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CONTENTS Artistic & Executive Directors’ Message. . . . . . . . . . . . . . . . . . . . . . . . 5 Bard by the Numbers. . . . . . . . . . . . . . . 7 Bard Lab . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Bard on the Beach Administration BMO Theatre Centre 201 – 162 West 1st Avenue Vancouver BC, Canada, V5Y 0H6
As You Like It . . . . . . . . . . . . . . . . . . . . . . 9 The Story . . . . . . . . . . . . . . . . . . . . . . .11 Director’s Notes . . . . . . . . . . . . . . . . 13 Behind the Scenes . . . . . . . . . . . . . 15
Phone: 604.737.0625 Fax: 604.737.0425 Email: info@bardonthebeach.org
Macbeth . . . . . . . . . . . . . . . . . . . . . . . . . 17 The Story . . . . . . . . . . . . . . . . . . . . . . 19 Director’s Notes . . . . . . . . . . . . . . . . 21 Behind the Scenes . . . . . . . . . . . . . 23
Box Office & Festival Site 1695 Whyte Avenue Vanier Park, Vancouver
Timon of Athens. . . . . . . . . . . . . . . . . . . 25 The Story . . . . . . . . . . . . . . . . . . . . . . 27 Director’s Notes . . . . . . . . . . . . . . . . 29 Behind the Scenes . . . . . . . . . . . . . 31
Phone: 604.739.0559 bardonthebeach.org
Lysistrata . . . . . . . . . . . . . . . . . . . . . . . . . 33 The Story . . . . . . . . . . . . . . . . . . . . . . 35 Director’s Notes . . . . . . . . . . . . . . . . 37 Behind the Scenes . . . . . . . . . . . . . 39
#bard2018 | @bardonthebeach
Bard: Beyond the Plays Special Events & Activities. . . . . . . 40
Bard on the Beach is a member of the Professional Association of Canadian Theatres, the Greater Vancouver Professional Theatre Alliance, and the BC Alliance for Arts + Culture, and engages, under the terms of the Canadian Theatre Agreement, professional Artists who are members of Canadian Actors’ Equity Association.
Bard Membership . . . . . . . . . . . . . . . . . 43 Bard Education . . . . . . . . . . . . . . . . . . . 47 Company Biographies . . . . . . . . . . . . 51 Bard Members . . . . . . . . . . . . . . . . . . . . 69
Bard on the Beach is a non-profit registered charity. Charitable Registration Number 129644928 RR0001.
Bard Volunteers . . . . . . . . . . . . . . . . . . . 75
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.
The Bard Team. . . . . . . . . . . . . . . . . . . . 78
Acknowledgements . . . . . . . . . . . . . . . 76 Season Schedule . . . . . . . . . . . . . . . . . 79 3
GROWING HEALTHY VIBRANT COMMUNITIES Our commitment is to contribute to long-term social and economic benefits in the communities where we live and work through the arts, culture and recreation, as well as health, education, environment, governance, diversity and community development.
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ARTISTIC & EXECUTIVE DIRECTORS’ MESSAGE
Claire Sakaki and Christopher Gaze Photo: David Cooper
Welcome to Bard, one and all! We wish you all a marvelous experience as you explore the many attractions of our 2018 Season. It’s our pleasure to bring you four unique plays: a joyous new take on As You Like It, set in 1960s Vancouver and filled with live Beatles music, a powerhouse classic Macbeth, and two innovative new productions: Shakespeare’s Timon of Athens, redefined with a female-dominated cast, and a Bard-commissioned adaptation of the Greek play Lysistrata, transposed to our time and circumstances. We encourage you to see all four – each one will open up a new world to you. Over the past twenty-nine years, we have been governed by an instinct to build Bard steadily and thoughtfully. Shakespeare has a quote for it, of course - “Wisely, and slow, they stumble that run fast...” Our growth has been organic and measured, and it has kept us strong and sustainable. We’ve been purposeful and strategic as we’ve introduced essential innovation and change. This approach has allowed us the time to consult and benefit from the knowledge and advice of so many who support us and care about our future. We thank them all, now and always. Board of Directors President Jim Bovard Vice President Margie Knox Treasurer Kostya Polyakov Secretary Beth Macdonald Directors Douglas Clarke John Geddes Darlene Howard Bernie Maroney John McCulloch Marlie Oden Marg Vandenberg Douglas Welch
Every year Bard draws on the skills and talents of over 200 people who collectively build our site, stage our plays and look after an audience that has grown to be 100,000 strong. We have over 250 dedicated volunteers who welcome you, look after you at our site, and give freely of their time so that Bard can prosper and flourish. We have 1,000 Bard Members who give generous financial support, year after year. We reach out to you all and thank you from the bottom of our hearts. We are lifted and empowered by you – our Festival sits on your shoulders. We’re proud to have worked with you to build a remarkable cultural asset for the city of Vancouver and a remarkable destination experience for those who come from near and far to discover the magic that is Bard on the Beach.
“We can, no other answer make but thanks and thanks and ever thanks!”
Christopher Gaze, Artistic Director
Claire Sakaki, Executive Director
In memory of Edith and Mike Sims, Bard’s first volunteers.
5
SUPPORTING THE COMMUNITIES WE SERVE YVR is proud to be the Community Access Ticket Partner for Bard on the Beach.
YVR.CA
6
NO.
1
largest Shakespeare Festival in Western Canada
BARD BY THE NUMBERS
2
ND
100,000+
largest theatre company in British Columbia
people attended a Bard performance
67%
Only
2 13,471
%
young people saw a Bard play for free or with a discounted ticket
50
Administrators
103
of our revenue came from ticket & concession sales, one of the highest percentages of earned revenue for a Canadian theatre company
of our revenue came from annual government support
218
126
Education workshops
Artists
served
Technicians & Artisans EMPLOYED BY BARD Over
250
Volunteers donated
3,291
adults and children in the Lower Mainland
20,000
hours of time
(All statistics from the 2017 fiscal year)
BARD LAB
The Bard Lab was established in 2015 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. Bard has commissioned and workshopped five plays since 2015, Lysistrata being the first to be publically performed! Other works include indigenous and Afghani adaptations of Romeo and Juliet, a musical based on Shakespeare’s characters set in modern day, and a dance piece inspired by the character of Lady Macbeth. 7
Lindsey Angell (Rosalind) & Nadeem Phillip (Orlando de Boys) Image: David Cooper & Emily Cooper
#bard2018
ORLANDO DE BOYS ADAM OLIVER DE BOYS CHARLES THE WRESTLER CELIA ROSALIND DUKE FREDERICK LE BEAU TOUCHSTONE DUKE FREDERICK’S ATTENDANT DUKE SENIOR AMIENS FIRST LORD SECOND LORD CORIN SILVIUS JAQUES AUDREY SIR OLIVER MARTEXT PHOEBE WILLIAM JACQUES DE BOYS HYMEN
Nadeem Phillip Andrew Wheeler Craig Erickson Austin Eckert Harveen Sandhu Lindsey Angell Scott Bellis Jeff Gladstone Kayvon Khoshkam Sharon Crandall Scott Bellis Austin Eckert Jeff Gladstone Nicco Del Rio Sharon Crandall Ben Elliott Ben Carlson Emma Slipp Andrew Wheeler Luisa Jojic Nicco Del Rio Nicco Del Rio Jeff Gladstone
Costume Designer Set Designer Lighting Designer Sound Designer/Musical Director Head Voice & Text Coach Choreographer/Fight Director Production Stage Manager Assistant Stage Manager Apprentice Stage Manager Directing Apprentice Costume Design Apprentice
Carmen Alatorre Pam Johnson Gerald King Ben Elliott Alison Matthews Jonathan Hawley Purvis Stephen Courtenay Rebecca Mulvihill Jenny Kim Kim Senklip Harvey Emily Fraser
Production Sponsor
One 20 minute intermission The use of electronic devices, including cameras, during the performance is strictly prohibited. 9
Lindsey Angell & Nadeem Phillip As You Like It (2018) Photo: David Cooper
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AS YOU LIKE IT T HE S T OR Y WRESTLING FOR POWER
It’s the 1960s in Vancouver. Duke Frederick, a powerful business owner, has taken control of the family firm and forced his brother, Duke Senior, to leave town. He permits his brother’s daughter, Rosalind, to stay because of her close friendship with his daughter Celia. The action begins at a wrestling match. Oliver de Boys, who manages a champion wrestler named Charles, argues with his younger brother Orlando. Orlando is angry that Oliver has mistreated him and held back his inheritance since their father died. Orlando decides to wrestle for his fortune. At the match, he meets Rosalind and they fall instantly in love.
Set design for As You Like It by Pam Johnson
He demands that Oliver bring his brother back or else he will ruin him.
THE GREAT ESCAPE
Duke Frederick orders Rosalind to leave Vancouver, as he no longer trusts her. She and Celia decide to run away to the Okanagan forest. Rosalind disguises herself as Ganymede, a young man and Celia becomes Aliena, his sister. Touchstone, a family employee, goes with them.
But when Oliver shows up at the young women’s farm, he announces he has reconciled with his brother after Orlando saved him from a mountain lion. Oliver and Aliena (Celia) fall in love.
HELP!
Orlando grows tired of Ganymede’s game and believes his love for Rosalind is hopeless. Other relationships are also complicated: Silvius is still in love with Phoebe, but she’s smitten with Ganymede. Claiming “he” can work magic, Ganymede invites everyone to gather the next morning, when all will be resolved. Could it be true that “all you need is love”?
Meanwhile, Adam, a longtime de Boys employee, warns Orlando that Oliver plans to have him killed. They also escape to the Okanagan. In the forest, Ganymede (Rosalind) and Aliena (Celia) meet Silvius and Corin, two local farmers, and arrange to buy a farm. Nearby, Orlando and Adam stumble upon Duke Senior and his companions, who take them in.
DID YOU KNOW?
• While Shakespeare’s As You Like It
LOVE BLOOMS IN THE WOODS
didn’t originally include songs by The Beatles (surprise!) it contained five complete songs, more than any other Shakespeare play.
Orlando leaves love notes about Rosalind throughout the forest. He meets Ganymede (Rosalind), who proposes that Orlando treat “him” as Rosalind, so he can practice his wooing – not realizing that Ganymede is actually the woman he loves. Elsewhere, Silvius pines for another farmer, Phoebe, while Touchstone meets Audrey and they fall in love.
• When As You Like It was first
performed, all of the roles would have been played by men. So at one point in the Forest of Arden there would have been a male actor playing a woman, disguised as a man, pretending to be a woman!
In Vancouver, Duke Frederick is furious that the girls and Orlando have disappeared. 11
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12
COMPANY AS YOU BIOGRAPHIES LIKE IT D IR E C T O R ’ S N O T ES I have set this production of As You Like It right here – in Bard’s own backyard. It’s the 1960s, and we’re in Kitsilano – home of Vancouver’s counter-culture. We start at a wrestling match, much like Vancouver’s All-Star Wrestling of the ‘60s, and then our lovers escape to the Okanagan (which, for Shakespeare purists, scans the same as “For’st of Arden”!), just like many freethinkers of the ‘60s escaped Vancouver to get “back to the land” in the interior of BC.
Peace bus model by Pam Johnson
start when they run to the forest. But as we meet the thinkers in the forest and life becomes more complicated, we are able to transition into The Beatles’ later more spiritual and philosophical songwriting, exploring the notion that change is possible if we all find a way to love each other.
As You Like It is a love story. Love in its many forms. From youthful romantic love, to the love of a father and a daughter, to the belief that to get what we want in life, truly, all we need to do is love and respect each other – a belief that resonated as much in Shakespeare’s time as it did in the sixties – and as it does today.
Shakespeare, Vancouver, the 1960s, and The Beatles are a perfect combination. I’m so glad you have joined us for this adventure into the forest. I hope by the end of the play we will send you out of the tent with a song in your heart and a belief in our shared humanity. Daryl Cloran
We are telling this story with “a little help from our friends”, The Beatles. The Fab Four’s songs fit perfectly into this story. The challenge for me was not how to include the songs, it was how to narrow down our choices! There are 25 Beatles songs in this production. Needless to say, I have cut A LOT of Shakespeare’s text to make room for the songs. The Bard’s story comes alive through song, as the characters find themselves in the woods where emotions can no longer be contained by words alone. Orlando’s love letters become love songs. Amiens and the Lords sing as they refine their philosophy about life and love.
Phoebe costume sketch by Carmen Alatorre
ABOUT DARYL CLORAN Artistic Director of the Citadel Theatre (Edmonton). Former Artistic Director of Western Canada Theatre (Kamloops) and Founding Artistic Director of Theatrefront (Toronto). Directing credits include: Love’s Labour’s Lost (Bard on the Beach); Shakespeare in Love, The Silver Arrow (Citadel); Liberation Days (Theatre Calgary/WCT); Mary Poppins (Persephone/WCT); Tribes (Canadian Stage); And All For Love (National Arts Centre); Generous (Tarragon); Afterplay (Shaw Festival); and the international collaborations RETURN (The Sarajevo Project) and UBUNTU (The Cape Town Project).
Even the evolution of The Beatles’ songwriting is perfect for the story arc of As You Like It. The early Beatles songs are naïve and youthful, which is where the young lovers 13
B EST SU PPORTING CHARACTER IN LIFE AND ON STAGE
J O H N F LU EVO G S H O E S G R A N V I L L E S T · · | WAT E R S T · · F L U E VO G C O M
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COMPANY AS YOU BIOGRAPHIES LIKE IT B E HIN D T HE SC ENE S THE SET
heels, accessorized with pearls and beehive-coiffed hairdos.
Pam Johnson’s colourful set design was inspired by The Beatles’ artistic and personal evolution as well as the many years she’s lived in both Vancouver and BC’s Interior, where this production takes place.
