Shakespeare in High Park 2016 program

hamlet

BY WILLIAM SHAKESPEARE

CAST

KALEB ALEXANDER

LAERTES - son to Polonius

FRANK COX-O'CONNELL

HAMLET - son of the late King Hamlet of Denmark; nephew to the present King

RAECHEL FISHER

DR. ROSENCRANTZ - a childhood friend of Hamlet, now a successful psychotherapist ATTENDANT

NICKY GUADAGNI

POLONIUS - chief of staff in the Danish court

MARVIN L. ISHMAEL

CORNELIUS - a guard and ambassador to the court GRAVEDIGGER

MINA JAMES

FORTINBRAS - Princess of Norway ATTENDANT

RACHEL JONES

GERTRUDE - Queen of Denmark and mother to Hamlet

QASIM KHAN

HORATIO - a childhood friend and fellow student of Hamlet

KYLE MCWATTERS

PLAYER KING - a childhood friend of Hamlet, now a travelling musician ATTENDANT CAPTAIN of the Norwegian army PRIEST ENGLISH AMBASSADOR

ALON NASHMAN

CLAUDIUS - King of Denmark; Hamlet’s uncle GHOST OF KING HAMLET

ROSE TUONG

OPHELIA - daughter to Polonius

CREATIVE TEAM BIRGIT SCHREYER DUARTE ASSISTANT DIRECTOR

DAVID DI GIOVANNI SET DESIGNER

TERESA PRZYBYLSKI COSTUME DESIGNER

MICHELLE TRACEY LIGHTING DESIGNER

OZ WEAVER SOUND DESIGNER

LYON SMITH DESIGN ASSISTANT

CLAIRE HILL

VIDEOGRAPHER

ZACK RUSSELL FIGHT DIRECTOR

SIMON FON ASSISTANT FIGHT DIRECTOR

CASEY HUDECKI PRODUCTION STAGE MANAGER

SANDY PLUNKETT STAGE MANAGER

LAURA BAXTER ASSISTANT STAGE MANAGER

ANDREA BAGGS APPRENTICE STAGE MANAGER

VICTORIA WANG

Costume sketch by Michelle Tracey.

DIRECTOR

TUE, THU, SAT / JUN 30 – SEP 4 THIS PERFORMANCE RUNS APPROXIMATELY 90 MINUTES. THERE IS NO INTERMISSION.

THE STORY Upon hearing of the death of his father, King Hamlet, Prince Hamlet returns to Denmark from his studies in Wittenberg. At home, he is faced with a new reality at court: his father's funeral is followed by his mother Gertrude’s marriage to his uncle Claudius.

This makes Claudius, a progressive diplomatic leader popular with the Danish people, the new king. After life in an unhappy, politically arranged marriage, Gertrude has found love with her new husband, but Hamlet feels betrayed by her, his uncle and all those supporting the new union and regime.

Hamlet’s sense of powerlessness ends when he suddenly begins to see visions of the ghost of his father, who claims he was murdered by Claudius and chooses Hamlet to be his avenger.

#csHamlet #SiHP Hamlet starts exhibiting increasingly erratic behaviour, which leads his parents to hire Dr. Rosencrantz, Hamlet’s childhood friend and now a successful psychotherapist, to assist with his mental health issues.

Meanwhile, Chief-of-Staff Polonius grows concerned for daughter Ophelia, to whom Hamlet has declared his love. As Hamlet’s “antic disposition” appears more and more threatening to the stability of the court, Claudius plans to send him away to England. Hamlet, increasingly unsure of whom to trust and what to believe, hopes to find confirmation of Claudius’ guilt with the help of a visiting musician who will stage a performance at court. Finally feeling assured of the truth behind his father’s death, Hamlet is torn between his desire for revenge and his better wisdom: in this complicated world, can one bloody deed truly be redeemed by another?

