sideshow | artist profile | kenton klassen

Our apprentice Kenton Klassen is going to be joining the team for SIDESHOW! Here's some background on him.

What got you started improvising? My high school drama teacher Karen Towsley, an improv whiz!

What is your favourite part of improvising? I like the risk involved in not having a plan. It's scary and exhilarating!

How does musical improv actually work? Your guess is as good as mine. I'm guessing you have to make up songs or something...

Who is your role model, when it comes to performing? Hmm.. there's a few. Paul Dano, Daniel-Day Lewis, Leonardo DiCaprio are a few. In the comedy world I would have to say Jim Carrey! "We've got no food, we got no jobs, OUR PETS HEADS ARE FALLING OFF!"

If you were to get a Sharpie tattoo on your back, what would it be? A tiger killing a shark. I hate sharks.

What is your favourite way to unwind at the end of a long week? Going to the movies followed by a good pub.

Five people you want to have for dinner? Amy Adams, Tom Delonge, Mila Kunis, Anna Kendrick, Jim Carrey.

Are you afraid of ghosts? Nope, I want one: http://www.youtube.com/watch?v=7zAmOuldwl0

Give me three “fun facts” about you.
I can make my tongue looks like it has split in two.
I invented a great yo-yo trick.
I've been crocodile cage diving.

sideshow | artist profiles | ryan scramstad

And now introducing Ryan Scramstad, a season apprentice who you've already seen in THE FOREIGNER this fall, he'll be joining the team for some improv comedy in SIDESHOW!

What got you started improvising? Highschool theatre which turned into a love for being random.

What is your favourite part of improvising? Not caring about what I'm doing.

How does musical improv actually work? We're about to find out.

Who is your role model, when it comes to performing? Ron Burgundy.

If you were to get a Sharpie tattoo on your back, what would it be? A freckle.

What is your favourite way to unwind at the end of a long week? Computer games.

Five people you want to have for dinner? Einstein, Jesus, Dostoyevsky, Leonardo DiCaprio, Uncle Rick.

Are you afraid of ghosts? Bum ba na ba na, bum bananana bum ba na (ghost busters' theme).

Give me three “fun facts” about you.
I'm taller than you
I can sometimes rhyme
Once I sucked on a lime.

celebrating 30 years | video

Here is another video to celebrate our 30th anniversary season - this one focussing on the intimacy of our space and community. Featuring Diane Brown, Erla Faye Forsyth, Rory Holland, Anthony F. Ingram, David Jennings, Julie McIsaac, Sarah Rodgers, Brent Unrau, and Kerry van der Griend.

sideshow | performer profile | alison chisholm

Alison Chisholm is a familiar face - or voice - to anyone who's been around PT for a while.  Our Operations Manager and Producer, she makes things happen behind the scenes, while being an active performer and improviser.  Here's an interview with Alison, who will be performing in SIDESHOW!

What got you started improvising? I hated sports and my parents eventually figured that out. So they decided to sign me up for some acting classes. I loved them and one of my first acting coaches recommended I attend some drop-in improv workshops, so I did. I was the youngest by far at the time (I was only 15) but it was so much fun and such a welcoming community, I knew it was something I needed to do. I ended up taking a break from it for a number of years as I focused on my career as an administrator. I remember a time when I was in a rut and not feeling like myself anymore and that is when I went back to improv. For better or worse - I have never been more me.

What is your favourite part of improvising? I love the fact that you essentially have to put your full trust in someone else’s hands to make improv work well. There are dangers in that and sometimes things don’t always work out because not everyone is prepared. But when you succeed and everything works out - wow, is it ever an awesome feeling.

How does musical improv actually work? How does magic work? It just does okay. Don’t ask silly questions. Just sit back and enjoy!