In the rural Okanagan, residents prefer a funky, laid-back look, reminiscent of the late 1960s. Alatorre has played with “as much mismatching of patterns and colours as possible.” She’s introduced psychedelic patterned pants, paired with bright, shiny military-styled jackets, tunics and fringed vests, and ruffled shirts. Hairstyles are longer, shaggier and more natural. Outrageous platform shoes complete the fashion throwback.
One of her challenges was how to easily shift locations – from an urban wrestling arena to a rural wooded area. She’s designed a mezzanine as the set’s focal point, which helps to transform space and serves as multiple locations. A rolling riser functions as an impromptu bandstand. Johnson also turned to historical references. The city backdrop showcases a recreated image of Vancouver’s Granville Street in its 1960s heyday – a sea of neon signs, clubs and shops. In contrast, the Okanagan is a fantastical place, where young people retreat to get back to nature. Here, Johnson has played with “a riot of colour,” using a kaleidoscope of bright hues to capture the era’s mod, psychedelic vibe.
THE MUSIC
Musical Director Ben Elliott says his experience arranging The Beatles songs in this production has provided an embarrassment of riches. “Any opportunity to be immersed in The Beatles’ inventiveness is a joy,” notes the veteran Bard sound designer and performer.
THE COSTUMES
The Beatles’ influence extended far beyond their music; they were also major fashion trendsetters. Designer Carmen Alatorre has created two distinct sartorial worlds, inspired by the Fab Four’s evolving fashion and hairstyle choices.
Duke Senior costume sketch by Carmen Alatorre
Rosalind costume sketch by Carmen Alatorre
Elliott’s arrangements are inspired by The Beatles’ original recordings, but he’s adapted the orchestrations to favour instruments better suited for the show’s live performances and also to take advantage of the considerable – and versatile – musical talents of the cast. Fans of the Fab Four will delight in songs drawn from The Beatles’ extensive catalogue, from the early uplifting, energetic pop hits to the poignant ballads and more sophisticated tunes that followed. “The play’s characters give these songs a new twist and vice versa – they complement each other,” says Elliott. “I’m excited for people to hear these amazing classics in a new light.”
In urban Vancouver, the silhouettes are sleek and sophisticated, evoking a moneyed, corporate sensibility. The men sport mop-top haircuts and dark tailored, collarless suits with skinny ties. The women favour elegant pencil-skirt dresses and stiletto
Cosmetics Sponsor 15
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MACBETH June 6 September 13 BMO Mainstage
Moya O’Connell (Lady Macbeth) & Ben Carlson (Macbeth) Image: David Cooper & Emily Cooper
#bard2018
WITCH 1 WITCH 2 WITCH 3 DUNCAN MALCOLM SERGEANT ROSS LENNOX DONALBAIN MACBETH BANQUO MACDUFF LADY MACBETH FLEANCE PORTER SEYTON LADY MACDUFF MACDUFF’S SON DOCTOR LORDS, LADIES, SOLDIERS KINGS ATTENDANTS, SERVANTS MESSENGERS and MURDERERS MUSICAL ENSEMBLE
Emma Slipp Kate Besworth Harveen Sandhu Scott Bellis Jeff Gladstone Kayvon Khoshkam Austin Eckert Ben Elliott Nadeem Phillip Ben Carlson Craig Erickson Andrew Wheeler Moya O’Connell Kate Besworth Kayvon Khoshkam Kayvon Khoshkam Lindsey Angell Nicco Del Rio Scott Bellis Members of the Company Members of the Company
Costume Designer Set Designer Lighting Designer Sound Designer/Composer Head Voice & Text Coach Fight Director Associate Fight Director Production Stage Manager Assistant Stage Manager Apprentice Stage Manager Directing Apprentice Costume Design Apprentice
Christine Reimer Pam Johnson Gerald King Owen Belton Alison Matthews Jonathan Hawley Purvis Jacqueline Loewen Stephen Courtenay Rebecca Mulvihill Jenny Kim Marie Farsi Alaia Hamer
Production Sponsor
One 20 minute intermission The use of electronic devices, including cameras, during the performance is strictly prohibited. 17
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MACBETH T HE S T OR Y PROPHETIC WORDS
Macbeth and Banquo, generals in the Scottish army, are returning home victorious from battle when they meet three witches. The witches prophesy that Macbeth will be appointed Thane of Cawdor and then King of Scotland. They also tell Banquo that his descendants will be kings.
THE ASCENT
Set design for Macbeth by Pam Johnson
The witches’ first prediction is soon realized when King Duncan of Scotland rewards Macbeth’s brave service in battle with a new title – Thane of Cawdor. Lady Macbeth is inspired by her husband’s report of the prophecy and his growing ambition. She persuades Macbeth to murder King Duncan during his upcoming visit to their castle; this will clear Macbeth’s path to the throne.
son to be murdered. Later, Banquo’s ghost appears before Macbeth at a formal banquet. Macbeth seeks out the witches again, anxious for guidance. They warn him of Macduff, another nobleman who has also fled to England. They advise Macbeth that he cannot be harmed by any man born of woman.
Later that night, after celebrating with Duncan and his entourage, they activate their plan and Macbeth murders the sleeping King in his chamber.
Meanwhile, Lady Macbeth is increasingly disturbed by the decisions she and her husband have made.
OPPOSING FORCES UNITE
In England, Malcolm and Macduff decide to join forces. They plot their revenge and assemble an army to march against Macbeth.
FATEFUL OUTCOME
As his enemies approach Scotland, Macbeth remains confident of his own invincibility, convinced he is protected by the witches’ prophecy. Everything is at stake as Macbeth faces his ultimate destiny.
DID YOU KNOW?
Macbeth and Lady Macbeth costume sketch and fabric by Christine Reimer
• At only 2,477 lines, Macbeth is
THE FLIGHT
Shakespeare’s shortest tragedy.
Malcolm and Donalbain, Duncan’s two sons and heirs, fear for their lives and flee to England for safety. With Malcolm and Donalbain gone, Macbeth is crowned king.
• Audiences only hearing the play
would not know there are roles called ‘witches’. In the spoken dialogue, these characters are referred to as ‘sister’, ‘weird sisters’, ‘weird women’, or ‘secret, black and midnight hags’.
PROPHETIC VISIONS
Intent on securing his royal power, Macbeth arranges for Banquo and his 19
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20
COMPANY MACBETH BIOGRAPHIES D IR E C T O R ’ S N O T ES When I start working on a play I like to start by asking simple questions.
Macbeth is a play that asks its audience to forge a unique bond with its protagonists. It asks its audience to step into the shoes of a couple that commits a murder, or at very least, it asks them to ride shotgun while this happens. It’s a play that wants us to know what it feels like to have the universe open up to you and tell you ‘you are destined for greatness’ ; to plot and execute the murder of a king, and live with the consequence. At the very same time it’s a play that wants us to think about why all of this is occurring, and who or what is truly responsible for all this bloodshed, chaos and pain.
Why do people love this play? How did the open air playhouse of 1607 and the presence of daylight influence the way Shakespeare’s audience experienced the play? What is a witch? Macbeth’s What is a prophecy? sword What is magic? I try to stay innocent, and let the questions lead me.
Do the witches awaken something within Macbeth – or do they put something there that wasn’t there in first place? Why do the witches pick on Macbeth? Why him? What is the nature of Lady Macbeth’s hold on her husband? Have the Macbeths lost a child? What impact does this have on them? How does this loss shape their sense of their identity, their sense of their own power? How does this loss shape Macbeth’s sense of his own manhood, and Lady Macbeth’s understanding of her life’s purpose?
It is one of the original whodunits. Not in the sense of who actually commits the murder – the play is wholly transparent about this. It is more a metaphysical detective story, asking the audience to grapple with the bigger questions of agency, fate and free will, and the nature of power. Happy hunting.
Chris Abraham
ABOUT CHRIS ABRAHAM
At a certain point there are things you come to accept to be a true about a play, facts that you use to build the play around, yet there are certain questions that remain, which are harder to answer.
Chris has directed across the country including eight seasons at the Stratford Festival, for whom he has directed Tartuffe, The Taming of the Shrew, A Midsummer Night’s Dream, and Othello. In 2003, Chris directed the film adaptation of Kristen Thomson’s award winning hit I, Claudia for which he won a Gemini award. In 2013, Chris was awarded the Siminovitch Prize, the most prestigious prize for Canadian performing arts. He is currently the Artistic Director of Toronto’s Crow’s Theatre.
How does Shakespeare feel about kings, the patriarchy and men’s pursuit of power? How does he feel about war? Is Macbeth a story about someone that directs his own fate? Or is it a story about someone prompted and cajoled by others? Or is he just simply puppeted by supernatural forces beyond his control? Can these stories be simultaneously true? Do you have to pick just one? Why this play now? What does it have to say to the present moment – and about the nature of power and patriarchy in our own world? 21
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MACBETH B E HIN D T HE SC ENE S THE SET
In this production, Set Designer and Bard Artistic Associate Pam Johnson pays homage to the historic, open-air Shakespeare’s Globe Theatre in London, England. Her goal was to create an environment that allows audiences to experience the play as they might have in Shakespeare’s day. References to the Globe’s stage – its pillars, mezzanine and wooden floor – are evident in much of Johnson’s design. The pillars have morphed into trees; tall weathered wood flats, suggesting an impenetrable fortress, frame a railed platform from which characters can plot their next move. Underneath, two large doors provide a sense of other castle rooms and locations.
Christine Reimer dyeing fabric for the Ross costume below
muddy terrain. Fitted doublets are paired with linen shirts and starched ruffs. The ladies’ outfits feature full skirts, shaped by petticoats and under-padding to create a Jacobean silhouette. These are matched with corseted bodices and laced footwear. In contrast, the witches’ wellworn dresses and shabby boots reflect their war-ravaged reality.
Johnson also has sought to “find a balance between the dark, supernatural and the psychological, dramatic elements of the play.” She’s chosen a neutral palette of gray and white to evoke a cold, stark world in Scotland’s backwoods – equal parts menacing and otherworldly.
THE MUSIC
Sound Designer Owen Belton returns to Bard with a period-inspired original soundscape that amplifies this production’s physical setting as well as its dark dramatic landscape.
THE COSTUMES
Listening to a wide range of hurdy-gurdy music gave Belton initial ideas for some of the sonic textures he wanted to create. The drones of bagpipes and the hurdygurdy evoke the wilds of the Scottish Highlands. There are character-specific themes that complement the action onstage: an ethereal drone fragment announces the witches; a sad melody portends Lady Macbeth’s distress.
Christine Reimer’s costumes “mirror what was contemporary dress and what actors would have worn in Shakespeare’s day,” with a nod to the medieval in the armour and kingly robes.
Her reference points were early 17th century portraits of British nobility and the “Cries of London” woodcuts series, which depicted everyday common folk. She’s also chosen textiles and colours that would have been available circa 1600, such Ross costume sketch as linens, wools by Christine Reimer and velvets in darker, subdued tones.
Percussion also figures prominently in Belton’s score. High-spirited rhythms add a raucous energy to the banquet scenes, while accelerating, heavy drumbeats underscore the tensions of war. The actors perform most of the percussion duties, playing a variety of drums throughout the show. Belton, whose theatre compositions are often pre-recorded, is looking forward to the live aspects of his score – a welcome opportunity for “collaboration and some great surprises.”
The men wear trousers gathered at the knee and tall boots suited for Scotland’s 23
NEW LOOK. SAME AUTHENTIC DRY CIDER. Production Sponsor of
TIMON OF ATHENS By William Shakespeare
lonetreecider.com
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April 4
2018
1900
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Colleen Wheeler (Timon) Image: David Cooper & Emily Cooper
#bard2018 H O WA R D FA M I LY S TAG E in the Douglas Campbell Theatre
POET PAINTER LUCIUS SEMPRONIUS TIMON VENTIDIUS APEMANTUS FLAVIUS ISIDORE FLAMINIUS HELP 1 HELP 2
Jennifer Lines Kate Besworth Michelle Fisk Patti Allan Colleen Wheeler Quelemia Sparrow Marci T. House Moya O’Connell Adele Noronha Ming Hudson Joel D. Montgrand Sebastien Archibald
Costume Designer Set Designer Lighting Designer Sound Designer/Composer Head Voice & Text Coach Choreographer Fight Director Stage Manager Assistant Stage Manager Apprentice Stage Manager Directing Apprentice
Mara Gottler Drew Facey John Webber Alessandro Juliani Alison Matthews Amanda Testini Josh Reynolds Joanne P. B. Smith Jennifer Stewart Zoe Bellis Cherissa Richards
Attend a Tuesday performance of any play and stay for an informal Q & A with cast members. See the Season Schedule (page 79) for Talkback Tuesday dates.
Production Sponsor
90 minutes, no intermission The use of electronic devices, including cameras, during the performance is strictly prohibited. Bard on the Beach acknowledges the generous support of Canadian Actors’ Equity Association. 25
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TIMON OF ATHENS T HE S T OR Y GOOD TIMES
It’s 2018, in a city much like Vancouver. Timon, a very wealthy and generous woman, entertains guests at her home. Timon’s friend Ventidius appeals to her for a loan, promising to quickly repay it. As her other friends Lucius and Sempronius leave the party, Timon offers them expensive gifts.
A REQUEST FOR HELP
Later, Timon’s assistant Flavius receives demands from multiple creditors, who insist that Timon immediately pay her outstanding bills and debts. Flavius tries to get Timon to understand that she is out of money. But Timon is confident that she can obtain a loan to see her through. She sends her assistants to ask Ventidius, Lucius and Sempronius for help. Each of them denies Timon any assistance.
Mara Gottler’s costume inspiration board for Apemantus (played by Marci T. House )
CHARACTERS
THE RECKONING
As more and more people call in their debts, Timon realizes the true gravity of her financial situation. With nowhere left to turn, she plans a final dinner party for her friends.
