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MAGAZINE FOR FRIENDS AND PARTNERS FALL 2026

CONTENTS 02

FROM BROADWAY "IN LIVING COLOR"

HAPPENING NOW WITH ALL.TOGETHER.NOW.

ROYAL GEORGE: THOUGHTFULLY REIMAGINED

THE SHAW ARTISTS' VILLAGE COMES TO LIFE!

LOOK WHO'S TURNING 65!

A BIT OF FRY & CARROLL

NEWS

CALENDAR

HOLIDAY PRODUCTIONS 2026

Editor: Marion Rawson Design: Key Gordon Communications Production photography: David Cooper Photography Your comments are welcome. Please call the Development Office at 1-800-657-1106 ext 2556 Shaw Magazine is a publication for the Friends and Partners of the Shaw Festival. Editorial Committee: Tim Carroll, Tim Jennings, Melissa Novecosky, Kimberley Rampersad, Marion Rawson Artistic Director: Tim Carroll Executive Director: Tim Jennings Associate Artistic Director: Kimberley Rampersad Associate Executive Director: Melissa Novecosky Shaw Festival 10 Queen's Parade Box 774 Niagara-on-the-Lake, ON L0S 1J0 Charitable No. 11914 7882 RR0001 Shaw Festival Foundation Buffalo, New York Charitable ID No. U.S. Section 501(c)(3) 22-2809351 Cover: Royal George Theatre rendering by Unity Design Studio Thanks to Royal George Theatre major supporters: Government of Canada Province of Ontario Tim & Frances Price This page: Members of The Wind in the Willows Ensemble The Wind in the Willows Production Sponsors

Children & Family Programming Supporter

Ron & Barbara Besse

Christopher & Jeanne Jennings

Mary E. Hill

Jackie Maxwell Studio Theatre Sponsor

Julie Andrews as Cinderella in Rodgers and Hammerstein's 1957 TV Special on CBS

From Broadway

“In Living Color” RODGERS + HAMMERSTEIN’S CINDERELLA AND THE GOLDEN AGE OF MUSICALS ON TV

BY NEIL BARCLAY 2

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At eight o’clock on the evening of March 31, 1957, virtually the entirety of North America sat down in their living rooms and tuned in to their local CBS affiliate. (In those dark, pre-cable days, Canadian audiences could naturally tune to CBC.) Instead of the usual appearance of the venerable Ed Sullivan Show, they were treated to an original musical adaptation of a classic fairy tale with a score penned by the most revered composerlyricist team of the age: Richard Rodgers and Oscar Hammerstein II’s Cinderella.

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Her effort proved worth it: Cinderella was a sensation. Hirschfeld drawings courtesy of © The Al Hirschfeld Foundation AlHirschfeldFoundation.org

FALL 2026

Cinderella (1965) with Ginger Rogers, Walter Pidgeon, Stuart Damon, Pat Carroll, Barbara Ruick, Jo Van Fleet, Lesley Ann Warren and Celeste Holm. CBS TV Production.

The winter of 1956-57 was unique in the history of the duo, who had launched their partnership 13 years earlier with Oklahoma! which had gone on to become the longest-running musical in Broadway history (a record soon to be eclipsed). They followed it up, in rapid succession, with equally lauded hits such as Carousel, South Pacific and The King and I, as well as others. For over a decade, rare was the evening when one of their shows — new or in revival — wasn’t playing somewhere. But as 1957 dawned, Broadway was without a Rodgers & Hammerstein show, and when offered the opportunity to write an original musical for television, they were quick to sign on, especially with the newly minted Broadway star, Julie Andrews. England’s Julie Andrews had made a notable Broadway debut at the age of 19 in the leading role of Polly Browne in Sandy Wilson’s London hit The Boy Friend. Towards the end of that run, she was approached by Alan Jay Lerner & Frederick Loewe — perhaps the only songwriting team who could rival R&H — to read for their new musical, an adaptation of Bernard Shaw’s Pygmalion, and was ultimately offered the part of the Cockney flower girl Eliza Doolittle. My Fair Lady opened on March 15, 1956, to rave reviews, including Brooks Atkinson’s New York Times notice, which described the 20-year-old as “magnificent.” It was hardly a surprise, then, that when searching for the perfect Cinderella for their first foray into an original television musical, Rodgers and Hammerstein were unequivocal in their desire to work with her. Still committed to her My Fair Lady contract, Andrews spent a month doing double duty — rehearsing Cinderella during the day and playing Eliza at night. Her effort proved worth it: Cinderella was a sensation.

As the 20th century reached its midway point and with networks increasingly in need of programming, Broadway proved to be a major wellspring of material. Severely edited versions of Broadway hits began to pop up on network TV as early as 1950. Some were folded into variety programs like Musical Comedy Time, which featured star-driven adaptations such as Martha Raye in Anything Goes and Jackie Gleason in No! No! Nanette! (which curiously acquired three exclamation marks for the TV adaptation). Throughout the decade, viewers at home could have tuned in to see Michael Redgrave in Jule Styne and Leo Robin’s musical take on the classic film Ruggles of Red Gap, Burton Lane and Dorothy Fields’ family-centred story Junior Miss starring Don Ameche, or Sammy Cahn and Jimmy van Heusen’s adaptation of Our Town, starring newcomers Paul Newman and Eva Marie Saint as George and Emily, watched over by Frank Sinatra as the Stage Manager. (Its most enduring song, “Love and Marriage”, went on to immortality as the theme song to the 1990s sitcom Married…with Children.)

The Dangerous Christmas of Red Riding Hood (1965) with Liza Minnelli and Cyril Ritchard. ABC TV Production.

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While many of these telecasts faded from memory, Rodgers & Hammerstein’s Cinderella proved to be a perennial, establishing new records for viewership and joining the ranks of the classic R&H canon.

