≈ 2 hours 10 minutes · With intermission
Last updated: April 26, 2022
Playwright’s Notes: Audrey Dwyer
Welcome to Calpurnia.
In 2011, back when I was an actor, I embodied a maid who was silent during a long and extreme verbal attack. When I spoke about her silence, a co-actor expressed that her silence displayed strength. Calpurnia came to be when I took stock of the maids I portrayed throughout my 15-year acting career.
If you attended school in Canada, you most likely read Harper Lee’s classic American novel To Kill a Mockingbird.
My piece isn’t aimed as a critique of Ms. Lee’s text. She wrote a novel that is honest. Her iconic characters inspired me. The character of Calpurnia, the southern maid, is ubiquitous in that era. My play explores the mammy stereotype, American history and the Canadian experience.
As I distilled my ideas, I knew that I wanted to go directly into the home of a loving and wealthy Jamaican-Canadian family. The Gordons benefit from high levels of education and social standing and are still judged by a relentless respectability politic and racism.
Calpurnia was originally produced in Toronto in 2018. It was met with anticipation and excitement. Shows were sold out and audiences lined up around the block to attend. Audiences delighted in the power dynamics that made them uncomfortable. They raved about the complicated layers of racial awareness and social location at play. They laughed, they covered their eyes, their jaws dropped. Some returned to watch Calpurnia two or three times.
We’re all aware of how much the world has transformed since 2018. Privilege, allyship and intersectionality are terms heard in our homes, workplaces and in the news. Over the past few years, I’ve made some changes to the script that reflect how much we’ve learned.
Even if you haven’t read Lee’s novel, you’re in for a treat. The theatre is a fun and fabulous place to laugh, examine ideas and witness dramatic action as it plays out in real time. In these seats, we’re able to ponder deep-rooted issues that are brewing in communities both here and abroad. Here, we create memories together.
Julie Gordon and Lee’s protagonist Scout Finch are similar. Both burst with vigor. Both are innocent, plucky and want things their own way. Like us, they have plenty to learn. In fact, all the characters do. I invite you to see if you recognize anyone through each character’s behaviors and values. There may be someone you recognize on this stage and they might be closer to you than you think.
Thank you for joining us!
About the Novel To Kill a Mockingbird
Harper Lee’s novel To Kill a Mockingbird is set in Alabama during the Great Depression, and is both a coming-of-age story, and a more complex narrative about the roots and consequences of racism and prejudice.
The novel was loosely based on an event that occurred when Lee was 10 years old, when a white woman accused Walter Lett, a Black man, of rape. Lee’s father was an editor, and his newspaper covered the trial and Lett’s eventual conviction. Lett’s death sentence was commuted to life in prison when a series of letters appeared claiming that he had been falsely accused.
The novel was published in 1960 and was a literary and commercial success. It won the Pulitzer Prize, was translated into 40 languages, and has never been out of print. Lee’s novel is cited as a factor in the success of the civil rights movements of the 1960s, but she had no direct involvement in them.
To Kill a Mockingbird has long been a widely read novel in Canadian and American schools. The novel was a source of controversy as a subject of classroom study as early as 1963, due to the racial slurs, profanity and frank discussion of rape. A shift in attitudes on race led to criticism that the overt racism in Maycomb was not condemned harshly enough. Further, that the Black characters were stereotypes, underwritten and marginalized in favour of a narrative that focuses on the white characters’ experience.
Who is Calpurnia?
Calpurnia Aesera Coleman is the Finch family’s long-standing Black housekeeper, a mother figure to Scout and Jem. Scout describes: “Our battles were epic and one-sided. Calpurnia always won, mainly because Atticus always took her side.”
Calpurnia is identified in the novel as one of the few Black people in town who is literate, and has taught her own children, and Jem and Scout to read and write. When Scout and Jem attend the local Black church with Calpurnia and hear her speaking differently in her community, they realize that Calpurnia carefully balances a double life. While Calpurnia’s positive influence is significant, she is an overly simplified character, and largely silent on issues of race.
The Mammy in Popular Culture
The mammy figure, according to psychologist Chanequal Walker-Barnes, “was a largely mythical figure with little basis in the lived experiences of Black women.” It is a racial caricature, constructed during slavery, popularized through minstrel shows, and reinforced through novels, films and plays. The stereotype is of a “large, independent woman with pitch-black skin and shining white teeth.” She does domestic work and cares for the children of a white family; she is extremely devoted to them and “lived to serve her master and mistress.” The notion or trope of the “happy slave” is at the core of the mammy caricature and stereotype.
source: from mammy to miss america and beyond: cultural images and the shaping of us social policy by k. sue jewell (1992).
