EDWARD II monarch. prisoner. corpse.

by Christopher Marlowe Directed by Guest Artist Mary Vingoe

September 29—October 15, 2016 The Chan Centre for Performing Arts

NOTE FROM NOTE FROM DEPARTMENT HEAD DIRECTOR STEPHEN HEATLEY, MARY VINGOE DEPARTMENT OF THEATRE AND FILM

Part of my summer reading plan this year was tucking into Theatre of the Edward II tells the story of a man who loved not wisely but too well. Unimpressed, the provocative book by Canadian theatre wunderkind, Jordan The play, the complete title of which is The troublesome raigne and Tannahill. In it, Tannahill challenges us emphatically as theatre makers to focus on lamentable death of Edward the second, King of England: with the tragical fall of the live-ness of the theatre event, the aspects of it which cannot be replicated in proud Mortimer is likely Marlowe’s penultimate work, written a year before his recorded forms, the aspects of the theatre that encourage us to be in some kind death from injuries sustained in a bar room brawl in 1593. of real relationship with each other in real time. Marlowe was a shoemaker’s son who attended Cambridge on a scholarship with In this spirit, I am so pleased to welcome you to our 2016/17 Theatre season here the goal of taking holy orders. Sons of commoners were admitted for the first time at UBC which promises to be a celebration of “live-ness” beginning with our into universities as Queen Elizabeth’s new Protestant England needed clergy. return, after a two and a half year hiatus, to our most theatrical of performance venues, the Telus Studio Theatre. The studio demands that we consider the Marlowe was a brilliant if erratic and troublesome student. He was conscripted theatre experience three dimensionally with the audience a palpable player in the into the secret service by Sir Robert Cecil to root out Catholic plots to overthrow drama. By definition, the actors and the audience are entirely present with each Queen Elizabeth I. He regularly saw men betrayed, bankrupted and brutally other in this space. The muscular and poetic language of the play also underlines tortured for their beliefs. As an avowed atheist, a homosexual, a playwright and a its live-ness. The play was written at a time when “live” was the only choice. spy, Marlowe was always, it seems, in trouble with someone. We are very fortunate and grateful to have acquired the talents of Mary Vingoe, Edward II is a play about power and its corrupting effect. It is a dissertation on one of Canada’s finest theatre directors and pioneers to guide us through the the deadly intersection of the personal sphere and the public one. Edward is intricate theatrical landscape of the exciting and rarely seen Edward II, written by an unfit King because he cannot separate the two. This was of much interest to a theatrical wunderkind of his own time, Christopher Marlowe. This production, Elizabethan audiences as Elizabeth was much admired for her ability to forswear as always, features the work of our acting, design and production students. personal life for the public good. In the opening few scenes, Edward breaks his father’s command, promotes his lover far beyond his due, torments the bishop Next up in November, back in the Frederic Wood Theatre, is an alumni and insults his lawful queen. His blind passion for Galveston destroys him. But in presentation of some of the works of Samuel Beckett led by the inimitable Gerald the end it also ennobles him. Vanderwoude, Beckett 16. In January and March, we feature the work of our two MFA directors, Lauren Taylor - Love and Information by Caryl Churchill, and There are forty-two speaking parts in the original play. I have reduced that Diane Brown - Les Belles-Soeurs by Michel Tremblay. number to fifteen. In editing the play, I have attempted to focus on the love of Edward and Gaveston, Edward’s personal trauma and the rivalry with Mortimer There are lots of other opportunities to share in the work of our students this and Isabella and less on the historical detail of the French/English wars which year; through Tom Scholte’s “Naked Cinema” project, the intimate productions would have been entertaining for an Elizabethan audience but can be mind staged in the Dorothy Somerset Studio Theatre on University Boulevard, and at bogglingly complicated for us. the Persistence of Vision Festival (POV 27) at the end of the school year featuring the films made by our BFA filmmakers. I have set the period for our production in 1930s. This is not an historical recreation but rather a keynote period for our story which is told as a morality Thank you for joining us and we hope to see you in our environs often this season. play in a non-specific time. The whiff of fascism hangs around the edges of our story and Edward has a counterpart in the weak English King Edward XIII who Cheers, was forced to abdicate for forbidden love in 1936. Likewise, Mortimer takes on many Mussolini/Hitler type qualities of the fascist dictator. Stephen Heatley I would like to extend my thanks to Professor David Overton of and Professor Reina Green of Mount St Vincent University for their help with deciphering this tremendously challenging play and to my friend Alexis Milligan for providing me with the excellent ensemble exercises. It has been a joy to work with the graduating acting class at UBC. Thank you to Professor Stephen Heatley and to the entire design and production team here for the opportunity to bring this challenging piece to the Telus stage.

