About the play
A domestic tragedy involving a secret pregnancy, a bigamous marriage, a desperate attempt to save a family from financial ruin… a city comedy where a young man turns to the occult to win the affection of the source of his unrequited love…a torn-from-the-headlines story of the ‘witch’, Elizabeth Sawyer, an elderly woman who was hanged for witchcraft in 1621; Alistair Newton’s adaptation takes place in the villages of Andover and Salem, Province of Massachusetts Bay in 1692.
- August 10, 7:30pm
- August 12, 7:30pm
- August 14, 7:30pm
- August 18, 7:30pm
- August 20, 7:30pm
- August 21, 1:30pm
Youtube Live Broadcast
~ 2 hours
Free Admission, donations to our COVID19 Student Emergency Fund accepted.
Adapted and Directed by ALISTAIR NEWTON*
Alistair Newton is a director of theatre and opera, as well as an educator, dramaturge, and Dora nominated playwright. Selected directorial credits include productions for Canadian Stage (King Lear, Love and Information), Buddies in Bad Times Theatre (Of a Monstrous Child: a gaga musical), and the Philadelphia International Festival of the Arts (Bella: the colour of love). Alistair is an alumni of the Canadian Opera Company’s Ensemble Studio Program, and the Shaw Festival’s Neil Munro Intern Directors’ Project.
As an educator, Alistair previously directed Neil Bartlett’s adaptation of Wilde’s The Picture of Dorian Gray for George Brown Theatre School, and he has also created productions for Randolph Academy, and the Fountain School at Dalhousie University. Alistair is a member of the Directors’ Lab of Lincoln Centre Theater, and holds a BFA from the University of Victoria and an MFA though York University and Canadian Stage’s joint program in stage direction. Alistair recently collaborated with production designer Mary Kerr on an article for the current issue of Theatre Research in Canada.
2021 marks the 400th anniversary of the premiere of The Witch of Edmonton, and — as anyone who has celebrated one recently can attest — now is surely a strange and singular moment for a birthday.
The Witch of Edmonton represents the work of (at least) three writers, namely Thomas Dekker, John Ford, and William Rowley. Perhaps appropriately then, the play contains three distinct plot threads, with two of the three being entirely fictional, and the third based on contemporary events: firstly, a domestic tragedy involving a secret pregnancy, a bigamous marriage, and a desperate attempt to save a family from financial ruin, secondly, a city comedy where a young man turns to the occult to win the affection of the source of his unrequited love, and lastly the torn-from-the-headlines story of the titular ‘witch’, Elizabeth Sawyer, an elderly woman who was hanged for witchcraft in a suburb outside London in 1621.
The society presented by Dekker, Ford, and Rowley in The Witch of Edmonton is one of gossip and paranoia, false piety and hypocritical moralism. It is also one in which the landowning rich establish the social order while shirking their paternalistic duty for charity, leaving the poor with little agency. My adaptation shifts the action from the somewhat remote Jacobean witch-craze, to the more familiar Province of Massachusetts Bay in 1692, and the village of Andover. Though the location we are much more familiar with from this time and place is certainly Salem — largely because it was the sight of the infamous trials which claimed the lives of fourteen women and five men (and two dogs) between June and September of 1692 — nearby Andover actually saw the highest number of accusations; in a village of less than 600 people, one in fifteen would eventually be accused of diabolical sorcery. The Puritan world view mutated into an even more rigid and condemnatory strain of radical Protestantism over the decades and miles that separate 1620s Edmonton from 1690s Andover, and so our production’s conceptual lens also serves to raise the play’s stakes while staying true to the germ of its original politic.
Among the many probing and disquieting questions the play poses is this: to what lengths would each of us go in order that we might save a parent from ruin, win a crush’s affection, or defend ourselves from the brutality of an unjust society. Were the offer to be made, would we forge an infernal compact if the walls were ever to truly close-in on us?
The term ‘witch hunt’ is never truly absent from the public discourse, but in recent years former President Trump made it unavoidable as it appeared in tweet after maniacal tweet — over eighty during the Mueller investigation alone. In her 2020 book The Witches are Coming, author Lindy West speaks to the many ways in which Trump both misappropriates the term’s intended meaning, and ignores its very real historical implications. In Trump’s usage, it would seem as though ‘witch hunts’ were, in fact, a hysteria of the powerless persecuting the powerful. As we well know, though, the true ‘witches’ among us have always been the outsiders, the misunderstood and marginalized, a truism that makes the aforementioned 400 years contract, and allows a murdered Jacobean ‘witch’ the chance to reach across time and offer us her hand in solidarity.
