DAMN YANKEES - Shaw Festival
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DAMN YANKEES
2022 Ensemble
ARTISTIC DIRECTOR Tim Carroll EXECUTIVE DIRECTOR Tim Jennings ASSOCIATE
ARTISTIC DIRECTOR Kimberley Rampersad DIRECTORS Chris Abraham • Philip Akin •
Molly Atkinson • Keith Barker • László Bérczes • Tim Carroll • Diana Donnelly • Kelli
Fox • Kate Hennig • Brian Hill • Marla McLean • Kimberley Rampersad • Sanjay Talwar
• Jonathan Tan • Severn Thompson • Jay Turvey MUSIC DIRECTORS / COMPOSERS / SOUND
DESIGNERS Ryan Cowl • Darryn deSouza • Ryan deSouza • John Gzowski • John Lott •
Thomas Ryder Payne • Miquel Rodriguez • James Smith • Paul Sportelli • Christopher
Stanton • Claudio Vena • Gilles Zolty CHOREOGRAPHY / MOVEMENT / FIGHT DIRECTION
Richard Comeau • Alexis Milligan • Allison Plamondon • Kimberley Rampersad •
Kiera Sangster • John Stead MAGIC AND ILLUSIONS / PUPPETRY Skylar Fox • Alexandra
Montagnese • Mike Petersen DESIGNERS Judith Bowden • Isidra Cruz • Bálazs Cziegler
• Anahita Dehbonehie • Laura Delchiaro • Shannon Lea Doyle • Rachel Forbes • Julie
Fox • Gillian Gallow • Michael Gianfrancesco • Camellia Koo • Sue LePage • Christine
Lohre • Joyce Padua • Christina Poddubiuk • Cory Sincennes • Sim Suzer • Ming Wong
LIGHTING DESIGNERS Nick Andison • Bonnie Beecher • Mikael Kangas • Kevin Lamotte
• Jennifer Lennon • Chris Malkowski • Kimberly Purtell • Michelle Ramsay PROJECTION
DESIGNER Cameron Davis STAGE MANAGEMENT Sara Allison • Beatrice Campbell •
Jordine De Guzman • Meghan Froebelius • Ashley Ireland • Amy Jewell • Diane Konkin
• Meredith Macdonald • Leigh McClymont • Annie McWhinnie • Théa Pel • Melania
Radelicki • Andrea Schurman • Allan Teichman • Dora Tomassi • Kathryn Urbanek
ENSEMBLE David Adams • David Alan Anderson • Neil Barclay • Kyle Blair • Kristopher
Bowman • Andrew Broderick • Jason Cadieux • Shane Carty • Julia Course • James
Daly • Peter Fernandes • Jonathan Fisher • Sharry Flett • Jenn Forgie • Kristi Frank •
Patrick Galligan • Katherine Gauthier • JJ Gerber • Élodie Gillett • Alexis Gordon •
Martin Happer • Deborah Hay • Kate Hennig • Jeff Irving • Patty Jamieson • Gabrielle
Jones • Nicole Joy-Fraser • Nathanael Judah
• Claire Jullien • Graeme Kitagawa • Andrew
Lawrie • Allan Louis • Julie Lumsden • Caitlyn
MacInnis • Marie Mahabal • Michael Man •
Allison McCaughey • Kevin McLachlan • Marla
McLean • Alexandra Montagnese • Nafeesa
Monroe • André Morin • Mike Nadajewski •
Monica Parks • Mike Petersen • Drew Plummer
• Kimberley Rampersad • Alana Randall •
David Andrew Reid • Ric Reid • Jade Repeta •
Tom Rooney • Kiera Sangster • Travis Seetoo
• Adam Sergison • Olivia Sinclair-Brisbane
• Gabriella Sundar Singh • Donna Soares
• Graeme Somerville • Johnathan Sousa •
Jeremiah Sparks • Sanjay Talwar • Jonathan
Tan • Taurian Teelucksingh • Jacqueline Thair
• Jay Turvey • Sophia Walker • Kelly Wong •
Jenny L. Wright
IN MEMORIAM Tadeusz Bradecki • Richard Farrell • John Gilbert • Martha Henry •
Wendy Jarry • Christopher Newton • Ada Slaight • Allan Slaight • Bob Vernon •
Colin D. Watson
“back to normal.”
What do those words even
mean now? There can be
no doubt, after two years
unlike any we have lived
through, that the world is
a different place. We have
all learned a lot, about
ourselves and each other.
Here are some things we
have learned at The Shaw:
To experience theatre,
you need to be there,
live, sharing a space
with other people.
Theatre can happen in gardens and up trees as well as in theatres.
What happens before and after the show is just as important as the
performance.
All of which explains why the computer can only supplement what
we do, not replace it: what is the point of watching a play if, at the end,
you simply click a button and go back into your online echo-chamber?
Instead, here you are, about to watch a performance among people you
don’t know. Please don’t waste the opportunity. Turn to your neighbour,
in the interval, or at the end, and ask them: “What are you thinking?”
tim carroll, artistic direc tor
FESTIVAL THEATRE DAMN YANKEES • THE IMPORTANCE OF BEING EARNEST
• THE DOCTOR’S DILEMMA ROYAL GEORGE THEATRE CYR ANO DE BERGER AC
• GASLIGHT • CHITR A • JUST TO GET MARRIED JACKIE MAXWELL STUDIO
THEATRE THIS IS HOW WE GOT HERE • TOO TRUE TO BE GOOD • EVERYBODY
• August Wilson’s GEM OF THE OCEAN OUTDOORS @ THE SHAW FAIRGROUND
& SHAWGROUND • Outdoor Concerts & Events • A SHORT HISTORY OF NIAGAR A
HOLIDAY SEASON A CHRISTMAS CAROL • Irving Berlin’s WHITE CHRISTMAS
The Shaw wishes to acknowledge and honour the land upon SPECIAL THANKS
which we gather as the historic and traditional territory of
Paul Rodermond’s internship in
First Nations peoples. In particular, we recognize and thank
Music Direction is supported
the Neutral Nation, the Mississauga and the Haudenosaunee
by The Shaw Guild. Nathanael
for their stewardship of these lands over millennia. We also
Judah, Graeme Kitagawa, Caitlyn
wish to thank all of the First Nations peoples in Canada, and
MacInnis, Kevin McLachlan, Jade
the Indigenous peoples of the United States, for their ongoing Repeta, Olivia Sinclair-Brisbane
and important roles in the caretaking of the lands beneath and Taurian Teelucksingh are sup-
our feet, wherever we travel on Turtle Island. ported by the RBC Foundation and
the RBC Emerging Artists Project.
The 2022 Christopher Newton
Interns are Beyata Hackborn and
2022 Boards David Andrew Reid, generously
supported by Marilyn and Charles
Baillie.
SHAW FESTIVAL THEATRE, CANADA The Shaw Festival Archives are
housed at the University of Guelph
BOARD OF DIRECTORS Ian M.H. Joseph, Chair • Timothy R.
and maintained by the staff of the
Price, Vice Chair • Gregory N. Prince, Treasurer • Elizabeth
L.W. Conolly Theatre Archives.
S. Dipchand, Secretary • Peter E.S. Jewett, Past Chair • Tim
Carroll, Artistic Director (ex officio) • Tim Jennings, Executive Lobby display materials courtesy
Director (ex officio) • Philip Akin • Glen Bandiera, MD • Sylvia of David Grapes II.
