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2014|2015 SEASON • Issue 1 Dear Friend, TABLE OF CONTENTS Welcome to the first mainstage show of our 2014-2015 Season, As You Like It. I am thrilled to welcome to Washington a fellow Commander of the British Empire, Michael Attenborough. 1 Title page 3 Cast 5 Synopsis 7 About the Playwright 9 Director’s Thoughts 10 Wanderlust by Drew Lichtenberg 14 The Many Colors of Michael Attenborough by Drew Lichtenberg 18 As Who Likes It? by David Schalkwyk 24 Cast Biographies 25 Play in Process 31 Direction and Design Biographies 36 For STC 38 Mapping the Play by Garrett Anderson 40 About STC 44 Faces and Voices: From the UK to the District by Hannah Hessel Ratner 46 Support 54 Preview: The Tempest 56 STC Staff 57 Audience Services This production was born a few years ago when I approached Michael, at the time the Artistic Director of the Almeida Theatre in London, and asked him what show he would like to direct for us. His answer was immediate and twofold. First, Michael told me he wanted to direct As You Like It, which he calls one of Shakespeare’s most “intimate” plays. Second, he wanted to direct it in the Lansburgh Theatre, whose intimate confines he had seen and loved. Michael has had a long and illustrious career in English theatre, and I am confident that his production is one worth waiting for. Joining Michael is a stellar cast of familiar and new faces, including STC Affiliated Artists Derek Smith as Jaques and Gregory Wooddell as Oliver, Andrew Veenstra (The Heir Apparent, Two Gentlemen of Verona) as Orlando, and newcomer Zoë Waites, who starred in Michael’s Romeo and Juliet at the RSC, as the divine Rosalind. In addition to a brilliant cast, Michael has also assembled an expert team of designers and artists. In the remainder of our 2014-2015 Season, we are excited to bring you a first-rate selection of plays and a number of returning faces. In December, Ethan McSweeny brings his imagination to bear on The Tempest. In February, the National Theatre of Scotland come to D.C. with Dunsinane, the brilliant answer play to Shakespeare’s Macbeth by David Greig. In the spring, Alan Paul takes us to Cervantes’ Spain with Man of La Mancha, returning star Stephen Epp stars in Molière’s classic French comedy Tartuffe and David Ives brings us The Metromaniacs, his third French verse comedy. We look forward to sharing these stories with you, along with many other classics from the global repertory. I hope to see you in our theatres again soon. Warm Regards, Michael Kahn Artistic Director Shakespeare Theatre Company Cover photo: Zoë Waites by Scott Suchman Recipient of the 2012 Regional Theatre Tony Award® Artistic Director Michael Kahn Managing Director Chris Jennings William Shakespeare’s Performances begin October 28, 2014 Opening Night November 3, 2014 Lansburgh Theatre Director Michael Attenborough Resident Casting Director Carter C. Wooddell Associate Director Alan Paul Casting Laura Stanczyk Casting, CSA Set/Costume Designer Jonathan Fensom Fight Director Robb Hunter Lighting Designer Robert Wierzel Head of Voice and Text Ellen O’Brien Sound Designer/Original Music Steve Brush Literary Associate/Dramaturg Drew Lichtenberg Composer Thomas Newman Assistant Director Katherine Burris Choreographer Karma Camp Production Stage Manager Bret Torbeck* Assistant Stage Manager Elizabeth Clewley* As You Like It is sponsored by the HRH Foundation. Restaurant Partner: District Chophouse *Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers. 1 CAST (in order of appearance) AS YOU LIKE IT Orlando, youngest son of Sir Roland de Boys.................................................Andrew Veenstra* Adam, his servant....................................................................................................................Jeff Brooks* Oliver, his elder brother.......................................................................................... Gregory Wooddell* Dennis, his servant.............................................................................................. Luis Alberto Gonzalez Charles, the Duke’s wrestler............................................................................................... Ian Bedford* Hymen, goddess of marriage..................................................................................... Te’La Curtis Lee Rosalind, daughter of Duke Senior................................................................................... Zoë Waites* Celia, her cousin, daughter of Duke Frederick........................................................Adina Verson* Touchstone, a fool......................................................................................................... Andrew Weems* Le Beau, a courtier.................................................................................................. Joel David Santner* Duke Frederick, usurper of his older brother Duke Senior..................Timothy D. Stickney* Amiens, a lord.............................................................................................................. Matthew Schleigh* Duke Senior, exiled by his younger brother Duke Frederick...............Timothy D. Stickney* First Forest Lord................................................................................................................. Todd Scofield* Corin, a shepherd......................................................................................................... Happy Anderson* Silvius, a shepherd................................................................................................... Stephen Pilkington* Jaques.........................................................................................................................................Derek Smith* Audrey, a country woman.............................................................................................. Tara Giordano* Sir Oliver Martext, a vicar.....................................................................................................Jeff Brooks* Phoebe, a shepherdess.......................................................................................................Valeri Mudek* William, a country fellow................................................................................................Jonathan Feuer Ensemble..................................................... Jonathan Feuer, Luis Alberto Gonzalez, Alex Piper, Theodore M. Snead, Nathan Winkelstein UNDERSTUDIES Jeff Brooks* (Touchstone), Katie DeBuys* (Audrey/Celia), Jonathan Feuer (First Forest Lord), Luis Alberto Gonzalez (Le Beau), Veleka J. Holt (Hymen), Michael Kramer* (Adam/Jaques), Joel Ottenheimer (Charles/Ensemble), Alex Piper (Amiens, Silvius), Jenna Rossman (Phoebe), Joel David Santner* (Oliver), Todd Scofield* (Duke Frederick/Duke Senior), Carlos Saldana (Ensemble), Theodore M. Snead (Corin), Adina Verson* (Rosalind), Nathan Winkelstein (Orlando). Production Assistant: Maria Tejada THERE WILL BE ONE 15-MINUTE INTERMISSION. The Shakespeare Theatre Company operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States, and employs members of the Stage Directors and Choreographers Society and United Scenic Artists. The Company is also a constituent of Theatre Communications Group (TCG), the national organization for not-forprofit professional theatre, and is a member of the Performing Arts Alliance, the D.C. Chamber of Commerce, Association of Performing Arts Presenters (APAP), American Alliance for Theatre and Education and DC Arts and Humanities Education Collaborative. Copyright laws prohibit the use of cameras and recording equipment in the theatre. *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers. 3 STC BOARD OF TRUSTEES Michael R. Klein, Chair Robert E. Falb, Vice Chair John Hill, Treasurer Pauline Schneider, Secretary Michael Kahn, Artistic Director SYNOPSIS AS YOU LIKE IT Melissa A. Moss Stephen M. Ryan George P. Stamas Lady Westmacott Rob Wilder Suzanne S. Youngkin Trustees Nicholas W. Allard Ashley M. Allen Stephen E. Allis Anita M. Antenucci Jeffrey D. Bauman Afsaneh Beschloss William C. Bodie Landon Butler Dr. Paul Carter Dr. Mark Epstein Andrew C. Florance Dr. Natwar Gandhi Miles Gilburne Barbara Harman John R. Hauge Stephen A. Hopkins Lawrence A. Hough W. Mike House Jerry J. Jasinowski Norman D. Jemal Scott Kaufmann Kevin Kolevar Abbe D. Lowell Bernard F. McKay Eleanor Merrill Duke Frederick has usurped the title of his older brother, Duke Senior, and exiled him to the Forest of Arden. Orlando, youngest son of the late sir Roland de Boys, one of Duke Senior’s loyal lords, suffers similar persecution by his older brother, Oliver, who has neglected his upbringing. After a violent quarrel with Orlando, Oliver asks a wrestler, Charles, to break his neck in a match the next day. Orlando, however, adds injury to insult by defeating Charles in Duke Frederick’s court, and later fleeing Oliver’s house with Sir Roland’s old servant Adam. Ex-Officio Chris Jennings, Managing Director Emeritus Trustees R. Robert Linowes*, Founding Chairman James B. Adler Heidi L. Berry* David A. Brody* Melvin S. Cohen* Ralph P. Davidson* James F. Fitzpatrick Dr. Sidney Harman* Lady Manning Kathleen Matthews William F. McSweeny V. Sue Molina Walter Pincus Eden Rafshoon Emily Malino Scheuer* Lady Sheinwald Mrs. Louis Sullivan Daniel W. Toohey Sarah Valente Lady Wright At the wrestling match, Orlando had met Rosalind, daughter of the banished Duke, and they had fallen in love at first sight. Angered by Orlando’s victory, Duke Frederick banishes Rosalind. Her cousin Celia, Duke Frederick’s daughter, resolves to run away with her to the forest, accompanied by Touchstone, the court fool. Rosalind disguises herself as “Ganymede,” a boy, while Celia takes the name “Aliena.” In the forest, they meet two shepherds: the impoverished Corin and his lovelorn young friend Silvius. Rosalind and Celia decide to help Corin by buying his master’s farm and staying in his humble cottage. Elsewhere in the forest, Orlando and Adam encounter Duke Senior and his followers (including the melancholy lord Jaques), who welcome them. *Deceased Oliver arrives at Rosalind and Celia’s cottage and tells the story of Orlando risking his life to save him from wild beasts. Ashamed of past misdeeds, Oliver has reconciled with his brother, and shows “Ganymede” a bloody bandage. Rosalind faints. Oliver and Celia, assisting her into the cottage, fall in love. Later that day, Silvius, Phoebe and Orlando confront “Ganymede” in an argument over who will love whom. “Ganymede” vows to bring Rosalind to Orlando, and promises Silvius and Phoebe that each will have what they desire. STORIES. Explore our full season online! TYLER STABLEFORD DYNAMIC EVENTS. FASCINATING PEOPLE. CAPTIVATING Rosalind and Celia discover Orlando’s love poems addressed to Rosalind hanging on the trees. Orlando tells “Ganymede” of his love for Rosalind, and she promises to cure Orlando of his love if he will pretend that she is Rosalind and woo her. Touchstone befriends the shepherds and lusts after Audrey, a local girl. Overhearing Phoebe rejecting Silvius, “Ganymede” berates her, but Phoebe, unaware Rosalind is a woman, falls in love with her. With everyone assembled, Rosalind is revealed and Hymen, the god of marriage, blesses the unions of Rosalind and Orlando, Celia and Oliver, Audrey and Touchstone and the resigned Phoebe and Silvius. Finally, news arrives that Duke Frederick has repented his faults, renounced his usurped dukedom and moved to a cave in the forest to spend the rest of his days as a religious hermit. The melancholy Jaques goes to join him, and the rest of the company celebrates. nglive.org/dc | 202.857.7700 Free Parking | Metros: Farragut N & W | 17th & M Streets 5 ABOUT THE PLAYWRIGHT WILLIAM SHAKESPEARE No man’s life has been the subject of more speculation than William Shakespeare’s. Consequently, we know a great deal of information about Shakespeare’s life—far more than that of any of his contemporaries. Scholars agree that William Shakespeare was baptized at Stratford-upon-Avon on April 26, 1564. Tradition holds that he was born three days earlier, on April 23— the same date on which, 52 years later, he was recorded to have died. On November 27, 1582, a marriage license was granted to 18-year-old William and 26-year-old Anne Hathaway. A daughter, Susanna, was born to the couple six months later. We know that twins, Hamnet and Judith, were born soon after and were baptized. What we do not know is how the young Shakespeare came to travel to London and how he first came to the stage. Whatever the truth may be, it is clear that in the years between 1582 and 1592 Shakespeare became involved in the London theatre scene and was a principal actor with one of several repertory companies. By 1592 Shakespeare had become prominent enough as a playwright to engender professional jealousy. A rival playwright, Robert Greene, wrote snidely of an “upstart crow, beautified with our feathers, that with his tiger’s heart wrapped in a player’s hide supposes he is in his own conceit the only Shakescene in a country.” In the years between 1591 and 1593, the theatres of London were temporarily shut down due to an outbreak of plague; Shakespeare turned his considerable talents to sonnet writing and acquired a patron, the young Lord Southampton, to whom two of his poems, Venus and Adonis and The Rape of Lucrece, are dedicated. In 1594 Shakespeare was listed as a stockholder in the Lord Chamberlain’s Men; he was a member of this company for the rest of his career, which lasted until approximately 1611. When James I came to the throne in 1603, he issued a royal license to Shakespeare and his fellow players, inviting them to call themselves The King’s Men. The King’s Men leased the Blackfriars Theatre in London in 1608. This theatre, which had artificial lighting and was probably heated, served as their winter playhouse. The famous Globe Theatre was their summer performance space. In the century after Shakespeare’s death, his reputation fell into the depths of obscurity. Beginning with his 18th century rehabilitation by Samuel Johnson and others, Shakespeare began to be recognized as the greatest writer of English drama. After his adoption as a patron saint of the German romantics, Shakespeare’s writings began to transcend national and linguistic boundaries. Today, his plays are performed, read and studied all over the globe—far more than any comparable figure. No other playwright has made such a significant and lasting contribution to world literature. 