The Pennsylvania Shakespeare Festival Newsletter • Spring 2009 Real People, Revolutionary Vision ��� ������� By Thomas Rankin Opening in 1969 and running for three years, 1776 won several Tony Awards, ������������� Ben Franklin was trying to inject some including Best Musical, along with rave perspective into the chaos of Independence reviews: “This is by no means a historical Hall. “First things first,” he told John Adams, tract or a sermon on the birth of this nation. “America. If we don’t secure that, what dif- ��� It is warm with a life of its own; it is funny, it ������ ference will the rest make?” is moving... The songs and lyrics are remark- ���������� Keenly aware of the need to set a prior- ably original,” wrote John Chapman of the by William Shakespeare ity, Franklin calls for the ultimate: indepen- New York Daily News. “ 1776 reveals the dence for the colonies. dynamic personalities that founded America involved in gripping drama.” This quest, boldly portrayed in the musi- cal 1776, has inspired director Dennis Razze The famous New York Times critic Clive ����������� since he first experienced seeing a production Barnes, a native of England, wrote: “On in the 1970s. the face of it, few historical incidents seem �������������� more unlikely to spawn a Broadway musical by William Shakespeare “The fantastic thing is 1776 takes the than that solemn moment in the history of Founding Fathers, people we deify as being mankind, the signing of the Declaration of greater than mere mortals, and it treats them Independence. Yet 1776...most handsomely � � � as being very human. Adams, Franklin, and demonstrated that people who merely go ‘on � � � Jefferson were certainly extraordinary men, the face of it’ are occasionally outrageously Music & Lyrics but they were real people who had flaws. wrong.... [1776] is a most striking, most by Sherman Edwards Their dream of founding a democratic nation gripping musical. I recommend it without based on revolutionary ideals was a huge reservation. It makes even an Englishman’s Book by Peter Stone gamble that heart beat took great faster.” courage and daring.” The ����������� uncom- 1776 promising ���������������� chronicles ideology of the early John Adams ��������������������� days of serves as a by Adam Long, Daniel America catalyst for Singer, and Jess Winfield as the the story and Founding sets the tone Fathers dis- for the play. cuss, argue, “That little ������������������� joke—and paper there A new PSF production given that deals with it won the freedom for Tony Award for Best Musical—sing and Americans! And yes, even our black slaves dance their way towards the ultimate goal are Americans! They are people, and they ��������� of independence for a budding nation. “The are here. If there’s any other requirement, I thought of the Founding Fathers singing haven’t heard it.” by Brandon E. McLauren and dancing in a musical may seem silly or even disrespectful, but in 1776, the songs and Adams’ determination drives the action dances arise organically from the characters of the play, while his wife Abigail propels ������������ and the situations,” Razze says. “And the him to keep fighting for his convictions even period flavor of the orchestrations really cap- when he is most weary. ����������������� tures this time and place in history.” continues on page 10 2009 Sponsors Notes from the Producing Artistic Director

Festival Host Occasionally, a patron or journalist the dry volumes of ethics and divinity that will ask me why a Shakespeare festival does were ever written.” According to a letter musicals. A brief conversation ensues about Abigail Adams wrote, when Jefferson and the origins of musicals John Adams traveled together to Stratford, such as Les Misérables, A England, her while serving as diplomats in Season Sponsors Chorus Line, Hair, and London, Jefferson “kissed the ground” upon The Mystery of Edwin arrival. Dr. & Mrs. Frank J. Szarko Drood (all originated at Shakespeare festivals), fol- John Adams read and quoted Shakespeare lowed by a list of the major throughout his life and filled his diaries