DIRECTOR’S NOTES

Hamlet inspired me to explore the many subjective perspectives within a family reacting to mental instability. What makes Shakespeare’s plays so deliciously complicated and modern is their countless ambiguities—nothing is what it seems, nothing is clear-cut. Hamlet is usually played as the sensitive son who rightfully rebels against his morally misguided parents and the rotten court; the Queen is shown as either ruthless or weak, or caught in an Oedipal relationship with Hamlet; Claudius, as the ultimate villain. We think we know where we stand and whom to vouch for. But what if King and Queen really were a dream couple and in love, not only in lust and power hungry? In underlining how subjective human experiences are I want to challenge familiar vantage points: Can we show a court world that suggests a “healthy normalcy”, yet born from an act of violence? And how does this render Hamlet, instead as unstable, as “out of joint”?

I invite you to view this play considering Hamlet’s own words: “For there is nothing / either good or bad, but thinking makes it so.”

I would like to thank Simone Colavecchi (original song composition), David di Giovanni (assistant direction), Vaira Gertners (musical coach), Tiferet Nashman (choreography) and Aaron Willis (dramaturgical support) for their invaluable contributions to this production.

Birgit Schreyer Duarte

Costume sketches by Shawn Kerwin.

all's well that end CAST

ROSSILLION NICKY GUADAGNI

COUNTESS ROSSILLION - she runs a spa in the south of France

KALEB ALEXANDER

BERTRAM - her son

QASIM KHAN

PAROLLES - a bad influence

MINA JAMES

HELEN - the countess’ ward, she works for the countess

ROSE TUONG

RYNALDA - she also works for the countess

RAECHEL FISHER

MCDONALDA - she also works for the countess

RACHEL JONES

LAVATCH - the “other woman,” clown, and metatheatrical device

PARIS MARVIN L. ISHMAEL

THE KING - he runs France

ALON NASHMAN

LAFEU - he runs the secret service

RAECHEL FISHER

MAUDLIN - his daughter

FRANK COX-O'CONNELL

DUMAINE 1 - an aristocrat

KYLE MCWATTERS

DUMAINE 2 - his not-very-originally-named younger brother

RACHEL JONES

THE WIDOW - she runs a hostel in a war zone

ROSE TUONG

DIANA - her daughter

ALON NASHMAN MARVIN L. ISHMAEL RAECHEL FISHER

SOLDIERS - a mercenary army

FLOR E NCE

CREATIVE TEAM DIRECTOR

TED WITZEL ASSISTANT DIRECTOR

LAUREN GILLIS SET DESIGNER

TERESA PRZYBYLSKI COSTUME DESIGNER

SHAWN KERWIN LIGHTING DESIGNER

OZ WEAVER SOUND DESIGNER

LYON SMITH DESIGN ASSISTANT

CLAIRE HILL

FIGHT DIRECTOR

SIMON FON ASSISTANT FIGHT DIRECTOR

CASEY HUDECKI PRODUCTION STAGE MANAGER

SANDY PLUNKETT STAGE MANAGER

LAURA BAXTER ASSISTANT STAGE MANAGER

ANDREA BAGGS APPRENTICE STAGE MANAGER

VICTORIA WANG

WED, FRI, SUN / JUN 30 – SEP 4 THIS PERFORMANCE RUNS APPROXIMATELY 90 MINUTES. THERE IS NO INTERMISSION.

#csAllsWell #SiHP

BY WILLIAM SHAKESPEARE

hat ends well THE STORY

Upon the death of his father, Count Bertram goes to Paris to attend to the ailing King of France, leaving behind his mother and her young ward Helen who has fallen obsessively in love with him.

Determined to win Bertram’s affections, Helen conjures up a plan to follow him to Paris, bearing a prescription that might hold a cure for the King.

Helen makes a dangerous wager: if the cure fails, she will be put to death, but if it works, she may marry the man of her choice. The King is cured and Helen claims Bertram as her

reward, much to the protestation of the young Count. Bertram is ordered to marry Helen, but bolts to the Italian warfront immediately following the ceremony - with his wingman Parolles in tow. In a letter to Helen, Bertram sets her a series of seemingly impossible tasks to complete before he will give in to marriage.

Challenge accepted. Helen follows Bertram all the way to Florence, where her brand-new husband is attempting to seduce a young local girl named Diana. With the help of Diana and her mother, Helen prepares a trap for Bertram that may alter the course of their future forever.

