MEASURE FOR MEASURE
July 4 to September 20 • HOWARD FAMILY STAGE
Vienna: party city. The place you’ll never find a dance floor empty… until now.
When charged with enforcing long-ignored morality laws, the much-loved party boy Duke Vincenzio takes his cue to get out of Dodge and lay low while the law cracks down—handing the judicial reins to the decidedly un-groovy Angelo. No (pre-marital) dancing is the decree. One of Shakespeare’s most painfully relevant tales of coercion and hypocrisy reaches darkly absurdist new heights in this footloose adaptation.
Adapted and directed by Jivesh Parasram
Season and production run dates subject to change.
Production run time: 2hrs 30min
Supported by:
Content advisories: Non-toxic haze and fog, flashing light, exaggerated comic violence, innuendo, profanity, substance use.
Please note that this production contains themes of assault and coercion. Resources for survivors of sexual violence can be found HERE.
Photo Credit: Karthik Kadam as Lucio
Photo & Image Design: Emily Cooper
TRAILER
Video by Art Left Creative
Director Talk
Video by Back Valley Road Productions
The Story
VIENNA, CITY OF SIN
With rocking dance floors and the hottest DJ in the business, Vienna is the place to be, especially with notorious party animal Duke Vincenzio keeping the music going all night long. However, when the Duke receives a decree declaring that Vienna’s long-forgotten morality laws must now be enforced, he realizes it would be hypocritical of him to crack down on the law now. The Duke flees Vienna, but not before charging the notoriously stuffy Angelo with cleaning up the city in his absence. However, what Angelo and the rest of the city do not know is that the Duke is still in Vienna, disguised as a friar.
Now that he is the ruler of Vienna, Angelo makes an example out of a young man named Claudio, who is sentenced to death for dancing in public with his fiancée Julietta. One of Claudio’s friends, Lucio, learns about Claudio’s fate from two dance hall workers named Mistress Overdone and Pompey, whose lives are also at risk because of Vienna’s newly enforced morality laws. Lucio sets out to tell Claudio’s sister, Isabella, the news. Isabella is preparing to join the convent and become a nun, but after hearing that her brother has been sentenced to death, she agrees to try and convince Angelo to change his mind.
At first, it looks like Angelo will refuse to consider Isabella’s appeal, but he eventually tells her that he will think about it. When Isabella returns the next day, Angelo says that he will spare Claudio’s life—but only if Isabella dances with him. Not only does this go against everything that Isabella believes in, but dancing with Angelo would also break the vow she took when she joined the convent. She refuses Angelo’s offer, even if it means her brother must die. Angelo gives Isabella one day to reconsider his proposal.
Isabella visits Claudio in prison and tells him about her conversation with Angelo. Claudio understands why she has refused Angelo’s offer, but he begs her to reconsider, leaving Isabella with an impossible decision to make. The Duke, still disguised as a friar, overhears their conversation and tells Isabella about a woman named Mariana, who was once set to marry Angelo—and who may just be the key to saving Claudio. Will they succeed in their plan to save Claudio’s life, or will Vienna’s dance floors remain empty for good under Angelo’s tyrannical rule?
Available translations of “The Story”:
Chinese (Traditional) Farsi French Korean Punjabi Spanish
To listen to the Measure for Measure “In a Nutshell” Pre-Show plot explainer, read by Bard’s Director of Education, Mary Hartman, press play below! It is approximately 8 minutes long.
Director
Jivesh Parasram
Jivesh is a multidisciplinary theatre artist of Indo-Caribbean descent (Kairi/Trinidad & Tobago). Jiv grew up just outside of Kjipuktuk, Mi’kma’ki (Halifax, Nova Scotia), and spent the first decade of his career or so working in Tkaronto (Toronto, ON) with a wide array of Indie companies and collectives. In 2009 he co-founded the internationally acclaimed sociopolitical theatre collective Pandemic Theatre, and was the Associate Artistic Producer at Theatre Passe Muraille between 2015-2018 prior to relocating here to the Unceded Coast Salish Territories (MST) to take on the position of Artistic Director for Rumble Theatre.
