Index

• Artistic Director’s Note

• Director’s Note

• Credits and Acknowledgements

• The Company

• Board and Staff

• GCTC’s Partners

• Our Donors

Accessibility note: to see image descriptions of all the images in this program, click here.

Artistic Director’s Note

Sarah Kitz

Welcome back to the theatre! We’re so pleased to have you here and I’m delighted to join you as Interim Artistic Director.

I take your presence here in the theatre as a sign of great optimism. It’s heartening to see that we still have a need to collectively invest in gathering, depth of thought, community, and discourse. Thank you for coming to spend your time with us; to think, feel, and wrestle ideas. 

Daisy has been on stage since March 2020, waiting, as we all held our collective breath and followed health orders. Now we can release that breath a bit, still behind our masks, but in community. It feels poignant that the show that begins our 2021/2022 season is the one that was just reaching its public when the pandemic struck, as if we haven’t missed a beat, and yet the world is profoundly changed. 

Daisy considers the ethics and efficacy of a television ad in Lyndon B. Johnson’s 1964 election campaign, though the themes feel close to us now. Discussion of the speed, lack of nuance, and powers of manipulation in media have not lessened their urgency over time. Our media consumption these days is often for an audience of one. We click and absorb, instantly and alone. Who then can we examine our perceptions with?

Theatre, on the other hand, relies on the slow process of unravelling conflicting perspectives in community. The Daisy ad, broadcast over television into American living rooms newly furnished with TVs, deked intellectual consideration by appealing straight to the gut, some said to fear. It changed the landscape of political advertising. It foretold what media could do.

My mentor, the late great Martha Henry, said that the show happens in the space between the actors and the audience. You are one half of the equation. One of the lessons from this shuttered time that I’ve been ruminating on is how much we need each other, in conflict and in peace. Agreement is not the thing that keeps us together. Investing in a community based on shared values is.

We would not be here without you. 

I look forward to meeting you this season, in person and in the work.

Enjoy the show!

Director’s Note

Eric Coates

On March 12, 2020, the Canadian premiere of Daisy by Sean Devine opened at GCTC. On March 13, 2020, like most shows around the world, it closed. At the time, we blithely informed GCTC stakeholders that we would return to normal programming in approximately two weeks. Nobody really needs to hear what happened next…

The set and costumes of this production, designed respectively by Roger Schultz and Vanessa Imeson have been sitting in the theatre, quietly awaiting our return for nearly two years. I began to think of the production itself as an artifact encased in amber and doomed to exist in stasis until someone could figure out a way to extract it, at which point its relevance would be called into question and the whole thing consigned, again, to obscurity. During the few times that I was onsite in the interim, I would steal into the theatre and spend time with the set, admiring its lines and recalling the joy with which the actors played its elegant rake before the building went dark. I would snap a photo and send it to playwright Sean Devine, the most patient and generous playwright on the planet, as a bittersweet reminder that the production might one day return. 

And here we are. The words of the script have remained the same, but world events have sharpened their prescience, particularly when the characters allude to a gathering storm on the American horizon. We are still thrilled to be back on our feet with this show, but, thanks to what I now see as the self-immolation of the United States, the context is radically different, particularly for those of us who were born there and maintain a dwindling hope that its partisan spasms will somehow end. This, alas, is as naïve as a child who plucks petals from a flower, expecting to divine the future.

On a personal note, I extend thanks to all who have come back to the theatre during difficult times and, just as importantly, to those who supported the arts throughout the pandemic. This suspended state caused me to reassess my own life and to leave artistic direction for other interests while I still have time and although I miss GCTC, I am finding happiness and meaning in this new chapter. I’m enormously grateful to the entire production team and to the GCTC staff for keeping things in ship shape and allowing us to pick up again, almost seamlessly. 

Welcome back. 

