2014|2015 SEASON Issue 5 TABLE OF Dear Friend, Queridos amigos: CONTENTS Welcome to Sidney Harman Bienvenidos al Sidney Harman Hall y a la producción Hall and to this evening’s de esta noche de El hombre de La Mancha. Personalmente, production of . 2 Title page The opening line of Don esta obra ocupa un espacio cálido pero enreversado en I have a personally warm and mi corazón al haber sido testigo de su nacimiento. Era 3 Musical Numbers complicated spot in my heart Quixote is as resonant in el año 1965 en la Casa de Opera Goodspeed en East for this show, since I was a Latino cultures as Dickens, Haddam, Connecticut. Estaban montando la premier 5 Cast witness to its birth. It was in 1965, at the Goodspeed Twain, or Austen might mundial, dirigida por . Se suponía que Opera House in East Haddam, CT. They were Albert iba a dirigir otra premier para ellos, la cual iba 7 About the Author mounting the world premiere, directed by Albert be in English literature. a presentarse en repertorio con La Mancha, pero Albert Marre. Now, Albert was supposed to direct another 10 Director’s Words world premiere for them, which was going to run In recognition of consiguió un trabajo importante en Hollywood y les recomendó a otro director: a mí. 12 The Impossible Musical in repertory with La Mancha, but he got a big job in Cervantes’ legacy, we at Hollywood, and he recommended another director. by Drew Lichtenberg That was me. STC want to extend our Así que fui a Goodspeed y dirigí la otra obra. Todas las content to the Spanish estrellas en La Mancha tomaron los papeles pequeños 16 Cast of Characters en mi obra y la gente que tenía aquellos papeles fueron So I went up to Goodspeed and directed the other speaking community. 20 Men of La Mancha by show. All the stars in La Mancha took the small parts las estrellas en mi producción. Recuerdo haber visto el Edward Friedman in my show and the people who played the small Look for more article primer mes y medio de ensayos de La Mancha. ¡Nunca se parts in La Mancha got to be the stars in my show. translations and special imaginaron en aquel entonces que la obra se presentaría 26 Cast Biographies I remember watching the first month and a half of en Broadway y duraría siete años en el escenario! Es una La Mancha rehearsals. Little did anyone know at the contributions from Jessica obra maravillosa, un musical verdaderamente clásico 29 Play in Process time that it would transfer to Broadway and run for Peña Torres, STC Sales (y clásicamente inspirado). Es apropiado para nosotros the next seven years! It is a wonderful show, a truly Associate and ASIDES honrar la memoria de Cervantes y el poder de sus obras 34 Direction + Design classic (and classically inspired) musical. It feels Editorial Intern, online at al acercarnos al cuarto centenario de su muerte (y la de Biographies fitting for us to honor the memory of Cervantes and Shakespeare). the power of his work as we approach the fourth 40 Mapping the Play: The asides.shakespearetheatre.org. centennial of his (and Shakespeare’s) death. En nuestra temporada pasada, me dio un gran gusto True Adventures of pedirle a Alan Paul, Director Asociado de STC, que Last season it gave me huge pleasure to ask Alan dirigiera Algo gracioso ocurrió camino al Foro Paul, STC’s Associate Artistic Director, to direct A . Fue una de by Laura Henry Buda Funny Thing Happened on the Way to the Forum. It las mejores producciones de Foro que se haya producido; fue innovadora, astuta y con excepcionales actuaciones. 42 For STC was as good a production of Forum as you could see—inventive, smart, with great performances. Alan Alan ganó el premio por su dirección y 46 Faces and Voices: won the Helen Hayes Award for it, and there was no fué entonces que no hubo duda de que iba a dirigir otro musical para nosotros. Ésta es una obra que Alan dirigió To Dream and Keep question that he would direct another musical for us. This is a show that Alan has directed previously, and en otra ocasión, y una que él realmente ama. Estamos Dreaming by Hannah one that he loves. We are all excited to see what he todos muy emocionados por ver lo que Alan tiene Hessel Ratner has in store for us. preparado para nosotros.

48 Support Speaking of Helen Hayes Award winners, don’t miss Y hablando de ganadores de los premios Helen Hayes, 56 Preview: Tartuffe Steven Epp, who concludes our 2014-2015 Season this no se pierdan a Steven Epp, que concluye nuestra spring by starring as the title character in Molière’s temporada 2014-2015 esta primavera al estelarizar el 58 About STC Tartuffe. As always, we look forward to sharing these personaje principal en Tartufo de Molière. Como siempre, stories with you. esperamos compartir estas historias con ustedes. 58 About ACA Warm Regards, 60 STC Staff Con un saludo cordial, 61 Audience Services

Michael Kahn Michael Kahn Artistic Director Director Artístico Shakespeare Theatre Shakespeare Theatre Company

1 MUSIC NUMBERS/ORCHESTRA Man of La Mancha (I, ) ...... Don Quixote, Sancho It’s All the Same...... Aldonza, Muleteers Recipient of the 2012 Regional Theatre Tony Award® Dulcinea ...... Don Quixote, Muleteers I’m Only Thinking of Him...... Antonia, Housekeeper, Padre Artistic Director Michael Kahn Managing Director Chris Jennings We’re Only Thinking of Him...... Carrasco, Antonia, Padre, Housekeeper The Missive...... Sancho I Really Like Him...... Sancho MAN OF LA MANCHA What Does He Want of Me?...... Aldonza Little Bird, Little Bird...... Anselmo, Pedro, Muleteers Written by Barber’s Song...... Barber Music by Lyrics by Golden Helmet of Mambrino...... Don Quixote, Sancho, Barber, Padre, Muleteers Original Production Staged by Albert Marre To Each His Dulcinea (To Every Man His Dream)...... Padre Originally Produced by Albert W. Selden and Hal James The Impossible Dream (The Quest)...... Don Quixote Performances begin March 17, 2015 The Combat...... Don Quixote, Aldonza, Sancho, Muleteers Opening Night March 23, 2015 The Dubbing/Knight of the Woeful Countenance...... Innkeeper, Don Quixote, Aldonza, Sancho Sidney Harman Hall The Abduction...... Aldonza, Muleteers, Fermina The Impossible Dream (The Quest) Reprise...... Don Quixote Director Casting Director Man of La Mancha (I, Don Quixote) Reprise...... Don Quixote Alan Paul Laura Stanczyk, CSA Aldonza...... Aldonza Choreographer Resident Casting Director A Little Gossip...... Sancho Marcos Santana Carter C. Wooddell Dulcinea Reprise...... Aldonza The Impossible Dream (The Quest) Reprise...... Aldonza, Don Quixote Music Director Head of Voice and Text Man of La Mancha (I, Don Quixote) Reprise...... Don Quixote, Aldonza, Sancho George Fulginiti-Shakar Ellen O’Brien The Psalm...... Padre Finale...... Company Scenic Designer Literary Manager/Dramaturg Allen Moyer Drew Lichtenberg Place: A prison in Seville, Spain, and in the imagination of Don Miguel de Cervantes Costume Designer Assistant Director Time: 1594 Ann Hould-Ward Katherine Burris MAN OF LA MANCHA WILL RUN 1 HOUR AND 45 MINUTES Lighting Designer Production Stage Manager WITH NO INTERMISSION Robert Wierzel Joseph Smelser* ORCHESTRA/MUSICIANS Sound Designer Assistant Stage Manager Conductor...... George Fulginiti-Shakar Ken Travis Robyn M. Zalewski* Flute/Piccolo...... Nicolette Opelt Oboe/Clarinet...... Lee Lachman Fight Choreographer Clarinet/Bassoon...... Keith Daudelin David Leong *Members of Actors’ Equity Association, the Union Trumpet 1...... Chris Royal of Professional Actors and Stage Managers. Trumpet 2...... Kieron Irvine Trombone...... Paul Schultz Man of La Mancha is sponsored by Michael R. Klein and Joan I. Fabry French Horn...... Michael Hall and the Artistic Leadership Fund. Production support provided by John and Meg Hauge. Percussion...... Mark Carson Keyboard...... Jose Simbulan Restaurant Partner: Jaleo Guitar...... Gerry Kunkel Man of La Mancha is presented by arrangement with Tams-Witmark Music Bass...... Daniel Hall Library, Inc., 560 Lexington Avenue, New York, New York 10022 Contractor...... Bruno Nasta

2 3 CAST MAN OF LA MANCHA

Cervantes/Don Quixote...... * Aldonza...... Amber Iman* Sancho...... Nehal Joshi* The Governer/Innkeeper...... Dan Sharkey* The Innkeeper’s Wife/Housekeeper...... Rayanne Gonzales* The Duke/Dr. Carrasco...... Robert Mammana* The Padre...... Martín Solá* Pedro...... Ceasar F. Barajas* Anselmo/Barber...... Nathan Lucrezio* Paco...... Sidney DuPont* Tenorio...... JP Moraga* Juan...... Joey Elrose Jose...... James Hayden Rodriguez* Fermina/Antonia...... Maria Failla* The Captain of the Inquisition...... James Konicek* Guards...... Jay Adriel*, Ethan Watermeier*

UNDERSTUDIES Jay Adriel* (Anselmo/Barber/Jose/Tenorio/Paco), Joey Elrose (Pedro), Maria Failla* (Aldonza), Maura Hogan (Antonia/Fermina), Stephen Edwards Horst (Guards), Judith Ingber (Innkeeper’s Wife/Housekeeper), James Konicek* (Governer/Innkeeper), Nathan Lucrezio* (Sancho), Bryce Edward Peterson (Juan/Jose), Dan Sharkey* (Cervantes/ Don Quixote), Ethan Watermeier* (Duke/Dr. Carrasco/The Padre/The Captain of the Inquisition)

Production Assistant: Christopher Kee Anaya-Gorman Orchestration: William Yanesh Assistant Music Director/Rehearsal Pianist: Jose Simbulan Substitute & Rehearsal Keyboard: Brandon Fullenkamp Flamenco Specialist: Arielle Rosales Dance Captain: JP Moraga* Assistant Fight Choreographer: Robb Hunter Fight Captain: Ceasar F. Barajas*

The Shakespeare Theatre Company operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the , and employs members of the Stage Directors and Choreographers Society and United Scenic Artists. The Company is also a constituent of Theatre Communications Group (TCG), the national organization for not-for-profit professional theatre, and is a member of the Performing Arts Alliance, the D.C. Chamber of Commerce, Association of Performing Arts Presenters (APAP), American Alliance for Theatre and Education and DC Arts and Humanities Education Collaborative.

Copyright laws prohibit the use of cameras and recording equipment in the theatre.

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers.

5 STC BOARD OF TRUSTEES ABOUT THE AUTHOR MIGUEL DE CERVANTES

Michael R. Klein, Chair Bernard F. McKay Robert E. Falb, Vice Chair Eleanor Merrill Miguel de Cervantes was an almost exact contemporary of William Shakespeare. John Hill, Treasurer Melissa A. Moss They died, according to legend, on the same day, in the spring of 1616. Together, Pauline Schneider, Secretary Stephen M. Ryan they bestride our Western canon like a twin colossus, one having created the Michael Kahn, Artistic Director George P. Stamas Lady Westmacott greatest body of dramatic literature, the other its first and greatest novel. Trustees Rob Wilder Nicholas W. Allard Suzanne S. Youngkin Unlike Shakespeare, who lived a life of careful circumspection, Cervantes’ life was Ashley M. Allen Stephen E. Allis Ex-Officio marked by constant, almost unceasing incident. He was, at various times, an actor, Anita M. Antenucci Chris Jennings, Managing Director soldier, playwright, tax collector, and prisoner. After five decades of episodic (and Jeffrey D. Bauman quixotic) activity, he died, much as he had lived, amid penury and suffering. How Afsaneh Beschloss Emeritus Trustees William C. Bodie R. Robert Linowes*, Founding Chairman ironic, then, that his work has outlived that of almost any other author, and that it Landon Butler James B. Adler speaks to the immortal desire of the human spirit to be free. Dr. Paul Carter Heidi L. Berry* Peter Cherukuri David A. Brody* Gloria Dittus Melvin S. Cohen* Cervantes was born in 1547, about 20 miles from , to a poor family from Dr. Mark Epstein Ralph P. Davidson* the minor nobility. Like Shakespeare, he does not appear to have attended Stefanie Erkiletian James F. Fitzpatrick university. He left Spain at the age of 21 for Italy, where, eager to make his name Andrew C. Florance Dr. Sidney Harman* Dr. Natwar Gandhi Lady Manning and fortune, he enlisted as an infantryman in a Spanish regiment stationed in Miles Gilburne Kathleen Matthews Naples. In 1571, he helped defeat the Turks in the Battle of Lepanto. Cervantes Barbara Harman William F. McSweeny fought courageously, sustaining two gunshot wounds in the chest, and a third that John R. Hauge V. Sue Molina paralyzed his left arm for the rest of his life. He would later claim he had “lost the Stephen A. Hopkins Walter Pincus Lawrence A. Hough Eden Rafshoon left for the glory of the right.” W. Mike House Emily Malino Scheuer* Jerry J. Jasinowski Lady Sheinwald In 1575, Cervantes set sail for Spain. Pirates, however, captured his ship, and Norman D. Jemal Mrs. Louis Sullivan Scott Kaufmann Daniel W. Toohey sold Cervantes into slavery in Algiers. It took five years for his family to pay his Kevin Kolevar Sarah Valente ransom. He tried to escape four times, to no avail. Returning to Spain a wounded Abbe D. Lowell Lady Wright veteran with no money and reputation, Cervantes was forced to take odd jobs in Gail MacKinnon *Deceased the civil service. He eventually married a middle-class woman 19 years his junior, by the name of Catalina. As with Shakespeare and Anne Hathaway, we know nothing about their relationship. The year after his nuptials, in 1585, he published La Galatea, a pastoral romance and his first work of fiction. Though he made repeated attempts to gain success as a playwright, writing 40 plays over the next STC’s Artistic Leadership Fund 20 years, nearly all of them failed. The Shakespeare Theatre Company is pleased to acknowledge its Artistic Leadership Fund Members whose generosity provides sponsorship support for this production of Man of La Mancha. From 1587 to 1605, Cervantes purchased provisions for the Armada, collected For more information on the Artistic Leadership Fund, please taxes for the Crown, and won his first poetry prize: three silver spoons. He was Betsy Purves, Major Gifts Officer, on 202.547.3230 ext. 2325. also excommunicated from the Church and imprisoned twice. It was there, in 1597, where he conceived the idea for “a story … that might be engendered in a prison Anonymous (2) Catherine Held Anne and Ronald Abramson HRH Foundation where every annoyance has its home and every mournful sound its habitation.” Nick and Marla Allard Mr. and Mrs. Stephen A. Hopkins Stephen E. Allis Helen Kenney Part I of Don Quixote was published in 1605. It made Cervantes known throughout Anita M. Antenucci Michael R. Klein and Joan I. Fabry The Beech Street Foundation Mr. Jerry Knoll Europe but no richer, as he had sold the rights to his publisher. Cervantes was Afsaneh Beschloss The Robert P. and Arlene R. Kogod Family Foundation prolific in the last decade of his life, writing novellas (Exemplary Stories, 1613), Mr. and Mrs. Landon Butler Abbe David Lowell and Molly A. Meegan The Morris and Gwendolyn Cafritz Foundation Jacqueline B. Mars epic poetry (Voyage to Parnassus, 1614), and dramas (Eight Plays and Entreméses, Dr. Paul and Mrs. Rose Carter Ann K. Morales 1615). Part II of Don Quixote, considered by most critics to be richer than the first, Dr. Mark Epstein and Amoretta Hoeber Alan and Marsha Paller was published in 1615. It found the elder Cervantes reflecting on authorship and The Erkiletian Family Foundation Steve and Diane Rudis Mr. and Mrs. Robert Falb Stephen and Lisa Ryan identity as his old knight continued his undefinable quest. James A. Feldman and Natalie Wexler Vicki and Roger Sant Mr. and Mrs. Andrew Florance Robert H. Smith Family Foundation Nina Zolt and Miles Gilburne Fredda Sparks and Kent Montavon Cervantes would complete one more work, the romance Persiles and Sigismunda, The Harman Family Foundation Sam Turner published posthumously in 1617. In the dedication, written three days before his The Honorable Jane Harman Tom and Cathie Woteki death, Cervantes bid farewell to the world “with a foot already in the stirrup,” his John and Meg Hauge Suzanne and Glenn Youngkin travails (and travels) finally ended.

