Northern Light Theatre 2020-2021 Something Unspoken program

Tennessee Williams’

SOMETHING UNSPOKEN STREAMING DATES

MAY 7-9, 13-16

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IN THIS PROGRAM Our Sponsors and Donors

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SOMETHING UNSPOKEN

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Background to SOMETHING UNSPOKEN 9 A Discussion with Director Trevor Schmidt

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Artist Bios

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NLT’s Salon Events Go Online for 2020-2021

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Northern Light Theatre Celebrates 45 years!

Memories from Women of a Certain Age

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About Northern Light Theatre

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Our Mandate

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Our Board

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Our Staff

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Diversity & NLT

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Our Volunteers

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All production photos: Marc Chalifoux, Epic Photography

Thank You for Joining Us On behalf of the board, staff and artist of Northern Light Theatre we wish to thank you for your continued support of our company as theatre’s continue to be closed as a result of the pandemic. Thank you for your ongoing support of Northern Light Theatre in our 45th Anniversary year. We look forward to when we can gather again.

TREATY 6 ACKNOWLEDGEMENT Northern Light Theatre acknowledges that we work and perform on Treaty 6 territory, a traditional gathering place for diverse Indigenous peoples including the Cree, Blackfoot, Métis, Nakota Sioux, Iroquois, Dene, Ojibway/Saulteaux/ Anishinaabe, Inuit, and many others whose histories, languages, and cultures continue to influence our vibrant community

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OUR SPONSORS AND DONORS Our Sponsors

FUNDRAISING AND DONATIONS ARE VITAL to Northern Light Theatre’s success, making up 50% of the company’s operating costs. NLT is exceedingly grateful to all of our generous sponsors and donors who go above and beyond supporting the creation of theatre, adding to Edmonton’s vibrancy as an arts and culture destination.

Donations are eligible for charitable tax-receipt in compliance with CRA guidelines for charitable giving and can be made directly through NLT’s Canada Helps page.

If you would like more information on different ways to donate, or are interested in becoming a 2021-2022 show or season sponsor, please contact Gina Moe at gina.m@northernlighttheatre.com

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Our Donors Government Canada Council for the Arts Alberta Foundation for the Arts Alberta Lottery Fund Edmonton Arts Council Edmonton Heritage Council City of Edmonton Foundations Bente Roed Family Foundation Kathy and Lorris Williams Family Fund Edmonton Community Foundation Season Sponsors Alana and Doug Waldie Eric and Kathy Newell John Quinn Individual Donations Lynda Adams Carol and Tom Auston Christine Archibald April Banigan Laurie Blakeman Joyce Bolton E. Ross Bradley Valerie Braiden Gloria & Ron Chalmers Heather Chorley Brent Christopherson Heidi Collins-McCann Barbara & Gurston Dacks

Brian Deedrick Ruth DyckFehderau Catherine Fallen Kristin Finlay Kristen Forsyth Jillian Gamez Karen Gartner Leslie Greentree Kevin Greidanus Heather Gross Betty Grudinski Sari Haas Kenna Halford Herres Christopher Head Catherine Hedlin John Hudson Brenda & John Inglis Jan Jackson Mohamed Jaffer Barbara & Richard Johnstone Adrian Jones Nimet Kanji Jamie Kannekins Gerry Kasten Kelly Kaye Gerald Kendal Veronica Keuchel Darlene Kowalchuk Leslea Kroll Angie La Berge Joy & David Lardner Heather Lawrence Sterling Lawrence J. Brooke Leifso Christine Lemermeyer

Brian Maier Louise Mallory Madi May Lori Mienhart Jennifer Mikula Derrick Mitchinson Gina Moe Susie Moloney Mike Morin Amelia Pask Snook Carla Perry Arlette Peterson Michael Phair Doreen Piehl John L. Pressey Lindsay Robinson Blake Rothwell Dr. Anthony Russell Tetyana Ryabets-Zuk Christina Sahi Trevor Schmidt Fern Snart Elaine Solez Rebecca Starr Jennifer Steed Mike & Yvonne Stern Craig & Mark Stumpf Allen Hitomi Suzuta Olive Thorne Kathryn Veeman Ivan Whitson Randy Williams Janet Wright Sara Wright Tim Yakimec Judy & Richard Zwicker

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JAM JAR AD

COMING NEXT

Janet Munsil’s

THE UGLY DUCHESS

Photo: Ian Jackson, Epic Photography

FEATURING LORA BROVOLD northernlighttheatre.com // 780-471-1586 // @northernlighttheatre

STREAMING DATES

MAY 21-23, 27-30

TICKETS

30

$

NORTHERN LIGHT THEATRE PRESENTS

SOMETHING UNSPOKEN

by Tennessee Williams

“Don’t you think there is always something unspoken between two people?”

