TRUE

TRUE

Support Image for True
  • October 29 - 30; November 1 - 2; November 4 -5 - 8 PM

CAMH Auditorium, 1025 Queen Street W
Toronto, Ontario

Rosa Laborde / 2021 / English / Canada

On the anniversary of their mother’s death, three sisters are hurtled back in time when their estranged father shows up with a note stating he has Alzheimer’s. Roy hasn’t seen his daughters Anita, Cece and Marie, in years and it’s a visit that is not entirely welcome. But the present Roy is quite unlike the father they remember. This Roy is affable, sensitive, funny, emotional and loving – in total contrast to the unpredictable, often drunk and abusive father of their memories. As they open to the possibility of having him in their lives they are continuously jarred by the sudden trips into the past they are forced into due to his neurological condition. Marie’s husband, Franco, a former professional musician and all-around dilettante, expounds particle theory while playing Mozart and posits the possibility that restructuring their fractured memories could alter the future from that point forward. What follows is a rapid-fire ride through past and present that illuminates the unreliable nature of memory and how the stories we hang onto define us until the moment we let them go. Inspired by King Lear, memory loss in an aging father, the cost of speaking one’s truth, the devastation addiction can wreak on a family, Ikebana flower arranging, piano prodigies and the multiverse theory known as Daughter Universes, the play explores the possibility that rewriting our memories can alter the past and ergo change the future. It is a playful, poignant and piercing look into the nature of memory.

 

Keywords: Addiction | Alcoholism | Depression | Family | Trauma
There will be a 15 minute Q&A with the cast following each performance.
COMMUNITY PARTNERS
Toronto Fringe Logo

Spring 2021 Virtual Open House

Spring 2021 Virtual Open House

A grid of images: top left - a choir top right - a group of portraits hanging on a wall; bottom left - a fashion show; bottom right - an audience member clapping.

GENRE: DANCE, INTERACTIVE, MEDIA ART, MUSICAL, PERFORMANCE ART, POETRY, SHORT FILM, THEATRE, VISUAL ART

TOPIC: COMMUNITY, EDUCATION, MUSIC

Put Friday, June 25 in your calendar – we’ll be doing an end of term virtual open house to showcase the work that Workman Artists have been doing throughout the spring term. If you’d like to see what we’ve been up to, click the RSVP button to register and receive the link to join. After registering, you will receive a confirmation email containing information about joining the meeting.

Schedule

5:00-5:10 Land Acknowledgement/Welcome
5:10-5:15 Performance Art Salon
5:15-5:35 Improv
5:35-5:50 First Person Documentary
5:50-6:10 Find your Voice
6:10- 6:20 The Exploration & Expression of Body/Space
6:20- 6:30 Bruised Years Choir – performance by Julie Crann & Ethelrida Zabala-Laxa
6:30- 7:00 Reclaiming Our Mother Tongues & Write Out of Your Comfort Zone
7:00- 8:00 Self Stories Theatre

 

This event is FREE and everyone is welcome. We hope you can join us to enjoy this showcase from home – wherever that may be! In case the Zoom event reaches capacity, we will also live stream this event on the Workman Arts Facebook page.

We also have a virtual Gallery on Flickr https://www.flickr.com/photos/193283975@N06/galleries/72157719479293760/

  • June 25, 2021 5-8:45 PM

Event on Zoom

FREE

BROWSE CURRENT EVENTS

CHANNEL 2400

6 NOVEMBER 2021 - ONGOING

FILMLIVE PANEL/Q&A

Jo, Don't Go There

Jo, Don't Go There

a note from Oliver Jane, Creator of Jo Don’t Go There

Sometimes the “show must not go on” and that’s ok.

When I made the decision to not move forward with my piece Jo Don’t Go There in Rendezvous with Madness 2020, I was encouraged by my friend and contact at Workman Arts to write a short reflection for all of you in lieu of the show. Here you will find some rambling, musing, and reflecting. Thank you for taking a brief moment to reflect with me.

When I agreed to move forward with the project several months ago, I was excited by the challenge of transferring my live performance pieces to video web content. Unfortunately, I found that meeting the demands of a precarious/always changing pandemic environment made completing the project difficult. I am an artist that lives with chronic pain, Rheumatoid Arthritis, PTSD symptoms, and OCD symptoms. The greatest lesson I have learned from managing all of these is that I should not go beyond my limits. Unfortunately, working in solo-isolation and not having funding to adequately compensate others to do the much-needed-tasks to make this project show-ready was bringing me close to my limits.

