A Midsummer Night’s Dream

June 8 – September 24 · BMO Mainstage

Shakespeare’s comic masterpiece follows four young lovers and a troupe of stumbling actors through an enchanted wood, on a journey of discovery to find out who they are, whom they love, and why it matters. Beginning in a world that is in disrepair, the story moves to the forest, where the natural and supernatural have merged and elves, goblins, and talking trees guide the way. Bring your family and friends and enter into a world of love, laughter and magic!

“I adore this play – it’s full of joy, magic and love. This is my tenth (Dream) production and I can’t wait to see it onstage again!” – Christopher Gaze, Bard Artistic Director

Directed by Scott Bellis (The Two Gentlemen of Verona, 2017; Bottom in A Midsummer Night’s Dream, 2014).

Production run time: 2hrs 40mins, including intermission

Audience Advisory

Production Sponsor

Photo Credit: Sarah Roa as Puck  Photo & Image Design: Emily Cooper 

Note: Cast assignments subject to change.



The story begins in Athens where we meet Theseus, a great military commander, a few days before he is to marry Hippolyta, a queen from a distant land. A prominent citizen named Egeus arrives, asking for Theseus’ support in dealing with his daughter, Hermia. Egeus wants her to marry a young man named Demetrius but Hermia has refused, because she’s in love with someone else – Lysander. Her father is determined to get his way and he draws on an ancient law that gives Hermia three stark choices: marry Demetrius, become a nun, or die!

In desperation, Hermia and Lysander decide to run away – but first they share the secret plan with Hermia’s friend Helena. Helena is deeply in love with Demetrius and she tells their secret to him. Demetrius follows the fleeing couple, Helena follows Demetrius, and soon, all four are in the wood outside of town.

In another part of Athens, a group of tradespeople are preparing a play in honour of Theseus and Hippolyta’s wedding. Peter Quince has written it and he wants the title roles to be played by two co-workers, Bottom and Flute, with smaller parts for Snout, Starveling, and Snug. Bottom wants to play all the juicy roles, but eventually she settles for just the lead. The group decides to rehearse in the wood outside of town, to keep the performance a surprise for the wedding celebrations.

That wood is also the home of Oberon and Titania, rulers of the fairy realm, and their followers. They usually live in harmony with the natural world – but that harmony is now broken because Oberon and Titania are fighting over custody of a child. Oberon wants to get revenge on Titania, so he asks the fairy Puck to get him a magical flower with juices that make a sleeping person fall madly in love with the first creature they see when they wake up. He uses it on Titania so she will fall in love with one of the beasts in the forest. He also asks Puck to use it to help one of the young Athenian lovers. But Puck makes a critical mistake…

The scene is now set for these three groups’ stories to play out and connect. There will be misunderstandings and confusion, battling egos, love gone wrong – and finally made right. Come along and enjoy the adventure!




Cinematography & Video Editing by The Art Left

Director's Notes

It’s been a full two years since this production, originally planned for 2020, was cancelled a few days before rehearsals were due to begin. After such a long time away, welcome back to this theatre in the park. Welcome to our Dream.

This play holds a special significance here at Bard on the Beach. This is the play that started the company back in 1990, and it’s a show that the company has returned to at special times, including the 10th and 25th anniversary seasons. I have had the pleasure of performing in five separate productions, all at Bard, since 1990.

One of the most beautiful qualities this play holds is its malleability. Shakespeare created a mix of dramatic styles and took his inspiration from several different literary sources, so there are a multitude of ways to present it to an audience. It also contains magic, which is always an invitation for the audience to suspend its disbelief more deeply and bring their own imaginations to bear.We have employed the 1920s as a general palette, with additions. I was drawn to this era as a reference for its historical similarities to our own current climate: military unrest, civil strife, a global pandemic – a world in trouble; one that reflects our time. It’s a struggling and unsettled place in deep need of renewal, one in which a journey into the dark woods may provide some answers, and a pathway toward a brighter future together.

