{"@context":{"@language":"en","AggregatedSourceRepository":"http:\/\/www.europeana.eu\/schemas\/edm\/dataProvider","AlternateTitle":"http:\/\/purl.org\/dc\/terms\/alternative","Collection":"http:\/\/purl.org\/dc\/terms\/isPartOf","DateAvailable":"http:\/\/purl.org\/dc\/terms\/issued","DateIssued":"http:\/\/purl.org\/dc\/terms\/issued","DigitalResourceOriginalRecord":"http:\/\/www.europeana.eu\/schemas\/edm\/aggregatedCHO","FileFormat":"http:\/\/purl.org\/dc\/elements\/1.1\/format","FullText":"http:\/\/www.w3.org\/2009\/08\/skos-reference\/skos.html#note","Genre":"http:\/\/www.europeana.eu\/schemas\/edm\/hasType","GeographicLocation":"http:\/\/purl.org\/dc\/terms\/spatial","Identifier":"http:\/\/purl.org\/dc\/terms\/identifier","IsShownAt":"http:\/\/www.europeana.eu\/schemas\/edm\/isShownAt","Language":"http:\/\/purl.org\/dc\/terms\/language","Notes":"http:\/\/www.w3.org\/2009\/08\/skos-reference\/skos.html#note","Provider":"http:\/\/www.europeana.eu\/schemas\/edm\/provider","Publisher":"http:\/\/purl.org\/dc\/terms\/publisher","Rights":"http:\/\/purl.org\/dc\/terms\/rights","SortDate":"http:\/\/purl.org\/dc\/terms\/date","Source":"http:\/\/purl.org\/dc\/terms\/source","Subject":"http:\/\/purl.org\/dc\/terms\/subject","Title":"http:\/\/purl.org\/dc\/terms\/title","Type":"http:\/\/purl.org\/dc\/terms\/type","Translation":"http:\/\/purl.org\/dc\/terms\/description"},"AggregatedSourceRepository":[{"@value":"CONTENTdm","@language":"en"}],"AlternateTitle":[{"@value":"[UBC Theatre Programmes]","@language":"en"}],"Collection":[{"@value":"University Publications","@language":"en"}],"DateAvailable":[{"@value":"2015-07-17","@language":"en"}],"DateIssued":[{"@value":"[1988-10-11]","@language":"en"}],"DigitalResourceOriginalRecord":[{"@value":"https:\/\/open.library.ubc.ca\/collections\/ubctp\/items\/1.0118795\/source.json","@language":"en"}],"FileFormat":[{"@value":"application\/pdf","@language":"en"}],"FullText":[{"@value":" There's only one way\nto really appreciate\nthe quality of our\nnew color copies.\nYou have to see one.\nThe new Canon Color Laser\nCopier will give you color copies\njust like the original. Or not like\nthe original at all.\nBecause now you can reduce\nand enlarge from 50% to 400%.\nYou can change colors. You can\ncombine a color original with a\nblack and white original to\ncompose a totally new image.\nThe Canon Color Laser\nCopier lets you copy from printed\nmaterials, 35mm slides, negatives and 3-dimensional objects.\nWhy not call or write for your\nown free color copy? And then\nyou'll see for yourself.\nCanon\nThe comforting choice.\nNow available on Campus\nexclusively at\nMEDIA SERVICES\n228-4775\n2206 East Malt, UBC Campus Let your imagination\ntake flight\nWe have books to nourish your wisdom.\nComputers to manifest your intelligence.\nGifts to express your kindest thought.\nPens and paper enough to fill volumes.\nVisit the UBC Bookstore and\ngive your mind the room to move.\ngBCBOOKSTORF\n6200 University Boulevard \u2022 228-4741\nHours: Mon., Tues., Thurs., Fri. 8:30 am-5:00 pm\nWed. 8:30 am-8:30 pm Sat 9:30 am-5W pm\nComputer Shop: Mon.-Fri. 8:30 am-5M pm\nUniversity of British Columbia\nFrederic Wood Theatre\npresents\nANTIGONE\nBy\nJean Anouilh\nDirected By\nBrenda Leadlay\nOctober 11-15\n1988\nThe Frederic Wood Theatre Magazine\nA Seasonal Publication of University Productions Inc.\nFor further information regarding this\nand upcoming publications call:\n(604) 732-7708 J*-\nI\nAnouilh on Anouilh\nI have now occupied myself for some time with the theatre and with such\nsuccess that I appear to have attracted an uncomfortable amount of attention.\nSome have explained this by saying that I am a skillful technician of the well-\nmade play. I take this as a compliment, for my father was a tailor's cutter, a\nsimple and honorable man who was an expert at his work and took great pride in\nit. I have always wished that I would be as good a handicraftsman as my father if\nthe practice of literature should escape me.\nWe are in the process of eliminating the concept of the \"well-made play\"\nnow that it has reigned supreme in the theatre until it has become mummified.