On The Beach: Newsletter #3/June

SponsorsBeach House Theatre Society began with a dream and a belief that hard working volunteers could

realize that dream of performing Shakespeare outdoors in Crescent Beach. Without generous donors and sponsors, however, these visions would not have materialized. These generous people not only continue their faith in Beach House Theatre, but also provide the money and goods to pay the bills and mount productions. Thank you to all contributors, small and large.

Donors are those who give up to $500.00 to support BHT. Beyond this, there are several catego-ries of sponsorships available for those interested in becoming involved:

Patron of Arts $ 500.00 +Leading Characters $ 1,500.00Starring Roles $ 2,500.00Standing Ovation $ 5,000.00Producing Partners $10,000.00

Some sponsors, Generous Suppliers, do not give cash donations but rather offer a substantial discount for goods and services necessary for producing the plays. Beach House Theatre is saving approximately $40,000.00 through the support of these companies. Thank you to Apex Tents, AV Strategies, Christie Lites, Go Wireless, Live Host, Minute Man Printing, Riggit Services, Salmons Rentals, Scene Ideas, and Super Save Group. You have helped so much.

Fortunately for an undertaking that requires many notices and reports to the general public, Beach House Theatre has The Now Newspaper as its media spon-sor. Look for timely items in The Now leading up to Munsch Ado About Nothing and Twelfth Night performances in August.

Civic or governmental agencies may provide grants to successful applicants, and clever board members seek these out. This year BHT has received a cultural grant of $5,000.00 from the City of Surrey and a Province of BC Gaming Grant of $20,000.00.

We extend our grateful appreciation to our Community Partner, Camp Alexan-dra. In addition, accolades to the following sponsors for their valued support:

Leading Characters: Westland InsuranceStarring Role: KN&V Chartered Accounting,

Nurse Next Door Home Healthcare, and Re/MaxStanding Ovation: Air Canada Foundation and an anonymous sponsorProducing Partner: Bosa Properties Inc.Remember, new donors and sponsors are always welcome. Without you, there

would be no play.

www.beachhousetheatre.org/

Costumes: Linda WestonLike many of our valued volunteers, Linda Weston began her in-

volvement as a supportive mom helping out at her son’s school. For years, she offered her services making costumes for drama produc-tions at Earl Marriott Secondary. She explains, “I have always been interested in history and antiques, and have over the years enjoyed collecting art, unique objects and furniture. Part of this passion has been researching these antiques and understanding the different periods. I further enjoy reading the classics and watching period dramas.” These interests have prepared Linda well for her role as a costumer of Shakespearian dramas.

Linda finds many aspects of costuming interesting: “I enjoy the research component where I get to look at costume books, old photographs, films, and images. It is an exciting experience to put oneself in the character’s mindset and think through what some-one of that period would wear. I find the process of costuming very rewarding, as I get to begin with a concept and a series of ideas and over time, through collaboration, develop the creative design of the costumes. What is seen on stage on opening night is the culmination of months of planning and a process influenced by the directors, the actors, my committee, the unpredictability of thrift store finds, and the available textiles. What is particularly rewarding is how over the years I have had the opportunity to work with talented women of whose skills and effort I am in constant awe, and without whom I would not be able to do this.”

Creating costumes is not as straightforward as one might assume. First Linda researches and then recreates designs and details that are most representative of the period. Then the costume committee alters items from thrift stores as well as makes patterns and sews new costumes. Linda collaborates with the directors and the costuming committee, sharing ideas to ensure the best and most exciting final products possible.

While Linda’s explanation makes the process sound effortless, it isn’t always as simple as it seems. (Pardon the pun; the editors couldn’t resist.) Definite challenges exist, such as trying to channel the directors’ visions in recreating an authentic period feel. Finding fabrics and patterns that reflect the period and fit within the context of the show may prove difficult. As well, balancing colours to ensure the costumes look coordinated but not predictable, contrived, or mismatched is another consideration. Of course, finding great pieces within the allotted budget is crucial.

