SEASON
TORONTO’S LEADING DESTINATION FOR ARTISTICALLY RIGOROUS ALTERNATIVE THEATRE AND A WORLD LEADER IN DEVELOPING QUEER VOICES AND STORIES FOR THE STAGE 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.
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.
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ARTISTIC DIRECTOR'S MESSAGE CHAIR'S MESSAGE 2016-17 IN NUMBERS BLIND DATE BLACK BOYS INCREASED ACCESS THE 38TH RHUBARB FESTIVAL THE YOUTH/ELDERS PROJECT NEW THEATRE SEATING QUEER EMERGING ARTIST AWARD FINANCIALS DONORS + SPONSORS STAFF + BOARD
ARTISTIC DIRECTOR’S MESSAGE
I’m immensely proud of my first programmed season at Buddies. It was a season of meetings and connections—between audiences and artists, between professional and community arts practices, and between queers of different generations and cultural intersections. Daring audience members went up on stage for a blind date, resident artists Saga Collectif instigated a timely and powerful conversation around queer male Blackness, and an ensemble of queer elders and youth spent eight months together to bring their lived experience to the stage. It was a year marked by unconventional collaborations, reaffirming, for me, the power of challenging the hierarchical conventions of how theatre traditionally gets made. I was also reminded of the crucial importance of resourcing queer artists: giving them the support and time (sometimes years) needed to create the complex, significant, contemporary work audiences have come to expect at Buddies. Behind the scenes, our residency program was bubbling with new plays in development, original queer works that we’ll see on our main stage in seasons to come. Buddies is a theatre like no other in this country. I believe both audiences and artists come here searching for something out of the ordinary; ready to be provoked, challenged, and hoping to find themselves reflected, made more visible. Thank you for being part of this legacy, and our collective future.
Evalyn Parry Artistic Director photo of Evalyn Parry by Tanja-Tiziana 3
CHAIR’S MESSAGE
2016-17 IN NUMBERS
As I approach the end of my term as board chair, I can’t help but look back with pride at how Buddies has grown and evolved in recent years, and particularly in 2016-17.
27,077
people came through our doors.
655
This was the first season fully programmed by Artistic Director Evalyn Parry, and it was thrilling in its diversity, playfulness, and relevance while keeping to Buddies’ very high standard of quality theatre. The Youth/Elders Project was as ground-breaking as the critics said; it was an experience that stays with you. The Rhubarb and Pride festivals were standouts as well, thanks to the collaborative efforts of many creative minds. This year, there really was something for everyone, and we saw that reflected in our audiences.
young people accessed our youth program.
518
artists, designers, and technicians were employed by Buddies.
228
nights of theatre happened on our stage.
87
Buddies enjoys very effective management and a superb production team. It’s where artists want to be. More and more, it’s where donors and funders want to be as well. We’re on very solid ground, with the beginnings of a vital capital improvement project underway, to make our space more hospitable in a physical sense, as well as artistically, socially, and politically.
community groups accessed our space for performances, meetings, and fundraisers.
49%
of the work on our stage was written or directed by people of colour.
The board of directors has new energy and new ways of getting things done to keep up with all the opportunities before us. There’s never been a better time to be a part of the world’s longest-running queer theatre!
47%
of the work on our stage was written or directed by women.
37
new theatre works were performed on our stage.
Mary Breen Chair, Board of Directors
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Dora Mavor Moore Award nominations, including 1 win.
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BLIND DATE
a spontaneous theatre creation by Rebecca Northan in collaboration with Evalyn Parry and Buddies in Bad Times Theatre
photo of Julie Orton in Blind Date by Connie Tsang
“IN ITS NEW QUEER INCARNATION, BLIND DATE PROMISES TO SHOW PEOPLE WHO THEY CAN BE IN AN EVER-EXPANDING QUEER UNIVERSE.” —BATEMAN REVIEWS
RN: When we were at Tarragon, the question came up again, and I think because I was in Toronto, and I live across the street from Buddies, I finally just Tweeted: "How about a Queer version?" And got an immediate response!
