LION IN THE STREETS by Judith Thompson Directed by MFA Directing Candidate Michelle Thorne

January 17 — February 2, 2019 Studio Theatre, Chan Centre for the Performing Arts PHOTO BY TIM MATHESON

Nov 28, 2018– Jan 06, 2019 WELCOME FROM WELCOME DEPARTMENT HEAD FROM PRESIDENT STEPHEN HEATLEY SANTA ONO

Judith Thompson is one of ’s most important and It gives me great pleasure to congratulate the Department enduring playwrights. Her play, Lion in the Streets, first of Theatre and Film on its 60th anniversary. appeared on a Canadian stage twenty-eight years ago which, in Canadian theatre terms, makes it a classic. Since the UBC Theatre Department was created in 1958, theatre and film studies have played an important role at The eighth rule for defining a classic in Italian novelist the University. Through its productions, its contributions Italo Calvino’s seminal work Why Read the Classics to critical studies, and through the generations of declares, “A classic is a work which constantly generates a talented theatre and film students who have taken its pulviscular cloud of critical discourse around it, but which courses and programs, the department has greatly always shakes the particles off.” Stated perhaps more simply, a classic is enriched the cultural life of the university, the province and the country. defined as an outstanding example of a particular style; something of lasting worth or with a timeless quality; of the first or highest quality, class, or rank. Again, congratulations, and best wishes for the next 60 years of theatre and film studies at UBC. The last play we produced in our season, Shakespeare’s Much Ado About Nothing, is definitely a classic. It has been with us for about 450 years and has been revisited by theatre companies around the world on a regular basis. Professor Santa J. Ono It is a work that continues to speak to both artists and audiences in unique ways in different eras and long after its initial creation. President and Vice-Chancellor The University of But Lion in the Streets?

For a play that has been part of the theatrical canon for such a relatively short period of time, this is already the third time it has caught the imagination of Theatre at UBC. The last time we followed Isobel on her journey of discovery, was 2002. At that time, the play was presented on the Frederic Wood Theatre stage and featured a very industrial setting comprised of levels of scaffolding, a different vision for a different time. There WINE/SHOW PAIRING BY ALUMNA is something about this “Lion”, this metaphoric idea of a dark, dangerous, and BARBARA PHILIP MW AT THE CHAN CENTRE BAR predatory presence on our streets and in our lives, that continues to resonate with us in 2018. I invite you to lean in with us tonight to try and The Portuguese-Canadian nature of the play (as it was originally written) made wine matching easy as both countries make such delicious wines. For understand why. immigrants from wine producing countries like Portugal, traditional wines Lion in the Streets is one of several events this term in the life of the busiest like the white from Vinho Verde and red from the Dão are an important link department on the UBC campus. I invite you to join us this month for Prince to their culture. For Canadian wines, we celebrate British Columbia with the Hamlet at the Frederic Wood Theatre presented in conjunction with the Gehringer Riesling and Bartier Bros. Merlot. PuSh International Performing Arts Festival and Naked Cinema V: Exposed Quinta do Ameal Loureiro Vinho Verde Portugal at the Cinema. GOLDRAUSCH, a world premiere translation of the The grape variety Loureiro is said to add laurel leaf scents to play by Guillermo Calderón, directed by our other second year MFA Director this Atlantic coastal wine. Jenny Larson, plays in March, and in April, our celebration of film, both Canadian National Film Day and our annual Persistence of Vision Festival Grão Vasco Dão Portugal featuring twenty-two new short films from our BFA filmmakers. Rounding up Delicious, everyday red with a savoury character. our 60th Anniversary is our May/June presentation of Hosanna by Michel Tremblay, directed by myself, and starring our MFA Acting candidate Frank Gehringer ‘Private Reserve’ Riesling Okanagan Valley, Canada Zotter, as part of the Canadian Association of Theatre Research conference Walter and Gordon Gehringer made their first vintage in 1985. held at the same time as the Film Studies Association conference all happening at the UBC Point Grey campus. Both of these conferences are Bartier Bros. Merlot Okanagan Valley, Canada part of the 2019 Congress of the Humanities and Social Sciences. All of our Merlot, with its dark plum and herbal notes, is the most widely department’s news and events can be found at theatrefilm.ubc.ca. planted grape variety in BC.