Featuring: PATRICIA DARBASIE as Grace Lancaster

DAVINA STEWART as Cornelia Scott

TREVOR SCHMIDT Director, Set & Costume Designer

CHRIS HICKS Production Manager

MŨKONZI MŨSYOKI Dramaturge & Assistant to the Director

IAN JACKSON, EPIC PHOTOGRAPHY Cinematographer & Editor

ADAM TSUYOSHI TURNBULL Lighting Designer DAVE CLARKE Original Composition Sound Designer NYSSA BEAIRSTO Stage Manager

MARC CHALIFOUX 2nd Camera Operator KENDRA HUMPHREY Make Up Artist, Season Posters

Performance Dates Friday, May 7: 7:00pm and 8:30pm Saturday, May 8: 1:00pm, 3:00pm, 7:00pm and 8:30pm Sunday, May 9: 1:00pm and 3:00pm

Thursday, May 13: 7:00pm Friday, May 14: 7:00pm and 8:30pm Saturday, May 15: 1:00pm, 3pm, 7:00pm and 8:30pm Sunday, May 16: 1:00pm and 3:00pm

Tickets $30 per household (price does not include GST)

www.northernlighttheatre.com or 780-471-1586

SOMETHING UNSPOKEN is presented by special arrangement with the University of the South, Sewanee, Tennessee.

© 2020. THIS AUDIO-VISUAL PRESENTATION WAS PRODUCED BY SPECIAL ARRANGEMENT WITH CONCORD THEATRICALS CORP. ALL RIGHTS RESERVED. THIS AUDIOVISUAL PRESENTATION IS AUTHORIZED FOR NON-COMMERIAL USE ONLY. FUTHER DISTRIBUTION OF THIS PRESENTATION BY DOWNLOAD, STREAMING, REPOSTING, BROADCAST, TELECAST, OR IN ANY OTHER MANNER OF MEDIUM, IS STRICTLY PROHIBITED, A VIOLATION OF THE AUTHOR(S)'S RIGHTS, AND ACTIONABLE UNDER APPLICABLE COPYRIGHT LAW, FOR MORE INFROMATION PLEASE VISIT: https://www.concordtheatricals.com/resources/protecting-artists WARNING: FEDERAL LAW PROVIDES CIVIL AND CRIMINAL PENALTIES FOR THE UNAUTHORIZED REPRODUCTION, DISTRIBUTION OR EXHIBITION OF COPYRIGHTED AUDIOVISUAL MATERIALS. CRIMINAL COPYRIGHT INFRINGEMENT IS INVESTIGATED BY THE FBI AND MAY CONSTITUTE A FELONY WITH A MAXIMUM PENALTY OF UP TO FIVE (5) YEARS IN PRISON AND/OR A $250,000 FINE.

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BACKGROUND TO SOMETHING UNSPOKEN Something Unspoken, as the title suggests, is a play about undercurrents.

Although the undertones evident in Cornelia and Grace’s character dynamic may seem obvious to us today, the play takes us back in time. It shows us Tennessee Williams’ craft of writing sophisticated characters under challenging circumstances.

In an article entitled ‘Tennessee Williams: The Idea of the Theatre’ Marvin Spevack writes that; "For the doomed soul is interesting to Williams not only because it describes an inner condition but also because it is representative of a man as a figure in a cosmic drama". In this play, the hint of a lesbian romance opens it up for broader discussions compared to other factors such as power, pride, class, and race. These questions ring hard, and so do the underpinning factors that distinguish who Grace and Cornelia are.

By Mũkonzi Mũsyoki

Cornelia, a wealthy and reputed Southern spinster, proudly agonizes over an impending vote at the United Daughters of the Confederacy (UCD) where she wants to be Regent, but by unanimous vote, in absentia. She decides not to attend the meeting probably because of the impending change or a likelihood of something else going on—something 'unspoken'. The disappointment over the UDC vote happens side by side with an 'unspeakable' conversation with her secretary, Grace, as they have grown very close together over 15 years.

The question that keeps coming back from the beginning to the end is the mysterious tension between them. There is something unspoken, and neither of them names it because there is an entire conversation that has to happen. It is a play that skillfully crafts a complicated character dynamic that grants the play momentum.

10 In this production, race plays a crucial role in building the play’s intensity because Grace is a woman of colour.

It was fascinating to see the accompanying issues that come out of this choice from a dramaturgical standpoint. In the broader scheme of things, this character dynamic meant that race combined with power, class, gender, pride and reputation translated into a significant reimagination of the story. It meant that more questions emerged, and our ‘something unspoken’ took on a different porosity.

We repackaged this cryptic conversation in a different sense. An interesting thing that emerged from the play’s investigation in its context and relevance to us today is the shift in conversations. We explored how the questions brought up in the play would sound to us today.

The title of the play comes from a poem by Tennessee himself entitled ‘Across the Space’ where Tennessee presents the undercurrent that permeates the play: Across the Space The cock will crow his fading stars among; the lie is only waiting On the tongue!

But while it waits, I speak out False to you; Something unspoken in The room is true.

Tennessee Williams (1956) From the poetry book In the Winter of Cities.

A B O U T T H E P L AY W R I G H T

Tennessee Williams Tennessee Williams (1911-1983) was one of America’s most prolific and important playwrights. His prodigious output included THE GLASS MENAGERIE (NY Drama Critics Award 1944), A STREETCAR NAMED DESIRE (New York Drama Critics Award, Pulitzer Prize 1947), SUMMER AND SMOKE (1948), THE ROSE TATTOO (1951), CAMINO REAL (1953), CAT ON A HOT TIN ROOF (New York Drama Critics Award, Pulitzer Prize 1955), ORPHEUS DESCENDING (1957), SWEET BIRD OF YOUTH (1959), NIGHT OF THE IGUANA (1961), THE MILK TRAIN DOESN’T STOP HERE ANYMORE (1963), OUT CRY (1973), VIEUX CARRE (1977), A LOVELY SUNDAY FOR CREVE COEUR (1979), and SOMETHING CLOUDY, SOMETHING CLEAR (1981). NOT ABOUT NIGHTINGALES, which he wrote in 1947, was produced at the Royal National Theatre, London, and at the Alley Theatre, Houston, in 1998 with great success.

