Support for the 2015 season of Production support is generously provided by the Festival Theatre is generously Larry Enkin & family in memory of Sharon Enkin provided by Claire & Daniel Bernstein and by Martie & Bob Sachs UNIVERSITY OF WATERLOO Shakespeare lived in an age of rapid DISCOVERY: change, a time of new worlds, new beliefs and scientific discoveries. THAT EUREKA In short, he lived in an age very on the much like our own. But in that early modern age, change was MOMENT especially unsettling, overturning world stage societal foundations and leading to “We know what we revolution. In our own time we have This is a place where imagination are, but know not not only become inured to change, meets innovation — where we welcome it to the point where it is unconventional approaches push what we may be.” our new faith. performance to new heights and — Hamlet And so for the 2015 season I wanted allow talent to soar. to explore plays that especially Through research, teaching and examine discovery. In these plays, public engagement, University characters learn surprising truths of Waterloo is a proud supporter about the world around them or of culture and community. perhaps about themselves. In that eureka moment, their lives change forever. How do they deal with From Solitary to Solidarity: that change? At what cost comes Unravelling the Ligatures of Ashley Smith knowledge? Since Adam and Eve, March 2014 these questions have been at University of Waterloo Drama Faculty of Arts the centre of the human narrative.

In 2015, through our playbill and in more than 200 Forum events, we will celebrate the power of the newest god in our pantheon – Discovery.

Antoni Cimolino Artistic Director WATERLOO | Canada’s most innovative university

uwaterloo.ca/stratford15 C007477 Our 2015 Partners and Sponsors We are honoured to acknowledge the following corporations and individuals who have made commitments in the 2015 season:

Individual Theatre Partners Season Hosts Performance Hosts

Support for the 2015 Support for the 2015 Support for the 2015 Support for the 2015 Burgundy Asset Management Inc. 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 Famme & Co. Professional Corporation provided by Claire & provided by the generously provided provided by Sandra & Highstreet Asset Management Daniel Bernstein Birmingham Family by Richard Rooney Jim Pitblado & Laura Dinner Intact Insurance

Jarislowsky Fraser Corporate Theatre Partner Pelee Island Winery BMO Financial Group, Corporate Sponsor for the 2015 season of the Tom Patterson Theatre Pratt & Whitney Canada Inc.

Steed Standard Transport Limited Corporate Partners Sylvanacre Properties Ltd.

University of Waterloo Stratford Campus

The Woodbridge Company Limited

The Stratford Festival gratefully acknowledges the generous support of these contributors to our success: Production and Program Sponsors

an Ontario government agency un organisme du gouvernement de l’Ontario

In-Kind Sponsors

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

2 3 for an unforgettable time

Nuptial ALL THE Negotiations: The Kate and WORLD’S Petruchio Show By Amy L. Smith A STAGE Deborah Hay, Ben Carlson We enter most comedies certain of how feminine submission, leaving us to decide they will end: with marriages or the promise only if the production we see applauds or of them. We know that Olivia will find escapes that perception. her own “Cesario,” and Orsino will finally There is, however, another alternative. recognize his as a her. The Taming of the What if the wooings, weddings and Shrew is not, however, a typical comedy. It banquets performed in the play do not INDEED is, in fact, one which has us waiting for the merely enact an acceptance or rejection of ending before it even begins: will Kate or the subjection of wives to their husbands? won’t Kate be tamed? What if what we see dramatized before us Arguments about Shrew and its ending is a marriage that leaves Kate and Petruchio often fall into two camps. First, there are negotiating not only gender hierarchies but those who, seeing the play as Kate’s also parental demands, love and sexuality? taming, find her role as reflective of If we saw the play’s representation of Renaissance hierarchies which contend that marriage as a series of negotiations women must be subject to their husbands. for power, none of which results in a Because such readings suggest that Kate’s marriage based on simple domination Offi cial Newspaper of the Stratford Festival final speech implies a straightforward and submission or perfect equality, we acceptance of submission, they deny the just might not be so anxious to see how it play’s ability to criticize or trouble the idea ends. Rather, we could focus on Kate and of wifely subordination. Second, there are Petruchio’s relationship every step of the those who see Kate’s final speech ironically, bumpy way, watching them perform (again entirely as an act or a game. In these and again) a messy marriage of their own arguments, the emphasis on “playing” making. can result in a complete avoidance of the In fact, the structure of Shakespeare’s uncomfortable taming aspects of the play The Taming of the Shrew reminds us that because Kate’s game frees her from them. performance matters by opening with the While the outcomes of these readings Induction’s story of a trick played by a lord are quite different, both seem to pretend on an unsuspecting commoner. Sly the that the play’s only available perception of drunkard can only believe (and thus act as marriage is one of male dominance and if) he is a lord and husband if those around

4 5

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pho T claiming that his wooing (“extreme gusts”) he R T aLL o Raymond Luke, J R Raymond September / November 2015 December 2015 / January 2016 January / February 2016 will subdue Kate (“so she yields to me”). Ed Mirvish Theatre Ed Mirvish Theatre Royal Alexandra Theatre The courtship He begins the play with a simplistic idea of HHHHH courtship which assures him that women ‘THeaTrical Heaven’ Sunday Telegraph ‘ruperT evereTT are either silent or railing, and either way gives the performance of his career’ The Guardian we see them they can be dominated. The courtship we see them enact is more complicated – and more fun. Kate does not fall into Petruchio’s enact is more idealized version of her; rather, she pulls him into erotically charged banter during The “REJOICE. It is even more glorious than promised.” which we’re never quite sure who is on Judas Kiss THE NEW YORK TIMES complicated – “Thrilling! by David Hare The best musical of the year.” ‘rupert everett is magnificent as Oscar Wilde’ New York MagaziNe top (or whose tongue will find Kate’s tail) Evening Standard for long. This banter sits in stark contrast to

