Production support is generously provided by Karon Bales & Charles Beall Support for the 2014 season of the Tom Patterson Theatre is generously provided by Richard Rooney & Laura Dinner i University of Waterloo on the world stage

This is a place where imagination meets innovation — a place where unconventional approaches push performance to new heights and allow talent to soar.

In the community and through research and teaching at our dynamic Faculty of Arts, University of Waterloo is a proud supporter of the arts. uwaterloo.ca

UWaterloo Drama Scenes from an Execution by Howard Barker March 2012

WATERLOO | Canada’s most innovative university for 22 years C004608 University of Waterloo on the world stage

This is a place where imagination meets innovation — a place where unconventional approaches push performance to new heights and allow talent to soar.

In the community and through research and teaching at our dynamic Faculty of Arts, University of Waterloo is a proud supporter of the arts. uwaterloo.ca

UWaterloo Drama Scenes from an Execution by Howard Barker March 2012 MINDS PUSHED TO THE EDGE In drama, the greater the conflict, the more riveting the result. This is the beauty of theatre: in a safe environment we watch titanic struggles and laugh or perhaps cry at the outcome. And along the way we gain a little bit of insight. In that light, I am excited to present a season of plays in which the characters are pushed to the very edge of their capabilities – and, in order to cope, must change or die. Metamorphosis, for instance, is at the very heart of A Midsummer Night’s Dream. Events that could be tragic become the stuff of comedy. The opposite takes place in King Lear. The plays in the 2014 season give us extraordinary characters pushed to the edge by war, by desire, by family and, above all, by love. These characters are the most cherished embodiments of our journey as people. We may begin as Alice and in time become Helena, Christina, Cleopatra, Judith Bliss, Mother Courage, Bottom, Don Quixote or Lear. I hope today’s performance will inspire you to see some of the other productions WATERLOO | Canada’s most innovative university for 22 years on our 2014 playbill, and to further pursue the themes and ideas embodied in them through the many engaging and entertaining events of our Stratford Festival Forum.

Videos on the season’s theme:

C004608 Antoni Cimolino, Artistic Director stratfordfestival.ca/madness Our 2014 Partners and Sponsors We are honoured to acknowledge the following corporations and individuals who have made commitments in the 2014 season:

Individual Partners Support for the 2014 Support for the 2014 Support for the 2014 Support for the 2014 season of the Festival season of the Avon season of the Tom season of the Studio Theatre is generously Theatre is generously Patterson Theatre is Theatre is generously provided by Claire & provided by the generously provided provided by the Daniel Bernstein Birmingham Family by Richard Rooney Parnassus Foundation, & Laura Dinner courtesy of Jane & Raphael Bernstein and Sandra & Jim Pitblado

Corporate Partners

Production and Program Sponsors

Sylvanacre Properties Ltd.

In-Kind Sponsors

Stratford’s Greatest Hits

2 Season Hosts Performance Hosts

Aylmer Express Blackburn Radio Comtran Famme & Co. Professional Corporation Pelee Island Winery Power Corporation of Canada Pratt & Whitney Canada Inc. Rhéo Thompson Candies Steed Standard Transport Limited The FSA Group The Woodbridge Company Limited

The Stratford Festival gratefully acknowledges the generous support of these contributors to our success:

Black

CMYK The Stratford Festival is a non-profit organization with charitable status in Canada* and the U.S.** *Charitable registration number: 119200103 RR0002 **As defined by Section 501(c)(3) of the Internal Revenue Code

Pantone 3 FORUM Expand your Experience Concerts, debates, talks, comedy, interactive presentations and more...

May we recommend these selected Forum events . . .

The Radical Middle Way PHOTO BY: SHAHIDSHAFIQ.COM Studio Theatre Saturday, July 26, from 10 to 11 a.m. Muhammad Robert Heft, an international consultant on counter-terrorism, brings together his personal and professional experience in a talk about conversion, radicalization and restoring moderation. $15.

Apocrypha No More: Shakespeare’s Collaborative Plays Studio Theatre MUHAMMAD ROBERT HEFT Friday, August 15, from 9 a.m. to noon Scholars Eric Rasmussen and Will Sharpe join Festival company members to explore non-canonical plays believed to reveal Shakespeare’s hand. $15. Support for this event is generously provided by Dr. Jules and Josephine Harris.

Table Talk Paul D. Fleck Marquee, Festival Theatre Tuesday, August 19, from 11:30 a.m. to 1:15 p.m. Buffet lunch followed by a talk on King John by Professor Ted McGee. $40 with cash bar. ERIC RASMUSSEN

4 Masks, Madness and Shakespeare’s Sonnets Studio Theatre Thursday, August 21; Saturday, August 30; Thursday, September 4, from 10 to 11:30 a.m. Festival company members use character half- masks to explore the sonnets. Directed and compiled by celebrated director Guy Sprung and master mask teacher Brian Smith. $25.

ARC Ensemble presents “The Hell Where Youth and Laughter Go” St. Andrew’s Church Saturday, August 30; Saturday, September 6; Saturday, September 13, from 5:30 to 7 p.m. This preeminent chamber music ensemble performs music born of the First World War, including Edward Elgar’s magnificent Quintet for piano and strings. The concert includes readings of poetry and letters of the time. $30. Night Music is generously supported by Sandra Rotman in honour of Louis Applebaum through The Louis Applebaum Visiting Artists Program. ARC ENSEMBLE

Authorship on Trial Festival Theatre Saturday, October 4, from 10:30 a.m. to noon Chief Justice Beverley McLachlin, of the Supreme Court of Canada, convenes a special panel of judges to consider whether there is sufficient evidence to refute the claim that Shakespeare was the principal author of the canon. With special appearances by Antoni Cimolino and Colm Feore. Free. CHIEF JUSTICE BEVERLEY MCLACHLIN

200+ Forum events • April to October 2014 stratfordfestival.ca/forum | 1.800.567.1600

Selected Forum Events Broadcast Partner Supported by

Sustaining support for the Forum is generously provided by Kelly & Michael Meighen and the T.R. Meighen Foundation Support for the 2014 Forum is generously provided by Nandita & Julian Wise Support for Peer into the Playbill is provided in memory of Dr. W. Philip Hayman

5 Premier OPPOrtunity tO live StePS FrOm the AvOn river At thirty-Six FrOnt, StrAtFOrd’S mOSt excluSive AddreSS The “lack land” is, perhaps, more logical, and less unkind, than it might seem at first glance: John was the youngest of five sons, and thus not endowed with the promise of great landholdings that at least some of his older brothers would have expected to enjoy. “Soft sword” was meant as a more direct insult: John’s willingness to show fealty to Philip II of France soon after the former came to the English throne, which involved both the ceding of land and payment of money to Philip, led some to consider the new king weak. Either way, neither epithet is particularly auspicious. There is little question that John was one of the most colourful monarchs England has seen. He was reviled in his own time as both personally lustful and politically Tom McCamus (King John) weak; as king, he openly defied papal power (he was excommunicated for a period A Curiously of four years in the middle of his reign); he was forced into the signing of Magna Carta, Elusive King: now considered a fundamental document in the evolution of democracy (although a “I am a bit of a flop in John’s own time); and when scribbled form” he died, England was in the grip of civil war. Historians still debate his relative merits By Kel Pero or lack thereof, particularly in the areas of administration and law. Many European crowned heads and But for a fifth son, who should really noblemen of past centuries are now known have done little more than, say, form an to us largely via their nicknames. Some, alliance with a minor noble family through like Edward the Confessor or Philip the marriage or been shuffled off into the Handsome, might be pleased at the thought; Church, John’s profile is really rather others, like Pepin the Short or Charles impressive. He managed to outlive all four the Bald, might be less than flattered. In of his brothers, including the legendary the case of the Plantagenet King John of Richard the Lionheart, ruled England for England, not one but two epithets have seventeen years, and is a direct forebear of come down to us: he was known as both the current monarch, Elizabeth II. He is the John Lackland (a fairly literal translation of only English king of his name. Historically, the medieval French Johan sanz Terre) and John is, in many ways, an anomaly, a set of John Softsword. contradictions – a bit of a mystery.