\nPirandello decided one day to eliminate it with a stroke of genius: Six Characters\nin Search of an Author. But despite this summary execution, despite everything\nthat we can do, each in accordance with his ability, despite all this acuteness and\npatience - where are we? We look like the eternal pupils who have to take their\nexams once again.\nA play must be written and played better than real life. Life can be very nice,\n-but it has no form. Art does nothing but give it this form and make it by all\nmeans at its disposal truer than reality.\nV\nDrama does not offer solutions. Drama cannot offer solutions. But it should\ntrain us to see the complexities of this world, the immeasurable shading of every\nargument, the wholeness of conflicting issues, and thus the truth.\nConflict - the clash of wills, the clash of temperaments, the clash of people -\nhas always been an integral part of world drama. Conflict - either subtly\ndisguised or openly visible - is at the very centre of all of my plays. Jean Anouilh:\nA Brief Chronology\n1910\nJean Anouilh is bom on June 23, near Bordeaux.\n1918-29\nAnouilh's primary and secondary education is in Paris; he studies law briefly at\nthe Universite de Paris.\n1929-31\nAnouilh works as a copy writer for an advertising agency, and also as a \"gag\"\nwriter for the movies.\n1931-32\nWorks as secretary to Louis Jouvet at the Com6die des Champs Elysees.\n1932\nAnouilh writes Jezabel, which is not performed. L'hermine is staged at the\nTheatre de l'Qiuvre. Decides to devote himself exclusively to the theatre.\n1935\nY avait unprisonnier is staged at the Theatre des Ambassadeurs, March 21; film\nrights are sold to Metro-Goldwyn-Mayer.\n1942\nEurydice is staged at the Theatre de l'Atelier, December 18, directed by Andr6\nBarsacq.\n1944\nAntigone is staged at the Theatre de l'Atelier, February 4, directed by Andre\nBarsacq.\n1951\nColombe is staged at the Theatre de l'Atelier, February 11, directed by Andre\nBarsacq.\n1952\nPublishes Trois comedies de Shakespeare (adaptations of As You Like It,\nTwelfth Night, and The Winter's Tale).\n1953\nAnouilh adapts, with Paule de Beaumont, Eugene O'Neill's Desire under the\nElms, which is staged at the Comedie des Champs Elysees, November 5.\n1954\nAdapts, with Claude Vincent, Oscar Wilde's The Importance of Being Earnest,\nwhich is staged at the Comedie des Champs Elysees, October 29.\n1959\nBecket: ou, L'honneur de Dieu is staged at the Theatre Montparnasse, October 8,\ndirected by Jean Anouilh.\n1962\nAnouilh adapts, with Nicole Anouilh, Graham Greene's The Complacent Lover.\n1964\nAdapts William Shakespeare's Richard HI, which is staged at the Theatre\nMontparnasse.\n1971\nBecket enters the repertory of the Comedie Frangaise.\n1987\nDies in Paris. Interpreting Antigone\nParis under Nazi occupation - February, 1944: a bitter winter, power\nfailures, freezing theatres, and air-raid sirens. But the Parisians flocked to the\nAtelier, drawn by the figure of Anouilh's Antigone and her example of strenuous\nresistance against the cruel authority of the Occupation. In her cry of \"No!\" they\nheard the voice of their own refusal to capitulate to inhuman subjection; and in\nher determination to die rather than submit they saw an image of the Resistance\nfighter's morality of refusal.\nHow could the Nazi censor have licensed such subversion? His interpretation\nof Anouilh's play, we can only infer, must have located its primary significance\nin the bleak political experience of Creon, the King. Predisposed to grant Creon\nthe force of his arguments, the censor would have heard a voice lamenting the\nhardships of government, persuading the audience of the need to do one's work in\na conscientious way, to say \"Yes!\" to the difficult demands of life. The man is\nno tyrant, no villain in a melodrama. He leaves the tragedy a softened and almost\nsympathetic figure, holding the hand of a small child and facing up to his\nresponsibilities.\nIt seemed, after the liberation, that these radically different interpretations of\nAntigone had been shaped by the political pressure of the time. Instead of a call\nto resistance the Parisian theatre-goers now heard a rejection not of Nazi\noppression but of existence itself - a cry of \"No!