Mary Vingoe, Director

UBC’s Point Grey Campus is situated on the There will be one fifteen minute intermission. traditional, ancestral and unceded territory of Loud noise and e-cigarette warning. the henqeminem-speaking Musqueam people. edward ii 3 Q & A WITH NOTES ON LIGHTING DESIGNER EDWARD II SOPHIE TANG, MFA CANDIDATE.

What is your creative process like? In other words, how does a lighting by Chris Gaudet designer create? PhD candidate, Department of English I go to run-throughs of the play as much as possible and get to know the play well. Thinking about where and when there could be lighting changes either to isolate the space, or create a mood, or indicate a location, is at the forefront as I watch. There’s a famous, horrible, and much-disputed moment towards the end of this play – no spoilers, since the title is, in part, “the troublesome raigne and lamentable death of […]” – where Edward II is killed. The stage direction in the What are some of the challenges specific to the Telus Studio Theatre in the edition I have in front of me is “[edward dies],” which makes a certain sense. Chan Centre for the Performing Arts? But, as Marlowe scholars will tell you, that’s a decision made by a contemporary The space is very different from any of the spaces I have worked in. There are no editor, since the first printings of the play gave no indication of how Edward’s grid or fly systems for hanging lights and the positions are different as well. Acting death was to be staged. takes place inside the balconies as well as on stage so it is a 360 degree acting I mention this in part because, assuming we’re all reading this while we wait area. I need to take care of all the actors. for our companions to rejoin us and the play to begin, it will give us something distracting to think of when it comes to that (again: horrible, affecting, enraging) moment: oh that’s how they decided to do it! But also because the moment, What inspired you for Edward II? however staged, is crucial to understanding the role of intimacy in the play, which Since this is a very traditional play with a minimal set, I would like to light it is, from one perspective, to invite (paranoid) speculation and dismay. traditionally: no moving lights, no crazy colors; just pure theatre lighting with The sexuality of the play’s spectators, throughout, is phobic. Couples provoke actors on stage. dismay in part because what goes on between them is (to borrow one of the play’s favourite words) obscure, and because that obscurity is an implicit threat to a political order built on display, on the public staging of stable hierarchal roles. What do you like about lighting design? For Edward such obscurity is a positive vision. When he suggests, near the I always feel like lighting is essential to a stage play and offers a kind of magic. beginning of the play, that the rebellious nobles divide the kingdom up amongst Once lights hit on the actors, it really clarifies the story and gives a point of focus. themselves, and leave him “some nook or corner […] to frolic with my dearest Angle, color, and brightness of the lighting can create such a magical effect on Gaveston,” he’s proposing a dream of escape from the public gaze that the logic stage. For example re: colour: we can use color as location, color as time, color as of drama makes impossible. His own paranoia and accusations about his wife mood and so on. The possibilities are endless and I really enjoy that. might mark the same impulse to associate intimacy with secrecy and withdrawal. Gaveston, who is Edward’s dearest Gaveston, and also (depending who you ask) What’s next for you? a “sly, inveigling Frenchman,” is a figure of wild, wasteful, extravagant display, of a provoking and multiple openness that defies this logic of hidden motive. He is I am doing a double thesis at UBC Design and Production. Edward II is my lighting associated with “idle triumphs, masques, lascivious shows.” He “wears a short thesis, and next term, I will be doing set design for Love and Information which Italian hooded cloak, / Larded with pearl, and in his Tuscan cap / A jewel of more will be my other thesis. value than the crown” while he leans out the window of what Edward probably hoped would be a secluded hideaway to shout insults at the people walking by. What do you see yourself doing after you’ve graduated? He provokes envy (another of the play’s favourite words), and love, in proportion to his dramatic visibility, even, or especially, when he is, himself, offstage. I would love to continue working as a professional lighting and set designer, and have been expanding into other related businesses like window displays, interior It is almost inevitable to conflate elements of the text with its author, a man design, and event design. Bringing professional stage design elements into these whose life has always invited speculation, much of it in the paranoid style (he fields has worked really well; clients enjoyed them immensely. was a government spy; he was Shakespeare). Marlowe was in his late 20s when the play was first performed, and he was stabbed to death (through the eye, according to the coroner’s report) before its first printing in 1594. He was the kind of guy of whom it could plausibly be asserted during his lifetime that he had been overheard saying “that St John the Evangelist was bedfellow to Christ and leaned always in his bosom, that he used him as the sinners of Sodom,” and also the kind of guy of whom it could be said, following his death, that he “had in him those brave translunary things / That the first poets had.”

