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Home , Cue for Treason, Don Stephenson, Ed Mirvish Theatre, Geraint Wyn Davies, Lost Girl, Lucy Peacock (actress)

Production Sponsor Support for the 2015 season of Production support is the Festival Theatre is generously generously provided by provided by Claire & Daniel Bernstein Larry & Sally Rayner UNIVERSITY OF WATERLOO Shakespeare lived in an age of rapid DISCOVERY: change, a time of new worlds, new beliefs and scientific discoveries. THAT EUREKA In short, he lived in an age very on the much like our own. But in that early modern age, change was MOMENT especially unsettling, overturning world stage societal foundations and leading to “We know what we revolution. In our own time we have This is a place where imagination are, but know not not only become inured to change, meets innovation — where we welcome it to the point where it is unconventional approaches push what we may be.” our new faith. performance to new heights and — And so for the 2015 season I wanted allow talent to soar. to explore plays that especially Through research, teaching and examine discovery. In these plays, public engagement, University characters learn surprising truths of Waterloo is a proud supporter about the world around them or of culture and community. perhaps about themselves. In that eureka moment, their lives change forever. How do they deal with From Solitary to Solidarity: that change? At what cost comes Unravelling the Ligatures of Ashley Smith knowledge? Since Adam and Eve, March 2014 these questions have been at University of Waterloo Drama Faculty of Arts the centre of the human narrative.

In 2015, through our and in more than 200 Forum events, we will celebrate the power of the newest god in our pantheon – Discovery.

Antoni Cimolino Artistic Director WATERLOO | ’s most innovative university

uwaterloo.ca/stratford15 C007477 Our 2015 Partners and Sponsors We are honoured to acknowledge the following corporations and individuals who have made commitments in the 2015 season:

Individual Theatre Partners Season Hosts Performance Hosts

Support for the 2015 Support for the 2015 Support for the 2015 Support for the 2015 Burgundy Asset Management Inc. season of the Festival season of the Avon season of the Tom season of the Studio Theatre is generously Theatre is generously Patterson Theatre is Theatre is generously Famme & Co. Professional Corporation provided by Claire & provided by the generously provided provided by Sandra & Highstreet Asset Management Daniel Bernstein Birmingham Family by Richard Rooney Jim Pitblado & Laura Dinner Intact Insurance

Jarislowsky Fraser Corporate Theatre Partner Pelee Island Winery BMO Financial Group, Corporate Sponsor for the 2015 season of the Tom Patterson Theatre Pratt & Whitney Canada Inc.

Steed Standard Transport Limited Corporate Partners Sylvanacre Properties Ltd.

University of Waterloo Stratford Campus

The Woodbridge Company Limited

The gratefully acknowledges the generous support of these contributors to our success: Production and Program Sponsors

an Ontario government agency un organisme du gouvernement de l’Ontario

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The Stratford Festival is a non-profit organization with charitable status in Canada* and the U.S.** *Charitable registration number: 119200103 RR0002 **As defined by Section 501(c)(3) of the Internal Revenue Code

2 3 and her three ladies puts this vow to for an unforgettablean immediate test.time The “Promethean fire” of the ladies’ eyes ignites the men’s passion. The four lords turn their minds away from study to devising entertainments for the ladies, thereby supplying the usual fun of comedy. However, the nobles ALL THE play so hard, hunting, masquing, bantering, that they can hardly be said to get down to the real pursuit of comedy: finding a mate. This ebullient frivolity was what inspired to choose WORLD’STORONTO Watteauesque costumes for his 1946 production, which sealed the play’s modern reputation for theatrical mastery. STAR The lords’ light overthrowing of A STAGE their pledge convinces the ladies that their romantic overtures cannot be earnest either. The lords’ integrity PICK UP thus needs to be tested, something that usually happens in the course of a Shakespearean comedy but here is launched at the conclusion. INDEEDFROM The ladies set them year-long challenges before they will consider committing themselves to what the Learning Princess calls “a world-without-end SOUND OF bargain” – marriage. The witty hero, to Love Berowne, sums it up: “Our wooing doth not end like an old play; / Jack By Philippa Sheppard hath not Jill.” Berowne, who is most MUSIC wedded to his own wit, is given the toughest quest of all: to cheer Offi cial Newspaper of the Stratford Festival the ill in a hospital. Shakespeare’s convention-breaking here can be Costume sketch for Katherine by Patrick Clark partly explained by the fact that this Early in his career, Shakespeare boldly play is the first half of a duo; the second broke all the rules. From the title onwards, half, Love’s Labour’s Won, has been lost Love’s Labour’s Lost overturns our to time. expectations of comedy. The King of Love’s Labour’s Lost is almost unrivalled Navarre opens the play vowing with his for its verbal panache. The comedy is a friends to study for three years, abjuring “great feast of languages,” as the pageboy food, sleep, and the company of women in Moth observes. Shakespeare learned order to win fame. This monastic oath is at from John Lyly, a courtly playwright, the war with comedy, with its inexorable drive symmetrical patterning of characters towards procreation and festivity. The and an elaborate style full of conceits. sudden arrival of the Princess of France The stylized nature of the coupling, the

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Stratford / Star Program Ad 2015_C.indd 1 15-03-13 9:28 AM no one understands him – he loses PRESENTS the communication battle, just as THE 2015/16 MIRVISH THEATRE SUBSCRIPTION SERIES the Spanish ships after whom he is named were likewise defeated. Holofernes, the pedant (his name stolen from Rabelais), uses language A GENTLEMAN’S expansively, at worst diminishing and alienating the simple Constable Dull. Costard, the fool, though not & GUIDE TO educated like these other two, wields language creatively, and is Ladie’ honest about his human desires: “Such is the simplicity of man to THEATREGOING: hearken after the flesh.” Berowne MIRVISH and his beloved Rosaline anticipate Beatrice and Benedick from Much ESSENTIAL SHOWS Ado About Nothing in their merry war of words. 7 Berowne excels in the art of rhetoric, and so would likely have Fo a Perfect enchanted the original audience of courtiers and lawyers. He is Theatre Season! particularly persuasive in arguing GET READY, that no dry book study could teach ‘CAUSE HERE WE COME. GLASS SLIPPERS PICK UPARE SO BACK. the young lords as much as falling MAIN in love: “Love’s feeling is more soft and sensible / Than are the tender SEASON horns of cockled snails.… And FROM when Love speaks, the voice of all 7 SHOWS the gods / Make heaven drowsy ONE LOW PRICE with the harmony.” He rationalizes RC us. a y Joan m B

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k pho T THE TONY AWARD-WINNING MUSICAL R a L that their creativity never flowed FROM THE CREATORS OF LL C eCCL es. ew yan Te RR e yan SOUTH PACIFIC & THE SOUND OF MUSIC nd R a y B . and B R os pho T he R T aLL o SOUND Luke, J R Raymond OF as easily as when they fell for the September / November 2015 December 2015 / January 2016 January / February 2016 Theatre Ed Mirvish Theatre ladies from France. Most of the characters deploy

