≈ 1 hour and 45 minutes · No intermission
Last updated: January 19, 2024
Playwright's Note
When I wrote the first draft of this play, a feedback note I got several times was that there's nothing interesting about women sitting in a room and talking.
Of course, that draft was written slightly before Miriam Toews' novel Women Talking — which heavily featured women talking (sometimes near Ben Whishaw) — and well before Greta Gerwig's Barbie created an entire universe of women who talk (often to each other, sometimes near Ryan Gosling).
Now, Ben Whishaw and/or Ryan Gosling may never star in a production of Women of the Fur Trade (unless...?), and it may never get adapted into a film directed by my childhood hero and living legend Sarah Polley (unless...?), but I like to think this perfectly historically accurate depiction of life during the Fur Trade plays a small part in the growing genre of stories where women sit around and talk.
Sitting around and talking sounds like a small thing. But historically, it's been pretty important. That's where things get shared: good news, bad news, secrets, wishes, dreams, hopes, fears, and most of all, stories.
A Note From The Artistic Director, Indigenous Theatre
I first saw Women of the Fur Trade at Native Earth Performing Arts, Weesageechak Festival as part of the Aminikiig Creators Unit in Toronto in 2019. Even at that early stage when the show was still in the midst of development and being workshopped, it was hilarious. Francis is a brilliant artist capable of biting social commentary that is simultaneously hysterical and heartwarming. Time and space, historical facts and celebrity fandom, colonialism, frenemies, and female camaraderie are all spun together in this delightful and surprising satire.
I am especially proud of this play because our former Indigenous Theatre Artistic Associate, Dr. Lindsay Lachance, worked on it with Francis as the dramaturge. We had originally planned to present Women of the Fur Trade in our 2020-21 season but were, of course, disrupted by the global pandemic. It is my extreme pleasure to finally be able to share this production with you alongside our wonderful partners at GCTC and Native Earth Performing Arts in Toronto, where the show will be at the Aki Studio in April.
A Note From The Artistic Director, Great Canadian Theatre Company
GCTC is delighted to partner with NAC Indigenous Theatre and Native Earth Performing Arts to bring this production to life.
My first interaction with this play was seeing an early iteration that Frances staged at the Toronto Fringe Festival. My eyes were in competition with each other as to which could spill more liquid down my face while I was bent over wheezing with laughter. Frances’ writing is whip smart and hilarious, skewering and delighting in our contemporary cultural tropes while simultaneously taking aim at the misogyny and racism of Canadian history, offering an unapologetically anachronistic Indigenous feminist revisionist narrative.
I had previously met Frances in Winnipeg and experienced her generous and penetrating gaze on theatre, while finding her to be a bit of a celebrity in herself. Tender and ironic, uncompromising and iconic, Frances has a unique voice in theatre on this land. Her irreverent treatment of weighty topics creates space for us to process in community, buoyed by life affirming laughter and new ways of seeing. This script has deepened and grown since its early iterations and is now on some of our most prestigious stages, including this one. With Frances’ deft skills and the craft of the remarkable artists gathered around this production, you are in for a treat.
Enjoy!
A Note From The Artistic Director, Native Earth Performing Arts
We are thrilled to be co-producing this new production of Women of the Fur Trade alongside GCTC and NAC Indigenous Theatre. This is a wonderful show for anyone that knows who Louis Riel was. For those that might not be as well-versed in Canada’s past, what a treat for you to learn some RIEL history.
Speaking of Riel history, Native Earth is looking forward to finally bringing this fully realized production to Toronto this Spring. After a hugely successful Toronto Fringe run and a Weesageechak Begins to Dance reading in 2018, Women of the Fur Trade’s return to the Aki Studio stage will be hugely welcomed. We are delighted to continue supporting Frances and their stellar work.
Women of the Fur Trade sips its way through a delicious blend of historical references, zodiac signs, pop culture humour, and so. many. letters. It’s one of my favourite shows to perform, and I’m honoured to now be part of a new team's journey in bringing this show to life.