Credits and
Acknowledgements

Cast and Creative Team appear in alphabetical order

Cast

Tony Schwartz | Eric Coates

Louise Brown | Marion Day

Sid Myers | Brad Long

Aaron Ehrlich | Geoff McBride

Clifford Lewis | Andrew Moodie

Bill Bernbach | Paul Rainville

Creative Team

Director | Eric Coates

Stage Manager | Laurie Champagne

Video Designer | Frank Donato

Assistant Director | Mary Ellis

Costume Designer | Vanessa Imeson

Sound Designer | Venessa Lachance

Lighting Designer | Peter Spike Lyne

Assistant Stage Manager | Jane Vanstone Osborn

Set & Props Designer | Roger Schultz

Production Crew

Technical Director | Kyle Ahluwalia

Head of Props and Head Scenic Painter | Stephanie Brett

Interim Head of Props | Patrice-Ann Forbes

Head of Wardrobe | Vanessa Imeson

Assistant Technical Director, Head of Carpentry | Jonah Maybear

Assistant Technical Director | Valerie-Josephine Trudel

Please Note

• Daisy is approximately 120 minutes long (including a 15-minute intermission.)

• The use of cameras or recording devices is strictly prohibited.

• All cell phones and electronic devices must be turned off.

• Please don't walk in the performance area of the stage.

Enjoy the Show!

The Company

Laurie Champagne

Stage Manager

Laurie is delighted to be working again with the GCTC team. Previous credits with GCTC include Lo (Or Dear Mr Wells);  The Virgin Trial; Ordinary Days; The Gravitational Pull of Bernice Trimble; Janet Wilson Meets the Queen; Generous; The Public Servant; Circle, Mirror, Transformation; Carmen Aguirre’s Blue Box;  Strawberries in January;  The Shadow Cutter;  Heroes; and Helen’s Necklace. She stage manages for The National Arts Centre English Theatre and the National Arts Centre Orchestra as well as for theatres across the country. Laurie was Production Stage Manager for the Shaw Festival and Theatre Calgary.

Eric Coates

Director/Tony Schwartz

Eric Coates worked as the Artistic Director of Great Canadian Theatre Company from 2012-2021. For GCTC he most recently appeared in Bang Bang and directed Lo (or Dear Mr. Wells). Also for GCTC he directed 1979, in co-production with the Shaw Festival, Gracie, Ordinary Days, Butcher, Generous, Best Brothers, This is War, and The Boy in the Moon. He was the Artistic Director of the Blyth Festival for ten seasons, from 2003 through 2012. Directing credits include numerous productions with the Blyth Festival and projects with Theatre Calgary, Drayton Entertainment, Thousand Islands Playhouse, Lighthouse Festival and CBC Radio. As an actor he has worked in theatre, television and film since 1986, including four seasons with the Stratford Festival and productions in regional theatres in Ontario, Atlantic Canada and New York. Eric served as the President of the Professional Association of Canadian Theatres (PACT) for six years.

Marion Day

as Louise Brown

Marion returns for her third season at GCTC. Previously at GCTC: Janet Wilson Meets the Queen; and three directed by Eric Coates: The Boy in the Moon; Generous and 1979 (GCTC/Shaw Festival). Seven seasons of new work at Blyth Festival include Beverley Cooper’s Innocence Lost: A Play About Steven Truscott; Beyond The Farm Show; Hometown; The Book of Esther; Harvest; Kitchen Radio; Judith. Devised at Blyth with Severn Thompson: Beyond the Farm Show and Wing Night at the Boot. Selected work at Stratford: Juliet in Romeo and Juliet; Jessica in The Merchant of Venice, Cecily Cardew in The Importance of Being Earnest; Ophelia in Hamlet; Lavinia in Titus Andronicus; Moth in Love’s Labour’s Lost; and the title role in The Country Wife. Since March 2020, directing choirs from our basement. Welcome back to the theatre.

Sean Devine

Playwright

Sean Devine’s usual day-to-day activities span the performing arts, public sector arts funding, politics, community leadership, a huge family, and walking his dog. Sean moved to Ottawa in 2014, bringing Horseshoes & Hand Grenades Theatre along with him, the company he co-founded in Vancouver and handed over to new leadership a few years ago. As an actor and playwright, Sean’s work on stage and screen has been seen across the country and internationally. One of his favorite acting roles was in GCTC’s 2016 production of Butcher. Prior to its Canadian premiere at GCTC, Sean’s play Daisy has had professional productions in Seattle, Houston, Los Angeles and Cincinnati. Over the past few years politics and community building have taken centre stage in Sean’s non-family life. He continues to volunteer on the Trend Arlington Community Association, with whom he won the 2019 United Way Community Builder of the Year Award and the Mayor of Ottawa’s City Builder Award for his work on the recovery efforts after the 2018 tornado. Sean has run twice for federal office as the NDP candidate for Nepean in 2015 and 2021, and by the time you read this he may have decided on his next foray into political life.

