The Soldier's Tale concert programme

Produced by

In association with

Dina Gilbert, conductor James MacDonald, narrator Lauren Okano, dancer Musicians of the Kamloops Symphony Orchestra

September 26, 2020 | THE WEB EXPERIENCE – “Opening” To October 25, 2020 | THE WEB EXPERIENCE – On Demand September 27, 2020 | PARAMOUNT THEATRE

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The presentation was performed and filmed on Tk’emlúps te Secwépemc territory within the traditional lands of the Secwépemc Nation.

We extend our appreciation for the opportunity to live, create and perform on these beautiful lands.

A Kamloops Symphony production in association with Western Canada Theatre MUSIC: Igor Stravinsky TEXT: C.F. Ramuz

Translated by Michael Flanders and Kitty Black,

adapted by James MacDonald CAST Narrator, Soldier, Devil James MacDonald The Princess Lauren Okano KAMLOOPS SYMPHONY ORCHESTRA Conductor Dina Gilbert Violin Cvetozar Vutev Double Bass Michael Vaughan Clarinet Sally Arai Bassoon Olivia Martin Cornet Mark D’Angelo Trombone Jeremy Berkman Percussion Julia Chien CREATIVE TEAM Stage Direction Music Direction Choreography Lighting and Set Design

James MacDonald Dina Gilbert Lauren Okano Bill Chabassol

PRODUCTION CREW Production Coordinator Maddy Henry (Western Canada Theatre) Production Coordinator Evan Ren (Kamloops Symphony) Production Assistant Brittney Martens Film Production Mastermind Studios Audio Recording Perry’s Recording Studio Filmed on location at the Sagebrush Theatre, in Kamloops, BC, on September 25, 2020

kamloops symphony music director DINA GILBERT Regularly invited to conduct in Canada and overseas, Dina Gilbert attracts critical acclaim for her energy, precision and versatility. Currently Music Director of the Kamloops Symphony and of the Orchestre symphonique de l’Estuaire (Québec), she is known for her contagious dynamism and her audacious programming.

Dina is regularly invited by leading Canadian orchestras, including the Orchestre symphonique de Montréal, Orchestre métropolitain, Toronto Symphony Orchestra, Hamilton Philharmonic and the Orchestre symphonique de Québec. In 2017, she made debut performances in the United States with the Eugene Symphony and the Fayetteville Symphony Orchestra, as well as in Asia conducting a series of five concerts with the Sinfonia Varsovia in Niigata and Tokyo.

Recent highlights include her debuts in Spain and South Korea, and a return to France to make her debut with the Orchestre National de Metz. The 2019-2020 season was also her first as the Principal Conductor of the Orchestre des Grands Ballets Canadiens de Montréal.

Passionate about expanding classical audiences and with an innate curiosity towards non-classical musical genres, Dina has conducted the Orchestre Philharmonique de Radio France and the Orchestre national de Lyon in several Hip Hop Symphonic programmes collaborating with renowned Hip hop artists. She has also conducted the world premiere of the film The Red Violin with orchestra at the Festival de Lanaudière and the North American premiere of the film The Artist with the Orchestre symphonique de Montréal.

As the founder and artistic director of the Ensemble Arkea, a Montreal-based chamber orchestra, Dina premiered over thirty works from emerging young Canadian composers. Committed to music education, she has reached thousands of children in Canada with her interactive and participative Conducting 101 workshop.

From 2013 to 2016, Dina was assistant conductor of the Orchestre symphonique de Montréal and Maestro Kent Nagano, also assisting guest conductors, including Zubin Mehta, Sir Roger Norrington, Lawrence Foster and Giancarlo Guerrero. In April 2016, she received great acclaim for stepping in to replace Maestro Alain Altinoglu with the OSM in a program showcasing Gustav Holst’s The Planets.