7 “Exhilarating … thrillingly exposing Man Ray’s artistic process.” FORBES

MAN RAY– HUMAN EQUATIONS A Journey from Mathematics to Shakespeare

THROUGH MAY 10, 2015

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Man Ray-Human Equations is organized by The Phillips Collection and the Israel Museum, Jerusalem. JALEO.COM The exhibition and its international tour are supported by the Terra Foundation for American Art. Generous support provided by Dr. and Mrs. Ronald A. Paul and the Harris Family Foundation Proudly sponsored by Lockheed Martin

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TFG-166 Shakespeare Theater Ad.indd 1 2/13/14 12:02 PM man ray shakespeare theater program.indd 1 2/19/2015 4:40:32 PM DIRECTOR’S WORDS

Take a look at the stage. What This production will celebrate that an intermission, it tackles serious Unquestionably, La Mancha sides you see in front of you is a power: our ability as an audience subject matter, and it dares to with Quixote in its deep assertion giant, subterranean prison cell. (of prisoners and theatregoers) to tell a big story without a lot that hope and optimism are Although it may look modern, believe in an imagined, theatrical of scenery and costumes. The transformational. However, we we are in Seville in 1594, during reality. All of the props and musical also became part of the need to see both sides of this the . We are in costumes in the Don Quixote national consciousness because argument to give proper weight the common room of the prison, scenes come from objects that of its most famous song, “The to the psychological complexity where the prisoners wait, “some already exist in the prison and Impossible Dream.” of the writing. an hour…some a lifetime.” The from Cervantes’ trunk. Theatrical prisoners you see are a mix of transformation—of people, of At its core, Man of La Mancha is In directing this musical, my thieves, murderers, and prisoners objects, of the very space itself—is about our own internal battle dream was to unearth the of the Inquisition. It’s a harsh integral to the story. between cynicism and optimism, depth of what Cervantes and place, a dangerous place. something we face every day. In Wasserman were writing about. Although Man of La Mancha order to have a true emotional Aided by a brilliant company of The musical begins as Miguel de touches on the major episodes of payoff, the musical has to have actors and designers with the Cervantes is thrown into this cell. the Don Quixote story, it is not an a healthy dose of skepticism same mission, we have worked Although he is mostly known adaptation of the famous novel. to balance what can feel like hard to find the balance of the today as a novelist and poet, in Cervantes is the real “Man of La Cervantes’ easy idealism. We story and to tell it in the most his time Cervantes was a failed Mancha,” not Don Quixote, and must see the greatness and the emotional and visceral way we actor and playwright. The musical the musical is a few pivotal hours foolishness of Quixote’s belief know. I hope you enjoy your imagines that he was traveling in his life. Although Cervantes in “The Impossible Dream.” journey into La Mancha. with his manuscript, as well as his and Don Quixote are separate We must respect the scientific trunk of theatrical goods when beings, as the musical progresses approach of Dr. Carrasco, but we —Alan Paul he was imprisoned. The prisoners their characteristics become must also see that his science have little interest in the trunk, blurred. Eventually it is hard doesn’t include belief in the soul. but wish to burn the manuscript. to separate the writer from his In order to save this precious creation. This melding is exactly bundle, Cervantes coerces the what Dale Wasserman, the prisoners to help him act out the musical’s writer, had in mind. ASIDES story it contains: the unpublished published by SHAKESPEARE THEATRE COMPANY (and unfinished) adventures of Man of La Mancha is an unusual Don Quixote de La Mancha. musical, written at a turning Managing Editor Publisher point in the history of the Heather C. Jackson Michael Porto As he sets the opening scene, American . When Cervantes asks “May I set the it opened in 1965, it followed Creative Director Advisors stage?” When the other prisoners some of the great musicals of S. Christian Taylor-Low Alan Paul Samantha K. Wyer agree to let him tell the story, the Golden Age of Broadway: Contributing Editors he beckons them to “enter 1962 was the year of A Funny Garrett Anderson Graphic Designer into my imagination” and asks Thing Happened on the Way Laura Henry Buda Taylor Henry them all to play a part in the to the Forum, 1963 was Funny Hannah Hessel Ratner proceedings. Cervantes is also Girl, and 1964 was Fiddler on Drew Lichtenberg Editorial Assistant asking the audience to enter into his the Roof. Yet Man of La Mancha Alison Ehrenreich imagination, and to trust the journey breaks from many Golden Age Contributing Writers Edward Friedman Editorial Intern he is about to lead them on. traditions—it has no dancing Jessica Peña Torres chorus, it is performed without

10 11 Illustration from Don Quixote, by H. L. Havell and Ernest Marriott, ca. 1908 via Flickr Commons.

THE

IMPOSSIBLE

MUSICALby Drew Lichtenberg Production Dramaturg

ne of the first things to chivalry, Cervantes’ Don Quixote becomes enamored of chivalric stories of characters from all know about Man of La quickly expanded into two literature, and determines to walks of life—noblemen, knights, OMancha, perhaps the most volumes of brilliant, mercurial become a knight errant, by the poets, priests, traders, barbers, popular adaptation of Don Quixote, prose. A failed playwright and name of Don Quixote. Accompanied muleteers, scullions, and convicts. is that it isn’t an adaptation at all. civil servant writing at the end of by his faithful manservant Sancho Continuing the digressive pattern, During a 1959 trip to Madrid, Dale a long and chaotic life, Cervantes Panza, what follows are countless Cervantes includes prologues to Wasserman read the book (or somehow produced, by some variations on this theme. Vladimir both volumes in his own voice, parts of it, it isn’t entirely clear) strange alchemy, a brilliant Nabokov, the author of Lolita and addressing the reader as well and came away convinced that panorama of Spanish society an inimitable literary critic, as another unnamed friend. this book, considered the greatest in the 16th century, a profound sat down and tallied up the result Dialoguing with this ghost novel of all time, this “monument to meditation on life and death, and of each adventure. He realized they Cervantes, our author wonders human wit and folly could not, and an endless hall-of-mirrors on the resembled a tennis match: “6-3, 3-6, how to tell this tale, the “true should not, be dramatized.” mysteries of identity. 6-4, 5-7. But the fifth set will never history” of Don Quixote. Wasserman was right. Begun, The premise of Don Quixote is a be played. Death cancels the match.” There had never been anything most likely, as a short story simple one: a country gentleman In between his own adventures, like this. Nothing with such a ridiculing the romantic notion of by the name of Alonso Quixana Quixana/Quixote hears the life variety of incident, such a dizzying improvisational,” like Cervantes’ premiered the same year as Peter Brook’s prose itself. The only way to adapt landmark production of Marat/ Don Quixote, Wasserman must have Sade, a production also designed for realized in a flash of insight, was to an empty stage and a unit set with no abandon any attempt at replicating the intermission, also featuring a play- content of the book and instead find a within-a-play, also on the lofty themes theatrical twin for the book’s form. of madness and sanity, of idealism amid This breakthrough leads to historical cataclysm. every surprising twist. Instead of Unlike that work, however, Man of dramatizing Don Quixote, the un- La Mancha does not traffic in postwar dramatizable character, Wasserman alienation or avant-garde cruelty. gives us a day in the life of Miguel Equally indebted to the metatheatrical de Cervantes. Instead of adapting the innovations of Luigi Pirandello and un-adaptable, Wasserman shows us the Bertolt Brecht, it sounds a note of utterly artist, inspired, against the backdrop American optimism. While Cervantes of the Inquisition. Instead of trying to had bid goodbye to an age of chivalry, answer the un-answerable question, Wasserman & Co. looked forward to Wasserman poses it: How do we dream an age of renewed social justice. Seen impossible dreams? against the backdrop of the 1960s, “to Originally written as a 90-minute dream the impossible dream” speaks teledrama, Wasserman was frustrated strongly to the desire to leave the world by what he called the original a better place, to continue the fight for production’s “assertive naturalism.” freedoms both social and personal, When he converted it into a musical, political and individual. It is a fitting he retained the play’s one-act phrase and signature song for the

Don Quixote by Gustave Doré ca. 1863 via Wikicomons. structure, unusual for Broadway impossible musical, an adaptation of the then and now. The composer, Mitch unadaptable, one that is really not an Leigh, drew on European classical adaptation at all. menagerie of overlapping voices, so So what did Wasserman do? and American jazz idioms, abolishing Written at a time when the many layers of reality between the Brilliantly mimicking the meta-fictional strings in favor of a band featuring hippest works of theatre wallowed reader and the fictive world. As many tricks of Cervantes, Wasserman begins brass, winds, and guitar. Nothing in despair, Man of La Mancha gives critics have pointed out—Nabokov with the enigmatic figure of Cervantes like it had been heard on a Broadway us something much harder to and Kafka among them—Cervantes himself. Instead of staging the un- stage before. Wasserman desired to define. As the great Spanish critic himself is a weak and piddling stageable events of the book, he gives create a new form of theatre that was Miguel de Unamuno wrote, of Don character in the book, dwarfed us two worlds: the “real” world of a “disciplined yet free, simple-seeming Quixote: “Only he who attempts the immeasurably by Don Quixote, his Seville prison in 1594, and the world yet intricate,” a “kind of theatre that absurd is capable of achieving the great creation. One’s mind, of course, of the theatre, in which an imprisoned was without precedent.” impossible.” turns to Shakespeare, who pales Cervantes acts out scenes from his Man of La Mancha was certainly next to his own characters such as manuscript. The play unfolds on an unprecedented for a Broadway musical, Falstaff and Hamlet. Shakespeare’s “abstract platform whose elements are but it was not a kind of theatre that life has been the subject of endless fluid and adaptable,” like the ever- nobody had seen before. Instead, the questioning, his characters the subject changing landscape of Cervantes’ work looked to the cutting edge of the of endless fascination. So it goes with stories. As Wasserman writes, “the contemporary avant-garde. La Mancha Cervantes and Quixote. primary effect of the play should be

14 15 and STC Associate Artistic Man of La Mancha Alan Paul, Director of Director, sits down with cast members Anthony Warlow (Don Quixote), Amber Iman (Aldonza), and Nehal Joshi (Sancho) to discuss how they came to be a part of the production and what they have discovered CAST OF CHARACTERS along the way.

all time, and Sancho is one of wrong time.” I didn’t really think I comedy, putting us into a more ARRIVAL the great fool/clown characters would be considered for it—these realistic world. The concept that Alan Paul: What drew each of you in all of musical theatre. And of opportunities don’t come to a you’ve come up with—not having to this production? course, I’m from Washington, and 27-year-old brown girl every day. any of us leaving the stage—that I’ve always wanted to work at the The role is so juicy. I couldn’t wait sense of claustrophobia absolutely Anthony Warlow: People often Shakespeare Theatre. to dive into the whole thing. works for what this piece is about. ask me what my favorite musicals It’s been great for me to hang : I remember the first around in the room. It’s like a daily are, and they’re The Secret Amber Iman audition. I knew all of the other ALONG THE WAY master class to watch everyone Garden, Man of La Mancha, women in the room, and they interact and the way the ensemble and . In Man of La were all older than me, dressed : What’s been the biggest is allowed to “play.” Mancha, Dale Wasserman really AP created a fantastic play. completely different than me. surprise or discovery you’ve had They had on cocktail dresses and I since we started? NJ: I’ve been surprised by how had on combat boots and fishnets. deep it is. Dale Wasserman was Nehal Joshi: Man of La Mancha is one of the great musicals of I thought, “I’m in the wrong AW: The joy for me is how you’ve so smart for not writing "Don room on the wrong day at the peeled back the layers of musical Quixote the Musical." Instead, it’s

16 17 about this man Miguel Cervantes, it is, twinkling in the atmosphere. AW: Quixote, in one of his DIRECTOR ALAN PAUL and this character he’s created, She begins asking questions of opening speeches, says, “Come, a man who has failed every step herself: What do I want? What enter into my imagination, TALKS ABOUT along the way but he’s been does he want? She’s never been imagine what we are doing here.” FINDING saving this one last golden ticket in that place before. That’s the core of this production under his arm. and that is exciting for me. HIS CAST. AW: He places that seed in her AW: If anything that’s the very gently, always gently, and NJ: There is a real return to ON ANTHONY WARLOW: romance of it. This one man that’s something she’s not used the innocence of childhood. It is my honor to have Anthony comes and changes these to. That’s the poignant part. Dale Wasserman writes about Warlow at the Shakespeare Theatre Company. Anthony is a magnificent people’s attitudes on life. I this in his autobiography. A lot talent, and one of the best think we want the audience to of people want to make the in the world. Man of La Mancha come away with a newfound THE POWER OF play a religious allegory about asks its leading man to deliver three appreciation for the power of believing in things you don’t roles: the writer Cervantes, the aging the imagination, that it’s the THE IMAGINATION necessarily see, but it’s bigger Alonso Quijana, and the “dauntless most powerful thing we have. than that. It’s about returning to knight” Don Quixote. The roles Quixote doesn’t control what AW: This is a hard, harsh the innocence inside of you. require tremendous spirit, and an happens to him. What gives him environment and Quixote is a enigmatic quality. They also require an greatness is that he dares to hard, harsh character at points. AW: That innocence is what is extraordinary singing voice. Anthony dream. It’s a piece about how The songs in the show are sweet about this production, has all of that. optimism transforms us, told beautiful, but it’s nice to push surrounded by the harshness of it. ON AMBER IMAN: through the eyes of a writer at away all of the sweetness and find the core. Amber was a joyful discovery during the end of his life. It’s not the NJ: I hope that people have a the audition process. Aldonza is a work of a young man, it’s the good time, but more importantly complicated role, and we needed work of someone who was a AP: That was a conscious choice. that they see the unseen in Hope does eventually bubble someone who could sing and act slave, who had been through the piece, also in the way it’s up at the end of the show, but it this demanding material. We also war, who understands suffering. produced and the people needed someone with authentic comes after some difficult things. And still, despite all that, he involved in it. Maybe that will power onstage, who could convey The contrast of this harsh world toughness and vulnerability. As far as says he would rather dream an with the beauty that comes make them think about the impossible dream than accept unseen people in the world I’m concerned, there was BA and AA, through is important. Before Amber and After Amber. Her life as it is. This is also a celebration of the outside of the theatre. In the casting, in the characterizations, audition was very special, and she will power of imagination and the be a wonderful Aldonza. AI: In a similar sense, it power of the actors’ craft. We we’re trying to talk about the transforms Aldonza. She’s a don’t have pieces of scenery that society that these people lived ON NEHAL JOSHI: whore. She doesn’t have any fly in to tell us that the windmill in, and in some ways it mirrors Nehal and I have been friends for a family. There’s no love, no has come in or that we are in the the society we live in today. long time and have worked together ambition. And then this man Inn. We have little bits and pieces before. A year ago Nehal and I ran comes in and places an idea in and it’s up to us as a group of Visit .com/ShakespeareTheatreCo into each other on the street in New her mind. Of course, she doubts storytellers to help the audience for extended clips from this interview. York City. STC had just announced La it, fights it, runs from it. But there connect the dots. Mancha and we both started talking about Sancho. I have always seen Sancho as a caregiver to the aging Quixote, and I knew Nehal could find the humor and warmth of this part. I also knew he had the boldness to find his own authentic interpretation of a very famous comic role.