Who is your role model, when it comes to performing? I can only have one? Well that doesn’t seem fair. I love Tina Fey and Amy Poehler. I think they are hilarious, strong, intelligent women who are dedicated to their lives in comedy and that is something that I aspire for. Kristen Wiig also falls into that category. A friend of mine saw her on SNL for the first time and said she reminded him of me. That was a HUGE compliment to me. Also - I LOVE Kristen Bell. She’s funny, goofy, smart, and who knew she could sing? Have you seen FROZEN yet? Come on!!!

If you were to get a Sharpie tattoo on your back, what would it be? Probably the same as the actual tattoo I’d get if I were ever going to get one. It would be my family motto: Feros Ferio, which translates to “I am fierce with the fierce.”

What is your favourite way to unwind at the end of a long week? Board Games!!! If anyone has ever been to my apartment they know what I am talking about. If you can name a board game (or card game) I probably have it.

Five people you want to have for dinner? Well I would be honoured if I could host all those ladies I just mentioned. Dinner with Tina Fey, Amy Poehler, Kristen Bell, Kristen Wiig and me? Yes Please! But then I’ve only invited four. Let’s throw Felicia Day into that mix too. We’ll make it a funny sassy girls night!

Are you afraid of ghosts? Sometimes. Don’t judge!

Give me three “fun facts” about you.
I grew up with three brothers. (Ah yes, I make so much more sense now, don’t I?)
I’m just a Steeltown girl, living in a West Coast world.
I can make my toes dance. FACT!

sideshow | artist profile | jennifer pielak

Introducing Jennifer Pielak, local improvisor and singer, creator of the Off-Key Players, and member of team SIDESHOW!

What got you started improvising? I decided to face my performing fears and try doing improv at a Table23 Comedy improv show. They told me I had to do the whole show or not at all - so I jumped and went for it. 6 months later I was asked to be a part of the group.

What is your favourite part of improvising? The unexpected genius comedic moments that happen without you realizing it. The audience laughs, and after the show, you realize why it was so funny.

How does musical improv actually work? Everyone needs to be listening really well in order to collaborate as best as they can - everything is truly made up on the spot - the music, lyrics, story, characters, and all those magic moments. We also workshop A LOT. You need to study singing, song structure, musicals, acting, storytelling, movement - all of these skills need to be developed in order to put on a successful show. A lot like a jazz musician knowing her keys and scales.

Who is your role model, when it comes to performing? In the improv world - I love TJ and Dave from Chicago - they put on really amazing two person improv shows - their characters are so real, and they are experts in their work. I also love Blaine Swen from Chicago - he put on a one-man improvised musical, which is so amazing. I’d love to do that one day. Oh, and of course Meryl.

If you were to get a Sharpie tattoo on your back, what would it be? A music note with the words, “Laugh. Think. Love."

What is your favourite way to unwind at the end of a long week? A glass of BC wine and an episode of Game of Thrones with my hunky man.

Five people you want to have for dinner? I want to eat everyone in the cast with a side of ice cream. Yum.

Are you afraid of ghosts? No.

Give me three “fun facts” about you.
1) I was born in Germany.
2) I can do a loon call.
3) I LOVE snow.

sale until march 5 | god for us: rediscovering the meaning of lent and easter | greg pennoyer

Greg and Greg's first book was God With Us, a collection of meditations on the season of Advent, which moves day by day through the scriptures which are read around the world through those weeks leading up to, and following, Christmas. The book has been very meaningful for me: I've even kept an Advent blog many of the years since the book came out, tracking through those scriptures and reflections and - especially - the art works that are carefully chosen for each day, and beautifully reproduced in the book. 

In time for Lent this year, the boys have put out a similar volume for the season leading up to Easter.  I've already got me three copies - if a thing's worth doing, it's worth over-doing - and am very much looking forward to Ash Wednesday to crack open the cover and feast. (In a very self-controlled, Lenten sort of way.)