HHHHH ‘THeaTrical Heaven’ Costume sketch for language competitively, vying for Sunday Telegraph ‘ruperT evereTT MUSIC Don Adriano de Armado admiration or “fame,” as the King gives the performance of his career’ The Guardian by Patrick Clark phrased it in the oath. These verbal pyrotechnics explode in a hilarious coming together and moving apart of the eavesdropping scene in which each of the effervescent flirtations, recalls a formal young lords reveals himself in a poem to dance, which makes ’s his lady’s praise. Three of the poems are The “REJOICE. It is even more glorious than promised.” Judas Kiss “Thrilling! THE NEW YORK TIMES decision to adapt it for the screen as a sonnets, and the sonnet was the height by David Hare The best musical of the year.” ‘rupert everett is magnificent as Oscar Wilde’ New York MagaziNe Evening Standard musical (in 2000) so apt. of fashion when Shakespeare wrote the It is their wit, or lack thereof, that play; we see echoes of his Dark Lady in March / April 2016 April / May 2016 May / June 2016 Begins July 2016 Royal Alexandra Theatre Princess of Wales Theatre Royal Alexandra Theatre Princess of Wales Theatre defines each of this play’s characters. his depiction of Rosaline. Berowne itemizes the types, borrowed Rosaline, however, remains from commedia dell’arte: “the pedant, unimpressed by fine words. Berowne Book Your Subscription Now! 416.593.4225 the braggart, the hedge-priest, the fool, swears he will change his tune: and the boy.” Armado, the braggart, “henceforth my wooing mind shall be MIRVISH.COM 1.800.771.3933 employs language so pretentiously that expressed / In russet yeas and honest 7 kersey noes. / And to begin: wench – so razor’s edge invisible.” Is Shakespeare God help me, law! – / My love to thee warning his own audience to exercise is sound, sans crack or flaw.” Rosaline, more charity? Love Beyond recognizing his irrepressible intellectual Shakespeare closes this play that pride surfacing again, retorts, “Sans ‘sans,’ crackles with repartee and Latin flourishes Words I pray you.” with two simple songs, about spring and Director’s notes by This exchange illuminates one of the winter. These beautiful songs celebrate key questions of the play: what is the the ordinary people of Shakespeare’s As far as we know, Love’s Labour’s Lost true purpose of learning? The characters’ Warwickshire countryside, women like sprang entirely from Shakespeare’s own linguistic exuberance separates them Jaquenetta the dairymaid, who “bleach imagination. Like A Midsummer Night’s from others more often than it connects. their summer frocks” and whose “milk Dream and The Tempest, it’s not adapted When the common characters mount comes frozen home in pail.” After all, it is from any existing source. Because they’re their Pageant of the Nine Worthies for people like Jaquenetta who get on with freely invented, unconstrained by another the courtiers, the lords mock the amateur the serious business of living: working and writer’s material, those sourceless plays actors mercilessly, putting them out of making babies; the lords and ladies are perhaps bring us closest to Shakespeare suit. In this way, the competition to be just playing. himself: a brilliant intellect, witty and the cleverest, which has been ongoing, Even though the startling entrance of learned; a great poet; a man of deep is exposed to the audience for all its Marcadé leaves a sombre pall over the human understanding; a sympathetic, nastiness. play’s end, Shakespeare lets us have our tender, loving artist – and very obviously a Two urgent announcements, about the cakes and ale in this unusual comedy too. John Caird man of . essential events of life, further interrupt The winter wind of the last song may blow, In this early masterwork, we see him this play-within-the-play. Costard blurts but the “roasted crab” apples “hiss in the real feeling. Letters are written, poems testing his own skills. Echoes of Love’s out that Jaquenetta, the nubile dairymaid, bowl” to remind us of the homely comforts are written, sonnets are penned in praise Labour’s Lost recur in many of his later, is expecting Armado’s baby. A black-clad of married life that await the characters if of lovers – but when it comes down to more mature works, both comedies and messenger, Marcadé, brings news of the they pass their year-long tests. it, there’s very little actual evidence of tragedies. Berowne, for instance – that King of France’s death, his announcement romantic attachment. People are mostly just highly sensitive, poetic, passionate pre-empted by the Princess’s intuition, in Philippa Sheppard teaches for the being romantic in theory. The only one who advocate character – reappears as one of Shakespeare’s most memorable Department of English at the University of proves ready to make a commitment – and Lysander in A Midsummer Night’s Dream, coups de théâtre. These important tidings, Toronto. to the least likely person – is the fantastical, as Romeo, as Richard II. You can even see conveyed without fancy terms, emphasize rather pathetic Don Armado. As for the elements of Berowne in Hamlet. how limited the wittier-than-thou approach others, only time will tell. Nothing much happens in Love’s to life really is. Intelligence, wordplay, That’s why, when something serious Labour’s Lost; it’s not particularly driven fame – elements highly prized by the happens at the end of the play, The Story by plot. Even the characters themselves young lords – are not enough in the final Shakespeare introduces the idea of reckoning. Vowing to devote themselves to study, don’t seem to be taking the events of the penance. Those four young men have all The Pageant of the Nine Worthies is the King of Navarre and his courtiers story very seriously, at least not until the broken the oaths they so carelessly swore only one of many explorations of the art Dumaine, Longaville and Berowne swear end. Instead, the relationships between the at the beginning. So what is an oath worth? of theatre in the play. It seems that when off the company of women for three years. characters seem to be all about language, What is a promise worth? What are the Shakespeare worked without source But no sooner is their oath than and how it is used and abused. I think that’s relationships between people worth, if they material, as he did in this comedy, and it is put to the test when four attractive because Shakespeare himself was falling don’t have any longevity? How much value later in A Midsummer Night’s Dream young women – the Princess of France in love with language as he was writing can you set on a word, a poetic utterance? and The Tempest, he exemplified Jane and her companions Katherine, Maria and this play: he was discovering himself as What is love worth? From that point on, Austen’s dictum and wrote about what he Rosaline – arrive on a diplomatic mission. a mature poet. And so in a sense all the all language stops being valuable and knew best: performance. This play, like Meanwhile, an eccentric Spanish nobleman, characters share his love of poetry, his love everything becomes about feeling and how the latter two, investigates the extent to Don Armado, has become infatuated with a of language: he’s using them to explore his people’s actions are going to be affected which our lives are an act. Earlier in the country wench, Jaquenetta. In the ensuing own delight in its use. by what has transpired. comedy, the lords appear disguised as flurry of mix-ups and masquerades, it But even as the play celebrates the I think in the end Shakespeare does Muscovites to the masked French ladies becomes clear that not all of life’s lessons power of language, it is also about believe that love trumps everything – but and, like the Nine Worthies, receive can be learned from books. language’s limitations. Language in Love’s it has to be proved worthy. You can’t just ridicule for their pains: “The tongues of Labour’s Lost is used as a device to wheel love out as the answer; it has to be mocking wenches are as keen / As is the achieve romantic destinations of one sort proved in the fire in order to make sure that or another, but also to protect people from it’s real. 8 9 where he would have studied rhetoric, often ambiguous poems on themes of grammar and ancient Roman literature love, jealousy and mortality that have in its original Latin. In 1582, when aroused much biographical speculation. he was eighteen, he married Anne By 1595, Shakespeare was back in the Hathaway, a farmer’s daughter who theatre, writing and acting for the Lord was eight years his senior. Anne was Chamberlain’s Men. His income as one pregnant at the time, and the couple’s of London’s most successful dramatists first daughter, Susanna, was born enabled him, in 1597, to buy a large a few months afterwards in 1583. house called New Place back in Stratford, Twins followed two years later: a son, and in 1599 he became a shareholder Hamnet, who died at the age of eleven, in London’s newly built . and a second daughter, Judith. In 1603, when James I had succeeded Nothing further is known of Elizabeth on the throne, Shakespeare’s Shakespeare’s life until 1592, by which company was awarded a royal patent, time he was sufficiently established as becoming known as the King’s Men. but there is a record of his baptism at an actor and writer in London to be the Meanwhile, the playwright continued Stratford’s Holy Trinity Church on April target of a literary attack by a jealous Playwright 26. Since an interval of two or three fellow playwright, Robert Greene. Soon his business dealings in Stratford and in London, where in 1613 he bought Born in Stratford-upon-Avon in 1564, days between birth and baptism would afterwards, an outbreak of plague William Shakespeare was the eldest have been quite common, tradition has it forced the temporary closure of the a property known as the Blackfriars son of John Shakespeare, a glover and that he was born on April 23 – the same theatres, and Shakespeare turned his Gatehouse. He is believed to have tanner who rose to become an alderman date as his death fifty-two years later. attention instead to his long narrative spent increasing amounts of his time and bailiff of the town, and Mary Arden, The young Shakespeare is assumed poems Venus and Adonis and The Rape in Stratford from around 1609 until his the daughter of a wealthy farmer. The to have attended what is now King of Lucrece. He also began writing the death on April 23, 1616. He is buried exact date of his birth is unknown, Edward VI Grammar School in Stratford, Sonnets,Rheot T Housea series Program of 154 Adcomplex 2015-9.qxp_RT and hp adin the2-15 town’s 2015-03-16 Holy Trinity 8:15 PMChurch. Page 1

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THE FORUM Love’s Labour’s Lost Showcase performances, illuminating speakers, By William Shakespeare engaging debates and family fun! This production is dedicated to the memory of former company member Bernard Hopkins. PHOTO: FARRELL The Cast King Ferdinand of Navarre Sanjay Talwar Berowne lords Mike Shara Longaville attending Andrew Robinson Dumaine the King Thomas Olajide Forester Xuan Fraser Forester Robert King

Don Adriano de Armado, Juan Chioran a Spanish braggart Moth, his page Gabriel Long Servant to Armado Josh Johnston KATE CAYLEY PAUL EDMONDSON MARTHA HENRY Servant to Armado Shruti Kothari

Ideas at Stratford: The Discovery of the Empty Space Holofernes, a schoolmaster Tom Rooney Nathaniel, a curate Brian Tree Sunday, August 9, 10 to 11:30 a.m. | Studio Theatre Dull, a constable Brad Rudy When a director approaches a bare stage with a play, it’s with two questions in mind: What Costard, a swain Josue Laboucane is the story? And how can my team of actors and other artists tell this story through their Jaquenetta, a dairymaid Jennifer Mogbock bodies, these words, and the toolkit of imagination? How are we to fill this empty space? Directors of this season’s Shakespeare productions explore the challenges of directing The Princess of France Ruby Joy with Ideas host Paul Kennedy. $25 Rosaline ladies Sarah Afful Maria attending Ijeoma Emesowum Katherine the Princess Tiffany Claire Martin Love’s Masterpiece Boyet John Kirkpatrick Wednesday, August 19, 10:45 a.m. to noon | Studio Theatre French Lord Derek Moran Writer and poet Kate Cayley and Paul Edmondson, Head of Research and Knowledge at the Marcadé Robert King Shakespeare Birthplace Trust, examine the poetry of Love’s Labour’s Lost as evidence of Shakespeare’s masterpiece – the work through which he proves his mettle as a poet. $25 Understudies Table Talk: Love’s Labour’s Lost Tim Campbell (Holofernes, Forester, French Lord), Ijeoma Emesowum (Rosaline), Thursday, August 20, 5:30 to 7:15 p.m. | Paul D. Fleck Marquee, Festival Theatre Xuan Fraser (Boyet, Marcadé), Adrienne Gould (Princess of France, Jaquenetta), Buffet dinner followed by a talk on Love’s Labour’s Lost by Graham Roebuck. $40; cash Josh Johnston (Dumaine, Longaville), Robert King (Sir Nathaniel), John Kirkpatrick (King Ferdinand bar. Please reserve at least 48 hours in advance. of Navarre), Shruti Kothari (Maria, Katherine, Moth), Derek Moran (Berowne), Thomas Olajide (Costard), Andrew Robinson (Dull), Brad Rudy (Don Adriano de Armado) Age of Arousal Sunday, August 30, 7:30 to 10 p.m. | Avon Theatre Rehearsal Hall 1 There will be one 20-minute interval. A reading of this lavish, sexy play about the forbidden and gloriously liberated self by the late, great Canadian playwright Linda Griffiths. It is 1885 and virtue is barely holding down its petticoats. Five New Women struggle to find their way in the topsy-turvy world of the Victorian suffrage movement. Directed by Martha Henry. $25

200+ Forum Events | April to October

Sustaining support for the Forum is generously provided by Kelly & Michael Meighen and the T.R. Meighen Family Foundation Support for the 2015 season of the Forum is provided in memory of Dr. W. Philip Hayman.