4 theatre at ubc COSTUME DESIGNS BY KIARA LAWSON

Edward II Queen Isabella (daytime) Mortimer Queen Isabella (evening) edward ii 5 EDWARD II

CAST & CREATIVE TEAM ADVISORS AND PRODUCTION TEAM UBC DEPARTMENT OF THEATRE & FILM STAFF AND ADMINISTRATION Riley Bugaresti King Edward II Brad Gibson Voice Coach Daniel Curalli Gaveston Cathy Burnett Movement Coach Stephen Heatley Department Head Rowan Denis Lancaster, Matrevis Marijka Asbeek Brusse Stage Management Advisor Cam Cronin Department Administrator Seamus Fera Mortimer Robert Gardiner Scenery and Lighting Design Ian Patton Academic Administrator Bronwyn Henderson Archbishop of Canterbury, Advisor Zanna Downes Theatre and Film Abbess Jacqueline Firkins Costume Design Advisor Production Graduate Secretary Sarah Jane Kent, brother to Edward II Carey Dodge Sound Design Advisor Karen Tong Theatre and Film Studies Graduate Secretary Stefanie Michaud Queen Isabella Brad Powers Technical Production Advisor Jay Henrickson Manager, Technical Sophia Alexandra Baldock Jay Henrickson Production Manager Theatre Production Sachi Nisbet son of King Edward Jim Fergusson Technical Director Jim Fergusson Stage and Lighting Specialist Taylor Scott Warwick, Gurney Keith Smith Head Carpenter Keith Smith Stage and Lighting Specialist Matthew Rhodes Spenser Lynn Burton Head of Props Lynn Burton Properties Specialist Hannah Everett Bishop of Coventry, Ensemble Kanon Hewitt, Jessica Warren Props Work Study Rafael Ruiz Ensemble Diane Park Co-head of Costumes Jodi Jacyk Costume Specialist Tom' as Balli Ensemble Heather Young Co-head of Costumes Tony Koelwyn Theatre at UBC Box Office Alaia Hamer, Linda Yang Costume Work Study Andrea Rabinovitch Marketing and Communications Coordinator Mary Vingoe Director Ryan Boltin Fight Director Sophie Tang Lighting Designer Mike Kovac Fight Director Linda Fenton Malloy Web Designer Ryan Yee Lighting Assistant, Head Electrician, Sarah Crauder Film Production Administrator Light Board Programmer STUDENT PRODUCTION CREW Stuart McFarlane Film Equipment Manager Evan Ren Light Board Operator Duston Baranow-Watts, Erika Champion, Richard Payment Visual Resource Librarian Mai Inagaki Sound Board Operator, Talia Chang, Ed Dawson, Nanako Emori, Ellen Gu, Assistant Sound Designer Alaia Hamer, Sammie Hatch, Kanon Hewitt, Mai Inagaki, Anita Jian, Alice Jiang, CREATIVE COLLABORATORS Gwendolyn Loi Assistant Set Designer Patricia Jiang, Alice Jiang, Aliya Khan, Kiara Lawson Costume Designer Ashley Kim, Brenna Kwon, Fiona Leung, Jonathan Wood Graphic Designer Gwendolyn Loi,Mahshid Maleki, Ed Dawson Sound Designer Emily Cooper Advance Promotional Photography Madeleine Molgat Laurin, Wing Yee Ngai, Mai Inagaki Assistant Sound Designer Mia Nikoo, Amanda Parafina, Evan Ren, Sarah Jane Co-composer Jessica Routliffe, Esther Sentoso, Nicolette Szabo, SPECIAL ACKNOWLEDGEMENTS Vanessa Tang, Sony Tsai, Chloe Wai, Taryn Plater Co-composer Jacqueline Wax, Nicole Weismiller, Cora Wu, Felcan Enterprises, Vancouver Opera Props, Singers: Sophia Alexandra, Riley Bugaresti, Aya Yuhara, Melicia Sabina Zaini, Eva Zheng Arts Club Theatre Daniel Curalli, Edward Dawson, Rowan Denis, Thanks to Ad Lib Productions for Seamus Fera, Katie Fraser, Dallas Hayes-Sparks, the performance of “Lés Lavaniéres by Bronwyn Henderson, Sarah Jane, Marketing Interns Oboman and Didier Ithursarry Stefanie Michaud, Sachi Nisbet, Taryn Plater, Ofir Ovadia, Simran Dale Matthew Rhodes, Carleigh Ross, Taylor Scott Voice Actors : Riley Bugaresti, Gray Clark, Seamus Fera, Matthew Rhodes, Rafael Ruiz, Jodi Schneider Linda Yang Stage Manager Duston Baranow-Watts Assistant Stage Manager Sammie Hatch Assistant Stage Manager Show Run Crew: Madeleine Molgat Laurin, Emily Spencer Costume Run Crew : Talia Chang, Ziling Gao, Fiona Leung, Yuyu Ogido, Cora Wu