with Associate Season Sponsors festivals that do them references to Shakespeare’s plays. “Let me every year, and capped search for the clue which led great Shakespeare off with the similarities Patrick Mulcahy into the labyrinth of human nature,” he wrote. between Shakespeare plays “Let me examine how men think.” Adams and and musicals—heightened language and situ- his wife Abigail also often quoted passages ations, a formal structure to the text (verse, from different Shakespeare plays in their let- lyrics), the use of music, singing, spectacle, ters to each other. They liked to compare King movement—hopefully providing a satisfying George III with Shakespeare’s arch-villain, answer regarding the natural connection. Richard III. “The time is hastening,” she wrote to her husband in 1775, “when George, like And, on the subject of connections to Richard, may cry, ‘My kingdom for a horse!’” Director Sponsors Shakespeare, my research in preparing to During the siege of Boston in March produce 1776 led me to an understanding Linda Lapos & Paul Wirth of just how keenly attuned to Shakespeare’s 1776, in a letter to John, urging him to plays our Founding Fathers (and moth- inspire action in the Continental Congress, she quoted this passage from Julius Caesar: Production Sponsors ers) were. A visit to the Folger Shakespeare Amaranth Foundation Library’s website yielded a treasure trove of “There is a tide in the affairs of Men information, quoted liberally here: Steve & Jane Auvil Which, taken at the flood, leads on to We know George Washington went fortune; Omitted, all the voyage of their life to a production of Hamlet during a trip to New York in May 1773 and an opera of Is bound in shallows and in miseries. ALVIN H. BUTZ, INC. On such a full sea are we now afloat; The Tempest during the 1787 Constitutional Convention in Philadelphia. As president, And we must take the current when it he once hosted an amateur Shakespeare serves, Or lose our ventures.” production of Julius Caesar in the garret of the Presidential mansion. Washington rarely Wills Hall Oblate Community Shakespeare’s plays are packed with quoted from the plays, but he did so in an characters who make compelling arguments, October 1778 letter he wrote as commander- using powerful language to persuade, often in Actor Sponsors in-chief of the Continental Army in which he situations of great moment and import. The borrowed the phrase ‘like the baseless fabric of Lee & Dolly Butz power of Shakespeare’s language to move an a vision’ from Shakespeare’s The Tempest. audience is widely recognized. Equally inter- Production Co-Sponsors One biographer writes that Thomas esting is its power to influence our actions Air Products Jefferson “haunted the playhouses” of in the world, especially in the case of leaders Keenan-Nagle Advertising, Inc. Williamsburg, Virginia. Later in life, he and, by extension, the nations they serve. The American Revolution probably would Kathleen Kund Nolan & went to The Merchant of Venice and Macbeth Timothy Nolan in London. In one letter, he recommended have unfolded without Mrs. Adams quoting Orlando Diefenderfer Electrical Shakespeare for reading in the evening, Shakespeare. But what if it helped? Contractors, Inc. explaining that “Shakespeare must be We hope you and your family will join The Rider-Pool Foundation singled out by one who wishes to learn the us this summer here at this unique cross- WDIY 88.1 FM Lehigh Valley full powers of the English language.” This roads of inspiration, beauty, laughter, and Community Public Radio from the man who wrote the Declaration great stories. There is a tide in the affairs of of Independence. Jefferson once encour- Shakespeare festivals. On such a full sea are Official Photographer aged a friend to read Shakespeare’s plays as we now afloat, thanks to you and your sup- Lee A. Butz a guide to virtue, arguing that “a lively and port. See you in the lobby. lasting sense of filial duty is more effectu- Official Hotel ally impressed on the mind of a son or Holiday Inn Express Bethlehem daughter by reading King Lear, than by all

