Download 2014|2015 SEASON • Issue 1 - Shakespeare Theatre Company

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.
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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.
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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
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28
7:30
7:45 O
9
16
7:30 L
2:00
7:30
2:00
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23
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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
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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. Wheeler BA
Alan and Irene Wurtzel
Mr. Mike Wyckoff
Chris and Carol Yoder
Judy and Leo Zickler
$2,500 to $4,999
Anonymous (4)
Mr. Derek Thomas and
Mr. Ernesto Abrego
Miriam and Robert Adelstein
Robert N. Alfandre
Sunny and Bill Alsup
Tony Anderson and Kevin Lorei
Mr. Decker Anstrom and
Ms. Sherron Hiemstra
Stephen P. Anthony BA
Celia and Keith Arnaud
Drs. Hilda and William O. Bank
BB&T
Brent J. Bennett
Mr. and Mrs. John H. Birdsall
Kim Bollen
Dr. Bill and Evelyn Braithwaite
Mr. and Mrs. Jere Broh-Kahn ACA
Claudyne Y. Brown BA
Mr. and Mrs. I.T. Burden, III
Dawn and James Causey
Audrey Chang and Michael Vernick
Ellen MacNeille Charles
Joan Choppin
Richard H. Cleva
Linda and John Cogdill
Mary Cole AMB
Jeff and Jacky Copeland
Marshall B. Coyne Foundation
Douglas W. Crandall
Mr. Ralph C. Voltmer and
Ms. Tracy A. Davis BA
The Charles Delmar Foundation
Beverly and Richard Dietz
Dorchester Towers and
Dorchester Apts on
Columbia Pike in Arlington
Emily, Susannah and Michael Eig
Helaine G. Elderkin
Elmendorf Ryan
Michael Evans
Expedia, Inc
Rob and Anne Faris
Leo Fisher and Sue Duncan
Anne and Burton Fishman BA
Barry and Marie Fleishman
Claire Frankel
Paige Franklin and David Pancost
Franklin Square Group
FTI Consulting
Gensler & Associates
Burton Gerber
Carol and Ken Gideon
Josh Goldfoot BA
Alice and John Goodman
Ms. Myra P. Gossens
John E. Graves RIA and Hanh Phan
Mr. and Mrs. Woolf P. Gross
Pamela and Corbin Gwaltney
Karen L Hawkins BA
Catherine MacNeil Hollinger and
Mark Hollinger
James and Marissa Huttinger
International Brotherhood Of
Teamsters
Larry and Georganne John
John Edward Johnson
Jody Katz and Jeffrey Gibbs
Michael and Michelle Keegan
47
Thomas and Bridget Kluwin
Mary Hughes Knox
Dr. Richard M. Krause 1616
Barry Kropf
Kristi and Scott Kubista-Hovis AMB
Bill Lands and Norberta Schoene
Dr. Mark T. Lewellyn
Marjorie and John Lewis
James M Loots, Esq. and
Barbara Dougherty Loots, Esq. BA
Mary McCue ACA AMB
The McGwin/Bent Family
Thomas and
Ingrid McPherson Foundation
Hazel C. Moore
Rajesh and Radhika Murari
Patricia Sherman and Terry Murphy
National Association of Realtors
National Rural Electric
Cooperative Association
Navigators Global
Louisa and Bill Newlin
The Nora Roberts Foundation
Melanie and Larry Nussdorf
The OB-C Group, LLC
James Oldham and Elizabeth
Conahan BA
Dr. and Mrs. Kenneth Oscar
Mr. and Mrs. David Osnos
Theda Parrish
Mr and Mrs Carl F. Pfeiffer
Podesta Group
