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FREE FOR ALL 2015
Special Issue
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TABLE OF
CONTENTS
1 Title page
3 Cast
5 Synopsis
7 About the Playwright
8 Bottomless Dream by
Drew Lichtenberg
10 Coming Back to
the Dream by Drew
Lichtenberg
12 Cast Biographies
16 25th Anniversary:
A Visual History
of Free For All
20 Artistic Biographies
25 About STC
27 For STC
30 Friends of Free For All
32 STC Staff
33 Audience Services
Dear Friend,
Welcome to the 25th Anniversary
of the Shakespeare Theatre
Company’s Free For All. Since its
inception in 1991, STC has brought
free productions of Shakespeare to
more than 665,000 people with the
generous support of our sponsors,
donors, and Friends of Free For All. I have always been
thankful to Joseph Papp for giving me a chance to direct
for Shakespeare in the Park when I was a young director,
and it was my dream to create a similar tradition of
free Shakespeare here in Washington. Thank you all for
helping to make it come true.
This play, A Midsummer Night’s Dream, has lain close to
my heart ever since I saw the legendary “white box”
production by Peter Brook in 1970, which reinvented
our understanding of how Shakespeare could be staged
and interpreted. One of the great things about Ethan
McSweeny’s production from 2012 is the manner in which
it similarly reminded audiences they were in the theatre.
After all, when Shakespeare first staged this play, he did
so on an empty stage, asking his audience to use their
imaginations to conjure up the green world of the forest
and its fairies. As you peer into the corners of the darkened
stage, see if you can’t use your own imaginations. You
might spot some ghosts of the theatre.
Artistic Director Michael Kahn
Managing Director Chris Jennings
William Shakespeare’s
Performances begin September 1, 2015
Sidney Harman Hall
Director
Ethan McSweeny
Resident Casting Director
Carter C. Wooddell
This season, we bring you productions that similarly
reinterpret the classics for 21st-century imaginations. In
the first of two world premieres and STC’s contribution to
the citywide Women’s Voices Theater Festival, decorated
international director Yaël Farber adapts Salomé, a biblical
tale that still resonates thousands of years later. For the
holiday season, STC Associate Artistic Director Alan Paul
puts us in the 1940s backstage world of Kiss Me, Kate. I
expect to have a little bit of fun with critics, since they’ve
had so much fun with me over the years, with a double-bill
of The Critic (adapted by Jeffrey Hatcher in our other world
premiere) and The Real Inspector Hound. In February, Ron
Daniels directs Faran Tahir in a production of Othello that
will take a deep look at Islam and Christianity. The following
month STC presents the American premiere of Headlong’s
1984 by George Orwell, a multimedia production that
explores surveillance and the security state, topics as relevant
now as they ever have been. Rising young director Ed
Sylvanus Iskandar closes the season with his edgy alternative
take on The Taming of the Shrew in a production sure to make
you think hard about identity and gender roles.
Choreographer
Peter Pucci
Original New York Casting
Binder Casting
Choreography Re-created by
Nancy Anderson
Jay Binder, CSA/Jack Bowdan, CSA
I look forward to seeing you at the theatre.
Wig and Makeup Designer
Leah J. Loukas
Warm regards,
Cover photo:
Adam Green by S. Christian Taylor-Low
Recipient of the 2012 Regional Theatre Tony Award®
Michael Kahn
Artistic Director
Shakespeare Theatre Company
Scenic Designer
Lee Savage
Costume Designer
Jennifer Moeller
Lighting Designer
Tyler Micoleau
Lighting Adapter
Jason Arnold
Original Music/Sound Designer
Fitz Patton
Literary Manager/Dramaturg
Drew Lichtenberg
Voice & Text Coach
Ellen O’Brien
Assistant Director
Jenny Lord
Production Stage Manager
Joseph Smelser*
Assistant Stage Manager
Robyn M. Zalewski*
A Midsummer Night’s Dream is presented by Apartments.com, with leadership support from Ameriprise Financial,
CoStar Group Inc., The Dow Chemical Company, Erkiletian, The Free For All Community Partners, Friends of Free
For All, Philip L. Graham Fund and Westfield LLC. Exclusive media support provided by The Washington Post.
Additional support provided by The Max and Victoria Dreyfus Foundation. In-Kind Support provided by Jaleo,
Metro Weekly, Red Velvet Cupcakery and Teaism.
*Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers.
1
CAST
A MIDSUMMER NIGHT’S DREAM
THE COURT
THANK YOU
FOR BRINGING
THE CLASSICS
TO LIFE.
ERKILETIAN IS PROUD TO SUPPORT
THE SHAKESPEARE THEATRE COMPANY.
Theseus, Duke of Athens.............................................................................................Dion Johnstone*
Hippolyta, Queen of the Amazon. ............................................................................... Sara Topham*
Philostrate, Theseus’ Master of the Revels................................................................ Adam Green*
Lysander..........................................................................................................................Stephen Stocking*
Hermia................................................................................................................................Chasten Harmon*
Helena......................................................................................................................................... Julia Ogilvie*
Demetrius...............................................................................................................Ralph Adriel Johnson*
Egeus, Hermia’s father........................................................................................... Gregory Linington*
FAIRIES
Oberon, King of the Fairies........................................................................................Dion Johnstone*
Puck............................................................................................................................................ Adam Green*
Titania, Queen of the Fairies............................................................................................Sara Topham*
First Fairy......................................................................................................................... Nancy Anderson*
Changeling Boy................................................. Maxwell Balay, Warren Burns (alternate in role)
MECHANICALS
Peter Quince, a carpenter................................................................................. Ted van Griethuysen*
Nick Bottom, a weaver........................................................................................... Tom Alan Robbins*
Francis Flute, a bellows-mender.......................................................................................Avery Clark*
Tom Snout, a tinker.....................................................................................................Herschel Sparber*
Snug, a joiner.............................................................................................................................. Hugh Nees*
Robin Starveling, a tailor........................................................................................ Christopher Bloch*
Ensemble................................................................................................ Laura Artesi, Freddie Bennett,
Ross Destiche, Jacqui Jarrold, Taylor Robinson,
Ryan Sellers, Jessica Thorne
Production Assistants: Rebecca Shipman, Maria Tejada
Music Vocal Coach/Dance Captain: Nancy Anderson*
Fight Consultant: Brad Waller
Special thanks to Chuck Fox, Chris Lewton, and Paul Villalovoz of Arena Stage.
THERE WILL BE ONE 15-MINUTE INTERMISSION
4401 FORD AVE | SUITE 400
ALEXANDRIA, VA 22302
703.671.4400
ERKILETIAN.COM
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-for-profit 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 D.C. 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 A. Schneider, Secretary
Michael Kahn, Artistic Director
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
Peter Cherukuri
Gloria Dittus
Debbie Driesman
Dr. Mark Epstein
Stefanie Erkiletian
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
Sudhakar Kesavan
Kevin Kolevar
Abbe David Lowell
Gail MacKinnon
SYNOPSIS
A MIDSUMMER NIGHT’S DREAM
Bernard F. McKay
Melissa A. Moss
Stephen M. Ryan
George Stamas
Lady Westmacott
Rob Wilder
Tom Woteki
Suzanne S. Youngkin
Theseus, Duke of Athens, is preparing for his wedding to Hippolyta, Queen of the
Amazons, but he is interrupted by Egeus, who demands Theseus resolve a quarrel. Egeus
wants his daughter Hermia to marry Demetrius, but Hermia is in love with Lysander
and wishes to marry him instead. Theseus tells Hermia she must marry Demetrius, enter
a nunnery, or be put to death, as the law of Athens dictates. Hermia and Lysander, left
alone, resolve to flee, but they are interrupted by Helena, who tells them of her love for
Demetrius. Hermia, seeking to comfort her friend, tells her about their plan of escape to
the woods and Helena resolves to reveal their designs to Demetrius. Elsewhere, a group
of Athenian working-men, or “Rude Mechanicals,” decide to put on a play for Theseus’
wedding, and leave to rehearse in the woods.
Ex-Officio Trustees
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
*Deceased
“Sweet Moon, I thank thee for
thy Sunny beaMS.
I thank thee, Moon, for ShInIng
now So brIght.”
a Midsummer night’s Dream, act 5, scene 2
The Shakespeare Theatre Company is grateful for the
support of the Sponsors of the 2015 Free For All.
Presented by
Leadership Support
Exclusive Media Sponsor
Additional Support
In Kind
In the forest outside Athens, fairies are dealing with the fallout from the quarrel between
Oberon, the fairy king, and Titania, the fairy queen. Deciding to take revenge, Oberon orders
his mischievous spirit Puck to find a magical flower, whose potion causes a person to fall in
love with the next creature he or she sees. Meanwhile, Demetrius is searching for Hermia in the
forest, with Helena following at his heels. She begs him to love her, but he remains disgusted
by her advances. Oberon overhears their conversation and, pitying Helena, directs Puck to
charm Demetrius with the nectar of the flower when he falls asleep, making him fall in love
with her when he awakes. Entering Titania’s grove as she sleeps, Oberon squeezes the love
potion onto her eyes. Puck, meanwhile, mistakes the sleeping Lysander for Demetrius. Waking,
Lysander spots Helena and falls in love with her under the influence of the love potion.
