C H R I S T O P H E R P L U M M E R

STEVE KALAFER AND PETER LEDONNE PRESENT CHRISTOPHER PLUMMER IN "BARRYMORE" FEATURING JOHN PLUMPIS AS “FRANK.” SCREEN ADAPTATION BY ERIK CANUEL BASED ON THE PLAY "BARRYMORE" WRITTEN BY WILLIAM LUCE AND DIRECTED BY GENE SAKS PRODUCED BY GARTH H. DRABINSKY DIRECTED BY ERIK CANUEL

DIRECTED BY E R I K C A N U E L

S Y N O P S I S BARRYMORE, set in 1942, follows acclaimed American actor John Barrymore, a member of one of Hollywood’s most well-known multi-generational theatrical dynasties. No longer a leading box office star, the film finds Barrymore reckoning with the ravages of his life of excess. He has rented a grand, old theatre to rehearse for a backer’s audition to raise money for a revival of his 1920 Broadway triumph in Richard III. It leads him to look back on the highs and lows of his stunning career and remarkable life. Directed, and adapted for the screen, by Érik Canuel (Bon Cop, Bad Cop), BARRYMORE stars Academy Award nominee Christopher Plummer (The Sound of Music, 12 Monkeys, The Insider, A Beautiful Mind, Syriana, The Last Station, Beginners) in the tour de force film performance of his career.

A B O U T J O H N B A R R Y M O R E

John Barrymore, the American stage and screen actor whose rise to super-stardom and subsequent decline is one of the legendary tragedies of Hollywood, was a member of the most famous generation of the most famous theatrical family in America, and he was also its most acclaimed star.

The youngest and most gifted son of performers Maurice and Georgina Drew Barrymore, and brother of Ethel and Lionel, John Sidney Barrymore was born in Philadelphia in 1882. He made his stage debut in Chicago in 1903 as Max in Magda, and then made his New York debut the same year in Glad of It. Supporting roles followed in The Dictator, Yvette, Sunday, Alice Sit-by-the-Fire, and Miss Civilization. In 1907, he replaced the leading man in The Boys of Company B and the following year, scored the major role of Lord Meadows in Toddles.

By 1909 he had achieved the status of matinee idol owing to his good looks, distinguished profile, quick wit and personal charisma. (Ironically, Barrymore’s real ambition was to become a painter. He studied at the Slade School of Art and at the Art Students’ League before joining the art department of the New York Telegraph newspaper where he worked very briefly).

Throughout the 1920’s, he played two roles which were widely acknowledged as the pinnacles of his stage career: Richard III (1920) and Hamlet (1923), the latter of which ran long enough to set a New York record and had a successful run in London. Following these triumphs, Barrymore devoted his time to his film career and appeared in one MGM production, Rasputin and the Empress, with his siblings, Lionel and Ethel. After many years in Hollywood—starring in more than 60 films, including such classics as “Grand Hotel,” “Dinner at Eight,” “Twentieth Century,” “Romeo and Juliet” and “Marie Antoinette”—John Barrymore returned to Broadway in 1939 for a brief run in the comedy My Dear Children with his fourth wife, Elaine Jacobs.

John Barrymore lived in a world of distinguished theatrical talent. Lionel Barrymore (1878-1954) won the Academy Award in 1931 for his role as the alcoholic father in “A Free Soul.” Ethel Barrymore (1879-1959) was an acclaimed actress who supported her brothers whenever she could.

Edward (Ned) Sheldon, a popular playwright and theatre buff, was John Barrymore’s best friend. He was well-educated and brilliant, attractive and wealthy. He encouraged Barrymore throughout his career, collaborating on many plays with him (and others). It was at Ned’s urging that Barrymore became a serious actor. Actress Drew Barrymore (born 1975) is the daughter of John Barrymore’s only son, John Blyth Barrymore.

Theatre historians generally agree that had Barrymore possessed the necessary dedication and determination, John Barrymore would have been the greatest stage actor of his generation. After 1925, however, the hedonistic actor dissipated his talents. His well-publicized antics were satirized in the character of gadabout matinee idol, Anthony Cavendish, in the 1927 production of the Kaufman-Hart comedy classic, The Royal Family.

