13AIVI oi II Contents Jan 2005 The Halls of Arden 12 Theatre Royal Bath's As You Like It showcases the lim itl ess talent of the Hal l family By Mel Cooper

Amelia 16 Edouard Lock's company, La La La Huma n Steps, sweats the detai ls in Amelia By Susan Yung Andrea Boa rdman , Keir Knight in Amelia. Photo: Edouard Lock The End of the Moon 28 Laurie Anderson , NASA's first artist-in­ resdence, delves into the great beyond

The It List 4 Travel 37 Program 25 Upcoming Events 27

BAM Directory 30 Laurie Anderson. Photo: K. Kennefick Cover Artist

Peter Schuyff's paintings have been exhibited internationally since the early 80s. His New York exhibitions include solo shows at the Pat Hearn, Paul Kasmin , Tony Shafrazi, Leo Castelli , Sperone Westwater, and Bill Maynes galleries. Light, and its shadows, is the most recognizable and consistent element in his work. In 2002 he left New York for Vancouver where he continues to paint and where he has begun work on Cover: Peter Schuyff a group of sculptures. Schuyff says of his most recent work: Happy, 2003 "These paintings are almost angry. In one fashion or another Acrylic on linen they are titled love, love, love, and happy and death. And 48" x 48" though there is a lot of it, the paint is very very thin." Some Courtesy of the artist early paintings are featured in the East Village U.S.A show currently at The New Museum of Contemporary Art in New For BAMart information: York and recent work can be seen at www.schuyff.com . 718.636.4101 [email protected]

7 As You Li ke It

The Halls of Arden

By Mel Cooper

As You Like It comes from the high noon of Shakespeare's career and has always been considered one of his lightest and most charming comedies. Everyone remembers the pastoral romps of its young lovers- Orlando festooning the trees with poetry, the bucolic scenes, the girl-playing-a-boy­ playing-a-girl- and comes prepared to relish the fun. Yet it was probably written shortly after the death of Shakespeare's son , and is the prelude to the darker tone of Twelfth Night, as well as to Hamlet and Othello.

But Sir Peter Hall, whose Theatre Royal Bath , production (starring his daughter Rebecca) is return­ ing to America for its premiere at BAM, feels it is a deeper and much more complex play. "Most of the dark, serious and disturbing stuff usually gets cut," he suggests. "When I re-read the play for my season in Bath, I was struck by the patterns of unease and betrayal driving most of the action. Look at the brothers destroying each other; violence, jealousy, and envy inform the play until the very end- especially in the forest, where the love-play and the games of disguise only add to the insecurities.

"Also, at the heart of all Shakespeare's comedies, the central couple- usually young people, but not necessarily always- mature, so that they end up capable of a real relationship. As You Like It certainly deals with romantic and even goofy love. But in the end- like the Fords in The Merry Wives of Windsor or Beatrice and Benedick in Much Ado About Nothing- the move­ ment of the play is from immaturity to understanding and the ability to love in the fullest sense, with real knowledge and acceptance. This is one of the serious issues at the heart of this play. It is only when we achieve this fulfilment that the play stops. "

Sir Peter's career was launched by his English-language production of Beckett's Waiting for Godot (1955), then he founded the modern Royal Shakespeare Company and, subsequently, ran the

12 As You Like It

National Theatre in Britain, winning a Tony for his direction of Amadeus. When I asked why he had taken so long to direct a play so central to the Shakespeare canon, he replied: "The real rea­ son is because, back in 1961 , when I was running the RSC, I was so bowled over by Vanessa Redgrave's Rosalind. She put such a stamp on my memory, that I never found anyone as right for the part-until now-until Rebecca. I'm very excited by the way she approaches this role-and even by her look in the part." Redgrave will appear at BAM from June 16-26, 2005 in the RSC 's production of Hecuba.

Already a winner of the Ian Charleson award for her earlier work in London, Rebecca Hall has now won high praise for her Rosalind , too. By the time Sir Peter and his company arrive at BAM , she will have played the role 115 times . Ben Brantley, reviewing As You Like It for The New York Times, wrote: "Rosalind has been reborn ... [and] as Ms. Hall embodies her .. . Shakespeare's blithe magician of matchmaking has become a wary, vulnerable wanderer through an age of suspicion, a time ruled by cruelty and caprice. And anyone whose heart doesn't embrace this uncertain, gorgeous, gallumphing girl probably doesn't have one."

Rebecca Hall insists that the father-daughter relationship is always left outside, once work gets underway. "It would be so unfair to the other actors otherwise," she explains. She's been working with her father since she was eight, when she was in his TV film, The Camomile Lawn, "a nd he

.. . Watching the first night of As You Like It in Bath, my pride was overtaken by basic terror. What a risk I had asked her to take! treated me like any other professional actress, from the first day." Later, at Cambridge, the 19-year-old Rebecca inhabited a startlingly mature Martha in Edward Albee's Who's Afraid of Virginia Woolf? "That convinced me of what I wanted to do, and that I did not want to wait anoth­ er minute to do it. " She quit Cambridge and moved directly to a career in the West End. Despite some misgivings from her family (including her mother, opera singer Maria Ewing), about not fin­ ishing her degree, she triumphed in a central role in Mrs. Warren's Profession , also directed by her father.

Sir Peter ad mits to fatherly pride in Rebecca's achievements , and adds "For Rosalind , I feel she has found a new level of intensity. But watching the first night of As You Like It in Bath, my pride was overtaken by basic terror. What a risk I had asked her to take l You know what it's like in this business. If you have family connections, doors may open for you that bit sooner, but if you don't deliver pretty immediately, the critics and the public go after you . But by the time the curtain came down on the first half, I knew there was nothing to worry about. Of course, Rebecca is working as part of a top-flight ensemble. And Celia (Rebecca Callard) is a great foil for Rosalind. When the two leave for Arden , Rosalind really is more than 'common tall' and Celia is, well, a little squirt; they seem to me to be exactly what Shakespeare must have had in mind for the two boys who first played the roles ."

There are more dark comedies on the horizon for Sir Peter soon-a production of Ronald Harwood's The Dresser; Whose Life is it Anyway? with Kim Cattrall; La Cenerentola at Glyndebourne, and a much-anticipated reworking of Waiting for Godot for the 50th anniversary of its English-language premiere. Perhaps, for our time, dark comedies are more appropriate. _

Mel Cooper, founder of the magazine Opera Now, lives and works in the UK as an arts journalist, broadcaster (for the BBC and Classic FM), and lecturer. He is currently Deputy Director of the Genesis Foundation.

13 Amelia

It's All in the Details

By Susan Yung

The first viewing of choreography by Edouard Lock is invariably jarring and memorable, even if you 've seen a lot of ballet and other kinds of dance. In Lock's Amelia , a woman-on pointe, arms slicing semaphorically- is briskly spun first in one direction, then the other, by a man with unerr­ ing hands and a laser-like focus. These super quick sequences are broken by arrested poses, such as an attenuated lunge, an arm pulled back as taut as a bow ready to fire an arrow, followed by more rat-a -tat phrases. BAM audiences saw Lock's choreography in the stunning Pari s National Opera production of Les Boreades in 2003. Hi s Montreal-based company, La La La Human Steps , will perform Amelia at BAM from Feb 1- 5.

Lock discusses his distinctive style. "I tend to like a lot of detailing, upper body involvement, and at times an accelerated tempo. The use of ballet technique tends to idealize and highlight line, while detailing and speed tend to hide it. The ebb and flow of these two forces at work creates an unstable perception of body shape. I find that attractive. The sense of the body revealing and shrouding itself constantly through movement and detail squares with my opinion that there is an inherent mystery to body shape, which we more easily forget when the body is at rest. "

When asked if he constructs movement through tasking or storytelling, he replies , "I'm not saying something specific. I'm playing with movement structures that make the body appear to me the way I think it is, or at least the way I feel it is. Since the body is as much a symbolic construct as a physical one , stories are generated by the observer regardless of the original intent." And while he does not use the traditional vocabulary of ballet, his departure should not be construed as disdainful. "I'm contributing my opinion to it, based on what I feel is involving to me. I respect the form so I'm carefu l to demonstrate that." Th is is evident when a dancer pushes a simple move far past its norm to create a radical position-new, yet fundamentally grounded.

