DOCSLIB.ORG

A Midsummer Night's Dream

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Midsummer Night's Dream 47th Season • 450th Production SegerStrom StAge / JANUArY 21 - FeBrUArY 20, 2011 David Emmes Martin Benson ProdUciNg ArtiStic director ArtiStic director presents A MIDSUMMER NIGHT’S DREAM BY William Shakespeare Cameron Anderson Nephelie Andonyadis Lap Chi Chu John Ballinger & Ken Roht SceNic deSigN coStUme deSigN LightiNg deSigN origiNAL mUSic Ken Roht John Ballinger Kimberly Egan Joshua Marchesi Jamie A. Tucker* CHOREOGRAPHY MUSIC DIRECTOR SoUND DESIGN PRODUCTION MANager STAGE MANAGER directed BY Mark Rucker Laurie Smits Staude hoNorArY ProdUcer corPorAte ProdUcer A Midsummer Night’s Dream • SOUTH COAST REPERTORY P1 CAST OF CHARACTERS (In order of appearance) Theseus, Duke of Athens ........................................................... Elijah Alexander* Hippolyta, Queen of the Amazons ..................................... Susannah Schulman* Egeus, an Athenian citizen ........................................... William Francis McGuire* Hermia, daughter to Egeus, in love with Lysander ...................... Kathleen Early* Demetrius, in love with Hermia .................................................. Tobie Windham* Lysander, in love with Hermia .......................................................... Nick Gabriel* Helena, in love with Demetrius ......................................................... Dana Green* Peter Quince .................................................................................. Hal Landon, Jr.* Nick Bottom, a weaver ....................................................................... Patrick Kerr* Francis Flute, a bellows mender ................................................. Michael Manuel* Tom Snout, a tinker ...................................................... William Francis McGuire* Snug, a joiner ............................................................................. John-David Keller* Robin Starveling, a tailor ................................................................. Richard Doyle* Puck, or Robin Goodfellow ............................................................. Rob Campbell* First Fairy/Peaseblossom/Ensemble .................................................... Ryan Jones* Titania, Queen of the Fairies .............................................. Susannah Schulman* Oberon, King of the Fairies ........................................................ Elijah Alexander* Cobweb/Ensemble ..................................................................... Emmett Lee Stang* Mustardseed/Ensemble .................................................................. Rudy Martinez* Philostrate, Master of the Revels to Theseus ................................. Rob Campbell* Ensemble .......... Jordan Bellow, Dylan DoVale, Jaycob Hunter, Jennifer Stang* PRODUCTION STAFF Casting ..................................................................................... Joanne DeNaut, CSA Dramaturg ................................................................................................ John Glore Assistant Stage Manager ................................................................ Chrissy Church* Assistant Director ............................................................................. Olivia Trevino Assistant to the Set Designer ............................................................... Lara Fabian Costume Design Assistant .................................................................... Kate Poppen Stage Management Intern .......................................................... Generra Singleton Light Board Operator ..................................................................... Aaron Shetland Sound Board Operator .......................................................................... Sam Lerner Automation ................................................................................. Victor Mouledoux Wig Assistant ........................................................... Sarah Chaney, Elisa Solomon Dressers .................................................................... Bert Henert, Melissa Swenson Additional Costume Staff ............ Bronwen Burton, Kari Ellison, Pauline Good, Brandy Jacobs, Susan Mills, Peg Oquist, Michael Pacciorini, Susan Pratt, Claire Townsend, Swantje Tuohino * Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers. P2 SOUTH COAST REPERTORY • A Midsummer Night’s Dream and Demetrius fall in love Synopsis with Hel- ena. In an- n Athens, Duke Theseus is preparing for his other part of marriage to Hippolyta, Queen of the Amazons, the forest a group of with a four-day festival. Egeus, a noble, arrives artisans, led by Bottom the Iat Theseus’s court with his daughter, Hermia, weaver, are rehears- and two men, Demetrius and Lysander. Egeus ing a play that they demands Hermia marry Demetrius, but Hermia is hope to perform at in love with Lysander and refuses. Theseus gives Theseus and Hip- Hermia four days to choose between marriage to polyta’s wedding. Demetrius or life as a nun. Hermia and Lysander Puck stumbles upon the play- plan to flee the following night and marry. They ers and, delighted by what confide in Helena, but Helena is in love with De- he sees, jokingly outfits metrius and tells him of the planned elopement. Bottom with a donkey Demetrius runs into the woods to find his love, head. Puck finds Titania Hermia, with Helena close behind. and spreads the juice on In the same woods are a group of fairies Titania’s eyes. When she wakes, the first and a troupe of amateur players. Oberon, King creature Titania sees is Bottom, donkey of the Fairies, and Queen Titania are at odds. head and all. Seeking the upper hand, Oberon sends his merry Eventually, Oberon disenchants Titania and servant, Puck, to acquire a magical flower to use Puck seeks to undo his mistake by spreading an on Titania, the juice of which can make a sleeping antidote on Lysander’s eyelids. Theseus and Hip- person fall in love with the first thing he or she polyta find the sleeping lovers in the forest—De- sees upon waking. Seeing Demetrius reject Hel- metrius loves Helena, and Lysander loves Hermia. ena’s love, Oberon orders Puck to use the magic After all three couples are wed, the lovers watch on Demetrius as well. Puck mistakenly afflicts Bottom, restored to human form, and his fel- Lysander with the juice of the magical flower and low players perform their play of Pyramus and then administers it to Demetrius. Both Lysander Thisbe. LENGTH Approximately two hours and 20 minutes including one intermission. Please refrain from unwrapping candy or making other noises that may disturb surrounding patrons. The use of cameras, videotaping or other video or audio recording of this production is strictly prohibited. Cellular phones, beepers and watch alarms should be turned off or set to non-audible mode during the performance. Smoking is not permitted anywhere in the theatre. Segerstrom Stage Season Media Partner A Midsummer Night’s Dream • SOUTH COAST REPERTORY P3 Antique Fables and Fairy Tales … today’s children are brought up to think of fairies traditional fairies of rural belief, a race of English as diminutive beings of kindly disposition. However, and Elizabethan spirits, indigenous to the country accounts of medieval fairies show them to have and the century, who made their way into scholarly been neither small nor particularly kindly. For many recognition and into literary records … from the people, fairies were spirits against which they had fields and forests of England and from the living to guard themselves by ritual precautions. By traditions and contemporary belief of the English the Elizabethan era, town dwellers seem to folk… They concerned themselves with have consigned such beliefs to the realms of pleasure and the joys of love, and used childhood, but there is clear evidence their power to shift their shapes, to build that the country people of the enchanted dwellings, to fashion magic British Isles continued to show an objects, to take dire revenge on mortals ‘astonishing reverence’ for the fairies who offended them, and to insure for their and dared not ‘name them without mortal lovers, youth and never-ending bliss as honour.’ long as they remained in fairyland. – from “Fairies and Their Kin,” As to the particular nature and by Bob Trubshaw race of the fairies and their origin, At the Edge No.10, 1998 16th century opinion was divided. In one point only was there complete lthough the 16th century agreement. Whoever or whatever they witnessed the most astounding were, they belonged to the category of use and glorification of the fairies wicked spirits… Ain literature and the creation of a In spite of the fact that they were literary conception of fairyland, it was known to belong to the rank of understood by poet and scholar evil spirits and devils, both that the fairies, with certain in folk tales and in notable exceptions, treatises of scholars, were not figures of a curious literary invention uncertainty is or a literary evidenced inheritance, but were the Costume designer Nephelie Andonyadis’ rendering of Titania. P4 SOUTH COAST REPERTORY • A Midsummer Night’s Dream in regard to the exact nature of the fairies’ wickedness, and, in some cases, a perceptible reluctance to condemn them utterly or to brand them irretrievably with the stigma of infernal spirits, possibly because of their notorious generosity and their habits of bestowing good fortune and rich gifts on their favorites… Though the dress of the fairies might vary, their essential characteristics and idiosyncrasies
Load more

Recommended publications
  • Directing and Assisting Credits American Theatre
    917-854-2086 American and Canadian citizen Member of SSDC www.joelfroomkin.com [email protected] Directing and Assisting Credits American Theatre Artistic Director The New Huntington Theatre, Huntington Indiana. The Supper Club (upscale cabaret venue housing musical revues) Director/Creator Productions include: Welcome to the Sixties, Hooray For Hollywood, That’s Amore, Sounds of the Seventies, Hoosier Sons, Puttin’ On the Ritz, Jekyll and Hyde, Treasure Island, Good Golly Miss Dolly, A Christmas Carol, Singing’ The King, Fly Me to the Moon, One Hit Wonders, I’m a Believer, Totally Awesome Eighties, Blowing in the Wind and six annual Holiday revues. Director (Page on Stage one-man ‘radio drama’ series): Sleepy Hollow, Treasure Island, A Christmas Carol, Jekyll and Hyde, Dracula, Sherlock Holmes, Different Stages (320 seat MainStage) The Sound of Music (Director/Scenic & Projection Design) Moonlight and Magnolias (Director/Scenic Design) Les Misérables (Director/Co-Scenic and Projection Design) Productions Lord of the Flies (Director) Manchester University The Laramie Project (Director) Manchester University The Foreigner (Director) Manchester University Infliction of Cruelty (Director/Dramaturg) Fringe NYC, 2006 *Winner of Fringe 2006 Outstanding Excellence in Direction Award Thumbs, by Rupert Holmes (Director) Cape Playhouse, MA *Cast including Kathie Lee Gifford, Diana Canova (Broadway’s Company, They’re Playing our Song), Sean McCourt (Bat Boy), and Brad Bellamy The Fastest Woman Alive (Director) Theatre Row, NY *NY premiere of recently published play by Outer Critics Circle nominee, Karen Sunde *published Broadway Musicals of 1928 (Director) Town Hall, NYC *Cast including Tony-winner Bob Martin, Nancy Anderson, Max Von Essen, Lari White.
    [Show full text]
  • Programming; Providing an Environment for the Growth and Education of Theatre Professionals, Audiences, and the Community at Large
    JULY 2017 WELCOME MIKE HAUSBERG Welcome to The Old Globe and this production of King Richard II. Our goal is to serve all of San Diego and beyond through the art of theatre. Below are the mission and values that drive our work. We thank you for being a crucial part of what we do. MISSION STATEMENT The mission of The Old Globe is to preserve, strengthen, and advance American theatre by: creating theatrical experiences of the highest professional standards; producing and presenting works of exceptional merit, designed to reach current and future audiences; ensuring diversity and balance in programming; providing an environment for the growth and education of theatre professionals, audiences, and the community at large. STATEMENT OF VALUES The Old Globe believes that theatre matters. Our commitment is to make it matter to more people. The values that shape this commitment are: TRANSFORMATION Theatre cultivates imagination and empathy, enriching our humanity and connecting us to each other by bringing us entertaining experiences, new ideas, and a wide range of stories told from many perspectives. INCLUSION The communities of San Diego, in their diversity and their commonality, are welcome and reflected at the Globe. Access for all to our stages and programs expands when we engage audiences in many ways and in many places. EXCELLENCE Our dedication to creating exceptional work demands a high standard of achievement in everything we do, on and off the stage. STABILITY Our priority every day is to steward a vital, nurturing, and financially secure institution that will thrive for generations. IMPACT Our prominence nationally and locally brings with it a responsibility to listen, collaborate, and act with integrity in order to serve.
