Ballet BC program

St. Lawrence Centre for the Arts Bluma Appel Theatre

Ballet BC Artistic director Medhi Walerski

March 28 - 29, 2025

Pieces of Tomorrow choreography by Medhi Walerski PASSING choreography by Johan Inger

Photo credit: Marcus Eriksson Lead partners

TO Live would like to acknowledge Tkaronto (TKahr-on-dOnH), which is a Mohawk word meaning “the place in the water where the trees are standing.”

We live and work on the traditional territory of Haudenosaunee (HODE-en-ohshow-nee)-speaking nations, including the Wendat, Seneca, and Mohawk.

Haudenosaunee-speaking nations have been here since time immemorial, and were more recently joined by the Mississaugas of the Credit.

This place has many Indigenous ports, including where the Humber and Rouge rivers meet other waterways such as Lake Ontario. Ancient longhouses, typical Haudenosaunee housing structures, have been found along both rivers and in the north of Toronto as well (near modern-day York University). This territory is covered by the Dish with One Spoon Wampum Belt Covenant, an agreement between the Haudenosaunee (Six Nations) Confederacy and the Anishinaabe (Ojibwe) and allied nations to peaceably share and care for the lands and the relationships around the Great Lakes.

What this means is that by living and working here, we all have a responsibility to the environment and to each other, to treat each other and the environment with peace and respect. This means we have responsibilities to honour, renew, and consistently uphold the values and relationships outlined in the ancient agreements.

Today, Toronto is home to Indigenous peoples and settlers from around the world. Let us all come together in an atmosphere of respect and peace to do Good Work together with Good Minds. Let’s start building stronger and healthier relationships with each other, and the spaces which we inhabit in Tkaronto, Ontari:io (on-dahr-EE-yo), Kanata (Gan-AH-dah).

Let’s hold our minds together in kindness.

Nia:wen. Thank you. ©Dawn T Maracle

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Welcome letter from TO Live Welcome, TO Live is excited to showcase the power of dance as a vital force for connection, healing, and inspiration.

This year, we proudly shine a spotlight on Canadian choreographers and companies, including the internationally acclaimed Ballet BC. By championing homegrown talent, we ensure these exceptional artists feel the full support of their nation as they push creative boundaries—in our city, across Canada, and around the world.

At the same time, we remain deeply committed to our local artistic community. Through TO Live initiatives like Making Space and explorations, we provide vital resources to create, experiment, and grow in a nurturing environment. Making Space offers Toronto’s artistic community affordable spaces for rehearsals, creative residencies, workshops, meetings, and research, while explorations is an annual grant program awarding $7,000 each to Toronto-based artists to explore new directions in their practice. These programs fill crucial gaps in our sector, fostering a robust and sustainable ecosystem where creativity and innovation at all levels—from new voices to established leaders—can thrive.

TO Live’s goal is not simply to follow established paths, but to break new ground—identifying areas that need our support and investing in the programs and resources that truly uplift our artistic community. We are dedicated to offering fresh, thought-provoking, and uniquely enriching experiences.

We are thrilled to welcome back Ballet BC, one of the world’s leading dance companies. Known for their artistic excellence, it has been several years since we last had the privilege of hosting them in Toronto. We are honoured to share their breathtaking work with you once again.

Thank you for being part of this journey with us. We look forward to sharing these extraordinary performances and continuing to build a diverse, vibrant, and engaged dance audience in Toronto.

Clyde Wagner President & CEO TO Live

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About Ballet BC Founded in 1986 by David Y.H. Lui, Jean Orr, and Sheila Begg, Ballet BC is Canada’s leading contemporary dance company. Based in Vancouver and led by artistic director Medhi Walerski, the company performs at venues throughout British Columbia and on the world’s best stages.

Ballet BC dancers are a group of open-minded and curious artists, each unique for their exceptional artistry while sharing an intuitive passion for movement.