March / April 2016 April / May 2016 May / June 2016 Begins July 2016 and more fun. Royal Alexandra Theatre Princess of Wales Theatre Royal Alexandra Theatre Princess of Wales Theatre Bianca’s seemingly bland wooing scenes, acting tip (use an onion to produce tears). which can sometimes seem beside the Indeed, his role might be best described as point after her father auctions her off to the Book Your Subscription Now! 416.593.4225 a submissive wife, and he plays it well – or highest bidder in a parody of the marriage at least well enough to convince Sly, even if market. It is Kate’s wooer who must win MIRVISH.COM 1.800.771.3933 we find him hilariously inept. It is, then, this her love. 7 Still, Kate and Petruchio’s courtship Kate’s dramatic acquiescence to Petruchio’s and marriage involves more than playful claims of the sun being the moon The Look of Love? erotic banter. Petruchio will continue to perhaps serve as a parody (rather than a Director’s notes by Chris Abraham do what he thinks will tame Kate into simple repetition) of the very submission submission: show up late to the wedding, Renaissance sermons called for? Even Being asked to direct a play by William cuff the priest and leave with the bride, her final speech, her most (in)famous Shakespeare always presents an assuring the onstage audience, “I will be articulation of submission, is billed as a extraordinary opportunity. In my experience “show” to win Petruchio bragging rights. master of what is mine own.” Further, he it has always offered me a chance to expand will refuse her food or rest or proper attire While the scene certainly highlights my understanding of love and its workings until she “stoop[s]” to his “lure.” There is no masculine domination (the wager, in the world. question that Petruchio intends to enact Petruchio’s request that Kate “show more My production of Othello, two seasons his dominance until Kate demonstrates her sign of her obedience”) and feminine ago, attempted to show the way in which submission – and demonstrate it she will by submission (the speech itself, with lines like love is stronger than doubt. Last season’s calling an old man a “young budding virgin” “Such duty as the subject owes the prince, A Midsummer Night’s Dream was a and agreeing that the sun is the moon. And, / Even such a woman oweth her husband”), celebration of the way love transforms as if that isn’t enough, she will come when that does not mean that it affirms them. It individuals and societies. This year, with The Chris Abraham called for and offer a lengthy speech about invites us to continue to watch the “show” Taming of the Shrew, love is still the subject, how women should be subject to their that is Kate and Petruchio’s performance but this time it doesn’t always look the way husbands. of marriage – and what a show it has been are playing, who are they? What are they we would like it to look. This is precisely Yet every time that Kate and Petruchio and will be: one that enacts hierarchies playing at, and what is for real? what interests me about the piece. seem to be falling into the roles of dominant (albeit parodically), and sexuality, and wit, This exploration of role-playing and Though The Taming of the Shrew remains husband and submissive wife, there is room and love, and nurture, and the shock of identity in the courtship dance lies at deeply connected to a time and place to think about how their performances a cuffed priest. After all, any institution, the heart of the story. It’s what gives the in which women were, to a large extent, of those roles might also open those including marriage, really exists when play its complexity, and what makes it a objectified through the marriage-market hierarchies to criticism. Petruchio’s wedding it is enacted by particular couples in love story instead of a horror story. At its society and seen as the property of their behaviour may reinforce his control over particular historical moments. We can most fundamental, the play is interested husbands, this is only a starting point for Kate in some ways, but everyone on stage define it, idealize it, demand enforcement in revealing who its characters truly are, its investigation of love and marriage. In – and off – thinks he is mad, not a hero of of its hierarchies, but the proof is in the rather than who they seem to be – even to reality, in Shakespeare’s day, marriage was the patriarchy. Does he perhaps do more performance – on stage and off. themselves – and therefore explores how a concept on the move. It was undergoing to disrupt the very marital traditions meant true intimacy is forged. But intimacy is, by profound changes and was equally subject to keep those hierarchies in place than Amy L. Smith is an associate professor of definition, intensely personal and private to progressive and regressive historical he does to reaffirm them? Similarly, might English at Kalamazoo College in Michigan. in its nature and meaning – which is one forces. As a result, The Taming of the Shrew reason why, to someone observing from the expresses seemingly contradictory views. outside (especially from the vantage point For me, these contradictions open up space of the twenty-first century), love doesn’t for ambiguity, for play, and for great theatre. always look like love. We know from our I like to think of the play as a trick, a own experience that one never really knows The Story con, a game that is played out amongst what makes someone else’s marriage work, its characters and with the audience. It is and this truth is part of the play. In Shrew After a quarrel with a troupe of players, a poor and opinionated drunkard named not what it appears to be. It is peopled love is provocatively presented as a private Christopher Sly falls into a stupor. While he is unconscious, the players take the with characters who are also not who they affair in the public eye, and therein lies opportunity to play a practical joke on him, and upon his waking they persuade him that appear to be. Disguise, deception and the challenge that this play presents to a he is not who he thinks he is but an aristocratic lord, newly recovered from madness, mistaken identities are all key elements contemporary theatregoing public. who for many years has been under the delusion of poverty. To further the pretence, the in the plot. It’s clear that the play’s comic Every play’s meaning is mercurial, actors perform a play for Sly’s entertainment. structure hinges on this role-playing, but so unstable, and depends on what the In the comedy they present, a wealthy widower, Baptista Minola, has two daughters: does its more serious thematic exploration. audience chooses to see in it. This is the highly eligible Bianca and her older sister, Katherina, whose reputation for ill Is Kate really a shrew? Is Petruchio who he always the case, but it is especially true humour has earned her the appellation of “shrew.” To the frustration of Bianca’s three seems to be? Is he the tamer, and she the of The Taming of the Shrew. Openness to suitors, Lucentio, Gremio and Hortensio, Baptista has decreed that no one can marry tamed? Or is there something else going interpretation is both a challenge and an her till Katherina has been taken off his hands. But then along comes Petruchio, who on? Is she trapped in a role that she can’t opportunity for any director arguing for a is determined to do whatever it takes to make Katherina – his “Kate,” as he calls her – escape? How consciously does he take on particular vision of the play – an argument accept him as her husband. the role of tamer? Underneath the roles they with which I am happily engaged. 8 9 where he would have studied rhetoric, often ambiguous poems on themes of grammar and ancient Roman literature love, jealousy and mortality that have in its original Latin. In 1582, when aroused much biographical speculation. he was eighteen, he married Anne By 1595, Shakespeare was back in the Hathaway, a farmer’s daughter who theatre, writing and acting for the Lord was eight years his senior. Anne was Chamberlain’s Men. His income as one pregnant at the time, and the couple’s of London’s most successful dramatists first daughter, Susanna, was born enabled him, in 1597, to buy a large a few months afterwards in 1583. house called New Place back in Stratford, Twins followed two years later: a son, and in 1599 he became a shareholder Hamnet, who died at the age of eleven, in London’s newly built Globe Theatre. and a second daughter, Judith. In 1603, when James I had succeeded Nothing further is known of Elizabeth on the throne, Shakespeare’s Shakespeare’s life until 1592, by which company was awarded a royal patent, time he was sufficiently established as becoming known as the King’s Men. but there is a record of his baptism at an actor and writer in London to be the William Shakespeare Meanwhile, the playwright continued Stratford’s Holy Trinity Church on April target of a literary attack by a jealous Playwright 26. Since an interval of two or three fellow playwright, Robert Greene. Soon his business dealings in Stratford and in London, where in 1613 he bought Born in Stratford-upon-Avon in 1564, days between birth and baptism would afterwards, an outbreak of plague William Shakespeare was the eldest have been quite common, tradition has it forced the temporary closure of the a property known as the Blackfriars son of John Shakespeare, a glover and that he was born on April 23 – the same theatres, and Shakespeare turned his Gatehouse. He is believed to have tanner who rose to become an alderman date as his death fifty-two years later. attention instead to his long narrative spent increasing amounts of his time and bailiff of the town, and Mary Arden, The young Shakespeare is assumed poems Venus and Adonis and The Rape in Stratford from around 1609 until his the daughter of a wealthy farmer. The to have attended what is now King of Lucrece. He also began writing the death on April 23, 1616. He is buried exact date of his birth is unknown, Edward VI Grammar School in Stratford, Sonnets,Rheot T Housea series Program of 154 Adcomplex 2015-9.qxp_RT and hp adin the2-15 town’s 2015-03-16 Holy Trinity 8:15 PMChurch. Page 1

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10 11 The Taming of the Shrew By William Shakespeare THE FORUM This production is dedicated to the memory of Don Harron, a member of our inaugural company in 1953. Showcase performances, illuminating speakers, The Cast engaging debates and family fun! The Induction Players Sarah Afful, Ijeoma Emesowum, Xuan Fraser, Deborah Hay, Peter Hutt, Robert King, John Kirkpatrick, Josue Laboucane, Cyrus Lane, Ayrin Mackie, Gordon S. Miller, Jennifer Mogbock, Derek Moran, Thomas Olajide, Andrew Robinson, Tom Rooney, Brad Rudy, Mike Shara, Sanjay Talwar, Brian Tree Christopher Sly Ben Carlson The Play-Within-the-Play Baptista Minola, a rich citizen of Padua Peter Hutt DEBORAH HAY SEANA MCKENNA LUCY PEACOCK IRENE POOLE Katherina, his elder daughter Deborah Hay Bianca, his younger daughter Sarah Afful Petruchio, a gentleman of Verona Ben Carlson Changing Kate Grumio, his groom Brian Tree Sunday, June 14, 10:30 a.m. to noon | Studio Theatre Hortensio, Petruchio’s friend, suitor to Bianca Mike Shara Katherina Minola’s world bristles with ways to make people change – from animal training Lucentio, a gentleman of Pisa, suitor to Bianca Cyrus Lane to the torture of women believed to be witches to poetry able to change the very meaning Tranio, Lucentio’s servant Tom Rooney of what people do and say. But Kate has some strategies of her own. A discussion featuring Biondello, Lucentio’s servant Gordon S. Miller this season’s Kate, Deborah Hay. $25 Gremio, a rich old man, suitor to Bianca Michael Spencer-Davis Vincentio, Lucentio’s father Robert King Pedant, from Mantua John Kirkpatrick Shrew’d Widow, Hortensio’s wife Sarah Orenstein Wednesday, August 12, 10:45 a.m. to noon | Studio Theatre Curtis, Petruchio’s steward Brad Rudy Nathaniel, Petruchio’s servant Thomas Olajide Kate in The Taming of the Shrew is one of the hardest roles for an actor to reconcile; Philip, Petruchio’s servant John Kirkpatrick fortunately, Stratford has several wonderful women who have done just that. Joseph, Petruchio’s servant Derek Moran Moderated by Margaret Jane Kidnie, with Deborah Hay, Seana McKenna, Lucy Peacock Nicholas, Petruchio’s servant Xuan Fraser and Irene Poole. $25 Peter, Petruchio’s servant Robert King Gregory, Petruchio’s servant Andrew Robinson Sugarsop, Petruchio’s servant Josue Laboucane An Undiscovered Shakespeare Tailor Sanjay Talwar Tuesday, August 18, 1:30 to 3:30 p.m., and Thursday, August 20, 7:30 to 9:30 p.m. Avon Theatre Rehearsal Hall 1 Merchants, Servants, Attendants, Market Workers, Officers, Ushers, Townspeople Every life is Shakespearean. Award-winning actor/improvisor Rebecca Northan and Ijeoma Emesowum, Xuan Fraser, Peter Hutt, Robert King, John Kirkpatrick, Josue Laboucane, friends invite a willing patron on stage for the spontaneous creation of Shakespeare’s Cyrus Lane, Ayrin Mackie, Jennifer Mogbock, Derek Moran, Thomas Olajide, Andrew Robinson, “lost play.” $25 Brad Rudy, Sanjay Talwar

Lobby Talk: The Taming of the Shrew Understudies Fridays, July 3, August 21 and September 18, 5:30 to 6:30 p.m. | Festival Theatre lobby Informal chat by Director of Communications David Prosser. Free Tim Campbell (Petruchio), Ijeoma Emesowum (Widow), Xuan Fraser (Pedant), Josh Johnston (Joseph, Nathaniel, Gregory), John Kirkpatrick (Tranio, Grumio), Shruti Kothari (Servant), Josue Laboucane (Gremio, Curtis), Jennifer Mogbock (Bianca), Derek Moran (Lucentio), Thomas Olajide (Tailor), Sarah Orenstein (Katherina), Andrew Robinson (Biondello), 200+ Forum Events | April to October Brad Rudy (Baptista Minola), Sanjay Talwar (Hortensio, Vincentio), Brian Tree (Servant)

Sustaining support for the Forum is generously provided by Kelly & Michael Meighen and the T.R. Meighen Family Foundation Support for the 2015 season of the Forum is provided in memory of Dr. W. Philip Hayman. There will be one 20-minute interval.

