NEW SEATS IN THE DOUGLAS CAMPBELL THEATRE! Through the generous support of the Howard family, we are thrilled to complete the enhancements to the Douglas Campbell Theatre with the installation of brand new seats!
DEDICATE A SEAT Dedicating a seat is a visible and lasting way to celebrate a special occasion, birthday or anniversary, or to acknowledge a friend, family member, or a loved one. The seat, or seats, that you dedicate will each have a plaque that is engraved with your unique message. Your inspiration for what’s written on a seat plaque can come from anywhere, for any reason meaningful to you. Dedicating one seat costs $500, and you will receive a charitable tax receipt for the full amount. For more information, call the Bard on the Beach office at 604.737.0625. We launched a seat campaign in 2011 for our BMO Mainstage, and there are still seats available in that venue, too! $500 per seat; the seat location is fixed.
CONTENTS Artistic & Managing Directors’ Message
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Bard In Our Community
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The Comedy of Errors
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The Story
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Director’s Notes
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Behind the Scenes
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King Lear
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The Story
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Director’s Notes
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Behind the Scenes
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Love’s Labour’s Lost
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The Story
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Director’s Notes
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Behind the Scenes
31
Shakespeare’s Rebel
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by C.C. Humphreys
The Story
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Director’s Notes
37
Behind the Scenes
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The location of the seat you dedicate in the Douglas Campbell Theatre is not fixed, due to the changing configuration of the seating deck in different seasons.
Bard Events
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Seat dedications in both theatres are valid for 10 years.
Professional Development
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Christopher Gaze Photo: Jason Keel
The Creative Team
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The Players
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Stage Management
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Bard Members
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Bard Volunteers
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Acknowledgements
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The Bard Team
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Season Schedule
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Bard on the Beach Administration
#Bard2015
203 - 456 W Broadway, Vancouver BC, Canada, V5Y 1R3 Phone 604.737.0625 Fax 604.737.0425 Box Office 604.739.0559 Website bardonthebeach.org E-mail info@bardonthebeach.org
Bard on the Beach is a member of the Professional Association of Canadian Theatres and engages, under the terms of the Canadian Theatre Agreement, professional Artists who are members of the Canadian Actors’ Equity Association.
ARTISTIC & MANAGING DIRECTORS’ MESSAGE
Christopher Gaze and Claire Sakaki Photo: Jason Keel
Welcome one and all to our 26th Bard Season! We applaud and are grateful for your investment in our Festival. Your time, patronage, and generous financial support truly make a difference. Our theatre company thrives for many reasons - most of all because you believe in what we are striving to do. To entertain – yes! To educate – yes! To enrich our cultural life – yes! Your attendance year after year makes us one of the most successful theatre experiences in Canada. This season, our Comedy of Errors is sure to delight audiences of all ages with its visually rich Victorian steampunk world; meanwhile its story of two sets of long-lost twins lets us delight in the hapless misfortune and ultimate reunification of the characters. King Lear comes to Vancouver after a triumphant run at Theatre Calgary. This co-production has already been praised BOARD OF DIRECTORS by reviewers as a deeply moving realization of a seminal classic. President We have turned the Douglas Campbell Theatre into a Jim Bovard 1920s Chicago speakeasy – full of dancers, musicians, and Vice President love-sick mobsters – to give you a Love’s Labour’s Lost that Margie Knox becomes a marvellous party, including live performances of favourite jazz classics. Treasurer Also on the Campbell Theatre’s Howard Family Stage, we Michael Baddeley are proud to present the world premiere of Shakespeare’s Secretary Rebel, by celebrated author C.C. Humphreys, based on his Beth Macdonald best-selling novel. This swashbuckling adventure is filled with Directors swordplay, love stories, and intriguing English historical Douglas Clarke characters including the beloved monarch Queen Elizabeth I, Craig Ferris QC the Earl of Essex, and William Shakespeare. John Geddes We are thrilled to have assembled a gifted and exciting Darlene S. Howard team of artists, full of integrity, passion, musical talent and Bernie Maroney humour. Our company of players and our hundreds of Marlie Oden behind-the-scenes artisans and staff look forward to sharing Kostya Polyakov these exciting productions with you. David Ricketts Douglas Welch 5
BARD IN OUR COMMUNITY The mission of Bard Education is to inspire our community through dynamic and engaging experiences with the language, characters, and plays of William Shakespeare. We provide opportunities for students, teachers, and lifelong learners in our community to make their own personal connections with Shakespeare’s plays through Bard in the Classroom, Young Shakespeareans, Bard Unbound, and Student Matinees. “With Bard Education, participants stand on their own two feet, using their own voices, bodies, imaginations and hearts to make Shakespeare’s language their own. They bring Shakespeare to life and into their lives, creating infinite possibilities.” Mary Hartman, Director of Education
Young Shakespeareans Photo: Joe Biegel
NEW PROGRAMS Bard in your Neighbourhood works with community partners to bring workshops to underserved children and youth at no cost. A group of former Young Shakespeareans return to continue training with us all summer with Riotous Youth. Don’t miss free public performances by Riotous Youth on Monday Aug 17 & Monday Aug 24 @ 7:30pm.
Bard in the Classroom Photo: Joe Biegel
For more information about these programs and how you can get involved, call 604.737.0625 or visit bardonthebeach.org
Annie Therrien Boulos & Anton Lipovetsky lead an exercise with the Young Shakespeareans. Photo: Joe Biegel
Special thanks to Bard In Your Neighbourhood
for its support of Bard Education Community Partner
Student Matinees Sponsor
Additional support from The Y.P. Heung Foundation (Riotous Youth), The Hamber Foundation, The John Hardie Mitchell Foundation, and the Ellen Tattersfield Memorial Foundation. 6
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June 4 to September 26 Directed by Scott Bellis Ben Elliott (Antipholus) & Dawn Petten (Dromio) Photo & Image Design: David Cooper & Emily Cooper
The DUKE of Ephesus The EXECUTIONER EGEON, a merchant of Syracuse ANTIPHOLUS OF SYRACUSE DROMIO OF SYRACUSE, his servant FIRST ENGINEER, friend to Antipholus of Syracuse ANTIPHOLUS OF EPHESUS DROMIO OF EPHESUS, his servant ADRIANA, wife to Antipholus of Ephesus LUCIANA, sister to Adriana NELL, cook to Adriana MAUD, chambermaid to Adriana ANGELO, a goldsmith The SMUGGLER BALTHASAR, a friend to Antipholus of Ephesus The COURTESAN The COLLECTIONS OFFICER DOCTOR PINCH, a cyborg and mad scientist NURSE POPPY, assistant to Doctor Pinch The ABBESS of Ephesus Engineers, Officers, and Citizens Costume Designer Scenery Designer Lighting Designer Sound Designer Head Voice & Text Coach Choreographer Fight Director Production Stage Manager Assistant Stage Manager Apprentice Stage Manager Apprentice Director Set Design Apprentice Production Sponsor
#Bard2015
Jeff Gladstone Andrew McNee Scott Bellis Ben Elliott Luisa Jojic Anna Galvin Jay Hindle Dawn Petten Sereana Malani Lindsey Angell Andrew McNee Daniel Doheny Andrew Cownden Josh Epstein Andrew McNee Lili Beaudoin Daniel Doheny Jeff Gladstone Anna Galvin Anna Galvin Members of the Company Mara Gottler Pam Johnson Gerald King Malcolm Dow Alison Matthews Tara Cheyenne Friedenberg Nicholas Harrison Stephen Courtenay Kelly Barker Alexandra Shewan Amanda Lockitch Elizabeth Wellwood
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ONE MINUTE INTERMISSION
The use of electronic devices, including cameras, during the performance is strictly prohibited.
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THE STORY The play begins when Egeon, an old merchant from Syracuse, is brought before the Duke of Ephesus to be sentenced to death. His crime is simply being in Ephesus, as travel between the two rival cities has been forbidden by law. Egeon explains to the Duke why he decided to risk his life by traveling to Ephesus and how he came to lose his wife, Emilia, and twin sons. Many years ago Egeon and his wife were hit by a terrible storm while traveling at sea with their infant sons and a second set of twins who were purchased to be raised as servants. Both sons were called Antipholus and both servants were called Dromio. Each parent tied themselves to the ship’s “What error drives our mast with an infant from each set of twins. When the mast broke in two the family was separated. Egeon was eyes and ears amiss?” left to raise one son on his own and never saw Emilia or Act II, Scene ii his other son again. Eighteen years later his remaining son left Syracuse to find his lost twin. When his son failed to return, Egeon left to find him and has been searching in vain for the past ten years. Moved by Egeon’s sad tale, the Duke grants him a stay of execution for one day and offers to release him if he can find money to pay a fine. Meanwhile, in another part of Ephesus, Antipholus of Syracuse and his servant, Dromio of Syracuse, have come ashore, completely unaware that they have finally stumbled upon the home of their identical twin brothers. Confusion follows when each Antipholus mistakes his brother’s servant for his servant, and each Dromio mistakes his master’s twin for his own master. Dromio of Ephesus is sent by Adriana, his master’s wife, to beckon his master to dinner, but mistakenly approaches Antipholus of Syracuse instead. When Antipholus of Syracuse refuses, Dromio rushes home to relate his master’s strange behaviour to Adriana. Taking matters into her own hands, Adriana drags Antipholus of Syracuse back to her home. Antipholus decides to go along with her until he can figure out what’s going on. In the process, he finds himself falling in love with Adriana’s sister, Luciana, who lives in the same house. When Antipholus of Ephesus arrives on the scene to find he’s been locked out of his home, he is furious. After a heated confrontation, he goes off to dine with a courtesan and impulsively decides he’ll give her a chain he intended to give Adriana. Unfortunately for him, Angelo, a goldsmith, mistakenly gives the chain to Antipholus’ twin. When Angelo seeks payment for it, Antipholus of Ephesus refuses (since he never actually received it) and is consequently arrested. Thinking that both her husband and servant are mad, Adriana calls in the nefarious Dr. Pinch to treat them. And then, just when both sets of twins think things can’t get any crazier, they come face to face with the mysterious Abbess... Did You Know? • The Comedy of Errors is Shakespeare’s shortest play. • In the two centuries following its creation, adaptions were made and musical scores introduced to accommodate popular taste. It was not until the mid-nineteenth century that the original version could be seen on stage again. 11
DIRECTOR’S NOTES This play has been a favourite at Bard on the Beach since it was first staged here in 1995. R. H. Thomson’s modern-dress musical streetband adventure was followed in 2003 by Michael Shamata’s clear and clever Victorian romp and by David Mackay’s brilliant and zany Elizabethan send-up in 2009. Now it’s my turn! My experience with this play goes back to 1986, when I performed it as a teenage acting student at Studio 58. The story of a young man on a long quest to find his twin brother and the misadventures he falls into closely matched my own personal quest to become an actor and the dark yet giddy confusion I felt as I tried to find my own voice as an artist. I was attracted to its broad mix of “...adventure, and poetic lyricism, adventure, and slapstick farce. How could all these elements exist in the same play? slapstick farce.” While broadly advertised as a comedy, it begins with lessScott Bellis than-comic overtones: a death sentence, a family tragedy, a hopeless quest, and an unhappy marriage. You can also add in servant abuse, violence, confusion and madness as recurring themes. Not exactly funny stuff. But Shakespeare, having dug this pit very deep, runs his story through a series of brilliantly precise, tight and hilarious plot twists, then turns it around, serving up a satisfying ending full of discovery, reunion, and love. In 2011 I had the great opportunity to direct this play back at my old theatre school, Studio 58. At the time I wanted to find a setting that could express my vision of the play as a broken machine and grab the imaginations of the student actors I was working with. I had been reading some stories by Jules Verne and H.G. Wells and decided on a style commonly known as steampunk. This type of aesthetic imagines an alternate history (or future) of advanced analog technology, rooted in the 19th or early 20th century. It is a creative culture supported by fiction, music and clothing styles all over the world. To quote the AEther Emporium, a website dedicated to the genre: “Steampunk is an eclectic world of cogs and rivets. It is airships, goggles and steam. It is romance. It is travelling on clouds and diving beneath rugged waves. It is adventure.” It proved to be a wonderful setting for our show. I have to acknowledge the staff and students at Studio 58 and the design team for that production: Costume, Sound and Lighting Designers Naomi Sider, Shawn Sorensen, and Itai Erdal, and Scenery Designer Pam Johnson, who has also put together the set you see before you today. This production is about loss, identity, madness, and reconciliation. It is about crazy chase scenes, falling down, adventures, and bad The Executioner’s helmet in jokes. It is about steam, gadgets, and electricity. I hope you love it. The Comedy of Errors About Scott Bellis Scott’s career as a director sprang to life in 2007 after a 20 year acting career which included over thirty Shakespeare projects. His first production as a director for Bard was the 2010 Mainstage production of Antony and Cleopatra. Other directing credits include Twelfth Night (Carousel); Richard III, The Comedy of Errors, Julius Caesar, A Midsummer Night’s Dream (Studio 58); and The Black Bonspiel of Wullie MacCrimmon (Persephone). He has served as a Mentor Artist for the Dramatic Works Series at the Vancouver Fringe Festival. He currently serves as a National Councillor for Canadian Actors’ Equity Association. 12
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BEHIND THE SCENES THE SET Scenery Designer Pam Johnson has created what she describes as “a mythical world based on steampunk.” In true steampunk style (think H. G. Wells or Jules Verne) the set and furniture are adorned with cogs, gears and other strange gadgetry. Nothing is quite what it appears. Those with a keen eye will notice how Johnson turns a simple wooden door into the intricately detailed metal gate of the rectory. The set itself represents a gigantic machine which looms menacingly over the cast and audience. The machine is an integral part of Ephesus, both physically and literally, as each inhabitant is responsible for its maintenance. “The set is a whole other character – a real organism with a life of its own!” says Johnson. So how real is real? “Pretty real. There will be lots of surprises!” A model of the set by Pam Johnson THE MUSIC A fantastical land full of gizmos, bells, and whistles needed an imaginative and playful score to keep pace with it. Sound Designer Malcolm Dow has created what he describes as a “mechanical” score that will carry audiences to an alternate reality; “a lost dream of a nondigital futuristic world.” Dow has had lots of fun using sound in different ways to breathe life into Johnson’s machine. Throughout the play it whirrs and purrs gently along – but it also has its quirks and is never far from going catastrophically wrong. Dow says his design is “high paced, fun, and spooky with some actor involvement, and even a phaser; yes, a phaser gunfight in it!” THE COSTUMES Bard Artistic Associate and founding member Mara Gottler shares some insights about her costume design and her thoughts on steampunk. “In The Comedy of Errors, Shakespeare describes Ephesus as ‘full of cozenage… dark-working sorcerers, nimble jugglers, soul-killing witches, disguised cheaters and many such-like.’ The clockwork subculture that is steampunk captures that chaos, creating a technologically advanced place at the edge of an alternative Victorian world, ever ready to collapse but for the vigilance of the masked and silent Engineers. Colour heightens the confusion: the Court, the Monastery, and Magicians are uniformly dressed in black; Merchants and Engineers in brown. The inhabitants easily fit Steampunk archetypes: Antipholus of Syracuse as intrepid explorer; Duke Solinus as dapper gentleman; Antipholus sketch Courtesan, in a shock of red, as a violent femme fatale; Dr. Pinch as a by Mara Gottler mechanical hybrid. The masks and goggles of Steampunk culture reinforce the mistaken identities while referencing both medieval Plague doctors and industrial factory workers. With the final revelation of true identities, Dr. Pinch shuts down the Grand Machine that generated this deranged comedy of errors.” 15
June 18 to September 20 Directed by Dennis Garnhum Benedict Campbell (King Lear) Photo (courtesy Theatre Calgary) & Image Design: David Cooper & Emily Cooper
#Bard2015
KING LEAR, King of Britain Benedict Campbell GONERIL, Lear’s eldest daughter Colleen Wheeler REGAN, Lear’s second-eldest daughter Jennifer Lines CORDELIA, Lear’s youngest daughter Andrea Rankin DUKE OF ALBANY, Goneril’s husband Declan O’Reilly DUKE OF CORNWALL, Regan’s husband Robert Klein EARL OF GLOUCESTER, Lear’s cherished old friend David Marr EDGAR, Gloucester’s legitimate son Nathan Schmidt EDMUND, Gloucester’s illegitimate son Michael Blake EARL OF KENT, Lear’s trusted advisor John Murphy THE FOOL, Lear’s court jester Scott Bellis A KNIGHT Anousha Alamian DUKE OF BURGUNDY, suitor to Cordelia Chirag Naik KING OF FRANCE, suitor to Cordelia Craig Erickson OSWALD, Goneril’s servant Ian Butcher CURAN, Gloucester’s servant Chirag Naik Costume Designer Scenery Designer Lighting Designer Original Music Composer Production Dramaturg Fight Directors Production Stage Manager Assistant Stage Manager Apprentice Stage Manager Apprentice Director
Production Sponsor
Deitra Kalyn Pam Johnson Gerald King Dave Pierce Shari Wattling Haysam Kadri, Karl Sine Stephen Courtenay Kelly Barker Alexandra Shewan Mike Griffin
20
ONE MINUTE INTERMISSION
The use of electronic devices, including cameras, during the performance is strictly prohibited.