\" against all happiness, and a\nvehement dismissal of life's many satisfactions as cowardly forms of\ncompromise. In the United States (where the right to the pursuit of happiness is\na self-evident truth) Anouilh's play suddenly becomes unsuitable for performance\nand Katherine Cornell, the actress who had purchased the rights, found herself\nhaving to play a heroine whose death was simply incomprehensible. Lewis\nGalantiere was commissioned to \"adapt\" his translation, and the result is a\npeculiarly American interpretation of Antigone: an heroic assertion of freedom\nagainst tyranny, of the primacy of moral law and the sanctity of human dignity.\nSophocles would have been delighted. But this is not Anouilh's play.\nInterpreting Antigone would seem to depend upon a range of factors: the\npolitical climate of the time, one's personal tendency to favor one or other side\nof the argument, the infinite possibilities of the Antigone myth itself. Few\nplays have been so compulsively mined as a source for later dramatists, and each\nnew version of the myth in itself constitutes a new interpretation of Sophocles'\noriginal play. Brecht's version sees her as a failed political anarchist who strikes\nbefore the iron is hot. The Living Theatre turned Antigone into an anti-Vietnam\nWar protest. In Athol Fugard's South African restatement of the tale, two black\npolitical prisoners enact a self-defeating myth of love in the confines of Robben\nIsland. Broadway has just seen Gurney's Another Antigone... The list is endless.\nGeorge Steiner has written a book on the hundreds of Antigones which have\nreinterpreted the story of the girl who buries her brother in defiance of the state.\nBut there are two traditional interpretations of Sophocles' play which have\nshaped the way in which we read the myth, and which have permeated the\nmodern consciousness as decisively as Freud's reading of the Oedipus. Both\nderive from the early Nineteenth Century, and exist in extraordinary contradiction\nof each other. The first of these is Hegel's. The play, for him, is a model of\ndialectical progression - an image of the mind's evolving processes and the\nforward movement of human history. We advance through creative conflict,\nthrough the collision of equally balanced forces of moral right: the human Right\nof Antigone to bury her brother against the right of the State to overrule\nindividual motive in the interests of the community. Both Antigone and Creon\nare ethically impelled, and both are equally convincing - even though their\narguments cancel each other out and end in destruction and self-defeat. This,\nsurely, is how the Nazi censor must have read the play: through Hegelian\nspectacles which viewed Creon's position without prejudice and which foresaw a\nlong-range optimism in the denouement - a vision of an ethically sensitive ruler\nwho finally acknowledges the validity of his antagonist's values and can\nincorporate them in a marvellous political synthesis of contraries. This\ninterpretation is perfectly consistent with Anouilh's play. The text will support\nthe reading at a number of levels. But it is utterly at odds with the other great\ninterpretative tradition of the period.\nFor the Danish philosopher, Soren Kierkegaard, there are no ethical\nimperatives to motivate Antigone, no hope of some ultimate good deriving from\nher suffering. His Antigone is a myth of the impenetrable mystery of human\nidentity - a play about a girl who is both sister and daughter to the same man,\nutterly alone and indefinable. Her status is among the elect, and her destiny is to\nfind her self among the dead, in the company of Oedipus. Kierkegaard's heroine\nis driven by the dark psychological motive to self-fulfillment through self-\ndestruction; and, as Anouilh puts it, we may never understand the fever that\nconsumes her. This is the Antigone who co-exists in Anouilh's text with the\nHegelian Antigone: the kinswoman of Oedipus, impatient with life, and\nfanatically