A SHAKESPEARE-INSPIRED MIXTAPECURATED BY ROBERT MARKUS, JULIA NISH-LAPIDUS AND JAMES WALLIS

PRODUCTION SUPPORT IS GENEROUSLY PROVIDED BY BARBARA & JOHN SCHUBERT

PRODUCTION CO-SPONSOR

LAND ACKNOWLEDGEMENTWelcome to the Stratford Festival. It is a great privilege to gather and share stories on this beautiful territory, which has been the site of human activity — and therefore storytelling — for many thousands of years. We wish to honour the ancestral guardians of this land and its waterways: the Anishinaabe, the Haudenosaunee Confederacy, the Wendat, and the Attiwonderonk. Today many Indigenous peoples continue to call this land home and act as its stewards, and this responsibility extends to all peoples, to share and care for this land for generations to come.

T H E S I N G E R SGABRIEL ANTONACCI

ROMEO, ENSEMBLE

JACOB MacINNISRICHARD, ENSEMBLE

JENNIFER RIDER-SHAWBEATRICE, ENSEMBLE

KAITLYN SANTA JUANAJULIA, ENSEMBLE

MUSIC DIRECTOR, KEYBOARD

REZA JACOBSACOUSTIC GUITAR, ELECTRIC GUITAR

KEVIN RAMESSAR

ACOUSTIC BASS, ELECTRIC BASS

JON MAHARAJDRUM KIT, ORCHESTRA SUPERVISOR

DALE-ANNE BRENDON

T H E B A N D

CURATED BY ROBERT MARKUS, JULIA NISH-LAPIDUS AND JAMES WALLIS

DIRECTED BY JULIA NISH-LAPIDUS AND JAMES WALLIS

The videotaping or other video or audio recording of this production is strictly prohibited.

Two young people are in love. They’re next-door neighbours, but their families don’t get on. So they’re not allowed to meet: all they can do is whisper sweet nothings to each other through a small gap in the garden wall between them. Eventually, they plan to run off together – but on the night of their elopement, a terrible accident of fate impels them both to take their own lives.

Sound familiar? It’s the story of Pyramus and Thisbe, as told by the ancient Roman poet Ovid, one of Shakespeare’s favourite authors. Most of us know it from the comical play-within-the-play in A Midsummer Night’s Dream – but it’s also essentially the same story Shakespeare told in Romeo and Juliet.

It certainly resonates with us today. We know what it’s like to be isolated in our homes, separated from our loved ones, reduced to interacting through online equivalents of a hole in the wall. And we know about other barriers, too: walls of prejudice, mistrust and hatred that can be as fatal as any pandemic.

But there’s more to Ovid’s story. The blood of the lovers, seeping into the ground, is absorbed by the roots of a mulberry bush – and turns its berries from white to a deep and vibrant red. And with that metamorphosis comes the families’ realization of the tragedy their enmity has wrought.

That idea of metamorphosis, of awakening and new growth arising from loss, informs our 2021 season. Our artists, like the rest of us, have been living through a time of seismic shock to their psyches – but it has also been a time of transformative regeneration. It’s as if we’ve been in a

cocoon, and now it’s time to emerge in a blaze of new colour, with lively, searching work that deals with profound questions and prompts us to think and see in new ways.

While I do intend to program in future seasons all the plays we’d planned to present in 2020, I also know we can’t just pick up where we left off. The world has changed; we have changed. Something huge has happened to us and within us. How do we express that together?

In one significant sense, 2021 sees us return to our roots. Two open-sided canopies, one erected at the Festival Theatre and the other on the grounds of the new Tom Patterson Theatre, shelter appropriately distanced seats. Sharing the same visually gorgeous design, these structures enable audiences to gather in safety and comfort in the open air.

But more than that, they bring an inherently festive quality to the season. Just like our original tent in 1953, these new canopies signal that a very special event is taking place here in Stratford: a new artistic beginning.

Meanwhile, we have also been able to make provision for limited-capacity indoor performances at the Studio Theatre. As always, your safety, and the safety of our artists and staff, is our very first priority, and all three of our 2021 venues will operate in strict accordance with public-health guidelines.

But far from placing limitations on our creativity, the need to work within the parameters required of us – with shorter performances, smaller casts (no more

WORLDS WITHOUT WALLSA M E S S A G E F R O M O U R A R T I S T I C D I R E C T O R

PHOTOGRAPHY BY SCOTT WISHART

than eight actors per show) and physical distancing on stage – has stimulated our artists to new feats of imagination as they devise novel modes of performance. Our 2021 playbill encompasses Shakespeare, music, modern classics and new work, presented in ways you’ve never seen at Stratford before.

And it’s not only the pandemic that has opened us up to new ideas and experiences. The Black Lives Matter protests of last summer brought home to us how far our society still remains from overcoming those other dividing barriers of systemic inequity and oppression. So our playbill celebrates difference as well as universality, widening our definitions both of a classic and of who we are. To learn more about our work on anti-racism please visit our website.

The pandemic has taken a dreadful toll, both in lives and in lingering psychological effects. We at the Festival may be powerless against the former, but we have a crucial role to play in addressing the latter. If theatre has anything to teach us, itis about the resilience of the human spirit.

Our new season was born of our determination to emerge from this crisis more inventive, more inclusive and more creative than ever. I hope it will excite you and engage you, bring renewed joy into your life and inspire you as we dream together of a world without walls.

Antoni Cimolino Artistic Director

SPONSORS

Proud Season Partners

The Stratford Festival gratefully acknowledges the generous support of these contributors to our success:

The Stratford Shakespearean Festival of Canada and the Stratford Shakespearean Festival of America are registered charities in Canada and the U.S. respectively.

Production & Program Sponsors

Stratford Festival On Film Sponsor

OUR THANKS TO THE FOLLOWING FOR THEIR GENEROUS SUPPORT

An agency of the Government of OntarioUn organisme du gouvernement de l’Ontario

New Play DevelopmentSupport is generously provided by The Foerster Bernstein New Play Development Program

Supporter of Equity, Diversity and Inclusion initiatives, with thanks to

Sylvia Chrominska.

Festival TheatreSupport for the 2021 season in the Festival Theatre Canopy is generously provided by Daniel Bernstein & Claire Foerster

Tom Patterson TheatreSupport for the 2021 season of the Tom Patterson Theatre is generously provided by

Performance HostsBurgundy Asset Management, Famme & Co. Professional Corporation, Sommers Generator Systems, Sylvanacre Properties Ltd., The Woodbridge Company Limited

THANK YOU TO OUR DONORS AND MEMBERS

WE COULDN’T DO IT WITHOUT YOU…

Our generous donors and Members have recognized that this is a critical time for the Stratford Festival and have stepped up to do their part to help us get back

on stage and to ensure that we will continue to produce the excellent theatre they have come to count on from the Festival.

Our deepest gratitude to all our donors who make gifts and pledges to support the Festival in so many ways.

See below for current listings

CUMULATIVE GIFTS PRODUCTION SPONSORS & DESIGNATED GIFTSRELAUNCH CHAMPIONS

PLAYWRIGHT’S CIRCLE GENERAL MEMBERSHIP

TRIBUTE GIFTS PROSPERO SOCIETY

TOM PATTERSON THEATRE

ENDOWMENT GIFTS

FOR MORE INFORMATION ON HOW YOU CAN SUPPORT THE STRATFORD FESTIVAL AND OUR PROGRAMS, VISIT STRATFORDFESTIVAL.CA/SUPPORTUS

Special Performances | Speakers & PanelsInteractive Workshops

LIVE IN LAZARIDIS HALLBe among the first to experience a performance in the new Lazaridis Hall, designed as the home of The Meighen Forum

in the new Tom Patterson Theatre.