See you in the theatre again soon!

All the best,

Stephen Heatley

There will be one fifteen minute intermission. UBC’s Point Grey Campus is situated on the Author’s Agent: Great North Artists Management, traditional, ancestral and unceded territory of 350 Dupont Street, , ON, Canada M5R 1V9

the henqeminem-speaking Musqueam people. LION IN THE STREETS was first produced by Tarragon Theatre (Toronto) in April 1990. lion in the streets 3 NOTE FROM CRACKING DIRECTOR THE CODE MICHELLE THORNE

Our story begins with Isobel, the ghost of a murdered Director Michelle Thorne recently completed a course where she studied nine-year-old girl, who awakens lost and confused in a ‘semiotics’ from a textbook called How Theatre Means, by Ric Knowles. The world she almost recognizes as her own. Isobel’s dream- theory is about the observation and interpretation of signs and symbols like world morphs around her, allowing her intimate in the theatre. “The study of the generation and circulation of meaning in access inside the most private and devastating moments societies... is called semiotics.” This essay peeks in at some semiotics engaged of the lives of her former downtown Toronto neighbours in this production. Specifically, we explore the representation of symbolic as she attempts to find her home. Upon Isobel’s ‘cracks’ in the script, the staging, and some of the design elements. realization of her own mortality, her focus goes from that of finding home to finding the man who killed her Cracks in the script - Lion in the Streets is an emotional collage evoking seventeen years prior. When Isobel finally discovers her assailant, ‘the lion in nightmarish images of a Toronto neighbourhood in 1990. Originally written the streets’, she is forced to decide if it will be forgiveness or revenge that will as a series of radio scenes, the play was born fragmented. Then Judith allow her to find true redemption. Thompson structured it for the stage, adding our protagonist, Isobel, to stitch the pieces together. This character fills in the holes. In addition to Haunting, beautiful, dangerous, Judith Thompson’s Lion in the Streets takes a structure, Thompson uses fissures in language, rhythm, and communication look inside the cycles of abuse, and how we hold our own key to breaking free to re-enforce the plight of her characters. In the beginning, Isobel is confused from these cycles. Through Isobel’s eyes we see some of the most painful and her first line warns the audience in broken English, “Doan be scare. Doan depths of the human experience. While this material is challenging to witness, be scare. (turns to audience) Doan be scare of this pickshur!” Her language it is so important that we continue to give voices to the voiceless. Like Isobel, clearly expresses her state and draws the audience into her crumbled world. we must let our hearts talk, and never be silent. We must take our lives back. Cracks in the staging - By talking directly to the audience, Isobel immediately If the subject matter of this play stirs something inside you, please know you ‘breaks the fourth wall’. The director takes her cue from the script and has do not need to sit in silence in your suffering. There are resources available the protagonist roam around the theatre, physically crossing over into our to you: world. Isobel exists in both places. She is the only person who can visit both worlds, and the audience is encouraged to interpret why. Additionally, the stage is in the form of a ‘thrust’, meaning it juts out and there is audience on three sides. Like Isobel, it bridges the gap between the play and reality. On Campus Further, the two main playing spaces are ‘raked’, meaning on an angle UBC Counselling Services compared to the floor of the theatre. This distorts the movement of the https://students.ubc.ca/health/counselling-services actors, and the audience gets a mangled view. According to Thorne, “It’s warped like a nightmare. You look away for one second and when you look Centre for Accessibility back everything has changed.” The director uses staging to create cracks in https://facultystaff.students.ubc.ca/student-development-services/centre- perception. accessibility Cracks in the design - As you enter the theatre, you see the white walls of the Sexual Assault Education and Prevention set with a huge crack. That is an easy one. Over the course of the play, you https://facultystaff.students.ubc.ca/sexual-assault-education-and-prevention find some characters have rips in their costumes and others do not. Hopefully you wonder why. The lighting design, again like Isobel, connects the stories. A functioning streetlight in the middle of the action deviates from tradition by showing everything. And, the distorted set allows the lighting designer Rachel Emergency and After-Hours Services Shaen to, “cast unusual shadows, and shadows are versions of yourself that you don’t know.” Crisis Line: 1.800.784.2433 This play stands the test of time because it highlights tragedies that are still Vancouver General Hospital: 604.875.4111 happening. This production started with a classic Canadian script and layered Emergency Services: 9.1.1 in theatre arts to build a world that echoes in our society. Semiotics help the audience observe and reflect upon the signs of yesterday and translate them into context for today. Thorne’s direction aims to expose the cracks, “The unseen is seen, the unheard is heard and the unspoken is spoken”. Thank you, N. B. For those who like an Easter egg, an intentional inside joke, hidden Michelle Thorne message or image, try to see the title of the book the bartender is reading, and... why?

