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2003 – 2004 Season Taming of the Shrew One of Shakespeare’s earliest comedies October 7 – 25, 2003 Previews: October 7th and 8th at 8pm Opens: October 9th at 8pm Evening Performances: October 10, 11, 14, 15, 16, 17, 18, 21, 22, 23, 24, and 25 th at 8pm Matinee: Saturday October 25th at 2pm Pre-Show Lecture: Friday October 10th at 7pm Director: Alisa Palmer (Guest Director) Set Designer: Allan Stichbury (Faculty) Costume Designer: Alison Green (Guest Artist) Lighting Designer: William Mackwood (Guest Artist) Sound Designer: John Mills-Cockell (Guest Artist) Stage Manager: Jen Braem Assistant Director: Britt Candide Small (Graduate Student) Assistant Set Designer: Scott Powell Assistant Costume Designers: Odessa Bennett, Kendra Oliver and Sarah Wallin Music Associate: Allison Ward Starring: Cameron Anderson, Alicia Bate, Melissa Bates, Meg Braem, Annette Dreeshen, Stacey Gaetz, Jay Hindle, Katie Hood, Eva Markvoort, Emma Claire Miller, Stephanie Nikolaidis, Mitch Pollock, Beth Scozzafava, Marisa Smith, Karen Taylor, and Allison Ward. Shakespeare’s irresistible romp features the two daughters of a rich Paduan merchant: Katharina thought of by many as a fiery tempered shrew, and Bianca, who is seen as an angel from heaven. Although there is no shortage of suitors for the lovely Bianca, her father insists she postpone marriage until her elder sister is suitably matched. When the boorish Petruchio announces his willingness to marry any woman with a large enough dowry—even Kate—Bianca’s dilemma seems to be solved. But is it possibly Petruchio has met his match in the wild Kate? MEDIA REVIEWS “Gosh, if I was to limit myself to a single adjective, this could well be the shortest review ever. To wit, The Taming of the Shrew, the season opener for UVic’s Phoenix Theatre, is a great show—great set, great performances, great costumes, and really great directing. Go see it. (See? We’re basically done.)” -John Threlfall (Monday Magazine Reviewer) “The play was excellent, filled with energetic presentations of physical and verbal humour. The language is hard to comprehend at first, but the actors animated the story with their natural verbal delivery and spirited physical action.” -Max Lamb (Martlet) “The personalities, jokes and banter, which challenge and expose the hilarity of our courting rituals, add a timeless ingredient to the performance. The mood is jovial and light but not without depth.” -Jason Schreurs (Nexus) “Alan Stichbury’s ingenious set and Alison Green’s beautiful costumes added a depth and visual richness to the production.” -Linda Fraser (Victoria Rainbow News) “Palmer, a noted Canadian director, is known for her knack with physical comedy. Accordingly, she has attempted to liven up the proceedings with plenty of hijinx. The players caper about mischeviously, with Petruchio even making his entrance on a moped.” -Adrian Chamberlain (Times Colonist Reviewer) “Nonetheless, Palmer’s direction is physically lively and effervescent, always pairing the appropriate amount of stage business with the right character and she seemed to take special delight in the often overlooked servant roles. She also tutors the young performers well in theatre-in-the-round while overall, the production was infused with a professional and sophisticated charm.” -Robert Mitchell (CBC Reviewer) HE Who Gets Slapped By Leonid Andreyev Translated by Daniel Stearns November 11-29, 2003 Previews: November 11 and 12 at 8pm Opens: November 13 at 8pm Evening Performances: November 14, 15, 18, 19, 20, 21, 22, 25, 26, 27, 28 and 29 at 8pm Matinee: Saturday November 29 at 2pm Pre-Show Lecture: Friday November 14 at 7pm Director: Brian Richmond (Chair) Production Designer: Mary Kerr (Faculty) Lighting Designer: Randy Poulis (Graduate Student) Composer/Sound Designer: John Mills-Cockell (Guest Artist) Clown Work: Paulette Hallich, Michael Kennard (Guest Artists) Stage Manager: Julianne Moss Assistant Director: Yasmine Kandil Assistant Production Designer: Janis Ward Assistant Scenic Designer: Kyle Sutherland Assistant Costume Designer: Karen Fisher, Matt Jackson Assistant Lighting Designer: Jeremy McLeod Projection Designer: Brent Nicholson Entre’actes: Written by Brian Richmond Directed by Paulette Hallich The Duck and the Swan: Melody by John Mills-Cockell Lyrics by Jacob Richmond Starring: Ashley Adamson, Sebastien Archibald, Amanda Ballard, Douglas Scott Bates, Stacie Capt, Claire Charland, Jenny Collins, Anne-Marie de la Giroday, John Ellingson, Michael Hall, Trevor Hinton, Leah James, James Kot, K. Scott Malcolm (Faculty), Pat McCloy, Carlo Marks, Alistair Newton, Kate Richard, Jacob Richmond, Devon Taylor, Colby Wilson, and Jesse Young On the brink of his greatest success, a world famous scholar witnesses his work credited to his former pupil—who also steals his wife! Instead of ending his humiliating torment through suicide, he decides to profit from his loss and reinvents himself as France’s most famous circus clown HE—whose main schtick is his ability to get uproarious laughter from his audience by being beaten up! Andreyev is credited with launching the symbolist movement of 20th century theatre. MEDIA REVIEWS “Every detail of the costumes is authentic, with a rich array of lush textures in velvet and silk. The characters in their brightness seem to glow with an unearthly light against the charcoal sketched, cubist set of shadows and light. I think Mary’s already on the short list for next year’s awards! Congratulations to Brian Richmond and the entire cast and crew for breathing life into this darkling masterpiece.” -Robert Mitchell (CBC Reviewer) “The play is not a gut laugh, rather a head laugh as its material is foreboding; true to clowning, we are watching the small tragedies of life played out in its broadest form. We loved this one. You will, too.” -Linda Fraser with Barbara McLaughlin (Victoria Rainbow News) “It is hard not be charmed by the comic elements of the story, such as Consuella’s scheming father Count Mancini or the incorrigible clowns Polly and Tilly that come clost to stealing the show form their more serious counterparts. The choreography of the supporting cast is impeccable. While the main drama is being played out on centre stage, eyes are drawn to trapeze artists Thomas and Angelica exchanging tender looks while a clown snickers at another’s misfortune as the circus’ politics of power and love take their toll. Even the characters who seldom speak are brought to life against the colorful, chaotic backdrop of the circus.” -Danielle Hagel (Nexus) “HE Who Gets Slapped succeeds in being entertaining, as it is a humorous and flamboyant piece. This is a nice change from the Phoenix’s many tragic and dramatic shows. But don’t be fooled—it carries a definite, though undefined, dark side.” -Zoe Bake-Paterson (Martlet) “Indeed, the overall emphasis on physical theatre in HE Who Gets Slapped imbues it with an other-worldly grace and power. Certain well chosen gestures and gaits add richness to the playwright’s themes: betrayal, the masochism of unrequited love, and man’s self-defeating penchant for consuming and destroying others.” -Adrian Chamberlain (Times Colonist Reviewer) “What’s truly great here, however, is Mary Kerr’s production design. Costumes that range from richly glorious to the gloriously drab, a charcoal-hued set skewed like a scene from the ‘60s-era Batman, a sense of perspective that is as brilliantly off-kilter as the story itself. Kerr’s talent is unmatched. The same can be said for director Brian Richmond, who is obviously passionate about both theatre history and about providing students with challenging, intelligent production opportunities; while I applaud his intentions, as an audience member, I can’t say it makes for the most compelling viewing.” -John Threlfall (Monday Magazine Reviewer) The Marowitz Hamlet By Charles Marowitz November 25-29, 2003 Director: Charles Marowitz Assistant Director: Britt Candide Small Costume Coordinator: Kendra Oliver Lighting Designer: Jeremy McLeod Composer: Anna Hostman Fight Choreography: Jeffrey Renn Stage