16 Amelia

Lock emphasizes "a more independent stance by those on pointe (male and fema le). In order to achieve this, there's a use of weight that creates an interdependency in some of the duet structures. The weight shifts are really small and almost constant. I'm not sure if people even see them. Th e dancers depend on each oth er as th ey pull apart and come together in order to generate some of the positions and tempo. Very little of it has to do with strength. Most of it has to do with use of weight and timing. In that sense it's very cooperative."

As fast-forward as th e performance is, the worki ng process is quite deliberate. "There's a lot of talking and explaining, and every thing is very slow for a while," Lock explains. "The structure is also built like frames of animation. Position, line, structure, and deta il. The flow and the movement are added later." Perhaps not surprisingly in light of this wo rking process, Lock made a film of Amelia , wh ich has won a number of honors and has been screened in numerous festivals, including last year in New York's Tribeca Film Festival. The stunning set (it differs from the live producti on) is a wooden dance studio floor extruded up all four walls to form a seamless box. Cameras shoot from high above th e dancers, making them look li ke bugs, or close enough to see the flecks in their pupi ls, but mainly in between.

Besides claiming th e dance for posterity, the film is a pure and singular artistic statement by Loc k, who discusses th e film project. "I liked the expe rience. I think choreographers tend to know how they wou ld like to see their dances presented. Also, I think a theater audience shifts their point of view continuously in co nnection to wha t they wish to see, even while they remain in their seats . Though th eir physical position remains static, they alter their virtual point of view dynamically, in response to their observations and level of involvement. In some ways this film reflects this obser­ va tion. I think being aware of this helped me decide how to film Amelia." Lock has expressed interest in making additional films in th e future.

The live performance offers its own rewards for Lock. "The stage version , though fixed structurally, still responds to the subtle forces that an audience exerts on the performer, the performer's desire for renewal , my interest in changing and modifying things, and all the other factors that comes into play. These small but constant forces pull the piece along, so that over time changes become very noticeable. Sort of like looking at a clock- if you stare at it you don't see much, but if you turn away and then come back to it, differences are noticeable. "

So when your mind has settled down after watching Amelia, let it wander. But don't be too surprised when it begins to rerun Lock's choreographic prestidigitation in slow motion, then fast, then stop-action, over and over to form a spectacularly haunting vision . ~

Susan Yung, BAM's publications manager. writes frequently about the arts.

17 2005 Spring Season

Brooklyn Academy of Music

Alan H. Fishman William I. Campbell Chairman of the Board Vice Chairman of the Board

Karen Brooks Hopkins Joseph V. Mel illo President Executive Producer

presents As You Li ke It a Theatre Royal Bath production

Approximate BAM Harvey Theater running time: Jan 18-22, 25-29, 2005 at 7:30pm 3 hours Jan 22 & 29 at 2pm; Jan 23 & 30 at 3pm including one intermission By William Shakespeare

Di rected by Sir Peter Hall Designer John Gunter Lighting and projection designer Peter Mumford Composer Mick Sands Sound designer Gregory Clarke Assoc iate director Trish Rigdon

Bank of America is the presenting sponsor for As You Like It with major support provided by the British Council.

Opening night reception support is provided by The Laura Pels Foundation.

Leadership support for BAM Thea ter is provided by The Peter Jay Sharp Foundation, The Fan Fox and Leslie R. Samuels Foundation, Inc., The Shubert Foundation, and The Gladys Krieble Delmas Foundation. Cast Orlando, youngest son of Sir Rowland de Boys Dan Stevens Adam , an old servant David Barnaby Oliver, eldest son of Sir Rowland Freddie Stevenson Dennis, his servant Ronald Fernee Charles, a wrestler James Crossley

Celia , daughter of Duke Frederick Rebecca Callard Rosa li nd, daughter of the Banished Duke Rebecca Hall Touc hstone, a jester Michael Siberry Le Beau , a courtier Robin Browne Frederick, the Usurping Duke James Laurenson Court Lords attending him David Birkin , Kevin Collins , James Crossley , Ronald Fernee , Grainne Gillis, Janet Greaves, Nyasha Fredrick Hatendi , Madeleine Hutchins, Mitchell Mullen , Charlotte Parry

The Banished Duke James Laurenson Amien s Freddie Stevenson Jaques Philip Voss First Forest Lord } ,"eoding him Kevin Collins Second Forest Lord Nyasha Fredrick Hatendi Forest Lords David Birkin , Robin Browne , Kevin Collins , James Crossley , Ronald Fernee , Grainne Gillis, Janet Greaves , Nyasha Fredrick Hatendi , Madeleine Hutchins , Mitchell Mullen , Charlotte Parry

Carin, shepherd David Barnaby Silvius, shepherd David Birkin Audrey, a goat herd Janet Greaves Sir Oliver Mar-Text, a clergyman Robin Browne Ph oebe, a shepherdess Charlotte Parry William, a countryman James Crossley Second Gen tlema n Grainne Gillis Jaques, second son of Sir Rowland de Boys Kevin Collins

Ensemble and Understudies For Orlando Freddie Stevenson For Adam Robin Browne For the two Dukes and Jaques Ronald Fernee For Touchstone and Charles the Wrestler Kevin Collins For Celia, Phoebe, and Audrey Grainne Gillis For Rosalind Madeleine Hutchins For Forest Lord, William, Silvius , Amiens, Dennis, and Jaques de Boys Nyasha Fredrick Hatendi For Oliver David Birkin For Le Beau, Carin, and Sir Oliver Mar-text Mitchell Mullen

The actors of As You Like It are appearing with the permission of Actors' Equity Association pu rsuant to an exchange program between American Equity and UK Equity. Program Note As You Like It Jaques places the Duke's mora l view in perspective; but equally the Duke can take The narrative of As You Uke It is often dismissed some of the sting out of Jaques' criticism by retorting that Jaques himself has been guilty of as a mere innocent folk-tale~an excuse to get all the characters into the Forest of Arden as the very vices he criticizes. Touchstone tries to soon as possible where they can all enjoy a impose the va lue of the Court upon the shep­ sunlit idyll. But the play is deeper than that; herd Corin, but Corin is unfazed, well able to and folk tales are often very dark and disturb­ reply with a direct, persuasive statement of the ing, demonstrating the deepest instincts, fears, rural values by wh ich he lives. and desires of human beings. Arden~whether it is inspired by the woods of As You Like It begins with two stories of sibling Warwickshire or the forests of the Ardennes~ betrayal. Oliver mistreats his brother Orlando, is a place of necessary transformations. The who does not take it lying down. Orlando is a you ng achieve a maturity wh ich allows them to tougher, more aggressive character than the find love and marriage; the old in exile find usual romantic hero. His protests are under­ wisdom, and the evil men~ Du ke Frederick standable since he has been betrayed and neg­ and Oliver~a r e tra nsfigu red. lected throughout his adolescence. The second betrayal announces the politi cal dimension of Above all the Forest is a place of release. It the play, since Duke Frederick has staged a gives the refugees from the Court the freedom coup d'etat, usurping his brother's dukedom. to be themselves and to say what they think. Duke Frederick is pa ranoid and neurot i c~ Their journeys are both physical and psycho­ humorous, in the sense of being dangerously logical. Li ke many of Shakespeare's heroines, changeable in his moods. His Court is a cold , Rosalind is a slightly spo iled and im perious proto-fascist place where people need to be princess who needs to be softened by the expe­ carefu l what they say. He likes to watch violent rience of living before she finds love. Rosa lind wrestling. Three young men are killed before is also liberated by her male disguise, which the bout with Orlando begins. releases the full flood of her witty eloquence and in particular her habit of mocking what is From the distance, the Forest of Arden may most important to her: love. She can say in one appear an idealized place where people "fleet breath "men have died from time to time, and the ti me carelessly, as they did in the golden wo rm s have eate n them, but not for love," yet world," the lost pa rad ise of classical antiquity. in the next confess "how ma ny fa thoms deep I But when we meet the Banished Du ke in the am in love." Her disgu ise ena bles her to test Forest he and his followers are livi ng at the sincerity of Orlando's love for her, but subsistence level, end uring the "icy fang/And equally it liberates him to say what he feels churlish ch iding of the winter's wind ." The about Rosal ind. The mock marriage they enact Duke, however, draws a mora l lesson from this : is very close to a real Elizabethan marriage cer­ "This is no flattery. These are counselors" emony: you feel that they are making binding (unlike those at Duke Frederick's court) "That promises to each other. This is where their feelingly persuade me what I am." There is no jou rn eys have led them: to a maturity of feeling pretending in the winter forest: there, you learn and a capacity to love another. The end is ful­ by experience. fillment through marriage, and the experience of love through wit and humor. This is at But that harshness is not the only aspect of the heart of As You Uke It, as it is of all Arden. It has an ability to change its face , partly Shakespearean comedy. depending on the mood of the speaker. It is, as Helen Gardner puts it, "a place of encounters, Peter Hall~July 2003 where one scene articulates another." One viewpoint is counter-pointed by another, and intense joy and anguish mix. The satirical

