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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CHAI R ’ S M E SSAG E 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

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 5

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@m_lizzy

30 Oct

“I grew up on Tom Jones and Bollywood music”- @AkramKhanLive Amazing!

I absolutely love it! cc @canadianstage

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 HUTCHINSON 7

@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 SHEET as at

June 30

June 30

2014

2013

ASSETS Current: $7,180

$10,439

Accounts receivable

191,942

84,501

Prepaid expenses

96,922

11,085

484,895

221,807

780,939

327,832

191,113

138,217

$972,052

$466,049

$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

(1,424,837)

(1,534,938)

$972,052

$466,049

Cash and cash equivalents

Preproduction assets

Capital assets, net

LIABILITIES Current : Bank indebtedness

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

@BMHowlett

09 May

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

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

June 30

June 30

2014

2013

$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

Production

3,732,023

3,409,788

Marketing

2,360,408

2,143,956

1,163,609

1,069,644

598,259

651,980

521,461

516,802

8,375,760

7,792,170

110,101

114,532

REVENUES Earned revenues

EXPENSES

Theatre operations Development Administration Total Operating Expenses

EXCESS OF REVENUES OVER EXPENSES Deficit, Beginning of year Deficit, End of year

(1,534,938)

(1,649,470)

$(1,424,837)

$(1,534,938)

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.

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CONDENSED STATEMENT OF CASH FLOWS For the year ended

June 30

June 30

$110,101

$114,532

53,748

65,440

2014

2013

CASH PROVIDED

BY OPERATING ACTIVITIES Excess of revenues over expenses Amortization Net change in non-cash working capital

540

(189,448)

164,389

(9,476)

INVESTING ACTIVITIES Purchase of capital assets Net Change in cash and cash equivalents Cash and cash equivalents, beginning of year Cash and cash equivalents, end of year

(106,644)

57,745

(28,286)

(37,762)

(487,357)

(449,595)

$(429,612)

$(487,357)

Cash and cash equivalents consist of: Cash Bank indebtedness

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7,180

10,439

(436,792)

(497,796)

$(429,612)

$(487,357)

@jillianbowman

01 Jan

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

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@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 postshow 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 Communications 17

@therealtino48

26 Aug

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

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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@christinejhorne 06 Feb year agreements with the unions representing our away by #LondonRoad at @ stage Blown and wardrobe employees, improvements to canadianstage.

One oftracking the mostprocesses, captivating, our budgeting and financial awe-inspiring pieces I’vemodel ever seen.

Brilliant! refinement of our production 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 Centreled 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 21

@austinausten

14 Apr

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

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DEVELOPMENT REPORT Fundraising 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 27

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@PandemicTheatre

21 Oct

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

MFA PROGR AM In 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 internationallyrecognized 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-onone 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

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

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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

@AdamFProulx

16 Nov

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

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CANADIAN STAGE STAFF

MARKETING & COMMUNICATIONS

Artistic & General Director Matthew Jocelyn

Senior Marketing & Communications Manager April Moon

Managing Director Su Hutchinson Executive Coordinator Gianna Ceci

Director of Marketing & Communications Shawn Hernden

Publicists Ashley Ballantyne Rebecca Shoalts (rock-it promotions)

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

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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

PRODUCTION Director 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

ABO UT U S 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

Berkeley Junior Head Technician Melissa Grandovec

SHAKESPEARE IN HIGH PARK Gate 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 33

Shawn Ahmed

Amar Bajracharya

Susan Batchelor

Jay Blencowe

Ellen Burch

Faisal Butt

Mary-Jo Carter Dodd

Gianna Ceci

Sandra Cesario

Elise Chalmers

Julie Cloutier

Joseph Cochrane

Michael Crumpton

Elana Dunkelman

Peter Eaton

Robin Gaunt

Allan Gillespie

Ted Glaszewski

Melissa Grandovec

Kiran Hacker

Shawn Hernden

Su Hutchinson

Vanessa Janiszewski

Matthew Jocelyn

Sherrie Johnson

Cameron Johnston

Hilary June Hart

Will King

Jasmine Knox

Scott Leaver

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Sabrina Li

Janet Llewellyn

Jason Maghanoy

Pathma Mahadeva

Andrew Markowiak

Alanna McConnell

Heather McDonald

April Moon

Adam Owen

Cydney Penner

Nicole Ratjen

R Allan Ross

Kasia Rusiniak

Erin Schachter

Leah Schoenmakers

Birgit Schreyer Duarte

Mike Souliere

Mary Spyrakis

Kayla Vanderlip

Alex Vass

Cecilia Waszczuk

Joanne Williams

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.

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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

October 1, 2014