From Far and WideANNUAL REPORT 2001 -2002

PROFILE

RoleThe National Arts Centre (NAC) was createdin 1966 by an act of Parliament to be Canada’spre-eminent showcase for the performingarts, and opened in 1969. It is the catalyst forthe performing arts nationally – nurturingand supporting artists and arts organizationsin communities across the country. The NACis home to the internationally acclaimedNational Arts Centre Orchestra, and is aleader in the presentation of classical music,dance, English and French theatre, varietyand community programming. It is at theforefront of youth and educational activities,supporting programs for young and emergingartists, programs for young audiences, andproducing resources and study materials forteachers. It is the only multidisciplinary, bilingualperforming arts centre in North America.

StructureA ten-member Board of Trustees, chairedby Dr. David S. R. Leighton, oversees theNational Arts Centre. The President andCEO is Peter Herrndorf.

Accountability and fundingThe National Arts Centre reports toParliament through the Minister of CanadianHeritage. The NAC derives roughly half itstotal revenue from seven earned revenuesources: the NAC box office, fundraising andsponsorships, the NAC catering business, theNAC restaurant, the NAC’s commercialparking operation, facility rentals, and newventures. The balance comes from an annualParliamentary appropriation. Each year theNational Arts Centre tables an annual reportbefore Parliament. The Auditor General ofCanada is the NAC’s external auditor.

From Far and Wide”, the theme of this annual report, represents the truly Canadian reachof the activities of the National Arts Centre. The words are taken from our national anthem,“O Canada”.

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Benefits of the arts for artists and audiencesEven before we had studies to prove it,intuitively we knew that the arts, had apositive psychological effect … they heal,humble and inspire us. The arts take usbeyond the tangible and the known. Theystimulate our thinking, and enhance ourability to solve problems. And our broadenedimaginations guide us through a myriad ofchallenges – personal, social and economic.Perhaps most important of all, however, isthe joy the arts bring to our lives.

In young people, arts education breaks openthe doors to a world outside of themselves,allowing them to spread their wings confi-dently and to learn to interact peacefully withothers. It opens up boundless horizons forthose whose lives would otherwise remainsmall and insular.

Why we are compelled as a societyto support the artsBut supporting the arts, whether as anenthusiastic audience member, a buddingmusician, a volunteer or a donor, requirescommitment and tenacity. Many strugglewith the decision to invest in the arts whenso many worthwhile causes are calling forboth public and private support. But forthose of us who love the arts, and those

tasked with building civil societies, we arecompelled to take the lead in nurturing rich cultural opportunities for all Canadians.The arts foster the dynamic relationshipsand ideas so essential to our success inother endeavours.

Creating new works, nurturing new talent,teaching young dancers and actors – thesethings do not happen in a vacuum, and they are not the work of a single individual,community or institution. This is the workof a nation … of a society.

The value of the arts on our nationalidentity – Canadian cultural exportsCanada is a leader in many sectors worldwide.In the last ten years, our cultural exports … our artists … have propelled us into theinternational spotlight again and again. As anation we are turning out top-notch writers,dancers, musicians, comedians and actors.We are a country blessed with artistic talent.

Embracing our cultural excellence and offeringit up to the world unsettles many Canadians,content to hide our light, to shy away. But inorder to ensure that our children continue tohave access to music, theatre workshops, artseducation in schools, in order to keep theirminds finely tuned, we must embrace thispart of ourselves.

As Canadians, we have a unique opportunityto have an impact on our society, and thosearound us through the arts. We are a youngcountry, a wealthy country by world stan-dards, and the friendly neighbour to a worldsuper power. In our own modest way, we canmake an enormous difference.

Fifty years ago the Massey Royal Commissionset the goal of a vigorous and distinctivecultural life as “nothing less than the spiritualfoundation of our national life …”

Out of that arose a desire to create a trulynational arts centre, one that would reachout across the country while also letting thecountry reach in. The National Arts Centre ismuch more than mere bricks and mortar. TheNAC touches all Canadians. It is a teacher’skit used to teach students in Kamloopsabout Beethoven; it is a young Montrealviolinist taking a master class with world-class musicians in Ottawa using broadband tech-nology. It’s a stirring co-production with atheatre company in Halifax, or a Live Rushstudent ticket program in Calgary. TheNational Arts Centre is all of these things andmore. Our commitment to Canadians is tocontinue to astound and inspire audienceswith great performances on our stages andthrough our teaching, partnerships andother outreach efforts.

From Victoria to St. John’s

CALGARY, ALBERTA

Top left: CEO Peter Herrndorf andCalgary students at LiveRush launch,Calgary. Photo: Todd KorolTop right: Calgary native Katherine Chiis the 2000 winner of the Esther HonensPiano Competition and will perform atthe NAC in the 2002-2003 season. Photo: Chad JohnstonMiddle: Calgary students sign up forLive Rush, Photo: Todd KorolMiddle right: NAC board member,Jenny Belzberg makes a presentation toNACO principal cellist Amanda Forsythat a gala fundraiser for the CalgaryPhilharmonic Orchestra. Photo: Laura MartinBottom left: Pinchas Zukerman, whoplayed at a fundraiser for the CalgaryPhilharmonic Orchestra. Photo: Fred Cattroll

Top left: Le Pingouin, with SoniaCloutier, Jasmine Dubé, Hugues Fortinand Denis Roy. Photo: Camille McMillanTop middle: The Queen of Spades, LesGrands Ballets Canadiens de Montréal. Photo: Roland LorenteMiddle: La double inconstance, withEric Leblanc and Sylvie Cantin. Photo: Louise LeblancMiddle right: Wony Song (of Montreal)and Anton Kuerti in master class for theYoung Artists Programme. Photo: Couvrette/OttawaBottom left: Pierre Lebeau in Novecento.Photo: Pascal SanchezBottom right: Laboratoire Markowicz Photo: Richard-Max Tremblay

MONTREAL, QUEBEC

HALIFAX, NOVA SCOTIA

Top left: Students from cities acrossCanada participated in the launch ofArtsAlive.ca, the NAC’s new interactivewebsite. Photo: Randy StilleTop right: Acadian singer/songwriterJean-François Breau at the Halifaxlaunch of the Atlantic Scene. Photo: Paul DarrowMiddle: High school students fromacross Canada participated in theCanadian Improv Games.Photo: Gordon King Bottom left: Pierre Brault in Blood onthe Moon, which toured Eastern Canadain 2002. Photo: Lydia Pamelak

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Major recent business failures in the U.S.(Enron, WorldCom), the U.K. (Marconi), andFrance (Vivendi) have put an intense spotlighton corporate governance and the performanceof boards of directors. Boards have been foundwanting: new and tougher regulations havebeen imposed, and more are on the way.

The NAC is a charitable organization andCrown corporation owned by the Governmentof Canada on behalf of the Canadian public. Itis governed by a board of trustees appointedby and accountable to the government, whoare mandated, among other things, to managethe NAC, and to develop the performing artsin the national capital and nationally.

In light of the current governance debate, itseems appropriate to ask, how we are doing?How good is governance at the NAC?