2 • The Quill, Spring 2009 610.282.will Antony and Cleopatra: An Interview with Patrick Mulcahy

By Thomas Rankin the tastes of the times and also trying out all this new How did you decide to pro- stage technology they were duce and direct Antony and developing, just as 20 years Cleopatra this season? ago a helicopter landing on It’s a fascinating play. stage in Miss Saigon was I had thought about it for worth the price of admis- years. And then last sum- sion. mer, patrons responded with great enthusiasm to curtain Antony and Cleopatra speeches and in our survey doesn’t require massive, to the idea of PSF produc- complicated moving set ing the play. Antony and pieces, though you can do Cleopatra was their number it that way. Today, the gen- one choice. It’s a sexy title, eral wisdom is that elaborate and a play most people have machinery may compete with not seen on stage. And we’re the story. And it is possible a Shakespeare festival. The to create stunning moments Festival continues to delve visually without a lot of stuff. deeply into the Shakespeare Sometimes less is more. canon, as we did last year with King Lear and with The Could you describe the Winter’s Tale in 2007. approach you’re taking with this production? Another reason to direct Two of the keywords the play is to explore the ques- driving our artistic choices tion: who were those people? are transcendence and para- Watching the series on Rome dox. As these notions can’t be HBO reminded me of how observed directly, our artistic interesting it is to glimpse choices want to somehow these fascinating characters reveal the human energy of up close in three dimensions. seeking transcendence and Antony and Cleopatra have navigating paradoxes. been described as the world’s first celebrities. We’ve heard As a director, I’m always their names and we know of interested in making the their legendary status, yet we invisible visible, illuminat- may know very little about ing the undercurrents that them. Celebrities continue to captivate. have wings to hide big set pieces. The play drive behavior, and revealing the distinctive was written for a stage platform that is fairly insights the playwright has tapped—not just But the best reason to do the play is to neutral. This works because the language is the psychological, but the elemental, the pri- tell a great story and to explore the funda- soaring, specific, descriptive, and illuminat- mal. That’s what interests me on stage. How mental human longings explored in it, like ing. Add human behavior that is equally we define the locale with scenery is impor- the ache to transcend the mundane. The plot vivid and the imagination can take care of tant, but important as a context, a world that unfolds in antiquity; the play is about us in the rest. So costumes become the scenery and makes it possible for the invisible to manifest any era. the actors become architectural. That’s not to in visible human interactions. say there won’t be scenic magic. The play calls for drastic set changes. How would you describe the relationship Scenes go from the Roman Empire to In the 19th century, the habit with this between the title characters? Egypt very quickly; how do you address this play was to try to outdo the scenic overkill In the play, Cleopatra is described as challenge as a director? of the last guy’s production, so they had embodying “infinite variety”—which speaks The play doesn’t call for set changes, the ship battles on stage, which is odd to imag- to the intensity and diversity of her emo- play places Antony and Cleopatra on stage ine now. There are plenty of Shakespeare tional responses. Her feelings turn on a dime. in Egypt and then a moment later we’re in plays in which on-stage battle scenes are She’s the archetypal star. She’s unpredictable, Rome. Shakespeare didn’t have elaborate integral to the plot. This is not one of them. elevator systems and fly systems and he didn’t But Victorian producers were catering to continues on page 4 www.pashakespeare.org The Quill, Spring 2009 • 3 Antony and Cleopatra relationship—not necessarily to answer it creatures consumed with the honeymoon continued from page 3 fully, only to explore both the elusive core and phase of relationship? Is it love? The answer the distinctive dynamism of the relationship. is that it is an all-consuming passion and it facile, mercurial, which is partly what makes And I think that’s why more than 400 years also defies categorization. her interesting. later we’re still doing Shakespeare. That’s the fun: it’s inexhaustible. We don’t answer the You have two people who essentially say: Then you have this hero, this Hercules, questions definitively. We plumb their depths. “Forget my responsibilities. I want to ascend one of the most celebrated warriors of his We try to reveal some of the paradoxes and to an unparalleled, transcendent experience of time. But being the warrior hero is no longer contradictions and draw them out, illumi- connection and joy.” At the end of the play I at the center of think Antony fails, Antony’s interests— and to some extent Cleopatra is. But Cleopatra succeeds. the warrior hero is Her death is differ- his public, politi- ent from his. I don’t cal, and, to a large think the play asks extent, personal us to judge them identity. It was the morally. People source of his power, will (and have), and his power is but I don’t think what creates his the play is really ability to do as he interested in ques- pleases. But now tions of morality. with Cleopatra, he The play focuses wants to achieve a on this human perfect experience ache to transcend of fulfillment. earthly limitation to achieve a soaring Antony and experience—perfec- Cleopatra are tion. obsessed with one another and no Really, it’s other experience as if they want can measure up to to ascend to the the passion they feel god-realm. Each is and hope to sustain, perceived as a god- which creates some like character, part problems for living of which is perhaps in the world. self-promotion and marketing. But Some see this Antony claimed play from a femi- he was a descen- nist perspective, dant of Hercules because Cleopatra and Cleopatra was remains true to associated with herself despite Isis, an Egyptian everything that Goddess of moth- In one of many films inspired by Shakespeare’s Antony and Cleopatra, Richard Burton and Elizabeth erhood and fertility. happens. And then Taylor created a sensation in the 1963 film Cleopatra. Reprinted with permission ©Sunset Boulevard/ there is an argument I think at some that she is ultimately a nate them. We can’t help it. We recognize level we all yearn to take this ultimate jour- coward, given her final actions. What’s your ney and enter space that is perfect. Antony take on her character? them from our own experience. It’s just more intense with Antony and Cleopatra. and Cleopatra have their own way of going I do think that if we get to a point in about actually trying to achieve it. rehearsal where we think we have completely It’s almost saddening to know that their love It goes back to the quest for the next figured her out, we will probably have failed. can never fully get to where they want it to be. Again, the interest lies in the paradoxes and level of existence. The more powerful we the questions are more interesting than the I suppose that’s why they call it a trag- become in this realm, the closer we feel we answers. The play should leave you asking edy, which raises an interesting question. Is it may be getting to inhabiting the next one. some questions. I do agree with scholars that a tragedy? I’d say yes, but it does not fall into We’re not done with Antony and Cleopatra. say Cleopatra is one of the most fascinating the tragedy category smoothly or easily. It is I think we’re a long way from that. ■ characters in Shakespeare for this reason. probably the tragedy with the most humor. And is their love real, or is it self absorption Thomas Rankin is a graduating English major The production will tackle one of your bearing no resemblance to what we might at DeSales University who served as an earlier questions—what is going on in this call a mature love. Are they just fascinating editorial intern for PSF last fall.

4 • The Quill, Spring 2009 610.282.will Playing Legends: The Actors’ Perspectives on Antony and Cleopatra