7 ASIDES SHAKESPEARE ON LOVE published by SHAKESPEARE THEATRE COMPANY Managing Editor Heather C. Jackson Publisher Michael Porto Creative Director S. Christian Taylor-Low Advisors Alan Paul Samantha Wyer Contributing Editors Garrett Anderson Laura Henry Buda Hannah Hessel Ratner Drew Lichtenberg Contributing Writer David Schalkwyk Editorial Assistant Alison Ehrenreich AND WHEN LOVE SPEAKS, THE VOICE OF ALL THE GODS MAKES HEAVEN DROWSY WITH THE HARMONY. Biron, Love’s Labour’s Lost, act 4, scene 3 Love is merely a madness, and I tell you deserves as well a dark-house and a whip as madmen do. Rosalind, As You Like It, act 3, scene 2 The expense of spirit in a waste of shame Is lust in action; and till action, lust Is perjured, murderous, bloody, full of blame, Savage, extreme, rude, cruel, not to trust, Enjoy’d no sooner but despised straight, Past reason hunted, and no sooner had Past reason hated, as a swallow’d bait On purpose laid to make the taker mad; Mad in pursuit and in possession so; Had, having, and in quest to have, extreme; A bliss in proof, and proved, a very woe; Before, a joy proposed; behind, a dream. All this the world well knows; yet none knows well To shun the heaven that leads men to this hell. Sonnet 129 How now! Even so quickly may one catch the plague? Methinks I feel this youth’s perfections With an invisible and subtle stealth To creep in at mine eyes. Olivia, Twelfth Night, act 1, scene 5 What is it else? A madness most discreet, A choking gall, and a preserving sweet. Romeo, Romeo and Juliet, act 1, scene 1 My bounty is as boundless as the sea, My love as deep; the more I give to thee, The more I have, for both are infinite. Juliet, Romeo and Juliet, act 2, scene 2 9 M any scholars believe that As You Like It, which was written around 1599 or 1600, was one of the first plays performed at the Globe Theatre, following quickly on the heels of Henry V. 1599 was a pivotal year for Shakespeare and the Lord Chamberlain’s Men. Queen Elizabeth had just passed a law banning the representation of historical figures onstage. This meant that Shakespeare would have to abandon the history play—the genre in which he saw his first commercial success—and come up with a new, seemingly apolitical form of drama. In quick succession, Shakespeare would write Much Ado About Nothing, As You Like It, and Twelfth Night (Or What You Will). In these plays, known as the “high comedies,” Shakespeare leaves behind the comfortable and somewhat rigid confines of the chronicle history play for a more imaginative and richly symbolic kind of dramaturgy. The action of these plays is not so much what did happen to historical figures as what could happen to any of us. They are fantasy landscapes all ruled under the sign of the hypothetical: what you will, as you like, what you make much ado about. Of the three of them, As You Like It casts the widest net: it is the most panoramic in form and subject matter, and the one that most looks forward to Shakespeare’s late romances. The bulk of the action occurs in the Forest of Arden, a world in which, as the good Duke says, there are “sermons in the stones, books in the brooks, and good in everything” (act 2, scene 1). In Arden, inner liberation manifests as outer transformation: Rosalind, forced out of the court by her malign uncle Frederick, dresses up as a boy and adopts the name of Ganymede. Her cousin Celia becomes Aliena. Orlando, physically impressive but tongue-tied in the court, hangs “tongues on trees” once he comes to the lover’s paradise of Arden. Even Touchstone, the Fool, is born again in the forest as an ardent wooer. It is a place of psychological possibility, a kind of repository for the imagination, combining paradises literary, mythic and geographic (after all Arcadia + Eden = Arden). Everything in the Forest truly is as you like it, that EVERYTHING IN THE FOREST TRULY IS AS YOU LIKE IT, THAT IS, AS YOU IMAGINE IT. by Drew Lichtenberg Literary Associate 10 11 is, as you imagine it. Instead of a political drama, then, one that hinges on the actions of men and women, Shakespeare provides us with a deeper and more symbolic kind of drama, one in which the thoughts and spirits of humankind are regenerated from within. The true plot of As You Like It is that of the spiritual quest, a journey that begins in a fallen world, followed by a period of regenerative exile. The most famous speech in the play—one of the most famous passages in the Shakespeare canon—comes at the conclusion of Act 2, in Jaques’ famous description of the “Seven Ages of Man”: All the world’s a stage And all the men and women merely players … Seen in the context of the play, Jaques’ words take on an almost religious meaning. Act 2 is divided into seven scenes—just as St. Augustine divided the history of the world into seven ages—and it encompasses all of God’s creation. Using the radically empty stage of the Globe Theatre, Shakespeare moves us with staggering economy between such disparate locations Oil painting by William Mulready entitled The Seven Ages of Man, depicting act 2, scene 7 of Shakespeare’s As You Like It. Great Britain, ca. 1838. 12 as Duke Frederick’s court, Duke Senior’s camp in Arden, Orlando’s orchard, the shepherd Corin’s humble cottage, and the “Greenwood Tree” of Amiens and Jaques’ song. The final scene is a meal, a kind of last supper that also has Old Testament echoes. The Act that started with the Duke talking of “the penalty of Adam” ends here with Orlando entering, carrying an ailing old Adam upon his back. Shakespeare yokes together this wide and universal theatre with one of his most astonishing creations, the sublime Rosalind. Like Shakespeare himself, Rosalind is the ultimate intermediary, able to converse with characters from all walks of life. She trades bawdy innuendos with Touchstone, looks askance at Jaques and bargains pragmatically with Corin the sheep-hand. She provides friendly advice to the lovelorn Silvius and reproach for his cruelly indifferent mistress, Phoebe. At 686 lines, her role is twice as large as that of her love object, Orlando, and she commands a central function in the play’s dramaturgy. She is the single largest reason the play’s tone changes, after its wintry first movement, into pastoral romance. In a world in which all the men and women are merely players, Shakespeare seems to be saying that the ideal protagonist is Rosalind, i.e. the ideal actor. As proof of her supreme interest, Shakespeare gives Rosalind the Epilogue, granting her a one-on-one intimacy with the audience that no other character in the play possesses. It is the only play in the canon, significantly, that concludes with a woman speaking. As one of Shakespeare’s richest meditations on the enigma of sexual desire, the play seems to grasp intuitively the liberating power of the theatre itself, which revels in contradiction and disguise. Of course, such a state of affairs cannot exist forever. Eventually the show must end, the clocks must start back up, and we must stop playing make-believe. As the play moves inexorably toward marriage and a return to the outside world, however, Shakespeare surprises us. Unusually, the author leaves us in the forest, in a state of suspended animation. For another moment, we are allowed to imagine ourselves in a world of transcendent makebelieve, as we like it. THE PLAY SEEMS TO GRASP INTUITIVELY THE LIBERATING POWER OF THE THEATRE ITSELF 13 The Many Colors of Michael Attenborough Michael Attenborogh, bedecked in blue, directs Valeri Mudek (Phoebe) and Stephen Pilkington (Silvius). Photo by S. Christian Taylor-Low. The Decorated Director Makes his D.C. Debut with Shakespeare’s Comedy of Desire, Passion and Gender, As You Like It by Drew Lichtenberg, Literary Associate O ne of the subtle things you notice about Michael Attenborough after spending a week in rehearsal with him is his shoes. He owns nine pairs of vintage Converse All-Stars, each a different color. He has brought four of them with him on the trip from his home in London to Washington, D.C. — brown, green, grey and blue. Each day, he shows up to rehearsal decked out in one color or another. On day one, forest green trousers, a pistachio t-shirt, and, of course, green shoes. On day two, a sweater of chestnut, brown khaki pants, and a brown pair of what he calls his “trusty ol’ cons.” On some days, the outfit seems to function like a mood ring. When he 14 turns up one rainy day dressed head to toe in steely gray, one senses he is ready to get down to business. Attenborough laughs—he loves to laugh, and he produces a distinctively British sound, a goodnatured, throaty chuckle, sometimes accompanied by a mischievous twinkle in the eye. “I was walking down one of those long avenues you have, only in Los Angeles. Only in America. And I came across something you couldn’t find in England in a month of Sundays.” He pauses for effect. “A shoe superstore. That’s when I bought my first Converse. You know, I don’t look good in those great big walloping things you see people wear on the 15 Shakespeare Company. In 2013, Attenborough stepped down from his post at the Almeida (he was given a gold pair of Converses by the head of the Marketing department) in order to focus on his directing career. The free time has allowed Attenborough the luxury of returning to Shakespeare’s works and the privilege of traveling the world. This production of As You Like It in Washington follows a production of Macbeth Michael Attenborough discusses Shakespeare at the As You Like It Meet the Cast, September 23, 2014, in the Lansburgh. he directed last year in Photo by S. Christian Taylor-Low. Brisbane, Australia. Drawing on his large Metro, with the tongues hanging network of contacts in classical out and all that. I’m so small, it theatre, Attenborough has added would just look like a pair of shoes some classical British pedigree to the walking around.” cast. His Rosalind is Zoë Waites, the Indeed, at 5 feet and a few more star of his landmark Romeo and Juliet inches, Attenborough cuts a kindly at the RSC (it was the first interracial and warm figure. Though he was cast for the play at the company), recently appointed Commander of and the Goneril to Jonathan Pryce’s the British Empire for his services King Lear in Attenborough’s to theatre, he insists on being called final production at the Almeida. “Mike” by friends and colleagues. Attenborough considers Rosalind— Aside from his shoes, one could and Waites—as crucial to his As You note the obvious: his track-record in Like It. Listening to him talk, one the highest echelons of the British can see why he turned to a trusted theatre world. He has spent the collaborator. past 11 years as Artistic Director “The center of this play, the of the Almeida Theatre in London. heartbeat of this play, sits inside A critics’ favorite, the Almeida the character who, in my view, is known internationally for its is probably Shakespeare’s most successful transfers of productions extraordinary achievement in writing to the West End and Broadway. In about women. I think Rosalind is the addition to his work at the Almeida, female Hamlet; she is as complex, Attenborough has more than three interesting, deep and contradictory decades of experience at the helm of as Hamlet is. She’s smarter than major institutions in British theatre, everyone in this play—she’s even including a 12-year run as Principle Associate Director at the Royal smarter than Jaques, and he’s as 16 smart as they come,” he says. “This will be the fifth play I’ve done with Zoë, and I trust her absolutely. She’ll be a wonderful Rosalind.” Attenborough’s vision for the production is startlingly clean, intimate and modern, befitting a director equally comfortable with the classics and contemporary writers such as Edward Albee, Neil Labute and Lucy Kirkwood. Jonathan Fensom’s set for the pastoral Forest of Arden, usually rendered in photonaturalistic detail, is instead an imaginary landscape of silken sheets, capable of transforming at the snap of a hand. For the incidental music, Attenborough had the inspired idea of calling Thomas Newman, the awardwinning composer for such films as American Beauty, Revolutionary Road and many others. “Sam Mendes is a good friend of mine from the RSC,” Attenborough says, “and I came to him hat very much in hand to see if he could put me in touch with Thomas. I’m very grateful that Thomas has said yes.” He pauses, when asked about the ethereal, textural sound that Newman’s music produces. “It’s music that makes you want to fall in love.” Once you start noticing things about Attenborough, in fact, it’s hard to stop. He’s also an excellent storyteller, given to digressive (sometimes ribald, always delightful) excursions about his life and career. Of course, the one subject to which he returns most frequently is to his notable namesake, his father, Lord Richard Attenborough. Of his father, the late actor turned Oscar-winning director and philanthropist, Michael says simply, “He was my hero, and also my best friend.” Mere weeks before rehearsals began in Washington, Richard died, leaving Michael not only to grieve for the loss of a global presence and cherished father, but also with an unexpected amount of duties to perform as the family’s executor. His presence in the rehearsal room—in all of its colorful, brilliant, wisecracking positivity—functions as an inspiration to all. At the end of the third day, Attenborough paused unexpectedly and addressed the cast. “What better solution to mourning than to spend your time in a room full of theatre artists? Empathy is what you do as actors, empathy for the human spirit. It’s tremendously healing. I feel like I’ve been in a virtual embrace since I’ve been here. There’s honestly no place I’d rather be.” The center of this play, the heartbeat of this play, sits inside the character who, in my view, is probably Shakespeare’s most extraordinary achievement in writing about women. 