The Dark Lady
July 3 to September 19 • DOUGLAS CAMPBELL THEATRE
Celebrated Canadian playwright and actor Jessica B. Hill’s The Dark Lady reclaims a story that was almost lost; that of Emilia Bassano, an intriguing multiracial, trilingual woman who was also a talented musician and England’s first female published poet. Is Bassano the “Dark Lady” of Shakespeare’s sonnets? This witty and intimate production brings the two poets together in a complex love story about art, collaboration, desire, and ambition. The dialogue “cracks like a whip” (Winnipeg Free Press) and helps us both understand and challenge our love of Shakespeare through a powerful exploration of love and legacy.
Directed by Moya O’Connell. Written by Jessica B. Hill.
Production run time: TBA
Audience Advisories: TBA
Production Sponsor:
Photo Credit: Arghavan Jenati as Emilia Bassano
Photo & Image Design: Emily Cooper
The Story
“And yet, by heaven, I think my love as rare
As any she belied with false compare.”
—Sonnet 130
Jessica B. Hill’s The Dark Lady is a captivating and intimate story that shines a spotlight on Emilia Bassano, a brilliant woman almost lost to history. Many have suggested that she could be the “Dark Lady” of Shakespeare’s sonnets—but what does that actually mean?
Shakespeare wrote 154 sonnets during the 1590s, with Sonnets 127-152 addressed to a woman with dark skin and hair, often referred to as “the dark lady.” One of the most provocative questions in Shakespeare studies is the extent to which the sonnets are about his life, with some believing that certain sonnets were written about Shakespeare’s own romantic affairs. While popular theories abound, the story of the sonnets is shrouded in mystery—and likely to remain that way.
Still, scholars and hobbyists have worked over the centuries to try and determine the identity of this figure. The person most often suggested as the “dark lady” was born Emilia Bassano and was a remarkable artist in her own right. She was the first woman in England to publish a substantial volume of original poetry, and her long poem Salve Deus Rex Judaeorum was a powerful and unflinching critique of traditional attitudes towards women in the Bible, with some considering it a piece of early proto-feminist literature. For example, in the defense of Eve, she writes:
Our Mother Eve, who tasted of the Tree,
Giving to Adam what she held most dear,
Was simply good, and had no power to see,
The after-coming harm did not appear:
The subtle Serpent that our Sex betrayed,
Before our fall so sure a plot had laid.
The Dark Lady reclaims the story of Emilia Bassano from the margins of history, while also imagining the circumstances that could have set this extraordinary woman on a collision course with a budding young playwright named William Shakespeare. In what feels like an inevitability, these two forces are drawn together in a creative—and romantic—entanglement that can still be felt to this day.
Translations of “The Story” available in the following languages below, click the button to read!
Chinese (Traditional) Farsi French Korean Punjabi Spanish
Director
Moya O'Connell
Director
Moya is a director, actor, and educator. Moya holds an MFA in directing from UBC and is the Senior Instructor of Acting at VFS. Recent directing: Betrayal (Room #216); The Very Book Indeed (UBC); An Ideal Husband (United Players); and Hedda Gabler (Coal Mine). Moya has played leading theatre roles across Canada for the past 25 years. Recent: The Sound Inside (Coal Mine); Coriolanus (Bard); Julius Caesar (Crow’s Theatre/Groundling); and 11 seasons at Shaw. This is Moya’s ninth Season with Bard, her first as a director, and she is honoured to be directing in the Douglas Campbell Theatre. Douglas is the reason she is in the theatre. May his revolutionary spirit live on.
Actors
Arghavan Jenati (she/her)
Emilia Bassano
The Birds and the Bees (Alberta Theatre Projects); The Curious Incident of the Dog in the Night-time and A Thousand Splendid Suns (Arts Club); and Alice Munro Stories (Belfry). Select film and TV: The Recruit (Netflix); With Love and a Major Organ (SXSW Premiere); Honor Society (Paramount+); Fresh (Hulu); Turner & Hooch (Disney+); Heart of the Matter (Hallmark); A Million Little Things and Big Sky (ABC); Girlfriends’ Guide to Divorce (Bravo); Arrow (The CW); and Ashbridge (CBC). Best Actor at TIFF Bell Lightbox and Run N Gun 2022. Whistler Film Festival’s Stars to Watch.
Nathan Kay (he/him)
William Shakespeare
Select credits: Stupid F***ing Bird, Bunny, Fairview, and Dance Nation (The Search Party); King Arthur’s Night (Neworld); and Red Velvet (Arts Club). I feel very fortunate to be back at Bard on the Beach this summer! Thank you for coming to see theatre.
Sebastian Kroon (he/him)
Understudy for William Shakespeare
Sebastian first appeared on the Bard stage in 2011. As a performer, he has worked around the globe. In 2014 he received a Jessie Award nomination for his portrayal of Lennie in Of Mice and Men (Hardline Productions). As a writer, his work has been seen on stages across the country and published in English and Polish. Sebastian was born and raised in southern Alberta. In his spare time he paints little, plastic spacemen.
Synthia Yusuf (she/her)
Understudy for Emilia Bassano
Synthia is so happy to be back at Bard after making her debut as Luciana in The Comedy of Errors last Season! Select credits: Waitress (The Grand/Theatre Aquarius); Disney’s Frozen (Neptune); Disney’s The Little Mermaid (Persephone); Little Shop of Horrors (Arts Club/Citadel); Harry Potter and the Cursed Child (Mirvish); and The Sound of Music (Arts Club). Thank you to the Bard family for welcoming me back this Season, and to my love, Colin.