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A DISCUSSION WITH DIRECTOR TREVOR SCHMIDT NLT: How do Cornelia and Grace fit in Tennessee William’s canon, and the mystique of southern women from that era?

TS: There is a bit of debate as to when SOMETHING UNSPOKEN was written.

It appears to be in 1951– though it was not presented until 1958 – as part of an evening of one-acts entitled GARDEN DISTRICT, paired with his classic SUDDENLY LAST SUMMER. He started writing in 1930- and continued into the 80s. He had already established the notion of the 'faded Southern belle' to great acclaim in A STREETCAR NAMED DESIRE, SUMMER AND SMOKE and others. I suppose the two works that comprised GARDEN DISTRICT are loosely linked as

examinations of a psychological struggle between two women- one slightly older than the other, and sharing an imbalance of power due to economic status. But while SUDDENLY LAST SUMMER sees the younger woman mentally crushed by the influence exerted upon her by her aunt, SOMETHING UNSPOKEN sees the dowager begin to crack as her status begins to crumble beneath her.

Was Tennessee Williams writing roles for drag queens? Older gay men? Southern women? Or were they simply written as pitiable relics of an older time- a time that had treated them with more gentility- a time to be nostalgic for, a time of beauty, and youth and lost or missed promise?

12 NLT: In researching the history of the play – The Daughter’s of the Confederacy and their link to the “Lost Cause” movement, this play has been unexpected resonate this past year with the recent controversies over the removal and renaming of monuments associated with racism. Was there anything in your research that was surprising? Lent greater insight into the production?

TS: The Lost Cause of the Confederacy (known simply the Lost Cause), is an American pseudo-historical, negationist ideology that advocates the belief that the cause of the Confederate States during the American Civil War was a just and heroic one, and that slavery was just and moral, because the enslaved were happy, even grateful- and it also brought economic prosperity. This notion was used to perpetuate racism and racist power structures during the Jim Crow in the American South and emphasizes the supposed chivalric virtues of the antebellum South. It views the war as a struggle primarily waged to save the Southern way and to protect "states' rights", especially the right to secede from the Union. It casts that attempt as faced with "overwhelming Northern aggression". At the same time, it minimizes or completely denies the central role of slavery and white

supremacy in the build-up to, and outbreak of, the Civil War. Sounds depressingly current, doesn't it?

NLT: Can you speak about the non-literal design of the show? Any thoughts on how filming the show will add to the impact of the design and the audience’s experience?

T.S: I definitely did not want to produce a 'museum piece' with this classic playparticularly if we were going to film it due to Covid pandemic restrictions. To produce a play on film and design it with literalism or realism in mind transforms a stage play into a film or movie- and I adamantly wanted to remind the audience that this is a stage play. I always like to give the audience enough clues as to the world of the play so that they know where they are- in a dining room, in a house, near a garden. But I want to give them the minimum to come to that conclusion, so that they are forced to engage as audience members by filling in the rest of the world. All that is needed is what they seewhat they choose to fill in is up to them. It becomes a communal creation of a fuller world- without the filmic luxuries that turn a stage play into a movie. We're not doing a movie. In fact, the opening shot of the play is of an empty theatre with the work lights on, the empty seats, the stage design stripped back so you can see the bones.

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ARTIST BIOS G R AC E L A N C A S T E R

Patricia Darbasie Pat is so happy to be working with long time friends at Northern Light. A graduate of the University of Alberta’s BFA Acting program, Pat is a Sterling award winner. Pat was last seen on stage at the Citadel in Shakespeare in Love and A Christmas Carol, Atlas Theatre’s Going to St. Ives and Teatro la Quindicina’s The Finest of Strangers.

During the last year Pat was lucky to be working - first with Catalyst theatre on Until the Next Breath and a coproduction with Northern Light and Workshop West Here There be Night - an outdoor theatrical experience.

In 2001 Pat started writing plays; Carnival Magic, a play based on West Indian culture toured Edmonton area schools with Concrete Theatre. Pat’s play Ribbon, about black settlers in Amber Valley, is a one-woman show she wrote and performed for her MFA thesis in Directing at the University of Alberta. And West Indian Diary was a community based collaboration, produced by Ground Zero Productions in 2011.

Upon completion of her MFA in Directing, Pat studied Voice and Speech at York University, where her thesis was The Syringa Tree which she directed using voice and movement techniques from her year of study. This spring Pat was the vocal coach on Workshop West’s Zoom production of The Shoe Project.

Pat directed Atlas Theatre’s production of Mesa and was the Assistant Director on The Color Purple at the Citadel and RMTC. Pat will be directing Heaven at the Citadel in the summer of this year. .

Northern Light Theatre is a member of the Professional Association of Canadian Theatres and engages, under the terms of the Canadian Theatre Agreement, professional artists who are members of the Canadian Actors’ Equity Association.

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C O R N E L I A S C OT T

Davina Stewart Davina is an award winning actress, and improvisor, and graduate of the U of A BFA Acting program.

Davina is delighted to be back with NLT having appeared in their previous productions of Summit Conference and BiFurious, and was scheduled to appear in last season’s production of Confessions of a Reluctant Caregiver which was cancelled due to Covid-19. She’s been fortunate to work with many of Edmonton’s theatre companies including, Teatro la Quindicina, Citadel, Mayfield Dinner Theatre, Workshop West Playwrights’ Theatre, Guys In Disguise, Theatre Network, Punctuate Theatre & Shadow Theatre.

