Bard on the Beach

To do or not to do (the Bard)

Bard on the Beach’s Done/Undone, written by Kate Besworth, co-stars Harveen Sandhu and Charlie Gallant. (photo from bardonthebeach.org)

Throughout COVID, Vancouver’s Bard on the Beach has been unable to mount its popular summer festival at Vanier Park. However, it is easing its way back into the hearts and minds of Shakespeare fans with its innovative film production Done/Undone, written by Kate Besworth and starring Bard veterans Charlie Gallant and Harveen Sandhu, who take on multiple and diverse roles. The creative team includes community member Mishelle Cuttler as sound designer.

The film raises many probing questions. Is time up for Shakespeare’s works in the #metoo, woke, cancel culture era? Is there room today for plays written 400 years ago that can be interpreted as misogynist (The Taming of the Shrew), racist (Othello) or antisemitic (The Merchant of Venice)? Are the Bard’s works not just the reflections of a white, privileged male, written for colonial audiences to glorify British mores and culture? Or was English writer Ben Johnson, who died in 1637, right when he said Shakespeare was “not a man of his age, but a man for all times?” Should any form of Bardolatry continue or should Shakespeare and his folios be laid to rest as we move forward with contemporary artists telling contemporary stories?

To answer these questions, the film, set against the backdrop of a working theatre, uses snappy vignettes to showcase the pros and cons of the debate with interesting and perhaps unexpected results.

It opens as the two actors arrive at the theatre to prepare for a production of Hamlet, and the question first arises. Sandhu appears as Shakespeare to state that the purpose of writing is to “hold a mirror to humanity,” as she lists off the myriad subjects that the Bard explored – the sea, star-crossed lovers, a donkey in the arms of a fairy queen, an exiled warrior, an emperor of Rome, a triumphant king, how choices matter, and how governments fail us.

We then are spectators to a battle of wits between dueling professors, explaining and emoting from their respective lecterns. Gallant emphatically argues that Shakespeare is a product of a white, patriarchal society, using words as a tool of cultural imperialism written, originally, for white men to perform (women were not allowed to act in Shakespeare’s times, so male actors would take on the female roles) and that there is no place today for his work. Sandhu counters that Shakespeare’s texts still evoke emotions that resonate within the contemporary world – his topics of love, hate, greed and lust are timeless and embedded in the human character, she argues. She sees Shakespeare as remarkably progressive, with many of his characters in gender-fluid roles and with his portrayals of strong women – Rosalind, Cleopatra and Lady Macbeth, to name a few. His works can provide teaching moments, says Sandhu, giving the examples of Taming of the Shrew to show the harm that misogyny causes, King Lear, the scourge of elder abuse, and Othello and Merchant as vehicles to elicit tolerance and empathy in society.

Other vignettes in the film include a Bard board member – a neurosurgeon – who, during an opening night audience address, poignantly recounts the solace he found in the dark spaces of the theatre during a production of King Lear after the loss of a patient. He says that darkness was the escape from the reality of his grief.

Another scenario depicted is a couple taking in a performance of Romeo and Juliet, where the woman is clearly more into it than her male partner, who finds the Shakespearean language highbrow and difficult to understand.

Then there are the gothic, spectre-like creatures who denounce the Bard’s portrayal of women and Blacks in a macabre pas de deux; a talkback session after a Measure for Measure performance, where the female actor embarks on a scathing indictment of colour-blind casting; and the finale, in French, as the two actors attend an inventive Shakespeare festival in Montreal.

Shakespeare’s influence is global. At any given time, somewhere on the planet, one of his plays is being produced, either in its original form or as an adaptation. Do we judge him with our contemporary lens or should we remember the times in which he wrote and appreciate his genius? Done/Undone is a thoughtful and intelligent production that seamlessly blends the worlds of cinema and theatre, and considers some difficult questions. It leaves you to draw your own conclusions.

Done/Undone, with a run time of 76 minutes, is available for streaming online until Sept. 30. Tickets can be purchased at bardonthebeach.org or from the box office at 604-739-0559.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

Bard’s strong summer lineup

Jennifer Lines and Andrew McNee in The Taming of the Shrew. (photo by Tim Matheson)

Bard on the Beach celebrates its 30th season with an eclectic, nontraditional mix of three Shakespeare plays – a western Taming of the Shrew, a Bollywood All’s Well that Ends Well and Coriolanus, a political drama with gender reversal – and a stage version of the Oscar-winning movie Shakespeare in Love.

A Western-style Shrew

How do you present Shakespeare’s tale of a strong-willed woman brought to her knees by a tormenting husband in today’s #metoo world? Can you justify staging a misogynistic play in the 21st century? That was the dilemma facing director Lois Anderson, who played the female lead in 2012. Her solution? Take some liberties with the script – nip it here, tuck it there, add in some role and speech reversals, set it in the American Wild West of the 1870s. While purists may bemoan the surgery, there is a lot to like about this production.

In Shrew, Lucentio (Kamyar Pazandeh), the son of a wealthy merchant from Pisa, comes to Padua to study and is smitten by Bianca (Kate Besworth), the lovely younger daughter of Madam Baptista (Susinn McFarlen). He is resolved to marry her but the good Madam insists that her older daughter, Katherine (Jennifer Lines), must be married off first. Unfortunately, Kate has the reputation of being an über shrew and none of the local men sees her as wife material. Enter Petruchio (Andrew McNee), a down-on-his-luck Veronan who has come to Padua to “wife it wealthily” and sees Kate (and her dowry) as both a challenge and an answer to his prayers.

Their first meeting is a fiery battle of evenly matched wits and an insight into things to come as the “taming” journey begins from a spontaneous marriage proposal, through the outlandish wedding to the honeymoon in a canvas tent on the range. The scene with Petruchio’s men lounging around the campfire singing in harmony about tumbleweed is a harbinger of Kate’s metamorphosis from the shrew to the good wife.

Meanwhile, back in Padua, now that Kate has been married off, Bianca’s admirers are set to woo her. Lucentio and Hortensio (Jewish community member Anton Lipovetsky) disguise themselves as tutors to vie for her affections. Lucentio wins the battle of the swains, the couple elopes and Hortensio consoles himself by marrying a wealthy widow. Kate and Petruchio return to Padua to celebrate the nuptials and a wager is made among the three grooms as to which wife will be the most obedient and come when called. Although Kate is the one who appears to obsequiously respond, she makes her final exit with a bang.

Lines is stellar as Kate. We see her feisty side when she lassoes her sister Bianca and drags her around the room, when she throws a flowerpot out of a window onto a mocking crowd below and when she breaks a lute over Hortensio’s head – Lipovetsky plays the part with great comedic timing. We also see Kate’s more vulnerable side, as she sits alone contemplating her spinsterhood and what is, in essence, the bullying she endures from the townsfolk.

Petruchio’s character has been made into a kinder, gentler soul, more palatable to today’s sensibilities, but the nice guy doesn’t always mesh with the mean one Shakespeare wrote. That said, McNee is strong in his portrayal and you cannot help but like him. It helps that the chemistry between the two leads is palpable – their characters are outsiders who have finally found their soul mates and revel in the discovery.

The production values are high for Shrew. Mara Gottler has done a stellar job with the costumes, the colourful frocks worn by the women, the cowboy dusters and the urban togs of the localites. Cory Sincennes’ set is simple, with the opening scene of Padua City’s main street readying for a summer fête easily morphing into the Baptista sitting room or a saloon. Gerald King’s lighting design and Malcolm Dow’s western sound design, replete with sounds of galloping horses in a very funny pony express scene, complete the theme.

This Shrew is certainly worth seeing but it would have been better with the original script, acknowledging the culture of the Elizabethan period regarding the treatment of the “fairer” sex and opening the dialogue about how far women have come in the past 400 years and how much further there is to go. After all, you don’t take the antisemitism out of Merchant of Venice or the elder abuse out of King Lear – and you should not take the misogyny out of The Taming of the Shrew. Shakespeare’s works, warts and all, should be looked at through a 16th-century lens, not a modern one.