Television proved to be a place for many theatre composers and actors — both veterans and neophytes — to ply their trade. Not long after Cinderella’s exceptional success, Cole Porter wrote his final score for an adaptation of Aladdin starring the Australian actor Cyril Ritchard — a regular in many TV musicals of the era — alongside Anna Maria Alberghetti and, in the title role, a fresh-faced Sal Mineo from Rebel Without a Cause. Bernard Herrmann and Maxwell Anderson were an intriguing pairing when they collaborated on a 1954 version of A Christmas Carol starring Frederic March as Scrooge. A young Joel Grey was seen in a musical version of Jack and the Beanstalk, while Mickey Rooney — then closing in on 40 — was tackling Pinocchio. And one of the oddest, most intriguing television musicals was 1965’s The Dangerous Christmas of Red Riding Hood, which featured an original score by Jule Styne and Bob Merrill — fresh from their success with Funny Girl — telling the story from the Wolf’s point-of-view, with the ubiquitous Cyril Ritchard playing the Wolf opposite a 19-year-old Liza Minnelli. (The aggressively up-tempo song “Ding-a-Ling, Ding-a-Ling” is readily available to watch on YouTube.) While many of these telecasts faded from memory, Rodgers & Hammerstein’s Cinderella proved to be a perennial, establishing new records for viewership and joining the ranks of the classic R&H canon, thanks to the kinescopes of its original dress rehearsal and West Coast broadcast which have survived (albeit in black-and-white). Less than a decade later, an entirely

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And this holiday season, Shaw Festival audiences young and old will get to fall in love with Cinderella all over again, while celebrating the Shaw Festival's first mainstage production of a Rodgers & Hammerstein musical!

new production starring Lesley Ann Warren was broadcast (this time recorded in colour). And a third version — a made-for-TV movie featuring pop stars Brandy as Cinderella and Whitney Houston as The Fairy Godmother, supported by Broadway veterans Bernadette Peters, Victor Garber and Whoopi Goldberg — scored a huge success in 1997, this time on ABC. In recent years, the popularity of youth-centred shows like Disney’s High School Musical, Smash and Glee has helped revive the television musical experience. Broader in scope and design than the broadcasts of decades past, audience favourites like Grease, Hairspray and The Sound of Music have been reimagined for a 21st-century audience in elaborate live formats, often paired with reality contest shows that cast the leading roles with votes from viewers at home. And technological developments have advanced the ability to produce highly kinetic live performances of shows from their own Broadway theatres, such as the recent releases of Hamilton, Six and Hadestown. Rodgers + Hammerstein’s Cinderella ended up taking the opposite path. After the television premiere, it made its stage debut in London the following year, with a script adapted to suit the English pantomime tradition. The mononymic singer Yana played the title role, with two legends of British entertainment, Tommy Steele and Kenneth Williams, in support. Productions appeared throughout the ensuing decades across the United States and around the world, but it was not until 2013 that Cinderella took her first Broadway bow (with a new book by playwright Douglas Carter Beane) at the Broadway Theatre, 28 blocks down the Great White Way from CBS Studio 72, where Julie Andrews had first nestled into “her own little corner” more than 50 years earlier. And this holiday season, Shaw Festival audiences young and old will get to fall in love with Cinderella all over again, while celebrating the Shaw Festival's first mainstage production of a Rodgers & Hammerstein musical! It will be “A Lovely Night” indeed! Neil Barclay joined the Shaw Festival Ensemble in 1990 and has appeared in more than 80 plays, musicals, concerts and readings over 35 seasons, in addition to performances at theatres across Canada and the United States. He appears this Season in One for the Pot and Heartbreak House.

Cinderella Production Sponsors

Music Director Paul Sportelli supported by

David & Amy Fulton Supported by

Musical adaptation of Our Town (1955) with Frank Sinatra, Paul Newman and Eva Marie Saint. NBC TV Production.

FALL 2026

Mary E. Hill

HAPPENING NOW WITH THE ALL. TOGETHER. NOW. CAMPAIGN Launched in 2025, All. Together. Now. is the most ambitious fundraising Campaign in the Shaw Festival’s history: a $150+ million investment in the future of The Shaw and in our belief that rediscovering your creativity can be a powerful force for human connection. That future is already beginning to take shape. Read on to find out more!

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All. Together. Now. is about your artistry, your creativity, meeting ours. Come along and discover that thing you thought you might be good at many, many years ago. You probably were good at it, and your creativity is waiting to be unlocked again now. I want the enormous talent on our stage to inspire you to have a go. I want to create opportunities for people to find themselves again, because when you find yourself, you find each other.” – Tim Carroll, Artistic Director

On August 14, we celebrated a remarkable milestone in the All. Together. Now. Campaign: the official opening of the Shaw Artists’ Village. For the first time, donors, artists, government partners and members of our community gathered in a place that, just two years ago, existed only in our imaginations. Today, the Shaw Artists' Village brings together new spaces for education and training, artist housing, performance and creativity, a new home for our Wardrobe team, and, at its heart, the Burton Centre for Lifelong Creativity. With our Shaw Artists' Village now open, and a new Royal George Theatre underway just a short distance down Queen Street (see pages 8-9), we are thrilled to see these new facilities, designed to serve artists, audiences and the Niagara community for generations, come to life. This Campaign has never been simply about buildings. It is about what those buildings make possible. They are doorways into what The Shaw is becoming: a place where you can see extraordinary theatre, certainly, but also a place where people of every age can gather to create, learn, play and feel more connected to one another.