Davina is also one third of the hit infotainment extravaganza Hey Ladies! now in its 13th season.

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D I R E CTO R S E T & C O ST U M E D E S I G N E R

Trevor Schmidt Trevor has been the Artistic Director of Northern Light Theatre for the past 18 years, and involved with NLT for the past 27 years as a performer, director, designer, and playwright, as well as being a multiple Sterling award winner. He has been awarded three times for playwrighting, (THE WATERMELON GIRLS, CHANGE ROOM, and FLORA & FAWNA’S FIELD TRIP!), twice for directing (the Canadian premieres of THE 4TH GRADERS PRESENT AN UNNAMED LOVE-SUICIDE and Carol Anne Duffy’s THE WORLD’S WIFE) and received the Outstanding Fringe Performance award for the one-man show COFFEE DAD, CHICKEN MOM, AND THE FABULOUS BUDDHA BOI, penned by Nick Green, which toured to New York as part of the FRIGID FESTIVAL. His plays have been produced across Canada and far away as Australia (MABEL STARK!). He has created and choreographed a one-woman dance piece entitled MARKED for the Expanse Dance Festival that was extended and nominated for a Sterling award for Outstanding New Work. He was honored to be awarded for Outstanding Choreography for 6.0: HOW HEAP AND PEBBLE TOOK ON THE WORLD AND WON at the Betty Mitchell Theatre Awards in Calgary, and the DIALOG Award for Excellence in Artistic Direction as part of the Mayor’s Evening for the Arts in Edmonton.

He is an Artistic Associate of GUYS IN DISGUISE theatre company.

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D R A M AT U R G E / A S S I STA N T TO T H E D I R E CTO R

Mukonzi Musyoki Mũkonzi is a writer, director and a dramaturge. He is a second-year PhD student at the University of Alberta in Performance Studies. Mũkonzi graduated from Kenyatta University in Kenya on July 2016 with a Bachelor of Arts (Honours) in English, Linguistics and Literature. He later went on to do his Masters in the University of Alberta specializing in Kenyan Theatre. He has been in Canada for four years and has worked with Workshop West, Timms Centre Studio Theatre, the University of Alberta Drama Department, MAA and PAA Theatre, Concordia University of Edmonton and The Citadel Theatre.

Mũkonzi has also worked as a dramaturge for Ignite Afrika Trust where he continues to participate in the OSNW (Old Stories in New Ways) Project and TIC (Theatrical Interactions for Change) back in Kenya collaborating with local artists from Kisumu. His research is on Postcolonial Theatre and Performance, Dramaturgy, Urban Discourse and Identity Politics in contemporary East Africa.

LIGHTING DESIGNER

Adam Tsuyoshi Turnbull Adam is a multi-talented technician and theatre designer who works in set and lighting design and construction.

He is sought-after as an artistic collaborator and his work has been seen on the stages for Northern Light Theatre, Shadow Theatre, Teatro la Quindicina, Fringe Theatre Adventures, L’UniThéâtre, Theatre Yes, multiple high school and performing arts groups, as well as trade shows and conventions. He has served as Production Manager and Site Technical Director for North America’s largest Fringe Festival, currently serves at the Technical Director and Production Manager at Northern Light Theatre. He is a multiple nominee for Sterling Awards.

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ORIGINAL COMPOSITION & SOUND DESIGN

Dave Clarke Dave is a musician, actor and writer. He has composed music and produced sound designs for theatre, film, dance and multi-media for three decades. Watch out for the 2021 Canadian tour of his family musical performed in English and American Sign Language, SONGS MY MOTHER NEVER SUNG ME (Concrete Theatre) Previous designs for Northern Light Theatre include THE CARDIAC SHADOW, WISH, SPACE/SPACE, THE ECSTATICS and 6.0 – HEAP AND PEBBLE. Other recent designs include THE COMEDY COMPANY (Shadow Theatre), MIDDLETOWN (University of Alberta), ÉLISE CONTRE L’EXTINCTION TOTALE (L’UniThéâtre), CTRL-ALT-DEL (Concrete Theatre) and THE TEMPEST (Citadel Theatre).

STAG E M A N AG E R

Nyssa Beairsto Nyssa is thrilled to be returning to Northern Light theatre with this wonderful production of SOMETHING UNSPOKEN. A graduate of the U of A stage management program, Nyssa is ready to flex her theatre muscles after the lengthy hiatus.

Recent stage-management credits include: Here there be Night (WWPT), Mr. Burns (You are Here & Blarney Prod.)

The Ballad of Peachtree Rose (WWPT), Baba Yaga (AMTC), You Are Happy (Blarney Prod.) The Invisible - Agents of Ungentlemanly Warfare (Catalyst), Matilda, A Christmas Carol, and Shakespeare in Love (Citadel Theatre).

Huge thanks to everyone showing support for their local art and theater scene, and especially to the wonderful cast and crew for putting on such an incredible production!

