CITADEL THEATRE Robbins
ROBBINS FAMILY SERIES
A hristmas CAROL ADAPTED BY TOM WOOD BASED ON THE STORY BY CHARLES DICKENS
BOB BAKER ARTISTIC DIRECTOR PENNY RITCO EXECUTIVE DIRECTOR
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2011/2012 Theatre Season
Board of Governors
Marshall Shoctor, Q.C. Chair Arliss Miller Past Chair J. G. Greenough, F.C.A. Treasurer Solomon Rolingher, Q.C. Secretary David D. Bentley, F.C.A. Frederick K. Campbell Jacqueline Charlesworth Marc de La Bruyère Anne Foote (Honourary) Ada Hole C. Ralph Loder Ralph B. MacMillan Sandy Mactaggart (Honourary) Jack McBain Barbara Poole Tom Redl Chris Sheard Kayla Shoctor Ralph Young Ex Officio Dr. Robert Westbury
Board of Directors Aroon Sequeira President Ralph Young Past President Catrin Owen Vice President Stuart Lee Treasurer Ken Bautista Guy Bridgeman Ted Hole Mike House Richard Kirby Al Maurer Lisa Miller Dave Mowat Rob Reynolds Guarav Singhmar Larry Staples
Jack N. Agrios, Jan Bentley, Joanne Berger, Christine Bishop, Dan Block, Frank Calder, Gary G. Campbell, Betty Carlson, Donald A. Carlson, Marilyn Cohen, Reg Copithorne, Len Dolgoy, Allison Edwards, Dennis Erker, Grant Fairley, John C. Forster, Frank Gibson, James Gillespie, Jean Hamilton, Brian Hetherington, Gary Killips, Beverlee Loat, Maureen McCaw, Eva McGregor, Susan Minsos, Terry Nistor, Bob Normand, Ray B. Phipps, Ted Power, Jerry Preston, Henry (Hank) Reid, Charlotte Robb, Barbara Shumsky, Esther Starkman, Marianne Takach, Merle Taylor, Mr. Justice Dennis R. Thomas, Brian Tod, John Tweddle, Brian Vaasjo, Chief Justice A.H. Wachowich, Bob Walker, Dr. Marvin Weisler, Bart West, Eve Willox, David Wilson, Doris Wilson, John Yerxa
Created and performed by Ronnie Burkett September 17 - October 9/11
DEATH OF A SALESMAN By Arthur Miller September 24 - October 16/11
THE ROCKY HORROR SHOW
Book, music and lyrics by Richard O’Brien October 29 - November 20/11
THIS IS WHAT HAPPENS NEXT
Created by Daniel MacIvor and Daniel Brooks Written and performed by Daniel MacIvor November 12 - December 4/11
A CHRISTMAS CAROL
Adapted by Tom Wood Based on the story by Charles Dickens December 2 - 23/11
Music by Stephen Flaherty Lyrics by Lynn Ahrens Book by Lynn Ahrens and Stephen Flaherty January 14 - 29/12
Created and performed by Rebecca Northan January 28 - February 19/12
By John Logan February 11 - March 4/12
GOD OF CARNAGE
A new play by Yasmina Reza Translated by Christopher Hampton March 10 - April 1/12
A MIDSUMMER NIGHT’S DREAM By William Shakespeare April 7 - 29/12
THE SOUND OF MUSIC
Music by Richard Rodgers Lyrics by Oscar Hammerstein II Book by Howard Lindsay and Russel Crouse April 21 - May 20/12
We gratefully acknowledge the significant support of our donors who make it possible for the Citadel to present world-class theatre that is accessible, intelligent, passionate and relevant.
ANNUAL SUPPORT Artistic Director’s Circle ($5000 +)
David & Jan Bentley Marc de La Bruyère & Stacy Schiff Allison & Glyn Edwards Ada Hole Doreen Lutsky Rob & Beth Reynolds Chris & Dale Sheard Weir Family Fund Ralph & Gay Young
Director’s Club ($2500 - $4999)
Madam Justice L. Darlene Acton & Mr. Donald Scott Bob Baker & Tom Wood Dr. & Mrs. Luis & Alexis Baptista Norman & Christine Bishop Guy Bridgeman & Dianne Ross John & Judith Cosco Doug & Wendy Davey Dr. Elizabeth Dixon & Dr. Ben Macedo Grant Dunlop & Erika Norheim Jim & Sheila Edwards Leslie Frankish Cecil & Anne Hoffman Don & Lorna Kramer Leo J. Krysa Family Foundation Sandy & Cecile Mactaggart Jack & Lorraine McBain Arliss Miller Ove & Susan Minsos Norbert & Patricia Morgenstern Fran & Al Olson Esther Ondrack Playhouse Publications Ltd. Barbara Poole Jerry & Mary Preston Sir Francis Price & Justice Marguerite Trussler Tom & Corrie Redl Penny Ritco Arnold & Grace Rumbold
Aroon Sequeira Kayla Shoctor Marshall & Debby Shoctor Moira & Larry Staples Buddy Victor
($1000 - $2499) The Honorable John & Ruth Agrios Carol & Rae Allen Anonymous Bill & Dorothy Astle Becker Bruce & Carol Bentley Dr. Doug & Mary Bosko Joyce Buchwald David & Marlene Burnett Butler Family Foundation Frank Calder Jacqueline Charlesworth J. Susan Davis Owen & Linda De Bathe Len Dolgoy & Catherine Miller Richard A. Gil Crystal Graham Greening Solutions Gregory Greenough Edward & Joan Holzapfel Brenda & John Inglis Wolfgang & Elizabeth Kaminski In Memory of Dr. Kris Kristjanson Stuart & Sherry Lee Robert & Dawn Lemke Peter & Dorothea Macdonnell Fund Kim & Linda Mackenzie Colleen Maykut Don & Lynn McGarvey Lisa Miller & Farrel Shadlyn Q.C. Stanley A. Milner John & Maggie Mitchell David J. Mundy Catrin Owen PCL Construction Inc. Tim Pinkoski – Richardson GMP Limited
Solomon & Marilyn Rolingher Bruce Saville Gaurav & Margaret Singhmar Eira Spaner Suggitt Group Ltd. David Verbicky Barry & Valerie Walker Bill & Betty Lou Weir Bart & Carole West Dave Wilson & Wendy Kotow
($500 - $999) Dagny & Graeme Alston Fiona & Stephen Bamforth Jim & Helen Banks B. Baptiste & J. Neumann Chris & Leah Burrows Ronald Cavell Z. & M. Chrzanowski Louis & Marcelle Desrochers Heinz Feldberg Betty & Mike Gibbins James Gillespie & Shauna Miller Dale Gregg Ken & Karin Hayward Ghislaine Hebert Elizabeth, Rosalina & Cynthia Hicks Lou & Mary Hyndman Barry & Margo Johns Ken & Jennifer Kouri Christine Kyriakides Dr. Ray & Rosemarie Leivo James MacDonald Teresa Mardon – Royal Lepage Suzette Marxheimer Tom & Pat Mayson Ian & Linda McConnan Douglas & Claire McConnell Norma & Gordon McIntosh Gordon & Agneta McKenzie Art & Mary Meyer
A CHRISTMAS CAROL 5
PREMIER Maureen & Jim Moran Bill & Joyce Mustard Dr. Julianna M. Nagy Lewis & Lindsay Nakatsui Nelson Nickle Fred & Helen Otto Tom & Judy Peacocke Poster Tech Aline Pratch Curtis & Sandra Prosko Richard Remund Henry & Helen Resta Antoni & Lucyna Rojek Eric & Elexis Schloss Ken & Mary Skeith Bob & Eleanor Sugarman Neil & Merle D. Taylor Lorne Warneke Harry & Heather Zirk Leon & Vonnie Zupan
($200 - $499) Shirley Allder Diana & Laurance Andriashek Lorne & Anne Anfindsen James Archibald & Heidi Christoph Veronica Azizi Roderick E. Banks William & Carol Barton Lola Baydala Walter & Stella Baydala Tim Beechey Joan Bensted Terri & Gary Biasini Barbara Blackley Wynne Blades Beverley Boren Norma Brekke Norman & Anne Burgess Susan & James Burns Harold Climenhaga Professional Corporation Brent & Adele Collingwood John Colter Lesley Cormack Marilyn Cree Robert & Marlene Crosbie Marilyn Darwish Patricia Dawson L.A. Dushenski 6 A CHRISTMAS CAROL
R. N. Eidem Karen Farkas Lois Field Jean Fukushima Harry Gaede Frank Gibson W.L. Gibson Shirley Gifford Susan Gilmour Gaie Goin Leslie & Lilian Green Paul Greenwood Neil & Carol Handelsman Leonard & Sonia Hawreliak Nancy Heule Dr. & Mrs. Hnatko Patsy Ho Bill & Jana Holden John C. Holmes Ray & Elaine Hook Dr. Robert & Laurel Hudson Elesavata Hymonyk Chris Jager & Jean Coutts Norman & Evelyn Jensen Peter Jochimsen Bernie & Dorothy Keeler Doris Kent Loretta Klarenbach Chris Klein Norman & Valerie Kneteman Gordon E. Langford Jack & Diane Latham Ruth & George Lauf Don & Gwen Lawrence Dr. Ed & Nikki Lazar Mary Lister Boris & Patricia Litwin Myron Liviniuk John & Barbara Luckhurst Mervyn & Teresita Lynch Estelle Marshall Neil & Pamela Martin A.D. & Frances Maskell Keith & Brenda McNichol Linda Medland Davis Dr. A & Evelyn Meer Earl Minogue Al Morrow Robyn & Kevin Mott Paul Nahirney Ruth Nakai Craig Neuman
Edna & Cal Nichols Ian & Lou Nicol Jennifer Oakes Kathy Packford Fred & Mary Paranchych Aleda Patterson Leslie & Rick Penny Sheila Petersen Fay Plomp Jean & Edward Posyniak Diana Purdy Andrew & Carol Raczynski William & Heather Ritchie Roger & Janet Russell Allan & Marianne Scott Glen & Margaret Sharples Richard Sherbaninuk Ellie Shuster & Bryan Gutteridge Barbara Sinn Sheila Sirdar Allen & Myrna Snart Dale & Jane Somerville Elaine Solez Keith & Beverley Spencer Julie Sribney Elout Starreveld Delores Stefaniszyn Campbell & Rosalind Sydie Tony Thai & Alvin Schrader Allison Theman Maggie Thompson Kathleen Tomyn John & Alana Tucker Marion & Darcy Turner Mary-Ann Trachimowich John & Liz Tweddle Chris Vilcsak Doug Warren Walder G.H. White John Wodak Susan Wright Sarah Wylie Dr. Randall & Nancy Yatscoff
We are proud to recognize our Premier Supporters, our partners in the creation of theatre at The Citadel Theatre/Robbins Academy. The Hole Family • The John and Barbara Poole Family Fund the Eldon & Anne Foote Fund • The Robbins Foundation Canada The Joseph H. Shoctor fund
Government & Foundation Supporters
Dr. Joseph H. Shoctor, 1922 – 2001
executive producer and founder, the citadel theatre
Joe’s vision brought professional theatre to Edmonton Joe’s dream built The Citadel Theatre Joe’s spirit continues to inspire the theatre we create today Joe’s legacy lives on through a generous gift to The Citadel from his estate
HENRY HOLE, 1884 - 1954 On the Citadel’s 30th Anniversary, a gift was made by the Company of Harry Hole, James F. Hole, Ralph K. Hole and Robert W. Hole on behalf of the Hole family — in honour of their late father, Henry Hole. The Citadel Theatre is proud to honour Henry Hole’s integrity, compassion and leadership in the dedication of this complex to his memory.
