2014|2015 SEASON Issue 3 TABLE OF Dear Friend, CONTENTS A great classical company cannot live on Shakespeare alone. During my first season ® 1 Title page as Artistic Director of the Recipient of the 2012 Regional Theatre Tony Award 3 Cast Shakespeare Theatre Company, Artistic Director Michael Kahn we presented three plays from Managing Director Chris Jennings 5 About the Playwrights our namesake playwright. For our fourth production, however, we commissioned a new translation 8 Metromania Mania and adaptation of The Mandrake, the 1518 play by by David Ives Niccolò Machiavelli. Now, 28 years later, I am proud to say that this was just the first of many revivals 10 Lost Inside a Dream of neglected works. Through the launch of our by Drew Lichtenberg ReDiscovery Series, and our staging of plays such as Schiller’s Don Carlos, Lorenzaccio by Alfred de 14 Classics in Musset, and Lope de Vega’s The Dog in the Manger, Conversation: Michael the Shakespeare Theatre Company has developed a BY DAVID IVES Kahn and David Ives reputation for artistic risk-taking. ADAPTED FROM LA MÉTROMANIE BY ALEXIS PIRON by Drew Lichtenberg But staging neglected plays is one thing. Reinventing Performances begin February 3, 2015 the canon is another. There are perhaps few 18 Piron’s La Métromanie Opening Night February 9, 2015 collaborations that have meant as much to me—or Lansburgh Theatre by Derek Connon plainly been so much fun—as my work with David Ives. In our 2009-2010 Season, thanks to a path- 25 Play in Process breaking grant from the Beech Street Foundation, we 26 Cast Biographies commissioned David to translate and adapt Pierre Director Voice & Text Coach Corneille’s The Liar. The results were sensational. Michael Kahn Ellen O’Brien 29 Direction and Design Less than two years later, Ives followed that feat Biographies with his translation of The Heir Apparent by Jean- Scenic Designer Casting Director François Regnard, and here we are now, with The James Noone Laura Stanczyk, CSA 36 For STC Metromaniacs, by Alexis Piron. Costume Designer Resident Casting Director 40 Faces and Voices: David’s translations have swiftly become the industry Murell Horton Carter C. Wooddell Poets are Present standard, produced by theatres across the country, by Laura Henry Buda and his ability to unearth and revitalize works that haven’t seen the stage in centuries is uncanny. David Lighting Designer Literary Manager/Dramaturg 42 Mapping the Play: doesn’t just translate these plays. He brings them Mark McCullough Drew Lichtenberg Metromaniacs to life. He makes us realize that history is not just something you read in a book, but something that Sound Designer Assistant Director by Garrett Anderson you can actively shape, rediscover, and reimagine. Matt Tierney Craig Baldwin 44 About STC Our 2014–2015 Season concludes this spring with Composer Production Stage Manager About ACA Alan Paul’s production of Man of La Mancha, a classic reimagining of Cervantes’ Don Quixote, and Helen Adam Wernick Bret Torbeck* 46 Support Hayes Award-winning Steven Epp returns to STC to star in Molière’s Tartuffe. We look forward to sharing Period Movement Consultant Assistant Stage Manager 54 Preview: Man of these stories with you. Frank Ventura Elizabeth Clewley* La Mancha

56 STC Staff Warm Regards, 57 Audience Services The Metromaniacs is presented as a part of Comedy Française—The Clarice Smith Series. The ReDiscovery Commission series is sponsored by the Beech Street Foundation. The Clarice Smith Series is sponsored by the Robert H. Smith Family Foundation.

Michael Kahn Restaurant Partner: Social Reform Artistic Director Shakespeare Theatre Company *Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers.

1 CAST THE METROMANIACS

Damis, a young poet...... Christian Conn* Dorante, a young man in love with Lucille...... Anthony Roach* Lucille, a young woman in love with poetry...... Amelia Pedlow* Lisette, Lucille’s maid...... Dina Thomas* Mondor, Damis’s valet...... Michael Goldstrom* Francalou, Lucille’s father...... Adam LeFevre* Balvieau, Damis’s uncle...... P e t e r K y b a r t * Servants...... Danny Cackley, Ross Destiche+

UNDERSTUDIES Danny Cackley (Mondor/Damis), Ross Destiche+ (Dorante), Kay Kerimian (Lucille/Lisette/Servant), Stephen Patrick Martin* (Baliveau/Francalou).

THE SETTING: The ballroom of Francalou’s house in Paris. Spring, 1738.

Metromaniac. Noun. A person addicted to poetry, or to writing verses. (From Latin metrum, poetic meter + Greek mania, madness.)

PRODUCTION TEAM Directorial Observer: Katherine Burris Production Assistant: Maria Tejada

THERE WILL BE ONE 15-MINUTE INTERMISSION.

The Shakespeare Theatre Company operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States, and employs members of the Stage Directors and Choreographers Society and United Scenic Artists. The Company is also a constituent of Theatre Communications Group (TCG), the national organization for not-for-profit professional theatre, and is a member of the Performing Arts Alliance, the D.C. Chamber of Commerce, Association of Performing Arts Presenters (APAP), American Alliance for Theatre and Education and DC Arts and Humanities Education Collaborative.

Copyright laws prohibit the use of cameras and recording equipment in the theatre.

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers.

+ Acting Fellow of the Shakespeare Theatre Company

3 STC BOARD OF TRUSTEES ABOUT THE PLAYWRIGHTS

Michael R. Klein, Chair Bernard F. McKay Robert E. Falb, Vice Chair Eleanor Merrill John Hill, Treasurer Melissa A. Moss DAVID IVES Pauline Schneider, Secretary Stephen M. Ryan Michael Kahn, Artistic Director George P. Stamas There are few playwrights who love language as much as David Ives. “I think everything Lady Westmacott should be in verse,” Ives has said. “The New York Times and cookbooks should be in verse. Trustees Rob Wilder Verse raises the level.” Nicholas W. Allard Suzanne S. Youngkin Ashley M. Allen Born in Chicago in 1950, Ives entered Yale School of Drama in 1981, where he began bending the Stephen E. Allis Ex-Officio Anita M. Antenucci Chris Jennings, Managing Director world to his inimitable rhythms. New York magazine once named him one of the 100 smartest Jeffrey D. Bauman New Yorkers, a distinction he has called the greatest tragedy of his life. Afsaneh Beschloss Emeritus Trustees William C. Bodie R. Robert Linowes*, Founding Chairman All in the Timing (1993), a breakneck evening of pitter-patter patois, ran for over 600 performances Landon Butler James B. Adler off-Broadway. In 1995-1996, it was the most-performed play in the country. In 2013-2014, Ives Dr. Paul Carter Heidi L. Berry* ® Peter Cherukuri David A. Brody* repeated this coup with Venus in Fur, his Tony Award -Nominated play, which Roman Polanski Gloria Dittus Melvin S. Cohen* turned into a film. He is currently collaborating with Stephen Sondheim on a much-anticipated Dr. Mark Epstein Ralph P. Davidson* musical based on two films of Luis Buñuel. Stefanie Erkiletian James F. Fitzpatrick Andrew C. Florance Dr. Sidney Harman* All of which makes his comfort in the classical theatre—and his facility with verse—even more Dr. Natwar Gandhi Lady Manning impressive. The Liar and The Heir Apparent, Ives’s rhymed-verse translations of French comedy Miles Gilburne Kathleen Matthews Barbara Harman William F. McSweeny for STC, have quickly become industry standards, and he credits working in this form with John R. Hauge V. Sue Molina transforming his experience of reality. “Once I started working in verse,” Ives says, “I would Stephen A. Hopkins Walter Pincus walk down the streets and translate bus ads into verse, just to see how they’d sound. Know Lawrence A. Hough Eden Rafshoon W. Mike House Emily Malino Scheuer* what? Bus ads are always better in iambic pentameter.” One could say the same of French Jerry J. Jasinowski Lady Sheinwald comedies. They always sound better in Ives. Norman D. Jemal Mrs. Louis Sullivan Scott Kaufmann Daniel W. Toohey Kevin Kolevar Sarah Valente Abbe D. Lowell Lady Wright ALEXIS PIRON Gail MacKinnon *Deceased One of the most widely produced comic writers of the 18th century, Alexis Piron (1689-1773) lived a life dogged by controversy. He had an uncanny ability to make powerful enemies and as a result, he is all but forgotten today. Born in Burgundy in 1689, Piron moved to Paris in the early 1720s, eager to be a poet. But instead ASIDES of garnering glory at the Comédie Française—the theatre of King Louis XV—Piron worked at published by SHAKESPEARE THEATRE COMPANY Paris’ unofficial fairground theatres. At thesethéâtres de la foire, Parisians came to have a naughty good time, classical decorum be damned. Arlequin Deucalion (1722), an ingenious dramatic Managing Editor Publisher monologue sprinkled with satirical jabs at contemporary authors and actors, established Piron as Heather C. Jackson Michael Porto an anarchic, dangerous wit. Creative Director Advisors In 1738, Piron produced his masterpiece, at, of all places, the Comédie Française. Inspired by a S. Christian Taylor-Low Alan Paul real-life literary scandal involving Voltaire, La Métromanie brings the literary pretensions of the Samantha K. Wyer ruling classes down to the parterre of public opinion. The play was a popular success, and one Contributing Editors that Voltaire would not forget. Garrett Anderson Graphic Designer Piron was nominated to the Académie Française (of which Voltaire was a member) in 1753. Laura Henry Buda Taylor Henry Hannah Hessel Ratner Citing his artistic improprieties, Louis XV vetoed him. Though he lived a long life of material Drew Lichtenberg Editorial Assistant comfort, Piron never again wrote for the Comédie Française. For his epitaph in 1773, Piron wrote Alison Ehrenreich his final, and most famous, couplet: Contributing Writers Ci-gît Piron, qui ne fut rien David Ives Editorial Intern Pas même académicien. Derek Connon Jessica Peña As David Ives translates it: Here lies Piron, a nothing, an anatomy. He couldn’t even make the French Academy.

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K English were writing at the same time. exited where or why anybody’s This is champagne, not ale. Since it’s doing anything. Besides those fatal about people who are mad for poetry, disquisitions on Art, the play had not Metromania champagne is apropos, as is the fact that one but two male leads, a lackluster it’s in verse. To dump this delicate play female ingénue and, like so many into prose would be to clip the wings of French plays of the period, it simply Pegasus and harness him to a plow. came to a stop rather than resolving. Mania This is all by way of saying I’ve By David Ives The play was fiddled a good a lip-smacking Piron doesn’t want deal with Piron’s scandal in its time, plot. He wants masterpiece in bringing it into Frankly, I fell in love with the title. So I ordered the French text from the spinning into art gossamer and Internet and it arrived in a blurry what had been English. (The first English version Having enjoyed myself enormously offprint of an 1897 edition with an real-life comedy. It gorgeousness, he ever, to my adapting two French comedies of the English introduction by a huffy seems that all Paris th th wants rarified air knowledge, but I’m 17 and 18 centuries for Michael scholar who heartily disapproved of had fallen in love Kahn and the the play and all its with the poems of and helpless high- open to correction.) Shakespeare characters. Now one Mademoiselle Theatre Company, I was interested. Malcrais de La comic passion. When my friends I was casting When I read that Vigne, a mysterious A purer world. ask me what it’s around for a third. the play’s author, poetess from distant about, I always In the course of one Alexis Piron, Brittany (read: Characters drunk say that The reading in and had failed to make Appalachia). The on language, fools Metromaniacs is about that period, the Académie celebrated satirist a comedy with I stumbled again Française because Voltaire publicly in love with love. five plots, none of and again upon he’d written a declared his love them important. mention of an In other words, the lengthy poetic Ode for the lady and her On the other hand, obscure play from To The Penis, I was great works, only to way the world was that’s the beauty 1738 with a superb have it revealed that of the play, its title: La Métromanie. really interested. meant to be. Mlle de La Vigne purpose, and part It means, more was a guy named of the source of or less, The Poetry So what kind of Craze. (“Metro” play did the Bard Of Paul Desforges-Maillard, very much its delight. We go to certain plays to from “metrum,” The Hard-On write? living in Paris and taking his revenge inhabit a world elsewhere, and La Latin for poetic on the poetry establishment for not Métromanie is that kind of play in Portrait de la comédienne Marie-Anne de appreciating his genius. Needless to spades. Piron doesn’t want plot. He verse, and Châteauneuf by Nicolas de Largillierre, ca. 1712, A very chaste say, Voltaire wasn’t pleased when wants gossamer and gorgeousness, “mania” from… via Wikicommons. and wonderfully Oh, never mind.) Piron’s satire showed up (and showed he wants rarified air and helpless delightful one. As it happens, him up). Worse than that, the show high-comic passion. A purer world. Upon inspection Drew Lichtenberg, STC’s omniliterate was a hit. Characters drunk on language, fools La Métromanie turned out to be a farce literary manager, had noticed the in love with love. In other words, the based on a brilliant idea, if given title as well: potentially a real find for The premise was comic gold. The way the world was meant to be. STC’s wonderful ReDiscovery series, sometimes to long-winded declamations on Art. Its world is the airy, unmoored, structural mechanics, I have to confess, dedicated to bringing to light classic turned out to be something else. Given what’s in our newspapers day plays that had remained too long in Watteau-ish one that Piron’s Piron was a wit and a poet but not by day, a few yards of gossamer may be undeserving darkness. It was via the contemporary Marivaux would also put much of what I’d call a farcifactor, just what the doctor ordered. So gossam ReDiscovery series that Michael and onstage. There’s not much like realism often content to let his characters on, mes amis, gossam on…. I had developed our two previous in The Metromaniacs. We’re in a levitated happy collaborations, The Liar and reality that’s the exact counterpart of the intone his ravishing couplets without The Heir Apparent. vernacular, set-in-an-inn comedies the paying much attention to who just

