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Leonard Conolly has authored over fifty articles and reviews for British and North American journals. He was professor of English at Trent University in Peterborough until his retirement in 2012 (after serving as its President and Vice-Chancellor, 1994-97), and previously was Associate Vice-President Academic and chairman of the Drama Department at the University of Guelph.

He has served as the President of the Association for Canadian Theatre Research (1977-79), President of The World Encyclopedia of Contemporary Theatre (1989-93), and is General Editor for The Selected Correspondence of Bernard Shaw (U. of Toronto P, 2002).

He founded the theatre archives at the University of Guelph, the largest collection of Canadian theatre archives available, and one of the world's most important collections of Bernard Shaw material, which are named after him. He also co-founded the journals Essays in Theatre and Nineteenth Century Theatre.

In February, 2000, he was appointed a Corresponding Scholar of the Academy of the Shaw Festival, and in 2011 published a comprehensive illustrated history of the Festival (The Shaw Festival: The First Fifty Years, Oxford University Press).

Among his works (many of which have served as source for the Canadian Theatre Encyclopedia on the WWW) are: The Censorship of English Drama 1737-1824 (1976); English Drama and Theatre 1800-1900 (with J.P. Wearing, 1978); Theatrical Touring and Founding in North America (1982); Canadian Drama and the Critics (1987; revised 1996); English-Canadian Theatre (with Eugene Benson, 1987); Oxford Companion to Canadian Theatre (with Eugene Benson, 1989); Encyclopedia of Post-colonial Literatures in English; Vols. I-II (with Eugene Benson, 1994); A critical study of Bernard Shaw and Barry Jackson (2002), and Bernard Shaw and the BBC (U of Toronto P, 2009).

He was elected a Fellow of the Royal Society of Canada in 2002. In 2014 he was awarded the CATR/ACRT Lifetime Achievement Award for his significant contribution to CanadianTheatre Studies in championing the archival collection and preservation of the Canadian theatrical heritage.

Carole Corbeil was born in Montreal to French-speaking parents and grew up in a francophone household. After her parents' divorce and her mother's re-marriage to an anglophone, she transferred to an English school. She continued her International Baccalaureate in Wales then returned home to study at York University in Toronto. In the 1980s she was hired by the Globe and Mail to write on theatre, dance, and the visual arts. In the 1990s, she also wrote a weekly arts column for the Toronto Star and was a contributor to This Magazine.

In 1992, Corbeil published her first novel, Voice-Over, about the life of a documentary filmmaker from Quebec. Her second novel, In the Wings (1997), followed the relationship of two people acting the roles of Hamlet and Gertrude in a theatrical production of Hamlet.

Corbeil passed away from cancer in 2000.

Born in Somerset, England in 1929, Hilary Corbett began her designing career in England. She is known for her work on a 32-episode BBC series called Festival (1963-1964). She moved to Canada shortly after her contract with the BBC concluded. In Canada, she worked on 2 episodes (1986-1987) of the award-winning TV drama Seeing Things and, with Outi Harjupatana, designed the costumes for the movie The Last Season (1986), starring among others Eric Petersen, John Colicos, and Neil Munro.

In addition to her television work, she was an active designer in the Canadian theatre scene. Her credits include the Young People's Theatre, Theatre Plus, Shaw Festival, Toronto Arts Productions, Walnut Street Theatre, and other companies. She died in Toronto, Ontario on December 20, 2004.

The Cossitt Brothers Company was started by Germain Mott Cossitt, Newton Cossitt, and Levi Cossitt. The brothers moved to Canada in 1849, and settled in St. Catherines, Ontario. In 1853 the brothers moved to Smith Falls, Ontario and they began the company G. M. Cossitt & Bros. Smith Falls Agricultural Works. In 1858 they began the manufacture of a full line of agricultural implements.

In 1872, the business was moved to Brockville, Ontario due to a need for good transportation and manufacturing space. By 1890 the company employed 125 men, and sold and manufactured a wide variety of horse-drawn farming machines and implements. At its height, the company employed between 300-500 men, and had nine branch offices across Canada, and dozens of small agencies that carried its products. The company was the one to introduce the first self-binding wheat harvester, the McCormick Bindlochine.

