MUCH ADO ABOUT NOTHING - UBC

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MUCH ADOABOUT NOTHINGby William ShakespeareDirected by Lois AndersonNovember 8—24, 2018Frederic Wood Theatre

CPHOTO BY TIM MATHESONst 2 4!juld t i c ketshiA holiday treat for the whole family!TICKETS AVAILABLE AT604-251-1363THECULTCH.COMNov 28, 2018–Jan 06, 2019

WELCOME FROMDEPARTMENT HEADSTEPHEN HEATLEYIn 1958, the year that our department was born, theStratford Shakespearean Festival was only five yearsold. From its very modest beginnings in a tent, thislittle festival in rural Ontario was already changing thecourse of history for this small town. That year, theStratford Festival presented its first ever production ofMuch Ado About Nothing. In 1958, the first theatreseason as a department featured classics like Peer Gynt,Mrs. Warren’s Profession, The Three Sisters. A note inone of the programs invited the audience to stay after the closingperformance for coffee and cookies (15 cents) and discuss the interpretationof the play. The theatre was in a makeshift Quonset Hut on University Blvd.Here we are sixty years later. The City of Stratford is now a cultural hub andan international destination for theatre lovers. The little department thatoffered coffee and cookies for fifteen cents now offers over 120 courses infive different programs in film and theatre from first year through to PhD.And in 2018, here we are revisiting Shakespeare’s masterful comedy, MuchAdo About Nothing in the purpose-built theatre we have called home since1963. Just as the theatre animates the City of Stratford, the Department ofTheatre and Film animates our campus.WELCOMEFROM PRESIDENTSANTA ONOIt gives me great pleasure to congratulate the Departmentof Theatre and Film on its 60th anniversary.Since the UBC Theatre Department was created in 1958,theatre and film studies have played an important role atthe University. Through its productions, its contributionsto critical studies, and through the generations of talentedtheatre and film students who have taken its courses andprograms, the department has greatly enriched thecultural life of the university, the province and the country.Again, congratulations, and best wishes for the next 60 years of theatreand film studies at UBC.Professor Santa J. OnoPresident and Vice-ChancellorThe University of British ColumbiaWelcome to the beginning of the Diamond Jubilee year for Theatre and Film.I hope you will help us celebrate by joining us at any and all of our eventsduring this important year.All the best,Stephen HeatleyProfessor and Department HeadDepartment of Theatre and FilmUBC’s Point Grey Campus is situated on thetraditional, ancestral and unceded territory ofthe henqeminem-speaking Musqueam people.There will be one fifteen minute intermission.3

NOTE FROMDIRECTORLOIS ANDERSONWhat a joy to work with this group of young peopleon Shakespeare’s Much Ado About Nothing. At a timewhen the world feels governed by greed and fear, howinspiring to delve into an exploration of “Love”, in all itsmanifestations.The Greeks had six different words for love; Eros (sexualpassion), Philia (deep friendship), Ludus (young playfullove), Agape (love for everyone), Pragma (longstandinglove), and Philautia (love of self). In this play, we can also add Christian charityto the list. When a community is founded on principles of love, it encouragesgrowth instead of isolation. Love is expansive.We have engaged in two experiments in this production. We have set theplay in 2018 to see how Shakespeare translates into today’s world. And wehave turned seven of Shakespeare’s original male characters into femalecharacters. As a result, we