Barrymore died in 1942, at the age of 59, mourned as much for the loss of his life as for the loss of grace, wit, and brilliance which had characterized his career at its height.

A B O U T T H E F I L M M A K E R

ÉRIK CANUEL (Director / Screenplay) Érik Canuel is one of the most exciting up and coming international directors. His recent Genie Award-winning “Bon Cop, Bad Cop” took Canada and many foreign territories by storm. He is bilingual (English and French) and works consistently in both languages in film and television. Over the years Erik has directed numerous episodes of television, including “The Dead Zone” (Lions Gate), the pilot for Disney’s “Aaron Stone,” based on the action packed graphic novel and video game of the same name, as well as multiple episodes of the hit CTV/CBS series, “Flashpoint.” Some of his French language hits include “Nez Rouge”, a romantic comedy, and “Le Survenant,” an adaptation of the classic Germaine Guevremont novel He is currently preparing the new IFC series, “Bullet in the Face,” as well as being in active development on the feature adaptations of Andrew Pyper’s “Lost Girls,” and the Joanne Proulx novel, “Anthem of a Reluctant Prophet.”

CHRISTOPHER PLUMMER (John Barrymore)

Christopher Plummer has enjoyed almost sixty years as one of the worlds most revered and beloved actors on screen and on stage.

Since Sidney Lumet introduced him to the screen in “Stage Struck” (1958), his range of notable films include “The Man Who Would Be King,” “Battle of Britain,” “Waterloo,” “Fall of The Roman Empire,” “Star Trek VI,” “Twelve Monkeys,” and the 1965 Oscar-winning “The Sound of Music;” more recently, Oscar-nominated “The Insider” (as Mike Wallace, he won the National Film Critics Award), the Oscar-winning “A Beautiful Mind,” “Man in the Chair,” “Must Love Dogs,” “National Treasure,” “Syriana,” and “Inside Man.” His TV appearances, which number close to 100, include the Emmy-winning BBC “Hamlet at Elsinore” playing the title role, plus the Emmy-winning productions “The Thorn Birds,” “Nuremberg,” “Little Moon of Alban,” and many others. He has received two Emmys and seven Emmy nominations, the latest being for his narration of “Moguls and Movie Stars” for Turner Classic Movies.

His more recent film roles include, Pixar’s “Up,” “9,” and “My Dog Tulip,” all animated film projects; the title role in “The Imaginarium of Doctor Parnassus,” directed by Terry Gilliam; and “The Last Station,” in which he plays the great novelist Tolstoy opposite Helen Mirren, written and directed by Michael Hoffman, for which Mr. Plummer received Best Supporting Actor nominations from the Screen Actors Guild, Golden Globes and the Academy of Motion Picture Arts and Sciences®.

He can currently be seen in the highly acclaimed film “Beginners,” co-starring Ewan McGregor and Melanie Laurent, which was selected as a special presentation at the 2010 Toronto International Film Festival.

Raised in Montreal, Plummer began his professional career on stage and radio in both French and English and played Cymbeline under the great Russian director, Theodore Komisarjevsky. After Eva Le Galliene gave him his New York debut (1954) he went on to star in many celebrated productions on Broadway and London’s West End, winning accolades on both sides of the Atlantic. He has won two Tony Awards for the musical Cyrano and for Barrymore, on which this film is based, plus seven Tony nominations, his latest for his King Lear (2004) and for his Clarence Darrow in Inherit the Wind (2007). He has also won three Drama Desk Awards and the National Arts Club Medal.

A former leading member of the Royal National Theatre under Sir Laurence Olivier and the Royal Shakespeare Company under Sir Peter Hall, where he won London’s Evening Standard Award for Best Actor in Becket, Mr. Plummer also led Canada’s Stratford Festival in its formative years under Sir Tyrone Guthrie and Michael Langham.