dedicated to a lonely isolation in her absurd selfhood. The\nKierkegaardian interpretation of Antigone is explicit in every explanation that\nCreon offers of her extraordinary mode of suicidal conduct\nHow, finally, do we interpret Antigone? Perhaps, as George Steiner claims,\nwe must leave the theatre undecided and willing to ask the insistent questions\nthat admit of no simple solution. At what point does a conflict of ethical\nopposites modulate into a conflict of extreme and obsessive follies? When does\nthe life-affirming \"Yes\" of Creon tip over into the shame of collaboration? When\ndoes the passionate resistance of Antigone's \"No\" disintegrate into an\nuncompromising rejection of life itself? Anouilh's Antigone permits our\nindecision, but not our indifference to the issues he raises.\nErrol Durbach\nProfessor Errol Durbach is Head of the Department of Theatre at UJB.C. ANTIGONE\nBy\nJean Anouilh\nSet Design By\nRobert Gardiner\nDirected By\nBrenda Leadlay\nCostume Design By\nMara Gottler\nLighting Design By\nBill Rasmussen\nCAST\nChorus Errol Durbach\nAntigone Allison Sanders\nIsmene Kathleen Duborg\nHaemon James Binkley\nEurydice Michelle Stoppa\nNurse Laura K. Burke\nPage Ira Winrob\nMessenger Peter Wilds\nFirst Guard (Jonas) Timothy Hyland\nSecond Guard Glen Thompson\nThird Guard Kurt Eby\nPRODUCTION\nTechnical Director Alan Brodie\nStage Manager Nik von Schulmann\nAssistant Stage Manager.... Nick Davis\nProperties Randall Plitt\nRehearsal Assistant Stage Manager Erin Jarvis\nWardrobe Mistress Catherine King\nCostume Assistant Jill Buckham\nScenic Artists .Kairiin Bright, Paula Pryce, Siobhan Ryan\nProperties Assistant Colin Lim\nSound Designer Darryll Patterson\nSound Operator John Henrickson\nLighting Operator Corin Gutteridge\nFollow Spot Operator Randall Plitt\nMake Up Nick Davis\nSculptors Heike Anderson, Alan Brodie,\nNancy Canning, John Henrickson\nLighting Crew Bruce Cobanli, Carol Evans, Glen Winter\nCostume Supervisor Chelsea Moore\nSet Construction... Don Griffiths, John Henrickson, Robert Moser\nCostume Cutter Jean Driscoll-Bell\nBox Office Carol Fisher, Linda McRae, Jason Smith\nHouse Manager Tracy Holmes\nBusiness Manager Marjorie Fordham\nProduction Robert Eberle\nTime: Present\nAntigone\nis produced by special arrangement with\nSamuel French (Canada) Inc.\nAcknowledgements\nCBC\nIsland Paper Mills Ltd.\nAlan Salloway\nUBC Gates Hair Fashion\nSarah Marshall Antigone\nA Presentation of the Play\n\"ANTIGONE\": Jean Anouilh projects his \"tragedy\", in contemporary\nclothing, on the very steps of that Greek temple which we all carry within\nourselves, in the very aura of the Greek legend. Sophocles' prestige and an\natmosphere of Greek wisdom still suffuse these ancient tragic figures: Antigone\nIsmene, Creon, themselves imbued with the blind light of Oedipus' drama.\nWhat differences, however! Whilst he revives the subject of Antigone's\ndevotion up to self-sacrifice, the theme (that conflict between divine and human\nlaws) and even the dramatic mould of the play, Anouilh suffuses it with quite a\ndifferent spirit. \"Never was Sophocles betrayed so well,\" under the guise of\nfollowing the Greek tragedy's pattern and rhythm.\nA series of scenes first build upon each other, like steps to support the\ncentral scene, the expected confrontation between Creon and Antigone. At the\nbeginning are the ascending degrees of a pathos loaded with tragic anguish\nbecause of the Chorus's warnings and Antigone's alarming secrets: - the good\nnurse scolding a girl who gets out of hand - the first revealing conflict, between\nthe two sisters, the too careful and dutiful Ismene and the foolish Antigone, who\nrefuses to understand the adults' reasons, precisely because she wants to live - and\nthe bitter farewell scene between Antigone and her fianc6 Haemon, in which the\nburning call to tenderness turns into a blunt breaking off. But the guard arrives,\nbearer of bad news: someone has infringed the King's orders, someone has\ncovered the corpse of Polyneices with earth. Then the Chorus comes on and,\nwith a sigh of relief, stresses the heroes' accession, beyond the vulgarity of\ndrama, to the superior kingdom of tragedy.