THE CENTRE FOR ALL CANADIANSmedia.confederationcentre.com/winstorm/englishbook.pdf · Lorne Greene...

THE CENTRE FOR ALL CANADIAN SConfederation Centre of the ArtsFive Decades of Inspiration and Excellence

Harvey Sawler

THE CENTRE FOR ALL CANADIAN S

Confederation Centre of the Arts Five Decades of Inspiration and Excellence

Harvey Sawler

Lemieux, Jean PaulCharlottetown Revisited, 1964oil on linen197.2 x 380.4 cmCollection of Confederation Centre Art GalleryCommissioned with funds from Samuel and Saidye Bronfman, Montreal

The Centre for All Canadians © 2014 Confederation Centre of the Arts

www.confederationcentre.com

Images © Confederation Centre of the Arts

For other photo credits please refer to page 188.

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior written permission of the publisher, or, in case of photocopying or other reprographic copying, a license from The Canadian Copyright Licensing Agency.

Although the author and publisher have made every effort to ensure that the information in this book was correct at press time, the author and publisher do not assume and hereby disclaim any liability to any party for any loss, damage, or disruption caused by errors or omissions, whether such errors or omissions result from negligence, accident, or any other cause. This publication is not intended to document the full 50-year history of Confederation Centre of the Arts; rather it provides a view of the Centre and its rich range of experiences through the voices of those who have been part of its 50 years.

Selections from this book are also available for viewing online at www.confederationcentre.com/centreforcanadians

Aussi offert en français sous le titre Le Centre pour tous les Canadiens

Permission requests and ordering information: Confederation Centre of the Arts145 Richmond StreetCharlottetown, Prince Edward Island, C1A [email protected]

Text: Harvey SawlerTranslation: Monique LafontaineDesign: Graphic DetailPrinted in Canada

ISBN 978-1-928128-00-7

This document is a digital sample of The Centre for All Canadians. The hard-cover book can be purchased at The Showcase gift shop in Confederation Centre and various bookstores across P.E.I. We would love to hear your feedback – share your own Confederation Centre memories, or leave your comments at [email protected].

mailto:[email protected]

A C K N O W L E D G E M E N T S

The Centre for All Canadians was a collective effort that inspired many fine memories of Confederation Centre of the Arts’ stellar 50 years. As publisher, Confederation Centre thanks author Harvey Sawler, who collected heartfelt stories from near and far, high and low and created the text to frame our 50 years of culture and heritage programming. As we look back over the decades and forward to our next 50 years we can’t help but be inspired by such sincere response from our “Centre community.”

Harvey’s prodigious outreach yielded insightful and moving responses from remarkable Canadians from across the country, and we must extend sincere thanks to all of those who took the time to think back to their own experiences with Confederation Centre and allow their contributions to be shared with Canadians via this publication.

Confederation Centre of the Arts also wishes to acknowledge the generous support from Grant Thornton, who provided financial support toward the publishing costs as part of their 50th anniversary gift to the Centre.

Kate Westphal of Graphic Detail has delivered a rich, first-class design, displaying both creative brilliance and extreme patience in the process. Confederation Centre staff were unfailingly generous with their time and memories. Archivist, Paige Matthie, was not only persistent in her pursuit of obscure photos and credits, but provided excellent editing and proofreading services. Translator Monique Lafontaine has an eagle eye for details in both languages and managed to deliver large quantities of French-language copy while meeting short deadlines. Chief Marketing Officer Carol Horne set the publishing project in motion and provided copyediting and proofreading.

Special thanks to two Centre alumni for their collaboration, recollections and collections: retired stagehand Rick Warren for providing dozens of insights into people and events linked to the Centre; and Gary Craswell – who held numerous roles at the Centre over 30 years – for digging into his personal collections of Centre memorabilia. We must also acknowledge Ed MacDonald’s thorough research that detailed how the germ of an idea eventually became Confederation Centre.

Finally Confederation Centre would not continue to exist and thrive without the generous support of its many sponsors, members and donors and funders such as the Department of Canadian Heritage, the Province of Prince Edward Island, the City of Charlottetown and Atlantic Canada Opportunities Agency.

x T H E C E N T R E F O R A L L C A N A D I A N S

1 T H E C E N T R E F O R A L L C A N A D I A N S

Royal Variety Performance host, Lorne Greene (centre), at the press conference for the event

The Queen backstage with performers Carlou Carter, Dave Broadfoot, Portia White, and (back facing) founding Charlottetown Festival Artistic Director Mavor Moore the night of the official opening and Royal Variety Performance, 6 October 1964

“Something wonderful has happened in Charlottetown...a symbol of genuine national meaning has been created.” - N AT H A N C O H E N , I N 19 6 5 , R E N O W N E D T H E AT R E C R I T I C F O R TH E TO R O NTO STA R

Charlottetown’s wonderful small town ease and innocence can be misleading. It’s the most safe-feeling, intimate, and comfortable of all the Canadian provincial capitals: Starbucks made headlines when they first came to town; triangular street corner gardens are tended voluntarily by the employees of nearby businesses; volunteer firefighters still respond to the startling blast of an emergency horn; and a bronze statue of Sir John A. Macdonald unwinds on a streetscape bench as he ponders nationhood, while to his left a shop window showcases everything Anne of Green Gables. Anyplace else and Canada’s first prime minister would be vaunted high upon a pedestal. In Charlottetown, people sit down, put their arm around him, and take selfies.

Contrast this scene to 150 years ago and the extraordinary arrival aboard S.S. Victoria of a throng of prestigious-looking, top-hatted men, all destined for a nation-building conference. Then look back 50 years to the surprising proceedings of October 6, 1964. Queen Elizabeth II and Prince Philip, Governor General Georges Vanier, Prime Minister Lester B. Pearson, federal cabinet ministers, premiers and the crème-de-la-crème of Canadian entertainment all gathered at the newly minted Confederation Centre of the Arts theatre for a Royal Variety Performance. Not London’s Royal Albert Hall, not Toronto’s Royal Alex, but a Royal Variety Performance…in Charlottetown! The star-studded bill featured legendary Québec author, actor, and director Gratien Gélinas in distinguished monologue; the operatic resonance of Portia White; comedians; a Centennial Choir; and a host of others. The affair was emceed by no less than “The Voice of Canada.” Lorne Greene had gone from anchoring CBC radio’s national news to starring on the popular NBC television show Bonanza, and was one of the most familiar faces in Canada. It is said that the Islanders who crowded the Centre’s stage door that evening were more keen to get a glimpse of Greene than to see Her Royal Majesty Queen Elizabeth II.

Yes, the advent of Confederation Centre of the Arts certainly altered the physical landscape of down-town Charlottetown, but on October 6, 1964, the Centre also altered central Canada’s contrived Island stereotypes of lobster fishermen and farmers hauling potatoes. The bright theatre lights attracted the

THE CENTR E FOR A LL CA NADIANS


attention of royalty and other notables and thrust the city onto the Canadian cultural scene to a degree that is seldom acknowledged or understood.

At the centre of it all were three key figures: the latter-day “brothers of Confederation,” Frank MacKinnon and Eric Harvie, who essentially built the place, and the fervent Canadian artistic force, Mavor Moore. The fortuitous chance chat between MacKinnon and Harvie occurred in a Vancouver elevator in July of 1958 when both were delegates to a meeting of the newly formed Canada Council. As described in historian Edward MacDonald’s 2013 publication, Cradling Confederation, MacKinnon’s dream and passion for creating a local, multi-purpose building dedicated to Charlottetown’s role as the Cradle of Confederation was quickly taken up and expanded upon into a national memorial concept by Harvie, who had remarked: “Now that is an idea that interests me.” Moore wasn’t in that elevator, busy as he was producing shows at the Canadian Broadcasting Corporation, but the rise of Charlottetown’s arts centre was about to become his obsession too.