have lodged our story inside an Italian homerun by two fierce mammas; we’ve established a matriarchy in place of thepatriarchal structure of Shakespeare’s original play. Mary Beard, authorand classicist, describes matriarchal power as an action - “to empower all”,meaning the entire community.In this production of Much Ado we celebrate family, friends, and community.Welcome to the Venetian palazzo of Leonata and her sister Antonia.Come and spend a madcap weekend with us!Lois AndersonBA, BFA, MFA UBCSHAKESPEARE’SSTAGE:COLLABORATINGSTORY, AUDIENCE,AND VENUEMuch Ado About Nothing is one of Shakespeare’s few plays without a clearsource for the plot. Shakespeare would have had access to plenty of lovestories, however, similar to Much Ado. Chaucer’s Troilus and Criseyde isa possible inspiration for the love-scorning couple falling in love, similarlyto Benedick and Beatrice, while Ariosto’s fifth canto of Orlando Furiosoand Bandello’s 22nd Novella echo Hero’s accusation. While Shakespeare’stwelve comedies often intertwine the comedic and melancholic, Much Ado,in the combination of Beatrice and Hero’s plots, balances the dramatic andcomedic with a grace unique to his canon. This play is a New Comedy, a workcharacterized by rebelliousness and growth, as well as the triumph overthe established authority: youth over age, love over property pleasure overprudence. Written primarily in prose, the language of this love story is playful,rhetorically inventive, and richly metaphorical.In Elizabethan England, playwrights did not create their works independentlyfrom the people who would stage and enjoy them. They wrote for the venuesthey had available, whether the public playhouses or the court. They alsoworked with specific companies of performers, and it is possible to tracefrom playwright to playwright types of characters based on performersfor whose companies they were writing. Much Ado was not published until1600, two years after it was first performed by the Chamberlain’s Men. Wehave “foul papers” (generally accepted as Shakespeare’s manuscripts) forMuch Ado that list the famous clown William Kemp for the part of Dogberry,and Chamberlain’s Men actor Richard Cowley for Verges. The company’sperformers and their strengths, the number of boy-actors available forwomen roles, and other such practical concerns influenced the charactersin the scripts of the time. Theatre was also a business, and the success ofplays with their audiences affected directly how often they were performed;looking at Henslowe’s diary, a manuscript that is akin to a producer’sbookkeeping, we can see how the run of a play was determined by its successwith its audiences. Playwrights had to know their audience and speak to theirinterests if their shows were to be performed more than once—and if theyhoped to be commissioned again.In short, Shakespeare was writing for the conditions in which he wasimmersed, and the playwright’s intentions were intimately tied to hiscollaborators and audiences. Shakespeare’s sensitivity to theatre as acollaborative artistic form that must respond to its environment inspirescreators today—leading us to ask how his work can best speak to us asaudience members and contemporary artists. To re-evaluate his work is,in a unique way, to honour its core value.Luciana Silvestre FernandesMFA Candidate, Theatre DirectingSourcesBrown, Russel. The Oxford Original Illustrate History of Theatre.Oxford University Press, 2001.Greenblatt, Stephen; Walter Cohen, Jean E. Howard, Katherine Eisaman Maus, ed.The Norton Shakespeare Comedies. Norton and Company, 2008.Henslowe, Philip. Henslowe’s Diary, d.1616. A.H. Bullen, 1904.Thomson, Peter. Shakespeare’s Professional Career. Cambridge University Press, 2009.Schelling, Felix. Elizabethan Playwrights. B. Bloom, 1965.4theatre at ubc