DIRECTOR’S NOTES No comedy of Shakespeare’s so explicitly and so anxiously insists upon its happy ending, and few are as difficult to steer toward that ending than All’s Well That Ends Well. For a comedy, it's unpleasant. A culture of toxic masculinity prevails and everyone is anxiously, and aggressively attempting to enact the expectations of their gender—and failing.

Death is everywhere—at the beginning, two fathers are dead, and it seems likely that the king will shortly join them. We have a romantic heroine who repeatedly considers suicide and fakes her own death and, instead of running off to flounce in the forest and talk about flowers, our young heroes take refuge in a war zone. This strange fairytale is the only one of Shakespeare’s plays in which the title is delivered as part of the dialogue and, like much of the play, even that title seems to be a riddle. On the surface, it seems to mean that “it will all be fine in the end,” but it’s possible to read it in Machiavellian terms: “the end justifies the means.” An alternate meaning of the word “well” in Shakespeare’s time was “dead and in heaven,” which allows an even more nihilistic interpretation: “you’re better off dead.” In this darkly funny play about gendered archetypes and the fairytale endings we all hope for in our love lives, sometimes you can’t help but wonder.

Thanks to the enormous team behind these two productions, whose creativity and commitment has been astonishing, through heat waves and thunderstorms and hordes of mosquitoes; and thanks especially to Lauren, without whom many moles would be left unwhacked.

Ted Witzel

KALEB ALEXANDER

Laertes Hamlet / Bertram All’s Well

Kaleb is an actor based out of Toronto, but hails from Thunder Bay in Northern Ontario. He has had the opportunity to work on many stages across Canada. His most recent credits include Venus’ Daughter (Obsidian Theatre), Adventures of a Black Girl in Search of God (National Arts Centre and Centaur Theatre), The marquise of O- (the red light district), The Living (2015 Summerworks Festival, NOW Audience Choice Award), Hercules (Canadian Opera Company), Delicacy (Theatre Brouhaha) and The Tempest (Driftwood). Film and TV recent credits include: The Strain, 12 Monkeys, Barn Wedding and Mannish Boy (RUFF Award for Best Actor).

FRANK COX-O’CONNELL

Hamlet Hamlet / Dumaine 1 All’s Well

Frank was born and raised in Toronto. Previously for Canadian Stage: this year he played the role of George Tesman in Hedda Gabler (Necessary Angel). Frank works regularly with Toronto performance companies including Public Recordings (300 Tapes, what we are saying- Dora Award), Small Wooden Shoe (Dedicated to The Revolutions, Antigone Dead People) and Soulpepper Theatre (Spoon River, Marat/Sade, Tartuffe, The Crucible, and The Just – his directorial debut at Soulpepper). With his long-time collaborator Evan Webber he created and performed Ajax and Little Iliad, a double bill of short plays that have toured across Canada, Europe, Australia and Japan. Frank was a drummer in the Toronto-based rock group Boys Who Say No. He is a graduate of the Soulpepper Academy and The National Theatre School of Canada.

RAECHEL FISHER

Dr. Rosencrantz, Attendant Hamlet / McDonalda, Maudlin, Soldier All’s Well

Raechel is a recent graduate of the York University Acting Conservatory program and is thrilled to be working with Canadian Stage this summer. Some of her previous works in her final year include Edward/Betty in Caryl Churchill’s Cloud 9, Bear in Brebeuf’s Ghosts, and Sandpiper in The Birds by Yvette Nolan. She also took part in the London and Montreal Fringe in the 2015 season. Raechel wants to thank her friends and family for their constant love and support, her directors and mentors for their guidance, and finally the wonderful cast and crew of the 2016 High Park season.

NICKY GUADAGNI Polonius Hamlet / Countess Rossillion All’s Well Nicky Guadagni has performed in most theatres in Toronto, including as Juliet and Ariel in High Park.

She’s been nominated for five Gemini Awards and won two for Major Crime and Blue Murder.

Her play In the Wings, based on Carole Corbeil’s book, was performed at Theatre Passe Muraille.

