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SH AKES PEA R E

F E S T I VA L

Under the tents in Vanier Park, Vancouver, Canada

M A I N S TAG E

THE TAM IN G OF TH E SHR EW

S H AKE S P E ARE I N L OV E

H O WA R D FA M I LY S TAG E

ALL’S WE LL T HAT E NDS WE LL CORIOLANUS

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Artistic Director

C H R I S TO P H E R GA ZE

@bardonthebeach #bard2019


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CONTENTS Artistic & Executive Directors’ Message . . . . . . . . . . . . . . . . . . . . . . . 5

The Taming of the Shrew . . . . . . . . . . 7 The Story. . . . . . . . . . . . . . . . . . . . . . .9 Director’s Notes. . . . . . . . . . . . . . . . 11 Behind the Scenes. . . . . . . . . . . . . 13

Bard on the Beach Administration BMO Theatre Centre 201 – 162 West 1st Avenue Vancouver BC, Canada, V5Y 0H6

Shakespeare in Love . . . . . . . . . . . . . 15 The Story . . . . . . . . . . . . . . . . . . . . . 19 Director’s Notes. . . . . . . . . . . . . . . . 21 Behind the Scenes . . . . . . . . . . . .23

Phone: 604.737.0625 Fax: 604.737.0425 Email: info@bardonthebeach.org

All’s Well That Ends Well . . . . . . . . . . 25 The Story. . . . . . . . . . . . . . . . . . . . . .27 Directors’ Notes. . . . . . . . . . . . . . . .29 Behind the Scenes. . . . . . . . . . . . .33

Box Office & Festival Site 1695 Whyte Avenue Vanier Park, Vancouver Phone: 604.739.0559 bardonthebeach.org

Coriolanus . . . . . . . . . . . . . . . . . . . . . . . 35 The Story. . . . . . . . . . . . . . . . . . . . . .37 Director’s Notes. . . . . . . . . . . . . . . .39 Behind the Scenes. . . . . . . . . . . . .40

#bard2019 | @bardonthebeach

Bard Membership . . . . . . . . . . . . . . . . 41 Bard: Beyond the Plays . . . . . . . . . . .44 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 Education . . . . . . . . . . . . . . . . . .49 , Senákw: The Story . . . . . . . . . . . . . . .50

Bard on the Beach is a non-profit registered charity. Charitable Registration Number 129644928 RR0001.

Bard Volunteers . . . . . . . . . . . . . . . . . .83

We would like to acknowledge that Vanier Park is located on the unceded traditional territory of the Musqueam, Skwxwú7mesh, and Tsleil-Waututh First Nations. We are grateful for the opportunity to be here.

The Bard Team. . . . . . . . . . . . . . . . . . .86

Company Biographies . . . . . . . . . . . 51 Bard by the Numbers. . . . . . . . . . . . . 75 Bard Members . . . . . . . . . . . . . . . . . . . 77 Acknowledgements . . . . . . . . . . . . . .84 Season Schedule . . . . . . . . . . . . . . . . 87 3


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ARTISTIC & EXECUTIVE DIRECTORS’ MESSAGE

Claire Sakaki and Christopher Gaze Photo: David Cooper

Welcome to Bard, one and all. We are pleased and proud to bring you our 30th Anniversary Season. We’ve chosen to look both to the past and to the future as we’ve programmed this milestone year, and each of our four plays fulfills the promise of that dual focus.

The Taming of the Shrew celebrates Bard’s history. It is inspired by our 2007 “spaghettiwestern” Shrew, an all-time Festival favourite. But there’s a new twist for 2019, sparked by a fresh understanding of Kate and who she aspires to be, that speaks to our evolving cultural expectations. We describe Shakespeare in Love as a “love letter” to the theatre. Its sumptuous ElizabethanEngland setting celebrates a romantic time gone by, but we also present it in 2019 as an entry-point for new audiences. Its modern speech and universal themes of love and longing will feel familiar to a broad range of people – and help grow an appreciation of live theatre and Shakespeare for those who are newer to those worlds. 1940s India is a fertile setting for our All’s Well That Ends Well. This production allows us to look back at a dramatic and divisive period in history through the eyes of one complex Indian woman. We are eager to present a story that reflects this period, and we are also excited about future explorations of Shakespeare’s words in support of our goal of reflecting the experiences of many different cultures, Board of Directors President backgrounds and perspectives. John McCulloch Vice President Darlene Howard Treasurer Kostya Polyakov Secretary Beth Macdonald Past President Jim Bovard Directors Rebecca Catley Douglas Clarke Mark Fancourt-Smith John Geddes Glenn Ives Shona McGlashan Marlie Oden Arv Sooch Marg Vandenberg Douglas Welch

The final salute to our past and future is our first-ever staging of Coriolanus. It brings us one step closer to completing the canon, a momentous accomplishment for any Shakespeare festival. As well, presenting this story with a female protagonist shows that it is both possible and necessary to stage Shakespeare’s 400-year-old plays in relevant and provocative new ways. We are also inspired by the blending of past and future in our Bard Education programming. While the foundation of all our programs are the stories, characters, themes and poetry of Shakespeare’s original text, we are inviting a new generation of young people to interpret these plays on their own terms and through their own, individual lenses. We’re thrilled you are joining us for our 30th Season and we thank you, our treasured audience, for your ongoing support of live theatre and of Bard on the Beach.

Christopher Gaze, Artistic Director

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Claire Sakaki, Executive Director


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THE TAMIN G OF THE S H R E W J U N E 5 to S E P T E M B E R 2 1 Directed by Lois Anderson Andrew McNee (Petruchio) & Jennifer Lines (Kate) Photo & Image Design: Emily Cooper

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BAPTISTA MINOLA BIONDELLA HORTENSIO MAYOR/PIANO PLAYER/GREGORY/VINCENTIO MAYOR’S WIFE/HOUSEMAID/ WAITRESS/HABERDASHER/ DANCER GIRL/WIDOW GREMIO BIANCA MINOLA PRIEST/COWBOY/NATHANIEL TRAIN CONDUCTOR/PEDANT COWBOY/CURTIS/PONY EXPRESS RIDER SHERIFF/PHILLIP COWBOY/BARTENDER/NICHOLAS/TAILOR KATHERINE MINOLA LUCENTIO TRANIO PETRUCHIO GRUMIO PORTERS, SERVANTS and MUSICIANS

Susinn McFarlen Ming Hudson Anton Lipovetsky Paul Moniz de Sá Ghazal Azarbad Scott Bellis Kate Besworth Jason Sakaki Andrew Cownden Austin Eckert Victor Dolhai Charlie Gallant Jennifer Lines Kamyar Pazandeh Chirag Naik Andrew McNee Joel Wirkkunen Members of the Company

Costume Designer Set Designer Lighting Designer Sound Designer Original Compositions Head Voice & Text Coach Fight Director/Choreographer Production Stage Manager Assistant Stage Manager Apprentice Stage Manager Directing Apprentice Assistant Costume Designer Assistant Lighting Designer Assistant Set Designer

Mara Gottler Cory Sincennes Gerald King Malcolm Dow Marc Desormeaux Alison Matthews Jonathan Hawley Purvis Stephen Courtenay Rebecca Mulvihill Heather Barr Tai Amy Grauman Alaia Hamer Celeste English Kimira Bhikum

This production is inspired by Miles Potter’s 2007 The Taming of the Shrew.

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


Andrew McNee & Jennifer Lines The Taming of the Shrew Photo: Emily Cooper

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THE TAMING OF THE SHREW T HE S T OR Y NEW IN TOWN It’s the 1870s in the American West. Lucentio, a young gentleman from Pisa, arrives in Padua City to attend university. He loses interest in his studies when he sees Bianca, the daughter of Baptista Minola, one of the wealthiest women in Padua City. Petruchio has also just arrived in town and intends “to wive it wealthily in Padua.”

RULES OF ENGAGEMENT Lucentio isn’t the only man interested in the sweet and beautiful Bianca. Both Gremio and Hortensio are official suitors. There’s just one catch: no one can court Bianca until Baptista’s older daughter Katherine (Kate) is married! Unfortunately for the suitors, Kate is renowned as the town “shrew.” She’s infamous for her rude manners and talent for destruction, and no one wants to marry her.

Set design rendering for The Taming of the Shrew by Cory Sincennes

THE WINNING HAND Meanwhile, the disguised Lucentio wins Bianca’s heart and the two elope. The marriage is discovered, and their respective families are forced to come to an agreement.

Overhearing that Bianca needs a tutor, Lucentio and his servant Tranio switch places; Tranio poses as Lucentio while Lucentio disguises himself as a tutor in order to get into the Minola household and woo Bianca.

Petruchio and Kate return home to celebrate the newlyweds, and everyone is shocked by Kate’s transformation into an obedient wife. But with a few tricks up her sleeves, Kate is determined to shake things up in Padua City.

THE GAME Petruchio learns of Kate’s large dowry and resolves to marry her. He is intrigued by her forbidding reputation. When they meet, they immediately go head-to-head in a battle of wits and are evenly matched. Petruchio tells everyone that he and Kate are in love, and a wedding is arranged for Sunday.

DID YOU KNOW?

• Elements of The Taming of the

Shrew are directly inspired by Italian theatrical traditions. The story of Bianca, Lucentio and Tranio follows the form of classical Roman comedy, and some of the characters are similar to those found in commedia dell’arte.

Petruchio arrives late for the wedding and behaves outrageously. After the ceremony, he whisks Kate away to his property in the desert, where she finds a gang of outsiders and a whole lot of dirt! Kate and Petruchio continue to rail at each other, until they begin to reach an understanding, finally joining forces as a pair of gamesters. They run into Lucentio’s father, who has come to see how his son’s studies are going in Padua City.

• Shakespeare’s comedy didn’t

appear in print until it was included in the 1623 Folio of his collected plays, but in 1594 a play called The Taming of a Shrew was published. Scholars debate if this was a badly printed version of an earlier anonymous play, or a later adaptation of Shakespeare’s.

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THE COMPANY TAMING BIOGRAPHIES OF THE SHREW D IR E C T O R ’ S N O T ES Padua City, 1870s. This is the story of a woman. A woman named Katherine Minola. It’s the story of a journey. The journey towards identity for a woman who lives in a fictional western town, striving to define itself in a new America. This is an aspiring town, where you either integrate, or you are pushed outside. A woman who doesn’t follow the path of wife-hood and respectability has few options. (Let’s remember that women didn’t even get the vote in the United States until 1920.)

Costume creation for The Taming of the Shrew designed by Mara Gottler

Purvis, Choreographer. We acknowledge the late Marc Desormeaux, sound composer for Miles Potter’s original 2007 spaghetti western. Malcolm Dow had full access to Marc’s sound files which gloriously evoke the landscape of the West. Thanks to Shakespeare for taking an old tale from the Decameron and evolving it forward from a wife-beating story into a love story. This production takes the liberty of rolling it forward again.

This is the story of a woman who rails against the status quo. A woman who knows what she doesn’t want her life to be, but has no options, and is unable to see a path forward. A woman labelled “shrew” and “devil” and “devil’s dam” because she is different. Town and woman are pitted against each other. This is also the story of a man, Petruchio, who lives by the code “frolic”. A man who pulls into town and meets this extraordinary woman.

Be bold, be messy, be your true self. Lois Anderson

ABOUT LOIS ANDERSON

This is the story of how this man and this woman fall in love, and then slowly get to know each other, through misunderstandings, and mis-haps. It’s a complex love story and we in the audience root for them. We watch them battle, spar and provoke each other until, exhausted, they discover that they are stronger together. Together they can change the world.

Bard Direction: Pericles and Lysistrata. Bard roles: 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. Other Direction: Arts Club, Rough House, Mitch and Murray, Leaky Heaven, SFU and UBC. Cocreation with: Cirque Poule, Flying Blind, and Leaky Heaven Circus. Awards: eight Jessies (including Best Director, Pericles), Betty Mitchell Award, Ovation Award (Best Direction Musical, Fun Home), and Sydney J. Risk Emerging Director Award.

We acknowledge that in the burgeoning American West, there are many stories we could tell about persons, and diverse communities, who were pushed aside. This is only one story, of one woman. Many thanks to Mara Gottler, Cory Sincennes and Gerald King for helping to define this world through costumes, set and lights. Thank you to this extraordinary company, to Tai Amy Grauman, Apprentice Director and rodeo queen, and Jonathan 11


THE COMPANY TAMING BIOGRAPHIES OF THE SHREW B E HIN D T HE SC ENE S THE SET At first glance, the Padua City of Cory Sincennes’ set is an inviting, idyllic town in America’s Old West. Beneath the surface, however, it is an oppressive place, all about rules and conformity. This is represented by the adobe wall at the back of the set. “The wall is the divide between the conservative town, and the world beyond, where ‘othered’ communities might exist, who are not welcomed.” When Kate is inside the wall, she lashes out “because she doesn’t fit in. It’s not until she’s out there, past the wall, that you really see her flourish.” In this way, “the set itself acts as a character because it tells the audience so much about the people and how they move in the world.”

Set design for The Taming of the Shrew by Cory Sincennes

Only in the wilderness of Petruchio's camp does Kate's sense of self flourish. Shedding societal expectations, she “borrows” an assortment of comfortable, masculine pieces from the outlaws to create her own personal style statement. Her narrative journey ends in the final scene when she sheds the sombre black dress of the “good wife” to reveal her unique spirit.

THE COSTUMES

Bard Artistic Associate and founding member Mara Gottler shares some insights into her costume design for The Taming of the Shrew:

How clothes make the wo/man “Shrewishness is a mechanism to escape the strictures of conventional society.” This directorial focus sets up the clothing narrative for each character in Taming. Townspeople, self-righteous and respectable, follow “civilized” dress codes. For Baptista, as merry widow, that means a dramatic display of half-mourning; for Bianca, as marriageable flirt, an everchanging array of floral self-indulgence. For Kate, as rebellious spinster, the limited options leave her feeling trapped and uncomfortable in her clothes.

THE SOUND & MUSIC

In this re-imagining of a ‘spaghetti western’ Shrew, Sound Designer Malcolm Dow has the unique task of creating his own design out of existing compositions written by the late composer Marc Desormeaux. Armed with CDs provided by Desormeaux’s family and archived files from Bard, Dow is using Desormeaux’s Western-inspired music, but “I’m re-inventing how it works—I’m not necessarily using the same music for the same cues.” The previous design used romantic themes to score scenes in the town, for example. “Now, the town will feel formal and structured, something to rebel against,” says Dow. To achieve this, he is drawing from different parts of Desormeaux’s score to re-build those cues. “It’s almost like a dialogue between my take and his. My job is to do justice to what he’s created—and re-imagine it for this production.”

Mara Gottler's costume sketch and inspiration board for the Widow (played by Ghazal Azarbad)

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S H AKE S P E A R E I N LOV E Based on the screenplay by Marc Norman & Tom Stoppard Adapted for the stage by Lee Hall | Music by Paddy Cunneen

J U N E 1 2 to S E P T E M B E R 1 8 Directed by Daryl Cloran Charlie Gallant (Will Shakespeare) & Ghazal Azarbad (Viola de Lesseps) Photo & Image Design: Emily Cooper

#bard2019

Originally produced on the West End by Disney Theatrical Productions & Sonia Friedman Productions, directed by Declan Donnellan, and designed by Nick Ormerod

WILL SHAKESPEARE KIT MARLOWE HENSLOWE FENNYMAN LAMBERT FREES RICHARD BURBAGE MISTRESS QUICKLY TILNEY QUEEN ELIZABETH VIOLA DE LESSEPS NURSE RALPH NOL ADAM JOHN WEBSTER WABASH LORD WESSEX SIR ROBERT DE LESSEPS CATLING NED ALLEYN SAM BOATMAN MOLLY KATE VALENTINE ACTORS, the COURT, MUSICIANS, GUARDS SPOT

Charlie Gallant Austin Eckert Scott Bellis Warren Kimmel Kamyar Pazandeh Anton Lipovetsky Andrew McNee Ming Hudson Paul Moniz de Sรก Jennifer Lines Ghazal Azarbad Susinn McFarlen Joel Wirkkunen Victor Dolhai Chirag Naik Kate Besworth Andrew Cownden Anton Lipovetsky Paul Moniz de Sรก Joel Wirkkunen Kamyar Pazandeh Jason Sakaki Chirag Naik Jennifer Lines Ming Hudson Andrew Cownden Members of the Company Kingsley, Porkchop

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


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SHAKESPEARE IN LOVE 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 Assistant Costume Designer Assistant Lighting Designer Assistant Set Designer

Cory Sincennes Gerald King Mishelle Cuttler Alison Matthews Julie Tomaino Jonathan Hawley Purvis Stephen Courtenay Rebecca Mulvihill Heather Barr Kayvon Khoshkam Erica Sterry Celeste English Kimira Bhikum

This production was originally conceived at the Citadel Theatre, Edmonton, in association with Royal Manitoba Theatre Centre, Winnipeg.

Did you know most of the actors in this production also appear in The Taming of the Shrew? You can come back and see the same players in a very different setting.

WIN D O WS I N TO S HA KES PEA RE IN LOVE REIMAGINING HISTORY

Much is known about England circa 1600, yet considering Shakespeare’s impact on theatre, we know little about the man, his writing process and his time with the Lord Chamberlain’s Men theatre troupe. We also know very little about women in the theatre during this time period. However, the nature of this play, a fictionalized account of Shakespeare’s early days, asks us to dig deeper into the playwright’s process and women’s involvement in the theatre. Examining historical archives has uncovered more about the people Shakespeare surrounded himself with and how they may have affected his artistry. We have also learned that women performed in guild plays and popular entertainments of the time, and that women were assistants to theatre owners and company management.

