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A Fugue Theatre/Raven Theatre production

in association with Urban Ink & The Cultch

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Page 2 - Ad from The CultchMUSICIANS

Rachel Kiyo Iwaasa* (Piano), Molly MacKinnon (Violin), John Kastelic* (Viola), Rebecca Wenham (Cello)

PRODUCTION TEAM

Managing Director: Dawn Brennan Creative Producer: JD Derbyshire Production Manager: Adrian Muir Stage Manager: Ashley Noyes Asst. Stage Manager: Melanie Thompson Sound Board Operator: Kyra Soko Head of Wardrobe: Stephanie Kong Cutter: Victoria Klippenstien, Seamstresses: Megan Veaudry, Jessica Oostergo Oriana Camporese Wardrobe Breakdown: Bunny Meugens Props Master: Sharon Zimmerman

SHOW INFO

Les Filles du Roi was commissioned by Fugue Theatre and received development support from Fugue Theatre, Urban Ink, Raven Theatre, Caravan Farm Theatre, the Native North American Travelling College (Akwesasne), and/et Centre d’interprétation du site archéologique Droul-ers-Tsiionhiakwatha (Saint-Anicet, Québec)

CREATIVE TEAM

Director/Composer/Co-book/lyrics: Corey PayetteCo-book/lyrics: Julie McIsaacProduction Design (Set/Costumes/Props): Marshall McMahenLighting Design: Jeff HarrisonSound Design: Kyra SokoBeadwork Design: Konwahonwá:wi StaceyMovement Director: Patrice BowlerMusic Director: Rachel Kiyo IwaasaCo-fight Directors: Mike Kovac & Ryan McNeill BoltonCo-Orchestrators: Elliot Vaughan & Martin ReisleKanien’kéha Language Translators: Kathy Herne, JoAnn SwampKanien’kéha Language Teacher: Iawenta’s Mabel WhiteKanien’kéha Language Consultant: Cecelia King, Sue Ann Swamp, & Tekonwakwenni NanticokeAssociate Movement Director/Dance Captain: Lisa GoebelAssistant Director: Emilie Leclerc

CAST

Kaitlyn Yott - KateriJulie McIsaac - Marie-Jeanne LespéranceRaes Calvert - Jean-Baptiste/Fight CaptainLaura Di Cicco - Madame SavoieAndrew Cohen* - ClarkeChelsea Rose - Clan Mother/ChorusSynthia Yusuf - ChorusKayla Dunbar - Lise-Anne/ChorusLisa Goebel* - Chorus/Associate Movement Director/Dance Captain

Cecilly Day - Chorus Merewyn Comeau - Chorus

1. LES FILLES DU ROI - Full Company2. IAKOIANEH (Clan Mother) - Kateri3. PRIÈRE EN MARCHANT (Walking Prayer) -

Full Company4. L’ESPACE (Space) - Marie-Jeanne & Filles5. BEYOND THE WALLS - Marie-Jeanne &

Jean-Baptiste6. SICKNESS - Full Company7. WINTER (Soundscape Instrumental)8. COLD ISN’T PERMANENT - Jean-Baptiste &

Kateri9. QUI ME SAUVERA (Who Will Save Me?) -

Marie-Jeanne10. SICKNESS (REPRISE) - Madame Savoie & Filles11. SKÉN:NEN GOWA (Great Peace) - Clan Mother12. WE COULD BE - Marie-Jeanne & Jean-Baptiste13. TOSAH ENSATERENAIEN (Don’t Pray to Your

God) - Kateri & Marie-Jeanne14. FINALE - Full Company

SONGS

Directed, Music, Co-Book/Lyrics by Corey PayetteCo-book/lyrics by Julie McIsaac

Urban Ink is a member of the Professional Association of Canadian Theatres (PACT) and engages under the terms of the Canadian Theatre Agreement, professional Artists who are members of Canadian Actors’ Equity Association.

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DAKH DAUGHTERSJAN 15 – 19, 2019

Fugue Theatre’s mission is to generate innovation across the theatre and music communities by pro-ducing original, imaginative and boldly experimental Canadian musicals, operettas and plays with music. We strive to give voice to the new ideas that will drive the evolution of music-theatre in Vancouver. In doing so, we hope to stimulate a society-wide appetite for diversity in thought and culture. We believe that in combina-tion, theatre and music have a unique ability to excite, unite and educate.

In choosing our subject matter, we seek out provocative, Canadian stories that both entertain and drive discourse. We work with artists from all cultures and encourage their unique perspectives as part of the creative process. We value integrity, respect for others, honest practice, consultation and collaboration. As a company headed by a female Artistic Director, we are personally committed to growing equity in Canadian theatre. In both development and production, we search for artists who embody diversity in identity, practice and experience.

Fugue Theatre believes that our audience is integral to the development of our work. We are dedicated to increasing participation in theatre through our mandate to provide inclusive, affordable, and accessible experiences of our productions. We invite our community to witness our works-in-progress and we welcome feedback from those who see it. By building direct relationships with our audiences, Fugue Theatre seeks to grow public participation and interest in challenging ideas and unconventional art experiences. In this way, we hope to link innovative music-theatre with an energized public discourse.

ARTISTIC AND MANAGING DIRECTOR Laura Di Cicco

BOARD

Ron Goetz, PresidentMary Braun, TreasurerGrant Finnighan, Secretary

Isher Deol, DirectorNate Payne, DirectorAvishek Roy, DirectorMonique Simard, Director

FUGUE THEATRE

A-1215 West 7th Avenue, Vancouver, BC, V6H 1B7 | fuguetheatre.org

@FugueTheatre @fuguetheatre @fuguetheatrecanada FOLLOW US:

FUGUE THEATRE - WHO WE ARE* indicates pump organ players

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½ page AD for CD, Piano/Vocal Songbook, Published Script of COG]

WELCOME FUGUE THEATRE is proud to have commissioned, developed, and co-produced the world premiere of Les Filles du Roi, by Corey Payette and Julie McIsaac. Fugue’s mission is to commission and produce original, Canadian operetta and musicals that endorse diversity of thought and culture. For the past 15 years, Fugue has engaged with a number of diverse artists to bring relevant and inventive stories through music to the stage. Some of our past works include Off-Leash, Supernatural Noir, and Via Beatrice. Fugue has been nominated for both Ovations and Jessies. We are excited to bring this production to you, that has taken over three years to develop. Les Filles du Roi was chosen because not only does it meet our mission, but we felt it a very important story to tell: a story of women and First Nations, in a time wherein such issues continue to be at the forefront. More than just a historical tale, it is a tale of struggle, but it is also a story of strength and unity - a story that perhaps allows us to gain insight from our past for a better future. I would like to thank our funders for the past few years who have supported this project in both development and production: the Canada Council, the BC Arts Council, BC Gaming Commission, the City of Vancouver, Metro Vancouver, the Hamber Foundation, The MacLean Foundation, and the Vancouver Foundation. I would also like to thank our Board of Directors for their tireless work, and of course, our audience and volunteers. A special thank you, as well to our producing partners: Raven Theatre, Urban Ink, and The Cultch. Laura Di Cicco

When I first learned about the historical filles du roi, I was in Grade 8 at L’École Saint-Joseph in Penetan-guishene, Ontario. I felt a fierce kinship with these girls, likely because I was the same age as many of them would have been when they left France to become young wives (and mothers) in the “new world”. I’ve never stopped wondering about these girls; why they went, what they left behind, and what really happened when they arrived. The documented history is narrow, paternalistic, wholly unsatisfying. Statistics are available – passenger manifests, marriage certificates, census records – but what about the lived experiences of these women? Yes, they were population-boosting possessions of the patriarchy. But what did they themselves think, dream, feel?