\nFor the spectator, Antigone will henceforth embody the romanticism of\nchildhood, or rather of an image of childhood, prolonged, preserved, supposed to\nbe a marvelous place of fullness and purity; this does not prevent her from\nshowing quite a surprising firmness of character. The confrontation with Creon\nwill reveal to her more of herself, bringing her to cry aloud what she was not yet\naware of. Antigone's arrest, of course, follows; a symbolical scene, opposing the\ndelicate girl to the materialistic vulgarity of the guards, coarse people reeking of\ngarlic, leather and red wine.\nThis is also a prelude to the face to face encounter between uncle and niece,\nin which the frail girl will appear a singularly tough and argumentative person\n(as opposed to the gentle and pious Greek heroine who does not rebel against\nCreon). Concerning this long discussion - about one third of the play; and one of\nthe strongest, most striking scenes of contemporary French theatre - it has not\nbeen stressed enough that it is structured, punctuated by silences (accompanied\nby stage movements; Creon taking off his jacket, etc.). The long scene is thus\ndivided into five or six successive parts. At first, the uncle resorts to protective\nintimidation, to frighten and soften this urchin of a niece, while she is still\ninvoking her religious and human duty. - Soon, after a silence, the debate reaches\na new level, the awareness of the absurd: religious rites, as the antagonists\nconfess to each other, are but a derisory comedy. What, then, is left to Antigone\nexcept the pride of her self-determination, with its existentialist overtones; I did\nit \"for no one else. For myself.\" - The third part, confronting the absolute \"yes\"\nand \"no\", Creon's political realism and Antigone's uncompromising idealism,\nseems to resound with the heroine's moral victory; she does her utmost to stress\nthe baseness of a King's job, while raising herself by her very refusals to a\nQueen's nobleness (\"Tragedy is for Kings,\" as the Chorus had announced). -\nSilence - . As a last attempt the exhausted Creon discloses that Eteocles and\nPolyneices, those revered brothers, were actually despicable hoodlums, low\nbrutes. Then, at this climactic moment of the play, Antigone, wounded,\nsuddenly hesitates: \"I am going back up to my room.\" Is this Creon's victory at\nlast? - A long silence -. Fifth part: Creon, alas, starts again, in a humble voice,\noffering the prospect of a mediocre, resigned, bourgeois happiness. A fatal\nmistake, since Antigone pulls herself together and explodes with exasperation in\na final revolt: \"I am fed up with your happiness!\" Hadn't she refused it from the\nbeginning? This provocative attitude gets the desired result: 'Guards, take her\naway!\"\nNow the game is over. And the tragic cascade of a stormy denouement links\ntogether the various catastrophes: Haemon's revolt, in a harrowing confrontation\nbetween father and son, between the adult's disillusioned lucidity and the\nnostalgia of confident childhood: - Antigone's ultimate attempt to communicate\nwith human beings, orally with the guard, in writing with Haemon: \"I no longer\nknow why I am going to death\": - the report of Haemon's suicide at the feet of\nAntigone hanged in her cave; - the report of Eurydice's, Creon's wife, suicide; -\nthe final solitude of Creon, still on his way to his 5 p.m. Cabinet meeting; like\na robot, crushed and emptied? or as a stoic philosopher resisting the absurd? One\ndoes not know.\nFrom all these debates, or rather commitments, a question inevitably arises:\nwhose attitude is the right one? Who is right, Creon or Antigone? Creon, after all, is something other than a despicable anti-hero. Should one\nsummarily tax him with mediocrity, moral weakness, political cynicism?