FREE FOR ALL 2015 Special Issue

presented by TABLE OF Dear Friend, CONTENTS Welcome to the 25th Anniversary of the Shakespeare Theatre Company’s Free For All. Since its 1 Title page inception in 1991, STC has brought Recipient of the 2012 Regional Theatre Tony Award® free productions of Shakespeare to 3 Cast more than 665,000 people with the Artistic Director Michael Kahn generous support of our sponsors, Managing Director Chris Jennings 5 Synopsis donors, and Friends of Free For All. I have always been 7 About the Playwright thankful to Joseph Papp for giving me a chance to direct for Shakespeare in the Park when I was a young director, William Shakespeare’s 8 Bottomless Dream by and it was my dream to create a similar tradition of free Shakespeare here in Washington. Thank you all for Drew Lichtenberg helping to make it come true. 10 Coming Back to This play, A Midsummer Night’s Dream, has lain close to the Dream by Drew my heart ever since I saw the legendary “white box” Lichtenberg production by Peter Brook in 1970, which reinvented our understanding of how Shakespeare could be staged 12 Cast Biographies and interpreted. One of the great things about Ethan McSweeny’s production from 2012 is the manner in which th 16 25 Anniversary: it similarly reminded audiences they were in the theatre. A Visual History After all, when Shakespeare first staged this play, he did Performances begin September 1, 2015 Sidney Harman Hall of Free For All so on an empty stage, asking his audience to use their imaginations to conjure up the green world of the forest 20 Artistic Biographies and its fairies. As you peer into the corners of the darkened Director Resident Casting Director stage, see if you can’t use your own imaginations. You Ethan McSweeny Carter C. Wooddell 25 About STC might spot some ghosts of the theatre. Choreographer Original New York Casting 27 For STC This season, we bring you productions that similarly Peter Pucci Binder Casting reinterpret the classics for 21st-century imaginations. In 30 Friends of Free For All the first of two world premieres and STC’s contribution to Choreography Re-created by Jay Binder, CSA/Jack Bowdan, CSA the citywide Women’s Voices Theater Festival, decorated 32 STC Staff Nancy Anderson international director Yaël Farber adapts Salomé, a biblical Literary Manager/Dramaturg Audience Services tale that still resonates thousands of years later. For the 33 holiday season, STC Associate Artistic Director Alan Paul Scenic Designer Drew Lichtenberg puts us in the 1940s backstage world of Kiss Me, Kate. I Lee Savage expect to have a little bit of fun with critics, since they’ve Voice & Text Coach had so much fun with me over the years, with a double-bill Costume Designer Ellen O’Brien of The Critic (adapted by Jeffrey Hatcher in our other world Jennifer Moeller premiere) and The Real Inspector Hound. In February, Ron Assistant Director Daniels directs Faran Tahir in a production of Othello that Lighting Designer Jenny Lord will take a deep look at Islam and Christianity. The following Tyler Micoleau month STC presents the American premiere of Headlong’s Production Stage Manager 1984 by George Orwell, a multimedia production that Lighting Adapter Joseph Smelser* explores surveillance and the security state, topics as relevant Jason Arnold now as they ever have been. Rising young director Ed Assistant Stage Manager Sylvanus Iskandar closes the season with his edgy alternative Original Music/Sound Designer Robyn M. Zalewski* take on The Taming of the Shrew in a production sure to make Fitz Patton you think hard about identity and gender roles. Wig and Makeup Designer I look forward to seeing you at the theatre. Leah J. Loukas Warm regards, A Midsummer Night’s Dream is presented by Apartments.com, with leadership support from Ameriprise Financial, CoStar Group Inc., The Dow Chemical Company, Erkiletian, The Free For All Community Partners, Friends of Free For All, Philip L. Graham Fund and Westfield LLC. Exclusive media support provided by The Washington Post. Additional support provided by The Max and Victoria Dreyfus Foundation. In-Kind Support provided by Jaleo, Metro Weekly, Red Velvet Cupcakery and Teaism. Cover photo: Adam Green by S. Christian Taylor-Low Michael Kahn *Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers. Artistic Director Shakespeare Theatre Company 1 CAST A MIDSUMMER NIGHT’S DREAM

THE COURT

Theseus, Duke of Athens...... Dion Johnstone* Hippolyta, Queen of the Amazon...... Sara Topham* Philostrate, Theseus’ Master of the Revels...... Adam Green* Lysander...... Stephen Stocking* THANK YOU Hermia...... Chasten Harmon* Helena...... Julia Ogilvie* Demetrius...... Ralph Adriel Johnson* FOR BRINGING Egeus, Hermia’s father...... Gregory Linington* FAIRIES

Oberon, King of the Fairies...... Dion Johnstone* Puck...... Adam Green* THE CLASSICS Titania, Queen of the Fairies...... Sara Topham* First Fairy...... Nancy Anderson* Changeling Boy...... Maxwell Balay, Warren Burns (alternate in role) TO LIFE. MECHANICALS Peter Quince, a carpenter...... Ted van Griethuysen* Nick Bottom, a weaver...... Tom Alan Robbins* Francis Flute, a bellows-mender...... Avery Clark* Tom Snout, a tinker...... Herschel Sparber* Snug, a joiner...... Hugh Nees* ERKILETIAN IS PROUD TO SUPPORT Robin Starveling, a tailor...... Christopher Bloch* THE SHAKESPEARE THEATRE COMPANY. Ensemble...... Laura Artesi, Freddie Bennett, Ross Destiche, Jacqui Jarrold, Taylor Robinson, Ryan Sellers, Jessica Thorne

Production Assistants: Rebecca Shipman, Maria Tejada Music Vocal Coach/Dance Captain: Nancy Anderson* Fight Consultant: Brad Waller

Special thanks to Chuck Fox, Chris Lewton, and Paul Villalovoz of Arena Stage.

THERE WILL BE ONE 15-MINUTE INTERMISSION

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 United States, 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), 4401 FORD AVE | SUITE 400 American Alliance for Theatre and Education and D.C. Arts and Humanities Education Collaborative. ALEXANDRIA, VA 22302 703.671.4400 Copyright laws prohibit the use of cameras and recording equipment in the theatre. ERKILETIAN.COM *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers.

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Erk_SHakespeareAd_57059a.indd 1 8/12/14 11:49 AM STC BOARD OF TRUSTEES SYNOPSIS A MIDSUMMER NIGHT’S DREAM

Michael R. Klein, Chair Bernard F. McKay Robert E. Falb, Vice Chair Melissa A. Moss John Hill, Treasurer Stephen M. Ryan Pauline A. Schneider, Secretary George Stamas Theseus, Duke of Athens, is preparing for his wedding to Hippolyta, Queen of the Michael Kahn, Artistic Director Lady Westmacott Rob Wilder Amazons, but he is interrupted by Egeus, who demands Theseus resolve a quarrel. Egeus Trustees Tom Woteki Nicholas W. Allard Suzanne S. Youngkin wants his daughter Hermia to marry Demetrius, but Hermia is in love with Lysander Ashley M. Allen Stephen E. Allis Ex-Officio Trustees and wishes to marry him instead. Theseus tells Hermia she must marry Demetrius, enter Anita M. Antenucci Chris Jennings, Managing Director Jeffrey D. Bauman Afsaneh Beschloss Emeritus Trustees a nunnery, or be put to death, as the law of Athens dictates. Hermia and Lysander, left William C. Bodie R. Robert Linowes*, Founding Chairman Landon Butler James B. Adler alone, resolve to flee, but they are interrupted by Helena, who tells them of her love for Dr. Paul Carter Heidi L. Berry* Peter Cherukuri David A. Brody* Demetrius. Hermia, seeking to comfort her friend, tells her about their plan of escape to Gloria Dittus Melvin S. Cohen* Debbie Driesman Ralph P. Davidson* the woods and Helena resolves to reveal their designs to Demetrius. Elsewhere, a group Dr. Mark Epstein James F. Fitzpatrick Stefanie Erkiletian Dr. Sidney Harman* of Athenian working-men, or “Rude Mechanicals,” decide to put on a play for Theseus’ Dr. Natwar Gandhi Lady Manning Miles Gilburne Kathleen Matthews wedding, and leave to rehearse in the woods. Barbara Harman William F. McSweeny John R. Hauge V. Sue Molina Stephen A. Hopkins Walter Pincus Lawrence A. Hough Eden Rafshoon In the forest outside Athens, fairies are dealing with the fallout from the quarrel between W. Mike House Emily Malino Scheuer* Jerry J. Jasinowski Lady Sheinwald Oberon, the fairy king, and Titania, the fairy queen. Deciding to take revenge, Oberon orders Norman D. Jemal Mrs. Louis Sullivan Scott Kaufmann Daniel W. Toohey his mischievous spirit Puck to find a magical flower, whose potion causes a person to fall in Sudhakar Kesavan Sarah Valente Kevin Kolevar Lady Wright Abbe David Lowell love with the next creature he or she sees. Meanwhile, Demetrius is searching for Hermia in the Gail MacKinnon *Deceased forest, with Helena following at his heels. She begs him to love her, but he remains disgusted by her advances. Oberon overhears their conversation and, pitying Helena, directs Puck to charm Demetrius with the nectar of the flower when he falls asleep, making him fall in love with her when he awakes. Entering Titania’s grove as she sleeps, Oberon squeezes the love potion onto her eyes. Puck, meanwhile, mistakes the sleeping Lysander for Demetrius. Waking, “Sweet Moon, I thank thee for Lysander spots Helena and falls in love with her under the influence of the love potion. thy Sunny beaMS. After Puck happens upon the Mechanicals’ rehearsal, he transforms Bottom the weaver’s head into a donkey’s. The Mechanicals flee, and Bottom awakens Titania, who falls in love with him I thank thee, Moon, for ShInIng at first sight. Meanwhile, Oberon, realizing that Puck mistook Lysander for Demetrius, orders now So brIght.” him to correct his error. Puck enchants Demetrius and he awakens, sees Helena, and swears a Midsummer night’s Dream, act 5, scene 2 his love to her. Hermia arrives and all four Lovers begin fighting. Puck leads them all over the forest, until, exhausted, they lie down and sleep. Puck then lifts the charm from Lysander’s eyes, so that he will love Hermia again. The Shakespeare Theatre Company is grateful for the support of the Sponsors of the 2015 Free For All. Titania falls asleep with Bottom in her grove. Oberon wakes Titania and disenchants her, as Puck changes the sleeping Bottom back into a man. Elsewhere in the forest, day approaches Presented by and Theseus and Hippolyta enter with a hunting party. Seeing the Lovers asleep on the ground, Theseus wakes them. Demetrius and Helena now love each other, as do Lysander and Hermia. Theseus approves, and all leave for Athens. Bottom awakes and recounts his dream. Rushing back to Athens, Bottom promises the Mechanicals their play will be a success.

Leadership Support Exclusive Media Sponsor In Kind At the wedding celebration, after Theseus and the Lovers have all been married, he selects the Mechanicals’ play, “Pyramus and Thisbe,” to the great amusement of the court. After the play’s conclusion, Theseus, Hippolyta, and the Lovers retire to bed. Puck, Oberon, and Titania

Additional Support enter and bless the marriage beds. The play ends with Puck’s epilogue, in which he asks the audience for their applause.

5 ABOUT THE PLAYWRIGHT WILLIAM SHAKESPEARE

No man’s life has been the subject of more speculation than William Shakespeare’s. Consequently, we know a great deal of information about Shakespeare’s life—far more than that of any of his contemporaries.