This gap in the narrative is what prompted me to talk to Laura about a show that would give voice to les filles. At the same time, I knew there were/are other perspectives missing from accounts of our nation’s history. These young women arrived as products (and agents) of a system, a system that was bent on destroying the way of life of the Indigenous people of this continent, a system that has resulted in centuries of oppression, violence, erasure. A system that is ongoing, and will continue to harm, unbalance and separate us – unless we take action, together.

As I grappled with this, and Laura asked me about potential collaborators, I knew that I needed to talk to Corey Payette. I am so grateful that Corey was inspired to take part, and in such significant way. And I’m thankful for all that this show has taught us, both artistically and personally. We’ve uncovered parts of our own identities, family histories we might never have known if not for the pull of the questions at the heart of this piece. I am fortunate to have grown up surrounded by the strong, vivacious and tenacious women of my French-Canadian family: my Mémère Simone, my mother Jeanne, and my eight ma tantes Marie, Irène, Avela, Madeleine, Anne, Gisèle, Yvette and Bonita. Now, I know that all of us are descended from fille du roi Marguerite Bulté, who married in 1670, and lived to be 95 years old.

What if my ancestor only survived because of the kindness and generosity of Corey’s ancestors? What if settlers had allowed themselves to be changed by genuinely listening to, and learning from, the Indigenous people of this land? What if we settlers committed to doing this now? What if Western European patriarchy wasn’t our default modality? What if it went without saying that women’s voices and bodies are to be hon-oured, revered and respected?

On behalf of Corey and I – Nia:wen (Thank-you) to all the people who have believed in this work. To Laura at Fugue for commissioning the seed of an idea and supporting us over all these years, to Dawn, JD, and Samantha at Urban Ink, to The Cultch and Raven Theatre, and to this remarkable company of artists for bringing Les Filles du Roi to life. Julie McIsaac Co-Book/Lyrics of Les Filles du Roi

CO-BOOK/LYRICIST STATEMENT

THE MUSIC FROM CHILDREN OF GOD by COREY PAYETTE

Children of God by Corey Payette - Published Script Children of God Songbook by Corey Payette - piano/vocal score

All are available for purchase in the lobby, iTunes, Amazon, and www.coreypayette.com

Artistic Director, Fugue Theatre

Design sketch by Marshall McMahen

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DIRECTOR, COMPOSER, CO-BOOK/LYRICIST’S STATEMENT

Welcome to Les Filles du Roi,

My Great Grandmother Mabel moved from Caughnawaga (Kahnawake) Mohawk Territory on the south shore of the St.Lawrence river, across from Montreal, to Northern Ontario in the early 1900s. She spoke English and French but Kanien’kéha (Mohawk) was her first language. She was discriminated against for being Indigenous and never taught Kanien’kéha to her children, and the language was lost in our family. In fact she shared very little with them about their own language or culture. Now with the support of the Native American Travelling College in Akwesasne we not only received the teaching of the Kanien’kéha language but also some of the worldview that is embedded within this complex language. With only two generations be-tween my great grandmother and I, I feel like this reclaiming of Indigenous language through Les Filles du Roi is part of a larger story that will resonate with many young Indigenous peoples who are on this same path.

We are using this musical as a vehicle to tell the story through the perspective of genera-tions of silenced Indigenous peoples whose stories have gone unheard by the mainstream. It challenges the history we’ve been told and asks us to reconsider the narrative. Stories are powerful, they shift how we see the world, and our history has been shaped through a predominantly white male perspective. Much of our work in Les Filles is about Indigenizing the narrative because these perspectives are missing. Even when we spoke to Indigenous scholars in Akwesasne, many of their sources were through the same white lens we were looking to subvert.

In addition to the Indigenous perspective being missing, we found few perspectives of les filles who had come over. Our work has been about feminizing this history through the eyes of these women. The chorus sheds light on the aspects of truth that are lost by having such a narrow perspective of these complex histories. We now have the opportunity to share all the complexities of these women told through the extraordinary talents of our women’s chorus who represent what our community is comprised of today. It has been 352 years since the time our story is set, and in that time we have experienced the loss of matriarchy, which was the way of governance in the Kanien’kehá:ka nation at the time of our story. All women have felt the impacts of the loss of this Indigenous worldview. I hope it serves as a reminder of what was once present on this land and of what we could be.

I never met my Great Grandmother Mabel, but I know she would be proud that we are reclaiming Kanien’kéha in this way. We will speak our language again, language will bring songs again, songs will bring dances again, and even if we have to create the story anew, these stories will remind us of who we have always been.

All my relations,

Corey PayetteDirector, Composer, Co-book/Lyricist - Les Filles du RoiArtistic Director of Urban InkFounder of Raven Theatre

CO - C R E AT E D BY CO R E Y PAY E T T E , R E N E LT TA A R LU K , A N D M A RS H A L L M C M A H E N

W O R L D P R E M I E R E - W I N T E R 2 0 1 8C A R A V A N F A R M T H E AT R E

NIA:WEN / MERCI / THANK-YOU Cecelia King (language), Darren Bonaparte, Iawenta’s Mabel White (language), JoAnn Swamp (lan-guage), Kahentawaks Perkins, Kahniehtiio Horn, Kathy Herne (language), Michel Cadieux (Droulers), Pascal Perron (Droulers), Sue Ann Swamp (language), Tekonwakwenni Nanticoke (language).