18 19 By Edward Friedman but instead the musical functions almost as an expressionist dream play. an of La Mancha is a tribute It gets into the heads, as it were, of the by Dale Wasserman, Joe unconventional protagonist and the Darion, and Mitch Leigh man who invented him. After all, Don toM Miguel de Cervantes’ Don Quixote. Quixote celebrates the compositional The musical is an adaptation, more process as well as the final product. of a “reading” than an attempted re- The novel reflects key aspects of creation of the novel, but it captures Spanish society and human nature, the spirit and much of the tone of immediate contexts and universal the original. customs, perception and perspective. The creators of Man of La Mancha As a novelist, Cervantes seems to understand essential elements of relish the unexpected. Irony becomes Don Quixote, Don Quixote, and most one of the book’s principal tropes, but importantly perhaps, Cervantes. irony here is accompanied by humor, They realize that the author knew good will, generosity, and, loosely how to bring the literary and cultural interpreted, a kind of faith. Literature, past of Spain into a text; Cervantes or artistic self-creation, is always simultaneously appreciates precedent part of Cervantes’s narrative scheme, and brings about change. Man of La and it is always assimilated into the Mancha does not provide snippets of depiction of life. A strategic point of the Don Quixote narrative with songs, the integration is that it is anything

Miguel20 Cervantes y Saavedra by Juan Juaregui ca. 1600 via Wikicommons. 21 but seamless. the main characters yet respond happy. He trod a number of career juxtaposed with a running narrative On one level, Don Quixote separates emotionally to them. The sign paths, without solid rewards. Despite about the writing of a chronicle of Don itself from the idealistic narratives systems of the book relate jointly to these frustrations and failures, he kept Quixote’s quest. The prologue to Part that were especially popular in 16th the world at large and to the domain busy writing, and, at an advanced age, 1 features a fictionalized Cervantes century Spain: sentimental, pastoral, of literature. The adventures of the he won unqualified acclaim through with a manuscript in hand but no and chivalric romances. The last of anachronistic knight are fundamental Don Quixote. The narrative hit a chord prologue. A friend (the alter ego of an these was the preferred reading of the to the story, but Cervantes appears with readers of many stripes because alter ego) advises him to bypass the self-styled country to have much it is deep, complex, sophisticated, protocols of prefatory materials and gentleman who more on his mind highly entertaining, and accessible. to include whatever occurs to him; chose to emulate as he moves the Cervantes subsequently was able the task is merely to fill in the space the exploits of narrative forward. to publish 12 “exemplary novellas” of the prologue, and the dialogue medieval knights Don Quixote, (1613) and eight plays and eight and some hastily written poems do errant. In this now viewed as a interludes (1615), together with what just that. Irony and subversion can be sense, Don Quixote single novel, was, he deemed to be his master work, seen from the start. The prologue—or, eschews idealism in fact, published an “epic in prose” titled The Trials of more properly, the metaprologue—is for realism by in two parts, in Persiles and Sigismunda (published addressed to the “idle reader,” but exposing the 1605 and 1615. posthumously in 1617). readers of Don Quixote can hardly chivalric ideal as Cervantes (1547- Don Quixote is, from several angles, be passive. The “friend” shuns blind a construction, 1616), 58 years bidirectional. It fuses realism with allegiance to the norms of art, and but the style old when the metafiction, and it offers two plots. novelty and innovation are in the and scope of first part came The journey of the knight errant, air. From the opening chapter, then, Cervantes’s work out, had known or errant knight, in search of fame Cervantes challenges the aims and do not conform only modest and service to his lady Dulcinea del limits of fiction. Miguel Cervantes y Saavedra by William Kent fully to the ca. 1742 via Wikicommons. literary success. Toboso (i.e., the farm girl Aldonza While Cervantes was laboring over standards of 18th- A wounded and Lorenzo) and to humanity, is the second part of Don Quixote—an and 19th-century decorated military European realism. Cervantes blends veteran, he had been on his way from realism with heavy doses of literary Italy to Spain when his ship was self-referentiality, a consciousness hijacked, and he spent five years of of the construction of the art object captivity in Algiers. Finally ransomed, that has been labeled metafiction, he failed to prosper professionally or that is, fiction about fiction. Replete personally on his return. He published with allusions to Spanish chivalric a pastoral novel, Galatea, in 1585, tradition and to preceding texts and along with occasional poetry. He genres, Don Quixote foreshadows desperately wanted to triumph as a narrative realism and naturalism dramatist, but he was eclipsed by his and, alternately, their counterpoints gifted and prolific contemporary Lope in modernism and postmodernism. de Vega and Cervantes’ full-length Cervantes leads readers in plays and interludes remain largely antithetical directions by steering unperformed. Cervantes married a them toward ironic distance and woman 19 years his junior, and the Cervantes brought before Hassam Pasha, the King of Algiers, author and date unknown, via Wikicommons. empathy; they stand apart from union, by all accounts, was far from

22 23 undertaking that was entering its Quixote is the authentic one. When, tenth year—his literary moment after an off-stage illumination, Don of glory was diminished by the Quixote rejects his chivalric identity appearance in 1614 of a spurious at the end, he manages to degrade second part of Don Quixote by a Avellaneda in his words and in his writer, still unknown, who used the will. Cervantes’s vengeance is adroit pseudonym Alonso Fernández de and amusing, but the author may Avellaneda. Clever but by no means not have realized how valuable the brilliant, “Avellaneda’s” sequel rode false sequel would be. The ironies of the wave of success of Cervantes’s the “true history” have the perfect novel. On the one hand, the attack and twist, for the interloper has made the the intrusion were hard for Cervantes original genuine, “true.” Don Quixote to swallow. On the other, Cervantes himself gains vigor as he seeks to made the decision to bring the discredit his adversary. Cervantes Avellaneda tome into the legitimate could not have devised a better Part 2, and the writer’s headache complement to his narratives. Scene from an Inquisition, Francisco Goya, ca. 1812–1814 via Wikicommons. became a boon to his continuation of By uniting process and product, the novel. Cervantes examines the ups and and the ties between the creator and notably, they bring in a flesh-and- The speaker of the prologue to the downs of creation through multiple consumer of art. blood Aldonza/Dulcinea—only 1615 Quixote seems to be Cervantes, approaches. He incorporates the The Man of La Mancha team alluded to in Don Quixote—to interact who promises to avoid further literary past and the act of writing into recognizes that Cervantes’s paradigms with the knight and his squire. unauthorized sequels by killing off a story that poses as history. Criticism, promote transformation and They combine an intense idealism Don Quixote at the end. Scholars theory, and allegory are constants, flexibility. Following Cervantes, they (see “The Impossible Dream”) with generally posit that Cervantes left and Part 1 is under strict scrutiny in place the author, the protagonist, and comedy and with an ever-lurking unchanged what he had written of Part 2, which also deals with, and the audience equally in the center, reality. As with Cervantes, their Don Part 2 prior to the publication of the skillfully integrates, the false sequel. and they highlight the metatheatrical Quixote is ludicrous, off-putting, Avellaneda volume, which does not Don Quixote is both a novel and a facets of the text. In search of a and indisputably appealing. One receive further reference in the text theory of the novel, an exercise in special signature, Wasserman, laughs at him, cares about him, and, until chapter 59. Up to that moment, self-reflection and yet paradoxically Darion, and Leigh reconfigure the surprisingly, suffers when he suffers. the second part builds heavily on the moving. Cervantes involves readers story. They add songs, they portray impact of the publication of Part 1. and invites them—or forces them— dual realities (or dual fictions), and, The “real” second part has Don into the picture, to participate in Quixote leafing through a copy of the the proceedings and to deconstruct despised imitation at an inn and in a the notion of the idle reader. Don Edward Friedman is Gertrude Conaway Vanderbilt Professor of Spanish and Professor printing establishment. A teenaged Quixote dies at the conclusion of Part of Comparative Literature at Vanderbilt University, where he also serves as director temptress in the ducal palace recounts 2, only to be revived in the future of the Robert Penn Warren Center for the Humanities. He is a past president of the a near-death experience in which development of the literature and in Cervantes Society of America and author of Cervantes in the Middle: Realism and devils were playing tennis with virtually all media, including theatre, Reality in the Spanish Novel. copies of the book instead of balls. dance, music, film, and the visual Don Álvaro Tarfe, a character from arts. The imprint of Don Quixote is Excerpted from full article published in the e-book Guide to the Season’s Plays the Avellaneda sequel, appears in the wide and profound. The novel fosters 2014-15 available for purchase for the Kindle or Nook. 1615 Quixote to certify that this Don an appreciation of artistic methods

24 25 CAST BIOGRAPHIES ; Geva Theatre Center: The Cyrano. REGIONAL: Ford’s Theatre: Music Man; Natchez Festival: Porgy 1776, , Liberty Smith, State of & Bess. TELEVISION: NBC’s Sound of the Union; Woolly Mammoth Theatre JAY ADRIEL* Arts Theatre: Songs for a New World (Man Music Live! AWARDS: Honors include Company: Marie Antoniette, In the Guard 1); Crown Theatre: (Seaweed); the National Federation of Music Clubs, Next Room or The Vibrator Play; Olney REGIONAL: Arena Interlakes Theatre: (Victor); Auditions, Placido Theatre Center: Rancho Mirage, , Stage: Smokey Joe’s Café; Oprah’s Green Garden Gala. DIRECTING/ Domingo’s Operalia. King of the Jews, Democracy, The Elephant Signature Theatre: CHOREOGRAPHING: Broadway Dreams Man; Round House Theatre: Pride and Dreamgirls, Best Little Foundation: Porgy & Bess (segment piece), AMBER IMAN* Prejudice, Around the World in 80 Days; Whorehouse in Texas; Central Piedmont: Motown (segment piece). Aldonza Studio Theatre: The Internationalist, Legally Blonde, , Cabaret, NEW YORK: Broadway: Autobahn, Terrorism, Ivanov; Kennedy Hairspray, Hello, Dolly!, , JOEY ELROSE Soul Doctor (Nina Simone). Center: Unleashed, Blues Journey, Alex , Thoroughly Modern Millie, Juan Off-Broadway: NYTW: in Wonderland, Alice; Folger Theatre: , ; Children’s Theatre: NATIONAL TOURS: A Civil War Christmas; Twelfth Night, Romeo and Juliet; Arena Seussical, Aladdin, Beauty and the Beast, (Huey Calhoun), New World Stages: . REGIONAL: Stage: Mother Courage and Her Children, Peter Pan; Actors Theatre: Chorus Line. (Swing), Alliance Theatre: ; Arena Born Yesterday; American Shakespeare TELEVISION: Sprint Nascar National Grease (Danny u/s). Stage/Huntington Theatre Company: Center: , A Midsummer Commercial (Dancer). OTHER: 2013 REGIONAL: RENT (Roger), Pajama Stick Fly; True Colors Theatre Company: Night’s Dream, King Lear, Coriolanus, Latin Inauguration: Chita Rivera and Game (Sid Sorokin), Full Monty (Jerry). The Colored Museum. AWARDS: 2013 Much Ado About Nothing, Knight of Rita Moreno (Dancer); North Carolina TRAINING: Adelphi University: B.F.A. Clive Barnes Award Nominee. OTHER: the Burning Pestle, Tartuffe; Wisconsin Education State Lottery (Dance/Dance WEB: www.JoeyElrose.com. Web series, “Unemployed and Working” Shakespeare Festival: Macbeth, The Captain); Holland America Cruise on broadwayworld.com. TRAINING: Taming of the Shrew, Twelfth Night. Line: MD Eurodam (Singer/Dancer). MARIA FAILLA* Howard University: B.F.A. TRAINING: University of San Diego/ TRAINING: Strayer University: M.Ed. Fermina/Antonia Old Globe Theatre: M.F.A. Educational Management & Leadership; NATIONAL TOURS: NEHAL JOSHI* Winthrop University: B.A. Dance/ (First National), Sancho NATHAN LUCREZIO* Theater Performance. West Side Story (Rosalia, STC: The Boys of Syracuse. Anselmo/Barber Maria u/s; International). NEW YORK: Broadway: NEW YORK: Broadway: CEASAR F. BARAJAS* REGIONAL: Bristol Riverside: Pirates Les Misérables (Original Rodgers + Hammerstein’s Pedro/Fight Captain of Penzance; CLOC: The Vagabond King, Revival Cast), Roundabout Cinderella. Off-Broadway: REGIONAL: Walnut Street Man of La Mancha, . Theatre Company: The Threepenny York Theatre: Ordinary Theatre: AWARDS: Third Place winner at the Opera; Off-Broadway: Falling for Eve, Days. Other New York: Roseland (Graffiti Pete); TUTS:Man American Traditions Competition; Lys Working (2008 revision, Drama Desk Ballroom: Happy We’ll Be; MITF: of La Mancha, Miss Saigon, Symonette Award for “Extraordinary Award). REGIONAL: credits include Children of God (Nominated for Urban Cowboy (Wes); FCLO: King and Promise as a Singing/Actor” at Arena Stage: Mother Courage and Her Outstanding Actor); New 42nd St. I, West Side Story. FILM: Once Upon A the 2012 Lotta Lenya Competition. Children, Oklahoma!; Dallas Theater Studios: One For My Baby; WVPT: Cheerleader, L.A. Dior (opposite Academy TRAINING: The Shepherd School of Center: Les Misérables, Arsenic & Old West Side Story, Urban Cowboy. Award® winner Marion Cotillard). Music at Rice University: B.M. WEB: Lace; Huntington/Goodman: Disney’s NATIONAL TOUR: . TELEVISION: Amazon’s Alpha House, www.mariafailla.com. The Jungle Book; Kennedy Center: Mister AWARDS: Recipient of the 2011 Lotte Showtime’s Weeds, Starz Power, NBC’s Roberts; Hangar Theater: ; Lenya Competition’s ‘Emerging Blacklist, Brothers. DANCE: Jennifer RAYANNE GONZALES Woolly Mammoth Theatre Company: Talent Award’; Placed 12th at the 2005 Lopez, Sara Bareilles, Chris Brown. WEB: Innkeeper’s Wife/ Recent Tragic Events. TELEVISION: World Irish Dancing Championships. www.ceasarfbarajas.com Housekeeper HBO’s The Wire. FILM: Blackout (BET), OTHER: released songs/videos “Walk NEW YORK: Broadway: Submissions Only. VIDEO GAME: World Out The Door” and “Crazy Girl”; SIDNEY DuPONT* The Phantom of the Opera, of Warcraft: Cataclysm. Benefits include “The Rifferdancer” at Paco Hands on a Hardbody. Gypsy of the Year 2014 and Artists For NATIONAL TOURS: A REGIONAL: Arena Stage: Mother Courage JAMES KONICEK* World Peace; Wrote and produced his Chorus Line, Memphis the and Her Children, My Fair Lady, The Music The Captain of the Inquisition original show UnHeard, which debuted Musical. REGIONAL: North Man, , Señor Discretion STC: The Merry Wives of at The HERE Arts Center, and The Fort Carolina Theatre: A Chorus Himself; First National Tour and Walnut Windsor, As You Like It, Salem Theatre. TELEVISION: Smash. Line (Ritchie); Arvada Center: Memphis Street Theatre: In the Heights; North Edward II, Tamburlaine, WEB: www.nathanlucrezio.com. (Walin Joe); Creative and Performing Carolina Theatre and Casa Mañana:

26 27 Amber Iman PLAY IN PROCESS Take

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go BEhind thE NewMember Ethan Watermeier, Jay Adriel, James Konicek, and Alan Paul Maria Failla scEnEs 202.547.1122, option 7 Photos by S. Christian Taylor-Low 29 ROBERT MAMMANA* include A Midsummer Night’s Dream MARTÍN SOLÁ* including The Mikado, The Pirates of The Duke/Dr. Carrasco (Demetrius), Oklahoma! (Curly), The Padre Penzance and H.M.S. Pinafore. NEW YORK: Broadway: Othello (Roderigo), and Little Shop NEW YORK: Broadway: RECORDINGS: numerous solo albums; Les Misérables. NATIONAL of Horrors (Seymour). FILM: Shorts , Coram Annie (2012 Broadway Cast); the ® TOURS: Show Boat, Les Spare the Fatted Calf, The Notes. Boy, Baz Luhrmann’s Grammy Award -winning Complete Misérables. REGIONAL: TELEVISION: Investigation Discovery: La Bohème; Off- Symphonic Recording of Les Misérables. The Goodman, South Coast Rep, House of Horrors: Kidnapped (Ep 204, Broadway: INTAR: All Eyes and Ears Alliance, Pasadena Playhouse, Reprise, Paul). TRAINING: Brigham Young (Emilio, World Premiere); The Public ETHAN WATERMEIER* Portland Center Stage. TELEVISION: University: B.F.A. Theater: Pirates of Penzance at the Guard The Office, CSI, The Good Wife, Elementary, Delacorte, Giant, 2012 member of STC: A Funny Thing CSI: NY, Dexter, Prison Break, Heroes, Star JAMES HAYDEN the Shakespeare Lab; City Center Happened on the Way to Trek: Voyager, and Enterprise. FILM: Just RODRIGUEZ* Encores: credits include Fanny, Pipe the Forum (understudy Say Love, Flight Plan, Menace. AWARDS: Jose Dream. REGIONAL: credits include for Marcus Lycus/Miles Three-time L.A. Ovation nominee; LA REGIONAL: Signature Connecticut Repertory Theatre: Gloriosus); multiple roles in The Life of Drama Critics Circle nominee; two- Theatre: Hairspray Olives and Blood (Luís Trescante); The Galileo (staged reading in partnership time Joseph Jefferson nominee; LA (Seaweed); Roy Arias Goodspeed Opera House: The Most with National Academy of Sciences). Weekly Award winner. WEB: www. Theatre: Grey Street The Musical (Jack); Happy Fella. OPERA/CLASSICAL: NATIONAL TOURS: Les Misérables. RobertMammana.com. The Media Theatre: Hairspray (Seaweed); Featured Artist with the New York REGIONAL: Aspen Music Festival, Papermill Theatre: RENT (Benny), Pops at , The New Olney Theatre Center, Strathmore JP MORAGA* Almost Maine (Lendall); Way Off- York City Opera: more than a dozen Music Center, Vital Theatre Company, Tenorio/Dance Captain : Rocky Horror Show productions including Séance on a Bailiwick Repertory. OPERA: Houston REGIONAL: Maltz (Rocky); Shenandoah Summer Theatre: Wet Afternoon, Porgy and Bess (Live Grand Opera, , Jupiter Theater of the West Side Story (Bernardo). AWARDS: from Lincoln Center). TELVISION: Glimmerglass Opera; Composition Stars: The King and I; Helen Hayes Award for Outstanding numerous television appearances premieres by Mark Adamo, Tom Dallas Theater Center: Ensemble: Hairspray. TRAINING: singing for Andrea Bocelli; CBS’ Cipullo, Ricky Ian Gordon, Jake Joseph and the Amazing Technicolor Shenandoah Conservatory. WEB: Hostages. TEACHING: Martin is Heggie, John Musto and Rachel Dreamcoat; Walnut Street Theatre: The www.jameshaydenrodriguez.com. a teacher and educator, including Portman. AWARDS: Winner of the King and I, Miss Saigon (also performed the position of The Pesky Artist in Lotte Lenya International Competition. at T.U.T.S); Riverside Theater/PCLO/ DAN SHARKEY* Residence at Lafayette College in OTHER: Member of National Toronto Decap: Miss Saigon; Drury The Governor/Innkeeper 2012-13, and has taught private voice Association of Teachers of Singing, Lane Theatre: Miss Saigon; Virginia NEW YORK: Broadway: lessons for more than 20 years. WEB: VASTA, and the artist roster of Sing Stage Company/Actors Theatre of The Bridges of Madison www.martinsola.com. For Hope; Founding panelist on the Louisville/Cleveland Play House: My County, Spider-Man: Turn hit podcast OperaNow. TEACHING: Fair Lady; Barrington Stage Company: off the Dark, The Music ANTHONY WARLOW* Voice faculty at American University My Scary Girl; Florida Studio Theatre: Man, Showboat (London Company); Off- Cervantes/Don Quixote (current); University of Virginia; Altar Boyz. OTHER: Concerts: NAAP Broadway: Over 1,000 performances as NEW YORK: Catholic University of America; (Signature Theatre): Hello, Dolly!, Hucklebee in The Fantasticks; Captains Broadway: Annie. University of Maryland, College Park. Oklahoma!; Alice Tully Hall: Suites Courageous, Prince & the Pauper, Lone INTERNATIONAL: TRAINING: Northwestern University by Sondheim; Huntington Theatre Star Love, Illyria, Golden Boy of the Blue Australia: The Phantom of (BM); The Manhattan School of Company: Long Season. TRAINING: Ridge. NATIONAL TOURS: , the Opera (Phantom, original Australian Music (MM); Doctoral studies at the Baldwin-Wallace University: B.M. – The Will Roger’s , The Sound of production and 2007 revival/tour), Les University of Maryland, College Park. Musical Theater. Music (w/Marie Osmond), Seven Brides Misérables, The Secret Garden, My Fair for Seven Brothers. REGIONAL: credits Lady, : The Musical, Guys BRYCE EDWARD include Bank of America Theatre in and Dolls; London: 25th Anniversary PETERSON : Amazing Grace (Pre-Broadway production of The Phantom of the Opera Swing performance); Guthrie Theater: at the Royal Albert Hall. OPERA: REGIONAL: Imagination (title role); many more extensive credits including The Magic Stage: The Night Fairy regional theatres around the nation. Flute, La Boheme, Tosca, Otello, Tales of (Peregrine u/s); Pioneer TELEVISION: Herb Crocker on HBO’s Hoffman, La Fanciulla del West and Don Theatre Company: Much Ado About award-winning Boardwalk Empire. Giovanni, as well as significant Gilbert Nothing (Ensemble); other credits and Sullivan roles with Opera Australia

30 31 “VERY FUNNY, VERY BRILLIANT, VERY CHILLING” —The New York Times GIOACHINO ROSSINI CINDERELLA Rossini’s popular retelling of Charles Perrault’s beloved Cinderella story adds a few fabulous twists to the traditional fairy tale with two mezzo-sopranos alternating in the title role: Isabel Leonard, the 2013 Richard Tucker Award winner, and Tara Erraught, making her U.S. debut.

THE TONY AWARD-WINNING PLAY BY TOM STOPPARD DIRECTED BY AARON POSNER

“Imaginative, fast-paced, irresistibly funny... a show that will entrance the whole family” —The Seattle Times PHOTO BY BRETT COOMER/HOUSTON GRAND OPERA MAY 9–21 TICKETS ON SALE NOW! Kennedy Center Opera House (202) 467-4600 May 9, 11, 13, 15, 16, 17mat, 19, & 21, 2015 kennedy-center.org Performed in Italian with projected English titles. Tickets also available at the Box Office. Bring in your Man of LaMancha ticket and Titles may not be visible from the rear of the orchestra. Groups (202) 416-8400 receive a complimentary appetizer with

Major support for WNO is provided by Jacqueline Badger Mars. purchase of an entrée. David and Alice Rubenstein are the Presenting Underwriters of WNO. General Dynamics is the proud sponsor of WNO’s 2014-2015 Season. Valid March 17—May 1. Visit Russiahouselounge.com for menu and reservations. WNO acknowledges the longstanding generosity of Life Chairman Mrs. Eugene B. Casey. Russia House Restaurant and Lounge Generous support for WNO Italian opera is provided by Daniel and Gayle D’Aniello. 1800 Connecticut Ave, NW Washington, DC 20008 202.234.9433 Tony nomination), Guys and Dolls (Associate Allen Moyer ARTISTIC BIOGRAPHIES Choreographer, dir. Des McAnuff); Off- Scenic Designer Broadway: : Fortress Of Solitude STC: Private Lives. NEW YORK: Broadway: The Dale Wasserman Best Musical. Man of La Mancha ran for 2,328 (Associate Choreographer, dir. Daniel Aukin) Lyons, Lysistrata Jones, After Miss Julie, Grey Gardens Book performances on Broadway, making it one New Victory Theater: Brazil Brazil (Choreographer (Tony and ® nominations, Wasserman wrote for theater, television and of the greatest musicals of all time, spawning and Co-Director), Delacorte Theatre: Paul Simon’s Henry Hewes Award), Thurgood, The Little Dog film for more than 50 years and is best known numerous national and international productions. The Capeman (Associate Choreographer, dir. Diane Laughed, The Constant Wife; Off-Broadway: for the musical Man of La Mancha, a multiple His other Broadway scores include Cry for Paulus); NYMF: Oklahomo (Choreographer); Roundabout Theatre Company: Dinner with Tony Award® winner. He also wrote the stage Us All, Sarava, Chu Chem, and Ain’t Broadway Manhattan Movement Center: Dance Break Friends; Playwrights Horizons: Far From Heaven; play One Flew Over the Cuckoo’s Nest, based on Grand. He is the recipient of numerous awards 2010. NATIONAL TOURS: Rock of Ages (dir. The Public Theater/NY Shakespeare Festival: ’s novel, which has won several Tony including the NY Drama Critics Circle Award Kristin Hanggi). REGIONAL: Arkansas Rep: A Giant. REGIONAL: Productions for Goodman Awards®. Both shows continue to be produced and the Contemporary Classics Awards Christmas Carol; John Engeman Theater: Guys and Theatre, Yale Repertory Theatre, Huntington nationally and internationally, with an estimated from the Songwriters’ Hall of Fame for “The Dolls (dir. Peter Flynn); Royal George Theater: Theatre Company, Guthrie Theater, The Old 300 productions a year. In January 1979, Dale Impossible Dream,” and he is the first composer White Noise (Associate Choreographer, dir. Sergio Globe, La Jolla Playhouse, Long Wharf Theatre, met Martha Nelly Garza, who became his wife, to receive the Yale Arts Award for Outstanding Trujillo); La Jolla Playhouse: Carmen the Musical Steppenwolf Theatre Company, Center Stage, loyal partner and loving companion. More than Achievement in Musical Composition. He has (Assistant Choreographer, dir. Franco Dragone), Center Theatre Group. INTERNATIONAL: once, Dale commented that Martha Nelly was been honored as the only living composer whose (Assistant Choreographer, dir. Des The ; Scottish Opera; Wexford the best thing that ever happened to him (aside work was included in the Metropolitan Opera’s McAnuff). INTERNATIONAL: Operettenhaus, Festival Opera (Ireland). OPERA: English from his work on Man of La Mancha) and that Centennial Celebration. Mr. Leigh produced and Hamburg: Rocky Das Musical (world premiere, National Opera: Die Fledermaus; it was their 30-year partnership that had been directed Yul Brynner’s farewell tour of The King Associate Choreographer, dir. Alex Timbers); Opera: Dolores Claiborne; The Metropolitan Opera: the greatest contribution to extending his life and I. In 2001 the Music School at Yale University Avon Theater, Stratford Shakespeare Festival: Orfeo ed Eurydice (dir. Mark Morris); New York and his talents to age 94. Together, they worked was named Leigh Hall. The Pirates of Penzance (Choreographer, dir Ethan City Opera; Houston Grand Opera; Santa Fe on numerous musicals and several new plays, McSweeny); Shaftesbury Theatre, West End: Rock Opera; Canadian Opera Company; Glimmerglass including the autobiographical Burning in the Alan Paul of Ages (Associate Choreographer, dir. Kristin Festival; Opera Theatre of St. Louis; Lyric Night. On December 21, 2008, Dale Wasserman, Director Hanggi); Circustheatre, Netherlands: Tarzan Opera. AWARDS: Recipient of the 2006 Obie with his loving wife at his side, passed away STC: Director: A Funny Thing Happened on the Way (Associate Choreographer, dir. Jeffrey Lee); Award for Sustained Excellence. peacefully of natural causes at his home in to the Forum (2014 Helen Hayes Award for Best Neue Flora Theater, Hamburg: Tarzan (Associate Paradise Valley. Martha N. Wasserman is now Director of a Musical), The Boys from Syracuse, Choreographer, dir. Jeffrey Lee). Ann Hould-Ward the sole Owner/Licensor of Dale’s intellectual The Winter’s Tale (Free for All), Twelfth Night (Free Costume Designer properties and spends her life promoting his for All); Associate Director: As You Like It, Henry George Fulginiti-Shakar STC: Henry IV, Parts 1 and 2, Romeo and Juliet. works all over the world. IV, Parts 1 and 2; numerous galas, readings, and Music Director NEW YORK: Broadway: The People in the Picture, special events; Assistant Director: 13 shows. STC: Two Gentleman of Verona, Boys from Syracuse, A Free Man of Color (Drama Desk nomination), A Joe Darion THEATRE DIRECTING: Signature Theatre: I Am Henry V, Love’s Labor’s Lost, The Winter’s Tale, The Catered Affair (Drama Desk nomination), Company, Lyrics My Own Wife; Studio Theatre 2ndStage: The Rocky Oedipus Plays, Peer Gynt, School for Scandal, The Dance of the Vampires, Beauty and the Beast (Tony Darion worked in every field in which words Horror Show (co-director); Catholic University: Comedy of Errors. NEW YORK: The Public Theater, Award; American Theatre Wing’s Design are put to music, from popular songs to works Man of La Mancha; University of Maryland: The The Ohio Theatre. REGIONAL: Arena Stage, Award; Ovation Award; Oliver nomination, for the concert stage. His opera based on Don Matchmaker; Apex Theatre Company: Richard II; The Kennedy Center, Ford’s Theatre, Studio Best Costume Design); Into the Woods (Tony, Marquis’ immortal characters Archy and Northwestern University: Six Degrees of Separation; Theatre, Imagination Stage, Huntington Theatre Drama Desk nominations; Outer Critics Circle Mehitabel, was turned into the Broadway musical readings for Studio Theatre, Arena Stage, Woolly (Boston), Perseverance Theatre (Juneau, Alaska), nomination, L.A. Drama Critics Circle Award), Shinbone Alley, for which Mr. Darion supplied Mammoth Theatre Company, The National Eugene O’Neill Music Theatre Conference , Sunday in the Park with George (Tony, book and lyrics. Popular songs for which he has Academy of Sciences, The Phillips Collection, The (Music Director), Gala Theatre, Imagination Drama Desk Nominations), Harrigan ‘N’ Heart, A supplied the lyrics include “Ricochet,” “Changing Goethe Institut, Georgetown University. OPERA Stage, Discovery Theater, Adventure Theatre. Midsummer Night’s Dream, St. Joan, Three Men on a Partners,” and “Midnight Rain,” selling in the DIRECTING: Washington National Opera: INTERNATIONAL: Athens Theatre Festival Horse, Timon of Athens, In the Summer House, Little tens of millions. One of the most popular has Penny; Urban Arias: Blind Dates, Before Breakfast, (Greece); Choral Master for seven international Me, The Moliere Comedies. Off-Broadway: CSC: been “The Impossible Dream” from Man of La The Filthy Habit, Photo- Op; The In Series: Dido Army Soldier Show tours. AWARDS: Helen (revival); Public: Hamlet, A Midsummer Mancha, which won Darion the Tony Award® and Aeneas, El Amor Brujo; Strathmore: Butterfly/ Hayes Awards for Arena Stage’s acclaimed Night’s Dream, House Arrest; Russian Transport, for Best Lyrics. He also supplied the lyrics for the Saigon, Blind Dates. Finalist for the 2013 European productions of Oklahoma, and Cabaret, plus seven The Blue Flower, Wings, In the Grand Manner, Broadway musical Illya Darling, adapted from Opera Directing Prize (Vienna, Austria). WEB: other nominations. OTHER: Chair of the Board of Let Me Down Easy, Road Show, Surviving Grace, the film Never on Sunday. In addition to the Tony AlanPaulDirector.com. the DC Cabaret Network; Musical Contractor for Lobster Alice, Cymbeline. REGIONAL: 5th Avenue Award®, he has the Outer Critics Circle Award, Ford’s Theatre; founding member of the Alliance Theatre: Secondhand Lions; over 100 credits in the Gabriel Award, the Ohio State Award, and the Marcos Santana for New-Music Theatre; Concerts with Quintango regional theaters. OPERA: Metropolitan Opera: International Broadcasting Award. Choreographer (piano), and Cabaret artists in New York Ctiy, Peter Grimes, Ringling Brothers and Barnum & STC: Much Ado About Nothing (mainstage Washington, D.C., Boston, Provincetown, and Bailey Circus; N.Y.C. Opera: The Most Happy Fella; Mitch Leigh and Free For All). NEW YORK: Broadway: Miami (piano), and The Gay and Lesbian Bands L.A. Opera: Mahagonny. FILM: Strike!. OTHER: Composer The Marquis Theater: On Your Feet (Associate of America (conductor). INSTRUCTOR: Master Ballet Hispanico: Graciela Daniele; San Francisco Leigh composed Man of La Mancha, which Choreographer, dir. Jerry Mitchell, Fall 2015) Classes: American University, George Washington Ballet: Lar Lubovitch; A.B.T.: Othello, Artemis, originally opened on Broadway in 1965 and Winter Garden Theater: Rocky The Musical University, Catholic University; Faculty Member: Meadow; Alvin Ailey: Reminicin’, Saddle Up, went on to win five ® including (Associate Choreographer, dir. Alex Timbers, Studio Acting Conservatory; Theatre Lab. Morning Star. AWARDS: U.S. Representative for