The Bard in India

photo - Edmund Stapleton and Sarena Parmar in All’s Well that Ends Well — Edmund Stapleton and Sarena Parmar in All’s Well that Ends Well. *(photo by Tim Matheson)*

All’s Well that Ends Well defies classification into one of Shakespeare’s genres – comedy or tragedy. Bard on the Beach plays it as the former and it pays off, with an audience-pleasing feast of colour, music, bhangra dancing and swordplay.

The setting is 1946 India in a country on the cusp of independence from British rule prior to the partition with Pakistan, which divided the country into Hindu and Muslim nations. The story revolves around Helena (Sarena Parmar), an upper-class Hindu physician’s daughter and ward of the aristocratic British Countess (Lucia Frangione), who falls in love with the Countess’s soldier son, Bertram (Edmund Stapelton). Bertram is dismissive of Helena, considering her beneath his station.

However, Helena is determined to have him. The Viceroy (Bernard Cuffling) is ailing and near death. Helena, remembering her now-deceased father’s various remedies, offers to treat the Viceroy in exchange for the right to marry any man of her choosing. But, while she gets her wish and Bertram is forced to marry her, he abandons her to go to battle. He leaves behind a letter stating that he will not live with Helena as her spouse until she retrieves a ring he is wearing and bears him a child.

In Delhi, Bertram meets virginal but coquettish Diana (Pam Patel) and seduces her (so he thinks) but Helena has previously met with her and made plans to trade places with Diana in the bed chamber. This deception allows her to meet Bertram’s conditions and finally convince him that she is worthy of him – although why she would want such a cad is beyond comprehension.

Helena’s journey of self-discovery is symbolized by her sartorial choices, as she changes from Western garb to a traditional sari by the end of the play, paralleling the Indian journey from colonization and British rule to independence.

It is nice to see the diversity of cast in this production and the use of Hindi dialogue, particularly by Diana’s mother, the widow (Veenesh Dubois). Parmar is lovely as Helena, Cuffling a grouchy but avuncular Viceroy. David Marr as Lafeu, the minister, is hilarious and Jeff Gladstone as Parolles, one of Bertram’s military mates, steals the show with his slapstick antics. Newcomer Patel as Diana is a breath of fresh air. The ensemble dancers under the direction of choreographer Poonam Sandhu and the two Gurkha guards, Munish Sharma and Nadeem Phillip, bring authenticity to the onstage movement.

This show is all about the visuals – the set, the costumes, the dancing and the lighting. Kudos to costume designer Carmen Alatorre for her stylish choices and to set designer Pam Johnson for the stunning terracotta arched set, which transitions from a palatial Delhi home to a Punjabi marketplace brimming with colour and activity. Co- directors Rohit Chokhani and Johnna Wright, with their talented cast and crew, have created a gem. This fusion of East meets West is a winner.

Fall for Shakespeare

photo - Charlie Gallant, left, and Anton Lipovetsky in Shakespeare in Love — Charlie Gallant, left, and Anton Lipovetsky in Shakespeare in Love. *(photo by Tim Matheson)*

As director Daryl Clonan – who helmed last year’s hit, As You Like It, Beatlemania-style – said to the opening night crowd of Shakespeare in Love, this play is a love letter to the theatre. Not only that but it is great fun. The costumes, the acting, the set, the ambience, all do honour to its namesake 1998 film starring Joseph Fiennes and Gwyneth Paltrow. The movie took the cinematic world by storm, winning seven Oscars, including best picture, and this summer’s stage version is set to wow Vancouver audiences.

The story is set in period, the early 1600s. The Bard (dashing Charlie Gallant) is suffering from writer’s block as he works on a new play, Romeo and Ethel and the Pirate’s Daughter. His inspiration ultimately arrives in the form of muse Viola De Lesseps (Ghazal Azarbad), the daughter of a wealthy merchant, who dreams of acting on stage. However, as women were not allowed thespian careers at that time, she has to disguise herself as Thomas Kent in order to audition for Shakespeare’s new play. As Kent, she gets the part of Romeo.

Meanwhile, Shakespeare meets Viola and falls for her – and she for him, although she has been promised to Lord Wessex, a nasty fortune-hunting aristocrat who plans to whisk her away to his family’s Virginia tobacco plantations.

This show has something in it for animal lovers (the dog Spot is a scene stealer), movie buffs and, of course, Shakespeare mavens, who will delight in identifying the various lines from the Bard’s repertoire, the play-within-a-play, mistaken identities, swordplay, a balcony scene, an in flagrante delicto moment and more.

The ensemble cast is terrific and Gallant and Azarbad are sublime in their portrayals of the two lovers, who enjoy some steamy moments behind the bed curtains. Jennifer Lines has a small but memorable role as a regal and stately Queen Elizabeth I. Mention must also be made of newcomer Jason Sakaki, who plays Sam, the young boy who plays Juliet until opening night, when his voice changes, giving Viola a chance to tread the boards without hiding her gender. Kit Marlowe (Austin Eckert), one of Shakespeare’s competitors, has been given an enhanced role in this rendering and he helps Shakespeare muddle his way through Sonnet #18: “Shall I compare thee to a summer’s day….”

Four Jewish community members are involved in this production. Warren Kimmel – last seen at Bard as Shylock in The Merchant of Venice – plays Fennyman, a local impressario who takes a share in one of Shakespeare’s plays and, while it is a small role, Kimmel plays it to the comedic max. Anton Lipovetsky makes the unctuous groom Lord Wessex utterly repellent, Mishelle Cuttler provides a potpourri of baroque melodies as sound designer and musical director, and Tara Cheyenne Friedenberg’s work as movement coach adds energy and playfulness, as it does in The Taming of the Shrew.

Set and costume designer Cory Sincennes once again keeps the set simple, a stark sepia-coloured Globe Theatre, but goes all out on a colourful feast of costumes.

This will likely be the hit of the season.

Three of the four Bard productions are up and running; Corialanus opens Aug. 21. For the schedule and tickets visit bardonthebeach.org or call 604-739-0559.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

Eclectic mix of plays at Bard

Left to right are Jennifer Lines, Quelemia Sparrow and Marci T. House, who form part of the cast of Lysistrata. (photo by David Cooper)

At Bard on the Beach this summer, there is an eclectic mix of plays. There is Macbeth, set in its proper period, which runs in repertory on the BMO Stage with a Beatlemania version of As You Like It. On the more intimate Howard Family Stage, there is an experimental gender-role reversal take on little-known Timon of Athens and Lysistrata, a somewhat X-rated farcical romp through an ancient Greek tale, with a contemporary twist.

For Lysistrata, University of Victoria professor Jennifer Wise (Canadian Jewish Playwriting Competition winner) collaborated with director Lois Anderson to adapt Aristophanes’ 411 BCE comedic protest play about a group of Athenian and Spartan women who, tired of their husbands’ endless war-mongering, reluctantly decide to withhold sex until the men vow to give up fighting and stay at home with their families. You can probably guess what ultimately happens. But, to get there, the audience is led through a Monty Python meets Saturday Night Live series of misadventures replete with double entendres, an interesting use of plastic pool noodles and plenty of rollicking action.

The play’s backstory is Bard’s scheduled production of an all-female Hamlet that morphs into a dramatis interruptus as the company decides, at the last minute and with profuse apologies to the audience and artistic director Christopher Gaze, to stage Lysistrata this one night only to protest the pending rezoning of Vanier Park to make way for a shipping terminal. This leads to a lot of backing-and-forthing through ancient Greece and modern-day Vancouver interspersed with the ever-sublime Colleen Wheeler, as Hamlet, trying to get her “to be or not to be” soliloquy in, despite the change in plans, as she hauls “poor Yorick’s skull” around the set.

This is truly an ensemble cast and every member shines, but special mention must be made of Luisa Jojic’s role as the eponymous ring leader, Jennifer Lines as Mother Earth and Quelemia Sparrow’s poignant performance as an indigenous actor.

Mention must also be made of the two male artists (Sebastien Archibald and Joel D. Montgrand) who, as uniformed police officers, “stop” the performance to arrest one of the actors – who has defaced the rezoning signs and plastered graffiti all over the crab sculpture in front of the Planetarium – for public mischief. It all seems very real and is very funny, especially since one of the cops plays Wheeler’s husband, Ross.