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THE STORY King Lear, the King of Britain, has decided to retire and divide his kingdom between his three daughters. Before doing so, he asks each of them to tell him how much they love him. His elder daughters, Goneril and Regan, shower him with words of love. His youngest daughter, Cordelia, replies simply that she loves him as much as a daughter should. Outraged, Lear banishes Cordelia and divides his entire estate between the two older daughters. His loyal advisor, the Duke of Kent, objects to Lear’s actions and is also banished. The King of France offers to marry Cordelia without a dowry and the “Which of you two depart the kingdom. Meanwhile, Lear’s friend, the Earl of Gloucester, is told by his we say doth illegitimate son Edmund that his older, legitimate son Edgar is love us most...” plotting to murder him. This is a lie made up by Edmund who wants his brother’s inheritance for himself. Edmund persuades Act I, Scene i Edgar to flee for his life. Edgar goes into hiding by adopting the disguise of a beggar named ‘Poor Tom’. Having given up his kingdom, Lear plans to stay with Goneril and Regan for one month at a time. The banished Duke of Kent disguises himself and rejoins Lear at the home of Goneril and her husband, the Duke of Albany. Goneril complains to her father about the riotous behaviour of his entourage of knights, and asks him to dismiss half of them. Angered at this lack of respect, Lear departs to stay with Regan and her husband, the Duke of Cornwall. However, he finds the two daughters are of the same mind. Distraught, Lear wanders out into a wild storm. Led through the storm by Kent and his Fool, Lear is brought to a hovel where Edgar has been hiding. Gloucester secretly arranges for Lear to be sent to Dover, where Cordelia has landed with the French army to fight on the king’s behalf. Gloucester is Dennis Garnhum directs the cast of King Lear at Theatre Calgary punished by Regan and Cornwall for Photo: courtesy Theatre Calgary this act of loyalty to the king. As war between England and France looms, Edmund takes advantage of both Goneril and Regan’s growing attraction to him. Lear is reunited with Cordelia, but soon the time comes when all sides must meet on the battlefield.
Did You Know? • An adaptation of King Lear, written by poet Nahum Tate in 1681, replaced Shakespeare’s version on the stage for over 160 years. This “happier” version had Lear regain his throne, Cordelia marry Edgar, and eliminated the character of the Fool. • King George III suffered from bouts of insanity so all performances of any version of King Lear were banned from the stage during his reign from 1810 to 1820. 18
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DIRECTOR’S NOTES With King Lear, William Shakespeare lays bare the human condition with laser-sharp clarity. In an epic and imaginary world of kings, knights and noblewomen, Shakespeare exposes universal truths that modern audiences can relate to in a surprisingly personal way. For at the heart of this play is the story of a family unravelling. A father decides to divide his wealth and lands while still alive, and inadvertently sets off a series of “...a bittersweet events that causes catastrophic outcomes. I’ve wanted to direct King Lear since I first saw the play as a reminder of 17-year-old. At the time I had no extensive life experience – not the force and even off to university yet. But I felt deeply connected to the idea beauty of life.” of our powerful bonds to family – sometimes good, sometimes terrible, but forever connected. Now, almost 30 years later, I’ve Dennis Garnhum experienced the loss of both parents, and conversely the joy of fathering a lovely little girl. My own family bonds have grown, changed, and deepened. King Lear is a reminder of the fragility and occasional pain of our relationships, but it is also, for me, a bittersweet reminder of the force and beauty of life. This has been an extraordinary journey thanks to this historic partnership between Theatre Calgary and Bard on the Beach. This entire production (including artists, scenery, and costumes) thrilled audiences on the Theatre Calgary stage this past winter. We are delighted to continue the journey here in Vancouver. Celebrated actor Benedict Campbell is surrounded by talented artists from across Canada. We have come together to share our passion for this masterwork.
About Dennis Garnhum Dennis was appointed Artistic Director at Theatre Calgary in September, 2005. For Theatre Calgary: King Lear, The Philadelphia Story (Shaw Festival), Major Barbara (A.C.T. San Francisco), Pride and Prejudice (NAC co-production), To Kill a Mockingbird, Much Ado About Nothing, Lost - A Memoir, Beyond Eden, Timothy Findley’s The Wars (Vancouver Playhouse co-production), Of Mice and Men. Other work includes Twelfth Night (Bard); Carmen, La Traviata (Pacific Opera Victoria); Barber of Seville (Vancouver Opera); This Could Be Love (New York City Musical Festival); The Hunchback of Notre Dame, The Trials of Ezra Pound (Stratford); and The Mystery of Edwin Drood, Still Life, S.S. Tenacity (Shaw Festival). Recently Dennis was awarded the Queen Elizabeth II Diamond Jubilee Medal and the Calgary Award for Arts. This production of King Lear was created at Theatre Calgary by the following personnel: Text Coach: Ian Watson Vocal Coach: Jane MacFarlane Assistant to Dave Pierce: Donovan Seidle Head Stage Carpenter: Ben Wilson Head of Lighting: Catherine Crumb Bevans Head of Sound: Chris Jacko Theatre Calgary Assistant Stage Manager: Emma Brager Wig and Hairstylist, Wardrobe Master: Ron Siegmund 20
Director Dennis Garnhum, Dramaturg Shari Wattling, and Assistant Director Mike Griffin Photo: Richard Lam
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BEHIND THE SCENES THE SET Scenery Designer Pam Johnson faced a new challenge with King Lear – to design a set that would play in two very different theatres. Theatre Calgary’s stage is an indoor proscenium arch, while Bard’s Mainstage is a thrust stage in a tent. As well, Bard’s outdoor theatre has radically different lighting capabilities. “The lighting at Bard is much harder to control” explains Johnson, so she and Lighting Designer Gerald King incorporated lights into the stage floor to illuminate the powerful storm scene. The decorated medieval-style set is gradually transformed to resonate with the story and Lear’s personal journey. The furnishings are removed as Lear battles with his family, himself and with nature, and the set is transformed from palatial opulence to a barren wasteland. Eventually silk grasses are added, little by little, to transport us to the cliffs of Dover for Lear’s final scene. A model of the set by Pam Johnson THE COSTUMES Costume Designer Deitra Kalyn’s colours also reflect Lear’s descent, as they gradually seep away to white by the play’s end. The limited colour palette makes texture extremely important in creating a unique look for each costume. Designing the opulence of the first scenes was a treat for Kalyn. Her favourite piece was the fur used on Lear’s robe; the exquisitely sleek black fur came from a pillow sham that she saw in a furniture store! A production of this scale comes with its challenges. Many actors play multiple roles and so costumes need to be quick to put on. Also the production first played in Calgary’s indoor theatre and Kalyn needed to make sure the actors would not overheat in their wintry clothing during the warmer Costume Design & Images by Deitra Kalyn Vancouver summer. She has “cheated the layers” to give the illusion that the actors are wearing many pieces, but in fact many pieces are built into one layer. The costumes are also constructed to allow ease of movement for the play’s fight scenes. THE MUSIC The music in King Lear has a presence. Original Music Composer Dave Pierce’s holistic design process creates both a subtle and a tangible effect. Recordings of choirs singing non-specific words are used to mark the musical tone of each character. Many of the scenes depend entirely on the music to change mood or to indicate a change of location. Pierce spent many hours in rehearsals, working to ensure the actors’ actions coordinated precisely with the music. The dramatic fight scenes demanded particularly careful work. Pierce composed in the midst of fight rehearsals and while watching videos of each scene in his studio. As the actors perfected their choreography, Pierce needed to continuously rewrite his score as “the timing of stabs and deaths kept changing the pace of the music.” Pierce’s favourite piece is the thunderstorm in the play’s second half. He jokes, “In Calgary, we made the theatre rumble with each thunder crack!” 23
June 19 to September 20 Directed by Daryl Cloran Luisa Jojic (Rosaline) & Josh Epstein (Berowne) Photo & Image Design: David Cooper & Emily Cooper
#Bard2015
H O WA R D FA M I LY S TA G E FERDINAND, known as “The King” BEROWNE, close friend to Ferdinand and fellow gangster DUMAIN, close friend to Ferdinand and fellow gangster COSTARD, comedian and MC at Navarre DON ARMATO, a visiting Don MOTH, Don Armato’s sidekick JAQUENETTA, a flapper HOLOFERNES, resident pianist at Navarre DULL, bouncer and bass player at Navarre PRINCESS, daughter of Ferdinand’s chief rival ROSALINE, close friend of Princess KATHERINE, close friend of Princess BOYET, chaperone of Princess Costume Designer Scenic Designer Lighting Designer Musical Director Assistant Musical Director Head Voice & Text Coach Choreographer Fight Director Stage Manager Assistant Stage Manager Apprentice Stage Manager Apprentice Director
Production Sponsor
The use of electronic devices, including cameras, during the performance is strictly prohibited.