The Beach House Theatre experience is enhanced because of the creative and meticulous preparation that goes into the costuming. When the first actor steps upon the stage, the magic of his apparel immediately sets the mood for the enchantment that will follow.

Twelfth Night or What You WillMany consider Twelfth Night the greatest of Shakespeare’s pure comedies.

The zaniness of “what you will” governs this comedy with its exaggerations of love and the humour of disguises. Throw in a fool and a couple of drunkards and we are set for timeless entertainment.

The plot appears complicated at first but audiences, always one step ahead of the characters on stage, sort out the intricacies of the action. The setting is Illyria, along the Adriatic Coast. A shipwrecked girl, Viola, disguises herself as a boy, Cesario, and serves a young Duke, Orsino, who is madly in love with a noble lady, Olivia. Olivia falls in love with Cesario, the messen-ger delivering Orsino’s love missives to her. To the delight of the audience, Olivia marries not the supposed Cesario but Viola’s twin brother, Sebastian. Shakespeare further complicates the plot with Olivia’s rascally uncle, Sir Toby Belch, and additional suitors, Sir Andrew Aguecheek and her deluded steward, Malvolio. Shakespeare’s clown, Feste, manifests “wit in folly” as opposed to Malvolio’s “folly in wit”.

Twelfth Night is a play of great emotional range extending from robust humour to rapt wonder. The balance shifts from the exposure and celebration of folly to the poignancy of unattained love and unheeded wisdom. To bring this range of emotion to audiences, BHT is pleased to announce the cast for its upcoming production of Twelfth Night.

Viola Jessie CrabbeOlivia Sheena JohnsonMaria Lauren DutchakFabian Marika StangerOrsino Alex ChanSea Captain/Priest/Officer 2 Grant

KowalewskiFeste the Fool Paul RichardsonValentine/Officer 1 Jake CostelloCurio Erik KavanaghSebastian Aaron HoltAntonio David DewarSir Toby Jeff HackerSir Andrew Aguecheek Sean GoodallMalvolio Matt Falletta

Casting is also complete for Munsch Ado about Noth-ing. Shakespeare will be played by Marcela Caceres, Burbage by Courtney Shields and Kempe by Natasha Zacker.

Join us August 13 to 18 and see theatre come alive in Crescent Beach.

Words From the CastThe enthusiastic casts of Munsch and Twelfth Night are hard at work.

Two actors from Munsch, Courtney Shields and Natasha Zacker, and Sheena Johnson in Twelfth Night, describe what drew them to these plays.

Courtney, who plays Burbage in Munsch says, “I knew it was a sea-son I was interested in.” Both plays caught her interest. “Twelfth Night has always been one of my favourites of the Bard’s comedies because it has such strong female characters, as well as being a witty comedy of misunderstandings. I had never heard of Munsch as a play, but loved Robert Munsch’s stories as a little girl.”

Sheena, Olivia in Twelfth Night, explains, “I love that Twelfth Night is a play about fools. Yes, we’ve got Feste, the wise fool, and Malvolio and Sir Andrew, the foolish fools, but really, the entire play shows how all of us are fools when it comes to love. It’s one of the great truths about human nature that Shakespeare highlights, and something that every person who has ever made a fool out of themselves in pursuit of romance, can relate to. This play gives us all a chance to look back on the torture of being young, amorous, and smitten beyond rational thought, and laugh at just how ridiculous it made us look!”

According to Natasha, Kempe in Munsch, The Beach House Theatre setting was attractive. “I was really intrigued by the idea of doing a show in a somewhat outdoor setting. I had never been to White Rock, so I

thought it would be a great opportunity to explore more of Greater Vancouver.”While all three actors auditioned for multiple roles, they are delighted with the final casting and find their parts both interesting and

challenging. Natasha says, “I have had very little experience in comedy so the concept of making people laugh is rather foreign to me. However, luckily children beautifully see the humour in many things.” Despite the loud, disruptive train whistles and random pedestrian traffic, Natasha loves working outside and enjoying the lovely vistas.