12 13 Artistic Credits Backstage

Director John Caird Production responsibilities during the performance accomplished by: Designer Patrick Clark Stage Carpenter Craig Geiger Lighting Designer Michael Walton Alternate Chad McMillan Josh Schmidt Master Electrician Alec Cooper Sound Designer Peter McBoyle Alternate Michael (Mick) McDonald Property Master Tim Hartman Producer David Auster Head of Sound Scott Matthews Casting Director Beth Russell Wardrobe Master John Bynum Creative Planning Director Jason Miller Wardrobe Attendants Ina Brogan, Christine Smith, Debra Yundt Swing Laurie Krempien-Hall Assistant Director Krista Jackson Wigs and Makeup Show Head Lorna Henderson Assistant Set Designer Mary-Jo Carter Dodd Wigs and Makeup Crew Lena G. Festoso Assistant Costume Designer Alyssa Westman Children’s Supervisor Linda Prystawska Assistant Lighting Designer Tristan Tidswell Ian and Molly Lindsay Young Design Fellow

Stage Manager Janine Ralph Assistant Stage Managers Holly Korhonen, Elizabeth McDermott Production Assistant Katherine Dermott Production Stage Manager Margaret Palmer

Technical Director Jeff Scollon The Birmingham Conservatory for Classical Theatre From Artistic Director Antoni Cimolino: Thirty-three members of this season’s company have taken part in our professional training program, the Birmingham Conservatory for Classical Theatre. Founded in 1998, the Conservatory has helped launch the Music Credits careers of many leading Canadian actors, several of whom I have had the great pleasure of directing here at Stratford. Musicians Headed by Martha Henry, the Conservatory is made possible by the support of the Birmingham family, the Graham Hargrove, Percussion; Luise Heyerhoff, Trumpet; Stratford Festival Endowment Foundation and the Department of Canadian Heritage. Supporting the 2015 in-season work of Conservatory participants are the Marilyn & Charles Baillie Fund, John & Therese Gardner Shawn Spicer, Trumpet; Kate Stone (Fanfare Leader), Horn; Rob Stone, Trombone and The Brian Linehan Charitable Foundation. We thank them for helping us to nurture and support these talented artists. Director of Music: Franklin Brasz Past Birmingham Conservatory participants include these members of our 2015 company: Music Administrator: Marilyn Dallman Sarah Afful 2011/12 Ruby Joy 2011/12 Mike Nadajewski 2012 Administrative Assistant: Don Sweete Evan Buliung 1999 Josue Laboucane 2012/13 Thomas Olajide 2014 Shane Carty 2003 Keira Loughran 2005 (associate Karack Osborn 2013/14 Paul deJong 2000 (coach) producer, Forum and Laboratory) Gareth Potter 2003 Sara Farb 2013 Jamie Mac 2013/14 Andrew Robinson 2012/13 Ryan Field 2011 Kennedy C. MacKinnon 1999 Tyrone Savage 2010/11 Jonathan Goad 1999 (winter) (coach) Laura Schutt 2013/14 Adrienne Gould 2002 Tiffany Claire Martin 2014 E.B. Smith 2010/11 Deborah Hay 1999 Gordon S. Miller 2003 Evan Stillwater 2004 (cutter) Jessica B. Hill 2014 Jennifer Mogbock 2013/14 Shannon Taylor 2014 Brad Hodder 2011/12 Derek Moran 2013/14 Antoine Yared 2012/13 Josh Johnston 2014 André Morin 2014

Acknowledgements The Michael Langham Workshop for Classical Direction Special thanks to Ashley Gennuso; Tyler Vandergaag; Jennifer Anderson, MD, St. Michael’s From Artistic Director Antoni Cimolino: Hospital, Toronto; Sean Blaine, MD, Stratford; Norman Cruz, MD, Stratford; Shawn Edwards, MD, The Michael Langham Workshop for Classical Direction continues Michael Langham’s tradition of mentorship in Stratford; Brian Hands, MD, FRCS (C), medical voice consultant, Vox Cura voice care specialists, a risk-free environment, allowing directors to develop their craft within the rich history and evolving artistry of the Toronto; Simon McBride, MCISc, MD, London Health Sciences Centre Vocal Function Clinic, Stratford Festival. London; Laurel Moore, MD, Stratford; David Thompson, MD, Stratford; John Yoo, MD, London We extend our thanks to the Department of Canadian Heritage, Johanna Metcalf & the George Cedric Metcalf Health Sciences Centre, London. tuned and maintained by Don Stephenson. Foundation and the Philip and Berthe Morton Foundation. Cover photography by Don Dixon. Page 1 photography by David Hou. Participants in the 2015 workshop: Graham Abbey | Charlotte Gowdy | Krista Jackson Kate Newby | Bronwyn Steinberg | Kristen van Ginhoven | Rona Waddington | Ted Witzel Cover Photo: Mike Shara 14 15 Production Credits Wardrobe Director of Production Simon Marsden Head of Wardrobe Bradley Dalcourt Technical Director – Scenic Construction Andrew Mestern Wardrobe Head – Avon/Studio Elizabeth Copeman Wardrobe Manager Tanya Apostolidis Seasonal Wardrobe Supervisor Linda Sparks Production Administrator Cheryl Bender Cutters Johanna Billings, Terri Dans, Melanie Farrar- Design Coordinator Mary-Jo Carter Dodd Jackson, Margaret Lamb, Carol A. Miller, Scene Shop Manager Robbin Cheesman Evan Stillwater Associate Technical Director David Campbell First Hand Krista Nauman Technical Management Assistant Michael Besworth Sewers Susy Arnold, Wendy Bendle, Monica Berg, Administrative Assistant Cindy Jordan Denise Bott Cindy Brown, Susan E. Dick, Electronics Technologist Chris Wheeler Karen Hancock, Shona Humphrey, Transportation Charlie Fox, Dirk Newbery, James Thistle Olga M. Kouzmina, Laurie Krempien-Hall, Debbie Kschesinski, Anna Lach, Norma LaChance, Karen Merriam, Properties Emma Pawluk, Joan Scheerer, Head of Properties Dona Hrabluk Gina Schellenberg, Silvia Widmer, Lead Builder Jennifer Macdonald Christine Yundt, Joanne Zegers Assisted by Eric Ball, Ken Dubblestyne, Michelle Jamieson, Bijoux/Decoration Kathi Posliff Kathryn Kerr, Shirley Lee, Brian McLeod, Assisted by Liane Guttadauria Dylan Mundy, Heather Ruthig, Lisa Summers Boots and Shoes Sarah Cook Properties Buyer Tracy Fulton Assisted by: Connie Puetz Assistant Properties Buyer Jaclyn Zaltz Costume Painting Lisa Hughes Dyeing Linda Pinhay Assisted by Sylvia Minarcin Scenic Art Millinery Katarzyna Maxine Assisted by Helen Flower Head Scenic Artist Christopher Klein Wardrobe Buyer Michelle Barnier Assistant Head Scenic Artist Daniel McManus Assistant Wardrobe Buyer Caitlin Luxford Assisted by Kevin Kemp, Blair Yeomans Wardrobe Apprentice Rebecca Forsyth Warehouse Supervisor Madonna Decker Scenic Carpentry Warehouse Assistants Chevy Barlow, Valerie Lariviere Head Carpenter Ryan Flanagan Head of Automation Ian Phillips Assisted by Simon Aldridge, David Bedford, Mark Card, Gary Geiger, Douglas Ledingham, Wigs and Makeup Stephen Morgan, Wayne Nero, John Roth, Head of Wigs and Makeup Gerald Altenburg Joseph Saunders, Mark Smith, Geoff Taylor, Construction Crew Erica Croft, Tracy Frayne, Lorna Henderson, Cliff Tipping, Joe Tracey Barb Newbery, Alana Scheel, Julie Scott, Christine Vaughan Wigs and Makeup Apprentice Anna Burton

