The GrandTheatre acknowledges that we are located on the traditional territories of the Original storytellers and caretakers of this land, and of the Nations, both settler and Indigenous, who continue to uphold the various treaties of theAnishinaabek, Haudenosaunee, and Lunaapéewak.
In London, our treaties include the 1796 LondonTownshipTreaty and the 1822 LongwoodsTreaty.The LondonTownshipTreaty was a regional treaty signed by diplomats representing all parties living on the land, which today we know as Southwestern Ontario.The LongwoodsTreaty was signed by representatives of the Crown and the Chippewas of theThames First Nation and covers approximately 580,000 acres in the area.
Locally, there are three First Nations Communities.They are the Chippewas of theThames First Nation, the Oneida Nation of the Thames, and the Munsee Delaware Nation.We would also like to recognize the growing Indigenous urban population, comprised of First Nations, Métis, and Inuit people, and affirm our commitment to welcoming these communities to the GrandTheatre, while working to remove barriers to access and participation.
We value the significant historical and contemporary contributions of local and regional First Nations, and all of the Original Peoples of Turtle Island (colonially known as NorthAmerica), and acknowledge the traditional lands upon which we live, work, share, and tell stories together.
Designed by Katie Wilhelm
CHAIR’S REPORT
It is my privilege and honour to present the Chair’s Report for the Grand Theatre's 24/25 Annual Report.
I would like to begin by acknowledging the Grand Theatre’s leadership during what has truly been a remarkable season Artistic Director Rachel Peake delivered an extraordinary first season of programming, and Executive Director Lyndee Hansen completed her first full year at the helm with impressive results Together, they continue to shape a Grand Theatre that is both artistically vibrant and organizationally strong
My sincere thanks extend to the Board of Directors for their commitment, expertise, and volunteer service throughout the year I would like to specifically recognize and thank outgoing directors Alexis Gordon and Jennifer Slayfor their valued contributions to the Grand.
The 2024/25 Season marked a snowball effect of success for this beloved institution, beginning with a significant increase in season subscriptions over 6,000 packages sold, the highest in recent memory. This achievement reflects thoughtful programming, effective pricing strategies, and the introduction offree subscriber parking, which together have helped broaden and re-engage our audience base.
Financially, the Grand Theatre also had much to celebrate. The 2024/25 season saw a major turnaround financially that has put the company into a surplus position, a remarkable result that underscores the effectiveness of strong leadership, prudent management, and community support This success was driven by record ticket sales, strong fund development, and the resounding success of the 2025 Grand Gala, which raised a record-setting $280,000 in support of the theatre’s programs.
The Grand Theatre would not be what it is without its dedicated community of volunteers, numbering more than 140 this season. On behalf of the Board, thank you for your time, energy, and unwavering support of live theatre in London.
On behalf of the Board, I extend heartfelt thanks to everyone who has contributed to this year ’ s success. The Grand Theatre is a stronger, more connected organization because of you
Matt Parr CHAIR, GRANDTHEATRE BOARDOFDIRECTORS
EXECUTIVE SUMMARY
We are pleased to share this Annual Report in summary of A Time For Play: the Grand Theatre’s 2024/25 Season of shows, programs, and community-connecting experiences.
This season marked many beginnings, namely: a new artistic vision demonstrated through Rachel’s first programmed season as Artistic Director, and a new executive leadership marked by Lyndee’s first full season as Executive Director This theme continues with new programming and ticketing milestones, including subscription numbers that have not been seen in over a decade, and the highest selling (revenue) show in the Grand Theatre’s history with The Sound of Music These themes of “ new ” are also observed through the return of artist development programs, such as Artists in the Auburn, as well as new and expanding relationships with communities throughout the London region.
We are also pleased to celebrate a year of financial success, marked by a $94,111 surplus. In a theatre season defined by attracting both existing and new audiences, diversification and modest growth of funding streams, as well as navigating ongoing inflation, the Grand has made enormous strides in financial stability.
The artistic portfolio remains the centrepiece of our Grand efforts. In A Time For Play, programming was centered around the idea of joy, highlighting theatre as a place for pleasure, and guaranteeing connections: with characters, with stories, with other theatregoers This season, audiences rocked out with Shakespeare and The Beatles, twirled through the Austrian mountainside, cracked the code of double-crossing thieves, experienced the perfect cup of tea, discovered ‘what baking can do’, and played the game of love with Lizzy, Mr. Darcy, and the rest of the Bennets.
