Ulysses

Credits

Created by Elevator Repair Service
Directed by John Collins
Co-Direction and Dramaturgy by Scott Shepherd
Text: Ulysses by James Joyce
Performers: Dee Beasnael*, Kate Benson*, Maggie Hoffman, Vin Knight*, Scott Shepherd, Christopher-Rashee Stevenson, Stephanie Weeks*
Scenic Design: dots
Costume Design: Enver Chakartash
Lighting Design: Marika Kent
Sound Design: Ben Williams
Projection Design: Matthew Deinhart
Properties Design: Patricia Marjorie
Assistant Lighting Design: Matt Lazarus

Assistant Director and Stage Manager: Maurina Lioce
Producer: Hanna Novak
Production Manager: Aaron Amodt
Show Operator: Gavin Price
Sound Engineer: Jason Sebastian
Company Manager: Becky Hermenze
Teleprompter and Clock Software by Scott Shepherd

Daphne Gaines, April Matthis, and Mark Barton contributed to the development of Ulysses.

*The Actor appears through the courtesy of the Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Ulysses was commissioned by and received its world premiere at The Fisher Center at Bard in June 2024. Major commissioning and development support was provided by the T.S. Eliot Foundation and Fisher Center LAB, which receives funding from members of the Live Arts Bard Creative Council, the Lucille Lortel Foundation, and The Fisher Center’s Artistic Innovation Fund, with lead support from Rebecca Gold and additional funding from The William and Lia G. Poorvu Family Foundation.

Characters in Ulysses  by Performer (an abridged list)

Dee Beasnael: Armstrong, Milly Bloom, Martin Cunningham, Mrs Breen, Miss Kennedy, Alexander J. Dowie, Florry

Kate Benson: Haines, Simon Dedalus, Myles Crawford, the citizen, Dr Madden, Zoe

Maggie Hoffman: Molly Bloom, Miss Douce, Ned, Alf, Lenehan, Gerty McDowell, Punch Costello, Dr Dixon, Rudy Bloom

Vin Knight: Mr Deasy, Leopold Bloom

Scott Shepherd: Buck Mulligan, Blazes Boylan, Mr Nannetti, redbearded sailor

Christopher-Rashee Stevenson: Stephen Dedalus, the cat, Lenehan, Joe Hynes

Stephanie Weeks: Martha, Mr Power, Nosey Flynn, Russell, John Wyse Nolan, Dr Punch Costello, Mrs Thornton, Stephen’s mother

Directors’ Note

This piece was born when Elevator Repair Service was asked to create a one-night-only performance based on Ulysses for the centenary edition of Symphony Space’s annual Bloomsday event in 2022.

Tackling this sprawling novel, which runs upwards of 750 pages and spans a dizzying range of literary styles, was an absurd proposition. It was also right up our alley. Over the past two decades of its 30-year history, our ensemble has developed an obsession with staging literature, particularly the works of early 20th century novelists. Our best-known piece, Gatz, is an 8-hour staging of The Great Gatsby that includes every word of the text. With Ulysses we’ve taken a less completist approach, drawing selectively from each of the book’s 18 episodes—using only Joyce’s words, but not all of them.

Though widely regarded as one of the great masterpieces of English literature, Ulysses has defeated many readers. Some say its reputation for difficulty is exaggerated, but the challenges are real. Joyce is a sworn enemy to exposition: instead of introducing a scene he drops you into it and leaves you to find your bearings in the unfolding action. Meanwhile he riddles the narration with stray thought fragments that seem to bubble up unfiltered out of the characters’ minds. Foreign-language passages are left untranslated. References to literature, philosophy, music, religion, and history are so numerous that some books explaining them are longer than the novel itself. There are whiplash swerves of style to contend with: one chapter, for example, is a bizarre playscript with hallucinatory stage directions; another is a long series of pseudo-scientific questions and answers.

Such challenges, if not seen as part of the fun, can obscure how warm and hilarious Ulysses is. Erudite references share the page with bawdy jokes, made-up sound words, popular songs, and every variety of bodily function. Like life, Ulysses contains more than the mind can easily assimilate or explain. Its affirming, all-embracing attitude is succinctly expressed in its famous final word, Yes, or in Bloom’s thoughts as he leaves the cemetery in episode six:

Plenty to see and hear and feel yet. Feel live warm beings near you. Let them sleep in their maggoty beds. They are not going to get me this innings. Warm beds: warm fullblooded life.

