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music by lyrics by book by and suggested by “The Trapp Family Singers” by Maria Augusta Trapp


Providing Wings for Chemainus Theatre over 27 Seasons Experience the joy of giving charitably to Chemainus Theatre and its many benefits* Tickets to the annual Season Launch Party Invitations to Fireside Chats to mingle with the stars of the Chemainus Stage. Go on a backstage tour and see first-hand how stories come to life. Advance booking: When we added shows for sold out productions like Rock Legends donors got first access. Attend a dress rehearsal and experience the creative process. *Specific benefits vary with level of giving. Please visit our website for full details.

Ticket sales cover 80% of our costs to produce live theatre. A donation envelope has been enclosed with your program. Charitable #140012428RR001 Nicolle Nattrass

David Cooper Photography

THE THEATRE HAS HELD TRUE TO ITS ROOTS I was recently speaking with Ruth Smith (wife of Chemainus Theatre’s late founder, Ken Smith) and learned that The Sound of Music was Ken’s all-time favorite show. As you may know, Ken was not only founder of Chemainus Theatre but also an active philanthropist who faithfully saw the theatre through its first 25 seasons. We got to know Ken very well so I’m surprised we weren’t aware of his affinity for this show. Ken loved that The Sound of Music is inspiring, based on a true story and contains a strong spiritual message. Ken was also a professionally trained singer so I’m sure the catchy musical score factored into its high ranking. Mark’s selection of The Sound of Music to open our 27th season shows how the Theatre has held true to its roots. Our mission is to create exceptional theatre that explores and nourishes truth, hope, redemption, love and the human spirit. The Sound of Music scores pitch perfect on all those notes. Ken would be pleased with this opening production, and resting peacefully knowing the mantle of support has been paid forward into very good hands – yours. The Chemainus Theatre is tremendously fortunate to be buoyed by an engaged, invested audience. Whether this is your 50th visit or first, we are grateful for your support. There’s always room for more to join the core group that sustains Chemainus Theatre and we encourage you to check out our Membership ad on the facing page. It is my hope that your experience today engages and uplifts you, and leaves you eagerly anticipating your next visit. This one is for you Ken. Randal Huber Managing Director



FEB 15 - APR 6


Music by Lyrics by Book by

Suggested by “The Trapp Family Singers” by Maria Augusta Trapp

THE CAST Maria Rainer Julia Ullrich Sister Berthe/Elsa Schrader Cate Richardson* Sister Margaretta Melissa Morris* The Mother Abbess Stephanie Roth* Sister Sophia/ Frau Schmidt Sabrina Prada*

Captain Georg von Trapp Ian Farthing Franz/Herr Zeller/ Admiral von Schreiber Erik Gow* Rolf Gruber Henry Beasley* Max Detweiler Nick Preston* Understudy: Melissa Morris - Maria Rainer

* Denotes artists playing additional ensemble roles and/or instruments

YOUNG COMPANY Liesl Hannah Patrice* Friedrich Jonas Brittain* Louisa Anna Hill


Kurt Brin Slydell Brigitta Jillian Telfer Marta Julianna Toft

Director Mark DuMez Music Director Melissa Morris Choreographer Melissa Young Set Designer Ross Nichol Costume Designer Laurin Kelsey Lighting Designer Craig Alfredson

Gretl Kaia Russell Megan Williams

The Children of Captain von Trapp

Stage Manager Liz King Asst Stage Manager Claire Friedrich

THERE WILL BE ONE 20 MINUTE INTERMISSION Presented with the generous assistance of SEASON SPONSOR

THE SOUND OF MUSIC is presented through special arrangement with R&H Theatricals: The videotaping or other video or audio recording of this production is strictly prohibited. Please turn off cellular phones or pagers in the theatre. Chemainus Theatre Festival engages, under the terms of the Independant Theatre Agreement, professional Artists who are members of the Canadian Actor’s Equity Association. The Chemainus Theatre Festival acknowledges the support of Canadian Actor’s Equity Association and its members.