Deeply committed to new creation in addition to presenting masterworks from today’s most sought-after voices in dance, Ballet BC’s diverse repertoire includes works by choreographers such as Crystal Pite, Johan Inger, Sharon Eyal and Gai Behar, Medhi Walerski, Out Innerspace, Imre and Marne van Opstal, Roy Assaf, Micaela Taylor, Zachary Seto, and more. The company offers a variety of professional development and educational opportunities in the community, aiming to bring the power of dance to the widest audience possible.

More info: balletbc.com.

Photo credit: Michael Slobodian 3

Program Pieces of Tomorrow | Medhi Walerski | 25 minutes The creation of Pieces of Tomorrow began with the concept of legacy. Drawing inspiration from Lyle XOX’s sculptures made from found materials, the dancers and I aimed to create the choreography by exploring themes of destruction, creation, and reconstruction. Just as Lyle transforms materials, we focused on repurposing movement elements to breathe new life into them. Johan Ullen’s recomposed violin sonatas from Bach deepened our exploration with a profound layer. The recycling of musical material echoed our approach, enriching our work with a sense of continuity and growth. Loss, transformation, and rebirth. The cyclical nature of artistic expression, and life.

Intermission | 20 minutes

PASSING | Johan Inger | 50 minutes Human beings. In the unstoppable flow of life and multiple variations of connections, Inger seeks the sensitive, vulnerable, and intimate moments that make every individual trajectory unique. The work dissolves itself in anonymities as the group emerges: individual behaviours influenced by the concrete or the imagined presence of the others; dynamics and potentials floating between the self, the others, us, or them. Where will this unconscious fast-paced and selfcreated environment, relentlessly overruled by an intangible source and force, lead our communities to?

Photo credit: Michael Slobodian 4

Credits and creative team Pieces of Tomorrow PASSING World premiere, May 2024, Ballet BC World premiere, May 2024, Ballet BC Choreography Choreography Medhi Walerski Johan Inger Music Choreographic assistants Violin Concerto in A minor BWV 1041 II Yvan Dubreuil, Carolina Armenta, Fernando Andante Hernando Magadan Violin Concerto in D minor BWV 1052R I Music Allegro “The Joy of D. H. Lawrence” Violin Concerto in E major BWV 1042 II Composed and performed by Erik Enocksson Adagio Used with permission / courtesy of Violin Concerto in D minor BWV 1052R Söndregård Ton Adagio “Westward, Ho!” “Infinite Bach” by Johan Ullén “Barn Dance” Performed by Christian Svarfvar (violin) and “Bumbo” the London Philharmonic Orchestra Written and performed by Louis T. Hardin.

By arrangement with Boosey and Hawkes, Published by and courtesy Inc., rights owner in the US and Canada for of Songs of Virtual o/b/o Managarm Gehrmans Musikforlag AB Musikverlag Additional music by Adrien Cronet “Harsh and Stubborn that River Bends” Lighting design Composed and performed by Erik Enocksson Lisette van der Linden and Pierre Used with permission / courtesy of Pontvianne Söndregård Ton Lighting director “Theme - Instrumental” Lisette van der Linden Written and performed by Louis T. Hardin.

Costume design Published by and courtesy Medhi Walerski of Songs of Virtual o/b/o Managarm Artistic collaborator Musikverlag Lyle XOX Composition Assistant to the lighting designer Amos Ben-Tal Matthew Piton Lighting design Alan Brodie Costume design Linda Chow Stage design Johan Inger

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Biographies Medhi Walerski: Choreographer, Pieces of Tomorrow Medhi Walerski was appointed artistic director of Ballet BC in July 2020. His leadership tenure has been highlighted by an artistcentred approach and deep commitment to creation and innovation, an expanded global touring program, increased dancer compensation and equity, a world-renowned brand identity, and unprecedented audience growth.