1-7 Who's Who

Peter Hall (director) , born in Bu ry St. Glyndebourne and for the Lyric Opera of Edmunds, was educated at the Perse School Chicago where he has recently directed The and at St. Catharine's College, Cambridge. In Marriage of Figaro. In 1988 he launched the 2003, he celebrated 50 years as a director. He Peter Hall Company with productions of made his debut at Windsor in 1953 and was Orpheus Descending with Vanessa Redgrave Director of the Oxford Playhouse 1954-55. and The Merchant of Venice with Dustin He ran the Arts Th eatre London 1956- 59 Hoffman. The Company has mounted more where his productions included the Engli sh lan­ than 40 productions in London, New York , guage premiere of Beckett's Waiting for Godot. Europe, and Australia, including a landmark In th e 1957- 59 seasons he was at Stratford season at the Old Vic which included produc­ on Avon where his productions included tions of Waiting for Godot, Waste , and The Cymbeline with Peggy Ashcroft , Coriolanus Seagull. Most recent productions have included with Laurence Olivier and Edith Evans, and A The Royal Family starring Jud i Dench; Lady Midsummer Night's Dream with Charles Windermere's Fan starring Vanessa Redgrave Laughton . Peter Hall created the Royal and Joely Richardson ; Mrs. Warren's Profession Shakespeare Company in 1960 and opened wi th Brenda Blethyn , Ri chard Johnson, and the RSC's first London home at the Aldwych Rebecca Hall; and Feyd ea u's farce Where Theatre. Production s for the RSC included The There 's a Will in a new translation by Ni cki Wars of the Roses, David Warner's Hamlet, Frei, starring Elaine Paige, Nicholas Ie Prevost, The Government Inspector with Paul Scofield , and David Warner. In 2003 the Peter Hall and premieres of plays by Pinter (The Company gave its first Summer Residency at Homecoming and Old Times), Albee , and th e Theatre Roya l Bath where productions Simon Gra y. He became director of the Royal included Pinter's Betrayal, Coward 's Design for National Th eatre in 1973, spending fifteen Living, a rare DH La wrence, The Fight for years with the Company and moving it into the Barbara (directed by Thea Sharrock), new theaters on the South Bank. Prominent Shakespeare's As You Like It, and Manfridi's productions for th e NT included Pinter 's No Cuckoos in an English version by Colin Teevan. Man's Land (with John Gielgud and Ra lph Betrayal transferred to th e Duchess Theatre, Ri chardson); Tamburlaine the Great with Albert and As You Like It was seen on an acc laimed Finn ey, Bedroom Farce by Alan Ayckbourn , nine week tour of the U.S. Also in 2003 Peter Peter Shaffer's Amadeus with Paul Scofield; Hall directed a new production of Beckett's Aeschylus' Oresteia; and Antony and Cleopatra Happy Days, starring Feli city Kendal, at th e with Judi Dench and Anthony Hopkins. In Arts Th eatre. This summer the Peter Hall 2002 he returned to the RNT with an Company returned again to Bath for another acclaimed production of Euripides' Bacchai Summer Resi dency. The season included the which was also seen on tour in the U.K. and rarely seen full-length version of Shaw's Man at the Athens Festival in Epidaurus. He has and Superman , the world premiere of directed at many of the world 's leading opera Ti mberlake Wertenbaker's Galileo's Daughter houses including the Royal Opera House, The (both productions directed by Peter Hall) ; Metropolitan Opera, Bayreuth (a celebrated Simon Nye's new version of Moliere's Don Juan production of Wagner's Ring Cycle), Lyric and Coward 's Blithe Spirit (both directed by Opera of Chicago, Houston Grand Opera, and Thea Sharrock). Peter Hall is directing two Geneva. From 1984- 90 he was artistic direc­ other producti ons in autumn/winter 2004/5, tor of Glyndebourne Festival Opera, producing Ronald Harwood's The Dresser, starrin g Julian some eighteen operas. He returned there in Glover and Nicholas Lyndhu rst, and Brian 2001 to direct Britten's A Midsummer Night's Clark's Whose Life is it Anyway?, starring Kim Dream and Verdi's Otello , a production also Cattrall, which opens at the Comedy Th eatre in seen at the Lyric Opera of Chicago; in 2002 he January. Peter Ha ll has directed regularly in directed a highly praised revival of Albert America since 1957. Recent productions there Herring for the Company. Future opera include John Guare's Four Baboons Adoring plans include further productions both at the Sun; two productions of Peter Shaffer's Who's Who

Amadeus; the formation of a Shakespeare John Gunter (designer) trained at the Central Company in Los Angeles where productions School of Art and Design in London. After between 1999 and 2001 included Measure for periods as resident designer for the English Measure, A Midsummer Night's Dream, and Stage Company at the Royal Court Theatre and Romeo and Juliet, as well as a new production for the Schauspielhaus Zurich, he pursued an of Troilus and Cressida for Theater for a New increasingly busy freelance career in Britain Audience in New York, also in 2001. His cele­ and in ternationally. He became head of design brated production of John Barton's ten-hour at the Royal National Thea tre in 1988 and epic Tantalus was produced by the Denve r associate designer there from 1990- 1993. Center for the Performing Arts in association Productions designed over the last three with the RSC and premiered in America before decades include Edward Bond's Saved, a sell-out London season at the Barbican in Storey's The Contractor, and Hampton's The 2001. Peter Hall has directed some 300 Philanthropist at the Royal Court; productions ma jor theatre productions including 29 of for the Royal Shakespeare Company including Shakespeare's plays and premieres of plays West of Suez, Juno and The Paycock (nomi­ by Samuel Beckett, Harold Pi nter (nine world nated for a SWET Award), as well as many premieres), Tennessee Williams, Edward Albee, Shakespeare productions for the company in Jean Anoui lh, Peter Shaffer, John Mortimer, Stratford and London. His work at the Royal John Whiting, Simon Gray, David Edgar, and Nationa l Theatre dates from th e 1970s where Alan Ayc kbourn. A recipient of many arts productions have included Chris Morahan's awa rds and nom inations including two Tony Wild Honey, Sir Richard Eyre's Guys and Dolls Awards (for The Homecoming and for (each winning him a SWET Award) and David Amadeus) and an Olivier Awa rd for Li fetime Hare's play Skylight (the latter two being Achievement in 1999, Peter Hall was knighted subsequently seen in many parts of the world). in 1977 for his services to the British Theatre. Many of these plays and musicals transferred He holds honorary degrees from Cambridge, to the West End and to Broadway where his Warwick, York, and Essex Universities and is work has been seen regularly since the 1960s. also an Honorary Fellow of SI. Catharine's Other U.S. productions have included work College, Cambridge. Peter Hall's films for with the Center Theatre Group in Los Angeles. cinema and TV include Work is a Four Letter Parallel to his career in spoken theater, Gunter Word (1968), A Midsummer Night's Dream has designed many operas on three continents. (1969) , Three into Two Won't Go (1969), These include several for Glyndebourne- his Perfect Friday (1971), The Homecoming 1985 prod uction of Albert Herring was revived (1973), Akenfield (1974), She 's Been Away in 2002-where he has worked frequently with (1989), Orpheus Descending (1990), The Sir Peter Hal l. His designs for Le Nozze di Camomile Lawn (1991), and The Final Figaro opened the new theater there in 1994, Passage (1996). His books include Peter Hall's and Porgy and Bess for Sir Trevor Nunn was Diaries (1983); Making an Exhibition of Myself seen on television (winning an Emmy Award in (1993); The Necessary Theatre (1999), and 1994) and at Covent Garden. Work at the Exposed by the Mask (2000). His latest book, Royal Opera House Covent Garden includes Shakespeare's Advice to the Players published Simon Boccanegra and Der Fliegende by Oberon Books in 2003, is just out in paper­ Hollander. At English National Opera his back. Peter Hall is Chancellor of Kingston productions include Faust, Don Quixote, and University and lectures regularly both in the Mephistopheles. He has also worked with the U.K. and in the U.S. where he holds the Los Angeles , Lyric Chicago, San Francisco, Wortham Chair in Performing Arts at University Salzburg Festival , La Scala Milan, Buenos of Houston. Last year Peter Hall became the Aires , and Australian Opera companies. Other first Director of Rose of Kingston and this pro­ acclaimed productions include Jeffrey Bernard duction of As You Like It is his first production is Unwell, many for Sir Peter Hall in the West in the space. End including Lady Windermere's Fan and Mrs. Warren's Profession in 2002. Recent Who's Who