Scholars agree that William Shakespeare was baptized at Stratford-upon-Avon on April 26, 1564. Tradition holds that he was born three days earlier, on April 23—the same date on which, 52 years later, he was recorded to have died. On “ ‘tis almost fairy time” November 27, 1582, a marriage license was granted to 18-year- old William and 26-year-old Anne Hathaway. A daughter, Susanna, was born to the couple six - A Midsummer Night’s Dream months later. We know that twins, Hamnet and Judith, were born soon after and were baptized. What we do not know is how the young Shakespeare came to travel to London and how he first came to the stage. Whatever the truth may be, it is clear that in the years between 1582 and 1592 The Washington Post celebrates Shakespeare became involved in the London theatre scene and was a principal actor with one of the artistic work of William Shakespeare several repertory companies. as exclusive media sponsor of the By 1592 Shakespeare had become prominent enough as a playwright to engender professional jealousy. A rival playwright, Robert Greene, wrote snidely of an “upstart crow, beautified with Shakespeare Free for All our feathers, that with his tiger’s heart wrapped in a player’s hide supposes he is in his own conceit the only Shakescene in a country.” In the years between 1591 and 1593, the theatres of London were temporarily shut down due to an outbreak of plague; Shakespeare turned his considerable talents to sonnet writing and acquired a patron, the young Lord Southampton, to whom two of his poems, “Venus and Adonis” and “The Rape of Lucrece,” are dedicated.

In 1594, Shakespeare was listed as a stockholder in the Lord Chamberlain’s Men; he was a member of this company for the rest of his career, which lasted until approximately 1611. When James I came to the throne in 1603, he issued a royal license to Shakespeare and his fellow players, inviting them to call themselves The King’s Men. The King’s Men leased the Blackfriars Theatre in London in 1608. This theatre, which had artificial lighting and was probably heated, served as their winter playhouse. The famous Globe Theatre was their summer performance space.

In the century after Shakespeare’s death, his reputation fell into the depths of obscurity. Beginning with his 18th century rehabilitation by Samuel Johnson and others, Shakespeare began to be recognized as the greatest writer of English drama. After his adoption as a patron saint of the German romantics, Shakespeare’s writings began to transcend national and linguistic boundaries. Today, his plays are performed, read, and studied all over the globe—far more than any comparable figure. No other playwright has made such a significant and lasting contribution washingtonpost.com/community to world literature.

7 The Cast of Shakespeare Theatre Company’s 2012 production of A Midsummer Night’s Dream, directed by Ethan McSweeny. Photo by Scott Suchman. ottomless ream (or, Palindromes & Palimpsests) B by Drew Lichtenberg, Literary Manager

here’s a famous proverbial saying specifically to the Mechanicals’ play, and more about music criticism: that it’s like generally to the theatre itself, “and the worst “dancing aboutD architecture.” The same are no worse, if imagination amend them.” “It Tchallenge applies to anyone writing about A must be your imagination then,” Hippolyta Midsummer Night’s Dream. Trying to describe replies, “and not theirs.” In other words, the it is like pinning a fluttering butterfly against theatre relies upon the imaginations of its the wall. The play’s effect is musical as much creators and spectators, rather than the finery as dramatic, its register lyric, its form elegant of its stage dressing, to cast its magic spell. and dancelike. Another name for this kind of layered Structurally speaking, Midsummer’s two structure is the palimpsest. The word comes of the most beautiful verse in the English spiritual journey, is when he wakes up in the halves mirror each other, like a palindrome. from the Latin palimpsestus, “scraped clean language, they unite such disparate strands forest and tries to remember the details of We begin in the Athenian court, with Theseus and used again.” The Romans wrote on wax as Ovidian mythology, medieval tradition, his dream. Of all the mortals in the play, the sorting the competing claims of four young tablets (palimpsests), which were erased, or and psychologically modern portraits of lowly weaver is the one who comes closest lovers as he prepares to wed Hippolyta. “scraped clean,” and written over. On Latin individuals adrift in an unknowable world. to remembering the mystic fairy world. He We next meet the “Rude Mechanicals,” lesson books, old meanings, like the natural They are a young writer’s works, teeming speaks haltingly, and in his confused senses Athenian working-men rehearsing a play order undergirding society, or the imagination with the spirit of invention, and they Shakespeare translates nonsense into the for Theseus’ nuptials. Thirdly, we enter the lying beneath the conscious mind, were often are almost postmodern in their virtuosic sublime, evoking uncannily the experience of forest, a fairyland into which the lovers and visible in ghostly echoes. In the medieval era, conflation of high and low source material. dream: “The eye of man hath not heard, the Mechanicals stumble. Coming out of the layered, palimpsestic structures were used in In A Midsummer Night’s Dream, for example, ear of man hath not seen, man’s hand is not forest, the play proceeds in reverse order: We religious dramas depicting spiritual journeys, Puck is identified with Robin Goodfellow, a able to taste, his tongue to conceive, nor his see a short scene with the mechanicals and end such as the stations of the cross, the pilgrim’s mischievous spirit from popular folklore, but heart to report what my dream was!” back at the Athenian court with the promised progress, or a saint’s life. On the one hand, it he also functions within the play as Cupid, This is Shakespeare’s gloss on Paul’s first wedding rites, transformed unfathomably is exceedingly odd that Shakespeare should the classical archer who curses mortals with epistle to the Corinthians. “The eye hath not from their first reference into the Mechanicals’ adapt this structure for A Midsummer Night’s irrational love. Doubling as Philostrate seen, the ear heard, neither have entered play, “Pyramus and Thisbe.” Dream, a secular play that functions mostly as at the end of the action, Puck serves as into the heart of man the things which God Shakespeare thus telescopes us into and a comedy. But it’s precisely this palindromic Theseus’ Master of Revels, an Elizabethan hath prepared for them that love Him.” Paul out of the dreamlike world of the forest, stripping-away that helps to explain the play’s functionary who reviews the Mechanicals’ concludes this sermon by trying to describe mediating from the most formal level of curiously intense power, and Shakespeare’s play and approves it for Theseus. Titania and the limits of the spiritual experience, but he civilization (Theseus’ court) to the everyday palimpsestic method of overwriting his Hippolyta, the Fairy and Amazon queens, finds only depths. “The Spirit searcheth all (the Mechanicals’ rehearsal room) to the source materials provides harmony to the respectively, evoke both Venus and Diana, things, yea, the deep things of God.” I believe natural world (the magical forest). This last dissonances of its world. yoking the hedonistic goddess of love to that Shakespeare encountered this last phrase “green world” is the theatre in its purest form: A Midsummer Night’s Dream was written the virginal goddess of the moon. Similarly, in the Tyndale New Testament of 1526. The It hosts a series of magical metamorphoses during Shakespeare’s “lyric period” Bottom, an Athenian weaver, wears the ass- most popular book in Elizabethan England, and is described in such hyperbolic language between 1592 and 1596, an extraordinary head of a medieval mummer in the world of the Tyndale translates “the deep things of that it has proven impossible for directors stretch in which he also wrote Richard II, the forest. After performing the role of the God” as “the bottom of God’s secrets.” And so, to illustrate completely. It is Shakespeare’s Romeo and Juliet, and epic poems such as Romeo-like Pyramus before the Duke, he in Bottom’s vision, the theatrical dream evokes own ingenious adaptation of the empty “The Rape of Lucrece” and “Venus and leads the company in a bergomask, a dance the bottomless apprehension of the divine Elizabethan stage, a world limited only by the Adonis.” He had begun, most likely, the associated with the Harlequin of the commedia itself. It is little wonder the effect of this play is imaginations of the playwright, his company, sequence of sonnets addressed to “the dell’ arte, who like Bottom is also a rustic fool. so hard to describe. It is about, and makes one and his audience. Which is to say, limitless. beautiful youth.” Collectively, these works Bottom’s most profound echo, the moment feel, indescribable sensations. “The best in this kind are but shadows,” are unlike anything that had been seen or when Shakespeare’s palimpsestic method Theseus says to Hippolyta, referring read in English literature. Written in some comes closest to its medieval sense of a

8 9 Ethan McSweeny returns to Coming Back to the A Midsummer Night’s Dream and the Free For All

by Drew Lichtenberg, Literary Manager

The Cast of Shakespeare Theatre Company’s 2012 production of A Midsummer Night’s Dream, directed by Ethan McSweeny. Photo by Scott Suchman. The Cast of Shakespeare Theatre Company’s 2014 production of The Tempest, directed by Ethan McSweeny. Photo by Scott Suchman.

here’s something magical about the three worlds—the magical forest of the bunch of things I’d been working on at STC and come in and audition and he did a very good watching something you worked fairies, the civil pomp of the Athenian court, in my own approach to Shakespeare, but the job.” Denying that he’s trying to launch another on very closely,” Ethan McSweeny the play-within-a-play of the Mechanicals—to work done by the entire organization to research theatrical career, McSweeny is nevertheless proud “Tsays, sounding a bit like Bottom trying to be revealed as what they always were: rich and develop all sorts of things that don’t exist in that he was able to reach this one young audience remember his dream. metaphors for the theatrical experience. The real life (chandelier trapezes come to mind) was member. “He has been interested since he saw “When I go to the closing performance of one setting also allowed McSweeny and the creative really something. And that meant that a couple of Midsummer a few years ago. I think when he of my shows, I can see all the strata of the rock. team to behave like kids in a, well, a magical years later, as a company we then went into The realized there were parts for young boys it sort of The audience sees the results, but I can see a forest, letting their imaginations run free. Tempest with more confidence in our collective sparked his imagination, you know?” moment and remember when we first imagined Now the memories come flooding back: ability to start with a bold idea and find the ways McSweeny, a native Washingtonian, got his it, when we first worked with the actor, when it pianos flying in mid-air, mud-fights conjured to achieve it.” own start with Shakespeare Theatre Company didn’t work. It’s a slightly out-of-time, out-of- out of laborious research and development, As to whether anything will be different this and the Free For All. As a young directing intern, body experience. You remember all the steps at fairies swinging from chandeliers and climbing time around, McSweeny hopes so, pointing McSweeny worked on the very first Free For All the same time that you’re actually witnessing the the walls. “Oh my gosh, the trap doors!” out that scheduling conflicts have led to a host production. “I was the child-wrangler on The thing happening. And that can be, that can be McSweeny says. “We really had never done of new actors in the roles of Oberon/Theseus, Merry Wives of Windsor,” he says, admitting that great. Sometimes it can be a little bit …” He trails multiple trap doors with different events Bottom, and all of the young lovers, though he is the passage of time has given him pause. “It was off, trying to find the right words. “I’m not sure. underneath them, including trampolines!” happy to have continuity elsewhere in the cast. 25 years ago. That’s absolutely insane.” I get a little emotional at times because you can He later adds, “Most of what we did in the “Fortunately we’ve got the extraordinary Adam Prepping for rehearsal, watching archival feel the work that went into it.” rehearsal hall was kind of a sketch. It didn’t Green back as Puck and the equally extraordinary videos of his old production, McSweeny’s In a wide-ranging conversation a few really take shape until we got onstage, which Sara Topham back as Titania.” He pauses, attention turns back to the play, to the lovers weeks before starting rehearsals, McSweeny was engineered with tools that allowed us to adding wryly, “not to mention the pivotal Nancy waking up from the night’s revels, groggily trying seems awash in memories as he recalls his treat it like a playground and a jungle gym.” Anderson as First Fairy.” This may be another to recall their incredible night. It’s Shakespeare 2012 production of A Midsummer Night’s Keen-eyed subscribers were able to spot many reason for McSweeny’s wistful tone. After writing about the theatre, isn’t it? “Yes, and I’m Dream. McSweeny, who has compared the of the storytelling tools McSweeny employed for working together on Midsummer, McSweeny and sure that is exactly what Shakespeare intended. play to a “three-ring circus,” knows all too Midsummer returning in his 2014-2015 production Anderson (who was also music coach for the There is something gained and also something well the challenges it poses to a director’s of The Tempest. Not only did both productions production) are now married. lost when you wake up from a dream: What is it imagination. “In the initial 2012 production, seamlessly integrate three Shakespearean worlds, McSweeny has other personal connections to Caliban says in the sounds and sweet airs speech, it was my ambition to make all the different both also allowed STC to fill the 774-seat Sidney the show. Admitting that he has designed these ‘that when I waked I cried to dream again’? stories work equally well: the Fairies, the Harman Hall with Broadway-worthy feats of last two productions with his young nephew You’re glad to have had the experience, but you Lovers, the Mechanicals. I’d like to think the song and spectacle. McSweeny, who has directed in mind, as an introduction to Shakespeare for can’t go back.” He pauses, “In our case, we do get remount is a testament to our success, but many productions in the Harman, credits young audiences, this Free For All marks another to go back to it, but a little bit differently. It’s like it is also a challenge to get all those plates Midsummer as a personal breakthrough, one that McSweeny making his theatrical debut. “My getting to visit an old friend. When you get to do spinning again.” continued into The Tempest. “I was really proud nephew, Warren Burns, is going to be one of our something a second time, you get a chance to give McSweeny’s specific insight was to set of what we accomplished with Midsummer at two Changeling Boys,” McSweeny says. “I will it a little longer life. I’m very happy to be sharing Midsummer in an abandoned theatre, allowing the time. It represented a coming-together of a say he earned it on his own merits. We made him it again.”

