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ELEMENTS THEATRE COMPANY PRESENTS
L A BY R I N T H
A LEG AC Y O F L A NGUAGE
®
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Christopher J. Ouston
P
e wish to dedicate
these two weeks of workshops and
performances to Chris Ouston. He was a great friend of
Elements Theatre Company and died on January 25th from cancer.
He and his wife, Joanna, have been involved in one way or another
with the company and its development since 2001.
Joanna is a teacher at Central School of Speech and Drama and
the Theatre Conservatory at Oxford University, England. She is
also a designated Linklater teacher and that was the original reason
for our meeting in 2001. Then, almost every year, Chris and Joanna
would travel to our home on Cape Cod to be a part of our productions.
He would attend rehearsals, give lessons on “R.P.” (the Queen’s English)
and offer all around general love and support when it got a
bit discouraging to see the depth of work needed to bring the
reality of a character to life.
When the company studied in London for a month in 2005,
Chris became tour guide, housing manager, and chauffeur.
In the last few years as Chris’s cancer got more severe, he was not able
to travel, but would send cards and emails—always encouraging us to
think big and work hard. He has been a very good and loyal friend.
We, at Elements Theatre Company, will miss Chris,
but entrust him to God’s loving hands.
P
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A NOTE FROM THE DIRECTOR
Dear Friends,
Welcome to Labyrinth: A Legacy of Language, an original piece for
Shakespeare’s 450th Birthday. It is our great joy and delight to offer this
show as a tribute to his inspiration and ongoing influence through the
last four and half centuries.
For Shakespeare’s birthday celebrations, we wanted to acknowledge
a lasting and exceptional legacy. What better way than to bring together
works that speak of his influence, and also stand alone. Shakespeare’s
discerning and original grasp of the human condition—its excesses and
depravity, its violence and love, its joy and heroism—gave birth to new
ideas and possibilities of storytelling for the stage. Gathering and culling
through playwrights who claimed his inspiration was an overwhelming
yet awesome task. Each of the four playwrights we chose were, and still
are, mavericks in their own right, yet they owe a debt of gratitude to the
Bard. As Shakespeare wrote through Ophelia: “We know what we are,
but know not what we may be.” His genius opened the door for others to
explore and expand the voice of drama in changing times.
Another characteristic of the four playwrights we chose was their
desire, drive, and unrelenting pursuit of the truth. None would rest until
the story they told vibrated with authenticity and life.
In the course of the show, you will see some very specific stylistic
choices. We wanted a unifying theme within the scenes, so all eight scenes
have something to do with forgiveness and/or revenge. The rhythm of
Labyrinth takes its direction from its name, starting with a work from the
last thirty years and traveling back in time until it reaches the center and
core—the works of Shakespeare. Consistent with a celebration spanning
450 years, a variety of windows make up the set, enabling us to look
through these windows of time, so to speak.
Thank you for joining with us on this birthday celebration.
Sr. Danielle Dwyer and all of Elements Theatre Company
www.elementstheatre.org
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tour calendar of events
TOUR CALENDAR OF EVENTS
Tuesday, February 4, 2014
Notre Dame School of Manhattan
327 West 13th Street
New York, NY 10014
9:45–12:00 pm Workshops with Grade 10 Shakespeare classes
3:00–4:30 pm Workshop with Drama Club
7:30 pm Performance of Labyrinth: A Legacy of
Language, hosted by Magis Theatre Company, followed by a talkback with the actors
Wednesday, February 5, 2014
Nyack College, Manhattan
2 Washington Street
New York, NY 10004
3:20–4:20 pm
5:00–6:00 pm
Workshop with World Literature Class
Open workshop on Shakespeare’s sonnets
Friday, February 7, 2014
The Players Club
16 Gramercy Park
New York, NY 10003
5:30 pm
Performance of Labyrinth: A Legacy of Language
Wine and Cheese Reception
6:30 pm
Panel Discussion How Shakespeare Humanizes
7:00 pm
Our Culture: The Transforming Power of His Word
Featuring:
George Drance, SJ, Artist in Residence at Fordham University
Louis Colaianni, author of How to Speak Shakespeare and Teacher/Coach
Rob Weinert-Kendt, Associate Editor at American Theatre Magazine
Josh Cabat, Co-founder of the New York City Student Shakespeare Festival
Danielle Dwyer, CJ, Moderator, Artistic Director of Elements Theatre Company
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tour calendar of events
Sunday, February 9, 2014
St. Francis Cathedral
32 Elm Avenue
Metuchen, NJ 08840
9:30–11:30 am
Performance of Labyrinth: A Legacy
of Language, followed by a talkback
with the actors
Tuesday, February 11, 2014
Blessed Sacrament School
147 W 70th Street
New York, NY 10023
12:45–2:15 pm
Afternoon Workshops with Grades 7 & 8
Wednesday, February 12, 2014
Danville High School
600 Walnut Street
Danville, PA 17821
11:15–1:30 pm Workshops with Grade 12 Honors English classes
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THE PANEL
ABOUT THE PANEL
about the panel
Honoring the Bard’s 450th birth anniversary year, this timely panel will
explore how his work challenges our modern concepts of reconciliation and
forgiveness, in a world where school shootings, bullying, and acts of terrorism
make the headlines with alarming frequency. Shakespeare’s magnificent
understanding of human nature in all of its complexity gives us a deeper,
longer view on life, and illuminates the importance of living in harmony
with ourselves and each other.
ABOUT THE PANELISTS
Ron Rinaldi
George Drance, SJ,
Artist in Residence at Fordham University
George Drance has performed and directed in over
twenty countries on five continents. New York credits
include The Public Theatre/New York Shakespeare
Festival; The Metropolitan Opera; La MaMa’s resident
company, the Great Jones Rep; and Ralph Lee’s Mettawee River Theatre
Company. With La MaMa, he has toured throughout Europe and Asia,
working on several of Ellen Stewart’s original pieces and performing in
the Andrei Serban/Elizabeth Swados’ epic Fragments of a Greek Trilogy.
Regional credits include The American Repertory Theatre, The New Rep,
ImprovBoston, and The Stonington Opera House. He earned his BA from
Marquette University and his MFA from Columbia. He currently serves as
artist-in-residence at Fordham University and has been a guest artist and
lecturer at Columbia University, Cornell University, Marquette University,
Marymount Manhattan College, Hebrew Union College, and Boston
College. He has been on the faculty of the Marist International Center
in Nairobi, Kenya, and at Red Cloud High School on the Oglala Sioux
Reservation. Film credits include Solidarity and The Light of Eons.