productions include Hamlet (Old Vic), Love's Theatre, Manchester); Arthur (Birmingham Labour's Lost, and Anything Goes (later West Royal Ballet); The Crucible, Hidden Variables, End) at the Royal National Theatre with Sir A Stranger's Taste, This House Will Trevor Nunn and Design for Living, Betrayal Burn/Ashley Page (Royal Ballet); Sounding, (also West End and U.K. tour) , The Fight For Unrest, The Celebrated Soubrette (Rambert Barbara and As You Like It (also U.S. tour) for Dance Co); Lautrec (Shaftesbury Theatre) ; I the Peter Hal l Company at Theatre Royal Bath. Laskarina (Acropol Theatre , Athens); Eugene He designs regularly for the Chichester Festival . Onegin, Madame Butterfly (Opera North); In preparation are Romeo et Juliette (Los Giulio Cesare (Opera de Bordeaux); Angeles Opera Company) , Peter Grimes Summerfolk, The Merchant of Venice, Money, (Osterfestspiele Salzburg), and Anything Goes The Prime of Miss Jean Brodie (National (Los Angeles and New York). Th eatre); Long Day's Journey into Night, An Ideal Husband, Oliver Twist, and Therese Peter Mumford (ligh ting and projection design­ Raquin (Gate Theatre, Dublin). He directed and er) has recently designed lighting for Becket designed the European premiere of Earth and (Theatre Roya l Haymarket); Playboy of the the Great Weather (by John Luther Adams) for Western World (Abbey Theatre, Dublin and Almeida Opera 2000 and most recently co­ U.S. tour); Don Juan, Man and Superman, directed and designed sets and lighting for and Blithe Spirit for th e 2004 Peter Hall L'Heure Espagnole and L'Enfant et les Season (Theatre Royal Bath and U.K. tour); Sortileges for Opera Zuid. Other recent work as Out of This World, The Master and Margarita, a set and lighting designer includes Un Ballo In The Gondoliers, and The Seagull (Chichester Maschera for Vilnius Festival and Opera House. Festival Theatre); The Goat (Almeida and West Fil m/TV work includes, most recently, director End ); The Nutcracker choreographed by Ashley of photography for Francesca Zambello's film of Page (Scottish Ballet); Blood by Lars Noren The Little Prince for th e BBC. He directed 24 (Royal Court); Cosi fan tutte (English National short films for the BBC 2 se ries Forty-Eight Opera at the Barbi can); Brand (Swan Theatre, Preludes and Fugues (J.S. Bach) and he was Stratford and Haymarket Theatre, London); lighting director for the other 24 films in the Betrayal, Design for Living, Fight for Barbara, series. He was also director of photography for and As You Like It for the 2003 Peter Hall a new TV film version of Jenufa (dir. Katie Season (Theatre Roya l Bath ); La Traviata for Mitchell) for BBC2 and Richard" (dir. Deborah Antwerp Opera; The Talking Cure by Warner) for Channel 4. In the past his work as Christopher Hampton (National Theatre); a TV/film director has won both the Opera Siegfried and Gotterdammerung (Scottish Screen and Dan ce Screen Awards and his TV Opera/Ed inburgh Festival Th eatre); Bacchai adaptation of Matthew Bourne's Swan Lake directed by Peter Hall (Nationa l Th eatre); was nominated for an Emm y. He was the win­ Private Lives directed by Howa rd Davies with ner of the 2003 Laurence Olivier Award for Alan Ri ckman and Lind say Duncan (Albery Best Lighting Design for Bacchai and the 1995 Theatre and Broadway); Hamlet, Othello, and Olivier Award for Outstanding Achievement in The Taming of the Shrew (Royal Shakespeare Dance for his work on The Glass Blew In Company) ; The Bartered Bride (Royal Opera (Siobhan Davies) and Fearful Symmetries House) ; Madame Butterfly (Northern Ballet (Royal Ballet) and nominated Best Lighting Th eatre); Luther (National Theatre); The People Designer in 2000 and 2002. He recently won are Friendly and Redundant (Royal Court); the Best Lighting Designer at The Irish Th eatre Iphigenia (Abbey Th eatre, Dublin ); God Only Awards for Iphigenia. Knows (Vaudeville); Medea (Queen's Theatre); II Corsaro (Athens Concert Hall) ; Don Pasquale Mick Sands' (composer) recent work includes (Opera Zuid , Holland) ; The Coronation of Beauty and the Beast at the RSC ; Calico in the Poppea (English National Opera); Of Oil and West End; Galileo's Daughter and Don Juan Water (Siobhan Davies Dance Co); Irek with the Peter Hall Company in Bath; and Mukhamedov and Dancers (Sad ler's Wells); Alcmaeon in Corinth at Live Theatre, The Dispute and the Critic (Royal Exchange Newcastle; The Cherry Orchard with Oxford )0 Who's Who