I wish to extend profound thanks to Peter Hinton-Davis and Professor David Dean for their inspiration and insights throughout the conception and creation of this production.
July, 2021 (COVID-19 Pandemic, month 16)
Michael Panich* - Stage Manager
George Brown Theatre School: Three Sisters & Co, Metamorphoses, Planet Munsch, You Never Can Tell, Munsch Goes to School, Munsch-o-Mania, Munsch All Over, A Midsummer Night’s Dream.
Elsewhere: Suddenly Shakespeare, A Midsummer Night’s Dream (Shakespeare in Action), The Rainbow Fish, Stella-Queen of the Snow (Mermaid Theatre of Nova Scotia), Stories from Ovid’s Metamorphoses (Theatre Smith-Gilmour), The Hound of the Baskervilles (Lighthouse Festival Theatre), Canada in Love, Remember that Song, The Legend of Dan McGrew (Smile Theatre). Michael graduated from Concordia University’s theatre program in 2008. In addition to stage managing, Michael is also a production manager, actor and set/light designer.
Jackie Chau - Set & Props Design
Jackie has worked as a set and costume designer and her work has toured internationally. In addition, she is a production designer and art director for film and television. Selected theatre design credits include: Sexy Laundry (Theatre Aquarius) Annie Mae’s Movement, Almighty Voice and His Wife, Tombs of the Vanishing Indian, From Thine Eyes, HUFF (NEPA), Antigone Insurgency, Talking Masks, Charge of the Expormidable Moose, Ubu Mayor, S/W (One Little Goat), Gas Girls (New Harlem Productions), Romeo and Juliet (TD Dream in High Park/Can Stage), Zadie's Shoes, Lady Sunrise (Factory Theatre), Brown Balls (Fu-Gen), The Swearing Jar (Prairie Theatre Exchange), Fish Eyes Trilogy (GCTC), Canada 300 (Watermark Theatre), Cannibal the Musical (Starvox Entertainment),Twist Your Dickens (Second City Chicago/Toronto), Mini Me Makeover – Designer and Co-host (CBC Kids/Expect Theatre), Moment, Dissidents, Oil (ARC Theatre), Cowboy Versus Samurai, 39 Steps, Oraltorio (Soulpepper) and The Komagata Maru Incident (Stratford Festival). Jackie was named in NOW magazine's Top 10 Theatre Artists of 2009, nominated for the Virginia and Myrtle Cooper Award in Costume Design, nominated for a Saskatoon Area Theatre (SAT) award, 2 Broadway World awards and has received 8 Dora nominations for outstanding set and costume design. This is Jackie's 14th year designing for the George Brown Theatre.
Siobhán Sleath - Lighting Design
Siobhán is happy to be back at George Brown Theatre to design 3 Sisters & Co. She’s also worked with the School on The Learned Ladies, Caucasian Chalk Circle, Machinal, Cavalcade, Lady Windermere’s Fan and three Munsch Shows. Other recent shows include: Ann (Arkansas Rep Theatre), The Horse and His Boy, Wilde Tales (Shaw Festival); Miracle on 34th Street, A Year with Frog and Toad, Shrek and The Addams Family (Neptune Theatre); Steel City Gangster and On a First Name Basis (Theatre Aquarius); Les Liaisons Dangereuses and Avenue Q (Sudbury Theatre Centre; and Elegies: A Song Cycle (Acting Up Stage). She is the Associate Lighting Designer on the Canadian production of Come from Away. More information can be found on her website: www.siobhansleathdesign.com
Anna Treusch - Costume Design
Originally from Ottawa, Anna is now a Toronto based Set and Costume Designer for Theatre, Opera and Musical Theatre. She has worked with such companies as CanadianStage, Nightwood, Banff Centre for the Arts, National Arts Centre, Young People’s Theatre, Against the Grain, Coal Mine Theatre, Common Boots, Obsidian Theatre, Factory Theatre to name a few. A recipient of two Dora awards, Anna has also been nominated for The Pauline McGibbon Award and the Virginia Myrtle Cooper Award. She is a proud member of Associated Designers of Canada, ADC659 and IATSE 828.
Steafan Hannigan – Video Designer/Streaming Tech Coord.