Our 2016-17 Season kicked off with a queer twist on an audience-favourite show that has played on stages across the country. Working with Evalyn Parry, Rebecca Northan brought her saucy French clown Mimi out of the closet, and along with her new friend Mathieu introduced queer audiences to the unique experience of Blind Date.
EP: We entered into a conversation about it and it just instantly felt like a fun project for Buddies. And I thought that it would be great to do a comedy, which I hadn’t seen in a long time on our main stage.
Artist in Residence Johnnie Walker sat down to talk to Evalyn and Rebecca about the process of queering this show for Buddies audiences.
WHAT KIND OF WORK WENT INTO REIMAGINING THE EXISTING SHOW IN A QUEER CONTEXT?
WHEN DID THE IDEA TO DO BLIND DATE AT BUDDIES PRESENT ITSELF?
RN: I relied a lot on Evalyn and our two lead clowns, David Benjamin Tomlinson and Julie Orton, to bring their own truth to the work. Evalyn had us do a workshop so that we could work through the show beat by beat, and address any changes that were needed in a queer context.
REBECCA NORTHAN: From the first performance of Blind Date, I've been asked on a consistent basis, "Would you ever pick a woman?" EVALYN PARRY: I saw the show with Rebecca performing in it, and I was charmed. And, I had sort of spent the whole time wondering “I wonder if she’d ever do a queer version? During the talkback, somebody asked—as they apparently do every time she performs the show—do you ever take a woman on a date?”
EP: The thing that was evident really quickly was that a lot of the jokes that were embedded in the structure were very heterosexual. And as we began to pick them out one at a time, it was a bit of an unraveling.
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RN: The surprise for me was changing the dynamic in the scene where the Clown and the Date get pulled over by the cops. We shifted the status and attitude of the cop to reflect the community's different relationship to the police. In the end, I like the new dynamic better.
EP: The queer version tended to go deeper faster—to a more profound place of intimacy and vulnerability—because of the coming out stories. And that would usually happen like clockwork within the first fifteen or twenty minutes. RN: In one Q&A, a gentleman in his late 50's stood up and said, "It's so wonderful to come to Buddies and see a romantic comedy full of truth, vulnerability and laughs. Too often, the work we see is heavy and issue-laden. Getting to see the lighter side of our lives on stage is equally important—and refreshing."
WHAT WERE THE BIGGEST CHANGES YOU MADE TO THE SHOW? RN: Well, we added the option of the sex puppets, in case the Date wanted to take it there. I would like to spend more time finessing it so that it could be more tender love scene than pure ridiculous comedy. Puppets take time. Ronnie Burkett has offered to direct this section if we ever do another run of it—that would be amazing!
ARE THERE WAYS IN WHICH THE BUDDIES RUN HAS CHANGED BLIND DATE AS A SHOW? RN: Yes. We are all far more conscious of gender role stereotypes and power dynamics. Some of the humour in "Original Blind Date" came from gendered expectations of the dating world. Will he hold the chair? Will he pay the cheque? Will he pick up on cues and ask Mimi to dance?
EP: We talked a lot about the idea of consent in terms of audience participation. And so that was a new thing for the show where we put up a sign in the lobby that said “We value consent. Mimi or Matthew is going to be looking for a date tonight. If you would like to be considered, put your name forward.” No one gets picked without having said they’re willing. And now, that sign gets used every time they do the how. But it took coming into this context where I think that conversation was a little ahead of where it had been elsewhere.
EP: It was like “Oh, this joke that was about men and women’s roles is really not funny in a same-sex gendered situation.” And then Rebecca would say, “Well, maybe we don’t even need to be reinforcing that in a heterosexual context.” Do we need to prop up this old chestnut of gender roles?”
RN: Other differences to my eye were things that I take for granted as a cis-gender, heterosexual woman. For example: who leads when you're slow dancing? In the queer version, there was always a moment of negotiation around this point, and I loved that. It’s so wonderful to watch two people work that out in real time.
RN: Having been through the queer version, and watched the lids get blown off those kinds of roles, I think as a company we care less and less about them. Many of those expectations have been shifting in the straight dating world over the last several decades, but the ghosts are still lingering. "Queer Blind Date" encouraged us as a company to go further and spend more time in the present moment with a fellow human being, gender roles be damned!