Chi-miigwetch to our partners and congratulations to all involved, we are honoured to be in this circle with you.
All my relations.
Content Notes
What is the play about?
Women of the Fur Trade is a funny take on Canadian history. It puts women and Indigenous people at the centre, using relatable language, humour, and pop culture from today.
The play features women as the main characters and the historically important men are shown as heartthrobs and betrayers, not heroes. The play shows real historical events from a fictional female view for a playful and modern look at history.
Who is this play for?
This play is suitable for adults or well-prepared young people aged 13 and above.
Age ratings are a guide, but you know best what's suitable for you. Feel free to ask the Box Office team if you have any questions not mentioned here.
What are the themes in the play?
You may notice themes of:
- Division of labour, rights, and equality.
- Land acknowledgements, reconciliation, and treaties.
- Marriage and religion.
- Astrology, love, and fate.
- Instagram and pop culture.
- Strong language and sexuality.
- Betrayal.
- Racism, the 60s scoop, and white supremacy.
- War, genocide, treason, and death by hanging.
What technical parts are used?
You may hear sounds of:
- Boiling water, howling, and baby cries.
- Gunshots, rope creaking and droning.
You may see:
- Projections of the Northern Lights.
- Thrown objects.
- Staged fighting with sticks as guns.
- A hanging scene with a falling noose.
Creator Q&A with Frances Končan
What inspired your focus on this period of Indigenous history?
The fur trade is an important time in the history of Turtle Island and is a part of the school curriculum in Manitoba. It was an era I had learned a lot about as a kid, but never engaged with as an adult, until the creation of the annual Louis Riel Day (the equivalent of “Family Day” in many other Provinces) in 2008. This political and cultural recognition of the importance of Louis Riel in the creation of Manitoba sparked my curiosity about revisiting the history I had been taught - and in doing so, discovered that I been taught a lot of misinformation about both Riel himself as well as the Fur Trade. Wanting to re-teach myself the true history, I began obsessively reading anything I could find about that time period and came up against another thing that made me curious: that all the letters and history documentation I was reading came from the perspectives of men. Really, I just wanted to hear what the women were doing, and what they thought. And since I couldn't find much, I thought I'd write about it myself.
When looking at information available about women in this period, were there any significant roadblocks in your research? Did you find anything that surprised you?
The major roadblock was really what was also the catalyst for the play - there's not a lot of documentation from the women's perspective. Those voices, when they are present, are present within a framing of history from the perspective of men. I think this is true for many things, though, and thankfully changing.
Did you have any concerns with tackling history through humour? How did you overcome them?
I think the biggest concern in place when telling stories about real-life events is examining the level of responsibility you have to truth. An initial idea for the play really was just telling a story about Louis Riel and the Fur Trade - and as the play grew, and the tone shifted, it began moving away from history and into a more anachronistic space where there was more freedom in terms of humour. Additionally, because the play centres the voices of the women, who are in positions of subordination and don't have any power of their own, those characters have access to comedy as a tool and a weapon in a way that the male characters don't (they get to use real weapons, instead).
The play’s three lead characters are diverse in their origin, beliefs, and opinions. What impact do you hope this will have on the roles written for Indigenous and non-Indigenous women?
My interest in playwriting came from this lack of opportunities for Indigenous artists, and this play was no different. And very often, stories about Indigenous people take a serious tone. My hope for the impact of this play is to open up the perspectives on what Indigenous stories are and how they are told, and to offer opportunities for Indigenous artists to set aside the weight of those important but heavy stories, and just get to have a little bit of fun.
Great Canadian Theatre Company (GCTC)
The Great Canadian Theatre Company (GCTC) is celebrating its 49th Season in 2023-24. GCTC is dedicated to producing outstanding theatre that provokes examination of (Canadian) life and our place in the world. GCTC aims to increase the diversity on its stages, in its creative teams, make its work inclusive for more audiences, and deepen their experience. GCTC embraces artistic risk and promotes a wide range of theatrical experiences.