A member of the Professional Association of Canadian Theatres, the Stratford Festival engages, under the terms of the Canadian Theatre Agreement, professional artists who are members of Canadian Actors’ Equity Association. Stage crew, scenic carpenters, drivers, wigs and makeup attendants, facilities staff and audience development representatives are members of Local 357 of the International Alliance of Theatrical Stage Employees (IATSE). Wardrobe attendants are members of IATSE Local 924. Scenic artists are members of IATSE Local 828. The musicians, Funding for artisan apprenticeships is provided by the William H. Somerville Theatre Artisan Apprenticeship Fund, musical directors, conductors and orchestra contractors engaged by the Stratford Festival are members of the Toronto funded by the J. P. Bickell Foundation and by Robert & Jacqueline Sperandio. Musicians’ Association, Local 149, of the American Federation of Musicians of the United States and Canada. 16 17 Sarah Afful 2015: Player Queen in Hamlet, Bianca in and Rosaline in Love’s Labour’s “TERRIFICALLY FUNNY” Lost. Fourth season. Stratford: Tiger Lily, Through the Looking-Glass; featured in A Midsummer Night’s Dream: A Chamber Play; Mariana, Measure for Measure; understudy, ; Mary Stuart; THE GLOBE AND MAIL Chorus, Elektra; . Viola, ; Hermione, The Winter’s Tale (Birmingham Conservatory). Elsewhere: Margaret, , Octavia/, (Bard on the Beach); : nach Shakespeare (Conspiracy/Gas Heart); Saint Monica, The Last Days of Judas Iscariot (Pound of Flesh/Pacific Theatre); The Eighth Land (PI Theatre); Old Goriot (Western Gold/UBC Theatre); Small Axe (Project Humanity/The Theatre Centre). Film/TV: Smallville, , Eureka, The Perfect Score, American Dreams, numerous commercials. Recordings: Days of Old (Neworld Theatre/ CBC). Training: Birmingham Conservatory; BFA Acting, UBC; Lyric School of Acting; Tarlington Training. Online: : @SarahAfful1.Et cetera: “Thanks to my brothers for all their support and unconditional love this year!”

John Caird 2015: Director of Love’s Labour’s Lost. Stratford debut. Elsewhere: John is a director and writer of plays, musical theatre and opera. He is an honorary associate director of the Royal Shakespeare Company, where he has directed over 20 productions. He has been a regular director at the National Theatre and is principal guest director at the Royal Dramatic Theatre in Stockholm. His award-winning productions include Nicholas Nickleby, , Peter Pan, Les Misérables, Hamlet, Humble Boy, Jane Eyre, Twelfth Night and Daddy Long-Legs, most of which ran, or are still running, in the West End, on Broadway and all over the world. His book Theatre Craft, an encyclopedic handbook for aspiring directors, was published by Faber and Faber in 2010. Online: For further information on John’s career, go to www.johncaird.com.