Alex Schoen, Anita Rochon, Anna Kuman, Annette Ouimet Assad, Avishek Roy, Barbara Adler, Caitlyn Hayes, Cate Richardson, Dawn Brennan, Deneh’Cho Thompson, Elliot Vaughan, Estelle Shook, Evan Frayne, Geneva Perkins, Grant Finnighan, Heather Redfern, Isher Deol, Janet Scott, JD Derbyshire, Jeff Gladstone, Jesse Martyn, Johnny Trinh, Joshua Andler, Julie Trépanier, Karliana DeWolff, Kathy Battye, Kevin Loring, Laura Di Cicco, Laura Ross, Leslie Uyeda,Lindsay Warnock, Lucy Sim, Mara Gottler, Maria Jose Herrera, Mary Braun, Megan Stewart, Melanie Thompson, Michael Creber, Michael James Park, Michelle Paulin, Monique Simard, Nathaniel Payne, Nicole McLuckie, Robyn Wallis, Ron Goetz, Sidney Klips, Wendy Verbaas, Yawen Wang. Arts Club Theatre, Carousel Theatre for Young People, Citadel Theatre, Great Northern Way Scene Shop, Italian Cultural Centre, Shadbolt Centre for the Arts, The Annex, The Dance Shop. Vancouver Opera. We acknowledge the support of the Canada Council for the Arts, which last year invested $153 million to bring the arts to Canadians throughout the country.We acknowledge the financial assistance of the Province of British Columbia, BC Arts Council, City of Vancouver, Metro Vancouver, Hamber Foundation, McLean Foundation, Vancouver Foundation.

Many thanks to the team at the Cultch and to the community members of Akwesasne.

Fugue Theatre would especially like to acknowledge the support of BDO Canada LLP.

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ANDREW COHEN – CLARKE

Andrew is grateful to live and work in the unceded territories of the Musqueam, Squamish, and Tsleil-Waututh peoples. Some favourite credits: Berger in Hair, Fred in Chicago (Mayfield), Judas in Godspell (Arts Club), Buddy the Elf in Elf the musical, Fiddler on the Roof (Chemainus), Game Show (Stagew-est), Urinetown (Firehall), Hamelin (Axis), and Hunchback (Catalyst/Playhouse/Cultch). Together with his incredible wife and collaborator Anna Kuman, Andrew co-created/co-directed & music directed CIRCLE GAME: Reimagining

the Music of Joni Mitchell (5 Ovation Award noms, 2 wins - Best Music Direction & Best Professional Production). Catch CIRCLE GAME in Saskatoon (Persephone), Vancouver (Firehall), and across BC (Arts Club On Tour). Il travaille aussi dans les équipes créatives des cérémonies mondiales, incluant les cérémonies d’ouverture et clôture des Jeux Olympiques et Paralympique Rio 2016, AIMAG 2017 à Ash-gabat, et récemment en Australie pour les Jeux Commonwealth. Une sincère Nià:wen Kó:wa à Corey, Julie, et l’équipe trilingue de LFDR pour me donner l’occasion de partager cette histoire de cette terre.

MEREWYN COMEAU – CHORUS

Merewyn is delighted to be making her debut with Urban Ink Productions. She is of Métis Acadien ancestry, and a recent graduate from Capilano Univer-sity’s Musical Theatre Program. Select credits include: Th’owxiya in Th’owxiya: The Hungry Feast Dish (Axis Theatre), Thomas in Jesus Christ Superstar (URP), and Martha in The Secret Garden (Arbutus Studio). Merewyn would like to thank Corey Payette, Julie McIsaac, and the creative team for the opportunity to be a part of such a special story.

CECILLY DAY – CHORUS

Cecilly is thrilled to be joining Urban Ink in this beautiful new work. It is a rare opportunity to be a part of a project so powerful, especially one that utilizes so many aspects of Canadian culture. Cecilly feels very fortunate to have joined “Les Filles” on this journey. Catch Cecilly next at the Shift Festival May 31, June 1 & 2 in “Titillations”.

KAYLA DUNBAR – LISE-ANNE/CHORUS

Kayla is a Vancouver based director, choreographer, and actor. Companies she has worked for include: Bard on the Beach, Arts Club, Chemainus Theatre Festival, Vancouver Playhouse, Carousel Theatre for Young People, Patrick St. Productions, City Opera, Delinquent Theatre, The Elbow Theatre, Itsazoo, Zee Zee Theatre, Famous Artists Limited, Fugue, Gateway Theatre, Studio 58, RCMT, and TUTS. Kayla is a graduate of the acting program at Studio 58. Next up, you can see her choreography in The Curious Incident of the Dog in the Nighttime at the Arts Club in September. LISA GOEBEL – CHORUS/ASSOCIATE MOVEMENT DIRECTOR/DANCE CAPTAIN

Last on stage with The City and The City (Upintheair/The Only Animal), A Dog at a Feast (Bleeding Heart Theatre), and Redpatch (Hardline). Nat’l tour: Klondike Kate Show (Gillian Campbell). Select choreography credits: Dogfight (Awkward Stage), Measure for Measure, King Lear (Honest Fishmongers), and Movement Direction for Troilus and Cressida (Studio 58). Lisa also works as a dance teacher and adjudicator. She is the resident choreographer of the Vancouver folk dance company Kababayang Pilipino, and a graduate of Studio 58.

KAITLYN YOTT – KATERI

Kaitlyn’s journey with Les Filles Du Roi began in the first public reading in 2015, and she is honoured to have learned and grown with Kateri for the past three years. Select credits include: Elizabeth in Children of God (Vancouver/NAC pre-miere 2017, Citadel/WCT tour 2018), Lucy in The Lion The Witch and the Ward-robe (Carousel Theatre). Up next, she will be originating the role of Mikaya in Kim Harvey’s Kamloopa, premiering at WCT, The Cultch and Persephone Theatre. To Corey and Julie — you have my whole heart. “Thank you” will

never be enough for how you have changed my life. Here’s to you, the incredible artists of the world, dedicating your craft to illuminating the voices of the voiceless, guiding us to a more compassionate, understanding and united future as we uncover and heal from our history on this land.

JULIE MCISAAC – CO-BOOK/LYRICS/MARIE-JEANNE LESPÉRANCE

Julie is of French, Scottish/Irish and Norwegian ancestry, and is grateful to have grown up on the shores of Georgian Bay on the beautiful territory of the Anishinabek, Haudenosaunee, Odawa and Huron-Wendat. A multidisciplinary performer and director of theatre & opera, she is a graduate of Carleton University, CCPA, and the University of York (UK), and has appeared on stages throughout Western Canada, including the Citadel, Arts Club, Bard on the Beach, Pacific Theatre, the Belfry Theatre, Firepot Performance (formerly

Twenty Something Theatre), Fugue Theatre, Carousel Theatre, and the Chemainus Theatre Festival. She is a three-time Jessie nominee, Artistic Associate of Firepot Performance, a founding member of the Honest Fishmongers, and recently completed a year-long residency in stage direction at Pacific Opera Victoria. She is also the playwright, composer, music director and co-sound designer of The Out Vigil (Firepot Performance); 2016 Jessie award with Jay Clift.