By Liesl Lafferty BA Theatre, MFA Playwriting Candidate

4 theatre at ubc Q & A WITH LIGHTING DESIGNER RACHEL SHAEN

What was your creative process like for the lighting design of Lion in the 5. What are your aspirations professionally? Streets? I want to design shows that I feel passionate about and that I can feel proud Lighting design is not merely illuminating the actors so the audience can see of. I want to inspire other women to get into lighting design and technical them; it must come from a deep understanding of the piece. Reading and theatre because, currently, this field is overwhelmingly dominated by men. re-reading Lion in the Streets was a necessity. Once I understood the themes I am determined to make some noise, inspire, and raise up other women in within the play and how they affect me as an individual and the world I live in, lighting design and technical theatre. I am also hoping to combine love of I begin searching for reference images. I had a vision of what the play would nature with my love of lighting design. look like and inspirational images are the best tool to communicate that vision and facilitate discussion with the director. Director Michelle Thorne and I bounced ideas off of each other, and I learned what her understanding 6. What’s next? and connections were to the piece. Lighting design can be bogged down by the technical challenges so it’s important that the creativity trumps the Next is finishing my MFA thesis and graduating. Once I accomplish that, I will technology. Lighting design is an artistic practice; it’s painting with light. I’m breathe for a minute, then try and get my foot in the door at the Stratford an artist so my creative vision needs to be supported by the technology and Festival as an Apprentice Lighting Designer. not reliant on.

2. What inspired you for this show?

I was extremely inspired by the lead character, Isobel as she is in every scene and always observing. I based my design from the perspective of a child using bright colours changing at a fast pace.

Much of our darkest intentions, thoughts, and shameful secrets are kept secret. In this piece, the darkness is shown to the world using blunt language and jarring imagery. I used shadows to depict that darkness is ever-present. This story is heartbreaking and terrifying, yet it happens in our streets every day. I want the lighting to be beautiful but scary, alluring but uncomfortable. This design will draw you in so the story can spit you out.

Tell us about your history with theatre design?

I began my theatre journey with my undergrad at Queens University in Kingston, Ontario, doing every possible position: carpentry, costume craft, sound design, etc. In my second year, I was Assistant Technical Director for Theatre Mies’ production of Spring Awakening directed by Grahame Renyk. I participated in the lighting installation and was blessed to be a board programmer with the fantastic Lighting Designer, Dr. Jenn Stephenson. Watching her work was like watching a mathematician and an artist existing in one being. Thanks to that spark of inspiration, I have been working as a technician/designer since and enjoying every minute of it.

4.What has been the most unexpected discovery during the process?

The most unexpected discovery during this process has been how protective I’ve become of these characters: the need for me to do right by them, to help tell their story and to tell their story beautifully. Yes, these are fictional characters but I think we all know that events like these happen every single day in our country. This story being set in not only Canada, but specifically Ontario, my home, has made me that much more passionate about honouring these characters. As Isobel says in the play, “Never be quiet.” I need to tell these peoples’ stories and to inspire the audience with my design, imploring them to never be quiet.