8 9 back to reality. This may sound Our play’s hero, Damis, is one like a ludicrous if not downright such would-be genius. He has fantastical scenario, but it is one arrived with “two empty pockets that our author, Alexis Piron, and some ten-franc words,” bases upon close and accurate as his servant puts it, as well observation of Parisian literary as a pseudonym befitting his life in the mid-1700s. ambitions and hiding his penury. As Derek Connon points out He is one “Cosmo de Cosmos,” (page 18), Voltaire’s circle was just like the man born François- fond of just such aesthetic larks. Marie Arouet, but known to the At the country house of his world as “de Voltaire.” lover and patroness, Madame Our milieu, in fact, is the Du Châtelet, Voltaire frequently Paris of the young Voltaire. LOSTLOST staged dramatic This play—the readings of his talk of the town new plays. One in 1738—was reporter records, ripped from the in 1734, the headlines by INSIDEINSIDE partial rehearsal Alexis Piron, a and performance popular writer of 44 separate of low-brow acts of plays potboilers and and operas for satiric farces. AA an audience Piron seized on a of aristocratic literary scandal aesthetes—all involving a within a 48-hour poetry magazine, Portrait of Voltaire by Maurice Quentin de La by span. As The some cross- Galerie d’Hercule de l’Hôtel Lambert Tour ca. 1736, via Wikicommons. DREAM Bernard Picart, via Wikicommons. DREAM Metromaniacs dressing in verse testifies vividly, and the red-faced By Drew Lichtenberg, Literary Manager these events could often result in Voltaire himself. It is a fragile hilariously terrible art. Madame and insulated ecosystem, this he Metromaniacs opens on daughter. A hundred suitors, Du Châtelet may have translated salon cosmos of the idle rich and a special kind—a uniquely a number drawn as if from Newton’s Principia Mathematica their artistic hangers-on. Piron 18th-century kind—of scene. Homeric myth, have gathered into French, but according to shows us characters at a remove TA well-to-do gentleman, one at the home in order to court one eyewitness, her attempts at from life. They build Edens on well-off enough to own an urban her, but she is more interested in acting were horrific enough to their parquet floors and escape manse above the grime and grit Parnassus (the literary magazine). “induce vomiting.” into literary daydreams, living of Paris, is putting on an amateur The daughter, you see, prefers There have always, it seems, a life of fantasy. In short, their theatrical in his salon des arts imagined romance to the real been rich people convinced they heads are stuck firmly up their et des lettres. The subject is thing. So the father has fronted were great artists, just as there aesthetic derrières. amour, the play a dreamy device the money and written a play have always been penniless The France of the 1730s was designed to reach his dreamy himself (mais oui!) to bring her poets in need of a patron. one in which taxes on the

10 11 middle-class had never been transformation results in a higher, nor their opportunities strange kind of truth. In other for social mobility more words, what begins as a social circumscribed. The royal coffers critique transfigures into the were bankrupt, depleted by the stuff of aesthetic daydreams, wars of the now-deceased “sun and vice versa. Piron mixes king,” Louis XIV. His son, Louis upstairs and downstairs, XV, who took over the throne in muddling the classes until he 1715 at the age of five, was now ultimately transcends them. The well into his thirties, and still play’s characters skirt the edge employing surrogates to rule of optimistic allegory, and its in his ineffectual stead. Piron’s cascade of ever-complicating own career reflects the changing plots overflows the theatre’s times. Unwilling or unable to tidy unities. Like Cervantes’ play the game of appeasing his Don Quixote or the Gulliver’s patrons, he was exiled from Travels of Jonathan Swift, Piron’s the halls of academe and into cross-channel contemporary, the artistic (though financially The Metromaniacs delights in profitable) purgatory of the a fantasy world commenting unregulated fairground theatres. obliquely on its own society. As an outsider to the artistic Did Voltaire, so embarrassed by and political establishment, he this play, learn any lessons from was the ideal writer to provide it? Could it have been swirling in a satirical portrait of a society in the ether when he wrote his own decadent decline. allegorical-satirical-fantastical But if The Metromaniacs is a masterpiece, Candide, over two social satire, it is a magnanimous decades later, in 1759? We’ll one. This play is filled with never know. Courtesy of David memorable characters, all Ives, let’s give the last word to of them ultimately lovable, our ami, Damis: all of them redeemed by the engagement of their fertile Unlike those chatterers who imaginations with the sensual speak in herds, reality of their fellow human We speak the best of all possible beings. Damis, intoxicated by … words. ideas, meets his soul-mate in Francalou, flighty father and author of the amateur theatrical. Drew Lichtenberg is the Literary Manager and If indolence is to be scorned, Resident Dramaturg at STC. He holds an MFA in Dramaturgy & Dramatic Criticism from Yale refulgence is to be celebrated. School of Drama. Within these woods, everyone can be who they really are Illustratio from Elemens de Philosophe de Neuton by by pretending, and theatrical Mr. de Voltaire, ca. 1738, via Wikicommons.

12 Photos of Michael Kahn and David Ives in converssation by S. Christian Taylor-Low.

CLASSICS IN CONVERSATION Michael Kahn and David Ives on The Metromaniacs, Collaboration, and ReDiscovering the Classical Canon

ON THE METROMANIACS

MICHAEL KAHN: I guess I’ve asked you this before, but what was it about this play?

DAVID IVES: What interested me about The Liar was the language. And The Heir Apparent had great potential for physical business, for lazzi. It’s a vaudeville, essentially.

With this play, The Metromaniacs, I wanted to get my hands on these plots. In the original, they were very crude, but there was this great idea of a poet under an assumed identity who doesn’t realize that someone else is under another assumed identity, and those start to mix together. There was potential for such a beautiful structure here. There are more mistaken identities in this play than in all of the plays I’ve ever written.

14 15 MK: The plot is really they can do it well it’s like the complicated, which is the fun Olympics. You think my God, of the play. At one point, when isn’t that fantastic that they can I couldn’t remember which plot do that. was which, you said, “It’s like Raymond Chandler, writing The DI: It’s built into the title. I just Big Sleep.” He couldn’t keep the love the title. La Métromanie. plots straight either. “Metromania” is an obsession with poetry, and it makes sense DI: I spent a lot of time over for them to be speaking in coffee with you at Le Pain rhyming couplets. In this play, Quotidien, trying to get the there was a chance for the plot straight. The Liar and The language to be very upfront, and Heir Apparent were both pretty for me to play with the Chinese straight-ahead. On this play, you boxes of the plot. were giving brilliant notes right from day one. MK: We’ve never done a play in the mid-18th century before. The MK: It is a lot of plots, but Liar was 1640s, and The Heir without a physical object Apparent was 1708, and now that everyone is trying to get. we’re doing a play in 1738. It’s They’re ultimately trying to about as glamorous, as far as get each other. For me it was the costumes, as anything we’ve an interesting challenge: how ever done. I think it’s going to to make all these plots clear, be a feast for the ears as well as and how to make the stage the eyes. I want people to love action vibrant and physical on a the clothes, love the set, and neoclassical set, which doesn’t to really hear the language. I’m allow for a lot of realistic stage pretty sure they’re going to love business. I’ve had a lot of fun that, too. keeping it moving and trying to keep within a style at the ON WORKING WITH same time. EACH OTHER

It’s totally a language play. It MK: The great thing about requires real skill on the part of working with you is, when you the actors. You can’t do these hear your play, bang, you fix it plays without people who can immediately. handle the language on the one hand, and yet not make you think DI: Isn’t that what all they’re rhyming on the other, playwrights do? and yet also not pretend to be naturalistic. Any one of those MK: No, not quite as easily as you would kill the style. It’s a real do… You give up things quicker workout for an actor, and when than I even do.

16 17 DI: Sometimes too quickly. We ON THE REDISCOVERY SERIES just restored a few lines. MK: I’m so pleased that we’ve MK: They were such good jokes! been able to rediscover these plays that were huge successes DI: I remember the first time we in their time and are all but read through The Liar with the forgotten today. By giving it to actors in the room, thinking, “Oh someone like you, they get a my God, I’ve got to change all second lease on life. I think that’s these things.” I also remember a wonderful thing. Piron’s La thinking the ending was totally wrong, and I faxed you the new DI: These three plays have been ending! You called my phone some of the most fun I’ve ever machine and said, “It’s great. Métromanie: had working in the theatre. We’re putting it in.” The Liar is the most fun I’ve ever had working on a play, MK: It was magical. It was so rehearsing a play, coming to Theatre and easy to stage because it was so see a play. I will always feel so clear what had to happen. We grateful to you for that. had so much fun with it. And Reality then, when I saw your School for MK: Well, we’re hoping that Lies [in New York] I realized that we can publish this one and you liked changing endings of complete the “David Ives Trilogy” French plays. of French plays. If you’re looking Alexis Piron by Augustin de Saint-Aubin, ca. 1775, via into any German plays, let us Wikicommons. DI: All of these French plays know. We could start a new have such limp endings! They all volume—eins, zwei, drei, or By Derek Connon mainly in the mixture of song just kind of stop. They’re never whatever it is. and speech known as opera- satisfying the way Shakespeare is. lexis Piron’s play about comique, but the first was the DI: I’ve actually been relearning metromania, the obsession tour de force that is Arlequin- MK: Now, The Metromaniacs Latin, mostly because I want with writing verse, with its Deucalion, a monologue in three has a wonderful ending, it has to go back and read Plautus Aplot about poets and playwrights, acts that kept its audience on the another ending after the ending. and Terence. Plautus remains also has a lot to tell us about theatre edge of their seat by constantly wonderful. It’s like The and literature, and their links threatening to break the law. DI: It’s a bit like Pericles… Honeymooners in Latin. It’s wild, with the real world. Born in 1689 He also quickly became famous wonderful comedy. Terence is in Dijon, Piron, like all aspiring throughout Paris as the foremost MK: It’s great fun. The audience more restrained. When I say I writers at the time, relocated to epigrammatist and sharpest crafter has one expectation to play, like to be in the language, that’s Paris, where he began his theatrical of bon mots. Rather like Oscar and at the very last moment part of what I mean. So maybe a career in 1722 writing inventive Wilde or Noël Coward, Piron made the expectation is turned into Latin Trilogy. comedies for the popular theatres many friends and enemies—and something else. The actors can’t that operated at the big Parisian crafted a formidable celebrity for play it, but it does allow us great MK: That sounds like fun. fairs. These plays, designed to himself —with his wit. In 1728 he freedom to go wherever we feel circumvent the laws prohibiting had fulfilled the ambition of all like stylistically, because it’s going more than one speaking actor dramatists of the time by having to be explained by the ending. onstage at the fair theatres, were his first high comedy performed by

18 19 Interior of the Comédie-Française by A Meunier, ca. 1790, via Wikicommons.

was judged a disaster. He invited who had adopted his female alter his friends as they left the theatre to ego in order to achieve a degree of kiss him on one cheek and slap him fame that had been denied him as on the other. a mere man. On discovering this In 1729 an event occurred that Voltaire tried to save face, writing to caused significant excitement in Desforges-Maillard in February 1735 French literary circles: the Mercure that this change of sex had not altered de France began publishing verse by his admiration at all. A subsequent the female poet Antoinette Malcrais recommendation to reserve poetry de La Vigne, who would eventually for his spare time contradicts this. become known as “the Breton muse.” For Alexis Piron, this was too Although she was far from the first good a story to ignore. Much of female French writer, the event Piron’s poetry takes the form of was still unusual enough to attract satirical epigrams, and one of his Iffland ud Labe in Der Geizige by Friedrich Weise, ca. 1775, via Wikicommons. attention, and a number of important more endearing features being that authors of the time expressed he did not seem to care whom he the prestigious Théâtre Français, he scored a major hit in 1733 with admiration for her, including—most upset, he cast his satirical net wide. the direct ancestor of the modern Gustave Wasa, which became one famously—Voltaire. Indeed, in 1732 So, even though Voltaire-baiting Comédie Française. Of course, it of the most successful tragedies he even went as far as to publish a was a favourite sport, his interest in was tragedy that was the most of its age. He had a similarly poem in praise of her that stopped the incident of the Breton muse was respected form at the time, so it mixed reception with a double bill just short of including a declaration clearly inspired by the discomfiture is unsurprising that he decided to consisting of a short comedy and of love. In due course the truth of all the participants, Voltaire try his luck at that, too. The results a pastorale in 1734: the pastorale was revealed: the poetess was the included. What is more unusual for were mixed: his first, produced was well received, but the comedy, invention of Paul Desforges-Maillard, Piron is that he chose to weave the in 1730, was a relative failure, but as Piron had guessed in advance,

