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eatre at UBC Presents

September 30 to October 9, 2010 Frederic Wood Theatre

September  to Oober ,  - : pm Frederic Wood eatre, UBC  Preview, Sept.  Tickets:  |  |  Call -- Photo: Tim Matheson Tim Photo: theatre.ubc.ca Come and enjoy a night out en français!

presents Une Maison face au nord

by Jean-Rock Gaudreault October 20-23, 2010 © Jean Brland

“One of the top 10 plays of the past decade” Toronto Eye Weekly

2010-2011 SEASON: SUBSCRIBE TODAY! INFO/BOX OFFICE: 604-736-2616 - [email protected] www.seizieme.ca

10 e11 VAncouVER EAST culTuRAl cEnTRE You can now after buy your e quake the qu Theatre at Haruki Murakami

Tickets Oct 13 - 23 from UBC tickets $15! Based on “Honey Pie” & “Superfrog Saves Tokyo” from the by Haruki Murakami. novel after the quake Adapted for the stage by Frank Galati online! thecultch.com 604.251.1363

Produced by Pi Theatre & Rumble Productions Illustration by Edward Kwong

The Leon and theatre.ubc.ca Thea Koerner

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Directed by Stephen Heatley

September 30 to October 9, 2010 Frederic Wood Theatre

The University of British Columbia Department of Theatre and Film Library and Archives Canada Cataloguing in Publication

The Madwoman of Chaillot : a Theatre at UBC companion guide / by Jean Girau- doux; translated by Maurice Valency.

Compiled and edited by Jennifer Suratos. Includes bibliographical references. ISBN 978-0-88865-847-0

1. Giraudoux, Jean, 1882-1944. Folle de Chaillot. 2. Valency, Maurice, 1903-1996. I. Suratos, Jennifer, 1975- II. Theatre at UBC

PQ2613.I74Z7258 2010 842’.912 C2010-906303-1 Welcome Director’s Note

Live theatre is all about communion—shar- I’ll bet we all have a madwoman (or her male good enough writer to realize the brilliance of ing human experience across time, across counterpart) tucked away somewhere in our the idea. the space between audience and stage, and lives. Many years ago, when I was working within the audience, too: communally experi- for a YM-YWCA summer camp, I met the As a graduate student at the University encing sympathy and laughter, empathy and new camp nurse for the first time. The entire of Alberta one frozen Edmonton winter, I anger, pain, love. The Madwoman of Chaillot, camp staff was in their teens and early twen- directed a Giraudoux one act that cemented written in Nazi-occupied Paris during one of ties but this nurse was ancient – at least 50. my love for this man’s dramatic genius. In the darkest times of the last century, talks Even in the wilderness, she insisted on always it, a shy young woman meets a ragged man directly about all those things in profoundly wearing her white nurse’s cap. I assumed (who turns out to be Apollo in disguise) who comic ways. What does it mean to live in a she was just stuffy. One day at lunch, before encourages her to get ahead in the world by civilized community? What are the values I knew much about her, she was talking telling people, despite what they look like, that make our lives worth living? How do we about love. I thought I would show her how that they are beautiful. It works. She even know what’s really crazy and what’s sane? clever I was and quoted a particularly sappy tells the chandelier how beautiful it is and movie of the day. “Well, we all know that it lights up! At the public critique for this Some of those questions also lie at the very love means never having to say you’re sorry.” production, I was asked, rather snippily, why heart of what the United Way is all about: Without missing a beat, she nailed me with on earth I had chosen to direct this play. The communion and community, the values that a very stern gaze and said, “Don’t bullshit only answer I felt I could give was “to get create and sustain a civil society, empathy me, preppy.” She had totally side-swiped through an Edmonton February.” across the divides that separate us from one me with another quote from the film. I knew another. Theatre at UBC and the Department then that I was in the presence of an inspired So, The Madwoman of Chaillot has been on my of Theatre and Film are proud to support madwoman. She drew us all into her den of “to direct” list for a long time. I am so thank- UBC’s 2010 United Way campaign with pro- madness that summer, hosting nightly foot ful that this talented and ebullient group ceeds from this production. soaking parties, doing imitations of the camp of graduating actors has come along and director’s children, screaming across the presented the perfect company to tackle this We’re also very proud of our 2010-11 season, field on hot days to make sure we took lots of delightful and ambiguous play. I am grate- our most international in years. We’re pre- salt. She always made things fun despite the ful to the Fabulous Fifteen, the crackerjack senting work originating from France (Mad- fact, which I learned much later, that she had design team, the devoted production crew, woman) and Australia (Circa), the United endured an abusive marriage to an alcoholic our top of the line professional staff, and my States (Dead Man’s Cell Phone) and Russia, via husband. At the time we were together, always-supportive colleagues for making this England (Wild Honey). Our Canadian plays though, I would not have been surprised to such a creative and positive adventure. We come from Quebec (The Madonna Painter) see her pull a dinner bell out of her bosom have learned a lot about the play over the 5 and from a unique collaboration between art- and call for her bones and her gizzard. weeks of rehearsal and I am very glad to be ists in BC and China (Jade in the Coal). Talk able to share our journey with you. about a liberal arts education! We’re nothing I first met the Madwoman of Chaillot as if not cosmopolitan. an undergraduate theatre student and was Stephen Heatley immediately taken with the off-kilter way in Enjoy the show and the season. And give which she addressed the world. As a twenty- generously. something, I felt a constant struggle between the exigencies of being an adult and the deep Jerry Wasserman desire to ignore those responsibilities (a Head, Department of Theatre and Film struggle I happily maintain to this day). The Countess Aurelia gave me hope that a life of eccentricity was possible. The play also touched my interest in all things whimsical. Reading Giraudoux’s play inspired me to write a play myself about how our environ- ment and the universe will rebel against us if we succumb to dullness. I wish I had been a Jean Giraudoux (1882-1944)