7 Seana McKenna (Constance)

Just as the monarch John occupies, in after Shakespeare’s death. No performance many ways, a rather odd place in history, of the play is recorded until more than a so Shakespeare’s play is unusual within century after that, in the late 1730s. the playwright’s canon. While many of The play’s origins have proven Shakespeare’s works have undergone contentious, at least among some scholars some degree of ebb and flow in popularity and enthusiasts. It is well established that over the centuries, King John, impressively Raphael Holinshed’s Chronicles of England, popular in the later part of the nineteenth Scotland, and Ireland, a popular work of century, ranked among Shakespeare’s least- British history whose second edition was frequently performed plays just decades issued in 1587, provided Shakespeare into the twentieth. (The Stratford Festival with source material for King John (as has been judicious here: this will be the well as for a number of other plays). But play’s fifth staging in the Festival’s sixty- some still maintain that a play entitled The one-year history, putting King John on a Troublesome Reign of King John, which fair footing with the appearance of many clearly served as a model for Shakespeare’s of Shakespeare’s histories in Stratford.) King John, was written not by the playwright Changing tastes in theatre have perhaps and poet George Peele but in fact by seen audience interest shift more toward Shakespeare himself; indeed, two of its the introspection of a Henry V or the smooth three seventeenth-century printings credited Machiavellianism of a Richard III and away Shakespeare as the author. from the purer pageantry to which King John From the murkiness of history and lends itself as an ensemble piece. Renaissance publishing comes an onstage This is also a play about which we know character who is suitably elusive. King John little in terms of reception in Shakespeare’s is, in many ways, a strangely remote figure own time; although it was probably written in the overall landscape of the play. One of in the mid-1590s, it seems that no published only two of Shakespeare’s kings to speak version of it appeared before that contained entirely in verse (the hapless Richard II is the in the First Folio, which was printed in 1623, other), John is presented to us as an entirely 8 public figure, and not a terribly sympathetic to blame the loyal Hubert for (supposedly) one. At the very beginning of the play, executing the brutal orders regarding John’s confederate – his mother, Eleanor of young Prince Arthur that the king himself Aquitaine – admits that her youngest son’s had given him. position on the throne is more a matter of John possesses none of the compelling might than right: “Your strong possession energy and magnetism of Faulconbridge, much more than your right, / Or else it must bastard son of John’s late brother Richard, go wrong with you and me: / So much my and lacks the moral high ground of the conscience whispers in your ear, / Which obsessed and bitter Constance. Perhaps none but heaven and you and I shall hear.” the structure of King John simply doesn’t We see him negotiating with or defying allow its title character the luxury of much princes of the state and Church, dealing complexity; he is a character entirely in with relatives, and issuing orders, all in service to the rapid unfolding of action that order to maintain a position of dubious characterizes the play, just as he is a king legitimacy; but he never unburdens his entirely in service to the goal of remaining heart to the audience in a soliloquy, or to on the throne. At the very end of the play, in other characters in dialogue, and we get saying his final goodbyes to his son and the little sense of the character’s interior life. few noblemen still loyal to him, King John Shakespeare’s John is simply not given sums up the essence of his – and perhaps to reflection, and doesn’t agonize over anyone’s – position, whether in history or personal or political decisions, whether the literature, most aptly: “I am a scribbled form, result thereof is war or murder. He comes drawn with a pen / Upon a parchment.” across as ambitious, arrogant, and lacking in foresight; we get an inauspicious glimpse Kel Pero, PhD, is an independent scholar of his moral character when he attempts and actor living in Stratford.

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9 Room for the Imagination Director’s notes by Tim Carroll

After Romeo and Juliet in the Festival Theatre last year, staging King John in the Tom Patterson Theatre feels like moving from the Globe Theatre to the Blackfriars. This shift, from open-air to indoors, is exactly the one that Shakespeare and his company eventually made permanent, just in time for the last few plays he was to write. But even before that, in fact right from the start of his career, it was not uncommon for a play to open in an outdoor theatre and then to be taken indoors, where a smaller audience would perhaps pay more attention Tim Carroll: Photo by Erin Samuell and would certainly pay more money. I have no idea whether either of those will be true of darkness was achievable; in others daylight the TPT audience. But I know from would come through the windows and experience that a play in the augment the light of many candles, at least Globe feels different from one in a until evening fell. hall like the Blackfriars. When I think of one of the history plays – When a performance was invited to which were all written for outdoor theatres play indoors, whether for the Queen at – being performed indoors, I can’t help Hampton Court, the law students at Middle wondering how these changes must have Temple Hall, or the City merchants at the affected the playing. When I directed the Blackfriars, the nature of the experience Globe company in Richard II, we started must have been profoundly different from in Middle Temple Hall and moved into that at the Globe: with more surfaces to the Globe, and that certainly seemed to bounce the sound off, and less space to shift the focus, though not necessarily fill, any music you played could be more in ways I would have predicted. Unless subtle and atmospheric (you could even we also play outdoors at some point in make its source mysterious by keeping the summer, we will not have such an the musicians out of sight); the audience opportunity for comparison; but the game would be closer to the action and with less I am setting up here is inspired by the idea to distract them, which might affect your of Shakespeare’s troupe bringing their King speaking and playing; and the lighting John, which may or may not have been a could be controlled, if only in a very smash hit at the Rose (we know nothing of limited sense. In some performances total its performance history, though it is certainly

10 too early for the 1599 Globe), to a hall for on stage. Similarly, they would have had a performance that starts in the afternoon access to medieval music, some of which and finishes as night falls. was still around, both in manuscript and in That is one aspect of the game. Another oral tradition; and this is why our music will is to do with the way that Shakespeare shift between the sixteenth and thirteenth and his contemporaries would have centuries, sometimes within a single piece. gone about staging history. We know I have twice called what we are doing from the wardrobe inventories of the a “game.” I much prefer this word to Lord Chamberlain’s Men that they had no anything more sombre. I never use the “medieval” clothes. It seems clear, in fact, word authentic because it implies a rather that no one did: if old clothes survived anxious straining to get it “right.” The game at all, they would be cut up and used for I call “Original Practices” is one where I new fashions. So it seems likely that the use whatever theatre-historical evidence clothing would have been modern dress seems interesting and suggestive to create – i.e., Elizabethan. Old weapons, on the a space where the actors and the audience other hand, did get handed down, and we can combine their imaginations. I have know that Shakespeare’s company were no idea if this is “how they would have not bothered about mixing periods when it done it”; I just hope it creates a liberating suited them; so they might have had, as we environment for the play of Shakespeare’s will, a mixture of rapiers and broadswords incredible language.

Costume design for The Story King John by Carolyn M. King John of England is visited by an Smith ambassador from King Philip II of France, who demands that John relinquish his throne in favour of his young nephew Arthur, the son of John’s deceased elder brother, Geoffrey, and Constance, the Duchess of Brittany. Defying this challenge to the legitimacy of his rule, John declares war on France. Meanwhile, John is asked to resolve an inheritance dispute between two brothers, Robert Faulconbridge and his sibling, Philip, whom Robert believes to be the bastard son of John’s predecessor, King Richard I (commonly known as “Coeur-de-lion” or “Lionheart”). John offers Philip, “the Bastard,” a knighthood if he will give up his claim to the Faulconbridge estate and follow him instead to the wars in France – a proposal that Philip readily accepts. Every war, however, takes unexpected turns, and as it turns out, France is not the only enemy with whom John will have to contend.

11 William Shakespeare Playwright

Born in Stratford-upon-Avon in 1564, target of a literary attack by a jealous William Shakespeare was the eldest fellow playwright, Robert Greene. Soon son of John Shakespeare, a glover and afterwards, an outbreak of plague forced tanner who rose to become an alderman the temporary closure of the theatres, and and bailiff of the town, and Mary Arden, Shakespeare turned his attention instead to the daughter of a wealthy farmer. The his long narrative poems Venus and Adonis exact date of his birth is unknown, and The Rape of Lucrece. He also began but there is a record of his baptism at writing the Sonnets, a series of 154 complex Stratford’s Holy Trinity Church on April and often ambiguous poems on themes 26. Since an interval of two or three days of love, jealousy and mortality that have between birth and baptism would have aroused much biographical speculation. been quite common, tradition has it that By 1595, Shakespeare was back in the he was born on April 23 – the same theatre, writing and acting for the Lord date as his death fifty-two years later. Chamberlain’s Men. His income as one The young Shakespeare is assumed of London’s most successful dramatists to have attended what is now King enabled him, in 1597, to buy a large house Edward VI Grammar School in Stratford, called New Place back in Stratford, and where he would have studied rhetoric, grammar and ancient Roman literature in 1599 he became a shareholder in in its original Latin. In 1582, when he was London’s newly built Globe Theatre. eighteen, he married Anne Hathaway, a In 1603, when James I had succeeded farmer’s daughter who was eight years Elizabeth on the throne, Shakespeare’s his senior. Anne was pregnant at the time, company was awarded a royal patent, and the couple’s first daughter, Susanna, becoming known as the King’s Men. was born a few months afterwards in Meanwhile, the playwright continued 1583. Twins followed two years later: his business dealings in Stratford and in a son, Hamnet, who died at the age of London, where in 1613 he bought a property eleven, and a second daughter, Judith. known as the Blackfriars Gatehouse. He is Nothing further is known of believed to have spent increasing amounts Shakespeare’s life until 1592, by which of his time in Stratford from around 1609 time he was sufficiently established as until his death on April 23, 1616. He is an actor and writer in London to be the buried in the town’s Holy Trinity Church. 12 King John By William Shakespeare This production is dedicated to the memory of Suzanne Turnbull. The Cast

King John Tom McCamus Queen Eleanor, mother to King John Patricia Collins Prince Henry, son to the King Andrew Lawrie Blanche of Spain, niece to King John Jennifer Mogbock The Earl of Pembroke Brad Rudy The Earl of Salisbury Stephen Russell The Lord Bigot Sean Arbuckle Hubert, a citizen of Angiers Wayne Best Robert Faulconbridge, Daniel Briere son to Sir Robert Faulconbridge Philip, the Bastard Graham Abbey Lady Faulconbridge, Brigit Wilson widow to Sir Robert Faulconbridge James Gurney, servant to Lady Faulconbridge Ryan Field Peter of Pomfret, a prophet Peter Hutt English Herald Andrew Robinson English Soldier Rylan Wilkie Executioners Jamie Mac, Anthony Malarky

Philip, King of France Peter Hutt Lewis, the Dauphin Antoine Yared Arthur, Duke of Brittany, nephew to the King Noah Jalava Constance, mother to Arthur Seana McKenna Duke of Austria Sean Arbuckle Melun, a French Lord E. B. Smith Chatillon, ambassador from France E. B. Smith French Herald André Morin French Soldier Karack Osborn Austrian Soldiers Jamie Mac, Anthony Malarky Citizens of Angiers Carmen Grant, Deirdre Gillard-Rowlings

