February 26 - March 23, 2019
By Phyllis Nagy
Based on the novel by Nathaniel Hawthorne
The
Scarlet
Letter
At eatre Calgary we strive to create a welcoming, inclusive and
safe environment for diverse communities.
To formally open our productions, eatre Calgary will pay tribute and
recognize the Indigenous people of the Treaty 7 region as the past,
present and future stewards of this land where our performance
takes place.
In response to the release of the Truth and Reconciliation
Commission’s 94 Calls to Action, the act of giving territorial or land
acknowledgement has now become best practice across Canada.
In our efforts to embrace the language and spirit of reconciliation,
we recognize that our practice will evolve as eatre Calgary
strengthens our relationships within local Indigenous communities
and with artists. eatre Calgary is commied to maintaining regular
engagement with Indigenous and community leaders for consultation
on best practices.
Territorial Acknowledgement
Welcome to eatre Calgary.
We would like to take this opportunity to acknowledge
that this performance is taking place on Treaty 7, signed
at Blackfoot Crossing in 1877. We are on the traditional
territories of the peoples of Treaty 7 including the three
Blackfoot Nations: consisting of the Siksika, Piikani, Kainai
Nations; the Stoney Nakoda Nations: consisting of the
Bearspaw, Wesley and Chiniki Nations; and the Tsuu T’ina
Nation. e city of Calgary is also home to Métis Nation of
Alberta, Region III.
We are grateful to have the opportunity to present
in this territory.
have deep admiration for Phyllis Nagy, the
writer who has adapted The Scarlet Letter
for the stage. Phyllis was born in Manhattan
in 1962. Thirty years later, she moved to
London, England where she served as the
Royal Court’s writer-in-residence, where she honed her
craft writing stories for the stage. Then, she made her way
into the world of Hollywood where she began writing for
television and lm. As of today, Nagy has been nominated
for an Academy Award, an Emmy Award, and a Golden
Globe Award.
Show business has always been an industry primarily run by men. Times are changing
though, and Hollywood is seeing more women in executive positions. However, Derek
Thompson of The Atlantic reported in 2017: “…behind the camera in Hollywood, nothing
has changed since the late 1990s.” Last year at the Golden Globe Awards, Lady Bird
won for Best Picture (Musical or Comedy), but its writer/director, Greta Gerwig was not
nominated for Best Director. How can a movie win for Best Picture and the director/writer
(the heart and soul of a movie) not even be nominated? In the history of the Golden Globe
Awards only one woman has ever won Best Director – that was Barbra Streisand for her
work on the lm, Yentl. Over in Academy Awards land, it took 81 years for a woman to
take home the Best Director award. In 2010, Kathryn Bigelow made history as the rst
woman to win Best Director for her lm, The Hurt Locker.
Last year, it was reported that Phyllis will write and direct a movie based on the life of
singer, Dusty Springeld. This will be the rst time, in Phyllis’ three-decade career, that
she’s been given the green light to not only write, but direct a major feature lm. Just like
the character of Hester Prynne in The Scarlet Letter, Phyllis continues to dene herself in
a world that still judges women on so many levels. Thank you, Phyllis, for your complex
adaptation of The Scarlet Letter, and a big thank you for the continued inspiration you
give to artists and audiences around the world.
Staord Arima
Artistic Director
I
Theatre Calgary gratefully acknowledges the support provided
by the City of Calgary through Calgary Arts Development, the
Government of Alberta through The Alberta Foundation for
the Arts, the Government of Canada through the Canada
Council, Canadian Heritage, and all corporate and private
contributors.
Theatre Calgary is a member of
the Professional Association of
Canadian Theatres, and operates
within the jurisdiction of The
Canadian Theatre Agreement.
Theatre Calgary employs
technicians under a collective
agreement with the I.A.T.S.E.
Theatre Calgary is a resident
company of Arts Commons,
operating out of Arts Commons
Max Bell Theatre.
FRONT COVER ARTWORK BY ANDREA UCINI.
JOIN US FOR AN EVENING OF BOLD PERFORMANCES, MASTERFUL
CUISINE AND EXCEPTIONAL COMPANY.
FOR TICKETS, CALL 403-294-7447 EXT. 1054 OR VISIT THEATRECALGARY.COM/ENCORE
FOR SPONSORSHIP AND EVENT INFORMATION PLEASE CONTACT
LAUREN GILLEY AT LGILLEY@THEATRECALGARY.COM
SATURDAY, MARCH 30, 2019
THE BIG FOUR ROADHOUSE AT THE CALGARY STAMPEDE
THEATRE CALGARY IS A REGISTERED CHARITABLE ORGANIZATION. #119214013 RR0001
*ALL NET PROCEEDS GO TO SUPPORT THEATRE CALGARY
ENCORE2019_Advertising_ScarletLetterProgramme_FullPage_REV.indd 1 2019-02-11 10:20 AM
hy would a 21st Century feminist playwright be drawn to adapt
a 19th Century novel examining Puritan New England society?
At the centre of The Scarlet Letter is Hester Prynne, the ‘branded’
adulteress, the fallen woman, the transgressor. She has stepped outside the strict
moral codes of this society. She has violated the Puritanism vision of a community
bound to live a godly life in order to shed one’s sinful condition.
How does Hester respond to this judgement, to this sentence? Both Nathaniel
Hawthorne (in his novel) and Phyllis Nagy (in her adaptation) create a woman who
openly, publicly accepts full responsibility for her actions. She chooses to stay in
the community, wearing the scarlet A brazenly, some might say, on her chest for
all to see in the light of day; daring everyone to confront the oppression of this
society’s moral rectitude.
From the rst reading of Nagy’s play, I was drawn to Hester’s strength. She is
anything but a victim: she remains in control of her fate, of her choices. And this,
despite the challenges, the continuous threats to her happiness or, at the very least,
peace of mind. In fact, I admire all the female characters in the play: Hester, Pearl,
and Hibbins all dare to be themselves, refusing to submit as they resist the pressures
of this oppressive patriarchal society to behave… to t.
So why did Nagy revisit this story?
I believe Nagy wanted to examine our own society and its attitudes toward
‘transgression.’ Her work compels us to question our propensity to judge, to
confront our fears and to live an honest life. Ultimately, Nagy dares us to accept the
frailty of our humanity, in each other and in ourselves.
Micheline Chevrier
Director
W
Director’s Notes
interACTive
Enhance Your Experience
TALK THEATRE THURSDAY
February 28 – in the Upper Lobby
Director MICHELINE CHEVRIER
March 7 – in the Upper Lobby
Composer ALLISON LYNCH
Get an insider’s perspective on the
process of making theatre. Meet an
artist from the production’s creative
team before the show, in conversation
with a member of Theatre Calgary’s
artistic sta.
TALKBACK TUESDAY
MARCH 5, MARCH 12, MARCH 19
– in our Theatre
Join us for a lively post-show discussion
with members of the cast.
SPOTLIGHT SATURDAY
MARCH 9 – in the Upper Lobby
Puritan Justice and Family Law
John Siddons LLB, Brynn Doctor
(Doctor Law)
Join us pre-show to hear about how laws
and justice have changed over the past
400 years.