RAES CALVERT – JEAN-BAPTISTE/FIGHT CAPTAIN

Raes Calvert is a Métis theatre artist from Vancouver BC. He is a Co-Artistic Director of Hardline productions, a local theatre company entering its 8th sea-son. Raes has toured nationally and internationally with companies such as: The Presentation House Theatre, GreenThumb Theatre, Axis Theatre, Urban Ink and MTYP. He is a graduate of the Studio 58 professional actor training program at Langara College. He is a three time Jessie Richardson nominee and 1 time recipient. Last year he was the recipient of a Hynatysyn Founda-

tion REVEAL Indigenous Art Award award. He is so honoured to be performing in Les Filles Du Roi, especially so soon after closing Children of God, another new Canadian musical written and directed by Corey Payette. Raes is very excited to be marrying the love of his life Angie later this month. This one is for you dad, I miss you. I hope you enjoy the show. Niá:wen kó:wa.

LAURA DI CICCO – MADAME SAVOIE

Laura’s career as an actor, singer, writer, director and producer has spanned over 30 years. She graduated from the University of British Columbia and has worked in Toronto, Ottawa and Vancouver. Vancouver acting credits include work with theatre companies such as Green Thumb Theatre, Ruby Slippers, Theatre Conspiracy and Axis Theatre. Laura has also played the (in)famous Leni Riefenstahl in Mieko Ouchi’s The Blue Light. Most recently, she played the ultimate diva, Maria Callas, in Masterclass for Opera Mariposa. Laura was

a co-recipient of a Jessie Richardson Award for a tour with Axis Theatre. Vancouver film and televi-sion credits include Saving Milly, The League of Lefties, Noah’s Arc and Traveler and the award-winning independent film entitled, Floating Away. You can also catch Laura in the TV show Ghost Wars and the current feature, Spontaneous. In 2004 Laura founded Fugue Theatre, a theatre company dedicated to the commissioning and production of original Canadian operettas, musicals and plays with music. She is honoured to be a part of such a wonderful story as Les Filles du Roi. Je vous remercie.

CAST

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THE PROCESS OF DEVELOPING LES FILLES DU ROI has involved extensive research and collaboration, including three trips to Kanien’kehá:ka (Mohawk) territory in southern Quebec and northern NY state.

On their first research trip in September 2016, Corey and Julie visited Kanien’kehá:ka Onkwawén:-na Raotitióhkwa Language and Cultural Centre (http://korkahnawake.org/, located in the Mohawk Territory of Kahnawà:ke south of Montreal), and the St Francis Xavier Mission (Kahnawà:ke Catholic Church). There they spoke with community members and learned that the settlement had its roots as a Jesuit mission, founded later than the dates of Les Filles du Roi. They also visited the Droulers-Tsiion-hiakwatha archeological site in Saint-Anicet, QC (8 km south of the St Lawrence river), where they met with archeologist Michel Cadieux and toured a reconstructed 16th-century Kanien’kehá:ka village (http://www.sitedroulers.ca/site-en/). Finally, they travelled to the Akwesasne Cultural Centre to meet Darren Bonaparte, a Mohawk historian, author, journalist and artist. He is the creator of the Wampum Chronicles, a cultural history website, and is a frequent lecturer at schools, universities, museums and festivals throughout the US and Canada. Corey and Julie spent a beautiful sunny afternoon with Darren, sitting at a picnic table outside the Native North American Travelling College on Cornwall Island (Akwesasne). They learned about the wampum and early treaties, and listened to stories (both documented and oral history) about first contact, events and interactions between Mohawks and Europeans in the 17th century, and Kanien’kehá:ka communities on the St Lawrence River.

Throughout this first research trip, the focus was time and place: Corey and Julie were seeking guidance to connect the characters of Kateri and Jean-Baptiste to a specific area, and learning about the land on which they would have lived, the home to and from which they would have travelled to trade at Ville-Marie (now Montreal).

In June 2017, Corey and Julie made a second trip to Kanien’kehá:ka territory, this time to focus on the Kanien’kéha (Mohawk) language. They want Les Filles du Roi to honour and contribute to ongoing language reclamation and cultural revitalization movements in the region (e.g. Kanien’kéha immersion schools). During this trip, they met with language speakers Kathy Herne and JoAnn Swamp at the Native North American Travelling College to talk about the project, and to begin the process of translating portions of dialogue into Kanien’kéha. This translation and language work - integrating both written Kanien’kéha and phonetics (to guide actors in learning the pronunciations) into the script - continued via long distance over the next eight months. Six different contributors from the community - all women - came together to do this, including the mother-daughter team of JoAnn and SueAnn Swamp. Sections of the script were discussed in language classes, by young people learning Kanien’kéha who worked together to translate and try out bits of dialogue.

Also during the creation and development process, production designer Marshall McMahen worked closely with Konwahonwá:wi Stacey, an artist from Kahnawa:ke Mohawk Territory in Quebec. She is Kanien’keha:ka Turtle clan, of the Haudenosaunee Confederacy. She shared her knowledge of tradi-tional beadwork and quillwork patterns, and created the designs for all the beadwork seen in the show.

In April 2018, just before rehearsals for the world pre-miere production began, Corey and Julie made a third trip to Kanien’kehá:ka territory, this time accompanied by cast mem-bers Kaitlyn Yott, Raes Calvert, Chelsea Rose and Laura DiCicco, production designer Marshall McMahen, and movement director Patrice Bowler. This group visited the Droulers-Tsiion-hiakwatha site, meeting again with archeologist Michel Cadieux and with site director Pascal Perron. The group learned that the area surrounding the site is unique; approximately a third of the neighbouring population is First Nations, a third French, and a third English. After the initial discovery of artifacts, all three of these communities came together to develop the site, the joint purpose being education. A white pine (symbol of the Tree of Peace / Haudenosaunee Confederacy) was gifted to the site and planted in centre of the reconstructed village. As of spring 2018, all signage at the site is trilingual, with Kanien’kéha first, then French, then English.

During this trip, the Les Filles du Roi group also participated in two days of intensive language workshops at the Native American Travelling College with Iawenta’s (Mabel White), during which they focused on learning pronunciation, and on speaking the Kanien’kéha dialogue in an active and rela-tionship-based way. They also learned about the ideology and worldview embedded in the language, and how it differs from an English / Western European framework.

On the evening of the second day, a community gathering was held, in which actors and creative team shared the Les Filles du Roi script, music, and designs with community members, and received feedback. A meal was also shared - including the traditional Three Sisters soup made of corn, beans and squash, referenced by Kateri in the show. For this sharing, the NNATC loaned us a traditional Kanien’kehá:ka water drum for “Sken:nen Gowa”, the Longhouse women’s song.