Hippolyte Jean Giraudoux was born in the village of Bellac in the Lim- ousin region in western France. He completed his studies at L’École Normale Supérieure and traveled extensively in his youth. In 1906 he spent a year in the United States, where he worked as a French instructor at Harvard. When he returned to France, Giraudoux served as a diplomat and government official. He served in World War I, was wounded twice (first at Alsace and later in the Dardanelles), and became the first writer ever to be awarded the Legion of Honor. At the start of World War II he served as Minister of Information, but retired in January 1941. Giraudoux died in 1944 and is buried in the Cimetière de Passy in Paris.

As a dramatist, Giraudoux wrote 15 plays including Tiger at the Gates in 1935, Ondine in 1939, and The Madwoman of Chaillot, which was published and produced a year after his death in 1945. As a writer of prose, he wrote five novels, numerous short stories, and essays on both literary and political studies.

In their introduction to the play in Contemporary Drama: Eleven Plays, editors E. Bradlee Watson and Benfield Pressey write: “Listening “I know perfectly well that at this moment the whole uni- to Giraudoux can be a rich experience. He seizes the imagination verse is listening to us – and that every word we say echoes whether his work is read or seen; his own liveliness and fertility of to the remotest star.” mind stimulates liveliness and fertility in the audience’s mind and - Jean Giraudoux, The Madwoman of Chaillot emotion even without startling theatricality.”

Sources: course, not a verbal thing at all. Not words which are poetically con- Pressey, William Benfield and Ernest Bradlee Watson, eds. Contem- ceived, but poetry which is dramatically conceived. I mean a poetry porary Drama: Eleven Plays, American, English, European. : that plays.” Scribner, 1956. http://www.discoverfrance.net/France/Theatre/Giradoux/giradoux. Adding to his long list of accomplishments and talents, Valency shtml. adapted opera librettos, published novels, and spoke seven languag- http://www.basicfamouspeople.com/index.php?aid=1820. es. He won two New York Drama Critics’ Circle Awards for The Mad- woman of Chaillot (1948) and (1958). He died in Manhattan at the age of 93. In his New York Times obituary, Mel Gussow writes:

“In his adaptations, Mr. Valency demonstrated the language of a poet Maurice Valency (1903 – 1996) and the dramatic comprehension of a working playwright, placing his own signature on diverse works while also keeping faith with the Born in New York in 1903, Maurice Valency was a playwright, adapter, spirit of the original. One sign of his success is that his adaptations of translator, and professor of dramatic and comparative literature. He contemporary classics remain the generally accepted versions. Girau- was educated in New York, graduated from City College and Colum- doux and Duerrenmatt continue to communicate to English-speaking bia University, and taught at , , audiences through Mr. Valency.” and the Juilliard School. Sources: Valency is best known for his adaptations (for stage and screen) of Maurice Valency and French Theatre, Creative Arts Television, 1958: award-winning plays by Jean Giraudoux and Friedrich Duerrenmatt. http://ativ.alexanderstreet.com/View/657988. His version of The Madwoman of Chaillot was later turned into the mu- http://www.nytimes.com/1996/09/29/nyregion/maurice-valency- sical , written by . Valency is often credited 93-theatrical-master-dies.html. for the United States’ great interest in the Modern French Theatre.

