August 21 – September 21 · Howard Family Stage in the Douglas Campbell Theatre
Political warfare – and war within a family – drive Shakespeare’s compelling story of the ruthless fighter, Coriolanus, as she fights for honour without compromise. With themes of pride and arrogance at its core, Coriolanus takes us deep inside a violent world as it examines what it means to be loyal to a parent, to a leader and to a country – and how those choices can redeem or destroy us.
Bard’s first-ever production of Coriolanus is directed by Dean Paul Gibson (A Midsummer Night’s Dream, 2014; The Winter’s Tale, 2017).
Photo Credit: Moya O’Connell as Coriolanus Photo & Image Design: Emily Cooper
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After a terrible famine strikes Rome, the plebeians (common people) rally against the patricians (upper classes) for hoarding grain and inflating food prices during the shortage. In response to protests, the patricians allow the citizens to have five tribunes (representatives) to advocate their case to the Roman state.
THE ENEMY OF THE PEOPLE
Menenius, a Roman patrician, tries to calm the rioting citizens. Meanwhile, Caius Martius, a fearless warrior, treats the plebeians with contempt.
When war breaks out between Rome and the neighbouring Italian region of Volsces, Martius spearheads a campaign in the city of Corioles against the Volscians, who are led by her arch-rival, Tullus Aufidius. Martius is an unstoppable force on the battlefield. She kills with ruthless precision and an utter lack of fear. She almost single-handedly defeats the Volscians, and the Romans capture Corioles.
A NEW NAME
Martius returns to Rome and is renamed “Coriolanus” in honour of her victory in Corioles. She is nominated for political office, but she must be elected by the people. At first, Coriolanus receives their support, but then the people are persuaded to turn against her by Brutus and Sicinius, two tribunes who see her as a threat.
Coriolanus lashes out at the people for turning against her, ignoring advice from family and friends to speak cautiously. In turn, the crowd calls her a traitor, and Brutus and Sicinius propose that she be punished for treason. Coriolanus is sentenced to exile and is forced to leave Rome immediately.
MERCY OR REVENGE
In response to her banishment, Coriolanus goes to Aufidius’ home in Antium, and offers to join the Volscian army in its next attack on Rome. Aufidius agrees and the two powerful warriors unite to destroy Coriolanus’ home city. News reaches Rome of Coriolanus’ betrayal, and the citizens begin to panic. Volumnia, Coriolanus’ mother, begs her to reconsider. Will Coriolanus choose mercy or revenge?
When my collaborator Robinson Wilson came to us at Bard with a pitch for a production of Coriolanus featuring a female in the titular role, I was hooked. With the success of 2018’s Timon of Athens and Lysistrata, it was clear we must continue the practice of bold and creative productions with women at their centre. As we evolve and liberate ourselves from older practices and embrace new ways to tell these deeply human and enduring stories, it is vital that we remain committed to artistic expression that reflects the times we live in now and may live in the future.
So in this season, the Festival’s 30th, I’m delighted to helm the first production of Coriolanus at Bard, with a woman as its main protagonist. Now is the time!
Working together with Robinson and Bard’s resident Voice and Text coach, Alison Matthews, we’ve arrived at a context where this production will allow the major questions of the play – power, politics, pride, democracy, virtue, family – to be investigated, using all the elements required to create a conflicted world, and one where time and place borrow from the past, while also projecting toward an imagined not-too-distant future. The internet and electronic connections we know today are not at play in this world. It is an amalgam of the old, and the imagined.
We have created an environment that can be at once stark, crowded, beautiful, violent, harmonious, discordant, evocative and empty. Contradictory. A representation of a country and its people that are consumed by corrupt, personal and discordant agendas. Flavours of warfare past, along with some very modern political maneuvering, serve to remind us that the division, tribalism and social schism in the original story still resonate hundreds of years later – as if taken from the latest news report. Proving yet again that we are drawn to repeat our transgressions with no thought of our history.