Last year, Nicky won the Dora Mavor Moore Award for Best Actress for Hooked by Carolyn Smart, and directed by Layne Coleman (which was also nominated for Best Production and Best Play).

Nicky has taught and directed at George Brown College, the National Theatre School and UC Drama at University of Toronto.

MARVIN L. ISHMAEL Cornelius, Gravedigger Hamlet / King of France, Soldier All’s Well Marvin Ishmael is a Dora Mavor Moore Award-winning playwright, actor, director and the founder of We Are One Theatre Productions. Originally from Trinidad, he graduated from Ryerson Theatre School and holds a Masters from York University. His plays have been nominated for three Dora Awards with My Father the Hero winning one in 1996/97. Marvin has performed at Canadian Stage, The National Arts Centre, Prairie Theatre Exchange, The Centaur Theatre, The Grand, Arts Club, Young Peoples’ Theatre and Factory Theatre. In 2004, he was the only Canadian with a lead role in the Broadway musical Bombay Dreams. On screen Marvin recurs on Degrassi: The Next Generation and on Testees. He can also be seen in Ces Gars là, King, Rookie Blue, The Border and Sanctuary.

MINA JAMES Fortinbras, Attendant Hamlet / Helen All’s Well Mina James is a Toronto based actor. Most recently, Mina was in Outside, which toured for a second time in the spring of 2016. Previously, Mina was seen as part of the ensemble of Blood Wedding, coproduced by Aluna Theatre and Modern Times (6 Dora Awards, including Outstanding Production).

Previous acting credits include: Chorus in Antigonick (SummerWorks 2014); Mala in Sultans of Street (YPT, Dora Win-Best Ensemble); Lennox in Macbeth and Grumio in Taming of the Shrew (Canadian Stage). Mina was a fellow in the 2013 incarnation of the International Actor’s Fellowship at The Globe (UK). Mina loves her bicycle, travelling by herself, and could live solely off burritos. Thank you to Ted, Stephanie and Jake, and love to her Mom for everything.

RACHEL JONES Gertrude Hamlet / Widow, Lavatch All’s Well Rachel Jones was born in Toronto, grew up in the Maritimes, and spent many years in London, Ontario, before finally returning to Toronto in 2013. She studied drama and literature at the doctoral level before embarking on a career in theatre. Selected credits include: A Christmas Story, 7 seasons of the PlayWrights’ Cabaret, A Streetcar Named Desire, and The Black Bonspiel of Wullie McCrimmon (The Grand Theatre); Kitchen Witches (Bruce County Playhouse); The Nerd and The Odd Couple (Victoria Playhouse Petrolia); The Marriage Go-Round and Mary, Mary (The Classic Theatre Festival); The 39 Steps (TNB); 10 seasons with the Port Stanley Festival Theatre; The Trial of Ebenezer Scrooge (Theatre & Company).

QASIM KHAN

Horatio Hamlet / Parolles All’s Well

Qasim is a Dora Award nominated actor whose recent work includes: Das Ding (Canadian Stage/ Theatre Smash); Alice Through The Looking Glass, Anne of Green Gables, A Misfortune (Charlottetown Festival); Alligator Pie, The Crucible, The Royal Comedians, Dirt (Soulpepper); A Craigslist Cantata (Acting Up/NAC/ATP/Citadel); Beneath the Banyan Tree (Theatre Direct); Shannon 10:40 (Videofag). TV credits include: Riftworld Chronicles, Saving Hope, Nikita, Dan For Mayor & Little Mosque on the Prairie. He trained at the Soulpepper Academy, UofT/Sheridan, and is an International Actor Fellow of Shakespeare’s Globe.

Thanks to Ted, Birgit, Robyn, Matt, friends & family! Upcoming: Das Ding (Thousand Islands Playhouse); Alligator Pie (Soulpepper National Tour); and The Millennial Malcontent (Tarragon Theatre).

KYLE MCWATTERS Player King, Captain, Priest, English Ambassador, Attendant, Hamlet / Dumaine 2 All’s Well Kyle McWatters is a recent graduate of York University’s Acting Conservatory. He grew up in Whitby, Ontario and his first introduction to the theatre was at his alma mater Sinclair Secondary.