This relationship with the community in Akwesasne is ongoing; the Vancouver premiere of Les Filles du Roi is a step forward in a journey that is still in progress. We hope that, one day, we can share the full production with our friends and colleagues in Kanien’kehá:ka territory.

Julie McIsaac & Corey Payette at the Droulers-Tsiionhiakwatha archeological site in Saint-Anicet, QC (L to R): Laura Di Cicco, Chelsea Rose, Kaitlyn Yott, Julie McIsaac, Iawenta’s Mabel White (Kanien’kéha Language Teacher), Corey Payette, Raes Calvert, and Marshall McMahen at the Native American Travelling College, photo by Patrice Bowler.

INDIGENIZING THE NARRATIVE OF LES FILLES DU ROI

Julie McIsaac & Michel Cadieux at Centre d’interpréta- tion du site archéologique Droulers-Tsiionhiak- watha (Saint-Anicet, Québec), photo by Corey Payette.

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CHELSEA ROSE – CLAN MOTHER/CHORUS

A Cree/Metis University of Victoria alum, and graduate of The Canadian College of Performing Arts, Chelsea Rose’s favorite credits include: Th’owx-iya (Axis Theatre Company), Only Drunks and Children Tell the Truth (Firehall Arts Centre), CAEZR (33 Cuts Collective), RedPatch (Hardline Productions), Weesageechak 28 and 29: Core Company (Native Earth Performing Arts), Shevil: The Musical (Comic Shop Productions), Broken Sex Doll (Virtual Stage), Cannibal: The Musical (Awkward Stage Productions), RENT (Fighting Chance Produc-

tions), Footloose (CCPA), Little Women (Black Box Productions), The Wizard of Oz, and Grease (Victoria Operatic Society). She is also the vocalist of symphonic metal band, Ophelia Falling.

SYNTHIA YUSEF – CHORUS

Synthia is a graduate of Capilano University’s Musical Theatre Program. Her recent credits include: Mamma Mia! (Citadel Theatre), Jesus Christ Superstar (URP), Cry-Baby the Musical (Awkward Stage) and the Elbow Room Cafe (Zee Zee Theatre). Synthia is overjoyed to be a part of a project as special as Les Filles du Roi. She would like to thank Corey and Julie for putting such an important story on stage, and for giving a voice to those who often remain unheard. Enjoy the show, and please continue to support brave new theatre, and all theatre alike.

CREATIVE TEAM

COREY PAYETTE – DIRECTOR, COMPOSER, CO-BOOK/LYRICS

Corey Payette is proud of his Oji-Cree heritage from Northern Ontario and has worked as a playwright, actor, composer, and director across Canada. He is the Artistic Director of Urban Ink (Vancouver, BC), was the 2014-15 Artist-in-Residence with National Arts Centre [NAC] English Theatre, and the founder of Raven Theatre (Vancouver, BC). He was the Artistic Associate for The Indigenous Cycle at the NAC which resulted in the creation of a new de-partment of Indigenous Theatre to begin in 2019. Credits include: Children of

God (Urban Ink, NAC English Theatre [Ottawa], Citadel Theatre [Edmonton], Western Canada Theatre [Kamloops]), Moonlodge (Urban Ink/NAC English Theatre), A Christmas Carol (NAC English Theatre), Our Town (Caravan Farm Theatre), The Road Forward (red diva/PuSh/National Film Board of Canada), Indian Arm (Rumble Theatre), AMIN AMIR (Aircastle Feature Film/OMNI TV), Justice (Gwaandak Theatre/NAC Northern Scene), La Cage Aux Folles (Vancouver Playhouse), and Beyond Eden (Theatre Calgary/Vancouver Playhouse). As a musical theatre creator, the new musical Les Filles du Roi (composition & Direction, co-book/lyrics w/Julie McIsaac) in English, French, and Kanien’kéha (Mohawk) was commis-sioned by Fugue Theatre. His original musical Children of God (book/music/lyrics & direction) is touring next season to the Segal Centre (Montreal), returning to the York Theatre - The Cultch (Vancouver), and on a BC Tour in Winter 2019. His next new musical has been commissioned by Bard on the Beach. In 2018, he was awarded the John Hirsch Prize from the Canada Council. The Children of God piano/vocal songbook, published script, and The Music from Children of God album are for sale in the lobby, on iTunes, or at www.coreypayette.com

MARSHALL MCMAHEN – PRODUCTION DESIGNER (SET/COSTUME/PROPS)

Marshall is very proud to be designing the premiere of this new Canadi-an work. His sets and costumes have been seen across the country, most recently in Children of God (Urban Ink) at the National Arts Centre, Citadel, Western Canada Theatre, and here in Vancouver. Other favourite designs include Moonlodge (Urban Ink), Avenue Q (Arts Club), Chelsea Hotel (Firehall), All the Way Home (Electric Company), the East Van Panto: Little Red Riding Hood (Theatre Replacement), four productions with Bard on the Beach, six with

Caravan Farm Theatre, and many more with Arts Club, Gateway, Pacific Opera Victoria, and others.

(Marshall McMahen, continued) Outside theatre, he works as a Production Designer for film, most recently on Dance with a Demon. Marshall is the recipient of a Vancouver Mayor’s Arts Award, Ottawa Critics’ Circle Award, Jessie Award, and four Ovation Awards. He is a graduate of UBC, and a member of Associated Designers of Canada. www.marshallmcmahen.com

RACHEL KIYO IWAASA – MUSICAL DIRECTOR

Hailed in the press as a “keyboard virtuoso and avant-garde muse” (Georgia Straight) with the “emotional intensity” to take a piece “from notes on a page to a stunning work of art” (Victoria Times Colonist), Rachel Kiyo Iwaasa is recognized among Canada’s foremost contemporary music pianists. Many of Canada’s pre-eminent composers, including Hildegard Westerkamp, Rodney Sharman, Jocelyn Morlock, Nicole Lizée, and Jordan Nobles, have written works specifically for her. Rachel’s artistic partners have included flautist

Mark Takeshi McGregor (as Tiresias Duo), conductor Yannick Nézet-Séguin, Richard Reed Parry of Arcade Fire, photo-based artist SD Holman, playwright/director David Bloom, choreographer Tara Cheyenne Friedenberg, and legendary multi-media provocateur Paul Wong. Rachel’s debut CD Cosmophony has been praised as “brilliant” and “unforgettable” (Vancouver Sun). Rachel was a co-founder of the Queer Arts Festival in Vancouver, recognized as one of the top 5 festivals of its kind worldwide. She is thrilled to be working with the stellar cast and creative team of Les Filles du Roi.