Pragna Desai, Tim Jennings, Tim Carroll, Chair Ian Joseph, Jim Burton, Tim Price, and MP Chris Bittle open the Burton Centre for Lifelong Creativity and the Shaw Artists' Village. Photo by Kelly Wong

Now is the time for you to join the movement for Real Human Connection. Visit shawfest.com/alltogethernow

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Travis Seetoo, Jeff Irving and Damien Atkins in Jeeves and Wooster in Perfect Nonsense.

ALL. TOGETHER. NOW.

ALL—because our vision will touch the lives of many different communities. TOGETHER—because none of what we have and will achieve comes down to one person, donor, government or organization. NOW—because opportunities like this don’t come along very often.

Thanks to donors like these and many others, we are so close to reaching our goal—at 90%!

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Innovation and creativity are at the heart of any arts organization; the Shaw Festival has a long record of meeting this test. Having enjoyed The Shaw for nearly 40 years, we are happy to be able to give back and to support the exciting plans the amazing Tims and their extraordinary team have put in place. We believe that the great things The Shaw is making happen will continue to change lives for future generations.” –Virginia Atkin & Keith Ambachtsheer

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We’re so impressed with the Shaw Festival vision. We continue to be honored and grateful for our own long connection with this wonderful company.” –Michal & James Wadsworth

For a full list of Campaign donors, visit shawfest.com/alltogethernow

Now is your moment. Visit our website or call us to donate to the All. Together. Now. Campaign and support our vision for a more creative and connected future. Your donation will help secure the next chapter for the Shaw Festival. Visit shawfest.com/alltogethernow or call 1-800-657-1108 ext 2339.

FALL 2026

THE ROYAL GEORGE THEATRE

THOUGHTFULLY REIMAGINED Meika McCunn Architect

or over 45 years, the Shaw Festival has delighted audiences with 180+ theatrical productions in the Royal George, from murder mysteries and small-scale musicals to farces and dramas. On December 21, 2025, after years of mitigating flooding and structural failings due to the eroding clay tiles, the final curtain fell on the original Royal George Theatre. Architect Meika McCunn is leading the team at Unity Design Studio as they take on the momentous task of honouring a beloved theatre, designing for accessibility and sustainability, and imagining a Royal George Theatre for the next century. How do you most want the new theatre to make people feel? Going to a theatre is a special occasion. When we first started thinking about the new Royal George, we wanted that same feeling of occasion. When people walk into the new space, I want it to look and feel like the original but improved in all the ways that people

should be able to take for granted, from how they enter to how easily they move through the space. For guests who are new to the theatre, I hope there is also a moment of unexpected delight and curiosity about what lies inside. We're designing opportunities for Real Human Connection. Comfortable and visually interesting spaces draw people in and encourage them to gather and socialize. We've chosen warm materials such as natural wood and stone, along with absorptive surfaces that support conversation while still allowing people to feel part of a vibrant atmosphere. How did you balance preserving its original spirit with creating a theatre for the next century? The drama begins at the entrance. The concept of the ‘Ghost Façade’ structure unlocked something for us in the design process. It allows us to preserve the look and feel of the building while giving the new theatre an identity of its own. The Ghost Façade (see front cover for a rendering of the façade) pays homage to the Peter Stokes design introduced in the late 1970s but will be constructed of local Queenston limestone. Walking through the façade and beneath the marquee will transport patrons into the new space. Beyond it, the courtyard and green plantings cascading over the terraces soften the building and make it feel rooted in the abundance of Niagara.

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What will audiences and staff experience differently in the new Royal George? When we started this project, it was important to us that accessibility be considered in every design move we made. We are pursuing Rick Hansen Foundation Gold Certification in accessibility because we wanted the theatre-going experience to be available to everyone in meaningful ways. And that applies not just to patrons. Historically the technical areas of the theatres have not been accessible, and solving that was a major challenge for the design team. Technical staff will have opportunities in the new Royal George that still rarely exist in theatres. We are proud to be part of the team that made this a priority. What does Zero Carbon Building Design certification mean in practical design terms? We have been strategic in implementing major design elements to help achieve our goals. These include geothermal heating and cooling, a rooftop photovoltaic array, a high-performing façade and LED lighting throughout the building. I am particularly excited about

the mass timber structure we are using in the lobbies and rehearsal hall which will add warmth and character to the spaces. Keeping the timber structure exposed — not hiding it behind walls or ceilings — helps to showcase aspects of the sustainable design. What will make you feel that the project has succeeded? The first performance on stage will be a thrill to experience. As Architects we become consumed with resolving every last detail. When we can stand back and witness the building being used and enjoyed, it is the reward for many years of design and planning. There is no one spot that makes the building special. It’s the amalgamation of all the spaces — lobbies, dressing rooms, practice rooms, and backstage areas — that allows for the magic to happen on stage. I hope future generations will recognize the unique challenges this project addressed and see the Royal George as a benchmark for Zero Carbon and Accessible Design in future theatres.

Above: Royal George Main Lobby. Rehearsal Hall at the Royal George. Renderings of the Royal George by Unity Design Studio.

Tim & Frances Price FALL 2026

THE SHAW ARTISTS' VILLAGE COMES TO LIFE!

It is hard to believe that Tim Carroll (TC) and Tim Jennings were handed the keys to the buildings next door to our Festival Theatre in December 2024. Renovations began immediately and this complex of five buildings — two for seasonal artist housing, one for our Wardrobe Department, one for shortterm housing for students, visiting artists, etc. and one for our expanded education and engagement programs, named the Burton Centre for Lifelong Creativity — officially opened in August of 2026, greatly expanding our Festival Campus, but more importantly, allowing for exponential growth in our programming. On a recent episode of our podcast, Let’s Get This Shaw on the Road, Host Alexis Milligan and Producer Kelly Wong, took us on a virtual tour of the various buildings that make up the Shaw Artists’ Village. Several people were interviewed. Below is an edited transcript of two of those interviews. For more of this podcast, or any podcast, check out podcast.shawfest.com.