In a television episode produced by Creative Arts Television entitled “Maurice Valency and French Theatre,” Valency remarks:

“I think Giraudoux is perhaps … the only poet who has been able to write the kind of poetry that is suitable for the stage. Which means of The Madwoman of Chaillot and Nazi Ideology

Written in 1943 Nazi-occupied France, The ing to the Ragpicker (and Nazi ideology), they of extermination were known, even if the Madwoman of Chaillot, in addition to being a had taken over the world. extent of the atrocities had yet to be explored slightly absurd representation of a whimsi- in depth. That Giraudoux chose to represent cally eccentric woman who decides to save From this point in the play onwards, the and satirise these events is hardly surprising. the world, is also a powerful, almost satirical satirical connection between the relatively in- The result is that The Madwoman of Chaillot is parody of Nazi ideology and the Holocaust. nocent story of the play and its more sinister a play that, while it entertains, also highlights Nazi equivalent becomes even more obvious. the inherent absurdity of an ideology which A fundamental element of Nazi ideology Upon discovering that her idealised world promises a return to a better, purer, or more was the concept that the world contained was being threatened by ‘evil people,’ the peaceful time if only the ‘evil people’ can evil people—people who threatened the Countess chooses to save her world by get- be eliminated. While Giraudoux wrote The safety of an imagined and idealised German ting rid of them—much as the Nazis hoped Madwoman of Chaillot in a specific historical culture emerging out of a glorified mythi- to restore their powerful Aryan race by ex- context, this message is as applicable today cal past of triumph and purity. These evil terminating those they considered unworthy as it was then. During the 20th century, more people (in Nazi ideology, Jews) manipulated of life. Even the Countess’s language in the people died as a result of genocide than as a the economy and the great allied powers in second act in reminiscent of Nazi ideology as result of war—including two world wars and order to enslave and destroy Germany and, she describes the evil people as ‘vermin’ to two atomic bombs. The ideology of genocide subsequently, the world. With the image of be ‘exterminated.’ is often based on the fallacy that eliminat- the evil people as a threat to German life and ing the ‘evil people’ will somehow return a culture, Nazi ideology viewed the attempt to Of course, as Josephine so aptly points out, society to a purer, happier time; restoring a exterminate this evil as a truly noble act—the “You can’t kill anybody without a trial.” The mythologized past or ushering in a future age act of a saviour. Consequently, Nazi ideology Countess’s travesty of a trial to justify killing of prosperity. As tempting as it may be to viewed Hitler as the almost messianic saviour evil people in the second act only adds to the believe this, Giraudoux’s satire makes it clear of the Aryan race and the German people. play’s derision for Nazi ideology, mocking that life is not that simple. the Nuremberg Laws of 1933 and 1935, which During Act One of The Madwoman of Chail- legalised Nazi discrimination and eventual lot, Giraudoux begins to hint at his fabulous murder. Moreover, the imagery created Dani-Lori Chalmers mockery of Nazi ideology through the Count- by the Nazi methods of deportation and ess’s insistence on living in her own past confinements in concentration camps, of Dani-Lori Chalmers is a PhD student in the (reading newspapers from 40 years ago and executions and public humiliation, all created University of British Columbia’s Interdisciplinary living in constant expectation of a past lover the image of their victims as ‘criminals’ to be Studies Graduate Program. A former graduate returning)—much like the Nazi ideological punished—after all, one assumes that only of the BFA Acting Program at UBC, Dani went obsession with their mythologized German guilty criminals are imprisoned or executed— on to complete her Masters in the study of the history. This imaginary life and history is after a suitable trial, of course. influence of Theatre and ParaTheatre on the Ho- shattered when the Ragpicker tells the count- locaust. She is currently developing techniques ess that “the world has changed,” describ- At the end of the play, when the ‘evil people’ to use entertainment to counter ideologies that ing an ‘invasion,’ an ‘infiltration’ which has have been sent to their supposed deaths potentially lead to conflict and genocide. resulted in a world that is no longer happy (another image that parodies the Holocaust or beautiful. He says that in the past, the in that the ‘extermination’ is not witnessed; people one met were ‘like you.’ Twenty years rather the victims simply ‘disappear’), the ago, however, ‘faceless,’ inhuman people world is suddenly a happy place again, with started to appear and, in order to make room people being kind to each other and miracles for these faceless things, one of ‘us’ would taking place. This final celebration of the have to leave. This description is a clear newly-cleansed, pure world that emerges parallel with the Nazi ideological image of as a result of this ‘genocide’ satirizes the the Jew as less than human. When Jews did Nazi ideological image of the triumphant not ‘assimilate’ into German society, Nazi Thousand Year Reich that would supposedly ideology portrayed them as ‘invaders’; when emerge out of the ashes of the Holocaust. they did assimilate, they were portrayed as ‘infiltrators.’ The parallel becomes even The parallels between The Madwoman of more apparent when the Ragpicker describes Chaillot and Nazi ideology are far from sur- these invaders as not working (the ultimate prising. In 1943 France, it would have been sin in Nazi ideology), standing in the Stock difficult to ignore the spread of Nazi ideology Exchange, auctions, and theatre lobbies - all and equally difficult to ignore the events of places where Jews supposedly dominated. the Holocaust. By this point, the basic facts Moreover, they were capitalists and, accord- of Nazi concentration camps and the policy The Madwoman of Chaillot by Jean Giraudoux Translated by Maurice Valency

