CHARLEY'S AUNT - Shaw Festival Theatre

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CHARLEY'S AUNT - Shaw Festival Theatre
CHARLEY’S AUNT
CHARLEY'S AUNT - Shaw Festival Theatre
202 1 Ensemble

ARTISTIC DIRECTOR           Tim Carroll EXECUTIVE DIRECTOR Tim Jennings ASSOCIATE
ARTISTIC DIRECTOR          Kimberley Rampersad DIRECTORS Philip Akin • Molly Atkinson •
Tim Carroll • Craig Hall • Kate Hennig • Eda Holmes • Kimberley Rampersad MUSIC
D I R EC T O R S / C O M P OS E R S / S O U N D D E S I G N E R S Ryan deSouza • John Gzowski • John
Lott • Paul Sportelli • Claudio Vena CHOREOGRAPHY / MOVEMENT / PUPPETRY / FIGHT
DIRECTION Julio Fuentes • Alexandra Montagnese • Allison Plamondon • John Stead
DIALECT CONSULTANT Alicia Richardson DESIGNERS Judith Bowden • Rachel Forbes
• Gillian Gallow • Michael Gianfrancesco • Christine Lohre • Hanne Loosen • Ken
MacKenzie • Joyce Padua • Ming Wong LIGHTING DESIGNERS Nick Andison • Louise
Guinand • Mikael Kangas • Kevin Lamotte
• Michelle Ramsay P R O J E C T I O N D E S I G N E R
Cameron Davis STAGE MANAGEMENT Beatrice
Campbell • Katie Fitz-Gerald • Ashley Ireland
• Amy Jewell • Diane Konkin • Meredith
M ac don a ld • L e i g h Mc Cly mont • A n n ie
McWhinnie • Théa Pel • Ken James Stewart •
Allan Teichman • Dora Tomassi M U S I C I A N S
David Atkinson • Andy Ballantyne • Erica
Beston • Sasha Boychouk • Alex Grant • Tom
Jestadt • Nancy Kershaw • Jason Logue •
Ross MacIntyre • Shawn Moody • Christine
Passmore • Anna Redekop • Tom Skublics
• Rob Somer ville               THE ENSEMBLE Kaleb
                                                                                       GBS, BY MAX
Alexander • David Alan Anderson • Damien
                                                                                       BEERBOHM.
Atkins • Neil Barclay • Kristopher Bowman
• Andrew Broderick • Fiona Byrne • Jason
Cadieux • Julia Course • James Daly • Peter
Fernandes • Kristi Frank • Patrick Galligan
• Katherine Gauthier • Alexis Gordon •
Martin Happer • Claire Jullien • Andrew
Lawrie • Julie Lumsden • Marie Mahabal •
Tom McCamus • Kevin McLachlan • Marla
McLean • Peter Millard • Michelle Mohammed • Alexandra Montagnese • Nafeesa
Monroe • Mike Nadajewski • Mike Petersen • Drew Plummer • Chick Reid • Ric Reid
• Kiera Sangster • Travis Seetoo • Olivia Sinclair-Brisbane • Donna Soares • Graeme
Somerville • Johnathan Sousa • Gabriella Sundar Singh • Sanjay Talwar • Jonathan
Tan • Jacqueline Thair • Shauna Thompson • Jay Turvey • Kelly Wong • Jenny L.
Wright

IN MEMORIAMZoe Caldwell • dawn e. crysler • Richard Farrell • Ann Ferencz • Mary
Haney • Martha Mann • Jennifer Phipps • David Schurmann • Bob Vernon • Colin
D. Watson
welcome to a season unlike any yet seen at The Shaw.
That’s not surprising, is it? This year and a bit has been unlike
anything any of us have lived through before. The frustration, for
anyone who works in the field of live performance, has at times
been overwhelming. But if one looks for a silver lining, it isn’t hard
to find: I think I will never again hear anyone say that live theatre
is dying, or an unnecessary luxury. The sparkling eyes of the
audiences who came to our concert series last fall tell a different
story. Even with masks on, there could be no mistaking the smiles
on their faces.
Human connection will never be a luxury. However we gather this
year (and of course our priority will be keeping everyone safe), let’s
take a moment to look at each other, to smile with our eyes, and to
feel grateful for the chance to experience something together. We
can’t make it on our own.
tim carroll, artistic director

FESTIVAL THEATRE SHERLOCK HOLMES AND THE R AVEN’S CURSE NONA MACDONALD
STAGE THE DEVIL’S DISCIPLE BMO STAGE OUTDOORS@SHAW HUMENIUK STAGE A
SHORT HISTORY OF NIAGAR A    ROYAL GEORGE THEATRE CHARLEY’S AUNT • FLUSH
JACKIE MAXWELL STUDIO THEATRE TROUBLE IN MIND HOLIDAY SEASON DESIRE
UNDER THE ELMS • A CHRISTMAS CAROL • HOLIDAY INN
The Shaw wishes to acknowledge and honour the land upon             SPECIAL THANKS
which we gather as the historic and traditional territory of
                                                                    Rachel O’Brien’s internship in
First Nations peoples. In particular, we recognize and thank
                                                                    Music Direction was made pos-
the Neutral Nation, the Mississauga and the Haudenosaunee
                                                                    sible through an investment by the
for their stewardship of these lands over millennia. We also
                                                                    George Cedric Metcalf Charitable
wish to thank all of the First Nations peoples in Canada, and
                                                                    Foundation and the support of the
the Indigenous peoples of the United States, for their ongoing      Shaw Guild. Julie Lumsden, Kevin
and important roles in the caretaking of the lands beneath          McLachlan, Drew Plummer and
our feet, wherever we travel on Turtle Island.                      Shauna Thompson are supported
                                                                    by the R BC Foundation and the
                                                                    RBC Emerging Artists Project. The
                                                                    2021 Christopher Newton Intern
            2021 Boards                                             is Olivia Sinclair-Brisbane, gener-
                                                                    ously supported by Marilyn and
                                                                    Charles Baillie.
SHAW FESTIVAL THEATRE, CANADA                                       The Shaw Festival Archives are
                                                                    housed at the University of Guelph
BOARD OF DIRECTORS Peter E.S. Jewett, Chair • Ian M.H.
                                                                    and maintained by the staff of the
Joseph, Vice Chair • Timothy R. Price, Vice Chair • Kevin J. Pat-
                                                                    L.W. Conolly Theatre Archives.
terson, Treasurer • Colleen Johnston, Secretary • Tim Carroll,
Artistic Director (ex officio) • Tim Jennings, Executive Director   Lobby display materials courtesy of
(ex officio) • Philip Akin • Glen Bandiera, M.D. • Sylvia Bennett   David Grapes II.
• Sheila Brown • Elizabeth S. Dipchand • Vivien Dzau • Lyle
                                                                    ACKNOWLEDGEMENTS
Hall • Thomas R. Hyde • Tim Johnson • Eugene J. Lundrigan •
Corinne Foster Rice • Robin Ridesic • Nicole R. Tzetzo • Alan       The Shaw Festival is a member of
J. Walker (President, Shaw Guild) • Jaime Watt                      the Professional Association of Ca-
                                                                    nadian Theatres, and engages pro-
BOARD OF GOVERNORS Timothy R. Price, Chair & Frances
                                                                    fessional artists who are members
M. Price • Peter E.S. Jewett, Vice Chair & Robin Campbell           of the Canadian Actors’ Equity As-
• Tim Carroll, Artistic Director (ex officio) • Tim Jennings,       sociation and The Niagara Region
Executive Director (ex officio) • Marilyn Baillie & A. Charles      Musicians’ Association, American
Baillie • Charles E. Balbach • Barbara Besse & Ronald D. Besse      Federation of Musicians of the Unit-
• James F. Brown & Jean Stevenson, M.D. • Alberta G. Cefis &        ed States and Canada, Local 298.
Ilio Santilli • Betty Disero (Lord Mayor, Town of Niagara-on-
the-Lake) • Wendy Gitelman & Bruce Gitelman • Lyle Hall                        828

(Chair, Development Committee) • Nona Macdonald Heaslip •
Mary E. Hill • Carolyn Keystone & James D. Meekison • Diane         The Shaw Festival engages stage
K. King • Elizabeth A. Simmons & Edward D. Simmons, M.D.            technicians, audience sales and ser-
• Nancy Smith • Marc St-Onge (Chair, Boxing Committee) •            vices staff, and facilities staff sup-
Elaine G. Triggs & Donald L. Triggs • Alan J. Walker (President,    plied by Local 461, and scenic art-
Shaw Guild) • Barbara D. Watson                                     ists and properties staff supplied by
                                                                    Local 828, of the International Alli-
SHAW FESTIVAL THEATRE ENDOWMENT FOUNDATION
                                                                    ance of Theatrical Stage Employees,
Anthony R. Graham, Chair • Lorne R. Barclay, Vice Chair •
                                                                    Moving Picture Technicians, Art-
Tim Jennings, Secretary (ex officio) • Roy Reeves, Treasurer (ex    ists and Allied Crafts of the United
officio) • Richard D. Falconer • Kenneth P. Friedman • Colleen      States, its Territories, and Canada.
Johnston • Peter E. Nesbitt • Andrew M. Pringle • William J.
Saunderson (Chair, Investment Committee) • Bruce Winter             Copyright © Shaw Festival 2021.
SHAW FESTIVAL FOUNDATION (USA) James M. Wadsworth,                  The Shaw’s house programmes are
President • James F. Brown, Vice President • Victor A. Rice,        designed and produced by Scott
                                                                    McKowen at Punch & Judy Inc. They
Vice President • Kenneth P. Friedman, Treasurer • Ronald H.
                                                                    are compiled and edited by Jean
Luczak, Secretary • Sylvia Bennett • Nicole R. Tzetzo (Legal
                                                                    German, with assistance, editorial
Counsel)
                                                                    writing and research by Leonard
FOUNDERS                                                            Conolly. Additional assistance by
Brian Doherty, C.M. (1906-1974)                                     Elaine Calder. Artists’ portraits by
Calvin G. Rand (1929-2016)                                          David Cooper. Production photog-
                                                                    raphy by Lauren Garbutt. Printed
HONORARY PATRONS
                                                                    by Sportswood Printing, Stafford-
The Right Honourable Justin Trudeau                                 ville.
The Honourable Doug Ford
A ROUND OF APPLAUSE FOR OUR PARTNERS