Timon A very wealthy woman Poet A singer. Acquaintance of Timon
Lucius A very wealthy friend of Timon
Painter An artist. Daughter of Lucius
Sempronius A very wealthy friend of Timon
Ventidius A very wealthy friend of Timon
Apemantus A true friend of Timon
Timon graciously welcomes everyone to the feast. When the meal is served, it is nothing but bowls of warm water. Timon curses her guests’ false friendship and further denounces all humanity. She turns her back on society.
Isidore A friend of Timon
Flavius Timon’s personal assistant
Flaminius Timon’s personal assistant’s assistant
The Help 1 Employed by Timon
THE ULTIMATE DECISION
The Help 2 Employed by Timon
Timon heads off into the unknown. Hungry, she digs for roots in the ground, where she finds a cache of gold. One by one, Timon’s friends and acquaintances turn up to petition her to return to her place in their community. They apologize for their actions or they flatter her; some of them are eager to get their hands on the gold she has found. Timon sends them all away. Flavius makes a last effort to bring her employer back to her old life. But Timon is resolute in her decision to extricate herself from society.
DID YOU KNOW?
• In the traditional approach to
Timon of Athens, women are almost absent. In the original script, there are only two named female characters, who speak a combined total of forty words.
• Unique among Shakespeare’s plays, Timon of Athens is completely without family relationships and romantic love.
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TIMON OF ATHENS D IR E C T O R ’ S N O T ES Timon of Athens is a difficult play. It is difficult to date. It was written somewhere around 1606, but there is no record of it being performed during Shakespeare’s lifetime. It is difficult to say who wrote it. It’s widely regarded to have been either co-written with someone who wasn’t Shakespeare or almost certainly revised by someone who wasn’t him. Probably Thomas Middleton. It is difficult to find any history of unadapted productions. Timon’s past is littered with adaptation after adaptation of the original text, including the very first time is was presented.
Mara Gottler’s costume inspiration board for Timon (played by Colleen Wheeler)
immeasurably to this iteration of Timon of Athens.
And it is difficult to pin down its themes. Working on it, I’ve been wondering about redemption, greed, agency, capitalism, friendship, altruism, generosity, societal obligation, nihilism, money – I’ve been thinking about the rotten systems at work in Timon’s world, and how they might reflect our own institutions and structures.
I suppose this is the part where I say Timon is a difficult play for our difficult times. Which it might be. We are certainly in a time of interrogation, of reflection, of examination of our part in society and how it works, how it works on us. I think of Timon as a parable, but I’ll leave you to fill in the moral at the end. In my opinion, that is the most difficult part. Meg Roe
ABOUT MEG ROE Meg’s work has been seen at Theatre Calgary, Canadian Stage, Factory Theatre, Alberta Theatre Projects, Bard on the Beach, Theatre Junction, Citadel Theatre, Ruby Slippers Theatre, Electric Company Theatre, Blackbird Theatre, Theatre Aquarius, Arts Club Theatre Company, Belfry, Theatre SKAM, Royal Manitoba Theatre Centre, Intrepid Theatre, Vancouver Playhouse, Western Canada Theatre, National Arts Centre, Centaur Theatre, Shaw Festival, American Conservatory Theatre, Center Theater Group, and with Crystal Pite’s Kidd Pivot.
It is a difficult play.
Costume for Lucius by Mara Gottler
I would particularly like to thank Errol Durbach, Mary Hartman, Alessandro Juliani and Colleen Wheeler for their help in wrestling the original text into the short version of the play you will see today, and the extraordinary company of designers, actors, and stage managers who have contributed 29
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TIMON OF ATHENS B E HIN D T HE SC ENE S THE SET
For this production, Set Designer Drew Facey was curious to explore how to harness the materials that were already in the tent, to create a “truly immersive surround environment that transports audiences to a specific world.” He’s incorporated the tent’s towering trusses into his design, both to frame the overall theatre space, and to evoke the contemporary architectural landscape of downtown Vancouver. Timon’s home is imagined as an elegant penthouse, complete with the perfect terrace for entertaining. The décor is modern, spare and sophisticated: designer furniture is complemented with recessed floor lights. Tall louvred panels at the back of the space shift throughout the show to create doorways and a sense of enclosed interior space.
Set design for Timon of Athens by Drew Facey
Only in the reprieve of the private home is true self-expression allowed. Tight restrictive fashion is replaced with comfortable and slouchy fits, mirroring a similar release from social and sartorial dictates.”
The overall effect is “bare simplicity.” Facey’s palette of dark and pale grays further highlights the play’s cold, concrete urban environment.
THE MUSIC Sound Designer/Composer Alessandro Juliani and his partner, Timon Director Meg Roe, have collaborated on 40+ productions. The result is what he describes as “an undeniable shorthand between us…that allows us to take the artistic leaps we do together.”
THE COSTUMES
Bard Artistic Associate and founding member Mara Gottler shares some insights into her costume design: “Society in our female-centric contemporary fable consists of two classes: the ultra-wealthy, secure in their status, and the salaried aspirants seeking power and money. As modern fashion is about belonging or not belonging, what each woman wears indicates both her background (self-made vs. inherited riches) and her hopes.
Their creative process for a project usually begins with Roe playing a song or sound fragment that has sparked her imagination. Then they explore what quality – instrumentation, melody, mood – has inspired her, providing Juliani with an initial point of departure. With this adaptation of Timon, Juliani was struck by the “innate fragility of our social constructs, and how the veneers of civility with which we armour ourselves are so easily stripped away.” His soundscape includes both live and pre-recorded music, with its tone shifting dramatically as the play unfolds. Says Juliani, “I’m excited at the challenge of how to sonically support Timon’s precipitous fall from this society.”
The wealthier women choose haute couture labels; the less affluent wear off-the-rack imitations. The brand projects the image; colour, texture and silhouette refine it. Timon wears an ivory pantsuit, conveying honesty and authority. Her colleague, Apemantus, unwilling to conform socially, flaunts her indifference with a taupe shirtwaist. In such a world, fashion telegraphs, and is inseparable from, personality. 31
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Marci T. House, Jennifer Lines, Quelemia Sparrow Image: David Cooper & Emily Cooper
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H O WA R D FA M I LY S TAG E in the Douglas Campbell Theatre
ENSEMBLE Sharon Crandall Michelle Fisk Marci T. House Ming Hudson Luisa Jojic Jennifer Lines Adele Noronha Quelemia Sparrow Colleen Wheeler Sebastien Archibald Joel D. Montgrand Costume Designer Set Designer Lighting Designer Composer/Sound Designer/Musical Director Head Voice & Text Coach Choreographer Fight Director Indigenous Consultant Stage Manager Assistant Stage Manager Apprentice Stage Manager Directing Apprentice Costume Design Apprentice
Barbara Clayden Drew Facey John Webber Mishelle Cuttler Alison Matthews Tara Cheyenne Friedenberg Josh Reynolds Quelemia Sparrow Joanne P. B. Smith Jennifer Stewart Zoe Bellis Joel Wirkkunen Hannah Case
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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One 20 minute intermission The use of electronic devices, including cameras, during the performance is strictly prohibited. 33
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LYSISTRATA T HE S E T - U P : 2 0 1 8 Bard’s Douglas Campbell Theatre production of Hamlet, featuring an allfemale cast, is a huge hit. Meantime, ominous rezoning signs have been popping up all over Vanier Park and Hamlet ’s company of actors is up in arms. With just a few hours remaining before curtain, they decide to stage a performance of Aristophanes’ protest play, Lysistrata – with no costumes, set, props, music, lighting, or rehearsal time to pull this off…
T HE S T OR Y : 4 11 BC PROVOCATION
In Athens, circa 411 BC, Lysistrata has called a clandestine meeting of women from Athens and from the neighbouring enemy states of Sparta, Thebes and Corinth. She lays out a scheme to end the interminable war that is taking their men to battle. Her plan is for all women to deny their husbands any sexual relations until the men agree to negotiate peace.
Set design for Lysistrata by Drew Facey
that taking action also means listening and working together for the greater good. Soon after, Athenian and Spartan soldiers come to meet with Lysistrata outside the Acropolis, prepared to negotiate. Lysistrata lays out a strategy that would lead the warring factions to a peaceful solution, and then ushers in the figure of Earth. The soldiers agree to end the war as they greedily divide Earth’s gifts.
The women pledge their commitment to Lysistrata’s strategy and head to the Acropolis, where the Old Women have seized control.
ACTION
DID YOU KNOW?
The next morning, outside the Acropolis barricades, the Old Men try to smoke out the women with logs and fire, which the Old Women douse with buckets of water. The younger women waver on their commitment to withhold sex and are urged by Lysistrata to stand united.
• During the past century, adaptations of Lysistrata have included a ballet, an opera, a movie musical, a stage musical, a film and a graphic novel. One recent example is Spike Lee’s 2015 film, Chi-Raq, in which Chicago women go on a sex strike to stop gun violence.
A Magistrate arrives to gain access to the state treasury, housed inside the Acropolis. Refused entry, he mocks the women’s siege and challenges their ability to make political decisions.
• The original play is one of 11
surviving plays by Aristophanes, who wrote about 40 plays. Little is known about the playwright, but he appears as a character in Plato’s Symposium. In it, he has a conversation with Socrates, whom he caricatured in his play, The Clouds.
IMPACT
Early the next day, the Old Women venture beyond the gates to fetch water and begin fighting with the Old Men. After an exhausting struggle, the Old Folks realize 35
LYSISTRATA D IR E C T O R ’ S N O T ES politics to argue; it means the questions being raised were explorations into kinds of anarchy, kinds of change, identifying errors, flaws, and vulnerabilities in systems.” (Toni Morrison) Lois Anderson
Lysistrata is a 2400-year-old comedy about citizen action, taken by an unlikely group of people who step up and speak out. It was written in 411 BC, and at that time, it would have been a hilarious scenario for an Athenian audience to witness housewives participating in politics. In seeking a contemporary echo for this piece, I took some advice from Aristophanes himself:
ABOUT LOIS ANDERSON Bard roles include Paulina, The Winter’s Tale; 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, Rough House, Leaky Heaven, SFU and UBC. She was a co-creator of Cirque Poule and Flying Blind. Lois has received eight Jessie Awards (including Best Director, Pericles), a Betty Mitchell Award, and the Sydney Risk Emerging Director Award.
“You’ll come up with something brand new if you’re hoping to launch a real winner. The banqueters won’t fail to boo If you dare serve them yesterday’s dinner.” Aristophanes wrote Lysistrata in the midst of a long drawn-out war which was ravaging the land of Greece. I was impressed that his action was to respond as an artist; to write a play, to stage a comedic glance at the state of affairs. Citizens were expected to attend the theatre in ancient Athens – it was a place where questions were staged, and democracy put under the lens. The theatre functioned in part as a public forum. So, here we are, it’s the summer of 2018 in Vancouver, and as we wrangle down this ancient Greek play, we consider our relationship with activism today - and with the theatre. How might this play echo today, in this place, at this time? One thing emerges – the Earth has been saying the same thing for thousands of years...
ABOUT JENNIFER WISE Co-adapter of Lysistrata
Jennifer is a playwright and translator whose work has been seen on stages from NYC to Santa Monica to the Shaw Festival. For The Girl Rabbi of the Golden West, she won the Canadian Jewish Playwriting Competition; her musical A Queer Trial was a finalist in Theatre BC’s Canadian Playwriting Competition; and Orbit, about Galileo’s children, was a finalist for the Herman Voaden Prize. Her new adaptation of Aristophanes’ Birds premieres in Kingston this fall.
My sincere thanks to my co-adapter, Jennifer Wise, for her fresh translation of Aristophanes’ Lysistrata; my design team of Drew Facey, Barbara Clayden, John Webber, Mishelle Cuttler, and Tara Cheyenne Friedenberg; the company for their contribution to text in the Vancouver scenes, and Joel Wirkkunen, dramaturge and apprentice director. Particular mention goes to Quelemia Sparrow for her contribution to text, and her lens inside of this piece.
“I always took for granted that the best art was political and was revolutionary. It doesn’t mean that art has an agenda or a 37
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LYSISTRATA B E HIN D T HE SC ENE S THE SET & COSTUMES Every creative endeavour has its unique set of challenges, but Set and Costume Designers Drew Facey and Barbara Clayden agree that this production of Lysistrata ranks among their most unusual assignments yet. This 2018 Bard production of Lysistrata proposes that the play’s staging has come together within a few hours, as a spontaneous creative act. The designers’ task? To reflect that improvisational chain of events, and show an audience how it might literally unfold. The play’s concept dictates that the two designers work only with found objects and unconventional materials, and that’s exactly how Facey and Clayden have tackled their respective assignments. “I was intrigued by what could be created using humble, simple materials,” says Facey. “How could they be repurposed and transformed into sets and props that help propel the story?”
Raw materials for Lysistrata costumes by Barbara Clayden
THE MUSIC Composer Mishelle Cuttler is keen about the extraordinary musical possibilities within this production, her first Bard outing. “There were no preconceived notions of what this show should sound like, so the score’s development has been an exciting, collective process,” recalls Cuttler. Her goal was to evoke the play’s theatricality by juxtaposing contemporary elements with classical sounds. The freedom of the show’s concept allowed her to explore eclectic musical terrain, to determine what would best serve the story and enhance the aesthetic of this piece.
Facey and Clayden have chosen to work only with things you’d legitimately find at the Bard site: cardboard boxes, water bottles, a sharpie, a curtain, old cans of paint, steel wool, the actors’ street clothes, and a few unexpected discoveries. For example, a bolt of muslin might find new life as a drape, a dress or a backdrop. Adding to the challenge was the fact that Wise and Anderson’s play is set in two vastly different locations and time periods: Vancouver, present day and Athens, circa 411 BC. The designers consulted historical references to ensure accuracy, but then let their imaginations take flight.
