13.14 Annual Report

13.14 annual report

A home for innovative live performance from Canada and around the world,

Where audiences meet daring productions, guided by a strong directorial vision

Where theatre, dance, music and visual arts cohabit, clash, interrogate

Where a bold 21st-century aesthetic prevails

Where the boundaries of form and style are porous, expanded, eroded, exploded

Where curiosity is embraced and rewarded

Where the tragedy and humour, the struggle and absurdity of our lives are delivered back to us with the brush of the poet

A place of resistance to convention

And renewal of tradition

Welcome to Canadian Stage.

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CHAIR’S MESSAGE

What a year for Canadian Stage! The bold artistic vision of our Artistic and General Director, Matthew Jocelyn, was evident in each production of the 13.14 season. Our productions received overwhelmingly positive reviews from critics and theatre goers alike, and the company took home eight Doras and four Theatre Critics Awards. And, for the third consecutive year, we have posted a surplus. But we aren’t resting on our laurels. The entire team at Canadian Stage has committed itself to reaching new levels, in advancement and support, in our community outreach and in our artistic partnerships. Matthew continues to push the company to new artistic levels. Having clearly established that Canadian theatre is ready for art that is dramatic, unique and international, Matthew continues to develop his artistic strategy for the coming seasons. That work is exhilarating, and it requires the full attention and commitment of the company and its Board, as well as its volunteers and donors. Our dedicated Board of Directors is fully committed to supporting the ongoing and significant change in the company over the last few years, and with the talented team at Canadian Stage we are embarking into new territory all the time. It has been a remarkable year to be Chair, and there is no question – this isn’t your mother’s theatre company any more.

ADRIAN LANG

Board Chair

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@allieinawe 29 Nov

@Ex_M’s production of #NeedlesandOpium at @canadianstage was a dream. I’m blown away by the incredible sound and set design

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ARTISTIC AND GENERAL DIRECTOR’S MESSAGE

I am writing these words from Edinburgh, towards the close

of the 2014 Edinburgh International Festival, where Canadian

Stage’s production of Helen Lawrence by Stan Douglas and

Chris Haddock has been performing. Helen Lawrence is the

first-ever theatrical production from an English-Canadian

institution to be part of the EIF, the English-speaking world’s

best-known and best-respected festival. An honour.

This is an emblematic moment for Canadian Stage and for

Canadian theatre at large, a moment when our company

is recognized as an active participant in the international

dialogue around contemporary theatre, and when the

uncompromising artistry of our country’s most innovative

theatre-makers finds its arena on a world scale.

Art, of course, has always crossed borders, both nationally

and metaphorically. It’s what we do – transgress. The

better to understand the world within which we live, to

interrogate it, translate it, occasionally transcend it.

But theatre is also a hard business, often struggling to

make ends meet, and in such a context it can become

protectionist or parochial, more concerned with its own

survival than with the world around it. Theatre is very good

at building its own borders, where none need be. We have

all witnessed this, over and over again, and for me that is

where the end of relevant theatre begins.

Our mandate, the very core of our enterprise at Canadian

Stage, is defying borders and reaching out. Actively.

Reaching out to artists who are transcribing the world

in a particularly acute or innovative way, reaching out to

theatre companies whose artistic quest confutes comfort or

repetition, reaching out to an institutional network actively

engaged in keeping alive the fundamental and immediate

relationship between performance and society. And

reaching out to audiences without restriction or exclusion,

because that is what we do and they are for whom we do it!

Reaching out is also a business model, one that we

continue to explore and expand with every new

production. No creative or collaborative model is set in

stone as a systematic practice, thus allowing us to build

producing relationships which best reflect the varying

resources – creative and material – of each partner. This

requires the same nimble thinking and creativity expected of

artists working on a play, continuously fine-tuning how

best to tell the story, how best to make it work.

The following pages are themselves a reflection of how

the dedicated and highly adaptable team at Canadian

Stage has been both reaching out and managing

this human enterprise these past twelve months. Our

prosperity, we would like to think, can be fashioned on the

infinite wealth of human stories that are ours to tell. This is

but another chapter of a much, much larger book.

