sign in sign up
<<
Home , After the Dance (play), Arcola Theatre, Beech is Back, Claire van Kampen, Dominic Dromgoole, Greenwich Playhouse

CAL PERFORMANCES PRESENTS CAST

Wednesday, November 4, 2009, 8pm Love’s Labour’s Lost Thursday, November 5, 2009, 7pm Friday, November 6, 2009, 8pm Saturday, November 7, 2009, 2pm & 8pm Sunday, November 8, 2009, 3pm Zellerbach Hall

Shakespeare’s Globe in Love’s Labour’s Lost John Haynes c a s t by Ferdinand, King of Navarre Philip Cumbus Berowne Trystan Gravelle Artistic Director for Shakespeare‘s Globe Dominic Dromgoole Longaville William Mannering Dumaine Jack Farthing

Director Set and Costume Designer Composer The Princess of France Michelle Terry Dominic Dromgoole Jonathan Fensom Rosaline Thomasin Rand

Choreographer Fight Director Lighting Designer Maria Jade Anouka Siân Williams Renny Krupinski Paul Russell Katherine Siân Robins-Grace

Text Work Movement Work Voice Work Boyet, a French lord in attendance on the Princess Tom Stuart Giles Block Glynn MacDonald Jan Haydn Rowles Don Adriano de Armado, a braggart from Spain Paul Ready Moth, his page Seroca Davis Holofernes, a schoolmaster Christopher Godwin Globe Production Manager U.S. Production Manager Paul Russell Bartolo Cannizzaro Sir Nathaniel, a curate Patrick Godfrey Dull, a constable Andrew Vincent U.S. Press Relations General Management Richard Komberg and Associates Paul Rambacher, PMR Productions Costard, a rustic Fergal McElherron Jaquenetta, a dairy maid Rhiannon Oliver Executive Producer, North America Executive Producer for Shakespeare’s Globe Eleanor Oldham and John Luckacovic, Conrad Lynch Other parts Members of the Company 2Luck Concepts Musical Director, recorder, shawms, dulcian, ocarina, hurdy-gurdy Nicholas Perry

There will be 20-minute intermission. Recorders, sackbut, shawms, tenor Claire McIntyre Viol, percussion Hatcher

Cal Performances’ 2009–2010 season is sponsored by Wells Fargo. Sackbut, hunting horn George Bartle Baroque guitar, theorbo, percussion Benjamin Narvey

4 CAL PERFORMANCES CAL PERFORMANCES 5 SYNOPSIS PROGRAM NOTES

Love’s Labour’s Lost William Shakespeare Love’s Labour’s Lost The vow The King of Navarre and his three friends, Berowne, Longaville and Dumaine, swear to de- Sources vote themselves to three years of study, abstaining from all distractions, particularly of the female Unusually, no literary source is known for the story kind, with only Armado and Costard to entertain of Love’s Labour’s Lost, although the play has a cer- them. They are confounded, on signing the vow, tain basis in historical fact. It is, in fact, unique when Berowne remembers that the Princess of in Shakespeare’s plays in portraying, if nominally, France and her three ladies, Rosaline, Maria and historical figures still living when the play was

Katherine, attended by Boyet, are on an embassy first performed. A King of Navarre (later Henry John Haynes to Navarre’s court. IV of France, 1553–1610) did keep about him two lords called the Duc de Longueville and the Duc Love and letters de Biron. Biron (in Shakespeare, “Berowne”) even Early performance and publication Armado has decided to arrest Costard for being in became known in as an associate of the the company of a woman, thus breaking the King’s Earl of Essex when Essex led a force to France in Shakespeare probably wrote Love’s Labour’s Lost in edict—the woman being Jaquenetta, with whom support of Henry during the French civil war of 1594–1595. It would have been performed at the Armado himself is in love. The ladies arrive, and the 1589–1592. Theatre in , a forerunner to the Globe King and his lords fall in love with them. Armado The lives of the real Henry and his courtiers and the first substantial purpose-built playhouse frees Costard, on condition he delivers a note to were spent largely in the field or conducting affairs in . The title page of the first (surviving) Jaquenetta; Berowne charges Costard with a letter of state—but the King is known to have had one edition of the play advertises the fact that it was to Rosaline; and the two letters get mixed up. (very extended) holiday, at his family seat at Nérac presented before the Queen “this last Christmas” in southwest France in the late 1570s, He was (meaning either 1596–1597 or 1597–1598). This The vow is broken John Haynes joined there by the wife from whom he had been would have been at Whitehall Palace. The same The four lords enter one by one and voice despair separated for some years, Marguerite de Valois. She quarto edition is the first play to bear Shakespeare’s about their love for their particular woman, and brought with her not only her mother, Catherine Marriage deferred name on the title page—an indication, perhaps, of one by one are overheard by the others. They de- de Medici, but also a train of attractive young As the ladies prepare to leave, the lords affirm that its author’s rising status as well as that of the play- cide to tear up their vow, and woo the ladies. They women to divert the King. all their expressions of love were genuine, but the writing profession as a whole. The title page also disguise themselves as Russians, but Boyet tells the Theirs was a very open marriage. Gossip about Princess claims that everything they said was in boasts that it is a “newly corrected and augmented” ladies beforehand, and the ladies change identities the atmosphere of the King’s long vacation may jest. The ladies tell the lords that, if they are seri- version of the play, but this is probably an exag- with each other. The lords enter, and each woos the well have had some influence on the composition ous, they must carry out certain tasks for a year, geration. It is more likely to be a straightforward wrong woman. They leave, and on their return are of Love’s Labour’s Lost. Theories advancing other, and then return to offer marriage. The lords agree. reprint of an earlier edition now lost. The text was mocked by the ladies. more arcane influences, such as the long-held Armado then presents the learned men in a dia- set carelessly, probably from Shakespeare’s original view that Shakespeare was secretly representing logue between the owl and the cuckoo, represent- manuscript (or what scholars term “foul papers”). The Nine Worthies an atheistic coterie around Sir Walter Raleigh (the ing winter and spring, by way of conclusion. The play was reprinted in the 1623 First Folio of Armado then approaches the schoolmaster so-called “school of night”), have now been dis- Shakespeare’s plays, where the editors seem to have Holofernes and the curate Nathaniel to join with credited. While no direct source has been uncov- based their version largely on the quarto edition, him, Costard, and the page, Moth, to present the ered for the other characters in the play, it is clear but corrected it with reference to the company’s Synopsis adapted from David and Ben Crystal’s Nine Worthies as entertainment to the nobles. they owe something to the clowns, pages, ped- promptbook. Shakespeare’s Words (Penguin, 2002). This provides the nobles with many opportuni- ants, braggarts and country priests of the Italian Behind the text of Love’s Labour’s Lost there ties for comment and laughter. The mood changes commedia dell’arte. moves the shadow of its vanished sequel, Love’s when Marcadé brings news that the Princess’s fa- Labour’s Won. Until the mid-20th century, the ther has died. Nicholas Robins, Shakespeare’s Globe only external indication that such a play had ever existed could be found in a list of Shakespeare titles praised by the critic Francis Meres in his Palladis Tamia: Wit’s Treasury of 1598:

6 CAL PERFORMANCES CAL PERFORMANCES 7 PROGRAM NOTES PROGRAM NOTES

As Plautus and Seneca are accounted the recorders for “Concolinel,” the song sung by Moth Yet all was feigned, ’twas not from the heart; Much of the verse is charming; even when it best for Comedy and Tragedy among the in Act 3. This French chanson, with its bawdy and They seemed to grieve, but yet they felt no care. is rhymed doggerel it is full of that bewitching Latines: so Shakespeare among the English rhythmically repetitive style, playfully exploits ’Twas I that grief indeed did bear in breast, Shakespearean music which tempts the susceptible is the most excellent in both kinds for the the words “con” (“cahn” or “coun” being the then The others did but make a show in jest. critic to sugar his ink and declare that Shakespeare stage; for Comedy, witnes his Gentlemen of sound of the word for female genitalia) and “cul,” can do no wrong. The construction of the play is Verona, his Errors, his Loue labors lost, his the French equivalent of “arse” or “bum.” Armado, Yet neither feigning theirs, nor my mere truth, simple and effective. The only absolutely impossible Loue labours wonne, his Midsummers night the Spanish courtier has no idea of the real mean- Could make her once so much as for to smile; situation was that of Biron [Berowne] hiding in the dreame.... ing of these words, but thinks that the song is in- Whilst she, despite of pity mild and ruth, tree to overlook the king, who presently hides to Since no copy of the play had yet turned up, schol- nocently about the sweetness of spring cuckoos, so Did sit as scorning of my woes the while. watch Longaville, who in turn spies on Dumain; as ars began to think that Meres may have been mis- Moth succeeds in mocking the Spanish and the Thus did she sit to see Love lose his love, the result of which we had three out of four gentle- taken. But in 1953 someone noticed two pieces of French at the same time, which would have very Like hardened rock that force nor power men shouting “asides” through the sylvan stillness. very old scrap paper that had been used as backing much pleased Shakespeare’s audience of the 1590s. can move. No. 1 being inaudible to 2, 3 and 4; No. 2 audible for the spine of a book of 17th-century sermons. The influence of a more serious vein in Spanish to No. 1, but not to 3 and 4; No. 3 audible to 1 and They turned out to be pages from the ledger of an music is felt in the piece I have chosen from Robert Robert Tofte, from Alba: The Month’s 2, but not to 4; and No. 4 audible to all the rest, Exeter stationer (or bookseller) recording business Dowland’s Musicall Banquet of 1610, a collection Mind of a Melancholy Lover, 1598 but himself temporarily stone deaf. Shakespeare transacted in August 1603. On inspection, it that includes contributions from composers of dif- has certainly succeeded in making this arrange- seemed that, within his stock of playbooks, he had ferent European nationalities. The beautiful anon- ment intelligible; but the Dramatic Students’ stage once kept copies of the following: ymous piece “Vuestros Ojos”—originally written In this play, which all the editors have concurred to manager did not succeed in making it credible. marchant of vennis for the vihuela, a forerunner of the modern Spanish censure and some have rejected as unworthy of our taming of a shrew guitar—creates part of the musical background to poet, it must be confessed that there are many pas- Bernard Shaw, from a review of Love’s Labour’s knak to know a knave a story in which young people can’t help falling in sages mean, childish, and vulgar; and some which Lost at the St. James Theatre, 1886 knak to know an honest man love with each other in spite of their resolutions. ought not to have been exhibited, as we are told loves labor lost Last but not least, two dulcians suggest the they were, to a maiden queen. But there are scat- loves labor won. world of Holofernes and his sidekick Nathaniel as tered through the whole many sparks of genius; The scene—a park of the King of Navarre—is un- they display the benefits of “a good old-fashioned nor is there any play that has more evident marks altered throughout; and the unity of the play is not Nicholas Robins, Shakespeare’s Globe English education.” of the hand of Shakespeare. so much the unity of a drama as that of a series of pictorial groups, in which the same figures reap- Claire van Kampen, composer Samuel Johnson, Notes on Shakespeare, 1765 pear, in different combinations but on the same A note on the music background. It is as if Shakespeare had intended to bind together, by some inventive conceit, the de- In composing the dance music for this production Lasting impressions The characters in the play are either impersonated vices of an ancient , and give voices to its I have taken a wide interpretation of the term “re- out of Shakespeare’s own multiformity by imagina- figures. On one side, a fair palace; on the other, the naissance,” drawing on music from Spain, France Love’s Labour Lost, I once did see a play, tive self-position or out of such as a country town tents of the Princess of France, who has come on an and Italy; Italy in particular, with the saltarello (a Yclepèd so, so callèd to my pain, and schoolboy’s observation might supply—the embassy from her father to the King of Navarre; in type of hopping dance), the caccia (or “hunt”) and Which I to hear to my small joy did stay, curate, the schoolmaster, the Armado (who even the midst, a wide space of smooth grass. The same the robust, vigorously sensual and Arab-influenced Giving attendance on my forward dame, in my time was not extinct in the cheaper inns of personages are combined over and over again into trotto. All these were enjoyed in the 15th-century My misgiving mind presaging to me ill, North Wales) and so on. The satire is chiefly on a series of gallant scenes—the princess, the three Florence of Marsilio Ficino, one of the renais- Yet was I drawn to see it ’gainst my will. follies of words…the frequency of the rhymes, the masked ladies, the quaint, pedantic king.... sance founders of the kind of philosophical “aca- sweetness as well as the smoothness of the metre, deme” which, fostered by the Medici, spread from This play no play but plague was unto me, and the number of acute and fancifully illustrated Walter Pater, Appreciations, 1889 Florence to France, and to which the King and his For there I lost the love I likèd most; aphorisms, are all as they ought to be in a poet’s friends have sworn their allegiance. And what to others seemed a jest to be, youth. True genius begins by generalizing and con- The trumpet and cornet fanfares familiar from I, that (in earnest) found unto my cost. densing; it ends in realizing and expanding. It first many regal contexts on the Globe stage have been To everyone (save me) ’twas comical, collects the seeds. put aside in favor of the bagpipe, frame drum, horn Whilst tragic-like to me it did befall. and, occasionally, the shawm and hurdy-gurdy, Samuel Taylor Coleridge, marginalia on an ensemble more suitable to a forest and a royal Each actor played in cunning wise his part, Love’s Labour’s Lost, 1820s hunting retreat. These instruments are joined by But chiefly those entrapped in Cupid’s snare;