Costume Designs by Alice Jiang lion in the streets 5 DEPARTMENT OF THEATRE & FILM ENDOWED AND ANNUAL AWARDS THEATRE AND FILM SCHOLARSHIPS AND AWARDS 2018

Undergraduate Students Graduate Students

Beatrice Johnson Wood Mark Harris Memorial Scholarship Dorothy Somerset Memorial IODE Fine Arts Foundation Scholarship in Theatre Sabrina Dang, Year 4 BA Film Scholarship in Theatre Scholarship Anni Ramsay, Year 4 BFA Acting Mario Kallo, PhD Theatre Yuning Liu, PhD Theatre

Jessie Richardson Scholarship Joy Coghill Award in Theatre Jodi Margit, Year 4 BFA Acting John Brockington Scholarship in Norman Young Scholarship in Bonnie Duff, Year 2 BFA Acting Theatre Theatre Luciana Silvestre Fernandes, MFA Rafael Lopes Souza, MFA Theatre Theatre Neil Freeman Memorial John Emerson Memorial Scholarship Scholarship in Arts Daelyn Lester-Serafini, Year 4 BFA Stuart Keate Scholarship Hannah Everett, Year 4 BFA Acting Acting Sydney J. Risk Award in Directing Matthew Piton, MFA Design Michelle Thorne, MFA Theatre

Evelyn Harden Scholarship in Michael McQueen Scholarship Bohemia Awards in Theatre and Acting Amanda Parafina, Year 4 BFA Errol Durbach Graduate Film Drew Carlson, Year 4 BFA Acting Design/Production Scholarship in Theatre Emily Dotson, MFA Theatre and Mark Swetz, PhD Theatre Jenny Larson, MFA Theatre

Film Production Program 40th Dream Catcher Scholarship in Anniversary Scholarship Theatre Brian McIlroy Scholarship in Film Fairchild Group Scholarship Kincaid Dow, Year 4 BFA Film Karthik Kadam, Year 3 BFA Acting Studies Theresa Warbus, MFA Film Gabrielle Berry, MA Film

North Shore Studios Scholarship in Film Production Mr. and Mrs. G.E. Poole Award Sam Mohseni, Year 4 BFA Film Matthew Tomkinson, PhD Theatre