A B O U T T H E C A S T

Christopher Plummer

Érik Canuel

JOHN PLUMPIS (Director / Screenplay) John Plumpis has been associated with BARRYMORE since 1998, touring the play across the US and in Canada following Christopher Plummer’s Tony Award winning run on Broadway. He is a regular on television series in the US and appeared in the feature “Til There Was You”

A sought after actor on American stages, Mr. Plumpis works regularly in classics (including 24 Shakespearean productions), modern dramas, comedies, and musicals.

He received his training at the University of Delaware Professional Theatre Training Program, and is a frequent guest lecturer at universities, as well as the Kennedy Center American College Theatre Festival.

Upcoming projects include productions of The Tempest and Our Country’s Good.

CHRISTOPHER PLUMMER (John Barrymore) (continued)

This past summer he starred to critical acclaim as Prospero in Des McAnuff’s production of The Tempest at Canada’s Stratford Festival, which was subsequently filmed and exhibited across Canada.

Apart from honours in the UK, USA, Austria and Canada, he was the first performer to receive the Jason Robards Award in memory of his great friend, the Edwin Booth Award and the Sir John Gielgud Quill Award. In 1968, sanctioned by Elizabeth II, he was invested as a Companion of the Order of Canada and holds honorary doctorates from six major Canadian universities. He has an Honorary Doctor of Fine Arts at Julliard and also received the Governor General’s Lifetime Achievement Award in 2000. In 1986 he was inducted into the Theater Hall of Fame and in 2000 Canada’s Walk of Fame.

Mr. Plummer will receive a Lifetime Achievement Award from the Stratford Shakespeare Festival on September 26, 2011. In December, Mr. Plummer will be seen in director David Fincher’s highly anticipated American remake of Stieg Larsson’s “The Girl with the Dragon Tattoo,” portraying patriarch Henrik Vanger, scheduled for release in December 2011. Plummer’s unparalleled life is recounted in his autobiographical memoir, In Spite of Myself (Random House), published in November 2008.

A B O U T T H E C A S T(continued)

John Plumpis

STEVE KALAFER (Co-Presenter And Executive Producer)

Steve Kalafer, an independent film producer, is a three-time Academy Award® nominee, and has co-produced five films with Peter LeDonne including the Academy Award®-nominated shorts, “Curtain Call” and “Sister Rose’s Passion,” as well as the feature-length documentary, “The Soprano State”, based on The New York Times best seller. In 1998, he produced “MORE,” an animated short film by the young director, Mark Osborne, which won the Jury Prize at the Sundance Film Festival and was nominated for an Academy Award®.

PETER LeDONNE (Co-Presenter And Executive Producer)

Peter LeDonne, long affiliated on Broadway as a partner in the landmark theatrical advertising agency, Ash/LeDonne earned his place in Broadway history for pioneering the use of live performance footage in a :60 second commercial television spot that transformed Bob Fosse’s musical, Pippin, into a smash Broadway hit, forever changing the way commercial theatre was marketed and promoted. LeDonne has subsequently written, produced and directed TV commercials for literally hundreds of theatrical productions, including Nine, Annie, Equus, Evita, La Cage Aux Folles and BARRYMORE. He has also created television, radio, print and outdoor advertising campaigns for the national tours of rock and pop stars, including Janis Joplin, Frank Sinatra, Sir Paul McCartney, Bob Dylan, Diana Ross, Liza Minnelli, Stevie Wonder, Barry Manilow, Sir Elton John, and many others.

GARTH H. DRABINSKY (Producer)

Garth H. Drabinsky co-founded Cineplex (later Cineplex Odeon) and developed it into one of North America’s largest film exhibition companies. He has produced numerous feature films, among them, “The Silent Partner,” “The Changeling,” “Tribute,” and more recently, “The Gospel of John.” As Chairman and CEO of Livent Inc., his Broadway theatrical productions have collectively won 19 Tony Awards, including “Best Musical” for Kiss of the Spider Woman as well as for Fosse, “Best Musical Revival” for Show Boat, and “Best Book” and “Best Score” for Ragtime. He is an Officer of the Order of Canada and recipient of two Honorary Doctorates.