SENIOR SATURDAY
MARCH 16 – in the Upper Lobby
Actor – BOBBI GODDARD
Before the performance begins, Senior
Saturday patrons are invited to enjoy
some snacks followed by an engaging
chat with a theatre professional or
relevant expert, providing insight into
the performance.
EDUCATORS CIRCLE
Are you an educator? Do you love theatre
and need a break from marking or planning?
Join our Educators’ Circle. Benets include:
Tickets to all ve mainstage shows, Ability
to exchange tickets to another date, and
purchase additional tickets at 20% o*. Visit
www.theatrecalgary.com to register today!
*some conditions apply
GO BEHIND THE CURTAIN
Go beyond being an audience member and
see what else we have to explore. Theatre
Calgary oers a number of additional
theatrical experiences such as Workshops,
Panel Discussions, Industry Nights, and
Play Guides.
COMMUNITY ENGAGEMENT
We are always looking for ways to engage
with all citizens of the City of Calgary and
surrounding area. If you have a community
event, project or initiative that you think
Theatre Calgary could partner with, contact
us to start the discussion today!
GET ONLINE
Find further details about our programming
at www.theatrecalgary.com
Follow us on Facebook, Twitter, and
Instagram:
@theatrecalgary
#tcInteract
#tcMaryandMax
For all of these programs,
and any other learning or
community engagement
inquiries,
please contact:
Chris Stockton
Senior Manager of
Education & Outreach
(403) 294-7440 ext. 1122
cstockton@theatrecalgary.com
Max Bell Theatre at Arts Commons
February 26 to March 23, 2019
presents
Adapted from the novel by Nathaniel Hawthorne
Director Micheline Chevrier
Set and Costume Design Judith Bowden
Lighting Design Harry Frehner
Composer Allison Lynch
Assistant Director Cristina Cugliandro
Voice Coach Jane MacFarlane
Fight Director Karl H. Sine
—
TC Mentors program:
Sound Design Alixandra Cowman
Directing Jay Northcott
THE SCARLET
LETTER
by Phyllis Nagy
theatrecalgary.com | 403-294-7447
Billy Elliot
The Musical
e Theatre Calgary Production of
Apr
9
2019
May
12
Book and lyrics
by Lee Hall
Music by
Elton John
Originally directed in London
by Stephen Daldry
Choreography by Yukichi Haori
Directed by Stafford Arima
Illustration: Andrea Ucini
Buy your tickets to this
Tony Award-winning musical!
Take the leap,
believe in
yourself
BillyElliot2019_Advertising_BOOMXProgramme_FullPage_REV.indd 1 2018-12-18 1:04 PM
The Cast
Master Brackett Paul Cowling
Arthur Dimmesdale Charlie Gallant
Mistress Hibbins Bobbi Goddard
Roger Chillingworth Christopher Hunt
Governor Bellingham Declan O’Reilly
Pearl Kristen Padayas
Hester Prynne Heather Pattengale
Stage Manager Emma Brager
Assistant Stage Manager Justin Born
Head Of Lighting Catharine Crumb
Head Of Sound Chris Jacko
Head Stage Carpenter Scott Morris
Head Dresser Rachel Michelle Sheridan
The Scarlet Letter has one 20-minute intermission.
The videotaping or making of electronic or other audio
and/or visual recordings of this production or distributing
recordings on any medium, including gate internet,
is strictly prohibited, a violation of the author’s rights
and actionable under United States copyright law.
For more information, please visit:
www.samuelfrench.com/whitepaper
“The Scarlet Letter” is presented by
special arrangement with SAMUEL FRENCH, INC.
Join us
MARCH 13
Artistic Director Stafford Arima
will announce our 2019-20
season...one that ignites,
engages, and entertains.
Keep an eye on your mailbox
and visit theatrecalgary.com
201819_Advertisement_ScarletLetterProgramme_Season52TeaserREV.indd 1 2019-02-14 9:15 AM
Charlie GallantPaul Cowling Bobbi Goddard
Paul Cowling — Master Brackett
For Theatre Calgary: A Christmas Carol (2008), Enchanted April, Timothy Findley’s The Wars,
The Cripple of Inishmaan. Paul has been seen in theatres around Calgary, as well as
theatres from coast to coast. Favourite shows include: A Moon for the Misbegotten, Becky’s
New Car, Wait Until Dark, and Hamlet. Recently, Paul spent Christmas in the mountains
playing Ebenezer Scrooge in a ve-person production of A Christmas Carol at the Ban
Springs Hotel. Paul sends his love out to all his friends and loved ones, and thanks for
supporting live theatre and the arts!
Charlie Gallant — Arthur Dimmesdale
Theatre Calgary debut. Fresh o playing Edmund in Long Day’s Journey Into Night at the
Stratford Festival, Charlie has also enjoyed 4 seasons at The Shaw Festival, 5 seasons
at Bard On The Beach, and has worked in theatres across Canada such as Groundling,
RMTC, Citadel, Vancouver Playhouse, Arts Club, and Belfry. Highlights: Proteus in Two
Gents (BOTB), Boy in Peter & The Starcatcher (Shaw), Lt. Kaee in A Few Good Men (Citadel/
RMTC), Brindsley in Black Comedy (Arts Club), Jean in December Man (Greenthumb), Jude in
Snowman (Rumble). FILM/TV: Murdoch Mysteries, The Strain (FX), Fringe (FOX), Percy Jackson:
Lightning Thief (FOX 2000). TRAINING: Studio 58. ET CETERA: 2 Jessie Awards, several
scholarships and nominations. Charlie moonlights as a musician, photographer, dancer,
writer, director, and lmmaker. As ever, buoyed and made better by Kate. @charlie_byrd
Bobbi Goddard — Mistress Hibbins
For Theatre Calgary: Bad Jews, The Tempest (SBTB 2015), Much Ado About Nothing. A
proudly prairie theatre artist, Bobbi was born in Saskatchewan, raised in Alberta, and is a
graduate of the University of Alberta’s BFA Acting program, and the Mount Royal Theatre
Performance program. She has worked on Alberta stages with Ghost River Theatre,
Swallow-a-Bicycle, Catch the Keys, Theatre Network, the Freewill Shakespeare Festival,
Concrete Theatre, and more. Bobbi’s performance as Daphna in Bad Jews garnered her
a nomination for a Betty Mitchell Award. When she’s not acting, she works as a dialect
coach, Shakespeare know-it-all, and watches telenovelas. Up next, you will nd Bobbi in
Edmonton’s Hawrelak Park for the Freewill Shakespeare Festival’s 2019 season.