Andrew James Cohen Waiter/ Second Prospector Andrew Lynch Prospector/Vagabond Barbara Kozicki Deaf Mute/Second President/Third Press Agent Ben Whipple President/Vagabond Christine Quintana Flower Seller/Professor/ Josephine, the Madwoman of la Concorde Claire Hesselgrave Broker/Vagabond David A. Kaye Ragpicker Eric Freilich Sergeant/Little Man/Sewer Man/Dr. Jadin Joanna Williams Countess Aurelia, the Madwoman of Chaillot Meaghan Chenosky Baroness Tommard/Vagabond Mishelle Cuttler Paulette/Concierge/Constance, the Madwoman of Passy/ Second Adolphe Bertaut Jameson Parker Street Singer/Policeman/Third President/Second Press Agent Ryan Warden Pierre/ First Adolphe Bertaut Sarah Goodwill Irma Tich Wilson Shoelace Peddlar/Gabrielle, the Madwoman of St. Sulpice/ Third Adolphe Bertaut

Place The café terrace at Chez Francis and the cellar of 21 Rue de Chaillot, Paris. Time A little before noon in the spring of next year.

The performance is approximately 2½ hours long. There is one 15-minute intermission. There will be two herbal cigarettes smoked in the first act of the play.

Please turn off all cellular telephones, pagers and watch alarms. The use of cameras, video or any other recording device is prohibited during the performance. Thank you. Production

Director Stephen Heatley Assistant Director Dani-Lori Chalmers Stage Manager Kate Minson ASM, set Belle Cheung ASM, costume Christina Dao ASM, properties Tanya Mathivanan

Manager, Technical Theatre Production Jay Henrickson Marketing and Communications Deb Pickman Voice Coach Gayle Murphy Movement Coach Cathy Burnett Fight Coach/Choreography Nicholas Harrison

Lighting Design Conor Moore Assistant Lighting Design Alia Stephen Head Electrician Wladimiro Woyno Costume Design Alison Green Costume Design Steffi Lai Costume Design Megan Gilron Costume Design Jen Waterhouse Sound Design Andrew Tugwell Scenic Design Sally Song Ilang Properties Supervisors Janet Bickford, Lynn Burton Properties Moving Crew Jayson MacLean, Fiona Kiernan-Molloy, Javier Sotres Porres, Claudia Cantoral, Paul Weston, Scott Zechner, Madeleine Copp, Alex Carr Properties Builders Emily Hartig, Vanessa Bliss Technical Director Jim Fergusson Set Construction Keith Smith, Amanda Larder, Mike Bock Scenic Artist Lorraine West Scenic Painters Sally I Song, Fiona Kathleen Kiernan-Molloy, Michael Bock, Amanda Larder Costume Supervisor Jean Driscoll-Bell Costume Stitcher Kirsten McGhie Costume Assistants Amélie Schumacher, Megan Kennedy, Michelle He, Rui Lin Liu, Wen Aian Zhang Make-up/Hair Artist Jill Wyness American Sign Language Interpreters Katt Campbell, Marissa MacIsaac French Coach Tich Wilson

Stage Crew Elliott Squire, Ashley Noyes, Natalie Crema, Sarah Jessica Tjitra, Vanessa Bliss Properties Assistant Nistara Grewal Dressers Jade Greaves, Ling Zhong, Miriam Thom, Trina Moran, Phoenix Smith Make-up/Hair Assistant Rebeca Cuevas LX Operator Malyssa Raynor Sound Operator Paul Weston

Companion Guide Editor Jennifer Suratos Companion Guide Layout Ian Patton Cover Photograph Tim Matheson

