JOB OPPORTUNITY - Stage Manager

Bard in the Botanics are looking for a stage manager to join our team for "Snow White" at the Byre Theatre, St Andrews, this Christmas

Contract dates: 14th Nov - 31st Dec (7 weeks in total)
(Rehearsals from 14th Nov to 1st Dec, performances from 1st - 31st Dec)

Fee: Flat Fee of £550 per week plus statutory holiday pay

Location:
Rehearsals between 14th & 19th November will take place in Glasgow.
Rehearsals from 21st Nov onwards and all performances will take place at the Byre Theatre, St Andrews.

Accommodation will be provided in St Andrews from Sun 20th Nov to the end of the contract if required.

Applicants must have a full driving licence - own transport preferred but not essential.

Job Description:
The stage manager duties will include, but are not limited to:
- propping the show (including some possible makes);
- working with the Byre Theatre's technical team and Bard in the Botanics production & creative team to deliver the production get-in;
- running technical & dress rehearsals (in conjunction with the Byre Theatre's Head of Technical & Operations who operates as the Production Manager)
- running the stage during performance, including set changes, possible costume quick changes, resets between shows etc.
- running repairs to props & costumes if required & show laundry (laundry will be shared between members of the production team during the run)
- ensuring Health & Safety guidelines are met and adhered to throughout the process
- line management of the stage management team (Deputy Stage Manager and Assistant Stage Manager)
- any other duties as required and agreed

Applications should submit a current CV by email to Bard in the Botanics Artistic Director, Gordon Barr, at info@bardinthebotanics.co.uk

Any questions regarding the position can also be sent to this email address

The deadline is Friday 16th September 2022 at 18:00.

"Exploring Greek Drama" - Inside the Medea Rehearsal Room

Assistant Director, Colette Hamilton, takes us inside the rehearsal room for our brand new production of “Medea”

In preparation for assistant directing Medea, I spent a lot of time researching the myth of Medea and Jason. It brought me back to when I was studying Greek drama in theatre history class while getting my undergraduate degree. I remember it feeling like I was studying a museum exhibit rather than a theatrical form I would one day interact with. We spent a lot of time learning about the theatrical spaces they would’ve performed in, the masks that the actors would’ve worn, and the influence of the gods on theatre at that time. The grandeur of it combined with the backdrop of mythology made it difficult to connect with the material. In a way, it felt inaccessible to me. I always wondered how these plays from around the 5th century BC could possibly resonate with modern audiences, but as we work to bring Kathy McKean’s adaptation of Medea to life, I am seeing the potential and beauty of Greek drama unfold in front of me. 

Nicole Cooper as Medea

Kathy’s writing transcends what I thought Greek tragedy could be. It is poetic, personal and humanising. In the last two weeks of rehearsals, we’ve spent time exploring the characters and their relationships, and searching for the truth in every moment. It is easy for me to forget that we’re working with such a grand story as I watch these four extraordinary actors bring so much vulnerability and heart to their work. 

Isabelle Joss as the Nurse, with Medea

It is interesting to reflect on the history of Euripides’ Medea. At the time it was first performed, it came in third place (out of three plays) in the City Dionysia festival, which tells us that it was not well received by audiences at the time. It also suggests that Euripides was pushing the envelope for what could be put on stage. In the late 20th century, there was a renewed interest in Medea from the feminist movement. It was viewed as a nuanced and sympathetic portrayal of a woman’s struggle to take charge of her own life in a male-dominated world, which audiences can still relate to today. It is now considered one of the great plays in Western theatre. 

Alan Steele as Creon

As we begin the final week of rehearsals before production week, I feel excited to see how the production will continue to form. I also can’t help but think about how the experience will be for audiences. Having a chorus is a staple of Greek drama, and in this production, the audience act as the chorus for Medea and the other characters. How will it be for them to go on this journey with Medea and the other characters? How will they interpret the action of it? How will it change the experience for the actors? The catharsis I have been experiencing over the last two weeks is not what I expected from working on Medea, and I hope audiences have a similar experience.

Johnny Panchaud as Jason and Nicole Cooper as Medea

Despite the play being a tragedy, there is no shortage of laughter and play in the rehearsal room. The kindness and warmth that each member of the team brings to the space makes this a truly special experience. Every day, my relationship with Greek theatre is changing, and I feel so fortunate to be a part of this production. It feels like just yesterday I was preparing for day one of rehearsals for Medea, and just like that, the first two weeks are done. 

"Dreaming of Joy" - Inside the Rehearsal Room

Our Assistant Director, Meghan de Chastelain, gives us a unique insight into the colourful world of “A Midsummer Night’s Dream”:

In Canada, I spent most of the past two years sitting at home, devoid of theatre. Last summer, there were only a handful of productions that were fortunate enough to go ahead despite social distancing and restrictions, but the lingering effects of the pandemic were evident: no mingling at intermission, no conversations with strangers in the cue for the toilets, no real contact with anyone outside your bubble. Even with the ability to be “back in public”, I felt alone.  

 I moved to Scotland in September to study at RCS and during my studies, have been challenged with determining my artistic voice, specifically what types of stories I want to tell. Pre-pandemic I would’ve described my work as challenging to audiences; I hoped that the plays I directed would encourage viewers to reconsider their own biases, challenge the way they view the world and hopefully, allow them to develop a newfound sense of empathy for others. But for some reason, this vision hasn’t felt entirely “right”. There is something missing for me; I need something lighter, something simpler. Most importantly, something that will make me feel connected again.  

Adam Donaldson & Lynsey-Anne Moffat as Theseus & Hippolyta - or is it Oberon & Titania?

 Now, more than ever, I need a place to escape; a place where the only goals are to laugh, love and find joy. Luckily, the world these actors are creating onstage in A Midsummer Night’s Dream is precisely that; it is an absolute roaring joy. I can’t remember the last show where I left rehearsals every day with a sore stomach because of how much I had laughed until I cried. When I met with Jen, the director, several weeks ago, she said her goal was to find the joy, in every moment. We should be able to stop, at any time during rehearsal, and identify the thing that is making us joyful. Little did I know the challenge would be finding a moment where there was no joy. After two years of separation and loneliness for everyone, I can’t express how magical it has been to be back collaborating with generous, energizing artists.  

The “Mechanicals” gather to rehearse their play (From L to R: Grace Lyons, Katie Barnett, Michael Morrow & Chloe Din)

 What initially drew me to theatre was its sense of magic and this show is stuffed to the brim with it. There are faeries and romance, songs and dancing, and a lot of rainbow costumes. It’s a world where it’s okay to be exactly who you are, a rather fitting play to be rehearsing and opening during Pride Month. It’s a place where people are supportive and loving of one another and where laughter and joy continues even when the world feels hard. Covid made me feel separate from the rest of the world and what I have craved, more than most things, is to connect and to laugh with others. This show is proving to be the perfect medicine.  