Christopher Hunt Declan O’Reilly Kristen Padayas
Christopher Hunt — Roger Chillingworth
For Theatre Calgary: over 40 productions, including: The Humans (assistant director),
Twelfth Night, The Audience, 7 Stories, Glorious, Humble Boy, Hay Fever, Copenhagen, True
West, Private Lives, Memoir, The Importance Of Being Earnest, Charley’s Aunt, Amadeus,
Tartue. Elsewhere: 1979 (Toronto); Dracula: The Bloody Truth (Vertigo); Rosencrantz and
Guildenstern Are Dead (Shakespeare Company/ATP); Flight Risk (Lunchbox); The Goodnight
Bird (Centaur); Much Ado About Nothing (Globe). Awards: Eight of Calgary’s Betty Mitchell
awards, most recently for Twelfth Night (Theatre Calgary). Film/Television: Heartland,
Caitlin’s Way, Shanghai Noon, You Know My Name. Upcoming: Waiting For Godot with Black
Radish Theatre at THE GRAND. He lives in Calgary with his family - Elizabeth, Grady and
Arden.
Declan O’Reilly — Governor Bellingham
For Theatre Calgary: A Christmas Carol (1991-93, 1996, 2015-18), The Audience, King
Lear, One Man, Two Guvnors. Recent Credits: Much Ado About Nothing (The Shakespeare
Company); The Lonely Diner (Vertigo); Jeeves Takes a Bow (Chemainus Theatre); The Skin of
Our Teeth, Tent Meeting (Rosebud); Shakespeare’s Rebel (Bard on the Beach); Circle Mirror
Transformation (Sage/Shadow Theatre). Declan also appeared at Theatre New Brunswick,
The Charlottetown Festival, Young Peoples Theatre (Toronto), Summer at the Roxy,
Persephone Theatre, Phoenix Theatre and Lunchbox Theatre. @thedeck69
Kristen Padayas — Pearl
Theatre Calgary debut. Kristen is a mixed-race actor and producer based in Calgary.
She is a graduate of Grant MacEwan College’s Theatre Arts program and the University
of Alberta’s Bachelor of Fine Arts Acting program. Select credits include: Bare: A Pop
Opera (Raw Mango Theatre), Working it Out (Alberta Worker’s Health Center), Bone Wars
(Punctuate Theatre), Apple (Sage Theatre), Flight Risk (Lunchbox Theatre), Shakespeare’s
Will (Thou Art Here Theatre). In 2016, Kristen was nominated for an Elizabeth Sterling
Haynes award for Outstanding Achievement in Theatre for Young Audiences for her work
in the Sterling award winning production of Under Cover produced by Concrete Theatre.
She’s an artistic associate of Chromatic Theatre & a co-artistic producer with the multi
award-winning indie company Impossible Mongoose. Much love to her husband Dan for
his endless support. @kristenpadayas
Heather
Pattengale
Micheline Chevrier Judith Bowden
Heather Pattengale — Hester Prynne
For Theatre Calgary: A Christmas Carol (2015-18). Acting credits include: Mark Twain’s The
Diary of Adam and Eve, The Christians, The Skin of Our Teeth, Outside Mullingar, The Last Train
to Nibroc, The Lion, the Witch, and the Wardrobe, Doubt, It’s A Wonderful Life, Our Town, My
Name is Asher Lev, We Won’t Pay, Mary’s Wedding (Rosebud); Talley’s Folly (Chemainus); Kaspar
Hauser (Fireside); We Are The Body (Burnt Thicket); Hamlet (The Shakespeare Company).
Heather has also co-written two plays with friend and collaborator Morris Ertman: May
and Joe (music and lyrics by Paul Zacharias), and Mark Twain’s The Diary of Adam and Eve;
and produced and created Kaspar Hauser with the Fireside Theatre ensemble. Enormous
gratitude to Paul Z and little Amelia.
Micheline Chevrier — Director
For Theatre Calgary: The Sisters Rosensweig, Hay Fever. For the past 35 years, Micheline
has worked across Canada as a director, artistic director, dramaturg and teacher. As a
director, she has worked at such theatres as The Shaw Festival, the National Arts Centre,
Theatre Calgary, Alberta Theatre Projects, the Citadel, the Globe Theatre, Manitoba
Theatre Centre, Canadian Stage, Young People’s Theatre, L’UniThéâtre, the Centaur
Theatre, Imago Theatre and Theatre New Brunswick among others. She has also worked
abroad with BeMe Productions in both Barcelona and Munich. From 1995 to 2000, she
was the Artistic Director of Ottawa’s Great Canadian Theatre Company and, since 2013,
Micheline has been the Artistic Director of Imago Theatre (Montreal).
Judith Bowden — Set and Costume Design
For Theatre Calgary: The Great Gatsby, The Sisters Rosensweig, Dangerous Corner, Holiday,
Berlin to Broadway, Cabaret. Judith has been designing for the past 25 years. Recent set
and costume design credits include: Sense and Sensibility (Manitoba Theatre Centre),
Paradise Lost (Stratford Festival), London Road, The Other Place (Canadian Stage), Chimerica
(Manitoba Theatre Centre & Canadian Stage), The Humans (Citadel & Canadian Stage), and
Grand Hotel, Saint Joan, and Sweeney Todd for the Shaw Festival, where she has designed
for the past 17 seasons. Recent costume design credits include: Watch on the Rhine, My
Fair Lady and The Music Man (Arena Stage, Washington D.C.), The Changeling (Stratford
Festival). Judith has had the opportunity over the years to work at a number of theatres
in Canada including The National Arts Centre, Alberta Theatre Projects, Young Peoples
Theatre, The Grand and Pacic Opera Victoria.
Harry Frehner Allison Lynch Cristina
Cugliandro
Harry Frehner — Lighting Design
For Theatre Calgary: One Man, Two Guvnors, Shirley Valentine, Mom’s the Word: For Crying
Out Loud, Dirty Rotten Scoundrels, Our Town, The Cripple of Inishmaan, Cabaret, Berlin to
Broadway, Private Lives, An Inspector Calls, Cyrano de Bergerac, Waiting for Godot, Hamlet,
Evita. Harry is an acclaimed Canadian lighting designer, who calls Calgary home. He has
worked coast to coast in Canada and internationally designing productions for dance,
opera and theatre.
Allison Lynch — Composer
For Theatre Calgary: Sound Designer/Composer - As You Like It, Romeo and Juliet (SBTB);
Music Director - A Christmas Carol (2016-18); Actor - A Christmas Carol (2011-18), The
Secret Garden, Dear Johnny Deere, One Man, Two Guvnors. Elsewhere as composer:
Rosencrantz and Guildenstern are Dead (ATP); Double Indemnity (Vertigo); Benet, Bone
Cage (Downstage); Equivocation (GZT, Shakespeare Company); Shakespeare’s Will (Sage);
The List, Thy Neighbour’s Wife, It is Solved by Walking, The Russian Play (Betty nomination),
Essay (Urban Curvz/Handsome Alice); Adventures of a Black Girl in Search of God (Ellipses
Tree). Her score for The Penelopiad (ATP, Betty nominations: score and musical direction)
was also performed in Montreal and at Arts Club Vancouver (Jessie Nomination). Allison
has three Betty Mitchell Awards for acting and you can see her onstage next as Horatia
in The Shakespeare Company’s Hamlet. Her album Skin & Flame is on CD Baby, iTunes
and Spotify and was nominated for a YYC music award for Jazz recording of the year.
allisonlynchmusic.com
Cristina Cugliandro — Assistant Director
Theatre Calgary debut. Cristina Cugliandro is a theatre director and artistic director of
Odd Stumble Theatre in Montreal. She is a design-based director and therefore works
intimately with designers and performers to create a visual, coherent, dynamic, and
visceral journey for audiences. She is also committed to artist development and event
curation. Cristina is thrilled to be working with this incredible team on The Scarlet Letter.