There are ten members of the NAC’s Boardof Trustees; two are mayors of Ottawa andGatineau, ex officio. The other eight comefrom across Canada, from British Columbiato Nova Scotia, representing broadlyregional and linguistic identities. Membersare appointed for three-year, renewableterms. During 2001-2002, they included aretired senator from Vancouver, a notedmusician/teacher from New Brunswick, aseasoned corporate director from Montreal,and prominent professionals and communityleaders from Halifax, Calgary, Toronto andOttawa. Four of the trustees are women. Allhave a history of interest and participation inthe performing arts.

Their job is to appoint the strongest possibleChief Executive; to approve strategic goalsand objectives; to delegate responsibility for

implementation to, and support, manage-ment; to budget and monitor performance;to take corrective action where necessary;and to report to the shareholder and publicat large. Much of the work of the board isdone in four committees. Each trustee serveson at least one committee and each committeeis augmented by an expert who is not aboard member.

The result is a small, effective, hard-workinggroup. In the past year, the board met fivetimes for two-day sessions in Ottawa, andthree times for telephone conferences. Aswell, they attended a series of public meetingsheld in conjunction with board gatherings.Between meetings, the trustees receive weeklyreports on activities at the Centre, monthlyfinancial reports on progress against budgets,and periodic special communications fromthe Chair and Chief Executive. Travel forsome, and preparation for all, is substantialand time-consuming.

The reality is that, with a relatively smallboard, it requires a great deal of time andattention from each member. Issues rangefrom the financial – approving budgets,closely monitoring their attainment, workingwith auditors – to assessing investments inour human resources, monitoring health andsafety, training, succession, compensation andlabour relations; overseeing fund-raising andmarketing activities, and communications,both external and internal. In addition to allthis, trustees are involved in periodic self-appraisal, board succession and committeeorganization, and the establishment of ethicalstandards. Agendas are jam-packed, discussionlively, and rapport at a high level. This is aworking board!

Several changes to the Board took placeduring the year. Louise Vaillancourt ofMontreal, Chair of our Finance and AuditCommittee, decided not to seek reappoint-ment. David Hill, prominent lawyer andVice-Chair of the Board for the past sixyears, reached the end of his term. Louiseand David have been superb Board membersand we will miss them.

In their place, we welcome Louis Lagassé, asuccessful businessman and supporter ofthe arts, from Sherbrooke, and succeedingDavid as Vice-Chair, Adrian Burns ofOttawa. These are fine additions to the Board,and I wish to acknowledge the excellent relationship we have developed with ourMinister, the Honorable Sheila Copps, inworking together in the process of makingBoard appointments.

There are rewards from all this, of course.Observing the growing health of the organi-zation; the relationships with other boardmembers, staff and artists; the response ofaudiences, the public, and elected officials.And of course, artistic creation at the highestlevel. This is what makes it all worthwhile.

In my admittedly biased judgement as Chair,governance at the NAC is alive and well: thereare no Enrons or WorldComs lurking in theshadows. Trustees can take great satisfactionin the feeling of an important job well done.The public interest is being served.

From the Chair

David S.R. LeightonChair, Board of Trustees

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Last September, the National Arts Centreunveiled a new strategic plan. And while itheralded our commitment to an excitingfuture, it also reminded us of the NAC’s richtradition … and its passionate, long-termcommitment to the performing arts. Wecalled the plan Restoring the Vision becausethe Board and the staff of the NAC weredetermined to restore the bold vision of ourfounder, Hamilton Southam – a vision ofthe NAC as a national showcase for theperforming arts… and as a national centre ofcreativity, innovation and artistic excellence.

The goals in Restoring the Vision are bothstraight forward and dramatic: a renewedfocus on artistic expansion and innovation;a greater emphasis on the NAC’s nationalrole; a far greater commitment to youth andeducation activities; and a major increase inour earned revenues to finance our artisticexpansion and our educational initiatives.

We’ve been working hard over the past yearto implement those goals, and I’m pleased toreport that the National Arts Centre isalready beginning to show significant results.

The NAC’s artistic leadership team – PinchasZukerman, Denis Marleau, Marti Maraden,Cathy Levy and Michel Dozois – has had aremarkable creative impact, and they providedour audiences with a 2001-2002 season full ofmemorable moments. They are increasinglybeing recognized as the best artistic leadershipteam in North America.

The National Arts Centre also released itsmuch anticipated New Music Programme inMarch of 2002. The program, whichincludes the commissioning of new worksby three major Canadian composers and thedevelopment of an annual young composertraining programme, was extremely wellreceived by the Canadian music community.

The NAC experienced another very goodyear financially, as well. The new NationalArts Centre Foundation raised a record $3 million; we attracted almost 35,000subscribers to our stages; and the NACrecorded its fourth consecutive annualsurplus, leaving the organization with anaccumulated surplus of over $1.1 million.

The National Arts Centre’s Board of Trustees,under the inspired leadership of DavidLeighton, deserves a great deal of credit forthe organization’s resurgence in recent years.They’ve shaped the organization’s strategicdirection, and they’ve given great encourage-ment to the new creative initiatives developedby our artistic leadership team.

The staff of the National Arts Centre arecommitted to maintaining the standard ofexcellence originally set by Hamilton Southamand the other visionary founders of Canada’sperforming arts centre. I’m grateful for theirsupport and contributions every day. Theytruly are the best in the business.

From the President and Chief Executive Officer

Peter A. HerrndorfPresident and Chief Executive Officer

...to have the support of thiscultural phenomenon calledthe National Arts Centre thathas been so much a part ofmy personal artistic journey,I am truly honoured…And ifthe performances resultingfrom this partnership giveeven one audience memberone moment of fresh insightand appreciation, this will bea fabulous accomplishment...”

– TED ROBINSON, FOUNDER – TEN GATES DANCING

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I wanted to jump on boardright away. The next fouryears are going to be electricfor us.”

– NEW MUSIC AWARD WINNER, ALEXINA LOUIE

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Top left: Garth Fagan Dance Photo: Steve LazubettaTop right: NACO members in concert. Photo: Fred CattrollMiddle: David Fox, Tom Barnett, JerryFranken, The Drawer Boy by MichaelHealey Photo: Bruce MonkMiddle right: Giselle, The RoyalWinnipeg Ballet Photo: Paul MartensBottom left: Patricia Fagan and GordonRand in Vinci, by Maureen Hunter.Photo: Gordon King

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A Memorable Season

The National Arts Centre’s artistic leadershipteam – Pinchas Zukerman, Marti Maraden,Denis Marleau, Cathy Levy and Michel Dozois– have had a remarkable impact on both theartistic climate and the audience response atthe NAC, and they provided a season full of highlights. With superb programming andworld-class artists, the 2001-2002 season wasone of the best ever.

MusicA breathtaking array of artists performed withthe NAC Orchestra and in recital in 2001-2002, including violin virtuoso Sarah Chang,who charmed her audience with the BrahmsConcerto for Violin in D major, and Germanchanteuse Ute Lemper, who gave a powerfulrendition of Weill’s The Seven Deadly Sins.

The impressive list continued with Canadianpianists Marc-André Hamelin and AngelaHewitt, American soprano Dawn Upshaw,and Polish pianist Krystian Zimerman. Thelegendary pianist Radu Lupu joined PinchasZukerman for an all-Brahms program.And a number of NAC Orchestra members

were featured soloists in major concerts,including principal flute Joanna G’froerer,principal trumpet Karen Donnelly, principaloboe Charles Hamann, and principal celloAmanda Forsyth.