In addition to Wise, other Jewish community members play prominent roles in the production. Mishelle Cutler makes her Bard debut as music director and one-woman orchestra. She uses 1930s Weimar cabaret-style music for the contemporary scenes, and opera and choral works for the more classic Greek theatre bits. Choreographer Tara Cheyenne Friedenberg takes that music and provides novel dance moves, especially for the quirky geriatric men versus women Athenian reel.

In keeping with the environmental theme of the night, the costumes and accessories are simple, to give credence to the improvised nature of the show. Head gear is made of hand bags, recycled water bottles and paper toilet rolls, a Starbucks cup does double duty as a wine chalice, costumes made from curtain rods and drapes (à la Carol Burnett’s iconic Gone With the Wind outfit) mix in with the actors’ own street clothes.

Ultimately, this mélange of Shakespeare, Greek theatre and contemporary activism should resonate with all of us, as we grapple with the reality of development in this city and its impact on our heritage and our way of life. While this show is a lot of fun, it may not be suitable for children under the age of 13.

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Sometimes, you have to take risks with Shakespeare and director Meg Roe certainly does so with this adaptation of Timon of Athens. She admits in her notes that it is a “difficult play” and that it may not have been written solely by the Bard. It is the tale of a wealthy Athenian who wines and dines his friends and showers them with expensive gifts until he gets into financial difficulty. When he approaches those friends for help, they refuse. This sends him into a rage and, ultimately, to his death.

In the original version, the cast is predominantly male. In this adaptation, it is 2018, the set is a high-end condo in Vancouver and the cast is reminiscent of the Real Housewives women – uber wealthy, stiletto-heeled and shallow, constantly on their pinging/chirping phones.

Wheeler is sublime in her role as Timon and her manic meltdown into madness alone is worth the price of a ticket. She literally destroys the set. You have to give kudos to the stage crew, who have to rebuild the set for every performance, and to the costumers, who have to replace her white pantsuit every show. The set is stylish and sleek and the couture frocks divine. But, in the end, the basic takeaway is that money can’t buy you friends.

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This summer’s Macbeth is the way Shakespeare intended it to be – in its proper Elizabethan period, with a stark set and eerie smoke and lighting effects. Perfect for a tale of greed, lust for power and revenge.

Early in the play, Macbeth (Ben Carlson) encounters three witches (the ones with the famous brew that includes the “liver of a blaspheming Jew”) who predict that he will be king of Scotland. Once Lady Macbeth (Moya O’Connell) hears of this, she sets out to convince her husband to murder King Duncan when the king visits their castle so that he, Macbeth, can reign. And so begins their downward spiral towards murder, death, destruction and madness.

Carlson and O’Connell are the crème de la crème of Canadian acting and exude an intense chemistry as the plotting Scots. Special mention must be made of Andrew Wheeler as a gruff Macduff and Craig Erickson as a ghostly Banquo.

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Bard’s As You Like It is the must-see show of the summer. It is definitely a crowd-pleaser. And you will want to see it over and over again. Director Daryl Cloran has taken out half the Shakespearean text and inserted 25 of the Beatles’ top hits where appropriate in this tale of four pairs of young lovers (and the obstacles in their paths) so that, when one of the pairs, Rosalind (Lindsey Angell) and Orlando (Nadeem Phillip), locks eyes the for the first time, he breaks out in, “She loves you, ya, ya, ya.” Every situation easily morphs into a Beatles’ moment through songs like “Help,” “I Want to Hold Your Hand,” “Eight Days a Week” and so forth. The 1960s setting is split between urban Vancouver and the Okanagan, where various characters are exiled by the new duke on the block. There, in the wilderness, the four love stories unfold.

In addition, there is a pre-show display of Wildcat Wrestling, a psychedelic VW van parked on stage, a terrific four-piece band led by musical director Ben Elliott who does double duty as love-struck Silvius and is one half of a memorable and raunchy pas de deux with Jojic as Phoebe the shepherdess. That girl can belt out a song.

The standouts are the protagonists Angell and Phillip – they both sing and dance up a storm – Kayvon Khoshkam, who is simply terrific as the wrestling master of ceremonies and then later as the court fool, Touchstone, and Ben Carlson who, as the stereotypical beatnik, intellectual elitist, gives the audience a new take on the “all the world’s a stage” speech.

This is a fast-paced, fun night of music, song and dance that will have you humming these tunes all the way back home. Even old Will himself is probably rocking in his grave over Stratford-upon-Avon way.

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Bard on the Beach runs to Sept. 22. For tickets to any of the shows and more information, go to bardonthebeach.org or call the box office at 604-739-0559.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

Modern-day Merchant

Warren Kimmel (Shylock), left, with Charlie Gallant (Bassanio) in Bard on the Beach’s Merchant of Venice. (photo by David Blue)

It is always hard as a Jew to watch Shakespeare’s Merchant of Venice, which has been characterized at one end of the spectrum as purely antisemitic and at the other as sympathetic to the plight of outsiders. Each vicious epithet hurled at Shylock, the Jewish protagonist, hits you in the gut like a ton of bricks. However, the play has to be considered in the context that Shakespeare likely had never even met a Jew.

Jews were expelled from England in 1290 and not invited back until the 1650s, by Oliver Cromwell. England was judenrein (“free of Jews”) for almost 400 years. Merchant was written between 1594 and 1599. How, then, could Shakespeare write such virulent diatribes against Jews? Was he influenced by the zeitgeist of his time or was he trying to preach a morality lesson to Elizabethan audiences? Bard on the Beach takes on the daunting task of presenting this “sinister parable of our times,” as director Nigel Shawn Williams calls it in his director’s notes.

The story revolves around Bassanio (Charlie Gallant), a Venetian lord and bankrupt fortune hunter, who needs 3,000 ducats (apparently close to three-quarters of a million in today’s dollars) to woo Belmont heiress Portia (Olivia Hutt) so that he can wed wealthily. His friend, Antonio (Edward Foy), a successful shipping merchant, urges him to borrow the sum from Shylock (Jewish community member Warren Kimmel) and agrees to stand surety for the loan. Shylock, who has been humiliated and abused by Antonio and his ilk, sees an opportunity for revenge and agrees to lend the money on the condition that if there is a default he gets a pound of Antonio’s flesh. Antonio’s ships run aground, he cannot repay the loan and Shylock demands his bond in a dramatic court room scene that includes the “Quality of Mercy” speech and, unfortunately, a not-so-happy ending for Shylock.

Fast-forward several centuries and enter cosmopolitan Venice as presented in Bard’s contemporary take on this play. It is a world inhabited by self-centred metrosexuals with a sense of entitlement, where money and power carry the day. These guys are not very nice and anyone who does not fit their worldview is an outsider deserving of contempt. The play opens with a frenetic scene as actors bustle to and fro. Shylock enters the melee, is tripped by Antonio and falls flat on his face amid the jeering crowd – a harbinger of what is to come.

I have seen all four of Bard’s productions of Merchant since it was first presented in 1996 – this one raises the bar, although there are some shaky bits along the way. While purists decry taking Shakespearean works out of period, putting Merchant in a contemporary business setting full of suits will resonate with audiences.

photo - Warren Kimmel is sublime in his dignified portrayal of Shylock in Bard on the Beach’s Merchant of Venice — Warren Kimmel is sublime in his dignified portrayal of Shylock in Bard on the Beach’s Merchant of Venice. *(photo by David Blue)*

Despite the fact that I cringed every time Shylock was spat upon or called a Jew dog, I was moved by Kimmel’s “Hath a Jew not eyes” soliloquy, his heartbreak on learning that his daughter Jessica (Carmela Sison) had eloped with gentile Lorenzo (Chirag Naik), his soulful rendition of the Kaddish and his isolation as he sat alone in the courtroom facing his antagonists. Kimmel is sublime in his dignified portrayal of Shylock. You really care about what happens to him.