THANK YOU TO THE GENEROUS DONORS FOR THEIR SUPPORT OF OUR SILENT AUCTION! 49th Parallel Grocery Store Art Gallery of Victoria Arts Club Vancouver Bard on the Beach BC Forest Discovery Centre Belfry Theatre Beyond the Usual Blue Grouse Estate Winery Buckerfield’s Camp Imadene Capilano Suspension Bridge Chemainus Theatre Gallery Cowichan Eyecare Dance Victoria Dan Nordin Dinter Nursery

Farm Table Inn Helijet Imax of Victoria Jaime’s Whale Watching J D Stevenson Gallery Johnny Lee Just Jakes Restaurant Langham Court Theatre Little Otters Den Mary Desprez Merridale Cidery & Distillery Nick Caulford Ocean Village Resort Owl’s Nest Bistro Pieter Molenaar Rare Essence

Red Arrow Brewing Company Resonance Hearing Richard Brodeur Riot Brewery Royal Scot Hotel Ruggid Coast Saltspring Soaps Sawmill Taphouse & Grill Silvermine Sterling Aurel Taproot Theatre- Seattle Victoria Butterfly Gardens Village Chippery Will Millar

Proud to Proud toSupport support The Sound of Music. The Sound Music.Quartet. MillionofDollar We are working together with The Chemainus Theatre Festival Society to make a difference in our communities.


The TD logo and other trade-marks are the property of The Toronto-Dominion Bank.


FIND A NEW APPRECIATION FOR LIFE Welcome to the opening production of the 27th season of the Chemainus Theatre – The Sound of Music. This Rogers and Hammerstein musical based on the memoir of Maria von Trapp is set in Austria in 1938 on the eve of annexation by Nazi Germany. In the face of the impending gloom of WWII, Maria takes a job as governess to the seven von Trapp children while she decides whether to become a nun. She falls in love with the children, and through optimism, encouragement and especially music, Maria and the von Trapp family find a new appreciation for life that is reflected on the stage throughout this awardwinning musical. Since our beginnings in 1993, the guiding mission of the Chemainus Theatre has been to bring this kind of inspiration to our audience. Our Artistic Vision states: We will seek stories that inspire, uplift and deepen our understanding of our neighbours and ourselves. We know that The Sound of Music and our 27th Season will fulfill this commitment. To progress through our next steps as a leader in live theatre in BC we will need the continued support from our many generous donors, volunteers and of course, our audience. For ways to support our mission please visit support-us/. Thank you and enjoy the show. Pat Moore President of the Society Board of Directors


THE TRUE STORY OF THE VON TRAPP FAMILY The film adaptation The Sound of Music was released March 2, 1965, and for many households, was the introduction to the von Trapp Family, and beloved classic songs such as “Do-Re-Mi”, “Climb Ev’ry Mountain” and “Sixteen Going on Seventeen”. However, while The Sound of Music was based on Maria von Trapp’s book The Story of the Trapp Family Singers (published 1949), there were a number of key differences between the true story of the von Trapp family, and that of the film and Broadway (first performed 1959) adaptations. THE VON TRAPP FAMILY DID NOT CROSS THE ALPS TO ESCAPE THE NAZIS.

During the climactic scene of the show, the von Trapp family will flee Salzburg, Austria by hiking over the surrounding mountains. In real life, however, this would have lead the von Trapps into Nazi Germany, the very regime they were trying to escape! The real-life departure of the von Trapps was far less dramatic—in broad daylight, the family left their villa and crossed the railway tracks behind their home in order to board a train to Italy, under the guise of a family vacation. They did, however, leave just in time, as the next day the Austrian borders were sealed.

Interesting Historic Fact: Nazi leader Heinrich Himmler used the von Trapp’s villa during World War II as a summer residence once the von Trapp family had fled.


Georg von Trapp’s secondoldest daughter, Maria, contracted scarlet fever in 1926, and could no longer make the journey to school. Georg sought out Salzburg’s Nonnbery Abbey to find a tutor for his sick daughter. At this time, Maria Augusta Kutschera had entered the Abbey two years previous as a novice, and was the perfect candidate given her training at Vienna’s State Teachers College for Progressive Education. Her time with the von Trapps was to be a 10-month assignment before she formally entered the convent.