Jay Hindle Josh Epstein Daniel Doheny Andrew Cownden Andrew McNee Lili Beaudoin Dawn Petten Ben Elliott Jeff Gladstone Lindsey Angell Luisa Jojic Sereana Malani Anna Galvin Rebekka Sørensen-Kjelstrup Marshall Mc Mahen Adrian Muir Ben Elliott Anton Lipovetsky Alison Matthews Valerie Easton Nicholas Harrison Joanne P.B. Smith Lorilyn Parker Ruth Bruhn Melissa Oei
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ONE MINUTE INTERMISSION 25
THE STORY It’s Chicago in the 1920s and Ferdinand, “The King”, controls the illegal liquor and gambling trade on Chicago’s South Side. Ferdinand has decided to give up all vices (especially women) and has turned Navarre, his popular speakeasy, into a scholarly retreat for three years. His two friends, Berowne and Dumain, agree to swear an oath to give up vices as well. To remove temptation, Ferdinand “None are so surely passes several proclamations including one forbidding any woman from coming within a mile of his club. caught, when they The three men try to amuse themselves by enjoying the are catch’d.” antics of Don Armato, a visiting Don, and Costard, the resident comedian. Don Act V, Scene ii Armato has fallen in love with Jaquenetta, a flapper at Navarre, and is distressed to have discovered Costard alone with her. Don Armato sends Costard to Ferdinand for punishment and the comedian is sentenced to a week’s fasting in Don Armato’s custody. Ferdinand’s scholarly resolve is put to the test when Princess, the daughter of his arch-rival, Bugs O’Reilly, arrives at Navarre with Rosaline and Katharine, two of her closest friends. Princess has come with a message from her father concerning a debt he owes Set sketch by Marshall McMahen to Ferdinand. Ferdinand, Dumain, and Berowne immediately fall in love with the women but because of their oath, they conceal their feelings. Ferdinand relaxes his rule forbidding men to talk to women but still insists that the women stay in tents outside of the speakeasy during their visit. When Berowne gets Costard to deliver a love letter to Rosaline, his feelings for her are revealed and it’s not long before the three friends concoct a crazy plan to pursue the ladies. Princess and her two friends learn of the men’s intentions and decide to have some Director Daryl Cloran runs a scene with Josh Epstein (Berowne) fun of their own. Did You Know? • It’s thought that Love’s Labour’s Lost is the only play whose plot Shakespeare invented from scratch and did not draw from history, literature or mythology. • There was once a real Kingdom of Navarre located between Spain and France. The southern part became an official part of Spain in 1521 and the rest merged with France in 1620, after Henry III of Navarre became King of France. 26
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DIRECTOR’S NOTES Every time I read Love’s Labour’s Lost, I find myself humming It Had To Be You. For me, this is a story about falling in love for the first time – when your heart is so full you need to sing! But at the same time, you’re trying desperately to look cool, to impress, and to mask the full extent of your feelings from the object of your affection (or your friends!). So I gave them music, these young lovers, so that when the restraints and constraints of their artificial society, the structures of their rhetorical Academe and the pressure to conform to their friends could no longer hold their passion, they could sing. And really, what better period than the Jazz Age? So much of the 1920s is about rebelling against Prohibition. Songs like Let’s Misbehave or I Want to be Bad are all about breaking free of the imposed shackles of Prohibition and letting loose. Ferdinand and his compatriots “...this is a story find themselves in a prohibition of their own design. They about falling in love spend most of the play trying to get around or bend their for the first time...” own rules, trying to maintain their honour but wanting so desperately to break free of their pledge, and all for love. Daryl Cloran This production is very much an adaptation of Shakespeare’s script. I’ve cut almost half of the original text and incorporated a lot of music. We’re light a couple of lovers (there are four sets of lovers in the original script), Boyet is a woman instead of a man, Holofernes is a pianist instead of a pedant, and Sir Nathaniel, is, well... he’s sitting this one out. It was also important to me to break down the separation between audience and actors and throw you right in the middle of the action with us. Ultimately, that’s what’s so exciting to me about adapting a script – the process of exploring, shedding, and inventing to get to the heart of the story and find a way of telling it so that it resonates with a contemporary audience. My sincere thanks to Christopher Gaze and the Bard on the Beach team for allowing us to play. And my thanks to you, for joining us on this wild ride. Welcome to NAVARRE! It’s 1926, and you’re in the most popular speakeasy in Chicago’s South Side. Tonight is the last night of “freedom” for local King(pin) Ferdinand, before he turns his back on a life of rum-running, gambling and girls to devote himself to three years of study. We’re going to give Luisa Jojic (Rosaline) rehearses with Assistant him a send-off he won’t soon forget. Let’s party! Musical Director Anton Lipovetsky
About Daryl Cloran Daryl is the Artistic Director of Western Canada Theatre in Kamloops, where he recently directed Peter and the Starcatcher and Les Miserables. Daryl has directed at theatres across Canada, including Liberation Days (Theatre Calgary); Tribes (Canadian Stage); All For Love (National Arts Centre); Generous (Tarragon); Afterplay (Shaw Festival); Last Five Years (Manitoba Theatre Centre); and This is How it Goes (Neptune). As the founding Artistic Director of Toronto-based Theatrefront, Daryl’s directing included UBUNTU (The Cape Town Project) and RETURN (The Sarajevo Project). Daryl has been awarded the Canada Council’s John Hirsch Prize for Outstanding Emerging Theatre Director, the Toronto Theatre Emerging Artist Award and a Robert Merritt Award for Outstanding Director (Halifax). 29
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BEHIND THE SCENES THE SET Chicago was one of the first cities to start using modern steel and glass construction, after the Great Fire of 1871 destroyed many of its original structures. This presented a challenge to Scenic Designer Marshall McMahen because the set for Love’s Labour’s Lost, situated in Prohibition-era Chicago, also needed to represent the Elizabethan London of Shakespeare’s Rebel where brick, wood, and stone were common building materials. “Our response was to set Love’s Labour’s Lost deeper in the underbelly of the city, in the realm of gangsters and secret jazz halls, which allows me to use older, grittier materials that also make sense for Elizabethan London” explains McMahen. Verdigris (green oxidized bronze) accents are inspired by Chicago’s iconic Great Clocks, and art deco patterns bring the spirit of the Prohibition era to life.
A painting of the set by Marshall McMahen
THE COSTUMES Vivacious rich tones adorned with beads, sequins, feathers, and furs add fun and old-time romance to this lively production. Flapper dresses were functional and easy to move in, with hemlines that rose to just above the knee for the first time. “Dresses in the 1920s were all about detailed fabrics with sparkle, beads, and floating chiffon” explains Costume Designer Rebekka Sørensen-Kjelstrup whose exquisite designs feature all three in abundance. Sørensen-Kjelstrup has also designed beautiful handmade headdresses, as it was customary at that time to wear a matching head accessory, usually a cloche or close-fitting hat. The men’s suits have the clean lines of the popular Sacque suits of the era, with the two-toned Oxford shoes paired with a bowler hat or fedora to complete the 1920s look. Costume sketch by Rebekka Sørensen-Kjelstrup
THE MUSIC “If New Orleans is where jazz was born, Chicago and New York are where it had its adolescence” says Musical Director Ben Elliott. Prohibition in 1920s Chicago helped fuel jazz through its growing number of speakeasies and, with them, aspiring new jazz musicians. That’s why this lively production is filled with a colourful assortment of jazz favourites, including Irving Berlin’s Blue Skies, Fats Waller’s Ain’t Misbehavin’, and Cole Porter’s Let’s Do It, Let’s Fall In Love – all performed by the actors. Cast members will create a live jazz band right in front of the audience, with drums, bass, piano, trumpet and a couple of other surprises that Elliott hopes will “fire you up for an Inka Dinka Doo of a good time!” Make-up Sponsor: 30
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July 2 to September 19 Directed by Christopher Gaze John Murphy (The Earl of Essex) Photo & Image Design: David Cooper & Emily Cooper Shakespeare image © National Portrait Gallery, London
#Bard2015
H O WA R D FA M I LY S TA G E WILLIAM SHAKESPEARE RICHARD BURBAGE JOHN LAWLEY SIR SAMUEL D’ESPARR QUEEN ELIZABETH ROBERT DEVEREUX, Earl of Essex SIR ROBERT CECIL TESS NED LAWLEY WILLIAM SLY SARAH ST. LAWRENCE LORD SANDYS THOMAS WALLER All other characters played Costume Designer Scenic Designer Lighting Designer Composer & Sound Designer Production Dramaturg Head Voice & Text Coach Fight Director Stage Manager Assistant Stage Manager Apprentice Stage Manager Apprentice Director
Anousha Alamian Michael Blake Benedict Campbell David Marr Colleen Wheeler John Murphy Robert Klein Jennifer Lines Chirag Naik Craig Erickson Andrea Rankin Declan O’Reilly Nathan Schmidt Ian Butcher by members of the Company Christine Reimer Marshall Mc Mahen Adrian Muir Murray Price Martin Kinch Alison Matthews Nicholas Harrison Joanne P.B. Smith Lorilyn Parker Ruth Bruhn Jacquie Loewen
Queen Elizabeth’s gold and cream dress, worn by Colleen Wheeler in Shakespeare’s Rebel, was originally designed by Mara Gottler for Elizabeth Rex (2013)
Production Sponsor
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The use of electronic devices, including cameras, during the performance is strictly prohibited.
ONE MINUTE INTERMISSION 33
THE STORY It’s 1599 and London is a city on the brink of revolution. Rebellion in Ireland threatens to open the door to a “I hate theatre. It Spanish invasion. To quash the rebels, Queen Elizabeth encourages base enlists Robert Devereux, the Earl of Essex, a dashing general, champion jouster and perhaps her greatest appetites in men and love. But Essex has a darker side that John Lawley, one ungodly desires in of England’s finest swordsmen, knows only too well; women. Worse, it John has risked his life one time too many for the reckless melancholic. encourages people to John has finally managed to trade the battlefield for think for themselves.” the theatre, as the fight arranger for London’s new Globe Act I, Scene vii Theatre. All he wants is to win back Tess, the woman he loves, bond with his son Ned, and above all be free of Mad Robbie Devereux (the Earl of Essex). However these are dangerous times and suddenly everyone needs John’s help, including Devereux, the scheming Sir Robert Cecil and the Queen. Even his oldest friend Will Shakespeare needs John to help him finish the play that threatens his sanity: Hamlet. Will Lawley outrun his demons as he is propelled into a deadly conspiracy that could destroy both him and England?
About the playwright: C.C. Humphreys Chris couldn’t be more thrilled to return to Bard – the first place he acted in Canada – but as a playwright, particularly with this adaptation of the novel of his heart, Shakespeare’s Rebel. A third generation actor and writer, Chris was born in Toronto and grew up in Los Angeles and the UK. Trained at the Guildhall, he has performed on stages ranging from London’s West End to Hollywood’s Twentieth Century Fox. Shakespearean roles have included his debut as Lysander in A Midsummer Night’s Dream at Regent’s Park, London; Don Pedro in Much Ado About Nothing, as well as the title role in Hamlet at Theatre Calgary; and Oberon in A Midsummer Night’s Dream at Bard on the Beach. Other favourite roles include Caleb the gladiator in NBC’s epic mini-series, AD - Anno Domini, Reggie Mimser in Dead Man’s Gun, Clive Parnell in Coronation Street, Jack Absolute in The Rivals, and Halvard Solness in Ibsen’s The Master Builder. He has written four plays including A Cage Without Bars, produced in Vancouver and London – and thirteen novels. His first, The French Executioner, was runner up for the CWA Steel Dagger for Thrillers. Others include The Jack Absolute Series, Vlad, The Last Confession, Shakespeare’s Rebel, and his new one, Plague. His latest young adult novel, The Hunt of the Unicorn, is runner up for fiction in the M Awards (Victoria, BC). His work has been translated into thirteen languages. Chris dedicates this run to actors, drunks and swordsmen Dramaturg Martin Kinch, C.C. Humphreys and everywhere. cchumphreys.com Christopher Gaze work through the script 35
DIRECTOR’S NOTES I have known Chris (C.C.) Humphreys for 25 years. We met in a coffee shop on Main Street and based on his training and experience as an actor, I invited him to join our second Bard co-op in 1991. Since those days, Chris has become a best-selling author with 13 published novels – amazing! He suggested to me a few years ago that his new book, Shakespeare’s Rebel, would be of interest to our theatre patrons, and so we hosted its Canadian launch in 2013, at an event called Fight Night. A couple of weeks later we met over a glass of ale and we both had the same thought – why not turn the novel into “...a brand new a play! Chris then went on to take his Masters of Fine Arts work, inspired by at UBC, where he met professor and veteran dramaturg Shakespeare, with Martin Kinch; Kinch accepted the idea of Chris adapting the novel as his thesis project. a terrific story...” When I read the play’s first draft I knew right away that Christopher Gaze it was a wonderful opportunity for Bard – a brand new work, inspired by Shakespeare, with a terrific story – and felt we had to seize it. I am delighted to helm this first theatrical production of Shakespeare’s Rebel. We have a fantastic cast led by my oldest chum in the theatre, Benedict Campbell. And it is nothing less than thrilling to be producing the world premiere of a new work on the Bard stage. I really enjoy adventure stories and this is a rollicking good one. It’s a swashbuckling tale full of intrigue, a showcase for expert swordplay and it’s all grounded in a heartwarming love story. There’s something for everyone here. Will John Lawley, our hero, end up with Tess, the one woman he’s always loved? Will he finally be there for his son and see him become an actor on Shakespeare’s Globe stage? And will he be able to safely navigate his way between the scheming Chief Minister Cecil and the mad shenanigans of the Earl of Essex? Director of Marketing Heather Kennedy, Christopher Let’s sit back and enjoy it all together. Oh, Gaze, and Costume Designer Christine Reimer look how I love the theatre! through costume designs for Shakespeare’s Rebel
About Christopher Gaze Christopher is best known as the Founding Artistic Director of Bard on the Beach Shakespeare Festival. In addition to performing and directing for Bard, he has appeared in dozens of film, TV and theatre productions during his multi-decade career in Great Britain and North America. He hosts the Vancouver Symphony Orchestra’s popular Tea & Trumpets series and their annual Christmas concerts and is an in-demand MC for community and fundraising events. His many honours include Canada’s Meritorious Service Medal, Honorary Doctorates from UBC & SFU, the Mayor’s Arts Award for Theatre and the Order of British Columbia. 37
BEHIND THE SCENES THE SET Shakespeare’s Rebel is a fast-paced adventure with many locations, from Shakespeare’s Globe theatre, to Queen Elizabeth’s bedchamber, to the wild Irish moors. To add a further challenge, the set must be transformed quickly from a 1920s Chicago speakeasy, the location of its Douglas Campbell tent counterpart, Love’s Labour’s Lost. To accomplish this, Scenic Designer Marshall Mc Mahen strips away the 1920s to reveal a more timeless essence and a simpler palette. Other elements from the speakeasy, such as shelves of bottles and glasses, A painting of the set by Marshall McMahen are concealed with dark wood paneling, a hallmark of Elizabethan architecture. In order for the set to accommodate Rebel’s many rapid changes, the design relies on mobile pieces like curtains and tapestries, actor-handled props, and custom-built furniture to denote specific locations. THE COSTUMES Christine Reimer’s costumes reflect both the play’s period and the colourful nature of the characters. The costumes have an underlying warmth and casualness to them; doublets are worn open, shirts unbuttoned and skirts hitched up to reveal multiple layers. Attention to details and reinventing stock costumes play a role in giving the costumes a relaxed, lived-in feel. Hand embroidery, leather work and hand-dyed pieces recreate the period’s tones. From the trimmings on Tess’s corset to the Earl of Essex’s doublet, made from individual hand-plaited strips of leather-bound fabric, each detail was envisioned and illustrated months before rehearsals had even begun. THE MUSIC Composer & Sound Designer Murray Price must be prepared to respond to whatever final form a script takes and with a new work like Shakespeare’s Rebel, things can change right up to the last rehearsal. “This is an organic process, and you want to avoid being tied down to that first ‘brilliant’ idea – otherwise you have a devil of a time breaking free from it and making new discoveries”, notes Price. “That said, The Earl of Essex sketch by Christine Reimer intuition is important and should be observed, quietly.” To keep his options open, Price prefers to prepare a smorgasbord of different options and ideas in collaboration with the director. For Rebel, he even acquired a sample music library of medieval instruments including shawms, crumhorns, and sackbuts. It’s the first professionallysampled collection from the medieval period and most likely owes its existence to crossover hits such as Game of Thrones, which have sparked new interest in obscure period instruments. Their appeal for Price? “They’re beautiful and noisy and inspirational!” 39
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PROFESSIONAL DEVELOPMENT Bard on the Beach is committed to growing and sustaining the skills and knowledge of theatre professionals at all levels of experience. Pre-Rehearsal Intensive Workshops take place before rehearsals begin, to help the actors expand their vocal capacity and explore Shakespeare's text. Directing and Design Apprentice Programs pair Bard’s veteran directors and designers with artists in one-on-one mentorships. The 2015 Directing Apprentices are: Mike Griffin – King Lear Mike recently was the Crake Fellow in Drama at Mt. Allison University. He has trained at the University of Calgary (MFA), the University of British Columbia (BFA, BEd), and studied Commedia dell’Arte in Reggio Emilia, Italy. Selected credits: Director – Alice in Wonderland (The Watermark Theatre), Evil Dead: the Musical (Hit and Myth Productions), The Servant of Two Masters, Hockey Mom, Hockey Dad (Beyond the Brink Productions); Assistant Director – One Man Two Guvnors (Theatre Calgary); Reverie (Ghost River Theatre); Sweeney Todd (Vertigo Mystery Theatre).