Selected credits: Elsewhere (Odd Stumble/Imago Theatre 2017/19), Archipelago (Odd
Stumble/Rialto Theatre 2018), Possible Worlds (Bishops’ University 2017), What Happened
After Nora Left Her Husband (Imago Theatre 2017), In Search of Mrs. Pirandello (Centaur
Theatre Wildside Festival 2016). She is a Master’s graduate of The Royal Academy of
Dramatic Arts and Birkbeck University in London, England.
Jane MacFarlane Karl H. Sine Emma Brager
Jane MacFarlane — Voice Coach
For Theatre Calgary: More than 45 productions since 2000 including Mary and Max A New
Musical, Honour Beat, The Secret Garden, Twelfth Night, Blow Wind High Water, The Audience,
Skylight, Bad Jews, The Crucible, Liberation Days (WCT co-pro), One Man, Two Guvnors, The
Mountaintop, Enron, To Kill a Mockingbird, seven seasons of Shakespeare by the Bow and 15
years of A Christmas Carol. Jane has also worked for ATP, is the Voice & Dialect Consultant
for Vertigo Theatre and the Voice & Text Coach for The Shakespeare Company. She has
taught at such institutions as York University, Harvard University, Southern Methodist
University, MRU, UofC, and UofA.
Karl H. Sine — Fight Director
For Theatre Calgary: Actor – A Christmas Carol (2011, 2013-18), The Crucible, Pride and
Prejudice, Enron, Much Ado About Nothing. Fight Director (selected) – As You Like It, Hamlet,
The Comedy of Errors, Romeo and Juliet (Shakespeare by the Bow); King Lear (Bard on the
Beach co- pro), Liberation Days (WCT co-pro). Selected Actor – Sherlock Holmes and the Case
of the Jersey Lily, The Hound of the Baskervilles (Vertigo); Macbeth, Equivocation, Othello (The
Shakespeare Company). Selected Fight Director – Macbeth, Romeo & Juliet, Equivocation,
Othello (The Shakespeare Company); I’ll be Back Before Midnight, The Game’s Afoot (Vertigo).
Karl has received four Betty Mitchell Awards – three for Fight Direction and Best Actor for
The Crucible. Karl is a Certieed Fight Director with the Academy of Fight Directors Canada.
Thanks to Lindsey and their wonderful kids Olivia, Charlie and Zachary.
Emma Brager — Stage Manager
Select Theatre Calgary credits include: Mary and Max A New Musical, Sisters: The Belles
Soeurs Musical (Segal Centre), Crazy for You (Citadel co-pro), King Lear, Mary Poppins (Citadel
co-pro), A Christmas Carol (2008-14), The Kite Runner (Citadel co-pro), Cats, Much Ado About
Nothing, The Comedy of Errors (Shakespeare by the Bow), Romeo and Juliet (Shakespeare in
the Park). Other credits include: ZORRO: Family Code, Vanya and Sonia and Masha and Spike,
Venus in Fur, The Motherf**ker with the Hat (ATP); August: Osage County, Death of a Salesman
(Citadel); Undercover, The Hollow (Vertigo); Blind Date (Spontaneous Theatre/WCT). Emma
would like to thank her family for keeping the home res burning, and her husband Eric
for everything!
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Jay NorthcottJustin Born Alixandra
Cowman
Justin Born — Assistant Stage Manager
For Theatre Calgary: A Thousand Splendid Suns, Skylight, The Crucible, The Philadelphia Story,
The Great Gatsby. Elsewhere (selected): Dracula: The Bloody Truth, The Lonely Diner, The
Hollow, Calamity Town, The Game’s Afoot, The Huron Bride (Vertigo); Mickey & Judy, Epiphany,
The Santaland Diaries (Lunchbox); To The Light, Venus in Fur (ATP); Jeremy de Bergerac, Maria
Rasputin Presents (Forte); The Diary of Anne Frank, Tuesday’s with Morrie, Queen Millie of
Galt, Mary’s Wedding (Rosebud Theatre); The Canadian Badlands Passion Play (2010 – 2014);
Production Services Coordinator of Calgary Stampede Grandstand Show (2015 – 2019).
Love to Ariel, Mom, Dad, and Lucy.
Alixandra Cowman — TC Mentors - Sound Design
Theatre Calgary debut. Sound design credits include Kodachrome (Fire Exit), Bright Lights
(Theatre BSMT), Helen (Ignite), and Still Stands The House (Wick Productions). Alixandra
also works as an actor, and will next be appearing in the Canadian premiere of Bright Star
at Rosebud Theatre. Alixandra is a member of bluegrass-folk duo The Dearhearts, with
whom she has released two albums and toured across North America. Alixandra wishes
to thank her family and Conrad for their constant love and support in every wild thing
she does.
Jay Northcott — TC Mentors - Directing
Theatre Calgary debut. Ever since Jay was a child they always wanted to change the world.
Sadly, they didn’t develop any world-saving superhuman abilities, so Jay fell in love with
making art. Jay is a multidisciplinary director, playwright, puppet maker, solo performer
and advocate for racialized and marginalized artists. They are a graduate of the BFA
Performance program from the University of Lethbridge and has recently relocated to
Toronto! Jay is super happy to be back in Calgary and create this fascinating show with
Micheline. Favorite directing credits include: Iphigenia and the Furies (on Taurian Land)
(Saga Collectif), Sweat (The Arts Club), The Cows (Theatre Junction), Girls!Girls!Girls!, City of
the Broken (Theatrextra). Acting credits: Premium Content (Major Matt Mason), The Listening
Room (Cardiac Theatre) Saddest Dance Party Ever, Light Skin Dark Skin (Swallow-A-Bicycle).
@Nervousshipwreck
Special Thanks & Acknowledgements
Heath Kai, Armour Equipment
Luigi Fiore, Peroni
Frank and Gabriele Lynch
s Artistic Associate, I have the pleasure and privilege
of assisting Artistic Director Stafford Arima in season
programming. This process is a continuous one where we
will be simultaneously curating works for the next season as well as
several years ahead of time. While season selection is an inherently
artistic practice (choosing pieces that will aesthetically wow an
audience with the set, the costumes, the music), it is also an emotional
one (the productions will hopefully impact an audience at their core
and leave them laughing or crying, or both), and it is absolutely a
logistical puzzle too (do all shows in the season t together, are the
right artists available at the right time, and how do these works adhere
to our mandate?). The task is complex, but can be extremely fullling.