KONWAHONWA:WI STACEY – BEADWORK DESIGNER

Konwahonwa:wi “they gave her a canoe” Stacey is a 26 year old mother from Kahnawa:ke Mohawk Territory, located in Quebec, Canada. She is a Kanien’keha:ka (Mohawk) Turtle Clan, of the Haudenosaunee Confederacy. Inspired by generations of Mohawk women in her family. She is a known beader in her community and thrives to keep these traditions alive. To her, beadwork goes further than what the eye could see. She uses this form of art as a way to have a voice for her people and bring awareness to the history

of the Haudenousanee. You could learn more about her and her work on Facebook and Instagram under Turtle Clan Creations; where she shares pictures and videos of past and present work; and the occasional heartfelt posts about family, history, and traditions.

ELLIOT VAUGHAN – CO-ORCHESTRATOR

Elliot Vaughan is a composer and viola player splitting time between Canada and New Zealand. He orchestrated Children of God and played viola for the premiere run last year. He holds a degree in composition from Simon Fraser University where he studied with Owen Underhill and Barry Truax, and is cur-rently a masters student at Te Kōkī New Zealand School of Music. Martin and Elliot have collaborated on arrangements for pop records (The Deadcoast’s, David Ward), composition for dance (Dezza Dance), theatre (Dusty Flowerpot,

elysse cheadle), on orchestral concert music (2016’s here, we forget faster), and in their band The End Tree (2012’s Everything Is Strange and 2017’s Everything I Can’t).

MARTIN REISLE – CO-ORCHESTRATOR

Martin Reisle is a Vancouver BC based composer, performer, educator, artistic collaborator and calligrapher/designer. Whether using his voice, cello, tenor-banjo, or guitar, Martin is consistently dedicated to the support and creation of local culture and community music making.Martin graduated from the University of British Columbia in 2009 with a Bachelor of Music Composition. He studied classical guitar performance with Michael Strutt, songwriting with Meryn Cadell, and Shari Ulrich, and composi-tion with Keith Hamel, and Giorgio Magnanensi (Vancouver New Music).

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RECONCILIATION AS RELATIONSHIP(Pg 15 – 17, Truth and Reconciliation Commission Final Report, Volume 6)

For more information, please visit:Truth and Reconciliation Committee Full Report and Calls to Action •http://www.trc.ca/websites/trcinstitu-tion/File/2015/Findings/Calls_to_Action_English2.pdf

A RECONCILIATION FRAMEWORK is one in which Canada’s political and legal systems, educational and religious institutions, the corporate sector and civic society function in ways that are consistent with the principles set out in the United Nations Declaration on the Rights of Indigenous Peoples, which Canada has endorsed. The Truth and Reconciliation Commission believes that the following guiding principles of truth and reconciliation will assist Canadians moving forward:

1. The United Nations Declaration on the Rights of Indigenous Peoples is the framework for reconciliation at all levels and across all sectors of Canadian society.

2. First Nations, Inuit, and Métis peoples, as the original peoples of this country and as self-determining peoples, have Treaty, constitutional, and human rights that must be recognized and respected.

3. Reconciliation is a process of healing relationships that requires public truth sharing, apology, and commemoration that acknowledge and redress past harms.

4. Reconciliation requires constructive action on addressing the ongoing legacies of colo-nialism that have had destructive impacts on Aboriginal peoples’ education, cultures and languages, health, child welfare, administration of justice, and economic opportunities and prosperity.

5. Reconciliation must create a more equitable and inclusive society by closing the gaps in social, health, and economic outcomes that exist between Aboriginal and non-Aboriginal Canadians.

6. All Canadians, as Treaty peoples, share responsibility for establishing and maintaining mutually respectful relationships.

7. The perspectives and understandings of Aboriginal Elders and Traditional Knowledge Keepers of the ethics, concepts, and practices of reconciliation are vital to long-term reconciliation.

8. Supporting Aboriginal peoples’ cultural revitalization and integrating Indigenous knowl-edge systems, oral histories, laws, protocols, and connections to the land into the recon-ciliation process are essential.

9. Reconciliation requires political will, joint leadership, trust building, accountability, and transparency, as well as a substantial investment of resources.

10. Reconciliation requires sustained public education and dialogue, including youth engagement, about the history and legacy of residential schools, Treaties, and Aboriginal rights, as well as the historical and contemporary contributions of Aboriginal peoples to Canadian society

TOGETHER, CANADIANS MUST DO MORE than just talk about reconciliation; we must learn how to practise reconciliation in our everyday lives—within ourselves and our families, and in our communities, governments, places of worship, schools, and workplaces. To do so construc-tively, Canadians must remain committed to the ongoing work of establishing and maintaining respectful relationships.

FOR MANY SURVIVORS AND THEIR FAMILIES, this commitment is foremost about healing themselves, their communities, and nations, in ways that revitalize individuals as well as Indig-enous cultures, languages, spirituality, laws, and governance systems.

FOR GOVERNMENTS, building a respectful relationship involves dismantling a centuries-oldpolitical and bureaucratic culture in which, all too often, policies and programs are still based on failed notions of assimilation.

FOR CHURCHES, demonstrating long-term commitment requires atoning for actions within the residential schools, respecting Indigenous spirituality, and supporting Indigenous peoples’ struggles for justice and equity.

SCHOOLS must teach history in ways that foster mutual respect, empathy, and engagement. All Canadian children and youth deserve to know Canada’s honest history, including what happened in the residential schools, and to appreciate the rich 22 • Truth & Reconciliation Commission history and knowledge of Indigenous nations who continue to make such a strong contribution to Canada, including our very name and collective identity as a country.

FOR CANADIANS from all walks of life, reconciliation offers a new way of living together

WONDERING HOW TO GET INVOLVED IN RECONCILIATION?START BY ASKING YOURSELF THESE 5 QUESTIONS

CBC Interview of Ry Moran, Director of the National Centre for Truth and Reconciliation(originally aired Sunday, October 22, 2017 on Unreserved with Rosanna Deerchild. Full episode: http://bit.ly/TRC5Questions)

In 2015, the National Centre for Truth and Reconciliation was created to preserve the mem-ory of Canada’s residential school system and legacy. Located in Winnipeg, it is home to the permanent collection of statements, documents and other materials gathered on residential schools. The Centre also continues the work of making sure that reconciliation happens in Canada, and ensuring that as many Canadians as possible take part in the reconciliation movement.

“One of the most fundamental responsibilities that individuals have is to take that inner jour-ney, that self-reflective journey, and really ask themselves, ‘What really am I carrying around? What prejudices? What biases? Perhaps what racism am I carrying around?’” said Moran. By starting out with these questions, Moran says it will expose people to how little they know about Indigenous people.