– John Collins and Scott Shepherd

A Very Brief Synopsis of Ulysses

The main action of the novel follows the wanderings and ruminations of Leopold Bloom, an ad broker, on a single day in Dublin: June 16, 1904. He’s staying out of the house to allow his wife Molly, a locally admired soprano, to begin a love affair with her concert promoter Blazes Boylan. The Blooms haven’t had sexual intercourse since their son Rudy died in infancy eleven years ago.

Stephen Dedalus, the hero of Joyce’s autobiographical novel A Portrait of the Artist as a Young Man, is also wandering around Dublin. He returned early from a stay in Paris to be present at his mother’s deathbed. An avatar of Joyce himself, Stephen is a young writer with grand literary aspirations and a drinking problem. Bloom encounters Stephen late in the day and attempts to take him under his wing.

Molly appears briefly at the beginning of the novel, persistently inhabits Bloom’s thoughts, and finally commands our undivided attention in the final episode, after Bloom has crawled into bed beside her and fallen asleep in the imprint left by Boylan. Her reflections on the day and on her life end the novel in a long free-associative stream of thought uninterrupted by narration or punctuation.

ERS Bio

Elevator Repair Service (ERS) is a New York City–based company that creates original works for live theater with an ongoing ensemble. The company’s shows are created from a wide range of texts that include found transcripts of trials and debates, literature, classical dramas, and new plays. Founded in 1991, ERS has created an extensive body of work that includes upwards of 20 original pieces. These have earned the company a loyal following and made it one of New York’s most highly acclaimed experimental theater companies. The company is best known for Gatz, its award-winning verbatim staging of the entire text of The Great Gatsby. ERS has received numerous awards and distinctions, including Lortel awards, a Bessie award, and an OBIE award for Sustained Excellence, as well as a Guggengheim Fellowship and Doris Duke Performing Artist Award for Artistic Director John Collins.

Upcoming:

Ulysses at UMS, University of Michigan (October 19 – 20)
Gatz at The Public Theater (November 1 – December 1)
Ulysses at CAP UCLA (April 5 – 6, 2025)

Company Bios

Aaron Amodt (Production Manager) ERS: Ulysses; Baldwin and Buckley at Cambridge; Seagull; Gatz; Everyone’s Fine With Virginia Woolf; The Select (The Sun Also Rises); Fondly, Collette Richland. Elsewhere: The Play That Goes Wrong; Slave Play; What the Constitution Means to Me; Othello; Hadestown; Lazarus. Tours: A Billion Nights on Earth (Lucidity Suitcase Intercontinental); Ringling Brothers and Barnum and Bailey Circus. Outside of theater, Aaron collects commemorative telecom postage stamps and makes ghost photographs, which you can find on IG @amodttech.

Dee Beasnael (Performer) (she/her) is a Best Actress recipient for her performance in The Securely Conferred, Vouchsafed Keepsakes of Maery S., with 7 Daughters of Eve Thtr & Perf. Company. Performance credits include Honor: An artistic Lecture (NYU Skirball); Redemption Story (A.R.T./NY Theatres); All Over Everywhere (HERE Arts Center); Willa’s Authentic Self (MITU580); In the Solitude of The Cotton Fields (NYU Skirball); 12 Shouts to the 10 Forgotten Heavens (The Whitney Museum); Police and Thieves (The Performing Garage). Voiceover credits include: Caillou (French/Canadian Distribution), Sorghum and Spear (PepSqually Productions), Opal Watson Private Eye (Pinna Originals), Kyle’s World (Pinna Originals). Film: The Falling World (BKE Productions), The Good Half (The Ranch Productions), Before The World Set On Fire (BKE Productions). Tour: Silence and Fear (Compagnie Lieux Dits, Dir. David Geselson).

Kate Benson (Performer) is a writer and performer who lives in Brooklyn, NY. Performances include Seagull (ERS); Ulysses (ERS); [Porto] (Bushwick Starr); I’ll Never Love Again (Bushwick Starr); Tiger, Tiger (on the Nature of Violence) (Dixon Place); Fondly, Collette Richland (ERS at New York Theater Workshop); Running Away from the One with the Knife (The Chocolate Factory); Nomads (The Incubator); Good Person of Szechwan (The Public Theater & La Mama); and Purity (P.S. 122). Writing includes [Porto] (Bushwick Starr), A Beautiful Day in November on the Banks of the Greatest of the Great Lakes (New Georges with Women’s Project, Obie-winner), Where Are We Going?, What We’d Really Like Is to Be Together, and Super Magic Wild Forest. She has an MFA in playwriting from Brooklyn College.