Tim Campbell 2015: Horatio in Hamlet and understudy in The Taming of the Shrew and Love’s Labour’s Lost. Seventh season. Stratford: Credits include , The Tempest, Macbeth, Hamlet, , Titus Andronicus, Henry IV (1), Henry IV (2), , , Richard III, Antony and Cleopatra, Troilus and Cressida. Elsewhere: Recent credits include Venus in Fur (ATP); Twelve Angry Men, Death of a Salesman, Who’s Afraid of Virginia Woolf? (Soulpepper); Jane Eyre (MTC); A Midsummer Night’s Dream (Shakespeare Theatre Company, Washington, D.C.); Death of a Salesman (Citadel); A Streetcar Named Desire (Blue Bridge); (Chicago Shakespeare). Film/TV: Credits include Reign, Republic of Doyle, , Nikita, The L.A. Complex, Saving Hope, Deadly Hope, The Firm, , Against the Wall, Combat Hospital, Flashpoint, , Killshot, Hollywoodland. Awards: Past recipient of the Dora Mavor Moore Guthrie Award (for outstanding contribution to the Stratford Festival). Mary-Jo Carter Dodd 2015: Assistant costume designer of The Taming of the Shrew and assistant set designer of Love’s Labour’s Lost. Stratford debut. Elsewhere: Head of Wardrobe for Soulpepper (12 years), Canadian Stage (two years), Young People’s Theatre (10 years), and costume coordinator for over 25 operas for the Canadian Opera Company. She taught wardrobe courses at Humber College in the Theatre Production Program and mentored students as they worked on productions. Training: Diploma, Honours BA in Theatre Production – Ryerson Polytechnical Institute; AutoCad certificate – George Brown College. She was chosen for the Theatre Ontario Professional Training Program and trained in model building for theatre, mentoring under Camellia Koo. She’s also taken advanced model building in the U.K. She has built set models for several theatre productions across the country. Et cetera: Mary-Jo is excited to be working at the Festival, surrounded by so many wonderful and talented people, and also to assist in finding the next generation of costume and set designers. Juan Chioran 2015: Player King in Hamlet and Don Adriano de Armado in Love’s Labour’s Lost. 14th season. Stratford: Henry V, Much Ado, The Misanthrope, Twelfth Night, Kiss Me, Kate, Evita, Bartholomew Fair, Three Sisters, All’s Well, Shrew, As You Like It, Hamlet, Dracula, Dream, Man of La Mancha. BUY YOUR TICKETS TODAY! Elsewhere: The Motherf**ker with the Hat (Bob Kills Theatre); Cabaret, Story, Light in the Piazza (Shaw); Madonna Painter (Factory); New Brain, Piazza (Acting Up Stage); It’s a Wonderful Life, Goodnight Desdemona, Much Ado (Canadian Stage); Cymbeline, The Three She Stoops to Conquer Musketeers, Hecuba (Chicago Shakespeare); Blithe Spirit, An Ideal Husband (Citadel); Love’s By Oliver Goldsmith | Director Martha Henry Labour’s Lost (NAC); (Mirvish); Present Laughter (Soulpepper); Anything That Moves (Tarragon); with Lucy Peacock, Joseph Ziegler, Maev Beaty, Sara Farb, Brad Hodder, Karack Osborn, Tyrone Savage Kiss of the Spider Woman (); Hedda Gabler (MTC); Rocky Horror (Bathurst Street). Film/TV: Finn on the Fly, Production support is generously provided by Nona Macdonald Heaslip, Republic of Love, What’s Up Warthogs, The Border, Roxy Hunter, This Is Wonderland, Cheetah Girls, Monk. Training: Dr. Desta Leavine in memory of Pauline Leavine and by Jack Whiteside BFA, U of A. Awards: Dora, Gemini, Jeff, Ovation, Carbonell. Lucy Peacock, Joseph Ziegler. Photo: Don Dixon 18 19 Patrick Clark Luise Heyerhoff 2015: Designer of The Adventures of Pericles and Love’s Labour’s Lost. 17th season. Stratford: 2015: Trumpet (onstage) in Love’s Labour’s Lost. Stratford debut. Elsewhere: Luise performs Krapp’s Last Tape/Hughie (also Goodman Theatre), The Music Man, Oklahoma!, Hello, Dolly!, regularly with the Toronto Symphony Orchestra, the Canadian Opera Company Orchestra and the Anything Goes, , Richard III, Romeo and Juliet, , The Boy Friend, Pericles, Hamilton Philharmonic. She is the co-founder of Reverb Brass. Radio/Recordings: Mozart: Arie e , Titus Andronicus. Elsewhere: Pride and Prejudice, , A Christmas Carol Duetti (2006, CBC Records) with the Canadian Opera Company Orchestra, conducted by Richard (Theatre Calgary); Albert Herring (Pacific and Vancouver operas); The Norman Conquests, The Bradshaw. Training: The Boston Conservatory; the Glenn Gould School of the Royal Conservatory Glass Menagerie, Jitters (Soulpepper); Shadowlands, Jane Eyre, Three Sisters (Guthrie); Othello, of Music, Toronto. Online: @heyluise, @reverbbrass, www.reverbbrass.com. Much Ado (Chicago Shakespeare); Hit the Deck, She Loves Me (Shaw Festival); Tartuffe (NAC); Frost/Nixon, Fallen Angels (Canadian Stage); Having Hope at Home, Blithe Spirit (Neptune); Evangeline, Buddy Holly (Charlottetown); Good People, The Price (MTC); The Mousetrap, Sherlock Holmes (Aquarius); Private Lives, The Bricklin, It’s a Wonderful Life (TNB). TV: Witness to Yesterday. Training: University of New Brunswick. Awards: New Brunswick Arts Award, several Merritt Awards and a Jessie. Krista Jackson 2015: Assistant director of Love’s Labour’s Lost. Second season. Stratford: Michael Langham Ijeoma Emesowum Workshop for Classical Direction: Mother Courage and Her Children. Elsewhere: Director: Private 2015: Maria in Love’s Labour’s Lost and appears in Hamlet and The Taming of the Shrew. Second Lives, The Seagull, The Seafarer (Royal Manitoba Theatre Centre); Much Ado About Nothing (The season. Stratford: Jackie Coryton in Hay Fever, Pudding/Daisy 2 in Alice Through the Looking- Grand); Dying to be Thin (Manitoba Theatre for Young People); The Miser of Middlegate (zone41 Glass and Cleopatra Attendant in Antony and Cleopatra. Elsewhere: Five seasons with Shaw theatre/Theatre Projects Manitoba); Village Wooing (zone41 theatre). Assistant director: Hedda Festival including Major Barbara, Serious Money, , Ragtime, Cat on a Hot Tin Gabler, Misalliance, His Girl Friday (Shaw Festival); The Wizard of Oz (Globe Theatre). Training: Roof, A Man and Some Women, The Admirable Crichton, The Women, The Devil’s Disciple, Born Shaw Festival’s Neil Munro Intern Directors Project, 2012; Ryerson Theatre School. Awards: Yesterday, Binti’s Journey (Theatre Direct); The Aftermath (Nightwood Theatre); A Midsummer Gina Wilkinson Prize (2013). Online: www.zone41.ca. Et cetera: Founding artistic director of zone41 theatre and Night’s Dream (Shakespeare in High Park, Canadian Stage). Film/TV: Antony and Cleopatra associate/apprentice artistic director at The Grand Theatre for the 2014/2015 season. (Stratford Festival). Training: BFA, University of Windsor. Online: Twitter: @UsoIje. Et cetera: Ijeoma has an online Etsy store that sells homemade cream and lip balms as well as cake stands made of recycled glasses and dishes. etsy.com/shop/usovintagedesigns. “Love and thanks to my family and Jake.” Xuan Fraser Josh Johnston 2015: Fortinbras Captain in Hamlet, Nicholas in The Taming of the Shrew and appears in Love’s 2015: Appears in Hamlet and Love’s Labour’s Lost and understudy in The Taming of the Shrew. Labour’s Lost. Ninth season. Stratford: King Lear (Curan), The Beaux’ Stratagem (Fellow, Chamberlain), Stratford debut. Elsewhere: Proteus in The Two Gentlemen of Verona, Young Shepherd in The A Midsummer Night’s Dream, Wanderlust (Blount), Henry V (Duke of Burgundy), As You Like It (Le Beau), Winter’s Tale (Birmingham Conservatory); Sebastian in Who’s Under Where? (Lighthouse Festival The Winter’s Tale (Cleomenes), Titus Andronicus (Aaron), The Tempest (Caliban), Macbeth (Witch), Theatre); Louis Martin in In His Name (Canadian History Project); Giri in The Resistible Rise of Romeo and Juliet (Benvolio), The Three Musketeers (Jussac), The Night of the Iguana (Pedro), Juno and Arturo Ui (red light district); Thespis in Something Is Wrong (Naught, A Theatre Company); Troilus the Paycock, Oedipus Rex (Chorus), Julius Caesar (Pindarus), The Alchemist, , in Troilus and Cressida (York University). Film/TV: Stephen in The Silver Chevy (Sheridan College). Hamlet. Elsewhere: Oberon/Theseus (Shakespeare in Action/Canadian Stage), Thomas Matthews Radio: Collaborator and speaker in The Other Families Radio Show. Training: BFA in Acting, York (Toronto the Good – Factory Theatre), Othello (Othello – Driftwood Theatre), Macbeth (Macbeth – Workman Arts/ University; Birmingham Conservatory for Classical Theatre. Et cetera: Josh dedicates his work this season to the Shakespeare in Action), Cody (This Is How It Goes – Neptune Theatre), Dubois (Counterfeit Secrets – Artword Theatre, memory of his mother and to all those who have helped him on his journey thus far. “You know who you are.” Dora nomination). Film/TV: Nikita, Suits, Insecurity, King, The Rick Mercer Report. “For my lovely fiancée, Leigh, and my wonderful children, Myles, Bailey, Cole, Max, Lyric and Marley! Here lies all my future hopes.” Adrienne Gould 2015: Ophelia in Hamlet and understudy in Love’s Labour’s Lost. 10th season. Stratford: Selected Ruby Joy 2015: Princess of France in Love’s Labour’s Lost. Fourth season. Stratford: Hay Fever, Alice credits: Hamlet, The Taming of the Shrew, Pentecost, Much Ado About Nothing, Ghosts, The Through the Looking-Glass, Measure for Measure, Othello, Mary Stuart, The Matchmaker, Tempest, As You Like It, The Swanne (part 3), Love’s Labour’s Lost, The Merchant of Venice, Cymbeline. Elsewhere: The Mousetrap (Chemainus Festival), Intimate Apparel (The Grand), The Tempest-Tost and The Diary of Anne Frank. Elsewhere: The Matchmaker and The Rivals Tempest (Theatre by the Bay), Hamlet and The Winter’s Tale (Theatre80 St. Marks), Evolutionism (Williamstown Theater Festival); The Butter and Egg Man (American Stage Company); Love’s (The Schapiro Theatre), Look Back in Anger (The Old Stone House), Sex and the Holy Land (The Labour’s Lost (NAC); Buried Child (NAC/Segal Centre); Einstein’s Gift, Ed’s Garage and Other Players Theatre), The Libertine (Robert Moss Theater). Film/TV: Chantel in Republic of Doyle (CBC), Desert Cities (Grand Theatre). Film/TV: The Lady in Question, Jonovision and Nikita. Recordings: Audrey in Oddly Flowers (CFC). Training: Birmingham Conservatory for Classical Theatre, New Timothy Goes to School. Training: North Carolina School of the Arts, Birmingham Conservatory. Awards: Mary York University Tisch School of the Arts. Online: www.rubyjoy.net. Savidge Award. Online: Adrienne is the founder of ABCyogis.com, a children’s/family yoga company. Et cetera: “This one’s for my ‘better half!’” Graham Hargrove 2015: Drums, Percussion (onstage) in The Taming of the Shrew, Percussion (onstage) in Love’s Robert King Labour’s Lost and Festival Theatre fanfares. Seventh season. Stratford: Percussion: Crazy for You, 2015: Gravedigger #1 in Hamlet, Peter, Vincentio in The Taming of the Shrew and Marcadé in Man of La Mancha, Wanderlust, West Side Story, Forum, Kiss Me, Kate, Evita. Onstage musician: Love’s Labour’s Lost. 22nd season. Stratford: King Lear, The Beaux’ Stratagem, The Three Fuente Ovejuna, Henry V. Elsewhere: Performed professionally on four continents, in orchestras Musketeers, The Merchant of Venice, Romeo and Juliet, Richard III, Richard II, Cymbeline, of numerous Mirvish shows, and with the COC and Esprit orchestras. Member of the Evergreen Twelfth Night, Measure for Measure, The Merry Wives of Windsor, Pericles, Henry V, Henry VI, Club Contemporary Gamelan since 2000. Co-created The Mark of Zorro, a live soundtrack/foley Hamlet, The Shoemaker’s Holiday, Treasure Island, The Count of Monte Cristo, The Grapes of show featuring the 1920 Douglas Fairbanks silent film, which has been performed throughout Wrath, Home, Of Mice and Men, The Diary of Anne Frank, Ah, Wilderness!, Quiet in the Land, The Ontario. Radio/Recordings: Soundtracks for Stratford productions; CBC Radio and numerous studio recordings; Donnellys. Elsewhere (selected): A Wind in the Willows Christmas, The Yalta Game, Afterplay, two CDs, Reinventions and Theme and Evolutions, with Toronto percussionist Nicholas Coulter; four CDs with Falling: A Wake (Alternative Theatre Works – founding member); Bolsheviki (world première, Infinithéâtre/ATW); the Evergreen Club Gamelan. Recent: released the album A 440, with his band Dan Stacey and the Black Swans. original Owen in The Melville Boys (TNB); Garrison’s Garage, Country Hearts, Blyth Festival. Et cetera: Graduate of Training: Bachelors (UVic), Masters (UofT) in Percussion Performance. Et cetera: “Love and gratitude to my wife, Dawson College’s Dome Theatre program – a proud “Domie.” Robert lives in Stratford with his wife, Peggy Coffey, Samantha – it isn’t easy being married to a drummer!” and children, Mary and Lawrence. 20 21 John Kirkpatrick Tiffany Claire Martin 2015: Marcellus, Fortinbras in Hamlet, Philip, Pedant in The Taming of the Shrew and Boyet in 2015: Katherine in Love’s Labour’s Lost and appears in Hamlet. Stratford debut. Stratford: A Love’s Labour’s Lost. Second season. Stratford: René Descartes in Christina, The Girl King and participant in the 2014 Birmingham Conservatory. Elsewhere: Tiffany has played Vivian in The Red Knight/Walrus in Alice Through the Looking-Glass. Elsewhere (selected): Jaques in As You Devil We Know (Blyth Festival), Laurie in Spelling 2-5-5 (Carousel Players), Chorus in Black Like It, Cassius in Julius Caesar, Lucio in Measure for Measure, Jake in Stones in His Pockets, Medea (Obsidian Theatre Company), Feste in Twelfth Night (Humber River Shakespeare), Jill Sam in Fully Committed (Citadel Theatre); Slim in Of Mice and Men (Canadian Stage/Theatre in Tough (Factory Theatre). TV/Online: Sydnie in The Strain (FX Network), Una in Leslieville (a Calgary); Tybalt/Friar Laurence in Romeo and Juliet, Roy Darwin in Counsellor-at-Law (Theatre Broken Stairs production), Sam in Sweet Fever (Sandbox Empire). Training: Humber College. Et Calgary); Everard in Age of Arousal, Ned in The Gift of the Coat (Alberta Theatre Projects); Milan in cetera: “Thank you to all the amazing people who have supported and continue to support my Rock ’n’ Roll (Canadian Stage/Citadel Theatre); Kent in King Lear, Sir Andrew Aguecheek in Twelfth Night (Freewill joy of telling stories. Especially Mr. EAR.” Shakespeare Festival.) Film/TV: Blackstone, Mixed Blessings. Training: BFA in Acting, University of Alberta. Awards: Elizabeth Sterling Haynes Award, Measure for Measure, Citadel Theatre. Et cetera: “Love to Breanna.”