After Puck happens upon the Mechanicals’ rehearsal, he transforms Bottom the weaver’s head
into a donkey’s. The Mechanicals flee, and Bottom awakens Titania, who falls in love with him
at first sight. Meanwhile, Oberon, realizing that Puck mistook Lysander for Demetrius, orders
him to correct his error. Puck enchants Demetrius and he awakens, sees Helena, and swears
his love to her. Hermia arrives and all four Lovers begin fighting. Puck leads them all over the
forest, until, exhausted, they lie down and sleep. Puck then lifts the charm from Lysander’s
eyes, so that he will love Hermia again.
Titania falls asleep with Bottom in her grove. Oberon wakes Titania and disenchants her, as
Puck changes the sleeping Bottom back into a man. Elsewhere in the forest, day approaches
and Theseus and Hippolyta enter with a hunting party. Seeing the Lovers asleep on the
ground, Theseus wakes them. Demetrius and Helena now love each other, as do Lysander and
Hermia. Theseus approves, and all leave for Athens. Bottom awakes and recounts his dream.
Rushing back to Athens, Bottom promises the Mechanicals their play will be a success.
At the wedding celebration, after Theseus and the Lovers have all been married, he selects
the Mechanicals’ play, “Pyramus and Thisbe,” to the great amusement of the court. After the
play’s conclusion, Theseus, Hippolyta, and the Lovers retire to bed. Puck, Oberon, and Titania
enter and bless the marriage beds. The play ends with Puck’s epilogue, in which he asks the
audience for their applause.
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.
“‘tis almost fairy time”
- A Midsummer Night’s Dream
The Washington Post celebrates
the artistic work of William Shakespeare
as exclusive media sponsor of the
Shakespeare Free for All
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-yearold 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.
washingtonpost.com/community
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
Bottomless
ream
D
The Cast of Shakespeare Theatre Company’s 2012
production of A Midsummer Night’s Dream, directed
by Ethan McSweeny. Photo by Scott Suchman.
(or, Palindromes & Palimpsests)
T
by Drew Lichtenberg, Literary Manager
here’s a famous proverbial saying
about music criticism: that it’s like
“dancing about architecture.” The same
challenge applies to anyone writing about A
Midsummer Night’s Dream. Trying to describe
it is like pinning a fluttering butterfly against
the wall. The play’s effect is musical as much
as dramatic, its register lyric, its form elegant
and dancelike.
Structurally speaking, Midsummer’s two
halves mirror each other, like a palindrome.
We begin in the Athenian court, with Theseus
sorting the competing claims of four young
lovers as he prepares to wed Hippolyta.
We next meet the “Rude Mechanicals,”
Athenian working-men rehearsing a play
for Theseus’ nuptials. Thirdly, we enter the
forest, a fairyland into which the lovers and
Mechanicals stumble. Coming out of the
forest, the play proceeds in reverse order: We
see a short scene with the mechanicals and end
back at the Athenian court with the promised
wedding rites, transformed unfathomably
from their first reference into the Mechanicals’
play, “Pyramus and Thisbe.”
Shakespeare thus telescopes us into and
out of the dreamlike world of the forest,
mediating from the most formal level of
civilization (Theseus’ court) to the everyday
(the Mechanicals’ rehearsal room) to the
natural world (the magical forest). This last
“green world” is the theatre in its purest form:
It hosts a series of magical metamorphoses
and is described in such hyperbolic language
that it has proven impossible for directors
to illustrate completely. It is Shakespeare’s
own ingenious adaptation of the empty
Elizabethan stage, a world limited only by the
imaginations of the playwright, his company,
and his audience. Which is to say, limitless.
“The best in this kind are but shadows,”
Theseus says to Hippolyta, referring
8
specifically to the Mechanicals’ play, and more
generally to the theatre itself, “and the worst
are no worse, if imagination amend them.” “It
must be your imagination then,” Hippolyta
replies, “and not theirs.” In other words, the
theatre relies upon the imaginations of its
creators and spectators, rather than the finery
of its stage dressing, to cast its magic spell.
Another name for this kind of layered
structure is the palimpsest. The word comes
from the Latin palimpsestus, “scraped clean
and used again.” The Romans wrote on wax
tablets (palimpsests), which were erased, or
“scraped clean,” and written over. On Latin
lesson books, old meanings, like the natural
order undergirding society, or the imagination
lying beneath the conscious mind, were often
visible in ghostly echoes. In the medieval era,
layered, palimpsestic structures were used in
religious dramas depicting spiritual journeys,
such as the stations of the cross, the pilgrim’s
progress, or a saint’s life. On the one hand, it
is exceedingly odd that Shakespeare should
adapt this structure for A Midsummer Night’s
Dream, a secular play that functions mostly as
a comedy. But it’s precisely this palindromic
stripping-away that helps to explain the play’s
curiously intense power, and Shakespeare’s
palimpsestic method of overwriting his
source materials provides harmony to the
dissonances of its world.
A Midsummer Night’s Dream was written
during Shakespeare’s “lyric period”
between 1592 and 1596, an extraordinary
stretch in which he also wrote Richard II,
Romeo and Juliet, and epic poems such as
“The Rape of Lucrece” and “Venus and
Adonis.” He had begun, most likely, the
sequence of sonnets addressed to “the
beautiful youth.” Collectively, these works
are unlike anything that had been seen or
read in English literature. Written in some
of the most beautiful verse in the English
language, they unite such disparate strands
as Ovidian mythology, medieval tradition,
and psychologically modern portraits of
individuals adrift in an unknowable world.
They are a young writer’s works, teeming
with the spirit of invention, and they
are almost postmodern in their virtuosic
conflation of high and low source material.
In A Midsummer Night’s Dream, for example,
Puck is identified with Robin Goodfellow, a
mischievous spirit from popular folklore, but
he also functions within the play as Cupid,
the classical archer who curses mortals with
irrational love. Doubling as Philostrate
at the end of the action, Puck serves as
Theseus’ Master of Revels, an Elizabethan
functionary who reviews the Mechanicals’
play and approves it for Theseus. Titania and
Hippolyta, the Fairy and Amazon queens,
respectively, evoke both Venus and Diana,
yoking the hedonistic goddess of love to
the virginal goddess of the moon. Similarly,
Bottom, an Athenian weaver, wears the asshead of a medieval mummer in the world of
the forest. After performing the role of the
Romeo-like Pyramus before the Duke, he
leads the company in a bergomask, a dance
associated with the Harlequin of the commedia
dell’ arte, who like Bottom is also a rustic fool.
Bottom’s most profound echo, the moment
when Shakespeare’s palimpsestic method
comes closest to its medieval sense of a
spiritual journey, is when he wakes up in the
forest and tries to remember the details of
his dream. Of all the mortals in the play, the
lowly weaver is the one who comes closest
to remembering the mystic fairy world. He
speaks haltingly, and in his confused senses
Shakespeare translates nonsense into the
sublime, evoking uncannily the experience of
dream: “The eye of man hath not heard, the
ear of man hath not seen, man’s hand is not
able to taste, his tongue to conceive, nor his
heart to report what my dream was!”
This is Shakespeare’s gloss on Paul’s first
epistle to the Corinthians. “The eye hath not
seen, the ear heard, neither have entered
into the heart of man the things which God
hath prepared for them that love Him.” Paul
concludes this sermon by trying to describe
the limits of the spiritual experience, but he
finds only depths. “The Spirit searcheth all
things, yea, the deep things of God.” I believe
that Shakespeare encountered this last phrase
in the Tyndale New Testament of 1526. The
most popular book in Elizabethan England,
the Tyndale translates “the deep things of
God” as “the bottom of God’s secrets.” And so,
in Bottom’s vision, the theatrical dream evokes
the bottomless apprehension of the divine
itself. It is little wonder the effect of this play is
so hard to describe. It is about, and makes one
feel, indescribable sensations.
9
Coming Back
to the
Ethan McSweeny returns to
A Midsummer Night’s Dream and
the Free For All
by Drew Lichtenberg, Literary Manager
The Cast of Shakespeare Theatre Company’s 2012
production of A Midsummer Night’s Dream, directed
by Ethan McSweeny. Photo by Scott Suchman.
“T
here’s something magical about
watching something you worked
on very closely,” Ethan McSweeny
says, sounding a bit like Bottom trying to
remember his dream.
“When I go to the closing performance of one
of my shows, I can see all the strata of the rock.
The audience sees the results, but I can see a
moment and remember when we first imagined
it, when we first worked with the actor, when it
didn’t work. It’s a slightly out-of-time, out-ofbody experience. You remember all the steps at
the same time that you’re actually witnessing the
thing happening. And that can be, that can be
great. Sometimes it can be a little bit …” He trails
off, trying to find the right words. “I’m not sure.
I get a little emotional at times because you can
feel the work that went into it.”
In a wide-ranging conversation a few
weeks before starting rehearsals, McSweeny
seems awash in memories as he recalls his
2012 production of A Midsummer Night’s
Dream. McSweeny, who has compared the
play to a “three-ring circus,” knows all too
well the challenges it poses to a director’s
imagination. “In the initial 2012 production,
it was my ambition to make all the different
stories work equally well: the Fairies, the
Lovers, the Mechanicals. I’d like to think the
remount is a testament to our success, but
it is also a challenge to get all those plates
spinning again.”
McSweeny’s specific insight was to set
Midsummer in an abandoned theatre, allowing
10
the three worlds—the magical forest of the
fairies, the civil pomp of the Athenian court,
the play-within-a-play of the Mechanicals—to
be revealed as what they always were: rich
metaphors for the theatrical experience. The
setting also allowed McSweeny and the creative
team to behave like kids in a, well, a magical
forest, letting their imaginations run free.