ONLINEThe Digital Meighen Forum brings expert commentary and artistic

insights directly to your device. Dive into the play before your Stratford trip, or revisit and reflect after you’ve returned home.

Check online for details and for a schedule of events. STRATFORDFESTIVAL.CA/FORUM

EXPAND YOUR EXPERIENCE IN STRATFORD AND ONLINE!

A SHAKESPEARE-INSPIRED MIXTAPEB Y R O B E R T M A R K U S , J U L I A N I S H - L A P I D U S A N D J A M E S W A L L I S

P L A Y O N ! : C U R A T O R S ’ N O T E S

We started this process as strangers, connected by our passion for music, theatre, and Shakespeare. As we began our collaboration, our bond grew as we wondered: What is the relationship between Shakespeare and popular music? Where do they differ and where are they similar? These are the questions that we have been investigating as we created Play On!

Shakespeare and popular music are embedded in our lives in both obvious and more subtle ways. Whether we know it or not, we likely encounter both daily. So how do we explore the link between these two ever-present entities? Through our collective interests, passions, and abilities, we discovered intriguing links in both art forms.

In his time, Shakespeare wasn’t dissimilar to popular music. While now his work is considered “high art,” it was created for the masses. An art form that could be enjoyed by the “groundlings,” standing at the foot of the stage, as much as by royalty. The plays’ themes, characters, and stories can offer something for everyone: reminding us of the value of human life, searing a poetic image in our minds, or helping us re-examine the importance of our relationships to each other.

Similarly, popular music has such a vast reach that it has likely touched everyone’s life in a significant and unique way. A song can transport you back to a moment in time, connect you to someone you knew long ago, or give you the inspiration to deal with the present.

With their poetry, emotion, and complexity, these art forms have the ability to make you feel, think, and remember.

In this cabaret, we have sought to make the familiar unfamiliar again. We know you know the songs, and you may know the words of Shakespeare. We want to welcome you to celebrate and examine these two constants in our lives, perhaps through how they interact with and contradict one another. We hope to open up new and exciting perspectives about Shakespeare and music for you. So we invite you to relish the familiar songs and words, and perhaps discover something in them that you’ve never heard before. But most of all, we hope you’ll remember the joy of live theatre and its transformative power.

“If music be the food of love” – well, you know the rest.

Up Close and Musical

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“ I N S W E E T M U S I C I S S U C H A R T ” : S H A K E S P E A R E A N D P O P U L A R M U S I CB Y J A M E S W A L L I S

Without even knowing it, we’ve all danced around or sung along to tunes inspired by Shakespeare. His influence is far-reaching and can be found in all corners of the musical landscape, both obvious and unexpected. Shakespeare, for better or worse, was planted into the roots of our popular culture from the days when his plays were first staged. Music, including theatrical usages of music and more widespread, popular music, is not immune to the transference of idea, text, or story from Shakespeare’s plays to the consciousness of the population.

The history of the connection between popular music and Shakespeare has recently been illuminated most in the incredibly millennial Internet project of the “listicle.” Usually around Shakespeare’s birthday (marked on April 23, which, interestingly, is also the date on which he died), there comes a list of popular musicians who used the muse of Shakespeare to create a hit. Such staples of pop music as The Beatles, Bob Dylan, Elton John, and Taylor Swift, as well as more genre-based artists like The Kaiser Chiefs, The Sex Pistols, and 2Pac, have used Shakespeare as a lyrical and thematic influence. Some used his plots or poetry to express a distinct idea or trope they wanted to underscore in their music or lyrics. Others took Shakespeare as a cultural monolith and, through their music, sought to bite their thumbs at established ideas or elitist expectations of grandeur that are often associated with him. Still, the presence of Shakespeare remains.

The cultivation of Shakespeare as a presence

in popular culture is markedly separated from the historical figure of the Renaissance playwright from Stratford-upon-Avon. The man is inconsequential, with the name now associated with an aura of pervasive enlightenment that has been firmly stamped in our Western culture, and especially the colonized world of Canada. The over-arching connotation of veneration that Shakespeare or “Shakespearean” encompasses is nicely summed up by Marjorie Garber in her book Shakespeare and Modern Culture: “ ‘Shakespearean’ is now an all-purpose adjective, meaning great, tragic or resonant: it’s applied to events, people and emotions, whether or not they have any real relevance to Shakespeare.” She goes on to say, “over time the adjectival form of the playwright’s name has become an intensifier, indicating a degree of magnitude, a scale of effect.”

Therefore, does popular music become more complex or significant when taking influence from Shakespeare? Some would argue yes, depending on how the material is repurposed into a different artistic form. While Shakespeare has an influential position in books, film, and theatre, popular music, which in our contemporary world can now be consumed in varied and extensive ways, clearly has more power over people’s day-to-day lives. Therefore, does Shakespeare’s work become more widely known by its association with popular music?

The history of Shakespeare’s relationship with popular music is by no means isolated to the twentieth century. Starting as soon as the theatres were restored after the great English

P L A Y O N !

Civil War of 1642 to 1651, and continuing with the Shakespearean operas of Verdi in the nineteenth century and, of course, Mendelssohn’s overture for A Midsummer Night’s Dream in 1826, Shakespeare’s work had a long-standing relationship with classical music, through opera, symphonic renderings, and ballet. As popular music has undergone an explosion through the use of technology to record it and therefore expand its reach, Shakespeare has continued to inspire musicians, both from a variety of backgrounds and outside of the theatrical medium.

With this came a different engagement with Shakespeare and his plays. Unlike former musical appropriations of Shakespeare, in which the narrative or character of a certain play was the essential conceit transferred to the symphonic or operatic medium, later representations in popular music have homed in on a piece of text, or a thematic or poetic meaning that the composer interprets from Shakespeare. In some cases, Shakespeare’s dramatic ideas, or even the man himself, can be found as the subject of admiration or parody.

Beyond adapting the plays to their musical form, the words of Shakespeare can be evocative to musicians in various genres. Their use in twentieth-century jazz is vast and presents assorted influential models as examples. One of the most prominent is Duke Ellington’s 1957 album Such Sweet Thunder, a broad exploration of Shakespeare’s characters and themes through swinging jazz orchestrations. Such Sweet Thunder was inspired by Ellington’s work with the Stratford Shakespeare Festival in 1956, when he both performed as a guest artist and provided incidental music for Michael Langham’s production of Timon of Athens. Ellington’s interpretation of Shakespearean characters through such songs as “Lady Mac” and “Song for Sister Kate,” and his reappraisal of Shakespeare through the Black American experience and the essential art form of jazz,

show an appreciation and interrogation of the plays and characters, composed with a myriad of sounds, both symphonically textured and uniquely performed.

Jazz, country, hip-hop, and even the rebellious anthems of English punk rock have all had parlays with Shakespeare, providing critical insight into his plays that differs in interesting ways from theatrical history or literary criticism. Whether it be through the allusive musicality of Elvis Costello or in the sombre fantasy songs of Radiohead, Shakespeare transforms within popular music, beyond the stagings of the Globe Theatre to imaginative soundscapes created through distinct rhythms fulfilled by the individual musician’s unmistakable “sound.”

In fact, the transference of Shakespeare to popular music goes both ways, as seen in Baz Luhrmann’s iconic 1996 film Romeo + Juliet, the soundtrack of which became a generational mixtape for the violent tragedy of love and fate. The collection of songs that score Luhrmann’s modern vision of Verona have seeped their way into discussions of the play’s overall meaning. The film’s representations of crucial story moments – such as Romeo and Juliet’s meeting, separated by a fish tank, with “Kissing You” by Des’ree sonically draped over the raucous Capulet party – are unforgettable, and help redefine how the play is viewed and understood.