Enver Chakartash (Costume Design) Broadway: Stereophonic; A Doll’s House; Is This A Room. Off-Broadway: Teeth (Playwright’s Horizons); Public Obscenities (Soho Rep.); Toros (Second Stage Theater); The Trees (Playwright’s Horizons); Wolf Play (MCC/Soho Rep.); Catch as Catch Can (Playwright’s Horizons); English (Atlantic Theater Company/Roundabout Theatre Company). Regional: Highway Patrol (Goodman Theatre). Film: Reality (HBO).

John Collins (Director) founded Elevator Repair Service in 1991. Since then he has directed or co-directed all of the company’s productions while also serving as its Artistic Director. John is also an experienced sound designer and has worked for The Wooster Group, Richard Foreman, Target Margin Theater, and others. Other recent projects with ERS include Baldwin and Buckley at Cambridge and a new adaptation of Chekhov’s The Seagull. He is the recipient of a Guggenheim Fellowship, a United States Artists Fellowship, and a Doris Duke Performing Artist Award.

Matthew Deinhart (Projection Design) is a New York-based multidisciplinary designer who specializes in the use of nontraditional technologies to create unique storytelling devices. Recent design credits include the scenic design for Song of Joy (The Tank) and Sweat (Brooklyn College). Lighting design: Dark Star of Harlem (La MaMa); Blackbird (New Ohio Theatre); Tongue Depressor (The Public Theater). Projection design: El Amore Brujo (La MaMa); ANIMUS ANIMA//ANIMA ANIMUS (The Public Theater). Co-design (with Jon DeGaetano): Toros I Know Exactly What You Mean (Danspace Project). Video installation design: Be Holding (The Girard College Armory). Matthew is a 2021 graduate of Brooklyn College with an MFA in Design and Technical Theater.

dots (Scenic Design) is a multi-disciplinary design collective. Hailing from Colombia, South Africa, and Japan, we are Santiago Orjuela-Laverde, Andrew Moerdyk, and Kimie Nishikawa. As collaborators, we believe that the whole is greater than the sum of its individual parts. Broadway: Appropriate (Tony, Drama Desk, OCC nominations for Best Scenic Design); An Enemy of the People (Tony nomination for Best Scenic Design); The Sign in Sidney Brustein’s Window. Other credits: Oh, Mary ! (Lucille Lortel Theater); Dark Disabled Stories (The Public Theater); Public Obscenities (Soho Rep, NAATCO; Drama Desk nomination, Henry Hewes Design Award); KATE (Connelly Theater); Infinite Life (Atlantic Theater Company and National Theater UK). Obie Award for Sustained Achievement. designbydots.com

Becky Hermenze (Company Manager) (she/they) is a performance artist, writer, and producer. With ERS: Seagull (workshop), Gatz (NYU Skirball Center). Upcoming: Gatz at The Public Theater. She was most recently seen in Snatch Adams and Tainty McCracken Present “It’s That Time of the Month” (Soho Rep/The Bushwick Starr). She has supported the development of new works with artists such as Radiohole, Half Straddle/Tina Satter, and Becca Blackwell. She also performs on the sketch comedy team Dirty Shirley, whose shows can be seen around NYC. More at @beckywtheokhair.

Maggie Hoffman (Performer) is a founder of the avant-punk performance ensemble Radiohole and the artist-run performance space The Collapsable Hole in the West Village. In addition to over 25 years of performance with Radiohole, Maggie has appeared with ERS in Seagull; Measure for Measure; Fondly, Collette Richland; Arguendo; and touring productions of Gatz; The Select (The Sun Also Rises); and The Sound and The Fury. Upcoming shows: Gatz at The Public Theater, and Suppose Beautiful Madeline Harvey by Richard Foreman at La MaMa.