Now the memories come flooding back:
pianos flying in mid-air, mud-fights conjured
out of laborious research and development,
fairies swinging from chandeliers and climbing
the walls. “Oh my gosh, the trap doors!”
McSweeny says. “We really had never done
multiple trap doors with different events
underneath them, including trampolines!”
He later adds, “Most of what we did in the
rehearsal hall was kind of a sketch. It didn’t
really take shape until we got onstage, which
was engineered with tools that allowed us to
treat it like a playground and a jungle gym.”
Keen-eyed subscribers were able to spot many
of the storytelling tools McSweeny employed for
Midsummer returning in his 2014-2015 production
of The Tempest. Not only did both productions
seamlessly integrate three Shakespearean worlds,
both also allowed STC to fill the 774-seat Sidney
Harman Hall with Broadway-worthy feats of
song and spectacle. McSweeny, who has directed
many productions in the Harman, credits
Midsummer as a personal breakthrough, one that
continued into The Tempest. “I was really proud
of what we accomplished with Midsummer at
the time. It represented a coming-together of a
The Cast of Shakespeare Theatre Company’s 2014 production of The Tempest, directed by Ethan McSweeny. Photo by Scott Suchman.
bunch of things I’d been working on at STC and
in my own approach to Shakespeare, but the
work done by the entire organization to research
and develop all sorts of things that don’t exist in
real life (chandelier trapezes come to mind) was
really something. And that meant that a couple of
years later, as a company we then went into The
Tempest with more confidence in our collective
ability to start with a bold idea and find the ways
to achieve it.”
As to whether anything will be different this
time around, McSweeny hopes so, pointing
out that scheduling conflicts have led to a host
of new actors in the roles of Oberon/Theseus,
Bottom, and all of the young lovers, though he is
happy to have continuity elsewhere in the cast.
“Fortunately we’ve got the extraordinary Adam
Green back as Puck and the equally extraordinary
Sara Topham back as Titania.” He pauses,
adding wryly, “not to mention the pivotal Nancy
Anderson as First Fairy.” This may be another
reason for McSweeny’s wistful tone. After
working together on Midsummer, McSweeny and
Anderson (who was also music coach for the
production) are now married.
McSweeny has other personal connections to
the show. Admitting that he has designed these
last two productions with his young nephew
in mind, as an introduction to Shakespeare for
young audiences, this Free For All marks another
McSweeny making his theatrical debut. “My
nephew, Warren Burns, is going to be one of our
two Changeling Boys,” McSweeny says. “I will
say he earned it on his own merits. We made him
come in and audition and he did a very good
job.” Denying that he’s trying to launch another
theatrical career, McSweeny is nevertheless proud
that he was able to reach this one young audience
member. “He has been interested since he saw
Midsummer a few years ago. I think when he
realized there were parts for young boys it sort of
sparked his imagination, you know?”
McSweeny, a native Washingtonian, got his
own start with Shakespeare Theatre Company
and the Free For All. As a young directing intern,
McSweeny worked on the very first Free For All
production. “I was the child-wrangler on The
Merry Wives of Windsor,” he says, admitting that
the passage of time has given him pause. “It was
25 years ago. That’s absolutely insane.”
Prepping for rehearsal, watching archival
videos of his old production, McSweeny’s
attention turns back to the play, to the lovers
waking up from the night’s revels, groggily trying
to recall their incredible night. It’s Shakespeare
writing about the theatre, isn’t it? “Yes, and I’m
sure that is exactly what Shakespeare intended.
There is something gained and also something
lost when you wake up from a dream: What is it
Caliban says in the sounds and sweet airs speech,
‘that when I waked I cried to dream again’?
You’re glad to have had the experience, but you
can’t go back.” He pauses, “In our case, we do get
to go back to it, but a little bit differently. It’s like
getting to visit an old friend. When you get to do
something a second time, you get a chance to give
it a little longer life. I’m very happy to be sharing
it again.”
11
CAST BIOGRAPHIES
NANCY ANDERSON*
First Fairy
STC: The Tempest, A
Midsummer Night’s Dream.
NEW YORK: Broadway:
Wonderful Town, A Class Act;
Off-Broadway: York Theatre:
Fanny Hill (Drama Desk nomination), Jolson
& Co. (Drama Desk nomination), Ionescopade,
Yank!; Playwrights Horizons: Far From
Heaven. NATIONAL TOURS: Kiss Me, Kate
(Helen Hayes nomination), Doctor Dolittle.
INTERNATIONAL: London: Kiss Me, Kate
(Olivier Award nomination). REGIONAL:
Goodspeed Musicals: Adelaide in Guys
and Dolls; Signature Theatre: Side By Side
By Sondheim (Helen Hayes nomination);
Ogunquit Playhouse: Witches of Eastwick;
Paper Mill Playhouse/Seattle Fifth Avenue:
Damn Yankees; Goodspeed Opera House:
City of Angels; Paper Mill Playhouse: Peter
Pan, She Loves Me. TELEVISION: Great
Performances: Kiss Me, Kate (West End
production), South Pacific (starring Reba
McEntire). AWARDS: Winner of 2011 Noël
Coward Competition. CD: Ten Cents a Dance.
LAURA ARTESI
Ensemble
REGIONAL: Capital T Theatre:
Gruesome Playground Injuries;
Threshold Repertory Theatre:
The Lieutenant of Inishmore; City
Theatre: Othello, A Streetcar
Named Desire. TRAINING: The Shakespeare
Theatre’s Academy for Classical Acting at George
Washington University: MFA.
MAXWELL BALAY
Changeling Boy
STC: A Midsummer Night’s
Dream. FILM: The Brooklyn
Brothers Beat the Best.
TELEVISION: NBC: Blacklist;
PBS Kids: Coach Hooper;
WBOC 16: Outdoors Delmarva; National
Aquarium in Baltimore Commercial.
AWARDS: National and regional awards in
competitive hip hop and acrobatic dance.
Navy League Cadet Corps awards. PRINT:
Bruce Lee in Because of Them We Can
Campaign. TRAINING: Linda Townsend
Management. OTHER: National Junior
Honor Society; Petty Officer 2nd Class in
Navy League Cadet Corps.
12
FREDDIE BENNETT
Ensemble
STC: Dunsinane, The Tempest.
REGIONAL: Anacostia
Playhouse: Occupied Territories;
Florida Studio Theatre: Ruined,
Shotgun; Hartford Stage: Antony
and Cleopatra; Pennsylvania Shakespeare Festival:
Julius Caesar. FILM: Delusions of Guinevere.
TRAINING: University of North Carolina School
of the Arts; Circle in the Square. WEB: Pride.
CHRISTOPHER BLOCH*
Robin Starveling
STC: A Midsummer Night’s
Dream, Romeo and Juliet.
NATIONAL TOUR: The Buddy
Holly Story. REGIONAL:
Ford’s Theatre: 1776, Big
River, Shenandoah, State of the Union, Liberty
Smith, A Christmas Carol; Signature Theatre:
Kid Victory, Chess, Les Misérables (Helen Hayes
Award nomination), Kiss of the Spider Woman,
Merrily We Roll Along, Urinetown (Helen Hayes
Award nomination), 20th Century; Arena Stage:
A Christmas Carol 1941 (Helen Hayes Award
nomination), Black No More, Damn Yankees;
Everyman Theatre: Rabbit Hole, Uncle Vanya,
Jaques Brel, Art; Lyric Theatre of Oklahoma: Billy
Elliot; Guthrie Theater, The Repertory Theatre of
St. Louis, Virginia Stage Company; ACT (Seattle),
Indiana Repertory Theatre, Olney Theatre Center,
Round House Theatre, Kennedy Center. FILM:
Damascus Road, Butler MN. TELEVISION: House
of Cards, The West Wing, Fast Food Films, PBS’s The
Great Northfield Raid, PBS’s The Dakota Conflict.
AWARDS: 2012 Lunt-Fontanne Fellowship,
Helen Hayes Award for Thénardier in Les
Misérables. OTHER: Star Wars audio drama.
WARREN BURNS
Changeling Boy
STC: A Midsummer Night’s
Dream is Warren’s STC and
professional debut. He is a
native Washingtonian and is
currently a second grader at
Capitol Hill Day School.
AVERY CLARK*
Francis Flute
STC: The Tempest, Measure
for Measure. REGIONAL:
Alley Theatre: Journey’s End;
Cincinnati Playhouse: A
Christmas Carol; St. Louis Repertory Theatre:
The Heidi Chronicles; Alabama Shakespeare
Festival: Romeo and Juliet, Cymbeline, The Count
of Monte Cristo; Arkansas Repertory Theatre:
The Compleat Wrks of Wllm Shkspr, Hamlet, Henry
V, Death of a Salesman, The 39 Steps; Orlando
Shakespeare Theatre: Hamlet, The Importance of
Being Earnest, Pride & Prejudice, A Midsummer
Night’s Dream, All’s Well That Ends Well,
Charm; Pennsylvania Shakespeare Festival: A
Midsummer Night’s Dream; Oldcastle Theatre
Company: Three Days of Rain; Premiere Stages:
The Shape of Things; Theatresquared: Rabbit
Hole, The 39 Steps. TELEVISION: Guiding Light,
American Genius. TRAINING: University of
Arkansas: BA in Theatre.
ROSS DESTICHE
Ensemble
STC: Tartuffe, The Metromaniacs,
The Tempest. REGIONAL:
Walking Shadow Theatre
Company: Gabriel, The Three
Musketeers; Back Room Shakespeare Project: Julius
Caesar; CTC: Fashion 47. INTERNATIONAL:
Egg Theatre (Bath): How I Became a Pirate. FILM:
Dear White People, The Control Group. TRAINING:
University of Minnesota/Guthrie BFA Actor
Training Program. WEB: rossdestiche.com.