Raised in France, Walerski initially trained in Normandy with Laurie Bokobza and Christine Caroly before joining the Conservatoire Superieur de Musique et de Danse de Paris. He danced at the Paris Opera Ballet and the Ballet du Rhin before joining the Nederlands Dans Theater in 2001. Walerski’s choreographic debut was in 2008 for NDT 2. Since then, he has created many acclaimed works for NDT, Ballet BC, Bern Ballet, Goteborg Ballet, the Ballet State of Georgia, StaatBallet Hannover, Staattheater Wiesbaden, and Charlotte Ballet.

As an educator, he is regularly invited to lecture and give workshops at dance conservatories, intensives, and festivals around the world.

Johan Inger: Choreographer, PASSING Johan Inger (Stockholm, 1967) completed his dance training at the Royal Swedish Ballet School and at the National Ballet School in Canada. From 1985 to 1990 he danced with the Swedish Royal Ballet in Stockholm, the last year performing as a soloist. In 1990, he joined NDT 1 and was a high-profile dancer in the company until 2002. After four workshop pieces, Inger produced his first creation in 1995 for NDT 2. The resulting Mellantid marked his official debut as a choreographer.

Since his debut, Inger has made various works for Nederlands Dans Theater. For his ballets Dream Play and Walking Mad, he received the Lucas Hoving Production Award in October 2001.

Inger left Nederlands Dans Theater to take on the artistic leadership of Cullberg Ballet in Stockholm in 2003. Between 2009 and 2016, Johan Inger held the position as associate choreographer with Nederlands Dans Theater, creating for both companies (NDT 1 and NDT 2) regularly, while continuing to collaborate and create with other companies.

Beginning in the 2022/23 season, Johan Inger became the artistic director of Take Off Dance, a training program for pre-professional dancers between the ages of 18 and 24 based in Seville, Spain.

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Lyle XOX, Artistic collaborator, Pieces of Tomorrow Our consumerist culture is filled with superfluous objects, many of which are past the point of use. For Lyle XOX, these discarded objects are more than their materials—they are filled with artistic possibility. The Vancouver-based artist has developed a practice that combines his experience in art, fashion, design, and makeup artistry to create striking images using his own face and body as canvas and plinth.

Lyle XOX aims to inspire the viewer and therefore people generally, to find creative ways in which they can elevate plastic waste and recycle/upcycle objects into vessels for human connection and storytelling. After growing up in a small town of less than 200 people in rural Saskatchewan, Lyle relocated to Vancouver, attended Blanche MacDonald Centre for Applied Design, and worked for MAC Cosmetics for over 15 years. In 2019, he was named one of the Vogue World 100, and released his book Lyle XOX: Head of Design—published by Rizzoli New York and launched at Bergdorf Goodman. Later that year, Lyle was hosted by both the Dutch fashion house Viktor & Rolf and Cirque du Soleil to witness his process. CBC produced My Favourite Colour, and his book won an International Photography Award.

Lyle XOX has been featured in many international publications including ArtNet, Vogue Italia, V, New York Times, and L’Officiel, and has collaborated with renowned musician and performer FKA Twigs as well as luxury brands.

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Finding freedom in movement: Kiana Jung on dance, connection, and storytelling

For Kiana Jung, dance is more than movement—it’s a language of self-expression and connection. As a dancer with Ballet BC, she has spent years refining her craft, not just as a technical pursuit but as a way to engage with the world and people around her.

In a recent conversation, Kiana shared insights into her journey with dance, how it has helped her step out of her comfort zone, and what it’s like to perform in the two works Ballet BC is performing at TO Live.

How did you first fall in love with dance?

It’s funny because my parents started putting me in gymnastics when I was around three, but I just didn’t love it. I felt like there wasn’t a lot of artistry and too much structure.

So they took me out of gymnastics, and we were walking out of the community centre and there was a little dance class that was happening, and I remember just sitting in front of that window and watching the dancers. And my parents put me in one of those classes.

Why do you think you stuck with dancing?