Sometimes in the process, the season seems to be all lined up – ready
to be announced, when all of sudden it’s not. Inevitably things change,
and they change for a great variety of reasons: We lost the rights,
the director is no longer available, the actor is no longer available,
everyone is no longer available, etcetera, etcetera. Subsequently, we
must select a new show. In my brief experience with Theatre Calgary
(I have been in my position since October 2016), each year, there has
been a necessitated change. And, each year that change has been for
the better. This season, that change led to the striking production of The
Scarlet Letter you are about to see.
When charged with nding a new “Slot 5” show, Stafford, Producer
Lesley MacMillan, and I set to work. Yes, we do have lists of shows
Slot 5:
The Curation of
The Scarlet Letter
By Jenna Turk, Artistic Associate
A
and shelves full of scripts we
have considered previously
and hope to produce one
day, but generally when
faced with tting one show
into an otherwise complete
season, we are looking for
something a little more
particular. We are working
within a certain budget,
within a specic time of
year, and within a season
that already exists.
One of the criteria for “Slot
5” this season was our desire
to have a literary adaptation.
Plays based on books have
a history of doing well at
Theatre Calgary: They are
recognizable, attract a wide
audience, and assuredly tell a strong story. Truthfully, I was also
interested in nding a play that featured women in leading roles as we
have so many phenomenal women-identied actors in the city craving
challenging parts, besides the season as-is was a little male-centric
with BOOM X and Billy Elliot rounding out the second half of the
year. As Artistic Associate, it is always my hope that we are equitable.
Furthermore, our core patron-base is women aged 45+ who love the
arts – and that same group LOVES to read.
The fall before I arrived at TC, The Crucible was beautifully brought
to the Max Bell stage under the direction of R.H. Thomson. It was a
great success for Theatre Calgary, and oh how I wish I could have seen
it! Reviewing past productions sometimes gives me ideas for future
productions, and looking through archival photos of The Crucible
set me thinking along a certain path. I was quickly reminded of The
eatre Calgary’s shelves full of scripts.
Scarlet Letter – Nathaniel Hawthorne’s striking 1850 novel about the
unforgettable protagonist, Hester Prynne (she’s been dubbed “the rst
true heroine of American ction”). Set in the 17th century, in Puritan
Massachusetts, this instant bestseller (it was one of the rst books
mass-produced in America) tackles themes of shame and stigma, love
and guilt, and dignity and repentance (no small task). Last winter, when
we were searching for “Slot 5”, women’s rights were top of mind and
those themes seemed eerily on point. That fall, the Harvey Weinstein
sexual assault allegations had been reported by both The New York
Times and The New Yorker, women had united online in support of
victims everywhere with the hashtag #MeToo, and the second annual
Women’s March was on the horizon.
Now, I tend not to be a fan of “issue” plays, shows that are so focussed
on getting their message across that the story is neglected or worse –
forgotten altogether. I believe the audience is smarter than we often
think, they are more than capable (and it is all the more satisfying for
them) to put the pieces together themselves, to connect the dots in a
period play to the themes of today. I think that is why shows like
The Crucible endure. Hawthorne’s The Scarlet Letter seemed like
the perfect story for Theatre Calgary to tell, the question was: Which
version to choose?
This work of historical ction has long resonated in popular culture,
inspiring over fteen lm adaptations, as well as countless references
in literature, TV, opera, and the theatre. Folks may remember the 1995
box-ofce op starring Demi Moore, some younger audiences may
have heard its inspiration in *multiple* Taylor Swift songs, and the
hard-core theatre lovers may have been reminded of the classic story
when American playwright Susan Lori Parks turned it on its head in
F*cking A – which was most recently seen Off-Broadway in 2017.
However, in reviewing adaptations, I was quickly drawn to the Phyllis
Nagy version.
Nagy is an exceptional writer and well-known for her stage adaptations,
however she is perhaps most famous for the lm Carol for which she
was nominated for an Academy Award for Best Adapted Screenplay
(the lm starred Cate Blanchett). Nagy’s adaptation of The Scarlet
Letter was commissioned for the Denver Centre Theater Company
in 1994, and subsequently opened in New York later that year in a
production by the Classic Stage Company featuring Cynthia Nixon as
the bearer of the ‘A’, Hester Prynne (this was just prior to her television
fame via Sex and the City and almost 25 years before her gubernatorial
run in NY). In the New York Times’ review, Ben Brantley said, “in
Ms. Nagy’s interpretation…symbols, subtext and contemporary
correspondences are scaled up in a way that calls nudging attention to
form as well as content.” This play has a very particular aesthetic. It
is dark and sexy, and full of metaphor. This is not an easy text. It will
challenge its audience, and therefore requires a smart director.
In selecting Nagy’s adaptation of The Scarlet Letter for “Slot 5”,
Stafford, Lesley, and I quickly knew we wanted Micheline Chevrier
at its helm. She is one of Canada’s most accomplished directors,
having previously directed at the National Arts Centre, the Shaw
Festival, and the Great Canadian Theatre Company in Ottawa (where
she was Artistic Director from 1995 to 2000 – during my formative
years growing up there), as well as at Theatre Calgary (Hay Fever
Hester, Pearl, and Mistress Hibbins costume sketches by Judith Bowden.
Play YOUR part in Season 51
If supporting the arts in our city
is important to your company
your name right here!
Receive brand alignment, great
publicity, entertainment
opportunities, and show your
For more information contact:
Audrey Bessey
Manager, Corporate Sponsorship
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SHARE YOUR PASSION WITH FUTURE GENERATIONS
Leaving a financial legacy is a way to make a meaningful gi
to a charitable organization that you value, while maximizing
tax and estate planning benefits. Once you have taken care of
your family and loved ones, you may consider naming eatre
Calgary as a beneficiary of a portion of your estate.
Shirley Yurchi, Manager of Individual & Planned Giving
403-294-7440 ext. 1002
syurchi@theatrecalgary.com
For more information on leaving a legacy gift and for
sample bequest language, please contact:
By remembering eatre Calgary in your will, you can help
ensure that future generations enjoy eatre Calgary as
you do today.
Leaving a financial legacy is a way to make a meaningful
gi to a charitable organization that you value, while
maximizing tax and estate planning benefits. Once you
have taken care of your family and loved ones, you may
consider naming eatre Calgary as a beneficiary of a
portion of your estate.
One of the biggest misconceptions about leaving a legacy
is that only the wealthy can do it. e truth, however, is
that everyone can plan a legacy gi no maer their current
income or assets.
201819_Development_Advertisement_LegacyGiving_HalfPage.indd 1 2019-02-12 1:06 PM
April 25 through May 12
Featuring Calgary actors
Christopher Hunt
Andy Curs
Duval Lang
& Tyrell Crews
Directed by Denise Clarke
blackradishtheatre.ca
Don’t miss Becke’s masterpiece
Waiting for Godot
at the historic GRAND Theatre
and The Sisters Rosensweig) among others. Chevrier is currently
based in Montreal where she is the Artistic and Executive Director of
Imago Theatre whose mission is to be “a catalyst for conversation,
an advocate for equal representation and a hub for stories about
unstoppable women.” Doesn’t she sound like the perfect t?