ADAM GREEN*
Philostrate/Puck
STC: Affiliated Artist; A
Midsummer Night’s Dream
(Helen Hayes nomination),
All’s Well That Ends Well
(mainstage and Free For All),
The Two Gentlemen of Verona, The Liar (Helen
Hayes nomination, Emery Battis Award). NEW
YORK: Pearl Theatre; Red Bull Theatre; Second
Stage Theatre; Cherry Lane Theatre; Lion Theatre;
Theater at St. Clement’s; New York City Opera;
59e59; Theatre for the New City; Walkerspace.
REGIONAL: McCarter Theatre: Figaro in The
Figaro Plays (dir. Stephen Wadsworth), The
Understudy; Hartford Stage (CT Critics Circle
nomination); Barrington Stage; Alley Theatre; La
Jolla Playhouse: Peter in Peter and the Starcatchers
(dir. Roger Rees/Alex Timbers); Geva Theatre;
Actors Theatre of Louisville; Arena Stage: Awake
and Sing! (dir. Zelda Fichandler, Rose Robinson
Cowen Fellowship); Alliance Theatre: The Heart Is
a Lonely Hunter (dir. Doug Hughes); Shakespeare
on the Sound. TELEVISION: The Good Wife.
TRAINING: NYU: MFA; Harvard: BA in English.
CHASTEN HARMON*
Hermia
NEW YORK: Broadway: HAIR
(Tony Award® for Best Musical
Revival); Off-Broadway:
Signature Theatre Company:
Iphigenia 2.0 (Tina Landau). NATIONAL TOURS:
Les Misérables 25th Anniversary. REGIONAL:
Yale Repertory Theatre: Familiar, The House that
will not Stand; Chautauqua Theater Company:
A Raisin in the Sun, The Tempest; Berkshire
Theatre Festival: Oklahoma; Papermill Playhouse:
Les Misérables 25th Anniversary; Marriott
Lincolnshire: Once on This Island, All Shook Up.
TRAINING: New York University: BFA Acting;
Yale School of Drama: MFA Acting.
JACQUI JARROLD
Ensemble
STC: 2012–2013 Acting Fellow;
Measure for Measure, Coriolanus,
Wallenstein, A Midsummer
Night’s Dream. NEW YORK:
The Flea Theatre: The Mysteries (WKSP); The
Seeing Place Theater: Independence; Columbia
MFA Collaboration: Spoon River Anthologies.
OTHER: AATE’s Developmental Premiere of
The Edge of Peace. TRAINING: Northwestern
University: BA in Theatre, European History.
RALPH ADRIEL JOHNSON*
Demetrius
REGIONAL: Trinity Repertory
Company: Christmas Carol;
Bread Loaf School of English:
George in Our Town, Jem Finch
in To Kill a Mockingbird, Richard Henry in Blues
for Mister Charlie, Hector in Troilus and Cressida;
Brown/Trinity MFA: Benedick in Much Ado
About Nothing, Duke Orsino in Twelfth Night,
Galactic Jack/Doc in The Tooth of Crime, Reverend
D/Baby in In the Blood, Lysimachus in Pericles,
Eilert Lövborg in Hedda Gabler; Oberlin College:
Lincoln in Topdog/Underdog, John in Oleanna,
Banquo in Macbeth, George Armstrong in Intimate
Apparel. TRAINING: Brown/Trinity Rep: MFA in
Acting; Oberlin College: BA in Theatre.
DION JOHNSTONE*
Theseus/Oberon
INTERNATIONAL: Arts Club
Theatre (Vancouver, BC): Dr.
Martin Luther King Jr. in Katori
Hall’s The Mountaintop; Nine
seasons with the Stratford Festival: Othello in
Othello, White King in Alice Through the Looking
Glass, Aaron in Titus Andronicus, Caliban in
The Tempest, Macduff in Macbeth, Oberon in
A Midsummer Night’s Dream, Valentine in The
Two Gentlemen of Verona, Edmund in King Lear,
Tom Robinson in To Kill a Mockingbird; Mirvish
Productions: originated the role of Boromir
in the musical of Lord of the Rings (world
premiere); Canstage: Davey Battle in Take Me
Out (Canadian premiere). FILM: Underground
Railroad: The William Still Story (PBS); X-Files: I
13
Want to Believe; The Core. TELEVISION: UPtv’s
original series Ties That Bind (currently playing
Det. Devin Stewart); Stargate SG-1 (Showtime);
The Listener, Flashpoint (CTV); Defiance (Syfy).
TRAINING: University of Alberta: BFA in
acting; Graduate of Stratford’s Birmingham
Conservatory for Classical Theatre Training.
WEB: www.dionjohnstone.com.
GREGORY LININGTON*
Egeus
STC: The Tempest, Tartuffe; NEW
YORK: Brooklyn Academy of
Music: Throne of Blood; Joe’s Pub
at The Public: The Unfortunates.
REGIONAL: Arena Stage: Equivocation; The
Kennedy Center: Welcome Home, Jenny Sutter;
Shakespeare Center of Los Angeles: Romeo &
Juliet; Berkeley Repertory: Tartuffe; South Coast
Repertory: Tartuffe; Center Theatre Group: End
of the Rainbow; 12-Year Company Member of
Oregon Shakespeare Festival: Love’s Labor’s
Lost, Julius Caesar, Merchant of Venice, King Lear,
The Tempest, Twelfth Night, The Cherry Orchard,
Equivocation (World Premiere), Oedipus Complex
(World Premiere). INTERNATIONAL: 5-Year
Company Member of Misery Loves Company
(Prague): As You Like It, Cloud Nine, Angels in
America, The Age of Reason (World Premiere).
FILM: Innocent Sleep, Persuasion, Harrison’s Flowers.
TELEVISION: Grey’s Anatomy, Shameless, Major
Crimes, The West Wing. INSTRUCTOR: Southern
Oregon University, Oregon Shakespeare Festival,
Los Angeles High School Shakespeare Project.
TRAINING: The Groundlings, SITI Company at
Skidmore College Summer Intensive (dir. Anne
Bogart), Two-Year Actor Training Program: Pacific
Conservatory for the Performing Arts. WEB:
gregorylinington.com.
HUGH NEES*
Snug
STC: Measure for Measure, The
Government Inspector, The Merry
Wives of Windsor, King Lear, The
Beaux’ Stratagem and others.
REGIONAL: Arena Stage: Oklahoma!, Christmas
Carol 1941 and others. TELEVISION: Netforce,
Homicide. OTHER: Member AEA, SAG-AFTRA.
TRAINING: Santa Clara University.
JULIA OGILVIE*
Helena
NEW YORK: Off-Broadway:
La MaMa: That Beautiful Laugh
(starring Alan Tudyk, dir.
Orlando Pabotoy); Steinberg
Studio: Author/Performer of solo play Freckle and
Burn (dir. Vivienne Benesch); Upright Citizens
Brigade Theatre: in-house sketch comedy team
14
Moriarty. REGIONAL: Dorset Theatre Festival:
The Mousetrap (dir. Paul Mullins); Chautauqua
Theater Company: You Can’t Take It With You,
Macbeth, Anna Ziegler’s An Incident; LA’s
Comedy Store, Flappers, and Improv Olympics
West: Comedy Duo Manifesto of Hiatus. FILM:
American Bistro. TELEVISION: Shakespeare,
Hashish & Ish. AWARDS: Presidential Scholar in
the Arts. TRAINING: Maggie Flanigan Studio,
The Juilliard School. WEB: www.juliaogilvie.com.
TOM ALAN ROBBINS*
Nick Bottom
NEW YORK: Broadway:
Original casts of: The Lion
King (Pumbaa), Is He Dead?
(Dutchy), Sunset Boulevard,
Jerome Robbins’ Broadway, Threepenny Opera, Once
Upon a Mattress; Other Broadway: Newsies; OffBroadway: Brooklynite, On the Verge (New York
Premiere), Isn’t It Romantic (World Premiere), The
Rise and Rise of Daniel Rocket (World Premiere),
The Cradle Will Rock, King Lear (Cornwall); Public
Theater: Henry V. NATIONAL TOURS: Les
Misérables (Thénardier). REGIONAL: Denver
Center: The Whale (Charlie, World Premiere),
Fiddler on the Roof (Tevye), Man of La Mancha
(Sancho), The Producers (Franz); Cleveland
Play House: My Name Is Asher Lev. Encores:
Music in the Air, Pardon My English, Tenderloin.
TRAINING: The Juilliard School;
The Acting Company.
TAYLOR ROBINSON
Ensemble
REGIONAL: HalfMad
Theatre: Death and the Mermaid;
relEASE Physical Theatre:
straight on till mourning; Source
Theatre: Painted; Synetic Theater: The Island of
Dr. Moreau (understudy); Capital Fringe: Size
Doesn’t Matter; D.C. Black Theatre Festival:
Seed. TRAINING: The National Conservatory
of Dramatic Arts; NCDA’s Actors Repertory
Theatre program.
RYAN SELLERS
Ensemble
REGIONAL: Signature
Theatre: The Threepenny Opera,
Miss Saigon; Studio Theatre:
Bloody Bloody Andrew Jackson;
Imagination Stage: The Night Fairy, Anime
Momotaro, P. Nokio, The Wind in the Willows;
Synetic Theater: The Taming of the Shrew, The
Three Musketeers, King Lear, A Midsummer
Night’s Dream (Helen Hayes Award, Best
Ensemble), Macbeth, Host and Guest, The Master
and Margarita, Antony and Cleopatra, Don
Quixote, Dante, Romeo and Juliet (Helen Hayes
NEED A NEW PLACE?