Q & A WITH SET DESIGNERJACQUELINE GILCHRISTWhat was your creative process for the set design ofMuch Ado About Nothing?Before meeting with Lois Anderson, I pinged with the talk of trees andarbours in the script and imagined a natural set, with smaller moving piecesthat would help create the various settings. Lois then introduced herconcept and it necessitated a very different approach. I took my biggestpad of drawing paper and drew multiple images for the required settings. Iused rough sketches which allowed me to experiment and avoid growing tooattached to designs early on. There have been several stages of developmentsince then, but I can still see much of my early sketches in the final design.What inspired you for this show?Lois wanted to have more female characters than the script traditionallycalls for and she spoke about the journey of the male characters - who comefrom a very masculine, ‘bro-ish’ world, and how they learn to understand andappreciate the women they claim to love. I wanted the set to reflect thesegender dynamics. I gave the outside spaces – the dock and the street – moretraditionally masculine shapes like sharp angles and triangles. In contrast, theinside space of the palazzo is the more traditionally feminine with circles andcurved lines.What are your aspirations professionally?I’m going to continue working as a freelance Costume and Set Designer. Inaddition to creating realistic designs, I would like to work on more shows thatinvite unusual, non-realistic sets and costumes; I like the innovation this typeof show allows, as well as to experience the audience’s reaction to a moreunexpected design.What’s next?After opening night, I’m taking the weekend off before striking costumesfor a staging of Billy Bishop Goes to War that I designed at Blue BridgeRepertory Theatre. I’m also starting on set decor and properties coordinatingfor a production of The 25th Annual Putnam County Spelling Bee (LanghamCourt Theatre) and costume designing for a production of That Elusive Spark(Langham Court Theatre). After that, I’ve been asked back to Blue Bridge todesign for their 2019 season – though I don’t know yet for which show(s). I’malso going to be finishing up my thesis for UBC on the process of designingfor Much Ado About Nothing.Another source of inspiration for this show was the many instances of falsityfound throughout the play: the use of masks, impersonation, Beatrice andBenedick lying to themselves about their feelings. The use of trompe-l’œiland forced perspective suggest reality in an unrealistic way and only offersurface while implying depth.Tell us about your history with theatre design?In my career, I’ve mostly been a Costume Designer with one of my favouritedesigns being the costumes for The Threepenny Opera (Phoenix Theatre). Thecostumes were a bit unusual; incorporating elements like cardboard, plasticand tape with traditional fabric pieces. I enjoyed creating these structured,non-realistic elements, and in some ways found it closer to scenic design. Thisencouraged me to continue studying and to focus more on set design duringmy time here at UBC.What has been the most unexpected discovery during the process?I’ve appreciated working with this creative team; the design meetings havebeen incredibly collaborative. We’ve been able to throw ideas at each otherand try things out. Lois and I had several meetings brain-storming how theboats should work: miming things, recruiting students to play with mock ups.Mai, the show’s Sound Designer, suggested ways that the actors couldinteract with the statue, which in turn, shaped the final design. It’s been work,but fun work.Costume Designs by Erica Sterrymuch ado about nothing5