CAMERON PORTEOUS (Production Designer)

Head of design at the Shaw Festival from l980 to 1997, Cameron Porteous has had a long and distinguished career as a designer in Theatre and Film and Television. Among his many Shaw Festival credits, he is most remembered for his set and costume designs for such favourites as Joy, John Bulls Other Island, Play Boy of the Western World, Peter Pan, Major Barbara, Cavalcade, Caesar and Cleopatra, Cyrano de Bergerac, Saint Joan and in 2005, Journey’s End.

Mr. Porteous’ film and Television credits include “ Baileys Billions” “Beethoven Lives Upstairs”and numerous other works. He has won numerous awards for his work. BERNARD COUTURE (Director of Photography)

Talented director of photography, Bernard Couture worked on over 16 feature length films, five TV Shows, two TV movies, 75 music video, 200 commercials and 7 documentaries. On the big screen, he collaborates regularly with Podz, Érik Canuel and Patrick Huard, on such films such as “Filière 13”, “10 ½”, “7 jours du Talion”, “Cadavres”, “Les 3 p’tits cochons”, “Le dernier Tunnel” and “Nez Rouge”. Bernard Couture also worked on American productions such as “Picture This”, “Journey to the Center of the Earth”, “Picture This” and “Art of War”.

He has been honored three times by the Canadian Society of Cinematographers for his work on “Le Survenant” and on the short films “Triangle” and “La Forêt et le Bûcheron”. Some of his other collaborations had also been nominated at the Genie Awards and the Jutra.

A B O U T T H E P R O D U C E R S

A B O U T T H E C R E W

JEAN-FRANCOIS BERGERON (Editor)

Jean-François Bergeron began as an editor in 1988 In 1995, he worked on “Peter Gabriel’s Secret World Live” by François Girard. Two years later, he works on “Le Polygraqphe”, a feature film by Robert Lepage. In 1998, Franco Dragone put his talent in the editing of the film based on the show Allegria by Le Cirque du Soleil. His skills were underlined at the Genie Awards 2000, where the film was in nomination for Best Editing. Starting in 2001, he has worked on numerous films with Erik Canuel including “La Loi du Cochon” (2001), “Nez Rouge” (2003), “Le Dernier Tunnel”, “Le survenant” and the hugely popular “Bon Cop, Bad Cop”.

MICHEL CORRIVEAU (Composer)

Michel Corriveau is a composer whose music is at once eclectic and highly inspired. He has distinguished him-self in film, writing soundtracks for dramas (“Le Survenant”), thrillers (“Le Dernier Tunnel”) and comedies (“Bon Cop, Bad Cop”), as well as television, setting several successful series to music, including “Answered by Fire”, “Les Lavigueur” and “The Phantom”. With each of new project, Michel Corriveau succeeds in striking the right chord. DEBRA HANSON (Scenic Designer)

A multi-talented and award-winning designer, Debra Hanson moves fluidly and expertly between production design, sets and costume design for film, television, and theatre – most notably for the prestigious Stratford Festival Theatre.

In 2009, Debra received a Gemini Award for Best Costume Design for CBC’s production of Othello, and was previously honored with a 2004 Genie nomination for Best Costume Design for “The Gospel of John”, starring Christopher Plummer and Henry Ian Cusiak.

Debra’s recent feature credits include the Bollywood-meets-hockey movie, “Breakaway”; “Casino Jack”, starring Kevin Spacey; “Jesus Henry Christ”; “Chloe and Adoration” (both for Atom Egoyan), the science fiction epic, “Outlander”; Sarah Polley’s directorial debut, “Away From Her”, starring Julie Christie and Gordon Pinsent; “Snow Cake”, starring Alan Rickman, Sigourney Weaver and Carrie-Anne Moss; Don McKellar’s second feature, “Childstar”; and Clement Virgo’s multi-award-winning contemporary love story, “Love Come Down”, starring Larenz Tate and Deborah Cox. Hanson received a Genie nomination for Best Achievement in Costume Design for her work on the multi-award winning “New Waterford Girl”.