Native Earth Performing Arts
Native Earth Performing Arts is Canada’s oldest professional Indigenous performing arts company. Currently, in our 42nd year, we are dedicated to developing, producing, and presenting professional artistic expressions of the Indigenous experience in Canada. Through stage productions (theatre, dance, and multi-disciplinary art), new script development, apprenticeships, and internships, Native Earth seeks to fulfill a community of artistic visions. It is a vision that is inclusive and reflective of the artistic directions of members of the Indigenous community who actively participate in the arts.
Stream Space Girl at Home
Watch Space Girl from Women of the Fur Trade playwright, Frances Končan! Available to stream at home January 17 – 28, 2024 from Prairie Theatre Exchange
Lyra is the first person born on the moon, and the number one social media influencer in the galaxy. But her 21st birthday is off to a rocky start - she suddenly discovers that she's been knocked down to the number two position! Oh, yeah, and an asteroid is heading straight for the earth and all her followers. An emergency escape pod crash-lands Lyra on Earth to begin an epic journey to find her way home, aided by some decidedly odd individuals…plus an ex-Hollywood star who is now farming in Manitoba. What they say is true: “there's no place like home”, even if your home is on the moon.
Filmed immediately after the live run in March/April 2023, the digital version of Space Girl captures all the action, comedy, adventure and sci-fi special effects of the live performance.
A rollicking, sci-fi/adventure/comedy, Space Girl tackles complex themes of social media influence, environmental crisis, colonization, friendship, feminism, and identity, as Lyra – with help from characters she meets along the way – attempts to save Earth from a meteoric Armageddon.
Stream the whimsical, action-packed, and satire-laced story of Lyra, the first social media influencer to be born on the Moon. Tickets are Pay What You Want: $5, $10, $20, available at https://www.pte.mb.ca/performances/space-girl-digital.
Prairie Theatre Exchange
Winnipeg’s second largest professional theatre company, Prairie Theatre Exchange celebrated 50 years in the community in 2022. Their vision is to be vital, relevant, and responsive. They strive to be a centre for innovation in theatre and performance practice: a home for interdisciplinary and diverse works. They are a home for artists from the Prairies (Manitoba, Saskatchewan, Alberta) and beyond. They prioritize professional development for artists in the Prairies. They are a contemporary professional theatre company which reflects the ever-evolving communities and audiences they serve with artistry, confidence, and heart.
Artists
Frances Končan (she/they) is an Anishinaabe and Slovene playwright currently living in Vancouver, British Columbia, within the shared, unceded, ancestral territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlilwətaɬ (Tsleil-Waututh) Nations. Originally from Couchiching First Nation, they grew up on Treaty 1 territory in Winnipeg, Manitoba and attended the University of Manitoba (BA Psychology) and the City University of New York Brooklyn College (MFA Playwriting). They are currently Assistant Professor of Playwriting at the University of British Columbia. Select plays include Women of the Fur Trade, Space Girl, and zahgidiwin/love.
Renae Morriseau is a Cree (nehiyaw iskwew ᓀᐦᐃᔭᐤ ᐃᐢᑫᐧᐤ) and Saulteaux woman (nahkawiskwêw ᓇᐦᑲᐃᐧᐢᑫᐧᐤ) from the Treaty 1 Territory on the lands known as Manitoba. She’s been creating artistic works for most of her life and has journeyed across Turtle Island and internationally. As an interdisciplinary, inter-tribal artist, Renae has created and supported Indigenous work in music, theatre, film and television. She recently had a lead acting role in a new feature film, Angela’s Shadow directed and co-written by Cree filmmaker, Dr. Jules Koostachin. This film will hit the film festival circuit in 2024. Renae’s song, AaSheNii will also be featured in this film. She had the honour to direct Rosanna Deerchild's first theatrical play, The Secret to Good Tea in March 2023 at the Royal Manitoba Theatre Company and again had her music featured in this production.