Mon-the-Lake. I have had the amazing privilege of y name is Jim Burton. I’m a resident of Niagara-

creating a family foundation [James A. Burton & Family Foundation]. First, it gives us a place where we can be involved in philanthropy as a family. More importantly, I want my children and grandchildren to have the opportunity to build a legacy of giving for generations to come. I have seven children and 15 grandchildren, so I have a great starting point to work with! My involvement with the Shaw Artists’ Village started with conversations with TC [Tim Carroll] and Tim Jennings and my excitement about how our family foundation could be a catalyst and partner in bringing The Shaw more into the community. Seeing the Shaw Artists’ Village take shape has been exciting, and it is wonderful to think about the opportunities it will create for people across our community. Recently, someone came up to me at an event and said, “I can hardly wait, Jim, for your centre to open up because I’m going to sign up for improv classes!” I recently visited with Vice-Admiral Angus Topshee, 10

Commander of the Royal Canadian Navy, and he was talking about the Theatre of Medicine program and the members of the Royal Canadian Navy who came here earlier this year to develop their communication skills through the program. I am so excited to see this centre come to life, whether it is filled with doctors or Navy officers taking part in Theatre of Medicine, or school groups participating in workshops. I want to keep that doorway to learning open and create the human connections that come through theatre. My name is Pragna Desai. I am the Director of Community Engagement, Outreach and Education at The Shaw. After starting here, I learned about the vision of Tim Jennings and TC [Executive and Artistic Directors] and the All. Together. Now. Campaign, which is all about creating opportunities for patrons to connect and to experience something they couldn’t anywhere else when they come to The Shaw. There is an inner artist in all of us and what we want to do is ignite everyone’s creative SHAW MAGAZINE

spirit. But to do that, we need to provide them with the opportunity. There are some lovely introductory touchpoints for those who just want to dip their toe in, such as How Do They Do That? If you are curious about some cool special effects or quick changes or the lighting design, you can join a 15-minute chat after some performances. And, if you want more, you can head over to the central hub of the Shaw Artists' Village called the Burton Centre for Lifelong Creativity. This new centre has space for the hundreds and hundreds of young people who come here for pre-show workshops before our family shows or classes of students for workshops. We will offer all sorts of opportunities for adults to learn more about how to be a creative artist. You could learn how to make a prop or paint a set through a workshop or learn some choreography from our musical in a class called Confi-Dance!

SPOTLIGHT ON LIFELONG LEARNING PROGRAMS

As Jim and Pragna have mentioned, there is so much to do here at The Shaw ‘beyond the stage’. Pragna and her team have been piloting several programs that connect with seniors and their inner artist because they just couldn’t wait for the Burton Centre for Lifelong Creativity to open! These programs — under the umbrella “lifelong learning” — all promote the idea of positive aging. Featured below are just a few of them, all happening in the fall of 2026!

Improv for Nimble Minds September 30, October 7, 14

This workshop, led by Katie Ryerson, is a fantastic way to socialize, laugh and keep the mind sharp!

Zest, Zing & Oomph! A Scene Study September 30, October 7, 14, 21, 28 November 4, 11, 18

One of our most loved programs is Happy Hour, which happens on the last Thursday of every month. This is a program for everyone because it is done online. It is hosted by Matt Ratelle, one of our amazing community engagement and outreach team members, who interviews company members — actors, designers, playwrights, you name it. We have people attend this from around the world, and now we have a digital lab in the Burton Centre that is perfect for this program.

Ensemble Member Marla McLean leads this collaborative and lively activity known as ‘scene study’, culminating in a scene study presentation on November 18.

Then, there’s this gorgeous space at the centre — we are calling it the Village Hall — where we can host lectures and talkbacks, and our series called The Art of Ideas, where an artist and an academic come together to talk about our plays. It also works for small concert events like Perfect Pairings or Gospel Choir. There are even dressing rooms in the basement for the artists. It was a very thoughtful and collaborative process to design this building.

Guided by Owen Bjorgan, this walking experience takes you through Paradise Grove, with its historic oak canopy to the Niagara River.

We provide over 5000 events and experiences every season. We really just want to have something available for everyone. All are welcome!

Confi-Dance! October 2, 9, 16, 23 / November 6, 13, 20, 27

Matt Alfano, Ensemble Member and dancer extraordinaire, leads this four-week session, introducing the basics of dance.

Age-Friendly Nature Walk October 10

Age-Friendly Nature Walk — Intergenerational October 17

Bring young adventurers (4+ years old) with you through Paradise Grove. This walk, also led by Owen Bjorgan, includes a scavenger hunt. To book these events, call Box Office at 1-800-511-7429 Governors Council and Premier Members call 1-800-657-1106 ext 2208 For a list of some upcoming events, refer to the calendar on page 19 or check out shawfest.com/beyond-the-stage

The 2026 lifelong learning programs are supported by The Weston Family Through its All. Together. Now. campaign, The Shaw is creating new spaces and programs where people can build real human connections and rediscover their creativity. For more information, visit shawfest.com/alltogethernow Photos of workshops in the Burton Centre for Lifelong Creativity by Peach Juice Creative

LOOK WHO'S TURNING 65!

In 1962, something extraordinary happened: a bold vision took root in the quiet town of Niagara-on-the-Lake. A seed was planted, transforming an obscure town into the birthplace of the world-renowned Shaw Festival. BY KIM WHITE

Against all odds, in 1962, the Shaw Festival was born. Brian Doherty and Calvin Rand were neighbours in Niagara-on-the-Lake. More than being neighbours, they shared something deeper: a passion for theatre and the conviction that great art mattered — not just to the elite, but to everyone. They convinced the town to allow them to rent the Court House and, along with a small group of feisty members of the community, launched the inaugural season called “Salute to Shaw!”. Opening night, June 29, 1962, presented a reading of “Don Juan in Hell” from Shaw’s Man and Superman, aptly timed during a heat wave with no air conditioning! Sixty-five years later, the Shaw Festival has become one of Canada’s most celebrated theatres.