6 theatre at ubc CAST BIOGRAPHIES

Riley Bugaresti King Edward II Sarah Jane Edmund, Earl of Kent, brother to Edward II Riley is thrilled to be in his final year in the BFA acting Sarah is in her final year of the BFA Acting program. program. Past credits for UBC include Face to the Wall/ Her previous UBC credits include Arabian Nights (Ensemble), Fewer Emergencies, The Arabian Nights, The Dirty Dutch Eurydice (Chorus), Paper SERIES (Various Characters), Rhino. He is also a graduate of the 2016 Canadian National The Dirty Dutch Rhino (Jack), and Hot l Baltimore (Girl). Voice Intensive. Riley would like to thank the cast and Other credits include A Beautiful View, saltwater moon, and production team for their inspiring work and daily support, Trout Stanley (The Nelson History Theatre). Immense thanks and Mary for her patience, vision, and creative energy. to Theatre at UBC, and to Mary Vingoe for guiding us through He hopes you enjoy the show! this challenging and creative process.

Stefanie Michaud Queen Isabella Daniel Curalli Gaveston Stefanie Michaud is a final year student in the BFA acting For UBC: Eurydice (Orpheus), The Arabian Nights (Tenth program. For UBC: The Arabian Nights (Ensemble) Paper Man; Madman) Safe Word (Smitten). Other Theater: Series (Wisdom); The Dirty Dutch Rhino (Gloria). For The Hairspray (TUTS), What Happens After (Cabaret for a Cure) Only Animal Company-Vancouver Fringe Festival: DAREU! Thanks to Mary, Linda and all those behind the scenes! (Emily/Sarah). For Geekenders: A Nude Hope (Princess Leia You guys rock! Love to Mom, Dad, Sophia, Thomas, family Organa); The Force is Shakin’ (General Leia Organa). Stefanie and friends for their support and love. To God be the Glory. has trained in dance for 11 years in the styles of jazz, lyrical, IT’S SHOWTIME!!!!!!!!! contemporary, hip-hop and burlesque.