In a season full of exceptional music, threeperformances stood out: the musical magicof Yo-Yo Ma, Pinchas Zukerman and theNAC Orchestra playing together at the NACGala in September; the Brahms DoubleConcerto for Violin and Cello, evocativelyperformed by Pinchas Zukerman and AmandaForsyth in both Ottawa and Calgary; andPinchas Zukerman’s interpretation of Elgar’sepic Concerto for Violin in B minor, whichreceived rave notices from critics and audiencemembers alike.

The Elgar concert was featured live on CBCRadio’s In Performance, our broadcast partnerfor six other concerts this year.

The CJOH Pops Series had one of its mostsuccessful seasons in recent years, withappearances by the Canadian Brass, composerBurt Bacharach, and singer John Pizzarelli,among others.

Our CBC Records recording of FluteQuartets, featuring principal flutist JoannaG’froerer, violinist Martin Beaver, violistPinchas Zukerman and cellist AmandaForsyth, was named Best Canadian ChamberMusic Recording for 2001 by Opus Magazine;and Crossing Bridges, the television documen-tary that chronicled the Orchestra’s tour to theMiddle East in the fall of 2000, won the goldworld medal at the 2001 New York Festivals.

The NAC also unveiled its much anticipatedNew Music Programme in March. Threeprominent Canadian composers – DenysBouliane, Gary Kulesha and Alexina Louie –each received a $75, 000 Composer Award todevelop new works, and to be activelyinvolved in the National Arts Centre’s newYoung Composers Programme, which will takeplace annually starting in June 2003, and to beinvolved in a number of new music initiatives.

DanceIn her first full season as Producer of DanceProgramming, Cathy Levy succeeded inbringing great excitement and variety to theNAC’s stages, selecting 15 dance companiesfrom eight different countries for 16 dance

From the National Arts Centre to Canadians

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events. NAC audiences particularly enjoyedthe North American premieres of Belgium’sRosas performing Rain and The SleepingBeauty by Sweden’s Cullberg Ballet, as wellas the Canadian premiere of the GuangdongModern Dance Company from China.Seven dance companies made their firstNAC appearances this season, and morethan half of the dance performancesachieved attendance in excess of 90 per cent.

With the generous support of the CanrilCorporation – which began its three-yearcommitment to the Ballet Series – the NACbrought classics such as The Royal WinnipegBallet’s production of Giselle to enthusiasticcrowds. The production played to full housesand featured Evelyn Hart in a shimmeringperformance of her signature role. LesGrands Ballets Canadiens de Montréalperformed The Queen of Spades, an opulentnew full-length story ballet – the first suchnew work by the company in almost 40years. The National Ballet of Canada alsopresented a provocative new production,The Contract, based on The Pied Piper ofHamelin, featuring choreography by JamesKudelka and stunning visual elements.

Other 2001-2002 successes were the AustralianDance Theatre performance of Birdbrain; thedebut appearance of promising young U.K.dancer-choreographer Akram Khan; the ever-popular Les Ballets Trockadero de Monte Carlo;the riveting Lyon Opera Ballet’s All RavelEvening and the hip-hop sensation RennieHarris Puremovement from Philadelphia.

The highlight of the season, however, wasJames Kudelka’s wonderful production ofThe Nutcracker, which was a critical andbox office sensation. The stylish and imag-inative show was brought to Ottawa by The National Ballet of Canada for its 50th

Anniversary Season. Appearing for the firsttime outside Toronto, The Nutcrackerattracted over 23,000 patrons to 11 sold-out performances, generating an all-timerecord in revenues for dance performanceat the NAC.

English TheatreNow in her sixth season as Artistic Director,Marti Maraden continues to bring energy,intelligence and innovation to the NAC’sEnglish Theatre.

The season’s highlights included two worldpremieres staged by the NAC on theMainstage in co-production with partnertheatres. The first was David Young’sthought-provoking adaptation of Ibsen’s AnEnemy of the People. Directed by MartiMaraden, the production had a strong castand design team. After the Ottawa run, theplay transferred to Edmonton and the homeof its co-producer, The Citadel Theatre. Thesecond premiere was Vinci, the new play byacclaimed Winnipeg playwright MaureenHunter. This evocative production, directedby Dennis Garnhum, featured a fine cast andan inspired design concept. Co-producedwith the Manitoba Theatre Centre, the playsubsequently performed in Winnipeg forfour weeks… and will be seen at Toronto’sCanadian Stage Company in 2003.

The Mainstage Series also featured MichaelHealey’s successful The Drawer Boy, with theoriginal award-winning cast; Noel Coward’sPresent Laughter, produced with The CitadelTheatre, and the Canadian premiere of TomStoppard’s Indian Ink, starring Fiona Reid in aco-production with Toronto’s Canadian Stage.

The NAC is playing partner inthe creation of new works fromacross the country, somethingpossible today because of theregional dynamism on the stage.”

– THE GLOBE AND MAIL

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The announcement (of theNAC’s New Music Programme)drew rave reviews from theCanadian composers who wereat the NAC to hear about it.”

– STEVEN MAZEY, OTTAWA CITIZEN

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The Studio Series featured strong productionsof A Room of One’s Own starring Kelli Foxfrom the Shaw Festival; a new musical, WhenWe Were Singing by Vancouver’s DorothyDittrich, co-produced by Victoria’s BelfryTheatre; and a revival of Florence Gibson’saward-winning play Belle, co-produced byToronto’s Factory Theatre.

Audiences were also treated to several specialpresentations, including a sold-out produc-tion of Twelfth Night, beautifully directed byMarti Maraden for the holiday season, andan evening of readings called Nordic Nightwith the five Nordic Embassies as part of ourInternational Reading Series.

New play development continued to be amajor priority for the NAC’s EnglishTheatre. At the end of the year, EnglishTheatre had 17 scripts in development,including those commissioned, optioned orpart of the NAC/Great Canadian TheatreCompany Ottawa Playwrights Unit. Another11 plays were showcased as part of On theVerge, the NAC’s new play-reading series.

English Theatre’s Family and elementaryschool series of three plays was completelysold out.

The 2002 edition of the On the Verge festivalfeatured new plays by Canadian writersfrom the Yukon to Halifax. The festival washeld in May, to coincide with the CanadianTheatre conference – a national gathering ofCanada’s English Theatre community, hostedby the National Arts Centre.

Finally, the creation of a new volunteer group,the Friends of English Theatre, has been awelcome source of support for the NAC’sEnglish Theatre. They had a significant impactin their first year.

French TheatreDenis Marleau’s first season as Artistic Directorof French Theatre was both memorable andhighly successful.

In a uniformly strong season, a number ofproductions stood out – Denis Marleau’svibrant production of Au cœur de la rose,which attracted enthusiastic critical responsein both Montreal and Ottawa; Novocento, aco-production with Théâtre de Quat’Sous,which played to sold-out NAC audiences inthe fall; and Robert Lepage’s one man tour deforce, La face cachée de la lune/the far side ofthe moon, which was performed in bothFrench and English throughout its run. All of

Lepage’s performances – five in French andthree in English – were completely sold out.

