12.13 Annual Report

12.13

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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CHAI R MAN ’ S M E SSAG E Theatre is a dynamic and exhilarating business. Nowhere is this more true than at Canadian Stage – and especially over the last three years. As I look back at the company’s accomplishments over this period, I am truly impressed by the creativity, business acumen and hard work of our dedicated team. Of course, the leadership of that team starts with our brilliant Artistic and General Director, Matthew Jocelyn. Matthew was chosen by our Board of Directors in 2009 to execute a bold new strategy at Canadian Stage. That strategy was to makeover our stages to showcase the best contemporary multi-disciplinary work from Canada and around the world.

Three years on, we now have compelling evidence that our bold strategy is a success.

As an audience member, I am thrilled with the diverse contemporary offerings on our stages.

And we are receiving mostly encouraging feedback from the artistic critics and even more heartening responses from the new audiences that we have cultivated for these dynamic works.

Such a major artistic transformation doesn’t happen without some bumps and curves and jolts in the road. And that’s where our talented new Managing Director has shone. Matthew hired Su Hutchinson to help him and the Board build the new business model for the transformed Canadian Stage. It’s been a great deal of hard work, but that business model is now in place – documented with financial surpluses for the company in each of the past two seasons.

Of course, the artistic and business transformation at Canadian Stage is the product of dedicated support from the entire Canadian Stage team, including its Board of Directors, volunteers and all its staff. Congratulations to all of you. You’re making a difference in the artistic life of this great city.

Finally, I’m happy to have Adrian Lang succeed me as Chair of the Board of Canadian Stage.

Adrian is an immensely capable young woman who will bring new ideas, contacts and energy to the company.

Yes – theatre is a dynamic and exhilarating business. And we wouldn’t have it any other way!

Sincerely, RON LALONDE 3

@KrasMagic

30 Oct

Speaking in Tongues at @canadianstage was well acted, well written, provocative, complex, and captivating. Loved it!

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ARTISTIC AND GENERAL DIRECTOR’S MESSAGE It’s a question of relevance. And how one evaluates that.

Canadian Stage has just completed a first three-year cycle of a new artistic mandate, a significant shift from the previous identity of the company, and an equally significant departure from the hitherto practiced programming model of large-scale theatres across the country.

We are an unabashedly contemporary theatre, a showcase – both as producers and presenters – of the most cutting-edge work from across the performance spectrum, theatre, dance, cross-disciplinary forms, both from Canada and around the world. We are a home to the work that artists are producing because they need to, because this is the lens through which they interpret the world we live in, engage with it, feed upon it and nourish it.

We are a place of dialogue and debate, contentiousness, audacity, thrill, and yes, entertainment. We want people, spectators, citizens, the human core of our city, to come to Canadian Stage for those very reasons, a desire for dialogue and debate, a hunger to confront contentious issues and artistic practice, to experience the audacity and thrill of it. And yes, to be entertained.

But is it relevant? Three years is a small drop in the life of an artistic project, an infinitesimal one in the life of a city. But these three years have shown us that there is a hunger for different and for difference, that the mobility of audiences can be an exciting element in redefining a place within the city, and that those in a position to give will do so generously when they feel engaged by the unique voice of a bold artistic mandate. They have also shown us that the art we produce and present can occupy a significant and ever-expanding place within the national and international artistic landscape.

The following pages give some indication of where we are, three years on.

We are not crying triumph. It has been a rocky road and we all know the fragility of every step we take. But the Board of Directors and the team of Canadian Stage are an unparalleled group of adventurers, nimble, rugged, experienced, and it is an immense honour to be climbing this particular mountain in their company.

- MATTHEW JOCELYN 5

MANAGING DIRECTOR’S MESSAGE An incredible year of art and culture is being reported on across the country and across many disciplines as institutions and organizations share their year-end results. This time of year finds us squarely in the midst of executing a new season while planning for future seasons and reporting on the past, and ignites in me quiet personal reflection on our national engagement in the creation and consumption of culture. As my first year with Canadian Stage passes, this company’s importance as purveyors of acutely contemporary Canadian and international culture is profoundly underscored.

Beyond our three stages, our function as a training ground for senior artists, as a meeting place for authentic artistic partnerships, and as an arena of multi-disciplinary youth engagement keeps us very focused on our mandate to ignite curiosity in contemporary discourse. It is this immersive work that keeps our Board of Directors and staff team so dedicated in spite of the challenges that are inherent with the business of the arts in the 21st century.