Manager: Jesse Logan Starring: James Douglas, Clayton Jevne (Guest Artist), Stephanie Morris, Kathlene McGuinness, Erin Ormond (Guest Artist), Bill Miller (Guest Artist), Mitch Pollock, Evan Roberts (Guest Artist), Jeff Stubbs (Guest Artist), David Ward, Cam Culham (Guest Artist), David Crone (Guest Artist) and Jenny Abel. “Hamlet is like a marvelous piece of clay which can be moulded into a thousand different shapes and then magically snaps back to its original form.” The Marowitz Hamlet was first performed during the Theatre of Cruelty Season in London in the late 60’s. It was then expanded and played at the Akademie der Kunste in Berlin, The Shakespeare Globe in London and theatres throughout Europe. This was a reviesed and revamped version especially produced for the University of Victoria. The Fever By Wallace Shawn (Spotlight on [the almost] alumni) January 27, 2004 – February 7, 2004 Previews: January 27 and 28 at 8pm Opens: January 29 at 8pm Evening Performances: January 30, 31 February 3, 4, 5, 6, and 7 th at 8pm Matinee: Saturday February 7 at 2pm Pre-Show Lecture: Friday January 30th at 7pm Director: Brian Richmond (Chair) Production Design Coordinator: Allan Stichbury (Faculty) Lighting Designer: Randy Poulis (Graduate Student) Stage Manager: Tina Rogers Starring: Meg Roe The Spotlight on Alumni shines on a Phoenix student who has found success in the world of professional theatre. This season, actor, singer, and performer, Meg Roe steps into the Phoenix spotlight with a mesmerizing theatrical performance while she returns to complete her journey towards gaining her BFA, starring in a one-woman tour-de-force, The Fever by Wallace Shawn. Far from home and the comforts of her own existence, a young woman is challenged by the third-world misery she sees. The New York Times says this play moves “with masterful compassion, eloquence and self-scrutiny, as its central character comes to the realization that having good intentions toward the dispossessed is not enough.” MEDIA REVIEWS “Played with the house lights up, there’s no question the audience was captivated by Roe’s zesty, suitably frantic performance, but it was tough to believe that someone as young as this could have had the experiences the character describes. Not that she doesn’t do a good job here—indeed, her delivery of Shawn’s rapid fire, often overwhelming diatribes were nearly note-perfect, hooking us both physically and emotionally as the evening progressed.” -John Threlfall (Monday Magazine Reviewer) “Roe holds court with grace and puckish charm between up the throes of angst ridden guilt. Technically as an actress, I felt she never quite reconciled as to whether she was physically experiencing the illness first hand or just retelling the tale of that fateful night, she seems frozen to the spot at times, caught in the relentless glare of the spotlight provided by lighting designer Randy Poulis. The house lights remain up throughout the play, blasting the audience out of their normal roles as silent, faceless observers and creating the feel of a forum in the Dan George. It works, Roe involves us willingly or not in the proceedings, as she searches the faces for some sign of comprehension—pointing, pulling us in. Moving and moved in equal parts, Roe hold her own with Shawn’s erudite script.” -Robert Mitchell (CBC Reviewer) “The Fever is worth seeing, although this is inarguably a challenging 11/2 hours. Roe’s performances will doubtlessly grow in depth and resonance. And Shawn’s writing, often surprisingly poetic, is a rich delight. His intellectual honesty is relentless; more whimsical that that of George Orwell, yet equally uncompromising. When the playwright finally shows his hand at the end, we do not feel manipulated or bullied. Rather, we realize he values authentic moral passion and virtue over intellectual gamesmanship and cocktail-party cleverness.” -Adrian Chamberlain (Times Colonist Reviewer) Wanted A new play by Sally Clark February 26, 2004 – March 13, 2004 Previews: February 24 and 25 at 8pm Opens: February 26 at 8pm Evening