As we travel down memory lane, longtime patrons will remember moments of great theatre and unforgettable performances: Paxton Whitehead in The Philanderer (1971), Heath Lamberts in One for the Pot (1985 and 1996), and our beloved Jennifer Phipps in Candida (1970). We remember Goldie Semple’s enduring legacy through her portrayals of heroines and villains, especially her role in Picnic (2001) and as Desiree in A Little Night Music (2008). And what memories we have of our own Christopher Newton, Artistic Director from 1979–2002. Christopher appeared in numerous productions such as The Philanderer in 1980 but was better known as a director, and returned after his tenure to direct productions like Journey's End (2005).

Sixty-five years after Brian Doherty and Calvin Rand founded Shaw Festival, their legacy lives on in every production that graces our stages, every audience member transformed by the experience of live theatre, every community member whose life has been touched by the Shaw Festival’s presence. Brian and Calvin’s perseverance was their gift to us — they and their supporters shared the conviction that theatre matters enough to fight for — a conviction which has endured. SHAW MAGAZINE

In Pygmalion, George Bernard Shaw's masterpiece, Eliza Doolittle delivers a defiant line that would become oddly prophetic for the founders: "Not bloody likely!" In fact, Brian Doherty, titled his book Not Bloody Likely, and wrote: During the struggling early years of the Shaw Festival, when…Calvin Rand and I were appealing to everyone — friends, strangers, the public at large — for support for the Shaw Festival, it was Eliza’s phrase, or some equally emphatic variation of it, that was our most frequent response to our appeals. But as Calvin and I and our loyal disciples persevered, refusing to be discouraged, the phrase took on a different tone for us. Eliza’s fiery words became our battle cry in the struggle against the Philistines. Would we give up our fight for the Shaw Festival? Not bloody likely!

Sixty-five years later, that conviction — that theatre matters, that artists deserve nurturing, that communities deserve beauty and art — remains at the heart of the Shaw Festival. When we welcome audiences to our stages, when we train emerging artists, when we open our doors to the community, we're continuing the work that Doherty and Rand began. Their battle cry — "Not bloody likely!" — remains our battle cry today. We stand on their shoulders. We carry their vision forward — grateful for their perseverance, their faith and their refusal to accept defeat. This gratitude extends to our beloved members who have deepened their connection to the Shaw Festival through a legacy commitment. Thank you members of The Doherty-Rand Legacy Circle for honouring these visionaries.

"Their battle cry — 'Not bloody likely!' — remains our battle cry today. We stand on their shoulders." To help celebrate 65 years and to build on this momentous milestone, we have a challenge for our community – 65 new legacy donor commitments (planned gifts) to The Shaw in 2027. Stay tuned for the launch of this challenge in the new year.

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Jennifer Phipps in Candida (1970) with Les Carlson, Frances Hyland, Tony Van Bridge, Stanley Holloway and Chris Sarandon. Photo by Robert C. Ragsdale Paxton Whitehead and Louise Marleau in The Philanderer (1971). Photo by Robert C. Ragsdale Christopher Newton (2002) 1962 Season program cover Goldie Semple and Wendy Thatcher in Picnic (2001)

To learn more about how you can help support the Shaw Festival as we embark on the next 65 years and to become a member of The Doherty-Rand Legacy Circle please reach out to me.

FALL 2026

Kim White Associate Director, Individual Giving 289-783-1924 kwhite@shawfest.com

On February 21, the Festival Theatre was unusually busy and buzzing with excitement for a sold-out event called An Afternoon with Stephen Fry. As Tim Carroll (TC) explained in his introduction: “A few weeks ago, Stephen and I were talking and I said, we've started a campaign called All. Together. Now. It’s a campaign for Real Human Connection, so if you're ever passing Niagara-onthe-Lake and you felt like doing something for The Shaw… And Stephen said — and this is rather typical of Stephen — ‘Well, I will be in New York in February so I could come by. What would you like me to talk about?’ I said, ‘I don't care.’

TC: Tell us about the last time you were here. How did that all happen and how was it for you? SF: It was a thrilling experience. I was listening when you introduced me, and you mentioned that I'd written this book Mythos, about the creation of the earth out of chaos, the first gods and the Titans, and then the Olympian gods and the creation of mankind. I always felt that they were such wonderful stories and if there was a way of telling them and bringing them to life on stage, it would be fun. Somehow the idea of doing a little season here and combining the stories arose. It turned out to be three stories and three shows, didn't it?

Photo by Jeff MacKay

A BIT OF FRY & CARROLL is just exquisite. I got myself a little house, walked to the theatre, and we'd rehearse. We had no idea what we were going to do. Really! We just started by me sitting there and telling the stories. And slowly, somehow you sculpted it and we got the show. How long was I here? TC: I think three months in the end, with the rehearsals. SF: It was in this theatre and we had lovely audiences. And there was a chair, a rather magical chair, that rose up out of the stage or went down, pictures in the background, and me telling stories, but it wasn't much more than that. TC: We didn't come up with a script in the end, did we? SF: No, there was no script.

And that's all the preparation we've done for today.”

TC: Yes, as it happened, I had just started as Artistic Director at The Shaw, and I asked if you would like to come and launch it here.

It turned into an afternoon of stories and reminiscences, presented in a way that only Stephen Fry could. For the second part of the event, TC ‘interviewed’ Stephen. An edited excerpt of this conversation follows.