But just as important as the seemingly favourable reinterpretations of Shakespeare’s text in music are the vitriolic takedowns of his ubiquitous standing in our Western culture. Either from such lighthearted superstars as The Beatles, deliberately toying with the perception of their own music’s meaning in “I Am the Walrus,” or rapper Akala’s provocative lyric “It’s Shakespeare, reincarnated” in his song “Shakespeare,” the icon Shakespeare can be easily depicted as the poster boy of colonial, universal discourse in need of being checked and demolished through musical

expression.

Shakespeare can withstand this kind of interpretive skirmish, and in many ways can be re-examined and relearned. As Adam Hanson writes in his book Shakespeare and Popular Music, “sampling and remixing Shakespeare changes him, but also develops existing potentials in his work. Popular music amplifies ambiguities and contradictions in this work, and between it and the dominant discourses of Shakespeare’s period and our own. At the same time, popular music’s use of Shakespeare realizes contradictions within such music, and within its relations to the contexts in which it is made and consumed.” The symbiotic relationship between old (Shakespeare) and new (popular contemporary music) can be transformative and mutually beneficial, even if Shakespeare is the clear target of politically minded musical critique.

We should celebrate those who challenge the status of Shakespeare as well as reinterpret his works in ways that provide new contexts. In that way, the presence of Shakespeare within popular music will most likely continue. And with this continued relationship, still open to further appraisal and inspiration, we can look forward to many more iterations of the annual listicle, where the emergent musician can deepen our appreciation of Shakespeare through their experience, and with their chosen art. This continued relationship and malleability shows Shakespeare truly as an artist “for all time,” including the iTunes generation.

James Wallis is a director, teacher, and actor. He’s the Co-Founder and Co-Artistic Director of the Toronto theatre company Shakespeare BASH’d and a former member of the Michael Langham Workshop for Classical Direction at the Stratford Festival.

SONGSP L A Y O N !

“Sigh No More” By Ben Lovett, Marcus Mumford, Winston Marshall

and Ted Dwane

“(Just Like) Romeo and Juliet” By Frederick Gorman and Bob Hamilton

“Love Story” By Taylor Swift

“Check Yes Juliet” By Travis Clark, Samuel Hollander and David Katz

“Cruel to be Kind” By Ian Gomm and Nick Lowe

“The King Must Die” By Elton John and Bernard Taupin

“Brush Up Your Shakespeare” By Cole Porter

From Kiss Me, Kate

“Billy S” By Skye Sweetnam and James Robertson

“A Case of You” By Joni Mitchell

“Can You Feel the Love Tonight?” By Elton John and Tim Rice

From The Lion King

“Ophelia” By Jeremy Fraites and Wesley Schultz

“O, Valencia” By Colin Meloy

“Exit Music (For a Film)” By Colin Greenwood, Jonathan Greenwood, Edward

O’Brien, Philip Selway and Thomas Yorke

“I Am the Walrus” By John Lennon and Paul McCartney

“Take a Bow” By Madonna and Kenneth Edmonds

“Limelight” By Neil Peart, Geddy Lee and Alex Lifeson

“Somewhere” By Leonard Bernstein, Stephen Sondheim

and Arthur Laurents From West Side Story

Choral arrangement by Mac Huff

“Romeo and Juliet” By Mark Knopfler

“Gold” By Prince

Curtain Call “Limelight” Reprise

C O P Y R I G H T & P U B L I S H I N G

“Sigh No More,” “The King Must Die,” “Romeo and Juliet” and “Gold” published by Universal Music Publishing Group. “(Just Like) Romeo and Juliet,” “Billy S,” “A Case of You” and “I Am the Walrus” published by Sony/ATV Music Publishing. “Love Story” published by Universal Music Publishing Group and Sony/ATV Music Publishing. “Check Yes Juliet” published by Sony/ATV Music Publishing, BMG and Reservoir Media. “Cruel to be Kind” published by BMG and Universal Music Publishing Group. “Brush Up Your Shakespeare” and “Exit Music (For a Film)” published by Warner Chappell Music. “Can You Feel the Love Tonight?” published by Walt Disney Music Company, Wonderland Music Company, Inc., and TCF Music Publishing, Inc. “Ophelia” published by Kobalt Music Publishing. “O, Valencia” published by BMG. “Take a Bow” published by Warner Chappell Music and Sony/ATV Music Publishing. “Limelight” published by Anthem Entertainment. “Somewhere” published by Universal Music Publishing Group and Boosey & Hawkes.

T H E S I N G E R S

A R T I S T I C C R E D I T S

Gabriel AntonacciJacob MacInnisJennifer Rider-ShawKaitlyn Santa Juana

Music Director, Keyboard Reza Jacobs

Acoustic Guitar, Electric Guitar Kevin Ramessar

Acoustic Bass, Electric Bass Jon Maharaj

Drum Kit, Orchestra Supervisor Dale-Anne Brendon

Curators Robert Markus Julia Nish-Lapidus James Wallis

Directors Julia Nish-Lapidus James Wallis

Music Director Reza Jacobs

Lighting Designer Kaileigh Krysztofiak

Sound Designer Peter McBoyle

Music Arrangements Reza Jacobs

Music Preparation Michael McClennan

Assistant Lighting Designer Christian Horoszczak

Stage Manager Kim Lott

Production Assistant Rebecca Beith

Production Stage Manager Cynthia Toushan

Producer David Auster

Casting Director Beth Russell

Creative Planning Director Jason Miller

T H E B A N D

Technical Director Robbin Cheesman

Cabaret Series Development Franklin Brasz Esther Jun

Director of Music Franklin Brasz

Music Administrator Janice Owens

The videotaping or other video or audio recording of this production is strictly prohibited.

B A C K S T A G E P R O D U C T I O N C R E D I T S

Director of Production Simon Marsden

Associate Director of Production C.J. Astronomo

Scene Shop Manager Evan Bonnah-Hawkes

Associate Technical Director David Campbell

Production Administrator Carla Fowler

Technical Director – Scenic ConstructionAndrew Mestern

Technical Direction Assistants Laura Coleman Zach Fedora

Transportation Dirk Newbery James Thistle

Head Carpenter William Malmo

Head Electrician Sean Poole

Head Property Timothy Hanson

Head Sound Andy Allen

Crew Michael Watters

Wardrobe Show Head Maxine Tubbe

P R O P E R T I E S

Head of Properties Dona Hrabluk

Assisted by Michelle Jamieson Shirley Lee

Properties Buyer Kathleen Orlando

S C E N I C A R T

Head Scenic Artist Duncan Johnstone

Assistant Scenic Artist Michael Wharran

S C E N I C C A R P E N T R Y

Head Carpenter Ryan Flanagan

Assistant Head Carpenter Paul Cooper

Assisted by Simon Aldridge Paul Hyde Scott King Corey Mielke John Roth Jody Satchell Scott Schmidt Mark Smith Cliff Tipping

C O S T U M E

Costume Director Michelle Barnier

Sewer Emma Pawluk

Costume Buyer Erin Michelle Steele

Warehouse CoordinatorKimberly Catton

Head of Wigs and Makeup Gerald Altenburg

A C K N O W L E D G E M E N T S

Special thanks to Dr. David Thompson, MD, Stratford; Dr. Jennifer Anderson, MD, MSc, FRCSC, St. Michael’s Hospital, Toronto; Heather Gillis, PT, M.Sc. Anat., FCAMPT, Darcy Trefiak, PT, B.Sc.P.T., FCAMPT, Physiotherapy Alliance, Stratford; Dr. Simon McBride, MCISc, MD, London Health Sciences Centre Vocal Function Clinic; Dr. Brian Hands, MD, FRCSc, Vox Cura voice care specialists, Toronto; Dr. Leigh Sowerby, MD, MHM, FRCSc, St. Joseph’s Hospital, London; Dr. John Yoo, MD, London Health Sciences Centre; Dr. Thomas Verny, MD, DHL, DPsych, FRCPC, FAPA, Stratford; Dr. P. Neilsen, Goderich; Dr. Laurel Moore, MD, Dr. Sean Blaine, MD, Dr. Erin Glass, MD, Dr. Jacob Matusinec, MD, STAR Family Health Team, Stratford. Pianos tuned and maintained by Stephenson Concert Group.