6 theatre at ubc LION IN THE STREETS

CAST & CREATIVE TEAM ADVISORS AND PRODUCTION TEAM UBC DEPARTMENT OF THEATRE & FILM STAFF AND ADMINISTRATION Sophia Paskalidis Isobel Cassandra Bourchier Sue Borja Brown Production Manager Stephen Heatley Department Head Rafael Ruiz Isobel’s Father/Ron/Midnight Man Cam Cronin Administrator Cam Cronin Department Administrator Hayden Davies Bill/Ben Jim Fergusson Stage & LX Specialist and Staff Ian Patton Academic Administrator Daelyn Lester-Serafini Laura/Sherry Technical Director Zanna Downes Theatre and Film Production Drew Ogle George Lynn Burton Head of Properties Graduate Secretary Monica Bowman Lily/Ellen Jodi Jacyk Head of Wardrobe Karen Tong Theatre and Film Studies Graduate Elizabeth Young Jill/Scarlett Tony Koelwyn Audience Services Secretary Drew Carlson Rhonda Andrea Rabinovitch Marketing and Borja Brown Manager, Theatre Production Laura Reynolds Joanne Communications Coordinator Jim Fergusson Stage and Lighting Specialist Anni Ramsay Rachel/Christine Shelby Shukaliak Marketing Assistant Keith Smith Stage and Lighting Specialist Caleb Pleasure Scalato/PTA Parent/Rodney Kimira Bhikum Marketing Intern Lynn Burton Properties Specialist Connor Riopel David/Timmy/Michael Carina Ma Marketing Apprentice Jodi Jacyk Head of Wardrobe, Costume Specialist Lorenzo Tesler-Mabe Martin/Father Hayes/ Jill Wyness Hair and Makeup Artist Tony Koelwyn Theatre at UBC Audience Services Edward Andrea Rabinovitch Marketing and Jodi Margit Joan/Nellie/PTA Parent Communications Coordinator Marijka Asbeek Brusse Stage Management Linda Fenton-Malloy Web Developer Michelle Thorne Director Advisor Sarah Crauder Film Program Administrator Stephen Malloy MFA Directing Advisor Stuart McFarlane Film Equipment Manager Emily Dotson Scenic Designer Brad Powers MFA Technical Direction Advisor Dmitri Lennikov Visual Resource Librarian Darci Carrier Assistant Scenic Designer Patrick Rizzotti Scenic Design Advisor Jane Li Assistant Scenic Designer Robert Gardiner Lighting and Production Advisor Carmen Alatorre Costume Design Advisor Rachel Shaen Lighting Designer CREATIVE COLLABORATORS John Tolton Assistant Lighting Designer Patrick Pennefather Sound Design Advisor Fiona Fan Assistant Lighting Designer Gayle Murphy BFA Acting Advisor Jonathan Wood Graphic Designer Jacob Wan Assistant Lighting Designer Sheila Langston Vocal Coach Javier R. Sotres Photography Advance Evan Ren Head Electrician Raphael Wagner Singing Coach Promotional and Dress Rehearsal Photography Amanda Parafina Lighting Board Programmer Adam Henderson Dialect Coach Sherry Yang Showcase Display Thea Liu Lighting Board Operator Cathy Burnett Movement Coach Ryan McNeill Bolton Fight Director Alice Jiang Costume Designer Mike Kovac Fight Director SPECIAL ACKNOWLEDGEMENTS Jacqueline Wax Assistant Costume Designer Lianne Crowe Cultural Consultant Sherry Yang Assistant Costume Designer Willow Eady Cultural Consultant Dr. Kirsty Johnston, Susanna Uchatius, Theatre Terrific, Carrie Torrans, The Cerebral Palsy Yuyu Ogido Sound Designer Association of British Columbia (CPABC), STUDENT PRODUCTION CREW Dr. Rachel Sullivan, UBC Equity and Inclusion, Chloe Wai Assistant Sound Designer Ariana Barer, UBC Sexual Violence Prevention The sets, props, costumes and lighting are built, and Response Office, Ofelia Paskalidis, Emily Spencer Stage Manager painted and installed by UBC Theatre Design and Wendy Thorne, Claire Fogal, Arts Club Theatre, Megan Fass Assistant Stage Manager Production students. Vancouver Opera, UBC Opera, Tomás Balli, UBC BaoLinh Le Assistant Stage Manager Hard Landscape, Ryan Yee Hannah Abbott, Samaya Al Daker, Luis Bellassai Madeleine Molgat Laurin Technical Director Gauto, Darci Carrier, Erika Champion, Emily Chen, Joy Cheng, Kallista Dittrick-Katevatis, Fiona Fan, Megan Fass, Zoe Feng, Liz Gao, Gemma Harris, Yuki Hori, Mai Inagaki, Anita Jian, Alice Jiang, Mikaela Joy Kawaley-Lathan, Brenna Kwon, Zac Labrie, Samantha Lam, Rebekah Lazar, BaoLinh Le, Zach Levis, Candice Honeycutt-Li, Jane Li, Yiyan Li, Xiaoyuan Lin, Thea Liu, Crystal Luo, Zhuoyan Ma, Mahshid Maleki, Owen Marmorek, Celeste Mol, Madeleine Molgat Laurin, Camila Muñoz Becerra, Yuyu Ogido, Sandy Park, Andrew Pye, Evan Ren, Mira Robinson, Alexandria Rodriques, Rebecca Scherman, Rachel Shaen, Rachel Shim, Amber Smith, Rafael Souza Lopes, Emily Spencer, Betsy Sun, Vanessa Tang, Si Ying Rachel Tao, John Tolton, Cecilia Vadalà, Chloe Wai, Jacob Lok- Ting Wan, Lochlyn Walsh, Jacqueline Wax, Celina Wong, Kai Wong, Rachel Wong, Sherry Yang, lion in the streets Yuliya Yugay, Yuxin Zhang, Angela Zhu 7 CAST BIOGRAPHIES