Bennett • Sheila Brown • Vivien Dzau • Lyle Hall • Thomas
R. Hyde • Tim Johnson • Corinne Foster Rice • Robin Ridesic ACKNOWLEDGEMENTS
• Samiha Sachedina • Nicole R. Tzetzo • Alan J. Walker (Presi- The Shaw Festival is a member of
dent, Shaw Guild) • Jaime Watt the Professional Association of
BOARD OF GOVERNORS Timothy R. Price, Chair & Frances Canadian Theatres, and engages
M. Price • Ian M.H. Joseph, Vice Chair & Rebecca H. Joseph • professional artists who are
Tim Carroll, Artistic Director (ex officio) • Tim Jennings, Execu- members of the Canadian Actors’
Equity Association and The Niagara
tive Director (ex officio) • Marilyn Baillie & A. Charles Baillie •
Region Musicians’ Association,
Charles E. Balbach • Barbara Besse & Ronald D. Besse • James
American Federation of Musicians
F. Brown & Jean Stevenson, MD • Robin Campbell & Peter E.S.
of the United States and Canada,
Jewett • Alberta G. Cefis & Ilio Santilli • Betty Disero (Lord
Local 298.
Mayor, Town of Niagara-on-the-Lake) • Wendy Gitelman &
Bruce Gitelman • Lyle Hall (Chair, Development Committee) • 828
Nona Macdonald Heaslip • Mary E. Hill • Carolyn Keystone
& James D. Meekison • Diane K. King • Elizabeth A. Simmons
& Edward D. Simmons, MD • Nancy Smith • Marc St-Onge The Shaw Festival engages stage
(Chair, Boxing Committee) • Elaine G. Triggs & Donald L. Triggs technicians, audience sales and
services staff, and facilities staff
• Alan J. Walker (President, Shaw Guild)
supplied by Local 461, and scenic
SHAW FESTIVAL THEATRE ENDOWMENT FOUNDATION artists supplied by Local 828, of the
Anthony R. Graham, Chair • Lorne R. Barclay, Vice Chair • International Alliance of Theatrical
Tim Jennings, Secretary (ex officio) • Roy Reeves, Treasurer Stage Employees, Moving Picture
(ex officio) • Vivien Dzau • Richard D. Falconer • Kenneth P. Technicians, Artists and Allied
Friedman • Colleen Johnston • Peter E. Nesbitt • Andrew M. Crafts of the United States, its
Pringle • William J. Saunderson (Chair, Investment Committee) Territories, and Canada.
• Bruce Winter Copyright © Shaw Festival 2022.
SHAW FESTIVAL FOUNDATION (USA) James M. Wadsworth, The Shaw’s house programmes
President • James F. Brown, Vice President • Sylvia Bennett, are designed and produced by
Vice President • Victor A. Rice, Vice President • Kenneth P. Scott McKowen at Punch & Judy
Friedman, Treasurer • Ronald H. Luczak, Secretary • Nicole Inc. They are compiled and edited
R. Tzetzo (Legal Counsel) by Jean German, with assistance,
editorial writing and research
FOUNDERS
by Bob Hetherington. Additional
Brian Doherty, C.M. (1906-1974) assistance by Leonard Conolly and
Calvin G. Rand (1929-2016) Elaine Calder. Artist portraits and
HONORARY PATRONS production photography by David
The Right Honourable Justin Trudeau Cooper. Printed by Sportswood
The Honourable Doug Ford Printing, Staffordville.
A ROUND OF APPLAUSE FOR OUR PARTNERS
MAJOR
SUPPORTERS Marilyn & Charles Baillie Tim & Frances Price
THEATRE, PRODUCTION AND STAGE SPONSORS
Wendy
James F. Brown & Bruce
Gitelman
William and Nona Mary E. Hill James &
Macdonald Heaslip Diane King
Foundation
Gabriel Pascal Dorothy Strelsin
Memorial Fund Foundation
PROGRAM AND PROJECT SUPPORTERS
Children and Family
Shaw Link for Schools Bridging Borders Partner Program Supporter Accessibility Partner
Christopher &
AT TO R N E Y S
LLP
Jeanne Jennings
Emerging Artists Program Stage Door Program B&B Partner Theatre for All Program Hotel
Partner
MEDIA, PRODUCT AND IN-KIND 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
An agency of the Government of Ontario
gouvernement du Canada à travers l’Agence
Un organisme du gouvernement de l’Ontario fédérale de développementéconomique
pour le Sud 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
Stimulate your phagocytes!
THE INTERNATIONAL
SHAW SOCIETY
A community for
Shaw Scholars,
Theatre Artists,
and Enthusiasts
Join us at shawsociety.org
A LASTING IMPACT “The Shaw was a major part of our theatre
Thank you, Leo!
experience for me and my late partner,
Denny. I fondly reflect on our many lively
discussions after every performance.
It became obvious to Denny and me, that
we wanted to leave a legacy to ensure that
The Shaw will continue to encourage such
conversations and provide inspiration –
something that is so needed in our world.
Thank you, Shaw Festival.”
– Leo Maloney
Patrick Galligan, Leo Maloney and Kimberley
Rampersad. Photo by David Cooper.
To find out more about becoming a part of The
Doherty-Rand Legacy Circle, contact Kim White
at kwhite@shawfest.com or call 289-783-1924.
Client: SHAW FESTIVAL Publication: 2022 House Programme Insertion Date: 2022
Size: 4.875 in in x 3.875 in Contact: BRUCE@KEYGORDON.COM
Design Assistants Cutters Outdoor Audio Operator 1
Staff EMILY DOTSON RAMONA CRAWFORD MIKE WALSH
BEYATA HACKBORN MORGAN MACKINTOSH Outdoor Audio Operator 2
EXECUTIVE TEAM PAIGE PRYSTUPA BOBBI PIDDUCK WAYNE BERGE
Design Mentor AVRIL STEVENSON Electrics
Artistic Director
TIM CARROLL JUDITH BOWDEN Tailors Head of Electrics
Lighting Design Director MONIQUE MacNEILL JOHN MARSHALL
Executive Director
TIM JENNINGS KEVIN LAMOTTE DENIS PIZZACALLA Festival Electrician
Executive Assistant Assistant Lighting Designers First Hands STUART WILLIAMSON
JANET HANNA NICK ANDISON AUDREY-JOY BERGSMA Royal George Electrician
MIKAEL KANGAS PILLING
PAUL McMANIS
CREATIVE JEFF PYBUS DARLENE HENDRY
MANAGEMENT KATHY SCOZZAFAVA Studio Electrician
EMILIE TRIMBEE MEL THIVIERGE
Associate Artistic Director VERONICA WATKINS
Stage Management 2nd Studio Electrician
KIMBERLEY RAMPERSAD Sewers
Production Stage Manager BRIAN SKELTON
Planning Director MEREDITH MACDONALD TIINA ADAMS
JEFF CUMMINGS REBECCA BOYD Festival Deck Electrician
Stage Managers CASEY BROWN JASON CHESWORTH
Producer BEATRICE CAMPBELL
NATALIE ACKERS VIVIAN CHEUNG 1st Spot Operator/
AMY JEWELL Deck Electrician
CAROL FARNAN
Music Director DIANE KONKIN JEAN ST-ONGE
PAUL SPORTELLI SAMANTHA FELSBOURG
LEIGH McCLYMONT
BONNIE GETTY 2nd Spot Operator
Associate Music Director / ANDREA SCHURMAN BRIAN SKELTON
DEANNA HERBERT
Company Pianist ALLAN TEICHMAN