8 CAL PERFORMANCES CAL PERFORMANCES 9 ABOUT THE ARTISTS ABOUT THE ARTISTS

Shakespeare’s Globe discover and rediscover the Globe. A guided tour George Bartle (musician) began his musical edu- Philip Cumbus (Ferdinand, of the theater is included in the ticket price. Our cation in Ely Cathedral Choir, recording a solo King of Navarre) trained Shakespeare’s Globe is a unique resource dedicated guides conduct fascinating half-hour tours of the CD in his final year, age 12. He later studied at at RADA. This season at to the exploration, enjoyment and understanding auditorium, describing the reconstruction process, the Royal College of Music, London, with Arthur Shakespeare’s Globe he has of Shakespeare’s work and the playhouse for which bringing to life with colorful stories of the Wilson and Lindsay Shilling on trombone and appeared in he wrote. original theater and explaining the ways in which singing with Kenneth Woollam, gaining a BMus and Helen. His previous The project to reconstruct the Globe was the Globe works today as an experimental theater. with honors, PGDip(RCM) and being awarded work at Shakespeare’s Globe initiated by the Chicago-born actor and direc- several prizes including the Director’s Golden includes The Merchant of tor , who spent decades raising Jubilee Award. He has also recently completed his Venice and Holding Fire. His other theater credits funds and public interest for Shakespeare’s most Globe Education studies on sackbut and singing with Charles Toet include The Man Who Had All the Luck (Edinburgh celebrated theater. The Globe is now one of the and Gerd Türk at the Schola Cantorum Basiliensis Lyceum); A Month in the Country, Vincent in best-loved theaters in London and occupies a place Over 100,000 people of all ages and nationalities, in Switzerland. Mr. Bartle has worked with the Brixton (Salisbury Playhouse); Edward II (BAC); at the center of a range of exciting artistic and from pre-school to postgraduates, participate in Monteverdi Choir and Orchestra, Orchestre The Seagull (Northcott Exeter); The Duchess of educational activities. Globe Education’s year-round program of public Révolutionnaire et Romantique, The King’s Malfi (West Yorkshire Playhouse); events, workshops and courses. From October to Consort, His Majesty’s Sagbuts and Cornetts, Ex (Minerva Theatre Chichester); Great Expectations April, all workshops and courses include practical Cathedra, the London Philharmonic Orchestra, (Cheek by Jowl/RSC); The Fence (The Wrestling The Globe Theatre work on the Globe stage. Globe Education also the Royal Philharmonic Orchestra, and with many School); The Little Mermaid (Sphinx Theatre runs an extensive program in the local commu- internationally renowned conductors, including Company); and The Soldier (Edinburgh Fringe). The Globe Theatre is a faithful reconstruction of nity and creates national and international out- Sir David Wilcocks, Sir John Eliot Gardiner, Kurt His television credits include My Hero, Hope and the open-air playhouse first built in 1599, where reach projects for students and teachers. Graduates Masur, Andrew Litton, Robert King and Matthew Glory and A Touch of Frost. Shakespeare worked and for which he wrote many and scholars are invited to participate in Globe Halls. His playing has taken him to Africa, the of his greatest plays. Research seminars, symposia and conferences and Far East, and throughout Europe and United Seroca Davis ( Moth) trained Each year, the theater season runs from April to make use of the Globe Library and Archive. States. Mr. Bartle has performed for Her Majesty at Anna Scher. Her previ- to October with productions of the work by Each year, Shakespeare’s Globe provides approxi- the Queen and His Royal Highness the Prince of ous credits at Shakespeare’s Shakespeare and modern authors, and plays to an mately ten distinct educational programs for uni- Wales, performs regularly on television and BBC Globe include Love’s audience of 350,000 who experience the “wooden versities throughout the United States. Radio 2, 3 and 4, and can be heard on numerous Labour’s Lost (2007 produc- O,” sitting in a gallery or standing as a groundling film soundtracks and album recordings. tion) and We the People. in the yard, just as they would have done 400 years Her other theater credits ago. In recent years, Globe touring productions Members of the Company Giles Block (text work) has led the text work at include Don Juan in Soho have also brought Shakespeare to theaters and Shakespeare’s Globe since 1999, and to date has (); 93.2 historical sites around the UK and Europe. This Jade Anouka (Maria) trained at GSA Conserv- been involved in over 20 productions. This sea- ( Tour); Master Juba (Albany tour of Love’s Labour’s Lost marks the third time atoire. Her theater cred- son he will add the Globe’s three new Shakespeare Theatre); and Little Sweet Thing (UK Tour). Her The Globe Theatre has toured to North America. its include Blood Wedding productions to the list. Directing at Shakespeare’s film credits include Innocent Pink, London Bird Previous productions were the award-winning (); Globe includes (1999), Can’t Fly, Kidscape and Picture Power. Her televi- and Measure for Measure. Twelfth Night (York Theatre (2000) and (2005). sion credits include , Prime Suspect 7, Royal); The Merchant of Posts include Associate Director at Ipswich City, More Than Love, Daylight Robbery II, Comin’ Venice, The Taming of the Theatre (1974–1977), Staff Director at National Atcha, Homework High, Snap, Criminal Justice, Shakespeare’s Globe Exhibition Shrew and Penelopiad (Royal Theatre (1977–1981) and Director of Platforms Horne and Corden and Mitchell and Webb. Her ra- Shakespeare Company); at National Theatre (1981–1984). Theatre direc- dio credits include Hands and Starmaths. Shakespeare’s Globe Exhibition is the world’s Dick Whittington, Golden tion includes The Fawn, She Stoops to Conquer largest exhibition devoted to Shakespeare and Boy ( Theatre); Handa’s Surprise (Little (National Theatre); , The Cherry Orchard, Dominic Dromgoole (Director), the director the theater in which he lived and worked. It ex- Angel Theatre); and UnStoned, Outright Terror , Richard III, Hamlet, and of this production, is also Artistic Director of plores the remarkable story of the Globe and Bold and Brilliant (National Youth Theatre). Her Vincent in Brixton (Shochiku Company, Japan). In Shakespeare’s Globe. He was Artistic Director brings Shakespeare’s world to life using a range film credits include Happy Hour, Bubble Trouble, 2000, the Association of Major Theatres of Japan of the Oxford Stage Company (1999–2005) and of interactive displays and live demonstrations. It’s Time and That Serious Face.Her television cred- recognized Mr. Block for services to the Japanese the in London (1990–1996), and Open throughout the year, Shakespeare’s Globe its include USS Constellation: Battling for Freedom theater. During the last three years, he has directed Director of New Plays for the Company Exhibition is one of the most exciting ways to (History Channel). , and at (1996–1997). He has also directed at the Tricycle the Blackfriars Theatre in Virginia. Theatre, in London’s West End, and in America