Sophia Paskalidis Isobel Monica Bowman Lily/Ellen Sophia Paskalidis is in her fourth year of the BFA acting Monica is in her third year of the BFA Acting program. For program. For UBC: Much Ado About Nothing (Hero), The UBC: Secrets (Ensemble), Book of Days (Sharon Bates), Crucible (Tituba), The Shallow End (Becca), Hotel Amore Festival Di’Commedia (Isabella), Sexaholics (Juliet). She (Francesca), The Hot L Baltimore (The Girl). Other theatre has worked in the film industry for the last 2 years, having credits: The Secret in the Wings (Ensemble), Romeo and the privilege to work on commercials, shorts, music videos, Juliet and Zombies (Juliet), A Midsummer Night’s Dream as a voice over artist and on independent films. (Hermia), The Edge Project 5 (Ensemble), A Hairy Tale (Evil Queen). She has also worked in the film and television industry for the past seven years. Elizabeth Young Jill/Scarlett Elizabeth is in her final year of the BFA in acting program. Select theatre credits: Much Ado About Nothing, The Cassandra Bourchier Sue Crucible, The Shallow End, Hotel Amore (Theatre at UBC); Cassandra is in her final year of the BFA Acting program. House of Arms (Affair of Honor). She is a certified actor For UBC Theatre and Film: Much Ado About Nothing combatant through Fight Directors Canada as well as (Margaret/Sexton), Naked Cinema V: Exposed (Nicole), moonlights as a pirate in Granville Island. Thank you to The Crucible (Betty Parris/Sarah Good), Hotel Amore everyone, I’d be lion if I said I didn’t appreciate you. (Pantalone), Hot L Baltimore (Jackie). Staged Readings: The Wives (Indigo Child Productions), Heaven Born Wind (UBC). Other areas of study: Visual Arts, Art History, Drew Carlson Rhonda French language. She has previously performed and Drew is in her final year of BFA Acting. For UBC: RENT arranged music for UBC A Cappella. (Maureen) for Place Vanier Musical. For UBC Theatre: Instagram: @cass.bourchier HOT L BALTIMORE (April Green); Hotel Amore (La Signora Isabella); Great Slave Lake (Gretchen); She Kills Monsters (Vera); The Crucible (Susanna Walcott); Much Ado About Rafael Ruiz Isobel’s Father/Ron/Midnight Man About Nothing (Dona Antonia). Other credits: Chicago Rafael is in his final year of the BFA Acting program (Lipschitz) for Hot August Nights; Into The Woods (The at UBC. He has performed for UBC: Much Ado About Baker’s Wife) and Urinetown (Little Becky Two Shoes) for Nothing (2018), Tuesdays and Sundays (2018), She Kills KIDSTAGE. Monsters (2018), Great Slave Lake (2017), and Hotel Amore (2017). Look out for his other projects, Naked Cinema V: Exposed (UBC), Vamp (Too Fly Productions) in 2019. Laura Reynolds Joanne Laura Reynolds is in her third year of the BFA Acting program. For UBC: The Forgotten Proposal (Columbina), Hayden Davies Bill/Ben Book of Days (Ruth). Other theatre credits include: As Hayden Davies is in his third year of the BFA Acting You Like It (Rosalind), Fen (Shirley), DNA (Cathy), Guildhall program. For UBC: Book of Days (James), Festival di School of Music and Drama; Henry V (Fluellen), Carousel Commedia (Pantalone). For Bard on the Beach: Richard Theatre for Young People; Annie (Orphan), Gateway III (Prince Edward). Other theatre credits: Romeo and Theatre. Stage managing credits: Romeo and Juliet Juliet (Romeo), The Man Who Came to Dinner (Richard), (Place Des Arts), MilkMilkLemonade (Awkward Stage The Martian Chronicles (Spender). Film and television: Productions), An Arrangement of Shoes; William vs The Smallville (Defenceless kid). World (Vancouver Fringe).