Howard Cable created the musical arrangements and conducted for that 1964 entertainment spectacle. Cable has been one of Canada’s most prolific entertainment figures over the decades – conductor, arranger, music director, composer, scriptwriter, radio and television producer. He describes how that October night affirmed Charlottetown’s emerging role as a vital and integral part of the Canadian arts landscape.

Frank MacKinnon

Theatre guests eagerly await a performance on the Confederation Centre of the Arts main stage

Mavor Moore

Eric Harvie


The playbill of the Royal Variety Performance from the evening of the official opening of Confederation Centre of the Arts, 6 October 1964


Special guests in attendance of the formal opening of the Confederation Centre Art Gallery, including former Governor General, Vincent Massey, and Frank MacKinnon, one of the founders of the CCOA, 1964

Moore was at the forefront of a creative cluster which, through the latter 1950s and early 1960s, had taken countless hours of quality variety entertainment into the homes of Canadians via CBC television, the cluster including such personalities as Norman Campbell, Don Harron and Alan Lund. Moore and his colleagues had been at the epicentre of a creative explosion – producing, composing, writing, directing, choreographing, unearthing talents like international singing star Robert Goulet, and transitioning musical icon Glenn Gould from radio to television. The airwaves were rich with a blend of what Cable calls “light music,” ballet, comedy, dance, and productions such as the 1956 made-for-TV musical, Anne of Green Gables. With this sudden emergence of Confederation Centre way off in the then-obscure Island capital, these artists began to shift their focus from Toronto to Charlottetown. According to Cable, CBC television’s commitment to variety programming had begun to wane, a trend reinforced by the conclusion of English entertainment acts at Expo ’67 in Montréal and the demise of the Canadian National Exhibition grandstand variety shows. In stepped Charlottetown, filling the void by becoming the leading producer of Canadian musical theatre entertainment, delivering 71 original productions in all since Anne of Green Gables first danced her way onto the Confederation Centre stage in 1965.

The Royal Variety Performance was more of a watershed moment than most Islanders or Canadians have ever appreciated. References to the Centre as the so-called “potato warehouse” soon wore off. The place at the corner of Queen and Grafton streets took on a meaningful sense of place all its own, and a role greater than an adjunct to historic Province House. A one-and-only Canadian national memorial had sprung out of the ground. From that evening on, every time the curtain rose on a new production, the national critics were fixed in their seats. A new wave of Canadian cultural history was set in motion.

Importantly, from the very beginning, Confederation Centre’s main stage has been shared by “name” entertainment from away along with members of the local community. Charlottetown-born vocalist Maida Rogerson, for example, was on the bill that 1964 night performing a song from Anne of Green Gables’ overture.


The Centennial Choir on the plaza outside the theatre upper foyer on the day of the official opening and Royal Variety Performance, 6 October 1964


The main stage has always been the primary attention-getter over five decades, but Confederation Centre of the Arts is much, much more – a multi-disciplinary, multi-use arts and community facility that is home to visual arts exhibitions, choral groups, children’s programming, a full-service restaurant, conference-hosting, a retail shop and a library. That the Centre’s choirs have toured internationally seems to defy all logic. The fact that Charlottetown is the location of an art gallery of national stature is just as astounding as the staging of that Royal Variety Performance. You will read herein that artists from across the nation are proud to have their works featured in the Gallery’s permanent collection and performers have special memories of their appearances at Confederation Centre.

The Centre for All Canadians has been created to provide a visual and narrative portrayal of Confederation Centre of the Arts, to capture the essence of the Centre’s purpose – past, present, and future – and to celebrate many of the fascinating people who have made magic happen across the entire spectrum of the arts. As you will read, for many of those people invited to revisit the Centre through words, the place holds deep meaning and memories.

Thankfully for us Canadians, as it turns 50, Confederation Centre of the Arts stands erect and proud at the crossroads of Canada in Charlottetown, the capital whose wonderful small-town ease and innocence sets the stage and presents the unfurling canvas for even greater things to come.


Doug Boylan, Chief Librarian of the Confederation Centre Public Library, Legislative Librarian, and Provincial Archivist, in the Gallery, 1965

23 C A N A D I A N V I S U A L A R T I S T S

The first issue of ArtsAtlantic, a visual arts publication based out of the Confederation Centre Art Gallery

“Whether part of the world-stream of art, or restricted to a more limited nationalism, provincialism and regionalism, the creation of our collections is what museums are all about.” - FOUNDING D IRECTOR MONCRIEFF WILL IAMSON, CONFEDERAT ION CENTRE ART GALLERY

Over the years Confederation Centre has at times claimed to operate the largest gallery between Montréal and London, England. But the six successive directors over the past 50 years have discovered that Confederation Centre Art Gallery’s cachet is not about its size; it is, as noted in the late Moncrieff Williamson’s quotation, about having purpose. The expressed purpose of the Confederation Centre Art Gallery is “to inspire appreciation, understanding, and enjoyment of Canada’s diverse cultural heritage by collecting, conserving, presenting, interpreting, and communicating the work of Canadian visual artists.”

The impressive modernist architecture of the four principal galleries and three smaller exhibition spaces provide abundant space for programming along with public sculpture courts and outdoor pavilions. Imagine how busy the Gallery has been since 1964, considering that it opened without any formative collection to speak of and today holds more than 17,000 works of art, artifacts, and archival records. Canadian artworks in the collection include such highlights as the original hand-written manuscript of Island author Lucy Maud Montgomery’s Anne of Green Gables and other Montgomery novels; a growing range of historic, modern, and contemporary Canadian visual art; the fine crafts collection which arrived in Charlottetown direct from Expo ‘67’s Canadian Pavilion, an exhibition curated by the Gallery’s founding Director Moncrieff Williamson; and the extensive holdings associated with renowned portrait painter Robert Harris (1849-1919), whose biography Williamson wrote. Together, these form the distinctive historic nucleus around which the Gallery’s contemporary collection has grown.

The Gallery has, through the decades, worked with hundreds of artists, mostly Canadian, and often leading figures in the national arts scene, as well as younger artists from the region and across the country. Collectively, they are responsible for an array of thought-provoking, educational, entertaining, and engaging works. “Our exhibitions program is the richer for their contributions,” current Director

CA NA DIA N V ISUA L ARTISTS


Montgomery, Lucy MaudFirst page of the Anne of Green Gables manuscript, 1905Handwritten in pen and ink on paper21.5 x 16.5 cmCollection of the Confederation Centre Art Gallery, CM 67.5.1

Kevin Rice says, “which are evolving and delving in varied ways into issues of artistic practice, cultural representation, and by extension, nationhood.”

On the theme of nationhood, the Gallery’s purpose has a natural tie-in to Confederation – in general ensuring some visual reflection of the country, and more specifically through such special collections as a commissioned series of large-scale Canadian-themed paintings.