- MATTHEW JOCELYN

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MANAGING DIRECTOR’S MESSAGE

In preparing an annual report, it is fascinating to look back

on the season past, to report on the accomplishments and

challenges faced by the company, and to look even further

back to when the actual planning took place, the artistic

discussions, the numerous drafts of budgets, the union

negotiations and the economic analysis. Our move two years

ago to announce our season in the preceding autumn of

each year, which started as an experiment, has become our

new norm. While the pressure on the entire Canadian Stage

team to plan while executing a demanding season is great,

the benefits are many, including accelerating future season

planning, multiyear budgeting, financial stabilization and the

allowance to imagine, realise and fund major international

projects from nascent idea to full blown production.

Canadian Stage’s continued, and, may I say, daring artistic

transition this past season was met with a new level of

enthusiasm by audiences, generous individual and corporate

supporters and exceptionally talented and dedicated

artists and technicians. A strong team of people, who are

characteristically resilient, fearless, smart, engaged, generous

and nimble (all of whom are listed and photographed in

the final pages of this report), is required to build, produce,

support, market, disseminate and financially manage such

an artistic project. A visionary, probing and dedicated Board

of Directors is absolutely required alongside like-minded

community and institutional partners to deliver cultural

programming worthy of a curious and evolving audience,

both in Toronto and well beyond.

I am delighted therefore to highlight in this report that

collectively we have realised a financial surplus on the

season for our third year running, while at the same time

investing tens of thousands of dollars in much-needed capital

infrastructure at both the Berkeley Street Theatre and the

High Park Amphitheatre and initiating the architectural and

planning process for a major Berkeley Street renovation. We

produced one of the most complex and groundbreaking

pieces of musical theatre with London Road, co-produced

and delivered Helen Lawrence to Vancouver and European

audiences, facilitated four major productions for the first

graduates in our MFA program, brought Venus in Fur to life

(twice) and explored and presented the most exceptional

examples of contemporary dance with Akram Khan and

Crystal Pite. We substantially increased our investment in the

future work of a wide variety of artists and students, all while

weathering a cut to our Canada Council operating funding.

The challenges are great, compelling and vocationally

satisfying, and as I start my third season with Canadian

Stage, with my attention keenly focused on responding to

artistic adventure with financial stability, I remain grateful

to my colleagues, our partners, our artists and our

audiences for their true sense of adventure.

- SU HUTCHINSON7

@m_lizzy 30 Oct

“I grew up on Tom Jones and Bollywood music”- @AkramKhanLive Amazing! I absolutely love it! cc @canadianstage

@christinejhorne 06 Feb

Blown away by #LondonRoad at @canadianstage. One of the most captivating, awe-inspiring pieces I’ve ever seen. Brilliant!

CONTROLLER’S REPORT

The following pages offer a condensed version of our

June 30, 2014 financial statements and are derived

from the financial statements issued with an unqualified

Independent Auditors’ Report dated October 1, 2014.

The Canadian Stage Audit and Finance Committee is

composed of non-employee directors of the company

who meet quarterly with financial management and

annually with the auditor to satisfy themselves on the

adequacy of internal controls and review the financial

statements and auditor’s report. The Audit and Finance

Committee report its findings to Canadian Stage’s Board

of Directors for consideration in approving the financial

statements and issuance to stakeholders.

Included herewith are the comparable condensed

financial statements for the year ending June 30, 2014

and June 30, 2013 with accompanying notes.

Of significant mention are the following:

• Canadian Stage has reported a surplus in both of its two

previous fiscal years of $110,101 for the fiscal year ending

June 30, 2014, and a surplus of $114,532 for fiscal year 2013

• Our accumulated deficit has decreased by 7% in fiscal

year 2014 from fiscal year 2013

• Reducing the company’s accumulated deficit and

maintaining operating surpluses is important in

managing our cash flow position and investing in

capital and artistic projects

– SANDRA CESARIO

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CONDENSED BALANCE SHEETas at

June 30

2014June 30

2013

ASSETS

Current:

Cash and cash equivalents $7,180 $10,439

Accounts receivable 191,942 84,501

Prepaid expenses 96,922 11,085

Preproduction assets 484,895 221,807

780,939 327,832

Capital assets, net 191,113 138,217

$972,052 $466,049

LIABILITIES

Current :

Bank indebtedness $436,792 $497,796

Accounts payable & accrued liabilities

660,105 361,774

Deferred revenues 1,299,992 1,141,417

2,396,889 2,000,987

Ontario Arts Foundation Endowment fund, market value $1,657,016

DEFICIT PER STATEMENT (1,424,837) (1,534,938)

$972,052 $466,049

@BMHowlett 09 May

Tempest Replica was amazing. Way to go @canadianstage for bringing it to town.