Calpurnia is produced by permission of the Playwright and Marquis Literary (Colin Rivers).
The world premiere of Calpurnia was co-produced by Nightwood Theatre and Sulong Theatre at Buddies in Bad Times Theatre (Toronto, ON) in January 2018.
Audrey Dwyer (the Playwright) is a member of the Playwrights Guild of Canada.
Calpurnia was developed in Obsidian Theatre’s Playwriting Unit.
The National Arts Centre, Royal Manitoba Theatre Centre and Black Theatre Workshop are members of the Professional Association of Canadian Theatres and engages, under the terms of the Canadian Theatre Agreement, professional artists who are members of Canadian Actors’ Equity Association.
Black Theatre Workshop
Entering its 51st season, Black Theatre Workshop (BTW) is Canada’s longest running theatre company dedicated to the works of Black and diasporic communities. BTW’s mission is to promote and produce outstanding theatre that educates, entertains and inspires. The company strives to create greater cross-cultural understanding by challenging its audience and the status quo. Expanding the representation of Black Canadian artists, BTW bridges cultural divides – uniting hearts, minds and communities.
Royal Manitoba Theatre Centre
The Royal Manitoba Theatre Centre (Royal MTC) is proud to partner with the National Arts Centre and Black Theatre Workshop in presenting Calpurnia.
Royal MTC exists to celebrate the widest spectrum of theatre art. Deeply rooted in the province of Manitoba, which gave it life and provides for its growth, Royal MTC aspires to both reflect and inform the community it serves.
Royal MTC was Canada’s first English language regional theatre, created when two Winnipeg theatre companies merged in 1958 under Artistic Director John Hirsch and General Manager Tom Hendry. Their goal was to produce great theatre with mass appeal. Royal MTC became a model for regional theatres throughout North America, and received a royal designation from Queen Elizabeth II in 2010. Over 60 years later, we remain Manitoba’s flagship theatre.
Artists
Theatre credits at Royal Manitoba Theatre Centre include, as Director: The Mountaintop, Women of the Fur Trade; as Intimacy Director: Orlando, Fun Home; as Consulting Director: Bang Bang (with Belfry Theatre); as Actor: Vanya and Sonia and Masha and Spike (with Mirvish Productions), Good People, Medea (with Mirvish Productions).
Theatre credits elsewhere include, as Actor: thirsty (NAC); The Crucible, Theory (Tarragon Theatre), Clybourne Park and The Overwhelming (Studio 180 with Mirvish Productions), The Tempest (Canadian Stage, Dream in High Park), Black Medea (Obsidian Theatre); as Director: Blink (University of Winnipeg); Prairie Nurse (Lighthouse Theatre); Calpurnia (Nightwood Theatre/Sulong Theatre); The Apology (Rabiayshna Productions).
Audrey is Royal MTC’s Associate Artistic Director. She has won three Dora Mavor Moore Awards and the Cayle Chernin Award for Theatre. She was nominated for the Pauline McGibbon Award for Direction twice. Audrey co-wrote The D-Cut, a six-episode series produced by Shaftesbury Films. The multiple award-winning series is on Crave (Canada) and Shaftesbury’s KindaTV channel. She wrote the libretto for Backstage at Carnegie Hall (Bradyworks), which will open in Montreal in 2022. She was commissioned to write The Legend of Daddy Hall for the Tarragon Theatre, which was part of their Acoustic Season (2020/2021). She has been commissioned by Nightswimming Theatre to write The Generations, an epic five-hour drama about the legacy of a Black family over eons of time. She was a recipient of CBC’s Creative Relief Fund for her television pilot called The Gordons. She has been a writer-in-residence at Obsidian Theatre and the Tarragon Theatre, where she was also the Urjo Kareda Artist-in-Residence and the Assistant Artistic Director. Audrey graduated from the National Theatre School of Canada in 2001.
Sarah/SGS is VP of Programming at Arts Commons in Calgary and co-stewards historic Birchdale. Formerly the Artistic Producer for the National Creation Fund (NAC). As part of her PhD, in Cultural Studies at Queen’s, she created Massey & Me: Conversations at the End of Theatre. This five-part series formally references the CBC Massey Lectures, and it reflects critically on the genealogical, political, and administrative structures that house professional theatre in Canada.