To learn more about our Supporter Program and levels of support and benefits, please visit www.citadeltheatre.com or call Sydney Stuart at (780) 428-2142. As a registered charity, we rely on the generosity of our donors & sponsors.
Thank you to all of our supporters. Charitable BN 11922 7387 RR0001
A CHRISTMAS CAROL 7
THE CITADEL WOULD LIKE TO THANK THE FOLLOWING FOR THEIR ASSISTANCE ON
Dr. Ghalib Ahmed and the
C O U R T E S I E S
friendly staff at Coast Edmonton House
ELECTRONIC DEVICES No doubt we have all been distracted by a cell phone, pager or watch alarm ringing or lighting up when attending the theatre. For every performance which is unmarred by one of these distractions, we will donate $5 to the Actorsâ€™ Fund of Canada. ALLERGY ALERT For the safety of those with allergies, please refrain from the use of perfumes or scented products before coming to the theatre. H E A R I N G A D VA N C E M E N T H E A D S E T S We offer headsets to patrons with hearing difficulties. Ask the usher at the door of the theatre. These are provided free of charge. You will be asked to leave your driverâ€™s license as a deposit until the headset is returned at the end of the performance.
T H E A T R E
AVAILABLE IN THE SHOCTOR AND MACLAB THEATRES.
L AT E S E AT I N G We endeavor to minimize the distraction for our patrons and the actors when seating latecomers. If you arrive late for a performance, you will be seated at the first appropriate moment in the play in designated latecomer seating. You are welcome to move to your assigned seat at intermission. If you must leave the theatre during a performance you will not be allowed to return to your seat until intermission.
8 A CHRISTMAS CAROL
CITADEL THEATRE ROB B I N S
Citadel Theatre Corporate Subscription Program Please support these companies who support us National Growth Partners Sequeira Partners Inc. The Citadel Theatre is excited to launch a brand new program designed specifically to benefit companies like yours. The Corporate Subscription Program will help you by providing: • A unique way to retain and thank both your clients and suppliers.
• Effective staff incentives and rewards. • An opportunity to publicly show your support and commitment to the ongoing enrichment of our community.
• Promotional recognition to increase branding and awareness. • First class priority service with Citadel Theatre customer service representatives.
For more information on this exciting program, please contact Gynger Callahan at firstname.lastname@example.org
Season Ticket Holders Benefits Season Ticket Holders receive exclusive perks from our partners. Show your ticket after tonight’s performance to receive the following:
• 100 Bar + Kitchen – Season ticket holders will receive one free glass of champagne
• Lux Steakhouse + Bar – Season ticket holders will receive • • •
one free glass of champagne Moriarty’s Bistro & Wine Bar - Season ticket holders will receive manager’s pour of wine Eastbound Bistro and Bar - Season ticket holders will receive 50% off their food bill D’Lish Urban Kitchen and Wine Bar – Season ticket holders will receive 2-for-1 tapas or dessert. (Pre-show: free dessert with purchase of an entrée)
** Must be a current season ticket holder (Full Series, Landmark Group Mainstage Series, Rice Alternative Series, Robbins Family Series, Musical Series) ** Offer does not apply for Six Tix or Super Six Tix Holders ** Offer only valid the date of performance attended
and the Pechet Family
10 A CHRISTMAS CAROL
The stage is set For brilliance. It starts with an idea, then you add characters, and with the flick of the lights – it’s show time. 2011-2012 EPCOR is proud to be part of the 2010-2011 Citadel season because we’re passionate about people, and the power of imagination.
arts within reach the
CIBC is proud to support Citadel Theatre’s work to keep the arts alive and within reach through the CIBC Theatre for All program.
“CIBC For what matters.” is a TM of CIBC.
“My hope is that when people come to this new hospital and see my name, they’re going to have a little extra hope – that real, uplifting hope – that things will turn out okay.” Lois Hole (1929–2005)
HOPE GROWS HERE Lois Hole’s hope has come true. The Lois Hole Hospital for Women is now helping women of all ages and in all stages of life. Please consider making a donation or a charitable bequest to the Royal Alexandra Hospital Foundation in support of the Lois Hole Hospital for Women. It will ensure that Lois Hole’s hope will live on.
www.loisholehospital.com Follow us on Facebook
Building stronger communities. At BMO® Financial Group, we take pride in our local communities. That’s why, each year, through various sponsorships and community involvement we are committed to providing our support. BMO Financial Group is proud to support the Play Development program at the Citadel Theatre.
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Creating Better Communities Servus is a proud supporter of The Citadel Theatre. Toll Free
SEASON’S GREETINGS FROM OUR FAMILY TO YOURS Added experience. Added clarity. Added value.
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CITADEL THEATRE Robbins
LANDMARK GROUP MAINSTAGE SERIES
R O B B I N S F A M I LY S E R I E S
DIRECTED BY BOB BAKER STARRING
MUSIC BY RICHARD RODGERS LYRICS BY OSCAR HAMMERSTEIN II BOOK BY HOWARD LINDSAY & RUSSEL CROUSE RECOMMENDED FOR CHILDREN 5 YEARS OF AGE AND UP
JOSÉE BOUDREAU RÉJEAN COURNOYER SUSAN GILMOUR
APRIL 21 - MAY 20/11
IN THE SHOCTOR THEATRE
C O M I N G S O O N T O T H E S H O C T O R S TA G E
L A ANTE D Y BELLUM
M T I RAW MCG
IN LOVING MEMORY OF
ester was a grinch with a golden heart. He was our head carpenter at the Citadel. He was creating sets and problemsolving long before I was ever part of the Citadel family. Lester was responsible for the building of the Christmas Carol set you will see at this performance – among hundreds of other sets. Designers and directors relied on him to invent, create and work carpentry miracles every season. And he did. I always loved visiting the carp shop to see what sort of amazing contraption or welding feat was underway. Lester was a craftsman of great talent and commitment to perfection. He was tough, funny and immensely compassionate.
TOM WOOD PLAYWRIGHT, A CHRISTMAS CAROL
ohn Leslie Myhr…Born in Saskatchewan…grew up in Edmonton…he was a teacher, world traveler by freight ships, journeyman carpenter, construction superintendent, pre-med school graduate, mechanic, master fisherman, inventor, father, husband, Head of Scenic Carpentry at the Citadel Theatre for 26 years… he was extremely dedicated to all aspects in his life… family, friends, colleagues and his work here at the Citadel…his thirst for new and exciting things never stopped…which was evident in every set he built, approximately 300 productions…as you will see in the function and construction of A Christmas Carol. We witnessed the softening of the “Concrete Cowboy”, a nick name he was often called, into the vulnerable, loving and grateful person that anyone who knew him, had long recognized at the core of his being…did he really think he was fooling anyone? In our hearts forever…a rum salute to Lester…
Some of the things that Lester taught us – • A curve is 10 times more expensive than a straight line
• That a good story doesn’t have to be a true story • Making the same mistake over and over deserves a longer and more public mocking
Jim Meers, Bob Baker, Lester Myhr 22 A CHRISTMAS CAROL
• Patience is for sissies • That life only works if you’re laughing or fishing • That ‘I’m sorry’ can be said with your eyes • That a big hug fixes almost everything • That it is impossible to care too much
IN LOVING MEMORY OF
ichael created and recorded the score you will be hearing at this performance – a score you may have heard for the last twelve seasons if you are Christmas Carol regulars. His contribution to the atmosphere, emotion and success of Carol is massive. Michael was a dear friend and musical genius. You can hear his genius from the first thrilling notes of this score to the last echoes of the vibrant curtain call. Michael’s brilliant composition skills infuse this story with such evocative sounds and music – summoning up the place and period perfectly while underscoring with such care and detail. Michael will always live on in the hearts and minds of his family and friends and I am so happy that his immense talent lives on, here – on stage – every Christmas at the Citadel.
TOM WOOD PLAYWRIGHT, A CHRISTMAS CAROL
November 26, 1954 – January 16, 2011
n today’s performance you will experience some of the best of Becker’s work.
Becker loved Christmas, and he especially loved the magic and promise of Christmas Eve. So when Becker was asked to create the score for the Citadel Theatre’s production of A Christmas Carol, it was in many ways a perfect match. Its return to the stage year after year and the reunion of the Christmas Carol cast and crew was something he looked forward to with the same anticipation he had always had for Christmas Eve. Maybe one of the reasons A Christmas Carol resonated so deeply with Becker was that the main theme of the play also featured highly in his character—he was always eager and willing to help those in need. Every year he gave generously to The Salvation Army, an organization that once had given him food and shelter for a night in his early teens. He was always eager to share his time and knowledge, but especially so with young people. In return for his time spent with youth he gained inspiration and energy. He had great fun helping make CDs of the choir at his daughters’ elementary school, for example, and was always looking for ways to lend a hand in their creative projects throughout their growing up. For 35 years, Becker composed and designed sound for theatre, radio dramas, and film. His music career started when he was a young lad after his Oma bought him his first guitar. He went to the ‘school of hard knocks’ and toured northern Ontario in his teens with a band called the Wizzard’s (the name of which was inspired by a brand of air freshener). His theatre career began in his early 20’s at Theatre Calgary and went on to include: Alberta Theatre Projects, The Phoenix Theatre, Manitoba Theatre Centre, The Stratford Festival, CBC dramas, to name a few. He also composed for film and television. One of his proudest endeavours was creating all of the sound and music for the TV series, Acorn The Nature Nut. Becker is with us all tonight, a shining star, saying God bless us, everyone!