Frank Donato

Video Designer

Frank Donato is a lighting and projection designer born and raised in Ottawa, ON. Past design credits include: Orestes (Tarragon Theatre), Ways of Being (Kick and Push Festival), The Revolutions (SpiderWebShow), Plucked (Summerworks Festival). Past assistant or associate design credits include: Blindness (Mirvish Productions), No Change in the Weather (Terra Bruce), The Barber of Seville, Hansel Und Gretel (Canadian Opera Company), Lil Red Robin Hood Panto (Ross Petty Productions), Little Shop of Horrors, The Neverending Story, The Crucible, Comedy of Errors, Paradise Lost (Stratford Festival), Out The Window (Luminato/The Theatre Centre). Frank is a proud graduate of the production program at the National Theatre School of Canada.

Mary Ellis

Assistant Director

Mary has worked extensively as an actor, director and educator, and has been an active member of the Ottawa theatre community for many years. As an actor, she has worked at GCTC, the NAC, undercurrents, A Company of Fools, Third Wall, and New Theatre of Ottawa, among others. She has directed for TACTICS, Parry Riposte Productions, A Company of Fools, Theatre Wakefield, Three Sisters, and Third Wall. She directed the multi-award winning The Elephant Girls, which has toured the UK and Canada. Mary teaches at St. Lawrence College in Brockville and at Carleton University in Ottawa, and she is Artistic Director of Horseshoes & Hand Grenades Theatre.

Vanessa Imeson

Costume Designer

Vanessa Imeson is an award winning Theatre Artist holding a combined BA Honours degree in Dramatic Art and English from the University of Windsor, MFA in Theatre Design from the University of British Columbia and diploma for Makeup Design for Film and Television from Vancouver Film School.  She designs costumes, make-up, wigs and puppets for a variety of collegiate programs and professional theatre companies across Canada while simultaneously acting as Head of Wardrobe for the GCTC. Vanessa is also a Core Artist and resident Designer with Ottawa’s original Shakespeare in the park troupe A Company of Fools. 

Venessa Lachance

Sound Designer

Venessa Lachance hails from a small French community in Northern Ontario and launched her musical career in Ottawa. Since her arrival in the capital, the young composer has worked as the music director for several theatre productions. Among these are Lo (Or Dear Mr Wells) (GCTC, 2019), Turcaret, or The Financier (Odyssey Theatre, 2014), Prosodie in Le promenoir (NAC’s Théâtre français, 2014), La fille d’argile and Le long de la principale (Théâtre la Catapulte, 2014 & 2016), and On verra (Théâtre du Trillium, 2016).  Venessa composed for Théâtre Tremplin for 6 years.  She was nominated for a Rideau Award in 2015 in the Emerging Artist of the Year category. In 2014, she released her first album consisting of solo piano compositions.  Venessa’s classical background and her interest in using music as a story-telling device can be heard throughout the narrative-like short pieces on the album. It’s to this recording that Venessa owes her Trille Or Award nomination in the Discovery of the Year category (2015).

Brad Long

as Sid Myers

Brad Long is an Ottawa based theatre artist. Recent credits include Coach of the Year, Building the Wall, BURNT (Undercurrents, 2017) The December Man (NAC, Assistant Director) Re:Union at the Magnetic North Theatre Festival, The End of Civilization (Gladstone Theatre) This is War (GCTC) WE GLOW (Prix Rideau Award for Outstanding Male Performance, Outstanding New Creation, 2013) Mark Antony in Ottawa Shakespeare Co.’s Julius Caesar, MSND and Othello at the St. Lawrence Shakespeare Festival, Dreams of Whales with New Theatre of Ottawa and The Fan with Odyssey Theatre.

Peter Spike Lyne

Lighting Designer

Spike is a Metis Lighting Designer originally from Montreal and is Technical Director for the Indigenous Theatre Department at the National Arts Centre here in Ottawa. Previous selected credits in Montreal include Triplex Nervosa, Motherhouse, God of Carnage and With Bated Breath for Centaur Theatre and Secret Annex, Forever Plaid, Educating Rita and My Old Lady for Segal Centre Theatre. He was also Production Manager for Comedian Russell Peters. He was lighting designer for 2019’s production of Behaviour here at GCTC. Spike is thrilled to be back for the continuation of Daisy 2.0.