Fortunately, she said yes. “Slot 5” was set with a killer script from
Phyllis Nagy (featuring three juicy roles for women) and a erce
director in Micheline Chevrier (who has chosen a design team to die
for). From a curatorial perspective this play works logistically, but
please know it is my sincere hope that The Scarlet Letter’s artistry
wows you and that its emotional core moves you this season – that
the production, like the task, is complex, but extremely fullling.
SOURCES
McCrum, Robert. “The 100 best novels: No 16 – The Scarlet Letter by Nathaniel Hawthorne
(1850).” The Guardian, January 6, 2014.
https://www.theguardian.com/books/2014/jan/06/scarlet-letter-nathaniel-
hawthorne-100-best-novels
Brantley, Ben. “Magnifying Metaphors in a Work Rich in Them.” The New York Times,
October 20, 1994.
http://www.nytimes.com/1994/10/20/theater/theater-review-magnifying-
metaphors-in-a-work-rich-in-them.html
Imago Theatre website. “About Us.”
http://www.imagotheatre.ca
Micheline Chevrier directs Heather Pattengale, Paul Cowling, and Kristen Padayas in eatre Calgary’s rehearsal hall.
THE TROTTER & MORTON GROUP OF COMPANIES
IS A PROUD SUPPORTER OF THEATRE CALGARY.
GREAT THINGS ARE CREATED
UNDER THE BRIGHT LIGHTS.
TICKETS: ATPLIVE.COM 403-294-7402
AMISH PATEL, AYA ALMOFLEH, GASQUET CHEN AND DEBORAH CHEESMAN
PHOTOGRAPHED BY ERIN WALLACE
Board of Directors
Leaders in our arts and cultural community
BOARD EXECUTIVE
MARGO RANDLES, Chair
Active Community
Volunteer
CRAIG D. SENYK,
President, Mawer
Investment
Management Ltd.
JOY ALFORD,
Corporate Secretary
CATHERINE SAMUEL,
Artistic Committee Chair
Partner, McCarthy
Tetrault LLP
KELLY BERNAKEVITCH,
Audit & Finance
Committee Chair
Executive Vice President,
MNP, LLP
RICHARD S. HANNAH,
Development
Committee Chair
PAUL POLSON,
Facility Committee Chair
Vice President, Stuart
Olson Construction
KATHRYN HEATH,
Governance & Nominating
Committee Chair
JAMES READER,
Human Resources
Committee Chair
Managing Director,
Corporate Financial
Services, ATB Financial
CHADWICK NEWCOMBE,
Past Chair
Kahane Law Oce
BOARD MEMBERS
KATE ABBOTT
PETER EDWARDS
The NOLUS Corporation
STEPHEN HAIR
Artistic Consultant
NARMIN ISMAIL-TEJA
Principal,
impact@work inc.
TRICIA LEADBEATER
Director, Wealth &
Management,
Richardson GMP
RIAZ MAMDANI
CEO, Strategic Group
DOUG PAGE
Director of Government
Relations, TransCanada
DR. NORMAN SCHACHAR,
M.D.
University of Calgary
Department of Surgery
MAGGIE SCHOFIELD
ALI SHIVJI
Managing Director,
Optima Living
KIRSTY SKLAR
Partner, Norton Rose
Fulbright Canada LLP
EDITH WENZEL
President, International
Results Group
WARD ZIMMER
Independent Consultant
THEATRE CALGARY
ENDOWMENT
FOUNDATION
BOARD EXECUTIVE
TRICIA LEADBEATER, Chair
Director, Wealth &
Management,
Richardson GMP
ELLEN CHIDLEY, Vice Chair
Consultant
WARD ZIMMER,
Secretary / Treasurer
Independent Consultant
BOARD MEMBERS
IAN BEDDIS
Former Director & Branch
Manager (Retired),
Scotia McLeod Inc.
PETER EDWARDS
The NOLUS Corporation
GORD HARRIS
P. Eng., M&A Consultant
RYAN HOULT
Partner,
Rice & Company LLP
ALAN MOON
Crescent Enterprises Inc.
CHADWICK NEWCOMBE
Kahane Law Oce
Theatre Calgary Sta
ADMINISTRATION &
FINANCE
JON JACKSON,
Executive Director
KRISTEN DION,
Director of Finance
& Administration
BRENT FALK,
Accountant
TAMMIE RIZZO,
Accountant
VICTORIA THARAKAN,
Oce Coordinator
ARTISTIC
STAFFORD ARIMA,
Artistic Director
LESLEY MACMILLAN,
Producer
SUSAN MCNAIR REID,
Company Manager
JENNA TURK,
Artistic Associate
JANE MACFARLANE,
Resident Voice Coach
COMMUNICATIONS &
MARKETING
LINDSAY MCDONALD,
VP, Audience Development
CHRISTOPHER LOACH,
Director of
Communications
KRISTINE ASTOP,
Database & Systems
Manager
AFTIN JOLLY,
Marketing Manager
SARAH LAMOUREUX,
Digital Communication
Manager
VIRGINIA REMPEL,
Audience Services
Supervisor
JENNIFER KINCH,
Database & Systems
Administrator
CECILIA MCKAY,
Audience Services
Associate
CATHERINE MYLES,
Audience Services
Associate
CLAIRE PANKIW,
Audience Services
Associate
PARTNER RELATIONS
SARAH HUGHES,
Director of Partner
Relations
SHIRLEY YURCHI,
Manager Individual
& Planned Giving
LAUREN GILLEY,
Event Manager
AUDREY BESSEY,
Manager, Corporate
Sponsorship
RYAN FRISCHKE,
Partner Relations
Coordinator
RONALD PETERS,
Business Development
ROSEMARIE JOHNSTON,
Bingo Volunteer
Coordinator
EDUCATION &
OUTREACH
CHRIS STOCKTON,
Senior Manager of
Education & Outreach
DAVID SKLAR,
Education & Outreach
Coordinator
JAMIE TYMCHUK,
Education & Outreach
Associate
PRODUCTION
AMELIA MARIE NEWBERT,
Production & Operations
Manager
ADAM SCHRADER,
Technical Director
GRAHAM KINGSLEY,
Assistant Technical
Director
LOUIS BEAUDOIN,
Head Scenic Artist
CATHARINE CRUMB,
Head of Lighting
CHRIS JACKO,
Head of Sound
MICHELLE LATTA,
Head of Wardrobe
LILLIAN MESSER,
Head of Props
SCOTT MORRIS,
Head Stage Carpenter
STEVE PILON
& ANDREW RAFUSE,
Co-Head Scenic Carpenters
RACHEL MICHELLE
SHERIDAN,
Head Dresser
FRONT OF HOUSE STAFF
– MAX BELL THEATRE
LEE BOOTH,
Front of House Manager
MATT DALE,
Bar & Guest Services
Coordinator
BARBARA BOOTH
DENISE BROWN-VERVLOET
SHIRLEY COSTLEY
NORMA HANSEN
LAURA KWAS
JULIA MEEDER
MITZI METZGER
TAMSIN MILES
PETER SCHMALTZ
KIM SIMMONS
DEBORAH SYDORCHUK
BARTENDING STAFF
– MAX BELL THEATRE
KEVIN BAILEY
ATTRINA BLYTHE
RAYNAH BOURNE
JOCELYN BRAYNE
NATALIE BUCKLEY
MARY CHISHOLM
CONNER CHRISTMAS
PAM DOWNEY
ALEXA ELSER
ELIZABETH FERGUSON
DANIELA HEJRALOVA
COLIN FRENCH
MANDY KOCH
KELLY MALCOLM
LAUREN MARSHALL
MATT MOGHADAM
STEPHANIE MORRIS
GRACE OLIVER
KYLE SCHULTE
DAVID SKLAR
MEGAN STEPHAN
JASMIN ZENCHYSON-SMITH
BUILDERS FOR
THE SCARLET LETTER
SET
STEVE PILON,
Co-Head Scenic Carpenter
ANDREW RAFUSE,
Co-Head Scenic Carpenter
PROPERTIES
LILLIAN MESSER,
Head of Props
TESS COWIE,
Buidler
PAINTERS
LOUIS BEAUDOIN,
Head Scenic Artist
WARDROBE
MICHELLE LATTA,
Head of Wardrobe
KATIE KLINGVALL,
Head of Wardrobe
ELIZABETH SUTHERLAND,
Cutter
KAELEAH SPALLIN,
Junior Cutter
CATHLEEN GASCA,
Seamstress
SUSAN MONTALBETTI,
Dyer
When the arts need our support,
we’re there.