She is co-founder of SpiderWebShow and FOLDA, the Baby Grand Theatre, was the 1st female Artistic Director at Buddies in Bad Times, and was the inaugural Artistic Associate for The Magnetic North Theatre Festival.
SGS was named a 2022 Arne Bengt Johansson Fellow at The Banff Forum and returned in 2023. She was recently appointed to the board of Alberta Theatre and the Buddies Leadership Advisory Pilot and the National Advisory for the Creation Fund.
SGS is co-authoring Manifesto for Now with Owais Lightwala.
Theatre credits include: Here are the Fragments (Theatre Centre); Les Frères (UC Follies); Canis Familiaris, My Friend’s Best Friend’s Boyfriend (Alumnae Theatre). FILM/TV: Murdoch Mysteries, Ruby and the Well, Meet Me in New York, The Hot Zone: Anthrax, Jump Darling, Mayday! Air Crash Investigation, Rock and Roll Christmas, It’s Nothing, Frankie Drake Mysteries. Upcoming: Death and the King’s Horseman (Stratford). Huge thanks to my family, friends, team, Royal MTC and NAC.
Theatre credits include: Edward II (Soulpepper – workshop production); What I Call Her (Crow’s Theatre); King Lear @ the Baseball Diamond (Shakespeare in the Ruff); The Nails (SummerWorks Festival); The Queen’s Eulogy (Toronto Fringe Festival); These Peaceable Kingdoms, Exit the King, King Lear (National Theatre School). FILM/TV: Homeschooled (CBC Gem); Slo Pitch (OUTtv/Prime); First Person, Band Ladies (web series); The Comey Rule (CBS); Busytown Mysteries (CBC); Repo Men (Universal Pictures). Graduate Acting at the National Theatre School of Canada. Many thanks to Royal MTC and NAC for bringing me on to this production. Love to my family and the theatre community. Sarah and Audrey, thank you.
Theatre credits include: Where.Are.You.From (Tiny Plays, Big Ideas) and 2021/22 National Mentorship Program (Royal Manitoba Theatre Centre). 25 Questions For A Jewish Mother, Precipice (Winnipeg Jewish Theatre); Ma-Buhay Workshop, Miss Saigon, South Pacific, Little Shop of Horrors (Rainbow Stage); Elizabeth Rex (Bunbury Productions); A Year with Frog and Toad (Manitoba Theatre for Young People); South Pacific (Winnipeg Symphony Orchestra); Kiss of the Spider Woman (Dry Cold Productions); South Pacific (Regina Symphony Orchestra); The Who’s Tommy (Platinum Theatre). FILM/TV: A Kiss Before Christmas (Hallmark); Larry Saves The Canadian Health Care System (Tripwire Media Group); Not Funny (Imaginary Productions). Graduate of Sheridan College’s Musical Theatre Performance Program. Rochelle spent 12 years performing as the lead singer in the production casts onboard NCL, Azamara and Celebrity Cruises. She is co-founder and producer of the vocal group Unique3. Huge thank you to Royal MTC and NAC for this opportunity. Rochelle would like to dedicate this performance to her mom and grandma, her inspiration for Precy.
Theatre credits include: Shakespeare’s Dog (NAC/Royal Manitoba Theatre Centre); A Christmas Carol, Black Coffee, 23.5 Hours, Unnecessary Farce, The Hound of the Baskervilles (tour), Alice Through the Looking-Glass, A Few Good Men (with Citadel), August: Osage County, Mrs. Warren’s Profession, The Crucible, King Lear (Royal Manitoba Theatre Centre). Mamma Mia! (Rainbow Stage); Hamlet, Richard III, Othello and others (Shakespeare in the Ruins); I Dream of Diesel (One TrunkTheatre/Theatre Projects Manitoba); Encore (Theatre Projects Manitoba); Tribes, Ivanov, Way to Heaven, Lenin’s Embalmers (Winnipeg Jewish Theatre). Arne also works as a director, with credits at Royal MTC Tom Hendry Warehouse, Theatre Projects Manitoba, Shakespeare in the Ruins, Prairie Theatre Exchange, Manitoba Theatre for Young People and with many independent producers. FILM/TV: Arne has appeared in over 25 shot-in-Winnipeg film and television productions. Graduate of the BFA (Acting) program at the University of Alberta. Arne’s family, Deb, Gislina and Solmund, are all artists.