34 35 THROUGH AUGUST 30TH Official Wine of Shakespeare Theatre Company

AN ODYSSEY OF ARCHITECTURAL ADAPTATION chardonnay AN UNPRECEDENTED LOOK AT THE WORK Classic in every sense. Apple, pear, and lemon flavors with hints of butter AND PROCESS OF BIG-BJARKE INGELS GROUP and toasty oak. AT THE THE NATIONAL BUILDING MUSEUM WASHINGTON, D.C. Please enjoy our wines responsibly. © 2015 Clos du Bois, Geyserville, CA | CDBZ0915008

An Epic Musical!

by Frank Wildhorn, Gregory Boyd and Jack Murphy; music by Frank Wildhorn; directed by Jeff Calhoun; adapted by Richard Hellesen and Mark Ramont

Now Playing! Through May 20, 2015 Lead Sponsor: Altria Group | Production Sponsors: Raytheon Company, KPMG and Time Warner Cable go.nbm.org/HOTTOCOLD www.fords.org | Tickets: (800) 982-2787 | Groups: (202) 638-2367 Season Sponsors: The Home Depot; Chevron

Photo of Gregory Maheu, Kevin McAllister and Stephen Gregory Smith by Scott Suchman. the International Design Quadrennial in Prague; plays and musicals. INTERNATIONAL: London: Katherine Burris University: MFA Theatre Pedagogy; Certified Recipient of F.I.T.’s Patricia Zipprodt Award. Napoleon (West End), Jitney (National Theatre). Assistant Director Fight Director and Teacher for the Society of REGIONAL: credits include the Guthrie Theater, See page 43 American Fight Directors. Robert Wierzel Mark Taper Forum, Arena Stage, John F. Kennedy Lighting Designer Center for the Performing Arts, American Jose Simbulan Joseph Smelser* STC: As You Like It, The Taming of the Shrew, A Repertory Theater, Geva Theatre, American Assistant Music Director/ Rehearsal Pianist Production Stage Manager Midsummer Night’s Dream, The Little Foxes. NEW Contemporary Theatre, Berkeley Repertory STC: The Boys from Syracuse. NEW YORK: STC: The Tempest, A Winter’s Tale (Free For All), YORK: Broadway: Lady Day at Emerson’s Bar & Theatre, Seattle Repertory Theatre, Denver Broadway: A Chorus Line (revival), . Henry IV, Parts 1 and 2, A Funny Thing Happened Grill, FELA! (Tony Award® nomination; National Theatre Center, Alley Theatre, Goodman Theatre, NATIONAL TOURS: Mamma Mia!, . on the Way to the Forum, Measure for Measure, Theatre, London and Tours), David Copperfield’s McCarter Theatre, Yale Repertory Theatre, Long REGIONAL: Arena Stage: My Fair Lady, The Wallenstein, Coriolanus, A Midsummer Night’s Dreams and Nightmares; Off- Broadway: The Wharf Theatre, Hartford Stage, Huntington Music Man, Oklahoma!, Sunday in the Park with Dream, The Government Inspector, The Merry Wives NYSF; The Signature; Playwrights Horizons. Theatre, The Williamstown Theatre Festival George; The Kennedy Center: Sweeney Todd, A of Windsor, Strange Interlude, Much Ado About REGIONAL: Alliance Theatre; The Goodman; and many more. FILM: Titus, Alien Resurrection. Little Night Music; Westport Country Playhouse: Nothing, The Heir Apparent, All’s Well That Ends A.C.T. San Francisco; Hartford Stage; Long OTHER: David is Chair, Producer and Professor All About Us; Williamstown Theatre Festival: Well. REGIONAL: Arena Stage: Let Me Down Easy; Wharf; The Guthrie; Mark Taper Forum; The of Theatre at VCU. Triangle; Charleston Stage: The Producers; Ford’s Seattle Repertory Theatre: An Ideal Husband, A Old Globe; Chicago Shakespeare Theater among Theatre: Children of Eden, Eleanor: An American Doll’s House, Play On!, As You Like It, A Midsummer others. OPERA: The Paris Opera-Garnier; Laura Stanczyk, CSA Love Story; Signature Theatre: Passion, Wings. Night’s Dream, Peter Brook’s The Tragedy of Hamlet, Glimmerglass Festival; Seattle; Boston Lyric; Casting Director OTHER: Southeastern Theatre Conference Golden Child, , Purgatorio, The Search Minnesota; Washington National; Atlanta; NYCO STC: The Metromaniacs, The Tempest, As You Like (SETC); Unified Professional Theatre Auditions for Signs of Intelligent Life in the Universe (with and San Francisco. OTHER: Dance work includes It, The Winter’s Tale, Strange Interlude, Old Times. (UPTA); National Asian Artists Project (NAAP). Lily Tomlin); American Conservatory Theater: over 28 years with choreographer Bill T. Jones and NEW YORK: Broadway, Off-Broadway, National TRAINING: Virginia Commonwealth University The Rivals, The Circle, The Government Inspector, the BTJ/AZ Dance Company (Bessie Awards). Tours: Side Show, After Midnight, A Night With (VCU): B.M. in Piano Performance. WEB: Twitter Edward Albee’s At Home at the Zoo, Vigil; Berkeley FACULTY: Currently an adjunct member of Janis Joplin, Follies, Cotton Club Parade, Lombardi, & IG: @JoseSPiano. Repertory Theatre: Journey to the West, An Almost NYU’s Tisch School of the Arts and a Guest , Impressionism, The Seafarer, Radio Golf, Holy Picture, Having Our Say; Regional Tour: Let Lecturer at the Yale School of Drama. TRAINING: Coram Boy, The Glorious Ones, Flight, Translations, Robb Hunter Me Down Easy, Twilight: , 1992 (both MFA from the Yale School of Drama. Tryst, Dirty Dancing; Atlantic Theater Company: Assistant Fight Choreographer with Anna Deavere Smith). TRAINING: Oberlin The Cripple of Inishmaan (also national tour); STC: As Fight Director: As You like It (dir. Michael College: BA. Ken Travis Encores! Summer Stars: Damn Yankees, Attenborough), Measure for Measure (dir. Jonathan Sound Designer (also national tour); Lincoln Center Festival: Munby), The Alchemist (dir. Michael Kahn), The NEW YORK: Broadway: Aladdin, Jekyll Gate/Beckett. REGIONAL: Alliance Theatre: Bull Winter’s Tale (dir. Rebecca Taichman), Hamlet Robyn M. Zalewski* and Hyde, A Christmas Story the Musical, Durham; Center Theatre Group: Harps and Angels; (Asst. FD). NEW YORK: Theatre Harlem: Love Assistant Stage Manager Scandalous, , Memphis, The ThreePenny Alley Theatre: Gruesome Playground Injuries, The Child (world premiere); Black Spectrum Theater: STC: Henry IV, Parts 1 and 2, A Funny Thing Opera, Barefoot in the Park, Steel Magnolias. Monster at the Door; Kennedy Center: Side Show, A Soldier’s Play; Chekhov Theatre Ensemble: Happened on the Way to Forum. REGIONAL: REGIONAL: Old Globe, KC Rep, La Jolla The Guardsman, Follies, Master Class, The Lisbon Cyrano. REGIONAL: Arena Stage: King Hedley Hartford Stage Company: Production Stage Playhouse, LA CTG, Seattle Rep, 5th Avenue Traviata, Ragtime, Broadway: Three Generations; II, Ruined, Stick Fly (dir. Kenny Leon), Noises Manager for Private Lives, Assistant Stage Theatre, Guthrie Theater, Dallas Theater Philadelphia Theatre Company: Golden Age; Royal Off (dir. Jonathan Munby), Frankie and Johnny Manager for Hamlet, Twelfth Night, A Christmas Center, McCarter Theatre, Atlantic Theater, George Theatre: Don’t Dress for Dinner; seven in the Claire du Lune, The Heidi Chronicles, et al; Carol- A Ghost Story of Christmas, The Whipping Playwrights Horizons, The New Group, seasons of casting for McCarter Theatre Center. Studio Theatre: Bad Jews, Belleville, Red Speedo Man, Gem of the Ocean, Production Assistant NYSF Public Theater, CSC, Signature Theater INTERNATIONAL: Druid Theatre Company: (Helen Hayes nomination), The Motherf**ker with for Divine Rivalry, Antony & Cleopatra, The NYC, Vineyard Theatre, The Civilians, Mabou My Brilliant Divorce; The Gaiety Theatre, Dublin/ the Hat, Invisible Man, The Walworth Farce (HH Adventures of Tom Sawyer, Noises Off; New Mines. AWARDS: NAACP Sound Design West End: The Shawshank Redemption; Druid nomination), Superior Donuts, American Buffalo, London Barn Playhouse; Hangar Theatre; Memphis the Musical; Audelco and Lortel Theatre Company/Dublin Theatre Festival: Long Reasons to be Pretty, Legends, et al; Olney Theatre: Northern Stage; Saint Michael’s Playhouse. Nominations. Day’s Journey into Night; Has consulted for The The Piano Lesson, Bus Stop (dir. Austin Pendleton), Education: Saint Michael’s College. Lyric Theatre in Belfast, Rough Magic Theatre Oliver, The Millionairess, Carousel, et al; Rep Stage, David Leong Company in Dublin, The Gate Theatre in Dublin, Washington Shakespeare, Baltimore Shakespeare, Fight Choreographer The Druid Theatre in Galway. and others. OPERA: Washington National Opera: STC: Cyrano de Bergerac, Richard III (twice), King Moby Dick, Hamlet, ; Regina Opera: John, Romeo and Juliet (twice), Macbeth, Antony and Carter C. Wooddell Otello, Carmen, I Pagliacci. TELEVISION: Spin Cleopatra, Coriolanus, Troilus and Cressida, Henry Resident Casting Director City (stunt double, Michael J. Fox); Panic 911 V, Henry IV, Parts 1 and 2, King Lear, The Witch of See page 43 (Firearms Coordinator). AWARDS: Helen Hayes Edmonton, Hamlet (twice), Julius Caesar, and more. nomination for Outstanding Choreography; Red NEW YORK: Broadway: A Time to Kill, Billy Elliot Ellen O’Brien Speedo and The Walworth Farce, ACTF Certificate the Musical, Carousel, Company, Ma Rainey’s Black Head of Voice and Text of Merit in Fight Direction for Ubu Roi (American Bottom, The Civil War, The Rainmaker, King Hedley See page 43 University), Likhachev Foundation Cultural II, Picnic, Hamlet, Solitary Confinement, Sex and Fellowship to Russia. OTHER: Founder/CEO Longing, A Delicate Balance and In The Summer Drew Lichtenberg of Preferred Arms, Inc., Theatrical Weapons House. Upcoming Broadway: Fool for Love and Literary Manager/Dramatrug INSTRUCTOR: American University: Artist in Amazing Grace the Musical. Over 50 Off-Broadway See page 43 Residence. TRAINING: Virginia Commonwealth

38 39 Honor duels and naval battles, breadth of the Mediterranean MAPPING THE PLAY pirates, prelates, and prison: world. Without a doubt, the : THE TRUE between the ages of 22 and 33, young man’s adventures helped EL INGENIOSO HIDALGO the young Miguel de Cervantes Cervantes populate his work ADVENTURES OF MIGUEL DE CERVANTES lived more than most people with characters and stories both do in a lifetime. As a young fantastic and true to life—when soldier in the Spanish Navy, he finally sat still long enough to By Laura Henry Buda, Cervantes traveled the full write, that is. Community Engagement Manager