Nick Bottom (Robert Elkin) & Peter Quince (Stephen Arden)

 In one week of rehearsals, we’ve experienced it all: a full afternoon of dance to one of my favourite pop songs from 2014 (can you guess which one?); a very sweaty morning learning the music to the lullaby (a funky compilation of old songs made new) and the celebratory song at the end of the show (another classic from the early 2000’s); a rainstorm which had all of the cast huddling under a tree before retreating, sopping wet, to the Kibble; some highly lifelike and incredible puppetry work by one of Bard’s Associate Artists Stephen Arden; an interesting lunch for me researching magical tricks for my friend Puck and (my favourite): loads of chocolate biscuits. This production is a modern and refreshing twist on an old classic; I especially have loved how these female characters, so often unempowered in Shakespeare’s classics, have strong voices and even stronger actions. The women have a say and they get to make choices for themselves. Not only have these rehearsals made me laugh but they’ve reminded me that we can still do classics while making them relatable to a modern, progressive audience.  

Katie Barnett (Helena) & Evie Mortimer (Lysandra) keeping up with the design’s rainbow theme!

 This production is an explosion of joy, colour, laughter, love, music, inclusivity, dance, truth and discovery. This show is truly – and infectiously – joyous and has helped me to define the type of theatre I want to create; theatre that is magical, brings us together and makes people laugh. I am excited to head to the gardens every day to sit in the sunshine (or rain – it is Scotland after all) and be part of the actors’ magic. I cannot wait for week two of rehearsals and for audiences to experience this show. It has certainly been my daily joy and I am positive it will continue to be this week.  

“I am your spaniel” - our own furry Canine Consultant keeps an eye on Helena (Katie Barnett) & Demetrius (Michael Morrow) as they rehearse

JOB OPPORTUNITY - Production Manager

PRODUCTION MANAGER Job Description

 Reporting to:              Artistic Director

Responsible for:        Stage Management, crew, front of house staff and other freelance production staff

Bard in the Botanics is looking for an experienced and enthusiastic Production Manager to lead delivery of all production aspects of our 2022 Summer Season in Glasgow’s Botanic Gardens.

Dates

Contract dates – Monday 30th May to Saturday 30th July

How to Apply

To apply for the post please submit a current CV and covering letter by email to Artistic Director, Gordon Barr, at gordon@bardinthebotanics.co.uk

 Deadline for applications is 6:00p.m. on Friday 25th March 2022

 Interviews will be held in the week beginning 4th April. Interviews may be conducted in-person or online (via Zoom) as required.

Background

Bard in the Botanics is Scotland’s premier Shakespeare company and this year will see the company stage its 21st annual summer season of classic plays in Glasgow’s Botanic Gardens. This season will see us stage 4 productions:

 A Midsummer Night’s Dream (22nd June to 9th July)

Medea (23rd June to 9th July)

Much Ado About Nothing (14th July to 30th July)

The Tempest (14th July to 30th July)

 Both “A Midsummer Night’s Dream” and “Much Ado About Nothing” will take place on a purpose-built outdoor stage in the Botanic Gardens. Both “Medea” and “The Tempest” are small-scale, studio-style productions which will take place inside the Kibble Palace Glasshouse in the gardens.

 For more details about the company, please visit our website at www.bardinthebotanics.co.uk or find us on social media.

Purpose of Role

·         To manage freelance seasonal production staff (Stage Manager, DSM, ASM & build crew) and their duties

·         To be responsible for all physical aspects of the season’s 4 productions

·         To be responsible for budget management of the production department

Main Duties and Responsibilities

 Production Management

·         To be responsible for the planning and realisation of productions, liaising with designers and contractors, coordinating and scheduling all technical aspects of the production

·         To liaise with and support season directors & designers and to advise accordingly, in consultation with the Artistic Director

·         Organise on-site set build for mainstage outdoor productions, including recruitment of freelance crew

·         Manage the logistics and transport of core production items (i.e. outdoor stage) from storage to Botanic Gardens

·         Plan and implement set-up of minimal lighting and sound equipment for both outdoor and indoor venues (working from existing equipment and plans)

·         Assist designers and stage manager with sourcing of set items, furniture & props as required

·         Work with the Artistic Director on regular budget reconciliations to manage production expenditure throughout the season

·         Organise and lead regular production meetings

·         Develop and implement production week schedules with the artistic team

·         Support the Stage Manager, DSM & ASM with daily set-up and takedown of that evening’s performances

·         Liaise with and support the front of house duty managers and staff during performance nights

·         Jointly with the Artistic Director, make daily “weather calls” (i.e. decide whether performances can safely go ahead in current weather conditions)

·         Become familiar with the company’s core Healthy & Safety policy and risk assessment, update as required and ensure they are adhered to at all times

·         Complete show and season-specific risk assessments as required

·         Ensure any additional health & safety policies relating specifically to Covid-19 are implemented and adhered to at all times

·         Maintain a close working relationship with the staff & management of Glasgow Botanic Gardens

Person Specification

Essential:

·         At least two years Production Management Experience or equivalent experience at a suitable level as Stage Manager

·         Experience in working in a busy arts environment

·         Good numerical skills and proven experience of managing budgets

·         Experience of working with and managing freelance creative staff, production staff and stage managers

·         Working knowledge of set construction and technical equipment

·         Knowledge of production related health and safety

·         Excellent time management and scheduling

·         Excellent organisational skills

·         Calm under pressure and able to multitask

·         Excellent communication and interpersonal skills with people at all levels

·         Driving licence

·         Strong work ethic and willingness to work long hours when required, within acceptable limits agreed in advance

·         Ability to work well in a small team

·         Able to adapt & problem solve quickly to meet the flexible demands of outdoor theatre

Desirable:

·         First Aid qualification

Terms

Hours:                          5 days per week (excluding production weeks which extend to 6)

Fee:                             £4,500 plus statutory holiday pay

JOB OPPORTUNITY - Wardrobe Supervisor

Glasgow’s Bard in the Botanics are looking for a wardrobe supervisor to join the team for this summer’s season. 

Based at Glasgow Botanic Gardens in the West End

7 weeks contract from 30th May – 16th July.

 Fee of £3150.

Please see below for full description of the role.

TO APPLY

 Please send a current CV and covering letter to Gordon Barr (Artistic Director) by email at info@bardinthebotanics.co.uk

The deadline for applications is Friday 25th March at 6p.m.

OVERALL ROLE

 The Wardrobe Supervisor will co-ordinate the running of the wardrobe department in collaboration with the Head of Design, the effective and efficient delivery of Bard in the Botanics wardrobe services, (i.e. costume, wigs and accessories), for this year’s 2 mainstage productions.

This job operates within the company's Production department and, as such, is expected to make a positive contribution to the development of the production and to the success of the company as a whole.