I can truly be myself when I’m dancing. I feel like I’m a really shy person, but when I’m using my body and dancing to music and being in relationships with other people around me, I feel like there’s such a sense of community and a sense of belonging.

What is it about dancing that helps you come out of your shell?

When I’m dancing, I’m not necessarily thinking. When I’m living my life, I am such an overthinker that sometimes it can be really debilitating, but when I’m dancing, I’m truly not thinking. I’m just experiencing. And that doesn’t happen often in life when you’re just living and experiencing the moment.

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Tell us about the works you’ll be dancing in at TO Live.

Pieces of Tomorrow is about legacy; it’s all the past information and tools that you’ve learned and how you can implement them into the present day. It premiered just last year, and we don’t often revisit pieces, but [choreographer and Ballet BC artistic director] Medhi Walerski is trying to see its growth.

It’s a full company piece, so there’s 20 of us on stage. We’re trying to find cohesion in the simplicity of the images and pathways that we’re making with our bodies within space. And we’re really encouraged to be ourselves in it.

How can you be yourself in a work with 19 other dancers?

I think it comes down to the fact that we spend every day with each other. We all influence each other and grow together. Many of us live together, and we all breathe the same air. It’s this weird thing with dancers, like we can sense each other and sometimes, we really know what the other is thinking and feel each other through movement.

Can you tell us about the other work in the Toronto double bill, PASSING? We’ve done this piece quite a lot, and I’ve been in the same role since the beginning.

Whenever we revisit it, I recognize that I’m a different person, which allows me to further develop the character.

I find that I step into a different world when I do this piece. There’s so much longing and laughter and crying; so many emotions that are extremely relatable. When we talk about being ourselves within dance, this piece really encapsulates that because it will only work if it comes from a true place.

When I look at my colleagues in this piece, I really do see the person, which doesn’t always happen. My favourite part about performing is when I really look at my colleagues and can see how present they are.

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Support the Future of Dance in

TORONTO Dance is an essential part of Toronto’s cultural identity, yet it is increasingly under threat. Rising production costs have led many theatres to discontinue their dance series, placing this vital art form at risk. Now more than ever, we must act to sustain and support dance programming in our city.

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Backstage with...Bryce Taylor Bryce Taylor is a Tkaronto-based breaker who began their dance journey at 13 in Colebrook, Ontario, later joining Canada’s Royal Winnipeg Ballet and Ballet Edmonton.

Taylor is a TO Live explorations artists, and was awarded $7,000 through the initiative to research something new. Alongside their crew TUFF, Taylor has been researching what is possible at the intersection of breaking and partnered dance.

Taylor is also part of TO Live’s Making Space program, which provides subsidized access to spaces for artists. We chatted with them during a recent rehearsal at Meridian Hall to learn more about breaking and their work.

What do you love about dancing?

I’ve always been the kind of person who gets very intense about things very quickly. So if you talk to my mom, she’ll tell you about all the phases I went through; it was acting, then it was sports, then card magic.

But dance was the first thing that really stuck. It’s the only thing that I’ve stuck to for over a decade. And I think it’s because no matter how much you learn about it, you only learn there’s so much more to get into. It’s like as you dig your hole or you go on your journey, all you discover is that there’s more to be discovered. And that cyclical nature just keeps pulling me back in.

What motivated you to focus on breaking?

With breaking, I think it’s the fun, the style itself, the community and the culture, which is about liberation in many ways.

A lot of the styles that I practiced in other phases of my career are about getting it right. So I appreciate the freedom and individuality in breaking, and the assumption that everyone will have their own unique style, whereas in other genres that only happens if you start choreographing.

To get a little technical, breaking is made up of four main groups: uprock, downrock, freezes, and power moves. Each one is almost a dance style unto itself, so it’s almost like four different dance styles in a trench coat pretending to be one.

What’s so engaging is that no matter where you want to go, you can class into one of these styles. And all that freedom is very alluring.

What are you working on these days?