10 CAL PERFORMANCES CAL PERFORMANCES 11 ABOUT THE ARTISTS ABOUT THE ARTISTS and Romania. Dominic has written two books, and Wozzeck (Birmingham Opera and European Like It, Love’s Labour’s Lost, Henry IV Part 1 (Open and The Merry Wives of Windsor at the Globe and The Full Room (2001) and Will & Me (2006). His tour). Mr. Fensom was Associate Designer on Air Theatre, Regent’s Park); The Woman in Black regularly plays with the ensembles The Sixteen, previous work at the Globe includes King Lear, the Disney’s The Lion King, which premiered at the (Fortune); What a Performance (Queen’s); Noises Ex Cathedra, Bardos Band, Sociall Musick and 2007 production of Love’s Labour’s Lost, New Amsterdam Theatre on Broadway and has Off (Savoy); Ten Times Table (Gielgud); Hay Fever Wyrewood in Britain and abroad. and Antony and Cleopatra. This year he has also di- subsequently opened worldwide. He was nominat- (Albery); All Things Considered (Hampstead); and rected Romeo and Juliet and the world premiere of ed for a Tony Award for best set design for Journey’s The Guv’nor (). He has played in seasons David Hatcher (musician) was born in Warwick A New World, a new play by about End, which won a Tony in 2007 for Best Revival. at Greenwich, Chichester, York and Southampton, and upon attaining the LTCL diploma went on to the great Anglo-American radical Thomas Paine. and spent seven years working for Alan Ayckbourn study viola da gamba with Charles Medlam and Patrick Godfrey (Sir in Scarborough, where he premiered in many new recorder with Philip Thorby at Trinity College Jack Farthing (Dumaine) Nathaniel) trained at the plays. His television credits include My Family and of Music, London. He began his career based graduated from LAMDA in Central School for Speech Other Animals, Nice Work and Holding the Fort. in England, touring to America, Israel, France, 2009. He also appeared in and Drama. Previous credits His films credits include Porridge, A Handful of Germany and the Netherlands. He has broadcast Romeo and Juliet and Helen at at Shakespeare’s Globe in- Dust, Bullshot, The New Avengers, Hamlet, Hurt So for both the BBC and independent radio and tele- Shakespeare’s Globe as part clude The , Timon Good, Jinnah and Blackball. He has recorded nu- vision. In 1987 he moved to Japan, where he was of the 2009 season. Other of Athens, The Winter’s Tale merous plays and comedy series for radio. to remain for the next nine years, taking an active theater credits include The (1997 production) and The and leading part in that country’s flourishing early Odyssey, National Theatre Maid’s Tragedy. His other theater credits include Trystan Gravelle (Berowne) music scene. He has recorded with Evelyn Tubb, directed by Tom Cairns, Days of Significance, The The Big House (Abbey Theatre); trained at RADA. This sea- The Consort of Musicke, Chelys, Sprezzatura, and Maid’s Tragedy, The Prisoner’s Dilemma, The Seagull (Crucible Swan); The Iceman Cometh (Almeida/ son at Shakespeare’s Globe the Japanese ensembles Ensemble Ecclesia and the and Our Boys, all at LAMDA. Film credits include Old Vic/Broadway); Three Sisters, Mary Stuart, His he has appeared in Troilus Bach Collegium of Japan. In addition to his perfor- Jane Campion’s Bright Star. Dark Materials (National Theatre); and Nicholas and Cressida and has previ- mances in the UK, he regularly returns to Japan to Nickleby (Aldwych and Broadway). Mr. Godfrey ously appeared in King Lear, play and record. He divides his time between teach- Jonathan Fensom (Set and Costume Designer)’s has also spent 10 years with the Royal Shakespeare The Frontline, We the People ing and playing for the Royal Shakespeare Theatre, theater productions include A Midsummer Night’s Company. His film credits include Heat and Dust, and Love’s Labour’s Lost Shakespeare’s Globe, The Consort of Musicke, The Dream (Canada); Man, Some Girls, Twelfth A Room with a View, Maurice, Remains of the Day, (2007 production). His theater credits include Corelli Orchestra, The Harp Consort and