Love’s Labour’s Lost William Shakespeare February 6–15, 2014 at 7:30 p.m. Matinee February 13 at 12:30 p.m. TIMMS CENTRE for the ARTS University of Alberta Tickets: $11–$22 Available at the TIMMS CENTRE for the ARTS Box office and TIX on the Square www.studiotheatre.ca
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Love’s Labour’s Lost a play by
Cast – In alphabetical order Katharine / Holofernes Don Armado Boyet / Jaquenetta Rosaline Costard Ferdinand, King of Navarre Princess of France Berowne Dull Dumaine Mercade / Musician Maria Moth / Forester Longaville Sir Nathaniel
Merran Carr-Wiggin Oscar Derkx Braydon Dowler-Coltman Zoe Glassman Georgia Irwin Adam Klassen Mariann Kirby Neil Kueﬂer Brendan Nearey Graham Mothersill Sarah Ormandy Cristina Patalas Andrea Rankin Kristian Stec Mark Vetsch
Creative Team Director Set Designer Costume Designer Lighting Designer Composer and Sound Designer Assistant Set Designer Assistant to the Set Designer Assistant to the Costume Designer Assistant Lighting Designer Dramaturg Voice/Speech/Text Coach Movement Coach
Kevin Sutley Guido Tondino Zsoﬁa Opra-Zsabo Zsoﬁa Mocsar Dave Clarke Sabrina Evertt Camille Maltais Cheyenne Sykes Megan Koshka Emily St-Aubin David Ley Lin Snelling
Stage Management Stage Manager Assistant Stage Managers Stage Management Advisor
Jessica Parr Kiidra Duhault, Erin Valentine John Raymond
• 4 Director’s Notes • 8, 9, 10 Dramaturgical Notes • 12 Upcoming Events • 13 Photos • 20 Staﬀ / Front of House • 16 Production Team • 22 Donors
Director’s Notes What happens in Vegas, stays in Vegas! Many of us are enchanted by the idea of a “get out of jail free card,” a space to indulge our hedonistic fantasies. We desire an escape from the demands and restrictions of our lives at home. We yearn for a fantasyland where we may permit ourselves the freedom to do exactly what feels best without moral or ethical constraint. In Shakespeare’s Love’s Labour’s Lost eight young people from the world of the court are released into a world free of judgement and restraint. In this case our ‘Vegas’ is the Eden-esque conceit of “The Park” situated outside the King’s court in the country of Navarre (now part of Spain bordering the Basque country and the French province of Aquitaine). Between our young people there is immediate attraction. Flirting and lovers’ games are played. But these dizzy times end abruptly with the imposition of the outside world in the form of news from home. This news transports the lovers back to the real world, the world we all live in, a structured world of responsibility, of rules and pain and death. In this context the frivolity of ‘Vegas’ is seen in its true light as shallow and in the end meaningless. It is only a love with the ability to survive the real world that Shakespeare is pointing to as meaningful love. When the Princess says that their love games have taken place in a “time too short to make a world without end bargain in,” it is clear that Shakespeare suggests ‘Time’ as a major player in this. As he says in Henry VI part 3 “hasty marriage seldom proveth well.” Shakespeare’s view is that love is a monogamous venture that will be tested in the course of time and should not be entered into lightly. When considering the heteronormative world view presented in Shakespeare’s plays, it is always fun to consider the fact that in Shakespeare’s world, women’s parts were played by men and the possible myriad responses that may have developed out of this convention. In our play we give a nod to gender cross casting more for our fun than to make any serious examination of the concept. When it comes to love, Shakespeare was, at his core, a romantic idealist and a cynical realist. In Love’s Labour’s Lost he oﬀers a fantasyland free of rules for our lovers to play in. In the end, however, he lays bare the fantasy with the harsh light of reality. Without this reality these labours of love might not have been lost and his play might instead have been titled, “What Happens in Navarre, Stays in Navarre”. Guest Director Kevin Sutley (‘92 BFA Acting, ‘99 MFA Directing)
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For more information about the An exhibit exploring Elizabethan exhibit and associated events, see medical culture and the four humors http://guides.library. that bred the passions of anger, grief, ualberta.ca/shakespeare hope, and fear in Shakespeareâ€™s plays.