MAJOR SUPPORTERS

The Slaight Family Academy

THEATRE AND PRODUCTION AND STAGE SPONSORS

                                                                                                                                          Wendy & Bruce
                             James F. Brown                                                                                               Gitelman

William and Nona                Mary E. Hill                                                                          James &
Macdonald Heaslip                                                                                                     Diane King
Foundation

Gabriel Pascal               Tim & Frances                                       Corinne &
Memorial Fund                Price                                               Victor Rice

PROGRAM AND PROJECT SUPPORTERS
                                                                                                                                   Children and Family
Education Partner               Bridging Borders Partner                                             A Short History of Niagara    Program Supporter

                                                                                                     Humeniuk                      Christopher &
                                       AT TO R N E Y S
                                                                    LLP
                                                                                                     Foundation                    Jeanne Jennings

Accessibility Partner           Education Partner                                                    Emerging Artists Program      Stage Door Program

B&B                             Theatre for All Program                                                          Hotel
Partner                                                                                                          Partner

MEDIA AND PRODUCT SPONSORS

GOVERNMENT SUPPORT

                                                                                                                                    We acknowledge the support of the
                                                                                                                                    Government of Canada through the Federal
                                                                                                                                    Economic Development Agency for
                                                                                                                                    Southern Ontario.

                                                                                                                                    Nous reconnaissons l'appui du
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                                                                                                                                    fédérale de développementéconomique
                                                          An agency of the Government of Ontario
                                                                                                                                    pour le Sud de l’Ontario.
                                                         Un organisme du gouvernement de l’Ontario

For information on corporate partnerships please
contact Cindy Mewhinney, Director of Advancement,
at 1-800-657-1106 ext 2339, or cmewhinney@shawfest.com
In the Interest of All Patrons
PHYSICAL DISTANCING
PHYSICAL            should be
         DISTANCING should be observed
                              observed by
                                       by all
                                          all patrons
                                              patrons as
                                                      as well
                                                         well as
                                                              as possible,
                                                                 possible, and
                                                                           and as
                                                                               as directed
                                                                                  directed by
                                                                                           by our
                                                                                              our Front-
                                                                                                  Front-
of-House team.
of-House team.

FACE COVERINGS
FACE           are required
     COVERINGS are required by
                            by all
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                                            in conjunction
                                               conjunction with
                                                           with regional
                                                                regional requirements
                                                                         requirements and
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safety protocols.
safety protocols.

CELLULAR PHONES,
CELLULAR PHONES, CAMERAS
                 CAMERAS AND
                         AND RECORDING
                             RECORDING DEVICES During the
                                       DEVICES During the performance,
                                                          performance, there
                                                                       there is
                                                                             is no
                                                                                no photog-
                                                                                   photog-
raphy or
raphy or filming
         filming permitted,
                   permitted, and
                               and we
                                   we ask
                                       ask that
                                           that you
                                                 you turn
                                                     turn off
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                                                                                    do invite
                                                                                       invite you
                                                                                               you to
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                                                                                                       take photos
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when the
when  the house
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                                                                    post-show. Please
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alarms and
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                                  cannot sound
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                                                  during the
                                                          the performance.
                                                               performance. Alternatively,
                                                                             Alternatively, you
                                                                                            you can
                                                                                                 can leave
                                                                                                      leave them
                                                                                                            them
with our
with our staff
         staff at
               at the
                  the Coat
                      Coat Check.
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ASSISTIVE LISTENING
ASSISTIVE    LISTENING DEVICES
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                                        the hard
                                            hard of
                                                  of hearing
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                                                                             at our
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                                                                                            theatres only.
                                                                                                     only. There
                                                                                                           There isis
no charge,
no charge, but
           but we
               we do
                  do ask
                     ask you
                         you to
                             to consider
                                consider aa donation
                                            donation at
                                                      at time
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                                                                                 donation helps
                                                                                          helps with
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                                                                                                      the cost
                                                                                                           cost to
                                                                                                                to
repair and
repair and replace
           replace these
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                                                                                    the House
                                                                                        House Manager
                                                                                               Manager onon duty.
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IF YOU
IF YOU ARE
         ARE LATE
               LATE OROR NEED
                          NEED TOTO LEAVE
                                    LEAVE THE THE AUDITORIUM
                                                    AUDITORIUM OR  OR OUTDOOR
                                                                       OUTDOOR SEATING
                                                                                  SEATING AREA     during the
                                                                                           AREA during     the
performance, you
performance,    you will
                    will be
                         be re-seated
                            re-seated at
                                      at aa suitable
                                            suitable break
                                                     break in
                                                           in the
                                                              the performance,
                                                                  performance, at
                                                                               at which
                                                                                  which time
                                                                                        time the
                                                                                             the seating
                                                                                                 seating location
                                                                                                         location
will be
will be at
        at the
           the discretion
               discretion of
                          of management.
                             management.

FOR FIRST
FOR  FIRST AID    please see
             AID please  see the
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                                 House Manager
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                                               or the
                                                  the nearest
                                                      nearest usher.
                                                              usher. At
                                                                     At least
                                                                        least one
                                                                              one staff
                                                                                  staff member
                                                                                        member on
                                                                                               on duty
                                                                                                  duty is
                                                                                                       is
trained in
trained in First
           First Aid
                 Aid and
                     and CPR.
                          CPR.

FOR YOUR
FOR YOUR SAFETY all of
         SAFETY all of our
                       our theatres
                           theatres have
                                    have the
                                         the requisite
                                             requisite exits
                                                       exits and
                                                             and have
                                                                 have been
                                                                      been inspected.
                                                                           inspected. The
                                                                                      The theatres
                                                                                          theatres and
                                                                                                   and
exits to
exits to the
         the buildings
             buildings have
                       have emergency
                              emergency lighting
                                           lighting in in case
                                                          case of
                                                                of aa power
                                                                      power outage.
                                                                             outage. In
                                                                                     In an
                                                                                        an emergency,
                                                                                           emergency, ourour staff
                                                                                                              staff are
                                                                                                                    are
trained to
trained  to carry
            carry out
                  out an
                      an immediate
                         immediate and and effective
                                            effective evacuation.
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                                                                                requested to
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our staff or
          or emergency
             emergency personnel.
                         personnel. IfIf you
                                         you discover
                                              discover aa fire
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                                                                 you should
                                                                       should activate
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                                                                                       the nearest
                                                                                           nearest alarm
                                                                                                     alarm and,
                                                                                                            and, immedi-
                                                                                                                  immedi-
ately following
ately following evacuation,
                 evacuation, identify
                               identify yourself
                                        yourself toto aa staff
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                                                                              provide details
                                                                                        details of
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                                                                                                   the alarm.
                                                                                                       alarm.

      Our Friends aren’t just in the wings. They are our wings.
                                                                                                    At The Shaw, we rely on
                                                                                                    our Friends to make up the
                                                                                                    difference between ticket sales
                                                                                                    and our total operating costs.

                                                                                                        Government Grants 7%
                                                                                                    Membership & Fundraising 31%
                                                                                                                 Ticket Sales 62%
                                                                                                                              Based on 2019 Season

                                                                                                    Become a Friend to enjoy unique
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                                                                                                    All new or increased contributions of $20
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                                                                                                    Contact Tim Czaban at 1-800-657-1106
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                                                                                                    or Christine Pellerin at ext 2213,
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      SHAWFEST.COM/SUPPORT-US
      Kelly Wong and Jacqueline Thair backstage (Brigadoon, 2019). Photo by Peter Andrew Lusztyk.