Norton Rose Fulbright is proud to sponsor
Theatre Calgary, as the curtain goes up for
their second half-century onstage.
Law around the world
nortonrosefulbright.com
@StrategicGrp
StrategicGroup.ca
It’s show time.
SPARK
SPARK
SPARK
your creativity.
Tell me a bit about Norton Rose Fulbright’s history
with the theatre.
Over the last 25 years, a number of our lawyers have been on
Theatre Calgary’s Board of Directors. We always attend the
annual gala, and more recently, have begun sponsoring young
actors through the summer favourite, Shakespeare by the Bow.
Why has Norton Rose Fulbright chosen to partner
with Theatre Calgary?
Theatre Calgary brings Calgarians together. For our rm,
experiencing the arts with our families and our clients is a great
way to strengthen relationships and also expand our creative
boundaries.
How do you plan to use the benets you receive
from this partnership?
We believe the best theatre experience is shared with clients,
families, friends and colleagues. We love Shakespeare by the Bow
and the annual program and look forward to both.
— Spotlight
on
CORPORATE
PARTNERSHIPS
SHAKESPEARE
BYTHEBOW
Norton Rose Fulbright is one of Canada’s Top
100 Employers and a generous supporter of many
charitable organizations in this city and across the
country. Here’s what they had to tell us about why they
support the arts and Theatre Calgary.
How do you think Theatre Calgary benets from
corporate partnerships?
We hope that partnering with local businesses provides Theatre
Calgary with an opportunity to expand your patronage and build
longstanding relationships that help support your vision and
mission; nancially and through knowledge sharing.
Do you see value in a program that’s designed to
develop and nurture up-and-coming artists in
our community?
Yes. We see tremendous value in programs designed to
nurture those starting out, whether they are artists, lawyers
or otherwise. It is indicative of an organization’s investment in
excellence when the learning, development and mentorship
of its people is a priority. People thrive in environments where
they feel supported, challenged, and where they know they
play a meaningful and valuable role. When people are thriving,
they are also happy and high performing. Opportunities for
mentorship, to take risks, to learn and to grow create situations
that encourage the development of interesting and
accomplished individuals.
What benets are there from the pay-what-you-
will performances oered in the gorgeous natural
setting of Prince’s Island Park?
Pay-what-you-will performances oer accessibility for guests
and, because of the casual nature of the experience, present a
sometimes intimidating art form in a very approachable way.
What impact do you think not having corporate
support would have on our organization?
We place tremendous value in the work that Theatre Calgary is
doing to stimulate, provoke and delight the hearts and minds
of Calgarians. We’re thrilled Theatre Calgary continues to enrich
our city.
What would you like to say to other businesses to
encourage them to support the arts in this city?
A vibrant art scene is capable of inspiring the next generation
of creative thinkers. We view our support of the arts as an
opportunity to foster innovation in Calgary, and we encourage
other businesses to do the same.
Saluting our Corporate Partners
Calgary’s remarkable, vibrant arts and culture sector is made possible by
support from our partners like Norton Rose Fulbright. Partners play a vital
part in our world, enabling us to produce art in Calgary and build our city
into a great place to be.
We love our partners and how they help us execute our dreams for theatre
in Calgary. At the same time we help our partners realise their visions for
community building and supporting the arts. Together we are building a great
city to live in.
For more information about Theatre Calgary and how we can provide your
company with a unique and rewarding sponsorship experience, contact:
Ron Peters, Audrey Bessey,
Business Development Manager – Corporate Sponsorship
403-294-7440 ext. 1020 403-294-7440 ext. 1068
www.cbncs.com
Proud to support Theatre
Calgary’s InterACTive
Learning Program.
It’s just another way we’re opening
doors for a more inclusive tomorrow.
td.com/thereadycommitment
M05234 (0314)
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Beautifully crafted, elegantly simplistic
403.256.7150 | [email protected]
www.greateventscatering.ca
Thank You
To Our Donors
Thank you for supporting our season of new beginnings.
Producer’s Circle ($25,000 +)
Joy Alford & Dan Magyar
Michelle O’Reilly Foundation
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Craig D. Senyk,
Mawer Investment
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Frank & Diane Babienko
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Designer’s Circle ($5,000 +)
Brent Allardyce, Allardyce
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ARC Financial Corporation
Je Boyd,
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Resources Limited
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Investments
Anonymous
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Johnstone, Tigerback
Resources Ltd.
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C. A. Siebens
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($2,500 +)
Anonymous
Staord Arima,
in memory of Daisy Arima
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& Maxine Leverette
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The Scarlet Letter
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Other 2018-19 Plays
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& John Armstrong Q.C.
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Anonymous
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at Calgary Foundation
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Foundation
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at the Calgary Foundation
1
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& Catherine Glaser-Climie
Maureen Cook
Greg Coupal
Tom & Carol-Ann Cox
Margaret Crichton
Susan Cullen
Keith & Jean Curtis
Winifred Day
Gloria J. Davis
Luigi & Joyce De Somma
Gerry & Kathy Deyell
Stuart & Mary Donaldson
Helga Dressel
Denis & Patricia Duke
Willa & Don Dumka
Dawn & Steven Dyer
Len & Fran Esler
Espial Group, Inc.