    [Show full text]
  • The Following Blue Star Theatres Are Listed in Alphabetical Order
    The following Blue Star Theatres are listed in alphabetical order. 2nd Story, Warren, RI Manhattan Theatre Center, New York, NY 7 Stages, Atlanta, GA McCarter Theatre, Princeton, NJ Actors Theatre of Louisville, Louisville, KY Northlight Theatre, Skokie, IL Adventure Stage, Chicago, IL Olney Theatre Center for the Arts, Olney, MD Alabama Shakespeare Festival, Montgomery, AL Penobscot Theatre Company, Bangor, ME Alley Theatre, Houston, TX People’s Light & Theatre, Malvern, PA Alliance Theatre, Atlanta, GA Performance Network Theatre, Ann Arbor, MI American Blues Theater, Chicago, IL Pittsburgh Public Theater, Pittsburgh, PA American Conservatory Theater, PlayMakers Repertory Company, Chapel Hill, NC San Francisco, CA Portland Center Stage, Portland, OR American Repertory Theater, Cambridge, MA Round House Theatre, Bethesda, MD Arena Stage, Washington, D.C. Roundabout Theatre Company, New York, NY Arkansas Repertory Theatre, Little Rock, AR Seattle Children’s Theatre, Seattle, WA Artists Repertory Theatre, Cambridge, MA Seattle Repertory Theatre, Seattle, WA Arvada Center Theatre, Arvada, CO Second Stage Theatre, New York, NY Asolo Repertory, Sarasota, FL Signature Theatre, Arlington, VA Berkeley Repertory Theatre, Berkeley, CA South Coast Repertory, Costa Mesa, CA Bloomsburg Ensemble Theatre, Bloomsburg, PA Stages Theatre Company, Hopkins, MN Boise Contemporary Theater, Boise, ID Stageworks Theatre, Tampa, FL Burning Coal Theatre Company, Raleigh, NC Steppenwolf Theatre Company, Chicago, IL California Shakespeare Theatre, Orinda, CA Studio Theatre, Washington, D.C. Center Theatre Group, Los Angeles, CA Syracuse Stage, Syracuse, NY CENTERSTAGE, Baltimore, MD The Contemporary American Theater Festival, Chesapeake Shakespeare Company, Ellicott City, MD Shepherdstown, WV Childsplay, Tempe, AZ The Old Globe, San Diego, CA Cincinnati Playhouse, Cincinnati, OH The Repertory Theatre of St.
    [Show full text]
  • Watching Television with Friends: Tween Girls' Inclusion Of
    WATCHING TELEVISION WITH FRIENDS: TWEEN GIRLS’ INCLUSION OF TELEVISUAL MATERIAL IN FRIENDSHIP by CYNTHIA MICHIELLE MAURER A dissertation submitted to the Graduate School-Camden Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in Childhood Studies written under the direction of Daniel Thomas Cook and approved by ______________________________ Daniel T. Cook ______________________________ Anna Beresin ______________________________ Todd Wolfson Camden, New Jersey May 2016 ABSTRACT Watching Television with Friends: Tween Girls’ Inclusion of Televisual Material in Friendship By CYNTHIA MICHIELLE MAURER Dissertation Director: Daniel Thomas Cook This qualitative work examines the role of tween live-action television shows in the friendships of four tween girls, providing insight into the use of televisual material in peer interactions. Over the course of one year and with the use of a video camera, I recorded, observed, hung out and watched television with the girls in the informal setting of a friend’s house. I found that friendship informs and filters understandings and use of tween television in daily conversations with friends. Using Erving Goffman’s theory of facework as a starting point, I introduce a new theoretical framework called friendship work to locate, examine, and understand how friendship is enacted on a granular level. Friendship work considers how an individual positions herself for her own needs before acknowledging the needs of her friends, and is concerned with both emotive effort and social impact. Through group television viewings, participation in television themed games, and the creation of webisodes, the girls strengthen, maintain, and diminish previously established bonds.
    [Show full text]
  • The Relevance of Tennessee Williams for the 21St- Century Actress
    Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 2009 Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress Marcie Danae Bealer Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the American Film Studies Commons, and the Theatre and Performance Studies Commons Recommended Citation Bealer, Marcie Danae, "Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress" (2009). Honors Theses. 24. https://scholarlycommons.obu.edu/honors_theses/24 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress Marcie Danae Bealer Honors Thesis Ouachita Baptist University Spring 2009 Bealer 2 Finding a place to begin, discussing the role Tennessee Williams has played in the American Theatre is a daunting task. As a playwright Williams has "sustained dramatic power," which allow him to continue to be a large part of American Theatre, from small theatre groups to actor's workshops across the country. Williams holds a central location in the history of American Theatre (Roudane 1). Williams's impact is evidenced in that "there is no actress on earth who will not testify that Williams created the best women characters in the modem theatre" (Benedict, par 1). According to Gore Vidal, "it is widely believed that since Tennessee Williams liked to have sex with men (true), he hated women (untrue); as a result his women characters are thought to be malicious creatures, designed to subvert and destroy godly straightness" (Benedict, par.