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Josh Cabat, Co-founder, New York City Student
Shakespeare Festival
about the panelists
Josh Cabat is the Chair of English for the Roslyn
(NY) Public Schools. Previously, he worked as a
teacher of English and Film Studies at Roslyn High
School for nine years and in the New York City public high schools for over a decade. He was the co-founder of the New York
City Student Shakespeare Festival, and has been awarded three fellowships
by the National Endowment for the Humanities. He has been a featured
speaker at several national conferences, and has published many articles on
Shakespeare and Film. He has also conducted workshops for teachers on
behalf of the Folger Shakespeare Library, and is currently a Teaching Artist
for the Young Film Critics program at the Brooklyn Academy of Music. He
earned an MA from the University of Chicago and a BA from Columbia
University.
Louis Colaianni, Author of How to Speak
Shakespeare, Voice Teacher and Coach
Louis Colaianni is a Voice and Speech innovator and
coach for Broadway and regional theatre. He recently
served as Will Ferrell’s vocal coach for the Broadway
and HBO productions of “You’re Welcome,
America;” dialect coach for the feature film “Little Red Wagon” (2012); and
dialect coach for Will Power’s “Fetch Clay, Make Man” with Ben Vereen and
Evan Parke, directed by Des McAnuff. He has been Voice and Text Director
for productions at: Oregon Shakespeare Festival, Seattle Repertory Theatre,
Milwaukee Repertory Theater, Arizona Theatre Company, Shakespeare
Festival of St. Louis, Shakespeare & Company, Trinity Repertory Theatre,
Kansas City Repertory Theatre, Shakespeare Santa Cruz. He has taught
in numerous theatre programs including Pace University/Actors Studio;
Vassar College; SUNY Purchase; The O’Neill Theatre Center; Columbia
University; Ohio University; Dartmouth College; and Trinity Repertory
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Theatre/Conservatory (Anne Bogart, Artistic Director); among others. Louis
has acted with Shakespeare & Company, American Shakespeare Theatre,
and New York Shakespeare Festival.
about the panelists
Rob Weinert-Kendt, Associate Editor at
American Theatre Magazine
Rob Weinert-Kendt is Senior Editor at American
Theatre magazine. He has written features and
criticism for The New York Times, The Los Angeles
Times, Variety, Newsday, Village Voice, Time Out New
York, The Guardian, and The San Francisco Chronicle, among others. He was
the founding editor of Back Stage West.
Danielle Dwyer, CJ, Artistic Director and
Co-Founder of Elements Theatre Company
Danielle Dwyer, CJ, Artistic Director and founding
member of Elements Theatre Company, has either
directed or performed in nearly 60 productions since
the company’s inception in 1992. Sr. Danielle earned
her Master of Arts Degree from England’s Royal Academy of Dramatic Art
and the University of London. She also studied voice, acting, and writing
with Joanna Weir at Central School of Speech and Drama in London; David
Male of Cambridge University; Shakespeare & Company; and the Stella
Adler Studio in New York City. Sr. Danielle’s directorial experience ranges
from Shakespeare (Twelfth Night) and Chekhov (The Cherry Orchard) to
Neil Simon (Rumors) and Oscar Wilde (Lady Windermere’s Fan).
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ABOUT THE PANEL SERIES
The March 2013 panel in New York City, inspired by A. R. Gurney’s Pulitzernominated play The Dining Room, featured Peter Filichia, esteemed New
York City theater critic; Larisa Gelman, director of Educational Outreach at
the 92nd Street Y; and Mauricio Salgado, director of Domestic Programming
at Artists Striving to End Poverty (ASTEP).
about the panel series
Elements Theatre Company, whose core mission is to promote conversation
and education through classical and modern theatre, launched the “Arts
in Conversation” panel series in spring 2013. Featuring leaders in the arts,
education, religion, and social outreach, this series aims to create broader,
richer public dialogue on the power of the arts to humanize our culture.
The September 2013 panel in Boston focused on the importance of live
theatre in our society, using Yasmina Reza’s God of Carnage as a springboard.
The panel featured Jared Bowen, WGBH Executive Arts Editor and Host;
Joyce Kulhawik, President of the Boston Theatre Critics Association; Julie
Hennrikus, Executive Director of StageSource; Fr. Thomas Kane, professor
at Boston College; and Georgia Lyman, Elliot-award winning actress.
For more information about Elements Theatre Company,
visit www.elementstheatre.org.
www.elementstheatre.org
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LABYRINTH
A LEGACY OF LANGUAGE
CAST LIST
about Labyrinth
THE REAL THING by Tom Stoppard
Max
Charlotte
Brad Lussier
Sr. Danielle Dwyer
A STREET CAR NAMED DESIRE by Tennessee Williams
Blanche
Rachel McKendree
A DOLL’S HOUSE by Henrik Ibsen
Krogstad
Mrs. Linde
Chris Kanaga
Sr. Danielle Dwyer
THE SCHOOL FOR SCANDAL by Richard Sheridan
Joseph Surface
Chris Kanaga
Servant
Rachel McKendree
Lady Teazle
Sr. Danielle Dwyer
Sir Peter
Brad Lussier
Charles Surface
Peter Haig
MUCH ADO ABOUT NOTHING by William Shakespeare
Benedick
Peter Haig
Beatrice
Rachel McKendree
HAMLET by William Shakespeare
Hamlet
Chorus
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Kyle Norman
Brad Lussier, Sr. Phoenix Catlin,
Rachel McKendree, Peter Haig
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TITUS ANDRONICUS by William Shakespeare
Chiron
Demetrius
Tamora
Titus
TEMPEST by William Shakespeare
Prospero
Rachel McKendree
Peter Haig
Sr. Danielle Dwyer
Chris Kanaga
Brad Lussier
about Labyrinth
Running Time: Approximately 70 minutes
Please turn off all
cell phones, pagers,
and alarms.
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In order to protect the professional
integrity of Elements Theatre Company,
no photography or recording of this
performance is allowed.
