2017 Bard on the Beach Festival House Program by Bard on the Beach

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Directed by John Murphy

Directed by Dean Paul Gibson

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Directed by Sherry J. Yoon

June 1 to September 23, 2017 #Bard2017 â&#x20AC;¢ bardonthebeach.org

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Fascinating Facts About Bard

Contents

1. In 1990, our “orchestra pit” was literally a hole in the ground! The music director sat in the hole, playing keyboards live during the performances. 2. Our Two Gentlemen of Verona dog, Gertie, is the first animal to appear on stage (on purpose) at Bard since 2001; 16 years ago a mutt named Jinx played Crab. 3. Our actors grow beautiful gardens behind the tents during the season. They are hidden from patrons’ sight but you can see them on a Members Backstage Tour.

Much Ado About Nothing. . . . . . . . . . . . . . . . . 7 The Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Director’s Notes. . . . . . . . . . . . . . . . . . . . . . 11 Behind the Scenes . . . . . . . . . . . . . . . . . . . 13

Artistic & Executive Directors’ Message. . . 5

The Winter’s Tale . . . . . . . . . . . . . . . . . . . . . . . . 15 The Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Director’s Notes. . . . . . . . . . . . . . . . . . . . . . 19 Behind the Scenes . . . . . . . . . . . . . . . . . . . 21 The Merchant of Venice . . . . . . . . . . . . . . . . . . 23 The Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Director’s Notes. . . . . . . . . . . . . . . . . . . . . . 27 Behind the Scenes . . . . . . . . . . . . . . . . . . . 29

The more you spend time at Bard, the more you discover fascinating things about our story - so come back, see more plays, and this year, seeing more plays will also make you eligible to win tickets to next year’s Festival! All patrons who see two or more plays this season will be entered in a draw to win a pair of 2018 Season Ticket Packs. Winner’s name drawn September 23.

The Two Gentlemen of Verona . . . . . . . . . . . 31 The Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Director’s Notes. . . . . . . . . . . . . . . . . . . . . . 35 Behind the Scenes . . . . . . . . . . . . . . . . . . . 37 Shylock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Director’s Notes. . . . . . . . . . . . . . . . . . . . . . 39 The Bard Lab . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Bard: Beyond the Plays . . . . . . . . . . . . . . . . . 40 Bard Membership . . . . . . . . . . . . . . . . . . . . . . 44 Bard Education: Workshops. . . . . . . . . . . . . 47 Bard Education: Inspiring Our Community . . . . . . . . . . . . 49 Company Biographies . . . . . . . . . . . . . . . . . 51 Bard Members. . . . . . . . . . . . . . . . . . . . . . . . . . 69 Bard Volunteers . . . . . . . . . . . . . . . . . . . . . . . . 75 Sponsors & Supporters . . . . . . . . . . . . . . . . . 76 The Bard Team. . . . . . . . . . . . . . . . . . . . . . . . . . 78 Season Schedule . . . . . . . . . . . . . . . . . . . . . . . 79

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201 – 162 West 1st Avenue, Vancouver BC, Canada, V5Y 0H6 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, the Greater Vancouver Professional Theatre Alliance, and the Alliance for Arts and Culture, and engages, under the terms of the Canadian Theatre Agreement, professional Artists who are members of Canadian Actors’ Equity Association. We would like to acknowledge that Vanier Park is located on the unceded traditional territory of the Musqueam, Squamish, and Tsleil-Waututh Nations. We are grateful for the opportunity to be here. Bard on the Beach is a non-profit registered charity. Charitable Registration Number 129644928 RR0001.

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AR TISTIC & EXECUTIVE DIREC TORS’ MESSAGE

Christopher Gaze and Claire Sakaki Photo: Jovan Harmuth

Welcome to our twenty-eighth season of Bard on the Beach! We are thrilled that you are here and we shall strive to make every aspect of your time at Bard both entertaining and memorable. We are presenting five plays this year, the most we’ve ever offered on our stages in one season. What a remarkable opportunity to enter into five fascinating and very different worlds – with Much Ado’s glamorous 1959 Italian movie stars, the fairy-tale classical kingdoms of The Winter’s Tale, our Two Gentlemen’s Romantic-era Verona, a Merchant that unfolds in modern-day Venice – and Shylock, set in the present moment and as current as today’s news. We encourage you to visit us more than once this summer – the more you dive into our multi-faceted Festival, the richer your rewards. As we present the season, we applaud the achievements of the people who work so passionately to make it a success. Our veteran actors have spent multiple seasons with us and are some of the finest Shakespearean interpreters in the country; they’re joined by this year’s exciting cohort of new-to-Bard actors, full of energy and talent. Our directors draw on Board of Directors deep skill, creativity and imagination to bring the plays’ stories to life; President our designers use light and sound, costumes and sets to create magic Jim Bovard on our stages; and our administrative, production and operations Vice President teams collectively build a Festival with multiple moving parts, yet all in Margie Knox sync, creating an unforgettable entertainment experience. We’re also supported by hundreds of volunteers who give tens of thousands of Treasurer Michael C. Baddeley hours of service to the Festival they love. Secretary We are incredibly fortunate to do what we do – we provide something Beth Macdonald to our community that is embraced, nurtured and cherished. Those that Directors choose to work in the arts do so because of passion and love, and that Douglas Clarke undoubtedly applies to us as we bring the words and stories of William Craig Ferris Shakespeare to you. We hope that you will feel a measure of that same John Geddes passion and love, as you take in what we have to offer this season! Darlene Howard “When love speaks, the voice of all the gods makes heaven drowsy with Bernie Maroney the harmony.” Marlie Oden Kostya Polyakov Marg Vandenberg Douglas Welch 5

June 1 to September 23 Directed by John Murphy Kevin MacDonald (Benedick) & Amber Lewis (Beatrice) Image: David Cooper & Emily Cooper

#Bard2017 Andrew Wheeler Chris Cochrane Amber Lewis Parmiss Sehat David M. Adams Lois Anderson* | Jennifer Lines* Ian Butcher Kevin MacDonald Laara Sadiq Julien Galipeau Sereana Malani Ben Elliott Kaitlin Williams Austin Eckert Ashley Oâ&#x20AC;&#x2122;Connell Chris Cochrane David M. Adams Austin Eckert Chris Cochrane Lois Anderson* | Jennifer Lines* Chris Cochrane Ben Elliott Members of the Company

LEONATO MESSENGER BEATRICE HERO ANTONIO URSULA DON PEDRO BENEDICK DONA JOHNNA CLAUDIO CONRADE BORACHIO MARGARET PAGE DOGBERRY VERGES SEACOAL HUGH OATCAKE FRIAR FRANCIS SEXTON GRAVEKEEPER MUSICIAN PAPARAZZI, STUDIO GRIPS, ACTORS, ACTRESSES, and SERVANTS

*until August 6 and from August 8 respectively

Christine Reimer Pam Johnson Gerald King Murray Price Corwin Ferguson Alison Matthews Tara Cheyenne Friedenberg Josh Reynolds Stephen Courtenay Rebecca Mulvihill Tanya Schwaerzle Nicole Anthony, Toby Berner

Costume Designer Scenery Designer Lighting Designer Composer/Sound Designer Projection Designer Head Voice & Text Coach Choreographer Fight Director Production Stage Manager Assistant Stage Manager Apprentice Stage Manager Directing Apprentices

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One 20 minute intermission The use of electronic devices, including cameras, during the performance is strictly prohibited. 7

Kevin MacDonald & Amber Lewis, Much Ado About Nothing (2017) Image: David Cooper & Emily Cooper

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MUCH ADO ABOUT NOTHING The Story It’s 1959 in Messina, Italy. On a busy soundstage, Leonato, the head of a film studio, gets word that Don Pedro, the great film director, is on his way. Beatrice, Leonato’s niece and a celebrated actress, inquires if Benedick, the famous actor, is also coming. The two stars are notorious for their ongoing battle of wits.

Preliminary set design for Much Ado by Pam Johnson

Don Pedro arrives with Benedick and Claudio, an up-and-coming actor. Beatrice and Benedick, both cynics about love, reignite their war of words. Leonato invites everyone to vacation at his villa, including Don Pedro’s sister, Dona Johnna, a journalist and wannabe filmmaker.

Hero’s clothes and meet him on Hero’s balcony, where he kisses her. Don Pedro and Claudio witness their embrace. Claudio believes Hero has betrayed him and resolves to disgrace her at the altar. Later that night, Borachio gets drunk and boasts about how he’s tricked Claudio. The film studio’s night watchmen overhear his story and arrest him.

Claudio confesses to Benedick and Don Pedro that he’s in love with Hero, a rising star and Leonato’s daughter. The director offers to help woo her on Claudio’s behalf. That evening at a masquerade party, Don Pedro and Hero have a flirtatious conversation and then talk in private. After a brief misunderstanding that Don Pedro has been wooing Hero for himself, the guests discover he has won Hero’s love for Claudio. Leonato consents to their marriage and a wedding date is set.

As their wedding ceremony begins, Claudio accuses Hero of being unfaithful and Don Pedro backs him up. Hero faints. After the men storm off, Leonato renounces his daughter. The Friar, who believes Hero is innocent, suggests they pretend she’s died from shock so they will have more time to unearth the truth. Once alone, Beatrice and Benedick finally profess their love for each other. To prove his devotion, Benedick offers to do anything she asks. Beatrice demands he kill Claudio to avenge Hero’s disgrace.

Don Pedro believes that Benedick and Beatrice are perfect for each other and conspires to bring them together. He arranges for Benedick to overhear a conversation he has with Leonato and Claudio, in which they invent a story about Beatrice being madly in love with Benedick. Convinced it’s true, Benedick vows to return Beatrice’s affections.

Friendships are tested, secrets are revealed, but will love conquer all?

Did you know?

• We know for certain that the role of Dogberry was written for the famous and immensely popular clown, Will Kemp, because in the 1600 Quarto and the 1623 Folio editions of the play, Dogberry’s speech headings read ‘Kemp’. • Although the essence of the Hero/Claudio story – tricking someone into believing their lover is unfaithful – was part of a long literary tradition, the story of Benedick and Beatrice seems to have been entirely Shakespeare’s invention.

Don Pedro then enlists the help of Hero and Ursula, a production assistant, to pull a similar trick on Beatrice. The two women find a spot where Beatrice can overhear them and gossip about Benedick’s huge crush on her. Beatrice believes them, and promises to love Benedick in return. Meanwhile, Dona Johnna hatches a plan with Borachio, one of the paparazzi, to destroy Claudio and Hero’s happiness. The night before the couple’s wedding, Borachio persuades Hero’s friend, Margaret, to wear 9

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MUCH ADO ABOUT NOTHING other, it seemed fitting that these characters could be filmmakers, scripting their own lives.

Director’s Notes Writing an adaptation of Shakespeare is a delicate matter, especially when the original script is so close to perfect. I think Much Ado About Nothing is Shakespeare’s greatest comedy, so I’ve been careful to only change things where it was necessary for my concept to work.

The status of women in society is always something to consider when adapting Shakespeare, because his plays reflect 16th century values, when women had few rights. 1950s Italy had a surprising number of parallels to the 16th century in this way. For example, Italian women were not granted the right to vote until 1946, and the cultural mores imbedded by the patriarchy of the Catholic Church continued to sublimate women in 1959 and beyond. This is a world where a character like Beatrice can be independent, but also frustrated with her place in society; when things go wrong and Benedick sides with the women instead of the men, it’s a remarkable gesture. Beatrice and Benedick read like contemporary characters to me. Placing them in 1959 accentuates their modernity, and yet, still makes us feel like we’re watching people from a glorious, bygone age. This is only possible through Shakespeare’s genius – writing characters in 1599 that continue to speak to us today. John Murphy

Much Ado props by the Bard props builders

I’ve set the play in 1959 because I wanted to bring the characters closer to our time, highlighting their contemporary feel. The optimism of the ‘50s also seemed the perfect setting for love to blossom. To root the play more firmly in Italy, I’ve added a few Italian words, including two songs sung in Italian.

About John Murphy

This is John’s eighth season at Bard. Directing: Measure for Measure (Bard); Twisted Christmas Carol, The Odd Couple, The Santaland Diaries, and Baskerville (Arts Club); True Story, Harry’s Christmas, and Sex, Drugs, Rock and Roll (revolution theatre); Volpone and Duet for One (United Players); Ghosts in Baghdad (Working Spark); I can’t remember... (Tara Cheyenne); and Woody Sed (Theatre Bagger). Acting: Much Ado, Shrew, As You Like It, Richard II, and King Lear (Bard). Playwriting: The Heretic (Talonbooks) and True Story (Jessie Award). John plays in the band China Repair. www.chinarepair.bandcamp.com/releases

I couldn’t find a 20th century conflict that was a suitable backdrop to Much Ado’s effervescent tone, so I eventually dropped the plot device of soldiers returning from war. I had just watched Fellini’s La Dolce Vita, which sparked an idea to turn the soldiers and aristocrats into movie stars and filmmakers. Film stars in the ‘50s were like royalty, more so than today, because they were less accessible to us than they are now, and therefore mythical in stature. They seemed to live a rarefied life, witty and urbane, with nothing to do but drink, smoke and look incredibly elegant. There’s also an inherent hierarchy in the film world that aligns with the social status depicted in the play. Finally, in a story where characters fabricate fictions for each 11

I CAN NO OTHER ANSWER MAKE BUT THANKS, AND THANKS, AND EVER THANKS. William Shakespeare, Twelfth Night, Act III, Scene 3

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MUCH ADO ABOUT NOTHING Behind the Scenes The Set

Designer and Bard Artistic Associate Pam Johnson’s vision for this set was “to reflect the excitement and energy of making films during Fellini’s time, and the glamorous laissez-faire lifestyle so often associated with the movie business.” Her starting point was the creation of a representational Italian film studio circa 1959, where much of the action in this production takes place. Two immense studio doors, positioned upstage, help identify the play’s primary locations. She chose a variety of film equipment, props and set pieces to further define time and place.

Costume Designer Christine Reimer and Cutter Line Richard

glamour to the party scenes. The men’s clothes are equally stylish, from tailored suits worn with skinny neckties to knit polo shirts and trousers for daytime, and formal tuxedos for evening. Fedoras, caps and porkpie hats add a period-perfect finishing touch. And, in a nod to the glitzy movie-star lifestyle, no outfit is complete without a pair of large dark sunglasses!

Contemporary and minimalist in design, the set’s predominant palette is black and white, with shades of grays. Shifts in lighting and stage projections transform the mood and add increasing splashes of colour as the story unfolds. Says Johnson, “Life becomes visibly brighter when love enters the picture.”

The Music

Composer/Sound Designer Murray Price has based his soundscape on music from the Fellini film classic La Dolce Vita, drawing on its “great upbeat and quirky feel” to set a lighthearted comedic tone.

The Costumes

Costume Designer Christine Reimer has envisioned a “fun yet sophisticated” look for her costumes, inspired by mid-20th century Italian style when fashion hovered between the tailored 1950s and whimsical 1960s. She’s chosen a primary palette of black and white and gradually introduces signature ‘50s blues, oranges, yellows and greens as the story progresses.

The majority of the score has been prerecorded to give the play a cinematic sensibility. Price describes his music as a “crossstraddling” of different styles representative of 1950s Italy, when lush Big Band sounds shared the spotlight with rollicking rock ‘n’ roll and seductive bossa nova beats. Percussive syncopation is a strong theme, with infectious rhythms complementing modern instrumentation, including electric organ, electric guitar and vibraphones. Influences of cha-cha and mambo infuse the play’s party scenes, while softer, lyrical themes underscore romantic moments.

The women’s silhouettes include crinolined frocks, pencil skirts and “wiggle” dresses, all accessorized with hats, gloves Beatrice costume sketch and purses that evoke the era. by Christine Lacy cocktail dresses are styled Reimer with pearls, crystals and feathers, lending 13

Price also has composed melodies to accompany verses drawn from a rare Italian translation of the play; these songs are performed by the actors onstage. Cosmetics Sponsor

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June 8 to September 22 Directed by Dean Paul Gibson Image: David Cooper & Emily Cooper

#Bard2017 Lois Anderson* | Jennifer Lines* Ian Butcher Kevin MacDonald Sereana Malani Parmiss Sehat Laara Sadiq Amber Lewis Ashley Oâ&#x20AC;&#x2122;Connell Andrew Wheeler Julien Galipeau Amber Lewis David M. Adams Chris Cochrane Austin Eckert Kaitlin Williams Ben Elliott Amber Lewis Parmiss Sehat Members of the Company

PAULINA POLIXENES LEONTES HERMIONE MAMILLIUS CAMILLO EMILIA ROGERO ANTIGONUS CLEOMENES DION SHEPHERD YOUNG SHEPHERD FLORIZEL PERDITA AUTOLYCUS DORCUS MOPSA SICILIAN LORDS, LADIES, OFFICIALS, GUARDS, GAOLERS, and MARINERS; BOHEMIAN SHEPHERDS and CITIZENS

*until August 12 and from August 16 respectively

Carmen Alatorre Pam Johnson Gerald King Malcolm Dow Heidi Wilkinson, Frances Henry Alison Matthews Tracey Power Wendy Gorling Stephen Courtenay Rebecca Mulvihill Tanya Schwaerzle Robinson Wilson

Costume Designer Scenery Designer Lighting Designer Composer/Sound Designer Puppet Design and Construction Head Voice & Text Coach Choreographer Physical Theatre Choreographer Production Stage Manager Assistant Stage Manager Apprentice Stage Manager Directing Apprentice

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One 20 minute intermission The use of electronic devices, including cameras, during the performance is strictly prohibited. 15

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T H E W I N T E R ’ S TA L E The Story Polixenes, King of Bohemia, has spent the past nine months visiting his childhood friend, Leontes, King of Sicilia. Eager to return home, he says no to an invitation from Leontes to stay longer, but is persuaded by Hermione, Leontes’ wife, to change his mind. Leontes grows suspicious of their relationship and believes his wife and old friend are having an affair. Overcome with jealousy, he orders Camillo, a trusted friend, to poison Polixenes. Camillo says she will but instead, convinced that Hermione is innocent, she warns Polixenes about Leontes’ intentions. Camillo and Polixenes flee to Bohemia, which further fuels Leontes’ mistrust.