Actors
Scott Bellis (he/him)
Aux Cable (DJ), Abhorson, Old Man Escalus, and Understudy for Duke Vincenzio, Angelo
Scott is based in Vancouver and enjoys a long relationship with Bard. He completed his 50th Bard production last summer. He acts and directs and has worked in many theatres on productions of all shapes and sizes across Canada since 1987. He also teaches acting at various programs around town. He is the recipient of five Jessie Richardson Theatre Awards, including one for direction. He also currently serves as Council President of Canadian Actors’ Equity Association.
Meaghan Chenosky (she/her)
Isabella, Mistress Overdone
Meaghan is overjoyed to be making her theatrical debut at Bard on the Beach. She is a graduate of the University of British Columbia’s Bachelor of Fine Arts in Acting program. Selected credits include Gwen, Sunrise Betties (ITSAZOO); Olga, Onegin (Arts Club On Tour); and Mel, Stationary: A Recession-Era Musical (Delinquent Theatre). She was awarded a Jessie Richardson Theatre Award for her work as Dottie in Killer Joe (ITSAZOO).
Tess Degenstein (she/her)
Julietta, Provost, Elbow, Nun
As an actor and improviser, Tess has performed across the country, most recently touring Rebecca Northan’s Blind Date. Internationally she has performed and taught in Vienna, Berlin, Athens, London, Oslo, and Atlanta. She was nominated for a Sterling Award for the world premiere of Nicole Moehller’s An Almost Perfect Thing and awarded a Jessie Richardson Theatre Award for Noises Off at the Arts Club. Television credits include New Eden, Frankie Drake Mysteries, King, and Murdoch Mysteries.
Leslie Dos Remedios (she/they)
Mariana, Escalus, Francisca
Originally from Toronto, Leslie is a graduate of both York University (2008) and Studio 58 (2012). Leslie’s most recent credits include directing For Now (Green Thumb) and Gillty as Fin (Studio 58). Last year they had the pleasure of working as Apprentice Director to Daryl Cloran on As You Like It (Bard on the Beach) and is so happy to be making their Bard acting debut this summer. Much love to SFB and RB.
Craig Erickson (he/him)
Angelo
Bard on the Beach: tenth season. Theatre: Parifam (vAct/Medusa Theatre); CHILD-ish and Wakey Wakey (Pacific Theatre); Hurricane Mona (Touchstone/Ruby Slippers); The Cull, Angels in America, Part One and Part Two, and The Glass Menagerie (Arts Club); Forget About Tomorrow (Belfry/Arts Club); Titus Bouffonius (Rumble); The Invisible Hand (Pi Theatre); and East Van Panto: Wizard of Oz (Theatre Replacement). Stratford Festival: two seasons. Shaw Festival: two seasons. TV: So Help Me Todd; Bau, Artist at War; and The Mysterious Benedict Society.
Emma Houghton (she/her)
Understudy for Julietta, Provost, Elbow, Nun
Emma is a theatre/film/voice actor and curious human, who is beyond thrilled to be making her Bard debut! Select acting credits: Freaky Green Eyes (selfproduced); Actually, The Virgin Trial, and The Last Wife (Alberta Theatre Projects); A Christmas Carol (Theatre Calgary); and Miss Bennet: Christmas at Pemberley and A Midsummer Night’s Dream (Citadel). She was nominated for a Betty Mitchell Award for Outstanding Performance by an Actress in a Drama for The Virgin Trial. Love to her family, friends, and Cole.
Karthik Kadam (he/him)
Lucio, Kevin
Originally from Bangalore, India, Karthik is a graduate of UBC’s Acting program. For Bard on the Beach: Henry V (2023) and A Midsummer Night’s Dream (2022). He was also the recipient of Bard’s Edmund Kean Sword Award in 2022. Recent theatre credits include Mahabharata (Canadian Stage/Why Not Theatre at the Shaw Festival with the Barbican Centre); The Legend of Georgia McBride (Arts Club); Wakey, Wakey (Pacific Theatre); and Juggle Me Not (Axis Theatre). For my family, always.
Jeremy Lewis
Claudio, Pompey
Jeremy is a multidisciplinary artist born and raised in Tiohtià:ke (Montreal). As far as acting goes, their first professional gig was playing a tree. Most recently, they took part in the world premiere of a play adaptation of the book Dominoes at the Crossroads by Kaie Kellough, put on by Infinithéâtre. As for the other disciplinary stuff, Jeremy is an improviser, a musician, a lyricist, and a pleasure to have in class.