Acknowledgements Arts Club Theatre Company, Vancouver Playhouse Theatre Company The Madwoman of Chaillot Glossary

Admiral Courbet – (Anatole-Amédée-Prosper Courbet) A French Place de l’Alma – A square in Paris known as Chaillot, between the admiral famed for his victories, both in the water and on land, during Champs-Élysées and the Seine, across the river from the Eiffel Tower. the campaign and the Sino-French War. President Wilson – President Woodrow Wilson was the 28th presi- Chaillot – a village in what is now the 16th arrondissement of Paris. dent of the United States, elected as a Democrat in 1912. He kept the This district is located on the right bank of the River Seine. US out of WWI until 1917, traveled to Paris in 1919 to help shape the Treaty of Versailles, and created the League of Nations, for which he Duchess de la Rochefoucauld – Matti-Elizabeth Mitchell, the daugh- won the Nobel Peace Prize. ter of an American senator, who married François-Alfred-Gaston XVI, duc de La Rochefoucauld, in 1892. Prospector – in French, le prospecteur. One who explores an area for mineral deposits or oil. The Brothers Karamozov – Russian author Fyodor Dostoyevsky’s final novel, which took him two years to complete. Published in 1880, the Ragpicker – in French, le chiffonier. One who makes a living scavenging story investigates issues of God, free will, and morality. rags and other refuse.

Can-Can – A lively type of dance that originated in the working-class Saint Sulpice – a neighborhood on the left bank of the Seine in the 6th ballrooms of Paris. Performed by a chorus line of female dancers, it arrondissement of Paris. involved high kicking and suggestive movements.

Georges Clemenceau – Nicknamed “The Walrus,” Clemenceau was the French prime minister twice, in 1906-09 and 1917-20. He led France in World War I and helped bring about the Treaty of Versailles.

La Belle Polonaise – A mazurka, or Polish folk dance in triple meter, written by John R. Sweney in 1873.

La Concorde – The Place de la Concorde, located at the base of the Champs-Élysées.

Father Lacordaire – (Jean-Baptiste Henri Lacordaire, Father Henri- Dominique Lacordaire) A French preacher, journalist, and political activist. Today he is considered to be a founding father of the modern Roman Catholic church.

Floating kidney – (hypermobile kidney or wandering kidney) The medical name of nephroptosis, a condition that causes the kidney to drop downward, especially when a person stands up or goes from a lying down to upright position. This downward movement suggests it is not fully fixed in place by the surrounding tissue.

Frigidaire – Founded as the Guardian Frigerator Company in Fort Wayne, Indiana, Frigidaire is brand of consumer and commercial ap- pliances, which developed the first self-contained refrigerator in 1916.

Madam Jeanne Lanvin – An influential French fashion designer during the 20s and 30s, famous for her intricate beading and embroidery.

Marshal Canrobert – (Francois Certain Canrobert) A marshal in the French military who was later elected senator. Canrobert fought in many wars for France, including the Carlist Wars, the Crimean War, and the Franco-Prussian War.