Preliminary set design for Winter’s Tale by Pam Johnson

his way back to Sicilia, Antigonus is killed by a bear. The Old Shepherd and his son discover the baby and decide to raise her as their own. Sixteen years later…In Bohemia, Prince Florizel, Polixenes’ son, and Perdita, the Old Shepherd’s daughter, have fallen in love. Polixenes and Camillo attend a local sheep shearing festival in disguise and discover the young lovers are betrothed. Appalled, the king reveals his identity and bans his son from ever again seeing the humble shepherdess. He then reprimands the Old Shepherd for encouraging the relationship.

Hermione, who is pregnant, is arrested and imprisoned. Leontes ignores the counsel of his lords and seeks direction from the Oracle of Delphi regarding Hermione’s fate. While in prison, Hermione gives birth to a daughter. Lord Antigonus’ wife, Paulina, presents the baby to Leontes. She hopes the sight of his new child will soften his heart, but the king rejects the infant. He orders Antigonus to take the baby to a faroff land and leave her there to die.

Camillo persuades Florizel and Perdita to sail away with her to Sicilia, and they escape with the aid of a local pickpocket, Autolycus. Polixenes follows in pursuit. When the Old Shepherd explains that he wants to set things right with Polixenes, Autolycus helps him and his son make their way to Sicilia as well.

As Hermione is put on trial, Leontes receives the Oracle’s judgment: Hermione is innocent and furthermore, the king will have no heir until his banished daughter is found. Leontes nonetheless orders the trial to proceed, only to learn that his son, Prince Mamillius, has died. Hermione faints and is carried out of the court. Paulina later brings word that the queen is dead. Filled with remorse, Leontes vows to dedicate himself to a life of mourning. Sheep for Winter’s Tale by Heidi Wilkinson

In Sicilia, Leontes is anxious to make amends for the past and he warmly welcomes Camillo, Perdita and Florizel. Truths are uncovered when the other travellers from Bohemia arrive, and all that was lost is once again found.

Did you know?

No one knows what Shakespeare intended by the famous stage direction, “Exit, pursued by a bear.” While London’s playhouses and bear-baiting rings shared a neighbourhood at the time, there is no evidence that Shakespeare’s company employed an actual bear for the scene.

Meanwhile, Antigonus travels to the Bohemian coast, where he abandons the baby, Perdita, along with gold tokens and documents that detail her royal heritage. On 17

T H E W I N T E R ’ S TA L E Festival in 2008. This joyous, beautiful and regal adaptation, directed by Libby Appel (former Artistic Director at OSF) also inspired me, with its colourful wonder and loving focus on the classic aspects of fairy-tale. I am grateful to OSF for sharing with me Appel’s insightful restructuring of the text, on which I relied to make my own judicious and constructive edits.

Director’s Notes It’s been twenty years since I first encountered The Winter’s Tale. It was my sixth season at the Festival and I was playing the Old Shepherd in Bard’s first production of this epic story.

I fashioned my character on one of my early mentors, the late, great Douglas Campbell. During my early years at Bard, I used every Now, with the swift passage of time, I opportunity to observe am ready to shepherd my own his movement, his interpretation. After many years physical presence, of contemplating my influential those qualities that past encounters with this play, made him such a I’m grateful for the rare chance force, both off and to create a world of ancient on stage. Despite magic, filial relationships his size, Douglas and poetic insight into our moved — when he collective humanity. Preliminary mask chose to — with a swift, designs by Carmen Alatorre With a new company of players precise and elegant stride and practitioners — and you, the lovers that often belied his advanced years. When of theatre — together we will breathe life into he was tired, his age came to the fore with a this new telling of an old tale. more discernible lumber and roll. Because of Dean Paul Gibson our similar bearing and physicality, along with my keen desire to honour him in Christopher Gaze’s huge-hearted production in 1997, it About Dean Paul Gibson seemed right and easy to imagine myself Dean is celebrating his playing the Old Shepherd as 40 years older. twenty-sixth season with Playing this wonderful pastoral character and Bard, having served as an living inside the world of this play — with its actor, director and Associate enormous emotions, fierce love, devastating Artistic Director. Bard credits loss and profound redemption — filled my include, acting: Sir John heart with hope and optimism. With each Falstaff, Falstaff; directing: performance of this magical tale, I witnessed Dream, King John, Much Ado, the symbiotic sharing of words breathed by Othello, Romeo and Juliet, actors and audience, and it acted as a healing Dream, Hamlet, Rosencrantz & Guildenstern, balm to my soul and mind. The Merry Wives of Windsor, Pericles, Twelfth Night and The Two Gentlemen of Verona. And then there was Michael Shamata’s Selected directing credits include The Flick, rendition for Bard in 2006: elegant, exquisite Spamalot, She Stoops to Conquer, Xanadu, and complex. I was touched to the core. 39 Steps, Black Comedy, History Boys, and Reminded of the enduring idea that people It’s a Wonderful Life (Arts Club); Habib’s can redeem themselves and learn about the Unforgettable All Night House Party (RCA/ true effects of their actions – a possibility that WCT); One Man, Two Guvnors (Theatre keeps many of us, including me, returning Calgary); The 25th Annual Putnam County to theatre with the hope of experiencing a Spelling Bee and 7 Stories (TC/CanStage); transformation. Toronto, Mississippi, True West, No Great My next encounter with a production of Mischief, and Noises Off (Playhouse). Winter’s Tale was at the Oregon Shakespeare 19

T H E W I N T E R ’ S TA L E Alatorre has used colour to distinguish the production’s two kingdoms. A pastiche of cool blues, lavenders, silvers and grays captures the ordered city sensibility of Sicilia, while warm summer hues of oranges, golds and yellows reflect the pastoral ambience of Bohemia.

Behind the Scenes The Set

For this production, designer Pam Johnson’s creative challenge was to design a set that easily shifts back and forth between two distinct realms: a Greco-Roman kingdom in Sicilia and a Cubist-inspired countryside in Bohemia. When imagining Sicilia, Johnson’s goal was to “transport the audience to the world of a fairy tale.” Five classically-inspired pillars, which can be moved from one area to another to help define location, suggest the formal architecture of an ancient city and the influence of law and order.

The relative richness of the fabrics also denotes the characters’ place in society: royal families and nobility are draped in silk, while shepherds and townspeople wear coarser linens.

Paulina costume sketch by Carmen Alatorre

Colourful half-face masks, carved in abstract geometric shapes, add a layer of mystique and help the actors transition to different characters.

The Music When contemplating the soundscape for this production, Composer/Sound Designer Malcolm Dow was inspired to create an aural adventure “where anything can happen.” The result is a fusion of ancient sounds layered with modern influences, transporting listeners to a Mediterranean fairy-tale land of long ago.

Preliminary set design for Winter’s Tale by Pam Johnson

In contrast, Johnson’s Bohemia has a pastoral yet other-worldly feel, evoked by a singular, large Cubist-like tree with bark made of multiple geometric shapes. Abstract and angular contours can also be seen in other elements, from masks and props to stage pieces. Rich earth tones and vibrant hues reflect colours that are found in the natural world.

Dow has composed an original score, complemented by sourced material, that he describes as “mystical, energetic and full of surprises.” Dynamic, punchy rhythms share the sonic stage with big bass sounds and trance-like textures. Listen for two distinct musical worlds: the regal, measured yet slightly ominous sounds of Sicilia versus the free-spirited, jubilant flavours of Bohemia.

The Costumes

Inspired by Greco-Roman theatre costumes and masks, Costume Designer Carmen Alatorre has created a look that summons up an ancient fantasy world. Women are clothed in long, loose, gathered dresses of silk chiffon, trimmed with snippets of leather. Men wear the customary togas of the time.

While the majority of the score is prerecorded, the actors will perform a selection of songs based on verse in the play and set to original music by Dow. 21

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June 22 to September 16 Directed by Nigel Shawn Williams Image: David Cooper & Emily Cooper

#Bard2017 H O W A R D FA M I LY S TA G E in the Douglas Campbell Theatre

ANTONIO, a merchant of Venice and friend of Bassanio BASSANIO, a Venetian lord, and suitor to Portia LORENZO, a gentleman of Venice, and suitor to Jessica GRATIANO, a gentleman of Venice, and suitor to Nerissa SALERIA, a gentlewoman, and friend to Antonio and Bassanio SOLANIA, a gentlewoman, and friend to Antonio and Bassanio LEONARDA, assistant to Bassanio PORTIA, an heiress of Belmont NERISSA, Portia’s friend, and Chief of her Estate BALTHAZAR, an employee of Portia’s PRINCE OF MOROCCO, suitor to Portia PRINCE OF ARAGON, suitor to Portia SHYLOCK, a money lender JESSICA, his daughter TUBAL, a friend of Shylock LANCELET, an employee of Shylock’s and later to Bassanio DUKE of VENICE BEATRICE, personal assistant to Portia Costume Designer Scenic Designer Lighting Designer Sound Designer Projection Designer Head Voice & Text Coach Fight Director Stage Manager Assistant Stage Manager Apprentice Stage Manager Directing Apprentice

Edward Foy Charlie Gallant Chirag Naik Kamyar Pazandeh Adele Noronha Kate Besworth Carmela Sison Olivia Hutt Luisa Jojic Paul Moniz de Sá Nadeem Phillip Paul Moniz de Sá Warren Kimmel Carmela Sison Paul Moniz de Sá Andrew Cownden Nadeem Phillip Kate Besworth Drew Facey Marshall McMahen Adrian Muir Patrick Pennefather Conor Moore Alison Matthews Josh Reynolds Joanne P.B. Smith Ruth Bruhn Jennifer Stewart Wendy Bollard

Attend a Tuesday performance for any play and stay for an informal Q & A with cast members. See the Season Schedule (page 79) for Talkback Tuesday dates. Production Sponsor

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THE MERCHANT OF VENICE Belmont with his friend, Gratiano. Meanwhile, Shylock’s daughter, Jessica, runs away from home with her father’s jewels and money to elope with Lorenzo, a man she knows Shylock would reject as a husband.

The Story This production is set in present-day Venice. At a street café in the Rialto, Bassanio, heir to a textile company, confides to his friend, Antonio, that he is broke. He wants to marry Portia, a wealthy heiress, and hopes to borrow some money so he can properly woo her. Antonio, a successful merchant, explains his fortune is tied up in offshore ventures. He suggests Bassanio approach Shylock, a local moneylender, and offers to secure the bond.

In Belmont, Portia entertains two princes at her residence. Each fails at the required assignment. Bassanio arrives at Portia’s home and successfully completes the task, thus winning her hand. They soon fall in love and marry. Gratiano and Nerissa also have feelings for each other and get married. Portia and Nerissa give their husbands rings as bonds of their love; the men vow never to give the rings away. Lorenzo, Jessica and their friend, Saleria, appear at Belmont with news that Antonio has defaulted on Shylock’s bond. Bassanio and Gratiano immediately set out for Venice with money from Portia to repay the loan. Portia and Nerissa follow without their husbands’ knowledge, leaving Lorenzo and Jessica behind to mind the estate. At the courthouse in Venice, the Duke of Venice presides over Shylock’s case against Antonio. Portia and Nerissa enter the courtroom disguised as Balthazar, a young lawyer, and his clerk. As Balthazar, Portia uncovers loopholes in Shylock’s case and proves he has no legal standing to claim his penalty. Prejudice, the strangle hold of patriarchy, and the impact of one’s choices come face to face as this story concludes. Truths are revealed and all must face the consequences of their actions.

A model of the Merchant set by Marshall McMahen

Bassanio and Antonio meet with Shylock, who agrees to a three-month loan with one condition: if the bond is not repaid on time, Antonio will owe Shylock a pound of his flesh. Antonio agrees to the terms.

Did you know?

At her Belmont home, Portia talks with Nerissa, her chief of staff, about her predicament; she is obligated to marry the man who succeeds in a high-stakes task ordered by her deceased father. A messenger reports that a suitor from Venice is making his way to Belmont. Nerissa secretly hopes it is Bassanio.

It’s difficult to calculate the modern day equivalents for amounts of money in Shakespeare’s plays, but we can be sure that 3,000 ducats was a very large sum. Based on documented prices for gold in the late 1500s, one calculation shows that 3,000 ducats would be worth almost three quarters of a million dollars today!

Back in Venice, Bassanio prepares to leave for 25

1718_BardonTheBeach.pdf

2017-04-03

CMY

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2:17 PM

THE MERCHANT OF VENICE Our world is turning too much of a blind eye upon intolerance, lies, misogyny, human indignities and religious persecution; and is now championing capitalism, charlatans, corruption and chaos. I fear we are not growing up; I fear we are growing down.

Director’s Notes Art evokes emotions in us, and elicits a sense of honesty that we don’t practice in our everyday lives. I will be honest about my emotions regarding The Merchant of Venice. I am an artist of colour. I am considered an ‘other’ by the traditional patriarchal colonial dogma. I have lived and experienced firsthand the sting of intolerance, the deep thirst for equality, and the shameful judgement of whom I could, or could not love. With a raw throat I have screamed for absolute freedom of choice for myself and for others. Emotionally and intellectually, I connect with the themes in The Merchant of Venice. I connect deeply with Portia, Shylock, Antonio and Jessica, who all struggle for these basic human dignities because they are denied them in some way.

Costume for Solania by Drew Facey

Since we continue down this dark and intolerant path, The Merchant of Venice, to me, is not a comedy at all but a warning of our impending collective tragedy if we don’t awaken. With emotional honesty, I recognize this play as us. Yet I am an optimist. I create theatre because I believe in the human spirit and the possibility that art can change lives. When it is a question of money, everybody is of the same religion. – Voltaire The day is not far off when the economic problem will take the back seat where it belongs, and the arena of the heart and the head will be occupied or reoccupied, by our real problems the problems of life and of human relations, of creation and behavior and religion. – John Maynard Keynes Nigel Shawn Williams

About Nigel Shawn Williams

Nigel is a four-time Dora Mavor Moore Award– winner as an actor and director, with numerous nominations for MECCA and Betty Mitchell Awards. His theatre credits include five seasons at Stratford and four seasons at Shaw, as well as performances in Montreal, Toronto, Winnipeg, Calgary and Vancouver. Nigel is also heavily involved in new play development and has helped develop over 40 new plays in Canada. He is also an educator, having worked at the National Theatre School, York University and the University of Windsor. He has been, and continues to mentor young and emerging artist through the difficult transition from training schools to professional life.

Over 420 years, the depth of this play and its comment on our society has evolved in the most provocative of ways; perhaps more so than any other play I can think of. It has now, for me, evolved into a most sinister parable for our times. 27

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THE MERCHANT OF VENICE Behind the Scenes The Set

When designer Marshall McMahen was asked to create a shared set for two different plays, his first challenge was to find common scenic elements: The Merchant of Venice is set in present-day Venice while The Two Gentlemen of Verona takes place during a stylized Romantic era in Verona and Milan. His solution was to design an unadorned and flexible set whose centrepiece is a series of sculptural towers suggestive of an Italian cityscape. These structures also provide surfaces for projected images. A floor-level stage area offers a more immediate audience experience. For Merchant, McMahen has created an unembellished set, stripped of sentimentality. Monolithic stone towers evoke a heartless and impenetrable world, driven by money. Stark glass and steel furnishings, all hard edges, were chosen to reinforce the cold aesthetic; bold projections build on the play’s themes of prejudice and morality.

Jessica costume sketch by Drew Facey

coastal Belmont, the mood is lighter: clothes are loose and easy, a sea of soft creams and pastels.

The Music

Sound Designer Patrick Pennefather’s vision for his score was “to support the underbelly of this production’s thematic tensions” with a mix of original and sourced sounds. He’s created two contrasting sound worlds to mirror the play’s main locations, Venice and Belmont, and their respective sensibilities.

The Costumes

Taking his cue from current Italian fashion magazines, Costume Designer Drew Facey has imagined a world where understated elegance and high-end style are second nature. He’s created an expensive, pared down look that reflects the characters’ preoccupation with wealth and prestige. Gorgeous clothes, made of the finest fabrics, hang just so and are worn with effortless ease.