The first of these commissioned murals came from the Québec painter Jean Paul Lemieux (1904-1990). His Charlottetown Revisited, 1964 (chosen as this book’s cover) is described by experts as being characteristic of Lemieux’s use of sombre, subdued colour and expression of restrained movement, reflecting a life-long fascination with images of solitude and isolation and the inexorable passage of time. In this vision of Canada, dark (almost ominous) large-scale figures with top hats (the founding Fathers) are positioned at either side of a vast expanse, considered to be symbolic of the physical and psychological Canadian landscape.


Harris, RobertAnte-room of the Atelier Bonnat, Paris, 1882oil on panel31.6 x 38.5 cmCollection of Confederation Centre Art Gallery, CAG H-77Gift of the Robert Harris Trust, 1965

The other artists, and their murals in the series, are Jack Leonard Shadbolt’s 1964 Flag Mural; John Fox’s The Québec Conference, 1964; Jane Ash Poitras’ Those Who Share Together, Stay Together, 1997; Yvon Gallant’s Afterbirth / La délivre, 1998; and Wanda Koop’s Native Fires, 1999. Each of these murals serves to inject its own remarkable drama, topicality, controversy and humour into unique visual narratives on the subject of Confederation.

The Confederation Centre Art Gallery’s purpose, in summary, is to inspire appreciation and under-standing of Canada’s cultural heritage through collecting and presenting the work of Canadian visual artists. The purpose, meanwhile, of the Royal Canadian Academy of the Arts (RCA) is to celebrate “the achievement of excellence and innovation by visual artists across Canada, encouraging new generations of artists, and facilitating the exchange of ideas about visual culture for all Canadians.” The RCA has strong links to the National Gallery of Canada, but when you read the fine print, the RCA and the Confederation Centre Art Gallery also seem very philosophically aligned.

Iconic works by two other artists are also associated with the Gallery. Both have strong connections to Charlottetown and national arts organizations such as the Royal Canadian Academy (RCA). One artist, of course, is Robert Harris, whose art and archives (oil paintings, drawings, sketchbooks, archival papers) have deeply enriched the permanent collection in Charlottetown. Another is long-time Island resident Henry Purdy, whose towering welded steel sculpture, Centennial Dimension, 1972, is a landmark on the Centre’s plaza. Purdy enjoys an enduring relationship with the Centre as an artist, as former member of the Fathers of Confederation Buildings Trust, and as a volunteer and donor. Figuratively speaking, the two have been hanging around the Gallery for nearly the same length of time – since the beginning really.

The 2012 ArtsSmarts Exhibition of children’s art in the Confederation Centre Art Gallery


Harris was a founding member of the RCA and served as its president beginning in 1893. Purdy also served as the RCA’s Vice President for Atlantic Canada, making him, next to Harris, the only other “Islander” (Harris was actually born in Wales and Purdy in Nova Scotia) to have played a leadership role with the RCA.

Along with its RCA relationship, the Gallery is also closely associated with the Canada Council, the Canadian Museums Association (CMA), the Canadian Art Museum Directors Organization (CAMDO) and the Atlantic Provinces Art Gallery Association (APAGA) among others. These relationships and participations often involve advocacy and cultural policy issues that contribute to best practices in the key art museum functions – collections management, exhibitions, research, publications, communications, audience development, and education programs.

The Gallery has served as host to major national and international exhibitions, artists, writers, musicians and filmmakers for lectures, readings, talks and workshops. The Centre’s Gallery also hosts artists-in-residence programs, studio classes for youth and adults, educational tours, and has initiated and curated hundreds of exhibitions while hosting countless travelling shows. And not everything that matters in the visual arts is taking place inside the galleries themselves. A key part of the Gallery’s philosophy involves bringing art to where the people already are. Virtually every public area of Confederation Centre serves as exhibition space, from Alfred Joseph’s totem pole and Tom Benner’s copper moose gracing an interior courtyard to the paintings engaging the diners in Mavor’s restaurant. The long-running Art-to-the-schools Program has made original art available on loan to Island public schools has been a very successful volunteer initiative by the Friends of Confederation Centre. This “art-is-everywhere” philosophy, combined with a free admission policy to promote accessibility, are elements which set the Centre apart from other arts institutions and which allow it to go beyond the use of traditional gallery spaces in efforts to inspire and challenge Islanders and visitors from across Canada and around the world.

A skateboarding performance by local teens outside the Confederation Centre Art Gallery, 1993

Alfred Joseph’s Man and Dogfish keeping watch over the concourse and Memorial Hall, 1972. The carved and painted cedar Tsimshian totem pole was donated by the Native People of British Columbia to commemorate the centenary of the Province of British Columbia’s union with Canada in 1871.

Confederation Centre Art Gallery, 1965

65 T H E C H A R L O T T E T O W N F E S T I VA L

“…in the short space of a few years, the Festival has won a prominent place within the cultural life of our country.” - HONOURABLE JUDY LAMARSH IN 1967, FORMER SECRETARY OF STATE FOR CANADA UNDER

PR IME MIN ISTER LESTER B. PEARSON

As per Honourable Judy LaMarsh’s observation, just how did The Charlottetown Festival arrive in such a prominent place in the cultural life of Canada anyway? After all, like Charlottetown’s improbable place in Canadian history books, the existence of the Festival in the capital city of Canada’s smallest province has been both extraordinary and unexpected.

It’s true that The Charlottetown Festival has employed great writers and composers, some of the country’s leading set and lighting designers, esteemed costume designers such as Frances Dafoe, Canadians who’ve led the national pack in terms of acting, singing and dancing capability; the Beverly D’Angelos, Gordon Pinsents, Barbara Hamiltons, and Brent Carvers of the Canadian theatre world. But the answer to the Festival’s surprising success is more subliminal, rested in three key words: leadership, creativity, and daring.

As audience members, we tend to think little about how the musical theatre end-product gets to the stage in the first place. We simplify the experience through personal takeaways like our favourite shows, the most hummable show tunes, the most thrilling dance routines, the elaborate sets or the indelible effect of a performer delivering a truly dazzling performance. Similar can be said for the film genre: best picture of the year, most memorable scenes, most emotive musical score and most compelling stars. But one difference between theatre and film has to do with audience regard for and familiarity with the director. As film audiences, we can recall directors like Scorsese, Spielberg, Tarantino, Hitchcock and Coppola, whose names stand several feet high on the cinema screen. We know who they are, and we scrutinize our film choices based on their reputations.

But in the musical theatre genre, directors are far less evident, obscured perhaps by the live presence and vividness of the stage action, glitz, songs, and laughter. This relative obscurity is perhaps more pronounced

THE CH AR LOTTETOW N FESTI VAL


for the artistic director, that person even further removed from the spotlight who exercises the overarching control over production choices, directorial decisions, and overall artistic vision. At most, they’re showcased in a short biography and thumbnail photograph in house programmes read in dimly lit theatres.

This is no different in Charlottetown, including the relative obscurity. Over the same 50 years during which Canada has had nine prime ministers and 10 governors general, The Charlottetown Festival has had just six artistic directors. The majority of people would be hard-pressed to name even one or two of the Festival alumni. This is in spite of the fact that the six – Mavor Moore, Alan Lund, Walter Learning, Jacques Lemay, Duncan McIntosh and Anne Allen – have provided that essential leadership, creativity and in many instances, daring. They have all come from experiences elsewhere which readied them for Charlottetown; they are the six who have put their personal and professional reputations on the line. They have chosen the shows, pleaded before the Centre board for production and casting money, auditioned and counselled the talent, frequently directed, overseen vocal rehearsals, choreographed…and prayed. They’ve prayed restlessly in the green room and in the wings in the same manner as marketers pray that audiences will clamour for tickets. The artistic director’s dichotomy is that they are obscured in success, but front and centre in the face of disaster. Their reputations, more than anyone else’s, have always been on the line. They are the ones who famed Canadian comedians Wayne and Shuster referred to in Charlottetown as the “riverboat gamblers.”