Performances: February 27, 28 March 4, 5, 6, 11, 12 and 13 at 8pm Matinee: Saturday February 28 at 2pm Pre-Show Lecture: Friday February 27 at 7pm Director: K. Scott Malcolm (Faculty) Set Design: Brain Perchaluk Costumer Designer: Janis Ward (Graduate Student) Lighting Designer: William Mackwood (Guest Artist) Musical Director: Avery Brown (Guest Artist) Stage Manager: Sarah Wallin Assistant Director: Katherine Bethell Assistant Costume Designers: Nicole Lamb, Amy Loiselle Projection Designer: Brent Nicholson Dramaturge: James Douglas Faculty Supervisor (Costume Design): Mary Kerr Guest Supervisor (Lighting Design): Melinda Sutton Starring: Ashley Adamson, Sebastien Archibald, Douglas Scott Bates, Stacie Capt, John Ellingson, Mike Klemak, Colin Maishment, Emma Claire Miller, Peter Minter, Stephanie Morris, Karen Taylor, David Ward, and Avery Brown (Guest Artist) Written by one of Canada’s most renowned playwrights, author of Moo and Saint Frances of Hollywood, Sally Clark puts a fascinating spin on our ideology of the north. A story of challenge, survival, love and revenge during the Klondike gold rush. MEDIA REVIEWS “Only the second time it’s been produced, it seems the real star in Wanted (as with many Phoenix productions) is the design work. While Bates and Taylor do their level best to live up to the scripts hopefully intentional melodrama, only Ward succeeds in capturing the necessary combination of desperation and charm needed to believe these characters… although Mike Klemak and John Ellingson provide some fine comic support as a pair of starving miners. Would that the cast in general had shown the versatility of Brian Perchaluk’s boardwalk-and-timber set, which doubled as everything from the doomed riverboat to the northern woods, a saloon, and a mine shaft. Also well worth noting are Janis Ward’s costumes, William Mackwood’s evocative lighting design and Avery Brown’s haunting piano accompaniment.” -John Threlfall (Monday Magazine Reviewer) “Clark specifically notes that since so many of the men and women who made the trip to the Yukon were in their twenties, consequently she really enjoyed watching such a young cast. I agree with her—for the most part. There’s a couple of uncanny photographs in the lobby, comparing an actual group of miners with the young men of the cast. It’s hard to look at the weather and care worn faces and haunted eyes of these desperate men (the prospectors, not the actors—though, give ‘em a few years of hitting the audition trail and they’ll look haunted too) and realize how young they all were—at least when they set out.” -Robert Mitchell (CBC Reviewer) “This is K. Scott Malcolm’s [Phoenix] directorial debut and he has a good, solid cast to work with. Bates’ performance was particularly good in expanding Joe’s character from the hostile, gold-hungry prospector to the older brother that Jack loves and admires despite his deep flaws. The performance of light-hearted Jack, by Ward, was an effective foil which never felt one dimensional. The character of Mary was thoughtfully portrayed by Taylor. She gave a convincing depiction of a woman who discovers her sexuality as a way to achieve economic stability but sacrifices her own happiness.” -Geraldine Bulosan (Martlet) “Those of us raised in Canada may get ugly flashbacks of Grade 10 Social Studies when we hear the words “Klondike Gold Rush.” Given the subject matter, “Wanted” had the potential to be dry. Before it started I pictured myself furiously scribbling notes on the history of the Yukon while trying to keep up with names and dates—but this play wasn’t like that at all. With colorful costumes, plenty of humor, and some great singing and dancing from the girls of Pete’s Place, “Wanted” entertains with the best of ‘em.” -Clara Smith (Nexus) “Wanted has the potential to embrace transcendent themes and truly achieve its primary goal; that is, to function as an investigation of the darkness that greed and desperation can foster. To this end, I think the hangman’s show could be explored much more thoroughly. This seems like a