many Night, Smaller, , What the Butler Saw, Ever After, Count of Monte Cristo, Shadows in the Leaves of Glass (); The Birthday Party other period orchestras and ensembles. Journey’s End (West End); King Lear, Love’s Sun and The Duchess.His television credits include (Theatr Clwyd); The Winter’s Tale (Ian Charleson Labour’s Lost (Shakespeare’s Globe); Swan Lake Trail and Retribution, The Bill, Pericles, Coriolanus, Award Nomination), Pericles, Hamlet, Macbeth, Renny Krupinski (Fight Director) is an Equity (San Francisco Ballet); Journey’s End (West End, Midsomer Murders and Poirot. Romeo and Juliet, As You Like It, The Taming of Registered fight director, award-winning actor, Broadway); The American Plan, Pygmalion (New the Shrew, A Midsummer Night’s Dream and Days writer and director. His theater fight credits in- York); The Homecoming, Big White Fog (Almeida Christopher Godwin of Significance (RSC). His film credits include A clude, for three seasons at Shakespeare’s Globe, Theatre); Happy Now?, The Mentalists, Burn / (Holofernes) has previously Way of Life, Hurt So Good and Hamlet. His tele- The Revenger’s Tragedy; Cyrano de Bergerac (Royal Citizenship / Chatroom (National Theatre); In appeared at Shakespeare’s vision credits include The Chosen (BAFTA Cymru Exchange, Manchester); The Three Musketeers the Club, Born Bad, In Arabia We’d All Be Kings, Globe in Love’s Labour’s Lost Award Nomination), A470 and Cardiff. His radio (Northern Ballet); and work with the Abbey Abigail’s Party, What the Butler Saw (Hampstead and We the People. His recent credits include Theremin(Radio 4), Seven Princesses Dublin, Royal Exchange Manchester, Belfast Theatre); Duck, Talking to Terrorists, The Sugar theater credits include The (Radio 3), The Intruder (Radio 3), Five Wedding Lyric, Basingstoke Haymarket, Liverpool Syndrome (Royal Court); Kindertransport, Breakfast Price (New Vic); The White Dresses (Radio 4) and The Interior(Radio 3). Everyman and Playhouse, Theatre Clwyd, Library with Emma (Shared Experience); The Tempest (Tron Devil (Menier Chocolate Manchester; Oldham Coliseum, Bolton Octagon, Theatre); Crown Matrimonial (Guildford, Tour); Factory); An Enemy of the People, Professor Bernhardi After graduating in his native Iceland, Arngeir Leicester Haymarket, West Yorkshire Playhouse, The Faith Healer (The Gate, Dublin/ Broadway); (Arcola); (Birmingham Repertory Hauksson (musician) studied the classical guitar Live Theatre Newcastle, Young Vic, RSC, Les God of Hell (Donmar); National Anthems (Old Theatre);Home (Oxford Stage Company); and The and the lute with Robert Brightmore and David Miserables (first UK tour, Germany, Belgium). His Vic); M.A.D., Little Baby Nothing (Bush Theatre); Importance of Being Earnest (Oxford Playhouse). Miller at the Guildhall School of Music and television fight credits include The Bill, The Chase Be My Baby (Soho Theatre); Candide, Charley’s His other theater credits include The Canterbury Drama in London. He won the Portallion Solo 2, Love Lies Bleeding, Distant Shores 2, Blue Murder Aunt (Oxford Playhouse); Small Family Business, Tales, The Two Noble Kinsmen, The Taming of the Guitar Prize in 1998 and the Portallion Chamber 3, 4 and 5, City Central, Elidor, A&E, Emmerdale, Little Shop of Horrors (West Yorkshire Playhouse); Shrew, The Tamer Tamed, Cymbeline, The Relapse, Music Prize in 1997 and 1998. Mr. Hauksson now Brookside, Hollyoaks, Hollyoaks in the City, Peak My Night with Reg, Dealer’s Choice (Birmingham Woyzeck, The Devil Is an Ass (Royal Shakespeare specializes in music from the medieval, Practice and Coronation Street (99% of the violence Repertory); After the Dance, Hay Fever (Oxford Company); Twelfth Night, Troilus and Cressida, A and baroque periods on authentic instruments. He over the past nine years). His theater acting credits Stage Company); So Long Life (Theatre Royal Bath); Midsummer Night’s Dream, Romeo and Juliet, As You has performed in King Lear, Love’s Labour’s Lost include Hamlet, Amadeus, Romeo & Juliet, Macbeth,