SCREENPLAY INTO THE PLAY

Turning the tremendously popular, Academy Award–winning film Shakespeare in Love into a play took almost 16 years. Screenwriter Tom Stoppard was asked to pen the stage adaptation, but he didn’t think he should be the one to do it and British playwright Lee Hall ended up with the task. Hall had some challenges, such as figuring out how to translate the film into stage scenes. In the end, about 90 percent of the film script remains intact in the play, but there are differences. The play includes roughly 30 minutes of new dialogue (including more of Shakespeare’s texts), the love story of the movie has been downplayed in favor of Will and Viola finding themselves as artists, and Marlowe has a much larger role. ©

2017 Oregon Shakespeare Festival — Martine Kei Green-Rogers

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VERDI, STRADIVARI & LA DOLCE VITA June 19 - July 1, 2020 Barcelona concertmaster Kai Gleusteen and pianist Catherine Ordronneau host this sublime journey which includes Milan’s La Scala, the Arena di Verona, Teatro La Fenice, plus incomparable scenery, wine & Dolce Vita. Milan - Turin - Cremona - Verona - Lake Garda - Bologna - Sacile - Venice

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September 29 - October 13, 2020 A glorious concert series exploring the heart and homeland of the great classical composers hosted by Marcel & Elizabeth Bergmann. Highlights include the Berlin Opera, Bach and Leipzig, Beethoven Haus Bonn, Musikverein Vienna. Berlin - Weimar - Bonn - Munich - Salzburg - Vienna

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SHAKESPEARE IN LOVE T HE S T OR Y WRITER’S BLOCK

Will Shakespeare, an emerging playwright, has writer’s block. He is struggling to complete his new work, Romeo and Ethel the Pirate’s Daughter, before the Rose Theatre’s deadline. He needs inspiration and is desperate to rival the success of his friend and fellow playwright, Kit Marlowe. Meanwhile, another acting company steals and performs one of Will’s plays, adding a dog and gaining the attention of Queen Elizabeth I. The Rose’s owner, Philip Henslowe, needs Will’s new production to settle his debts to Hugh Fennyman. Henslowe pressures Will to hold auditions to get the process moving.

Shakespeare in Love costume sketches by Cory Sincennes

A WOMAN IN DISGUISE

CLOSED BEFORE OPENING

Viola de Lesseps is a young gentlewoman from a wealthy family. She longs to be on stage, but only men are allowed to act. She disguises herself as Thomas Kent and auditions for the part of Romeo in Will’s new play.

While out for a drink with the cast, Viola/ Kent learns that Will has a wife and children. He tries to explain but she rejects his excuses and runs off. Viola reappears as Kent for final rehearsals, but her secret is exposed, and the Rose is shut down for having a woman on stage. With no theatre and a wedding fast approaching, what will become of the production, the actors and the lovers?

A LOVE AFFAIR

Mesmerized by Viola/Kent’s audition, Will follows her home. He leaves a letter with her nurse offering Kent the role of Romeo. While at the house, Will sneaks into the de Lesseps’ ball where Viola’s father is arranging her engagement to Lord Wessex, who is titled but has no money. Not recognizing Viola as Thomas Kent, Will becomes infatuated when he dances with her. He later goes to her balcony to profess his love.

DID YOU KNOW?

• The play’s story takes place before

the Globe theatre was built. Instead, two other famous playhouses are mentioned. The Rose was built in 1587 by Philip Henslowe, and its remarkably preserved foundations were discovered in 1989. The Curtain opened in Shoreditch, near London, in 1577 and its remains were found by archeologists in 2012.

Viola/Kent attends rehearsals for the play and Will eventually discovers her true identity. They fall in love and begin a secret affair. Viola becomes Will’s muse and he is inspired to write again.

• When Shakespeare began his

career in the early 1590s, Christopher Marlowe was England’s most celebrated poet/playwright, having had tremendous success with Doctor Faustus, Tamburlaine the Great and Edward II. Marlowe was stabbed to death at the age of 29.

THE QUEEN’S COURT

Wessex brings Viola before the court to seek the Queen’s approval for their engagement. The three of them debate whether a play can capture the true nature of love, and a bet is proposed to settle the matter, with the Queen as judge. 19


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COMPANY SHAKESPEARE BIOGRAPHIES IN LOVE D IR E C T O R ’ S N O T ES HENSLOWE: Let me explain about the theatre business. The natural condition is one of insurmountable obstacles on the road to imminent disaster… But it always works out in the end. FENNYMAN: How? HENSLOWE: I don’t know. It’s a mystery. Costume design by Cory Sincennes

I have been drawn to theatre all my life because of its collaborative nature. So many other art forms are solitary – a novelist sitting alone at her computer, a painter alone at his canvas – but theatre is built by a community of artists coming together and imagining the impossible. And somehow, no matter how big the obstacle, by opening night it all magically comes together.

I’m writing this note before we’ve even started rehearsals. There are months of exploration and discovery and magic ahead of us to create the production you’re about to watch. I know what it all looks like in my head, but when I get in the room with this incredible company of actors and designers, it will be made all the more magnificent by the collaboration of all the artists. There will be moments where it feels triumphant and moments where it feels impossible. But somehow, it will make it to opening night, and the production you’re about to watch. Henslowe’s right, sometimes “it’s a mystery” how it all comes together. And that’s the magic of theatre. Enjoy the show!

Daryl Cloran

Costume design by Cory Sincennes

ABOUT DARYL CLORAN

While Shakespeare in Love is a beautiful love story, it is also the story of an ensemble of actors and outcasts coming together to defy all odds and create something beautiful. They break the rules, and reimagine who is allowed to participate in the storytelling, and the story becomes richer for it. And we too, have come together with the very same intention, to create something beautiful for you. You are an integral part of that. Without you in the audience, there would be no production. We are creating this together. That’s the profound thing about theatre – we all come together in a space, for a moment, to create something that will never be exactly the same. It is ephemeral and magical. And it is why I keep coming back.

Daryl is the Artistic Director of the Citadel Theatre in Edmonton, the former Artistic Director of Western Canada Theatre (Kamloops, BC) and the founding Artistic Director of Theatrefront (Toronto). Directing credits include: As You Like It and Love’s Labour’s Lost (Bard on the Beach); Shakespeare in Love, Matilda, UBUNTU, and The Candidate & The Party (Citadel); Liberation Days (Theatre Calgary/WCT); Mary Poppins (Persephone/WCT); Tribes (Canadian Stage); And All For Love (National Arts Centre); and Afterplay (Shaw Festival). 21


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SHAKESPEARE IN LOVE B E HIN D T HE SC ENE S THE SET

metallic golden tones. This indicates her high status, and also hints at the fact that as a woman, she is treated more like a trophy than a person by the men of her own rank.

He found his solution in the form of Shakespeare’s original theatre. The open, neutral platform designed by Sincennes evokes the great Globe itself and serves to establish the era of the English Renaissance, while drawing us into the backstage, play-within-a-play world of Will, Viola, and their fellow actors. A section of the stage also turns on a revolve, helping the actors—and the audience—transition seamlessly from one place to the next, while also suggesting the changing perspective of a film camera.

However, when she disguises herself as the actor Thomas Kent, the colours she wears shift to more earthy tones, such as burgundies and deep oranges, reflecting that even though she is wearing a disguise, she can be more truly herself in those moments.

This set is as much the solution to a puzzle as it is the product of inspiration: how can you fit a movie inside a theatre? Originally a film screenplay, the script travels with lightning speed from one physical location to another, which raised some real challenges for Set Designer Cory Sincennes.

Lord Wessex costume sketch by Cory Sincennes

MUSIC & SOUND DESIGN

“Music is the first thing we experience in this play,” explains Sound Designer & Musical Director Mishelle Cuttler. “It brings us into the world.” Traditional instruments, such as harpsichords, hurdy-gurdies, and bodhráns (Irish drums), evoke the bygone era of the Elizabethan age. Some songs are inspired by Renaissance madrigals— songs with complex harmonies which were often set to poetry. Here, many of the songs are set to the words of Shakespeare’s sonnets.

Set design rendering for Shakespeare in Love by Cory Sincennes

THE COSTUMES

In Elizabethan England, colour was often used to identify social standing. In Shakespeare in Love, colour also reveals character.

When the ensemble sings together live, they evoke the comradery and fellowship of an Elizabethan acting company, while also bringing us into the backstage world of the play. In a story that is constantly flowing from one place to the next, the music also helps add to that sense of motion. As Cuttler says, “The music carries us through the world like a cinematic score.”

Costume Designer Cory Sincennes explains, “Colour can be used to show the emotional journey of a character, as well as their status within their world.” In the scenes where Viola is with her parents and inside their aristocratic world, Sincennes has dressed her in shimmering, even 23


AL L’S WEL L T H AT END S W E L L J U N E 2 6 to A U G U S T 11 Co-created and co-directed by Johnna Wright and Rohit Chokhani Sarena Parmar (Helena) Photo & Image Design: Emily Cooper

#bard2019 H O WA R D FA M I LY S TAG E in the Douglas Campbell Theatre

HELENA RINALDO COUNTESS BERTRAM LAFEU PAROLLES VICEROY SPURIO SEBASTIAN WIDOW DIANA ELDER DUMAINE BROTHER YOUNGER DUMAINE BROTHER ENSEMBLE VILLAGERS, ATTENDANTS and GUESTS

Sarena Parmar Veenesh Dubois Lucia Frangione Edmund Stapleton David Marr Jeff Gladstone Bernard Cuffling Nathan Kay Ashley O’Connell Veenesh Dubois Pam Patel Munish Sharma Nadeem Phillip Andy Kalirai, Shannon Karan, Gunjan Kundhal, Priya Pranjivan, Talia Vandenbrink Members of the Company

Carmen Alatorre Pam Johnson Alan Brodie & Conor Moore Ruby Singh Poonam Sandhu Alison Matthews Nutan Thakur Joanne P.B. Smith Jennifer Stewart Zoe Bellis Paneet Singh

Costume Designer Set Designer Lighting Designers Sound Designer & Composer Choreographer Head Voice & Text Coach Hindi Dialect Coach Stage Manager Assistant Stage Manager Apprentice Stage Manager Apprentice Director and Creative Cultural Consultant Assistant Costume Designer Assistant Lighting Designer Assistant Set Designer

Sophie Wallace Sophie Tang Kimira Bhikum

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ALL’S WELL THAT ENDS WELL T HE S T OR Y THE DOCTOR’S DAUGHTER

During the waning days of British Colonial rule in India, a privileged Hindu woman named Helena is secretly in love with Bertram, a British aristocrat and officer. Bertram lives in Ambala with his mother, the Countess of Roussillon. Helena has been the Countess’ ward since the death of her father, a respected doctor. With the movement for independence spreading across India, Bertram is called to the palace in Delhi by the Viceroy. While he is away, Helena reveals her love for Bertram to the Countess. She also shares her plan to heal the Viceroy’s grave illness.

Set design for All’s Well That Ends Well by Pam Johnson

She arrives in a Northern village where she meets a poor Hindu widow with a daughter, Diana. Helena learns that Bertram, who is stationed nearby, has tried to seduce Diana, and Helena conspires with the women to trick him. As part of their scheme, Bertram is given Helena’s ring, although he is unaware of its rightful owner.

THE CURE

Using traditional healing practices learned from her father, Helena cures the Viceroy. As a reward, he gives her the power to choose a husband from a host of bachelors. Helena picks Bertram, but he rejects her because of her social standing. However the Viceroy forces him to accept her, and the two are married.

THE RETURN

Back home, everyone believes that Helena is dead. Bertram returns to his mother’s home in Ambala. He receives consent to remarry, but the Viceroy recognizes the ring he plans to offer with his new marriage proposal. It’s a ring the Viceroy had given to Helena, so he is suspicious of how Bertram obtained it. The Viceroy orders Bertram’s arrest.

THE LETTER

Before Helena and Bertram can share a marriage bed, he flees to the North to fight as a soldier. He sends Helena a letter saying that she can only call him her husband if she fulfills two seemingly impossible tasks.

Diana enters to reveal the true story about the ring, which is proven when Helena steps forward alive to claim her husband.

DID YOU KNOW?

• Shakespeare’s source for the play is

a story in Boccaccio’s Decameron. Shakespeare added the characters of the Countess, Lafew and Parolles.

• Shakespeare often gets credit for

coining nearly 2,000 words and usages. Perhaps his most unusual appears in All’s Well That Ends Well. ‘Kicky-wicky’ is a disrespectful term Parolles uses for a wife. Unlike Shakespeare’s other new words, like ‘fashionable’, ‘gloomy’ and ‘critical’, ‘kicky-wicky’ has not stayed in active use.

AN UNLIKELY ALLIANCE

Bertram and Helena costume sketches by Carmen Alatorre

Rejected by Bertram, Helena embarks on a pilgrimage.

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ALL’S WELL THAT ENDS WELL D IR E C T O R S ’ N O T ES

from such richly different backgrounds, practices and perspectives.

We are excited to stage this unique take on All’s Well at Bard on the Beach, setting one of Shakespeare’s “problem plays” in the midst of problematic times in India.

We hope you’ll enjoy the ride, ask a few pointed questions of your own and perhaps even get inspired for a debate. Hopefully with some samosas and chai!

The decision to place our All’s Well at this pivotal moment in Indian history - the end of British colonial rule - has allowed us to confront issues around the topics of colonization, privilege, identity, culture, race and gender, while at the same time shedding new light on the story of Helena and Bertram.

Johnna Wright and Rohit Chokhani

ABOUT ROHIT CHOKHANI Founding Artistic Director of Diwali in BC, founder of Project SAT (South Asian Theatre), and cocreator of Monsoon Fest. Accolades include Vancouver NOW Representation and Inclusion Award (2018); Jessie Richardson Theatre Award for Significant Artistic Achievement – Large Theatre (2017); and Bollywood star Shiamak Davar’s Vancouver Community Award (2017). Rohit directed Bombay Black by Anosh Irani, which was voted by The Georgia Straight amongst the 20 best shows of 2017. Rohit is excited for his fourth season with Bard.

India may be a “free country" now, but the aftermath of the British occupation is still being experienced through conflicts around its borders, and within the Indian subcontinent and its diverse culture as a whole. The trauma continues to affect generations of South Asians that live in Canada and world wide. The topic is too broad in its scope to be fully investigated in a few hours on stage. With All’s Well we look at this moment in time through the eyes of one woman. Our production takes place in an imagined India, and in a fictionalized version of history - much as Shakespeare fictionalized the history of Britain. Helena’s relationship with her own culture and identity is complex and deeply experienced in this play, much as matters of identity and cultural belonging are experienced by Canadians today. What impact will the painful events of abandonment, and her own wanderings, bring to Helena just as her own country enters a period of profound chaos and conflict?

ABOUT JOHNNA WRIGHT Johnna is delighted to return to Bard on the Beach with this exciting project. She had the pleasure of directing The Merry Wives of Windsor for Bard in 2016 and 2012 (Jessie Awards for Outstanding Production and Outstanding Direction). Other Vancouver projects include The Rivals and The Triumph of Love (Blackbird Theatre), and eight years as Co-Artistic Director of Solo Collective. Johnna currently lives in Saskatoon where she is Literary Manager for Persephone Theatre.

With this production we strive to make Shakespeare accessible to new communities, including the South Asian community in BC, and to invite different communities to experience a small sliver of South Asian history as we have fused it with Shakespeare’s text. It has been both challenging and exhilarating to interpret this play in a new context, augmented by music and dance, and to explore some of the complexities that exist in this diverse and beautiful country. And it has been an exciting journey to collaborate with artists 29


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ALL’S WELL THAT ENDS WELL WINDOWS INTO ALL’S WELL THAT ENDS WELL INDEPENDENCE AND THE PARTITION OF INDIA, 1947

made for certain states affected by communal violence and conflict, in which mass transfers were undertaken.

In August 1947, India gained its Independence from Britain, over 350 years after the British first arrived. One of Britain’s final acts before departing was the division of British India, which eventually resulted in the creation of two independent countries, India and Pakistan. This is commonly referred to as the Partition of India.

The events of Partition ignited a firestorm of religious and cultural conflict. Massive violence and slaughter occurred on both sides of the new borders. Estimates range from 200,000 to two million people who lost their lives, while literally millions more suffered assault, starvation, trauma, family separation, and the loss of loved ones as well as their homes and belongings.

The hastily-formulated Partition plan was announced, along with Independence itself, in June 1947, and was rushed into action: the two countries of India and Pakistan legally came into existence at midnight on August 14-15 that same year. They were demarcated by a somewhat arbitrary boundary, known as the Radcliffe Line, drawn through the Punjab and Bengal provinces of British India.

Over a period of 12-18 months, about 14.5 million people crossed the borders to the newly formed states, often as refugees fleeing violence and persecution in their home state. The new governments were unable to deal with this volume of migration. Four years later, censuses revealed that there were still over 7 million displaced persons in each country: Muslims who had entered Pakistan from India, and Hindus and Sikhs who had moved to India from Pakistan. For some, resettlement in their new country took a decade or more, and for others it never happened. Some continue to live in conflicted territories with dangers to their lives on a daily basis. The devastating violence of Partition resonates to this day.

Before Partition, religious minorities were expecting to remain in the states they lived in. There was no conception within government that population transfers would be necessary. An exception was

All characters and events, while fictional, are dramatized through references to religious, political and cultural history. As a result, please note that this production may cause strong reactions. 31


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ALL’S WELL THAT ENDS WELL B E HIN D T HE SC ENE S THE SET

“We want the audience to feel like they’re in 1946/47 India,” says Set Designer Pam Johnson. Set in the lead-up to Indian independence, Johnson’s design provides a landscape that reflects that transformation. Initial details display English rule: the furniture is European and the tea service is very English. But as Helena embarks on her journey into the heart of her home country, that Englishness is stripped away. Doors open, and Helena finds herself alone. Gradually, the rich, diverse culture of India blossoms around her: the floor of the Viceroy’s palace, for example, becomes the floor of a market in Punjab. Explains Johnson, “As a set designer, you give directors opportunities to explore the emotional journey of the play within a physical space.”

Set design for All’s Well That Ends Well by Pam Johnson

embarks on her journey into rural India to find her husband Bertram, however, she unexpectedly begins to reconnect with her Indian origins. Gradually, her costumes become more vibrant and more Indian, culminating at the end of the play, where Helena and the world around her experience what Alatorre describes as “an explosion of colour and brightness,” marking the moment of Helena’s self-discovery.

THE COSTUMES

THE MUSIC

The co-directors of All’s Well have described this story as “a journey of identity and awakening.” At the centre of this journey is the character Helena, and so Costume Designer Carmen Alatorre has chosen to make “everything revolve around Helena in the costume design.” At the beginning of the play, Indian-born but English-raised Helena wears Western-style clothing, in muted tones of ivory and cream. When she

This production of All’s Well takes place in a time of great change, when India was struggling towards independence and beginning to grapple with what this would mean. This growing complexity is reflected in the production’s sound and music, created by Sound Designer and Composer Ruby Singh. Drawing inspiration from many sources, including archival broadcasts of All India Radio (akin to Canada’s CBC), classical Western music, classical Hindustani music, and Punjabi folk music, Singh’s design is intended to immerse us in this imagined 1940s India. At the heart of this story, though, is the character of Helena. As she experiences this change of her country and herself, Singh’s music will echo that change. “I believe that music is the language of emotion,” says Singh, “and in that way, it will inform the emotional arc of the play.”

