GLOB

E TH

EATR

EA

NN

UA

L R

EPO

RT

2017

|201

8

BUDDY – THE BUDDY HOLLY STORYWritten by Alan Janes

01

TABLE OF CONTENTSChair Report 02Artistic Director & CEO Report 04Redevelopment of the Prince Edward Building 06Start Up Actor Training program 07Globe Theatre School Report 08Audit & Finance Report 10Financial Statements 12 Management’s Responsibility 12 Independent Auditors’ Report 13 Statement of Financial Position 14 Statement of Operations 15 Statement of Changes in Fund Balances 16 Statement of Cash Flows 17 Notes to the Financial Statements 18Artistic Company 23Globe Theatre Staff 24Globe Theatre Volunteers 25Acknowledgements 26Photo Credits 28

2017|2018ANNUAL REPORT

GLOBE THEATRE VISIONBy 2022, Globe Theatre is attracting capacity crowds to its state-of-the-art stages and theatre school

GLOBE THEATRE MISSIONOur mission is to entertain, educate and engage Saskatch-ewan people in the art of professional theatre by offering high-quality performances to audiences, professional theatre training for artists, and classes for children and adults

2017|2018 STRATEGIC PRIORITIES

• Highly Regarded Theatre & School• Financial Strength• Culture of Engagement & Innovation• Broad Base of Stakeholder Support

AROUND THE WORLD IN 80 DAYSBy Toby HulseBased upon the book by Jules Verne

02

Globe theatre’s fifty-second season featured an array of outstanding productions, including the premiere of the musical Us by Saskatch-ewan’s own Kelley Jo Burke and Jeffery Straker We are proud of

the theatre’s many accomplishments and successes over the past year

A strategic objective for Globe Theatre is to “give priority to the training and employment of Saskatchewan artists, embrace diversity and equity as well as the process of reconciliation through the arts ” We are pleased to report significant progress in achieving these goals:

• total of 156 artists were hired during the 2017|2018 season; 89 of those artists were from Saskatchewan;

• fifty-seven per cent (85) of the artists contracted for the season were women;

• for the second consecutive year, the theatre received the 50/50 Applause Award from the International Women’s Playwrights Centre (UK) for programming three (out of six) plays by women on the Main Stage;

• fourteen Indigenous artists were contracted for three productions by Indigenous playwrights

In March, Artistic Director and CEO Ruth Smillie asked the Board of Direc-tors to consider moving to a “two-headed” organization, with both the Artistic Director and a new Executive Director reporting to the board Her reasoning for this request was the demands of an increasingly complex organization, the significant workload for one leader, as well as the need for effective senior management succession planning The board accepted Ruth Smillie’s recommendation and has retained an executive search firm to assist with hiring an Executive Director We expect the Executive Director position to be filled before the end of December 2018

The Globe Theatre School was selected as the beneficiary of the 2018 and 2019 RCMP Charity Ball An exceptional group of community members volunteered their time and talents to assist us with organizing the April 28th event which raised more than $65,000 Our deepest thanks to Lisa McIntyre (Chair), Katherine Alport, Ashley Smidt, Jeffie Anderson, Charlene Oancia, Jan McLellan Folk, Joanne Hillis and Globe Theatre’s Development Manager Misty Selinger for their tremendous contributions to the success of the event

We continue to press the three levels of government for a commitment to the capital campaign in support of the redevelopment of our facility in the Prince Edward Building The building is in critical need of major upgrades and repairs

On behalf of the Board of Directors, we want to thank Globe Theatre management, staff and the artists for another excellent season Heartfelt thanks to our patrons, donors, sponsors and volunteers for your generous support of Globe Theatre

Tina SvedahlChair, Globe Theatre Board of Directors

2017|2018CHAIR REPORT

BITTERGIRL – THE MUSICALBy Annabel Fitzsimmons, Alison Lawrence and Mary Francis Moore

I AND YOUBy Lauren Gunderson

04

THE ART

There were many powerful, delightful, challenging and magical theatrical moments during the 2017|2018 season Director Kelli Fox, along with actors Jenna Berenbaum and Ngabo Nabea, delivered a moving and haunting production of Lauren Gunderson’s I and You Our community production of Tomson Highway’s The Rez Sisters in April featured powerful work by eight emerging Indigenous artists Greg Ochitwa made his debut as a Main Stage director with his dazzling, hilarious production of Bittergirl – The Musical I had the privilege of spending three weeks in the rehearsal hall with Stephen Gartner, Jeff Irving and Crystal Chaitan cooking up our production of Around the World in 80 Days We premiered Kelley Jo Burke and Jeffery Straker’s brand new musical Us; a production that challenged, uplifted, delighted, and, in a few cases, outraged our audience members Kelli Fox’s production of A Christmas Carol enthralled and entertained our audiences over its four-week run Two new works—Hip Hop Hoop Dance by Terrance Littletent and Chancz Perry and Listen to Dis’ Community Arts Organization’s Mine to Have: Sensuality and Circumstances—premiered as part of the Shumiatcher Sandbox Series The final production of the season, Shrek The Musical, showcased director and choreographer Stephanie Graham’s enormous talents and featured an exceptional cast

NEW WORK IN DEVELOPMENT

We have been working with the Making Treaty 4 Collective since August of 2017 on the creation and development of their production that will be showcased as part of the upcoming Main Stage season Actor training has also been a focus of the process Members of the Making Treaty 4 Collec-tive participated in training intensives through the Globe Theatre School’s Start Up program and were also involved in the community production of The Rez Sisters

ACCESSIBILITY AND INCLUSION

American Sign Language-interpreted performances were provided for A Christmas Carol, Shrek The Musical, Mine to Have: Sensuality and Circumstances and the LAUNCH Youth Performance Festival Relaxed performances, designed for families with young children as well as individ-uals on the Autism Spectrum, or those who have auditory sensitivities, saw a huge jump in attendance numbers over last season for both A Christmas Carol and Shrek The Musical Audio Description was also provided for these shows for people who are blind or have vision loss

COMINGS AND GOINGS

Company Manager Dawn Bergstrom left Globe Theatre in December to begin work as the Producer of Western Canada Theatre Jayme Oakley, Globe Theatre’s Front of House Manager, moved into the role of Company Manager Bobbie Katuin, a long-time member of the Front of House team,

became the Front of House Manager Jakob Greifenhagen was hired as the Box Office Supervisor when Sonia Stanger moved into the position of Globe Theatre’s Sales Manager Shaunna Dunn, who was the Globe Theatre School Director for seven years, left in January to work with Common Weal Community Arts as the Southern Artistic Director Andrew Ritchie moved to Regina from Toronto in April to begin work as the Theatre School Director Our Theatre School Coordinator Mitch Doll was replaced by Aimee Garchinski in the new role of Theatre School and Community Engagement Coordinator Celeste Pinder began work as the Head of Wardrobe last September Todd Rennebohm started work as Scenic Carpenter last fall Timothy Landgraf became the new Accounting Manager when Afroza Majumder went on maternity leave

Kelli Fox has been Globe Theatre’s Artistic Associate for the past two seasons She is moving back to Toronto Stephanie Graham will begin her term as Artistic Associate in the fall of 2018 Our CFO Wendy Harri-son has retired this summer; the Board of Directors is in the process of hiring an Executive Director Craig Matheis is our new Building Manager and Matthew Wilson started as Marketing and Sales Associate earlier this season

We are grateful for the many contributions of departing staff members to the success of Globe Theatre

THANK YOU

I have one of the best jobs in the world I work with an amazing team who are, to a person, passionate about the work and continuously striving to add value to the organization Globe Theatre’s Board of Directors are committed, focused, caring and very smart; they are a model of what great governance can and should be Globe Theatre has a national reputation for artistic excel-lence Outstanding artists from across the province and the country covet opportunities to work on our stages and enables us to produce outstanding productions featuring some of the finest artists in Canada