Cardinal Pandulph, the Pope’s legate Brian Tree Understudies Sean Arbuckle (Philip, King of France, Peter of Pomfret), Wayne Best (King John), Daniel Briere (Philip, the Bastard), Ryan Field (Prince Henry), Deidre Gillard-Rowlings (Blanche of Spain, Lady Faulconbridge), Carmen Grant (Constance), Jeremy Harttrup (Arthur), Andrew Lawrie (James Gurney), Jamie Mac (Robert Faulconbridge), Anthony Malarky (Duke of Austria, The Lord Bigot, The Earl of Pembroke), André Morin (Chatillon), Karack Osborn (Melun), Andrew Robinson (Lewis), Brad Rudy (The Earl of Salisbury), E.B. Smith (Hubert), Rylan Wilkie (Cardinal Pandulph), Brigit Wilson (Queen Eleanor)

Cover Photo: Tom McCamus and Seana McKenna

13 Artistic Credits

Director Tim Carroll Designer Carolyn M. Smith Lighting Designer Kevin Fraser Composer Claudio Vena Sound Designer Todd Charlton Fight Director John Stead Movement Director Shona Morris Producer David Auster Casting Director Beth Russell Creative Planning Director Jason Miller Associate Fight Director Geoff Scovell Assistant Director Kevin Bennett Assistant Set and Costume Designer Alyssa Westman Assistant Lighting Designer George Quan Fight Captain Wayne Best Stage Manager Bona Duncan Assistant Stage Managers Bruno Gonsalves, Renate Hanson Production Assistant Ian Michael Costello Production Stage Managers Janine Ralph, Margaret Palmer Technical Director Sean Hirtle Music Credits

Original music for this production composed and recorded by Claudio Vena, Violin, Viola, Guitar, Lute, Percussion, Keyboards

Director of Music: Franklin Brasz Music Administrator: Marilyn Dallman Administrative Assistant: Don Sweete

There will be one 20-minute interval. Audience Alert This production uses candlelight effects that include live flame. Acknowledgements

Special thanks to Jennifer Anderson, MD, St. Michael’s Hospital, Toronto; Sean Blaine, MD, Stratford; Norman Cruz, MD, Stratford; Shawn Edwards, MD, Stratford; Brian Hands, MD, FRCS (C), medical voice consultant, Vox Cura voice care specialists, Toronto; Simon McBride, MCISc, MD, London Health Sciences Centre Vocal Function Clinic, London; Laurel Moore, MD, Stratford; David Thompson, MD, Stratford; John Yoo, MD, London Health Sciences Centre, London. Pianos tuned and maintained by Don Stephenson. Cover photography by Don Dixon. Digital artist Krista Dodson. Page 1 photography by V. Tony Hauser. Page 7 and 8 photography by Don Dixon.

14 Backstage Production responsibilities during the performance accomplished by:

Stage Carpenter Paul Gorman Alternate Dan Bingeman Master Electrician Timothy Hanson Property Master Alan Hughes Alternate Melba Bingeman Head of Sound Jim Stewart Wardrobe Mistress Helen Basson Wardrobe Attendants Heather Diamond, Sheila Filshie, Tracy Houston-McIntyre, Jane Mallory Swing Luci Pottle Wigs and Makeup Show Head Angela Moncur Wigs and Makeup Crew Barb Newbery Children’s Supervisor Deborah Howes

The Michael Langham Workshop for Classical Direction From Artistic Director Antoni Cimolino: The Michael Langham Workshop for Classical Direction continues Michael Langham’s tradition of mentorship in a risk-free environment, allowing directors to develop their craft within the rich history and evolving artistry of the Stratford Festival. We extend our thanks to the Department of Canadian Heritage, RBC Emerging Artist Project, the Philip and Berthe Morton Foundation, Johanna Metcalf and the George Cedric Metcalf Charitable Foundation. Participants in the 2014 workshop: Kevin Bennett | Christine Brubaker | Jessica Carmichael | Brett Christopher | Mitchell Cushman Krista Jackson | Birgit Schreyer Duarte | Rona Waddington

The Birmingham Conservatory for Classical Theatre

From Artistic Director Antoni Cimolino: Thirty-one members of this season’s company have taken part in our professional training program, the Birmingham Conservatory for Classical Theatre. Founded in 1998, the Conservatory has helped launch the careers of many leading Canadian actors, several of whom I have had the great pleasure of directing here at Stratford. Led by Martha Henry, the Conservatory is made possible by the support of the Birmingham family, the Stratford Festival Endowment Foundation and the Department of Canadian Heritage. Support for the 2014 in-season work of Conservatory participants is generously provided by The Brian Linehan Charitable Foundation and John & Therese Gardner. We thank them for helping us to nurture and support these talented artists. Past Birmingham Conservatory participants include these members of our 2014 company:

Sarah Afful 2011/12 Josue Laboucane 2012/13 Karack Osborn 2013 Evan Buliung 1999 (inaugural) Keira Loughran 2005 (associate Sarena Parmar 2013 Shane Carty 2003 producer, Forum and Laboratory) Gareth Potter 2003 Sara Farb 2013 Jamie Mac 2013 Andrew Robinson 2012/13 Ryan Field 2011 Kennedy C. MacKinnon 1999 Tara Rosling 2001 Jonathan Goad 1999 (inaugural) (coach) Tyrone Savage 2010/11 Carmen Grant 2010/11 Anthony Malarky 2004 Laura Schutt 2013 Brad Hodder 2011/12 Gordon S. Miller 2003 E. B. Smith 2010/11 Bethany Jillard 2011 Jennifer Mogbock 2013 Evan Stillwater 2004 (cutter) Dion Johnstone 2003 Derek Moran 2013 Sophia Walker 2005 Ruby Joy 2011/12 Mike Nadajewski 2012 Antoine Yared 2012/13

15 Production Credits Director of Production John Tiggeloven

Technical Director – Scenic Construction Andrew Mestern Wardrobe Manager Anne Moore Production Administrator Cheryl Bender Design Coordinator Alix Dolgoy Scene Shop Manager Robbin Cheesman Assistant Technical Director David Campbell Technical Management Assistant Michael Besworth Administrative Assistant Cindy Jordan Electronics Technologist Chris Wheeler Transportation Charlie Fox, Ian A. Fraser, Michael Taylor, James Thistle Properties Head of Properties Dona Hrabluk Lead Builder Jennifer Macdonald Assisted by Eric Ball, Ken Dubblestyne, Ksenia Ivanova, Michelle Jamieson, Kathryn Kerr, Shirley Lee, Brian McLeod, Dylan Mundy, Heather Ruthig, Lisa Summers Properties Apprentice Matt Leckie Properties Buyer Tracy Fulton Assistant Properties Buyer Jaclyn Zaltz Scenic Art Head Scenic Artist Christopher Klein Assistant Head Scenic Artist Daniel McManus Assisted by Kevin Kemp, Amparo Villalobos, Michael Wharran, Blair Yeomans Scenic Carpentry Head Carpenter Neil R. Cheney Head of Automation Ian Phillips Lead Hands Mark Card, Cliff Tipping Assisted by Simon Aldridge, David Bedford, Ryan Flanagan, Gary Geiger, William Malmo, Stephen Morgan, Wayne Nero, John Roth, Mark Smith, Geoff Taylor, Joe Tracey

Funding for artisan apprenticeships is provided by the William H. Somerville Theatre Artisan Apprenticeship Fund, funded by the J. P. Bickell Foundation and by Robert & Jacqueline Sperandio.

16 Wardrobe

Head of Wardrobe Bradley Dalcourt Assistant Head of Wardrobe Elizabeth Copeman Seasonal Wardrobe Supervisor Linda Sparks Cutters Johanna Billings, Terri Dans, Carol A. Miller, Lela Stairs Murphy, Jennie Wonnacott First Hands Joanne Davies, Krista Nauman, Patricia Taylor Sewers Suzy Arnold, Denise Bott, Caroline Broadley, Cindy Brown, Victoria Bruer, Marlee Bygate, Evelyn Gascho, Karen Hancock, Patricia Hawkins-Russell, Kiyomi Hidaka, Anna Lach, Paulette Laporte, Katelyn Low, Lisa Menzel, Karen Merriam, Magdalene Raycraft, Joan Scheerer, Georgina Schinkel, Sylvia Widmer, Lindsey Winter, Joanne Zegers, Rebecca Zimmerman Bijoux/Decoration Rebecca Dillow Assisted by Liane Guttadauria, Tami MacDonald, Kathi Posliff Boots and Shoes Connie Puetz Assisted by Karen Beames, Sarah Cook, Michael Karn, Chantelle Laliberte Costume Painting Lisa Hughes Dyeing Linda Pinhay Assisted by Sylvia Minarcin Millinery Helen Flower Assisted by Isabel Bloor, Katarzyna Maxine, Monica Viani Wardrobe Buyer Michelle Barnier Interim Wardrobe Buyer Caitlin Luxford Assistant Wardrobe Buyer Penelope Schledewitz Wardrobe Apprentice Grace Kessel Warehouse Supervisor Madonna Decker Warehouse Assistant Valerie Lariviere Wigs and Makeup

Head of Wigs and Makeup Gerald Altenburg Construction Crew Erica Croft-Fraser, Jessica Elsbrie, Tracy Frayne, Angela Moncur, Sherri Neeb, Alana Scheel

A member of the Professional Association of Canadian Theatres, the Stratford Festival engages, under the terms of the Canadian Theatre Agreement, professional artists who are members of Canadian Actors’ Equity Association. Stage crew, scenic carpenters, drivers, wigs and makeup attendants, facilities staff and audience development representatives are members of Local 357 of the International Alliance of Theatrical Stage Employees (IATSE). Wardrobe attendants are members of IATSE Local 924. Scenic artists are members of IATSE Local 828. The musicians, musical directors, conductors and orchestra contractors engaged by the Stratford Festival are members of the Toronto Musicians’ Association, Local 149, of the American Federation of Musicians of the United States and Canada.