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PRODUCTION PERSONNEL
about Labyrinth
Director
Sr. Danielle Dwyer
Technical Director Chris Kanaga
Stage Manager
Sr. Mercy Minor
Costumes
Michelle Rich, Sr. Abigail Reed, Sr. Tabitha Taylor,
Sr. Anne Furst
Make-up/Hair
Sandra Spatzeck-Olsen, Amy Mitchell
Properties
Karlene Albro, Stephanie Haig
Lighting
Sr. Victoria MacNeil, Sr. Rosemary Ingwersen
Sound Dan Pfeiffer, Amy Mitchell, Robert Edmonson
Scenic Design
Peter Haig
Set Construction Steve Minster, Jesse Haig, Dave Bushnell, Paul Moore,
Peter Haig, Sr. Marianne Wierzbinski
Set Painters
Lexa Hale, Sr. Sarah Allen, Sr. Katherine Mary
Hamilton
Music Sr. Phoenix Catlin
Stage Crew
Br. Matthew Gillis, Amy Mitchell, Sr. Seana Shannon,
Jesse Haig, Steve Minster
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ABOUT THE PLAY
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about Labyrinth
This year, we wish a happy 450th birthday to William Shakespeare—
the mysterious, illustrious master of quill and stage. Whether the Bard was
actually the man from Stratford-upon-Avon himself or an Earl who preferred
anonymity, his lasting effect on the world’s population nearly half a century
after his existence demands our attention and admiration. What intimacy of the
human experience did he neglect to delve and express? And which playwright
can claim not to have fallen under his influence at one time or another in
the centuries that have passed since his death? In celebration of these 450
years, tonight Elements invites you to walk with us through a labyrinth tracing
Shakespeare’s heritage back through the ages, specifically exploring themes
of revenge and forgiveness, in works by Tom Stoppard, Tennessee Williams,
Henrik Ibsen, and Richard Sheridan, and finally, in Shakespeare’s own words.
If someone were to drop the names “Tom Stoppard” and “Shakespeare”
in the same sentence, many of us would instantly come up with Rosencrantz
and Guildenstern Are Dead and Shakespeare in Love; others might even be able
to cite “Dogg’s Hamlet, Cahoot’s Macbeth.” These titles alone provide an
evident connection between the two playwrights, but Shakespeare’s influence
on Stoppard went beyond the ingenious reworking of a few characters and
plotlines.
Stoppard’s first electric experience of Shakespeare came in the mid
1950’s at the Bristol Old Vic, when he saw Peter O’Toole play Hamlet. This
encounter “began the whole thing,” in Stoppard’s words; the young critic and
playwright was so sparked with respect for Shakespeare’s language, that almost
every one of his major works since then contains references to Shakespeare,
often borrowing lines and images, and appropriating them in a 20th-century
context.
Tonight’s scene from The Real Thing begins with a bow to the Bard, as
it is really a scene from a “play within the play,” and the characters Max and
Charlotte are actually just that: characters. Following this opening scene and
its inferences and accusations of fictional deception and infidelity, The Real
Thing blossoms into a heart-breaking realization of the same issues. In the
course of the play Stoppard’s characters—all theatre people like both Stoppard
and Shakespeare—end up pursuing their artistic and political crafts and
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about Labyrinth
passions, leaving their own spouses and finding happiness with someone else’s,
but always questioning whether what they have found is just a semblance of
something, or indeed “the real thing.”
How often did Shakespeare explore the age-old question of love, jealousy,
and deception between spouses, with a full spectrum of outcomes from the
comedic to the tragic? Think of The Merry Wives of Windsor as set against
Othello. While a death sentence is no longer the Western world’s response to
infidelity, the emotional trials today between scorned husband and wife are
no less violent. Stoppard and Shakespeare both seem to challenge us with the
question of what is forgivable in pursuit of “the real thing.”
As we travel back in time, we linger in the twentieth century with
Tennessee Williams and A Streetcar Named Desire. By Williams’ own
admission, his affinity for Shakespeare’s work began when he was just a
boy. He had read the complete works by the age of ten, and, like Stoppard,
attempted his own re-writing of “Romeo and Juliet.” Williams even had a
chance to hit the boards in a college performance of The First Part of Henry the
Fourth, but discovered that his talents lay on the other side of the footlights.
While other influences came and went, the Bard’s inspiration never left
Williams and riddles his work, from quotes of Othello in The Night of the
Iguana, to the many parallels between Cat on a Hot Tin Roof and King Lear
with their problem patriarchs, vast but ill-disposed legacies, jealous siblings,
and untimely storms. This evening we highlight another of Williams’ creations
that seems to have blossomed from Shakespearean roots: Blanche Dubois from
A Streetcar Named Desire.
Blanche has been compared to Cleopatra for her strength, Desdemona
for her betrayal, Ophelia for her descent into madness, Lady Macbeth for her
obsession with bathing, and even Viola, cast as she was upon the unfamiliar
shores of New Orleans from her beloved Belle Reve. But another comparison
draws together Blanche, Hamlet, and Williams himself. Scholar Jacob Adler
wrote:
“Neither Blanche nor Hamlet can bear the world as it is. Both
have ideals that make meaningful action in an imperfect world almost
impossible. Blanche loses her mind, and Hamlet at least pretends to.
Blanche dreams of an ideal world of Southern aristocratic culture,
as Hamlet had assumed and expected an ideal world of nobility….”
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And again, comparing the families of both Hamlet and Williams, Adler
wrote:
“A mentally ill girl. A hated (step)father. A young man of
exceptional intellect, totally uncomfortable in the world in which he
finds himself. A man who (perhaps) pretends to mental illness. A man
who in the end is almost attracted to violence.”
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about Labyrinth
In this scene, Blanche reveals to Mitch—her hopeful suitor—the source
of her deepening plunge into unreality: her own star-crossed love story, and
her young husband’s suicide, triggered by her own hateful cruelty. By the
end of the play, similar to Hamlet, it’s difficult to say whose demise is more
tragic. Shakespeare and Williams seem to leave the question to us: whether
Blanche and Hamlet receive their just desserts, or whether Hamlet’s death and
Blanche’s committal to the mental institution are the most, and perhaps the
only, merciful solutions to a tortured existence.
We continue on our labyrinth to the man who at the height of his fame
was known as the greatest playwright since Shakespeare: Henrik Ibsen. Ibsen’s
devotees do not deny the Bard’s influence on Ibsen, but it seems difficult to
nail down just when Ibsen first encountered Shakespeare’s work, and how
exactly he put it to use in his own writing. In any case, through form, style, and
subject, it is possible to find touches of Shakespeare in many of Ibsen’s plays.
A major form that both playwrights hold in common is the “problem
play.” Most simply defined for most audiences, the problem play present a
specific social problem, the supposed solution to which can be viewed in at
least two ways. At the end of Hedda Gabler, a woman liberates herself from the
man’s world for which she is simply too large. At the end of The Winter’s Tale,
the exonerated Hermione and a repentant Leontes are reunited, but their son
is no less dead, and the years of life lost still impossible to replace. Do we sigh
with relief, or sob?