WHAT SURPRISED YOU THE MOST ABOUT THE NEW VERSION OF THE SHOW? EP: The cool thing about the queer version of the show is how much coming out stories became a fabric of what the show was every night. RN: There is no equivalent in the straight dating world to the point in a date where you each feel comfortable sharing your coming out story. The honesty, the vulnerability, the pain, the hilarity, the risk, and the sheer variety of those stories moved me to tears every night. 6
BLACK BOYS
created by Stephen Jackman-Torkoff, Tawiah Ben M'Carthy, and Thomas Olajide with Virgilia Griffith and Jonathan Seinen
photo of Thomas Olajide, Tawiah Ben M'Carthy, and Stephen Jackman Torkoff in Black Boys by Jeremy Mimnagh
“I THINK THIS IS PROBABLY THE MOST IMPORTANT THEATRE PRODUCTION THAT I’VE SEEN ALL YEAR. IT HAD ME ON THE EDGE OF MY SEAT, I WAS COMPLETELY SPEECHLESS AFTER IT WAS DONE BUT HAVEN’T STOPPED TALKING ABOUT IT SINCE.” —CBC RADIO Q
And I think it happened. The tear. I think it's still happening. It was such a beautiful experience to perform the show and feel the connection and the vulnerability of the space we were in. I felt there were true moments of being able to communicate something very deep and beautiful with the audience.
November saw the debut of Black Boys, a timely exploration of queer male Blackness created by resident artists Saga Collectif—a group of artists who came together to bring underrepresented bodies and voices to the stage. In 2012, Saga Collectif joined the Buddies Residency Program to further develop an idea they had been exploring, an idea that would one day become Black Boys.
The experience creating this show has taught me that you can go deep and strong into that thing that you do. And that with all of yourself and other artists as committed, you can birth something beyond your wildest dreams." —Stephen Jackman-Torkoff Co-Creator and Performer in Black Boys
The powerful show that premiered on our main stage was the result of years spent in studio devising and experimenting. It was this collaborative process that gave Black Boys its dense and layered storytelling and complex insights on race and sexuality.
The show also hit our stage at a time when the intersection of Black and queer identities was already at the forefront of a lot of conversations, inspiring our partners at Saga Collectif to develop the Black Boys Experience. Through this program, Saga Collectif and other Black queer artists engaged in a series of community building programs that provided access to the artists and the creation process.
This production was yet another example of the value of investing in artists and in the creation of new queer works for the stage; a testament to the vitality of the Buddies Residency Program. "When we started this project, I envisioned a tearing in the fabric of the universe and a whole bunch of love and joy and freedom pouring through.
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INCREASED ACCESS
Collective members went into schools and community centers to train young people in storytelling and creation, they hosted a series of panels and artist talks, and presented a free conference exploring the intersections of Blackness, queerness, and gender from an activist and academic perspective. Through this program, we were able to bring the work beyond the stage to a place where it could more meaningfully build and interact with community.
As part of our ongoing commitment to making our theatre more accessible for artists and audiences, we introduced a bunch of new programs and offerings aimed at increased access.
"There are few shows I've had the pleasure of working on where the community impact is as visible as it was with Black Boys. In running workshops and promoting the show I could feel the importance of this work resonating off of participants and audience members. For many of them, this was their first time seeing themselves and their story on stage. It was also necessary for them to be able to engage with the work through the Black on Black Loving Symposium, talkbacks, and other outreach initiatives. A dialogue was started with this piece, and it hasn't stopped yet." —Luke Reece Associate Producer, Saga Collectif
ASL Starting in the fall with Blind Date, we began offering ASL interpretation at select performances in our 2016-17 Season.
AUDIO DESCRIPTION Thanks to a grant from the Community One Foundation, we were able to offer Audio Description during the run of Black Boys. Audio Description uses closed channel audio headsets to describe the physical action of a play for blind audiences.
To further this important community-building work, we worked with local organizations in Black queer communities to provide free tickets for their volunteers and clients. We also partnered with the Black Coalition for AIDS Prevention to host a special benefit performance with the proceeds going to their MSM outreach programs.