The mysterious imprints of Antony and Cleopatra are stamped say. Because after all the work I do on my own, I still have to fit that onto our collective consciousness, and perhaps our collective uncon- into his vision of the play. In short, I have a lot of work to do! scious. Among the reasons they continue to fascinate is that they practically define erotic tension, and their potent and myriad desires Lauren Lovett reflect our own fundamental human needs for so many things: I think Cleopatra and Antony are addicted power, belonging, freedom. Thus, their story has endured and to one another. They exhibit classic addict behav- been interpreted and re-interpreted throughout history. Although ior: distrust in all including one another and rehearsals for PSF’s production do not begin until June, actors Greg themselves, sudden mood shifts and irrational Wood and Lauren Lovett offer some initial thoughts about their words and acts, and devastating errors in judg- characters. ment, leading to their ultimate demise. Greg Wood Cleopatra has, in her younger days, been a lover to several powerful men, not the least of Antony is the finest soldier of his age. He Lauren Lovett certainly is the last one standing. Caesar is dead. whom is Julius Caesar. She has fought tooth Pompey is dead. There is only Antony and he and nail for the power she herself has achieved, knows it. Unfortunately, mostly by means of her sexual enchantment over her lovers and it’s why he doesn’t by her ruthlessness to gain whatever she desires. She is driven by see Octavian coming. many internal forces, including this lust for her men and her lust for Octavian is a shrewd overall power. Once she and Antony become involved, her world and manipulative poli- revolves around keeping him close. She tician while Antony will say and do anything, often contra- Greg Wood is up front and dicting herself to have Antony beside direct. Who her. She also knows, even from the do you think will win? start of the play, that she will never possess him completely—his mar- Antony has his own riage (and subsequent re-mar- code. He is loyal to Antony. riage) and his supposed com- His men. Then to Rome. mitment to the triumvirate are In that order. That’s why poison to her. Cleopatra throws such a monkey wrench into things. To relate to Cleopatra, She has changed his code. His I must imagine being a men don’t understand him woman of such reputed and they no longer feel led. power and magnetism—a And it’s obvious to all that his queen in a world of brutal loyalty to Rome has shifted to male rulers—who has at last Egypt. I believe Antony and found the man with whom Cleopatra have found their she might die, or at least for match, their equal, in the other. whom she might It’s not about politics; they truly die. can’t get enough of each other. I Interviewed can relate to being blinded by love by Jeremy Sabol, and passion—I hope we all can. a graduating theatre major and PSF When I begin rehearsing Antony marketing intern. I will start with the text. It’s what I have to play. So what other characters say about Antony is one key and—of course—what Antony says about him- self. Then, if there is an historical context, as there is with Antony, I’ll read as much as I can and use as much as I can. I’m real- ly looking forward to what Patrick has to

Costume renderings for PSF’s production by Lisa L. Zinni www.pashakespeare.org The Quill, Spring 2009 • 5 Meet the Mavens of Mayhem

What was your first reaction to Shakespeare? A painful RASH.

Favorite Shakespeare play: Starlight Express.

Most memorable stage combat moment: Stabbing Hamlet in the leg... I mean through Zounds! the leg and I’m not kidding. I wish the What fight director could have been there when this Laertes put the hot steel boil-brained to the melancholy prince. nut-hooks are My favorite thing about these who dare in wearing tights is: the two hours traffic of our They plump when you stage traverse all my plays? cook ’em! O, I am Fortune’s fool! If I were a Shakespeare play, I would be: King John. Because I’ve no clue what it’s about.

If my pet were a character in Shakespeare he would be: Yorick. My goldfish is dead. Thanks a lot for bringing it up!

If I had a hammer, I’d: Bang Bang Claudius, praying or not.

If I could travel in a time machine to anytime in Shakespeare’s life: I’d totally want to be sit- ting in when he recorded Sgt. Pepper’s! What a visionary!

June 3 – June 28

6 • The Quill, Spring 2009 610.282.will Meet the Mavens of Mayhem

What was your What’s the funniest/ first reaction to strangest thing that ever Shakespeare? happened to you on stage If Marcia Brady can in a Shakespeare play? play “Juliet,” how hard During the balcony scene can it be? in an outdoor R&J, a plane flew over, REALLY low, just as I said “It was What’s your favorite word in the lark, no nightingale.” Shakespeare (and why)? “Coxcomb,” for obvious reasons. Best audience ad-lib during a Shakespeare performance? My actor’s nightmare? When I was playing Romeo, as I exited I’m talking to a patron after a show and through the audience after refusing to fight they say one of the following: Tybalt, I walked passed a clearly incensed 13- “That was so cute.” year-old boy who shouted at me, “Oh COME ON, Romeo!” “You work so hard.” “What’s your real job?” If I could never do another Shakespeare play “How much time have you given your- I would: self for the ‘acting’ thing to work out?” Focus on Eugene O’Neill, whose plays are almost as long and wordy. Most memorable stage combat moment: I’ll never forget when my acting teacher said I attended a production of Macbeth and to me after a Shakespeare scene in class: saw a dagger fly out of an actor’s hand “Mr. Fagan, this is organic chemistry, please and stop against an elderly lady’s temple. sit down and be quiet.” She was rushed to the nearest E.R. and received stitches and, I imagine later, a lifetime supply of complimentary tickets If my pet were a character in Shakespeare: to the theatre. Please note, this incident My cat would be Titus Andronicus, I think, did NOT occur at PSF. Here, all stage because when he looks at me I’m pretty sure combat weapons are holograms. he’s wondering what it’d be like to eat my face. If my pet were a character in Shakespeare he would be: Most memorable word-burger in a Of course, I would cast my toy poodle, Shakespeare play: Gracie in the role of “Crab” the dog The last time I did R&J, Juliet said, “Such a in Two Gentleman of Verona, because wagoner as Phaeton would whip you to the she’s, well, a dog. If all of a sudden she breast!” Yes he would, Juliet, yes he would. decided to scratch and lick herself on stage, no one is going to say, “You know If I could travel in a time machine to any- something? That moment really didn’t time in Shakespeare’s life, I’d: ring true for me.” Screw that, I’d go back and see the dinosaurs. May 29 - August 1 If I could travel in a time machine to Or maybe go back to like a year and a half ago Get out your ball gown (or princess anytime in Shakespeare’s life, I’d: and bet big on the Giants in the Super Bowl. costume) and join Cinderella on her journey from her quiet corner in the Go to the night when he made it with kitchen to the King’s palace where Gwyneth Paltrow. That was hot! she’ll meet her Prince. Children of all ages will rediscover the value of kindness and that true beauty comes from within. Tickets: Photos of Christopher Patrick Mullen 610.282.WILL • pashakespeare.org and Chris Faith by Lee A. Butz.