10 11 Festival: Romeo and Juliet, Cymbeline, The Count Iphigenia 2.0 (Tina Landau). NATIONAL TOURS: CAST BIOGRAPHIES of Monte Cristo; Arkansas Repertory Theatre: Les Misérables 25th Anniversary. REGIONAL: The Compleat Wrks of Wllm Shkspr, Hamlet, Henry Yale Repertory Theatre: Familiar, The House that NANCY ANDERSON* FREDDIE BENNETT V, Death of a Salesman, The 39 Steps; Orlando will not Stand; Chautauqua Theater Company: First Fairy Ensemble Shakespeare Theatre: Hamlet, The Importance of A Raisin in the Sun, The Tempest; Berkshire STC: The Tempest, A STC: Dunsinane, The Tempest. Being Earnest, Pride & Prejudice, A Midsummer Theatre Festival: Oklahoma; Papermill Playhouse: th Midsummer Night’s Dream. REGIONAL: Anacostia Night’s Dream, All’s Well That Ends Well, Les Misérables 25 Anniversary; Marriott NEW YORK: Broadway: Playhouse: Occupied Territories; Charm; Pennsylvania Shakespeare Festival: A Lincolnshire: Once on This Island, All Shook Up. Wonderful Town, A Class Act; Florida Studio Theatre: Ruined, Midsummer Night’s Dream; Oldcastle Theatre TRAINING: New York University: BFA Acting; Off-Broadway: York Theatre: Shotgun; Hartford Stage: Antony Company: Three Days of Rain; Premiere Stages: Yale School of Drama: MFA Acting. Fanny Hill (Drama Desk nomination), Jolson and Cleopatra; Pennsylvania Shakespeare Festival: The Shape of Things; Theatresquared: Rabbit & Co. (Drama Desk nomination), Ionescopade, Julius Caesar. FILM: Delusions of Guinevere. Hole, The 39 Steps. TELEVISION: Guiding Light, JACQUI JARROLD Yank!; Playwrights Horizons: Far From TRAINING: University of North Carolina School American Genius. TRAINING: University of Ensemble Heaven. NATIONAL TOURS: Kiss Me, Kate of the Arts; Circle in the Square. WEB: Pride. Arkansas: BA in Theatre. STC: 2012–2013 Acting Fellow; (Helen Hayes nomination), Doctor Dolittle. Measure for Measure, Coriolanus, INTERNATIONAL: London: Kiss Me, Kate CHRISTOPHER BLOCH* ROSS DESTICHE Wallenstein, A Midsummer (Olivier Award nomination). REGIONAL: Robin Starveling Ensemble Night’s Dream. NEW YORK: Goodspeed Musicals: Adelaide in Guys STC: A Midsummer Night’s STC: Tartuffe, The Metromaniacs, The Flea Theatre: The Mysteries (WKSP); The and Dolls; Signature Theatre: Side By Side Dream, Romeo and Juliet. The Tempest. REGIONAL: Seeing Place Theater: Independence; Columbia By Sondheim (Helen Hayes nomination); NATIONAL TOUR: The Buddy Walking Shadow Theatre MFA Collaboration: Spoon River Anthologies. Ogunquit Playhouse: Witches of Eastwick; Holly Story. REGIONAL: Company: Gabriel, The Three OTHER: AATE’s Developmental Premiere of Paper Mill Playhouse/Seattle Fifth Avenue: Ford’s Theatre: 1776, Big Musketeers; Back Room Shakespeare Project: Julius The Edge of Peace. TRAINING: Northwestern Damn Yankees; Goodspeed Opera House: River, Shenandoah, State of the Union, Liberty Caesar; CTC: Fashion 47. INTERNATIONAL: University: BA in Theatre, European History. City of Angels; Paper Mill Playhouse: Peter Smith, A Christmas Carol; Signature Theatre: Egg Theatre (Bath): How I Became a Pirate. FILM: Pan, She Loves Me. TELEVISION: Great Kid Victory, Chess, Les Misérables (Helen Hayes Dear White People, The Control Group. TRAINING: RALPH ADRIEL JOHNSON* Performances: Kiss Me, Kate (West End Award nomination), Kiss of the Spider Woman, University of Minnesota/Guthrie BFA Actor Demetrius production), South Pacific (starring Reba Merrily We Roll Along, Urinetown (Helen Hayes Training Program. WEB: rossdestiche.com. REGIONAL: Trinity Repertory McEntire). AWARDS: Winner of 2011 Noël Award nomination), 20th Century; Arena Stage: Company: Christmas Carol; Coward Competition. CD: Ten Cents a Dance. A Christmas Carol 1941 (Helen Hayes Award ADAM GREEN* Bread Loaf School of English: nomination), Black No More, Damn Yankees; Philostrate/Puck George in Our Town, Jem Finch LAURA ARTESI Everyman Theatre: Rabbit Hole, Uncle Vanya, STC: Affiliated Artist; A in To Kill a Mockingbird, Richard Henry in Blues Ensemble Jaques Brel, Art; Lyric Theatre of Oklahoma: Billy Midsummer Night’s Dream for Mister Charlie, Hector in Troilus and Cressida; REGIONAL: Capital T Theatre: Elliot; Guthrie Theater, The Repertory Theatre of (Helen Hayes nomination), Brown/Trinity MFA: Benedick in Much Ado Gruesome Playground Injuries; St. Louis, Virginia Stage Company; ACT (Seattle), All’s Well That Ends Well About Nothing, Duke Orsino in Twelfth Night, Threshold Repertory Theatre: Indiana Repertory Theatre, Olney Theatre Center, (mainstage and Free For All), Galactic Jack/Doc in The Tooth of Crime, Reverend The Lieutenant of Inishmore; City Round House Theatre, Kennedy Center. FILM: The Two Gentlemen of Verona, The Liar (Helen D/Baby in In the Blood, Lysimachus in Pericles, Theatre: Othello, A Streetcar Damascus Road, Butler MN. TELEVISION: House Hayes nomination, Emery Battis Award). NEW Eilert Lövborg in Hedda Gabler; Oberlin College: Named Desire. TRAINING: The Shakespeare of Cards, The West Wing, Fast Food Films, PBS’s The YORK: Pearl Theatre; Red Bull Theatre; Second Lincoln in Topdog/Underdog, John in Oleanna, Theatre’s Academy for Classical Acting at George Great Northfield Raid, PBS’s The Dakota Conflict. Stage Theatre; Cherry Lane Theatre; Lion Theatre; Banquo in Macbeth, George Armstrong in Intimate Washington University: MFA. AWARDS: 2012 Lunt-Fontanne Fellowship, Theater at St. Clement’s; New York City Opera; Apparel. TRAINING: Brown/Trinity Rep: MFA in Helen Hayes Award for Thénardier in Les 59e59; Theatre for the New City; Walkerspace. Acting; Oberlin College: BA in Theatre. MAXWELL BALAY Misérables. OTHER: Star Wars audio drama. REGIONAL: McCarter Theatre: Figaro in The Changeling Boy Figaro Plays (dir. Stephen Wadsworth), The DION JOHNSTONE* STC: A Midsummer Night’s WARREN BURNS Understudy; Hartford Stage (CT Critics Circle Theseus/Oberon Dream. FILM: The Brooklyn Changeling Boy nomination); Barrington Stage; Alley Theatre; La INTERNATIONAL: Arts Club Brothers Beat the Best. STC: A Midsummer Night’s Jolla Playhouse: Peter in Peter and the Starcatchers Theatre (Vancouver, BC): Dr. TELEVISION: NBC: Blacklist; Dream is Warren’s STC and (dir. Roger Rees/Alex Timbers); Geva Theatre; Martin Luther King Jr. in Katori PBS Kids: Coach Hooper; professional debut. He is a Actors Theatre of Louisville; Arena Stage: Awake Hall’s The Mountaintop; Nine WBOC 16: Outdoors Delmarva; National native Washingtonian and is and Sing! (dir. Zelda Fichandler, Rose Robinson seasons with the Stratford Festival: Othello in Aquarium in Baltimore Commercial. currently a second grader at Cowen Fellowship); Alliance Theatre: The Heart Is Othello, White King in Alice Through the Looking AWARDS: National and regional awards in Capitol Hill Day School. a Lonely Hunter (dir. Doug Hughes); Shakespeare Glass, Aaron in Titus Andronicus, Caliban in competitive hip hop and acrobatic dance. on the Sound. TELEVISION: The Good Wife. The Tempest, Macduff in Macbeth, Oberon in Navy League Cadet Corps awards. PRINT: AVERY CLARK* TRAINING: NYU: MFA; Harvard: BA in English. A Midsummer Night’s Dream, Valentine in The Bruce Lee in Because of Them We Can Francis Flute Two Gentlemen of Verona, Edmund in King Lear, Campaign. TRAINING: Linda Townsend STC: The Tempest, Measure CHASTEN HARMON* Tom Robinson in To Kill a Mockingbird; Mirvish Management. OTHER: National Junior for Measure. REGIONAL: Hermia Productions: originated the role of Boromir Honor Society; Petty Officer 2nd Class in Alley Theatre: Journey’s End; NEW YORK: Broadway: HAIR in the musical of Lord of the Rings (world Navy League Cadet Corps. Cincinnati Playhouse: A (Tony Award® for Best Musical premiere); Canstage: Davey Battle in Take Me Christmas Carol; St. Louis Repertory Theatre: Revival); Off-Broadway: Out (Canadian premiere). FILM: Underground The Heidi Chronicles; Alabama Shakespeare Signature Theatre Company: Railroad: The William Still Story (PBS); X-Files: I