A Doll’s House presents a set of equally “problem” scenarios. In the scene
you’ll see tonight, the sad characters of Christine and Krogstad finally find
each other, resolving a heartache from the past and giving both hope for the
future, but at the same time setting into motion the events that lead Nora
that final, resounding slam of the door. Did Ibsen intend for us to root for
the empowerment of his female characters to the end, whatever the cost? Do
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Christine and Nora’s choices require forgiveness or praise? Each individual
viewer is forced to decide.
Things lighten considerably for our next stop on the path of the labyrinth
with Richard Brinsley Sheridan (1751-1816), a figurehead in the era of
Restoration comedy, and particularly the comedy of manners. A form of satire
against the hypocrisy and problems that rise in society first demonstrated by
the Greeks, it’s been said that the comedy of manners is often more about the
use of witty language to achieve one’s goal than the actual substance of the
plot. Sheridan is credited with reviving the comedy of manners in the 18th
century, and his predecessor, Master Shakespeare, gets the nod for writing the
first comedy of manners in England.
The School for Scandal brought Sheridan immense success. While it is easy
to laugh at the antics—and even just the names—of Sheridan’s characters Lady
Sneerwell, Snake, Joseph and Charles Surface, Benjamin Backbite, Sir Peter
and Lady Teazle, we must remember that under the humorous, even ridiculous,
veneer of Sheridan’s plot, with the vicious spreading of rumors and scandal in
the hope of personal gain, these are people who fought duels to defend their
honor, and for whom financial ruin could not be repaired by going out and
getting a job. Sheridan himself was intimately acquainted with these societal
issues, and as not only a playwright, but also a politician, and leading member
of that society, he stood in the perfect place to air them effectively with humor.
In tonight’s scene from The School for Scandal, the fabricator of the vicious
rumors being spread (Joseph Surface) is caught in his own web, as the main
“players” (including Lady Teazle, Sir Peter Teazle, and Joseph’s brother Charles)
all appear in his room. Despite Joseph’s best, slippery attempts, all are revealed
to each other, and his best attempts to set them all at odds for his own gain are
foiled. The issues at question are not light ones—adultery and inheritances, for
example—and while the banter is quick and humorous, we must remember
that people’s lives were at stake. This scene contains a particularly satisfying
moment between Sir Peter and Lady Teazle, when she realizes her own
foolishness in the face of his love for her, and leaves Joseph sputtering behind.
This brings us to the heart of our labyrinth, where all of our playwrights
and scenes so far find their genesis: the works of Shakespeare himself. On
the heels of The School for Scandal, we present a scene from Shakespeare’s
own comedy of manners, Much Ado About Nothing. The play’s masters of
wit, Beatrice and Benedick, are caught in a moment of revelation and love at
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about Labyrinth
exactly the wrong time, just as Claudio has disgraced and accused Hero at the
altar on their wedding day. In an echo of the ruined wedding itself, another
tender moment that we have been waiting for the entire play quickly turns
bloody: no sooner do the two finally awkwardly and passionately admit their
love for one another, but Beatrice demands that Benedick prove his love by
taking revenge against his best friend and fellow soldier Claudio, to defend
her cousin Hero. Such humor and violence so closely entwined catches us off
guard. Who is justified? Thankfully, Shakespeare provides a speedy remedy
that avoids bloodshed and maintains both the “comedy” and the “manners”
in this charming play. But the lengths to which these characters are willing to
be driven and the possible severity of their judgments, are no laughing matter.
This brings us to our next scene from the Bard, and another accusation
of infidelity and demand for blood in Hamlet. Here we witness the Ghost of
Hamlet’s father relaying the whole sad tale of his own betrayal and murder at
the hand of his brother Claudius, and his wife Gertrude’s incestuous affair. The
Ghost’s grief is as much about his own guilt and unabsolved state at the time
of his death, as the villainous deeds Claudius has committed. And even as the
Ghost cries out for Hamlet to take revenge against Claudius, he commands
that Gertrude be left untouched. Of course, we know how the story goes: in
the end, no one’s sin—including Hamlet’s—is left unpunished, and the quest
for revenge takes its toll on both the innocent and the guilty.
Following the theme of revenge, guilt, innocence, and bloodshed, we
come to the goriest tale in the canon: Titus Andronicus. In this scene, Tamora
and her sons come to Titus disguised as Revenge, Rape, and Murder. Tamora’s
plan to take advantage of Titus in his weakened state turns against her, as Titus
recognizes who the disguised figures really are, kills the two young men, and
then bakes them into a pie, which he feeds to Tamora in the subsequent scene.
Titus also slits his own daughter Lavinia’s throat, deeming it better for her to
die than continue to live in her state of disgrace—tongueless, handless, and
ravaged—and then manages to kill Tamora, before he himself is finally killed.
The vicious acts of revenge fall like dominos in this play, as one bloody deed
begets another. In the end, Titus’ son is proclaimed Emperor and “justice”
prevails, at the cost of more severed hands, heads, and lives than most would
care to count.
Finally, we come to Shakespeare’s own conclusion on the subject of revenge
and forgiveness, borrowing the closing moment from his final play: Prospero’s
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epilogue from The Tempest. After years of exile and developing his magical
arts, the opportunity for revenge against his brother is delivered straight into
Prospero’s hands. But instead of repaying him for all the years of suffering,
Prospero lays down his magical powers, and chooses forgiveness.
SHAKESPEARE PLAY SYNOPSES
MUCH ADO ABOUT NOTHING
about Labyrinth
Much Ado About Nothing, one of Shakespeare’s most popular comedies,
follows the paths of two very different love stories: Claudio and Hero and
Beatrice and Benedick.
The story begins when Don Pedro, (a prince), Don John (his illegitimate
brother), Claudio, and Benedick return from war to a heroes’ welcome.
Claudio immediately falls in love and is betrothed to Hero, the daughter
of respected nobleman, Leonato. In contrast, Benedick picks up his longstanding war of wit with the Lady Beatrice (Leonato’s niece).
To pass time before the wedding, Beatrice and Benedick’s friends
successfully trick them into believing they are the object of each other’s
affection, and the two secretly fall in love.
At the same time, Don John decides to make trouble for Claudio and
Hero, and tricks Claudio into believing Hero has been unfaithful. On the
day of the wedding, the enraged Claudio abandons Hero at the altar. Hero’s
family pretends that she has suddenly died and hides her away until the
truth can be proven. The truth comes to light through the unlikely (and
humorous) interference of the incompetent heads of police, Dogberry and
Vegas.