script that needs rethinking, or at least editing. The production’s greatest asset is piano player Avery Brown, who with unerring grace and technical skill plays period and incidental music.” -Adrian Chamberlain (Times Colonist Reviewer) Rodeo Star By Paulino Nunes March 3-6, 2004 Previews: March 1 and 2 at 8pm Opens: March 3 at 8pm Evening Performances: March 4, 5, and 6 at 8pm Matinee: Saturday March 6, at 2pm Pre-Show Lecture: Friday January 5 at 7pm Director/Dramaturge: David Ferry (Graduate Student) Set Designers: Kimberly DeLude, Allan Stichbury (Faculty) Costume Designer: Odessa Bennett Lighting Designer: Randy Poulis (Graduate Student) Stage Manager: Jen Quinn Assistant Director: Kathleen Greenfield Faculty Supervisor (Directing): Brian Richmond (Chair) Faculty Supervisor (Set Design): Allan Stichbury Faculty Supervisor (Costume Design): Mary Kerr Guest Supervisor (Lighting Design): Melinda Sutton Starring: Tanya Gadsby, Trevor Hinton, Leah James, and Jesse Young The play toys intellectually with the concept of time running on a perpetual loop-de-loop of emotions, selective memories and guilt. The play has existential resonance, fantastic sexual frissons and a shattered mirror Groundhog Day structure added with a dollop of mystery. Paulino Nunes explored role playing in relationships to good theatrical effect as he investigates the power of first love, sexual honesty and commitment. MEDIA REVIEWS “What begins as a fairly straightforward exploration of the motivations behind one man’s sexual desire is soon sucked into a black hole of time and memory, where demanding urges battle with the need of absolution in the limbo of a hotel room. While somewhat repetitive—the audience witnesses the same scene played out a number of times, with only minor changes—Rodeo Star was chock full of contemporary references, crackling dialogue and utterly believable pre-and post-coital sexual tension. … David Ferry’s tight direction kept things moving at a brisk pace, and the use of a revolve in the hotel room (which spun the bed around the stage much like the hands of a clock) livened up what could have been a static set design by Kimberly DeLude and AllanStichbury.” -John Threlfall (Monday Magazine Reviewer) “Nunes is aided in no small part by a fine cast. Trevor Hinton gives a taut, antsy performance as the everyman, reshaping the lies of his lost youth. The thesis of this play came in the line “memories evolve to suit our needs”. Hinton and Leah James, the object of his desire, both evolve convincingly into a variety of characters that all intersect convincingly. Given that this is essentially a two-hour, two-handler, these two young actors should be very proud of the caliber of work Ferry has coaxed out of them. Give that man a sheepskin! -Robert Mitchell (CBC Reviewer) “Rodeo Star’s most interesting aspect is its repitition of certain phrases or mannerisms in different scenes. It has a certain resonance, for instance, when the businessman always taps his head distractedly before pouring a glass of scotch. These selected repetitions are subtle yet powerful, suggesting a strange disassociation between fact and fantasy; somehow conveying a sense of life’s futility or absurdity.” -Adrian Chamberlain (Times Colonist Reviewer) Electra Sophocles’ greatest character drama Translated by Anne Carson and Michael Shaw March 10-13, 2004 Previews: March 8 and 9 at 8pm Opens: March 10 at 8pm Evening Performances: 11, 12, and 13 at 8pm Matinee: Saturday March 13 at 2pm Pre-Show Lecture: March 12 at 7pm Director: Britt Candide Small (Graduate Student) Set Designer: Allan Stichbury (Faculty) Costume Designer: Matt Jackson Lighting Designer: Jen Braem Musical Designer: Avery Brown (Guest Artist) Stage Manager: Gillian Reiss Assistant Director: Tanner Harvey Assistant to the Costume Director: Karen Fisher Dramaturge: James Douglas Faculty Supervisor (Directing): Linda Hardy Faculty Supervisor (Costume Design): Mary Kerr Guest Supervisor (Lighting Design): Melinda Sutton Starring: Melissa Bates, Meg Braem, James Douglas, Katie