In Pennefather’s Venice, modern mashups of works by great 16th century Italian composers meet urban beats. The sound is contemporary and reflects current pop culture, but also pays tribute to the city’s Baroque roots by integrating the music of Venetian School masters such as Monteverdi and Vivaldi.

The women’s garments include sophisticated dresses and chic pantsuits designed to declare confidence and power without sacrificing femininity. The men’s attire also displays flair, from exquisitely tailored suits to fitted sweaters paired with slim pants.

In Belmont, the town’s idyllic, peaceful paradise clashes with its ominous shadow side – a kind of prison where time has stood still. Slow melodic textures play counterpoint to dark edgy effects, evoking a mood of imminent change.

Facey has created two distinct fashion palettes to differentiate between the story’s two main settings. In urban Venice, the silhouettes are structured and fitted, with a primarily black and white colour scheme. In 29

June 29 to September 17 Directed by Scott Bellis Charlie Gallant (Proteus) & Nadeem Phillip (Valentine) Image: David Cooper & Emily Cooper

#Bard2017

H O W A R D FA M I LY S TA G E in the Douglas Campbell Theatre

Nadeem Phillip Charlie Gallant Chirag Naik Kate Besworth Carmela Sison Paul Moniz de Sá Luisa Jojic Andrew Cownden Adele Noronha Kamyar Pazandeh Edward Foy Paul Moniz de Sá Olivia Hutt Members of the Company Gertie the Basset Hound

VALENTINE PROTEUS SPEED JULIA LUCETTA ANTONIO PANTINA LAUNCE SILVIA TURIO DUKE of MILAN EGLAMOUR HOSTESS OUTLAWS, COURTIERS, and CITIZENS CRAB

Mara Gottler Marshall McMahen Adrian Muir Julie Casselman Alison Matthews Tara Cheyenne Friedenberg Josh Reynolds Joanne P.B. Smith Ruth Bruhn Jennifer Stewart Kayla Dunbar Hannah Case, Alex Kirkpatrick

Costume Designer Scenic Designer Lighting Designer Sound Designer Head Voice & Text Coach Choreographer Fight Director Stage Manager Assistant Stage Manager Apprentice Stage Manager Directing Apprentice Costume Design Apprentices

Did you know that Bard’s plays run in repertory? Each actor appears in two of our plays – you can come back and see the same players in a very different story and setting.

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THE TWO GENTLEMEN OF VERONA relays his fate to Proteus, who promises to look after Silvia. Meanwhile, Julia arrives in Milan, disguised as a page named Sebastian.

The Story In Verona, best friends Valentine and Proteus exchange goodbyes. Valentine is off to visit the Duke’s court in Milan, while Proteus is staying behind to be near his love, Julia. However, across town, Julia admits she has mixed feelings about Proteus’ affections.

Valentine and Speed are enroute to Mantua when they are captured in the forest by outlaws. They are impressed by Valentine and make him their leader. Proteus continues scheming to win Silvia. He joins Turio in serenading her by night and then promises to speak to her on Turio’s behalf. When Silvia appears at her window, Proteus instead woos her for himself, but she rejects his advances. Hidden in the shadows, Julia observes everything.

At Proteus’ home, his parents Antonio and Pantina insist it’s time he expand his horizons and go to join Valentine in Milan. Julia visits and is shocked that Proteus is leaving. The two declare their love and exchange rings. Proteus departs, followed by his servant, Launce, and Launce’s dog, Crab.

Later, Silvia persuades a family friend, Sir Eglamour, to help her escape the palace and find Valentine. The next day, Proteus hires Sebastian (Julia) and has the page bring Silvia the ring that Julia had given to him. Silvia again spurns Proteus’ attentions. Silvia and Sir Eglamour sneak away that night. The Duke, Turio, Proteus and Sebastian (Julia) set out to find them. Silvia is ambushed by the outlaws and rescued by Proteus. When she scorns his love yet again, he forces himself on her. Valentine, watching from the bushes, intervenes. Proteus expresses remorse and, in forgiveness, Valentine yields his love for Silvia to his friend. Julia hears their conversation and faints. When Proteus recognizes the ring on Julia’s finger, the page’s true identity is revealed.

Masquerade: concept visual for The Two Gentlemen of Verona by Marshall McMahen

At the Duke’s palace in Milan, Valentine talks to Speed, his servant, about his love for Silvia, the Duke’s daughter. When he next sees her, Silvia publicly rejects his attentions but that night, she finds Valentine alone and reveals her true feelings for him.

The outlaws appear with their latest captives, the Duke and Turio, in tow. As everyone gathers, reconciliations and revelations about love and friendship clear the way for a new chapter in all of their lives.

Proteus reaches Milan and encounters Valentine and Silvia. In private, Valentine confides to Proteus that he and Silvia plan to elope, as her father wants her to marry Turio, a rich nobleman. Alone, Proteus confesses he also is smitten with Silvia. He has no idea that back in Verona, Julia has decided to follow him to Milan.

Did you know?

• The Two Gentlemen of Verona is one of Shakespeare’s earliest plays; in fact, there are some scholars who believe it was his first. • Although animal references abound in Shakespeare, the only animal we know for sure that was written to appear on stage is Crab the dog.

The next morning, Proteus resolves to pursue Silvia for himself and informs the Duke about Valentine’s plan to elope. The Duke intercepts Valentine on his way to Silvia’s room and, upon discovering a corded ladder intended for Silvia’s escape, banishes him. Valentine 33

THE TWO GENTLEMEN OF VERONA Director’s Notes Ever been in love? Ever done something risky because of it? Welcome to Two Gents. Shakespeare wrote this play when he was still in his 20s, and its vital energy, silly banter, and poetic style are reflective of a young man’s ways of thinking. It contains many seeds of brilliance that we see employed in later plays like Othello, Twelfth Night, and Romeo and Juliet, and a couple of quirks that provide challenges for a modern director. This play rarely gets a professional staging nowadays (which makes this an exciting prospect for Bard audiences!), yet it is popular with high school and college drama programs. Like most of his comedies, it centres on themes familiar to the young: friendship, fidelity and love. Perhaps it is fitting that young people gravitate toward it.

Costume Designer Mara Gottler and Director Scott Bellis

women are idealized objects of sexual desire, but in a crunch, perhaps not the recipients of their suitors’ highest affections. We see this idea crudely reflected today in the meme “Bros before hoes”. In this “romantic” Shakespearean paradigm, female lovers are often left silent. The trope that young women in Shakespeare end up either married (in comedy) or dead (in tragedy) leaves us with a question about the missing voices of young women in these plays, and in this production I have attempted to let them be heard. I hope they are loud enough.

We live in strange times. Technology increases our ability to connect, and yet love seems more elusive. We’re Masquerade masks from careful with our Two Gents feelings today and how we share them: less impulsive and more non-committal, more guarded and, maybe, less romantic. In this play, love is experienced fully and immediately by the young. There’s a beautiful reminder for us in that, and also a warning. Like the Romantic poets of early 19th century Europe (the springboard for our design process), these characters are expressing and acting on their emotional impulses, risking it all to ride those waves of feeling wherever they lead.

Amid all this, the adventures of the servants Launce and Speed, the canine charms of Crab the Dog, and a few other surprises shine some comic sunlight on the turbulent romantic waters of Proteus, Valentine, Julia, and Silvia. It’s a full plate: enjoy the feast! Scott Bellis

About Scott Bellis

Scott has been a member of the Bard Acting Company since 1990 and has appeared in over 40 productions spanning 22 seasons under the tents. As a Bard director he has staged Antony and Cleopatra (2010) and The Comedy of Errors (2015). He is the recipient of several Jessie Richardson Theatre Awards for his work as an actor, and enjoys working in theatres across the country. Scott also serves as Secretary/Treasurer for Canadian Actors’ Equity Association.

Although there are four lovers in the story, the Two Gentlemen largely take our focus, as they weigh the value of their romantic ambitions against the intimate bonds of their male friendship. For Proteus and Valentine, 35

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THE TWO GENTLEMEN OF VERONA Each character in our production represents one stereotype, further constrained by origin in one of three period “landscapes of emotion”: bucolic country, civilized city, or savage woods.

Behind the Scenes The Set Set Designer Marshall McMahen has blended the beauty and ornamentation of the Romantic period with minimalist design elements to underscore this production’s themes of love, friendship and loyalty. Verona is envisioned as a refined yet restrained place, governed by conservative values. Large stone towers, decorated with green wooden shutters, suggest traditional countryside dwellings, miles away from the excitement of the big city.

Colour, texture and silhouette establish these locales. Verona’s landed gentry wear comfortable, naturally-dyed, oldfashioned garments, useful for practical occupations. Milan’s aristocrats prefer dark, severe, restrictive fashion statements that conceal personality while highlighting class. The Mantua forest outlaws layer their filthy collective spoils, unrestrained by form or function.

In contrast, Milan is represented as a cosmopolitan centre where young people go to break free from rules and conformity. The towers now become the backdrop to the Duke’s palace, a dazzling but superficial world.

For a play about burgeoning sexuality and the twisted quest for identity, the codified costumes referencing the Romantic era help us understand the narrative journey of each character.”

The performance area has been placed at floor level to allow for fluid movement from all sides of the stage. Lighting, props and furnishings, such as traditional stone benches and chandeliers, help define time and location.

The Music For her first outing with Bard, Sound Designer Julie Casselman was intent on creating a soundscape that conveyed intense emotion “in the biggest way possible” and also paralleled the production’s Romantic/ contemporary sensibility.

The Costumes Bard Artistic Associate and founding member Mara Gottler shares some insights into her costume design: “Fashion, the Mirror of History humorously compares the Romantics of the early 1800s to “an international repertory company …[with] a vivid number of easily identifiable stock Romantic roles”: Visionary Poet, Wanderer, Historian, Revolutionary, Virtuoso, Bohemian, Preliminary Launce costume sketch Dandy, etc. by Mara Gottler 37

Rather than building her score around specific scenes or locations, she’s chosen instead to follow the characters’ feelings and desires, so that the music “supports the highs and lows of their passions.” Listen for character-specific themes and note how they change over time as new realities unfold. Casselman’s score weaves between the play’s two worlds, and combines original and sourced material. Her Verona is innocent, romantic and pastoral, and she’s mined the repertoire of great 19th century composers such as Brahms and Grieg to create a bright, expansive mood. For Milan, she introduces a darker, contemporary feel, mixing gritty modern rhythms and effects with ambient, classical and folk sounds.

September 6 to September 15 Directed by Sherry J. Yoon

Warren Kimmel (Jon Davies) Image: David Cooper & Emily Cooper

#Bard2017 H O W A R D FA M I LY S TA G E in the Douglas Campbell Theatre

JON DAVIES Warren Kimmel

Costume Designer Production Designer Lighting Designer Sound Designer Stage Manager Apprentice Stage Manager

Mara Gottler Jay Dodge Adrian Muir Carey Dodge Yvonne Yip Jenny Kim

The use of electronic devices, including cameras, during the performance is strictly prohibited.

The Story Meet Jon Davies, an actor and a Jew, condemned by his own community for his portrayal of the Jewish moneylender in Shakespeare’s The Merchant of Venice. When the production is cancelled, Davies uses his final post-show talkback to raise provocative questions about censorship in general and the political correctness of Merchant itself.

About Mark Leiren-Young Mark is a BC playwright, screenwriter, journalist, performer and author. Since making its debut in 1996 at Bard on the Beach, Shylock has been produced throughout North America and Europe. It is currently playing in Prague (translated and performed in Czech). His newest play, Bar Mitzvah Boy, premieres in March 2018 with Vancouver’s Pacific Theatre. His latest book, The Killer Whale Who Changed The World, is a national bestseller and led to Mark hosting the environmental podcast Skaana. www.leiren-young.com @leirenyoung

Shylock was first produced by Savage God at Vancouver’s Bard on the Beach Festival in 1996. It is published by Anvil Press. Shylock is staged by arrangement with Kensington Literary Representation, 34 St. Andrew Street, Toronto, ON, M5T 1K6, 416.848.9648, kensingtonlit@rogers.com. 38

SHYLOCK space within ourselves, to deeply question our seemingly immovable ideas.

Director’s Notes When I first read Shylock, I was curious about how it would address the difficult and uncomfortable questions about the portrayal of one of Shakespeare’s best known and problematic characters. In the spirit of informing us about Judaism, I wondered how Mark was going to finish the play without being didactic – or perhaps taking us beyond a sympathetic response.

I want to thank Warren for bringing Jon Davies to life. Our wonderfully talented artistic, management and running teams, who created and integrated concepts collaboratively to fully realize this vision. To Christopher Gaze and Claire Sakaki for asking me to live in and direct this world of questions, and to the amazing team at Bard. Your patience and support have been remarkable. And to Mark for your curiosity and tenacity; to reveal and delve into difficult questions… and also for making us laugh. And to our audiences, I hope you enjoy discussing the questions that this show brings up for us all. Sherry J. Yoon

Instead, I found myself left with so much more. The play’s arguments and the ideas it presents are framed in such a way that I’m often not sure where I will land. I’m surprised by my realizations; whether it be about the craft of acting or the classics as great art, or censorship and Mark Twain, the play digs into some challenging questions. And surprisingly, we are left with the gift of discovery. We leave thinking, with new ideas, questioning ourselves and our belief systems. Being open to those moments when we ourselves may have been at fault for just not listening… or instead being caught up in just being right. A really good play does just that, makes us reconsider ourselves and the people around us and leave us with questions.

About Sherry J. Yoon

Directing/co-creating over 35 productions, Sherry is best known for Boca del Lupo’s intergenerational site-specific productions in Stanley Park. During her tenure as Artistic Director, the company has received numerous awards and her productions have toured Canada, Europe and Mexico. She’s the curator of the Micro Performance Series and has recently launched 3.7%, an advocacy group for culturally diverse female artists. Upcoming she will be directing Gateway Theatre’s King of the Yees at the National Arts Centre.

Mark’s Shylock is undeniably relevant and resonant. He catapults us into critical thinking. We languish in the evocative language and emotional landscape of the classics, but most importantly he gets us laughing. It is within these emotional moments that we access the

The Bard Lab

Supported by Lawson Lundell LLP and The McLean Foundation

The Bard Lab was established in 2016 to support new works or adaptations of work relating to or inspired by Shakespeare’s plays. Shakespeare was ahead of his time - he broke the rules in terms of narrative, form and subject. The Bard Lab aims to provide a hub for BC artists to incubate new works that experiment with these very same elements, in ways that are innovative and relevant to our time. 2017 projects include a musical based on Romeo and Juliet set in the 1800s, told through the lens of Vancouver’s aboriginal population, and a new version of a classical Greek comedy. There will also be further development of a new musical that presents Shakespeare’s characters in a modern day setting, and an Afghani retelling of Romeo and Juliet. 39

B A R D : B E YO N D

Music OPERA & ARIAS: THE BARBER OF SEVILLE Mondays, August 28 & September 4 | 2pm & 7:30pm (both days) The Barber of Seville, Rossini’s masterpiece of the comic opera stage, is one of the world’s most popular operas. Performed by the UBC Opera Ensemble and accompanied by members of the Vancouver Opera Orchestra, UBC’s Nancy Hermiston directs this in-concert costumed staging, with conductor Leslie Dala leading the musicians.

Opera & Arias 2016

THE VSO PRESENTS: CLASSICAL MASTERS Monday, July 10 | 7:30pm Beautiful music from the Classical era, featuring works by the two great masters, Mozart and Beethoven – including Mozart’s sublime Clarinet Concerto (Jeanette Jonquil, soloist). Conductor: William Rowson. Host: Christopher Gaze. CHOR LEONI: MANELY/FUN Mondays, June 19 & 26 | 2pm & 7:30pm (both days) Vancouver’s award-winning men’s choir guarantees surprises, costumes, choreography and a fun time at the theatre!

Accessible Performances VOCALEYE July 15 & 23 | 2pm VocalEye described performances in the Mainstage Tent offer live, real-time descriptions of visual elements onstage, for patrons with vision loss.

Members of the 2016 Mainstage Company

Talks and Activities TALKBACK TUESDAYS See 2017 Season Schedule for dates Dive deeper into the play you’ve just enjoyed. Stay for a question and answer Media Sponsor session with the cast members after select Tuesday evening performances. EXPLORING SHAKESPEARE TALKS June 24, July 8 & 15, August 12 | 11am Enjoy a lively exploration of Shakespeare’s inspirations and influences. SFU’s Paul Budra goes beyond the story to give you a fuller understanding and appreciation of the four Shakespeare plays. NEW

FORUM: The Merchant of Venice - full details online Monday, July 10 | 7:30pm 40

NEW

RELAXED PERFORMANCE Much Ado About Nothing Sunday, September 10 | 2pm This performance has a relaxed attitude to noise and movement within the auditorium, with some minor production changes for patrons who may benefit from a more relaxed environment. Media Sponsor, Accessible Performances Both tents are accessible by wheelchair. For special access seating or to book an accessible performance, call the Box Office at 604.739.0559 for more information. Limited hearing-assisted devices available; see Audience Services for more details.