Bard in the Botanics aspires to the highest quality in its production values and in the delivery of wardrobe services and the post holder will have a key role in achieving quality targets and developing and maintaining standards.

You will work closely with the designers throughout, as well as with the cast and key members of the production team.

PRINCIPAL RESPONSIBILITIES

·        Construction, sewing and alteration of costumes for the production

·        Assisting in the making of any prop costumes, millinery, masks, dyeing and distressing of costumes.

·        Preparing for and running fittings and assisting in the fitting of garments.

·        To assist and support the Season Designers of both mainstage shows concerning the production of all costumes, accessories and wigs for the season.  This will include making, finding, hiring or purchasing.

·        To work as an effective member of the Wardrobe Department.

  

Departmental Responsibilities

·      Participate in the efficient and effective delivery of the department's services and the day-to-day operation of the departments and workspaces.

·      Supporting effective communications between the Wardrobe Department and the Head of Production and with other teams within the Production team.

·      To represent Bard in the Botanics with politeness and professionalism at all times when dealing with members of the public and the industry.

·      Potentially mentor 1 or more University level student placements within the department.

Health & Safety

·      Promoting and participating in an alert and positive approach to Health & Safety and appropriate working methods at all times and ensuring that all relevant Health & Safety legislation is applied effectively to all activities undertaken by the Wardrobe Services Team.

·      Ensure that all Wardrobe areas and equipment are kept clean, hazard free and in good working order.

·      Work within and ensure the upholding of Covid safety protocols as determined by the company, including lateral flow tests as requested.

Essential skills and experience

·      To have at least 2 years Industry experience.  This work should include making of gents and ladies costumes, modern and period designs.

·      Good costume making skills.

·      Good machining skills.

·      Experience of running and controlling a budget, including documenting and receipt collating for each show.

·      Practical experience of working in a costume and wigs department within a theatre environment.

·      Good communication skills, both written and verbal.

·      Experience of working with creative personnel.

·      IT literate.

·      Punctual

·      Willing to undertake some long hours to ensure the delivery of the costumes on schedule.

·      A good level of decorum and professionalism when dealing with any members of the company.

JOB OPPORTUNITY - Stage Manager

Bard in the Botanics are looking for a stage manager to join our team for "Jack & the Beanstalk" at the Byre Theatre, St Andrews, this Christmas

Contract dates: 15th Nov - 31st Dec (7 weeks in total)
(Rehearsals from 15th Nov to 1st Dec, performances from 2nd - 31st Dec)

Fee: Flat Fee of £3500 plus statutory holiday pay

Location:
Rehearsals between 15th & 19th November will take place in Glasgow.
Rehearsals from 22nd Nov onwards and all performances will take place at the Byre Theatre, St Andrews.

Accommodation will be provided in St Andrews from Sun 21st Nov to the end of the contract if required.

Applicants must have a full driving licence - own transport preferred but not essential.

Job Description:
The stage manager duties will include, but are not limited to:
- propping the show (including some possible makes);
- working with the Byre Theatre's technical team and Bard in the Botanics production & creative team to deliver the production get-in;
- running technical & dress rehearsals (in conjunction with the Byre Theatre's Head of Technical & Operations who operates as the Production Manager)
- running the stage during performance, including set changes, possible costume quick changes, resets between shows etc.
- running repairs to props & costumes if required & show laundry (laundry will be shared between members of the production team during the run)
- ensuring Health & Safety guidelines are met and adhered to throughout the process
- line management of the stage management team (Deputy Stage Manager and Assistant Stage Manager)
- any other duties as required and agreed

The stage manager will also operate as a Covid officer during the production, in conjunction with Bard in the Botanics Artistic Director, Gordon Barr, and members of the Byre Theatre technical team. This will include ensuring that agreed Covid safety guidelines are adhered to by all cast & crew.

Applications should submit a current CV by email to Bard in the Botanics Artistic Director, Gordon Barr, at info@bardinthebotanics.co.uk

Any questions regarding the position can also be sent to this email address

The deadline is Friday 08 October 2021 at 18:00.

20 Years in 20 Weeks - Looking back to Bard in the Botanics 2020

20 YEARS IN 20 WEEKS

 2020 – our nineteenth consecutive year of producing Bard in the Botanics and the beginning of a build-up towards our 20th anniversary. The shows had been chosen, the actors had been cast, even the posters were being designed – and then we all know what happened!

 We don’t want to dwell on the horrible events of the past year – it’s been tough enough for everyone! But, suffice to say, it was the most difficult moment in Bard in the Botanics’ history – making the decision to cancel the season and take away work from so many trusted artists and dear friends.

 And then came the harder questions – how do we survive this? We receive no external funding – we earn the vast majority of our income through ticket sales – so with no shows on the horizon and with no end in sight to the pandemic, there was a very real possibility that we could be looking at the demise of Bard in the Botanics.

 In the end, it was our incredibly loyal and supportive audiences who came to our rescue – we were stunned and truly overwhelmed with the generous support our Crowdfunder campaign received – you helped us raise more than £13,000 for the company. It is no exaggeration to say that, without those donations, we wouldn’t be here today writing these Throwback posts and looking to the future.

Opportunities to create work were few and far between in 2020 but we didn’t disappear completely. We launched the Bard in the Botanics podcast – “Lend Us Your Ears” – with a series of episodes looking at the whole process of creating a season, from choosing the plays to performing outdoors. So many of our brilliant friends and artists joined hosts Gordon Barr and Jennifer Dick for some illuminating and hilarious chat about what it’s like to be a part of the Bard family! And huge thanks to Jennifer Dick, who spent days editing each episode to ensure our podcast lived up to the quality that is expected of Bard in the Botanics – she did an amazing job.

 “Lend Us Your Ears” is still available to download and listen to from wherever you normally get your podcasts!

 It wasn’t just our summer season which was cancelled – our annual panto also fell by the wayside in 2020. But, with funding from the Performing Arts Venue Relief Fund, we were delighted to be commissioned by the Byre Theatre to create a short panto film – “Mammy Goose and the Missing Christmas” – which saw St Andrews panto favourites Alan Steele, Robert Elkin, Stephen Arden & Stephanie McGregor reunite for a short film, shot and edited beautifully by Tom Duncan, that reminded us of the true meaning of Christmas in a difficult year!

Robert Elkin (Bruce the Goose), Stephanie McGregor (Little Red) & Alan Steele (Mother Goose) in “Mammy Goose & the Missing Christmas” (Photo credit: Tom Duncan)

 So – a difficult year but Bard in the Botanics is used to stormy weather (we are an outdoor theatre company on the West Coast of Scotland!) and we have emerged a little bruised, a little battered but more determined than ever.

This will be the last of our “20 Years in 20 Weeks” retrospectives because next week – and we can hardly believe it’s finally happening - we will be back on stage with “Twelfth Night” for the first performances of Bard in the Botanics 2021 – it’s going to be a very special moment!