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NOTES TO CONDENSED FINANCIAL STATEMENTS June 30, 2014

1 . NATURE OF OPERATIONS Canadian Stage (“Company”), as a community supported not-for-profit arts organization, is dedicated to creating and producing the best in Canadian and international contemporary theatre. The Company nurtures the development of Canadian theatrical talent and strives to challenge the perspectives of its patrons through the presentation of outstanding professional theatre. The Company is also committed to promoting its Canadian productions in international markets.

2 . CREDIT FACILITY Canadian Stage has a line of credit with a Canadian chartered bank, which is collateralized by a general assignment of Canadian Stage’s assets and is supported by a guarantee from the City of Toronto. The Company is required to maintain certain covenants with the bank.

3 . FINANCIAL RISK MANAGEMENT OBJECTIVES AND POLICIES

Credit risk The Company is exposed to credit risk on its cash and cash equivalents and accounts receivable. Accounts receivable balances are not greater than 90 days past due.

Liquidity risk The purpose of liquidity management is to ensure that there is sufficient cash to meet all financial commitments and obligations as they fall due.

The Company is dependent on its credit facility with a Canadian chartered bank (see Note 2) to meet its ongoing obligations.

Current operations of the Company are funded by selling subscription tickets in advance of the performance season, as well as through artistic grants and other amounts received in advance of the year to which they relate.

CONDENSED STATEMENT OF OPERATIONS AND CHANGES IN DEFICIT For the year ended

June 30 June 30

2014 2013

REVENUES

Earned revenues $3,099,733 $2,504,015

Development revenues 3,237,707 3,073,815

Grant revenues 2,148,421 2,328,872

Total Revenues 8,485,861 7,906,702

EXPENSES

Production 3,732,023 3,409,788

Marketing 2,360,408 2,143,956

Theatre operations 1,163,609 1,069,644

Development 598,259 651,980

Administration 521,461 516,802

Total Operating Expenses 8,375,760 7,792,170

EXCESS OF REVENUES OVER EXPENSES 110,101 114,532

Deficit, Beginning of year (1,534,938) (1,649,470)

Deficit, End of year $(1,424,837) $(1,534,938)

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CONDENSED STATEMENT OF CASH FLOWS For the year ended

June 30

2014June 30

2013

CASH PROVIDED BY OPERATING ACTIVITIES

Excess of revenues over expenses $110,101 $114,532

Amortization 53,748 65,440

Net change in non-cash working capital 540 (189,448)

164,389 (9,476)

INVESTING ACTIVITIES

Purchase of capital assets (106,644) (28,286)

Net Change in cash and cash equivalents 57,745 (37,762)

Cash and cash equivalents, beginning of year (487,357) (449,595)

Cash and cash equivalents, end of year $(429,612) $(487,357)

Cash and cash equivalents consist of:

Cash 7,180 10,439

Bank indebtedness (436,792) (497,796)

$(429,612) $(487,357)

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@jillianbowman 01 Jan

SEE IT - Incredible musical artistry & performances @canadianstage North American premier of #LondonRoad

@vivienleung 14 May

Tomorrow night! @canadianstage launches new immersive event series for the culturally curious.

MARKETING AND COMMUNICATIONS REPORT

For the 2014 fiscal year, we welcomed growth

in both audiences and revenue while continuing

to fulfill our artistic mandate as a home for

innovative live performance from Canada and

around the world. As a department, the Marketing

and Communications team, responsible for the

audience experience from Front of House and

Box Office services to Audience Development

and Youth Programming to – yes Marketing and

Communications, is delighted to have contributed

to another surplus year for Canadian Stage.