12 13 Want to Believe; The Core. TELEVISION: UPtv’s Moriarty. REGIONAL: Dorset Theatre Festival: original series Ties That Bind (currently playing The Mousetrap (dir. Paul Mullins); Chautauqua Det. Devin Stewart); Stargate SG-1 (Showtime); Theater Company: You Can’t Take It With You, The Listener, Flashpoint (CTV); Defiance (Syfy). Macbeth, Anna Ziegler’s An Incident; LA’s TRAINING: University of Alberta: BFA in Comedy Store, Flappers, and Improv Olympics acting; Graduate of Stratford’s Birmingham West: Comedy Duo Manifesto of Hiatus. FILM: Conservatory for Classical Theatre Training. American Bistro. TELEVISION: Shakespeare, WEB: www.dionjohnstone.com. Hashish & Ish. AWARDS: Presidential Scholar in the Arts. TRAINING: Maggie Flanigan Studio, GREGORY LININGTON* The Juilliard School. WEB: www.juliaogilvie.com. NEED A NEW PLACE? Egeus STC: The Tempest, Tartuffe; NEW TOM ALAN ROBBINS* YORK: Brooklyn Academy of Nick Bottom Music: Throne of Blood; Joe’s Pub NEW YORK: Broadway: SURF THE at The Public: The Unfortunates. Original casts of: The Lion REGIONAL: Arena Stage: Equivocation; The King (Pumbaa), Is He Dead? Kennedy Center: Welcome Home, Jenny Sutter; (Dutchy), Sunset Boulevard, Shakespeare Center of Los Angeles: Romeo & Jerome Robbins’ Broadway, Threepenny Opera, Once APARTMINTERNET Juliet; Berkeley Repertory: Tartuffe; South Coast Upon a Mattress; Other Broadway: Newsies; Off- Repertory: Tartuffe; Center Theatre Group: End Broadway: Brooklynite, On the Verge (New York of the Rainbow; 12-Year Company Member of Premiere), Isn’t It Romantic (World Premiere), The BRAD BELLFLOWER Oregon Shakespeare Festival: Love’s Labor’s Rise and Rise of Daniel Rocket (World Premiere), SILICON VALLEY MAVERICK Lost, Julius Caesar, Merchant of Venice, King Lear, The Cradle Will Rock, King Lear (Cornwall); Public The Tempest, Twelfth Night, The Cherry Orchard, Theater: Henry V. NATIONAL TOURS: Les Equivocation (World Premiere), Oedipus Complex Misérables (Thénardier). REGIONAL: Denver (World Premiere). INTERNATIONAL: 5-Year Center: The Whale (Charlie, World Premiere), Company Member of Misery Loves Company Fiddler on the Roof (Tevye), Man of La Mancha (Prague): As You Like It, Cloud Nine, Angels in (Sancho), The Producers (Franz); Cleveland America, The Age of Reason (World Premiere). Play House: My Name Is Asher Lev. Encores: FILM: Innocent Sleep, Persuasion, Harrison’s Flowers. Music in the Air, Pardon My English, Tenderloin. TELEVISION: Grey’s Anatomy, Shameless, Major TRAINING: The Juilliard School; Crimes, The West Wing. INSTRUCTOR: Southern The Acting Company. Oregon University, Oregon Shakespeare Festival, Los Angeles High School Shakespeare Project. TAYLOR ROBINSON TRAINING: The Groundlings, SITI Company at Ensemble Skidmore College Summer Intensive (dir. Anne REGIONAL: HalfMad Bogart), Two-Year Actor Training Program: Pacific Theatre: Death and the Mermaid; Conservatory for the Performing Arts. WEB: relEASE Physical Theatre: gregorylinington.com. straight on till mourning; Source Theatre: Painted; Synetic Theater: The Island of HUGH NEES* Dr. Moreau (understudy); Capital Fringe: Size Snug Doesn’t Matter; D.C. Black Theatre Festival: STC: Measure for Measure, The Seed. TRAINING: The National Conservatory Government Inspector, The Merry of Dramatic Arts; NCDA’s Actors Repertory Wives of Windsor, King Lear, The Theatre program. Beaux’ Stratagem and others. REGIONAL: Arena Stage: Oklahoma!, Christmas RYAN SELLERS Carol 1941 and others. TELEVISION: Netforce, Ensemble Homicide. OTHER: Member AEA, SAG-AFTRA. REGIONAL: Signature TRAINING: Santa Clara University. Theatre: The Threepenny Opera, Miss Saigon; Studio Theatre: JULIA OGILVIE* Bloody Bloody Andrew Jackson; Helena Imagination Stage: The Night Fairy, Anime NEW YORK: Off-Broadway: Momotaro, P. Nokio, The Wind in the Willows; La MaMa: That Beautiful Laugh Synetic Theater: The Taming of the Shrew, The (starring Alan Tudyk, dir. Three Musketeers, King Lear, A Midsummer Orlando Pabotoy); Steinberg Night’s Dream (Helen Hayes Award, Best Studio: Author/Performer of solo play Freckle and Ensemble), Macbeth, Host and Guest, The Master Burn (dir. Vivienne Benesch); Upright Citizens and Margarita, Antony and Cleopatra, Don Brigade Theatre: in-house sketch comedy team Quixote, Dante, Romeo and Juliet (Helen Hayes

14 years ago, Michael 25Kahn and Board 25 Chair R. Robert Linowes had a vision: to share Shakespeare with all of D.C., with no formality, TH no pressure, and no price of admission. “From ANNIVERSARY the start, the goal was to make the works of Shakespeare accessible FREE to everybody,” explains Kahn. “People who have never been to a theatre or can’t afford a babysitter or don’t know 1994 The Comedy of Errors 1997 Henry V what [Shakespeare] is all about—that’s who we want, and that’s “One of the major goals of Free For All is who keeps showing up. FOR They show up and they to make Shakespeare accessible to diverse experience how these plays, written 400 years audiences. We hope that by changing venues ago, can still resonate.”

we will be able to expand and improve this From the very first performances in the 1991 The Merry Wives of Windsor cherished event.” 4,200-seat Carter Barron Michael Kahn Amphitheatre on the ALL “I love it. I love the atmosphere. edge of Rock Creek Park, Free For All became a 1991 The Merry Wives of Windsor there’s a sense of community. We beloved fixture in the 1992 As You Like It all do it together, whether you District’s culture. Families 1993 Much Ado About Nothing and young people, first- 1994 The Comedy of Errors hold a spear or speak all the lines time theatregoers and 1995 Twelfth Night dedicated patrons came 1996 Measure for Measure of the play.” together in a relaxed, 1997 Henry V Kelly McGillis, 2009 Free For All moves to Sidney Harman Hall festival-like atmosphere. 1998 All’s Well That Ends Well For 25 years, STC has been Viola in Twelfth Night 1999 The Merry Wives of Windsor 2007 Love’s Labor’s Lost “I always say on the first day [of honored to share two 2000 The Merchant of Venice 1995Twelfth Night rehearsal] that the Free For All has weeks of live Shakespeare 2001 King Lear to be fun.” performances with our 2002 The Two Gentlemen of Verona “There was a dog in Two Gents; he D.C. neighbors and friends. 2003 Hamlet Jenny Lord, former Resident Assistant Director 2004 Much Ado About Nothing actually took a bath, if you know what For more FFA memories, 2005 A Midsummer Night’s Dream I’m saying—he washed all his private see the lobby displays and 2006 Pericles parts with his tongue while I was talking. ShakespeareTheatre.org. 2007 Love’s Labor’s Lost The audience went insane watching him 2008 Hamlet do that; it was hysterical. My next line Photos opposite page: Paul Winfield 2009 The Taming of the Shrew and Michael Kahn, courtesy of STC; was: ‘Have you ever seen me do such a Wallace Acton, Peter Webster, and 2010 Twelfth Night Kelly McGillis by Carol Rosegg; 2011 Julius Caesar thing?’ I mean, it was perfect.” Floyd King by Carol Rosegg. Photos this page: Set of The 2012 All’s Well That Ends Well Comedy of Errors by Carol Rosegg; 2013 Much Ado About Nothing Floyd King, Launce in The Two Gentlemen of Verona Harry Hamlin by Carol Rosegg; Theatregoers, courtesy of STC; 2014 The Winter’s Tale Mauricio Tafur Salgado and Hank 2015 A Midsummer Night’s Dream 2013 Much Ado Stratton by Stan Barouh; Mark About Nothing Hairston and Rachel Spencer Hewitt 2002The Two Gentlemen of Verona by Scott Suchman. 16 17 Award, Best Ensemble), Carmen, Othello, The in the U.K. Premiere of Intimate Apparel, Magic Balloon, The Music Box. Dorothy in the world premiere of Love Me Do; Stratford `Festival (Canada): Juliet in Romeo HERSCHEL SPARBER* and Juliet, Ruth in Blithe Spirit, Célimène in The Tom Snout Misanthrope, Olivia in Twelfth Night, Madame de A Midsummer Night’s Dream. Tourvel in Les Liaisons Dangereuses, Wendy in NEW YORK: Broadway: Peter Pan, Gwendolen in The Importance of Being City of Angels (dir. Michael Earnest, Laurencia in Fuente Ovejuna, Mabel in Blakemore), Guys and Dolls An Ideal Husband, Cordelia in King Lear, Laura in (Jerry Zaks). REGIONAL: Kings County The Glass Menagerie, Grace in London Assurance, Shakespeare: Measure for Measure; Mark Rosalind in As You Like It, Brooke Ashton in Taper Forum: The Street of the Sun (world Noises Off, Anne Boleyn in Henry VIII, Cassandra premiere); Cleveland Play House: On the in Agamemnon, Diana in All’s Well That Ends Waterfront (world premiere); Intiman Theatre: Well; Belfry Theatre: The Governess in The Turn Paradise Lost; Hollywood Bowl: Guys and Dolls; of the Screw; Neptune Theatre: Maggie in Cat Tennessee Rep (founding member): Of Mice on a Hot Tin Roof; Theatre Aquarius: Constanze and Men; Reprise Theatre Company: Kiss Me, in Amadeus. FILM/TELEVISION: Eloise at Kate. FILM: The Birdcage, Serenity, Osmosis Jones, Christmastime, The Importance of Being Earnest, Brother, The Search for El Dorado, Lucky Stiff. Twelfth Night. TELEVISON: Star Trek: Deep Space Nine, NYPD Blue, Newsradio, My Name Is Earl, Boy Meets TED VAN GRIETHUYSEN* World, Scarred City (HBO). Peter Quince STC: Affiliated Artist; roles STEPHEN STOCKING* since 1987 include Owen Lysander Glendower in Henry IV, NEW YORK: Off-Broadway: Part I, and Justice Shallow Les Freres Corbusier: Dance in Part II, Antigonus/Old Shepherd in The Dance Revolution. NATIONAL Winter’s Tale (mainstage, FFA), Peter Quince TOUR: Henry and Mudge. in A Midsummer Night’s Dream, King of REGIONAL: Williamstown Theatre Festival: France in All’s Well That Ends Well, Henry Romeo and Juliet, Anything Goes. TRAINING: Leeds in Strange Interlude, Mr. Praed in New York University: MFA; Grad Acting: Rajiv Mrs. Warren’s Profession, Malvolio in Twelfth Joseph’s Describe the Night (world premiere), Night, Andrew Undershaft in Major Barbara, Desire, Three Sisters, Plenty, Landscape of the Body, Holofernes in Love’s Labor’s Lost (mainstage The Beaux’ Strategem, Pale Fires. and RSC), Philip II in Don Carlos, Lear in King Lear, Prospero in The Tempest. NEW JESSICA THORNE YORK: Broadway: Romulus, Inadmissible Ensemble Evidence. REGIONAL: Folger Theatre: The STC: The Tempest, A Midsummer Clandestine Marriage; Studio Theatre: The Night’s Dream. REGIONAL: Steward of Christendom, Life of Galileo, Rock Signature Theatre: Cabaret, ‘n’ Roll, A Number, The Habit of Art, The The Threepenny Opera; Apple Family Plays. INTERNATIONAL: Studio Theatre 2nd Stage: The Rocky Horror Battersea Arts Center, London: Life of Galileo; Show; The Kennedy Center: My Fair Lady in Arcola, London: Broadway from the Shadows; Concert; Synetic Theater: Home of the Soldier, Trafalgar Studios: Mr. Paradise in Lovely The Rough-Faced Girl, Open World; Imagination and Misfit. AWARDS: Seven Helen Hayes Stage: Double Trouble Workshop. WEB: www. Awards; The Will Award; Drama Critics jessicathornemusic.com. Award (NYC); Richard Bauer Award for Outstanding Contribution to Washington SARA TOPHAM* Theatre. INSTRUCTOR: Aesthetic Realism of Hippolyta/Titania Eli Siegel; Columbia University; University STC: A Midsummer Night’s of South Carolina; Manchester Municipal Dream. BROADWAY: University (U.K.). Roundabout Theatre Company: Gwendolen in The Importance of Being Earnest. REGIONAL: The Old Globe: Olivia in Twelfth Night; McCarter Theatre: Cecily in Travesties; Hartford Stage: Miranda in The Tempest, Thea in Hedda Gabler. INTERNATIONAL: London: Mrs. Van Buren