In October, Denis Marleau won the CapitalCritics’ Circle Award for directing Catoblépas,an NAC French Theatre and UBU compagniede création co-production. Catoblépas wasfeatured as part of the NAC’s French Theatreline-up last season, and the production wasremounted at the prestigious Théâtre nationalde la Colline in Paris in November.

Denis Marleau went on to win the BestDirector Award for his work with UBU,compagnie de création at the Soirée desMasques in Montreal in February. TheMasques are Canada’s most importantFrench theatre awards.

The first Laboratoires du Théâtre françaiswere held in April with participants fromacross the country. Denis Marleau andAndré Markovicz, the renowned French andRussian translator, gave the master classes. Abook based on the master classes, entitledMatériau Dostoïevski, will be published inearly 2003.

The NAC’s French Theatre also introduced anumber of new and important initiatives to

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reach audiences. First, it began pre-showinterviews with artists called Les Rencontresdu jeudi. And later in the season, the FrenchTheatre published an elegant new theatricalreview – Les Cahiers du Théâtre français.Both initiatives received an appreciativeresponse from French Theatre audiences.

Presenting theatre for young audiences hasalways been a central focus for the NAC’sFrench Theatre, and Denis Marleau expandedon that commitment over the past year. TheFrench Theatre presented seven plays foryoung audiences, including Le Pingouin –an NAC French Theatre/Théâtre Bouchesdécousues co-production, which will betouring French Canada in 2003-2004.

Community ProgrammingRiding the wave of its first successful season,the NAC’s Fourth Stage continued to attracta wide range of local performers and enthu-siastic audiences on a nightly basis.

The intimate and highly flexible performingspace became even more of a local favourite in its second season, and the Producer ofCommunity Programming, Michel Dozois,featured more than 200 performances duringthe year. Fourth Stage performers included

folk singers Ian Tamblyn and Lynn Miles,pop artist Eric Dubeau, the Ottawa KlezmerBand, and jazz musician, John Geggie, whosemusical versatility was showcased in aremarkable series called Geggie Cubed.

Other groups that became regular FourthStage attractions included the madcap satiricalgroup Company of Fools and the OttawaSchool of Dance. The Algonquin College HotHouse Reading Series was also a big hit, withthe Fourth Stage providing an opportunity forcollege students to do original play readings.The Ottawa Storytellers were back for theirsecond season as well, and the Ottawa FringeFestival returned with performances fromfour companies.

Community Programming also presentedthe popular series Come Celebrate in the NAClobby during the December holiday season.Eighteen different groups, including the bestamateur choirs and dance troupes in theregion, performed on the lobby stage over athree-week period.

VarietyThe National Arts Centre continues toshowcase the very best variety talent in thecountry. In the past year, the NAC featured

flamenco guitarist Jesse Cook, FrançoisMorency, Alain Morisod, Holly Cole, theacclaimed Quebec production of the musicalRoméo et Juliette, the Kids in the Hall,Amanda Marshall, Jann Arden, and jazz divaDiana Krall.

In addition to the best of Canadian artists,the National Arts Centre also featured,among others, George Carlin’s irreverentbrand of comedy; Herbie Hancock’s grace-ful jazz stylings; rock legend Prince; jazzinnovators Medeski, Martin and Wood; theIrish Dance troupe Lord of the Dance; and thegrand old man of the blues, BB King, who at76, filled Southam Hall and left the audiencewanting more.

Opera and Classical Music PartnersThe National Arts Centre is very proud ofits ongoing relationship with two otherOttawa-based performing arts companies– Opera Lyra Ottawa and the OttawaSymphony Orchestra – which present theirproductions and concerts on the NAC’sSoutham Hall stage. Opera Lyra Ottawaperformed Salome and La Bohème in 2001-2002, accompanied by the NAC Orchestra,and had another highly successful year.The Ottawa Symphony Orchestra presented

I’ve never seen anorganization be so in tune with what studentswant…Thank you!”

– LIVE RUSH STUDENT FEEDBACK

The arts really occupy a veryspecial place in our lives,bringing the people, as different as we are, together.”

– DMITRI SHTEINBERG, PARTICIPANTYOUNG ARTISTS PROGRAM

NEW YORK, NEW YORK

“Top left: National Ballet of Canada TheNutcracker. Photo: Lydia PawelakTop right: The Haman/Navas ProjectPhoto: Donald LeeMiddle: Rain Photo: Herman SorgeloosMiddle right: Tom Rooney and TerriCherniack, An Enemy of the People,adaptation by David YoungPhoto: Gordon KingBottom middle: Marc Legault, MichelDumont, Adèle Reinhardt LouisonDanis, Guylaine Tremblay, 24 Poses.Photo: Pierre Desjardins

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five concerts at Southam Hall, and attractedlarge audiences and good reviews.

Performing on the National Stage

The NAC also devoted a great deal of energyover the past year to playing a national rolein the performing arts – both by supportingartists and arts organizations in the differentparts of the country, and by reaching out toaudiences across Canada.

During the 2001-2002 season, the NACcontinued to play an important collaborativerole in Canadian theatre, partnering in tenmajor co-productions with English andFrench Theatre companies across the country.These projects ranged from two westernCanadian co-productions – Vinci, which wasdeveloped and co-produced with the ManitobaTheatre Centre and Present Laughter, withEdmonton’s Citadel Theatre … to Novocento,which was co-produced with Montreal’sThéâtre de Quat’Sous.

The NAC also finalized its plans for theOrchestra’s performing and teaching tour of

all four Atlantic provinces (which took placein November of 2002) … and we participat-ed in the successful Eastern Canada Tour ofPierre Brault’s one-man show, Blood on theMoon. The production will tour Ireland inMarch of 2003.

The French Theatre Department, with itsDéveloppement du théâtre en régions initiative,helped eight projects by professional fran-cophone theatre companies across Canada.

We also worked closely with arts organizationsin Atlantic Canada to develop the NAC’s planfor the multidisciplinary Atlantic Scene inApril of 2003. Atlantic Scene will be anexciting two-week arts festival, showcasinghundreds of Atlantic Canadian performersin the nation’s capital. And we expect tobegin working soon on a second arts festivalof this kind – Alberta Scene, which will beheld in 2005 to coincide with Alberta’s 100th

anniversary in Confederation.

The National Arts Centre played an importantrole as well, as the host for major nationalevents. These included the 10th AnniversaryGala of the Governor General’s Performing

Arts Awards; the ninth edition of the biennialCanada Dance Festival co-produced by theNAC; the 25th annual Canadian ImprovGames (with 16 schools from Victoria toSt. John’s taking part); and in May, MartiMaraden and her English Theatre colleaguesfrom across the country announced thecreation of Magnetic North, a new annualfestival of Canadian theatre which will debutat the National Arts Centre in the spring of 2003.

The NAC also hosted the first nationalround-table on “investing in youth throughthe performing arts” in September of 2001,and corporate CEOs joined senior federalcabinet ministers in exploring different waysto provide private-sector support to the arts... and to arts education.