Holly Korhonen Peter McBoyle 2015: Assistant stage manager of The Taming of the Shrew and Love’s Labour’s Lost. 14th season. 2015: Sound designer of The Sound of Music, Carousel and Love’s Labour’s Lost. 20th season. Stratford: Assistant stage manager: King Lear, A Midsummer Night’s Dream, Blithe Spirit, Mary Stratford (selected): Crazy for You, Man of La Mancha, Antony and Cleopatra, Fiddler on the Stuart, Charlie Brown, The Pirates of Penzance, The Merry Wives of Windsor, The Misanthrope, Roof, 42nd Street, A Word or Two, Shakespeare’s Will, Jacques Brel, West Side Story. Elsewhere: Kiss Me, Kate, Dangerous Liaisons, The Importance of Being Earnest, Ever Yours, Oscar, Cabaret, Peter has been fortunate to work at most major Canadian theatres including Shaw, NAC, Citadel, My One and Only, The Comedy of Errors, South Pacific, Oliver!, Cat on a Hot Tin Roof, Edward II, Theatre Calgary and Canadian Stage. Recent and notable projects include Come Fly Away The Count of Monte Cristo, Anything Goes, Henry VI. Stage manager: Birmingham Conservatory, (Broadway, Vegas, tour); Arrabal (BASE/Mirvish); Sister Act, Catch Me If You Can, West Side 2006 and 2007. Elsewhere: Stage management at the Thousand Islands Playhouse, the Globe, Story, Legally Blonde (tours); Barrymore (Livent); Stagger Lee (Dallas Theater Center); The Wild the Grand and Factory theatres. Awards: Tanya Award, three Guthrie Awards. Et cetera: Holly thanks all those who Party (Acting Up Stage/Obsidian); Vanya and Sonia and Masha and Spike (RMTC/Mirvish); Cinderella (Ross Petty). have made it possible for her to balance her two great loves, the theatre and her son, Jackson. She is ever grateful Training: BA, MA in Music (McGill). Awards: Suzi (Atlanta), Come Fly Away; Dora nomination, Fire. Et cetera: “Thanks for all the love and support that surrounds her. to Meghan, Ella and Beatrice for their unending support. Thrilled about Ella’s first year in the company!”

Shruti Kothari 2015: Appears in Hamlet and Love’s Labour’s Lost and understudy in The Taming of the Shrew. Elizabeth McDermott Stratford debut. Elsewhere: Princess/Genie in Aladdin (Diversified Productions), Mimi in Rent, Gary 2015: Assistant stage manager of The Sound of Music, The Taming of the Shrew and Love’s Labour’s Coleman in Avenue Q (Lower Ossington Theatre); Mallory/April in City of Angels (Queen’s Musical Lost. Third season. Stratford: Three Sisters, Bartholomew Fair, Phèdre, Ever Yours, Oscar, As You Theatre); Nickie in Sweet Charity (Blue Canoe Productions); First in A Midsummer Night’s Like It, King of Thieves. Elsewhere: Miracle on 34th Street (STC); Bella: The Colour of Love (HGJTC); Dream (Queen’s Drama); First Witch in Macbeth (BSS/UCC Theatre). Voice Work: Beheader in Far Anne of Green Gables: The Musical, Canada Rocks! (Charlottetown Festival); Night (Human Cargo); Cry 4 (Ubisoft), Gail in My Dad is Scrooge (Eb Scrooge Productions). Training: Queen’s University, Falling: A Wake (Blyth); The Barber of Seville (Soulpepper); Binti’s Journey, Head à Tête, Old Man Claude Watson School for the Arts. Et cetera: “Endless love and thanks to family and friends for their and the River, Red Kite Brown Box (Theatre Direct); Night of the Living Dead Live! (Nictophobia); constant support – particularly to my parents for sharing their love of the theatre and for always taking a four-year- Divisadero: A Performance (Necessary Angel); Danny, King of the Basement (Roseneath); Othello, old’s, seven-year-old’s and 20-year-old’s dream seriously.” A Midsummer Night’s Dream, Twelfth Night, All’s Well That Ends Well (SLSF); Yellowman (Nightwood/Obsidian); Late, Black Medea (Obsidian). Awards: Jean A. Chalmers Apprentice Achievement Award (Stratford Festival, 2009 and 2010). Et cetera: “Much love to my family and friends. Thank you for your steadfast support.” Josue Laboucane 2015: Francisco in Hamlet, Sugarsop in The Taming of the Shrew and Costard in Love’s Labour’s Lost. Third season. Stratford: King Lear, A Midsummer Night’s Dream, The Beaux’ Stratagem, Mary Stuart, Measure for Measure, Othello. Birmingham Conservatory: Toby Belch, Twelfth Night (); Private Lives, Tons of Money (Christopher Newton); Hamlet (Stephen Ouimette); Jennifer Mogbock Love’s Labour’s Lost (Martha Henry). Elsewhere: Henry VI, Henry VI: Wars of the Roses, Richard 2015: Reynaldo in Hamlet, Jaquenetta in Love’s Labour’s Lost and appears in The Taming of the III, A Midsummer Night’s Dream, Measure for Measure, Hamlet, Rosencrantz and Guildenstern Shrew. Second season. Stratford: Blanche of Spain in King John, Iras in Antony and Cleopatra. Are Dead, Julius Caesar, Timon of Athens (Bard on the Beach); Zachary, The Exquisite Hour Elsewhere: Phebe in As You Like It (Shakespeare Theatre of New Jersey); Bernarda in The House (Relephant); Cowardly Lion, The Wizard of Oz, Toad, A Year with Frog and Toad, Horton, Seussical (Carousel); The of Bernarda Alba (Theatre of War); Icarus in Damages Tangled (Theater for the New City, N.Y.C.). Emperor’s New Threads (Axis). Training: Birmingham Conservatory, Studio 58, Canadian National Voice Intensive. Film: Quincy Vidal (Yellowhouse Pictures). Training: Birmingham Conservatory for Classical Theatre; Awards: Multiple Jessie nominations, one win; Sydney J. Risk Award. Et cetera: Josue is also a teacher, director BFA, State University of New York (SUNY) Purchase College. Online: www.jennifermogbock.com. Et and mask maker. Online: “Tweet me @josuelaboucane.” cetera: “Thank you to Aragorn, family, friends, and my heavenly father.”

Gabriel Long 2015: Moth in Love’s Labour’s Lost. Third season. Stratford: Sentinel in A Midsummer Night’s Derek Moran Dream (2014), Town Boy in The Merchant of Venice (2013). Elsewhere: DJ in Scout, Corvis in The 2015: Lucianus in Hamlet, Joseph in The Taming of the Shrew and French Lord in Love’s Labour’s Bully Effect, Fudge in Tales of a Fourth-Grade Superfudge-a-Mania (Growing in the Arts). Training: Lost. Second season. Stratford: Egeus’s Interpreter in A Midsummer Night’s Dream, Burgundy Junior acting, Growing in the Arts School of Dramatic and Cinema Arts. Graduate, Music for Young in King Lear. Elsewhere: Romeo in Romeo and Juliet, Mario in The Game of Love and Chance Children program. Awards: Acting scholarship, Growing in the Arts School of Dramatic and Cinema (Neptune Theatre); Trout Stanley in Trout Stanley (Heart in Hand Theatre); Owen in The Melville Arts. First Class Honours, Royal Conservatory of Music Grade 4 and Advanced Rudiments. Boys (Red Barn Theatre); Cléante in The Miser, The Compleat Wrks of Wllm Shkspr (Abridged), Et cetera: Gabriel loves reading, writing, performing magic tricks and playing drums. He would Romeo in Romeo and Juliet and Mug in New Canadian Kid (Sudbury Theatre Centre). Film/TV: like to thank Gita Ashley for opening the world of drama to him. Gabriel would also like to thank Mom, Dad, Jordan, Mayday, Lost Girl, Bomb Girls, , Murdoch Mysteries, Life With Derek, October 1970. Rachel and Echo (their dog) for supporting him in this amazing opportunity! Training: George Brown Theatre School, Birmingham Conservatory. 22 23 Thomas Olajide 2015: Voltemand in Hamlet, Nathaniel in The Taming of the Shrew and Dumaine in Love’s Labour’s (OUT OF 4) Lost. Second season. Stratford: Oswald in King Lear. Elsewhere: Kwasi in Binti’s Journey (Theatre Direct/Young People’s Theatre); Laurent in Ruined (Obsidian Theatre); Florizel in The Winter’s Tale, Tranio in The Taming of the Shrew, Thane of Ross in Macbeth (Canadian Stage); Quentin in “PERFECTLY executed” And Slowly Beauty (Belfry Theatre/National Arts Centre); Oliver in Oliver! (National Arts Centre); THE GLOBE AND MAIL Abraham in Sia (Pyretic Productions/Cahoots Theatre Company); various in This Must Be the Place (Architect Theatre/Theatre Passe Muraille); John in The Whipping Man (Obsidian Theatre/ Harold Green Jewish Theatre). Film/TV: After School, Broken Promises (Underdog Productions); Little Black Caddy (CBC); Combat Hospital (ABC). Training: Graduate of the National Theatre School of Canada (2010), Birmingham Conservatory for Classical Theatre, Brenda Crichlow Actors’ Studio and Stella Adler Academy of Acting. Awards: Peter Donaldson Award.