As retribution, Leonato commands Claudio to wed Hero’s niece. On
the wedding day, the mysterious bride is revealed to be Hero herself, and
Claudio is overcome with joy.
Benedick proposes to Beatrice, and true to form, after much arguing she
accepts his proposal. The play ends as it began—with a Hero’s welcome, and
joy and celebration.
HAMLET
The play begins with the appearance of the ghost of King Hamlet to
his son (Prince Hamlet). The King declares that his brother, Claudius,
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murdered him, usurped his throne, and married his widow (Hamlet’s
mother Gertrude). Prince Hamlet vows to avenge his father’s death, but
instead is overcome by a deep melancholy, causing Claudius and Gertrude
to employ Hamlet’s friends (Rosencrantz and Guildenstern) to discover
why. Polonius, a statesmen, suggests love for his daughter Ophelia may be
the cause, a claim that Claudius is unable to verify.
A theatre troupe arrives, and Hamlet plots to prove his uncle’s guilt by
having the actors perform a scene that resembles the murder of his father.
As Claudius watches the scene, he runs away. Hamlet, believing this proof
enough, sets out to kill him. Finding Claudius in prayer, Hamlet decides to
wait for fear he would go to Heaven if killed while praying. Suspicious and
fearful, Claudius orders Hamlet sent to England.
Hamlet confronts his mother, and winds up mistaking Polonius, hidden
behind a tapestry, for Claudius, and kills him. As a result, Hamlet is sent to
England with Rosencrantz and Guildenstern who bear sealed orders for the
King of England, demanding Hamlet be put to death.
Ophelia, mad with grief over her father’s death, drowns herself in the
river, and her brother Laertes returns in a rage, convinced by Claudius that
Hamlet is to blame. Claudius learns that Hamlet is returning to Denmark
and sets up a fencing match between Laertes and Hamlet, that he will use
as the means to murder Hamlet. Hamlet arrives just as Ophelia’s funeral is
taking place and attacks Laertes, declaring that he had always loved Ophelia.
The fencing match ensues, but Claudius’ well-laid plans backfire. Laertes
is cut with his own poisoned sword, and Gertrude drinks from the goblet of
poisoned wine—both of which were intended for Hamlet. The battle ends
with Gertrude, Hamlet, Laertes, and Claudius all dead.
Fortinbras, a Norwegian prince, arrives and, stunned by the gruesome
sight, moves to take power of the kingdom.
TITUS ANDRONICUS
As S. Clarke Hulse noted, Titus Andronicus is a play with “14 killings, 9
of them on stage, 6 severed members, 1 rape (or 2 or 3, depending on how
you count), 1 live burial, 1 case of insanity and 1 of cannibalism—an average
of 5.2 atrocities per act, or one for every 97 lines.”
The play begins with Roman general, Titus Andronicus, returning from
ten years of war with only four of his twenty-five sons left alive. He has
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about Labyrinth
captured Tamora, Queen of the Goths, her three sons, and Aaron the Moor.
Titus sacrifices Tamora’s eldest son to his own dead sons, an obedience to
Roman ritual which earns him Tamora’s hatred and promise of revenge.
As Tamora is made empress by the new emperor Saturninus, she schemes
with her lover, Aaron, to get back at Titus by framing Titus’s two sons for the
murder of the emperor’s brother, Bassianus. Unappeased by the beheading
of Titus sons, she next entreats her sons to rape Titus’s daughter Lavinia,
after which they cut off her hands and tongue so she cannot report them.
Titus’s last surviving son, Lucius, is then banished from Rome where he seeks
alliance with the enemy Goths to attack Rome. Titus, aged and grieved,
begins to act oddly and everyone believes him mad.
Tamora, hoping to take advantage of Titus’ weak state, appears to him as
the figure of Revenge who will offer justice only if Lucius can be convinced to
abort his attack plans. Titus, who had pretended madness, captures Tamora’s
sons and makes pie out of them which he feeds Tamora before killing both
her, and his own daughter, Lavinia. After a rash of killing, the only survivors
are Marcus, Lucius, Young Lucius, and Aaron whom Lucius has buried alive.
The play ends as Marcus becomes Rome’s new Emperor.
THE TEMPEST
Prospero, the former Duke of Milan, and his fifteen-year-old daughter,
Miranda, watch a shipwreck from their island and, for the first time, Prospero
shares with Miranda how they came to be there. Twelve years before, his
brother Antonio, had usurped his position of Duke of Milan, but with the
help of courtier and friend Gonzalo, he escaped in a boat with Miranda and
his magic books. They landed on the island, and Prospero used his magic to
enslave its sole inhabitants—Caliban, a deformed and savage creature, and
Ariel, a spirit.
The passengers of the shipwreck are unharmed as they land on the
island: Alonso, the King of Naples, his brother Sebastian, Antonio, Prospero’s
brother Gonzalo, and others. Alonso’s son Ferdinand is separated and lands
on another part of the island where he meets and falls in love with Miranda,
and falls under the control of Prospero’s magic.
Meanwhile, Ariel, promised freedom by Prospero upon completion of
tasks, leads the newcomers to Prospero’s cell. Antonio and Sebastian plot to
kill Alonso so that Sebastian can be king. At the same time, Caliban recruits
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IMAGINATION
AUTHENTICITY
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ABOUT THE SET
The scenes in Labyrinth are connected by Shakespeare’s legacy of language,
spanning cultures and time. We chose “windows through time” as a metaphor
to support the seemingly disparate scenes. These window fragments include
a Gothic piece, an architectural element visible in Shakespeare’s time, an
industrial factory window, a modernist clerestory, and an abstracted Labyrinth
Rose Window. Some of these fragments appear to be eroding or in ruin, but
perhaps they are not yet fully formed. The fragments, like the actors in the
production, can play as many roles as necessary. The action can be indoors
and out. A fragment can become a tree, fence, screen, door, bush—whatever
the scene needs, and the audience imagination will allow.
The weathered pewter coloring recalls the grittier times of Shakespeare’s
England and remains an abstract and neutral backdrop to the evolving color
pallet of the costumes and props. The Labyrinth window recalls the circular
design on the floor of Chartres Cathedral in France (well known in the time
of Shakespeare), or a rose or portal window in a playful Art Deco tradition.
A labyrinth maze is only fully perceived when viewed from above, and only
fully enjoyed when walked from within.