Marika Kent (Lighting Design) (she/her) is a Brooklyn based lighting designer. Also with ERS: Seagull. Recent/upcoming: Usus (Clubbed Thumb); Fences (Trinity Rep); POTUS (Arena Stage); Get Your Ass in the Water and Swim Like Me… (The Wooster Group); Bernanda’s Daughters; Amani (National Black Theater); Catch as Catch Can (Playwrights Horizons); Clyde’s; Choir Boy; Gem of the Ocean;  School Girls, or the African Mean Girls Play (Portland Center Stage); Measure for Measure (Shakespeare & Company). Marika teaches design at NYU’s Playwrights Horizons Theater School and is a proud member of USA Local 829. www.marikakent.com

Vin Knight (Performer) With ERS: Ulysses; Seagull; Everyone’s Fine with Virginia Woolf; Measure for Measure; Fondly, Collette Richland; Shuffle; The  Select (The Sun Also Rises); The Sound and the Fury; No Great Society; Gatz. Other stage credits include The Music Man (Sharon Playhouse); Spam (JACK); Our Man in Havana (Portland Stage); Cat on a Hot Tin Roof (2013 Broadway revival); Marie Antoinette (ART and Yale Rep); Toros The Tempermentals (Barrow Group); and U.S Drag (Clubbed Thumb). Film and TV credits include “Last Week Tonight with John Oliver,” “And Just Like That,” “Inventing Anna,” “Search Party,” “Orange Is the New Black,” “Unbreakable Kimmy Schmidt,” “Succession,” “Bull,” “The Blacklist,” and “Homeland.”

Matt Lazarus (Assistant Lighting Design) (he/him) is a lighting designer based in New York City. Off-Broadway: I’m Gonna Marry You Tobey Maguire  (the cell). Solo: A Story About Friendship (Soho Playhouse); Nightclub Cantata (the cell). Off-Off-Broadway: too many to name. He holds a BFA from The University of Connecticut. You can find more of his work at MattLazarusDesign.com or @LazMattarus.

Maurina Lioce (Assistant Director and Stage Management) with ERS: The Sound and the Fury; Arguendo; The Select (The Sun Also Rises) (tours); Gatz (tours); Toros Fondly, Collete Richland, Measure for Measure; Everyone’s Fine with Virginia Woolf; Baldwin and Buckley at Cambridge; Seagull. NYC: stage management for Half Straddle, Adrienne Truscott, Alex Tatarsky, Becca Blackwell, Neal Medlyn, Bang On A Can, Jim Findlay, David Byrne, Sibyl Kempson, Andrew Ondrejcak, Mike Iveson, Erin Markey, Suzanne Bocanegra, and Young Jean Lee. Maurina has been a member of Elevator Repair Service since 2014.

Patricia Marjorie (Properties Design) is a Brazilian multidisciplinary theater artist based in New York. Scenic and costume design for Primordial (The Tank) and The Lydian Gale Parr (Target Margin Theater), both directed by Meghan Finn. Props: Corruption by J.T. Rogers, dir. Bartlett Sher (LCT); Wolf Play dir. Dustin Wills (MCC/Soho Rep); You Will Get Sick dir. Sam Pinkleton (Roundabout); Flex dir. Lileana Blain-Cruz (LCT); Notes on Seven Killing Oversight by Mara Velez Melendez (Soho Rep); 7 Minutes dir. Mei Ann Teo (Waterwell); Black Exhibition by Jeremy O. Harris, dir. Machel Ross (The Bushwick Starr). Performance credits: Mrs. Loman (The Tank). Directing credits: What Will Become of Kaaron? and her own play A Song to Keep the Wolves Awake (The Tank).

Hanna Novak (Producer) has produced various ERS tours and premieres including Baldwin and Buckley at Cambridge (Festival d’Avignon); Seagull (NYU Skirball Center); Gatz (upcoming, The Public Theater). Other collaborators include Liz Magic Laser, Tina Satter/Half Straddle, and Alex Tatarsky. As a playwright and director, Hanna’s work has been performed at Ensemble Studio Theatre, the New Ohio, and the Performing Garage. Hanna is a member of EST/Youngblood, a New Georges-affiliated artist, and an alum of Clubbed Thumb’s early-career writers group. MFA in Playwriting from Hunter College, under Annie Baker and Branden Jacobs-Jenkins. Hanna has been a member of ERS since 2016.