It is with pride in the nimbleness of our team, each identified by photo in this report, and with a keen and, dare I say, optimistic eye to the future that we present our 2012.13 annual report. Our administrative directors were each tasked to distil the past year for their departments and these reports can be found throughout, offering snapshots of the challenges and strategies adopted to achieve success. A surplus was achieved on a complex administrative year, the financial details along with reports from our auditor and controller can be found in the following pages. We said goodbye to some long-standing employees and welcomed some new, with the current team feeling balanced in makeup and response to the demands of our work. Foundational work has been started for some of our long-term goals in the creation and dissemination of our work and our physical space.

The welcome I received at the start of this adventure was encouraging and I am grateful for the faith extended towards my work with Canadian Stage thus far. In particular, I must thank our outgoing Chair, Ron Lalonde, who has been a source of great leadership and wisdom mixed with a fine sense of humour, and Matthew Jocelyn for staunchly yet poetically insisting that Torontonians have access to some very fine art indeed.

- SU HUTCHINSON 7

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CO NTRO LLE R ’ S R E P O R T The following pages offer a condensed version of our financial statements and are derived from audited financial statements issued with an unqualified opinion under date September 23, 2013.

The Canadian Stage audit committee is composed of non-employee directors of the company who meet annually with financial management and the auditor to satisfy themselves on the adequacy of internal controls and review the financial statements and auditor’s report.

Canadian Stage’s finance committee is also composed of non-employee directors of the company, who meet regularly with financial management to review the financial management and financial statements of the company. Both the audit committee and finance committee report its findings to Canadian Stage’s board of directors for consideration in approving the financial statements and issuance to stakeholders.

@letwinka

21 Feb

@canadianstage Robot actors and avantgarde Japanese hip hop? Have you been reading my dream journal or something?

Included herewith are the comparable condensed financial statements for the year ending June 30, 2013 and June 30, 2012 with accompanying Notes. Of significant mention are the following: • Canadian Stage has reported a surplus in both of its two previous fiscal years of $114,532 for the fiscal year ending June 30, 2013 and a surplus of $30,880 for fiscal year 2012 • Our accumulated deficit has decreased by 7% in fiscal year 2013 from fiscal year 2012 • 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

CONDENSED BALANCE SHEETS

2013

2012

Accounts receivable

87,405

129,513

Prepaid expenses

11,085

23,233

221,807

184,981

320,297

337,727

138,217

175,371

$458,514

$513,098

$487,357

$449,595

364,678

481,943

1,141,417

1,231,030

1,993,452

2,162,568

(1,534,938)

(1,649,470)

$458,514

$513,098

as at June 30

ASSETS Current:

Preproduction assets

Capital assets, net

LIABILITIES Current : Bank indebtedness

(Note 2)

Accounts payables & accrued liabilities Deferred revenues

(Note 3)

Ontario Arts Foundation Endowment fund, market value $1,524,319 Deficit

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CONDENSED STATEMENTS OF OPERATIONS

2013

2012

$2,504,015

$2,551,897

Development revenues

3,073,815

3,269,816

Grant revenues

2,328,872

2,398,693

Total Operating Revenues

7,906,702

8,220,406

Production

3,409,788

3,315,106

Marketing

2,143,956

2,474,866

Theatre operations

1,069,644

1,107,125

Development

651,980

622,199

Administration

516,802

637,250

7,792,170

8,156,546

114,532

63,860

-

(32,980)

$114,532

$30,880

For the years ending June 30

REVENUES Earned revenues

Expenses

Total Operating Expenses

Excess of revenues over expensesf Co-production default

(Note 4)

Excess of revenues over expenses

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@justleilah

20 Aug

Couldn’t imagine laughing so hard at Shakespeare that I cry, but @canadianstage’s A Midsummer Night’s Dream in High Park made my makeup run!

NOTES TO CONDENSED FINANCIAL STATEMENTS June 30, 2013 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 Commitments 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. Deferred revenues reflected on the balance sheet exceed unrestricted net financial assets as at June 30, 2013 by $1,906,047 (2012, $2,033,054).

4 Co-production default In 2012, the Company entered into a tri-party agreement with Vancouver Playhouse Theatre Company and Citadel Theatre to co-produce the stage play Red for the 2012 theatre season. Vancouver Playhouse Theatre Company ceased to operate in May 2012, resulting in a co-production default from Vancouver Playhouse Theatre Company of $32,980.