A CHRISTMAS CAROL 23
IN LOVING MEMORY OF
ood graining, making ordinary surfaces appear to be rock, or steel or rusted. Aging, antiquing, painting lifelike portraits and period landscapes, wallpaper reproduction, all kinds of texturizing and painting on all kinds of textures (silk and plaster and elastic fabrics). Mixing and matching colours. Making surfaces look worn, distressed, mirror like finishes and gold leaf, faux tiles and a million other talents that I know nothing about. This is what our friend Michelle Dias did brilliantly on a daily basis at the Citadel. She was responsible for every bit of paint you will see on the Christmas Carol set. Designers nationwide were always thrilled when they knew Michelle would be in charge of paint on their sets. And as well as giving all her many painterly gifts to the stage, Michelle gave abundantly of her time to several charities and gave constantly to all her friends here at the theatre in her own quiet, funny, unique and loving way.
TOM WOOD PLAYWRIGHT, A CHRISTMAS CAROL
ichelle Dias, our Head of Scenic Paint Department, passed away unexpectedly, Tuesday, September 6th, 2011. Michelle was an artist, author, playwright, walker, traveler, music lover, voracious reader, gourmet cook and generous with her time for family, friends and foster kittens. She worked at The Citadel for 16 years. Her play, Cloud Flower Bird, was produced by Rabid Marmot Productions at FAR FROM CRAZY, a collection of one-acts by first-time writers, at Azimuth Theatre. Michelle’s artistic flair was also evident on the sets of Death of a Salesman and Penny Plain. Her amazing smile and talent will be deeply missed by her Citadel family.
This painting was donated by Michelle to raise funds for the victims of the earthquake in Haiti.
Michelle’s painting of Ghost Light “Ghost Light” is composed of various handmade papers laid over a background copied from playbills and programs drawn from the archives of the Citadel’s earliest seasons. Highlights and shadows illuminate a theatre seen from the audience. A stage peopled by the ghosts of our imagination.
Michelle (standing) at work painting the floor for last season’s production of Billy Bishop Goes to War.
Michelle on the Shoctor Stage creating Death of a Salesman.
Starring RYLAND ALEXANDER, JULIEN ARNOLD, APRIL BANIGAN, JEREMY BAUMUNG, CHRIS BULLOUGH, MICH CHELADYN, HOLLY CINNAMON, RÉJEAN COURNOYER, JEREMY CRITTENDEN, SETH DEMBOWSKI, ALEXANDER FORSYTH, BETH GRAHAM, ANNETTE LOISELLE, JAMES MacDONALD, RICHARD McMILLAN, ROMAN PFOB, KATE RYAN, MARALYN RYAN, ELIZABETH STEPKOWSKI-TARHAN, ASHLEY WRIGHT, PEG YOUNG With EMMA BEAUMONT, AIDAN BURKE, MACKENZIE CHECKNITA, JULIETTE ESHLEMAN, SAM FARBERMAN, CAMPBELL HAMILTON, TY HATT, CAMERON HEALEY, ARYN McCONNELL, MADISON NYENHUIS, BRAYDEN O’BOYLE, SARGAM SANDHU, TOMMY SCHILTZ, KALEIA SIMONS-COOK, ALLA WELLS, LOGAN WEST, KAEL WYNN Directed by. ................................................................... BOB BAKER Directed by. ................................................................... GEOFFREY BRUMLIK Set & Costume Design by......................................... LESLIE FRANKISH Lighting Design by...................................................... ROBERT THOMSON Sound Design by. ........................................................ MICHAEL BECKER Choreography by......................................................... LINDA RUBIN Dialect Coach................................................................ DOUG MERTZ Music Director.............................................................. RYAN SIGURDSON Dance Captain. ............................................................. RYLAND ALEXANDER Stage Manager............................................................. ZEPH WILLIAMS Assistant Stage Manager.......................................... WAYNE PAQUETTE Assistant Stage Manager.......................................... CANDICE CHARNEY Apprentice Stage Manager....................................... LISA DALMAZZI Child Supervisors........................................................ MURRAY CULLEN, LISA DALMAZZI, MOLLY PEARSON
THIS PRODUCTION IS DEDICATED TO THE MEMORY OF MICHAEL BECKER, MICHELLE DIAS AND LESTER MYHR. The Citadel engages, under the terms of the Canadian Theatre Agreement, professional artists who are members of the Canadian Actors’ Equity Association. Production personnel for the Citadel Theatre are members of the International Alliance of Theatrical Employees (I.A.T.S.E.) Sponsors
Volvo of Edmonton
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The old player was not the first one to note Dickens’ love of the stage. Wrote critic Alexander Wollcott, “Charles Dickens was the most successful and most immeasurably far reaching writer born of modern England. But he was never quite happy in his work. The secret of his heart – he wanted to be an actor.” And so, I thought an essay on this little known but influential part of the great writer’s life might be in order as we look forward to the 12th annual mounting of A Christmas Carol – the Citadel production that has become an Edmonton tradition. Woollcott went on, “It would have been idle to expostulate that he could and did reach a far wider audience than any actor might aspire to. He knew that well enough. He knew it. He did not feel it. He did not hear them laugh, did not see them cry. All the genius poured into Copperfield or the tale of Tiny Tim could not bring him the warm, human satisfaction of visible audience appreciation.” In his youth, Dickens established a dramatic company with his friends. But in 1842 his family was imprisoned in Marshalsea Prison for their father’s debt. So, at the age of 12, he was sent off to work 10 hour days at Warring’s Blacking Warehouse – where he earned 6 shillings a week. But, even then, his love of theatre blossomed amidst the smoke blackened warehouses. You can imagine the young lad in his white hat, little jacket and corduroy trousers marching up to the ticket booth of some grungy theatre and plunking down a considerable portion of his income for an evening of theatre. He desperately wanted to be on the stage. With his usual attention to detail, he prepared a presentation for the manager of Covent Gardens for a role in an upcoming production of The Hunchback. It was impressive enough to secure an audition. On the morning of the meeting, poor Charles awoke with a terrible cold and an affliction that inflamed his face – making him look ridiculous. He wrote and apologized adding, “I would resume my application next season.” Alas for Dickens, the actor, that season never came. Sadly, he picked up his pen and went on to writing for newspapers. The rest, as they say, is history. A CHRISTMAS CAROL 27
Dickens was a big, bluff man with a personality to match. As he wrote his great books, he would leap from his desk and act out each character – and what characters they were, Pickwick, Fezziwig, Nickelby, Pip and, of course, Scrooge. About the writing of A Christmas Carol Dickens observed, “I wept and laughed and wept again.” In 1842, Dickens set sail for Montreal to bring a bit of Old Blighty to the homesick men of the British Garrison there. He was asked to direct three plays and leapt at the idea. As was usual, he took over all the major theatrical chores including roles in all three. Observed a contemporary reviewer, “Mr. Dickens was a spirited performer and elicited much applause.” When it was over, with the sound of that applause ringing in his ears, the great author’s life profoundly changed – it was the spark that rekindled his love of the footlights. When he returned to England, he threw himself with all the force of his awesome intellect and personality, into amateur theatrics. His publisher, who wanted more books, was horrified. His friends were horrified. “It is a substitution of lower for higher aims,” sniffed one. Apparently not needing the amount of sleep others did he continued to write his voluminous books.
Dickens feverishly attended to the smallest detail in backstage management. He was actor, stage manager, designed and moved sets, assisted carpenters, invented costumes, and devised playbills. The Dickens amateur troupe even performed twice for Queen Victoria and Prince Albert. Decreed the Queen, “There is not a living professional actor who could have matched Dickens.” In 1849 Dickens was disappointed with the public’s reaction to his treasured volume of A Christmas Carol. So, he decided to take advantage of his love of theatrics and perform a series of solo public readings. He made some judicious cuts, emphasizing character and humour, while jettisoning some of the social comment he thought a live crowd might find boring. The presentations may have been billed as readings but he never read – using the books on the stand before him as a kind of dramatic prop. Often, he would extemporize entire pages. Dickens was an immediate success. Said his biographer Edgar Johnson, “It was an extraordinary exhibition of acting – without a single prop or bit of costume, by changes of voice, by gesture, by vocal expression, Dickens peopled his stage with a throng of characters.” Dickens took his act to the Americas where he was greeted by long lines around the theatre. Prospective patrons would camp out, sleeping on the sidewalk, in hopes of getting a ticket. Dickens observed to a friend, “I have read in New York city four times to 40,000 people. I am quite as well known there as in the streets of London.”
He sold out everywhere making more money from the readings than he ever could for the book itself. Never forgetting his poverty ridden youth, he always made sure seats were available for working-class prices. Since then the role of Scrooge has proven to be catnip for actors – ranging from Lionel Barrymore to Jim Carrey. Two years ago after a distinguished decade, Tom Wood gave up his Scrooge in the Citadel’s A Christmas Carol. Scrooge is a tough and demanding role – not only because of the emotional arc he goes through but physically tough. “It’s quite a challenge,” says Wood. “From the moment it starts, you are running around backstage when you are not onstage – which is most of the time. It’s really exhausting as I know from hauling my sorry ass up and down those stairs all those years.” Anointed as the new resident curmudgeon was a superlative Canadian actor with a long and distinguished curriculum vitae: Richard McMillan. “Was I trepidatious? Yes! You Bet! I have some pretty big shoes to fill,” observes McMillan. He should not have worried. His performance last year as Scrooge demonstrated again that a great actor can put an individual stamp on a role – no matter how distinguished and able his predecessor was. “A Christmas Carol is one of those absolutely perfectly crafted stories – like Cyrano. The Jekyll and Hyde metamorphosis that this character undergoes is spectacular and could be seen as unbelievable. However, through the brilliance of Charles Dickens we see Scrooge’s journey as our own human journey. We seek his redemption as well as our own. Tom (Wood – the playwright) has beautifully distilled the novel in such a way that the audience, as well as Scrooge, is carried from one emotional peak to another and is left both breathless and transformed by the play’s end.” Dickens, suffering from a lifetime of overwork and wild enthusiasms, finally began to run down. He died at the age of 58 on the 9th of June in 1870. Shortly before his death, he gave a particularly dramatic reading of Nancy’s death at the hand of Bill Sykes from Oliver Twist followed by a selection of emotionally wrenching scenes from A Christmas Carol. It was suggested that the dramatic vigour he put into the evening hastened his death a few days later. Dickens ended his reading that night with the prophetic words, “I now vanish evermore.” Well, we all know that didn’t happen. He lives on in our hearts. The Citadel’s production of Dickens’ A Christmas Carol is a continuing testament to his poetic vision, artistic accomplishment, hope for a more humane world and a tribute to the theatricality he pursued his entire life.