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Stratford_Add_March2014 2.indd 1 14-04-03 9:27 AM Graham Abbey 15th season: Philip the Bastard in King John, Count Johan Oxenstierna in Christina, The Girl King and understudy in Alice Through the Looking-Glass. Stratford: Iago (Othello), Posthumus (Cymbeline), Henry V, Macbeth, Romeo, Henry VIII, Jaques, Prince Hal, D’Artagnan (Three Musketeers), Petruchio (Shrew), Aufidius (Coriolanus), Berowne (Love’s Labour’s Lost), Algernon (Earnest), Hap Loman (Death of a Salesman). Elsewhere: Hamlet (Resurgence); Jeff Skilling (ENRON) (Theatre Calgary); Sam Byck (Assassins) (Talk Is Free/Birdland); Charles (The School for Scandal), Valère (The Molière Comedies) (Chicago Shakespeare). TV: Series lead: The Border (CBC). Recurring roles: Degrassi, Murdoch Mysteries, Covert Affairs, Republic of Doyle. Guest star: Flashpoint, Lost Girl, Rookie Blue, Warehouse 13, Bomb Girls. Recent: Guest star, Remedy (Global). Film: Sarah Polley’s Take This Waltz, Casino Jack, 388 Arletta Avenue, Defendor, Stealing Paradise, Secrets of Eden. Recent: Angel on My Tree, released this Christmas. Radio: Series regular: Afghanada (CBC). Awards: Dora Award, Monte Carlo Television Festival nomination. Et cetera: Artistic Director, Groundling Theatre (Groundlingtheatre.com). Sean Arbuckle 12th season: Duke of Austria, the Lord Bigot in King John, Sergeant, Second Master of Ceremonies in Mother Courage and Her Children and Mecenas in Antony and Cleopatra. Stratford: The Pirates of Penzance, 42nd Street, Titus Andronicus, Three Sisters, The Merchant of Venice, Richard III, Cabaret, The Trojan Women, Macbeth, The Tempest, As You Like It, Agamemnon, Timon of Athens, Electra, The Swanne: Princess Charlotte, London Assurance, Twelfth Night, Who’s Afraid of Virginia Woolf? Elsewhere: Most recently, London Road (Canadian Stage), Othello (Segal Centre) and The Winter’s Tale (McCarter/Shakespeare Theatre). Broadway: The Importance of Being Earnest. National tour: Copenhagen. Regional: Phèdre (ACT); Woman in Mind (Berkshire Theatre Festival); Humble Boy, James Joyce’s The Dead (Pioneer Theatre); Henry VI (NYSF); The Magnificent Ambersons (Indiana Repertory); The Triumph of Love (Walnut Street); The Spitfire Grill (George Street, world première); The Turn of the Screw (Grand Theatre). Film/TV: Reign, Defiance, Nikita, Hope & Faith, Law & Order. Training: Juilliard.

Kevin Bennett Second season: Assistant director of King John. Stratford: The Three Musketeers (assistant director), Macbeth (Michael Langham Workshop for Classical Direction Directors’ Workshop Presentation). Vancouver: Directing: Measure for Measure (Pacific Theatre); King Lear, Hamlet (The Honest Fishmongers); Fallout, Treasure Island (Studio 58); The Loudest Silence, 7 Stories (Templeton Secondary School); Cold Comfort, The Woman in Black (Yogurt Theatre); The Priory (United Players of Vancouver); Macbeth, Pet Stories (Limbo Circus Theatre); To Sea, or Not to Sea (Burnaby Summer Theatre); Paper Boats (Walking Fish Festival). Assistant director: She Stoops to Conquer (Arts Club); Richard III, Much Ado About Nothing (Bard on the Beach); NiX (The Only Animal, Cultural Olympiad); The Merchant of Venice, Heptademic, The Winter’s Tale, Lot’s Wife (Studio 58). Training: Graduate of Studio 58; RADA’s How to Rehearse directing course.

Wayne Best 19th season: Hubert in King John, Recruiting Officer, Farmer in Mother Courage and Her Children and Chancellor Axel Oxenstierna in Christina, The Girl King. Stratford: Last year: D’Artagnan’s Father and Lord de Winter in The Three Musketeers, the Duke in The Merchant of Venice and Montague and Capulet, both successively and alternately, in Romeo and Juliet. In previous seasons: Caliban (The Tempest), Don John (Much Ado About Nothing), Buckingham (Richard III), Macduff (Macbeth), Fluellen (Henry V), Gratiano (The Merchant of Venice), Cornwall (King Lear), Leontes (The Winter’s Tale), Grumio (The Taming of the Shrew), Agamemnon (Troilus and Cressida) and Mercutio (Romeo and Juliet). Elsewhere: Wayne has appeared as Brutus (Julius Caesar), Antonio (The Tempest), Captain Keller (The Miracle Worker), Karl (Heaven), Abbott (Inexpressible Island), Anderson (Observe the Sons of Ulster Marching Toward the Somme), Quinn (The Affections of May), Phil (The Motor Trade), Johnny (Balconville), Jacob Mercer (Salt-Water Moon), Taylor (K2) and Billy (The Collected Works of Billy the Kid).

Daniel Briere Second season: Robert Faulconbridge in King John, Armourer, Ensign in Mother Courage and Her Children and Eros in Antony and Cleopatra. Stratford: Romeo in Romeo and Juliet, Bicarat in The Three Musketeers, Leonardo in The Merchant of Venice. Elsewhere: Ashley in Gone With the Wind (Manitoba Theatre Centre), Dorante in The Game of Love and Chance (Odyssey Theatre), Todd in Courageous (New Stages), Art in The Mail Order Bride (Blyth Festival), Borachio/Friar Francis in Much Ado About Nothing (Driftwood Theatre). Film/TV: Guest appearances on Rookie Blue, The Bridge and Murdoch Mysteries. Training: Mount Royal College Performance Program, National Theatre School of Canada. Online: @DanielJackB. Et cetera: Daniel would like to thank Katie, Debra and Denis for all of their love and support! 19 Tim Carroll Third season: Director of King John. Stratford: Peter Pan, Romeo and Juliet. Elsewhere: Shakespeare’s Globe: Richard II, Macbeth, Romeo and Juliet, The Two Noble Kinsmen, The Tempest, The Golden Ass, Twelfth Night and Richard III (also West End and Broadway). RSC: The Merchant of Venice, A Midsummer Night’s Dream. Artistic Director, Kent Opera: Orfeo, Il re pastore, Acis and Galatea, Albert Herring. Other opera: Britten’s Canticles (Barcelona) and The Turn of the Screw (Oviedo). Other theatre: Fair Ladies at a Game of Poem Cards, The Duchess of Malfi, Victory (Barka Theatre, Budapest); All’s Well That Ends Well (National Theatre, Romania); Amadeus (National Theatre, Portugal); Peer Gynt (Guthrie, Minneapolis); A Midsummer Night’s Dream (Sydney Opera House); King Lear (National Theatre, Norway). Founder member of The Factory (London), directing three theatre experiments: Hamlet, The Seagull, The Odyssey. thefactory.wikifoundry.com. Todd Charlton 17th season: Sound designer of King John and Mother Courage and Her Children. Stratford (selected): Mary Stuart, Taking Shakespeare, The Merchant of Venice, Measure for Measure, Cymbeline, Twelfth Night, Palmer Park, the Swanne trilogy. Elsewhere: The Valley, Flesh and Other Fragments of Love, No Great Mischief, Democracy, Scorched, among others (Tarragon); Hedda Gabler (Shaw Festival); The Clockmaker (Thousand Islands Playhouse); Intimate Apparel (Obsidian/ Canadian Stage/Citadel); Rock and Roll (Canadian Stage); Merrily We Roll Along, Spring Awakening, Chicago, Rent, Oklahoma!, Sweeney Todd and many others (Theatre Sheridan); seven seasons at Blyth including Vimy, Innocence Lost, Early August and many world premières of new Canadian work; and many other productions across the country. Awards: Four Dora nominations for Outstanding Sound Design. Training: Honours English and Drama, UWO; Theatre, Banff School of Fine Arts.Et cetera: He lives happily in Stratford with his wife, Melissa, and his three boys, Harper, Jack and Devlin. Patricia Collins 19th season: Queen Eleanor in King John, Farmer’s Wife in Mother Courage and Her Children and Maria Eleonora of Brandenburg in Christina, The Girl King. Stratford: Measure for Measure, Mary Stuart, The Thrill, Anything Goes, Guys and Dolls, To Kill a Mockingbird, A Delicate Balance, Gigi, Present Laughter, The Importance of Being Earnest, Tartuffe, Medea, Richard II, Pride and Prejudice, The Prime of Miss Jean Brodie, The Night of the Iguana, Juno and the Paycock, Equus, The Stillborn Lover, Hamlet, Les Belles-Soeurs, Twelfth Night, King Lear, Separate Tables, She Stoops to Conquer, The Taming of the Shrew, Bosoms and Neglect. Elsewhere: The School for Scandal (Chicago Shakespeare); The Importance of Being Earnest, Summer (Canadian Stage); Liaisons Dangereuses (Vancouver Playhouse); Blithe Spirit, Lion in Winter (NAC); A Little Night Music (Grand/Canadian Stage); Wit (GCTC). Film/TV: The Rez, The Adjuster, Speaking Parts, Lady Windermere’s Fan, Wojeck, Artichoke. Awards: Doras, The Europeans (Necessary Angel), White Biting Dog (Tarragon); Critics’, Wit; Gemini, Golden Handshake.

