Winter 2011/Spring 2012 Shakespeare Theatre Association

Highlights

2 A Note from the STA President

3 Globe to Globe Festival

4 Shakespeare Coast-to-Coast

7 Seasons of Shakespeare

11 Shakespearean Snippets 2011−2012 STA Officers A Note from the STA President

STA President Dear STA Colleagues, Patrick Spottiswoode You will have to borrow my Gargantua’s mouth to describe the wonders that Director of Globe Education will await you in Orlando from February 29-March 3 at the 2012 STA confer- Shakespeare’s Globe ence. This will, in effect, be the inaugural conference of our new Shakespeare [email protected] Theatre Association. STA is already attracting wider international interest, as Vice-President we all hoped it would. Delegates from Argentina, Australia, Brazil, Denmark, Lesley Malin Germany and Poland will join us in Orlando.

Managing Director The theme “Shakespeare Here and Everywhere” reflects our more outward- Chesapeake Shakespeare Company looking mission. Please contact me or the Chairs of the STA committees if [email protected] you would like to suggest a topic or contribute to a panel. A pre-conference Secretary workshop is also being organized. Michael Don Bahr Do encourage your Board members to attend. Lure them with the location or Education Director bribe them with the benefit of seeing Brian Bedford’s one-man show, which Utah Shakespeare Festival will open the conference. A seminar for Board members will also be offered. [email protected] David Dreyfoos, Lesley Malin and Dawn McAndrews will present a strategic Treasurer plan for STA. There will also be an opportunity to discuss how STA members Casey William Gallagher might collaborate to mark the 400th anniversary of Shakespeare’s death (or Ben Jonson’s First Folio, if you prefer) in 2016. Managing Director Pennsylvania Shakespeare Festival The STA Executive has accepted Pennsylvania Shakespeare Festival’s kind offer [email protected] to host the 2013 conference following Seattle’s decision to withdraw. Grateful Member at Large thanks to Patrick Mulcahy, Casey Gallagher and all at Pennsylvania Shake- Patrick Flick speare. Dates for the 2013 conference will be confirmed in Orlando.

Associate Artistic Director/New Plays So leave your Fredericks behind and join STA companions at the Senior refuge. Orlando Shakespeare Theater [email protected]

Member at Large Warmest, Jim Helsinger Patrick Spottiswoode, STA President Director of Globe Education, Shakespeare’s Globe Artistic Director Orlando Shakespeare Theater [email protected] Member at Large Michelle Traverso

Education Director Shakespeare Walla Walla [email protected]

Winter 2011/Spring 2012 Orlando Hosts 2012 International Gathering of Shakespeare Leaders

Tony Award-winner Brian Bedford’s one-man show, The Lunatic, The Lover and The Poet, will be the performance highlight of the 2012 Shakespeare Theatre Association (STA) Conference hosted by the Orlando Shakespeare Theater in Partnership with UCF. The 7pm, February 29th event will be preceded by a kickoff cocktail party from 6-7pm for STA members and the conference will run through March 3, 2012. Using a bare stage and a stool, Mr. Bed- ford performs a wide range of characters in his acclaimed solo performance, exploring the emotion and psychology behind Shakespeare the man, as well as Shakespeare the playwright. The New York Times called the show “both an actor’s celebration of Shakespeare and an act of Shakespearean scholarship.” For additional information on the conference, check www.stahome.org

Shakespeare’s Birthday to Launch International Globe to Globe Festival

Jessica Ires Morris as The Barker in The Shakespeare Theatre of New Shakespeare’s Globe Theatre in London is producing an unprecedented 37-play Jersey’s 2011 production of . Photo: Gerry Goodstein. “Globe to Globe” festival, a multi-lingual presentation of Shakespeare’s entire canon for the London 2012 Cultural Olympiad. Beginning on Shakespeare’s birthday, April 23, 2012, the Globe will present each of Shakespeare’s plays in Chicago Shakespeare Theater will participate a different language over six weeks. with an original CST commission and world premiere, The Q Brothers’ : The Remix, pre- sented in American hip-hop. The Globe Theatre’s production of will be the only other production presented in the English language.