Select theatre credits include: The Mountaintop (Persephone); 1851: Spirit & Voice (Soulpepper/Myseum); 21 Black Futures (Obsidian Theatre/CBC – Canadian Screen Awards Winner; Best Web Series); Peter Pan (Bad Hats/Soulpepper); School Girls; Or, The African Mean Girls Play (2019 Dora Award Winner for Outstanding Production – Obsidian Theatre /Nightwood Theatre); Wounded Soldiers (4th Line); The Bird Killer (Let Me In). TV: Forbidden, Fear Thy Neighbor, See No Evil, Paranormal 911. Graduated from the University of Windsor – BFA Acting 2016; Factory Theatre Mechanicals graduate – 2016/17. Emerjade thanks everyone on this fantastic team for their support and guidance. Always take a leap of Faith.
Theatre credits include: The Mountaintop, It’s a Wonderful Life: The Radio Play, The Man Who Shot Liberty Valance, Romeo and Juliet (Royal Manitoba Theatre Centre); One Flew Over the Cuckoo’s Nest (Royal Manitoba Theatre Centre/Theatre Calgary); The Tempest (Citadel Theatre); Deserter, Remember the Night (Moving Target); Hedda Noir (Theatre NorthWest); The Whipping Man (Winnipeg Jewish Theatre); Romeo and Juliet (Shakespeare in the Ruins); Dutchman (PlayOn Theatre); Rosencrantz & Guildenstern Are Dead (Black Hole Theatre Company). Trained at Black Hole Theatre Company; Banff Centre for The Arts. Look for Ray on The Porter, a new CBC series focusing on the lives of Black Train Porters in Canada in the 1920s. Ray is also co-host of the Ray & Benny Talk Sports podcast. You can find it on YouTube and on your preferred podcast platforms.
Rachel Forbes is an award-winning set and costume designer creating for theatre, dance and film. Her work has been seen across the country at the Shaw Festival, Buddies in Bad Times, Obsidian Theatre, Neptune Theatre, YPT, Centaur Theatre and many more. She has designed, mentored and taught at Ryerson University and is currently serving on the board of directors of the Associated Designers of Canada. Rachel received a Dora Mavor Moore award for her costume design for The Brothers Size (Soulpepper 2019) and a Merrit Award for her set design for The Bridge (2B/Neptune 2019).
She is particularly interested in the development of new works through experimentation and exploration as well as interdisciplinary projects, especially those at the intersection of the visual arts and installation world with that of theatre and live performance. Rachel has been experimenting with designer-led performance projects and is keen to integrate design into the creation process.
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Theatre credits include Set and Costume Design for Home for the Holidays (Grand Theatre); Serving Elizabeth (Western Canada Theatre); A Million Billion Pieces, Risky Phil (Young People’s Theatre); Victory, 1837: The Farmers’ Revolt (Shaw Festival); The Bridge (Neptune Theatre/2b Theatre); Choir Boy (Centaur Theatre). Costume Design for White Girls in Moccasins (Manidoons/Buddies in Bad Times); Toka (LemonTree/TPM); The Mountaintop (Royal Manitoba Theatre Centre); A Streetcar Named Desire, The Brothers Size (Soulpepper); Fences (Grand Theatre). Set Design for Trouble in Mind (Shaw Festival); School Girls (Obsidian Theatre); In The Abyss (Political Movement).
Film/TV credits include: 1851 Spirit & Voice (Myseum/Soulpepper); New Monuments (Canadian Stage/Luminato); 21 Black Futures (Obsidian Theatre/ CBC); A Revolution of Love (Toronto History Museums/Awakenings); Body So Fluorescent (Madonnanera/lnside Out). Rachel received a Dora Mavor Moore Award for her costume design on The Brothers Size and a Merritt Award for her set design on The Bridge.
Theatre credits for Royal Manitoba Theatre Centre include Costume Design for Tiny Plays, Big Ideas, Bang Bang (with Belfry), Last Train to Nibroc (tour) and Apprentice Costume Design for Billy Elliot the Musical, as well as the 2020/21 National Mentorship Program (Royal Mantioba Theatre Centre). Other Costume Design: Voice (PTE), Plé (Plé Collective presented by Manitoba Theatre for Young People); Spelling 2-5-5 (Manitoba Theatre for Young People); Women of the Fur Trade (Vault Projects); Mary’s Wedding, Iceland (Theatre Projects Manitoba); Concord Floral, Vinegar Tom, The Laramie Project (University of Winnipeg). Set Design: Richard III (Shakespeare in the Ruins). Production Design: The Game, Two Indians, The Seduction Theory (Sarasvàti). Assistant Costume Design: Othello, The Neverending Story, The Rocky Horror Show, Romeo and Juliet (Stratford Festival). Training: University of Winnipeg.