DEPARTMENT OF THEATRE & FILMENDOWED AND ANNUAL AWARDSTHEATRE AND FILM SCHOLARSHIPSAND AWARDS 2018Graduate StudentsUndergraduate StudentsBeatrice Johnson WoodScholarship in TheatreAnni Ramsay, Year 4 BFA ActingJoy Coghill Award in TheatreBonnie Duff, Year 2 BFA ActingJohn Emerson MemorialScholarship in ArtsHannah Everett, Year 4 BFAActingEvelyn Harden Scholarship inActingDrew Carlson, Year 4 BFA ActingFilm Production Program 40thAnniversary Scholarship KincaidDow, Year 4 BFA FilmNorth Shore Studios Scholarshipin Film ProductionSam Mohseni, Year 4 BFA Film6Mark Harris Memorial ScholarshipSabrina Dang, Year 4 BA FilmJessie Richardson ScholarshipJodi Margit, Year 4 BFA ActingNeil Freeman MemorialScholarshipDaelyn Lester-Serafini, Year 4 BFAActingMichael McQueen ScholarshipAmanda Parafina, Year 4 BFADesign/ProductionDream Catcher Scholarship inTheatreKarthik Kadam, Year 3 BFA ActingDorothy Somerset MemorialScholarship in TheatreMarios Kallos, PhD TheatreIODE Fine Arts FoundationScholarshipYuning Liu, PhD TheatreJohn Brockington Scholarship inTheatreLuciana Silvestre Fernandes, MFATheatreNorman Young Scholarship inTheatreRafael Lopes Souza, MFA TheatreSydney J. Risk Award in DirectingMichelle Thorne, MFA TheatreErrol Durbach GraduateScholarship in TheatreMark Swetz, PhD TheatreBrian McIlroy Scholarship in FilmStudiesGabrielle Berry, MA Cinema andMediaStuart Keate ScholarshipMatthew Piton, MFA DesignBohemia Awards in Theatre andFilmEmily Dotson, MFA Theatre andJenny Larson, MFA TheatreFairchild Group ScholarshipTheresa Warbus, MFA FilmMr and Mrs. G.E. Poole AwardMatthew Tomkinson, PhD Theatretheatre at ubc

MUCH ADO ABOUT NOTHINGCAST & CREATIVE TEAMADVISORS AND PRODUCTION TEAMGray Clark BenedickDaelyn Lester-Serafini BeatriceMatthew Rhodes ClaudioSophia Paskalidis HeroRafael Ruiz Don PedroJodi Margit Dona JohnnaDrew Carlson Dona AntoniaTebo Nzeku Dona LeonataTomás Balli Post/Borachio/Friar FrancisCassandra Bourchier Maid 2/Margaret/SextonHannah Everett Gondolier/Girl at Party/Nun/VergesAnni Ramsay Gondolier/Ursula/ConradeElizabeth Young Maid 1/DogberryBorja Brown Production ManagerCam Cronin AdministratorKeith Smith Technical DirectorGemma Harris Assistant Technical DirectorJim Fergusson Stage and Lighting SpecialistLynn Burton Head of PropertiesLaura Katz Prop Shop Work LearnJodi Jacyk Head of WardrobeCharlotte Chang Costume Shop Work LearnTony Koelwyn Audience ServicesAndrea Rabinovitch MarketingShelby Shukaliak Marketing SupportMarijka Asbeek Brusse Stage ManagementAdvisorPatrick Rizzotti Scenic Design AdvisorEmily Dotson Scenic PaintingMadeleine Molgat Laurin Scene ShopMatthew Piton Scene ShopRobert Gardiner Lighting and Production AdvisorRachel Shaen LightingCarmen Alatorre Costume Design AdvisorPatrick Pennefather Sound Design AdvisorAlison Matthews Vocal CoachGayle Murphy BFA Acting AdvisorRaphael Wagner Singing CoachLois Anderson DirectorJacqueline Gilchrist Scenic DesignerErika Champion Lighting DesignerErica Sterry Costume DesignerMai Inagaki Sound DesignerAmanda Parafina Stage ManagerRebecca Scherman Assistant Scenic DesignerThea (Zifei) Liu Assistant Lighting DesignerRafael Souza Lopes Assistant Lighting DesignerJohn Tolton Assistant Lighting DesignerZach Levis Head ElectricianMahshid Maleki Light Board ProgrammerCharlotte Chang Assistant Costume DesignerLiz Gao Assistant Costume DesignerOwen Marmorek Assistant Sound DesignerEmily Chen Assistant Stage ManagerLinh Le Assistant Stage ManagerZac Labrie Lighting Board