A B O U T T H E P L A Y W R I G H T

WILLIAM LUCE (Playwright)

Playwright William Luce previously wrote the Broadway and London hit, The Belle of Amherst, starring Julie Harris as the poet Emily Dickinson, for which Ms. Harris won her fifth Tony Award for Best Actress. Luce has twice been nominated for Writers Guild Awards for the CBS-TV movies, “The Last Days of Patton,” starring George C. Scott, and “The Woman He Loved,” starring Jane Seymour, Olivia de Havilland and Julie Harris. He has also written autobiographical plays based on the lives of Lillian Hellman, Charlotte Bronte and Isak Dinesen.

A B O U T T H E C R E W(continued)

Can you tell us the genesis of the project and what attracted you to it? Late last year, my agent approached me with this great project that seemed to come from left field. I inquired into the nature of the project and learned that it was somewhat quite different than what I was aiming for. In the past I had been intrigued by the concept of adapting a play to the screen but this was quite different. This being a “one man show” taking place in a rented theater, heightened the level of difficulty. Any other play would require you to bring it out of the theater and set it where ever the play took place. This was not the case. It would have to remain within the confine of the stage. What a great challenge for a filmmaker. I read the play and fell in love with its uncanny sense of humor, its foray into classical themes and its dramaturgy. The humanity of it all struck me deeply. Other than this marvelous play, the idea of working with a maverick producer like Garth Drabinsky was both scary and unavoidable. I met the man and knew right away that we’d have a ball with this amazing project. And then I met the one and only, the legend himself: Mister Christopher Plummer. Need I say more? And in all honesty, could I refuse such an offer?

How did you approach keeping the essence of the play, yet expanding it cinematically for the screen? The producers had a very definite idea that the film should be as close to the original play as possible, yet, make it as distinct a feature as can be in its own right. Not an easy task. We toyed with the idea of bringing it out of the “theater performance” and setting it up as a real drama taking place in real settings, but discarded that idea early on. We then decided to create a hybrid out of both worlds - - cinema and theater - - by creating an envelope made up of an introduction fashionably setting up the time and place, by beautifully mapping out some of his memories visually, by forging a visceral intermission sequence as well as recreating, for the ending, one of Barrymore’s more memorable performances caught on film (His Richard from Henry VI displayed originally at the “Hollywood Review of 1929”), all of which would serve and heighten the play in a cinematic experience.

It was very important for me to accentuate the proximity and the intimacy between Mr. Plummer and the audience thus creating a greater bond with him. The film enabled me to get the audience to participate emotionally with the character on a more personal level bringing them in close most of the time but keeping them away when needed. Basically keep the essence of the play as faithful to its original inception and create a distinct envelope for it as well as creating visual momentum that would reflect some of the more evocative moments of Barrymore’s life while remaining true to its theatrical genesis.

You and Christopher Plummer both have roots in theater and film. Please talk about collaborating with Christopher prior to, and in preparation for, shooting BARRYMORE.Yes, having been brought up within a “theater family” made me very keen to be involved in this fascinating project. Both my parents were actors and my father directed over 60 plays from Molière to Sophocle to Shakespeare and many other great playwrights so you can imagine the obvious thread connecting me to Barrymore.

When I met Christopher, we discussed at length the overall approach I would take with the film underlining my intentions of trying to alter as little as possible of the original material. I listened closely to Christopher’s request about the importance of feeling the audience, of keeping the whole “theatrical” aspect to our piece and of remaining truthful to his interpretation although in a more cinematic way. I then had the luxury of attending most of the rehearsals of the play prior to its run last winter and then was able to attend any of the theater performances while as I was preparing the shooting for the film. We had meetings with Garth when Mister Plummer wasn’t busy performing in order to revise the screenplay and adapt it to our mutual vision. It was an astounding creative symbiosis.