And finally, Pinchas Zukerman and AmandaForsyth donated their services to perform ina Calgary fundraising benefit for the CalgaryPhilharmonic Orchestra (CPO). The concertgenerated much-needed funds for theCPO, and delivered an important messageabout the NAC’s role in supporting otherorganizations nationally.

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Inspiring the Young

The National Arts Centre continued toemphasize the importance of youth andeducation activities over the past year. TheYoung Artist Programme at the NAC wasexpanded to three weeks, and under PinchasZukerman’s inspirational leadership, theprogramme attracted 34 of the most giftedyoung violinists, violists, cellists and pianistsfrom across Canada … and around the world.

The NAC’s annual international ConductorsProgramme flourished as well, under thetutelage of Finnish conducting master, JormaPanula and Pinchas Zukerman; and the NACannounced its plans last year to create anannual Young Composers Programme,starting in the late summer of 2003. It willrun in tandem with the Young ArtistsProgramme and the Conductor’s Programme.

The National Arts Centre also launched itsinteractive, educational website ArtsAlive.cain classrooms in six cities in February. Thewebsite includes three-dimensional viewingof musical instruments, interviews withNAC Orchestra musicians, biographies ofwell-known composers and a range of musical

games. Students, teachers and parents acrossthe country have been enthusiastic about thisnew educational service, and we’ll introduce atheatre component in the coming year. TELUSis the major sponsor of ArtsAlive.ca.

The NAC Orchestra’s Young People’s Concertsand Student Matinees (conducted byBoris Brott) … and a wide range of youthperformances in English and French Theatre… attracted close to 50,000 students lastyear. And high school, college and universitystudents in Calgary are joining the NAC’s LiveRush programme. The NAC and 12 majorperforming arts organizations in Calgaryannounced last spring that the popular rushseat programme would be available in Calgaryin the fall of 2002. The initiative was gener-ously supported by Clarica, the Canadian lifeinsurance company.

Financial Stability

The NAC’s ongoing commitment to puttingthe emphasis … and the excitement …back on our stages continues to have ahighly positive effect on the organization’sfinancial health.

The National Arts Centre finished the 2001-2002 fiscal year with its fourth consecutiveannual surplus, leaving the NAC with anaccumulated surplus just over $1.1 million.

Total box office revenues for the NACOrchestra, English Theatre, French Theatre,Dance and Variety reached almost $9 million– a National Arts Centre record. The NAC’ssubscription revenues reached $4.7 million –another all-time high, and we attractedalmost 35,000 subscribers for the 2001-2002 season.

The NAC’s restaurant and CateringDepartment continues to set a high standardfor the organization – from both a culinaryand financial point of view. And the NAC’scommercial parking operation netted recordrevenues over the past fiscal year.

Philanthropic Pursuits

The NAC’s Development Department hashad an exceptionally busy and productiveyear. Under the superb leadership of DarrellGregersen, the NAC Foundation raised arecord $3 million over the past year –

ArtsAlive.ca draws on the muscle of technology and themagic of the performing artsto help us in our shared goalto connect Canadians withtheir culture, with each other,and with the world.”

– THE HONOURABLE SHEILA COPPS,MINISTER OF CANADIAN HERITAGE

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with the National Arts Centrereaching across the vaststretches of Canada in myriadventures, it now truly lives upto its name.”

– THE GLOBE AND MAIL

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Top left: Un Autre Monde.Photo: Andre LalibertéTop right: Les Ballets Trockadero deMonte Carlo Photo: David TanMiddle: Nigel Shawn Williams andYanna McIntosh, Belle, by FlorenceGibson Photo: Nir BaraketBottom left: Concert master WalterPrystawski Photo: Fred Cattroll

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through its annual fundraising campaign; itshighly successful special events like the NACGala and the Black and White Opera Soirée;its innovative major gifts programme; andits newly designed planned giving initiative.Ottawa lawyer Guy Pratte was elected as theFoundation’s first Chairman, and we expectto complete the recruiting for the nationalFoundation Board in the 2002-2003 year.

The NAC Foundation also created the“American Friends of the National ArtsCentre” in 2001-2002, to accept U.S. contri-butions to the Foundation. Gordon Giffin,the former American Ambassador toCanada, is currently serving as the charity’sfirst chairman. Other directors include ABCnews broadcaster Peter Jennings, Ottawahigh-tech entrepreneur Michael Potter, andthe former Dean of the Harvard BusinessSchool, John McArthur.

Workplace Stability

The National Arts Centre continued to focuson workplace stability over the past year bynegotiating three-year agreements with our

ushers and our orchestra musicians, as wellas a five-year agreement with our wardrobepersonnel. It means that all of the NAC’sunionized employees are currently workingunder long-term collective agreements withthe NAC.

Technology and the Arts

The National Arts Centre continues to playan important leadership role in combiningnew technologies and the performing arts.Whether it was Pinchas Zukerman or MartiMaraden using broadband technology to domaster classes with young violinists or actorsthousands of miles away; or the NAC’s newinteractive, educational website ArtsAlive.ca,the National Arts Centre used both the Internet and broadband technology to engageand support students, parents and teachers.Together with partners like the NationalResearch Council, the CommunicationsResearch Centre and the Department ofCanadian Heritage, the NAC is leading theway in telementoring, educational outreachand interactive content.

Professional and Dedicated Staff

It’s been a very successful year at the NationalArts Centre, and most of the credit should goto the remarkable men and women whowork at the NAC. They infuse the NationalArts Centre with their passion, and theirdedication and creativity bring magic to ourstages … and to our work across the country.

BOARD OF TRUSTEES 2001-2002

In accordance with the National Arts Centre Act, the Board of Trustees is responsible for the management of the National Arts Centre Corporation. The Board consists of ten members includingthe Chair. Four outside members also sit on various committees of the Board.

BOARD OF TRUSTEES 2001-2002

David S.R. Leighton, ChairLondon, Ontario 1*, 2, 3, 4*

Adrian Burns, Vice-ChairOttawa, Ontario 1

Rosemarie Landry, C.M.Caraquet, New Brunswick 3* (Co-Chair)

Carole McDougallDartmouth, Nova Scotia 3* (Co-Chair)

Royce Frith, QCVancouver, British Columbia 4

Roberto MartellaToronto Ontario 4

Jenny BelzbergCalgary, Alberta 1, 2*

Louis LagasséSherbrooke, Quebec 2

Bob Chiarelli, (ex officio)MayorOttawa, Ontario

Yves Ducharme, (ex officio)MayorGatineau, Quebec 4

David H. Hill, (outside member)Ottawa, Ontario 1

William G. Breen, (outside member)Ottawa, Ontario 2

James Nininger, (outside member)Ottawa ON 3

François Colbert, (outside member)Montréal, Quebec 4

Committees of the Board1 Governance, Nominating and Ethics Committee2 Finance and Audit Committee3 Human Resouces and Compensation Committee4 Marketing, Development and Communications Committee* Committee Chair