Helena costume sketch by Carmen Alatorre

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CYAN MAG YELO BLACK


CO RI O L A NU S A U G U S T 2 1 to S E P T E M B E R 1 5 Directed by Dean Paul Gibson

Moya O’Connell (Coriolanus) Photo & Image Design: Emily Cooper

#bard2019 H O WA R D FA M I LY S TAG E in the Douglas Campbell Theatre

CAIUS MARTIUS/CORIOLANUS MENENIUS COMINIUS TITUS SICINIUS BRUTUS VOLSCES SENATOR AUFIDIUS VOLUMNIA VIRGILIO VOLSCES LIEUTENANT ROMAN SOLDIER CITIZENS, SOLDIERS, AEDILES Costume Designer Set Designer Lighting Designer Composer & Sound Designer Projection Designer Head Voice & Text Coach Co-Fight Choreographers Creative Consultant & Fight Director Stage Manager Assistant Stage Manager Apprentice Stage Manager Directing Apprentice Rehearsal Stage Manager Rehearsal Assistant Stage Manager Rehearsal Apprentice Stage Manager Assistant Costume Designer Assistant Lighting Designer Assistant Set Designer Sound Design Assistant Projection Design Assistant

Moya O’Connell Shawn Macdonald Dalal Badr Alen Dominguez Craig Erickson Praneet Akilla James Yi Marci T. House Colleen Wheeler Anthony Santiago Sara Vickruck Paige Fraser Members of the Company Barbara Clayden Pam Johnson Alan Brodie Alessandro Juliani Jamie Nesbitt Alison Matthews Lisa Stevens and Robinson Wilson Robinson Wilson Joanne P.B. Smith Jennifer Stewart Zoe Bellis Jamie King Susan Miyagishima Jenny Kim Sharon Wu Alaia Hamer Sophie Tang Kimira Bhikum Kate De Lorme Conor Moore

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CORIOLANUS T HE S T OR Y THE FAMINE

After a terrible famine strikes Rome, the plebeians (common people) rally against the patricians (upper classes) for hoarding grain and inflating food prices during the shortage. In response to protests, the patricians allow the citizens to have five tribunes (representatives) to advocate their case to the Roman state.

THE ENEMY OF THE PEOPLE

Menenius, a Roman patrician, tries to calm the rioting citizens. Meanwhile, Caius Martius, a fearless warrior, treats the plebeians with contempt.

Set design rendering for Coriolanus by Pam Johnson

goes to Aufidius’ home in Antium, and offers to join the Volscian army in its next attack on Rome. Aufidius agrees and the two powerful warriors unite to destroy Coriolanus’ home city.

CAPTURING CORIOLES

When war breaks out between Rome and the neighbouring Italian region of Volsces, Martius spearheads a campaign in the city of Corioles against the Volscians, who are led by her arch-rival, Tullus Aufidius.

News reaches Rome of Coriolanus’ betrayal, and the citizens begin to panic. Volumnia, Coriolanus’ mother, begs her to reconsider. Will Coriolanus choose mercy or revenge?

Martius is an unstoppable force on the battlefield. She kills with ruthless precision and an utter lack of fear. She almost single-handedly defeats the Volscians, and the Romans capture Corioles.

DID YOU KNOW?

Shakespeare’s source for the play seems to have been Thomas North’s translation of Plutarch’s Lives of the Famous Grecians and Romans. Plutarch’s stories revolve entirely around the nobility, but in Shakespeare’s Julius Caesar and Coriolanus, the common people feature prominently as well.

As the play begins, the starving common people accuse the elites of hoarding grain to drive up the price during a general food shortage. Shakespeare himself was repeatedly fined for hoarding grain during times of food insecurity.

The central character is asked to don the white gown of humility while running for political office; this was a powerful tradition in ancient Rome. In fact, the word ‘candidate’ derives from this practice, as candidati translates to ‘whitened ones’.

A NEW NAME

Martius returns to Rome and is renamed “Coriolanus” in honour of her victory in Corioles. She is nominated for political office, but she must be elected by the people. At first, Coriolanus receives their support, but then the people are persuaded to turn against her by Brutus and Sicinius, two tribunes who see her as a threat.

EXILED

Coriolanus lashes out at the people for turning against her, ignoring advice from family and friends to speak cautiously. In turn, the crowd calls her a traitor, and Brutus and Sicinius propose that she be punished for treason. Coriolanus is sentenced to exile and is forced to leave Rome immediately.

MERCY OR REVENGE

In response to her banishment, Coriolanus 37


CORIOLANUS D IR E C T O R ’ S N O T ES My own association with Bard has reached a personal milestone of 28 years and it remains important to me, and our company, to push our collective stories in new directions. When Christopher Gaze agreed wholeheartedly to program this challenging play with Moya O’Connell at its centre, I knew I was going to grow yet again as a theatre artist. It is my chief motive as practitioner. I’m grateful for the continued confidence Bard has invested in my work; it is a privilege that I’ve never taken lightly. It is indeed my good fortune that I’ve been able to learn, fail and succeed with the help of many great artists, creators, administrators, volunteers and audiences throughout. My experience is also a testament to the Festival’s dedication to bringing people together and celebrating our collective humanity.

When my collaborator Robinson Wilson came to us at Bard with a pitch for a production of Coriolanus featuring a female in the titular role, I was hooked. With the success of 2018’s Timon of Athens and Lysistrata, it was clear we must continue the practice of bold and creative productions with women at their centre. As we evolve and liberate ourselves from older practices and embrace new ways to tell these deeply human and enduring stories, it is vital that we remain committed to artistic expression that reflects the times we live in now and may live in the future. So in this season, the Festival’s 30th, I’m delighted to helm the first production of Coriolanus at Bard, with a woman as its main protagonist. Now is the time! Working together with Robinson and Bard’s resident Voice and Text coach, Alison Matthews, we’ve arrived at a context where this production will allow the major questions of the play - power, politics, pride, democracy, virtue, family - to be investigated, using all the elements required to create a conflicted world, and one where time and place borrow from the past, while also projecting toward an imagined not-too-distant future. The internet and electronic connections we know today are not at play in this world. It is an amalgam of the old, and the imagined.

Dean Paul Gibson

ABOUT DEAN PAUL GIBSON Dean celebrates his twenty-eighth season with Bard, having served as an actor, director and Associate Artistic Director. Bard credits include, acting: Sir John Falstaff, Falstaff; directing: The Winter’s Tale, Much Ado’, King John, Othello, Romeo and Juliet, Dream, Hamlet, R&G, The Merry Wives of Windsor, Pericles, Twelfth Night and The Two Gentlemen of Verona. Selected directing credits include: Topdog/Underdog, The Flick, Spamalot, She Stoops to Conquer, Xanadu, 39 Steps, Black Comedy, History Boys, and Wonderful Life (Arts Club); Habibs (RCA-WCT); One Man Two Governors (TC); The 25th Annual Putnam and 7 Stories (Theatre Calgary/CanStage); TorontoMississippi, True West, No Great Mischief, and Noises Off (Playhouse).

We have created an environment that can be at once stark, crowded, beautiful, violent, harmonious, discordant, evocative and empty. Contradictory. A representation of a country and its people that are consumed by corrupt, personal and discordant agendas. Flavours of warfare past, along with some very modern political maneuvering, serve to remind us that the division, tribalism and social schism in the original story still resonate hundreds of years later – as if taken from the latest news report. Proving yet again that we are drawn to repeat our transgressions with no thought of our history. 39


CORIOLANUS B E HIN D T HE SC ENE S THE SET

million choices,” she explains. “So the important thing is that you make sure the story itself is being told.” To that end, part of Clayden’s design will show the contrast between the different classes of Rome. The upper-class characters will wear costumes that are new and elegant, with a minimalist feel. The lower-class Romans, however, are starving; their costumes will be made of cast-offs that are broken down and threadbare to reflect their desperation and poverty. Clayden will dress the central character, Coriolanus, primarily in military garb because, as Clayden observes, “I think she feels most comfortable on a battlefield. She is a character of action.”

This production of Coriolanus is set in a world at war with itself. “It is Rome,” explains Set Designer Pam Johnson, “but not the Roman Republic. It is a Rome deconstructed.” To support that sense of unease, and the modern-day dystopia envisioned by Director Dean Paul Gibson, Johnson’s set will take advantage of the structure of the tent: “I’m exposing the trusses of the tent, so the set will have a hard, metallic quality.” Distressed flooring and canvas screens join with the visible trusses to help create the backdrop of a world in conflict. The screens will also work in concert with Projection Designer Jamie Nesbitt’s images, to help move the audience through the story’s multiple locations – which include a barricade, the Roman legislature and the walls of Rome.

THE SOUND DESIGN After years of working together on over a dozen productions, Composer and Sound Designer Alessandro Juliani and Director Dean Paul Gibson have developed an almost intuitive process of collaboration. This process is at the heart of Juliani’s design for Coriolanus. His original music and sound for the production is meant to sonically represent the world imagined by Gibson: a world of contrasts, where the poor battle the rich, the old battle the young, and unity seems impossible. For example, the music of the Volscians is inspired by folk music and evokes a place that is rustic and rural. The music of the Romans, by contrast, is more formal and evokes a place that is organized and sophisticated— Coriolanus’ but to a fault. Panabas Throughout the design, Juliani has looked for opportunities for “beautiful discordancy”, to reflect this fragmented society.

THE COSTUMES

Coriolanus’ costume sketch by Barbara Clayden

Setting Coriolanus in a not-too-distant future presented an exciting challenge for Costume Designer Barbara Clayden. “Because it’s not based in a specific time period, you have a 40


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BARD BARD MEMBERSHIP MEMBERSHIP BARD BARD LEGACY LEGACY CIRCLE: CIRCLE: Leaving Leaving a a lasting lasting legacy legacy We We invite invite you you to to join join the the Bard Bard Legacy Legacy Circle Circle by by making making a a planned planned gift gift in in your your will will to Bard on the Beach, ensuring its to Bard on the Beach, ensuring its success success well well into into the the future. future. Legacy Legacy gifts gifts can can take take many many forms forms through which you can through which you can enjoy enjoy specific specific tax tax advantages, advantages, often often allowing allowing you you to to make make a a larger larger donation donation than than you you thought thought possible. possible. Please Please let let us us know know if if you you have have already already recognized Bard in your estate recognized Bard in your estate plans. plans. We We would love to recognize you and would love to recognize you and include include you you in in our our Legacy Legacy Circle Circle events. events. For For more more information, information, please please contact contact Amy Amy Benson, Benson, Director Director of of Development, Development, at at 604.737.0625, 604.737.0625, abenson@bardonthebeach.org abenson@bardonthebeach.org or or bardonthebeach.org/support-us/legacy bardonthebeach.org/support-us/legacy

THE THE RENAISSANCE RENAISSANCE CIRCLE: CIRCLE: Applauding Applauding our our Artists Artists Our Our Renaissance Renaissance Circle Circle Members Members would would like like to to recognize recognize and and applaud applaud the the work work of of members members of our 2019 Artistic Company. of our 2019 Artistic Company. Tai Tai Amy Amy Grauman Grauman || Martin Martin and and Diana Diana Dawes Dawes Marci T. House | Dr. Linda Warren Marci T. House | Dr. Linda Warren & & Dennis Dennis Williams Williams

Lois Lois Anderson Anderson || Alan Alan and and Gwendoline Gwendoline Pyatt Pyatt Ghazal Azarbad | Douglas Ghazal Azarbad | Douglas and and Alice Alice Clarke Clarke Scott Scott Bellis Bellis || Margie Margie and and Tony Tony Knox Knox Kate Besworth | Sandy Logan and Kate Besworth | Sandy Logan and Larry Larry Beasley Beasley

Ming Ming Hudson Hudson || Wendy Wendy Mackay Mackay Jennifer Lines | Jennifer Lines | Jim Jim and and Mary Mary Clare Clare Bovard Bovard

Anton Anton Lipovetsky Lipovetsky || Paul Paul and and Darlene Darlene Howard Howard David Marr | Virginia Evans David Marr | Virginia Evans

Daryl Daryl Cloran Cloran || Don Don and and Jane Jane Shumka Shumka Stephen Courtenay | Deborah Stephen Courtenay | Deborah Pound Pound

Andrew Andrew McNee McNee || Lesley Lesley Lauden Lauden Moya O’Connell | Moya O’Connell | Brian Brian Tufeld Tufeld

Bernard Bernard Cuffling Cuffling || Doug Doug and and Margaret Margaret Hatlelid Hatlelid Lucia Frangione | Marlie Oden Lucia Frangione | Marlie Oden and and Ken Ken Newbert Newbert

Sarena Sarena Parmar Parmar || Count Count and and Countess Countess Enrico Enrico and Aline Dobrzensky and Aline Dobrzensky

Charlie Charlie Gallant Gallant || Kenneth Kenneth and and Livia Livia Galbraith Galbraith Jeff Gladstone | Julie and Gavin Jeff Gladstone | Julie and Gavin Ryan Ryan

Nadeem Nadeem Phillip Phillip || Paul Paul and and Darlene Darlene Howard Howard Colleen Wheeler | Suzanne Colleen Wheeler | Suzanne Bolton Bolton and and Jefferson Jefferson Mooney Mooney

Mara Mara Gottler Gottler || Grant Grant Burnyeat Burnyeat

Thomas & Beverley Berger, Val & & Dick Dick Bradshaw, Bradshaw, Peter Peter && Joanne Joanne Brown Brown Foundation, Foundation, Linda Linda Gibbs, Gibbs, David David Thomas & Beverley Berger, Val & Dick Bradshaw, Peter & Joanne Brown Foundation, Linda Gibbs, David Hardwick & Virginia Baldwin, Linda Loomer, Linda Loomer, Bonnie Mah, David & Joanne McDonald, Warren & Diana Hardwick & Virginia Baldwin, Linda Loomer, Bonnie Mah, David & Joanne McDonald, Warren & Diana Mitchell, Munford Family Foundation, Penny Pearse, James&Pitblado, Pamela Pamela & David & David & Peter Sandra Pearse, &Sandra James Pitblado, Mitchell, Munford Family Foundation, Penny & Peter Pearse, Sandra & James Pitblado, Pamela & David Richardson, Sencorp Capital Ltd., The R & J Stern Family Foundation, John & Judy Taylor, Taylor, Hari Hari Varshney, Varshney, Richardson, Sencorp Capital Ltd., The R & J Stern Family Foundation, John & Judy Taylor, Hari Varshney, Bruno Wall, Ross & Louise Waters, Ronna & Geoffrey Webb, Douglas Welch & Elizabeth Ball, Anonymous (1) (1) Bruno Wall, Ross & Louise Waters, Ronna & Geoffrey Webb, Douglas Welch & Elizabeth Ball, Anonymous (1) 42


BARD BARD MEMBERSHIP MEMBERSHIP BECOME BECOME A A BARD BARD MEMBER: MEMBER: Learn Learn more more about about the the Festival Festival you you love love Become a Bard Member and share Bard’s vision of a vibrant Festival that showcases the highest Become a Bard Member and share Bard’s vision of a vibrant Festival that showcases the highest artistic quality, encourages innovative education programs, nurtures emerging artists, and artistic quality, encourages innovative education programs, nurtures emerging artists, and ensures accessibility for all. As a thank you, Bard Members enjoy exclusive benefits including: ensures accessibility for all. As a thank you, Bard Members enjoy exclusive benefits including: • Backstage Tours and Dress Rehearsals • Early access to tickets before they go on • Backstage Tours and Dress Rehearsals • Early access to tickets before they go on • Receptions with the Company, exclusive sale to the public • Receptions with the Company, exclusive sale to the public events and more! • Access to best seats in the house events and more! • Access to best seats in the house

Amy McDougall, Head of Wardrobe, at a Member Amy McDougall, Head of Wardrobe, at a Member Backstage Tour with costumes from Lysistrata (2018) Backstage Tour with costumes from Lysistrata (2018)

Director Johnna Wright with Company Member Director Johnna Wright with Company Member Marci T. House and Bard Member Arv Sooch Marci T. House and Bard Member Arv Sooch

Artistic Director Christopher Gaze with the generous hosts of our 2019 Benefactor Reception, the Count and Artistic Director Christopher Gaze with the generous hosts of our 2019 Benefactor Reception, the Count and Countess Enrico and Aline Dobrzensky Countess Enrico and Aline Dobrzensky

For more information, visit bardonthebeach.org/membership, For more information, visit bardonthebeach.org/membership, call 604.737.0625 or email development@bardonthebeach.org call 604.737.0625 or email development@bardonthebeach.org 43


BARD: SPEC MUSIC Opera & Arias: Verdi and More! Mondays, August 26 & September 2 2pm & 7:30pm (both days) A lively costumed concert performance with excerpts from Verdi’s La Traviata and Rigoletto, and French opera highlights from Manon Lescaut, Tales of Hoffman, Lakmé and Carmen. 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 (BMO Mainstage).

Opera & Arias 2018 | Photo: Tim Matheson

Music Series Sponsor

The VSO Presents: From Venice to Vienna Monday, June 24 | 7:30pm The Vancouver Symphony returns to the BMO Mainstage with a delightful concert showcasing favourite works by Mozart and Vivaldi. VSO Concertmaster Nicholas Wright conducts.