Hood, Kathlene McGuinness, Beth Scozzafava, Marisa Smith, and Chad Wood. What kind of a woman was Electra that she would want so desperately to murder her own mother? Electra is not an easy play to inhabit or to witness. There are no right or easy answers, only extreme characters in exceptional circumstances who share a knowledge of what it is like to suffer in an uncertain civilization. MEDIA REVEIWS “An elemental set is simple and yet effective: a huge tree trunk leans one way, three metal cables lean the other. The metallic palace gates are massive, industriallooking constructs. A three-woman chorus is used extremely well. They carry out traditional functions, commenting on the action and acting as supplemental characters. Yet in this production, the chorus’ chattering—overlapping and insidious—seems almost an extension of Electra’s troubled mind. Their formal, synchronized poses are used to great effect. At one point, when Electra describes how her mother wiped her bloody blade on her father’s head, the chorus members simultaneously wipe their brows and exhale with an ominous “Ahhhh!”—a fine and powerful moment.” -Adrian Chamberlain (Times Colonist Reviewer) “As revisioned by director Britt Candide Small, this Electra is a powerful piece of expressionist theatre, fusing a simple set and dramatic lighting with evocative movement, abstract costuming and generally strong performances.” -John Threlfall (Monday Magazine Reveiwer) “Matt Jackson’s costume design adds perfectly to the energy of the play with his choice of traditional, yet outlandish clothing. Each costume reflects each player, from the regal garments of Clytemnestra (Bates) to the tight, leather ensemble of Orestes (Chad Wood). Jen Braem’s lighting is spot-on with a hint of blue tint over the centre of the stage, and slight shadow over the backdrop of the sides of the performing area.” -Max Lamb (Martlet) Studio Series: March 19-20, 2004 Play Selection Committee: Nicola Harwood, Charles Tidler Producer/Production Stage Manager: Marisa Vest Venue Designer: Allan Stichbury (Faculty) Lighting Designer: Yasmine Kandil (Graduate Student) Assistant Lighting Designer: Tim Herron Stage Manager: Nicole Lamb Assistant Stage Manager: Heather Rycraft Sound Co-ordinator: Jeremy McLeod The Island of Woman Written by Russell Reilander and Directed by Katherine Bethell Fred ends up on an island of woman…sounds good, or is it? Mad cap fun for anyone who’s pondered the notion. The shocking truth for those who haven’t. Starring: Kate Richard, Pat McCloy, Mike Ferguson, Anne-Marie de la Giroday, Jenny Abel, Amanda Duff, Eva Markvoort, and Kassia Warshawski The Rise and Fall of Anne Boland Written by Clare Morgan Directed by Dee Statz A play about the power of ambition and the illusions of absolute power… in high school. Based on the story of Anne Boleyn and Henry VIII. Starring: Philip Lyall, Aynsely Carson, Eva Markvoort, Mike Ferguson, and Kate Richard. The World Pulls Heavy Written by Leah Bailly and Directed by Sabrina Evertt It’s spit freezing cold. Friday night, and Sadie Mills is dragged on a trek across town with her dreamboat from the past. Destination: dark and dangerous. Based on true events. Starring: Claire Charland and Mike Copley Medea Lived Written by Gabrielle Pope and Directed by Kathleen Greenfield Is contemporary life reminiscent of Euripides’ tragic world? One woman thinks so. Operatic mythology takes on the latte-happy generations of apathy. Starring: Devon Taylor, Kate Richard, and Mike Copley. The Fall and Rise of Colin Junior Written by Amanda Leduc and Directed by Kimberley DeLude Colin Rushford is the ultimate ladies’ man. But his prowess will soon be put to the test— by two different and yet strikingly similar women! Starring: Anne-Marie de la Giroday and Philip Lyall. The Bird’s Nest Written by S-I Parmar and Directed by Catriana Van Rijn Cha-Cha, an idealistic young woman, must confront her ambivalent feelings for two friends after one of them discovers a mysterious Bird’s Nest. Starring; Aynsley Carson, Philip Lyall and Amatai Marmurstein