ARTISTIC AND CREATIVE LEADERSHIP

Michel Dozois, Producer, Community Programming and Special Events

Cathy Levy, Producer, Dance Programming

Marti Maraden, Artistic Director, English Theatre

Denis Marleau, Artistic Director, French Theatre

Kurt Waldele, Executive Chef

Pinchas Zukerman, Music Director, National Arts Centre Orchestra

Kari Cullen, Producer and Executive Director, Atlantic Scene

SENIOR MANAGEMENT

Robert Asselin, Director of Patron Services and ActingCorporate Secretary

Christopher Deacon, Managing Director,National Arts Centre Orchestra

SENIOR MANAGEMENT CONT’D

Fernand Déry, Administrator, French Theatre

Ashok Dhawan, Director of Restaurants and Catering

Alex Gazalé, Production Director

Darrell L. Gregersen, Executive Director of Development and CEO, National Arts Centre Foundation

Peter A. Herrndorf, President and Chief Executive Officer

Gilles Landry, Senior Director, Operations

Heather Moore, Director of Marketing

Maurizio Ortolani, Producer, New Media

Daniel Senyk, Chief Financial Officer

Victoria Steele, Administrator, English Theatre

Richard Tremblay, Director, Administrative Services

Sophia Trottier, Director of Human Resources

Jayne Watson, Director of Communications

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The Board of Trustees, which is responsible for,among other things, the financial statements ofthe National Arts Centre Corporation, delegatesto Management the responsibility for thepreparation of the financial statements and theannual report. The Finance and Audit Committeeof the Board of Trustees is responsible for theirreview. Management prepared the summerizedfinancial statements and on the recommendationof the Finance and Audit Committee, the Board ofTrustees has approved these statements. Otherfinancial and operating information appearing inthis annual report is consistent with that containedin the financial statements.

Management maintains financial control, andinformation systems designed in such a manneras to provide a reasonable assurance that reliableand accurate information is produced on atimely basis and that the transactions are inaccordance with the National Arts Centre Actand the by-laws of the Corporation.

The Auditor General of Canada conducts anaudit of the complete financial statements of theCorporation in accordance with Canadiangenerally accepted auditing standards and

reports on the results of that audit to the Chairof the Board of Trustees of the National ArtsCentre Corporation on an annual basis. TheAuditor General of Canada also reports on the fairsummarization of the accompanying summarizedfinancial statements.

The complete audited statements as well as themanagement discussion and analysis are availableon-line at www.nac-cna.ca/ar/ or by calling(613) 947-7000 extension 251.

Peter A. Herrndorf, O.C.President and Chief Executive Officer

Daniel Senyk, CAChief Financial Officer

October 25, 2002

Management Responsibilities

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To the Chair of the Board of Trustees of theNational Arts Centre Corporation

The accompanying summarized balance sheetand statements of operation and equity andcash flows are derived from the completefinancial statements of the National Arts CentreCorporation at August 31, 2002 and for the yearthen ended on which I expressed an opinionwithout reservation in my report dated October25, 2002. The fair summarization of the completefinancial statements is the responsibility of theCorporation’s management. My responsibility,in accordance with the applicable AssuranceGuideline of the Canadian Institute of CharteredAccountants, is to report on the summarizedfinancial statements

In my opinion, the accompanying financialstatements fairly summarize, in all materialrespects, the related complete financial state-ments in accordance with the criteria describedin the Guideline referred to above.

These summarized financial statements do notcontain all the disclosures required by Canadiangenerally accepted accounting principles. Readersare cautioned that these statements may not be appropriate for their purposes. For moreinformation on the Corporation’s financialposition, results of operations and cash flows,reference should be made to the related completefinancial statements.

Richard Flageole, FCAAssistant Auditor Generalfor the Auditor General of Canada

Ottawa, CanadaOctober 25, 2002

Auditor’s Report on Summarized Financial Statements

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Summarized Balance SheetAt August 31

2002 2001(In thousands of dollars)

AssetsCurrent

Cash and short-term investments 18,582 10,665Accounts receivable 2,053 1,864Other current assets 2,809 2,615

23,444 15,144

Investments 2,000 —Capital assets 17,210 16,874

42,654 32,018

LiabilitiesCurrent

Accounts payable and accrued liabilities 6,214 5,340Deferred revenue and parliamentaryappropriations 16,327 7,021

22,541 12,361

Deferred capital funding 17,210 16,874Other long-term liabilities 1,792 1,760

41,543 30,995

Equity of CanadaAccumulated surplus 1,111 1,023

42,654 32,018

Approved by the Board of Trustees:

Summarized Statement of Operations and EquityFor the year ended August 31

2002 2001(In thousands of dollars)

RevenuesCommercial operations 11,236 11,646 Programming 9,974 9,914 Fundraising and distribution from the National Arts Centre Foundation 2,850 2,957 Investments and other revenue 1,145 1,623

25,205 26,140

Parliamentary appropriations 25,665 25,231 50,870 51,371

ExpensesCommercial operations 7,677 7,868 Programming 26,333 25,543 Fundraising and development 1,650 1,403 Building operations 9,206 9,970 Administration and Informationtechnology 5,916 6,425

50,782 51,209

Net results of operations 88 162

Equity of CanadaEquity - beginning of year 1,023 861Equity - end of year 1,111 1,023

National Arts Centre CorporationCondensed Financial Statements

The complete audited statements as well as the management discussion and analysis are available on-line at www.nac-cna.ca/ar/ or by calling (613) 947-7000 extension 251.

Chair Chair of the Finance and Audit Committee

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Summarized Statement of Cash FlowsFor the year ended August 31

2002 2001(In thousands of dollars)

Operating activitiesNet results of operations 88 162 Amortization, not affecting cash and investments 2,912 2,951

3,000 3,113

Changes in assets and liabilitiesfrom operating activities 10,168 1,359

Cash flows provided by operating activities 13,168 4,472

Investing activitiesInvestment (2,000) —Additions to capital assets (3,248) (2,939)Restricted cash and investments (4) 136 Cash flows used for investing activities (5,252) (2,803)

Increase in cash position 7,916 1,669

Cash position at beginning of year 10,665 8,996

Cash position at end of year 18,581 10,665 Composed of Cash and short-term investments

Note to the Summarized Financial StatementsThe National Arts Centre Foundation

In July 2000 the National Arts Centre Corporation established theNational Arts Centre Foundation as the focal point for increasedfundraising, development and sponsorship activities. The Foundationis a separate entity from the Corporation and is incorporated underthe Canada Corporations Act. All funds raised will be used for thepriorities of the Corporation, as will be determined between theCorporation and Foundation from time to time.

The voting members of the Foundation are the current CorporationBoard of Trustees. The Board of Directors of the Foundation is electedby the voting members of the Foundation. The financial position andresults of operations of the Foundation have been audited and havenot been consolidated in the Corporation's financial statements. All ofthe direct expenses related to the operation of the Foundation to August31, 2002, with the exception of legal, audit and insurance expenses, havebeen reported in the statement of operations and equity of theCorporation as Fundraising and development expenses. The distributedamounts to the Corporation by the Foundation are recorded as NationalArts Centre Foundation revenues in the Corporation's summarizedstatement of operations and equity.As at August 31, 2002, the Foundationhad net assets of $1.1 million.

The complete audited statements as well as the management discussion and analysis are available on-line at www.nac-cna.ca/ar/ or by calling (613) 947-7000 extension 251.