Passy – a neighborhood in the 16th arrondissement of Paris. his final year. Past credits at UBC include The Claire Hesselgrave - Originally from Seattle, Laramie Project, Benvolio in Romeo and Juliet, Claire has lived in Vancouver for the last and Aaron in Titus Andronicus (Bear Bones three years. She entered the BFA Acting pro- Biographies Theatre). Eric recently directed his first show, gram at UBC in 2008 after 15 years of dance The Two Gentlemen of Verona, and contributed training. Selected credits include Velma Kelly Dani-Lori Chalmers - Dani-Lori Chalmers is to the founding of Adam’s Apple Theatre in Chicago (VHS Theatre), Marge Murray in a PhD student in the Interdisciplinary Studies company. He would like to thank his family, The Laramie Project (Theatre at UBC), Lady Graduate Program at the University of British particularly his aunt, for always believing. Montague in Romeo and Juliet (Theatre at Columbia. Her research develops and evalu- UBC), Red in the 2010 Brave New Play Rites ates the use of entertainment as a means of Megan Gilron - Megan Gilron is in her fourth Festival production of Red, and Titus in Titus countering the ideologies and propaganda year of the BFA Design Program and is an Andronicus (Bear Bones Theatre). that can result in mass atrocities, terrorism, aspiring theatre Jack-of-all-Trades. Selected and genocide. She has a BFA in Acting from credits include Emilius/Nurse in Titus Andron- Sally Song ILang - Sally loves the air, noise, UBC and has worked professionally as an icus (Bear Bones Theatre), Costume Designer and even the dust in the theatre. She is a actress and stage manager in both Canada for Once on This Island (Suite Style Musical), recent graduate from UBC Theatre/Visual and the United Kingdom. Mask Creator for Romeo and Juliet (UBC), Arts. She thanks all the teachers and staff and Co-Director for Sex and Death: Spectre for their support in having her work on this Meaghan Chenosky - Meaghan Chenosky is (Spectral Theatre/UBC Players Club). She is crazy show at UBC. Design projects include in her final year of the BFA acting program. ever thankful to Jean, Kirsten, and her fellow KISS Love Letter Concert, Far Away (UBC), The Selected theatre credits include Juliet in designers for the fun times in the costume Invention of Love (United Players), Shockers Romeo and Juliet, Dr. Cantway in The Laramie shop. Delight! (Squidamisu Theatre), Do You Dream Project (UBC), Referee in Never Swim Alone, Concert (Present), and Christmas window Lise in Les Belles Soeurs, Hermia in A Midsum- Sarah Goodwill - Sarah is in her final year display (Listening Post). Enjoy the madness! mer Night’s Dream (Passionfool), and Helen of the BFA Acting program and has enjoyed Keller in The Miracle Worker (Theatre Soup). recent experiences in Nicola Cavendish’s David A. Kaye - David has worked in Film She would like to thank Stephen Heatley for The Laramie Project and Catriona Leger’s and Television since he was four, and in the hilarious rehearsals and all the hard work Romeo and Juliet. Previous credits include voiceovers since eleven. He enjoys playing he put into the show. performances in The Dining Room (UBC) and with knives, fire, stilts, and anything else Express (VSB), as well as television appear- you should not try at home. Credits include Andrew James Cohen - UBC: Petkoff in Arms ances in Lionsgate’s Hope Island and Stargate. Samuel Decker, Legends of the Fall; Jesse and the Man, Andrew Gomez/Father Schmit She is very excited for the season ahead and Waingrow, 3000 Miles to Graceland; Noddy, in The Laramie Project, Grandfather in The has greatly enjoyed being part of the creation Make Way for Noddy, and Shin, Nana. Recent Dining Room. Regional: Laramie 10 Years Later of the fantastical world of Chaillot! theatre credits include Tybalt in Romeo and (Homeshark), A New Brain (Pipedream), Juliet (Catriona Leger) and Nicola in Arms Grease (TUTS; Ovation Winner), Falsettos Alison Green - Senior students in the BFA and the Man (Mindy Parfitt). www.Whis- (Skycorner), and work for Gateway, Metro, Design program have collaborated on this kayefilms.com URP, Applause, KOBA, VACT, Shine. Andrew project. Research and development was done was a national finalist on Triple Sensation as a group with director Stephen Heatley Barbara Kozicki - The Madwoman of Chaillot (CBC) and Inspiration & Performance (CBC over the summer. Direction for the overall has been a real adventure. To prepare for her Bold) and is an accomplished singer, tap project came from Professor Green, whose role she learned two new skills: American dancer, choreographer, vocal arranger, recent work at UBC includes designs for The Sign Language and club juggling! This sum- composer, producer, director, and youtube- Dream Healer (UBC Opera Ensemble), Unity mer, Barbara wrote and directed the winning enthusiast. (1918), and Mother Courage. Alison designs entry of the Osoyoos Celebrity Wine Film frequently for Vancouver’s Arts Club and Festival, and the Hnatyshyn Foundation De- Mishelle Cuttler - Mishelle greatly appreci- Playhouse companies. She is a member of veloping Artist Grant. Previous UBC credits ates this opportunity to be mad. A final year the Associated Designers of Canada. include Arms and the Man, Romeo and Juliet, student in the BFA Acting program, she was and The Laramie Project. Thank you Charles last seen as Samantha in I Saw You at the Stephen Heatley - Stephen Heatley has and Mom for all your love and support! Dorothy Somerset Studio Theatre. Other worked as a professional theatre artist for favorite roles include Apothecary/Musi- over 35 years. During his 12 years as Artistic Steffi Lai - Steffi feels privileged to work with cian in Romeo and Juliet (Catriona Leger), Director of Theatre Network in Edmonton, he such a talented group on this production, and and Roberta Debree in The Laramie Project directed 30 world premieres. He spent five has enjoyed designing with the members of (Nicola Cavendish). She also composed and years as Associate Artistic