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Ashley Wright, Kate Ryan, in behind: Elizabeth Stepkow ski-Tarhan, RĂŠjean Cournoy er 30 A CHRISTMAS CAROL
left to right: an West, Alexander Forsyth Ty Hatt, Sargam Sandhu, Log
T Jeremy Crittenden, Ashley Wright, Emma Beaumont
om Wood is an accomplished playwright, actor, director, and teacher and has worked with every major theatre in Canada and a number in the United States. Mr. Wood has spent seven years with the Stratford Festival and five with the Shaw Festival. For the theatre he has written B-Movie, The play (five Dora Mavor Moore awards and the Chalmers Award for Best New Play) and Clap Trap, a farce, produced at Canadian Stage in Toronto and the National Arts Center in Ottawa. He has also adapted this production of A Christmas Carol (in its 12th season), Pride and Prejudice, a new version of Servant of Two Masters (set in the Klondike) and a new version of Uncle Vanya (set in Alberta in 1928). His production of Vanya recently debuted in America, starring William Hurt at the Artists Repertory Theatre for an extended run and rave reviews, and a new version of Peter Pan (set on the prairies during the depression). Mr. Wood is currently writing a new comedy about movie-making in Hollywood circa 1938. This fall he played Willy Loman in Death of a Salesman; he has recently won for a Sterling Award for his portrayal of John in Shining City. His directing credits at the Citadel include Doubt, a parable and The Glass Menagerie and later this season, Mr. Wood will direct A Midsummer Nightâ€™s Dream.
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EXPERIENCE HOLIDAY CLASSICS ON THE BIG SCREEN
Classic Film Series
E x p erience The C l a s s i c s O n T h e B i g S creen In Digital. DECEMBER 7 & 11
Visit cineplex.com/events for tickets and participating theatres
(In order of appearance) RICHARD McMILLAN............................................ Ebenezer Scrooge JAMES MacDONALD............................................ Ebenezer Scrooge – Certain Performances RÉJEAN COURNOYER. ........................................ Jacob Marley ROMAN PFOB........................................................ Reverend Fish MARALYN RYAN................................................... Mrs. Dilber CHRIS BULLOUGH................................................ Mr. Swidger KATE RYAN............................................................ Mrs. Cratchit SETH DEMBOWSKI............................................... Tiny Tim JULIEN ARNOLD................................................... Bob Cratchit ELIZABETH STEPKOWSKI-TARHAN. ................. Mrs. Blum ANNETTE LOISELLE............................................. Mrs. Denham ROMAN PFOB........................................................ Mr. Toll ASHLEY WRIGHT.................................................. Mr. Rank JEREMY BAUMUNG............................................. Caleb Wilmer RYLAND ALEXANDER.......................................... Fred JULIETTE ESHLEMAN/ ELIZABETH STEPKOWSKI-TARHAN. ................. Ghost of Christmas Past TOMMY SCHILTZ.................................................. Youngest Scrooge CAMERON HEALEY. ............................................. Edwin AIDAN BURKE. ...................................................... Toby HOLLY CINNAMON. ............................................. Fanny JEREMY CRITTENDEN. ........................................ Young Scrooge ASHLEY WRIGHT.................................................. Mr. Fezziwig ELIZABETH STEPKOWSKI-TARHAN. ................. Mrs. Fezziwig JEREMY BAUMUNG............................................. Will Tetterby PEG YOUNG........................................................... Granny Fezziwig BETH GRAHAM. .................................................... Belle ASHLEY WRIGHT.................................................. Ghost of Christmas Present ARYN McCONNELL............................................... Ragged Caroler CAMPBELL HAMILTON........................................ Jenny Cratchit TY HATT. ................................................................ Philip Cratchit ALLA WELLS.......................................................... Martha Cratchit MACKENZIE CHECKNITA..................................... Belinda Cratchit KAEL WYNN........................................................... Peter Cratchit APRIL BANIGAN.................................................... Alice CHRIS BULLOUGH................................................ Topper BETH GRAHAM. .................................................... Emmeline JEREMY BAUMUNG............................................. George MICH CHELADYN.................................................. Joseph ANNETTE LOISELLE............................................. Tilly MADISON NYENHUIS.......................................... Margaret JEREMY CRITTENDEN. ........................................ Ghost of Christmas Yet to Come ELIZABETH STEPKOWSKI-TARHAN. ................. Laundress RÉJEAN COURNOYER. ........................................ Old Joe HOLLY CINNAMON. ............................................. Nora SARGAM SANDHU............................................... Caleb’s Daughter TY HATT. ................................................................ Turkey Boy BRAYDEN O’BOYLE.............................................. Poulterer’s Apprentice ALEXANDER FORSYTH........................................ Mr. Denham SAM FARBERMAN................................................ Trinket Seller KALEIA SIMONS-COOK. ...................................... Rich Twin EMMA BEAUMONT.............................................. Rich Twin LOGAN WEST........................................................ Rich Boy The townspeople, guests, carolers & ragamuffins are played by members of the ensemble. The play is approximately 2 ¼ hours with one intermission of twenty minutes.
red “What do you see?”
The words are spoken with such an urgency and despair that, by the end of the play, the
simple looking splash of colour we are demanded to behold will take on a whole new dimension of meaning. Not only for the man on stage staring at the massive canvas, but to the audience as well. Logan’s two-man bio-drama, in the words of a review from Associated Press, is “An engrossing, often enthralling play about art, the artist and the act of creation.” Nominated for 7 Tony Awards – it won 6. The artist is Mark Rothko who has been classified as an Abstract Expressionist (think Jackson Pollock) although he rejected the label. Rothko moved through many artistic styles, ranging from the figurative to abstract, until reaching his signature large scale works in the 1950’s (creating along the way – with Newman, Pollock, Still and Klein – the New York School of painting). He employed shimmering colour to convey his sense of spirituality. Highly informed by Nietzsche, Greek mythology and his Russian-Jewish heritage, his work was profoundly imbued with emotional content. The art world responded enthusiastically, his paintings began to sell for huge amounts of money, and the corporate world offered him large commissions. Rothko thought of himself as a “pure” artist and the commissions, and the resultant yin and yang between art and commerce, were a source of angst in the artists’ life. It should be pointed out that many reject Rothko’s work completely. At first glance they seem to be mostly wide bands of colour and nothing else. I’m sure many will remember when the National Gallery of Canada paid $1.8 million for Barnett Newman’s “Voice of Fire” in 1989. That painting featured three vertical lines of colour – blue on the sides with a red stripe down
“An engrossing, often enthralling play about art, the artist and the act of creation.”
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“...I became obsessed – feeling there was
something magnificently challenging about them. ...” the middle. Many Canadians, probably looking for Turner skies, a Manet sunrise or a Tom Thompson jack pine for their eight and half million dollars, were horrified. The prolific Logan is best known for his screenplays for such films as the Oscar-winning Gladiator, Martin Scorsese’s The Aviator and Tim Burton’s Sweeney Todd. “I was doing a film in London. I love art and so I would go and haunt the Tate Modern gallery,” he told interviewer Charlie Rose. “They had the Seagram Murals in the room and they just grabbed my heart. I became obsessed – feeling there was something magnificently challenging about them – although I knew very little about Rothko. I know there were others in the room who found them superficial – it had no connection with them whatsoever. So I began to read about Rothko and abstract expressionism – specifically about the Seagram Murals. And I thought, ‘Yes!’ There was a play here. There was a fascinating character to explore.” In 1958, the Seagram Company hired two of the world’s reigning architects – Mies Van der Rohe and Philip Johnson to create a new building on Park Avenue. It was the first modernist structure in the city and they wanted only the best. The heart of the building was to be the very up-scale Four Seasons Restaurant. Remembers Logan, “They thought of several artists, including de Kooning, and finally went to Rothko and said, ‘We want you to do the murals for the restaurant. We’ll pay you thirty-five thousand dollars’ – at that time the highest fee ever paid for an art commission. Rothko thought about it for a while and accepted the commission.” Red examines Rothko’s turmoil over his decision.
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“If you are only moved by colour relationships, you are missing the point. I am interested in expressing the big emotions – tragedy, ecstasy, doom.” It was a two year project and Rothko rented a gym in the Bowery and set up his studio. But he was not happy. He told his friend, John Fisher, the publisher of Harper’s, that his true intention for the murals was to paint, “...something that will ruin the appetite of every son-of-a-bitch who ever eats in that room.” In the play, Rothko hires an assistant, Ken, to help him mix the paints, make the frames and prepare the canvases. (Red is what is called a “work” play in which the characters perform all the tasks on stage, developing their characters through the movement.) Rothko was a prickly fellow, a man of fierce opinions and didactic arguments. Over the two years of the commission, Ken, who starts off in fear of the great man, slowly becomes his own man with his own opinions and is soon giving as much as he gets. The sessions in the studio, discussing the nature of art, become very heated. There is yet another level to the play – a Socratic one: the relationship between teacher and pupil. Or, if you will, even Oedipal. Because of the closeness of the two, critics have suggested that it more closely resembles father and son. Logan presents Ken as not only Rothko’s puritanical conscience but as a spokesman for a whole new generation of artists – Andy Warhol and his company of pop artists, whose influence was just beginning to be felt. Rothko hated them for their comic book inspiration, their lack of depth and substance and “seriousness.” But as Eddy Redmayne, who won the Tony for his Broadway performance observes, “Ken challenges his mentor as to where he stands now that the entire nature of art is moving on. There is a line
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in the play, “You must kill your father. Respect him but kill him in order for the generations to move on.’” Rothko explored the compositional potential of colour and form on the human psyche. To quote one critic, “To stand in front of a Rothko is to be in the presence of the pulsing vibrancy of his enormous canvases; it is to feel, if only momentarily, something of the sublime spirituality he relentlessly sought to evoke.” Said the artist himself, “If you are only moved by colour relationships, you are missing the point. I am interested in expressing the big emotions – tragedy, ecstasy, doom.” In Red, the paintings themselves, painstaking replicas of the originals, are, in the words of Alfred Molina, who played Rothko on Broadway,“...characters in the play. They, and the feelings they generate, are the point of the discussion. The whole play is an emotional and intellectual debate between two people and the paintings are the third part of that debate.” It is hard to imagine anyone in Canada more equipped to direct Red than Kim Collier. It was Collier who, as director, brought us the brilliant, visual, tour-de-force Studies in Motion last year – a work that recreated on stage Eadweard Muybridge’s first, tentative effort at making motion pictures. Kim is a dancer, mime, actress, playwright and director with a dazzling sense of the visual. Asks Collier, “Could Rothko’s passionate images reach us on a spiritual level beyond politics, beyond time and social circumstance touching our common humanity? As a spectator
“The whole play is an emotional and intellectual debate between two people and the paintings are the third part of that debate.”