Additional languages and companies span six continents, including: the National Theatre of China’s Richard III; Belarus Free Theatre’s ; from Bangladesh, Dhaka Theatre’s The Tem- pest; Compañia Nacional de Teatro Mexico’s Henry IV: Part 1; a Zulu presentation of Venus & Adonis from South Africa’s Isango Theatre; the National Theatre of Greece’s Pericles; The South Sudan Theatre Company’s ; and from Kyoto, Japan, Chiten’s . www.shakespearesglobe.com/globe-to-globe

Paul Hilton (left) in the title role of Doctor Faustus at Shakespeare’s Globe, 2011. Photo: Keith Pattison.

Page 3 Shakespeare Coast-to-Coast

“We shall not cease from exploration and the end of all our exploring will be to arrive where we started and know the place for the first time.” T. S. Elliot

One of the tangible thrills of serving as Editor of quarto over the past twenty years has been the opportunity to visit with so many Shakespeare Theatre Association member theatres throughout the world. Most recently, I’ve traveled from Cali- Joshua Snyder, Jeremy Shaeg and Paige Fodor in at Shakespeare Orange County, 2011. fornia to Oregon to Virginia to see over a dozen Photo: Johnny Le. STA member plays and it reminds me why we do what we do.

At the 10th Anniversary celebration of the remarkable Blackfriars Theatre in tiny Staunton, Virginia (population 23,967), I was able to attend sold out performances and meet a proud and cheering community who have embraced the world’s only re-creation of Shakespeare’s indoor theatre and the American Shakespeare Center’s “we do it with the lights on” original staging practices. Where else can one see Marlowe’s Dido, Queen of Carthage, Ford’s ‘Tis Pity She’s a Whore, Beaumont and Fletcher’s Philaster, Middleton’s A Mad World, My Masters, and seven Shakespeare plays all in one season? Oregon’s Elizabethan Stage. Photo: T. Charles Erickson.

Over the past two seasons under the stars in the predominantly Asian and Latino community of Garden Grove, California, (population 165,196) I watched Shakespeare Orange County and Tom Bradac’s rousing King Lear (with Shake- speare & Company’s Dennis Krausnick as Lear) and, director Alyssa Bradac’s riotous Comedy of Errors as teachers and students paid rapt attention to preshow lectures by local scholars.

Heading North to the town of Orinda, California (population 18,445), blan- keted patrons braved chilly winds in California Shakespeare Festival’s intimate amphitheatre where director Joel Sass’ fiery featured the fine art of ripped out tongues, spurting blood, and impaled warriors—gleefully disgusting and delighting crowds at every turn. Stacy Ross (Tamora) and Rob Campbell (Saturninus) in Titus Andronicus at California Shakespeare Festival, 2011. Photo: Jay Yamada.

Winter 2011/Spring 2012 Nesbyth Rieman and Kimberly Miller (two of the “Ariel Qualities”)in in a steampunk adaptation at Marin Shakespeare Company, directed by Jon Tracy. Photo: Eric Chazankin.