Sydney M. Polakoff and
Carolyn Goldman
Lutz Alexander Prager
Rasky Baerlein Prism
Mary and Gene Procknow
Property Casualty Insurers
Association of America
Robert and Nan Ratner
Molly and Joe Reynolds BA
Ron and Sharon Salluzzo
Mrs. Stanley J. Sarnoff 1616
Steven and Beverly Schacht
Richard Scott
Linda and Stanley Sher
Richard Simpson
The Smith-Free Group LLC
Louisa and Daniel Tarullo
ThinkFoodGroup
Professor Philip Tirpak
Kathy Truex
Thomas and Molly Ware AMB
Washington Forrest Foundation
$1,500 to $2,499
Anonymous (8)
Ernest and Dianne Abruzzo
Gisela and Thomas Ahern
Sanford K. Ain, Esq. BA
Kevin and Amanda Allexon BA
Patricia Arnold
Association of Performing
Arts Presenters
Julie, Tina, June and Vince Auletta
Russ Stevenson and
Margaret R. Axtell
Keith L. Babb
Galen and Carolyn Barbour
Michael F. Barrett, Jr. and
Danielle Beauchamp
John and Patricia Barth
Judge James A. Belson
Sue E. Berryman
Elaine and Richard Binder
Phillip Reiman and Leslie Binns
48
Dr. Donna W. Blake and
Mr. Bruce E. Eckstein
John Blandford
Cathleen E. Blanton
Martha Blaxall and Joe Dickey
Ronald Bottomly
Michael Boyd
David Bradley
Thomas C. Brennan
Howard M. Brown
Roger and Nancy Brown
Mr. and Mrs. Douglas Brown
Elizabeth Buchbinder
Capitol Hill Community
Foundation ACA
Joanna and Alan Capps
Cheryl and Matthew Chalifoux
Mr. and Mrs. Anthony C. Collins
Julia and Francis Creighton
Mr. and Mrs. Mark Darnell
William C. and Sandra Davis
Carol Der Garry
Tom and Krista Di Iaconi BA
David and Kenna Dorsen BA
Ms. D. Chris Downey
Dr. Damien and Elizabeth Doyle
Joy Dunkerley
Becky and Alan Dye
Fynnette Eaton and James E. Miller
Ms. Nike M. Elder
Ms. Catherine B. Elwell
Garrett Epps BA
Raymond S. Eresman and
Diana E Garcia
John Estes and Veronica Angulo
Federal Lodge No. 1
Free and Accepted Masons
Washington D.C.
Julie M. Feinsilver 1616 ACA
Mr. Elliot Feldman BA
Joseph and Jeri Fellerman
Mr. and Mrs. Alan M. Fern
Barbara and Ralph Ferrara
The Lee & Juliet Folger Fund
Julian W. Fore and Beverly A. Sauer
Rhona Wolfe Friedman and
Donald J. Friedman BA
Lisa and Phil Friedman BA
Brenda and David Friend
Juan H Gaddis
Charles and Amy Gardner
Dr. Laura J. George AMB
Dr. Douglas E. Gill and
Mrs. Karen S. Vartan
Ruth Bader Ginsburg
JoAnne Glisson
Donald H. Goodyear, Jr.
Mr. and Mrs. David L. Gray
Ms. Pat Gray ACA
Bettina L. Gregory and
Diana Flannery
William Stein and Victoria Griffiths BA
Lisa Grosh and Donald Names BA
Merle Haberman
Frank Kendall and Beth Halpern BA
Kenneth G. Hance
James T. and Vicky Sue Hatt
Robert and Margaret Hazen 1616
Andrea L. Heithoff
Ann Kappler and Mark Herlihy
Jean and Stephen Hersh
Cheryl R. Hodge
Mr. Gerald Hoefler
Mr. Henry H. Holcomb
Charlotte Hollister and
Donald Clagett
Fran and Bill Holmes
David H. Holtzman
Ms. Ann Homan BA
William L. Hopkins and
Richard B. Anderson 1616
Russell Mikel and Alison Hurst
Maxine Isaacs
Mr. Steven Janssen
John, Pam and Kim Jaske
Birdie Johnson BA
Eric Kadel BA
Michael Kades and
Mary Giovagnoli BA
Lawranne Stewart and Mark Kantor
Rick Kasten
Candace and Hadrian Katz
Joel and Mary Keiler
Thomas R. and Laurie S. Kelly
Melinda Kimble
David A. Klaus