My own association with Bard has reached a personal milestone of 28 years and it remains important to me, and our company, to push our collective stories in new directions. When Christopher Gaze agreed wholeheartedly to program this challenging play with Moya O’Connell at its centre, I knew I was going to grow yet again as a theatre artist. It is my chief motive as practitioner. I’m grateful for the continued confidence Bard has invested in my work; it is a privilege that I’ve never taken lightly. It is indeed my good fortune that I’ve been able to learn, fail and succeed with the help of many great artists, creators, administrators, volunteers and audiences throughout. My experience is also a testament to the Festival’s
dedication to bringing people together and celebrating our collective humanity.
Dean Paul Gibson
Cast & Creative Team
This is Praneet’s debut with Bard! Theatre credits: The Orchard (After Chekhov) (Arts Club); The Penelopiad (Grand Theatre); Mahabharata (Shaw Festival Workshop); Wet (ITSAZOO Productions); King Lear and Macbeth (The Shakespeare Company); A Christmas Carol and As You Like It (Theatre Calgary). Film and TV credits: October Faction (Netflix); Arrow (CW); and Lux-Me (Telus Storyhive Web-Series). Upcoming: Iceland (Theatre Calgary). @p_akilla
Born and raised in BC, Dalal is based between Toronto and LA. Selected Theatre: As You Like It, Three Sisters, Love’s Labour’s Lost, Romeo and Juliet (Stratford), Kiss, Julius Caesar, Comedy of Errors (CanStage), Habib’s House Party (RCA/WCT), Wanderers (Cahoots), Tideline (Factory Theatre), You Are Very Star (Electric Company) The Kite Runner (Theatre Calgary /Citadel), The Neverending Story (YPT/Skirball Center NYC). Graduate of UVic, National Theatre School, and the Birmingham Conservatory. www.dalalbadr.com
Zoe BellisApprentice Stage Manager
Apprentice Stage Manager
Zoe is thrilled to be back for Bard’s 30th season! Previous select credits include: EastVan Panto: Wizard of Oz, EastVan Panto: Snow White (Theatre Replacement), Outside Mullingar (Chemainus Theatre Festival); Timon of Athens, Lysistrata (Bard on the Beach); The 39 Steps (Circle Bright Productions); Suddenly Slaughter (The Biting School), The Fabulous Lipitones (Miracle Theatre Prince George). Thank you, as always to Mom, Dad, and Chris, for everything. Zoe is a graduate of Studio 58.
Kimira BhikumAssistant Set Designer
Assistant Set Designer
Kimira is an MFA graduate student from UBC. Her research explores the use of virtual reality in the creative set design process to enhance communication between a Director and a Designer. Originally from South Africa, she attained a bachelor’s degree in Performing Arts Technology where she specialized in prop-making and scenic painting. She has worked in both film and theatre industries and will continue to master her skills as an artist.
Alan BrodieLighting Designer
A founding member of Bard on the Beach, Alan previously created the lighting for the Howard Family Stage in 2014 and 2009. Recent credits include La Cenerentola (VOA), Billy Elliot (Theatre Calgary), and The Shoplifters (Arts Club). He spent five seasons at the Stratford Festival and 17 seasons at the Shaw Festival. Alan received his design training at UBC and directing training at UVic. He is a member of the Associated Designers of Canada.
Barbara ClaydenCostume Designer
Barbara has designed costumes for over 30 years with numerous companies around Vancouver. Other designs for Bard on the Beach include King John in 2012 and Lysistrata in 2018. Recent designs include The Orchard (After Chekhov) (Arts Club), East Van Panto (Theatre Replacement), and Beauty and the Beast (Arts Club). She has been nominated for more than 15 Jessie Richardson Theatre Awards, receiving a few along the way.
Kate De LormeSound Design Assistant
Kate De Lorme
Sound Design Assistant
Kate is a Sound Artist and Designer based in Vancouver, BC. She graduated from UBC in 2015 with a BFA in Theatre Design and Production. Kate was recently an Artist in Residence at The Spatial Sound Institute in Budapest, Hungary, researching and creating using the 4DSOUND Spatial Sound system. Select design credits include: Epilogos, Telemetry, and Feasting on Famine (Radical Systems Art); Salmon Girl (Raven Spirit Dance); and Major Motion Picture (Out/Innerspace Dance Theatre). katedelorme.com
Bard on the Beach debut. Acting credits: Marine Life (Ruby Slippers); Sweat (Arts Club, Citadel); The Audience (Arts Club); Cornwalls’ Christmas (Chemainus); Rent (URP); West Side Story (TUTS); The Dining Room (Western Gold); and The Idiot (PuSh/Neworld). Assistant Director: Cabaret and Anything Goes (RCMT); Pride and Prejudice (Arts Club); and The Duchess (Ruby Slippers). BFA in Acting from UBC, co-founding member of the Canadian Latinx Theatre Artist Coalition. Upcoming: Anywhere but Here (Electric Company).