12 CAL PERFORMANCES CAL PERFORMANCES 13 ABOUT THE ARTISTS ABOUT THE ARTISTS

The Merchant of Venice, Great Expectations (Royal include A Midsummer Night’s Dream, The Lion, the graduating with honors in 2004, Ms. McIntyre Rhiannon Oliver (Jaquenetta) trained at the Exchange Manchester: Manchester Evening News Witch and the Wardrobe, The Winter’s Tale (Royal has performed with various ensembles, including Royal Academy of Dramatic Art. She has previous- Award Best Supporting Performance). His televi- Shakespeare Company); Rookery Nook, The Inland The Sixteen, His Majestys Sagbutts and Cornetts, ly appeared at Shakespeare’s sion acting credits include A Touch of Frost, The Sea (Oxford Stage Company); Summer Lightning Ex Cathedra, The King’s Consort, The English Globe in Love’s Labour’s Lost Falklands Play, Beech Is Back, City Central, Elidor, (Theatre Royal, Northampton); Cornett and Sackbut Ensemble, I Fagiolini and (2007 production), We the Just Us, Silent Witness, The Bill and Brookside. His (Theatre Royal Bath); Stephen’s Last Night in Town The Gabrieli Consort and Players. She was a People, Antony and Cleopatra directing credits include Romeo and Juliet, Bare, (Jacobs Well Prods); Vincent River (Hampstead semi-finalist in the 2006 International Early Brass and In Extremis. Her other The Comedy of Errors, Titus Andronicus, Arabian Theatre);The Divine Right(Birmingham Rep); The Competition in Toulouse, and is currently study- theater credits include Great Nights and Lady Macbeth Rewrites the Rulebook. Merchant of Venice (Birmingham Rep and National ing with Charles Toet at the Schola Cantorum Expectations (Clwyd Theatr His writing credits include Bare (Michael Elliot Tour); and (Gielgud). His film in Basel, Switzerland. Ms. McIntyre has previ- Cymru); Cyrano de Bergerac Prize: Mobil International Playwriting competi- credits include Master and Commander, Breaking ously performed at the Globe in King Lear and (Basingstoke Haymarket); The Vortex (Manchester tion), Katie Crowder, Lady Macbeth Rewrites the the Code and Jackpot. His television credits include on the 2007 tour of Love’s Labour’s Lost to Seoul, Royal Exchange); Rookery Nook (Oxford Stage Rulebook, The Bill (for three years) and many BBC Tchaikovsky, , The Infinite Worlds of HG South Korea. Company); Under Milk Wood, The Accrington Pals, Radio comedies. He has a new screenplay, Jump, Wells, Inspector Lynley Mysteries, Heartbeat, The A Christmas Carol (Lancaster Dukes Theatre); and and a new stage play, D’Eon. Coral Island, Unfinished Business (series 1 and 2), Benjamin Narvey (musician), lutenist and mu- Sleeping Beauty (Young Vic at the Barbican and Wuthering Heights, , Dalziel and Pascoe, sicologist, was born in Montreal in 1978 and New Victory Theatre, New York). Her film cred- Glynn MacDonald (Movement Work) trained Black Hearts in Battersea, Cadfael, The Old Curiosity began his musical training in 1981 at the Royal its include Summertime (Tornado Productions). in the Alexander Technique at the Constructive Shop and Sharpe’s Company. Conservatory of Music in Toronto. Upon comple- Her television and radio credits include Torchwood Teaching Centre in 1972. She has worked in tion of conservatory in Canada, he took a Bachelor (BBC Wales) and The Pickwick Papers (BBC). the Actors’ Centre and the Field Day Theatre Fergal McElherron (Costard) trained at the of Music degree from the Guildhall School of Music Company in Ireland, Dramaten in Stockholm, Dublin School of Acting. His previous work with and Drama in London, where he studied the lute Thomasin Rand (Rosaline) Norskspillersforbund in Norway, Holback Shakespeare’s Globe includes and continuo with David Miller. Mr. Narvey has graduated from the Royal Engstheatre in Denmark, Bremen Opera Company Romeo and Juliet, Helen also refined his understanding of diverse aspects Scottish Academy of Music in Germany, Poland, Switzerland, Japan, Australia and The Winter’s Tale. His of period lute performance under the tutelage of and Drama in July 2009. and the United States. Since 1997, she has been other theater credits include Paul O’Dette, Nigel North, Hopkinson Smith and Love’s Labour’s Lost marks resident Director of Movement at Shakespeare’s The Playboy of the Western Robert Barto. Augmenting his career as an histori- her professional debut. Her Globe on all theater productions. In 2002, she di- World (Druid Theatre cal performer, Benjamin is also active as an aca- theater credits while training rected Transforming September 11th at the Linbury Company), The Taming of demic specializing in the French Baroque. He took include Spring Awakening, Studio, , for Peace Direct. the Shrew (Rough Magic), his master’s degree from the University of Oxford A Woman of No Importance and Much Ado About She works for Globe Education giving move- Days of Wine and Roses (The in 2004, where he researched Enlightenment tonal Nothing. Her other credits include Pool (no wa- ment workshops for schools, undergraduates and Lyric Theatre), Don Carlos (Rough Magic), The theory with special reference to the writings of ter) (Arches Live) and Crime and Punishment Continuing Professional Development for teach- Recruiting Officer (The Abbey Theatre, Dublin), A Jean-Philippe Rameau. He continued at Oxford, (Edinburgh Festival). Ms. Rand was a BBC ers. She heads the Movement Department for Whistle in the Dark (The Royal Exchange), Dublin where he recently completed his doctoral thesis, Carleton Hobbs Radio Bursary nominee and rep- the Conservatory Training Program for Rutgers by Lamplight (Corn Exchange), Savoy (Peacock The French Lute During the Reign of Louis le Grand, resented the RSAMD at the Shakespeare’s Globe University at the Globe and has made a documen- Theatre Dublin), Mojo Mickybo (Kabosh), Olga the first cultural history of the lute in France dur- Sam Wanamaker festival. tary on the work called In Form and Moving. She (Rough Magic), Candide (The Performance ing the Grand Siècle. In 2008, he won the Goldberg has also written three books and is a Director of Corporation), Iphigenia at Aulis (Abbey Theatre), Musical Essay Competition. Paul Ready (Don Adriano de Bardo Productions. The House(Abbey Theatre Dublin),Shoot the Crow Mr. Narvey currently resides in Paris, where Armado) trained at LAMDA. (Druid Theatre Company). His film credits in- he pursues his research as a post-doctoral fel- His theater credits include: This season at Shakespeare’s clude The Anarchic Hand Affair (Rocket Pics), Holy low at the École Pratique des Hautes Études Three More Sleepless Nights, Globe William Mannering Cross (BBC/RTE), H3 (Stanbury Films) and The (Sorbonne), all while continuing his career as a Time and the Conways, Waves (Longaville) has appeared Secret of Roan Inish (Skerry Movies). His television professional lutenist. (international tour), Major as Bottom in A Midsummer credits include The Clinic (RTE) and Eureka Street Barbara, , Attempts Night’s Dream and has pre- (Euphoria Films). on Her Life, Mother Clapp’s viously appeared in Love’s Molly House (also West End) and some trace of Labour’s Lost (2007 produc- Claire McIntyre (musician) studied at the her (National Theatre); (Curve, tion), In Extremis, Antony and University of Birmingham, where her interest in Leicester); Forty Winks , Terrorism, Black Milk and Cleopatra a nd We t h e P e o p l e. His other theater credits early music was encouraged and developed. Since Crazyblackmuthafuckingself (Royal Court); Romeo