www.pashakespeare.org The Quill, Spring 2009 • 7 Education News PSF 2009 Season Sponsors: Drs. Frank and Carol Szarko By Erin Mullen, PSF Education Director In school, Julius Caesar Shakespeare Competition 2009 could not have made a worse Only in its second year, the PSF Shakespeare impression on Drs. Frank and Competition tripled the number of participants: Carol Szarko, PSF’s 2009 75 student actors from 15 schools representing 12 counties in season sponsors. Macbeth Pennsylvania and New Jersey performed scenes and monologues was equally deadly. [Forgive in a full day program on February 28, 2009. Scholarships totaling the pun.] Read as part of $15,000 were awarded and are renewable for four years should the their high school curriculum, student choose to attend DeSales University as a theatre major. Shakespeare translated into Award recipients were presented with a trophy during the closing absolute drudgery. assembly of the competition. “Then I saw Julius Grounded in direct engagement with Shakespeare’s text, the Caesar, and I could not PSF Shakespeare Competition provides multiple performance believe it was the same opportunities, direct evaluation of each performance by work- thing!” Frank said in a recent ing theatre professionals, and observation of peer and university interview. “I was thrilled performances. This valuable tool for learning was staffed this year with what was happening by professional actors Brad DePlanche, Heather Krause, Sally and thought, ‘This can’t be the same thing I read.’ [The Mercer, Christopher Patrick Mullen, and H. Michael Walls, who Photo by John Kish IV served as adjudicators and workshop instructors. production] was done in modern dress, but the words were the same. I realized it was written The students’ admiration for Shakespeare was unmistakable as a play, and that’s the way it should be enjoyed.” and their enthusiasm for each other’s work was electric. The com- petition created an enriching educational experience—and built The Szarkos’ experience mirrors that of many patrons. “If you’re new Facebook friendships—for all the participants. Save the date, pre-med, there’s no time for electives,” says Carol, an anesthesiologist. March 6, 2010, for the third annual competition. Until the Szarkos’ two college-aged children enthusiastically recom- mended Romeo and Juliet following a performance they saw in PSF’s WillPower inaugural 1992 season, Carol’s only experience with Shakespeare dated Thanks to a $25,000 grant from the National Endowment for back to high school. “We’ve been coming [to PSF] ever since.” the Arts (NEA), WillPower 2008 was the largest, most far-reach- ing, and most successful tour in its nine-year history. A record Residents of rural Berks County, Carol and Frank appreciate get- 15,500 students saw the 2008 Linny Fowler WillPower tour of ting to know the professional actors each season, especially those that return year after year, and they truly enjoy watching the development Much Ado About Nothing, bringing our nine-year total up to 75,500 new Shakespeare fans. We also visited 10 Pennsylvania counties that of the younger actors and seeing them become accomplished artists. were new to the PSF tour: 38 counties down, 29 to go! “Every year we go to the Festival we say, it can’t get any better,” Frank says. “And every year, it does. It’s a continuous upward spiral.” Tenth Anniversary Tour They are proud to have seen every PSF production. Any favorites? Friends, Romans, Freshmen: This fall, the WillPower tour Frank says: “Every time I think I have a favorite, something else comes will feature an 80-minute performance of Shakespeare’s epic up.” Hamlet ranks as Carol’s favorite. “We saw Hamlet with Greg tragedy Julius Caesar. Teachers are booking the tour at a record Wood [in 1995] and our daughter later saw Kenneth Branagh play the pace, which clearly indicates that WillPower is making an role in England, and she said Greg Wood was every bit as good.” impact and is achieving its major goal to “turn on” young minds to the power of language. Check out the WillPower page on our A trip with their daughter to Scotland included a visit to the website for booking information. castle where Mel Gibson’s Hamlet was filmed. “They still had parts of the scenery stored there,” Frank noted. [ Just down a precipitous Prologues road from the castle, they called their son from the red phone booth Last season, I had a great time discussing King Lear with made famous in the Burt Lancaster film Local Hero.] many of you during the pre-show prologues. (Matt Pfeiffer and others led the Twelfth Night prologues because I was playing Over the course of time, the Szarkos’ opinion of Shakespeare Viola.) Sometimes we even had to continue our chat in the lobby evolved. “Theirs is a journey we hope everyone can take,” says due to the needs of the show beginning and patron seating. People Patrick Mulcahy, producing artistic director. “To take a leadership of all ages are actively participating at the Festival—and making role in times like these is a true testament to their belief in the value the most of their experiences here. Sharing insights and asking of our work.” the questions on everyone’s minds, such as “What does the title Carol notes, “We know that arts organizations can’t sell tickets for Twelfth Night have to do with the play anyway?” sparked discus- a price that pays [for all the costs], so we have to work harder to help.” sion and deepened the experience. Join us in the theatre 45 min- utes before each performance of a Shakespeare play this summer. “We are so grateful for their support,” says Jeanne Bitler, director Prologues are a free and festive way to engage with the play. ■ of development. “Frank and Carol are prime examples of the positive impact that individuals can have on an organization such as PSF.” ■

