Home/Less/Mess - The Homeless Hub

No Straight Lines
Community Report 2014
Results from
Home/Less/Mess
bringing stories of homelessness out of darkness
nostraightlines.ca
No Straight Lines – Community Report 2014
Community based collective creation project: Home/Less/Mess
Report Prepared October 2014 by
Tangie Genshorek, Coordinator, Kamloops Homelessness Action Plan
177 Victoria Street, Kamloops, BC, Canada V2C 1Z4
tel. 250.571.9665 email. [email protected]
For more information
Robin Nichol, Thompson Rivers University Theatre Coordinator
tel. 250.377.6136 email: [email protected]
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No Straight Lines – Community Report 2014
Contents
1 Executive Summary
Comments from the HAP - why a theatre project?
2 Process –how did we make it happen?
p 3-4
p 5-12
Stakeholders
Development
Funding
Recruiting
Rehearsals
Research
Marketing
Performances
3 Findings – challenges & opportunities
Goals
Interviews with the actors
Survey with the development team
4 Acknowledgements
5 Resources
Meeting minutes
Questions to ask before you join the project
Rehearsal schedule
Program
Posters
p 13-19
p 20-22
p 23…
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The cast of Home/Less/Mess From left to right: Robert French, Kirk Unsworth, Zoe Shiloh, Tammy Caza,
Brian Berube, and Denis Lee
1 Executive Summary
Comments from the HAP – why a theatre project?
So, why a theatre project- what does it have to do with ending homelessness? Two of the
many issues that need to be addressed when ending homelessness can be found in this project:
developing life skills and changing public opinion.
Life Skills are essential in helping us all navigate our daily lives. For many people who are
homeless or at risk, life skills have been depleted over time or were never acquired. The skills
of communication, self-expression, time management, and conflict resolution all help us in our
daily lives, but these are learned skills that must be acquired and improved. Learning these
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skills in a hands-n setting can make the experience memorable and relevant. Tangible skills like
public speaking, writing, and acting translate to the actors’ daily lives and future skills
development. Through this collective creation project the actors were given an opportunity to
acquire unique skills in an equally unique hands-on setting.
Changing public opinion about homelessness is a challenge and it was our hope that engaging
people in personal stories would help them connect with the issues. In many ways
homelessness is a systemic issue that can be solved, but we need the issues to be deeply
understood by all members of the public, all sectors, and levels of government. Through this
project we planned to gather a diverse audience for a very intimate and visceral understanding
of the deeply complex causes of homelessness.
The project has been a resounding success in both areas of improving life skills and changing
public opinion, and we will continue to work together to develop opportunities to expand on
the process of creating Home/Less/Mess; Bringing Stories of Homelessness Out of Darkness.
Visit www.nostraightlines.ca to see what’s happening.
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The cast and crew of Home/Less/Mess on closing night at the Stage House Theatre
2 Process - How did we make it happen?
Stakeholders
The Kamloops Homelessness Action Plan (HAP), United Way, and Thompson Rivers University
(TRU) have been working together since signing a memorandum of understanding on July 25th
2012, agreeing to partner around research initiatives related to poverty and homelessness. The
idea of a theatre based research project arose at a joint research symposium later in 2012 with
Thompson Rivers University’s Small Cities Community-University Research Alliance (CURA), and
the partnership to develop No Straight Lines was formulated shortly after. Retiring lead of TRU
Theatre, James Hoffman passed the idea on to TRU Theatre Coordinator Robin Nichol, and after
the initial discussion between Robin Nichol (TRU Theatre) and Tangie Genshorek (HAP) in the
summer of 2012, the first group meeting was held over lunch on December 5th 2012, at the
United Way Board Room. The group met monthly through 2013 and membership shifted as the
project developed. There have been many people who have contributed in important ways,
the core development team included:
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Allysa Gredling
Ben Chobater
Bonnie Mclean
Dawn Farough
Ginny Ratsoy
Glenn Hilke
Heidi Verwey
Judy Adams
Kira Haug
Michael Weddel
Renata Saat
Robin Nichol
Tangie Genshorek
Zuzana Modrovick
Kamloops Homelessness Action Plan
City of Kamloops
Kamloops Arts Council
Thompson Rivers University
Thompson Rivers University
Jubilee Urban Movement Partners
Thompson Rivers University
White Buffalo Aboriginal & Metis Health Society
ASK Wellness Society
Community Volunteer
Interior Community Services
Thompson Rivers University
Kamloops Homelessness Action Plan
Elizabeth Fry Society
Development
The group met monthly from December 2012 to June 2014 to develop the project and supports
for the actors. The meetings were moved from the downtown United Way location to the
Tournament Capital Centre at 910 McGill; adjacent to TRU for ease of the majority of the group,
and availability of parking. The agenda was set by the group and the meetings were facilitated
by the HAP Coordinator. Core goals were established early on, and the group had an ongoing
dialogue on how best to meet those goals. Development meetings continued through the
rehearsal phase of the project, with additional weekly meetings in July/August to prepare for
the live shows August 13th-16th.