RYAN deSOUZA AURORA JUDGE Festival Changeover
DORA TOMASSI
SANDRA LaROSE Electrician
Company Manager Assistant Stage Managers CARLA LONG PAUL TOYNE
STÉPHANIE FILIPPI MEGHAN FROEBELIUS ALLISON MacISAAC Electrics Apprentice
Publications Co-ordinator ASHLEY IRELAND ANDREA MacKENZIE NICOLE GENGE
JEAN GERMAN ANNIE McWHINNIE KAYLEN McCORMACK Stage Crew
Assistant Producer THÉA PEL KAREN MERRIAM
MELANIA RADELICKI Head Stage Carpenter
MEGHAN FROEBELIUS DARLENE NASZADOS
(to February 25th) JEFF BINGLEY
Apprentice Stage Managers KATHLEEN VAN DYKE
CAEA/SEA Contract JORDINE De GUZMAN Festival Stage Carpenter
MICHELLE WARREN ARCHIE MacKENZIE
Co-ordinator KATHRYN URBANEK Scenic Art Royal George Stage Carpenter
SARAH PHILLIPS Properties Head of Scenic Art DAVID SCHILZ
Covid Compliance Manager Head of Properties GWYNETH STARK
ALISON PEDDIE WAYNE REIERSON Royal George Lunchtime
Assistant Head of Scenic Art Stage Carpenter
THE SLAIGHT Assistant Head of Properties MARK CARREIRO FOLKERT BERGSMA
FAMILY ACADEMY TAMMY FENNER Scenic Artists Festival Properties Runner
Voice and Dialect Coaches Properties Buyer JANA BERGSMA JOY BEELEY
NANCY BENJAMIN BRENT HICKEY ANDREA HARRINGTON Royal George
JEFFREY SIMLETT Properties Builder 1 JESSICA MacDUFF Properties Runner
JENNIFER TOOHEY ANNA-MARIE Assistant Scenic Artist LAURA MASCITELLI
Alexander Technique BAUMGART DANIELLE POIRIER
ROD HILLIER Studio Stage
VICTORIA HEART Scenic Construction Properties Runner
Singing Coaches KATHRYN KERR JOE BONAR
MATT LECKIE Head of Scenic Construction
VAN ABRAHAMS LESSLIE TUNMER Studio Stage
PATRICK BOWMAN ALEXA MacKENZIE
Assistant Head of Swing Supervisor
EILEEN SMITH JENNA PURNELL DAVID DiFRANCESCO
JENNIFER STEVENS Scenic Construction
Movement Coach MYRON JURYCHUK Royal George Holiday
ANDREA WILLETTE
ALEXIS MILLIGAN Trades Properties Runner
Properties Builder 2 MARTIN WOODYARD
Senior Manager, Education CHRYSTINE ANDERSON
SEAN BEER
SUZANNE MERRIAM ROB BROPHY Festival Stage Trade
EMILY DYCK FRANK ZALOKAR
Education Co-ordinator MAC HILLIER GEORGE GALANIS
MEGAN GILCHRIST COLIN WELSH BLAIR GREENWOOD Royal George Stage Hand
Education Assistant MICHAEL HASLEHURST TREVOR HUGHES
Wardrobe TOM HURST
WARREN BAIN Outdoor Stage Supervisor
Head of Wardrobe KEVIN McGUIRE
Music Intern Shop Administrator
JASON BENDIG
PAUL RODERMOND SHANNON ENGEMANN Changeover Crew
Associate Head of Wardrobe
Intern Directors Construction Electrics Festival Changeover
JANET ELLIS
RYAN G. HINDS Head of Construction Supervisor
Wardrobe Co-ordinator Electrics PAUL TIMMERMAN
CHRISTOPHER
MANOUSOS KENDRA COOPER JOHN VANIDOUR Festival Changeover
Wardrobe Apprentices Construction Electrician Flyperson
PRODUCTION CHRIS FARIS ROB MAZZA
ANTHONY BLASCHUCK,
Production Director CARLYN RAHUSAAR JR Festival Changeover Hands
DON FINLAYSON ROUTLEDGE
Audio SHAWN GILBERT
Production Administrator Buyer CARM SACCO
MARGARET FERENCZ Head of Audio
MAUREEN GURNEY AARON WILLICK
COREY MACFADYEN
Technical Directors Milliner Royal George
MARK CALLAN Assistant Head of Audio
MARGIE BERGGREN Changeover Supervisor
KAITLYN MacKINNON
JASON WOODGATE Accessories ROB GRINDLAY
Festival Audio Operator
Associate Technical Director MICHELLE HARRISSON Royal George
FRED GABRSEK
JEFF SCOLLON Boots/Shoes Changeover Trade
Royal George Audio Operator MIKE PALMIERI
Assistant Technical STACEY BONAR
Director – Logistics JULIAN MAINPRIZE
Fabric Art/Dyer Royal George
DAN GALLO Studio Audio Operator Changeover Hand
JEAN RUMNEY
Design ROB ROBBINS ROLF LIEDTKE
Crafts
Design Co-ordinator Festival RF Technician
TRULY CARMICHAEL
LAUREN REBELO JAMES MASSWOHL
Wardrobe Running Research Officer VERA LENC Digital Engagement Specialist
Head of Wardrobe Running CATHY LINDSEY ISAAC LILLIE RHIANNON FLEMING
MARGARET MOLOKACH Senior Associate, Events MATT MARTIN Production Photographer
1st Festival Wardrobe RENATA Di FILIPPO MARY MATHEWS DAVID COOPER
Supervisor Associate, Reporting AMANDA McDONNELL Sales
JOANNE BLASCHUK and Direct Response SARAH McDOUGALL Senior Manager,
Royal George Wardrobe COLLEEN MONFILS JENNIFER McLAREN Ticketing and Analytics
Supervisor Associate, Corporate Partner- JULES MOORE AARON BOYD
KATY NAGY ships and Communications JOANNE PRIESTMAN Managers, Sales
Studio Wardrobe Supervisor TINA SCHMIDT ROSS RINGLER and Box Office
MICHELLE GADULA Co-ordinator, Major KATHERINE ROBERT CARI GOSNELL
2nd Festival Wardrobe and Special Gifts DANIELLA ROUSAL RYAN HULL
Supervisor LAURA LANGLOIS JESS SCHRYER Assistant Manager,
BOBBI PIDDUCK Co-ordinator, Gift Processing ELEANOR SNIDER Sales and Box Office
Royal George Lunchtime MADELINE MAMBELLA PAUL SNIDER MICHELLE CHASE
Wardrobe Supervisor Administrative Co-ordinator KEITH SUTHERLAND Co-ordinator, Reports
KATHLEEN VAN DYKE STEPHANIE BROWN NINA TAYLOR and Scheduling
Festival Wardrobe Trades MELANIE THOMPSON SARAH RODGERS
Administrative Assistant
CHRISTINA GALANIS STERLING TOOKE Co-ordinator,
BROOKE BARNES
ELAINE REDDING OLIVIA TRIVIERI Sales Technology
Supervisors, Membership JOCELYN WARD
ANGELA THOMAS Services SHANNA TAILLON
DOT WARD JULIEN WARD Administrative Assistant
JEFF MacKAY
KATHRYN WILSON PIPPA BARWELL
Royal George MATT RATELLE
Wardrobe Trades Housekeeping Staff Box Office Staff
Membership Representatives
PAM GALLOP PAMELA BRAZEAU ERIC BAUER
ELIZABETH ABRAHIM
SHEILA RADOVANCEVIC DOROTHY CARTER BRYAN BROOME
TERESA COSTELLO
Wigs and Make-up MARIE DUMOULIN GENY COLICCHIO-
THERESA FEOR
DONNA INGLIS QUINN
Head of Wigs and Make-up NICOLE MEADE
LORI-ANN McALLISTER TESSA GROOMBRIDGE
LORNA HENDERSON ALISON PETTEN
PAT McAULAY SUSANNE HESLOP
Festival Wigs Supervisor ANNE WILSON
CARMELLA SAPIENZA JOEL RENNER
FLORENCE LEWIS FINANCE AND SUE SIMS
ADMINISTRATION ANTONETTA TREMONTE
Royal George Wigs Supervisor JUDY SOBIERAJ
LORENA GHIRARDI Director Senior Manager,
ROY REEVES Maintenance Lead Hand Group and On-site Sales
2nd Royal George DAVID McCARTHY WES BROWN
Wigs Supervisor Controller
EMMA DIRKS JULIE ALLEN-SARGENT Maintenance Crew Heads Green Room
ANDY LOUTER Cook
Royal George Lunchtime Assistant Controller NEIL SMITH
Wigs Supervisor KIM EPP JUDE JONES
NANCY GYORKI Grounds Crew Staff
Payroll Co-ordinator TYLER LEYLAND