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The Director/ Designer Collaboration:
A Conversation with Kevin Sutley and Guido Tondino By Emily St-Aubin with Lucy Collingwood
How do you go from a blank stage to the beautifully crafted world of Love’s Labour’s Lost? Director Kevin Sutley and set designer Guido Tondino provide insight into the collaborative director/ designer relationship. What were some of your initial ideas for the set? How has the design evolved or changed? GUIDO: One of the things that I remember from that ﬁrst meeting is that we talked about the park as a kind of motif … and we talked about the kind of monastery aspect of it but only brieﬂy the idea of retiring to the country or retiring somewhere to study and to just kind of do some kind of examination, some kind of philosophical examination. KEVIN: It was the idea that it was a fantasy love - a world like a vacation where you go away and forget about everything so all these possibilities happen. You’re away from the real world. Four beautiful women meet four beautiful men in a beautiful place and of course love happens. Describe the design process. GUIDO: I like starting with a bunch of really loose sketches just to get an impression, 8
sometimes they’re a little more ﬁxed, and I gave Kevin the opportunity to look at about 10 diﬀerent kinds of points of view on it. I was looking at lanterns and I remember Kevin liking a particular group that was cocoonlike. But at that point we also talked about it being really lyrical and kind of organic too. Somewhere in that process I did an amended sketch that was representational and that sketch became a center starting point for what the space would be and it’s the one that comes closest to a kind of cloister. Kevin identiﬁed some of the needs he had just in terms of the entrances and we tried to look at the script in terms of what those might be and we came up with the idea that there was a kind of outer wall, that this was a cultivated park and that beyond that was something wilder and more open. There was a fortuitous moment, when Zsoﬁa who did the costumes began to ﬁnd the humour in the costumes. We ended up with trying to have a more contemporary feel to [the play] and the set became less organic.
We began naturally to drift to this particular version which has tree-like forms in it so the park is still present, its an abstraction from that and they become tree-lamps, treesculptures in a kind of formal setting which is a semicircle. Zsoﬁa (costume designer) wanted to explore the possibility of black light which gave it another twist and in some ways made it contemporary and at one point we talked about the girls coming from the city into the country to kind of meet the boys and they have this kind of improvised soiree, which was not traditional and I think that had an impact on the music too. KEVIN: Absolutely. The play is very much the courtly world going out into the park, the wild, and because of that the manners, all the show of court goes away. It happens in other Shakespeare plays, that’s where the love happens, that’s where the magic happens because all of that artiﬁce is dropped away. As Guido’s set evolved and Zsoﬁa’s costumes started to solidify it became more about urban people going into the country. It was just another way of looking at the same idea. GUIDO: We didn’t start out with a single concept. We didn’t have one single idea. It kind of emerged organically and I rather liked the way we’ve been able to collaborate on that. KEVIN: For me as a director it’s much more interesting and one of the reasons I wanted to do this project was to collaborate with people instead of coming in with my own idea and just asking other people to make it come to life. It’s the collaborative eﬀort. When you get to draw on all these other creative minds it seems a waste to just impose something and that includes the actors and everybody involved on the project. Is directing or designing a Shakespeare play diﬀerent than directing or designing a more contemporary play? KEVIN: One thing that I would say about
Shakespeare is I think that’s where we’re most familiar with the idea of concept, the outside concept kind of foisted onto a play. That’s because the way Shakespeare wrote wasn’t for designed sets. The design was the stage that they inhabited, maybe they had a couple of drops but very simple, and costuming was also not appropriate to a particular time or event being depicted on the stage, it was just more to give a sense of status and the type of character. It’s kind of a blank canvas. The themes are so broad it’s opened up to a lot of diﬀerent interpretations. GUIDO: We had quite a few discussions around the subject [of] period or not, any history or not. I was aﬀected in some way by the idea that we didn’t want to make an active statement about transposing [the play] to a diﬀerent period. By not forcing the issue we’ve got a kind of mythical Navarre. KEVIN: There are a couple of things as far as costumes where Zsoﬁa started with
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something very contemporary and chic and then as things evolved she started giving costumes little Renaissance touches so it’s just a little tip of the hat to the Renaissance. What makes for a great director/ designer relationship? GUIDO: One of the things I found really wonderful is that Kevin wouldn’t say very much initially, trying I think, not to disturb whatever trajectory there was. But he always had three or four really probing questions that were wonderful and insightful. It’s kind of like directing by way of haiku, like a little riddle which I think is great because it makes it a really enjoyable experience from a designer’s point of view.
by JeFFrey hatcher
Ultimately what we do is a process of distillation and some directors are full of words and wordpictures but as a designer you can only pick two or three of those and they have to be the right ones reﬂective of the piece you’re working on and the attitude you’re bringing in. It is a process of distillation down to only a few elements that are actually signiﬁcant.
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Special thank you to the following undergrad students who helped with the Director’s research. Richard Boness Taylor Bulger Paurav Dana Ari Evans Maddy Goodman Phil Hackborn Elise Houle Ally Larson Rhianne Lessard
Vincent Major Katie Melnychuk Coleman Miller Nathan Plumite Dan Shepherd Jonathan Skinner Carolyn Venter Amy Wright Levi Borejko
The CAHOOTS Festival
Collaborative arts helping oodles of today’s students The Cahoots Festival is an interdisciplinary fine arts series hosted by the Department of Drama that showcases the work of student artists from across campus. Springing from the ashes of the former Quick and Dirty Festival, the Cahoots Festival will provide a chance for students to share their work with artists of diﬀerent disciplines and foster a stronger arts community on campus. The format of the Festival will be based on submissions from students and may include
anything from performances to installation projects, exhibitions, poetry readings, and much more. The festival will take place February 25 to 27 in the Second Playing Space of the Timms Centre for the Arts with proceeds from ticket sales supporting the Department of Drama’s Student Emergency Bursary Fund. For more information or to get involved with Cahoots, contact Festival Director, Rowan Hickie at firstname.lastname@example.org.