Margaret Palmer 2015: Production stage manager of the Festival Theatre. 32nd season. Stratford: Maggie has been PSM at the Avon, Tom Patterson and Festival theatres for 24 seasons. Stage-management credits include Henry IV (parts 1 and 2); Iolanthe; The Imaginary Invalid; ; A Man for All Seasons; Kiss Me, Kate; Guys and Dolls; The Government Inspector; Coriolanus; The Mikado (national tour, London’s Old Vic); and Twelfth Night (U.S. tour). Elsewhere: Maggie apprenticed at Neptune Theatre (1966/67), where she appeared as a dead body in The Physicists, and worked at the St. Lawrence Centre (Toronto Arts Productions), MTC and the Grand Theatre. She stage-managed Eugene Onegin (Manitoba Opera), the first Dream in High Park and the first Dora Awards. She did publicity for the NDWT Company and toured Canada with the Charlottetown Festival. Training: Graduate of the National Theatre School, where she returned to coach last winter.

Janine Ralph 2015: Production stage manager of the Tom Patterson Theatre and stage manager of Love’s Labour’s Lost. 25th season. Stratford: 2014: Production stage manager, Tom Patterson Theatre (Mother Courage, King John, Antony and Cleopatra) and stage manager of A Midsummer Night’s Dream: A Chamber Play. Previously: Production stage manager of the Avon Theatre and stage manager of Waiting for Godot, Elektra, Richard III, There Reigns Love, The Gondoliers, The Pirates of Penzance, Gypsy, Carousel, Henry V, An Enemy of the People, One Tiger to a Hill and Henry VIII. Elsewhere: Stage manager of The Sneeze, Talk Is Free Theatre, stage manager of Voyage de la Vie, Resorts World Sentosa in Singapore, and production stage manager of Pinocchio: The Musical, Singapore Repertory Theatre. She has worked at various theatres in Ontario, including Young People’s Theatre, as well as CBC TV, BBC TV and the Asian Games’ ceremonies in Qatar.

Andrew Robinson 2015: Cornelius in Hamlet, Gregory in The Taming of the Shrew and Longaville in Love’s Labour’s Lost. Third season. Stratford: The Merchant of Venice, King John, Romeo and Juliet, The Three Musketeers, Antony and Cleopatra, Mother Courage and Her Children. Birmingham Conservatory: Twelfth Night, Hamlet, Love’s Labour’s Lost, Tons of Money. He recently had the pleasure of working in the Incubator on The Aeneid and Cue for Treason. Elsewhere: Andrew recently premièred his second solo show, He Crucified Me (Buddies/Rhubarb – playwright/performer); Our Ajax, Intuition of Iphigenia, Elektra in Bosnia (Women and War Project – Canada/Greece tour); Machina Nuptialis (Corpus Dance Projects); Bent (Theatre Engine); Russian Dolls (Buddies/Rhubarb – playwright/performer). Training: Birmingham Conservatory for Classical Theatre, Ryerson Theatre School. Awards: Tyrone Guthrie Award.

Tom Rooney 2015: Polonius in Hamlet, Tranio in The Taming of the Shrew and Holofernes in Love’s Labour’s Lost. Eighth season. Stratford: Crazy for You, Man of La Mancha, Measure for Measure, Waiting BUY YOUR TICKETS TODAY! for Godot, Wanderlust, Henry V, The Merry Wives of Windsor, Twelfth Night, As You Like It, The Winter’s Tale, For the Pleasure of Seeing Her Again, Macbeth, Julius Caesar, A Midsummer Night’s Dream, Hamlet and All’s Well That Ends Well. Elsewhere: The Seagull, Someone Else (Crow’s The Taming of the Shrew Theatre); Homechild, Beckett: Feck It! (Canadian Stage); My Mother’s Feet (Munich); Hairspray By William Shakespeare | Director Chris Abraham (Toronto and Broadway); Benevolence, Courageous (Tarragon); Hamlet (NAC); Roméo et Juliette with Ben Carlson, Deborah Hay, Sarah Afful, Peter Hutt, Cyrus Lane, Gordon S. Miller, Tom Rooney, Mike Shara (Shakespeare on the Saskatchewan). Film/TV: Three seasons on CBC’s This Is Wonderland; The Gilda Radner Story; Production support is generously provided by Larry Enkin & family in memory of Sharon Enkin, The Day After Tomorrow; Everest ’82 (CBC miniseries) and Flash of Genius. Two Gemini nominations and a Awards: and by Martie & Bob Sachs Dora Award for Outstanding Actor 2013. Ben Carlson, Deborah Hay. Photo: Don Dixon 24 25 Brad Rudy 2015: Barnardo in Hamlet, Curtis in The Taming of the Shrew and Dull in Love’s Labour’s Lost. (OUT OF 4) 25th season. Stratford: Pembroke (King John), Bill Sikes (Oliver!), Count (The Count of Monte Cristo), Talbot (Henry VI), Common Man (A Man for All Seasons), Sergeant of Police (The Pirates of Penzance); only actor to appear in all eight “Wars of the Roses” plays, consecutively. Elsewhere: “Stratford Festival AT ITS BEST” Ratty (A Wind in the Willows Christmas) (ATW), Ted Narracott (War Horse) (Toronto); Gabe (Dinner TORONTO STAR With Friends) (Theatre Aquarius), Todd (The Book of Esther) (Blyth). Directing: King Lear (Fanshawe College), The Book of Esther (Festival Players of Prince Edward County), Falling: A Wake (ATW), Girls in the Gang (St. Clair College), Our Town (Mercury Theatre). Teaching: Acting/Voice and Text (Fanshawe, St. Clair colleges); guest instructor (Michigan State, Wayne State, University of Waterloo); fight director (Aquarius, Touchmark, colleges). Jack Hutt Humanitarian Award. Et cetera: “Love to Anne, Emma, Jack and Rob.”

Josh Schmidt 2015: Composer for Love’s Labour’s Lost. Second season. Stratford: The Merry Wives of Windsor (2011). Broadway: Brighton Beach Memoirs, House of Blue Leaves. Off-Broadway: ADD1NG MACH1N3 (Minetta Lane); A Minister’s Wife (Lincoln Center); Whida Peru (Premieres, 59E59); Dinner With Friends (Roundabout); Model Apartment (Primary Stages); Dying For It, Three Kinds of Exile (Atlantic); Water By the Spoonful (Second Stage); Fifty Words (MCC Theater); Crime and Punishment (59E59). Chicago: Steppenwolf, Goodman, Writers’ Theatre (Associate Artist). Regional: Over 100 productions across the country at venues including Ford’s Theatre (Washington, D.C.); Alley Theatre (Houston); 13 seasons at American Players Theatre including the world première of Gift of the Magi (Spring Green, WI). Commissions: , RKO Stage, Acting Up Stage (Toronto), Lincoln Center Theater, Playwrights Horizons, Signature (VA). Awards: Lortel, Outer Critics, Jeff, ASCAP, NEA/TCG.

Mike Shara 2015: Laertes in Hamlet, Hortensio in The Taming of the Shrew and Berowne in Love’s Labour’s Lost. Seventh season. Stratford: Othello, The Homecoming, The Matchmaker, King Lear, Cymbeline, The Importance of Being Earnest, Cyrano de Bergerac, Twelfth Night, The Beaux’ Stratagem. Elsewhere: Nothing Sacred, , Rutherford and Son, You Can’t Take It With You, Cavalcade (Shaw Festival); It’s a Wonderful Life, Take Me Out (Canadian Stage); Boeing Boeing (Aquarius); Long Day’s Journey Into Night, The Shunning (MTC); The Great Gatsby (Grand); Our Town, The Way of the World, Black Comedy (Soulpepper); The Amorous Adventures of Anatol (Tarragon); An Inspector Calls (Theatre Calgary); Richard III, Caesar and Cleopatra (Citadel). Film/TV: Whatever Linda, Murdoch Mysteries, Life With Boys, Little Mosque on the Prairie, The Gathering. Online: @mikeshara. Et cetera: “For my beautiful girls, Carla and Molly.”