Even more to the point, Charlottetown’s artistic directors, as young and newly minted Adam Brazier will discover as he assumes the helm in 2014, have had a particularly tough job. Without the luxury of proven Shakespearean, Shaw or Coward classics to draw from, the task has usually required creating something from the ground up, working with limited production budgets, few if any resources for work-shopping to see if a show has legs, crazily pinched rehearsal schedules, short preview runs to iron out the kinks and often, shaping hopeful young Canadians into marquee-calibre performers. They are the MacGyvers of the theatre world. All the more, there is that relentless pressure in Charlottetown over the matter of Canadian content, violated daringly by Lund with the Gershwin revue By George! and controversially by Learning with the Elvis import Are You Lonesome Tonight?, two of the shows which generated enough box office to actually help mount and sustain Anne of Green Gables–The Musical™ and other truer Canadian productions. Their daring and sensationalism served Charlottetown well by striking a balance between pure mandate and the reality of surviving at the box office.

The 1968 cast of Anne of Green Gables


Bonnie Monaghan in the 1976 Charlottetown Festival production of By George!


Ben Baggs as a young Elvis in the 1988 production of Are You Lonesome Tonight?


Of course, Charlottetown’s artistic directors would be unique in any Canadian musical theatre masters’ thesis in that each has served as the guardian of Anne, the entertainment wunderkind of Canadian-ness. This responsibility and the extent to which Anne has held such lasting and universal appeal on stage, has long been evident in her never-ending run here at home or her international tours. In fact, Guinness has confirmed that Anne of Green Gables-The Musical™ holds the world record as the longest running annual musical theatre production! The long-lasting appeal is evident in the tears of countless Japanese “young office ladies,” whose pilgrimages to Charlottetown to see and hear Akage No Anne (Anne of the Red Hair), have for them been life-altering events. And in the hopeful face of the late American woman who attended dozens of Anne shows during the early 1980s because she believed in her heart that the production’s simple goodness would purify her of cancer. Few stop to think that it’s been the artistic directors who’ve kept Anne so heartfelt and pure.

Jamie Ray and Peter Mews in their roles as Anne and Mathew in The Charlottetown Festival’s first production of Anne of Green Gables, 1965


The cast of Singin’ & Dancin’ TONIGHT, a highly popular show that appeared at The Charlottetown Festival for three seasons, 1982


Artistic direction in Charlottetown has been the most subliminal of things, with audiences feeling the effect of the six without ever realizing it. For it is their vision and energy which are channeled from the writers and designers to the cast to the audience during every choreographed movement and note sung, like a human body conducting electricity. Evidence a moment in which Alan Lund stepped in to re-energize the rehearsal-exhausted cast of the Festival hit, Singin’ & Dancin’ TONIGHT! Never one to run on idle, Lund was frustrated by a male dancer’s lack of oomph during rehearsals. It was time for a demon-stration. Halting the practice, Lund whisked away the dancer’s partner, drove one leg to full extension, dipped her backwards over his knee in a single, decisive thrust and held her there. The sheer power of his movement and the statue they formed drew a stunned silence amongst the cast, crew and a few who sat watching in the theatre. It was an honest-to-God, magical Gene Kelly moment which served as a powerful lesson for the cast. It was this demonstrable form of leadership, creativity and daring which drove audience reaction on opening night and in every successive performance until the show’s marvellous run ended in 1984. Such has been the high standard for every Charlottetown Festival company member and yes, for the company’s continuum of artistic direction, over the years.

The Festival’s new artistic director, Adam Brazier, looks forward to celebrating Canadian stories through musical theatre. For decades The Charlottetown Festival was thought of as Canada’s Broadway, an incubator for new musical works that would travel the country. The Festival has the potential to uphold that reputation as Canada’s leader in developing new and exciting stories through visual and performing arts. Brazier longs for stories “written by Canadians for Canadians,” stories that will hold a mirror up to ourselves and ask questions that both challenge and entertain us as a province and as a nation. Brazier is betting his career that his new posting at Confederation Centre of the Arts is the place where he can make this happen. He aims “to accomplish what our founding fathers have – create a strong vision and voice that bring our nation together, a national arts centre that programs content worthy of that title.”

Music Director, John Fenwick, works with Gracie Finley and Alan Lund ahead of 1968’s production of Anne of Green Gables


1964 Anne of Green Gables

1965 Anne of Green GablesWayne and ShusterLaugh with LeacockSpring Thaw

1966 Anne of Green GablesThe Ottawa ManPrivate Turvey’s WarChildren’s Theatre

1967 Anne of Green GablesParadise HillYesterday the Children Were DancingRose LatulipeChildren’s Theatre

1968 Anne of Green GablesJohnny BelindaSunshine TownBeyond the FringeChildren’s Theatre

1969 Anne of Green GablesLife Can Be Like WowJohnny BelindaChildren’s Theatre

1970 Anne of Green GablesPrivate Turvey’s WarJane EyreChildren’s Theatre

1971 Anne of Green GablesJane EyreMary, Queen of ScotsChildren’s Theatre

1972 Anne of Green GablesMary, Queen of ScotsLes Feux FolletsSqueeze!BalladeChildren’s Theatre

1973 Anne of Green GablesBalladeLes Feux FolletsJoey

1974 Anne of Green GablesJohnny BelindaKronborg 1582

1975 Anne of Green GablesJohnny BelindaKronborg 1582

1976 Anne of Green GablesThe RowdymanBy George!

1977 Anne of Green GablesBy George!The Legend of the DumbellsThe Road to Charlottetown

1978 Anne of Green GablesWindsorThe Legend of the DumbellsEight to the BarLies and Other Lyrics

1979 Anne of Green GablesOn a Summer’s NightLes Feux FolletsEight to the BarThe Family WayWinnie

1980 Anne of Green GablesLove in the BackseatFauntleroyLes Feux FolletsFlash in the PanCome by the HillsThe Three BearsHappily Ever After

1981 Anne of Green GablesFauntleroyAimee!MagcapCocktails for Two HundredThe Three Bears

1982 Anne of Green GablesSkin DeepSingin’ & Dancin’ TONIGHTMy Many HusbandsThe Winkle Pickers

1983 Anne of Green GablesSingin’ & Dancin’ TONIGHTJohnny BelindaThe Kneebone ConnectionStep Right Up, Ladies and JellybeansTake Five

1984 Anne of Green GablesYe GodsSingin’ & Dancin’ TONIGHTSleeping ArrangementsLittle Red Riding Hood

1985 Anne of Green GablesFauntleroySwingSleeping ArrangementsHansel and Gretel

1986 Anne of Green GablesBabies - Bless Them All!Swing!RapunzelHow she Lied to Her HusbandChris Elliott Comedy ShowSalt-Water MoonPumpboys and DinettesCulture ShockWhen God Comes to Breakfast, You Don’t Burn the ToastThe Night the Raccoons Went Berserk

1987 Anne of Green GablesAre You Lonesome Tonight?Babies - Bless Them All!Salt-Water MoonChris Elliott Comedy ShowTake Two Modern Housewives and…The VenerablesNoel CowardBilly Bishop Goes to War

