March/April 2019 - Mirvish
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March/April 2019
DAVID MIRVISH presents
HARD-TO-GET a co-production with ROYAL MANITOBA THEATRE CENTRE
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By LUCAS HNATH
Directed by KRISTA JACKSON
starring
PAUL ESSIEMBRE
DEBORAH HAY
KATE HENNIG
BAHAREH YARAGHI
Set & Costume Designer TERESA PRZYBYLSKI
Lighting Designer MICHAEL WALTON
Sound Designer MICHAEL WRIGHT
Stage Manager LESLIE WATSON
Assistant Stage Manager KATHERINE DERMOTT
Video effects created by ERIC DIZON
Original music composed by JOHN GZOWSKI
Originally produced on Broadway by Scott Rudin, Eli Bush, Joey Parnes, Sue Wagner,
and John Johnson. Commissioned and first produced by South Coast Repertory.
A DOLL’S HOUSE, PART 2 is presented by special arrangement with
Dramatists Play Service, Inc., New York.
*Purchase must be charged in full to an American Express Card. Subject to availability and to event and ticketing
agent terms, conditions and fees. Not all seats are available. All sales are final. No refunds. No exchanges.
TM ® Used under license from American Express. Copyright ©: AMEX Bank of Canada, 2017.
Q&A WITH PLAYWRIGHT there were a lot of arguments in my play
that some of the scholars thought would “...it’s a play about how
LUCAS HNATH
actually give whatever critique they had
of Nora’s argument to Anne-Marie and it much we’ve changed,
made the debate better. and how much we
How did you decide that the cast would haven’t, in terms
be these four particular characters?
All of the things that were debated and
negotiated in A Doll’s House are still I tried out a number of other characters,
of thinking about
topics that are debated and negotiated but those four offered the most essential equality between men
now. So one of the first ideas that I had and unique points of view. It felt
necessary to have a character who’s
and women.”
about A Doll’s House, Part 2 is it’s a play
about how much we’ve changed, and how basically a footnote in the original,
but is extremely significant, which is a cluster of essays in front of his plays.
much we haven’t, in terms of thinking
Anne-Marie. She was in a position to Getting Married has a couple of essays
about equality between men and women.
I was reading a lot of Charlotte Perkins most directly deal with the fallout from that very strongly inform Nora’s big
Gilman, who wrote The Yellow Wallpaper Nora’s leaving. Then of course Torvald opening speech about marriage. I often
while working on the play. She wrote a had to be there. Nora has three kids, and try to find arguments that I don’t really
PHOTO BY REBECCA MARTINEZ.
great deal of feminist theory and she had at some point I entertained the notion agree with, try to put those arguments in
a really interesting line saying, when you of having all three, but then it started my own words, and try to make them as
hear a school teacher, nurse, secretary to come off as fussy, and I was most convincing as possible. That tends to be
— she listed a bunch of occupations — interested in — as opposed to having — the relationship between the plays and
the first thing that anybody imagines is the daughter. what I do or don’t believe.
a woman. She goes on to say that she’s This is in many ways a play about
How did you create a play that could Nora asks herself at the end of A Doll’s
looking forward to the day when you can marriage. How did your own thoughts on
be understood relationally but also House, “If I’m left to myself, what do I
say one of those titles and a woman is not marriage influence your work?
independently of the source text? want for myself?” What is your current
the first image that pops into the mind. The argument that Nora makes at
The setup is there’s a woman who left answer to that question for yourself?
She’s thinking about certain limitations the beginning about predicting and
her family 15 years ago. That’s kind of I’m very, very happy to just always be
in terms of how women are perceived. advocating for a world in which there’s
the only information you need. The play spending my time making something.
At a certain point, I brought the play in no marriage, in which the lines aren’t
doesn’t get into much about the specifics I want to be writing a play. I want to be
conversation with a number of feminist drawn between couples, that’s something
of the plot that motivated her to leave. in the rehearsal room. My least favourite
scholars and asked them to take a look I’ve never really been able to understand.