SURF THE
APARTMINTERNET
BRAD BELLFLOWER
SILICON VALLEY MAVERICK
RY
25TH ANNIVERSA
FREE
FOR
ALL
25
1991
1992
1993
1994
1995
1996
1997
1998
1999
2000
2001
2002
2003
2004
2005
2006
2007
2008
2009
2010
2011
2012
2013
2014
2015
The Merry Wives of Windsor
As You Like It
Much Ado About Nothing
The Comedy of Errors
Twelfth Night
Measure for Measure
Henry V
All’s Well That Ends Well
The Merry Wives of Windsor
The Merchant of Venice
King Lear
The Two Gentlemen of Verona
Hamlet
Much Ado About Nothing
A Midsummer Night’s Dream
Pericles
Love’s Labor’s Lost
Hamlet
The Taming of the Shrew
Twelfth Night
Julius Caesar
All’s Well That Ends Well
Much Ado About Nothing
The Winter’s Tale
A Midsummer Night’s Dream
1 9 9 4 The Comedy of Errors
1 9 9 1 The Merry Wives of Windsor
1 9 9 5 Twelfth Night
“There was a dog in Two Gents; he
actually took a bath, if you know what
I’m saying—he washed all his private
parts with his tongue while I was talking.
The audience went insane watching him
do that; it was hysterical. My next line
was: ‘Have you ever seen me do such a
thing?’ I mean, it was perfect.”
Michael Kahn
2 0 0 9 Free For All moves to Sidney Harman Hall
2007 Love’s Labor’s Lost
“I always say on the first day [of
rehearsal] that the Free For All has
to be fun.”
Jenny Lord, former Resident Assistant Director
Floyd King, Launce in The Two Gentlemen of Verona
2 0 02 The Two Gentlemen of Verona
16
“One of the major goals of Free For All is
to make Shakespeare accessible to diverse
audiences. We hope that by changing venues
we will be able to expand and improve this
cherished event.”
“I love it. I love the atmosphere.
there’s a sense of community. We
all do it together, whether you
hold a spear or speak all the lines
of the play.”
Kelly McGillis,
Viola in Twelfth Night
1 9 97 Henry V
2013 Much Ado
About Nothing
years ago, Michael
Kahn and Board
Chair R. Robert Linowes
had a vision: to share
Shakespeare with all of
D.C., with no formality,
no pressure, and no price
of admission. “From
the start, the goal was
to make the works of
Shakespeare accessible
to everybody,” explains
Kahn. “People who
have never been to a
theatre or can’t afford a
babysitter or don’t know
what [Shakespeare] is
all about—that’s who
we want, and that’s
who keeps showing up.
They show up and they
experience how these
plays, written 400 years
ago, can still resonate.”
From the very first
performances in the
4,200-seat Carter Barron
Amphitheatre on the
edge of Rock Creek Park,
Free For All became a
beloved fixture in the
District’s culture. Families
and young people, firsttime theatregoers and
dedicated patrons came
together in a relaxed,
festival-like atmosphere.
For 25 years, STC has been
honored to share two
weeks of live Shakespeare
performances with our
D.C. neighbors and friends.
For more FFA memories,
see the lobby displays and
ShakespeareTheatre.org.
Photos opposite page: Paul Winfield
and Michael Kahn, courtesy of STC;
Wallace Acton, Peter Webster, and
Kelly McGillis by Carol Rosegg;
Floyd King by Carol Rosegg.
Photos this page: Set of The
Comedy of Errors by Carol Rosegg;
Harry Hamlin by Carol Rosegg;
Theatregoers, courtesy of STC;
Mauricio Tafur Salgado and Hank
Stratton by Stan Barouh; Mark
Hairston and Rachel Spencer Hewitt
by Scott Suchman.
17
Award, Best Ensemble), Carmen, Othello, The
Magic Balloon, The Music Box.
HERSCHEL SPARBER*
Tom Snout
A Midsummer Night’s Dream.
NEW YORK: Broadway:
City of Angels (dir. Michael
Blakemore), Guys and Dolls
(Jerry Zaks). REGIONAL: Kings County
Shakespeare: Measure for Measure; Mark
Taper Forum: The Street of the Sun (world
premiere); Cleveland Play House: On the
Waterfront (world premiere); Intiman Theatre:
Paradise Lost; Hollywood Bowl: Guys and Dolls;
Tennessee Rep (founding member): Of Mice
and Men; Reprise Theatre Company: Kiss Me,
Kate. FILM: The Birdcage, Serenity, Osmosis Jones,
Brother, The Search for El Dorado, Lucky Stiff.
TELEVISON: Star Trek: Deep Space Nine, NYPD
Blue, Newsradio, My Name Is Earl, Boy Meets
World, Scarred City (HBO).
STEPHEN STOCKING*
Lysander
NEW YORK: Off-Broadway:
Les Freres Corbusier: Dance
Dance Revolution. NATIONAL
TOUR: Henry and Mudge.
REGIONAL: Williamstown Theatre Festival:
Romeo and Juliet, Anything Goes. TRAINING:
New York University: MFA; Grad Acting: Rajiv
Joseph’s Describe the Night (world premiere),
Desire, Three Sisters, Plenty, Landscape of the Body,
The Beaux’ Strategem, Pale Fires.
JESSICA THORNE
Ensemble
STC: The Tempest, A Midsummer
Night’s Dream. REGIONAL:
Signature Theatre: Cabaret,
The Threepenny Opera;
Studio Theatre 2nd Stage: The Rocky Horror
Show; The Kennedy Center: My Fair Lady in
Concert; Synetic Theater: Home of the Soldier,
The Rough-Faced Girl, Open World; Imagination
Stage: Double Trouble Workshop. WEB: www.
jessicathornemusic.com.
SARA TOPHAM*
Hippolyta/Titania
STC: A Midsummer Night’s
Dream. BROADWAY:
Roundabout Theatre
Company: Gwendolen in The
Importance of Being Earnest. REGIONAL: The
Old Globe: Olivia in Twelfth Night; McCarter
Theatre: Cecily in Travesties; Hartford Stage:
Miranda in The Tempest, Thea in Hedda Gabler.
INTERNATIONAL: London: Mrs. Van Buren
in the U.K. Premiere of Intimate Apparel,
Dorothy in the world premiere of Love Me Do;
Stratford `Festival (Canada): Juliet in Romeo
and Juliet, Ruth in Blithe Spirit, Célimène in The
Misanthrope, Olivia in Twelfth Night, Madame de
Tourvel in Les Liaisons Dangereuses, Wendy in
Peter Pan, Gwendolen in The Importance of Being
Earnest, Laurencia in Fuente Ovejuna, Mabel in
An Ideal Husband, Cordelia in King Lear, Laura in
The Glass Menagerie, Grace in London Assurance,
Rosalind in As You Like It, Brooke Ashton in
Noises Off, Anne Boleyn in Henry VIII, Cassandra
in Agamemnon, Diana in All’s Well That Ends
Well; Belfry Theatre: The Governess in The Turn
of the Screw; Neptune Theatre: Maggie in Cat
on a Hot Tin Roof; Theatre Aquarius: Constanze
in Amadeus. FILM/TELEVISION: Eloise at
Christmastime, The Importance of Being Earnest,
Twelfth Night.
TED VAN GRIETHUYSEN*
Peter Quince
STC: Affiliated Artist; roles
since 1987 include Owen
Glendower in Henry IV,
Part I, and Justice Shallow
in Part II, Antigonus/Old Shepherd in The
Winter’s Tale (mainstage, FFA), Peter Quince
in A Midsummer Night’s Dream, King of
France in All’s Well That Ends Well, Henry
Leeds in Strange Interlude, Mr. Praed in
Mrs. Warren’s Profession, Malvolio in Twelfth
Night, Andrew Undershaft in Major Barbara,
Holofernes in Love’s Labor’s Lost (mainstage
and RSC), Philip II in Don Carlos, Lear in
King Lear, Prospero in The Tempest. NEW
YORK: Broadway: Romulus, Inadmissible
Evidence. REGIONAL: Folger Theatre: The
Clandestine Marriage; Studio Theatre: The
Steward of Christendom, Life of Galileo, Rock
‘n’ Roll, A Number, The Habit of Art, The
Apple Family Plays. INTERNATIONAL:
Battersea Arts Center, London: Life of Galileo;
Arcola, London: Broadway from the Shadows;
Trafalgar Studios: Mr. Paradise in Lovely
and Misfit. AWARDS: Seven Helen Hayes
Awards; The Will Award; Drama Critics
Award (NYC); Richard Bauer Award for
Outstanding Contribution to Washington
Theatre. INSTRUCTOR: Aesthetic Realism of
Eli Siegel; Columbia University; University
of South Carolina; Manchester Municipal
University (U.K.).