This is his Canadian Stage debut. Recent York University credits include Pericles, The Birds, Brebeuf’s Ghost and Cloud 9. He would like to thank his mom and dad for their love, Brad Emes for his encouragement and the York faculty for their constant support.

ALON NASHMAN

Claudius, Ghost Hamlet / Lafeu, Soldier All’s Well

Alon Nashman is a performer and creator of theatre, whose work has toured internationally. Canadian Stage credits include Botticelli in the Fire & Sunday in Sodom, Picasso at the Lapin Agile (Dora nomination), THIS (Toronto Theatre Critics Award); Selected theatre: Much Ado About Nothing, Forests, Alias Godot, Scorched (Dora nomination), Remnants (Tarragon); Hirsch (Stratford Festival), Reading Hebron, A Short History of Night (Factory Theatre); Wedding Day at the Cromagnons, This Hotel (Passe Muraille); The Wild Duck (Soulpepper); Hedda Gabler (Volcano); Kafka and Son (Outstanding Performance, Prague), Alphonse, The Snow Queen (Theaturtle). Film & TV: Mr. Bernstein, Cinderella Man; Our Fathers; Jonestown: Paradise Lost; Slings and Arrows; The Newsroom.

ROSE TUONG

Ophelia Hamlet / Diana, Rynalda All’s Well

Rose Tuong acts. She grew up in Toronto, trained at York University, and marks her Canadian Stage debut with Shakespeare in High Park. Other theatre credits include The RESISTIBLE rise of arturo ui (the red light district in association with Karfiol Kollective), Coriolanus and Troilus and Cressida (York University), Huck (Theatre Sentinel). Come August, she begins a performance residency with the Soulpepper Academy.

BIRGIT SCHREYER DUARTE

Director Hamlet

Originally from Germany, Birgit is a director, dramaturg and translator. Canadian Stage credits: Das Ding (translator; with Theatre Smash), The Test (translator; with Company Theatre) and Fernando Krapp (assistant director). Other credits include: Taking Care of Baby (director, Storefront Theatre), The Physicists (translator, Stratford Festival), Purgatory in Ingleton (translator/director, 2013 SummerWorks), Kaspar & the Sea of Houses (translator/director, 2011 SummerWorks Prize for Outstanding Production), The Piano Tuner (adaptor/translator, Cameron House), George Tabori’s Mein Kampf (director, UofT Studio). In 2013 and 2014, Birgit assisted Antoni Cimolino on Mary Stuart and King Lear as part of the Langham Director’s Workshop at Stratford. She is also Canadian Stage’s Dramaturg and Artistic Associate.

TED WITZEL

Director All’s Well

Ted is a Toronto-based theatre-maker who has also worked in Berlin, Paris, Milan, Stuttgart, Vancouver, Montreal, Stratford, Ottawa, Ingolstadt, Baden-Baden, and Bad Hersfeld, a small German town with a lot of sheep in it. Well, near it. Ted is currently an artist-in-residence at Buddies in Bad times with his company, the red light district, creating a performance series called LULU // aspects of a femme fatale. It’s not so family-friendly. For Canadian Stage: The Taming of the Shrew and Yukonstyle (director). Ted was in the inaugural cohort of the Canadian Stage / York University MFA in Stage Direction. Ted used to make a cute joke about his spider plant in his bio, but it recently died of neglect.

TERESA PRZYBYLSKI

Set Designer

Teresa Przybylski is an architect and a stage designer. She is known for her work in theatre, opera, dance and film. Canadian Stage credits include: Julius Caesar, Comedy of Errors (Set Design); The Palace of the End and Lucy. Other companies she has designed for include the Stratford Shakespeare Festival, Shaw Festival, Canadian Opera Company, Opera Theatre of Saint Louis, Blyth Festival, Necessary Angel, Tarragon Theatre, Factory Theatre, Buddies in Bad Times Theatre, Native Earth, Volcano Theatre, Theatre Smith-Gilmour, and others. For her design work she has been awarded five Dora Mavor Moore Awards and two Gemini Awards. She is a member of The Royal Canadian Academy of Arts, and The Associated Designers of Canada. Teresa teaches Stage Design at York University.