Josh Epstein, Lindsey Angell & Anousha Alamian
Mary Hartman leads a movement exercise with 2015 Company members
Amanda Lockitch – The Comedy of Errors Amanda directs, acts, dramaturges, and teaches. She has directed for the Vancouver Fringe and Toronto’s SummerWorks Festival. At the University of Toronto she taught Intermediate Acting, Introduction to Theatre, and directed Ionesco’s Rhinoceros. Directing credits: Never Swim Alone, Warriors, and Bent (Meta.for Theatre). She trained at AMDA (acting), Douglas College (stagecraft), and in Saratoga Springs and Manhattan with Anne Bogart and SITI Company. She holds a BA in Drama and English Literature and an MA in Theatre from UBC.
Jacquie Loewen – Shakespeare’s Rebel Jacqueline hails from Winnipeg. She’s been a member of the threetime Canadian Comedy Award-nominated sketch group, Hot Thespian Action, for nine years. She is also Manitoba’s foremost fight choreographer, working consistently at the Manitoba Theatre Centre, Manitoba Opera, Prairie Theatre Exchange (selected), as well as a foray in Toronto with Canadian Stage. Jacqueline has directed/devised her own work, The Fisherman and His Soul and La Belle Laide which was nominated for the Harry S. Rintoul Award for Best New Play at the Winnipeg Fringe, 2014. Melissa Oei – Love’s Labour’s Lost Luisa Jojic & Lili Beaudoin Melissa made her directing debut this year with Vancouver Asian Canadian Theatre’s staged reading of Kamila Sediego’s Homecoming. She was assistant director to Lisa Wolpe of the LA Women’s Shakespeare Company, and this summer will mark her fourth as assistant director for Carousel Theatre for Young People’s Teen Shakespeare Program. As an actor, Melissa has performed with The Arts Club, Citadel, CTYP, Ruby Slippers, Alley, Hardline, Theatre North West, Kaleidoscope, and the Caravan Stage Company among many others. Melissa is a graduate of Studio 58. Directing Apprentice Program supported by
Voice and Text Intensive Program supported by the RBC Foundation. 45
THE CREATIVE TEAM Malcolm Dow ~ The Comedy of Errors: Sound Designer Malcolm is thrilled to be joining the company for his second season at Bard. Recent Theatre highlights include Cat Killer (Presentation House); A Midsummer Night’s Dream (Bard); and Equivocation (Persephone Theatre). Malcolm is an award winning composer and sound designer. He works in theatre and dance, collaborates and tours in bands, and works with music production and song writing. He has received two Jessie Awards and has a diploma in Music Technology from Douglas College.
Valerie Easton ~ Love’s Labour’s Lost: Choreographer Valerie Easton has choreographed across the country and is happy to return for her third season with Bard. Choreographic credits include My Fair Lady, West Side Story (Jessie nomination); Beauty and the Beast, Hairspray, White Christmas (Arts Club); Cabaret (Ovation Award); Joseph, Fiddler on the Roof, Closer than Ever, Peter and The Starcatcher (WTC); A Chorus Line (RCMT); and Peter Pan, Anne of Green Gables (Gateway Theatre). Most recent directing credits include Oklahoma, Joseph (Ovation Award), Annie (RCMT); Legally Blonde (TUTS); and Red Rock Diner (Arts Club). Upcoming projects include Les Miserables and A Christmas Story. Valerie is currently the Artistic Director of Royal City Musical Theatre.
Ben Elliott ~ Love’s Labour’s Lost: Musical Director This is Ben’s fourth season as a designer at Bard. Past credits include Cymbeline, Measure for Measure, and The Merry Wives of Windsor (Ontario) for which he received a Jessie Richardson Award for musical direction. In September, The Best Laid Plans (Touchstone/Patrick Street) will premiere at the York Theatre; it’s a collaboration with composer Anton Lipovetsky and Governor General’s Award-winning playwright Vern Thiessen. Ben is a graduate of Studio 58.
Tara Cheyenne Friedenberg ~ The Comedy of Errors: Choreographer Tara is a choreographer, performer, educator and Artistic Director of Tara Cheyenne Performance. Based in Vancouver, she has been creating and performing her unique brand of hybrid dance-theatre for the past decade and is known for her expert blending of comedy, dynamic physicality and character work. Tara’s full-length solos, bANGER, Nick & Juanita, Goggles, and Porno Death Cult have received critical acclaim. This past fall Tara toured her ensemble creation Highgate and presented a new ensemble piece, how to be. Tara has been nominated for several Jessie and Ovation awards for her theatrical choreography and is a 2015 recipient of the Chrystal Dance Prize.
Mara Gottler ~ The Comedy of Errors: Costume Designer An Artistic Associate and founding member of Bard on the Beach, Mara is also its resident costume designer. Recent Vancouver credits include Kosmic Mambo (Studio 58); Big Bad (Boca del Lupo); and The Duchess (Ruby Slippers Theatre). Past international credits include La Tempete (Ex Machina/la nation Huron-Wendat) and Le Rossignol (Ex Machina/COC/Aix en Provence/Nederlandse Opera), both with Robert Lepage. Mara has received numerous Jessie Richardson and Dora Mavor Moore Awards and has been twice shortlisted for the Siminovitch Prize. Her work has also been featured in two World Stage Design exhibitions and catalogues.
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THE CREATIVE TEAM Nicholas Harrison ~ The Comedy of Errors, Love’s Labour’s Lost & Shakespeare’s Rebel: Fight Director Marking his eighteenth season at Bard, Nicholas has a PhD in Theatre from UBC and has been a professional Fight Director for over 25 years. Recent credits include directing The Government Inspector; co-creating a new production, Boudicca (Capilano University); and creating the violence for Stick Boy and fight choreography for Sweeney Todd (Vancouver Opera). He is currently developing his own solo show based on the abuse he endured as a child; it is tentatively titled From Survivor to Jedi: Reclaiming a Stolen Childhood Through the Power of the Force, planned for 2016. He is also a co-creator and actor in his original comedy web series Fools for Hire. Pam Johnson ~ The Comedy of Errors & King Lear: Scenery Designer A professional set designer for 35 years, Pam started with Bard in 1998 and was instrumental in designing the Bard Village and Gateway. Bard credits include Cymbeline, Hamlet, Twelfth Night, King John, Richard III, Henry VI, The Tempest, Falstaff, Henry IV, Richard II, Titus, Henry V, The Taming of the Shrew, A Midsummer Night’s Dream, Macbeth, Measure For Measure, and Richard III. Her designs have been seen in most Canadian theatres as well as in New York, Glasgow, and Melbourne. Pam has received several Jessie Richardson Awards and a Career Achievement award (2012). A design instructor for Studio 58, she inspires young designers. Haysam Kadri ~ King Lear: Fight Director Haysam is excited to be fight directing for Bard. Fight Directing credits include A Christmas Carol, To Kill a Mockingbird, Much Ado About Nothing, Enron (Theatre Calgary); True Love Lies, How Do I Love Thee, The Good Egg (ATP); Romeo and Juliet, A Midsummer Night’s Dream, Macbeth (Shakespeare in the Park); Double Indemnity, Dr. Jekyll and Mr. Hyde (Vertigo Theatre); The Astonishing Adventures of Awesome Girl and Radical Boy (Lunchbox Theatre); Reasons To Be Pretty, Reasons to be Happy (Ground Zero Theatre); and Pirates of Penzance, Guys and Dolls, Down in the Valley, West Side Story (University of Calgary Operetta Company). Deitra Kalyn ~ King Lear : Costume Designer This marks Deitra’s first time working with the lovely folks at Bard! Past work includes One Man, Two Guvnors, Mom’s The Word, Doubt (Theatre Calgary); The Comedy of Errors (Shakespeare by the Bow); Romeo and Juliet, A Midsummer Night’s Dream (Shakespeare in the Park); Playrites ’14, Intimate Apparel, The Penelopiad (ATP); and The Game’s Afoot, Farewell My Lovely, The Huron Bride, The 39 Steps, Sweeney Todd (Vertigo). Deitra is a Betty Mitchell awarded designer who works all over but hangs her hat in Calgary. When Deitra isn’t designing for theatre, she can be found working as a costumer in film & television. Martin Kinch ~ Shakespeare’s Rebel: Production Dramaturg Martin Kinch has spent forty years developing and directing Canadian work. He served as Artistic Director of Theatre Passe Muraille, Toronto Free Theatre (which he co-founded), and Theatre Calgary. He was also a Producer for CBC Drama. His plays have been produced across the country and have twice been nominated for the prestigious Chalmers Award. Since moving to Vancouver in 1994, he has worked as a Story Editor for a number of television series and independent films. He served as Literary Manager/Executive Director of Playwrights Theatre Centre from 2002 to 2012. Martin Kinch is Dramaturg Emeritus at PTC and teaches in the UBC Creative Writing Program. Gerald King ~ The Comedy of Errors & King Lear : Lighting Designer Lighting Designer at Bard for fourteen seasons, Gerald’s recent credits include The 39 Steps, Les Miserables (Western Canada Theatre); Liberation Days, Much Ado About Nothing, Cats (Theatre Calgary); Die Fledermaus, Tosca, Don Carlo (Vancouver Opera); Madama Butterfly (Opera Omaha); Educating Rita, Spamalot, Boeing-Boeing, Xanadu (Arts Club); and Life, A Simple Way, Kokoro Dance, Faerie Queen (Royal Winnipeg Ballet). 49
THE CREATIVE TEAM Marshall Mc Mahen ~ Love’s Labour’s Lost & Shakespeare’s Rebel: Scenic Designer Marshall is a local designer whose sets can be seen here in Vancouver and across the country. He spent the past season as a designer in residence with Pacific Opera Victoria, and was honoured to receive the 2014 Mayor’s Arts Award. Set design credits include Avenue Q, Spamalot (Arts Club); All the Way Home (Electric Company; Jessie Award); Chelsea Hotel (Firehall Arts Centre, National Tour); Crazy For You, The King and I (Gateway); and productions with Caravan Farm Theatre, Chemainus, Urban Ink, and Green Thumb. Marshall is a UBC graduate and a member of the Associated Designers of Canada. Adrian Muir ~ Love’s Labour’s Lost & Shakespeare’s Rebel: Lighting Designer Returning for a fifth season Adrian’s recent local credits include Vanya and Sonia and Masha and Spike (Arts Club Theatre); Late Company (Touchstone Theatre); Cinderella, An East Van Panto (2014) (Theatre Replacement/Cultch); Whose Life Is It Anyway? (Realwheels); Conversations With My Mother (Gateway Theatre); and The Orpheus Project (Music on Main). Upcoming projects: The Best Laid Plans (Touchstone Theatre/Patrick Street Productions). Adrian has been honoured to receive multiple Jessie awards for lighting design and is a member of the Associated Designers of Canada. Alison Matthews ~ Head Voice & Text Coach Alison has been Voice & Text Coach at Bard since 2009. She teaches at the Arts Club Actor’s Intensive, Capilano University, the Art Institute of Vancouver, and most recently at the Citadel/Banff Centre Professional Theatre Program. She has adjudicated competitive speech festivals across Western Canada for 15 years. A professional actor for over 20 years, Alison works regularly in radio, television, and film. Alison holds a MFA (specializing in Voice) from UBC, and an Associateship in Speech & Drama from Trinity Guildhall London. Dave Pierce ~ King Lear : Original Music Composer Dave joins Bard for his first season. His previous work includes Anne of Green Gables – The Musical (Theatre Calgary); Orchestrator - Radio City Christmas Spectacular, Tony Awards, American Music Awards, Come Fly Away (NYC); Composer – 2010 Olympic Winter Games, 2011 Arab Olympic Games, Queen Elizabeth’s Royal Visit 2005, Blue Zoo (Australia Broadcasting), Calgary Stampede Evening Show (22 years); Arranger – Michael Bublé, Robbie Williams, Ariana Grande, Nelly Furtado, Bryan Adams, Carrie Underwood, Barbra Streisand, Rod Stewart, Jann Arden, and Paul Brandt. Dave won and an Emmy Award for Outstanding Music Direction of the 2010 Olympic Games’ Opening Ceremony. Murray Price ~ Shakespeare’s Rebel: Composer & Sound Designer Murray is a busy producer, composer, and arranger with KOKO Productions. He studied composition at the Victoria Conservatory of Music and the University of Victoria before working at Vancouver’s Little Mountain Sound Studio. Past stage work includes Vanya and Sonia and Masha and Spike, One Man Two Guvnors, The Odd Couple, Boeing-Boeing, The 39 Steps (Arts Club); Macbeth, King John, As You Like It, Twelfth Night, Much Ado About Nothing (Bard on the Beach). He has received several IBA and Clio awards for his TV and radio work, as well as four Jessie nominations including outstanding artistic achievement. Christine Reimer ~ Shakespeare’s Rebel: Costume Designer Christine returns to Bard for her third season. Last year she designed the costumes for The Tempest. Her designs have been seen across town and beyond at the Arts Club Theatre, Electric Company Theatre, Kay Meek Theatre, The Cultch, Bard on the Beach, Vancouver Playhouse, The Only Animal, Alberta Theatre Projects, Caravan Farm Theatre, Vancouver Opera, Seattle Opera, Anchorge Opera, Pacific Opera, Edmonton Opera, Calgary Opera, Opera Nuova, and Opera Lyra. A selection of Christine’s costume design illustrations will be published in The Art of Costume Design by Focal Press due out this fall. 51
THE CREATIVE TEAM Karl Sine ~ King Lear: Fight Director Karl is an actor and a certified Fight Director with the Academy of Fight Directors Canada. Selected fight directing credits Othello, Titus, Hamlet, Macbeth, Romeo and Juliet (TSC); Carmen, Silent Night (Calgary Opera); One Man 2 Guvnors, Liberation Days, The Great Gatsby (Theatre Calgary); Butcher, Mother F’er with the Hat (ATP); Farewell My Lovely, The Game’s A Foot (Vertigo); and The Notorious Right Robert…(Caravan Farm Theatre). Acting credits Equivocation, Othello, Titus, William Shakespeare’s Land of the Dead (TSC); The Hound of the Baskervilles (Vertigo Theatre); Pride & Prejudice, Enron, A Christmas Carol, Much Ado About Nothing (Theatre Calgary); and Queen Milli of Galt, Mary’s Wedding (Rosebud Theatre). Rebekka Sørensen-Kjelstrup ~ Love’s Labour’s Lost : Costume Designer Rebekka is an Emmy award-winning costume designer with 15 years of professional experience. Her flair for designing costumes that capture each character’s persona is evident in her creations featured in Miss Saigon, The School for Scandal, A Flea in Her Ear, Beauty and the Beast, Othello, and The Buddy Holly Story. She has worked with a diverse range of industry professionals including Heather Graham, Laurence Fishburne, John Cryer, Carol Burnett, Juliette Lewis, and Eric Mabius. Rebekka has a BFA in Theatre Set and Costume Design from UBC and a diploma in Interior Design from Malaspina University-College. Shari Wattling ~ King Lear : Production Dramaturg Shari is a member of the Literary Managers and Dramaturgs of the Americas and has been with Theatre Calgary since 2007, as Literary Manager and currently as Artistic Associate – New Play Development. Dramaturg credits with Theatre Calgary include Liberation Days, The Great Gatsby, Pride and Prejudice, A Christmas Carol (2011–14), Much Ado About Nothing, Jake and the Kid, Beyond Eden, and Lost – A Memoir. Previously she was Resident Dramaturg at Alberta Playwrights’ Network. Also a professional actor, she has appeared at Theatre Calgary, Vertigo, ATP, Lunchbox, Stage West, Quest, Shadow Productions, and Forte Musical Theatre.