12 13 Artistic Credits Backstage Director Chris Abraham Production responsibilities during the performance accomplished by: Designer Julie Fox Stage Carpenter Art Fortin Lighting Designer Kimberly Purtell Alternate Nick Glenn Composer and Sound Designer Thomas Ryder Payne Master Electrician Alec Cooper Fight Director John Stead Alternate Chris Knarr Property Master Steve Gregg Producer David Auster Alternate Rory Feore Casting Director Beth Russell Head of Sound Andy Allen Creative Planning Director Jason Miller Crew Chad McMillan, Walter Sugden Wardrobe Mistress Heather Diamond Assistant Director Charlotte Gowdy Wardrobe Attendants Ina Brogan, Tracy Houston-McIntyre, Assistant Set Designer Nancy Anne Perrin Jane Mallory, Sherri Neeb Assistant Costume Designer Mary-Jo Carter Dodd Swing Rebecca Dillow Assistant Lighting Designer Tristan Tidswell Wigs and Makeup Show Head Dave Kerr Associate Fight Director Geoff Scovell Wigs and Makeup Crew Lena G. Festoso, Lorna Henderson Fight Captain Brad Rudy

Stage Manager Bona Duncan Assistant Stage Managers Holly Korhonen, Elizabeth McDermott, Anne Murphy Production Assistant Katherine Dermott Production Stage Manager Margaret Palmer The Birmingham Conservatory for Classical Theatre Technical Director Jeff Scollon From Artistic Director Antoni Cimolino: Thirty-three 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 Music Credits Stratford. Musicians Directed 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. Supporting the 2015 Graham Hargrove, Drums/Percussion; Steve McDade, Recorder/Trumpet; in-season work of Conservatory participants are the Marilyn & Charles Baillie Fund, John & Therese Gardner George Meanwell, Concertina/Lute/Mandolin/Cello and The Brian Linehan Charitable Foundation. We thank them for helping us to nurture and support these talented artists. Pre-show music composed and performed by George Meanwell Past Birmingham Conservatory participants include these members of our 2015 company: Sarah Afful 2011/12 Ruby Joy 2011/12 Mike Nadajewski 2012 Fanfare Musicians: Steve McDade, Soprano Herald Trumpet; Kate Stone (Fanfare Leader), Soprano Evan Buliung 1999 Josue Laboucane 2012/13 Thomas Olajide 2014 Herald Trumpet; Rob Stone, Bass Herald Trumpet; Graham Hargrove, Parade Snare Drum Shane Carty 2003 Keira Loughran 2005 (associate Karack Osborn 2013/14 Paul deJong 2000 (coach) producer, Forum and Laboratory) Gareth Potter 2003 Director of Music: Franklin Brasz Sara Farb 2013 Jamie Mac 2013/14 Andrew Robinson 2012/13 Ryan Field 2011 Kennedy C. MacKinnon 1999 Tyrone Savage 2010/11 Music Administrator: Marilyn Dallman Jonathan Goad 1999 (winter) (coach) Laura Schutt 2013/14 Administrative Assistant: Don Sweete Adrienne Gould 2002 Tiffany Claire Martin 2014 E.B. Smith 2010/11 Deborah Hay 1999 Gordon S. Miller 2003 Evan Stillwater 2004 (cutter) Jessica B. Hill 2014 Jennifer Mogbock 2013/14 Shannon Taylor 2014 Brad Hodder 2011/12 Derek Moran 2013/14 Antoine Yared 2012/13 Acknowledgements Josh Johnston 2014 André Morin 2014

Special thanks to Perry Schneiderman; Tyler Vandergaag. Special thanks also to Friends of the Festival for assistance with script preparation; The Michael Langham Workshop for Classical Direction Jennifer Anderson, MD, St. Michael’s Hospital, Toronto; Sean Blaine, MD, Stratford; Norman From Artistic Director Antoni Cimolino: Cruz, MD, Stratford; Shawn Edwards, MD, Stratford; Brian Hands, MD, FRCS (C), medical voice The Michael Langham Workshop for Classical Direction continues Michael Langham’s tradition of mentorship in consultant, Vox Cura voice care specialists, Toronto; Simon McBride, MCISc, MD, London Health a risk-free environment, allowing directors to develop their craft within the rich history and evolving artistry of the Sciences Centre Vocal Function Clinic, London; Laurel Moore, MD, Stratford; David Thompson, Stratford Festival. MD, Stratford; John Yoo, MD, London Health Sciences Centre, London. Pianos tuned and We extend our thanks to the Department of Canadian Heritage, Johanna Metcalf & the George Cedric Metcalf maintained by Don Stephenson. Cover photography by Don Dixon. Foundation and the Philip and Berthe Morton Foundation. Page 1 photography by David Hou. Participants in the 2015 workshop: Graham Abbey | Charlotte Gowdy | Krista Jackson Kate Newby | Bronwyn Steinberg | Kristen van Ginhoven | Rona Waddington | Ted Witzel Cover Photo: Ben Carlson, Deborah Hay 14 15 Production Credits Wardrobe Director of Production Simon Marsden Head of Wardrobe Bradley Dalcourt Technical Director – Scenic Construction Andrew Mestern Wardrobe Head – Avon/Studio Elizabeth Copeman Wardrobe Manager Tanya Apostolidis Seasonal Wardrobe Supervisor Linda Sparks Production Administrator Cheryl Bender Cutters Kim Crossley, Carol A. Miller, Luci Pottle, Design Coordinator Mary-Jo Carter Dodd Lela Stairs Murphy, Jennie Wonnacott Scene Shop Manager Robbin Cheesman First Hands Wendy Bendle, Joanne Davies, Patricia Taylor Associate Technical Director David Campbell Sewers Monica Berg, Cindy Brown, Diana Brown, Technical Management Assistant Michael Besworth Victoria Bruer, Susan E. Dick, Evelyn Gascho, Administrative Assistant Cindy Jordan Sharon Gashgarian, June Gunn, Karen Hancock, Electronics Technologist Chris Wheeler Patricia Hawkins-Russell, Shona Humphrey, Transportation Charlie Fox, Dirk Newbery, James Thistle Alanna Kitson, Debbie Kschesinski, Deborah S. Lount, Katelyn Low, Lisa Menzel, Magdalene Raycraft, Joan Scheerer, Properties Georgina Schinkel, Laura Snowden, Head of Properties Dona Hrabluk Lindsey Winter, Joanne Zegers, Lead Builder Jennifer Macdonald Rebecca Zimmerman Assisted by Eric Ball, Ken Dubblestyne, Michelle Jamieson, Bijoux/Decoration Kathi Posliff Kathryn Kerr, Shirley Lee, Brian McLeod, Assisted by Rebecca Dillow, Liane Guttadauria, Dylan Mundy, Heather Ruthig, Lisa Summers Tami MacDonald Properties Apprentice Matt Leckie Boots and Shoes Karen Beames Properties Buyer Tracy Fulton Assisted by Sarah Cook, Michael Karn, Chantelle Laliberte, Assistant Properties Buyer Jaclyn Zaltz Connie Puetz Costume Painting Lisa Hughes Dyeing Linda Pinhay Scenic Art Assisted by Sylvia Minarcin Millinery Katarzyna Maxine Head Scenic Artist Christopher Klein Assisted by Isabel Bloor, Helen Flower, Monica Viani Assistant Head Scenic Artist Daniel McManus Wardrobe Buyer Michelle Barnier Assisted by Kevin Kemp, Amparo Villalobos, Assistant Wardrobe Buyer Caitlin Luxford Michael Wharran, Blair Yeomans Wardrobe Apprentice Rebecca Forsyth Warehouse Supervisor Madonna Decker Scenic Carpentry Warehouse Assistants Chevy Barlow, Valerie Lariviere Head Carpenter Ryan Flanagan Head of Automation Ian Phillips Wigs and Makeup Lead Hand Mark Smith Head of Wigs and Makeup Gerald Altenburg Assisted by Simon Aldridge, David Bedford, Mark Card, Construction Crew Teddi Barrett, Erica Croft, Jessica Elsbrie, Gary Geiger, Nick Glenn, Paul Hyde, Lena G. Festoso, Tracy Frayne, Douglas Ledingham, William Malmo, Lorna Henderson, Dave Kerr, Angela Moncur, Stephen Morgan, Wayne Nero, John Roth, Sherri Neeb, Barb Newbery, Alana Scheel, Joseph Saunders, Geoff Taylor, Cliff Tipping, Julie Scott, Christine Vaughan, Stanley Wickens Joe Tracey Wigs and Makeup Apprentice Anna Burton

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, Funding for artisan apprenticeships is provided by the William H. Somerville Theatre Artisan Apprenticeship Fund, musical directors, conductors and orchestra contractors engaged by the Stratford Festival are members of the Toronto funded by the J. P. Bickell Foundation and by Robert & Jacqueline Sperandio. Musicians’ Association, Local 149, of the American Federation of Musicians of the United States and Canada. 16 17 Chris Abraham 2015: Director of The Taming of the Shrew. Sixth season. Stratford: A Midsummer Night’s Dream, Othello, The Matchmaker, The Little Years, For the Pleasure of Seeing Her Again. Elsewhere: Winners & Losers (Soho Rep); The Seagull, Someone Else, Seeds, Eternal Hydra (Crow’s Theatre); I, Claudia (Tarragon); Antigone, The Lesson (Soulpepper); Hedda Gabler, The Glass Menagerie (Saidye Bronfman Centre). Training: National Theatre School of Canada. Awards: Dora Awards for The Little Years, Eternal Hydra, Easy Lenny Lazmon…; Sterling Award for Frozen (Citadel Theatre); Gemini Award for I, Claudia (CBC/Sienna Films); 2013 Elinor and Lou Siminovitch Prize in Theatre. Online: www.crowstheatre.com. Et cetera: Chris is Artistic Director of Crow’s Theatre, which opens its new home in Toronto in 2016. He is past Co-Director of the National Theatre School of Canada Directing Program and is currently adjunct professor in the MFA Directing Program at York University.