ACCESSIBLE PERFORMANCES VocalEye The Taming of the Shrew July 21 at 2pm | August 10 at 7:30pm Talkback Tuesdays 2018 | Photo: Celeste English

T AL K S AN D ACT IV IT IES Talkback Tuesdays Post-Show Discussions | Tuesday evenings from July 2 – August 27 (in both theatres) Dive deeper into the play you’ve just Media Sponsor enjoyed. After select Tuesday evening performances, stay for a lively Q&A session with members of the cast. Exploring Shakespeare Talks July 6, July 13, July 20 & September 7 | 11am SFU’s Paul Budra delivers in-depth explorations of this season’s plays. Go beyond the story and explore Shakespeare’s inspirations and influences. Talks run 60 min, including Q&A. Forum: Kate – Victim or Victor? Monday, August 26 | 7:30pm The Taming of the Shrew, viewed through a modern lens, can inspire strong reactions. What can we make of Kate’s story today? On-stage panel with audience Q&A. 44

Shakespeare in Love July 20 at 7:30pm | August 11 at 2pm VocalEye described performances in the Mainstage tent offer live, real-time descriptions of the visual elements onstage, for patrons with vision loss. Relaxed Performance The Taming of the Shrew Sunday, September 8 | 2pm This performance has a relaxed attitude to noise and movement within the theatre, for patrons who may benefit from a more relaxed environment. Media Sponsor, Accessible Performances

Both tents are wheelchair accessible. To inquire about special access seating or to book into an accessible performance, please call the Box Office at 604.739.0559 for more information.


CIAL EVENTS

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

Bard-B-Q & Fireworks | Play, Dinner & Entertainment! July 27 | 5pm Shakespeare in Love & All’s Well That Ends Well July 31 & August 3 | 5pm The Taming of the Shrew & All’s Well That Ends Well • Full salmon barbecue and delicious desserts by Emelle’s Catering • PIXSTAR Photobooth • Private view of the Celebration of Light fireworks

Presented by

Media Sponsor

TH E M E D A Y S Family Days Ages 6+ Saturdays, July 6, August 10 & August 24 | 2pm • PIXSTAR Photobooth • Food truck • Exclusive pre-show talk designed just for kids Presented by

Wine Wednesdays Age 19+ event July 10, August 7, August 21 & Sept 4 | 6pm

Family Days | Photo: Kira Pidzamecky

Wine Wednesdays are intimate pre-show wine tastings in the Bard Marquee featuring special BC VQA winery guests, hosted by Black Sage Vineyard (July 10), Laughing Stock Vineyard (Aug 7), Nk’Mip Cellars (Aug 21) and Sunrock Vineyards (Sept 4).

B ARD E D U C AT IO N BU R SAR Y F UND The Bard Education Bursary Fund helps individuals, families, schools and organizations overcome financial barriers to participation in our programs. Established by the Bard Volunteers in 2009, the fund raises and distributes more than $20,000 each year. Donation boxes are at our Concession and at the Audience Services desk.

Call or book online now for best seat selection.

bardonthebeach.org | 604.739.0559 45


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VISIT OUR WEBSITE TO REGISTER

Get Inspired! Camps & Workshops Schools | Youth | Adults | Bursaries Available bardonthebeach.org/education | 604.737.0625 x262


Engaging youth in our communities. Young Shakespeareans Photo: Joe Biegel

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

SUPPORTING THE COMMUNITIES WE SERVE YVR is proud to be the Community Access Ticket Partner for Bard on the Beach.

YVR.CA

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BARD EDUCATION

Young Shakespeareans Photo: Joe Biegel

I N SP I R I N G O U R CO MMU N ITY THROUG H S HA K E S P E AR E COMMUNITY

Student Matinees provide thousands of students and their teachers with free and deeply discounted tickets to our Festival.

Young Shakespeareans are children and teens who take the stage and perform Shakespeare with guidance from theatre professionals.

Bard Youth Fest transcends geographical boundaries to create a community of young performers and educators celebrating the many ways of interpreting Shakespeare.

Bard in Your Neighbourhood partners with community organizations to bring no-cost workshops and residencies to the youth they serve.

THEATRE PROFESSIONALS

Riotous Youth offers paid, post-secondary internships, developing leadership through Shakespeare performance.

Bard for Life invites adults to explore Shakespeare through recreational performance.

Bard Studio provides free, drop-in classes for professional theatre artists.

Bard Explored provides talks and discussions to help our audiences learn more about Shakespeare.

Apprenticeships and Early Career Opportunities provide emerging theatre professionals with essential training and experience within our organization.

SCHOOLS Bard in the Classroom brings theatre professionals into schools to lead interactive workshops for students and teachers.

Professional Development supports the ongoing training of our actors, teaching artists and staff.

We offer many of our programs for no charge, and are able to keep any registration fees affordable thanks to the support and generosity of our funders:

Student Matinees

Riotous Youth

Distance Learning Initiative

RBC Emerging Artists Apprentice Directors Program

Design Apprenticeships and Bard Unbound Workshops for Teachers

Bard in the Classroom

Bard in Your Neighbourhood

Additional support from John Hardie Mitchell Family Foundation, The Hamber Foundation, and Diamond Foundation - Bard in Your Neighbourhood

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, Senákw _ – The Story of the Festival Site Bard on the Beach Shakespeare Festival is situated within the territory of xwməθkwəy’əm (Musqueam), Skwxwú7mesh (Squamish), and , səlílwəta (Tsleil-waututh) people and sits on the site of the Senákw _ village. Our respect for this place inspires us to celebrate the richness of Coast Salish history, knowledge and culture, and informs the work that we do. , Senákw, _ located in what’s now called Vanier Park in the City of Vancouver, was a vibrant Coast Salish village; a place of gathering, culture, spirituality, and governance. The village was surrounded by the beauty and rich bounty of Musqueam, Squamish, and Tsleil-waututh lands and the people of those nations travelled by canoe throughout their great territories. , To learn more about Senákw, _ visit bardonthebeach.org/history-of-vanier-park/

YOUR ACTING CAREER BEGINS HERE ARTS UMBRELLA ACTOR’S CONSERVATORY 8 intensive months. 1 innovative program.

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COMPANY BIOGRAPHIES T HE C OM P A N Y Praneet Akilla Coriolanus: Brutus This is Praneet’s debut with Bard! Theatre credits: The Orchard (After Chekhov) (Arts Club); The Penelopiad (Grand Theatre); Mahabharata (Shaw Festival Workshop); Wet (ITSAZOO Productions); King Lear and Macbeth (The Shakespeare Company); A Christmas Carol and As You Like It (Theatre Calgary). Film and TV credits: October Faction (Netflix); Arrow (CW); and Lux-Me (Telus Storyhive Web-Series). Upcoming: Iceland (Theatre Calgary) and Anywhere But Here (Electric Company Theatre). Praneet is the co-founder of Kalpana films. @p_akilla Carmen Alatorre All’s Well That Ends Well: 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); Peter and the Starcatcher, Top dog/Under dog and Mustard (Arts Club); Pericles, The Winter’s Tale and As You Like It (Bard on the Beach). Carmen is the recipient of three Jessie Richardson Theatre Awards. For more information visit: carmenalatorre.com. Ghazal Azarbad The Taming of the Shrew: Mayor’s Wife/Housemaid/Saloon Waitress/ Haberdasher/Dancer Girl/Widow | Shakespeare in Love: Viola de Lesseps Ghazal is an actor and singer based in Toronto. Her recent credits include Wedding at Aulis, Innocence Lost and La Bête (Soulpepper); The Curious Incident of the Dog in the Night-Time (Arts Club); and Entrances and Exits: An Improvised Farce (Howland/ Bad Dog). Ghazal is a graduate of the UBC BFA program, the Soulpepper Academy, and the recipient of the National Hnatyshyn Foundation Award for Acting. She is thrilled to be joining Bard this year. Dalal Badr Coriolanus: Cominius Born and raised in BC, Dalal is based between Toronto and LA. Selected Theatre: As You Like It, Three Sisters, Love’s Labour’s Lost, Romeo and Juliet (Stratford), Kiss, Julius Caesar, Comedy of Errors (CanStage), Habib’s House Party (RCA/WCT), Wanderers (Cahoots), Tideline (Factory Theatre), You Are Very Star (Electric Company) The Kite Runner (Theatre Calgary/Citadel), The Neverending Story (YPT/Skirball Cntr NYC). Graduate of UVic, National Theatre School, and the Birmingham Conservatory. www.dalalbadr.com Heather Barr The Taming of the Shrew & Shakespeare in Love: Apprentice Stage Manager Heather is thrilled to be working at Bard on the Beach this summer. Her recent stage management credits include Marine Life (apprentice, Ruby Slippers); Goodnight Desdemona (United Players); The Ones We Leave Behind (apprentice, VACT); Cain and Abel (The Biting School); Blackbird (Vancouver Fringe); and Camera Obscura (apprentice, frank theatre). She is a recent graduate of Studio 58, and the recipient of the David Pritchard Scholarship for outstanding achievement in stage management. Scott Bellis The Taming of the Shrew: Gremio | Shakespeare in Love: Henslowe When we started Bard 30 years ago, we were a bunch of young actors who knew nothing. We did everything. We put up the tents; worked the box office; hung the lights. We slept overnight to guard the equipment. We got rained on a lot. I’ve been fortunate to play some of the greatest plays in the English language on these unceded lands. After almost 100 productions, we know what we’re doing now. I hope you enjoy it.

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COMPANY BIOGRAPHIES Zoe Bellis All’s Well That Ends Well & Coriolanus: Apprentice Stage Manager Zoe is thrilled to be back for Bard’s 30th season! Previous select credits include: EastVan Panto: Wizard of Oz, EastVan Panto: Snow White (Theatre Replacement), Outside Mullingar (Chemainus Theatre Festival); Timon of Athens, Lysistrata (Bard on the Beach); The 39 Steps (Circle Bright Productions); Suddenly Slaughter (The Biting School), The Fabulous Lipitones (Miracle Theatre Prince George). Thank you, as always to Mom, Dad, and Chris, for everything. Zoe is a graduate of Studio 58. Kate Besworth The Taming of the Shrew: Bianca Minola Shakespeare in Love: John Webster Previously at Bard: The Two Gentlemen of Verona, The Merchant of Venice, Macbeth, and Timon of Athens. Thank you for coming to see theatre!

Kimira Bhikum The Taming of the Shrew, Shakespeare in Love, All’s Well That Ends Well & Coriolanus: Assistant Set Designer Kimira is an MFA graduate student from UBC. Her research explores the use of virtual reality in the creative set design process to enhance communication between a Director and a Designer. Originally from South Africa, she attained a bachelor’s degree in Performing Arts Technology where she specialized in prop-making and scenic painting. She has worked in both film and theatre industries and will continue to master her skills as an artist. Alan Brodie All’s Well That Ends Well & Coriolanus: Lighting Designer A founding member of Bard on the Beach, Alan previously created the lighting for the Howard Family Stage in 2014 and 2009. Recent credits include La Cenerentola (VOA), Billy Elliot (Theatre Calgary), and The Shoplifters (Arts Club). He spent five seasons at the Stratford Festival and 17 seasons at the Shaw Festival. Alan received his design training at UBC and directing training at UVic. He is a member of the Associated Designers of Canada. Barbara Clayden Coriolanus: Costume Designer Barbara has designed costumes for over 30 years with numerous companies around Vancouver. Other designs for Bard on the Beach include King John in 2012 and Lysistrata in 2018. Recent designs include The Orchard (After Chekhov) (After Chekhov) (Arts Club), East Van Panto (Theatre Replacement), and Beauty and the Beast (Arts Club). She has been nominated for more than 15 Jessie Richardson Theatre Awards, receiving a few along the way. Stephen Courtenay The Taming of the Shrew & Shakespeare in Love: Production Stage Manager Following last season’s incredible fusion of live Beatles music, comic mania, and dangerous drama, Stephen is excited to participate in this summer’s brilliant reexamination of the thought-provoking The Taming of the Shrew and the finely crafted homage to the genius at the center of Shakespeare in Love. Stephen proudly recalls 52 Shakespearean offerings and projects with the revered Vancouver Playhouse, Theatre Calgary, Studio 58/Green Thumb, Touchstone Theatre, Electric Company, and Vancouver Opera Touring Ensemble. Andrew Cownden The Taming of the Shrew: Pedant/Train Conductor Shakespeare in Love: Wabash This is Andrew’s fourth season with Bard on the Beach. Recent credits include Launce, The Two Gentlemen of Verona and Launcelot Gobbo, The Merchant of Venice (Bard); Julian Marsh, 42nd Street (TUTS); The Emcee, Cabaret (Royal City Musical Theatre); Charlie Brown, A Charlie Brown Christmas (Carousel Theatre); and Lopakhin, The Orchard (After Chekhov) (Arts Club). He is a graduate of the Canadian College of Performing Arts. @AndrewCownden

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COMPANY BIOGRAPHIES Bernard Cuffling All’s Well That Ends Well: Viceroy Past Bard productions include The Taming of the Shrew, Measure for Measure, The Tempest, A Midsummer Night’s Dream, Henry V, and Falstaff. TV credits include Unspeakable, Legends of Tomorrow, and The Flash. Bernard has worked as an actor in Vancouver for 45 years. His name appears in the BC Entertainment Hall of Fame. He has been awarded the Sam Payne Award and multiple Jessie Awards. Most recently, Bernard was seen in Beauty and the Beast at Arts Club. Mishelle Cuttler Shakespeare in Love: Sound Designer/Musical Director Mishelle is thrilled to be back at Bard after composing and performing in Lysistrata last season. Favourite past projects include The Candidate and The Party (Citadel); The Matchmaker (Arts Club); Hir and The Events (Pi); and Titus Bouffonius (Rumble). She has a BFA from UBC and an MFA from NYU’s Tisch School of the Arts. Mishelle is a two-time Jessie Award-winner and multiple nominee. She is a member of the Associated Designers of Canada. www.mishellecuttler.com Kate De Lorme Coriolanus: Sound Design Assistant Kate is a Sound Artist and Designer based in Vancouver, BC. She graduated from UBC in 2015 with a BFA in Theatre Design and Production. Kate was recently an Artist in Residence at The Spatial Sound Institute in Budapest, Hungary, researching and creating using the 4DSOUND Spatial Sound system. Select design credits include: Epilogos, Telemetry, and Feasting on Famine (Radical Systems Art); Salmon Girl (Raven Spirit Dance); and Major Motion Picture (Out/Innerspace Dance Theatre). katedelorme.com Victor Dolhai The Taming of the Shrew: Sheriff/Philip | Shakespeare in Love: Nol Victor’s second season with Bard. Bard: Romeo and Juliet, The Merry Wives of Windsor. Elsewhere: productions with Pi Theatre, Citadel Theatre, Banff Centre, Blue Bridge Repertory, Chemainus Theatre Festival, Theatre NorthWest, Shakespeare in the Ruff, The Belfry, Electric Company Theatre, Persephone Theatre, Patrick Street Productions, ITSAZOO, Kaleidoscope, Kokoro Dance, and SNAFU Dance Theatre. Victor has appeared in 21 cabarets with Atomic Vaudeville, and in three seasons at the Stratford Festival. Film/TV: Supernatural, Siren, Reboot: The Guardian Code, Raf, and Android Employed. Alen Dominguez Coriolanus: Titus Bard on the Beach debut. Acting credits: Marine Life (Ruby Slippers); Sweat (Arts Club, Citadel); The Audience (Arts Club); Cornwalls’ Christmas (Chemainus); Rent (URP); West Side Story (TUTS); The Dining Room (Western Gold); and The Idiot (PuSh/ Neworld). Assistant Director: Cabaret and Anything Goes (RCMT); Pride and Prejudice (Arts Club); and The Duchess (Ruby Slippers). BFA in Acting from UBC, co-founding member of the Canadian Latinx Theatre Artist Coalition. Upcoming: Anywhere but Here (Electric Company). Malcolm Dow The Taming of the Shrew: Sound Designer Malcolm is an award-winning composer, sound designer and music producer with a background as a touring musician. Happy to return to Bard, he is honoured to be working with the compositions of a Canadian Legend for this production of Shrew! Select credits: The Winters Tale, Pericles, and Comedy of Errors (Bard); Perestroika and The Graduate (Arts Club); Mortified (Studio 58); Equivocation (Persephone); Salt Baby (The Belfry); Le Soulier and Unite Modele (Seizième). Veenesh Dubois All’s Well That Ends Well: Rinaldo/Widow Vee’s a Fijian born Indo/Canadian international actress. Having just finished A Christmas Carol (Hong Kong) and A Midsummer Night’s Dream and Othello (Japan) she is proud to be making her debut at Bard. Vee is also well recognised for touring her one woman show, Vancouver Pick of the Fringe winner, Under The Mango Tree to stages all over Canada, U.S. and Japan. Thanks to my family and friends for the support. And Ray, I love you.

