKO SADA
JERRY DOIRON
PAUL HALFERTY
JIM ROBERTSON & JIM SCOTT
RICHARD BINGHAM
JOE SIEGFRIED & BRAD DOUGHERTY
RICHARD MCLELLAN
JOHN AUSTIN & CHRIS LORWAY
WILLIAM HODGE & ROBERT WYLIE
SARAH HUNTER
BUDDIES IN BAD TIMES THEATRE | THE GAY HERITAGE PROJECT
CHAMPIONS ANONYMOUS
DARREN GOBERT
BEVERLY HARRIS
DON CLARKE
CHARLIE & LULU FRANKLIN AT THE CALGARY FOUNDATION
EVALYN PARRY
KEN AUCOIN & GERALD CROWELL ROBERT WALLACE
JOHN AUSTIN & CHRIS LORWAY
FRIENDS & PARTNERS ALNOOR KARMALI & DOUG ARCAND
GILLES MARCHILDON
MACK DESHON
ALYSSA ARMSTRONG
GRANT REYNOLDS
MARC MICHELL
GREG GARRISON
MARC RICHARD
JANET MCDOUGALL
MARY BREEN
JANETTE HITCHINS
MICHEL BEAUVAIS
JEN FRASER
MIKE EPPS
JENNIFER FISHER
MITSUKO SADA
JERRY DOIRON
NAOMI CAMPBELL
JOANNE BOLAND
NORMA BLISS
JOEL ROTSTEIN
OLIVIA CHOW
JOHN BUCHAN
PATRICK P. MURRAY
JOHN JORDAN
PAUL HALFERTY
JOHN THORP
PAUL HARTWICK
JOHN W HUGHES
PAULINE PELLETIER
JON KAPLAN
PETER ARCHER
JONATHAN STUDIMAN
RAYMOND HELKIO
JONATHAN HEPPNER
RICHARD MCLELLAN
JOSEPH MULDER
RICHARD BINGHAM
JOSH STANDING
SARAH MANNINEN
CHRISTINE HARRISON
JUDITH RUDAKOFF & MYLES WARREN
SARAH GARTON STANLEY
CHRISTOPHER MORRIS
JUDY EARL
SERGUEI SKOULKINE
DAVID HUGHES
KATHERYN HELLERMCROBERTS
STEPHEN BROWN
KEN POPERT
TARA GOLDSTEIN
AMANDA BUCKIEWICZ ANDREW VAIL ATOM EHOYAN B. E. MACKENZIE BEVERLY HARRIS BILJANA VASILEVSKA BLAIR CAINES BRIAN MCBURNEY BRIAN SAMBOURNE BRUCE MACTAGGART BRUCE THE PUG CAITLIN MCCARTHY CARLA MORSE CATHY GORDON CHELSEA GREEN CHRIS REYNOLDS CHRIS PERESSOTTI
DIANA KHONG DONNA DAITCHMAN FIDES COLOMA FLARE GARY KLEIN GARY TOPP GEORGE GRANT
LAWRENCE CAMPBELL LAWRENCE CAMPBELL LEAH & DEAN ANON LIONEL TONA LORNE WINSOR
buddiesinbadtimes.com/donate
SUSAN HOICKA TERESA BENNETT THE GREEN TEAM
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BUDDIES IN BAD TIMES THEATRE
OUR AMAZING PARTNERS We are sincerely grateful to our corporate sponsors, foundations, and government agencies for believing in us and the work we do.
CORPORATE SPONSORS LEAD CORPORATE SPONSOR
FESTIVAL SPONSOR
QUEER MEDIA PARTNER
PUBLIC AGENCIES
FOUNDATIONS
MAINSTAGE MEDIA SPONSOR
BUDDIES IN BAD TIMES THEATRE | THE GAY HERITAGE PROJECT
G N I T R O SUPP UNITY COMM Each season, Buddies in Bad Times challenges and inspires audiences by presenting innovative and cutting-edge queer artistic programming. Your support is critical for us to carry on celebrating all that the queer community has to offer. Make a difference. Take a stand to empower queer youth and queer expression. Join Buddies and make your tax-deductible donation today. To donate, please visit our website
buddiesinbadtimes.com/donate or call Mark at 416-975-9130 ext. 40 Aemilius (Milo) Ramirez, Shaista Latif, Katie Sly, Sina Gilani, Young Creators Unit 2012 Photo: Tanja-Tiziana, doublecrossed.ca
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Building stronger communities. At BMO® Financial Group, we take pride in our local communities. That’s why, each year, through various donations and sponsorships we are committed to providing our support. We are proud to sponsor Buddies in Bad Times Theatre’s 2012/13 season.
® Registered trade-mark of Bank of Montreal.