A SHAKESPEARE-INSPIRED MIXTAPE - CURATED BY ROBERT MARKUS, JULIA NISH-LAPIDUS AND JAMES WALLIS - Stratford Festival
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A SHAKESPEARE-INSPIRED MIXTAPE
CURATED BY ROBERT MARKUS, JULIA NISH-LAPIDUS AND JAMES WALLIS
PRODUCTION SUPPORT IS GENEROUSLY PROVIDED BY
BARBARA & JOHN SCHUBERT
PRODUCTION CO-SPONSOR
LAND ACKNOWLEDGEMENT Welcome 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.
CURATED BY
ROBERT MARKUS, JULIA NISH-LAPIDUS AND JAMES WALLIS
DIRECTED BY
JULIA NISH-LAPIDUS AND JAMES WALLIS
THE SINGERS
GABRIEL ANTONACCI
ROMEO, ENSEMBLE
JACOB MacINNIS
RICHARD, ENSEMBLE
JENNIFER RIDER-SHAW
BEATRICE, ENSEMBLE
KAITLYN SANTA JUANA
JULIA, ENSEMBLE
THE BAND
MUSIC DIRECTOR, KEYBOARD ACOUSTIC BASS, ELECTRIC BASS
REZA JACOBS JON MAHARAJ
ACOUSTIC GUITAR, ELECTRIC GUITAR DRUM KIT, ORCHESTRA SUPERVISOR
KEVIN RAMESSAR DALE-ANNE BRENDON
The videotaping or other video or audio recording of this production is strictly prohibited.
A MESSAGE FROM OUR ARTISTIC DIRECTOR
WORLDS WITHOUT WALLS
Two young people are in love. They’re next- cocoon, and now it’s time to emerge in a
door neighbours, but their families don’t get blaze of new colour, with lively, searching
on. So they’re not allowed to meet: all they work that deals with profound questions and
can do is whisper sweet nothings to each prompts us to think and see in new ways.
other through a small gap in the garden
wall between them. Eventually, they plan to While I do intend to program in future
run off together – but on the night of their seasons all the plays we’d planned to
elopement, a terrible accident of fate impels present in 2020, I also know we can’t just
them both to take their own lives. pick up where we left off. The world has
changed; we have changed. Something
Sound familiar? It’s the story of Pyramus huge has happened to us and within us.
and Thisbe, as told by the ancient Roman How do we express that together?
poet Ovid, one of Shakespeare’s favourite
authors. Most of us know it from the comical In one significant sense, 2021 sees us
play-within-the-play in A Midsummer Night’s return to our roots. Two open-sided
Dream – but it’s also essentially the same canopies, one erected at the Festival
story Shakespeare told in Romeo and Juliet. Theatre and the other on the grounds of
the new Tom Patterson Theatre, shelter
It certainly resonates with us today. We appropriately distanced seats. Sharing
know what it’s like to be isolated in our the same visually gorgeous design, these
homes, separated from our loved ones, structures enable audiences to gather in
reduced to interacting through online safety and comfort in the open air.
equivalents of a hole in the wall. And we
know about other barriers, too: walls of But more than that, they bring an inherently
prejudice, mistrust and hatred that can be festive quality to the season. Just like our
as fatal as any pandemic. original tent in 1953, these new canopies
signal that a very special event is taking
But there’s more to Ovid’s story. The blood place here in Stratford: a new artistic
of the lovers, seeping into the ground, beginning.
is absorbed by the roots of a mulberry
bush – and turns its berries from white Meanwhile, we have also been able to
to a deep and vibrant red. And with that make provision for limited-capacity indoor
metamorphosis comes the families’ performances at the Studio Theatre. As
realization of the tragedy their enmity always, your safety, and the safety of our
has wrought. artists and staff, is our very first priority,
and all three of our 2021 venues will operate
That idea of metamorphosis, of awakening in strict accordance with public-health
and new growth arising from loss, informs guidelines.
our 2021 season. Our artists, like the rest
of us, have been living through a time of But far from placing limitations on our
seismic shock to their psyches – but it creativity, the need to work within the
has also been a time of transformative parameters required of us – with shorter
regeneration. It’s as if we’ve been in a performances, smaller casts (no more
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
PHOTOGRAPHY BY SCOTT WISHART
SPONSORS
OUR THANKS TO THE FOLLOWING FOR THEIR GENEROUS SUPPORT
Proud Season Partners New Play Development
Support is generously provided by
The Foerster Bernstein New Play Development Program
Festival Theatre
Support for the 2021 season in the Festival Theatre Canopy is
generously provided by Daniel Bernstein & Claire Foerster
Production & Program Sponsors
Tom Patterson Theatre
Support for the 2021 season of the Tom Patterson Theatre
is generously provided by
Supporter of Equity, Diversity and
Inclusion initiatives, with thanks to
Sylvia Chrominska.