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COMPANY BIOGRAPHIES Austin Eckert The Taming of the Shrew: Cowboy/Curtis/Pony Express Rider Shakespeare In Love: Kit Marlowe Austin is excited to be back with Bard on the Beach for his third season. Previous Bard productions include Much Ado About Nothing; The Winter’s Tale; As You Like It; and Macbeth. Recent theatre: Arts Club, Belfry Theatre, Western Canada Theatre, frank theatre, Mayfield Dinner Theatre. Recent TV: Supernatural, The Magicians, The Flash, Colony, Narcoleap, Snowpiercer, and Project Bluebook. Austin is a graduate of the Canadian College of Performing Arts. For GG. Celeste English The Taming of the Shrew & Shakespeare in Love: Assistant Lighting Designer Celeste English is a lighting designer born and raised in Vancouver, BC. Design credits include; Michif Medicines (Vni Dansi), The Virtual Full Light of Day (Electric Theatre Company), OW (Mascall Dance), The Sea (Slamming Door Collective). Assistant Design credits include; Miss Bennet: Christmas at Pemberley (Arts Club), Kleptocracy (Arena Stage), The Enemy (Firehall). This will be her fifth season with Bard, having previously worked with both the Operations and Education departments. She is a graduate of SFU’s School for the Contemporary Arts. Craig Erickson Coriolanus: Sicinius For Bard (eighth season): Macbeth, As You Like It, Hamlet, Timon of Athens and Julius Caesar. Other Theatre: East Van Panto: The Wizard of Oz (Theatre Replacement); Forget About Tomorrow (Belfry/Arts Club); Angels in America, Parts 1 and 2 (Arts Club); Titus Buffonius (Rumble Theatre); Who’s Afraid of Virginia Woolf (Arts Club/Blackbird Theatre); and Tear the Curtain (Arts Club/Electric Company). Film & Television: The Man in the High Castle, A Series of Unfortunate Events, Lucifer, and Backstrom. Lucia Frangione All’s Well That Ends Well: Countess Lucia is delighted to make her Bard debut! Favourite credits include Marie-Ange, Les Belles Soeurs (Ruby Slippers); Annie, Misery (Arts Club); Jesse, Farewell My Lovely (Vertigo/Arts Club); Rosa, Espresso (Pacific Theatre); Vicki, Except in the Unlikely Event of War (Pi); Estelle, No Exit (Electric/Virtual/ACT); and Myrtle, Brief Encounter (Vancouver Playhouse/RMTC). She’s won several awards as an actor and playwright. Thanks to her family on Bowen: Mom will be home on the midnight boat. Paige Fraser Coriolanus: Roman Soldier Paige is so excited to be making her Bard debut as a fighting femme in Coriolanus! Favourite credits include Cabaret and Mortified (Studio 58); 42nd Street (TUTS), Rock of Ages (Arts Club); You’re A Good Man Charlie Brown (Play on Words); and The Drowsy Chaperone (Exit 22). She is a fresh graduate of Studio 58 and previous graduate of Capilano University’s Musical Theatre Diploma. Thanks to Dean, Lisa, Robinson, Gabe, and Momma. Charlie Gallant The Taming of the Shrew: Nicholas/Cowboy/Bartender/Tailor Shakespeare in Love: Will Shakespeare After 13 months of playing anguished characters like Reverend Dimmesdale in The Scarlet Letter (Theatre Calgary) and Edmund in Long Day’s Journey Into Night (Stratford Festival), Charlie is thrilled to return for his sixth season at Bard in playful roles. Having worked across Canada in theatre/film/TV, Bard remains a favourite company of Charlie’s since his debut in the original spaghetti-western The Taming of the Shrew in 2007. A musician, writer, director, filmmaker, and Studio 58 grad. Jeff Gladstone All’s Well That Ends Well: Parolles For Bard: Malcolm, Macbeth; Cassio, Othello; Queen Dionyza, Pericles; Duke Solinus, Comedy of Errors; Dull, Love’s Labour’s Lost; and Le Beau/Guitar in last summer’s As You Like It. Film: Bruce Sweeney’s Kingsway (TIFF, VIFF 2018) and Drawing Home (MYRA). TV: The Killing, Motive, iZombie, DC’s Legends of Tomorrow, and The Twilight Zone. Other: Requiem For A Lost Girl (Vancouver Opera) and Blind Date (Arts Club). Jeff is a recognized teacher with the International TheatreSports Institute, coming to Vancouver Oct 14–20. 57


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COMPANY BIOGRAPHIES Mara Gottler The Taming of the Shrew: Costume Designer A founding member and Artistic Associate at Bard on the Beach, Mara has designed over seventy productions spanning its thirty years. Recent design credits include Coriolanus (Stratford Festival) and Coriolan (Theatre du Nouveau Monde), both directed by Robert Lepage. Local work includes Iron Peggy (International Children’s Festival/Boca del Lupo) and Jitters (Arts Club). She is a World Showcase design contributor and an instructor at Studio 58. Tai Amy Grauman The Taming of the Shrew: Directing Apprentice Tai Amy Grauman is a Métis actor, director and playwright from Ardrossan, Alberta. Tai recently received this year’s Jessie Richardson award for most promising newcomer and was Vancouver’s Mayor’s Emerging Theatre Artist of 2015. She is currently Savage Society’s Artist in Residence. Tai is currently writing three plays commissioned by Savage Society, Nightswimming and Axis Theatre. Tai has a BFA in Acting from UBC with a minor in First Nations Studies. Alaia Hamer The Taming of the Shrew & Coriolanus: Assistant Costume Designer Alaia Hamer is an emerging theatre designer located in Vancouver, BC. Recent projects include assistant costume design on Sweat, The Humans (Artsclub), costume for C’mon Angie (Touchstone), assistant costume for Macbeth (Bard on the Beach), set design for She Kills Monsters (UBC), associate costume design for Onegin (Arts Club); as well as a variety of small shows. Alaia is a graduate of the UBC Theatre Design program and holds a prior English literature degree. Marci T. House Coriolanus: Aufidius Timon of Athens and Lysistrata (Bard on the Beach); Sweat (Citadel); The Madness of George III and Dracula (Shaw); You Will Remember Me (Ruby Slippers Theatre); Intimate Apparel, Clybourne Park, Disgraced and Sweat (Arts Club); Glengarry Glen Ross (Classis Chic Theatre); The Ladies Foursome (The Grand Theatre); The Last Days of Judas Iscariot (Neworld /Pacific Theatre); In The Next Room (or The Vibrator Play) (Tarragon/MTC); Ruined (Obsidian/Nightwood Theatre); and Hamlet (Honest Fishmongers Equity Co-op). Ming Hudson The Taming of the Shrew: Biondella Shakespeare in Love: Mistress Quickly/Kate This is Ming’s second season at Bard. Select performing credits include: Timon of Athens and Lysistrata (Bard); 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). This fall, she is producing/curating a new immersive theatrical experience called At Last. Ming is a graduate ofarthouse berlin (formally LISPA), holds an MA (Rose Bruford), and a BFA (UVic). Pam Johnson All’s Well That End’s Well & Coriolanus: Set Designer Pam joined Bard in 1998 and was instrumental in designing the Village and Entranceway. Bard credits: As You Like It, Much Ado’; The Winter’s Tale; Romeo and Juliet; The Merry Wives of Windsor; Comedy of Errors; King Lear; Cymbeline; Hamlet; Twelfth Night; King John; Richard II; Titus; Henry V; The Taming of the Shrew; A Midsummer Night’s Dream; Macbeth; Measure for Measure; and Richard III. Pam has received several Jessie Awards, as well as a Career Achievement Award. Alessandro Juliani Coriolanus: Composer and Sound Designer AJ has been working professionally for the last 30 years. He is frequently executed, maimed, disemboweled, dismembered, immolated, 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/great-grand-kids/sociallyawkward uncles currently binge. He makes his home in Vancouver with his partner and frequent collaborator, Meg Roe, and their three children.

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COMPANY BIOGRAPHIES Andy Kalirai All’s Well That Ends Well: Ensemble Andy Kalirai is an actor from Vancouver, BC. He’s been studying theatre at Railtown Actors Studio and has appeared in The Undocumented Trial of William C. Hopkinson (Monsoon Arts Festival) and Soul Samurai (Affair of Honor).

Shannon Karan All’s Well That Ends Well: Ensemble Shannon Karan, originally from Vancouver, B.C., began performing in Bollywood styles at the age of 7. She has since grown to love music and various dance forms: Hip-Hop, Afro, Dancehall, Reggaeton, Salsa and R&B. Shannon enjoys learning and creating choreography and freestyling. She competed internationally for two years and continues to expand her skills. Travelling and being a part of other dance cultures and communities helps her grow as an artist. This February, Shannon trained in Puerto Rico. Nathan Kay All’s Well That Ends Well: Spurio Nathan is a Vancouver based theatre and film/TV actor, originally from High River, AB and is excited to be making his Bard debut. Select theatre credits: King Arthur’s Night (Neworld Theatre); The Foreigner (Chemainus Theatre Festival); Strangers On A Train (Vertigo Theatre); Jabber, The Code (Green Thumb Theatre); Elbow Room Café: The Musical (ZeeZee Theatre/The Cultch); Mary Poppins (Arts Club). Thank you to Mom, Dad and Rachael. Nathan is a Studio 58 graduate. Kayvon Khoshkam Shakespeare in Love: Directing Apprentice Kayvon was born and raised in Saskatoon, SK. He is a graduate of the Canadian College of Performing Arts. This is Kayvon’s sixth season with Bard. He is the current Artistic Director of SpeakEasy Theatre and the co-artistic director and founder of the Pull Festival which recently celebrated its eighth season. He is a Jessie Award nominated actor and director. Directing highlights: The Shipment and Gross Misconduct (SpeakEasy Theatre), and The After After Party (After Party Theatre). Jenny Kim Coriolanus: Rehearsal Assistant Stage Manager Thanks to Jonathan for giving her the opportunity to join the journey of Coriolanus. It is an honour and pleasure to be able to work with the Company and the talented individuals on this production. ASM credits include SWEAT (Arts Club - debut), and Circle Game (Firehall Arts Centre/Arts Club - tour). Thanks to her family and friends for their love and support. Jenny is a graduate of the BFA Theatre Production & Design program at UBC. Warren Kimmel Shakespeare in Love: Fennyman Warren was born in South Africa. He trained at RADA in London. Warren has performed extensively in the UK, Europe, and South Africa. He has been seen locally as Sweeney, Sweeney Todd; Bill, Mamma Mia; Shylock, The Merchant of Venice; Tevye, Fiddler on the Roof; Dad, Billy Elliot; Javert, Les Misérables; Henry Higgins, My Fair Lady; Mr. Banks, Mary Poppins; and Dan, Next to Normal. Warren is thrilled to be returning to Bard. More about Warren at warrenkimmel.com. Gerald King The Taming of the Shrew & Shakespeare in Love: Lighting Designer Lighting designer at Bard for 17 seasons. Gerald’s recent credits: Matilda (RCMT, Citadel, Arts Club); Chariots of Fire (The Grand Theatre); Carried Away On The Crest of A Wave (NAC); The 39 Steps (Circle Bright); Liberation Days (Theatre Calgary); Othello, The Merry Widow, Faust, Dead Man Walking, and Evita, (Vancouver Opera); Beauty and the Beast, Jitters, and Million Dollar Quartet (Arts Club); Crazy for You (Citadel); The Book of Love (Kokoro Dance); The Ones We Leave Behind (Vancouver Asian Canadian Theatre); and Faerie Queen (Royal Winnipeg Ballet). Jamie King Coriolanus: Directing Apprentice This is Jamie’s first season at Bard. Directing credits include: The Wolves (With A Spoon/Pacific/Rumble Theatre), BIG Sister (Rapid Pitch), Vampires In Barcelona (Skinny Walrus), Love/Sick (Stone’s Throw), PULL VI (Speakeasy), and Bull (Rumble Theatre). Jamie was the recipient of the Ray Michal’s Prize for Most Promising New Director at the 2017 Jessie Awards. Hi Dad! 61


The 2019/2020 Season: Reach for the Stars! The Winter’s Tale A CTYP Teen Shakespeare Outdoor Production

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The Rainbow Fish A Mermaid Theatre Production, Co-Presented with Axis Theatre Company

October 5 & 6, 2019| Ages 3-8

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November 2 - 10, 2019 | Ages 4+

Peter Pan Bad Hats Theatre’s PETER PAN Adapted by: Fiona Sauder & Reanne Spitzer Music by: Landon Doak, Arrangements by: Nathan Carroll and Company A CTYP Production

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November 23, 2019 - January 5, 2020 | All Ages

BEEP A Windmill Theatre (Australia) Production

February 15 - 23, 2020 | Ages 2-7

The House at Pooh Corner A CTYP Production in association with Presentation House Theatre

February 28- March 29, 2020 | Ages 3-8

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April 25 & 26, 2020 | Ages 12+

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COMPANY BIOGRAPHIES Gunjan Kundhal All’s Well That Ends Well: Ensemble Gunjan Kundhal is extremely proud to be joining the cast of All’s Well That Ends Well this summer for Bard on the Beach. Gunjan is currently pursuing Ballet & Contemporary with Linda Arkelian at Scotiabank Dance Centre. She values being a performer as much as being a student. Gunjan first appeared on stage in A Vancouver Guldasta as Niranjan. She also assisted as a Dance Coach in Bombay Black which required her classical Indian & Bollywood dance background. Her passion for yoga and meditation has allowed her to be more authentic with her craft. In movement she finds serenity. Jennifer Lines The Taming of the Shrew: Katherine Minola Shakespeare in Love: Queen Elizabeth/Molly Jennifer has performed in nearly 40 productions in her 19 seasons with Bard. Favourite roles include Ariel, Beatrice, Cleopatra, Paulina, Hermione, Emilia, Olivia, Tamora, Cressida and many more! Recent theatre: Forget About Tomorrow, Hand to God, It’s a Wonderful Life, High Society, and The Real Thing (Arts Club); The Great Gatsby, and Beyond Eden (Theatre Calgary); and Après Moi (Ruby Slippers). She is the recipient of two Jessie Awards and has a BFA in Acting (UVic). Anton Lipovetsky The Taming of the Shrew: Hortensio Shakespeare in Love: Frees/Lord Wessex This is Anton’s fifth season with Bard. Some of his previous roles include Posthumus/ Cloten, Cymbeline; King James I, Equivocation; and Tybalt, Romeo and Juliet. Other stages Anton has performed on: National Arts Centre, Luminato Festival, Arts Club, Carousel Theatre, Firehall, and The Belfry. Anton is also an award-winning musical theatre songwriter and is currently at work on three commissions. He is a graduate of Studio 58 and the Stratford Birmingham Conservatory for Classical Theatre. Shawn Macdonald Coriolanus: Menenius Shawn is thrilled to be returning to Bard on the Beach. He has appeared at Bard for five seasons, most recently in 2014 in Equivocation and Cymbeline. Some recent stage appearances include The Drowsy Chaperone (TUTS/Ovation Award recipient); Yoga Play (Gateway Theatre); and Disney’s Beauty and the Beast (Arts Club). Shawn also writes plays and leads the LEAP Playwriting Intensive for Young Writers (Arts Club). He is the recipient of five Jessie Richardson Theatre Awards. David Marr All’s Well That Ends Well: Lafeu David has been an active participant with Bard for over two decades. He began with the 1995 season playing Benedict in Much Ado About Nothing and Antonio in The Merchant of Venice. Other roles include Malvolio and Toby Belch, Twelfth Night; Gloucester, King Lear; Parolles, All’s Well That Ends Well; and William Shakespeare, Elizabeth Rex. He most recently appeared as Montague, Romeo and Juliet and Justice Shallow (and band member), The Merry Wives of Windsor. Alison Matthews Head Text and Voice Coach Alison is Head of Coaching at Bard, where she has led voice and text work since 2009. She is a founding faculty member of the Arts Club Actor’s Intensive and has taught at the Citadel Banff Professional Theatre Program for five years. A professional actor for over twenty-five years, Alison works in radio, television, and film. MFA (specializing in Voice), University of British Columbia; Associate Diploma in Drama & Speech, Trinity College London. www.alisonmatthews.com Susinn McFarlen The Taming of the Shrew: Baptista Minola Shakespeare in Love: Nurse Susinn is a multiple Jessie Award-winner who has worked in theatres across the country. Best known for touring Canada with Mom’s The Word, Menopositive The Musical!, and Michele Riml’s smash-hit Sexy Laundry, Susinn is thrilled to be back at Bard. She is one of the founders of Wet Ink Collective. Her first play, Since You Left Us, was among Vancouver Presents’ top 10 plays of 2014.

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COMPANY BIOGRAPHIES Andrew McNee The Taming of the Shrew: Petruchio Shakespeare in Love: Richard Burbage Andrew McNee is a Vancouver born and raised actor in Theatre, Film and Television, and Animation. His theatre work has taken him on tour across Canada, to Europe and to the UK. Recent screen credits include Public Schooled, Grand Unified Theory and Mega Man. When not playing make believe for a living, he spends his time with his wife Karen and wrestling his rascally kids Finn and Thomas. Andrew is a graduate of Studio 58. Susan Miyagishima Coriolanus: Rehearsal Stage Manager Susan is a Vancouver-based stage manager, props designer, production manager, and director. As well as having worked locally, she has toured extensively across Canada and abroad into the US and Asia. She’s very happy to return to Bard where she apprenticed for three years on the Mainstage. Susan recently received a Jessie Award for the technical design of Vancouver Asian Canadian Theatre’s 1 Hour Photo and is a graduate of Studio 58. Paul Moniz de Sá The Taming of the Shrew: Vincentio/Mayor/Gregory/Piano Player Shakespeare in Love: Tilney/Sir Robert de Lesseps For Bard: The Merchant of Venice, Two Gentlemen of Verona (2017); A Midsummer Night’s Dream, Measure For Measure (2006); Macbeth (2004); and Pericles (2003). Other theatre credits: Guys and Dolls, It’s All True and Oh What A Lovely War. Screen credits include Arrow, The Murders, iZombie, Timeless, and The BFG. He received Jessie Awards for The Lion, the Witch and the Wardrobe and The Overcoat and Jessie nominations for Driving Miss Daisy. Paul is the Artistic Director of Theatre and Music at Arts Umbrella and a graduate of Studio 58. Conor Moore All’s Well That Ends Well: Lighting Designer Coriolanus: Projection Design Assistant Conor Moore is a lighting/video designer based in Vancouver. He completed an MFA in Design at UBC. Previous Bard on the Beach credits include Hamlet, Falstaff, Henry VI, Richard III, and The Merchant of Venice. He is a board member of the Associated Designers of Canada and a core member of the Vancouver Design Forum. He is currently completing an MA in Labour Studies and Sociology at SFU, studying the organization of Canadian theatre designers. Rebecca Mulvihill The Taming of the Shrew & Shakespeare in Love: Assistant Stage Manager This is Rebecca’s fifth season with Bard on the Beach. Recent Stage Management credits include Redbirds (Solo Collective); Topdog/Underdog and The (Post)Mistress (Arts Club); Sultans of the Street (Carousel); and Selfie (Théâtre La Seizième). Recent ASM credits include The Shoplifters, King Charles III, Good People, and Educating Rita (Arts Club). Rebecca has had the opportunity to travel with shows around B.C. and as far away as Norway. She is a graduate of the University of Victoria. Chirag Naik The Taming of the Shrew: Tranio | Shakespeare in Love: Adam/Boatman Chirag is a Vancouver-based actor. Selected theatre credits include Two Gentlemen of Verona, The Merchant of Venice, A Midsummer Night’s Dream, and The Tempest (Bard); carried away on the crest of a wave (NAC), Cranked and Showdown (Green Thumb); Mustard and Peter and the Starcatcher (Arts Club); Yoga Play (Gateway); and Après Moi (Ruby Slippers). Film credits include Limetown, No Tomorrow, and Rogue. Chirag is a graduate of Studio 58 and the recipient of the Sydney J. Risk Award. Jamie Nesbitt Coriolanus: Projection Designer Jamie designs across North America and Europe. Resume includes Stratford, Shaw, Canadian Stage, NAC, Soulpepper, MTC, Vancouver Playhouse, Citadel, Theatre Calgary, Palazzo Circus, Calgary Stampede Grandstand Show, Bard on the Beach, Arts Club, Charlottetown Festival, Electric Company, Kidd Pivot, Pacific Opera, Opera Quebec, Company 14, Vancouver Opera, Why Not, Neptune, The Belfry, Old Trouts, ARC, Cahoots, PTE, Touchstone, Vertigo, Pi Theatre, Theatre Network, Rumble, and Yukon Arts Centre. Jamie is the recipient of numerous awards. www.jamienesbitt.com 65