This past June, Renae directed and supported text, and voice with The Rumble Sound System, an experimental Dub music collaboration. The producers, Rumble Theatre have these creations online: The Rumble Sound System.
She just completed co-directing with Bruce Sinclair, his play, Mary of Patuanak through the Gordon Tootoosis Nīkānīwin Theatre in Saskatoon, SK. Her song, Ogitaadis was shared for this production. Lastly, Renae is honoured to work with creative minds and hearts to bring Frances Koncan’s Women of the Fur Trade to life at the National Arts Centre in Ottawa.
kinanâskomitin ᑭᓇᓈᐢᑯᒥᑎᐣ!" Thank you, I am grateful.
Kelsey Kanatan Wavey (they/them) is a nonbinary multidisciplinary artist currently based in so-called Vancouver. Kelsey was born and raised in Treaty 1, Winnipeg, and is a proud member of Tataskweyak Cree Nation. Kelsey attended Studio 58 to study acting, and has been working as an actor, writer, director, and curator since graduating in 2019.
Kelsey is a singer and is working on self-releasing their work with their Indigenous indie pop duo EVERB0DY, as well as sings with an all femme drumming group M’girl. Some of their recent theatre acting work includes The Rez Sisters, Women of the Fur Trade (MTC) and Break Horizons: a Concert Documentary (Urban Ink and The Cultch). You may have seen their recent directing work in Cerulean Blue (Studio 58) and Gather: Stories in Nature (Neworld and Pacific Theatre).
Cheri Maracle is a Haudenosaunee/Irish Actress, Singer, Playwright, and Host of the Six Nations of the Grand River Territory. She has been performing on stages across Turtle Island and abroad for over 25 years and has many TV, stage, and music credits to her name.
Some selected TV/Film credits include Bones of Crows (CBC), Alaska Daily (CTV), UNSETTLED (APTN, TVO), The Coroner (CBC), The Parker Andersons (Marble Media), Tribal (APTN), DeGrassi (Netflix, Epitome), and Murdoch Mysteries (CBC). Cheri was nominated for Best Supporting Actress at the Canadian Screen Awards for her role of Sara Bull in the series Blackstone (APTN). Cheri also has numerous stage credits to her name and was nominated for Best Solo Performance for her portrayal of Pauline Johnson in the world premiere of Paddle Song at High Performance Rodeo. She has appeared in selected Theatre pieces: The UNNATURAL & ACCIDENTAL WOMEN (NAC), The Hours That Remain (Theatre Aquarius), Kisaageetin, We Love You (NAC), The Rez Sisters (Belfry Theatre), White Noise (Firehall Theatre), and more…
Cheri has hosted the INDSPIRE AWARDS for Global TV, Planet IndigenUS (Harbourfront Centre), TU Jazz Fest (Ontario Place), Talking Stick Festival Music Night, and Indigenous Music Awards shows, and events across Turtle Island.
Cheri’s musical background began with hand drum music, with the Indigenous Women’s group Tiyoweh. She then penned two original albums, Closer To Home, and If I Am Water, which garnered several nominations in the Indigenous Music Industry. Her third album, Ache of Love, is a jazz compilation, for her forever love of jazz music. Cheri had the privilege of portraying Mildred Bailey at the First Ladies of Jazz concert, at the Celebration of Nations Gathering in St. Catherines. Most recently, Cheri played the Waterloo Jazz Fest and the TU Jazz Fest in Ontario with her Quintet. Cheri’s music can be found on iTunes and Spotify.
Lisa Nasson is an actor, director and playwright from Millbrook First Nation in Mi’kma’ki (Nova Scotia). She studied Theatre Performance at George Brown College in Toronto, as well as Classic Theatre at the Stratford Festival’s Birmingham Conservatory. She was awarded the Michael Mawson Tyrone Guthrie award at the Stratford Festival. Lisa’s latest works include: Kâwanihot Iskwew in Pawâkan Macbeth with Akpik Theatre, Billy Elliot the Musical with Neptune Theatre and R + J at the Stratford Festival as Benvolio. Lisa directed Otîhêw by PJ Prudat with Shakespeare in Action this summer and has just finished writing her first full-length play titled Mischief. Lisa, as always, wants to thank her family and community for growing her into an artist.