Steafan was born and raised in Belfast, Northern Ireland and moved to Canada nearly 12 years ago with his Wife Saskia and 3 children Oisin, Eile and Ayisha.
He has a background in theatre and has held many interesting positions: Technical Director, Musical Director, Head of Props, Head Carpenter, Lighting Designer, Sound Designer, and actor. Previously he worked as a Technical Director for many companies including Jumblies Theatre, Education Arts Canada and Festival Players.
He has also had an interesting career as a musician having composed the music for a 24-episode animated series which aired worldwide in 2015, worked with a diverse range such as Bjork, Depeche Mode, Loreena McKennitt and AfroCelts He has also appeared on MTV, BBC and CBC. Along with his wife Saskia, he was hired to work on developing the hit theatre show “Come from Away”.
And yes rumours are true, he arranged music for and appeared on the hit T.V. series “Friends” – the one with Ross’s wedding, acted in Canadian show “Coppers” and been a session musician on “Black Harbour”, “Relic Hunter ” and “Earth Final Conflict”.
He has played or produced over 200 albums, toured in over 30 countries and still has a recording studio and a collection of over 800 musical instruments. He is an author of “The Bodhran Book” and “The Low Whistle Book” both best sellers in their genre. He and his family also formed a band called Clan Hannigan
He regularly volunteers for ArtsCan Circle, working with Indigenous communities in Northern Ontario, specializing in working with the Pikanjikum First Nation and Project Journey.
Michael Man - Text Coach/Assistant Director
Michael Man is an actor and theatre educator. He previously co-facilitated Crossing Gibraltar, a month-long arts program promoting access for newcomer, refugee, and IBPOC populations, offered by Cahoots Theatre. His work diversifies narratives of East Asian diasporic peoples and confronts existing power structures in theatre making. His current research is on translations of Chinese theatrical text of the late imperial dynasties, to expand the familiarity of Chinese literary content and to emphasize its wealth. His past experience as the Business Manager of fuGEN Theatre, a company devoted to producing works exploring Asian Canadian experiences, informs his artistic practice.
He has acted on stage and screen. Selected theatre credits include: Victory, Cyrano de Bergerac (Shaw Festival); Lear, Twelfth Night, As You Like It, Titus Andronicus (Canadian Stage); Julius Caesar, Much Ado About Nothing (St. Lawrence Shakespeare Festival); Measure for Measure, Duchess of Malfi (Shakespeare Bash’d); A Midsummer Night’s Dream (Chekhov Collective); Christmas Carol (Grand Theatre); Birds and the Bees, The Jungle Book (Magnus Theatre); Snow Queen (Sudbury Theatre Centre); 彼岸 The Other Shore (Gateway Theatre, workshop).
Michael is a graduate of George Brown Theatre School and Queen’s University.
Sarah Flanigan – Assistant Stage Manager
Sarah is a Toronto based Stage Manager/Assistant Stage Manager. She is a graduate of Queen’s University with a BA Honours degree in Drama, and is thrilled to be back at work as an ASM for George Brown. Favourite credits include: Concord Floral (Theatre Kingston/Queen's University), Crow Hill: The Telephone Play (4th Line Theatre), and Carmel (4th Line Theatre).
Matthew Dolmage - Sound Designer
Matthew Dolmage is a lawyer and musician living in Victoria, British Columbia with his wife Julia and parrot Eddie. As a musician and sound designer, he has released two LPs and an EP with his band Versa, and produced the debut LP of Montreal-based band Les Monstres Terribles, as well as producing over 400 episodes of the popular sports podcast "The Hockey PDOCast with Dimitri Filipovic". He has collaborated with director Alistair Newton on a number of projects over the years, including the Victoria Fringe Festival production of "Woycek Songspiel" and the George Brown Theatre School production of "A Picture of Dorian Gray”.
Aaron MacPherson - Cuddy Banks
Aaron Macpherson is a Toronto-based actor and musician originally from Guelph Ontario. Having discovered his love of theatrics through cartoons and silly voices, he pursued his passions at George Brown Theatre School where he is entering his graduating year. Some of his favourite theatre school credits include: Cheryl’s Dad (Planet Munsch), Flores (Fuente Ovejuna), Miss Prism (The Importance of Being Earnest), and Murderer 2 (Richard III). Recently completing the Voice Acting Foundations certificate at George Brown College, Aaron aspires to one day voice a superhero. He spent much of quarantine producing his own original cooking show, and is actively writing his first play. Aaron has a love of children’s theatre, touring productions such as Treeboy (Theatre Orangeville) and New Canadian Kid (John F Ross CVI). Aaron is interested in exploring the world of film and TV and hopes to one day have a lego minifigure of himself. Instagram: @aaron.macpherson1.