Stratford Festival On Film Sponsor Performance Hosts
Burgundy Asset Management, Famme & Co. Professional
Corporation, Sommers Generator Systems, Sylvanacre
Properties Ltd., The Woodbridge Company Limited
The Stratford Shakespearean Festival of Canada and the Stratford Shakespearean Festival of America
are registered charities in Canada and the U.S. respectively.
The Stratford Festival gratefully acknowledges the generous support of these contributors to our success:
An agency of the Government of Ontario
Un organisme du gouvernement de l’Ontario
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
PRODUCTION SPONSORS
CUMULATIVE GIFTS RELAUNCH CHAMPIONS & DESIGNATED GIFTS
PLAYWRIGHT’S CIRCLE GENERAL MEMBERSHIP TOM PATTERSON THEATRE
TRIBUTE GIFTS ENDOWMENT GIFTS PROSPERO SOCIETY
FOR MORE INFORMATION ON HOW YOU CAN SUPPORT THE STRATFORD FESTIVAL AND OUR PROGRAMS, VISIT STRATFORDFESTIVAL.CA/SUPPORTUS
Special Performances | Speakers & Panels
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EXPAND YOUR EXPERIENCE IN STRATFORD AND ONLINE!
LIVE IN LAZARIDIS HALL
Be 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.
ONLINE
The 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
PLAY ON!: CURATORS’ NOTES
A SHAKESPEARE-INSPIRED
MIXTAPE
BY ROBERT MARKUS, JULIA NISH-LAPIDUS AND JAMES WALLIS
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
AVAILABLE NOW ON STRATFEST@HOME
TAKE PART IN EDUCATIONAL PROGRAMMING
AND ACCESS RESOURCES FOR:
STUDENTS AND TEACHERS
YOUTH AND FAMILIES
POST-SECONDARY STUDENTS AND SCHOLARS
THEATRE ENTHUSIASTS OF ALL AGES!
LEARN MORE:
stratfordfestival.ca/Learn | educate@stratfordfestival.ca | 1.800.567.1600
Education Support PartnerPLAY ON!
“IN SWEET MUSIC IS SUCH ART”:
SHAKESPEARE AND POPULAR MUSIC
BY JAMES WALLIS
Without even knowing it, we’ve all danced in popular culture is markedly separated
around or sung along to tunes inspired by from the historical figure of the Renaissance
Shakespeare. His influence is far-reaching playwright from Stratford-upon-Avon. The
and can be found in all corners of the musical man is inconsequential, with the name
landscape, both obvious and unexpected. now associated with an aura of pervasive
Shakespeare, for better or worse, was enlightenment that has been firmly stamped
planted into the roots of our popular culture in our Western culture, and especially the
from the days when his plays were first colonized world of Canada. The over-arching
staged. Music, including theatrical usages of connotation of veneration that Shakespeare
music and more widespread, popular music, or “Shakespearean” encompasses is nicely
is not immune to the transference of idea, summed up by Marjorie Garber in her
text, or story from Shakespeare’s plays to the book Shakespeare and Modern Culture:
consciousness of the population. “ ‘Shakespearean’ is now an all-purpose
adjective, meaning great, tragic or resonant:
The history of the connection between it’s applied to events, people and emotions,
popular music and Shakespeare has recently whether or not they have any real relevance
been illuminated most in the incredibly to Shakespeare.” She goes on to say, “over
millennial Internet project of the “listicle.” time the adjectival form of the playwright’s
Usually around Shakespeare’s birthday name has become an intensifier, indicating a
(marked on April 23, which, interestingly, degree of magnitude, a scale of effect.”
is also the date on which he died), there
comes a list of popular musicians who used Therefore, does popular music become
the muse of Shakespeare to create a hit. more complex or significant when taking
Such staples of pop music as The Beatles, influence from Shakespeare? Some would
Bob Dylan, Elton John, and Taylor Swift, as argue yes, depending on how the material
well as more genre-based artists like The is repurposed into a different artistic form.