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COMPANY BIOGRAPHIES Ashley O’Connell All’s Well That Ends Well: Sebastian BFA in Acting from UBC. Theatre Credits: Much Ado About Nothing, The Winter’s Tale, Richard II, and All’s Well That Ends Well (Bard); Flare Path - Jessie Award for Best Supporting Actor (Slamming Door); Spamalot, Blood Brothers, and The Graduate (Arts Club); Someone Who’ll Watch Over Me (Dancing Monkey); A Few Good Men (Citadel); Of Mice And Men (Blue Bridge); and The Full Monty (Persephone), Film/TV: DC’s Legends, Zoo, Dirk Gently, Supernatural, and Watchmen. For Mai & Cormac. Moya O’Connell Coriolanus: Caius Martius/Coriolanus Last seen at Bard as Lady Macbeth in Macbeth and Flavius in Timon of Athens. Eighth season at Bard on the Beach. Ten seasons at The Shaw Festival. Favorite roles so far include Hedda, Hedda Gabler; Mary Swanson, Middletown; Maggie, Cat on a Hot Tin Roof; Portia, The Merchant of Venice; Ophelia, Hamlet; Tracy Lord, The Philadelphia Story; Imogen, Cymbeline; Elizabeth, The Circle; Lottie, Enchanted April; Julia Craven, The Philanderer; and Vivie Warren, Mrs. Warren’s Profession. BFA in acting from UBC. Sarena Parmar All’s Well That Ends Well: Helena Originally from Kelowna BC, Sarena is an actor and playwright. Acting credits include Stage Kiss, Dancing at Lughnasa, and Androcles and the Lion (Shaw Festival); Measure for Measure and The Winter’s Tale - Dora Winner for Best Production (Groundling Theatre); Antony and Cleopatra and Alice Through the Looking Glass (Stratford Festival). As a playwright, her play The Orchard (After Chekhov) has been produced by the Arts Club and Shaw Festival. Sarena is a graduate of the National Theatre School. Pam Patel All’s Well That Ends Well: Diana Pam Patel performs with numerous Canadian companies, touring nationally and internationally. A graduate of Wilfrid Laurier University’s music program, Pam specialized in new music and improvisation, establishing a career as a multidisciplinary artist. Pam is currently the Artistic Director of MT Space where she pursues her passion for centralizing racialized voices through theatre. Pam was also the President of local new music organization, NUMUS, and is currently the Chair of Arts Awards Waterloo Region. Kamyar Pazandeh The Taming of the Shrew: Lucentio Shakespeare in Love: Lambert/Ned Alleyn Kamyar is delighted to be back at Bard for his third season. Select credits include Pericles, Pericles; Gratiano, The Merchant of Venice; and Turio, The Two Gentlemen of Verona (Bard on the Beach); Gaston, Beauty and the Beast; Tom, The Piano Teacher; and Tom, Jitters (Arts Club); and Smudge, Forever Plaid (Mayfield). Kamyar is a Jessie Award-nominee and the recipient of the Koerner Arts Award. He is a graduate of Studio 58. Nadeem Phillip All’s Well That Ends Well: Younger Dumaine Brother Nadeem is privileged and humbled to live and perform here on the unsurrendered territories of the Skwxwú7mesh, Tsleil-Waututh, S’ólh Téméxw (Stó:lo-), and Stz’uminus peoples. Nadeem attended Ryerson Theatre School where he was trained by Ian Watson of the Stratford Conservatory. Selected Theatre: Onegin, The Matchmaker, The Men in White (Arts Club); My Ocean (Vancouver Fringe); Movements No 1&2 (Babelle); Doost (Neworld); Cock (Rumble). To stay in the loop, visit www.nadeemphillip.com or follow @nadeemphillip. Priya Pranjivan All’s Well That Ends Well: Ensemble Priya started dancing at the age of 4 and she danced for 15 years with Shiamak Davar International dance school. She’s attended and graduated from their year long program in India and has choreographed award winning performances and shows. She has experience in many different genres of dance including ballet, jazz, Bollywood, and aerial. Priya has worked with many international stars and has recorded several music videos in Vancouver! She continues to pursue her career in dance and hopes to make it on the big screen! 67


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COMPANY BIOGRAPHIES Jonathan Hawley Purvis The Taming of the Shrew: Fight Director/Choreographer Shakespeare in Love: Fight Director 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. Last year he choreographed fights and dance for Macbeth and As You Like It at Bard. Other theatres he has worked for include: Citadel, Arts Club, Chemainus, St. Lawrence Shakespeare, Theatre Calgary, Thousand Islands Playhouse, and Concrete. www.jonathanpurvis.com Jason Sakaki The Taming of the Shrew: Nathaniel/Priest/Cowboy Shakespeare in Love: Sam Jason is thrilled to be making his Bard debut this summer! Recent theatre credits include The Matchmaker (Arts Club); 13 the Musical (Bring on Tomorrow Co); Bah! Humbug! (2017-2018 Remount, SFUW/Vancouver Moving Theatre); and The King and I (Gateway Theatre). Film/TV credits include Mech X4, iZombie, and Spontaneous (Upcoming). He would like to thank the Bard team, Joel Garner, Sara and Team PT, and his parents and grandparents for all their support. Poonam Sandhu All’s Well That Ends Well: Choreographer Born in Vancouver, Poonam progressed through the local dance circuit starting at Rangeela and Young Stars Dance Schools, moving up to SFU’s Contemporary Dance Program and finally, she went to Mumbai to dance in the film industry. Once back in Canada, she competed with 2 award-winning bhangra teams and become the Artistic Director of FootEdge Dance Company. Poonam has danced a variety of styles, bharatnatyam, kathak, filmy, bolly, ballet, contemporary and bhangra. Dance is her true love! Anthony Santiago Coriolanus: Virgilio Anthony is delighted to be returning to Bard on the Beach having previously appeared in productions of The Winter’s Tale and Love’s Labour’s Lost (1997). His selected theatre credits include SWEAT (Arts Club/The Citadel Theatre); Dear Elizabeth (Wunderdog Theatre); Dark Road (Ensemble Theatre Company); True West (Sonderhouse Productions); and Pull Festival 2018 (SpeakEasy Theatre). Special love and thanks to his family, friends, Nya-Manet, James and AKC. Munish Sharma All’s Well That Ends Well: Elder Dumaine Brother Munish is excited for his first season at Bard in All’s Well that Ends Well on the Howard Family Stage! Originally from Saskatchewan, Munish has called Vancouver home for over a decade. Recent credits include The Orchard (After Chekhov) and The Matchmaker (Arts Club); Bombay Black (Raghupriya Arts and Culture); and Victim Impact (Theatre Conspiracy). Love to my family and friends. Cory Sincennes The Taming of the Shrew: Set Designer Shakespeare in Love: Costume Designer/Set Designer Cory is an award-winning designer, currently residing in Charlottetown, PEI. His designs have received both national and international recognition having worked throughout Canada, Europe and Russia. He holds an MFA in Theatre Design from the University of Alberta. Recent work: Anne of Green Gables, Evangeline (Charlottetown Festival); Liberation Days, Peter and the Starcatcher (WCT); Next to Normal, Mary Poppins, Crazy For You, (Theatre Calgary/Citadel Theatre); and Romeo and Juliet (Citadel). www.corysincennes.com Paneet Singh All’s Well That Ends Well: Apprentice Director and Creative Cultural Consultant Paneet is a playwright and filmmaker whose work is largely inspired and informed by Sikh and South Asian culture and history. He is most known for his two stage plays The Undocumented Trial of William C. Hopkinson, and the critically-acclaimed A Vancouver Guldasta, which received an honourable mention in Vancouver Presents’ “The Best of Vancouver Theatre in 2018.” Paneet was also picked as one of 2018’s “most exciting fresh faces to watch” by Colin Thomas. 69


COMPANY BIOGRAPHIES Ruby Singh All’s Well That Ends Well: Composer and Sound Designer Ruby Singh is an interdisciplinary artist. As a composer and sound designer he has worked with theatre and dance companies across Canada, as well as creating numerous Leo nominated scores for the National Film Board and other independent films. Singh’s personal and collaborative works have been presented across Turtle Island, India, Germany and the UK. Current collaborative projects include: Aluma Sound, Jhalaak, PIQSIQ and Ruby Singh and the Future Ancestors. www.rubysingh.ca. Joanne P. B. Smith All’s Well That Ends Well & Coriolanus: Stage Manager This will be Joanne’s eighteenth season stage managing in the Douglas Campbell Theatre at Bard on the Beach. Recent shows are The Good Bride (Firehall Arts Centre/ Alley Theatre), and East Van Panto: The Wizard of Oz (Theatre Replacement). Joanne has worked for many other theatre companies mostly in Vancouver. Edmund Stapleton All’s Well That Ends Well: Bertram Edmund hails from Paradise, Newfoundland & Labrador. Selected credits include The Curious Incident of the Dog in the Night-Time (Citadel/MTC); The Wars and Chariots of Fire (Grand Theatre); Dedication (RCA); Romeo & Juliet (Shakespeare by the Bow); and two seasons at the Shaw Festival. Edmund holds a BFA in Acting from the University of Alberta and a BA in English and Philosophy from Memorial University in St. John’s. Erica Sterry Shakespeare in Love: Assistant Costume Designer Erica Sterry is thrilled to be part of the Bard team for the first time this year. She is a costume design student going into her final year of the BFA Theatre Design and Production program at UBC. She has a diploma for Costuming for Stage and Screen from Capilano University and plans to graduate from UBC in 2020. Previous credits include costume design for: Much Ado About Nothing (UBC) and Tuesdays and Sundays (UBC). Lisa Stevens Coriolanus: Co-Fight Choreographer Dolly Parton’s 9 to 5: The Musical (Savoy Theatre, West End); 9 to 5 (UK Tour); Bombay Dreams (Ntl Tour); Disney’s High School Musical 1 and 2 (UK, US, Australian Companies); The Little Prince (Theatre Calgary); Witches of Eastwick (Ogunquit Theatre); Cutman, A Boxing Musical (Goodspeed Opera House, CT); Prom Queen (London Grand); West Side Story (Drayton Ent); Xanadu, Spamalot, In The Heights (Arts Club). Director/Choreographer: Grease (Winter Elgin Garden & Drayton Ent); Executive Decision (Guild Theatre, NY); Mamma Mia (New Theatre, Kansas). Emmy Award nomination: Dreaming of A Jewish Christmas. Instagram: lisa_l_stevens Jennifer Stewart All’s Well That Ends Well & Coriolanus: Assistant Stage Manager This year marks Jenn’s sixth season with Bard on the Beach. Backstage credits include Studies in Motion (Electric Company), Motherload (the chop) and multiple shows at Caravan Farm Theatre. Selected design credits include Of Mice and Men (Set & Props, Hardline); Selfie (Set & Costumes, Seizième); Redpatch (Masks, Hardline); Wilderness (Set & Props, Studio 58); and Wet (Set & Props, ITSAZOO). She is a three-time Jessie Award-nominee. Jenn studied at UBC and Studio 58. Sophie Tang All’s Well That Ends Well & Coriolanus: Assistant Lighting Designer Sophie Tang holds an MFA theatre design degree from UBC and a BFA theatre production and design degree from SFU. She is the 2018 Jessie Award Winner for Lighting Design in a Small Theatre. Recent credits: The Orchard (After Chekhov) (Lighting Designer) Arts Club Theatre, Old Man and the Sea (Lighting Designer) Turning Point Ensemble, Elephant and Piggie (Lighting Designer) Carousel Theatre, Yoga Play (Set Designer) Gateway Theatre, Titus Buffonious (Lighting Designer) Rumble Theatre, Last Train In (Set Designer) Rice and Beans Theatre, Urine Town (Set Designer) Arts Umbrella, Love and Information (Set and Projection Designer) UBC, Caged Beast (Lighting Designer) Drama One Theatre. Portfolio website: sophieyufeitang.com 71


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COMPANY BIOGRAPHIES Julie Tomaino Shakespeare in Love: Choreographer Bard on the Beach debut! Julie is currently directing and choreographing Newsies at TUTS. Recent credits include Once (Citadel); Sleeping Beauty (Ross Petty Panto); On The Town and Crazy For You (Theatre Sheridan); Grease and Footloose (Chemainus); Buddy Holly (The Globe); Mary Poppins (WCT/Persephone); 42nd Street (Studio 58); and Crazy For You (Gateway Theatre – Jessie Award-winner for Outstanding Choreography). Former Radio City Rockette. Upcoming: Pinocchio at YPT in Toronto. Love and thanks to Daryl. www.julietomaino.com Talia VandenBrink All’s Well That Ends Well: Ensemble Talia VandenBrink is honoured to be making her debut on the Bard on the Beach stage! Talia graduated this spring from Capilano University’s Musical Theatre Program. Past credits include Zinnowitz in Grand Hotel, WBFR Stage Manager in It’s a Wonderful Life: A Live Radio Play (Arbutus Studio) and 9 to 5 (CapU Theatre). Gratitude to everyone who has supported me, and a special thank you to the creative team for this incredible opportunity! Sara Vickruck Coriolanus: Volsces Lieutenant Sara is a theatre creator, performer, and musician. Selected theatre credits include Much Ado About Nothing (Classic Chic Productions); Fun Home (Arts Club); West Side Story (Theatre Under the Stars); and Circle Game (Firehall Arts Centre). Sara co-created the award-winning slam-poetry musical Poly Queer Love Ballad. She’s the winner of an Ovation Award for Best Female Performer (Love Bomb, Shameless Hussy Productions) and is a MacEwan Graduate. Check out more, including her album at saravickruck.ca. Sophie Wallace All’s Well That Ends Well: Assistant Costume Designer Graduating from Edinburgh College of Art in Scotland with a bachelor’s degree in Performance Costume in 2011, Sophie has since been working as a costumer both in Canada and Europe. Sophie is originally from Northern Ireland and has resided in Vancouver for two years. She has worked extensively in theatre, film and television including The Lyric Theatre, Belfast and the Royal Opera House, London where she developed a diverse background in the construction of costumes. Colleen Wheeler Coriolanus: Volumnia Colleen is a long-time company member at Bard on the Beach having been last seen as Timon in Timon of Athens. Other recent theatre: The Party/The Candidate (Citadel); Forget About Tomorrow and The Valley (Arts Club/Belfry). Recent Television and Film: Head of the Snake, Twilight Zone, Altered Carbon, Tully, and Hailey Dean Murder Mysteries. Colleen graduated from the University of Alberta’s BFA (Acting) Program and is the recipient of seven Jessie Richardson Awards. For Joshua and Lily. Robinson Wilson Coriolanus: Fight Director, Co-Fight Choreographer and Creative Consultant Stage Combat: Associate Member of Fight Directors Canada, Society of American Fight Directors, and the Nordic Stage Fight Society. Directed Studies Mentor/Instructor at Vancouver Island University. FD for over 50 theatrical productions since 1997. Martial Arts: certified teacher (Guro) with 25 years of experience in Filipino Martial Arts. International clients: 360 Stunt School (Denmark), Ahaetruatrioi (Iceland), NSFS (Stockholm), and Arctic Action (Norway). Thank you to DPG, AM, KJ and Lori for championing this journey. Joel Wirkkunen The Taming of the Shrew: Grumio Shakespeare in Love: Ralph/Catling Select theatre credits include The Audience, Peter and the Starcatcher, The Odd Couple, School For Scandal, and A Flea In Her Ear (Arts Club); Detroit (Mitch & Murray Productions); 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, Cymbeline, and (Assistant Director) Lysistrata (Bard on the Beach). 73


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COMPANY BIOGRAPHIES Sharon Wu Coriolanus: Rehearsal Apprentice Stage Manager Sharon is thrilled to be a part of her very first season with Bard! A graduate from Capilano University’s Technical Theatre program (2018), she has worked as an assistant stage manager and scenic painter. Her recent credits include props designing Eternal Theatre Collective’s production of bare, working as a dresser for Theatre Replacement’s 2018/19 East Van Panto, and assistant stage-managing Theatre Under the Stars’ Cinderella, where she received the 2018 Rising Stars Internship Award. James Yi Coriolanus: Volsces Senator Originally from Cleveland, Ohio, James Yi has been a Vancouver actor for over a decade. He played Officer Koh in The Interview and has played Appa in the awardwinning play Kim’s Convenience. He will also be appearing in season three of Kim’s Convenience, the tv show. James has made many appearances in tv and film, but his love is theatre. He is an avid golfer and a huge sports junkie.

NO.

1

BARD BY THE NUMBERS

largest Shakespeare Festival in Western Canada

2

ND

largest theatre company in British Columbia

Only

17,849 young people participated in

1,116 hours

of education programming

52

Administrators

99

3

%

of our revenue came from annual government support

108,000+ people attended a Bard performance

68%

of our revenue came from ticket & concession sales, one of the highest percentages of earned revenue for any Canadian theatre company

250 20,000 Over

128

Volunteers donated

Artists

Technicians EMPLOYED BY BARD

hours of time

(All statistics from the 2018 fiscal year) 75


FUNDRAISING

BENEFITING

“Good wine is a good familiar creature if it be well used.” Othello

The Vancouver International Wine Festival is proud to have Bard on the Beach Shakespeare Festival as its charitable beneficiary. Since 1979, VanWineFest has raised $9.5 million for the performing arts, including $1.5 million towards the outstanding work Bard does onstage and in the community. VanWineFest 2019 was another spectacular week for lovers of wine and food. • • • •

25,000 participants 1,430 wines 160 wineries 54 events: tastings, seminars, dinners, lunches, parties

• 45 restaurants & caterers • 25 non-winery exhibitors • 16 countries • 8 days

Auction items at Gala; Bard artistic director Christopher Gaze; gala chair Jana Maclagan; (photos by Christine McAvoy); Bordeaux wine cruise 2020

The Bacchanalia Gala Dinner + Auction kicked things off February 23 at the Fairmont Hotel Vancouver, raising $233,500 for Bard on the Beach. The top-selling live auction item at Gala was the VIWF Bordeaux River Cruise for two, which went for $16,000. Net proceeds of this VanWineFest-curated cruise through storied Bordeaux wine regions, April 9-16, 2020, go to Bard’s education programs. Join us! Details at VanWineFest.ca.