Adrian Marchesano - Warbeck/Ratcliffe
Adrian hails from Oakville, Ontario and is excited to be performing in his final year at George Brown Theatre School. For as long as he can remember, the arts have always been a part of his life; from his beginnings in community theatre to professional productions, Adrian continues to pursue his passion as an actor. Before George Brown Theatre School, he had studied Dramatic Arts at Brock University, graduating with a Bachelor of Arts. Some of his favourite roles include: Pantalone (Pantalone’s Palace), Nicholas (One for the Road), John Worthing (The Importance of Being Earnest), and Archbishop (Heresy of Love). Adrian would like to thank his family and friends for their unyielding love and support.
Aidan Holden-Jones - Katherine Carter/3rd Watchman/1st Puritan
Aidan is a Toronto-based actor, part-time singer, and full-time goof, originally from London, Ontario. She is so honoured and excited to be performing alongside this amazing cast of people she calls family! Aidan is so lucky to have been around the theatre her whole life, and cannot thank her parents and partner enough for their endless support (and a special thanks to Mum for her guidance and wisdom). Aidan has a deep love for voice work and animation, as well as classical theatre, and has a huge passion for dialects! She hopes someday to complete a master's degree to become a dialect coach.
Some of her favourite roles at George Brown include:
- Marcella (Don Quixote)
- Doña Ana (House of Desires)
- Lady Windermere (Lady Windermere’s Fan)
- Hermia (A Midsummer Night’s Dream)
Another huge thank you goes to the coaches and teachers at George Brown who have helped her grow and learn so much over these hectic years. IG: @aidanhojo
Alea Carrington - Winnifred/Sawgut/Ann Ratcliffe
Alea Carrington is a Toronto-based actor, dancer, musician and choreographer. Growing up in Victoria BC, she began dancing at the age of 3 and started performing in community theatre soon after. Her fondest memories of high school drama involve working on devised theatre and exploring self expression. She moved to Toronto to pursue her acting career at George Brown Theatre School where she has performed some of her favourite rolls such as Disillusionment (Bandit Queen), Juanita (Heresy of Love), Taylor Jae (Planet Munsch), Lady Chiltern (An Ideal Husband) and Izzy (Dreary and Izzy).
Alea has studied film/tv both in Vancouver and Toronto, and continues to look for ways to expand her creative abilities. Outside of acting Alea is an avid photographer and is always ready for a good adventure.
Cooper Bilton - Old Carter/Constable
NEXT GEN PROFILE BIO: Cooper Bilton is from Brantford, Ontario where he discovered his love for acting at age eight. He continued pursuing performance through high school, receiving 3 awards of excellence & a scholarship to a two week Shakespeare intensive at the Stratford Festival from the National Theatre School Drama Festival.
SELECTED THEATRE: George ‘The Second Self ’ (Edmonton/London Fringe), Gatsby ‘The Great Gatsby’ (Paris Performers), Tyler ‘Doing Our Bit’ (Sanderson Centre), Peter ‘Peter Pan’, Alan A. Dale ‘Robin Hood’, & Tweedledum ‘Alice In Wonderland’ (Bell Summer Theatre Festival), & Paperboy ‘Dracula, A Love Story’ (Casa Loma/Brant Theatre Workshops)
GEORGE BROWN HIGHLIGHTS: John Merrick ‘The Elephant Man’, Mercer ‘A Line In The Sand’, Iago ‘Othello’, Occident ‘Divine Narcissus’, & Commander ‘Fuente Ovejuna’. ONLINE: Algernon ‘The Importance Of Being Earnest’ (Theatre Orangeville), & Stephen ‘Indisposable’ (Grandview Theatre). Wonderful mentors at GBTS have had a lasting impact on Cooper and he is excited to share everything he has learned.
GEORGE BROWN SEASON BIO:
Cooper Bilton has had the opportunity to perform in many places including Long Beach, California & New Orleans, Louisiana. Before enrolling at GBTS he attended a two week Shakespeare intensive at the Stratford Festival on a scholarship from the National Theatre School Drama Festival.