A few other questions Moran thinks Canadians should ask themselves are:

• Do I know any Indigenous people? If not, why?• Have I ever participated in ceremony? If not, why?• Am I able to name the traditional territory I stand on? If not, why?• Have I had meaningfully engaged in deep conversation with Indigenous people?

If not, why?• Have I read an Indigenous author? If not, why?

“These are all really important questions people need to be asking themselves and thenactively trying to work to address,” said Moran.

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(Ryan McNeill Bolton & Mike Kovac, continued) One Man Two Guvnors, and Peter and the Starcatcher (Arts Club); Crazy for You (Gateway); and Children of God (Urban Ink). He regularly teaches stage combat technique at UBC, Capilano University, and for Bard on the Beach’s youth education program.

STEPHANIE KONG – HEAD OF WARDROBE

Stephanie is a Vancouver based designer and seamstress with a BFA in Theatre Production and Design from UBC. She has spent three seasons as the Head of Wardrobe at Carousel Theatre for Young People and has worked in the wardrobe department at Ballet BC since 2015. Select costuming credits include: Misery (Arts Club Theatre, Costume Design), The Magicians (Seasons 2 and 3, Cutter/Seamstress), Jack and the Bean (Presentation House Theatre, Jessie Award 2014; Design Ensemble), Go Dog, Go! (Carousel Theatre, Ovation Award

Nomination, Best Costume Design), City of Angels for Pit Collective (Ovation Award Nomination, Best Costume Design), very still & hard to see (SHIFT Theatre, Costume Design). www.stephaniekong.com

ASHLEY NOYES – STAGE MANAGER

Ashley Noyes is a Métis Stage Manager based in Vancouver BC. She is thrilled to be working with the talented cast and crew of Les Filles du Roi. Favourite stage management credits include The Velveteen Rabbit, The Lion, the Witch and the Wardrobe, A Charlie Brown Christmas and The Jungle Book (Carousel Theatre for Young People), Unité Modèle (Théâtre la Seizième) and Comfort Cottages (Western Gold Theatre Company). Other backstage credits include The (Post)Mistress and A Twisted Christmas Carol (The Arts Club). Ashley is a graduate of Theatre at UBC.

MELANIE THOMPSON – ASSISTANT STAGE MANAGER

Melanie Thompson is honoured and grateful to be part of the world premiere of this beautiful new Canadian musical, and sends un grand merci to Corey, Dawn and JD for the opportunity. Stage management credits include Little Women (Bring On Tomorrow Co), Monsters (MISCELLANEOUS Productions), She Rises, We Rise (True Voice Theatre Project), Rock Legends (Chemainus The-atre Festival - ASM), Sonic Elder (The Chop), Silenced (Urban Ink), The Out Vigil (Firepot Performance), Underneath the Lintel (Pacific Theatre), Shrek: The Musical

(Theatre Under the Stars), and Arvaarluk: An Inuit Tale (Pangaea Arts). Outside of the theatre, Melanie manages communications for the Vancouver Inter-Cultural Orchestra, and writes grant applications and other copy of all kinds for the VICO, DreamRider Productions, and other clients in the performing arts. She is also a member of the Board of Directors of Theatre Under the Stars. http://melaniejthompson.com

JEFF HARRISON – LIGHTING DESIGNER

Jeff is the Technical Director of Kidd Pivot and is a three 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, and Pi Theatre’s Blasted. 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. Past design credits include: Children of God (Urban Ink), Hansel & Gretel (Vancouver Opera), The Full Monty, Out of a Dream (Patrick St.

Productions), Wizard of Oz, Cat in the Hat, Arthur: Boy King (Carousel Theatre), Hand to God, The Unplug-ging, Thanks for Giving (Arts Club Theatre).

PATRICE BOWLER – MOVEMENT DIRECTOR

Patrice was born on Salt Spring Island, and made her theatrical debut from within her mother’s womb. As a choreographer, favourite credits include A Nude Hope, Jurassic Parody: The Musical, Labyrinth: A Burlesque Reimagining (Geekenders), and Capital Alice (Collective Hallucination and Excavation The-atre.) As a performer she portrayed Janet in Rocky Horror Show, Dorothy in The Wizard Of Bras, Soup the Sock Puppet in Galaxy News Radio Live (Geekenders), Sally Simpson in The Who’s Tommy: In Concert (Little Lamb Productions), and

spent four years working as an actor in Barkerville, BC, as well as directing and choreographing the 2017 season at the Theatre Royal (Newman and Wright), in Barkerville. This show is dedicated to her sister, L-Bow, who has always been her mentor, her muse and her best friend. Thank you for being here and for sharing this story with us. Nia:wen.

KYRA SOKO – SOUND DESIGNER/SOUND BOARD OPERATOR

I believe my film like approach to creating and presenting theatre sound comes from both a tech’s perspective and that of a performer or artist. Over 40 years experience as an audio/video post production and studio record-ing engineer, music producer, sound designer and a musician saw to that. Currently I am wrapping up my third season with the Vancouver East Cultural Centre as Head of Sound. Les Filles Du Roi has been a wonderful opportunity for me to play with and co-create a rich sound scape with Urban Ink. It is such an honour to be a part of this production. Enjoy.

EMILIE LECLERC – ASSISTANT DIRECTOR

Emilie’s roots dig 13 generations deep into Québec, with French and In-digenous Ancestry. Recent acting credits include : Unité Modèle (Théâtre la Seizième), The Ridiculous Darkness (Alley Theatre), Redpatch (Hardline Produc-tions), Bonjour, là, Bonjour (Théâtre la Seizième) and A Charlie Brown Christmas (Carousel Theatre for Young People). Her work as a theatre creator has taken to stages across Canada, France, Australia, and South Africa. Emilie is a graduate of Studio 58 and McGill University. A Jessie Award Recipient, Emilie has also been awarded twice by La Fondation pour l’avancement du théâtre francophone au Canada. Bon spectacle! emilie-leclerc.com

RYAN MCNEILL BOLTON & MIKE KOVAC – CO-FIGHT DIRECTORS

Ryan is thrilled to be joining the creative team at Urban Ink once again with his brother in arms, Mike Kovac. He worked with Corey and the team on Chil-dren of God from workshop to Canadian Premiere to touring production, and is looking forward to more. As members of Fight Directors Canada, Ryan and Mike have recently co-designed fights for Misery, Beauty and the Beast, Angels in America, Hand to God, Men in White, Bakersfield Mist, Baskerville, The Valley,

CREATIVE TEAM CONTINUED

(Continued) Design sketch by Marshall McMahen

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MUSICIANS

MOLLY MACKINNON – VIOLIN

Molly MacKinnon is a freelance violinist and collaborative artist. She is thrilled to be playing in this production of LFDR! Molly has been featured in numerous theatre productions around town including Elbow Room Café: The Musi-cal (Zee Zee), STATIONARY: A Recession-Era Musical (Delinquent), and The Tempest (Bard on the Beach). Alongside playwright Christine Quintana, Molly is the co-creator of Never The Last, a genre bending show exploring the life and music of brilliant 20th century Canadian composer Sophie-Carmen Eck-

hardt-Gramatté.Molly is Artistic Associate of The Little Chamber Music Series That Could, an innovative series that focuses on multi-arts pollination, community engagement, and local history.

