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EDWARD II Monarch 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 Dalhousie University 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.
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