1988 Anne of Green GablesAre You Lonesome Tonight?Alexandra - The Last EmpressHappy Birthday IrvingThe Mind BogglesDead AirRumplestiltskinNew Canadian KidI’ll Be Back Before MidnightThe Venerables

1989 Anne of Green GablesEncore!Maud for MyselfMerlin & ArthurNot Available in StoresI’ll Be Back Before Midnight

1990 Anne of Green GablesDon Messer’s JubileeThe Strike at Putney ChurchLes belles histoires de Thaddée à DamienAfter Marlene!Bogeyman BluesLunch with LeacockBrendan Behan: Confessions of an Irish RebelThe Island Soirées

1991 Anne of Green GablesBroue/BrewI am a BearA Child’s Garden of VersesLorne Elliott Comedy

1992 Anne of Green GablesA Closer Walk with Patsy ClineLe Café acadienThe Great AdventureHead à Tête

1993 Anne of Green GablesThe Shooting of Dan McGrewSpirit of a NationA Closer Walk with Patsy ClineThe Princess and the HandmaidenLe passion de Narcisse Mondoux

1994 Anne of Green GablesPuttin’ on the RitzDadsLovers in BedequeRendez-vous acadienSpirit of a NationPirates

1995 Anne of Green GablesA Closer Walk with Patsy ClineGuys and DollsWe Will Not ForgetStep Right Up, Ladies and JellybeansSpirit of a Nation

1996 Anne of Green GablesSpirit of a NationA Closer Walk with Patsy ClineRendez-vous acadienWe Will Not Forget

1997 Anne of Green Gables-The Musical™

Johnny Belinda2 Pianos, 4 Hands18 WheelsBarachoisDrill Queens ComedyRik Barron’s Family ConcertSomewhere in the World

T H E C H A R L O T T E T OW N F E S T I VA L T H R O U G H T H E Y E A R S . . .



Johnny BelindaLetter from Wingfield FarmBending the BowsBarachoisDrill Queens ComedySomewhere in the World


EmilyForever PlaidBarachoisAcadilacDrill Queens ComedySomewhere in the World


EmilyForever PlaidBarachoisDrill Queens ComedyThe Conjuror SuiteSomewhere in the WorldCeilidh on the Road


Stan Rogers - A Matter of Heart2 Pianos, 4 HandsCeilidh on the RoadBarachoisCeltitudeSomewhere in the World


The Legend of the DumbellsIf You Could Read My Mind: The Music of Gordon LightfootFireCeilidh on the RoadMenopositive! The MusicalSongs of the IslandThe Happy PrinceBarbara Budd Concert SeriesBarachoisCeltitudeLate Night at the Mack series


Dracula: A Chamber MusicalFireEight to the BarAriannaLa famille Ross en concertBarachois


Something WonderfulA Closer Walk with Patsy ClineBroadway HeroesLes Feux FolletsFête acadienneMusique de l’AcadieThe CottarsIsland Flavours


Canada Rocks: A Musical RevueA Closer Walk with Patsy ClineHedgerowC’est What?


Canada Rocks!: The Hits Musical RevueCeltic BlazeShear MadnessLes Feux FolletsConfederation Bridge Concert Series


The British Invasion: A Musical RevueShear MadnessSalt-Water MoonLes GirlsOde à l’AcadieConfederation Bridge Concert SeriesAlberta Fusion


America Strikes Back! British Invasion IIThe Ballad of Stompin’ TomStones in His PocketQuébec à la carte


Disco CirqueStan Rogers - A Matter of HeartCharlie Farquharson and Them UddersSketch-22Abegweit: The Soul of the IslandGadelleEn AcadieVishten


HairsprayBuddy: The Buddy Holly StorySexy LaundryThe Last ResortAbegweit: The Soul of the Island

2011Anne of Green Gables-The Musical™

The Full MontyBuddy: The Buddy Holly StoryCome All YeSeparate BedsThe Talking Stick


Ring of Fire: The Music of Johnny CashCome All YeThe Kitchen WitchesThe Confederation PlayersLes Feux Follets


EvangelineDear Johnny DeereLes Feux FolletsThe Confederation Players


Canada ROCKS! Searching for Abegweit: The Songs & Stories of Lennie GallantThe Confederation PlayersWe Are Canadian

THE CHARLOTTETOWN FESTIVAL TOURING PRODUCTIONSAnne of Green Gables (Canada, New York, London, Osaka)Singin’ & Dancin’ TONIGHTSunshine TownMary, Queen of ScotsKronborg: 1582Johnny BelindaBy George!The Legend of the DumbellsLies and Other LyricsCome By the HillsBallade

THE CHARLOTTETOWN FESTIVAL ON TELEVISIONJohnny BelindaLes Feux FolletsCome By the HillsSingin’ & Dancin’ TONIGHT

CAST ALBUMSAnne of Green GablesThe Music of Evangeline


Shadbolt, Jack LeonardFlag Mural, 1964enamel on canvas board213.5 x 376.0 cm

Collection of Confederation Centre Art Gallery, Commissioned with funds donated by the Molson Family, Montreal, 1964

129 5 0 R E M A R K A B L E C A N A D I A N S

“I remember what a big deal it was. I remember the excitement around it.”- ANNE MURRAY, REFLECT ING ON HER F IRST MUSICAL THEATRE EXPER IENCE IN 1966, WHEN SHE SAW CONFEDERAT ION CENTRE’S

ANNE OF GREEN GABLES–THE MUSICAL ™

It’s said that we are reflected in the company we keep and that if you associate with eagles you can soar to great and new heights. So it is that Confederation Centre of the Arts soars highest with the company it has kept over the past 50 years – remarkable Canadian leaders and visual and performing artists.

Little was it anticipated how eager 50 of those remarkable Canadians would be to share their thoughts about the Centre and what this place has meant in their lives. With a touch of creative license, we’ve received approval to include some posthumously and others as a collective through a single voice. Their contributions turn out to be, simply, remarkable. We have learned through their contributions that Confederation Centre has been a place for beginnings, for friendships, for career-launching moments and for artistic dreams imagined and fulfilled.

If you are reading this, odds are that you already have an affinity to Confederation Centre of the Arts for one reason or another, including perhaps artistic dreams yet to be imagined and fulfilled. You may be a consumer of the Centre’s programs or you may have served as a volunteer. Reading The Centre for All Canadians may trigger your own memories. While you will undoubtedly enjoy visiting with the 50 Remarkable Canadians who have taken the time to share their memories of the Centre, we also invite you to share your own memories by visiting www.confederationcentre.com/centreforcanadians

T H E R IG HT HONOURABL E ADR I E N N E C LAR K S ON

The creation of the Confederation Centre of the Arts in Charlottetown was a magnificent achievement which has helped to highlight everything that Prince Edward Island means to Canada.

BRUC E C OC K BUR N

Confederation Centre was always a welcome and enjoyable stop in the course of a tour of Atlantic Canada. Being well looked after and playing a fine sounding room is what we hope for. Thanks for always coming through!


RO S E C OUS I N S

I was five when I first encountered the warm, red, glorious Confederation Centre. It was, of course, to see Anne of Green Gables. The thrill of that room has never gone away. I saw Sharon, Lois & Bram and Fred Penner there. Years later, my mother and I saw the epic Leonard Cohen. Canadian icons. I set foot on that stage for the first time myself to play with Joel Plaskett in 2009, on my birthday no less. Most recently, in November 2013, I had the absolute honour of playing the Homburg Theatre with The P.E.I. Symphony. Confederation Centre brims with the work of hundreds of artisans who show their wares each year at the annual craft fair and all of the art that hangs or rests in the building all year long. It is a proud place to celebrate the Canadian arts on Prince Edward Island.