A CHRISTMAS CAROL 39
in a gallery in the presence of his monumental paintings, that has been my experience. I have been truly moved and physically struck by his paintings. In a sense, Red is a play about faith versus doubting ourselves, in our work and in our place in the world.” Collier has also chosen two of Canada’s most distinguished performers for her leads. Rothko will be played by Jim Mezon, the long-time Shaw actor/director whose appearances have ranged from Pygmalion to Peer Gynt, and as Ken, Jim Coomber, whose work includes The Secret Garden and Rent. Says Collier, “In Red, we see Rothko struggle with the ultimate truth that we all have to eventually step aside and make room for regeneration, the cycles of life: rebirth, renewal, life and death.” On February 25, 1970, Mark Rothko stood before one of his paintings in his Bowery workshop. He was aging – a brain aneurism destroyed his ability to paint the massive canvases that he loved. He sliced his arm with the razor they found lying at his side. He was 66 years old. Red, a co-production between Canadian Stage, the Vancouver Playhouse and the Citadel opens in the Shoctor Theatre on February 11.
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t can sometimes be hard to describe the job of a stage manager as our duties are so varied but I like to think of us as the air traffic controllers of the theatre world. We are the right hand of the director during the rehearsal process. We spend a week before rehearsal begins prepping for the actors’ arrival. We then spend three weeks rehearsing with the cast and director. We are in charge of scheduling stage, music, and dance rehearsals, as well as costume or wig fittings and any publicity requests that come up. We are the central hub for information into and out of rehearsal letting all of the production departments like props, wardrobe, set, sound, lights and scenic art know of any information or requests that come out of our rehearsal on a daily basis. We need to know every piece of information relating to the show and record it in what is called a prompt script or “bible”. Following that, we move into the theatre where we incorporate all the technical elements into a seamless show with the cast. After opening night it is our job to ensure that the director’s vision remains intact until the final performance. Once the show opens we are in charge of the smooth operation of each performance by ensuring that the lights, sound and scenic elements happen exactly when they are supposed to. We achieve this by “calling” cues to various operators situated around the theatre who operate all of those elements for each show. We communicate these cues via headset, which we all wear so we can talk to each other. The stage manager watches the show from the booth at the back of the theatre. The assistant stage managers are on the stage level making sure that the cast has what they need and assisting in any way with props and scene changes where needed. We are always working silently behind the scenes to make sure the show runs smoothly. The Citadel provides wonderful opportunities for stage managers as there are a lot of amazing shows that are being performed every year. A Christmas Carol is especially exciting as it is one of the largest shows that the Citadel has created. With a cast of 38 and a crew of 20, the show can present the Stage Management team with some extra challenges. Scheduling that many people alone has kept Photo by Jody-lee Parasiers us here many a late night trying to coordinate all the various schedules’ needs into one day. It is definitely worth it all in the end. Knowing that we are an integral part of the smooth running of each performance is very gratifying. It is a very exciting and responsible job that is always changing with each new script and each new cast and crew and I couldn’t imagine a better job.
Written by Michelle Chan MARCIE JANUSKA – Stage Manager for This is What Happens Next. This is Marcie’s first show at the Citadel. ZEPH WILLIAMS – Stage Manager for A Christmas Carol. This is Zeph’s first show at the Citadel. CANDICE CHARNEY – Assistant Stage Manager for A Christmas Carol – has worked at the Citadel since 2005. SANG SANG LEE – Apprentice Stage Manager for The Rocky Horror Show – has worked at the Citadel since 2010. WAYNE PAQUETTE – Assistant Stage Manager for A Christmas Carol – has worked at the Citadel since 2002. MICHELLE CHAN – Citadel Resident Stage Manager, Stage Manager for The Rocky Horror Show – has worked at the Citadel since 2000. TRACEY BYRNE – Assistant Stage Manager for The Rocky Horror Show – has worked at the Citadel since 2003. LISA DALMAZZI – Apprentice Stage Manager for A Christmas Carol. This is Lisa’s first show at the Citadel.
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RYLAND ALEXANDER Fred/Dance Captain
Ryland is thrilled to be returning for his fifth appearance as Fred in A Christmas Carol here at the Citadel. Ryland has recently moved to Regina and is thrilled to be back in Edmonton where he resided for ten wonderful years. Selected theatre credits include Orlando in As You Like it and Julius Caesar for Citadel Theatre; Billy Bishop Goes to War for Golden Apple Theatre; Keeping Peace for Surreal Soreal Theatre; Pig: A Backdoor Peepshow for the Canoe Festival; High Performance Rodeo and Are We There...Yet? for Concrete Theatre; Creation of the World and Other Business, Progress and Procrastination and Never Swim Alone for The System Theatre and Love’s Labour’s Lost, The Taming of the Shrew, Henry IV Part I and Julius Caesar (for which he received a Betty Mitchell Award Nomination) for Shakespeare In The Park. Ryland’s film credits include 13 Eerie; Blood in the Water; Insecurity; The Englishman’s Boy and Prairie Giant: The Tommy Douglas Story. Ryland is a graduate of the BFA in Acting program at the University of Alberta, and a graduate of the MA in Theatre Practices – Directing from Rose Bruford College.
Julien has just finished appearing as the Narrator in The Rocky Horror Show. Other Citadel Theatre credits include A Christmas Carol, Beauty and the Beast, The Drowsy Chaperone (co-production with the National Arts Centre), The Wizard of Oz, The Sound of Music, Einstein’s Gift, Servant of Two Masters, Hamlet, A Midsummer Night’s Dream and Picasso at the Lapin Agile. Other Edmonton theatre credits include The Scent of Compulsion, Mother of the Year, Happy Toes and The Ambassador’s Wives for Teatro La Quindicina; Spelling Bee for Mayfield Dinner Theatre; Forsooth My Lovely for Acme Theatre; Ilsa, Queen of the Nazi Love Camp for Workshop West Theatre; Alias Godot for Theatre Network and As You Like It and Richard III for the Freewill Shakespeare Festival. Julien is an artistic associate of Teatro La Quindicina and also the Artistic Director of a brand new company, Atlas Theatre, which operates out of the Lower Hall of the Holy Trinity Anglican Church in Old Strathcona.
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April is delighted to be returning to A Christmas Carol, a show that is very dear to her heart. Earlier this season, April appeared in Death of a Salesman. Selected theatre credits include The Constant Wife for the Citadel Theatre/MTC; The Red King’s Dream, The Last Train and Boston Marriage for Shadow Theatre; Piledriver! for Theatre Network; My One And Only (Sterling nomination) and The Blue Light for Workshop West; Blood Oranges and Silence for Northern Light Theatre; See How They Run for the Mayfield Theatre and she performed Never Swim Alone in Washington D.C. with her own company Scarface Productions. Television credits include Alfred Hitchcock Presents; Street Justice; Mentors as well as the upcoming feature film War Reporter. April teaches at the Foote Theatre School and runs elementary school theatre residencies with Concrete Theatre. Thank you to her beautiful boys, Sean, Jezec and Avram!
JEREMY BAUMUNG William/Caleb/George
Jeremy Baumung is an Edmonton-based actor. This is his fourth year doing A Christmas Carol. Some other credits for the Citadel include The Rocky Horror Show, Monsieur D’arque in Beauty and the Beast, Pirelli in Sweeney Todd, The Scarecrow in The Wizard of Oz and Mr. Collins in Pride and Prejudice; Bobby Strong in Urinetown for Persephone Theatre and Pierre Gringoire in Hunchback for Catalyst Theatre. He’s also very much enjoyed working with these companies: the Freewill Players, Northern Light Theatre, THEATrePUBLIC, Azimuth Theatre, Theatre Prospero, Concrete Theatre, the Alberta Worker’s Health Center, Nextfest, Workshop West Theatre and the N.A.C.C. (Yellowknife). In 2002, Jeremy graduated from Grant MacEwan’s Theatre program. In 2008, he participated in the Citadel Theatre/Banff Professional Theatre Program. Jeremy’s play Dead Man Talking premiered at the Azimuth Theatre and toured to the Edge in Aukland, New Zealand. His other play Homeless has played at venues as diverse as the Alberta Hospital, the Bissel Center in Edmonton and the Canadian Fringe Circuit, and will be performed at Workshop West’s Canoe Festival in January, after that Jeremy will be performing Hunchback at the Vancouver Playhouse.
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Earlier this season, Chris played Bernard in Death of a Salesman. Previously at the Citadel, Chris has appeared in Julius Caesar, Bird Brain, New Canadian Kid, A Giraffe in Paris, I Love You Forever and A Christmas Carol. Born in Thunder Bay and raised in Fort McMurray, Chris arrived in Edmonton in 1995 to attend the Bachelor of Fine Arts (Acting) program at the U of A. Since graduating in 1998, Chris has worked with many professional and independent companies in Edmonton and across Western Canada including Theatre Calgary, Globe Theatre (Regina) and Nakai Theatre (Whitehorse). Upcoming projects this season include Waiting for Godot with wishbone theatre as well as A Midsummer Night’s Dream here at the Citadel. Chris is a recipient of the 2006 and 2008 Elizabeth Sterling Haynes Awards for “Outstanding Performance of an Actor in a Leading Role” for his work in the Free Will Players production of William Shakespeare’s Love Labour’s Lost and Richard III, respectively. Chris has had the pleasure of being part of many other award winning productions including Suburbia for Kill Your Television; Abraham Lincoln Goes to the Theatre for Alberta Theatre Projects and Shimmer for wishbone theatre.
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Joseph/Rich Father/Fezzi Guest Mich is so glad to be back carolling and dancing with the amazingly talented cast and crew of A Christmas Carol. Favourite productions for Mich include Double Occupancy at the Walterdale Theatre; Lord of the Flies here at the Citadel and The God’s Eye for Paper Tiger Productions. Holiday hugs and kisses to the entire Citadel family, and of course to Larisa, Tatiana, and Ileanna. Peace, respect, food and hope to all.
Holly is delighted to be making her professional debut at the Citadel in A Christmas Carol this year. Selected credits include Cinderella in Into the Woods and Miss Charrington in George Orwell’s 1984 for the Citadel Theatre (Teens at the Turn Festival); Arlequin in Mentire for L’uni Théâtre; Marie in Perfect Pie for Walterdale Theatre; Assassins for Studio Theatre; The Piper, Stone Cold Dead Serious, The Illusion and Rhinoceros for University of Alberta and BANG!, Drive and Anime at the Edmonton Fringe Festival. Holly holds a Bachelor of Arts (Honors) Degree in Drama from the University of Alberta. She would like to thank Bob Baker for this wonderful opportunity, the cast and crew for a heartwarming experience and her parents for their continual love and support.
Freshwater pearl, sterling silver and Swarovsky crystal beaded hoops.
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Jacob Marley/Joe/Grampa Fezziwig Previously at the Citadel Réjean appeared as Sweeney Todd in Sweeney Todd the Demon Barber of Fleet Street (Sterling Nomination), Mr. Darcy in Pride and Prejudice and Beauty and the Beast (a co-production with Theatre Calgary). Selected theatre credits include Les Misérables for the Arts Club (Jessie Nomination); Pélagie (Dora Award Nomination) and Little Shop of Horrors for CanStage; Nativity and Saint Carmen of the Main for National Arts Centre; Tuesdays with Morrie (4X City tour); Oliver! for Theatre Aquarius; Knickerbocker Holiday for Toronto Operetta Theatre; A Few Good Men and Tuesdays with Morrie for Neptune Theatre and Into the Woods, Three Sisters and Macbeth for Atlantic Theatre Festival. His selected film and television credits include Rideau Hall; The Event (ACTRA Award); Baby; Wedding Wars; Homeless to Harvard; Martha Inc. and October 1970.