1st Festival Wigs Trade RICK FOKKENS CHASE CRAWFORD
JEANETTE WARD Distribution ERIKA LOFFELMANN
Senior Accounting Clerk SIMON MARTINSON
1st Royal George Wigs Trade GREG McARTHUR Supervisor
MELISSA MOTTOLA PAUL RODGERS Retail
Accounts Payable Clerks
MONICA BUDD Co-ordinator Manager, Retail Sales
MANAGEMENT MARGARET CUMMING and Shaw Express
TRISH FEDOROWICH
Human Resources Information Technology MATT WEAVER
Audience Services
Director and Facilities Director Staff
DIANNE GIBBS SARAH FABIANI MARCUS ANDREWS
Senior Manager SAMARA BISSONNETTE
Wellness and CHUCK MEWETT Software Developer
Inclusion Facilitator VIKTOR STREMLER MARK FRIESEN
KHAN BOUBA- Manager, Food and Beverage JENNIFER PALABAY
DALAMBAYE JULIANNA UGUCCIONI Network Administrator
DANA PERESSOTTI
Managers, Front-of-House JOHN CHRISTIAN
Housing CHELSEA TOTTEN
WILL CROTHERS Reception
Manager Special Ticketing
NIKI POIRIER SUSAN DYER Supervisor
LEEANNE PRICE Senior Manager
GREG McARTHUR
Interim Co-ordinators ALLISON COCHRAN
GEORGINA PIOVESANA Database-Maintenance
NINA TAYLOR Assistant Co-ordinator
MURIEL TRIANO Receptionists
Maintenance HANNAH ANDERSON JANE McINTYRE
LARRY BENNETT Head of Housekeeping
DONNA SMITH SUSAN ASHUKIAN Assistant
DEVELOPMENT MAUREEN BUTLER JULIE JONES
Head of Maintenance/
Director of Advancement Security FRANCES JOHNSON
CINDY MEWHINNEY GREIG HUNTER MARKETING, House Programmes
Director, Annual Giving COMMUNICATIONS PUNCH & JUDY INC
Front-of-House/Food
MARTHA SPEARS and Beverage Staff AND SALES Covid Testing Partner
Associate Director DENNIS ALBERT Director McMaster HealthLabs/
MARION RAWSON JEANNIE BERG VALERIE TAYLOR Research
St Joseph’s HealthCare
Senior Officer, Individual LEA BOWMAN Senior Marketing and Hamilton
Gifts and Legacy Giving OWEN BROWN Brand Manager
JODI GILCHRIST
KIMBERLEY WHITE LYNN COATES NATHALIE IVANY-
BECCHETTI NICOLE SMIEJA
Senior Development and WILL CROTHERS DR DAVID BULIR
U.S. Relations Ambassador ROXANNE Direct Marketing
Co-ordinator DR MAREK SMIEJA
CHARLIE OWENS DiFRANCESCO
SUSAN DYER MARY CLARE LAMON Theatre Chiropractor
Manager, Governors Council DR BREANNE SCHULTZ
CHRISTINE PELLERIN ÉLIZE EARWICKER Graphic Designer
BEVERLY EDWARDSON SARAH DOWSE Shaw Librarian
Manager, NANCY BUTLER
Membership Services DARCY ELLISON Communications
TIM CZABAN WENDY FRASER Senior Manager
GAIL HEWITT ASHLEY BELMER Artistic Director Emeriti
Stewardship Officer JACKIE MAXWELL
HEATHER SARGESON- SHARON JEAN Communications
ANTHONY KUCHAR PAXTON WHITEHEAD
CALLARA Co-ordinator
ANNE MARIE LENC JENNIFFER ANAND
COME C
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BR
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O F H AT T E RY
WIT H U S
INTRODUCING
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In the Interest of All Patrons
PHYSICAL DISTANCING should be observed by all patrons as much as possible, and as directed by our
Front-of-House team.
FACE COVERINGS are required of all patrons, in conjunction with regional requirements and internal
safety protocols.
CELLULAR PHONES, CAMERAS AND RECORDING DEVICES During the performance, there is no photog-
raphy or filming permitted, and we ask that you turn off your cell phones. We do invite you to take photos
when the house lights are on – pre-show, at intermission and post-show. Please ensure that wristwatch
alarms and other noisemakers cannot sound during the performance. Alternatively, you can leave them
with our staff at the Coat Check.
ASSISTIVE LISTENING DEVICES for the hard of hearing are available at our indoor theatres only. There is
no charge, but we do ask you to consider a donation at time of pick up. This donation helps with the cost to
repair and replace these devices. Reserve early, limited availability. Please see the House Manager on duty.
IF YOU ARE LATE OR NEED TO LEAVE THE AUDITORIUM OR OUTDOOR SEATING AREA during the
performance, you will be re-seated at a suitable break in the performance, at which time the seating location
will be at the discretion of management.
FOR FIRST AID please see the House Manager or the nearest usher. At least one staff member on duty is
trained in First Aid and CPR.
FOR YOUR SAFETY all of our theatres have the requisite exits and have been inspected. The theatres and
exits to the buildings have emergency lighting in case of a power outage. In an emergency, our staff are
trained to carry out an immediate and effective evacuation. You are requested to follow their instructions
and remain calm. You will be directed to a marshalling area: please remain there until otherwise advised by
our staff or emergency personnel. If you discover a fire you should activate the nearest alarm and, immedi-
ately following evacuation, identify yourself to a staff member and provide details of the alarm.
THANK YOU FOR
60 YEARS OF
SHEER JOY
SHAWFEST.COM/SUPPORT-US James Daly and Michael Therriault with the cast of Grand Hotel (2018)
Client: SHAW FESTIVAL Publication: 2022 House Programme Insertion Date: 2022
Size: 4.875 in in x 3.875 in Contact: BRUCE@KEYGORDON.COMFESTIVAL THEATRE, APRIL 30 TO OCTOBER 9
TIM CARROLL TIM JENNINGS
Artistic Director Executive Director
KIMBERLEY RAMPERSAD, Associate Artistic Director
SHANE CARTY, MIKE NADAJEWSKI, JAMES DALY,
PATTY JAMIESON and KIMBERLEY RAMPERSAD in
DAMN YANKEES
words and music by RICHARD
ADLER and JERRY ROSS
book by GEORGE ABBOTT and DOUGLASS WALLOP
based on the novel by Douglass Wallop The Year the Yankees Lost the Pennant
with ANDREW BRODERICK, PETER FERNANDES, JJ GERBER,
ÉLODIE GILLETT, GABRIELLE JONES, GRAEME KITAGAWA,
CAITLYN MacINNIS, ALLISON McCAUGHEY, KEVIN McLACHLAN,
DREW PLUMMER, ALANA RANDALL, DAVID ANDREW REID, RIC REID,
JADE REPETA, ADAM SERGISON, OLIVIA SINCLAIR-BRISBANE, TAURIAN
TEELUCKSINGH, JACQUELINE THAIR, JAY TURVEY and KELLY WONG
Directed by BRIAN HILL
Music direction by PAUL SPORTELLI
Choreography by ALLISON PLAMONDON
Set and costumes designed by CORY SINCENNES
Lighting designed by MIKAEL KANGAS
Sound designed by JOHN LOTT
Magic and illusions designed by SKYLAR FOX
Damn Yankees is presented through special arrangement with Music Theatre International (MTI).