Gavin Price (Show Operator) has performed and designed with Elevator Repair Service since 2013. He is an award-winning comedian, as well as a filmmaker, songwriter, multi- instrumentalist, and is certified in full stack web development. Film projects include the award-winning short Boccamazzo Construction and music videos “On the Rocks,” “We Are What We Are,” and “Suddenly You Love Me”; Design and performance with the Met; New Museum; MCA Chicago; Mabou Mines; Tectonic Theater; CabinFever; Kaufman Center’s Face the Music; 7 Daughters of Eve; Pandora Boxx & Mrs. Kasha Davis; Theater in Quarantine; and with Emily Pacilio in The Basics. Saint Fortune, co-founder. Spotify & iTunes: The Witch Ones, Tender Band, CabinFever.

Jason Sebastian (Sound Engineer) has been doing performance work in theater for 25 years, first Cincinnati, then New York, now back in Cincinnati. He has worked on hundreds of productions in some capacity and with Elevator Repair Service since 2011. ERS: The Select, Gatz, Arguendo, Measure for Measure, Baldwin and Buckley at Cambridge, The Seagull. NY Venues: St. Ann’s Warehouse, PS 122, 3LD, Dance Theater Workshop (NYLA), Skirball Center, New York Theater Workshop, and The Public Theater. NY Companies: Elevator Repair Service, Young Jean Lee, MV Works, Tara, O’Con, Radiohole, Banana Bag and Bodice. Southern Ohio: Cincinnati Playhouse in the Park, Cincinnati Shakespeare Company, Contemporary Art Museum. Teaching: College Conservatory of Music, Miami University, Xavier University.

Scott Shepherd (Performer, Co-Director, Dramaturg) has been a member of ERS since 1994, when he played a drunk passed out on a radiator in McGurk: A Cautionary Tale. Other ERS appearances include Measure for Measure; Gatz (Obie Award); No Great Society; Total Fictional Lie; Cab Legs; and Shut Up I Tell You. He has worked with The Wooster Group since 1997, playing Hamlet in Hamlet and other roles in The Town Hall Affair; Vieux Carré; Poor Theater (Obie Award); To You, The Birdie!; Brace Up!; and others. His screen credits include Killers of the Flower Moon, The Last of Us, First Cow, El Camino, True Detective, The Young People, and Bridge of Spies.

Christopher-Rashee Stevenson (Performer) is a theater artist from Baltimore, Maryland. Last seen in Ile at Mabou Mines, where he was also a SUITE/Space (’20-’21) artist and an alum of Lincoln Center Theater Directors Lab ‘18. His work as director and performer has been featured at The Performing Garage, The Tank, JACK, HERE Arts Center, The Actor’s Studio, American Repertory Theater, Millennium Film Workshop, Lincoln Center Education, La MaMa, and the Eubie Blake Jazz Institute. He previously directed a version of Jane Austen’s Persuasion at The Tank in December 2023 and Hamlet at the Collapsable Hole in summer 2024.

Stephanie Weeks (Performer) is an award-winning actor and director. She has performed at renowned theaters, including The Public Theater, Playwrights Horizons, Soho Rep, and La Jolla Playhouse, among others. With Target Margin Theater, she was awarded the Obie Award for Recognition of Artistic Achievement and Commitment to Excellence in Theater as an Associate Artist. She has voiced numerous audiobooks and was a 2023 Audie Award Award nominee for her work in the non-fiction category. She also starred in the film Confessionsofa Ex-Doofus- ItchyFooted-Mutha directed by acclaimed director Melvin Van Peebles (Official Selection of the Tribeca Film Festival). Television credits include “Tales of The City” starring Laura Linney (Netflix), “The Good Fight” (CBS), and “Law & Order” (NBC).

Ben Williams (Sound Design) is an actor and sound designer. He produces and curates category: other (category-other.com), an award-winning platform for experimental audio. Collaborators include Elevator Repair Service, Minor Theater with Julia Jarcho, Christina Masciotti, Suzanne Bocanegra, Kate Benson, and many others. Recent projects include Ulysses (Theater Basel); Studio Créole (Manchester Int. Festival); and Lost Sea, a video arcade art installation with Victor Morales. Awards for sound design: Obie, Lortel, Los Angeles Drama Critics Circle, and Third Coast International Audio Festival’s inaugural Audio Unbound Award (for Songs of Speculation, co-produced with Jillian Walker). benwilliamsdotcom.com 