Cooper dedicates this season to his Aunt Carla & Uncle Greggy for their generosity, support, and love.
You can find him on Instagram @cooperbilton & YouTube @ETCfilms.
Elyssia Giancola - Widow Banks
Elyssia is thrilled to (finally!) be performing this season with her most wonderful colleagues. Born and raised in Brampton, ON, Elyssia got her first acting role when she was cast as Rover the Dog in her elementary school’s production of Cinderella. She’s since gone on to win a Brampton Arts Council Award for her portrayal of Shelby in Steel Magnolias and earn a Bachelor of Arts in English and Professional Writing from York University.
Elyssia has continuously trained as a dancer and is a certified instructor in both jazz and tap dance. When she is not performing, Elyssia loves reading mystery novels and playing along with Jeopardy! from the comfort of her living room —especially the Shakespeare categories!
A giant thank-you to all the faculty that have guided heron this wacky and wonderful journey. GBTS performance highlights include Doña Leonor (House of Desires), Beauty (The Bandit Queen), Goose (Planet Munsch), and Elizabeth (Richard III).
IG: @elyssia_g/Twitter: @ElyssiaG
Henry Oswald Peirson - The Dog
Henry Oswald Peirson is a Toronto-based actor, creator, musician, and clown originally from Guelph, ON. Growing up amidst a hodgepodge of community theatres, choirs, musicians, and poets, he began acting at the age of nine and quickly grew fond of theatre for young audiences, Brechtian theatre, and collective creation.
He has completed the Voice Acting Foundations certificate from George Brown College and is in his graduating year at George Brown Theatre School where he's created and performed such roles as: Natasha 2 (Three Sisters & Co.); Rocinante the Horse (Don Quixote); Officer (Planet Munsch); Oscar Wilde (Gross Indecency); and Nurse (Romeo and Juliet).
Other recent credits include Missing Links (Theatre by the Bay), The Second Woman (Harbourfront Centre), and a clown turn in the online family event “Mission Jolly”. When not performing,
Henry enjoys reminiscing at the piano, building random spreadsheets, and diving into his ever-growing fascination with Cirque du Soleil.
Isaiah Wagner-Chazalon - Sir Arthur Clarington/1st Watchman
Originally from the trees and lakes of Muskoka, Ontario, Isaiah is a Toronto-based actor, singer, songwriter, and stage-combat enthusiast. Having been involved in a number of shows and improv troupes (including 3 nationally competitive teams) during his time in cottage country, Isaiah spent two years studying acting and theatre history at York University before making the shift to George Brown Theatre School. He is very excited to continue working and studying techniques of acting and stage-combat in both theatre and film. His selected George Brown highlights include: Gerald (A Woman of No Importance) Don Pedro (House of Desires) Cassius (Julius Caesar) Dauphin (Saint Joan) and the Dragon (Planet Munsch). Isaiah has nothing but endless praise and thanks to give to his family, friends, and instructors at George Brown Theatre School.
Katie Wise - Widow Thorney
Katie Wise is a Sudbury born actor who is greatly looking forward to completing her thor year of Studies at George Brown College in 2021. She wrote and pieced together several pieces for her second year scene studies at George Brown including a reworked devise piece of Gross Indecency: The Three Trials of Oscar Wilde by Moisés Kaufman , as well as transitory scenes for a condensed version of Sor Juana Ines de la Crus’ play House of Desires.
Select George Brown credits include: Mrs. Cheveley (An Ideal Husband), Sor Juana Inés de la Cruz (The Heresy of Love) .
Select YES Theatre credits include: Spider (James and The Giant Peach) , Merrily we Roll Along, Young Violet (Violet).
Kay Wong - Frank Thorney
Kay is a Chinese-Canadian actor, singer, and writer born and raised in Scarborough, Ontario. Kay began his love affair with the performing arts as a member of the Canadian Children's Opera Company, singing classical choral works in the city and on tour in Europe as well as acting in productions such as East o' the Sun and West o' the Moon and A Dickens Of A Christmas. He would later also grow to love improv, competing in the Canadian Improv Games and working a co-op with the Second City facilitating school shows and co-leading improv workshops. Recent GBTS highlights include:
- Chorus and Contributing Musician (Three Sisters & Co.), The Crow and The Prince
- (Planet Munsch), Father Antonio (The Heresy of Love), Jack Worthing (The Importance of Being Earnest).