Ron 

GOD FOR US: REDISCOVERING THE MEANING OF LENT AND EASTER is a new book edited by Greg Pennoyer and Gregory Wolfe. The hope for this book is its potential to renew an understanding of Lent and Easter and to renew the reader's sense of themselves, their place in the blessings and challenges of life, and how God sees them. It has been receiving significant reviews and is available until March 5th for a discounted price from $29 to 22 at godforusbook.com. 

sideshow | performer profile | david c. jones

SIDESHOW is our annual romp into the land of improv comedy.  Every year we gather a troupe of local performers for a few nights of fun.  This year we've got a few old faces and a lot of newcomers, so we want to introduce you to the performers, starting with our host, Mr. David C. Jones!

What got you started improvising? Highschool then big break - then VTSL in 1989.

What is your favourite part of improvising? The sharing and building.

How does musical improv actually work? Focus on committment to story.

Who is your role model, when it comes to performing? Richard Side.

If you were to get a Sharpie tattoo on your back, what would it be? Bite It, Touch It - that sounds salacious but it is a reminder to me in improv.

What is your favourite way to unwind at the end of a long week? A glass of red wine after seeing a play.

Five people you want to have for dinner? Five people who like to cook stuff that they bring, with a bottle of red wine.

Are you afraid of ghosts? Yes.

Give me three “fun facts” about you.
I have been to India twice
I produced an improvised tv show that you can now buy on itunes
Martha Stewart took my picture when I was improvising at a party

measure for measure | shakespeare authorship | shakespeare

Tonight we close MEASURE FOR MEASURE, and with it, our mini-series on Shakespearean authorship.  You can read Diana Keng's argument for Mary, or Hank Wittemore's statement in favour of Vere on the blog, and if you're interested, check out other theories here.  To round out the argument and the run of MEASURE FOR MEASURE, we present David Prosser's argument in favour of Shakespeare, the man himself.  Disclaimer: David works at the Stratford Festival, but makes it clear that his views are his alone, and not meant to represent those of the Festival - although he does point out that they do hold the opinion that Shakespeare's works were written by the man himself.

Shakespeare was.... Shakespeare
by David Prosser

Not a single shred of evidence supports the bizarre notion that William Shakespeare of Stratford-upon-Avon did not write the works attributed to him. No manuscript, no letter, no journal, no credible contemporary reference bestows the quill instead upon Edward de Vere, or Francis Bacon, or anyone other than the theatre professional whose authorship was recorded in the Stationers’ Register, whose name was printed on the title pages of first editions during his lifetime, and who was celebrated by his friends and fellow artists in the First Folio seven years after his death. We have no more reason to suppose that Shakespeare didn’t write Measure for Measure than we do to suppose that Marlowe didn’t write Edward II or that Jonson didn’t write Volpone.

Claims to the contrary first arose in the 19th century, when artistic creation was often considered essentially autobiographical – a quite un-Elizabethan idea. All are based on the logical fallacy known as the argument from incredulity: “I cannot believe a mere glover’s son could have written so convincingly about kings, queens, duke and earls; therefore it must have been somebody else.” Scores of proposals have been put forward for that mysterious “somebody else,” each with their own passionate adherents. Lacking any actual documentary evidence, these conspiracy theorists – for it would have required a conspiracy, and a massive one, to cover up the “truth” – fall back on supposed parallels between the events in the plays and their candidates’ lives.

In extreme cases, Shakespeare deniers divine ciphers, anagrams and other codes in the texts that supposedly hint at the “true” authorship – which seems self-defeating, when you think about it. If it was so vital for the author to conceal his (or, in some versions of the theory, her) identity, then why risk such elaborate nudge-nudge, wink-wink giveaways? Such “clues” are as meaningless as they are delusional. I myself, in an idle moment, stumbled upon the mind-blowing fact that the name “William Shakespeare” yields the anagram “I, his wee pal, mask earl.” Were I so inclined, I might see that as incontrovertible evidence that Shakespeare was not only a “mask,” or front man, for the Earl of Oxford but a closet Scot as well.