There were attempts to establish small subcommittees to attend to tasks in the early phases of
development. In the end these groups were rather fluid with members often serving roles in
multiple committees, sometimes with conversations facilitated in impromptu ways to
accommodate everyone’s complex schedules.
Funding
Funding for the project was supplied through the generosity of United Way, BC Interior
Community Foundation, Kamloops Arts Council and through a fundraiser which was developed
by White Buffalo Aboriginal & Metis Health Society. The project budget was further
supplemented through ticket sales at donations at the live show.
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Fundraiser hosted by White Buffalo Aboriginal & Metis Health Society at St. Andrew’s
Presbyterian Church
The fundraiser developed by White Buffalo Aboriginal & Metis Health Society was a very special
event that helped improve awareness of the project early on, while contributing significant
funding. The event was a silent art auction, dinner of buffalo stew and drumming circle; the
community was enormously supportive. (see acknowledgements)
Funding for the project was allocated as follows (surplus will be used for future projects)
Revenue
Ticket sales
United Way
Fundraiser
BC Interior Community Foundation
Kamloops Arts Council
TRU Research Grant
SSHRC ASU Grant
concession
TOTAL REVENUE
$27,992.00
Expenses
$7,165.00
$4,500.00
$4,827.00
$2,500.00
$400.00
$3,000.00
$4,700.00
$900.00
Research travel costs
Venue Rental
Transportation
Food
Childcare
Honoraria
Rehearsal expenses
Production expenses
script printing
Student Researchers
TOTAL EXPENSES
$27,593.56
$2,553.10
$3,000.00
$198.00
$1,500.00
$2,802.50
$12,350.00
$347.51
$76.16
$66.29
$4,700.00
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Recruiting
Stakeholders from community agencies helped with recruiting by talking to their clients about
the project. Members of the development team also presented the project at the Kamloops
Food Bank, at community meetings, to various programs, with the media, and on social media
to get people involved in the project by attending an information session at the Stage House
Theatre where the rehearsals were to take place.
The information sessions were an opportunity to help potential participants understand the
level of commitment required to take part in such a project. The development team created a
series of questions to help establish participant readiness around the following concerns:
performing in public, sharing personal stories about homelessness, keeping up with the
rehearsal and performance schedule, and other individual factors such as health, child care, and
transportation. Those who wanted to join the project were asked to sign an agreement that
outlined what the actors would bring to the project as well as what the support team would
bring to the project along with the following house rules that were developed as a group:
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Regular rehearsals
Group check in at the start and end of each rehearsal
Listening openly
Providing and receiving honest feedback
An atmosphere of respect and trust
Avoiding generalizations
Accepting everyone exactly as they are
Being careful with word choices
Fostering an atmosphere of open sharing
Not sharing other people’s stories outside of the project
Not using electronic devices except for in emergencies
Actors were expected to show up and take part in rehearsals with the goal of being in a live play
together in August 2014. In return, the support team pledged the following:
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Teaching theatre techniques
Helping with collective creation
Writing and developing the script with you
Gathering feedback on the project from the public
Providing referrals to support services
Fundraising
Administration & scheduling
Spreading the word about the project
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The brave actors who joined the No Straight Lines team included:
Brian Berube
Kirk Unsworth
Tammy Caza
Denis Lee
Zoe Shiloh
Robert French
Each of the actors brought a different perspective on homelessness, and each was at a different
stage of being housed. Kirk was sleeping rough when he joined the project, others had been
housed for varied lengths of time. There were three additional actors who had originally
intended to be part of the production but left for a variety of reasons; one actor felt he couldn’t
handle the stress, one moved back to Ontario to be with family, and one moved to the Shuswap
area.