Geoff McBride

as Aaron Ehrlich

Geoff is an Ottawa based performer who has previously appeared at GCTC in Lo (or Dear Mr. Wells) and Goodnight Desdemona, (Good Morning Juliet). He is thrilled to finally be appearing in a GCTC play without brackets in the title. He has played in the parks for ten seasons with a Company of Fools, including this fall's return to the parks in the socially distanced production of Love From Afar. He occasionally works with his friend Karen Balcome at THUNK!theatre. Currently Margo MacDonald and he are creating The Persistent Stain, a play that is allowing them to live out their punk rock dreams.

Andrew Moodie

as Clifford Lewis

Multiple award winning actor/playwright/director Andrew Moodie has performed in countless productions all across the country. Some selected credits include: Better Living, Emily Brontosaurus, Second Sheppard’s Play, Our Country’s Good (Great Canadian Theatre Company), Macbeth (Stratford), Satchmo Suite (Eastern Front), Death in New Orleans (One Yellow Rabbit), Hamlet (Soulpepper), Race (Ground Zero), Othello (Shakespeare in the Rough), Master Harold and the Boys (Prairie Theatre Exchange), Thirsty (National Arts Centre), Romeo and Juliet (Globe Theatre), Lear (Ad Hoc Collective) Playwrighting credits include: The Real McCoy, (Factory Theatre, GCTC 2007, 2008). Toronto the Good, (Factory Theatre 2009, Dora Award nomination). Winner of the WGC award for writing for Afghanada. His other screenwriting credits include Drop tha Beat (CBC) and A Winter’s Tale (Caribbean Tales) For many years he was the host of TV Ontario's Big Ideas, and he has appeared in many film and television productions, including: How to Lose a Guy in Ten Days, Away From Her and Total Recall.

Jane Vanstone Osborn

Assistant Stage Manager

​Welcome back! Thank you for all that you have done to get us through this long intermission. For GCTC Jane has stage managed Behaviour, Rock & Roll, The Net, Facts, and You Are Happy, and was Assistant Stage Manager on The Gravitational Pull of Bernice Trimble. Jane has worked at theatres across Canada including 5 seasons at the Shaw Festival, 9 seasons at the NAC and 10 tours of Nova Scotia. Recent projects include Assistant Stage Manager on the first show of NAC Indigenous Theatre, The Unnatural and Accidental Women, Stage Manager on Entangled (Ottawa Fringe), Raising Stanley / Life with Tulia at the Next Stage and undercurrents Theatre Festivals, Up to Low (NAC, Ottawa Children’s Theatre), Set Design and Stage Management for This Flight Tonight: Songs of Joni Mitchell, No Way to Say Goodbye: Songs of Leonard Cohen, and Jacques Brel (Bear & Co.), and Stage Manager for Armstrong’s War, Hothouse, The Mountaintop (Theatre Kingston). She also Stage Managed the Capital Critics Award-winning shows A Christmas Carol (NAC) and And Slowly Beauty… (NAC / Belfry)

Paul Rainville

as Bill Bernbach

“It’s just great to be back on the GCTC stage.” Prophetic words from last year's bio. Daisy opened March 12, 2020 and the next day, March 13, it got shut down. Wow. GCTC audiences may remember Paul from his work here over four decades: Angus in The Drawer Boy - Dr. Janusz Korczak in Hannah Moscovitch’s acclaimed play The Children’s Republic - Ernie, suffering from aphasia in The Secret Mask. Just a few of over 30 productions at GCTC. Paul has worked in theatres across the country and across town at the National Arts Centre: The December Man, The Vaudevilles of Chekhov, 7 Stories and many more. In May 2019 Paul launched a CD of original tunes produced by the remarkable Ian Tamblyn and featuring famous and fine local musicians: Rebecca Campbell, Petr Cancura, James Stephens, Ken Kanwisher and Olivier Fairfield. The music is available on CD and online through streaming platforms. Photo by Alan Dean.