Because I was privileged enough to see institutional dance, I thought I might be able to help push the envelope forward in breaking and in street dance. So that’s where most of my energy goes now.

I represent a group called The Unknown Floor Force, or TUFF. We’re working 13

to become Toronto’s first breaking crew that is also a dance company. Lots of work that needs to be done still because we started in 2023, but we’ve got the ball rolling in some fairly interesting ways.

How important is it for artists to have access to subsidized rehearsal space?

I think it’s extremely precious that TO Live is able to give artists space, and to give it for longer periods where we don’t need to come in all rushed. I think it’s important to understand that breakers generally don’t practice in studios. We never have access to a studio space. They’re too expensive.

Some of the cheapest studio spaces in Toronto are $75 an hour. So we practice in public buildings. We bring a little boombox, it sounds very beat street with the cardboard and the boombox, but that’s what we do. We go to a public space that has a nice buffed concrete floor where we can spin on it and we get down, and we practice for four hours a night just throwing our bodies onto a concrete floor. So to be able to come into a space that is heated, clean, has a sprung floor, all of these things that help prevent injury, help take care of your body…it’s extremely precious and very appreciated.

What does it mean to you to have your worked supported through TO Live’s explorations and Making Space programs?

It’s really incredible. And I don’t mean that just for myself as an artist; for our group it’s a huge deal. TUFF is trying to format itself as a crew, but also as a professional entity. And in Toronto, there’s not a lot of things we can point to in order to be legitimized. And these opportunities lets us know that this work is important and that there is a space for groups like us in this arts ecosystem.

TO Live’s explorations initiative is made possible by supporters of the TO Live Foundation. explorations is generously supported by Power Corporation of Canada.

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TO Live supporters We offer our sincere thanks to all our donors and supporters. Your gift to TO Live and the TO Live Foundation, no matter the size, makes a difference.

Patricia Alps A Ambrose Shirley Arnold Aina Arro Bruce Bennett Shira Bernholtz Doris Chan Suzette Chen Judith C. Cole James Dyche Joanna Ebbutt Penelope Evans Aviva Fleising Johann Gomes Dave Hibbs Edith Lo Keith Morino Susan Padmore Principles Sophia Rasheed Linda Salna Madeleine Skoggard Peter Skoggard Debbie Smith Kaspars Tuters Karen Volpe Peggy Whorpole Stephen Zener Edwin Zukowski TO Live Champions Brian Astl Allan Barish Barbara Basta Brian Beagle Eva Bednar Sandra Bellisario Elspeth Bowler Ayesha Chatterjee Jeannette Chau Rita Chemilian Jason Clark Diana Cockburn Raghunath Davloor Suzanne Denis Leah Faieta Matt Farrell Shiming Fei Anne Fleming

Robert & Julia Foster Foundation Linda Galen Archana Gandhi Kevin Garland Greg Gaudet Kelly Graham Jennifer Granatstein Elaine Iannuzziello Janice Johnson Isabelle Kaczmarek Bob Kebic Tasker Kelsey The Celebration of Life Co Kinwood Paul Kirk Megan Kotze & Michael Longfield Cary Lavine Giacomina Mastromarco Honora McCabe David McCracken Kathy & Kerry McKenna Isabel Vicente Menanno Susan Moellers Sorina & George Oprea Prestige Buildings 2016 Ltd Phillip Roh Jeffrey Rohrer Rob & Olga Sandolowich Schleese Family Charitable Fund Walter Shaw Elizabeth J Shropshire John Sims David Smith Patricia Steer Paul Straatman Katie Sultan Harvey Swedlove Alan Teder Christine Van Duelman Gail Vanstone Asha Varadharajan Vida Peene Fund John C. Wagner & Steven Tetz Westdale Construction Co. Limited Lorna White Jane Withey Mark Zador