Selected theatre credits at Royal Manitoba Theatre Centre: Lighting & Video Designer for The Mountaintop, Vietgone, Venus in Fur. Lighting Designer for Kill Me Now (with NAC), Orlando, All is Bright, Women of the Fur Trade, Fun Home, The Color Purple (with Citadel Theatre), Seminar (with Mirvish Productions), Dry Lips Oughta Move to Kapuskasing and many other productions since the ‘80s. Hugh has collaborated with choreographers, visual artists and dance and theatre companies worldwide. Hugh enjoys working beyond the constraints of traditional lighting design using various forms of interactive media, video and photography. His photographic work resides in private collections and has been published worldwide. Hugh is a member of the Associated Designers of Canada and L’Association des professionnels des arts de la scène du Québec. www.pellucid.me.
Theatre credits at Royal Manitoba Theatre Centre include Kill Me Now (with NAC); The (Post) Mistress, The Mountaintop, Fun Home, The Hound of the Baskervilles (Tour). Chris has had the pleasure of working with many other local and international theatre groups. Credits include Routes (tour, Manitoba Theatre for Young People); The Hound of the Baskervilles, Little Thing Big Thing (Prairie Theatre Exchange); EDEN (Sarasvàti); Bashir Lazhar (Theatre Projects Manitoba); Angels in America, Perestroika (Winnipeg Jewish Theatre); Three Sisters (zone41). Chris is a graduate of the Ontario Institute of Audio Recording Technology. Chris has been involved in the theatre industry in Winnipeg for many years, and currently works as Royal MTC’s Technical Director at the John Hirsch Mainstage.
Theatre credits at Royal Manitoba Theatre Centre include, as Director: Where.Are.You.From (Tiny Plays, Big Ideas); as Assistant Director: The Mountaintop; 2020/21 National Mentorship Program. Hazel is the Co-founder of U N I Together Productions, a multi-media producing company for theatre, film, television and the web - all for the hopes of a better future and a sustainable ecology for Filipino-Canadian stories and story-tellers. UNIT’s core activities include: mentorship, consultancy, dramaturgy, directing, commissioning, producing and presenting support on an ongoing basis while respecting the organic growth and pace at which both UNIT and the Filipino community moves. www.unitprod.ca
Nikki Shaffeeullah (she/her) is a director, writer, actor, and facilitator who creates theatre, film, and poetry. Past roles include artistic director of The AMY Project, and editor-in-chief of alt.theatre magazine.
As a facilitator, Nikki supports grassroots groups to navigate collective processes and to uphold equity and accountability in all aspects of their work. An award-winning theatre and film artist, Nikki collaborates with companies and artists from across Canada. She has held residencies with organizations including Canadian Stage, Why Not Theatre, The Theatre Centre, SummerWorks, and others. She has an MFA from the University of Alberta and is a fellow in the Salzburg Global Forum for Cultural Innovators.
Nikki believes art should disrupt the status quo, centre the margins, engage with the ancient, dream of the future, and be for everyone.
Theatre credits include: The (Post) Mistress, Women of the Fur Trade, Miss Bennet: Christmas at Pemberley (Royal Manitoba Theatre Centre); Frozen River (Manitoba Theatre for Young People); The Winter’s Tale / Le conte d’hiver (Shakespeare in the Ruins/ Théâtre Cercle Molière); Lawrence and Holloman, The 25th Annual Putnam County Spelling Bee (Guild Hall – Whitehorse, YT). Training: Banff Centre for Arts and Creativity Practicum program (2019) in Scenic Art. Shauna would like to extend a sincere thanks for the additional and thoughtful support of the Kingfisher Foundation, and to Royal MTC for giving her this opportunity.