Since I made the choice to pause the show, the phrase “the show must go on” has been echoing through my mind. Upon reflecting on the nagging presence of this phrase within my mind, I recall that I have, almost exclusively, operated within creative environments where that sentence is espoused. I have worked in so many creative environments where the expectation to see a show to its completion is demanded of artists, producers, and production teams: no matter the cost. My years training to be an artist and working professionally have been colored by watching many friends and colleagues sacrifice their physical and mental health to see work to its completion. For many years I have wondered if creative communities should let go of the phrase “the show much go on” and refrain from normalizing the practice of sacrificing physical and mental wellness amongst artists. What I have witnessed in theatre schools and amongst theatre makers has made me consciously attempt to avoid working myself beyond my limits so that I do not worsen my already-sometimes-very-challenging health.

So I say once again, to comfort myself and to encourage those who find themselves also facing projects, businesses, and plans that need to be put on pause, closed, or canceled as a result of the pandemic: “the show must not go on” and that’s ok.

I’d like to offer gratitude to the team who has assisted me during this process. Though the show will not be viewed in this festival, I am continuing the reflect on and develop the body of work I have made thus far. I feel I must offer my deep gratitude to all those who gave me their time and talents.

  • I am grateful for the opportunity to collaborate with my older brother, a very skilled video editor, who has been a cherished peer, mentor, and teacher (of art and life) for these last several months.
  • I am grateful to the handful of talented musician friends who were willing to do some work on this project for free, for very low fees, or for barter.
  • I am grateful to Workman Arts for supporting me as I adjusted the show to the changes brought about by the pandemic. This is my second experience working with Workman Arts, and I cannot emphasize enough how much I appreciate the work Kelly, Scott, Cara, Paulina, and the rest of the team working behind the scenes at Workman Arts do to make this really special festival happen. And during a pandemic, no less!
  • Finally, I am grateful for organizations like Workman Arts that are actively striving to foster greater diversity of representation within the Ontario and Toronto creative community. I hope you all will continue to support and patronize Workman Arts even after the festival has passed.

I hope you enjoy the rest of the festival, you remember to stay safe, you do what you can to support and aid the most vulnerable in our communities, you donate to groups and organizations that are trying to address the already existing racial and economic inequality within North America that has been exacerbated by the pandemic, and you all focus your energies on taking care of your immunity and your mental health while the world faces global crisis. I know I will!

I send love and gratitude to you all.

-Oliver Jane

goat(h)owl theatre / Lead Artist, Performer, Creator, Writer: Oliver Jane / Collaborator, Performer: Leah Pritchard / Collaborator, Performer: Jillian Rees-Brown / Video Collaborator, Editor: Jon Jorgensen

Enter the mind of Jo, a nonbinary trauma survivor, video artist and clown. Meet Jo’s consciousness embodied: their performative imaginary friend Oli Oli Ennui, a snarky clown who doesn’t take all this modern art stuff too seriously. If you know Jo’s personal story (hailing from NYC, navigating OCD and PTSD while occupying space in Toronto during the pandemic), do you know Jo? If you hear Oli sing punk-injected cabaret, do you know their soul? Experience Jo’s multimedia happening: a video series, music playlists, Instagram uploads, photo exhibition and a live installation performance at 651 Dufferin Street. This collection of fragments resonates in permanent refrain: Do you know me now?

Founded by Maria Wodzinska and Oliver Jane in 2017, goat(h)owl generates collaboratively devised experiences. Grounded in the body, at the core of every piece is a question. We take flight through our investigation of the thematic territory, of our position to the question, and of our will-to-know. We attempt to affirm the unknowable with proposals — playing in-front-of/with/around an audience. We want to shake up sedimented modalities of meaning and truth-telling with our moving ensemble. We point the eye to the kaleidoscope of forms created. Do we invite the audience to make meaning? Yes. Do we make meaning? Come and see.

CONTENT WARNINGS

Loud Sounds, Mature Language, Nudity, Rape and/or Sexual Violence, Sexual Content, Suicide

ALSO OF INTEREST

Too Close For Comfort - Creating an Environment of Care in the Theatre

Too Close For Comfort - Creating an Environment of Care in the Theatre

THIS MASTER CLASS IS PART OF THE RE:BUILDING RESILIENCE EXHIBITION.