 Client: SHAW FESTIVAL Publication: 2021 House Programme Insertion Date: 2021 Size: 4.875 in in x 3.875 in
 Contact: BRUCE@KEYGORDON.COM - Key Gordon Communications
THE BMO STAGE, JULY 9 TO JULY 31
             ROYAL GEORGE THEATRE, AUGUST 8 TO OCTOBER 10

                            TIM CARROLL              TIM JENNINGS
                          Artistic Director          Executive Director

                               MIKE NADAJEWSKI,
      PETER FERNANDES and ANDREW LAWRIE in

             CHARLEY’S
               AUNT
                   by BRANDON                            THOMAS

         with NEIL BARCLAY, PATRICK GALLIGAN,
 ALEXIS GORDON, CLAIRE JULLIEN, MARLA McLEAN,
         RIC REID and GABRIELLA SUNDAR SINGH

                        Directed by TIM CARROLL
                   Designed by CHRISTINE LOHRE
           Lighting designed by LOUISE GUINAND

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

  CHARLEY’S AUNT is                         THE BMO STAGE                           Christopher Newton
                                                                                   Intern Olivia Sinclair-
generously sponsored by                     is sponsored by                       Brisbane is generously
    Mary E. Hill                                                                   supported by Marilyn
                                                                                    and Charles Baillie.​

                            FRONT COVER: PHOTO BY KEY GORDON.
MIKE NADAJEWSKI
                                                          AS LORD FANCOURT
                                                          BABBERLEY.

CHARLEY’S AUNT                  THE BMO STAGE
  is generously                 is sponsored by
  sponsored by
 Mary E. Hill
  Christopher Newton Intern Olivia Sinclair-Brisbane is
  generously supported by Marilyn and Charles Baillie.​
The Cast                 IN ORDER OF APPEARANCE

                            Jack Chesney           PETER FERNANDES
                                   Brassett        NEIL BARCLAY
                      Charley Wykeham              ANDREW LAWRIE
             Lord Fancourt Babberley               MIKE NADAJEWSKI
                             Kitty Verdun          MARLA McLEAN
                          Amy Spettigue            ALEXIS GORDON
         Colonel Sir Francis Chesney               PATRICK GALLIGAN
                     Stephen Spettigue             RIC REID
             Donna Lucia D’Alvadorez               CLAIRE JULLIEN
                               Ela Delahay         GABRIELLA SUNDAR SINGH
                          Walking Covers           KALEB ALEXANDER
		                                                 OLIVIA SINCLAIR-BRISBANE

     The play takes place during Commemoration Week, Oxford, 1892.
                act i: Jack Chesney’s rooms in College. Morning.
                                      intermission
          act ii: Garden outside Jack Chesney’s rooms. Afternoon.
                              intermission
             act iii: Drawing room at Spettigue’s house. Evening.

                          Stage Manager            DIANE KONKIN
            Assistant Stage Manager                ASHLEY IRELAND
          Production Stage Manager                 MEREDITH MACDONALD

                     Assistant Designer            BEYATA HACKBORN
         Assistant Lighting Designer               NICK ANDISON
              Voice and Dialect Coach              JEFFREY SIMLETT

                      Special thanks to Sharry Flett and Alexis Milligan.
               Additional costumes by Jennifer Wonnacott of Kipper Tailoring.

                                       UNDERSTUDIES
   KALEB ALEXANDER, Jack Chesney, Brassett, Charley Wykeham; NEIL BARCLAY, Stephen Spettigue;
      PETER FERNANDES, Lord Fancourt Babberley; RIC REID, Colonel Sir Francis Chesney; OLIVIA
SINCLAIR-BRISBANE, Kitty Verdun, Amy Spettigue, Ela Delahay; DONNA SOARES, Donna Lucia D’Alvadorez

            Running time is approximately 2 hours and 35 minutes
                        including two intermissions
MARLA McLEAN AS
KITTY VERDUN, MIKE
NADAJEWSKI AS LORD
FANCOURT BABBERLEY
AND ALEXIS GORDON
AS AMY SPETTIGUE
(BMO STAGE).

RIC REID AS STEPHEN
SPETTIGUE, ANDREW
LAWRIE AS CHARLEY
WYKEHAM AND PETER
FERNANDES AS JACK
CHESNEY (BMO STAGE).

OPPOSITE: CLAIRE
JULLIEN AS DONNA
LUCIA D’ALVADOREZ.
Director’s Note
by Tim Carroll

This is my second time directing Charley’s Aunt. I haven’t done many plays more than once.
Not many directors do, apart from a couple of the big Shakespeares. But, for any directors
reading this, I can really recommend the experience. It’s like coming back to a great novel
one read in one’s youth. The piece may not have changed, but you have.
     I first did this play in 1994, when I was not even thirty years old. At the time, I looked
about twelve, so it was strange to be directing actors thirty years older than me. They tended
to look at me as though they thought
it was Bring Your Child to Work Day.
That, I suppose, is one advantage of get-
ting old and grey: people assume you
know what you’re doing. In rehearsal
I do my best to correct that notion as
soon as possible.
     It’s a mark of a great play when
reading it is completely unlike watch-
ing it. Chekhov has this quality: on the
page, you don’t realize how many reac-
tions each line might be provoking, or
how significant a stage direction can be.
Then you watch it in the theatre, and it’s
the reaction that breaks your heart, or
the entrance of that person at just that
moment that makes you want to hide
your eyes. Charley’s Aunt is like that.
When you read it, it seems so simple.
When you try to stage it, you realize
that those old theatre pros knew what
they were doing. Every new event or
revelation is perfectly timed to take
our protagonists from a perfectly rea-
sonable starting point into the heart
of confusion and chaos.
     Like all farces, Charley’s Aunt hap-
pens in no real time or place. Its setting
is Oxford, and its time is 1892, but it
is no Oxford that ever existed, and its
period is only helpful in that it imposes
certain social rules which intensify the problems to be solved. Otherwise, it is a fairy-tale
place, created only for the duration of the play, melting into nothing as soon as the curtain
falls. And yet, within that artificial world, the people are recognizable and their desires
and fears all too human. It’s a delightfully daft confection, but it’s also a kind and humane
play. The sort of play that is worth doing twice.
     The music in this production is a selection from Rossini’s String Sonatas.
CLOCKWISE FROM
TOP LEFT: MIKE
NADAJEWSKI AS
BABBERLEY WITH
ANDREW LAWRIE AS
CHARLEY WYKEHAM
AND ALEXIS GORDON
AS AMY SPETTIGUE;
THE DRAWING
ROOM AT STEPHEN
SPETTIGUE’S HOUSE;
MIKE NADAJEWSKI
AS BABBERLEY,
CLAIRE JULIEN AS
DONNA LUCIA AND
NEIL BARCLAY AS
BRASSETT; RIC REID
AS SPETTIGUE AND
MIKE NADAJEWSKI
AS BABBERLEY.
Charley’s Aunt, 2021
POSTER ILLUSTRATION BY SCOTT McKOWEN
FOR A 2018 PRODUCTION OF CHARLEY’S
AUNT AT THE SHAKESPEARE THEATRE OF
NEW JERSEY.
Where the Nuts Come From
by Bob Hetherington