We have a supportive business community, terrific volunteers, and our audiences are deeply engaged in the work on stage and in the success of the organization

We will continue to pursue the funds to transform our building into the state-of-the-art theatre this organization and our community needs and deserves

Ruth SmillieArtistic Director & CEO

2017|2018ARTISTIC DIRECTOR & CEO REPORT

AROUND THE WORLD IN 80 DAYSBy Toby Hulse

Based upon the book by Jules Verne

T he process of confirming government financial support for the rede-velopment of our building remains in process (as the condition of the building continues to deteriorate) The need for a total refurbishment

of the facility is approaching a state of urgency We remain optimistic that the funding will be forthcoming, but it has been a disheartening process

The goal of the capital campaign is to transform one of Regina’s most beloved and important heritage buildings into a cultural destination that serves the community’s needs for many years to come

The renovations will include:

• significant repairs to and major refurbishment of the exterior of the building;

• expanding the Main Stage theatre to increase seating capacity from 406 to 498;

• increasing patron comfort and accessibility by widening the aisles, increasing leg room, installing larger seats, enlarging the lobby, upgrading washrooms, and installing new passenger elevators;

• excavating the basement to build a 250-seat second stage theatre that will be used for Globe Theatre’s Shumiatcher Sandbox Series and other performing arts organizations;

• increasing the number of Theatre School classrooms to accom-modate the tremendous demand for Globe Theatre School programming;

• improving energy efficiency by replacing the original steam boilers, lighting and mechanical systems;

• creating a new, accessible entrance on Scarth Street that will include a main floor Box Office

Once construction is underway, the renovation and refurbishment of the Prince Edward Building will take two years to complete

Globe Theatre is committed to raising $5 million privately for the project We are currently more than half way towards reaching that goal

REDEVELOPMENT OFTHE PRINCE EDWARD BUILDING

07

START UPACTOR TRAINING PROGRAM

After offering five sixteen-week actor conservatory training programs since 2008, we elected to take our actor training program in new directions during the 2017|2018 season

We have a group of exciting emerging artists who have grown up in the Globe Theatre School Collectively they expressed a keen interest in pursu-ing opportunities for professional theatre training but, for the most part, were not able to commit to a four-month intensive program With leadership and direction from Johanna Bundon, and in response to the expressed needs of the group, we created Start Up

Start Up spanned ten months and included ten emerging artists between the ages of 18 and 26 The program was designed to move participants towards creating their own original piece of theatre through weekly train-ing, collaboration, and mentorship In addition, there were six intensive weekend workshops scheduled as part of the Start Up program The

instructors for the intensives were: Johanna Bundon (Start Up Director and Movement), Jayden Pfeifer (Improvisation), Cathy MacKinnon (Voice), David Latham (Neutral Mask), Perry Schneiderman (Character Mask), Ruth Smillie (Acting), and Allyson McMackon (Devised Movement) The program culminated in June with performances of the original works created by Start Up participants

Another priority was to create opportunities for Indigenous artists to participate in actor training and performance We produced a community production of Tomson Highway’s The Rez Sisters through the Globe Theatre School and worked with members of the Making Treaty 4 Collective on the creation and development of a script that will premiere on Globe’s Main Stage in 2019 Cast members from The Rez Sisters and Making Treaty 4 took part in some of the Start Up Training Intensives

THE REZ SISTERSWritten by Tomson HighwaySHUMIATCHER SANDBOX SERIES

08

T hrough year-round classes, community outreach projects, mentorship and professional development workshops, the Globe Theatre School brought theatre-based programming to over 1,200 people across

Saskatchewan during the 2017|2018 season

The Summer Laboratory was a great success with a total of 197 students participating in seven weeks of creation camps Thanks to our continued partnership with the Regina Open Door Society and support from the Community Initiatives Fund and the Saskatchewan Lotteries Community Grant Program, our Summer Spin camp reached 64 immigrant and refu-gee youth Notably, multi-media artist Mitch Doll worked with the youth to create a series of film vignettes and interviews exploring the concept of ‘Home’ We held a third year of our one-week summer theatre camp at Indian Head’s Grand Theatre to cap off the summer

The fall and winter Children and Teen Creative Drama programs were near capacity this season with the enrollment of 256 students In partnership with the Autism Resource Centre we continued our Improv for ASD adult and teen classes for the third year The second annual LAUNCH Youth Performance Festival, programmed in partnership with the Artesian, featured 137 young artists and 16 artist educators The two-week festival presented work by the founding partners Globe Theatre School, FadaDance, Saskatchewan Filmpool Cooperative, and were joined by two exciting new organizations: Deaf Crows Collective and the Conservatory of Performing Arts All youth participated in multidisciplinary workshops and presented performances to an audience of over 500

Mentorship and professional development played a significant role in this year’s programming Artist educators from Globe Theatre’s core program-ming and Educational Outreach took part in a one-day web seminar “Yes, And” led by Montreal-based artist Lacy Alana The success of this initial workshop led to a two-day workshop on Inclusive Improvisation Staff from the Autism Resource Centre’s program joined the workshop deepening the collaboration between staff teams A third workshop was co-presented by Globe Theatre and Common Weal Community Arts on Improv Towards (Re)Conciliation Members of the public who self-identified as First Nations or Métis were invited, and a conversation was facilitated on how tenants of improvisation could be used to take steps towards conciliation Over 45 people participated over the three-day Lacy Alana professional develop-ment workshops The Regina Open Door Society led a workshop for the Theatre School staff on cultural sensitivity focusing on how to work with youth with language barriers, war and refugee trauma In response to the 2015 Truth and Reconciliation final report, the Globe Theatre staff took part in the KAIROS Blanket Exercise, an experiential workshop aimed to foster understanding about our shared history as Indigenous and non-In-digenous peoples

The Theatre School continued its mandate to increase accessibility by bringing arts education to children who experience social and financial barriers In partnership with the Regina Public School Board, and with assistance from SaskCulture’s Multicultural Initiatives Fund, we reached 412 children this year Our Educational Outreach team brought more than 122 workshops to 11 classrooms in Regina community schools In collaboration with Live Arts, we live streamed our arts education classes to over 200 classrooms across Saskatchewan Zoey Roy, Tramaine Miles, Chris Ross and Jon Cennon taught spoken word poetry, mural painting, film directing/editing and music recording to 40 students at the Asiniw-Kisik Education Complex on Kawacatoose First Nation Thanks to the continuation of the Ruth Smillie Scholarship Fund this season, with generous support from the Rawlinson family, students identified through Outreach programming found assistance in attending Globe Theatre School’s core programming

The Theatre School continues to hire professional theatre, dance and visual artists who maintain strong artistic careers while sharing a commitment to arts education There were multiple staff changes in 2017|2018, and Globe Theatre welcomed Aimee Garchinski in the role of Theatre School & Community Engagement Coordinator and Andrew Ritchie in the role of Theatre School Director & Shumiatcher Sandbox Series Coordinator With new leadership and a growing artist-educator team, the Theatre School has the energy and commitment to foster the growth of our theatre school programming in the community

Andrew RitchieTheatre School Director

2017|2018GLOBE THEATRE SCHOOL REPORT

Charles Dickens’ A CHRISTMAS CAROL

adapted by Michael Shamata

10

2017|2018AUDIT & FINANCE REPORT

T he 2017|2018 fiscal year was a year of change and continued improve-ment for Globe Theatre The year started after two consecutive seasons of overall deficit over revenues, continued uncertainty in

the local economy and the planned capital project, and new operational improvements implemented during the previous season In spite of that, Globe Theatre was able to maintain momentum and find new ways to reduce expenses and tailor programming to better reflect the needs of the community and the organization Globe Theatre finished 2017|2018 with a surplus of revenues over expenses of $43,380 compared to a deficit of $15,572 in 2016|2017