Kaiser Chiefs, The Sex Pistols, and 2Pac, While Shakespeare has an influential position
have used Shakespeare as a lyrical and in books, film, and theatre, popular music,
thematic influence. Some used his plots or which in our contemporary world can now
poetry to express a distinct idea or trope be consumed in varied and extensive ways,
they wanted to underscore in their music or clearly has more power over people’s day-
lyrics. Others took Shakespeare as a cultural to-day lives. Therefore, does Shakespeare’s
monolith and, through their music, sought work become more widely known by its
to bite their thumbs at established ideas or association with popular music?
elitist expectations of grandeur that are often
associated with him. Still, the presence of The history of Shakespeare’s relationship
Shakespeare remains. with popular music is by no means isolated to
the twentieth century. Starting as soon as the
The cultivation of Shakespeare as a presence theatres were restored after the great EnglishCivil War of 1642 to 1651, and continuing show an appreciation and interrogation of
with the Shakespearean operas of Verdi the plays and characters, composed with
in the nineteenth century and, of course, a myriad of sounds, both symphonically
Mendelssohn’s overture for A Midsummer textured and uniquely performed.
Night’s Dream in 1826, Shakespeare’s
work had a long-standing relationship with Jazz, country, hip-hop, and even the
classical music, through opera, symphonic rebellious anthems of English punk rock have
renderings, and ballet. As popular music all had parlays with Shakespeare, providing
has undergone an explosion through the critical insight into his plays that differs in
use of technology to record it and therefore interesting ways from theatrical history or
expand its reach, Shakespeare has continued literary criticism. Whether it be through the
to inspire musicians, both from a variety of allusive musicality of Elvis Costello or in
backgrounds and outside of the theatrical the sombre fantasy songs of Radiohead,
medium. Shakespeare transforms within popular
music, beyond the stagings of the Globe
With this came a different engagement with Theatre to imaginative soundscapes created
Shakespeare and his plays. Unlike former through distinct rhythms fulfilled by the
musical appropriations of Shakespeare, in individual musician’s unmistakable “sound.”
which the narrative or character of a certain
play was the essential conceit transferred In fact, the transference of Shakespeare to
to the symphonic or operatic medium, later popular music goes both ways, as seen in
representations in popular music have Baz Luhrmann’s iconic 1996 film Romeo +
homed in on a piece of text, or a thematic Juliet, the soundtrack of which became a
or poetic meaning that the composer generational mixtape for the violent tragedy
interprets from Shakespeare. In some cases, of love and fate. The collection of songs that
Shakespeare’s dramatic ideas, or even the score Luhrmann’s modern vision of Verona
man himself, can be found as the subject of have seeped their way into discussions
admiration or parody. of the play’s overall meaning. The film’s
representations of crucial story moments
Beyond adapting the plays to their musical – such as Romeo and Juliet’s meeting,
form, the words of Shakespeare can be separated by a fish tank, with “Kissing You”
evocative to musicians in various genres. by Des’ree sonically draped over the raucous
Their use in twentieth-century jazz is vast Capulet party – are unforgettable, and
and presents assorted influential models as help redefine how the play is viewed and
examples. One of the most prominent is Duke understood.
Ellington’s 1957 album Such Sweet Thunder,
a broad exploration of Shakespeare’s But just as important as the seemingly
characters and themes through swinging favourable reinterpretations of Shakespeare’s
jazz orchestrations. Such Sweet Thunder was text in music are the vitriolic takedowns of his
inspired by Ellington’s work with the Stratford ubiquitous standing in our Western culture.
Shakespeare Festival in 1956, when he both Either from such lighthearted superstars as
performed as a guest artist and provided The Beatles, deliberately toying with the
incidental music for Michael Langham’s perception of their own music’s meaning in “I
production of Timon of Athens. Ellington’s Am the Walrus,” or rapper Akala’s provocative
interpretation of Shakespearean characters lyric “It’s Shakespeare, reincarnated” in his
through such songs as “Lady Mac” and song “Shakespeare,” the icon Shakespeare
“Song for Sister Kate,” and his reappraisal can be easily depicted as the poster boy of
of Shakespeare through the Black American colonial, universal discourse in need of being
experience and the essential art form of jazz, checked and demolished through musicalexpression. 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.
PLAY ON!