Cuttler’s initial explorations led her to 1930s Weimar cabaret-style music for ideas about the bawdier aspects of the play, while opera and choral works provided inspiration for how she expressed the formality of classic Greek theatre.
“I wanted to capture that element of magic that is theatre, what the actors and creative team do to shift people’s perceptions and make everything seem real,” says Clayden. “This production is full of playful moments,” adds Facey. “We wanted to reflect that quality, with just a touch of cheekiness.”
Her original score, which includes live and recorded elements, has been developed in collaboration with the actors and creative team. 39
BARD: BEYON MUSIC Opera & Arias: Bold and Beautiful Mondays, August 27 & September 3 2pm & 7:30pm (both days) A costumed concert performance that will seduce, delight and inspire you! Selections from La Traviata, La Bohème, Die Fledermaus and more. Performed by the UBC Opera Ensemble. Accompanied by the Vancouver Opera Orchestra. UBC’s Nancy Hermiston directs; Leslie Dala conducts. Bard Artistic Director Christopher Gaze hosts all performances. Chor Leoni: Mane Event Mondays, June 25 & July 2 | 3pm & 8pm (both days)
Opera & Arias 2017 Photo: David Blue
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ACCESSIBLE PERFORMANCES VocalEye As You Like It July 22 | 2pm August 18 | 7:30pm Talkback Tuesdays 2017 Photo: Kira Pidzamecky
T AL K S AN D ACT IV IT IES Talkback Tuesdays Post-Show Discussions | Tuesday evenings from June 26 – August 28 Dive deeper into the play you’ve just enjoyed and satisfy your curiosity! After select Media Sponsor Tuesday evening performances, stay for a lively Q & A session with members of the cast. Exploring Shakespeare Talks June 30, July 7, July 14 & July 21 | 11am SFU’s Paul Budra delivers dynamic, in-depth explorations of this season’s plays. Go beyond the story to explore Shakespeare’s inspirations and influences. Talks run 60 min, including Q & A. Forum: Gender and Shakespeare in 2018 Monday, August 27 | 7:30pm How do modern views on gender change the way we explore and understand Shakespeare’s characters? On-stage panel with audience Q & A. 40
VocalEye described performances in the Mainstage tent offer live, real-time descriptions of the visual elements onstage, for patrons with vision loss. Relaxed Performance As You Like It Sunday, September 9 | 2pm This performance has a relaxed attitude to noise and movement within the theatre, with some minor production changes, for patrons who may benefit from a more relaxed environment. Media Sponsor, Accessible Performances
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Bard-B-Q & Fireworks Photo: David Blue Image Design: Jason Keel
Bard-B-Q & Fireworks July 28, August 1 & August 4 | 5:30pm (As You Like It) & 6pm (Timon of Athens) Play, Dinner & Entertainment (August 1 — As You Like It only) • Full salmon barbecue and delicious desserts by Emelle’s Catering • PIXSTAR Photobooth • Dowco Triumph Street Pipe Band • Private view of the Celebration of Light fireworks
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Family Nights 2017 Photo: Kira Pidzamecky
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2018/2019
SEASON
A Midsummer Night’s Dream a Teen Shakespeare Program outdoor production
July 28-August 12, 2018 | All Ages
A Charlie Brown Holiday Double Bill
You’re A Good Man, Charlie Brown and A Charlie Brown Christmas by Charles M. Schulz
November 24-December 30, 2018 | All Ages
The Very Hungry Caterpillar a co-presentation with Axis Theatre of a Mermaid Theatre production
February 23-24, 2019 | Ages 3-8
Elephant & Piggie’s “We Are in a Play!” by Mo Willems, music by Deborah Wicks La Puma
March 2-31, 2019 | Ages 3-8
Buy a Play Pack & Save!
Salmon Girl a Raven Spirit Dance presentation
April 6-14, 2019 | Ages 5+
The Young King by Oscar Wilde adapted by Nicki Bloom a Slingsby presentation
April 13-21 | Ages 8+
I Sea Sky by Kayla Dunbar & Dustin Freeland on the Bee Stage
June 4-23, 2019 Babies-Age 3
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Artistic Director Christopher Gaze Photo: Megan Verhey
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Visit our Audience Services Desk in the Village for more details! For more information visit bardonthebeach.org/membership, call 604 .737.0625, or email development@bardonthebeach.org 43
BARD MEMBERSHIP BECOME A BARD MEMBER: Learn more about the Festival you love Bard Members embrace Bard’s vision of a vibrant Festival that showcases the highest artistic quality and ensures accessibility for all. Our Members support our education programs and share our belief in the importance of nurturing emerging artists. The generous support of our Members makes our Festival – and all our year-round education and training programs – possible. As a thank you, Bard Members enjoy exclusive benefits, including advance ticket sales, access to the best seats in the house, invitations to backstage tours, dress rehearsals, receptions with the artistic company and more!
For more information, visit bardonthebeach.org/membership, call 604.737.0625 or email development@bardonthebeach.org 44
BARD MEMBERSHIP BARD MEMBERSHIP BARD LEGACY CIRCLE: Leaving a lasting legacy BARD LEGACY CIRCLE: Leaving a lasting legacy We invite you to join the Bard Legacy We invite you to join the Bardgift Legacy Circle by making a planned in your Circle by making planned gift in your will to Bard on theaBeach and ensure its will to Bard on the Beach and ensure its success well into the future. success well into the future. Legacy gifts can take many forms Legacy gifts can take through which you canmany enjoyforms specific tax through which you allowing can enjoy specific taxa advantages, often you to make advantages, often allowing you to possible. make a larger donation than you thought larger donation than you thought possible. Please let us know if you have already Please let usBard know youestate have already recognized in ifyour plans. We recognized Bard in your estate We would love to recognize you andplans. include would loveLegacy to recognize and include you in our Circle you events. you in our Legacy Circle events. For more information, please contact For more information, please contact at Amy Benson, Director of Development, Amy Benson, abenson@bardonthebeach.org Director of Development, at 604.737.0625, 604.737.0625, abenson@bardonthebeach.org or bardonthebeach.org/support-us/legacy or bardonthebeach.org/support-us/legacy
THE RENAISSANCE CIRCLE: Applauding our Artists THE RENAISSANCE CIRCLE: Applauding our Artists Our Renaissance Circle Members would like to recognize and applaud the work of members Our Renaissance Members would like to recognize and applaud the work of members of our 2018 ArtisticCircle Company. of our 2018 Artistic Company. Linda Gibbs | Kate Besworth Linda Gibbs | Kate Besworth Doug & Margaret Hatlelid | Jeff Gladstone Doug & Margaret Hatlelid | Jeff Gladstone Paul & Darlene Howard | Lois Anderson Paul & Darlene Howard | Lois Anderson Paul & Darlene Howard | Alessandro Juliani Paul & Darlene Howard | Alessandro Juliani Reet Kana | Colleen Wheeler Reet Kana | Colleen Wheeler Margie & Tony Knox | Scott Bellis Margie & Tony Knox | Scott Bellis Wendi Mackay | Lindsey Angell Wendi Mackay | Lindsey Angell Deborah Pound | Stephen Courtenay Deborah Pound | Stephen Courtenay Alan & Gwendoline Pyatt | Chris Abraham Alan & Gwendoline Pyatt | Chris Abraham Deborah & Gavin Ryan | Nadeem Phillip Deborah & Gavin Ryan | Nadeem Phillip Brian Tufeld | Luisa Jojic Brian Tufeld | Luisa Jojic Ronna & Geoffrey Webb | Kayvon Khoshkam Ronna & Geoffrey Webb | Kayvon Khoshkam
Larry Beasley & William Logan Larry Beasley & William Logan Ben Carlson Ben Carlson Don & Jane Shumka | Daryl Cloran Don & Jane Shumka | Daryl Cloran Suzanne Bolton & Jefferson Mooney Suzanne Bolton & Jefferson Mooney Ben Elliott Ben Elliott Jim & Mary Clare Bovard | Meg Roe Jim & Mary Clare Bovard | Meg Roe Grant Burnyeat | Mara Gottler Grant Burnyeat | Mara Gottler Douglas & Alice Clarke | Ming Hudson Douglas & Alice Clarke | Ming Hudson Count & Countess Enrico Dobrzensky Count & Countess Enrico Dobrzensky Adele Noronha Adele Noronha Virginia Evans | Jennifer Lines Virginia Evans | Jennifer Lines John & Sherry Floren | Moya O'Connell John & Sherry Floren | Moya O'Connell Ken & Livia Galbraith | Andrew Wheeler Ken & Livia Galbraith | Andrew Wheeler
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Young Shakespeareans Photo: Kira Pidzamecky
BMO® is pleased to help young people explore the world of Shakespeare through the Bard in the Classroom workshops and the Young Shakespeareans program.
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COSTUMING FOR STAGE & SCREEN DIPLOMA
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Romeo and Juliet The Book of Will Love’s Labor’s Lost ANGUS BOWMER THEATRE
Othello Sense and Sensibility Destiny of Desire Oklahoma! Snow in Midsummer
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Henry V Manahatta The Way the Mountain Moved
COMPANY BIOGRAPHIES T HE C OM P A N Y Carmen Alatorre As You Like It: 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 Stickboy (Vancouver Opera); Topdog/Underdog (Arts Club Theatre Company); Pericles and The Winter’s Tale (Bard on the Beach). Carmen is the recipient of three Jessie Richardson Theatre Awards. For more information visit carmenalatorre.com. Patti Allan Timon of Athens: Sempronius Patti is thrilled to be returning to the 2018 Bard on the Beach Season with Meg, and the wonderful creative team of Timon of Athens. Patti was last seen on the Bard stage in The Merry Wives of Windsor and King John and for four prior seasons. Patti is a four-time Jessie Award recipient with numerous nominations and has performed in theatre, film and TV locally and across the country. She is passionate about teaching theatre and is committed to volunteer endeavours when time permits. Lindsey Angell As You Like It: Rosalind • Macbeth: Lady Macduff Lindsey happily returns to the beautiful Bard stage for her third season. Drawn to complex and challenging characters, Lindsey’s work has taken her across Western Canada. She recently performed in Butcher at the Cultch and has relished the opportunity to originate characters in several new Canadian plays including Liberation Days (Theatre Calgary), How to Survive an Apocalypse and The Romeo Initiative (Touchstone Theatre). Recipient of several nominations and Jessie Award– winner for Iceland (Dirt Road Productions). Lindsey is a graduate of Studio 58. Sebastien Archibald Timon of Athens: Help 2 • Lysistrata: Ensemble Actor, playwright, Co-Artistic Producer of ITSAZOO Productions, BFA graduate (UVic). Jessie Award nominations: Supporting Actor (The Pipeline Project and Killer Joe); Original Script (The Competition is Fierce). Selected theatre: The Lonesome West (Pacific); How to Survive an Apocalypse (Touchstone); Hamlin (Axis); Brighton Beach Memoirs and Of Mice and Men (Blue Bridge Repertory); Clybourne Park (Arts Club). Selected film/TV: The Man in the High Castle (Amazon); Arrow (CW); Bedbugs: A Musical Love Story (Crazy8s Film Society – Leo Award nominee). Scott Bellis As You Like It: Duke Frederick/Duke Senior • Macbeth: Duncan/Doctor Scott returns for his twenty-fourth season at Bard. Past roles include Hamlet, Bottom, King John, Friar Laurence, Petruchio, Brutus, and Puck. Last year, he directed The Two Gentlemen of Verona. Scott has earned four Jessie Awards and 20 nominations as an actor over a 30-year career. He recently taught Shakespeare at the Citadel/Banff Academy and is the lead instructor for the Arts Club’s annual Actors’ Intensive. Scott also serves as Council President of Canadian Actors’ Equity Association. Zoe Bellis Timon of Athens & Lysistrata: Apprentice Stage Manager Zoe is thrilled to be a part of Bard’s twenty-ninth season! Past credits include Stage Manager: The Fabulous Lipitones (Miracle Theatre of Prince George); 2BR02B and 42nd Street (Studio 58); Production Assistant: East Van Panto: Snow White and the Seven Dwarves (Theatre Replacement); Floyd Collins and Out of a Dream (Patrick Street Productions). She would like to thank her family for their support and Christopher for being on this ride with her. Zoe is a graduate of Studio 58. Owen Belton Macbeth: Sound Designer/Composer Owen is excited to be returning to Bard for a third season and to be working with such a great cast and team. Dance credits include Emergence (National Ballet of Canada); Betroffenheit (Kidd Pivot/ECT); Parade (NDT); and Don Quijote (Ballet Nuremberg). Theatre credits include The Valley (Arts Club); The Romeo Initiative (Touchstone); and Initiation Trilogy (ECT).
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COMPANY BIOGRAPHIES Kate Besworth Macbeth: Witch 2/Fleance • Timon of Athens: Painter Previously at Bard: The Two Gentlemen of Verona and The Merchant of Venice. Thank you for coming to see theatre!