20 21 Bucephalus/La Mort de Bucéphale.” be a flop surely represents Piron’s There is more than one joke here: own experience. We can also point first, for an 18th-century audience to a comment made by Damis’s this is a tragedy about the death of servant in the original text that he a horse. Second, it was an accepted is likely to fall into the ditch of a principal at the time that all tragedies ha-ha while reciting poetry as an had five acts; the idea of a tragedy allusion to an accident that Piron, with six is funny because more whose eyesight was very weak, than five suggests the tedium of suffered on the estate of his wealthy something that does not know when patron the Comte de Livry. We to stop. Third, Piron is taking another might also think of Piron when shot at Voltaire, and his similarly Damis criticizes Francaleu’s comedy titled three-act tragedy La Mort de L’Indolente for having too many plot César. A modern audience cannot, lines, in violation of neoclassical of course, be expected to spot these rules dictating the unity of action. topical references, so David Ives Of course, if we wish to identify a compensates by making Francalou’s real-life example of a play with three work “a dirge in seven acts.” plotlines, the most likely candidate Vue de la nouvelle décoration de la Foire Saint-Germain, via Wikicommons However, Voltaire is not the only is La Métromanie itself, an unusually story into a play, rather than simply de Peaudoncqville,” which is person we will find echoes of in complex comedy for the period. writing a satirical poem about it, similarly outrageous for an the play. Damis, the character most In fact, rather than taking mere and that the play is very far from English-speaking public. identified with Voltaire, is struggling satirical potshots at Voltaire, Piron a straightforward retelling of the Judging from the historical to choose between poetry and the seems to be dramatizing something actual events. However, Voltaire’s narrative, we might assume that law, a choice made by Piron himself; more complicated and timeless: the correspondence reveals that this did Francaleu represents Desforges- Damis’s beautifully realized portrait instability of identity pervades the not stop him identifying himself as Maillard, while Damis, the admirer of an author who realizes before whole play. the principal object of Piron’s satire. of his female avatar, is Voltaire. his play is performed that it will In the play, would-be poet And yet this does not always work. Francaleu (Francalou in David Like Voltaire, Damis adopted a Ives’s translation), adopts the pseudonym, “M. de L’Empyrée” alter ego of “Mlle Mériadec de (Ives’s “Cosmo de Cosmos” picks Derek Connon is Professor of French at Swansea University. He is the author of a monograph on the theater of Piron, Identity and Transformation in the Plays of Alexis Piron, and of critical editions Kersic from Quimper” to publish up the celestial associations of the of four of his plays for the Parisian fairs. He has also published two monographs on the philosophe his poetry. Bretons were a comic original), Francaleu has the equally Diderot, Innovation and Renewal and Diderot’s Endgames, and, with harpsichordist and cliché in Piron’s time, for exactly Voltairean characteristic of subjecting musicologist Jane Clark, The Mirror of Human Life: Reflections on François Couperin’s “Pièces th the reasons given by David Ives— others to readings of his work— de Clavecin.” He has published a number of academic articles on French theatre from the 17 to the 20th centuries and is currently General Editor of the Modern Language Review. they are “hicks who live in the Voltaire regaled visitors to his home sticks.” The comedy of the name to virtually non-stop readings and Excerpted from full article published in the e-book Guide to the Season’s Plays 2014-15 available for chosen by Piron, which resides performances, mostly of his own purchase for the Kindle or Nook. in its harsh Breton sounds, is works, whether they liked it or rather lost in translation. Hence not. Francaleu has also written a David Ives’s change to “Meriadec tragedy in six acts, “The Death of

22 23 CAST BIOGRAPHIES PLAY IN PROCESS DANNY CACKLEY Shakespeare Theatre of New Jersey: Servant The Grapes of Wrath, Comedy of Errors, REGIONAL: National The Rivals, That Scoundrel Scapin, The Players: Macbeth Merchant of Venice, Antony and Cleopatra; (Macduff), Comedy Eugene O’Neill Theater Center: of Errors (Antipholus of Syracuse), Carthage, The Woodpecker. TELEVISION: Odyssey (Elpenor); Folger Theatre: Unforgettable, The (718), Tough Crowd,

Othello (Cassio/Montano U/S); As the World Turns, Guiding Light. Dina Thomas as Lisette Director Michael Kahn Anthony Roach as Dorante Studio Theatre: Walworth Farce (Blake TRAINING: Rutgers University: BFA. U/S); Flying V Theatre: Flying V WEB: www.christianconn.com. Fights: Love is a Battlefield (Ensemble); Discovery Theater: Coyote Mischief ROSS DESTICHE+ Tales (Coyote); Adventure Theatre Servant MTC: Stuart Little (Stuart Little STC: The Tempest. U/S); Brave Spirits Theatre: REGIONAL: Romeo & Juliet (Mercutio); Young Walking Shadow Playwrights’ Theater: New Play Theatre Company: Gabriel, The Festival(s) 2012/2013 (Ensemble); Three Musketeers; Back Room Faction of Fools: A Commedia Romeo Shakespeare Project: Julius Caesar. & Juliet (Romeo), Tales of Marriage & INTERNATIONAL: Egg Theatre Mozzarella (Flavio). (Bath): How I Became a Pirate. FILM: Dear White People, The Control Group. CHRISTIAN CONN* TRAINING: University of Minnesota Damis /Guthrie BFA Actor Training STC: Dorante in The Program. WEB: rossdestiche.com. Liar, Tom Aimwell in

The Beaux’ Stratagem, MICHAEL Dina Thomas as Lisette and Michael Goldstrom as Mondor Amelia Pedlow as Lucille Dumaine in Love’s Labor’s Lost (Free GOLDSTROM* For All, Carter-Barron). NEW YORK: Mondor Broadway: Desire Under the Elms; NEW YORK: Off-Broadway: 59e59 Theaters: Tiny Broadway: Mambo Kings Dynamite; The Acting Company: (workshop). Off-Broadway: Kitty Kitty Pudd’nhead Wilson, Taming of the Kitty, The Complete Works of William Shrew; Manhattan Ensemble Theatre: Shakespeare (Abridged), Can-Can with Dostoyevsky’s The Idiot. REGIONAL: Patti Lupone, Modern Orthodox (East Studio Theatre: Venus in Fur; Guthrie Coast Premiere). REGIONAL: Modern Theater: Other Desert Cities; Asolo Orthodox (West Coast Premiere, LA Repertory Theatre: Philadelphia, Here I Weekly Nomination), LUV, Old Wicked Come, The Grapes of Wrath; PlayMakers Songs, All in the Timing, Merchant of Repertory Company: Angels in America, Venice. FILM: Comedy Central’s first All My Sons; Syracuse Stage: King Lear, film Porn ’n Chicken; Sigmund Freud The Lieutenant of Inishmore, Bug; Hangar in Freud’s Magic Powder (Locarno); Theatre: Playboy of the Western World; NBC: Equal Opportunity; Genghis Christian Conn as Damis Christian Conn as Damis and Michael Goldstrom as Mondor In rehearsal for The Metromaniacs, directed by Michael Kahn. Photos by S. Christian Taylor-Low. 24 25 Cohn in The Dance of Genghis Cohn; Hamburg and throughout Austria and OTHER: He’s a real-life metromaniac, Premiere); American Repertory Theatre; Press or Say ‘2’ (writer/director). Switzerland in plays from Von Kleist, having published a volume of poetry: Shakespeare Theatre of NJ; Cincinnati TELEVISION: Dreamworks/Cartoon Shakespeare, Molière, Ustinov, and Everything All At Once (w/ Wesleyan Playhouse; Shakespeare & Co.; Dorset Network: Dragons; Disney: Ben 10: Shaw and in musicals such as West Side University Press), and A Swindler’s Theatre Festival; Shakespeare Festival Omniverse; A&E: The Lost Battalion; Story and Cabaret. FILM: The Mayor of Grace (forthcoming in October 2015 of St. Louis; Arizona Theatre Company; Merchant Ivory: Heights; HBO: The N.Y.C. in Spike Lee’s Inside Man, Miracle from New Issues Press). Kitchen Theatre Company; Portland Sopranos; NBC: Law & Order: SVU; at St. Anna’s; In Berlin: Escape to Freedom, Stage Company; Alabama Shakespeare Jelly; Approaching Union Square. White Star; TELEVISION: Numerous AMELIA PEDLOW* Festival; Vermont Stage Company. OTHER: Los Angeles Philharmonic: television appearances in Germany, Lucille FILM: Title role in the musical-comedy Prokofiev’s Peter and the Wolf; New Ireland and the U.S. TRAINING: STC: Hermia in A The Adventures of Buckskin Jack; Miles York Philharmonic: Stravinsky’s A London’s Webber-Douglas School. Midsummer Night’s from Nowhere. TRAINING: Columbia Soldier’s Tale. CSULB: Clemenza di Tito Dream, Jessica in The University: BA; ART/MXAT Institute at (director). Stand-up comedy in New ADAM LeFEVRE* Merchant of Venice. NEW YORK: Off- Harvard University: MFA. York and Los Angeles. INSTRUCTOR: Francalou Broadway: Classic Stage Company: Los Angeles Opera Domingo-Thornton NEW YORK: Broadway: The Heir Apparent; The Pearl Theatre DINA THOMAS* Young Artist’s Program: Acting; Wolf The Devil’s Disciple, Company: You Never Can Tell. Lisette Trap Foundation for the Performing Summer and Smoke, REGIONAL: La Jolla Playhouse, NEW YORK: Off- Arts: Acting. TRAINING: Juilliard Our Country’s Good (U.S. premiere), Hartford Stage and Huntington Broadway: Barrow School Drama Division; The London Footloose, the Musical, Mamma Mia, Theatre Company: Ether Dome; Street Theatre: Tribes; Academy of Music and Dramatic Art; Guys and Dolls (2009 revival), Priscilla, Denver Center Theatre Company: REGIONAL: La Jolla Playhouse: Tribes; Columbia University: BA. Queen of the Desert; Off-Broadway: Hamlet, The Liar; Cleveland Play Barrington Stage Theatre Company: Signature Theatre: Horton Foote’s House: Legacy of Light; Virginia Stage 10x10, See How They Run; Unicorn PETER KYBART* The Old Friends (premiere); Womens’s Company: The Diary of Anne Frank, Theatre: Bad Jews, Distracted, Miss Baliveau Project Theater: The Most Deserving, The Tempest; Chautauqua Theatre Witherspoon, Hungry (world premiere); NEW YORK: Broadway: How the World Began; Primary Stages: Company: The Glass Menagerie, Death Berkshire Playwrights Lab: Release Tony Award®-winning Him; Roundabout’s Laura Pels of a Salesman, A Midsummer Night’s Point; National New Play Network: production of Awake Theater: The Marriage of Bette and Dream, Sick. TELEVISION: The Good Green Whales; Cider Mill Playhouse: and Sing (also Drama Desk Award), Boo; Flea Theater: Mr. Landing Takes Wife, Blue Bloods. TRAINING: B.F.A. Death of a Salesman, Fiddler On The Roof. Tony Award®-nominated The Diary of a Fall. REGIONAL: Performed new The Juilliard School. OTHER: Staged readings for Red Bull Anne Frank, National Actor’s Judgment and classic plays around the country Theater, Project Y Theatre Company, at Nuremberg. Off-Broadway: Recent at theatres such as Hartford Stage, ANTHONY ROACH* Abingdon Theatre Company. credits include Andorra, Cymbeline, Yale Repertory Theatre, Long Wharf Dorante EDUCATION: MFA, University of Beckett-Albee. REGIONAL: Credits Theatre, Westport Country Playhouse, STC: The Importance of Missouri-Kansas City. include Actors Theatre of Louisville, Huntington Theatre Company, The Being Earnest, All’s Well Huntington Theatre Company, La Alley Theater, La Jolla Playhouse That Ends Well (mainstage Jolla Playhouse, Syracuse Stage, and Actors Theater of Louisville. and Free For All), Mrs.Warren’s McCarter Theatre, Virginia Stage FILMS: Featured in over 75 films Profession, The Liar, The Imaginary Invalid. Company, Olney Theatre Center, over the years, from John Sayles’s NEW YORK: Company member Goodman Theatre, Chautauqua Return of the Secaucus 7 to The Adderall of TACT: You Can’t Take it With You, Theatre Company, Aurora Theatre, Diaries (w/ James Franco), Freehold Separate Tables, French Without Tears (all among others. INTERNATIONAL: (w/ Julianne Moore), Wild Oats (w/ Salon Series); Primary Stages: The Men Elizabethan Theater Trust (Australia): Shirley Maclaine; to be released in (World Premiere, workshop); Studio 42: St. Joan (with Zoe Caldwell) and other 2015). TELEVISION: HBO: Empire Gaugleprixtown. REGIONAL: Hartford plays. A Native of Berlin, Germany, he Falls, Recount; numerous guest roles on Stage: Hamlet; George Street/Cleveland performed for 14 years in Berlin and episodic network and cable TV shows. Play Houses: Rich Girl (World