Jesse Gervais: Selected theatre credits include Christmas Carol (Citadel); Clue (MTC\Grand Theatre); The Breathing Hole (NAC); Grand Ghosts (Grand Theatre); Jane Eyre, Silver Arrow, Crazy For You, Alice Through the Looking Glass, One Man Two Guvnors, Measure for Measure (Citadel Theatre); Romeo and Juliet, Love’s Labours Lost, Hamlet, As You Like it, Comedy of Errors, Coriolanus, King Lear, The Taming of the Shrew (Free Will Players); 6.0, 4th Graders, (NLT); 10\12, Passion Play, Realistic Joneses (Wild Side Productions); Joy Ride, Black Horse (Caravan Farm Theatre).
Film and TV Credits: Tiny Plastic Men Seasons 1-4 (Super Channel); Caution May Contain Nuts Seasons 2-4 (APTN); Blind Ambition, Joe Pickett
Voiceover: Mass Effect 1, Mass Effect 2, Mass Effect 3, Dragon Age: Origins, Anthem, Neverwinter Nights (BIOWARE)
Training: BFA University of Alberta
Online: @jesse.gervais, www.jessegervais.com
Jonathan Fisher is Bear Clan and Anishnabe from the Wiikwemkoong Unceded Territory. Selected credits include: Dry Lips Oughta Move to Kapuskasing (Red Roots Theatre), fareWel (Prairie Theatre Exchange), New France (VideoCabaret), Copper Thunderbird (National Arts Centre), Tales of an Urban Indian (Talk Is Free Theatre), 400 Kilometers (Lighthouse Theatre), The Rez Sisters (Magnus Theatre), Night (Human Cargo), The Hours That Remain (Magnus Theatre), Elle (Theatre Passe Muiraille), The Berlin Blues and Ipperwash (Blyth Festival), Reckoning (Article 11), This Is How We Got Here (Native Earth/Shaw Festival), The Mush Hole (Kaha:wi Dance Theatre), and White Noise (Firehall Arts Centre).
John has been an actor, director, producer, and teacher for more than 47 years and has appeared in theatres across the country. As an actor his recent work includes: Blissful State of Surrender by Sanita Fejzić (GCTC), Every Little Nookie by Sunny Drake and Little Women by Jordi Mand (Stratford Festival), Butcher by Nicolas Billon at the Panasonic Theatre in Toronto for the Off-Mirvish series in 2017 and also in 2015 at The Theatre Centre in Toronto (Best Production Toronto Critics' Awards). He appeared in the GCTC production of Butcher in 2016 and as Malvolio in the NAC production of Twelfth Night the same year.
Lauchlin Johnston (he/him) calls Vancouver home and is grateful to be living today as an uninvited guest on the stolen and unceded lands of the Sḵwx̱wú7mesh (Squamish), xʷməθkʷəy̓əm (Musqueam) and səlilwətaɬ (Tsleil-Waututh) Nations.
Lauchlin has had the opportunity to collaborate with companies across Canada, and recently designed scenery for the world premiere of Rosanna Deerchild’s The Secret to Good Tea at the Royal Manitoba Theatre Centre in Winnipeg. Other collaborations include Gateway Theatre, Chemainus Theatre Festival, Theatre Under the Stars, Arts Club Theatre, ITSAZOO, Western Canada Theatre, Firehall Arts Centre, Pacific Theatre, Native Earth and Mortal Coil Performance.
Lauchlin is a graduate of UBC holding a BFA in theatre design and production. He has received twenty-two Jessie Richardson Theatre Award nominations and three wins, plus one Ovation Award. Lauchlin is a member of the Associated Designers of Canada and IATSE 659.