Globe Theatre had total revenues of $4,756,332, an 8 9 per cent decrease over the prior year The season started strong with astonishing single ticket revenue for Bittergirl – The Musical, which offset lower than expected single ticket sales throughout the rest of the season However, lower than expected ticket sales for Buddy – The Buddy Holly Story at the Casino Regina Show Lounge has resulted in re-assessing the continuation of a seventh show for the 2018|2019 season Increases in private sector revenues (primarily in sponsorships, corporate donations and individual donations) were partially offset by decreases in public sector grant revenues resulting in the overall decrease in revenues from the prior year

Overall, expenses decreased 10 0 per cent from the prior year to $4,710,952 Reductions were seen in fundraising expenses, marketing expenses, facility expenses and administration expenses, partially offset by increases in amortization of capital assets The decreases were primarily a result of continued improvements in operational efficiencies building on lessons

learned from the previous year, vacancy management, and reductions in marketing expenses

We are continuing to work towards the major renovation and refurbishment of the Prince Edward Building Globe Theatre has obtained significant commitments from individuals and businesses and is in continuous nego-tiations with all levels of government to secure the necessary funding to start the project We remain optimistic that funding solutions will be found, allowing Globe Theatre to begin the much needed improvements

Ownership of the Prince Edward Building continues to have minimal impact on the theatre’s operating budget as revenues generated from the facil-ity are close to covering the building expenses, including debt servicing During the year, additional revenue sources were entertained, including an escape room that resulted in some additional revenues during the year As we progress closer to the planned renovation, rising interest rates and the potential for more tenants vacating before the renovation and refurbishment begins may result in more of the building expenses being absorbed by the theatre’s operating fund

Congratulations and thank you to management and staff for all the hard work put into this year, and thank you to the patrons and supports of the Globe Theatre Society for another excellent season

Royce BeretiChair of Audit & Finance Committee

I AND YOUBy Lauren Gunderson

BITTERGIRL – THE MUSICALBy Annabel Fitzsimmons, Alison Lawrence and Mary Francis Moore

12

GLOBE THEATRE SOCIETYFINANCIAL STATEMENTSJune 30, 2018

MANAGEMENT’S RESPONSIBILITY FOR FINANCIAL STATEMENTSThe accompanying financial statements of the Globe Theatre Society have been prepared by the Society’s management in accordance with Canadian accounting standards for not-for-profit organizations and necessarily include some amounts based on informed judgement and management estimates

To assist management in fulfilling its responsibilities, a system of inter-nal controls has been established to provide reasonable assurance that the financial statements are accurate and reliable and that assets are safeguarded

The Board of Directors have delegated certain responsibilities to the Audit and Finance Committee, including the responsibility for reviewing the annual financial statements and meeting with management and external auditors on matters relating to the financial reporting process and the Society’s system of controls

The Audit and Finance Committee has reviewed and approved these finan-cial statements

These financial statements have been examined by the independent audi-tors, Virtus Group LLP, and their report is presented separately

Ruth Smillie Artistic Director & CEO

13

INDEPENDENT AUDITORS’ REPORTTo the Members, Globe Theatre Society

We have audited the accompanying financial statements of the Globe Theatre Society which comprise the statements of financial position as at June 30, 2018 and the statements of operations, changes in fund balances and cash flows for the year then ended, and a summary of significant accounting policies and other explanatory information

Management’s Responsibility for the Financial StatementsManagement is responsible for the preparation and fair presentation of these financial statements in accordance with Canadian accounting standards for not-for-profit organizations and for such internal control as management determines is necessary to enable the preparation of finan-cial statements that are free from material misstatement, whether due to fraud or error

Auditors’ ResponsibilityOur responsibility is to express an opinion on these financial statements based on our audit We conducted our audit in accordance with Canadian generally accepted auditing standards Those standards require that we comply with ethical requirements and plan and perform the audit to obtain reasonable assurance about whether the financial statements are free of material misstatement

An audit involves performing procedures to obtain audit evidence about the amounts and disclosures in the financial statements The procedures selected depend on the auditor’s judgment, including the assessment of the risks of material misstatement of the financial statements, whether due to fraud or error In making those assessments, the auditor considers internal control relevant to the Society’s preparation and fair presentation of the financial statements in order to design audit procedures that are appropriate in the circumstances, but not for the purpose of expressing an opinion on the effectiveness of the Society’s internal control An audit also includes evaluating the appropriateness of accounting policies used and the reasonableness of accounting estimates made by management, as well as evaluating the overall presentation of the financial statements

We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our audit opinion

OpinionIn our opinion, these financial statements present fairly, in all material respects, the financial position of the Society as at June 30, 2018 and its results of operations and its cash flows for the year then ended in accor-dance with Canadian accounting standards for not-for-profit organizations

Other MatterThe financial statements for the year ended June 30, 2017 were audited by another auditor who expressed an unmodified opinion on those statements on August 23, 2017

August 22, 2018Regina, Saskatchewan

Chartered Professional Accountants Suite 200-2208 Scarth StreetRegina, SK S4P 2J6T: 306-522-6500F: 306-522-6222www virtusgroup ca

14

Theatre Building Consolidated Consolidated Operations Capital Endowment Operations Funds Funds Fund Fund Fund Fund 2018 2017

Assets Current AssetsCash and cash equivalents $ 797,271 $ – $ – $ – $ 797,271 $ 726,973Accounts receivable 119,086 – – 1,018 120,104 92,375Marketable securities (Note 3) 255,163 – – – 255,163 254,625Prepaid expenses 177,015 – – 5,476 182,491 195,002Inventory 4,411 – – – 4,411 3,500

1,352,946 – – 6,494 1,359,440 1,272,475

Capital Assets (Note 4) – 2,007,569 – – 2,007,569 2,137,650Endowment Investments – – 11,771 – 11,771 11,771

$ 1,352,946 $ 2,007,569 $ 11,771 $ 6,494 $ 3,378,780 $ 3,421,896

Liabilities Current liabilities Accounts payable and accrued liabilities (Note 5) $ 136,824 $ – $ – $ 9,947 $ 146,771 $ 215,122Current portion of deferred revenue – capital (Note 8) – 112,750 – – 112,750 143,300Prepaid rent – – – 1,603 1,603 1,603Deferred revenue (Note 6) 1,435,782 – – – 1,435,782 1,342,597Building mortgage (Note 7) – 900,000 – – 900,000 900,000

1,572,606 1,012,750 – 11,550 2,596,906 2,602,622

Deferred revenue – capital (Note 8) – 206,065 – – 206,065 288,845

1,572,606 1,218,815 – 11,550 2,802,971 2,891,467

Fund Balances Working capital reserve – internally restricted 50,000 – – – 50,000 50,000Invested in capital assets – 788,754 – – 788,754 805,505Endowment fund – externally restricted – – 11,771 – 11,771 11,771Building Fund – – – (5,056) (5,056) 9,461Unrestricted (269,660) – – – (269,660) (346,308)

$ 1,352,946 $ 2,007,569 $ 11,771 $ 6,494 $ 3,378,780 $ 3,421,896

Commitments (Note 9)

See accompanying notes to the financial statements.