Sophia Alexandra Baldock Rowan Denis Lancaster, Matrevis From Whistler B.C. and originally trained at the Improv Rowan is a final year BFA Acting student. Favourite UBC roles: Comedy Institute, Sophia Alexandra is currently in her final Paper Series (Symbol), Arabian Nights (Slave Girl), 9 to 5: year at UBC BFA Acting. Her UBC credits include Melancholy The Musical (Doralee Rhodes). Outside of UBC: The Play Kings (Joan), Hot L Baltimore (April Green), Dirty Dutch Importance of Being Earnest (Cecily), Chicago (Annie), Rhino (Lizzie) and Paper Series (Hope ). Sophia is also a writer, Macbeth (First Witch). Indie/student films, videos, trained jazz singer and is enrolled in the MM Dual degree commercials: Inward Edward, Not Here But Now, and Masters in Management Program at Robert H. Lee Graduate Storyhive’s Girl vs. The City, Peter James Band (music video), School. Sophia thanks Stage Manager Linda Yang for her DNA Romance (commericial). She is thrilled to be working diligent work, and Director Mary Vingoe for her thought and care. with Mary Vingoe and her wonderful class on Edward II.

Sachi Nisbet Son of King Edward Seamus Fera Mortimer Sachi Nisbet is in her final year of the BFA Acting program. Seamus is thrilled to be taking his first stab at a Marlowe Previous performance credits include Arabian Nights, Paper play. Past UBC credits: Third Man (Arabian Nights), Chorus Series and The Vagina Monologues. She is incredibly excited (Eurydice), Boris (The Safe Word) and Jean Claude Phillipe to be a part of such a fantastic show and to get to perform it III (The Dirty Dutch Rhino). Other credits include The Vagrant with her wonderfully talented classmates. (The Insect Comedy), Gertrude (Hamlet), and Bottom (A Midsummer’s Night Dream). He was an apprentice for two summers with Bard on the Beach and was the recipient of a Trek Excellence Scholarship. Enjoy the show!

Taylor Scott Warwick, Gurney Bronwyn Henderson Archbishop of Canterbury, Abbess Taylor is in her final year of the BFA acting program, with Bronwyn is in her final year of the UBC BFA Acting program. previous UBC credits including: Face to the Wall/Fewer Her previous UBC credits include: The Arabian Nights Emergencies (2), The Safe Word (Catnip), Eurydice (Chorus), (Sympathy the Learned), Eurydice (Chorus), The Safe Word and Hot L Baltimore (Millie). When she is not in rehearsal, (Mildred), and The Dirty Dutch Rhino (Donna). She also Taylor can be found in the library, attempting to balance her appeared as Louison/ Dr. Purgon in The Imaginary Invalid love for theatre with her passion for linguistics. She is forever (United Players). Bronwyn would to thank Mary, the crew, grateful for the support of her mama, her classmates, Simran, and her fellow cast members for this rewarding and and Cassandra. educational experience.