While Antonio is the merchant of Venice and Shylock the victim, this Bard version is very much about Portia and her plight as a woman facing stereotypical and misogynistic restrictions. We first see this when she has to endure the indignity of being the prize (wife) in a game devised by her now-deceased father for three would-be suitors. Each has the chance to pick one of three caskets (gold, silver and lead) that contains her photograph. The first two, Prince of Morocco (Nadeem Phillip) and Prince of Aragon (Paul Moniz de Sa), are brilliant in their cameo roles. In other productions, they are played as buffoons. Here they are elegantly dressed but smarmy and unctuous and, thank goodness, ultimately unsuccessful in their casket choices. Then along comes Bassanio, who picks the right casket (“all that glimmers is not gold”) and wins fair lady.

Portia’s next trial is the real one, where she disguises herself as a young lawyer and listens carefully to Shylock’s pleas for justice. It is in this scene that Hutt truly shines as the quick-witted and resourceful heroine Shakespeare intended her to be.

As good as the production is, there are some problems. Many of the actors spend a lot of time yelling their lines, which is distracting. I was offended by the Nazi salute Solania (Kate Besworth) made when mocking Shylock. It adds nothing to the story and should be taken out. There is a short homoerotic scene between Bassanio and Antonio, including a full-on mouth-to-mouth kiss, that seemed out of place, and Shylock’s forced conversion to Christianity is played down – he is told he must convert and simply walks off the stage, leaving the audience to wonder what happened to the bankrupt and humiliated moneylender.

Production values are high, including some interesting freeze-frame moments. The stage is at floor level, making for a very intimate audience experience. The stark minimalist set allows the focus to be on the dialogue. High-tech gadgets like cellphones, laptops and iPads seamlessly fit into the mix, and Drew Facey’s stylishly chic costumes are structured and fitted for urban Venice, and softer and looser for coastal Belmont. Conor Moore’s projections, Adrian Muir’s lighting and Patrick Pennefather’s sound, a mélange of contemporary and classical music, provide the finishing touches.

This is an intelligent, moving production. See it, consider it, discuss it. Tickets for this and other Bard shows can be purchased at bardonthebeach.org or 604-739-0559.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

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Also on stage …

Running on the Main Stage at Bard on the Beach is Much Ado About Nothing with The Winter’s Tale. Director John Murphy has transported the comedy of Much Ado into a 1950s Italian film studio. Think Fellini, Sophia Loren, Vespas and fabulous cocktail dresses.

The story is boy meets girl, they profess to hate each other and then realize (with a little nudging from family and friends) that maybe they are right for each other. Of course, to get to the final epiphany, there are lots of misadventures, including mistaken identities, a young bride left at the altar and a faked death. As the program guide notes, “Friendships are tested, secrets are revealed but will love conquer all?” Amber Lewis and Kevin MacDonald are stellar as in the main roles of Beatrice (one of Shakespeare’s feistiest female characters) and Benedick. Community member Tara Cheyenne Friedenberg’s choreography is featured in this fun foray.

The Two Gentleman of Verona, which is on the Howard Family Stage, is also very good. Friedenberg choreographed some of the movement in this production as well, and her work is lovely. This production also stars a real dog, a basset hound named Gertie, who almost steals the show without doing anything but coming out on stage and mournfully looking at the audience.

– TK

Kimmel plays Shylock

Bard on the Beach’s The Merchant of Venice is set in modern times, where the character of Shylock, played by Warren Kimmel, is a high-powered businessman. (photo by David Cooper)

Among the Shakespearean works being presented by Bard on the Beach this season is The Merchant of Venice, which is being complemented with a short run of local playwright and Jewish community member Mark Leiren-Young’s one-man show Shylock. Fellow Jewish community member Warren Kimmel has taken on the daunting task of playing Shylock in both the main production and its eponymous companion piece.

There is continuing controversy over whether or not theatrical companies should produce Merchant. There are those who say the play should be relegated to the dustbin of history while others champion it as an opportunity for meaningful dialogue about outsiders and otherness.

In Merchant, Bassanio, an eligible Venetian bachelor, wishes to “wed wealthily” and woo the beautiful heiress Portia. To do so, he needs money. Enter his friend, Antonio, a successful merchant of Venice, who can guarantee a loan. Jewish moneylender Shylock is approached. Shylock, who has been ridiculed and despised by the citizens of Venice, especially Antonio, sees an opportunity for revenge and agrees to make the loan in return for Antonio’s bond, which, if forfeit, would give Shylock a “pound of Antonio’s flesh.”

Meanwhile, Portia’s father has devised a test for eligible suitors to win his daughter’s hand. The antics of the three suitors vying for the prize provide some comic relief for the tragedy that follows. Bassanio wins his lady but learns that Antonio’s ships have all been wrecked at sea and that the merchant cannot pay back the loan. Shylock is insisting upon his “pound of flesh” so Bassanio makes haste back to Venice.

This leads to a powerful courtroom scene where Portia, disguised as a young lawyer, makes an emotional plea in her “quality of mercy” speech. However, Shylock insists upon his legal rights and wins the suit. Just as he is about to take his “prize,” Portia points out to him that he is restricted to exactly one pound of flesh and not one drop of Christian blood is to be shed, or else Shylock will forfeit his own life. Shylock agrees to walk away but is nonetheless systematically stripped of all his possessions and forced to convert to Christianity.

“I was very flattered when Christopher Gaze, the artistic director, asked me to play Shylock in both plays,” Kimmel told the Independent. “This will be my Bard debut and the first time that I have played a really serious dramatic role in Canada, as my background has mostly been in musicals.”

Kimmel, born in South Africa, was trained in classical theatre at the Royal Academy of Dramatic Art in London, England. He compared Shakespeare’s iambic pentameter verses to the rhythm in songs, so there is no problem there, but he has been grappling with how to present this iconic character to audiences.

“The problem I have with the play is the portrayal of Shylock,” he said. “It is very complicated because it is antisemitic. But, at the same time, it is not just black and white. Shylock is not a nice guy, he is a piece of work – but a complicated one. On one side, he is an aggressive businessman but, on the other, he lost his wife, had a hell of a life and loves his daughter more than anything, perhaps too much … to the point that she wants to escape and does so by taking his money and running off with a gentile. So, I have an inner conflict to resolve to get into the character so that it makes sense to me.”

“That really is the central question, isn’t it – is this play sympathetic or not? This is the first time a Jew on stage has been portrayed as anything close to human and we can say Shakespeare is amazing for doing this. Or, let’s be honest, it is an antisemitic piece and the guy is basically cast as the villain for whom you have absolutely no sympathy.”

Some productions portray Shylock in a sympathetic light, while others paint him as the quintessential villain. “That really is the central question, isn’t it – is this play sympathetic or not? This is the first time a Jew on stage has been portrayed as anything close to human and we can say Shakespeare is amazing for doing this. Or, let’s be honest, it is an antisemitic piece and the guy is basically cast as the villain for whom you have absolutely no sympathy.”

This is the fourth time Bard will have produced Merchant and Kimmel is the third Jewish actor to take on the role. “You don’t have to be Jewish to play Shylock, just like you don’t have to be black to play Othello. However, I do believe there is a cultural sensitivity that a Jewish actor brings to the role,” said Kimmel.

Many with even only a passing knowledge of literature know who Shylock is, and the iconic “Hath not a Jew eyes” soliloquy is as well known as Hamlet’s “To be or not to be.”

“Funnily enough,” said Kimmel, “doing that soliloquy is not what worries me about the piece…. You can do it as a plea for justice or you can do it with more of an aggressive tone,” he said, paraphrasing the speech’s main point, “But what about us? We are the same as you, so we don’t need to take this from you anymore.”

“I have decided that I am not going to play it as a victim,” said Kimmel.

As to the courtroom scene where Shylock demands his “pound of flesh,” he said, “I think I have to play him there as a vengeful kind of guy, I just don’t see any other way to do it. Some productions try to show the struggle between the good soul and the bad soul, but I see him as unrelenting in his quest for the forfeit, even though he has been offered up to three times the original amount of the loan and even though he is aware that what he is doing is wrong, fully aware, but he can’t stop himself.

“That is what happens with big emotions like revenge – one gets tunnel vision. I sing a piece of the [Maurice] Ravel Kaddish, which is very ornate, just before the courtroom scene. The point of that is to show Shylock’s mindset, ‘Look, my wife is dead, my daughter is dead [to me], I have nothing left to live for, I am going to take this man’s pound of flesh.’ I think that I would like to play the character as sinister but understandable – that this is a steely, powerful guy who is saying, just because people are prejudiced against you, does not mean you have to be a victim.”