Shawn Spicer 2015: Trumpet (onstage) in Love’s Labour’s Lost. Stratford debut. This is Shawn’s first appearance onstage at the Stratford Festival. He has spent much of his time in the pit orchestra and doing fanfares over the years. Elsewhere: Shawn has played in orchestras and chamber ensembles across Canada including Symphony Nova Scotia, Toronto Symphony, the Canadian Opera Company, Orchestra London and the True North Brass. Solo appearances: Recently Shawn was featured as soloist playing the Haydn Trumpet Concerto with Orchestra London. Training: Shawn’s studies were at McGill University and Yale University and he is currently finishing a doctorate at the University of Toronto. BUY YOUR TICKETS TODAY! Kate Stone 2015: Horn in The Sound of Music, French Horn (onstage) in Love’s Labour’s Lost and Festival Theatre fanfare leader. 19th season. Stratford: Has performed in over 20 musicals at the Festival Hamlet and has recorded music for many Festival productions over the years. Elsewhere: Member of By William Shakespeare | Director Antoni Cimolino Orchestra London for 24 years. Held positions with Victoria Symphony and Thunder Bay Symphony with Jonathan Goad, Seana McKenna, Geraint Wyn Davies, Tim Campbell, Adrienne Gould, Tom Rooney, Mike Shara and has performed with the NAC Orchestra, KWSO and Tafelmusik. Training: University of Victoria, Production support is generously provided by Drs. M.L. Myers & the late W.P. Hayman, Jane Petersen Burfield & family, National Youth Orchestra and National Orchestral Institute. Et cetera: “Love to my awesome boys, Esther & Sam Sarick in honour of Antoni Cimolino, Barbara & John Schubert and Catherine & David Wilkes Rob, Harrison and William.” Jonathan Goad. Photo: Don Dixon 26 27 Rob Stone Michael Walton 2015: Trombone (onstage) in Love’s Labour’s Lost and Bass Herald Trumpet in Festival Theatre 2015: Lighting designer of Hamlet, The Sound of Music, Oedipus Rex and Love’s Labour’s fanfares. 12th season. Stratford: Rob has been playing the trombone at the Stratford Festival for Lost. 11th season. Stratford: King Lear, A Midsummer Night’s Dream (2009, 2014), Antony and the past 12 years. Elsewhere: While studying music in Los Angeles on a Canada Council grant, Cleopatra, Othello, Fiddler on the Roof, The Three Musketeers, Henry V, The Matchmaker, A Word Rob had the chance to play alongside jazz greats Jeff Hamilton, John Clayton, Bill Watrous and or Two, Twelfth Night, The Misanthrope, The Tempest, As You Like It, King of Thieves, Macbeth, Louie Bellson. On returning to Canada, Rob taught at Western University, as well as playing with Hamlet (2008). Elsewhere: Così Fan Tutte, directed by Atom Egoyan (Canadian Opera Company); Canadian greats such as Rob McConnell, Lorne Lofsky, Pat LaBarbera and Steve McDade. Rob is A Word or Two with (CTG/Stratford, Los Angeles); Albert Herring (Vancouver also active in the symphonic field, performing regularly with Orchestra London Canada.Awards: In Opera/Pacific Opera); Maria Stuarda (Pacific Opera);Enron , The Year of Magical Thinking (NAC); 1993, Rob won the Frank Rosolino Award, given out by the International Trombone Association. This past winter Rob Yoshimi Battles the Pink Robots, Sideways (La Jolla Playhouse, California); The Other Place, Harper Reagan, Venus received his fourth Canada Council grant to study in Los Angeles with Bob McChesney. Et cetera: “It’s great to back in Fur, Cruel and Tender (Canadian Stage); Glenn, A Tender Thing, ’Night Mother (Soulpepper); Peter and the for another season in Stratford.” Starcatcher (WCT); Mary Poppins, Next to Normal (Citadel/Theatre Calgary); One Man, Two Guvnors, The Rocky Horror Show (Citadel).

Sanjay Talwar Alyssa Westman 2015: Rosencrantz in Hamlet, Tailor in The Taming of the Shrew and King Ferdinand of Navarre 2015: Assistant costume designer of Carousel and Love’s Labour’s Lost. Third season. Stratford: in Love’s Labour’s Lost. Fifth season. Stratford: Alice Through the Looking-Glass, Hay Fever, Assistant designer, King John and Christina, The Girl King; design consultant, Directors’ Workshop Peter Pan, Dangerous Liaisons, Macbeth, Julius Caesar, Rice Boy, Twelfth Night, Much Ado Presentation; assistant costume designer, Romeo and Juliet. Elsewhere: Costume design for About Nothing, Coriolanus. Elsewhere: Free Outgoing (Nightwood); Around the World in 80 Days Shelley or The Idealist (Fanshawe College); Hippolytos; Dinosaur and A Tranny Tale (Toronto (ATP); Peace in Our Time, Arcadia, Helen’s Necklace, Come Back, Little Sheba (Shaw); The Story Fringe Festival); The Specimen and A Much Debated Cleaning (Playground). Design assistant: (Theatre Columbus); Bombay Black (Cahoots/Arts Club); The Last Days of Judas Iscariot (Birdland As I Lay Dying (Theatre Smith-Gilmour). Assistant milliner: Bugzzz – A Cautionary Tale (Out of the Theatre); The Two Gentlemen of Verona, Measure for Measure, Titus Andronicus, director of The Box Productions). Abroad: Drawing programs: Paris (Studio Escalier), 2015; Florence (SACI), 2011; Merchant of Venice and Artistic Director for five seasons (Shakespeare in the Rough); The Winter’s Tale, Romeo and Prague Quadrennial’s Six Acts installation; International Students’ Work Exhibition, Beijing, 2011. Training: BFA with Juliet, A Midsummer Night’s Dream, Twelfth Night (Dream in High Park); Helen’s Necklace (Tarragon and Pi Theatre Honours, York University. Awards: Brian Jackson Award, 2014; Ian and Molly Lindsay Young Design Fellow, 2013; – Jessie Award). Film/TV: Orphan Black, Puck Hogs, The Border, Flashpoint, Guns, , Murder Unveiled. Herman Geiger-Torel Memorial Prize, 2012; CASA grant, 2012. Et cetera: Alyssa thanks her loving husband for Training: Dalhousie University. always supporting her dreams.

Tristan Tidswell Ian and Molly Lindsay Young Design Fellow 2015: Assistant lighting designer of The Sound of Music, The Taming of the Shrew and Love’s Labour’s Lost. Sixth season. Stratford: Assistant lighting designer of Crazy for You, King Lear, The Beaux’ Stratagem, Fiddler on the Roof, Romeo and Juliet, Taking Shakespeare, The Thrill, 42nd Street, Henry V, Jesus Christ Superstar, The Homecoming, As You Like It, The Two Gentlemen of Verona, Do Not Go Gentle and King of Thieves. Elsewhere: Lighting designer of A Christmas Proudly keeping the arts in the spotlight. Carol, Little Shop of Horrors (TNB); Miracle on 34th Street (TNB/STC); You’re a Good Man, Charlie We’re pleasedGLOBE to support the 2015 Stratford Festival Gala. Brown, Becky’s New Car, Henry and Alice: Into the Wild (Globe Theatre). Assistant lighting designer of The Wizard of Oz (Mirvish), Priscilla, Queen of the Desert (Broadway, Mirvish). Training: BFA Honours, Ryerson University. Awards: Tristan is the recipient of the 2015 Ian and Molly Lindsay Design Fellowship at the Festival. He also received the 2009 Wally Russell Lighting Internship and Scholarship (Canadian Opera Company). Online: www. tristantidswell.com. Et cetera: Tristan is a member of the Associated Designers of Canada. AND MAIL globeandmail.com/arts

Brian Tree 2015: English Ambassador, Gravedigger #2 in Hamlet, Grumio in The Taming of the Shrew and PICK UP FROM Sir Nathaniel in Love’s Labour’s Lost. 26th season. Stratford: Cardinal Pandulph (King John), Humpty Dumpty (Alice Through the Looking-Glass), Elbow (Measure for Measure), Melvil (Mary Stuart), Pisanio (Cymbeline), Wasp (Bartholomew Fair), Erronius (A Funny Thing Happened on the Way to the Forum), Costard (Love’s Labour’s Lost), Touchstone (As You Like It), Stephano (The Tempest), Joxer Daly (Juno and the Paycock), Mr. Bennet (Pride and Prejudice), Dolly Spanker SOUND OF (London Assurance), Oswald (King Lear), Peter Quince (A Midsummer Night’s Dream). Elsewhere: Various roles (The Sneeze and other Chekhov one-acts), Talk Is Free Theatre; Jimmy (The Pitmen Painters), Theatre Aquarius; Michael (Someone Who’ll Watch Over Me), Kemp (Vigil), Tarragon Theatre; Bottom (A Midsummer Night’s Dream), Canadian Stage; Harry (The Sum of Us), Belfry Theatre; Jim (Passion), Grand Theatre; the Player (Rosencrantz and Guildenstern Are Dead), Touchmark. MUSIC

28 29 “GENIUS... GLORIOUS in every way” Benedict Cumberbatch HAMILTON SPECTATOR LIVE IN CINEMAS THIS OCTOBER

NATIONAL THEATRE PICK UP FROM SOUND OF MUSIC BUY YOUR TICKETS TODAY!

Rodgers & Hammerstein’s Carousel Music by Richard Rodgers | Book and Lyrics by Oscar Hammerstein II ALSO IN CINEMAS Based on Ferenc Molnar’s play “Liliom”as adapted by Benjamin F. Glazer Original dances by Agnes de Mille Orchestral Reduction by Larry Blank, based on the original by Don Walker The Hard Problem Man and Superman Everyman Director Susan H. Schulman | Choreographer Michael Lichtefeld Live May 14 with Alexis Gordon, Jonathan Winsby, Evan Buliung, Sean Alexander Hauk, Alana Hibbert, Robin Evan Willis Live April 16 Live July 16 Encore May 16 Encore June 13 Encore September 19 Production support is generously provided by Cec & Linda Rorabeck

Jonathan Winsby, Alexis Gordon, Photo: Don Dixon Cineplex.com/NationalTheatre Presentations may not be available at all participating theatres for all advertised dates

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