And if that seems credible to you, can I invite you to help me smuggle a fortune out of Nigeria in return for a handsome percentage?

David Prosser
Director of Communications
Stratford Festival

measure for measure | shakespeare authorship | mary sidney

On the day before MEASURE FOR MEASURE's closing, we present the second in our mini-series on alternate theories of Shakespeare's authorship.  Sparked by a comment on Twitter that turned into a conversation that became an invitation for people with various theories to submit their arguments, these views do not represent Pacific Theatre's, but are an invitation to open up discussions on our blog.  We've already shared Hank Whittemore's view that the works of the Bard were penned by Edward de Vere.  Now here is Diana Keng with her argument in favour of Mary Sidney.

Shakespeare was... Mary Sidney
by Diana Keng

I champion Mary Sidney as the Author not as a scholar or academic but a logician with interest in the most simple and straightforward explanation for this historical enigma.

In order to raise the discourse at all, one has to first question whether the actor and homeowner, “William Shakspere”, actually wrote the works attributed to “William Shakespeare”. Historical evidence would suggest he was not the literary genius behind the works as: (1) examples of his signature indicate that he had poor literacy at best; (2) he left behind no books or papers in his estate; and (3) there is no evidence that his sole son ever attended school and his daughters were both unable to read or write. Lastly, the only piece of writing we know for sure was composed by the actor and homeowner, “William Shakspere” is the poem engraved on his tombstone “Good friend for Jesus sake forbeare,/ To dig the dust enclosed here./ Blessed be the man that spares these stones,/And cursed be he that moves my bones.” which, although iambic in nature, lacks the finesse we come to expect of The Bard, especially in his final resting place.

In the arena of the Authorship debate, the gentlemen whom Academia has focused on are all worthy candidates but none make much sense as the “Secret Shakespeare” as men of the time had no true impediments to their chosen pursuits. Even if they did choose to do hide their identity while alive, why wouldn’t the truth have come to light after their death in obvious and undeniable terms? And, speaking again to the logic of the situation, many of the heavy-hitters – Vere, Marlowe, Dyre – simply died too early to have produced the works attributed to Shakespeare. Mary Sidney lived and died in the bracket of time encompassing the production of Shakespearean works and there is evidence that she exhibited a love of and talent in literary composition in all the public contexts permitted to her as a woman. She had the education, world experience, aptitude, and life connections to give life to the characters and plots that have grown into the Shakespearean cannon; the access to the person of Shakspere to act as her front or mask through her husband, the Earl of Pembroke; and the motivation to hide her identity during her life AND after her death.

Logically speaking, she really is the only possible Author.

-Diana Keng

measure for measure | audience email

This response to MEASURE FOR MEASURE from local theatre artist Matthew Willis simply needs to be posted in its entirety. Thank you, Matthew, for coming to see our show and sharing your thoughts. He also expanded on his thoughts even more in a blog post, here.

To Pacific Theatre and the Honest Fishmongers,

To you both I must extent a sincere, grateful, relieving and cathartic thank you.

Thank you both for putting on a play, "Measure for Measure" that demonstrates why theatre is not dying in the 21st century.

Thank you for giving me a reason to get off Youtube, to shut down Netflicks, to turn off my video games and to come see something more than worth my time, money and attention.

Thank you for showing me a production, a show and a spectacle that was thoughtful to the text, extremely funny, morally inquisitive, smart and blunt, sharp on the ears and smooth on the eyes: a privilege to have seen.

I loved how you brought us into your show, into the play, into the words, rather than alienate us with an unnecessary fourth wall and esoteric isms. I adored your playfulness and your breath that filled the entire room, not just the stage you acted so finely on. I applaud and wholesomely endorse the period-like costumes with modern-like music mixing. Your show's aesthetic should be the envy of Shakespearian productions everywhere. I would be content seeing shows like the one I saw tonight for the rest of the year.