 Thank you to every single artist, board member, production staff, front of team and audience member who have created wonderful memories over the past two decades – we hope to see many of you in the coming weeks as live theatre returns to the Botanic Gardens and Bard in the Botanics embarks on the next stage of our journey – we can’t wait to see what’s coming!

Book tickets for “Twelfth Night” (7th-31st July) and “The Winter’s Tale” (4th-28th Aug) through our website at www.bardinthebotanics.co.uk

20 Years in 20 Weeks - Looking back to Bard in the Botanics 2019

20 YEARS IN 20 WEEKS

 It’s back to 2019 for this week’s “Throwback Thursday” and, although we didn’t know it at the time, it would be our last full season for a couple of years thanks to Covid-19 – but what a season!

 For the fourth year running, we returned to the Royal Conservatoire of Scotland to co-produce two Renaissance text productions with their MA Classical & Contemporary Text course – informally titled, “The Devil Made Me Do It”! Bard Associate Director, Jennifer Dick, returned to Christopher Marlowe’s “Doctor Faustus” which she had first tackled at Bard in the Botanics in 2016 – but this time she had a cast of 12 (instead of 3) so Faustus had to contend with a host of angels and demons! Meanwhile, Marc Silberschatz tackled the strange & wild tale of “The Witch of Edmonton”, by Dekker, Ford & Rowley.

Faustus (Ben Noble) with his demons in Doctor Faustus at the Royal Conservatoire of Scotland

 Our 2019 Summer Season was entitled the “Muse of Fire” season, reflecting the extraordinary and inspirational nature of the characters at the heart of our four productions – Rosalind (As You Like It), Henry V, Richard III and Hamlet. We were delighted that our four Associate Artist Actors – Stephanie McGregor, Adam Donaldson, Robert Elkin & Nicole Cooper – would each take on one of these iconic roles, showcasing their incredible talents.

 The production opened with a truly joyous production of Shakespeare’s great romantic comedy, “As You Like It”. Opening in a sleazy nightclub, complete with bare-knuckle fighting (substituting for the original’s wrestling match) and a distinct hint of Glasgow gangsters, this brutal world of toxic masculinity and petty power plays ultimately gave way to a Forest of Arden that presented an alternative lifestyle where love and acceptance took centre stage. The original play follows the adventures of 4 romantic couples and, in this production, these pairings represented a whole gamut of sexualities. “As You Like It” is often considered quite a slight play but, in 2019, with the world facing troubling times, the Forest of Arden’s ability to embrace everyone who came under its canopy became something truly touching and magical.

The company of “As You Like It” (Photo credit: Tommy Ga-Ken Wan)

 In the Kibble Palace, Jennifer Dick’s production of “Henry V” saw a cast of 6 actors take on the roles of kids playing in the rubble of the Blitz of the Second World War. Together they acted out the story of Shakespeare’s play – their own experiences of war informing their approach. Curtains became cloaks, crowns were made of cardboard and hats & helmets borrowed from their parents swiftly encapsulated the play’s vast range of characters – a clever evocation of Shakespeare’s opening appeal to the audience’s imagination. The contrast between the innocence of the children and the brutal reality of war offered a powerful comment on the human cost of conflict.

After her success as Coriolanus & Timon of Athens, Nicole Cooper tackled another of Shakespeare’s major male characters as she took on the title role in “Hamlet” in the second half of the 2019 season. Her complex, intricate Hamlet was the beating heart of a production that, directed by Gordon Barr, took an intimate, personal approach to this great tragedy. Around Nicole’s stunning central performance was a brilliant ensemble of performers – including Alan Steele as the Ghost & Polonius, Alan Mirren as Claudius, Helen Logan as Gertrude & Stephanie McGregor as Ophelia – each creating finely drawn characters that took on a fully realised life of their own – and it was their humanity, with all its flaws, which ultimately moved audiences so deeply.

Nicole Cooper as “Hamlet” (Photo credit: Tom Duncan)

 Meanwhile, Robert Elkin’s “Richard III”, directed by Jennifer Dick, entered the world of modern politics in the Kibble Palace. Richard is the ultimate master of spin and “fake news”, lying and manipulating (and, of course, occasionally murdering!) his way to the crown. Here, video footage shot on mobile phones created a public image for Richard at odds with his private behaviour while his own personal spin doctor, Buckingham (Adam Donaldson), whipped up the Kibble Palace audience to vocally support Richard or condemn his enemies. One of the most chilling moments in the production came when Buckingham and Richard encouraged the audience to join in their chant of “witch, witch, witch” against Vanessa Coffey’s Queen Elizabeth – it never failed to work! Eerily reminiscent of the bullying tactics employed against women in too many political arenas recently, it was also a powerful reflection of the easy manipulation of mob mentality!

Robert Elkin as “Richard III”

 Finally, we were delighted to showcase a piece of new writing at 2019’s Bard in the Botanics. “Heavenly Touches”, written and performed by Jennifer Dick & Robert Elkin, imagined a relationship between Shakespeare’s wife, Anne Hathaway, and a young artist, John Taylor, often considered to be the creator of the famous “Chandos” portrait of Shakespeare. It was a tender exploration of love, loss, the reasons we make art and what it feels like to be in love with a man who happens to be a genius!

Christmas saw us return again to the Byre Theatre in St Andrews – this time to present “Mother Goose”. The show saw a host of fairytale characters come together to defeat the Snow Queen who threatened the very existence of the pantosphere – pretty much, it was the “Avengers: Endgame” of pantos! Alan Steele’s legendary dame got to take centre stage in a story which reminded audiences to be proud of who they were, to not judge others and to truly value their loved ones – all wrapped up in the most epic adventure ever to hit the Byre stage!

The company of “Mother Goose” (Photo credit: Viktoria Begg)

 As 2019 came to a close, we couldn’t have foreseen what 2020 would hold for all of us – and the theatre world in particular – as the pandemic forced us to cancel our season for the first time ever, but the memories of an incredible year in 2019 definitely help to see us through the tough times!

FUN FACTS:

- “The Witch of Edmonton” might be one of the strangest stories we’ve ever been involved in staging – when the Devil turns up in the form a talking Dog, you know you ain’t working with Shakespeare anymore!

- Alan Steele is certainly in the running for the most roles played in a single season – in “As You Like It”, he juggled the very different personalities of Duke Frederick, Duke Senior & the vicar, Sir Oliver Martext – while in “Hamlet”, he appeared as a succession of real & surrogate father figures – the Ghost, Polonius, the Chief Player and the Gravedigger. Each of his 7 roles was fully realised and completely individual – no wonder we asked him in 2019 to become our fifth Associate Artist Actor!