1569: Cervantes leaves his childhood home of Madrid for 1569, December: Cervantes arrives in Rome Italy. An arrest warrant dated September 15, 1569 accuses and spends several months working in the someone named Miguel de Cervantes of wounding a household of a prominent Vatican cleric, with young gentlemen in a duel of honor. The suggested O PAPAL access to upper levels of clergy and witness to punishment includes the removal of his right hand and 10 STATES the pageantry of the Church and courtly life. T years of exile from Spain. Though no one has ever proven T that the writer Cervantes was indeed this same fugitive 1570: As conflict between the O from justice, some scholars speculate that Cervantes Ottoman Empire and Catholic M left Spain to flee arrest, possibly after fighting a duel to southern Europe heats up, A avenge the honor of his sister. Rome Cervantes travels to Naples to enlist N ✯ as a soldier in the Spanish Navy. E SPAIN Cervantes’ brother Rodrigo joins him M ✯Naples in Italy and enlists as well. P KINGDOM IR Madrid E ✯ OF Lepanto NAPLES Corfu 1571: Several months later, the brothers ✯ fight in the historic Battle of Lepanto. Palermo Though suffering from malaria, Cervantes  ✯ insists on fighting, leading 12 soldiers into 1575-1580: During his captivity, KINGDOM the onslaught in a skiff. He is shot three Cervantes engineers several complex Algiers Tunis✯ times, twice in his chest and once in his escape attempts, making him a ✯ OF SICILY arm, rendering his left arm permanently living legend in Algiers. His plots unusable. After the Holy League wins the include hiring local spies; trekking BARBARY STAT battle, stories of Cervantes’ valor bring him across the desert to Spanish ES to the attention of Don John of Austria, territory; hiding 14 fellow captives in 1575, September: Cervantes and Rodrigo leave commander of the Holy League fleet, who a cave for months while they waited Naples aboard El Sol. Thanks to a violent storm, awards him military and monetary honors. for rescue; writing a letter (in verse, the ship loses contact with its escorts. While of course) to the Spanish secretary still alone, lost at sea, Algerian pirates attack of state demanding that the Spanish the vessel. After a chase and brave resistance army lay siege to Algiers; and hiring from the crew, heartbreakingly close to Spanish 1574, September: Lepanto makes Cervantes a frigate to sail away himself. Each soil, El Sol finally surrenders and Cervantes a hero, but leaves him permanently disabled. time, Cervantes is betrayed and and Rodrigo are taken as captives. The other Somehow, he serves another four years as a caught, and each time, his captor ships arrive just in time to see the pirates sail soldier, participating in significant campaigns Hassan Pasha, the viceroy of Algiers, away, and those on board can do nothing but across the Mediterranean, including Corfu and inexplicably spares his life. Laura Henry Buda is STC’s report to the captives’ families back to Spain. Navarino. After witnessing the disastrous fall Community Engagement In Algiers, Cervantes and Rodrigo are sold of Tunis, Cervantes arrives in Palermo, where Manager and served as Artistic as slaves. Discovering the royal letters that he prepares to return to Spain by requesting Fellow in the 2011-2012 Season. Cervantes had with him, his captors believe him letters of commendation. She holds an MFA in Dramaturgy to be a valuable prize worth selling for ransom. from the A.R.T./M.X.A.T. Institute However, his price is set so high that his family at Harvard University. cannot afford it. 40 41 FOR SHAKESPEARE THEATRE COMPANY Festival; Manager: Dougherty Arts Center. Shakespeare Survey, Shakespeare Quarterly, MEMBERSHIPS: Currently serves on the Shakespeare and the Arts, The Voice and Speech Board of the Theatre Communications Group, Review: Associate Editor for Heightened Michael Kahn nomination); Ford’s Theatre: Eleanor. OPERA: Romeo DC Downtown BID, THE ARC, DC Arts Text, Verse and Scansion. TRAINING: Yale Artistic Director and Juliette for Dallas Opera; Vanessa for the New York Collaborative, the Penn Quarter Neighborhood University: MA, MPhil, PhD (English); STC: The Metromaniacs, Henry IV, City Opera (2007); Lysistrata or The Nude Goddess for Association, Theatre Washington, and is a Part 1 and 2, Wallenstein, The Houston Grand Opera and Opera; member of the League of Resident Theatres Katherine Burris Government Inspector, Strange Vanessa for Washington Opera and Dallas Opera; Show (served on AEA and SSDC Negotiating Assistant Director/Directing Fellow Interlude, The Heir Apparent, Old Boat for Houston Grand Opera; Carmen for Houston Committees); has served as a panelist for STC: The Metromaniacs, The Tempest, As You Like It, Times, All’s Well That Ends Well, The and Washington Operas; Carousel for Miami Opera; the NEA, DC Commission on the Arts, Mid The Winter’s Tale (Free For All). REGIONAL: Santa Liar, Richard II, The Alchemist, Design for Living, The Way Julius Caesar for San Francisco Spring Opera. Atlantic Arts Foundation and Pew Theatre Cruz Shakespeare: As You Like It; Folger Shakespeare INTERNATIONAL: Love’s Labor’s Lost at the Royal of the World, Antony and Cleopatra (2008), Tamburlaine, Initiative. AWARDS: Arts Administration Theatre: The Taming of the Shrew; Shakespeare Santa Hamlet (2007), Richard III (2007), The Beaux’ Stratagem, Shakespeare Company’s Complete Works Festival; The Fellowship: National Endowment for the Arts. Cruz: Tom Jones, Henry IV, Part 2, Henry V, The Taming Love’s Labor’s Lost, Othello, Lorenzaccio, Macbeth (2004), Oedipus Plays at the Athens Festival; Five by Tenn for TRAINING: University of Miami: BFA in of the Shrew, The Man in the Iron Mask; Back Room Cyrano, Five by Tenn (at the Kennedy Center), The Silent The Acting Company’s tour of Eastern Europe; Show Theatre/Music; Yale School of Drama: MFA in Shakespeare Project: Two Gentlemen of Verona; San Jose Woman, The Winter’s Tale (2002), The Duchess of Malfi, Boat for the National Cultural Center Opera House in Repertory Theatre: Next Fall; UC Santa Cruz: Stupid Theatre Management. The Oedipus Plays, Hedda Gabler, Don Carlos, Timon of Cairo; The White Devil for the Adelaide Festival. Fucking Bird, Machinal, Peer Gynt, The Congresswomen, Athens, Camino Real, Coriolanus, King Lear (1999), The BOARD MEMBERSHIPS: Theatre Communications Hair. TRAINING: University of California, Santa Cruz: Drew Lichtenberg Merchant of Venice, King John, A Woman of No Importance, Group; New York State Council on the Arts; D.C. Masters in Theatre Arts—Directing Emphasis; BA in Literary Manager Sweet Bird of Youth, Peer Gynt, Mourning Becomes Electra, Commission on the Arts and Humanities; National Theatre Arts; BA in English Language Literature. Henry VI, Volpone, Henry V, Henry IV, The Doctor’s Endowment for the Arts; Opera America’s 80s and STC: The Metromaniacs, The Tempest, As You Like It, Dilemma, Richard II, Much Ado about Nothing (also at Beyond. AWARDS: Commander of the British Empire Private Lives, Henry IV, Part 1 and 2, The Importance Carter C. Wooddell McCarter Theatre Center), Mother Courage and Her (C.B.E.); Theater Hall of Fame; seven Helen Hayes of Being Earnest, A Funny Thing Happened on the Children, Hamlet, Measure for Measure, King Lear (1991), Awards for Outstanding Director; 2011 CAGLCC Way to the Forum, Measure for Measure, Coriolanus, Resident Casting Director Richard III (1990), The Merry Wives of Windsor, Twelfth Excellence in Business Award; 2010 WAPAVA Richard Wallenstein, Hughie, A Midsummer Night’s Dream, STC: The Metromaniacs, The Tempest, As You Like Night, As You Like It, Antony and Cleopatra (1988), Bauer Award; 2007 Mayor’s Arts Award Special The Government Inspector, The Merry Wives of It, The Winter’s Tale, The Merry Wives of Windsor, Macbeth (1988), All’s Well That Ends Well, The Winter’s Recognition for Shakespeare in Washington; 2007 Windsor, The Servant of Two Masters, Strange Two Gentlemen of Verona, Much Ado About Nothing, Tale (1987), Romeo and Juliet. NEW YORK: Broadway: Stephen and Christine Schwarzman Award for Interlude, The Two Gentlemen of Verona, Much Ado The Merchant of Venice. Other Casting Experience: NEW YORK: Broadway: Belasco Theatre: End of Show Boat (Tony nomination), Cat on a Hot Tin Roof, Excellence in Theatre; 2007 Sir John Gielgud Award for About Nothing, The Heir Apparent. REGIONAL: the Rainbow (dir: Terry Johnson), Booth Theatre: Whodunnit, Night of the Tribades, Death of Bessie Smith, Excellence in the Dramatic Arts; 2005 Person of the Year STC/McCarter Theatre Center: The Winter’s Tale; High (dir: Rob Ruggiero); Off-Broadway (partial): Here’s Where I Belong, Othello, Henry V; Off-Broadway: from the National Theatre Conference; 2004 Center Stage: Caroline, or Change, Cyrano, Around Shakespeare Society Medal; 2002 William Shakespeare Barrow Street Theatre: Tribes (dir: ), Manhattan Theatre Club: Five By Tenn, Sleep Deprivation the World in 80 Days; Yale Repertory Theatre: Lulu Chamber, Funnyhouse of a Negro, The Rimers of Eldritch, Award for Classical Theatre; 2002 Distinguished Our Town (dir: David Cromer), The Acting (dir. Mark Lamos); Williamstown Theatre Festival: Three by Thornton Wilder, A Month in the Country, Hedda Washingtonian Award from The University Club; 2002 Company, Marjorie S. Deane Little Theater: Freud’s The Front Page, The Physicists, The Corn is Green; Gabler, The Señorita from Tacna, Ten by Tennessee; New GLAAD Capitol Award; 1997 Mayor’s Arts Award for Last Session (dir: Tyler Marchant), Cherry Lane New York Shakespeare Festival: Macbeth (dir. York Shakespeare Festival: Measure for Measure Excellence in an Artistic Discipline; 1996 Opera Music Theatre: A Perfect Future (dir: Wilson Milam), Moisés Kaufman); OTHER: Yale School of Drama: (Saturday Review Award). Artistic Director: The Acting Theater International’s Bravo Award; 1990 First Annual SoHo Playhouse: The Irish Curse (dir: Matt Lenz), Tarell McCraney’s In the Red and Brown Water Company, 1978–1988. TEACHING: Shakespeare’s Globe Award; 1989 Washingtonian Beckett Theatre: An Error of the Moon (dir: Kim (US premiere); TEACHING: Catholic University Director of Juilliard Drama Division July 1992–May Magazine Washingtonian of the Year; 1989 Washington Weild); NYC Other: Lincoln Center Institute: of America; Eugene Lang College at the New 2006, faculty member 1967–; Shakespeare Theatre Post Award for Distinguished Community Service; 1988 Hamlet, Fly, Sheila’s Day. NATIONAL TOURS: The Company Academy for Classical Acting at the George John Houseman Award. HONORARY DOCTORATES: School. TRAINING: Yale School of Drama: MFA in Acting Company, Riverdance. REGIONAL: Alley Washington University. Previously: New York University of South Carolina; Kean College; The Dramaturgy & Dramatic Criticism. Theatre, Center Stage, Barrington Stage Company, University; Circle in the Square Theatre School; ; The American University. The Broad Stage, Contemporary American Princeton University; British American Drama Ellen O’Brien Theater Festival, Crossroads Theatre Company, Academy; founder of Chautauqua Theatre Head of Voice and Text Chris Jennings George Street Playhouse, The Guthrie Theater, Conservatory. REGIONAL: Arena Stage: A Touch of the STC: More than 50 productions over 11 Managing Director Pittsburgh Public Theater, TheaterWorks Poet; Signature Theatre: Pride in the Falls of Autrey Mill, seasons. ACADEMY FOR CLASSICAL STC: Joined the Company in Hartford. RADIO: BBC Radio: The Piano Lesson Otabenga; Guthrie Theater: The Duchess of Malfi; ACTING: 22 productions of Shakespeare 2004. ADMINISTRATION: (dir: Claire Grove). TELEVISION: Sesame American Repertory Theatre: ‘Tis Pity She’s a Whore; and Jacobean plays. REGIONAL: Ford’s Workshop: The Electric Company, Pilot: 27 East. American Shakespeare Theatre: Artistic Director for 10 General Manager: Trinity Theatre, Arena Stage, Charlotte Repertory FILM: Columbia Pictures: Premium Rush (dir: years, more than 20 productions; McCarter Theatre Repertory Company (1999– Company, Aurora/Magic Theaters; People’s David Koepp), Choice Films: Junction (dir: Tony Center: Artistic Director for five seasons, including 2004), Theatre for a New Audience (1997– Light and Theatre Company; Shakespeare Glazer). OTHER: McCorkle Casting Ltd: Casting Beyond the Horizon, filmed for PBS; Chautauqua 1999); Associate Managing Director: Yale Santa Cruz; North Carolina Shakespeare Assistant (2008-2009), Casting Associate (2010- Theatre: Artistic Director, including The Glass Menagerie Repertory Theatre; Assistant to the Executive Festival. PUBLICATIONS: Articles in The 2012). Education Associate: TFANA (2012-2014). with Tom Hulce; Goodman Theatre: Old Times Producer: Manhattan Theater Club; Founder/ Voice and Speech Review, Shakespeare in the TRAINING: Rutgers University - Mason Gross (MacArthur Award), The Tooth of Crime (Jefferson Producing Director: Texas Young Playwrights Twentieth Century, Shakespearean Illuminations, School of the Arts: BFA in Theatre Arts.

42 43 WILL ON THE HILL Monday, June 15, 2015 Join us for one of Washington’s most anticipated spring events— Will on the Hill! This Shakespeare Theatre Company annual benefit welcomes Senators, Representatives and distinguished Washington insiders to the stage to perform scenes from Shakespeare with a Capitol twist. Infused with comedic references to contemporary politics, this distinctive and fun-filled evening is sure to leave you in stitches. Will on the Hill pays tribute to the unique dynamic of our city and raises indispensable funds for the Shakespeare Theatre Company’s artistic, education and community engagement programs.

“Imagine a theatre full of really, “To play or not to play, really enthusiastic second-graders that is the question” who have been allowed to dress however they want NBC Washington and who spout jokes about cap and trade and the liberal media.” Washington Post Express WILL ON SUMMER Performance Intensives THEHILL MEDIA SPONSOR 2015 for Ages 7-18 2015 EXECUTIVE SPONSORS

2015 DIRECTOR SPONSORS Stephen and Lisa Ryan Venable LLP For additional information about Will on the Hill 2015, please contact STC’s Corporate Giving Office 202.547.5688 at 202.547.3230 ext. 2331 or [email protected]. www.shakespearetheatre.org/camp Photos of Harry Hamlin, Michael Kahn & Representative Mike McIntyre, Representative Terri Sewell, The Hill’s Bob Cusack and Representative Dina Titus and Representative Kevin Yoder by Kevin Allen.

The Shakespeare Theatre Company is a 501(c)(3) non-profit organization. STC does not retain or employ registered lobbyists or foreign agents. FACES AND VOICES 12th-century townhouse in France, this collection, on display in the Gift Store seeing the Berlin Wall dismantled, and and Orchestra Lobby at Sidney Harman now showcasing their collection during Hall, audiences are able to witness first- the Shakespeare Theatre Company’s hand centuries of inspiration derived by To Dream run of Man of La Mancha. Cervantes’ enduring characters. Included The musical is only one of a number in the exhibit, merely a fraction of the of works of art inspired by Cervantes’ Alterowitz’s collection, are editions written and Keep epic tale. Some even believe that in languages from Swedish to Thai, Cardenio, a supposed “lost play” of editions as old as 1792 and as recent as the Dreaming Shakespeare’s, was inspired by a section past decade, and examples of illustrations of Don Quixote. The characters Quixote by artists ranging from Salvador Dali to and Sancho made an appearance Gustave Doré. Also included are statues, A Journey to The on the Shakespeare Theatre stage in needlepoint, a chess set, and one hand- Michael Kahn’s production of Tennessee made Don Quixote helmet. Journey Errant William’s Camino Real. On other stages The Alterowitz’s shelves may be a around the world little empty during the Don Quixotes have production’s run, but danced choreography Have an objective sharing their passion by Alexander Gorsky for the story is part of or George Balanchine. for as long as their love of collecting. He’s appeared in operas Barbara explains it and in songs by popular you’re alive and as a “focal point” for artists ranging from conversations. “You the Cherry Poppin’ it keeps you alive meet people in a Daddies to Coldplay, different way, it opens Barbara and Ralph Alterowitz, provided by the couple. and the alternative band up a conversation with They Might Be Giants other people about their was named, in part, for dreams, their ideals… By Hannah Hessel Ratner collector moving from place to place a reference to Don Quixote mistaking you can have much more meaningful trying to find the next purchase. For windmills for giants. conversations.” Audience members will Don the Alterowitzs, collecting brings an ince its first publication The story of Don Quixote was first have the opportunity to see how Quixote Quixote additional thrill: their relationship grew, has inspired readers to seen on film as early as 1906 in a French and Sancho have been envisioned blossomed, and solidified over visits to dream of their own quests. It’s short. Every decade since has reimaged through multiple eyes as they think Sno surprise that the word “quixotic” used bookstores all over the world. It the errant knight for film. Some filmed about their own impossible dreams. was on an early date, lunch followed by has entered the popular lexicon as an versions have become prominent in Though, or perhaps because, the a trip to the bookstore around the corner, idealistic striving towards a potentially their inability to reach audiences. Orson collection will never be complete, Ralph that Ralph spotted an old edition of unrealistic and impractical goal. Wells famously directed an unfinished and Barbara will keep exploring the Don Quixote, leather bound with gilded Throughout the centuries many have version over decades, which was later world with a Quixotesque frame. “You edges. He bought it and two days later seen elements of their own life in this edited and released by Spanish director have an objective for as long as you’re the two returned following another lunch man who gives his all despite the odds Jesus Franco. Director alive and it keeps you alive…you’re against him. The story and dreams have and spotted a second used edition. A also famously failed at making an always looking for the next step.” collection was born. been passed down through multiple adaption, which was later turned into In speaking about the collection, editions, artist’s variations, and multi- the documentary — lingual translations; many of which Ralph keeps returning to the idea of supposedly he continues to pursue his Hannah Hessel Ratner, STC’s Audience have found their way onto the shelves of love. “It’s almost like another love,” dream—and The Man Who Killed Don Enrichment Manager, is in her fourth season he shares and later describes it as Potomac, Maryland, residents Ralph and Quixote featuring John Hurt will be at STC and holds an MFA in dramaturgy from “an insatiable love.” Ralph continues Barbara Alterowitz. released in 2016. Columbia University. talking about the adventures the two Collecting is its own type of quixotic The 1965 musical Man of La Mancha was of them have shared thanks to the action. There is no end to new editions successful in reviving Cervantes’ intentions collection: staying in a stranger’s and the thrill of discovery keeps the for a modern audience. Accompanied by