We are excited to be collaborating with the SFU School for the Contemporary Arts for this production. Several fairies will be played by senior students from their Dance program. We will also have talking trees, creepy goblins, a few rewrites, and other surprises to bring to this story – one of young people in search of hearts’ desire; of political figures seeking a path forward; of supernatural powers out of balance, and perhaps, most importantly, a group of actors trying to stage a play under trying circumstances.

I’m writing this in April, six weeks before the start of rehearsals, before the artists have come together to build the experience you are about to see – before we really know what our Dream will be. In a way, this note is attempting to tell the future.The future is, of course, unknowable, until it arrives. And then it’s gone. Just like theatre.

I hope you enjoy our Dream.

Scott Bellis, Director

Critics & Patrons Say

“(Dream is) a perfect piece of theatre…”

The Globe and Mail

“…a crowd-pleaser with plenty of big laughs.”

The Vancouver Sun

“Super high praise for this production. Diverse, innovative, fresh, hilarious, modern, timely. The perfect opening production after so many years of darkness.”

Christine, Bard Patron

“…this rendition has “hit” written all over it.”

Tova Kornfeld, Jewish Independent

“…there is plenty to hear and think, plenty to laugh at and with, plenty to see and enjoy.”

Review Vancouver

“We were blown away, it was truly magnificent! My 12 year old theatre kid is wondering how soon he can audition.”

Delish General Store

“A Midsummer Night’s Dream is a wonderful comedy, full of magic and joy. Standing ovation to the cast and theatre crew.”

Gaby, Bard Patron

“Looking out the back of the tent at the sunset, geese, and cyclists, it was the perfect backdrop for a play in which most of the action takes place outdoors.”

Centre Stage (tessaperkins.ca)

“[My son and I] went to see this performance together and we both absolutely loved it. It was so funny and entertaining, I wanted to watch it all over again.”

Angela, Bard Patron

“We saw our first show last night… an absolute delight! Highly recommend!

Ingrid, Bard Patron

Cast & Creative Team

Scott Bellis


I’ve worked in theatre for 35 years now, and I still love it. Born on these lands, raised my kids here. Was a founding member of Bard in 1990. Worked on over 170 productions in many theatres across Canada. Made many friends. 5 Jessie awards, many nominations. 4 years as Council President of Canadian Actors’ Equity Association (and counting). love my community. Theatre is magic. Theatre is you. Thank you for being here.

Ian Butcher

Theseus/Goblin and Understudy for Philostrate/Oberon

Ian is excited to be back at Bard for his tenth season. A graduate of Studio 58, he has worked extensively throughout Europe and Canada, in theatre, film and TV. Selected theatre: Gross Misconduct (SpeakEasy); Mortified (Studio 58/Touchstone); Dracula (Chemainus); The Sound of Music (Gateway); and Coriolanus (Coriolanus Co-Op). Selected Film/TV: Billy the Kid, The 100, Riverdale, The Magicians, Supergirl, Motive, Supernatural, and Stargate Universe. This one is for mom who loved to come see us under the tents.

Melissa Oei

Hippolyta/Goblin and Understudy for Helena/Titania

This is Melissa's Bard on the Beach debut. Most recent acting credits include Lampedusa and Beautiful Man (Pi Theatre); The Twelve Dates of Christmas (Arts Club); The Composer is Dead (VSO); Like it or Not and New Canadian Kid (Green Thumb); Les Belles-soeurs (Ruby Slippers); The Open House (Sticks and Stones); and A Beautiful View (Naked Goddess). Melissa is an emerging director who recently made her professional debut at her alma mater, Studio 58. This fall, she will direct the world premier of 90 Days with Western Gold Theatre.

Billy Marchenski


Billy graduated from the School for the Contemporary Arts at SFU. He was a founding member of the indie company, Screaming Flea. Billy has worked for indie theatre and contemporary dance companies for over 20 years. In 2014, he was awarded the Sydney J. Risk Prize for his play, slowpoke, based on his travels to the Chernobyl Exclusion zone. His short film light-bearer won for Best Experimental Film at the Cannes World Film Festival last fall.