Approved by:

GLOBE THEATRE SOCIETY STATEMENT OF FINANCIAL POSITIONAs of June 30, 2018(with comparative figures for 2017)

Director Director

15

Theatre Building Consolidated Consolidated Operations Capital Endowment Operations Funds Funds Fund Fund Fund Fund 2018 2017

Earned RevenueOther income $ 409,135 $ 148,886 $ – $ – $ 558,021 $ 633,965Rental income – – – 166,431 166,431 171,831Single tickets 1,569,638 – – – 1,569,638 1,964,383Subscriptions 919,390 – – – 919,390 949,147Theatre school 198,494 – – – 198,494 199,388Tour revenue fees – – – – – 26,217

3,096,657 148,886 – 166,431 3,411,974 3,944,931

Investment RevenueInvestment Income 5,227 – – – 5,227 6,516

Private Sector RevenueCorporate donations 17,807 – – – 17,807 8,925Foundation grants and donations 11,000 – – – 11,000 19,000Fundraising events 11,420 – – – 11,420 –Individual donations 95,551 – – – 95,551 89,566Sponsorships 307,464 – – – 307,464 204,250

443,242 – – – 443,242 321,741

Public Sector RevenueCanada Council for the Arts operating grant 302,000 – – – 302,000 302,000Municipal operating grant 125,000 – – – 125,000 125,000Saskatchewan Arts Board operating grant 265,478 – – – 265,478 279,450Other grants 60,082 143,329 – – 203,411 241,452

752,560 143,329 – – 895,889 947,902

Total Revenue 4,297,686 292,215 – 166,431 4,756,332 5,221,090

Artistic ExpensesArtistic and production expenses 2,510,100 – – – 2,510,100 2,858,187Theatre school 240,598 – – – 240,598 280,688

2,750,698 – – – 2,750,698 3,138,875

Administration Expenses 410,037 42,754 – – 452,791 461,149Capital – Amortization – 229,151 – – 229,151 224,779Facilities Expenses 606,360 – – 153,838 760,198 796,651Fundraising Expenses 54,336 34,158 – – 88,494 121,207Marketing Expenses 429,620 – – – 429,620 494,001

Total Expenses 4,251,051 306,063 – 153,838 4,710,952 5,236,662

Excess (deficiency) of revenues over expenses $ 46,635 $ (13,848) $ – $ 12,593 $ 45,380 $ (15,572)

GLOBE THEATRE SOCIETY STATEMENT OF OPERATIONS

For the year ended June 30, 2018(with comparative figures for the year ended June 30, 2017)

16

Theatre Building Consolidated Consolidated Operations Capital Endowment Operations Funds Funds Fund Fund Fund Fund 2018 2017

Fund balance, beginning of year $ (296,308) $ 805,505 $ 11,771 $ 9,461 $ 530,429 $ 546,001Excess (deficiency) of revenue over expenses 46,635 (13,848) - 12,593 45,380 (15,572)Interfund transfers 30,013 (2,903) - (27,110) - -

Fund balance, end of year $ (219,660) $ 788,754 $ 11,771 $ (5,056) $ 575,809 $ 530,429

GLOBE THEATRE SOCIETY STATEMENT OF CHANGES IN FUND BALANCESFor the year ended June 30, 2018(with comparative figures for 2017)

17

Theatre Building Consolidated Consolidated Operations Capital Endowment Operations Funds Funds Fund Fund Fund Fund 2018 2017

Cash provided by (used in) operating activities: Excess (deficiency) of revenues over expenses $ 46,635 $ (13,848) $ – $ 12,593 $ 45,380 $ (15,572) Items not involving cash: Amortization – 229,151 – – 229,151 224,779

46,635 215,303 – 12,593 274,531 209,207

Changes in working capital accounts Accounts receivable (39,868) – – 12,139 (27,729) (22,872) Inventory (911) – – – (911) (337) Prepaid expenses 7,800 – – 4,711 12,511 37,079 Accounts payable and accruals (66,018) – – (2,333) (68,351) 8,416 Prepaid rent – – – – – 1,603 Deferred revenue 93,185 (113,330) – – (20,145) (162,679)

40,823 101,973 – 27,110 169,906 70,417

Cash provided by (used in) financing activities: Inter–fund transfers 30,013 (2,903) – (27,110) – –

Cash provided by (used in) investing activities: Additions to investments (1,822) – – – (1,822) (251,805) Proceeds on the disposal of investments – – – – – 250,000 Accrued interest on investments 1,284 – – – 1,284 (1,415) Purchase of capital assets – (99,070) – – (99,070) (146,131)

(538) (99,070) – – (99,608) (149,351)

Increase (decrease) in cash and cash equivalents 70,298 – – – 70,298 (78,934)

Cash and cash equivalents – beginning of year 726,973 – – – 726,973 805,907

Cash and cash equivalents – end of year $ 797,271 $ – $ – $ – $ 797,271 $ 726,973

See accompanying notes to the financial statements.

GLOBE THEATRE SOCIETY STATEMENT OF CASH FLOWS

For the year ended June 30, 2018(with comparative figures for the year ended June 30, 2017)

18

1. NATURE OF OPERATIONS

The mission of the Globe Theatre Society (“Globe Theatre”) is to educate, entertain and engage Saskatchewan people in the art of professional theatre by offering high-quality performances to audiences, professional theatre training for artists, and classes for children and adults Globe Theatre is incorporated under the Non-profit Corporation Act of Saskatchewan, 1995 and is a registered charity under the Income Tax Act and is exempt from income tax under Section 149 (1) (1) of the Income Tax Act

2. SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES

The financial statements have been prepared in accordance with Canadian accounting standards for not-for-profit organizations as issued by the Accounting Standards Board in Canada using the following significant accounting policies:

FINANCIAL INSTRUMENTS – RECOGNITION AND MEASUREMENT

Financial assets and financial liabilities are recorded on the statement of financial position when Globe Theatre becomes party to the contrac-tual provisions of the financial instrument All financial instruments are required to be recognized at fair value upon initial recognition, except for certain related party transactions Measurement in subsequent periods of marketable securities and endowment funds is at fair value All other financial assets and liabilities are subsequently measured at amortized cost adjusted by transaction costs, which are amortized over the expected life of the instrument

Fair value is the amount at which a financial instrument could be exchanged at arm’s length between willing, unrelated parties in an open market Changes in fair value of financial assets and financial liabilities measured at fair value are recognized in excess of revenues over expenses

When there is an indication of impairment and such impairment is determined to have occurred, the carrying amount of financial assets measured at amortized cost is reduced to the greater of the discounted cash flows expected or the proceeds that could be realized from the sale of the financial asset Such impairments can be subsequently reversed if the value subsequently improves

The Globe Theatre’s recognized financial instruments include cash, accounts receivable, marketable securities, endowment investments, accounts payable and accrued liabilities and the building mortgage The marketable securities and endowment investments are recorded at fair value The fair value of the remaining financial instruments approximate their carrying value given the short term nature of the accounts

FUND ACCOUNTING

Globe Theatre uses the restricted fund method and maintains four funds:

Theatre Operations FundThe Theatre Operations fund reflects the general operations including theatre operations and administrative activities RCMP Charity Gala proceeds are recognized in this fund and directed to the Theatre School Development Fund to support future initatives Within this fund, the Board of Directors has internally restricted funds for a working capital reserve for unbudgeted expenses and special projects

Capital FundThe Capital Fund reflects the activities related to the acquisition and amortization of capital assets Fundraising and other revenues for capital asset purposes are recognized in this fund A capital improvement fee is charged on every Main Stage ticket and is reported in other income

Endowment FundEndowment contributions are reported in the Endowment Fund and recognized as direct increases in net assets Investment income earned on the fund is used in general operations

GLOBE THEATRE SOCIETY NOTES TO THE FINANCIAL STATEMENTSFor the year ended June 30, 2018(with comparative figures for 2017)

19

Building Operations FundThe Building Operations Fund includes all activities related to the portion of the building leased to third parties