There is much to celebrate at Canadian

Stage this year, including:

• A 25% increase in earned revenue

• A 35% increase in new subscribers

• The presentation of audience favourites Macbeth

and Taming of the Shrew (Shakespeare in High

Park), Dora Audience Choice Award-winner Venus in Fur, six-time Dora Award-winner London Road,

Robert Lepage’s Needles and Opium, Akram Khan’s

DESH and Crystal Pite’s The Tempest Replica

• A highly-successful Berkeley Street Theatre season

with the remount of Venus in Fur (originally staged

at the Bluma Appel Theatre), plus the directorial

debut of our York University MFA graduates

with The Flood Thereafter and Yukonstyle

• Record-breaking attendance and revenue

at Shakespeare in High Park, including more

than $30,000 ticket subscriptions sold

to Canadian Stage’s 13.14 season via our

new satellite box office in High Park

We also saw unwavering growth in our Education and

Audience Development activities, resulting in significant

audience engagement at our pre-show chats and post-

show talk backs, our artist-driven Masterclass series,

our immersive event series INTERMISSION and our

highly sought-after youth and student workshops. While

we continue to welcome a healthy range of ages into

our theatre, we are especially thrilled to see that 45%

of Canadian Stage patrons are under the age of 35.

I am extremely proud to be an employee of Canadian

Stage and I value the exuberant personalities and

tireless work of the Marketing and Communications

staff that, in fruitful collaboration with all departments,

make our continued success possible.

SHAWN HERNDEN

Director of Marketing and Communications17

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@therealtino48 26 Aug

#csShrew simply an awesome, energetic show in TO’s High Park. The way Shakespeare needs to be done! Bravo!

@christinejhorne 06 Feb

Blown away by #LondonRoad at @canadianstage. One of the most captivating, awe-inspiring pieces I’ve ever seen. Brilliant!

PRODUCTION REPORT

The past season was an intense one for the

Production Department, beginning with our

first repertory productions at High Park through

overlapping shows at the Bluma and Berkeley

Theatres in the fall and to the scale of London Road in early 2014 – the most ambitious show our

current team has done as a group. In addition to

these productions, accomplishments this year

included the negotiation of new three- and five-

year agreements with the unions representing our

stage and wardrobe employees, improvements to

our budgeting and financial tracking processes,

refinement of our production model for Shakespeare

in High Park, and the installation of a much

improved lighting infrastructure at the High Park

Amphitheatre. We also saw a few staff changes,

welcoming a new Operations Manager and new

roles for our Head Technicians. We continue to

face challenges due to the age and condition of

our facilities and technical equipment, and as a

relatively new team we are working to find the

best balance in staff resources and workload.

R ALLAN ROSS

Director of Production

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@RadioMaga 17 Oct

Still energized by last night’s Venus in Fur at @canadianstage. That script, those performances-exactly what I needed this week

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PRODUCER’S REPORT

Toronto is perfectly poised to tell a new story about the intersection of business, culture and the arts. Entrepreneurs and creative professionals relish a supportive and fertile environment where ideas and artistic practice can flourish, stimulate and inspire. Resiliency requires active engagement and here at Canadian Stage we understand that engaging our community is at the heart of successful programming. We understand the value of co-productions, commissions and touring for building capacity, expanding audience reach, invigorating artistic vibrancy and strengthening brand awareness.

Three very distinct projects were launched that are in keeping with our curatorial vision to foster innovation and nurture creativity while expanding production models and building our national and international network: Helen Lawrence, Charlotte: A Tri-Coloured Play with Music and Venus in Fur.

Helen Lawrence, a pioneering stage production conceived and directed by visual artist Stan Douglas and written by screenwriter Chris Haddock, set in 1948 Vancouver, marked its world premiere on March 19, 2014 in Vancouver. After a successful run in Vancouver and most recently at the Munich Kammerspiele in Germany and the Edinburgh International Festival in Scotland, we are anticipating a great run in Toronto at the Bluma in our 14.15 season. Canadian Stage started working on this project in 2009, underscoring the time and dedication required to deliver a project of this magnitude.