Rehearsals
Rehearsals included the process of collecting the stories and creating the play to be rehearsed.
The first part of the rehearsal phase involved extensive story collection facilitated by TRU
theatre professors Robin Nichol and Heidi Verwey, creative co-directors for the project. Robin
and Heidi facilitated all phases of the creative process, listening to everyone’s stories and
working with the group to look for the themes that tied it all together into a dramatic
production.
Rehearsals were three days a week for four hours and included a meal together. Rehearsals
were also attended by the HAP Life Skills Coordinator Allysa Gredling who was on hand to
connect the actors with any outside supports they might need. TRU student Pamela Erickson
was also on hand assisting Ginny Ratsoy, taking notes on the process to develop the script. TRU
students Justin Potestio and Shalyn Pigeon took turns attending rehearsals to assist Dawn
Farough in recording the process from an ethnographic research perspective.
Each rehearsal began and ended with a group check-in circle, and everyone was encouraged to
share the feelings they were experiencing at that point in the process. Rehearsals for the most
part, involved extensive story telling by each of the actors and many feelings were unearthed in
the process. Support team members were equipped with emergency contact information for
mental health specialists, and everyone was encouraged to ask for help for anything they need.
The group began their discussions in the lobby of the Stage House Theatre, seated in a circle,
getting to know one another for the first time. After several rehearsals in this fashion, the circle
moved into the audience seating area in the theatre, and lessons about theatre were gradually
added to the story sharing sessions. As the group felt more comfortable with one another the
rehearsals began to incorporate the stage, and then a few familiar viewers, then full dress
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rehearsals, and finally the live show. Throughout the process attempts were made to help the
actors mitigate anxiety about performing by helping them to prepare for the experience.
In addition to the development of skits from themes that emerged from the actor’s stories,
each actor wrote their own personal story to be performed on its own. The actors had
notebooks from the beginning in which they wrote their thoughts and their stories, TRU faculty
and students helped with the writing as needed along the way. Most of the stories emerged as
monologues; one was told as a vignette from the actor’s life. The creative co-directors helped
the actors see their stories objectively and look for dramatic tools and ways to make themes
clear. Admittedly, the majority of the process was taken up in actually creating the piece,
leaving only minimal time to rehearse the play once it was prepared. Most of the actors took
written lines on stage with them to relieve the pressure of trying to memorize all of the lines,
but this did not diminish the dramatic impact of the play and audiences had a truly immersive
theatre experience at each of the five performances.
As one would imagine, the rehearsal process had challenges. It is a difficult to build a deep
level of trust with a group of strangers quickly, and then begin sharing and working together
creatively as well. Relationship tensions within the cast and crew did exist and presented
challenges. As tensions were growing closer to performance time it was necessary to bring in
the White Buffalo Aboriginal & Metis Health Centre support team to help the group. Charles
and Roberta from White Buffalo engaged the team in a healing circle that was very beneficial,
particularly for the cast. Everyone agreed that a healing circle ceremony would have been
helpful earlier in the process.
Zoe Shiloh, Denis Lee, Robert French, Tammy Caza, Kirk Unsworth, and Brian Berube all stayed
committed to the process from beginning to end, sharing deeply personal stories and remaining
open to a very foreign process the whole journey. Their efforts, along with those of the support
team cannot be underestimated.
Research
The project was formulated as a community-based research project engaging multiple
departments at Thompson Rivers University. The Theatre Departments’ research project was
the actual collective creation of the script and live performances. The Sociology Department
was involved in recording the process with an ethnographic lens, and the English Department
was involved in recording the language of the play. Each aspect included valuable opportunities
for students to be directly involved in the project. Funding for this stream of the project was
provided to Thompson Rivers University through the federal Social Sciences & Humanities
Research Council, Aid to Small Universities fund. This grant supported research on precedents
and wages for student research assistants.