Director of the this wonderful costume team, Alison, Megan, musically directed for Romeo and Juliet. Many Citadel Theatre, and as resident director of and Jen. She recently graduated with a BA thanks to all the inspirationally mad women the Free Will Players. Stephen joined the fac- Interdisciplinary Studies in Literature and in her life. ulty of the Department of Theatre and Film at Creative and Performing Arts. Recent credits UBC in 1999 and will be Acting Department include the Canadian premiere of Why Tor- Eric Freillich - Eric trained pre-professionally Head from January to June, 2011. ture is Wrong and the People Who Love Them with the Arts Umbrella senior theatre troupe (Twisted Knickerz), Mahjub (Brave New Play before entering the BFA program; he is now in Rites), and the SFU grad film Salvation. Andrew Lynch - Andrew recently directed Christine Quintana - Christine has always Jennifer Waterhouse - Jen Waterhouse is Titus Andronicus with Bear Bones Theatre, wanted to go to Paris – joining her final year a 4th year undergraduate in the Theatre a company he also co-founded. Selected BFA Acting classmates in The Madwoman Production and Design Program. The Mad- credits include Capulet in Romeo and Juliet, of Chaillot is the next best thing! Last year woman of Chaillot marks her debut at the The Laramie Project, The Dining Room (UBC), Christine appeared in Theatre at UBC’s The Frederic Wood Theatre as Costume Designer Frozen (Shameless Hussy), Macbeth (Limbo Laramie Project and Romeo and Juliet. Previous and she could not be more excited at the op- Circus), Voluntary Nothing (Walking Fish), For credits include Mimi in Rent and CB’s Sister portunity. Past design credits include Chasing a Moment (Cultch Ignite), Die Mrs. Veenstra in Dog Sees God (FCP). This winter Christine White Rabbits and Bridal Blues for Brave New (SAGE Ignite), Pirates of Penzance, No Sex will join the cast of Seussical the Musical for Play Rites Festival. Previous work includes Please, We’re British (Morpheus Theatre) Carousel Theatre. Enjoy the show! Daysleeper, The Laramie Project, and Arms and Diary of Adam and Eve (Central Alberta the Man. Jen thanks her family and friends for Theatre), Cabaret, Lend me a Tenor (Red Deer Andrew Tugwell - Recent sound designs their continued support. College). include Nixon in China (Vancouver Opera), The 25th Annual Putnam County Spelling Bee Joanna Williams - Joanna is in her final year Kate Minson - Kate is in her final year of the (Belfry Theatre/Arts Club Theatre), Mom’s of BFA Acting Program. Her most recent the- BA in Theatre with Honours. Stage manag- the Word: Remixed, and Altar Boyz (Arts Club atre credits include Tamora in Titus Androni- ing The Madwoman of Chaillot has been an Theatre). Andrew teaches sound design at cus (Andrew Lynch), Ensemble in Romeo and adventure. Past credits include Romeo and UBC, and is a graduate of the University of Juliet (Catriona Leger), Catherine Connolly, Juliet, Unity (1918), and Brave New Play Rites. Victoria’s Department of Theatre and the Allison Mears, and Mormon Home Teacher Next she will tackle her Theatre Honours Columbia Academy’s Digital/Analog Record- in The Laramie Project (Nicola Cavendish), thesis, where she plans to explore the value ing Arts program. Calonike in Lysistrata (Thrasso Petras), and of interdisciplinary arts spaces in Vancouver 3rd Macbeth in A Macbeth (John Cooper). city planning. She is also a proud member of Benjamin Whipple - Originally from Portland, Joanna also has her Diploma in Performing the Golden Key International Student Honour Maine, Ben is in his third year of the BFA act- Arts from Douglas College. Society. Enjoy the show! ing program. Theatre at UBC credits include Doc O’Connor/Matt Mickelson/Fred Phelps Tich Wilson - Tich Wilson is now commenc- Conor Moore - Conor Moore completed his (The Laramie Project), Mercutio (Romeo and ing her final year of the BFA Acting Program MFA in Design at UBC and is excited to be Juliet), and the Russian Officer (Arms and with excitement and vigor. She was most re- throwing down in the FWT again. Design the Man). He also played Chiron in the Bear cently seen in Oh My God! which was part of credits include Falstaff (Bard on the Beach), Bones production of Titus Andronicus. He 2010’s Brave New Play Rites festival. Some of MK Woyzeck, Romeo and Juliet (UBC Theatre), would like to thank director Stephen Heatley her favourite credits include Peter in Romeo After Homelessness (Headlines Theatre), for such an enjoyable process, and for not and Juliet, Romaine Patterson in The Lara- The Edge (Green Thumb Theatre), Footloose putting him in a fat suit. mie Project, Peggy in The Dining Room (UBC (Capilano University), Bat Boy (Patrick Street Theatre), and Wendla in Spring Awakening Productions), and The Boy Who Went Outside Ryan Warden - Ryan’s production credits in- (Delinquent Theatre). Tich dreams of poison- (Wild Excursions). He is a very proud recipi- clude UBC’s Mother Courage, The Rez Sisters, ing pigeons in the park. ent of the Larisa Fayad Memorial Award in A Dybbuk, and Pi Theatre’s Werewolves. Act- Lighting Design. www.conormooredesign.ca ing credits include Weeding the Flowers (Brave New Play Rites), The Dining Room (Sarah Jameson Parker - Jameson is in his final year Rodgers), The Laramie Project (Nicola Caven- of the BFA. He recently directed two music dish), Romeo and Juliet (Catriona Leger), and videos for hip-hop artist Anami Vice. Past Arms and the Man (Mindy Parfitt). He’s most credits include Romeo in Romeo and Juliet, proud of his role in David Savoy’s Diary of a Bluntschli in Arms and the Man (UBC), Greg Madman, which went to the Setkani/Encoun- in Prodigals (Twenty Something Theatre) and ter festival in Brno, Czech Republic in 2008. the director Roscoe Dexter in Singin’ in the www.WardenFilms.com Rain (TUTS). In February, Jameson will be playing Stanley in the Vancouver Playhouse Theatre Company’s Death of a Salesman directed by John Cooper. Man Ray, African Art and the Modernist Lens