Sarah Afful 2015: Player Queen in Hamlet, Bianca in The Taming of the Shrew and Rosaline in Love’s Labour’s Lost. Fourth season. Stratford: Tiger Lily, Alice Through the Looking-Glass; featured in A Midsummer Night’s Dream: A Chamber Play; Mariana, Measure for Measure; understudy, Othello; Mary Stuart; Chorus, Elektra; The Pirates of Penzance. Viola, Twelfth Night; Hermione, The Winter’s Tale (Birmingham Conservatory). Elsewhere: Margaret, Much Ado About Nothing, Octavia/Iris, Antony and Cleopatra (Bard on the Beach); Macbeth: nach Shakespeare (Conspiracy/Gas Heart); Saint Monica, The Last Days of Judas Iscariot (Pound of Flesh/Pacific Theatre); The Eighth Land (PI Theatre); Old Goriot (Western Gold/UBC Theatre); Small Axe (Project Humanity/The Theatre Centre). Film/TV: Smallville, Caprica, Eureka, The Perfect Score, American Dreams, numerous commercials. Recordings: Days of Old (Neworld Theatre/ CBC). Training: Birmingham Conservatory; BFA Acting, UBC; Lyric School of Acting; Tarlington Training. Online: Twitter: @SarahAfful1.Et cetera: “Thanks to my brothers for all their support and unconditional love this year!”

Tim Campbell 2015: Horatio in Hamlet and understudy in The Taming of the Shrew and Love’s Labour’s Lost. Seventh season. Stratford: Credits include Julius Caesar, The Tempest, Macbeth, Hamlet, As You Like It, Titus Andronicus, Henry IV (1), Henry IV (2), Henry V, Romeo and Juliet, Richard III, Antony and Cleopatra, Troilus and Cressida. Elsewhere: Recent credits include Venus in Fur (ATP); Twelve Angry Men, Death of a Salesman, Who’s Afraid of Virginia Woolf? (Soulpepper); Jane Eyre (MTC); A Midsummer Night’s Dream (Shakespeare Theatre Company, Washington, D.C.); Death of a Salesman (Citadel); A Streetcar Named Desire (Blue Bridge); Private Lives (Chicago Shakespeare). Film/TV: Credits include Reign, Republic of Doyle, Warehouse 13, Nikita, The L.A. Complex, Saving Hope, Deadly Hope, The Firm, Lost Girl, Against the Wall, Combat Hospital, Flashpoint, Murdoch Mysteries, Killshot, Hollywoodland. Awards: Past recipient of the Dora Mavor Moore Guthrie Award (for outstanding contribution to the Stratford Festival). Ben Carlson 2015: Captain von Trapp in The Sound of Music and Petruchio in The Taming of the Shrew. Eighth season. Stratford: Hamlet, Benedick, Leontes, Brutus, Octavius, Fluellen, Feste, Touchstone, Tranio, Charles (Blithe Spirit), Alceste (The Misanthrope), Jack (The Importance of Being Earnest), Chaplain (Mother Courage and Her Children), Burleigh (Mary Stuart). Elsewhere: Credits throughout North America: Shaw Festival: Tanner in Man and Superman, among over 25 productions. Chicago Shakespeare Theater: Hamlet, Macbeth, Frank in The School for Lies and Pericles. Various favourites: London Road, Canadian Stage; Cloud 9, Mirvish Productions; Our Town, Soulpepper Theatre; Berowne, NAC; Biff, Death of a Salesman, Neptune Theatre; Marchbanks, Candida, Theatre Calgary; Private Gar, Philadelphia Here I Come!, Walnut Street Theatre (Philadelphia). Film/TV: The Anniversary, Saving Hope, The Firm, Rookie Blue, Warehouse 13, Grey Gardens, Angela’s Eyes, Slings and Arrows, The 11th Hour. Awards: Joseph Jefferson, Hamlet; Dora Mavor Moore, Torvald, The Doll’s House. Mary-Jo Carter Dodd 2015: Assistant costume designer of The Taming of the Shrew and assistant set designer of Love’s Labour’s Lost. Stratford debut. Elsewhere: Head of Wardrobe for Soulpepper (12 years), Canadian Stage (two years), Young People’s Theatre (10 years), and costume coordinator for over 25 operas for the Canadian Opera Company. She taught wardrobe courses at Humber College in the Theatre Production Program and mentored students as they worked on productions. Training: Diploma, Honours BA in Theatre Production – Ryerson Polytechnical Institute; AutoCad certificate – George Brown College. She was chosen for the Theatre Ontario Professional Training Program and trained in model building for theatre, mentoring under Camellia Koo. She’s also taken advanced model building in the U.K. She has built set models for several theatre productions across the country. Et cetera: Mary-Jo is excited to be working at the Festival, surrounded by so many wonderful and talented people, and also to assist in finding the next generation of costume and set designers. 18 19 Bona Duncan Graham Hargrove 2015: Production stage manager of the Studio Theatre and stage manager of The Taming of the 2015: Drums, Percussion (onstage) in The Taming of the Shrew and Festival Theatre fanfares. Shrew. 15th season. Stratford: Stage manager: King John, Romeo and Juliet, The Merchant of Seventh season. Stratford: Percussion: Crazy for You, Man of La Mancha, Wanderlust, West Side Venice, Much Ado About Nothing, The Merry Wives of Windsor, Dangerous Liaisons, Cyrano de Story, Forum, Kiss Me, Kate, Evita. Onstage musician: Fuente Ovejuna, Henry V. Elsewhere: Bergerac, Zastrozzi, All’s Well That Ends Well, Fanny Kemble, A Midsummer Night’s Dream, Electra, Performed professionally on four continents, in orchestras of numerous Mirvish shows, and with the The Scarlet Pimpernel, Hamlet; production stage manager: Avon Theatre; assistant stage manager: COC and Esprit orchestras. Member of the Evergreen Club Contemporary Gamelan since 2000. Co- Antony and Cleopatra, The Matchmaker, The Taming of the Shrew, Romeo and Juliet, Twelfth Night, created The Mark of Zorro, a live soundtrack/foley show featuring the 1920 Douglas Fairbanks silent As You Like It. Elsewhere: Bona is grateful to have worked in many theatres across our country, film, which has been performed throughout Ontario.Radio/Recordings: Soundtracks for Stratford including Talk Is Free, Canadian Stage, Soulpepper, The Grand, NAC, MTC, Banff Centre, Citadel, Tarragon and Centaur. productions; CBC Radio and numerous studio recordings; two CDs, Reinventions and Theme and Evolutions, with Training: A graduate of the technical production section of the National Theatre School of Canada; BA from Bishop’s Toronto percussionist Nicholas Coulter; four CDs with the Evergreen Club Gamelan. Recent: released the album A 440, University. Et cetera: Bona lives in Stratford with her husband, Dan, and their daughter, Georgia. with his band Dan Stacey and the Black Swans. Training: Bachelors (UVic), Masters (UofT) in Percussion Performance. Et cetera: “Love and gratitude to my wife, Samantha – it isn’t easy being married to a drummer!” Ijeoma Emesowum 2015: Maria in Love’s Labour’s Lost and appears in Hamlet and The Taming of the Shrew. Second season. Stratford: Jackie Coryton in Hay Fever, Pudding/Daisy 2 in Alice Through the Looking- Deborah Hay Glass and Cleopatra Attendant in Antony and Cleopatra. Elsewhere: Five seasons with Shaw 2015: Thaisa, Marina, Antiochus’s Daughter in The Adventures of Pericles and Katherina in The Taming Festival including Major Barbara, Serious Money, Guys and Dolls, Ragtime, Cat on a Hot Tin of the Shrew. Sixth season. Stratford: Othello, The Three Musketeers, Much Ado About Nothing, Henry Roof, A Man and Some Women, The Admirable Crichton, The Women, The Devil’s Disciple, Born V, The Two Noble Kinsmen, The Taming of the Shrew, As You Like It, The Diary of Anne Frank, Love’s Yesterday, Binti’s Journey (Theatre Direct); The Aftermath (Nightwood Theatre); A Midsummer Labour’s Lost, Henry VI. Elsewhere: Most recently: Sally Bowles in Cabaret, Dorothea in Lovely Sunday Night’s Dream (Shakespeare in High Park, Canadian Stage). Film/TV: Antony and Cleopatra for Creve Coeur (Shaw Festival); London Road (Canadian Stage). Other credits include My Fair Lady, (Stratford Festival). Training: BFA, University of Windsor. Online: Twitter: @UsoIje. Et cetera: Ijeoma has an online Born Yesterday, Still Life, Heartbreak House, The Women, Wonderful Town, After the Dance, The Etsy store that sells homemade cream and lip balms as well as cake stands made of recycled glasses and dishes. Philanderer (Shaw Festival); The School for Lies (Chicago Shakespeare Theater); Caroline, or Change etsy.com/shop/usovintagedesigns. “Love and thanks to my family and Jake.” (Acting Up Stage); Soulpepper; Tarragon; MTC; Mirvish; The Grand Theatre; Theatre Passe Muraille; Festival of Classics. Film/TV: Saving Hope, Remedy, The Anniversary (feature film).Training: BFA, York University; Birmingham Conservatory Julie Fox ’99. Awards: Dora Award (ensemble, London Road); John Hirsch Award, Stratford Festival. 