 As long as women have worn dresses, male actors have been borrow-
 ing them to get a laugh. Milton Berle, Uncle Miltie in the early days of
 television, had only to put on a dress and some lipstick to elicit belly
 laughs from the enthusiastic American viewing public. More recently,
 all flavours of audiences have enjoyed Australia’s Barry Humphries’
 flamboyant Dame Edna Everage, the drag sketches on England’s
 Monty Python’s Flying Circus, Canada’s The Kids in the Hall, Robin
 Williams’ much-loved Mrs Doubtfire, Tyler Perry’s Madea – even Bugs
 Bunny has dolled himself up to hoodwink Elmer Fudd.
       A little while back, when the American Film Institute released
 their hundred funniest movies of all time, the two at the top of the list
 were Some Like It Hot and Tootsie. Obviously, they share more than
 popularity. The cross-dressing Dustin Hoffman learns essentially
 the same lesson that his brothers-in-skirts, Jack Lemmon and Tony
 Curtis, learn – namely, after walking a mile in the shoes (especially
 the high heels) of women and suffering a series of casual indignities
 at the hands of thoughtless men, the other gender should be treated
 with respect and equality. What happens to the cross-dressers in
 beloved Hollywood films also happens to Lord Fancourt Babberley
 in Charley’s Aunt: dragged unwillingly into skirts, he slowly finds
 himself warming to the role. He even comes to fear, “I am a disgrace
 to my sex,” whichever one he means. We are now more sensitive about
 the interference patterns that waver between genders, but this, one
 of the theatre’s hardiest perennials, endures.
       Charley’s Aunt, a luxury laugh machine, is also slyly subver-
 sive, marrying farce, vaudeville, panto and social satire with some
 interesting excursions into male-female dynamics, not to mention a
 timely treatment of class and entitlement. It is based on the ludicrous,
 old-fashioned premise that two Oxford students, Charley and Jack,
 require a chaperone to woo their respective sweethearts. No problem
– there’s an aunt coming from abroad. Except that she doesn’t show
 up on time. That’s where young Lord Fancourt Babberley comes in
 to impersonate Charley’s aunt from Brazil, “where the nuts come
 from.” These young gentlemen are soon in over their heads with their
 lunatic scheme. This is a Victorian comedy with bells on: period slang,
 dressing for dinner and even smoking on-stage. How much more
 scandalous today than cross-dressing, to see a young man in drag
 enjoying a good cigar, now that theatres have outlawed lighting up.
       Between 1875 and 1900 more than six hundred full-length farces
 were produced in London. Besides Oscar Wilde’s The Importance
 of Being Earnest (a comic masterpiece, but not a farce), try to name
 another one. In just one year, Charley’s Aunt played simultaneously
 in forty-eight separate productions in twenty-two different languages.
 In Italy it was called La Zia di Carlo, in Germany Charley’s Tante, in
 France La Marraine de Charley, and in Japan The Aunt of Hawaii.
Perhaps the most remarkable production took place in cosmopolitan Cairo during the
Second World War, when several actors of different nationalities met drinking in the cel-
ebrated Shepheard’s Hotel bar and discovered they had all played in Charley’s Aunt at some
time in their careers. They immediately agreed to give a charity performance, but as there
was no language they all shared, each spoke their own. Remarkably, the gala was a triumph;
                                                        the audience had no trouble follow-
                                                        ing the production since, apparently,
                                                        they knew the play almost as well
                                                        as the actors.
                                                             At the London premiere, the
                                                        theatre fireman laughed so hard he
                                                        dropped his fire curtain, nearly caus-
                                                        ing a panic. A duke’s equerry in the
                                                        audience was so convulsed he fell
                                                        through his seat to the floor, where
                                                        he remained for the rest of the per-
                                                        formance. Pirate performances of the
                                                        farce cropped up all over the country,
                                                        forcing Brandon Thomas to hire a pri-
                                                        vate detective to look out for unau-
                                                        thorized productions. Charley’s Aunt
                                                        was HUGE, making the playwright
                                                        and the comedian W.S. Penley, who
                                                        created Lord Fancourt Babberley,
                                                        both very wealthy.
                                                             But, why? Was the playwright
                                                        a genius? Brandon Thomas hatched
                                                        the idea for his immortal play when
                                                        he met Penley on a train journey.
                                                        Penley was planning to become an
                                                        actor-manager, and he asked Thomas
                                                        to write a play for him. Something
about Penley’s large oval face reminded him of a photograph of one of his own female
relatives. “Have you ever thought,” he asked, “of playing a woman?” The comedy is uncon-
ventional in that it is not about marriage, but about courtship. Most strikingly, it solves a
common problem of a three-act farce: how to construct a final act that improves on the
hilarity achieved at the end of act two. Unlike many comedies, it is not remembered for its
funny dialogue (it is not, like Earnest, often quoted). It does have exceptional comic sight
gags – many involving business with hats, or the tossing of a valise concealing bottles of
champagne. But the question remains: why is it so popular? The best explanation of the
play’s singular success returns to the comedy in theatrical cross-dressing.
     Charley’s Aunt teases the audience with the constant danger that Babb’s lack of
improvisational acting skills will reveal the underlying gender of the androgynously
nick-named Fanny Babbs. The risk of exposure eventually culminates in a rebellious
striptease where his frustrated undressing provokes a chase where Jack and Charley force
STARRY WOODRUFF, PERCY LYNDAL AND        “It is wrong to scorn farcical comedy. It
ETIENNE GIRARDOT IN THE FIRST NEW YORK
PRODUCTION OF CHARLEY’S AUNT, 1893        is by jingling the bells of a jester’s cap
(PHOTO BY SARONY, NEW YORK PUBLIC
LIBRARY FOR THE PERFORMING ARTS).
                                          that I have made people listen to me.”
OPPOSITE: CARICTURE OF W.S. PENLEY BY     Bernard Shaw
ALFRED BRYAN, 1894.
him to resume the role of Charley’s aunt.
                                        The striptease and chase gave the actor
                                        Penley/Lord Fancourt an opportunity
                                        to demonstrate acrobatic alacrity in the
                                        switching of roles and genders and so
                                        enabled him to grab hands with Jack
                                        Lemon and Dustin Hoffman and all
                                        the other great men in skirts.
                                             According to Jevan Brandon-
                                        Thomas (in his biography of his father),
                                        it was also the cause of a terrible row
                                        between Thomas and Penley at the final
                                        dress rehearsal of the London premiere.
                                       “Penley adopted a sudden fit of prudery
                                        and objected to taking off the dress in
                                        Act II on the grounds that the audience
                                        would resent it as ‘improper,’ and hate
                                        him for it. This in spite of the fact that
                                        he was fully dressed in ordinary men’s
                                        clothes (except for his coat) underneath,
                                        and also that he had been playing this
                                        very scene for weeks in the Provinces
                                        before coming into London.” A fight
                                        about how best to present a man on-stage
                                        dressed in Victorian bombazine can only
                                        end with one realization: “It is foolish
                                        to resist.” When Penley/Lord Fancourt
                                        stopped resisting the ridiculousness of
                                        his situation and steered the farce into
                                        the spin, the play picked up consider-
                                        able comic momentum. And theatre
                                        immortality.
                                             Brandon Thomas would continue
                                        to prosper in the theatre as an actor and
                                        writer, but nothing would achieve any-
                                        thing near the success of his one huge hit.
                                        In his obituary The Times quoted him as
                                        saying, “I hoped to go down to fame as
                                        a great actor. If I go at all it will be as the
DIE- CUT THEATRE ADVERTISEMENT FOR A    author of Charley’s Aunt.”
1916 PRODUCTION OF CHARLEY’S AUNT,
SHOWN FOLDED AND FULLY OPEN (ALAMY).    BOB HETHERINGTON IS A THEATRE DIRECTOR AND
                                        P R O F E S S O R E M E R I T U S AT T H E U N I V E R S I T Y O F
                                        MEMPHIS. HE IS A FREQUENT SHAW ESSAYIST, WHOSE
                                        R EC E N T CO N T R I B U T I O N S I N C LU D E R O P E ( 2 0 1 9) ,
                                        STAGE KISS (2018), HENRY V (2018) AND MIDDLETOWN
                                        (2017).
ITALIAN COMEDIAN ERNESTO FERRERO IN LA ZIA DI CARLO, C.1925 (ALAMY); JOSÉ FERRER IN CHARLEY’S AUNT
AT THE CORT THEATRE, NEW YORK, 1941 (NEW YORK PUBLIC LIBRARY FOR THE PERFORMING ARTS).

Production History
Charley’s Aunt opened at the Theatre Royal in Bury St Edmunds on February 29, 1892, and
then toured the English provinces before the London premiere at the Royalty Theatre on
December 21, 1892. It transferred to the larger Globe Theatre on January 30, 1893. The total
London run was 1466 performances. In the many British stage revivals, Lord Fancourt
Babberley has been played by such stars as Leslie Phillips, John Mills, Tom Courtenay
and Griff Rhys Jones. bbc television revivals have featured Bernard Cribbins, Donald
Wolfit, Danny La Rue and Ronnie Barker. In the United States, Charley’s Aunt opened on
Broadway at the Standard Theatre on October 2, 1893, and ran for four years. A 1940 revival
headlined by José Ferrer as Babberley ran for over six months, but managed only fifteen
performances when Ferrer reprised the role in 1953. A live cbs television production in
1957 starred Art Carney (Babberley), Orson Bean (Charley) and Jeanette MacDonald (Donna
Lucia). The Canadian premiere was at Toronto’s Grand Opera House on December 12, 1906,
starring Anglo-French actor Etienne Girardot. An international favourite, Charley’s Aunt
has been performed world-wide and translated into over twenty languages, including
Gaelic, Afrikaans, Chinese, Russian and Esperanto.
     The best-known of several film versions was made by 20th Century Fox in 1941. Directed
by Archie Mayo, it featured Jack Benny as Babberley.
     The Shaw produced Charley’s Aunt at the Festival Theatre in 1974, directed by Artistic
Director Emeritus Paxton Whitehead who also played Babberly. A centennial production
in 1992 was directd by Susan Cox and featured Neil Barclay, Christopher Newton, Simon
Bradbury, Steven Sutcliffe, Seana McKenna, David Schurmann, Barry MacGregor and
Fiona Reid.
CLOCKWISE FROM TOP LEFT: GABRIELLA SUNDAR SINGH AS
ELA DELAHAY; MIKE NADAJEWSKI AS BABBERLEY AND PATRICK
GALLIGAN AS SIR FRANCIS; MARLA McLEAN AS KITTY VERDUN;
RIC REID AS SPETTIGUE; ANDREW LAWRIE AS CHARLEY
WYKEHAM AND ALEXIS GORDON AS AMY SPETTIGUE; PATRICK
GALLIGAN AS SIR FRANCIS AND CLAIRE JULLIEN AS DONNA
LUCIA; ANDREW LAWRIE AS CHARLEY WYCKEHAM AND PETER
FERNANDES AS JACK CHESNEY .
Charley’s Aunt, 2021
The Author