MICHELLE TRACEY

Costume Designer Hamlet

Michelle is a set and costume designer based in Toronto, Ontario, and a member of Associated Designers of Canada. She earned her BFA from York University, and went on to complete a Metcalf Foundation Internship in Design with Tarragon Theatre (2013-2014). Michelle will continue her training as a designer with the next Soulpepper Academy in 2016-2018. Her recent design credits include: The Summoned (Tarragon Theatre), The Assholes (Theatre Smith-Gilmour), The Terrible Parents (The Cabaret Company), Still (Binocular Theatre), Taking Care of Baby (The Caretakers/The Storefront Theatre), SOS (Erika Batdorf), Julius Caesar (Canadian Stage), M’dea Undone (Tapestry Opera), and Much Ado About Nothing (Tarragon Theatre).

SHAWN KERWIN

Costume Design All’s Well

Recent design work includes: Set & Costume Design: The Buddy Holly Story (Grand Theatre); Speed-ThePlow (Belfry Theatre); The Living (Summerworks); Dead Metaphor (Mirvish Productions, Theatre Aquarius); Sea Sick (Theatre Centre); A Tender Thing, Great Expectations, Our Town (Soulpepper); A Soldier’s Tale (Signal Theatre); Heaven, The Tempest, Habitat (Canadian Stage); Having Hope At Home, Salt Water Moon, Leaving Home, Drawer Boy, World Without Shadows (Blyth Festival); Brothel #9, And So It Goes, Suburban Motel, Better Living, Escape From Happiness, Beyond Mozambique (Factory Theatre). Set Design: The Colony of Unrequited Dreams, After Image, Oil & Water (Artistic Fraud of NFLD); How Do I Love Thee (Canadian Rep). Shawn is an Associate Professor in the Department of Theatre at York University.

OZ WEAVER

Lighting Designer

Oz Weaver is a Toronto based lighting designer, production manager and producer who has helped create over 100 shows. Select lighting credits include: Freedom Singer (Project Humanity); Festival Designer for Rhubarb Festival (Buddies in Bad Times); The Importance of Being Earnest, Don’t Dress For Dinner, and Blithe Spirit (Thousand Islands Playhouse); Mamma Mia! (Drayton Entertainment); .0 & Taxi (Kaejad’Dance); Lungs & Soliciting Temptation (Tarragon Theatre, Co-LD w/ Kim Purtell); and the Glenn Gould Prize Jury Gala (Sony Centre). He has been nominated for a Brickenden award, and has won two Dish Awards for his designs of Into the Woods and Phantom of The Opera. Oz is currently the Executive Director & Producer for The Dietrich Group.

LYON SMITH

Sound Designer

Lyon is a Toronto based multidisciplinary artist who works primarily as a sound designer, actor and photographer. For Canadian Stage: Venus in Fur, Macbeth, Julius Caesar, Comedy of Errors, The Taming of the Shrew, The Game of Love and Chance and Fernando Krapp Wrote Me This Letter.

Other select credits: Of a Monstrous Child (Ecce Homo/ Buddies in Bad Times), Final Savage Land (sore for punching you), Proud (GCTC), [de]coherence (Vazri Dance Projects), This is a Costume Drama (Dietrich Group/World Stage); Morro and Jasp : 9 to 5 (Factory theatre), Mary’s Wedding (Blyth Festival), Elle (Theatre Passe Muraille) and Venus’ Daughter (Obsidian Theatre). He has received a Dora Mavor Moore Award and multiple nominations for his sound work.

ZACK RUSSELL

Videographer Hamlet

Zack Russell is a director and writer. His short film She Stoops To Conquer premiered at the 2015 Toronto International Film Festival before playing SXSW and winning the 2016 Canadian Screen Award for Best Live Action Short. Zack is currently participating in the Michael Langham Workshop at the Stratford Festival, assistant directing The Hypochondriac. In 2016 he assisted Chris Abraham on the Canadian Stage/Royal MTC production of Chimerica. In 2015 he was awarded the RBC Rising Star Emerging Director Prize from Crow’s Theatre. His plays have premiered in Toronto (VideoFag) and New York (The Flea Theater).