All authorized performance materials are also supplied by MTI. mtishows.com
All changes from the original script of Damn Yankees were expressly approved by the copyright
owners for this production only, with all rights retained in full by the copyright owners.
The videotaping or other video or audio recording of this production is strictly prohibited.
IN MEMORIAM: CHRISTOPHER NEWTON, ARTISTIC DIRECTOR EMERITUS (1936–2021).
DAMN YANKEES is generously sponsored by
FRONT COVER: SHANE CARTY, PHOTO BY ANDREW LUSZTYK/KEY GORDON.KIMBERLEY RAMPERSAD AS
LOLA WITH MIKE NADAJEWSKI
AS APPLEGATE .
Graeme Kitagawa, Caitlyn MacInnis,
DAMN YANKEES Kevin McLachlan, Jade Repeta,
is generously Olivia Sinclair-Brisbane and Taurian
Teelucksingh are generously sup-
sponsored by ported by the RBC Foundation and
the RBC Emerging Artist Project.
The 2022 Christopher Newton Interns,
Beyata Hackborn and David Andrew
Reid, are generously supported by
Marilyn and Charles Baillie.The Cast IN ALPHABETICAL ORDER
Rocky / Ensemble ANDREW BRODERICK
Joe Boyd SHANE CARTY
Joe Hardy JAMES DALY
Sohovik / Ensemble PETER FERNANDES
Lynch / Ensemble JJ GERBER
Sister Miller / Ensemble ÉLODIE GILLETT
Meg Boyd PATTY JAMIESON
Miss Weston / Ensemble GABRIELLE JONES
Linville / Ensemble GRAEME KITAGAWA
Baseball Player / Ensemble CAITLYN MacINNIS
Doris Miller / Ensemble ALLISON McCAUGHEY
Smokey / Ensemble KEVIN McLACHLAN
Applegate MIKE NADAJEWSKI
Vernon / Ensemble DREW PLUMMER
Lola KIMBERLEY RAMPERSAD
Ensemble ALANA RANDALL
Henry / Ensemble DAVID ANDREW REID
Postmaster / Ensemble RIC REID
Swing JADE REPETA
Swing ADAM SERGISON
Gloria Thorpe / Ensemble OLIVIA SINCLAIR-BRISBANE
Commissioner / Ensemble TAURIAN TEELUCKSINGH
Darlene / Ensemble JACQUELINE THAIR
Van Buren / Ensemble JAY TURVEY
Welch / Ensemble KELLY WONG
Stage Manager BEATRICE CAMPBELL
Assistant Stage Manager ANNIE McWHINNIE
Assistant Stage Manager MELANIA RADELICKI
Rehearsal Apprentice Stage Manager KATHRYN URBANEK
Production Stage Manager MEREDITH MACDONALD
Assistant Director RYAN G. HINDS
Assistant Choreographer DAVID ANDREW REID
Assistant Designer BEYATA HACKBORN
Assistant Lighting Designer NICK ANDISON
Orchestral Adaptation PAUL SPORTELLI
Keyboard Programmer DAVID ATKINSON
Dance Captain JADE REPETA
Magic Captain PETER FERNANDES
Voice and Dialect Coach JEFFREY SIMLETT
Special thanks to Michael Cooper for production photography.
Additional Scenic Art assistance provided by Jessica Wu. Additional Wardrobe
assistance provided by Aurora Judge, Carla Long, Allison MacIsaac and Nancy Thiessen.
Additional Wigs and Make-up assistance provided by Brigette Clark-Carmichael,
Nancy Gyorki, Lin McCoy, Angela Moncur, Joe Paonessa, Julie Scott and Cindy Lou Taché.
Running time is approximately 2 hours and 45 minutes including one intermissionMusical Numbers
ACT i
OVERTURE Orchestra
SIX MONTHS OUT OF EVERY YEAR Meg, Joe, Ensemble
GOODBYE, OLD GIRL Joe
HEART Van Buren, Rocky, Smokey, Vernon
SHOELESS JOE FROM HANNIBAL, MO Gloria, Washington Senators, Ensemble
A MAN DOESN’T KNOW Joe
A LITTLE BRAINS, A LITTLE TALENT Lola
A MAN DOESN’T KNOW (REPRISE) Joe, Meg
WHATEVER LOLA WANTS Lola
HEART (REPRISE) Sister, Doris, Fans
WHO’S GOT THE PAIN? Lola, Washington Senators
FINALE Ensemble
INTERMISSION
ACT ii
OPENING Orchestra
THE GAME Washington Senators
NEAR TO YOU Joe, Meg
THOSE WERE THE GOOD OLD DAYS Applegate
TWO LOST SOULS Joe, Lola, Ensemble
A MAN DOESN’T KNOW (REPRISE) Meg, Joe
Revised lyrics for parts of “The Game” and “Those Were the Good Old Days” by Neil Bartram.
ORCHESTRA
PAUL SPORTELLI, conductor; RYAN deSOUZA, associate conductor/keyboard;
PAUL RODERMOND, substitute keyboard; ANDY BALLANTYNE, piccolo/flute/alto saxophone;
ERICA BESTON, violin 2; SASHA BOYCHOUK, bass clarinet/baritone saxophone; ALEX GRANT, cello;
TOM JESTADT, drums/percussion; NANCY KERSHAW: violin 1 (from July 4); IRIS KRIZMANIK,
French horn substitute; JASON LOGUE, trumpet 1; ROSS MacINTYRE, bass; SHAWN MOODY,
trumpet 2; CHRISTINE PASSMORE, French horn; ANNA REDEKOP, viola; TOM SKUBLICS,
clarinet/tenor saxophone; ROB SOMERVILLE, trombone; KATHRYN SUGDEN, violin 1 (to July 3)
UNDERSTUDIES
DAVID ADAMS, Postmaster, Van Buren; PETER FERNANDES, Welch, Ensemble; ÉLODIE GILLETT, Lola;
GABRIELLE JONES, Meg Boyd; DREW PLUMMER, Rocky, Ensemble, Joe Hardy; JADE REPETA, Sister Miller, Miss Weston,
Baseball Player, Doris Miller, Darlene, Ensemble; ADAM SERGISON, Sohovik, Lynch, Linville, Smokey, Vernon, Henry,
Commissioner, Ensemble; JACQUELINE THAIR, Gloria Thorpe, Ensemble; JAY TURVEY, Joe Boyd; KELLY WONG, Applegate;
MEREDITH MACDONALD, Stage Manager; ASHLEY IRELAND/ KATHRYN URBANEK, Assistant Stage Managers
OPPOSITE, CLOCKWISE FROM TOP: OLIVIA SINCLAIR-BRISBANE AS GLORIA THORPE WITH THE
ENSEMBLE; SHANE CARTY AS JOE BOYD AND PATTY JAMIESON AS MEG BOYD; ALLISON McCAUGHEY,
ÉLODIE GILLETT, CAITLYN MacINNIS AND ALANA RANDALL; MIKE NADAJEWSKI AS APPLEGATE .“Is the devil to have all the passions as well as all the good tunes?” Bernard Shaw, man and superman
Director’s Note
by Brian Hill
For over a century, baseball has been America’s National Pastime, but honourable mention
should be given to others – sex, fame and fortune, to name a few. It’s no surprise that Joe
DiMaggio and Marilyn Monroe caught the imagination of America in the literal marriage
of these in 1954, and it’s no surprise that one year later Damn Yankees, a musical about temp-
tation and baseball, became a runaway Broadway hit.
The 1950s, that deceptively quiet time between World War II and Beatlemania, has be-
come an enduring symbol of Americana. After a decade of the Depression and a half decade
of war, the media aggressively sold Americans a life of safety and comfort wrapped up in
the American Dream. But it was, to quote another hit, an
impossible dream. That new vacuum cleaner could make
you the happiest of homemakers. That Atlas physique could
make you the perfect man. The perfect family. The perfect
car. The perfect house. Happiness was yours for the asking.