Courtney loves getting to play so many different char-acters in such a short timespan. “I get to portray about twelve different characters, and so do the other girls. We’ve spent a lot of our rehearsal time making each one unique and fully realized. I also enjoy how minimalist the production is. We’re doing a lot with very basic props and costumes, and really letting the stories and the fun take center stage.“

Sheena explains, “ I think that it is a challenge to make Olivia both likable and ridiculous. Her mood changes so quickly from dire depression to giddy lovesickness that it’s hard to sympathize with her in either emotional state. That said, I love that she is also relatable in that she shows how obnoxious all of us are in danger of becoming when we are at the absolute whim of our emotions.”

Beach House Theatre ContactsCall Artistic Director Candace Radcliffe at (604) 710-4929

Mail Beach House Theatre Society12275 Sullivan Street, Surrey, BC, Canada, V4A 3B7

Stage Managers: Abby and KateAbby Swansburg and Kate Prefontaine have to wear several hats. It’s really hard to define exactly what a stage manager does because

the duties never seem to end. Stage managers’ responsibilities vary from show to show. One of their key jobs is ensuring open commu-nication between the cast, the directors and production. They are also the prime organizers. Stage managers have been described as “beacons of order amidst creative individuals”. Kate states, “In the rehearsal space and in the course of a production there are often a lot of ideas bouncing around. Abby and I need to make sure that these ideas are appropriately catalogued and that any necessary parties affected by change are notified.“

When the show is actually running, the production is turned over entirely to the stage managers whose responsibility is that the actors maintain the directors’ vision, and that the show is executed smoothly. One of the more stressful jobs for a stage manager occurs when the production is running and that is “calling the show.” From the booth at the back of the tent, the stage manager calls for chang-es in sound and light or for a set piece moved. Sometimes when an actor makes an entrance, the stage manager is responsible because she “calls” for it to happen. The stage manager’s eyes and ears must be everywhere. Two stage managers are an advantage because while one calls the show, the other manages the backstage area, preparing performers to go on stage. Ultimately, a stage manager’s job is to assist directors in all ways.

This is the second season for both Abby and Kate with BHT. Having jointly stage managed the show last summer, they were delight-ed when directors, Rick and Candace, asked them back. “I personally found myself involved with Beach House last year shortly after rehearsals for A Midsummer Night’s Dream had started. Candace had just finished mentoring me as I was completing my teaching de-gree and asked if I would be interested in helping out,” explains Kate. “A few rehearsals later, Abby joined me.“ Fortunately, Kate and Abby, strangers to each other, clicked as they had similar personalities and management styles. This working partnership has become a fast friendship.

One of Kate and Abby’s greatest challenges has been assisting in casting the shows. Even having experience in casting does not always prepare one for the mayhem involved in managing so many people in two separate productions. As rehearsals continue, the challenge becomes one of organization.

Perhaps the most gratifying aspect of stage management is the love that has grown amongst the company. All who become involved with BHT share that same passion and dedication to their work. Both onstage and backstage, this love of the job, transfers to the au-dience in the magic that is theatre. “You know you’ve done something right when former cast members come back, gushing to young hopefuls in auditions about what a blast they had last year!” For new up-and-comers, this is a chance to explore theatre outside of school’s protective bubble. “It truly feels like you’re watching an evolution, and I’m so glad that Beach House is where they’re starting that journey.” With the excitement and energy that Abby and Kate bring to their job, the productions are bound to enchant and enter-tain prospective audiences.

Emailinfo@beachhousetheatre.orgsponsorship@beachhousetheatre.orgboard@beachhousetheatre.orgvolunteer@beachhousetheatre.org

Newsletter Credits: Writing: Diane Petersen and Lillie BevanPhotography: Sebastien GalinaDesign and Layout: Benjamin Stone