OperatorOwen Marmorek Sound Board OperatorCandace Li Costume Run CrewAmber Smith Costume Run CrewCelina Wong Costume Run CrewYuka Hori Costume Run CrewFiona Fan Show Run CrewYiyan Li Show Run CrewCamilla Munoz Becerra Show Run Crewmuch ado about nothingSTUDENT PRODUCTION CREWThe sets, props, costumes and lighting are built,painted and installed by UBC Theatre Designand Production students.Hannah Abbott, Samaya Al Daker,Luis Bellassai Gauto, Darci Carrier,Erika Champion, Emily Chen,Joy Cheng, Kallista Dittrick-Katevatis,Fiona Fan, Megan Fass, Zoe Feng, Liz Gao,Gemma Harris, Yuka Hori, Mai Inagaki,Anita Jian, Alice Jiang,Mikaela Joy Kawaley-Lathan, Brenna Kwon, ZacLabrie, Samantha Lam, Rebekah Lazar, Linh Le,Zach Levis, Candice Li, Jane Li,Yiyan Li, Zifei 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,Lukya Rong, 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,Jacqueline Wax, Kai Wong, Rachel Wong,Sherry Yang, Yuliya Yugay, Yuxin Zhang,Angela Zhu,UBC DEPARTMENT OF THEATRE & FILMSTAFF AND ADMINISTRATIONStephen Heatley Department HeadCam Cronin Department AdministratorIan Patton Academic AdministratorZanna Downes Theatre and Film ProductionGraduate SecretaryKaren Tong Theatre and Film Studies GraduateSecretaryBorja Brown Manager, Theatre ProductionJim Fergusson Stage and Lighting SpecialistKeith Smith Stage and Lighting SpecialistLynn Burton Properties SpecialistJodi Jacyk Head of Wardrobe, Costume SpecialistTony Koelwyn Theatre at UBC Audience ServicesAndrea Rabinovitch Marketing andCommunications CoordinatorShelby Shukaliak Marketing AssistantKimira Bhikum Marketing InternCarina Ma Marketing ApprenticeLinda Fenton-Malloy Web DeveloperSarah Crauder Film Program AdministratorStuart McFarlane Film Equipment ManagerDmitri Lennikov Visual Resource LibrarianCREATIVE COLLABORATORSJonathan Wood Graphic DesignerEmily Cooper Advance Promotional PhotographyJavier Sotres Dress Rehearsal PhotographySherry Yang Showcase DisplaySPECIAL ACKNOWLEDGEMENTSUBC Opera, Vancouver OperaBard on the BeachArts Club TheatreOz and Gracie7

CAST BIOGRAPHIESGray Clark BenedickGray Clark is in his fourth year of the BFA Acting program.For UBC: The Crucible (Cheever), Hotel Amore (Dottore),Hot L Baltimore (Paul Granger). Other theatre credits: AndThen There Were None (Phillip Lombard), A MidsummerNight’s Dream (Lysander).Daelyn Lester-Serafini BeatriceDaelyn is ecstatic to be tackling this wildly fun show inher final year of the BFA Acting Program. Previous creditsinclude: A Midsummer Night’s Dream, Oh What A LovelyWar for Arts Umbrella, Hot L Baltimore, Hotel Amore, SheKills Monsters, and The Crucible for UBC. Film creditsinclude Anamnesis (SFU Film). She is a recent graduate ofthe Shakespeare Short Course through LAMDA, and wasthe 2018 recipient of the Neil Freeman Scholarship. Allora!Matthew Rhodes ClaudioMatthew is a fourth year BFA Acting student with aconcurrent Master of Management degree at the SauderSchool of Business. For UBC: The Crucible (ThomasPutnam), Great Slave Lake (Astor), Hotel Amore (Flavio),Edward II (Spenser), Crimp Shorts (3). Additionally, he haspreviously performed with UBC Players Club and UBCMusical Theatre Troupe. He’s also completed three yearsof training with Shakespeare as a Riotous Youth Intern atBard on the Beach. Twitter: @RhodesTheatreSophia Paskalidis HeroSophia Paskalidis is in her fourth year of the BFAActing program. For UBC: The Crucible (Tituba),The Shallow End (Becca), Hotel Amore (Francesca),The Hot L Baltimore (The Girl). Other theatrecredits: The Secret in the Wings (Ensemble), Romeoand Juliet and Zombies (Juliet), A Midsummer Night’sDream (Hermia), The Edge Project 5 (Ensemble), A