The theatre community has always helped Kay to grow both as a professional and as a person, and he is excited to give back as well as push the boundaries of what's possible for Asian-Canadian artists.
Say hi to Kay at KayWongBusiness@gmail.com or @kaywongofficial on Instagram.
Maisie Fleur - Susan Carter/Magistrate
Maisie Fleur is a British-Canadian artist, raised in Oakville Ontario and born in the UK. She is thrilled to be a part of the resilient graduating class of 2021. Select George Brown credits include Celia (House of Desires), Deirdre (Dreary and Izzy), Elizabeth (Richard III), Mrs Erlynne (Lady Windermere’s Fan), and Cheryl/Violinist (Planet Munsch). Other select theatre includes solo shows I, Claudia, and The Shape of a Girl; Rona Lisa Peretti (25th...Spelling Bee), Erma (Anything Goes), and Daisy (Turtle Beach). When not in the studio, Maisie is an avid quilter and auntie. She is grateful to all who have supported her during her time in training.
Mia Hay - Mother Sawyer
Mia Hay is a young actress hailing from the East Coast of Canada. It was there that Mia started her career performing new works and works in development at the Notable Acts Theatre Festival and touring TYA with companies such as Theatre New Brunswick. It has been an absolute joy and dream come true to train at George Brown Theatre School and be surrounded by such wonderful and talented peers these past two years.
Some of her favorite credits from George Brown include Izzy in Dreary and Izzy, Sebastiana in Heresy of Love, Emelia in Othello, the Paper Bag Princess in Planet Munsch, and Lady Bracknell in the Importance of Being Earnest.
To keep up with Mia and her career as it develops you can follow her on Instagram at @ms.miahay
Samer Dagher - Somerton/2nd Watchman
Born in Beirut, Lebanon and raised in Amman, Jordan. After moving to Toronto in August 2017, Samer decided to pursue his passion for acting and theatre. He develops and hones his love for performance and storytelling through different mediums, such as writing and spoken word poetry in Arabic and English. He also enjoys exploring the roots and traditions of both Eastern and Western culture and applying them to his work and activism. He is endlessly grateful and thankful for the continuous support and love of his mother.
Favourite Scene Study Highlights include:
- Ilhan (Boy Play)
- Man (The Treatment)
- Lord Goring (An Ideal Husband)
- Zeal (Divine Narcissus)
- Duke Octavio (Don Juan and The Trickster of Seville)
Credits & Acknowledgement
- Properties Master: David Hoekstra
- Assistant Director: Michael Man
- Assistant Stage Manager: Sarah Flanigan
- Streaming Tech Coordinator: Steafan Hannigan
- Set Carpenter: Andy DeVries
- Production Intern/Assistant Carpenter: Rhett Costin
- Set painter: Paul Boddum
- Wardrobe Assistant: Jennifer Jakob
- Stitcher: Victoria Banjavcic
- Stitcher: Gwyneth Whalen-Hughes
- Movement Coach: Jack Rennie
- Voice Coach: Christina Pastor
- Speech Coach: Geoffrey Pounsett
- Musical Coach: Stephan Ermel
- Alexander Technique Coach: Victoria Heart
- Text Coach: Michael Man
- Social Media Coordinator: Olivia Cameron
Staff for George Brown Theatre
- Chair: Trent Scherer
- Program Coordinator: Sue Miner
- Support Coordinator: Michael Longstaff
- Production Manager/Technical Director: Scott Banks
- Production Assistant: Tim Moore
- Head of Wardrobe: Ina Kerklaan
Special thanks to our generous donors
- The William & Nona Heaslip Foundation
- Sonja Koerner and the Women’s Art Association
- Loretta Bogert-O’Brien
- Esther Farlinger
- Larry LaForet
- Audrey J. Murdoch
- Ray Wares
- Lu-Ju Chou
- George Brown Seniors’ Association
- Cindy Larable
- Debbie Read
Thank you to our friends in the community
- Cindy Bautista and the George Brown College Marketing Department
- Ashley Harychan, Vibalin Padua, Yun Lin, and Arleen Prudenciado (George Brown College Accounts Payable)
- Megan Woods and Soulpepper Theatre Company
- Robert Scott (Canadian Actors’ Equity Association)
*The participation of these Artists is arranged by permission of the Canadian Actors’ Equity Association under the provisions of the Dance.Opera.Theatre Policy (DOT).