Dina Gilbert earned her doctorate from the Université de Montréal, where she studied with Jean-François Rivest and Paolo Bellomia and polished her skills in masterclasses with Kenneth Kiesler, Pinchas Zukerman, Neeme Järvi and the musicians from the Kritische Orchester in Berlin. Awarded the Opus Prize of “Découverte de l’année” in 2017, Dina was also named as one of the 50 personalities creating the extraordinary in Québec in 2018 by Urbania Magazine. She has received support from the Canada Arts Council, the Conseil des arts et des lettres du Québec and the Père-Lindsay Foundation.

guest artist JAMES MacDONALD Narrator, Soldier, Devil

James MacDonald has been Western Canada Theatre’s Artistic Director for four years, during which time he has directed productions of The Sound of Music, The Drowning Girls, Vimy, GLORY, A Christmas Carol, and Million Dollar Quartet. Prior to coming to Kamloops, he was the Associate Artistic Director at the Citadel Theatre in Edmonton, where he directed 16 productions, and performed in 13 more.

He has worked as an actor and director in theatres across Canada, including the Stratford and Shaw Festivals, the Royal Manitoba Theatre Centre, the Canadian Stage Company, and Neptune Theatre.

As a performer, some of James’ favourite roles include playing Petruchio and Henry V for the Freewill Shakespeare Festival, Slim in Of Mice and Men (Citadel/ RMTC), and Scrooge in A Christmas Carol (Citadel, six seasons). He has loved Stravinsky since he inadvertently attended the opening night of the Firebird Suite at the Vienna Opera House and is thrilled to be collaborating with the KSO for the first time.

guest artist LAUREN OKANO Dancer

Lauren Okano, born and raised in Kamloops, BC, is a dancer who grew up training with The Dance Gallery Kamloops from the age of three. She is classically trained in ballet with the Royal Academy Dance and has successfully completed her Advanced II exam. She is also trained in numerous other dances styles including tap, jazz, lyrical, contemporary, modern and musical theatre. Throughout her training, Lauren has been instructed by top-instructors from Ballet Victoria, Ballet BC, The Canadian School of Ballet and TriCity Dance Centre and has worked with popular commercial choreographers such as Stacey Tookey and Travis Wall. In 2016, Lauren was the winner of the BC Provincial Arts Festival for Intermediate Modern and was Runner-up for Senior Stage in 2017 and 2018. Currently, Lauren choreographs and assists teaching ballet at The Dance Gallery. She is also pursuing a Bachelor of Science Degree at Thompson Rivers University.

Lauren is passionate about the performing arts and is thrilled to take on new projects that keep her connected to dance and the Kamloops Arts community.

programme notes

THE SOLDIER'S TALE (1918) What a difference a century makes!

—or maybe not so much.

The performance you are about to see today was created by Stravinsky in 1918, in part as a response to a European world grappling with social and economic turmoil born from the four years of mechanized brutality of World War I. Then... disease, the "Spanish 'Flu'," a true pandemic, sweeping across the globe, victimizing far many more even than had perished fighting. Now, a little more than a century later, in our own time, no Great War, just decades of seemingly endless conflicts and threats of conflict, deep social unrest and distress. And then—almost unimaginable—another pandemic, and again a relentless global tide of victims. As it was in his own time, Stravinsky's The Soldiers Tale is a story for our time too.

Stravinsky's early successes were ballets in collaboration with Sergei Diaghilev and the Ballets Russe in Paris. The Firebird (1910), Petrushka (1911) and The Rite of Spring (1913) all draw on Russian folk tale or mythic sources for their stories and on elements of Russian folk music in keeping with strong Russian nationalist influences of the late 19th Century. World War I interrupted this career path as did, also, the Russian Revolution of 1917, which severed Stravinsky's ties with his homeland and made circumstances economically difficult for him and his family. The Soldiers Tale was to be one solution to this, not a full ballet but a small-scale theatrical piece that could easily be taken on tour: a narrator, a couple of actor-dancers and a small group of musicians. The pandemic, however, had other plans: after a successful première in Lausanne an outbreak of the "Spanish 'Flu'" forced cancellation of the rest of the tour.

Igor Stravinsky with Vaslav Nijinksky as Petrushka, 1911.

Photo: wikicommons

As with his earlier ballets, Stravinsky chose a story based in Russian folk material: a tale of several encounters between a homeward bound soldier and the Devil, and of a bargain not entirely unlike the one that Faust makes.

Centuries of European history have shaped the iterant soldier as a suitable

programme notes - page 2 Everyman figure. To develop the narrative Stravinsky collaborated with the Swiss writer Charles-Ferdinand Ramuz. The outlines of the basic folk tale are typically episodic, a little like the flow of components in a dream sequence.