T H E P L AY S

BARD-B-Q & FIREWORKS Photo: Jason Keel

Bard-B-Q & Fireworks Image Design: Jason Keel

Fireworks

BARD-B-Q & FIREWORKS Saturday, July 29 • Wednesday, August 2 • Saturday, August 5 Dinner & Play 5pm | Tickets from $96 Much Ado About Nothing or The Two Gentlemen of Verona Media Sponsor Presented by Full salmon barbecue and delicious desserts by Emelle’s Catering PIXSTAR Photobooth Dowco Triumph Street Pipe Band Private view of the spectacular Celebration of Lights fireworks

Fact: Bard is Green! Bard recycled and composted over half of its waste last season with the help of our Recycling & Organics Sponsor, Recycling Alternative. That’s 18,450 pounds of materials diverted from landfill.

Family Night 2016 2016

Theme Nights

Rainwater runoff is collected from the Mainstage Tent in green rain barrels to water our plants and clean up around the Village.

FAMILY NIGHTS July 11, August 8 & 22 | 6pm Face painting PIXSTAR Photobooth Emelle’s food truck Exclusive pre-show talk designed just for kids Ages 6+

Emelle’s picnic containers and utensils are certified compostable.

Presented by

WINE WEDNESDAYS July 19, August 9 & 23, September 6 | 6pm Intimate pre-show wine tasting Learn tasting etiquette from wine makers and industry experts Age 19+ event

Bike to Bard, park in our fully secure bike parking area and get a free tea or coffee! Mobi bike station also located south of the Festival site.

Tickets and event details at

bardonthebeach.org | 604-739-0559 41

Romeo and Juliet

The Gruffalo

The Lion, the Witch and the Wardrobe

Spirit Horse

The Velveteen Rabbit

We Three

by the Teen Shakespeare Program July 28-August 12, 2017

adapted by Joseph Robinette from the novel by C.S. Lewis November 22-December 31, 2017

by Kevin Del Aguila based on the book by Margery Williams March 2-25, 2018

a Tall Stories presentation April 4-15, 2018

a Roseneath Theatre presentation April 18-29, 2018

on the Bee Stage June 5-17, 2018

Subscriptions on sale May 24 www.carouseltheatre.ca Âˇ 604.685.6217

Enhance your Bard experience and become a Member today!

"We are such stuff as dreams are made on…” The Tempest, Act IV, Scene i

For more information visit bardonthebeach.org/membership, call 604-737-0625, or email development@bardonthebeach.org

Artistic Director Christopher Gaze Photo Megan Verhey

JOIN US AND BECOME A BARD MEMBER

BARD MEMBERSHIP BECOME A PART OF THE BARD FAMILY Bard on the Beach is a non-profit company and a registered charity. Revenue from ticket sales alone cannot sustain our production costs and numerous Education and outreach programs. We rely on the support of our Members and Sponsors to keep Bard thriving on our stages and in our community. Become a Bard Member and enjoy special perks and benefits that bring you closer to the festival you love. Our Members enjoy exclusive benefits including advance tickets sales, Backstage Tours, Dress Rehearsals,

BARD LEGACY CIRCLE Bard on the Beach has been incredibly lucky to build a community of supporters who share our vision of a vibrant festival that performs, explores and celebrates the genius of William Shakespeare. We invite you to join the Bard Legacy Circle by making a planned gift to Bard on the Beach and ensure its success well into the future. For more information, please contact Amy Benson, Senior Development Manager, at (604) 737-0625, abenson@ bardonthebeach.org or bardonthebeach. org/support-us/legacy

special receptions with the Company and more! For more information, visit bardonthebeach.org/membership, call (604) 737-0625 or email development@bardonthebeach.org.

BARD MEMBERSHIP Support from our Members helps Bard on the Beach grow and thrive. Because of this support, we celebrated these incredible achievements in 2016.

BARD BY THE NUMBERS 256 ARTISTS, DIRECTORS, DESIGNERS, TECHNICIANS AND ADMINISTRATORS WERE EMPLOYED AT BARD

OVER 100,000 PEOPLE ATTENDED A BARD PERFORMANCE, MAKING BARD THE LARGEST SHAKESPEARE FESTIVAL IN WESTERN CANADA

BARD WAS RESPONSIBLE FOR $3.9 MILLION IN LOCAL WAGES

74% OF BUDGET CAME FROM BOX OFFICE AND RELATED REVENUE

BARD EDUCATION PROGRAMS

OVER 250 VOLUNTEERS DONATED MORE THAN 20,000 HOURS OF TIME

•

13,986 YOUNG PEOPLE SAW A BARD PRODUCTION WITH A FREE OR DISCOUNTED TICKET

• • •

321 YOUNG PEOPLE PARTICIPATED IN YOUNG SHAKESPEAREANS WORKSHOPS 170 WORKSHOPS WERE TAUGHT TO 2450 STUDENTS THROUGH BARD IN THE CLASSROOM 101 HOURS OF PROGRAMS WITH HUNDREDS OF PARTICIPANTS WERE CONDUCTED THROUGH BARD IN YOUR NEIGHBOURHOOD 6249 STUDENTS FROM 111 SCHOOLS ATTENDED OUR STUDENT MATINEES

THE RENAISSANCE CIRCLE: Applauding Our Artists Every artist enriches the health of our communities. We thank our Renaissance Circle Members as they recognize and applaud the work of our company of artists. Doug & Margaret Hatlelid • Andrew Cownden Paul & Darlene Howard • Dean Paul Gibson, Pam Johnson Reet Kana • John Murphy Jacqueline Kelly & Rowland McLeod • Andrew Wheeler Tony & Margie Knox • Scott Bellis Deborah Pound • Stephen Courtenay Brian Tufeld • Adele Noronha Ronna & Geoffrey Webb • Kate Besworth Yosef Wosk • Warren Kimmel

Larry Beasley & William Logan • Sereana Malani Suzanne Bolton & Jefferson Mooney • Jennifer Lines/Lois Anderson Jim & Mary Clare Bovard • Ben Elliott Grant Burnyeat • Mara Gottler Douglas & Alice Clarke • Parmiss Sehat Count & Countess Enrico Dobrzensky • Kaitlin Williams Virginia Evans • Luisa Jojic Ken & Livia Galbraith • Kevin MacDonald Mervyn Gilbart-Smith • Amber Lewis

Armstrong Family Foundation • Val & Dick Bradshaw • Marie Genest • Linda Gibbs • David Hardwick & Virginia Baldwin • Sencorp Capital Ltd. • Lesley Laudan • David & Joanne McDonald • Warren & Diana Mitchell • Penny & Peter Pearse • Pamela & David Richardson • Julie & Gavin Ryan • Don & Jane Shumka • The R & J Stern Family Foundation • John & Judy Taylor • Ross & Louise Waters • Anonymous (2) 45

Young Shakespeareans Workshop. Image by Joe Biegel.

BMO® is pleased to help young people explore the world of Shakespeare through the Bard in the Classroom workshops and the Young Shakespeareans program.

Engaging youth in our communities.

Helping kids take centre stage. At TELUS, we believe all kids deserve the opportunity to develop their creativity through the arts. We are delighted to support Bard on the Beach Shakespeare Festival, helping kids explore and celebrate their interest in the performing arts. Together, we give where we live®.

Learn more at telus.com/community

Photos: Phil Knight

BARD FOR LIFE Get up on your feet and play Shakespeare in this lively program for adults — no experience necessary! Wednesday Evenings

• Fall & Winter REGISTRATION NOW OPEN!

YOUNG SHAKESPEAREANS Have fun, build confidence and make new friends while jumping into playing Shakespeare. Shakespeare workshops for children and teens Fall • Winter • Spring Programming at the BMO Theatre Centre, 162 W. 1st Avenue Full information • Registration • Bursary details bardonthebeach.org/education • 604-737-0625 x275 Bard Education programs supported by

Their Someday is the freedom to pursue their passion. The hard work, perseverance and vision of emerging artists demonstrate the power of having – and the joy of realizing – a Someday™. Together with programs like Bard on the Beach’s Apprentice Directors Program, we support a diverse range of Canadian talent in communities across the country through the RBC Emerging Artists Project.

Let’s make Someday happen.

® / ™ Trademark(s) of Royal Bank of Canada.

VPS98416

39788 (03/2016)

B A R D E D U C AT I O N Inspiring Our Community Through Shakespeare We celebrate the diversity of our region by inviting students of all ages, cultural backgrounds, gender expressions, neighbourhoods, abilities and personalities to play and experience Shakespeare with us. We believe in the power of Shakespeare’s language and stories to support individual identity while nurturing compassion and collaboration. We practice this philosophy through our Bard Education programs:

Young Shakespeareans Photo: Joe Biegel

Bard in Your Neighbourhood partners with community organizations to bring no-cost workshops and residencies to the youth they serve. For Theatre Professionals Riotous Youth offers paid, post-secondary internships, developing leadership through Shakespeare performance. Bard Studio provides free, drop-in classes for professional theatre artists. Professional Development supports the ongoing training of our actors and teaching artists. Apprenticeships and Early Career Opportunities provide emerging professionals essential training and experiences within our Festival.

For Schools Bard in the Classroom brings theatre professionals into schools to lead interactive workshops. Bard Unbound offers professional development to classroom teachers. Student Group Bookings provide deeply discounted tickets to Festival performances for thousands of students and their teachers. For the Community Young Shakespeareans are children and teens who play Shakespeare with guidance from theatre professionals. Bard for Life lets adults play Shakespeare in a recreational context.

We’re able to keep any fees charged reasonable and affordable thanks to the support and generosity of our funders:

Riotous Youth

Distance Learning Initiative

Student Matinee Series

Apprentice Directors

Bard in Your Neighbourhood

Additional support from R.J. Nelson Family Foundation – Teaching Artist Training, SFU – Bard Explored, Anako Foundation, and The Hamber Foundation – Bard in the Classroom

The Bard Education Bursary Fund We’re delighted to have the Bard Education Bursary Fund to help individuals, families, schools and organizations overcome financial barriers to participation in our programs. Established by the Bard Volunteers in 2009, the fund raises and distributes more than $20,000 each year. 49

25 60 100 700+ 140

ADVANCED PLACEMENT (AP) COURSES

CLUBS OFFERED

ATHLETIC OPTIONS

UNIVERSITY OFFERS PER YEAR

UNIVERSITIES

WE ARE

CANADA’S WORLD SCHOOL FOR BOYS. SCHOLARSHIPS AND FINANCIAL ASSISTANCE AVAILABLE.

www.stgeorges.bc.ca

VANCOUVER, CANADA

DAY GRADES 1 - 12 BOARDING GRADES 8 - 12

To give, that is the answer.

Lawson Lundell is proud to sponsor Bard on the Beach’s Bard Lab initiative, supporting the development of innovative new works by our community’s brightest artists.

#1 Regional Law Firm in Canada - Chambers Canada (2015) #1 Law Firm in BC, Alberta and the North - Canadian Lawyer magazine

C O M PA N Y B I O G R A P H I E S The Company David M. Adams Much Ado About Nothing: Antonio/Seacoal The Winter’s Tale: Shepherd David last appeared with Bard in 1994, and is very happy to return! Recent favourite roles: Prospero, The Tempest and Shylock, The Merchant of Venice (St. Lawrence Shakespeare Festival); Tevye, Fiddler on the Roof (Gateway Theatre); The Editor, Tear the Curtain (Stanley Theatre/Can Stage); Leonato, Much Ado About Nothing (Tarragon Theatre); Birbal, Brothel #9 (Touchstone Theatre); Bryan, Elbow Room Café: The Musical (The Cultch); and Abraam/Playwright, Valley Song (Pacific Theatre). Carmen Alatorre The Winter’s Tale: Costume Designer Originally from Mexico City, Carmen earned her MFA degree in Theatre Design at UBC and has worked as a theatre designer in Vancouver since 2006. Some of her recent design credits include Pericles (Bard on the Beach); The Music Man (Gateway Theatre); Bittergirl (Arts Club Theatre); and Stickboy (Vancouver Opera). Carmen is the recipient of a Jessie Award for Outstanding Costume Design for Crazy for You (Gateway Theatre, 2014). www.carmenalatorre.com Lois Anderson Much Ado About Nothing: Ursula/Sexton • The Winter’s Tale: Paulina Bard roles include Viola, Twelfth Night; Kate, The Taming of the Shrew; Helena, All’s Well that Ends Well; Rosalind, As You Like It; and Mistress Overdone, Measure For Measure. She is a UBC graduate and has directed for Bard (Pericles), Arts Club Theatre, Rough House Productions, Leaky Heaven, SFU and UBC. She was a co-creator of Cirque Poule and Flying Blind. Lois has received seven Jessie Awards, a Betty Mitchell Award, and the Sydney Risk Emerging Director Award. Nicole Anthony Much Ado About Nothing: Directing Apprentice Nicole has directed a variety of stage and musical theatre productions including I Hate Hamlet, The Drowsy Chaperone, Beyond Therapy and Apophis, an original Canadian play which debuted at the 2014 Vancouver Fringe Festival. For five years she has also taught scene study, voice and movement, and acting on camera. This is Nicole’s first year with the renowned Bard on the Beach and she is excited to contribute to an engaging and delightful season. Toby Berner Much Ado About Nothing: Directing Apprentice Toby is extremely grateful to Bard for this opportunity. Recently Toby directed his first ever play, The Amazing Trevor by Courtenay J. Stevens at the Toronto Festival of Clowns. As an actor, Toby has appeared in many plays around Canada including the hit one-man show The Santaland Diaries and the Canadian premiere of The Dishwashers by Morris Panych, both at the Arts Club Theatre. Toby is a graduate of Studio 58. Kate Besworth The Merchant of Venice: Solania/Beatrice The Two Gentlemen of Verona: Julia Hello everyone! During the past 28 years, I’ve played a Childlike Empress (YPT/Roseneath), a teenaged genius (Shaw Festival/Mirvish), the alive and deceased Emily Webb (Shaw Festival), and Macduff (Utah Shakespearean Festival), just to name my favourites. I heartily anticipate adding a gossipy stockbroker (The Merchant of Venice) and a daring damsel in drag (The Two Gentlemen of Verona) to my list after Bard this year. Thank you for coming to see theatre! Wendy Bollard The Merchant of Venice: Directing Apprentice Wendy is a director, producer, jazz vocalist and actor. In 2015 she travelled to London to obtain her Masters in Directing. While there she was chosen to assist on two plays at RADA and to work with Improbable, the world-renowned theatre company. Wendy will spend the summer of 2017 as an apprentice director at Bard on the Beach and direct a newly commissioned play for her theatre company Peninsula Productions to celebrate Canada’s 150th birthday.

20TH ANNIVERSARY SEASON

2017 1 18 CHAN CENTRE PRESENTS SERIES The Blind Boys of Alabama with Ben Heppner I SEP 23 The Gloaming I OCT 15 Zakir Hussain and Dave Holland: Crosscurrents I OCT 28 Ruthie Foster, Jimmie Dale Gilmore and Carrie Rodriguez I NOV 8 The Jazz Epistles: Abdullah Ibrahim and Hugh Masekela I FEB 18 Lila Downs I MAR 10 Daymé Arocena and Roberto Fonseca I APR 15 Circa: Opus I APR 28 BEYOND WORDS SERIES Kate Evans: Threads I SEP 29 Tanya Tagaq and Laakkuluk Williamson Bathory I MAR 16+17 SUBSCRIPTIONS ON SALE MAY 2 DAYMÉ AROCENA THE BLIND BOYS OF ALABAMA