46 47 $10,000 to $14,999 Louis Delair, Jr. $2,500 to $4,999 SUPPORT Anonymous The Dimick Foundation Anonymous (4) Esthy and Jim Adler Craig Dunkerley and Patricia Haigh ACA Airlines for America Barclays EagleBank Miriam and Robert Adelstein Batir Foundation, Inc. Marietta Ethier Sunny and Bill Alsup We gratefully acknowledge the following donors that currently Sheila and Kenneth Berman BA ExxonMobil Dean Amel and Terry Savela Mr. and Mrs. Sameer Bhargava Bob, Kathy and Lauren Fabia Tony Anderson and Kevin Lorei support the work of the 2014-2015 season. Peter A. Bieger Anne and Burton Fishman BA Mr. Decker Anstrom and Ms. Debra and Leon Black Forest City Washington Sherron Hiemstra This list is current as of January 30, 2015. Booz Allen Tim and Susan Gibson ACA AMB Stephen P. Anthony BA BP America Scott and Lauren Gilbert Celia and Keith Arnaud CBRE Group Inc Drs. Hilda and William O. Bank T Richard A. and M. Theresa Gollhofer $100,000 and above The Beech Street Foundation Michael R. 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Burden, III Sue and Leslie Goldman The Mark & Carol Hyman Fund Dawn and James Causey Gould Property Group The International Union of Audrey Chang and Michael Vernick Grossberg, Yochelson, Fox & Beyda LLP Bricklayers and Allied Ellen MacNeille Charles T Craftworkers Monica Rose Chodur $50,000 to $99,999 Anita M. Antenucci T The Philip L. Graham Fund Jerry and Isabel Jasinowski Scott Kaufmann T K&L Gates Joan Choppin T BA Afsaneh Beschloss Mr. Jerry Knoll Margot Kelly Daniel F. Katz Linda and John Cogdill The Morris & Gwendolyn Cafritz National Capital Arts & Cultural Roger W. Langsdorf Lou and Irene Katz Mary Cole AMB BA Foundation Affairs Program/US Comm. The Ludwig Family Foundation David and Anne Kendall Jeff and Jacky Copeland ACA Dr. Paul and Mrs. Rose Carter T of Fine Arts Mr. and Mrs. Eric Luse Marcel LaFollette and Jeffrey Stine Cornerstone Government Affairs, LLC AMB Dr. Mark Epstein and Alan and Marsha Paller Mr. and Mrs. Andrew Marino David A. Lamdin Marshall B. Coyne Foundation Amoretta Hoeber T Alice and David Rubenstein McLane Company Inc Bill Lands and Norberta Schoene Douglas W. Crandall Mr. and Mrs. Robert Falb T The Shubert Foundation Eleanor Merrill T Richard Levi and Susan Perry The Charles Delmar Foundation Mr. and Mrs. Andrew Florance T Morgan Stanley Heidi and Bill Maloni Beverly and Richard Dietz Tom Mounteer and Bobby Zeliger The George Preston Marshall Dorchester Towers and Dorchester Clarke Murphy and Heather Foundation Apts on Columbia Pike Hammond Kathleen Matthews in Arlington $25,000 to $49,999 Anonymous (2) Abbe David Lowell and Michelle Newberry Hilary B. Miller and Dr. Katherine Fynnette Eaton and James E. Miller N. Bent BA Emily, Susannah and Michael Eig Molly A. Meegan T BA Nissan North America, Inc. William S. Abell Foundation Hazel C. Moore Helaine G. Elderkin BA Jacqueline B. Mars Theodore B. Olson and Lady Booth Anne and Ronald Abramson Olson BA Morningstar Philanthropic Fund Elmendorf Ryan T BA 1616 Nick and Marla Allard Estate of Suzy Platt Porterfield, Lowenthal, Fettig & Kristine Morris Michael Evans BA T BA Stephen E. Allis T Stephen and Lisa Ryan Sears, LLC Oracle America Corporation Expedia, Inc Paul M. Angell Family Vicki and Roger Sant 1616 PwC Pinnacle West Capital Corporation Rob and Anne Faris Foundation Shakespeare for a New Steve and Diane Rudis Polinger Development Co. Leo Fisher and Sue Duncan City Fund Generation Victor Shargai and Craig Pascal The Prince Charitable Trusts Mr. And Mrs. Barry Fleishman Debevoise & Plimpton LLP Fredda Sparks and The Honorable Robert E. Sharkey Property Capital LLC Claire Frankel AMB James A. Feldman and Kent Montavon and Dr. Phoebe Sharkey Willam Pugh and Lisa Orange Franklin Square Group Natalie Wexler Tom and Cathie Woteki AMB Doug and Gabriela Smith Reset Public Affairs Paige Franklin and David Pancost Turner & Goss Clarice Smith Risk International FTI Consulting FTI Consulting Bruce and Lori Laitman Rosenblum T Sovereign Strategy Limited Burton Gerber Nina Zolt and Miles Gilburne The Hattie M. Strong Foundation Gerri and Murray Rottenberg 1616 Carol and Ken Gideon BA Catherine Held US Trust Company Security Industry And Financial In memory of Mr. and Ms. Antoine Van Agtmael Markets Association Angelique Glass 1616 ACA AMB Mr. and Mrs. Jay Velasquez Software and Information Industry Josh Goldfoot BA VISA U.S.A., Inc. Association Donald H. Goodyear, Jr. Vornado/Charles E. Smith LP Janet W. Solinger and Jacob K. Ms. Myra P. Gossens $15,000 to $24,999 The Max and Victoria Dreyfus In memory of Marilyn J. Lynch Patricia and David Vos Foundation Goldhaber John E. 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Richard H. Cleva and Madonna K. Starr Barry Kropf Jeffrey P. Cunard BA Dr. Mark T. Lewellyn

48 49 Marjorie and John Lewis Ronald Bottomly David H. Holtzman Ms. Elise Rabekoff and Mr. Mr. Timothy Cole and Carole and John Varela James M Loots, Esq. and Barbara Michael Boyd Ms. Ann Homan BA Christopher Gladstone Ms. Kathy Galloway Mr. and Mrs. L. Von Hoffman Dougherty Loots, Esq. BA David Bradley William L. Hopkins and Mrs. Eden Rafshoon JoEllen and Michael Collins Washington Resource Associates Linda Matthews Thomas C. Brennan Richard B. Anderson 1616 Lloyd and Claudia Randolph 1616 BA Ronald Costell, M.D. and Bill and Ted Wears-Richards Mary McCue ACA AMB Chris H. and James D. Bridgeman Antonia B. Ianniello and Susan and Ronald Rappaport Marsha E. Swiss David Webber and Joelle Faucher The McGwin/Bent Family Howard M. Brown ACA George M. Chuzi Steven and Anne Reed The Honorable and Ms. Tom Davis Mr. and Mrs. Rosanne Weber Thomas and Ingrid Mr. and Mrs. Douglas Brown Maxine Isaacs Phillip Reiman and Leslie Binns Emma R. Dolly Dieter Ms. Judith Weintraub McPherson Foundation Elizabeth Buchbinder Mr. Steven Janssen Alberto J. Rivera BA Mr. and Mrs. John Dillon Gerry Widdicombe Rajesh, Radhika and Karan Murari Mr. Michael Butterfield and Ms. Hallee John, Pam and Kim Jaske Steve and Diane Rothman AMB Richard and Patricia Draper Dr. Frederick W. Wolff and Dr. National Association of Realtors Morgan BA Birdie Johnson BA Ron and Sharon Salluzzo Susan and Dorsey Dunn Catherine Chura National Rural Electric Capitol Hill Community Foundation ACA Eric Kadel BA Mrs. Stanley J. Sarnoff 1616 Donna Z. Eden Penny S Younce Cooperative Association Joanna and Alan Capps Michael Kades and Mary Giovagnoli BA Richard and Rochelle Schwab ESPY Energy Solutions Navigators Global Cherrie and Matthew Chalifoux Stephanie Kanwit Kannon and Victoria Shanmugam BA Gary and Naomi Felsenfeld $500–$999 Louisa and Bill Newlin Barry Coburn BA Rick Kasten Dickstein Shapiro Sandy and Jim Fitzpatrick Anonymous (23) The Nora Roberts Foundation Mr. and Mrs. Anthony C. Collins Candace and Hadrian Katz Margaret Sheer BA Aaron and Susan Fuller George and Polla Abed Melanie and Larry Nussdorf Francis and Julia Creighton Joe and Joanne Kelly Kelly S. Shoop BA Ms. Elizabeth Galvin Actors’ Equity Foundation, Inc. The OB-C Group, LLC Ms. Suzanne Cremins Thomas R. and Laurie S. Kelly Patricia L. Sims, Esq. and David M. Angela and Dan Goelzer Vickie and David Adamson James Oldham and Elizabeth Mr. and Mrs. Mark Darnell Melinda Kimble Sims, Esq. BA Alisa M. 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50 51 Ann Castiglione-Cataldo and Doris Hausser Patrick Martyn and Eric Lomboy Jeff Stoller Kathy and Bob Baer Rachel Conway Walt Ennaco Dr. James A. Heath Peter Mathers and Bonnie Beavers Dorothy and Donald Stone Beverly Baker Beverly Cook Athena Caul and Brian Bayliss Kari and Max Heerman Winton E. Matthews, Jr. Barbara Stout Sheila Eddy Baker Jovana Cooke Sarah and William Cavitt Shawn C. Helm and Catherine McClave Judi and Richard Sugarman Dr. Sheryl D. Baldwin 1616 John F. Copes Ms. Janice L. Clark J. Thomas Marchitto Cynthia and Richard McConnell Maureen Sullivan Joaquin and Maite Ballestero Ms. Victoria Cordova John Clark and Ana Steele Clark Margaret Hennessey William A. McDaniel, Jr. Alice J. Sziede Nancy and Ed Barsa William and Elise Couper Thomas and Robin Clarke Jane and David Heppel David and Sarah McMeans Carol and Harry Tabak Andrea Baruchin Robert W. Cover Matthew and Sharon Coffey Bernardo Hirschman Susan McNabb and Brent Hillman Drs. 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Grotte Raudel Che Lopez the Theatres that support them In honor of Marla and Nick Allard Edward Chmielowski Mary Fuson Bruce and Georgia Sue Guenther Kenneth and Joan Lorber Phil Sharp Mr. and Mrs. Theodore E. Allison Heidi Christensen Robert Gallagher Tom Gusdorff and Ed Dennison Joan Lorr Catherine M. Sheppard Ambassador and Mrs. Frank Ricky Christie Mr. Melvin L. Gamble Will Guthrie and Ellen Epstein Lucinda A. Low and Adele Z. Silver Almaguer Lily L. Chu and Gerald W. Weaver II Mary Alice Garber Cliff Hackett Daniel B. Magraw Donald M. Simonds Bill and Sue Alterman Mrs. Nancy B. Clark Dr. Arlyn Garcia-Perez Jack E. Hairston Jr. Linda L. Lum Dr. and Mrs. Delbert D. Smith Gabriela Anaya and Bruce Tanzer Ray Clark, Rhonda Starkey and Alex Dennis Gerrity Dr. Sara Hale Henry and Osborne Mackie and Morgan Delaney Randall Speck and Samantha Nolan Kirsten Anderson and Jeff Harris Mr. and Mrs. Robert L. 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52 53 Burton Goldberg Audrius Kirvelaitis Mr. and Mrs. Robert W. Mustain Jr. Don G. Scroggin and Linda Walsh In Kind David M. Goldberg Mr. and Mrs. Alan Kistler Anne Mytych Julie L. Williams Mr. Peter Q. Weeks - ElderCaring Asia Mrs. Lawrence Goldmuntz Frank D. Kistler Dr. Valerie Neal Joan Searby Thomas and Elizabeth Wehr BridgeStreet Worldwide Ellen L. Goldstein In memory of Robert Knouss Elizabeth Neblett Jeffrey and Patricia Sedgwick Allan and Marjorie Weingold Carmine’s David Goldston Tom and Kathy Knox Amy Nelson Ellen Seidman and Walter Slocombe David Wentworth Cedar Restaurant Margaret Goodman Jeffrey and Barbara Kohler Winkle Williams Nemeth Seema Shah Karen Whaley and Jim Magner Constellation Brands, Inc. Brent Gordon and Susan Miller W. Gary Kohlman and Lesley Zork Melissa Nielson and Edward Yawn In Honor and Appreciation to the June White Dillard Corner Bakery Cafe Karen and Hal Gordon Michael W. Kolakowski Mrs. William A. 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Sanborn KEY TO SYMBOLS Colleen and Jack Katz Bobbe and Herb Mintz Pat Sandall Sheila Kautt Alexandra and Jeffrey Mitchell Mary Sanders 1616 Members of the Society of 1616, the Theatre’s BA Members of the Bard Association, dedicated Mr. and Mrs. Robert Keatley Barbara A. Mitchell Mr. Charles B. Saunders, Jr. planned giving society supporters of the Theatre who are members Thomas Keenan, Dr. Joel Shapiro and Ryland and Mary L. Mitchell Christy Schmidt and Tony and ACA Supporters of the Academy for Classical Acting of the legal community. To join, please contact Elizabeth Lane Jessine A. Monaghan Peter Bayne AMB Ambassadors of the Theatre, generous donors Sara Conklin at 202.547.3230 ext. 2312. Mr. Allen L Keiswetter Dr. and Mrs. T. Lindsay Moore Steve and Rhonda Schonberg who help to develop and enhance our patrons’ T Members of the Board of Trustees John and Tommie Kelley John and Livezey More Geane and Richard Schubert relationship with the Theatre. To join, please contact * Deceased Caroline E. Kenney Kathryn A. Morrical Jane Schubert and Robert Woolfolk Sara Conklin at 202.547.3230 ext. 2312. Don and Alison Kerr Melvin Mosley Dr. and Mrs Frank and Judge Gladys Kessler William Mullinix Susan Schuster Sandy and Pat Kimble Elisabeth Murawski Joyce and Richard Schwartz Every effort has been made to ensure that this list is accurate. If your name is misspelled or omitted, please Michael and Carolyn Kirby Viola S. Musher accept our apologies and inform Arielle Katz in Member Services at 202.547.1122, option 7, or email [email protected].

54 55 TARTUFFE An interview with Tartuffe director Dominique Serrand

What was your inspiration for this expect Molière to be like that. It’s production? a powerful, moving experience.

The very first time we approached It is important for there to be this piece was when the strong production values. We Republican congress in 1994 want it to feel like a celebration was attacking artists—the and a pleasure for the audience religious right and the far right to see the production. Even if it’s began comparing artists to dark and brutal, it’s made for an pornographers. We thought, “Now audience. is the time to do Tartuffe.” How do you expect D.C. audiences Once you pursue a piece, you to react? realize what you could do better. For the design, we wanted a Considering what the city is, a 17th-century interior that could big political capital, I think it will get very bright—we didn’t want touch a nerve—but in a good way. a dark setting, hypocrisy should be in a bright environment. It Will you share a bit about working slowly becomes reminiscent of a with Steven Epp? cathedral or a church within the home. The lights remain the same Steve and I have worked together throughout: we wanted to start for many years—coproducing, the show at the end of the night, adapting, on comedies, operas, when the family conversation new pieces. We have a long, long about Tartuffe has been going on history together. He’s not just all night. The play continues all a great actor but an author, an through the evening up to night adaptor, and the artistic director again. of our new company, our baby, The Moving Company. We share This production is coming from a common language about runs at South Coast Repertory how to approach a piece. He’s and Berkeley Repertory. What has a true collaborator: we start at the audience response been? the beginning of a project and TARTUFFE at work together throughout the Sidney Harman Hall Obviously it is a very strong piece, process to its production. Here, not the comedic farce Molière he is not just playing Tartuffe begins June 2. that people expect. It’s a more but was central to the process, in brutal piece, darker. The comedic developing it, and how we went Tartuffe is a Co-production with South Coast Repertory and Berkeley Repertory Theatre. elements are still there—of course, about producing the piece. He it’s Molière—particularly in the is also a great ambassador for Tickets now on sale at Photo: Nathan Keepers as Laurent, Steven Epp as Tartuffe, servants. But it’s darker, not talking to new artists and actors Brian Hostenske as Damis and ensemble members in South ShakespeareTheatre.org farcical. The audience response who might not be familiar with Coast Repertory’s production of Molière’s Tartuffe, adapted by David Ball, directed by Dominique Serrand. Photo by has been very good. They didn’t our work. Debora Robinson/SCR. or 202.547.1122.