T H E C O M P A N Y

GABRIEL ANTONACCI JACOB MacINNIS

GABRIEL ANTONACCI2021: Romeo in Play On! Eighth season. Stratford: Ed Gammidge in The Music Man, Phantom in The Rocky Horror Show, Al in A Chorus Line, Henrik Egerman in A Little Night Music, Rolf Gruber in The Sound of Music, Pinball Lad in Tommy, and appeared in Billy Elliot the Musical, Guys and Dolls, HMS Pinafore, Fiddler on the Roof and Carousel. Elsewhere: Johnny alternate in Green Day’s American Idiot (first US tour); Hank Majewski in Jersey Boys (Dancap); Gilbert in Anne of Green Gables (Charlottetown). Film/TV: Captain von Trapp in The Pacifier. Training: Etobicoke School of the Arts. Online: Twitter/Instagram: @GabrielNacci. Et cetera: Huge thanks to Stratford and Colin McMurray for this opportunity. Thank you to my wife, Robin Calvert, for being the absolute best. This show is dedicated to his puppy, Sophie.

DALE-ANNE BRENDON REZA JACOBS

DALE-ANNE BRENDON2021: Drum Kit for Why We Tell the Story and Play On! Stratford: Drummer for Tommy (2013), Jesus Christ Superstar (2011), Evita (2010). Elsewhere: Substitute drummer for Come From Away (Toronto), drummer for Randy Bachman’s Heavy Blues album and tour (2015), drummer/percussionist for Jeans ’n Classics – North American touring band, percussion for Grey Gardens at Berkeley Street Theatre, Toronto (2016). Endorser of Yamaha drums, Sabian cymbals, ProMark drumsticks. Online: daleannebrendon.com; youtube.com/daleannebrendon.

JACOB MacINNIS2021: Richard in Play On! Stratford debut. Jacob MacInnis (they/them) is a Tkaronto-based performer and visual artist. After training for three years at Sheridan College’s Music Theatre Performance Program, Jacob has gone on to entertain audiences all over Turtle Island in countless musicals, concerts and cabarets. In 2014 Jacob was nominated for a Dora Mavor Moore Award, and won the Toronto Theatre Critics’ Award for Best Supporting Actor in a Musical (James and the Giant Peach, YPT). You can follow Jacob on Instagram @jacobmacinnis, check out their visual art @jacobmacinnisart, or listen to their original music on Spotify, Apple Music, or anywhere you listen. Jacob sends love to all the folx at TH, to their family, and to Tucker. #braverthanbrave

REZA JACOBS2021: Music director of and Keyboard for Play On! and composer and sound designer of A Midsummer Night’s Dream. Third season. Stratford: Musician for Up Close and Musical; composer, sound designer of Twelfth Night. Elsewhere: Reza is an award-winning composer, sound designer and music director known for his versatility in style and genre. His credits include sound design and composition for the Shaw Festival, Factory Theatre, Tarragon, Passe Muraille, Volcano, Cahoots, YPT, Luminato Festival and Harbourfront’s World Stage Festival. He has won Dora Awards for Music Direction for Life After (Musical Stage Company), London Road (Canadian Stage), and Caroline, or Change (MSC). He has played Ted in 2 Pianos 4 Hands, most recently at the NAC, and has toured with Andrea Martin as her music director. His favourite gig of all time is being partner to Stephanie and father to Arabel and Iris. He also wishes to express his gratitude for his agent and friend, Emma Laird.

2021 PRODUCTIONS STREAMING THIS FALL WATCH FOR DETAILS: STRATFORDFESTIVAL.CA/ATHOME

T H E C O M P A N Y

JON MAHARAJ

JON MAHARAJ2021: Basses for Why We Tell the Story and Play On! Stratford debut. Jon Maharaj is a JUNO Award-winning bassist who has performed and/or recorded with The Tenors, Emilie-Claire Barlow, Allison Au, Amanda Tosoff and many others. He has toured North America extensively with a variety of artists and has performed overseas, everywhere from Tokyo to Monte Carlo. He is currently playing bass in the Canadian company of the Tony-winning musical Come From Away, a position he has held since January 2018. Jon is also on faculty at Humber College in Toronto, where he has been teaching since 2003.

KAITLYN SANTA JUANA

KAITLYN SANTA JUANA2021: Julia in Play On! Kaitlyn is excited to be making her Stratford Festival debut! Broadway: Dear Evan Hansen. Broadway/Tours: Mirvish Productions’ Dear Evan Hansen, Toronto, Disney Cruise Line. She is a graduate of AMDA NY and is originally from Vancouver, British Columbia. Sending love and gratitude to the team at the Stratford Festival, The Talent House, and her family and friends. Instagram: @kaitsantajuana.

JENNIFER RIDER-SHAWKEVIN RAMESSAR

KEVIN RAMESSAR2021: Guitars for Why We Tell the Story and Play On! Eighth season. Multi-instrumentalist, conductor, and composer Kevin Ramessar enjoys collaborating on stage, in the studio and in the classroom. He teaches at Wilfrid Laurier University and is a frequent adjudicator and guest instructor. Stratford: Romero in Man of La Mancha, Guitars in A Chorus Line, Tommy, Jesus Christ Superstar, Evita; onstage musician in Bartholomew Fair, Fuente Ovejuna. Broadway: Beautiful: The Carole King Musical, Jesus Christ Superstar, Gettin’ the Band Back Together. Elsewhere: Tony Awards orchestra; We’re Gonna Die (Second Stage); London Road (Canadian Stage). Recordings: Spanish, classical and fingerstyle guitar recordings available in the Theatre Store (Sojourn, Echoes, Acoustic Christmas). Publications: Musicians Institute Curriculum Series: The Guitar Program, Reading (Volumes 2, 3, 4), WBH MusicWorks. Online: kevinramessar.com. Et cetera: Co-founder of Virtual Broadway (virtualbway.com).

JENNIFER RIDER-SHAW2021: Beatrice in Play On! 11th season. Stratford: Ten seasons including Velma Kelly in Chicago, Janet in The Rocky Horror Show, Josephine in HMS Pinafore, Maggie in A Chorus Line, Sally Simpson in Tommy, Peggy Sawyer in 42nd Street. Elsewhere: Jennifer recently revived the role of Sally Simpson in The Who’s Tommy In Concert, performing alongside Pete Townshend at The La Jolla Playhouse. She has also performed on stages across Canada: Royal Manitoba Theatre Centre, Charlottetown Festival, Grand Theatre, Theatre Aquarius, Drayton Entertainment, Ross Petty Productions. COVID: Jen became a trained lash extension technician during 2020: @thelashroombyjen. Training: Music Theatre Performance (Sheridan), Acting (Red Deer College). Et cetera: Thank you to YOU, the patron, for returning to the theatre. I am filled with gratitude to be a part of the 2021 Stratford season. Love to Robert, Bruce & TH, Mom and Dad.