Young Scrooge/Ghost of Christmas Yet to Come Thrilled to be part of Edmonton’s holiday tradition, Jeremy was last seen at the Citadel playing Laurie in Little Women, the Musical and Planchet in The Three Musketeers. Recent credits include Mozart in Amadeus for Chemainus; The Stranger in The Life Inside for Belfry Theatre; Coneybear in 25th Annual Putnam County Spelling Bee for Belfry Theatre/Arts Club; Matthew in Altar Boyz and Bobby in Cabaret for Arts Club and Man 1 in The World Goes Round. He is the winner of a Jessie Award and three Ovation Awards. A graduate of the Citadel/ Banff Centre Professional Theatre Program, Jeremy sends love to his husband, JM and their dog, Sebastian. Happy Holidays! http://www.jeremycrittenden.com
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Seth Dembowski is an energetic, outgoing, 9 year old who loves the arts. He is a grade 4 student at Victoria School of the Visual and Performing Arts. Seth also attends the Foote Theatre School on Saturdays. Through his classes at the Foote Theatre School Seth was able to express his enthusiasm for the stage as a soldier in the skit Stone Soup, and the prince in the skit The Little Mermaid. A Christmas Carol will be his first production and he is excited! Off-stage Seth has many other interests and extra-curricular involvements. As a student of an art-based school it is of no surprise that Seth has a passion for drawing, singing and dancing. During the winter Seth divides his time between advancing his artistic self and conquering the ski slopes, and when the snow melts he heads for the baseball diamonds. No matter what activity Seth is enjoying, whether it’s the stage, drawing, singing, dancing, skiing, or playing a game of ball, he does so with his own dramatic enthusiastic flair.
Alex is thrilled to be returning for his fifth Christmas with Dickens. An Edmonton-based performer and writer, Alex’s produced works include Bedlam (Junior Jester Cap Award – Calgary Fringe Festival); Serial; Rook; Whiskey, Gin and Pints of Beer and Charming Charlotte with K.I.A. Productions. Selected credits include Nineteen EightyFour and Lord of the Flies at the Citadel’s Teens at the Turn Festival; Tight Rope and Shooting Jack at the New Works Play Festival and A Midsummer Night’s Dream at the University of Alberta Drama Department. Alex holds a Bachelor of Arts in Drama and Creative Writing from the University of Alberta.
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Earlier this season, Beth appeared in Death of A Salesman. Other Citadel credits include A Christmas Carol, The Drowning Girls, The Paper Bag Princess and Penelope vs. The Aliens. Other selected theatre credits include Nevermore and The Blue Orphan for Catalyst Theatre; The Drowning Girls (National Tour); Summer of My Amazing Luck for Theatre Network/Manitoba Theatre Centre and Strawberries in January for Regina’s Globe Theatre. Beth is a member of the Citadel Theatre’s Playwright’s Forum and a graduate of the University of Alberta’s BFA acting program. She has also co-written several plays including The Drowning Girls, Comrades, The Last Train and Mules. Merry Christmas!
Annette is thrilled to be back reprising her roles in this fabulous Christmas tradition at the Citadel. Her Citadel credits include Julius Caesar and A Christmas Carol. She also directed Shelter, Unity 1918, and Vinegar Tom with the Teen Acting Company for the Citadel’s Teens at the Turn Festival. Annette is an Artistic Associate with the Freewill Shakespeare Festival, for whom favourite roles include Beatrice (Sterling Nomination) in Much Ado About Nothing, Kate in The Taming of the Shrew, Portia in The Merchant of Venice, Hermione in A Winter’s Tale, Rosalind in As You Like It, Queen Elizabeth in Richard III, and most recently Emelia in Othello. Other highlights in Annette’s career include performing in Rabbit Hole for ATP, Calgary; The Last Train for Shadow Theatre; My One and Only for Workshop West Theatre and Bloody Poetry (Sterling Nomination) for Northern Light Theatre. Annette is currently working on a play she has written entitled The Passion of Mary, for which she recently went to New York for a writers retreat, then had a workshop and invited reading here at the Citadel thanks to the Alberta Foundation for the Arts and the Edmonton Arts Council. Peace to all and much love especially to Terry, Lili, Josie, Dez and Riles.
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Old Scrooge – Certain Performances James’ Citadel credits include acting in Little Women, the Musical, The Three Musketeers, Blackbird, Pride and Prejudice, Measure for Measure, Amadeus, Einstein’s Gift (Sterling Award), Wit, To Kill a Mockingbird, The Importance of Being Earnest, Noises Off, Othello and Of Mice and Men (Sterling Award). Elsewhere, his credits include the title roles in Macbeth and Henry V for the River City Shakespeare Festival; The Leisure Society for Theatre Network and Omnium Gatherum for Canadian Stage. James is also an artistic associate at the Citadel, where over the past six years he has directed Billy Bishop Goes to War, As You Like It, Julius Caesar, The Blonde, the Brunette, and the Vengeful Redhead, Fire (Dora Award), Shining City, Vimy (Sterling Award), Equus, I am My Own Wife and Stones in his Pockets. Elsewhere James’ directing credits include Julius Caesar for the Stratford Shakespeare Festival; The Old Ladies for the Shaw Festival; Much Ado About Nothing for Canadian Stage; With a Twist for Lunchbox Theatre; The Myth of Summer for Alberta Theatre Projects and seven productions for the River City Shakespeare Festival, where he was artistic director for five years. James is the Program Director for the Citadel/Banff Centre Professional Theatre Program. Later this season, he will direct God of Carnage for the Citadel. Thanks to Geoff, for his infinite patience.
Limited Engagement! Ends February 20, 2012
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Richard is delighted to be returning to A Christmas Carol. Other Citadel credits include A Christmas Carol, Fire, Three Men on a Horse, The Miser, A Flea in Her Ear, Henry V, King Lear, Talking Dirty and Dracula. Most recently, Richard appeared in two productions at Tarragon Theatre, After Akhmatova and Decalogue 2. Recent theatre credits include the role of Spooner in No Manâ€™s Land by Harold Pinter at The Pittsburgh Irish and Classical Theatre and the role of Louis de Rougemont in Shipwrecked-The Amazing Adventures of Louis de Rougemont by Donald Marguiles at Actors Theatre, Louisville. Other theatre credits include The Pillowman for Canadian Stage; Cassius in Julius Caesar and Donald Rumsfeld in Stuff Happens for the Pittsburgh Irish and Classical Theatre; eleven seasons with the Stratford Festival including Edgar in King Lear, Pooh Bah in The Mikado, Khlestakov in The Government Inspector and Sir Andrew Aguecheek in Twelfth Night. Mr. McMillan was part of the Toronto world premiere of The Lord of the Rings as Saruman and the Toronto production of The Lion King as Scar. He has worked extensively throughout North America and England at such theatres as the Public Theatre/NYSF, Shaw Festival, Canadian Opera Company, Virginia Theatre (NYC), Soho Repertory Theatre (NYC), Three Rivers Shakespeare Festival (Pittsburgh), The Old Vic (London, UK), Citadel Theatre, Tarragon Theatre, Factory Theatre, Theatre Passe Muraille, Necessary Angel, Actors Theatre (Louisville), Portland Stage Company (Maine). Mr. McMillan has received four Dora Mavor Moore Awards, a Gemini and the Toronto Theatre Critics Award 2011 (for the role of Mandelstam in After Akhmatova). He dedicates this performance with great love to his wife and daughter, Anne Louise and Maggie and to the memory of his beloved mother and father, Mary and Frank McMillan.
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Roman is very pleased to be returning to A Christmas Carol this holiday season. His Citadel credits include Sweeney Todd – The Demon Barber of Fleet Street, Hamlet, Measure For Measure, A Christmas Carol, Homeward Bound, Romeo and Juliet, A Midsummer Night’s Dream, Robin Hood, Cyrano de Bergerac, The Sound of Music, The Beggar’s Opera, Richard III and Oedipus. Credits for other theatres include Young Art, Stone Angel and Your Wildest Dreams for Theatre Network; and Victor/Victoria and The Buddy Holly Story for Stage West Calgary. Roman also rock ‘n’ rolled in various musical productions for the Mayfield, including The British Invasion, Nashville Outlaws (as Johnny Cash), Forever Plaid and Darkstar: The Life and Times of Roy Orbison (as Roy Orbison).
Mrs. Cratchit/Fezzi Guest
Kate is thrilled to be back for her eleventh year of A Christmas Carol. Other Citadel credits include True Love Lies, Peter Pan, Metamorphoses, Measure For Measure, Who Has Seen the Wind, Twelfth Night and Hello, Dolly! Other credits include Communion for Theatre Network; Dial M for Murder, The Sound of Music and Oklahoma! for The Mayfield Theatre; The Ambassador’s Wives, The Exquisite Hour for Teatro La Quindicina and Bells Are Ringing, Ankles Aweigh, The Swingin’ Sisters Club for Edmonton’s Fringe Festival. She has received 2 Sterling Awards for stage and an Ampia for film. Kate is also an instructor with the Foote Theatre School and Robbin’s Academy Young Company, she is co-creator of Plain Jane Theatre Company and develops puppet shows with Kaybridge Puppets (www.Kaybridge.ca). She sends a big hug to her daughter, Emma, and wishes you all a very merry Christmas!
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Previously at the Citadel, Maralyn has appeared in Cat on a Hot Tin Roof, Hamlet, Romeo & Juliet, The Aberhart Summer, Tete a Tete and Lend Me A Tenor. Selected acting credits include Vivian Bearing in Wit for the Globe Theatre; A Guide to Mourning for Alberta Theatre Projects; Cat on a Hot Tin Roof for Theatre Calgary; Homeward Bound for the Grand Theatre/National Arts Centre; Master Class for Sudbury Theatre Centre; Joy and Shop at Sly Corner for the Shaw Festival; Crackpot for Prairie Theatre Exchange/Belfry Theatre; Thirteen Hands for Canadian Stage/National Arts Centre; Hamlet for the Freewill Players; Choke for Theatre Network; Private Lives for NLT; Seed Savers for Workshop West and Rabbit Hole for Persephone Theatre and The Light in the Piazza for Opera Nuova. Recently, she directed Dirty Rotten Scoundrels for the Mayfield Theatre. Ms. Ryan has earned three Sterling Awards for Outstanding Performance and ten nominations. Her next appearance is in Boeing, Boeing at the Mayfield Theatre. Maralyn would like to dedicate this performance to those who strive to eradicate poverty, intolerance and injustice. Much love to her family and a Beautiful Christmas to you!