The play and script are the product of a joint research partnership with TRU Theatre’s Robin
Nichol and Heidi Verwey. The process of creating the play and the script is being further
documented by TRU professors Ginny Ratsoy and Dawn Farough. All four TRU faculty
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performed precedent studies on similar theatre initiatives such as David Diamond’s Theatre For
Living in Vancouver B.C. and will be presenting their work at various academic conferences.
Marketing
Much effort was made to attract a diverse audience to the performances August 13-16th at the
Stage House Theatre. Awareness was established early on with the fundraiser on March 28th
2014. The No Straight Lines team had a website, Facebook page and Twitter account
established before the fundraiser to assist with awareness.
The group also advertised the upcoming play with an open information session on July 31st
where the public could hear about the play and ask questions of the actors and crew. This
event was hosted by the Smorgasbord Deli, a local restaurant with a social conscience. Four of
the six actors attended along with the several members of the No Straight Lines Development
Team, and the audience presented thoughtful questions that helped everyone get a sense of
what it was like developing the project so far.
The group also partnered with Western Canada Theatre and Project X theatre to help advertise
shows and the No Straight Lines team set up a booth at a special Music in the Park : Hijacked
event. At the event the group shared handbills about the project, handed out free water on a
scorching hot day, and polled the audience on their opinions about homelessness. (see research
forthcoming)
Local media was extremely helpful in creating awareness about the project, and diverse media
contacts in the No Straight Lines development team helped make it possible to sell out all four
evening shows! Shaw TV and Go Kamloops! Provided two great feature segments, members of
the cast and crew appeared on the CFJC-TV Midday Show, Kamloops This Week did a feature
article and follow up on the show, the Echo helped spread with a great feature article and local
radio helped out a tonne with contributions from CBC, 98.3, B-100, and NL-610.
The diverse nature of the No Straight Lines team and relatively long development period also
contributed to awareness about the play. Many people from a variety of groups were talking
about the project long before the play was advertised and we were fortunate to have raised the
interest of several sectors in the community. It must also be mentioned that volunteer
extraordinaire Lynne Mugford put up over 50 posters for the play at local businesses and
organizations, which were printed free of charge by Overlander Press.
Performances
The performances were received extremely well in the community. The four evening shows
were sold out, with a maximum capacity of 100 people, the Saturday matinee was performed
to an audience of just over 50 people. The show ran approximately 1 hour and fifteen minutes,
there was a short intermission, and there was a question and answer session after each show
with the actors. The amount of support from the public was truly astounding. Many people
raised their hand to offer words of support and encouragement and many called for more
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action to end homelessness, particularly from government. Dawn Farough and Ginny Ratsoy of
Thompson Rivers University will be working to publish their research which documents
audience reactions to the play.
During the play each audience member received a copy of an extended program (see
resources) printed free of charge in full color by Overlander Press. The program contained bios
from each of the actors and also tied to offer the audience some information about
homelessness issues and solutions.
The public were asked to bring donations to the performances of new socks, gift cards,
toothbrushes, mini shampoos, or feminine hygiene items. There were approximately two large
bins of goods donated at each show and the items were distributed throughout the community
shared with ASK Wellness, Kamloops United Church, My Place, Project Homeless Connect,
Canadian Mental Health Association, Interior Community Services, the Kamloops Food Bank, Big
Brothers Big Sisters, and the New Life Mission.
Members of the No Straight Lines team, Tangie Genshorek, Robin Nichol, Heidi Verwey and Ginny Ratsoy
attend Music in the Park
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3 Findings - Challenges & opportunities for the cast & crew
Goals
1 Provide Access to Creative Expression
Involve a minimum of 8 homeless or at-risk individuals in the creation of a live performance
production in the summer of 2014.
We started with a cast of 8 actors who were committed to the project from 14
who had attended information sessions or shown interest in being in the play. In
the end we had 6 actors who were in the live shows, which was two less than
our desired goal, but the two that had left the project had been connected with
some levels of supports.