47-year old Georg von Trapp and 22-year-old Maria Augusta Kutschera were married on November 26, 1927, more than a decade before they fled. Maria claimed she fell in love with the children at first sight, and she liked their father, but did not love him. Though, as the years went by, Maria did learn to love Georg von Trapp. THE NAMES OF THE VON TRAPP CHILDREN WERE CHANGED IN BOTH THE BROADWAY AND FILM ADAPTATIONS OF THE STORY OF THE TRAPP FAMILY SINGERS.

Overall, there were 10 von Trapp children, not 7. The names, ages and sexes of the children were all changed. The oldest von Trapp child in real life was Rupert von Trapp, born in 1911 and a practicing physician by the time the von Trapps fled Austria in 1938.

Interesting Historic Fact: While the von Trapps were offered many enticements by the Nazis—greater fame as a singing group, a position as a medical doctor for Rupert, a further naval career for Georg. The von Trapps knew they were on thin ice—they refused to fly a Nazi flag above their home, refused to sing at Hitler’s birthday party, and Georg declined a naval command. After weighing the benefits against leaving behind their family, friends, estate and all of their possessions, they decided they could not compromise their principles and integrity, and they left.


The captain was a warmer father figure than he was made out to be. While he did carry a whistle, and did have a distinct whistle sound for each of his children, as well as dressed his children in sailor suits, he did not have them marching or standing at attention. Out of the two parents, Maria was the one with a cooler demeanor. Though she was a caring and loving person, the real-life Maria was also prone to fits of temper. MARIA DID NOT BRING MUSIC TO THE VON TRAPP HOUSEHOLD.

The captain and his first wife (who died of scarlet fever) enjoyed music, introducing it to their children and household long before Maria came from the Abbey. Before Maria came, the von Trapp children already knew how to sing and played a number of instruments. What Maria did teach them was madrigals.

Madrigal: “a complex polyphonic unaccompanied vocal piece on a secular text developed especially in the 16th and 17th centuries” —Merriam-Webster


What originally lead the von Trapp family to begin singing professionally was, like many families, the loss of their fortune in the Great Depression. The von Trapps actually took in borders in order to bring in additional funds. One of these borders was Father Franz Wasner, who would act as their musical director for over 20 years. The fictional Max Detweiler never existed in real-life. After fleeing Austria with the von Trapps, Wasner accompanied them on their tours of Europe and the United States. Sources:

GENTLE REMINDERS SMARTPHONES, CAMERAS AND RECORDING DEVICES The videotaping or other video or audio recording of this production is strictly prohibited. Please turn off cellular phones or pagers in the theatre. BABES IN ARMS In consideration of our patrons and performers, children three and under will not be admitted to Main Stage performances (excluding KidzPlay series). SCENT FREE ZONE Help us keep the air we share healthy and fragrance free. Please do not wear perfume, cologne, aftershave or other fragrances. LATECOMERS AND READMISSION If you are late or need to leave the auditorium during the performance, you will be re-seated at a suitable break in the performance, at which time the seating location will be at the discretion of management. In special circumstances, late seating or readmission may not be permitted. HEARING ASSIST Listening devices for the hard of hearing are available at the coat check for use during the performance. Reserve early as we have limited availability. TALK BACK After every Wednesday evening performance stay for a discussion (questions and answers) with the actors from the show! Learn what happens ‘Behind the Scenes’.

BEHIND THE SCENES AN INTERVIEW WITH COSTUME DESIGNER LAURIN KELSEY What drew you to want to design the costumes for The Sound of Music? There’s something so nostalgic about working on a show that you’ve grown up with and always admired. For me I

think I have a list of about 25 films or shows that inspired me to enter such a creative career and The Sound of Music was definitely one of them. Because of that, it always holds a special place in your heart and to work on a show like that as a professional is so special, every design reminds you of that magical feeling you had when you were younger watching and experiencing the show for the first time. Can you tell us a bit about your design process? My design process always begins with the script and with conversations with the Director, who has the overall vision and approach to the show in mind. Based on the script and those initial conversations, I begin to brainstorm and develop a concept for the costumes that will work within the overall vision that Director has. The first step to developing that concept is to dive into a great deal of research, both historical and visual - by that I mean that I’m

