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THE IMAGINARY INVALID
Molière’s classic French comedy
Adapted by Milles Malleson
High comedy and pointed satire combine in this timeless tale of a hypochondriac
who delights in his imagined illnesses. In revealing the frailties of both doctors
and patients, Molière proves that love and laughter are indeed the best medicine.
Guest Director: Roy Surette
Set Designer: Allan Stichbury
Guest Costume Designer: Erin Macklem
Guest Lighting Designer: William Mackwood
Guest Mask Designer: Melody Anderson
Musical Composers: Alexander Ferguson and Mitch Pollock
Stage Manager: Rena McLeod
Cast: Ashley Adamson, Douglas Scott Bates, Kate Braidwood, Alexander
Ferguson, Nick Green, Kate Humble, Tom Middleditch, Mitch Pollock, Katie
Siney, Jeff Stubbs and David Ward.
October 10 – 26, 2002
Matinee – Saturday, October 26 at 2pm
Pre-Show Lecture - October 11 at 7pm
MEDIA REVIEWS
“When they work, irreverent reworkings of the classics are wonderful. The
University of Victoria theatre department scored a palpable hit two years ago with
a zany remake of Aristophanes’ Frogs. With The Imaginary Invalid, magic strikes
twice.”
“Whether one is incline to ponder Molière’s intentions or not, this production
works well on the most basic level as a bawdy yet witty romp, thanks in large part
to Surette’s clear and confident direction. The Imaginary Invalid is worth making
a special effort to seek out.”
- Adrian Chamberlain, Times Colonist
“Surette really did a fantastic job coaxing high caliber performances from the
student actors. I think the read Quid Pro Quo here was the transfer of energy
from director to actor and visa versa. The actors had the rare opportunity to work
with a professional director and I think Surette really enjoyed the youthful energy
of the University performers. Freed from the constraints of material/period/scope
that the Belfry naturally imposes, he has reinvented himself with this production
as an imaginative and inspired puppeteer.”
- Robert Mitchell, CBC Reviewer
“In fact, the opening-night audience was highly enthusiastic. The Phoenix has a
tradition of delivering energetic entertainment and this production is no exception.
As the opening play in what promises to be an innovative season—including the
FIND Festival (Festival of Independent New Drama) in 2003—The Imaginary
Invalid makes a lively start.”
- Naomi Lester, Monday Magazine
“There’s nothing classic about the Phoenix Theatre production of The Imaginary
Invalid. Director Roy Surette takes Molière’s classical satirical masterpiece and
twists it into a fascinating performance. From the start of the production Surette
breaks all the rules. A bizarre mixture of 17th century Parisian ambiance and
1950’s flare decorates the production. Costume designer Erin Macklem
deserves praise for her spectacular display of dynamically textured and
outrageous costumes.”
- Starr Munroe, Nexus
THE RESISTIBLE RISE OF ARTURO UI
A musical parable by Bertolt Brecht
Adapted by Jennifer Wise (Faculty)
Arturo Ui brilliantly traces Hitler’s rise to power by using the metaphor of 1930’s
gangland Chicago. Like Charlie Chaplin’s The Great Dictator, Brecht’s timeless
comedy insists that the only way to deal with tyrants is to laugh at them.
Arturo Ui, “reveals the political mechanics of Nazism with a clarity that remains
startling to this day.” – The Globe and Mail
Director: Brian Richmond
Set and Costume Designer: Mary Kerr
Guest Lighting Designer: Andrea Lundy
Guest Projection Designer: Tim Matheson
Guest Arranger/Musical Director: David Clenman
Movement Director: K. Scott Malcolm
Choreographer: Melissa Young
Dramaturge: Tony Vickery
Stage Manager: Yvonne Yip
Conductor/Keyboards/Harmonium: David Clenman (Guest Artist)
Cello: Didem Erken (Guest Artist)
Percussion: Jackie McDonald (Guest Artist)
Clarinet: Larry de la Haye (Guest Artist)
Cast: Cameron Anderson, Meg Braem, Annette Dreeshen, David Ferry, Jay
Hindle, Trevor Hinton, Katie Hood, Heming Hopkins, Mike Klemak, Ian Lake,
Theodora Lamb, Phillip Lyall, Stephanie Morris, Al Newton, Monica
Prendergast (Graduate Student), Kenneth Rose, Zachary Stevenson, Karen
Taylor, Allison Ward, Colby Wilson and Melissa Young.