Joey Lespérance

Egeus/Starveling and Understudy for Bottom

Joey is a bilingual theatre artist established in Vancouver for over 30 years and is thrilled to make his debut at Bard on the Beach. He has been nominated seven times for a Jessie Richardson Theatre Award and received the Best Actor Award in 2015 for his role in Michel Tremblay’s À toi, pour toujours, ta Marie-Lou, produced by Théâtre la Seizième. Joey is presently writing his first solo show and he is looking forward to presenting it to French and English audiences. Joey is a graduate of Studio 58.

Heidi Damayo

Hermia and Understudy for Puck

Hailing from Treaty 7 Territory, Heidi first auditioned for “Crocodile” in her junior high production of Peter Pan and is thrilled to have somehow ended up here! Select theatre credits include Mustard (Arts Club/Belfry Theatre) and New Canadian Kid (Green Thumb Theatre). She is a graduate of UBC Theatre, FDC Intermediate Actor-Combatant, Wesbrook Scholar and recipient of the Stephen Woodhouse Memorial Prize. After these two long years, she is honoured to be making her Bard debut.

Olivia Hutt


Olivia is honoured to be playing Lysander in A Midsummer Night’s Dream on the unceded territories of the xʷməθkʷəy ̓əm, Swwú7mesh, and səlil i̓ lwə̓ taʔɬ First Nations. Seen last as Portia in Bard's production of The Merchant of Venice, Olivia is a Jessie Richardson Award recipient, dramaturg and teacher in the Greater Vancouver area. Thank you for coming together again to see theatre. Graduate of Studio 58.

Christopher Allen


For Bard: Debut. Selected Theatre: Orphans for the Czar (Crow’s Theatre); Sweat (Canadian Stage); The Birds and the Bees (Arts Club); Antigone: Fong (Young People’s Theatre); The Birds and the Bees (TIP/WCT); Selfie (Young People’s Theatre); The Whipping Man (Winnipeg Jewish Theatre); Julius Caesar and The Comedy of Errors (Canadian Stage); and The Adonis Project (Piece of Mine Festival). Selected Film/TV: Coroner (CBC); Murdoch Mysteries (CBC, Citytv); and Workin’ Moms (CBC). Awards: Outstanding Performance Ensemble – Dora Mavor Moore Award (2018).

Emily Dallas


Emily is incredibly grateful to be making her Bard on the Beach debut! Recent credits include As You Like It (Royal MTC/Citadel); Once (Citadel); A Gentlemen’s Guide to Love and Murder (Stage West); and As You Like It (Theatre Calgary/Shakespeare by the Bow). Training: MRU Theatre Performance Diploma, BFA Pace University, Arts Club Actor's Intensive and Fiasco Theater Conservatory. She would like to dedicate her performance to the students of The Performance Studio, who inspire her in everything she does.

Isaac George-Hotchkiss


Isaac is ecstatic about joining Bard for this season. After three years at Studio 58, performing in such shows as Can We Fix It? and (Anon)ymous, he is ready to dive into A Midsummer Night’s Dream. This play is sentimental for Isaac, as it’s not only his Bard debut, but was also his last course as a Young Shakespearean. Combined with his three summers as a Riotous Youth, Isaac is happy to be coming full circle with Bard.

Richard Newman

Peter Quince

Richard has been making theatre in Canada for over 50 years. Previously at Bard, he has particularly enjoyed playing Shylock (2011) and Sir Andrew Aguecheek (2013) among other roles. At other times, in other theatres, he has appeared as King Lear, Claudius, Hortensio (twice), Benvolio, Malvolio, a Dromio, Brabantio and The Scottish General, to name a few.