GENRE: THEATRE

Theatre artists make and see theatre to challenge and be challenged, to share and listen, to ask and be asked questions that might not be asked elsewhere. We sometimes tell stories that might be difficult for others to hear. We can hit a nerve, touch a deep wound, or flick a switch that triggers old memories, reactions or feelings. 

So how do we take care of our audiences when we offer sensitive material? How do we take care of the performers who reach deep into their souls and put them on stage, show after show? How do we ensure everyone else on our team is ok? And whose responsibility is it?

Playwright, actor, producer and instructor Lorene Stanwick shares some strategies and ideas to navigate these sometimes-murky waters using Broken Branches, her play that explores the issue of sibling abuse, as a guide.

LORENE
STANWICK
  • Sat, Oct 17, 12:00pm
Accessibility

ASL Interpreted, Open Captions, Active Listener

An Active Listener will be available Sat, Oct 17 from 12-2pm to support this program.
Your active listener for this program is Amanda.
You can connect with Amanda by phone (talk or text) at (647) 696-0893 or by email at amanda.virtualdesk@gmail.com.

ALSO OF INTEREST

The Bridge

The Bridge

THIS PROJECT IS PART OF THE RE:BUILDING RESILIENCE EXHIBITION.

White logo of a bridge on a dark blue galaxy background.

Writer/Performer: Pesch Nepoose / Dramaturge/Director: Ed Roy / Producer/Stage Manager/Media Outreach: Jesse Wabegijig

GENRE: THEATRE

The Bridge is a one-woman play that will be staged in front of a live audience. One night, a young indigenous woman is confessing her struggles as she sits on a bridge overlooking a ravine. Her memories come back to life in the evening wind. Kara comes face to face with her addiction, depression and loss of identity.

Pesch Nepoose is a Cree multidisciplinary artist from Edmonton, Alberta, currently residing in Toronto, Ontario. She graduated her fourth and final year at the Centre for Indigenous Theatre in May, 2019. Pesch has many skills and experience as an actor, writer, dancer, singer and stage manager. As a full time actor, she has been a part of many projects including the film By These Presents with Ange Loft, also acting in the short film Hunger which premiered at the ImagineNative Film Festival 2019. Pesch enjoys working with Clay and Paper Theatre, Jumblies Theatre, the Encounters collective and many others.  While attending C.I.T. she formed a collective with her two classmates and created the play S.O.S. Saving Our Sovereignty, which was part of the Paprika Festival and Weesageechak Begins to Dance Festival. Pesch was in the Paprika Festival again as a solo artist writing her one woman show currently titled The Bridge. She plans to continue the play with Nightwood Theater’s Write from the Hip program.

CONTENT WARNINGS

Adult Language, Suicide

Please Note: There is one virtual ticket available for the entire Re:Building Resilience Exhibition. Whether you’d like to see one project or all of them, you only need to book one ticket to access everything. The exhibition runs October 15-25, and all ticket purchasers will be sent a link to view the virtual content. Any ticket bought prior to October 15 will receive a follow up email on the 15th with the link.

ACCESSIBILITY

Self-Care Kits are available for free curbside pickup to ticket holders. Kits can be picked up from 651 Dufferin Street between the hours of 12PM-9PM, October 15-25. If pickup is not an accessible option for you, contact justina_zatzman@workmanarts.com for accommodation.

COMMUNITY PARTNER

Queen Latifah Give Me Strength

Queen Latifah Give Me Strength

THIS PROJECT IS PART OF THE RE:BUILDING RESILIENCE EXHIBITION.

A simplified icon depicting a person in a hospital gown hooked up to an IV drip placed within a photograph of a hospital hallway.

Creator: Rochelle R

GENRE: THEATRE

Queen Latifah Give Me Strength centers around a woman’s struggle with her identity and her expectations of being disregarded and ignored by the medical industry. Queen Latifah Give Me Strength depicts the frustration, isolation and raving madness that comes with being a Black woman who must rely on medical professionals to stay alive. After an anxiety-filled evening watching the classic 90s film, Set It Off, featuring Queen Latifah, the main character is faced with her strange connection to the celebrity. In a search for answers about her health, she turns to the icon she had once forsaken. Previous version partially developed during Emerging Creators Unit 2020 at Buddies in Bad Times Theatre.