2/3 Develop Public Awareness of the Issues of Homelessness/ Foster Community
Involvement in Theatre & the Arts
Gather a diverse public audience of at least 100 people for a live multimedia production in
the summer of 2014 that can be measured and analyzed for changes in perceptions about
the issues surrounding homelessness/involvement in the arts.
We exceeded this goal by 340 people! We could not be more thankful for the
amazing show of interest in the production and the support of local media to get
people there. Further research will show us more detail about how diverse our
audience was. While we had set 20 tickets aside per show (100 total) as
complimentary for low-income individuals in the community, only a total of 37
were used, and further outreach in this area was required.
4 Provide Access to Life Skills
The people who will be involved in the creation of the live performance will gain at least 2
new self-identified transferable Life Skills.
The actors have responded overwhelmingly that they have gained several new
skills through the process and performance. Skills that the actors have identified
as having gained include: creative expression and enthusiasm, public speaking,
writing, confidence in public, openness, expression, tolerance, compassion,
communication, self-awareness, self-care, and organization.
5 Provide Documentation & Evaluation for the Project
Document the process to have a physical record of the project that can be shared with
participants, project partners, other interested groups, and the general public in the form of
a guide book.
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The process is recorded through the Home/Less/Mess script itself, this report,
and through forthcoming research from TRU. The process is also recorded
through the website www.nostraightlines.ca, the Facebook page and the Twitter
account for the group.
6 Provide Opportunities to Grow Beyond the Project
Provide all participants with a minimum of one new referral to an agency that can help them
continue to develop the Life Skills that they have grown during the No Straight Lines Project.
The actors connected with several supports through the process that will
continue in their lives. The HAP Life Skills Development Coordinator continues to
work with the actors to connect them to resources. Members of the group
continue to meet both as the No Straight Lines team and as the Lived Experience
committee for the HomeFree Collective
(more information at www.kamloopshap.ca)
A couple of the learnings from the project we didn’t expect that should be included in the goals
next time:
Provide further predevelopment training for actors and crew on the various
aspects of the project including: the process of collective creation, collaborative
theatre, acting techniques, mental health, lasting effects of trauma, and
homelessness.
Separate the story collection and script writing phase from the rehearsal and
performance phase to provide clarity in tasks.
Prepare for a significant amount of support in donations of socks & hygiene items
at the performances.
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Rehearsal at the Stage House Theatre with visiting media
Interviews with the Actors
The Kamloops Homelessness Action Plan Life Skills Coordinator performed interviews with the
actors the week after the performances were done. The Life Skills Coordinator was a key part
of the process throughout and was on hand to connect the actors with any services and
supports they need in the community. Responses from the exit interviews with the six actors
from the play are summarized below:
Why did you decide to get involved in the NSL project? Two of the actors got involved because
of a friend who was attending, one wanted to give back to their community, two wanted to tell
their stories and be heard, while one of the actors originally got involved to help behind the
scenes.
Did your reasons for being involved change throughout the life of the project? Three of the
actors answered no, their reasons for being involved did not change, while one had developed
concerns for a friend who had died, one had become more politically motivated, and one had
their motivations changed entirely to finding their own voice.
Do you feel you had the resources and support necessary to participate in the NSL project? If
not, what was missing? Five of the respondents felt that there were enough supports in place
to help them through the process. One respondent felt that the acting training was good but
that the TRU trainers themselves seemed like they could have used more support, while noting
that some of the organizing logistics seemed stressful and some deadlines were missed. Most
noted that the process was not easy but that issues of conflict were addressed.
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What did you like most about the NSL project? Three of the actors said that the best part of the
project were the actual performances when they were up on stage acting and sharing
themselves. One actor responded that opening up to tell their story was a very important
process for them, and two of the respondents felt that the whole process had several valuable
aspects for them including the therapeutic value of sharing themselves, good food, and having
fun.
What would you have changed about the NSL project? One actor felt that more rigorous
attention to deadlines would have improved the process, one felt that more nutritious and
varied food would have helped, and three actors felt that the theatre trainers could have been
better prepared to deal with the types of personalities in the group. One actor felt that they
wouldn’t change anything about the performances, while one added that the healing circle with
the White Buffalo Aboriginal & Metis Health Society should have taken place with the group
much earlier in the process.