As practicality demands that a travelling production expand and contract
as shaped by various venues, you may not see all the window fragments in
today’s production, but we hope that the set will assist in enriching your view
of Shakespeare’s timeless influence and work.
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Labyrinth_Program_final.indd 21
about Labyrinth
other members of the shipwreck, Trinculo, a court jester, and Stephano, a
butler, to help him overthrow Prospero. Ariel reports the plot to Prospero as
the drunken crew also heads to his cell.
The three would-be usurpers arrive at Prospero’s cell and are chased
away by a band of spirits. Ariel then arrives with the shipwreck survivors as
Prospero renounces his magic and reveals himself. He forgives his brother
and prepares to return to Milan and resume his dukedom. Miranda and
Ferdinand are betrothed, and sailors arrive to announce that the ship hasn’t
been wrecked, but is safely anchored off the island. Ariel is set free and
Caliban and the drunken servants are forgiven.
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ABOUT THE MUSIC
Shakespeare’s orchestration of story, imagination, and spoken word
has not only inspired playwrights through the centuries, but composers as
well. Strong visual melodies and colorful soundscapes lend themselves to
accompanying the Bard’s words and the words of playwrights who learned
from his genius. These pieces from well-loved composers of the Classical and
Romantic periods are fit companions to today’s selections of scenes because
of their rich melodies and lush harmonization.
about Labyrinth
A FEW NOTES ON SELECT PIECES
Wolfgang Amadeus Mozart’s genius mirrors that of Shakespeare’s and
both have left an indelible mark on the world. There are other similarities as
well—both were able to create, change, master their craft in their minds and
then put it on paper, with only slight adjustments afterwards.
Over the centuries, more and more compositions were sparked by
Shakespeare’s characters and text. Such is the case with Sir Edward Elgar’s
Falstaff (1857–1934), which he considered his best orchestral work, although
many critics disagreed. However, Sir Donald Tovey viewed Falstaff as “one
of the immeasurably great things in music” with power “identical with
Shakespeare’s” [Oxford Journal of Music and Letters, January 1935, p. 1].
American composer Samuel Barber (1910–1981) began his career as
a musician with Overture to The School for Scandal written for Sheridan’s
famous play. At 21, in the midst of finishing his studies at Curtis Institute of
Music in Philadelphia, he wrote this as his first full orchestral composition.
More than 30 years later, using Shakespeare’s language exclusively, Barber’s
opera Antony and Cleopatra would premier at the Metropolitan. In today’s
selection, his Souvenirs Suite consists of six pieces, each a lighthearted dance
that depicts a cherished reminiscence—a scene or location—which the
composer associated with New York in 1914.
All excerpts used with permission from ASCAP and BMI.
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AUTHENTICITY
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ABOUT THE COMPANY
Elements Theatre Company
www.elementstheatre.org
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about the company
Since primitive man uttered his first “ugh,” humans have asked: who am I,
how did I get here, and where am I going. Some have tried to answer or explore
those questions through a particular brand of storytelling called “theatre.” We,
at Elements Theatre Company explore those answers, and render the literature
of the theatre with imagination and integrity. Elements is a resident ensemble
dedicated to exploring the vitality of the word and the deepest truths present
in the text. Through dramatic storytelling and imaginative stagecraft, Elements
approaches both classic and modern works with honesty and authenticity. The
transformative work to become the text—to inhabit another world and live
another’s life—is both our pleasure and privilege. We believe in the vitality of the
word, and the community born between playwright, actor, and audience. We
seek to be available to that divine moment when inspiration, faithfulness, hard
work, and love merge, and transport us beyond the familiar into something new.
Members of Elements Theatre Company have trained with teachers from
Shakespeare & Company, Central School of Speech and Drama, Royal Academy
of Dramatic Arts, Shakespeare’s Globe, the Royal Shakespeare Company, and
London’s National Theatre.
The company has studied with Patsy Rodenberg, Joanna Weir-Ouston,
Glynn MacDonald, and Sue Lefton, and their voice training holds specific
emphasis in the Linklater method. The company spent February 2009 in New
York City studying voice, improvisation, Shakespeare, and the Michael Chekhov
technique with Louis Colaianni, Jane Nichols, Daniela Varon, and Lenard
Petit. In August of 2012, Elements traveled to Chicago to study stage combat,
improvisation, voice, Feldenkrais, and Henrik Ibsen with Christine Adaire,
Patrice Eggleston, Kestutis Nakas, Nick Sandys-Pullin, and Rachel Slavick.
Founded in 1992, Elements Theatre Company performs year-round at
Paraclete House, and in the Church of the Transfiguration on Cape Cod in
Orleans, Massachusetts. They tour regularly, presenting workshops and
performing at conferences, schools, and churches.
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Danielle Dwyer, CJ • Artistic Director,
about the company
Co-Founder of Elements Theatre Company
A founding member of Elements Theatre Company,
Sr. Danielle Dwyer has either directed or performed in
nearly 60 productions since the company’s inception in
1992. Classically trained but also skilled in contemporary
drama, Sr. Danielle earned her Master of Arts Degree from England’s Royal
Academy of Dramatic Art and the University of London. She also studied
voice, acting, and writing with Joanna Weir at Central School of Speech and
Drama (London, England); David Male of Cambridge University (Cambridge,
England); and Shakespeare & Company (Lenox, MA); and studied Shakespeare
at the Stella Adler Studio in New York City. Sr. Danielle’s directorial experience
ranges from the timeless humanity of Shakespeare (Twelfth Night) and Chekov
(The Cherry Orchard) to the biting comedy of Neil Simon (Rumors) and Oscar
Wilde (Lady Windemere’s Fan). She has also co-directed the world premiere of
A Quest for Honor: The Wind Opera, and the opera Pilgrim’s Progress by Ralph
Vaughan Williams. Of the latter The Boston Globe hailed, “One seldom sees
an operatic production as powerful in conception and polished in execution as
this.” As an actress, Sr. Danielle has received comparable critical acclaim. Recent
roles include God of Carnage, Annette Raleigh; Pillars of the Community, Lona
Hessel; Twelfth Night, Malvolio; The Cherry Orchard, Ranevskaya; Rumors,
Chris Gorman; Lady Windermere’s Fan, Mrs. Erlynne; The Lion in Winter,
Eleanor; Doctor Faustus, Mephistopheles; Richard III, Queen Elizabeth;
Everyman, Everyman; and Lettice and Lovage, Lettice Douffet. Sr. Danielle is
also the author of several performance pieces, including short stories and plays,
video scripts, poetic monologues, and narratives for worship and meditation.