19 REGIONAL: Alliance Theatre, Asolo Repertory Theatre, American Repertory Theatre, Trinity ARTISTIC BIOGRAPHIES Theatre, Berkshire Theatre Festival, Cleveland Repertory Company, Old Globe, Dallas Theater Play House, Dallas Theater Center, George Center, Yale Repertory Company, Long Wharf, Ethan McSweeny ARTISTIC LEADERSHIP: Chautauqua Theater Street Playhouse, Glimmerglass Festival, among others. AWARDS: 2011 Helen Hayes Director Company, Co-Artistic Director, 2004–2011, Goodman Theatre, Guthrie Theater, Milwaukee nomination (Much Ado About Nothing); 2010 STC: Affiliated Artist; The Tempest, A Midsummer National Actors Theatre, Associate Director, Repertory Theatre, Long Wharf, Shakespeare Obie Award for Sustained Excellence; 2010 Night’s Dream, Much Ado About Nothing, The 2003–2005; Resident Director, New Dramatists, & Co., Trinity Repertory Company, Two Lucille Lortel Award (When the Rain Stops Merchant of Venice, Ion, Major Barbara, The 2001–2002; George Street Playhouse, Associate River Theater, Westport Country Playhouse, Falling); 2009 American Theatre Wing Hewes Persians; Harman Center Opening Gala; Artistic Director, 2000–2004. AFFILIATIONS: Washington National Opera, The Wilma Award (Blasted); Obie and Lucille Lortel Associate Director 1993–1997. NEW YORK: Treasurer, Executive Board, SDC, the national Theater, Yale Repertory Theatre. AWARDS: Awards (Bug, 2004); Two Connecticut Critics Broadway: John Grisham’s A Time to Kill, labor union that represents stage directors and Helen Hayes: Much Ado About Nothing; A Circle Awards; four Philadelphia Barrymore Gore Vidal’s The Best Man (Outer Critics choreographers; member, Wingspace Theatrical Midsummer Night’s Dream (nom), Richard III nominations. INSTRUCTOR: Visiting artist Circle and Drama Desk Awards, Tony Award® Design Collective. TRAINING: Received the (nom); Connecticut Critics Circle (The Intelligent positions at Bates, Bowdoin, Yale, Dartmouth; nomination); Off-Broadway: John Logan’s Never first ever undergraduate degree in Theatre and Design of Jenny Chow). OTHER: with Ethan adjunct faculty at Sarah Lawrence College. the Sinner (Outer Critics Circle and Drama Desk Dramatic Arts from Columbia University. WEB: McSweeny: The Gate: A Streetcar Named Desire; EDUCATION: Bowdoin College: BA. Awards); Playwrights Horizons: 100 Saints You ethanmcsweeny.com. Primary Stages: Rx; Center Stage: Who’s Afraid Should Know (Top Ten: Entertainment Weekly of Virginia Woolf?; Old Globe: In This Corner; Jason Arnold and Time Out magazines); Page 73 Productions: Peter Pucci Chautauqua Theater Company: A Raisin in Lighting Adapter 1001 (Top Ten: Time Out); Primary Stages: Rx Choreographer the Sun, Fifty Ways, Love’s Labor’s Lost, Death STC: Julius Caesar (Free For All). NEW YORK: (world premiere), Sabina; National Actors STC: A Midsummer Night’s Dream, The Merry of a Salesman, The Glass Menagerie, The Just. Zero Hour (dir. Piper Laurie). REGIONAL: Theatre: The Persians. INTERNATIONAL: Gate Wives of Windsor, Twelfth Night, The Beaux’ AFFILIATIONS: Member of Wingspace Philadelphia Theatre Company: Resurrection Theatre, Dublin: A Month in the Country, An Stratagem, Ion, A Midsummer Night’s Dream. Theatrical Design and Contributing Editor for (dir. Oz Scott); Hartford Stage: Resurrection; Ideal Husband, A Streetcar Named Desire (Irish NEW YORK: Off-Broadway: Desire, The Money Chance Magazine. INSTRUCTOR: Yale School Arena Stage: Emergence-See!; Theater J: The Times Award for Best Direction); Stratford Shot, The Old Friends, Death Takes a Holiday, of Drama: Design Department. TRAINING: Tale of the Allergist’s Wife, Something You Did, Shakespeare Festival: Pirates of Penzance, Queens Boulevard, The Orphans’ Home Cycle, The Rhode Island School of Design: BFA; Yale Honey Brown Eyes, Without You I’m Nothing Dangerous Liaisons. REGIONAL: more than Late Henry Moss, True Love, Eyes for Consuela. School of Drama: MFA. (starring Sandra Bernhard), The Price, Family 70 productions at theatres around the nation REGIONAL: Movement Direction: Phaedra Secrets, Central Park West/Riverside Drive, A including the Guthrie Theater: Tales from Backwards, The Cherry Orchard, Twelfth Night, Jennifer Moeller Bad Friend, Oh the Innocents, Welcome to My Hollywood, Arms and the Man, A View from The Learned Ladies, Fool for Love, Romeo and Juliet, Costume Designer Rash/Third, Talley’s Folly; Rep Stage: Boeing, the Bridge, A Body of Water (premiere, Star- The Importance of Being Earnest, Macbeth, Camino STC: Affiliated Artist; The Tempest, A Boeing, Intelligence, The Santaland Diaries, A Tribune Award), Romeo and Juliet, Six Degrees of Real. OPERA: The Chamber Music Society of Midsummer Night’s Dream, Julius Caesar Shayna Maidel, Mrs. Farnsworth; Imagination Separation (Star-Tribune Award), Thief River, Side Lincoln Center: Renard; Tender Land, Samson (mainstage, Free For All), The Merchant of Stage: Double Trouble, The BFG (Helen Hayes Man, Gross Indecency; Goodman Theatre/Dallas and Delilah. AWARDS: Lucille Lortel Award Venice, Richard II, Romeo and Juliet, Antony Nomination), Aladdin’s Luck, Junie B. Jones, How Theater Center: Trinity River Plays (premiere); and Drama Desk nomination for Outstanding and Cleopatra, Tamburlaine, Richard III. NEW I Became a Pirate, Busy Town, The Neverending Arena Stage: A Time to Kill (premiere); The Choreography (Queens Boulevard), Drama Desk YORK: Off-Broadway: Shakespeare in the Park: Story, The Jungle Book, Sleeping Beauty, Seussical, Old Globe: Cornelia (premiere), In This Corner Award (The Orphans’ Home Cycle). OTHER: Love’s Labor’s Lost; Signature Theatre: Dance Cinderella, Charlotte’s Web, Bunnicula, The BFG; (premiere, San Diego Critics Circle Award), Pilobolus Dance Theatre: principal dancer and and the Railroad; Primary Stages: Happy Now? Adventure Theatre: Petite Rouge, Big Nate, A Body of Water (San Diego Critics Circle rehearsal director for nine years; Choreography: REGIONAL: Washington National Opera: La Stuart Little, Five Little Monkeys, If You Give Award); Denver Center Theatre Company: Joffrey Ballet, Ballet Arizona, Ballet Hispanico, Bohème; Studio Theatre: Bachelorette, Venus in a Cat a Cupcake, You’re a Good Man, Charlie 1001 (premiere, Ovation Award); South Coast Colorado Ballet, Pittsburgh Ballet; Big Apple Fur; Center Stage: Mud Blue Sky; The Old Globe: Brown; MetroStage: The Stephen Schwartz Repertory: Ordinary Days, Mr. Marmalade Circus: Dance On; Dance commissions: New The Last Goodbye; McCarter Theatre Center: Project, Three Sistahs; Washington Shakespeare (premiere, OCIE award); Center Stage: Who’s Mexico Ballet, Dance Theater of Harlem, State The How and the Why; Williamstown Theatre Company: Hapgood, The Milktrain Doesn’t Stop Afraid of Virginia Woolf? (Baltimore City Paper Street Ballet: FILM: Sway n’ Bach: A Path to Festival: Six Degrees of Separation; Yale Repertory Here Anymore; Everyman Theatre: The Waverly Best of 2008); Prince Music Theater: Chasing Choreography. INSTRUCTOR: Manhattanville Theatre: The Winter’s Tale, dance of the holy ghosts; Gallery, Blues for an Alabama Sky, The Crucible. Nicolette (Barrymore Award nomination); College: Artist in Residence; The Juilliard Berkshire Theatre Festival: Waiting for Godot; TEACHING: American University: Artist in George Street Playhouse: A Walk in the Woods, School of Drama: Guest Artist. TRAINING: Chautauqua Theater Company: The Winter’s Residence. TRAINING: Brandeis University: Dirty Blonde, Ctrl+Alt+Delete (New Jersey North Carolina School of the Arts: BFA in Tale. TRAINING: Yale School of Drama: MFA. MFA in Design; Vassar College: BA in Drama. Star-Ledger Best of 2002), Old Times, Master Modern Dance. Class; Westport Country Playhouse: Someone Tyler Micoleau Fitz Patton Who’ll Watch Over Me; The Wilma Theater: Lee Savage Lighting Designer Original Music/Sound Designer Dirty Blonde; San Jose Repertory Theatre: Set Designer STC: A Midsummer Night’s Dream, Much Ado STC: Wallenstein, A Midsummer Night’s Ctrl+Alt+Delete (world premiere); Pittsburgh STC: The Tempest, A Midsummer Night’s About Nothing (mainstage and Free For All), Ion, Dream, Strange Interlude. NEW YORK/ Public Theater: Wit (Pittsburgh Post-Gazette Dream, Much Ado About Nothing, Richard III, Ghosts. NEW YORK (recent): 2nd Stage: King REGIONAL: Designed and scored more than Award); Alley Theatre: The Beauty Queen of Tamburlaine, Edward II, Henry V, Richard II. Liz; Playwrights Horizons: Iowa; Manhattan 240 productions in 20 cities across the U.S. Leenane; Signature Theatre: Never the Sinner NEW YORK: Labyrinth: Muscles in Our Toes, Theatre Club: The World Of Extreme Happiness, including five on Broadway. AWARDS: 2010 (Helen Hayes Award nomination); Chautauqua Sunset Baby; Women’s Project: Collapse; LCT3: By The Water; New York Theatre Workshop: Lucille Lortel and Drama Desk Awards for Theater Company: A Raisin in the Sun, Fifty All-American; Roundabout Theatre Company: The Invisible Hand; Public Theater: The Fortress When the Rain Stops Falling at Lincoln Center’s Ways (world premiere), Love’s Labor’s Lost, The Dream of the Burning Boy, Ordinary Days; of Solitude; Signature Theatre Company: The Mitzi E. Newhouse Theater; nominated in 2011 The Glass Menagerie, Death of a Salesman, The Atlantic Theater: Oohrah!; Partial Comfort: Wayside Motor Inn. REGIONAL: Huntington for The Other Place (dir. Joe Mantello). OTHER: Just, The Cherry Orchard, All My Sons, Cobb. The Bereaved; Clubbed Thumb: punkplay. Theatre Company, Alley Theatre, Goodman He is the founder of Chance Magazine, a new