14 CAL PERFORMANCES CAL PERFORMANCES 15 ABOUT THE ARTISTS ABOUT THE ARTISTS and Juliet and Twelfth Night (Liverpool Playhouse); (Manchester Royal Exchange). Ms. Rowles’s mu- Tom Stuart (Boyet) trained musical director with both companies. Her inter- Romance (Almeida); World Music (Donmar sical theater credits include Mary Poppins (Prince at Central School of Speech national career as composer, performer, writer and Warehouse and Sheffield Crucible); The Comedy of Edward), Fiddler on the Roof () and and Drama. This season at broadcaster has produced scores for many theater Errors ( Old Vic and New Vic); One Flew numerous Cameron Macintosh nationwide tours. Shakespeare’s Globe, he ap- productions, television and film. In 1990, she co- Over the Cuckoo’s Nest (Garrick); Cuckoos (Gate Her television credits include Frankie Howerd: peared in Romeo and Juliet founded the theater company Phoebus Cart with Theatre; National Theatre Studio); The Beggar’s Rather You Than Me, Faking It (the Football and Helen and has previously . Their production of Shakespeare’s Opera (Wilton’s Music Hall); and NO! I’m from Manager and the Fashion Designer), Gordon appeared in Much Ado About The Tempest was performed in the foundations of Harborne, He’s from Moseley (Crescent Theatre). Ramsay’s Cookalong, Hairspray, The School Musical, Nothing, In Extremis and the Globe in 1991. As Director of Theatre Music His film credits includePierrepoint , Dresden, Maybe The Brief and Super Storm. Her film credits include Antony and Cleopatra. His during its founding 10 years, Ms. van Kampen was Baby and Angels and Insects. His television credits Brothers of the Head, I Could Never Be Your Woman, other theater credits include Edward II (BAC); involved in creating the music for over 30 Globe include Pulling, Holby City, Trial and Retribution, Brick Lane, Mr. Nobody and When Did You Last See Absolute Beginners (Lyric, Hammersmith); Love productions between 1997 and 2006. Recent Globe Twisted Tales, Born and Bred, Blackpool, Life Begins, Your Father? Ms. Rowles is co-author (with Edda and Other Fairytales (Scarlet Theatre Company); productions include Love’s Labour’s Lost (2007), King Jeffrey Archer—The Truth, Heartbeat, Tipping the Sharpe) of How to Do Accents (2007) and the forth- and King Lear (). His film Lear (2008) and Helen (2009). Her awards include Velvet, Chambers, Harry Enfield Presents, Plain Jane coming How to Do R.P. (Oberon Books, 2010). credits include The Calling, Atonement, A Good Year the Vero Nihil Verius Award for Distinguished and Doctors. His radio credits include Billiards and Gypo. His television credits include Charles II Achievement in the Arts by Concordia University at Nine Thirty, The Girl from the Sea and Coram Nicholas Perry (musician) plays many early wind and Horne and Corden. (Oregon) and the 2007 Sam Wanamaker Award Boy. Mr. Ready was commended for a 2004 Ian instruments and has worked as a musician on over (with Mark Rylance and for their Charleson Award. 20 productions at the Globe (including twice as a Michelle Terry (The Princess “Original Practices” productions at the Globe). deputy in an all-woman band), and also with the of France) trained at RADA Her recent work includes Observe the Sons of Siân Robins-Grace (Katherine) played Hermia, Royal Shakespeare Company. His recent con- and has previously appeared in Ulster Marching Towards the Somme (Hampstead Snout and Cobweb in the Globe’s touring produc- cert and recording includes work for the Gabrieli Love’s Labour’s Lost (2007 pro- Theatre); Bash (West End); Boeing-Boeing (West tion of A Midsummer Night’s Consort, His Magesties Sagbutts and Cornetts, duction) and We the People at End and Broadway); I Am Shakespeare (Chichester Dream this season. She was Dufay Collective and Ex Cathedra. He has worked Shakespeare’s Globe. Her oth- Festival Theatre); Peer Gynt (, the understudy for Juliet as a serpent player with the Brodsky string Quartet, er theater credits include All’s Minneapolis); Romeo and Juliet (Middle Temple in the Royal Shakespeare the Netherlands Philharmonic Orchestra and as a Well That Ends Well, England Hall Festival). Her film credits include Nocturne Company’s Romeo and Juliet. soloist with the BBC singers, is a member of the People Very Nice (National Theatre); Broken (2009). As a writer, Ms. van Kampen is creating Her other theater credits in- Citie Waites and has played frequently for film and Space Season, 50 Ways to Leave Your Lover (Bush a new play about the castrato , and is also clude The Duchess of Malfi television. He has worked for many years as an in- Theatre);The Man Who Had All the Luck (Donmar writing both book and music for Grand Central, a (Oxford Playhouse). strument maker in wood and brass. Warehouse); The Promise (New Wimbledon musical to be produced in New York. Theatre); The Winter’s Tale, , Pericles, Jan Haydn Rowles (voice coach) is a Voice and Paul Russell (lighting designer)’s theater light- Days of Significance (Royal Shakespeare Company); Andrew Vincent (Dull) has Dialect Coach for theater, television and film. ing credits include Liberty (Lifeblood Theatre Beautiful Thing (Sound Theatre); appeared in Romeo and Juliet Her previous work at the Globe includes Head Company/Shakespeare’s Globe tour); Love’s (Peter Hall Company; national tour and The Savoy and Helen at Shakespeare’s of Voice and Dialect (2008) and The Merchant of Labour’s Lost (Shakespeare’s Globe on tour); Theatre); As You Like It (New Vic; Newcastle- Globe this season and has Venice and Holding Fire (2007). Her other the- Hard Times (The Watermill, directed by Guy Under-Lyme); and Burial at Thebes (Nottingham previously appeared in Love’s ater credits include over 12 productions with the Retallack); Trainspotting, Backstroke in a Crowded Playhouse). Her television credits include Law & Labour’s Lost (2007 pro- Royal Shakespeare Company, including Breakfast Pool, Cardboys, One Flea Spare (Bush Theatre); Order (ITV) and Extras (BBC TV). Her writ- duction), We the People, with Mugabe, The Crucible, Twelfth Night, A My Mother Said I Never Should (Tour and Young ing includes Suddenlossofdignity.com for the Bush Coriolanus, Under the Black Flag, In Extremis and Midsummer Night’s Dream, Antony and Cleopatra, Vic); Peribanez ( Cambridge); Closer Theatre. Ms. Terry won the Manchester Evening The Winter’s Tale. His other theater credits in- The Merry Wives of Windsor; Three Days of Rain (/Tour); Not a Game News Theatre Award (2008) for Best Actress in a clude The Man Who Had All The Luck (Edinburgh (Apollo); Generations, Mules (Young Vic); My for Boys, Herons, Mother Teresa Is Dead (Royal Visiting Production. Lyceum); Sweet William, The Merchant of Venice, Child, Alaska, The Pain and the Itch, The Miracle, Court Theatre); Exquisite Sister, Four Nights in Antigone, Henry V, A Woman Killed with Kindness, Over There (Royal Court); , Absurdia Knaresborough (West Yorkshire Playhouse); Romeo Claire van Kampen (composer/Musical Director Oedipus, The Cracked Pot, Macbeth, Merry Wives (Donmar Warehouse); Kindertransport, Mine, Ten and Juliet (Young Vic Theatre); and M. Butterfly (Company)) trained at the Royal College of Music, and Alcestis (Northern Broadsides). His televi- Tiny Toes (Shared Experience); Shadowlands, The (Singapore Repertory Theatre). Mr. Russell is resi- specializing in the performance of contempo- sion credits include Moving On, Cold Blood, Life Winslow Boy, The Herbal Bed (Salisbury Playhouse); dent production manager at Shakespeare’s Globe rary music and studying composition with Dr. on Mars, Doctors, Emmerdale, Casanova, Max and Who’s Afraid of Virginia Woolf?, Pretend You Have Theatre, London. Ruth Gipps. In 1986, she joined the RSC and the Paddy and Cold Feet. Big Buildings, Henry V and The Children’s Hour Royal National Theatre, becoming the first female