New Works Festival February 4 to 9, 2014 Second Playing Space Timms Centre for the Arts Initiated in 2000, the New Works Festival is an exciting theatrical event held in the Department of Drama each February. The Festival allows the University of Alberta’s emerging theatre playwrights to connect and develop their work with directors, dramaturges, designers, and actors. New Works provides a learning experience like no other to students across the university.
The Executive Committee includes Brooklyn Ritchie (Artistic Director), Catherine Vielguth (Executive Director), Desirée Leverenz (Production Manager), Erin Valentine (Treasurer), Sophie Gareau-Brennan (Secretary) and Jessica Glover (Member-at-Large). Follow the Festival blog: http://newworksfestival.blogspot.ca/
THE 2014 NEW WORKS FESTIVAL 2014 LINE-UP: All That’s Left, by Liam Salmon Director: Lucy Collingwood Dramaturg: Rachel Gibeau The Comedian, by Tyler Hein Director: Tori Morrison Dramaturg: Lily Climenhaga Gandhi’s Last Words, by Lisa Gilroy Director: Nick Eaton Dramaturg: Erin Valentine The Only Other One, by Pamela Berekoﬀ Director: Lisa Daniels Dramaturg: Amy Couch 12
Solitaire, by Sophie Gareau-Brennan Director: Catherine Vielguth Dramaturg: Liam Coady The Young Revenger’s Society, by Harley Morison Director: Brooklyn Ritchie Dramaturg: Lily Climenhaga Thank you to the Department of Drama, the Timms Centre for the Arts and the UAlberta Fine Arts Communications Oﬃce for their continued support of the student-led New Works Festival.
All photos by Ed Ellis Set Designer: Zsofia Opra-Zsabo, Costume Designer: Zsofia Mocsar, Lighting Designer Sean McMullen
Production Team Production Manager: Technical Director: Assistant Technical Director: Production Administrative Assistant: Wardrobe Manager: Assistant: Cutter: Stitchers:
Head Scenic/Stage Carpenter: Scenic Carpenters: Scenic Painters:
Properties Master: Lighting Supervisor: Head of Lighting: Lighting Technicians:
Sound Supervisor: Running Crew: Lighting Operator: Sound Operator: Stagehand: Dressers / Wardrobe Maintenance:
Gerry van Hezewyk Larry Clark Rhys Martin Jonathan Durynek Joanna Johnston Kim Creller Ann Salmonson Josee Chartrand Karen Kucher Kelsey Plamondon Laurel Thiessen Darrell Cooksey Barbara Hagensen Andre Lavoie Rachael Alexandre Maria Burkinshaw Chris Chelich Sabrina Evertt Troy Jensen Camille Maltais Andrea Murphy Mattia Poulin Cheyenne Sykes Jane Kline Mel Geary Chris Chelick Joel Adria Josee Chartrand Megan Koshka Charlie Lynn Camille Maltais Travis Metzger Cheyenne Sykes Matthew Skopyk Andrea Murphy Nathalie Feehan Rhys Martin Kim Creller Josee Chartrand
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Gerry van Hezewyk: Production Manager / Administrative Professional Oﬃcer Larry Clark: Technical Director, Timms Centre for the Arts Darrell Cooksey: Head Carpenter Jonathan Durynek: Production Administrative Assistant Mel Geary: Lighting Supervisor Joanna Johnston: Costume Manager Jane Kline: Property Master Karen Kucher: Costumer, Fine Arts Building Don MacKenzie: Technical Director, Fine Arts Building Ann Salmonson: Cutter Matthew Skopyk: Second Playing Space Coordinator / Sound Supervisor
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Donors Heartfelt thanks to the individuals, foundations and organizations listed below for recognizing the importance of the arts by directly investing in the Department of Drama’s innovation and leadership in theatre training and performance. A round of applause to our supporters! Baha and Sharon Abu-Laban Kevin Aichele Janet Allcock Anonymous (9) Doug and Mary Armstrong Douglas and Annalisa Baer Vera Apletree Roderick Banks Jim Barmby William and Carole Barton Karin Basaraba Jim and Barb Beck Lindsay Bell Joan Bensted Rhoini Bhatia-Singh Alan Bleviss Morley Bleviss Richard Bowes David Brindley and Denise Hemmings Julie Brown and Joe Piccolo Kathryn Buchanan Adolf and Kathleen Buse Brent Christopherson Rachel Christopher Penny Coates Faye Cohen David Cormack Lesley Cormack and Andrew Ede Brian Crummy Daniel Cunningham Brian Deedrick W Giﬀord Edmonds Jim and Joan Eliuk Larry and Deborah Ethier John and Bunny Ferguson Renee Fogel Shirley Giﬀord
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