DEAF ARTIST COUNCIL In February, Winnipeg-based Deaf artists 100 Decibels performed to a packed house at The 38th Rhubarb Festival. Inspired by the incredible response to this work, and with the support of the Ontario Arts Council, we established a working group of d/Deaf artists who are working with company dramaturge Mel Hague to create more opportunities and support for queer d/Deaf and hard-of-hearing artists at Buddies.
"Buddies’ staging of Black Boys helped tell the story of the many Black gay men that Black CAP works with. Buddies’ fundraising efforts in support of our work with these men, helped us improve their stories of HIV risk, improved health and good mental health. We’d like to thank the Buddies team for helping us raise several thousand dollars to support our work." —Shannon Ryan Executive Director, Black CAP
BUILDING UPGRADES Thanks to a grant from the Department of Canadian Heritage, we were able to replace our aging elevator. The new elevator was installed in the spring, creating a more comfortable and reliable experience for our patrons.
In 2018, Black Boys will embark on a national tour, bringing this important artistic and community event to cities across Canada.
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THE 38TH RHUBARB FESTIVAL festival director Mel Hague
The country's longest-running new works festival came back for a 38th edition in February. As always, it was an experimental playground, where artists and audiences explored new possibilities in performance. We had a photographer behind the scenes throughout the festival—here are some highlights.
LEFT PAGE (clockwise from top-left): Dur à Cuire by Scotty Dont; Monomyths 13: Freedom to Live by Staceyann Chin; Sarap by Patrick Salvani; Joan of Arc w Guns by John-Philip Faienza and company. RIGHT PAGE (clockwise from top-left): Kill Your Lovers by Anais West; Mesh by Gitanjali Lena; Black Lives Black Words by Reginald Edmund; He Built a Fucking Time Machine by AnimalParts. Photos by Connie Tsang and Greg Wong. 9
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THE YOUTH/ELDERS PROJECT directed by Evalyn Parry with Vanessa Dunn and LeeLee Davis
photo of The Youth/Elders Project ensemble by Jeremy Mimnagh
“THE YOUTH / ELDERS PROJECT IS REVOLUTIONARY THEATRE... QUEERS AND ALLIES THROUGHOUT THE NATION DESERVE TO SEE AND EXPERIENCE THESE ESSENTIAL STORIES.” —NOW MAGAZINE
The season came to a close in June with The Youth/Elders Project. Led by Artistic Director Evalyn Parry along with Youth Program Coordinator LeeLee Davis and community organizer Vanessa Dunn, this project was the culmination of a year of work that involved over 50 queer youth and elders.
Here, in their own words, are just some of the ways The Youth/Elder Project has impacted the lives of those involved.
“My participation in The Youth/Elders Project has changed, improved, and enhanced my life. I have learned so much about myself and my creative capabilities... and I have made new friends. I was thrilled when we finally met the youth.
This vital community-building arts project was a watershed moment for our company and our community.
I was amazed at how seemingly easy it was for the youth to access LGBTQ info and come to the quick realization that they were ‘queer’. But it saddened me that the youth were having an even harder time surviving in a ‘queer’ world.”
Working in partnership with The 519, Senior Pride Network, and Ryerson University, we set out to bridge intergenerational divides and create a space for queer people from all walks of life to share and learn from each other's stories. This was a profound experience for us, for the queer youth and elders who shared their stories, and for the lucky folks who got tickets to the sold-out run. For us, The Youth/Elders Project was a testament to the power of our queer community and has inspired us to continue intergenerational and community-based programming in the coming years as part of our Queer Youth Arts Program.
—leZlie Lee Kam
“Through this process, I have learned a lot about space. I feel as though I now know what it means to hold space, create space, and even what it means to take it up… Though the project is over, I find myself trying to apply the rules of The Long Table to my day-to-day life to ensure that everyone around me has space.” —Bella Larsen 11
BEING KIND TO YOUR BEHIND
“This project changed my life so much and it gave me so many things. I am so grateful and lucky to have been part of this.” —Monica Garrido “The response of the audience was moving beyond words… I really wanted to be in the audience to see what they saw.” —Lila Pine
In June of 2016, we successfully completed a year-long fundraising campaign to replace the seating in our theatre.