- More than 600 individual stems of fake flowers were used to make the glorious floral centrepieces that marked the changing of the seasons in “As You Like It” – all hand-crafted by our incredible stage manager, Suzie Goldberg. For a theatre company based in one of Scotland’s most beautiful gardens, we do use a lot of fake flowers!

- In “As You Like It”, Robert Elkin’s Touchstone arrived for his wedding to Simon Lembcke’s Andrey (Audrey in the original play) in a blue sequinned tux jacket and full skirt, unashamedly being exactly who he was. One of Robert’s most joyous memories of Bard is hearing a young audience member breathlessly gasp – “He’s a princess!” – as he passed by them!

- The trailer for Henry V – which can be viewed on the Bard in the Botanics Youtube channel – delivered a tremendous coup de theatre (or coup de cinema, perhaps) as an actual Spitfire thundered over the head of Adam Donaldson’s Henry. Okay, so it’s a CGI spitfire – but it still looks pretty awesome!

- Part of the joy of looking back over recent years in these posts has been enjoying the beautiful publicity images that have been created for our seasons by Associate Artist, Tom Duncan. His photography and his imagination (supported by the graphic design skills of Jonathan McEnroe) have helped create an indelible identity for Bard in the Botanics.

- And to continue on that theme, each of our recent season photoshoots has been styled by the wonderful team at Belle & Blackley Hair & Beauty. They are brilliant partners to Bard in the Botanics – and it helps that it’s owned by Nicole Cooper’s husband, Scott!

- We are very lucky to work with such incredibly talented artists in all areas of our work and want to thank each and every one of them for the invaluable contribution they make to Bard in the Botanics.

2019 COMPANY:

Bard in the Botanics 2019: The “Muse of Fire” Season

Stephen Arden (Oliver & Amiens / Horatio); Gordon Barr (Artistic Director); Shelby Lynn Bias (Phebe); Rebecca Haley Clark (Assistant Director – As You Like It); Charlie Clee (Orlando / Laertes); Emma Clifton (Wardrobe Supervisor); Vanessa Coffey (Queen Elizabeth); Nicole Cooper (Jaques / Hamlet); Heather Currie (Associate Designer – Hamlet); Jennifer Dick (Director – Henry V & Richard III); Adam Donaldson (Henry V / Buckingham & Richmond); Robert Elkin (Touchstone / Richard III); Suzie Goldberg (Stage Manager); Emma Harley (DSM); Robin Hellier (Fight Director); Carys Hobbs (Season Designer); Eklavey Kashyap (Adam); Anne Klein (Silvia); Natalie Lauren (Queen Katherine); Simon Lembcke (Charles & Andrey); Helen Logan (Gertrude); Claire Macallister (Montjoy & Bardolph / Rosencrantz & Marcellus); Kirsty McDuff (Celia / Lady Anne & Tyrrel); Stephanie McGregor (Rosalind / Ophelia; Choreographer); Alan Mirren (Prince Lewis & Pistol / Claudius); Lynsey-Anne Moffat (Chorus & Exeter & Fluellen); Ben Noble (Canterbury & Nym); Sam Ramsay (Festival Manager); Siobhan Randle (Wardrobe Supervisor); Alan Steele (Dukes Frederick & Senior & Sir Oliver Martext / Polonius & Ghost & Player); Babette Wickham-Riddick (DSM)

 “Mother Goose” Company: Stephen Arden (Snow Queen; Choreographer); Gordon Barr (Writer & Director); Rory Beaton (Lighting Design); Samantha Burt (DSM); Emma Clifton (Assistant Wardrobe Supervisor); Heather Currie (Wardrobe Assistant); Robert Elkin (Bruce the Goose); Ashley Foster (Young Cast Liaison); Kyle Gardiner (Peter Pan); Sarah Haddath (Rapunzel); Carys Hobbs (Designer); Cole McBride (ASM); Stephanie McGregor (Little Red); Siobhan Randle (Wardrobe Supervisor); Stephen Roberts (Composer & Musical Director); Alan Steele (Mother Goose); Sam Ramsay (Stage Manager)

20 Years in 20 Weeks - Looking back to Bard in the Botanics 2018

20 YEARS IN 20 WEEKS

 Love is in the air for this week’s “20 Years in 20 Weeks” as we look back to 2018 and our Star-Cross’d Lovers” Season.

 We might have been heading towards a summer of love, but war, chaos & destruction were more the order of the day for our first shows of the year. We returned to the Royal Conservatoire of Scotland to co-produce the MA Classical & Contemporary Text Shakespeare productions. This year, Bard’s Artistic Director, Gordon Barr, took on the wild & bloody revenge tragedy, “Titus Andronicus”, while Head of the course (and regular Bard fight director) Marc Silberschatz directed “Henry V”.

“Henry V” at the Royal Conservatoire of Scotland

 The summer season saw events take a more romantic turn, with four productions that each featured an iconic pair of lovers at the heart of their story.

 The season opened with perhaps the most iconic pair of lovers ever to grace the stage – “Romeo and Juliet”, directed for the first time by Associate Director, Jennifer Dick. This vibrant, modern-dress production played out against a vivid graffiti backdrop and was led by Rebecca Robin & Dylan Blore in the title roles. Both Rebecca & Dylan had first appeared with the company in 2017’s “Timon of Athens”, as part of our Emerging Artist Acting Placement Scheme. It was wonderful to see them return and grow as actors to take on leading roles in “Romeo & Juliet”. Bard’s commitment to gender parity continued in this production in Esme Bayley’s Mercutio, Emilie Patry’s Lady Capulet (taking on a combined version of the original’s Lord & Lady Capulet), Anna Carley’s Benvolio & Linda Duncan McLaughlin’s Reverend Laurence. Meanwhile, Juliet’s Nurse became her friend, Angel, hilariously & touchingly played by the magnificent Darren Brownlie.

Dylan Blore & Rebecca Robin as the title roles in “Romeo & Juliet” (2018)

 Young love between Romeo & Juliet on the mainstage was contrasted against the mature love at the heart of our Kibble Palace season opener – “Antony & Cleopatra” – and audiences could decide which pair of lovers actually behaved in a more grown-up fashion! Nicole Cooper took on the role of the Egyptian queen while renowned Scottish actor, Andy Clark, joined the company for the first time to play Mark Antony. “Antony & Cleopatra” is an unwieldy play, cramming years of history into a slightly confusing structure with one of the largest cast lists in Shakespeare’s canon. Director, Gordon Barr, pared back the play to focus on the central pair and their ultimate conflict with Antony’s ruling partner in Rome, Octavius Caesar (Laurie Scott). He also brought in material from John Dryden’s play, “All For Love” – a Restoration era retelling of the story. This material fleshed out the central pairing (who only actually have 2 short scenes together in the first half of Shakespeare’s play) and some of the supporting characters, especially Leonora Cooke’s Octavia – Antony’s wife who, in this version, actually got to confront the woman who stole her husband in an electrifying scene!