8 • The Quill, Spring 2009 610.282.will Comic Master Takes the Helm A Midsummer Night’s Dream, July 8 - August 2 By Lisa Higgins When the lovers escape the city for into that of an ass, frightening away his fel- the forest, the setting transforms to ancient low cast members. Perplexed, Bottom sings a “No Shakespearean comedy offers such Greece. “Those that like their Shakespeare song to himself. a feast of magic, humor, music, and spectacle classical will have classical,” notes Helsinger, as A Midsummer Night’s Dream,” according to “Those that like something different in their Awakened, and under Oberon’s spell, the The Essential Shakespeare Handbook.1 Anyone (Shakespeare) will have something different.” fairy queen Titania discovers Bottom, falls familiar with Jim Helsinger’s work as an actor instantly in love with him, ass’s head and all, and director will know: no Shakespearean art- In the city palace, Duke Theseus and and commands her fairy attendants to serve ist can conjure a feast quite like he can. Hippolyta are planning their wedding, just him. “Bottom is Shakespeare’s Everyman,” four days away, when they are confronted by Bloom writes. “He is at once a sublime clown Helsinger brings a Hermia and her father who are in conflict and a great visionary.” wealth of experience to over who Hermia should marry. Hermia the banquet table. He’s wants to marry Lysander; her father has cho- One of the stars of the Philadelphia the- performed as several sen Demetrius. Reminded by the Duke that atre scene, Scott Greer, is making his Festival of the “rude mechani- she should obey her father or suffer death, debut as Bottom. “I’m excited to introduce cals”—the rustic local Hermia and Lysander flee to the forest. PSF audiences to this super-talented actor and artisans preparing Helena tells Demetrius of their flight and I hope some Philadelphia audiences familiar to entertain at an then purses him for his love as he pursues with Scott will come to see him and discover upcoming royal wed- Hermia into the woods. PSF, too,” Helsinger says. “I must say, I’m ding—Flute (twice), Jim Helsinger with looking forward to seeing his Bottom.” Snout, and Bottom. his son, James. Once in the forest, The Festival’s upcoming production marks the fairy kingdom of Festival favorite Carl N. Wallnau will his third round directing the play. magic reigns. “The ele- play two roles: Peter Quince, a friend of ment of magic is con- Bottom’s, and Egeus, Hermia’s father. “The more experience you have, the more veyed through music, each production becomes a tapestry of all the The Schubert Theatre provides an excep- dance, and lighting—it’s favorite pieces you’ve ever seen,” he says. “At tionally dynamic venue not magical in the sense the same time, you’re looking for new people for Midsummer’s magic of a magician’s magic. with new ideas to weave into the play.” and comedy, Helsinger The forest is magical Christopher Patrick says, noting that the Proclaimed by Shakespearean scholar in the sense of beauty,” Mullen photo by play ranks as one of his Harold Bloom as “(Shakespeare’s) first Helsinger says, noting Lee A. Butz. favorites. “You come undoubted masterwork, without flaw...one that “more than half of into any production of of overwhelming originality and power,” the the characters are not human.” Oberon, king Midsummer and you play was set in ancient Athens, an ideal locale of the fairies—to be played by Christopher know that audience is for breaking the boundaries of reality and Patrick Mullen (a role that marks his 24th seeing the playwright at Carl N. Wallnau photo by Lee A. Butz. illusion.2 Yet none of the past productions with PSF) is piqued with his queen Titania his best, and you know Helsinger participated in were set in Athens, and casts a spell on her while she sleeps. you’re going to make someone in the audience where Shakespeare placed it, creating the Despite Oberon’s irritation, he mag- into a Shakespeare fan.” ideal opportunity for PSF’s production nanimously decides to assist Helena, whom this summer. Perhaps Midsummer works its greatest he’s overheard proclaiming her love for magic of all with its audience. “Comedy is For this summer’s performance, Demetrius, who spurns her. Oberon tells the very life affirming and healing,” notes this Helsinger and his design team trickster Puck to enchant Demetrius so he master of comedy and weaver of Midsummer have set the play in Athens in two dif- will love her, but Puck enchants the wrong dreams. ■ ferent time periods. The young lov- fellow, and merry confusion ensues. 1. A fixture in the book collections of ers—Hermia and Lysander, Helena Another group of Athenians, the rude many PSF staff members, The Essential and Demetrius—begin their jour- mechanicals, are also gathering in the for- Shakespeare Handbook by Leslie Dunton- ney in the Athens of the 1960s: est to rehearse their entertainment, a play Downer and Alan Riding is a wonderfully “A blend of Zorba the Greek in honor of the Duke’s impending wedding, illustrated, reader-friendly volume. and Never on Sunday,” a time out of sight from their fellow citizens. The Helsinger describes as an 2. Bloom, Harold, Shakespeare: The play, Pyramus and Thisbe, is a love story and “innocent, romantic time, Invention of the Human, Riverhead features Bottom as Pyramus, a warrior/lover, Books, 1998. the late Fifties, early a role Bottom is most proud to play. When Sixties.” Bottom is momentarily alone, Puck transforms Bottom’s head