Ben Carlson As You Like It: Jaques • Macbeth: Macbeth Ben is very happy to make his Bard debut. He has played: Hamlet twice (Joseph Jefferson Award, Best Performance, Chicago 2006), Macbeth, Pericles, Benedick, Petruchio (Canadian Screen Award, Best Performance, 2015), Leontes, Brutus, Berowne, Apemantus, Octavius, Fluellen, Feste, Touchstone, and many others, at Stratford, Chicago Shakespeare Theater, and the National Arts Centre. He spent 12 seasons at Shaw, performing in over 25 productions. He has played in almost all the major regional theatre companies in the country. Hannah Case Lysistrata: Costume Design Apprentice Hannah is a Vancouver based designer and a graduate of Studio 58’s Production Program. She has had the pleasure of assisting designers such as Carmen Alatorre, Pam Johnson, and Mara Gottler. Select design credits include I Lost My Husband (Ruby Slippers Theatre); Not So Dumb (Green Thumb Theatre); Comedy on Wheels (Realwheels Theatre); and Gormenghast (William Head on Stage). Tara Cheyenne Friedenberg Lysistrata: Choreographer Tara is an award-winning creator, performer and Artistic Director of Tara Cheyenne Performance. Lysistrata is her seventh choreographic collaboration with Bard. Tara is known for her unique and dynamic hybrid of dance, comedy and theatre. Touring highlights: Dance Base, Edinburgh; South Bank Centre, London, UK; On the Boards, Seattle, USA; and High Performance Rodeo, Calgary. Tara lives in East Vancouver with her husband, composer Marc Stewart, and their son Jasper. Barbara Clayden Lysistrata: Costume Designer Barbara has been working as a theatre artist in Vancouver for over 30 years. Primarily designing costumes, she has worked with the Arts Club, Blackbird Theatre, Carousel, Electric Company, Firehall Arts Centre, Mortal Coil, Patrick Street Productions, Pi Theatre, Presentation House, Rumble, Theatre Conspiracy and Theatre Replacement. Barbara has been nominated for more than 15 Jessie Richardson Theatre Awards for Costume Design and has received a few along the way. Stephen Courtenay As You Like It & Macbeth: Production Stage Manager ith a quarter century and 52 Shakespearean productions behind him, Stephen is W eagerly anticipating this season’s presentations of Macbeth and As You Like It. The BMO Mainstage SM’s experience includes projects with the Vancouver Playhouse, Theatre Calgary, Studio 58/Green Thumb, Touchstone Theatre, the Electric Company, and a decade with the Vancouver Opera Touring Ensemble. Recent work includes a remounting of Leslie Mildiner’s adaptation of George Orwell’s Coming Up For Air at the Kay Meek Centre. Sharon Crandall As You Like It: Corin/Duke Frederick’s Attendant Lysistrata: Ensemble Sharon is honoured to be making her Bard debut with this fantastic group of artists. Select stage: Shit (Firehall); Satellite(s) (Solo Collective); In the Heights (Arts Club); and Fiddler on the Roof (Gateway). Select screen: A Series of Unfortunate Events (Netflix); When We Rise (ABC); and Marine 5 (WWE). Upcoming: Eggplant Emoji (Netflix). Training: Arts Club Actor’s Intensive and McIlroy and Associates. Thanks to Melissa, Shannon, Andrew and James. Love to Adam, Lucas and Sam. www.sharoncrandall.com
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2018/19 Season
Program 1 Nov 1 2 3 Program 2 Feb 28, Mar 1 2 Program 3 May 9 10 11 Subscriptions at
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COMPANY BIOGRAPHIES Mishelle Cuttler Lysistrata: Composer/Sound Designer/Musical Director Mishelle is a composer, sound designer, performer, and music director. She recently returned from New York where she obtained an MFA in Musical Theatre Composition at NYU’s Tisch School of the Arts. Some favourite credits include Crème-Glacée (Seizième); Wet and Killer Joe (ITSAZOO); The Events (Pi/PuSh Fest); Titus Bouffonius (Rumble); and Made In Italy (Western Canada/Citadel). She won a Jessie Award for Outstanding Composition for STATIONARY (Delinquent Theatre), which also won the award for Outstanding Musical. www.mischellecuttler.com Nicco Del Rio As You Like It: William/Jacques de Boys/Second Lord Macbeth: Macduff’s Son Nicco is a recent graduate of Capilano University, and is unbelievably excited to be a part of Bard this year! After playing Peter in Capilano University’s Peter and the Starcatcher, Ensemble in TUTS’ The Drowsy Chaperone, and eight years of selftaught drumming, he believes he is ready to tackle this insane job. He would love to thank Gillian Barber, Bob Frazer, and the entire team at Bard for this dream of an opportunity. Austin Eckert As You Like It: Charles the Wrestler/Amiens • Macbeth: Ross Austin is stoked to be returning for his second season at Bard. Select theatre credits: Spring Awakening (Belfry Theatre); Miss Understood (the frank); HAIR (Mayfield Theatre); Mamma Mia! (Western Canada Theatre); and Beauty and the Beast (Arts Club). TV credits: Generation Y (Short); Supernatural (CW); The Rules to Move By (Short); The Magicians (Syfy); The Flash (CW); and The Colony (USA). Look for Austin in the new series Narcoleap. This one goes out to Grams and Pops. Ben Elliott As You Like It: Silvius • Sound Designer/Musical Director Macbeth: Lennox Ben returns for his eighth season at Bard. Favourite credits: Autolycus in The Winter’s Tale; Benvolio in Romeo and Juliet; and the Bear in Elizabeth Rex. Ben is a multiJessie Award nominee and won for his Musical Direction for The Merry Wives of Windsor. Ben is an Artistic Associate of Bard and is currently writing a musical with Bard alumni Anton Lipovetsky, Josh Epstein and Kyle Rideout. He is a graduate of Studio 58. Craig Erickson As You Like It: Oliver de Boys • Macbeth: Banquo For Bard: (seventh season) King Lear, Hamlet, Twelfth Night, Timon of Athens, Julius Caesar, All’s Well That Ends Well. Other theatre: Forget About Tomorrow and Angels in America - Parts 1 and 2 (Arts Club); Titus Bouffonius (Rumble); The Invisible Hand (Pi); Who’s Afraid of Virginia Woolf? (Arts Club/Blackbird); Tear the Curtain! (Electric Company); The Great Gatsby (Theatre Calgary). Film & TV: A Series of Unfortunate Events, Bates Motel, Once Upon a Time, The Magicians, Supernatural, The 100, Lucifer, Backstrom. Drew Facey Timon of Athens & Lysistrata: Set Designer Drew has been production designing theatre and opera for the past 10 years. Recent highlights include Me and My Girl (Shaw Festival); The Silver Arrow (Citadel Theatre); The Merchant of Venice (Bard); The Marriage of Figaro (Vancouver Opera); Bonjour, là, Bonjour (Théâtre la Seizième); The Humans and Onegin (Arts Club); and Das Ding (Can Stage). Drew is the recipient of 14 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.
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CHAN CENTRE PRESENTS SERIES SEP 22 Aida Cuevas: Totalmente Juan Gabriel SEP 30 I’m With Her OCT 21 Goran Bregovic and His Wedding and Funeral Band NOV 13 Joshua Redman: Still Dreaming FEB 17 Bobby McFerrin: Circlesongs MAR 2 Ladysmith Black Mambazo with Habib Koité and Bassekou Kouyate APR 11 Cristina Pato Quartet APR 27 Anoushka Shankar
BEYOND WORDS SERIES OCT 3 Kealoha FEB 24 No Blue Memories: The Life of Gwendolyn Brooks
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COMPANY BIOGRAPHIES Marie Farsi Macbeth: Directing Apprentice Marie is an award-winning Vancouver director and creator as well as the Co-Artistic Director of Babelle Theatre. Most recent directing credits: Jeux de famille and CrèmeGlacée (Seizième). Upcoming with Babelle: This, Here and All My Friends Are Animals (co-produced with Axis Theatre). Favourite directing credits include Movements No. 1&2, Rivulets (seven Jessie Award nominations), John & Beatrice, and The 4th Graders Present an Unnamed Love-Suicide. She has also been an Assistant Director at the Stratford Festival and at the Arts Club. Michelle Fisk Timon of Athens: Lucius • Lysistrata: Ensemble A member of Canada’s theatrical community for over forty years, Michelle has performed on stages across the country, from studios to regional main stages to the major festivals including Shaw, Blyth, Charlottetown and 10 seasons at the Stratford Festival. She has been on the faculty of University of Waterloo, as well as George Brown, St. Clair and Fanshawe colleges. Born and raised in Burnaby, trained at UBC, Michelle is beyond thrilled to be returning home for her debut at Bard on the Beach. Emily Fraser As You Like It: Costume Design Apprentice Emily Fraser is a recent graduate of Studio 58’s Production Program. Her passions include costume design, set design and scenic painting. Previous work experience is comprised of Costume Design for Cambie Secondary School’s Departures and Arrivals, Costume Design for Gateway Theatre’s Summer Camp Mission Possible, and Intern Buyer for Bard on the Beach’s The Merchant of Venice. Emily is thrilled to be a part of Bard’s twenty-ninth season and hopes you enjoy each show! Jeff Gladstone As You Like It: Le Beau/First Lord/Hymen • Macbeth: Malcolm This is Jeff’s fourth season at Bard. Highlights include Comedy of Errors (Dr. Pinch/ Duke); Othello (Cassio); Pericles (Queen Dionyza); and directing the Riotous Youth Ensemble and Bard for Life. Other projects: Requiem for a Lost Girl (Vancouver Opera); Kill Your Lovers (Rhubarb Festival/Wild Project NYC); Lost Words Cabaret (Pi Theatre); and the upcoming feature Kingsway by Bruce Sweeney. Jeff is an improviser and teacher (VTS, International TheatreSports Institute), with two albums of music as Jeff Gladstone & The Bad Ideas. Mara Gottler Timon of Athens: Costume Designer Mara has been the resident Costume Designer for Bard on the Beach throughout its 29 seasons. National design credits include Coriolanus (Stratford Festival Theatre/Ex Machina); The Nightingale and Other Short Fables (COC); Jitters (Arts Club); and The King of the Yees (NAC/Gateway Theatre). Mara is the recipient of numerous Jessie Richardson Theatre Awards and her work has been showcased at several World Stage Design exhibitions. She is an instructor at Studio 58. Alaia Hamer Macbeth: Costume Design Apprentice Alaia is an emerging designer and artist located in Vancouver. Recent projects include Assistant Costume Design for The Humans (Arts Club); Set Design for She Kills Monsters (UBC); Associate Costume Design for Onegin (Arts Club); Costume Assistant for Wells Hill (Action at a Distance); Costume Design for The Cover of Life (TWU), Homeward Bound (Western Gold Theatre) and various Fringe works. Alaia is a graduate of the UBC Theatre Design Program and holds an English Literature degree.
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COMPANY BIOGRAPHIES Kim Senklip Harvey As You Like It: Directing Apprentice Kim comes from the Syilx, Tsilhqot’in, Ktunaxa and Dakelh Nations and is a director, playwright and actor. She was shortlisted for the 2017 Gina Wilkinson prize for her work as an emerging director and was a Banff Playwrights Lab 2018 participant. She is currently taking part in the National Theatre School’s Artistic Leadership Program which aims to steward in the next generation of artists in this country. Kim will be directing the world premiere of her play, Kamloopa in September 2018. Marci T. House Timon of Athens: Apemantus • Lysistrata: Ensemble This is Marci’s Bard debut. Selected theatre: The Madness of George III and Dracula (Shaw); You Will Remember Me (Ruby Slippers); Intimate Apparel, Clybourne Park, and DISGRACED (Arts Club); Glengarry Glen Ross (Classic Chic); The Ladies Foursome (The Grand Theatre); The Last Days of Judas Iscariot (Neworld Theatre/Pacific Theatre); In The Next Room, or The Vibrator Play (Tarragon Theatre/MTC); Ruined (Obsidian Theatre Company/Nightwood Theatre); HAMLET (The Honest Fishmongers Equity Co-op); and The Miracle Worker (Vancouver Playhouse). Ming Hudson Timon of Athens: Flaminius • Lysistrata: Ensemble Ming is thrilled to be making her Bard on the Beach debut. She is a graduate of LISPA, holds an MA from Rose Bruford College, and a BFA from UVic. Selected performing credits include East Van Panto: Snow White and the Seven Dwarves (Theatre Replacement); BlissKrieg (Atomic Vaudeville); PostSecret: The Show (Firehall); Big Bad and Fall Away Home (Boca del Lupo); and The Penelopiad (Arts Club). Ming would like to thank her mother for her support. Pam Johnson As You Like It & Macbeth: Set Designer Pam started with Bard in 1998 and was instrumental in designing the Bard Village and Entranceway. Bard credits include Much Ado About Nothing, The Winter’s Tale, 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 and a Career Achievement Award. Luisa Jojic As You Like It: Phoebe • Lysistrata: Ensemble his is Luisa’s eighth season on stage at Bard. Past roles: Nerissa (The Merchant T of Venice); 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). A Bard Teaching Artist, she is also Program Director of 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. Alessandro Juliani Timon of Athens: Sound Designer/Composer J currently makes his living as an actor, singer, composer and sound-designer. He is A frequently disemboweled, dismembered, crucified and/or air-locked on your favourite locally-shot television programs and films. He often lends his voice to the animated programs which your kids/grand-kids/socially-awkward uncles currently binge. He has contributed to/detracted from recent productions of Onegin (Arts Club); Betroffenheit (Kidd Pivot/Electric Company); Middletown (Shaw Festival); and To Kill a Mockingbird (Stratford Festival). Kayvon Khoshkam As You Like It: Touchstone • Macbeth: Sergeant/Seyton/Porter “There is no slander in an allowed fool,” Twelfth Night. Kayvon was born and raised in Saskatoon and studied at CCPA in Victoria, BC. This is Kayvon’s fifth season with Bard on the Beach. He is the Artistic Director of SpeakEasy Theatre, and the founder of The Pull Festival: Vancouver’s 10 Minute Play Festival. Select theatre credits: Carried Away on the Crest of a Wave, Twelfth Night, and December Man (National Arts Centre); and Othello and Pericles (Bard).