Munish Sharma


Munish is excited to be back at Bard and working with such wonderful people! Originally from Regina, Munish has called Vancouver his home since 2007. Munish is currently bringing his next show, Danceboy, to full production and was recently in the world premiere of Himmat (Theatre Conspiracy) and Men Express Their Feelings (Zee Zee). Recent credits: A Thousand Splendid Suns, The Orchard (After Chekhov), and The Matchmaker (Arts Club); All’s Well That Ends Well (Bard); Bombay Black (Raghupriya Arts and Culture); and Victim Impact (Theatre Conspiracy). Instagram @munisharma

Advah Soudack

Snug and Understudy for Hermia

Advah is thrilled to be making her Bard debut with this production of A Midsummer Night’s Dream. Selected theatre credits: The House at Pooh Corner and touring production of GLORY. Recent screen credits: Love, Lights, Hanukkah! and The Christmas Contest. Selected animation credits: My Little Pony, Polly Pocket, Lego Friends, and Beyblade Burst Evolution. A special thank you goes out to Eema, Abba, Aviam, and Josh who have loved and supported me, always. For Abba.

Carly Street


Carly has appeared on stages across Canada and the US, including Crow’s Theatre, Mirvish Productions, Tarragon Theatre, The Denver Center for the Performing Arts, Pittsburgh Public Theater, Cincinnati Playhouse, and four productions with Roundabout Theatre Company on Broadway. She made her Broadway debut in the Tony Award–winning production of Clybourne Park. Most recently, she appeared in the title role of Brecht’s The Resistible Rise of Arturo Ui at Canadian Stage in Toronto.

Kate Besworth


Kate is a writer and theatre performer who lives and works on the unceded and stolen lands of the Musqueam, Squamish, and Tsleil-Waututh First Nations. Previous productions with Bard on the Beach: Done/Undone, Shakespeare in Love, The Taming of the Shrew, Timon of Athens, Macbeth, The Two Gentlemen of Verona, and The Merchant of Venice.

Sarah Roa


Sarah is a Filipina Canadian actress grateful to be living and working on the unceded territories of the Tsleil-Waututh, Squamish and Musqueam Nations. She holds a Theatre Diploma from Douglas College and a BFA in Acting from UBC. Selected performance credits include In Wonderland (Alberta Theatre Projects); The Turn of the Screw (Aenigma Theatre); Robinson Crusoe + Friday (Axis Theatre); The Drowning Girls (Theatre NorthWest); and Pride and Prejudice (Arts Club).

Emily Bosak

Fairy (Peaseblossom)

Emily is a dance artist practicing in Vancouver on the ancestral lands of the Musqueam, Squamish, and Tsleil-Waututh First Nations. She is completing a BFA at Simon Fraser University majoring in dance and minoring in English. Emily is interested in translating other dance artists’ work and continually investigates how and when to respect or push the boundaries of her body. She is deeply grateful for the opportunity to dance with Bard on the Beach.

Emma Miebach

Fairy (Cobweb)

Emma began her dance training at the age of five studying ballet at the Sonoma Conservatory of Dance and the American Ballet Academy. She is currently attending Simon Fraser University, majoring in Dance and minoring in Kinesiology. Emma is a dance instructor at Artistic Edge and a company member with Coupé Dance & Co. Emma also performed in the music video Identivacation, written and directed by John Voth.

Polina Olshevska

Fairy (Peaseblossom)

Polina is a third-year Contemporary Dance major at Simon Fraser University. Born into a family of dancers, Polina’s passion for dance stems from watching her mom perform and teach Ukrainian dance. Recently she was a member with the AMOK project, under the direction of Carol Mendes. Polina has been dancing for 10 years and was primarily trained in ballet. Her goal as an artist is to share her passion through performance for the rest of her life.

Elyza Samson

Fairy (Mustardseed)

Elyza is a graduate of the Arts Umbrella Dance Company and VCC’s Dance Diploma Program. She has collaborated with world-renowned artists Crystal Pite, Gioconda Barbuto, Lesley Telford and Sidra Bell. Elyza is currently a Dance major student in her third year at SFU’s School for the Contemporary Arts. She is thrilled to be joining Bard on the Beach this season and can’t wait to perform live again!

Shäolin Temrick-Young

Fairy (Mustardseed)

Shäolin, a contemporary dance artist, trained with Arts Umbrella Dance Company for 10 years, graduating from the VCC/Arts Umbrella Dance Diploma Program in 2021. She has created, performed and worked with renowned artists including Crystal Pite, Lesley Telford, Sidra Bell and Victor Quijada. Currently, Shäolin is enrolled as a third-year student at SFU’s School for the Contemporary Arts BFA program. She is delighted to be dancing with Bard on the Beach this season!