edward ii 7 CAST & CREATIVE TEAM BIOGRAPHIES

Mary Vingoe Director Sophie Tang Lighting Designer A director, playwright and actor Vingoe is the inaugural A second year UBC Theatre Production/Design MFA student, Artistic Director of the Magnetic North Theatre Festival at Sophie holds a BFA Theatre Production and Design degree Canada’s National Arts Centre in Ottawa. She is a co-founder from Simon Fraser University. She enjoys stage design and past Artistic Director of Toronto’s including set design, props design and lighting design, as and founding Artistic Director of The Eastern Front Theatre well as window display, interior design and event design. in Halifax as well as co-founder and past co- Artistic Director UBC shows: Arabian Nights (Lighting Designer); Eurydice of The Ship’s Company Theatre in . She has (Associate Lighting Designer/ Assistant Projection Designer); directed for major theatres across the Canada, most recently Tenant of Wildfell Hall (Assistant Lighting Designer). Catherine Banks’ IT IS SOLVED BY WALKING and the world Professional recent shows: The Pink Line—2016 Queer Arts premiere of ’s MESSENGER for Eastern Front Festival (Set Design), Better Angels— Rumble Theatre 2016 Theatre as well as Lill’s THE GLACE BAY MINER’S MUSEUM Tremors Festival (Lighting Design). for The National Arts Centre and Neptune Theatres. Mary Vingoe has written extensively for stage and radio. Kiara Lawson Costume Designer Her new play REFUGE has been produced in Halifax and Toronto and will receive its Vancouver premiere at the Firehall After graduating from the UBC Theatre Design and Theatre in March 2017. Production program in 2015, as a recipient of the Christopher Gaze award in Theatre, Kiara has gone on to work in various In 2011 Vingoe was made an Officer of the Order of Canada wardrobe positions including Bard on the Beach, Arts Club, for her contribution to theatre in Canada. Carousel Theatre, and Gateway Theatre. Recently working in the world of film as the Wardrobe Coordinator for the Deus Ex: Mankind Divided live-action trailer, Kiara is thrilled Matthew Rhodes Spenser to return to UBC as a professional to design for Edward II. Matthew is a beginning year BFA Acting and Masters in kiaralawson.com. Management student at the Sauder School of Business. Previous UBC credits: Crimp Shorts (#3) and Macbeth (Fleance). Other Credits include Earnest, Man 2, and Greg Edward Dawson Sound Designer (UBC Players Club), and Charlie Brown and Troy Bolton Edward is excited to Sound Design his first UBC Mainstage (Musical Theatre Troupe). He was also a member of the 2016 at the Telus Theatre! Past Credits: UBC MainStage Eurydice Riotous Youth internship at Bard on the Beach. Matthew (Sound Design and Sound Operator). The Player’s Club’s A greatly appreciates this opportunity. Centennial Celebration and Festival Dionysia 2015 (Sound Design). Musical Theatre Troupe’s Charlie Brown and Guilty Parties (Lighting Design), Cabaret and The Crucible (Lighting Hannah Everett Bishop of Coventry, Ensemble Design) and Bermuda Musicals Gilbert and Sullivan (Sound Hannah is thrilled to be in her first year of the BFA program. Technician). I hope you enjoy the show! For the past two summers, she was an apprentice in the Riotous Youth program at Bard on the Beach, performing in “A Shakespearience” (2016) and “Shakespeare Linda Yang Stage Manager Unhinged” (2015). Other credits include Lise (Les Belles Soeurs) Linda Yang is a 4th year BFA Theatre Production student, with the Sidekick Players Club, and Annette (Midnight specializing in stage management and costume production. Serenade) for “Festival Dionysia” with the UBC Players Club. An international student from Taiwan, she is excited to be She hopes you enjoy the show! studying Theatre Design/Production at UBC and working as a work-learn student in UBC Theatre’s costume shop. Recent stage and assistant stage management credits include Paper Series, Dirty Dutch Rhino and The Arabian Nights Rafael Ruiz Ensemble (Main Stage). Rafael’s previous experience includes: The Pirate King (Pirates of Penzance), Tybalt (Romeo and Juliet), Williams (Dial M for Murder), Robert Conklin (The Rimers of Eldritch). Working for three years with the California Theatre Center, he is excited to be in his first show with UBC. He’ll be standing off to the side and making sure you enjoy the show.

Tom' as Balli Ensemble Born in Monterrey, Mexico, Tomas Balli is a first year student in the BFA program. Past works include the short films ‘Ketchup and Blood’ and ‘Family Dinner’. This is his first Main Stage production at UBC and he is extremely excited to be participating!

8 theatre at ubc

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seizieme.ca English surtitles on Tuesdays, Thursdays and Saturdays UBCOPERA Nancy Hermiston, UBC Opera Ensemble The Consul

GIAN CARLO MENOTTI Sung in English

November 3, 4, 5 — 7.30 p.m. November 6 — 2 p.m. OLD AUDITORIUM

Norbert Baxa | Conductor Nancy Hermiston | Director

Eugene Onegin

PYOTR ILYICH TCHAIKOVSKY Sung in Russian

February 2, 3, 4 — 7.30 p.m. February 5 — 2 p.m. CHAN CENTRE FOR THE PERFORMING ARTS

David Agler | Conductor Krzysztof Biernacki | Director

Ariadne auf Naxos

RICHARD STRAUSS Sung in German

June 22, 23, 24 — 7.30 p.m. June 25 — 2 p.m. OLD AUDITORIUM

Jonathan Darlington | Conductor Nancy Hermiston | Director

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