For Bard (eighth season): Macbeth, As You Like It, Hamlet, Timon of Athens and Julius Caesar. Other Theatre: East Van Panto: The Wizard of Oz (Theatre Replacement); Forget About Tomorrow (Belfry/Arts Club); Angels in America, Parts 1 and 2 (Arts Club); Titus Buffonius (Rumble Theatre); Who’s Afraid of Virginia Woolf (Arts Club/Blackbird Theatre); and Tear the Curtain (Arts Club/Electric Company). Film & Television: The Man in the High Castle, A Series of Unfortunate Events, Lucifer, and Backstrom.
Paige FraserRoman Soldier
Paige is so excited to be making her Bard debut as a fighting femme in Coriolanus! Favourite credits include Cabaret and Mortified (Studio 58); 42nd Street (TUTS), Rock of Ages (Arts Club); You’re A Good Man Charlie Brown (Play on Words); and The Drowsy Chaperone (Exit 22). She is a fresh graduate of Studio 58 and previous graduate of Capilano University’s Musical Theatre Diploma. Thanks to Dean, Lisa, Robinson, Gabe, and Momma.
Dean Paul GibsonDirector
Dean Paul Gibson
Dean celebrates his twenty-eighth season with Bard, having served as an actor, director and Associate Artistic Director. Bard credits include, acting: Sir John Falstaff, Falstaff; directing: The Winter’s Tale, Much Ado’, King John, Othello, Romeo and Juliet, Dream, Hamlet, R&G, The Merry Wives of Windsor, Pericles, Twelfth Night and The Two Gentlemen of Verona. Selected directing credits include: Topdog/Underdog, The Flick, Spamalot, She Stoops to Conquer, Xanadu, 39 Steps, Black Comedy, History Boys, and Wonderful Life (Arts Club); Habibs (RCA-WCT); One Man Two Governors (TC); The 25th Annual Putnam and 7 Stories (Theatre Calgary/CanStage); Toronto- Mississippi, True West, No Great Mischief, and Noises Off (Playhouse).
Alaia HamerAssistant Costume Designer
Assistant Costume Designer
Alaia Hamer is an emerging theatre designer located in Vancouver, BC. Recent projects include assistant costume design on Sweat, The Humans (Artsclub), costume for C’mon Angie (Touchstone), assistant costume for Macbeth (Bard on the Beach), set design for She Kills Monsters (UBC), associate costume design for Onegin (Arts Club); as well as a variety of small shows. Alaia is a graduate of the UBC Theatre Design program and holds a prior English literature degree.
Marci T. HouseAufidius
Marci T. House
Timon of Athens and Lysistrata (Bard on the Beach); Sweat (Citadel); The Madness of George III and Dracula (Shaw); You Will Remember Me (Ruby Slippers Theatre); Intimate Apparel, Clybourne Park, Disgraced and Sweat (Arts Club); Glengarry Glen Ross (Classis Chic Theatre); The Ladies Foursome (The Grand Theatre); The Last Days of Judas Iscariot (Neworld /Pacific Theatre); In The Next Room (or The Vibrator Play) (Tarragon/MTC); Ruined (Obsidian/Nightwood Theatre); and Hamlet (Honest Fishmongers Equity Co-op).
Pam JohnsonSet Designer
Pam joined Bard in 1998 and was instrumental in designing the Village and Entranceway. Bard credits: As You Like It, Much Ado’; The Winter’s Tale; Romeo and Juliet; The Merry Wives of Windsor; Comedy of Errors; King Lear; Cymbeline; Hamlet; Twelfth Night; King John; Richard II; Titus; Henry V; The Taming of the Shrew; A Midsummer Night’s Dream; Macbeth; Measure for Measure; and Richard III. Pam has received several Jessie Awards, as well as a Career Achievement Award.