HairyTale (Evil Queen). She has also worked in the film andtelevision industry for the past seven years.Jodi Margit Dona JohnnaJodi is in her fourth year of the BFA Acting program.UBC Theatre credits include: She Kills Monsters (Farrahthe Fairy), Great Slave lake (Margaret), Hotel Amore(Stupino), Hot L Baltimore (Millie). Film Credits include:The upcoming Naked Cinema V (Sara). Jodi has recentlyacquired her Fight Directors Canada Basic Certificationfor stage combat. She would like to thank everybody thathas worked so hard on this production.Drew Carlson Dona AntoniaDrew is in her final year of BFA Acting. For UBC: RENT(Maureen) for Place Vanier Musical. For UBC Theatre:HOT L BALTIMORE (April Green); Hotel Amore (La SignoraIsabella); Great Slave Lake (Gretchen; She Kills Monsters(Vera), and The Crucible (Susanna Walcott). Other credits:Chicago (Lipschitz) for Hot August Nights; Into The Woods(The Baker’s Wife) and Urinetown (Little Becky Two Shoes)for KIDSTAGE.Tebo Nzeku Dona LeonataTebo is a fourth year BFA Acting student. Her actingcredits include The Crucible (Judge Hathorne);The Shallow End (Addie); Hotel Amore (Columbina);Hot L Baltimore (April Green); UBC VDay: A Memory aMonologue a Rant and a Prayer (Ensemble); The UBCMusical Theatre Troupe’s fall production of Guilty Parties(Marnie).Tomás Balli Post/Borachio/Friar FrancisTomás Balli is a final year BFA Acting student fromMonterrey, Mexico. For UBC: Hotel Baltimore(Jamie), Hotel Amore (Capitano), The Crucible (FrancisNurse). Other Credits: the short film Luca (Luca) writtenby Maelina di Grasse. His first original one act playOur Place was produced for UBC’s Festival Dionysia(2017). He also trains and performs with Honey Co. andIllustrative Society in the dance styles of ContemporaryJazz and Hip Hop.Rafael Ruiz Don PedroRafael is in his fourth year of the BFA Acting programat UBC. For UBC: Tuesdays and Sundays (2018),She Kills Monsters (2018), Great Slave Lake (2017), andHotel Amore (2017).8theatre at ubc

CREATIVE TEAMBIOGRAPHIESCassandra Bourchier Maid 2/Margaret/SextonCassandra is in her final year of the BFA Acting program.For UBC Theatre and Film: Naked Cinema V: Exposed(Nicole), The Crucible (Betty Parris/Sarah Good), HotelAmore (Pantalone), Hot L Baltimore (Jackie). For UBCV-Day: The Vagina Monologues (Ensemble). StagedReadings: The Wives (Indigo Child Productions), HeavenBorn Wind (UBC). Other areas of study: Visual Arts, ArtHistory, French language. She has previously performedand arranged music for UBC A Cappella.Instagram: @cass.bourchierHannah Everett Gondolier/Girl at Party/Nun/VergesHannah is in her fourth year of the BFA Acting program.For UBC: Tuesdays and Sundays, She Kills Monsters,Great Slave Lake, Hotel Amore, Hot L Baltimore, EdwardII, and The Vagina Monologues (UBC VDAY). She internedwith the Riotous Youth of Bard on the Beach for threeyears, as well as completed the InTune Young CompanyIntensive with Touchstone. She is also a recipient of theJohn Emerson Memorial Scholarship.Anni Ramsay Gondolier/Ursula/ConradeAnni is in her fourth year of the BFA Acting program.For UBC: David’s Redhaired Death (Jean), She KillsMonsters (Evil Gabby), The Shallow End (Teresa), HotelAmore (Mrs. Pulcinella). Other select theatre creditsinclude: The Shape of a Girl (Braidie), The Sound of Music(Maria), Thoroughly Modern Millie (Dorothy). Anni isalso a graduate of the Theatre Junction Grandmentorship program.Elizabeth Young Maid 1/DogberryElizabeth is in her final year of the BFA in Acting program.Select theatre credits: The Crucible, The ShallowEnd, Hotel Amore, Hot l Baltimore (Theatre at UBC), Houseof Arms (Affair of Honor), Cinderella (Bristol University).She is a certified basic actor combatant through FightDirectors Canada, and moonlights as a pirate during thesummer on Granville Island.Lois Anderson DirectorLois has a BA (English Literature), a BFA(Acting) and anMFA (Directing) all from UBC. For UBC: Medea, Pride andPrejudice. For Bard on the Beach: On the Beach, Pericles,Lysistrata. For The Arts Club: Fun Home, My Granny theGoldfish, The Graduate, The Unplugging, It’s Snowingon Saltspring. Lois was an original member of The LeakyHeaven Circus, Cirque Poule and Flying Blind.Amanda Parafina Stage ManagerAmanda is a stage manager in her final year of the BFATheatre Design and Production program at UBC. Previouscredits: Incident at Vichy (Theatre in the Raw), Great SlaveLake (Theatre at UBC), God Is in My Typewriter (Women’sCorrectional Institutions of Canada Tour, with Anna-MariLaulumaa), Love and Information (Theatre at UBC),The Beaux’ Stratagem (United Players).Jacqueline Gilchrist Scenic DesignJacqueline is a costume and scenic designer completingher final year of the MFA in Theatre Design andProduction at UBC. Selected past credits: CostumeDesigner: Billy Bishop Goes to War, Swan Song {AndOther Farces} (Blue Bridge Repertory Theatre); Girl in theGoldfish Bowl (Langham Court Theatre); The ThreepennyOpera (Phoenix Theatre). Assistant Scenic Designer:TheCrucible, She Kills Monsters, Wives and Daughters (UBCMainstage); The Barber of Seville (Pacific Opera Victoria).jacquelinegilchrist.comErica Sterry Costume DesignErica Sterry is a costume designer in her second yearof the BFA Theatre Design and Production program.She has a diploma for Costuming for Stage and Screenfrom Capilano University and plans to graduate withtransferred credits from UBC in 2020. Previous creditsinclude costume design for: Tuesdays and Sundays (UBC),Sidewalkers (Storyhive short film), Narrow Lines (CapilanoUniversity short film) and assistant costume design forPilferage (Capilano University short film).Erika Champion Lighting DesignErika Champion is a lighting and sound designer in herfinal year of the BFA Theatre Production and Designprogram. She would like to thank everyone who supportedher while she took on this Shakespeare play. Past designcredits: Lighting: The Bridge (Vancouver Fringe Festival),Festival of Dionysia (UBC Players Club), Great Slave Lake& The Shallow End (Theatre at UBC); Sound: The Crucible(Theatre at UBC) and Doubt: A Parable (UBC PlayersClub). erikachampion.wixsite.com/portfolioMai Inagaki Sound DesignMai Inagaki is a fourth year BFA Theatre Productionand Design student at UBC. Previous credits: She KillsMonsters (Assistant Sound Designer, 2018); Wives andDaughters (Sound Designer, 2017); UBC MTT’s Curtains(Sound Designer, 2017); Edward II (Assistant SoundDesigner and Sound Operator, 2016).9

UBC2018–2019OPERASEASONILLUSTRATIONS BY ROAN SHANKARUKSilent NightKevin PutsNOV 3, 8, 9 — 7.30 P.M.NOV 4 — 2 P.M.OLD AUDITORIUMDie ZauberflöteWolfgang Amadeus MozartDon GiovanniWolfgang Amadeus MozartJAN 31 / FEB 1, 2 — 7.30 P.M.FEB 4 — 2 P.M.CHAN CENTRE FOR THE PERFORMING ARTSJUNE 20, 21, 22 — 7.30 P.M.JUNE 23 — 2 P.M.OLD AUDITORIUMStudent single tickets 153 Opera Subscriptions 42Tickets Hotline: 604.822.6725Tickets Online: www.ubcopera.comOpera productions made possible with the assistance of The David Spencer EndowmentEncouragement Fund and The Chan Endowment Fund of the University of British Columbia

Much Ado About Nothing. is one of Shakespeare’s few plays without a clear source for the plot. Shakespeare would have had access to plenty of love stories, however, similar to. Much Ado. Ch

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