Daelyn Lester-Serafini Laura/Sherry Anni Ramsay Rachel/Christine Daelyn is in her final year of the BFA acting program. For Anni is in her final year of the BFA Acting program. Select Arts Umbrella: Midsummer Night’s Dream (Hermia), Oh credits for UBC: Much Ado About Nothing (Ursula/ What A Lovely War (Ensemble). For UBC: Hot L Baltimore Conrad), David’s Redhaired Death (Jean), She Kills (Suzy), Hotel Amore (Arlecchino), She Kills Monsters Monsters (Evil Gabby), The Shallow End (Teresa), Hotel (Evil Tina), The Crucible (Mercy Lewis), and Much Ado Amore (Mrs. Pulcinella). Other select theatre credits About Nothing (Beatrice). For film: Anamnesis (SFU Film), include: The Shape of a Girl (Braidie), The Sound of Naked Cinema V (UBC). She is a recent graduate of the Music (Maria). Anni is the grateful recipient of the Joy Shakespeare Short Course through LAMDA. Even in the Coghill Award in Theatre and the Beatrice Johnson Wood darkest places there is always a light. Scholarship in Theatre.

Drew Ogle George Caleb Pleasure Scalato/PTA Parent/Rodney Drew Ogle is a third year student in UBC’s BFA Acting Caleb Pleasure is in his third year of the BFA Acting program. Born and raised in Vancouver, he is excited to be program. For UBC: Book of Days (Sheriff Atkins), Festival a part of UBC’s 2018-19 main stage season. For Awkward Di Commedia ‘18 (Il Dottore). Other theatre credits: Stage Productions: TITUS, the Light and Delightful Musical Singing in the Rain (R.F. Simpson), The Shakespeare Comedy of Titus Andronicus (Demetrius) and Cannibal! Stealer (Mr.Bass/Falconer). The Musical (Bell).