November 14 - 30, 2002
Matinee – Saturday, November 30 at 2pm
Pre-Show Lecture - November 15 at 7pm
MEDIA REVIEWS
“This is a terribly ambitious project. Twenty-one actors play 50-plus roles. There
is, occasionally, a tentative quality to their performances that will fade as the run
progresses (you might want to catch one of the last ones). Technically, The
Resistible Rise of Arturo Ui presents a huge challenge which on Thursday night
was well met. There are archival film clips of Nazis and slide projections, and set
pieces are constantly being carted about. Some lines are uttered by actors
hanging upside down. You’ve got to admire the chutzpah of this student cast
and the UVic faculty.
-Adrian Chamberlain, Times Colonist
“Then again it doesn’t hurt to be surrounded by such a youthful and talented cast.
Mike Klemak turns in a driven performance as Ui, capturing the split personality
of the charismatic leader, crippled by self doubt and paranoia. His inner circle of
thugs is portrayed by Jay Hindle, Ian Lake, and notables are Monica
Prendergast, Annette Dreeshen and Heming Hopkins. Richmond, as
always, coaxes uniformly even performances from all, no mean feat given the
disparities of some of the younger performers.”
-Robert Mitchell, CBC Reviewer
“No question, there’s a lot here that works. The cast is uniformly splendid,
specifically Annette Dreeshen’s ‘Ragg’, Zachary Stevenson’s ‘Roma’ and
David Ferry in a pair of juicy roles that lend themselves to some delicious
overacting (Dogsborough, Mahoney). And Mike Klemak pulls off the title role of
Ui with a menacing power, dominating the stage whether he’s speaking or not.
Similarly, the production values are outstanding; if any one thing is responsible
for the success of this play, it’s Mary Kerr’s costume, make-up and set designs.
And Tim Matheson’s visual projections, while overused, add a haunting
historical foreshadowing that can’t be understated. Kudos too to both Yvonne
Yip’s stage management and flawless handling of her crew, who silently moved
the enormous sets with nary a missed spike.”
- John Threlfall, Monday Magazine
“The larger than life characterizations, complete with flamboyant stage makeup
and 1930’s expressionist costumes, adds to the satirical nature of the play. The
stage is dynamic and impressive with constantly changing scenery and the
effective use of video images projected on the set…The Resistable Rise of
Arturo Ui is an entertaining evening of theatre with an energetic and enthusiastic
cast of 21 singing, dancing and debating performers.”
- Johanna Ward, Nexus
Spotlight on Alumni:
THE SLIP-KNOT
Written, Directed and Performed by T.J. Dawe
Stage Manager: Rena McLeod
The Slip-Knot is a one person show telling the story of working horribly day
jobs—among others, a stock boy at a drug store, Christmas parcel tracker for the
post-office, and truck driver for a dumpster company. There are also three
subplots; a long-distance relationship, an attempt to sell a used van and the
ordeal of finding an apartment in a new city. Each story is advanced as T.J.
jumps between three positions on the stage, each one a fast-paced, stream of
narrative.
January 23 – February 1, 2003
Matinee – Saturday, February 1 at 2pm
Pre-Show Lecture - January 24 at 7pm
MEDIA REVIEWS
“A cross between a Dilbert comic strip and a Stuart McLean narrative.”
- Susan Down, Times Colonist
“A cross between a Dilbert comic strip and a Stuart McLean narrative. This man
is heading to the Stand-up Hall of Fame.”
- Colin Thomas, Georgia Straight
“With only two lighting poles and an otherwise bare stage, Dawe transported his
audience from the traffic in Vancouver to the housing market in Toronto and, in
between, a brief stop in a small town in Alberta in the winter. Dawe’s easy,
confident delivery and genuinely absurd view of life have already won him
acclaim as both writer and performer.”
- Linda Fraser, Lavender News
“This is one Fringe performance no one should miss—The Slip-Knot is the
Fringe at its best. If you could listen to a juggler, and if that juggler were the most
accomplished juggler in the world, the experience would be something like
listening to T.J. Dawe in The Slip-Knot.”
- Elizabeth Maupin, Orlando Sentinel
“Another deserved packed house and spontaneous standing of “O” for comic
monologist T.J. Dawe, who adds a new gem to an unerring Fringe booty
including Tired Clichés and Labrador.”
- Alan Kellogg, Edmonton Journal
“This is one Fringe performance no one should miss—The Slip-Knot is the Fringe
at its best. If you could listen to a juggler, and if that juggler were the most
accomplished juggler in the world, the experience would be something like
listening to T.J. Dawe in The Slip-Knot.”
- Gaetan Charlebois, Hour Magazine (Montreal)
FIND 2003
FESTIVAL OF INDEPENDENT AND NEW DRAMA
RAPPACCINI’S DAUGHTER
By Charles Tidler
Adapted from the short story by Nathaniel Hawthorne
A story told within itself, Rappaccini’s Daughter is a “Once Upon a Time” tale,
complete with archetypal characters of fairy tale proportions, magic gardens,
villains and heroes. At the same time it explores how humans and science
manipulate the environment—by chronicling the trials and tribulations of a
scientist who experiments on his own daughter in a fairytale land that is neither
past, present, nor future.