HUGH MASEKELA

TANYA TAGAQ

chancentre.com

C O M PA N Y B I O G R A P H I E S Ruth Bruhn The Merchant of Venice & The Two Gentlemen of Verona: Assistant Stage Manager Ruth is a Vancouver-based Stage Manager and graduate of Studio 58. She has worked for companies across Vancouver including Theatre Replacement, Green Thumb Theatre, Neworld, Full Circle: First Nations, Carousel Theatre for Young People, and Gateway Theatre. Ruth was also awarded the 2016 Mayors Arts Award for Emerging Theatre Artist by Jan Hodgson. Ruth would like to thank Joanne, Jenn and Zac for their ongoing kindness and support. Ian Butcher Much Ado About Nothing: Don Pedro • The Winter’s Tale: Polixenes A graduate of Studio 58, Ian has worked extensively throughout Europe and Canada. This year will be his ninth Bard season. Select Bard roles: Oberon, Macduff, and Angelo. Other selected theatre: Dracula (Chemainus); The Sound of Music (Gateway); Robin Hood (Carousel); and Coriolanus (Coriolanus Co-Op). Film/TV: Supergirl, Impastor, Motive, Arctic Air, Robocop, Almost Human, Once Upon A Time, The Killing Game, Supernatural, Stargate Universe, and Stargate SG-1. Thanks to the family and Kay. Julie Casselman The Two Gentlemen of Verona: Sound Designer Julie is an actor, sound designer and Jessie Award–nominated composer based in Vancouver. Recent sound and composition credits include Outside Mullingar (Pacific Theatre); Tender Napalm (Twenty Something Theatre); Kolejka (rEvolver Festival/star star theatre); and Three Stories Up (Alley Theatre). Selected acting credits include Pride and Prejudice (Chemainus Theatre); Eurydice (Plan Z Theatre); Don Giovanni (Vancouver Opera); Wit and The Great Divorce (Pacific Theatre). Julie holds a BFA in acting from Trinity Western University. Tara Cheyenne Friedenberg Much Ado About Nothing & The Two Gentlemen of Verona: Choreographer Award-winning creator, performer, choreographer, director, and writer. Renowned as a trailblazer in interdisciplinary performance and as a mighty performer “who defies categorization on any level.” With a string of celebrated shows to her credit (bANGER, Goggles, Porno Death Cult, Highgate, How to Be) multidisciplinary collaborations, commissions and boundary bending ensemble creations, Tara’s work is renowned nationally and internationally. Tara lives in East Vancouver with her husband, composer Marc Stewart, and their son Jasper. Chris Cochrane Much Ado About Nothing: Messenger/Verges/Friar Francis/Gravekeeper The Winter’s Tale: Young Shepherd Theatre: Avenue Q, Peter and the Starcatcher, The Waiting Room, and She Stoops to Conquer (Arts Club); The Competition is Fierce (ITSAZOO), Urinetown (Firehall), Little Brother, Little Sister (Caravan Farm), Measure for Measure and Elizabeth Rex (Bard). Film/TV: My Better Half, A Bride For Christmas and Time after Time (Hallmark); The Haunting Hour (The Hub); Supernatural (CW); Fringe (WB/FOX). Chris has been nominated for two Jessie Awards. He is a graduate of The Stella Adler Studio (NYC) and Studio 58. Stephen Courtenay Much Ado About Nothing & The Winter’s Tale: Production Stage Manager As he approaches 25 years and 50 productions with Bard, Stephen looks forward to assisting the two BMO Mainstage directors, as they integrate their quite different worlds amid the ethereal setting in Vanier Park. Stephen’s previous work includes projects with the Vancouver Playhouse, Theatre Calgary, Studio58/Green Thumb, Touchstone Theatre, the Electric Company and Vancouver Opera, amongst others. Future SM work includes a remount of Leslie Mildiner’s adaptation of George Orwell’s Coming Up For Air. Andrew Cownden The Merchant of Venice: Lancelet The Two Gentlemen of Verona: Launce This is Andrew’s third season with Bard on the Beach. Recent credits include Roderigo, Othello and Costard, Love’s Labour’s Lost (Bard on the Beach); Alfie, One Man, Two Guvnors and Patsy, Spamalot (Arts Club); Charlie Brown, A Charlie Brown Christmas and Centipede, James and the Giant Peach (Carousel Theatre). He is a graduate of the Canadian College of Performing Arts. @AndrewCownden 53

C O M PA N Y B I O G R A P H I E S Carey Dodge Shylock: Sound Designer Carey is a multidisciplinary artist whose work involves sonic arts, interactivity, installations, sound design, projection design, site-specific work and performance. He specializes in developing novel sound and projection systems for live performance and installation work. Carey has a keen interest in creating new and exciting immersive experiences. He has been Boca del Lupo’s Technology Director for over five years and continues to work there. He started teaching sound design at UBC this year. Jay Dodge Shylock: Production Designer The Artistic Producer of Boca del Lupo, Jay is a recipient of several Jessie Awards including the Critic’s Choice Award for Innovation, Outstanding Design and Outstanding Production. His designs draw equally from the latest technology and the whimsy of classical theatre magic. With an interest in balancing compelling content with dynamic forms, Jay has been central to the creation and design of over 40 original works and has toured nationally and internationally. Malcolm Dow The Winter’s Tale: Composer/Sound Designer Malcolm is an award-winning composer and sound designer, as well as a touring musician, producer, and singer-songwriter. The two-time Jessie Award–winner has produced two original scores for Bard: Comedy of Errors (2015) and Pericles (2016). Select theatre credits: Scar Tissue and The Graduate (Arts Club); Selfie and Deux Ans (Seizième); Angels in America (Studio 58); Of Mice and Men (Hardline); Equivocation (Persephone); After Jerusalem and Play With Monsters (Solo Collective); and Taking Off (Belfry). Kayla Dunbar The Two Gentlemen of Verona: Directing Apprentice Kayla is an actor, choreographer, emerging director, and the Artistic Associate at Carousel Theatre for Young People. Last year Kayla made her professional directing debut with The Jungle Book at CTYP. Other companies she has worked for include Arts Club, Chemainus Theatre Festival, Vancouver Playhouse, City Opera, Zee Zee Theatre, Famous Artists Limited, Gateway Theatre, Studio 58, RCMT, TUTS, Delinquent Theatre, Patrick Street Productions, and many more. Kayla is an acting graduate of Studio 58. Austin Eckert Much Ado About Nothing: Page/Hugh Oatcake • The Winter’s Tale: Florizel Austin is thrilled to be making his Bard debut with this wicked group. Recent credits include Mamma Mia! (WCT); Miss Understood (the frank); HAIR (Mayfield); and Spring Awakening (Belfry/CCPA). Film/TV credits: Supernatural, Untold Stories of the E.R., Generation Y (Short), The Magicians and The Flash. Austin is a graduate of the Canadian College of Performing Arts. Ben Elliott Much Ado About Nothing: Borachio/Musician • The Winter’s Tale: Autolycus Ben returns for his seventh season at Bard on the Beach. Favourite Bard credits: Benvolio, Romeo and Juliet; the Bear, Elizabeth Rex and the composer for Cymbeline. Ben is a multiJessie Award nominee and won for his Musical Direction for The Merry Wives of Windsor. Ben is a recipient of the Edmund Kean Sword Award and this year named Bard’s Music Advisor. Ben is a graduate of Studio 58. Drew Facey The Merchant of Venice: Costume Designer Drew has been designing sets and costumes for opera and theatre over the past 10 years. Recent highlights include Me & My Girl (Shaw Festival); The Marriage of Figaro (Vancouver Opera); Bonjour, la, Bonjour (Théâtre la Seizième); The Comedy of Errors (Western Canada); Onegin (Arts Club); Das Ding (Can Stage); and The Merry Wives of Windsor (Bard). Drew is the recipient of 13 Jessie Awards for Outstanding Design and 28 nominations. He is a graduate of Studio 58. www.drewfacey.com Volunteer at Bard! Volunteers play a vital role in the Bard experience all year round. We offer opportunities both at the Festival and in our administrative oﬃces. For more information, visit bardonthebeach.org/be-a-volunteer. 55

2017/18 Season

Program 1 Nov 2 3 4 Choreography Cayetano Soto – New Work Johan Inger – B.R.I.S.A.

Program 2 Feb 22 23 24 Choreography Medhi Walerski – Romeo and Juliet

Program 3 May 10 11 12 Choreography Cayetano Soto – BEGINNING AFTER Emily Molnar – New Work Sharon Eyal & Gai Behar – Bill

Support for Ballet BC haS ha Been generouSly provided By

dancer KIrsten WIcKlund. W photo mIchael slobodIan.

C O M PA N Y B I O G R A P H I E S Corwin Ferguson Much Ado About Nothing: Projection Designer Corwin works across Canada primarily as a video and projection designer and holds multiple award nominations for his designs. He has studied animation, is a co-founder/ Artistic Associate of Awkward Stage Productions, a storyteller with Forbidden Vancouver Historic Walking Tours and an urban game designer/operator with Vancouver Mysteries. Corwin is a Studio 58 acting graduate and holds a Bachelor’s degree in Performing Arts from Capilano University. For all things Corwin visit www.corwinferguson.com. Edward Foy The Merchant of Venice: Antonio The Two Gentlemen of Verona: Duke of Milan Edward is proud and excited to be joining the Company for the 2017 season. Film & TV credits include Zoo; Once Upon a Time; Supernatural; The Killing; and Super Monsters. Stage credits include The Country Wife (ETC); The Kursk (Matrix); and Beauty and the Beast (Empire). He has trained and performed on stage and screen internationally and is a graduate of the University of Southern Queensland. Thanks to family, friends and Railtown. Julien Galipeau Much Ado About Nothing: Claudio • The Winter’s Tale: Cleomenes After playing Young Lucious in the 2008 Bard production of Titus Andronicus, Julien finished high school and went on to further his acting training at Studio 58, graduating this year. Previous credits include Billy Lawlor, 42nd Street and Prior Walter, Angels in America (Studio 58); and Claude, Hair (Renegade Productions). Julien thanks his family and instructors for all their guidance and support, as well as his grad class. He wouldn’t have made it here without them. Charlie Gallant The Merchant of Venice: Bassanio • The Two Gentlemen of Verona: Proteus Delighted to talk about himself in the third person, Charlie is thrilled to return for his fifth season at Bard. Most recently seen in Toronto’s new, award-winning Shakespeare company, Groundling Theatre, Charlie also starred at the Shaw Festival for four seasons and has performed across Canada at The Winter Garden, RMTC, Citadel, Vancouver Playhouse, Arts Club, and Belfry. Charlie moonlights as a musician, dancer, writer, director, filmmaker, and has several Film/TV credits. He is a graduate of Studio 58. Wendy Gorling The Winter’s Tale: Physical Theatre Choreographer Wendy is an actor, director and choreographer with six Jessie Awards. Her work was seen last year in Pericles. She has choreographed/coached pieces such as Moby Dick and Trojan Women (Stratford Festival); Macbeth (Pacific Opera/Opera Quebec); Sweeny Todd (Vancouver Opera); The Waiting Room (Arts Club); and Kosmic Mambo (Studio 58). She cocreated The Overcoat with Morris Panych. Wendy is an inductee in the British Columbia’s Entertainment Hall of Fame and teaches at Studio 58. Mara Gottler The Two Gentlemen of Verona & Shylock: Costume Designer Mara has been the resident costume designer for Bard on the Beach throughout its 28 summer seasons. National design credits include The Last Wife (Regina Globe); The King of the Yees (Gateway, NAC); and Baskerville (Arts Club). International work with Robert Lepage includes Le Rossignol and La Tempete. She is currently workshopping Coriolanus, a co-production of the Stratford Festival and Ex Machina. Mara, a recipient of several theatre awards, has been showcased in World Stage Design catalogue exhibitions. Olivia Hutt The Merchant of Venice: Portia • The Two Gentlemen of Verona: Hostess This is Olivia’s first season at Bard and she is thrilled to be joining the company. Credits: Jill, Elbow Room Café: The Musical (Zee Zee Theatre/The Cultch) and Nina, Still/Falling, a Jessie Award–winning play on its third North American tour (Green Thumb Theatre/Young People’s Theatre). Awards and nominations: Jessie Award nominee for Outstanding Performance in TYA for Nina, Still/Falling; Antony Holland Scholarship recipient (Studio 58); and nominee for The Hnatyshyn Foundation’s Beginners Artist Grant. Training: Studio 58.

Chor Leoni menâ&#x20AC;&#x2122;s Choir Erick Lichte

ArTiSTic DirecTor

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C O M PA N Y B I O G R A P H I E S Pam Johnson Much Ado About Nothing & The Winter’s Tale: Scenery Designer Pam started with Bard in 1998 and was instrumental in designing the Bard Village and entranceway. Bard credits include Romeo and Juliet, The Merry Wives of Windsor, The Comedy of Errors, King Lear, Cymbeline, Hamlet, Twelfth Night, King John, Richard II, Titus, Henry V, The Taming of the Shrew, A Midsummer Night’s Dream, Macbeth, Measure for Measure, and Richard III. Pam has received several Jessie Awards, as well as a Career Achievement Award. Luisa Jojic The Merchant of Venice: Nerissa • The Two Gentlemen of Verona: Pantina This is Luisa’s seventh season with Bard. Favourite roles: Emilia, Othello; Marina, Pericles; Dromio of Syracuse, The Comedy of Errors; Rosaline, Love’s Labour’s Lost; Trincula, The Tempest; and Celia, As You Like It. Luisa is a Senior Bard Teaching Artist, and is Program Director of the True Voice Theatre Project, a community theatre program in the DTES, for which she was nominated for a 2016 YWCA Metro Vancouver Women of Distinction Award in Arts, Culture and Design. Jenny Kim Shylock: Apprentice Stage Manager Thanks to Sherry, Yvonne, and Jonathan for giving her an opportunity to join the journey of Shylock. It is an honour and pleasure to be able to work with the Company and the talented individuals on this production. Last but not the least, thanks to her family and friends for their love and support. Jenny is a graduate of the BFA Theatre Production & Design program at UBC. Warren Kimmel The Merchant of Venice: Shylock • Shylock: Jon Davies Warren was born in South Africa and trained at the RADA in London. He has performed extensively in the UK, Europe, and South Africa. Warren has performed locally as Tevye, Fiddler on the Roof; Dad, Billy Elliot; Javert, Les Misérables; Henry Higgins, My Fair Lady; Mr. Banks, Mary Poppins; Dan, Next to Normal; and as Mitch, Tuesdays with Morrie. Warren is thrilled to be making his debut with Bard. More about Warren than anyone requires is at warrenkimmel.com. Gerald King Much Ado About Nothing & The Winter’s Tale: Lighting Designer Lighting designer at Bard for sixteen seasons, Gerald’s recent credits include The Cure For Death By Lightning, The 39 Steps, and Les Miserables (Western Canada Theatre); King Lear, Liberation Days, and Much Ado About Nothing (Theatre Calgary); Otello, Dead Man Walking, Evita, Die Fledermaus, and Tosca (Vancouver Opera); Madama Butterfly (Opera Omaha); Million Dollar Quartet, Educating Rita, Spamalot, and Xanadu (Arts Club); The Book of Love, Life, and A Simple Way (Kokoro Dance); and Faerie Queen (Royal Winnipeg Ballet). Amber Lewis Much Ado About Nothing: Beatrice • The Winter’s Tale: Emilia/Dion/Dorcus Amber returns for her sixth season at Bard. Highlights include Mistress Ford, The Merry Wives of Windsor; Constance, King John; Katherine, Henry V and Lady Percy, Falstaff. Selected stage: Baskerville and Don’t Dress for Dinner (Mayfield); Burning Bluebeard (Edmonton Actors Theatre); Gideon’s Knot (SkirtsaFire); The End of Civilization and Adult Entertainment (Punctuate! Theatre); The Importance of Being Earnest and The Philanderer (Arts Club); and Saint Joan (Chemainus). Amber was born and raised in Barbados and is a graduate of George Brown Theatre School. Jennifer Lines Much Ado About Nothing: Ursula/Sexton • The Winter’s Tale: Paulina This is Jennifer’s sixteenth season with Bard. Favourite past credits: Romeo and Juliet, The Tempest, Twelfth Night, Much Ado About Nothing, Titus Andronicus. Other select credits: It’s a Wonderful Life, High Society, The Real Thing (Arts Club); Anatol, A Little Night Music, Hello Dolly (Playhouse); King Lear, The Great Gatsby, Beyond Eden (Theatre Calgary), Après Moi (Ruby Slippers). The two-time Jessie Award–winner received her BFA in Acting from UVIC. Upcoming: Jill Daum’s new play Forget about Tomorrow (Belfry/Arts Club).