Stage; Eastward Ho in the RSC award-winning Buried Alive , and Tender (Hampstead Theatre); Jacobean season; Twelfth Night at Southwark Seven Doors , Semi-Detached, Pal Joey, Playhouse, Sive with Druid Theatre, Galway; Heartbreak House, and A Small Family Tantalus with Denver Theatre Colorado, and on Business (Ch ichester Festiva l Theatre); The tour with the RSC; Beauty and the Beast at the Cherry Orchard, Demons and Dybbuks, and Young Vic and the Internati ona l Festival, New The Black Dahlia (Method and Madness); I Zealand; Three Sisters with Oxford Stage Caught My Death In Venice , Nathan The Company; A Voyage Round My Father and Wise, Song of Singapore, and Nymph Errant Long Day's Journey Into Night with Cambridge (Minerva Theatre, Chichester); Design for Th eatre; Long Day's Journey at the You ng Vic; Living, Betrayal, Fight For Barbara, an d As Blood Wedding at Lyric , Hammersmith; Twelfth You Like It (the Peter Hall Company Season at Night at Liverpool Playhouse; Translations at the Theatre Royal Bath ) and As You Like It the Theatre Roya l Edinburgh; Darker Fa ce of (U.S. National Tour); Office Suite and Present the Ea rth at th e Royal National Theatre and Laughter (Theatre Roya l Bath ); the new many productions at the Gate , Notting Hill, musical Baiju Bawra (Theatre Royal, Stratford including the award-winning Spanish Golden East) and Dick Whittington (Stratford East at Age season, Hecuba , The Suppliants , and the Greenwich); Paradise Lost and Relatively Agamemnon's Children trilogy. He is currently Speaking (Derngate Theatre, Northampton); reviving Beauty and the Beast at the RSC, Krindlekrax (Birmingham Repertory); The where he will start work on Hecuba soon. He Hackney Office (Dru id Theatre, Gal way); My is a winner of the Christopher Whelen award Boy Jack (Yvonne Arnaud Theatre); Beyond for Music in Theatre. His radio, television and a Joke (Yvonne Arnaud Th eatre, co-design film work includes Death and the King's with John Leonard); and Dumped and A Horseman, Radio 3; Iph ... , Radio 3 (Belfast); Midsummer Night's Dream (National Youth Tantalus: Behind the Mask (documentary for Th eatre). PBS ; Emmy nomination); and Crescent (short film). He is a singer and instrumenta li st with a Trish Rigdon (associate director) last worked background in traditional and ethnic music. His with the Peter Hal l Company as associate discography includes: Ireland (Soundstage) and director, production administrator, and costume Folk Songs , and Story Songs Vol. 1 and 2 designer for Man and Superman , Ga/ileD's (KPM). Daughter, and Don Juan in the 2004 season at Th eatre Royal Bath and as assistant director Gregory Clarke's (sound designer) sound for th e 2003 production and U.S . tour of As design credits in clude Journey's End (Comedy You Like It. Other theater credits include as Theatre , Playhouse Theatre); Betrayal (Duchess director- La Llama (Express Theatre, Houston); Theatre); Abigail's Party (New Ambassadors The Laramie Project, Antigone, Spike Heels and Whiteha ll Theatres); Mum's The Word (Rice University, Houston) ; as assistant direc­ (Albery Th eatre); Lady Windermere 's Fan and tor- Romeo and Juliet (with Sir Peter Hall , The Royal Family (Theatre Royal, Haymarket); Ahmanson, Los Angeles) , Romeo and Juliet Song of Singapore (Mayfair Theatre, London) (Houston Shakespeare Festival), God's Man in and No Man's Land (Royal National Theatre). Texas (Stages Repertory, Houston); as lighting For the Royal Shakespeare Company-The designer-theater and dance includes Texas Merry Wives of Windsor (The Old Vic, Stratford Contemporary Dance Initiative, City Da nce and U.S. tour); Coriolanus (The Old Vic and Company (Miller, Houston 2000- 2004), Stratford) and Tantalus (Stratford and U.K. Chrysa lis Dance Company; Smash , Ma cbeth, Tour); He nry IV Part I, A Midsummer Night's Les Liaisons Da ngereuses (Rice Un iversity); as Dream, The Two Gentlemen of Verona, and costume designer-theater and dance includes Love's Labour 's Lost (Open Air Theatre, Open House/Open Book (Rice University with Regent's Park) ; When The Night Begins, Maths choreographer Stephen Koplowitz) , Chrysa lis Tutor, Abigail's Party , The Dead Eye Boy, Dance Company, Smash, Red Scare on Sunset Snake, Gone To LA , Terra cotta, Local Boy, (R ice University) , Resident Designer at Houston Who's Who

Community College 1997-2000; as assistant Royal Bath and Sir Peter's company of artists lighting designer-theater includes One Flew for As You Like It. Over the Cuckoo's Nest (Broadway, Barbican, and Steppenwolf, Ch icago); American Buffalo David Barnaby's (Adam / Corin) theater ro les (Off-Broadway, Donmar Warehouse); TopDog/ include Othello, Antony, Macbeth, James Underdog (Steppenwolf Theatre/Al ley Theatre Tyrone in Long Day's Journey into Night, co -production, Houston and Dallas) The Goat, Henry II in The Lion in Winter (all for Questors Of Mice and Men, As Bees in Honey Drown, Theatre), and Vanya in Uncle Vanya (Sphera Comedy of Errors (Al ley, Houston), and Theatre, Moscow, directed by Oxana Lemonade (Alley, Houston, Off-Broadway). Meleshkina). As a writer/performer in Michael Rigdon holds a Master of Fine Arts in Th eatre Green's Coarse Acting Shows, he has appeared from University of Houston and is the Director on the Edinburgh Fringe and at the Shaftesbury of Th eatre at Rice University, Houston where Theatre, Lon don. Since turning professional in she teaches acting, directing, and design. 1997 he has appeared in more than 40 plays and fil ms. Theater roles include the Mayor in John McNamara (production stage manager) Gogol's The Government Inspector (Union on Broadway worked on Riverdance, Wizard of Theatre), U ndershaft in Shaw's Major Barbara Oz, Fosse, Camelot, Shimada, Welcome to the (national tour) , Sol ness in The Master Builder Club, and Teddy and Alice; an d on tour­ (Tristan Bates), Pa ncrazio in The Venetian Bubblin' Brown Sugar, West Side Story, and Twins (Southwark Pl ayhouse), Bismarck in Ain't Misbehavin'. He spent five years as resi­ Blood and Iron (Tristan Bates), and Darwin in dent stage manager at Westchester Broadway The Ostrich and the Dolphin (Bloomsbury Theatre, and was production supervisor for the Theatre and tour). Recent Shakespea rean transfer of Woman in Black from the West End roles include Duncan (Ludlow an d Cambridge) , for its U.S. premiere. McNamara was the pro­ Jaques (Cambridge), and Baptista, Exeter, duction stage manager for the recent U.S. tour and Ancient Pi stol (Shaw). This yea r he has of the Abbey Theater's centenary production of appeared in The Marrying of Ann Leete The Playboy of the Western World. (Orange Tree) and on fil m in When Harry Met Sally (Theatre Royal Haymarket). Films include Terence Dale's (company manager/assistant Making Waves (Eden Films), Day of the Sirens stage manager) credits as company manager (Imaginary Films) and Sanhedrin (Sal Pa radise include The Playboy of the Western World Productions). (Abbey Th eatre, U.S. tour), Sir Peter Hall's As You Like It (Theater Royal Bath, U.S. tour '03), David Birkin 's (Silvius / Understudy: Oliver) Carmen (Broomhill Opera, World Stages theater credits include Silvius in As You Like It Toronto), The Mysteries (Broomhill Opera, directed by Peter Hall (Theatre Royal Bath ), World Stages Toronto), and The Rocky Horror Christopher in White Chameleon directed by Picture Show and The Beggar's Opera Richard Eyre (National Theatre), and Miles in (Dimpho di Kopane, Cape Town). Other credits The Innocents directed by Robert Delamere include U-Carmen eKhayelitsha (production (Greenwich Theatre). Film credits include manager, Spier Films), Internati ona l Festi va l of Animal directed by Roselyne Bosch (Legende), Arts & Ideas, New Haven (artist coordinator), Sylvia directed by Christine Jeffs (Ariel Films) , New Work Now' (coordinator, The Public Charlotte Gray directed by Gillian Armstrong Theater), and Super Troopers (production coor­ (Ecosse Films) , No Man's Land directed by dinator, Jersey Shore Films). New York theater Edward Hicks (London Internal'l Film School), credits include productions for La MaMa, All The Queen's Men directed by Stefan HERE, P.S. 122, Town Hall, New York Theatre Rusowitzki (Atlantic Streamline), Pieta directed Workshop, Theater Row, and The Public by Joachim Trier (N FTS), Les Miserables direct­ Theater. Dale is an associate artist with the ed by Bille August, Impromptu directed by New York theater company The Civilians. Dale James Lapine, and Return of The Musketeers is honored to be back with CAPA, Th eatre directed by Richard Lester. Television credits Who's Who