ERS Staff

John Collins, Artistic Director
Marilyn Haines, Managing Director
Hanna Novak, Producing Director
Maurina Lioce, Associate Artistic Director
Quincy Confoy, Development Manager
Arts FMS, Financial Management Services

ERS Board of Directors

Bill Stasiulatis, Chair
Kenneth B. Cera, Vice-Chair
Zoe E. Rotter, Vice-Chair
Lucy Mallett, Treasurer
John Collins, President
Arthur Aufses
Clay Ballard
Steve Bodow
Doug Curtis
Susan Eddy
David Gilbert
John Kim
Fritz Michel
Greig Sargeant
Ira Simmonds
Anne Stringfield
Robert A. Wilson, Jr.

Acknowledgements & Thank Yous

John Collins, Scott Shepherd and Ben Williams of ERS wish to thank the members of the creative team of Ulysses, a 2021 Theater Basel production directed by John and Scott and sound designed by Ben. Their work on this text helped inspire this performance. Those artists are actors Fabian Krüger, Fabian Dämich, Nairi Hododo, Andrea Bettini, and Carina Braunschmidt; dramaturg Angela Osthoff, assistant director Louisa Raspé, and Theater Program Director and Executive Dramaturg Anja Dirks.

Elevator Repair Service would also like to thank Brandit, Mariana Catalina, Zachary Everett-Lane, The Fisher Center at Bard, The James Joyce Society, Kathy Landau, One World Fund, Nik Quaife and The Irish Consulate in New York, Drew Richardson, Mark Rossier, William Sydney, Symphony Space, and Ariana Smart Truman. For consultation on Ulysses, ERS is grateful to Catherine Flynn, Jonathan Goldman, Paul Muldoon, and Robert Seidman.

ERS Support

This performance by Elevator Repair Service is made possible, in part, with public funds from the National Endowment for the Arts, the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, and from the New York City Department of Cultural Affairs in partnership with the City Council. Ulysses was commissioned by and developed at Symphony Space. On June 16th, 2022, Symphony Space presented an early iteration of the piece for its annual one-night-only “Bloomsday on Broadway” event.

Elevator Repair Service is also supported with funds from The Dorothy Strelsin Foundation, The Fan Fox and Leslie R. Samuels Foundation for Contemporary Arts, The Harold and Mimi Steinberg Charitable Trust, Howard Gilman Foundation, The J.M. Kaplan Fund, Jockey Hollow Foundation, Lucille Lortel Foundation, The O’Grady Foundation, Scherman Foundation, Select Equity Group Foundation, and The Shubert Foundation.

Elevator Repair Service is a member of the Alliance of Resident Theatres/New York.

About FringeArts

FringeArts is Philadelphia’s home for contemporary performance, presenting progressive, world-class art that expands the imagination and boldly defies expectation. Our programming exposes audiences to genre-defying dance, theater, and music performances by accomplished and emerging innovators who push the boundaries of art-making and redefine the artistic landscape worldwide.

FringeArts Support

This presentation of Ulysses is made possible by: 

Festival Star Producers
Linda and David Glickstein

Festival Co-Producers
Richard and Margaret Greenawalt
Jackie and Eric Kraeutler
Susan Muller
Peter and Eleanor Nalle

FringeArts Staff + Board

FRINGEARTS STAFF

Amy Kurzban
Interim President

Nick Stuccio
Producing Director and Founder Emeritus

Mikaela Boone
Interim Programming Director

Simon Rabinowitz
Independent Artist Program Manager

Carolyn Schlecker
Senior Advisor Operations

Melissa E. Bridge
Director of Finance

Meg Vennell
Finance & Administrative Associate

Devi Bass
Patron Services and Operations Manager

Melissa Negro
Marketing & Communications Director

Amanda Drayton
External Affairs Associate 

Kristen Hammer
Director of Production

Kelly Orenshaw
Associate Production Manager

Sydney Norris
Master Electrician

Josh Bruton
Head of Audio

BOARD

Mark Dichter
Chair
Lisa P. Young
Treasurer
Donald Baines
Anthony P. Forte
David Hoffman
Eve Hyppolite
Virginia G Susini
David Lipson
Tom Lussenhop
Jake Reardonl
Darryl Ridgeway
Theresa Spencer
Karol Wasylyshyn
Paul Wright