                                                                                   TIM CARROLL
BR ANDON THOMAS (1848-1914) was born in Liverpool on Christmas Eve
1848 into a family that had no theatrical connections (his father was a boot
seller). Thomas joined the Royal Marines when he was fourteen, but soon left
to find work in the shipbuilding industry, first in Liverpool, then in Hull, while
supplementing his income with forays into journalism. He also discovered a
talent for entertaining, initially as a singer and poetry reciter at temperance
meetings. Having met prominent London actors William and Madge Kendal,
while they were touring the English provinces, Thomas moved to London in
1879 and began his acting career in a variety of minor roles, before touring the
United States for nine months in 1885. On his return to London, he won roles in
plays by important contemporary play-
wrights such as Arthur Wing Pinero,
and in classics such as Sheridan’s The
Rivals, in which Shaw praised him for
acting “agreeably and with dignity.” On
other occasions Shaw expressed admi-
ration for Thomas’s “genuine feeling,”
and defended him when “it looked as
if he were killing the play, whereas the
play was really killing him.”
     Thomas’s debut as a playwright,
a domestic comedy called Comrades,
which ran at London’s Court Theatre
in December 1882, was not enthusias-
tically received (“it is impossible that
a solid structure can be built upon a
foundation of sand,” said The Times),
but he persevered with several other
forgettable plays, none of which fore-
shadowed the triumph of Charley’s
Aunt in 1892. It was, said the Manchester
Guardian, “an instant and incontest-
able success, keeping the audience in
shrieks of laughter.” Thomas was in the
cast of the London premiere (as Francis Chesney) and he continued to appear on the
London stage in a range of other plays, including Shakespeare’s Richard II (as John of
Gaunt) in 1903.
     In December 1888 Thomas married Marguerite Leverson, despite the objections of
her Jewish family. Two of their three children became actors and appeared regularly
in Charley’s Aunt after their father’s death.
     Shaw thought more highly of Thomas’s acting than perhaps Thomas himself did,
but could not deny that his fame rested on Charley’s Aunt. When Shaw went on an ego
trip in a 1924 interview about how famous he was, he used the play as a measure of his
fame: “My currency,” he said, “is as universal as that of Sherlock Holmes, or Charlie
Chaplin, or Charley’s Aunt.”
For full biographical information about our cast
                                                    and creative team, please visit shawfest.com/
                                                    ensemble.

                                                    TIM CARROLL            Director
                                                     SHAW 2021: Director for Charley’s Aunt; adapter/
                                                     director for Flush. My first full-time job in the
                                                     theatre was as Associate Director of the Northcott
                                                     Theatre, Exeter. The first play I directed there was
                                                     Charley’s Aunt. It was designed by Roger Butlin,
                                                     a famous opera director, whom I had only just
                                                     met. He became my mentor and the person who
                                                     taught me most about theatre. He was a brilliant
                                                     psychologist: if he didn’t like something I had
                                   staged, or a moment I was attached to, he would simply say, “I
                 CHRISTINE LOHRE
                                   don’t think it’s quite up to Carroll standard.” I would insist that
                                   I was right, then, eventually and with bad grace, I would change
                                   it. And, of course, it would be better. Everyone should be lucky
                                   enough to meet someone like Roger early in their journey.

                                   CHRISTINE LOHRE             Designer
                                   SHAW 2021: Designer for Charley’s Aunt. Since I was little, I
                                   have made up stories in a cupboard, in a box, or as if they were
                                   happening under a tree in the forest. The way I remember a situ-
                                   ation is through the feeling of the fabric of a shirt, the carpet in a
                                   cinema, or how the wood in the table felt under special matting.
                                   I think this is what led me to work with design in theatre. To
                                   combine the love for materials with the love for stories. On the
                                   stage a chair can turn into a ship in one moment, and a cradle
                                   the next, through the magic play of the actors, and thereby tell
                                   a story like no other form can.

                                   LOUISE GUINAND            Lighting Designer
                                   SHAW 2021: Lighting designer for Charley’s Aunt. I was drawn
                                   to theatre in my early teens and was fortunate to be given the
                                   opportunity to see many plays at Shaw and Stratford through
                                   my school years. I didn’t discover the world of lighting design
                                                           until university, when I was given the
                                                           opportunity to light Happy End. From
LOUISE GUINAND                                             that point on I have been fortunate to
                                                           work in this magical field in theatres
                                                           across the country. One particular joy
                                                           has been designing lights on differing
                                                           styles of stages, with an abundance of
                                                           my work being on thrust stages or in
                                                           the round. Productions have included
                                                           new, developing scripts, contemporary
                                                           plays, operas and classical theatre from
                                                           Shakespeare to the Greeks. It is the ever-
                                                           changing spaces and plays that continue
                                                           to excite and interest me.
KALEB ALEXANDER               Walking Cover
SHAW 2021: Charley’s Aunt and Trouble in Mind; 1st season.
I grew up in two different worlds – one in southern Ontario,
in Toronto, and one in northern Ontario, in Thunder Bay.
Between the two, I found myself in my first play at the age
of eleven – A Midsummer Night’s Dream, and from that
moment I was hooked. No matter how far I strayed from
performing, the arts have called me back. From being a
farmer in Australia, to sipping coconuts in Sri Lanka, to
the Shaw Festival today, theatre has always been a home
that I love to return to.

NEIL BARCLAY            Brassett
SHAW 2021: Charley’s Aunt and Trouble in Mind; 31st sea-
son. From the moment I was taken to my first play at the                    KALEB ALEXANDER
age of ten, I was smitten: I collected my programmes, I
bought every cast recording I could find,
I recorded plays on our vhs machine and                                                       NEIL BARCLAY
watched and re-watched them. I nagged
my mom to take me to New York at spring
break and then to make summer pilgrim-
ages to Stratford and Shaw. My grade
ten North American Literature teacher,
Father Peck, urged me to audition for Our
Town at Loyola High School, and that led
to a deep dive at cegep and then nts. And
for the past thirty-three years I’ve been
making a living at it. I have been blessed

                                                                                                             PATRICK GALLIGAN
to work alongside scores of extraordinary
actors and, this season, I am thinking of
three who were particular friends and
inspirations: Jennifer Phipps, Mary Haney
and David Schurmann.
                                                          PETER FERNANDES

PETER FERNANDES              Jack Chesney
SHAW 2021: Charley’s Aunt; 3rd season. I was
born in Awali, Bahrain, raised in Edmonton, and
now call Toronto home. Before moving to Canada
I hadn’t been exposed to a lot of theatre, but my
parents encouraged my siblings and me to sing as
an extra-curricular activity. Little did they know
that all three of us would become actors. In grade
six, I performed in my school’s production of The
Wizard of Oz. I played the Cowardly Lion, because
I was so nervous during the audition that I kept
stuttering. In the show, I had to faint – this made
the audience laugh and I’ve been trying to make
people laugh ever since.

PATRICK GALLIGAN
Colonel Sir Francis Chesney
SHAW 2021: Charley’s Aunt and Trouble in Mind;
18th season. It’s rare for an actor to play the same
role twice, even rarer forty years apart. In 1981, in my
final year at Brebeuf College High School, I played
Sir Francis Chesney in our high school production
of Charley’s Aunt. Although I remember having great fun playing a fifty-one-year-old, retired,
British army officer, a career in the performing arts was something I never really considered. But
when I think back to that year, I am struck by how much one teacher affected my future. In Mr E.J.
Barry’s English class, we were inspired not only to study plays like Waiting for Godot and Hamlet,
but to bring them to life. It was thrilling to participate in a kind of alchemy, where words on a page
were transformed into something alive and magical. Thank you, Mr Barry!
ALEXIS GORDON            Amy Spettigue
ALEXIS GORDON
                SHAW 2021: Charley’s Aunt; 2nd season. Growing up in London, Ontario, I always
                loved to sing. Before I knew who I was or what I liked, singing always helped make
                my heart happy. After attending my first theatre performance I dreamed of stepping
                on-stage, but didn’t believe I could. No one looked like me. Then, when I was sixteen,
                                                                 I finally saw a piece of me in some-
                                                                 one on-stage. From that moment, I
                   CLAIRE JULLIEN
                                                                 decided to try and be the voice of
                                                                 encouragement for anyone who, like
                                                                 me, wants to pursue whatever makes
                                                                 their heart happy too.

                                                                        CLAIRE JULLIEN
                                                                        Donna Lucia D’Alvadorez
                                                                        SHAW 2021: Charley’s Aunt and
                                                                        Sherlock Holmes and The Raven’s
                                                                        Curse; 13th season. Now more than
                                                                        ever, I recognize and appreciate the
                                                                        importance of theatre, art, creativity,
                                                                        imagination. How much it is needed.
                                                                        How much we all miss it and the
                                                                        absolute need for human connec-
                                                                        tion. I long for the theatre, and I am
                                                                        very grateful to be at The Shaw and in
                                                                        the company of like-minded people.
                                                                        In my twenty-five-year career, that
                                                                        is one of the reasons I loved being
                                                                        on-stage – the surprise, intimate and
                                                                        immediate connection with my fel-
                                                                        low actors and the audience. At the
                                                                        Shaw Festival I have lots of favour-
                                                                        ite roles, but I most enjoyed playing
                                                                        heroine Lois Relph in The Stepmother
                                                                        (my first season!), the unapologetic
                                                                        and ambitious Pearl Grayson in Our
                                                                        Betters, and the woman of principles,
                                                                        Lesbia Grantham in Getting Married.