include Hornblower III, Andrew Grieve company, 20 years ago . He is married with (Meridian), The Project, Peter Kosminsky three sons and lives in North London. (BBC), Young Arthur (MBC), Casualty, Nic Phillips (BBC), Touch Of Frost . Roger Bamford Rebecca Callard's (Celia) theater credits (lTV) , The Scarlet Pimpernel, Simon Langton include Be My Baby (Salisbury Playhouse) , As (BBC), Jean Luc Picard in Star Trek-The You Like It directed by Peter Hall (National/US Next Generation ("Rascals ," dir. Adam Nimoy, Tour) , Antigone (Bristol Old Vic), A Midsummer Paramount), Jean Michelle Picard in Star Trek Night's Dream (Regent's Park), Love's Labour's ("Family," dir. Adam Nimoy, Pa ramount). Radio Lost (Regent's Park), The Circle (Oxford Stage credits include Joey Lee in Believe In The Stars Company), The Crucible (Leicester Haymarket), (Radio 5) , and Pearson in Excuse Fingers. Billy Liar (King's Head), Romeo and Juliet (Regent's Park), and Burning Everest (West Robin Browne (Le Beau / Sir Oliver Mar-text / Yorkshire Playhouse). Fil m cred its include The Understudy: Adam) began his career 38 years Miracle Maker (Icon), and The Wo lves of ago in Li verpool and has subsequently Willoughby Chase (Zenith). Television credits appeared in repertory throughout the U.K. He include Born and Bred, Peterloo (Channel 4); made his West End debut, in 1969, in Eric Band of Gold, The Grand- nominated for a Porter's production of My Little Boy My Big television award, September Songs, (Granada Girl. He went on to play Rusty in the original TV); The Borrowers (Working Titles); Lorna TV series of Crossroads and was a member of Doone, Sunburn, The Mrs. Bradley Mysteries, both th e BBC radio drama company and the Life Support, Casualty, Plotlands, Missing BBC schools radio drama company. During the Persons , Bonjour La Classe , and Will You Still 1980s he worked for three years for Channel 4 Love Me Tomorrow (all BBC). Radio credits as a continuity announcer before resuming his include Smelling of Roses, Worlds Apart, Seven acting career as a member of the Peter Hall Minutes to Midnight, Mr. Wroe 's Virgins, and Company, firstly in The Rose Tattoo with Julie Man With a Travel Hairdryer. Walters and Ken Stott, and then Phipps in An Ideal Husband (West End and on tour- U.K. Kevin Collins (Jaques de Boys / First Forest and abroad). He played the Reverend Colin Lord / Understudy: Touchstone, Charles the Mallow in the National Th eatre's production of Wrestler) was born in Philadelphia and trained Alan Ayckbourn's House and Garden . Other at the National Theatre School of Canada in West End appearances include Agatha Montreal. In Ireland, he was a member of the Christie's Murder At The Vicarage and at the Sligo-based company, Blue Raincoat, from Apollo and Lyric Theatres, The Constant Wife. 1996- 2002. He moved to London to pursue In the subsequent national tour of this further training under Steven Wasson and Somerset Maugham classi c, he played Corinne Soum at the Ecole de Mime Corporel Mortimer Durham. He was associate producer Dra matique, and later became a member of of the world premiere of the Vivienne Ellis their company, the Theatre de l'Ange Fou. award winning musica l Bon Voyage. He has Collins recently appeared in the West End as lectured in Broadcasting at Middlesex Harry, opposite Alyson Hannigan and Molly University and for seven years taught radio Ringwald , in When Harry Met Sally and has technique at Mountview Theatre School in just played the lead in the feature film Infinite North London. His television credits include Justice (Scarab Film s). At Theatre de l'Ange Z Cars, Crossroads, It Ain't Half Hot Mum, Fou he was The Mayor in The Government Macbeth, Outside Edge (the TV film ), Hammer Inspector (touring to Israel , Spain, Ireland , and House of Horror, Public Eye, Wycliffe, Grange London International Mime Festival); at Blue Hill, The Upper Hand, Peter Hal l's TV film The Raincoat- Macbeth (Dublin International Final Passage, The Hunter and The Hunted, Th eatre Festival); Charles Dodgson in Jocelyn Judge John Deed, and most recently Clarke's Alice Through the Looking Glass (Lyric Panorama: The Hutton Inquiry He co-founded Belfast and tour); Lysander in A Midsummer The Harry Partnersh ip, a communications skills Night's Dream (Iri sh and U.K. tour); Still Life Who's Who

and A Brief Ta ste of Lightning by Malcolm World, Woyzeck , Richard /I , Nancy Astor, Hamilton (premieres); Antonio in The Tempest ; Secret Army, and Life at Stake for the BBC; Hamlet; On Baile's Strand (The Factory Kavanagh QC for Central Films; Never the Performance Space, Sligo). West End produc­ Twain for lTV; Fee's Story and Down in the tions include Joe/ Harry in When Harry Met Valley for Film Four. Film credits include Sally (Theatre Roya l Haymarket) and Sexual Sometimes in April for HBO Productions; Death Perversity in Chicago (Comedy Theatre). Film Wish 11/ for Cannon Pictures; Santa Claus for roles in clude Jack Kerouac in Angels Still Anchor Bay Entertainment, and Superman /I Falling and Arnold Silverman in Infinite Justice. for Warner Brothers. Radio credits include Napoleon, Salem's Lot, and Trapped for BBC James Crossley (Charles the Wrestler / William) Radio 4. recently played Greg Sanderson in Peter Colley's horror thriller I'll Be Back Before Grainne Gillis (Forest Lord / Understudy: Celia, Midnight. In 2004 Crossley completed a very Phoebe, Audrey) studied Music at University successful run at the Hull Truck Theatre playing College Cork and trained at the Bristol Old Vic Tony in the hit comedy Up 'N' Under, written Theatre School. Roles in theater prior to attend­ and directed by John Godber. Crossley spent ing the Bristol Old Vic Theatre School have most of 2003 touring the U.K. and U.S. with included Gwendolen in The Importance of the Peter Hall Company in the original produc­ Being Earnest, Peg Finnerty in Many Young tion of As You Like It, playing Charles the Men of Twenty and Widow Quin in The Playboy Wrestler and William. In 2002 he toured the of the Western World, all at the Eve ryman U.K. with the award-winning comedy Naked Pala ce Theatre in Cork, Ireland ; Mother Victoria Flame and Naked Flame /I- Fire Down Under, in Eclipsed, and The Transvestite in Hot Food playing fire fighter Sean . Crossley's TV acting for Strangers (Opera) , both at the Granary credits include the role of Chad in the Theatre , also in Cork; Olga in Three Sisters Canadian sci-fi spoof LEXX (Channel 5), The (Tour for Praxis Theatre Laboratory); Grace in Upper Hand (lTV) , Emmerdale (lTV), The The Dining Room at Andrews Lane Theatre, Adams Family Tree (BBC1), and Gladiators Dublin; The Hairdresser in Plebeians Rehearse (lTV). He made his film debut in 2001 as the the Uprising (Arcola Theatre) , and the crea tion Underworld Boss in the critically acclaimed of the role of Ella in the opera Looking at the Hollywood Action Movie . Crossley has present­ Sun (BAC) both in London. Since graduating ed Weight Matters on Sky Discovery, The Live in 2002 she played seven different characters Six Show (Skyl), Super Champs (l TV) and in the Tobacco Factory's production of Peak Performance (Carlton). He has also Huckleberry Finn in Bristol , Linda Loman/Letta presented shows on Radio 5 and TFM Radio. in Death of a Salesman for the American Drama Group Europe (tour), created the roles Ronald Fernee (Dennis / Forest Lord / of Maeve in White Liberal Guilt (Young Vic Understudy: Duke Frederick, Duke Senior, Studio), and Maymie in The Cobbler (Old Vic , Jaques) was born and educated in the U.S., New Voices). For radio, Gillis wrote and and continued his acting training at the Drama presented a series on women composers for Studio, London . Theater credits include RTE (Critic's Choice). TV work includes Emily Drummle/Compeyson in Great Expectations at Jones in Fair City (RTE). the Old Vic ; Don Luis in Mariana Pineda at The Gate Theatre, Notting Hill ; T. Stedman Janet Greaves (Audrey) trained at The Harder in A Moon for the Misbegotten at the Academy of Live and Recorded Arts. Her the­ Mermaid Theatre and Riverside Studios; ater work includes Mae in Cat On A Hot Tin Rochfort in The Three Musketeers, New Vic Roof, Liz Munroe in September in the Rain U.S. tour; Cornelius Christian in Fairy Tales of and Agatha Friburg in Lovers' Vows, a New York at the Young Vic Theatre, The rehearsed reading for the Restoring the Douglas in Henry tv, Part One at Lyric Th eatre, Repertoire season (Theatre Royal, Bury St. Belfast. TV credits include Days that Shook the Edmunds) , The Nurse in Romeo and Juliet Who's Who