The play was extremely successful and critically acclaimed. Did you find it daunting to adapt it to the screen? Daunting is too meager a word to describe it. I was scared shitless, especially with the idea of making it a hybrid. My basic intention was to remain not necessary faithful but truthful to Bill Luce’s amazing words and to the legendary Gene Saks who brilliantly directed the original play as it translate to its cinematic incarnation. I can only hope that the film hon-estly reflects the integrity of the original work while being a truly original piece of fiction that everyone will respond to. I wished my father was still alive to see it. I’m sure he’d love it.

Q & A W I T H É R I K C A N U E L

Directed byERIK CANUELProduced by

GARTH H. DRABINSKYSTEVE KALAFER and PETER LeDONNE

PresentBARRYMORE

Screen Adaptation byERIK CANUEL

Originally Written for the Stage byWILLIAM LUCE

Executive ProducersSTEVE KALAFERPETER LEDONNE

Executive ProducersKEVIN ALBRECHT

CHRISTOPHER PLUMMERGENE SAKS

Senior ExecutiveANNE ALLAN

Director of PhotographyBERNARD COUTURE C.S.C.

Production DesignerCAMERON PORTEOUS

EditorJEAN-FRANCOIS BERGERON

Music byMICHEL CORRIVEAU

Scenic DesignerDEBRA HANSON

Originally Directed for the Stage byGENE SAKS

Based on the OriginalScenic and Costume Designs by

SANTO LOQUASTO

Based on the OriginalLighting Design by

NATASHA KATZ

Based on the OriginalSound Design byPETER McBOYLE

Based on the OriginalHair and Make Up Design by

GERALD ALTENBURG

Originally Presented by theSTRATFORD SHAKESPEARE FESTIVAL

C R E D I T S

C A S T

John Barrymore CHRISTOPHER PLUMMER Frank, The Prompter JOHN PLUMPIS

C R E W Line Producer/ Unit Production Manager THOM J. PRETAK First Assistant Director ROSS CLYDE Second Assistant Director JOANNE TICKLE Art Director BOB SHER Set Decorator NIGEL HUTCHINS Property Master GERRY FAVA Set Dressers CAT HEAVEN BRENDA POWELL

Buyer PAT O’NEIL Graphics Designer MARILYN HASSEN Art Researcher CELESTE KOON? Continuity Supervisor DANIELA SAIONI Camera Operators ANTONY ELLIS ROGER FINLAY Additional Camera Operators DOUG LAWRENCE JUAN MONTALVO JOHN HOBSON 1st. Assistant Camera CHRISTOPHER HOWELL LAURENCE BORTNICK 2nd. Assistant Camera ADAM CRAIG SHEENA MUNROE Camera Trainee NEIL PIECHATZEK DMT DANIEL ROSENBERG Additional Camera Assistants MARK HOFFMAN SARA PICKETT VANESSA IRESON MIKE BATTISTONE GYORGY DARVAS Hair and Makeup Artist GERALD ALTENBURG Assistant Costume Designer PATRICIA BOULDEN Mr. Plummer’s Dresser SHARON E. SECORD

C R E W

(continued)

3rd Assistant Director RICHARD HIRSCHFIELD Production Coordinator LUCIA HAMILTON Gaffer EDWARD “FAST EDDY” MIKOLIC Head Electrician LARS TILANDER Best Boy Electric KEVIN BARNES Followspot Operator GREG GRAINGER Electrics MICHAEL HALL MARK CASSIDY JAMES “MAC” MCCAMMON Key Grip CHRISTOPHER DEAN Best Boy Grip FRANK TEUNISSEN Dolly Grips PHILIPE LANTHIER MICHAEL KOHNE Grips FABIAN MACDONALD RICK SCOTT Crane Operators BOB HARPER GERRY MCGONIGLE MIKE SMITH

Mo-Sys Technicians BERNARD VAN SPEYK YANICK DUBOIS Remote Head Technician BRIAN BLACK Production Sound Mixer MICHAEL LACROIX Sound Board Technician JAMIE GEORGE Boom Operator DARYL PURDY Location Manager MELISSA WARRY-SMITH Locations PAs SHAUN CENGIZ JOSHUA CAMPBELL Construction Coordinator KEVIN MCCULLAGH Stage Coordinator B. D. HILLIS Transportation Coordinator/Driver BEN CEKUTA Accounting Services COMPLETE POST Production Accountant SARA HOLMES Assistant Accountant NADIA DAY Payroll Service ENTERTAINMENT PARTNERS CANADA Background Casting ROISIN MCGILLY Stand-In for Mr Plummer RICHARD JONES Office PA ANTHONY CARPOLE Assistant to Executive Producers CASEY COLLINS ANGELA RAUCH