There aren’t really winky references at the play and counter-argue anything thing is actually watching any of my
My interest in the arguments in the
to the original. It seemed necessary that gets said in it. One of the questions I plays because then I’m not getting to
play does not necessarily have to do
that I write the play in a way that did asked at one point was, “It was shocking actually do anything and having to just
with what I believe, but with what I
not require knowledge of the original, for Nora to leave her children at the end sit there passively. I’m happiest when I’m
don’t understand. I don’t understand
otherwise it would turn into some kind of of A Doll’s House, but if it were written writing, and in the rehearsal room, and in
Nora’s initial argument; I have a hard
inside theatre joke. now, what would be the shocking time relating to it. When I’m writing, the midst of making or rewriting.
Ibsen didn’t necessarily consider A Doll’s ending?” The response was, “Well that’s I try to find examples of people who
House a feminist text, but it’s come to be still the shocking ending! That’s still very convincingly make some of Interview by Sarah Rose Leonard, Literary
one over the years. How have you entered something that is unthinkable.” That was those arguments. Manager of Berkeley Repertory Theatre
the conversation on feminism that actually very helpful to hear. I think I George Bernard Shaw wrote a play (Berkeley, CA), and is reprinted with permission
surrounds Ibsen’s play? had gotten quite numb to the shock. And called Getting Married. Shaw often has from The Berkeley Rep Magazine, Sept 2018.
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DIR E CTO R ' S N OT E S T HE CAST
BY K R I S TA J AC K S O N Paul Essiembre. . . . . . . . . . . . . . . . . . . . . . . . . . . . TORVALD HELMER
A
hundred and forty years after Ibsen wrote A Doll’s House and Nora’s Deborah Hay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .NORA HELMER
slamming door reverberated throughout the world, American
playwright Lucas Hnath penned Part 2. It sounds like a movie sequel. Kate Hennig . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ANNE-MARIE
He plucks Nora, Torvald, Anne-Marie and Emmy out of 1879 and puts Bahareh Yaraghi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EMMY
them in the ring together fifteen years later. His idea was audacious and the
play has taken the world by storm.
SETTING
American theatre artist and teacher Stella Adler suggests that any points Norway. Inside the Helmer house. 15 years since Nora left Torvald.
Ibsen’s characters score end up in the hands of you, the judges. She says,
“Ibsen always has two points of view on the stage in his characters. One says
‘I believe this’ and the other says ‘I believe that.’ The audience listens to both
sides, but there is usually no way to resolve an Ibsen idea”.
A Doll’s House,Part 2 has a running time of 90 minutes,
with no intermission.
I am a geek for Henrik Ibsen and I am in awe at how Hnath manages to be
simultaneously irreverent and loyal to the father of realism. He cleverly uses
The use of any recording device, either audio or video, and the taking of photographs,
the original as a springboard to create a forum to continue the never-ending either with or without flash, is strictly prohibited. Please turn off all electronic devices
debate on marriage, parenting, duty and love. such as cellular phones, beepers and watches.
But as you will hear, he frees them in his own modern American vernacular.
While set in 1894 Norway, Hnath’s contemporary dialogue catapults them to
meet us right here, right now. In doing so, he asks us, will history continually
repeat itself? Can society progress?
Part 2 is calling us to a better future, as Ibsen was. This family is still trying
to box with the laws of society and to move forward as individuals. He
exposes their hopes, needs, feints and struggles and shines a light on our
responsibility to one another and ultimately to ourselves.
Hnath gives us the opportunity to think and laugh and take sides and agree
or disagree with each of his characters at one point or another in the play.
Their gloves are on. Enjoy the match!
PAUL ESSIEMBRE AND DEBORAH HAY. PHOTO BY LEIF NORMAN.
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THE COMPANY
PAUL ESSIEMBRE in Othello and Beatrice in Much Ado
Torvald Helmer About Nothing at Stratford; Canstage’s
Previously with Mirvish: production of London Road. She’ll
The Heart of Robin Hood, return to Shaw to play Roxanne in Kate
The Audience (both with Hennig’s adaptation of Cyrano.