26 27 ARTISTIC BIOGRAPHIES WNO REVIVAL! David Ives Women, Fully Committed, Full Gallop, Adapter Frankie and Johnny in the Claire de RICHARD WAGNER STC: The Liar (winner of the Charles Lune, Cowgirls, Ruthless!, Breaking MacArthur Award for Outstanding Legs, Boys in the Band, The Women New Play); The Heir Apparent. in Black; Irish Repertory Theatre; THE FLYING NEW YORK: Broadway: Venus In Manhattan Theatre Club; Signature Fur; Is He Dead? (adapted from Theatre; Lincoln Center Theater; Mark Twain); White Christmas. Playwrights Horizons; Second Off-Broadway: Classic Stage Stage; National Actors Theatre; Company: New Jerusalem (winner Atlantic Theater Company; DUTCHMAN The ® of the Hull-Warriner Award); Primary Stages; Roundabout Formidable bass-baritone and Grammy winner Eric Owens—one of the School For Lies (adapted from The Theatre. NATIONAL TOURS: Jekyll most in-demand American opera stars of our day—makes his staged role debut Misanthrope); Primary Stages: All and Hyde, Full Gallop, The Gin Game, in Wagner’s powerful retelling of the nautical legend of a tormented captain in the Timing, Time Flies, Ancient Stieglitz Loves O’Keeffe, Breaking Legs, condemned to wander the seas in search of unconditional love. History, Lives Of The Saints. Three Tall Women, Fully Committed. REGIONAL: Chicago Shakespeare: OPERA: Lyric Opera of Chicago, “American bass-baritone Eric Owens speaks to you A Flea in Her Ear (winner of Joseph Washington National Opera, Los even in his silences…. and shakes you when he sings.” Jefferson Award for adaptation). Angeles Opera, Houston Grand, AWARDS: Guggenheim Fellowship New York City, Glimmerglass, —The Chicago Sun-Times in playwriting. TRAINING: Canadian Opera, Portland Opera. Northwestern University; Yale TELEVISION: Sweeney Todd, Passion, School of Drama. Candide, Camelot, Company (shown in movie theatres). AWARDS: Drama Michael Kahn Desk Award, American Theatre Director Wing Design Award, LA Ovation See page 36 Award, two Helen Hayes Awards. INSTRUCTOR: Boston University James Noone School of Theatre Arts. Scenic Director STC: Affiliated Artist; A Funny Murell Horton Thing Happened on the Way to the Costume Designer Forum, The Government Inspector, STC: Coriolanus, Wallenstein, The ERIC OWENS, PHOTO BY CORY WEAVER ERIC OWENS, PHOTO BY CORY Two Gentlemen of Verona, The Boys Government Inspector (Helen Hayes TICKETS ON SALE NOW! From Syracuse, The Alchemist, Design nomination), The Heir Apparent, The MAR. 7–21 for Living, Julius Caesar, Antony Liar (Helen Hayes nomination), Kennedy Center Opera House (202) 467-4600 and Cleopatra, Major Barbara, The The Alchemist, Edward II, Hamlet Mar. 7, 9, 11, 13, 15 mat, 19, & 21, 2015 kennedy-center.org Persians, Othello, Cyrano. NEW (2007), Titus Andronicus, Lorenzaccio Performed in German with projected English titles. Tickets also available at the Box Office. YORK: Broadway: Lady Day at (Helen Hayes nomination), Richard Titles may not be visible from the rear of the orchestra. Groups (202) 416-8400 Emerson’s Bar & Grill, A Time to Kill, III (2003), Hamlet (2002), The Silent A Bronx Tale, Come Back Little Sheba, Woman, Hedda Gabler (Helen Hayes Major support for WNO is provided by Jacqueline Badger Mars. Match, Urban Cowboy, A Class Act, nomination), Camino Real (Helen David and Alice Rubenstein are the Presenting Underwriters of WNO. Judgment at Nuremberg, Jekyll and Hayes nomination). AWARDS: 2007 General Dynamics is the proud sponsor of WNO’s 2014-2015 Season. Hyde, The Rainmaker, Night Must Irene Sharaff Young Master Award Fall, The Sunshine Boys, Getting for costume design. NEW YORK: WNO acknowledges the longstanding generosity of Life Chairman Mrs. Eugene B. Casey. and Spending, The Gin Game; Off- Jeffrey Finn Productions, The Acting Additional support for The Flying Dutchman is provided by the Dallas Morse Coors Foundation for the Performing Arts Broadway: The Persians, Three Tall Company, The Juilliard School, Pearl

29 Theatre Company. REGIONAL: National Centre for the Performing Free For All), Love’s Labor’s Lost Ellen O’Brien Guthrie Theater, Oregon Shakespeare Arts (NCPA) in Beijing. TRAINING: (Mainstage and RSC), Othello, Voice & Text Coach Festival, Denver Center Theatre, North Carolina School of the Arts; Five by Tenn, Cyrano de Bergerac, See page 37 Cleveland Playhouse, Philadelphia Yale School of Drama: MFA. Henry IV, Part 1 and Part 2, The Theatre Company, Berkshire Theatre Winter’s Tale, Romeo and Juliet, The Carter C. Wooddell Festival, Shakespeare Theatre of New Matt Tierney Duchess of Malfi, Hamlet, Hedda Resident Casting Director Jersey, Madison Repertory Theatre, Sound Designer Gabler, Camino Real, The Merchant See page 37 Indiana Repertory Theatre. OPERA: STC: The Winter’s Tale. NEW YORK: of Venice, King John, Twelfth Night, New York City Opera, Houston Broadway: Roundabout: Machinal Sweet Bird of Youth, The Tempest, Laura Stanczyk, CSA Grand Opera. (2014 Tony Award® nomination, Mourning Becomes Electra, Henry Casting Director Drama Desk Award). Off-Broadway: VI, Henry V, Macbeth, Henry IV, STC: The Tempest, As You Like It, Mark McCullough Signature: Our Lady of Kibeho; Richard II, Hamlet, Troilus and The Winter’s Tale, Strange Interlude, Lighting Designer Playwrights Horizons: Pocatello, Cressida, Measure for Measure. NEW Old Times. UPCOMING: Man of La STC: Coriolanus, Wallenstein, Design The (curious case of the) Watson YORK: Manhattan Theatre Club: Mancha. NEW YORK: Broadway, for Living, Julius Caesar, Anthony and Intelligence, Detroit, Kin, This; Theatre Five by Tenn; The Public Theater: Off-Broadway, National Tours: Cleopatra, Edward II, Tamburlaine, for a New Audience: A Midsummer Temptation; The Joyce Theater: Side Show, After Midnight, A Night Titus Andronicus; Richard III, Hamlet, Night’s Dream (Julie Taymor, dir.); 1984. REGIONAL: Guthrie Theater, With Janis Joplin, Follies, Cotton Henry V, Richard II. NEW YORK: Soho Repertory Theatre: generations, Denver Center Theatre Company, Club Parade, Lombardi, Ragtime, Broadway: Outside Mullingar, The An Octoroon, Uncle Vanya, The Signature Theatre, Santa Cruz Impressionism, The Seafarer, Radio Golf, American Plan, Accent on Youth, After Ugly One, A Public Reading…Walt Shakespeare, Great Lakes Theater, Coram Boy, The Glorious Ones, Flight, Miss Julie, Jesus Christ Superstar Disney, Blasted (Hewes Award); The Berkshire Theatre Festival, Wilma Translations, Tryst, Dirty Dancing; (Broadway; National and UK Tour); Public: Arguendo; LCT3: Luck of the Theater, Idaho Shakespeare Atlantic Theater Company: The Off-Broadway: The Language Archive, Irish; New York Theatre Workshop: Festival, PlayMakers Repertory Cripple of Inishmaan (also national Old Money, Mouth to Mouth, How I Elevator Repair Service’s The Sound Company, Mum Puppettheatre, tour); Encores! Summer Stars: Damn Learned to Drive, The Long Christmas and the Fury (April Seventh, 1928) Philadelphia Theatre Company, Yankees, Urinetown (also national Ride Home, This is Our Youth, Lobby (2009 Lortel nomination); The Select Walnut Street Theatre. OTHER: tour); Lincoln Center Festival: Gate/ Hero. REGIONAL: Court Theatre; La (The Sun Also Rises) (2012 Lortel, Concert Works: 21st Century Beckett. REGIONAL: Alliance Jolla Playhouse; Mark Taper Forum; Obie Awards); Manhattan Theatre Consort; Orchestra 2001; Network Theatre: Bull Durham; Center Theatre Long Wharf Theatre; Hartford Stage; Club: That Face. REGIONAL: for New Music; American Group: Harps and Angels; Alley The Huntington Theatre; Center McCarter Theatre Center, American Composers Forum; Original Works: Theatre: Gruesome Playground Injuries, Stage; The Old Globe; Oregon Repertory Theater, Alley Theatre, Sleeping Beauty (2006), The Princess The Monster at the Door; Kennedy Shakespeare; Guthrie Theater, Woolly Mammoth Theatre Company, and the Pea (2004): original musicals Center: Side Show, The Guardsman, Follies, Master Class, The Lisbon Steppenwolf Theatre Company. BAM, Long Wharf Theatre, Center with book and lyrics by Kate Traviata, Ragtime, Broadway: Three INTERNATIONAL: Aldwych Theatre Group. The Wooster Group: Hawley. Generations; Philadelphia Theatre Theatre, London: Whistle Down the Hamlet (The Public Theater, 2008 Company: Golden Age; Royal George Wind; Ronacher Theatre, Vienna: Der Lortel nomination), Who’s Your Frank Ventura Theatre: Don’t Dress for Dinner; seven Besuch Der Alten Dame Dada?! (Museum of Modern Art), Period Movement Consultant ; St. Gallen, seasons of casting for McCarter Switzerland: Artus, Rebecca (and The Emperor Jones; Young Jean STC: The Heir Apparent, The Liar, Theatre Center. INTERNATIONAL: the Palladium Theatre, Stuttgart); Lee’s Theater Company: Lear, The The Way of The World. NEW YORK: Druid Theatre Company: My Brilliant U.K. tour of Jesus Christ Superstar. Shipment, Church. Broadway: The Winslow Boy, The Divorce; The Gaiety Theatre, Dublin/ OPERA: Metropolitan Opera; The Importance of Being Earnest, After Miss West End: The Shawshank Redemption; Bolshoi; La Scala; New York City Adam Wernick Julie, The Constant Wife, Top Girls, Druid Theatre Company/Dublin Opera; Washington National Opera; Composer Winchell; Off-Broadway: The New Theatre Festival: Long Day’s Journey Glimmerglass; Lyric Opera of STC: Measure for Measure, The York Idea, Tartuffe, Annie Warbucks, No into Night; Has consulted for The Chicago; San Francisco Opera; Teatro Government Inspector, The Heir Frills Revue, Kiss Me Quick. OTHER: Lyric Theatre in Belfast, Rough Real Madrid; Royal Opera House Apparent, All’s Well That Ends Well Founder/Executive Artistic Director Magic Theatre Company in Dublin, Covent Garden; Opéra National du (Mainstage and Free For All), The of CAP21. The Gate Theatre in Dublin, The Rhin; Opera North; Dallas Opera; Liar, The Alchemist, The Way of the Druid Theatre in Galway. Opéra de Montréal; Seattle Opera; World, Hamlet (Mainstage and