InventoryInventory is valued at the lower of cost and net realizable value

Capital assetsCapital assets are recorded in the Capital Fund at cost, net of accumulated amortization Amortization is provided on the straight line basis over the estimated useful life of the assets at the following rates:

Automotive 3 years Building 40 years Building improvements 20 years Office and bar equipment 5 years Theatre equipment 5 years

Deferred RevenueDeferred revenue in the Theatre Operations Fund includes subscription sales, ticket fees and theatre school revenue related to the next fiscal year It also includes grants received in advance of the contract period, or for which services have not yet been delivered

Deferred revenue in the Capital Fund consists of contributions for the purchase of capital assets These contributions are deferred and recognized into revenue on the same basis as the asset is amortized

Revenue recognitionTicket sale revenue is recognized when the performance occurs Conservatory and theatre school revenues are recognized as the program services are delivered Operating grants are recognized in the period specified in the funding agreement Other grants are recognized as revenue as the services are provided Fundraising and donations are recognized as revenue when the funds are received Sponsorship revenues are recognized in accordance with the terms of the sponsorship agreement Other income is recognized as the goods or services are provided

The capital improvement fee (included in ticket fees) is recognized as revenue in the Capital Fund when the performance occurs Rental income is recognized as revenue in the Building Operation Fund in the period that the lessee uses the leased space Restricted contribu-tions related to operations are recognized as revenue in the year the related expenses are incurred

Contributed ServicesVolunteers contribute approximately 2,000 hours per year to assist Globe Theatre in carrying out its activities Because of the difficulty in determining their fair value, contributed services are not recognized in the financial statements

3. MARKETABLE SECURITIES

2018 2017

Guaranteed investment certificates $ 253,627 $ 251,805Accrued interest 1,536 2,820 $ 255,163 $ 254,625

The guaranteed investment certificates bear interest between 1 20–1 85% (2017: 0 70–1 20%) maturity ranging from December 2017–April 2019 (2017: December 2018–April 2019)

GLOBE THEATRE SOCIETY NOTES TO THE FINANCIAL STATEMENTS

For the year ended June 30, 2018(with comparative figures for 2017)

20

4. CAPITAL ASSETS

2018 2017 Accumulated Net book Net book Cost ammortization value value

Automotive $ 9,608 $ 6,405 $ 3,203 $ 6,406Building 608,298 79,967 528,331 544,325Building improvements 2,985,411 2,303,764 681,647 779,786Land 672,000 – 672,000 672,000Office and bar equipment 333,239 284,492 48,747 44,390Theatre equipment 386,407 312,766 73,641 90,743 $ 4,994,963 $ 2,987,394 $ 2,007,569 $ 2,137,650

Building cost include $208,466 (2017: $208,466) for a feasibility study and architectural consulting related to future renovations This amount will not be amortized until the renovations are complete

5. ACCOUNTS PAYABLE AND ACCRUALS

Accounts payable includes GST payable of $22,508 (2017: $25,165)

6. DEFERRED REVENUE - THEATRE OPERATIONS FUND

Deferred revenue consists of the following:

2018 2017

Grants $ 260,639 $ 268,639Sponsorship 30,000 30,000Tickets sold for the 2018-19 season 972,458 904,472Theatre school development fund 64,313 –Theatre school 52,455 70,513Other 55,917 68,973 $ 1,435,782 $ 1,342,597

7. BUILDING MORTGAGE

During 2017, Globe Theatre extended the term of the building mortgage whereby interest only payments are required until March 1, 2018, at which point the mortgage will be renegotiated The mortgage is due on demand and is secured by the building with a net book value of $1,209,978 (2017: $1,324,111)

The estimated interest payments for the next year are $46,800 at an interest rate of prime +1 5% (2017: prime +1 5%)

GLOBE THEATRE SOCIETY NOTES TO THE FINANCIAL STATEMENTSFor the year ended June 30, 2018(with comparative figures for 2017)

21

8. DEFERRED REVENUE - CAPITAL FUND

2018 2017

Beginning of the year $ 432,145 $ 538,774Additions 30,000 36,700Recognized during the year (143,330) (143,329) 318,815 432,145Current portion (112,750) (143,300)End of year $ 206,065 $ 288,845

9. COMMITMENTS

Future minimum lease payments under operating leases for equipment for the next five years are as follows:

2019 $ 9,629 2020 4,292 2021 1,624 2022 271

10. CONTRACTUAL OBLIGATIONS

As is common among theatres, Globe Theatre enters into agreements with various individuals and organizations to secure production rights for use in future periods These rights and other production costs are recognized in the statement of operations when the production occurs For the fiscal 2018–2019 productions, $243,915 of contracts have been signed at year end

11. FINANCIAL RISK MANAGEMENT

The Globe Theatre has a risk management framework to monitor, evaluate and manage the principal risks assumed with financial instruments The significant financial risks to which Globe Theatre is exposed are:

Credit RiskCredit risk is the risk that one party to a financial instrument will cause a financial loss for the other party by failing to discharge an obligation The Globe Theatre is exposed to credit risk on the accounts receivable, however they do not have a significant exposure to any customer and believe there is minimal risk with collection The Globe Theatre incurred insignificant bad debt expense during the past three years At year end, an allowance for doubtful accounts of $5,598 (2017: $6,000) was included in accounts receivable

Interest Rate RiskInterest rate risk is the risk that the fair value of future cash flows of a financial instrument will fluctuate because of changes in the market inter-est rates The Globe Theatre’s exposure to interest rate risk is limited to the long term debt The interest rate on this debt is variable; therefore, Globe Theatre may face increasing interest costs in an increasing interest rate market

GLOBE THEATRE SOCIETY NOTES TO THE FINANCIAL STATEMENTS

For the year ended June 30, 2018(with comparative figures for 2017)

22

GLOBE THEATRE SOCIETY NOTES TO THE FINANCIAL STATEMENTSFor the year ended June 30, 2018(with comparative figures for 2017)

Liquidity RiskLiquidity risk is the risk that an entity will encounter difficulty in meeting obligations associated with financial liabilities The Globe Theatre’s exposure to liquidity risk is dependent on the receipt of funds from its operations, external borrowings and other related sources Funds from these sources are primarily used to finance working capital and capital expenditures requirements, and are considered adequate to meet Globe Theatre’s financial obligations

12. COMPARATIVE FIGURES

Certain comparative figures have been reclassified to conform to current year presentation

23

2017|2018ARTISTIC COMPANY

Kevin AicheleRyland AlexanderSkyler AndersonDanny BalkwillNicole BearOliver BeckerJenna BerenbaumTanya BergenJoely BigEagle- KequahtoowayTeddy BisonKate BlackburnDevon BonneauAl BraatzRenée BrodeRyan BrownJohanna BundonDarren BurkettSarah CarléJeremy Carver-JamesCrystal ChaitanBonnie ChapmanMark ClaxtonNathan CoppensPaul CournoyerKelsey CulbertKaeli DaneMa-Anne DionisioJosh DoigRebecca DonisonMaria DoyleKelsey ElvinItai ErdalDrew FaceyJacey FahlmanDaniel FongTraci FosterKelli FoxLiz FreeAlana FreistadtLaura GardnerStephen GartnerJocelyn GauthierMandy GoforthErin GoodpipeStephanie GrahamLouise GuinandPamela Haig BartleyAlex Hartshorn