looking for images and information regarding the exact country and time period that the show takes place in, while also looking for images, colours, textures and fabrics that inspire me and provide me with a ‘feeling’ of the show. Instinctually, I like to think about the overall feeling of the costumes first, before diving into each character and their personality. Once I have some ideas in mind, there are more conversations and discussions with the Director, as well as some interactions with the Set Designer in order to see the world that they’re creating as that’s the same world my designs need to live in. From there it’s time to delve into character-specific studies and ask myself and other members of the creative team detailed questions about the characters and where they fit in this world and how that can be expressed through their costumes. From there I

create collages for each character or look with my research and any colours or images that evoke the feeling I’m going for. These are the preliminary designs, which then go to the Director and the Head of Wardrobe for review and discussion. Once approved, we work together to suss out any details or specific challenges or costume needs, such as how long an actor has to actually get changed between scenes or if a particular actor needs some additional make-up to change their age to match their characters, then I begin sketching the final renderings. The renderings can take anywhere from 2 to 8 hours each to complete, so it’s a lengthy process to render costumes for such a large show, but it’s an important part of the process as this is when I develop the details for each character, and it gives me the ability to see all the costumes together on paper before they become a reality. Once the renderings are done, they go back to the Theatre for review and when they’re approved we move forward into realizing the costumes that will then appear on stage. Is it easier or harder to design costumes for a different era? I think from my perspective it’s actually a similar level of difficulty - the challenge with designing costumes for another era is that you weren’t necessarily there to witness it firsthand, so you’re basing all of your work off of your interpretation of historical research and your knowledge of that time period. Depending on the period, it might also be that some of your audience members have lived in that period, so you have to be very specific and knowledgeable about what you’re putting on stage. On the other hand, I find designing modern costumes equally challenging because everyone in the audience knows what costumes

should look like in a modern show, they’re living in that time period, it’s so easy to separate the audience from the characters if you’re not accurate. If you see a modern show in 2018 and someone is wearing a hat that’s from the 1980s (and not currently in fashion), audience members will likely see that error and it can distract or separate them from relating to the story. The Sound of Music has a large cast do you find it difficult to create different costumes and styles for all of the different character personalities? Absolutely, the show contains over 90 costumes for 26 characters so it’s a large amount to design, create, and manage. One thing that always helps me is to remember that although each character is unique and has their own personality, they still have to fit in the world that we’re creating and by setting the rules of that world, it helps to narrow down the looks of the show and the ways in which we express each character’s personality. It’s also good to remember that not every personality is expressed overtly through their costumes, sometimes costumes play only a minor supporting role to the physicality, movement and voice that an actor or actress gives to their character and if the costumes are over-designed, it can take away from their performance or ability to perform. Which character was your favourite to design for? I think the children have been my favourite characters to design for, despite the fact that their looks are some of the most iconic of the show and have less room for flexibility/creativity. What I love about them though is that you can truly show the transformation of the children throughout the show, from their strict grey-blue sailor uniforms at

the top of the show, to the exuberant and fun curtain-made play clothes and then their more individualized looks as they blossom for the concert performance under Maria’s care and love. By the end of the show I think that the children have this overall unified family look, but each costume has individualized details and we see a rainbow of colours and personalities expressed within their wardrobe. Is there any particular feature of your designs that you want the audience to know about? One of the simplest yet most effective elements to my designs is the colour story I create with the characters. Each character undergoes some sort of transformation in the show, told partially through the use of colour. An example would be Maria, who starts out generic


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in her black postulant costume, where she’s living limited by the rules of the Abbey, but once she goes to the von Trapp family home, we see her in the colours of the natural environment that she loves, the Alps. I tried to bring in lots of golden yellows, warm whites, rich grassy greens and sky blues. In a similar way, the Von Trapps wear greys and dull blues, the costumes are uniform and lifeless. Once Maria arrives, I wanted to spread her warmth and natural colours to the children and Captain Von Trapp, which you’ll see in their slow but steady transformation to their end look. Other colours you’ll notice play prominently are the stark red, white, and black of the Nazi flag, which creates a strong and intentional contrast and sense of oppression against Maria and the children. What’s the biggest challenge about designing costumes for this show? I think the biggest challenge for a show like The Sound of Music is finding the balance between meeting high audience expectations while bringing something new and interesting to the table. No one wants to see The Sound of Music and not recognize their favourite characters and moments, for