C O M PA N Y B I O G R A P H I E S Kevin MacDonald Much Ado About Nothing: Benedick • The Winter’s Tale: Leontes Kevin recently returned to Vancouver after eight years in Toronto. Some recent credits include Ladvenu, Saint Joan (Arts Club); Prince Myshkin, The Idiot (Neworld/PuSh); Petruchio, The Taming of the Shrew; Banquo, MacBeth; and Denis, The Flood Thereafter (CanStage in Toronto). Kevin was a member of the Canadian Film Centre’s Actors Conservatory and the inaugural Soulpepper Academy. He has performed at theatres across the country and is a graduate of Studio 58. www.kevinmacdonald.ca Sereana Malani Much Ado About Nothing: Conrade • The Winter’s Tale: Hermione Born in the Fiji Islands, Sereana now calls Vancouver home. This is her fifth season at Bard. Bard credits: Measure for Measure, A Midsummer Night’s Dream, The Tempest, Comedy of Errors, Othello and Pericles. Other theatre: You Will Remember Me (Ruby Slippers); Clybourne Park (Citadel); Good People (Arts Club); Valley Song (Gateway); Go, Dog. Go! (Carousel); Whisper (Catalyst); Ride (Northern Light); and The Ghost Sonata (Studio Theatre). She is a graduate of the BFA Acting program at the University of Alberta. Alison Matthews Head Voice & Text Coach Alison has been the Voice & Text Coach at Bard since 2009. She teaches at the Citadel Banff Professional Theatre Program and the Arts Club Actor’s Intensive, and adjudicates competitive speech festivals across Western Canada. A professional actor for over 20 years, Alison works in radio, television, and film. Alison holds a MFA (specializing in Voice) from the University of British Columbia, and an Associate Diploma in Drama & Speech from Trinity College London. www.alisonmatthews.com Marshall McMahen The Merchant of Venice & The Two Gentlemen of Verona: Scenic Designer Marshall is returning for his second season with Bard, after designing Love’s Labour’s Lost and Shakespeare’s Rebel in 2015. His sets have also been seen at Urban Ink, Arts Club, Electric Company, Pacific Opera Victoria, Theatre Replacement, Gateway, Western Canada, Carousel, Green Thumb, and Caravan Farm Theatre. He is the recipient of a 2014 Vancouver Mayor’s Arts Award, a Jessie Award, and three Ovation Awards. He is a graduate of UBC, and a member of the Associated Designers of Canada. Paul Moniz de Sá The Merchant of Venice: Balthazar/Prince of Aragon/Tubal The Two Gentlemen of Verona: Antonio/Eglamour Bard credits include A Midsummer Night’s Dream, Measure for Measure, Macbeth and Pericles. Paul is a Jessie Award–winner for his work in The Lion, the Witch and the Wardrobe and The Overcoat. On-camera credits include the role of the evil giant, Meatdripper, in Spielberg’s The BFG; Timeless; Shut Eye; The Flash; Once Upon a Time in Wonderland; Motive; and The Killing. Paul is the Artistic Director of Theatre and Music at Arts Umbrella and is a graduate of Studio 58. Conor Moore The Merchant of Venice: Projection Designer Conor is a Vancouver-based lighting, set, and projection designer with a Design MFA from UBC. Credits include Hamlet, Falstaff, Henry VI, and Richard III (Bard on the Beach); Bakersfield Mist, Peter and the Starcatcher, Armstrong’s War, and The Patron Saint of Stanley Park (Arts Club Theatre); La Bohème (Vancouver Opera); Señora Carrar’s Rifles and Fourplay (Shaw Festival); and Penelope and Indian Arm (Rumble Theatre). He is a member of the Associated Designers of Canada. www.conormooredesign.ca Adrian Muir The Merchant of Venice, The Two Gentlemen of Verona & Shylock: Lighting Designer Adrian returns for his sixth season at Bard. Recent local credits: The Men in White and Good People (Arts Club Theatre); Brothel #9 and How to Survive an Apocalypse (Touchstone Theatre); East Van Pantos: Cinderella, Hansel and Gretel, and Little Red Riding Hood (Theatre Replacement/The Cultch). Adrian is honoured to have received multiple Jessie Awards for Lighting Design and is a member of the Associated Designers of Canada. He also teaches in the Production program at Studio 58. 61

201 7/201 8

TEA & TRUMPETS A 6-CONCERT MATINEE SERIES

Your Vancouver Symphony Orchestra and the Bard himself Christopher Gaze present the ever-popular Tea & Trumpets series, featuring the music of Beethoven, Musical Legends and Fairy Tales, dancers from Goh Ballet, and much more. ALL CONCERTS THURSDAYS 2PM AT THE ORPHEUM. CHRISTOPHER GAZE

WILLIAM ROWSON

COMPLIMENTARY TEA AND COOKIES are served in the lobby before each concert!

COMPOSE YOUR OWN SERIES

MEMBERS OF THE VSO

BRAMWELL TOVEY WITH THE VSO

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C O M PA N Y B I O G R A P H I E S Rebecca Mulvihill Much Ado About Nothing & The Winter’s Tale: Assistant Stage Manager Rebecca’s previous Bard credits include Henry VI, Richard III, King John, and The Merry Wives of Windsor. Rebecca has worked as a Stage Manager and Assistant Stage Manager for many local companies including the Arts Club, Touchstone Theatre, Carousel Theatre, Alley Theatre, Working Spark, Théâtre la Seizième, and Boca del Lupo. Rebecca has also worked as the Artist Logistics Assistant for the TD Vancouver International Jazz Festival. She is a graduate of the University of Victoria. Chirag Naik The Merchant of Venice: Lorenzo The Two Gentlemen of Verona: Speed Chirag is a Vancouver-based actor who has worked with theatre companies across Canada. He is thrilled to be back with Bard for his third season! Recently he has expanded into film work in Vancouver which inspired him to work on writing, producing, and eventually acting in his own web series Life is a Dream. Chirag is a graduate of Studio 58 where he received the Sydney J. Risk Award for Outstanding Skills in Acting. Adele Noronha The Merchant of Venice: Saleria • The Two Gentlemen of Verona: Silvia Born and raised in India, Adele has worked in various capacities with a number of theatre companies throughout Vancouver. Recent stage credits include Brothel #9 (Touchstone Theatre); Walt Whitman’s Secret (frank theatre); The Dining Room (Western Gold); Jabber (Manitoba Theatre for Young People); and A Midsummer Night’s Dream and The Tempest (Bard). TV credits include The Flash, Supernatural, Girlfriend’s Guide to Divorce, iZombie and Minority Report. Ashley O’Connell Much Ado About Nothing: Dogberry • The Winter’s Tale: Rogero Ashley is from Dublin, Ireland and has a BFA from UBC. Credits include Flare Path (Slamming Door); The Romans in Britain and The Country Wife (ETC); Spamalot, Blood Brothers and The Graduate (Arts Club); Someone Who’ll Watch Over Me (Dancing Monkey); A Few Good Men (Citadel); Of Mice And Men (Blue Bridge); The Full Monty (Persephone); Richard II and All’s Well That Ends Well (Bard). Film/TV credits: Watchmen, Zoo, Dirk Gently, DC’s Legends of Tomorrow, and Supernatural. Love to Mai. Kamyar Pazandeh The Merchant of Venice: Gratiano The Two Gentlemen of Verona: Turio Kamyar was born and raised in Vancouver. Recent credits include Tom, The Piano Teacher and Tony, The Men in White (Arts Club); Pericles, Pericles and Lodovico, Othello (Bard); Ernest Simpson, Diamond, Bertie, and Espil, The Duchess (Ruby Slippers); Tybalt, Romeo and Juliet; and Jud Fry, Oklahoma! (Studio 58, Ovation Award–winner - Best Supporting Actor). He is the recipient of the Lloyd Nicholson Memorial Scholarship and the Koerner Arts Award. Kamyar is a graduate of Studio 58. Patrick Pennefather The Merchant of Venice: Sound Designer This is Patrick’s fifth production designing sound for Bard. He is an award-winning composer and designer and has worked on over 500 productions in Canada, the USA, China and Europe. He continues to design sound for live theatre, and teaches and facilitates workshops at the Centre for Digital Media in Vancouver, Canada. Nadeem Phillip The Merchant of Venice: Prince of Morocco/Duke of Venice The Two Gentlemen of Verona: Valentine Nadeem attended Ryerson Theatre School where he trained with Ian Watson of the Stratford Conservatory. His first acting job was with The Classical Theatre Project, touring Shakespeare for teen audiences across North America. Selected theatre: The Men in White (Arts Club); My Ocean (Vancouver Fringe); Movements No. 1&2 (Babelle); Never The Last (Delinquent); Doost (Neworld); and Cock (Rumble). Film/TV: Cosmopolis (David Cronenberg), Americanistan (Landed Entertainments), and Android Employed (TELUS). www.nadeemphillip.com

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C O M PA N Y B I O G R A P H I E S Tracey Power The Winter’s Tale: Choreographer Recent Choreography: Peter and the Star Catcher (Citadel Theatre); Miss Shakespeare (Firehall Arts Centre); Onegin (Arts Club); The East Van Panto (Theatre Replacement); and Chelsea Hotel, The Songs of Leonard Cohen (Firehall/National Tour). Her newest play GLORY will premiere next season with Western Canada Theatre and Alberta Theatre Projects. Tracey has worked across Canada and internationally as an actor, playwright, director and choreographer and is the recipient of a Jessie Award and Sterling Haynes Award. www.traceypower.ca Murray Price Much Ado About Nothing: Composer/Sound Designer Murray is a producer and composer with KOKO Productions. Favourite stage work includes The Men in White, The Flick, Good People, One Man, Two Guvnors, Boeing-Boeing, and The 39 Steps (Arts Club); King John, As You Like It, Twelfth Night, Shakespeare’s Rebel, and The Comedy of Errors (Bard). He has received several IBA and Clio awards for TV and radio, as well as Jessie Award nominations including Outstanding Artistic Achievement. He enjoys talking to himself in third person. Christine Reimer Much Ado About Nothing: Costume Designer Previous costume designs for Bard: Shakespeare’s Rebel, The Tempest and Titus Andronicus. Recent design credits: The Audience, Pride and Prejudice (Arts Club Theatre), The Invisible Hand (Pi Theatre), and King Arthur’s Night (Neworld). Christine is a Betty Mitchell and Jessie Award–winner for Outstanding Costume Design. Her costume illustrations have appeared in several publications and exhibitions, including the most recent exhibition, Costume at the Turn of the Century 1990–2015 (Moscow, Bejing, USA). www.christinereimerdesign.com Josh Reynolds Much Ado About Nothing, The Merchant of Venice & The Two Gentlemen of Verona: Fight Director Josh, a graduate of the UBC BFA Acting Program, is an actor, fight director, writer and artist. He has worked for theatre companies: Bard, Carousel, Chemainus, Green Thumb, Rumble, and most recently, Classic Chic Productions. Josh wrote and produced the twotime Jessie Award–nominated play From Parts Unknown…, and has been nominated for two Jessie Awards and a Dora Award for performance and fight direction. Josh also creates multidisciplinary art under the pseudonym HLFÅS for his website Heelfacade.com. Laara Sadiq Much Ado About Nothing: Dona Johnna • The Winter’s Tale: Camillo Laara is delighted to join Bard this season. Recently: Brothel #9 and Eternal Hydra (Touchstone); Our Town (Caravan Farm Theatre); Cake and Dirt (Tarragon); The Penelopiad (Arts Club); Saint Carmen of the Main (Canadian Stage); Romeo and Juliet (NAC); and No Exit (ACT). Guest starring roles: Arrow, The Arrangement, Eyewitness, The Strain, Rogue, Remedy, Killjoys, Hemlock Grove, and Heartland. Laara also works extensively in voice-over. Recipient of Jessie and Leo Awards. Proud mama to her daughter Lotus. www.laarasadiq.com Tanya Schwaerzle Much Ado About Nothing & The Winter’s Tale: Apprentice Stage Manager Tanya is thrilled to be making her Bard debut this season! She is a graduate of the BFA Technical Theatre Stage Management program at the University of Alberta. Selected Apprentice Stage Manaxger credits: Bittergirl, A Christmas Story, Blue Box, and Bullet Catch (Arts Club); How to Survive an Apocalypse (Touchstone Theatre); and Miss Shakespeare and J. Caesar (Firehall/Escape Artists). Tanya thanks Captain, Gordie, Adam, and the rest of her family and friends for their support. Parmiss Sehat Much Ado About Nothing: Hero • The Winter’s Tale: Mamillius/Mopsa Parmiss graduated from UBC’s BFA Acting program in the spring of 2016. She is thrilled and incredibly grateful to be making her Bard debut with such an exciting season! Theatre credits include Sultans of the Street (Carousel Theatre); Love, Lust & Lace (Fringe); and The Arabian Nights (UBC Theatre). Film/TV: Hammer of the Gods, Love, Approximately, and Untold Stories of the E.R.

YOUR ACTING CAREER BEGINS HERE

THE BARK IS BACK AT BARD! We’re excited to welcome Gertie, a Basset Hound, to our 2017 Company. Here’s her official biography: The Two Gentlemen of Verona: Crab Gertie, age 6, is brand new to the stage and is hoping to make her mark on the acting world with this pawportunity. Gertie ain’t nothin’ but a hound dog, and as such, loves to smell everything. She is also not a discerning eater and has consumed over 12 socks in her lifetime. Her other activities include hiking, snowshoeing, and sticking her head through strangers’ legs.

Conservatory and Pre-Professional programs are auditioning now. For more information visit artsumbrella.com/theatre

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C O M PA N Y B I O G R A P H I E S Carmela Sison The Merchant of Venice: Leonarda/Jessica The Two Gentlemen of Verona: Lucetta Carmela was born in Manila and raised on the unceded territory of the Coast Salish Peoples. Select theatre credits: Sultans of the Street (Carousel); Dead Metaphor (Firehall); Much Ado About Nothing (Theatre Calgary); Are We There Yet? (Concrete); Jailbait (NLT); and Cowboy Versus Samurai (Chromatic). Select TV: The Flash, iZombie (CW), and Zoo (CBS). Carmela is a graduate of the BFA Acting program, UofA. Gratitude to family, friends, Nigel, Scott, and Chris. @rapsberryshake Joanne P.B. Smith The Merchant of Venice & The Two Gentlemen of Verona: Stage Manager This is Joanne’s sixteenth season with Bard. Stage managing credits include Brothel #9, Demon Voice (Touchstone Theatre); The Rivals, All That Fall (Blackbird Theatre); The Highest Step in the World (Ghost River Theatre); Tiny Music (Jump Current); Any Night (Dual Minds); Moonlight and Magnolias, Copenhagen (Vancouver Playhouse). Nationally toured plays include Where The Blood Mixes (Playhouse/Belfry); Blackbird (Rumble/Theatre Conspiracy); The Black Rider (November Theatre); Revenge (Felix Culpa); The Monument (Felix Culpa/Rumble); Recovery, Soulless, and Hedda Gabler (Rumble). Jennifer Stewart The Merchant of Venice & The Two Gentlemen of Verona: Apprentice Stage Manager Jenn has had the pleasure of working in a range of roles: Wardrobe Coordinator, Studies in Motion (Electric Company); Production Manager (Caravan Farm Theatre); Set Designer, Of Mice and Men (Hardline), Selfie (Seizième) and The Competition is Fierce (ITSAZOO); and Props Designer for The Whipping Man (Pacific) and Elbow Room Café: The Musical (Zee Zee). This is her fourth season at Bard. She studied at Studio 58, UBC and the University of Edinburgh. Andrew Wheeler Much Ado About Nothing: Leonato • The Winter’s Tale: Antigonus Andrew is delighted to return to Bard for his tenth season. Favourite roles include Mark Antony, Malvolio, Macbeth and Benedick. Other recent credits include Footloose and Les Misérables (Chemainus); A Good Way Out and The Rainmaker (Pacific), The Day Before Christmas and Onegin (Arts Club), and Ebenezer (Jericho). Recent TV episodes include iZombie, Gracepoint, and The Killing. Look for Andrew on tour with Onegin beginning this fall, and coming to a town near you. Kaitlin Williams Much Ado About Nothing: Margaret • The Winter’s Tale: Perdita Kaitlin is a local theatre artist and is making her Bard debut this season. Recent credits include Pride and Prejudice, The Foreigner (Arts Club); The Lion, the Witch and the Wardrobe, It’s a Wonderful Life (Pacific Theatre); Corleone (Classic Chic); and A Lovely Sunday (Chemainus). She is a graduate of UVic’s BFA Acting program. Up next, she is directing Almost, Maine at Pacific Theatre. Love and gratitude to Mom and Dad (especially for taking her to Bard when when she was young). www.kaitlinwilliams.com Robinson Wilson The Winter’s Tale: Directing Apprentice Robinson is a graduate of the Vancouver Island University Technical Theatre program, and Langara College’s Studio 58 Film Arts program. Recent directorial work includes his adaptation of The Picture of Dorian Gray, for Vancouver Island University, where he also teaches through the Directed Studies Program. Immeasurable thanks to Lori Mazey, for her support, patience and continual inspiration. Yvonne Yip Shylock: Stage Manager Yvonne is delighted to be making her Bard on the Beach debut with Shylock. Recently, she toured with Neworld Theatre’s King Arthur’s Night to Toronto and Ottawa. Other credits include projects with Theatre North West, Arts Club Theatre, Boca del Lupo, ITSAZOO Productions, Pangaea Arts, Caravan Farm Theatre, Electric Company, Theatre Conspiracy, and Mermaid Theatre of Nova Scotia. Next, Yvonne will be returning to Ottawa’s National Arts Centre with Gateway Theatre’s King of the Yees.

FUNDRAISING

BENEFITING

MUCH ADO ABOUT WINE The Vancouver International Wine Festival is proud to have Bard on the Beach Shakespeare Festival as its charitable beneficiary. Since 1979, VanWineFest has raised $9 million for the performing arts. Bard became VIWF’s charitable partner in 2013 and, since then, the wine festival has contributed more than $950,000 towards the outstanding work Bard does onstage and in the community. The Bacchanalia Gala Dinner + Auction raised $280,000 for Bard this year. It is the main fundraising event of the festival and one of the most spectacular wine and food events in the city. Gala raised $260,000 at live and silent auctions and $20,000 with the sold-out raffle for two Delta One tickets to anywhere Delta Air Lines flies in the world!