On July 1, 1890, the plant was destroyed by a fire. The brothers never laid off a single man, but kept all employees on until replacement buildings were built. The company never returned to its former production after the fire, and it closed permanently in 1906.

Born in Guelph, Gordon Couling (1913-1984) was a graduate of the Ontario College of Art. He returned to Guelph in 1948 to teach art at the Macdonald Institute. In 1965, Couling became the first chairman of the University of Guelph’s Department of Fine Art. He retired in 1974.

Born into a Quaker family in Prince Edward County, Ontario, Ada Mary (Brown) Courtice (1860-1923) attended Pickering College and the Ontario Ladies College in Whitby. In 1888 she married Andrew Cory Courtice (1857-1908) and had two children. Together with her husband, Courtice operated a private school called Balmy Beach College in Toronto from 1907 to 1917. There she attempted to implement new ideas in education. She was active in the Women's Christian Temperance Union, the Toronto Local Council of Women, the National Council of Women of Canada, and women's suffrage advocacy in Toronto. Courtice became the first president of the Toronto Home and School Council in 1916. she was also elected to the Toronto Board of Education and remained there until her defeat in 1921. Courtice also helped to organize the Ontario Federation of Home and School Associations.

Andrew Cory Courtice (1857-1908) was born in Prince Albert, Ontario and attended the University of Toronto and Victoria University in Cobourg, where he received his Bachelor of Divinity in 1885. In In 1888 he married Ada Mary Brown (1860-1923). After serving in several charges in Ontario and Quebec, he was elected in 1894 as editor of the Christian Guardian, the official publication of the Methodist Church, where he remained until 1902. During his tenure as editor, Courtice became one of Canada's leading Christian socialists and was active in securing the federal plebiscite on prohibition in 1898. He was the founder of the Canadian Peace and Arbitration Society in 1905 and was also involved with the Ontario Sunday School Association and the University of Toronto Alumni Association.

The Covenanters were a force in Scottish religion and politics between 1638-1688, and aimed to maintain their chosen forms of church government and worship. Prior to 1650, they formed the country's government before coming under pressure during the Commonwealth period of Oliver Cromwell and government persecution. The Cameronian Covenanters, the followers of James Cameron, considered themselves to be the remnant of the true Presbyterian Church of Scotland and were also politically engaged; however, by the 1690s the majority of Presbyterians had given up Cameronian religious programs and accepted the toleration granted to them by King James VII.

Frank Crane was an American clergyman and writer. He was born on May 12, 1861 in Urbana, Illinois, to a Methodist minister. Crane was ordained in the Methodist Episcopal Church in 1882, and served as a pastor for over 25 years. From the year 1909, he wrote syndicated newspaper columns and books that provided reflections and advice. Crane passed away in Nice, France on November 5, 1928.

Creative Trust operated out of Toronto as a support for mid-sized music, theatre and dance companies. Founded by Joan Bosworth, Mallory Gilbert, Claire Hopkinson and Jini Stolk, who all sat on the steering committee, Creative Trust’s purpose was to assess and aid in improving the financial standing of performing arts companies. It was funded through donations to an endowment. The endowment became the Working Capital for the Arts program, and for more than 10 years, beginning in 2002, assisted over 50 mid-size and small companies to eliminate deficits, create working capital reserves and improve their governance, planning and management skills. In total about 6 million dollars was distributed to the cultural sector through Creative Trust’s initiatives.

Once the Working Capital program was off the ground, in 2008, two new initiatives were launched. One was to help theatres attain the capital needed to ensure the organization’s future; the other was to assist theatres to create audience development programs. Creative Trust was established as a time-limited initiative, so at the end of October 2012, the Creative Trust partnered with the Toronto Arts Foundation in order to ensure the continuance of their initiatives. Upon its cessation, Jini Stolk became the inaugural Toronto Arts Foundation Creative Trust Fellow (2012-2022), continuing the legacy of Creative Trust’s programs.