SANDY PLUNKETT

Production Stage Manager

A champion of site-specific theatre Sandy often finds himself surrendering to various locales. Under the elms, under the stairs, and even on the black box stage, the play’s the thing. Sandy is the great-grandson of Morley Plunkett of the almost forgotten WW1 Canadian Vaudeville Troupe, The Dumbells. Selected Credits: The Flood Thereafter, This (Canadian Stage), Julius Caesar, Comedy of Error, As You Like it, Titus Andronicus, Macbeth, A Midsummer Night’s Dream, The Winter’s Tale, Romeo and Juliet (Canadian Stage Shakespeare in High Park); The Fish Eyes Trilogy, Same Same But Different (Nightswimming); Tales from the City, The Dog and the Angel, Weather the Weather (Theatre Columbus/Common Boots); The Test, Through the Leaves, Festen (Company Theatre), and Yichud (Theatre Passe Muraille).

LAURA BAXTER

Stage Manager

Canadian Stage credits include: Julius Caesar, Comedy of Errors, As You Like It, Titus Andronicus, The Taming of the Shrew, A Midsummer Night’s Dream, The Winter’s Tale, Venus in Fur. Other theatre: The 20th of November, Arigato Tokyo, Obaaberima, The Maids, The Silicone Diaries, Breakfast, Neon Nightz (Buddies in Bad Times Theatre); You WIll Remember Me, NSFW, God of Carnage, Clybourne Park (Studio 180 Theatre); Tales From the City, The Story, Happy Days, And Up They Flew (Common Boots Theatre); Elle (Theatre Passe Muraille); Dirt, Jitters (Soulpepper); Soliciting Temptation, More Fine Girls (Tarragon Theatre); Speaking in Tongues, Festen (The Company Theatre); A Christmas Carol, Everyone, The Story, Macbeth (Caravan Farm Theatre); Age of Arousal, Toronto the Good, The Real McCoy (Factory Theatre).

ANDREA BAGGS

Assistant Stage Manager

London, Ontario born, Andrea moved to Toronto to complete her BFA degree at the Ryerson Theatre School (Class of 2013). Baggs is very excited to be returning to Canadian Stage for her third consecutive season on Shakespeare in High Park, and to be working with such a wonderful team on this outdoor theatre experience! For Canadian Stage: Botticelli in the Fire & Sunday in Sodom, Domesticated, Julius Caesar, Comedy of Errors, Titus Andronicus, As You Like It. Other Theatre Credits: Assistant Stage Manager: 2 Pianos 4 Hands (Marquis Entertainment); Apprentice Stage Manager: Dream a Little Dream (The Grand Theatre London); Same Same But Different (Theatre Passe Muraille); Land of Smiles (Toronto Operetta Theatre); Night of the Living Dead (Nictophobia Films).

VICTORIA WANG

Apprentice Stage Manager

Victoria Wang is a Toronto based stage and production manager. Previous credits: Julius Caesar, Comedy of Errors (Canadian Stage), Refuge (Nightwood), The Crackwalker (Factory Theatre), Gas Girls (Black Theatre Workshop), Like There’s No Tomorrow (Architect Theatre), The Misanthrope and Importance of Being Earnest (Guild Festival Theatre). Outside of theatre Victoria is currently developing an interactive installation based on collecting personal memories from the public in the form of objects called the Memory Palace Project. Victoria is a graduate of the National Theatre School of Canada.

COLE VINCENT

Production Intern

Cole Vincent is a recent graduate of York University, having received his BFA in Production and Design with a focus on lighting design, stage management, production management and dramaturgy.

Credits include: Stage Management - The Living (Summerworks Festival), FornesX2 (Theatre Asylum). Production Management credit: strangeness and breath, I Was Once on Fire (Little Black Afro Theatre); The Redux Project, Venus, Oh! What A Lovely War (York University Theatre).