2015: Designer of The Taming of the Shrew. Sixth season. Stratford: A Midsummer Night’s Dream, Othello, The Best Brothers, The Little Years, For the Pleasure of Seeing Her Again. Elsewhere: The Peter Hutt Watershed, The Seagull, Someone Else, Seeds, I, Claudia, The Country (Crow’s Theatre); Arigato, 2015: Herr Zeller in The Sound of Music and Baptista Minola in The Taming of the Shrew. 16th Tokyo, The Maids, Blasted (Buddies in Bad Times); Endgame, The Long Valley (Soulpepper); The season. Peter dedicates his 40th year in the business to his late son, Adam. Stratford: Includes Patient Hour, Faust, The Designated Mourner, The Cryptogram (Tarragon); We Are Not Alone, Measure for Measure (Escalus), Mary Stuart (Aubespine), Othello (Brabantio), Cymbeline (Doctor), Geometry in Venice (Segal Centre); Frozen (Citadel); The Eco Show, Insomnia (Necessary Angel); Elektra (Old Man), The Misanthrope (Oronte), The Tempest (Alonso), Richard III (Buckingham), The Possible Worlds (Theatre Passe Muraille). Opera: A Synonym for Love (Volcano). Dance: Still Here Scarlet Pimpernel (Chauvelin), The Merchant of Venice, Titus Andronicus, Elizabeth Rex (portraying (adelheid); Shudder (Susanna Hood); Bas-Reliefs (Chartier Danse). Training: National Theatre School. Awards: Four William Shakespeare), Macbeth. Elsewhere: Shaw Festival: 20 seasons including An Inspector Dora Awards for set design; Virginia Cooper Award for costume design; META and Sterling Award nominations. Calls, Belle Moral, The Philanderer and Summer and Smoke. Mr. Hutt’s career has taken him Teaching: National Theatre School. 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 Xuan Fraser Shrew (CBC), Breaking All the Rules, Echoes in the Darkness and CBC Television’s much-acclaimed production of 2015: Fortinbras Captain in Hamlet, Nicholas in The Taming of the Shrew and appears in Elizabeth Rex. Awards: Dora nomination, Patience (Tarragon Theatre). Love’s Labour’s Lost. Ninth season. Stratford: King Lear (Curan), The Beaux’ Stratagem (Fellow, Chamberlain), A Midsummer Night’s Dream, Wanderlust (Blount), Henry V (Duke of Burgundy), As You Like It (Le Beau), The Winter’s Tale (Cleomenes), Titus Andronicus (Aaron), The Tempest Josh Johnston Appears in Hamlet and Love’s Labour’s Lost and understudy in The Taming of the Shrew. (Caliban), Macbeth (Witch), Romeo and Juliet (Benvolio), The Three Musketeers (Jussac), The Night 2015: of the Iguana (Pedro), Juno and the Paycock, Oedipus Rex (Chorus), Julius Caesar (Pindarus), The Stratford debut. Elsewhere: Proteus in The Two Gentlemen of Verona, Young Shepherd in The Winter’s Tale (Birmingham Conservatory); Sebastian in Who’s Under Where? (Lighthouse Festival Alchemist, The Merchant of Venice, Hamlet. Elsewhere: Oberon/Theseus (Shakespeare in Action/ Theatre); Louis Martin in In His Name (Canadian History Project); Giri in The Resistible Rise of Canadian Stage), Thomas Matthews (Toronto the Good – Factory Theatre), Othello (Othello – Driftwood Theatre), Arturo Ui (red light district); Thespis in Something Is Wrong (Naught, A Theatre Company); Troilus Macbeth (Macbeth – Workman Arts/Shakespeare in Action), Cody (This Is How It Goes – Neptune Theatre), Dubois in Troilus and Cressida (York University). Film/TV: Stephen in The Silver Chevy (Sheridan College). (Counterfeit Secrets – Artword Theatre, Dora nomination). Film/TV: Nikita, Suits, Insecurity, King, The Rick Mercer Report. “For my lovely fiancée, Leigh, and my wonderful children, Myles, Bailey, Cole, Max, Lyric and Marley! Here Radio: Collaborator and speaker in The Other Families Radio Show. Training: BFA in Acting, York lies all my future hopes.” University; Birmingham Conservatory for Classical Theatre. Et cetera: Josh dedicates his work this season to the memory of his mother and to all those who have helped him on his journey thus far. “You know who you are.” Charlotte Gowdy 2015: Assistant director of The Taming of the Shrew. Stratford debut. Elsewhere: Director: RED Robert King (Theatre Kingston); The Comedy of Errors, Better Living, Escape from Happiness (Fanshawe); 2015: Gravedigger #1 in Hamlet, Peter, Vincentio in The Taming of the Shrew and Marcade in Love’s Bird Brain, Peg and the Yeti (Thousand Islands Playhouse); Dumbo Squid (SummerWorks); Why Labour’s Lost. 22nd season. Stratford: King Lear, The Beaux’ Stratagem, The Three Musketeers, Do You Smoke So Much, Lily? (Nightwood, 4x4). Assistant director/choreography: Boeing Boeing The Merchant of Venice, Romeo and Juliet, Richard III, Richard II, Cymbeline, Twelfth Night, Measure (TIP), Rosencrantz and Guildenstern (Touchmark). Actor: three seasons at Shaw Festival; The for Measure, The Merry Wives of Windsor, Pericles, Henry V, Henry VI, Hamlet, The Shoemaker’s Winter’s Tale (Canadian Stage); The Taming of the Shrew, Measure for Measure (St. Lawrence Holiday, Treasure Island, The Count of Monte Cristo, The Grapes of Wrath, Home, Of Mice and Men, Shakespeare); Salt-Water Moon (Blyth); Dry Streak (The Grand Theatre); Venus in Fur (Theatre The Diary of Anne Frank, Ah, Wilderness!, Quiet in the Land, The Donnellys. Elsewhere (selected): Kingston); Educating Rita (TIP); The Importance of Being Earnest (MTC). TV: Murdoch Mysteries (CBC). Training: A Wind in the Willows Christmas, The Yalta Game, Afterplay, Falling: A Wake (Alternative Theatre National Theatre School of Canada; École Philippe Gaulier (Paris). Awards: Newton Award (Shaw); Peter Dwyer Works – founding member); Bolsheviki (world première, Infinithéâtre/ATW); original Owen in The Melville Boys (TNB); Award (NTS); shortlist, Gina Wilkinson Prize; DISH Award, Best Director (The Comedy of Errors). Et cetera: Two years Garrison’s Garage, Country Hearts, Blyth Festival. Et cetera: Graduate of Dawson College’s Dome Theatre program – a as associate artistic director, Thousand Islands Playhouse. proud “Domie.” Robert lives in Stratford with his wife, Peggy Coffey, and children, Mary and Lawrence. 20 21 John Kirkpatrick 2015: Marcellus, Fortinbras in Hamlet, Philip, Pedant in The Taming of the Shrew and Boyet in Love’s Labour’s Lost. Second season. Stratford: René Descartes in Christina, The Girl King and Red Knight/Walrus in Alice Through the Looking-Glass. Elsewhere (selected): Jaques in As You Like It, Cassius in Julius Caesar, Lucio in Measure for Measure, Jake in Stones in His Pockets, Sam in Fully Committed (Citadel Theatre); Slim in Of Mice and Men (Canadian Stage/Theatre Calgary); Tybalt/Friar Laurence in Romeo and Juliet, Roy Darwin in Counsellor-at-Law (Theatre Calgary); Everard in Age of Arousal, Ned in The Gift of the Coat (Alberta Theatre Projects); Milan in Rock ’n’ Roll (Canadian Stage/Citadel Theatre); Kent in King Lear, Sir Andrew Aguecheek in Twelfth Night (Freewill Shakespeare Festival.) Film/TV: Blackstone, Mixed Blessings. Training: BFA in Acting, University of Alberta. Awards: Elizabeth Sterling Haynes Award, Measure for Measure, Citadel Theatre. Et cetera: “Love to Breanna.”