most people seeing The Sound of Music will be nostalgic and reminiscent of their childhood or the time that they first saw The Sound of Music and I want to honour that feeling. Do you have a favourite costume? I would have to say that my favourite costume in the show is the wedding dress for Maria. When I began my research, I was positive that the dress worn by Julie Andrews in the film was completely wrong for the time period, the tiny waist and full skirt came off as very 1950s, however, once I delved in deeper I found that it was actually very similar to a lot of dresses I saw in my research of the time period. In the end, the design I’ve come up with is intended to have less fullness in the skirt and a slightly softer fabric to lean more towards the looks of the 1930s, but I’ve opted to keep a lot of the features from the film, like the higher neckline and simple fabric with no lace or frills. I’ve recently been shopping for my own wedding dress so I had a special place in my heart for designing Maria’s. Find the full interview story on our website at

A LOVING REVOLT AND A CALL TO ACTION Inside the most militaristic or cynical hearts, I believe, is a kind of discontent. We were made to love, hope and laugh.  When oppressive structures impose themselves on vital life, there is an inevitable revolt.  Captain von Trapp is, well, trapped by many things - personal tragedy, the needs of his family, political change and his own response.  Similarly, Maria has become entangled in her own problem.  She entered the Abbey to find her heart’s calling, but she has lost it. Her calling is in the hills, through song, a new community and the dynamic relationships outside the Abbey walls. The messy longings and hearts of these two iconic figures revolt against the structures that surround them.  A loving revolt and a call to action. The revolution also impacts their family and friends.  Geopolitical pressures require them to define their allegiances.  The newly minted von Trapps end up pursuing a life beyond the ugly confines of the power, force, and manipulation of the Anschluss.  On this path, a simple flower, the edelweiss, serves to remind of what is authentic, true and living.  As nationalism rises in many corners of the globe, this grand musical has new relevance.  It continues to ask if oppressive structures should be allowed to confine and restrict, or, in contrast, if the vital and living connection to family, friends, and community will rise in harmony through Sound of Music. Mark DuMez Director

Mark has served as Artistic Director at the Chemainus Theatre Festival since 2009, where directing credits include Outside Mullingar, Million Dollar Quartet, Silent Sky, Elf: the Musical, Hilda’s Yard, Mousetrap, Ring of Fire, Amadeus, A Shayna Maidel, Harvest, Christmas Carol, Jeeves in Bloom and Jeeves Take a Bow. Favourite acting roles in other regions include Queen Milli of Galt, Mass Appeal and Streetcar Named Desire (Chemainus Theatre Festival), John Gabriel Borkman (Theatre X) and the Dauphin in Henry V (Kentucky Shakespeare Festival). He has developed new work and adaptations for children and adults (Pet the Fish, Little Women) and is glad to be working on this show at the Chemainus Theatre Festival with the many exciting and talented artists who come to play on our stage.







CRAIG ALFREDSON Craig is a Technical Director and Designer based out of Vancouver, BC. He has been working professionally for over 20 years with many different theatre and dance companies and his work has been seen across Canada as well as internationally. He holds a diploma in Stagecraft from Douglas College, his Bachelor and his Master of Fine Arts from UBC. Recent Chemainus credits include Grease (lighting), Once (lighting), and Kim’s Convenience (set).

HENRY BEASLEY Henry is an award-winning interdisciplinary theatre artist and multi-instrumentalist born and raised in New Westminster, BC. For Chemainus: Grease and The Lion, The Witch, and The Wardrobe. Henry has worked across Canada with Canadiana Musical Theatre, Gateway Theatre, Vancouver Opera, Geekenders and Barkerville’s Theatre Royal. Henry is a graduate of Capilano University and a member of Fight Directors Canada. For Tony.