Director: Linda Hardy
Guest Set Designer: Sam Whittingham
Costume Designer: Janis Ward
Guest Lighting Designer: Michael Whitfield
Guest Projections Designer: William Mackwood
Musical Director/Composer: Alexander Ferguson
Choreographer/Movement Director: K. Scott Malcolm
Stage Manager: Rebecca Mulvihill
Cast: Kate Braidwood, Alexander Ferguson, Jay Hindle, Kate Humble, Leah
James and Tom Middleditch.
February 27 – March 22, 2003
Matinee – Saturday, March 22 at 2pm
Pre-Show Lecture - February 28 at 7pm
MEDIA REVIEWS
“The University of Victoria’s theatre department has created a look for
Rappaccini’s Daughter that is stunning—indeed, it is the productions greatest
strength. The most successful design elements are abstract and video images
projected on backdrops of shimmering black ribbons. Spiral staircases,
doorways and a never-ending snowfall seemingly appear out of nowhere. The
effect is magical; very potent. Credit goes to set designer Sam Whittingham,
lighting designer Michael Whitfield and projections creator William Mackwood.”
“The production, directed by Linda Hardy, also boasts original music and dance.
Alexander Ferguson (who also has the role of Prof. Baglioni) has created music
that is cinematic and fairly conventional. Most of the dance sequences occur
between Beatrice (Kate Braidwood) and the mute plant that is her “twin”,
gracefully played by Leah James. Tom Middleditch stars as the young hero,
Giovanni, with Jay Hindle as Rappaccini.”
-Adrian Chamberlain, Times Colonist
“Director Linda Hardy, along with set designer Sam Whittingham breathe as
much fairy dust as possible into this play. Whittingham’s shimmering celluloid
forest with its intersecting ramps gives Hardy a whimsical staging ground that
she uses to full advantage. There is more than a passing resemblance to
Romeo and Juliet in the gawky, blushing antics of Beatrice and Giovanni.”
- Robert Mitchell, CBC Reviewer
“As the bold young lover, Tom Middleditch is a delight to watch; Kate
Braidwood, however, is less successful in the more one-note title role. Kate
Humble is particularly juicy in her double role (landlady, spider)—although it’s
tough at times to figure out what her real purpose is—and Leah James is
scintillatingly sensual as the non-speaking poison plant. Jay Hindle and
Alexander Ferguson, as rival scientists, bring a touch of humour and menace to
the stage, although again, their presence seems to have more to do with plot
necessity than dramatic action.”
- John Threlfall, Monday Magazine
LISTEN TO THE WIND
By James Reaney
Set in a farmhouse, Listen to the Wind tells the story of Owen, a dying boy who
lies on his bed, dreaming out stories. The books that keep him company—the
Brontes, Edgar Rice Burroughts, and Rider Haggard—inspire him. Based on the
Bronte children, this play is a vibrant form of imaginative theatre, one where the
actor and the image and the word are central and the stories our own.
Director: David Ferry
Venue Designer: Allan Stichbury
Set Designer: Aaron Spouler
Costume Designer: Emma Routledge
Lighting Designer: Allan Stichbury
Stage Manager: Jen Braem
Cast: Cameron Anderson, Katie Hood, Mike Klemak, Ian Lake, Mitch
Pollock, Katie Siney, Marisa Smith and Karen Taylor.
Foley Artists: Amanda Ballard, Éva Markvoort, Beth Scozzafava and Jen
Quinn.
Original Music and Direction: Mitch Pollock and Cast.
March 5 - 21, 2003
Pre-Show Lecture - March 7 at 7pm
MEDIA REVIEWS
“Certainly the show is energetically performed and briskly paced. And the young
actors—who had a shorter than usually rehearsal time—are to be heartily
commended for dispatching a mind-boggling amount of stage business with brio
and seeming ease.”
-Adrian Chamberlain, Times Colonist
“With eight in the cast, four on stage as sound effects crew and a bewildering
array of props, it’s easy to get distracted here in the whirlwind of back-and-forth
storylines, but some notable performances keep it all together.”
- John Threlfall, Monday Magazine
CIRCUS FIRE
By Janet Munsil
Circus Fire attempts to collaborate the story of a circus fire through physical
action. This play is inspired by the events surrounding a fire that broke out
during a performance of the Ringling Bros. and Barnum & Bailey circus in the
north end of Hartford on July 6, 1944. One hundred sixty-seven people died as a
result of the blaze, which broke out while several thousand were under the big
top for an afternoon performance. Flames spread instantly along the canvas of
the tent, since it had been waterproofed with a mixture of gasoline and paraffin.