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THE PLAYERS Anousha Alamian ~ King Lear: A Knight | Shakespeare’s Rebel: William Shakespeare Anousha is very excited to be returning for his third season at Bard. Bard credits include Equivocation, Cymbeline, The Merry Wives of Windsor, and King John. Other credits include the leading role of Amir in The Kite Runner (Theatre Calgary/Citadel Theatre, nominated for Best Actor); Othello, Hamlet, Romeo & Juliet, A Midsummer Night’s Dream (The Classical Theatre Project); Much Ado About Nothing (Canadian Stage Company), Homebody/Kabul (Mercury Theatre). Selected film and television credits include Arctic Air, Rogue, Afghan Luke, Hellcats, Diverted, Fringe, Degrassi, and Mayday. He was also a regular on the CBC radio drama Afghanada. Lindsey Angell ~ The Comedy of Errors: Luciana | Love’s Labour’s Lost: Princess This is Lindsey’s second season at Bard. In addition to Portia and Phoebe (Merchant of Venice, As You Like It (Bard)), Lindsey has portrayed fierce and determined women from all over the world: an Estonian fire-starter in Iceland (Presentation House/Dirt Road Productions); a double-crossed German lover in The Romeo Initiative (Touchstone Theatre); a war-ravaged Netherlander in the world premiere of Liberation Days (Theatre Calgary/Western Canada Theatre); and an American actress-dominatrix-goddess in Venus in Fur (Arts Club, Jessie nomination-Actress in a Leading Role). Lindsey is a recipient of the Hnatyshyn Foundation Developing Artist Award for Excellence in English Theatre and is a Studio 58 graduate. Lili Beaudoin ~ The Comedy of Errors: Courtesan | Love’s Labour’s Lost: Moth Lili returns to Bard for her second season after playing Miranda in The Tempest and Mustardseed in A Midsummer Night’s Dream last year. Her recent theatre credits include Ruth in Sister Judy (Arts Club) and Becky in Showdown (Green Thumb Theatre). She is a graduate of Studio 58 where she played Young Sarah (Innocence Lost), Frenchy (Grease), Betty Shapiro (Fallout), Puck (A Midsummer’s Night Dream), and Martina (Balm in Gilead). Lili is the recipient of Studio 58’s Antony Holland Scholarship for outstanding ability and dedication. Scott Bellis ~ The Comedy of Errors: Egeon | King Lear : The Fool A founding Bard company member, Scott returns for his twentieth season as an actor. Favourite past roles here include last year’s Bottom, Touchstone, Brutus, Petruchio, Jaques, and the title roles in Henry V, Hamlet, and King John. Other recent acting work: Equivocation, God of Carnage (Persephone, Saskatoon); Tear the Curtain! (Electric Company); Saint Joan, Avenue Q (Arts Club); James and the Giant Peach (Carousel); Hotel Bethlehem, Après Moi (Ruby Slippers); and Educating Rita (WCT, Kamloops). He has been nominated for 17 Jessie Richardson awards, receiving three. He is a graduate of Studio 58. Michael Blake ~ King Lear : Edmund | Shakespeare’s Rebel : Richard Burbage Michael last appeared at Bard in the title role of Othello in 2009. Previous acting credits include A Raisin in the Sun (Theatre Calgary); Small Axe (Project Humanity), Peter and the Starcatcher (WCT); King Lear, The Beaux’ Stratagem, The Merchant of Venice, Romeo and Juliet, The Three Musketeers, Much Ado About Nothing, Henry V, Twelfth Night, The Merry Wives of Windsor (Stratford Festival); Romeo and Juliet, Mother Courage (NAC); Blink, As You Like It, Three Sisters, Time of Your Life, The Threepenny Opera (Soulpepper); and Simba in The Lion King (Disney/Mirvish). Michael is a graduate of the National Theatre School and an inaugural member of the Soulpepper Academy.
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THE PLAYERS Ian Butcher ~ King Lear : Oswald | Shakespeare’s Rebel : Thomas Waller Ian returns to Bard for his seventh season. Select Bard roles include Oberon (A Midsummer Night’s Dream (2014, 2006)), Macduff (Macbeth) and Angelo (Measure For Measure). Theatre credits include Dracula, Saint Joan, South Pacific (Chemainus); The Sound of Music (Gateway); The Merry Adventures of Robin Hood (Carousel); Coriolanus (Coriolanus Co-Op); Glengarry Glen Ross (Main Stage Theatre Co); A View From the Bridge (Birmingham Rep/W.Y. Playhouse); Tales From Hollywood (The Donmar); and Death of a Salesman (English Theatre). Film/TV credits: Air, Robocop, Almost Human, Once Upon A Time, The Killing Game, Supernatural, and Stargate Universe, Stargate SG-1. Ian is a graduate of Studio 58. Benedict Campbell ~ King Lear : King Lear | Shakespeare’s Rebel : John Lawley Ben is a theatre veteran of 38 years who has worked in the United Kingdom, Canada and the United States. Previous work includes 10 seasons at the Stratford Festival including King Henry (Henry IV Parts I and II), Marc Antony (Julius Caesar), Edmund (1985), the Earl of Kent (2002- King Lear), The Swanne: Part I, Oedipus (Oedipus Rex), Hamlet, and The Alchemist; 12 seasons at the Shaw Festival including The Entertainer, Juno and the Paycock, and Major Barbara. He was in the Stratford Festival production of King Lear at the prestigious Vivian Beaumont Theatre (New York) and has appeared on stages across Canada including the Vancouver Playhouse, Canadian Stage Company, Grand Theatre, Citadel Theatre, and the National Arts Centre. Extensive film/TV credits include Republic of Doyle, Slings and Arrows, The 11th Hour, and Canada: A People’s History. Andrew Cownden ~ The Comedy of Errors: Angelo | Love’s Labour’s Lost: Costard Andrew is a graduate of the Canadian College of Performing Arts. This is his first season with Bard on the Beach. Recent credits include Alfie (One Man, Two Guvnors), Patsy (Spamalot)(Arts Club Theatre Company); Charlie Chaplin (Silent Chap), Mrs. Bumbrake (Peter and the Starcatcher)(Western Canada Theatre); and Finch (How to Succeed in Business Without Really Trying)(Theatre Under the Stars). Daniel Doheny ~ The Comedy of Errors: The Collections Officer/Maud | Love’s Labour’s Lost: Dumain Born and raised in Vancouver, this is Daniel’s third season at Bard. Previous Bard roles: Demetrius (A Midsummer Night’s Dream), Ferdinand (The Tempest), Fortinbras/Player (Hamlet), and Sebastian (Twelfth Night). Other recent work includes: Little Brother Little Sister (Caravan Theatre Farm), Curtis (Late Company) (Touchstone), and Jake (Proud, Firehall). You can also catch Daniel this fall on CBC in his new sketch comedy show HumanTown. Daniel is a graduate of Studio 58 where he received the Earl Klein Memorial Scholarship. Ben Elliott ~ The Comedy of Errors: Antipholus of Syracuse | Love’s Labour’s Lost: Holofernes Ben returns for his fifth season at Bard. Recent theatre credits include Are We Cool Now? (Western Canada Theatre), Chelsea Hotel (Firehall), and Broken Sex Doll (Virtual Stage). Coming up next, Ben will be reprising his role in Are We Cool Now? at the Cultch’s Historic Theatre and then heads to The Belfry in Victoria for Chelsea Hotel. Ben is a Jessie Award winner and recipient of the Sydney J. Risk Award in recognition of Outstanding Skills in Acting. Ben is a graduate of Studio 58. Josh Epstein ~ The Comedy of Errors: The Smuggler | Love’s Labour’s Lost: Berowne As an actor, Josh has starred in shows from coast to coast including three seasons at Bard on the Beach; many Arts Club shows; and two seasons at both the Charlottetown and Stratford Festivals - where he recently won the Stratford John Hirsch Award for most promising actor. Josh spent last year writing/producing/acting in the film Eadweard currently screening around the world. Kyle Rideout and Josh have a first look writers deal with Lark (NBC Universal) and their next film Public-Schooled is in development with the Canadian Film Centre, National Screen Institute, and Telefilm. Josh has many film & TV credits, is a Studio 58 graduate, and has five Jessie nominations. 57
THE PLAYERS Craig Erickson ~ King Lear : King of France | Shakespeare’s Rebel: William Sly Returning for his sixth season, past Bard credits include Hamlet, Twelfth Night, All’s Well that Ends Well, Timon of Athens, Julius Caesar, Henry VI, and Macbeth. Other credits include The Duchess (Ruby Slippers); Tear the Curtain! (Electric Company/Arts Club/Canadian Stage); Scar Tissue, The Glass Menagerie, Cyrano (Arts Club); Leave of Absence, Grace, Prodigal Son (Pacific Theatre); and Our Town, Hedda Gabler, The Pavilion (osimous). Other highlights include Of Mice and Men (Citadel/MTC); The Idiot (Neworld); S.S. Tenacity/Lord of the Flies (Shaw); and Who’s Afraid of Virginia Woolf (Blackbird/Arts Club - Jessie Award for Best Supporting Actor). Writing: You Are Very Star (Electric Company), Big Bad (Boca Del Lupo). Anna Galvin ~ The Comedy of Errors: Nurse Poppy / The Abbess/First Engineer | Love’s Labour’s Lost: Boyet Anna is thrilled to be making her debut at Bard on the Beach with this wonderful cast. Born in Australia, Anna trained in Oxford, UK, and lives in Vancouver. Her local theatre credits include Vanya and Sonia and Masha and Spike, The Philanderer, Calendar Girls, and Other Desert Cities for the Arts Club and Dangerous Corner for the Vancouver Playhouse. Her recent film and television credits include Warcraft, Once Upon a Time, Witches of Eastend, Almost Human, Supernatural, and 3 seasons on YTV’s sitcom Mr. Young. Jeff Gladstone ~ The Comedy of Errors: The Duke /Doctor Pinch | Love’s Labour’s Lost: Dull This is Jeff’s first season with Bard on the Beach. Recent theatre credits include Twisted Christmas Carol, Red Rock Diner (Arts Club); The Wars (Vancouver Playhouse); Small Parts (Solo Collective); and The Secret Doctrine (SFU/Woodwards). Film/media credits include Stan Douglas’ Circa 1948 (National Film Board) and Drawing Home (MYRA Entertainment). Jeff is an improvisor and Co-Artistic Director of Truth Be Told Theatre which performs Keith Johnstone’s The Life Game; premiering on CBC Radio in 2016. Jeff released an album, Hell Of A Girl, and performs at The Railway Club with his band Jeff Gladstone & The Bad Ideas. Jay Hindle ~ The Comedy of Errors: Antipholus of Ephesus | Love’s Labour’s Lost: Ferdinand Jay is thrilled to be spending this summer with Bard on the Beach. Professional highlights include The 39 Steps (WCT); Sherlock Holmes and the Case of the Jersey Lily (MTC); Spamalot, The 39 Steps, She Stoops To Conquer (Arts Club); Relatively Speaking (Western Gold); Arms and the Man, Death of A Salesman, As You Like It (Blue Bridge); Proof (Belfry); and Macbeth, Much Ado About Nothing, Twelfth Night (UK National Tour). Select TV credits include Motive, The 100, Supernatural, and When Calls the Heart. Robert Klein ~ King Lear: Duke of Cornwall | Shakespeare’s Rebel: Sir Robert Cecil This is Robert’s Bard on the Beach debut. Other credits include King Lear, Christmas Carol (2011-2014), To Kill a Mockingbird, Fortitude (FUSE ‘10)(Theatre Calgary); Hamlet, Titus Andronicus (Shakespeare Company); And Then There Were None, Twelve Angry Men, Blood Relations, Black Coffee, A Party to Murder, Strangers on a Train (Vertigo Theatre); Grease, Sound of Music, Damn Yankees, Stage West; Hearts and Soul, Wild Guys, Outside (Lunchbox Theatre); Marriage is Murder, True West (Theatre in Port); and On Golden Pond (Huron County Playhouse). Select film and television credits include Heartland, Star Hunter, Act of Vengeance, The Contract, and Soul Suitcase. Luisa Jojic ~ The Comedy of Errors: Dromio of Syracuse | Love’s Labour’s Lost: Rosaline Luisa returns for her fifth season with Bard after playing Trincula in The Tempest and Peaseblossom in A Midsummer Night’s Dream last year. Credits include What You’re Missing (Chutzpah! Festival); Uncle Vanya (Blackbird); Boeing-Boeing (The Arts Club Tour); Sisters, All Shook Up (Gateway Theatre); and A Pretty Girl, Chickens (CTF). Screen credits include Supernatural, Reaper, The Client List, and Love and Other Dilemmas. Luisa directed Much Ado About Something for Homelessness Action Week in 2014. She is the Coordinator of the Young Shakespeareans program at Bard, a founding artist of the Riotous Youth Program, and a graduate of UBC. 59