L E N N I E G AL LAN T

For a kid growing up in Rustico, P.E.I., Confederation Centre was the epitome of culture and grandeur. I remember well my first time, as a grade 4 student, going with my school to hear the symphony perform and listening to them tune up before the show, thinking that I wasn’t sure I liked this classical music stuff. It was a great relief when the real show started. The experience was fantastic and I was hooked! A few years later I was in the school choir and actually performing in that same theatre for the judges and the other Island schools in competition. I was so nervous, being on that venerable stage, that I had to step down from the riser I was on, and blindly make my way off the stage to sit down before I blacked out. To say I was in awe of this institution is an understatement. It represented wonder, excitement, escape, and possibility to a small village Acadian kid from down the road. It was a dream of mine to someday be able to play my own music in this theatre that had taken me on so many flights of imagination. I have since realized that dream, having given concerts at the Centre many times over, and the experience never fails to get my senses buzzing. Recently I performed there for the second time with the P.E.I. Symphony. For me, there is little in the world that could top playing my own songs with a wonderful symphony orchestra on that particular stage, and not having to blindly make my way off before the concert was over.

Lennie Gallant performing in October of 2013 with the P.E.I. Symphony Orchestra, Confederation Centre main stage


D ON HAR RON

The July 27, 1965 opening night of Anne of Green Gables in Charlottetown was the most important event of my 78-year history in show business, although ironically I was not even in attendance. Instead, I was on set in the middle of the Mojave Desert filming a sequence of ABC’s The Fugitive with actor David Janssen. After the final curtain call in Charlottetown, the musical’s composer and co-lyricist Norman Campbell telephoned me, “We got away with it. The Islanders accept what we’ve done with their story!” I had watched Norman direct the 90-minute Canadian Broadcasting Corporation black-and-white television version of the new musical production in 1956, which turned out to be my last Canadian entertainment enterprise for nearly a decade. Believing, after three years of being with the Shakespeare Festival in Ontario, that I’d be cast as Chorus in the 1956 production of Henry V alongside Christopher Plummer, I was instead offered the lesser role of Lord Scroop. “Scroop you!” I told Artistic Director Michael Langham and alternatively headed south of the border where I plied my craft at the Shakespeare Festival in Connecticut playing opposite Katherine Hepburn and then on to theatres on Broadway and American television. (I had enjoyed a great relationship with Stratford’s founding Artistic Director, Sir Tyrone Guthrie, who had just given the mantle over to Langham). But it was ultimately Anne of Green Gables, The Charlottetown Festival and Artistic Director Mavor Moore which combined to bring me back to Canada, where I’ve remained unfailingly ever since.

Don Harron in the persona of his famous alter ego, Charlie Farquharson


H I S E XC E L L E NC Y T H E R IG H T HONOU RABL E DAV I D JOH N S T ON G O V E R N O R G E N E R A L O F C A N A D A

One of the highlights of my mandate as governor general took place at Confederation Centre of the Arts in November 2010, when I had the privilege of delivering the Symons Lecture on the State of Canadian Confederation – a wonderful forum for discussing Canada and an example of the important role the Confederation Centre plays in the life of this country. It is a cultural institution which truly honours our remarkable history as Canadians.

His Excellency was the keynote speaker at the 2010 Symons Lecture on the State of Canadian Confederation.


Karen Kain as Giselle in Giselle

KAR E N KA I N A R T I S T I C D I R E C T O R , T H E N A T I O N A L B A L L E T O F C A N A D A

Throughout my ballet career, I have had the pleasure of touring across the world but some of my fondest memories are of touring right here in Canada. I made my first company appearance in P.E.I. in 1974 while we were touring with Giselle. I remember the warm reception that I received during that initial visit and always looked forward to returning to perform in P.E.I. during tours in the 70s and 80s.


J E AN PAU L L E M I E UX ( 1 9 0 4 - 1 9 9 0 )

“I paint because I like to paint. I have no theories. In my landscapes and my characters I try to express the solitude we all have to live with, and in each painting, the inner world of my memories. My external surroundings only interest me because they allow me to paint my inner world.”

“I try to convey remembrance, the feeling of generations...”


S T E PH E N L E W I S

When I spoke in October 2008 on stage at Confederation Centre of the Arts, the event was aptly billed as “An Evening with Stephen Lewis and Friends.” It was a lively evening featuring the talents of Lennie Gallant, Ruth Mathiang and other musicians. The event was initiated, organized, and enthusiastically supported by an engaged group of Islanders in support of Farmers Helping Farmers and the Stephen Lewis Foundation. I felt tremendously at home.


G E N E M AC L E L LA N ( 1 9 3 8 - 1 9 9 5 )

CAT H E R I N E M AC L E L LA N

Like many people, the very first time I went to the Confed Centre was with my family to see Anne of Green Gables. (It was the same day my dad bought my brother a BB gun which my brother later used to shoot me in the back.) I also have vague memories from being very small and seeing my dad perform in various spaces inside the Centre. It became my standard for what a performance space should be. It never really occurred to me as a child that I would someday be standing on those stages performing my own songs. Whenever I am in the bowels of that great building, getting ready in the dressing rooms and wandering the halls, I always look at the pictures hanging on the walls of the past performers and feel a direct sense of being connected to a very rich and long tradition. A dream of mine was to stand up with my dad and sing, though we never got the chance. But just to have been there with my dad as a child, and now to stand on the main stage and sing both his songs and mine, I feel that he is there with me every time.


AN T ON I N E MA I L L E T

I brought “Pelagie” and her “charrette” to the stage of Confederation Centre of the Arts several years ago, and it was the Acadian in me, rather than the writer, who responded with most emotion. When the Acadians were deported in the 18th century, they carried only their language, their memories, and their indefatigable resilience. It was only on their return to Acadie that their story was told aloud, a story that had been largely ingored. L’Acadie was no longer a “country” but would exist forever, to the last breath as a “people.” The collective memory of Acadie is shared through our arts and culture, always the last word in our history. One hundred years after the founding of Canadian confederation, the opening of Confederation Centre of the Arts in 1964 served to remind us that arts and culture are the positive expression of a country, and the promise of its future.

To put it in perspective, Confederation Centre was established in the region where Champlain first made landfall in 1604, and which one century earlier the explorer Verrazano recalled Greek antiquity by naming the area Arcadie!

AN N E M U R RAY

Prince Edward Island has always had a special place in my heart. In 1966, the summer before I began my only year of teaching, at Athena Regional High School in Summerside, I went to see Anne of Green Gables. I remember what a big deal it was, the excitement around it and I remember how great the lead, Jamie Ray, was in her role as Anne Shirley. I just loved it. It was the first time in my life I’d seen a musical theatre production, except for a Gilbert and Sullivan show I was in with my brother, Bruce, one of the productions my Aunt Betty used to stage at her summer camp in New Annan, Nova Scotia. That was very good but this was the real thing, a full scale musical at Confederation Centre theatre. There was no place like it in the Maritimes, except the Fredericton Playhouse and it was only half the size. Little did I know that I would one day walk onto that same stage and perform with the cast of Singalong Jubilee. I went on to see yet another production of Anne, Cliff Jones’ Kronborg: 1582, and Babies and loved them all! Eventually, I played my own part in The Charlottetown Festival, performing in the Sunday Night Festival of Stars lineup with my own band and a string section from the Atlantic Symphony in Halifax. It was a memorable evening.