What was the most valuable learning you gained from participating in the NSL project? Two
participants felt that they had learned to be more patient with others. Other skills that the
actors felt that they had gained include: tolerance, working together, openness to feedback,
openness to change, acceptance of others, personal growth, and appreciation. The actors also
felt that they learned about theatre (behind the scenes and on the stage), and about the issues
of the systemic causes of homelessness.
What new skill(s) do you think you’ve developed through the NSL project? Life Skills identified
by the actors include: creative expression and enthusiasm, public speaking, writing, confidence
in public, openness, expression, tolerance, compassion, communication, self-awareness, selfcare, and organization.
How do you think you might be able to apply these skills to your everyday life? One actor felt
that they would consider pursuing theatre further, one felt that their new skills would help
them present a more positive perspective of self to future employers, one felt that they had
better family relationships because of the process, one felt that they will be better able to
communicate in all aspects of his life, and one actor feels that they are now better prepared to
support others and to make change in the community happen from an informed perspective.
Is there any specific support that would be helpful to you in using these new skills? One actor
wanted to learn more about public speaking, one would like connections to employment, and
one actor would like more information and education opportunities, while three felt they are
ready to move forward on their own.
What are your plans as you move forward from the NSL project? The actors in the group plan to
continue getting the message out, honing their skills, taking advantage of training
opportunities, and volunteering in the community.
Are there any supports you would like to be connected to help you in moving forward? The
group would like to be made aware of volunteering opportunities, and stay connected through
the HomeFree Lived Experience Committee, and No Straight Lines.
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Has your participation in the NSL project changed your future plans at all? Five of the actors
said that involvement in the project had had an effect on their future plans while one felt that it
had not; his children will continue to dictate his future plans. Two actors responded that their
plans had changed to include helping homeless people more, while one thought they could look
at the bigger picture more with improved relationships, and one felt that they were now able to
follow their dreams.
Are you considering becoming a part of the HomeFree Collective Live-Experience Committee?
Why or why not? 4 of 6 of the respondents felt that they would like to volunteer on the
committee as a way to give back and stay involved.
Would you like to remain connected to other participants of the NSL project? The respondents
felt that they would like to stay connected to most members of the group.
Do you have any suggestions about the best way for the group to stay connected? The group
felt that they should stay connected at varying levels with opportunities for each individual to
bring what they need to the group.
Is there anything else you’d like to add, or ask? One actor felt that the play should run in
schools with an awareness campaign on mental health issues, one actor felt a big sense of
accomplishment from the process, one was a little sad it’s over, one was amazed that it had
happened, and others had discussions about their addressing issues in their lives.
Survey with the Development Team
The following are the results of an online survey launched August 28th, 12 days after closing
night of the play, to the No Straight Lines development team members. There were a total of
nine responses; eight responses for the full survey and one respondent not involved in the early
phases of the project who did not answer the complete survey.
Highlights
Development Phase
88% of the team felt the best functioning aspect of the development phase was the
open sharing of ideas and dialogue while 63% felt that the engagement of diverse
stakeholders in the development process was lacking.
Rehearsal Phase
75% of the team felt that the regular rehearsal schedule was an advantage, while 50% of
the team felt that we could improve the recruiting process as well as supports for the
actors and crew.
Performance Phase
The group felt that most aspects of the performance phase went well with 100% of
respondents saying that the performance itself and the front of house functioned well.
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33% of respondents felt that some improvements could be made in the areas of
backstage supports for actors, and media attendance, while 44% felt engagement of a
diverse audience could have been improved.