19
ARTISTIC BIOGRAPHIES
Ethan McSweeny
Director
STC: Affiliated Artist; The Tempest, A Midsummer
Night’s Dream, Much Ado About Nothing, The
Merchant of Venice, Ion, Major Barbara, The
Persians; Harman Center Opening Gala;
Associate Director 1993–1997. NEW YORK:
Broadway: John Grisham’s A Time to Kill,
Gore Vidal’s The Best Man (Outer Critics
Circle and Drama Desk Awards, Tony Award®
nomination); Off-Broadway: John Logan’s Never
the Sinner (Outer Critics Circle and Drama Desk
Awards); Playwrights Horizons: 100 Saints You
Should Know (Top Ten: Entertainment Weekly
and Time Out magazines); Page 73 Productions:
1001 (Top Ten: Time Out); Primary Stages: Rx
(world premiere), Sabina; National Actors
Theatre: The Persians. INTERNATIONAL: Gate
Theatre, Dublin: A Month in the Country, An
Ideal Husband, A Streetcar Named Desire (Irish
Times Award for Best Direction); Stratford
Shakespeare Festival: Pirates of Penzance,
Dangerous Liaisons. REGIONAL: more than
70 productions at theatres around the nation
including the Guthrie Theater: Tales from
Hollywood, Arms and the Man, A View from
the Bridge, A Body of Water (premiere, StarTribune Award), Romeo and Juliet, Six Degrees of
Separation (Star-Tribune Award), Thief River, Side
Man, Gross Indecency; Goodman Theatre/Dallas
Theater Center: Trinity River Plays (premiere);
Arena Stage: A Time to Kill (premiere); The
Old Globe: Cornelia (premiere), In This Corner
(premiere, San Diego Critics Circle Award),
A Body of Water (San Diego Critics Circle
Award); Denver Center Theatre Company:
1001 (premiere, Ovation Award); South Coast
Repertory: Ordinary Days, Mr. Marmalade
(premiere, OCIE award); Center Stage: Who’s
Afraid of Virginia Woolf? (Baltimore City Paper
Best of 2008); Prince Music Theater: Chasing
Nicolette (Barrymore Award nomination);
George Street Playhouse: A Walk in the Woods,
Dirty Blonde, Ctrl+Alt+Delete (New Jersey
Star-Ledger Best of 2002), Old Times, Master
Class; Westport Country Playhouse: Someone
Who’ll Watch Over Me; The Wilma Theater:
Dirty Blonde; San Jose Repertory Theatre:
Ctrl+Alt+Delete (world premiere); Pittsburgh
Public Theater: Wit (Pittsburgh Post-Gazette
Award); Alley Theatre: The Beauty Queen of
Leenane; Signature Theatre: Never the Sinner
(Helen Hayes Award nomination); Chautauqua
Theater Company: A Raisin in the Sun, Fifty
Ways (world premiere), Love’s Labor’s Lost,
The Glass Menagerie, Death of a Salesman, The
Just, The Cherry Orchard, All My Sons, Cobb.
20
ARTISTIC LEADERSHIP: Chautauqua Theater
Company, Co-Artistic Director, 2004–2011,
National Actors Theatre, Associate Director,
2003–2005; Resident Director, New Dramatists,
2001–2002; George Street Playhouse, Associate
Artistic Director, 2000–2004. AFFILIATIONS:
Treasurer, Executive Board, SDC, the national
labor union that represents stage directors and
choreographers; member, Wingspace Theatrical
Design Collective. TRAINING: Received the
first ever undergraduate degree in Theatre and
Dramatic Arts from Columbia University. WEB:
ethanmcsweeny.com.
Peter Pucci
Choreographer
STC: A Midsummer Night’s Dream, The Merry
Wives of Windsor, Twelfth Night, The Beaux’
Stratagem, Ion, A Midsummer Night’s Dream.
NEW YORK: Off-Broadway: Desire, The Money
Shot, The Old Friends, Death Takes a Holiday,
Queens Boulevard, The Orphans’ Home Cycle, The
Late Henry Moss, True Love, Eyes for Consuela.
REGIONAL: Movement Direction: Phaedra
Backwards, The Cherry Orchard, Twelfth Night,
The Learned Ladies, Fool for Love, Romeo and Juliet,
The Importance of Being Earnest, Macbeth, Camino
Real. OPERA: The Chamber Music Society of
Lincoln Center: Renard; Tender Land, Samson
and Delilah. AWARDS: Lucille Lortel Award
and Drama Desk nomination for Outstanding
Choreography (Queens Boulevard), Drama Desk
Award (The Orphans’ Home Cycle). OTHER:
Pilobolus Dance Theatre: principal dancer and
rehearsal director for nine years; Choreography:
Joffrey Ballet, Ballet Arizona, Ballet Hispanico,
Colorado Ballet, Pittsburgh Ballet; Big Apple
Circus: Dance On; Dance commissions: New
Mexico Ballet, Dance Theater of Harlem, State
Street Ballet: FILM: Sway n’ Bach: A Path to
Choreography. INSTRUCTOR: Manhattanville
College: Artist in Residence; The Juilliard
School of Drama: Guest Artist. TRAINING:
North Carolina School of the Arts: BFA in
Modern Dance.
Lee Savage
Set Designer
STC: The Tempest, A Midsummer Night’s
Dream, Much Ado About Nothing, Richard III,
Tamburlaine, Edward II, Henry V, Richard II.
NEW YORK: Labyrinth: Muscles in Our Toes,
Sunset Baby; Women’s Project: Collapse; LCT3:
All-American; Roundabout Theatre Company:
The Dream of the Burning Boy, Ordinary Days;
Atlantic Theater: Oohrah!; Partial Comfort:
The Bereaved; Clubbed Thumb: punkplay.
REGIONAL: Alliance Theatre, Asolo Repertory
Theatre, Berkshire Theatre Festival, Cleveland
Play House, Dallas Theater Center, George
Street Playhouse, Glimmerglass Festival,
Goodman Theatre, Guthrie Theater, Milwaukee
Repertory Theatre, Long Wharf, Shakespeare
& Co., Trinity Repertory Company, Two
River Theater, Westport Country Playhouse,
Washington National Opera, The Wilma
Theater, Yale Repertory Theatre. AWARDS:
Helen Hayes: Much Ado About Nothing; A
Midsummer Night’s Dream (nom), Richard III
(nom); Connecticut Critics Circle (The Intelligent
Design of Jenny Chow). OTHER: with Ethan
McSweeny: The Gate: A Streetcar Named Desire;
Primary Stages: Rx; Center Stage: Who’s Afraid
of Virginia Woolf?; Old Globe: In This Corner;
Chautauqua Theater Company: A Raisin in
the Sun, Fifty Ways, Love’s Labor’s Lost, Death
of a Salesman, The Glass Menagerie, The Just.
AFFILIATIONS: Member of Wingspace
Theatrical Design and Contributing Editor for
Chance Magazine. INSTRUCTOR: Yale School
of Drama: Design Department. TRAINING:
Rhode Island School of Design: BFA; Yale
School of Drama: MFA.
Theatre, American Repertory Theatre, Trinity
Repertory Company, Old Globe, Dallas Theater
Center, Yale Repertory Company, Long Wharf,
among others. AWARDS: 2011 Helen Hayes
nomination (Much Ado About Nothing); 2010
Obie Award for Sustained Excellence; 2010
Lucille Lortel Award (When the Rain Stops
Falling); 2009 American Theatre Wing Hewes
Award (Blasted); Obie and Lucille Lortel
Awards (Bug, 2004); Two Connecticut Critics
Circle Awards; four Philadelphia Barrymore
nominations. INSTRUCTOR: Visiting artist
positions at Bates, Bowdoin, Yale, Dartmouth;
adjunct faculty at Sarah Lawrence College.
EDUCATION: Bowdoin College: BA.
Jennifer Moeller
Costume Designer
STC: Affiliated Artist; The Tempest, A
Midsummer Night’s Dream, Julius Caesar
(mainstage, Free For All), The Merchant of
Venice, Richard II, Romeo and Juliet, Antony
and Cleopatra, Tamburlaine, Richard III. NEW
YORK: Off-Broadway: Shakespeare in the Park:
Love’s Labor’s Lost; Signature Theatre: Dance
and the Railroad; Primary Stages: Happy Now?
REGIONAL: Washington National Opera: La
Bohème; Studio Theatre: Bachelorette, Venus in
Fur; Center Stage: Mud Blue Sky; The Old Globe:
The Last Goodbye; McCarter Theatre Center:
The How and the Why; Williamstown Theatre
Festival: Six Degrees of Separation; Yale Repertory
Theatre: The Winter’s Tale, dance of the holy ghosts;
Berkshire Theatre Festival: Waiting for Godot;
Chautauqua Theater Company: The Winter’s
Tale. TRAINING: Yale School of Drama: MFA.
Jason Arnold
Lighting Adapter
STC: Julius Caesar (Free For All). NEW YORK:
Zero Hour (dir. Piper Laurie). REGIONAL:
Philadelphia Theatre Company: Resurrection
(dir. Oz Scott); Hartford Stage: Resurrection;
Arena Stage: Emergence-See!; Theater J: The
Tale of the Allergist’s Wife, Something You Did,
Honey Brown Eyes, Without You I’m Nothing
(starring Sandra Bernhard), The Price, Family
Secrets, Central Park West/Riverside Drive, A
Bad Friend, Oh the Innocents, Welcome to My
Rash/Third, Talley’s Folly; Rep Stage: Boeing,
Boeing, Intelligence, The Santaland Diaries, A
Shayna Maidel, Mrs. Farnsworth; Imagination
Stage: Double Trouble, The BFG (Helen Hayes
Nomination), Aladdin’s Luck, Junie B. Jones, How
I Became a Pirate, Busy Town, The Neverending
Story, The Jungle Book, Sleeping Beauty, Seussical,
Cinderella, Charlotte’s Web, Bunnicula, The BFG;
Adventure Theatre: Petite Rouge, Big Nate,
Stuart Little, Five Little Monkeys, If You Give
a Cat a Cupcake, You’re a Good Man, Charlie
Brown; MetroStage: The Stephen Schwartz
Project, Three Sistahs; Washington Shakespeare
Company: Hapgood, The Milktrain Doesn’t Stop
Here Anymore; Everyman Theatre: The Waverly
Gallery, Blues for an Alabama Sky, The Crucible.