31 Drew Lichtenberg Rosensweig, The Women, Take Me Out; Literary Manager/Dramaturg eight seasons at Seattle Repertory See page 37 Theatre; four seasons at the 5th Avenue Theatre, Center Stage, Long Craig Baldwin Wharf Theatre, Pittsburgh Public Assistant Director Theater, and others. UPCOMING: STC: The Tempest. NEW YORK: New Alliance Theatre: Blues for an Alabama York International Fringe Festival: Sky. INSTRUCTOR: University Magic Kingdom, The More Loving of Washington School of Drama. One (Best Overall Production of a TRAINING: Carnegie Mellon: BFA in Play); August Strindberg Repertory Production/Directing. Theatre: Mr. Bengt’s Wife; Atlantic Theater School: A Midsummer Night’s Elizabeth Clewley* Service. Accountability. Better Government. Dream; HERE Arts Center: Ingmar Assistant Stage Manager Bergman’s Persona; Roundabout STC: As You Like It, The Importance Organizational Effectiveness Organizational Development Theatre Company: Look Back in Anger of Being Earnest (Stage Manager); Program Development (dir. Sam Gold); Atlantic Theater As You Like It, The Winter’s Tale for Federal Leaders Company: Dusk Rings a Bell (dir. (Free For All and Main Stage), Professional Development Sam Gold); Classic Stage Company: Private Lives, Wallenstein, The M Powered Strategies is a proud sponsor of the Collaboration Shakespeare Theatre Company and their Accessibility Services MacB**h (workshop); Outhouse Government Inspector, The Servant Theatre Co: Mercy Thieves (U.S. of Two Masters, The Two Gentlemen 1616 H Street, NW, Suite 1010 Premiere), The Boys (U.S. Premiere); of Verona, Much Ado About Nothing, Washington, DC 20006 Lincoln Center Theater Director’s Lab: Julius Caesar (Free For All), Old www.mpoweredstrategies.com | 202.628.3115 MacB**h (workshop), Marymount Times, Cymbeline, Twelfth Night Manhattan College: Columbinus; (Free For All), The Liar (Assistant REGIONAL Opera House Arts: Stage Manager) REGIONAL: Antony and Cleopatra; SUNY Purchase Hartford Stage: Macbeth, La College: The Miser. Craig is the Dispute (Assistant Stage Manager), Associate Artistic Director of Red Hartford Stage 50th Anniversary Bull Theater, an Artistic Associate Gala (Stage Manager); Theater of Classic Stage Company, and a of the American South: Driving member of Lincoln Center Theater Miss Daisy (Stage Manager); Director’s Lab. OTHER: WEB: I [heart] Cape Fear Regional Theatre: Lucy. TRAINING: The Julliard School. Thoroughly Modern Millie, Rodgers WEB: www.craigbaldwin.net. and Hammerstein’s Cinderella, Tuesdays with Morrie (Stage Bret Torbeck* Manager). INTERNATIONAL: Stage Manager International Festival of Arts STC: As You Like It, Coriolanus, 2012 and Ideas; International VSA & 2013 Harman Center for the Arts Festival TRAINING: East Gala, Velocity DC Festival. NEW Carolina University: BFA in Stage YORK: Off-Broadway: Vineyard: Management. Miracle Brothers. REGIONAL: The Old Globe: The Two Gentlemen of Verona, The Merchant of Venice, Rosencrantz and Guildenstern…, A Midsummer Night’s Dream, Richard III, As You Like It, Inherit the Wind, The Tempest, Much Ado About Nothing, Amadeus, Sisters Daily Command Performances.

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Michael Kahn McCarter Theatre Center: Artistic Director for five Chris Jennings Before Breakfast, The Filthy Habit, Photo- Artistic Director seasons, including Beyond the Horizon, filmed for Managing Director Op; The In Series: Dido and Aeneas, El Amor STC: Henry IV, Part 1 and 2, PBS; Chautauqua Theatre: Artistic Director, STC: Joined the Company in Brujo; Strathmore: Butterfly/Saigon, Blind Wallenstein, The Government The Glass Menagerie including with Tom Hulce; 2004. ADMINISTRATION: Dates. Finalist for the 2013 European Opera Inspector, Strange Interlude, The Goodman Theatre: Old Times (MacArthur Award), General Manager: Trinity Directing Prize (Vienna, Austria). WEB: Heir Apparent, Old Times, All’s The Tooth of Crime (Jefferson nomination); Ford’s Repertory Company (1999– AlanPaulDirector.com Well That Ends Well, The Liar, Theatre: Eleanor. OPERA: Romeo and Juliette for 2004), Theatre for a New Audience (1997– Richard II, The Alchemist, Design for Living, The Dallas Opera; Vanessa for the New York City 1999); Associate Managing Director: Yale Drew Lichtenberg Way of the World, Antony and Cleopatra (2008), Opera (2007); Lysistrata or The Nude Goddess for Literary Manager Tamburlaine, Hamlet (2007), Richard III (2007), The Houston Grand Opera and New York City Opera; Repertory Theatre; Assistant to the Executive Beaux’ Stratagem, Love’s Labor’s Lost, Othello, Vanessa for Washington Opera and Dallas Opera; Producer: Manhattan Theater Club; Founder/ STC: The Tempest, As You Like It, Private Lives, Lorenzaccio, Macbeth (2004), Cyrano, Five by Tenn Show Boat for Houston Grand Opera; Carmen for Producing Director: Texas Young Playwrights Henry IV, Part 1 and 2, The Importance of Being (at the Kennedy Center), The Silent Woman, The Houston and Washington Operas; Carousel for Festival; Manager: Dougherty Arts Center. Earnest, A Funny Thing Happened on the Way Winter’s Tale (2002), The Duchess of Malfi, The Miami Opera; Julius Caesar for San Francisco MEMBERSHIPS: Currently serves on the to the Forum, Measure for Measure, Coriolanus, Oedipus Plays, Hedda Gabler, Don Carlos, Timon of Spring Opera. INTERNATIONAL: Love’s Labor’s Board of the Theatre Communications Group, Wallenstein, Hughie, A Midsummer Night’s Athens, Camino Real, Coriolanus, King Lear (1999), Lost at the Royal Shakespeare Company’s DC Downtown BID, THE ARC, DC Arts Dream, The Government Inspector, The Merry The Merchant of Venice, King John, A Woman of No Complete Works Festival; The Oedipus Plays at the Collaborative, the Penn Quarter Neighborhood Wives of Windsor, The Servant of Two Masters, Importance, Sweet Bird of Youth, Peer Gynt, Athens Festival; Five by Tenn for The Acting Association, Theatre Washington, and is a Strange Interlude, The Two Gentlemen of Verona, Mourning Becomes Electra, Henry VI, Volpone, Company’s tour of Eastern Europe; Show Boat for member of the League of Resident Theatres Much Ado About Nothing, The Heir Apparent. Henry V, Henry IV, The Doctor’s Dilemma, Richard the National Cultural Center Opera House in (served on AEA and SSDC Negotiating REGIONAL: STC/McCarter Theatre Center: II, Much Ado about Nothing (also at McCarter Cairo; The White Devil for the Adelaide Festival. Committees); has served as a panelist for The Winter’s Tale; Center Stage: Caroline, or Theatre Center), Mother Courage and Her Children, BOARD MEMBERSHIPS: Theatre the NEA, DC Commission on the Arts, Mid Change, Cyrano, Around the World in 80 Days; Hamlet, Measure for Measure, King Lear (1991), Communications Group; New York State Council Atlantic Arts Foundation and Pew Theatre Yale Repertory Theatre: Lulu (dir. Mark Richard III (1990), The Merry Wives of Windsor, on the Arts; D.C. Commission on the Arts and Initiative. AWARDS: Arts Administration Lamos); Williamstown Theatre Festival: The Twelfth Night, As You Like It, Antony and Cleopatra Humanities; National Endowment for the Arts; Fellowship: National Endowment for the Arts. Front Page, The Physicists, The Corn is Green; (1988), Macbeth (1988), All’s Well That Ends Well, Opera America’s 80s and Beyond. AWARDS: TRAINING: University of Miami: BFA in New York Shakespeare Festival: Macbeth The Winter’s Tale (1987), Romeo and Juliet. NEW Commander of the British Empire (C.B.E.); Theatre/Music; Yale School of Drama: MFA in (dir. Moisés Kaufman); OTHER: Yale School YORK: Broadway: Show Boat (Tony nomination), Theater Hall of Fame; seven Helen Hayes Awards Theatre Management. of Drama: Tarell McCraney’s In the Red and Cat on a Hot Tin Roof, Whodunnit, Night of the for Outstanding Director; 2011 CAGLCC Brown Water (US premiere); TEACHING: Tribades, Death of Bessie Smith, Here’s Where I Excellence in Business Award; 2010 WAPAVA Belong, Othello, Henry V; Off-Broadway: Richard Bauer Award; 2007 Mayor’s Arts Award Alan Paul Catholic University of America; Eugene Lang Manhattan Theatre Club: Five By Tenn, Sleep Special Recognition for Shakespeare in Associate Artistic Director College at the New School. TRAINING: Yale Deprivation Chamber, Funnyhouse of a Negro, The Washington; 2007 Stephen and Christine STC: As You Like It (Associate Director), The School of Drama: MFA in Dramaturgy & Rimers of Eldritch, Three by Thornton Wilder, A Schwarzman Award for Excellence in Theatre; Winter’s Tale (Free for All), Henry IV, Parts Dramatic Criticism. Month in the Country, Hedda Gabler, The Señorita 2007 Sir John Gielgud Award for Excellence in the 1 and 2 (Associate Director), A Funny Thing from Tacna, Ten by Tennessee; New York Dramatic Arts; 2005 Person of the Year from the Happened on the Way to the Forum (2014 Ellen O’Brien Shakespeare Festival: Measure for Measure National Theatre Conference; 2004 Shakespeare Helen Hayes Award for Best Director of a Head of Voice and Text (Saturday Review Award). Artistic Director: The Society Medal; 2002 William Shakespeare Award Musical), The Boys from Syracuse, Twelfth Night STC: More than 50 productions over 11 Acting Company, 1978–1988. TEACHING: for Classical Theatre; 2002 Distinguished (Free for All), numerous galas, readings, seasons. ACADEMY FOR CLASSICAL Richard Rodgers Director of Juilliard Drama Washingtonian Award from The University Club; and special events; Assistant Director: 13 ACTING: 22 productions of Shakespeare Division July 1992–May 2006, faculty member 2002 GLAAD Capitol Award; 1997 Mayor’s Arts shows. THEATRE DIRECTING: Signature and Jacobean plays. REGIONAL: Ford’s 1967–; Shakespeare Theatre Company Academy Award for Excellence in an Artistic Discipline; Theatre: I Am My Own Wife; Studio Theatre Theatre, Arena Stage, Charlotte Repertory for Classical Acting at the George Washington 1996 Opera Music Theater International’s Bravo 2ndStage: The Rocky Horror Show (co-director); Company, Aurora/Magic Theaters; People’s University. Previously: New York University; Award; 1990 First Annual Shakespeare’s Globe Catholic University: Man of La Mancha; Light and Theatre Company; Shakespeare Circle in the Square Theatre School; Princeton Award; 1989 Washingtonian Magazine University of Maryland: The Matchmaker; Apex Santa Cruz; North Carolina Shakespeare University; British American Drama Academy; Washingtonian of the Year; 1989 Washington Post Theatre Company: Richard II; Northwestern Festival. PUBLICATIONS: Articles in The founder of Chautauqua Theatre Conservatory. Award for Distinguished Community Service; University: Six Degrees of Separation; readings Voice and Speech Review, Shakespeare in the REGIONAL: Arena Stage: A Touch of the Poet; 1988 John Houseman Award. HONORARY for Studio Theatre, Arena Stage, Woolly Twentieth Century, Shakespearean Illuminations, Signature Theatre: Pride in the Falls of Autrey Mill, DOCTORATES: University of South Carolina; Shakespeare Survey, Shakespeare Quarterly, Otabenga; Guthrie Theater: The Duchess of Malfi; Kean College; The Juilliard School; The American Mammoth Theatre Company, The National American Repertory Theatre: ‘Tis Pity She’s a University. Academy of Sciences, The Phillips Collection, Shakespeare and the Arts, The Voice and Speech Whore; American Shakespeare Theatre: Artistic The Goethe Institut, Georgetown University. Review: Associate Editor for Heightened Director for 10 years, more than 20 productions; OPERA DIRECTING: Washington National Text, Verse and Scansion. TRAINING: Yale Opera: Penny; Urban Arias: Blind Dates, University: MA, MPhil, PhD (English);

36 37 Central School of Speech and Drama/The Curse (dir: Matt Lenz), Beckett Theatre: An Open University (London): Advanced and Error of the Moon (dir: Kim Weild); NYC Post-Graduate Diplomas in Voice Studies. Other: Lincoln Center Institute: Hamlet, TEACHING: Academy for Classical Acting; Fly, Sheila’s Day. NATIONAL TOURS: The MAN OF University of California, Santa Cruz; Guilford Acting Company, Riverdance. REGIONAL: College; Kirkland College. Alley Theatre, Center Stage, Barrington Stage Company, The Broad Stage, Contemporary LA MANCHA Carter C. Wooddell American Theater Festival, Crossroads Resident Casting Director Theatre Company, George Street Playhouse, STC: The Tempest, As You Like It, The The Guthrie Theater, Pittsburgh Public directed by Alan Paul Winter’s Tale, The Merry Wives of Windsor, Theater, TheaterWorks Hartford. RADIO: BBC Two Gentlemen of Verona, Much Ado About Radio: The Piano Lesson (dir: Claire Grove). Nothing, The Merchant of Venice. Other Casting TELEVISION: Sesame Workshop: The Electric Experience: NEW YORK: Broadway: Belasco Company, Pilot: 27 East. FILM: Columbia Theatre: End of the Rainbow (dir: Terry Pictures: Premium Rush (dir: David Koepp), Begins March 17 Johnson), Booth Theatre: High (dir: Rob Choice Films: Junction (dir: Tony Glazer). Ruggiero); Off-Broadway (partial): Barrow OTHER: McCorkle Casting Ltd: Casting Street Theatre: Tribes (dir: David Cromer), Assistant (2008-2009), Casting Associate (2010- Sidney Harman Hall Our Town (dir: David Cromer), The Acting 2012). Education Associate: TFANA (2012- Company, Marjorie S. Deane Little Theater: 2014). TRAINING: Rutgers University - Mason Freud’s Last Session (dir: Tyler Marchant), Gross School of the Arts: BFA in Theatre Arts. Cherry Lane Theatre: A Perfect Future (dir: Wilson Milam), SoHo Playhouse: The Irish On sale now!