Finally, plunging into eight shows in four days as part of the American Theatre Critics Association’s descent on Ashland, Oregon (population 20,357) and the Oregon Shakespeare Festival, the continuing influence of Shakespeare on 21st century sensibilities was a palpable, T.S. Elliot “we shall not cease from exploration” moment. Mark Bedard (Ferdinand, King of Navarre) in Love’s Labor’s Lost at Oregon Shakespeare Festival, 2011. Photo: Jenny Graham. Having worked with so many small struggling Shakespeare companies over the years and barely surviving the intense growth of the Alabama Shakespeare Fes- Bowmer beam fiasco. Quite a triumph for the tival in the wild 1980s growth years, it was somehow comforting to know that OSF company and the citizens of Ashland who even a theatre with a $26+ million budget has to, and is able to, cope with rallied to raise the tent, redesign and re-tech the the woes of a disrupted repertory, power outages and emergency re-stagings production, secure the space next to a duck pond (due to a disastrous cracked beam that shut down the Angus Bowmer theatre/ in the city’s Lithia Park and spark a standing see www.osfashland.org for the full story). OSF leaders Bill Rauch and Paul ovation for the company’s hard-hitting, small Nicholson teamed with a motivated and spirited company and City leaders and town Oklahoma tale of sensationally dysfunc- the repertory continued on in temporary spaces (an armory, a miraculously tional families. constructed, air-conditioned tent in a city park, etc.) Fortunately, the Shakespeare plays were just as Remarkably, in the midst of the crisis (the worst in OSF’s 76-year history, ac- engaging. director Amanda Dehnert cording to OSF execs), poignant theatre continued (onstage and back stage). grabbed the audience right from the start as All in all, it was six weeks of sometimes ingenious, often giddy improvising actress Vilma Silva (as Julius Caesar) and her for a company scrambling to produce over 780 performances for approximately supporting entourage cajole the audience into 400,000 visitors. “This has been a most amazing time for our company, our turning off their cell phones (or else) and work audiences and this community,” said OSF Artistic Director Bill Rauch. “The the crowd into a mini-frenzy with pre-show commitment, patience, passion and generosity of thousands of people have instructions before blending seamlessly into the redefined the ideas of ‘company’ and ‘resiliency’ for us.” opening moments of the show. Ms. Silva deftly assumes Caesar’s mantle with a laser-like sense Sitting in the 598-seat audience for the packed premiere “Bowmer in the of purpose and a no nonsense approach to the Park” tent performance of August: Osage County, this reviewer had to marvel text. at the virtuosity of a company who had performed Tracy Letts’ Pulitzer-Prize winning drama no fewer than four times in four different venues due to the

Page 5 the play on stage, Ghost Light, the classic tragedy that serves as partial inspiration, , and the bloody Bard-play staged the day before—Julius Caesar. This is an Oregon Shakespeare experience that New York’s Broadway or London’s West End can only hope to create for 21st century audiences.

In the Ghost Light director’s note, Jonathan Moscone writes, “It was never planned that this play would swim in Shakespearean waters. But like Hamlet, I had a mythic father who, for me, has lived longer as a memory—a ghost, even—than as a corporeal being…He was, as Hamlet says, ‘a man, and I don’t think I will ever look upon his like again.’” The world premiere of this haunt- ing remembrance of the 1978 assassination of the Mayor of , , is a searing psychological exploration that’s part ghost story, part exorcism and part therapy session. As a writer, does what he has always done exceptionally well as a director—tells a terrific story, unifies wide-ranging material, and brings the audience into the life of the play. Ghost Light embraces the angst, creates a harmony of hard-hitting imagery, a touch of humor, and recognizable insights into the human condition.

These shows and these theatres from Virginia to California to Oregon remind us why we produce, why we educate, and why we revere, rewrite or rein- vent Shakespeare. Whether it’s Darko Tresnjak’s folk/rock, tragicomedy Titus Andronicus at the Old Globe in San Diego or Kim Collier’s Titus Andronicus Derrick Lee Weeden and Christopher Liam Moore in Oregon Shakespeare Festival’s 2011 Ghost Light. Photo: Jenny Graham. blood bath at Bard on the Beach in , Canada, there is a ferociously renewed commitment to Shakespeare in the Americas and, as we will no doubt soon discover, throughout the world. In the hands of an uninspired director, Shake- speare’s sometimes melancholy, too often enig- No more Shakespeare Theatre Association of America (STAA) for us. We are now matic Love’s Labor’s Lost is generally a snoozer. just the plain, old, worldly Shakespeare Theatre Association (STA)! On the scholarly side, the LLL reader needs to Jim Volz, be a Googling researcher to decipher the stream Editor, quarto of topical references, nonsensical wordplay and cluttered imagery. Fortunately, in Oregon’s moon- lit outdoor Elizabethan Theatre, a clever director (Shana Cooper) and an ensemble of bright actors generally manage to create a Love’s Labor’s Lost that captures the Bard’s brilliant comic sense without muting the yearning, bittersweet quality of the text.