@literasyme

13 Nov

Also, brilliant @JustinJRutledge score & performance in The #Arsonists. Could Toronto theatre actually be in danger of becoming cool?

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D E VE LO P M E NT R E P O R T

As Matthew Jocelyn has developed the artistic vision over the past 3 seasons, fundraising at Canadian Stage continues to strengthen and grow. Achievements include: • Deeper engagement from the corporate sector by securing a number of multi-year partnerships. Sponsorships have been tailored to align with a variety of giving strategies.

• Low attrition rates in our Artistic Patrons’ Circle (gifts above $1,500), which signifies strong support of the mandate by our higher-end donors.

• Development of our lower-end giving program with the Marketing and Communications Department to ensure a fully consolidated experience for all of our patrons.

• Netting over $320,000 at our annual Theatre Ball each season along with increased media coverage of the event.

• Canadian Stage remains in line with industry standards with a cost of 20 cents to raise a dollar.

Integrating our fundraising strategies with every department in the company is of the utmost importance to our success.

These departments include Marketing, Communications, Production and Artistic.

By working together, we are able to offer a fully integrated benefits program for all of our donors, be they individuals or sponsors.

Looking ahead to the 2013.14 season and beyond, Canadian Stage’s Development team will be focusing on growing our patron base by engaging our donors at all levels in as many aspects of the artistic experience as possible. Enhancing the participation by our donors with the work on our stage allows us to further contextualize our place within the international artistic landscape.

On behalf of the entire team, I would like to take this opportunity to thank all of our generous donors for their continued support. We are continually honoured and humbled by the meaningful commitment our patrons have to Canadian Stage.

- HEATHER MCDONALD 15

the a r s o n i sts

MAR K E TI N G AN D CO M M U N ICATIO N S REPORT

A wickedly funny farce with questionable morals MAX FRISCH

IN A NEW TRANSLATION BY

ALISTAIR BEATON

BLUMA APPEL THEATRE NOV 11-DEC 9, 2012

PHOTO OF DAN CHAMEROY BY DAVID HOU

WRITTEN BY

25th anniVersarY season

RADIO SPONSORS

416.368.3110

The 2012.13 season saw significant rebuilding and growth for the Marketing and Communications department. Because a department is only as good as its roster, it is with enormous gratitude and pride that we have built such a finely-tuned and deeply-committed group of team players.

Dead husband. Dead-end career.

Now what?

BY

Melissa JaMes GibsoN

dIrECtEd BY MatthEW JoCELYn

Berkeley street tHeAtre mAr 18 - Apr 13, 2013

photo of Laura CondLLn

SHIFTS IN RESOURCING 25TH ANNIVERSARY SEASON

rAdio sponsors

416.368.3110

An OlD TrOuT PuPPeT WOrksHOP PrOducTiOn PresenTed by canaDian sTage

A wildly inventive, totally adult puppet show

THe Old TrOuT PuPPeT WOrksHOP

PHOTO by JasOn sTang PHOTOgraPHy

by

MARKETING PLAN The 2012.13 season was my first full year of developing and executing the marketing plan from beginning to end. While Canadian Stage has traditionally advertised heavily in print, we shifted our ad spend this year to focus on outdoor awareness (streetcars, posters, billboards), online advertising (Google, Facebook), some print (Globe, NOW Magazine) and a greater emphasis on direct mail and email. With a 24% decrease in the marketing budget over last season, this plan has proven to be a good use and mix of media. This would not have been possible without our communications and graphics teams, who worked twice as hard to bring a consistency and intensity to the Canadian Stage voice and brand.

berkeley sTreeT THeaTre nOv 27-Dec 15, 2012 25TH ANNIVERSARY SEASON

cibc PrOuD sPOnsOr: 12.13 berkeley seasOn

416.368.3110

athon any’s Jon llier ic Comp

By Electr Kerr with Kim Co and Kevin

Young

LAURA MENNELL AND JONATHON YOUNG IN TEAR THE CURTAIN! PHOTO BY TIM MATHESON

25TH ANNIVERSARY SEASON

PRODUCTION SPONSOR

RADIO SPONSORS

MEDIA SPONSOR

416.368.3110

BERkELEY STREET THEATRE

FEB 26-MAR 2, 2013

Hiroaki Umeda in Holistic Strata, photo by Ryuichi Maruo courtesy of YCAM

ジス ャポ パッ ント ラ イ ト A CELEBRATION OF HIGH-TECH, CONTEMPORARY JAPANESE THEATRE AND DANCE FEATuRING wORk BY HIROAkI uMEDA AND ORIzA HIRATA

The year began with the transition of Ashley Ballantyne who shifted from her role as Associate Director of Communications to become the Director of Communications at rock-It promotions (a Toronto based PR agency). Being able to draw on her talents as an external resource has allowed her to pursue advantages and opportunities in an ever-shifting media landscape on our behalf while we’ve retained access to her strategic counsel.