Creative & Production
Ivy Charles (she/her)
Apprentice Director
Ivy is honoured to be a part of the team for The Dark Lady! Select theatre: Hamlet and Twelfth Night (Bard); Casey and Diana, Someone Like You, Beautiful: The Carole King Musical, and Little Shop of Horrors (Arts Club); In My Day (Zee Zee); Beautiful Man (Pi Theatre); Orlando (RMTC); and East Van Panto: Pinocchio (Theatre Replacement). Select TV and film: So Help Me Todd (CBS); Mixed Baggage (Hallmark); Robin Roberts Presents: Mahalia (Lifetime); and Novelette is Trying (OUTtv).
Ryan Cormack
Set Designer
Ryan is returning for his fifth Season at Bard. He is a graduate of Queen’s University and studied set and costume design at NTS. Past credits: The Comedy of Errors, Measure for Measure, and A Shakesperience (Bard); Oliver! (Gateway); Yaga (Gateway/Touchstone); Jersey Boys (Arts Club); FourPlay (Studio 58); Parade (Raincity); The Last Wife (United Players); OZ (Carousel); 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); Kinky Boots and Forgiveness (Arts Club); The Jungle Book (Alberta Theatre Projects); and Actually and The Great Divide (Harold Green/Obsidian).
Lisa Goebel (she/her)
Choreographer & Intimacy Director
Delighted to be returning for her fourth Season, Lisa has worked as the intimacy director on Measure for Measure, Twelfth Night, Henry V, A Midsummer Night’s Dream, Romeo and Juliet, and Harlem Duet, and as the choreographer for Hamlet. Recent credits include choreographer/intimacy director for Pride and Prejudice (Western Canada/Gateway) and intimacy director for Madama Butterfly (Vancouver Opera). She completed her Intimacy Certification through Intimacy Directors and Coordinators and is a graduate of Studio 58.
Alaia Hamer (she/her)
Costume Designer
Alaia is a Vancouver theatre designer originally from the Gulf Islands. Recent credits include costume design for Measure for Measure (Bard); Miracle on 34th Street, Million Dollar Quartet, and Sexy Laundry (Arts Club); East Van Panto: Robin Hood and Beauty and the Beast (Theatre Replacement); HMS Pinafore and Carmen: Up Close and Personal (Vancouver Opera); Beautiful Man (Pi Theatre); and set design for A Midsummer Night’s Dream (TWU); The Hobbit, Middletown, The Case for the Existence of God, and God Said This (Pacific Theatre); and Seventeen (Western Gold). Alaia is a graduate of UBC’s Theatre Design program from 2017 and holds an English Literature degree from 2012.
Jeff Harrison
Lighting Designer
This marks Jeff’s debut designing in the tent. He is a four-time Jessie Award winner for Pharaoh Serket and the Lost Stone of Fire (Carousel); Floyd Collins (Patrick Street Productions); Blasted (Pi Theatre); and Hand to God (Arts Club). Jeff is a graduate of SFU’s School for the Contemporary Arts, attended the Banff Centre, and is a member of the Associated Designers of Canada. Other lighting credits: Children of God (Urban Ink); Women of the Fur Trade (NAC); Little Red Warrior and His Lawyer (Savage Society); and Raven Mother (Dancers of Damelahamid). Upcoming for 25/26: Tomson Highway’s Rose (NAC).
Jenny Kim
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); The Comedy of Errors, Measure for Measure, Henry V, and Coriolanus (Bard); Miracle on 34th Street, Red Velvet, Cipher, and Sweat (Arts Club); Bad Parent (vAct/Prairie Theatre Exchange/Soulpepper); and China Doll (Gateway). Other credits include Pachinko (Apple TV+).
Alison Matthews
Head Voice & Text Coach
This is Alison’s 16th Season with Bard. She teaches in the Drama Department at the University of Alberta. She was a founding faculty member with the Arts Club Actor’s Intensive and 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, television, and voice-over, and she is a founding board member of the National Voice Association.
Rebecca Mulvihill (she/her)
Stage Manager
Rebecca is returning to Bard for her tenth Season. Most recently for Bard: The Comedy of Errors, Measure for Measure, Henry V, and Harlem Duet. Favourite recent credits: Burning Mom, Beneath Springhill: The Maurice Ruddick Story, and The Cull (Arts Club); The Father, Bunny, and Stupid F*cking Bird (The Search Party); and As dreams are made (Music on Main). Rebecca has worked with Vancouver Opera, Théâtre La Seizième, Electric Company, PuSh, and Coastal Jazz. She is a graduate of UVic.
Anju Singh (she/her)
Composer & Sound Designer
Anju experiments with texture, sound, and compositional structure in her practice as a composer, sound artist, and multi-instrumentalist. Her work has been presented and performed across Canada and in Europe, Brazil, Mexico, Japan, and the United States. Her work has been presented by Vancouver New Music, VIFF Centre, re:Naissance Opera, Canadian League of Composers, Centre d’Expérimentation Musicale (CEM), and most recently New Music Concerts Toronto. In addition to composing, Anju performs in several bands and groups and also performs solo with her experimental/noise violin project The Nausea. anjusingh.com
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