Muriel Densford has been a patron, Member, and volunteer with Bard on the Beach since 1990. Her connection to the Festival has deepened over the years, largely due to her time as an English teacher. She was passionate about sharing Shakespeare with her students—and brought many of them to Bard through Student Matinees and later for evening performances. Over the years, Muriel has built a friendship with many of the Bard family, including Founding Artistic Director Christopher Gaze and Associate Artistic Director Dean Paul Gibson, and she has the stories to prove it!
How were you first introduced to Bard?
I was first introduced to Bard on the Beach back in the early ’90s. At the time, I was teaching at Sir Winston Churchill Secondary School, and a fellow teacher friend suggested I meet Christopher, Bard’s founder, because I had such a passion for teaching Shakespeare. We spoke on the phone and hit it off immediately. He asked if I would consider becoming a volunteer as at the time there weren’t very many, and they were in need. Soon enough, I started volunteering in the summer of ’94. That first summer was unforgettable. Christopher and his family were all on stage together—it was a special production.
Do you have a favourite memory of Bard?
I have so many memories. One that stands out is Christopher performing as Falstaff. His costume was heavily padded to fit the character’s description, but August heat made it unbearable. He lost weight from sheer perspiration, and they kept adding more padding! It was quite a sight.
How has volunteering changed over the years?
Back then we had a small crew of maybe a dozen. The concession stand was one table with a coffee urn and some t-shirts. The Mainstage itself was much more intimate, with about 250 seats. I’ll never forget sitting in front of an elderly man during King Lear. At the end, I heard him tell his son, “Now you have something to tell your grandchildren.” Moments like that reminded me of how deeply these performances touched people.
Tell us more about when Christopher and Dean were special guests in your classroom when you were a teacher.
Christopher was himself, and he was very outgoing but incredibly focused. When he first came to my classroom, I had two groups of students. We were sitting on the stage in the Churchill auditorium; the students were on the floor around him, they listened with their heads in their hands, completely absorbed. I don’t even remember what he said, but there wasn’t a peep. And when he asked if anyone had questions, hands shot up everywhere. He answered every single one with patience.
And then there was Dean. He came to class in camouflage and combat boots. He strolled in and sat in my chair which was on wheels and propelled himself around the room to each student who had a question for him. The kids opened up to him. He made Shakespeare so raw and relatable that they begged for him to come back.
What’s been your favourite show in recent years?
I’d have to say As You Like It with the Beatles music, everyone loved it. But I also enjoyed The Comedy of Errors. There was so much ad-libbing—took me a minute to get used to it, but then I was all in. You know, I think even Shakespeare would have enjoyed that. There’s just something special about bringing that energy to the plays. I do love a good modernization when it’s done right—making it feel like it belongs to us today, but with respect for the original text.
I also loved both versions of Timon of Athens, Titus Andronicus, and Bob Frazer’s Richard III—all in the Douglas Campbell Theatre—top of my list. I love the way the shows in the Douglas Campbell Theatre take risks in staging and interpretation.
What has inspired you to support Bard as a donor for over 20 years?
You go to Bard and see 15 human beings on stage, giving it their all—whether they’re sweating or freezing. Night after night, they just give everything to that performance. And the arts? They don’t get nearly enough government support.
So, when I’ve had a little extra, I’ve wanted to support the real people standing right there, in front of me, working through whatever conditions come their way. It’s incredible what they endure. I mean, I’ve seen them in flimsy gowns on chilly nights, and they just go on as if it’s nothing. It’s inspiring. My donations might be small—if I had more, I’d give more—but I like to think my volunteering counts for something, too.
Are there any reasons you have decided to be a monthly donor instead of an annual donor?
I can give more money this way, you know? I think I started out with $25 a month. It doesn’t seem like a lot—it’s the price of a coffee shop visit these days, and let’s be honest, coffee can be overpriced! So, coming up with $25 a month felt doable, and by the end of 12 months, it adds up to a nice sum. If I had to give that all at once, I’d probably hesitate.
Plus, it’s easy to increase the amount in small increments every year without really feeling it. And, honestly, I don’t have to think about it—it’s automatic. I don’t have to send in my credit card number every month or fuss with reminders. It just happens. I know exactly where it’s going, and I’m happy with the contribution. It’s become a part of my budget—like rent and utilities. A Bard utility!
What advice would you give to new patrons or potential donors considering supporting Bard?
Supporting the arts enriches your entire community. This is a very easy way to support a very vital part of the community. Running an arts organization is expensive. Everything—from setting up the tents to paying artists and stage crew—requires a huge investment. We don’t want talented actors, directors, and crew members sacrificing their well-being to keep the arts alive. So, I think donations are one of the best ways to spend my life as I know my money is going toward supporting the arts and the people who are a part of it.
Thank you so much for sharing your interesting and insightful stories and thoughts, Muriel! We appreciate all the time you spend as a dedicated volunteer, Member, and patron. We look forward to seeing you again next summer.
Interested in becoming a Member like Muriel? Check out our Become a Member page for a full list of Membership levels and perks. For any questions about Bard Membership and its benefits, please contact Taylar Ball, our Individual Giving Manager, by email at [email protected] or by phone at 604-737-0625 ext. 2224.