Up Close and Musical

AVAILABLE NOW ON STRATFEST@HOME

A R T I S T I C C O M P A N Y

CHRISTIAN HOROSZCZAK KAILEIGH KRYSZTOFIAK

CHRISTIAN HOROSZCZAK2021: Assistant lighting designer of Why We Tell the Story, You Can’t Stop the Beat, Play On!, R + J, Edward Albee’s Three Tall Women and Freedom. Stratford debut. Elsewhere: Lighting design for All the Sex I’ve Ever Had (Mammalian Diving Reflex; Tokyo, Kyoto and Frankfurt), Entrances and Exits (Howland Company), Kiviuq Returns (Qaggiavuut!/Banff Centre). Assistant lighting design for Fall for Dance North. Training: National Theatre School, Banff Centre, Queen’s University. Et cetera: Christian is endlessly grateful for the years of generosity and love from family, friends and mentors throughout his life. Much love to Ryan and a special dedication to Tim Fort.

KAILEIGH KRYSZTOFIAK2021: Lighting designer of Why We Tell the Story, You Can’t Stop the Beat, Play On!, Freedom and Finally There’s Sun. Ninth season. Stratford: Lighting designer, Othello, The Comedy of Errors. Assistant lighting designer, six seasons (2011-2016). Selected credits: A Chorus Line, Tommy, A Word or Two, Jesus Christ Superstar. Studio Theatre technical director, 2013. Elsewhere: Honour Beat (Grand), After the Fire, The Particulars (Punctuate, The Theatre Centre); Kinky Boots, Newsies (Drayton Entertainment); Salt-Water Moon (Mirvish, Factory, Why Not); Wildfire (RARE, Soulpepper); The Emancipation of Ms. Lovely, The Breath in Between (Crow’s); Superior Donuts (Coal Mine); Laurier (Charlottetown Festival, TNB); Beaver (Storefront); Noises Off (Soulpepper); A Line in the Sand, The Crackwalker (Factory Theatre); Hana Hashimoto (Carousel Players). Training: National Theatre School of Canada. Et cetera: Course Lecturer at Ryerson University, Instructor at the NTSC, General Manager of Lights On Stratford, a two-time Dora nominee and a 2020 Pauline McGibbon Award nominee.

ROBERT MARKUSKIM LOTT

ROBERT MARKUS 2021: Co-curator of Play On! and Singer in Why We Tell the Story. Fourth season. Stratford: Up Close and Musical (Stratfest@Home), The Rocky Horror Show, Tommy, The Music Man, Fiddler on the Roof. Elsewhere: Dear Evan Hansen (Mirvish); Lil’ Red Robin Hood (Ross Petty Productions); Joseph and the Amazing Technicolor Dreamcoat (Theatre Aquarius); Jacob Two-Two Meets the Hooded Fang, Seussical, James and the Giant Peach (YPT); Our Town, Sweeney Todd (Shaw Festival); UnCovered: Queen and Bowie (Musical Stage Company); Dream a Little Dream, Shrek (Grand Theatre); Chicago, Twist and Shout (Drayton Entertainment); Next to Normal (Citadel Theatre/Theatre Calgary); The Rocky Horror Show, A Christmas Carol (Citadel Theatre); Jesus Christ Superstar, Chicago (Mayfield); Hunchback (Catalyst). Film/TV: If I Only Had Christmas (Hallmark Channel). Training: BFA, University of Alberta. Online: robertmarkus.com. Instagram: @rjbmarkus. Et cetera: Special thanks to family, friends, TH, and JRS, for their constant support.

KIM LOTT2021: Stage manager of Play On! 24th season. Stratford: Stage manager credits (selected): Wendy & Peter Pan (interrupted by COVID-19), Mother’s Daughter, The Matchmaker, Titus Andronicus, Evita, West Side Story. Assistant stage manager credits (selected): Treasure Island, The Lion, the Witch and the Wardrobe, South Pacific, The King and I, The Scarlet Pimpernel, Henry V, Much Ado About Nothing. Elsewhere: Stage manager credits (selected): Ring of Fire, Hana’s Suitcase, Annie, Twist and Shout (Grand Theatre); My Fair Lady (Drayton Entertainment). Et cetera: To my loved ones, here and in Shanghai: let’s enjoy the adventures.

A R T I S T I C C O M P A N Y

BETH RUSSELL CYNTHIA TOUSHAN

BETH RUSSELL2021: Casting director for the Stratford Festival. 13th season. Broadway and West End: As Senior Vice President, Casting and Creative Development for Livent, Beth was responsible for productions including Parade, Ragtime, Candide, Show Boat and Kiss of the Spider Woman; as well as productions of Joseph and the Amazing Technicolor Dreamcoat, Show Boat, Sunset Boulevard, Aspects of Love and The Phantom of the Opera in Canada, the United States, Australia, Singapore and Hong Kong. Elsewhere: Co-Producer of CBC-TV’s Triple Sensation, National Casting Director for CBC Radio Drama and Artistic Associate for Toronto Arts Productions (now Canadian Stage). Also, as an agent, Beth has represented actors, directors, choreographers, writers and composers.

CYNTHIA TOUSHAN2021: Production stage manager of the Festival Theatre Canopy. 25th season. Stratford: Shows include Chicago (interrupted by COVID-19), Billy Elliot, A Chorus Line, Crazy for You, Fiddler on the Roof, Camelot, Oklahoma!, West Side Story, My Fair Lady, Man of La Mancha, Hello, Dolly!, The King and I and others. Elsewhere: Over 40 years as a stage manager in live entertainment including gala events, music concerts, opening ceremonies and fundraising events including A Christmas Carol for the Stratford Hospice. Over 25 years with the Canadian Opera Company as a stage manager; production stage manager and resident director of Jersey Boys, Toronto; 25 years as a singer/dancer and choreographer in Canadian theatre; associate director/choreographer to her mentor, Alan Lund. Et cetera: Love to Paul, daughters Stephanie and Jennifer, son-in-law Andrew, and her grandchildren, Kennedy, Koston and Connor. I am so grateful to be back at work.

PETER McBOYLE

PETER McBOYLE2021: Sound designer of Why We Tell the Story, You Can’t Stop the Beat, Play On!, Freedom and Finally There’s Sun. 26th season. Stratford (selected): Over 60 productions including Billy Elliot, Little Shop of Horrors, The Music Man, The Rocky Horror Show, Guys and Dolls, A Chorus Line, Shakespeare in Love, Crazy for You, A Word or Two. Elsewhere: Peter has worked at most major Canadian theatres and in US cities such as New York, Las Vegas, Boston, Los Angeles, Dallas and Atlanta. Broadway credits: Come Fly Away and Barrymore. Tours include Sister Act, Catch Me If You Can, Come Fly Away, Legally Blonde and West Side Story. Recent projects include Little Canada (Toronto), Immersive Van Gogh (Canada/US), Battle of the Blades (CBC). Training: Bachelor’s and Master’s degrees in Music (McGill). Awards: Suzi (Atlanta), Come Fly Away; Dora nomination, Caroline, Or Change, Fire. Et cetera: Thanks to Meghan, Ella and Beatrice for their unending support.

JULIA NISH-LAPIDUS

JULIA NISH-LAPIDUS Langham Directors’ Workshop, 20192021: Co-curator and co-director of Play On! Third season. Stratford: Assistant director: Private Lives, All’s Well That Ends Well (interrupted by COVID-19). Elsewhere: Co-Artistic Director and Co-Founder of Shakespeare BASH’d (Best Site-Specific Theatre Company, NOW Magazine, 2018 and 2019). Director: Cymbeline, Richard III, The Comedy of Errors, The Duchess of Malfi (staged reading) (Shakespeare BASH’d); Romeo & Juliet (& Joni) (Untitled Productions); The Duchess of Malfi, The Revenger’s Tragedy (Ryerson Theatre School); The Tom and Gertie Letters Project (SpringWorks); Talk to Me Like the Rain and Let Me Listen, This Property is Condemned (Playwright Project). Text coach: As You Like It (Theatre by the Bay); Titus Andronicus (Hart House). Co-creator: Modern Love (Canadian Stage/Next Stage). Training: Sheridan/University of Toronto. Online: @ShakesBASHd, shakespearebashd.com.