Holly Korhonen 2015: Assistant stage manager of The Taming of the Shrew and Love’s Labour’s Lost. 14th season. Stratford: Assistant stage manager: King Lear, A Midsummer Night’s Dream, Blithe Spirit, Mary Stuart, Charlie Brown, The Pirates of Penzance, The Merry Wives of Windsor, The Misanthrope, Kiss Me, Kate, Dangerous Liaisons, The Importance of Being Earnest, Ever Yours, Oscar, Cabaret, My One and Only, The Comedy of Errors, South Pacific, Oliver!, Cat on a Hot Tin Roof, Edward II, The Count of Monte Cristo, Anything Goes, Henry VI. Stage manager: Birmingham Conservatory, 2006 and 2007. Elsewhere: Stage management at the Thousand Islands Playhouse, the Globe, the Grand and Factory theatres. Awards: Tanya Award, three Guthrie Awards. Et cetera: Holly thanks all those who have made it possible for her to balance her two great loves, the theatre and her son, Jackson. She is ever grateful for all the love and support that surrounds her.

Shruti Kothari 2015: Appears in Hamlet and Love’s Labour’s Lost and understudy in The Taming of the Shrew. Stratford debut. Elsewhere: Princess/Genie in Aladdin (Diversified Productions), Mimi in Rent, Gary Coleman in Avenue Q (Lower Ossington Theatre); Mallory/April in City of Angels (Queen’s Musical Theatre); Nickie in Sweet Charity (Blue Canoe Productions); First Fairy in A Midsummer Night’s Dream (Queen’s Drama); First Witch in Macbeth (BSS/UCC Theatre). Voice Work: Beheader in Far Cry 4 (Ubisoft), Gail in My Dad is Scrooge (Eb Scrooge Productions). Training: Queen’s University, Claude Watson School for the Arts. Et cetera: “Endless love and thanks to family and friends for their constant support – particularly to my parents for sharing their love of the theatre and for always taking a four- year-old’s, seven-year-old’s and 20-year-old’s dream seriously.” Take home a piece Josue Laboucane 2015: Francisco in Hamlet, Sugarsop in The Taming of the Shrew and Costard in Love’s Labour’s of theatre magic Lost. Third season. Stratford: King Lear, A Midsummer Night’s Dream, The Beaux’ Stratagem, Mary Stuart, Measure for Measure, Othello. Birmingham Conservatory: Toby Belch, Twelfth Night (Robin Phillips); Private Lives, Tons of Money (Christopher Newton); Hamlet (Stephen Ouimette); Custom clothing, Love’s Labour’s Lost (Martha Henry). Elsewhere: Henry VI, Henry VI: Wars of the Roses, Richard III, A Midsummer Night’s Dream, Measure for Measure, Hamlet, Rosencrantz and Guildenstern unique giftware and Are Dead, Julius Caesar, Timon of Athens (Bard on the Beach); Zachary, The Exquisite Hour (Relephant); Cowardly Lion, The Wizard of Oz, Toad, A Year with Frog and Toad, Horton, Seussical (Carousel); The much more! Emperor’s New Threads (Axis). Training: Birmingham Conservatory, Studio 58, Canadian National Voice Intensive. Awards: Multiple Jessie nominations, one win; Sydney J. Risk Award. Et cetera: Josue is also a teacher, director and mask maker. Online: “Tweet me @josuelaboucane.”

Cyrus Lane 2015: Lucentio in The Taming of the Shrew and George in Possible Worlds. Fourth season. Stratford: Peter Pan, King of Thieves, Richard III, Titus Andronicus, Cymbeline, Wanderlust. Elsewhere: The De Chardin Project (Passe Muraille); Twelve Angry Men (Soulpepper); Minotaur (YPT); RIFLES (Next Stage); The Tin Drum (UnSpun Theatre); Passion Play (Convergence, Outside stratfordfestival.ca/shop the March, Sheep No Wool); Rock ’n’ Roll, Habeas Corpus, Take Me Out, Amadeus, Sweeney Todd (Canadian Stage); Blood Brothers (Theatre Aquarius); Kiss of the Spider Woman, The All purchases directly support the Stratford Festival. Inspector General (Talk is Free); You’re a Good Man, Charlie Brown (YPT). Film/TV: Reign, Murdoch Mysteries, Anne of Green Gables: A New Beginning, The Summit. Recordings: Voices for Resident Evil: Outbreak, Onimusha 2 and Far Cry 2. Training: London Academy of Music and Dramatic Art. Awards: Three Dora Award nominations, one win. Et cetera: “Love to Joanne and Eliza.” 22 Ayrin Mackie Jennifer Mogbock 2015: Appears in The Sound of Music and The Taming of the Shrew. Third season. Stratford: Man of 2015: Reynaldo in Hamlet, Jaquenetta in Love’s Labour’s Lost and appears in The Taming of the La Mancha, Crazy for You, The Pirates of Penzance, Elektra. Elsewhere: Shrek The Musical, Joseph Shrew. Second season. Stratford: Blanche of Spain in King John, Iras in Antony and Cleopatra. and the Amazing Technicolor Dreamcoat (The Grand); The Wizard of Oz (Toronto and first national tour), Elsewhere: Phebe in As You Like It (Shakespeare Theatre of New Jersey); Bernarda in The House Lord of the Rings (world première), The Producers (Mirvish); Lies My Father Told Me (Segal Centre); How of Bernarda Alba (Theatre of War); Icarus in Damages Tangled (Theater for the New City, N.Y.C.). to Succeed in Business Without Really Trying, Sweet Charity, Cats, Evita (Drayton); White Christmas, Film: Quincy Vidal (Yellowhouse Pictures). Training: Birmingham Conservatory for Classical Theatre; Cats (Theatre Aquarius); The Producers, White Christmas (Neptune Theatre); A Chorus Line, Footloose BFA, State University of New York (SUNY) Purchase College. Online: www.jennifermogbock.com. Et (Stage West, Calgary/Mississauga); West Side Story (Citadel/Theatre Calgary); The Merry Widow (Opera cetera: “Thank you to Aragorn, family, friends, and my heavenly father.” Ontario); Thick-Skinned (Toronto Fringe Festival). Et cetera: Ayrin is also a Kundalini yoga teacher.

Steve McDade Derek Moran 2015: Recorder, Trumpet (onstage) in The Taming of the Shrew and Festival Theatre fanfares. Eighth 2015: Lucianus in Hamlet, Joseph in The Taming of the Shrew and appears in Love’s Labour’s Lost. season. Stratford: Lead trumpet for Crazy for You, Fiddler on the Roof, Cabaret, West Side Story, Forum, Second season. Stratford: Egeus’s Interpreter in A Midsummer Night’s Dream, Burgundy in King Evita, Kiss Me, Kate, Camelot, Superstar, 42nd Street. Elsewhere: Major Toronto musicals include Lear. Elsewhere: Romeo in Romeo and Juliet, Mario in The Game of Love and Chance (Neptune Les Misérables, Fosse, The Producers, Chicago, Ragtime, Crazy for You. Major jazz festivals with Rob Theatre); Trout Stanley in Trout Stanley (Heart in Hand Theatre); Owen in The Melville Boys (Red McConnell and the Boss Brass and Latin fusion group Manteca. Film/TV: Plays in a band scene in Red; Barn Theatre); Cléante in The Miser, The Compleat Wrks of Wllm Shkspr (Abridged), Romeo in movie soundtracks include The Music Man, The Judy Garland Story, The Stork Derby. Hundreds of Romeo and Juliet and Mug in New Canadian Kid (Sudbury Theatre Centre). Film/TV: Mayday, Lost jingles for TV/radio including The National, Mansbridge One on One, Hockey Night in Canada, and Girl, Bomb Girls, Being Erica, Murdoch Mysteries, Life With Derek, October 1970. Training: George live performances on the Juno, Gemini and Genie awards. Recordings: Working on his debut solo recording in the jazz Brown Theatre School, Birmingham Conservatory. idiom. Training: Humber College. Awards: Maureen Forrester Award, 2014. Four Juno Awards (Boss Brass and Manteca). Played on two Grammy-winning records and two nominated (Rob McConnell). Online: stevemcdade.com. Et cetera: “I’m very happy to be back onstage for Shrew, observing these amazing actors up close. I’m also very excited to have my jazz quintet playing this year as part of the Forum on July 6 in the Festival Theatre lobby.” Anne Murphy 2015: Stage manager of Hamlet and assistant stage manager of The Taming of the Shrew. 23rd season. Stratford: Anne is pleased to be back for the 2015 season. Elsewhere: This past winter she worked on Cabaret (MTC). Other productions: Sleeping Beauty (Globe Theatre), Orpheus Elizabeth McDermott Descending (MTC, Royal Alexandra Theatre), toured the Belfry Theatre’s The Year of Magical 2015: Assistant stage manager of The Sound of Music, The Taming of the Shrew and Love’s Labour’s Thinking to the Tarragon Theatre and the National Arts Centre, toured with Joseph and the Lost. Third season. Stratford: Three Sisters, Bartholomew Fair, Phèdre, Ever Yours, Oscar, As You Amazing Technicolor Dreamcoat and the NAC’s The Mikado and worked on The Lion King and Like It, King of Thieves. Elsewhere: Miracle on 34th Street (STC); Bella: The Colour of Love (HGJTC); Jane Eyre in Toronto. She has had the pleasure of working across Canada at the Grand Theatre, Anne of Green Gables: The Musical, Canada Rocks! (Charlottetown Festival); Night (Human Cargo); Vancouver Playhouse, Neptune Theatre (production manager for two years), Manitoba Theatre Centre and Expo ’86 Falling: A Wake (Blyth); The Barber of Seville (Soulpepper); Binti’s Journey, Head à Tête, Old Man in Vancouver. Et cetera: Anne lives in Stratford with her partner, Anne; their son, Callum; daughter Brianna; Richard, and the River, Red Kite Brown Box (Theatre Direct); Night of the Living Dead Live! (Nictophobia); a Nova Scotia Duck Tolling Retriever; Lucy, the cutest Maltipoo ever; and three beautiful cats. Divisadero: A Performance (Necessary Angel); Danny, King of the Basement (Roseneath); Othello, A Midsummer Night’s Dream, Twelfth Night, All’s Well That Ends Well (SLSF); Yellowman (Nightwood/Obsidian); Late, Black Medea (Obsidian). Awards: Jean A. Chalmers Apprentice Achievement Award (Stratford Festival, 2009 and 2010). Et cetera: “Much love to my family and friends. Thank you for your steadfast support.” Thomas Olajide 2015: Voltemand in Hamlet, Nathaniel in The Taming of the Shrew and Dumaine in Love’s Labour’s Lost. Second season. Stratford: Oswald in King Lear. Elsewhere: Kwasi in Binti’s Journey (Theatre George Meanwell Direct/Young People’s Theatre); Laurent in Ruined (Obsidian Theatre); Florizel in The Winter’s Tale, 2015: Concertina, Lute, Mandolin, Cello (onstage) in The Taming of the Shrew. Fifth season. Tranio in The Taming of the Shrew, Thane of Ross in Macbeth (Canadian Stage); Quentin in And Stratford: The Pirates of Penzance, The Grapes of Wrath (contributed incidental music), As Slowly Beauty (Belfry Theatre/National Arts Centre); Oliver in Oliver! (National Arts Centre); Abraham You Like It, Jacques Brel Is Alive and Well and Living in Paris. Elsewhere: Ensemble in Boblo in Sia (Pyretic Productions/Cahoots Theatre Company); various in This Must Be the Place (Architect (KitchenBand), composer and musician in The Notorious Right Robert... (Festival Players PEC), Theatre/Theatre Passe Muraille); John in The Whipping Man (Obsidian Theatre/Harold Green Jewish Lane and Merriman in The Importance of Being Earnest (Guild Festival Players). Recordings: With Theatre). Film/TV: After School, Broken Promises (Underdog Productions); Little Black Caddy (CBC); Combat Hospital Short Turn: Short Turn, Don’t Get Around Much Anymore; with Quartetto Gelato: Quartetto Gelato, (ABC). Training: Graduate of the National Theatre School of Canada (2010), Birmingham Conservatory for Classical Rustic Chivalry, Aria Fresca, Neapolitan Café; as himself: Another Street, Late, The Easy Straight. Theatre, Brenda Crichlow Actors’ Studio and Stella Adler Academy of Acting. Awards: Peter Donaldson Award. Awards: 1996 NPR Performance Today Debut Artist of the Year (Quartetto Gelato); 2011, 2012 Tyrone Guthrie Awards. Online: www.gmeanwell.ca. Et cetera: Ever more grateful for family, friends and colleagues.