Ghost Light, the second production in Oregon Shakespeare Festival’s American Revolutions cycle runs in rep with Julius Caesar in the cozy New Theatre and does what repertory in a flexible space does best—creates an entirely new illusion with frightening thematic overtones, mirroring textual imagery and myriad connections between Denice Mahler and Sarah Fallon in Henry VI, Part 2 at the Blackfriars Playhouse, American Shakespeare Center. Photo: Tommy Thompson.

Winter 2011/Spring 2012 Seasons of Shakespeare

American Players Theatre in Spring Green, Wisconsin will present its 33rd season, June 9 to October 21, 2012 in the 1148-seat amphitheatre, Up the Hill, and in the indoor Touchstone Theatre. The season includes , J.M. Barrie’s The Admirable Crichton, Richard III, Edna Ferber and George S. Kaufman’s The Royal Family, , David Hare’s Skylight, Tom Stoppard’s Heroes, Vern Thiessen’s Shakespeare’s Will and James DeVita’s In Acting Shakespeare. americanplayers.org

The American Shakespeare Center continues its celebration of 10 years in the Blackfriars Playhouse, the world’s only re-creation of Shakespeare’s indoor theatre. The new year begins with the “Actor Renaissance Season:” , Richard III, Francis Beaumont and John Fletcher’s Philaster or Love Lies A-Bleeding, Middleton’s A Mad World, My Masters, and Marlowe’s Dido, Queen of Carthage all running in repertory until April 8, 2012. Much like Shakespeare’s original staging practices, the ASC “Ren Season” plays are mounted in a matter of days by actors responsible for their own direction and design. Following the “Renaissance Season,” the ASC Spring Season runs April

11-June 17 and features A Midsummer Night’s Dream, The Winter’s Tale and Gwenmarie White, Lauren Robyn and Christine Breihan in the 2011 production of A Noise Within’s The Comedy of Errors, directed by John Ford’s ‘Tis Pity She’s a Whore. americanshakespearecenter.com Michael Michetti. Photo: Craig Schwartz.

A Noise Within’s 2012 season in Pasadena, California includes , Michael Frayn’s Noises Off!, Tony Kushner’s adaptation of Pierre Corneille’s The Illusion and Molière’s The Bungler. anoisewithin.org.

The Atlanta Shakespeare Company at the New American Shakespeare Tavern is launching the Shakespeare Evolution Series, a new multi-year program, beginning in 2012. The series will trace the development of Shakespeare’s writing style in different dramatic genres by producing his plays in the order they were written, based on the order listed in the most recent Oxford Complete Works. This season’s first installment will produce Shakespeare’s comedies in order of composition, while later seasons will trace the tragedies and romance plays. The 2012 season includes The Two Gentlemen of Verona, The Tam- ing of the Shrew, The Comedy of Errors and Love’s

Richard Briggs, Justine Hartley and Randy Messersmith in Titus Andronicus directed by David Barker for Southwest Labour’s Lost. shakespearetavern.com Shakespeare Company (2011). Masks designed by Artistic Director Jared Sakren. Photo by Eric Sallee.

Page 7 Bard on the Beach’s 2012 season will run from May 31 to September 22 in Vanier Park, Van- couver, Canada. The opening production on the Mainstage is , directed by Meg Roe, playing in repertory with , directed by Miles Potter. In the Studio Stage tent is The Merry Wives of Windsor, directed by Johnna Wright, alternating with , directed by Bard Associate Artistic Director Dean Paul Gibson. Artistic Director Christopher Gaze says: “We’re very excited about engaging this quartet of distinguished directors – men and women who have contributed so much to Bard’s success in past years while also achiev- ing brilliant success with other Canadian theatre companies.” bardonthebeach.org

Australia’s Bell Shakespeare’s 2012 national touring season includes a Peter Evans directed Macbeth, a John Bell directed adaptation of John Webster’s The Duchess of Malfi and a Lee Lewis directed new translation of Orion Pilger and Tom Coiner in the Colorado Shakespeare Festival’s 2011 production of The Little Prince based on the novel by Antoine de Saint-Exupéry, directed Philip C. Sneed. Photo: Courtesy of the University of Colorado Boulder.