C R E W(continued)

Assistants to Mr. Drabinsky ADELAIDE MITCHELL KELLY EBERS Caterers BLAZING KITCHEN STUDIO CATERING Craft Service Provided by STAR GRAZING Craft Server MORAGH ROBINSON Post Production Supervisor GREGOR HUTCHISON Post Production Coordinator LORRAINE SAMUEL First Assistant Picture Editor GUILLAUME GIRARD First Assistant Picture Editor SUELEN QUON Post Production Facility TATTERSALL SOUND & PICTURE Sound FX Editor JANE TATTERSALL Additional Sound FX Editor DAVE ROSE Dialogue Editors DAVID MCCALLUM JILL PURDY Assistant Sound Editor JEAN BOT Music Superviso MICHAEL A. PERLMUTTER Music Composed and Orchestrated by MICHEL CORRIVEAU Conductor MARK CAMILLERI Music Preparation GREGOIRE MORENCY Recorded at PHASE ONE STUDIO, TORONTO Mixed by SYLVAIN LEFEBVRE Mixed at LA MAJEURE STUDIO, MONTREAL Music Editor KEVIN BANKS M.P.S.E Mixed at DELUXE | POSTPRODUCTION TORONTO Sound Re-recording Engineers ANDREW TAY JASON PERREIRA Foley Artist STEVE BAINE Foley Recordist ANDREW TAY Foley Assistan GINA WARK Digital Intermediate by DELUXE | EFILM | TORONTO

Digital Intermediate Colourist CHRIS WALLACE Digital Intermediate Producer PETER ARMSTRONG

Digital Intermediate Project Manager LEE HUGHES

C R E W(continued)

Digital Intermediate Editors and Visual Artists PIETRO GALLO ERIC MYLES Digital Intermediate Assistant Editors DAVE MUSCAT KEVIN DOWNER Imaging Supervisor NICK PAULOZZA Data Wranglers TOM MAYCLIM TREVOR PICKARD Marketing and Communications NORMAN ZAGIER Publicity 42WEST Publicity Assistant LISA JOHNSON Stock Footage Researcher ELSPETH DOMVILLE Legal Services JERALD BANKS MARK S. HAYES GLENN SOLOMAN Production Insurance FRONT ROW INSURANCE BROKERS INC. Financial Consultant KAY & WARBURTON, CHARTERED ACCOUNTANTS

With Production Assistance from theSTRATFORD SHAKESPEARE FESTIVAL

Filmed atTHE ELGIN AND WINTER GARDEN THEATRE CENTRE, Toronto

With the Assistance of the ONTARIO HERITAGE TRUST

F O R T H E T H E A T R I C A L P R O D U C T I O N Production Manager DON FINLAYSON Company/Stage Manager SUE KONYNENBURG Assistant Stage Manager BARRY BURNS Technical Director RAY SALVERDA Assistant Lighting Designer ANDREW SMITH Props Coordinator MARY SPYRAKIS Scenery supplied by HAMILTON SCENIC SPECIALTY INC.