JOE L PLAS K E T T

I kicked off the tour for my triple record Three at Confederation Centre. I was nervous, both because it was a new album being performed live for the first time, and also because it was my first experience headlining such a prestigious venue on Prince Edward Island. The show was great, the audience was amazing and the classy theatre made me feel like I’d reached a new level in my career.


C H R I S T OPH E R PRAT T

I remember being at Confederation Centre of the Arts in Charlottetown shortly after it opened, in the Moncrieff Williamson days. I remember the very warm welcome I received at the Gallery and the house party that evening where I met several local artists, collectors, etc. That was actually my first visit to P.E.I., and strangely since I had been at Mount Allison in New Brunswick for several years, only after I had spent time in every other province of Canada. My memory of the now defunct Newfoundland Railway is still very strong, and I frequently take the notion to do another painting based on those experiences. It’s great that the painting has found a sophisticated home.

Pratt, ChristopherStation, 1972oil on board133.5 x 83.3 cmCollection of the Confederation Centre Art Gallery, CAG 72.10Purchased with funds donated by Dr. Eric L. Harvie, Calgary, Alberta, 1972

Pratt, ChristopherWinter at Whiteway, 2004oil on canvas203.2 x 203.2 cmPrivate Collection


MAR K S TA ROW IC Z

One of the proudest moments of my life was to step onto the stage of Confederation Centre and to give the Symons Lecture in 2006. I still think there might have been some kind of mistake inviting me to follow in the steps of Jean Charest, the Premier of Québec, and Roy McMurtry, Chief Justice of Ontario, but I wasn’t going to argue. I had worked on the first history of Canada for the television age, and I was honoured to stand in the birthplace of our Confederation and reflect on that history. I warned then, and I repeat now, that we have to nourish and defend our cultural institutions, or we will slowly lose the legacy of those founders. “The airwaves belong to the nation,” Graham Spry said when he argued for a sovereign Canadian broadcasting system to preserve our stories and our values. That battle – to tell our story – is going to have to be re-fought by every generation on Canadian stages, cinema screens, in books, music and art. We are living through the greatest global information revolution since Gutenberg. Never has so much changed so quickly in the published word, in photography and cinema, and all the visual arts. In this world, we either share our stories with the world, or we will not be heard in the growing chorus of creative voices. That’s why this is such a special place. In the cradle of Confederation, we mark our coming together as a nation not with ostentatious pillars of marble, but with a living home to the arts, a home that celebrates the past and welcomes the future, and affirms that Canada is a living ongoing project that involves us all.

JONAT HA N TOR R E N S

I grew up in Sherwood, just outside of Charlottetown. It was an idyllic upbringing filled with bike rides, street hockey and backyard games. Safe to say that while my little world was all I needed, it might have been lacking a bit in culture. Fortunately, Confederation Centre brought the world to me. It’s where I was first exposed to a wide variety of acts from a very young age. From the symphony to Swan Lake, from Anne to Reveen, whether I realized it at the time or not, every experience was like kindling for the fires of my showbiz dream. There was one encounter in particular I’ll relish forever: as a young would-be classical guitarist (who studied with some incredible local players like Paul Bernard), I got to see my idol up close and in concert there. She was flawless in her playing and, to my six-year-old self, heart-stopping in her appearance. I sat in the house, in wide-eyed wonder, watching the great Liona Boyd blow the roof off the place. She not only signed my guitar after the show but kissed me on the cheek as well. It was as close to heaven as I’d ever been. I realize this would be a better story had I become a professional classical guitar player...still, Confederation Centre was tangible proof to me at the time that the world was bigger than I thought and my world didn’t end at the end of my street. There are times I still think I’ll have the chance to play Gilbert. I blame that crazy notion on Confederation Centre itself. To six-year-old me, it was where anything was possible.


iv CCOA Archive. Photo: Dwayne Brown, 2013vi CCOA Archive. Photo: Dwayne Brown, 2013vii CCOA Archive. Photo: Dwayne Brown, 2013viii Library and Archives Canada, George P. Roberts, 1864, C-000733x Public Archives and Records Office of Prince Edward Island. Photo: William Taylor, R. Gordon White; [William Taylor or R. Gordon White, Acc5099/50, P0003555]1 CCOA Archive, 19642 CCOA Archive. Photo: Barrett & MacKay2 CCOA Archive. Photo: Bob Brooks Photo2 Handout, Glenbow Archives, c.1937-19402 CCOA Archive3 CCOA Archive, 1964, Donated by Gary Craswell, 20143 CCOA Archive, 1964, Donated by Gary Craswell, 20144 CCOA Archive. Photo: C.D. MacKay; Public Archives and Records Office of Prince Edward Island [C.D.MacKay, Acc2594, Item 2044]5 CCOA Archive. Photo: George Wotton, 19646 CCOA Archive. Photo: Dwayne Brown, 20137 Courtesy of Dave Broadfoot8 CCOA Archive. Public Archives and Records Office of Prince Edward Island [Acc2594, Item 2067]9 CCOA Archive. Photo: Frances Davies, A.R.P.S., 1964, Public Archives and Records Office of Prince Edward Island [Acc2594, Item 2062]10 CCOA Archive, 1963, Public Archives and Records Office of Prince Edward Island [Acc2594, Item 2110]11 CCOA Archive, 196412 CCOA Archive. Photo: George Zimbel, 197313 CCOA Archive, 1963, Public Archives and Records Office of Prince Edward Island [Acc2594, Item 2112]14 CCOA Archive. Photo: Dwayne Brown, 201315 CCOA Archive, Canada Post Office Department [Postage Stamp Press Release], 196416 CCOA Archive. Photo: George Zimbel, 196417 CCOA Archive, 198018 CCOA Archive, Photo: Light and Vision, 201319 Courtesy of Professor Thomas H. B. Symons20 CCOA Archive. Photo: Dwayne Brown, 201322 CCOA Archive. Photo: George Wotton, 196523 CCOA Archive, 197725 CCOA Archive. Photo: Dwayne Brown, 201327 CCOA Archive. Photo: Gail Hodder, 201228 CCOA Archive. Photo: Ben Kinder, 199329 CCOA Archive. Photo: George Zimbel, 197230 CCOA Archive32 Courtesy of Ann Sherman, 200133 CCOA Archive, 1983/1993/2000/200136 CCOA Archive. Photo: Gail Hodder, 201438 CCOA Archive. Photo: Kevin Rice, 201239 CCOA Archive. Photo: Kevin Rice, 201242 CCOA Archive. Photo: Bob Brooks, 196543 CCOA Archive. Photo: Gail Hodder, 2011