Bona Duncan 14th season: Stage manager of King John and assistant stage manager of Antony and Cleopatra. Stratford: Stage manager, Romeo and Juliet, The Merchant of Venice, Much Ado About Nothing, The Merry Wives of Windsor, Dangerous Liaisons, Cyrano de Bergerac, Zastrozzi, All’s Well That Ends Well, Fanny Kemble, A Midsummer Night’s Dream, Electra, The Scarlet Pimpernel, Hamlet; PSM, Avon Theatre; assistant stage manager, The Matchmaker, The Taming of the Shrew, Romeo and Juliet, Twelfth Night, As You Like It. Elsewhere: Bona is grateful to have worked in many theatres across our country, including Talk Is Free, Canadian Stage, Soulpepper, The Grand, NAC, MTC, Banff Centre, Citadel, Tarragon and Centaur.Training: A graduate of the technical production section of the National Theatre School of Canada; BA from Bishop’s University. Et cetera: Bona lives in Stratford with her husband, Dan, and their daughter, Georgia.

Ryan Field Third season: James Gurney in King John, Injured Farmer in Mother Courage and Her Children and appears in Antony and Cleopatra. Stratford: Duke of Bedford (Henry V), Wanderlust, Simple (The Merry Wives of Windsor), Valentine (Twelfth Night). Birmingham Conservatory: Camillo (The Winter’s Tale), Puck (A Midsummer Night’s Dream). Other Theatre Highlights: Romeo and Juliet (Atlantic Ballet Theatre of Canada/Theatre New Brunswick); Oil and Water (Artistic Fraud); Oh What a Lovely War, Window on Toronto, A Chorus of Disapproval, She Stoops to Conquer (Soulpepper); Hair (Canadian Stage); The Taming of the Shrew (ShakespeareWorks); Jacob Two-Two (YPT). Film/ TV Highlights: Hannibal (NBC), The Space (host/producer, TVOKids), The Ladies’ Man (Paramount), System Crash (YTV). Training: Claude Watson School for the Arts, Royal Conservatory of Music, George Brown Theatre School, Birmingham Conservatory for Classical Theatre. Ryan is a recipient of a Tyrone Guthrie award. Online: www. ryanfieldmusic.com.Et cetera: Ryan Field released his second album on iTunes, recorded in Stratford. 20 YOU’LL ALSO LOVE THE COMEDY

A Midsummer Night’s Dream Written by William Shakespeare Directed by Chris Abraham with Stephen Ouimette, Evan Buliung, Jonathan Goad, Bethany Jillard, Chick Reid, Liisa Repo-Martell, Tara Rosling, Mike Shara, Scott Wentworth

Production Sponsor Production support is generously provided by Larry Enkin & family in memory of Sharon Enkin and by Presenter of the Stratford Drs. M.L. Myers & the late W.P. Hayman and by Martie & Bob Sachs Festival Dream Package

BOOK YOUR stratfordfestival.ca TICKETS NOW 1•800•567•1600 Stephen Ouimette. Photo: Don Dixon. Digital Artist Krista Dodson. 21 Kevin Fraser 27th season: Lighting designer of King John. Stratford: Stratford designs include Romeo and Juliet, Richard III, Shakespeare’s Will, Evita, Peter Pan, Forum, West Side Story, The Importance of Being Earnest, The Music Man, Cabaret, My One and Only, To Kill a Mockingbird, South Pacific, The Glass Menagerie, Guys and Dolls, Inherit the Wind and many more. Elsewhere: Kevin has designed lighting for many theatre and opera productions across Canada. Recent credits include The Comedy of Errors (Neptune Theatre, Halifax), The Mountaintop (Theatre Calgary), Mary Poppins (Drayton Entertainment) and Cirque Ambiente (Canada’s Wonderland). Training: Kevin is a graduate of Ryerson Theatre School. Awards: Kevin has received five Dora Mavor Moore Award nominations (Toronto) and one Jessie Richardson Award nomination (Vancouver). Online: www.kevinfraserlighting.com. Et cetera: Member of Associated Designers of Canada.

Deidre Gillard-Rowlings Stratford debut: Yvette Pottier in Mother Courage and Her Children and appears in King John and Antony and Cleopatra. Elsewhere: Katherine (The Taming of the Shrew) and the Nurse (Romeo and Juliet, New Curtain), Myra Bennett (Tempting Providence, Theatre Newfoundland Labrador), Minnie (Salvage, Artistic Fraud), Beatrice (The Servant of Two Masters, Wonderbolt), Christine (How It Works, PTE), Mary (Rocking the Cradle, Tarragon), Holly (Kiss the Moon, Kiss the Sun, WCTC), Marilyn (The Battery, Poverty Cove), Helen (February, Rising Tide), Agnes (Marion Bridge, Bare Boards). Film/TV: Heyday! (CBC), Republic of Doyle, Last of the Snow and Four Sisters (shorts). Recordings: The Grey Islands, Hard Light (Rattling Books). Training: BFA, Memorial University NL. Et cetera: Deidre is a founding member of Bare Boards Theatre. She dedicates her first season at Stratford to her loving and supportive parents.

Bruno Gonsalves 23rd season: Assistant stage manager of King John and Mother Courage and Her Children. Stratford: Mr. Gonsalves has worked as a production stage manager (Tom Patterson Theatre 2001, 2003-2005), stage manager (The Two Gentlemen of Verona, Palmer Park, The Trojan Women, Henry IV, Part 1, Wingfield’s Inferno, Cymbeline, No Exit, The Lunatic, the Lover and the Poet, Tempest-Tost, Romeo and Juliet, Richard III, Wingfield Unbound, The Boy Friend) and assistant stage manager (The Matchmaker, Jacques Brel is Alive and Well and Living in Paris, Three Sisters, An Ideal Husband, A Midsummer Night’s Dream, Waiting for Godot, Sweet Bird of Youth, Romeo and Juliet, The Gondoliers, King John, Bacchae, The Merchant of Venice, Uncle Vanya, Bonjour, là, Bonjour). Elsewhere: London’s Grand Theatre (10 seasons), Shaw Festival, Canadian Stage, Manitoba Theatre Centre, Young People’s Theatre, Theatre New Brunswick, Tarragon Theatre, Citadel Theatre, Toronto Dance Theatre, Vancouver Playhouse and Mirvish Productions’ Rent.

Carmen Grant Fourth season: Kattrin in Mother Courage and Her Children, Octavia in Antony and Cleopatra and appears in King John. Stratford: Isabel in Measure for Measure. For the Birmingham Conservatory: Titania in A Midsummer Night’s Dream, Paulina in The Winter’s Tale, Goneril in King Lear. Elsewhere: Soulpepper, Segal Centre, Neptune, Manitoba Theatre Centre, Grand, Theatre One, Globe, Alberta Theatre Projects, Toronto’s Young People’s Theatre. Training: Mount Royal College, National Theatre School of Canada, Birmingham Conservatory. Et cetera: Carmen is originally from Tisdale, Saskatchewan.

Renate Hanson 13th season: Assistant stage manager of King John and Christina, The Girl King. Stratford: Renate was assistant stage manager of Hirsch, Do Not Go Gentle, Cyrano de Bergerac, Zastrozzi, The Trojan Women, Love’s Labour’s Lost, King Lear, A Delicate Balance, Coriolanus, Don Juan, As You Like It, The Lark, Timon of Athens, King John, Troilus and Cressida, Antony and Cleopatra, Henry VI: Revenge in France, The Two Noble Kinsmen, The Lunatic, the Lover and the Poet, The Trials of Ezra Pound, Good Mother, Elizabeth Rex, Medea and Titus Andronicus. Elsewhere: Assistant stage manager of A Streetcar Named Desire and Cabaret (Grand Theatre), My Fair Lady (Manitoba Theatre Centre), Evita (MTC/Theatre Calgary) and Faust (Manitoba Opera). Stage manager of Closer and Scrooge (Neptune Theatre) and Ethan Claymore (MTC/Richmond Gateway Theatre). Training: National Theatre School of Canada. “For Lilli.”

22 Jeremy Harttrup Second season: Citizen of Angiers in King John. Stratford: Young Duke of York in Richard III. Elsewhere: Leo in The Bully Effect, Jimmy Fargo in Tales of a Fourth-Grade Nothing, Bubba in Bubba Begonia, You’ll Be Sorry, based on the book by Gerry O’Brien (Growing in the Arts); Malcolm in Hollywood Arms (Elmira Theatre Company). Film/TV: Rogers Cable TV Volunteer Today promotional video. Training: Growing in the Arts, Kitchener. Awards: Kiwanis Festival of the Performing Arts: 2012 – Third Place (Provincials), 2013 – First Place (Regional); Tyrone Guthrie Award (Stratford, 2011); City of Kitchener Youth Video Contest 2013 – Honourable Mention. Et cetera: “I’m thrilled to be back in Stratford! Thank you to Mom, Dad, Vincent, Lindsay, my grandparents and Gita Ashley for all their help, encouragement and support!”