THE PLAYERS Jennifer Lines ~ King Lear : Regan | Shakespeare’s Rebel: Tess Returning for her fifteenth season, Jennifer’s Bard highlights include The Tempest (2008, 2014), Twelfth Night, Hamlet, Antony and Cleopatra, Much Ado About Nothing, Othello, The Tempest, and Titus Andronicus. Other credits include Whose Life is it Anyway? (Realwheels); The Great Gatsby, Beyond Eden (Theatre Calgary); It’s a Wonderful Life, High Society, The Real Thing, Here on the Flight Path, Sylvia (Arts Club); Anatol, A Little Night Music, Hello Dolly (Vancouver Playhouse); Mimi, or a Poisoner’s Comedy (Touchstone Theatre); The Triumph of Love (Blackbird Theatre); and Après Moi (Ruby Slippers). Jennifer is a multiple Jessie Award nominee and won for her work in The Tempest (2008). Andrew McNee ~ The Comedy of Errors: Nell/The Executioneer/Balthasar Love’s Labour’s Lost: Don Armato Andrew’s Bard highlights include A Midsummer Nights Dream, The Tempest, Twelfth Night, Hamlet, Henry V, and Falstaff. A graduate of Studio 58, other theatre credits include One Man Two Guvnors, The Odd Couple, Boeing-Boeing (Arts Club); Dress Me Up In Your Love (Theatre Replacement); The Seafarer, Jesus Hopped the A Train (Pacific Theatre); The Project, After Jerusalem (Solo Collective); My Chernobyl, Half Life (Belfry); The Wars (Theatre Calgary); and Equus, Vincent in Brixton, A Christmas Carol (Playhouse). Selected film/TV credits include Diary of a Wimpy Kid 1, 2 & 3, Aim For The Roses, and The Grand Unified Theory Of Everything. Sereana Malani ~ The Comedy of Errors: Adriana | Love’s Labour’s Lost: Katherine Sereana returns for her third season at Bard. Past credits include Helena (A Midsummer Night’s Dream), Isabella (Measure For Measure), Sprite (The Tempest), and Lady Stanley (Elizabeth Rex). Select theatre credits include Valley Song (Gateway Theatre); whisper (Catalyst Theatre); Ride (Northern Light Theatre); Macbeth (Theatre Prospero); Sexual Perversity in Chicago (Quiet Things Creative); Hamlet (Media Room); The Ghost Sonata (Studio Theatre); The Last Days of Judas Iscariot (Exit 22); and Clybourne Park (Citadel Theatre), for which she was nominated for a Sterling Award for Best Actress in a Supporting Role. She is a graduate of the BFA Acting program at the University of Alberta. David Marr ~ King Lear: Earl of Gloucester | Shakespeare’s Rebel: Sir Samuel D’Esparr A Company member since 1995, David’s Bard roles include Pompey (Measure For Measure), Shakespeare (Elizabeth Rex), Doctor Caius (The Merry Wives of Windsor), The Earl of Pembroke (King John), Malvolio and Sir Toby Belch (Twelfth Night), Berowne (Love’s Labour’s Lost), Polonius (Hamlet), Fluellen (Henry V), and Launce (The Two Gentlemen of Verona). Other recent credits: Spamalot, Calendar Girls, The Philanderer, The 39 Steps (Arts Club); and Georges in La Cage Aux Folles (Vancouver Playhouse). He is a recipient of the Edmund Kean Sword Award at Bard and has received numerous Jessie Award nominations. John Murphy ~ King Lear: Earl of Kent | Shakespeare’s Rebel: Robert Devereux John returns for his seventh season at Bard. Recent work includes Benedick in Much Ado about Nothing, Petruchio in The Taming of the Shrew, Jaques in As You Like It, Bollingbrook in Richard II, Antony and Cleopatra, Macbeth, Measure For Measure (Director), Merchant of Venice, The Tempest (Bard); August: Osage County, The Optimists, Cyrano, A Flea in Her Ear, Sheer Madness (Arts Club); Hotel Bethlehem (Ruby Slippers); The Dissemblers, Eternal Hydra (Touchstone); Ali and Ali (Neworld); Twisted Christmas Carol (Belfry); and Leading Ladies (Persephone). John plays music with his band, China Repair. Chirag Naik ~ King Lear: Duke of Burgundy | Shakespeare’s Rebel: Ned Lawley Chirag returns for his second season at Bard. Recent credits include Simon in Apres Moi (Ruby Slippers); Marshall in Showdown (Green Thumb); and last year’s Bard productions of The Tempest and A Midsummer Night’s Dream when he played Lysander. Other favorites include Frank/Lan from You Are Very Star (Electric Company); Roger from Grease; Demetrius from A Midsummer Night’s Dream; and Fick from Balm in Gilead (Studio 58). Chirag is a graduate of Studio 58 where he received the Sydney J. Risk Award for demonstrated excellence and outstanding skills in acting. 61
THE PLAYERS Declan O’Reilly ~ King Lear: Duke of Albany | Shakespeare’s Rebel: St. Lawrence Declan makes his Bard debut this season. Recent credits include Circle Mirror Transformation (Shadow Theatre/Sage Theatre); One Man, Two Guvnors, A Christmas Carol, Much Ado About Nothing (Theatre Calgary); The Secret Garden (Theatre New Brunswick); Emily…A Musical, Anne of Green Gables (Charlottetown Festival); Jacob 2-2: First Spy Case (YPT Toronto); Colors in the Storm (Roxy Theatre); Barber of Seville (Persephone Theatre); Sweeney Todd (Phoenix Theatre); Yours ‘Til The Moon Falls Down (Lunchbox Theatre); and April in Peril, Blackpool and Parrish (Shadow Theatre). He is a graduate from the BFA Acting program at the University of Alberta and a founding member of Edmonton’s Freewill Players Shakespeare Company. Dawn Petten ~ The Comedy of Errors: Dromio of Ephesus | Love’s Labour’s Lost: Jaquenetta This is Dawn’s third season at Bard. Previously she performed in Macbeth, The Taming of the Shrew, The Comedy of Errors, and The Merchant of Venice. Since graduating from UBC’s BFA Acting program, Dawn has acted in over 50 productions. Recent theatre credits include Aprés Moi (Ruby Slippers); East Van Panto (Theatre Replacement/Cultch); and Our Town (osimous Theatre). Favourites over the years: Tear the Curtain!, Studies in Motion (Electric Company); Unity, 1918 (Touchstone); A Doll’s House (Chemainus Theatre Festival); and playing Puck in A Midsummer Night’s Dream (Caravan Farm Theatre). Dawn is a multiple Jessie Richardson Award nominee and winner. Andrea Rankin ~ King Lear: Cordelia | Shakespeare’s Rebel: Sarah Andrea is thrilled to be performing at Bard on the Beach for the first time. Favourite credits include A Christmas Carol, Make Mine Love (The Citadel Theatre); The Comedy of Errors (SBTB/Theatre Calgary); King Lear (Theatre Calgary); Othello (The Shakespeare Company); Hansel and Gretel, Macbeth (Edmonton Opera); The Little Red Wagon (Opera NUOVA); MOTE (Blarney Productions); Love’s Labour’s Lost, Pains of Youth, Blood Wedding (Studio Theatre); Pushed, (Nextfest); Spring Awakening: The Musical, (Strathcona Theatre); and voice acting on the video game Mass Effect 3 for EA Games. Andrea holds a BFA in Acting (with Distinction) from the University of Alberta. Nathan Schmidt ~ King Lear: Edgar | Shakespeare’s Rebel: Lord Sandys This is Nathan’s first year at Bard. Acting credits include Twelfth Night, Hamlet (Shakespeare Company); The Huron Bride (Vertigo); Underneath the Lintel, The Quarrel, My Name is Asher Lev (Pacific Theatre); The Sound of Music, The Importance of Being Earnest, A Midsummer Night’s Dream (Chemainus); and Doubt, Freud’s Last Session, It’s a Wonderful Life, Jake and the Kid, Damien, Oliver, The Good Doctor, The Kite (Rosebud). Fight Directing credits include Romeo and Juliet, Macbeth, and Richard III (Shakespeare Company). He has trained with Shakespeare & Company in Massachusetts and is currently the Head of Acting at Rosebud School of the Arts. Colleen Wheeler ~ King Lear : Goneril | Shakespeare’s Rebel: Queen Elizabeth This is Colleen’s twelfth season with Bard on the Beach. Favourite roles include Elizabeth in Elizabeth Rex, Lady Macbeth in Macbeth, Chorus in Henry V, Mistress Quickly in Falstaff, Stephana in The Tempest, Katherine in The Taming of the Shrew, Titania in A Midsummer Night’s Dream, and Gertrude in Hamlet. Other recent theatre: Since You Left Us (Presentation House); Boeing-Boeing (Arts Club); Initiation Trilogy (Electric Company); and A Beautiful View (Ruby Slippers). Recent TV/film: Bridal Wave (Hallmark), Motive (ABC), Once Upon a Time (ABC), Warriors (Pilot Episode), and The Tall Man (Feature). Colleen is a graduate of the University of Alberta’s BFA (Acting) Program, and the recipient of six Jessie Richardson Awards.
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STAGE MANAGEMENT Kelly Barker ~ The Comedy of Errors & King Lear: Assistant Stage Manager Kelly is very happy to be returning to Bard for her eleventh season on the Mainstage. Since last summer she has stage managed The Duchess (Ruby Slippers/The Cultch); Motherload (Motherload Collective/The Cultch); and How to Disappear Completely (The Chop/Gateway Theatre). Over the years, Kelly has worked for numerous local theatre companies including the Vancouver Playhouse, the Arts Club, Theatre Replacement, Touchstone Theatre, Green Thumb, Theatre Conspiracy, and Axis. After Bard she is looking forward to stage managing Flee for The Electric Company and Studio 58. Kelly is a proud graduate of the UBC BFA program. Ruth Bruhn ~ Love’s Labour’s Lost & Shakespeare’s Rebel: Apprentice Stage Manager Ruth is a recent graduate from the production program at Studio 58. Previous stage management credits include Grease, A Midsummer Night’s Dream (Studio 58); Annie, Great Expectations, The Forbidden Phoenix, The Sound of Music, Fiddler on the Roof (Gateway Theatre); Evil Dead: The Musical (Down Stage Right Productions); Titanic: A New Musical (Theatre Under the Stars); and Smile: The Musical, Dracula: The Musical (Awkward Stage Productions). Other credits include Wardrobe Intern (Bard on the Beach 2014); and for Studio 58: Assistant to the Set Designer (Kosmic Mambo), Assistant to the Lighting Designer (Innocence Lost); Assistant to the Costume Designer (4Play). Stephen Courtenay ~ The Comedy of Errors & King Lear: Production Stage Manager As Stage Manager for both the Theatre Calgary and Bard stints of King Lear, Stephen has enjoyed the full gamut of closed box and open air approaches to the production. This summer’s experiment with two different Ensembles has also afforded Stephen the treat of working with his third Campbell clan member while immersing in Scott Bellis’ intriguing take on The Comedy of Errors. In addition to over two decades of work with Bard, Stephen has stage managed for: the regrettably defunct Playhouse Theatre Company, the Electric Company, Studio 58/Green Thumb, Touchstone Theatre, numerous small theatrical organizations, and 10 years of touring with Vancouver Opera’s Touring Ensemble. Lorilyn Parker ~ Love’s Labour’s Lost & Shakespeare’s Rebel: Assistant Stage Manager Lorilyn spends the majority of her season as the Stage Manager for the Gateway Theatre. She was proud to be a part of the Stage Management team for the Opening and Closing Ceremonies of the 2010 Winter Olympics. She toured the United States twice with the First and Second National Tour of Dora the Explorer! for ClearChannel Entertainment and Alan Wasser Associates. Her favourite local theatre companies she’s worked for include PI Theatre, Axis Theatre, The Firehall Arts Centre, Carousel Theatre, The Centre in Vancouver, Mortal Coil, Tanglewood Entertainment, The Belfry Theatre, and Caravan Farm Theatre. Alexandra Shewan ~ The Comedy of Errors & King Lear: Apprentice Stage Manager Alexandra graduated from the University of the Fraser Valley in 2012 with a Bachelor of Arts Degree in English Drama. Past credits include The Comedy of Errors, Liberation Days, King Lear (Theatre Calgary); and Hamlet, Les Belles Soeurs (UFV). She is thrilled to be back in Vancouver after moving to Calgary in 2013. She will return to Theatre Calgary in December to begin work on the world premiere of The Little Prince. Joanne P.B. Smith ~ Love’s Labour’s Lost & Shakespeare’s Rebel: Stage Manager This is Joanne’s thirteenth season as Stage Manager for the Douglas Campbell Theatre Tent. Some recent credits include All That Fall, Uncle Vanya (Blackbird Theatre); The Highest Step (Ghost River Theatre); Tiny Music (Jump Current); and Any Night (Dual Minds). Other credits include This, Moonlight and Magnolias and Copenhagen (Vancouver Playhouse); The Black Rider (November Theatre), Demon Voice, How It Works, Lisa Lisa, The Family Way, Emphysema (Touchstone Theatre); Revenge (Felix Culpa), The Monument (Felix Culpa/Rumble); Recovery, Soulless, Hedda Gabler (Rumble); and a national tour of Where The Blood Mixes (Playhouse/Belfry). 64
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BARD MEMBERS We applaud the following individuals who play such an important part! This list below reflects those who generously donated to Bard on the Beach between April 1, 2014 and April 1, 2015 Renaissance Circle Jacobeans ($50,000 +) Paul & Darlene S. Howard ($10,000 to $49,999) Richard Loomer Larry McDonald The Pamela & David Richardson Family Anonymous (1) ($5,000 -$9,999) Mary Clare & Jim Bovard Alix Brown Grant Burnyeat Glotman Simpson Consulting Engineers Doug & Margaret Hatlelid Paul & Heather McKibben Penny Pearse John & Judy Taylor Alfred & Eilidh Wall Ross & Louise Waters Tudors ($2,500 to $4,999) Val & Dick Bradshaw Douglas & Alice Clarke Count & Countess Enrico Dobrzensky Virginia Evans Mohammed & Yulanda Faris Miss Sarah Galbraith & Miss Megan Galbraith Marie Genest David Hardwick & Virginia Baldwin Reet & Anthony Kana Margie & Tony Knox Lesley Laudan Jane Macdonald & Bruno Wall David & Joanne McDonald Jacqueline Kelly & Rowland McLeod Lois Milsom Warren & Diana Mitchell Brian Mlazgar Deborah Pound Don & Jane Shumka Geoffrey & Ronna Webb Anonymous (2) Bard Benefactor ($1,000 to $2,499) Norm Ackermann & Nedra Dickinson Marion Allan Rati Arora Simon & Wendy Barron Larry Beasley & William (Sandy) Logan 66