Anna Wang-Albini

Fairy (Cobweb)

Anna is a dance artist based in Vancouver currently studying dance at SFU’s School for the Contemporary Arts. They have been in works choreographed by Tin Gamboa and Mikela Vuorensivu; and have studied under Justine A. Chambers, Rob Kitsos, and more. Anna is currently exploring their identity in dance by expanding their scope of what a creative practice constitutes, their personal definition of dance and seeking new opportunities wherever they may arise. It is Anna's first season with Bard and they could not be more excited!

Genevieve Fleming

Supporting Characters and Understudy for Hippolyta / Goblin / Lysander / Snug

Genevieve is an actor, director and producer raised on the unsurrendered ancestral homelands of the Mi’kmaq people called Mi'kma'ki. Recent highlights include Clean/Espejos (Neworld); The Twelve Dates of Christmas (Arts Club); The Drowning Girls (WCT); and Wet (ITSAZOO). Genevieve is the recipient of two Jessie Awards and several nominations for performance, and the Ray Michal Award for direction. She is a graduate of Mount Allison University and Studio 58.

Karthik Kadam

Supporting Characters and Understudy for Demetrius / Flute / Snout

Originally from Bangalore, India, Karthik is a recent graduate of UBC’s BFA Acting program. This is his first season here at Bard and he is thrilled to be a part of this exciting production. For Pacific Theatre: Assistant Direction, Wakey Wakey. For Axis Theatre: Capitano, Juggle Me Not. For United Players: Peter Shaw, Silent Sky. For UBC: Ensemble, Revolt. She Said. Revolt Again; Mark Rothko, Red; Sergeant Rodwell, Timothy Findley’s The Wars; Oskar, GOLDRAUSCH; and King Ethelred, Silence.

Ashley O'Connell

Supporting Characters and Understudy for Theseus / Goblin / Egeus / Starveling / Peter Quince

BFA in Acting at UBC, 2006. Some credits: All’s Well That Ends Well, Much Ado About Nothing, The Winter’s Tale, and Richard II (Bard); Flare Path* and A Doll’s House (Slamming Door); Spamalot, Blood Brothers, and The Graduate (Arts Club); Someone Who’ll Watch Over Me* (Dancing Monkey); A Few Good Men (Citadel); Of Mice And Men (Blue Bridge); The Full Monty (Persephone); and The Pillowman* (Wild Geese). Film/TV: Riverdale, Turner & Hooch, DC’s Legends of Tomorrow, Supernatural, Watchmen, and Stargate: Atlantis. Four Jessie Award nominations and one award* (2017).

Tara Cheyenne Friedenberg

Choreographer & Movement Coach

This is Tara’s ninth collaboration with Bard. An award-winning creator, choreographer, performer and Artistic Director of Tara Cheyenne Performance, Tara is known for her unique hybrid of dance, comedy and theatre. When not creating innovative movement for theatre companies, she performs full-length solos and ensemble works internationally, including Body Parts, bANGER, Goggles, Highgate, Porno Death Cult, and How to Be. Originally from Calgary, Tara now lives here with her family, on the unceded territory of the xwməθkwəəm, səl̓ ílwətaʔɬ, and Swwú7mesh Úxwumixw. taracheyenne.com

Amir Ofek

Set Designer

Born and raised in Israel. Graduated from Central Saint Martins College of Art and Design and Brandeis University (MFA, Theatre Arts). Amir designed productions in Tel Aviv, London, Boston and Durham, NC. In Vancouver, Amir designed for La Voix humaine and Orfeo ed Euridice (Vancouver Opera); The Father and Bunny (The Search Party); and numerous productions for the Arts Club Theatre Company. Previously with Bard on the Beach: Pericles and Othello, 2016.