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COMPANY BIOGRAPHIES Jenny Kim As You Like It & Macbeth: Apprentice Stage Manager Thanks to Jonathan, Stephen, and Rebecca for giving her an opportunity to join the journey of Bard on the Beach. She is a graduate of UBC with a BFA in Theatre Production & Design. Jenny thanks her family and friends for their love and support. Recent apprenticeship includes Shylock (Bard on the Beach); Beauty and the Beast (Arts Club); Circle Game: Reimagining the Music of Joni Mitchell (Firehall Arts Centre); and A Little Night Music (Patrick Street Production). Gerald King As You Like It & Macbeth: Lighting Designer Lighting Designer at Bard for 16 seasons. Gerald’s recent credits: Chariots of Fire (The Grand Theatre); Carried Away On The Crest of A Wave (NAC); The Cure For Death By Lightning (WCT); King Lear and Liberation Days (Theatre Calgary); Otello, Dead Man Walking, Evita, Die Fledermaus, and Tosca (Vancouver Opera); Beauty and the Beast, Jitters, Million Dollar Quartet, and Spamalot (Arts Club); Crazy for You and Ubuntu (Citadel); The Book of Love (Kokoro Dance); and Faerie Queen (Royal Winnipeg Ballet). Jennifer Lines Timon of Athens: Poet • Lysistrata: Ensemble This will be Jennifer’s eighteenth season with Bard on the Beach. Selected credits: Forget About Tomorrow (Belfry/Arts Club); It’s a Wonderful Life, High Society, The Real Thing, Here on the Flight Path, and Sylvia (Arts Club); Anatol, A Little Night Music, and Hello Dolly (Vancouver Playhouse); King Lear, The Great Gatsby, and Beyond Eden (Theatre Calgary); and Apres Moi (Ruby Slippers). She is the recipient of two Jessie Awards and has a BFA in Acting from the University of Victoria. Jacqueline Loewen Macbeth: Associate Fight Director acqueline has been an actor, director and fight choreographer in Winnipeg for the J last 15 years. Selected fight credits include Hand to God, August: Osage County, and Romeo and Juliet (Royal Manitoba Theatre Centre); Butcher (Prairie Theatre Exchange); Carmen, Tosca, and Otello (Manitoba Opera). Jacqueline was an assistant director for Bard on the Beach’s Shakespeare’s Rebel, and now having moved to Vancouver, is very glad to be working again with this company. Alison Matthews Head Voice & Text Coach Alison has been the Voice & Text Coach at Bard since 2009. She is Interim Program Director for the Citadel Banff Professional Theatre Program and on faculty at 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 an MFA (specializing in Voice) from the University of British Columbia, and an Associate Diploma in Drama & Speech from Trinity College London. www.alisonmatthews.com Joel D. Montgrand Timon of Athens: Help 1 • Lysistrata: Ensemble oel was born in Northern Saskatchewan and was raised on and off the reserve J with his Cree family. After travelling the world and working many jobs, he moved to Vancouver in 2011 where he decided to pursue acting seriously. Since then he has been in many theatrical productions as well as TV and film roles including Altered Carbon, Legends of Tomorrow, iZombie and others. This is his first time working with the Bard family. Rebecca Mulvihill As You Like It & Macbeth: Assistant Stage Manager Rebecca’s previous credits at Bard include The Winter’s Tale, Much Ado About Nothing, Henry VI, Richard III, King John, and The Merry Wives of Windsor. Recent Stage Management credits: Topdog/Underdog and The (Post) Mistress (Arts Club); How to Survive an Apocalypse (Touchstone); Selfie (Théâtre la Seizième); and Sultans of the Street (Carousel). Recent Assistant Stage Management credits: King Charles III, Good People, and Educating Rita (Arts Club). She is a graduate of the University of Victoria.
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COMPANY BIOGRAPHIES Adele Noronha Timon of Athens: Isidore • Lysistrata: Ensemble Adele returns for her third season at Bard. She has worked in various capacities with a number of theatre companies on the unceded territories of the Coast Salish Peoples. Recent acting credits include The Lion, the Witch and the Wardrobe (Carousel); The Two Gentlemen of Verona and The Merchant of Venice (Bard on the Beach); Walt Whitman’s Secret (the frank); Happy Place and Brothel #9 (Touchstone Theatre), for which she won her first Jessie Award. Moya O’Connell Macbeth: Lady Macbeth • Timon of Athens: Flavius Seventh season at Bard. Ten seasons at The Shaw Festival. Select credits include Hedda Gabler; Maggie The Cat (Cat on a Hot Tin Roof); Mary (Middletown); Ellida (The Lady from the Sea); Tracy Lord (The Philadelphia Story); Yelena (Uncle Vanya); Julia (The Philanderer); Vivie Warren; Portia; Ophelia; Miranda and Imogen. Upcoming: remounts of Middletown at Crow’s Theatre in Toronto and The Wedding Party at the NAC. Nadeem Phillip As You Like It: Orlando de Boys • Macbeth: Donalbain Hailing from Toronto, Nadeem attended Ryerson Theatre School where he trained with Ian Watson of the Stratford Conservatory. Selected theatre: Onegin, The Men in White (Arts Club, Jessie Award nominee for Best Actor); My Ocean (Vancouver Fringe); Movements No. 1&2 (Babelle); Never The Last (Delinquent); Doost (Neworld); and Cock (Rumble). This one — As You Like It — is for my family. All of them. I love you. Jonathan Hawley Purvis As You Like It & Macbeth: Fight Director/Choreographer Jonathan has worked across Canada as an actor and fight director for both the stage and screen. He is a member of Fight Directors Canada and the Nordic Stage Fight Society in Europe. Selected credits: Antony & Cleopatra, Three Musketeers, Julius Caesar, Romeo and Juliet (St. Lawrence Shakespeare); Shakespeare in Love, West Side Story, Romeo and Juliet, Spamalot, The Penelopiad, A Midsummer Night’s Dream (Citadel Theatre); I Am For You (Concrete Theatre); and Singin’ in the Rain (Chemainus). www.jonathanpurvis.com Christine Reimer Macbeth: Costume Designer Previous costume designs for Bard: Much Ado About Nothing, Shakespeare’s Rebel, The Tempest, and Titus Andronicus. Other favourite design credits include King Arthur’s Night (Neworld Theatre); The Audience and Pride and Prejudice (Arts Club Theatre); The Magic Flute (Vancouver Opera); and The Invisible Hand (Pi Theatre). Christine’s costume illustrations have appeared in several publications and exhibitions, most recently “The Art and Practice of Costume Design” (Focal Press). Josh Reynolds Timon of Athens & Lysistrata: Fight Director Josh, a graduate of the UBC BFA Acting Program, is an actor, fight director, writer and artist who has worked for Bard on the Beach, Ballet BC, Cave Canem Productions, Carousel Theatre, Chemainus Theatre, Green Thumb Theatre, Rumble Theatre and Classic Chic Productions. Josh wrote and produced the two-time Jessie Award– nominated play From Parts Unknown…, and has been nominated for two Jessie Awards and one Dora Award for Performance and Fight Direction. Cherissa Richards Timon of Athens: Directing Apprentice Cherissa is honoured to be a part of Bard on the Beach’s Apprentice Directing Program and is thrilled to be assisting Meg Roe on Timon of Athens. Cherissa has just begun her directing career with The Power of Harriet T at Manitoba Theatre for Young People and New Beginnings at Sarasvàti Productions, both in Winnipeg. Cherissa’s last visit to Vancouver was with Touchstone Theatre’s Eternal Hydra in 2011.
Bike to Bard Bard provides a fully secure bicycle parking area inside the Festival gates. Bike to Bard and get a free tea or coffee, and a KIND snack! Don’t own a bike? There is a Mobi bike station located south of the Festival site (next to the Vancouver Archives building).
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COMPANY BIOGRAPHIES Harveen Sandhu As You Like It: Celia • Macbeth: Witch 3 Harveen is a graduate of Ryerson Theatre School and the Canadian Film Centre Actors Conservatory. She has enjoyed playing a myriad of roles over the years at Soulpepper, Next Stage Festival, Pleiades Theatre and The Shaw Festival, where she had the great privilege of playing Eliza Doolittle in Pygmalion. Harveen was most recently seen playing Elizabeth Darcy in the fan fiction piece Miss Bennett: Christmas at Pemberley at The Repertory Theatre of St. Louis in Missouri. Emma Slipp As You Like It: Audrey • Macbeth: Witch 1 Career highlights: Henrietta, Silent Sky (Chemainus); Tabby, Elbow Room Café (Zee Zee); Lydia Languish, The Rivals (Blackbird); Annie, Farewell, My Lovely (Arts Club); Tina, Moss Park (Green Thumb); Sharla, Killer Joe (ITSAZOO); Lina Lamont, Singin’ in the Rain (Chemainus); Masha, Three Sisters (Only Child Collective); Regan, King Lear (Honest Fishmongers); and Rosamund, The Violet Hour (Belfry). She toured North America and Asia with Mermaid Theatre. Emma is a graduate of Studio 58 and fourtime Jessie Award nominee. Joanne P.B. Smith Timon of Athens & Lysistrata: Stage Manager This will be Joanne’s seventeenth season stage managing in the Douglas Campbell Theatre tent at Bard on the Beach. Recent shows are Butcher (Primecuts Collective) and East Van Panto: Snow White and the Seven Dwarves (Theatre Replacement). Joanne has worked for many other theatre companies, mostly in Vancouver. Quelemia Sparrow Timon of Athens: Ventidius Lysistrata: Ensemble • Indigenous Consultant Quelemia is a graduate of Studio 58’s Theatre Program. Various theatre credits: The Bakkhai (Stratford Festival); The Pipeline Project (Savage Society/ITSAZOO); The Snow Queen (The Globe); Our Town (Osimous); The Edward Curtis Project (GCTC/NAC); The Penelopiad and August: Osage County (Arts Club); and Where the Blood Mixes (Playhouse/WTC). Various film/TV credits: Clouds of Autumn, Fringe, Blackstone, Cable Beach, Da Vinci’s City Hall, V, Unnatural and Accidental, and Da Vinci’s Inquest. Jennifer Stewart Timon of Athens & Lysistrata: Assistant Stage Manager Jenn trained at Studio 58 and has had the pleasure of working in a range of roles. Favourite credits include Studies in Motion (wardrobe, Electric Company); Of Mice and Men (set, Hardline); The Competition is Fierce (set, ITSAZOO); The Whipping Man (props, Pacific); Little Brother, Little Sister (props, Caravan Farm); Statu Quo (SM, Seizième) and East Van Panto (ASM, Theatre Replacement). Film credits include Edward and Adventures in Public School (Motion 58). Amanda Testini Timon of Athens: Choreographer manda is a choreographer and performer based here in beautiful Vancouver. Some A recent credits include performing in and choreographing The Velveteen Rabbit (Carousel Theatre), playing Belle in A Christmas Carol (Gateway), choreographing The Lion, the Witch and the Wardrobe (Carousel Theatre), assistant choreographing Onegin (Arts Club/Belfry), and playing Justine in Love Bomb (shameless hussy productions). She is a graduate Studio 58. So much gratitude to Meg and the team. John Webber Timon of Athens & Lysistrata: Lighting Designer John is honoured to be back with Bard on the Beach. He has been designing both sets and lighting since the early 1990s and has had the privilege of working with some of Western Canada’s most talented and adventurous artists along the way. John has received many Jessie Richardson Theatre Awards and an Ovation Award. In Ottawa, he received a Critics’ Circle Award and a Prix Rideau Award, all for Outstanding Design.
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COMPANY BIOGRAPHIES Andrew Wheeler As You Like It: Adam/Sir Oliver Martext • Macbeth: Macduff Andrew is delighted to be returning to Bard for his eleventh season, where favourite roles have included Mark Antony, Malvolio, Macbeth, Benedick, Ulysses, and Autolycus. He has just completed a five month Western Canada tour of Onegin, presented by the Arts Club. Other recent theatre includes Footloose (Chemainus) and Les Misérables (Arts Club). Recent TV and film work includes Prodigals, Lucifer, iZombie, and Gracepoint. Look for him in Hir at Pi Theatre in the fall. Colleen Wheeler Timon of Athens: Timon • Lysistrata: Ensemble Colleen has been a company member at Bard on the Beach for 15 years and has performed in over 25 productions. Other recent theatre: Forget About Tomorrow and The Valley (Arts Club/Belfry); and Happy Place (Touchstone). Recent TV and film include Altered Carbon (Netflix); Tully (Feature); Mech X-4 (Disney); When We Rise (ABC); A Wish for Christmas and Bridal Wave (Hallmark). Colleen graduated from the University of Alberta’s BFA Acting Program and is the recipient of seven Jessie Awards. Joel Wirkkunen Lysistrata: Directing Apprentice Joel is honoured to be working with this extraordinary group of actors and designers in Bard’s exciting first foray into the Greeks. Select theatre credits include The Audience, Peter and the Starcatcher, School for Scandal, and A Flea in Her Ear (Arts Club); Of Mice and Men and The Overcoat (Vancouver Playhouse); Grace, Sled, and Cherry Docs (Touchstone Theatre); Richard III, Henry IV, The Taming of The Shrew, Antony and Cleopatra, and Cymbeline (Bard). Joel is a graduate of Studio 58 and co-creator of the Vancouver true storytelling series The Flame.
OPENING THE CURTAIN ON GREAT SCENERY! VICTORIA - VANCOUVER - NANAIMO
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FUNDRAISING
BENEFITING
Saturday Night! Feb 23, 2019
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 $9.2 million for the performing arts, including more than $1.2 million towards the outstanding work Bard does onstage and in the community. VanWineFest 2018 was another spectacular week for lovers of wine and food. • • • • •
25,000 participants 1,460 wines 173 wineries 16 countries 8 days
• 51 events • 41 restaurants & caterers • 21 non-winery exhibitors
Bard’s “Much Ado About Nothing” scooter part of gala auction; Bard artistic director Christopher Gaze; Bard volunteers check coats at VanWineFest; gala chair Stephanie Hungerford. Photos by Christine McAvoy
The Bacchanalia Gala Dinner + Auction kicked things off February 24 at the Fairmont Hotel Vancouver - the auctions raised $205,000 and the sold-out raffle for two Delta One tickets to anywhere Delta Air Lines flies raised an additional $20,000!