Christopher Kanaga, CJ • Assistant Director,
Technical Director
Christopher Kanaga has been a member of Elements
Theatre Company since 2002. He is both a performer and
technical director, and his experiences with Elements—
and with the Spirit of America Band—have taken him
from the Elements stage at Paraclete House to opera
houses in South Korea and South Africa to football fields
across Massachusetts. Chris studied liturgical art and architecture for four
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AUTHENTICITY
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Brad Lussier, CJ • Dramaturg
As the resident dramaturg at Elements Theatre Company,
Brad Lussier serves as literary and historical advisor. He
oversees the accurate interpretation of a play’s language
and sub-text. Brad earned his AB in English and American
Literature from Brown University. He also studied Creative
Dramatics for Children at Roger Williams University. In
addition, Brad conducted extensive studies in psychology, earning a Doctorate
in Pastoral Counseling from Boston University. All of this knowledge and
experience comes into play in his role as Dramaturg. A member of Elements
Theatre Company since 2001, Brad has also performed as an actor in numerous
productions. Recent roles include God of Carnage, Alan Raleigh; A Christmas
Carol, Scrooge; The Cherry Orchard, Leonid Andreyevich Gayez; Rumors,
Lenny Ganz; The Trial of Jesus, Judas; Lady Windemere’s Fan, Lord Darlington;
The Lion in Winter, Geoffrey of Anjou; Everyman, Everyman; The Tragical
History of Dr. Faustus, Faustus; The Comedy of Errors, Dromio of Ephesus;
Richard III, Clarence; and The Winter’s Tale, Old Shepherd. Brad also leads
workshops and master classes whenever Elements Theatre Company tours to
colleges and universities across the country.
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about the company
years throughout Western Europe. He has also managed and coordinated
international artists and artisans in completing major architectural art
installations of frescos, mosaics, and bronze and stone sculptures. At Elements
Chris applies these skills and experiences to the performing arts, designing and
constructing theatrical sets that are both evocative and highly functional. His
work on the Elements production of the opera Pilgrim’s Progress by Vaughan
Williams was highly praised. Since becoming the technical director for Spirit
of America Band in 2006, Chris’s work has included the world-premiere of
A Quest for Honor: the Wind Opera in South Korea; Exploration! in the U.S.
and South Africa; and most recently the world-premiere of the Instrumental
Theatre: in motion production The Fall and Rise of the Phoenix in South Africa.
As an actor, Chris has recently performed the following roles: God of Carnage,
Michael Vallon; Pillars of the Communty, Karsten Bernick; The Lion in Winter,
Henry II; Twelfth Night, Feste the Clown; The Cherry Orchard, Lopakhin;
Lady Windermere’s Fan, Lord Windemere; and Richard III, Lord Rivers.
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PAST PRODUCTIONS
2013:
• A Christmas Carol, Charles
Dickens, adapted by John
Mortimer (readers theatre)
• God of Carnage, Yasmina Reza
•A Midsummer Night’s
Dream, William Shakespeare
about the company
2012:
• The Dining Room,
A.R. Gurney
•Pillars of the Community,
Henrik Ibsen
2011:
•Twelfth Night,
William Shakespeare
•A Christmas Carol,
Charles Dickens, adapted
by John Mortimer
2010:
•The Cherry Orchard,
Anton Chekhov
• The Doorway,
Phyllis Tickle
•Shakespeare’s Own:
Vicious or Virtuous?, William
Shakespeare
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STORY
2009:
•Trial of Jesus,
(reader’s theatre),
John Masefield
• Rumors, Neil Simon
2008:
• From Whence We Come:
Shakespeare Scenes on the
Ups and Downs of Family
• Lady Windermere’s Fan,
Oscar Wilde
IMAGINATION
AUTHENTICITY
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2007:
• The Just Vengeance
(reader’s theatre),
Dorohy Sayers
•The Lion in Winter,
James Goldman
2006:
• A Heart to Love: Scenes,
Songs and Sonnets of
William Shakespeare
• Everyman, Anonymous
2004:
• Everyman, Anonymous
• Lettice and Lovage,
Peter Shaffer
• The Comedy of Errors,
William Shakespeare
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2002:
• The Winter’s Tale,
William Shakespeare
• Christ in the Concrete City,
Philip Turner
2001:
• Figs and Fury,
Phyllis Tickle
2000:
• God’s Favorite,
Neil Simon
about the company
2005:
• The Rock, T.S. Eliot
2003:
• The Tragical History
of Doctor Faustus,
Christopher Marlowe
• Richard III,
William Shakespeare
• Murder in the Cathedral,
T.S. Eliot
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GLORIÆ DEI ARTES FOUNDATION
Elements Theatre Company is part of the Gloriæ Dei Artes Foundation located
in Orleans, Massachusetts.
about the company
Gloriæ Dei Artes is a nonprofit foundation dedicated to the pursuit of beauty,
truth, and faith in the Arts—sharing inspiration and education with people across
many nationalities, cultures, and traditions. Gloriæ Dei Artes incorporates both
performing groups and visual artists and is dedicated to the pursuit of excellence
in these areas as well as the inspiration and education of others. The foundation
has a history of reaching out to America’s youth through the arts in the form of
workshops, camps, and through the Young Performers Outreach program which
offers free tickets to children and students to all events.
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A MILLION
THANKS
Please join us as we thank these corporate partners, foundations and businesses.
Their generous support over the last year helps make it possible to carry out the
mission of Gloriæ Dei Artes Foundation to challenge young people and inspire
audiences of all ages around the world. In addition to all of these sponsors, we would
like to gratefully acknowledge the many individual donors who enable all of
Gloriæ Dei Artes Foundation’s programs to flourish.
Mortgage Master
Donald P. DeLude
139 Route 6A • Orleans, MA 02653
508-237-7714
Case Systems
2700 James Savage Road • Midland, MI 48642
989-496-9510 • www.casesystems.com
Erik D. Cragg, D.D.S.
5 Locust Road • Orleans, MA 02653
508-255-8805 • www.capecodprosthodontics.com
The Durham Manufacturing Company
201 Main Street • Durham, CT 06422
(800) 243-3774 • www.durhammfg.com
Factory Paint & Decorating
800-696-3700 • www.factorypaint.com
www.elementstheatre.org
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Foster-Stephens, Inc.