Bard on the Beach’s Merchant is being set in modern-day Venice.

“It is a pretend world, it has to be,” said Kimmel. “It is a corporate banking world of suits that centres around a group of high-powered businessmen. Shylock is one of them. He is savvy and a very powerful guy by virtue of the fact that he has a lot of money. There is a tension there in the play itself as, despite his money, he is treated as a second-class citizen. We are not playing up the religious aspect in terms of costuming so that the only outwardly visible sign of his Judaism will be the yarmulke that I will be wearing – he is a modern Jew.”

On the issue of whether or not the play is too offensive for contemporary sensitivities, Kimmel is thoughtful.

“I don’t think you should look at it with post-Holocaust eyes,” he said. “The fact that this version is set in modern times makes it even more difficult to digest. In the actual period, 1500, Jews were essentially reviled wherever they lived, and Shakespeare was just reflecting the animus of the time.”

Despite the antisemitism, Kimmel feels that the play is one of the great works of literature and that it is important to see it.

“I feel that, as actors, if we are not doing something that is offending someone, why are we doing it? We are supposed to provoke dialogue and conversation.”

Noting that “there is way too much political correctness in the world right now,” he said, “I feel that, as actors, if we are not doing something that is offending someone, why are we doing it? We are supposed to provoke dialogue and conversation. For example, when people are spitting on Shylock and calling him a dirty Jew, that has to be part of the story so you get what is going on. You can’t ask, does it offend you because people are spitting on you? That’s the story and that is part of why he goes and tries to cut someone’s heart out. You have to be driven to that, so what would drive you to do that? Once you get the back story, then you see the context of his actions.”

Kimmel believes audiences will get something different out of this version of the play than from the three previous productions. One of the reasons for this belief, he said, is that the director, Nigel Shawn Williams, is playing on the theme that we are all outsiders at one point or another. Kimmel wants people to leave the theatre challenged to sort out their feelings about what they have just seen.

Shylock will run for one week in September. In this work, the actor who plays Shylock comes out after the final performance of Merchant – the play has been shut down due to public pressure and, as part of a talk-back, the actor defends his participation in it as a Jew and explains why it is important to stage Shakespeare’s play.

“I am more excited about that piece because, with it, I know exactly where I am at and I get the arguments from both sides,” said Kimmel. “It was written specifically for Bard and Vancouver to run alongside its 1996 Merchant production with local community member David Berner playing the Jewish actor.”

Kimmel said, “The play seems to say that you can’t censor something just because it offends you. Why can’t you have a Jewish villain? Why don’t we just stop doing anyone who is in any way compromised?”

Audiences will be exposed to a range of perspectives on history, censorship, identity and the meaning of art in this intensive 90-minute offering, which is being directed by first-time Bard director Sherry Yoon, who will be fleshing (pun intended) out the play with projections and sound effects.

“Shylock is a character that has endured for over 400 years. He is the best-known Jewish character in literature. There are people the world over who know what a shylock is. That is because he is so fascinating. Jews are fascinating people.”

“This is the first great Shakespearean character,” said Kimmel of Merchant’s Shylock. “After this comes Othello, Hamlet and Lear. It is really the first time Shakespeare goes from silly comedies with twins with mistaken identities to serious roles that fascinate humanity through time. Shylock is a character that has endured for over 400 years. He is the best-known Jewish character in literature. There are people the world over who know what a shylock is. That is because he is so fascinating. Jews are fascinating people.”

The play had been used to incite hatred against Jews – the Nazis in particular promoted it because it fit in with their worldview.

“That is exactly why it is important for everyone to see Merchant for themselves,” said Kimmel, “so you don’t get the story secondhand – you should be exposed to it, not told about it.”

Bard on the Beach runs until Sept. 24. Its other productions this season are Much Ado About Nothing, Winter’s Tale and Two Gentleman of Verona. For the full schedule and tickets, visit bardonthebeach.org.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

From Mideast to the South

Pericles is one of the best Bard on the Beach productions this season. (photo by David Blue)

If the thought of being transported to the mystique and exotic locales of the ancient Middle East appeals to you, then you must see Pericles, which is currently playing on the Howard Family Stage at Bard on the Beach, alternating with Othello.

Director Lois Anderson takes this rarely produced play – only once before in Bard on the Beach’s 27-year history has it been performed, and scholars believe Shakespeare only wrote the second half of it – and creatively turns it into something magical, with puppets, terra cotta figurines, white-faced ghostly creatures and billowy sheets that morph from crashing waves to animals.

As you enter the tent, your breath is taken away by Jewish community member Amir Ofek’s captivating set design: soft desert hues, Corinthian columns, red and gold brocade-tasseled tapestries, woven baskets and blown glass. John Webber’s warm lighting pervades the room. The mood is reinforced by Malcolm Dow’s exquisite sound design; a melodic fusion of traditional Middle Eastern fare. Before it even begins, the play is a visual and aural treat.

Pericles is the tale of the nautical odyssey of a wandering prince, the eponymous hero Pericles of Tyre (Kamyar Pazandeh), as told through flashbacks by narrator and healer Cerimon (David Warburton) in the temple of the goddess Diana to a young woman he has saved from a brothel. As he tells her, it all began with a trip to Antioch 15 years earlier, when our hero hoped to marry the princess of that city but had to flee for his life when he learned the secret of her incestuous relationship with her father.

Pericles’ escape takes him to many ports, culminating with a shipwreck at Pentapolis. There, he wins the hand of the princess Thaisa (Sereana Malani) in a jousting competition and sets sail with his new wife, now pregnant, to reclaim his throne in Tyre. Daughter Marina (Luisa Jojic) is born on the ship and Thaisa dies in childbirth. Pericles throws his wife’s body into the sea and heads to the nearest port, Tharsus, where he leaves Marina in the care of his longtime friend, Governor Cleon (Luc Roderique), and his wife, Dionyza (Jeff Gladstone in an interesting gender-role reversal).

Fast-forward 14 years. Marina has grown into a beautiful young woman. Dionyza, jealous for her own daughter’s betrothal chances, arranges for a servant, Leonine (Kayvon Kelly), to murder Marina. However, pirates kidnap Marina before the dastardly deed can be done. She is sold to a brothel, but keeps her virtue with eloquent talk, and captures the heart of Governor Lysimachus (also played by Kelly).

In the meantime, Pericles returns to Tharsus to reunite with his daughter but is told that she is dead. I stop here so as not to spoil a very surreal ending – you will have to see it to believe it.

All of the cast, many of whom play multiple roles, are outstanding but special mention must be made of Pazandeh, who runs the gamut of emotions from victorious suitor to grieving husband and father; Jojic, who gives the right touch of innocence to Marina; Warburton, with his wizardly tricks; Gladstone as a very creepy Dionyza; and Kayla Deorksen as Bawd, the flamboyant brothel owner.

Costumer Carmen Alatorre’s costumes are spot on with flowing robes of bright, textured fabrics: earth tones to represent the land and shades of blue, the sea; the main characters are contrasted by off-white ghostly spectres.

Pericles was one of Shakespeare’s most popular plays in its time and Anderson’s rendering makes it easy to understand why. The intimate setting of the Howard Family Stage is perfect for this showcase of hope, perseverance, redemption and ultimate reconciliation. I took my 11-year-old niece to opening night and she loved it. Of the four Bard productions, this one topped the list for me and it is highly recommended.

photo in Jewish Independent - Luc Roderique and Kayla Deorksen in Othello — Luc Roderique and Kayla Deorksen in Othello. *(photo by David Blue)*

Playing in repertory with Pericles on the Howard Family Stage, and featuring most of the same actors, is Othello, set in 1864 Charleston during the American Civil War.

What does it take to drive an intelligent, successful, respected man into a jealous husband capable of a murderous rage? A manipulative villain named Iago – and Othello really is the story of this vile person, who brings tragedy to all unfortunate enough to cross his path.