Nicole Cooper & Andy Clark as the title roles in “Antony & Cleopatra” (Photo credit: Tommy Ga-Ken Wan)

 While Romeo & Juliet and Antony & Cleopatra might have met untimely ends, the second half of the season kicked off with an ultimately much happier love story and another iconic couple – Benedick & Beatrice in “Much Ado About Nothing”. Played by Adam Donaldson & Nicole Cooper, this witty, sharp pair are often voted as the public’s favourite Shakespearean couple and it’s not hard to see why as negotiate trickery, tragedy & their own stubborn natures to reach their well-deserved happy ending. Jennifer Dick’s production set the action in a Victorian travelling circus, with Leonata’s household the staff & acts of the circus. Colourful costumes, hilarious comedy and fantastic chemistry between the leading characters combined to make a genuine summer treat for audiences.

 Our final production of the season was Christopher Marlowe’s “Edward II” – the tragic tale of a vain & impetuous ruler, brought down by his all-consuming passion for his male lover, Gaveston. It was a privilege to include this lesser-known but no less iconic couple in the 2019 line-up – possibly the first openly gay relationship written for the English stage. Director, Gordon Barr, adapted Marlowe’s play for just four characters – Laurie Scott & Charlie Clee brought passion, intimacy & real heartbreak to the story of Edward & Gaveston, with Esme Bayley providing touching support in the complex role of Isabella, Edward’s spurned queen, and Andy Clark’s Mortimer vividly representing the establishment determined to destroy the pair. Set in the 1950’s, before the decriminalisation of homosexuality, the production ended with the ghosts of Edward & Gaveston tenderly dancing to the strains of Doris Day’s anthem, “Secret Love”, accompanied by footage from key moments in LGBTQ history – from Harvey Milk to Section 28 to Nicola Sturgeon’s parliamentary apology to the gay men convicted & prosecuted for the simple act of loving another person.

Laurie Scott as King Edward & Charlie Clee as Gaveston in “Edward II” (Photo credit: Tommy Ga-Ken Wan)

 While romantic love was the overarching theme of 2018’s summer season, our annual panto at the Byre Theatre – “Sleeping Beauty” – was, perhaps, one of the only pantos ever to see its heroine, Princess Bonnie (Kirsty Findlay), have no romantic love interest. Instead her relationship with her mother, Queen Nessie (Nicole Cooper), took centre stage – in fact, the Queen became the sleeping beauty of the title in an unexpected twist to the tale – and family became the heart of the story in a refreshing new take on the traditional fairytale.

“Sleeping Beauty” at the Byre Theatre (Photo credit: Viktoria Begg)

 A glorious summer of sunshine & shows and a number of highly successful co-productions made 2018 a real highlight in Bard in the Botanics’ history.

FUN FACTS:

- Gordon Barr loves his costumes & continued to challenge designer, Carys Hobbs, on “Titus Andronicus” at RCS which featured more than 60 individual costumes – from military uniforms to ballgowns to hunting clothes and even the personifications of “Revenge, Rape & Murder”!

- “Titus Andronicus” is Shakespeare’s bloodiest tragedy – 12 characters have met a grisly end by the story’s conclusion, including stabbings, beheadings, a ritual sacrifice and, most disturbingly, two characters are baked into a pie and fed to their own mother! Thank goodness we had a brilliant Fight Director on hand in the form of RCS Head of Course, Marc Silberschatz, who is an incredibly kind & gentle human being but viciously twisted when it comes to inventing onstage deaths!

- We were delighted to co-produce Marc Silberschatz’s production of “Henry V” at RCS, which featured 3 BSL (British Sign Language) interpreters fully embedded into the production as part of the acting company. It was an innovative step forward in how access & inclusion for audiences can be tackled creatively in theatre and we hope to continue & develop that work in future years at Bard in the Botanics.

- In “Romeo & Juliet”, the Nurse declares that the recently slain Tybalt was “the best friend I ever had” – a strange statement when they literally share no stage time or dialogue in the play! In Jennifer Dick’s production, Angel (this production’s version of the Nurse) was in a relationship with Michael Lorsong’s Tybalt, making sense of this line for one of the first times ever and creating complex layers for the character, beautifully realised by Darren Brownlie.

- 2018 was one of the most gloriously hot summers in recent memory, which gave Antony & Cleopatra an appropriately Mediterranean heat in the Kibble Palace. But as temperatures continued to soar, we ended up having to hand out water to the audience, with free programmes to use as fans to prevent anyone overheating!

- The heatwave helped “Romeo & Juliet” break a Bard in the Botanics record – it is our only outdoor production never to have had a single performance cancelled because of rain!

- Actor, Nicole Cooper, was born and raised in Zambia and is of both Greek & African heritage – just like Cleopatra. She was thrilled to finally have the opportunity to play a character whose heritage matched her own.

- When “Much Ado About Nothing” headed out on tour after its run at the Botanic Gardens, Nicole Cooper was unavailable to continue in her role as Beatrice – giving us a welcome chance to bring Associate Director, Jennifer Dick, back to the stage to take over the role. It was her first time performing in a show that she had also directed – and she was, predictably, brilliant in the part.

- “Sleeping Beauty” featured our most complex musical number ever staged in a panto – a “time-travelling” medley which saw the characters travel 100 years from the Victorian age to the modern era through the medium of song and dance (what? It’s a panto – it doesn’t have to make sense!). The medley comprised of 10 songs representing each decade of the past 100 years and featured 10 quick changes – all within 4 minutes! Carefully choreographed madness best describes the backstage activity during this one!

2018 COMPANY:

Bard in the Botanics 2018: The Star-Cross’d Lovers Season

Gordon Barr (Artistic Director); Esme Bayley (Mercutio / Queen Isabella); Dylan Blore (Romeo / Claudio); Darren Brownlie (Angel / Don John & Dogberry); Jack Brownridge-Kelly (Paris); Anna Carley (Benvolio); Andy Clark (Mark Antony / Mortimer); Charlie Clee (Gaveston); Emma Clifton (Deputy Wardrobe Supervisor); Leonora Cooke (Octavia); Nicole Cooper (Cleopatra / Beatrice); Heather Currie (Trainee Design Assistant); Jennifer Dick (Director – R&J / Much Ado); Adam Donaldson (Enobarbus / Benedick); Lizzie Forman (Charmian); Suzie Goldberg (DSM); Emma Harley (DSM – Kibble Palace); Carys Hobbs (Season Designer); Derek Jeck (Prince Escalus); Alison Kertz (Lepidus & Eros); Michael Lorsong (Tybalt); Claire Macallister (Agrippa); Stephanie McGregor (Choreographer); Linda Duncan McLaughlin (Rev Laurence / Leonata); Laura O’Connor (Wardrobe Supervisor); Hannah Parker (Hero & Georgia Seacole); Emilie Patry (Lady Capulet / Don Pedro); Sam Ramsay (Festival Manager); Rebecca Robin (Juliet / Margaret & Verges); Laurie Scott (Octavius / Edward II); Edward Soper (Borachio); John Spilsbury (Montague); John Winchester (Fight Director)