This unreachable standard was beaming endlessly from
magazines and television screens, offering our dear Damn
Yankees characters – the wives and husbands, the hapless
Senators baseball team, and Joe Boyd the middle-aged
real estate broker – a remedy to a “woefully inadequate
existence.” So, who could blame Joe for selling his soul to
become a hero in the name of America’s National Pastime?
Music Director’s Note
by Paul Sportelli
One thing’s for sure: the music and lyrics of Damn Yankees
are fun. Songs like “Heart” and “Shoeless Joe from Hannibal,
MO” are pretty irresistible – and boy, those melodies are
earworms! Consider yourself warned. The score is also
emotionally affecting with ballads like “Goodbye, Old Girl”
and “A Man Doesn’t Know.” The score moves effortlessly
from jazz-inflected songs like “Two Lost Souls” to Latin-
inflected songs like “Whatever Lola Wants,” “Who’s Got
the Pain?” and “Near to You.” There are hints of Aaron
Copland’s Americana sound in some songs and under-
scoring, as well as in the hoedown feel of “Shoeless Joe,”
and touches of Richard Strauss’ symphonic sweep and
adventurous harmonic progressions in the ballads. His-
torically in Western classical music, the Devil has been
characterized with chromaticism (melodies moving in serpentine half-steps) as well as
dissonance, and the Damn Yankees score delivers in that department, then sidesteps into
the Devil’s delightfully vaudevillian “Those Were the Good Old Days.” A sense of whimsy is
something I always appreciate in a musical score, and who can resist the utter nonsense of
the “Who’s Got the Pain?” lyric when the number is so darn fun?
DREW PLUMMER AS VERNON, KEVIN McLACHLAN AS AS SMOKEY, ANDREW BRODERICK AS ROCKY AND
JAY TURVEY AS VAN BUREN; MIKE NADAJEWSKI AS APPLEGATE AND KIMBERLEY RAMPERSAD AS
LOLA . THIS PAGE: JAMES DALY AS JOE HARDY.ILLUSTRATION FROM GOETHE’S FAUST, 1870, BY AUGUST VON KRELING; PRESIDENT DWIGHT D. EISENHOWER THE RIVALRY BETWEEN THE SENATORS AND THE YANKEES STARTED ABOUT TO THROW THE FIRST BALL AT IN THE 1920S — SENATOR GOOSE GOSLIN SLIDES SAFELY INTO HOME THE OPENING DAY GAME BETWEEN THE AS YANKEES CATCHER WALLY SCHAN MISHANDLES A THROW (BOTH WASHINGTON SENATORS AND NEW YORK ALAMY IMAGES). YANKEES, APRIL 17, 1956 (ALAMY).
Faust on First, The Devil at Bat
by Bob Hetherington
Whatever the Devil means to you, bargains made with him have proven very successful
in popular culture, with protagonists ranging from a university scholar in Renaissance
Germany, to a baseball player in mid-century America. Faust, as well as the concept of him,
originated with Dr Johann Faust, or Faustus, a German astrologer who died about 1538. As
the story goes, Faust sold his soul to the devil, Mephistopheles, in exchange for pleasurable
knowledge and knowledgeable pleasure.
When Douglass Wallop, a “frustrated Yankee hater,” created his Faustian fantasy, The
Year the Yankees Lost the Pennant (1954), the Yankees had just completed their fifth consecutive
American League pennant victory – a fact that prompted Wallop to imagine a world faced
with the alarming possibility of ten
straight Yankee championships. His
book lives in that innocent America
(a decade before AstroTurf ), when a
bad season for the Yankees was so out-
rageous the intervention of the Devil
himself was required to make it hap-
pen. A morality tale deployed against
the long-indestructible New York
Yankees might not seem so very far-
fetched to die-hard fans of the Sena-
tors though. Reviewing the musical for
America magazine, Theophilus Lewis
declared, “It’s a swell show except for
a conspicuous flaw in the plot. A man
who wants the Yankees to lose doesn’t
have to sell his soul to the Devil. Satan
already owns him.”
How bad were the Washington
Senators? Losing was the normal
way of life for the team and its devot-
ed fans. In 1957 The New York Times
mentioned the strange case of one fan
who climbed a sixty-foot scaffolding and vowed to remain there until the team won three
straight games. He had to stay up there an entire month. The Washington Senators were not
lovable losers like, say, the old Chicago Cubs. No, they were simply losers. The President of
the United States, Dwight D. Eisenhower, an unashamed Senators fan, was never shy about
expressing his support publicly and forcefully. When rumours of a move by the Senators
from Washington to Los Angeles were circulating and he was asked at a press conference
his opinion of the reported move, he tersely replied, “I’m agin it.”
The intense human feelings that underscore Wallop’s fable – unwavering devotion,
undying hope, and “miles ’n’ miles ’n’ miles of heart” – were recognizable to all, particu-
larly during the post-World War II period when the world at large was undergoing tectonic
cultural shifts. Even for people with no interest in baseball at all, the Yankees were a symbol
of something profound about America. They were America’s team. Ever since Babe Ruth
joined the Yankees in 1920, they have had a national fan base like no other team, in part
because other fans have been so focused against them. Chicago newspaper columnist MikeRAY WALSTON AS APPLEGATE, ROBERT SHAFER AS JOE
BOYD AND SHANNON BOLIN AS MEG BOYD IN THE ORIGINAL
BROADWAY PRODUCTION, 1955 (NEW YORK PUBLIC LIBRARY).
OPPOSITE: POSTER FOR THE 1958 FILM VERSION (ALAMY).
Royko would conclude, “Hating the Yankees is as American as pizza pie, unwed mothers
and cheating on your income tax.”
The context of the 1950s cannot be ignored in looking at baseball as the promise of
American life and the pressure of fulfilling expectations. Historian David Halberstam
explained, “It was a good time to be young and get on with family and career: Prices and
inflation remained low; and nearly everyone with a decent job could afford to own a home
– just like his neighbor’s.” A conservative period when compared with the turmoil of the one
to follow it, the fifties were a fidgety mix of anxiety and relaxation, sloth and achievement,
complacency and self-criticism.
Wallop helped to grow the mystique of the baseball club he so despised and raised the
disconcerting notion of the Yankee brand as a symbol of American triumphalism. Our hero
Joe Boyd, like the musical’s audience, arranged to have it both ways: to beat those damn
Yankees for every suffering Senators’ fan, but also trigger an escape clause in the Devil’s
contract and return home to Meg, his long-suffering baseball widow. After she adventured
in Oz, Dorothy Gale, an earlier American icon, arrived at the same life lesson as Joe Boyd
– “there’s no place like home.”
In 1956 NBC aired a nationally televised special to help celebrate the coming baseball
season. This broadcast, Salute to Baseball, was hosted by Art Linkletter and starred Roy
Rogers, Eddie Fisher, Gary Cooper and Ed Sullivan, along with baseball royalty Willie
Mays and Leo Durocher. The most publicized segment, though, was a ballet sequence by
Yankee’s catcher Yogi Berra, performed during a Damn Yankees skit. Here was a member
of the very team accused of sorcery in a segment from that very same musical, dancing
on live television before a larger audience than would ever see a Broadway performance.
Damn Yankees’ popularity went viral. The newly released cast recording was even played
over the loudspeakers at Yankee Stadium in the latter part of the 1955 season. “For all thecliches about baseball being a boy’s game played by grown men,” wrote Walter Shapiro in
Time magazine, “we watch and root with ardor because we sense this truth: what happens
on the big-league diamond is life magnified beyond mortal dimension.”