.(British Council Tour of Jamaica), Lucy in The Panisse in Marius, and Captain Hardy and The Country Wife (The Bridewell), Iris Bentley in Colonel in R.C. Sheriff's Journey's End, among Example: The Case of Craig and Bentley (The others. This is his first professional theatrical Finborough), The Alchemist (Royal Exchange, a ppea ra nce. Manchester), Soft Times Remix (Arc Theatre Ensemble), and One More Chance (Paines Madeleine Hutchins (Forest Lord / Understudy: Plough-Rehearsed Reading). TV credits include Rosalind) graduated from E15 (RADA) earlier Doctors (BBC), Heartbeat (YTV), EastEnders this year. Her credits prior to graduation include (SBC), Peak Practice (Carlton), Wing and a Macbeth directed by Sue Harmston and A Prayer (Channel 5), and Crimewatch UK. Midsummer Night's Dream directed by James (BBC) Sim mons, Theatre Royal Portsmouth and the Arundel Festival. Roles during training include Rebecca Hall's (Rosalind) theater credits Leticia in The Lucky Chance; Edgar in King include Galileo's Daughter (Theatre Royal Bath) Lear; Eli da in The Lady from the Sea; Milady directed by Peter Hall, Don Juan (Theatre Royal in The Three Musketeers; Peter in The Kitchen, Bath) directed by Thea Sharrock, Man and and Madeline in Nicholas Nickleby. Superman (Theatre Roya l Bath) directed by Peter Hall, As You Like It (Theatre Royal Bath James Laurenson 's (Duke Frederick, Duke and International tour) directed by Peter Ha ll, Senior) theater credits include Edward II The Fight for Barbara (Theatre Royal Bath) (Piccadi lly Theatre), Happy Family (Duke of directed by Thea Sharrock, and Mrs. Warren 's York's Theatre), 42nd Street (Theatre Royal Profession (Strand Theatre, London) directed by Drury Lane), A Delicate Balance (Haymarket Peter Hall. Theater (while at Cambridge) credits Theatre), Passion Play (Comedy Th eatre), The include Macbeth (Arts Theatre) directed by Ben Prince of Homburg (Lyric Hammersm ith ), All Naylor, Cookies (Queens' College) directed by for Love, Hamlet (Almeida Theatre and Rebecca Hall, Who's Afraid of Virginia Woolf? Broadway), Henry VI Parts 1 and 2, The (ADC) directed by Khal id Abdalla, Bash Lorenzaccio Story, As You Like It, The (Christ's Col lege) directed by Natalie Ibrahim, Changeling, Saratoga, Othello, julius Caesar, Man in the Moon directed by Jonathan The General From America (RSC), Roebuck Heywood, On the Breast of a Woman (Queens' Ramsden/Statue in Man and Superman; Don College) directed by James Wa lke r, Miranda in Luis in Don Juan; and Pope Urban in Galileo's The Tempest (ETG ) directed by Matthew Daughter (Theatre Roya l Bath). Television Applewhite, and The Real Inspector Hound credits include for the U.K. include Edward II, (A DC) directed by Rebecca Hall. She was Elizabeth R, The Shadow of the Tower, Man in Win ne r of the Ian Charleson Award 2003 for a Side Car, Fathers and Sons, Boney, The her performance in Mrs. Warren 's Profession Stranger, The Prison , The Girls of Slender and a received a commendation in 2004 for Means, Esther Waters , The Duchess of Duke her performance in As You Like It. Television Street, The Martyrdom of John Ogilvie , The credits include The Camomile Lawn (Channel House of Men, The Bretts, Quiet as a Nun, 4) directed by Peter Hall , and Don't Lea ve Me The Professionals, Jude, A Spy at Evening, The This Way (SBC) directed by Stuart Orme. Radio Sugar House , Artists and Models , Inspector credits include Tender is the Night (Radio 4). Morse, Bergerac, The Care of Time, Lovejoy, Countdown to War, Codename, Kyril, The Nyasha Fredrick Hatendi (Second Forest Lord / Bourne Identity, Taggart, Van der Valk, Understudy: First Forest Lord , William, Silvius, Prime Suspect, Between the Lines, Sharpe, Amiens, Dennis, Jaques de Boys) trained at Midsomer Murders, This Is Personal-the Hunt Royal Academy of Dramatic Art and graduated for the Yorkshire Ripper, Table Twelve , The Cry, in 2004. Productions whi le at RADA included The State of Play , Silent Witness, Hustle, Born Rich ard III in Richard III, Macduff in a radio and Bred, and Spooks; and for the U.S.- vers ion of Macbeth, Talthybius in Women of The Turn of the Screw, Cagney and Lacey, Troy , Robert the blind man in Carve Up , Remington Steele, The Insiders, The Misfits of Who's Who

Science, Stingray, The Man Who Fell to Earth, by Stephen Jameson (Fringe), Nina in The The Man Inside , The Tin Man, and Capital Seagull directed by David Gwyn-Harris News. Film credits include Assault, A Man for (Norwich Playhouse), Kitty in Charley's Aunt All Seasons , Women in Love , The Monster directed by Val May (Bill Kenwright Ltd), Club, Pink Floyd- the Wall, Thieves in the Debbie in The Real Thing directed by David Night, Heartbreakers , Rainbow Drive, The Leveaux (Albery Theatre/ Barrymore Theatre, House in the Hills, Dead Bolt Dead, The Cat's Broadway) which won three Tony awards, Meow, Three Blind Mice, and After Life. Ca thy Bostock in Whistle Down The Wind directed by Nick Bl igh , and Young Sa lly in Mitchell Mullen (Forest Lord / Understudy: Le Follies directed by Roge r Starbuck (both at Beau, Corin, Sir Oliver Mar-text) is a native of Churchill Theatre, Bromley). Film cred its Massachusetts and received his trai ning at the include Her in The Park Bench (short) directed University of Wisconsin-Madison (MFA). by Caroline Chapman. London theater includes Muscles' at the Landor and Scotch and Water at Hen and Chickens. Michael Siberry (Touchstone) Recently com­ U.S. theater work includes Present Laughter, pleted Stephen Sondheim's Frogs with Nathan Arms and the Man, Lady Windermere's Fan, La ne at Lincoln Center; Rev. James Morrell in An Ideal Husband at the Lyric Stage in Boston , Candida at the McCarter Theater in Princeton, Amadeus and Medea at Merrimack Rep, A NJ ; and Uncle Vanya in New York and Los Christmas Carol and Alice in Wonderland at Angeles. Most recent TV appearances include North Shore Music Theatre, A Closer Walk with Rosemary and Thyme. Theater credits inclu de Patsy Cline and Shear Madness at th e Charles After the Dance (Oxford Stage Company), A Playhouse, Hard Times, The Winter's Tale, Midsummer Night's Dream (Albery Theatre), Much Ado About Nothing, A Midsummer The Three Sisters, Ring Round the Moon, Oh Night's Dream, Twelfth Night, The Play's the Kay (Chichester Festival), The White Devil Thing, Saint Joan and The Venetian Twins at (Lyric Th eatre, Hammersmith), numerous pro­ the Theater At Monmouth, and Jackie: An ductions for the RSC including The Taming of American Life at the Hasty Pudding Theatre. the Shrew, Richard III, Macbeth, The Film includes roles in Infinite Justice, Prozac Changeling, All's Well That Ends Well, As You Nation, What's the Worst That Could Like It, La Ronde, The Swandown Gloves , Happen?, Blown Away, All The Rage, Distant Richard II , The Merchant of Venice, and Justice, The Kennedys of Massachusetts, and Hamlet; House and Garden (Roya l National CBS-TV's True Detective. Theatre), Chicago (Adelphi Th eatre), The Sound of Music (Richard Frankel Produ ctions, Charlotte Parry's (Phoebe) theater credits Broadway), Neville's Island (Apo ll o Theatre), incl ud e Phoebe in As You Like It directed by The Woman in Black (Fortune Theatre), The Peter Hall (London/ U.S. tour), Irena in Another Merchant of Venice (Peter Hall Company UK Three Sisters directed by Iva n Cutting (Eastern and New York) , The White Hotel (Edinburgh Angles Tour), Eleanor in Northanger Abbey Festival) , The Cherry Orchard, The School for directed by Tim Luscombe (Theatre Royal, Scandal, Our Betters (Triumph Theatre) , York) , Tourvel in Les Liaisons Dangereuses Hamlet, Henry IV Pa rts I and II, and Peer Gynt directed by Tim Luscombe (Engli sh Theatre in (State Theatre Co ., South Austra li a). Television Frankfurt) , Emily in Stealing Sweets and cred its includ e Victoria and Albert, A& E, Beast, Punching People (read ing) directed by Crispin The Grand seri es 1 and 2 (Gran ada), Silent Bon ham Carter (Palace Theatre Watford), Witness (BBC ), Wokenwell (LWT), The Night Charlotte in Where Have The Stars Gone Show (Apt Fil m and TV), Highlander (Fil mline directed by Richard Beecham (Palace Thea tre Inti.), The Negotiator (BBC ), Under the Watford), Constanze in Amadeus, directed by Hammer (New Penny Prods.), Sherlock Tim Luscombe (Theatre Roya l, York) , Puck in A Holmes (LA Fil ms), The Witches of Eastwick Midsummer Night's Dream directed by Stephen (Warner Bros pilot), Jeeves and Wooster Jameson, Au Pai r in The Blue Room directed (Picture Partners Prods .), After the War Who's Who