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The 2001-2002 season represented one oftremendous accomplishment for the NationalArts Centre Foundation – the fundraisingarm of the NAC – which succeeded in raising$3.0 million from the local and nationalcommunity, a substantial increase over lastyear. We are pleased to say we exceeded ourgoals. Donors play a significant role in thesuccess of Canada’s National Arts Centre.

September 2001 brought the talents ofworld-renowned cellist Yo-Yo Ma to theNational Arts Centre for our annual Gala.The Gala was our most successful yet,doubling proceeds from the previous yearand generating over $500,000 thanks to thehard work of Greg Kane and his dedicatedcommittee. The funds raised support youthand education through the newly formedNational Youth and Education Trust.

The Black and White Opera Soirée inFebruary featured the talents of Canadianopera stars Measha Bruggergosman, Marie-Nicole Lemieux, Robert Pomakov and TerryCook along with the Opera Lyra chorus,and the NAC Ochestra. Revenues of $325,000were impressive. The proceeds were splitevenly between the NAC and Opera LyraOttawa and were used for youth and educationactivities at both institutions.

This year also saw the expansion of the YoungArtists Programme from two weeks to three,accomplished solely through the generosityof a private donor. This wonderful gift wasleveraged to generate full scholarships for allCanadian participants in the programme –16 in total. We also saw the successfulintroduction of the Conductors Programme.

Both programmes are made possible exclu-sively through the generosity of donors.These are wonderful examples of how gifts tothe NAC Foundation really make a difference– both to the young artists who participatedthis past summer and to the NAC in its abil-ity to deliver on its key strategic goals ofyouth and education and our commitmentto our national mandate.

Donor support also remains key to theoperation of community programming onthe Fourth Stage. This popular perform-ance venue receives a significant amountfrom gifts to the NAC Foundation.

We are pleased that not only local supportbut national support is growing steadily.Sponsorship is a good example. The supportof sponsors has made possible a number ofkey programs at the NAC, in Ottawa andacross Canada. Just two examples are:TELUS which made possible the launch ofArtsAlive.ca, our interactive website forstudents and teachers; and Clarica, respon-sible for our Live Rush program justlaunched at 12 performing arts institutionsin Calgary.

Stewardship remains a top priority in ourfundraising efforts. Seventy-five per cent ofdonations received by the Foundation weredirected to particular projects or programs.This indicates to us that we have a donorbase that is highly loyal to the artistic goalsof the NAC. Recognizing our donors andlinking them most closely to their interestshas been critical to building our major andplanned giving efforts as well.

This year’s successes are largely a result ofstrong leadership and support from theNAC Foundation board under the guidanceof Foundation CEO Darrell Louise Gregersen.To help us build national support, we haveworked hard to attract board members fromdifferent parts of the country. By the end of2001-2002, the Foundation board hadgrown to 11 directors: Grant Burton(Toronto), Kiki Delaney (Toronto), AntoinePaquin (Ottawa), Louise Patry (Montreal),Guy Pratte (Ottawa), Hamilton Southam(Ottawa), Fred Fountain (Halifax), LeslieGales (Toronto), Michael Goldbloom(Montreal), Stefan Opalski (Ottawa) andJohn Risley (Bedford, NS). In addition,David Leighton and Peter Herrndorf actedas ex officio members.

We are delighted that Guy Pratte acceptedour invitation to become the first formalChairman of the NAC Foundation board.Mr. Pratte has been a trusted member of theboard since it was formed in 2000. He bringsto the position tremendous passion, insight,strong roots in the community and a realcommitment to the performing arts inCanada. He will help us to recruit otherboard members from all regions of Canada.

We are particularly pleased that the efforts ofour Foundation board are seeing resultsacross the country and we will continue toplace a high priority on fulfilling our nationalmandate so that all Canadians see value incontributing to their National Arts Centre.

National Arts Centre Foundation

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The National Arts Centre Foundation proudly exceededits fundraising goal in 2001-2002, resulting in a totalcontribution of $3 million to the National Arts Centre’sactivities. With the outstanding generosity of its donorsand sponsors, the National Arts Centre was able tocontinue its delivery of superlative performances anddistinguished youth and educational outreach programmesto Canadians across the country.

In the list below, we gratefully acknowledge thosewho have contributed $1,000 or more to the NationalArts Centre Foundation in 2001-2002. Our gratitudeextends, however, to all those who have chosen theNational Arts Centre as the recipient of their support.Thank you!

Donors 2001-2002

Producer’s Circle

Dr. Ruth M. Bell, C.M.

Canadian Motion PictureDistributors Assoc.

Catherine and Maxwell MeighenFoundation

The Chawkers Foundation

Stuart and Shirley Conger

Barry and Laine Cooper

John A. Craig

Ian and Kiki Delaney

Fred and Elizabeth Fountain

Jeanne F. Fuller

Keith Ray and Leslie Gales

The George Cedric MetcalfCharitable Foundation

Marjorie Goodrich

Daniel Greenberg and Barbara Crook

Sarah Jennings and Ian Johns

Laidlaw Foundation

National Arts Centre OrchestraAssociation

Octavian Society

Stefan and Magdalena Opalski

The Ottawa Jewish CommunityFoundation

J. R. Marc Antoine and Kerry Paquin

Michael U. Potter

Pratt and Whitney Canada Corp.

Jim and Trish Roche

Mr. and Mrs. J. Skarzenski

Privatstiftung Sommerer

Ann Southam

Leah Superstein

William and Phyllis Waters

Director’s Circle

Michael Bell and Anne Burnette

Jenny Belzberg

Tony and Marlene Bogert

Dr. Trevor and Yvonne Chin Quee

Dilfo Mechanical Ltd.

Ian Engelberg and Joseph Cull

David Franklin and Lise Chartrand

Dr. and Mrs. Gunther

Dr. Angela Koritnik

Samuel and Caroline Kucey

Monique Lachance

Frances Lazar

Richard and Patty Levitan

Brandi Ellen MacDonald

The McKinlays; Kenneth,Ronald and Jill

Barry McLoughlin and Laura Peck

H. O. and Frances Moran

Peter Lynch and Louise Patry

Mr. and Mrs. E. C. Ridgen

The Honourable Mitchell Sharpand Mme Jeanne d’Arc Sharp

St- Laurent Dental Centre

Studio Michel Antoine

William and Jean Teron

Julie Teskey

Maestro’s Circle

Bill Bates and Ingrid Hansen Bates

Mary B. Bell

Carla Berend and Alejandro Ramirez

Boulet and Associates

Peter and Livia Brandon

Doris A. Burgess

Mr. and Mrs. Coaker

Eva Steif Cohen

Patricia Cordingley

Ross and Diane Craddock

Mr. Oliver Javanpour and Ms Diane Crouse

D. Shore Consulting Inc.

John de la Mothe

Douglas Frosst and Lori Gadzala

Drs. Michael and Karen Fung Kee Fung

Carrie Lee Chung and Xavier Furtado

Sue Geffken-Graham and Megan Graham

Mr. James W. Gill

Darrell and D. Brian Gregersen

Don and Lois Harper

Dorothy and John Harrington

Mr. Brian Hearty

The Heaslip Family Foundation

Peter Herrndorf and Eva Czigler

Ruth B. Honeyman

Lois M. Johnston

Maryanne Kampouris and Michael Cowley-Owen

Ken and Gail Larose

Gaston Lauzon and Carol Lauzon

Donors

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Roland and Julie Madou

E. Mandl

Ian and Joan McDonald

Earl Montagano

Charles and Sheila Nicholson

Dr. Robert Prokopetz

Kevin Sampson

Go Sato

Seabrook Bros. Mechanical Ltd.

