On The Beach - Beach House Theatre

On The Beach:
Newsletter #3/June
www.beachhousetheatre.org/
Sponsors
Beach 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 categories of sponsorships available for those interested in becoming involved:
Patron of Arts
$ 500.00 +
Leading Characters
$ 1,500.00
Starring Roles
$ 2,500.00
Standing Ovation
$ 5,000.00
Producing 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 sponsor. 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 Alexandra. In addition, accolades to the following sponsors for their valued support:
Leading Characters: Westland Insurance
Starring Role:
KN&V Chartered Accounting,
Nurse Next Door Home
Healthcare, and Re/Max
Standing Ovation: Air Canada Foundation and an anonymous sponsor
Producing Partner:
Bosa Properties Inc.
Remember, new donors and sponsors are always welcome. Without you, there
would be no play.
Costumes: Linda Weston
Like many of our valued volunteers, Linda Weston began her involvement as a supportive mom helping out at her son’s school. For
years, she offered her services making costumes for drama productions 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 someone 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 Will
Many 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 messenger 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.
ViolaJessie Crabbe
OliviaSheena Johnson
MariaLauren Dutchak
FabianMarika Stanger
OrsinoAlex Chan
Sea Captain/Priest/Officer 2
Grant
Kowalewski
Feste the Fool
Paul Richardson
Valentine/Officer 1
Jake Costello
CurioErik Kavanagh
SebastianAaron Holt
AntonioDavid Dewar
Sir TobyJeff Hacker
Sir Andrew Aguecheek
Sean Goodall
MalvolioMatt Falletta
Casting is also complete for Munsch Ado about Nothing. 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 Cast
The 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 season 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 characters 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.”
Stage Managers: Abby and Kate
Abby 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 communication 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 changes 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 delighted 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 degree 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 audience 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 entertain prospective audiences.
Beach House Theatre Contacts
Call Artistic Director
Candace Radcliffe at (604) 710-4929
Mail
Beach House Theatre Society
12275 Sullivan Street,
Surrey, BC, Canada,
V4A 3B7
Email
info@beachhousetheatre.org
sponsorship@beachhousetheatre.org
board@beachhousetheatre.org
volunteer@beachhousetheatre.org
Newsletter Credits:
Writing: Diane Petersen and Lillie Bevan
Photography: Sebastien Galina
Design and Layout: Benjamin Stone