Molière’s The School for Wives. John Bell and Bell Shakespeare actors will also join the Melbourne Symphony Orchestra with to the music of Tchaikovsky, Delius and Prokofiev, while a Mind’s Eye project, Ophelia Doesn’t Live Here Anymore (in collaboration with Chamber Made Opera) is directed by Daniel Schlusser. Finally, the Company’s ensemble of traveling actors, The Players will present the many different Learning Programmes throughout the year, all over Australia. bellshakespeare.com.au

Chicago Shakespeare Theatre’s 25th Anniversary season will feature Timothy Findley’s Elizabeth Rex, directed by CST’s Artistic Director, Barbara Gaines. Elizabeth Rex is based on an obscure historical fact: on the eve of the behead- ing of her court favorite and rumored lover, the Earl of Essex, Queen Elizabeth was entertained with a royal command performance by and his company. Elizabeth Rex runs through January 22, 2012, in CST’s Court- yard Theatre. chicagoshakes.com

The Colorado Shakespeare Festival’s 2012 lineup includes Twelfth Night, Rich- ard III, Michael Frayn’s Noises Off!, Tina Packer’s Women of Will (A five-part cycle of plays), and Robert Louis Stevenson’s Treasure Island. coloradoshakes.org

2011 Heart of America’s Kim Martin-Cotten as Lady Macbeth and John Rensenhouse as Macbeth. Photo: Brian Collins.

Winter 2011/Spring 2012 Kristin Shirilla (Mustardseed) in A Midsummer Night’s Dream at Orlando Shakespeare Theater, 2011. Photo: Tony Firriolo.

Kansas City’s Heart of America Shakespeare Festival produced Macbeth in Shakespeare Behind Bars is in its second year summer 2011 starring John Rensenhouse and Kim Martin-Cotten. Counter as a not-for-profit and seventeenth season to the fabled curse, it was the only season to date without a single rain at the Luther Luckett Correctional Complex in out. The Festival will celebrate its 20th Anniversary season with a return to a La Grange, Kentucky. Artistic Director Matt two-show rotating repertory season in Southmoreland Park. The Festival will Wallace is currently directing Romeo and Juliet produce Antony and Cleopatra and A Midsummer Night’s Dream, June 19-July with the inmate ensemble to be presented in 15, 2012. kcshakes.org June, 2012. Shakespeare Behind Bars has also expanded to include a new Michigan program Nashville Shakespeare Festival’s 2012 season includes Julius Caesar and a (facilitated by Producing Director Curt L. World War II era musical adaptation of Much Ado About Nothing. On tour will Tofteland) and a multi-discipline juvenile arts be an original play, Shakespeare’s Case, a new work by NSF’s Denice Hicks, Nan program in Louisville. shakespearebehindbars.org Gurley, and Claire Syler in which William Shakespeare, accused of being ir- relevant, must bring all his wit, wisdom and theatrical magic to bear to defend Canada’s Shakespeare on the Saskatchewan his place in the 21st Century school curriculum. nashvilleshakes.org tackles and Hamlet with both productions scheduled to play in repertory from Romeo and Juliet, directed by Thomas Ouellette, and Cymbeline, directed by July 11 to August 26, 2012. Jim Helsinger, comprise Orlando Shakes’ 2012 Spring Repertory Series. The shakespeareonthesaskatchewan.com season also includes Oscar Wilde’s The Importance of Being Earnest, Yasmina Reza’s God of Carnage, and The Harriett Lake Festival of New Plays. orlandoshakes.org