After playing for over one-thousand performances, Damn Yankees toured the world
(including a 1981 Jones Beach production that gave New York Jets superstar Joe Namath a
chance to play Joe Hardy), but the first true Broadway revival of the show did not turn up
until 1994, starring Bebe Neuwirth and Victor Garber, and later by Charlotte d’Amboise and
(with much ado) Jerry Lewis. When it opened the Yankees were entering their thirteenth
straight year without a post-season appearance. (Unlucky thirteen!) Then in 1995, they
qualified for the playoffs. Though they fell short of a World Series appearance that year,
the empire soon struck back and a new roster of baseball stars emerged to resurrect and
extend the Yankees dynasty. The following decade would see six World Series appearances.
That this happened in the wake of the Damn Yankees’ Broadway revival is not actual proof
that the Yankees’ management made a New Deal with the Devil. But it might be.
BOB HETHERINGTON IS A THEATRE DIRECTOR AND PROFESSOR EMERITUS AT THE UNIVERSITY OF MEMPHIS. HE IS A
FREQUENT SHAW ESSAYIST, WHOSE RECENT CONTRIBUTIONS INCLUDE THE IMPORTANCE OF BEING EARNEST (2022),
CHARLEY’S AUNT (2021), ROPE (2019), HENRY V (2018) AND MIDDLETOWN (2017).
Production History
Until Damn Yankees opened on May 5, 1955, at Broad-
way’s 46th Street Theatre (now the Richard Rodgers
Theatre) there had never been a musical about the Great
American Pastime. It would win seven Tony Awards,
run for 1,019 performances, starred Gwen Verdon (after
Mitzi Gaynor turned down the role of Lola), Ray Walston,
Stephen Douglass and, playing Sister, newcomer Jean
Stapleton (Edith Bunker on All in the Family). It also
marked the beginning of a personal and professional
partnership between Verdon and choreographer Bob
Fosse, who married in 1960.
A Broadway revival in 1994 featured Bebe Neuwirth
and Victor Garber, who was succeeded by Jerry Lewis,
making his Broadway debut. A 2008 City Center Encores
production starred Sean Hayes and Jane Krakowski. A
limited off-Broadway revival by Roundabout Theatre
Company in 2017 had Matthew Morrison as Joe, Maggie
Gyllenhaal as Lola, and Whoopi Goldberg as a gender-
bent Applegate.
George Abbott and Stanley Donen directed the film
version with most of the principal Broadway cast, and
Hollywood heart-throb Tab Hunter playing Joe Hardy.
A notable difference between the film and stage versions was the song “A Little Brains.” Ver-
don’s suggestive hip movements (as choreographed by Bob Fosse and performed on-stage)
were considered too risqué for a mainstream 1958 American audience, and so she simply
pauses at these points in the film.Damn Yankees, 2022 CLOCKWISE FROM TOP LEFT: JAY TURVEY AS VAN BUREN WITH THE ENSEMBLE; PATTY JAMIESON AS MEG BOYD WITH SHANE CARTY AS JOE BOYD; MIKE NADAJEWSKI AS APPLEGATE AND JAMES DALY AS JOE HARDY; KIMBERLEY RAMPERSAD AS LOLA AND JAMES DALY AS JOE HARDY; PATTY JAMIESON AS MEG AND JAMES DALY AS JOE HARDY.
The Authors
RICHARD ADLER (1923-2012) and JERRY ROSS (1926-1955) were successful song writers
in the 1950s. They were commissioned by George Abbott to write the score for The Pajama
Game, in collaboration with composing legend Frank Loesser (Guys and Dolls). The Pajama
Game opened in 1954 and its success led Abbott to hire the duo to compose the score for
Damn Yankees in 1955. Though the lengthy run of both shows is largely attributed to Abbott,
Adler and Ross brought a much-needed infusion of flair to Broadway. Sadly, the partnership
ended abruptly when Jerry Ross suddenly died of a lung ailment on November 11, 1955, at age
29. His untimely death cut short a creative force that was sure to be as popular and enduring
as his songs.
Richard Adler, unable to continue
writing for the stage without his part-
ner, turned his attention to writing
television commercials. He also staged
and produced several shows for U.S.
presidents; the most notable of these
was a 1962 Madison Square Garden
birthday celebration for John F. Ken-
nedy that included Marilyn Monroe
singing a version of “Happy Birthday”
to the president in her trademark
breathy voice.
GEORGE ABBOTT (1887-1995) was
one of the giants of American theatre
as playwright, director, producer and
“play doctor.” He began his career as
an actor, and between 1913 and 1934
he appeared in several productions. He later became famous as a playwright, director and
producer, contributing in some way to nearly a hundred Broadway productions. His name can
be found in the credits of some of Broadway’s biggest shows, including On Your Toes (1936), Pal
Joey (1940), Sweet Charity (1942), Wonderful Town (1953) and Damn Yankees (1955 and 1994). He
helped many performers, directors, writers and choreographers early in their careers, includ-
ing Harold Prince, Bob Fosse, Shirley MacLaine and Richard Adler. He received numerous
awards, including a Pulitzer Prize (in 1960 for Fiorello!), the New York Drama Critics Circle
Award, four Donaldson Awards, four Tony Awards, and he was a Kennedy Center honouree.
Abbott returned to Broadway at age 106 to oversee the revival of Damn Yankees. He died a
year later at 107. In a world often dominated by flamboyant characters, “Mister Abbott” was
known especially for his work ethic, austere habits and quiet demeanour.
JOHN DOUGLASS WALLOP (1920-1985) was the seventeenth John Douglass Wallop from
an old Eastern Shore family. His love of baseball began when he was five years old, when his
father took him to a Senators’ game. Because of his exceptional skill at shorthand, he was
commissioned in 1948 to record General Dwight D. Eisenhower’s memoirs from the Gen-
eral’s dictation. A newspaper reporter by profession, he was the author of thirteen novels,
the second of which, The Year the Yankees Lost the Pennant, was published in 1955, became
his best-known work and the basis for Damn Yankees.For full biographical information about our
BRIAN HILL cast and creative team, please visit shawfest.
com/ensemble.
BRIAN HILL Director
SHAW 2022: Director for Damn Yankees. On
first hearing the Brigadoon overture at the age
of six, I fell head over heels in love with musi-
cal theatre. The art form has been good to me,
and I try to be good to it. It has taken me across
Canada, Europe, China, South Korea, the U.S.,
to Broadway and back again. It has stretched me
as an actor, tested me as a writer, and thrilled
me as a director. It has introduced me to bril-
liant and beautiful artists, including my hap-
piest collaboration, my husband, composer/
lyricist Neil Bartram. I am very pleased to be
spending a fifth season at the Shaw Festival.
PAUL SPORTELLI
PAUL SPORTELLI Music Director
SHAW 2022: Music director for Damn Yankees and
White Christmas; 1922 in Concert. My mom starred
in community theatre and my parents took me to
rehearsals when I was quite young. Other parents
brought their kids too; but while the other kids were
in the parking lot playing, I was inside watching
rehearsal, mesmerized. Years later, I was music
directing at the same community theatre. Shaw pro-
ductions of Tristan and Maria Severa – two musicals
I co-wrote – have been two of many highlights at
Shaw. I’m thankful to have had many wonderful
teachers in my life, and I’m happy to mentor up-
and-coming music directors at Shaw – twenty-plus
interns to date!
ALLISON PLAMONDON
ALLISON PLAMONDON
Choreographer
SHAW 2022: Choreographer for Damn
Yankees and White Christmas. The first
play I saw was The Miracle Worker at
the Citadel Theatre in Edmonton, on
a school field trip. I had seen dance
on-stage but had never witnessed an
entire world created in front of me.