JONAS BRITTAIN Jonas is thrilled to make his Chemainus debut! He has attended shows here for many years and is grateful for the opportunity. He was recently in Beauty and the Beast (B2B Theatre) and Pirates of Penzance (NCS). In his free time you’ll find him fishing, learning more about fishing, and always talking about fishing! Thank you to God, Mom, Dad, Jesse, Miss Grey, Mr. Smith, and Harbour Dance Studios for your love and support.

IAN FARTHING You may have previously seen Ian on stage here in A Christmas Carol and Jeeves in Bloom, although more recently he’s been working at Chemainus Theatre Festival with his director’s hat on, helming the productions of Jeeves Intervenes, A Christmas Story and Glorious. Other musical work has included South Pacific, Cinderella (off-West End), Sound of Music (Mirvish, Toronto), Company, Sunday in the Park with George (Vancouver). Ian also sings with Vancouver’s Choir Leoni.

CLAIRE FRIEDRICH Claire is thrilled to be back in Chemainus after stage managing Outside Mullingar last season. Claire’s recent credits include Rinaldo & Jenufa (Pacific Opera), HMS Pinafore (Edmonton Opera) and The Secret Garden (Kaleidoscope). Claire holds a BFA in Theatre from the University of Victoria. She wants to thank her mom for introducing her to the world of theatre by bringing her to Chemainus Theatre Festival’s original production of The Sound of Music many years ago.







ERIK GOW Chemainus: Anything Goes, Munschworx, Elf the Musical, Pride and Prejudice. Others: Beauty and the Beast, Once, Onegin, Million Dollar Quartet, Les MisĂŠrables (Arts Club), Sweeney Todd (Snapshots Collective), The Story of My Life (WRS Productions), Gutenberg! The Musical! (A Johannes Production), Hamelin: A New Fable (Axis Theatre), Bye Bye Birdie (TUTS), The Cripple of Inishmaan (ETC). TV: Valley of the Boom. Graduate of Studio 58.

ANNA HILL Anna is honoured to be debuting with Chemainus Theatre. She began acting at Kismet Theatre Academy as Annie in Annie Jr. followed by roles in Fame Jr. and Rock of Ages. Anna loves to play the ukulele and piano and enjoys cuddles with her cat and two dogs. Special thanks to Bonnie Catterson (Kismet) for her mentorship and support.

LAURIN KELSEY Laurin Kelsey has a BFA in Set & Costume Design from the University of Victoria and attended the National Theatre School of Canada for Scenography. Since graduating in 2007, Laurin has worked on and designed over 50 productions in Canada and Europe and is happy to have the opportunity to return to the Chemainus Theatre. Laurin is a member of the Associated Designers of Canada.

LIZ KING Liz is thrilled to be working on The Sound of Music - her last version was at Persephone Theatre in 2012. Favourite past Chemainus Theatre Festival shows include Once and Elf. Other select credits include The Unplugging (Gwaandak), Hand to God (Arts Club), The Last Wife (Globe Theatre), and Pericles (Stratford). Liz is excited to be sticking around Chemainus this summer to ASM Mamma Mia. Love to Talus.

MELISSA MORRIS Melissa is thrilled to return to Chemainus, having last been seen as Jane and Georgiana in Pride and Prejudice. Since that time she played Corie in a tour of Barefoot in the Park, played Bianca in Taming of the Shrew and Phebe in As You Like It at St Lawrence Shakespeare Festival, was the Fairy in Princess and the Pea and the Musical Director of Little Red at the Stirling Festival Theatre. Melissa is on faculty at Queen’s University.







ROSS NICHOL Ross has designed sets, lights and occasionally costumes over 230 times across the country. Recent designs include work for Western Canada Theatre, Kamloops, Persephone Theatre, Saskatoon and 1000 Islands Playhouse, Gananoque Ont. He has taught for Douglas College Stagecraft and Langara College’s Studio 58, both in Vancouver. Ross is pleased to be back on the Island. He is a member of the Associated Designers of Canada.

HANNAH PATRICE Hannah is thrilled to be back on the Chemainus Theatre Festival stage, where she was last seen in 2012 in Joseph and the Amazing Technicolor Dreamcoat. Other stage credits include Sandy in Grease (CHSS), Elmira Gulch and the Wicked Witch in The Wizard of Oz (CHSS). Hannah is an avid visual artist, musician and songwriter. Some of her artwork can be found on her instagram page @zinoleah. Enjoy the show!