Page 9 The Shakespeare Theatre of New Jersey is pro- Shakespeare WA (Western Australia) in Perth will produce a 2012 Shakespeare ducing Timon of Athens for the first time in 21 in the Park that includes The Tempest, The Comedy of Errors, and The Complete years with a 90-minute version in the intimate Works of Wm. Shakespeare (abridged). Artistic Director Paige Newmark has F.M. Kirby Shakespeare Theatre, July 6-24, 2012. planned a season that runs January 6 to February 4 playing under the stars in The adaptation, by Brian B. Crowe, mixes a blend Kings Park and Botanic Garden. shakespearewa.com of Grand Guignol, Vaudeville, and Brechtian Shakespeare Walla Walla opened its fourth summer season at the Fort Walla theatricality to tell the story of Timon, the play’s Walla Amphitheater and added a second venue for patrons in the newly title character, and his psychological transi- opened Blackfriars-inspired Power House Theatre. This new state-of-the-art tion from childlike innocence to bitter despair. theatre is a renovated 120-year-old gas plant/powerhouse in downtown shakespearenj.org Walla Walla, Washington. Patrick Page’s Swansong, the story of the friendship between Ben Jonson and William Shakespeare, opened the 340-seat Power House Theatre. Artistic Director Stephanie Shine recently announced that, in 2012, Tennessee Shakespeare Company’s production of The Tempest starring Johnny Lee Davenport, will run April 26-May 6, to be followed by a summer season of rotating repertory from August 7-26. Shakespeare Walla Walla’s educational programs continue under the direction of Michelle Traverso, working with middle school students in a Shakespeare residency. shakespearewallawalla.org

Following a decade of tremendous growth, Canada’s St. Lawrence Shakespeare Festival celebrates its 10th anniversary in 2012 with A Midsummer Night’s Dream and Othello in repertory over a 6-week period, supplemented by a three-tiered education program. Othello will be set in 1812 to tie in with another important local anniversary -- the bicentennial of the United Empire Loyalist War of 1812. Ian Farthing is Artistic Director. stlawrenceshakespeare.ca

Rose Riley (Juliet) in Romeo and Juliet at the Shakespeare WA (Western Australia) Shakespeare in the Park, 2011, directed by Paige Newmark, Artistic Director. Photo: Pete Stone.

Neal A. Ghant as Caliban in Georgia Shakespeare Festival’s The Tempest, Greg Wood (Claudius) and Michael Brusasco (Laertes) in Hamlet at the Pennsylvania Shakespeare Festival, directed by Sharon Ott. Photo Bill DeLoach. 2011, directed by Patrick Mulcahy. Photo: Lee A. Butz.

Winter 2011/Spring 2012 Shakespearean Snippets

Grand Valley Shakespeare Festival’s touring arm, Bard to Go, recently traveled beyond its Western Michigan roots to the Shakespeare in Paradise Festival in Nassau, Bahamas in October, 2011. Bard to Go traveled to the Liverpool Inter- national Theatre Festival in Halifax, Nova Scotia, in 2010, Italy in 2009, China in 2008, and Jamaica in 2005. Bard to Go won the “Best in Festival” at the Sapperlot Youth Theatre Festival in Brixen, Italy, in 2009. gvsu.edu/shakes

Shakespeare in the Vines in Temecula Valley Wine Country in Southern Cali- fornia is now in its seventh year and is doubling the number of educational Shakespearean mentors with students and teachers in Inland Valley schools. shakespeareinthevines.org