In the theatre community that we find ourselves in, I like to think of myself as a dramaturg. Sometimes an overly critical, pessimistic and doomful one, but all the more because of how much I want to see people make good theatre, great shows and audience's dreams come true. Your production of "Measure for Measure" tonight revitalized me and refreshed my artistic hopefulness in a time where digital media reigns and theatre often forgets what its obligations are to the people willing to invest in it. Your production demonstrated artistic and theatrical value in a way I've only seen in the great theatre creators of our day.

So once again, thank you ever so much, for doing good, being good and giving good tonight. Please keep doing more of this. We need it.

May you break legs for the rest of your run.

Sincerely,

Matthew Willis

feb 5 - 16 | rodger's and hammerstein: out of a dream | kaylee harwood

Kaylee Harwood hasn't (yet) graced the Pacific Theatre stage, but she's a real friend of our company.  TWU grad some years ago, headed off to Stratford and even Broadway, and is back in town for a brief stint in this one...

Patrick Street Productions presents RODGER'S AND HAMMERSTEIN: OUT OF A DREAM

Full of whimsy and nostalgia, this new & enchanting musical revue draws from each and every show written by the prolific Broadway duo – featuring songs from Carousel, The Sound of Music, South Pacific, The King & I, Oklahoma! and other cherished favourites.

With Out of a Dream we trace a line from the best of today’s contemporary musicals back to two masters who defined modern musicals; and, quite remarkably, between two master composers who are linked not only through their desire to push musical theatre to new heights, but through genetics as well.

Lyrics by Oscar Hammersten II

Music by Richard Rodgers

Conceived and Created by Peter Jorgensen

Box Office: 604-251-1363. More info here

measure for measure | shakespeare authorship | edward de vere

After posting some basic facts about Shakespeare's life for MEASURE FOR MEASURE a week ago, we wound up being a part of a little Twitter conversation about the ongoing authorship debate.  For the uninformed, there are some who believe that the works attributed to William Shakespeare were, indeed, written by someone else. Theories abound, and we're going to share some of them with you, written by their enthusiasts.  The first is a contribution by Hank Whittemore, arguing in favour of Edward de Vere, the 17th Earl of Oxford.

Shakespeare was... Edward de Vere
by Hank Whittemore

In my view just one overall reason is required to conclude that Edward de Vere, 17th Earl of Oxford (1550-1604) wrote the works attributed to “William Shakespeare” – the documentary record compiled in 1928 by B.M. Ward, who never argued the case for Oxford’s authorship because, I suggest, he didn’t need to. The easily visible arc of the earl’s life up to age 43 in 1593 presents the path of personal and artistic development leading to the first appearance of “Shakespeare” that year. How did the greatest writer of the English language acquire the deep knowledge of so many fields of endeavor and reach such soaring heights of literary and dramatic accomplishment? The life of Edward de Vere is both a map and a guide to this “long foreground” of education, experience and growth which has been missing from all biographies of the Stratfordian tradition.

Oxford’s uncle, Surrey, invented the Shakespearean sonnet form. Oxford was in his teens when his Uncle Golding created the Ovid translation that became Shakespeare’s favorite source. Early on he had the best tutors including access to the vast libraries of Thomas Smith and William Cecil. He received honorary degrees from Cambridge and Oxford, then enrolled in Gray’s Inn for law, before joining the military campaign against the Northern Rebellion of Catholic earls at age 20 in 1570. In the next few years he commanded into print two crucial Hamlet sources – The Courtier and Cardanus Comforte – while providing highly polished prefaces filled with Shakespearean ideas and words. In 1575 he set forth to France, Germany and Italy, making his home base in Venice while visiting and exploring virtually all the settings for Shakespeare’s “Italian” plays. His early poetry (full of Shakespearean overtones) appeared in 1576, after which he no longer signed his name.