20 21 theater design magazine coming out this fall in Joseph Smelser* both print and on the iPad. UPCOMING: The Production Stage Manager 2015 FREE FOR ALL Other Place, on Broadway, at MTC’s Samuel STC: Tartuffe, Man of La Mancha, The Tempest, COMMUNITy PARTNERSHIP Friedman Theater. INSTRUCTOR: Barnard A Winter’s Tale (Free For All), Henry IV, Parts in support of the College of Columbia University. TRAINING: 1 and 2, A Funny Thing Happened on the Way Vassar College, Bard College, Yale University. to the Forum, Measure for Measure, Wallenstein, Shakespeare Theatre Company Free For All Coriolanus, A Midsummer Night’s Dream, The Carter C. Wooddell Government Inspector, The Merry Wives of Presented by Resident Casting Director Windsor, Strange Interlude, Much Ado About free See page 28 Nothing, The Heir Apparent, All’s Well That Ends Well. REGIONAL: Arena Stage: Let Me Drew Lichtenberg Down Easy; Seattle Repertory Theatre: An Ideal Literary Manager Husband, A Doll’s House, Play On!, As You Like See page 28 It, A Midsummer Night’s Dream, Peter Brook’s Leadership Support The Tragedy of Hamlet, Golden Child, Don Juan, Ellen O’Brien Purgatorio, The Search for Signs of Intelligent Life Voice and Text Coach in the Universe (with Lily Tomlin); American See page 28 Conservatory Theater: The Rivals, The Circle, for The Government Inspector, Edward Albee’s Jenny Lord At Home at the Zoo, Vigil; Berkeley Repertory

Gracie Terzian as fairy in the Shakespeare Theatre Company’s Company’s Theatre in the Shakespeare as fairy Terzian Gracie Suchman. Scott by Photo Ethan McSweeny. by , directed Dream of A Midsummer Night’s production Assistant Director Theatre: Journey to the West, An Almost Holy STC: Director: Much Ado About Nothing (Free Picture, Having Our Say; Regional Tour: Let Me For All), All’s Well That Ends Well (Free For Down Easy, Twilight: Los Angeles, 1992 (both All), Dream a Little Dream (Fellows Project), with Anna Deavere Smith). TRAINING: several ReDiscovery readings; Resident Oberlin College: BA. Assistant Director: 14 productions. NEW all YORK: Associate Director, Broadway: Twelfth Robyn M. Zalewski* Night and Richard III. Director: NYMF: Going Assistant Stage Manager $10,000 Down Swingin’, Don Imbroglio. REGIONAL: STC: Man of La Mancha, Henry IV, Parts 1 Dallas Theater Center: A Christmas Carol; and 2, A Funny Thing Happened on the Way New Century Theatre: Bee-luther-hatchee; 42nd to the Forum. REGIONAL: Hartford Stage Street Moon: By Jupiter; Berkeley Opera: The Company: Production Stage Manager for Girl of the Golden West, The Marriage of Figaro, Private Lives; Assistant Stage Manager for Così fan tutte, Beatrice & Benedick; Pocket Hamlet, Twelfth Night, A Christmas Carol–A Ghost Gould Property Opera: Eugene Onegin, The Grand Duchess Story of Christmas, The Whipping Man, Gem Company of Gerolstein, The Daughter of the Regiment. of the Ocean; Production Assistant for Divine Choreographer: California Shakespeare Rivalry, Antony and Cleopatra, The Adventures Theater, San Francisco Shakespeare Festival, of Tom Sawyer, Noises Off; New London Barn Additional Support 42nd Street Moon, etc. READINGS: National Playhouse; Hangar Theatre; Northern Stage; Academy of Sciences, Phillips Collection, Saint Michael’s Playhouse. Education: Saint DAVIS Construction SIGAL Construction Goethe Institut/Zeitgeist, TheatreWorks. Michael’s College. DirecTV Corporation EDUCATIONAL: Juilliard: Measure for First Potomac Realty Trust Shalom Baranes Associates Measure, All My Sons, As You Like It; NYU/ Forest City Enterprises Stoiber + Associates, Stella Adler Conservatory: The Cherry Orchard, Hines Interests Limited Architects Partnership STUDIOS Architecture Angels in America: Perestroika; San Francisco State University: Street Scene. TRAINING: National Cable & Terra Nova Title and The designers at this theatre are represented by Telecommunications Settlement Services, LLC Yale University: BA. MEMBER: SDC. United Scenic Artists, Local USA 829, of the Association Time Warner Cable International Alliance of Theatrical Stage Employees. Polinger Shannon & Luchs

2015 Free For All Community Partnership Committee

Stefanie S. Norman D. Erkiletian, Jemal, Douglas Erkiletian Development

Kingdon Gould III, Scott Kauffman, Gould Property JM Zell Partners, Company Ltd.

Sponsors as of August 6, 2015

22 ABOUT STC

STC is the recipient of the 2012 Regional Acting, a one-year master’s program at The Theatre Tony Award® as well as 84 Helen George Washington University. Beyond the Hayes Awards and 342 nominations. classroom, educational opportunities like Creative Conversations are available to all in Presenting Classic Theatre the community. The mission of the Shakespeare Theatre Company is to present classic theatre of Supporting the Community scope and size in an imaginative, skillful and STC has helped to revitalize both the Penn accessible American style that honors the Quarter and Capitol Hill neighborhoods and playwrights’ language and intentions while to drive an artistic renaissance in Washington, viewing their work through a 21st-Century lens. D.C. Each season programs such as Free For All and Happenings at the Harman present free Promoting Artistic Excellence performances to residents and visitors alike, STC’s productions blend classical traditions allowing new audiences to engage with the and modern originality. Hallmarks performing arts. include exquisite sets, elegant costumes, leading classical actors and, above all, an Playing a Part uncompromising dedication to quality. STC is profoundly grateful for the support of those who are passionately committed to Fostering Artists and Audiences classical theatre. This support has allowed STC STC is a leader in arts education, with a myriad to reach out and expand boundaries, to inform of user-friendly pathways that teach, stimulate and inspire the community and to challenge and encourage learners of all ages. Meaningful its audiences to think critically and creatively. BRAVO school programs are available for middle Learn more at ShakespeareTheatre.org/ and high school students and educators, and Support or call 202.547.1122, option 7. to the Shakespeare Theatre Company for bringing adult classes are held throughout the year. the magic and inspiration of Shakespeare to so many. Michael Kahn leads the Academy for Classical

ASIDES published by SHAKESPEARE THEATRE COMPANY

Managing Editor Publisher Jonathan Padget Michael Porto

Creative Director Advisors S. Christian Taylor-Low Alan Paul Samantha K. Wyer Contributing Editors Laura Henry Buda Graphic Designer Drew Lichtenberg Taylor Henry Ryan-Patrick McLaughlin Editorial Assistant Alison Ehrenreich

25 FOR SHAKESPEARE THEATRE COMPANY

Michael Kahn Opera; Vanessa for the New York City Opera Artistic Director (2007); Lysistrata or The Nude Goddess for Houston STC: The Metromaniacs. Henry IV, Grand Opera and New York City Opera; Vanessa Part 1 and 2, Wallenstein, The for Washington Opera and Dallas Opera; Show Government Inspector, Strange Boat for Houston Grand Opera; Carmen for Interlude, The Heir Apparent, Old Houston and Washington Operas; Carousel for Times, All’s Well That Ends Well, Miami Opera; Julius Caesar for San Francisco Spring BIG The Liar, Richard II, The Alchemist, Design for Living, Opera. INTERNATIONAL: Love’s Labor’s Lost at The Way of the World, Antony and Cleopatra (2008), the Royal Shakespeare Company’s Complete SOLUTIONS Tamburlaine, Hamlet (2007), Richard III (2007), The Works Festival; The Oedipus Plays at the Athens The Human Element FOR A GROWING PLANET Beaux’ Stratagem, Love’s Labor’s Lost, Othello, Festival; Five by Tenn for The Acting Company’s at Work. Lorenzaccio, Macbeth (2004), Cyrano, Five by Tenn (at tour of Eastern Europe; Show Boat for the National Dow combines the power of the Kennedy Center), The Silent Woman, The Cultural Center Opera House in Cairo; The White science and technology to help Winter’s Tale (2002), The Duchess of Malfi, The Devil for the Adelaide Festival. BOARD address many of the world’s most Oedipus Plays, Hedda Gabler, Don Carlos, Timon of MEMBERSHIPS: Theatre Communications Group; challenging problems. Together, Athens, Camino Real, Coriolanus, King Lear (1999), New York State Council on the Arts; D.C. the elements of science and The Merchant of Venice, King John, A Woman of No Commission on the Arts and Humanities; National the human element can solve Importance, Sweet Bird of Youth, Peer Gynt, Mourning Endowment for the Arts; Opera America’s 80s and anything. Becomes Electra, Henry VI, Volpone, Henry V, Henry Beyond. AWARDS: Commander of the British IV, The Doctor’s Dilemma, Richard II, Much Ado Empire (C.B.E.); Theater Hall of Fame; seven Helen About Nothing (also at McCarter Theatre Center), Hayes Awards for Outstanding Director; 2011 Mother Courage and Her Children, Hamlet, Measure CAGLCC Excellence in Business Award; 2010 for Measure, King Lear (1991), Richard III (1990), The WAPAVA Richard Bauer Award; 2007 Mayor’s Jessie Zhou, Principal Scientist Merry Wives of Windsor, Twelfth Night, As You Like Arts Award Special Recognition for Shakespeare in Interconnect Technologies It, Antony and Cleopatra (1988), Macbeth (1988), All’s Washington; 2007 Stephen and Christine www.dow.com Electronic Materials Well That Ends Well, The Winter’s Tale (1987), Romeo Schwarzman Award for Excellence in Theatre; 2007 Sir John Gielgud Award for Excellence in the ®™The DOW Diamond Logo is a trademark of The Dow Chemical Company © 2015 and Juliet. NEW YORK: Broadway: Show Boat (Tony nomination), Cat on a Hot Tin Roof, Dramatic Arts; 2005 Person of the Year from the Whodunnit, Night of the Tribades, Death of Bessie National Theatre Conference; 2004 Shakespeare Smith, Here’s Where I Belong, Othello, Henry V; Society Medal; 2002 William Shakespeare Award Off-Broadway: Manhattan Theatre Club: Five by for Classical Theatre; 2002 Distinguished Tenn, Sleep Deprivation Chamber, Funnyhouse of a Washingtonian Award from The University Club; Negro, The Rimers of Eldritch, Three by Thornton 2002 GLAAD Capitol Award; 1997 Mayor’s Arts Take charge of your financial future. Wilder, A Month in the Country, Hedda Gabler, The Award for Excellence in an Artistic Discipline; 1996 Señorita from Tacna, Ten by Tennessee; New York Opera Music Theater International’s Bravo Award; Since 1894 Ameriprise Financial has helped millions of Americans Shakespeare Festival: Measure for Measure 1990 First Annual Shakespeare’s Globe Award; feel more confident about their financial future. As an Ameriprise (Saturday Review Award). Artistic Director: The 1989 Washingtonian Magazine Washingtonian of the Acting Company, 1978–1988. TEACHING: Richard Year; 1989 Washington Post Award for financial advisor, I remain true to our vision of always putting Rodgers Director of Juilliard Drama Division July Distinguished Community Service; 1988 John clients first. Discover the one-to-one attention you deserve, call me 1992–May 2006, faculty member 1967–; Houseman Award. HONORARY DOCTORATES: Shakespeare Theatre Company Academy for University of South Carolina; Kean College; The today at 202.223.3450. Classical Acting at The George Washington Juilliard School; The American University. University. Previously: New York University; Bump Financial Group Circle in the Square Theatre School; Princeton Chris Jennings A private wealth advisory practice of University; British American Drama Academy; Managing Director founder of Chautauqua Theatre Conservatory. STC: Joined the Company in Ameriprise Financial Services, Inc. REGIONAL: Arena Stage: A Touch of the Poet; 2004. ADMINISTRATION: Signature Theatre: Pride in the Falls of Autrey Mill, 1730 Rhode Island Ave NW, Ste 502 General Manager: Trinity Otabenga; Guthrie Theater: The Duchess of Malfi; Repertory Company (1999– Washington, DC 20036 American Repertory Theatre: ‘Tis Pity She’s a 2004), Theatre for a New 202.223.3450 Whore; American Shakespeare Theatre: Artistic Audience (1997–1999); Associate Managing Director for 10 years, more than 20 productions; [email protected] Director: Yale Repertory Theatre; Assistant to the McCarter Theatre Center: Artistic Director for five ameripriseadvisors.com/ Executive Producer: Manhattan Theater Club; seasons, including Beyond the Horizon, filmed for Founder/Producing Director: Texas Young team/bump-financial-group PBS; Chautauqua Theatre: Artistic Director, Playwrights Festival; Manager: Dougherty Arts including The Glass Menagerie with Tom Hulce; Center. MEMBERSHIPS: Currently serves on the Goodman Theatre: Old Times (MacArthur Award), Board of the Theatre Communications Group, Ameriprise Financial Services, Inc. Member FINRA and SIPC. The Tooth of Crime (Jefferson nomination); Ford’s D.C. Downtown BID, THE ARC, D.C. Arts © 2014 Ameriprise Financial, Inc. All rights reserved. (7/14) Theatre: Eleanor. OPERA: Roméo et Juliette for Dallas