                                                                        ANDREW LAWRIE
                                                                        Charley Wykeham
                                                                        SHAW 2021: Charley’s Aunt; 5th sea-
                                                                        son. Once, after a show, someone told
                                                        ANDREW LAWRIE

                                                                        me, “Seeing this production made
                                                                        my day.” This was my favourite com-
                                                                        ment that I’ve ever heard from an
                                                                        audience member. By itself it seems
                                                                        to just be a simple and lovely senti-
                                                                        ment, but to me it resonated with why
                                                                        I chose to become an actor. I feel that
                                                                        my job as an actor is to affect others
                                                                        with my work. Whether that means
                                                                        to provoke important discourse, to
                                                                        instigate different ways of thinking
                                                                        or simply to make someone’s day spe-
                                                                        cial, that’s why I do what I do. That’s
                                                                        why I’m an actor.
MARLA McLEAN               Kitty Verdun
                                                                                        MARLA McLEAN
SHAW 2021: Charley’s Aunt and Sherlock Holmes
and The Raven’s Curse; 15th season. Growing up in
Nova Scotia, I had the great fortune of finding my
regional theatre early in life. The company created
an apprenticeship of sorts that allowed me (who
couldn’t afford to train) a chance to learn on my
feet. More companies should endeavour to find cre-
ative ways to support young actors from a working-
class background. If you find yourself able, search
out ways to facilitate this in your own community.
It can change a young artist’s life. Inspiration in our
work comes from many places and I’m eternally
grateful for, and inspired by, my partner and our
wee boy. “This is the true joy in life; the being a force
of nature instead of a feverish, selfish little clod of
ailments and grievances complaining that the world

                                                                                                                MIKE NADAJEWSKI
will not devote itself to making you happy.” – gbs.

MIKE NADAJEWSKI
Lord Fancourt Babberley
SHAW 2021: Charley’s Aunt and Sherlock Holmes
and The Raven’s Curse; 6th season. It is with great
optimism that I write this bio for The Shaw’s 2021
season. Even now, uncertainty is still very much
a character that we all have to contend with on a
daily basis – but I am inspired and in awe of The
Shaw’s unwavering perseverance, the good will
that they have extended to their company and
staff, and their dedication to you, our loyal patrons.                                         RIC REID

The Shaw has kept my spark intact and enabled me to
pivot within our devastated industry, feeding my artist
as well as my tummy. Thank you, dear patron, for being
here now, today – never before (certainly in my lifetime)
has it ever been so abundantly clear how integral live
performance is, and we couldn’t do it without you.

RIC REID       Stephen Spettigue
SHAW 2021: Charley’s Aunt and Sherlock Holmes
and The Raven’s Curse; 18th season. Welcome back!
Inspiration. Where have I found it? At The Shaw I have
worked opposite Goldie Semple. Who could not be
inspired by her? You could fill an encyclopedia with
the stories of Robert Benson and Al Kozlik, who were so
gracious in passing along their wisdom and experience.
Bernard Behrens was a great spirit of a man, whose
drive to excel left its mark. To be on-stage with Jennifer
Phipps was a ride like no other. I will miss the laughter,
drive and punch of Mary Haney’s performances. Jonah
McIntosh…so talented and marvellous that you could
not breathe without being inspired. David Schurmann,
a gentle man with a heart of gold. And Neil Munro.
There are no words for all that he meant to this company.
Inspiration is not lost, it is remembered and carried
forward.

OLIVIA SINCLAIR-BRISBANE
Walking Cover
SHAW 2021: Charley’s Aunt; 2nd season. I was born and
raised in London, Ontario. I’m very proud of my home
town and the great opportunities it offers young people, of all backgrounds, to experience and participate in the arts.
My first theatre production was The Music Man in grade three, I played one of the Barbershop Quartet. To date, my
favourite experience in theatre was being in the Grand Theatre’s
           DIANE KONKIN                      production of Cabaret. It was a dream come true. However, my
                                             favourite experience at a Shaw show, so far, was seeing Getting
                                             Married in the 2019 season, because I caught the bouquet at the
                                             curtain-call and that’s how I knew I’d be part of it one day.

                                             GABRIELLA SUNDAR SINGH                  Ela Delahay
                                             SHAW 2021: Charley’s Aunt; 4th season. I was born and raised in
                                             Toronto, but have spent time studying in Guelph and Montreal,
                                             and miss these places every day. My mother was a dancer. When
                                             I was four, she introduced me to Bharathanatyam, a form of
                                             drama-dance from the south of India. It is a highly expressive
                                             and epic art form, and I have loved learning how to translate
                                             what I know to my work in theatre. I was fourteen years old when
                                             I performed in my first musical, as a dancer in Crazy for You,
                                                                              brimming with pure joy and a
                                                                              sense of belonging. That feeling
                    GABRIELLA SUNDAR SINGH

                                                                              is what theatre is to me.

                                                                              DIANE KONKIN
                                                                              Stage Manager
                                                                              SHAW 2021: Stage manager for
                                                                              Charley’s Aunt and Sherlock
                                                                              Holmes and The Raven’s Curse;
                                                                              13th season. Growing up in
                                                                              Northern Ontario, my only
                                                                              option was to create and man-
                                                                              age my own entertainment.
                                                                              After winning an award for
                                                                              a play I wrote in grade three,
                                                                              and early aspirations of being
                                                                              a New York producer, I jumped
                                                                              into stage-managing university
                                                                              cabarets and experimental col-
                                                                              laboratives. After many indie
                                                                              shows, and touring for seven
                                                                              years across Canada, the us and
                                                                              Asia, I landed at my Shaw home
                                                                              in 2009. Over the winters, I pre-
                                                                       tend to play congas and travel south
                                                                       to manage talent for a film and music
                                                                       festival in Sayulita, Mexico.