1341 Howard Street • Elk Grove Village, IL 60007-2213
800-279-8269 • www.foster-stephens.com
Orleans Waterfront Inn
3 Old County Road • Orleans, MA 02653
508-255-2222 • www.orleansinn.com
Architectural Design, Inc.
62 Route 6A • Orleans, MA 02653
508-255-0606 • www.ad-archts.com
Haig’s Homes
39 Eldridge Road • Brewster, MA 02631
508-240-0945 • www.haigshomes.com
McDonnell Mechanical Services, Inc.
87 School Street • West Dennis, MA 02670
508-394-0005 • www.mcdonnellmechanical.com
Mid Atlantic Millwork
877-251-8588 • www.mamillworksales.com
Mitsubishi Electric Power Products, Inc.
547 Keystone Drive, Suite 200 • Warrendale, PA 15086
724-778-3165 • www.meppi.com
Vic Firth Company
Boston/Dedham Commerce Park
65 Sprague Street • Boston, MA 02136
617-364-6869 • www.vicfirth.com
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AUTHENTICITY
1/27/14 2:35 PM
Alexandria Moulding
800-841-8746 • www.alexmo.com
Anchor Hocking Company
www.anchorhocking.com
Arundel House Hotel
Chesterton Road • Cambridge, CB4 3AN • United Kingdom
www.arundelhousehotels.co.uk
James J. Bombanti, C.P.A.
75 Finlay Road • Orleans, MA 02653
508-255-0006
Bushnell Construction
36 Defiance Lane • Orleans, MA 02653
508-237-4139 • [email protected]
John Connolly, Attorney at Law
314 Gifford Street, Unit 5 • Falmouth, MA 02540
508-457-0888
Land Ho!
38 Main Street • Orleans, MA 02653
508-255-5165 • www.land-ho.com
New York Salisbury Hotel
123 West 57th Street • New York, NY 10019
212-246-1300 • www.nycsalisbury.com
Nine Quarter Circle Ranch
5000 Taylor Fork Road • Gallatin Gateway, MT 59370
406-995-4276 • www.ninequartercircle.com
www.elementstheatre.org
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Reflex Lighting Group, Inc.
7 Tide Street • Boston, MA 02210
617-269-4510 • www.reflexlighting.com
Remo, Inc.
28101 Industry Drive • Valencia, CA 91355
661-294-5600 • www.remo.com
South African Airways
954-769-5023 • www.flysaa.com
Technical Consumer Products, Inc.
325 Campus Drive • Aurora, OH, 44202
800-324-1496 • www.tcpi.com
The Breakers – Palm Beach
1 South County Road • Palm Beach, FL 33480
561-659-8444 • www.thebreakers.com
Turtle Hill Vacation Villas
Hope Town, Elbow Cay • Abaco, Bahamas
954-358-8992 • www.turtlehill.com
Yamaha Corporation of America
6600 Orangethorpe Avenue • Buena Park, CA 90620
www.yamaha.com
Avedis Zildjian Company
22 Longwater Drive • Norwell, MA 02061
www.zildjian.com
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IMAGINATION
AUTHENTICITY
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3M Industrial Adhesives
3M Manufacturing
Alcone
Basinger Audio Systems
BNY Mellon Community Partnership
Cape Cod Orthopaedic/Sports Medicine
Casa Cuma
Capt. Dick Clark
Culinary Institute of America
Capt. Donald S. Finlay
Fitness Revolution
Focalpoint Studio, Inc.
Guardian Building Products
H. H. Snow & Sons, Inc.
Hi Way Concrete Products
Kanstul Musical Instruments
Kelley’s Flowers
LeGrand Wiremold
Moore Security
Nauset Lantern Shop
Plywood and Door Manufacturing Corp.
Ponderosa Landscaping and St. Aubin Nursery
Capt. John Shakliks
Shepley Wood Products, Inc.
Southwest Airlines
Suva Design, Inc.
Teal’s Express
US Gypsum via Drywall Masonry
Capt. Don Walwer
Wendy’s Restaurants of Orleans/Hyannis
World Wood Trading
www.elementstheatre.org
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®
®
MARCH 7 & 8, 2014
with Orchestra
Jesu, der du meine Se e le
J.S. BACH
Me m b ra Je s u n o s t r i
DIETERICH BUXTEHUDE
Gloriæ Dei Cantores (Singers to the Glory of God) holds a
passionate dedication to illuminate truth and beauty through
choral artistry, celebrating a rich tradition of sacred choral
music from Gregorian chant through the twenty-first century.
THE CHURCH OF THE TRANSFIGURATION
ROCK HARBOR, ORLEANS, MASSACHUSETTS
Tickets: 508-240-2400 or online at www.gdcchoir.org
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SHAKESPEARE’S 450TH BIRTHDAY—
A YEAR-LONG CELEBRATION
“A spark of the divine is present in Shakespeare’s work, and it is our desire to recognize
and honor that gift in this celebratory year. Shakespeare’s words have been a tool in the
healing and transformation of people again and again and again. As his words are made
flesh by professional and amateur theatre companies, college professors, high school
students, children, and those who read his work for the sheer delight of its magnificence,
we are again summoned to a higher level of understanding and living.”
—Danielle Dwyer, CJ, Artistic Director, Elements Theatre Company
P
•
Word Made Flesh: Shakespeare’s Sonnets Celebrated by the Seven Ages of
Man. Join us in creating a video collection of all 154 sonnets, as a living
storybook honoring the Bard’s birthday. See how you can participate at
www.wordmadefleshshakespeare.org
APRIL 2014 {
• April 19-26 “Birthday Week” celebration, including performances of
Labyrinth: A Legacy of Language, lectures, workshops, films, and a birthday
dinner party and show on Saturday, April 26th on Cape Cod.
AUGUST 2014 {
•
Shakespeare Retreat on beautiful Cape Cod—Come away for a week of
refreshment and intensive exploration of Shakespeare’s deep understanding
of the human condition. Through lectures, workshops, and hands-on scene
work, the life of Shakespeare’s language will be given a fresh perspective
in this focused environment that will culminate in an outdoor, evening
performance of Shakespeare’s Julius Caesar by Elements Theatre Company.
P
NOVEMBER 2014 {
•
Yasmina Reza’s God of Carnage—Dinner and Performance
For details, please visit www.elementstheatrecompany.org
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P.O. Box 2831, Orleans, MA 02653
Phone: 508-255-3999
Reservations: 508-240-2400
Fax: 508-240-1989
Email: [email protected]
www.gdaf.org
© Gloriæ Dei Artes Foundation
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AUTHENTICITY
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