27 Collaborative, the Penn Quarter Neighborhood University of America; Eugene Lang College at the Association, Theatre Washington, and is a member New School. TRAINING: Yale School of Drama: of the League of Resident Theatres (served on MFA in Dramaturgy & Dramatic Criticism. AEA and SSDC Negotiating Committees); has served as a panelist for the NEA, D.C. Commission Ellen O’Brien on the Arts and Humanities, Mid Atlantic Arts Head of Voice and Text Foundation and Pew Theatre Initiative. AWARDS: STC: More than 50 productions over 11 seasons. Arts Administration Fellowship: National ACADEMY FOR CLASSICAL ACTING: 22 music and lyrics by Cole Porter Endowment for the Arts. TRAINING: University productions of Shakespeare and Jacobean plays. of Miami: BFA in Theatre/Music; Yale School of REGIONAL: Ford’s Theatre, Arena Stage, book by Samuel and Drama: MFA in Theatre Management. Charlotte Repertory Company, Aurora/Magic Theaters; People’s Light and Theatre Company; Bella SPewaCk Alan Paul Shakespeare Santa Cruz; North Carolina Associate Artistic Director Shakespeare Festival. PUBLICATIONS: Articles directed by alan Paul STC: Man of La Mancha, A Funny Thing Happened on in The Voice and Speech Review, Shakespeare in the the Way to the Forum (2014 Helen Hayes Award for Twentieth Century, Shakespearean Illuminations, It’s “another op’nin’ of Best Director of a Musical), The Boys from Syracuse, Shakespeare Survey, Shakespeare Quarterly, Shakespeare another show” with The Winter’s Tale (Free For All), Twelfth Night (Free and the Arts, The Voice and Speech Review: Associate American musical theatre’s For All), As You Like It (Associate Director), Henry Editor for Heightened Text, Verse and Scansion. greatest tribute to the Bard. IV, Parts 1 and 2 (Associate Director), numerous TRAINING: Yale University: MA, MPhil, PhD galas, readings, and special events; Assistant (English); Central School of Speech and Drama/ Director: 13 shows. THEATRE DIRECTING: The Open University (London): Advanced Signature Theatre: I Am My Own Wife; Studio and Post-Graduate Diplomas in Voice Studies. BeginS novemBer 17 Theatre 2ndStage: Silence! The Musical, The Rocky TEACHING: Academy for Classical Acting; Horror Show (co-director); Catholic University: University of California, Santa Cruz; Guilford Man of La Mancha; University of Maryland: The College; Kirkland College. Matchmaker; Apex Theatre Company: Richard II; ShakespeareTheatre.org Northwestern University: Six Degrees of Separation; Carter C. Wooddell readings for Studio Theatre, Arena Stage, Woolly Resident Casting Director 202.547.1122 Mammoth Theatre Company, The National STC: Man of La Mancha, The Metromaniacs, The Academy of Sciences, The Phillips Collection, The Tempest, As You Like It, The Winter’s Tale, The Merry Goethe Institut, Georgetown University. OPERA Wives of Windsor, Two Gentlemen of Verona, Much DIRECTING: Washington National Opera: Penny; Ado About Nothing, The Merchant of Venice. Other Urban Arias: Blind Dates, Before Breakfast, The Filthy Casting Experience: NEW YORK: Broadway: Habit, Photo-Op; The In Series: Dido and Aeneas, El Belasco Theatre: End of the Rainbow (dir: Terry Amor Brujo; Strathmore Concert Hall: Butterfly/ Johnson), Booth Theatre: High (dir: Rob Ruggiero); Saigon, Blind Dates. Finalist for the 2013 European Off-Broadway (partial): Barrow Street Theatre: Opera Directing Prize (Vienna, Austria). Acting Tribes (dir: David Cromer), Our Town (dir: Instructor for the Domingo-Cafritz Young Artists David Cromer), The Acting Company, Marjorie Program at WNO. S. Deane Little Theater: Freud’s Last Session (dir: WE PUT THE Tyler Marchant), Cherry Lane Theatre: A Perfect Drew Lichtenberg Future (dir: Wilson Milam), SoHo Playhouse: The Literary Manager Irish Curse (dir: Matt Lenz), Beckett Theatre: An STC: Tartuffe, Man of La Mancha, The Metromaniacs, Error of the Moon (dir: Kim Weild); NYC Other: .COM IN The Tempest, As You Like It, Private Lives, Henry Lincoln Center Institute: Hamlet, Fly, Sheila’s Day. IV, Part 1 and 2, The Importance of Being Earnest, NATIONAL TOURS: The Acting Company, A Funny Thing Happened on the Way to the Forum, Riverdance. REGIONAL: Alley Theatre, Center Measure for Measure, Coriolanus, Wallenstein, Hughie, Stage, Barrington Stage Company, The Broad APARTMENTS A Midsummer Night’s Dream, The Government Stage, Contemporary American Theater Festival, Inspector, The Merry Wives of Windsor, The Servant of Crossroads Theatre Company, George Street BRAD BELLFLOWER Two Masters, Strange Interlude, The Two Gentlemen of Playhouse, The Guthrie Theater, Pittsburgh SILICON VALLEY MAVERICK Verona, Much Ado About Nothing, The Heir Apparent. Public Theater, TheaterWorks Hartford. RADIO: REGIONAL: STC/McCarter Theatre Center: The BBC Radio: The Piano Lesson (dir: Claire Grove). Winter’s Tale; Center Stage: Caroline, or Change, TELEVISION: Sesame Workshop: The Electric Cyrano, Around the World in 80 Days; Yale Repertory Company, Pilot: 27 East. FILM: Columbia Pictures: Theatre: Lulu (dir. Mark Lamos); Williamstown Premium Rush (dir: David Koepp), Choice Films: Theatre Festival: The Front Page, The Physicists, The Junction (dir: Tony Glazer). OTHER: McCorkle Corn Is Green; New York Shakespeare Festival: Casting Ltd: (2008-2012). TFANA (Education Macbeth (dir. Moisés Kaufman); OTHER: Yale Associate: 2012-2014). School of Drama: Tarell McCraney’s In the Red and Brown Water (U.S. premiere); TEACHING: Catholic

28 Joe Knight Ms. Ruth Oyen Betty C. and J. Ustun Friends of Free For All Michael W. Kolakowski Kevin and Sherry Pearson Mr. Steve Verna Martha Herbig and Cynthia Quarterman and Cheryl Wasserman and Thanks to the generous support of our sponsors and our Friends, David Korsh Pantelis Michalopoulos Ron Slotkin Barbara Kratz Jennifer and Harry Rand Mr. and Mrs. Ray Williams the Shakespeare Theatre Company can continue this program each Kathryn and Anne Reynolds and Elliot Wolff season. If you are interested in keeping the Free For All FREE, Robert Krubsack Daniel H. Burd Robert and Evelyn Wrin John and Susan Lang Craig Roberts Deborah Yaffe please consider supporting this great Washington experience. Andrew S. Leben Sandall Family Melinda Yium Gifts received as of August 10, 2015 Sam Lee Rita Schoeny Ina and Joe Young Shirley Loo Randy Schumacher and John and Anne Zipperian Susan Lumpkin and Sabina Braithwaite John Seidensticker Richard and In Memory of Marion Bryce $2,500+ Warrenetta Baker Jennifer Pettyjohn Byrnes Christopher Magnan Rochelle Schwab The Family of Marion and VIP Friend Shu Hui Chen, PhD Beth Caron and Patricia Marx Ms. Hilary Silvert Newell Charles Bryce Esthy and Jim Adler Caroline and David Grenkevich Matt, Peggy, Aidan and Dr. Stephen R. Sleigh and Dr. Bryce Brylawski Annie Carey and Ian Smith DeWaal Till and Ron Cartwright Ciara McCarty Ms. Ann C. Greiner The Carpinteri Family Jonathan Sherman Fynnette Eaton and JoEllen and Michael Collins Dr. Jill E. McGovern Mr. Robert Smits Mary Cole Ann K. Morales James E. Miller Bill Cook and Sarah Tegen Cynthia McLaughlin Pauline Sobel and Ursula David Toni A. Ritzenberg Maj. and Herbert and Joan Cooper Stacey Miller Larry S. Gondelman Donald and Cathy Fogel Mrs. Harvey A. Falk III Henry Corback Mr. Eric Monti Margaret Sopher Helen Kenney $1,000-$2,499 Gary and Naomi Felsenfeld John and Elizabeth Cordaro Ms. Viola S. Musher Steven Spaeth David A. Lamdin Producing Friend Tim and Susan Gibson Katie Cranford Mr. William Myers Pedro Taborga Jim Link Tim and Glenda Christenson David Grover Belle and Martin Davis National Commercial Carol Thayer Mary McCue William L. Hopkins Donald M. and Ms. Deanna Dawson Development Inc. The Theunissen family Mr. and Marcel C. LaFollette and Barbara S. Hoskins Dr. Marjorie Deutsch and Art Noonan Sara Tussey and Mrs. Harry H. Shaffer Jeffrey K. Stine Young K. Lee John Broadbent, JD The Nyikos Family Michael C. Shaughnessy Mark and Ruth Zalonis David B. Levine and David and Loredana $500–$999 Judith H. Katz Diamantopoulos Sustaining Friend The Vincent A. Beverly Dickerson Amanda K. Allexon Maffeo Family Don Douglas and Jayne Bultena The Mason Family Dr. Carolyne Weil Sir Michael Cochran E. Kathleen Shahan Dutch and Brenda Dunham Louis Delair, Jr. KP and Phoebe Tsolainos Harper and Cordelia Elkins Barry and Marie Fleishman Foundation Inc. Dr. James Ellzy and Ray Kogut William Von Alt II Mr. Franc O’Malley Lois C. Magee Wilkinson/Shah Family Ms. Catherine B. Elwell Hazel C. Moore William E. Elwood Paul O’Brien and $200–$299 David and Lois A. Engel A delicious encore to your evening! Susanne Owens Friend Robert and Carole John O’Donnell Anonymous (10) Fontenrose With two area locations Red Velvet Cupcakery brings you the Dan Sherman Bridget and Felek Abbas Thomas C. and Ilona M. Fox most delicious cupcakes using the Tom and Bonnie Anderson Carolyn L. Wheeler Ann Franke and Dan Alpert highest quality ingredients. In Memory of Ms. Holly C. Frost $400–$499 James Applegate Laura and Mike Gallier, Washington, DC: Penn Quarter Supporting Friend Keith and Sherry Babb Sugar Land, Texas 501 7th Street, NW Adrianne Brooks Dr. Melissa Barbor Todd and t:202-347-7895 Anna McG. Chisman and family Gabrielle Gillenwater David DeBruin and Bruce Barrow Kevin Gowen and Reston, VA: Town Center Elizabeth Taylor Michael and Lissa Barry Robert Wilkinson 11939 Democracy Drive Craig and Kathy Franklin Karen Bauer Paul and Kathryn Hansen t: 703-464-7075 Nancy Garrison Julianne Beall Gary Harrington The Patino Family Ms. Carrie J. Biggs-Adams Curtis and Caroline Herrick “Simple, elegant and too scrumptious for words.” Carla Wheeler and Andy and Shellie Bressler J.C. Herz The Washington Post Jeff Naimon Katherine Breyfogle The Homick Family Mr. and Mrs. Jere Broh-Kahn Kenneth Hopper Taught by award-winning $300–$399 Henry J. Brothers, II Mary Frances Jetton Red Velvet Cupcakery and actors and educators. Contributing Friend Amy Mertz Brown The Kappler Family Bakers & Baristas are proud sponsors of the SHAKESPEARE THEATRE COMPANY ShakespeareTheatre.org/Classes Anonymous (2) The Brueggeman Family Daniel and Ryan Katz Laurence and Jeffrey Busse Joel and Mary Keiler Education Hotline: 202.547.5688