Directed by Bob Frazer – who played Iago in Bard’s last mounting of this work – this psychosexual drama gives a new perspective to the racism inherent in the testosterone-infused military world in which black Othello (Roderique) lives.

The story revolves around Othello’s rise to power in the union army and Iago’s (Kelly) planned revenge as he is passed over by General Othello for a senior position that is given to Cassio (Gladstone). To get even, Iago plants the seeds of doubt in Othello’s mind as to the fidelity of his new wife, Desdemona (a mixed racial union), accusing her of an intimate tryst with Cassio.

Slowly, Othello is convinced – a handkerchief allegedly found in his good lady’s room the final proof – that Desdemona has been untrue and, in a moment of murderous passion, strangles her in her canopied bed. Emilia (Jojic), Iago’s wife but also Desdemona’s maid and confidante, walks into this deathly scene, tells Othello the truth of the handkerchief and outs her husband for his role in the tragedy. Othello is overcome with grief and remorse and takes his own life.

Iago is a sadistic sociopath who manipulates those around him with his ersatz sycophantic charm. Kelly is sublime in this role – you love to hate him. Tall and slender, Roderique portrays a sympathetic Othello with a quiet sense of dignity and authority that disintegrates as we watch his metamorphosis into uncontrollable and lethal rage. Deorksen is a sweet-tempered but strong-willed Desdemona. Jojic gives a heart-breaking performance as a passionate and loyal servant torn between her duty to her husband and that to her employer. Lesser roles are ably played by Malani (Bianca), Andrew Cownden (Roderigo), Ian Butcher (Gratiano) and Shaker Paleja (Montano).

Costumer Marla Gottler provides crisp navy uniforms for the Union soldiers and gorgeous Scarlett O’Hara-type frocks for the ladies. Music is pure southern comfort with banjos strumming “Dixie.” Unfortunately, the set design is a problem. The same Ofek-designed Pericles set is used, and that Middle Eastern look with its columns and arches seems out of place in a moonlight and magnolias milieu. However, the minimalist use of props – a couple of boxes here, a table there – allows the audience to focus on the powerful words that make Othello one of Shakespeare’s most eloquent works.

This production is good, but it would have been so much better had it made more use of its Civil War setting, other than just to give a perfunctory nod to the fashion and music of the time.

Othello runs to Sept. 20 and Pericles to Sept. 21. For tickets and more information on these shows – and Romeo and Juliet and The Merry Wives of Windsor – visit bardonthebeach.org.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

Star-crossed & honky-tonk

Bard on the Beach opened its 27th season with Romeo and Juliet. (photo by David Blue)

William Shakespeare wrote a beautiful but tragic love story in 1595 and called it Romeo and Juliet. Its theme of forbidden love resonates with modern-day audiences as much as it did with the Elizabethan crowd – and countless crowds in between. Bard on the Beach opened its 27th season under the red and white tents at Vanier Park on the BMO Mainstage last month with renowned Canadian director Kim Collier’s innovative twist on the timeless tale.

Two prominent families of Verona, the Montagues and the Capulets, have been feuding for years. Their children, Romeo and Juliet, meet one night at a masked ball and become infatuated with each other. Then follows a secret wedding, a banishment, a miscommunication and two suicides – such woe.

Collier sets the story in its proper period but with some modern gadgets – Bose headphones on the friar, Moosehead caps and beer cans for Mercutio and Benvolio, Romeo’s friends. Collier also has the cast break down the fourth wall to move into and interact with the audience – an interesting approach if used sparingly.

The success or failure of any Romeo and Juliet production depends on the actors in the eponymous roles. Collier imported her two leads from Ontario. Hailey Gillis portrays the 13-year-old Juliet in an endearing and playful manner and Andrew Chown, as the slightly older Romeo, has moments of brilliance. There is clearly chemistry between the innocent young lovers and their scenes together are lovely.

photo in Jewish Independent - Ben Elliott, left, and Andrew McNee shine in Romeo and Juliet — Ben Elliott, left, and Andrew McNee shine in Romeo and Juliet. *(photo by David Blue)*

The supporting players, mostly Bard veterans, give depth to the story, one driven by supposedly intelligent adults, whose actions lead to the ultimate tragedy. Jennifer Lines plays the nurse – usually portrayed as older and subdued – as young, sexy and vibrant, more a friend and confidante than anything else. Scott Bellis is a kind and caring Friar Laurence, and Andrew McNee as Mercutio and Ben Elliott as Benvolio steal the scene every time they appear together.

Although McNee’s forte is comedy, he shows the versatility of his thespian skills in Mercutio’s death scene, as he chokes out, “A plague on both your houses.” Killed by the sword of Tybalt – played by Jewish community member Anton Lipovetsky – Tybalt is subsequently killed in a sword fight with Romeo, who is banishéd from Verona by Prince Escalus (Victor Kolhai). Interestingly, it is not the sword that does Tybalt in.

Romeo’s parents are played by David Marr and Amber Lewis and Juliet’s by Ashley Wright and Dawn Petten. These are smaller roles but with some touching moments, particularly at the end, when the parents finally understand what the feud has done to their respective families.

This production is very much about the visuals. Pam Johnson’s set design is simple but powerful: two grey metal bunker-like walls that are separated and joined as needed – perhaps a metaphor for the rifts and couplings of the feuding families – to create a ballroom, balcony, bedroom, tomb and other places, all against the spectacular backdrop of the North Shore mountains. Gerald King’s lighting provides the proper mood. Nancy Bryant’s costumes are a mix of the historical and the contemporary. Bringing it all together is Brian Linds’ sound design, which runs the gamut, from soft romantic lilts to heavy metal clunk.

While the play gets off to a slow start, the second act picks up, culminating in the final scene that had most of the opening night audience on their feet. One hopes that, over the next three months, the shaky bits will be ironed out. Overall, it is certainly worth a trek to the beach to partake of the tale of the star-crossed lovers.

Rockin’ Merry Wives

Playing in repertory on the BMO Mainstage with Romeo and Juliet is The Merry Wives of Windsor. This country and western musical farce played to soldout audiences on the smaller Douglas Campbell Stage in 2012. Moving it to the big stage has only added to its pizzazz. When you walk out of a theatre on opening night thinking you have to tell everyone to come see the show, you know you have just been treated to something special.

The play is set in Windsor, Ont., circa 1968, at the Garter Pub, a honky-tonk bar that is home to some eccentric characters. It is open mic night and mesdames Page and Ford (Katey Wright and Amber Lewis) start the evening off with a rocking version of “These Boots are Made for Walking.” Portly Sir John Falstaff (Ashley Wright), an expat, penniless, full-of-himself Brit and frequent bar patron, decides to seduce the married housewives for financial gain. To that end, he writes each of them an identical letter. The women learn of Falstaff’s deceit and set a scheme in motion to humiliate him to avenge their honor. Then, the fun begins.

Round 1: a secret tryst, the arrival of a jealous husband (Scott Bellis as Mr. Ford) and Falstaff’s quick exit in a laundry basket, culminating in his unceremonious plunge into the river.

Round 2: Falstaff in drag, a golf club-wielding Mr. Ford and a hasty exit stage right.

Round 3: The final knock-out round of humiliation takes place at night near an abandoned curling club amid prancing fairies – a bit far-fetched but, surprisingly, it works.

A sub-story revolves around young Anne Page (Hailey Gillis) and her three suitors, Slender (Ben Elliott, who does double duty as the musical director), Dr. Caius (Andrew Chown) and Fenton (Daniel Doheny). Which swain will win her hand?

Ashley Wright, reprising his role as Falstaff, owns the stage. Katey Wright, Lewis and Bellis – also reprising their roles from 2012 – are even better this time around. In particular, Bellis’ beatnik portrayal (a disguise to trick Falstaff) and that of the cuckolded husband are priceless.

photo in Jewish Independent - Ashley Wright and Jennifer Lines in The Merry Wives of Windsor — Ashley Wright and Jennifer Lines in The Merry Wives of Windsor. *(photo by David Blue)*

Other notable performances include David Marr as Justice Swallow bopping around on his scooter, Anton Lipovetsky as the hippie host of the bar, Dawn Petten as buck-toothed Simple, Jennifer Lines as Mistress Quickly – who takes her housekeeper character over the top with her flaming red hair, nails, lipstick and bawdy wiggle – and Andrew McNee as Pastor Evans, who has to quickly learn to fence to stave off the challenge of the foppish Dr. Caius.