Kate HerriotAaron HuttonJeff IrvingRachel JanzéGalen JohnsonKenilee KehlerAngela KempBrandon KleimanPete KytwayhatHailey LewisDavid LightJayson LittletentTerrance LittletentJohn LoeppkyTori LougheedNestor Lozano Jr Wendy LundgrenNoah MacDougallLogan MarkelW Joseph MathesonAnna MazurikLeigh McClymontStewart Adam MckensyJeneva MoxonKatie MurphyNgabo NabeaGreg OchitwaOlivia Lillian O’WatchJoe PagnanAlex PannetonWes D PearceValerie Ann PearsonTyra PelletierChancz PerryChristina PerssonCeleste PinderLucas PopowichKarlee RabbyDonny ReadyJade RepetaKathryn RickettsDominga RobinsonDevin Ross Kevin RotheryCraig SalkeldJeremy SauerBen SchneiderRoger SchultzKaitlyn Semple

Jess Amy SheadSummer StoneChildMadeleine SuddabyAnne TaylorJulie TomainoTamara UnroeNatasha Urkow

Val HallaErin ValentineTahirih VejdaniWilliam VickersEmma WalterLindsay WarnockJenny Weisz

Vivienne WilderDaniel WillistonKaren WoodTori YuzikAmmanda ZelinskiKellan ZiffleGilles Zolty

USBy Kelley Jo Burke and Jeffery Straker

24

2017|2018GLOBE THEATRE STAFF

GLOBE THEATRE BOARD OF DIRECTORS

Tina Svedahl (Chair)Royce BeretiRené Carpentier

LeeAnn CroftBrian KilbackKerry Lumbard

Lisa McIntyreNadine Milne Graeme Mitchell

Patti PacholekCraig ReynoldsRick Tiefenbach

Lisa Watson

SENIOR MANAGEMENT

Ruth Smillie Artistic Director & CEO Wendy Harrison Chief Financial Officer Steven Balkwill Director of Production

ADMINISTRATIVE STAFF

Stephanie Barrett Payroll/AP ClerkKelli Fox Artistic AssociateAimee Garchinski Theatre School & Community Engagement CoordinatorJakob Greifenhagen Box Office SupervisorKaren Jurzyniec Sales AdministratorBobbie Katuin Front of House Manager

Timothy Landgraf Accounting ManagerCraig Matheis Building Maintenance ManagerJayme Oakley Company ManagerHayley Peters Graphic DesignerAndrew Ritchie Theatre School Director & Shumiatcher Sandbox Series CoordinatorMisty Selinger Development Manager

Sonia Stanger Sales ManagerPu Wah CustodianAllison Weed Marketing ManagerMatthew Wilson Marketing and Sales Associate

PRODUCTION STAFF

Patrick Andrews Head of SoundDevon Bonneau Studio Technician/ RF Technician

Kelsey Elvin Head of Scenic CarpentrySean Free Technical DirectorPatrick James Head of Lighting

Celeste Pinder Head of WardrobeLexi Rennebohm Head of PropsTodd Rennebohm Scenic Carpenter

ADDITIONAL PART-TIME/CASUAL PRODUCTION STAFF

Katelyn Arsenault Stitcher/Wardrobe MaintenanceBarb Barber Cutter/StitcherAmy Bewcyk Cutter/StitcherCatherine Bridge Paint Assistant/ Props AssistantJohn Cody Carpentry AssistantKandi Cuthbert Stitcher/Wig MaintenanceRebecca Donison DresserDenis Dreher StitcherRea Faber CutterDylan Gall Lighting CrewBotswanna Hallas Props AssistantDerek Klassen Lighting Crew

Zaul McMellen Lighting CrewAren Okemaysim Backstage CrewBilly Patterson Lighting CrewAnnalise Peterson-Perry Stitcher/DresserChristina Persson DresserRob Phillipson Lighting CrewNola Porter Stitcher/Wardrobe MaintenanceNathan Pylypuk DresserKaylie Rennebohm Dresser/StitcherCindy Rottenbucher StitcherJacob Sawatsky Lighting CrewBenjamin Schneider DresserKennedy Sembaliuk Lighting CrewJeff Seitz Stage Crew

Alla Sidorenko Wardrobe Maintenance/ StitcherNilsen Tiefenbach Lighting CrewMel Vovchuck Wardrobe Mistress/ Dresser/Paint Assistant/ Props AssistantSage Wosminity StitcherTaylor Wirll Stitcher/Wardrobe MaintenanceDeacon Yanthon Carpentry Assistant

25

PART-TIME FRONT OF HOUSE & BOX OFFICE STAFF

Katie AllisonAmanda BeneshBarb CameronLindsey CraigAlixx Davidson

Renee Dobrowolski Robyn DyckCheryl EggerChloe FlotaMackenzie Garbe

Twyla GriesserDebbie JohnsEmily KutarnaTiffany LaiAurora Marinari

Jacqueline MinettWanda MohrKim Morris Letecia OchoaKylie Orr

Nathan PylypukRhea SaliCourtney Wall

GLOBE THEATRE SCHOOL STAFF

Katie Abramovic Kris Alvarez Kristy Apodaca Sarah Bergbusch Belle Brown-McEwen Heather Cameron Cameron Chomyn

Jeremy Hilsendager Meredith Larocque Kenn McLeod Katie Moore Jon Neher Greg Ochitwa Annie Trussler

Judy Wensel Janna Wood Alixx Davidson Ashanta TannerRohith Banman Sophia Bote Chloe Flota

Katie Gherasim Sam Gross Gabby Hillis Sarah Janz Mackenzy Vida Ammanda Zelinski Emily Kutarna

Allan DotsonMaxwell AdamsonZoey RoyTramaine MilesChris RossJon CennonLucas Babcock

2017|2018GLOBE THEATRE VOLUNTEERS

Jan AyerSandy BabyakAndrea BelleroseLeona BoueyDebbie BulychBonnie & Frank BriereHelen BurtonJennesa CameronTayler CameronSharon Clarke

Laurie CollinsGarry & Myrna CrawfordBeverley DavidsonLinda DoddKen & Kim DomoslaiHeather EntnerPenny & Ted ForrestPeggy ForsbergGail & Larry FryJudy Gates

Shauna GebhartShirley GieniLorane GrayBlair & Jan GullicksonDonna HarriesSandra HendersonCatherine & Eugene HologroskiHeather KempGail Lambert

Carlton LarsenMarilyn LeaskBonnie & Dave MannDarlene McLellandTrina McDowellBrenda & John MillerDoreen O’ShaughnessyCheryl PepinJudy RiesDarwin & Janice Rodgers

Edith & Gabe SeiferlingGabe SenftMardi SterlingRobert StradeskiDonna & Murray WhitelawLorraine WihakJacqueline WightKathy WillisKathy Willner

Listen to Dis’ Community Arts Organization’s Production ofMINE TO HAVE: SENSUALITY AND CIRCUMSTANCES

SHUMIATCHER SANDBOX SERIES

26

ROYAL PATRONHis Royal Highness The Earl of Wessex KG, CGVO, SOM

PATRONS OF THE ARTDr Morris & Dr Jacqui Shumiatcher

HONORARY PATRONSHis Honour, the Honourable W Thomas Molloy, Lieutenant Governor of SaskatchewanThe Honourable Scott Moe, Premier of SaskatchewanThe Honourable Robert Richards, Chief Justice of SaskatchewanHis Worship Mayor Michael Fougere

HONORARY LIFE MEMBERSKenneth KramerSusan Ferley

GRANTING AGENCIESCanada Council for the ArtsSaskatchewan Arts BoardCity of Regina Saskatchewan Arts Board Creative Industries Transition Fund

DONORS AND SPONSORS

SEASON PRESENTING SPONSORCo-op Refinery Complex

THEATRE EVELOPMENT SPONSORHarvard Developments and its downtown Building Partners