“This was an experience I could never have imagined or created, let alone make happen on my own. It not only changed the direction of my life, it fundamentally altered who I am in deep and important ways.” —Brian Cope
Much like our Buddies350 campaign, this effort was a testament to the power of community, with hundreds of people contributing $1, $5, or whatever spare change they had after the show.
“Personally I learned that I can have relationships with all walks of life. Coming from a small town and having only had surrounded myself with people directly around my age and then engaging with everyone in The Youth/Elders Project was so great.
Thanks to our incredible and generous audiences, our theatre is a little more comfy and we were able to donate the old seating to several grassroots arts organizations in the city.
THEY SAVED OUR ASSES
It gave me insight into how I came to be here, how the communities came to be, where we’re going, where we still need to go, and how we can just have conversations. I’ve learned that there’s still a lot of learning to be done. From everyone. I think that’s important.” —Ty Sloane
A big thank you to the following people who led the way with major gifts towards our new seating. BRIAN GIBSON + TERRY MACPHEE KATE BISHOP + DOUG GERHART
“This project was important for building a sense of community, finding ways of conversation, methods for talking about issues, and of witnessing ourselves and our stories: being a mirror.” —Daniel Carter
MONICA SCHOLZ PAUL BUTLER + CHRIS BLACK SCOTT WINDSOR
“Thank you, Buddies, for doing this. I know it was a big risk. I hope the risk and experimentation continues—it's so important!” —Jordan Campbell
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EMERGING ARTIST AWARD
“THE JURY WAS IMPRESSED WITH THE COURAGEOUS, TRANSGRESSIVE QUALITIES OF IZAD’S WORK, BOTH ON STAGE AND IN THE COMMUNITY, RECOGNIZING HIM AS A QUEER ARTIST PUSHING BOUNDARIES AND BREAKING NEW GROUND.” -EVALYN PARRY In the summer, we announced Izad Etemadi as the winner of the fourth annual Buddies Queer Emerging Artist Award.
Offstage, Izad uses the character of Leila to host storytelling workshops for women in the community at venues like the Immigrant Women’s Centre and the Street Haven Women’s Shelter, showcasing their work at Leila’s Girlfriends exhibits.
Best known for his portrayal of the charming, flamboyant, and bearded Persian woman, Leila, Izad’s work engages with questions of gender, sexuality, and migration. His solo show Love with Leila has toured across the country to packed houses and rave reviews.
Established in 2014, The Buddies Queer Emerging Artist Award seeks to recognize and encourage the achievements of queer artists who are founding careers in the arts while engaging with the community. Izad was selected by a panel of adjudicators comprised of all the current and former Artistic Directors of the company.
Izad’s latest solo show, Kooni, a multimedia show exploring life as a gay man in Iran, premiered at The Rhubarb Festival in 2017 and went on to Halifax’s Queer Acts Festival. We Are Not the Others, Izad's community-research-informed project commissioned by McMaster University’s School of Social Work, debuted at the Hamilton Fringe this summer, followed by an Ontario tour.
The award includes a $1,000 cash prize, made possible by a gift from the Estate of John Alan Lee.
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FINANCIALS The 2016-17 Season was a banner year for the company financially thanks to a program of new policies and procedures spearheaded by our Managing Director Shawn Daudlin and the Board Finance Committee, and we ended the year with a significant surplus. In a year with markedly increased activity on our stage, all departments still managed to find cost savings. In particular, our bar went through a full audit of its inventory, payroll, and reporting practices, and expanded late-night programming to regular Friday night events in addition to our popular Saturday night parties. After years of decreased sales, revenue at the bar stabilized in 2016-17; this, combined with decreased expenses, made a huge impact on our bottom line this year. We also saw a 7% increase in our earned revenue through ticket sales and venue rentals, as well as a 22% increase in fundraising revenues. Much of this surplus will be used to refill our working capital reserves that were drawn upon after a slight deficit in our previous fiscal year, with the remainder going to support programs in the 2017-18 Season.