It is a credit to the talent of this company that they can move from the tragedy of Romeo and Juliet to the light-hearted Merry Wives with such ease. Each of the cast is a quadruple threat – they sing, dance, play an instrument and, boy, do they emote. This is an ensemble that really works well together and their chemistry is palpable.

Pam Johnson’s set is legion hall kitsch complete with moose heads, dartboards and the obligatory photograph of Queen Elizabeth. The sub-set – white picket fence, pink flamingos and garden chairs – is pure sixties nostalgia. The costumes are fab (kudos to designer Drew Facey) – very Mad Men, with pedal pushers, crop tops, saddle oxfords, crinolines, bouffant hairdos, zoot suits, and some Canadiana touches, a Hudson’s Bay blanket and a curling sweater. Elliott’s sound design and Valerie Easton’s fancy choreography ties it all together. Director Johnna Wright notes that Merry Wives was Shakespeare’s “love letter” to the Elizabethan middle-class, his only comedy that takes place on “home turf” and his only play written almost entirely in prose. What a gift.

While purists will shake their heads at the thought of this Shakespearean musical, their toes will be tapping to the likes of “Baby, Baby Don’t Get Hooked on Me,” “Your Cheating Heart” and “Ramblin’ Man.” The whistling and foot stomping of the opening night crowd seems to indicate that this will be the hit of the season. It is a lot of fun. Don’t miss it.

Bard runs until Sept. 24, and reviews of its other two productions – Othello and Pericles – will appear in a future issue of the Independent. For more information and tickets, visit bardonthebeach.org or call 604-739-0559.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

Shakespeare musical

Left to right, Jay Hindle, Josh Epstein and Daniel Doheny in Bard on the Beach’s Love’s Labor’s Lost. (photo by David Blue)

How do you get more people interested in Shakespeare? Give ’em what they want – music, song, dance, comedy and words that are easy on the ears. Bard on the Beach has incorporated all these elements into its production of Love’s Labor’s Lost, set in a speakeasy in Chicago in the Roaring Twenties.

Think Prohibition, gangsters, molls, spats, fedoras, shoulder holsters, Cole Porter, flappers, the Charleston and vaudeville, all in glorious Technicolor, and you get an inkling of what is to come. Set on the intimate Howard Family Stage in the Douglas Campbell Studio, the fun begins the minute you walk through the tent flaps, as cast members accompany you to your seats with song and dance (and martinis – theirs, not yours). It continues with introductory remarks by a ventriloquist dummy that looks (and sounds) a lot like artistic director Christopher Gaze.

Ferdinand, aka “the king” of the gangsters (Jay Hindle), decides to shut down his nightclub, Navarre, devote three years of his life strictly to academic study and abstain from all vices including women (ouch!). He talks his friends Berowne (Jewish community member Josh Epstein) and Dumain (Daniel Doheny) into joining him in this escapade and the three sign a pact. However, just as they embark on their chaste journey, they meet blond bombshell Princess (Lindsey Angell) and her two friends, Rosaline (Luisa Jojic) and Katherine (Sereana Malani), each of whom catches the fancy of one of the potential abstainers.

To woo their respective ladies, the smitten men write secret letters and have a messenger, the resident clown Costard (Andrew Cownden), deliver them to the objects of their affection. Meanwhile, a fourth love story is brewing during all of this action, that of Don Amato (Andrew McNee), Ferdinand’s Italian house guest, who has fallen for Jaquenetta (Dawn Petten), one of the Navarre flappers – who has also written a letter to be delivered by Costard. A mix-up occurs (naturally) and what happens next is an hilarious musical romp through courtship interruptus with the men disguised and the women masked.

Princess’ chaperone, Boyet (Anna Galvin), gets into the game as the go between the men holed up in Navarre and the women forced to camp outside the building. Witty repartee abounds as the battle of the sexes heats up, and we all know who eventually wins that battle.

As musical director, Ben Elliott (with Jewish community member Anton Lipovetsky as his assistant) has done a great job of bringing iconic hits from the ’20s into this show. The jazz band (piano, bass, trumpet and drums) is the perfect background for the actors who, during an intense soliloquy, suddenly break into songs like, “It Had to Be You,” “Ain’t Misbehavin’,” “Second Hand Rose” and “Blue Skies.”

Epstein – who is the face of this production with Jojic on the season poster – wows with his voice in every number he sings and is certainly one of the standouts along with McNee, who sports a soprano-like gangsta accent and puts on a daring one- “woman” show (accompanied by his sidekick, Moth, played by Lili Beaudoin), and Petten, with her nasal voice and horizontal dance rendition (she rolls down the stairs and right back up).

This is the same cast that performs A Comedy of Errors on the BMO Mainstage (reviewed in the July 3 Independent) and it is a credit to their collective comedic acting talents that they can pull off both shows with success.

The set and lighting provide the feel of an underground Chicago speakeasy. The costumes by Rebekka Sorensen-Kjelstrup are simply divine, sparkly, fringed sheath dresses, rolled-up silk stockings, beautiful headdresses and glamorous fur stoles for the women; snappy suits, hats and Oxfords for the men. Valerie Easton’s peppy choreography is spot on.

Some will say that this production goes too far, and is not really Shakespeare – after all, Shakespeare: The Musical, who would have thought it possible? As with Bard on the Beach’s Comedy this year, purists are going to lament the loss of classical productions but, on Love’s opening night, audience members were humming along with the songs, tapping their feet to the catchy tunes and they jumped up in unison for a standing ovation before the last note was sung in the closing song, “Dream a Little Dream of Me.”

You have to give Gaze credit for taking a chance on director Daryl Cloran’s vision, which includes cutting half of the original text and omitting some characters. As he writes in the director’s notes, “Ultimately, that’s what’s so exciting to me about adapting a script – the process of exploring, shedding and inventing to get to the heart of the story and find a way of telling it so that it resonates with a contemporary audience.” It is a safe bet that even old Will himself would be doing the Charleston Stratford-on-Avon way if he saw this version of his play. If you are a lover of jazz and showmanship, this production is a must-see. While it runs until Sept. 20, word on the street is that shows are selling out quickly so don’t wait too long to book your tickets (bardonthebeach.org or 604-739-0559).

Tova Kornfeld is a Vancouver freelance writer and lawyer.

No errors in Comedy

Josh Epstein, left, and Andrew Cownden in Bard on the Beach’s production of The Comedy of Errors. (photo by David Blue)

It’s summer in Vancouver and with it comes sun, surf and Shakespeare – that is, Bard on the Beach under the iconic red and white tents at Vanier Park. Celebrating its 26th season, the festival serves up an interesting mix this year: A Comedy of Errors, Love’s Labor’s Lost and King Lear, from the pen of the Bard himself, and a contemporary piece, Shakespeare’s Rebel, by local author Chris Humphreys.

Opening night of Comedy of Errors on June 13 saw the always dapper artistic director Christopher Gaze welcoming the crowd under the big tent of the BMO Stage and, for the first time in the history of the festival, acknowledging that the land upon which the tents are pitched for their annual sojourn is ancestral, traditional and unceded aboriginal territory. Deborah Baker of the Squamish Nation gave greetings and performed a traditional drum song.

Comedy of Errors is one of Shakespeare’s earliest works, the shortest in his repertoire, and it contains the zaniest of his plots. It is the tale of two sets of identical twins, one aristocratic, the other, their boy servants, with the pairs separated in the aftermath of a shipwreck. The family patriarch, Egeon, has spent years looking for his lost progeny and servants. His search takes him to the town of Ephesus, where he is captured and sentenced to death (no one is supposed to come to Ephesus without permission) but receives a last-minute reprieve to look for his sons and to find money to pay the fine.

It just so happens that one of the sons and his servant ended up in Ephesus while the other two ended up in Syracuse. Both sons are named Antipholus and both their servants, Dromio – all of this sets the stage for a frenzied journey through mistaken identities, hilarious hi-jinks and the ultimate sibling reunification when the Syracuse pair show up in Ephesus.