, g n i v l o v e s y d a n a w l g A n i k a e r t b s u d j n e u v o a r h g e w , g r n o i f r s i d p r s o n i w e l p m i s t o a s tw d n e i r f r u t o h g i L n r e h t r No e r t a e Th

y p p a H rsary e v i n n A

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P R O D U CT I O N M A N AG E R

Chris Hicks Chris Hicks - but mostly just known as Hicks since there is a saturation of Chris’ in the world - is a seasoned theatre and festival production creator. He’s worked a ton of major festivals in Edmonton and beyond from dinosaur building to downhill canoe racing on snow. Graduating from the MacEwan Theatre Production program 9 years ago, Hicks is still making art happen and enjoys it! After joining the Northern Light Theatre team 2 years ago and being involved in every show in last season. Hicks is once again pleased to be transforming the space into the powerful shows you are viewing this year.

C I N E M ATO G R A P H E R & F I L M E D I TO R

Ian Jackson Ian is delighted to be back at Northern Light Theatre.

His work was last seen at NLT in the production of The Look this season. He is grateful to the Edmonton Theatre community for giving him three Sterling Awards for MultiMedia Design over his career. Ian is also an accomplished professional photographer and videographer.

10345-69 Avenue, 780-439-6640

Social distance, wear a mask, wash your hands, and cross your fingers for a happy and vibrant

2o21 Heritage Festival

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NLT’S SALON EVENTS GO ONLINE FOR 2020-2021 Due to COVID-19, NLT will be pre-recording our salon events for this season, so you can check them all out on NLT’s website before or after you watch SOMETHING UNSPOKEN.

Director’s Circle

An exclusive peek behind the curtain Watch NLT’s Artistic Director Trevor Schmidt as he discusses the nuances of Tennessee Williams’ play, with additional research material provided by Dramaturge Mũkonzi Mũsyoki.

Guest Speakers Salon Hosted by Ruth DyckFehderau

For this production we will be recording a zoom session between our facilitator Ruth DyckFehderau and members of the cast and company of SOMETHING UNSPOKEN. The salon will be available on NLT’s website after April 20, 2021.

Our goal at NLT is to feature programming that lends itself to a broadening of experiences, showcasing different perspectives and points of view. The Guest Speaker Salon offers a deeper dive into the themes of each production.

RUTH DYCKFEHDERAU teaches Creative Writing and English Literature at the University of Alberta for a few months of each year. The rest of the time she travels and writes fiction and non-fiction. She lives in other cultural environments as often as possible. Her work appears in publications around the world and she has won awards for teaching, for writing, and for activism. Her recent book, The Sweet Bloods of Eeyou Istchee: Stories of Diabetes and the James Bay Cree (2017), has won or been shortlisted for seven literary awards.

Her website is ruthdyckfehderau.com

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NORTHERN LIGHT THEATRE CELEBRATES 45 YEARS! Memories from Women of a Certain Age As NLT continues to celebrate our season WOMEN OF A CERTAIN AGE, we have also been collecting stories looking back on NLT’s 45 years. Here are some stories from just a few women who have such an extraordinary impact on Northern Light Theatre both onstage and off. If you have an NLT story you would like to share – or materials to add to our archive project, we would love to hear from you.

^ MARALYN RYAN IN THE MONUMENT

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Angela Gann, Founding member, Northern Light Theatre

I became NLT’s Music Director. (Kathie Ball said she still remembers the first madrigal I taught her in three-part harmony with Merrilyn and I.) In several incarcerations of A Midsummer Night’s Dream, I could be found under the stage as the ‘music fairy’ in full costume and makeup, playing my magical bells and sound makers.

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Merrilyn Gann, Actress/Founding member, Northern Light Theatre

We began at NLT way back in the wild and adventurous 70’s. Working with Scott Swan at NLT gave me a wealth of opportunities as well as a crack at some of the great classic roles, Shaw’s Saint Joan, Rosalind in As You Like It and Helena in A Midsummer Night’s Dream.

Highlights for me have to include: John Murrell’s Waiting for the Parade – a show I adore, having done it four times playing both Marta and Catherine. (Marta – in the original production at Alberta Theatre Projects and again at NLT. Catherine - in Lennoxville Summer Festival and again for CBC radio drama.) The Alberta Tour of Ten Lost Years and the national tour of Wings starring the incomparable Ann Casson.

I continue to share a great joy of singing with my sister Angela and (almost sister) Kathie Ball. Angela’s amazing arrangements have catered to our unique blend of voices. We still love to harmonize together (and continue to sing (and write) together here in Covid-laced 2020 (socially distanced, in an Abbotsford farm yard).

Who knows what the future brings?

I remember the great storm in the tent on the hill. The wind and rain almost won but our faithful audience members came to the rescue-holding the madly flapping tent together till we could strap it down.

We asked the audience if they should like us to continue the show. The answer was “YES!” so we took five minutes to change out of our soaking wet costumes and back to our street clothes and finished the show.

A particular favourite show for me was This Train by Ken Mitchell, prairie farmers, no train anymore, future looks bleak, with Wally McSween, and I playing a rather bitter woman – a sunflower seed spitter. One performance near the end of act one...a long pause... I had no idea what the next words should be! Finally, Wally said in a very gentle voice and in perfect character: “Were you going to talk to me about….” I do remember thinking “Stay in character!!! Hug later!!! and growled back impatiently: “Of course I’m gonna..." and we were back on track. The love and forgiveness and gentleness of that moment are still so present in my memory.

Wally is gone now. I loved being an actor at NLT. Thanks for reminding me.