TEACHING: American University: Artist in
Residence. TRAINING: Brandeis University:
MFA in Design; Vassar College: BA in Drama.
Tyler Micoleau
Lighting Designer
STC: A Midsummer Night’s Dream, Much Ado
About Nothing (mainstage and Free For All), Ion,
Ghosts. NEW YORK (recent): 2nd Stage: King
Liz; Playwrights Horizons: Iowa; Manhattan
Theatre Club: The World Of Extreme Happiness,
By The Water; New York Theatre Workshop:
The Invisible Hand; Public Theater: The Fortress
of Solitude; Signature Theatre Company: The
Wayside Motor Inn. REGIONAL: Huntington
Theatre Company, Alley Theatre, Goodman
Fitz Patton
Original Music/Sound Designer
STC: Wallenstein, A Midsummer Night’s
Dream, Strange Interlude. NEW YORK/
REGIONAL: Designed and scored more than
240 productions in 20 cities across the U.S.
including five on Broadway. AWARDS: 2010
Lucille Lortel and Drama Desk Awards for
When the Rain Stops Falling at Lincoln Center’s
Mitzi E. Newhouse Theater; nominated in 2011
for The Other Place (dir. Joe Mantello). OTHER:
He is the founder of Chance Magazine, a new
21
in support of the
Shakespeare Theatre Company Free For All
Presented by
Leadership Support
$10,000
Gould Property
Company
Additional Support
DAVIS Construction
DirecTV
First Potomac Realty Trust
Forest City Enterprises
Hines Interests Limited
Partnership
National Cable &
Telecommunications
Association
Polinger Shannon & Luchs
SIGAL Construction
Corporation
Shalom Baranes Associates
Stoiber + Associates,
Architects
STUDIOS Architecture
Terra Nova Title and
Settlement Services, LLC
Time Warner Cable
2015 Free For All Community
Partnership Committee
Stefanie S.
Erkiletian,
Erkiletian
Norman D.
Jemal, Douglas
Development
Kingdon Gould III,
Gould Property
Company
Scott Kauffman,
JM Zell Partners,
Ltd.
Sponsors as of August 6, 2015
22
Gracie Terzian as fairy in the Shakespeare Theatre Company’s
production of A Midsummer Night’s Dream, directed by Ethan McSweeny. Photo by Scott Suchman.
free
for
all
2015 FREE FOR ALL
COMMUNITy PARTNERSHIP
theater design magazine coming out this fall in
both print and on the iPad. UPCOMING: The
Other Place, on Broadway, at MTC’s Samuel
Friedman Theater. INSTRUCTOR: Barnard
College of Columbia University. TRAINING:
Vassar College, Bard College, Yale University.
Carter C. Wooddell
Resident Casting Director
See page 28
Drew Lichtenberg
Literary Manager
See page 28
Ellen O’Brien
Voice and Text Coach
See page 28
Jenny Lord
Assistant Director
STC: Director: Much Ado About Nothing (Free
For All), All’s Well That Ends Well (Free For
All), Dream a Little Dream (Fellows Project),
several ReDiscovery readings; Resident
Assistant Director: 14 productions. NEW
YORK: Associate Director, Broadway: Twelfth
Night and Richard III. Director: NYMF: Going
Down Swingin’, Don Imbroglio. REGIONAL:
Dallas Theater Center: A Christmas Carol;
New Century Theatre: Bee-luther-hatchee; 42nd
Street Moon: By Jupiter; Berkeley Opera: The
Girl of the Golden West, The Marriage of Figaro,
Così fan tutte, Beatrice & Benedick; Pocket
Opera: Eugene Onegin, The Grand Duchess
of Gerolstein, The Daughter of the Regiment.
Choreographer: California Shakespeare
Theater, San Francisco Shakespeare Festival,
42nd Street Moon, etc. READINGS: National
Academy of Sciences, Phillips Collection,
Goethe Institut/Zeitgeist, TheatreWorks.
EDUCATIONAL: Juilliard: Measure for
Measure, All My Sons, As You Like It; NYU/
Stella Adler Conservatory: The Cherry Orchard,
Angels in America: Perestroika; San Francisco
State University: Street Scene. TRAINING:
Yale University: BA. MEMBER: SDC.
Joseph Smelser*
Production Stage Manager
STC: Tartuffe, Man of La Mancha, The Tempest,
A Winter’s Tale (Free For All), Henry IV, Parts
1 and 2, A Funny Thing Happened on the Way
to the Forum, Measure for Measure, Wallenstein,
Coriolanus, A Midsummer Night’s Dream, The
Government Inspector, The Merry Wives of
Windsor, Strange Interlude, Much Ado About
Nothing, The Heir Apparent, All’s Well That
Ends Well. REGIONAL: Arena Stage: Let Me
Down Easy; Seattle Repertory Theatre: An Ideal
Husband, A Doll’s House, Play On!, As You Like
It, A Midsummer Night’s Dream, Peter Brook’s
The Tragedy of Hamlet, Golden Child, Don Juan,
Purgatorio, The Search for Signs of Intelligent Life
in the Universe (with Lily Tomlin); American
Conservatory Theater: The Rivals, The Circle,
The Government Inspector, Edward Albee’s
At Home at the Zoo, Vigil; Berkeley Repertory
Theatre: Journey to the West, An Almost Holy
Picture, Having Our Say; Regional Tour: Let Me
Down Easy, Twilight: Los Angeles, 1992 (both
with Anna Deavere Smith). TRAINING:
Oberlin College: BA.
Robyn M. Zalewski*
Assistant Stage Manager
STC: Man of La Mancha, Henry IV, Parts 1
and 2, A Funny Thing Happened on the Way
to the Forum. REGIONAL: Hartford Stage
Company: Production Stage Manager for
Private Lives; Assistant Stage Manager for
Hamlet, Twelfth Night, A Christmas Carol–A Ghost
Story of Christmas, The Whipping Man, Gem
of the Ocean; Production Assistant for Divine
Rivalry, Antony and Cleopatra, The Adventures
of Tom Sawyer, Noises Off; New London Barn
Playhouse; Hangar Theatre; Northern Stage;
Saint Michael’s Playhouse. Education: Saint
Michael’s College.
The designers at this theatre are represented by
United Scenic Artists, Local USA 829, of the
International Alliance of Theatrical Stage Employees.
ABOUT STC
STC is the recipient of the 2012 Regional
Theatre Tony Award® as well as 84 Helen
Hayes Awards and 342 nominations.
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.
BRAVO
to the Shakespeare Theatre Company for bringing
the magic and inspiration of Shakespeare to so many.
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 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.
ASIDES
published by SHAKESPEARE THEATRE COMPANY
Managing Editor
Jonathan Padget
Publisher
Michael Porto
Creative Director
S. Christian Taylor-Low
Advisors
Alan Paul
Samantha K. Wyer
Contributing Editors
Laura Henry Buda
Drew Lichtenberg
Ryan-Patrick McLaughlin
Graphic Designer
Taylor Henry
Editorial Assistant
Alison Ehrenreich
25
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Michael Kahn
Artistic Director
STC: The Metromaniacs. 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. OPERA: Roméo et 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,
D.C. Downtown BID, THE ARC, D.C. Arts
27
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, D.C. Commission
on the Arts and Humanities, Mid Atlantic Arts
Foundation 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: Man of La Mancha, A Funny Thing Happened on
the Way to the Forum (2014 Helen Hayes Award for
Best Director of a Musical), The Boys from Syracuse,
The Winter’s Tale (Free For All), Twelfth Night (Free
For All), As You Like It (Associate Director), Henry
IV, Parts 1 and 2 (Associate Director), numerous
galas, readings, and special events; Assistant
Director: 13 shows. THEATRE DIRECTING:
Signature Theatre: I Am My Own Wife; Studio
Theatre 2ndStage: Silence! The Musical, 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 Studio Theatre, Arena Stage, Woolly
Mammoth Theatre Company, The National
Academy of Sciences, The Phillips Collection, The
Goethe Institut, Georgetown University. OPERA
DIRECTING: Washington National Opera: Penny;
Urban Arias: Blind Dates, Before Breakfast, The Filthy
Habit, Photo-Op; The In Series: Dido and Aeneas, El
Amor Brujo; Strathmore Concert Hall: Butterfly/
Saigon, Blind Dates. Finalist for the 2013 European
Opera Directing Prize (Vienna, Austria). Acting
Instructor for the Domingo-Cafritz Young Artists
Program at WNO.
Drew Lichtenberg
Literary Manager
STC: Tartuffe, Man of La Mancha, The Metromaniacs,
The Tempest, As You Like It, 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 Repertory
Theatre: 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 (U.S. premiere); TEACHING: Catholic
28
University of America; Eugene Lang College at the
New School. TRAINING: Yale School of Drama:
MFA in Dramaturgy & Dramatic Criticism.
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: Man of La Mancha, The Metromaniacs, The
Tempest, 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
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: (2008-2012). TFANA (Education
Associate: 2012-2014).
music and lyrics by Cole Porter
book by Samuel and
Bella SPewaCk
directed by alan Paul
It’s “another op’nin’ of
another show” with
American musical theatre’s
greatest tribute to the Bard.