www.pashakespeare.org TThehe Quill, Spring 2009 • 9 Although Adams at times seems dis- couraged by the lack of enthusiasm of the other members of Continental Congress, Ben Franklin’s character prevails with humor: “Revolutions come into this world like bastard children—half improvised and half compromised.” When Adams complains that Congress is turning a deaf ear to his cries for Independence, Franklin replies “...why don’t you give it up? Nobody listens to you—you’re obnoxious and disliked.” Casting actors to fill such enormous roles is a challenge. “Who are you going to ask to take on the role of such historical icons? Who can capture their very essence? On a practical level, you need very strong actors who are adept at playing period roles, which is something classically trained actors excel at. But they also most be able to sing and dance. Add to that the necessity that they must a least resemble the men everyone knows from the paintings.” Razze’s intense passion lies in the vital themes of hope and freedom that course through 1776. To him, this play truly speaks to our modern times: “We just fin- ished one of the most important elections in recent history. And today, we still look to ideals expressed in the Declaration of Independence, because those ideals still ring true and the work to achieve them is still not finished. A lot of the time we have to remind ourselves of the basic principles that got this whole great experiment started. “I don’t know if the Founding Fathers were really any better than the people we are today, but putting their signatures on that ”Writing the Declaration of Independence, 1776” by Jean Leon Gerome Ferris. Oil on canvas. revolutionary and inspired document was an Printed with permission of Virginia Historical Society. act of great courage.” Although 1776 is not perfectly accurate 1776, continued from page 1 Razze notes that the story of John and by historical standards, the essential elements Abigail is a great love story. “These two people are true: the bold idea of a free society was “Have you forgotten what you used share an extraordinary love. They exchanged brought to life by simple, ordinary men. In to say to me?” she asks John. “I haven’t. many beautiful love letters while John was Ben Franklin’s words: “We’re men, no more ‘Commitment, Abby, commitment. There are in Philadelphia and she was on their farm in no less, trying to get a nation started.” ■ only two creatures of value on the face of this Massachusetts. These letters were used to cre- earth—those with a commitment and those ate some of the actual dialogue in the play.” who require the commitment of others.’” Win a Trip to Tuscany! Facing Shakespeare Raffle tickets $100 each • Only 400 to be sold! Saturday, June 27, 4:00 p.m. Total Prize Value $5,000 Trexler Library DeSales University Campus Enjoy a one-week (7-night) stay for two adults in a centuries-old FREE villa in the Tuscan countryside, surrounded by vineyards and olive groves, just 17 miles from Florence. Gracious accommodations for Jo in Shakespearean scholar two. Plus $4,000 cash for airfare, car rental and spending money. June Schlueter for an engaging Raffle drawing at PSF on August 2, 2009 (Need not be present to win) exploration of a variety of Call 610.282.WILL, ext. 6. • pashakespeare.org/tuscany portraiture and other images in search of the real Shakespeare.

10 • The Quill, Spring 2009 610.282.will Partners in Revolution

With the nation’s rich history writ- Nivison gives a historical view. Sat., June 20, The ten in the hills and valleys surrounding The 6:00 p.m. Main Stage. Free. Allentown Art Pennsylvania Shakespeare Festival, only a Museum “Fashion day’s horseback ride to Philadelphia, there Meet the Actors: Following the 8:00 in Film” exhibit are many opportunities to broaden the expe- p.m. performances on Thursday, June 25 and showcases 36 rience of attending the Tony Award-winning Thursday, July 2, join the actors for a lively period costumes conversation about their roles on stage and musical 1776. worn by high- off. Free. profile celebrities PSF is offering several opportunities Historic Bethlehem John Adams in film classics. for audiences on location at the Festival, as Four centuries of well as unique experiences through programs Walking Tour: See Bethlehem through the eyes of this famous patriot, who was style are featured, offered with the company’s “Partners in including reproduc- Revolution.” impressed with what he saw. All PSF patrons attending 1776 receive 15% off with their tions of colonial The Declaration of Independence: 1776 ticket stub. Saturdays in July at 2:30 era costumes for Hear it read live on PSF’s Main Stage. Sat., p.m. Tours start at the Welcome Center, 505 Jefferson in Paris, as well as historical textiles July 4, at 5:00 p.m., after the 2:00 p.m. show Main Street in Bethlehem, and last about from the Allentown Art Museum’s own col- of 1776. (Attendance at performance not an hour. The cost is $10 for adults and $5 lection. May 17 - Aug. 9. For information, call required.) Free. for children (ages 6 to 12); less the 15% 610.432.4333 or visit www.allentownartmu- discount. Reservations are encouraged. Call seum.org. Notes on the Revolution and 1776: 610.691.6055 or 1.800.360.8687. DeSales humanities professor Dr. Kenneth Look for more information on our web- site: www.pashakespeare.org/partners.