Alessandro JulianiComposer and Sound Designer
Composer and Sound Designer
AJ has been working professionally for the last 30 years. He is frequently executed, maimed, disemboweled, dismembered, immolated, crucified and/or air-locked on your favourite locally-shot television programs and films. He often lends his voice to the animated programs which your kids/grand-kids/great-grand-kids/socially awkward uncles currently binge. He makes his home in Vancouver with his partner and frequent collaborator, Meg Roe, and their three children.
Jenny KimRehearsal Assistant Stage Manager
Rehearsal Assistant Stage Manager
Thanks to Jonathan for giving her the opportunity to join the journey of Coriolanus. It is an honour and pleasure to be able to work with the Company and the talented individuals on this production. ASM credits include SWEAT (Arts Club - debut), and Circle Game (Firehall Arts Centre/Arts Club - tour). Thanks to her family and friends for their love and support. Jenny is a graduate of the BFA Theatre Production & Design program at UBC.
Jamie KingDirecting Apprentice
This is Jamie’s first season at Bard. Directing credits include: The Wolves (With A Spoon/ Pacific/Rumble Theatre), BIG Sister (Rapid Pitch), Vampires In Barcelona (Skinny Walrus), Love/Sick (Stone’s Throw), PULL VI (Speakeasy), and Bull (Rumble Theatre). Jamie was the recipient of the Ray Michal’s Prize for Most Promising New Director at the 2017 Jessie Awards. Hi Dad!
Shawn is thrilled to be returning to Bard on the Beach. He has appeared at Bard for five seasons, most recently in 2014 in Equivocation and Cymbeline. Some recent stage appearances include The Drowsy Chaperone (TUTS/Ovation Award recipient); Yoga Play (Gateway Theatre); and Disney’s Beauty and the Beast (Arts Club). Shawn also writes plays and leads the LEAP Playwriting Intensive for Young Writers (Arts Club). He is the recipient of five Jessie Richardson Theatre Awards.
Alison MatthewsHead Voice & Text Coach
Head Voice & Text Coach
Alison is Head of Coaching at Bard, where she has led voice and text work since 2009. She is a founding faculty member of the Arts Club Actor’s Intensive and has taught at the Citadel Banff Professional Theatre Program for five years. A professional actor for over twenty-five years, Alison works in radio, television, and film. MFA (specializing in Voice), University of British Columbia; Associate Diploma in Drama & Speech, Trinity College London. www.alisonmatthews.com
Susan MiyagishimaRehearsal Stage Manager
Rehearsal Stage Manager
Susan is a Vancouver-based stage manager, props designer, production manager, and director. As well as having worked locally, she has toured extensively across Canada and abroad into the US and Asia. She’s very happy to return to Bard where she apprenticed for three years on the Mainstage. Susan recently received a Jessie Award for the technical design of Vancouver Asian Canadian Theatre’s 1 Hour Photo and is a graduate of Studio 58.
Conor MooreProjection Design Assistant
Projection Design Assistant
Conor Moore is a lighting/video designer based in Vancouver. He completed an MFA in Design at UBC. Previous Bard on the Beach credits include Hamlet, Falstaff, Henry VI, Richard III, and The Merchant of Venice. He is a board member of the Associated Designers of Canada and a core member of the Vancouver Design Forum. He is currently completing an MA in Labour Studies and Sociology at SFU, studying the organization of Canadian theatre designers.