(Granada), Noble House (Noble House Prods.), Octavio Piccolimini in Wallenstein , Peter Sherlock Holmes (Granada), Strangers and Quince in A Midsummer Night's Dream, and Brothers (SBC), and Old Men at the Zoo Ulysses in Troilus and Cressida. For the Royal (BBC). Film credits include If Looks Could Kill National Theatre he has played Rodin in The (Warner Bros), and Boundaries of the Heart Wandering Jew, Ferdinando in Countrymania, and Biggles (Yellowbill). James in The Strangeness of Others, Troll King in Peer Gynt, Scherbuk in Piano, Juster in Dan Stevens (Orlando) has just graduated Abingdon Square, Count Shabelsky in Ivanov , from Cambridge University reading English Lord Boyet in Trevor Nunn's last RNT produc­ Literature. He started acting at school and went tion, Love's Labour's Lost. Other work in on to attend the National Youth Theatre in London includes, for Shared Experience, Dr. 1997 and 1998. In 2001 he produced and Dorn in The Seagull, Dr. Chebutykin in Three directed the world premiere of a play called Sisters, and Kochkaryov in Marriage. He has Player One, which he took to the Edinburgh appeared on television in Second Sight, Bad International Fringe Festival. He became a Company, The Dwelling Place, A Village Affair, member of the Cambridge Footlights in 2001 A Royal Scandal, Where the Heart Is , Let and toured the U.K. with them, as wel l Them Eat Cake, Fish, North Square, Trial and as writing and performing new work with a Retribution, Second Sight II, Dinotopia, and splinter group of the Footlights. While at Brides in the Bath and Zeus for the BBC's pro­ Cambridge, Stevens took part in two Marlowe motional trailer for the Athens Olympics. Society productions playing the parts of Films include Indian Summer, Mountains of Petruchio in Taming of the Shrew and the Moon , Frankenstein and the Monster from Macbeth. During the summer vacation in Hell, Clockwise, Lady Jane, Octopussy, The his second year at Cambridge, he was cast Secret Rapture, Four Weddings and a Funeral, as Henry in the Hallmark production of Alive and Kicking , and Stranded. Frankenstein which was filmed in Bratislava with co-stars Julie Delpy, William Hurt, and Theatre Royal Bath , widely considered to be Donald Sutherland. As You Like It is Stevens' one of the most beautiful theaters in Britain, professional theater debut. has enjoyed an ill ustrious history. In 1768 the original playhouse was granted a Royal Patent Freddie Stevenson (Oliver / Amiens / to become the fi rst theater outside London to Understudy: Orlando) left RADA in July 2002. be ca lled 'Royal.' The current theater opened in Since leaving, his theater credits include Henry 1805 just nine days before the Battle of in Northanger Abbey directed by Tim Trafa lgar. When much of the origina l exterior Luscombe (York Theatre Royal), Greg in was destroyed by fire in 1862 an architectural Relatively Speaking directed by Simon Godwin, competition was held to choose a new design. Dennis in Habeas Corpus directed by Simon The winner was a young Bathon ian , C.J. Godwin (both at Derngate Northampton), and Phipps, who went on to become the leading Jaques de Boys in As You Like It directed by theater designer of the late Victorian period. Sir Peter Hall (U .K./U.S. tour). Television cred­ Theatre Royal Bath is one of the most success­ its include State of Play, directed by David ful theaters in Britain with many productions Yates for Endor Productions, Cambridge Spies visiting Bath either directly from or immediately directed by Tim Fywell for BBC, and The Bill prior to a London West End run. The addition directed by Crispin Reece for Pearson. of the Ustinov Studio in 1997, after a fund­ raising Gala performance by Sir Peter Ustinov, Ph ilip Voss (Jaques) is an associate actor of hugely extended the Theatre's repertoire. the RSC and among the roles he has played for In addition to its weekly productions, the that company are Prospero, Shylock, Malvolio, Theatre Royal Bath presents a range of annual Menenius in Coriolan us, Cardinal Monticelso in Festivals-The Bath Shakespeare Festival ; The The White Devil , Sir Epi cure Mammon in The Bath International Puppet Festival , Britain's Alchemist, Narakov in Artists and Admirers , biggest celebration of the art of adult puppetry;

37 Who's Who

The Wild and Wacky Festival of Theatre for CAPA (General Management) is one of Children; and Not the Edinburgh Festival which America's most respected theater managers features work heading for the Edinburgh Fringe. and producers. In addition to managing the During Summer 2003, the Theatre Royal Bath legendary Shubert Theater (New Haven , CT), presented the Peter Hall Company 2003, a CAPA is owner/operator of downtown season of five plays in repertory chosen by Sir Columbus, OH 's magnificent historic theaters Peter Hall to celebrate 50 years as a director. (Ohio Theatre, Palace Theatre, Southern The season was repeated in summer 2004 and Theatre) and manager of the contemporary will be again in summer 2005. In 1998 Riffe Center Theatre Complex. CAPA is a not­ Theatre Royal Bath Productions was formed to for-profit, award-winning presenter. Now in its create high qual ity drama for the Theatre Roya l, 35th year, CAPA presents 200 live events and to tour it to other regiona l theaters, and to classic fi lms a year, including concerts through­ transfer it to the West End. West End credits out Colu mbus and Ohio. CA PA's website include Harold Pinter's The Birthday Party address is www.CA PA.com. (Piccadi lly Theatre), Joe Orton's Entertaining Mr. Sloane (Arts Theatre), Ron Hutchinson's Actors' Equity Association (AEA), founded in The Beau (Theatre Roya l Haymarket), David 1913, represents more than 45,000 actors Wil liamson's Up For Grabs (Wyndham 's and stage managers in the United States. Theatre), Mike Leigh's Abigail's Party (New Equity seeks to advance, promote, and foster AmbassadorsM'hitehall Theatre), Shakespeare's the art of live theater as an essenti al compo­ R & J (Arts Theatre) , Harold Pinter's Betrayal nent of our society. Equity negotiates wages (Duchess Theatre), Sam uel Beckett's Happy and working cond itions, provid ing a wide range Days (Arts Theatre), Noel Coward's Blithe Spirit of benefits, including hea lth and pension plans. (Savoy Theatre), and Ronald Harwood's The AEA is a member of the AFL-CI O, and is affili­ Dresser (Duke of York's Theatre) . The Theatre ated with FI A, an internati ona l organization of Roya l Bath is cu rrently rais ing fu nds for The performing arts unions. The Equity emblem is Egg, a bran d new state of the art theater and our mark of excellence. www.actorsequ ity.org arts space for chi ldren on a site adjacent to the historic Theatre which wi ll open in 2005, the date of the Theatre Roya l's bicen tena ry.

For Theatre Royal Bath Production Staff for As You Like It Chai rm an Stephen Ross Production Manager Eugene Hibbert Director Danny Moar Production Stage Ma nage r John McNamara Genera l Man ager Eugene Hibbert Company Manager/Assistant Stage Manage r Finance Director Simon Payne Terence Dale Finance Supervisor Cheryl Hardy Producti on Electrician John Tapster Producti on Adm in istrator Nicky Palmer Costume Supervisor Joan Hughes Musical Supervisor Freddie Stevenson For Theatre Royal Bath Productions Sound Operators Gregory Clarke and Chairman Roy Griffiths Graham Simpson Managing Director Danny Moar