8 theatre at ubc CAST & CREATIVE TEAM BIOGRAPHIES

Connor Riopel David/Timmy/Michael Emily Dotson Scenic Design Connor Riopel is in his third year of the BFA Acting Emily is a first-year MFA Theatre Design and Production program. For UBC: Festival Di Commedia ’18 (Pulcinello), student. As a studio art student in Cleveland, Ohio, Book of Days (Reverend Bobby Groves). Other theatre focusing in fine art painting, drawing, and printmaking, she credits: A Short Trip Through the Complex (Jordan), Here became an award-winning artist. Continuing her studies in (Ensemble), Fools (Mishkin), The Romeo Project (Friar Paris, France, she returned to the States and applied her Lawrence), and These Things I Know (Himself). He has fine arts background to theatre and film. She has worked had a love for theatre his entire life and is thrilled to be as an artisan and costumer for films in Cleveland and as a pursuing his passion for performance. set designer across the U.S. She has recently completed her scenic painting internship with the Seattle Repertory Theater. UBC credits: Much Ado About Nothing (Scenic Lorenzo Tesler-Mabe Martin/Father Hayes/Edward Painter), Silent Night (Scenic Painter), and Especially Joy Lorenzo Tesler-Mabe is in his 3rd year of BFA Acting. For (Production Designer). UBC: Silence (Roger), The Forgotten Proposal (Silvio), Book of Days (Boyd Middleton), Secrets (Clive). Other theatre credits: Ashgirl (Sadness), The Crucible (Judge Danforth). Alice Jiang Costume Design Musical theatre credits: 9 to 5 (Franklin Hart), Thoroughly Alice Jiang is a fourth-year Theatre Design and Production Modern Millie (Trevor Graydon), Grease (Roger). student. Passionate about costume design for theatre, film and live performance, she is thrilled to have studied courses such as Costume Design I & II, Set Design I, Jodi Margit Nellie/PTA Parent/Joan Costume and Décor History, and Costume Build I and is Jodi is in her fourth year of the BFA Acting program. UBC taking more costume design courses to sharpen her skills. Theatre credits include: Much Ado About Nothing (Donna For UBC: Costume Build Member/Costume Designer Johnna), She Kills Monsters (Farrah the Fairy), Great Slave Assistant She Kills Monsters; and Costume Coordinator: Lake (Margaret), Hotel Amore (Stupino), Hot L Baltimore The Shallow End. Costume Crew member in multiple (Millie). Upcoming Film Credits include: Naked Cinema shows. V (Sara). Jodi has recently acquired her Fight Directors Canada Basic Certification for stage combat. She is the 2018 recipient of the Jessie Richardson Scholarship Rachel Shaen Lighting Design Award. Rachel Shaen is an MFA Lighting Designer and technician. She has mainly worked in Kingston with the Queens University Department of Drama and Music, Theatre Michelle Thorne Director Kingston, and Thousand Islands Playhouse. Select Michelle Thorne is an award-winning, multi-disciplined Lighting Design credits: Happy Days (UBC), Brave New theatre artist originally from Fort McMurray, Alberta. Playwrights, Initially Unconditionally, Unfamiliar, Heathers Thorne began her professional training at the Keyano the Musical (Juvenis Festival), Paper Series (5th Company). Visual and Performing Arts program and completed her Technician and Technical Direction credits: Kingston BFA in Theatre Performance from The University of Storefront Fringe Festival, Down Syndrome by The Dozen Lethbridge. The original Artistic Director and co-founder (Peerless Productions), End of The World Club (Queens of Theatre; Just Because, she directed Louis and Dave, School of Drama and Music), 4.48 Psychosis (Common The Most Massive Woman Wins, Fanny and Manny Tie Place). She is currently a stage technician at The Chan the Knot, The Awesome 80s Prom, The Fantastic Mr. Fox, Centre for the Performing Arts. and The Wrestling Play. Most recently Thorne led and directed Bugsy Malone Jr. for the Keyano Theatre Drama Force Summer Youth Intensive Program. Other directorial Yuyu Ogido Sound Design credits include Steel Magnolias (Keyano Theatre Stage 2 Yuyu Ogido from Tokyo, Japan, is a 4th year BFA Theatre Series), The Other Side of the Pole (Keyano Theatre), The Design and Production and Sauder Business Management Creation of the World (commissioned for the 2015 Arctic student. She has mainly worked in stage management and Winter Games), Great Slave Lake, and Tuesdays and sound design at UBC. Assistant Stage Manager (Wives and Sundays (UBC). Daughters), Assistant Sound Designer (The Crucible)

Emily Spencer Stage Manager Emily Spencer is a final-year BFA Theatre Design & Production student focusing on Stage Management Madeleine Molgat Laurin Technical Director and Production Management. Previous credits in Stage Madeleine is an MFA Candidate from Montréal with a Management include The Crucible (UBC, 2018), The focus in Technical Direction. Having started her training in Shallow End (UBC, 2017), In The Next Room (Ensemble Mechanical Engineering, she transitioned into performing Theatre Company, 2017), Les Belles-Soeurs (UBC, arts after completing her BEng at Concordia University. 2017) and Edward II (UBC, 2016). Credits in Production Madeleine has had the pleasure of working in the Scene Management include: Silence (UBC, 2018) and Sexaholics Shops for both Bard on the Beach and the Arts Club, (UBC, 2018). and continues as a welder for Bard on the Beach. For UBC: Assistant Technical Director (Wives and Daughters), Technical Director (The Crucible). She is the recipient of the Christopher Gaze Award in Theatre and the Bill Millerd Award in Theatre. lion in the streets 9

LE SOULIER BY DAVID PAQUET

February 27 ENGLISH — March 9, SURTITLES TUE, WED, 2019 THU & SAT.

TICKETS AVAILABLE AT SEIZIEME.CA

With the support of 2018–2019 OPERA UBC SEASON

ILLUSTRATIONS BY ROAN SHANKARUK

Kevin Puts Silent Night NOV 3, 8, 9 — 7.30 P.M. NOV 4 — 2 P.M. OLD AUDITORIUM

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Opera productions made possible with the assistance of The David Spencer Endowment Encouragement Fund and The Chan Endowment Fund of the University of British Columbia