Tal Shulman (he/him)
Understudy for Aux Cable (DJ), Abhorson, Old Man Escalus, Lucio, Kevin
Tal is so excited to be making his Bard on the Beach debut! He has performed on stages across the country including the Stratford Festival, Soulpepper, Young People’s Theatre, Manitoba Theatre for Young People, and The Improv Centre. Tal holds a BFA in Acting from Toronto Metropolitan University (formerly known as Ryerson Theatre School) and studies at Haven Acting Studio. Most recently, he played Jim Fingal in The Lifespan of a Fact with Kindred Theatre. Enjoy the show!
Jacob Woike (he/she/they)
Understudy for Claudio, Pompey
This marks Jacob’s debut season with Bard on the Beach, and they’re tremendously inspired to join this fantastic group of artists. Hailing from a farm in the Cowichan Valley, Jacob has appeared on stages across the region and internationally as a singer. Select theatre: Vimy and Jesus Christ Superstar (Western Canada Theatre); The Legend of Georgia McBride and Les Misérables (Arts Club); and Ghost The Musical (Chemainus). Film: Woman of the Hour (Vertigo Films; dir. Anna Kendrick).
Raugi Yu (he/him)
Duke Vincenzio
Raugi’s selected credits: As You Like It, Richard III, and Coriolanus (Bard on the Beach); Hurry Hard (Chemainus); the world premiere of Hurricane Mona (Touchstone/Ruby Slippers); the world premiere of Bad Parent (vAct/Prairie Theatre Exchange/Soulpepper); the upcoming production of Cambodian Rock Band (Arts Club, 2025); and the East Van Panto: Jack and the Beanstalk, The Wizard of Oz, and Alice in Wonderland (Theatre Replacement/The Cultch). Raugi thanks his wife and kids. He is proud to be here this season and wishes you all great joy and happiness.
Synthia Yusuf (she/her)
Understudy for Isabella, Mistress Overdone, Mariana, Escalus, Francisca
Synthia is a Vancouver-based actor and singer. She is thrilled to be making her Bard debut! Most recently she portrayed Audrey in Little Shop of Horrors with the Arts Club Theatre Company and Citadel Theatre. She spent a year as a swing in the Canadian premiere of Harry Potter and the Cursed Child with Mirvish Productions. Other selected credits: Maria, The Sound of Music (Arts Club); and Eddie, BLACKOUT (The Musical Stage Company).
Creative & Production
Jack Chipman
Assistant Sound Designer
Jack is a Vancouver-based projection designer and technologist. His work integrates physical elements into digital spaces through the use of cameras, digital props, and image filtering. He is excited by the merging of different mediums to create an immersive experience. Jack’s past credits include The Flying Dutchman (Vancouver Opera); The Door Project (plastic orchid factory); An Undeveloped Sound (Electric Company Theatre); Szepty/Whispers (Rumble); Romeo and Juliet (Vancouver Symphony Orchestra); Dance:Craft (Joe Ink); and Ghost Forest (Simon Fraser University). jchipman.com
Ryan Cormack
Set Designer
Ryan is returning for his fourth season at Bard. He is a graduate of Queen’s University and studied set and costume design at the National Theatre School of Canada. Past credits include A Shakesperience (Bard on the Beach); FourPlay (Studio 58); Parade (Raincity); The Last Wife (United Players); OZ (Carousel); Yaga and Mamma Mia! (Touchstone); Mr. Burns: A Post-Electric Play (DSDM); and If/Then and Bring It On (QMT). Assistant Designer: Done/Undone, Romeo and Juliet, As You Like It and Julius Caesar (Bard on the Beach); Kinky Boots and Forgiveness (Arts Club); The Jungle Book (Alberta Theatre Projects); and Actually and The Great Divide (Harold Green/Obsidian).
Emily Dotson
Assistant Set Designer
Emily served as an Assistant Set and Costume Designer at the Shaw Festival from 2022 to 2023 and has been an Adjunct Professor at the University of British Columbia since 2022. Emily graduated magna cum laude from Cleveland State University with a BA in Theater Arts with a focus in Set Design and received her MFA in Design and Production from the University of British Columbia. Her career began in Cleveland, Ohio and she has had the opportunity to work and study art in Paris, France. Emily worked as a scenic painting intern for Seattle Repertory Theatre’s 2017/2018 season, contributed to the set of the national tour of The Humans, and completed a design internship with the Renaissance Theatre in 2019. You can see more of her work at emilydotson.design.