SONGS
“Sigh No More” “Ophelia”
By Ben Lovett, Marcus Mumford, Winston Marshall By Jeremy Fraites and Wesley Schultz
and Ted Dwane
“O, Valencia”
“(Just Like) Romeo and Juliet” By Colin Meloy
By Frederick Gorman and Bob Hamilton
“Exit Music (For a Film)”
“Love Story” By Colin Greenwood, Jonathan Greenwood, Edward
By Taylor Swift O’Brien, Philip Selway and Thomas Yorke
“Check Yes Juliet” “I Am the Walrus”
By Travis Clark, Samuel Hollander and David Katz By John Lennon and Paul McCartney
“Cruel to be Kind” “Take a Bow”
By Madonna and Kenneth Edmonds
By Ian Gomm and Nick Lowe
“The King Must Die” “Limelight”
By Neil Peart, Geddy Lee and Alex Lifeson
By Elton John and Bernard Taupin
“Somewhere”
“Brush Up Your Shakespeare” By Leonard Bernstein, Stephen Sondheim
By Cole Porter
and Arthur Laurents
From Kiss Me, Kate
From West Side Story
Choral arrangement by Mac Huff
“Billy S”
By Skye Sweetnam and James Robertson
“Romeo and Juliet”
“A Case of You” By Mark Knopfler
By Joni Mitchell
“Gold”
“Can You Feel the Love Tonight?” By Prince
By Elton John and Tim Rice
From The Lion King Curtain Call
“Limelight” Reprise
COPYRIGHT & PUBLISHING
“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.THE SINGERS THE BAND
Gabriel Antonacci Music Director, Keyboard
Jacob MacInnis Reza Jacobs
Jennifer Rider-Shaw
Acoustic Guitar, Electric Guitar
Kaitlyn Santa Juana
Kevin Ramessar
Acoustic Bass, Electric Bass
Jon Maharaj
Drum Kit, Orchestra Supervisor
Dale-Anne Brendon
ARTISTIC CREDITS
Curators Assistant Lighting Designer Technical Director
Robert Markus Christian Horoszczak Robbin Cheesman
Julia Nish-Lapidus
James Wallis
Stage Manager Cabaret Series Development
Directors Kim Lott Franklin Brasz
Julia Nish-Lapidus Esther Jun
Production Assistant
James Wallis
Rebecca Beith Director of Music
Music Director Franklin Brasz
Production Stage Manager
Reza Jacobs
Cynthia Toushan Music Administrator
Janice Owens
Lighting Designer
Producer
Kaileigh Krysztofiak
David Auster
Sound Designer
Casting Director
Peter McBoyle
Beth Russell
Creative Planning Director
Music Arrangements
Jason Miller
Reza Jacobs
Music Preparation
Michael McClennanBACKSTAGE PRODUCTION CREDITS
Head Carpenter Director of Production Technical Director
William Malmo Simon Marsden – Scenic Construction
Andrew Mestern
Head Electrician Associate Director of
Sean Poole Production Technical Direction Assistants
C.J. Astronomo Laura Coleman
Head Property
Zach Fedora
Timothy Hanson Scene Shop Manager
Evan Bonnah-Hawkes Transportation
Head Sound
Dirk Newbery
Andy Allen Associate Technical Director
James Thistle
David Campbell
Crew
Michael Watters Production Administrator
Carla Fowler
Wardrobe Show Head
Maxine Tubbe
PROPERTIES SCENIC CARPENTRY COSTUME
Head of Properties Head Carpenter Costume Director
Dona Hrabluk Ryan Flanagan Michelle Barnier
Assisted by Assistant Head Carpenter Sewer
Michelle Jamieson Paul Cooper Emma Pawluk
Shirley Lee Assisted by Costume Buyer
Properties Buyer Simon Aldridge Erin Michelle Steele
Kathleen Orlando Paul Hyde
Warehouse Coordinator
Scott King
Kimberly Catton
Corey Mielke
SCENIC ART John Roth Head of Wigs and Makeup
Jody Satchell Gerald Altenburg
Head Scenic Artist Scott Schmidt
Duncan Johnstone Mark Smith
Cliff Tipping
Assistant Scenic Artist
Michael Wharran
ACKNOWLEDGEMENTS
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.
The videotaping or other video or audio recording of this production is strictly prohibited.THE COMPANY
GABRIEL ANTONACCI DALE-ANNE BRENDON REZA JACOBS JACOB MacINNIS
GABRIEL ANTONACCI
2021: 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
2021: 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.
REZA JACOBS
2021: 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.