Rochelle R (She/They) is a Canadian-Caribbean multidisciplinary theatre artist, writer, producer and advocate for Black, Queer, Mentally Ill/Disabled communities. Rochelle is passionate about promoting and developing opportunities for Black Artists and encouraging difficult conversations about intersectionality. Rochelle holds a BA in English and Theatre Studies from the University of Guelph and continues to pursue additional training within the GTA and Peel regions. Select companies and programs include b current (Playwriting) bcHUB, Buddies in Bad Times (Play Creation) Emerging Creator’s Unit, Nightwood’s Young Innovator’s Program (Arts Administration/Producing), PIECE OF MINE Arts, dance immersion’s Legacy Leaders Program and more.

CONTENT WARNING

Mature Language, Violence, Loud Sound 

Please Note: There is one virtual ticket available for the entire Re:Building Resilience Exhibition. Whether you’d like to see one project or all of them, you only need to book one ticket to access everything. The exhibition runs October 15-25, and all purchasers will be sent a link to view the virtual content. Any ticket bought prior to October 15 will receive a follow up email on the 15th with the link.

ACCESSIBILITY

Self-Care Kits are available for free curbside pickup to ticket holders. Kits can be picked up from 651 Dufferin Street between the hours of 12PM-9PM, October 15-25. If pickup is not an accessible option for you, contact justina_zatzman@workmanarts.com for accommodation.

Rochelle Richardson will be participating in the virtual panel discussion Resistant Bodies: The Intersections of Self and Health on October 21, at 1 PM. Click here for more information.

ALSO OF INTEREST

Re:Building Resilience Exhibition

Re:Building Resilience Exhibition

Promotional image for the festival incorporating artworks and event posters by participating artists. Imagery includes clay fish, from “Multitude of Fish” by Jenny Chen, multicolored blocks from “Alpha Support” by Justin Mence, a mobile titled “Cry Baby Mobile”, by Kassandra Walters, wallpaper-style design from “Post-Part” by Longernin Collective, and a pattern from “Ectoplasms” by Megan Moore.

Re:Building Resilience features 25 installations that examine all facets of mental health issues. This will be our last festival at 651 Dufferin Street before moving to a brand new facility at the Centre for Addiction and Mental Health. What better way to say “good-bye” than to animate all 11,000 square feet with performance art, installations, theatre, dance, film and media art?

Tickets and Viewing Options

Tickets for virtual viewing are pay what you wish. Virtual viewing is available throughout the festival. With your ticket, you will have access to a virtual tour that includes a virtual swag bag with extra features from the 25 projects on offer. All ticket holders will also be invited to receive physical RWM swag bags available for free curbside pickup during festival hours.

Please Note: There is one virtual ticket available for the entire Re:Building Resilience Exhibition. Whether you’d like to see one project or all of them, you only need to book one ticket to access everything. The exhibition runs October 15-25, and all purchasers will be sent a link to view the virtual content. Any ticket bought prior to October 15 will receive a follow up email on the 15th with the link.

ACCESSIBILITY

Self-Care Kits are available for free curbside pickup to ticket holders. Kits can be picked up from 651 Dufferin Street between the hours of 12PM-9PM, October 15-25. If pickup is not an accessible option for you, contact justina_zatzman@workmanarts.com for accommodation.