The spectator’s stampede to escape proved as deadly as the fire; hindering the
escape of many were steel railings along the front of the bleacher and an animal
chute blocking the main exit. Because it was a circus performance, and because
it occurred on a Thursday afternoon during World War II, when many adults held
down one or more jobs at war production plants, children accounted for many of
the casualties; only one hundred of the dead were older than fifteen.
Director: Britt Candide Small
Venue Designer: Allan Stichbury
Set Designer: Aaron Spouler
Costume Designer: Chantelle Mae Adamche
Lighting Designer: Randy Poulis
Guest Composer/Sound Designer: Avery Estuan
Stage Manager: Sarah Wallin
Cast: Annette Dreeshen, Mike Hall, Kathleen McGuinness and Chad Wood.
March 12 – 22, 2005
Preshow Lecture - March 14 at 7pm
MEDIA REVIEWS
“This visual tour de force relies heavily on mime and commedia dell’arte. Circus
Fire is bold, imaginative and terribly clever. Smartly directed and elegantly
produced, it is a memorable piece worth seeking out.”
-Adrian Chamberlain, Times Colonist
“It’s rare that a piece of theatre moves an audience to tears, and rarer still that a
piece of student theatre would have that kind of effect. But when a piece of
student theatre lacking any sort of obvious, dialogue-driven narrative has just that
sort of emotional impact on an audience, it’s an accomplishment well worth
noting. Such is the achievement of Circus Fire, a brilliant collaboration between
local playwright Janet Munsil and director Britt Small that had more than a few
people sniffling by the final scene.”
“The four-person cast is uniformly excellent. Annette Dreeshen, Mike Hall,
Kathlene McGuinness and Chad Wood all shift between portraying adults,
children, spectators, performers, animals, riggers, clowns—basically anything
you’d find at a circus—with a fluid grace that at times seems more dance than
acting. And when the shift from childlike innocence to growing panic and horror
comes, as it must, it’s as much their collective performances as the script which
brings on the tears. Credit too must go to Avery Estuan for his sometimesspooky, sometimes-celebratory score; when combined with Randy Poulis’
simple yet evocative lighting, Aaron Spouler’s sparse scenic design and the
George Theatre’s seating-in-the-round construction, it’s never hard to believe
you’re anywhere but exactly where this talented creative team wants you to be.”
- John Threlfall, Monday Magazine
STUDIO SERIES
A series of six new one-act plays by emerging playwrights from the Department
of Writing.
Producer: Peter McGuire
Venue Designer: Allan Stichbury
Lighting Designer: Pornpan Arayaveerasid
Stage Manager: Jesse Logan
March 6 – 8, 2003 at 8pm
The Act
Written by Nick Rassenti
Directed by Peter McGuire
Cast: Ashley Adamson and Trevor Hinton
For comedian Paul Peters, making people laugh is serious business. But what
happens when his wife Gladys wants to get in on the act?
Suckerpunch
Written by Drew Sterling Williams
Directed by Ross Whelan
Cast: Meg Braem, Stacie Capt, Debra Easton and Trevor Hinton.
“Is this the real life? Is this just fantasy? Caught in a landslide. Escape from
reality. Open your eyes and see”. –Queen
March 13 – 15, 2003 at 8pm
A Strange Kind of Romance
Written by Keith Gacek
Directed by Brendan Van Deusen
Cast: Beth Scozzafava, Stephanie Morris and Nick Green.
Late one rainy evening, two characters from an author’s past show up to help
him rediscover a lost sense of romance.
The Impassioned Confession of Maria Louisa de la
Concepcion
Written by Leah Bailly
Directed by Justine Shore
Cast: Beth Scozzafava and David Ward.
Crawl into the confession booth and witness sex, death and miracles spun
together as Maria Louisa’s tale is revealed.
March 20 – 22, 2003 at 8pm
Murder, Lust and Love on the Titanic
Written by Christopher Griffiths
Directed by Peter McGuire
Cast: Ashley Adamson, Douglas Bates, Meg Braem, Stacie Capt, Debra
Easton, Nick Green, Donny Groulx and Stephanie Morris.
Think you know why the Titanic sank? Think again! Find out the truth in this
madcap romp.
Dog’s Breath
Written by Laura Ellestad
Directed by Robert Osborne
Cast: Sebastien Archibald and Nick Poppell
Post-apocalyptic interior B.C., indelible and insecure, fraught with grade-school
trauma and a bated breeze.