Richard & Lorraine Bennett Thomas & Beverley Berger Dennis & Jennifer Bettiol Gordon & Cheri Bird The Therrien Boulos Family Carol & Adrian Byram Pete Chamberlain Tom Cooper Margaret & Robin Cottle Merva Cottle Martin & Diana Dawes Patricia Dowad Guy & Louise Duperreault Frank & Denise Ervin The Evans Craig & Shelley Ferris Brian Fraser & Jill Alexander Christopher & Jennifer Gaze Antonio Gioventu June & Paddy Gooderham Werner & Dietmot Grimm George & Gilberte Hackwell Kathy & Stan Hamilton Marilyn Harris Ashley Ho Terri Jelic John H. Kennedy John & Amanda Kump Nancy Laughton Harvey Loen & Lois Binder Wendi Mackay Genny MacLean Dennis McCann & Diane Darch John & Yuko McCulloch Sandra McKellar, in Memory of Scott Kennedy Harvey McKinnon & Marcia Thomson Brad Marchant & Tanja McQueen Bernie Maroney Timmie Marr Barbara Morris & Angela Kelly Norah Morrow Gary Nelson & Kathy O’Shea In Memory of Garry Nixon Marlie Oden & Ken Newbert Eunice A. Opstad Keiko Parker Doug Powrie & Sandra Herd Colin & Diana Price Margaret Rankin Patricia Mary Rebbeck Carolanne Reynolds o Katherine Richmond Ian Robertson & Sian Pitman Claire Sakaki & Jason Keel Catherine Brennan Schwarz Andrew & Hilde Seal Allan Seckel Michael & Julie Seelig Walter & Nancy Segsworth
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BARD MEMBERS Madeleine A. Nelson The Nieboers Mark & Maureen Paetkau Donald & Elizabeth Paterson Francesca Patterson & Peter Rozee Venise & Kip Pearson John Puddifoot Sandra Sellens Paul Swartz Mary Tait Anne & Mitch Taylor Elizabeth Vogt & Chris Hodgson Brian & Elisabeth Watkins Colin Whitaker Michael & Jane Woolnough Nick & Lesley Wright Audrey Zaharichuk Anonymous (5) Much Ado ($300 to $599) Ian Adam Sylvia & John Aldrich Janet Allwork W. Alston Donald Anderson Ted & Jean Andrew Sheila & Andre Anzarut Valerie Arlette G. Arnold & Audrey Armstrong Mary & Herb Auerbach Maria L. Azur Joanne Bailey Jane Baker Wendy Baker John & Jane Bathurst Elaan Bauder Bill & Gladys Baxter Sigrid Bernhoerster John & Sharon Bishop Ursula Bowditch Elspeth Bowers Elaine Breaks Amanda Brittain & Trevor Nisbet Ruth Brodie Janice Brown Wayne Brown Jane Bryans Nancy Jean Buan Deborah Burian Christopher Burkholder & Thomas Canty Donna Burt Phyllis Burt Mary Ann & Ian Carter Robert Caspick & Ron Silvers Don & Donna Celle Michelle Chang Patricia Charles Ian Chunn & Susan Reaney Reed Clarke Fran Clifton Stuart & Meg Clyne Dr. Peter & Jean Cooperberg Kathleen Cowtan Brad Cramer 68
David Crerar & Julia Lawn James Cruickshank P. J. Curtis Ms. Nancy Campbell & Dr. Marshall Dahl Jeremy & Helen Davis John G. Davis Judy Deavy* Margaret & Elie Debbane Delta Law Office Muriel Densford Patricia Dick Karen Dickson & Warren Funt Jim & Elyn Dobbs Gordon & Anne Dobson-Mack Jean Donaldson Aldyen Donnelly & John Culter Michael, Maureen, & Nastassja Dorotich Jonathan & Cathy Driver Joan & Frank Ducceschi Susanna Egan Sheila Elliott The Eyford Insurance Group Ltd Gordon Fairclough Melanie Ferrandi Ellen Flett Jane Flick & Robert Heidbreder Tamara Frankel Rick Gammer Jocelyn Gardner Joy Gaze Elaine Godwin Marketa Goetz-Stankiewicz Douglas Graves Elizabeth & Bill Green Nancy Hardy Richard & Irene Harrison Sholto Hebenton Joan Henderson Rosalind & Ken Hollett Peter & Holly Horwood Brenda C. Hudson David & Tamara Hunter Margaret E. Hyde Deanna Illingworth & Jayeson Nicols Karen James Carl & Mavis Jonsson Sharon E. Kahn Judith Kenly Gary & Louise Kenwood Lorna J. Klohn Liz & Phil Knight Kurt Koerfgen Robin & Barbara Kuritzky Jane Coop & George Laverock Dr. & Mrs. E. F. Ledgerwood David Lemon Judy Lerner Erica Levy & Alan Kingstone J. Lindley & D. Peart Richard & Diana Lipsey Barbara Lockyer Brian & Lisa Loomis Laverne MacFadden
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BARD MEMBERS Nicholas & Vaughan Thornton Elizabeth Tovey Carol Tsuyuki Brian Tufeld Susan & David van Blarcom Angelika & Dietmar Waber Alison & Robert Watt Lyn & John Webster Sheila Wex Janice Williams Eric & Shirley Wilson Stevie Wilson In Memory of John Wood Jack Wright Donald Yule Anonymous (14)
Wishing you another successful season
“...and we’ll strive to please you every day.” -Shakespeare, Twelfth Night
VANCOUVER HOLDINGS (B.C.) LTD. INSURANCE BROKERS & CONSULTANTS #1010 - 750 West Pender Street Vancouver, B.C., Canada V6C 2T8 Telephone: (604) 685-6354 Facsimile: (604) 685-7433
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Labour of Love ($150 to $299) Dave Secord & Amy Adams C. Aikenhead & C. Knighton Laurel Alves Amney Amery Deb Armour & Jim MacAulay Lea Atkinson Jane Auxier & Joost Wolsak Jean Baker Cheryl Banfield Chris & Rick Barker Patricia Barnes Wiesha Barron Gillian L. Beattie Irina Bell Mary Lea Bell Ursula Bell Penny Bickerton Elizabeth Black Karly Black Pamela & Alan Blackman Véronique Boulanger & Carmen Wiseman Norma Boutillier Dr. Dory S. Boyer Eleanor Boyle & Harley Rothstein M. Braun Marlene Brayne* Joan Buckham John S. Burch Peter Burch & Kathryn Cholette Caillie Burke Kyle Burton James Byrnes & Robyn Post Sylvia & Bob Cannon Michael & Sherri Caplan Leila J. Caruk Felix Cheng Anne Christian Mike Cinanni Eleanor J. Clarke Judith Coffin Hilde & Peter Colenbrander Meg Comiskey Christine Conroy Faye & Brian Cooper Lorena Coslovich Linda & Geoff Cummings Kate Dahlstrom
Maureen & Colin Daly Arlene Davidson Andrea & William Davies Diane Day June Demcheson Barbara Devlin & Paul Porter Brian Dietrich Greg & Johanna Doheny Frances Dowdeswell Patrick & Caroline Downey Keven & Catherine Dubinsky Elizabeth Duck Cathryn Duerksen Deborrah Dunne Deb Durocher Louise & Bob Dyer Hilary Feldman & Hannah Scott Pauline Fitzgerald Judith Fraser Margot Fraser Emily Freer Julia Louise Frittaion Grace Fry* Micheline Gill Don & Frances Gilley Jim & Rachel Gillingham Maryke & Paul Gilmore Daniella Givon Hamish Cameron & Arlene Gladstone Stephanie Goldberg L. Gosselin Lynn & Mitchell Gropper David & Pamela Gurd Daphne Hales Winifred Hall Heather Jones-Hankin & Richard Hankin Frank & Avis Harley Susan Harman Ray Harris Dr. Brenda Harrison Dr. & Mrs. Harriss David Heaney Helen Heaney Stephen Heatley & James Irvine Victoria Henderson Arlene H. Henry Law Corporation Jane Heyman & Lionel Johnston Ann Higgins Gwendoline Hoar Aileen & John Hollifield Alex & Mavis Holm Barbara J. Holmes Martin Hosking Patricia Hudson Ronald Jobe Kathy St. John Linda Johnston Paul Johnston & Marnie McGrath Dianna Jow Signe Jurcic Hodie Kahn Sid & Tyleen Katz Stephen Kelleher Judith Kenly
Heather Kennedy Anthony Kenyon Paul & Anne Kernan Mrs. G. G. Kidd Hana Klikova Susan Koch Amber Kostuchenko & Lindsay McArthur Zachary Kotlarek Sally Lambert Kathleen Larkey Trevor Lautens Richard & Nancy Lee Dr. & Mrs. Richard J. Lee Claudio D. Lerner Angela Lewis Mark & Terri Lisagor Doris & Dennis Littleton Mario Lowther & Sharlyne Niemela Hank Luck John W. MacDonald Judith MacDonald Alistair MacKay Sheila McCallum Sandra McCrone Elaine McHarg Lesley McKnight Margot Magee Patty Malesh Dr. Linda Mamer Rosalyn Manthorpe Giulia Mauro Ian Michaud Laura Millott Dr. J. Paul & Elizabeth Moxham Ann & Patrick Munro* Moira Munro Gregory & Grace Munson Jennifer Murphy David Nanton Malcolm & Karen Nicholson Sumiko Nishizawa Meghan G. Nordquist John & Helen O’Brian John O’Brien-Bell Susan & James Olsen Irene C. Ovenden Malcolm Page & Christine McGrath Mike Palmer Wendy Parfitt Karen Pedersen Jeanne Pentecost Colin Percival Elaine Peterson Mary F. Pollock Marion Porath On Behalf of Deborah Pound Sheila Pratt Jennifer Price Eveline & Karl Raab Stephanie J. Robb Barbara Roberts Michael Batten & Erica Roberts Peggy Roe 71
BARD MEMBERS S.R. Rogers Terry Rogers Family Vera A. Rosenbluth Adrianne Ross Jessie Rupp Susan & Robert Ruttan Brenda Sawyer The Schmelcher Family Judith Setton Kathryn Shaw Paula Shore Zephan & Rhea Shroff Richard Shypitka Gordon Smith Richard Smith Dr. Jack Sniderman Wendy & Howard Soon Keith & Jan Sorensen Jenn Stapleton Robin Stewart Maxine Stoneman Mike & Judy Stringer Ron & Dina Sudlow Susan Summers & Joanie Wolfe Mary Sweeney Eve Szabo Hisako Tanaka Beverley Taylor Terri Taylor Tom & Anne Terry Mary Thomas Satu Thorne Ritva Toivola Christine Tolton Jennifer Toone David Miller Torrance Susan Wagner Jill Wainwright Gillian Walker Heddi & Tony Walter Maryla & Donovan Waters Brian Watts Philip & Miriam Webber Claire Westlake Gwyneth Westwick Tom Whalley Kathleen & John Whyte Ron & Pat Wickens Dennis Wiebe Leslie Williams Ingrid Woldenga Marjorie L. Wood Jennifer Woznesensky Antonieta Xavier Christina Yorke Kenneth & Jennifer Yule Karen & Allan Zeller Jack & Monique Zimmer Korri Zivin Anonymous (36) As We Like It ($75 to $149) David Abrams Lloyd & Olivia Allen Racie Allen Brenda & Ronald Appleton 72
Douglas & Kit Ash Sheena Ashdown & Dale Hamilton Baddeley Family Megan Audrey Balmer Hoori Barkh Linda & John Baxter Desmond Berghofer Jonathan & Heather Berkowitz Oonagh Berry & Christopher Levenson Amandine & Joe Bidgood Andrew Black Mary Blackstock Jacqui Bohling Chris Bolton David Booth - HollisWealth Inc. Janet Bousell Joyce & Paul Bradley In memory of our theater-loving good friend Scott Kennedy Anne & Geoffrey Carr Beth Carroll Elaine & Ken Carty Clara Irene Caudwell Brad & Alice Cavanagh Nancy Chalmers Jennifer Chapman Dr. Hugh Chaun & Pamela Chaun Jacqueline Christie Arlene Clark Hilary Clark Robert Clark Henny Coates Daphne Cole Don Collett William & Kath Conolly Marian Coope Deborah Cooper The Copland Family Norah E. Corbet Jason Courneyea & Lorraine Tam Peter Craswell Tracy Cromwell Laurenda Daniells Kathryn Daniels Maxine Davidson Chelsea Deane Matt & Brenda Dennis Margaret Dennys Gail Dodek Wenner & Richard Wenner The Doerkson Family Mary Boland-Doyle Joan & Roger Eastwood Russell Elliott Laurie Emerslund Laurel Enright Joerg Evermann Jane Fairbanks Haig & Mary Farris Pauline Fitzgerald Jack Forbes Lorraine Geddes Kate Gerson William Gilder
BARD MEMBERS Angela Girard Charlene Goldstein & Alex Zbar Joan Goold Rita & George Gouraud Irene Griffiths Jim Harris Janet Harris Roy & Sandy Harrison Tim Hofmann Pat Harrold & Paul Hart Martha Hazevoet Donna Healey-Ogden John Heroux Sheila Hodgkinson Lore Hoffmann Jessye Holmgren-Sidell Bruce & Linda Horne Susan Howe Bonnie Hunter The Ilardi-Lowy Family Arlene Jackson Joan James Teresa and Lewis James Carolyn Jay Linda Kathryn Jones Donna M. Kaye Marsha Keech Michael Keenlyside Ros Kellett Mary Kempton Andrew & Mary Kestler Malcolm & Alexandra King David & Gerry Kline Rita Klishan Madelaine Koenigsberg Peter Uyeyama & Anita Kuindersma Pamela & Edmund Langley Tony Lawrence Dorothy Leighton The Leong Family Frances Levitt Ann Ligertwood Natalie Logan H. J. Loughery Jim Lyon The Lyons Family Jennifer Mardock David Marley & Donna McMillan Deborah McGladdery Betty McGowan* Gillian McIntyre Yardley McNeill Thomas Mahan Robert & Carolyn Mehaffy Dianne Miller Florence Moore Dave Morris Thelma D. Mulholland Brandon Munroe Frank & Judy Musson Maria & David Nimmo Caroline North Lynne Northfield Gail Nowrouzian Midge & Tim Oke
Dr. David Ostrow Mike Palmer Michelle Paulin Ian Perry Murray Peyton Andrew Piers* Bill Piket Deborah Pixley Marion Poliakoff Helen Popple Betti Port* Charles Powell Janet Dawne Powell Bev & John Price Francis & Veronica Pring-Mill Jocelyn Pritchard Jennifer Raguz Rachel & Steve Ralph Barbara Raphael Melanie & Stephen Reid Theresa Reilkoff Rebecca Day Reynolds Alison Richardson Ann Rippon Marica Rizzo Donella Robb Julia Robertson Neil & Joy Roberts John Robinson Peter & Elfriede Rohloff Geoffrey Rosen
Emily Rousseau & James Reid Louise Routledge Alan Rudrum Peter & Pauline Saunderson Celine Sauze Mr. & Mrs. E. Scanlan Frank & Barb Schindelka Myda Schmidt Carie Schnablegger Cynnamon Schreinert Graham & Erica Seagel Rikki Senghera Joanna Shepheard Mrs. Nadine Sheppard Una Walsh Brian Short & Glenda Wray Peter J. Smith Timothy Smith Elizabeth Snow Tyrone & Zenobia Soodeen Richard & Helen Spencer Mary Standell Frank Stephan Linda & Gary Stoneback Kerry & Christine Strayton Simon & Margaret Sutcliffe Margaret Swadden Roxanne Sychuk Delfa Syeklocha Lucille Taylor Barry & Julie Thompson
Doug Tuck & Nona Avren Carol & Bud Tufeld Rosalie Tully Rebecca B. Tunnacliffe John & Kim VanVeen Craig & Kathryn Walden Jeff Wallace Una Walsh Irene N. Watts Charlene Wellings Susan Whaley C. Whereatt Joan White Caroline & Hector Williams Karen & Tony Williams Tessa Wilson Sheila Winder Katherine Wolter Teri Worthington Michael & Thelka Wright Yarilo Music Society Dana Zendrowski Anonymous (61) And all of our Members at the All’s Well level ($25-$74) *Bard Legacy Circle Member Your support is vital to our success. Please accept our apologies if we have missed or incorrectly listed your name.