Sarah Orenstein Gordon S. Miller 2015: Widow in The Taming of the Shrew and Penfield in Possible Worlds. Third season. Stratford: 2015: Biondello in The Taming of the Shrew and Williams in Possible Worlds. Ninth season. White Queen (Alice Through the Looking-Glass), Clara (Hay Fever), Matilda (Zastrozzi). Elsewhere: Stratford (selected): Scrub in The Beaux’ Stratagem, Andrei in Three Sisters, Benvolio in Romeo Connie (The Ladies Foursome) (The Grand); Annette (God of Carnage), Emma Brookner (The and Juliet, Apollodorus in Caesar and Cleopatra, Roderigo in Othello, Flaminius in Timon of Normal Heart), The Palestinian (Stuff Happens) (Studio 180/Mirvish); Nawal (Scorched), Rachel Athens. Elsewhere: Mr. Collins in Pride and Prejudice, Sheriff of Nottingham in Robin Hood (The Retreat), Melitta (Mrs. Klein), Sallie (The Collected Works of Billy the Kid) (Tarragon Theatre); (Globe Theatre); Krogstad in A Doll’s House (Montgomery/TNB). Film/TV: Dmitri in award-winning Epifania (The Millionairess), Hersione (Heartbreak House), Elvira (Blithe Spirit), Widow Quinn miniseries Fargo (Best Miniseries: Emmy, Golden Globe), Suits, Republic of Doyle, The Ron (Playboy of the Western World) (Shaw Festival – 1987 to 2003); Lyn (Apple), Olga (Beyond James Show, Warehouse 13, Lost Girl. Training: National Theatre School of Canada; Birmingham Mozambique) (Factory Theatre); Maggie (Cat on a Hot Tin Roof), Hermione (The Winter’s Tale) (TNB). Film/TV: The Conservatory for Classical Theatre. Awards: Tyrone Guthrie Award (2003, 2007), John Hirsch Award (2004) and the Calling, Jesus Henry Christ, Fugitive Pieces, Rookie Blue, Breakout Kings, Murdoch Mysteries. Awards: Dora Award inaugural recipient of the Richard Monette Travel Grant (2009). for Patience, Tarragon Theatre. Ottawa Critics’ Circle Award for A Doll’s House, GCTC. 24 25 Margaret Palmer Tom Rooney 2015: Production stage manager of the Festival Theatre. 32nd season. Stratford: Maggie has 2015: Polonius in Hamlet, Tranio in The Taming of the Shrew and Holofernes in Love’s Labour’s been PSM at the Avon, Tom Patterson and Festival theatres for 24 seasons. Stage-management Lost. Eighth season. Stratford: Crazy for You, Man of La Mancha, Measure for Measure, Waiting credits include Henry IV (parts 1 and 2); Iolanthe; The Imaginary Invalid; My Fair Lady; A Man for for Godot, Wanderlust, Henry V, The Merry Wives of Windsor, Twelfth Night, As You Like It, The All Seasons; Kiss Me, Kate; Guys and Dolls; The Government Inspector; Coriolanus; The Mikado Winter’s Tale, For the Pleasure of Seeing Her Again, Macbeth, Julius Caesar, A Midsummer Night’s (national tour, London’s Old Vic); and Twelfth Night (U.S. tour). Elsewhere: Maggie apprenticed Dream, Hamlet and All’s Well That Ends Well. Elsewhere: The Seagull, Someone Else (Crow’s at Neptune Theatre (1966/67), where she appeared as a dead body in The Physicists, and Theatre); Homechild, Beckett: Feck It! (Canadian Stage); My Mother’s Feet (Munich); Hairspray worked at the St. Lawrence Centre (Toronto Arts Productions), MTC and the Grand Theatre. She (Toronto and Broadway); Benevolence, Courageous (Tarragon); Hamlet (NAC); Roméo et Juliette stage-managed Eugene Onegin (Manitoba Opera), the first Dream in High Park and the first Dora Awards. She did (Shakespeare on the Saskatchewan). Film/TV: Three seasons on CBC’s This Is Wonderland; The Gilda Radner Story; publicity for the NDWT Company and toured Canada with the Charlottetown Festival. Training: Graduate of the The Day After Tomorrow; Everest ’82 (CBC miniseries) and Flash of Genius. Awards: Two Gemini nominations and a National Theatre School, where she returned to coach last winter. Dora Award for Outstanding Actor 2013.

Brad Rudy Thomas Ryder Payne 2015: Barnardo in Hamlet, Curtis in The Taming of the Shrew and Dull in Love’s Labour’s Lost. 2015: Composer and sound designer of The Taming of the Shrew and sound designer of Hamlet 25th season. Stratford: Pembroke (King John), Bill Sikes (Oliver!), Count (The Count of Monte and The Alchemist. Seventh season. Stratford: King Lear, A Midsummer Night’s Dream, The Cristo), Talbot (Henry VI), Common Man (A Man for All Seasons), Sergeant of Police (The Pirates of Beaux’ Stratagem, Othello, The Matchmaker, Much Ado About Nothing, The Little Years, Hosanna, Penzance); only actor to appear in all eight “Wars of the Roses” plays, consecutively. Elsewhere: King of Thieves, Rice Boy. Elsewhere: Designs for BIBT, Soulpepper, Canadian Stage, Tarragon, Ratty (A Wind in the Willows Christmas) (ATW), Ted Narracott (War Horse) (Toronto); Gabe (Dinner Factory, Theatre Passe Muraille, NAC, Blyth Festival, Theatre Calgary, GCTC, Volcano, Nightwood, With Friends) (Theatre Aquarius), Todd (The Book of Esther) (Blyth). Directing: King Lear (Fanshawe College), The Book of Esther (Festival Players of Prince Edward County), Falling: A Wake (ATW), Modern Times, Aluna, Crow’s and many others. Film: Hero.Traitor.Patriot, Alegra & Jim, Robert’s Girls in the Gang (St. Clair College), Our Town (Mercury Theatre). Teaching: Acting/Voice and Text (Fanshawe, St. Circle. Training: Studied composition with James Tenney, Honours BA, York University. Awards: Clair colleges); guest instructor (Michigan State, Wayne State, University of Waterloo); fight director (Aquarius, 14 nominations and two Dora Awards for Sound Design and Composition. Et cetera: Started as a songwriter with a Touchmark, colleges). Jack Hutt Humanitarian Award. Et cetera: “Love to Anne, Emma, Jack and Rob.” four-track tape machine and still endlessly fascinated with the storytelling possibilities of layered sound. Geoff Scovell 2015: Associate fight director of Hamlet, The Physicists, The Diary of Anne Frank, Carousel, The Nancy Anne Perrin Adventures of Pericles, She Stoops to Conquer and The Taming of the Shrew. Fifth season. Stratford: 2015: Assistant set designer of Hamlet, The Sound of Music and The Taming of the Shrew and Associate fight director (selected): King Lear, Crazy for You, King John, Man of La Mancha, Alice, assistant designer of Possible Worlds and The Last Wife. Second season. Elsewhere: Set and/or A Midsummer Night’s Dream, The Beaux’ Stratagem, Romeo and Juliet, The Three Musketeers, costume designs include Parents Night and The Bigger Issue (CrazyLady); DeliMax (Teatron); Pitch Othello, The Thrill. Assistant fight director: Fiddler on the Roof, Cyrano de Bergerac, The Count of Blonde (Convections/Next Stage); Waterfront: The Blessing and Shed (Les Nouvelles/SummerWorks); Monte Cristo. Elsewhere: Fight director: Don Giovanni (Royal Conservatory); Gas (Next Stage); Don Rabbit Rabbit (Rather Undisciplined/SummerWorks); Magicien d’Oz (Le Théâtre La Roulotte); Cabaret, Giovanni, War and Peace (COC); The Godot Cycle (Yes Let’s Go); Mirandolina (Soulpepper); Romeo Stop Heart and Shouting (NTS). Training: Graduate of the National Theatre School of Canada’s Set and Juliet (ShakespeareWorks). Film/TV: Stunt performer: 12 Monkeys, Bitten, The Strain, Covert Affairs, Pompeii, and Costume Design Program; BFA in Theatre Design and Production, University of Victoria. Robocop, Reign, Orphan Black, Splinter Cell: Blacklist, Assassins Creed: Unity, Carrie, Total Recall, Being Human, XIII the series, Lost Girl. Training: BFA, Ryerson University. Awards: Paddy Crean: excellence in stage combat. Online: @ GeoffScovell.Et cetera: “Thank you to Kasia and John for all your continued support and guidance.” Kimberly Purtell 2015: Lighting designer of The Taming of the Shrew, Possible Worlds and The Last Wife. Seventh Mike Shara season. Stratford: Alice Through the Looking-Glass, Man of La Mancha, Christina, The Girl King, 2015: Laertes in Hamlet, Hortensio in The Taming of the Shrew and Berowne in Love’s Labour’s Waiting for Godot, You’re a Good Man, Charlie Brown, The Little Years, The Blonde, the Brunette Lost. Seventh season. Stratford: Othello, The Homecoming, The Matchmaker, King Lear, and the Vengeful Redhead. Elsewhere: Alice Through the Looking-Glass (NAC), The Seagull Cymbeline, The Importance of Being Earnest, Cyrano de Bergerac, Twelfth Night, The Beaux’ (Crow’s Theatre), Cinderella (Ross Petty Productions), Ariadne auf Naxos (Pacific Opera Victoria), Stratagem. Elsewhere: Nothing Sacred, Arms and the Man, Rutherford and Son, You Can’t Take It Svadba (Opera Philadelphia), Sextet (Tarragon Theatre), Accidental Death of an Anarchist and With You, Cavalcade (Shaw Festival); It’s a Wonderful Life, Take Me Out (Canadian Stage); Boeing Twelve Angry Men (Soulpepper), What Makes a Man (Necessary Angel), Small Axe (Theatre Centre Boeing (Aquarius); Long Day’s Journey Into Night, The Shunning (MTC); The Great Gatsby (Grand); and Project Humanity), Jane Eyre (MTC). Awards: Pauline McGibbon Award, three Dora Mavor Moore Awards. Et Our Town, The Way of the World, Black Comedy (Soulpepper); The Amorous Adventures of Anatol cetera: Kimberly’s designs have been critically acclaimed on the national and international stage, seen across (Tarragon); An Inspector Calls (Theatre Calgary); Richard III, Caesar and Cleopatra (Citadel). Film/TV: Whatever Canada, the United States, the United Kingdom, Prague, China, Mongolia, Taiwan and Hong Kong. Linda, Murdoch Mysteries, Life With Boys, Little Mosque on the Prairie, The Gathering. Online: @mikeshara. Et cetera: “For my beautiful girls, Carla and Molly.”