SF: I arrived in March, knowing nothing about Niagara-on-theLake, to my shame. I think it was cold, but, as you know, one of the miracles of this town is how it transforms itself at springtime; how it blossoms down the main street

SF: All I have — as W.H. Auden said — is a voice. But I did really enjoy it. It was an extraordinary experience. If you can do a show without a script, it keeps you very alive. I'm not sure I could do it if I didn't have a structure in my head. I knew what the structure

TC: Which is odd because it's not like you're very good off the cuff.

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The other thing that absolutely struck me — and not wishing to offend anyone of any particular religion – it seems to make sense, if you imagine there are gods or a god that created the world, which is beautiful and majestic and strong and incredible and eternal — to say that the gods who made it were equally beautiful, majestic, strong and eternal. But the world is also cruel and capricious, deeply unfair and full of misery and terrible things as well. So, the idea that god or the gods also would be cruel and unfair, representing all the bad things in the world as well as all the good - that's what I loved about the Greeks: they gave their gods the full characteristics of the world in which they found themselves.

Stephen Fry in Mythos (2018)

TC: They did indeed. About those stories that you were telling in Mythos — why didn't you just make a TV show of you telling those stories? What was the point of doing it live?

FALL 2026

SF: This moment we're having now, this interaction — although the audience is being very well behaved and quiet, not throwing things or shouting rubbish — has a reality and a truth to it, an excitement and an engagement to it that relates all the way back to telling stories in caves and is all the more valuable now as we face a tsunami of information and technology. Whether it presents a threat or the greatest promise to humankind that has ever been seen, it requires us to remember that it's actually not about the technology, it's about humanity. TC: So how quixotic an activity is this — getting together in a theatre and breathing the same air? SF: I just finished a four-month run of The Importance of Being Earnest in London. I was playing Lady Bracknell, and it was an incredible experience. But one of the things I talked about with audiences afterwards is the extra power and magic that theatre seems to reverberate with, in an age of AI slop and untrustworthy images. Thanks to this endless digital exposure, you can no longer sense what’s real or has any of the grain and juice of a human interaction. Theatre is the one thing left that only works as theatre: essentially standing on a stage, you see the spittle coming out of the mouth. You hear occasionally a mistake, or the actors will make each other giggle. There's a tension, an excitement, a thrill that each night something is being made not just by the actors, but by the combination of a group of actors and an audience together. The Greeks were right to think of it as an almost religious celebration. There's something sacred and ritualistic and wonderful about it. You don't have to dive into it

Stephen Fry in Mythos (2018)

was and I knew the stories I wanted to tell. Also, there is something about these particular stories. The reason I chose the Greeks is because they were the ones I'd grown up with. They have entered our language in extraordinary ways; the history of Western art and poetry is filled with allusions to classical stories, and they remain central to our way of discussing ourselves. The appetite for these stories seems to be still alive.

intellectually or get over-pretentious about it. It's just something you feel. Sometimes you don't like it — this play or that performance — but it is not being handed down to you by a Silicon Valley billionaire, a politician or a big corporation. It is particularly true in this wonderful place. It is local. It is something that belongs to Niagaraon-the-Lake, belongs to Canada, belongs to you all because you've come here to support it. It is a magical and powerful thing and God bless it and don't let it die. TC: Well, we've been very blessed to have you here again. I'd like to think there's a chance we might tempt you back again one day. What do you think? SF: That's very kind. Thank you. It is becoming a second home. TC: So that's a yes. Hooray! SF: I can't tell you when exactly, but, yes, I'd love to be back here. It's lovely.

REDISCOVER YOUR CREATIVITY AND REAL HUMAN CONNECTION. JOIN THE MOVEMENT. VISIT SHAWFEST.COM/ ALLTOGETHERNOW

We are thrilled to offer a warm welcome to our newest Governors Council members and Corporate Partners. Thank you!

Tim Carroll Artistic Director

Tim Jennings Executive Director

— As of August 2026

Marz Homes

Mel & Weston Miller

Robert Alemany & JoAnn Falletta

Kevin Lamotte* & Cynthia Kamin

Mr Milan Pejnovich

Harry Angus

Kyle Kerr

Mr John C. Pennie & Ms Marilyn Field

Brendan & Mary Calder

Scott Langill

Mr Philip Plotnick

William & Eileen DeWood

Dr Fei-Fei Liu

Katherine Pollock & Orysia Semotiuk

Mr Tim & Dr Deborah Finnell

Dana Lutton

Samantha Thiessen & Mark Hillard

Mr & Mrs J. Greenhough

Kathy & Blair McKeil

Larry & Joan Urbanoski *Shaw Company Member † Board Alumni †† Board Member

Hear Ye! Hear Ye! Announcing a new assistive listening system for the Festival Theatre

Through a partnership with Wavefront Centre for Communication Accessibility, The Shaw has added a new assistive listening system to our Festival Theatre which works through Wi-Fi and Bluetooth.

CATCH UP ON THE SHAW FESTIVAL’S PODCAST Let Alexis Milligan and Kelly Wong take you behind the scenes again this year! AVAILABLE ON YOUTUBE OR WHEREVER YOU GET YOUR PODCASTS. podcast.shawfest.com

Using your own smart phone or supplied device, and compatible with a broad range of hearing aids, cochlear implants, earbuds and headphones, this new technology provides you with clearer, more personalized sound and reflects The Shaw’s commitment to creating welcoming, inclusive, and accessible theatre experiences. Supported through Wavefront Centre and made possible through funding from The Slaight Family Foundation's National Disability Initiative. wavefrontcentre.ca

SHAW MAGAZINE

New Artistic Residency Announced

Sleuth Previews begin:

October 16 Opens:

October 18

The Shaw Festival and Harbourfront Centre have announced a new partnership that will bring worldclass theatre from Niagara-on-the-Lake to Toronto’s waterfront and deepen community engagement through ongoing live performances. At a well-attended event on Toronto’s waterfront, Tim Carroll (TC) announced the first two productions. As he stated in his remarks, TC wanted to launch The Shaw’s residency with “two very different but equally compelling stories: Sleuth, an award-winning modern thriller, and A Christmas Carol, an iconic tale of transformation. These performances will be specially adapted for the Harbourfront Centre stage, offering Toronto audiences a glimpse of The Shaw’s artistry in a new setting.” Sleuth will close in our Court House Theatre in Niagaraon-the-Lake on October 11 and transfer immediately with the same cast and creative team to Harbourfront. Our beloved production of A Christmas Carol will subsequently take over the Fleck Theatre with a mix of new and returning ensemble members over the holidays. Performance schedules, subscription packages and tickets are available at HarbourfrontCentre.com/Shaw

Closes:

November 1 By Anthony Shaffer Directed by Peter Fernandes Cast includes Patrick Galligan and Sepehr Reybod Sleuth is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. concordtheatricals.com

Sepehr Reybod and Patrick Galligan in Sleuth

A Christmas Carol Previews begin:

November 12 Opens:

November 20 Closes:

December 23

By Charles Dickens Adapted and Directed by Tim Carroll Cast includes Gryphyn Karimloo, Qasim Khan, Madelyn Kriese, Graeme Somerville and Sanjay Talwar

Jay Turvey, Kristopher Bowman, Graeme Somerville, Katie Ryerson and Patty Jamieson in A Christmas Carol (2025)

A Thrilling Announcement from RBC Foundation RBC Foundation recently announced a Community Spaces Grant of $750,000 toward the Royal George Theatre's geothermal well system — the key to our Zero Carbon Building Design certification. This grant marks the first corporate gift to the Shaw Festival's transformative All. Together. Now. Campaign for Real Human Connection. The first of many, we hope! This gift is a powerful example of how extraordinary projects become reality through extraordinary partnerships. Our sincere thanks to RBC Foundation for this landmark gift and for committing to a more sustainable future.

Sandra Aversa, Colleen Johnston, Brendon Buckler, Sheila Brown, Tim Jennings, Tim Carroll, Jaye Toulouse. Photo by Jeff MacKay.

AN HISTORIC MILESTONE FOR THE ROYAL GEORGE

Left to right: Lord Mayor Gary Zalepa, Jaime Watt, Chair Ian Joseph, Tim Price, Frances Price, Tim Carroll, MP Chris Bittle, Tim Jennings Photo by Kelly Wong

September 10 marked another extraordinary moment in the All. Together. Now. Campaign, as Member of Parliament for St. Catharines, Chris Bittle, under a brilliant blue sky, announced a contribution of $25 million from the Government of Canada toward the rebuilding of our beloved Royal George Theatre. The funding, provided through the Build Communities Strong Fund, joins the Province of Ontario’s $35 million commitment made in 2025 and the remarkable generosity of Shaw donors and supporters, taking us a big step closer to the campaign fundraising goal.

Our deepest gratitude to Tim and Frances for their generosity and for ensuring that the one thing that will not change is the name of the theatre — it will remain The Royal George!

Opening the event, Niagara-on-the-Lake’s Lord Mayor, Gary Zalepa, spoke about the Royal George’s importance to the town, MP Bittle reinforced the commitment of the federal government to investing in the arts, especially as economic drivers and as builders of community, and both Tim Carroll and Tim Jennings thanked the many, many people who have worked for years to bring this vision to life. Lead donors, Tim and Frances Price, spoke to how the promise of this Campaign for Real Human Connection is coming to life — creating spaces where the doors will be open, where community will gather and where stories will be shared for decades to come.

MP Chris Bittle Photo by Kelly Wong

Tim & Frances Price

SHAW MAGAZINE

THE SHAW AND NIAGARA: EXPLORE IT ALL! “LIFE ISN'T ABOUT FINDING YOURSELF. LIFE IS ABOUT CREATING YOURSELF.” –GEORGE BERNARD SHAW

OCTOBER

How do you Learn all those Lines?

Session 1: October 1, 8, 15, 22 | Shaw Artists’ Village

Session 2: November 5, 12, 19, 26 Shaw Artists’ Village

Continue the Conversation

Memorization is a healthy way to exercise your brain. Each session takes you through the techniques that actors at The Shaw use in their daily practice to prepare. Facilitator: Tara Rosling. $40 per session.

Memorization is a healthy way to exercise your brain. Perfect for theatre lovers, lifelong learners and anyone who is aiming to support their cognitive health. Facilitator: Kerry Ann Doherty. $40 per session.

Improv for Nimble Minds

Mini Manners Matinees – Workshop and Children’s Tea

Multiple Dates | Post-Show, through December

Following Tuesday, Friday and Saturday matinees (except Previews and Openings). Join fellow patrons for engaging guided discussion. See calendar online for dates/times. Free

October 7, 14, 21 | Shaw Artists’ Village

Festival Backstage Tours An hour-long guided tour of the Festival Theatre reveals the secrets that bring the plays to the stage. $10; $5 with a ticket to a performance

Explore the art of improvisational theatre. Through various exercises and activities, seniors boost their creativity, confidence and communication skills while having a great time. Facilitator: Katie Ryerson. $10 per class. Drop in. No prior booking required.

Tuesday Q & A

Ghost Radio Theatre

Tuesday Evenings | Post-Show, through December

October 24 for Small Spirits | October 29 for Adult Ghouls

An informal question-and-answer session with actors following Tuesday evening performances (except Previews & Openings), in all three theatres. Free

Enjoy haunting tales and revisit the Golden Age of radio plays, with live dialogue and sound effects. $10 Small Spirits, in person only. $30 Adult Ghouls, with a free online option.

How Do They Do That?