EDUCATIONAL OUTREACH PROGRAM SPONSORScotiabank

EMERGING ARTIST PROGRAMS SPONSORRBC Foundation

COMMUNICATIONS SPONSORSaskTel

MAIN STAGE PRODUCTION SPONSORSGreat-West Life, London Life and Canada LifeISCThe Lorne & Evelyn Johnson FoundationPotashCorpTD Bank Group

2017|2018 SEASON SPONSORSBennett Dunlop Ford – Vehicle SponsorFries Tallman Lumber – Set Design SponsorImpact Printers – Program SponsorK+S Potash Canada – Indigenous Initiatives SponsorP3Architecture Partnership – Executive SponsorSpeers Funeral & Cremation ServicesSun Life Financial – Kids Ticket SponsorSuccess Office Systems – Printer SponsorTD Bank Group – Executive Sponsor

SEASON PERFORMANCE SPONSORSAonCGIDirectWestJ&M Financial Services Inc Kanuka ThuringerMLT AikinsRBC Dominion SecuritiesRohit Group of Companies Saving Grace Hair StudioUniversity of Regina

SEASON PRODUCT SPONSORS2Chefs4YouBig Rock BreweryCirca 27 LoungeE&J Gallo – Wine SponsorIndia Canada Association of SaskatchewanKoko Patisserie – Product SponsorPrimaDeanna BoutiqueSprout Catering – Reception SponsorRegina Symphony OrchestraRE/MAXSomerville Safe & LockSouthern Prairie RailwayWild’s Goldsmithing

SEASON MEDIA SPONSORSRawlco Radio – NewsTalk Radio 980 CJME, Z99, 94 5 Jack FMSignpatico Outdoor

THE SHUMIATCHER SANDBOX SERIESDr Morris & Dr Jacqui Shumiatcher

CORPORATE DONORS July 1, 2017 to June 30, 2018

Bayer Crop ScienceCITE360StudioKewa DevelopmentsHWY1 Storage Inc Sun Life Financial

THEATRE SCHOOL SCHOLARSHIPSJocelyne & Murray Lang Rawlinson Family

INDIVIDUAL DONATIONS July 1, 2017 to June 30, 2018

MAJOR GIFTS($15,000–$19,999)Barb & Bob EllardBrian & Janet Kilback

MAJOR GIFTS($5,000–$14,999)Doug and Gloria Archer FoundationJan and Doug FolkNystuen Family Foundation Inc Ann and Roger Phillips FoundationGordon & Jill Rawlinson

BENEFACTORS ($1,000–$4,999)Peter & Deanna BergbuschGeorge & Lina GarbePaul & Carol Hill Barbara Keirnes-YoungDonald & Claire Kramer Foundation, South Sask Community FoundationKen & Sue LinnenKerry & Todd LumbardHarold & Jean MacKayCarolyn McBean & John HaasAnna Martha OttenbreitAnne ParkerEric & Erna PullamAlan Rowe

Susan & Bryce SchurrKen & Bette SextonJacqui ShumiatcherJim & Jan Ursu

SUSTAINERS ($500–$999)Elayne Bennett FoxJune BlauDwight Blomander & Debra HengenDavid & Elizabeth CalamGeorge & Sheila CarsonIan GoeresLyn GoldmanRobert Hawkins & Marie-France MencTeresa HensrudBryan & Joanne HillisWilliam Peter KomusS Humphries & G LawrenceLarry & Cynthia MackBrenda MacLaughlan & Ruth BlaserBarbara MaderLois C MangAllan & Shelley McDougallBernadette McIntyreJohn & Linda NilsonVivian NorbratenEric & Erna PullamHeather SalloumRuth SmillieElsie ToupichMurray & Barbara Walter

CONTRIBUTORS ($250–$499)Shirley AndristDan & Judi AshJan AyerJanet BarberNorma BarberBeverley BorgfordSterling & Janet BjorndahlMarc BuchholzRene & Bernice Carpentier

2017|2018ACKNOWLEDGEMENTS

27

Gordon Cowie & Linda SelinNans E J DaviesAndrew DonovanGlen DowntonPatty GillStewart Graham & Gilda Treleaven-GrahamJoanne Green & Wayne WilliamsonTom HannanNancy HassenNeal & Margaret HoltDoug & Cindy JohnsonGordon Kerfoot & Brenda ZiolkowskiMichelle Krueger & Brian BakerMalcolm & Ellen LindeburghElizabeth MageeJean & Ian McDonaldDon & Jill McDougallTerence & Sheila McKagueJohn & Hilary McKayJanet McMurtryDavid & Anne MillarLois PearceKen & Marybelle PowersJanet Ryan-CrumleySuzanne & Doug Schneider Fred & Judy ShortTim & Cornelia SeiferlingAllan & Elizabeth SmithRobert & Patricia StevensonTina & Darren SvedahlLynn & Jim Tomkins Foundation, South Sask Community FoundationIan & Nora YeatesElaine YeomansCeleste York

SUPPORTERS ($125–$249)Claire AntoshewskiGail E Beggs-LariviereLou Beltramini

Royce BeretiNorm BeugRichard & Carol BoltLois J BordenLeona BoueyTom Bradley & Dawn Redmond-BradleyV Bugera & B OchitwaLeona BurkhartBarbara Byers, C M Elaine ClarkTerry & Dave Creurer Nancy CrollValerie CrowtherGaylene DiekragerDwaine & Barbara DornanSelina DorrellCorinne EdworthyMichelle Ellingsen AilsbyRobert EllisBarbara Flaten-OrrLarry & Gail FryEvelyn GayKathy & Andrew GilbertsonElaine Giroux-Sylvestre & Roger SylvestreJoe & Bonnie GoudyTom HannanJean HendersBrenda HerbackSandra D HertesPatricia HestermanCarol Mae HillIan & Elaine HillNancy HippersonNeal & Margaret HoltLinsell & Janice HurdGordon & Leone HutchAllan & Anne KarasinWilliam & Shelagh KellyJames & Nicole KornelsonClarence & Donelda KrauseSusan KurdzielPam LysakAlex MacDonaldMargaret MalleyJohn & Hilary McKayShirley McLeodLinda Meyer

Charlotte MillerKyle & Crystal MitchellDoreen & Robert MitchellJohn & Annette NistorRosemary OddieLinda OlsonDavid & Marilyn PetrieGloria PickardL & D PrattRussell & Shirley PriorYvonne RedantOwen & Celia Ricker Joyce RippertGreg RivettWayne & Maureen RunyonMarilynn SandercockFred & Judy ShortJoanne SilzerJoanne SkidmoreAllan & Elizabeth SmithKen & Terry SmithDan & Sharon SpottRobert & Patricia StevensonKen SullivanChristine TellIan & Brenda ThomsonEd & Marg TiefenbachLarry & Dawn TraskJudy VerbekeBrenda WallaceFlora & Tom WallerDenise WerkerFloralyn & Warren WesselJohn & Tessa WhyteEdward WillettJoan Zylak

FRIENDS ($35–$124)Diana AdamsMichael Farrer & Dawn AndersonSylvia AitkenPauline Aldworth & FamilyDavid & Greta AllenLisa ArmbrusterDarlene ArmstrongLaurel Ayerst

Roland BacheluMarjorie BadhamErika Jackle & Charlie BaldockStan & Donna BarberJoan BartelNancy BatesonBill & Marie BillEllen Basler & John BissettJames BrewerRose BruceKathryn BuitenhuisJoe & Bess ButelChuck ButtazoniIsabelle M ButtersSheila CampbellRichard CarrFlorence CattellGloria ChartierDuane & Lynn ChipleyJean ColemanJerry CoppensAngela CycaWendy DakuJill DavidsonJanice DecellesTheresa DiekragerGayle & Dennis DoddsHans & Julia EckartJohn EdgarDave & Carla EdwardsDave & Wendy EdwardsSheila FahlmanJoanne FelstromDuncan & Elyse FisherAnn & Joe FlegelSusan FletcherBeryl ForgayMarguerite GallawayKaren GienowKathy Joann & Andrew GilbertsonIrene & Rod GilbeyPerry & Sandra GrayMarlene HallRick & Brenda HancockMyron & Helen HerasymuikMarlis HeronKenn & Georgette Heshka