Peter Hutt 15th season: Philip, King of France, Peter of Pomfret in King John, Commander, Old Colonel in Mother Courage and Her Children and Agrippa in Antony and Cleopatra. Stratford: Includes Measure for Measure (Escalus), Mary Stuart (Aubespine), Othello (Brabantio), Cymbeline (Doctor), Elektra (Old Man), The Misanthrope (Oronte), The Tempest (Alonso), Richard III (Buckingham), The Scarlet Pimpernel (Chauvelin), The Merchant of Venice, Titus Andronicus, Elizabeth Rex (portraying William Shakespeare), Macbeth. Elsewhere: Shaw Festival: 20 seasons including An Inspector Calls, Belle Moral, The Philanderer and Summer and Smoke. Mr. Hutt’s career has taken him across Canada, to the Tarragon, Citadel, Neptune and Grand theatres, Manitoba Theatre Centre, National Arts Centre and Toronto’s Royal Alexandra. Film/TV: Includes The Age of Dorian, Forever Knight, The Taming of the Shrew (CBC), Breaking All the Rules, Echoes in the Darkness and CBC Television’s much-acclaimed production of Elizabeth Rex. Awards: Dora nomination, Patience (Tarragon Theatre). Et cetera: Mr. Hutt is delighted to return for his 15th Stratford season.

Noah Jalava Second season: Arthur in King John. Stratford: The Boy in Waiting for Godot. Elsewhere: King Arthur in The Gardener King, Hamlet in Hamlet and Orazio Rasponi in The Red Hat (Playmakers! Theatre School); Chorus in Annie Get Your Gun (Stratford Community Players); Brutus in Julius Caesar (Shakespeare in Action); Dr. Faustus in The Tragic History of Dr. Faustus (Edge Hill School); Oliver in Oliver! and Chorus in The Pied Piper of Hamelin (AppleGate School); Tin Man in El Mago de Oz (Xinemi Comunidad Educativa); Artful Dodger in Oliver! (Teatro Tonatico). Recordings: Harmonica on Jarmo Jalava’s album Rites of Passage. Training: Playmakers! Theatre School, Shakespeare in Action. Et cetera: Noah is truly honoured to be performing on the Stratford stage again.

Andrew Lawrie Second season: Prince Henry in King John, Helpful Soldier in Mother Courage and Her Children and appears in Antony and Cleopatra. Stratford: Balthasar in Romeo and Juliet, The Three Musketeers and The Merchant of Venice. Elsewhere: Sharan in Free Outgoing (Nightwood Theatre); John Proctor in The Crucible, Husband in The Bundle, Dorillant in The Country Wife, Alexas in All for Love, Chebutykin in Three Sisters, Orlando in As You Like It (RTS); Jeremiah in Elephants (InspiraTo Festival). Training: Ryerson Theatre School. Awards: Recipient of the Edna Khubyar Acting Award. Et cetera: “Thank you to my family and friends for all of your love and support. I love you all so much!”

Jamie Mac Stratford debut: Young Soldier in Mother Courage and Her Children and appears in King John and Antony and Cleopatra. Stratford: Birmingham Conservatory: Berowne in Love’s Labour’s Lost. Elsewhere: Jacob Mercer in Salt-Water Moon (Canada’s National Arts Centre), Laurie in Vimy (Great Canadian Theatre Company), Clown in The 39 Steps (Stage West), David Jung in Rockbound (Two Planks and a Passion), Oberon in A Midsummer Night’s Dream (Ryerson Theatre), Michael in The Elephant Song (Beothuk Street Players), Dromio of Ephesus in The Comedy of Errors (Shakespeare by the Sea) and Jerry in The Zoo Story (Reid Theatre). Film/TV: Beauty and the Beast, Republic of Doyle, Covert Affairs, Life With Derek. Training: Ryerson University, BFA Acting. Awards: For The Elephant Song: Walter C. Chambers Memorial Scholarship, D.A. Matthews Memorial Scholarship, Honorary Chairman’s Award for Best Actor.

23 Anthony Malarky Fourth season: Pikeman in Mother Courage and Her Children and appears in King John and Antony and Cleopatra. Stratford: William in As You Like It, Snout in A Midsummer Night’s Dream, Antiochus/Boult in The Adventures of Pericles, The King and I, The Count of Monte Cristo, The Lark, The Tempest. Elsewhere: J.P. Morgan in Ragtime, Louis the Baker in Sunday in the Park with George, Zuvetli in One Touch of Venus, My Fair Lady, The Admirable Crichton, The Cherry Orchard, Trouble in Tahiti and Play, Orchestra, Play (Shaw Festival); Every Letter Counts (Factory Theatre); The Comedy of Errors (Dream in High Park); Les Misérables (Thousand Islands Playhouse); Thuy in Miss Saigon (Drayton Entertainment); Anne of Green Gables (Grand Theatre); Audience Unveiling Protest (The Co.). Training: Sheridan College, Birmingham Conservatory for Classical Theatre. Awards: Best Papa 2012 – Nico; nominated for Best Papa of Two – results in May. Et cetera: “For SueBlue.”

Tom McCamus 14th season: King John in King John, March Hare in Alice Through the Looking-Glass and Enobarbus in Antony and Cleopatra. Stratford (selected): Friar Laurence/Romeo and Juliet, Antonio/The Merchant of Venice, Vandergelder/The Matchmaker, Iachimo/Cymbeline, Casey/ The Grapes of Wrath, Hook/Peter Pan, Valmont/Dangerous Liaisons, Vershinin/Three Sisters, Apemantus/Timon of Athens, Richard III, MacHeath/The Threepenny Opera, Vladimir/Waiting for Godot, Coriolanus, King Arthur/Camelot, Edmund/Long Day’s Journey Into Night. Elsewhere: Rhett Butler/Gone with the Wind (MTC); Hamlet, Divisadero (Necessary Angel); Thom Pain (Tarragon). Film: Cairo Time (Ruba Nada), The Sweet Hereafter (Atom Egoyan), Long Day’s Journey (David Wellington), Possible Worlds (Robert Lepage). Awards: Dora, best actor: Abundance (Theatre Plus); Genie, best actor: I Love a Man in Uniform (David Wellington); Gemini and ACTRA, best actor: Waking Up Wally (Dean Bennett). Et cetera: Tom lives on a farm in Warkworth with his wife, actress Chick Reid, and their three dogs.

Seana McKenna 23rd season: Constance in King John and Mother Courage in Mother Courage and Her Children. Eighteen Shakespearean roles including Richard III (Stratford Festival); Beatrice, Lady Macbeth (Manitoba Theatre Centre); Hermione (Kansas City Rep); Cleopatra (Centaur); Rosalind (World Stage). Stratford: Mary Stuart, Blithe Spirit, The Matchmaker, Elektra, Dangerous Liaisons, Medea, Phèdre, The Trojan Women, Private Lives, Present Laughter, Fallen Angels, The Glass Menagerie, Night of the Iguana, Good Mother, Shakespeare’s Will. Elsewhere: Over 80 other productions, including Napoli! at San Francisco’s American Conservatory Theater in February; 28 productions directed by husband Miles Potter. Honours: Queen Elizabeth II Diamond Jubilee Medal, Doctor of Sacred Letters (Trinity College), Honorary MFA in Acting (ACT). Three Dora Awards: Saint Joan (Theatre Plus), Orpheus Descending (MTC/Mirvish), directing Valley Song (New Globe). Jessie Award: Wit (Vancouver Playhouse/Canadian Stage). Genie Award: The Hanging Garden. Executive board member of the Actors’ Fund of Canada. Upcoming: Testament at ACT.

Jennifer Mogbock Stratford debut: Blanche of Spain in King John, Baby Whore, Injured Wife in Mother Courage and Her Children and appears in Antony and Cleopatra. Elsewhere: Phebe in As You Like It (Shakespeare Theatre of New Jersey); Bernarda in The House of Bernarda Alba (Theatre of War); Icarus in Damages Tangled (Theater for the New City, N.Y.C.). Film: Quincy Vidal (Yellowhouse Pictures). Training: Birmingham Conservatory for Classical Theatre; BFA, State University of New York (SUNY), Purchase College. Online: www.jennifermogbock.com. Et cetera: Jennifer was born in Lagos, Nigeria, and raised in Argentina, Houston, Texas, and Ottawa. “Thank you to my family, friends and my heavenly father.”

André Morin Second season: Son, Catholic Spy in Mother Courage and Her Children and appears in King John and Antony and Cleopatra. Stratford: Motel in Fiddler on the Roof, Petruchio in Romeo and Juliet. Elsewhere: Fenton in The Merry Wives of Windsor, Anselmo in Man of La Mancha (Theatre by the Bay); Henry in Next to Normal (Clearwater Theatre); Malcolm in The Full Monty (Moonpath Productions). Training: George Brown Theatre School. Et cetera: “Much love to all my friends and family, and many thanks to Mom, Dad, Alex, Daniel, Grandma, Caroline, Frank and Shari.”

24 FROM VANITY TO HUMANITY

King Lear Written by William Shakespeare Directed by Antoni Cimolino With Colm Feore Maev Beaty, Evan Buliung, Sara Farb, Jonathan Goad, Brad Hodder, Stephen Ouimette, Liisa Repo-Martell, Scott Wentworth

Production support is generously provided by Production Jane Petersen-Burfi eld & Family, Cecil & Linda Rorabeck, Sponsor Barbara & John Schubert and Catherine & David Wilkes BOOK YOUR stratfordfestival.ca TICKETS NOW 1•800•567•1600 Colm Feore Photo: Don Dixon. Digital Artist Krista Dodson. Shona Morris Sixth season: Head of Movement. Movement director of King John, Mother Courage and Her Children and A Midsummer Night’s Dream. Stratford: Coach, 2003 to 2013; movement director of Romeo and Juliet, The Three Musketeers, Peter Pan, The Winter’s Tale, Dangerous Liaisons, King Lear, Agamemnon, Electra, The Flies. Movement Director: Watford Palace Theatre: Ideal World season – Perfect Match/Override, Our Father, My Mother Said, The Dresser, An English Tragedy, As You Like It, Lysistrata. Chichester Festival: Twelfth Night, Nicholas Nickleby (Toronto/Gielgud Theatre). Io Theatre: The Snow Spider. Director: Swine (National Theatre Studio). Actor: Sarah Kahn in Chicken Soup with Barley (Tricycle Theatre/Nottingham Playhouse); Augustine: Big Hysteria, Crossfire, Wax (Paines Plough). Film/TV: Tess (Polanski), Little Dorrit, Doctors, Sheppey, D.H. Lawrence: Son and Lover. Training: RAD Ballet; Bristol University, Drama/English; Ecole Jacques Lecoq; Trish Arnold. Awards: Time Out Award; Fringe First. Et cetera: Shona is head of the BA Acting Course, Drama Centre London.