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BARD VOLUNTEERS Bard salutes our 2014 Volunteers The 2014 Bard on the Beach Volunteers generously donated more than 15,000 hours of their time during the season. They also donated over $4600 in tips and collections to Bard on the Beach’s Education Programs. 20 + Seasons of service Marg Acton Jean Cunningham-Smith Mary Danieli Maxine Davidson Muriel Densford Ann Munro Claire Westlake Maureen Williams Audrey Zaharichuk 10-19 Seasons of Service Jacqui Bohling Anne Chapman Susan Chmielewski Douglas Clarke Meg Comiskey Arlene Davidson June Demcheson Barbara-Anne Eddy Sharlene Eivemark Jenny Evans Meribeth Fleetham Joan Fogarty Sarah Gillies Lorraine Green Doug Hatlelid Margaret Hatlelid Anita Irani Terri Jelic Judy Lerner Laverne MacFadden Lillian Mitchell Susan Nugent Joan Ouellette Deb Pound Glenda Sherlock Cynthia Southard Gary Sutcliffe Beverley Taylor Jo-Ann Ternier Anne Tickle Scott Van Denham Barrie Vickers Margaret Vickers Gillian Walker Stevie Wilson 5-9 Seasons of Service Nick Ainsworth Rati Arora Sue Bates Sigrid Bernhoerster Pam Chow Eleanor Clarke Archana Datta Judy Daughney Susan Easton Eva Gerlitz Susan Harman Beth Harper Sandy Harvell Susanne Hellier 74
Vanessa Ho Alison Knight Liz Landon Tina Le Heather LeGresley Adriana Lopez Brian MacGregor Betty McGowan Sandy McNeill Anne Midzain Eva Nguyen Nadya Ogloff Veronica Pring-Mill Shirley Ribout Helen Roberts Brenda Sawyer Katie Scott Shivani Seth Judy Shaw Karen Shimokura Amanda Skoll Georgia Snider Dina Sudlow Elizabeth Tovey Bowie Tse Cali Vindeirinho Jan West Tessa Wilson Aryk Yu Lindsey Zikakis Theresa Zukovic 1-4 Seasons of Service Richard Anderson Eileen Bartels Susan Birtwell Annalies Camfferman Michael Caplan Yun-Jou Chang Shelly Clemente Edith Davidson Hanan Dumas Alexandra Eaton Seamus Fera Catherine Fergusson Dillan Fernando Nancy Flexman Sam Fraser Joyce Garraway Stephanie Gooch Karen Gordon Kathleen Handfield Nathaniel Hanula-James Jeanne Harkness Amanda Harris June Harrison Pat Harrold Paul Hart Noel Hollett Rosalind Hollett Betty Ing Arlene Jackson Midori Kawahara Savannah Kemp Jason Lam
Annette Leonard Veena Lin Jessica Lo Darryl Lucas Michelle Lundrigan Tammy Ma Michael Marissen Lizzie Matheson Joni Macarthur Dennis McCann Carolyn McLean Hearn Susan McNeil Erin Meyer Rod Neuman Kirsten Niedtner Darcy Noon Agatha Ormiston Andrew Piers Szera Pinter Paul Porter Matthew Rhodes Cheryl Scott Jessi Simmons Lisa Sinclair Shannon Sinclair Nicole Smith Leslie Stowell Kate Sullivan Deborah Tom Carolyne Tran Angela Tung Thomas Viccars Angela Waber Angela Wilk Lynda Winslow New Volunteers Kathleen Allisen Marra Alvarillo Anne Ambroziewicz Judy Andersen John Barbour Wendy Barron Lise Bendrodt Gracie Berger-Poll Paula Boleen Gordon Boleen Olivia Botelho Monica Brennan Sharlene Briggs Louisa Brunke Ellie Bryant Rick Bryant Dolores Bzdel Petra Cardosa Megan Carpick Carrie Chau Peter Colenbrander Dianne Couves Mariana Dame Angela Danyluk Kathleen Dowsett Sandy Edmiston Marlene Enns Hilary Feldman
Carrie Fleming Glauce Fleury Michael Frolek-Turner Kendra Fu Sophie Gardner Pam Gilbert Amanda Goldrick-Jones Sabrina Guzman Skotinsky Imogen Hadfield Janet Harper Tara Hauck Margaret Healey Noah Heyl Emma Hoogeveen Katherine Hume Kate Hurley Alana Jackson-Drouin Aliya Jessa Janet Johnston Debbie Kenneally Heather Lawrence Jo Lee May Leung Jill Lindsay Anne Lotter Carolyn MacFarlane Shirley Mann Craig McKee Katherine Menjivar Emilia Michalowska Katie Milbers Clarissa Montgomery Fran Moore Mary Jane Morita Nathan Morris Amy Mulholland Lauran Olmstead Celia O’Neill Edwin Oritz Vania Pacheco Nicole Park Emily Rempel Elsa Rice Hannah Scott Karen Scott Nicole Sherlock Ann-Marie Sloan Sasha Soden Gail Sumanik Kate Sutherland Cassandra Szabo Hannah Tanna Rowena Tate Kary Taylor Chloe Thomson Katrina Thomson Kate Tung Myles Venn Rebecca Waitt Grace Walker Tina Wang Deirdre Webster Colin Whitaker Charlotte Wright 75
ACKNOWLEDGEMENTS Our heartfelt thanks to the following for their continued support of Bard: Corporate Partners
Production & Community Supporters
aDB Engineering Bingham Hill Architects Harrop Phillips Powell & Gray Industrial Control Design Janine A.S. Thomas Law Corporation NorthAm Beverages Team TELUS Charitable Giving Program YVR Airport Authority
Arts Club Theatre Company Bogdonov Pao Associates Structural Engineers Capilano University Christie Lites Cora Bike Racks Dr. Paul Budra Daniel le Chocolat Belge General Paint Great Container Company Guthrie Theatre Jasina Jensen Maxum Cranes Rentals Ltd. Penske Truck Rental PIXSTAR Photobooth Rental Power West Industries Ltd. Proscenium Architecture + Interiors Quantum Lift Truck Riggit Services Inc. Salmon’s Rentals Scene Ideas Sharp & Diamond Landscape Architecture Planning Standard Building Supplies Studio 58 UBC Opera Vancouver Opera Vertex Design Western One Rentals
Foundations The Allan & Gwendoline Pyatt Foundation The Beech Foundation The Christopher Foundation The Danbe Foundation The Edward & Emily McWhinney Foundation The Hamber Foundation The John Hardie Mitchell Family Foundation The M CLean Foundation Kinder Morgan Foundation Martha Lou Henley Foundation RBC Foundation The Vancouver Foundation Y.P. Heung Foundation
Bard would like to thank its Board Committees’ Community Members: Debbie Matheson (Education) Annie Therrien Boulos (Education) Dave Secord (Fund Development) Errol Durbach (Artistic Goals) Doug Tuck (Marketing) Ken Hollands (Site & Facilities) Ashley Kates (Finance) Bard on the Beach receives support from many local businesses and organizations, through donations of in-kind goods and services. As a not-for-profit enterprise, we depend on and are grateful to these generous supporters.
WE GRATEFULLY ACKNOWLEDGE the city of Vancouver Cultural Services and the Board of Parks and Recreation, the British Columbia Arts Council, the Province of British Columbia and the Canada Council for the Arts.
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THE BARD TEAM Artistic Director: Christopher Gaze ARTISTIC & PRODUCTION Associate Artistic Director: Dean Paul Gibson Artistic Associates: Scott Bellis, Mara Gottler Production Manager: Mark “Sparky” Lawrence Technical Director: Richard Hansen Assistant Technical Director: Kougar Basi Head of Properties: Heidi Wilkinson Props Builders: Omanie Elias, Frances Henry-Rogers, Jason Wingham, Sharon Zimmerman Props Buyer: Carol MacDonald Venue Technicians: Cody Biles, Harrison de Hek, Conrad Tugnum Scenic Artists: Athena Ivison, Sarah Melo Head Scenic Carpenter: Keith Smith Scenic Carpenters: Craig Alfredson, Rebecca Burks, Mathius Herrmann, Christian Lovell Head of Audio: Chris Engleman Head Electrician: Katie Rainsley Production Crew: Amber Cruikshank, William Dettlaff, Harrison de Hek, Colin Mayhew Production Interns: Jessica Warren, Chengyan Boon Head of Wardrobe: Amy McDougall Assistant Head of Wardrobe: Jessica Oostergo Cutters: Linda Chow, Victoria Klippenstein, Mitchell Mackay, Line Richard First Hands: Vina Guingcangco, Jillian Little, Christine Pampel, Concepcion Sia Stitchers: Melissa Cartwright, Jayme Cline, Rachel Kerby, Desiree Morin, Anna Postawski, Amy (Ji Hong) Yang Wig Construction: Stacey Butterworth Wig Creations Milliner (Love’s Labour’s Lost): Isabel Bloor Additional Leather Work: Creative Mayhem Running Wardrobe: Laura Fukumoto, Stevie Hale-Jones, Megan Kennedy, Melissa McCowell Wardrobe Interns: Nicole Bairstow, Andy (Chih-An) Chen, Natalie Collins, Kiara Lawson Site Build Project Manager: Jason “Sid” Sadowski Site Supervisors: DJ Hicks, Matt Oviatt Site Buyer: Jim Preston Site Electrician: Jason Filipchuk Crew Chiefs: Simon Farrow,Evan Follweiter, Neil Griffith, Kate Melkert, Sean Preston, Gary Robinson, Anthony Walmsley Transportation Coordinator: Don Robinson Transportation Crew Chief: Karley Wolfert Site & Transportation Crew: Alyksandra Ackerman, Elliot Banner, Christina Brown, Sean Fidler, Daniel Gonzalez, Lucas Hall, Dylan Hargrave, Mack Holzman, Michael Louie, Justine Rego, Gary Robinson, Mishka Sturley, Neal Swakum-Peck, Glenys Thorpe, Conrad Tugnum, Dustin Vaux, Jamie Von Sacken, Jill White, Amy Wilding, Hanako Yakota, Ryan Yee EDUCATION Director of Education & Training: Mary Hartman Company & Education Manager: Rhea Shroff Young Shakespeareans Coordinators: Luisa Jojic & Kevin Bennett 78
Managing Director: Claire Sakaki Head of Coaching: Alison Matthews Education & Artistic Coordinator: Kathleen McKeown Teaching Artists: Lois Anderson, Anousha Alamian, Lindsey Angell, Lili Beaudoin, Scott Bellis, Kevin Bennett, Ian Butcher, Rachel Cairns, Susan Coodin, Michelle Deines, Kayla Deorksen, Josh Epstein, Dustin Freeland, Craig Erickson, Jeff Gladstone, Kayvon Kelly, Sebastian Kroon, Gerry Mackay, Tamara McCarthy, Sereana Malani, Paul Moniz de Sa, Adele Noronha, Melissa Oei, Declan O’Reilly, Dawn Petten, Kirsty Provan, Andrea Rankin, Kyle Rideout, Luc Roderique, Mike Stack, Annie Therrien-Boulos, Todd Thomson, Stacie Steadman, John Voth, Raugi Yu ADMINISTRATION Director of Marketing & Communications: Heather Kennedy Marketing Manager: Catherine Veitch Marketing Coordinator: Jenny McDonald Publicity & Media: Cynnamon Schreinert Group Sales Coordinator: Max Forsyth Box Office Manager: Brent Cowan Box Office Supervisor: Chantal Lyons-Stevenson Box Office Coordinator: Odessa Cadieux-Rey Box Office Liaison: Mitch Janzen Customer Service Representatives: Michelle Allin, Jocelyn Cartmel, Madita Crosson, Christine Pennington Senior Development Manager: Amy Benson Annual Giving Officer: Marla Penner Sponsorship & Events Officer: Sam Snobelen Development Assistant: Michelle Allin Director of Finance: Leanne Armstrong Business Manager: Heather Berry Accounting Manager: Jane Ma Accounting Assistant: Larissa Blokhuis Administrative Assistant: Alice Cavanagh Operations Manager: Ava Forsyth Volunteer Coordinator: Stacey Menzies Operations Coordinator: Michelle Deines Boutique Buyer & Manager: Celia Jong Events Assistant: Celeste English Front of House & Retail Managers: Stephen Dunne, Maxwell Forsyth, Chelsea Gardner, Dan Hanoomansingh, Michele Hope, Tim Kraumanis, Tamara Messacar, Marsha Parkin, Alan Pronger, Emma Speakman, Ingrid Turk Facilities Coordinator: Linda Guthrie Security: Dale Clarke, Roy Clarke, Robert Gibbons, Greg Marsh Season Materials & Website: Thornley Creative Communications Program Design: Vertex Design Program Printing: Mitchell Press Advance Photography & Image Design: David Cooper & Emily Cooper Production Photography: David Blue Video Services: Bombshelter Productions