PROJECTS INCLUDED IN RE:BUILDING RESILIENCE

Blurry repeating abstract patterns with thick elongated orange streaks on a yellow background.
Grey K P Muldoon: Mad Carpets - Hotel Carpet Dance Projections
A line drawing of a two-storey house on the top half of the page and a bee with its wings spread on the bottom half of the page.
Saba Akhtar: The Anatomy of a Home
An abstract image of a blue and yellow rectangular block resting precariously upon a brown rectangular block.
Justin Mencel: Alpha Support
An abstract painting of a monstrous figure; its arms are spread and its head appears to be exploding.
Mitchell Clark Meller: Scarecrow
A pixel drawing of lungs, colored in pink and light purple, and outlined in red against a brown background.
Kara Stone: Medication Meditation
A cropped photo of a person in a lacy top with the word “threadbare” embroidered across the chest. Chunky blue-green yarn streams out of their mouth and fills the foreground of the image.
Alexandra Caprara & Raechel Kula: ThreadBare
A multiple-exposure photograph of a crouched nude figure on a black background.
Wieslawa Nowicka: Into the dark of my skin
A backlit circular paper cut image with a series of imaginative scenes involving a sea voyage.
Kristine White: Mad Fairy Tales
A photograph depicting a wire wastebasket in the corner of a room, overflowing with crumpled tissues covered in a smooth, hard yellowish or grayish substance.
Kassandra Walters: untitled (`{`not`}` always like this)
Two still frames from the video “Instruction to the Ball Measure” with the following captions: “The ball measure is designed to assess the intolerance of uncertainty “ and “A ball is a particle”.
Ivetta Sunyoung Kang: Intolerance of Uncertainty
A photo collage depicting a nude person jumping into a water vortex with their arms spread, viewed from above.
Sophie Dow: Mountain Duets
A photograph of a bottom half of a mannikin with a roll of silver duct tape on top of it against a concrete block wall. A piece of pink duct tape on the wall overlaps a piece of silver duct tape, with the two pieces forming an X shape.
Van Lisa: Due to Renovations
A collage-style photographic poster featuring prescription medication in containers, loose pills, notes, and Polaroid photos, overlaid with the text spelling “Prose in Therapy."
Quarter Kid Productions: Prose in Therapy
A photograph of many small hand-sculpted red clay fish laid out on a rocky river bank.
Jenny Chen: Multitude of Fish
Headshot of a person facing the camera with vividly colored stretchy paper strips wrapped around their head.
Laura Shintani: Neuroelastic
Abstract image of blurry, fluid, white shapes on a dark background.
Megan Moore: Ectoplasms
goat(h)owl theatre: Jo, Don't Go There
Post Part
Longernin Collective: Post-Part
A simplified icon depicting a person in a hospital gown hooked up to an IV drip placed within a photograph of a hospital hallway.
Rochelle R: Queen Latifah Give Me Strength
A photographic still life image with an ink bottle, books, a round analog clock with Roman numerals, large transparent bottles containing handwritten messages on yellowed paper, and a quill pen spelling out “Mad Poetry Apothecary” on a piece of paper.
Hanan Hazime: Mad Poetry Apothecary
An event poster featuring a cutting mat, scissors, a ruler, an exacto knife, and a cut up sheet of paper with words “The Collage party”.
Paul Butler: The Collage Party
A photo collage depicting a person, positioned on their back, hanging off the bed in a darkened room. One of their hands points to flaming words “the Apocalypse in Your Bedroom” above them.
James Knott: Apocalypse In Your Bedroom
Photograph of a person mid-somersault on a theatrical stage.
Mike 'Piecez' Prosserman: BREATHE: a dance production on Hip Hop + Mental Health
White logo of a bridge on a dark blue galaxy background.
Pesch Nepoose: The Bridge

BROKEN BRANCHES

BROKEN BRANCHES

Broken Branches, written by Lorene Stanwick, directed by Philip McKee

CreateTruth Productions in Association with Workman Arts / Written by Lorene Stanwick / Directed by Philip McKee

GENRE: THEATRE

TOPIC: FAMILY

TYPE: PERFORMANCE

“A powerful, bold and beautiful piece."

– Judith Thompson, two-time winner of the Governor General's Literary Award for Drama and celebrated Canadian Playwright

Siblings.

They are our friends, our role models and rivals. They define who we are, perhaps more than our parents. We grow up together. They get inside our heads.

What happens when we can’t get them out …?

Rachel runs away with her daughter, arriving unexpectedly at her childhood home. Jade spends more nights in the college art studio than she does in her own bedroom. The sudden reappearance of Josh’s mother forces him to take a hard look at his life. Now, all three of them must confront the truth about their childhood, as its impact on their adult lives is revealed.

Told with honesty – and humour – Broken Branches reveals secrets, lies, family dynamics … and the resilience to survive. Produced by CreateTruth Productions in Association with Workman Arts, the award-winning multi-disciplinary arts and mental health organization, Broken Branches starts a long-overdue conversation, shedding light on an important yet silent issue: sibling abuse.

By making the invisible visible, their stories will forever change the way we see sibling relationships.