But what a journey. Think Edward Scissorhands meets Little Shop of Horrors meets Metropolis, and you have director Scott Bellis’ (who does double duty as Egeon) fantastical steampunk version of this production. What is steampunk? A mix of sci-fi electronics and gadgets set against a pseudo-Victorian era background as stylized by authors like Jules Verne, H.G. Wells and Mary Shelley.

The production is a bit over the top with its madcap bits and bobs – a hand-eating Venus fly trap, a communal lobotomy by a mad scientist, a creature trying to escape from a boiling soup pot, a Michael Jackson-like moonwalk, a bubble-shooting gun and a flatulation moment – and its frenetic pace. It is mostly fluffy fun although if you are looking for some meaning, there are three love stories intertwined with the humor. Shakespeare purists will probably cringe in their seats. But the opening night crowd was eating it up and this unique approach should bring in younger audiences and make the Bard’s words more accessible to a wider demographic. This reviewer loved it!

The acting is solid from the ensemble cast, many of whom do double and even triple duty in various roles: Ben Elliott as one Antipholus, Jay Hindle as the other, Jeff Gladstone as the mad Dr. Pinch, Andrew McNee as the grunting cook Nell, Daniel Doheny as the chambermaid, Lilli Beaudoin as the foxy courtesan, Jewish community member Josh Epstein as the smuggler, Andrew Cownden as the goldsmith, Sereana Malani as the Ephesean Antipholus’ overbearing wife, Lindsey Angell as her nerdy sister and Anna Galvin as the abbess, who makes her first appearance on stage in stilts. But it is the pint-sized Dromios, played by Dawn Petten and Luisa Jojic, who give the standout performances of the production. In their aviator hats and goggles, they really do look like identical twins. Petten, in particular, takes her role and runs with it with impeccable comedic timing and one of the best “ad lib” lines in the play, “Call before you dig.”

What really makes this production sublime are the visuals. The set is fantastic, a wall of steam-powered widgets, sprockets and gears dominated by a one-handed clock with a mind of its own, all kept in working order by shadowy, silent engineers constantly tweaking the machinery with wrenches and hammers. The play begins with one of the engineers pushing a big red button and, all of a sudden, the empty stage becomes a mélange of color and activity as the cast appears through a smoky haze, some through the many trapdoors in the floor, some out of the bowels of the machines, some appearing to drop out of the sky – all courtesy of community member Tara Cheyenne Friedenberg’s terrific choreography.

This dreamlike mechanical dance sets the tone for the whole evening. Mara Gottler has outdone herself with the costumes – lots of leather, lace-up boots, corsets, garters, black lace and accessories like aviator goggles, gas masks and leather bat wings. Gerald King’s lighting and Malcolm Dow’s sound design are the icing on this macabre cake.

Just as the action starts with a push of a button so does it end, with the shutting down of the machinery after the final revelations. This is one production that you can just sit back and enjoy, pure and simple fun.

Comedy runs to Sept. 26. For the full Bard schedule and tickets for any of this season’s offerings, visit bardonthebeach.org or call the box office at 604-739-0559.

Tova Kornfeld is a Vancouver freelance writer and lawyer.

Rounding out Bard season

From left to right, Anousha Alamian, Shawn Macdonald and Anton Lipovetsky in Equivocation. (photo by David Blue)

From Midsummer Night’s Dream and Cymbeline, reviewed last month, the Independent moves to Bard on the Beach’s other two offerings this season: The Tempest and Equivocation.

There is only one word to describe this production of The Tempest: fantastic. It is a remounting of the 2008 show, which debuted on the studio stage under the direction of Meg Roe. That was a sublime production and I did not think it could get any better. But, I was wrong. Roe’s second time around, with the move to the big stage, has elevated this “storm” to new heights and makes it the must-see show of the Bard quartet.

Allan Morgan and Jennifer Lines reprise their 2008 roles, as Prospero and Ariel, respectively. Six years on, both have gained a maturity that infuses their acting and takes them to the top of their games. It is their relationship that is very much front and centre in this tale. Morgan is a stern but loving father and, ultimately, a benevolent Prospero, and Lines, with her lovely singing voice, is a charming Ariel, Prospero’s fairy servant.

photo - Allan Morgan as Prospero in The Tempest — Allan Morgan as Prospero in The Tempest. *(photo by David Blue)*

Todd Thomson’s portrayal of the leashed, animal-like slave Caliban is visceral, as he evolves from crawling subjugation to upright manhood. Miranda’s (Lily Beaudoin) and Ferdinand’s (Daniel Doheny) innocent young love is so touchingly portrayed that even the heart of the biggest cynic in the audience will melt. However, it is Luisa Jojic and Naomi Wright, as the tippling sisters Trincula and Stephana, who blast this production into the stratosphere. Their metamorphosis from sophisticated, well-heeled ladies to bedraggled strumpets, as they troll the island with Thomson (with whom Wright gives new meaning to the concept of a foot fetish) and their funky pas de deux are worth the price of admission. This comedy is juxtaposed against the darker side of the production, Prospero’s struggle – enslavement or freedom, revenge or forgiveness, love or hate.

As in Midsummer, the visuals give this production its moxie: the seashell stage frame, Christine Reimer’s fabulous costumes (Ariel’s gigantic wings, First Nations-inspired raven masks, creatures on stilts with flowing robes, white-frocked cross-dressers) and Gerald King’s lighting, especially for the sparkly wedding scene. Add to the mix original music (composed by Roe’s husband, Alessandro Juliani) played by a string quartet prominently seated on stage and you have a recipe for success. There are Jessies on the horizon for this production. As Prospero says in his iconic line, “We are such stuff as dreams are made on.” And this dream has wings.

For the Shakespeare, history and political buffs out there, Equivocation will provide a cerebral workout and, with its plain language, a respite from the Bard’s iambic pentameter.

While Shakespeare was a prolific writer, little is known about the man himself. Bill Cain, a Jesuit priest and founder of the Boston Shakespeare Company, takes up the gauntlet to provide us with some insights into Shakespeare’s character in this thought-provoking play set in 1606 and centred around the Gunpowder Plot to blow up Parliament and assassinate King James I and his family.

The plan foiled and the conspirators sentenced to death, Prime Minister Robert Cecil approaches “Shagspeare” to write the government’s version of what happened. Shag is conflicted (as he says, “I don’t do current events”) about whether to write his patron’s propaganda or tell the truth, at great risk to himself and his merry group of thespians, the King’s Men. To equivocate – use unclear language to deceive or mislead – or not to equivocate, that becomes the question.

Shag’s decision process and his troupe’s rehearsals weave their way through other storylines: the strained relationship between Shag and his daughter, Judith, the surviving twin (his son, Hamnet, died at the age of 11) and the rivalry between the two acting Richards, veteran Burbage and young Sharpe.

Cain teases us with multiple references to Shakespeare’s works (so brush up on your Shakespeare before seeing this!), along with plays within a play (a much-loved Bard device) and some spicy, contemporary language. Oh, and there are a couple of beheadings, too.

Six actors comprise the cast and all but Shag (Bob Frazer) and his daughter Judith (Rachel Cairns) play multiple roles.

Gerry Mackay is Burbage as well as Garnet, the Jesuit priest and the alleged mastermind behind the plot, who defines equivocation as, “a way to tell the truth in difficult times.” Jewish community member Anton Lipovetsky shines in his two major roles of a co-conspirator and the wacky King James (played with a darn good Scottish accent). Anousha Alamian creeps us out as the Machiavellian Cecil and Shawn Macdonald does Armin and Sir Edward Coke, along with a lovely Lady Macbeth. The whole cast is strong, seamlessly moving in and out of their various roles and this is very much an ensemble success story (ably directed by Michael Shamata) but particular mention must be made of the performances of Frazer, Mackay and Lipovetsky.

The set is stark and the costumes simple. The only time color really appears on stage, apart from the language, is during Macbeth, in which the actors are resplendent in colorful plaid shawls. This color versus black and white juxtaposition is a metaphor for Shag’s conundrum, to tell the truth or to color it. And, by the way, what is truth?

Tova Kornfeld is a Vancouver freelance writer and lawyer.