Royal MTC), and Stuff
Happens (with Studio 180). Elsewhere: KATE HENNIG
Four seasons at The Stratford Festival, Anne-Marie
and over 60 productions across Canada. Kate Hennig is an
Some favourites include Shakespeare actor, playwright,
in Love and A Few Good Men (Citadel/ teacher, director, and
RMTC); The Man Who Shot Liberty the Associate Artistic
Valance and Unnecessary Farce (RMTC); Director of the Shaw Festival. She has
The Duchess of Malfi and The Odyssey performed on Broadway, with the RSC,
(Stratford); The Normal Heart and The with the Stratford and Shaw Festivals,
Overwhelming (Studio 180); Butcher and in regional theatres from Vancouver
and The Best Brothers (PTE); Le Dîner de to PEI. Her plays, The Last Wife and The
Cons and Le Bourgeois Gentillhomme Virgin Trial have enjoyed critical and
(TFT); and Picasso at the Lapin Agile popular success, and Mother’s Daughter,
(Centaur). Paul also has more than 60 the next in the series, premieres
film and television appearances, and has this summer at Stratford. Also, this
worked extensively as a voice artist in summer, Kate’s translation/adaptation
documentary narration, animated series of Cyrano de Bergerac premieres at
and commercial voice-overs. the Shaw. You can find out more about
Kate’s varied career on her website:
DEBORAH HAY www.katehennig.com
Nora Helmer
Deborah is delighted to BAHAREH YARAGHI
join the Mirvishes. She Emmy
has performed many Bahareh was most
seasons at the Stratford recently seen playing
and Shaw festivals, and in theatres the role of Mrs. Cheveley
across Canada and the US. Recent work in An Ideal Husband
includes Katherina in Stratford’s Taming at Stratford Shakespeare Festival.
of the Shrew; Goneril in Groundling Other credits include: Shakespeare
Theatre’s King Lear; Jadis in The In Love (Citadel Theatre/The Royal
Magician’s Nephew and Grushinskaya in MTC), Julius Caesar, The Aeneid
Grand Hotel at Shaw; and three seasons (Stratford), Salt-Water Moon (Why
as Catherine Cardinal on CTV’s Cardinal. Not Theatre/Factory), Death of the
Some favourites: Billie Dawn in Born King, Blood Wedding and Hallaj
Yesterday, Sally Bowles in Cabaret, Eliza (Modern Times Stage Company); Le
Doolitle in My Fair Lady at Shaw; Emilia Placard and Les Zinspirés 2 (Theatre
HÄAGEN-DAZS TRADEMARKS REPRODUCED UNDER LICENSE BY NESTLÉ CANADA INC., NORTH YORK, ON M2N 6S8.
PB mirvish.com mirvish.com 9
Français deToronto); Unholy and HER2 KATHERINE DERMOTT KRISTA JACKSON MICHAEL WALTON
(Nightwood); Kiss (Canadian Stage/ Assistant Stage Director Lighting Designer
Theatre Smash/ARC); Moment, Pomona Manager Krista is the Associate Artistic Director Michael Walton is a Canadian lighting
and Bea (ARC); Minotaur (YPT); The Selected theatre credits of the Royal Manitoba Theatre Centre designer currently based in Stratford, ON.