Charitable Trust IATSE Local 58 Charitable Fund The Lewitt Family Foundation Miziwe Biik Meridian Power Corporation of Canada TD Bank Venue sponsors and partners Arterra Wines Canada Earth Group Flow Water McTamney’s Muskoka Brewery Partake Brewing Pilot Coffee Roasters In-kind supporters Cheekbone Federation of Black Canadians Sultan of Samosas

Major partners Canada Council for the Arts City of Toronto Government of Canada Government of Ontario Greenwin Inc. Meridian Ontario Cultural Attractions Fund The Weston group of companies Major program supporters Anonymous (1) Armenian General Benevolent Union The Barry and Laurie Green Family 16

TO Live staff and board Board of directors Lori DeGraw Chair Councillor Lily Cheng Vice Chair Councillor Paula Fletcher Councillor Chris Moise Robyn Citizen Brian Astl Myriam Gafarou Mustafa Humayun Terri Jaffe Gave Lindo Wasifa Noshin Sun Young Yoon Executive management Clyde Wagner President & CEO Isabel Vicente Menanno Director of the Office of the CEO & Board Relations Development Sandra Bellisario Vice President of Philanthropy & Sponsorship Madeleine Skoggard Director of Philanthropy & Sponsorship Nikita Patel Senior Manager, Corporate Partnerships & Sponsorships Halyna Polischuk Senior Manager, Leadership Giving Sahar Alamgir Assistant Manager, Philanthropy & Sponsorship Finance and administration William Milne Vice President of Finance & Administration Hayde Boccia Director of Finance Michael Johnson Controller Sabrina Li Senior Financial Manager Paul Gagnon Dorian Barton Client Settlement Services Manager 17

Gladys Torres Payroll Manager Nelum Dissanayake Payroll Specialist Fiona Liu Accounting Assistant, Treasury Analyst Fiona Wan Accounting Assistant, Financial Analyst Nooshin Ashraf-Zadeh Accounting Assistant Ramsha Zulfiqar Accounting Assistant, Settlements Coordinator Charles Mayne Office Clerk Information technology David McCracken Director of Information Technology Ali Irannezhadi Network & Systems Administrator Michael Cadiz IT Support Technician Scott Spence IT Coordinator Human resources Michelle Carter Vice President of Human Resources & Organizational Culture Dawn T. Maracle Director of Indigenous Affairs & Engagement Mohamed Othman Director of Human Resources Melissa Creighton HR Generalist Marketing and communications Jeff Rohrer Vice President of Marketing & Communications Stephanie Canarte Director of Marketing Grant Ramsay Media Relations Officer Stephen Crooks Senior Digital Marketing Manager Vanessa Grant Senior Content Marketing Manager Lauren Finateri Marketing Manager, Promotions & Partnerships Emma Forhan Creative Content Producer Shaun Lee Graphic Designer Jaya Arora Social Media & Web Content Coordinator Joshua DeFreitas Marketing Specialist

Box office Tom Kerr Director of Ticketing Services Fran Holywell Holly Merkur-Dance Box Office Manager Sandie Chui Manager of Ticketing Services Annaijah Dacres Alexander Jackson Jennifer Norman Thomas Quinlan Box Office Assistant Manager Brittney Channer Clayton Batson Michelle Cruz Zen Peterson Box Office Duty Manager Operations Matthew Farrell Vice President of Operations Edward Delavari Director of Capital Projects Luke Belfontaine Senior Project Manager BahramAghakhan Zane Elliott Bruce Bennett Senior Manager, Theatre Systems and Special Projects Kevin Anthonipillai Project Administration Manager Patron and event services Sean Tasson Director of patron and event services Andrew Fong Executive Chef Juliana Fay Senior Manager, Food and Beverage Services Jamie Johnson Assistant Manager, Food & Beverage Services Agnessa Voloshina Saba Resaei Tera Harnish-Christie Duty Manager, Kitchen Natalie Ireland Senior Manager, Events Yuki Daloste Events Manager Fiona Alexander Assistant Event Services Manager Tracey Fyfe Senior Manager of Patron Services Lina Welch Tara Hitchman Corey Palmer Patron Services Manager