However, as an adaptation done by a poet the meanings that accumulate from the story may be more complex than those in a simple folk tale. The story is presented in two main parts, the first of which is divided into scenes.

A Brief Outline The soldier is headed home on leave and, resting, rummages through his knapsack and locates a number of familiar personal items, including his cheap violin, which he then plays. The Devil (who has been watching) demands the violin and offers a magic book in exchange. With little hesitation the soldier agrees. However, the Devil insists the soldier come home with him for three days to teach him to play, and in turn be instructed how to use the magic book to become rich. Yet, when he is transported back to his village, events reveal that three days has in fact been three years, his fiancée is married with children and even his mother flees him thinking him to be a ghost.

The Devil shows up again, and the soldier accuses him of cheating him out of his fiddle, his favourite possession. But in reply the Devil treats him with harsh authority and insists he learn to use the magic book to his advantage— while he himself gets to keep the fiddle. As time passes, the soldier does learn and prospers and justifies his material way of life—yet gradually begins to recognize the emptiness of his life without the happier human contact he had in earlier times. He realizes that those who have nothing have everything, while he who has everything has nothing. He is rich but "dead." The Devil appears once more (disguised as an old peddler woman) and tries to interest the soldier in some rare items, which are actually the contents of his original knapsack. The last item the Devil offers is the violin, but insists the soldier play it. He tries but the violin is silent. With the Devil gone, the soldier throws away both the violin and the book.

Part 2 begins with the soldier on the road again looking for a new country to start in. A fellow soldier he meets tells him of the plight of the king's only daughter being seemingly incurably ill. The king will marry her to anyone who can cure her. The soldier is encouraged to try. At the palace he tells his fortune, using a pack of cards. He draws nothing but hearts (even the queen)—a promising sign. Of course, the Devil shows up with the violin. But our soldier realizes at last how he can be free again: he must lose all his possessions, everything that might be seen as a debt in his bargain with the Devil. He proposes cards, the

Devil accepts and the soldier, by design, loses repeatedly, his final card is the Queen of Hearts that falls to the Devil's Ace of Spades. The defeated (and now inebriated) Devil staggers and falls.

The soldier takes the violin and plays for the princess. She is cured, leaves her bed and dances: a Tango, a Valse, and a Ragtime (it's 1918 and music is on the change). His life appears completed now with a wife. The Devil appears defeated, but in fact is not. He puts a curse on the couple: he will claim the soldier if they ever leave their kingdom. You know what happens: years later the soldier yearns to go to his childhood village and see his mother, to take the princess with him and in that way to unite all the stages of his life. He thinks he can do it without "anyone" knowing about it. He goes on ahead to the frontier.

We know who's waiting. The Devil has the violin once again in his possession.

The soldier hears a voice call him from behind, but he cannot turn back. He is in the Devil's thrall and is meekly led away. Unlike the Faust story, this Devil appears to win.

And what does it all mean . . . ?

That's the task for each of us, of course, but probably we've had practice in earlier years, puzzling out the significance of the objects (violins, magic books, etc.), characters (itinerant soldiers, archetypal figures of evil, etc.), and actions (curing incurable princesses, etc.) that are the ingredients of folk tales, never Igor Stravinsky by Hilda Wiener. Image: wikicommons quite knowing what precisely it all means. Stravinsky's Tale is similarly fluid in structure and meaning. Some details are clear: the violin is clearly an important element—is it like the soldier's soul, that he gives away thoughtlessly but then seeks to reclaim? You can work on that. There are moments of deliberate moral focus: early in the tale the Devil presents the indecisive soldier with a clear and practical question: "How are you going to live?" Then there is another section near the end of the tale in which clear moral conclusions are drawn, The Great Choral, where the issue of fulfillment in human life is raised: "The thing you were before you changed you can't be any more . . . you have to choose . . . you can't have everything . .

programme notes - page 4 . ." But it is likely the implied meanings that emerge without explicit comment from the characters' words and actions that carry more weight: a traditional figure, the Devil, is presented as a mouthpiece for society's moral authority, and our individual Everyman, though prospering and content for a while, is unable to survive and is led into permanent captivity at the end. In addition to that there may be reflections of the world of the creators, who seem to have deliberately made their 1918 production contemporary not traditional—the soldier in Swiss wartime uniform, the Devil in disguises of various present-day characters, the soldier-as-prosperous-capitalist who conducts business on the telephone. Is Stravinsky updating the setting, as some have suggested, to make the Tale a partial comment on the Russian Revolution of 1917 that appeared at first to have liberated Stravinsky's homeland—until the emergence of Lenin turned the Revolution into something entirely different. So, what might The Soldier's Tale have to say about our own time?