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ELIZABETH STEPKOWSKI-TARHAN Mrs. Blum/Mrs. Fezziwig/Laundress
Elizabeth is delighted to be returning to A Christmas Carol. Other Citadel credits include Beauty and the Beast, August: Osage County, Oliver!, The Sound of Music and Cabaret. Other selected theatre credits include the role of Florence Foster Jenkins in Glorious! for Stage West, Calgary; Gypsy for the Mayfield Theatre; Honk! for the Globe Theatre; A Streetcar Named Desire for Theatre Calgary; The Hobbit for Alberta Theatre Projects; Kreskinned for Lunchbox Theatre; Marg Szkaluba (Pissy’s Wife) for Mighty Pacer Productions; Thunderstruck, Doing Leonard Cohen and Mati Hari for One Yellow Rabbit and The Beggar’s Opera and Man of La Mancha for the Citadel Theatre. Elizabeth is the recipient of two Betty Mitchell Awards as well as an Elizabeth Sterling Haynes Award. Elizabeth would like to thank her boys for their love and support.
Mr. Rank/Mr. Fezziwig/Ghost of Christmas Present Ashley is delighted to return to A Christmas Carol. Other Citadel credits include The Three Musketeers, August: Osage County, Julius Caesar, Noises Off, Grease, Sister Mary… & The Actor’s Nightmare, Servant of Two Masters, Hamlet, Romeo & Juliet, A Midsummer Night’s Dream, Of Mice and Men (co-production with Manitoba Theatre Centre - Sterling Award for Outstanding Lead Actor), Othello and The Taming of the Shrew (co-productions with the National Arts Centre). Recent credits include Sherlock Holmes: The Final Adventure for Theatre Aquarius; Fernando Krapp Wrote Me This Letter for Canadian Stage; True Love Lies for Factory Theatre; The Black Rider for Tarragon/November Theatre; November and Speed The Plow for Winnipeg Jewish Theatre; The Fall, Slavs and The Red Priest for Tarragon Theatre; Blackbird for Theatre Du Pif, Hong Kong; Of Mice and Men for Theatre Calgary/Canadian Stage (Dora nomination for Outstanding Lead Actor); The Trials of Ezra Pound for Stratford Festival and As You Like It and Omnium Gatherum for Canadian Stage. Recent film and television include Mayday; Murdoch Mysteries; Flash of Genius; Poker Night; ULTRA; Intern Academy; Degrassi; Princess and MISSING. Upcoming for Ashley are The Merry Wives of Windsor and King John for Bard on the Beach, Vancouver.
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Granny Fezziwig/Vegetable Vendor Peg is delighted to be working in A Christmas Carol again. In the past she coordinated the supervision of the Young Company in The Wizard of Oz, Cat on a Hot Tin Roof, Pillowman, Oliver! and Macbeth. She loves working with the incredibly talented cast and crew and is very happy to be a part of the Citadel “family.” Peace and joy to all!
Since returning to his hometown of Edmonton twelve years ago, Bob Baker has rejuvenated and expanded the Citadel Theatre as Artistic Director. Programming eleven or twelve full-scale theatrical productions each year, including family programming and the cutting-edge Rice series, Mr. Baker has ushered in an era of growth at the Citadel. Last season, Mr. Baker was instrumental in incorporating five of the Citadel’s existing creative development programs under one umbrella: The Robbins Academy. The Robbins Academy consists of the Eldon and Anne Foote Theatre School, the Citadel Young Companies, The Citadel/Banff Centre Professional Theatre Program, ongoing Play Development activities and Audience Outreach, creating Canada’s newest and most comprehensive program for creative development in professional theatre. Mr. Baker was recently honoured with a University of Alberta Distinguished Alumni Award, is a member of Edmonton’s Cultural Hall of Fame and is a recipient of a PACE award from Alberta Association of Colleges and Technical Institutes. A Christmas Carol is the 44th play that Mr. Baker has directed at the Citadel and his production of A Christmas Carol has become, for the last eleven years, a beloved Edmonton family tradition. He was the artistic director during the successful turnaround of both the Phoenix Theatre in Edmonton (1982-87) and the Canadian Stage Company in Toronto (1990-98). Mr. Baker will also direct The Sound of Music at the Citadel later this season.
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Geoffrey is pleased to be working on A Christmas Carol for a twelfth season. He is former Artistic Director of the River City Shakespeare Festival, spent three seasons as Associate Director at the Citadel, two as Artist-in-Residence and is currently an Artistic Associate and part of the Robbins Academy. Most recently he directed the American premiere of Vern Thiessen’s Back to Berlin at The Drilling Company Theatre in New York. He also directed the Canadian Premiere of Lenin’s Embalmers as part of a co-production between Winnipeg Jewish Theatre and Toronto’s Harold Green Jewish Theatre. Other directing credits include the Citadel’s World Premiere of Shakespeare’s Will; The Man in the Stalls at the Shaw Festival, along with numerous play development projects. His directing credits for the River City Shakespeare Festival credits include productions of The Tempest, As You Like It, A Midsummer Night’s Dream and Comedy of Errors.
Set & Costume Designer
This production of AChristmas Carol is one of Leslie’s favourite shows and she is delighted to return each year to polish it up anew for you to enjoy. Selected Citadel credits include set and costume design for Pride and Prejudice, Beauty and the Beast (Sterling Award), Oliver!, The Constant Wife, Peter Pan, Blithe Spirit, Cat on a Hot Tin Roof, Measure For Measure and Present Laughter. Ms. Frankish began her career at the Citadel in the 1980’s as a resident designer for the Citadel Youth Theatre. Other resident designer positions include The Phoenix Theatre, 1984 – 1987 and The Shaw Festival, 1988 – 1999 where her designs included Pygmalion, Misalliance and Mrs. Warren’s Profession. As well, Ms. Frankish has designed for major theatres across Canada including set and costume design for Angels in America I & II, Singer and Into the Woods for Canadian Stage Company; Hard Times, Lilies and Claptrap for the National Arts Centre; La Bête for Theatre Calgary; A Little Night Music and The Caretaker for the Vancouver Playhouse and most recently The Homecoming for the Stratford Festival and Heartbreak House for the Shaw Festival. Leslie was also the senior production designer of the Opening and Closing Ceremonies for the 2010 Winter Olympics in Vancouver.
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Robert Thomson is one of Canada’s most versatile and active lighting designers. His many designs for the Citadel include August: Osage County, Wizard of Oz, Macbeth, Oliver! and Peter Pan. Over the past ten seasons his designs for Stratford Shakespeare Festival include The Homecoming, Dangerous Liaisons, Zastrozzi, The Taming Of The Shrew, Romeo and Juliet, King Lear and Caesar and Cleopatra both starring Christopher Plummer. Next season his projects are Much Ado About Nothing and Cymbeline. Robert served as Resident Lighting Designer for The National Ballet of Canada for twelve seasons. He designed for Shaw Festival for twenty-four seasons with credits including a ten-year term as Head of Lighting Design, Picnic, St. Joan, Cavalcade and Cyrano de Bergerac. His recent credits include Robert Lepage’s Bluebeard’s Castle and Erwartung for Seattle Opera; Krapp’s Last Tape and Hughie with Brian Dennehy for Chicago’s Goodman Theatre; Comedy of Errors for the NAC and Centaur Theatre; The Cosmonaut’s Last Message… for Canadian Stage and The Black Bonspiel of Wullie MacCrimmon for Regina’s Globe Theatre. His awards include a Sterling for Edmonton Opera’s mounting of Bluebeard’s Castle and Erwartung and four Dora Mavor Moore Awards. Mr. Thomson is a member of the Associated Designers of Canada.
Linda is excited to return to the Citadel for the twelfth season of A Christmas Carol. Previous Citadel credits include Romeo & Juliet and A Midsummer Night’s Dream. Some of her choreographic credits include The Edmonton Opera, Opera Nuova, Studio Theatre, Theatre Network, Workshop West Theatre and many other theatres in western Canada. Linda is engaged in rehearsal direction and mentoring productions for dance companies that include Windrow Production with Amber Borotsik and Jesse Gervais, The Brian Webb Dance Company, Gerry Morita and Mile Zero Dance Company, Kathy Ochoa and Tania Alvarado. Ms. Rubin is a Professor Emeritus, University of Alberta, where she taught dance and stage movement in the BFA in Acting professional actors’ training program. Linda is currently engaged in the dance and movement training for The Robbins Academy Young Companies. Linda’s upcoming engagements include choreography for The Citadel’s production of A Midsummer Night’s Dream.
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This marks Doug’s third time as dialect coach for A Christmas Carol. He has also served as dialect coach here for Sweeney Todd and last season’s August, Osage County (which he also acted in). He’s currently teaching dialects at the University of Alberta and served as vocal coach for Studio Theatre productions, Yellow Moon, directed by Jan Selman, and Fuddy Meers, directed by Ron Jenkins. Doug is the Director of the Foote Theatre School and Citadel Young Companies and later this season, will appear in A Midsummer Night’s Dream here at the Citadel.
Ryan is an Edmonton-based music director, actor and composer. At the Citadel last season, he was the narrator/pianist in Billy Bishop Goes to War, and assistant music director for Little Women. Recent music directing credits include The 25th Annual Putnam County Spelling Bee for the Foote Theatre School Young Musical Company and for The Mayfield Dinner Theatre (Sterling Award); Everybody Goes to Mitzi’s for Teatro La Quindicina (Sterling Award) and Assassins for Studio Theatre. A graduate of the Theatre Arts program at Grant MacEwan University, Ryan’s acting credits include Cabaret at the Citadel; Evita at the Mayfield Dinner Theatre; Saturday Night and Floyd Collins for Leave It To Jane Theatre and The Incredible Adventures of Mary Jane Mosquito for Concrete Theatre. Ryan’s composing credits include The Infinite Shiver and Everybody Goes to Mitzi’s (Sterling Award) for Teatro La Quindicina and Water’s Daughter for Northern Light Theatre.
Zeph is excited to be a part of this marvelous Edmonton tradition! He was a stage manager on Jersey Boys and Pope John Paul’s 2002 visit in Toronto; production manager for Princess Cruises and Cunard’s QE2; a supervisor with the 2010 Olympic Games and producer’s assistant on A Christmas Wedding for Lifetime TV. Productions include Camelot, Twelfth Night, The Music Man, Moby Dick, Oklahoma!, King Lear, Richard III, The Threepenny Opera and The Trials of Ezra Pound for Stratford Festival; Oliver!, To Kill a Mockingbird, The Diary of Anne Frank, The Goat, or Who is Sylvia?, Annie and Blue/Orange for Neptune Theatre; The Lion King, Mamma Mia! and The Drawer Boy for Mirvish; Hair and Homechild for CanStage; Das Rheingold for Canadian Opera Company; Reveille for Mulgrave Road; Cherry Docs for Eastern Front; Sylvia for Festival Antigonish and The Nutcracker for Royal Winnipeg Ballet/NAC. He is a National Theatre School graduate and lives in Stratford, Ontario with his fiancée, Maria. Many thanks to his fantastic team, Candice, Wayne and Lisa!