\nActually, Anouilh's Creon, more dignified and human than the Greek one, has\naccepted the unenviable part of leader out of \"honesty\". When he said \"yes\", it\nwas not without courage. He is like the Orestes of Sartre's Play The Flies\n(1943), who would have agreed to govern Argos. He even assumes a certain\ngreatness in his abnegation, his sorrowful solitude. He is, henceforth, condemned\nto political realism, which is not the best role, he knows, but rather an absurd\nand futile job, like many. But \"you still need someone to steer the boat,\" as\nCreon stresses in one of his tirades, so wonderful in their energetic\nexpressiveness. The trouble is that, by obeying the reason of State, one ends up\nfiring into the crowd, at men who no longer have names; or killing a niece\nwithout really intending to, after many efforts to save her. Can the lucid\nawareness of his choice, and his endurance through his ordeal (whether stoic or\nstupefied) save Creon, morally? He remains a prisoner of his role as chief of\nState. But isn't he right at least to protest: \"It's all too easy to say 'no',\" to\nexistence; it is harder to say yes.\nWitness here Antigone, the small, dark, ugly and nasty-tempered girl, taking\npleasure in avenging herself on those adults who didn't take her seriously. Don't\nher constant refusals to understand, her categorical imperative of the \"all or\nnothing\" make her, in a sense responsible for what may be called her suicide? In\nthe end, is her heroism, tainted with arrogance and nihilistic anarchism, not\ncomplacent selfishness, lack of courage before real life?\nNo doubt, however, that Anouilh's Antigone is a very likeable character to\nmany. Why so? Because she inherits a long tradition of French heroism, such as\na Joan of Arc of today, elated by a need for the sublime, far above ordinary life's\ncontingencies. Also, her cry for freedom in her weakness and her opposition to\nthe reason of State symbolize, in 1944, the spirit of the French resistance to\nGerman oppression. More profoundly, after rejecting vague religious beliefs and\nfamilial attachments, she finds within herself enough strength to assert the only\nvalue of individual freedom by a responsible choice, which soon becomes a total\ncommitment of herself, a commitment clearly resounding, in the 40's, with\nexistentialist echoes. Last, but not least, Antigone embodies a conflict of\ngenerations, an eternal revolt of the young, who find themselves obliged to take\npart, unwillingly, in an imperfect and absurd society.\nWhose position is the right one? A troubling question. Anouilh has a bitter,\nardent dialogue with himself, hesitating between the honor (or dishonor?) of\nliving and the honor of dying. But he refrains from making a choice for us. The\nstamp of artistic creators is recognizable precisely by that confrontation of\nirreconcilable existential attitudes. It is up to each person to make the choice.\nDominique Baudouin\nProfessor Dominique Baudouin teaches in the Department of French at UJ3.C.\n\"The finest\nselection in\nVancouver\"\nVancouver's\nspecialty\nvideo store\n2!\u00b0 TUESDAYS\nCLASSICS \u2022 FOREIGN \u2022 MUSIC\nSALES\nRENTALS\n1855 WEST 4th AVE. AT BURRARD\nV 734-0411\nPANACHE\nFor that very precious person,\na very special gift.\nChoose a 999 Pure Silver\nor Gold piece of jewellery,\ndesigned and handcrafted\nby Gold & Silversmith\nErich Grill\nA Fabulous Collection of\nPearls and semi-precious stones\nat very reasonable prices.\nTuesday - Saturday\n10:00 a.m. -5:30 p.m.\nPANACHE\n4475 West 10th Avenue\n224-2514\n^iK\nFresh Supplies Daily at\nThe West Side's Friendliest Fishstore\n4519 West 10th Ave. Vancouver B.C.   Phone (604) 224-4640 Two For One\nwith a twist\nFor many years, about nine actually, The Frog and Peach has\nbeen a little civilized niche in Point Grey providing interesting,\nquality fare to its large circle of loyal customers.\nJames Barber said recently:\nCharacter is more important than theme, and developing it takes\ntime, patience and a special ability to out-bluff the bank manager.\nGood, comfortable, character restaurants, which offer honest\neccentricities instead of waiters in sailor suits, are hard to find, and\nknown generally only to a few similarly eccentric, demanding\nclients. They don't get much publicity because they can't afford it,\nand there are too many new theme restaurants churning out press\nreleases.