The music

The music of Stravinsky with which most of us are familiar and which established his career prior to World War I are the ballets The Firebird (1910), Petrushka (1911) and The Rite of Spring (1913). We recall the rich, colourful, even startling orchestration. The Soldier’s Tale, instead, is scored for a small group of seven different players, namely clarinet, bassoon, cornet, trombone, violin, double bass, and percussion. The single percussionist is responsible for two

Image: wikicommons

snare drums of different sizes, a larger snare drum, a bass drum, cymbals, tambourine and triangle. Stravinsky insisted the musicians be a visible, physical component of the overall dramatic performance, not merely off-stage accompanists for the speakers, actors, dancers.

The musical forces may be small but the range of their associations is appropriate to the tale of an itinerant soldier with rural roots. Different instrument combinations recall village, wedding, dance and military bands of different parts of Europe, and the violin style is that of the travelling Hungarian gypsy tradition. This music represents the blossoming of a new style for Stravinsky, one which he had already begun to develop during the war years, one reflecting influences from "modernist" European composers, rather than the late Russian romanticism of his earlier ballets. A style in which the clarity of lines in counterpoint to each other is more prominent than the lush harmonies of his earlier orchestral writing, it is later referred to as "neo-classical." Already, in The Soldier's Tale, we find the Little Choral and Great Choral deliberately recalling baroque musical styles, although how Stravinsky treats his classical "authorities" is far from straight forward, ironic rather than deferential, and in this way the music, too, becomes another source of meaning in this deceptively complex Soldier's Tale.

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Brian & Nancy MacKinnon In Memory of Phyllis Mader Norm & Beverly Martin Rhonda & John Maskiewich Leslie Matthews Peggy A. McKimmon Wendy D. McLean John McMorran Doris McNutt Ron & Glenda Miles Vic & Sally Mowbray Michelle Theresa New Sheila G. Noftall Wilma Pagan Joan Parker Rob & Chris Phillips Robert & Lorraine Pick Mark Power Stu & Mickey Power Sandra Pryce Valentina Putoto Phyllis Rainey Laura Randall Dan & Laura Ferguson Uniquely Inspired Marketing L. M. (Lynn) Rutherford Susan Safford Shirley Sze Elaine Sedgman Natalie Serl Delray & Heather Lyanne Shannon Ethel Sheremeta Karen Siggers Kathy Sinclair Jeff Sodowsky Ron & Jennifer Ste Marie Marilyn & Glen Stephens Sham Sunder Colleen Joan Tabata Elizabeth Templeman Eric & Wendy Thomas Carol J. Todd Lynne Totten J. Treherne Bob & Jennifer Trudeau Robert Walter Eugenie Wilson In Honour of Dan Wood Adrienne Yates Sally & Bob Zryd

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Robert Adolph Karen Albiston Teralli Norma Angstadt Sherry A. Balachanoff Lorraine Balogh Linda F. Barr Judy Basso Nicole & Tom Befurt The Benevity Community Impact Fund Roger & Nora Bennett Heather Bepple Rod Neil Black Gordon & Joan Britton Sharon Brooks Gorlieo Choi Kathleen Collier Leanne Coombes Csandra Cooper Alisa Coquet Janice Faye Crape Michelle Delany Kathleen Dobson Dixie Duncan Elizabeth Dye Dave & Irene Edamura Don & Debbie Erickson In Honour of Evan and James Jennifer Fraser Carly Frey Heidi Generaux Katherine Gulley Deborah Hansen Michelle K. Harrison June Hartley Tanja Hasler Tanya Hasler Sheri Heide