Michael Spencer-Davis 2015: Gremio in The Taming of the Shrew and Berkley in Possible Worlds. Fifth season. Stratford: Andrew Robinson The Beaux’ Stratagem, A Midsummer Night’s Dream, King Lear, Richard III, Titus Andronicus, 2015: Cornelius in Hamlet, Gregory in The Taming of the Shrew and Longaville in Love’s Labour’s Julius Caesar, Bartholomew Fair, Shakespeare’s Universe. Elsewhere: Boeing Boeing (Aquarius); Lost. Third season. Stratford: The Merchant of Venice, King John, Romeo and Juliet, The Three Vigil, Lawrence and Holloman (PTE); Having Hope at Home (Neptune); Twelfth Night, The Tempest Musketeers, Antony and Cleopatra, Mother Courage and Her Children. Birmingham Conservatory: (Hartford Stage); Innocence Lost (Centaur/National Arts Centre); Pride and Prejudice (Theatre Twelfth Night, Hamlet, Love’s Labour’s Lost, Tons of Money. He recently had the pleasure of working Calgary/NAC); The Lonely Diner: Al Capone in Euphemia Township (Blyth Festival); The 25th in the Incubator on The Aeneid and Cue for Treason. Elsewhere: Andrew recently premièred his Annual Putnam County Spelling Bee (Thousand Islands Playhouse); Romeo and Juliet, Nativity, second solo show, He Crucified Me (Buddies/Rhubarb – playwright/performer); Our Ajax, Intuition Twelfth Night (NAC); Robin Hood, Sexy Laundry (Globe); Medea (MTC/Mirvish); Macbeth, Othello (NAC/Citadel); The of Iphigenia, Elektra in Bosnia (Women and War Project – Canada/Greece tour); Machina Nuptialis Elephant Man, The Stone Angel, Heaven, The Beard of Avon, Unless, Twelfth Night (Canadian Stage); The Real (Corpus Dance Projects); Bent (Theatre Engine); Russian Dolls (Buddies/Rhubarb – playwright/performer). Training: Thing, Humble Boy (MTC); As You Like It, Blithe Spirit, Einstein’s Gift (Citadel). Film/TV: Murdoch Mysteries, Flash of Birmingham Conservatory for Classical Theatre, Ryerson Theatre School. Awards: Tyrone Guthrie Award. Genius, The Eleventh Hour. 26 27 John Stead 2015: Head of Stage Combat. Fight director of Hamlet, The Physicists, The Diary of Anne Frank, Carousel, The Adventures of Pericles, She Stoops to Conquer and The Taming of the Shrew. 22nd season. Stratford: Fight director of over 150 productions. Elsewhere: Worked as a fight director across North America on over 500 professional productions, including 15 seasons with the Shaw Festival. Film/ STRATFORD DIRECT BUS TV: Stunt coordinator and action director on over 375 films and television episodes.Teaching: 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, Tyrone Guthrie Award (Stratford Festival); Judges’ Choice Award (15 Minutes of Fame TORONTO International Film 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: www.johnstead.com. John Stead on IMDB: $ RETURN www.imdb.com/name/nm0824093/. Et cetera: Master instructor with the Academy of Dramatic Combat.

Sanjay Talwar 2015: Rosencrantz in Hamlet, Tailor in The Taming of the Shrew and King Ferdinand of Navarre in Love’s Labour’s Lost. Fifth season. Stratford: Alice Through the Looking-Glass, Hay Fever, Peter Pan, Dangerous Liaisons, Macbeth, Julius Caesar, Rice Boy, Twelfth Night, Much Ado About Nothing, Coriolanus. Elsewhere: Free Outgoing (Nightwood); Around the World in 80 Days We’ll take care of the driving; (ATP); Peace in Our Time, Arcadia, Helen’s Necklace, Come Back, Little Sheba (Shaw); The Story 20 you can relax and (Theatre Columbus); Bombay Black (Cahoots/Arts Club); The Last Days of Judas Iscariot (Birdland enjoy the trip. Theatre); The Two Gentlemen of Verona, Measure for Measure, Titus Andronicus, director of The Merchant of Venice and Artistic Director for five seasons (Shakespeare in the Rough); The Winter’s Tale, Romeo and Juliet, A Midsummer Night’s Dream, Twelfth Night (Dream in High Park); Helen’s Necklace (Tarragon and Pi Theatre – Jessie Award). Film/TV: Orphan Black, Puck Hogs, The Border, Flashpoint, Guns, Supernatural, Murder Unveiled. Training: Dalhousie University.

Tristan Tidswell 2015: Assistant lighting designer of The Sound of Music, The Taming of the Shrew and Love’s Labour’s Lost. Sixth season. Stratford: Assistant lighting designer of Crazy for You, King Lear, The Beaux’ Stratagem, Fiddler on the Roof, Romeo and Juliet, Taking Shakespeare, The Thrill, 42nd Street, Henry V, Jesus Christ Superstar, The Homecoming, As You Like It, The Two Gentlemen of Verona, Do Not Go Gentle and King of Thieves. Elsewhere: Lighting designer of A Christmas Carol, Little Shop of Horrors (TNB); Miracle on 34th Street (TNB/STC); You’re a Good Man, Charlie Brown, Becky’s New Car, Henry and Alice: Into the Wild (Globe Theatre). Assistant lighting designer of The Wizard of Oz (Mirvish), Priscilla, Queen of the Desert (Broadway, Mirvish). Training: BFA Honours, Proudly keeping the arts in the spotlight. Ryerson University. Awards: 2009 Wally Russell Lighting Internship and Scholarship (Canadian Opera Company). Online: www.tristantidswell.com. Et cetera: Tristan is a member of the Associated Designers of Canada. We’re pleased to support the 2015 Stratford Festival Gala.

Brian Tree 2015: English Ambassador, Gravedigger #2 in Hamlet, Grumio in The Taming of the Shrew and Sir Nathaniel in Love’s Labour’s Lost. 26th season. Stratford: Cardinal Pandulph (King John), globeandmail.com/arts Humpty Dumpty (Alice Through the Looking-Glass), Elbow (Measure for Measure), Melvil (Mary Stuart), Pisanio (Cymbeline), 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.

28 29 FEATURING THE ICONIC SONGS: YOU’LL NEVER WALK ALONE JUNE IS BUSTIN’ OUT ALL OVER Benedict Cumberbatch LIVE IN CINEMAS THIS OCTOBER

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Rodgers & Hammerstein’s Carousel ALSO IN CINEMAS Music by Richard Rodgers | Book and Lyrics by Oscar Hammerstein II Based on Ferenc Molnar’s play “Liliom”as adapted by Benjamin F. Glazer Man and Superman Everyman Original dances by Agnes de Mille The Hard Problem Orchestral Reduction by Larry Blank, based on the original by Don Walker Live April 16 Live May 14 Live July 16 Director Susan H. Schulman | Choreographer Michael Lichtefeld Encore May 16 Encore June 13 Encore September 19 with Alexis Gordon, Jonathan Winsby, Evan Buliung, Sean Alexander Hauk, Alana Hibbert, Robin Evan Willis

Production support is generously provided by Cec & Linda Rorabeck Cineplex.com/NationalTheatre Presentations may not be available at all participating theatres for all advertised dates

Jonathan Winsby, Alexis Gordon, Photo: Don Dixon ™/® Cineplex Entertainment LP or used under license.