JAMES WALLIS Langham Directors’ Workshop, 2016/172021: Co-curator and co-director of Play On! Fourth season. Stratford: Assistant director of Macbeth, Bunny, Romeo and Juliet and Julius Caesar. Elsewhere: Director: Romeo and Juliet, Love’s Labour’s Lost, Macbeth, The Merry Wives of Windsor, Edward II (staged reading), King John, The Changeling (staged reading), Twelfth Night, Volpone (staged reading), Othello, A Midsummer Night’s Dream (co-director) (Shakespeare BASH’d – also Co-Founder and Co-Artistic Director); Shakespeare in Hospitals (Spur of the Moment Collective); As You Like It (Theatre by the Bay); Reasons to Be Pretty (Labute Cycle); Titus Andronicus (Hart House Theatre); Henry IV Part 1 and 2 (Theatre Erindale); The Tom and Gertie Letters Project (Springworks); Pygmalion, The Revenger’s Tragedy, The Duchess of Malfi (Ryerson); Romeo & Juliet (& Joni) (Untitled Productions – co-director workshop). Training: Ryerson Theatre School. Online: @ShakesBASHd; shakespearebashd.com. Et cetera: Thanks to Julia for everything.

JAMES WALLIS

A R T I S T I C C O M P A N Y

2021 PRODUCTIONS STREAMING THIS FALL ON

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THE LANGHAM DIRECTORS’ WORKSHOPOverseen by Antoni Cimolino, Artistic Director, and Langham workshop alumnus Esther Jun, Director of the Langham Directors’ Workshop, this program seeks the most promising directing talent and provides them with fertile ground to explore, play, and hone their craft. The Workshop endeavours to help cultivate the directors’ interests, refine their aesthetics, and enable them to create inspired and boundary-pushing work – not only for the Stratford Festival’s stages, but across the globe.

Participants this season: Marie Farsi, Sadie Epstein-Fine, Christine Horne, Sara Jarvie-Clark. Alumni this season: Jessica Carmichael, Ravi Jain, Esther Jun, Julia Nish-Lapidus, Peter Pasyk, James Wallis.

We extend our thanks to the Department of Canadian Heritage and to the Philip and Berthe Morton Foundation.

The Langham Directors’ Workshop is sponsored by

THE BIRMINGHAM CONSERVATORYJanine Pearson is the Director of the Birmingham Conservatory. In January 2022 she will begin her leadership of the newly reimagined two-year professional training program that nurtures talented young artists for a future career in live theatre. The program includes, among other activities, classes in voice, movement and text with Festival coaches and distinguished guest instructors.

The Birmingham Conservatory is made possible by the support of the Birmingham family, the Stratford Festival Endowment Foundation and the Department of Canadian Heritage. Support for the 2021 in-season work of Conservatory participants is generously provided by the Marilyn & Charles Baillie Fund.

Past Birmingham Conservatory participants include these members of our 2021 company:

Sara Farb 2013 Eva Foote 2019/21 Paul de Jong 2000 (coach) Andrew Iles 2017/18 Beck Lloyd 2019/21 Kennedy C. MacKinnon 1999 (coach) Jonathan Mason 2019/21 Lisa Nasson 2019/21 Thomas Olajide 2014 (associate) André Sills 2005 Shannon Taylor 2014 Sara Topham 2000 Amaka Umeh 2019/21 Micah Woods 2019/21 Mamie Zwettler 2017/18

And contributing to STRATFEST@HOME:

Dan Chameroy 2003 Ijeoma Emesowum 2015/16 Jessica B. Hill 2014/15 Chilina Kennedy 2009 André Morin 2014/15 Emilio Vieira 2015/16 Antoine Yared 2012/13

THE STRATFORD FESTIVAL LABORATORYFounded by artistic director Antoni Cimolino in 2013, and overseen by Antoni and ted witzel, the Laboratory is the Stratford Festival’s research and development wing: a suite of experiments and investigations that drive our artistic and organizational evolution in an era of exciting cultural change.

Advancing inclusive and innovative practice, the Lab:

• INCUBATES NEW WORKS for our stages by supporting long-term and unconventional development processes.

• CONDUCTS EXPERIMENTS through our resident Lab Ensemble, to build our capacity to support other forms and cultural protocols, and to create new relationships with artists from across Canada and beyond.

• BUILDS CONNECTIONS with the national artistic community by hosting and supporting gatherings of makers to share practices, questions, challenges and strategies.

• FOSTERS ENSEMBLE by offering full-company sessions to encourage horizontal learning and build a shared spirit among the huge group of artists who come together at the Festival every season.

• OPENS DIALOGUE, internally and externally, by creating spaces to reflect on the Festival’s role as a heritage institution and the growth and change necessary to ensure that it remains a vital asset to Canada’s cultural ecology.

Like any successful R&D wing, the Lab will be agile and flexible in its response to the changing landscape. The scope of its activities will expand and shift as we identify new challenges and opportunities to serve our community of artists and audiences, locally, nationally and beyond.

Support for the Laboratory is generously provided by the Dalio Foundation and by an anonymous donor.

The services of the Metcalf Foundation Dramaturgy Intern were made possible through Theatre Ontario’s Professional Theatre Training Program, funded by the Ontario Arts Council.

Funding for artisan apprenticeships is provided by the William H. Somerville Theatre Artisan Apprenticeship Fund, funded by the J.P. Bickell Foundation and by Robert and Jacqueline Sperandio.

A member of the Professional Association of Canadian Theatres, the Stratford Festival engages, under the terms of the Canadian Theatre Agreement, professional artists who are members of Canadian Actors’ Equity Association. Stage crew, scenic carpenters, drivers, wigs and makeup attendants, wardrobe attendants, facilities staff and audience development representatives are members of Local 357 of the International Alliance of Theatrical Stage Employees (IATSE). Scenic artists are members of IATSE Local 828. The musicians, musical directors, conductors, and orchestra contractors engaged by the Stratford Festival are members of the Toronto Musicians’ Association, Local 149 of the American Federation of Musicians of the United States and Canada.

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STRATFORD SHAKESPEAREAN FESTIVAL OF CANADA – 2021FOUNDERTom Patterson

BOARD OF GOVERNORSOFFICERSChair: Carol Stephenson, London, ONVice Chair: Robert H. Gorlin, Northville, MITreasurer: David Adams, Montreal, QCSecretary: Joy Wishart, Stratford, ON

GOVERNORSIkram Al Mouaswas, Toronto, ONKaron C. Bales, Stratford, ONYaprak Baltacioğlu, Ottawa, ONJohn K. Bell, Cambridge, ONBarbara E. Crook, Ottawa, ONFranklin H. Famme, Stratford, ONJ. Ian Giffen, Toronto, ONNancy L. Jamieson, Ottawa, ONPamela Jeffery, Stratford, ONJaime Leverton, Toronto, ONJohn D. Lewis, Grosse Pointe Farms, MIHarvey McCue, Ottawa, ONM. Lee Myers, London, ONDavid R. Peterson, Toronto, ONPeter G. Restler, Brooklyn, NYBrian J. Rolfes, Toronto, ONMartha Sachs, Juno Beach, FLKay Schonberger, Toronto, ONAlan Shepard, London, ONDavid Simmonds, Toronto, ONKristene Steed, Stratford, ONLawrence N. Stevenson, Toronto, ONHarriet Thornhill, Oakville, ON

EX OFFICIOArtistic Director: Antoni CimolinoExecutive Director: Anita GaffneyPast Chair: Sylvia Chrominska, Stratford, ONMayor of Stratford: His Worship Dan Mathieson Chair, Stratford Shakespearean Festival of America:Linda K. Rexer, Ann Arbor, MI

Address: c/o Corporate Secretary, Stratford Festival, P.O. Box 520, Stratford, ON N5A 6V2

STRATFORD SHAKESPEAREAN FESTIVAL ENDOWMENT FOUNDATION – 2021BOARD OF DIRECTORSOFFICERSInterim Chair: Daniel S. Bernstein, Westport, CT

DIRECTORSDavid Adams, Montreal, QCRobert Astley, Waterloo, ONPaul Brisson, London, ONPeter G. Restler, Brooklyn, NYCathy Riggall, Stratford, ONKim Shannon, Toronto, ONNargis Tarmohamed, Exeter, ONChip Vallis, Stratford, ON

The Stratford Shakespearean Festival Endowment Foundation Board mourns the loss of Director Robert Badun, a member of the Endowment Foundation Board from 2017, and as its Chair from 2020, until his passing in April of 2021. Rob is remembered by his fellow Directors for his unwavering service and unique combination of expertise, wisdom, leadership and humility.