Catherine & Jordan Marie Henry Dylan E. Houlihan Ken & Marylyne House Leah Hubensky Jillien Marie Humphrey Judy M. Hunter In Memory of Our Brother Dave In Memory of Momma Sharon In Memory of My Mom Nena Jocic-Andrejevic Tanya Johnson Gail Bonnie Jesten Linda Komori Bill & Eileen Lee Av Loerke Andrea Lougheed Lori Lucier Ron & Marilyn MacKenzie In Memoriam Phyllis Mader In Memory of Phyllis Mader Sandra F. Mah Richard Marken Kyle Matheson Linda Mathieson Marlies McArthur Deborah McCabe Janet Mary McGregor Terra McGuire Laura Sharon Michel Rod J. Michell Daniel Mills Beth & Jeff Morgan Mary Lynn Nelson Stan & Louise Oakes Annie Onuluk Cheryl Paige Mavis Paravantes Kayla Pepper

Anita M. Phillpotts Tracey Pointer Pauline Pollock Walter B. Poohachoff Walter & Polly Poohachoff Dallas Q Ginny R. Ratsoy Sulwen (Cookie) Reimer Derek Rein Jay Rilkoff Chris Rose In Memory of David Ross Erin E. Rugolo Katie Ryerson Donna Sharpe Peter Sharpe Arjun Singh Tamsyn Sitler Lisa Smillie Cogi B. Smith Joan Spencer Jennie Stadnichuk Jack & Terry-Lynn Stone Dick & Marilyn Strutz Roy Surette Clint & Paula Sword Dawne Taylor Valerie Teshima, J. Teshima Gordon Tisher Linda Thomson Martin Tong Kelly Twist Agnes Watier Diane Webb Megan Williams Andrew Wilson Michelle Ziebart Barbara Zimonick

western canada theatre ticket donors Western Canada Theatre wishes to acknowledge the following people, who so generously donated the value of their tickets to cancelled performances at the end of the 2019-20. Listing based on ticket donations confirmed as of September 20, 2020 Anonymous Steve Abram Margaret Abramzik Pamela Ainge Kathleen & Joe Alcock Shirley Allan Peter & Debra Allik-Petersenn Dianne Almond Esther Anderson Patricia K. Andrews Debra Apps Roger and Cecile Lamoureux Ingrid Valarie Aylward Sue Babiy Trudi C. Backman Carolyn & Roger Joseph Bacon Helen Bailey Sandy Baird Alan E. Baker Barb & Rick Baker Mike Baldwin Barbara & Magnus Balle Mona Banek Ron Banford Francis & Helen Barnett Peter Baron Mary Barquest Anna Barton Anise Barton Irene Bazell Sandra Beblow Ken & Joyce Beck Dawn C. Beck Ruth M. Beday Sherry & Brad Bennett and Barb Smith Karen Berg Sandy Berglind Joan Bernard Frances Bewza R.C. Bidnell Lyse Marie Biech John & Elizabeth Bishop Merle Bishop Michael E. Black Barbara Boechler Glen & Trudie Bonbernard Muriel Botham Gerry & Barbara Bourdon Lucie Bourgeois

Vaughn & Linda Bourrie Karen Bowden Amanda Bowlby Barbara Bowles Carole Boyle Jeffrey & Sandra A. Boyle Jack & Pauline Braaksma Wesley Darren Bray Lori Ann Bregoliss Chelsea Brookes Margaret Brown Kelly Brown Barry & Judy Brown David & Liz Bruce Anna Bruno Ed & Patti Bruzzese Gerry Buchanan Jon & Irene Buckle Julie Caroline Burns Candice Burton Sue Buzash Ann Byard Tammy & Duwayne Cadwell Celine Calfa Patrick & Jeanne Callahan Sharon Campbell Sue Cane David Cane Frank & Odette Caputo Richard & Chris Carney Jim & Sherry Carroll Jean Margaret Cartier Kim Cartwright Andrew Cassar-Torreggiani Cathy Cavaletto Sandra Ceccon & Susan Scott Pat Chamberlain Michael A. Chambers Ray & Toshi Chatelin Dennis Clare Grant & Pat Clark Sharon Clark Susan Rm Clifford Maureen E. Coldicott Michelle Colenbrander Geoff & Kathy Collier Bill & Vicki Collins Helen Collins Joslyn Conley Sharon Connatty