Kite Runner (Theatre Calgary/Citadel include It’s a Wonderful and Artistic Director of zone41 theatre. Recent designs include: Così Fan Tutte
Theatre). Bahareh is a six-time Dora Life: The Radio Play, Di She has received the Gina Wilkinson (Canadian Opera Company); Tartuffe
Mavor Moore Award nominee and she is and Viv and Rose, Outside Mullingar, Prize and the Stratford Festival Jean (Canadian Stage); The Rocky Horror
a resident artist at ARC in Toronto. The Audience (with Mirvish); Brontë: Gascon Award. Directing credits include: Show, The Music Man, The Tempest,
The World Without, Paradise Lost, Dancing at Lughnasa (Shaw Festival); Guys and Dolls, Hamlet, A Chorus Line,
LESLIE WATSON Macbeth and The Hypochondriac. Sense and Sensibility, Morning After Oedipus Rex, Othello, Fiddler on the
Stage Manager Festival Theatre Production Assistant Grace, Private Lives, The Seagull, (Royal Roof, Henry V, Twelfth Night, Macbeth
Leslie Watson is a (Stratford); Wilde Tales (Shaw); MTC); The Lion in Winter, Fly Me to (Stratford Festival); The Full Light of
Winnipeg-based Stage 1979 (Shaw/GCTC); Twelfth Night the Moon (Grand Theatre); Associate Day (Electric Company); Jenufa, Maria
Manager who has (Shakespeare BASH’d); Anne & Gilbert: Director: All My Sons (Stratford Festival). Stuarda (Pacific Opera); Chimerica (RMTC
worked in theatres across The Musical, Alice Through the Krista is an alumna of Ryerson Theatre & Canadian Stage); Yoshimi Battles the
Canada for the past 14 years on over Looking-Glass, The Sound of Music, School and called Toronto home for 16 Pink Robots (La Jolla Playhouse). Michael
60 productions. Favourites include: Pacino One Night Only (NAC); Tosca, years. Special thanks to Matthew, who will be travelling to Tel Aviv to remount
Little Shop of Horrors, Shrek, The Little Madama Butterfly (Opera Lyra, Ottawa); keeps the home fires burning. his design of Cosi Fan Tutte for the Israeli
Mermaid, Mary Poppins (Rainbow This is War (GCTC). In 2016 Katherine Opera in the spring.
Stage); Once, Kill Me Now, Billy Elliot, was awarded the Jean A. Chalmers TERESA PRZYBYLSKI
Cabaret, White Christmas (RMTC); and Apprentice Achievement Award from Set and Costume Designer MICHAEL WRIGHT
many more. Leslie is a proud graduate the Stratford Festival of Canada. Teresa Przybylski is an architect and Sound Designer
of Sheridan College, and a member of a theatre designer. Companies she Michael is a Winnipeg-based sound
CAEA. Love to Sean and Murtaugh for has designed for include: Stratford designer. Credits include Sense and
holding down the fort back home. Shakespeare Festival, Shaw Festival, Sensibility, Morning After Grace,
Canadian Opera Company, Opera The Humans, Bittergirl: The Musical,
Theatre in Saint Louis, Blyth Festival, Black Coffee, Million Dollar Quartet,
T HE C R E ATIV E TEA M
Tarragon Theatre, Factory Theatre, Billy Elliot the Musical, Seminar (with
Buddies in Bad Times Theatre, Native Mirvish), Late Company, Private Lives,
Earth, Volcano Theatre, Theatre Smith- The Secret Annex, The Seagull, Venus
Gilmour, Canadian Stage and others. in Fur, The Penelopiad, August: Osage
LUCAS HNATH playwright at New Dramatists since 2011, She has been awarded five Dora Mavor County, Romeo and Juliet, The Seafarer,
Playwright and is a proud member of the Ensemble Moore Awards her work in the theatre The Last Five Years (Royal Manitoba
Lucas Hnath’s plays include The Christians Studio Theatre. Lucas is a winner of the and two Gemini Awards for production Theatre Centre; I Dream of Diesel, North
(2014 Humana Festival), Red Speedo 2012 Whitfield Cook Award for Isaac’s Eye design in film and television. She is Main Gothic, The Monster Trilogy, The
(Studio Theatre, DC), A Public Reading and received a 2013 Steinberg/ATCA New a member of The Royal Canadian Elmwood Visitation, Age of Arousal
of an Unproduced Screenplay About Play Award Citation for Death Tax. He has Academy of Arts and The Associated (Theatre Projects Manitoba); Everything
the Death of Walt Disney (Soho Rep), also received commissions from the EST/ Designers of Canada. Teresa is teaching is Coming Up Roses (Gearshifting
Nightnight (2013 Humana Festival), Isaac’s Sloan Project, Actors Theatre of Louisville, stage design at York University while Performance Works); Hedwig and the
Eye (Ensemble Studio Theatre), Death South Coast Repertory, Playwrights continuing her career as a scenographer. Angry Inch Atrocity Tour 2004 (Rose
Tax (2012 Humana Festival, Royal Court Horizons, New York University’s Graduate Tinted Productions, UK).
Theatre), and The Courtship Of Anna Acting Program, and the Royal Court
Nicole Smith (Actors Theatre of Louisville). Theatre. Lucas holds a BFA and an MFA
His plays are published by Dramatists from New York University’s Department of
Play Service. Lucas has been a resident Dramatic Writing.