Seattle Shakespeare Company’s 20th anniversary season resulted in its 10th Aled Davies (as Sir Toby Belch), Lynn Allison (as Maria) and year of balanced budgets. Over the past eight years, Seattle Shakespeare Com- Jeffrey C. Hawkins (as Feste) in the Lake Tahoe Shakespeare Festival’s Twelfth Night at Sand Harbor State Park, directed by Charles Fee. pany’s budget has more than tripled, and the company continues to operate Photo: Joy Strotz Photography. debt free—serving more than 53,000 people last season. The company recent- ly received a grant from the Washington Women’s Foundation to support the of Shakespeare. Invited presenters include The development of Regional Shakespeare Alliances. The $85,000, which will be Shakespeare Center of Los Angeles, San Francisco distributed over three years, will help fund grassroots community organizing Shakespeare Festival, Oregon Shakespeare Fes- to build upon the company’s successful 90-minute Shakespeare productions tival, Bard on the Beach (Vancouver), American that tour to schools and communities across the state. Seattle Shakespeare Shakespeare Center (Virginia), Shakespeare and Company is the Puget Sound region’s only year-round professional, classical Company (Lenox, Mass), Shakespeare’s Globe theatre dedicated to producing the work of Shakespeare. Education (London) and the Folger Shakespeare seattleshakespeare.org Theatre. This conference of hands-on workshops aspires to transform teaching across the curricu- “Shakespeare Works When Shakespeare Plays” is the title of a 3-day workshop lum. The weekend is presented by the UC Davis conference for teachers set for the Mondavi Center for the Performing Arts at School of Education and the Mondavi Center for the University of California, Davis, from January 13-15, 2012. Teaching artists the Performing Arts at UC Davis in association from some of the most respected Shakespeare Theatres in the world plan to with Globe Education at Shakespeare’s Globe, share active and playful approaches that they hope will enliven the teaching London and the Shakespeare Theatre Association. For registration costs and additional information, checkout: education.ucdavis.edu/shakespeare- conference

The Theater At Monmouth’s Board of Trustees recently announced the appointment of Dawn McAndrews as the new Producing Artistic Direc- tor, succeeding David Greenham in Monmouth, Maine. theatreatmonmouth.org

Utah Shakespeare Festival’s 50th anniversary book, Celebrate 50 Years, features hundreds of photos, as well as the history and memorable vignettes from five decades of performance. The

The New York Classical Theatre’s Henry V was such a grand extravaganza this past summer, artist Marcellus Hall was book is available online. bard.org commissioned to document it in a New Yorker cartoon. According to artistic director Stephen Burdman, performances took place in Battery Park and via ferry boat, on Governors Island. With Permission from New York Classical Theatre.

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Tracey Ullman (Mistress Page), William Shatner (Sir John Falstaff) and Rita Wilson (Mistress Ford) in The Merry Wives of Windsor at Shakespeare Center of Los Angeles’s “Simply Shakespeare” reading, 2011. Photo: Ryan Miller. Statement of Purpose

The Shakespeare Theatre Association (STA) was established to provide a forum for the artistic, managerial, educational leadership for theatres primarily involved with the production of the works of William Shakespeare; to discuss issues and methods of work, resources, and information; and to act as an advocate for Shakespearean productions and training.

Editor: Jim Volz, President, Consultants for the Arts and Professor, California State University, Fullerton Associate Editors: Michael French, Southern Utah University and Cindy Melby Phaneuf, University of Nebraska, Omaha Designer: Kurtis Hansen, Southern Utah University. Original quarto design: Danelle Cheney. Editorial Staff: Nikki Allen, Natalie Bernhardt, Evelyn Carol Case, Jonathan Castanien, Jordan Kubat, Donna Law, Edwin Martinez, Adrianna Maynes, Jenifer Olivares, Renee Watkins, Charlotte Williams, Richard Vieyra, Caitlin Volz

Deadlines for quarto are October 1 and March 1. Send Shakespeare News and Photographs to Dr. Jim Volz, [email protected], Telephone (657) 278-3538. Cover Photo Specifications: Please submit only photos that are at least 300 pixels/inch and no less thanThis 2550 is the first pixels line on the shortest side. This is the first line this is the second this is the second Questions aboutand photo this is the size? third Please contact Michael French at [email protected] or (435) 865-8667. and this is the third quarto is published for the international Shakespeare community and for Shakespeare Theatre Association Member Organizations. For membership information, contact the STA Secretary (listed on Page 2).

This STA publication is produced in partnership with: California State University, Fullerton and Southern Utah University.

COVER: Othello at the Teatro Licinium in Erba, Italy, 2011. Photo: Debora Barnaba. www.stahome.org