REVENUES $1,434,394 GOVERNMENT GRANTS 36% TICKET SALES / VENUE RENTAL 22% FUNDRAISING 21% BAR SALES 21%
EXPENSES $1,350,332 ARTISTIC FEES / SALARIES 48% PRODUCTION COSTS 18% ADMINISTRATION / MAINTENANCE 11% MARKETING / COMMUNICATIONS 11% BAR COSTS 10% DEVELOPMENT 2%
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OUR COMMUNITY OF DONORS Legacy Circle Ed Cabell + Roy Forrester Jim Robertson + Jim Scott John Alan Lee
Show Patrons Richard McLellan Russell Mathew + Scott Ferguson
The Lawrence Family Foundation The George Lunan Foundation
Visionaries Brian Gibson + Terry MacPhee Brian Sambourne Gerald Lunz + Rick Mercer
BLACK BOYS
THE YOUTH/ELDERS PROJECT Jim Lawrence + David Salak Paul Hartwick
Gerry Asselstine Gordon Floyd The Muttart Foundation Pilkington-Henninger Charitable Trust
Benefactors Ayse Turak Bob Gallagher Darren Gobert Derek Billsman Ed Cabell + Roy Forrester Elliot Smith + Jonathan Steels Gerry Asselstine Gordon Floyd Jaime Woo James Tennyson
Jason Oord Jim Robertson + Jim Scott John Stanley + Helmut Reichenbacher Ken Aucoin + Gerald Crowell Ken Moffatt Lawrence Bennett Mandy McNeil + Beck McNeil Mark German Mark Pratt Martha McCain
Megan Richards + Abi Slone Michael Boyuk Monica Scholz Muttart Foundation Paul Butler + Chris Black Russell Mathew + Scott Ferguson Scott Windsor Stephen McGregor + Tony De Franco William Hodge + Robert Wylie
Gordon Floyd Jamie Slater Jane Hill Karim Karsan + John Rider Kate Bishop + Doug Gerhart Ken Aucoin + Gerald Crowell
Lucinda Wallace Mark Peacock Pearse Murray Richard Bingham Shawn Daudlin Sheila Lynn Cavanagh
Brian McBurney Brian Mossop Brian Postalian Cameron MacLeod Carol Dauda Caroline Azar Caroline Balderston-Parry Catherine Cornell Cathrin Winkelmann Charles Blaquière Charles Pavia Charlie Petch Chris Biri
Chris Tsujiuchi Cole Alvis in honour of René Highway Colin Simmons Dan Cooperstock Daniel Kinrys Danny Glenwright Danya Zaitzow Daria Ilkina David Gale David M. Hendrie David Steinberg Deanna Clatworthy Dennis Findlay
Champions Anonymous Brian Terry The Charlie & Lulu Franklin Fund at the Calgary Foundation Craig Hanson Evalyn Parry Gary Akenhead
Friends + Partners Aidan Morishita-Miki Alan Dingle Alan Norman Alnoor Karmali + Doug Arcand Andrew Horberry Anne Cayer Anonymous Barbara Fingerote Dr. Ben Louie Betty Carlyle Blair Francey Blake Neill Brandon Moore
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Don Love Donna Daitchman E Hood Eric Koeck Frank Griggs Franny McCabe-Bennett Gary Rogers George Grant Gilles Marchildon Heather Ramsay Hersh Zeifman in honour of Kelly Ellis + Kieron Pope Ingrid Randoja James Ralph Jasmine Thibault Jayne Schneider Jeff Hammond Jennifer Cruickshank Jennifer Neales Jon Kaplan Jonathan Heppner Joseph McLean Joseph Mulder Joshua Jacobs Kate Bangay Keith J Holland Ken Marple Ken Popert
Kim Cousins Kim Koyama Kimberly M. Lowe Kishwar Iqbal Dr. Kym Bird Laura Fixman Laura Nanni Laurie Reid + Jan Cornish Lawrence Campbell Lawrence Moore Leah Faieta Lindsay Barton Lionel Tona Lorne Fox Marthe Jocelyn in memory of Gordon Jocelyn Mary Breen Matthew Hyams Michael Melling Michel Beauvais Michel G. Crete Michelle Ramsay Mira Fabian Mitsuko Sada Neil Betteridge Nick Tracey Norman Hatton Patty Fleming Paul Klein