Address: c/o Corporate Secretary, Stratford Festival, P.O. Box 520, Stratford, ON N5A 6V2

STRATFORD SHAKESPEAREAN FESTIVAL OF AMERICA – 2021BOARD OF TRUSTEESOFFICERSChair: Linda K. Rexer, Ann Arbor, MIVice-Chair: John Gardner, Mishawaka, INTreasurer: Kate Arias, Chicago, ILSecretary: Kevin Turner, Birmingham, MI

TRUSTEESJohn D. Lewis, Grosse Pointe Farms, MIChristie Peck, Birmingham, MICindy Person, Rochester Hills, MIMary Stowell, Winnetka, IL

EX-OFFICIOPast Chair: Gloria Friedman, Chicago, ILExecutive Director: Anita Gaffney, Stratford, ONChair, Stratford Festival of Canada:

Carol Stephenson, London, ON

UNIVERSITY OF WINDSOR

SCHOOL OF DRAMATIC ARTCongratulations to our past students and graduates at the Stratford Festival this season:Antoni Cimolino, Artistic DirectorAndrew Iles

UWindsor School of Dramatic Art Undergraduate Degrees in:• BFA Acting• BA Drama• BA Drama and Concurrent Education• Drama in Education and Community (Applied Theatre)

Pictured: Cast of Beauty and the Beast by Laurence Boswell, 2019-2020 Season. Directed by Monica Dottor, set by Joshua Quinlan, costumes by Esther Van Eek, lighting by Kirsten Watt. Photo by Melissa Stewart.

uwindsor.ca/drama

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FESTIVAL STAFF

Artistic Director Antoni Cimolino

Executive Director Anita Gaffney

DIRECTORS’ OFFICEProducer David Auster

Creative Planning Director Jason Miller

Casting Director Beth Russell

Director of the Foerster Bernstein New Play Development Program Bob White

Director of the Birmingham Conservatory Janine Pearson

Director of the Laboratory, and Artistic Associate for Research & Development ted witzel

Director of the Langham Directors’ Workshop, and Artistic Associate for Planning Esther Jun

Associate Producer Bonnie Green

Associate Producer of Digital Programming and The Meighen Forum Julie Miles

New Play Development Associates Carmen Aguirre Kamana Ntibarikure Mũkonzi Mũsyoki

Casting Associate Marcel Stewart

Casting Assistant Jennifer Emery

Company Manager Hilary Nichol

Corporate Secretary & Executive Assistant to the Artistic Director Joy Wishart

Executive Assistant to the Executive Director Marion Burr

Producing Coordinator Shira Ginsler

Laboratory Coordinator Rachel Wormsbecher

Production Coordinator – Digital Projects Gregory McLaughlin

Forum Assistant Alexis Rowlinson

CoachesHead of Coaching Paul de Jong

Head of Voice Kennedy C. MacKinnonThe Head of Voice & Coaching positions at the Stratford Festival is generously endowed by David Green & Mary Winton Green

Head of Voice Emerita Ann Skinner

Alexander Technique & Movement Coach Kelly McEvenue

Movement Coach Brad Cook

Voice, Text & Dialect Coaches Nancy Benjamin Jane Gooderham Janine Pearson

Speech-Language Pathologist & Voice Coach Lori Holmes

Singing Coach Jennie Such

Text Coach Tim Welham

Professional Development Program – Voice Coaches Peter N. BaileyThis program is generously sponsored by Douglas and Janet Watson

Guest Coach Ginette Hamel

MusicDirector of Music Franklin Brasz

Director of Music Emeritus Berthold Carrière

Music Administrator Janice Owens

ADMINISTRATIONAdministrative Director Shelley Stevenson

ArchivesArchives Director GiannaMaria Babando

Archives Coordinator Christine Schindler

Cataloguing & Digitization Archivist Stephanie Vaillant

Archives Assistant Nora Polley

EducationDirector of Education Lois Adamson

Education Administrative Manager Katherine Laing

Education Associate Stephanie Johns

Human ResourcesDirector of Human Resources Dawnette Baldeo

Human Resources Manager Krystal Holmes

Associate Health & Safety Manager Wes Mazur

Payroll Manager Kathy McKellar

Payroll Coordinator Marcos Guimaraes

Payroll/HR Assistant Leah Vandermeulen

Company Accommodations Supervisor Cindy Cnockaert

ADVANCEMENTSenior Director of Advancement Rachel Smith-Spencer

Playwright’s Circle Manager Sharon Butler

Membership Manager Ceairy Free

Major Gifts GTA & Campaign Manager Heather McMartin

Major Gifts & U.S. Patron Manager Christine Seip

Membership Coordinator Susan Mavity

Membership Administrator Donna Hyde

Playwright’s Circle Administrator Jennifer McCaw

FINANCE, FACILITIES & INFORMATION TECHNOLOGY

FinanceDirector of Finance, Facilities & Information Technology Darryl Huras

Controller Emily Rooke

Finance Manager Leanne Atkinson

Senior Accountant Todd Bridges

Accountant Alexandria Pretty

Finance Assistant Shelley Assayag

Information Technology & Application DevelopmentInterim Director of IT & Application Development Darren Worswick

Manager of Information & Technology Paul Muncaster

Systems Administrator Andrei Martchenko

Help Desk Technician Tristan Hughes Jeremy Meagher

Senior Developer Bryan Richardson

ROKU & Android Developer Pintu Jat

FacilitiesFacilities Manager Jeff HeggieAssistant Facilities Manager Val Bielecki

Assistant Manager, Facilities Services Sandy Davis

Carpenter Micah Hussey

Chief Engineer John Luesink

Shift Engineers Richard Arnold Paula Burns Chad Wheeler

Electricians Tony Iacobellis Ryan Wagner

Head Gardener Anita Jacobsen

Seasonal Gardeners Joelle Bullbrook Elizabeth Lazear

Student Gardeners Maxwell Britton Ronan Curneen Jacob Dekok Madeline Mortimer Manuel Muncaster

Head of Maintenance Ron Brown

Maintenance Staff Dar Del Chiaro Blair Holden Thomas Lemenchick Myrna Lewis Larry Shurrie Art Tucker

Housekeepers Lori Adcock Robert Barrett Marc Boisvert Lynn Brown William Clelland Jeff Daigneault Diane Dench Catherine Dishman Jacqueline Dodier Patti Hinz Christine Koehler Shawn Larder Robert Lee Marjorie Lundrigan Sebastian Marshall Laura Martin Haille MacLeod

Janet McFarlane Larisa Orlova Nancy Plummer Wesley Pope Sherry Priestap Jane Rowcliffe Tara Spencer Clare Stockley Glen Sutherland Sandy Thistle Rachel Tourout David Wick