Sharon Cooley Cathie Cooper Paige Doreen Cooper Cathie Cooper Alisa Coquet John Corbishley Sally Cornies Sharon Cotter Philippa & Peter Coxon Jean Crowe Brent & Eija Cryderman Sarah Cuzzetto Camilla T. Dahl Donna M. Daines Cheryl Dale Santo D’Aquino Linnea Davies Cynthia B. Davis Lisa Amy de Jardin Wilma de Jong Elizabeth V. Dedels Donna Demarni Joanne Dennstedt Jaime Der Lori Dewart Ron & Nancy Dey Tom & Joy Dinsdale Barb Dinsdale Christa Donauer Sharon Donchi Dan & Denise Douglas Wendy Dubbin Charlie & Doris Dudy Lillian Dunbar Danielle Dunn-Morris Elizabeth Dye Nicolette Frances Eadie Sandy Elizabeth Eastwood Dave & Irene Edamura Venessa B. Eden Pat Ehlbeck Kim Eichhorn Pat Elfstrom Jim & Susan Eredics Shirlee Ezowski Joe Faesen Leandra Fallis Hugh & Marilyn Fallis Cathy M. Farber Glen & Sara Farrow

Pamela & Jason R. Fawcett Julie Ann Feather Lillian Fehr Anonymous Jill Field Mary Jane Finch Jane Finlay Robert & Lynda Fisher Valerie Fitger Sharon Fitzer Bill & Sheena Flynn Nadine R. Fort Kerry M. Fortune Stella Frame Allen & Sharon E. Frissell Michael Fryatt Eileen Funk Mitzi Funk Susan Funk Gillian Gaiser Lorelei Gibson Kay & Don Gienow Bob & Michele Gieselman Wednesday Theatre Posse Soula Giftakis Natasha Gill Rita Goode Noel & Bonnie Gopsill Ina Gory Joy Gothard Mary & Maurice Granger Vivian Grant Peter & Judy Gray Anonymous Carol Gregg Ivana & Homer Hamm Drusilla & Ian Hammond Susan Hammond Brenda & Doug Harcott Lillian Harcus Bev Haskins Tanja Hasler Helena Hasler Ron & Judy Hatch Karin Haug Kathleen Virginia HaywoodFarmer Peggy Heath Fran Helland Joanne Helmer John & Helen Helvoigt Dian Henderson Ed & Linda Me Herman Rosemary Hibbard Barbara Jane Hicks

Charlene Hillson Violet Hilton Dave Carl Hilton Linda Holan Lois K. Hollstedt Lynne Holmes Cathy Hoshino Jane House Ken & Marylyne House Maureen & Hoberly Hove Melisa Hunter Darla Mae Hunter Jo-Mary & Bob Hunter Sharon Huston Hope Hyslop Ozzie & Darlene Iadarola Trent & Melissa Jakubec Donalda Jamrich Dean & Donna Jeske April Olivia Jesson Gail Bonnie Jesten Tanya and Daniel Johnson Susan Johnson Shirlee Anne Johnson Sharon Jones Joanne A. Jones Linda Jontz Mary Jordan Kathrin M. Jules Elizabeth Anne Juras Fred & Pat Kaatz Twylia Gwendolyn Kartz Sandie Keetch Teresa & Josh Keller Laura B. Kelly Alex & Margaret Kerr Leona Ketsa Sharon Kika Rod & Dawn Killough Don Kinasewich Marjorie King Bob & Pat King Julia M. Kinvig Kats & June Kitamura Lois Klingbeil Lois Anne Knauff Ted & Maryann Kowalsky Michael & Debbie Kowbel Taryn Krause Lisa Marie Lake Gwyneth Lamperson Mary Lane & Sue Whitehead Marg Larsen Sandi Larsen Megan R. Lazzarotto