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Alison Wells Actress/Director/Theatre Artist

In 1975, I returned to Edmonton from Vancouver to visit my family and happened to run into Scott Swan. He asked if I could stick around and be in a show. This ended up being the first of many trips home to Edmonton that resulted, happily, in appearing on NLT’s stage.

Back then, it was a play called The Typist

by Murry Schisgal, staring Larry Farley and myself. The play required us to age from our 20s (which we were) to our mid-60s over the course of an hour that was its own backstage choreography in itself - getting all those changes in.

We also choreographed a sequence to Leroy Anderson’s famous The Typewriter – tapping it out on our own individual machines. It was challenging and terrific fun.

In 1983, I was back in Edmonton for another visit home and the phone rang.

It was Brian Deedrick asking if I could be in an upcoming NLT Christmas show The Virgin Mary with the Gann Sisters! We learned 5 part harmonies for that one.

Later on Jace van der Veen asked me to Assistant Direct on Noel and Gertie – a musical about Noel Coward and Gertrude Lawrence. The blocking and staging became my job! I got Lloyd Nicholson in to musical direct, which was a huge coup.

Around that time, Oberon the cat arrived and became the resident theatre cat and mouser, eventually getting her own staring role in The Diary of Anne Frank.

In 1985, I moved home to Edmonton, to live in the house my father built in Old Strathcona.

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Conni Massing Playwright

Some of my strongest memories of Northern Light Theatre date back to the early days and the work of the company’s founding members. In the early eighties,

NLT did a couple of seasons in a tent on Connors Hill. That first year, featuring A Midsummer Night’s Dream and As You Like It, was magical. The following year, with productions of John’s Murrell’s Memoir, Winter’s Tale, and G.B. Shaw’s St. Joan, were equally memorable. The sun setting in the background was part of the set design and I’ll never forget the image of Marilyn Gann (playing Joan) standing centre stage as the light faded from summer sun to twilight. Gorgeous.

In later years I had the opportunity to work with Jace van der Veen and Brian Deedrick on a play about Judy Garland that Brian and I co-authored. What great creative fun we had!

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Glenda Stirling, Director/ Playwright /Choreographer/Teacher

Artistic Director DD Kugler braved a blizzard to see the first show I produced and directed and he urged me to stay in touch. So when a marketing/publicity/ fundraising position came up at NLT - I applied. Not knowing what you don’t know can make you arrogant, but also brave!

Kugler and Bonnie insisted for my first two weeks I do nothing but read every grant, every script, every press release, and every budget in the office, which they then discussed with me. For the next several years we discussed, debated, collaborated on everything - nothing was off the table. They supported my development passionately, called me on my BS when I needed it. We laughed, had meals, made daring art, and I wanted to be both of them when I grew up. This was my REAL M.F.A. When each of us moved on, we supported each other, and our paths continued to crisscross across the country - with more laughter, food and art. Many of my friends and collaborators of long standing I met at NLT - I love this company - for its daring art and generous community.

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> JOHN KIRKPATRICK, VERN THIESSEN

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Bretta Gerecke Set, Costume, Lighting Designer

My very first gig (outside of Catalyst Theatre) when I graduated from the U of A in 1996 was designing Vern Thiessen’s Blowfish at NLT. It was a giant experiment, a fabulous show where we fed people dinner every night and John Kirkpatrick wove Vern’s tale which left the audience wondering if they had been poisoned by the delicious meal. The show was bold, the venue was a bit dangerous (I electrocuted myself, unsurprisingly) and when we took it to the National Arts Centre our dress rehearsal resulted in a portion of the set going up in flames. The fire extinguishers were deployed which left a thick haze in the air prompting DD Kugler to ask “Can we get this look every night?” It was quite literally a trial by fire, and I loved every minute. NLT epitomized bold experimentation in Edmonton’s Theatre scene and I feel very lucky to have been a part of it.

Highlights from those heady GM days include: securing the rights to File Zero and designer David Skelton’s set which sported a live electric fence, Vern Thiessen’s Blowfish with Bretta Gerecke’s design inventions, Metastasis where the audience walked around the play, and everything about True Mummy.

I was so inspired (and relieved!) by our trio of young, smart super-talented interns Heidi Taylor, Vanessa Porteous and Glenda Stirling. And becoming friends with Grant, the board chair, who always had sage advice. The learning curves were steep but, I realized, surmountable if I just stopped moaning, engaged in some critical thought, and admitted I needed help – thank you Flo, for teaching me how to calculate GST!

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Coralie Cairns, Actress/Theatre Artist/General Manager, Shadow Theatre

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I loved being part of NLTs production of Three Different Heavens by Nathan Cuckow. Nathan created a wonderful, complex role for an older woman and I

NLT was a watershed time for me professionally. I fondly look back at those days working with DD Kugler and the endless tears of both frustration and joy they spawned.

had the added bonus of also playing a closeted teenage boy. Trevor Schmidt’s design and direction /choreography were exquisite: they allowed me to slide seamlessly from one character into the other in a heartbeat without any costume

Bonnie Green, Former General Manager/Current Associate Producer, Stratford Festival

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^ THE ECSTATICS

changes, props and there was just one bench on stage….a marvellous physical, emotional and satisfying challenge for a woman of a certain age.

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Ellen Chorley, Festival Director, NextFest, NLT Box-Office Administration, Playwright – Everybody Loves Robbie

One of my very, very favourite plays NLT produced in my tenure was The Ecstatics.