In the 1580s the earl was hailed in print as “best for comedy” – his plays produced at court, all of which are presumed to be “lost” although the records suggest they were early versions to be revised much later as Shakespeare’s plays. Oxford saved the private Blackfriars Theater from being closed, handing over the lease to his secretary John Lyly, whose plays would be credited with having much influence upon Shakespeare’s writing. In that decade Oxford gathered together a “college” of writers, for whom he provided an entire building in London while financing, inspiring and guiding these “University Wits” who would become known as Shakespeare’s “immediate predecessors” – Munday, Greene, Day, Nashe, Peele, Lodge, Watson and others, not to mention experts in music, medicine and so on.

During the 1580s the Queen’s Men presented many plays of royal history, several of which are now regarded as virtual templates for several Shakespeare’s histories – though there is no record of the Stratfordian’s involvement. These plays contributed to the war effort that culminated in England’s victory over the Spanish armada in 1588. In the process, the outpouring from the writers in Oxford’s orbit created the English renaissance of literature and drama that finally produced the Shakespeare works. Oxford himself retired from court after 1589, becoming a virtual recluse, but four years later came the long narrative poem Venus and Adonis, a full-blown masterpiece of sophistication by a brand new poet, William Shakespeare, who had no history as an author. I suggest the obvious answer is that Oxford had decided to use a pen name evoking a warrior shaking the spear of his pen.

-Hank Whittemore

measure for measure | one last look at the photos

One last look at MEASURE FOR MEASURE in its closing week, here are some more shots of the show.

christmas campaign | the tally | WE DID IT! $50.2K raised!

For this year's Christmas campaign we're looking to raise $50,000 so that we can move forward on a lot of big-picture strategic plan stuff, all while keeping the season up and running.  Here's where you get to see how every single donation, from a few dollars to a few thousand dollars, makes a difference!

25+46.42+23.21+250+23.21+40+20+50+23.21+150+100+25+25+25+10+30+2000+75+5000+400+10+1000+25+200+500+100+50+1000+100+50+500+75+200+250+150+100+100+24+50+10,000+31.50+6+200+15.4+15+100+100+100+200+2500+100+500+100+500+250+96.10+19.95+200+100+80+100+25+5000+200+30+50+500+100+150+100+1000+50+300+300+175+50+500+500+147+115.32+500+50+800+250+15+100+470+500+300+500+200+800+250+23.21+44.75+144.15+31.50+200+2000+250+17.40+50+100+200+20+15+150+25+39.9+63+20+6.55+100+5000= $50,166.78

Remaining: $0 ...  in fact we exceeded the goal by $166.78

Donate online here or call 604.731.5483

measure for measure | cast sonnet

Remember those Word of the Day posters the MEASURE FOR MEASURE cast has been leaving around our green room for the past couple of months? Well, the creative bees that they are, just looking at these words wasn't quite enough for them. Naturally, the next step was to take these Shakespearean words, and write sonnets of their own! They held a sonnet competition, attempting to use as many "words of the day" as possible in one little ditty. The winners were Peter Anderson and Simon Webb, who shared a delicious lemon meringue pie as their prize! Here is Peter's lovely sonnet, with the key words capitalized:

When You I Eye

When you I eye, I Forfeit Clarity;
This stolen glance of Fondness breaks no law;
No theft, but some Fantastic Charity,
As long as you, the Thief, do not Withdraw.

This Game to which my sense and Soul is Prone
Leaves me in Terror you’ll leave me; Meanwhile
Despite the fear that I’ll be left alone,
Your Seeming Sweetness Sues and I’m Beguiled.

O Cunning Vice that sweetly tempts my Sense
And blinds me to the beauty all around;
Till all I see or feel is your Absence,
And cannot speak or even make a sound.

Thus, mute, my sentence I accept with grace;
Speechless before the sight of my Love’s face.

measure for measure | more photos

More photos from MEASURE FOR MEASURE, playing until Feb. 8th!