Karack Osborn Stratford debut: Colonel’s Servant, Furcoat in Mother Courage and Her Children and appears in King John and Antony and Cleopatra. Elsewhere: Chicago Shakespeare Theater (A Midsummer Night’s Dream, The Taming of the Shrew), Steppenwolf Theatre Company (workshop – The March), Shattered Globe Theatre (Happy Now?), Hartford Stage Company (The Crucible), Eugene O’Neill Theater Center (House of Gold), Highlands Playhouse, Wisconsin Theatreworks (The Buddy Holly Story) and the Adler Studio (La Ronde, Pow’rful Rhyme). As a musician, Karack has also been seen around the United States with The Winter Dance Party, the official recreation of the final tour of Buddy Holly. Training: Birmingham Conservatory, The School at Steppenwolf and The Stella Adler Studio. Online: Twitter @KarackOsborn. Et cetera: “Love to family, Kameron and the WP2010. Proudly represented by Actors Talent Group – Chicago. All my thanks and respect to Brian.”

Margaret Palmer 31st season: Production stage manager of the Festival and Tom Patterson theatres. Stratford: Maggie has been production stage manager at the Avon and Festival theatres for 23 seasons. Stage-management credits include Will Power; Henry IV (parts 1 and 2); Iolanthe; The Imaginary Invalid; My Fair Lady; A Man for All Seasons; Kiss Me, Kate; Guys and Dolls; The Government Inspector; Coriolanus; The Mikado (national tour, London’s Old Vic); and Twelfth Night (U.S. tour). Elsewhere: Maggie apprenticed at Neptune Theatre (1966/67) and worked at the St. Lawrence Centre (Toronto Arts Productions), MTC and the Grand Theatre. She stage-managed Eugene Onegin (Manitoba Opera), the first Dream in High Park and the first Dora Awards. She was publicity director for the NDWT Company, worked for Fountainhead Theatre in London and toured Canada with the Charlottetown Festival. Training: Graduate of the National Theatre School.

George Quan Stratford debut: Assistant lighting designer of King John, Mother Courage and Her Children and Antony and Cleopatra. Elsewhere: This Is It (The Blood Projects); The Lover (Three Peasants Theatre); Girl Who Loved Her Horses and White Buffalo Calf Woman (Centre for Indigenous Theatre); Fragments (No Parachute Theatre); The Dumb Waiter (Two Wolves); RAW (Ten Foot Pole); Vacant (Triangle Pi); The Russian Play (Spiel Players). Training: Production Design at York University, and animation. Online: www.georgequandesign.com.

Janine Ralph 24th season: Production stage manager of the Tom Patterson Theatre. Stage manager of A Midsummer Night’s Dream: A Chamber Play. Stratford: Janine is very happy to return to the Festival, where last season she was production stage manager of the Tom Patterson Theatre and stage-managed Waiting for Godot. Past credits include production stage manager of the Avon Theatre and stage manager of Elektra, Richard III, There Reigns Love, The Gondoliers, The Pirates of Penzance, Gypsy, Carousel, Henry V, An Enemy of the People, One Tiger to a Hill and Henry VIII. Elsewhere: Most recently Janine stage-managed The Sneeze for Talk Is Free Theatre, Barrie. She also stage-managed Voyage de la Vie for Resorts World Sentosa in Singapore and production-managed Pinocchio: The Musical for Singapore Repertory Theatre. She has worked on the Asian Games’ ceremonies in Qatar; in various theatres in Ontario, including Young People’s Theatre; and for CBC TV in Toronto and BBC TV in England. 26 Andrew Robinson Second season: Farmer’s Older Son in Mother Courage and Her Children and appears in King John and Antony and Cleopatra. Stratford: The Three Musketeers, Romeo and Juliet, The Merchant of Venice. For the Conservatory: Love’s Labour’s Lost, Hamlet, Tons of Money and Twelfth Night. Elsewhere: Ajax in Afghanistan, Intuition of Iphigenia, Elektra in Bosnia (Women and War Project, Canada/Greece); The Bacchae, Agamemnon (HYDRAMA, Greece); Machina Nuptialis (CORPUS, Toronto/Kitchener); Bent (Theatre Engine); Russian Dolls (Rhubarb/YCU); Serious Money (RTS/Nightwood); He Crucified Me, Breeding of Guns (New Voices); Richard III (RTS). Training: Ryerson Theatre School, Birmingham Conservatory for Classical Theatre. Et cetera: “Thanks to Martha, Ann, the Birmingham family, Mum and Cody!”

Brad Rudy 24th season: The Earl of Pembroke in King John, Catholic Spy, Old Soldier in Mother Courage and Her Children and Camidius in Antony and Cleopatra. Stratford: Bill Sikes (Oliver!), Count (The Count of Monte Cristo), Talbot (Henry VI), Common Man (A Man for All Seasons), Sergeant of Police (The Pirates of Penzance); only actor to appear in all eight “Wars of the Roses” plays consecutively. Elsewhere: Ratty (A Wind in the Willows Christmas) (ATW); Ted Narracott (War Horse) (Toronto); Gabe (Dinner With Friends) (Aquarius); Todd (The Book of Esther), Jim (Bordertown Café), Harold English (Mail Order Bride) (Blyth). Directing: King Lear (Fanshawe College), The Book of Esther (Festival Players of Prince Edward County), Falling: A Wake (ATW), Girls in the Gang (St. Clair College), Our Town (Mercury Theatre). Teaching: Acting/Voice and Text Instructor (Fanshawe and St. Clair colleges); guest instructor (Michigan State, Wayne State, University of Waterloo). Et cetera: Fight choreography (Aquarius, Touchmark, colleges). “Love to Anne, Emma, Jack and Rob.”

Stephen Russell 32nd season: The Earl of Salisbury in King John, Regimental Clerk in Mother Courage and Her Children and Soothsayer in Antony and Cleopatra. Stratford: Credits include Provost (Measure for Measure), Doc (West Side Story), Slim (Of Mice and Men), Mr. Brownlow (Oliver!), Chorus Leader (Oedipus Rex), Cornwall (King Lear) at the Lincoln Center in New York and the title roles in Julius Caesar, Richard II and Henry VI. Elsewhere: He has appeared in theatres across Canada, most recently as Dr. Meade in the world première of Gone With the Wind at the Manitoba Theatre Centre (2013). Film/TV: His most recent film project is the part of Pontius Pilate in The Gospel of John. Et cetera: He lives in Stratford with his wife, Astrid.

Geoff Scovell Fourth season: Associate fight director of King Lear, Crazy for You, King John, Man of La Mancha, Mother Courage and Her Children, Alice Through the Looking-Glass, A Midsummer Night’s Dream and Christina, The Girl King. Stratford: Associate fight director – Romeo and Juliet, The Three Musketeers, Othello, The Thrill. Assistant fight director – Fiddler on the Roof, Cyrano de Bergerac, Guys and Dolls, The Count of Monte Cristo, Cymbeline, Othello. Elsewhere: Fight director – Don Giovanni (Royal Conservatory); Gas (Next Stage); Don Giovanni, War and Peace (COC); The Godot Cycle (Yes Let’s Go); Mirandolina (Soulpepper); Bach at Leipzig (Theatre Athena); Romeo and Juliet (ShakespeareWorks). Film/TV: Stunt performer – Pompeii, Robocop, Reign, Orphan Black, Splinter Cell: Blacklist, Carrie, The Colony, Total Recall, Being Human, XIII the series, Lost Girl, Nikita, The Listener, Aaron Stone. Training: BFA, Ryerson University. Awards: Paddy Crean Award for excellence in stage combat. Et cetera: “Thank you to John Stead for your friendship, guidance and patience. Thank you to Kasia for all your support. I am a better person for knowing you both.”