The play was about two clown-like anorexic nuns. Trevor staged the project in a tiny rehearsal hall at the ATB Financial Arts Barns, and the nuns (Gianna Vacirca and Elinor Holt) played on and around a giant swimming pool filled with shredded paper. It was my job to get the shredded paper. We needed like pounds and pounds and pounds of shredded paper. I collected paper for almost a year. I overheated our paper shredder after the first garbage bag. It was literally smoking. We finally found an online store that sold shredded paper and kicked the paper shredder to the curb. You can truly buy anything on the internet. That was just the beginning of my weird job of finding things for the stage.

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Erin Newell Former General Manager

When I worked at NLT, we presented the plays at the Third Space near NAIT. While that space definitely had its challenges, the theatre was so intimate and had the capability to be transformed into a different configuration that always kept our creative juices flowing to see how else we could switch up that space, be it an art canvas, a boxing ring or a classroom.

But mostly, it was the people that made coming to work such a joy. We had a small, but mighty administration & production team but got to contract many talented artists throughout the year to make our family feel a little more substantial. I was always in awe of the artists and loved their passion and dedication to the art that they presented in each of our wonderful, thought provoking productions. I loved working with the team to discover ways of engaging and connecting with the audience to deliver an incredible theatrical experience in the most memorable way and to make anyone who walked through our doors feel like a member of the NLT family.

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Lori Mienhart Former Board President

In 2001, I left a long management career with absolutely no plan. I signed up to be an interpreter at the Alberta Museum for The Sixties Exhibition. It’s there I met Trevor Schmidt. And was introduced to a world I had no idea existed. A world where people worked for passion, vision, art, energy, ego and influence… for very little money.

Along the way I was treated to amazing theatre. Some of my favorite NLT productions have been Trading Hearts (written, directed and performed by Trevor!), The Woman who Cooked Her Husband, The Credeaux Canvas, Fat Pig, The Christmas Elf and The Pink Unicorn. To name only a few.

I was privileged to be NLT’s Board President at the time of our 30th Anniversary Celebration at the EAG.

^

^ TRADING HEARTS

(Oh god, that’s 15 years ago already!)

Mayor Mandel was our special guest and he spoke about how our unique little powerhouse company has been a serious force within the arts community of Edmonton, entertaining and challenging our audiences and helping to raise the cultural profile of our city. I was so proud that night; and continue to be so very proud to be part of the Northern Light Theatre family. My horizons have been expanded immensely being part of the Board and learning about the arts community. I’ve been exposed to controversy and unpopular subjects in an intelligent platform that has afforded me new opinions. There have also been plays where I laughed and cried so hard I could hardly breathe. Since the first time I sat down in one of Trevor Schmidt’s audiences… I’ve never quite been the same.

Thank you NLT, for that wonderful gift!

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^ LINDA GRASS IN THE BEARD

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Linda Grass Actress

What makes live theatre memorable usually means overcoming some kind of adversity. Most recently, it would be rehearsing The Look via Zoom in a space of approximately 2 ft. by 3 ft. from a spare room in my home. In the past, falling off the stage while fighting a skeleton during a preview of Miss Margarida’s Way. And then on opening night, experiencing a power outage in the final critical scene that forced me to improvise dialogue until the generators kicked in. Reading the script for The Beard en route to my parents’ for Christmas thinking, “What the hell is this?” Losing my voice just before preview for Speech and Debate and lip-syncing to Davina Stewart who was reading my lines on mic from the front row of the audience.

But generally, all of my memories with Northern Light Theatre are of laughter, the kind of laughter that comes from a place of trust and safety and joy. Despite the darkness of some of the themes we’ve explored, there was always laughter to counter that. And when you truly love what

you are doing, and you are committed to the process, there should be laughter.

Lots of it.

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Lynda Adams, Director/ Choreographer, NLT Artistic

Associate from 1997-2001,

including an award for

Outstanding Choreography for 2-2 Tango by Daniel McIvor I had always enjoyed the offerings of NLT beginning 45 years ago in the days of Scott Swan, Alan Lysell and the Gann sisters. The work never bored me and was unusual and daring in contrast to the traditional fare I was used to.

Never in a million years would I have believed that someday I would be a part of a company whose mandate spoke to me in such depth and still does to this day!

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Hitomi Suzuta, Board President 2020-2021, Board Member, Volunteer and Patron

My first opportunity to connect with Northern Light Theatre (NLT) was the 2014 to 2015 season after I moved to Edmonton. That was the season of plays

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around gender, transgender and the gender norm with Space//Space, The Pink Unicorn and Christina Philippe. It seems ironic that as we look forward to almost the 50th year, this topic, along with other topics around inclusion and equity become even more pronounced.

As a company, our values and vision allow us to have the candour, courage and integrity to lead as well as partner on creative and respectful productions that allow NLT to remain responsible in providing voice to those issues that other companies may not tackle. As an on-going volunteer, supporter, Board member and now President of NLT, I have remained committed to NLT’s mandate because of its ability to challenge and address the

topics that “reflect a complex world and lead us to question our hierarchy of values.” I believe that all of those involved with NLT are proud of the ongoing ability to represent women, diversity and the non-traditional while developing opportunities for local and up-coming playwrights to showcase current issues that headline the news.

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Maralyn Ryan, Actress, Former NLT Board Member

The Woman Who Cooked Her Husband was the first play I worked on with Trevor Schmidt, an extraordinary show that I could have played in for ever! I remember the great rapport we had doing this play, albeit hilarious, very vulnerable and painful. It was masterfully directed with Trevor’s customary talent for style, sass and satire!! We definitely cooked up a hit.