Don’t miss our one-day workshops with The Metromaniacs Cast!

SUMMER Performance Intensives 2015 for Ages 7-18 202.547.5688 www.shakespearetheatre.org/camp Taught by award-winning ShakespeareTheatre.org/Classes actors and educators. Education Hotline: 202.547.5688

38 FACES AND VOICES play, Godiva Dates and One Night Stands, “POEM (or, why I am not a poet)” received critical acclaim at the 2013 Capital by Bob Blair Fringe Festival. Cabico was also the first [...] queer and Asian American poet to take top Long story short: If I prizes in the 1993, 1994 and 1997 National were sunning myself Poetry Slams. As members of the beltway on the Costa Blanca, and eating oranges, political world, Beenish Ahmed and Michael and had a lover waiting H. Levin exemplify capital city writers. in bed for me, and later Metromaniac Besides being an award-winning poet, Levin I wrote a poem about it, is a lawyer and solar energy developer. I’d probably call it Ahmed works as a journalist by day and STILL LIFE WITH SARDINES. n. One addicted a poet by night, but her day job infuses [...] her poetic work with political strife. In her words, Ahmed’s lyrics attempt “to jam hard- “A User’s Guide to Finishing Chemistry to poetry, or to edged things next to the softer side of life... Homework on the Metro Without car bombs and heart valves, shrapnel and a Dropping Your Physics Notebook, Calculator, and Borrowed Copy of A Brief by Laura Henry Buda good night’s sleep.” writing verses. History of Time Despite Simultaneously These writers redefine our notion of what a Being Black on the Metro” poet looks like today; their work responds by Kosi Dunn of D.C. Youth Poetry Slam Team DAMIS attendee will find an original poem in their to the modern world and challenges us to [...] Now, that you have developed conclusive I am poet to the bone, Mondor! inbox, written in response to the show or the consider painful topics as well as beautiful evidence, My daily trade is actualizing dreams. experience at STC. words. Pair these writers with David Ives’s Broadcast to the general public, specifically, Poets love love! We’re sated by what seems! meditation on the love of rhyme, and it Unlike those chatterers who speak in herds, As the word spread about STC’s call for to every black boy who’s swapped suddenly becomes clear that metromania may We seek the best of all possible…words. poets, Rodger was thrilled at the wide range ballpoint pens for basketballs because not be dead after all. And, perhaps, there is a of writers who applied. The breadth of the their fifth grade teacher was convinced new (old) art form to explore in the District. A metromaniac is someone who is so literary scene in D.C. might be surprising, kinematic equations were beyond the obsessed with poetry that they eschew all even to those who are active in the arts their mental capacity other pursuits. One might think the only scene. STC’s team of 32 poets hail from One, acceleration is quite literally defined as true metromaniac alive in 2015 must be across the area, write as professionals and Curious about our writers? Here’s a bite-size a change in motion. locked away in the bowels of a university part-time devotees, and represent a variety sample of some original poems from STC’s Two, you are nothing but change in motion. library, pouring over impenetrable lines. But of ages and backgrounds. Their poetry, too, assembled team. To see the full poems and [...] to that the thriving D.C. poetry community is diverse, featuring topics from nature the Poets are Present schedule, please visit “Appendix R” would take offense; they are the modern to black femaleness to Russia, and forms ShakespeareTheatre.org/Poets-are-Present. by Sarah Ann Winn metromaniacs—and they are about to invade including sonnets, free verse and spoken Fig. 19: Sheet music for an untitled lullaby, Shakespeare Theatre Company. word performance. “The Makers of Memorials” copyright 19-. Paper foxed and water by Paulette Beete marked, alternate lines end with the Over the past few months, Teddy Rodger, The D.C. Youth Poetry Slam Team, for They sing. They sing blue songs sound of two slender trees bending in the STC’s Associate Director of Audience example, participates in monthly open mic their mothers wore. wind, and the sound of leaves rustling. Development and Promotions, has been nights and travels to slam competitions They sing grief, bone-thick & left-handed. The song ends in a baby’s cry for her collecting applications for Poets are Present, across the country. Last year, the team took They sing songs cross oceans, cross mother, unanswered, unanswerable. Note a special series to be held alongside STC’s first place at the 2014 Brave New Voices sidewalks. penciled at first staff, Piano 4 hands. production of The Metromaniacs. At each International Youth Poetry Slam Festival, They sing skies sealed shut. First published in Quarterly West. performance, a local poet will take up making them the current world champions They sing men born wearing walking shoes. of youth slam poetry. Another spoken residence in the Lansburgh lobby before They sing women born palms up. Laura Henry Buda is STC’s Community the show. Audience members will be able word artist, Regie Cabico is also a theatre [...] Engagement Manager and served as Artistic to ask questions and watch the poet write performer. He received a 2006 New York Originally published in Voice Lessons by Fellow in the 2011-2012 Season. She holds an or perform. Some poets will also compose Innovative Theater Award as part of the Paulette Beete. MFA in Dramaturgy from the A.R.T./M.X.A.T. on the spot for patrons: an instant, totally New York Neo-Futurist’s Too Much Light Institute at Harvard University. unique commission. The next morning, each Makes The Baby Go Blind and his latest solo

40 41 MAPPING THE PLAY Lucille Damis Mondor Lisette By Garrett Anderson, (mistaken for (aka Cosmo Status: Servant (mistaken for THE METROMANIACS Artistic Fellow Meriadec de de Cosmos, to Damis Lucille, aka Peadoncqueville Bouillabaise) Commedia Meriadec de and Lisette) Status: Nephew Peadoncqueville) The characters of David Ives’s Metromaniacs seem to be changing Archetype: Status: Daughter of Baliveau, Status: Maid to form constantly. From lower to upper class, from one name to another, Arlecchino of Francalou would-be poet • Like Arlecchino Lucille entering here and exiting there. Forget plot! It’s a challenge just to figure Commedia Commedia (Harlequin), Commedia out who’s who. Piron was inspired by the stock figures of the commedia Archetype: Archetype: Mondor is a Archetype: dell’ arte, but that only explains half of the method to his comic madness. Innamorata Innamorato loyal and funny Colombina Here is a map to help take the mania out of The Metromaniacs. • Like the young • Like the young servant, and he • Like the female lover of male lover of the has a side plot commedia’s the commedia, commedia dell’ going with the female clown, Baliveau Dorante Francalou clever maid. (aka Eraste) (aka Meriadec de Lucille is in love arte, Damis is Lisette is often (aka Signor with being in love. looking for love. • Piron, however, the smartest Status: Son of Peadoncqueville) Pirandello) Piron, however, • Piron, however, doesn’t give person in the Status: Uncle Francalou’s enemy Status: Father of makes Lucille makes Damis Mondor the room, a lusty to Damis Commedia Lucille surprisingly one of the lazzi (extended gossip, and a Commedia Archetype: Commedia intelligent, and first aesthetes comic bits) of schemer. Archetype: Il Innamorato Archetype: gives her a great in dramatic a Harlequin. • As with Mondor, Dottore • Dorante, like Damis, Pantalone deal of agency in literature. Instead, he has a Piron makes grounded, realistic • Like the Doctor, is looking for love. • Francalou fulfills choosing her Indifferent to Lisette concern for the Baliveau is an Dorante, however, is many of the roles own suitor. his uncle’s plans surprisingly irresponsible elderly authority dumbstruck when of Pantalone, who for his future grounded. Damis, and takes figure and a it comes to words was always an and enamored Unlike the responsibility commanding of love. In a plot older man, father of poetry to the aristocrats, she for his master’s presence. that anticipates of one of the point of vanity, has no interest foibles. His refusal to Rostand’s Cyrano, lovers, and head Damis plays the in words or distinguish Dorante poses as of the household. role of a benign aesthetics, only between reality Eraste, a poet, using Francalou, however, antagonist, action. She’s and make-believe Mondor’s words. He isn’t a miser, and he complicating the more than drives the plot also seems to have has just as puppyish plots of everyone capable of to its surprising something going an enthusiasm for else in the play. standing in for conclusion. on with Lisette. poetry as Damis. her mistress.

42 Renderings by Costume Designer Murell Horton. Get an inside look at the costume construction process by visiting asides.shakespearetheatre.org 43 ABOUT STC STC is the recipient of the 2012 Regional Acting, a one-year master’s program at The Performance Calendar Theatre Tony Award® as well as 81 Helen Hayes George Washington University. Beyond the Awards and 322 nominations. classroom, educational opportunities like SUN MON TUES WED THUR FRI SAT Creative Conversations are available to all in Presenting Classic Theatre the community. FEBRUARY/MARCH 3 The mission of the Shakespeare Theatre 4 5 6 2:00 7 7:30 7:30 8:00 8:00 Company is to present classic theatre of Supporting the Community 8:00 8 9 10 11 12 13 14 scope and size in an imaginative, skillful and STC has helped to revitalize both the Penn 12:00 2:00 7:30 P 7:45 O 7:30 B 8:00 T 8:00 8:00 accessible American style that honors the Quarter and Capitol Hill neighborhoods and 15 16 17 18 19 20 2:00 21 playwrights’ language and intentions while to drive an artistic renaissance in Washington, 7:30 7:30 7:30 Y 8:00 C 8:00 8:00 viewing their work through a 21st-Century lens. D.C. Each season programs such as Free For 2:00 22 23 24 25 26 27 2:00 A 28 All and Happenings at the Harman present free 7:30 7:30 8:00 8:00 Y 8:00 R Promoting Artistic Excellence performances to residents and visitors alike, 2:00 1 2 3 4 5 6 2:00 7 STC’s productions blend classical traditions allowing new audiences to engage with the 7:30 7:30 S 7:30 D 8:00 8:00 8:00 and modern originality. Hallmarks performing arts. 2:00 8 include exquisite sets, elegant costumes, leading classical actors and, above all, an Playing a Part uncompromising dedication to quality. STC is profoundly grateful for the support of those who are passionately committed to Calendar Key Fostering Artists and Audiences classical theatre. This support has allowed STC STC is a leader in arts education, with a myriad to reach out and expand boundaries, to inform A AUDIO-DESCRIBED P PAGE AND STAGE of user-friendly pathways that teach, stimulate and inspire the community and to challenge B BOOKENDS R REFLECTIONS and encourage learners of all ages. Meaningful its audiences to think critically and creatively. school programs are available for middle Learn more at ShakespeareTheatre.org/ D POST-PERFORMANCE DISCUSSION S SIGN-INTERPRETED and high school students and educators, and Support or call 202.547.1122, option 7. The C OPEN CAPTION T TWITTER NIGHT adult classes are held throughout the year. Michael Kahn leads the Academy for Classical Metromaniacs O OPENING NIGHT Y YOUNG PROSE NIGHT Open Caption performances by David Ives made by possible by a grant from ABOUT ACA adapted from La Métromanie by Alexis Piron

The Academy for Classical Acting (ACA), the Shakespeare Theatre Company’s directed by Michael Kahn premier MFA training program run jointly with The George Washington University, is celebrating its 15th year! Every fall, 14-16 professional actors from all over the United States and abroad join the Shakespeare Theatre Company’s remarkable faculty to February 3–March 8 immerse themselves in a rigorous, one-year, conservatory-style training program Lansburgh Theatre especially dedicated to mastering the complexities of heightened text and classical acting. In the past 15 years, the ACA has trained 210 actors of all ages. Some of the alumni go on to careers in NYC, some return to their places of origin, and many make homes for themselves right here in Washington, D.C. On any given night, dozens of ACA graduates can be seen on stages throughout the D.C. metro area. And of those CREATIVE CONVERSATIONS D.C.-based alumni, many have been nominated for and even won the coveted Helen Hayes Award. Already, midway through STC’s 2014-2015 season, seven ACA grads PAGE AND STAGE FREE REFLECTIONS FREE Sunday, February 8, 5–6 p.m. Saturday, February 28, 5–6 p.m. spanning the years ’03-’14 can be seen playing roles on our own stages. The Forum in Sidney Harman Hall The Lansburgh Theatre Explore the production with the David Ives and Discuss the production from multiple perspectives. In February, an audition team comprised of ACA faculty will conduct auditions in Michael Kahn. ASL DISCUSSION FREE New York City, Washington, D.C., Chicago, and Seattle looking for the next class of BOOKENDS FREE Tuesday, March 3, 6:30–7 p.m. students. They will be looking for actors who already have professional experience Wednesday, Feb. 11, pre- (5:30 p.m.) and post-show The Lansburgh Theatre The Lansburgh Theatre Learn about the production before you see it with and are looking to advance their skills when it comes to Shakespeare and classical Immerse yourself in the world of the play with pre- this ASL-Interpreted discussion with STC’s Audience theatre. The training is deep and it’s broad, with classes in Acting, Alexander and post-show discussions. Enrichment Manager.