Vancouver’s best wine auction; Bard’s Christopher Gaze; “Tidal Pool” dinner course ; gala chair Jana Maclagan Photos by Daniela Ciuffa & Matthew Pinch

CHEERS TO 40 YEARS! Join us February 24 to March 4, 2018 as we showcase the wines of Spain and Portugal at the 40th Vancouver International Wine Festival

PORTUGAL

SPAIN

Advance tickets on sale November 1

SPONSORS AND SUPPORTERS

   @VanWineFest | #VIWF | Sign-up for VanWineFest E-News at VanWineFest.ca

BARD MEMBERS We applaud the following individuals who play such an important part! The list below reflects those who generously donated to Bard on the Beach between April 1, 2016 and April 1, 2017

Renaissance Circle

Jacobeans $5,000-$9,999 Larry Beasley & William Logan Mary Clare & Jim Bovard Grant Burnyeat Douglas & Alice Clarke Ken & Livia Galbraith Linda Gibbs David & Joanne McDonald Warren & Diana Mitchell Penny & Peter Pearse Julie & Gavin Ryan John & Judy Taylor Ross & Louise Waters Yosef Wosk in support of Shylock

Anonymous (1)

Elizabethans $10,000+ Suzanne Bolton & Jefferson Mooney in support of Bard’s Youth Education programs Doug and Margaret Hatlelid in support of the Audrey and Robert Denison Music Fund Paul & Darlene Howard in support of the Howard Family Stage Pamela & David Richardson Family in support of Bard Education programs Benefactor $1,000-$2,499 Rati Arora Baddeley Family Wendy & Simon Barron Rick & Lorraine Bennett Dennis & Jennifer Bettiol Gordon & Cheri Bird Pete Chamberlain A. Chapman* Patricia Charles Margaret & Robin Cottle Merva Cottle Neil Crawford & Sylvie Mougeot Martin & Diana Dawes Nancy M. Deshaw Patricia Dowad Tom & Peggy English Frank & Denise Ervin Craig & Shelly Ferris Christopher & Jennifer Gaze John & Glenna Geddes Anne & Tony Giardini Marianne Gibson Antonio Gioventu June & Paddy Gooderham George Hackwell Kathy & Stan Hamilton Marilyn Harris Mary Hartman & Patrick Mooney Sandra Herd & Doug Powrie Valerie I. Jones John H. Kennedy Kate Ker & Paul Cobban Amanda & John Kump Nancy Laughton Richard & Linda Loomer Wendi Mackay Marlene MacKenzie

Genny MacLean Prof. Bernie Maroney Dennis McCann & Diane Darch John & Yuko McCulloch Brian Mlazgar Arthur Monahan Barbara Morris & Angela Kelly Norah Morrow Gary Nelson & Kathy O’Shea Michael O’Brian Family Foundation Marlie Oden & Ken Newbert Carole Olsen Wendy & Chris Orvig Colin & Diana Price Todd & Valerie Prodanuk David Vogt & Tracy Proke Patricia Mary Rebbeck Carolanne Reynolds Katherine Richmond Ian Robertson & Sian Pitman Claire Sakaki & Jason Keel Antonie & Susan Schouten Andrew & Hilde Seal Michael & Julie Seelig Nancy & Walter Segsworth Anthony Sessions Linda Siegel David and Suzanne Smith* Art & Aline Smolensky Samuel J. Snobelen Bruce Spence John & Joan Spencer Ken Spencer & Judy Gale Lesley Stowe & Geoffrey Scott Ian & Jane Strang Paul Swartz

Telus Community Engagement Garth & Lynette Thurber Les Tulloch Madeline Urbani & Lisa Dumbrell Barrie & Margaret Jane & Colin Warner Dr. Linda Warren John & Susan Webster Douglas Welch & Elizabeth Ball Paul Wheeler Colin Whitaker Jane & Michael Woolnough Anonymous (7)

Tudors $2,500-$4,999 Armstrong Family Foundation Val & Dick Bradshaw Count & Countess Enrico Dobrzensky Virginia Evans Marie Genest David Hardwick & Virginia Baldwin Doug & Margaret Hatlelid Reet Kana* Jacqueline Kelly & Rowland McLeod

Midsummer Magic $600-$999 Jack Austin Lawrence Burr Carol & Giorgio Caon Elaine & Ken Carty Laura & Ron Drozdiak Errol & Oona Durbach Peter Elliott & Thomas Roach Lynda & Murray Farmer C. Fleming Gerry Furseth & Peggy Hung Rick Gammer Joy Gaze* Richard & Irene Harrison Sam & Ann Isaacs Janet Johnston Jay Joyner & Leanne Schuman Judith Kalla Margery Kellett Liz & Phil Knight 69

Tony & Margie Knox Lesley Laudan Deborah Pound* Sencorp Capital Ltd. Don & Jane Shumka The R & J Stern Family Foundation Brian Tufeld Geoffrey & Ronna Webb Anonymous (1) Mervyn Gilbart-Smith (Plantagenet) Renaissance Circle Reception sponsored by

Robin & Barbara Kuritzky Dr. & Mrs E. F. Ledgerwood Barbara Lockyer K. Beth Macdonald John & Lorna Mancini Peter Mercer & Ginger Shaw* Colleen & Wes Midmore Sarah Morgan-Silvester & Richard Fraser Gloria Murphy The Nieboers Mark & Maureen Paetkau Fanny Patterson & Peter Rozee Catherine Sullivan Mary Tait Anne & Mitch Taylor Kristi Van Binsbergen Marg Vandenberg & Robert Wilband Lisa Vogt & Chris Hodgson Stephanie & David Williams Janet Wynne-Edwards David, Cindy & Emma Young Audrey Zaharichuk Anonymous (8)

Much Ado $300-$599 Ian & Linda Adam Sue Adams Janet Allwork W. Alston Laurel Alves Donald & Marion Anderson Ted & Jean Andrew Sheila Anzarut Leanne & Gary Armstrong Bryan Atkins

CONGRATULATIONS to

Bard on the Beach Celebrating their 28th Season Enjoy the “drama” in today’s performance, not with your finances.

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BARD MEMBERS Herb & Mary Auerbach Jane Baker Wendy Baker Hoori Barkh & Tyler Choutka John & Jane Bathurst Bill & Gladys Baxter Lauren Bell Elaine Breaks Amanda Brittain & Trevor Nisbet Ruth Brodie Janice Brown Nancy Buan Deborah Burian Michael & Sherri Caplan Carson Family Fund Mary Ann & Ian Carter Robert Caspick & Ron Silvers Don & Donna Celle Michelle Chang Ian Chunn & Susan Reaney Reed Clarke Fran Clifton Stuart & Meg Clyne David Coleman Dr. Peter & Jean Cooperberg Susan Courtemanche David Crerar Ms. Nancy Campbell & Dr. Marshall Dahl Valerie Dahl & Tony Traboulsee Jeremy & Helen Davis Diana Debenham Delta Law Office June Demcheson Muriel Densford Barbara Devlin & Paul Porter Michael & Maureen Dorotich Bill Dow Jonathan & Cathy Driver Susanna & Kieran Egan Sheila Elliott Jane Flick & Robert Heidbreder Tamara Frankel John Gallardo Arlene Gladstone & Hamish Cameron Elaine Godwin Douglas Graves James & Jane Gray Dr. Evelyn Harden in Memory of John Wood Sholto Hebenton Joan Henderson Arlene H. Henry Law Corporation Gwendoline Hoar Rosalind & Ken Hollett Peter Horwood Cynthia Howard Curt & Karen Huber Brenda Hudson

Ronnie & Barrie Tessler Jo Anne Tharalson Janine Thomas, Janine A. S. Thomas Law Corp Satu Thorne Nicholas & Vaughan Thornton Elizabeth Tovey Deborah Shaw Susan & David van Blarcom Angelika Waber Alison & Robert Watt Lyn & John Webster Sheila Wex Dennis Wiebe Janice Williams Eric & Shirley Wilson Stevie Wilson Jack Wright Donald Yule Anonymous (8)

David & Tamara Hunter Margaret E. Hyde David L. Ingram Karen James Dr. Ron Jobe* Sharon E. Kahn Heather Kennedy Gary & Louise Kenwood Mrs. G. G. Kidd Kurt Koerfgen George Laverock & Jane Coop Judy Lerner Erica Levy & Alan Kingstone Michele Ley Richard & Diana Lipsey Mark & Terri Lisagor Brian & Lisa Loomis George Ludgate Margaret Lyle Laverne MacFadden John & Marian Macfarlane Denise Marasco Anne Mathisen Peter Kushnir & Anna Mazur John & June McBryde Kathy & Wes McLeod Ian Michaud Dave Miller Lenore Montgomery Ilse Morris Sean & Kerin Munro Anne Murray & Larry Agnew Aslam Nathoo Ruth Nesbitt C. J. Newson J. & M. L. Oger Jack Olsen & Heather McDonald Richard Olson Keiko Parker Marion Pearson & Jim Orr Archie & Caron Pell Mary Pollock Kostya & Audrey Polyakov In Honour of Deb Pound Bryan & Anne Prentice Arthur Reber Janine Reid* Larry Rhodes Lin & John Richardson Don & Heather Risk W. D. Robertson Don Rose Robert Duncan Ross David & Jeanmarie Rushton Gina Russenholt Masako Ryan Carol Saxon Joan Sharman & Alan Storr The Shaw Family Shirley Shebbeare Nadine Sheppard Irina Soboleva William Storey Kumi & Gary Sutcliffe Jo-Ann Ternier* Tom & Anne Terry

Labour of Love $150 - $299 David Secord & Amy Adams through Tides Canada Foundation Sylvia & John Aldrich Lloyd & Olivia Allen Amney Amery Ronald & Brenda Appleton Marilyn Atkins & Chris Overton Jessica Aument Peter Austin Jean Baker Cheryl Banfield Chris & Rick Barker Patricia Barnes Nicoletta Baumeister Gillian L. Beattie Mary Lea Bell Ursula Bell Amy Benson & John Russell Penny Bickerton Karly Black Jacqui Bohling David Booth/Holliswealth Norma Boutillier Marlene Brayne* Margaret Brown John S. Burch Dr. Hugh Chaun & Pamela Chaun Kathryn Cholette & Peter Burch On behalf of Reen Burley & Eduardo Monzon Felix Cheng Anne Christian Jacqueline Christie Judith Coffin Roger Cole Kenneth D. Cole Hilde & Peter Colenbrander Meg Comiskey Christine Conroy & Clive Tucker Faye & Brian Cooper 71

Lorena Coslovich Tracy Cromwell Denise Cunningham Maureen & Colin Daly Andrea Davies Chelsea Deane Matt & Brenda Dennis Patricia Dick Brian Dietrich Keven & Catherine Dubinsky Louise & Bob Dyer Russell Elliott Stephanie & Mark Emanuel Pauline Fitzgerald Ellen Flett Ava Forsyth Judith Fraser Margaret Fraser Jean Gerber Micheline Gill Frances Gilley Jim & Rachel Gillingham Marketa Goetz-Stankiewicz R. J. Gray David & Pamela Gurd Daphne Hales Heather Jones Hankin & Richard Hankin Kevin Hanvey Nancy K. Harris & Uldis Ohaks Dr. Brenda Harrison John & Gundi Harriss Pat Harrold & Paul Hart Christopher Harvey Jane Heyman & Lionel Johnston Aileen & John Hollifeld Alex & Mavis Holm Barbara J. Holmes Martin Hosking Patricia Hudson Jennifer Jack Nora Jackson Teresa & Lewis James Linda Johnston Paul Johnston & Marnie McGrath Andrea Jones Signe Jurcic Karen Justice Kathleen Keating Stephen Kelleher Milena Kermode Paul & Anne Kernan Candace Knighton & Chris Aikenhead Joslin Kobylka Susan Koch Zachary Kotlarek Sally Lambert Jerry & Susan Lampert Trevor Lautens Dr. & Mrs. Richard J. Lee Richard & Nancy Lee Simon Litherland Jane MacDonald John MacDonald

YOGA VANCOUVER INTRODUCTORY MONTH $60+TAX

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Vancouver Academy of Music For nearly 50 years, Vancouver Academy of Music has created a legacy of excellence that has produced many of Canada’s most outstanding musicians. Registration is currently available for: • • • •

Piano Voice Guitar Strings

• • • •

Choir Orchestra Early Childhood and more!

For more information, visit us online at vam.ca. 72

BARD MEMBERS Judith MacDonald Patty Malesh Kenneth MacLeod Margot Magee Elaine Makortoff Linda Mamer Evie Mandel Rosalyn Manthorpe Debbie & Lizzie Matheson Lindsay McArthur & Amber Kostuchenko Sheila McCallum Sandra McCrone Betty McGowan* Elaine McHarg Catherine H. McPherson Lillian Mitchell Brian Moul Dr. J. Paul Moxham Anne & Patrick Munro* Moira Munro Gregory & Grace Munson David Nanton Peter & Roma Nemetz David & Maria Nimmo Sumiko Nishizawa Meghan G. Nordquist Gina Ogilvie & Ian Scott Susan & James Olsen Joan Ouellette Malcolm Page & Christine McGrath Maria Pemberton

John Richard Smith Kevin Solomons Keith Sorensen Ted Spear Margo Stanaway Linda & Gary Stoneback Mike & Judy Stringer Ron & Dina Sudlow Susan Summers & Joanie Wolfe Mary Sweeney Delfa Syeklocha Eve Szabo Nancy Tamblyn Beverley Taylor Adele Telenius Mary Thomas Barry & Julie Thompson Dana Thordarson Christine Tolton Jennifer Toone Alysha Trinca-Taillefer Karen Vail Vancouver Tool Corporation Lisa Vendrasco Carine Vindeirinho Susan Wagner Gillian Walker Thalita & Greg Walker Una Walsh Heddi & Tony Walter Maryla & Donovan Waters Claire Westlake

Bruce Pentecost Elaine & David Peterson Marcel Pichette Andrew Piers* Jean Pirie Sheila Pratt Bev & John Price Jennifer Price Veronica & Francis Pring-Mill Karl & Eveline Raab Howard Raphael Donella Robb Stephanie J. Robb Neil & Joy Roberts Gayle Robinson John Robinson Peggy Roe S. R. Rogers Terry Rogers Family Vera A. Rosenbluth & Robin Hanvelt Adrianne Ross Susan & Robert Ruttan The Schmelcher Family Graham & Erica Seagel Judith Setton Pat & Bill Sexsmith Kathryn Shaw Paddy & Maureen Sherman Barbara & Judah Shumiatcher Gordon Smith

Gwyneth Westwick Kathleen & John Whyte Ron & Pat Wickens Leslie Williams Ingrid Woldenga Antonieta Xavier Christina Yorke Kenneth & Jennifer Yule Karen & Allan Zeller Korri Zivin Anonymous (23)

* Bard Legacy Circle Member Additional Legacy Donors include: Grace Fry Freda McDermott June Wilson We thank our Members at the As We Like It level ($50 - $149) and our supporters at the Allâ&#x20AC;&#x2122;s Well level ($25 - $49) Your support is vital to our success. Please accept our heartfelt apologies if we have missed or incorrectly listed your name.

we are proud to support the volunteer program at bard on the beach .

Visit us in Suite 100 at 888 Dunsmuir Street in Vancouver (corner of Hornby and Dunsmuir).

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peoplestrust . com

2017-03-22 1:10 PM

JULY 13-16

Will Varley

If music be the food of love...a feast awaits!

thefestival.bc.ca

BARD VOLUNTEERS Bard Salutes our 2016 Volunteers The 2016 Bard on the Beach Volunteers generously donated more than 20,000 hours of service during the season and raised over $7,000 in tips and collections for the Bard on the Beach Education Bursary Fund. 20+ Seasons of Service Marg Acton Jean Cunningham-Smith Mary Danieli Maxine Davidson Muriel Densford* Barbara-Anne Eddy Meribeth Fleetham Ann Munro Claire Westlake* Maureen Williams Audrey Zaharichuk* 10–19 Seasons of Service Rati Arora Sigrid Bernhoerster Jacqui Bohling Anne Chapman Pam Chow Douglas Clarke Meg Comiskey* Archana Datta Arlene Davidson June Demcheson Stephen Dunn Jenny Evans Joan Fogarty* Sarah Gillies Doug Hatlelid Margaret Hatlelid Anita Irani Terri Jelic* Elaine Koochin David Leggatt Judy Lerner* Laverne MacFadden Willow Martin Seedhouse Lillian Mitchell Susan Nugent Joan Ouellette Deb Pound* Veronica Pring-Mill Katie Scott Glenda Sherlock Nicole Sherlock Cynthia Southard* Gary Sutcliffe* Beverley Taylor Jo-Ann Ternier Anne Tickle Scott Van Denham Barrie Vickers Margaret Vickers Gillian Walker* Cora Whiting Stevie Wilson Tessa Wilson Theresa Zukovic 5–9 Seasons of Service Eileen Bartels Sue Bates Susan Birtwell Michael Caplan Judy Daughney

Gabrielle Christie Cristina Ciccone Craig Davidson Emily Della Mattia Marlene Enns Shannon Enns Glen Fast Hilary Feldman Dillan Fernando Sheollagh Fitzgerald Carrie Fleming Sam Fraser Lesley Fraser Kendra Fu Pam Gilbert Amanda Goldrick-Jones Imogen Hadfield Alysson Hall Jeanne Harkness Janet Harper Don Harrison Pat Harrold Paul Hart Pat Hartley Margaret Healey Noah Heyl Noel Hollett Rosalind Hollett Emma Hoogeveen Dwight Hooper Leigh Hughes Eileen Jang Janet Johnston Karen Kelly Debbie Kenneally Heather Lawrence Veena Lin Jill Lindsay Carolyn MacFarlane Geoff Malcolm Michael Marissen Bonnie Martens Lizzie Matheson Emilia Michalowska Fran Moore Mary Jane Morita Nathan Morris Hanna Murray Celia O’Neill Dietcliff Ostrowski Vania Pacheco Christine Sainsbury Francesca Sainsbury Hannah Scott Helen Shockley Aria Shokoohi Ann-Marie Sloan Gemma Smith Samanda Smith Gail Sumanik Kary Taylor Katrina Thomson Carolyne Tran Angela Tung