Vanessa Imeson is an award-winning Theatre Artist and the 2023 recipient of the Virginia and Myrtle Cooper Award in Costume Design. She holds a combined BA Honours degree in Dramatic Art and English from UofW, MFA in Theatre Design from UBC and diploma for Makeup Design for Film and Television from VFS. She designs costumes, make-up, wigs and puppets for a variety of collegiate programs and professional theatre companies across Canada and the US while simultaneously acting as Head of Wardrobe for the GCTC. The costume design for this production of Women of the Fur Trade was created by blending Victorian silhouettes with elements of contemporary Indigenous fashion and powwow culture.
See more of her work at www.vanessaimesondesign.com.
MJ Dandeneau is an accomplished bassist, sound designer, composer, and producer. Nationally recognized with awards such as JUNO, WCMA, MAC, and CFM, she has worked and toured with various artists and productions worldwide for the past 18 years.
Her work includes Charlie Brown’s Double Bill, Torn Through Time, Tiny Treasure, Frozen River (Manitoba Theater for Young People); Katharsis, The War Being Waged, Ponderosa Pine, Space Girl (Prairie Theater Exchange); Bittergirl: The Musical (bassist), YAGA (Royal Manitoba Theatre Center); La Liste, On Maronne! (Théâtre Cercle Molière) and Songide’ewin (Sarasvàti).
MJ has also done sound and sound design for Mary Poppins Musical for the Flin Flon Art Council series. She continues to compose for short films, and documentaries, and tours the globe with various projects along the way.
MJ is a French Métis and Anishinaabe woman from the Red River Nation. Her mother's side comes from the Métis Red River Valley, and her father's side comes from the Métis Nation/Anishinaabe people of Penetanguishene, Treaty 61. She is very excited and honoured to be part of this production, under the talented Director, Renae Morriseau. Miigwech Giga-waabamin.
Jeff is a four-time Jessie Award winning lighting designer for his work on Carousel Theatre’s Pharaoh Serket & the Lost Stone of Fire, Patrick Street Theatre’s Floyd Collins, Pi Theatre’s Blasted and Arts Club’s Hand to God. He is a graduate of SFU’s School for the Contemporary Arts, attended the Banff Centre for the Performing Arts and is a member of the Associated Designers of Canada.
Candelario Andrade is a video editor and media designer based in Vancouver. Recent theatre design credits include: Women Of The Fur Trade (NAC, Native Earth, GCTC); Zahak (The Biting School); Julius Caesar (Bard on the Beach); I Carry Your Heart With Me (egg theatre); Little Red and His Lawyer (Savage Society/Belfry/NAC); Tree Drum (Theatre Terrific); Mom’s the Word Talking Turkey (Arts Club); White Girls in Moccasins (The Frank); Six of One (Studio 58); White Noise (Savage Society/Firehall); Clean/Espejos (Neworld) and DYMISH (Theatre Replacement). Recent editing credits include Bard on The Beach feature film Done/Undone; Belfry Theatre digital productions (2020-2021), as well as the short films: Common Law; a film about a uterus and The Day My Cat Saved My Life. In recent years, Cande has edited several short films and projects for Mochizuki Studios and has worked as an editor and promo producer for Knowledge Network and the Vancouver International Film Festival.
Jackie McCormick is an Ottawa based Stage Manager who has proudly called this city home for ten years. She was most recently the Stage Manager for the Revival of the NAC Indigenous Theatre/NEPA/GCTC co-production of Women of the Fur Trade in Toronto after its successful run in Ottawa in January. This Winter she was also the Stage Manager for the staged readings of Twisted and Brotherhood: The Hip Hopera as part of the NAC Hip Hop Festival. Jackie was also a Coordinator for the first volume of Irresistible Neighbourhoods, Ottawa 2044 this past May. Other recent Stage Management credits include The Supine Cobbler, The Unplugging (Great Canadian Theatre Company) and Perfect Wedding, Moving In, Buying the Farm, A Christmas Carol (Upper Canada Playhouse). Always grateful to her family: J, Q & B for their love and support.