17 The Comic Enigmas of Shakespeare’s As You Like It by David Schalkwyk S Rosalind, As You Like It. 1856. Oil on panel. Henry Nelson O’Neil 18 AS WHO LIKES IT? hakespeare’s As You Like It is, for modern audiences, one of his most enigmatic comedies. It opens in a real world of social and political struggle, fraternal rivalry and dispossession that would not be out of place in King Lear. It ends with Hymen, the god of marriage, giving his blessing to no fewer than four wedding couples. Its main love affair is initiated by a wrestling bout in which the loser has likely been killed. Shakespeare’s familiar device of allowing his young heroine freedom of movement and desire by disguising herself as a boy is given an added twist by having the boy actor who would have played the part pretend to be a girl who pretends to be a boy who pretends to be a girl. And the genuine violence of sibling rivalry dissolves in the end by not one but two conversions. To modern eyes at least, they are startlingly unlikely in their unexplained suddenness. For all that, the play manages to delight its audiences by the bravura with which it choreographs its complex elements of contemporary political life, literary topos and ardent desire. Central of these is the main love plot—in which the heroine Rosalind manages not only to pursue her own desires but also to orchestrate the love lives of the characters around her. Alongside Portia in The Merchant of Venice, Rosalind is one of Shakespeare’s most powerful female characters. Given the constraints on young aristocratic women in Shakespeare’s society to marry in accordance with paternal desires (compare Romeo and Juliet and A Midsummer Night’s Dream), Shakespeare affords his imaginary young women the opportunity to pursue their own desires and lovers by moving them into a different world, in which identities are lost, social constraints are loosened and otherwise suppressed fantasies are allowed free rein for at least the “two-hour traffic of the stage” (Romeo and Juliet). Such a place is often, as it is in As You Like It, a “green world”—a space beyond the city where the patriarchal power of the court cannot reach, and in which relationships may be reformed in accordance with personal desire rather than social and personal expectation. Arden is a pastoral world, split between a real forest, beyond the confines of the court, and an idealized, literary topos that is 19 traditionally celebrated as both a political and erotic space. This combination of power and desire is one of the aspects of the play that is apt to puzzle modern audiences. For the Forest of Arden is both a space in which Shakespeare invites us to view the differences of desire, in the form of at least four “country copulatives,” and one in which he examines the power struggles of a protofeudal society, in which younger brothers are in the thrall of their older siblings, women are commodities of exchange between powerful men, and servants live in vassalage to their masters. Arden is thus both a real rural space and also a symbolic place of topsy-turvy carnival and festive release. As a pastoral world it combines the reality of farm work and husbandry with the literary space of shepherd lovers, timeless ease, against the background of the court as the center of political power and strife. It contains shepherds like old Corin, for whom country life is both satisfyingly simple and also a real place of hard work and exploitation. It is subject equally to wind and weather and hard work and the indifference of heartless and careless masters: “My master is of a churlish disposition, / And little recks to find the way to heaven / By doing deeds of hospitality” (act 2, scene 4). The green world of As You Like It is also inhabited by a displaced court, that of Duke Senior, who has been forced into exile by his younger brother, Frederick. When we meet the “old” Duke, he is surrounded by his loyal followers and is extolling the virtues of his new pastoral life in very conventional terms, lived in the forest like “old Robin Hood of England” (act 1, scene 1). Some directors of the play point up the irony or fantasy of the Duke’s celebration of country life by opening the scene in bleak mid-winter, with the Duke and his companions stomping and blowing on their hands to keep warm against the cold. But as usual, Shakespeare offers his own ironical view of this fantasy. Two complementary figures of the stage fool, Touchstone, who loyally follows his mistress into exile, and Jaques, the melancholy malcontent of Duke Senior’s country court, add their contrapuntal, satirical Ay, now I am in Arden; the more fool I. When I was at home I was in a better place, but travellers must be content 20 As You Like It, from Charles Knight’s The Comedies, Histories, and Tragedies of William Shakespeare. Act 3, scene 1, “Tongues I’ll hang on every tree.” 1851 voices to the Duke’s idealized view of a supposedly carefree pastoral life. Finding himself, hungry and exhausted, in the forest, Touchstone remarks, “Ay, now I am in Arden; the more fool I. When I was at home I was in a better place, but travellers must be content” (act 2, scene 4). And Jaques berates the self-satisfied pastoral court for usurping the forest itself by visiting its own form of violence upon the native “burghers” of the wood, the deer, who in turn “swear that we / Are mere usurpers, tyrants, and what’s worse, / To fright the animals and kill them up / In their assigned and native dwelling place” (act 2, scene 1). If Corin is an example of a real inhabitant of the country, the young shepherds William and Silvius come straight from the world of pastoral literature, of which Christopher Marlowe’s 21 William Hodges, Jaques and the Wounded Stag, 1790. poem, “Come live with me and be my love,” is the possibly the best-known example. This is supposedly a world of otium—of easeful leisure in which shepherds are free to pursue their longing for the countless pretty shepherdesses that populate a world of pure desire and endless enticement. The young Silvius who “little cares” for anything beyond his infatuation for the disdainful Phoebe, is an archetype of the largely unrequited desires of this fantasy world. Shakespeare deftly weaves into his inherited tradition a theatrical exploration of what it means to love, a question that lies at the heart of a play whose very title invokes the vagaries of desire: As You Like It. David Schalkwyk, originally Professor of English at the University of Cape Town, is currently Director of Global Shakespeare at Queen Mary University of London and the University of Warwick. He has been Director of Research at the Folger Shakespeare Library in Washington, D.C. and editor of the Shakespeare Quarterly. His most recent book is Hamlet’s Dreams: The Robben Island Shakespeare, published in 2013 by Bloomsbury. You’ve tried it. You liked it. Ready for more? Subscribe to STC, join the pack—and SAVE! NEW NEW ShakespeareTheatre.org/ Subscribe The Box Office 202.547.1122 Monday–Sunday, 12–6 p.m. Excerpted from full article published in the e-book Guide to the Season’s Plays 2014-15 available for purchase for the Kindle or Nook. 22 The Subcriptions Office 202.608.6347 Monday–Friday, 6–9 p.m. CAST BIOGRAPHIES HAPPY ANDERSON* Corin NEW YORK: Broadway: The Merchant of Venice (w/ Al Pacino). REGIONAL: NYSF-Public Theater: Twenty Seventh Man; Old Globe: Richard III, Inherit the Wind; NYSF-Delacorte Theater: A Winter’s Tale; Classical Theatre of Harlem: Emancipation. TELEVISION: Boardwalk Empire, The Knick, Banshee, Unforgettable, Smash, Carrie Diaries, Blue Bloods, White Collar, Army Wives. FILM: Cold in July, Duplicity, Redacted, Going The Distance, Blue Caprice. TRAINING: Indiana University, MFA. IAN BEDFORD* Charles STC: Sullen in The Beaux’ Stratagem, Tyrel in Richard III. NEW YORK: OffBroadway: 59E59: Flags. REGIONAL: Chicago Shakespeare Theater: Petruchio in The Taming of the Shrew; Mark Taper Forum: The School of Night; Alabama Shakespeare: Macbeth in Macbeth, God of Carnage; Pennsylvania Shakespeare: Macbeth in Macbeth, Oberon in A Midsummer Night’s Dream, The Comedy of Errors, King Henry in Henry V, King Henry in Henry VIII, King John, Othello, Henry IV, Part 1, Charles in As You Like It; Shakespeare Santa Cruz: Richard III, Charles in As You Like It; Lake Tahoe Shakespeare: Richard in Richard III; Orlando Shakespeare: Macbeth in Macbeth; La Jolla Playhouse: Our Town; People’s Light and Theatre: Lennie in Of Mice and Men; Arden Theatre: Superior Donuts. TELEVISION: How to Get Away with Murder, Nurse Jackie, Unforgettable, Blue Bloods, Law & Order: SVU (recurring). INSTRUCTOR: Temple University. TRAINING: UC San Diego, MFA, Yale University, BA. WEB: ianbedford.com. JEFF BROOKS* Adam/Sir Oliver Martext NEW YORK: Broadway: Cogsworth in Beauty and the Beast, Nathan Detroit in Guys and Dolls, Spider Malloy in Nick & Nora, Pastey in Gypsy, the Bellhop in 24 Lend Me A Tenor (Outer Critic’s Circle Award), Phil in Loose Ends, Mickey in A History of the American Film; Off-Broadway: Gronam Ox in Shlemiel the First, Title role in The Foreigner; Aloysius in Sister Mary Ignatius..., George Spelvin in The Actors’ Nightmare, Ronald in The Nature and Purpose of the Universe, the Captain in Titanic; NYSF/Public Theater: Multiple roles in Talk Radio. NATIONAL TOURS: Anything Goes, Beauty and the Beast, Beyond Therapy. REGIONAL: Arena Stage: Tintypes; Kennedy Center: Eisenhower, Terrace, Opera House twice. FILM: Julie & Julia, Tenderness, IQ, The Lemon Sisters, The Secret of My Success. TELEVISION: Law & Order, Law & Order: SVU, The Cosby Mysteries, The Ellen Burstyn Show, The Days & Nights of Molly Dodd. PLAY IN PROCESS Andrew Veenstra (Orlando) Gregory Wooddell (Oliver), Director Michael Attenborough and Zoë Waites (Rosalind) Derek Smith (Jaques) and Michael Attenborough JONATHAN FEUER William/Ensemble REGIONAL: Keegan Theatre: A Few Good Men (2013 Production & Ireland Tour); Forum Theatre: The ‘T’ Party, 9 Circles; Adventure Theatre MTC: A Little House Christmas; Quotidian Theatre Company: A Little Trick. UPCOMING: Forum Theatre: The ‘T’ Party (Remount); Theater J: The Call. TRAINING: Academy for Classical Acting at GW. TARA GIORDANO* Audrey NEW YORK: Off-Broadway: PTP/Atlantic Stage 2: Scilla in Serious Money, Lovesong of the Electric Bear, Cigarettes and Chocolate; Minetta Lane: Citizen Ruth. REGIONAL: Arena Stage: Death of a Salesman, A View from the Bridge, Christmas Carol 1941; Two River Theater: The Underpants, A Midsummer Night’s Dream, A Year with Frog and Toad; Olney Theatre: Is He Dead?, Blithe Spirit, Anna Karenina; Folger Theatre: Conference of the Birds; Studio Theatre: Bat Boy: The Musical. FILM: YellowBrickRoad, Ex-Girlfriends. AWARDS: Helen Hayes Nomination, Outstanding Lead Actress in a Musical for Heidi at Imagination Stage. INSTRUCTOR: Middlebury College; Boston University. TRAINING: MFA, STC’s Academy for Classical Acting; BA in Theatre and English, Middlebury College. Valeri Mudek (Phoebe) and Stephen Pilkington (Silvius) Adina Verson (Celia) and Zoë Waites (Rosalind) Gregory Wooddell (Oliver), Zoë Waites (Rosalind), Adina Verson (Celia) and Director Michael Attenborough Jeff Brooks (Adam), Luis Alberto Gonzalez (Ensemble), Timothy D. Stickney (Duke Senior/ Duke Frederick), Todd Scofield (First Lord), Theodore Snead (Ensemble) and Andrew Weems (Touchstone) Zoë Waites (Rosalind) and Andrew Veenstra (Orlando) 25 LUIS ALBERTO GONZALEZ Dennis/Ensemble STC: Henry IV, Parts 1 and 2, 2013-2014 Acting Fellow. NEW YORK: Teatro SEA: Los Titeres de Cachiporra; Limón Dance Company/ Salgado Prod: Othello Project (Iago); Off-Off Broadway: The Flea Theater: Serials@TheFlea; LONDON: RADA: Romeo and Juliet (Capulet); TRAINING: Royal Academy of Dramatic Art; Texas A&M University, Ian Hersey, Tom Todoroff, Jo Spiller. TE’LA CURTIS LEE Hymen REGIONAL: Imagination Stage: Cinderella: The Remix. FILM: Morning Route to Love, Missing You. OTHER: Howard University: The Colored Museum, Passing Strange, Breath, Boom, For Colored Girls Who Have Considered Suicide; Fringe Festival: The Hair Chronicles, RENT, Suessical. TRAINING: BADA/Yale School of Drama: Classical Midsummer Training; Howard University: BFA in Musical Theatre. VALERI MUDEK* Phoebe NEW YORK: Ugly Rhino, Page 73 Productions, The Tank, Metropolitan Playhouse, Theater Masters on Theater Row, Undergroundzero Festival. REGIONAL: Guthrie Theater: Uncle Vanya, Time Stands Still, Tiny Kushner (World Premiere), A Midsummer Night’s Dream, Charley’s Aunt, The Two Gentlemen of Verona; Berkeley Repertory Theatre: Tiny Kushner; Hudson Valley Shakespeare: Hamlet, The Comedy of Errors, Richard III, As You Like It. INTERNATIONAL: Tricycle Theatre, London: Tiny Kushner. FILM/TV: Insalata Caprese (Official Selection Heartland, Sedona, Port Townsend, Minneapolis/St. Paul Int’l Film Festivals), Katt and Crowse, Land of Kings, Willie Jones on the Road: Trouble with Love, The Desk, The Creators. OTHER: Regional Workshops: New Works Festival at Gulfshore Playhouse, Playwrights Center, Minneapolis; Curated the In Process series at HVSF for three years. TRAINING: University of Minnesota: BFA in Acting. 