The Nine Lives of L.M. Montgomery
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Once AMJ and Leo got the green light from Kings Playhouse to go ahead with 9LoLMM's first production, things went lightning fast. They put out notices for both on-line and in-person auditions, quickly becoming surrounded by hopefuls wanting to become a part of Maud's world. Soon the show was cast, and many of the chosen actors found themselves returning home to PEI for the summer. With stage manager Andrea Avery and choreographer Don Burnett at their side, AMJ and Leo began six weeks of rehearsals starting 10 May 2008, co-directing their very talented cast and working toward that all-important 20 June 2008 premiere.

Costume designer Mindy Walker and her assistant A.B. White got right to work
 amassing costumes for Maud and company.
Jemima Sutherland, John MacCormac, and Haley Batchilder listen as
Michael Farrell introduces himself during the cast's meet-and-greet/read-through, 10 May 2008.

AMJ and Leo worked out their initial blocking the old-fashioned way.
This "battle plan" is a concept for Where Is My Happy Ending?
"Apertures" were specially cut into each side of the Kings Playhouse's proscenium so that
actors could enter and exit while upcoming scenes were being set behind the closed curtain.

Paul Whelan, Michael Farrell, and Jonah Anderson begin work on I Am A Newspaper Woman! Once Michael stepped into the role of Ewan, AMJ replaced him in this particular role.
Leo leads a music rehearsal, helping the cast to get familiar with the material.

Lori Linkletter, Kyla Cook, and Hazel St. Amand listen intently to Leo's guidance.
As AMJ wasn't part of the cast yet, he spent music rehearsals attending to other duties.
Here, he works on editing visuals for the screen.

Working on-book, Haley Batchilder (Ingenue Maud) and Kyla Cook (Una/Kilmeny) rehearse the scene depicting the creation of Maud's Una of the Garden serial.
While an exact replica of Maud's 1911 wedding dress could have been made,
the dress Mindy Walker found fit perfectly in more ways than one.

Now a full-fledged member of the cast, AMJ went for fittings as well.
Jonah Anderson, Adam Gauthier, and Kyle Gillis work a four-person scene with three people as they rehearse More Important Things.

Alicia Altass channels Anne even in a hoodie.
As is typical in theatre, the stage was in a state of flux during most of rehearsal.
Here the evolving "book cover" Maud's fictional characters will appear in lays on its side.

The cast jitterbugs their way through Don Burnett's choreography for Two-Timin' Timmy.
Haley Batchilder, Paul Whelan, Kyle Gillis, Michael Farrell and Sharon Eyster
work on the finale of Act I in front of the unfinished train façade.

Both AMJ and Leo wore many hats throughout this first production, as evidenced
by this shot of Leo painting the train façade.
Celia Koughan brings Young Maud off the page and to the stage.
 
The cast brushes up on their songs during continuing music rehearsals.
 		 
Now having to tend to his other duties outside of rehearsals,
AMJ joins Kyle Gillis and Jonah Anderson in the tenor section.
 
After a few nail-biting delays, the rear-screen projector is finally installed
with opening night a mere 10 days away.
 		 
AMJ stands proudly with the prop bouquets he put together for the show.
 
A selection of props, mostly reproductions of Maud's books for historical accuracy.
 		 
Now in costume, Hazel St. Amand (Grandmother) and Paul Whelan (Grandfather) run a scene during Tech Week (otherwise known as Hell Week), just 5 days before opening.

Alicia Altass stands patiently as the "green hair" lighting effect
for Anne is positioned correctly.
Maud's wedding to Ewan is interrupted by the setting of the show's many lighting cues.

Lori Linkletter (Adult Maud) and Sharon Eyster (Frede)
 rehearse in their own clothes...
...and in costume during Tech Week.
 
As Anne and Marilla, Jemima Sutherland and Hazel St. Amand act out
AMJ and Leo's conception of the missing 1919 Anne of Green Gables silent film for their screen.
Anne (Alicia Altass, left) and Maud (Lori Linkletter) watch the finished, fictionalized product.
 
The addition of the screen's inferno gives just the right touch to Michael Farrell's depiction of Ewan's religious melancholia in Eternally Lost.
Opening night's fast approach means opening night promotion. Two days before the world premiere of 9LoLMM, Leo and AMJ were interviewed for the CBC's Mainstreet radio program.

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