Jamie NesbittProjection Designer
Jamie designs across North America and Europe. Resume includes Stratford, Shaw, Canadian Stage, NAC, Soulpepper, MTC, Vancouver Playhouse, Citadel, Theatre Calgary, Palazzo Circus, Calgary Stampede Grandstand Show, Bard on the Beach, Arts Club, Charlottetown Festival, Electric Company, Kidd Pivot, Pacific Opera, Opera Quebec, Company 14, Vancouver Opera, Why Not, Neptune, The Belfry, Old Trouts, ARC, Cahoots, PTE, Touchstone, Vertigo, Pi Theatre, Theatre Network, Rumble, and Yukon Arts Centre. Jamie is the recipient of numerous awards. www.jamienesbitt.com
Moya O'ConnellCaius Martius / Coriolanus
Caius Martius / Coriolanus
Last seen at Bard as Lady Macbeth in Macbeth and Flavius in Timon of Athens. Eighth season at Bard on the Beach. Ten seasons at The Shaw Festival. Favorite roles so far include Hedda, Hedda Gabler; Mary Swanson, Middletown; Maggie, Cat on a Hot Tin Roof; Portia, The Merchant of Venice; Ophelia, Hamlet; Tracy Lord, The Philadelphia Story; Imogen, Cymbeline; Elizabeth, The Circle; Lottie, Enchanted April; Julia Craven, The Philanderer; and Vivie Warren, Mrs. Warren’s Profession. BFA in acting from UBC.
Anthony is delighted to be returning to Bard on the Beach having previously appeared in productions of The Winter’s Tale and Love’s Labour’s Lost (1997). His selected theatre credits include SWEAT (Arts Club/The Citadel Theatre); Dear Elizabeth (Wunderdog Theatre); Dark Road (Ensemble Theatre Company); True West (Sonderhouse Productions); and Pull Festival 2018 (SpeakEasy Theatre). Special love and thanks to his family, friends, Nya-Manet, James and AKC.
Joanne P.B. SmithStage Manager
Joanne P.B. Smith
This will be Joanne’s eighteenth season stage managing in the Douglas Campbell Theatre at Bard on the Beach. Recent shows are The Good Bride (Firehall Arts Centre/Alley Theatre), and East Van Panto: The Wizard of Oz (Theatre Replacement). Joanne has worked for many other theatre companies mostly in Vancouver.
Lisa StevensCo-Fight Choreographer
Dolly Parton’s 9 to 5: The Musical (Savoy Theatre, West End); 9 to 5 (UK Tour); Bombay Dreams (Ntl Tour); Disney’s High School Musical 1 and 2 (UK, US, Australian Companies); The Little Prince (Theatre Calgary); Witches of Eastwick (Ogunquit Theatre); Cutman, A Boxing Musical (Goodspeed Opera House, CT); Prom Queen (London Grand); West Side Story (Drayton Ent); Xanadu, Spamalot, In The Heights (Arts Club). Director/Choreographer: Grease (Winter Elgin Garden & Drayton Ent); Executive Decision (Guild Theatre, NY); Mamma Mia (New Theatre, Kansas). Emmy Award nomination: Dreaming of A Jewish Christmas. Instagram: lisa_l_stevens
Jennifer StewartAssistant Stage Manager
Assistant Stage Manager
This year marks Jenn’s sixth season with Bard on the Beach. Backstage credits include Studies in Motion (Electric Company), Motherload (the chop) and multiple shows at Caravan Farm Theatre. Selected design credits include Of Mice and Men (Set & Props, Hardline); Selfie (Set & Costumes, Seizième); Redpatch (Masks, Hardline); Wilderness (Set & Props, Studio 58); and Wet (Set & Props, ITSAZOO). She is a three-time Jessie Award-nominee. Jenn studied at UBC and Studio 58.
Sophie TangAssistant Lighting Designer
Assistant Lighting Designer
Sophie Tang holds an MFA theatre design degree from UBC and a BFA theatre production and design degree from SFU. She is the 2018 Jessie Award Winner for Lighting Design in a Small Theatre. Recent credits: The Orchard (After Chekhov) (Lighting Designer) Arts Club Theatre, Old Man and the Sea (Lighting Designer) Turning Point Ensemble, Elephant and Piggie (Lighting Designer) Carousel Theatre, Yoga Play (Set Designer) Gateway Theatre, Titus Buffonious (Lighting Designer) Rumble Theatre, Last Train In (Set Designer) Rice and Beans Theatre, Urine Town (Set Designer) Arts Umbrella, Love and Information (Set and Projection Designer) UBC, Caged Beast (Lighting Designer) Drama One Theatre. Portfolio website: sophieyufeitang.com
Sara VickruckVolsces Lieutenant
Sara is a theatre creator, performer, and musician. Selected theatre credits include Much Ado About Nothing (Classic Chic Productions); Fun Home (Arts Club); West Side Story (Theatre Under the Stars); and Circle Game (Firehall Arts Centre). Sara co-created the award-winning slam-poetry musical Poly Queer Love Ballad. She’s the winner of an Ovation Award for Best Female Performer (Love Bomb, Shameless Hussy Productions) and is a MacEwan Graduate. Check out more, including her album at saravickruck.ca.