                                                                       ASHLEY IRELAND
                                                          Assistant Stage Manager
                                                          SHAW 2021: Assistant stage manager
ASHLEY IRELAND
                                                          for Charley’s Aunt and Sherlock Holmes
                                                          and The Raven’s Curse; 4th season.
                                                          When I was a little girl, my Nana would
                                                          take my sister and me to the theatre.
                        OLIVIA SINCLAIR-BRISBANE          Whether it was a large-scale produc-
                                                          tion in Toronto or a small community
                                                          theatre production I didn’t know the
                   difference, it was always so thrilling. On one of these occasions, while read-
                   ing through a programme, we saw that my sister and I could volunteer
                   backstage as crew members. Having no idea what we were getting into, my
                   sister convinced me to sign up with her. Nervously we were assigned our
                   off-stage roles and I quickly fell in love. As cast members, props and set
                   pieces whirled around me backstage, I realized that this is where I had to be.
Technical Directors             Cutters                       Audio Mixer/Technician
Staff                           MARK CALLAN                     TRULY CARMICHAEL              DEAN MALTON
                                ANRITA PETRAROIA                RAMONA CRAWFORD             Electrics
                                JASON WOODGATE                  MORGAN MACKINTOSH           Head of Electrics
EXECUTIVE TEAM                                                  AVRIL STEVENSON
                              Assistant Technical                                             JOHN BOBREL
Artistic Director             Director – Logistics
  TIM CARROLL                                                 Junior Cutter                 Festival Electrician
                                DAN GALLO                       BOBBI PIDDUCK                 JOHN MARSHALL
Executive Director            Design
  TIM JENNINGS                                                Tailors                       Royal George Electrician
                              Lighting Design Director          MONIQUE MacNEILL              PAUL McMANIS
Executive Assistant             KEVIN LAMOTTE                   DENIS PIZZACALLA
  JANET HANNA                                                                               Studio Electrician
                              Design Assistants               First Hands                     BILL TALBOT
                                BEYATA HACKBORN                 AUDREY-JOY BERGSMA
CREATIVE                        KARA PANKIW
                                                                                            Festival Deck Electrician
                                                                   PILLING                    JASON CHESWORTH
MANAGEMENT
                              Assistant Lighting Designers      CHRISTINE
Associate Artistic Director                                        GROSSKURTH               1st Spot Operator/Deck
                                NICK ANDISON                                                Electrician
  KIMBERLEY RAMPERSAD                                           DARLENE HENDRY
                                MIKAEL KANGAS                                                 JEAN ST ONGE
Planning Director               JEFF PYBUS                      ANDREA MacKENZIE
  JEFF CUMMINGS                                                 KATHY SCOZZAFAVA            2nd Spot Operator
                              Assistant Projection Designer                                   BRIAN SKELTON
Producer                        LAURA WARREN                  Sewers
  NATALIE ACKERS                                                TIINA ADAMS                 Festival Changeover
                              Stage Management                                              Electrician
Music Director                                                  REBECCA BOYD
                              Production Stage Manager                                        PETER GRACIE
  PAUL SPORTELLI                MEREDITH MACDONALD              CASEY BROWN
                                                                                            Stage Crew
Associate Music Director/                                       SAMANTHA FELSBOURG
                              Stage Managers                                                Head Stage Carpenter
Company Pianist                                                 SANDRA LaROSE
                                BEATRICE CAMPBELL                                             DAVID EDWARDS
  RYAN deSOUZA                                                  DARLENE NASZADOS
                                AMY JEWELL                                                  Festival Stage Carpenter
Company Manager                                                 KATHRYN URBANEK
                                DIANE KONKIN                                                  ARCHIE MacKENZIE
  STÉPHANIE FILIPPI                                             KATHLEEN VAN DYKE
                                LEIGH McCLYMONT                                             Royal George Stage
Publications Co-ordinator                                       VERONICA WATKINS
                                KEN JAMES STEWART                                           Carpenter/Holiday Props
  JEAN GERMAN                   ALLAN TEICHMAN                Scenic Art
                                                                                            Runner
Assistant Producer              DORA TOMASSI                  Head of Scenic Art              MARTIN WOODYARD
  MEGHAN FROEBELIUS                                             GWYNETH STARK
                              Assistant Stage Managers                                      Studio Stage Carpenter
CAEA/SEA Contract Manager       ASHLEY IRELAND                Scenic Artists                  JEFF BINGLEY
  LISA LI                       ANNIE McWHINNIE                 MARK CARREIRO
                                                                                            Royal George Holiday Stage
CAEA/SEA Contract               THÉA PEL                        ANDREA HARRINGTON           Carpenter
Co-ordinator                                                    REBECCA LEE                   KEVIN WATSON
                              Apprentice Stage Manager          JESSICA MacDUFF
  SARAH PHILLIPS                KATIE FITZ-GERALD                                           Studio Swing Stage
History of Niagara Producer                                   Scenic Construction           Supervisor
                              Production Assistant
  LAURA McCALLUM                                              Head of Scenic Construction     JOE BONAR
                                FRANCES JOHNSON
Covid Compliance Manager                                        LESSLIE TUNMER              Festival Flyperson
                              Properties
  ALISON PEDDIE                                               Assistant Head of               DAVID SCHILZ
                              Properties Manager              Scenic Construction
                                WAYNE REIERSON                                              Festival Properties Runner
THE SLAIGHT                                                     PAUL JENKINS                  JOY BEELEY
FAMILY ACADEMY                Assistant Properties Manager    Trades
                                TAMMY FENNER                                                Royal George Properties
Director of Artist                                              JOE BONAR                   Runner
Development                   Properties Buyer                  ROB BROPHY                    LAURA MASCITELLI
  KATE HENNIG                   BRENT HICKEY                    ROBIN FARMER
                                                                                            Festival Stage Trade
Voice and Dialect Coaches     Properties Builder 1              GEORGE GALANIS                FRANK ZALOKAR
  EDDA SHARPE                   ANNA-MARIE                      MICHAEL HASLEHURST
                                   BAUMGART                                                 Changeover Crew
  JEFFREY SIMLETT                                               TOM HURST
                                JEFF BINGLEY                                                Festival Changeover
Alexander Technique                                           Shop Administrator            Supervisor
  VICTORIA HEART                ROD HILLIER                     SHANNON ENGEMANN              KEVIN McGUIRE
                                ANDREA WILLETTE
Singing Coaches                                               Construction Electrics        Festival Changeover
  VAN ABRAHAMS                Properties Builder 2            Head of Construction          Flyperson
  PATRICK BOWMAN                MATT LECKIE                   Electrics                       ROB MAZZA
  EILEEN SMITH                Wardrobe                          JOHN VANIDOUR               Festival Changeover Hand
                              Head of Wardrobe                Construction Electrician        CARM SACCO
Movement Coaches
                                JASON BENDIG                    ANTHONY BLASCHUCK,
  ESIE MENSAH                                                                               Royal George Changeover
                              Associate Head of Wardrobe           JR                       Supervisor
  ALEXIS MILLIGAN
                                JANET ELLIS                   Audio                           ROB GRINDLAY
Senior Manager, Education
  SUZANNE MERRIAM             Wardrobe Co-ordinator           Head of Audio                 Wardrobe Running
                                KENDRA COOPER                   ETHAN RISING                Head of Wardrobe Running
Education Co-ordinator
  MEGAN GILCHRIST             Wardrobe Apprentice             Festival Audio Operator         MARGARET MOLOKACH
                                FRED AMDUR                      FRED GABRSEK                1st Festival Wardrobe
Education Assistant
  WARREN BAIN                 Buyer                           Royal George Audio Operator   Supervisor
                                MAUREEN GURNEY                  JULIAN MAINPRIZE              JOANNE BLASCHUK
Music Intern
  RACHEL O’BRIEN              Milliner                        Studio Audio Operator         Royal George Wardrobe
                                MARGIE BERGGREN                 ROB ROBBINS                 Supervisor
Intern Directors                                                                              KATY NAGY
  BRENLEY CHARKOW             Bijoux/Decoration               1st Festival RF Technician
                                MICHELLE HARRISSON              COREY MACFADYEN             Studio Wardrobe Supervisor
  ROB KEMPSON                                                                                 MICHELLE GADULA
                              Boots/Shoes                     2nd Festival RF Technician
PRODUCTION                      DAYNA RIEMLAND                  JAMES MASSWOHL              Festival Wardrobe Trades
                                                                                              STACEY BONAR
Production Director           Fabric Art/Dyer                 RF Technician
                                                                TIMOTHY MURPHY                SADIE DUCROIX
  DON FINLAYSON                 JEAN RUMNEY
                                                                                              CHRISTINA GALANIS
Production Administrator                                      Audio Operator/RF and
  MARGARET FERENCZ                                            Systems Technician            Royal George Wardrobe Trade
                                                                WAYNE BERGE                   DOT WARD
Wigs and Make-up                Membership Representatives     NINA TAYLOR                   Sales
Head of Wigs and Make-up         ELIZABETH ABRAHIM             MELANIE THOMPSON              Senior Manager,
  LORNA HENDERSON                TERESA COSTELLO               OLIVIA TRIVIERI               Ticketing and Analytics
                                 THERESA FEOR                  JEANETTE WARD                   AARON BOYD
Festival Wigs Supervisor
  FLORENCE LEWIS                 JESS GORMAN                   JOCELYN WARD                  Box Office Manager
                                 NICOLE MEADE                  JULIEN WARD                     KELLY McNEELY
Royal George Wigs Supervisor
  LORENA GHIRARDI                ANNE WILSON                 Housekeeping Staff              Assistant Managers,
                                FINANCE AND                    PAMELA BRAZEAU                Sales and Box Office
Studio Wigs Supervisor                                                                         CARI GOSNELL
  BRIGETTE CLARK-               ADMINISTRATION                 DOROTHY CARTER
     CARMICHAEL                 Director                       MARIE DUMOULIN                  RYAN HULL
2nd Festival Wigs Supervisor      ROY REEVES                   WENDY JARRY                   Co-ordinator, Reports
  CHRISTINE SMITH               Controller                     LORI-ANN McALLISTER           and Scheduling
                                  JULIE ALLEN-SARGENT          PAT McAULAY                     SARAH RODGERS
2nd Royal George Wigs
Supervisor                      Assistant Controller           NELLA MULLEN                  Co-ordinator,
  EMMA DIRKS                      YULIA BOIVIN                 CARMELLA SAPIENZA             Sales Technology
                                                               JUDY SOBIERAJ                   SHANNA TAILLON
Festival Wigs Trades            Payroll Co-ordinator
  ROXANNE                         RICK FOKKENS               Maintenance Lead Hand           Administrative Assistant
     DiFRANCESCO                                               DAVID McCARTHY                  PIPPA BARWELL
                                Senior Accounting Clerk
  JOE PAONESSA                    KIM EPP                    Maintenance Crew Heads          Box Office Staff
                                                               ANDY LOUTER                     ERIC BAUER
MANAGEMENT                      Accounts Payable Clerks                                        GENY COLICCHIO-
                                  MONICA BUDD                  NEIL SMITH
Human Resources                                                                                    QUINN
                                  TRISH FEDOROWICH           Grounds Crew                      TESSA GROOMBRIDGE
Director                                                       TYLER LEYLAND
  DIANNE GIBBS                  Audience Services                                              SUSANNE HESLOP
                                and Facilities               Distribution                      JOEL RENNER
Wellness and                    Senior Manager               Supervisor
Inclusion Facilitator                                                                          ANTONETTA TREMONTE
                                  CHUCK MEWETT                 PAUL RODGERS
  KHAN BOUBA-                                                                                Senior Manager,
     DELAMBAYE                  Manager, Food and Beverage   Co-ordinator                    Group and On-site Sales
Housing                           JULIANNA UGUCCIONI           MARGARET CUMMING                WES BROWN
Manager                         Administrative Manager,      Information Technology          Green Room
  NIKI POIRIER                  Front-of-House               Director                        Cook
                                  GREG McARTHUR                SARAH FABIANI                   JUDE JONES
Interim Co-ordinators
  SUSAN ASHUKIAN                Managers, Front-of-House     Senior Developer                Staff
  NINA TAYLOR                     LAURA CAHILL                 MIKE FARR                       ERIKA LOFFELMANN
                                  RYAN HULL                  Database Analyst                  SIMON MARTINSON
Maintenance
                                  GEORGINA PIOVESANA           VIKTOR STREMLER               Retail
  LARRY BENNETT
                                  MURIEL TRIANO
DEVELOPMENT                                                  Network Administrator           Manager, Retail Sales
Director of Advancement         Head of Housekeeping           JOHN CHRISTIAN                and Shaw Express
  CINDY MEWHINNEY                 DONNA SMITH                Reception                         MATT WEAVER
Associate Director              Head of Maintenance/         Supervisor                      Staff
                                Security                       LEEANNE PRICE                   MARCUS ANDREWS
  MARION RAWSON
                                  GREIG HUNTER                                                 SAMARA BISSONNETTE
Senior Officer, Individual                                   Database-Maintenance
Gifts and Legacy Giving         Front-of-House/Food and      Receptionists                     MICHELLE CHASE
                                Beverage Staff                 HANNAH ANDERSON                 MARK FRIESEN
  KIMBERLEY WHITE
                                  DENNIS ALBERT                                                JENNIFER PALABAY
Senior Development and                                         SUSAN ASHUKIAN
                                  JEANNIE BERG                                                 DANA PERESSOTTI
U.S. Relations Ambassador                                      MAUREEN BUTLER
                                  LAUREN BOWMAN                                                CHELSEA TOTTEN
  CHARLIE OWENS                                                ADAEZE MBATA
                                  LEA BOWMAN                                                 Special Ticketing
Manager, Governors Council        OWEN BROWN                 MARKETING,
  CHRISTINE PELLERIN                                         COMMUNICATIONS                  Senior Manager
                                  WILLIAM CROTHERS           AND SALES                         ALLISON COCHRAN
Manager, Membership               THERESE CZYCHUN
Services                                                     Director                        Assistant Co-ordinator
                                  SUSAN DYER                   VALERIE TAYLOR
  TIM CZABAN                                                                                   JANE McINTYRE
                                  ELIZE EARWICKER
Stewardship Officer               BEVERLY EDWARDSON          Senior Marketing                Assistant
  HEATHER SARGESON-                                          and Brand Manager                 JULIE JONES
                                  DARCY ELLISON                NATHALIE IVANY-
     CALLARA
                                  CATHERINE ENS                   BECCHETTI
Research Officer                  WENDY FRASER                                               House Programmes
  CATHY LINDSEY                                              Direct Marketing                  PUNCH & JUDY INC
                                  GAIL HEWITT                Co-ordinator
Associate, Donor Relations        JULIA HILL                                                 Covid Testing Partner
                                                               MARY CLARE LAMON              McMaster HealthLabs/
  RENATA DiFILIPPO                SHARON JEAN                Graphic Designer                   Research
Co-ordinator, Corporate           ANTHONY KUCHAR               SARAH DOWSE                   St Joseph’s HealthCare
Partnerships                      ANNE MARIE LENC                                              Hamilton
                                                             Communications
  TINA SCHMIDT                    VERA LENC                                                    JODI GILCHRIST
                                                             Senior Manager
Co-ordinator, Major and           ISAAC LILLIE                                                 NICOLE SMIEJA
                                                               ASHLEY BELMER
Special Gifts                     MATT MARTIN                                                  DR DAVID BULIR
  LAURA LANGLOIS                                             Communications                    DR MAREK SMIEJA
                                  MARY MATHEWS               Co-ordinator
Co-ordinator, Data and            AMANDA McDONNELL             JENNIFFER ANAND               Theatre Chiropractor
Reporting                         SARAH McDOUGALL                                              DR BREANNE SCHULTZ
  COLLEEN MONFILS                                            Digital Engagement Specialist   Shaw Librarian
                                  JENNIFER McLAREN             RHIANNON FLEMING
Co-ordinator, Gift Processing     STERLING PENTAL                                              NANCY BUTLER
  ANTOINETTE MOORE                                           Communications Assistant        Resident Scholar
                                  JOANNE PRIESTMAN
                                                               MICHELLE MOHAMMED               LEONARD CONOLLY
Administrative Assistant          MELANIA RADELICKI
  STEPHANIE BROWN                 ROSS RINGLER               Digital Content Creator
                                                               KELLY WONG                    Artistic Director Emeriti
Supervisors, Membership           KATHERINE ROBERT
Services                          JESS SCHRYER               Production Photographer           JACKIE MAXWELL
  JEFF MacKAY                     ELEANOR SNIDER               LAUREN GARBUTT                  CHRISTOPHER NEWTON
  MATT RATELLE                    PAUL SNIDER                                                  PAXTON WHITEHEAD
                                  KEITH SUTHERLAND
Charley’s Aunt at The Shaw