Christine Reimer

Costume Designer

Christine has designed over 100 productions in live theatre, opera, kids’ theatre and living historical events across Canada and the US. Favourite designs for Bard are The Tempest, Macbeth, Much Ado About Nothing, Shakespeare’s Rebel, and Titus Andronicus. Other recent designs: Buffoon and Noises Off (Arts Club); Kuroko (Vancouver Asian Canadian Theatre); Alice in Nightmareland (Stanley Park Ghost Train); and King Arthur’s Night (Neworld). Upcoming: costumes for three boutique operas. www.christinereimerdesign.com

Gerald King

Lighting Designer

Lighting designer at Bard on the Beach for 19 seasons. Gerald’s recent credits: As You Like It (Bard/Citadel/Royal Manitoba Theatre Centre/Chicago Shakespeare); Bad Parent and Kuroko (vAct); Matilda (Royal MTC/Citadel/Arts Club); Chariots of Fire (Grand Theatre); carried away on the crest of a wave (National Arts Centre); Faust, Dead Man Walking, and Evita (Vancouver Opera); No Child… (Arts Club); Wabi-Sabi (Kokoro Dance); and The Faerie Queen (Royal Winnipeg Ballet).

Mishelle Cuttler

Sound Designer & Composer

Mishelle is a composer, musician and sound designer whose work is centered around the integration of music, sound and storytelling. This is her fourth season at Bard, after designing sound and music for Lysistrata, Shakespeare in Love, and Done/Undone. Favourite recent projects: Clean/Espejos (Neworld/Western Canada); The Herd (Citadel/ Tarragon/NAC); and Made in Italy (Arts Club). Upcoming: The Seventh Fire – an immersive audio ceremony by Lisa C. Ravensbergen (Delinquent). Mishelle has an MFA from NYU/ Tisch and a BFA from UBC. www.mishellecuttler.com

Jonathan Hawley Purvis

Fight Director

Jonathan is a fight director, actor, choreographer and stunt performer. Select fight direction credits include As You Like It, Macbeth, The Taming of the Shrew, and Shakespeare in Love (Bard on the Beach); As You Like It (Chicago Shakespeare Theater, Milwaukee Rep); Antony and Cleopatra, The Three Musketeers, Julius Caesar, and Romeo and Juliet (St. Lawrence Shakespeare); The Silver Arrow, Shakespeare In Love, West Side Story, Romeo and Juliet, The Penelopiad, and A Midsummer Night’s Dream (Citadel Theatre); and I Am For You (Concrete Theatre). www.jonathanpurvis.com

Tasha Faye Evans

Creative Consultant

Tasha is a Coast Salish dance and theatre artist with grandparents also from Welsh and European Jewish descent. Her career continues to be a collection of collaborations and performances with national and international Indigenous artists. Her most recent projects include Muranko’s Spine of the Mother, Raven Spirit Dance's Salmon Girl and Confluence, and her own upcoming production of Cedar Woman in collaboration with Ocean Hyland.

Lisa Goebel

Intimacy Director

Lisa is honoured to be joining Bard this year as a committed advocate for equity, safety and consent-based work from rehearsal hall to the stage. Lisa apprenticed with Intimacy Directors International before completing her certification with Intimacy Directors and Coordinators. Her Intimacy work has appeared at Pacific Theatre, Firehall Arts Centre, Urban Ink and Gateway Theatre. Lisa also works as an actor, choreographer and producer. She is a graduate of Studio 58.

Alana Hawley Purvis

Voice & Text Coach

Alana is a Vancouver based actor and a vocal coach. Proud to be a Canadian artist, she has worked with institutions across North and Central America including: The Stratford Festival University of Alberta, Es Artes!, Douglas College, On the Mic, and the Citadel Banff Professional Program. She has performed with various theatre companies including Shakespeare Theatre Company, The Stratford Festival, Canadian Stage, Citadel Theatre and Theatre Calgary. Alana is the creator of the Your Voice program at The LGBTQ+ Wellness Centre specializing in trans vocal care and is a graduate of the Academy for Classical Acting (MFA) and The Birmingham Conservatory for Classical Theatre Training. She is extremely grateful to be able to collaborate with Bard. alanahawleypurvis.com

Patricia Darbaise

Voice & Text Coach

Pat studied Voice and Speech at York University. She has taught Voice at University of Alberta, Concordia University College and Canada's National Voice Intensive. Pat is an award winning artist and a graduate of the University of Alberta's BFA Acting and MFA Directing programs.