26 STEPHEN PILKINGTON* Silvius NEW YORK: Broadway: Music Box: One Man, Two Guvnors; American Airlines: The Winslow Boy; OffBroadway: The Acting Company: Romeo and Juliet, The Comedy of Errors; Public Theater: Nights and Fights, Schemes and Dreams; Cherry Lane: If I Were Your Superhero; Blessed Unrest: A Midsummer Night’s Dream; American Globe Theatre: Othello; REGIONAL: Shakespeare & Company: Pinter’s Mirror; Guthrie Theater: The Comedy of Errors; Maltz Jupiter: Amadeus; BRT: What You Will/Twelfth Night. INTERNATIONAL: Theatre Royal Haymarket, London: Lady Windermere’s Fan; The Moscow Art Theatre: The Seagull, Tales from a Fairybook. OTHER: Numerous audio books with Audible.com. TRAINING: MFA from NIU; Trained with The Moscow Art Theater, Shakespeare and Company, and The National Theater of Romania. ALEX PIPER Ensemble STC: Henry IV, Parts 1 and 2, 2013-2014 Acting Fellow. REGIONAL: Southern Arena Theatre: The 39 Steps, Complete Works of William Shakespeare (Abridged); Cortland Repertory: The Pajama Game, Brigadoon; Texas Family Musicals: The Foreigner, A Chorus Line. AWARDS: 2013 Kennedy Center American College Theatre Festival National Finalist. TRAINING: University of Southern Mississippi: MFA, Performance. WEB: alexpiper59.wix.com/piper. JOEL DAVID SANTNER* Le Beau STC: Henry IV, Parts 1 and 2, The Dog in the Manger; REGIONAL: Signature Theatre: R&J; Constellation Theatre Company: Gilgamesh (title role); Folger Theatre: Much Ado About Nothing; Taffety Punk: The Rape of Lucrece - Remixed, suicide.chat.room, Owl Moon, Burn Your Bookes; Faction of Fools: A Commedia Christmas Carol; Kennedy Center: Don Giovanni; Baltimore Shakespeare Festival: Hamlet (title role); OTHER: Company Member, Taffety Punk Theatre Co.; Associate Artist, Faction of Fools Theatre Co. EDUCATION: George Washington University/Academy for Classical Acting, MFA; Hanover College, BA in Theatre. MATTHEW SCHLEIGH* Amiens NEW YORK: Off-Broadway: NYMF: Dizzy Miss Lizzie’s Roadside Revue Presents The Brontes (Branwell). REGIONAL: Everyman Theatre: The Glass Menagerie (Jim O’Connor), You Can’t Take It With You (Tony Kirby), Our Town (George Gibbs), Much Ado About Nothing (Claudio); Constellation Theatre Company: The Love of the Nightingale (Tereus); Olney Theatre Center: Little Shop of Horrors (Ensemble, u/s Seymour/ Orin), Peter Pan (Curly); Rorschach Theatre: The Gallerist (Roger Gannet); Imagination Stage: The BFG (Fleshlumpeater), Lyle, The Crocodile (Hector P. Valenti), The Magic Finger (William), Looking for Roberto Clemente (Joe); Toby’s Dinner Theatres: The Buddy Holly Story (Buddy - Helen Hayes Nomination, Outstanding Lead Actor Resident Musical), It’s A Wonderful Life (George Bailey), Cinderella (Prince Christopher), Ragtime (Younger Brother); Folger Theatre: Hamlet (u/s Rosencrantz/Guildenstern/Fortinbras/et al.). TRAINING: The Catholic University of America, The London Dramatic Academy. TODD SCOFIELD* First Forest Lord STC: The Importance of Being Earnest, The Two Gentlemen of Verona, As You Like It, Cymbeline, The Taming of the Shrew, The Imaginary Invalid, Twelfth Night, The Way of the World, Design for Living, Lady Windermere’s Fan, Henry IV Part 1, Henry IV Part 2. REGIONAL: Theater J: C.S. Lewis in Freud’s Last Session, Bal Masque; Kennedy Center: Mister Roberts; Round House Theatre: Beauty Queen of Leenane, This, Double Indemnity, Tabletop; Folger Theatre: Othello, Cyrano, Henry VIII, Ghost in Hamlet, Caliban in The Tempest, King Lear, Measure for Measure; Olney Theatre Center; Ford’s Theatre; Adventure Theatre; Arden Theatre: C.S. Lewis in Freud’s Last Session; four seasons at North Carolina Shakespeare Festival; Barter Theatre; Charlotte Repertory Theatre; PlayMakers. TELEVISION: The Wire (recurring role, Seasons 3 and 5). DEREK SMITH* Jaques STC: Affiliated Artist; The Government Inspector, Much Ado About Nothing (mainstage, FFA), The Merchant of Venice, Romeo and Juliet, The Doctor’s Dilemma, Henry IV, Parts 1 and 2 (Helen Hayes Award nomination), The School for Scandal. NEW YORK: Broadway: The Green Bird (Tony nomination), The Government Inspector, Timon of Athens, Jackie: An American Life, Ring Round the Moon, Getting and Spending, several years as Scar in The Lion King; Off-Broadway: Dance of Death, The Witch of Edmonton, Sylvia (Drama League, Los Angeles Ovation awards), King John (2000 Derwint award), Dark Rapture, Cruise Control, Ten By Tennessee, The Green Bird (Obie award), The Witch of Edmonton (Calloway Award). REGIONAL: McCarter Theatre Center: The Figaro Plays; Several productions at American Repertory Theater; Center Stage; The Old Globe; Dallas Theater Center; Coconut Grove Playhouse; Pittsburgh Public Theater; La Jolla Playhouse; Alley Theatre; Portland Stage Co. FILM: Advice from a Caterpillar, The Stand-In, Jungle to Jungle, Internal Affairs, The Jew of Malta (currently at film festivals). TELEVISION: The Good Wife, The Equalizer, Another World, Ryan’s Hope. TRAINING: Juilliard. Member of The Acting Company. THEODORE M. SNEAD Ensemble STC: Richard III (w/ Geraint Wyn Davies). REGIONAL: Folger Theatre, Kennedy Center, Studio Theatre, Synetic Theater, Scena Theatre, 1st Stage, Quotidian Theatre Company, Factory 449, American Century Theater, MetroStage, WSC Avant Bard. FILM: Gwendolyn Dangerous and the Great Space Rescue (Integral Arts). TELEVISION: The Wire (HBO); Prince Among Slaves (PBS); DOG (Integral Arts). OTHER: Voiceovers: NPR, Bill & Melinda Gates Foundation. TRAINING: Acting Coaches Vera J. Katz and Douglas Farwell; Studio Theatre Acting Conservatory; The Alabama University /Alabama Shakespeare Festival: MFA in Theatre Management/Arts Administration; Howard University: BA in Public Relations. 27 TIMOTHY D. STICKNEY* Duke Senior/ Duke Frederick STC: Achilles, Troilus and Cressida. NEW YORK: New York State Theatre Institute: Macbeth (title role); Take Wing and Soar: Hamlet (title role; AUDELCO nominated), Richard III (title role); Africa Arts: Othello (title role); Theatre for a New Audience: King Lear (Kent; w/Michael Pennington); The Public Theater: King Lear (Oswald; w/ Kevin Kline); NYSF/Central Park’s Delacorte: Romeo and Juliet (Prince Escalus). REGIONAL: St. Louis Repertory: Macbeth (title role); Seattle Rep: Twelfth Night (Orsino); Hartford Stage: The Merchant of Venice (Lorenzo). INTERNATIONAL: The Stratford Shakespeare Festival: The Tempest (Sebastian) and Caesar and Cleopatra (both w/ Christopher Plummer, filmed for Feature Release); Macbeth (Banquo); A Midsummer Night’s Dream (Theseus); Henry V (Exeter); Romeo and Juliet (Tybalt). TELEVISION: One Life to Live (RJ Gannon; 13 years). AWARDS: 4 nominations for NAACP Image Awards; 2001 Soap Opera Digests Best Villain. TRAINING: American Academy of Dramatic Arts/Company. JALEO.COM DC 202.628.7949 BETHESDA 301.913.0003 CRYSTAL CITY 703.413.8181 LAS VEGAS 702.698.7950 ANDREW VEENSTRA* Orlando STC: The Two Gentlemen of Verona (Valentine), David Ives’ The Heir Apparent (Eraste, World Premiere, dir. Michael Kahn). NEW YORK: Broadway/Tours: War Horse, 1st National Tour (Albert Narracott); Lincoln Center Theater: Hamlet (Hamlet). Off-Broadway: An Error of the Moon (John Wilkes Booth). REGIONAL: Romeo and Juliet (Romeo), Lion in Winter (King Philip), Measure for Measure (Claudio), A Midsummer Night’s Dream (Lysander/Nick Bottom), Tartuffe (Tartuffe), Dial “M” For Murder (Max Halliday), The Seagull (Medvedenko), Parade (Frankie Epps), Beauty and the Beast (Lumiere), A Christmas Carol (Young Scrooge). FILM: Blue Door, Rabbits Foot, Kingdom of Hills (Short, Festival Award for Best Acting). TELEVISION: Bones, Law and Order: SVU. AWARDS: Kennedy Center American College Theatre Festival Winner. OTHER: Radio City Music Hall (with Linda Haberman and the Rockettes), North Carolina Ballet Company. TRAINING: Eastman School of Music: Piano; Brigham Young University: BFA in Acting. WEB: www.andrewveenstra.com. ADINA VERSON* Celia NEW YORK: Off-Broadway: Primary Stages: HIM. REGIONAL: Guthrie Theater, Seattle Rep: Servant of Two Masters; Yale Rep: The Winter’s Tale, Rough Crossing; Cincinnati Playhouse: 4000 Miles. INTERNATIONAL: National Arts Festival (South Africa), Amsterdam Fringe: Machine Makes Man (co-creator). TELEVISION: The Strain, Deadbeat. AWARDS: Best International Performance (Amsterdam Fringe Festival) for Machine Makes Man. OTHER: Audible: Yonahlossee Riding Camp for Girls; Old Sound Room Theatre Ensemble (founding member). TRAINING: The Boston Conservatory, BFA; Yale School of Drama, MFA. WEB: www.adinaverson.com. ZOË WAITES* Rosalind NEW YORK: The Family Reunion (Royal Shakespeare Company at BAM). INTERNATIONAL: Toronto: The Life and Adventures of Nicholas Nickleby. World Tour: Juliet in Romeo and Juliet (RSC). London and Stratford: Royal Shakespeare Company: The Prisoner’s Dilemma, Othello, Romeo and Juliet (all dir. by Michael Attenborough), Night Of The Soul, Twelfth Night, The Family Reunion, A Midsummer Night’s Dream; West End: Birdsong (dir. by Trevor Nunn), The Life and Adventures of Nicholas Nickleby; London: King Lear, Sixty-Six Books, Mrs. Klein, Antigone, The White Devil, The Play About The Baby, Hamlet. REGIONAL: Hobson’s Choice, Hedda Gabler, Cyrano de Bergerac, Pravda, Nicholas Nickleby, King Lear, The Scarlet Letter, Breaking The Code. TELEVISION: Vexed, Doctors, The Other Boleyn Girl, Love in a Cold Climate, The Unknown Soldier, Robin Hood. AWARDS: Ian Charleson Awards for Outstanding Performance in a Classical Role; 3rd prize for Vittoria in The White Devil, 2nd prize for Viola in Twelfth Night. OTHER: numerous productions/short stories for Radio 4. INSTRUCTOR: Academy Associate at The Royal Academy of Dramatic Art; Associate Lecturer at Drama Centre London; Associate faculty member of British American Drama Academy and LDA Fordham University London Centre. TRAINING: The Royal Academy of Dramatic Art. 29 TFG-166 Shakespeare Theater Ad.indd 1 2/13/14 12:02 PM ANDREW WEEMS* Touchstone NEW YORK: Broadway: Born Yesterday, Inherit the Wind, The Green Bird, London Assurance. Off-Broadway: LCT: Blood and Gifts; NYTW: The Heart is a Lonely Hunter, Bach at Leipzig; TFANA: The Broken Heart, Troilus and Cressida, Cymbeline, Pericles, Green Bird; CSC: A Man’s a Man; Public Theater: Manahatta; Clubbed Thumb: Somewhere Someplace Else, Telethon; Acting Company: A Midsummer Night’s Dream, Mere Mortals, Marathon Dancing. REGIONAL: Guthrie Theater: Uncle Vanya; Center Stage: Who’s Afraid of Virginia Woolf; Alley: A Behanding in Spokane; Old Globe: Don Juan; NJ Shakespeare: Rhinoceros, King John, Rosencrantz and Guildenstern…, Noises Off, The Time of Your Life, Accidental Death…; Intiman: Three Sisters, Arms and the Man; Long Wharf: Rocket to the Moon, Much Ado About Nothing; Chautauqua: As You Like It, Clybourne Park; Westport: Journey’s End, School for Husbands; Aspen Fringe: An Iliad. OTHER: Fox/TCG fellow; Author/performer of Namaste Man (Intiman, Boise Contemporary Theater, Two River) and Damascus (Fourth St Theater, BCT, Chautauqua). NATHAN WINKELSTEIN Ensemble STC: Henry IV, Parts 1 and 2, 2013-2014 Acting Fellow. REGIONAL: WPPAC: Les Misérables; Shakespeare Theatre of NJ: Macbeth, A Midsummer Night’s Dream; Engeman: Camelot; Texas Shakespeare: Two Gentlemen of Verona, Two by Two, Learned Ladies. INTERNATIONAL: Tobacco Factory: The Rivals; Pendley Shakespeare: As You Like It, Love’s Labour’s Lost. TRAINING: Bristol old Vic: MA, Acting. GREGORY WOODDELL* Oliver STC: Affiliated Artist, The Importance of Being Earnest, An Ideal Husband, The Merchant of Venice, Cyrano, A Midsummer Night’s Dream, Lady Windermere’s Fan, Othello, The Two Gentlemen of Verona, Twelfth Night, The Country Wife, Don Carlos, Richard II,The Comedy of Errors. BROADWAY: The Lyons, Cymbeline; Off-Broadway: Vineyard Theatre: The Lyons (World Premiere by Nicky Silver); Encores! at City Center: Girl Crazy; Red Bull Theater: Volpone; Clurman Theatre: Splitting Infinity. REGIONAL: Philadelphia Theatre Company: Terrence McNally’s Some Men (World Premiere); Huntington Theatre Company: David Grimm’s Miracle at Naples (World Premiere); Chicago Shakespeare Theater: title role in Henry VIII; Mark Taper Forum: School of Night; Bay Street Theatre: Dissonance; Alley