SABRINA PRADA Sabrina is thrilled to share her skills with Chemainus as doing musicals is one of her “favorite things.” Alumna of Stagedoor Manor & Southern Methodist University. Select theatre: Sweeney Todd (Fighting Chance), Fiddler (Western Canada), Great Gatsby (Seattle Rep) and Tony n’ Tina’s Wedding (Hoarse Raven). On camera: Grand Unified Theory, Woodman, Wedding Bells, & Elsewhere, filmed in Sooke. SAG-AFTRA, UBCP-ACTRA & CAEA. This one’s for Grammy!

NICK PRESTON Nick Preston is an actor/singer/musician/writer and graduate of the UBC BFA program. Recent credits include It’s a Wonderful Life (Gateway), Souvenir (Kelowna Actors Studio), Prairie Nurse (Station Arts Centre, SK). Nick has toured BC and Alberta extensively with Axis Theatre and CMTC and spent two seasons at the Theatre Royal in Barkerville, BC. He collaborated on the piece CAEZR: What Would You Die For? (SpringWorks, Stratford, ON) and is completing his first original musical.

CATE RICHARDSON Cate is an actress, singer, musician, and graduate of the Canadian College of Performing Arts. She is delighted to be appearing in her first show at the Chemainus Theatre Festival. Select credits: Theatre – Mozart & Salieri (Seven Tyrants), The Yellowpoint Christmas Spectacular (Razzle Dazzle), Barkerville’s Theatre Royal; Film/TV – The Age of Adaline (Lionsgate), Signed, Sealed, Delivered (Hallmark). Cate thanks her parents for their support.







STEPHANIE ROTH Stephanie has appeared in theatres across North America in a wide variety of productions. Selected roles: Donna & Tanya - Mamma Mia!, Mary - Mary Poppins; Ellen- Miss Saigon; Mrs.Johnstone - Blood Brothers; Four seasons Stratford Festival of Canada; The Who’s Tommy (CAN. Premiere/National Tour); RENT (U.S. Broadway Tour). Favorite role: Momma to Caeleigh. Thank you to the most amazing partner in life, Kraig! Up next: Donna in Mamma Mia!

KAIA RUSSELL Kaia is thrilled to be making her hometown debut with the Chemainus Theatre Festival. A burgeoning actress, Kaia’s most recent credit was The Rockin’ Tale of Snow White (Sooke Youth Show Choir). Kaia is looking forward to learning from all her colleagues and the dedicated staff and leadership at the Chemainus Theatre. She sends her love and thanks to all her family.

BRIN SLYDELL I’m glad to be back at the Chemainus Theatre for my second professional production. You may have seen me as Ralphie Parker in A Christmas Story in 2016. Since then I have taken up the piano and flute and enjoy spending time socializing with friends, reading and eating (in true teenager fashion)! As always, special thanks to you Andrea, l wouldn’t be here without you. I hope you enjoy the show! Adieu to yeiu and yeiu and yeiu.

JILLIAN TELFER Having her Chemainus Theatre debut at the age of 7 as Young Cosette in Les Misérables, Jillian is beyond excited to be part of another amazing Chemainus Theatre production. This kind & loving Grade 7 student at Queen of Angels Catholic School loves dancing, singing, theatre, gymnastics & spending time with family and friends. Jillian has always enjoyed the Chemainus Theatre and wants to extend a sincere thank you to Chemainus Theatre Festival for this incredible opportunity.

JULIANNA TOFT Hi I am Julianna, and I have had a love of music and the stage since the moment I could talk. I have been in the Nanaimo Youth Choir since I was 4. I have also been in youth productions at the Qualicum Theatre, Ladysmith Little Theatre, The Chemainus Theatre Festival and performing at the Upper Island Music Festival in vocal. When I am not singing or playing the piano, I love playing with my sister and my dog.





JULIA ULLRICH Julia is thrilled to be returning to Chemainus Theatre Festival after her first engagement in Les Misérables in 2014. She is a graduate of the Capilano University musical theatre program, as well as UBC’s teacher education program. Some of her favorite roles include Elle Woods in Legally Blonde: the Musical, Chava in Fiddler on the Roof, and her new role as a secondary school educator. She would like to thank Mark for this wonderful opportunity and hopes you enjoy.