Complete Results
1. What do you feel worked well during the project development phase?
Gathering diverse stakeholders
6/8 75%
Meeting regularly
6/8 75%
Sharing goals & ideas
7/8 88%
Other - troubleshooting from multiple perspectives, fundraiser raised
awareness early
2. What do you feel could be improved upon during the project development phase?
Gathering diverse stakeholders
5/8 63%
Meeting regularly
3/8 38%
Sharing goals & ideas
0
Other - more training in various aspects of the project
3. What do you feel worked well during the rehearsal phase of the project?
Recruiting actors
4/8 50%
Regular rehearsal times
6/8 75%
Supports for actors
5/8 63%
Supports for crew
3/8 38%
Other - awareness activities such as the info session, attendance at Music in the
Park, and the fundraiser were very helpful to the process
4. What do you feel could be improved upon during the rehearsal phase of the project?
Recruiting actors
4/8 50%
Regular rehearsal times
2/8 25%
Supports for actors
4/8 50%
Supports for crew
4/8 50%
Other - more professional support, more focus that would come with some
familiarity with the process of collective creation
5. What do you feel worked well during the live performances?
Back stage
5/8
Front of house
8/8
Media
5/8
Engaging a diverse audience
6/8
Performance
8/8
63%
100%
63%
75%
100%
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Other – discussions gave audience a voice, contributions of food, actors made
amazing progress
6. What do you feel could be improved upon during the live performances?
Back stage
3/9 33%
Front of house
2/9 22%
Media
3/9 33%
Engaging a diverse audience
4/9 44%
Performance
2/9 22%
Other – offer free performance, building had its challenges, artists in silent
auction need more recognition, more political leaders needed to attend
7. What do you feel will be important for the No Straight Lines group going forward?
Regular meetings of the group
Ongoing performances of existing script
Development of new projects and scripts
6/9 67%
6/9 67%
6/9 67%
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Volunteer usher Lynne Mugford seats a sold out crowd at the Stage House Theatre
4 Acknowledgments
None of this would have been possible without all of the hours of work that were contributed
by many volunteers. We cannot thank them each enough for making this extraordinary project
possible. Additional efforts from the community were needed to ensure the project’s success
and we would like to gratefully recognize all of the sponsors, donors and contributors here:
United Way Thompson Nicola Cariboo
BC Interior Community Foundation
Kamloops Arts Council
Royal Inland Hospital Foundation
White Buffalo Aboriginal & Metis Health Society
Kamloops Lake View Meats
TRU Culinary Arts
Chef Kevin Febril
Smorgasbord Deli
Coopers Foods
Lynne Mugford
Margette Sky
The Sundancers
Compass Catering
North Shore IDA Pharmacy
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TRU Actors Workshop Theatre
Karla Pearce Gallery
Western Canada Theatre
Kamloops Symphony Orchestra
Manshadi Pharmacy
The Grind Coffee House
Dunn Lookin’ Studio
KPMG
Natural Cycle Calendars
The Art We Are
Sol Metal Design
Kamloops Blazers
Walmart
Judy Adams
Kathryn Learie
Pat Bruderer
S. Wolff
Rick Turner
Charles Campbell
Opie Oppenheim
Dr. Lloyd Bennett
John McMath
Mike Weddell
Harmony Raine
John McMath
Cindy Hayden
Rosemarie Foster
Angus Madore
Heide Neighbor
Jay Senetchko
Chris Bose
Marie Downing
Lunda Enochsen, Jul’Re
Patricia Hall
Harold Richins
Lance Weisser
Liz Mitten Ryan
Laura Bittante
Special thanks to the amazing J.U.M.P volunteers
(Jubilee Urban Mission Partners)
Linda Brooks, Barbara Lundstrum and Debbie Delaney, Glenn Hilke
& their partners in food providing kitchens, transportation and more:
Mt. Paul United Church
Kamloops Food Bank
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Daybreak Rotary Club
New Life Mission
ASK Wellness
Royal Inland Hospital Foundation
Kamloops Church of The Nazarene
Red Beard Roasters
Terra Restaurant
Nature's Fare Market
Earl's Restaurant
Sensational Soups
The Art We Are
The Ploughman’s Lunch and Coffee
The Smorgasbord Deli
The Noble Pig
Mc Donald's
Maurya's
Sunmei Taiwanese Cuisine
Cost Savers
Reubin’s Restaurant, Bar &Deli
Szechuan Restaurant
Fratelli Foods
Motivo Coffee Shop
Dorian Greek House Restaurant
Hello Toast
Scott's Inn
GTF foods
Mountain High Pizza
Indian Aroma Restaurant
Cooper’s Foods
& Stella Dryka
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5 Resources
Meeting minutes
Rehearsal schedule
Program
Posters
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