Technique, Movement, Voice & Speech, Stage Combat, Masks, Clown, and Text, to #STCnight FREE POST-PERFORMANCE CAST DISCUSSION Thursday, February 12, 6:30 p.m. and post-show Wednesday, March 4 name a few. If you or someone you know might be interested in receiving training FREE The Lansburgh Theatre The Lansburgh Theatre from some of the top professionals in the field, including Michael Kahn, please visit Use the hashtag #STCnight to join the conversation Extend your experience after the show. our site, ShakespeareTheatre.org/Academy for information on how to apply. Happy from the theatre lobby or from home. Performance 15th Anniversary, ACA! tickets available for purchase.

44 45 $10,000 to $14,999 Buffy and William Cafritz Alan and Irene Wurtzel SUPPORT Anonymous Robert Crawford Carlson Mr. Mike Wyckoff Esthy and Jim Adler Emily and Mike Cavanagh Chris and Carol Yoder Barclays The Honorable Joan Churchill and Judy and Leo Zickler Batir Foundation, Inc. Mr. Anthony Churchill BA We gratefully acknowledge the following donors that currently Sheila and Kenneth Berman BA Richard Cleva and Madonna K. Starr $2,500 to $4,999 Debra and Leon Black Jeffrey P. Cunard BA Anonymous (3) support the work of the 2014-2015 season. Booz Allen Hamilton Louis Delair, Jr. Mr. Derek Thomas and Mr. Ernesto The Dimick Foundation Abrego This list is current as of January 14, 2015. BP America CBRE Group Inc Craig Dunkerley and Miriam and Robert Adelstein CLS Strategies Patricia Haigh ACA The Robert N. Alfandre Foundation EagleBank $100,000 and above The Beech Street Foundation T Michael R. Klein and The Clark-Winchcole Foundation Sunny and Bill Alsup Miguel and Patricia Estrada Dean Amel and Terry Savela D.C. Commission on the Arts & Joan I. Fabry T BA Donn and Sharon Davis Douglas Development Corporation Marietta Ethier Tony Anderson and Kevin Lorei Humanities The Robert P. and Arlene R. ExxonMobil Mr. Decker Anstrom and Ms. Sherron Kogod Family Foundation Mr. and Ms. David Dupree The Erkiletian Family E. and B. Family Trust Bob, Kathy and Lauren Fabia Hiemstra Foundation Share Fund Arthur and Shirley Fergenson ACA Anne and Burton Fishman BA Stephen P. Anthony BA The Harman Family Robert H. Smith Family Trygve and Norman Freed Forest City Washington Celia and Keith Arnaud T Foundation Foundation Sue and Leslie Goldman Tim and Susan Gibson ACA AMB Drs. Hilda and William O. Bank T HRH Foundation Suzanne and Glenn Youngkin Gould Property Group In memory of BB&T Grossberg, Yochelson, Angelique Glass 1616 ACA AMB Brent J. Bennett Fox & Beyda LLP Janet W. Solinger and Jacob K. Dr. Bill and Evelyn Braithwaite Goldhaber Mr. and Mrs. Jere Broh-Kahn ACA T T Clarke Murphy and Heather $50,000 to $99,999 Anita M. Antenucci John and Meg Hauge Hammond Richard A. and M. Theresa Gollhofer Claudyne Y. Brown BA T Afsaneh Beschloss Mr. Jerry Knoll Jerry and Isabel Jasinowski T Alice and John Goodman The Family of Marion and Charles The Morris & Gwendolyn Cafritz National Capital Arts & Cultural Scott Kaufmann T Graham Holdings Bryce 1616 AMB Foundation Affairs Program/US Comm. Margot Kelly David and Jean Grier Mr. and Mrs. I.T. Burden, III Dr. Paul and Mrs. Rose Carter T of Fine Arts Roger W. Langsdorf William Stein and Victoria Griffiths BA Dawn and James Causey Dr. Mark Epstein and Alan and Marsha Paller The Ludwig Family Foundation Mr. and Mrs. Woolf P. Gross Audrey Chang and Michael Vernick Amoretta Hoeber T Alice and David Rubenstein Mr. and Mrs. Eric Luse H&R Block Ellen MacNeille Charles Mr. and Mrs. Robert Falb T The Shubert Foundation Mr. and Mrs. Andrew Marino The Honorable Jane Harman Monica Rose Chodur Mr. and Mrs. Andrew Florance T Jacqueline B. Mars Kevin T. Hennessy AMB BA Joan Choppin T The Philip L. Graham Fund McLane Company Inc John W. Hill Linda and John Cogdill Eleanor Merrill T Mike and Gina House T BA Mary Cole AMB Morgan Stanley The Mark & Carol Hyman Fund Jeff and Jacky Copeland Tom Mounteer and Bobby Zeliger K&L Gates Marshall B. Coyne Foundation Mr. and Mrs. Sameer Bhargava Daniel F. Katz BA Douglas W. Crandall $25,000 to $49,999 Anonymous (2) Mr. and Mrs. Stephen A. Lou and Irene Katz T Ms. Connie Milstein Mr. Ralph C. Voltmer and William S. Abell Foundation Hopkins Michelle Newberry David and Anne Kendall BA Ms. Tracy A. Davis BA Anne and Ronald Abramson Abbe David Lowell and Nissan North America, Inc. Marcel LaFollette and The Charles Delmar Foundation T BA Nick and Marla Allard T BA Molly A. Meegan Theodore B. Olson and Jeffrey Stine ACA Beverly and Richard Dietz 1616 Stephen E. Allis T Estate of Suzy Platt Lady Booth Olson BA David A. Lamdin AMB Dorchester Towers and Dorchester Paul M. Angell Family Stephen and Lisa Ryan T BA Porterfield, Lowenthal, Fettig & Heidi and Bill Maloni Apts on Columbia Pike in Foundation Vicki and Roger Sant 1616 Sears, LLC The George Preston Marshall Arlington City Fund Shakespeare for a New PwC Foundation Emily, Susannah and Michael Eig Generation Steve and Diane Rudis Hilary B. Miller and Helaine G. Elderkin Debevoise & Plimpton LLP BA Fredda Sparks and Security Industry And Financial Dr. Katherine N. Bent Elmendorf Ryan James A. Feldman and BA Kent Montavon Markets Association Hazel C. Moore Michael Evans Turner & Goss Natalie Wexler Morningstar Philanthropic Fund George P. Stamas T Victor Shargai and Craig Pascal Expedia, Inc FTI Consulting Kristine Morris Rob and Anne Faris T AMB The Honorable Robert E. Sharkey Nina Zolt and Miles Gilburne Tom and Cathie Woteki and Dr. Phoebe Sharkey AMB Mr. and Mrs. Tom Monahan Leo Fisher and Sue Duncan Catherine Held Clarice Smith Oracle America Corporation Barry and Marie Fleishman Doug and Gabriela Smith Pinnacle West Capital Corporation Claire Frankel Sovereign Strategy Limited Polinger Development Co. Paige Franklin and David Pancost The Hattie M. Strong Foundation The Prince Charitable Trusts Franklin Square Group US Trust Company Property Capital LLC FTI Consulting $15,000 to $24,999 The Dallas Morse Coors The Jacob and Charlotte Mr. and Ms. Antoine Van Agtmael Willam Pugh and Lisa Orange Burton Gerber Foundation for the Lehrman Foundation Anonymous (3) Mr. and Mrs. Jay Velasquez Reset Public Affairs Carol and Ken Gideon BA Performing Arts Altria Group In memory of Marilyn J. Lynch VISA U.S.A., Inc. Risk International Josh Goldfoot BA Amazon Web Services The Max and M Powered Strategies Patricia and David Vos Foundation Bruce and Lori Laitman Rosenblum Ms. Myra P. Gossens The Theodore H. Barth Victoria Dreyfus Foundation Ann K. Morales Friends of Youngkin Gerri and Murray Rottenberg 1616 John E. Graves RIA and Hanh Phan Foundation Nina Laserson Dunn and National Endowment Lee Goodwin and Linda Pamela and Corbin Gwaltney BA British Council Eric C. Rose for the Arts $5,000 to $9,999 Schwartzstein James T. and Vicky Sue Hatt Brown-Forman Corporation Ernst & Young LLP Pepco Anonymous (6) Software and Information Industry Karen L Hawkins BA Mr. and Mrs. Landon Butler T Helen Clay Frick Foundation Toni A. Ritzenberg Aflac Association Catherine MacNeil Hollinger and The Carmen Group Goldman Sachs & Co. Pauline A. Schneider T BA Mark Tushnet and Elizabeth John and Leslie Steele Mark Hollinger Hogan Lovells US LLP Judi Seiden AMB Alexander Terra Nova Title and Settlement James and Marissa Huttinger Clark Construction Group, LLC Services, LLC Computer and Communications Humana Inc. Solon E. Summerfield Alston & Bird LLP International Brotherhood Of Elaine Economides Joost 1616 Michael and Stacie Arpey Harbour Group, LLC Teamsters Industry Association Foundation TPG Capital Helen Kenney Linna Barnes and Chris Mixter Larry and Georganne John Vornado/Charles E. Smith LP Roderick and Alexia Von Lipsey Latham & Watkins Kyle and Alan Bell John Edward Johnson Westfield, LLC Barbara Bennett Vulcan Materials Company Jody Katz and Jeffrey Gibbs Lynn and Jonathan Yarowsky Peter A. Bieger Foundation Michael and Michelle Keegan Don and Nancy Bliss Evan J. Wallach and Joel and Mary Keiler BA The Bozzuto Group Katherine Tobin Thomas and Bridget Kluwin Katherine B. and David G. Bradley Wells Fargo Philanthropy Mary Hughes Knox Carolyn L. Wheeler BA

46 47 Dr. Richard M. Krause 1616 Dr. Donna W. Blake and Mr. Bruce E. Cheryl R. Hodge Sheldon Pratt ACA Mr. Timothy Cole and Ms. Kathy United Airlines Barry Kropf Eckstein Mr. Gerald Hoefler Mr. Bruce F. Press and Galloway Carole and John Varela Bill Lands and Norberta Schoene John Blandford Mr. Henry H. Holcomb Mrs. Julie V. Press JoEllen and Michael Collins Mr. and Mrs. L. Von Hoffman Richard Levi and Susan Perry Cathleen E. Blanton Charlotte Hollister and Donald Clagett Hon. Frank Press Marsha E. Swiss and Ronald Washington Resource Associates Dr. Mark T. Lewellyn Martha Blaxall and Joe Dickey Susan Bokern and Ted Holmberg Ms. Elise Rabekoff and Costell MD Bill and Ted Wears-Richards Marjorie and John Lewis Ronald Bottomly Fran and Bill Holmes Mr. Christopher Gladstone The Honorable and Ms. Tom Davis Mr. and Mrs. Rosanne Weber James M Loots, Esq. and Michael Boyd David H. Holtzman Mrs. Eden Rafshoon Emma R. Dolly Dieter Ms. Judith Weintraub Barbara Dougherty Loots, Esq. 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52 53 Can you discuss the connection of La Mancha,” “The Impossible UP NEXT: An interview with Alan between Cervantes and Shakespeare? Dream” and “Dulcinea”—and they require a singer who can deliver them Paul, Man of La Mancha director and Shakespeare and Cervantes were with power, nuance and a depth of Associate Artistic Director at STC contemporaries, and legend has it musicality. Anthony is phenomenal, that they died on the same day in and for those who aren’t aware of 1616 (although I’m him, this production Can you tell us how you came to crying. Man of La Mancha is really sure they died a few will be an amazing direct Man of La Mancha? about our own internal battle between days apart). Dale Man of La introduction. cynicism and optimism, something all Wasserman, who Mancha is really The story begins in 2011, when I of us face every day. wrote the book for Amber Iman is playing directed La Mancha at Catholic the musical, also about our Aldonza. She made University. That detail stuck in Michael wrote the 1959 non- own internal her Broadway debut Kahn’s mind, and on opening night of What is your approach to the show? musical teleplay I, last year playing Nina A Funny Thing Happened on the Way Don Quixote, which battle between Simone in Soul Doctor, to the Forum last season, he pulled Most people think Man of La Mancha starred Lee J. Cobb. cynicism and and has an unbelievable me aside and said, “Could you do a La is a musical retelling of Don Quixote, In that version, one voice and presence. Mancha for us?” And I of course said but in fact it’s a story about the of the prisoners is an optimism, She will be a powerful (well, exclaimed), “Yes!” writer Cervantes. The story moves English spy. There’s Aldonza. Nehal Joshi between the reality of a Spanish a great scene where something all of is playing Sancho, and Inquisition prison and Cervantes’ he asks Cervantes us face you may know him Did you have any prior personal conjuring of the Don Quixote story. if he is aware of from the work that connection to the musical? My production will highlight the Shakespeare, to every day. he has done at Arena improvisational theatricality of turning which Cervantes says Stage. Although he’s La Mancha is one of those musicals everyday objects into props, and our “no.” The truth is, we playing a comic role, that everyone is supposed to have surprisingly easy ability to believe in don’t know if they were aware of each he has a serious side—he just played seen, and oddly enough, I had never an imagined reality. Everything in the other, but there is a Cervantine quality Jean Valjean in Les Miserables at Dallas seen it. What I had seen was a clip of Don Quixote scenes will come from to Shakespeare, and a Shakespearean Theater Center. Richard Kiley singing “The Impossible objects that already exist in the prison quality to Cervantes. That they were Dream” from The Ed Sullivan Show. and from the trunk Cervantes brings writing at the same time is pretty I’m excited about the combination of On the first day of rehearsal at into the prison with him. Everyday remarkable. these three actors. Their rich talents Catholic University, I was immediately objects will transform into the horses inspire me deeply, and together we overwhelmed by the power of the that Quixote and Sancho ride, the will create a deep re-imagining of this musical. The students were also new to windmill, Alonso Quijana’s sick-bed, What can you share about casting? classic musical. the musical, and at the end of the read- and all of the other key elements. There is a lot of potential for the through everyone in the room started The great Australian star Anthony magic of transformation in the piece. Warlow is playing Cervantes/Quixote. The show-stopping moments of the musical are his three songs—“Man

Alan Paul Man of La Mancha at Sidney Harman Hall begins March 17. Tickets at ShakespeareTheatre.org or 202.547.1122.