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Amanda Schutz, Graphic Designer/Artist /Owner,

Curio Studio I have so many favourite memories!

I loved the season where I illustrated The Beard and another season where I illustrated Summit Conference. As for memories with Trevor, I have so many awesome memories of pitching design work to you and team. I remember doing photo shoots at the old space for Carnival of Souls and the Breeder poster (which we illustrated legs over a photo.)

I did sooooo many seasons before handing this work off to Graham and now it's kind of his baby :) I just love seeing what he comes up with every year.

Congratulations on 45 years of performances, NLT! Also, we can't wait to welcome everyone back once this health crisis is over.

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ABOUT NORTHERN LIGHT THEATRE Our Mandate NLT’s mandate is to challenge both artist and audience alike by producing and developing provocative scripts- language rich texts that are dark, poetic, funny – which reflect a complex world and lead us to question our hierarchy of values.

Our Board The NLT Board are brave individuals who valiantly celebrate our philosophy of artistic risk by working with our staff to help to envision NLT’s vibrant future through support, fundraising, volunteering, input, advice and guidance.

Hitomi Suzuta Board President

Darlene Kowalchuk Board Vice President

Sterling Lawrence Treasurer

Janet Wright Member, Chair Fundraising Committee

Jamie Kennekens Member, Chair Venue Committee

David Lardner Member, Chair Policy Committee

Christine Lemermeyer Secretary

To learn more about how to become a volunteer board member or to serve on one of NLT’s committees, please visit northernlighttheatre.com/about-nlt/board-of-directors or email NLTboard@northernlighttheatre.com

Our Staff

Gina Moe, General Manager: gina.m@northernlighttheatre.com

Trevor Schmidt, Artistic Director: artisticdirector@northernlighttheatre.com

Ellen Chorley, Box-Office Administration: ellen.c@northernlighttheatre.com

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Diversity & NLT The service of Northern Light Theatre to our community is always driven by a few specific interests agreed upon by artists, staff, and NLT’s board of directors: Focused representation of women on our stages, play selection that allows for non-traditional and diversity in casting, showcasing emerging artists, local play development and mentorship opportunities. We believe that our theatre should look like our city, and that by offering unique opportunities, we show that we consider these relationships important investments in the future of NLT.

NLT is an enthusiastic participant in NOT IN OUR SPACE – a national anti-harassment and respectful workplace collaboration campaign between the CAEA and PACT, seeking to ensure healthy and productive working conditions for all professionals working in live performance across the country.

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Our Volunteers WE WOULD LIKE TO THANK OUR VOLUNTEERS who dedicate their time in support of Northern Light Theatre. Our Volunteers are vital towards NLT’s fundraising success, specifically dedicating hours of service towards our Bingo and Casinos and events such as the BATTLE FOR THE LIMELIGHT FUNDRAISER. Thank you. If we have missed your name, we apologize – please contact NLT to update your information.

Jessy Ardern Tomas Auston Carol Auston Elisa Benzer John Boukouris E Ross Bradley Marian Brant Leona Brausen Raymond Brickwood John Brisson Lora Brovold Nicole Bruner Coralie Cairns Darielle Corsaro Mari Chartier Brittany Clarke Ellen Chorley Heather Chorley Heidi Collins-McCann Beth Dart Anna Davidson Amy Defelice Alison Dicey Aimee Dittrich Braeden Dittrich David Dittrich Morgan Donald Brian Dooley Emanuel Dubbeldam Kiidra Duhault Rob Evers Karen Farkas Sari Haas Darrin Hagen Dennie Hamaluik Kristy Harcourt Erin Hayes Kristen Hiemstra Stephanie Horvath Ash Howard John Hudson

Lana Michelle Hughes Cindy Hurtig Clyde Hurtig Betty Hushlak Heather Inglis Ian Jackson Jan Jackson Cheryl Jameson Julie Janczyn James Jarvis Kristin Johnston Cameron Jorde Janelle Jorde Elizabeth Allison-Jorde Jamie Kannekens Pedram Kassiri Sandra Keating Walter Kehl Veronica Keuchel Darlene Kowalchuk Ingrid Kottke Joy Lardner Karin Lauderdale Nina Lawrence Sterling Lawrence Julianna Lee Christine Lemermeyer Doug Lemermeyer Gillian Lemermeyer Aline MacDonald Janice MacDonald Louise C. Mallory Melody Manuel Susan May Gordon McCann Rebecca Merkley Adam Mitchell Susie Moloney Pete Morely Harley Morrison Maham Nadeem

Brendan Neary Rebecca Nibitanga Donal O’Beirne Alice Oscar David Owen Chris Pederson Ingrid Pederson John Quinn Sue Quon Elva Rice Jennifer Schewalje Giorgia Severini Jacquie Skeffington Linette Smith Katie Snowden Rhonda Soderstrom Elaine Solez Nicole St.Martin Kimberlee Stadelmann Kate Stashko Judy McFerran Stelck Leland Stelck Davina Stewart Hitomi Suzuta Jan Taylor Ron Taylor Jake Tkaczyk Melissa Thinglestad Mieka Tilley Shirley Tran Holly Turner Erin Valentine Parazanda Valois Pierre Valois Catherine Voisin Mike Webb Randy Williams Janet Wright Theresa Wynn Doris Yeo Anna Zelensky

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