Roger Schultz

Set & Props Designer

Roger is very grateful to return to GCTC having previously designed their productions of Gracie, How Black Mothers Say I Love You, Janet Wilson Meets the Queen, Butcher, and The Best Brothers. As a designer and educator, Roger has worked extensively throughout Canada for many companies including: The National Arts Centre - English Theatre, Alberta Theatre Projects, Curtain Razors, The Globe Theatre, Theatre Network, Mayfield Dinner Theatre, Keyano Theatre and Prairie Theatre Exchange. Roger has been blessed with a couple Prix Rideau Award nominations and a win (Butcher), some Capital Critics Circle Award nominations, a couple Betty Mitchell Award nominations, multiple Sterling Award nominations and wins, and a Dora Mavor Moore Award nomination from a very, very, very long time ago. He also once taught theatre design at the University of Lethbridge, Alberta.

Board and Staff

GCTC
Board of Directors

Chair | Natasha Chettiar

Vice Chair | Michael Aylward

Secretary | Carmelle Cachero

Treasurer | Alison Spiers

Norine Awadallah

Wendy Berkelaar

Carmelle Cachero

Maya Fernandez

John Kirkwood

Tara Patterson

Jacqui du Toit

GCTC Staff

Alli Harris | Public Spaces Coordinator

Alyssa English | Education Coordinator

Celina Hawkins | Company Manager

Chao Li | Ticketing Coordinator

Drea | Access Coordinator

Emma Ferrante | Box Office Assistant

Geoff McBride | Volunteer Coordinator

Hugh Neilson | Managing Director

Jared Davidson | Marketing & Communications Manager

Jonah Maybear | Assistant Technical Director, Head of Carpentry

Kristen Williams | Box Office Assistant

Kyle Ahluwalia | Technical Director

Michelle Gendron | Development & Membership Manager

Patrice-Ann Forbes | Interim Head of Props

Sarah Kitz | Interim Artistic Director

Selam Haile | Finance & Office Manager

Seth Gerry | Production Manager

Stephanie Dahmer-Brett | Head of Props & Head Scenic Painter

Taylor Vardy | Marketing & Development Coordinator

Valerie-Josephine Trudel | Assistant Technical Director

Vanessa Imeson | Head of Wardrobe

Vishesh Abeyratne | Box Office Assistant

Horseshoes &
Hand Grenades Theatre
Board of Directors

Janne Cleveland

Chelsey Fawcett

Griffin McInnes

Megan Piercey Monafu

Kevin Waghorn

Kristina Watt

Horseshoes &
Hand Grenades Theatre
Staff

Artistic Director | Mary Ellis

Artistic Producer | Kyle Ahluwalia

Horseshoes & Hand Grenades Theatre creates and produces original theatre, ranging from new Canadian works to the international repertoire. We are drawn to where the political and personal intersect. We foster the development of artists through collaborative processes that support boldly imaginative concepts and risk-taking, while exploring new forms of theatre practice. 

GCTC’s Partners

Foundations (cont.)

• CRABTREE FOUNDATION

• Shannon Reynolds Memorial Endowment Fund

• The Charles Dalfen Tribute Fund

• Turnbull Family Community Building Foundation

• The Wesley and Mary Nicol Charitable Foundation

Community Partners

Opening Night Catering Sponsor

• Thyme & Again

Green Room Sponsor

• The Table Vegetarian Restaurant

Service Partners

• Ottawa Public Library

• Ottawa School of Art

• University of Ottawa Alumni Association

Membership Program Partners

• Absinthe Café Resto-Bar

• Anna Fine Thai Cuisine

• Petit Bill’s Bistro

• Pho Van Van

• Stella Luna Gelato Café (Hintonburg Location)

• The Hintonburg Public House

• The Royal Oak (Wellington Location)

• The Table Vegetarian Restaurant

Our Donors

(As of November 2021)

Director’s Circle ($1000+)

Director’s Circle members enjoy a deeper connection with our creative process through social engagement with artists and other members of the GCTC family. For more information, please contact: Michelle Gendron, Development & Membership Manager, 613-236-5192 ext. 226 or michelle@gctc.ca.

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*Staff Member

**Board Member

Individual Donors $250-$999

Thank you to all of the individual donors that continue to help us bring great Canadian theatre to our stage. Our donors are the cornerstone of our organization. Donor benefits include: a tax receipt, good karma, and the knowledge that you directly contributed to ensuring the arts can continue to make a positive difference in your community.

If you are considering making a donation, please go to gctc.ca/donate or speak with a box office staff member.

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