@clorway

27 Oct

Saw Political Mother @canadianstage last night.

3/4 of the way thru was unsure but the end won me over. Gr8 to see more contemp dance in TO. 17

@Elasticlad

23 Mar

Just got out of THIS at CanStage. Great show, its been awhile seen I’ve seen one I liked this much.

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REVENUE Although the 2012.13 subscription campaign saw some softness in renewals, I’m pleased to report a 28% increase in acquisition revenue over last season.

For single tickets, our Berkeley Street Theatre programming brought in 55% more revenue than anticipated, which helped to balance out a slight drop in expected revenue for some Bluma Appel Theatre shows.

Building awareness for shows in September and early October continues to be challenging as households are slower to make entertainment decisions postsummer holidays. Bluma Appel Theatre programming is often more affected by this factor, primarily because it has nearly three times the inventory of our intimate Berkeley Street Theatre space and other non-profit theatres in Toronto.

EXPENSES We were able to realize savings in all areas of the department by increasing marketing spend when signs of growth were evident and, conversely, tapering off spend when it no longer made operational or strategic sense. Additional savings from our in-house telesales and box office teams, who implemented technological efficiencies and customer-centric strategies using our CRM software, allowed us to understand and serve our patrons more deeply while reducing overhead.

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@latleger

29 Apr

9021-OMG Block Party!! So awesome! blogto.com/events/74562 with special guest DJ @Jason_Priestly 20

EDUCATION and AUDIENCE DEVELOPMENT After scaling back activities to focus on rebuilding our core offerings, the Education and Audience Development department executed a total of 31 education and 67 audience development programs, engaging a record-breaking 5,000 patrons with its pre/post-show chats and education workshops, as well as the new Berkeley Block Party events and on-site childcare initiatives. Groups and schools hit its sales target, which is a significant success given the impact of the education strikes that placed a hold on extracurricular activities.

ONLINE Our website continues to be a primary mode of sale for single tickets, and new features like up-sells and add-ons have produced an increase in incremental revenue. In partnership with Audience View (our CRM software supplier), we also launched a social ticketing platform in early November that has given us a unique mode to sell lastminute inventory at a lower price point with significant success.

I feel very privileged to be working with the best team in the arts and look forward to building on our success into our 2013.14 season.

- SHAWN HERNDEN 21

12.13 season a midsummer night’s dream tear the curtain! political mother speaking in tongues the arsonists ignorance someone else spotlight japan this race the golden mean (live)

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PRODUCTION REPORT Having recently joined the company, I am excited by the opportunity both to be a part of this dynamic organization and to be able to contribute to its growth. Our production team has done an incredible job of getting our productions on stage over the past year, including rising to the challenge of having two shows in repertory for Shakespeare in High Park. We are fortunate that the entire team of staff and contract positions are back with us again this season and that continuity is a great asset to us as we move forward. This does not mean we do not face several ongoing challenges: our Berkeley facility, High Park infrastructure, and some of our production equipment and systems are showing their age; finding ways to balance the workload of our staff is an ongoing concern; and as always, there is a constant need to ensure that our budgets are being spent appropriately and efficiently while meeting the artistic requirements of our productions. These are exciting times to be part of Canadian Stage and the Production department and I are excited to be a part of it.

R. ALLAN ROSS

@jordanmechano

17 Oct

@theElectrics made the most original, exciting show I’ve seen since Sleep No More, called Tear the Curtain. Please see it.

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@Ivan_Karimwabo

30 Apr

Just saw #DavidMamet’s #RACE in #toronto.

Such a conversation starter! See it if u can http://www.canadianstage.com . @Jason_Priestley Bravo dude!