Happy Hour

Various Dates & Times | Through December

Thursdays | Post-Matinees, through December

Uncover the creative invention and backstage brilliance that make each performance unforgettable with a lively post-show conversation. Following Thursday matinees of Cinderella. Free

Zest, Zing & Oomph! A Scene Study October 7, 14, 21, 28, November 4, 11, 18 Shaw Artists’ Village

A series of workshops exploring the process involved in learning lines and understanding character motivation. The workshop will culminate in an invited presentation on November 18. Facilitator: Marla McLean. $160

CONFI-DANCE! October 2, 9, 16, 23 | 11am | Shaw Artists’ Village

This progressive four-week session is a playful intro to the basics of different dance forms. You will learn some techniques and even a bit of choreography! Fun for all ages (8+) and experience levels. Facilitator: Matt Alfano. $10 per class. Drop in. No prior booking required.

FALL 2026

November 14, 21, 28, December 5, 12, 19 12pm | Shaw Artists' Village

By royal decree, you and your family are invited to tea. Learn about royal etiquette and play make-believe. Cookies and punch are provided. Prior to every Saturday matinee performance of Cinderella. $10 with a ticket to a show.

Happy Hour November 26 | 5pm | Online

Watch your inbox one week prior to each date for registration information. Free

DECEMBER

October 29 | 5pm | Online

Candlelight Stroll

Watch your inbox one week prior to each date for registration information. Free

December 4 | 6:30pm | Court House

NOVEMBER CONFI-DANCE! November 6, 13, 20, 27 | 11am | Shaw Artists’ Village

Meet outside the Old Court House for this holiday tradition. Candles are $3 each, cash only. For more information call 905-468-1950 or email tourism@niagaraonthelake.com

Shaw Sing-Along! December 5 | 10am | Shaw Artists’ Village

Participate in a seasonal sing-along! $10 with a ticket to a show, $20 without a ticket.

Santa Claus Parade December 12 | 11am

Santa Claus is coming to town! For more information call 905-468-3266.

Frogs and Snails and Puppy Dog Tails November 8 | 10am | Shaw Artists’ Village

A “fireside chat” with Obie award-winning designer Adrianne Lobel, as she shares her unique insight into the works of her late father, children’s author Arnold Lobel, author of the book series Frog and Toad. $40, $20 for students The Art of Ideas series is sponsored by the

PLAN YOUR VISIT TO THE SHAW AND NIAGARA: SHAWFEST.COM/PLAN-YOUR-VISIT/ OR NIAGARAONTHELAKE.COM TO BOOK SHAW EVENTS: CALL 1-800-511-7429 GOVERNORS COUNCIL AND PREMIER MEMBERS CALL 1-800-657-1106 EXT 2208 Education Partner

The Martin Family

Shaw Guild 19

Festival Theatre Previews begin November 8 Closes December 23

The cast in alphabetical order

Music by Richard Rodgers Lyrics by Oscar Hammerstein II New Book by Douglas Carter Beane Original Book by Oscar Hammerstein II

Jean Blandon

André Morin

Nathan Carroll

Cheryl Mullings

Cassandra Consiglio

Savion Roach

Michael Derworiz

Jeremiah Sparks

Élodie Gillett

Éamon Stocks

Daniel Greenberg

Mikayla Stradiotto

Orchestrations by Danny Troob

Patty Jamieson

Gabriella Sundar Singh

Music Adaptation & Arrangements by David Chase

Bryce Johnson

Mirabella Sundar Singh

Jaden Kim

Taurian Teelucksingh

Graeme Kitagawa

Jay Turvey

Shona Kiyama

Kelsey Verzotti

Beatrice Kwan

Kelly Wong

Madelyn Miyashita

Jenny L. Wright

Directed and Choreographed by Kimberley Rampersad Music Direction by Paul Sportelli Set and Costumes Designed by Cory Sincennes Lighting Designed by Jareth Li Cinderella is presented by arrangement with Concord Theatricals on behalf of The Rodgers & Hammerstein Organization. concordtheatricals.com

Cinderella Production Sponsors

Mary E. Hill

Music Director Paul Sportelli supported by

Children & Family Programming Supporter

David & Amy Fulton

Christopher & Jeanne Jennings

A Year with Frog and Toad Production Sponsor

Holiday Season Productions supported by

SHAW MAGAZINE

Court House Theatre Previews begin November 5 Closes December 23

The cast in alphabetical order

Music by Book and Lyrics by Robert Reale Willie Reale Based on the books by Arnold Lobel

Jeigh Madjus

Kristi Frank Matthew Joseph Drew Plummer Jade Repeta

Originally Presented on Broadway by Bob Boyett, Adrianne Lobel,

Travis Seetoo

Michael Gardner, Lawrence Horowitz and Roy Furman.

Jacqueline Thair Michael Therriault

Directed by Jonathan Tan Music Direction by Ryan deSouza Choreographed by Kerry Gage Set and Costumes Designed by Judith Bowden A Year with Frog and Toad is presented through special arrangement with Music Theatre International (MTI). mtishows.com

Call Box Office to book tickets at 1-800-511-7429 or go online at shawfest.com

FALL 2026

Premier and Governors Council Members can call 1-800-657-1106 ext 2208

Holiday Season Ticket Package — buy both to save 20%

10 QUEEN’S PARADE, BOX 774 NIAGARA-ON-THE-LAKE, ONTARIO L0S 1J0 CANADA SHAWFEST.COM

MAGAZINE FOR FRIENDS AND PARTNERS • FALL 2026

APRIL — DECEMBER

Camille Eanga-Selenge, Kelly Wong and Martin Happer in One for the Pot

1-800-511-SHAW SHAWFEST.COM

One for the Pot Production Sponsor

Richard McCoy

Supported by

Wendy & Bruce Gitelman Jodey Porter