Music helps communicate the soul-bearing narrative in Charlotte: A Tri-Coloured Play With Music, composed of six actor/singers and five musicians. Berlin-born Jewish artist Charlotte Salomon’s paintings and text serve as a scenographic inspiration for this Theaturtle, Canadian Stage and Royal Manitoba Theatre Centre-led production by the creative team of librettist Alon Nashman (Toronto), composer Ales Brezina (Czech Republic) and metteur en scène Pamela Howard (UK).

Canadian Stage’s triumphant production of Venus in Fur starring Carly Street and Rick Miller was not only remounted in our Berkeley Street Theatre after its successful Bluma run in our 13.14 season, but has been invited to ignite the stages in Montreal at the Centaur Theatre as part of their 14.15 season and will return to our beloved Berkeley Street for a final showdown, marking its third run on our stages.

During this past season, Canadian Stage was present via invitation at the following arts markets and festivals: Performing Arts Market in Seoul (PAMS), Indonesian Performing Arts Market, Under the Radar Festival/APAP 2014, Australian Performing Arts Market 2014, Perth Festival, Golden Mask Festival in Moscow, Brighton Festival in UK, London International Festival of Theatre in UK, Festival de Otono in Madrid and SummerWorks Leadership Intensive Program in Toronto.

SHERRIE JOHNSON Producer

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@austinausten 14 Apr

Belleville: the suspenseful theatre I have been missing--plus #femaleplaywrightftw Amy Herzog. Thanks @canadianstage

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DEVELOPMENT REPORTFundraising revenue increased by 5% from 12.13 to 13.14 at Canadian Stage. Though there was a 14% decrease from individuals donating $1,500 or less, strategic planning, cultivation and an increased focus on stewardship has resulted in a 23% increase in donations from our Artistic Patrons’ Circle, ranging in size from $1,500 to $60,000. Additionally, corporate sector gifts increased by 4%. A 51% increase in foundation funding was given for specific development of future artistic projects.

INDIVIDUAL GIVING

Our Artistic Patrons’ Circle, a group of dedicated supporters, grew substantially over the past season as we welcomed 12 new donors and two new Major Gift donors. Notably, Canadian Stage was also the very grateful beneficiary of a $50,000 Legacy Gift (as it is an anomaly, this number is not reflected in the percentages above).

We developed and launched two new campaigns this past season, built to respond to the substantial increase in our patrons’ desire to engage in a more fulsome way in our artistic mandate. These programs will continue to grow both in dollars raised and in the number of donors participating in our upcoming season and beyond.

• Artist Sponsorships ($10,000-$30,000) of directors, performers, playwrights and choreographers offer individual donors intimate opportunities to advance the work of the renowned national and international artists who are producing and presenting their work at Canadian Stage, while providing substantial support of our mandate.

• Canadian Stage is the first recipient of “City Building”, a multitiered giving program created by Sandra Simpson, a real estate developer and philanthropic leader in the arts community, and John van Nostrand & Drew Sinclair of regionalArchitects. “City Building” is designed to encourage leaders in the development community to support cultural institutions throughout the City of Toronto.

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@glennsumi 02 Oct

Was swept up in @canadianstage’s poetic, dreamlike, mythic THE FLOOD THEREAFTER. Darkly beautiful writing, haunting production

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Though our Partnership Program (individual donors from $75-$1,499) was down by $20,000 from the prior year, results show positive trends for the season ahead. In 13.14, there was a 113% increase in donations from lapsed donors, a 26% increase at the $500+ threshold in this group and a 53% increase in online donations.

SPONSORSHIP and FOUNDATIONS

Canadian Stage is grateful for the immense loyalty shown by our seven Major Sponsors through their continued renewal of support over the past 10+ years. Of the seven, four increased their giving, and we welcomed two new multiyear sponsors to the company.

Canadian Stage’s signature Theatre Ball netted over $300,000 in support for the company. Featuring eclectic entertainment, and under the theme Shatter: Provoke your curiosity, we were delighted to welcome new Theatre Ball patrons to our annual celebration.