45 CCOA Archive. Photo: Gail Hodder, 201348 CCOA Archive and the Public Archives and Records Office of Prince Edward Island [Acc2594, Item 2038]49 CCOA Archive, 201255 Courtesy of Becka Viau56 Courtesy of The National Ballet of Canada. Photo: Robert Etcheverry57 CCOA Archive. Photo: Frances Davies A.R.P.S.; Public Archives and Records Office of Prince Edward Island [Acc2594, Item 2229]58 Courtesy of Theatre New Brunswick58 Courtesy of Theatre New Brunswick59 Courtesy of The National Ballet of Canada. Photo: John Hall60 Courtesy of the National Arts Centre Orchestra. Photo: Dwayne Brown61 CCOA Archive. Photo: Dwayne Brown, 201362 CCOA Archive. Photo: Dwayne Brown, 201363 Courtesy of David Clayton Thomas64 CCOA Archive, 1964-201365 CCOA Archive. Photo: Dwayne Brown, 201366 CCOA Archive, 196867 CCOA Archive. Photo: George Zimbel, 197668 CCOA Archive, 198869 CCOA Archive. Photo: George Wotton, 196570 CCOA Archive, 198271 CCOA Archive, 196873 CCOA Archive. Photo: Light and Vision, 201374 CCOA Archive. Photo: Dwayne Brown, 201375 CCOA Archive. Photo: Dwayne Brown, 201376 CCOA Archive. Photo: Dwayne Brown, 201377 Courtesy of Walter Learning78 CCOA Archive, 198179 CCOA Archive. Photos: George Wotton, 196580 CCOA Archive. Photo: Dwayne Brown, 201381 CCOA Archive. Photo: Dwayne Brown, 201382 CCOA Archive. Photo: Wayne Barrett, 197683 CCOA Archive. Photo: George Zimbel, 197284 CCOA Archive. Photo: Dwayne Brown, 2013. Portrait photo courtesy of Garnett Gallant85 Courtesy of Rick Warren86 CCOA Archive. Photo: Dwayne Brown, 201387 CCOA Archive. Photo: Dwayne Brown, 201388 CCOA Archive, 197289 CCOA Archive, 198590 CCOA Archive. Photo: Dwayne Brown, 201391 CCOA Archive. Photo: Dwayne Brown, 201392 CCOA Archive. Photo: Robert C. Ragsdale A.R.P.S., 197193 CCOA Archive. Photo: George Zimbel, 197594 CCOA Archive. Photo: Dwayne Brown, 201395 CCOA Archive. Photo: Dwayne Brown, 201396 CCOA Archive. Photo: Dwayne Brown, 201397 CCOA Archive. Photo: George Zimbel, 197398 CCOA Archive. Photos: Dwayne Brown, 201399 CCOA Archive. Photo: Dwayne Brown, 2013

189 L I S T O F C R E D I T S

100 CCOA Archive, 1971101 CCOA Archive, 1975102 CCOA Archive. Photo: Dwayne Brown, 2013103 CCOA Archive. Photo: Dwayne Brown, 2013104 CCOA Archive. Photo: Dwayne Brown, 2013105 CCOA Archive. Photo: Dwayne Brown, 2008106 CCOA Archive, 1978107 CCOA Archive, 2011108 CCOA Archive, 2007109 CCOA Archive, 1986110 CCOA Archive, 2011112 CCOA Archive. Photo: Dwayne Brown, 2013113 CCOA Archive. Photo: Robert C. Ragsdale A.R.P.S., 1965114 CCOA Archive. Photo: George Wotton, 1965114 CCOA Archive. Photo: Light and Vision, 2013115 CCOA Archive. Photo: Fraser McCallum, 2013116 CCOA Archive. Photo: Light and Vision, 2013116 CCOA Archive, 2010116 CCOA Archive, 2012117 CCOA Archive. Photo: Light and Vision, 2011118 CCOA Archive, 2012119 Courtesy of Oscar Cormier, 2013120 CCOA Archive. Photo: Dwayne Brown, 2013121 Courtesy of Catherine Hennessey, 1965122 CCOA Archive, 1980123 Courtesy of Catherine Hennessey124 CCOA Archive. Photo: George Zimbel, 1972125 CCOA Archive, 2011127 CCOA Archive, 1985130 CCOA Archive. Photo: Jack LeClair, 2001131 Courtesy of Tom Benner. Portrait photo: David Redding. Sculpture photo: Patrick Callbeck132 Courtesy of Liona Boyd. Photo: Don Dixon133 Courtesy of Brian Burke134 Photo © Edward Burtynsky, courtesy Nicholas Metivier Gallery, Toronto / Howard Greenberg Gallery, and Bruce Wolkowitz Gallery, New York. Portrait photo: www.birgit-kleber.de135 Courtesy of Édith Butler136 Courtesy of Herménégilde Chiasson. Portrait photo: Margaret Eaton137 Courtesy of The Right Honourable Adrienne Clarkson. Photo: Michael Chambers Photography138 Courtesy of Lindee Climo139 Courtesy of Bruce Cockburn. Photo: Kevin Kelly140 Photo copyright and courtesy of Stompin’ Tom Ltd. 141 Courtesy of Rose Cousins. Photo: Mat Dunlap142 Courtesy of Gerry Dee143 Courtesy of Diane Dupuy. Photos: Barry Shainbaum144 Courtesy of Aganetha Dyck. Portrait photo: William Eakin145 Courtesy of Don Ferguson. Portrait photo: www.CallbackHeadshots.com146 Courtesy of Lennie Gallant. Photo: Darrell Theriault147 Courtesy of Lennie Gallant. Photo: Claude Emond148 Courtesy of Yvon Gallant. Portrait photo: Daniel Chiasson

149 Courtesy of Jian Gomeshi. Photo: Berni Wood Photography150 Photo: Michael Peake, QMI Agency151 Courtesy of Don Harron152 Courtesy of Tommy Hunter153 Courtesy of Ron Hynes. Photo: Lynn Horne154 Courtesy of Ron James155 MCpl Dany Veillette, Rideau Hall © Her Majesty The Queen in Right of Canada represented by the Office of the Secretary to the Governor General, (2010). Reproduced with the permission of the Office of the Secretary to the Governor General, 2013156 Courtesy of the National Ballet of Canada. Photo: David Street157 Courtesy of Wanda Koop158 Courtesy of Musée national des beaux-arts du Québec, 1975159 Courtesy of Stephen Lewis. Photo: Farhang Ghajar/CBC160 Courtesy of Allan Harding MacKay. Portrait photo: Alex Meboom161 Courtesy of Catherine MacLellan. Photo of Catherine MacLellan: Rob Waymen162 Courtesy of Barra MacNeils163 Courtesy of Antonine Maillet164 Courtesy of Sheila McCarthy166 Courtesy of Catherine McKinnon167 Courtesy of Stuart McLean. Photo: Bruce J. Dynes168 Courtesy of Frank Mills169 Courtesy of Anne Murray. Photo: Katy Ann Davidson Photography171 Courtesy of Kelly Peterson. Photo: Tad Hershorn172 Courtesy of Joel Plaskett. Photo: Ingram Barss173 Courtesy of Jane Ash Poitras. Portrait photo: Curtis Trent174 Courtesy of Christopher Pratt176 Courtesy of Henry Purdy. Portrait photo: Light and Vision177 Courtesy of Jimmy Rankin178 Courtesy of Mark Starowicz179 Courtesy of Jonathan Torrens180 Courtesy of Valdy181 Courtesy of Vishten182 Courtesy of the artist and Catriona Jeffries Gallery, Vancouver184 CCOA Archive. Photo: Dwayne Brown, 2013185 CCOA Archive. Photo: Dwayne Brown, 2013186 CCOA Archive. Photo: Dwayne Brown, 2013187 CCOA Archive. Photo: Light and Vision, 2013

THE CENTRE FOR ALL CANADIANSmedia.confederationcentre.com/winstorm/englishbook.pdf · Lorne Greene...

Documents

Transcript of THE CENTRE FOR ALL CANADIANSmedia.confederationcentre.com/winstorm/englishbook.pdf · Lorne Greene...