JACOB MacINNIS
2021: 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
2021 PRODUCTIONS STREAMING THIS FALL
WATCH FOR DETAILS: STRATFORDFESTIVAL.CA/ATHOMETHE COMPANY
JON MAHARAJ KEVIN RAMESSAR JENNIFER RIDER-SHAW KAITLYN SANTA JUANA
JON MAHARAJ
2021: 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.
KEVIN RAMESSAR
2021: 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-SHAW
2021: 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.
KAITLYN SANTA JUANA
2021: 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.
Up Close and Musical
AVAILABLE NOW ON STRATFEST@HOMEARTISTIC COMPANY CHRISTIAN HOROSZCZAK KAILEIGH KRYSZTOFIAK KIM LOTT ROBERT MARKUS CHRISTIAN HOROSZCZAK 2021: 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 KRYSZTOFIAK 2021: 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. KIM LOTT 2021: 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. 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.
ARTISTIC COMPANY
PETER McBOYLE JULIA NISH-LAPIDUS BETH RUSSELL CYNTHIA TOUSHAN
PETER McBOYLE
2021: 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 Langham Directors’ Workshop, 2019
2021: 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.
BETH RUSSELL
2021: 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 TOUSHAN
2021: 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.ARTISTIC COMPANY
JAMES WALLIS
JAMES WALLIS Langham Directors’ Workshop, 2016/17
2021: 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.
2021 PRODUCTIONS
STREAMING THIS FALL ON
WATCH FOR DETAILS: STRATFORDFESTIVAL.CA/ATHOMETHE BIRMINGHAM CONSERVATORY
Janine 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 And contributing to STRATFEST@HOME:
these members of our 2021 company:
Dan Chameroy 2003
Sara Farb 2013 Ijeoma Emesowum 2015/16
Eva Foote 2019/21 Jessica B. Hill 2014/15
Paul de Jong 2000 (coach) Chilina Kennedy 2009
Andrew Iles 2017/18 André Morin 2014/15
Beck Lloyd 2019/21 Emilio Vieira 2015/16
Kennedy C. MacKinnon 1999 (coach) Antoine Yared 2012/13
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
THE LANGHAM DIRECTORS’ WORKSHOP
Overseen 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 byTHE STRATFORD FESTIVAL LABORATORY
Founded 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.Toronto’s
Premier International
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PROUD SPONSOR OF THE STRATFORD FESTIVALSTRATFORD SHAKESPEAREAN STRATFORD SHAKESPEAREAN FESTIVAL
FESTIVAL OF CANADA – 2021 ENDOWMENT FOUNDATION – 2021
FO U N D E R BOAR D O F DI R ECTORS
Tom Patterson O F F ICERS
BOA RD O F GOV E R NO R S Interim Chair: Daniel S. Bernstein, Westport, CT
O FFIC E RS DIRECTO RS
Chair: Carol Stephenson, London, ON David Adams, Montreal, QC
Vice Chair: Robert H. Gorlin, Northville, MI Robert Astley, Waterloo, ON
Treasurer: David Adams, Montreal, QC Paul Brisson, London, ON
Secretary: Joy Wishart, Stratford, ON Peter G. Restler, Brooklyn, NY
Cathy Riggall, Stratford, ON
G OVE R NO R S Kim Shannon, Toronto, ON
Ikram Al Mouaswas, Toronto, ON Nargis Tarmohamed, Exeter, ON
Karon C. Bales, Stratford, ON Chip Vallis, Stratford, ON
Yaprak Baltacioğlu, Ottawa, ON
John K. Bell, Cambridge, ON The Stratford Shakespearean Festival Endowment
Barbara E. Crook, Ottawa, ON Foundation Board mourns the loss of Director Robert
Franklin H. Famme, Stratford, ON Badun, a member of the Endowment Foundation
J. Ian Giffen, Toronto, ON Board from 2017, and as its Chair from 2020, until
Nancy L. Jamieson, Ottawa, ON his passing in April of 2021. Rob is remembered by
Pamela Jeffery, Stratford, ON his fellow Directors for his unwavering service and
Jaime Leverton, Toronto, ON unique combination of expertise, wisdom, leadership
John D. Lewis, Grosse Pointe Farms, MI and humility.