Judy and Rob Scrimger

Noel and Norma Sharp

Hamilton and Marion Southam

Carol Stephenson

Hala Tabl

Dr. Kenneth and Margaret Torrance

Vernon and Beryl Turner

Valerie Bishop-DeYoung and Phil Waserman

Paul Zendrowski and Cynthia King

Playwright’s Circle

Daphne Abraham

Pat P. Adamo

Diana Ainslie

Am-Tech Power Systems Ltd.

Dr. Gregory P. Antoniak andElizabeth Livingston

Mr. John Barclay

Albert and Sherry Bearzatto

Paul and Rosemary Bender

Marion and Robert Bennett

June Black

Stephen Bleeker and Janice McDonald

Helen L. Bobyn

Walter and Leslie Boyce

John J. Boyer

Michael and Laura Brett

Dorothy M. Brigley

Nick Busing and Cathy Aitken

Dr. Craig and Mrs. ElizabethCampbell

Tom and Elizabeth Charlton

Spencer and Jocelyn Cheng

Dianne Colley

Michael and Beryl Corber

Diane Cousineau

CTD Ltd.

Dr. Marilyn Daryawish and Dr. Sargon Gandilo

Arthur Drache and Judy Young

Mr. Tom A. Duxbury and Dr. Lynn Morgan

Mr. Claude Edwards

Emond Harnden LLP

Farrell Communications Inc.

Gordon and Judy Farquharson

Sheila Forsyth

Louis Fournier

Barb and Bob Gallagher andFamily

Dr. Robert Ganske and Mrs. Lyn Ganske

Vera and George Gara

Carey and Nancy Garrett

Sylvia Gazsi-Gill and John Gill

Lynda A. E. Gibson

Frederick and Jean Gilbert

David Golden

Robert and Lynn Gould

Richard and Marlene Goulette

John Graham

David and Rachelle Greenberg

Kathleen Grimes

Charles and Linda Gunning

Keith and Suzanne Halpenny

Stephen and Raymonde Hanson

Margaret Henricks

Mark Hierlihy

Steve and Lynn Hindle

Alan and Esther Hockin

Catherine Hollands

Jacquelin Holzman and John Rutherford

Aniko G. Jean

Michael Jones and Karen Kaschube

Mr. Ryan Jordan

Marcelle Jubinville

Alan Judge

M. Dimitri Kampouris

Beatrice K. Keleher-Raffoul

Heinz Keller and Danielle Wadon

Ken Richardson FireTechnologies Inc.

Dr. John Kershman and Ms Sabina Wasserlauf

Kessels Upholstering Ltd.

Lee and Anne Kinsman

David and Diana Kirkwood

Mr. and Mrs. Michael Krause

Honourable Richard H. Kroft andMrs. Hillaine Kroft

Dr. Stanley Labow

Alain Lagace

Denis and Suzanne Lamadeleine

Marc LeBlanc

Dr. and Mrs. Leighton

Giles and Carolle Leo

Jean B. Liberty

Ms Doreen Liddiard

Helen Lister

Cintec Canada Ltd.

Major William Lye and Dr. Judith Davey-Lye

Maciborka and Associates

Mrs. Rose C. (Gentile) MacMillan

Marti Maraden

Marks Pfeifer Associates

Dr. Ruth McPherson and Mr. Yves Marcel

Colonel Thomas R. McCoy

Mary Papadakis and Robert McCulloch

Carol, Grant and Braden McDonald

Ms Elizabeth McGowan

Mr. Michael McLaughlin

Mrs. Anne Molnar

Barbara Havrot and Donald Moore

Chris and Colleen Morash

Mr. Joel Morin

Carol Motuz and Company Inc.

Dr. Helen K. Mussallem

Glenn Noakes

Vidar and Julianne Nordin

Russell Pastuch and Lynn Solvason

Peartree Solutions Inc.

Dr. and Mrs. Bhisma Persaud

Peter and Olga Pettengell

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Phyllis Pomer

Walter and Viki Prystawski

Dr. Derek Puddester and Mr. David Rose

Mrs. Aileen S. Rennie and Mrs. Elena Dent

Fritz and Luba Schmidt

Heather Skuce

Hyman and Ruth Soloway

Maria Somjen

Dr. Chrissoula Stavrakaki and Dr. George Stavrakaki

Victoria Steele

Elizabeth Stewart-Hessel

Dr. and Mrs. James Swail

Dr. Susan Swiggum and Dr. Jack Adam

Anita Szlazak

Elizabeth Taylor

Heather K. Thornton

Ms Janet Thorsteinson

Ralph B. Toombs

Janet Tulloch and Bradley Pascoe

Dr. S. Verma

Stephanie Villeneuve

Susan Vorner-Kirby

Nancy and Wallace Vrooman

Gordon and Heather Walt

Marianne’s Inc.

Don and Billy Wiles

Bertha Wilson

Janet Yale and Daniel Logue

Paul Ziebarth Electric

Jeffrey York

Wendy Zych and Heather Zych

The Emeritus Circle

To our Charter Members of theEmeritus Circle, we extend ourheartfelt thanks for the profoundcommitment you have made toyour National Arts Centre.

John Arnold

David Beattie

Mary B. Bell

Roxanne Connick-Carlisle

Patricia Cordingley

Sylvia Gazsi-Gill and John Gill

James Wilson Gill

Sarah Jennings and Ian Johns

Michael U. Potter

Betty Riddell

Daniel Senyk

The Honourable Mitchell Sharpand Mme Jeanne d’Arc Sharp

Sandra Lee Simpson

Hamilton and Marion Southam

Jayne Watson

The new Emeritus Circle paystribute to our friends who havechosen to support the work ofCanada’s National Arts Centrethrough planned gifts such asbequests, endowments and giftsof financial instruments other thancash. Everyone who advises us theyhave made a planned gift to theNational Arts Centre is invited tojoin this honorary circle.

Sponsors

Accenture

Air Canada

Alcatel

American Friends of Canada (The)

Arnon Corporation

A & E Television Networks

Audi Canada

BDO Dunwoody LLP

Bell Canada

Borden Ladner Gervais LLP

Canril Corporation

CanWest Global CharitableFoundation

Capital Box of Ottawa Ltd

Capital Hill Hotel & Suites

Casino du Lac Leamy

CBC/Radio-Canada

CJOH-CTV

Clarica

Cognos Inc

Corus Entertainment Inc

CPAC

Dollco Printing

Enbridge Consumers Gas

Export Development Canada

Fondation J Armand Bombardier

Foothills Pipe Lines Ltd

Future Shop

Galaxie - The Continuous MusicNetwork

Ideas Canada Foundation

Imperial Oil CharitableFoundation

LeDroit

Lowe-Martin Group (The)

Mark Motors of Ottawa

NewRO (The)

Ottawa Citizen

Ottawa Piano-Organs

Petro-Canada

Power Corporation of Canada

Rogers Television

Scotiabank

TELUS