54 55 Sabrina Mandall, Chelsea Mayo, Brenna McDonough, Rebecca Williams SHAKESPEARE THEATRE COMPANY Victoria Reinsel, Paul Reisman, Melissa Richardson, Overhire Stitchers Dorothy Barnes Driggers, Erin Nugent Nancy Robinette, Joel David Santner, Kristala Smart, Lead Crafts Artisan Joshua Kelley STAFF Rebecca Swislow, Katie Tkel, Eva Wilhelm, Wardrobe Supervisors Jeanette Lee Porter, Carter Wooddell, Gregory Wooddell, Jaysen Wright, Monica Speaker Daniel Yabut Overhire Wardrobe Ayanna Fox, Alina Gerall Artistic Director Michael Kahn MARKETING AND COMMUNICATIONS Wig Master Dori Beau Seigneur Managing Director Chris Jennings Chief Marketing Officer Michael Porto THE ACADEMY FOR CLASSICAL ACTING Overhire Wigs Sara Jane Palmer, Melissa Thiede Executive Assistant to the Artistic Director Associate Marketing Director Austin Auclair The Academy for Classical Acting Costume Design Intern Eileen Chaffer and Managing Director David Lloyd Olson Marketing and Director Gary Logan Costume Interns Stephanie Goad, Hilary-Ann Rogers, Communications Assistant Alison Ehrenreich ACA Program Coordinator Sloane A. L. Spencer Britteny Holland ARTISTIC Associate Director of Audience Development Faculty Members Isabelle Anderson, Technical Director Mark Prey Christopher Cherr, Dody DiSanto, Edward Gero, Associate Artistic Director Alan Paul and Promotions Teddy Rodger Assistant Technical Director Kelly Dunnavant Leslie Jacobson, Lisae Jordan, Michael Kahn, Floyd King, Head of Voice and Text Ellen O’Brien Audience Services Director Joy Johnson Scene Shop Foreman Eric Dixon Gary Logan, Ellen O’Brien, Roberta Stiehm, Brad Waller Resident Casting Director Carter C. Wooddell Group Sales and Ticket Manager Danielle Sparklin Scene Shop Administrator Jessica Noones Literary Manager Drew Lichtenberg Ticket Manager Tim Helmer Carpenters John Cincioni, Jr., Carrie Cox, PRODUCTION Christian Sullivan, Matt Wolfe Artistic Fellow Garrett Anderson Sales Associates Zindzi Ali, Benjamin Chase, Director of Production Tom Haygood Charge Scenic Artist Sally Glass Directing Fellow Katherine Burris Evelyn Chester, Jonathan Engel, Associate Directors of Production Tim Bailey, Scenic Artist Jose Ortiz Affiliated Artists Keith Baxter, Avery Brooks, Heather Hart, Christopher Hunt, Jessica Kaplan, Kimberly Lewis Scenic Painter Kelly Rice Helen Carey, Veanne Cox, Aubrey Deeker, Andre McBride, Izetta Mobley, Kristin Nam, Production Administer Emmy Landskroener Overhire Painters Holly Highfill, Deni Holl, Laura Genson Colleen Delany, Franchelle Stewart Dorn, Christopher Pearson, Carmelitta Riley, Marie Riley, Resident Production Stage Manager Joseph Smelser Crystal Stewart, Lauren Ward, Michael Wharton, Prop Shop Director Elaine Sabal Cameron Folmar, Adam Green, Edward Gero, Stage Manager Bret Torbeck Genevieve Williams Assistant Prop Shop Director Guy Palace Philip Goodwin, Jane Greenwood, Michael Hayden, Assistant Stage Managers Elizabeth Clewley, Lead Props Artisan Chris Young Simon Higlett, Christopher Innvar, Stacy Keach, Call Center Director Monte Hostetler Kristy Matero, Hannah R. O’Neil, Props Painter/Sculptor Eric Hammesfahr Floyd King, Andrew Long, Ethan McSweeny, Teleservices Associates Bill Billante, Thomas Brennan, Robyn Zalewski Soft Goods Artisan Rebecca Williams Jennifer Moeller, David Muse, James Noone, Kelly Carson, Eric Garvanne, James Graham, Production Assistants Christopher Kee Anaya-Gorman, Patrick Page, Robert Perdziola, Nancy Robinette, Cheryl Kempler, Elizabeth MacMahon, Jill McAfee, Maria Tejada Master Electrician Sean R. McCarthy David Sabin, Miriam Silverman, Derek Smith, Joanna Morgan, Colin O’Bryan, Cynthia Perdue, Stage Management Interns Sean Carleton, Assistant Master Electrician Lauren A. Hill Lee Sanders, Amy Sloane, Chris Soto Harman Electrician Brian Flory Walt Spangler, Tom Story, Rebecca Taichman, Rebecca Shipman Director of Event Sales and Lansburgh Electrician Jacob Moriarty-Stone Ted van Griethuysen, Craig Wallace, Adam Wernick, Costume Director Wendy Stark Prey Partnerships Ryan Michael Hayes Gregory Wooddell Floor Manager Julie Rose Lighting Assistant Paul Callahan Theatre Services Manager Dora Hoyt Resident Design Assistant Lynda Myers Audio/Video Supervisor Brian Burchett ADMINISTRATION House Manager Amanda Loerch Crafts Artisan and Metromaniacs Design Assistant Assistant Audio/Video Supervisor Roc Lee Lead House Managers Erica Brown, Addie Gayoso, Director of Administration James Roemer Kara Tesch Live Mix Engineer Ryan Gravett Stephanie McLean, Carissa Milliken, Rae Davidson Associate Managing Director Anne S. Kohn Drapers Denise Aitchison, Randall Exton, Sound Board Operator Amanda Labonte Assistant House Managers Melissa Adler, Jeremy Blunt, Human Resources Manager Lindsey Morris Tonja Petersen Stage Operations Supervisor Louie Baxter Quintin Cary, Irene Casey, Chris Hunt, Susan Koenig, Human Resources Coordinator Danielle Mohlman First Hands Jennifer Rankin, Sandra Thomas Assistant Stage Operations Supervisor Fran Hopkins-Maxwell Carmelitta Riley, Marie Riley, Accounting Manager Mary Margaret Finneran Sara Trebing Stage Carpenters Nick Custer, Catherine Russell Christopher Schoen, Alex Zeese Staff Accountant Marco Dimuzio Stitchers Michelle Ordway, Donna Sachs, Run Crew Laura Cividanes, Marc Wasserman Company Manager Mackenzie Douglas Retail and Concessions Manager Kristra Forney Company Management Intern Brittney Holland Concessions Associates Eileen Chaffer, Adrianne Glover, Stephanie McLean, Justin Lane, Receptionist Ursula David Chris Pearson, Marie Riley, Petrice Roman, General Management Intern Kathryn Atkinson AUDIENCE SERVICES Christopher Schoen, Eric Woods Director of Operations Timothy Fowler Retail Associates Quintin Cary, Eileen Chaffer, Tiara LANSBURGH THEATRE ACCESSIBILITY Operations/IT Assistant Melissa Adler Copeland and Kara Tesch 450 7th Street NW Our theatres are accessible to persons with disabilities. Please request special seating at time of ticket Theatre Building Engineer Dave F. Henderson Harman Receptionist and Theatre Monitors Milton Garcia, Jeff Whitlow SIDNEY HARMAN HALL purchase and arrive 30 minutes before curtain for Usher Coordinator Rachel Toporek 610 F Street NW priority seating. Facilities Custodian Jorge Ramos Lima Associate Director of Open-captioned performance of The Metromaniacs. Harman Custodians Dennis Fuller, Mirna Guzman, Communications and PR Heather C. Jackson TICKET AND GROUP SALES: Thursday, February 19 at 8 p.m. Roderick Proctor Tickets: 202.547.1122 Audio-described performance of The Metromaniacs: Web and Media Programmer Brien Patterson Toll-free: 877.487.8849 Saturday, February 28 at 2 p.m. Lansburgh Custodians Zulma I. Bonilla, Marketing and Communications Group Sales: 202.547.3230 ext. 3405 Sign-interpreted performance of The Metromaniacs: Izilma Membreno, David Guzman Intern Jessica Peña Torres Box Office fax: 202.608.6350 Tuesday, March 3 at 7:30 p.m. Director of Information Technology Brian McCloskey Visual Communications Bookings: 202.547.3230 ext. 2321 An audio-enhancement system is available for all Systems Administrator Patrick Hayes performances. Both headset receivers and neck loops Manager S. Christian Taylor-Low BOX OFFICE PHONE HOURS (both theatres): (to use with hearing aids outfitted with a “T” switch) Database Administrator Brian Grundstrom Junior Graphic Designer Taylor Henry Daily: noon–6 p.m. are available at the coat check on a first-come basis. Graphic Design Intern Keshia Pace (Box Office window open until curtain time) Program notes in Braille and large print are available at DEVELOPMENT Photographers Kevin Allen, Margot Schulman, The Lansburgh Box Office is closed on the the coat check. Scott Suchman weekends if there is no performance at the Support for the Shakespeare Theatre Company’s Chief Development Officer Ed Zakreski Lansburgh Theatre. Accessibility Program provided by Senior Associate Director of Development Amy Gardner Individual Campaigns Officer Betsy Purves EDUCATION CONCESSIONS AND GIFT SHOPS: Major Gifts Officer Sara Conklin Director of Education Samantha K. Wyer Food and beverages are available one hour before Associate Director of Education Dat Ngo each performance. Pre-order before curtain for Partial support for open captioning provided by Special Events Manager Moriah Mills immediate pick-up at intermission. Development Operations and Audience Enrichment Manager Hannah Hessel Ratner Lansburgh Theatre and Sidney Harman Hall Community Engagement Manager Laura Henry Buda Membership Manager Kristina Williams gift shops are open before curtain, at intermission and School Programs Manager Vanessa Hope for a short time after each performance. Development Operation Coordinator Sara Seidler Training Programs Manager Brent Stansell Membership Coordinator Arielle Katz Education Coordinator Emily Marcello CONNECT WITH US: The video and/or audio recording of this performance Associate Director of Development Noreen Major Facebook.com/ShakespeareinDC by any means whatsoever are strictly prohibited. As a Education Intern Sarah Kate Patterson Twitter @ShakespeareinDC Corporate Giving Manager Katie Burns-Yocum Affiliated Teaching Artists Carolyn Agan, Wyckham Avery, YouTube.com/ShakespeareTheatreCo courtesy, turn off pagers, telephones, watch alarms and Director of Foundation and Lise Bruneau, Dan Crane, Vince Eisenson, Jim Gagne, Flickr.com/ShakespeareTheatreCompany all other electronic devices during the performance. Government Relations Meghann Babo-Shroyer Tara Giordano, Brit Herring, Paul Hope, Naomi Jacobson, Instagram @ShakespeareinDC Audience members may be reached during a Development Intern Kristen Olsen Mark Jester, Joy Jones, Manu Kumasi, Jessica Lefkow, performance by calling house management at Latecomers will be seated at management’s discretion. 202.547.3230 ext. 2517. Specify seat location.

56 Acting • Movement • Mask • Voice • Speech Text • Stage Combat • Alexander Technique Located in the heart of Washington, D.C., at The George Washington University

AUDITIONS HELD Jan 31 • Washington, D.C. Feb 7 • New York Feb 14 • Chicago Feb 21 • Seattle

TO APPLY ShakespeareTheatre.org/Academy [email protected] Kelly Lynn Hogan and Rafael Untalan in The Maid’s Tragedy (ACA)

“If you can perform the classics, you can perform anything.” Michael Kahn Artistic Director, STC