Join us in 2019 as we Discover California Wines at the 41st Vancouver International Wine Festival. Featuring
Advance tickets on sale November 1. 2018 SPONSORS & SUPPORTERS
@VanWineFest | #VIWF | Sign-up for VanWineFest E-News at VanWineFest.ca
BARD MEMBERS WE APP L AU D T H E F O L L O WING IND IVID UALS WHO P LAY S UCH AN IMPO R TANT PART! The list below reflects those who generously donated to Bard on the Beach between April 1, 2017 and April 1, 2018. Renaissance Circle Major Gifts $10,000+ Alix Brown Peter & Joanne Brown Foundation Suzanne Bolton & Jefferson Mooney in support of Bard’s Youth Education Programs Doug & Margaret Hatlelid in support of the Audrey and Robert Denison Music Fund Paul & Darlene Howard in support of the Howard Family Stage Marlie Oden & Ken Newbert
Benefactors $1,000 – $2,499
Marion Allan Rati Arora 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 Norm Ackermann & Nedra Dickinson Patricia Dowad Lisa Dumbrell Tom & Peggy English Frank & Denise Ervin Craig & Shelley Ferris Mike & Kathy Gallagher Rick Gammer Christopher & Jennifer Gaze John Geddes Anne & Terry Giardini Antonio Gioventu June & Paddy Gooderham George Hackwell Kathy & Stan Hamilton Marilyn Harris Mary Hartman & Patrick Mooney Sandra Herd & Doug Powrie Sam & Ann Isaacs Terri Jelic Valerie Jones
Pamela & David Richardson in support of Bard Education Programs
Penny & Peter Pearse Alan & Gwendoline Pyatt Julie & Gavin Ryan John & Judy Taylor Brian Tufeld Ross & Louise Waters Anonymous (2)
Artistic Director’s Circle $5,000 – $9,999 Larry Beasley & William Logan Mary Clare & Jim Bovard Grant Burnyeat Douglas & Alice Clarke Virginia Evans Ken & Livia Galbraith Linda Gibbs Doug & Margaret Hatlelid Paul & Darlene Howard Sencorp Capital Ltd. David & Joanne McDonald Warren & Diana Mitchell
Tudors $2,500 – $4,999
Armstrong Family Foundation Thomas & Beverley Berger Val & Dick Bradshaw Count & Countess Enrico Dobrzensky Marie Genest David Hardwick & Virginia Baldwin
Judith Kalla Margery Kellett Jacqueline Kelly & Rowland McLeod John H. Kennedy Kate Ker & Paul Cobban Amanda & John Kump Robert G Lemon in memory of Robert M Ledingham Jane Macdonald Marlene MacKenzie Genny MacLean Prof. Bernie Maroney Dennis McCann & Diane Darch John & Yuko McCulloch Mary and Philip Maude Harvey McKinnon & Marcia Thomson Arthur Monahan Barbara Morris & Angela Kelly Gary Nelson & Kathy O’Shea Wendy & Chris Orvig Colin & Diana Price David Vogt & Tracy Proke 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 Ken Spencer & Judy Gale Lesley Stowe & Geoffrey Scott Ian Telfer & Nancy Burke Garth & Lynette Thurber Les Tulloch Barrie & Margaret Jane & Colin Warner Dr. Linda Warren John & Susan Webster Douglas Welch & Elizabeth Ball Colin Whitaker Jane & Michael Woolnough Anonymous (5)
Midsummer Magic $600 – $999 Thomas & Catherine Adair Bryan Atkins Herb Auerbach Baddeley Family Julia Blockberger Ruth Brodie Lawrence Burr Carol & Giorgio Caon Elaine & Ken Carty Vince Chura Vancouver Infectious Disease Centre (VIDC) Dr. Kate Dahlstrom Laura & Ronald Drozdiak Errol & Oona Durbach Peter Elliott & Thomas Roach Lynda & Murray Farmer C. Fleming
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Reet Kana* Tony & Margie Knox Lesley Laudan Richard & Linda Loomer Wendi Mackay Eunice Opstad Deborah Pound Don & Jane Shumka The R & J Stern Family Foundation Ronna & Geoffrey Webb Yosef Wosk Anonymous (1) Mervyn Gilbart-Smith (Plantagenet) Renaissance Circle Reception sponsored by
Gerry Furseth & Peggy Hung Joy Gaze* Richard & Irene Harrison Linda Lee & Jens Henriksen Janet Johnston Jay Joyner & Leanne Shuman Liz and Phil Knight Eminence Organic Skin Care Robin & Barbara Kuritzky Dr & Mrs. E.F. Ledgerwood Margaret Lyle K. Beth Macdonald John & Marian Macfarlane Peter Mercer & Ginger Shaw Colleen & Wes Midmore Lenore Montgomery Sarah Morgan-Silvester & Richard Fraser Gloria Murphy The Nieboers Mark & Maureen Paetkau Paula Palyga & David Demers Donald and Elizabeth Paterson Francesca Patterson & Peter Rozee Kip & Venise Pearson John Puddifoot Arthur Reber Ian & Jane Strang Catherine Sullivan Mary Tait Anne & Mitch Taylor Lisa Vogt & Chris Hodgson
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Piano Voice Guitar Strings
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Choir Orchestra Early Childhood and more!
For more information, visit us online at vam.ca.
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BARD MEMBERS Audrey Zaharichuk Anonymous (3)
Much Ado $300 – $599
Ian & Linda Adam Sue & Bob Adams Sylvia & John Aldrich Janet Allwork W. Alston Laurel Alves Donald & Marion Anderson Ted & Jean Andrew Sheila Anzarut Chris Overton & Marilyn Atkins Jane Baker Wendy Baker John & Jane Bathurst Bill & Gladys Baxter Sigrid Bernhoerster Elaine Breaks Amanda Brittain & Trevor Nisbet Brenna Britton Janice Brown Wayne Brown Nancy Buan Deborah Burian Michael & Sherri Caplan Robert Caspick & Ron Silvers Don & Donna Celle Michelle Chang Reed Clarke Stuart & Meg Clyne Dr. Peter & Jean Cooperberg Michael & Tami Copland Susan Courtemanche David A. Crerar and Julia Lawn Linda Cullen (Double Exposure) Ms Nancy Campbell & Dr. Marshall Dahl Diana Debenham June Demcheson Muriel Densford Jean Donaldson Bill Dow Jonathan & Cathy Driver Susanna & Kieran Egan Sheila Elliott Stephanie & Mark Emanuel Delta Law Office Hilary Feldman & Hannah Scott Ellen Flett Jane Flick & Robert Heidbreder Susan Flynn Ava Forsyth John Gallardo Arlene Gladstone & Hamish Cameron Elaine Godwin Marketa Goetz-Stankiewicz Douglas Graves James & Jane Gray Poul Hansen
The Shaw Family Shirley Shebbeare Bonita Sheldon Nadine Sheppard Irina Soboleva Howard & Wendy Soon William Storey Alan Storr and Joan Sharman Ron & Dina Sudlow Kumi & Gary Sutcliffe Telus Match: Employee Giving Program (2) Jo-Ann Ternier Tom & Anne Terry Ronnie & Barry Tesler Jo Anne Tharalson Janine Thomas, Janine A.S. Thomas Law Corp Nicholas & Vaughan Thornton Elizabeth Tovey Doug Tuck Brian & Pam Tucker Elisabeth Unsworth Susan van Blarcom Angelika Waber Alison & Robert Watt Lyn & John Webster Mark Welsh Sheila Wex Dennis Wiebe Heather Williams Janice Williams Stevie Wilson Eric & Shirley Wilson Jack Wright Nick & Lesley Wright Christina Yorke Donald Yule Anonymous (8)
Dr. Evelyn Harden in Memory of John Wood Elizabeth Hardy Joan Henderson In Honour of Deb Pound Gwendoline Hoar Rosalind & Ken Hollett Aileen Hollifeld Peter Horwood Patricia Hudson Tamara Hunter Margaret E. Hyde Deanna Illingworth Dr. Ron Jobe* Sharon E. Kahn Heather Kennedy Gary & Louise Kenwood Kurt Koerfgen Jeff & Dianne Lapierre Nancy Laughton Trevor Lautens Judy Lerner Michele Ley Janette Lindley & Danny Peart Mark & Terri Lisagor Brian & Lisa Loomis George Ludgate Taylor MacDonald Laverne MacFadden Kenneth MacLeod John & Lorna Mancini Franca Marziali Anne Mathisen JoAn Maurer Peter Kushnir & Anna Mazur John & June McBryde Ian Michaud Dave Miller Ilse Morris Sean & Kerin Munro Aslam Nathoo Peter & Roma Nemetz C. J. Newson Meghan G. Nordquist Richard Olson Keiko Parker Archie & Caron Pell Harrop, Phillips, Powell & Gray LLP Sheila Phillips Marcel Pichette Jean Pirie Kostya & Audrey Polyakov Bryan & Anne Prentice Larry Rhodes Lin & John Richardson Donald & Heather Risk W. D. Robertson Don Rose Robert Duncan Ross Tory Ross & Keith Martin Gordey Anne Rowles & Afton Cayford G. & S. Rudolph David & Jeanmarie Gina Russenholt Masako Ryan Carol Saxon Thomas & Sonya Schmitz
Labour of Love $150 – $299
David Abrams David Secord & Amy Adams through Tides Canada Foundation Jennifer Agnew & Carl Januszczak Sylvia & John Aldrich Lloyd & Olivia Allen Amney Amery Ronald & Brenda Appleton Austin Property Tax Consultants Jean Baker Cheryl Banfield Beth Barlow Patricia Barnes Linda & John Baxter Charlotte Baynes Gillian L. Beattie Irina Bell Ursula Bell Amy Benson & John Russell Penny Bickerton Patricia Birch Jacqui Bohling Norma Boutillier Margaret Brown
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Kathryn Cholette & Peter Burch John S. Burch James Byrnes Carlson Family Fund Rebecca Catley Dr. Hugh Chaun & Pamela Chaun Felix Cheng Jacqueline Christie Judith Coffin Kenneth D. Cole Roger & Carolyn Cole Don Collett Meg Comiskey Lorena Coslovich Tracy Cromwell Denise Cunningham Maureen & Colin Daly Arlene Davidson Andrea Davies Jeremy & Helen Davis Chelsea Deane Matt & Brenda Dennis Patricia Dick Brian Dietrich Keven & Catherine Dubinsky Cathryn Duerksen Deborrah Dunne Louise & Bob Dyer Russell Elliott Chris & Suzanne Finch P. Fitzgerald Judith Fraser Margaret Fraser Jean Gerber Micheline Gill Jim & Rachel Gillingham Maryke Gilmore Don Grant R. J. Gray David & Pamela Gurd Daphne Hales Heather Jones Hankin & Richard Hankin Nancy K. Harris & Uldis Ohaks Dr. Brenda Harrison Douglas Harrison John & Gundi Harriss Pat Harrold & Paul Hart Christopher Harvey Helen Heaney Stephen Heatley Jane Heyman & Lionel Johnston Barbara J. Holmes Jessye Holmgren-Sidell Martin Hosking Brenda Hudson Brett Humphreys Jennifer Jack Teresa & Lewis James Carolyn Jay Linda Johnston Paul Johnston & Marnie McGrath Signe Jurcic Hanna & Anne Kassis Stephen Kelleher Paul & Anne Kernan
2018/20 1 9 1 0 0 T H A N N I V E RSA RY SE ASO N OT TO TAU SK , M U SI C D I R E C TO R
NEW VSO MUSIC DIRECTOR MAESTRO OTTO TAUSK announces the TH
VSO’S 100 ANNIVERSARY SEASON
The VSO is proud to welcome Maestro Otto Tausk as Music Director, in the VSO’s 100th Anniversary Season. Join us for a season-long celebration of music, featuring world-renowned soloists, great classics, Symphony Pops, concerts for children and families, and so much more.
ANDREW VON OEYEN
MAYUKO KAMIO
ITZHAK PERLMAN
AL SIMMONS
RENEE FLEMING
SUBSCRIBE NOW FOR BEST SEATING AND SAVINGS UP TO 30%
201 8/201 9
6-CONCERT SERIES TEA & TRUMPETS AMATINEE Your Vancouver Symphony Orchestra and the Bard himself, Christopher Gaze, present the everpopular Tea & Trumpets series, featuring the music of Tchaikovsky, A British Serenade, Spanish Nights, 100th Anniversary celebrations, and much more.
ALL CONCERTS THURSDAYS 2PM AT THE ORPHEUM. CHRISTOPHER GAZE
COMPLIMENTARY TEA AND COOKIES are served in the lobby before each concert!