GOVERNMENT

A restructuring in the Development Department has led to the creation of a new position, filled by Elise Chalmers, now named Associate Director, External Relations. Working closely with the Managing Director under a new mandate to explore innovative government and public sector funding, we have already been able to realise support for infrastructure and touring projects.

On behalf of the entire Canadian Stage fundraising team, a sincere thank you to all of our donors for contributing to our continued success. We are proud to share this past season’s achievements with our many patrons.

HEATHER MCDONALD Director of Development

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@AlyssaKChan 27 Feb

Reminded of the power of words, signs, and stories watching Tribes tonight, thanks to @canadianstage.

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SOCIAL IMPACT Audience Development and Education initiatives are designed to make our theatre and its productions as accessible and meaningful as possible for both new and returning audience members. Through experiences at our venues such as INTERMISSION, a series of music and visual art based events held at 26 Berkeley Street, we have successfully introduced diverse patrons to Canadian Stage. The focus on generating significant social impact through supplementary programs is further highlighted in our 13.14 show-specific activities. Free professional childcare at select performances of each production allowed parents to attend the theatre with zero ticket mark-up. Feedback was tremendous from members of the public who heard about the initiative, as well as from all of its participants. Unprecedentedly well attended pre-show chats featured academics and members of creative teams who shared insight into the themes of a production, increasing audience awareness around the social relevance of each play. This focus on social impact was also reflected in our enrichment programming, specifically targeting educators and their students. Guided by the input of a committee of experienced educator advisors, these practices effectively connect secondary and post-secondary student groups to the content of our performances. From complimentary professional development sessions that introduce usable classroom pedagogies associated with our productions, study guides that provide historical and social contexts, customizable artist-led workshops to build a bridge from school to the stage and hands-on learning experiences in partnership with community organizations throughout the GTA, Canadian Stage proudly provides resources to ensure that each visit to the theatre is enriching.

A case study: Tribes• Accessibility via C-Stage tickets available for $15 to

patrons under 30 years old

• Two American Sign Language interpreted performances promoted to the public as well as through deaf specific channels

• Free childcare at one Sunday matinee

• Study guide available online

• Free Educator Preview Night

• $5 tickets available for school groups from the former City of York (Arts Angel funded)

Community connections:• Cast included deaf actor Stephen Drabicki

• Cast performed a scene at Deaf Culture Centre’s January “Sign and Dine” event

• Promoted tours of De’VIA (Deaf View Image Art) for youth and school groups as an add-on to seeing the production

• Pre-show chats featured guests including Daryl Cloran, the show’s director, and Liz Morris, its ASL coach

• Talkbacks with members of the cast followed two performances per week

ERIN SCHACHTER Education and Audience Development Manager

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MFA PROGRAMIn fall 2013, we proudly invited the inaugural graduates of the York University MFA in Theatre – Stage Direction in collaboration with Canadian Stage to direct full-length pieces within our Berkeley Season: Yukonstyle, directed by Ted Witzel and The Flood Thereafter, directed by Ker Wells, two plays by the young Quebecois author Sarah Berthiaume.

Now entering its 4th year, the two-year MFA program, initiated by Matthew Jocelyn and York University in response to the lack of professional education in theatre directing in Canada, is international in scope and designed to educate directors. Graduates will be able to stage a large-scale production of high quality in a professional theatre environment and make a significant contribution to theatrical culture.

We are now excited to watch the artistic growth of our second round of program candidates, Estelle Shook and Matjash Mrozewski. Estelle is the former Artistic Director of the nationally acclaimed Caravan Farm Theatre and has produced, developed and directed over thirty outdoor productions for the company. Matjash is an internationally-recognized choreographer and dance dramatist who has created original works for, among others, The Royal Ballet, The Australian Ballet, The San Francisco Ballet, Stuttgart Ballet, Pittsburgh Ballet Theatre and The Royal Danish Ballet.

The candidates are mentored throughout their studies by Crow’s Theatre Artistic Director, Chris Abraham, and former Artistic Director of English Theatre at the National Arts Centre, Peter Hinton. Alongside the course work at York University, Matjash and Estelle spent their first year engaged in a wide variety of activities including their own directorial projects at York University, assistant-directing accomplished veteran directors Jackie Maxwell (London Road) and Peter Hinton (The Seagull, Centaur Theatre), and intensive one-on-one workshops with artists in our community.