Theatre: Gross Indecency; Shakespeare Festival of St. Louis: Much Ado About Nothing, Richard III; Shakespeare On The Sound: Much Ado About Nothing, A Midsummer Night’s Dream. TELEVISION: Person of Interest, 30 Rock, The Good Wife, Third Watch, Guiding Light, One Life to Live, Days of Our Lives. TRAINING: The Juilliard School. WEB: GregoryWooddell.com. Taught by award-winning actors and educators— including some you’re seeing on stage tonight! ShakespeareTheatre.org/Classes Education Hotline: 202.547.5688 ARTISTIC BIOGRAPHIES Michael Attenborough CBE D Litt. Director Michael was Associate Director of the Mercury Theatre Colchester (72-74), Leeds Playhouse (74-79) and the Young Vic (79-80). Then Artistic Director of the Palace Theatre Watford (80-84), Hampstead Theatre (84-89) and the Turnstyle Group (89-90). He was then appointed Executive Producer and Principal Associate Director of the Royal Shakespeare Company (1990-2002). This was followed by eleven years as Artistic Director of the Almeida Theatre in London (200213), where his final production was King Lear, with Jonathan Pryce. Freelance work includes productions in the West End and on Broadway and for the National Theatre, the Royal Court and the Abbey Theatre Dublin. He has most recently directed a new play at the Hampstead Theatre and Macbeth for the Queensland Theatre Company in Australia. His productions have been nominated for numerous awards, in particular for his direction of new plays and Shakespeare. He is the recipient of two Honourary Doctorates from the Universities of Leicester and Sussex, where he is also Honourary Professor of English. In 2012 he was presented with the Award for Excellence in International Theatre by the International Theatre Institute. In 2013 he was awarded the C.B.E. for services to the theatre. Alan Paul Associate Director See for STC (page 37) Jonathan Fensom Set/Costume Designer NEW YORK: Broadway: Journey’s End (2007 Tony Award® for Best Revival and a nomination for Best Scenic Design), The Faith Healer, The Lion King (Associate Designer); Off-Broadway: Manhattan Theatre Club: The American Plan, Pygmalion. TOURS: U.K. Tour: Journey’s End, The Lion King (Associate Designer), Blackbird, Smaller, Pygmalion. REGIONAL: San Francisco Ballet: Swan Lake. INTERNATIONAL: Theatre Royal Bath: Pygmalion, The American Plan; Chocolate Factory: The Lyons; Hampstead Theatre: Rapture, Blister, Burn, Raving; St. James Theatre: The American Plan; Royal Exchange Theatre: The Accrington Pals; West End: Our Boys, Rain Man, Journey’s End, Blackbird, Smaller; New Amsterdam Theatre: The Lion King (Associate Designer); Almeida Theatre: Becky Shaw, The Homecoming; Old Vic: Six Degrees of Separation; Royal Court: The Sugar Syndrome; National Theatre: Happy Now?, The Mentalists, Burn/Citizenship/Chatroom; Shakespeare Globe: Julius Caesar, The Duchess of Malfi, Gabriel, A Midsummer Night’s Dream, The Globe Mysteries, Henry V, Hamlet, Henry IV, Part 1 and 2, King Lear, Love’s Labour’s Lost; Canada – Shakespeare Festival: A Midsummer Night’s Dream; The Gate, Dublin: The Faith Healer. Robert Wierzel Lighting Designer STC: The Taming of the Shrew, A Midsummer Night’s Dream, The Little Foxes. NEW YORK: Broadway: Lady Day at Emerson’s Bar & Grill; FELA! (Tony Award® nomination; National Theatre, London and Tours); David Copperfield’s Dreams and Nightmares; Off- Broadway: The Public; The Signature; Playwrights Horizons. REGIONAL: Alliance Theatre; The Goodman; A.C.T. San Francisco; Hartford Stage; Long Wharf; The Guthrie; Mark Taper Forum; The Old Globe; Chicago Shakespeare Theater. OPERA: The Paris Opera-Garnier; New York City Opera; Glimmerglass; Seattle; Boston Lyric; Minnesota; Washington National and San Francisco. OTHER: Dance work includes over 27 years with choreographer Bill T. Jones (Bessie Awards). INSTRUCTOR: Currently a faculty member of New York University’s Tisch School of the Arts and the Yale School of Drama. TRAINING: MFA from the Yale School of Drama. Steve Brush Sound Designer/Original Music REGIONAL: Yale Repertory Theatre: A Streetcar Named Desire; Berkshire Theater Group: A Hatful of Rain, Design for Living, The Cat and the Canary; AWARDS: Frieda Shaw, Dr. Diana Mason OBE, and Denise Suttor Prize in Sound Design from Yale University, two-time winner of the Garden State Film Festival Best 31 Orchestration Award, Best Music Nomination at the Action on Film Festival. TRAINING: Yale School of Drama: Degree in Sound Design. WEB: www.stevebrush.com. FIDDLER ON THE ROOF BOOK BY JOSEPH STEIN MUSIC BY LYRICS BY JERRY BOCK SHELDON HARNICK DIRECTED BY PRODUCED ON THE ORIGINAL CHOREOGRAPHY BY ADAPTED AND BASED ON SHOLEM MOLLY SMITH NEW YORK STAGE BY JEROME ROBBINS RESTAGED BY ALEICHEM STORIES BY HAROLD PRINCE PARKER ESSE SPECIAL PERMISSION OF ARNOLD PERL OCTOBER 31-JANUARY 4 ORDER TODAY! 202-488-3300 | WWW.ARENASTAGE.ORG Photo of Jonathan Hadary by Tony Powell. 50TH ANNIVERSARY PRODUCTION Karma Camp Choreography STC: The Boys from Syracuse, The Merchant of Venice, All’s Well That Ends Well (Free For All, 2010, 1996), Mrs. Warren’s Profession, Lady Windermere’s Fan, The Rivals, The Winter’s Tale, Camino Real, The Country Wife, A Midsummer Night’s Dream, Peer Gynt, Antony and Cleopatra, Volpone, Twelfth Night (Free For All), The Taming of the Shrew, Love’s Labor’s Lost, Romeo and Juliet, The School for Scandal, Mother Courage and Her Children, Much Ado About Nothing, Measure for Measure. NEW YORK: Broadway: Avery Fisher Hall/Lincoln Center: Broadway Showstoppers, The Graduate; Off-Broadway: Never the Sinner. NATIONAL TOURS: Ring of Fire, Big. REGIONAL: Kennedy Center: The Sondheim Celebration: Merrily We Roll Along, First You Dream; Signature Theatre: Artistic Associate: more than 40 productions; Actors Theatre of Louisville; McCarter Theatre Center; Goodspeed Opera House; Woolly Mammoth Theatre Company; Wilma Theater; Delaware Theatre Company; Round House Theatre; Ford’s Theatre; Arena Stage; Prince Music Theatre. OPERA: Washington National Opera, Wolf Trap Opera Company. TELEVISION: The Motown Sound (In Performance at the White House), PBS Great Performances, All My Children, more than 20 international commercials. FILM: How Do You Know (with Reese Witherspoon and Owen Wilson). OTHER: Staff at Washington National Opera; 2 upcoming PBS TV specials with Michael Feinstein; Several productions for Disney Creative Entertainment; Recipient and eight-time Helen Hayes Award nominee. Ellen O’Brien Head of Voice and Text See for STC (page 37) Robb Hunter Fight Director STC: Measure for Measure (dir. Jonathan Munby), The Alchemist (dir. Michael Kahn), The Winter’s Tale (dir. Rebecca Taichman), Hamlet (Asst. FD). NEW YORK: Theatre Harlem: Love Child (premiere); Black Spectrum Theatre: A Soldier’s Play; Chekhov Theatre Ensemble: Cyrano. REGIONAL: Arena Stage: Ruined, Stick Fly (dir. Kenny Leon), Noises Off (dir. Jonathan Munby), Frankie and Johnny in the Claire du Lune, The Heidi Chronicles, et al; Studio Theatre: Belleville, Red Speedo (Helen Hayes nomination),The Motherf**ker with the Hat, Invisible Man, The Walworth Farce (HH nomination), Superior Donuts, American Buffalo, Reasons to be Pretty, Legends, et al; Olney Theatre: The Piano Lesson, Bus Stop (dir. Austin Pendleton), Oliver, The Millionairess, Carousel, et al; Rep Stage, Washington Shakespeare, Baltimore Shakespeare, and others. OPERA: Washington National Opera: Moby Dick, Hamlet, Don Giovanni; Regina Opera: Otello, Carmen, I Pagliacci. TELEVISION: Spin City (stunt double, Michael J. Fox); Panic 911 (Firearms Coordinator). AWARDS: Helen Hayes nomination for Outstanding Choreography: Red Speedo and The Walworth Farce; ACTF Certificate of Merit in Fight Direction for Ubu Roi (American University); Likhachev Foundation Cultural Fellowship to Russia. OTHER: Founder/CEO of Preferred Arms, Inc., Theatrical Weapons. INSTRUCTOR: American University: Artist in Residence; Movement/ Combat instructor for the Domingo-Cafritz Young Artists Training Program at the Kennedy Center. TRAINING: Virginia Commonwealth University: MFA Theatre Pedagogy; Certified Fight Director and Teacher for the Society of American Fight Directors. Carter C. Wooddell Resident Casting Director See for STC (page 37) Laura Stanczyk, CSA Casting Director STC: The Winter’s Tale, Strange Interlude, Old Times. UPCOMING: Man of La Mancha, The Metromaniacs, The Tempest. NEW YORK: Broadway, Off-Broadway, National Tours: Side Show, After Midnight, A Night With Janis Joplin, Follies, Cotton Club Parade, Lombardi, Ragtime, Impressionism, The Seafarer, Radio Golf, Coram Boy, The Glorious Ones, Flight, Translations, Tryst, Dirty Dancing; Atlantic Theater Company: The Cripple of Inishmaan (also national tour); Encores! Summer Stars: Damn Yankees, Urinetown (also national tour); Lincoln Center Festival: Gate/Beckett. REGIONAL: Alliance Theatre: Bull Durham; Center Theatre 33 Group: Harps and Angels; Alley Theatre: Gruesome Playground Injuries, The Monster at the Door; Kennedy Center: Side Show, The Guardsman, Follies, Master Class, The Lisbon Traviata, Ragtime, Broadway: Three Generations; Philadelphia Theatre Company: Golden Age; Royal George Theatre: Don’t Dress for Dinner; seven seasons of casting for McCarter Theatre Center. INTERNATIONAL: Druid Theatre Company: My Brilliant Divorce; The Gaiety Theatre, Dublin/West End: The Shawshank Redemption; Druid Theatre Company/Dublin Theatre Festival: Long Day’s Journey into Night; Has consulted for The Lyric Theatre in Belfast, Rough Magic Theatre Company in Dublin, The Gate Theatre in Dublin, The Druid Theatre in Galway. Drew Lichtenberg Literary Associate/Dramaturg See for STC (page 37) Katherine Burris Assistant Director STC: The Winter’s Tale (Free For All). REGIONAL: Santa Cruz Shakespeare: As You Like It; Folger Shakespeare Theatre: The Taming of the Shrew; Shakespeare Santa Cruz: Tom Jones, Henry IV, Part 2, Henry V, The Taming of the Shrew, The Man in the Iron Mask; Back Room Shakespeare Project: Two Gentlemen of Verona; San Jose Repertory Theatre: Next Fall; UC Santa Cruz: Stupid Fucking Bird, Machinal, Peer Gynt, The Congresswomen, Hair. TRAINING: University of California, Santa Cruz: Masters in Theatre Arts—Directing Emphasis; BA in Theatre Arts; BA in English Language Literature. JAY BYRD AS EARLENE HOOPLE IN “A KODACHROME CHRISTMAS” FRIDAY & SATURDAY, DEC. 19, 20 AT 8 P.M., SUNDAY, DEC. 21 AT 2 P.M. facebook.com/thealden twitter.com/@thealdenva 1234 Ingleside Ave. McLean, VA 22101 703-790-0123 WWW.ALDENTHEATRE.ORG Alliance Theatre: Blues for an Alabama Sky. INSTRUCTOR: University of Washington School of Drama. TRAINING: Carnegie Mellon: BFA in Production/Directing. Elizabeth Clewley* Assistant Stage Manager STC: The Importance of Being Earnest (Stage Manager); The Winter’s Tale (Free For All and Main Stage), Private Lives, Wallenstein, The Government Inspector, The Servant of Two Masters, The Two Gentlemen of Verona, Much Ado About Nothing, Julius Caesar (Free For All), Old Times, Cymbeline, Twelfth Night (Free For All), The Liar (Assistant Stage Manager) REGIONAL: Hartford Stage: Macbeth, La Dispute (Assistant Stage Manager), Hartford Stage 50th Anniversary Gala (Stage Manager); Theater of the American South: Driving Miss Daisy (Stage Manager); Cape Fear Regional Theatre: Thoroughly Modern Millie, Rodgers and Hammerstein’s Cinderella, Tuesdays with Morrie (Stage Manager). INTERNATIONAL: International Festival of Arts and Ideas; International VSA Festival TRAINING: East Carolina University: BFA in Stage Management. Bret Torbeck* Stage Manager STC: Coriolanus, 2012 & 2013 Harman Center for the Arts Gala, Velocity DC Festival. NEW YORK: Off-Broadway: Vineyard: Miracle Brothers. REGIONAL: The Old Globe: The Two Gentlemen of Verona, The Merchant of Venice, Rosencrantz and Guildenstern…, A Midsummer Night’s Dream, Richard III, As You Like It, Inherit the Wind, The Tempest, Much Ado About Nothing, Amadeus, Sisters Rosensweig, The Women, Take Me Out; eight seasons at Seattle Repertory Theatre; four seasons at the 5th Avenue Theatre, Center Stage, Long Wharf Theatre, Pittsburgh Public Theater, and others. UPCOMING: The Metromaniacs, 35 FOR SHAKESPEARE THEATRE COMPANY Michael Kahn Artistic Director STC: Henry IV, Part 1 and 2, Wallenstein, The Government Inspector, Strange Interlude, The Heir Apparent, Old Times, All’s Well That Ends Well, The Liar, Richard II, The Alchemist, Design for Living, The Way of the World, Antony and Cleopatra (2008), Tamburlaine, Hamlet (2007), Richard III (2007), The Beaux’ Stratagem, Love’s Labor’s Lost, Othello, Lorenzaccio, Macbeth (2004), Cyrano, Five by Tenn (at the Kennedy Center), The Silent Woman, The Winter’s Tale (2002), The Duchess of Malfi, The Oedipus Plays, Hedda Gabler, Don Carlos, Timon of Athens, Camino Real, Coriolanus, King Lear (1999), The Merchant of Venice, King John, A Woman of No Importance, Sweet Bird of Youth, Peer Gynt, Mourning Becomes Electra, Henry VI, Volpone, Henry V, Henry IV, The Doctor’s Dilemma, Richard II, Much Ado about Nothing (also at McCarter Theatre Center), Mother Courage and Her Children, Hamlet, Measure for Measure, King Lear (1991), Richard III (1990), The Merry Wives of Windsor, Twelfth Night, As You Like It, Antony and Cleopatra (1988), Macbeth (1988), All’s Well That Ends Well, The Winter’s Tale (1987), Romeo and Juliet. NEW YORK: Broadway: Show Boat (Tony nomination), Cat on a Hot Tin Roof, Whodunnit, Night of the Tribades, Death of Bessie Smith, Here’s Where I Belong, Othello, Henry V; Off-Broadway: Manhattan Theatre Club: Five By Tenn, Sleep Deprivation Chamber, Funnyhouse of a Negro, The Rimers of Eldritch, Three by Thornton Wilder, A Month in the Country, Hedda Gabler, The Señorita from Tacna, Ten by Tennessee; New York Shakespeare Festival: Measure for Measure (Saturday Review Award). Artistic Director: The Acting Company, 1978–1988. TEACHING: Richard Rodgers Director of Juilliard Drama Division July 1992–May 2006, faculty member 1967–; Shakespeare Theatre Company Academy for Classical Acting at the George Washington University. Previously: New York University; Circle in the Square Theatre School; Princeton University; British American Drama Academy; founder of Chautauqua Theatre Conservatory. REGIONAL: Arena Stage: A Touch of the Poet; Signature Theatre: Pride in the Falls of Autrey Mill, Otabenga; Guthrie Theater: The Duchess of Malfi; American Repertory Theatre: ‘Tis Pity She’s a Whore; American Shakespeare Theatre: Artistic Director for 10 years, more than 20 productions; McCarter Theatre Center: Artistic Director for five seasons, including Beyond the Horizon, filmed for PBS; Chautauqua Theatre: Artistic Director, including The Glass Menagerie with Tom Hulce; Goodman Theatre: Old Times (MacArthur Award), The Tooth of Crime (Jefferson nomination); Ford’s Theatre: Eleanor. 