56 57 FREE ABOUT STC CREATIVE CONVERSATIONS STC is the recipient of the 2012 Regional Kahn leads the Academy for Classical March 17-April 26 Theatre Tony Award® as well as 81 Helen Acting, a one-year master’s program PAGE AND STAGE Sidney Harman Hall Hayes Awards and 322 nominations. at The George Washington University. Sunday, March 22, 5–6 p.m. Beyond the classroom, educational The Forum SUN MON TUES WED THUR FRI SAT Presenting Classic Theatre opportunities like Creative Conversations MARCH/APRIL The mission of the Shakespeare Theatre are available to all in the community. BOOKENDS 17 18 19 20 2:00 21 Company is to present classic theatre Wednesday, March 25, pre- 7:30 7:30 8:00 8:00 8:00 of scope and size in an imaginative, Supporting the Community (5:30 p.m.) and post-show 22 23 24 25 26 27 2:00 28 skillful and accessible American style STC has helped to revitalize both 7:30 P 7:45 O 7:30 B 8:00 T 8:00 Y 8:00 The Forum 30 31 1 that honors the playwrights’ language the Penn Quarter and Capitol Hill 2:00 29 2 3 2:00 4 7:30 7:30 7:30 Y 8:00 C 8:00 8:00 and intentions while viewing their work neighborhoods and to drive an artistic REFLECTIONS 5 6 7 8 9 10 2:00 A 11 through a 21st-Century lens. renaissance in Washington, D.C. Each Saturday, April 11, 6 p.m. 7:30 7:30 8:00 8:00 8:00 R season programs such as Free For All The Forum 2:00 12 13 14 15 16 17 2:00 18 Promoting Artistic Excellence and Happenings at the Harman present 7:30 7:30 S 7:30 D 8:00 8:00 STC’s productions blend classical free performances to residents and DISCUSSION IN ASL 2:00 19 20 21 12:00 22 23 24 2:00 25 traditions and modern originality. visitors alike, allowing new audiences to Tuesday, April 14, Pre-show (6 pm) 7:30 7:30 7:30 8:00 8:00 8:00 Hallmarks include exquisite sets, elegant engage with the performing arts. The Forum 2:00 26 costumes, leading classical actors 7:30 and, above all, an uncompromising Playing a Part POST-PERFORMANCE A AUDIO-DESCRIBED P PAGE AND STAGE dedication to quality. STC is profoundly grateful for the DISCUSSION B BOOKENDS R REFLECTONS support of those who are passionately Wednesday, April 15 C OPEN CAPTION S SIGN-INTERPRETED Fostering Artists and Audiences committed to classical theatre. This Post-Show D POST-PERFORMANCE DISCUSSION T TWITTER NIGHT Sidney Harman Hall STC is a leader in arts education, with a support has allowed STC to reach out O OPENING NIGHT Y YOUNG PROSE NIGHT myriad of user-friendly pathways that and expand boundaries, to inform teach, stimulate and encourage learners and inspire the community and to Open Caption performances made by possible by a grant from of all ages. Meaningful school programs challenge its audiences to think are available for middle and high school critically and creatively. Learn more at students and educators, and adult classes ShakespeareTheatre.org/Support or call are held throughout the year. Michael 202.547.1122, option 7. ABOUT ACA

The Academy for Classical Acting (ACA), the Shakespeare Theatre Company’s premier MFA training program run jointly with The George Washington University, is celebrating its 15th year! Every fall, 14-16 professional actors from all over the United States and abroad join the Shakespeare Theatre Company’s remarkable faculty to immerse themselves in a rigorous, one-year, conservatory-style training program especially dedicated to mastering the complexities of heightened text and classical acting. In the past 15 years, the ACA has trained 210 actors of all ages. Some of the alumni go on to careers in NYC, some return to their places of origin, and many make homes for themselves right here in Washington, D.C. On any given night, dozens of ACA graduates can be seen on stages throughout the D.C. metro area. And of those D.C.-based alumni, many have been nominated for and even won the coveted Helen Hayes Award. Already, midway through STC’s 2014-2015 season, seven ACA grads spanning the years 2003-2014 can be seen playing roles on our own stages.

Now that the 2015 Audition Tour is over, the ACA students and faculty are ramping up for our summer repertory season. Every summer, the ACA produces two shows: one written by William Shakespeare, and one from the Jacobean era. The productions are a great way for audiences to experience classical theatre in an intimate setting. Be sure to check ShakespeareTheatre.org/Academy in the coming months for information on this year’s season.

58 THE ACADEMY FOR CLASSICAL ACTING Costume Painters Rhonda Key, Debra Nash, Ted Stumpf SHAKESPEARE THEATRE COMPANY The Academy for Classical Acting Costume Design Intern Eileen Chaffer Director Gary Logan Costume Interns Stephanie Goad, Hilary-Ann Rogers, STAFF ACA Program Coordinator Sloane A. L. Spencer Britteny Holland Faculty Members Isabelle Anderson, Technical Director Mark Prey Christopher Cherr, Dody DiSanto, Edward Gero, Assistant Technical Director Kelly Dunnavant Artistic Director Michael Kahn MARKETING AND COMMUNICATIONS Leslie Jacobson, Lisae Jordan, Michael Kahn, Floyd King, Scene Shop Foreman Eric Dixon Managing Director Chris Jennings Chief Marketing Officer Michael Porto Gary Logan, Ellen O’Brien, Roberta Stiehm, Brad Waller Scene Shop Administrator Jessica Noones Executive Assistant to the Artistic Director Associate Marketing Director Austin Auclair Carpenters John Cincioni, Jr., Carrie Cox, and Managing Director David Lloyd Olson Marketing and PRODUCTION Christian Sullivan Communications Assistant Alison Ehrenreich Director of Production Tom Haygood Overhire Carpenter Matt Grisdela ARTISTIC Associate Director of Audience Development Associate Directors of Production Tim Bailey, Charge Scenic Artist Sally Glass Associate Artistic Director Alan Paul and Promotions Teddy Rodger Kimberly Lewis Scenic Artist Jose Ortiz Head of Voice and Text Ellen O’Brien Audience Services Director Joy Johnson Production Administrator Emmy Landskroener Scenic Painter Kelly Rice Resident Casting Director Carter C. Wooddell Group Sales and Ticket Manager Danielle Sparklin Resident Production Stage Manager Joseph Smelser Overhire Painters Laura Genson, Deni Holl, Literary Manager Drew Lichtenberg Ticket Manager Tim Helmer Stage Manager Bret Torbeck Sam Shelton Artistic Fellow Garrett Anderson Sales Associates Zindzi Ali, Evelyn Chester, Heather Hart, Assistant Stage Managers Elizabeth Clewley, Prop Shop Director Elaine Sabal Directing Fellow Katherine Burris Christopher Hunt, Jessica Kaplan, Andre McBride, Kristy Matero, Hannah R. O’Neil, Assistant Prop Shop Director Guy Palace Affiliated Artists Keith Baxter, Avery Brooks, Izetta Mobley, Kristin Nam, Christopher Pearson, Robyn M. Zalewski Lead Props Artisan Chris Young Helen Carey, Veanne Cox, Aubrey Deeker, Jessica Peña Torres, Carmelitta Riley, Marie Riley, Production Assistants Christopher Kee Anaya-Gorman, Props Painter/Sculptor Eric Hammesfahr Colleen Delany, Franchelle Stewart Dorn, Crystal Stewart, Lauren Ward, Michael Wharton, Maria Tejada Soft Goods Artisan Rebecca Williams Cameron Folmar, Adam Green, Edward Gero, Genevieve Williams Stage Management Interns Sean Carleton, Master Electrician Sean R. McCarthy Philip Goodwin, Jane Greenwood, Michael Hayden, Call Center Director Monte Hostetler Rebecca Shipman Assistant Master Electrician Lauren A. Hill Simon Higlett, Christopher Innvar, Stacy Keach, Teleservices Associates Bill Billante, Thomas Brennan, Costume Director Wendy Stark Prey Harman Electrician Brian Flory Floyd King, Andrew Long, Ethan McSweeny, Kelly Carson, Eric Garvanne, James Graham, Floor Manager Julie Rose Lansburgh Electrician Jacob Moriarty-Stone Jennifer Moeller, David Muse, James Noone, Cheryl Kempler, Elizabeth MacMahon, Jill McAfee, Resident Design Assistant Lynda Myers Associate Lighting Designer Amith Chandrashaker Drapers Denise Aitchison, Randall Exton, Patrick Page, Robert Perdziola, Nancy Robinette, Joanna Morgan, Colin O’Bryan, Cynthia Perdue, Follow Spot Operators Calvin Anguiaro, Logan Duvall Lee Sanders, Amy Sloane, Chris Soto Tonja Petersen David Sabin, Miriam Silverman, Derek Smith, Audio/Video Supervisor Brian Burchett Director of Event Sales and First Hands Jennifer Rankin, Sandra Thomas Assistant Audio/Video Supervisor Roc Lee Walt Spangler, Tom Story, Rebecca Taichman, Partnerships Ryan Michael Hayes Sara Trebing Live Mix Engineer Ryan Gravett Ted van Griethuysen, Craig Wallace, Adam Wernick, Theatre Services Manager Dora Hoyt Stitchers Kathryn Hansen, Michelle Ordway, Gregory Wooddell Lansburgh Board Operator Amanda Labonte, House Manager Amanda Loerch Donna Sachs A2 Natalie Kinsaul ADMINISTRATION Lead House Managers Erica Brown, Addie Gayoso, Overhire Stitchers Ellis Greer, Erin Nugent Stage Operations Supervisor Louie Baxter Director of Administration James Roemer Stephanie McLean, Carissa Milliken, Rae Davidson Lead Crafts Artisan Joshua Kelley Assistant Stage Operations Supervisor Fran Hopkins-Maxwell Associate Managing Director Anne S. Kohn Assistant House Managers Melissa Adler, Jeremy Blunt, Crafts Artisan Kara Tesch Stage Carpenters Laura Cividanes, Nick Custer Human Resources Manager Lindsey Morris Thomas Browne, Quintin Cary, Irene Casey, Wardrobe Supervisors Jeanette Lee Porter, Run Crew and Follow Spot Operator Marc Wasserman Human Resources Coordinator Danielle Mohlman Chris Hunt, Susan Koenig, Carmelitta Riley, Monica Speaker Overhire Run Crew Abbie Clements Accounting Manager Mary Margaret Finneran Marie Riley, Bridget Scheaff, Christopher Schoen, Wig Master Dori Beau Seigneur Staff Accountant Marco Dimuzio Alex Zeese Retail and Concessions Manager Kristra Forney Company Manager Mackenzie Douglas Concessions Associates Eileen Chaffer, Company Management Intern Brittney Holland Adrianne Glover, Stephanie McLean, Justin Lane, Receptionist Ursula David AUDIENCE SERVICES Chris Pearson, Marie Riley, Petrice Roman, LANSBURGH THEATRE ACCESSIBILITY General Management Intern Kathryn Atkinson Christopher Schoen, Eric Woods Director of Operations Timothy Fowler 450 7th Street NW Our theatres are accessible to persons with disabilities. Retail Associates Quintin Cary, Eileen Chaffer, Please request special seating at time of ticket Operations/IT Assistant Melissa Adler Tiara Copeland, Kara Tesch SIDNEY HARMAN HALL purchase and arrive 30 minutes before curtain for Theatre Building Engineer Dave F. Henderson Harman Receptionist and 610 F Street NW priority seating. Theatre Monitors Milton Garcia, Jeff Whitlow Open-captioned performance of Man of La Mancha. Usher Coordinator Rachel Toporek TICKET AND GROUP SALES: Thursday, April 2 at 8 p.m. Facilities Custodian Jorge Ramos Lima Associate Director of Tickets: 202.547.1122 Audio-described performance of Man of La Mancha: Harman Custodians Dennis Fuller, Mirna Guzman, Communications and PR Heather C. Jackson Toll-free: 877.487.8849 Saturday, April 11 at 2 p.m. Roderick Proctor Web and Media Programmer Brien Patterson Group Sales: 202.547.3230 ext. 3405 Sign-interpreted performance of Man of La Mancha: Lansburgh Custodians Zulma I. Bonilla, Box Office fax: 202.608.6350 Tuesday, April 14 at 7:30 p.m. Visual Communications Bookings: 202.547.3230 ext. 2321 An audio-enhancement system is available for all Izilma Membreno, David Guzman Manager S. Christian Taylor-Low performances. Both headset receivers and neck loops Director of Information Technology Brian McCloskey Junior Graphic Designer Taylor Henry BOX OFFICE PHONE HOURS (both theatres): (to use with hearing aids outfitted with a “T” switch) Systems Administrator Patrick Hayes Graphic Design Intern Keshia Pace Daily: noon–6 p.m. are available at the coat check on a first-come basis. (Box Office window open until curtain time) Program notes in Braille and large print are available at Database Administrator Brian Grundstrom Photographers Kevin Allen, Margot Schulman, The Lansburgh Box Office is closed on the the coat check. Scott Suchman weekends if there is no performance at the DEVELOPMENT EDUCATION Lansburgh Theatre. Support for the Shakespeare Theatre Company’s Accessibility Program provided by Chief Development Officer Ed Zakreski Director of Education Samantha K. Wyer CONCESSIONS AND GIFT SHOPS: Senior Associate Director of Development Amy Gardner Associate Director of Education Dat Ngo Food and beverages are available one hour before Individual Campaigns Officer Betsy Purves Audience Enrichment Manager Hannah Hessel Ratner each performance. Pre-order before curtain for Community Engagement Manager Laura Henry Buda immediate pick-up at intermission. Major Gifts Officer Sara Conklin Support for open captioning provided by School Programs Manager Vanessa Hope Lansburgh Theatre and Sidney Harman Hall Special Events Manager Moriah Mills gift shops are open before curtain, at intermission and Development Operations and Training Programs Manager Brent Stansell for a short time after each performance. Membership Manager Kristina Williams Education Coordinator Emily Marcello Development Operation Coordinator Sara Seidler Education Intern Sarah Kate Patterson CONNECT WITH US: Facebook.com/ShakespeareinDC The video and/or audio recording of this performance Membership Coordinator Arielle Katz Affiliated Teaching Artists Carolyn Agan, Wyckham Avery, Tonya Beckman, Lise Bruneau, Dan Crane, Twitter @ShakespeareinDC by any means whatsoever are strictly prohibited. As a Associate Director of Development Noreen Major YouTube.com/ShakespeareTheatreCo Vince Eisenson, Jim Gagne, Tara Giordano, Brit Herring, courtesy, turn off pagers, telephones, watch alarms and Corporate Giving Manager Katie Burns-Yocum Flickr.com/ShakespeareTheatreCompany all other electronic devices during the performance. Paul Hope, Naomi Jacobson, Mark Jaster, Joy Jones, Instagram @ShakespeareinDC Director of Foundation and Manu Kumasi, Jessica Lefkow, Sabrina Mandell, Chelsea Government Relations Meghann Babo-Shroyer Mayo, Brenna McDonough, Victoria Reinsel, Paul Reisman, Audience members may be reached during a Institutional Fundraising Coordinator Michael Trottier Melissa Richardson, Nancy Robinette, Joel David Santner, Latecomers will be seated at management’s discretion. performance by calling house management at Development Intern Amanda Herman Kristala Smart, Rebecca Swislow, Katie Tkel, Eva Wilhelm, 202.547.3230 ext. 2517. Specify seat location. Esther Williamson, Carter Wooddell, Gregory Wooddell, Jaysen Wright, Daniel Yabut 60 Donate $5,000 or more to the ACA at GWU, and name a scholarship for one of our talented MFA Candidates!

Your support is crucial to our goal of providing financial aid to 100% of our students.

Learn more at ShakespeareTheatre.org/Support or gwu.edu/give Contact Amy Gardner at STC 202.547.3230 ext. 2327 or GWU 202.994.9909

“If you can perform the classics, you can perform anything.” Michael Kahn Artistic Director, STC