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M FA P ROG R AM We are very proud of the work achieved by the inaugural graduates of the York University MFA program in Stage Direction in collaboration with Canadian Stage, Ker Wells and Ted Witzel. This landmark initiative, launched in 2011, supports the development of outstanding talent for the national and international stage.

Ted and Ker directed this summer’s record breaking Shakespeare in High Park productions and are each directing a show in our Berkeley Street Theatre to launch our 2013.14 season. It is our pleasure to showcase their work. In January, Ker will take up a post as associate professor in the School of Contemporary Arts at Simon Fraser University. Ted is pursuing a number of projects with his company including a November production of Bertolt Brecht’s the RESiSTiBLE rise of arturo Ui, a workshop of a new script by Toronto novelist Marianne Apostolides, and a piece based on the letters of Heloise and Abelard.

We are pleased to have two new students beginning the program this fall: Estelle Shook is the former artistic director of the Caravan Farm Theatre, and Matjash Mrozewski is an internationally recognized choreographer. They will be mentored by Peter Hinton and Chris Abraham, with Birgit Schreyer Duarte coordinating the program at Canadian Stage.

A special thank you to Kim Collier for her development of and dedication to the MFA program, and to BMO Financial Group for their lead support of Canadian Stage’s participation in this program.

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@CabbagetownMatt

01 Dec

If anyone asks you if you want to go see IGNORANCE at @canadianstage; just say yes.

It’s fantastic. #funTO

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BOAR D O F D I R EC TO R S Adrian Lang Chair Tony Baylis Vice Chair Barbara Hackett Vice Chair Antoinette R. Tummillo Secretary

Cathy Bateman Frank Carnevale Debbie Coull-Cicchini Councillor Gary Crawford Patrick Keeley Ron Lalonde (Past Chair) Cheryl Longo Peter Lyman Councillor Pam McConnell Manny Pressman Robert Rowe Barry Rowland Monika Skiba David Staines Stuart Watson Susan Willmot Susan Wortzman

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CANAD IAN STAG E STAF F as of Sept 2013

Artistic & General Director Matthew Jocelyn Managing Director Su Hutchinson

ARTISTIC Producer Sherrie Johnson Artistic & Company Manager Joanne Williams Artistic Consultant Birgit Schreyer Duarte Interns Nellwyn Lampert Darwin Lyons Jeff Madden

ADMINISTRATION Controller Sandra Cesario Accounts Payable Coordinator Pathma Mahadeva Intermediate Accountant Sabrina Li Payroll & Benefits Coordinator Janet Llewellyn Executive Coordinator Gianna Ceci

MARKETING & COMMUNICATIONS Director of Marketing & Communications Shawn Hernden Patron Systems Administrator Amar Bajracharya Publicist Ashley Ballantyne (rock-it promotions) Graphic Design Manager Ted Glaszewski Digital Marketing Coordinator Kiran Hacker Sales Manager James Metcalfe Education & Audience Development Manager Erin Schachter Communications Manager Alison Uttley Education & Audience Development Coordinator Holly LaFlamme Audience Services Manager Cameron Johnston Senior Audience Services Supervisor Allan Gillespie Audience Services Supervisors Hilary June Hart Ellen Hurley

Manager of Volunteer Resources & Rentals Julie Cloutier

Audience Services Representatives Alan Leightizer Cydney Penner Nicole Ratjen

DEVELOPMENT

Telesales Manager Shawn Ahmed

Director of Development Heather McDonald Senior Development Officer Elise Chalmers Patron Development Officer Marielle Bryck Development Coordinator Ellen Burch Special Events Manager Honor Humphreys Intern Leah Schoenmakers 32

Telesales Representatives Heather Caswell Michael Crumpton Elana Dunkelman Meredith Henry Scott Leaver Berkeley Street Theatre House Manager Joseph Cochrane Berkeley Assistant House Manager Guy Legault

PRODUCTION Director of Production R Allan Ross Technical Director Peter Eaton Production Coordinator Jasmine Knox Production Assistant Alanna McConnell Head of Properties Mary Spyrakis Props Builders Vanessa Janiszewski Alex Vass Head of Wardrobe Mary-Jo Carter Dodd First Hand Tracey Glass Bluma Wardrobe Mistress Susan Batchelor Berkeley Senior Head Technician Colin Benoit Berkeley Head Technician Jay Blencowe

ABO UT U S As at June 30, 2013

Age distribution of Canadian Stage audience 50% of the CS audience is under 45 16-25