Dwayne & Rita Ewanchuk
Frances Ferguson
Gloria Filyk
B. Flood
Cathie E. Foote
& Arthur Frank
Beverley Fujino
Jan Geggie
Bob & Carol Gerein
Gordon & Dorcas Giesbrecht
John Gilpin
Christine & Keith Gingerick
Alan & Jane Glover
Ronald & Helene Goodman
In honour of Pam Grigg
Kent Haidl
Christine Halasa
Elizabeth Hamel
Janet & Don Hatch
Barbara Hay
Scott Hayward
Laurie Hillis
David Hird
& Suzanne Adams-Hird
Lou & Penny Hogan
Aldyth Holder
Gillian & John Hopkins
Blair Howell
& Laura MacDonald
Neil & Sue Huckle
Carolyn & Henry Huisman
John Humphrey
& Laura McLeod
Debbie & Brian Hunt
Eric & Lesley Inthof
John & Judi Jackson
Cristle Jasken
Carol Jensen
Lynn & Je Jewitt
Glen & Joan Johnston
Janice & Barrie Johnson
Edward Juarez
Evelyn Keddie
Brian & Darlene Kelly
Phyllis & Larry King
Maureen Ann & John Kirby
Kraukman Inc.
Kathy Kroeker
Lorne & Pat Larson
Roget & Diana Leach
Travis & Jessie Leigh
Robert & Linda Lesoway
Larry & Corrie Loomes
Frank & Donna Losoncy
Barbara Lough
Diane & Larry Lozinski
Al & Sandy Lucas
Andrew & Emily Lukacik
Lupi Luxury Homes Inc.
Debbie MacDonald
& John Sojak
Hugh & Beverly MacGregor
Beverly MacLeod
Jean Macnab
Karen MacPherson
Evelyne & Harvey Martens
Sepah & Gloria Mazloum
Jim & Donna McDonald
Marilyn Mcelheran
Allan & Lucia McIntyre
Dana & Tonya McKechnie
Howard & Janet McLean
Medley Family
Annette M. Messer
Dr. Julian Midgley
Susan Miller & Al Sosiak
Dr. Lois Milne
Jean L. Mitchell
Barbara and Michael Morin
Jackie & Peter Morgan
Forbes & Margaret Newman
Todd & Jean Nickel
Marilyn & Wayne Niddrie
Dr. Margie Oakander
& Patrick Nyberg
John & Dianne O’Rourke
The Paddon Hughes
Development Co. Ltd.
John & Karen Palmer
Jennifer Paulsen
Debbie Pemberton
Mike & Lorie Pesowski
Louella & Wayne Pethrick
Carolyn S. Phillips
Ross Phillips
William Phillips
Je Pivnick & Jayne Thirsk
Nancy Plato & Paul Thiel
Ronald & Marjorie Potts
Wayne & Susan Ramsden
Del Rath
RBC Foundation
Ian & Cheryl Richmond
Gay Robinson
Peter Robert Rogers
Howard & Karen Roppel
Robert & Rosalie Rudolf
Susan Ruf
T & W Ryder
Doreen Sandercock
Darren & Deanna Sartison
William Scheidt
Ken & Sharon Schoor
Jo-Ann Schwartzenberger
David Severson
Patti & Danny Shannon
Barb & Don Sibbald
Tim & Doris Sidlick
Kelly Smith
Ken & Barb Smith
Paulette & Rick Smith
Penny Smith
Sharon Louise Smith
Luigi & Joyce Somma
John & Anne Spicer
Kelly Stacey
Ray & Pat Stauer
Douglas & Laurie Strother
Nola Stuckert
Glenn Suart & Michele
Chiasson-Suart
Dave & Darlene Swanson
Valerie & Allen Swanson
James & Roberta Taylor
Mark & Linda Thomas
Owen & Dianne Thomson
Lynne J. Thornton
Lynn & Jane Topp
Barbara & Clement
Trenholm
Bill & Carol Twasiuk
United Way of Calgary,
Donor Choice Program
John & Peggy Van de Pol
John & Elizabeth Varsek
VEO Family
Jane Virtue
& Sean McMaster
Jan & Robert Walsh
John & Joanne Watson
Glenda & Keith Wellon
Dennis & Sylvia Wheatley
Bob & Wendy Whyte
Robert V. Whyte
Travis & Jessie Leigh Wilkins
Pat Wilson
George Woodings
Lora & Terry Wyman
Herrat Zahner
Helen & Paul Zeman
Doris Zellweger
Ruth J. Zinck
Andy & Mary-Anne Znotins
Choosing to make a gift in your will is a deeply personal, inspiring and meaningful way
to create your own legacy and continue to ensure the future of something you love,
Theatre Calgary. Philanthropists like you are visionary and are helping Theatre Calgary
continue to perform, while building your legacy and carrying us into our future.
For more information on making a planned gift to the theatre please contact Shirley
Yurchi at 403-294-7440 ext. 1002 or email [email protected]
William R. Blain, Q.C.
Don Boyes
Derek Bridges
Joyce Doolittle
Kay Grieve
David Haigh
Harry Hartley
Margaret Hess, Q.C.
Les Kimber
Jan McCaghren
Victor Mitchell
Barbara Morin
Gerry Nichol
Fred Scott
Lynne J. Thornton
Derek Warren
Nomi Whalen
For more information on
donating to Theatre Calgary,
contact Shirley Yurchi at
403-294-7440 ext 1002 or
Legacy Leaders
Martha Cohen Estate
Jo-Ann De Repentigny
Estate
Barbara Peddlesden Estate
Legacy Visionaries
Paul & Michele Beitel
Denis Couturier
Alex Osten
Norm & Kathy Schachar
Allen & Valerie Swanson
Legacy Circle
Senators
Five-minute
stroll to the
next five-star
act
The next best act after the curtain call is a world-class
performance by our chefs and mixologists at Sandstone
Lounge. Indulge in appetizing late night fares featuring fresh
local ingredients paired with signature cocktails, craft beer or
fine wine. Only five minutes from Theatre Calgary, serving
until midnight.
HYATT REGENCY CALGARY
700 Centre Street SE
Calgary, Alberta T2G 5P6
ymcacalgary.org/plusone
Share and Save at the YMCA with
our
+
ONE Membership!
The YMCA recognizes that there is no typical
household. Households can include two
adults… and parents, grandparents, children
and more! We also know the motivation and
benets that are realized when you can keep
active with a friend or family member.
Share and save with the YMCA’s +ONE Membership. Join
the YMCA, then add one or more members of your household
at a reduced rate. A great member benet, great savings
and a great way to keep everyone in your household active!
Add one or more members of your household
to your membership at a REDUCED RATE!
Add your
partner or your
roommate
+ your parents
+ your son
+ your other
daughter
+ your
daughter
Thank You To Our Sponsors & Partners
Making outstanding productions possible
PRODUCTION & SEASON SPONSORS
THE SCARLET LETTER MEDIA PARTNERS
ACCESSIBLE ARTS SPONSOR
INTERACTIVE LEARNING PROGRAM SPONSORS
OFFICIAL SUPPLIERS
SEASON MEDIA PARTNERS
EMERGING ARTISTS PROGRAM
& SHAKESPEARE BY THE BOW
ARTISTIC CHAMPIONS SPONSOR
2019 GALA SPONSORS
W.O. MITCHELL ROOM SPONSOR
For more information on sponsorship opportunities, please contact Sarah Hughes,
Associate Director of Partner Relations: 403-294-7440 ex 1056 [email protected]
STRATEGIC
COMMUNITY PARTNERS