Edith Davidson Susan Easton Alexandra Eaton Nancy Flexman Joyce Garraway Eva Gerlitz Stephanie Gooch Susan Harman Beth Harper June Harrison Sandy Harvell Midori Kawahara Savannah Kemp Liz Landon Heather LeGresley Adriana Lopez Darryl Lucas Michelle Lundrigan Joni Macarthur Forrest Martin Seedhouse Dennis McCann* Betty McGowan Carolyn McLean Hearn Susan McNeil Sandy McNeill Erin Meyer Anne Midzain Rod Neuman Kirsten Niedtner Darcy Noon Nadya Ogloff Desiree O’Hern Agatha Ormiston Andrew Piers Paul Porter Leila Raye-Crofton Helen Roberts Brenda Sawyer Cheryl Scott Judy Shaw Karen Shimokura Lisa Sinclair Leslie Stowell Dina Sudlow* Kate Sullivan Deborah Tom Elizabeth Tovey Cali Vindeirinho Angela Wilk Lindsey Zikakis

1– 4 Seasons of Service Anne Ambroziewicz Joanne Atkins Judy Ballard Wendy Barron Gordon Boleen Paula Boleen Bea Bonner Olivia Botelho Monica Brennan Elinor Bryant Rick Bryant Annalies Camfferman Louise Campbell 75

Myles Venn Rajmeet Virk Angela Waber Grace Walker Susan Webster Colin Whitaker* Donna Workman Eric Yuan

New Volunteers Kim Anderson Lily Andruschak Shauna Buchan Eric Budgell Elizabeth Bush Stana Campbell Megan Chan Jacqueline Cowley Lynda Dandurand Nova Dexter Zelma Edgar Randa El Chantiry Sheila Elliott Jean Fong Gail Franko Juliana Galbiatti John Godfreyson Maryam Golshani Raymond Greenwood Melanie Hamilton-Evans Corey Hollett Patti Holm Jennifer Jantsch Wes Knapp Karen Land Amanda Lind Carol Long Kathleen MacKinnon Hayley McLeod Megan Moir Johanna Mramor Rachel Ralph Phoebe Richman-Taylor Wendy Seniuk Allison Shields Linda Simmons Stephanie Smith Irina Soboleva Susan Spooner Doug Stever-Akesson Wallis Sung Scott Swan Lynda Toews Veronica Trebesh Clara Zacharo Caitlin Zhang * Past recipients of Volunteer of the Year Award

T H A N K YO U TO O U R 2017

MAJOR SPONSORS

BARD ON THE BEACH IS THE PROUD BENEFICIARY OF

PRODUCTION SPONSOR THE WINTER'S TALE

PRODUCTION SPONSOR MUCH ADO ABOUT NOTHING

OFFICIAL WINE

PARTNERS

BARD-B-Q & FIREWORKS PRESENTING SPONSOR

SEASON SPONSOR

FAMILY NIGHT PRESENTING SPONSOR

PRODUCTION SPONSOR THE MERCHANT OF VENICE

EMERGING ARTISTS APPRENTICE DIRECTORS PROGRAM

FENCING SPONSOR

Â®

PERFORMANCE SPONSOR

PHOTOBOOTH SPONSOR

VOLUNTEER PROGRAM SPONSOR

BARD LAB SPONSOR

Elemental Gardens GARDEN SPONSOR

MEDIA SPONSOR, ACCESSIBLE PERFORMANCES

RECYCLING & ORGANICS SPONSOR

RENAISSANCE CIRCLE RECEPTION SPONSOR

Our heartfelt thanks to the following for their continued support of Bard: GOVERNMENT SUPPORT

SUPPORTERS

FOUNDATIONS

Anako Foundation The Christopher Foundation The Martha Lou Henley Foundation

BARD WOULD ALSO LIKE TO THANK THE 2016-17 BOARD COMMITTEE COMMUNITY MEMBERS:

The McLean Foundation

Ashley Kates

RJ Nelson Family Foundation

Dave Secord

The Hamber Foundation

SPONSORS & SUPPORTERS

MAINSTAGE SPONSOR

Emelleâ&#x20AC;&#x2122;s CATERING

OFFICIAL CATERER

PRODUCTION SPONSOR THE TWO GENTLEMEN OF VERONA

OFFICIAL BEER

AON HEWITT

BARD EDUCATION PRESENTING SPONSOR

STUDENT MATINEE SERIES SPONSOR

COSMETICS SPONSOR

MEDIA SPONSOR

TECHNOLOGY SERVICES PROVIDER

OFFICIAL GRAPHIC DESIGN SPONSOR

BARD IN YOUR NEIGHBOURHOOD SPONSOR

BRIDGE COMMUNICATIONS

OFFICIAL COFFEE & TEA SUPPLIER

RUSSELL SMITH & KEVIN MAH ODLUM BROWN

PERFORMANCE SPONSORS

BARD IN YOUR NEIGHBOURHOOD SPONSOR

BARD EXPLORED SUPPORTER

SCOOTER SPONSOR

SUPPORTERS 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 for these generous supporters. Actsafe

Marlie Oden & Ken Newbert

Smith Sound

Arts Club Theatre Company

Penske Truck Rental

Standard Building Supplies

Bogdonov Pao Associates Structural

Power West Industries Ltd.

Studio 58

Proscenium Architecture + Interiors

UBC Opera

Canada Scaffold

Quantum Lift Truck

Vancouver Opera

Christie Lites

Rogers Radio: CKNW-NEWS1130

WesternOne Rentals

Coca-Cola Refreshments

Salmon's Rentals

Great Pacific Media

Scene Ideas

Maxum Crane Rentals Ltd.

Sherwin Williams

Engineers

THE BARD TEAM Artistic Director: Christopher Gaze

Executive Director: Claire Sakaki

Artistic & Production Associate Artistic Director: Dean Paul Gibson Artistic Associates: Scott Bellis, Rohit Chokhani, Ben Elliott, Mara Gottler, Pam Johnson, Meg Roe, Colleen Wheeler Digital Theatre Producer: Rohit Chokhani Production Manager: Jonathan Ryder, Mark “Sparky” Lawrence (to April 1) Technical Directors: Richard Hansen, Tim Koll Assistant Technical Director: Kougar Basi Venue Technicians: Kougar Basi, Harrison de Hek, Michael Hewitt, Conrad Tugnum Head of Properties: Heidi Wilkinson Props Builders: Omanie Elias, Frances Henry, Yasu Shimosaka, Jason Wingham, Sharon Zimmerman Props Buyers: Carol MacDonald, Jennifer Stewart Props Apprentice: Ramona Ramsey Head Scenic Artist: Sarah Melo Lead Scenic Artist: Amanda Larder Scenic Artists: Athena Ivison, Tegan Klancnik, Christian Lovell, Carolyn Rapanos, Jessica Routliffe, Vanka Salim Head Scenic Carpenter: Keith Smith Lead Scenic Carpenter: Chris Willis Scenic Carpenters: Craig Alfredson, Ryan Boeur, Derall Dunlop Head of Audio: Chris Engleman Head Electrician: Cody Biles Labourer: Aya Yuhara Production Crew: Harrison de Hek, William Dettlaff, Michael Hewitt, Conrad Tugnum Production Intern/Welder: Madeleine Molgat Laurin Head of Wardrobe: Amy McDougall Assistant Head of Wardrobe: Jessica Oostergo Interim Assistant Head of Wardrobe: Jennifer Stewart Cutters: Victoria Klippenstein, Line Richard, Allison Roy First Hands: Jillian Little, Christine Pampel, Connie Sia Stitchers: Sarah Butler, Melissa Cartwright, Jayme Cline, Desiree Morin, Kristin Thurber, Megan Veaudry, Anastasia Vogl, Heather Young Wardrobe Buyers: Oriana Graber, Ariel Rivera Intern Buyer: Emily Fraser Wig Construction & Styling: Sharon Ryman, Marie Le Bihan Backstage Wardrobe Crew: C.S. Fergusson-Vaux, Stevie Hale-Jones, Megan Kennedy, Melissa McCowell Wardrobe Intern: Alaia Hamer Site Build Project Manager: Jason “Sid” Sadowski Site Supervisors: DJ Hicks, Matthew Oviatt, Sean Preston Project Coordinator: Karley Wolfert Site Buyer: Jim Preston Site Head LX: Jason Filipchuk Site LX Crew: Sarah Lennon, Jeff Little Crew Chiefs: Simon Farrow, Evan Follweiter, Neil Griffith, Michael Louie, Olivia Niese, Gary Robinson, Glenys Thorp, Anthony Walmsley Lead Operator: Don Robinson Operators: Bryce Drew, Brad Lemon First Aid: Conrad Tugnum Site & Transportation Crew: Russell Adams, Jennelle Bedard, Bill Burns, Gerry Dallmann, Maike Fischer, Dylan Hargrave, Andrew Leacock, Mark Magyar, Nicki Majdan, Enid Martin, Nick Melchin, Justine Rego, Judy Rousseau, Brett Rooth, Triane Tambay, Ryan Theiman, Kyle Turner,

Dustin Vaux, Carie Voykin, Russell Waddell, Jillian White, Amy Wilding, Hanako Yakota, Ryan Yee Education Director of Education: Mary Hartman Company & Education Manager: Rhea Shroff Head Voice & Text Coach: Alison Matthews Education Coordinator: Alison Knight Teaching Artists: Anousha Alamian, Scott Bellis, Ian Butcher, Chris Cochrane, Natalie Davidson, Kayla Deorksen, Alexandra Eaton, Austin Eckert, Ben Elliott, Craig Erickson, Jeff Gladstone, Erik Gow, Isabella Halladay, Olivia Hutt, Elliott James, Luisa Jojic, Kayvon Khoshkam, Alexandra Lainfiesta, Jennifer Lines, Anton Lipovetsky, Sereana Malani, Alison Matthews, David McCormick, Adele Noronha, Nadeem Phillip, Kirsty Provan, Nitasha Rajoo, Luc Roderique, Mike Stack, Annie Therrien-Boulos, Todd Thomson, John Voth, Andrew Wheeler, Kaitlin Williams, Ashley Wright Riotous Youth: Brianna Bagshaw-Stocks, Nick Benson, Nova Dexter, Bonnie Duff, Dominic Duff, Mahayla Galliford, Emma Hoogeveen, Isaac Hotchkiss, Julian Legere, Gillian Lonergan, David Volpov Administration Director of Marketing & Communications: Heather Kennedy Marketing Manager: Catherine Veitch Marketing Coordinator: Kira Pidzamecky Publicity & Media: Cynnamon Schreinert Box Office Manager: Brent Cowan Box Office Supervisor: Chantal Lyons-Stevenson Box Office Coordinators: Jocelyn Cartmel, Ciara Gilbert, Madelyn Osborne Customer Service Representatives: Hannah Everett, Seamus Fera, Christine Pennington, Matthew Rhodes, Jacqueline Tiplady Senior Development Manager: Amy Benson Sponsorship & Events Officer: Alexandra Erjavec Annual Giving & Events Coordinator: Karl Ventura Director of Finance: Wendy Orvig Senior Accountant: Deepak Mehra Accountant: Fernando Jacob Administrative Coordinator: Kathleen Brooks Director of Operations: Ava Forsyth Operations Manager: Stacey Menzies Volunteer Coordinator: Brian Cochrane Operations Coordinators: Michelle Deines, Stephen Dunne Boutique Buyer & Manager: Isabella Halladay Events Coordinator: Celeste English Front of House & Retail Managers: Halla Bertrand, Emily Doreen Wilson, Maxwell Forsyth, Chelsea Gardner, Vanessa Ho, Emma Hoogeveen, Julie James, Ben Lange, Kirsten N., Dietcliff Ostrowski, Alastair Pitts, Jessi Simmons, Ingrid Turk, Nora Wendt, Fraz Wiest Facilities Coordinator: Linda Guthrie Season Materials & Website: Thornley Creative Communications Digital Marketing Agency: Murray Paterson Marketing Group Program Design: Corporate Graphics Advance Photography: David Cooper & Emily Cooper Production Photography: David Blue Photography: Joe Biegel, Jason Keel Video Services: Bombshelter Productions 78

Mainstage Theatre

Much Ado About Nothing

Douglas Campbell Theatre

BMO Mainstage

The Two Gentlemen of Verona

The Merchant of Venice

The Winter's Tale

Howard Family Stage

2017 SPECIAL DATES & EVENTS OP Opening Night

MEMBER EVENTS

TBT Talkback Tuesday

MTA Meet the Artist

WINE Wine Wednesday

PR Preview

MBT Members Backstage Tour

EXP Exploring Shakespeare Talk

SM Student Matinee (student groups only)

FO Forum: The Merchant of Venice

Shylock

by Mark Leiren-Young Howard Family Stage

LCT Legacy Circle Tea

FN Family Night

ACCESSIBLE PERFORMANCES VocalEye • Relaxed Performance

MON

TUES

WED

THU

Bard Box Office: 604-739-0559 Online: bardonthebeach.org 5

FRI

1 JUNE PR 7:30pm

JUNE

14 PR 7:30pm

CHOR LEONI 2pm / 7:30pm

PR 7:30pm

CHOR LEONI 2pm / 7:30pm

5 TBT 7:30pm PR 7:30pm

JULY

VSO: Classical Masters 7:30pm

25 MBT 6pm

1 AUGUST

FIREWORKS

TBT 7:30pm TBT 7:30pm

AUGUST

29 OPERA & ARIAS 2pm / 7:30pm

SEPTEMBER

OPERA & ARIAS 2pm / 7:30pm

12 7:30pm

MON

TUES

WED

7:30pm SM 1pm 7:30pm

SM 1pm/7:30pm SM 1pm 7:30pm

THU

MBT 10am

2pm/7:30pm 2pm/7:30pm

2pm/7:30pm 2pm/7:30pm LCT post-matinee

Relaxed Performance 2pm

2pm/7:30pm 2pm/7:30pm

17 2pm/7:30pm 2pm/7:30pm

2pm/7:30pm 2pm/7:30pm

FRI

SM 1pm/7:30pm

2pm/7:30pm 2pm/7:30pm

7:30pm 7:30pm

22 SM 1pm

2pm/7:30pm 2pm/7:30pm

7:30pm 7:30pm

21 SM 1pm/7:30pm

7:30pm OP 7:30pm

SM 1pm SM 1pm/7:30pm

7:30pm 7:30pm

2pm/7:30pm 2pm/7:30pm

7:30pm 7:30pm

1 SEPTEMBER

13 SM 1pm TBT 7:30pm

7:30pm 7:30pm

WINE 7:30pm WINE/PR 7:30pm

11am 2pm/7:30pm 2pm/7:30pm

7:30pm 7:30pm

FIREWORKS

2pm /7:30pm 2pm/7:30pm

12 EXP-Two Gentlemen 13

7:30pm 7:30pm

TBT 7:30pm TBT 7:30pm

5pm 5pm

7:30pm 7:30pm

FIREWORKS

VocalEye 2pm

2pm/7:30pm 2pm/7:30pm

5pm 5pm

7:30pm 7:30pm

WINE 7:30pm WINE 7:30pm

2pm/7:30pm 2pm/7:30pm

7:30pm 7:30pm

23 TBT/FN 7:30pm TBT 7:30pm

7:30pm 7:30pm

2pm/7:30pm 2pm/7:30pm

7:30pm 7:30pm

TBT 7:30pm TBT 7:30pm

7:30pm 7:30pm

WINE 7:30pm WINE 7:30pm

2pm/7:30pm 2pm/7:30pm

2pm /7:30pm PR 2pm/PR 7:30pm

11am 16 15 EXP-Merchant VocalEye 2pm

7:30pm 7:30pm

5pm 5pm

TBT/FN 7:30pm TBT 7:30pm

7:30pm PR 7:30pm

7:30pm 7:30pm

TBT 7:30pm TBT 7:30pm

2pm

2pm /7:30pm

EXP-Much Ado 11am 2pm/7:30pm PR 7:30pm

WINE 7:30pm WINE 7:30pm

2pm /7:30pm

7:30pm PR 7:30pm

7:30pm 7:30pm

MTA 6pm

EXP-Winter’s Tale 11am

1 JULY

7 7:30pm OP 7:30pm

7:30pm OP 7:30pm

TBT 7:30pm TBT 7:30pm

12 TBT/FN 7:30pm PR 7:30pm

FO: Merchant 7:30pm

7:30pm PR 7:30pm

PR 7:30pm

PR 2pm/PR 7:30pm

PR 7:30pm

OP 7:30pm PR 7:30pm

7:30pm

PR 7:30pm

7:30pm

OP 7:30pm

PR 7:30pm

10 SM 1pm

SM 1pm

PR 7:30pm

SOLD OUT

SUN

PR 7:30pm

SAT

2pm /7:30pm

SAT

SUN

DOUGLAS GARALINE TOM Coaching Aboriginal youth. Creating a better Canada.

#Perspective 17-044