Peter Archer Peter Taylor Philip Boswell Pierre Simpson Randy Weinstein Richard Isaac Richard McLellan Robert G. Coates Robin Crombie Rui Pires Sean Guist Sondra Petit Stacey Shannon Steph Braithwaite Steve Lico Steven Spencer Susan Feldman Susan Keri in honour of Lauren Mayer Susanna Reid Tammi Jamison Thompson Nguyen Todd McIntosh Tom Hutchinson Tom Keogh + Paul McClure Valerie Hussey Warren Sorensen in memory of Gregory Williams Wes D. Pearce
Gordon Floyd Ingrid Randoja Jaime Woo Jamie Slater Jayne Schneider Jim Lawrence + David Slak Jim Robertson + Jim Scott Joshua Jacobs Karim Karsan + John Rider Ken Aucoin + Gerald Crowell Kim Koyama Dr. Kym Bird Lawrence Moore Lionel Tona Louis Tsilivis Mandy McNeil + Beck McNeil Mary Breen
Matthew Hyams Megan Richards + Abi Slone Michel Beauvais Mitsuko Sada Paul Klein Peter Taylor Richard Bingham Richard McLellan Rui Pires Sheila Lynn Cavanagh Susanna Reid Thompson Nguyen Tom Keogh + Paul McClure Wes D. Pearce William Hodge + Robert Wylie
Monthly Donors Ayse Turak Barbara Fingerote Dr. Ben Louie Betty Carlyle Cathrin Winkelmann Charles Pavia Cole Alvis in honour of RenĂŠ Highway Danny Glenwright Daria Ilkina David Steinberg Derek Billsman Donna Daitchman Ed Cabell + Roy Forrester Elliot Smith + Jonathan Steels Evalyn Parry George Grant Gilles Marchildon
Listed donations from September 1, 2016 - August 15, 2017. If you wish to report an omission or error, please contact mark@buddiesinbadtimes.com 16
Corporate Sponsors LEAD CORPORATE SPONSOR
FESTIVAL SPONSOR
MEDIA SPONSOR
Public Agencies
an Ontario government agency un organisme du gouvernement de l’Ontario
Foundations
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THE COMPANY Artistic Director EVALYN PARRY Managing Director SHAWN DAUDLIN Head of Production CHARISSA WILCOX Director of Development & Communications MARK AIKMAN Company Dramaturge + Rhubarb Festival Director MEL HAGUE Emerging Creators Unit Director SUNNY DRAKE Youth Program Coordinator LEELEE DAVIS Technical Director ADRIEN WHAN Manager of Fundraising ALYSHA HAUGEN Marketing Manager AIDAN MORISHITA-MIKI Box Office/FOH Manager BARRY HIGGINS Asst. Box Office/FOH Manager KSENIA SABOULOUA Chamber Technician SUZIE BALOGH Cabaret Technician STEPH RAPOSO Finance Manager CYNTHIA MURDY Bar Manager PATRICIA WILSON Asst. Bar Manager GLENN DWYER Box Office Representatives DANIEL BOWEN, SADIE EPSTEIN-FINE, MONICA GARRIDO, SHANE GRAMLICH, BROCK HESSEL, JOHN CJ MURPHY, CURTIS TE BRINKE Bar Personnel CHARLIE BOUYS, CORSER DUPONT, MICHAEL MACKID
BOARD OF DIRECTORS Buddies in Bad Times Theatre
The Alexander Street Theatre Project
MARY BREEN (chair)
RUSSELL MATHEW (president)
ELLIOT SMITH (treasurer)
CATHY GORDON (past president)
CATHRIN WINKELMANN (secretary)
ELLIOT SMITH (secretary treasurer)
BECK MCNEIL
KRISTYN WONG-TAM
GORDON FLOYD JAMIE SLATER JIM LAWRENCE KAI WA YAPP LIONEL TONA LOUIS TSILIVIS
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