BeginS novemBer 17
ShakespeareTheatre.org
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Friends of Free For All
Thanks to the generous support of our sponsors and our Friends,
the Shakespeare Theatre Company can continue this program each
season. If you are interested in keeping the Free For All FREE,
please consider supporting this great Washington experience.
Gifts received as of August 10, 2015
$2,500+
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Producing Friend
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William L. Hopkins
Marcel C. LaFollette and
Jeffrey K. Stine
$500–$999
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Jayne Bultena
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$400–$499
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$300–$399
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Anonymous (2)
Laurence and
30
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Shu Hui Chen, PhD
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In Memory of
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Mr. Robert Smits
Pauline Sobel and
Larry S. Gondelman
Margaret Sopher
Steven Spaeth
Pedro Taborga
Carol Thayer
The Theunissen family
Sara Tussey and
Michael C. Shaughnessy
Betty C. and J. Ustun
Mr. Steve Verna
Cheryl Wasserman and
Ron Slotkin
Mr. and Mrs. Ray Williams
Elliot Wolff
Robert and Evelyn Wrin
Deborah Yaffe
Melinda Yium
Ina and Joe Young
John and Anne Zipperian
In Memory of Marion Bryce
The Family of Marion and
Charles Bryce
Dr. Bryce Brylawski
The Carpinteri Family
Mary Cole
Ursula David
Donald and Cathy Fogel
Helen Kenney
David A. Lamdin
Jim Link
Mary McCue
Mr. and
Mrs. Harry H. Shaffer
Mark and Ruth Zalonis
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SHAKESPEARE THEATRE COMPANY
Taught by award-winning
actors and educators.
ShakespeareTheatre.org/Classes
Education Hotline: 202.547.5688
31
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 Manager
Drew Lichtenberg
Artistic Associate
Craig Baldwin
Artistic Fellow
Ryan-Patrick McLaughlin
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, Naomi Jacobson,
Stacy Keach, Floyd King, Andrew Long,
Ethan McSweeny, Jennifer Moeller, David Muse, Hugh Nees,
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
Ryn Weil
Accounting Manager
Mary Margaret Finneran
Staff Accountant
Marco Dimuzio
Company Manager
Mackenzie Douglas
Receptionist
Ursula David
General Management Fellow
Kathryn Atkinson
Director of Operations
Timothy Fowler
Operations/IT Assistant
Sloane A.L. Spencer
Theatre Building Engineer
Dave F. Henderson
Theatre Monitors
Milton Garcia, Jeff Whitlow
Facilities Custodian
Jorge Ramos Lima
Harman Custodians
Dennis Fuller, Mirna Guzman,
Roderick Proctor
Lansburgh Custodians
Zulma I. Bonilla,
Izilma Membreno, David Guzman
Director of Information Technology Brian McCloskey
Systems Administrator
Patrick Hayes
Database Administrator
Brian Grundstrom
DEVELOPMENT
Chief Development Officer
Ed Zakreski
Senior Associate Director of Development Amy Gardner
Major Gifts Officers
Eric Bailey
Betsy Purves
Special Events Manager
Moriah Lemming
Gala Assistant
Freddy Mancilla
Development Operations and
Membership Manager
Kristina Williams
Development Operations Coordinator
Sara Seidler
Membership Coordinator Arielle Katz
Associate Director of Development
Noreen Major
Corporate Giving Manager
Katie Burns-Yocum
Director of Foundation and
Government Relations
Meghann Babo-Shroyer
Institutional Fundraising Coordinator
Michael Trottier
Development Fellow
Elena Robertson
32
MARKETING AND COMMUNICATIONS
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, Evelyn Chester,
Heather Hart, Christopher Hunt, Jessica Kaplan,
Andre McBride, Izetta Mobley, Kristin Nam,
Sarah Kate Patterson, Christopher Pearson,
Carmelitta Riley, Marie Riley, Kieran Shaw,
Crystal Stewart, Lauren Ward, Michael Wharton,
Genevieve Williams
Call Center Director
Monte Hostetler
Teleservices Associates Bill Billante, Thomas Brennan,
Kelly Carson, Alfred Cassell,
Jade Davis, Valerie Ekhato, Eric Garvanne,
Miles Gheesling, Cheryl Kempler, Stephanie King,
Amy Kitchin, Isabelle Mahoney,
Jill McAfee, Joanna Morgan, Cynthia Perdue,
Amy Sloane, Chris Soto, Robert Vierick
Director of Event Sales and
Partnerships
Ryan Michael Hayes
Theatre Services Manager
Dora Hoyt
House Manager
Robert Montenegro
Lead House Managers
Stephanie Atkinson,
Erica Brown, Addie Gayoso, Marie Riley
Assistant House Managers Melissa Adler, Kathryn Atkinson,
Jeremy Blunt, Thomas Browne,
Quintin Cary, Chris Hunt, Susan Koenig,
Jamel Levine, Molly Nevola, Carmelitta Riley,
Shaun Russell, Bridget Sheaff, Christopher Schoen,
Alex Zeese
Retail and Concessions Manager
Kristra Forney
Concessions Associates Joy Falzarano, Adrianne Glover,
Alfred Gussom, Justin Lane, Aaron Lewis,
Chris Pearson, Petrice Roman, Robert Russell,
Christopher Schoen, Christine Strassner, Kara Tesch,
Eric Woods
Retail Associates
Quintin Cary,
Tiara Copeland, Kara Tesch
Harman Receptionist and
Usher Coordinator
Rachel Toporek
Associate Director of
Communications and PR
Jonathan Padget
Web and Media Programmer
Brien Patterson
Marketing and
Communications Fellow
Catherine Shook
Visual Communications
Manager
S. Christian Taylor-Low
Junior Graphic Designer
Taylor Henry
Graphics Fellow
Ruthie Rado
Photographers
Kevin Allen, Margot Schulman,
Scott Suchman
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 Fellow
Thanh Nguyen
Resident Teaching Artist
Renea Brown
Affiliated Teaching Artists
Elizabeth Alman,
Tonya Beckman, Dan Crane, Katie deBuys,
Jim Gagne, Brit Herring, Paul Hope, Naomi Jacobson,
Joy Jones, Manu Kumasi, Chelsea Mayo, Brenna
McDonough, Victoria Reinsel, Paul Reisman, Melissa
Richardson, Stephen Spotswood, Katie Tkel, Eva Wilhelm,
Gregory Wooddell
THE ACADEMY FOR CLASSICAL ACTING
The Academy for Classical
Acting Director Gary Logan
ACA Program Coordinator
Bekah Eichelberger
Faculty Members
Isabelle Anderson,
Christopher Cherr, Dody DiSanto, Edward Gero,
Leslie Jacobson, Lisae Jordan, Michael Kahn, Floyd King,
Gary Logan, Ellen O’Brien, Roberta Stiehm, Brad Waller
PRODUCTION
Director of Production
Tom Haygood
Associate Directors of Production
Tim Bailey,
Kimberly Lewis
Production Administrator
Emmy Landskroener
Resident Production Stage Manager Joseph Smelser
Stage Managers
James FitzSimmons, Laura Smith
Assistant Stage Managers
Elizabeth Clewley,
Maria Tejada, Robyn M. Zalewski
Production Assistant
Rebecca Shipman
Stage Management Fellows
Eric Michael Batts,
Micaela Cirimeli
Costume Director
Wendy Stark Prey
Floor Manager
Julie Rose
Resident Design Assistant
Lynda Myers
Drapers
Denise Aitchison, Randall Exton,
Tonja Petersen
First Hands
Jennifer Rankin, Sandra Thomas,
Sara Cardwell
Stitchers
Kathryn Hansen, Michele Ordway,
Donna Sachs
Overhire Stitcher
Stephanie Goad
Lead Crafts Artisan
Joshua Kelley
Crafts Artisan
Kara Tesch
Wardrobe Supervisors
Jeanette Lee Porter,
Monica Speaker
Wig Master
Dori Beau Seigneur
Overhire Wardrobe
Alina Gerall, Kristina Martin
Costume Design Fellow
Amelia Brooks
Costume Production Fellows
Natalie Flango
Mackenzie Malone
Technical Director
Mark Prey
Assistant Technical Director
Kelly Dunnavant
Scene Shop Administrator
Jessica Noones
Carpenters
John Cincioni, Jr., Justin Carnes,
Carrie Cox, Christian Sullivan
Charge Scenic Artist
Sally Glass
Scenic Artist
Jose Ortiz
Scenic Painter
Kelly Rice
Prop Shop Director
Elaine Sabal
Assistant Prop Shop Director
Guy Palace
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
Lighting Assistant
Elizabeth A. Coco
Audio/Video Supervisor
Brian Burchett
Assistant Audio/Video Supervisor Roc Lee
Live Mix Engineer
Ryan Gravett
Lansburgh Board Operator
Kurt Davis
Stage Operations Supervisor
Louie Baxter
Assistant Stage Operations SupervisorFran Hopkins-Maxwell
Stage Carpenters
Derek Antoine, Nick Custer
Run Crew
Marc Wasserman, Rachel Wolf
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.
Audio-described performance of
A Midsummer Night’s Dream:
Saturday, September 5 at 2 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.
Open-captioned performance of
A Midsummer Night’s Dream:
Thursday, September 10 at 8 p.m.
Program notes in Braille and large print are available at
the coat check.
Support for the Shakespeare Theatre Company’s
Accessibility Program provided by
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.
33
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202.547.1122