Sue Leach Bill & Eileen Lee Daniel & Bev Lewis Leighton Georgina Gail Leighton Mary Lester Anne Letendre Walter Lewis Mariko Lintott Dennis & Sandra Lloyd Pam Lovett Mary Elizabeth Lowe Melissa Lowenberg Reg & Barbara Lucas Shirley Ann Lunan Peggy D. Lunn Joan Lyons Monica MacAulay Frances MacColl Bob & Betty MacGowan Ron & Marilyn MacKenzie Patricia MacNeil Pat MacQueen Bob Madill Frank & Gayle Makeiff Mary Makowichuk Madeline Maley Mona Giebrecht Len & Laurie Marchand Donna Marchand Sharon Margetts Raegan Markel Kate Marshall Mary H. Martens Judy Martin & Dan Cox Beverly Martin Rhonda & John Maskiewich Joan Mason Catherine Anne Masters Jack Mathews Linda Mathieson Maria May Kathy McArthur Win McClure Grant & Sue McDonald David & Joanne Leslie McDonnell Kirsten Juliette McDougall Catharine McIntosh Karen McIver Angus & Barb McKay Glenda McKinnon Kevin & Susanne B. McLarnon Marilyn Kay McLean Dorothy McLellan Doris McNutt Terry & Joan McQuillan

western canada theatre ticket donors - continued Kathy Meger Tanya Mihura Stephanie Moen Joan Moffat John & Elaine Moon Ella Morrow Tracey Mourre Vic & Sally Mowbray Dennis & Maxine Mucha Betty Muench Tracy Mulhern Beverley Ann Mulldoon Twink Murphy Roland & Anne Neave Joan Negrin Lori Nelson Karry Ness Michelle Theresa New Wendy Nielsen Rae Nixon Sheila G. Noftall Susan Marie Norgaard Brian O’Grady Dave & Shelley O’Grady Sylvia Olson Julie & Carl Ottosen Patricia M. Owen Maria Paccagnella Elaine Paget Linda Paget and Judith Taylor Colene Palmer Sheila Park Guy & Jeanine Parker Margaret H. Patten Dawn Patterson Deborah Lee Pearen Judith Lamont Elaine Marie Pennoyer Sheryl Penttila Dave & Mary Ann Peressini Bonnie Peterson Barb Pettie Rob & Chris Phillips Pauline Piller Chris & Karla Pincott Angela Pinette James & Denise Piwek Tracey Pointer Andre & Roberta Poirier Teresa Arline Prehara

Gwen Pruden Dana Prymak Marlene Purpur Lauryn V. Purych Janet Pyle Jenny Quince Lorraine Rahel Karl & Debbie Rainer Keylea Joan Rainer Ginny R. Ratsoy Desert Hills Probus Group Jane Reed Russ & Jane Reid Julie M. Reimer William Reiser & Pamela Clark Louise Richards Vina Richardson David Ritenburg Hillary Rockvam Wendy A. Rockwell Susan Rolston Dianne Romeike Nadia Rotzinger Shirley Rowland Patricia Rumble Audrey Saigeon Lana L. Schindler Jill Schrauwen Beverley Schroeder Janie Marie Schumacher Eric & Tish Schweizer Rozanne Shannon Heather Arline Shannon Margaret Sharon Hennie A. Shimizu Karen Siggers Shelley Singular Diana M. Skoglund Bea Smith Bud & Daphne Smith Athena Smith Rama Somaya Joanne Sporer Chris & Laurie Stabler Jerry Stack Colleen Stainton Kathryn Joy Steen Tricia R. Steenson Beverley Steeple Rob & Diane Stenner

Margaret Stewart-Smith Leslie Idella Stirling Susan Elizabeth Stokes Al & Florence Stonehouse Marijke & Al Stott Dick & Marilyn Strutz Stella Stumpf Andrea E. Sullivan Sean Sutherland Jean Swaim Augustine Szauer Colleen Joan Tabata Cec & Jan Tarasoff Dawne Taylor Dick & Terry Taylor Florence Thomson Bob & Julie H. Threinen Jessie Toews Nicole Tougas Judith Treherne Bob & Jennifer Trudeau Lisa Tywoniuk Ed & Clarice Ungrin Anita van Tassel Lynda Vankoughnett Gemma Vidal Lynda Vigor Wayne & Paula Vollrath Catherine A. Waddell Hazel Wadlegger Drs. Anise Barton & Tom Wallace Ann & Rick Wallin Donna Wanless Hayley Waring Brenda J. Waslenchuk Ron & Norma Watts June C. Webb Diane Mary Webb Diane Wells James & Barbara W. Wentworth Bonnie White Bonita & Gordon Michael Wiens Sheryl Willis Sue Williston Betty (Elizabeth) Wood Maureen Glynis Wormsbecker Cathy & John Wozlowski Bonnie Yoshida