@VSOrchestra
SUBSCRIBE: vancouversymphony.ca
604.876.3434
BARD MEMBERS Mrs. G.G. Kidd Candace Knighton & Chris Aikenhead Susan Koch Zachary Kotlarek John & Ann Kowalchuk Jerry & Susan Lampert Dr. & Mrs. Richard J. Lee Richard & Diana Lipsey Jane MacDonald John MacDonald Patty Malesh Judith MacDonald Margot Magee E. J. Makortoff Linda Mamer Evie Mandel Rosalyn Manthorpe Deborah Markle Lindsay McArthur & Amber Kostuchenko Sheila McCallum Sandra McCrone Matthew McDonagh Betty McGowan* Elaine McHarg Kerry McPhedran Catherine H. McPherson Dianne Miller A & W Milman Lillian Mitchell Brian Moul Dr. J. Paul Moxham Ann & Patrick Munro* Moira Munro
Kathryn Shaw Paddy & Maureen Sherman Gordon Smith Peter J. Smith John Richard Smith Keith & Jan Sorensen Margo Stanaway L. & P. Stevenson Mike & Judy Stringer Susan Summers & Joanie Wolfe Mary Sweeney Delfa Syeklocha Nancy Tamblyn Beverley Taylor Adele & Hakan Telenius Mary Thomas Barry & Julie Thompson Dana Thordarson Christine Tolton Jennifer Toone Carol & Bud Tufeld Karen Vail Ildi Varga Lisa Vendrasco Carine Vindeirinho Susan Wagner Gillian Walker Thalita & Greg Walker Heddi & Tony Walter Nancy Walter Philip & Miriam Webber Claire Westlake Gwyneth & Roy Westwick
Bonnie and Bob Nelson Sumiko Nishizawa Meghan G. Nordquist John O’Brian Susan & James Olsen Agatha Ormiston Jane Osler Joan Ouellette Malcolm Page & Christine McGrath Bruce Pentecost Charleen & Ryan Phelps Andrew Piers* Mary Pollock Sheila Pratt Bev & John Price Jennifer Price Veronica & Francis PringMill Karl & Eveline Raab In Honour of Dr. Patricia Rebbeck (2) Ann Rippon Donella Robb Erica Roberts John Robinson Peggy Roe S. R. Rogers Terry Rogers Family Susie and Rob Ruttan The Schmelcher Family Vancouver Tool Corporation Judith Setton Pat & Bill Sexsmith
Ron & Pat Wickens Hector & Caroline Williams Leslie Williams Charlie Ker and Cathryn Wilson Teri Worthington Antonieta Xavier Karen & Allan Zeller Korri Zivin Anonymous (17)
* Bard Legacy Circle Member
Additional Legacy Donors include: Grace Fry Maureen Hannah Freda McDermott Betti Port Janine Reid June Wilson We thank our Members at the As We Like It level ($50 – $149) and our supporters at the All’s Well level ($25 – $49) Your support is vital to our success! Please accept our apology if we have missed or incorrectly listed your name. Please contact development@bardonthebeach.org so we may correct it for future publications.
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Visit us in Suite 100 at 888 Dunsmuir Street in Vancouver (corner of Hornby and Dunsmuir).
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BARD VOLUNTEERS B ARD S AL U T ES O U R V O L U NT EERS The 2017 Bard on the Beach Volunteers donated 20,000 hours of service and raised over $8,000 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 Lillian Mitchell 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 Susan Easton Shannon Enns Jenny Evans Joan Fogarty* Sarah Gillies Doug Hatlelid Margaret Hatlelid Anita Irani Terri Jelic* Elaine Koochin Liz Landon David Leggatt Judy Lerner* Laverne MacFadden Willow Martin Seedhouse Susan Nugent Nadya Ogloff Joan Ouellette Deb Pound* Veronica Pring-Mill Katie Scott Glenda Sherlock Nicole Sherlock Cynthia Southard* Dina Sudlow* 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 Annalies Camfferman Michael Caplan* Judy Daughney Edith Davidson Nancy Flexman Joyce Garraway Eva Gerlitz
Stephanie Gooch Jeanne Harkness Susan Harman Beth Harper Sandy Harvell Midori Kawahara Savannah Kemp Heather LeGresley Adriana Lopez Darryl Lucas Michelle Lundrigan Joni Macarthur Shirley Mann Michael Marissen Forrest Martin Seedhouse Dennis McCann* Betty McGowan Carolyn McLean Hearn Susan McNeil Sandy McNeill Erin Meyer Anne Midzain Rod Neuman Darcy Noon Desiree O’Hern Agatha Ormiston Andrew Piers Paul Porter Helen Roberts Brenda Sawyer Judy Shaw Karen Shimokura Kate Sullivan Gail Sumanik Deborah Tom Elizabeth Tovey Cali Vindeirinho Angela Waber* Angela Wilk Lindsey Zikakis
Pat Harrold Paul Hart Pat Hartley Margaret Healey Noah Heyl Corey Hollett Noel Hollett Rosalind Hollett Patti Holm Leigh Hughes Eileen Jang Janet Johnston Karen Kelly Debbie Kenneally Heather Lawrence Jill Lindsay Carol Long Bonnie Martens Fran Moore Mary Jane Morita Nathan Morris Johanna Mramor Hanna Murray Celia O’Neill Vania Pacheco Rachel Ralph Christine Sainsbury Francesca Sainsbury Hannah Scott Wendy Seniuk Aria Shokoohi Linda Simmons Ann-Marie Sloan Stephanie Smith Irina Soboleva Doug Stever-Akesson Wallis Sung Scott Ashton Swan Kary Taylor Katrina Thomson Carolyne Tran Veronica Trebesh Angela Tung Myles Venn Grace Walker Susan Webster Colin Whitaker* Donna Workman
1–4 Seasons of Service Lily Andruschak Sarah Ball Judy Ballard Wendy Barron Gordon Boleen Paula Boleen Bea Bonner Monica Brennan Eric Budgell Louise Campbell Cristina Ciccone Jacqueline Cowley Lynda Dandurand Craig Davidson Nova Dexter Zelma Edgar Marlene Enns Glen Fast Hilary Feldman Dillan Fernando Sheollagh Fitzgerald Carrie Fleming Gail Franko Sam Fraser Lesley Fraser Juliana Galbiatti Pam Gilbert John Godfreyson Amanda Goldrick-Jones Raymond Greenwood Imogen Hadfield Janet Harper Don Harrison
New Volunteers Courtney Apps Carol Attenborrow Ally Baharoon Dan Bissell Susan Blundell Zain Bouchoutrouch-Ku Christina Bradley Celine Cao Nina Carbone Alexandra Charlton Gabriela Chavez Bill Chen Stellar Cheon Jeongyeon (Jan) Choi Kevin Chu Atticus Cseh Charu Datt Karen Day Valérie de la Grange Jenni Dean Lily Dimitrova Bu Yi Ding Patricia dos Santos Laurie Dwulit Madeline Ewanyshyn 75
Sandra Friesen Wendy Gayton Natacha Gomes da Silva Frani Goodman Susan (Gracie) Gracie Ally Haarstad Penny Handford Erin Hanratty Doreen Hartley Sandy Harvell Barbara Haverstock Diane Henry Laura Hou Claire Hutton Heejeong Jean Gerald Joe Khamael Johnston Janghun Kang Jenna Kim Glory Kinoshta Jiyeon Ko Ruby Kong Young Chan (Felix) Kwon Minjeong Kwon Jeong (Austin) Kyoungsub Faye Lan Rika Lange Sandra Lo Lindsay MacIntosh Jennifer Madison Wanda Madokoro Rachael Mannie Luc Maurer Craig McKee Jennifer McKenzie Shannon Means Stefanie Michaud Andréa Milman Robert (Peter) Milroy Rose Mitsushio Valerie Moore Lisabeth Morgan Elizabeth Mueller Inge Norcott Tracy O’Dea Eireann O’Dea Diarmuid O’Dea Shirley O’Grady Lara Paul Brooks Perkins-Jechow Beverly Pride Dolores Reichert Violet Scott Sharon Secord Emily Shaw Yuri Shiroki Julian Soucy Richard Souza Ryo Tamura Bella Urbanowski Krisztina Vasarhelyi Elizabeth Whitton Stephanie Williams Craig Withers Linda Xia Christine Xiong Cora Yeung Robyn Young
* P ast recipients of Volunteer of the Year Award
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THE BARD TEAM Artistic Director: Christopher Gaze
Executive Director: Claire Sakaki Moffatt, Christopher Norman, Andrew Pye, Gabriel Rominhos, Ryan Theiman, Kyle Turner, Carie Voykin, Russell Waddell, Amy Wilding, Rob Wilson, Dylan Zaska
Artistic & Production Associate Artistic Director: Dean Paul Gibson Artistic Associates: Scott Bellis, Rohit Chokhani, Ben Elliott, Mara Gottler, Pam Johnson, Jennifer Lines, Meg Roe, Colleen Wheeler Head Voice & Text Coach: Alison Matthews Coaching Staff: Tara Cheyenne Friedenberg, Kevin Michael Cripps
Education Director of Education: Mary Hartman Company & Education Manager: Rhea Shroff Education Coordinator: Jenny Rush-Cooper Education Assistant: Katie Johnstone Teaching Artists: Anousha Alamian, Scott Bellis, Ian Butcher, Susie Coodin, Sharon Crandall, Natalie Davidson, Austin Eckert, Marie Farsi, Jeff Gladstone, Erik Gow, Isabella Halladay, Ming Hudson, Elliott James, Luisa Jojic, Kayvon Khoshkam, Amber Lewis, Paul Moniz de Sa, Joel D. Montgrand, Adele Noronha, Dawn Petten, Kirsty Provan, Jenny Rush-Cooper, Aimee Siviter, Emma Slipp, Mike Stack, John Voth, Andrew Wheeler, Kaitlin Williams Riotous Youth: Libby Boyd, Kaja Buse, Nova Dexter, Bonnie Duff, Leah Fong, Mahayla Galliford, Isaac George-Hotchkiss, Rainier Pearl-Styles, Matthew Rhodes, David Volpov, Allegra Wright
Production Manager: Jonathan Ryder Technical Directors: Richard Hansen, Tim Koll Assistant Technical Director: Kougar Basi Venue Technicians: Harrison de Hek, Michael Hewitt, Liam Hunt Head of Properties: Heidi Wilkinson Props Builders: Robyn Volk, Sharon Zimmerman Props Buyer: Carol MacDonald Props Apprentice: Chris Hall Head Scenic Artist: Omanie Elias Lead Scenic Artists: Kristine Kavalec, Lorraine West Scenic Artists: Kiera Floor, Athena Ivison, Tegan Klancnik, Christian Lovell, Lorraine West Sculptor: Susan Connor Draftsperson: Adam Wright Head Scenic Carpenter: Keith Smith Lead Scenic Carpenters: Chris Willis, Grant Windsor Scenic Carpenters: Ryan Boeur, Rebecca Helenurm, Christian Lovell Head of Audio: Chris Engleman Head Electrician: Lukas McCormick Production Crew: Harrison de Hek, William Dettlaff, Michael Hewitt, Liam Hunt, Conrad Tugnum, Jessica Wall Welder: Madeleine Molgat Laurin Welder’s Assistant: Toby Colquhoun Site & Production Assistant: Jamie Sweeney Production Intern: Gemma Harris
Administration Director of Marketing & Communications: Heather Kennedy Marketing Manager: Kira Pidzamecky Marketing Coordinator: Kristin Szilvassy Publicity & Media: Cynnamon Schreinert Box Office Manager: Brent Cowan Box Office Supervisor: Jocelyn Cartmel Box Office Coordinators: Taylor Campbell, Heather Molloy, Madelyn Osborne, Angie Wangler Customer Service Representatives: Hannah Everett, Seamus Fera, Chantal Lyons-Stevenson, Christine Pennington, Jenna Tamminga Group Sales Coordinator: Matthew Rhodes
Head of Wardrobe: Amy McDougall Assistant Head of Wardrobe: Jessica Oostergo Cutters: Victoria Klippenstein, Mitchell Mackay, Allison Roy First Hands: Jillian Little, Mariana Mah, Christine Pampel, Connie Sia Stitchers: Melissa Cartwright, Jayme Cline, Tracey Gauvin, Desiree Morin, Jennifer Reid, Lynette Schlichting, Megan Veaudry, Amy (Ji Hong) Yang, Heather Young Wardrobe Buyer: Ariel Rivera Breakdown Artist: Denise Gingrich Wig Construction & Styling: Marie Le Bihan Backstage Wardrobe Crew: Stevie Hale-Jones, Geoff Jones, Melissa McCowell, Sarah McCready Wardrobe Intern: Nicolette Szabo
Director of Development: Amy Benson Sponsorship & Events Officer: Cathleen Gingrich Individual Giving & Events Coordinator: Alva Tang Director of Finance: Fernando Jacob Senior Accountant: Deepak Mehra Accountant: Rodrigo Camargo Administrative Coordinator: Kathleen Brooks Director of Operations: Ava Forsyth Operations Manager: Stacey Menzies Volunteer Coordinator: Brian Cochrane Operations Coordinator: Stephen Dunne Boutique Buyer & Manager: Isabella Halladay Events Coordinator: Celeste English Front of House & Retail Managers: Halla Bertrand, Libby Boyd, Michelle Deines, Emily Doreen Wilson, Bonnie Duff, Maxwell Forsyth, Chelsea Gardner, Vanessa Ho, Emma Hoogeveen, Julie James, Hannah Jarvis, Tobias Macfarlane, Kirsten N., Dietcliff Ostrowski, Jessi Simmons, Ingrid Turk Facilities Coordinator: Linda Guthrie Season Materials & Website: Carter Hales Design Lab Digital Marketing Agency: Murray Paterson Marketing Group House Program: Corporate Graphics House Program Copywriter: Wendy Soobis Advance Photography: David Cooper & Emily Cooper Production Photography: Tim Matheson Photography: Joe Biegel, Jason Keel Video Services: Bombshelter Productions
Site Project Manager: Sean Preston Site Supervisors: Neil Griffith, DJ Hicks, Anthony Walmsley Head of Transportation: Jim Preston Site Buyer: Triane Tambay Site Head LX: Jason Filipchuk Site LX Crew: Victoria ‘Tori’ Ip, Ryan Yee Crew Chiefs: Evan Follweiter, Dylan Hargrave, Michael Louie, Matthew Oviatt, Olivia Niese, Gary Robinson, Glenys Thorp, Conrad Tugnum, Jillian White Lead Operator: Don Robinson Operators: Bryce Drew, Brad Lemon On-Site Carpentry Shop Head: William Dettlaff Site & Transportation Crew: Valeria Bayona-Otero, Kristopher Clausen, Brody Halfe, Tenay Hall, Gillian Hanemayer, Mark Henderson, Sarah Lennon, Giulia Marchioni, Nic Miskin, Nic Mitsui, Andrew 78
DOUGLAS 17-366
“Bringing light to important subjects, representing minorities on screen— that’s why I do this.” NIKITA CAMERON Stagecraft and Event Technology Grad Production Assistant
Apply now for Fall. douglascollege.ca/apply