Colleen is a long-time company member at Bard on the Beach having been last seen as Timon in Timon of Athens. Other recent theatre: The Party/The Candidate (Citadel); Forget About Tomorrow and The Valley (Arts Club/Belfry). Recent Television and Film: Head of the Snake, Twilight Zone, Altered Carbon, Tully, and Hailey Dean Murder Mysteries. Colleen graduated from the University of Alberta’s BFA (Acting) Program and is the recipient of seven Jessie Richardson Awards. For Joshua and Lily.
Robinson WilsonCreative Consultant and Fight Director / Co-Fight Choreographer
Creative Consultant and Fight Director / Co-Fight Choreographer
Stage Combat: Associate Member of Fight Directors Canada, Society of American Fight Directors, and the Nordic Stage Fight Society. Directed Studies Mentor/Instructor at Vancouver Island University. FD for over 50 theatrical productions since 1997. Martial Arts: certified teacher (Guro) with 25 years of experience in Filipino Martial Arts. International clients: 360 Stunt School (Denmark), Ahaetruatrioi (Iceland), NSFS (Stockholm), and Arctic Action (Norway). Thank you to DPG, AM, KJ and Lori for championing this journey.
Sharon WuRehearsal Apprentice Stage Manager
Rehearsal Apprentice Stage Manager
Sharon is thrilled to be a part of her very first season with Bard! A graduate from Capilano University’s Technical Theatre program (2018), she has worked as an assistant stage manager and scenic painter. Her recent credits include props designing Eternal Theatre Collective’s production of bare, working as a dresser for Theatre Replacement’s 2018/19 East Van Panto, and assistant stage-managing Theatre Under the Stars’ Cinderella, where she received the 2018 Rising Stars Internship Award.
Raugi YuVolsces Senator
Raugi is honoured to tread the boards again with Bard on the Beach. Shakespeare has always been a source of deep love for Raugi and he is sure through this show he will experience the power and growth of that love again. Raugi would like to thank his wife and kids for always supporting him in this wild business and hopes that you all enjoy watching the show as much as he loves performing it.
Critics & Patrons Say
‘Coriolanus’ is definitely not for the faint of heart; there’s blood, there’s violence, there’s betrayal. But it’s a magnificent production of a seldom-seen play. Sold out before opening; seven additional performances have been added. Be quick or be sorry.Jo Ledingham
The tale is as compelling today as it was hundreds of years ago.Entertainment Vancouver
…performances so powerful they practically leap off the stage.Janet Smith, The Georgia Straight
What a fantastic, intense, imaginative production of ‘Coriolanus’ at [Bard on the Beach]! Moya O’Connell is just mesmerizing. So powerful and passionate.Szabolcs, Bard patron
‘Coriolanus’ is one of the most interesting and thought provoking plays to hit Bard on the Beach in a long time.The Vancouverist
While one of Shakespeare’s more complex tragedies, the play is well served by shrewd direction and powerful performances. Go see it.Chelsey Stuyt, Vancouver Presents
If you are in the Vancouver area and have a chance to get your hands on a ticket for this, just do it!Vanya, Bard patron
…dynamic central performances along with Barbara Clayden’s cinematic costumes and Jamie Nesbitt’s vivid projections, from Roman sculpture to Marxist graffiti, make this rare staging of ‘Coriolanus’ well worth watching.Jerry Wasserman, Vancouver Sun
[Coriolanus] is incredibly human, showing the devastating impact of war and the pursuit of power on one’s relationships. The imagery and music only heightened its impact. Go see the last performances next week.Anna, Bard patron
This was such a fantastic show – I didn’t know what to expect and was totally blown away. A must-see!Angelika, Bard patron