Dana and Ray Koch
Sara Dunham Kraskin and
Stephen G. Kraskin
Mr. and Mrs. William Kristol
Mr. Sanjiv Kumar and
Ms. Mansoora Rashid
L. L. Lanam
Lynne Stephens and Kenneth Larson
Sheldon and Kathleen Leggett
Leonard, Street and
Deinard Foundation
Nancy and David Lesser BA
Diane Lindquist BA
Freddi Lipstein and
Scott Berg 1616 ACA AMB
Mr. and Mrs. Robert L. Livingston
David Lloyd, Realtor
James J. Lombardi
Christopher and Lane Macavoy
Amanda Machen
Rev. Frederick MacIntyre and
Mickey MacIntyre
Dan and Susan Mareck
Jessica Markham
Mars Foundation
David and Martha Martin
Dr. and Mrs. James E. Martin
John and Connie McGuire BA
Stephen M. McNabb BA
Ms. Kate McSweeny BA
Dr. Jeanne-Marie A. Miller
Mr. Steven Miller
Catherine L. Moore and
Carl W. Stephens
Ms. Hallee Morgan BA
Dee Dodson Morris BA
Mr. Jeffrey Morrison BA
Rita Mullin
Michael Nannes and Nancy Everett BA
Ralph and Gwen Nash
Madeline Nelson
Ms. Beth Nolan and
Mr. Charles Wright
Mr. and Mrs. Lawrence O’Connor
Mrs. Jean Oliver
Robert and Martha Osborne
Timothy P. O’Toole
Mr. and Mrs. Gerald W. Padwe
Karishma and Jonathan Page
Penelope Payne
Scott Pearson and Diane Farrell BA
Gary and Trudy Peterson
Robert and Lillian Philipson
Foundation BA
Carter G. Phillips BA
Sheldon Pratt ACA
Hon. Frank Press
Ms. Elise Rabekoff and
Mr. Christopher Gladstone
Mrs. Eden Rafshoon
Lloyd and Claudia Randolph 1616 BA
Susan and Ronald Rappaport
Steven and Anne Reed
Alberto J. Rivera BA
Steve and Diane Rothman AMB
Kimberly and Norman Sandridge BA
Richard and Rochelle Schwab
Kannon and Victoria Shanmugam BA
Dickstein Shapiro
Margaret Sheer BA
Kelly S. Shoop BA
Mark J. and Joan B. Siegel
Patricia L. Sims, Esq. and
David M. Sims, Esq. BA
Mr. Martin Skea and
Mr. Christopher Mondini
Ed and Andy Smith
Candace Smyth BA
Susan and Brian Sullam
Linda Griggs and Bill Swedish
Ann and Trevor Swett BA
Al and Nadia Taran BA
Jeff Thamkittikasem
Alice W. Thomas 1616
Mr. Dale E. Thompson
Peter Threadgill
David Tone
Mr. Clifton Hyde Tucker, Jr.
José Alberto Uclés
Sarah Valente
Tessa van der Willigen and
Jonathan Walters
John H. Vogel BA
In memory of Dorothy B. Watkiss BA
Sally and Richard Watts
Bill and Ted Wears-Richards
In memory of Mary Weathers
Sonia and Dale West
Laura and Paul Weidenfeld BA
Kevin Riley Gowen and
Robert Paul Wilkinson
Mr. Alan F. Wohlstetter
Julian Yap BA
Fred and Sandra Young
The Honorable Dov S. Zakheim and
Mrs. Deborah Bing Zakheim
$1,000 to 1,499
Anonymous (7)
Dean Amel and Terry Savela
Anthony Francis Lucas-Spindletop
Foundation
Mr. and Mrs. Gregory Ballentine
Dan and Nancy Balz
Mr. and Mrs. Albert H. Barclay Jr.
Robert B. Barnett and Rita Braver
R. Joseph Barton and Tricia Placido
Dr. and Mrs. James E. Bernhardt
Ms. Marion C. Blakey
Harriet and Bruce Blum
James Blum
Elizabeth Boyle
The Family of Marion and
Charles Bryce 1616 AMB
John and Linda Byington
Rita A. Cavanagh and
Gerald A. Kafka
Elaine H. Christ
Elaine Church
Antonia B. Ianniello and
George M. Chuzi
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*
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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