Harvey McCue, Ottawa, ON Address: c/o Corporate Secretary, Stratford Festival,
M. Lee Myers, London, ON P.O. Box 520, Stratford, ON N5A 6V2
David R. Peterson, Toronto, ON
Peter G. Restler, Brooklyn, NY STRATFORD SHAKESPEAREAN FESTIVAL
Brian J. Rolfes, Toronto, ON
Martha Sachs, Juno Beach, FL OF AMERICA – 2021
Kay Schonberger, Toronto, ON BOAR D O F T R USTEES
Alan Shepard, London, ON
O F F ICERS
David Simmonds, Toronto, ON
Kristene Steed, Stratford, ON Chair: Linda K. Rexer, Ann Arbor, MI
Lawrence N. Stevenson, Toronto, ON Vice-Chair: John Gardner, Mishawaka, IN
Harriet Thornhill, Oakville, ON Treasurer: Kate Arias, Chicago, IL
Secretary: Kevin Turner, Birmingham, MI
EX O FFIC I O
TRUSTEES
Artistic Director: Antoni Cimolino
Executive Director: Anita Gaffney John D. Lewis, Grosse Pointe Farms, MI
Past Chair: Sylvia Chrominska, Stratford, ON Christie Peck, Birmingham, MI
Mayor of Stratford: His Worship Dan Mathieson Cindy Person, Rochester Hills, MI
Chair, Stratford Shakespearean Festival of America: Mary Stowell, Winnetka, IL
Linda K. Rexer, Ann Arbor, MI EX- O F F ICIO
Address: c/o Corporate Secretary, Stratford Festival, Past Chair: Gloria Friedman, Chicago, IL
P.O. Box 520, Stratford, ON N5A 6V2 Executive Director: Anita Gaffney, Stratford, ON
Chair, Stratford Festival of Canada:
Carol Stephenson, London, ON
UNIVERSITY OF WINDSOR
SCHOOL OF DRAMATIC ART uwindsor.ca/drama
Congratulations to our past students and
graduates at the Stratford Festival this season:
Antoni Cimolino, Artistic Director
Andrew Iles
a ssion ose
UWindsor School of Dramatic Art Undergraduate Degrees in:
• BFA Acting
• BA Drama
• BA Drama and Concurrent Education r n P
Tu into Purp
• 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.Subscribe now
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stratfordfestival.ca/AtHomeFESTIVAL STAFF
Artistic Director Head of Voice Human Resources Manager of Information Janet McFarlane
Antoni Cimolino Kennedy C. MacKinnon Manager & Technology Larisa Orlova
The Head of Voice & Coaching positions Krystal Holmes Paul Muncaster Nancy Plummer
Executive Director at the Stratford Festival is generously
Wesley Pope
Anita Gaffney endowed by David Green & Mary
Winton Green
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& Safety Manager Andrei Martchenko Jane Rowcliffe
DIRECTORS’ OFFICE Head of Voice Emerita Wes Mazur Tara Spencer
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David Auster Alexander Technique Jeremy Meagher Glen Sutherland
Kathy McKellar
& Movement Coach Sandy Thistle
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Brad Cook Payroll/HR Assistant ROKU & Android Stage Door Guards
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& Dialect Coaches Company Mandy Illman
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Bernstein New Play Jane Gooderham Supervisor Darlane Payne
Development Program Facilities Manager
Janine Pearson Cindy Cnockaert Jeff Heggie
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Director of the Pathologist & Voice ADVANCEMENT Manager Mattan Jones
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Janine Pearson Rachel Smith-Spencer Assistant Manager,
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ted witzel Membership Manager SPONSORSHIP
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– Voice Coaches Major Gifts GTA Marketing and Audience
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and Artistic Associate Richard Arnold Michael Adams
for Planning This program is generously sponsored Heather McMartin Paula Burns
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Casting Associate ADMINISTRATION FINANCE, FACILITIES Jacob Dekok Senior House Manager
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to the Artistic Director Myrna Lewis
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Janice Mitchell Video Production In case of an evacuation, please
Cheryl Moses Manager follow the instructions of Stratford
Kelly Nicholls Genna Dixon Festival staff, who will escort you to
Tara Nimmo
Kathy Partridge Graphic Design Manager safety. If you discover a fire, please
Barbara Redden Christopher Kelly activate the fire alarm and notify a
Raphe St. Pierre Direct Marketing Stratford Festival team member.
Sheila Taylor
Susan Varcoe PREORDER
Manager
Jessica Klumper
YOURS TODAY BY CONTACTING
PR OTECTING YOU R P R IVACY
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Mailroom Coordinator Manager privacy protection policy please
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WATCHES INCLUDE A 2-YEAR MANUFACTURER’S WARRANTY
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