Casting News PSF STAFF

Of the myriad of processes involved in men, Christopher Patrick Mullen and Chris PATRICK MULCAHY creating a festival of theatre, casting ranks Faith, join Shawn Fagan, a PSF newcomer Producing Artistic Director as one of the most challenging and the most though an equally seasoned actor and come- exciting. “The sheer number of roles—106 dian. “We were howling in the auditions,” DENNIS RAZZE Associate Artistic Director this year—requires significant engineer- Mulcahy says. “These guys are funny.” ing and planning,” says Producing Artistic CASEY WILLIAM GALLAGHER Director Patrick Mulcahy. In addition to the A Midsummer Night’s Dream will fea- Managing Director ture Carl N. Wallnau (Malvolio/Twelfth actors already known to the Festival artis- Director of Development JEANNE L. BITLER Night) as Egeus and Peter Quince, Zack tic team, thousands of others submit their Education Director ERIN MULLEN resumes directly or through agents through- Robidas (Cassius/Othello) as Demetrius, and Christopher Patrick Mullen as Oberon and Director of Marketing & Public Relations out the year. “Every season, we seek to bal- LISA HIGGINS PECHTER Theseus (in his 24th role for PSF). ance the company with terrific new talent Box Office Manager DAEL L. JACKSON and Festival favorites,” he says. In addition to Greg Wood and Lauren Business Manager JANICE S. HEIN In the Tony Award-winning musi- Lovett in the title roles in Antony and Cleopatra, Production Manager MATTHEW GIVEN Anthony Lawton (Feste/ ) will Management Associate TIMOTHY T. WALLING cal 1776, PSF audiences can look forward Twelfth Night play Enobarbus, Wayne S. Turney (Ragueneau/ to seeing Christopher Coucill (King Lear) Associate Box Office Manager CHADD ZIVIC play Stephen Hopkins and Spencer Plachy Cyrano) as Lepidus, Ian Bedford (Lodovico/ Othello) as Scarus, Ian Merrill Peakes (Iago/ FR. GERARD J. SCHUBERT, OSFS (Christian/Cyrano de Bergerac) play Thomas rFounde ) as Canidius and Proculeius, Erin Clare Jefferson. In The Complete Works of William Othello Hurley (Viola/ ) as Charmian, The Quill is published three times a year by Shakespeare (Abridged) two seasoned funny Twelfth Night and Spencer Plachy as Agrippa. the Pennsylvania Shakespeare Festival at DeSales University.

EDITOR Lisa Higgins DESIGN Laura Zielinski EDITORIAL ASSISTANT Jeremy Sabol

CONTRIBUTORS: Thomas Rankin, Jeremy Sabol, and Folger Shakespeare Library: www.shakespeareinamerican- life.org/identity/politicians/presidents/pick/jadams.cfm; www.shakespeareinamericanlife.org/identity/politicians/ presidents/pick/washington.cfm; www.shakespeareina- mericanlife.org/identity/politicians/presidents/pick/jef- ferson.cfm Left to right: Christopher Coucill, Erin Clare Hurley, Ian Bedford, Ian Merrill Peakes, Spencer Plachy, and Wayne S. Turney. Photos by Lee A. Butz. Find us on Facebook www.pashakespeare.org The Quill, Spring 2009 • 11 New from the PSF Education Department! The Great Divorce Designed to shake it up with elementary- Based on the novel by C.S. LEWIS aged children. No tights required as Team Adapted and performed by Shakespeare introduces kids to the kid- ANTHONY LAWTON friendliest of Shakespeare’s characters One Night Only: June 22, 7:30 p.m. and situations. Shakespeare—with all the magical mischief of the fairies and all the Lauded by The Philadelphia wonder of his words. Inquirer in this “masterful solo show,” actor Anthony • Lawton delivers “a won- July 22 – August 1 Performances at 10:00 a.m. drous ride filled with dazzling insight and lan- NONPROFIT ORG guage.” Lewis’ own favorite U.S. POSTAGE among his works, The Great Divorce is PAID an allegorical journey between Hell and at DeSales University Lehigh Valley, PA Heaven, a journey that blends philosophical Permit No. 68 imagination and theatrical magic. 2755 Station Avenue Center Valley, PA 18034 “Unmissable! From the quiet, seemingly 610.282.WILL • pashakespeare.org casual beginning to the unforgettable final moments, Lawton has us in the palm of his hand.” – Philadelphia City Paper

Anthony Lawton photos by Lee A. Butz

july 15 - August 2

Shakespearean Insights June 17 - July 5 on WDIY 88.1 FM PSF is proud to partner with WDIY 88.1 FM, which will air “Shakespearean Insights” from mid-May through July 31. Special programming and “Partners in Featuring Greg Wood as Antony and Listen at 10:04 a.m. on Mondays, Revolution” related to 1776: See story page 11. Lauren Lovett as Cleopatra. See story page 3. Wednesdays, and Fridays, and at 5:29 p.m. on Tuesdays and Thursdays. Tickets: 610.282.WILL • pashakespeare.org