16 CAL PERFORMANCES CAL PERFORMANCES 17 ABOUT THE ARTISTS ABOUT THE ARTISTS

Siân Williams (choreographer) trained at the Staff for the Company London College of Dance and Drama. She found- Executive Producer, North America 2Luck Concepts, John Luckacovic and Eleanor Oldham ed The Kosh dance theater company with Michael Executive Producer for Shakespeare’s Globe Conrad Lynch Merwitzer in 1982 and has performed in all its pro- General Management Professional Management & Resources ductions. Her choreography and theater awards in- U.S. tour clude the Manchester Evening News Dance Theatre Press Representation Richard Kornberg Award, Cairo Experimental Theatre Award, New U.S. Production Manager Bartolo Cannizzaro York Film & Television Festival Bronze Medal, U.S. General Manager Paul Rambacher and Best Foreign Theatre Presentation in Chile. Love’s Labour’s Lost Ms. Williams has contributed to the choreography Director Dominic Dromgoole or been Master of Dance for the Globe Theatre Set and Costume Designer Jonathan Fensom Company for The Tempest, The Winter’s Tale and Composer Claire Van Kampen Choreographer Siân Williams The Storm in 2005; all productions in 2004 and Fight Director Renny Krupinski 2003; for Twelfth Night (Middle Temple Hall Lighting Designer Paul Russell and Shakespeare’s Globe), The Golden Ass (2002), Text Work Giles Block The Two Noble Kinsmen and Macbeth (2001). Movement Work Glynn MacDonald Voice Work Jan Haydn Rowles Her recent work includes performing the role of Costume Supervisor Sarah Bowern Grisette in La Traviata (Opera North); choreog- Assistant to the Costume Supervisor Caroline Brett raphy for ’sMareiluise ; Movement for Fencing Consultant Phillip Stafford Puppet Director Steve Tiplady the Royal Shakespeare Company on The Winter’s Archery Consultant Jonathan Waller Tale, Timon of Athens, Macbeth, As You Like It Assistant Director Charlotte Bevan and Jubilee. Ms. Williams recently performed in Production Manager Paul Russell Twentieth-Century Girls. Her other choreography Company Manager Marion Marrs Stage Manager Laura Routledge includes (); I Am Shakespeare Deputy Stage Managers Vicky Berry, Tamsin Palmer (Chichester Festival); Romeo and Juliet (University Theatre Technical Manager Paul Williams of South Florida); The Rake’s Progress (Royal Technical Stage Manager Daniel Lockett Props Coordinator Bella Lagnado College of Music); A Better Place (English National Wardrobe Manager Hannah Lobelson Opera); and Adolf Hitler: My Part in His Downfall Wardrobe Assistant Fiona Albrow (Rho Delta touring production). Her directing Wigs Manager Liz Evans credits include A Square of Sky (The Kosh) and The Puppet Consultant Lyndie Wright Scenic Artist James Rowse at DAP Studios Handsomest Drowned Man (Circus Space). She re- Props Makers Suzy Bourke, Jane Jones cently choreographed Romeo and Juliet for Globe Costume Makers Debbie Gamble, Jane Gonin, Jackie Hallatt, Charles Hanrohan, Education and recently toured with The Kosh pro- Marian Malloy, Hilary Marshner, Stevie McTeer, Else Threadgold, Jude Ward duction, The Storeroom. Puppet Makers Nele de Craecker, Rupa Dauwenf Hat Maker Karen Shannon, Chloe Simcox Special thanks to Tim De Vos, Charles Ash, Shoe Maker Harr Shoes Olly Clark, Jonathan Goldstone, Ben Porter, Mark Wigs The Wig Workshop Carpenters Simeon Tachev, Kes Hayter, Brendan McSherry Richards, Michelle Tomas, Yolanda Vazquez, Research Dr. Farah Karim-Cooper, Sarah Dustagheer, Melissa Huggins, Virgin Atlantic, the Duchess of Albany and her at- Cecelia Istria-Dorland, Claire Waters, Penelope Woods tendant John C Wallner; each and all of the many Shakespeare’s Globe people at the eight host venues; and especially Tom Artistic Director Dominic Dromgoole Fontana, whose generosity is always remembered Executive Producer Conrad Lynch and appreciated. General Manager Lotte Buchan Music Manager Tom Bird Casting Helen Hillman, Charlotte Bevan Assistant to the Artistic Director Fiona Moorhead Music Assistant Sarah Rennix Marketing Manager Kate Walker Press and Public Relations Manager Fran Eyles Theatre Intern Abbie Morrow

18 CAL PERFORMANCES CAL PERFORMANCES 19