 “Sleeping Beauty” Company: Stephen Arden (Raven La Corbie; Choreographer); Gordon Barr (Writer & Director); Rory Beaton (Lighting Design); Samantha Burt (DSM); Nicole Cooper (Queen Nessie McTeuchter); Heather Currie (Wardrobe Assistant); Kirsty Findlay (Princess Bonnie); Ashley Foster (Young Cast Liaison); Carys Hobbs (Designer); Stephanie McGregor (Minnie McMinxster); Sarah Michael (Wardrobe Supervisor); Samuel Pashby (Prince Hamish); Siobhan Randle (Wardrobe Assistant); Stephen Roberts (Composer & Musical Director); Alan Steele (Fairy Mary Doll); Sam Ramsay (Stage Manager)

20 Years in 20 Weeks - Looking back to Bard in the Botanics 2017

20 YEARS IN 20 WEEKS

 Our “20 Years in 20 Weeks” rolls on apace and this week reaches 2017 and our season entitled “These Headstrong Women”.

 As in 2016, the year began with two Royal Conservatoire of Scotland co-productions. Working again with the MA Classical and Contemporary Text course, Gordon Barr directed an epic production of “Henry IV” (adapted from Henry IV Parts 1 & 2), while RCS Dean of Drama, Hugh Hodgart, directed “A Midsummer Night’s Dream”.

“Henry IV” at Royal Conservatoire of Scotland (From L to R: Annelise Bianchini (Bardolph); Caitilin McCoy (Falstaff); Rose Oke Millett (Mistress Quickly); Ivy Charles (Peto)

 Our 2017 summer season was, perhaps shockingly, the first to feature more female actors than male. Perhaps that isn’t so surprising when you consider that there are more than 5 times as many roles written for men as women in Shakespeare’s plays (over 1000 male characters compared with just under 200 female characters) – and that disparity itself isn’t so surprising when you consider that women’s lives were considerably more restricted in Elizabethan times, meaning they played a less active role in society. What is surprising, however, is that 400 years later we don’t question enough that limited representation of women.

 So, feeling that the time was well overdue for a conversation about opportunities for women in classical theatre and their representation onstage, in 2017 we presented “these headstrong women” – a season of productions that put women at the heart of their stories. We feel very strongly that there is no reason why women should be confined to the roles of wife, girlfriend or daughter in classical theatre but should be seen in the stories we tell each other as rulers, politicians, fighters, fools & so much more – everything they are in the world today, and everything they have fought so hard to have the right to be.

The season opened with a new production, entitled “The Taming of the Shrew?” Although it might seem strange, in a season celebrating women, to stage such a controversial play as “Shrew” but that question mark in the title was key to Artistic Director, Gordon Barr, new version of the story. He drew material from John Fletcher’s “The Tamer Tamed” – a very modern, feminist riposte to Shakespeare’s play from the early 17th century – to give Kate and the other women in the play the opportunity to fight back and, actually, win against the brutal misogyny of a character like Petruchio. This addition to the original narrative allowed the production, set in the 1950’s, not to shy away from the horrendous, abusive treatment that Kate suffers at Petruchio’s hand and played out against a backdrop of real advertising hoardings from the 1950’s & 1960’s – a potent visual reminder of how sexism has been bred into the very fabric of our society. Stephanie McGregor led the company in a brilliant performance as Kate, fully embracing the comedy, the tragedy and the ultimate power of her character in this new version of her story.

James Boal as Petruchio with Will Underwood (Hortensio); Emma Beth Jones (the Widow); Stephanie McGregor (Kate); Esme Bayley (Bianca); Jordan Edgington (Lucentio) in “The Taming of the Shrew?” (Photo credit: Tommy Ga-Ken Wan)

 The first half of the season also saw us stage “Timon of Athens” in the Kibble Palace, with the play not only making its Bard in the Botanics debut but also, we believe, its professional Scottish premiere – at least in living memory. Nicole Cooper took on the title role in a story which, in its exploration of greed, capitalism and the need to consider our fellow man, resonated so clearly with modern audiences. Jennifer Dick’s production captured the hedonistic glamour of the 1930’s and juxtaposed it beautifully with the dark reality of those forgotten by society and left to rot. “Timon of Athens” is often considered one of Shakespeare’s weaker plays but in Jennifer’s vision and in Nicole’s performance, the play became a howl of rage against man’s inhumanity to man and a powerful plea for us to open our hearts to each other.

Nicole Cooper as Timon & Rebecca Robin as Flavia in “Timon of Athens” (Photo credit: Tommy Ga-Ken Wan)

 In the second half of the season, “Queen Lear” saw Jennifer Dick reinterpret Shakespeare’s great tragedy from the perspective not of a king but of a great queen. The play was adapted for 6 actors, focusing on Lear’s close family, but otherwise neither Shakespeare’s story nor his language (bar a few pronouns) were altered to accommodate the shift to a queen – merely casting a woman in the role cast new light on a well-known story. And what a woman – the great Janette Foggo returned to the company in 2017 to deliver a towering performance as Lear, powerfully supported by EmmaClaire Brightlyn & Stephanie McGregor as her warring daughters, Goneril & Regan; Nathan Byrne as youngest child, Cornelius (originally Cordelia); Finlay McLean as trusted advisor, Gloucester, and the return to Bard in the Botanics of Beth Marshall as Lear’s faithful ally, Kent.

From L to R: Nathan Byrne (Cornelius); Janette Foggo (Lear); Beth Marshall (Kent); Finlay McLean (Gloucester) in “Queen Lear” (Photo credit: Tommy Ga-Ken Wan)

 The final production of “these headstrong women” was the shocking and prescient drama, “Measure for Measure”, in which a woman’s body and, indeed, her immortal soul become a battleground in a struggle between hypocrisy and truth, between morality and abuse of power. Since 2017, we have seen more and more prominent examples of how women’s bodies are still too often at the mercy of men in all kinds of ways which, sadly, only makes “Measure for Measure” all the more relevant. In Gordon Barr’s version for 4 actors, it was no longer Isabella’s brother, Claudio, on trial for his life for getting his fiancé pregnant. Instead, it was her sister, Claudia, pregnant, imprisoned and facing execution – amplifying the theme of men exercising power over a woman’s body. A terrific ensemble – Kirk Bage as Duke Vincentio, Nicole Cooper as Isabella, Adam Donaldson as Angelo & Esme Bayley as Claudia – gripped audiences throughout.