I was completely transported by the
incredible storytelling – the intensity,
GEORGE ABBOTT
the fluidity of the scene changes, and
the expressiveness and physicality of
the actors. It was a magical experience
and moments from that play are still
vividly etched into my memory.
COVER OF DOUGLASS WALLOP’S
NOVEL UPON WHICH DAMN YANKEES IS
BASED. OPPSITE: RICHARD ADLER AND
JERRY ROSS IN A PHOTO BY STEPHEN
COLHOUN (NEW YORK PUBLIC LIBRARY
FOR THE PEROFORMING ARTS / COUR-
TESY OF THE COLHOUN ESTATE).CORY SINCENNES
CORY SINCENNES
Set and Costume Designer
SHAW 2022: Set and costumes designer for Damn
Yankees. I am originally from Ottawa, Ontario, but
now reside in Charlottetown, PEI. The first time I can
remember being in the theatre was at a production
of Anne of Green Gables in Charlottetown. After the
performance, I also went on a backstage tour. Think-
ing back now on this experience, I’m sure it was the
very moment that solidified my career in the arts.
Many years later, in 2016, I had the great privilege of
reimaging the set and costume design of that very
production in Charlottetown. It is a gift to get to relive
that first magical experience in the theatre annually
on that production.
MIKAEL KANGAS RYAN deSOUZA MIKAEL KANGAS
Lighting Designer
SHAW 2022: Lighting designer for
Damn Yankees. I walked into the
theatre at my high school and never
left. Designing lighting for theatre
has become my passion. The team-
work, creativity and dedication of
everyone involved in producing a
show has inspired me since the first
show I ever worked on. Working with
light is a unique challenge, and I am
grateful to be able to share my work
at the Shaw Festival again this sea-
son. Our time away from in-person
gatherings, has reinforced for me
how important the shared experi-
ence of performance is for everyone.
JOHN LOTT Sound Designer
SHAW 2022: Sound designer for SKYLAR FOX
JOHN LOTT
Damn Yankees and White Christ-
mas. I was born at Toronto General,
raised in east-end Toronto and my
first exposure to doing sound in the-
atre was in high school. After that I
went to Sheridan College on a whim,
not knowing what else to take at uni-
versity. Graduating in 1990, I got my
first job mixing Forever Plaid and
I’ve never looked back. I mentored
under Martin Levan, the original
designer for Andrew Lloyd Webber.
I’ve done the last thirteen musicals
at Shaw. So far, my favourite show
has been Sweeney Todd...bloody and
scary! The nicest audience compliment I’ve received was “this show was
better than anything I’ve seen on Broadway.”
SKYLAR FOX Magic and Illusions Designer
SHAW 2022: Magic and illusions designer for Damn Yankees. I got a magic
kit when I was four. When I turned eight, I told my parents I wanted a street
performing license. They got it for me and turned me loose downtown.
At the same time, I was falling in love with theatre, and eventually grew
up and became a director and writer, and thought I’d given up magic for good. But you never really give up magic,
because magic fundamentally changes your relationship with the word “impossible.” What’s theatre if not a placeto explore what’s possible together? I feel so lucky to be
ANDREW BRODERICK here. Consider getting your kid a magic kit.
RYAN deSOUZA Associate Conductor
SHAW 2022: Associate conductor for Damn Yankees; co-
composer/sound designer for Chitra; composer/sound
designer for The Doctor’s Dilemma; music director for
A Year With Frog and Toad in Concert. Growing up in
Mississauga, my parents always made sure music was
a huge part of our lives. It led me to this career in the
theatre, and now I get to watch my kids fall in love with
music and art as they experience it as audience members
here at The Shaw! They got to see their first live show in
two years – A Short History of Niagara – here last sum-
mer, and seeing their faces delighted by
the show reminded me why we do what
we do.
SHANE CARTY
ANDREW BRODERICK
Rocky / Ensemble
SHAW 2022: Damn Yankees and Every-
body; 6th season. I’m happy to return
to the Shaw Festival. Some favourites
from previous seasons include Sweeney
Todd, The Magician’s Nephew, Grand
Hotel and Peter and the Starcatcher. I
went to a performing arts high school
in Newmarket, then to Sheridan Col-
lege; both programs brought me to this
Festival. I still remember my excitement,
and the grin that covered my face, when
the house lights dimmed or when the
overture began. Being an artist in this
JAMES DALY
company, on this stage, is a young student’s dream turned
reality. I’m thankful for all arts educators and contributors;
also, for my creative, diverse, loving and supportive pillars
on- and off-stage.
SHANE CARTY Joe Boyd
SHAW 2022: Damn Yankees; Fairground, Shawground, 1922
in Concert; 1st season. I’m from Kingston, Ontario. I was in a
production of Camelot when I was fourteen years old, which
got me hooked. When I was at Queen’s University, I became
interested in the theatre scene and changed my major from
political science to drama. The head of the drama depart-
ment at Queen’s, Tim Fort, got me interested in Sondheim,
among other geniuses, and I’ve been at it ever since. My first
paid acting job was as Brad in a particularly saucy produc-
tion of The Rocky Horror Show, directed by Peter Hinton.
My parents were definitely shocked and possibly proud.
We’ll never know about the latter.
JAMES DALY Joe Hardy
SHAW 2022: Damn Yankees; A Year With Frog and Toad
in Concert, Fairground and Shawground; 6th season. I am
originally from St John’s, Newfoundland, where I grew up
surrounded by music and art. I had many teachers and
coaches in my community who inspired me to pursue a life
in the theatre, and who helped me become the artist and the
person that I am today. I am extremely grateful to now be in
the company of the Shaw Festival, and I would like to thank
you for coming to the theatre. I hope you enjoy the show.PETER FERNANDES
PETER FERNANDES
Sohovik / Ensemble
SHAW 2022: Damn Yankees and The Importance of Being
Earnest; 4th season. I was born in Awali, Bahrain, raised
in Edmonton, and now call Toronto home. Before mov-
ing to Canada I wasn’t 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 Cow-
ardly 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.
JJ GERBER
JJ GERBER
Lynch / Ensemble
SHAW 2022: Damn Yankees; Fairground,
Shawground and 1922 in Concert; 1st sea-
son. As a child growing up in Brampton,
Ontario, I always dreamed of performing
on-stage. My family would dance, sing
and limbo at every family function. And
my Tobagonian mother brought her island
flavour to the church on Sundays. So as a
mama’s boy I learned to sing in her cadence.
I thought, “I can do that!” When the time
came, I chose to pursue my dreams of per-
forming. There’ve been ups, downs and
Covid in between, but I wouldn’t change
it for the world.
PATTY JAMIESON
ÉLODIE GILLETT
Sister Miller / Ensemble
SHAW 2022: Damn Yankees; Fairground, Shawground, 1922 in
Concert; 12th season. When he hears music, my baby dances.
Something comes over him and he can’t help but bob around
and make happy little squeaking sounds. It reminds me that
when adults dance and sing, and get up on-stage to tell a story, it
comes from that same instinct. I believe we all have it and some
of us never shake it off, so we dedicate ourselves to listening
to that impulse. It’s a joy to be in the company of colleagues
who feel that urge to express themselves and share that excite-
ment with audiences made up of people who feel compelled
to participate in it.
PATTY JAMIESON Meg Boyd
SHAW 2022: Appearing in Damn Yankees and The Importance
of Being Earnest; co-author of Gaslight; 24th season. Favourite
plays I’ve worked on have been about love: She Loves Me, Major
Barbara, The Light in the Piazza, Ragtime. When rehearsing,
the themes permeate the words, characters, space, and we
examine those themes (love?) from front, back and all sides.
Maybe all art is really about love. It’s been hard for artists the
past couple of years, and this will continue where real survival
is in question. But I believe art will spring back because humans
understand instinctively that love will save us. We want to be
reminded how to examine it from front, back and all sides.You can also read