Join us in 2020 at the 42nd Vancouver International Wine Festival. Featuring FRANCE Advance tickets on sale November 6.

SPONSORS & SUPPORTERS

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


BARD MEMBERS OUR B AR D M EMBE R S ARE A V ITAL PART OF OU R S U C CE SS. T H ANK Y O U FOR BEING A PA R T OF T H E BARD F AMIL Y ! The list below reflects those who have generously donated to Bard on the Beach between April 1, 2018 and April 1, 2019 Renaissance Circle

Pamela & David Richardson in support of the Bard Youth Fest

Major Gifts $10,000+ Suzanne Bolton & Jefferson Mooney in support of Bard’s Youth Education Programs Peter & Joanne Brown Foundation Doug & Margaret Hatlelid in support of the Audrey & Robert Denison Music Fund David & Patti Howard Paul & Darlene Howard in support of the Howard Family Stage Marlie Oden & Ken Newbert Penny Pearse Sandra & James Pitblado

Artistic Director’s Circle $5,000 – $9,999 Larry Beasley & William Logan Mary Clare & Jim Bovard Grant Burnyeat Douglas & Alice Clarke Virginia Evans Kenneth & Livia Galbraith Linda Gibbs David Hardwick & Virginia Baldwin Doug & Margaret Hatlelid* Paul & Darlene Howard Lesley Laudan

Benefactors $1,000 – $2,499 Marion Allan The Anako Foundation Rati Arora Wendy & Simon Barron Rick & Lorraine Bennett Dennis & Jennifer Bettiol Gordon & Cheri Bird Julia Blockberger Paula & Gordon Boleen Lawrence Burr Elaine & Ken Carty Pete Chamberlain A. Chapman* Patricia Charles Margaret & Robin Cottle Merva Cottle Neil Crawford & Sylvie Mougeot Dr. Kate Dahlstrom Nancy M. Deshaw Norm Ackermann & Nedra Dickinson Patricia Dowad Tom & Peggy English Frank & Denise Ervin Lynda & Murray Farmer Craig & Shelley Ferris Jasmine Forman Mike & Kathy Gallagher

Rick Gammer Christopher & Jennifer Gaze John Geddes Antonio Gioventu June & Paddy Gooderham George Hackwell Kathy & Stan Hamilton Alasdair & Alison Hamilton Marilyn Harris Richard & Irene Harrison Mary Hartman & Patrick Mooney Sandra Herd & Doug Powrie Sam & Ann Isaacs Katherine & Glenn Ives Terri Jelic Valerie Jones Reet Kana* Margery Kellett Jacqueline Kelly & Rowland McLeod John H. Kennedy Kate Ker & Paul Cobban Amanda & John Kump Bill & Risa Levine Jane Macdonald Marlene MacKenzie

Warren & Diana Mitchell Munford Family Foundation Penny Pearse Alan & Gwendoline Pyatt Julie & Gavin Ryan Sencorp Capital Ltd. Don & Jane Shumka John & Judy Taylor Brian Tufeld Hari & Madhu Varshney Bruno Wall Ross & Louise Waters Ronna & Geoffrey Webb

Tudors $2,500 – $4,999 Thomas & Beverley Berger Val & Dick Bradshaw Martin & Diana Dawes

Genny MacLean Dennis McCann & Diane Darch John & Yuko McCulloch Mary & Philip Maude Dr. Ruth McIlrath Harvey McKinnon & Marcia Thomson Art & Angela Monahan Barbara Morris & Angela Kelly Gloria Murphy Gary Nelson & Kathy O’Shea Eunice Opstad Wendy & Chris Orvig Donald & Elizabeth Paterson Todd & Valerie Prodanuk David Vogt & Tracy Proke Carolanne Reynolds Katherine Richmond Anne Rowles & Afton Cayford Claire Sakaki & Jason Keel Antonie & Susan Schouten Andrew & Hilde Seal Michael & Julie Seelig 77

Count and Countess Enrico & Aline Dobrzensky Tony & Margie Knox Linda Loomer Wendi Mackay Bonnie Mah David & Joanne McDonald Deborah Pound* The R & J Stern Family Foundation Dr. Linda Warren & Dennis Williams Douglas Welch & Elizabeth Ball Anonymous (1) Renaissance Circle Reception sponsored by

Nancy & Walter Segsworth Anthony Sessions Curt Smecher David & Suzanne Smith* Art & Aline Smolensky Dr. Arv Sooch & Dr. Sevena Khunkhun Bruce Spence Ken Spencer & Judy Gale Lesley Stowe & Geoffrey Scott Ian Telfer & Nancy Burke Garth & Lynette Thurber Les & Marita Tulloch Barrie & Margaret* Jane & Colin Warner John & Susan Webster Colin Whitaker Jane & Michael Woolnough Anonymous (7)

Midsummer Magic $600 – $999 Thomas & Catherine Adair Bryan & Gail Atkins Jack Austin Elaine & Joseph Breaks


Celebrating Our 40th Year! 1979 - 2019

Open Every Night 7 pm - 1 am 2141 Granville Street

2019/20 SEASON

SINGULAR CAPTIVATING INTERNATIONAL DANCE BANGARRA DANCE THEATRE (AUSTRALIA) THE 7 FINGERS (MONTREAL) GRUPO CORPO (BRAZIL) RUBBERBANDANCE GROUP (MONTREAL) COMPAÑÍA ROCÍO MOLINA (SPAIN) DORRANCE DANCE (US) TICKETS | SUBSCRIPTIONS | INFORMATION DANCEHOUSE.CA 604.801.6225 SE ASON PAR T NERS

COMPAÑÍA ROCÍO MOLINA; SIMONE FRATINI, PHOTO

78

DanceHouse ad / Bard on the Beach / 1 April 2019


BARD MEMBERS Carol & Giorgio Caon Rebecca Catley Vince Chura Stuart & Meg Clyne Laura & Ron Drozdiak Lisa Dumbrell Errol & Oona Durbach Peter Elliott & Thomas Roach Mark Fancourt-Smith C. Fleming Gerry Furseth & Peggy Hung Joy Gaze* Anne & Tony Giardini Linda Lee & Jens Henriksen Doug & Vicki Horswill Robin & Barbara Kuritzky Dr. & Mrs. E.F. Ledgerwood Mark & Terri Lisagor Barbara Lockyer Margaret Lyle Hunter Industries Limited K. Beth Macdonald Dr. & Mrs. J.K. MacFarlane Rosalyn Manthorpe Peter Mercer* & Ginger Shaw Colleen & Wes Midmore Lois Milsom Lenore Montgomery Sarah Morgan-Silvester & Richard Fraser Norah Morrow Sean & Kerin Munro The Nieboers Paula Palyga & David Demers Kip & Venise Pearson Tim & Danah Phillips Jean Pirie Kostya & Audrey Polyakov Mollie Massie & Hein Poulus John Puddifoot Arthur Reber Lin & John Richardson Jean Scribner & Chris Wilson Dr. Derryck Smith Samuel J. Snobelen Howard & Wendy Soon Ian & Jane Strang Catherine Sullivan Kumi & Gary Sutcliffe Della & Richard Swann Mary Tait Anne & Mitch Taylor Vancouver Infectious Disease Centre (VIDC) Marg Vandenberg & Robert Wilband

Patricia Dick Jean Donaldson Jonathan & Cathy Driver Linda Edwards Susanna & Kieran Egan Sheila Elliott Anne Elliott Robin & Eleanor Elliott Stephanie & Mark Emanuel Hilary Feldman & Hannah Scott P. Fitzgerald Jane Flick & Robert Heidbreder Susan Flynn Ava Forsyth Tamara Frankel John Gallardo Douglas Graves Dr. Evelyn Harden in Memory of John Wood Elizabeth Hardy Joan Henderson Arlene H. Henry Law Corporation Gwendoline Hoar Rosalind & Ken Hollett Barbara J. Holmes Peter & Holly Horwood Dr. Patricia Howitt Tamara Hunter Margaret E. Hyde Beverly Imerman Dr. Ron Jobe* Sharon E. Kahn Gary & Louise Kenwood Mrs. G.G. Kidd Steve Klassen Kurt Koerfgen Rob LaBelle Jeff & Dianne Lapierre Nancy Laughton Karen Laurence Trevor Lautens Dr. & Mrs. Richard J. Lee Ken Lee & Jim McLean Louise Lemieux Judy Lerner Michele Ley Janette Lindley & Danny Peart Sandy Lloyd & Michael Macdonald Brian & Lisa Loomis George Ludgate Brandon & Abby Ma Melissa Macdonald Laverne MacFadden Kenneth MacLeod Debbie Matheson Anne Mathisen Peter Kushnir & Anna Mazur John & June McBryde The McDonough Family Catherine H. McPherson

Lisa Vogt & Chris Hodgson Charlie Ker & Cathryn Wilson Nick & Lesley Wright Audrey Zaharichuk Jack & Donna Lee Zaleski Anonymous (5)

Much Ado $300 – $599 Ian & Linda Adam Sue & Bob Adams Sylvia & John Aldrich Janet Allwork W. Alston Laurel Alves Donald & Marion Anderson Sheila Anzarut Chris Archbold Chris Overton & Marilyn Atkins Herb Auerbach Austin Property Tax Consultants Jane Baker Wendy Baker John & Jane Bathurst Bill & Gladys Baxter Gwendoline Ben Sigrid Bernhoerster Amanda Brittain & Trevor Nisbet Brenna Britton Wayne Brown Janice Brown Nancy Buan Michael & Sherri Caplan Robert Caspick & Ron Silvers Don & Donna Celle Michelle Chang Mrs. Mary Christopher John Clark Peter Clark Fran Clifton Judith Coffin Meg Comiskey Dr. Peter & Jean Cooperberg Susan Courtemanche David A. Crerar & Julia Lawn Linda & Geoff Cummings Ms. Nancy Campbell & Dr. Marshall Dahl Valerie Dahl & Tony Traboulsee Delta Law Office June Demcheson Lena Demko Muriel Densford* Barbara Devlin & Paul Porter 79

David Miller In Memory of Ann Purdon Peter & Suzanne Mogan Ilse Morris Gregory & Grace Munson Peter & Roma Nemetz Henry Neugebauer C. J. Newson David & Maria Nimmo Jack Olsen & Heather McDonald Richard Olson Dr. David Owers & Ms. Rene Kyl Marion Pearson & Jim Orr Fund, held at Vancouver Foundation Archie & Caron Pell Elaine & David Peterson Sheila Phillips Marcel Pichette Bryan Prentice Colin & Diana Price Larry Rhodes Don & Heather Risk W. D. Robertson John Robinson Don Rose Robert Duncan Ross G. & S. Rudolph David & Jeanmarie Gina Russenholt Masako Ryan Diana Sandberg Carol Saxon Thomas & Sonya Schmitz The Shaw Family Shirley Shebbeare Bonita Sheldon* Charles Willms & Thora Sigurdson Andrea Smith Irina Soboleva Tim Speakman MJ Stenberg Alan Storr & Joan Sharman AndrĂŠe Stow Ron & Dina Sudlow 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 Elisabeth Unsworth & Debbi Shaw Susan & David van Blarcom Angelika Waber


2019/20 Season Program 1 Oct 31 Nov 1 2

Aszure Barton BUSK Johan Inger B.R.I.S.A.

Program 2 Mar 4 5 6 7

Medhi Walerski Romeo + Juliet

Program 3 May 7 8 9

Ohad Naharin Hora Sharon Eyal & Gai Behar Bill

Subscribe now and save up to 15% balletbc.com Platinum season sPonsor

Community BalCony sponsor

Support for Ballet BC haS Been generouSly provided By

dancer Kirsten WicKlund. photo michael slobodian.


BARD MEMBERS Alison & Robert Watt Lyn & John Webster Mark Welsh Kim White Michael Stevenson & Jan Whitford Dennis Wiebe Janice Williams Eric & Shirley Wilson Stevie Wilson Wendy Yip Christina Yorke Donald Yule Anonymous (12)

Labour of Love $150 – $299 Jennifer Agnew & Carl Januszczak Amney Amery Joan Anderson Ronald & Brenda Appleton Jean Baker Cheryl Banfield Gillian L. Beattie Amy Benson & John Russell Noel Best & Barbara Shuman John & Sharon Bishop Jacqui Bohling Avalon Bourne Norma Boutillier M. Brayne* Sheila Brew Naomi Brown & Alan Leong Margaret Brown Nigel Bullers – EasyPark James Byrnes & Robyn Poste Noreen S. Cambon Carlson Family Fund, held at Vancouver Foundation Dr. Hugh Chaun & Pamela Chaun Felix Cheng Anne Christian Andy Cleminson (Clem) Christine Conroy & Clive Tucker Bill Cooke Deborah Cooper Lorena Coslovich Bob Cowan Tracy Cromwell Denise Cunningham Justin & Marie Currie Maxine Davidson Arlene Davidson Andrea Davies Jeremy & Helen Davis Chelsea Deane Brian Dietrich Gail Dodek Wenner & Richard Wenner

Pam & Mike Donnelly Paul Donnett Keven & Catherine Dubinsky Richard Dunn Deborrah Dunne Kevin Eck Russell Elliott Ellen Flett Judith Fraser Margaret Fraser Karen Fryer Harvey & Jean Gerber Micheline Gill Jim & Rachel Gillingham Maryke Gilmore Daniella Givon & Bernard Pinsky Marketa GoetzStankiewicz Don Grant R. J. Gray Daphne Hales Winifred Hall Heather Jones & Richard Hankin Nancy K. Harris & Uldis Ohaks John & Gundi Harriss Pat Harrold & Paul Hart Helen Heaney Stephen Heatley Victoria Henderson & John Radosevic In Honour of Deb Pound Jane Heyman & Lionel Johnston Brenda Hochachka Martin Hosking Brenda Hudson Patricia Hudson Zachary Isbach Jennifer Jack Karen Janke Carolyn Jay Valerie Jenkinson Paul Johnston & Marnie McGrath Linda Johnston Signe Jurcic Karen Justice Anne Kassis Tyleen Katz Heather Kennedy Chris Aikenhead & Candace Knighton Joslin Kobylka Susan Koch John & Ann Kowalchuk Heather Kulyk McDonald Jerry & Susan Lampert Paul Larocque Jessica Laurea Jeanette Lee Richard & Nancy Lee Judith MacDonald John MacDonald Christena MacMillan

Sirje & Rob MacWilliam Andrea Maitland E. J. Makortoff Linda Mamer Evie Mandel J. Mardock Franca Marziali Lindsay McArthur & Amber Kostuchenko Sheila McCallum Matthew McDonagh Elaine McHarg Scott & Corky McIntyre Gregory & Nancy McKinstry Brenda McNeill Kerry McPhedran Robert & Carolyn Mehaffy Dianne Miller Gabriella & Yoram Minnes Lillian Mitchell MJ Morita Sheila & Jim Morrison Dr. J. Paul Moxham Moira Munro Ellen Murrell David Nanton Bonnie & Bob Nelson Madeleine Nelson Mark & Miriam Nihart Sumiko Nishizawa Meghan G. Nordquist John O’Brian Susan & James Olsen Agatha Ormiston Joan Ouellette Malcolm Page & Christine McGrath Bruce Pentecost The Perks Family Tom & Jackie Pickett Andrew Piers* Sharon Pocock Art Poisson Charles Powell Jennifer Price Karl & Eveline Raab Jennifer Raguz Myrtle-Anne Rempel Ann Rippon Peggy Roe S.R. Rogers Terry Rogers Family Emily Rousseau Susie & Rob Ruttan Judith Setton Pat & Bill Sexsmith Kathryn Shaw Nadine Sheppard Maureen Sherman Geoffrey Shmigelsky Jill Simpson Gordon Smith Alisdair Smith Peter J. Smith Jack Sniderman 81

Christine Socasau Keith & Jan Sorensen Elaine Stevens Linda & Gary Stoneback Mike & Judy Stringer Susan Summers & Joanie Wolfe Richard & Margaret Swadden Beverley Taylor* Adele & Hakan Telenius Mary Thomas Barry & Julie Thompson Thorstenson & Bartholomew Christine Tolton Jennifer Toone Carol & Bud Tufeld Rebecca B. Tunnacliffe Ildi Varga Sandra Vickers Carine Vindeirinho Ian Waddell Susan Wagner Gillian Walker Thalita & Greg Walker Jodie Blaney & Jeff Wallace Philip & Miriam Webber Claire Westlake Gwyneth Westwick Ron & Pat Wickens Karen & Tony Williams Leslie Williams Dr. Marjorie Wood The Woodfield Family Jeff & Fiona Nancy Wu Antonieta Xavier Jun Xu Kenneth & Jennifer Yule Karen & Allan Zeller Korri Zivin Anonymous (17)

* Bard Legacy Circle Member Additional Legacy Donors include: Maureen Hannah Betty McGowan A. & W. Milman Barbara Mount Ann Munro Betti Port Janine Reid We thank our Members at the As We Like It level ($50 – $149) Thank you for your incredible and important role in supporting Bard! Please accept our heartfelt apologies or contact development@bardonthebeach. org if we have missed or incorrectly listed your name. Thank you very much in advance for your understanding.


We are proud to support the volunteer program at Bard on the Beach.