    [Show full text]
  • Persian Heri Tage
    Persian Heri tage Persian Heritage Vol. 24, No. 93 Spring 2019 www.persian-heritage.com Persian Heritage, Inc. FROM THE EDITOR’S DESK 6 110 Passaic Avenue The First Annual Iranian Film Festival New York 7 Passaic, NJ 07055 E-mail: [email protected] LETTERS TO THE EDITOR 8 Telephone: (973) 471-4283 Fax: 973 471 8534 NEWS Gold for Iran’s Para Shooter, Sareh Javanmardi 10 EDITOR Resket Tower in Sari, Iran 11 SHAHROKH AHKAMI EDITORIAL BOARD COMMENTARY Dr. Mehdi Abusaidi, Shirin Ahkami Raiszadeh, Dr. Mahvash Alavi Naini, Who Owns Iran’s Oil? 12 Mohammad Bagher Alavi, Dr. Talat Bassari, Mohammad H. Hakami, (Khosrow B. Semnani) Ardeshir Lotfalian, K. B. Navi, Dr. Kamshad Raiszadeh, Farhang A. Sadeghpour, Mohammad K. Sadigh, THE ARTS & CULTURE M. A. Dowlatshahi. REVIEWS 15 MANAGING EDITOR Professor Dariush Borbor’s Works 16 HALLEH NIA (Kaveh Farrokh) ADVERTISING Uncle’s Complaint: Tale of Rejuvenation 17 HALLEH NIA (Iraj Bashiri) * The contents of the articles and ad ver­ tisements in this journal, with the ex ception The Sakas (Michael McClain) 20 of the edi torial, are the sole works of each The Patriots Who Triggered Demise of the Empire 23 in di vidual writers and contributors. This maga­ zine does not have any confirmed knowledge (M. Reza Vaghefi) as to the truth and ve racity of these articles. all contributors agree to hold harmless and An Interview with J. Golestan-Parast and R. Blake 25 indemnify Persian Heri tage (Mirass-e Iran), Persian Heritage Inc., its editors, staff, board (Brian Appleton) of directors, and all those in di viduals di rectly Reza Abdoh 29 associated with the publishing of this maga­ zine.
    [Show full text]
  • TEACHER and STUDENT GUIDEBOOK
    TEACHER and STUDENT GUIDEBOOK 1 Table of Contents What to Expect at the Park Director’s Note by Jaclynn Jutting Letter from Artistic Director, Denice Hicks Plot Summary by Dr. Marcia MacDonald Who’s Who in the Cast Shakespeare’s Life– A Brief Timeline Reading the Play in the Classroom A Conversation with Rollie Mains, Composer and Music Director Poetic Meter by Jayme M Yeo, Ph.D Class Lessons and Activities: Genre, Setting and Set Design, Characters and Character Groups, The Play-Within-the-Play Key Themes Additional Resources for A Midsummer Night’s Dream About the Nashville Shakespeare Festival and Apprentice Company Guidebook Contributors Thanks to our Season Sponsors! 2 What to Expect… At the Centennial Park Band shell and Franklin Academy Park The Nashville Shakespeare Festival will have performances of A Midsummer Night’s Dream beginning at 7:30 pm at the band shell in Nashville’s Centennial Park, August 9th through September 9th. The production will move to Franklin’s Academy Park for it’s closing weekend, September 13-16th. Franklin Academy Park Centennial Park Band shell ...During The Performance The band shell and Academy Park are open-air theaters. Theatergoers are invited to bring blankets and lawn chairs, or cushions for bench seating. Each night, food trucks are present for pre-show and intermission, or patrons may bring pic- nics. Many parking areas surround the parks. Audience members can expect to be up close and personal with actors en- tering through aisles and playing down on the stage thrust. Because this show is performed al fresco, the audience will hear street noises, airplanes and helicopters, and Vanderbilt Football cheering.