Joanne P.B. Smith

Stage Manager

Joanne is delighted to be able to return to work at Bard on the Beach for this much awaited season. For Dad.

Rebecca Mulvihill

Assistant Stage Manager

Rebecca is returning to Bard for her seventh season. Most recently for Bard: Assistant Stage Manager on Done/Undone. Favourite credits elsewhere: Bunny and The Father (The Search Party); As dreams are made (Music on Main); Anywhere But Here (Electric Company Theatre); Topdog/Underdog and The Shoplifters (Arts Club); La Traviata (Vancouver Opera); and Fall Away Home (Boca del Lupo). Rebecca holds a BFA in Theatre Production and Management from UVic.

Sharon Wu

Apprentice Stage Manager

Sharon is thrilled to be back with Bard for a full season. Her select apprentice stage management credits include The Boy in The Moon (Cultch/neworld Theatre); east Van Panto: Pinocchio (Theatre Replacement); and Coriolanus (Bard on the Beach, rehearsals). She is grateful to be collaborating with artists in the community and is endlessly thankful to her loved ones for their constant support. She is a graduate of Capilano university’s Technical Theatre program.

Matthew Piton

Lighting Design Assistant

Matthew has an MFA in Design and Production from UBC and a BA in Theatre from UFV. He specialises in Lighting and Set Design. Matthew is a Professor of Theatre at the University of the Fraser Valley and a member of the Associated Designers of Canada. Recent productions: Associate Lighting Design, Noises Off (Arts Club); Lighting Design, The Wars (UBC); and Lighting and Set Design, The Rocky Horror Show (Alchemy Theatre). www.matthewpiton.com

Cecilia Vadala

Set Design Assistant

Born and raised in Italy, Cecilia has a background in Philosophy and Art History. A recent UBC graduate from the MFA program in Theatre Design and Production, Cecilia designs for the stage and the screen, focusing on the scenic design practice. As a designer, Cecilia considers herself a visual storyteller. Her aesthetic is suggestive and evocative. In her work the space is another character that evolves and tells a story on its own. www.ceciliavadala.com

Charlotte Di Chang

Costume Design Assistant

Charlotte is a Vancouver-based Costume Designer for theatre and film. She is also a bit of a makeup guru that loves sparkles and glitter. Charlotte started her theatre journey at University of the Arts London. After graduation, she worked a year with both large-scale and independent theatres in Beijing and moved to Vancouver to continue her education at the University of British Columbia. Previous credits include Coriolanus and The Changeling (UBC); and Reverie (short film). designcharlottechang.com

Alistair Wallace

Assistant to the Sound Designer

Alistair is an actor, producer, comedian and sound designer. Originally from Sydney, Australia Alistair’s sound design credits include Ominous Sounds at the River Crossing; or, Another Fucking Dinner Party Play (Touchstone); The Enemy, Opening Doors (Firehall Arts Centre); No end of Blame (Sport for Jove); The Mystery of Love and Sex, Ride / Fourplay (Darlinghurst Theatre Co); Odd Man Out, Barefoot in the Park, A History of Falling Things, Jack of Hearts, Blood Bank (Ensemble); Punk Rock (pantsguys/ atyp) - Winner Best Independent Production, Sydney Theatre Awards 2012 ; Jerusalem- Nominated, Best Independent Sound Design, Sydney Theatre Awards 2013 (New Theatre).

Laura McLean

Directing Apprentice

Laura is a Jessie Award–winning director and producer. She’s directed with Pacific Theatre, Rumble Theatre, Arts Club Theatre, United Players, Birmingham Repertory and the Bristol Old Vic. Laura is the co-founder and co-Artistic Producer of Delinquent Theatre. Previous credits with Delinquent Theatre include Never the Last, STATIONARY: a recession era musical and Our Time. She has her BFA in Theatre from UBC and her Masters in Directing from the Bristol Old Vic Theatre School.