30 31 Tonya Beckman, Dan Crane, Katie deBuys, Overhire Stitcher Stephanie Goad SHAKESPEARE THEATRE COMPANY Jim Gagne, Brit Herring, Paul Hope, Naomi Jacobson, Lead Crafts Artisan Joshua Kelley Joy Jones, Manu Kumasi, Chelsea Mayo, Brenna Crafts Artisan Kara Tesch STAFF McDonough, Victoria Reinsel, Paul Reisman, Melissa Wardrobe Supervisors Jeanette Lee Porter, Richardson, Stephen Spotswood, Katie Tkel, Eva Wilhelm, Monica Speaker Gregory Wooddell Wig Master Dori Beau Seigneur Artistic Director Michael Kahn MARKETING AND COMMUNICATIONS Overhire Wardrobe Alina Gerall, Kristina Martin Managing Director Chris Jennings Chief Marketing Officer Michael Porto THE ACADEMY FOR CLASSICAL ACTING Costume Design Fellow Amelia Brooks Executive Assistant to the Artistic Director Associate Marketing Director Austin Auclair The Academy for Classical Costume Production Fellows Natalie Flango and Managing Director David Lloyd Olson Marketing and Acting Director Gary Logan Mackenzie Malone Communications Assistant Alison Ehrenreich ACA Program Coordinator Bekah Eichelberger Technical Director Mark Prey ARTISTIC Associate Director of Audience Development Faculty Members Isabelle Anderson, Assistant Technical Director Kelly Dunnavant Associate Artistic Director Alan Paul and Promotions Teddy Rodger Christopher Cherr, Dody DiSanto, Edward Gero, Scene Shop Administrator Jessica Noones Head of Voice and Text Ellen O’Brien Audience Services Director Joy Johnson Leslie Jacobson, Lisae Jordan, Michael Kahn, Floyd King, Carpenters John Cincioni, Jr., Justin Carnes, Gary Logan, Ellen O’Brien, Roberta Stiehm, Brad Waller Resident Casting Director Carter C. Wooddell Group Sales and Ticket Manager Danielle Sparklin Carrie Cox, Christian Sullivan Literary Manager Drew Lichtenberg Ticket Manager Tim Helmer Charge Scenic Artist Sally Glass Artistic Associate Craig Baldwin Sales Associates Zindzi Ali, Evelyn Chester, PRODUCTION Scenic Artist Jose Ortiz Director of Production Tom Haygood Artistic Fellow Ryan-Patrick McLaughlin Heather Hart, Christopher Hunt, Jessica Kaplan, Scenic Painter Kelly Rice Associate Directors of Production Tim Bailey, Affiliated Artists Keith Baxter, Avery Brooks, Andre McBride, Izetta Mobley, Kristin Nam, Prop Shop Director Elaine Sabal Kimberly Lewis Helen Carey, Veanne Cox, Aubrey Deeker, Sarah Kate Patterson, Christopher Pearson, Assistant Prop Shop Director Guy Palace Production Administrator Emmy Landskroener Colleen Delany, Franchelle Stewart Dorn, Carmelitta Riley, Marie Riley, Kieran Shaw, Lead Props Artisan Chris Young Resident Production Stage Manager Joseph Smelser Cameron Folmar, Adam Green, Edward Gero, Crystal Stewart, Lauren Ward, Michael Wharton, Props Painter/Sculptor Eric Hammesfahr Genevieve Williams Stage Managers James FitzSimmons, Laura Smith Philip Goodwin, Jane Greenwood, Michael Hayden, Soft Goods Artisan Rebecca Williams Call Center Director Monte Hostetler Assistant Stage Managers Elizabeth Clewley, Simon Higlett, Christopher Innvar, Naomi Jacobson, Master Electrician Sean R. McCarthy Maria Tejada, Robyn M. Zalewski Stacy Keach, Floyd King, Andrew Long, Teleservices Associates Bill Billante, Thomas Brennan, Assistant Master Electrician Lauren A. Hill Kelly Carson, Alfred Cassell, Production Assistant Rebecca Shipman Ethan McSweeny, Jennifer Moeller, David Muse, Hugh Nees, Harman Electrician Brian Flory Jade Davis, Valerie Ekhato, Eric Garvanne, Stage Management Fellows Eric Michael Batts, James Noone, Patrick Page, Robert Perdziola, Lansburgh Electrician Jacob Moriarty-Stone Miles Gheesling, Cheryl Kempler, Stephanie King, Micaela Cirimeli Nancy Robinette, David Sabin, Miriam Silverman, Lighting Assistant Elizabeth A. Coco Amy Kitchin, Isabelle Mahoney, Costume Director Wendy Stark Prey Derek Smith, Walt Spangler, Tom Story, Audio/Video Supervisor Brian Burchett Jill McAfee, Joanna Morgan, Cynthia Perdue, Floor Manager Julie Rose Rebecca Taichman, Ted van Griethuysen, Assistant Audio/Video Supervisor Roc Lee Craig Wallace, Adam Wernick, Gregory Wooddell Amy Sloane, Chris Soto, Robert Vierick Resident Design Assistant Lynda Myers Live Mix Engineer Ryan Gravett Director of Event Sales and Drapers Denise Aitchison, Randall Exton, Lansburgh Board Operator Kurt Davis ADMINISTRATION Partnerships Ryan Michael Hayes Tonja Petersen Theatre Services Manager Dora Hoyt Stage Operations Supervisor Louie Baxter Director of Administration James Roemer First Hands Jennifer Rankin, Sandra Thomas, House Manager Robert Montenegro Assistant Stage Operations Supervisor Fran Hopkins-Maxwell Associate Managing Director Anne S. Kohn Sara Cardwell Stage Carpenters Derek Antoine, Nick Custer Human Resources Manager Lindsey Morris Lead House Managers Stephanie Atkinson, Stitchers Kathryn Hansen, Michele Ordway, Run Crew Marc Wasserman, Rachel Wolf Human Resources Coordinator Ryn Weil Erica Brown, Addie Gayoso, Marie Riley Donna Sachs Accounting Manager Mary Margaret Finneran Assistant House Managers Melissa Adler, Kathryn Atkinson, Staff Accountant Marco Dimuzio Jeremy Blunt, Thomas Browne, Company Manager Mackenzie Douglas Quintin Cary, Chris Hunt, Susan Koenig, Jamel Levine, Molly Nevola, Carmelitta Riley, Receptionist Ursula David AUDIENCE SERVICES Shaun Russell, Bridget Sheaff, Christopher Schoen, General Management Fellow Kathryn Atkinson Alex Zeese LANSBURGH THEATRE ACCESSIBILITY Director of Operations Timothy Fowler Retail and Concessions Manager Kristra Forney 450 7th Street NW Our theatres are accessible to persons with disabilities. Operations/IT Assistant Sloane A.L. Spencer Concessions Associates Joy Falzarano, Adrianne Glover, Please request special seating at time of ticket Theatre Building Engineer Dave F. Henderson Alfred Gussom, Justin Lane, Aaron Lewis, SIDNEY HARMAN HALL purchase and arrive 30 minutes before curtain for Theatre Monitors Milton Garcia, Jeff Whitlow Chris Pearson, Petrice Roman, Robert Russell, 610 F Street NW priority seating. Facilities Custodian Jorge Ramos Lima Christopher Schoen, Christine Strassner, Kara Tesch, Audio-described performance of TICKET AND GROUP SALES: Harman Custodians Dennis Fuller, Mirna Guzman, Eric Woods A Midsummer Night’s Dream: Tickets: 202.547.1122 Roderick Proctor Saturday, September 5 at 2 p.m. Retail Associates Quintin Cary, Toll-free: 877.487.8849 Lansburgh Custodians Zulma I. Bonilla, Tiara Copeland, Kara Tesch An audio-enhancement system is available for all Group Sales: 202.547.3230 ext. 3405 performances. Both headset receivers and neck loops Izilma Membreno, David Guzman Harman Receptionist and Box Office fax: 202.608.6350 (to use with hearing aids outfitted with a “T” switch) Director of Information Technology Brian McCloskey Usher Coordinator Rachel Toporek Bookings: 202.547.3230 ext. 2321 are available at the coat check on a first-come basis. Systems Administrator Patrick Hayes Associate Director of Open-captioned performance of BOX OFFICE PHONE HOURS (both theatres): Database Administrator Brian Grundstrom Communications and PR Jonathan Padget A Midsummer Night’s Dream: Daily: noon–6 p.m. Web and Media Programmer Brien Patterson Thursday, September 10 at 8 p.m. DEVELOPMENT Marketing and (Box Office window open until curtain time) Program notes in Braille and large print are available at The Lansburgh Box Office is closed on the Chief Development Officer Ed Zakreski Communications Fellow Catherine Shook the coat check. weekends if there is no performance at the Senior Associate Director of Development Amy Gardner Visual Communications Lansburgh Theatre. Support for the Shakespeare Theatre Company’s Major Gifts Officers Eric Bailey Manager S. Christian Taylor-Low Accessibility Program provided by Betsy Purves Junior Graphic Designer Taylor Henry CONCESSIONS AND GIFT SHOPS: Special Events Manager Moriah Lemming Graphics Fellow Ruthie Rado Food and beverages are available one hour before Gala Assistant Freddy Mancilla Photographers Kevin Allen, Margot Schulman, each performance. Pre-order before curtain for Development Operations and Scott Suchman immediate pick-up at intermission. Membership Manager Kristina Williams EDUCATION Lansburgh Theatre and Sidney Harman Hall Support for open captioning provided by Development Operations Coordinator Sara Seidler Director of Education Samantha K. Wyer gift shops are open before curtain, at intermission and for a short time after each performance. Membership Coordinator Arielle Katz Associate Director of Education Dat Ngo Associate Director of Development Noreen Major Audience Enrichment Manager Hannah Hessel Ratner CONNECT WITH US: Corporate Giving Manager Katie Burns-Yocum Community Engagement Manager Laura Henry Buda Facebook.com/ShakespeareinDC The video and/or audio recording of this performance Director of Foundation and School Programs Manager Vanessa Hope Twitter @ShakespeareinDC by any means whatsoever are strictly prohibited. As a Government Relations Meghann Babo-Shroyer Training Programs Manager Brent Stansell YouTube.com/ShakespeareTheatreCo courtesy, turn off pagers, telephones, watch alarms and Institutional Fundraising Coordinator Michael Trottier Education Coordinator Emily Marcello Flickr.com/ShakespeareTheatreCompany all other electronic devices during the performance. Development Fellow Elena Robertson Education Fellow Thanh Nguyen Instagram @ShakespeareinDC Audience members may be reached during a Resident Teaching Artist Renea Brown performance by calling house management at Affiliated Teaching Artists Elizabeth Alman, 202.547.3230 ext. 2517. Specify seat location. 32 Latecomers will be seated at management’s discretion. 33 Subscribe and see more great plays, save up to 30% off regular prices, with unparalleled benefits and flexibility. ShakespeareTheatre.org/Subscribe 202.547.1122