    [Show full text]
  • A Midsummer Night's Dream
    Marin Shakespeare’s 2018 Teen Touring Company is proud to present A Midsummer Night’s Dream Directed by Jackson Currier Introduction to A Midsummer Night’s Dream “A Midsummer Night’s Dream” is considered to be one of, if not the most, easily accessible plays in all of Shakespeare’s cannon. One exposure to the wonderfully rich and magical characters within the story and you can understand its popularity. Shakespeare’s plays are full of magic. If you visit Forest Meadows for the mainstage plays at Marin Shakespeare Company this summer, you’ll see examples of this. In "Hamlet," the title character is visited by the ghost of his father. "Pericles" tells of loss and redemption, and has a character brought back to life, and a goddess visitation who guides the hero to his lost love. Both plays are filled with supernatural phenomena and magical happenings. "A Midsummer Night’s Dream" is Shakespeare’s most magical play, and it is one of the most beautiful. While magic can be used for vengeance and malevolence, its function is much gentler in “Dream”, and much more comedic. In “Dream”, magic is used to make people fall in love. (And occasionally to turn people into donkeys!) The play, in turn, casts a spell on the audiences who watch it, leading them to fall in love with its hilarious characters, ingenious plot twists and its very happy ending. Things to look for in the play 1) Many people consider “Dream” to be Shakespeare’s greatest comedy ever. One main reason is the flawless intertwining of four plots: A Duke's wedding, four lovers in romantic entanglements, a war between the King and Queen of the Fairies, and amateur craftsmen rehearsing a play.
    [Show full text]
  • Course Catalog 2013-2014
    CATALOGUE 2013-2014 1 2 Table of Contents The Evolution of an Educational Innovation 5 Political Studies 173 Learning at Simon’s Rock 6 Psychology 178 The Goals of the Academic Program 6 Social Sciences 181 Degree Requirements 7 Sociology 183 The Lower College Program 8 Courses in the Interdivisional Studies 185 Sophomore Planning: Moderation or Transfer 11 African American and African Studies 186 The Upper College Program 12 Asian Studies 187 Signature Programs 13 Communication 188 International 13 Environmental Studies/Ecology 189 Domestic 14 Gender Studies 190 In-House 15 Intercultural Studies 192 Special Study Opportunities 16 Learning Resources 193 Study at Bard’s Other Campuses 18 Off-Campus Program 194 Academic Policies 20 Young Writers Workshop 195 Upper College Concentrations 27 Faculty 196 Courses 82 Faculty 196 General Education Seminars 82 Adjunct Faculty 215 The Senior Thesis 83 Faculty Emeritus 218 Courses in the Division of the Arts 84 Community Music Program Faculty 222 Art History 85 Boards Arts 89 Board of Trustees 225 Dance 90 Board of Overseers 225 Music 94 Our Location 226 Studio Arts 100 Campus Map 227 Theater 106 Index 228 Courses in the Division of Languages & Literature 114 Academic Calendar 232 World Languages, Cultures, and Literatures 115 Linguistics 121 Literature and Creative Writing 122 Courses in the Division of Science, Mathematics, and Computing 137 Biology 138 Chemistry 142 Computer Science 144 Mathematics 146 Natural Sciences 149 Physics 151 Courses in the Division of Social Studies 154 Anthropology 155 Economics 158 Geography 161 History 165 Philosophy 168 3 Bard College at Simon’s Rock is the nation’s only four- year residential college specifically designed to provide bright, highly motivated students with the opportunity to begin college after the tenth or eleventh grade.