10 mirvish.com mirvish.com 11
WINNER! WINNER!
3 TONY AWARDS PULITZER PRIZE
FRANCES KONCAN
Assistant Director
minor in Theatre Arts at the University
of Manitoba. At an early age, he worked
Frances Koncan is a playwright, director, at his parents’ company as an Assistant
producer, and activist from Couchiching Designer, designing some of the best in
First Nation, Treaty 3 Territory. They African couture and bespoke designs.
DAVID MIRVISH presents PRODUCTION OF hold an MFA in Playwriting from the He has had his own fashion show and
NEXT TO NORMAL
City University of New York Brooklyn currently works as a freelance Costume
College, and a BA in Psychology from Designer designing numerous times
the University of Manitoba. They are for the Blackhole Theatre Company and
the Artistic Director of Vault Projects, Onetrunk Theatre Company.
a non-profit performance company
dedicated to working with a majority KATHERINE JOHNSTON
of diverse artists and producing work Assistant Lighting Designer
through an intersectional lens. For Katherine is a graduate of the University
credits, heckling, or potential dating of Winnipeg Department of Theatre &
opportunities, just stalk their social Film. She has a degree in production and
media. Taurus, with sun in Leo. Fav stage management and has spent the last
Colour: Purple. Twitter/Instagram: five years working in the profession in
@franceskoncan xoxo multiple capacities. Credits for lighting
design include Dib & Dob and the Journey
AYOBAMI IGE Home (Manitoba Theatre for Young
Apprentice Costume Designer People), Constellations and Edward II
Ayobami Ige is the Creative Director (Theatre by the River). Katherine was
of mrige.com, a Fashion and Lifestyle the Lighting Design resident at Rainbow
Troy Adams Ma-Anne Dionisio Louise Pitre Journal, a place where everybody of Stage in 2015 as well as the Lighting
different works of life can come to get Design assistant on Buddy: The Buddy
inspired on how to create a personal Holly Story and The Producers in
style that is appealing to them. Ayobami previous seasons. It has been a wonderful
Photos by Max Telzerow grew up in Ibadan, Nigeria before experience working with Michael and
relocating to Canada for his Bachelor’s she’s grateful to RMTC for providing such
Degree in Computer Science with a a fantastic opportunity.
C R E D I T S & AC KNOW LEDG MENT S
Cutter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . THORA LAMONT
FOR A DOLL'S HOUSE, PART 2
Head Buyer & Accessories Coordinator . . . JACKIE VAN WINKLE
Assistant Director . . . . . . . . . . . . . . . . . . . . . . . . . FRANCES KONCAN
First Hand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . AMANDA ISAAK
Brandon Antonio Stephanie Sy Nathan Carroll Apprentice Costume Designer . . . . . . . . . . . . . . . . . . AYOBAMI IGE
Sewers . . . . . . . . . . . . . . . . . . .PENNY HANFORD, KAREN LUCHAK,
Assistant Lighting Designer. . . . . . . . . . . KATHERINE JOHNSTON
BARB MACKENZIE
NEXT TO NORMAL ❙ Book & Lyrics by BRIAN YORKEY ❙ Music by TOM KITT FOR THE ROYAL MANITOBA THEATRE CENTRE Head Scenic Artist. . . . . . . . . . . . . . . . . . . . . . . . CARLA SCHROEDER
Direction by PHILIP AKIN ❙ Musical Direction by LILY LING ❙ Choreography by NICOLA PANTIN Artistic Director . . . . . . . . . . . . . . . . . . . . . . . . . . . STEVEN SCHIPPER Scenic Artist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MELISSA SMIGELSKI
Executive Director . . . . . . . . . . . . . . . . . . . . . . . CAMILLA HOLLAND Scenic Painter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KIM HAMIN
Director of Production. . . . . . . . . . . . . . . . . . . . . . RUSSELL MARTIN Head of Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . KARI HAGNESS
APRIL 26 – MAY 19 Technical Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHRIS COYNE Master Builder . . . . . . . . . . . . . . . . . . . . . . . . LAWRENCE VAN WENT
Assistant Production Manager . . . . . . . . . . . . . . . . .JESSIE POTTER Interim Master Builder . . . . . . . . . . . . . . . . . . . . . . . .JACKO GARCIA