36 OPERA: Romeo and Juliette for Dallas Opera; Vanessa for the New York City Opera (2007); Lysistrata or The Nude Goddess for Houston Grand Opera and New York City Opera; Vanessa for Washington Opera and Dallas Opera; Show Boat for Houston Grand Opera; Carmen for Houston and Washington Operas; Carousel for Miami Opera; Julius Caesar for San Francisco Spring Opera. INTERNATIONAL: Love’s Labor’s Lost at the Royal Shakespeare Company’s Complete Works Festival; The Oedipus Plays at the Athens Festival; Five by Tenn for The Acting Company’s tour of Eastern Europe; Show Boat for the National Cultural Center Opera House in Cairo; The White Devil for the Adelaide Festival. BOARD MEMBERSHIPS: Theatre Communications Group; New York State Council on the Arts; D.C. Commission on the Arts and Humanities; National Endowment for the Arts; Opera America’s 80s and Beyond. AWARDS: Commander of the British Empire (C.B.E.); Theater Hall of Fame; seven Helen Hayes Awards for Outstanding Director; 2011 CAGLCC Excellence in Business Award; 2010 WAPAVA Richard Bauer Award; 2007 Mayor’s Arts Award Special Recognition for Shakespeare in Washington; 2007 Stephen and Christine Schwarzman Award for Excellence in Theatre; 2007 Sir John Gielgud Award for Excellence in the Dramatic Arts; 2005 Person of the Year from the National Theatre Conference; 2004 Shakespeare Society Medal; 2002 William Shakespeare Award for Classical Theatre; 2002 Distinguished Washingtonian Award from The University Club; 2002 GLAAD Capitol Award; 1997 Mayor’s Arts Award for Excellence in an Artistic Discipline; 1996 Opera Music Theater International’s Bravo Award; 1990 First Annual Shakespeare’s Globe Award; 1989 Washingtonian Magazine Washingtonian of the Year; 1989 Washington Post Award for Distinguished Community Service; 1988 John Houseman Award. HONORARY DOCTORATES: University of South Carolina; Kean College; The Juilliard School; The American University. Chris Jennings Managing Director STC: Joined the Company in 2004. ADMINISTRATION: General Manager: Trinity Repertory Company (1999–2004), Theatre for a New Audience (1997–1999); Associate Managing Director: Yale Repertory Theatre; Assistant to the Executive Producer: Manhattan Theater Club; Founder/ Producing Director: Texas Young Playwrights Festival; Manager: Dougherty Arts Center. MEMBERSHIPS: Currently serves on the Board of the Theatre Communications Group, DC Downtown BID, THE ARC, DC Arts Collaborative, the Penn Quarter Neighborhood Association, Theatre Washington, and is a member of the League of Resident Theatres (served on AEA and SSDC Negotiating Committees); has served as a panelist for the NEA, DC Commission on the Arts, Mid Atlantic Arts Foundation and Humanities, and Pew Theatre Initiative. AWARDS: Arts Administration Fellowship: National Endowment for the Arts. TRAINING: University of Miami: BFA in Theatre/Music; Yale School of Drama: MFA in Theatre Management. Alan Paul Associate Artistic Director STC: The Winter’s Tale (Free for All), Henry IV, Parts 1 and 2 (Associate Director), A Funny Thing Happened on the Way to the Forum (2014 Helen Hayes Award for Best Director of a Musical), The Boys from Syracuse, Twelfth Night (Free for All), numerous galas, readings and special events; Assistant Director: 13 shows. THEATRE DIRECTING: Signature Theatre: I Am My Own Wife; Studio Theatre 2ndStage: The Rocky Horror Show (co-director); Catholic University: Man of La Mancha; University of Maryland: The Matchmaker; Apex Theatre Company: Richard II; Northwestern University: Six Degrees of Separation; readings for The Studio Theatre, Arena Stage, Woolly Mammoth Theatre Company, The National Academy of Sciences, The Phillips Collection, The Goethe Institut, Georgetown University. OPERA DIRECTING: Urban Arias: Blind Dates, Before Breakfast, The Filthy Habit, Photo-Op; The In Series: Dido and Aeneas, El Amor Brujo; Strathmore: Butterfly/Saigon, Blind Dates. Finalist for the 2013 European Opera Directing Prize (Vienna, Austria). WEB: AlanPaulDirector.com Drew Lichtenberg Literary Associate STC: Private Lives, Henry IV, Part 1 and 2, The Importance of Being Earnest, A Funny Thing Happened on the Way to the Forum, Measure for Measure, Coriolanus, Wallenstein, Hughie, A Midsummer Night’s Dream, The Government Inspector, The Merry Wives of Windsor, The Servant of Two Masters, Strange Interlude, The Two Gentlemen of Verona, Much Ado About Nothing, The Heir Apparent. REGIONAL: STC/McCarter Theatre Center: The Winter’s Tale; Center Stage: Caroline, or Change, Cyrano, Around the World in 80 Days; Yale Rep: Lulu (dir. Mark Lamos); Williamstown Theatre Festival: The Front Page, The Physicists, The Corn is Green; New York Shakespeare Festival: Macbeth (dir. Moisés Kaufman); OTHER: Yale School of Drama: Tarell McCraney’s In the Red and Brown Water (US premiere); Lecturer: Catholic University of America. TRAINING: Yale School of Drama. Ellen O’Brien Head of Voice and Text STC: More than 50 productions over 11 seasons. ACADEMY FOR CLASSICAL ACTING: 22 productions of Shakespeare and Jacobean plays. REGIONAL: Ford’s Theatre, Arena Stage, Charlotte Repertory Company, Aurora/Magic Theaters; People’s Light and Theatre Company; Shakespeare Santa Cruz; North Carolina Shakespeare Festival. PUBLICATIONS: Articles in The Voice and Speech Review, Shakespeare in the Twentieth Century, Shakespearean Illuminations, Shakespeare Survey, Shakespeare Quarterly, Shakespeare and the Arts, The Voice and Speech Review: Associate Editor for Heightened Text, Verse and Scansion. TRAINING: Yale University: MA, MPhil, PhD (English); Central School of Speech and Drama/The Open University (London): Advanced and Post-Graduate Diplomas in Voice Studies. TEACHING: Academy for Classical Acting; University of California, Santa Cruz; Guilford College; Kirkland College. Carter C. Wooddell Resident Casting Director STC: As You Like It, The Winter’s Tale, The Merry Wives of Windsor, Two Gentlemen of Verona, Much Ado About Nothing, The Merchant of Venice. Other Casting Experience: NEW YORK: Broadway: Belasco Theatre: End of the Rainbow (dir: Terry Johnson), Booth Theatre: High (dir: Rob Ruggiero); Off-Broadway (partial): Barrow Street Theatre: Tribes (dir: David Cromer), Our Town (dir: David Cromer), The Acting Company, Marjorie S. Deane Little Theater: Freud’s Last Session (dir: Tyler Marchant), Cherry Lane Theatre: A Perfect Future (dir: Wilson Milam), SoHo Playhouse: The Irish Curse (dir: Matt Lenz), Beckett Theatre: An Continued on page 40 37 MAPPING THE PLAY DESIGNING AS YOU LIKE IT By Garrett Anderson, Artistic Fellow Typically, productions of As You Like It are filled with pastoral representations of British forests, farmland and fauna. Traversing the world of Arden, however, proves tricky for the characters in the play, who are exposed to a magical, theatrical world of lions and serpents, olive groves, chestnut trees and antique roots, one where there are “sermons in stones, books in the babbling brooks, and good in everything.” For the design team creating a world where this all takes place, illustrating Arden is a real challenge. “We wanted it to be a space of imagination, a space where transitions can happen effortlessly. And something I’m very keen on is that every transition that we do happens in a different way… whether it’s a revolve or you finish scene one and a curtain goes out and another one comes back in, curtains move side to side, we can fly them out at different heights.” 1. On a bare stage, Orlando speaks with Adam about his brother Oliver. 2. Rosalind, accompanied by Celia, is banished from the court, on their way to Arden. 3. Rosalind, Celia and Touchstone eavesdrop on shepherds Corin and Silvius in Arden, using the curtains as a discovery space. 4. Orlando hangs poems from the trees expressing his love for Rosalind. 5. In a corn maze, Touchstone the clown falls in love with Audrey, a goatherd, and plans to marry her while Jaques eavesdrops. 6. Using the silk curtains as a bed, Rosalind (dressed as Ganymede) has Orlando practice wooing her. 7. Amiens sings in the forest. 8. All of the couples in the forest are wed to end the play. A sampling of Fensom’s storyboard from the play. Set and costume designer Jonathan Fensom, along with director Michael Attenborough, decided to forgo the green world in the literal sense, and leave it up to the audience’s imagination. “I have been in the fortunate position over the last seven years… to work at the Globe in London. I don’t know if anyone knows the space… but you’re suddenly presented with… a frons scaenae screen that is painted in the bizarre, weird, Alice in Wonderland way, which has birds and coronets and things all over it… I had a kind of revelation moment… when I suddenly realized that what it gave you was a stage where you could do absolutely anything… it’s meant that I’ve sort of pared back to the essential qualities of what the play is about.” Fensom’s design incorporates a wood grain stage that is capable of representing the rigid, minimal world of the court and, with the aid of silken curtains, transforming to the mythical world of Arden. 38 39 Continued from page 37 Error of the Moon (dir: Kim Weild); NYC Other: Lincoln Center Institute: Hamlet, Fly, Sheila’s Day. NATIONAL TOURS: The Acting Company, Riverdance. REGIONAL: Alley Theatre, Center Stage, Barrington Stage Company, The Broad Stage, Contemporary American Theater Festival, Crossroads Theatre Company, George Street Playhouse, The Guthrie Theater, Pittsburgh Public Theater, TheaterWorks Hartford. RADIO: BBC Radio: The Piano Lesson (dir: Claire Grove). TELEVISION: Sesame Workshop: The Electric Company, Pilot: 27 East. FILM: Columbia Pictures: Premium Rush (dir: David Koepp), Choice Films: Junction (dir: Tony Glazer). OTHER: McCorkle Casting Ltd: Casting Assistant (2008-2009), Casting Associate (2010-2012). Education Associate: TFANA (2012-2014). TRAINING: Rutgers University - Mason Gross School of the Arts: BFA in Theatre Arts. SUN Presenting Classic Theatre The mission of the Shakespeare Theatre Company is to present classic theatre of scope and size in an imaginative, skillful and accessible American style that honors the playwrights’ language and intentions while viewing their work through a 21st-Century lens. Promoting Artistic Excellence STC’s productions blend classical traditions and modern originality. Hallmarks include exquisite sets, elegant costumes, leading classical actors and, above all, an uncompromising dedication to quality. Fostering Artists and Audiences STC is a leader in arts education, with a myriad of user-friendly pathways that teach, stimulate and encourage learners of all ages. Meaningful school programs are available for middle and high school students and educators, and adult classes are held throughout the year. Michael 40 FRI SAT OCTOBER/NOVEMBER 29 28 7:30 7:45 O 9 16 7:30 L 2:00 7:30 2:00 7:30 11 17 12 23 19 18 7:30 S 12:00 7:30 14 8:00 20 8:00 25 24 13 8:00 N 7:30 7 8:00 Y 8:00 T 7:30 Y 7:30 31 8:00 6 5 7:30 B 10 30 8:00 7:30 4 3 2 7:30 P 2:00 ABOUT STC STC is the recipient of the 2012 Regional Theatre Tony Award® as well as 81 Helen Hayes Awards and 322 nominations. MON TUES WED THUR 26 21 8:00 27 28 8:00 2:00 1 8:00 2:00 8 8:00 2:00 15 8:00 2:00 A 22 8:00 R 2:00 29 8:00 30 DECEMBER 1 Kahn leads the Academy for Classical Acting, a one-year master’s program at The George Washington University. Beyond the classroom, educational opportunities like Creative Conversations are available to all in the community. Supporting the Community STC has helped to revitalize both the Penn Quarter and Capitol Hill neighborhoods and to drive an artistic renaissance in Washington, D.C. Each season programs such as Free For All and Happenings at the Harman present free performances to residents and visitors alike, allowing new audiences to engage with the performing arts. Playing a Part STC is profoundly grateful for the support of those who are passionately committed to classical theatre. This support has allowed STC to reach out and expand boundaries, to inform and inspire the community and to challenge its audiences to think critically and creatively. Learn more at ShakespeareTheatre.org/Support or call 202.547.1122, option 7. 