Carolyn M. Smith 15th season: Designer of King John. Stratford: Peter Pan, Bartholomew Fair, Shakespeare’s Universe, Othello, The Duchess of Malfi. Costumes: last year’s Romeo and Juliet, Cymbeline, The Grapes of Wrath, The Swanne (three parts). Set design: The Odyssey. Elsewhere (selected): Macbeth (NAC/Citadel), The Way of the World (NAC/Soulpepper), Atlantis (Grand Theatre), Picasso at the Lapin Agile (Grand/Vancouver Playhouse), Through the Eyes (Factory), Smudge (Nightwood), design work on over 16 new Canadian plays and Canadian operas Beatrice Chancy and The Gang. Costumes: Shaw Festival, Neptune Theatre, Necessary Angel, Broadway, film and television. Training: National Theatre School graduate, further studies at Ontario College of Arts, Banff, Repin Institute.Awards: Jessie Richardson Award: costumes, Scary Stories (Alberta Theatre Projects/Vancouver Playhouse). Honoured as the recipient of the 2010 Virginia and Myrtle Cooper Award in costume design. 27 E.B. Smith Fourth season: Melun, Chatillon in King John, Eilif in Mother Courage and Her Children and appears in Antony and Cleopatra. Stratford: Bellievre (Mary Stuart), Abhorson (Measure for Measure), Guiderius (Cymbeline), Pylades (Elektra), Dorset (Richard III), Alarbus (Titus Andronicus). Elsewhere: Manitoba Theatre Centre – Big Sam (Gone With the Wind); Chicago Shakespeare – Seyton (Macbeth), Friar Laurence (Romeo and Juliet); First Folio Theatre – Macduff (Macbeth); Karamu House Theatre – King (King Hedley II, Cleveland Scene Best Production of 2007), Moustique (Dream on Monkey Mountain), Junior (Before It Hits Home). Other credits include the Cleveland Play House, Idaho Shakespeare Festival, Theater Wit in Chicago and two seasons at the Great Lakes Theater Festival. Film/TV: The Beast (Sony Pictures Television), Ask Gilby, Maybe By Then, Thunder Bay (PBS-TV). Training: Ohio University, Birmingham Conservatory for Classical Theatre. Et cetera: E.B. dedicates his work to his parents and grandmother, and to the memory of his Papa, who will always be in the front row. John Stead 21st season: Head of Stage Combat. Fight director of King Lear, Crazy for You, King John, Man of La Mancha, Mother Courage and Her Children, Alice Through the Looking-Glass, A Midsummer Night’s Dream, Hay Fever and Christina, The Girl King. Stratford: Fight director of over 150 productions. Elsewhere: Worked as a fight director across North America on over 450 professional productions, including 15 seasons with the Shaw Festival. Film/TV: Stunt coordinator and action director on over 350 television episodes and films.Teaching: Has taught at numerous universities and colleges, including the National Theatre School of Canada. Awards: Award of Excellence (Canadian International Film Festival), Genre Award for Best Suspense (BNFF), Derek F. Mitchell Artistic Director’s Award (Stratford Festival), Judges’ Choice Award (15 Minutes of Fame International Film Festival), Tyrone Guthrie Award (Stratford Festival), Best Short First Runner-Up (Ticket to Hollywood International Film and Screenplay Festival) and nominated for a Best Short Award (Directors’ Guild of Canada). Online: As a director: www.johnstead.com. John Stead on IMDB: www.imdb.com/name/nm0824093/. Et cetera: Master Instructor with the Academy of Dramatic BrianCombat. Tree 25th season: Cardinal Pandulph in King John, Humpty Dumpty in Alice Through the Looking- Glass and Clown in Antony and Cleopatra. Stratford: Elbow (Measure for Measure), Melvil (Mary Stuart), Pisanio (Cymbeline), Dubois (The Misanthrope), Wasp (Bartholomew Fair), Erronius (A Funny Thing Happened on the Way to the Forum), Costard (Love’s Labour’s Lost), Touchstone (As You Like It), Stephano (The Tempest), Joxer Daly (Juno and the Paycock), Mr. Bennet (Pride and Prejudice), Dolly Spanker (London Assurance), Oswald (King Lear), Peter Quince (A Midsummer Night’s Dream). Elsewhere: Various roles (The Sneeze and other Chekhov one-acts), Talk Is Free Theatre; Jimmy (The Pitmen Painters), Theatre Aquarius; Michael (Someone Who’ll Watch Over Me), Kemp (Vigil), Tarragon Theatre; Bottom (A Midsummer Night’s Dream), Canadian Stage; Harry (The Sum of Us), Belfry Theatre; Jim (Passion), Grand Theatre; the Player (Rosencrantz and Guildenstern Are Dead), Touchmark. Film/TV: Billable Hours, La Femme Nikita, Forever Knight, eight productions of A Taste of Shakespeare. Claudio Vena Fourth season: Composer for King John. Stratford: Romeo and Juliet, Peter Pan, Hamlet. Elsewhere: Composer, Romeo and Juliet (Canadian Stage), Words in the Dark; assistant conductor/violist, Miss Saigon, Phantom of the Opera, Aspects of Love, Kiss of the Spider Woman; conductor/musical director, Huronia Symphony, Hart House Orchestra, Winds and String Ensemble; violist/accordionist/ founding member, Quartetto Gelato; Quintessence. TV: Composer/orchestrator/conductor, The National, Canada Now (CBC). Commercials: Chrysler, Shaw Cable. Documentaries: TO in 24, Johnny Lombardi: The Great Communicator, The Provider. Film: Silver Man, Boy Meets Girl, Only You. Radio: The Wanderers (CBC); Yo-Yo Ma, NPR April Fool’s show. CDs: La Vita e Un Circo; Ensemble Vivante’s Audience Favourites, The French CD, Tango CD; Quartetto Gelato’s Rustic Chivalry, Aria Fresca; Louis Quilico’s Ricordi D’Italia. Awards: 2011 Gemini Award; two Juno nominations; Debut Artist of the Year, NPR. Online: claudiovena.com. Alyssa Westman Second season: Assistant designer of King John and Christina, The Girl King. Stratford: Assistant costume designer of Romeo and Juliet. Elsewhere: Costume design for Shelley or The Idealist (Fanshawe College); Hippolytos; Dinosaur and A Tranny Tale (Toronto Fringe Festival); The Specimen and A Much Debated Cleaning (Playground). Design assistant for As I Lay Dying (Theatre Smith-Gilmour). Assistant milliner for Bugzzz – A Cautionary Tale (Out of the Box Productions); first hand for The Last Days of Judas Iscariot, assistant cutter for The Bundle, wardrobe for Metamorphosis (York University). Abroad: Prague Quadrennial’s Six Acts installation; International Students’ Work Exhibition, Beijing, 2011. Training: BFA with Honours, Theatre Production Design, York University. Awards: Ian & Molly Lindsay Young Design Fellow, 2013; Herman Geiger-Torel Memorial Prize, 2012 (award is made annually to an outstanding graduating student in design); CASA grant, 2012. Et cetera: Alyssa thanks her loving husband for always supporting her dreams. 28 Make it Possible

Nicholas Nesbitt

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stratfordfestival.ca 1•800•567•1600 Rylan Wilkie Stratford debut: White Knight in Alice Through the Looking-Glass, Karl Gustav in Christina, The Girl King and appears in King John. Elsewhere: Andy Fastow in ENRON (Theatre Calgary); Collective Creator of Beyond the Farm Show (Blyth Festival); Angel Gabriel/King Herod in The Story (Theatre Columbus); Jolly Goodday in Blue Planet (Young People’s Theatre); Banquo in Macbeth, Eilif in Mother Courage and Her Children, Demetrius in A Midsummer Night’s Dream (Caravan Farm Theatre); Nils Krogstad in A Doll’s House (Globe Theatre); Iago in Othello, Don John in Much Ado About Nothing (Shakespeare in the Park – Calgary); Rudi in East of Berlin, Jean in The December Man, Phileas Fogg in Around the World in 80 Days, Davy Jones in Shakespeare’s Dog, Hal in Proof, Bill Sikes in Oliver Twist (Alberta Theatre Projects). Training: National Theatre School of Canada. Awards: Betty Mitchell Award for his portrayal of Vincent van Gogh in Vincent in Brixton. Brigit Wilson Ninth season: Lady Faulconbridge in King John, Mother in Mother Courage and Her Children and Duchess Erika Brähe in Christina, The Girl King. Stratford: The Swanne, All’s Well, Quiet in the Land, The Hunchback of Notre Dame, Pericles, The Count of Monte Cristo, The Triumph of Love, Cat on a Hot Tin Roof, Orpheus Descending (also MTC/Mirvish), The Merchant of Venice, The Comedy of Errors, An Ideal Husband, Three Sisters, Bartholomew Fair, Peter Pan, The Grapes of Wrath. Elsewhere: The Passion of Narcisse Mondoux, Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean (Grand; also Five & Dime Productions – Dora nomination); Enron (Theatre Calgary); Merry Wives, Glorious, Man of La Mancha (TBTB); The Ballad of Stompin’ Tom, Another Season’s Harvest (Blyth); The Odd Couple (Segal Centre). TV: Harriet Sims on The Campbells (four seasons), The Hitchhiker, Street Legal, Parole Board, Verdict, various commercials. Film: Beyond Innocence, Anne of Avonlea, The Marriage Bed, Echoes in the Darkness, Lustre. Antoine Yared Second season: Lewis, the Dauphin, in King John, Swiss Cheese in Mother Courage and Her Children and Mardian in Antony and Cleopatra. Stratford: Prince of Aragon in The Merchant of Venice, Planchet in The Three Musketeers, Paris in Romeo and Juliet. Elsewhere: The Fox in Pinocchio, Trent Dolin in Smokescreen and various characters in Alice Through the Looking- Glass (Geordie Productions); Justin in Jesus Jello (Sheep in Fog); Mercutio in Romeo and Juliet, Touchstone in As You Like It and Stefano in The Tempest (Repercussion Theatre); Galoshin in Provincial Anecdotes (Concordia University). Film/TV: Boucherie Halal (Babek Aliassa), Open (Tom Abray). Recordings: Kojiro Sasaki, Samurai Warriors 2 (KOEI). Training: Dawson College, Concordia University, Birmingham Conservatory. Awards: Peter Donaldson Guthrie Award (2013), G.R. Award (2013), Elsa Bolam Award (2010). Et cetera: “Thank you to my family and friends for your unwavering support.” Stratford Savings! 2-for-1 Tickets! Get two tickets for the price of one, Tuesday and Thursday evenings.

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30 Setting the stage

for an unforgettable time

Offi cial Newspaper of the Stratford Festival

Stratford / Toronto Star Program Ad.indd 1 14-03-10 3:29 PM