Head of Wardrobe / Cutter . . . . . . . . . . . . . . . . LORRAINE O’LEARY Master Carpenter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BRENT LETAIN
416.872.1212
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Scenic Carpenter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHRIS SEIDA SCOTT RICHARDSON
Carpenter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .CHRIS HADLEY Administrative Services Manager. . . . . . . . . . . . . . . MAGGIE BUSKI
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Head Electrician . . . . . . . . . . . . . . . . . . . . . . . . . . . . CLAUDE ROBERT Administrative and Ticketing
Head of Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . MICHAEL WRIGHT Software Co-ordinator. . . . . . . . . . . . . . . . . . . . . . . . . DAVE PELLEY
Head of Wardrobe . . . . . . . . . . . . . . . . . . . . . . . . JOAN LEES-MILLER Ticketing Software Administrator . . . . . . . . . . . . . . . SARA RIVARD
Wigs & Makeup Supervisor. . . . . . . . . . . . . . . . . . BEVERLY COVERT Ticketing Software Co-ordinator . . . . . FRANCO MARCANTONIO
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Web Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . JENNIFER JENKINS Box Office Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . GERARD RAJU
Videographer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TRISTAN GOUGH Assistant Box Office Manager . . . . . . . . . . . . . . . . . . DENNIS WONG
Program Director, CRM, Maintenance Manager. . . . . . . . . . . . . . . . . . . . . KEVIN MCCARTHY
Data Insights & Ecommerce . . . . . . . . . . . . . . . . . AUBREY STORK House Head Technician . . . . . . . . . . . . . . . . . . . JASON BROWNING
CRM & Reporting Assistant . . . . . . . . . . . . . . . . . . . . . . . LIANNE WU Assistant House Head Technician . . . . . . . . . G. STUART BAULCH
Assistant Company Manager . . . . . . . . . . . . . . . . ROSIE DRISCOLL Head of Wardrobe . . . . . . . . . . . . . . . . . . . . . . . . ELENA RAKITSKAYA
Company Management Assistant. . . . . . . . . . . . . . . . . JEN COOPER
For Mirvish Programme and Mirvish Partnership
Labour Relations & HR Coordinator. . . . . . . . . . . . . EMILY KNIGHT
Opportunities, please contact:
Senior IT Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . JOSIE DI LUZIO
System Administrators . . . . . . . . . . . . . . . CHARLES BARTHMANN,
PHILLIP DREW, KATHARINE POSAVAD
Analyst/Accounting Manager . . . . . . . . . . . . . . . . . . . REG DUNCAN
Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JASON YIP The Exclusive Sponsorship Agency of Mirvish Productions
Accountant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TINA MARSHALL brian.himel@brandsamplified.com
Show Accountant . . . . . . . . . . . . . . . . . . . . . . . . . . . RACQUEL FROST jory.amar@brandsamplified.com
Accounting Staff . . . . . . . . . . . . . . . . . . . . . JULIE LOGAN, KIM SITU
Payroll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LILIAN SIU Backstage Employees are represented by the
Assistant to David Mirvish . . . . . . . . . . . . . . . . . . . . LAUREL PURVIS International Alliance of Theatrical Stage
Office Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HELDER BRUM Employees (or I.A.T.S.E.).
FOR ED MIRVISH ENTERPRISES Mirvish Productions is a member of the
General Manager. . . . . . . . . . . . . . . . . . . . . . . . . . . . . RUSSELL LAZAR Professional Association of Canadian Theatres
(PACT) and engages, under the terms of the
FOR TICKETKING Canadian Theatre Agreement, actors and stage
General Manager. . . . . . . . . . . . . . . . . . . . . . . . . . . JAMES ALDRIDGE managers who are members of the Canadian
Phone Operations Manager . . . . . . . . . . . . . . . . . . . ALAN FORSYTH Actors’ Equity Association.
Phone Operations Asst. Manager . . . . . . . . . . . . . . SUSIE MARCON
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