Nicole Cooper as Isabella with Kirk Bage as Duke Vincentio in “Measure for Measure” (Photo credit: Tommy Ga-Ken Wan)

 The year finished up again with our annual trip to St Andrews to co-produce another panto for the Byre Theatre – this time, “Beauty & the Beast”. Kirsty Findlay’s Belle was a worthy addition to the powerful women of our 2017 summer season while, in this version of the story, even Gaston found redemption and love with Robert Elkin’s “spirit of love”, Valentine. Yet another record-breaking panto run rounded off a tremendous, groundbreaking year for the company.

Kirsty Findlay as Belle & James Siggens as the Beast with Stephanie McGregor as Belladonna Nightshade in “Beauty & the Beast” (Photo credit: Viktoria Begg)

FUN FACTS:

- Gordon Barr’s production of “Henry IV” for RCS featured the most epic stage combat that Bard in the Botanics has ever produced, with all 12 actors involved in the Battle of Bosworth sequence, with weapons ranging from broadswords to spears to a particularly brutal looking “knobkerrie” (essentially a very hard stick with a large knob at the top for “thwacking” enemies with!)

- James Boal’s powerful & charismatic performance as Petruchio was a huge part of “The Taming of the Shrew?” so we were devastated when illness forced him to retire from the production before the end of the run. He was greatly missed but we cannot praise actor, David Rankine, enough. He kindly stepped into the role at very short notice and, with just one day’s rehearsal and with script in hand, played the role for the final week of performances – giving a remarkably rich performance. He literally saved the day and we will be eternally grateful to him.

- James Boal was also due to play the significant role of Angelo in “Measure for Measure” but when he had to withdraw from the season, Associate Artist, Adam Donaldson, travelled up from Newcastle with, like David Rankine, just a day’s notice and, in a week’s rehearsal, gave an incredibly chilling & powerful performance.

- While the sexist billboard adverts that formed the backdrop to “The Taming of the Shrew?” were a brilliant visual support to the story playing out onstage, we didn’t feel they were the right message to be sending to people utilising the Botanic Gardens during the day so the vast backdrop had to be removed each night and put up again before each performance – a small price to pay to prevent sharing such demeaning messages to the public out of context!

- “Timon of Athens” featured our most ambitious design to date in the Kibble Palace – including an incredibly quick set change at the interval, as the location shifted from the resplendent glamour of Timon’s mansion to a “cardboard city” reminiscent of the Hooverville shanty towns in the Great Depression. The full set changes was achieved by ASM, Eve Sinclair, is less than 10 minutes!

- The iconic song, “You Don’t Own Me”, became a bit of a theme tune for the season. The original Lesley Gore version blasted out as Kate took control of her own fate in “The Taming of the Shrew?” while a haunting modern take by Selena Gomez accompanied Isabella & her sister, Claudia, as they turned their back on the corrupt & venal men of Vienna in the closing moments of “Measure for Measure”.

- But it wasn’t our favourite tune in 2017 – that honour goes to the music which played as the characters gathered for the climactic party in “The Taming of the Shrew?” – the “Mable Got Sable Cha-Cha”. We don’t really have anything to say about that – we just wanted to mention it because we love the name so much!

- The Bard in the Botanics penchant for creating imaginary characters continued in rehearsals for “Measure for Measure”. On Duke Vincentio’s desk was an office telephone and the imaginary “Kevin” on the other end of the line found himself being blamed for pretty much everything that went wrong in the play and in rehearsals – it’s a tough life for a complete made-up person!

2017 COMPANY:

Bard in the Botanics 2017: these headstrong women:

Gillian Argo (Design – Queen Lear; Set Design – Shrew); Kirk Bage (Alcibiades / Duke Vincentio); Gordon Barr (Artistic Director); Esme Bayley (Bianca / Claudia & Escalus); Dylan Blore (Lucius & Phrynius); James Boal (Petruchio); EmmaClaire Brightlyn (Apemantus / Goneril; Fight Director); Nathan Byrne (Tranio / Cornelius); Lily Cooper (Lucilia & Timandra); Nicole Cooper (Timon / Isabella); Jennifer Dick (Director – Timon & Queen Lear); Jordan Edgington (Lucentio); Janette Foggo (Lear); Suzie Goldberg (DSM); Carys Hobbs (Design – Timon & Measure for Measure; Costume Design – Shrew); Emma Beth Jones (Biondello & the Widow); Beth Marshall (Baptista / Kent); Finlay McLean (Gremio & Vincentio / Gloucester); Caitilin McCoy (Grumio); Stephanie McGregor (Kate / Regan; Choreographer - Shrew); Sarah Michael (Wardrobe Supervisor); Sam Ramsay (Festival Manager); Rebecca Robin (Flavia); Sally Simpson (Composer – Queen Lear); Eve Sinclair (ASM); Will Underwood (Hortensio)

“Henry IV” / “A Midsummer Night’s Dream” RCS Company:

Gordon Barr (Director – Henry IV); Annelise Bianchini (Bardolph / Glendower); Ivy Charles (Peto / Prince John); Charlie Clee (Prince Hal); Lily Cooper (Titania / Hippolyta); Rebecca Coyle (Wardrobe Supervisor); Honey Durruthy (Snug / Egeus); Kate Dylan (Westmoreland / Fight Captain); Jordan Edgington (Hotspur); Joseph Emms (Oberon / Theseus); Thea Glindorf (Henry IV); Suzie Goldberg (Stage Manager – Henry IV); Leo Graham (Northumberland / Vernon); Simon Hayes (Lighting Design); Carys Hobbs (Designer); Hugh Hodgart (Director – Dream); Matthew Hunt (Bottom); Shilpa Hyland (Assistant Director – Dream); Emma Beth Jones (Helena); Courtney Keir (Worcester); Caitilin McCoy (Falstaff); Madison McLean (Quince); Rose Oke Millett (Mistress Quickly / Douglas); Megan Montgomery (Lady Percy / Blunt); Dani Nelson (Poins / Mortimer); Isabel Palmstierna (Puck); Samuel Pashby (Composer – Henry IV); Sam Ramsay (Associate Stage Manager); Rebecca Robin (Hermia); Marc Silberschatz (Fight Director); Veronika Smit (Starveling); Will Underwood (Demetrius); Verity Mullan Wilkinson (Flute); Ryan Wilson (Lysander); David Wood (Assistant Director – Henry IV)

“Beauty & the Beast” Company: Gordon Barr (Writer & Director); Rory Beaton (Lighting Design); Samantha Burt (DSM); Robert Elkin (Valentine); Kirsty Findlay (Belle); Ashley Foster (Young Cast Liaison); Carys Hobbs (Designer); Kylie Langford (Costume Supervisor); Stephanie McGregor (Belladonna Nightshade; Choreographer); Siobhan Randle (Wardrobe Assistant); Stephen Roberts (Composer & Musical Director); James Siggens (Beast); Alan Steele (Bunty Bahookie); Sam Ramsay (Stage Manager); Robert Watson (Gaston)