MEGAN WILLIAMS Megan is 7 years old and her role as Gretl is her first theatre performance. However, those who know her best will tell you she is capable of theatrical performances anytime, anywhere. She loves dancing, building “girl” Lego, and playing with her cat. Megan lived the first year of her life in Uganda, Africa and is currently planning a trip there in 2020. She is excited to be a part of the team at Chemainus Theatre and her family is excited to see her shine.

MELISSA YOUNG Melissa’s recent choreography credits include Little Women for Chemainus Theatre Festival and Jenufa for Pacific Opera. She also directed A Closer Walk with Patsy Cline for Little Bowes Street Collective and The Lion, the Witch, and the Wardobe here at Chemainus Theatre Festival. Next up, she will be adapting and directing The Magician’s Nephew. Melissa is the Associate Artist at Chemainus Theatre Festival. Her choreography has been nominated for 6 Jessie Richardson Theatre Awards.



A SNEAK PEAK INTO THE AWARD WINNING COMEDY THE FOREIGNER The foundation for Larry Shue’s The Foreigner is simple and charming in a way that endears it to even those who may not typically enjoy a comedy. Sergeant “Froggy” LeSueur has arranged a three day mini vacation at the humble Betty Meeks’ Fishing Lodge in Tilghman County, Georgia, for his painfully shy English friend,

Charlie Baker. Froggy intends to offer a respite to his companion from tending to his dying wife—who has not been as morally dedicated to their marriage as innocent and awkward Charlie. Things go awry from the moment they arrive. The combination of stressful timing, Charlie’s extreme social phobia, and his belief that he is utterly boring

and lacking personality leads the faithful Froggy to concoct a desperate plan to get Charlie to stay. Froggy explains to those in the lodge that Charlie is a foreigner who speaks absolutely zero English. And from here, comedy ensues. Instead of leaving the socially awkward Charlie alone, as the good intentioned Froggy assumed, the lodge’s occupants make Charlie their confidant—with hilarious results. This comedy offers the kind of genuine amusement that absurd silliness can provide when portrayed well. Charlie progresses from an awkward wallflower lacking confidence to a hero who spoils the evil plots of the villains. Betty can be found frequently yelling loudly at her “foreigner” guest to make her English understood. There is also an unwanted pregnancy, a conspiracy to scam the lodge from widow Betty Meeks, the grand issue of an inheritance, and to

mix it all up—a racist plot to overtake America courtesy of the Klu Klux Klan. Shue has packed a lot of plot into his two-act play that you won’t want to miss out on! Sit back, relax, and be entertained as Charlie finds himself in increasingly complicated predicaments, and desperately “learns English” in order to stop the evil villains in this plot. Shue’s play is not only sidesplittingly funny, but gives us food for thought as it reminds us that our all-too-human foibles, follies, and frailties can make us endearing as well as initiate inspiring personal transformations. The Foreigner will be on our stage April 18 - May 9. Single Tickets are available for purchase now! Considering more than one show this year? Our Season Tickets are still available and offer a great savings to our patrons who want to enjoy more theatre!



Spring Break Musical Theatre Intensive: Storytelling Through Song MAR 18 - 21 | Ages 13 - 18 Foundation for Acting and Storytelling APR 4 - MAY 9 | Ages 9 - 12 The Building Blocks of Musical Theatre MAR 26 - APR 30 | Ages 9 - 13 Intermediate Scene Study APR 4 - MAY 9 | Ages 13 - 18


Little Women (2018). Karyn Mott and Georgia Bennett. Photo by Cim MacDonald.

Focused on training, encouraging, and mentoring young artists passionate about Theatre and Performing Arts; programs are designed to equip students with skills for both on and off stage, bolster creativity, encourage critical thinking, and build self-confidence.

chemai nus


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LaVerne Erickson, Ken Smith (1927-2017)

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Irma Andersen, Eileen Godkin, Jeremy Martin, Kerry McIntyre, Larry Myhre, Stuart Price

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