10%

26–35

25%

36-45

15%

46-55

15%

56-65

21%

66-75

12%

Under 16 + over 75

2%

From audited financial statements

Berkeley Junior Head Technician Cecillia Waszczuk

Surplus 2012.13 season $114, 532

Props Intern Danny Tran

Surplus 2011.12 season $30,880

SHAKESPEARE IN HIGH PARK Gate Supervisor Claire Kwiecien-Sherwood Hill Supervisor Kamini Murthy-Korteweg Concessions Supervisor Venessa Harris Volunteer & Outreach Coordinator Tawnya Cummins

2012.13 season artists 290 paid artists 30 full-time employees 18 part-time employees 344 volunteers (16,500 hours)

Head Electrics Melissa Grandovec Sound Operator Cameron Cleland Production Driver Liz McDermott Dresser Michael Legouffe

@juliabirdwords

29 Jan

Saw @crowstheatre @canadianstage’s SOMEONE ELSE last night. Jarring and funny and sad with AMAZING performances. Still very much in awe.

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Shawn Ahmed

Amar Bajracharya

Marielle Bryck

Ellen Burch

Mary-Jo Carter Dodd

Heather Caswell

Gianna Ceci

Sandra Cesario

Elise Chalmers

Julie Cloutier

Joseph Cochrane

Michael Crumpton

Allan Gillespie

Elana Dunkelman

Ted Glaszewski

Kiran Hacker

Hillary June Hart

Meredith Henry

Shawn Hernden

Honor Humphreys

Ellen Hurley

Su Hutchinson

Vanessa Janiszewski

Matthew Jocelyn

Sherrie Johnson

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Cameron Johnston

Holly LaFlamme

Scott Leaver

Guy Legault

Alan Leightizer

Sabrina Li

Janet Llewellyn

Pathma Mahadeva

Heather McDonald

James Metcalfe

Nicole Ratjen

R Allan Ross

Erin Schachter

Birgit Schreyer Duarte

Mary Spyrakis

Danny Tran

Alison Uttley

Alex Vass

Joanne Williams

Photos: Cover, Christopher Evans and Winifred Burnet-Smith in Political Mother, photo by Ben Rudick; p. 3 Ron Lalonde photo by Derek Shapton; p. 4 Helene Joy and Jonathan Goad in Speaking in Tongues, photo by Shawn Benson; p. 6-7 Hiroaki Umeda in Holistic Strata, photo by Ryuichi Maruo; p. 8-9 main photo: Geminoid F and Bryerly Long in Sayonara, photo by Tatsuo Nambu. Insets: I, Worker photos by Tsukasa Aoki; p. 10-11 Lucy M. May and Dorotea Saykaly in The Golden Mean (Live), photo by Nicolas Ruel; p. 12-13 A Midsummer Night’s Dream photos by Bruce Zinger. Insets, from top: Dmitry Chepovetsky and Gil Garratt, John Cleland and Tamara Podemski, Eric Morin and Sophia Kolinas; p. 14-15 The Arsonists photos by Bruce Zinger. Main photo: Christine Bougie, Sly Juhas and Justin Rutledge. Insets, from top: Dan Chameroy and Fiona Reid, cast, Shelia McCarthy; p. 16 Political Mother photo by Tom Medwell; p. 18 Berkeley Street Theatre photo by Ted Glaszewski; p. 19 THIS photos by David Hou. Insets, from top: Jonathon Young and Laura Condlln, Laura Condlln and Alon Nashman, cast; p. 20-21 Berkeley Block Party photos

by Becca Lemire; p. 22-23 Carol Prieur and Lucie Mongrain in The Golden Mean (Live), photo by Sylvie-Ann ParĂŠ; p. 24-25 Tear the Curtain! photos by Bruce Zinger.

Main: Dawn Petten, Jonathon Young and Laura Mennel. Inset: Dawn Petten and Jonathon Young; p. 26-27 RACE post-it note photos by Ted Glaszewski; p. 27 Jason Priestley and Nigel Shawn Williams in RACE, photo by David Hou; p. 28-29 Ted Witzel and Ker Wells, photo by Tanja-Tiziana and NOW Magazine; p. 30-31 Ignorance photo by Jason Stang Photography; p. 32-33 Kristen Thomson in Someone Else, photo by Guntar Kravis; p. 34-35 Canadian Stage Staff photos by Kiran Hacker.

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September 30, 2013