Peter Anderson

Katharine Venour

Ted Cole

Julie McIsaac

Pippa Johnstone

Simon Webb

Amelia Gordon

measure for measure | responses

"Go see this play, Measure for Measure is considered one of the problem plays, and it is problematic. It’s uncomfortable, nuanced, and it refuses to offer simple morality. Those elements can either be the thing that makes the play brilliant, or a muddled mess. The production by Honest Fishmongers is on the side of brilliance." | Alexandra, The Play's the Thing

"Having studied the play at University of Winnipeg and seen productions of it before I loved Shakespeare all over again. Thanks for a lovely night of classical theatre done well. The Honest Fishmongers are a delight." | William Hay, Blog

"There is such talent and clarity of story in the Honest Fishmongers production of Measure for Measure it is never a ‘problem’. ... This cast is tremendous. And even as I wished for a little more lechery early-on from Simon Webb as Angelo, his contrition in the end is immensely heartfelt and redeeming moment of the play. Peter Anderson makes much of his Lucio and Julie McIsaac embraces the contradictions of her Isabella with skill. Michael Fera is a study in contrasts with a delightfully buffoonish Elbow and a tempered and reasonable Provost." | Mark Robins, GayVancouver.Net

"Well done, to the players of The Honest Fishmongers and Pacific Theatre for presenting another twist on a classic favourite." | Erin Jane, Review Vancouver

"Under Bennett’s direction all of the acting is admirable. Michael Fera impresses as both the compassionate prison Provost and the ridiculous constable, Elbow. Alison Kelly brings rock-solid authority to Escalus, the court advisor; Jeff Gladstone is moving as Claudio; and Katharine Venour brings touching depth to Mariana, a woman who is haplessly in love with Angelo." | Colin Thomas, The Georgia Straight

"The superb casting gives the audience fantastic guides through this story. While all players were faultless in bringing their characters to life, Peter Anderson’s perfect comedic timing as Lucio was particularly brilliant, and most helpful in striking the balance between the dark and light elements. … Though perhaps difficult to imagine, I attended a play about serious moral questions and had fun while doing it. I hope that you will imagine no further, and, instead, visit this dazzling production yourself." Robin Lawrence, The MB Herald

"If anyone can make power-mad, dissolute Angelo look repentant at the end of Shakespeare’s Measure for Measure, it’s Simon Webb. Woebegone, eyes averted, he speaks the lines, “Immediate sentence then, and sequent death/Is all the grace I beg” with such sincerity, Webb does tug a little on the heartstrings." | Jo Ledingham, The Vancouver Courier

"To reflect the murky subterranean currents of psychology and plot, director Bennett and designers Shizuka Kai and Graham Ockley have lit Pacific Theatre’s basement like a cave, marking each corner of the stage with a dozen small candles. Whenever an actor claps twice, the full lights go off, leaving only the candles to light the play. Each actor also holds a candle near his or her face. The visual effect is a handsome chiaroscuro, like a Michelangelo painting." | Jerry Wasserman, The Province

"This production is well worth checking out. Chances are you won’t experience the Bard in an atmosphere more intimate and collegial than this. Kevin Bennett and The Honest Fishmongers deliver a fine product and show great promise for the future." | Tony Grant, Vancouver Vantage

measure for measure | 8 shakespearean facts

Since this is our first time bringing the Bard to our stage for a very long time, it seemed like a great idea to indulge in some background information about the man behind MEASURE FOR MEASURE. Here are eight facts about dear old William:

1. Shakespeare lived to 52. It is known that he was born in April 1564 and that he died on 23rd April 1616. We know that he was baptized on 26th April 1564 and scholars now believe that he was born on April 23rd. He therefore died on his fifty-second birthday, coinciding with St George’s Day.
2. Shakespeare married Anne Hathaway when he was 18. She was 26 and she was pregnant when they married. Their first child was born six months after the wedding.
3. Shakespeare and Anne Hathaway had three children together – a son, Hamnet, who died in 1596, and two daughters, Susanna and Judith. His only granddaughter Elizabeth – daughter of Susanna – died childless in 1670. Shakespeare therefore has no descendants.
4. Shakespeare died a rich man. He made several gifts to various people but left his property to his daughter, Susanna. The only mention of his wife in Shakespeare’s own will is: “I gyve unto my wief my second best bed with the furniture”. The “furniture” was the bedclothes for the bed.
5. Shakespeare was buried in the Holy Trinity Church, Stratford-upon-Avon. He put a curse on anyone daring to move his body from that final resting place. His epitaph was, Good friend for Jesus’ sake forbear,
 To dig the dust enclosed here: 
Blest be the man that spares these stones,
 And curst be he that moves my bones.  Though it was customary to dig up the bones from previous graves to make room for others, Shakespeare’s remains are still undisturbed.
6. During his life, Shakespeare wrote 37 plays and 154 sonnets! This means an average 1.5 plays a year since he first started writing in 1589. His last play The Two Noble Kinsmen is reckoned to have been written in 1613 when he was 49 years old. While he was writing the plays at such a pace he was also conducting a family life, a social life and a full business life, running an acting company and a theatre.
7. Shakespeare’s profession was acting. He is listed in documents of 1592, 1598 and 1603 as an actor. We know that he acted in a Ben Jonson play and also in his own plays but it’s thought that, as a very busy man, writing, managing the theatre and commuting between London and his home in Stratford where is family was, he didn’t undertake big parts. There is evidence that he played the ghost in Hamlet and Adam in As You Like It.
8. Shakespeare is the second most quoted writer in the English language – after the various writers of the Bible.

jan 28-feb 1 | new generations | twu

Our friends at TWU's SAMC are putting on another round of NEW GENERATIONS this weekend, and they've made a fun trailer to get us excited.


NEW GENERATIONS - Jan 28-Feb 1

THE ESCAPER’S SONG by Jessica Walters
If you could leave the drudgery of everyday life behind, and disappear forever into an exotic new world…would you do it?
Directed by Charissa Hurt. Stage managed by Mikayla Wust. Featuring Alice Best, Mackenzie Cameron, Alec Gloanec, and Keenan Marchand.

HERE by Erik deLange
A young couple’s grief dissolves into a dream world of love made new, memories made beautiful, and a forest where the wild things are.
Directed by Amy Dauer. Stage managed by Mackenzie Johnson. Featuring Graham Boldt, Emily Herbison, Rena Iwasaki, Jordan Klassen, Esther Owobowale, and Sam Ravensbergen.

FEMINIST FAN CLUB by Dillon Dean James
Welcome to The Feminist Fan Club, where the cookies are gluten-free and the politics are devoured with a touch of sass.
Directed by Matthew Wigmore. Stage managed by Hannah Stover. Featuring Graeme Geddes, Amara Gelaude, and Rachael Norman.

Tickets and info here.

feb 6-22 | michael kopsa in 'art' | richmond gateway

Michael Kopsa has a long history of memorable roles in quintessential Pacific Theatre shows. Hospitality Suite, Shadowlands, The Woodsman, and his Jessie-awarded turn as Satan in The Last Days Of Judas Iscariot. Now he's at The Gateway - longtime home of Pacific Theatre before we opened our own space at 12th and Hemlock - in Yasmina Reza's widely-produced three-actor play...

ART

If friendship is based on common likes and values, what happens when someone does something outrageous? Serge spends 200,000 francs on an all-white painting and inadvertently lobs a grenade into his circle of friends. Marc is enraged Serge would blow his money on something he judges to be worthless. Yvan wants to remain neutral, but just adds fuel to the fire by not taking a stand. Get ready for fireworks as friendships implode in this Tony Award-winning black comedy.