F O R T H E T H E A T R I C A L P R O D U C T I O N(continued)

Scenic Draperies supplied by THE PARAGON INNOVATIONS GROUP INC Costumes supplied by HAMPTON PRODUCTIONS SEAMLESS COSTUMES INC. Lighting and Audio supplied by PRG CANADA

T H E A T R E M A N A G E M E N T Theatre Manager BRETT RANDALL Building Operations Manager, Housekeeping DEREK DRESSER Production Manager DANA JOHNSTON Production Assistant GRANT HAWKINS Administrative Assistant LENA POLYVANANAYA

A D D I T I O N A L P H O T O G R A P H Y Unit Production Manager ALLAN LEVINE First Assistant Director NEIL HUHTA Production Coordinator MICHAEL BOCKNER Production Assistant ANDREW WOLINSKY VTR Operator NICK VERLAINE DMT Operator ERIC DOWNER Gaffer HUGH MCLEAN Best Boy Electric NIGEL DRAPER Electrics MUHAMMED CELIK FRANK NEMITH Generator Operator STEVE SINCLAIR Key Grip RON SCHROEDER Best Boy Grips BURKE GOLDSTEIN JOHN OLIVER Dolly Grip JOHN DUKE Grips JOSH DANIELS WARREN HOWARD Sound Recordist VALENTIN PRICOP Boom Operator GRANT HALLAM Catering STUDIO CATERING

S T O C K F O O T A G E“Silhouette Of Empire State Building Footage” supplied by Time & Life Pictures/Getty Images

“1940’s New York City Footage” supplied by Archive Films/Getty Images

S P E C I A L T H A N K S

WILL FOWLER

THE GLOBE AND MAIL

THE TORONTO STAR

HUGO BOSS

CYRIL DRABINSKY

TONY GAGLIANO, ST. JOSEPH MEDIA

SCOTT THORNLEY + COMPANY

ISPORT MEDIA AND MANAGEMENT

DAN McLELLAN

ARMSTRONG PARTNERSHIP

LOU PITT, THE PITT GROUP

JEREMY CONRADY, THE PITT GROUP

PERRY ZIMEL, OSCAR ABRAMS ZIMEL INC.

THE FOUR SEASONS HOTEL, TORONTO

RANDOM HOUSE

ERICA BENSON

HENRY LESS

LEE HERBERMAN

ELLEN NARDONI

BILL TIMMS

STEFFAN NELSON

CLIFFORD STEVENS

BIFF LIFF

TINA HOROWITZ

NATHALIE BRUNET

PATRICK FLOOD

KELLY PYFFER

GARY BROWN

ELEANOR MAYNARD

MARC EIDELBERG

GEORGE PREGER

S O N G S

Dancing In The DarkPerformed by Bing Crosby

Written by Howard Dietz, Arthur SchwartzPublished by WB Music Corp. (ASCAP) and

Bienstock Publishing Company (ASCAP) oboArthur Schwartz Music Ltd. (ASCAP), licensed courtesy of Casablanca Media Publishing

Under license from Universal Music Canada Inc.

When The Midnight Choo Choo Leaves For Alabam’Performed by Tommy Dorsey

Written by Irving BerlinPublished by Irving Berlin Music Company

(admin. by Williamson Music, An Imagem Company) (ASCAP)Courtesy of Past Perfect Vintage Music, UK

StardustPerformed by Bing Crosby

Written by Hoagy Carmichael, Mitchell ParishPublished by Songs of Peer, Ltd. (ASCAP) and EMI Mills Music (ASCAP)

Under license from Universal Music Canada Inc.

I’ve Got A Gal In KalamazooPerformed by Christopher Plummer

Written by Mack Gordon, Harry WarrenPublished by Warner/Chappell Music Canada (SOCAN) obo WB Music Corp. (ASCAP)

You Must Have Been A Beautiful BabyPerformed by Russ Morgan and His Orchestra

Written by Johnny Mercer, Harry WarrenPublished by Warner/Chappell Music Canada (SOCAN) obo WB Music Corp. (ASCAP)

Courtesy of Hindsight Records Inc.

Vissi D’Arte (from ‘Tosca’)Performed by Maria CallasWritten by Giacomo Puccini

Courtesy of EMI Music Canada Film & Television Music Placement Division

Produced with the assistance of

The Canadian Film or Video Production Tax Credit

Film and Television Tax Credit

Camera Equipment supplied by

Presenting Sponsor

Armour created from an original by Bill Fedun

Dolly supplied by Lighting and Grip Packages supplied by

 

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may result in civil liability and criminal prosecution.

Copyright Barrymore Entertainment Limited 2011