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November 15 - February 5, 2012
Music by Matthew Sklar Lyrics by Chad Beguelin Book by Chad Beguelin & Tim Herlihy Directed by Tim French Starring KEVIN DABBS It’s 1985 and rock star wannabe Robbie Hart is New Jersey’s favourite wedding singer. He’s the life of the party - until his own fiancee leaves him at the altar! Shot through the heart, Robbie loses faith in marriage and becomes a bride and groom’s worst nightmare. Enter Julia, a charming waitress who wins his affection. Only trouble is, Julia is about to be married to a wall street shark, and unless Robbie can pull off the performance of the decade, the girl of his dreams will be gone forever. With a brand-new score that plays homage to pop songs of the 1980’s, The Wedding Singer takes us back to a time when hair was big, greed was good, collars were up, and a wedding singer just might have been the coolest guy in the room.
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WAYNE PAQUETTE Assistant Stage Manager
This production marks Wayne’s tenth year working on A Christmas Carol. Earlier this season, Wayne stage managed Death of A Salesman. Last season he worked on The Three Musketeers and A Christmas Carol. For the Citadel, Wayne has directed Blackbird, co-directed The Blonde, the Brunette and the Vengeful Redhead alongside James MacDonald, was the assistant director for The Wizard of Oz and was the assistant director/stage manager for Doubt, A Parable and the Glass Menagerie. Wayne is also the co-artistic director of Blarney Productions (along with John Sproule), an artistic associate with Shadow Theatre, and is an associate member of the Robbins Academy for the Citadel Theatre. Some of his favourite credits include assistant directing Shining City and The Forbidden Phoenix for the Citadel; co-directing Three Days of Rain, Almost Maine, Three Viewings and directing Glorious and The Dazzle for Shadow Theatre; directing Marty Chan’s Mothership Down and God’s Eye for Paper Tiger Productions; Afterplay, The Christian Brothers, Madagascar, The Good Thief, A Body of Water, Orange Flower Water, Skirmishes, The Year of Magical Thinking, and Molly Sweeney for Blarney Productions. Thanks to Zeph, Candice, Lisa; and much love to Kayla.
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CANDICE CHARNEY Assistant Stage Manager
Candice is excited to be back for her fifth year of A Christmas Carol. Previous Citadel shows include assistant stage managing The Jungle Book, Half Life, and The Pillowman, and being apprentice stage manager on Peter Pan, I Am My Own Wife, Blithe Spirit and Frozen. Most recent shows include working as an assistant stage manager with Catalyst Theatre’s Frankenstein, Nevermore and Hunchback.
Apprentice Stage Manager Lisa has spent the past three years enjoying the magic of A Christmas Carol as an audience member, and is thrilled to be making her Citadel debut as a part of the show’s stage management team. Hailing from Ottawa, she is a recent graduate of the BFA Stage Management program at the University of Alberta and has resolved to call Edmonton home. Past production credits include Othello, Twelfth Night, Much Ado About Nothing and MacBeth for FreeWill Players; The Life and Adventures of Nicholas Nickleby, The Good Woman of Setzuan, Goodnight Desdemona (Good Morning Juliet) and Assassins for Studio Theatre; DOG: A 1950’s Homelife Nightmare for Surreal SoReal Theatre and Scratch: The Revengence for Rapid Fire Theatre. Infinite thanks to CS for being my rock.
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A CHRISTMAS CAROL 67
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The Citadel Theatre Playbill is published ten times per year by Playhouse Publications Ltd. The contents of The Citadel Theatre Playbill may not be reproduced in whole or in part without the written permission of the publisher. All rights reserved by Playhouse Publications Ltd. Inquiries should be made to: Playhouse Publications Ltd. 950 Bell Tower 10104-103 Ave. Edmonton, Alberta T5J OH8 Ph: 780-423-5834 • Fax: 780-413-6185 • www.playhousepublications.ca
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Artistic Director â€˘
ARTISTIC ASSOCIATES Jennifer Spencer James MacDonald
Director, Citadel/Banff Centre Professional Theatre Program
Director, Play Development
Director, Artistic & Educational Outreach
Director, FTS & Young Companies
Resident Music Director
Manager, Foote Theatre School
CITA D E L V O L U NTEERS
Young Company Instructors Shannon Boyle Stephen Delano Don Horsburgh Heather Inglis Jackie Pooke Linda Rubin Kate Ryan Dawn Sadoway FTS Instructors Christine Bandelow April Banigan Shannon Boyle Ashley Butler Melissa Cabral Jessica Carmichael Ellen Chorley Julie Golosky Crystal Hanson Brad Heintzman Binaifer Kapadia Meghan Koshman Amy Kucharuk Annette Loiselle Barbara Mah Daniela Masellis Josh Mellott Doug Mertz Anna Paquin Roman Pfob Kate Ryan Matt Schuurman Liana Shannon Amy Shostak Linette Smith
Eileen Sproule FTS Teaching Assistants Rebecca Bissonnette Nicola Elbro Sophie Gareau-Brennan Cynthia Hicks Paula Humby Spenser Payne Megz Prus Michelle Tymchuk Jo Wetmore
Marianne Bouthillier Associate Executive Director
Asst. to the Artistic Director/ Company Manager
Business & Legal Affairs
Louis Barron Director
Maintenance Doug de Vries Manager
Andrew Bylobzynski Assistant Manager
Bee Clean Services Security Alberta Crowd Management Building Porters Richard Bukowski Tara Gale
Keith Strong, CA Director
Accounts Payable/ Receivable
Assistant Box Office Manager
Assistant Box Office Manager
School Booking Coordinator
Guest Services Supervisors Michelle Bonot Crystal Casanova Kayla Fuller Amanda Gregoire Caitlin Jackson Tara-Lee LaRose Jennifer Liu Alyssa McGowan Terry Schmolcke Mark Stubbings Derek Warwick Guest Services Representatives Mike Anhorn Carol Dreger Jessica Glover Marg Gronnestad Christina Harbak Mark Harding Theresa Hovdestad Jacob Liska Abbie Murison Carly Neis Jane Nychiro Natasha Prasad Joyanne Rudiak Valerie Smart Debbie Theuss Al Webb
Gynger Callahan Supervisor
Bevin Dooley Sylvia Douglas Caitlin Fulton Katelyn Loshny Brad Mundt Bryan Saunders
MARKETING & DEVELOPMENT
Manager, Media Relations Props Associate, Robbins Academy Marketing
Manager, Fund Development
Cheryl L. Hoover
Resident Stage Manager
Head of Wardrobe
Assistant Head of Wardrobe
Assistant Technical Director Cutter
Assistant Technical Director First Hand Administrative Assistant Head of Audio
Assistant Head of Audio Audio
First Hand Tailor
Head of Scenic Carpentry Stitcher Milliner
Assistant Head of Carpentry
Boots & Shoes
Head of Wardrobe Running
Scott George Lafluer
Kame St. Cyr
Head of Electrics
Assistant Head of Electrics Dresser Electrics Electrics
Wardrobe Maintenance Head of Wigs
Acting Head of Scenic Paint
Laura Lee Osborne
Neil Le Grandeur
House Manager/ Volunteer Coordinator
Kimberlee Stadelmann Box Office Manager
Vincent Meseck Patsy Thomas
Assistant Head Stage Carpenter
Venue Rentals Manager
Head Stage Carpenter
Manager, Corporate Relations
Wigs Wigs Wigs
Head of Props
Assistant Head of Props Coordinator, Marketing & Development
The Citadel is grateful for the kind generosity of its volunteers listed below. If you want to volunteer with the Citadel, please call Neil Le Grandeur at 780-428-2137 or e-mail email@example.com. Johanna Andreoff, Tracy Arnell, Nelda Arnst, Judith Babcock, Trinity Barrow, Donna Bell, Shelley Benson, Erika Beyer, Ursula Blumentrath, Jeanine Bonot, Florence Borch, Ken Borch, Shirley Boven, Loveth Bradley, Jon Brenda, Shirl Brown, Eileen Budlong, Nancy Byway, Collin Campbell, Dee Cartledge, Jessica Chai, Jenny Chai, Joyce Dahl, Carol Dreger, Shirley Dunn, Trina Elash, Trevor Elliot, Janet Fayjean, Linda Ferro, Lil Filewych, Brett Flesher, Jeanette Flesher, Brenda Fraser, Wendy Fraser, Gilberte Gagne, Irene Gagne, Doreen Gagnon, Jeanne Garland, Jackie Genest, Glenda Goodwin, Gerry Gordon, Mervan Gorrie, Myrna Gosnell, Christine Hall, Tomoko Hayashi, Lucie Heins, Tim Heins, Bradley Heller, Marilyn Hemsing, Linelle Henderson, Daniel High, Amelia Hihn, Maria Hollinshead, Ron Homenchuk, Laura Hughes, Judy Hume, Regan Kosior, Darlene Kowalchuk, Kim Lang, Clemence Lavoie, Nicole LeBlanc-Lamarre, Lowella Lee, Louise Leibel, Maureen Letchford, Coral Levang, Ron Levang, Fran Linklater, Jennifer Liu, Mike Liu, Kyle Lobb, Katrina Lucyk, Marlene Lukevich, Tabatha Lyon, Bozena Macek, Dawn Madill, Danielle Maraj, Nicholas Mather, Thomas McLean, Karen Miller, Monica Molina-Ayala, Donna Molloy, Joan Murchie, Sulochana Muthia, Florence Nieberding, Dennis Nolan, Gina Nolet, Wendy Poirier, Joan Poletz, Anna Popowich, Gail Poston, Natasha Prasad, Petra Prendergast, Kevin Przyswitt, Renee Przyswitt, Doreen Pysar, Thor Quaranta, Tracy Renz Augustin, Audrey Ross, Ian Ross, Helen Rusich, Angela Seery, Phyllis Solsberg, Evelyn Stark, Antonia Stiuca, Cheryl Sulatycky, Anna Tandingan, Shahna Tariq, Liz Tweddle, Rose Unguran, Mona Vandersluys, Lynne Vickers, Jane Voloboeva, Maureen Wagner, Allan Webb, Kay Willekes, Denise Woollard, Paul Yates, Lil Yewchuk A CHRISTMAS CAROL 69
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Published on Dec 1, 2011