Stage Door Guards Trevor Bannon Ryan Cleveland Mandy Illman Kyle Llewellyn Darlane Payne

Casual Stage Door Guards Mattan Jones Ihor Orenchuck

MARKETING, AUDIENCE DEVELOPMENT, COMMUNICATIONS & CORPORATE SPONSORSHIPSenior Director of Marketing and Audience Development Michael Adams

Digital Projects Coordinator Hamid Oki

Audience DevelopmentDirector of Audience Development Sarah Hamza

Front of HouseManager of Patron Services Kris Bernard

Senior House Manager – Festival Theatre Sam Tynkkynen

House Manager – Tom Patterson Theatre Mark James

Studio & Forum House Manager Terry Hastings

Ushers Paula Bentley Karen Brooks Jen Culligan Jessica Darling Kimberly De Haan Sarah Elliott Beth Fischer Hayden Fischer Keagan Goforth Judy Hart Debra Holota Charlie Kevill Holly Matthews Beverley Meyer Cam Ohler Wendy Orchard Nancy Patterson Valerie Pinder Nikkie Priestap Mary Rankin

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GUEST SERVICESFOR ASSISTANCE AND ACCESSIBILITY We’re here to help. If you require assistance, please ask the House Manager or any other member of the Stratford Festival team.

COVID-19 SAFETY Masks are encouraged to be worn at all indoor and outdoor venues, as per government health guidance. Please respect physical distancing and the direction of Stratford Festival staff and volunteers working to keep everyone safe.

CAMERAS, CELL PHONES AND OTHER ELECTRONIC DEVICES We welcome your photo memories of your Stratford Festival experience; however, all cameras, audio and video recorders must be turned off during the performance. In addition, please turn off all mobile devices, as their sounds and lights will disturb actors and other guests.

FOOD AND DRINKWe offer a selection of snacks and beverages. However, in accordance with COVID-19 protocols, guests must be seated to consume any concessions. While masks can be removed when enjoying food and beverages, they are encouraged be worn at all other times. Drinks can be enjoyed throughout the performance, but no food may be consumed while actors are on stage.

LATE ARRIVAL AND READMISSIONIf you arrive late or leave the auditorium during the performance, we will make every effort to seat you at a suitable break. Please follow the direction of ushers at all times.

FIRST AIDWe take patron health and safety seriously. Any member of our team will coordinate first-aid assistance for you if required. Automated external defibrillators (AEDs) are available at all our venues.

IN CASE OF EMERGENCYIn case of an evacuation, please follow the instructions of Stratford Festival staff, who will escort you to safety. If you discover a fire, please activate the fire alarm and notify a Stratford Festival team member.

PROTECTING YOUR PRIVACYTo view our patron and donor privacy protection policy please visit stratfordfestival.ca/privacy

Pat Ranney Dale Ratcliffe Terry Raymond Pat Reavy Victoria Sandquist Carol Schlemmer Susan Steven Larke Turnbull Lois Tutt Victoria VanDenBelt Milton van der Veen Faye Wreford Caroline Yates

Parking Lot Attendants Tracy Adams Ian Elliott James MacKinnon Ardeshir Sasani Gavin Stephenson-Jackman Brent Sylvester Bob Wells

Ticketing & MembershipAssociate Director, Ticketing & Membership Jo-Anne Hood Tidman

Manager, Ticketing & Membership Patrick King

Customer Service Coordinator Bev Nicholson

Special Orders Coordinator Colleen White

Box Office Supervisors Debbie Steinacker Christine Teeple

Ticketing & Membership Representatives Gay Allison Myrtle Baker Cindy Bissell Anna Burton Hilary Culp Christine Darragh Susan Davis Geena DeWeerd Chardon Dingwall Paul Duncan Frank Etwell Martin Fielding Graeme Gionet Suzanne Grandy Lori Hicks Jennifer Hord Marianne Hord Yvonne Hord Janice Kastner Anna Kowalchuk Donna Lawley Cameron Leyser Maria Loghrin Jane Mallory Aislinn McCauley Meredith McCauley Savannah McIntyre Ruth Ann Miller Janice Mitchell Cheryl Moses Kelly Nicholls Tara Nimmo Kathy Partridge Barbara Redden Raphe St. Pierre Sheila Taylor Susan Varcoe

Distribution CentreMailroom Coordinator Candy Neumeister

Cafés & CateringCatering Events Manager Victoria Parkinson

Executive Chef Kendrick Prins

Head Chef Kevin Hallman

Event Coordinators Carlie Bero Lynne DeWys

Cafés & Catering Staff Maureen Abbott Amanda Boemer Sara Brown Don Campbell Lisa Campbell Meghan Fritch Arrianne Fulig Katherine Hopf Kayla Jantzi Stephanie Kropf-Untucht Amanda Langis Corinne Montgomery Lori Noon Janice Pavelin Wendy Seguin Fraser Tamas Liam Taylor Joe Walsh

Stratford Festival ShopInterim Retail Manager Victoria Parkinson

Merchandising Coordinator Chaslyn Stevenson-Hastings

Avon Supervisor Cindy Ramier

Sales Associates Kristina Baron-Woods George Bertwell Michele Gillan Shelly Gilson Theresa Gleadall Tania Harvey Sherry LeSouder Kristina McCann Ashley McGowan Shireen Sasani Kim Switzer

Corporate SponsorshipAssociate Director of Sponsorship Lorraine Patterson

Sponsorship Coordinator Heather Martin

MarketingDirector of Marketing Trudy Watson

Associate Director, Brand Carly Douglas

Video Production Manager Genna Dixon

Graphic Design Manager Christopher Kelly

Direct Marketing Manager Jessica Klumper

Interim Video Production Manager Kaitlyn Krestiankova

Social Media Manager Stephanie Leger

Groups & Schools Sales Manager Heather Martin

Marketing Manager, Analytics Adrienne Steer

Graphic Designer Shelby Boyd

Tessitura Administrator Michele Keutsch

Reporting Coordinator Leanne Herbert Malvern

Video Production Coordinator Sarah McNeil

Groups & Schools Officer Joanne Schalk

Social Media Coordinator Isabela Stille

Marketing Coordinator Melinda Timmins

PUBLICITYPublicity Director Ann Swerdfager

Publicist Amy White

THANKS TO OUR VOLUNTEERS!

The Stratford Festival acknowledges the members of The Friends of the Festival for their continued contributions. This dedicated group of volunteers provides thousands of hours of support annually. They can be found everywhere – welcoming patrons to the theatre, answering questions, working on special projects, assisting at Meighen Forum events and so much more! We are so grateful for all they contribute to making each season possible.

2021 President: Kim Thompson

2021 Vice-President: Barry Becker

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INDIVIDUALLY CATERED PICNICS FOR A GROUP OF 2 TO 10 GUESTS. ONLY 2 SEATINGS PER DAY. $200 FOR 2 GUESTS, $50 FOR

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Only 200 of each style available, each with its unique production number engraved on the back, made exclusively

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WATCHES INCLUDE A 2-YEAR MANUFACTURER’S WARRANTY

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All the world’s a stage — welcome back to it.

We are proud to support the Stratford Festival and the artists who have been captivating audiences with exciting, innovative and entertaining productions since 1953.

BMO is the 2021 season sponsor of the new Tom Patterson Theatre.

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STUDIO THEATRE

Three Tall Women

FESTIVALTHEATRE CANOPY

R + J

CABARETS

Why We Tell the Story

You Can’t Stop the Beat

Play On!

Freedom

Finally There’s Sun

TOM PATTERSONTHEATRE CANOPY

A Midsummer Night’s Dream

The Rez Sisters

I Am William

Serving Elizabeth