Halley Fulford
Assistant Costume Designer
Halley is a costume artist based in Vancouver. She recently served as Head of Wardrobe at Caravan Farm Theatre for Blackhorse and The Wonderful, and has designed for myriad smaller companies including Impulse Theatre and Theatre SKAM. Halley holds a BFA in Theatre with a minor in English from the University of Victoria.
Lisa Goebel (she/her)
Intimacy Director
Delighted to be returning for a third season, Lisa has worked as the Intimacy Director on Henry V, A Midsummer Night’s Dream, Romeo and Juliet, and Harlem Duet (Bard on the Beach). Recent credits with the Arts Club include Associate Movement Director and Intimacy Director for Choir Boy, Movement Consultant for Red Velvet, and Intimacy Director for Guys and Dolls. She completed her Intimacy Certification through Intimacy Directors and Coordinators and is a graduate of Studio 58.
Alaia Hamer
Costume Designer
Alaia is a Vancouver theatre designer originally from the Gulf Islands. Recent projects she has worked on include costume design for Million Dollar Quartet, Sexy Laundry, The Cull, Beneath Springhill, and The Birds and the Bees (Arts Club); the East Van Panto: Beauty and the Beast and The Little Mermaid (Theatre Replacement); and HMS Pinafore and Carmen: Up Close and Personal (Vancouver Opera); costume design for Beautiful Man (Pi Theatre); assistant costume design for Romeo and Juliet, Coriolanus, The Taming of the Shrew and Macbeth (Bard on the Beach); and set design for A Midsummer Night’s Dream (Trinity Western University); God Said This (Pacific Theatre); and Seventeen (Western Gold Theatre).
Alana Hawley Purvis (she/her)
Voice Coach
Alana is a Vancouver-based actor and vocal coach. A proud Canadian artist, she has collaborated with organizations across North and Central America including Arts Club, Stratford Festival, Canadian Stage, Theatre Calgary, Citadel Theatre, Douglas College, and On the Mic Studio. Alana is a graduate of Stratford’s Birmingham Conservatory, the American Academy for Classical Acting (MFA), and the Royal Conservatory of Music’s ARCT in Voice and Performance, where she received the National Gold Medal. Alana performs on both the stage and screen and was nominated for Best Actress at the 2022 Canadian Screen Awards. She is a member of the National Voice Association and currently runs the Your Voice program where she specializes in trans vocal care.
Sam Jeffery (she/her)
Fight Director
Sam is an award-nominated fight director, actor, intimacy director, and creator. Born & raised in amiskwaciwâskahikan (Edmonton) on Treaty 6 territory, she’s grateful to return to Bard and call the coast home. Select credits: Julius Caesar, As You Like It, and Henry V (Bard on the Beach); Sexy Laundry, Red Velvet, and Elf: The Musical (Arts Club); Macbeth, Julius Caesar, Twelfth Night, and Henry V (The Malachites); Gaslight and Grease (Western Canada Theatre); and Mr. Burns, A Post-Electric Play (Blarney Prod/You Are Here). samjeffery.com
Jenny Kim (she/her)
Assistant Stage Manager
Jenny is honoured and pleased to be able to work with such talented individuals on both productions. Assistant stage management credits include Mahabharata (Why Not Theatre); Henry V and Coriolanus (Bard On The Beach); Red Velvet, Cipher, and Sweat (Arts Club); Bad Parent (vAct/Prairie Theatre Exchange/Soulpepper); and China Doll (Gateway). Other credits include Pachinko (Apple TV+).