A special thank you to BMO Financial Group for its lead support of Canadian Stage’s participation in this program.

BIRGIT SCHREYER DUARTE Artistic Consultant

@PandemicTheatre 21 Oct

#Yukonstyle is a beautifully staged production of an urgent and daring new play. Check it out at @canadianstage now.

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BOARD OF DIRECTORS

Adrian Lang

Chair

Tony Baylis

Vice Chair

Robert Rowe

Vice Chair

Antoinette R. Tummillo

Secretary

Cathy Bateman

Debbie Coull-Cicchini

Councillor Gary Crawford

Dominique Hussey

Ron Lalonde

Cheryl Longo

Peter Lyman

Councillor Pam McConnell

Barry Rowland

Monika Skiba

David Staines

John van Nostrand

Stuart Watson

Cecilia Williams

Susan Willmot

Susan Wortzman

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@AdamFProulx 16 Nov

Just saw ‘Winners and Losers’ at @canadianstage That’s my type of theatre.

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Artistic & General Director Matthew Jocelyn

Managing Director Su Hutchinson

Executive Coordinator Gianna Ceci

ARTISTIC

Producer Sherrie Johnson

Artistic & Company Manager Joanne Williams

Artistic Consultant Birgit Schreyer Duarte

ADMINISTRATION

Controller Sandra Cesario

Intermediate Accountant Sabrina Li

Payroll & Benefits Administrator Janet Llewellyn

Accounts Payable Coordinator Pathma Mahadeva

Manager of Volunteer Resources & Rental Coordinator Julie Cloutier

DEVELOPMENT

Director of Development Heather McDonald

Associate Director, External Relations Elise Chalmers

Senior Development Officer Jason Maghanoy

Development Coordinator Ellen Burch

Development Coordinator Kasia Rusiniak

Development Coordinator Leah Schoenmakers

MARKETING & COMMUNICATIONS

Director of Marketing & Communications Shawn Hernden

Senior Marketing & Communications Manager April Moon

Publicists Ashley Ballantyne Rebecca Shoalts (rock-it promotions)

Graphic Design Manager Ted Glaszewski

Patron Systems Administrator Amar Bajracharya

Education & Audience Development Manager Erin Schachter

Sales & Marketing Manager Adam Owen

Digital Marketing Coordinator Kiran Hacker

Front of House Managers Joseph Cochrane Robin Gaunt

Audience Services Manager Cameron Johnston

Assistant Audience Services Manager Allan Gillespie

Audience Services Supervisor Hilary June Hart

Audience Services Representatives Faisal Butt Will King Andrew Markowiak Cydney Penner Nicole Ratjen

Telesales Manager Shawn Ahmed

Telesales Representatives Michael Crumpton Elana Dunkelman Scott Leaver Kayla Vanderlip

CANADIAN STAGE STAFF

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PRODUCTIONDirector of Production