This season also launched the 2025-2029 Strategic Plan, and the Grand Theatre’s inaugural Equity, Diversity, Inclusion, and Reconciliation (EDI-R) Action Plan We celebrate the continued success of ouraccess programs
including; Pay-What-You-Can,Open Captioned, Relaxed, and ASL-interpreted performances, as well as the new Indigenous Community Ticket Program
We are grateful to all of our partners, including the multi-year commitments of BMO, Old Oak Properties, TD Bank and Canada Life, and truly appreciate the support of subscribers, ticket buyers, sponsors, donors, staff, artists, and volunteers for their roles in spreading Grand joy throughout downtown London, and far beyond. Thank you to staff, artists, and volunteers for all their dedication and hard work to help make this season a success on all fronts
Sincerely,
Lyndee Hansen EXECUTIVEDIRECTOR
Rachel Peake ARTISTICDIRECTOR
ARTISTIC HIGHLIGHTS
Guest artists from across Canada created unforgettable theatre experiences.
42fromLondon
75 fromOntario
47fromotherprovinces/territories
122 production and technical staff brought theatre magic to life.
2024/25 TICKET SALES:
97,587 Tickets sold to the 2024/25 Grand Theatre Season.
In 2024/25 the Grand Theatre launched the inaugural Artists in the Auburn Series An enriching lineup of 4 workshops, 1 speaker series, and the first annual Cascade Playwrights Lab, which culminated in a public reading on the Auburn Stage.
"I've attended the Grand for many years. But these events have afforded me a new connection with the Grand on the creative side. Shows a real commitment to developing local talent."
"The Lab really helped me accelerate the development of my new play, taking it from a vague idea to a treatment and then to a partial script in about 6 months."
"I am so appreciative of these great opportunities to learn, and to be among other theatre lovers, and friends, both old and new!"
PICTURED:MARKCRAWFORD,ALEXANDRAKANE,
OPERATIONAL HIGHLIGHTS
YOUTH PROGRAMMING
The Grand Theatre continued its practice of offering diverse youth initiatives, including the Grand Theatre High School Project, which completed its 27 year. The 2024/25 Season boasted record attendance at Student Club, which saw over 200 students at Thursday preview performances of the Spriet Series Student Matinees once again welcomed London and area schools to most productions on the Spriet Stage, helping 4,673 students experience live theatre many for the first time And speaking of first theatre experiences, the Grand Theatre’s 32 annual Holiday Wish for Kids offered a magical evening at the theatre for 300 children from 35 agencies.
AUDIENCE ENRICHMENT
AfterWORDS, the Grand Theatre's post-show talks, regularly attracted an average of 40 audience members who enjoyed stimulating conversation with artists from the production Tea Talks continued this season with an average of 164 attendees per talk. They were hosted by Artistic Director, Rachel Peake, and featured the insights of 6 special guests with an area-of-expertise connected to each production Additionally, a series of guided Backstage Tours were offered on Sunday afternoons during the 2024/25 Season.
COMMUNITY ENGAGEMENT & ACCESSIBILITY
The Grand Theatre’s 2024/25 Community Engagement efforts included investment in practices that expand access to Grand Theatre programming, as well as enhanced relationships with community contacts, groups and associations, umbrella organizations, and accessibility services. In its second year of operation, the Canada Life Pay-What-YouCan program offered a block of tickets for the first Sunday matinee of each Spriet Series
EQUITY, DIVERSITY, INCLUSION & RECONCILIATION
2024/25 saw the publication of the Grand Theatre’s first Equity, Diversity, Inclusion and Reconciliation Action Plan.
As part of the Grand Theatre’s ongoing Reconciliation efforts, the Indigenous Community Ticket Program offered $20 tickets to those who identify as Indigenous. The 2024/25 Season also saw the inaugural Indigenous Community Night, which was a special evening partnership with the London Arts Council through Indigenous London Arts. Guests watched a performance of The Secret to Good Tea, followed by a post-show reception that included a presentation by Eagle Flight Singers, delicious traditional snacks from My Grandmothers Kitchen, and a moderated post-show discussion with Janet Antone and Christin Dennis.
Throughout and following all performances of The Secret to Good Tea, a dedicated Reflection Space was available in our lobbies, offering a quiet environment for patrons to reflect and engage more deeply with the themes and teachings presented in the show.
At the start of the 2024/25 Season, a new Welcome Wall mural was unveiled in the Grand Theatre lobby spaces Painted by artist Michael Cywink, the mural was celebrated by community members, artists, and special guests from Oneida Nation of the Thames. This event included a performance from Sisters in Spirit drumming group, speeches, a Q&A with dancer/choreographer Montana Summers, and local traditional refreshments