Theatre credits at the Royal Manitoba Theatre Centre include, as Stage Manager: Vietgone (with fu-GEN/Hope and Hell), Hand to God. Assistant Stage Manager: The Mountaintop, The Color Purple (with Citadel Theatre), A Christmas Carol, The Curious Incident of the Dog in the Night-Time (with Citadel), Chimerica, Clever Little Lies, The Glass Menagerie, Other People’s Money; as Apprentice Stage Manager: Mrs. Warren’s Profession, In the Next Room or the vibrator play, The Shunning, Brief Encounter, The Seafarer, Steel Magnolias. Props: Gone With the Wind. Other theatre credits include Mamma Mia!, Les Misérables (Rainbow Stage); The War Being Waged, Ghost Light (Prairie Theatre Exchange); The Winter’s Tale / Le conte d’hiver (Shakespeare in the Ruins/Théâtre Cercle Molière); Hamlet (Shakespeare in the Ruins); MTYP’s Midwinter Mosey, A Year with Frog and Toad (Manitoba Theatre for Young People); Meet Me at Dawn (Theatre by the River). Training: B.A. (Hons) in Theatre Production and Stage Management at the University of Winnipeg.
Theatre credits at the Royal Manitoba Theatre Centre include Assistant Stage Manager: Bang Bang (with Belfry Theatre); Apprentice Stage Manager for Buying the Farm (tour), Roald Dahl’s Matilda The Musical, Vietgone (with fu-GEN/Hope and Hell), The Humans. Assistant Production Manager (2017/18, 2020/21, 2021/22 seasons). Other theatre credits include Stage Manager: The Drawer Boy (Hudson Village Theatre); Ed & Ed – Trapped!, Outside Mullingar, Neddy Norris Night, Fly Me to the Moon, Newfoundland Vinyl, The Out Vigil (Gros Morne Theatre Festival); Shape of a Girl (Cart Before the Horse). Assistant Stage Manager: Seven Sopranos of Winnipeg (Manitoba Opera). Apprentice Stage Manager: Barber of Seville (Manitoba Opera); The Halloween Tree (Geordie Productions); The Amazing Adventures of Pericles, Prince of Tyre (A Company of Fools). Training: Graduate of the National Theatre School of Canada – Production Program (2017). A very special thanks to my Royal MTC family, my parents, my family and friends from Gatineau to Tasmania, Ilana Modulevsky, Patrick Michalishyn, my graduating class at NTS, and all the wonderful folks who made this show possible!
NAC English Theatre
Managing Director: David Abel
Community Outreach Lead: Rose-Ingrid Benjamin
Marketing Strategist: Monica Bradford-Lea
Learning Coordinator: Aimee Bouchard
ASL Interpreter Consultant: Carmelle Cachero
Marketing Strategist: Bar Clement (on leave)
Communications Strategist: Sean Fitzpatrick
Artistic Director: Jillian Keiley
Senior Producer: Alexandra Lunney
Senior Marketing Manager: Bridget Mooney
Associate Producer, Artistic Projects: Judi Pearl
Company Manager: Samira Rose
Administrative Coordinator: Monika Seiler
Production
Assistant to the Production Director: Erin Finn
Scheduler: Stéfanie Séguin
Technical Director: Crystal L. Spicer
Technical Director: Kevin Waghorn
Theatre Stage Staff
Head Flyman: Alex Griffore
Head Carpenter: Charles Martin
Head Sound Engineer: Doug Millar
Assistant Electrician: Martin Racette
Property Master: Michel Sanscartier
Head Electrician: Éric Tessier
Production team: Royal Manitoba Theatre Centre
Artistic Director, Kelly Thornton
Executive Director, Camilla Holland
Associate Artistic Director, Audrey Dwyer
Producer, Isabelle Ly
Company Manager, Leslie Watson
Director of Production, Russell Martin
Technical Director, Chris Coyne
Assistant Technical Director, Jacqueline Robertson
Production Associate, Christine Corthey
Master Carpenter, Brent Letain
Layout Carpenter, Louis Gagné
Scenic Carpenter, Chris Seida
Head Scenic Artist, Carla Schroeder
Assistant Scenic Artist, Melissa Smigelski
Head of Props, Jamie Plummer
Props Builder/Buyer, Zoë Leclerc-Kennedy
Props Builder, Jacko Garcia
Head of Wardrobe, Thora Lamont
Head Buyer & Accessories Coordinator, Jackie Van Winkle
Head Carpenter, Chris Thomson
Head Electrician, Claude Robert
Head of Sound, Gary Plouffe
Head of Wardrobe, Joan Lees-Miller
Crew provided by Local IATSE 63