R Allan Ross

Technical Director Peter Eaton

Production Coordinator Jasmine Knox

Production Assistant Alanna McConnell

Operations Manager Mike Souliere

Head of Properties Mary Spyrakis

Props Builders Vanessa Janiszewski

Alex Vass

Metcalf Foundation Props Intern Danny Tran

Head of Wardrobe Mary-Jo Carter Dodd

Bluma Wardrobe Mistress Susan Batchelor

Berkeley Senior Head Technician Jay Blencowe

Berkeley Head Technician Cecilia Waszczuk

Berkeley Junior Head Technician Melissa Grandovec

SHAKESPEARE IN HIGH PARKGate Supervisor

Andrea Castaneda

Hill Supervisor Amanda Clarke

Patron Services Supervisor Jane Smythe

Youth & Community Outreach Coordinator

Rebecca Ballarin

Volunteer Corordinator Ceilidh Wood

Head Technician Melissa Grandovec

Mix Engineers Cameron Cleland

Robin Johnston

Production Driver Courtney Pyke

Dresser Michael Legouffe

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ABOUT US

Public performances 301

Public performances internationally 10

Total number of works performed 14

Number of attendees 94,427

Total number of new works 11

Arts education participants 7,939

Total number of volunteers 320

Estimated number of hours worked by all volunteers 16,750

Jay Blencowe

Susan Batchelor

AmarBajracharya

ShawnAhmed

Faisal Butt

Ellen Burch

Elise Chalmers

Sandra Cesario

Gianna Ceci

Joseph Cochrane

Julie Cloutier

Mary-Jo Carter Dodd

Robin Gaunt

Elana Dunkelman

Michael Crumpton

Ted Glaszewski

Peter Eaton

Allan Gillespie

Shawn Hernden

Kiran Hacker

Melissa Grandovec

Matthew Jocelyn

Vanessa Janiszewski

Su Hutchinson

Hilary June Hart

Cameron Johnston

Sherrie Johnson

Scott Leaver

Jasmine Knox

Will King

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Janet Llewellyn

April Moon

Kasia Rusiniak

Mary Spyrakis

Sabrina Li

Heather McDonald

R Allan Ross

Mike Souliere

Andrew Markowiak

Nicole Ratjen

BirgitSchreyer Duarte

Joanne Williams

Pathma Mahadeva

Cydney Penner

Leah Schoenmakers

Cecilia Waszczuk

Alex Vass

Jason Maghanoy

Alanna McConnell

Adam Owen

Erin Schachter

Kayla Vanderlip

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Photos: Cover: The cast of London Road, photo by David Hou; p.3 Adrian Lang, photo by George Pimentel; p. 4-5 Marc Labrèche and Wellesley Robertson III in Needles and Opium, photos by Nicola Frank Vachon; p. 6-7 Akram Khan in DESH, photo by Richard Haughton; p. 8-9 main photo: London Road cast, insets, from left: Steve Ross and Damien Atkins, Fiona Reid, Deborah Hay, Damien Atkins and Fiona Reid, photos by David Hou; p. 10-11 The cast of The Tempest Replica, photos by Jörg Baumann; p. 12-13 W. Joseph Matheson, Patricia Marceau and Oliver Becker in The Flood Thereafter, photo by Bruce Zinger; p. 14-15 The cast of London Road, photos by David Hou; p. 16-17 INTERMISSION, photo by James Drobik; p. 18-19 main photo: Jennifer Dzialoszynski in Macbeth, insets, from top: Philippa Domville, Hugh Thompson in Macbeth, Tiana Asperjan and Jennifer Dzialoszynski in The Taming of the Shrew, Sophie Goulet in The Taming of the Shrew, Kevin MacDonald and Hugh Thompson in Macbeth, photos by David Hou; p. 20-21 Rick Miller and Carly Street in Venus in Fur, photos by David Hou; p. 22-23 Allan Hawco and Christine Horne in Belleville, photos by Guntar Kravis; p. 24-25 main photo: W. Joseph Matheson, Oliver Becker and Courtney Ch’ng Lancaster, insets: Kevin MacDonald and Courtney Ch’ng Lancaster, Courtney Ch’ng Lancaster and Patricia Marceau in The Flood Thereafter, photo by Bruce Zinger; p. 26-27 main photo: Stephen Drabicki and Dylan Trowbridge, insets, from top: Stephen Drabicki, Holly Lewis and Dylan Trowbridge, Joseph Ziegler and Nancy Palk in Tribes, photos by David Hou; p. 28-29 main photo: Ryan Cunningham and Grace Lynn Kung, insets, from top: Grace Lynn Kung and Kate Corbett, Ryan Cunningham and Francois Klanfer in Yukonstyle, photos by Bruce Zinger; p. 30-31 James Long and Marcus Youssef in Winners and Losers, photos by Simon Hayter; p. 32-33 Akram Khan in DESH, photos by Richard Haughton, p. 34-35 Canadian Stage staff, photos by Kiran Hacker.

October 1, 2014

13.14 season

macbeth

the taming of the shrew

the flood thereafter

venus in fur

yukonstyle

desh

winners and losers

needles and opium

london road

tribes

belleville

the tempest replica