Canada Council for the Arts, Ontario Arts Council, Workman Arts, Native Earth Performing Arts
  • September 19 - 29, 2019
ACCESSIBILITY

Wheelchair Accessible Venue

ALSO OF INTEREST

CHANNEL 2400

6 NOVEMBER 2021 - ONGOING

FILMLIVE PANEL/Q&A

In This House

In This House

  • Friday, October 11, 9:00 PM
  • Saturday, October 12, 2:00 PM (with Q&A)
  • Tuesday, October 15, 8:00 PM (with Q&A)
  • Thursday, October 17, 7:00 PM
  • Sunday, October 20, 4:00 PM
Workman Arts Theatre

651 Dufferin St
Toronto

ACCESSIBILITY

Workman Arts Theatre has stairs up from the street into the building and into the theatre and stairs down to the washrooms.

Written and Directed by Grace Thompson / Talk Like You Theatre / 60 min / Toronto Premiere

GENRE: THEATRE

Charlie is looking for happy, Remi is a struggling musician and bartender who has clinical depression, Jinx is a burlesque performer and PHD candidate who works at The Orange Balloon, and Minka, no one knows what Minka does. In This House is a play about four young adults living together in Toronto. It is a look into the epidemic of loneliness and depression among the Millennial generation and the daily struggle to make something of yourself in this city. In This House is a play about a generation, a city and an exact time in our lives. This is a play about how we save each other.

Written and Directed by Grace Thompson
Performed by: Astrid Atherly, Jonathan Sconza, Rosie Callaghan and Ciana Henderson
Stage Manager: Erin Maxfield
Set and Lighting Design: Lisa Van Oorschot
Sound Design: Shannon Farrell

#GETMAD: JOIN THE CONVERSATION

Millennial Mental Health: a two-part conversation 

How are young people today talking about suicide? How are Millennials navigating their experiences with mental health and addictions? Join the cast of In this House after the shows on October 12 and October 15 as they discuss the production themes and their experiences navigating between being emerging artists, living on their own for the first time and managing their mental health. This two-part conversation will explore the unique difficulties for young people in Canada, and the communities of support being created as a response.

PANELISTS

Erum
Khan
Moderator (Oct 12)
Grace
Thompson
Playwrite & Director
Astrid
Atherly
Performer
Jonathan
Sconza
Performer
Rosie
Callaghan
Performer
Ciana
Henderson
Performer & Moderator (Oct 15)
COMMUNITY PARTNER
crows theatre logo

The Life and Death of Fred Herko

The Life and Death of Fred Herko

  • Thursday, October 10, 8:00 PM
  • Friday, October 11, 8:00 PM
  • Saturday October 12, 8:00 PM
  • Tuesday, October 15, 8:00 PM
  • Wednesday, October 16, 8:00 PM
  • Thursday, October 17, 8:00 PM
  • Friday, October 18, 8:00 PM
  • Saturday, October 19, 8:00 PM
  • Sunday, October 20, 8:00 PM
Dead End Studios

7 Fraser Ave #13
Toronto, Ontario

ACCESSIBILITY

This is an interactive/moving performance. Once in the venue, audience members with accessibility needs and limited mobility will have the opportunity to sit. We encourage those with mobility issues to contact us in advance to organize access to the venue and ensure they have seating for the performance.

This performance utilizes strobe lighting and a fog machine.

Directed by Claire Burns / Written by Natalie Liconti / 60 min / Toronto Premiere

GENRE: THEATRE

In 1964, at the age of 28, a queer dancer named Fred Herko jetéd out the window of his ex-lover’s apartment – naked, and high on speed. The Life and Death of Fred Herko is an interdisciplinary, site-specific performance that sheds light on a footnoted figure in queer history and examines the collateral damage of art.

Through striking sound design, movement and text the piece reimagines the dancer’s infamous last moments and seeks to find utopian potential in his tragic story.

The research and development of this piece has been generously supported by the Ontario Arts Council and the Canada Council for the Arts.

Suggested Dress Code: Party Glam

Director: Claire Burns
Writer: Natalie Liconti
Sound Design: Devon Bate
Lighting Design: Darah Miah
Production Management: Taylor Young
Set and Installation Design: James Knott
Stage Management: Kit Simmons
Irma Villafuerte: Choreographer
Performers: Oliver Price, Daniel Carter, Andrew Cheng and Sochi Fried
Special Thanks to Brian Quirt

COMMUNITY PARTNER
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