Dylan Tate-Howarth is a theatre artist based in Toronto. She works as a stage manager primarily for new and/or devised theatre. Selected stage management credits include Two Birds One Stone (Two Birds Theatre); Italian Mime Suicide, and Flashing Lights (Bad New Days); Broken Shapes (The Theatre Centre); White Girls in Moccasins (manidoons collective and Buddies in Bad Times); and assistant stage manager for Niizh (Native Earth Performing Arts). Dylan is a co-creator of Probably Theatre Collective and co-curator of Probably Poetry. Upcoming: Dylan is stage managing Café Daughter at The Globe Theatre in Regina in March 2024.
Credits
NAC Production Team
Azrieli Studio
Head / Chef
Stephane Boyer
Assistant
Leigh Uttley
Head Projectionist
Dave Milliard
Wardrobe Head
Linda Dufresne
Backstage Running Crew
Sarah Waghorn
Wig Maintenance
Normand Couvrette
Set Construction
Head Carpenter
Dave Strober
Assistant Carpenter
Chad Desjardins
Carpenter
George Hack
Scenic Painter
Danny McManus
Prop Shop
Head of Properties Workshop
Mike Caluori
Natasha Habib
Will Long
Kellie McDonald
Special thanks to:
Jesse Carroll and Kirk Bowman
Women of the Fur Trade
Playwright
Frances Končan
Director
Renae Morriseau
Marie-Angelique
Kelsey Wavey
Cecilia
Cheri Maracle
Eugenia
Lisa Nasson
Thomas Scott
Jesse Gervais
Louis Riel
Jonathan Fisher
Fight Director
John Koensgen
Scenic Designer
Lauchlin Johnston
Costume Designer
Vanessa Imeson
Sound Designer/Composer
MJ Dandeneau
Lighting Designer
Jeff Harrison
Projection Designer
Candelario Andrade
Stage Manager
Jackie McCormick
Assistant Stage Manager
Dylan Tate-Howarth
Great Canadian Theatre Company
Box Office Assistant
Billie Nell
Bartender
Caitlin Hart
Fundraising & Membership Manager
Carolina Gallegos
Company Manager
Celina Hawkins
Ticketing & Administrative Coordinator
Chao Li
Box Office Assistant
Charlotte Stewart-Juby
Access Manager
Drea
Assistant Technical Director, Head of Carpentry
Eric Neill
Managing Director
Hugh Neilson
Interim Assistant Technical Director
Jason Beaudry
Bartender
Julie Bica
Production Manager
Kevin Waghorn
Technical Director
Kyle Ahluwalia
Box Office Manager
Kyle Cameron
Box Office Assistant
Moksha Singh-Sharpe
Marketing & Communications Manager
Natalie Joan MacLellan
Box Office Assistant
Peter Russell
Box Office Assistant
Sara Bruton
Artistic Director
Sarah Kitz
Box Office Assistant
Sarah McKay
Finance & Office Manager
Selam Haile
Head of Props & Head Scenic Painter
Stephanie Dahmer-Brett
Assistant Technical Director (on leave)
Valerie Josephine Trudel
Head of Wardrobe
Vanessa Imeson
Box Office Assistant
Vishesh Abeyratne
Native Earth Performing Arts
Managing Director
Himanshu Sitlani
Artistic Director
Joelle Peters
Venue Coordinator/Company PM
Julia Howman
Sustainability Consultant
Ian Garrett
Sustainability Coordinator
Laura Philipps
NAC Indigenous Theatre Team
Artistic Director
Kevin Loring
Managing Director
Lori Marchand
Producer
Michelle Yagi
Associate Producer
Brittany Johnston
Indigenous Cultural Resident
Mairi Brascoupé
Education Coordinator
Kerry Corbiere
Production Manager, Theatre Department
Spike Lyne
Communications Strategist
Ian Hobson
Marketing Strategist
Marie-Pierre Chaumont
Senior Marketing Manager
Bridget Mooney
International Alliance of Theatrical Stage Employees