Opening at the Museum of Anthropology October 30, 2010

6393 NW Marine Drive Vancouver, BC Image: Man Ray, Noire et Blanche, 1926. Copyright Man Ray Trust. 604.822.5087

www.moa.ubc.ca

Theatre at UBC Administration

Jerry Wasserman Zanna Downes Head, Department Theatre and Film Theatre/Film Production and Graduate Secretary

Ronald Fedoruk Linda Fenton Malloy Associate Head, Theatre Production Theatre at UBC and Production Website

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Jay Henrickson Tony Koelwyn Manager, Technical Production Box Office

Ian Patton Gene Baedo Manager, Communications, Audience Services and Technology Custodial Services

Deb Pickman Manager, Marketing and Communications

Jennifer Suratos Theatre/Film Studies Administrator

Karen Tong Theatre/Film Studies and Graduate Secretary Studio 58 Park Ad (UBC):Studio 58 Park Ad (UBC) 9/21/10 2:18

Studio 58, Langara College proudly presents BACK BY POPULAR NEW THIS SEASON DEMAND $10 TUESDAYSthe

AnPark original musical about Stanley Park by Benjamin Elliott, Hannah Johnson & Anton Lipovetsky

directed by David Hudgins musical direction by Benjamin Elliott & Anton Lipovetsky

ticketstonight.ca or 604.684.2787 Sep 30 - Oct 17 Studio 58

Benjamin Elliott David Cooper Photography Cooper David Elliott Benjamin studio58.ca

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Stay connected at Mozart’s Don Giovanni LOVE. LIBERTY. LUST.

INTERNATIONAL PERFORMING ARTS Nov 4, 5, 6 FESTIVAL 7:30PM p r e s e n t Nov 7 2:00PM circa

Jan 19—22, 2011 aT 7:30PM FrEDEric WOOD THEaTrE, UBc

“hailed world wide as one of the most dynamic in Italian with forces in new circus...what they do thrills and English Surtitles delights.” —the herald, united kingdom

BUY TICKETS ONLINE!** TicKETS : $26—$32 aDVancE | $28—$34 aT DOOr www.ubcopera.com THEaTrE aT UBc BOX OFFicE. 604.822.2678. Restored and Renewed ubcopera pushfestival.ca OLD AUDITORIUM, UBC BUY TICKETS604 6344 MEMORIAL ROAD 822-6725 UPCOMING SPECIAL EVENT! LANCE RYAN IN CONCERT Theatre at UBC Presents the vancouver premiere of The Madonna Painter by Michel Marc Bouchard translated by Linda Gaboriau Directed by craig Holzschuh

To protect his parish from the 1918 flu epidemic, a Quebec priest commissions an Italian painter to create a fresco dedicated to the Virgin Mary with consequences both comic and cataclysmic. History, symbol and magic realism are beautifully combined in this exquisite parable from one of Canada’s finest playwrights.

“…an unforgettable play.” – Globe and Mail

November 11 to 20 at 7:30 pm Telus Studio Theatre

theatre.ubc.ca