2 7:30 2:00 Calendar Key directed by Michael Attenborough A B L N O October 28–December 7 Lansburgh Theatre 4 8:00 5 8:00 2:00 8:00 6 7 William Shakespeare’s As You Like It 3 AUDIO-DESCRIBED BOOKENDS ASIDESLIVE OPEN CAPTION OPENING NIGHT P R S T Y PAGE AND STAGE REFLECTIONS SIGN-INTERPRETED TWITTER NIGHT YOUNG PROSE NIGHT Open Caption performances made by possible by a grant from CREATIVE CONVERSATIONS PAGE AND STAGE FREE BOOKENDS FREE Wednesday, November 5, 5:30–6:30 p.m., post-show Lansburgh Theatre Lobby Immerse yourself in the world of the play with preand post-show discussions. Tuesday, November 25, 6:30–7 p.m. Lansburgh Theatre Lobby Learn about the production before you see it with this ASL-Interpreted discussion with STC’s Audience Enrichment Manager. #STCnight FREE AsidesLIVE SYMPOSIUM Sunday, November 2, 5–6 p.m. Lansburgh Theatre Lobby Explore the production with the artistic team and local scholars. Thursday, November 6, 6:30 p.m. and post-show Lansburgh Theatre Lobby Use the hashtag #SCTnight to join the conversation from the theatre lobby or from home. Performance tickets available for purchase. REFLECTIONS FREE ASL DISCUSSION FREE Saturday, November 22, 5–6 p.m. Lansburgh Theatre Lobby Discuss the production from multiple perspectives. Sunday, November 16, 10 a.m.–1 p.m. The Forum in Sidney Harman Hall Take a deep look into the text, production and cultural context in this morning-long symposium. Tickets available online and at the Box Office. 41 Take the next step... BE our guEst MEEt thE artists Enjoy thE Patrons LoungE Become a Shakespeare Star Today! go BEhind thE scEnEs Recent Acquisitions Through May 25, 2015 ShakespeareTheatre.org/ NewMember Discover the National Building Museum’s unique collection as we display recent acquisitions by architects, artists, and inventors: Raymond Kaskey, Victor Lundy, Laurie Simmons, Jay Swayze, and more. 202.547.1122, option 7 401 F Street NW Washington, DC 20001 | 202.272.2448 | www.nbm.org FACES AND VOICES From the U.K. to the District: A performance in progress at the Swan theatre in London in 1596. Arnoldus Buchelius (Aernout van Buchel) (1565-1641), after a drawing of Johannes de Witt (1566-1622). Utrecht, University Library, Ms. 842, fol. 132r. Public Domain. By Hannah Hessel Ratner Y ou may have heard that the best way to get to Carnegie Hall is practice but no amount of reciting Romeo and Juliet in front of the mirror will get you cast in one of Shakespeare’s plays. In truth there are a number of paths actors take but in most of their resumes you’ll find some type of advanced training in classical theatre. “Classical theatre is language-driven and larger than life,” Ellen O’Brien shares with me. Ellen works with the actors on stage and at the Academy for Classical Acting (ACA), helping them with the vocal training they need to tackle Classical training for the Classical stage Shakespeare’s language. The ACA, a partnership between STC and the George Washington University, is Washington, D.C.’s only MFA training for classical theatre. “Classical training,” she continues, “requires actors to become adept with verse, rhetoric and the intricacies of long and complex thoughts.” It’s a training that requires the full body and mind to be engaged. “I think it is easy to imagine drama school as one long joyous ‘putting on a show’ experience, whereas the truth is much more complex and challenging,” says As You Like It’s Rosalind, Zoë Waites. She trained at the celebrated Royal Academy for Dramatic Arts, where graduates Classical theatre is languagedriven and larger than life 44 include notable classical actors Vivien Leigh, Peter O’Toole and Alan Rickman. Their three-year program involved physical training (dance, stage combat, Alexander technique), vocal training and special focus on acting for texts from the Greeks to Shakespeare and beyond. Recalling her time there, Zoë reflects “It certainly isn’t for the fainthearted.” It’s not just bravery that gives actors the opportunity to succeed; it is a special passion for exploring a character. “Nothing else made me feel so alive,” Zoë says. “To be able to explore what it is to be human through the power of imagination [is] an incredibly potent and liberating experience.” The passion needs to be there, since the time studying is challenging emotionally as well as physically: “what was so difficult was feeling so raw and vulnerable all the time, and bearing up under the constant scrutiny.” Tara Giordano, playing Audrey in As You Like It, is newly out of the ACA and the demands and rewards of the yearlong intensive training feel very fresh. “There’s so much self-evaluation, which is the most challenging and also the most rewarding. There was a point midway through the year where I thought I was a phony…I learned to turn the self-doubt into questions, and that helped me move forward.” Like at RADA, the ACA curriculum is varied with full days divided into physical, scene and text work. Tara discovered that D.C. became its own resource. While practicing a scene from Cymbeline, she and her scene mates hiked through Rock Creek Park. The scene was set in the woods, and having the physical setting gave them an extra layer to their character discoveries. It is a layer that is frequently a challenge outside of an academic environment. “If only I could find some goats to herd for Audrey research,” she says. Within graduate school actors have the opportunity to try things they may not have a chance to try on the professional stage. The programs provide a risky yet safe environment to push performers in new directions. For Zoë that push came as she took on the title character in Macbeth. “It was incredibly demanding” she remembers, “but also an immensely formative experience.” She still sees the lessons she learned at RADA as shaping her performances today. For actors interested in performing Shakespeare professionally, Zoë advises, “Be open. Be present. Be humble. Work hard. Say yes to adventure.” Tara is just starting out her postgraduate school career. It may take a while to see what will shape her performances the most, but she’s certain that she’ll return to the importance of letting go of tension on stage and honoring the text. Her thoughts match up with those of her teacher. Ellen O’Brien’s background is very academic, she holds a PhD in English that gives her “a conviction that actors should know what they are saying as precisely as possible.” But, she adds, “My voice training brought me to a deeper awareness of the physicality of language.” So, if you are set on practicing your way on to the STC stage, you may want to pursue the type of training you’d find at programs like RADA and the ACA: intense, varied, physical and academic in a rewarding and risky environment. Be open. Be present. Be humble. Work hard. Say yes to adventure. Hannah Hessel Ratner, STC’s Audience Enrichment Manager, is in her fourth season at STC and holds an MFA in dramaturgy from Columbia University. 45 SUPPORT We gratefully acknowledge the following donors that currently support the work of the 2014-2015 season. This list is current as of September 5, 2014. $100,000 and above The Robert P. and Arlene R. Kogod Family Foundation Robert H. Smith Family Foundation Suzanne and Glenn Youngkin The Harman Family Foundation T HRH Foundation Michael R. Klein and Joan I. Fabry T BA T $50,000 to $99,999 Anita M. Antenucci T The Beech Street Foundation T Afsaneh Beschloss T The Morris & Gwendolyn Cafritz Foundation D.C. Commission on the Arts & Humanities Dr. Paul and Mrs. Rose Carter T Dr. Mark Epstein and Amoretta Hoeber T The Erkiletian Family Foundation Mr. and Mrs. Robert Falb T Mr. and Mrs. Andrew Florance T The Philip L. Graham Fund John and Meg Hauge T Mr. Jerry Knoll National Capital Arts & Cultural Affairs Program/US Comm. of Fine Arts Alan and Marsha Paller The Shubert Foundation $25,000 to $49,999 Anonymous (3) Anne and Ronald Abramson Nick and Marla Allard T BA Stephen E. Allis T Paul M. Angell Family Foundation City Fund Debevoise & Plimpton LLP James A. Feldman and Natalie Wexler FTI Consulting Nina Zolt and Miles Gilburne Catherine Held Mr. and Mrs. Stephen A. Hopkins T Abbe David Lowell and Molly A. Meegan T BA Estate of Suzy Platt 1616 Toni A. Ritzenberg Stephen and Lisa Ryan T BA Vicki and Roger Sant 1616 Shakespeare for a New Generation Share Fund Fredda Sparks and Kent Montavon George P. Stamas T Tom and Cathie Woteki AMB Turner & Goss $15,000 to $24,999 Anonymous (2) Altria Group Amazon Web Services The Theodore H. Barth Foundation British Council Brown-Forman Corporation Mr. and Mrs. Landon Butler T The Carmen Group CBRE Group Inc Computer and Communications Industry Association The Dallas Morse Coors Foundation for the Performing Arts 46 T The Max and Victoria Dreyfus Foundation Nina Laserson Dunn and Eric C. Rose BA Helen Clay Frick Foundation Hogan Lovells US LLP Humana Inc. Jerry and Isabel Jasinowski T Helen Kenney The Jacob and Charlotte Lehrman Foundation In memory of Marilyn J. Lynch M Powered Strategies, Inc. MARPAT Foundation, Inc. Ann K. Morales National Endowment for the Arts Pepco Steve and Diane Rudis Pauline A. Schneider T BA Judi Seiden AMB Victor Shargai and Craig Pascal The Honorable Robert E. Sharkey and Dr. Phoebe Sharkey AMB Solon E. Summerfield Foundation Vornado/Charles E. Smith LP Westfield, LLC Lynn and Jonathan Yarowsky $10,000 to $14,999 Anonymous (2) Esthy and Jim Adler Lisa Blue Baron Sheila and Kenneth Berman BA Bill Bodie T BP America CLS Strategies Clark Construction Group, LLC Donn and Sharon Davis Douglas Development Corporation Mr. and Ms. David Dupree E. and B. Family Trust Miguel and Patricia Estrada Arthur and Shirley Fergenson ACA Trygve and Norman Freed Goldman Sachs & Co. Grossberg, Yochelson, Fox and Beyda LLP Gould Property Group Clarke Murphy and Heather Hammond Scott Kaufmann T Margot Kelly Roger W. Langsdorf The Ludwig Family Foundation Mr. and Mrs. Eric Luse Mr. and Mrs. Andrew Marino Jacqueline B. Mars McLane Company Eleanor Merrill T Mr. and Mrs. Howard P. Milstein Morgan Stanley Tom Mounteer and Bobby Zeliger Nissan North America, Inc. PhRMA Porterfield, Lowenthal & Fettig, LLC PwC Doug and Gabriela Smith Clarice Smith Sovereign Strategy Limited The Hattie M. Strong Foundation US Trust Company Mr. and Ms. Antoine Van Agtmael Velasquez Group, LLC VISA U.S.A., Inc. Patricia and David Vos Foundation Willkie, Farr & Gallagher $5,000 to $9,999 Anonymous (6) Aflac Mark Tushnet and Elizabeth Alexander Alston & Bird LLP Michael and Stacie Arpey Linna Barnes and Chris Mixter Kyle and Alan Bell Barbara Bennett The BGR Foundation, Inc. Peter A. Bieger Don and Nancy Bliss The Bozzuto Group Katherine B. and David G. Bradley Dorothy W. Browning Buffy and William Cafritz Robert Crawford Carlson Emily and Mike Cavanagh The Honorable Joan Churchill and Mr. Anthony Churchill BA Jeffrey P. Cunard BA Louis Delair, Jr. The Dimick Foundation Craig Dunkerley and Patricia Haigh ACA EagleBank Ernst & Young LLP Marietta Ethier ExxonMobil Bob, Kathy and Lauren Fabia Forest City Washington Tim and Susan Gibson ACA AMB In memory of Angelique Glass 1616 ACA AMB Janet W. Solinger and Jacob K. Goldhaber Sue and Leslie Goldman Richard A and M. Theresa Gollhofer Graham Holdings David and Jean Grier H&R Block Kevin T. Hennessy AMB BA John W. Hill T Lynne and Joseph Horning Mike and Gina House T BA Hughes Hubbard & Reed The Mark & Carol Hyman Fund The International Union of Bricklayers and Allied Craftworkers Elaine Economides Joost K&L Gates Daniel F. Katz BA Lou and Irene Katz David and Anne Kendall BA Marcel LaFollette and Jeffrey Stine ACA David A. Lamdin AMB Richard Levi and Susan Perry Heidi and Bill Maloni The George Preston Marshall Foundation Kathleen Matthews MedStar National Rehabilitation Network Hilary B. Miller and Dr. Katherine N. Bent BA Ms. Connie Milstein The Morningstar Foundation Kristine Morris Michelle Newberry Theodore B. Olson and Lady Booth Olson BA Oracle America Corporation Ms. Karishma Page Park Center Associates Peach Tree Mclean Peck, Madigan, Jones & Stewart, Inc. Robert and Susan Pence Pollinger Development Co. The Prince Charitable Trusts Property Capital LLC Willam Pugh and Lisa Orange Reset Public Affairs Gerri and Murray Rottenberg 1616 Lee Goodwin and Linda Schwartzstein Security Industry And Financial Markets Association Skadden, Arps, Slate, Meagher & Flom Software and Information Industry Association Studios Architecture Terra Nova Title and Settlement Services, LLC TPG Capital Vulcan Materials Company Foundation Evan J. Wallach and Katherine Tobin BA Marvin F. Weissberg Wells Fargo Philanthropy Carolyn L. 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Zeugner Victor Zitel Wiley Rein LLP YourCause, LLC In Kind Asia Nine Austin Grill OFFICIAL 2014–2015 SPONSORS Hotel Make-Up Wine Airline Costume & Garment Care Shoe Repair KEY TO SYMBOLS 1616 Members of the Society of 1616, the Theatre’s planned giving society ACA Supporters of the Academy for Classical Acting AMB Ambassadors of the Theatre, generous donors who help to develop and enhance our patrons’ relationship with the Theatre. To join, please contact Sara Conklin at 202.547.3230 ext. 2312. BA T * Members of the Bard Association, dedicated supporters of the Theatre who are members of the legal community. To join, please contact Sara Conklin at 202.547.3230 ext. 2312. Members of the Board of Trustees Deceased Every effort has been made to ensure that this list is accurate. If your name is misspelled or omitted, please accept our apologies and inform Arielle Katz in Member Services at 202.547.1122, option 7, or email [email protected]. 