                             FIONA REID AS
                             DONNA LUCIA AND
                             STEVEN SUTCLIFFE
                             AS LORD FANCOURT
                             BABBERLEY, 1992.

PAXTON WHITEHEAD AS LORD
FANCOURT BABBERLEY, 1974.
DONORS             AS OF JUNE 1, 2021          + BOARD ALUMNI   ++ BOARD MEMBER
                                               * SHAW COMPANY/ ENSEMBLE MEMBER

We salute all of the generous donors who help us to create great theatre!

Cumulative Giving            Cumulative donations and pledges of $250,000 or more.
$1 MILLION+ The 1916 Foundation • Anonymous Buffalo Donors • Marilyn++ & Charles++ Baillie • Estate
of Mona M. Campbell • Estate of Valerie Delacorte, Gabriel Pascal Memorial Fund • Val Fleming+ • Nona
Heaslip++ • Tim++ & Frances++ Price • The Slaight Family Foundation • Donald++ & Elaine++ Triggs • Carol
Walker and Estate of John Greenhill Walker
$750,000+ Carol & David+ Appel • Estate of Walter Carsen • Richard++ & Darleen Falconer • Diane++ &
James King • The Catherine & Maxwell Meighen Foundation • The John R. Oishei Foundation • William++ &
Meredith Saunderson • Shaw Festival Guild • 1 anonymous gift
$500,000+ Estate of Bram & Bluma Appel • Rennie & Bill+ Humphries • Colleen++ & Brian Johnston •
Nancy & John McFadyen • Philip & Berthe Morton Foundation • Andrew++ & Valerie Pringle • Corinne++ &
Victor++ Rice • Estate of Ada W. Slaight+ • The Margaret L. Wendt Foundation • 1 anonymous gift
$250,000+ Charles Balbach++ • James F. Brown++ • Cullen Foundation • Michael Eagen & Michele Darling+
• Donner Canadian Foundation • DeRoy Testamentary Foundation • Mr & Mrs Anthony++ R. Graham •
Corinne Hansen • The Joan & Clifford Hatch Foundation • Mary E. Hill++ • Mr Richard M. Ivey • Don &
Gundy+ Jackson • Chris & Jeanne Jennings • The Henry White Kinnear Foundation • Michael & Sonja+
Koerner • Cynthia & Malcolm+ Macdonald • Richard McCoy+ • The McLean Foundation • George Cedric
Metcalf Charitable Foundation • Bernard Ostry+, oc • Barbara Palk+ & John Warwick+ • Peter M. Partridge
• Allan Slaight+ • Maureen+ & Wayne Squibb • Liz Tory+ • Jim++ & Michal+ Wadsworth (Carlos & Elizabeth
Heath Foundation, Mulroy Family Foundation, Robert & Patricia Colby Foundation) • Estate of Gerald D.
Yanke • 3 anonymous gifts
We also recognize the following corporations for their cumulative donations.
$1 MILLION+ Bell Canada • Canada Life • CIBC • Honda Canada Inc • HSBC • RBC • Scotiabank • Sun
Life Financial • TD Bank Group • Vintage Hotels

Endowment & Estate Gifts                Contributions of $600 or more, made over the last 13 months.
Marilyn++ & Charles++ Baillie, Christopher Newton Intern Program • Estate of Ruth Bolt • Department of
Canadian Heritage • Fiera Capital Corporation • Martha+ & Tom++ Hyde • Estate of Dr Mary Beth Jennings
• Colleen++ & Brian Johnston, Andy Pringle Creative Reserve • Diane++ & James King • Estate of Malcolm
Macdonald+ • Mary I. McLeod Foundation • H & R Mida Charitable Foundation • Tim++ & Frances++ Price,
Tim & Frances Price Risk Fund • Andrew++ & Valerie Pringle, Andy Pringle Creative Reserve • RP Investment
Advisors • Estate of Ada W. Slaight+ • The Slaight Family Foundation • Estate of Helen Allen Stacey • Michael
& Anne Tyler Fund through the Victoria Foundation • Estate of Dr Jannie Woo • Estate of Elizabeth Work •
1 anonymous gift

Annual Donors          Gifts in support of annual operations and special projects.

MAJOR CONTRIBUTORS
$250,000+ VISIONARIES Estate of Ada W. Slaight+ • The Slaight Family Foundation • 1 anonymous gift
$100,000+ DIRECTORS CIRCLE Ron++ & Barbara++ Besse • David & Amy Fulton • Nona Heaslip++ •
Colleen++ & Brian Johnston • Corinne++ & Victor++ Rice • 1 anonymous gift
$50,000+ ARTISTS CIRCLE Patricia & Barrie Barootes • James F. Brown++ • Mary E. Hill++ • Chris & Jeanne
Jennings • Oliver Kent & Martine Jaworski • Diane++ & James King • Mona+ & Harvey Levenstein • The Jim
Meekison++ & Carolyn Keystone++ Foundation • Philip Terranova & Audrey Allen
$25,000+ PRODUCERS CIRCLE Richard & Mona Alonzo • Carol & David+ Appel • Charles Balbach++
• Robin Campbell++ & Peter Jewett++ • Truly Carmichael* & Tim Jennings*++ • Tim Carroll*++ & Alexis
Milligan* • Michael Eagen & Michele Darling+ • Val Fleming+ • Wendy++ & Bruce++ Gitelman • In memory
of Charles J. Hahn • Nathan & Marilyn Hayward • Mr & Mrs C.L. Hunt • Martha+ & Tom++ Hyde • Paul
& Valerie Kirkconnell • Kristian+ & Anita Knibutat • Richard McCoy+ • Andrew++ & Valerie Pringle •
William++ & Meredith Saunderson • Nancy Smith++ • Donald++ & Elaine++ Triggs • Jaime Watt++ & Paul
Ferguson • 1 anonymous gift
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