    [Show full text]
  • Synopsis: a Midsummer Night's Dream
    SHAKESPEAREANCES.COM Synopsis: A Midsummer Night’s Dream The fairies create a lot of havoc—misapplying love potions, causing confusion among young lovers, turning a guy’s head into that of an ass, causing foul weather—but that’s nothing compared to the play a bunch of amateur thespians put on for the Duke of Athens’ marriage festivities. By William Shakespeare, written about 1596, first printed in a 1600 quarto Act I, Scene 1 Theseus, the Duke of Athens, has defeated the Amazons in a war but now intends to marry their queen, Hippolyta. The wed- ding is set for four days’ hence, and while he is eager to get on with the nuptials, she is showing much more patience. Into the scene comes Egeus with his daughter, Hermia, and two men, Lysander and Demetrius. Egeus wants Hermia to marry Demetrius, but she is in love with Ly- sander and refuses her father’s will. For this, Egeus wants his daughter executed under Athenian law. Theseus at least gives Hermia another option—become a virgin Nick Bottom (Max Casella, center) shows his fellow actors how he would play the lion in Theatre for a New Audience’s 2013 production of A Midsummer Night’s votary—but allows her three days to Dream. From left, Jacob Ming-Trent as Tom Snout, Zachary Infante as Francis choose whether to marry Demetrius, enter Flute, Brendan Averett as Snug, and William Youmans as Robin Starveling. Photo the sisterhood, or die. Left alone (really?), by Gerry Goodstein, Theatre for a New Audience. Lysander and Hermia complain about the not-so-smooth-course of true love and then brained scheme of telling Demetrius about Hermia’s determine to flee Athens, meet in the woods, and flight so that he would more appreciate Helena— run off to his aunt’s home where they can marry.
    [Show full text]
  • A Midsummer Night's Dream Education Pack
    EDUCATION PACK 1 Contents Introduction Introduction ....................................................................................................................................................3 Section 1: An Introduction to Shakespeare ……………………......................................................................……4 William Shakespeare 1564 - 1616 ..................................................................................................................5 Elizabethan and Jacobean Theatre..................................................................................................................7 Section 2: The Watermill’s Production of A Midsummer Night’s Dream....................................................10 A Brief Synopsis ............................................................................................................................................11 Character Profiles…………………………………………………………………………………………………………………………………….13 Character Map...............................................................................................................................................15 Themes of The Watermill’s A Midsummer Night’s Dream………………………………………………………………………..16 Meet the Cast................................................................................................................................................18 The Design Process........................................................................................................................................21 Costume Designs……………………………………………………………………………………………………………………………………..23
    [Show full text]
  • Reimagining a Midsummer Night's Dream
    TABLE OF CONTENTS Preface 1 Art That Lives 2 Bard’s Bio 2 The First Folio 3 Shakespeare’s England 4 The Renaissance Theater 5 Barbara Gaines Criss Henderson Courtyard-style Theater 6 Artistic Director Executive Director On the Road: A Brief History of Touring Shakespeare 8 Timeline 10 Chicago Shakespeare Theater is Chicago’s professional theater dedi- cated to the works of William Shakespeare. Founded as Shakespeare Shakespeare’s Repertory in 1986, the company moved to its seven-story home on Navy Pier in 1999. In its Elizabethan-style courtyard theater, 500 seats on three A Midsummer Night's Dream levels wrap around a deep thrust stage—with only nine rows separating the farthest seat from the stage. Chicago Shakespeare also features a Dramatis Personae 12 flexible 180-seat black box studio theater, a Teacher Resource Center, and The Story 13 Who's Who: What's in a Name? 13 a Shakespeare specialty bookstall. Act-by-Act Synopsis 14 Now in its twenty-seventh season, the Theater has produced nearly the en- Something Borrowed, Something New… tire Shakespeare canon: All’s Well That Ends Well, Antony and Cleopa- Shakespeare's Sources 15 tra, As You Like It, The Comedy of Errors, Cymbeline, Hamlet, Henry The Nature of Comedy 17 IV Parts 1 and 2, Henry V, Henry VI Parts 1, 2 and 3, Henry VIII, Julius A History of Dreams 18 Caesar, King John, King Lear, Love’s Labor’s Lost, Macbeth, Measure Scholars’ Perspectives for Measure, The Merchant of Venice, The Merry Wives of Windsor, A Midsummer Night’s Dream, Much Ado About Nothing, Othello, Pericles, Spirits of Another Sort 20 Richard II, Richard III, Romeo and Juliet, The Taming of the Shrew, The What the Critics Say 21 Tempest, Timon of Athens, Troilus and Cressida, Twelfth Night, The Two Gentlemen of Verona, The Two Noble Kinsmen, and The Winter’s Tale.
    [Show full text]