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

PT_Bardonthebeach_2019.indd 7

peoplestrust . com

2019-04-08 12:51:10 PM

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BARD VOLUNTEERS B ARD S AL U T ES O U R V O L U NT EERS The 2018 Bard on the Beach Volunteers donated 20,000 hours of service and raised over $17,000 in tips and collections for the Bard on the Beach Education Bursary Fund. 20+ Seasons of Service Mary Danieli Maxine Davidson Muriel Densford 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 Judy Daughney June Demcheson Shannon Enns Jenny Evans Joan Fogarty* Sarah Gillies Susan Harman Doug Hatlelid Margaret Hatlelid Terri Jelic* Elaine Koochin Liz Landon Judy Lerner* Laverne MacFadden Sandy McNeill Susan Nugent Nadya Ogloff Joan Ouellette Deborah Pound* Veronica Pring-Mill Katie Scott Glenda Sherlock Nicole Sherlock Dina Sudlow* Gary Sutcliffe* Beverley Taylor Jo-Ann Ternier Anne Tickle Scott Van Denham Barrie Vickers Margaret Vickers Gillian Walker* Stevie Wilson Tessa Wilson Theresa Zukovic 5–9 Seasons of Service Sarah Ball Eileen Bartels Sue Bates Susan Birtwell Annalies Camfferman Michael Caplan*

Carrie Fleming Gail Franko Wendy Gayton Pam Gilbert John Godfreyson Amanda GoldrickJones Susan Gracie Raymond Greenwood Ally Haarstad Imogen Hadfield Penny Handford Erin Hanratty Janet Harper Don Harrison Pat Hartley Doreen Hartley Margaret Healey Diane Henry Noah Heyl Corey Hollett Laura Hou Gerald Joe Janet Johnston Karen Kelly Debbie Kenneally Glory Kinoshta Rika Lange Heather Lawrence Sandra Lo Carol Long Wanda Madokoro Rachael Mannie Bonnie Martens Jennifer McKenzie Andréa Milman Peter Milroy Rose Mitsushio Valerie Moore Lisabeth Morgan Johanna Mramor Elizabeth Mueller Hanna Murray Inge Norcott Celia O’Neill Rachel Ralph Christine Sainsbury Francesca Sainsbury Hannah Scott Sharon Secord Aria Shokoohi Linda Simmons Ann-Marie Sloan Stephanie Smith Irina Soboleva Doug Stever-Akesson Gail Sumanik Scott Swan Kary Taylor Bella Urbanowski Myles Venn Tina Wang Susan Webster Colin Whitaker* Craig Withers

Susan Easton Nancy Flexman Joyce Garraway Eva Gerlitz Jeanne Harkness Beth Harper Pat Harrold Paul Hart Sandy Harvell Noel Hollett Rosalind Hollett Midori Kawahara Savannah Kemp Heather LeGresley Adriana Lopez Darryl Lucas Michelle Lundrigan Joni Macarthur Michael Marissen Dennis McCann* Betty McGowan Carolyn McLean Hearn Susan McNeil Erin Meyer Anne Midzain Rod Neuman Agatha Ormiston Andrew Piers Helen Roberts Brenda Sawyer Judy Shaw Karen Shimokura Deborah Tom Elizabeth Tovey Angela Tung Cali Vindeirinho Angela Waber* Lisa Wagner Angela Wilk Lindsey Zikakis 1–4 Seasons of Service Carol Attenborrow Judy Ballard Wendy Barron Susan Blundell Paula Boleen Gordon Boleen Christina Bradley Monica Brennan Eric Budgell Celine Cao Alexandra Charlton Gabriela Chavez Bill Chen Gabrielle Christie Atticus Cseh Lynda Dandurand Charu Datt Craig Davidson Laurie Dwulit Zelma edgar Marlene Enns Hilary Feldman Sheollagh Fitzgerald 83

Donna Workman Christine Xiong New Volunteers Ali Adams Tasfia Ahsan Jennifer Bettiol Heather Billington Vesna Bokic Kim Butler Gloria Cardinal Vickie Carter Shirley Cheung Christine Chou Julie De Sousa Christy den HaanVeltman Zory Drazenovic Bernadette Duffy Tracey Gebert Linda Gray Tina Gumuchian Glynis Harris Caroline Healy Pamela Heath Sandra Herd Frances Herrera Linda Hewitt* Margaret Hewlett Mallory James Dianne Lapierre Soo Lee Dorothea Letkeman Mairi MacAulay Jeanette MacLean Leslie Martin Nancy McLean Anne Midttun David Montgomery Dan Moscrip Susan Munkeskov David Nimmo Stuart Nurse Sunshine O’Donovan Veronika Ong Adele Peters Brian Postalian Sadie Quinn Sandi Reynolds Andrea Santos Selma Savage Diana Schachter Janet Shaw Janet Smith Lesley Stalker Sebastian Tow Judy Toy Betty Van Durme Caitlin Volkert Lesley Walker Deborah Wang Colleen Wong *R  ecipients of Volunteer of the Year


THANK YOU TO OUR 2019

Major Sponsors

BARD ON THE BEACH IS THE PROUD BENEFICIARY OF

PRODUCTION SPONSOR THE TAMING OF THE SHREW

OFFICIAL GRAPHIC DESIGN SPONSOR

Partners

BARD-B-Q & FIREWORKS PRESENTING SPONSOR

SEASON SPONSOR

PHOTOBOOTH SPONSOR

PRODUCTION SPONSOR SHAKESPEARE IN LOVE

OFFICIAL WINE SPONSOR

COMMUNITY ACCESS TICKETS SPONSOR

FENCING SPONSOR

PRODUCTION SPONSOR ALL'S WELL THAT ENDS WELL

COSMETICS SPONSOR

PRODUCTION SPONSOR CORIOLANUS

FAMILY DAY PRESENTING SPONSOR

BIKE TO BARD SPONSOR

OFFICIAL SECURITY SPONSOR

Elemental Gardens MEDIA SPONSOR, ACCESSIBLE PERFORMANCES

RECYCLING & ORGANICS SPONSOR

GARDEN SPONSOR

BARD EXPLORED SUPPORTER

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

Supporters

Foundations

The Martha Lou Henley Charitable Foundation The Christopher Foundation John Hardie Mitchell Family Foundation The Hamber Foundation Diamond Foundation

Metro Vancouver Cultural Grants 84


SPONSORS & SUPPORTERS

MAINSTAGE SPONSOR

Emelle’s CATERING

OFFICIAL CATERING SPONSOR

BARD IN THE CLASSROOM SPONSOR

MEDIA SPONSOR

MEDIA SPONSOR

MUSIC SERIES SPONSOR

OFFICIAL COFFEE & TEA SPONSOR

®

RBC EMERGING ARTISTS APPRENTICE DIRECTORS PROGRAM

PERFORMANCE SPONSOR

OFFICIAL BEER SPONSOR

TECHNOLOGY SERVICES SPONSOR

RENAISSANCE CIRCLE RECEPTION SPONSOR

VOLUNTEEER PROGRAM SPONSOR

BARD IN YOUR NEIGHBOURHOOD SPONSORS

McCARTHY TÉTRAULT LLP

RUSSELL SMITH & KEVIN MAH ODLUM BROWN

RAND INVESTMENTS INC.

PERFORMANCE SPONSORS

Supporters Bard on the Beach recieves support from many local businesses and organizations through donations of in-kind goods and services. As a not-for-profit enterprise, we depend on and are grateful for these generous supporters.

aDB Engineers Actsafe Arts Club Theatre Company Aqua Blue Water & Filtration Bogdonov Pao Associates Structural Engineers Canada Scaffold Christie Lights Coca-Cola Refreshments Great Pacific Media Maxum Crane Rentals Ltd. Power West Industries Ltd.

Proscenium Architecture Salmon’s Rentals Scene Ideas Smith Sound Standard Building Supplies Studio 58 Sunbelt Rentals The Printing House (TPH) Transcold Distribution Ltd. Vancouver Opera Ed Wong and Midori Theodorakakis 85


THE BARD TEAM Artistic Director: Christopher Gaze

Executive Director: Claire Sakaki On-Site Carpentry Shop Assistant: Andrew Moffat Site & Transportation Crew: Tenay Hall, Mark Henderson, Sarah Lennon, Nic Mitsui, Gabriel Rominhos, Ryan Theiman, Carie Voykin, Rob Wilson, Mary Cantelon, Mark Hetherington, Mackenzie Holzmann, Enid Martin, Cameron Randell, Dustin Vaux, Hanako Yokota, Bryce Drew, Brook Judge, Fraser Dobbs Education Director of Education: Mary Hartman Company & Education Manager: Rhea Shroff Education Coordinator: Katie Johnstone Education Intern: Bryony Pratt Teaching Artists: Anousha Alamian, Lindsey Angell, Scott Bellis, Kate Besworth, Ian Butcher, Tara Cheyenne-Friedenberg, Susie Coodin, Natalie Davidson, Austin Eckert, Guy Fauchon, Charlie Gallant, Dean Paul Gibson, Jeff Gladstone, Erik Gow, Isabella Halladay, Alana Hawley Purvis, Jonathan Hawley Purvis, Ming Hudson, Elliott James, Luisa Jojic, Kayvon Khoshkam, Amber Lewis, Jennifer Lines, Anton Lipovetsky, Jacqueline Loewen, Alison Matthews, Joel D. Montgrand, Moya O’Connell, Dawn Petten, Nadeem Phillip, Jenny Rush-Cooper, Aimee Siviter, Emma Slipp, Mike Stack, Todd Thomson, Colleen Wheeler, Allegra Wright Riotous Youth: Katie Crompton, Fernanda Douglas, Mahayla Galliford, Chantal Gering, Anthony Goncharov, Isaac George-Hotchkiss, Anna Matthew, Sunshine O’Donovan, Connor Riopel Administration Director of Marketing & Communications: Heather Kennedy Digital Marketing Manager: Maya Donkers Marketing Coordinator: Kristin Szilvassy Marketing & Education Assistant: Halla Bertrand Publicity & Media: Cynnamon Schreinert Box Office Manager: Brent Cowan Box Office Supervisor: Jocelyn Cartmel Box Office Coordinators: Heather Molloy, Alexandra Eaton, Angela Espinoza Customer Service Representatives: Hannah Everett, Seamus Fera, Chantal Lyons-Stevenson, Christine Pennington, Sarah Forrer, Sophie Chappell Director of Development: Amy Benson Sponsorship & Events Officer: Cathleen Gingrich Annual Giving & Events Officer: Alva Tang Development Events Assistant: Amelia Newsome Director of Finance: Fernando Jacob Senior Accountant: Deepak Mehra Accountant: Rodrigo Camargo Director of Operations: Ava Forsyth Administrative Coordinator: Kathleen Brooks Operations Manager: Stacey Menzies Volunteer Coordinator: Veronika Tkacova Events and Group Sales Coordinator: Scott Boyce Operations Coordinator: Stephen Dunne Facilities Coordinator: Linda Guthrie Boutique Buyer & Manager: Isabella Halladay Concession Manager: Jessi Simmons Lead Front of House Managers: Aidan De Lacy, Kirsten N., Ingrid Turk Front of House & Retail Managers: Emily Doreen Wilson, Michelle Deines, Bonnie Duff, Chelsea Gardner, Fernanda Douglas, Vanessa Ho, Emma Hoogeveen, Dietcliff Ostrowski, Matthew Rhodes, Connor Riopel, Nora Wendt Season Materials & Website: Carter Hales Design Lab Digital Marketing Agency: Murray Paterson Marketing Group House Program: Corporate Graphics House Program Copywriter: Michelle Deines Advance Photography: Emily Cooper Production Photography: Tim Matheson Photography: Joe Biegel, Jason Keel Video Services: Ryan Alexander McDonald, The Art Left; Jovan Harmuth

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, Alana Hawley Purvis Production Manager: Jonathan Ryder Production Coordinator: Lauren McDonald Technical Directors: Richard Hansen, Kougar Basi Assistant Technical Director: Madeleine Molgat Laurin Technical Assistant: Andrea Rideout Production Carpenter: William Dettlaff Venue Technicians: Michael Hewitt, Liam Hunt, Brady Armstrong Head of Properties: Heidi Wilkinson Props Builders: Sharon Zimmerman, Chris Hall, Omanie Elias, Frances Henry Props Buyer: Carol MacDonald Props Apprentice: Sophie West Props Student Volunteer: Kallista Dittrick-Katevatis BMO Mainstage Head Scenic Artist: Omanie Elias BMO Mainstage Scenic Artists: Athena Ivison, Tegan Klancnik BMO Mainstage Head Scenic Carpenter: Keith Smith BMO Mainstage Scenic Carpenters: Chris Willis, Christian Lovell, Gemma Harris, Madeleine Molgat Laurin HFS Construction Coordinator: Ace Martens HFS Scenic Artists: Kristine Kavalec, Tegan Klancnik HFS Scenic Carpenters: Jeremy Vreeken, Lorraine West, Chris White Audio Techs: Crystal McCracken, Jamez Gooden Head Electrician: Conor Moore Assistant Head Electrician: Jamie Sweeney Projection Technical Solutions: Carey Dodge and Boca Del Lupo Production Crew: Harrison de Hek, William Dettlaff, Conrad Tugnum, Jessica Wall, Diana Bartosh, Matt Oviatt, Marcus Vaillant, Katherine Witts, Blaine Johnson Welder/Site & Production Assistant: Madeleine Molgat Laurin Production Intern: Darci Carrier Head of Wardrobe: Amy McDougall Assistant Head of Wardrobe: Jessica Oostergo Cutters: Janet Dundas, Mitchell Mackay Junior Cutters: Rosalie Boland, Jennifer Reid, Megan Veaudry First Hand: Christine Pampel Stitchers: Melissa Cartwright, Tracey Gauvin, Jodi Jacyk, Sarah Marchant, Desiree Morin, Kim Tymkow, Kathryn Potter, Amy (Ji Hong) Yang, Heather Young, Olivia McNair, Andrea Delano Wardrobe Buyer: Ariel Rivera Breakdown Artist: Denise Gingrich Wig Construction & Styling: Marie Le Bihan Lead Backstage Wardrobe: Melissa McCowell Backstage Wardrobe Crew: Sarah McCready, Sarah Sosick, Elizabeth Wellwood, Jessica Oostergo Wardrobe Intern: Alice Jiang, Melicia Zaini Site Project Manager: Sean Preston Site Supervisors: Neil Griffith, DJ Hicks, Anthony Walmsley Head of Transportation: Jim Preston Project Coordinator: Triane Tambay Site Buyers: Andrew Pye, Luc Corbeil Site Head LX: Jason Filipchuk Assistant Site LX: Ryan Yee Site LX Crew: Victoria ‘Tori’ Ip Crew Chiefs: Evan Follweiter, Neil Griffith, Gary Robinson, Glenys Thorp, Anthony Walmsley, Dylan Hargrave, Jillian White, Conrad Tugnum Lead Operator: Don Robinson Operator: Brad Lemon On-Site Carpentry Shop Manager: William Dettlaff 86


M A I N STAGE TH EATRE –

DOUGL AS CAMPBELL T H EAT RE – H OWARD FAMILY STAG E

MAINSTAGE

THE TAMING OF THE SHREW

ALL’S WELL THAT ENDS WELL

SHAKESPEARE IN LOVE

CORIOLANUS

2019 SPECIAL DATES & EVENTS

BARD MEMBER EVENTS

OP

MTA

Opening Night (limited availability)

WINE Wine Wednesday

PR

Preview

EXP

Exploring Shakespeare Talk

MBT Members Backstage Tour

Meet the Artists

SM

Student Matinee (student groups only)

FD

Family Day (matinee performance)

LCT

TBT

Talkback Tuesday

FO

Forum: Kate – Victim or Victor?

Bard Box Office: 604.739.0559 Online: bardonthebeach.org

Legacy Circle Tea

ACCESSIBLE PERFORMANCES: VocalEye | Relaxed Performance MON

TUES

WED

THU

FRI

SAT

SUN

3 JUN

4

5

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7

8

9

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JUNE

PR 7:30pm

24

25 VSO 7:30pm

1 JUL

8

MTA 6pm TBT 7:30pm TBT 7:30pm

9

7:30pm PR 7:30pm

10

JULY

16

17

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18

MBT 6pm

29

24

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31

FIREWORKS 5pm 5pm

TBT 7:30pm TBT 7:30pm

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7:30pm

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SM 1pm/7:30pm

SM 1pm

THU

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

25

31

1 SEPT

MBT 10am FD 2pm/7:30pm PR 7:30pm

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

2pm/7:30pm 2pm/7:30pm EXP-CORIO 11am 2pm/7:30pm 2pm/7:30pm

14

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

8

Relaxed Performance 2pm 2pm/7:30pm 2pm/7:30pm

15 2pm/7:30pm 2pm/7:30pm

7:30pm 2pm/7:30pm

21

SM 1pm/7:30pm

FRI

7:30pm 7:30pm

2pm/7:30pm

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

20

4

24

7:30pm 7:30pm

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

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

18

7

7:30pm 7:30pm

28

17

VocalEye 7:30pm FD 2pm/7:30pm 2pm/7:30pm

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

11

7:30pm 7:30pm

6

WINE 7:30pm WINE 7:30pm

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

10

7:30pm PR 7:30pm

30

FIREWORKS 5pm 5pm FIREWORKS 5pm 5pm

7:30pm

23

29 7:30pm 7:30pm

OPERA & ARIAS 2pm/7:30pm

7:30pm 7:30pm

16

WINE 7:30pm PR WINE 7:30pm

TBT 7:30pm TBT 7:30pm

3

7:30pm 7:30pm

22

28

3 7:30pm 7:30pm

9

7:30pm

21

21

27

2

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

EXP-SIL 11am VocalEye 7:30pm 2pm/7:30pm 2pm/7:30pm

7:30pm 7:30pm

7:30pm 7:30pm

15

TBT 7:30pm

OPERA & ARIAS 2pm/7:30pm FORUM 7:30pm

1 AUG

WINE 7:30pm WINE 7:30pm

TBT 7:30pm

26 7:30pm 7:30pm

8

TBT 7:30pm TBT 7:30pm

AUGUST

25

7

14

20 7:30pm 7:30pm

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

EXPAll’s Well 11am 2pm/7:30pm 2pm/7:30pm

7:30pm 7:30pm

7:30pm 7:30pm

7:30pm 7:30pm

EXP-Shrew 11am FD 2pm/7:30pm 2pm/7:30pm

13

19

7:30pm 7:30pm

TBT 7:30pm TBT 7:30pm

6

7:30pm 7:30pm

2pm/7:30pm

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

7:30pm 7:30pm

12

WINE 7:30pm WINE 7:30pm

TBT 7:30pm TBT 7:30pm

22

5

11

2pm/7:30pm

29 7:30pm PR 7:30pm

7:30pm 7:30pm

OP 7:30pm

23

OP 7:30pm

28

4

PR 7:30pm

22

7:30pm PR 7:30pm

7:30pm 7:30pm

TBT 7:30pm TBT 7:30pm

15

27

3

PR 7:30pm

21 SOLD OUT PR 7:30pm

PR 7:30pm

7:30pm

2

SM 1pm

20

26

SM 1pm

14

PR 7:30pm

PR 7:30pm

SEPTEMBER

SM 1pm

13

22 2pm/7:30pm

SAT

SUN


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