\nJack Moore observes:\nIf you have never been there, The Frog and Peach is a Tenth\nAvenue treasure of a place where for years an eccentric man named\nDiederik Wolsak has been allowing his more talented customers to\ndo drawings of frogs (and peaches) on napkins, which are then\nframed and become a large part of the decor.\nIn James Barber's Best Eating In Vancouver, two restaurants\nwere rated the best Continental Restaurants in Vancouver: The Frog\nand Peach and The Restaurant at Pacific 819. A few weeks ago\nBaz Lee of '819' sold his establishment and joined forces with The\nFrog and Peach.\nJack Moore writes:\nHe is like Diederik, one of the very best red-hot restaurant guys\nin the city. To say these two will likely do something interesting at\nThe Frog and Peach is to underestimate the situation completely.\nNeither of these guys is capable of letting any restaurant become\nstale or humdrum, and both of them in the same place constitutes a\nsort of creative hive. So there is more to come out of this.\nAt the centre and perhaps most important is a wonderfully\ntalented chef. Mary MacKay has infused Menu and presentation\nwith a gently creative flair which is unmatched in the city. Chef\nMacKay is complemented during lunch by a formidable French\ntalent named Marie Jose Henry, who shares Mary's unwavering\ncommitment and love for culinary artistry.\nJack Moore Concludes:\nThe Frog and Peach has been entirely worthy of consideration\nthese past nine years or so, and continues to be so. And as for the\nfuture, well stay tuned!\nThe'\n(fro^anL fyacfu\n<u> cnmer cunimtc'atstauninO\n4473 West  10th Avenue, Vancouver, B.C.    228-8815 FREDERIC WOOD THEATRE\nCOMING      ATTRACTIONS\nJacques and His Master\nBy Milan Kundera\nDirected By Charles Siegel\nNovember 16-26, 1988\nYerma\nBy Federico Garcia Lorca\nDirected By Catherine Caines\nJanuary 11-21, 1989\nHenry IV, Part 1\nBy William Shakespeare\nDirected by Rod Menzies\nMarch 15-25, 1989\nMINI    SERIES\nZastrozzi\nBy George F. Walker\nDirected By Robin Nichol\nFebruary 7-11, 1989\nBOX    OFFICE   228-2678\nEnter Another World...\nPUNJAB\nRESTAURANT\nThe first to serve Vancouver with\nIndia's finest cuisine since 1971.\nExotic Foods at moderate prices.\nSuperb selection of 16 meat and 8 vegetarian dishes.\nRelax in plush surroundings of the Far East.\nSitar music and unique slide show of India.\nOpen 7 days a week for lunch & dinner\nWalking distance from B.C. Stadium\n796 Main St. (at Union) 3 blocks South of Chinatown\nCustomer Parking at Rear\n688-5236\nOpen 7 days a week\nEat In or Take Out\n4422West-10th Phone 222-1400\nThe\nCafe Society\ncomes to\nDar Lebanon\non West 10th Avenue\nSee You There!\nSpecialising in\nLebanese Cuisine\nEspresso Bar The part of Creon is played by\nJohn Murphy","@language":"en"}],"Genre":[{"@value":"Periodicals","@language":"en"}],"GeographicLocation":[{"@value":"Vancouver (B.C.)","@language":"en"}],"Identifier":[{"@value":"UBCTheatrePrograms_1988-10-11","@language":"en"}],"IsShownAt":[{"@value":"10.14288\/1.0118795","@language":"en"}],"Language":[{"@value":"English","@language":"en"}],"Notes":[{"@value":"The Frederic Wood Theatre production of \"\"Antigone.\"\"","@language":"en"}],"Provider":[{"@value":"Vancouver : University of British Columbia Library","@language":"en"}],"Publisher":[{"@value":"[Vancouver : Frederic Wood Theatre, University of British Columbia]","@language":"en"}],"Rights":[{"@value":"Images provided for research and reference use only. Permission to publish, copy, or otherwise use these images must be obtained from the University of British Columbia Department of Theatre.","@language":"en"}],"SortDate":[{"@value":"1988-10-11 AD","@language":"en"},{"@value":"1988-10-11 AD","@language":"en"}],"Source":[{"@value":"Original Format: University of British Columbia. Archives","@language":"en"}],"Subject":[{"@value":"University of British Columbia","@language":"en"}],"Title":[{"@value":"Antigone","@language":"en"}],"Type":[{"@value":"Text","@language":"en"}],"Translation":[{"@value":"","@language":"en"}],"@id":"doi:10.14288\/1.0118795"}