Bruna Pisani Corrine Engelbrecht Hugo Ares-Gonzalez Kizzie St Clair Patron Services Duty Manager Jai Bittles Sous Chef Facilities Abiodun Ojekunle Director of Facilities Jarryd Fish Facilities Manager Evan Ramdin Chief Building Operator Robert MacLean Roderick Padasdao Building Operator Ehsan Rahman Ryan Nerona Marciano Ramos Junior Building Operator Eduardo Costales Matthew Pannel Handyperson Omar Nurse Stage Door Security Supervisor Colin Dyble Henry Fernandes Mohammad Amaan Vohra Stage Door Security Mohammed Shaikh Mohuddin Memon Pema Lakshey Reza Moradi Sangay Lhamo Tushar Somani Stage Door Security Mohamed Zuhair Maintenance Supervisor Ahmed Akinpelu Aturuchi Joshua Mizrak Mohamed Roger Alves Robert Bischoff Rosalina Silva Rosa Victoria Vivian Hije Maintenance John Vickery Housekeeping Supervisor Adam Sikora Alicia Surujbally Andre O’Hare Elliott Lewis Harrison Eales-Estrada Ian Romero Jacob Jebadoss Asirvatham Karrie Smith Lauren Smith Mabel Liwag Rhowen Jane Bunda Housekeeping

Programming Max Rubino Director of Programming Sierra da Silva-Canadien Indigenous Cultural Curator Ariana Shaw Zac Mansfield Senior Producer Kafi Pierre Shannon Murtagh Producer John Kiggins Programming Manager Ayse Barut Programming Coordinator Courtney Voyce Bookings Manager Alex Whitehead Bookings Coordinator Corporate & Private Events Scott North Director Corporate & Private Events Michaela Aguirre Social Media Specialist Thompson Michael Administrative Assistant, Corporate Events Communities and outreach Tasneem Vahanvaty Director of Communities & Outreach Dani Lantier Naomi Stokes Communities & Outreach Coordinator Production Kristopher Dell Director of Production Anthony (TJ) Shamata Zoe Carpenter Senior Production Manager Peter Suchostawski Manager, Theatre Systems and Special Projects Armand Baksh-Zarate Charissa Wilcox Chris Carlton Kristopher Weber Paul Dolan Susanne Lankin Production Manager Emma Pressello Production Coordinator Meridian Hall stage crew IATSE Local 58 Richard Karwat Head Electrician Steve McLean Head Carpenter

Marcus Sirman Head of Properties Colton Stang Lead Sound Technician Michael Farkas Lead Video Technician Peter Cathers Flyperson David Baer Assistant Carpenter Zsolt Kota Assistant Sound Operator Jason Urbanowicz Assistant Electrician St. Lawrence Centre for the Arts stage crew IATSE Local 58 Wes Allen Property Master, Bluma Appel Theatre Jay Blencowe Head Carpenter, Bluma Appel Theatre Keijo Makela Head Sound Technician, Bluma Appel Theatre Benn Hough Head Technician, Jane Mallet IATSE Local 822 Susan Batchelor Wardrobe Head, Bluma Appel Theatre Meridian Arts Centre stage crew IATSE Local 58 Aaron Dell Head Technician, George Weston Recital Hall Finn Browne Head Technician, Greenwin Theatre Duncan Morgan Head Technician, Studio Theatre Ian Parker Head Technician Lyric Theatre St. Lawrence Centre Redevelopment Leslie Lester Vice President of STLC Redevelopment TO Live staff and board list as of January 2025. For the updated version, please visit tolive.com.

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A Dorrance Dance production Created by Ephrat Asherie & Michelle Dorrance

THE CENTER MAY 9 – 10

WILL NOT HOLD

St. Lawrence Centre for the Arts Bluma Appel Theatre

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