Cast
| Stage Manager | Emily Mainprize |
| Ben/Charles | Sarge McGowan |
| E3 | Nicole Kidder |
| E2 | Gabriel Martell |
| Costume | Toni San Antonio |
| Siget/Old Lady/Lucille | Kate Kessler |
| Eva/Marie | Nicole Gillis (Feb 8, 10) Aiden Maddison (Feb 7, 9) |
| The Director | Alida Schulhauser |
| Sound | Jayden Nelson |
| Jake/Richard | Cadence Brehaut |
| Paul/Carstairs | Max Herman |
| Assistant Director | Jasmine Keck |
| Lights | Patrick Lomas |
| Assistant Stage Manager (Jamie) | Scott Eaton |
| Imp/other actors/stage hands/ensemble | Prisca Mbwebwe Charlisse Feliciano Aiden Maddison (Feb 8, 10) |
Creative Team
| Director | Clare Middleton |
| Set Design | Ken MacKenzie |
| Costume Design | Abraham Galman* |
| Lighting Design | Ian Kimpton |
| Sound Design | Cody Brayshaw |
| *In partial fulfillment of BFA (Design) |
Crew
| Stage Manager | Nathaniel Morin |
| Assistant Stage Manager | Jenna Stang |
| Production Manager | Ken MacKenzie |
| Music Director | Paulina Salisbury |
| Assistant Music Director | Cody Brayshaw |
| Head of Wardrobe | Beverley Kobelsky |
| Costume Assistant | Emma Gustafson |
| Head Carpenter | Iain Rose |
| Stage Crew | Carlos Martinez Jenna Stang Aiden Maddison Juno Haywood Jordan Sherling Bengee Smith |
| Dressers | Cadence Brehaut Kelsee Christmann |
| Scenic Painters | Ken MacKenzie Bengee Smith |
| Lighting Board Operator | Bengee Smith |
| Sound Board Operator | Carlos Martinez |
| Box Office Staff | Deanna Black Cody Brayshaw Ava Johnson Chinaza Onyeneke |
Director's Notes
Theater is an occupation, but it is also a passion and, like most things that people are passionate about, it draws a high level of frustration and a whole host of personalities. What I love about this play is that, yes, it is a play within a play, but it is relatable to a lot of other people who don’t work in a theater but who do work with other people trying to get projects done. There are the realists, the dreamers, and the people who get bogged down in the details. There are the ones who keep a good sense of humor and those that keep their eye on the prize. The need for urgency and focus on a time limit brings out interesting reactions in people. What the play made me consider, is that no matter how you approach it, no one is here because they have to be. We are all here because we love it. And love brings out the best and the worst in us, but it is essentially what makes life worth living.
The students in this show have been so generous with their questions, ideas and enthusiasm for theater. Combining that with the content of the play, it has been a joy working at Greystone theater again. To me, it feels like a funny kind of love story about one of the places that made me fall for theater in the first place. When I was still a kid I attended drama camp here when Henry Woolf was still very much involved, and then I got my BFA here, and I think the last main stage show I did was directed by Dwayne Brenna. I had the privilege of attending University with Carla Orosz and so it feels like a warm hug to be back where this all started for me.
This isn’t a traditionally structured play, but I think you’ll all understand why I chose it. It's a glimpse into what life is like for us in those last few days before a show opens. It asks the questions we all ask ourselves in our most exhausted moments, "what are we really doing here?" and then takes a stab at answering that impossible question. Enjoy the chaos, if you can.
Acknowledgements
Special thanks to Anna Yaworski and Persephone Theatre, and to Shakespeare on the Saskatchewan.
Thank you to Jane, Beth and Daniel Beavis and Joan and Bob Middleton.
Upcoming!