Krystal Kiran
Choreographer
Krystal Kiran is a multidisciplinary performing artist and director-choreographer. She and her work have appeared on Broadway, Mirvish, Shaw Festival, and in international arenas. As a choreographer, stage credits include The Pearl Fishers (Vancouver Opera); Matilda the Musical (Theatre Under the Stars); and Bend it like Beckham (Starvox). Krystal exists between Canada and India, where she is building the country’s first musical theatre program at KM Music Conservatory, founded by Oscar/Grammy winner A.R. Rahman. Measure for Measure is her Bard debut. @houseofkiran
Amber Lewis (she/her)
Apprentice Director
Amber is a Barbadian/Canadian actor, director, and teaching artist. Back for her seventh season, Amber was last seen as Beatrice in Much Ado About Nothing (Bard on the Beach). With over 20 years of performing and teaching experience, Amber is a current instructor at the Vancouver Film School. She’s led workshops across Canada and Barbados, and has been a member of Bard’s teaching artist team since 2009. Amber also works in film/TV, both in front of and behind the camera. Recently: Wild Cards; The Good Doctor; and Resident Alien. Directing: Robin Hood: The Musical (ArtSpring); Sister Mary Ignatius Explains It All for You (KW Little Theatre); and Hell Alone (Sundance Collab short film).
Julia Lank (she/her)
Apprentice Stage Manager
Julia is a stage manager and graphic designer living on unceded xʷməθkʷəy ̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlilwətaʔ (Tsleil-Waututh) land. Recent: Carmen, Don Pasquale, and Le Portrait De Manon (Vancouver Opera); Peace Country (rice & beans); Gertrude and Alice (United Players); How to Believe in Anything (dreamphase/The Cultch); Marjorie Prime (Ensemble Theatre Company); Gramma and The Cake (Pacific Theatre); Alice In Glitterland (Geekenders); and L’elisir d’amore (Burnaby Lyric). She is thrilled to be backstage for her first season with Bard.
Alison Matthews (she/her)
Head Voice & Text Coach
Alison teaches voice in the BFA Acting Program at the University of Alberta. She holds an MFA from UBC and a Diploma in Drama & Speech from Trinity College London. She was a founding faculty member with the Arts Club Actors Intensive in Vancouver, and she taught voice, text and dialects with the Banff/Citadel Professional Theatre Program in Banff, Alberta. Alison has three decades of professional acting experience in theatre, film and tv, and voice-over, and is a founding board member of the National Voice Association.
Rebecca Mulvihill (she/her)
Stage Manager
Rebecca is returning to Bard for her ninth season. Most recently for Bard: Henry V, Harlem Duet, and Done/Undone. Favourite credits elsewhere: Bunny, Stupid F*cking Bird, and The Father (The Search Party); Beneath Springhill, The Cull, Topdog/Underdog, and The Shoplifters (Arts Club); As dreams are made (Music On Main); Anywhere But Here (Electric Company Theatre); The Pearl Fishers and La Traviata (Vancouver Opera); and Fall Away Home (Boca Del Lupo).
Hina Nishioka (she/her)
Lighting Designer
Hina is a lighting designer based in the Lower Mainland of BC. Originally from Japan, she enjoys exploring projects with a variety of cultural backgrounds in theatre as well as lighting for dance and music. Her recent lighting design credits are Hurricane Mona (Touchstone/Ruby Slippers) and The SpongeBob Musical (Capilano University). She is very excited to spend her third summer with the Bard family this year! More information about her work can be found at hinalighting.com.
Chris Ross-Ewart (he/him)
Sound Designer
Chris is a sound designer, composer, and performer. Working across Canada, the US, and the world, he works on theatre, musical theatre, podcasts, and installations. Recent theatre credits include A Tale of Two Cities (Alliance Theatre); The Clearing (Shaw); Hamlet-911 (Stratford); The Sound Inside (Coal Mine Theatre); The Cave (Luminato/The Cultch); and Distant Early Warning (Buddies in Bad Times). chrisross-ewart.com
Harika Xu
Assistant Lighting Designer
Harika is a lighting and projection designer and a graduate of the UBC Theatre program. Recent lighting design: The Mousetrap and Mom’s the Word (Theatre NorthWest); Me Love BINGO!: Best in Snow (Arts Club); Tuck Everlasting and Spongebob Squarepants: The Musical (Arts Umbrella); Clean/Espejos (Neworld); and Done/Undone (Bard). Assistant lighting design: Monty Python’s Spamalot, A Wrinkle in Time, and Frankenstein Revived (Stratford); Sexual Misconduct of the Middle Classes (Centaur Theatre); Romeo and Juliet (Bard); No Child… (Arts Club); and 1 Hour Photo (vAct). Online: harikaxu.com @harikaxudesign