JOHN KASTELIC – VIOLA

John Kastelic is a diversely talented musician based in Vancouver, BC. He earned his B.Mus in composition from the University of British Columbia. While he maintains an active career as a composer and arranger, he is most in demand on stage and in the studio as a versatile performer of classical, pop, and folk music. He has performed on stage with the likes of Mariah Carey, Michael Bublé, and Ashley MacIsaac. His own band, Salt Thief, is gaining the attention of audiences across the country for its furious fiddling, powerful songwriting, and high-energy performance.

RACHEL KIYO IWAASA – PIANO Bio above, page 13

REBECCA WENHAM – CELLO

Cellist Rebecca Wenham’s performances have been described as “silken, high-ly refined” (the Globe and Mail) as well as having “extraordinary commitment and maturity” (La Gazette). Her animated playing style is often surprising, dramatic and impulsive, leaving a breathless audience on the edge of their seats. She has performed across North America, Mexico, Europe, Japan and Australia. As a member of the Cecilia String Quartet she has won prizes in the Osaka, Rutenberg, Bordeaux and Banff International String Quartet Compe-

titions, and was a CBC Galaxie Rising Star in 2007. Rebecca has collaborated with many composers including Common Sense Composers Collective, Ana Sokolovic, Gilbert Amy, Kelly-Marie Murphy and William Bolcom. She recently premiered a new work for solo cello and chamber orchestra by Owen Underhill, The Curio Box, commissioned by Vancouver New Music. In May 2016, Music on Main will present Rebecca in a program of solo cello exploring works that highlight divergent musical styles, from classical to music by jazz cellist Peggy Lee and rock violinist Sarah Neufeld.

URBAN INK - WHO WE ARE

Based in Vancouver, Urban Ink Productions creates, produces and disseminates original live performance works by Indigenous and Intercultural artists. Across Canada, Urban Ink is putting the power in the hands of Indigenous and Intercultural artists to tell their own stories in their own unique voice. Founded in 2001, Urban Ink has always been a company where Canadian stories are told. Today, under the passionate artistic direction of Corey Payette, our company goes even further, promoting Intercultural understanding, igniting conversations from coast to coast, and celebrating the rich history of its land by bringing communities together in a National conversation that affirms diversity as a shared Canadian value.

OUR CORE TEAM

Corey Payette, Artistic Director

Dawn Brennan, Managing Director

JD Derbyshire, Creative Producer Samantha Pelkey, Office Manager

Kwasuun Sarah Vedan, Writers Group Producer

BOARD

Odette Wilson, President

Donna Wong-Juliani, Vice-President

Jorge Zylberberg, Treasurer

Jesse Lecoy, Secretary

Amy Benson, Director

Pradeep Julan, Director

OUR SUPPORT TEAM

Adrian Muir, Production Manager Bonnie Allan, Publicist

Heather Evens, Social Media

Markian Tarasiuk, Video Content Creator

Vanessa Yip, Graphic Designer

@urbaninkVan @urbaninkproductions @urbaninkvan FOLLOW US:

DONORS HUMMINGBIRD CIRCLE ($0 - $499)Amy Benson*, Andrew Forshner*, Anonymous x 6, Anonymous*, Art’s Automotive, ASL Interpreting Inc., Brenda Matthews, Burke Taylor and Sue Harvey: In Honour of Chief Robert Joseph, Caitlin Hayes, Carmen Wiseman, Carol Herbert, Carole Higgins and Al Frisk, Chris Patrick, Christine Boyle, Claire Haaf, Claire Sakaki*, Colleen Hamilton, Crystal Verge, Dara Parker, Davina Pearl, Dawn Brennan, Deborah Prieur, Donald Kugler, Donna Wong-Juliani, Douglas Graeb, Eileen Wilson: In Honour of Odette and Kieran Wilson, Elaine Doyle, Elliot Alexis, Elizabeth Bowell, Elizabeth Johnson:* In Honour of William White, Elizabeth Vreede, Emily Larkman, Emma Tibaldo, Freya Kodar, Gayle Murphy, Grant Gilron, Greg Martin, Heather MacLeod, Hilary Parizat: In Memory of Maurice Baisley, Inkeri Meharg, Jessamine Liu, Jesse Lecoy*, Joanna Rainer: In Memory of Cathy Elliott, Jorge Zylberberg, Karen Reilly, Kathryn Shynkaryk, Kerith Stevens, Kevin Kerr, Koralee Nickarz: In Memory of Kara, Linda Chinfen, Louise Van Engelsdorp, Lynell Anderson, M. Patricia Allan, Maggi Cheetham, Mallory Bikinas*, Marian Dodds, Mary Ann Anderson, Megan Ashbury, Micah Waskow, Michael Carruthers, Michael Ostroff, Odette Wilson*, Paula Naylor, Pradeep Jalan, Rena Cohen, Robert Dickson: In Honour of The Many, Robitaille & Associates Inc., Sabina Harpe, Sandra Currie: In Honour of the survivors of residential school, Sarah Collett Levine, Sarah G. Stanley, Shannon LaBelle, Sheila Hall, Siobhan Barker, Susan Burns, Susan Harman, Tessa Jordan, Valerie Van Clieaf

OWL CIRCLE ($500 - $999) Michael Francis, Michel Maurer: In Memory of Louise Fortin, Corey Payette & Marshall McMahen

RAVEN CIRCLE ($1000 - $4999) Rasmus Storjohann* *indicates donors who give monthly

URBAN INK PRODUCTIONS220 - 111 WEST HASTINGS ST, VANCOUVER BC V6B 1H4 | www.urbanink.ca

Urban Ink is proudly located on the unceded territories of the Musqueam, Squamish, and Tsleil-Waututh peoples.

Urban Ink Giving Circles, 2017/2018 Season

Design sketches by Marshall McMahen

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CHILDRENOF GOD

A POWERFUL MUSICAL THAT EXAMINES THE INTERGENERATIONAL IMPACTS OF RESIDENTIAL SCHOOLS

A MUSICAL BYCOREY PAYETTE

Children of God is must-see theatrefor Canadians — The Globe and Mail

FEB 20 – MAR 10, 2019YORK THEATRE

TICKETS FROM $22 | THECULTCH.COM | 604-251-1363 | 1895 VENABLES ST.