53 UP NEXT: An interview with The Tempest director, Ethan McSweeny Can you discuss your relationship to The Tempest? The Tempest was the first play that I ever directed at Columbia University. I made my directing debut with what might possibly be the most difficult Shakespeare. Aside from great hubris, I don’t know why I chose it, other than that I deeply love the play. This is Shakespeare as a master playwright and at the most sure phase of his career. It is a gorgeous, difficult, rewarding play. Later, as assistant director at STC, I had the opportunity to assist Garland Wright with his final production in 1997. At the time, he was dying of cancer and knew it. This was his fourth time directing the play: he returned to it every decade of his career as an artistic touchstone. I have found that it’s similar for me, I’ve retuned to it at each phase of my career, and I hope this isn’t my last Tempest. What do you feel are the key themes that drive this play? The play also shows great remorse. One of the great themes of it is revenge and forgiveness and what it takes to forgive. That’s a very powerful message. Every show is unique, a product of the vision of the director, interpretation of this vision by the designers, and the application of this vision by the theatre company. This is a much sparer look than the Technicolor backstage environment of A Midsummer Night’s Dream [2012-2013]. I was drawn to an empty and theatrical space Jose Ortiz studies scenic designer Lee Savage’s model for The Tempest. Photo by Sally Glass. What can you tell us about the casting choices made for this production? I’m excited to introduce STC audiences to actors with whom I have worked in other theatres—Clifton Duncan, Rachel Mewbron—and to bring people together from different stages of my creative journey. At the center of the play, of course is Prospero. I find him industrious, ingenious, versatile and self-ware. It was a great joy that Geraint Wyn Davies turned out to be available. He is a mainstay at Stratford Festival, and we’ve worked together there many times. It is great to bring him back to Washington. This is believed to be Shakespeare’s final work and he infuses the play with a bittersweet farewell to the artistic muse. Prospero and Ariel— and even Caliban— embody the relationship between the artist, their muse and their work. As an artist I’m especially drawn to that. What can audiences expect from your Tempest? 54 that can be filled with the words and have that idea of a deserted island of the mind. I recently visited the Aran Islands in Ireland, and I find the islands magical, barren, with wide openness. The elements there are very theatrical. Background: Jose Ortiz (Scenic Artist) and Sally Glass (Charge Scenic Artist) work on a scrim for The Tempest; scenic designer Lee Savage. Will this production reference your past work at STC? I’m very aware that this production puts me in an interesting place, following right on the heels of Midsummer. Both come from this place of magic and mystery. This creates a theme between them and also creates a challenge. I’m working with part of the same design team—Lee Savage on sets and Jennifer Moeller on costumes—and we question how to make it different. But it’s not how to run away from Midsummer, it’s carrying it over. Like Shakespeare did between his plays, for example: Puck is great, then there becomes a lot of Puck in Ariel. There are elements that will be both relevant to The Tempest and also a kind of Easter egg for audiences who saw Midsummer. The Tempest at Sidney Harman Hall begins December 2. Tickets at ShakespeareTheatre.org or 202.547.1122. 55 SHAKESPEARE THEATRE COMPANY STAFF Artistic Director Managing Director Michael Kahn Chris Jennings Executive Assistant to the Artistic Director and Managing Director David Lloyd Olson ARTISTIC Associate Artistic Director Alan Paul Head of Voice and Text Ellen O’Brien Resident Casting Director Carter C. Wooddell Literary Associate Drew Lichtenberg Artistic Fellow Garrett Anderson Directing Fellow Katie Burris Affiliated Artists Keith Baxter, Avery Brooks, Helen Carey, Veanne Cox, Aubrey Deeker, Colleen Delany, Franchelle Stewart Dorn, Cameron Folmar, Adam Green, Edward Gero, Philip Goodwin, Jane Greenwood, Michael Hayden, Simon Higlett, Christopher Innvar, Stacy Keach, Floyd King, Andrew Long, Ethan McSweeny, Jennifer Moeller, David Muse, James Noone, Patrick Page, Robert Perdziola, Nancy Robinette, David Sabin, Miriam Silverman, Derek Smith, Walt Spangler, Tom Story, Rebecca Taichman, Ted van Griethuysen, Craig Wallace, Adam Wernick, Gregory Wooddell ADMINISTRATION Director of Administration James Roemer Associate Managing Director Anne S. Kohn Human Resources Manager Lindsey Morris Human Resources Coordinator Danielle Mohlman Accounting Manager Mary Margaret Finneran Staff Accountant Marco Dimuzio Receptionist Ursula David Director of Operations Timothy Fowler Operations/IT Assistant Melissa Adler Theatre Building Engineer Dave F. Henderson Theatre Monitors Milton Garcia, Jeff Whitlow Custodian Jorge Ramos Lima Harman Porters Dennis Fuller, Mirna Guzman, Roderick Proctor Lansburgh Porters Agustin Hernandez Director of Information Technology Brian McCloskey Systems Administrator Patrick Hayes Database Administrator Brian Grundstrom DEVELOPMENT Chief Development Officer Chief Marketing Officer Michael Porto Associate Marketing Director Austin Auclair Marketing and Communications Assistant Alison Ehrenreich Associate Director of Audience Development and Promotions Teddy Rodger Audience Services Director Joy Johnson Group Sales and Ticket Manager Danielle Sparklin Ticket Manager Tim Helmer Sales Associates Zindzi Ali, Benjamin Chase, Evelyn Chester, Jonathan Engel, Heather Hart, Christopher Hunt, Jessica Kaplan, Emmy Landskroener, Andre McBride, Izetta Mobley, Kristin Nam, Christopher Pearson, Carmelitta Riley, Marie Riley, Crystal Stewart, Michael Wharton, Genevieve Williams Call Center Director Monte Hostetler Teleservices Associates Bill Billante, Thomas Brennan, Kelly Carson, Eric Garvanne, James Graham, Cheryl Kempler, Elizabeth MacMahon, Jill McAfee, Joanna Morgan, Colin O’Bryan, Cynthia Perdue, Lee Sanders, Amy Sloane, Chris Soto Director of Event Sales and Partnerships Ryan Michael Hayes Theatre Services Manager Dora Hoyt House Manager Amanda Loerch Lead House Managers Addie Gayoso, Stephanie McLean, Carissa Milliken, Ali Peterson Assistant House Managers Melissa Adler, Jeremy Blunt, Irene Casey, Rae Davidson, Chris Hunt, Susan Koenig, Aaron Lewis, Marie Riley, Christopher Schoen, Justin Silverman Retail and Concessions Manager Kristra Forney Concessions Associates Eileen Chaffer Melanie Cunningham, Adrianne Glover, Stephanie McLean, Marie Riley, Christopher Schoen, Shawn Stevens, Tiffany Tilghman Harman Receptionist and Usher Coordinator Rachel Toporek Associate Director of Communications and PR Heather C. Jackson Web and Media Programmer Brien Patterson Marketing and Communications Intern Jessica Peña Torres Visual Communications Manager S. Christian Taylor-Low Junior Graphic Designer Taylor Henry Graphic Design Intern Keshia Pace Photographers Kevin Allen, Margot Schulman, Scott Suchman Ed Zakreski Associate Director of Development Amy Gardner Individual Campaigns Officer Betsy Purves Major Gifts Officer Sara Conklin Special Events Manager Moriah Mills Gala Assistant Freddy Mancilla Development Operations and Membership Manager Kristina Williams Membership Coordinator Arielle Katz Director of Corporate Giving Noreen Major Corporate Giving Manager Katie Burns-Yocum Director of Foundation and Government Relations Meghann Babo-Shroyer 56 MARKETING AND COMMUNICATIONS EDUCATION Director of Education Samantha K. Wyer Associate Director of Education Dat Ngo Audience Enrichment Manager Hannah Hessel Ratner Community Engagement Manager Laura Henry Buda School Programs Manager Vanessa Hope Training Programs Manager Brent Stansell Education Coordinator Emily Marcello Education Intern Sarah Kate Patterson Affiliated Teaching Artists Carolyn Agan, Wyckham Avery, Dan Crane, George Grant, Jon Harvey, Brit Herring, Paul Hope, Rachel Hynes, Mark Jaster, Sabrina Mandell, Chelsea Mayo, Nafeesa Monroe, Jennifer L. Nelson, Matthew Pauli, Victoria Reinsel, Paul Reisman, Lorraine Ressegger, Melissa Richardson, Nancy Robinette, Amie Root, Oran Sandel, Kristala Smart, Lyndsey Snyder, Eva Wilhelm THE ACADEMY FOR CLASSICAL ACTING The Academy for Classical Acting Director Gary Logan ACA Program Coordinator Sloane A. L. Spencer Faculty Members Isabelle Anderson, Christopher Cherr, Dody DiSanto, Edward Gero, Leslie Jacobson, Floyd King, Lisae Jordan, Ellen O’Brien, Roberta Stiehm, Brad Waller PRODUCTION Director of Production Tom Haygood Company Manager Mackenzie Douglas Associate Production Managers Tim Bailey, Kimberly Lewis Company Management Intern Brittany Holland Resident Production Stage Manager Joseph Smelser Production Assistants Christopher Anaya-Gorman, Maria Tejada Assistant to the Choreographer Kelsea Edgerly Stage Management Interns Sean Carleton, Rebecca Shipman Costume Director Wendy Stark Prey Floor Manager Julie Rose Resident Design Assistant Lynda Myers Drapers Denise Aitchison, Randall Exton, Tonja Petersen First Hands Jennifer Biehl, Sandra Thomas Sara Trebing Stitchers Michele Ordway, Jennifer Rankin, Donna Sachs Lead Crafts Artisan Joshua Kelley Wardrobe Supervisors Jeanette Lee Porter, Monica Speaker Wig Master Dori Beau Seigneur Design and Crafts Assistant Kara Tesch Costume Design Intern Eileen Chaffer Costume Interns Stephanie Goad, Hilary-Ann Rogers Technical Director Mark Prey Assistant Technical Director Kelly Dunnavant Scene Shop Foreman Eric Dixon Scene Shop Administrator Jessica Noones Carpenters John Cincioni, Jr., Carrie Cox, Christian Sullivan, Matt Wolfe Charge Scenic Artist Sally Glass Scenic Artist Jose Ortiz Scenic Painter Kelly Rice Prop Shop Director Elaine Sabal Assistant Props Director Dale Nadel Lead Props Artisan Chris Young Props Painter/Sculptor Eric Hammesfahr Soft Goods Artisan Rebecca Williams Master Electrician Sean R. McCarthy Assistant Master Electrician Lauren A. Hill Harman Electrician Brian Flory Lansburgh Electrician Jacob Moriarty-Stone Assistant Lighting Designer Amith Chandrashaker Lighting Design Assistant Brittany Dilberto Audio/Video Supervisor Brian Burchett Assistant Audio/Video Supervisor Roc Lee Live Mix Engineer Mackenzie Ellis Sound Board Operator Amanda Labonte Stage Operations Supervisor Louie Baxter Stage Carpenters Nick Custer, Catherine Russell Run Crew Laura Cividanes, Marc Wasserman AUDIENCE SERVICES LANSBURGH THEATRE 450 7th Street NW SIDNEY HARMAN HALL 610 F Street NW TICKET AND GROUP SALES: Tickets: 202.547.1122 Toll-free: 877.487.8849 Group Sales: 202.547.3230 ext. 3405 Box Office fax: 202.608.6350 Bookings: 202.547.3230 ext. 2321 BOX OFFICE PHONE HOURS (both theatres): Daily: noon–6 p.m. (Box Office window open until curtain time) The Lansburgh Box Office is closed on the weekends if there is no performance at the Lansburgh Theatre. CONCESSIONS AND GIFT SHOPS: Food and beverages are available one hour before each performance. Pre-order before curtain for immediate pick-up at intermission. Lansburgh Theatre and Sidney Harman Hall gift shops are open before curtain, at intermission and for a short time after each performance. CONNECT WITH US: Facebook.com/ShakespeareinDC Twitter @ShakespeareinDC YouTube.com/ShakespeareTheatreCo Flickr.com/ShakespeareTheatreCompany Instagram @ShakespeareinDC Latecomers will be seated at management’s discretion. ACCESSIBILITY Our theatres are accessible to persons with disabilities. Please request special seating at time of ticket purchase and arrive 30 minutes before curtain for priority seating. Open-captioned performance of As You Like It: Thursday, November 13 at 8 p.m. Audio-described performance of As You Like It: Saturday, November 22 at 2 p.m. Sign-interpreted performance of As You Like It: Tuesday, November 25 at 7:30 p.m. An audio-enhancement system is available for all performances. Both headset receivers and neck loops (to use with hearing aids outfitted with a “T” switch) are available at the coat check on a first-come basis. Program notes in Braille and large print are available at the coat check. Support for the Shakespeare Theatre Company’s Accessibility Program provided by Partial support for open captioning provided by The video and/or audio recording of this performance by any means whatsoever are strictly prohibited. As a courtesy, turn off pagers, telephones, watch alarms and all other electronic devices during the performance. Audience members may be reached during a performance by calling house management at 202.547.3230 ext. 2517. Specify seat location. Acting • Movement • Mask • Voice • Speech Text • Stage Combat • Alexander Technique Located in the heart of Washington, D.C., at The George Washington University AUDITIONS HELD Jan 31 Feb 7 Feb 14 Feb 21 • • • • Washington, D.C. New York Chicago Seattle TO APPLY ShakespeareTheatre.org/Academy [email protected] Kelly Lynn Hogan and Rafael Untalan in The Maid’s Tragedy (ACA) “If you can perform the classics, you can perform anything.” Michael Kahn Artistic Director, STC