Marilyn & Robert HillSandra Lynn HillColin & Judith HindleTeresa HoffarthDave HoustonLorrie HoweDebbie & Hugh HuntSharon HurdLeone & Gordon HutchBob JamiesonBob & Nadine JohnsonBruce & Janice JohnstoneAngus & DeVona JuckesCarla KaedingDenton & Lynn KeatingGarry KerrMonte & Dawn Kesslering Lynn KirkMarjorie KirkbyAlanna Lee KochKim KovacsCarol KruszelnickiAlison LewisCarol LewisPatsy LimJohn LoeppkyDonald MacDonaldJoanna MajkutGwen MarteBev McBethRoss & Darlene McClellandLisa McIntyreJanet McMurtryPaul Mehlson & Maureen PowellNadine MilneGord & Diane NealeValerie NeisonTom NewtonAndre Nogue & Terry GabrielAnn NorganWilson & Carole OliveDr Kathleen O’Reilly Ken OrrNita O’ShaughnessyLiz PaulThomas PavlovskyDwayne & Lynn Pearce

28

Dorothy PhilpotBasil PogueKaren PriorKeith & Wendy PriorDavid & Leanna ProstOlga PutBarb QuinneyNancy RedfernJim ReedStephanie ReidLinda ReissLynette Marie RennebohmErnie & Rikki RichardsonJ E Ries

Evelyn RogersIrene RyanEsther SandercockLee Ann SchienbeinGlenn & Barb SchmulandPenny SchneiderDoris SchnellShirley SchroederLorraine & Bob ScottMarci & Michael ScottMisty SelingerSylvie Leonne ShieldsSharon Simons-MotenDarlene Sinclair

Caroline & Lorne SparlingHeather StenersonCheryl J StewartDarren StovinKen & Doreen StovinSandra StrettenAllan & Millie TaylorLerissa ThaverPamela ThomasLaura ThomsonRick TiefenbachAudrey ToewsRosemary TorjusenJoan & Bill Turner

Jeanne TwetenShelley Van MeerCathy WalkingtonShirley WarnkeLisa WatsonCara WeberLouise WeirDavid & Wilma WesselRose WhaleyAllen & Rhonda WillsElaine WoodRoger & Louise Wooff

IN MEMORIAMRoger Wooff – In Memory of Violet Louise WooffKrajewski Family – In Memory of Brent KrajewskiJeanne Tweten – In Memory of Anne Szumigalski

PHOTO CREDITS

Page 1: Jeff Irving and Crystal Chaitan in Around the World in 80 Days | Direction by Ruth Smillie Set and Costume Design by Roger Schultz Lighting Design by Louise Guinand Photo by Chris Graham Photo

Page 2: Ma-Anne Dionisio in Bittergirl – The Musical | Direction by Greg Ochitwa Choreography by Katie Murphy Musical Direction by Craig Salkeld Set Design by Rebecca Donison Costume Design by Wes D Pearce Lighting Design by Wendy Lundgren Photo by Chris Graham Photo

Page 3: Ngabo Nabea and Jenna Berenbaum in I and You | Direction by Kelli Fox Set and Costume Design by Laura Gardner Lighting Design by Itai Erdal Photo by Chris Graham Photo

Page 5: Stephen Gartner and Crystal Chaitan in Around the World in 80 Days | Direction by Ruth Smillie Set and Costume Design by Roger Schultz Lighting Design by Louise Guinand Photo by Chris Graham Photo

Page 6: Photo by Danielle Tocker Photography

Page 7: Cast of The Rez Sisters | Direction by Ruth Smillie Traditional Dance Choreography by Teddy Bison Set Design by Kelsey Elvin Costume Design by Celeste Pinder Lighting and Sound Design by Devon Bonneau Photo by Chris Graham Photo

Page 9: Kevin Rothery and Oliver Becker in Charles Dickens’ A Christmas Carol | Direction by Kelli Fox Choreography by Kaitlyn Semple Set and Costume Design by Laura Gardner Lighting Design by Louise Guinand Photo by JL Photo

Page 10: Ngabo Nabea in I and You | Direction by Kelli Fox Set and Costume Design by Laura Gardner Lighting Design by Itai Erdal Photo by Chris Graham Photo

Page 11: Sarah Carlé, Kaitlyn Semple and Ma-Anne Dionisio in Bittergirl – The Musical | Direction by Greg Ochitwa Choreography by Katie Murphy Musical Direction by Craig Salkeld Set Design by Rebecca Donison Costume Design by Wes D Pearce Lighting Design by Wendy Lundgren Photo by Chris Graham Photo

Page 23: Cast of Us | Direction and Musical Direction by Valerie Ann Pearson Choreography by Johanna Bundon Set and Costume Design by Wes D Pearce Lighting Design by Wendy Lundgren Photo by JL Photo

Page 25: Natasha Urkow and Donny Ready in Listen to Dis’ Community Art Organization’s Production of Mine to Have: Sensuality and Circumstances | Direction by Traci Foster Choreography by Kaitlyn Semple Set Design by Bonnie Chapman Photo by Chris Graham Photo

Cover, Front: Daniel Williston in Shrek The Musical | Direction and Choreography by Stephanie Graham Musical Direction by Noah MacDougall Set Design by Joe Pagnan Costume Design by Brandon Kleiman Lighting Design by Renée Brode Photo by Chris Graham Photo

Cover, Back: Cast of Shrek The Musical | Direction and Choreography by Stephanie Graham Musical Direction by Noah MacDougall Set Design by Joe Pagnan Costume Design by Brandon Kleiman Lighting Design by Renée Brode Photo by Chris Graham Photo

Inside Cover, Front: Al Braatz in Buddy – The Buddy Holly Story | Direction by Danny Balkwill Choreography by Julie Tomaino Musical Direction by Craig Salkeld Set Design by Drew Facey Costume Design by Roger Schultz Lighting Design by Wendy Lundgren Photo by Chris Graham Photo

Inside Cover, Back: Terrance Littletent in Chancz Perry and Terrance Littletent’s Production of Hip Hop Hoop Dance | Set and Costume Design by Rebecca Donison Lighting and Sound Design by Devon Bonneau Photo by JL Photo

Chancz Perry and Terrance Littletent’s Production ofHIP HOP HOOP DANCE

SHUMIATCHER SANDBOX SERIES

2017|2018

MAIN STAGE

Bittergirl – The Musical Sept 27–Oct 15, 2017

A Christmas Carol Nov 18–Dec 24, 2017

Around the World in 80 Days Jan 17–Feb 4, 2018

Us Feb 28–Mar 18, 2018

I and You Apr 11–29, 2018

Shrek The Musical May 23–July 1, 2018

SHUMIATCHER SANDBOX SERIES

Hip Hop Hoop Dance Mar 29–Apr 7, 2018

The Rez Sisters Apr 25–29, 2018

Mine to Have: Sensuality and Circumstances June 20–23, 2018

SPECIAL EVENTS

Buddy – The Buddy Holly Story Jan 30–Feb 10, 2018

SHREK THE MUSICALBased on the DreamWorks Animation Motion Picture and the book by William SteigBook and Lyrics by David Lindsay-AbaireMusic by Jeanine TesoriOriginally produced on Broadway by DreamWorks Theatricals and Neal Street ProductionsOriginal Production Directed by Jason Moore and Rob Ashford