The Pennsylvania Shakespeare Festival Newsletter • Spring 2016

West Side Story was not the first, nor the last, musical to be adapted from one of Shakespeare’s plays. The Boys from Syracuse, Kiss Me Kate, Two Gentleman of Verona, and more recently Something’s Rotten were all inspired by the Bard. But no other musical changed the landscape of musical theatre the way West Side did—the music bor- dered on the operatic meshed with a Latin fusion, the lyrics were simple but unforget- table, and the dance was the most exciting, lyrical, and powerful dance ever seen on Broadway. Four geniuses of Jewish descent created this masterpiece and each of them contrib- uted key ingredients to its success: Jerome Robbins who conceived the work, directed and choreographed; Leonard Bernstein, a Harvard-trained composer and world renowned conductor, composed the score;

Arthur Laurents, playwright and Hollywood screenwriter, wrote the book, and a young Stephen Sondheim wrote the lyrics.

Although Bernstein served as the famous conductor of the New York Philharmonic and was revered in the classi- ‘‘ cal musical world, he may be most remem- bered for the soaring and percussive, jazz- infused music he wrote for West Side Story. Years later Bernstein recalled, “This was one GENIUSES AT WORK of the most extraordinary collaborations of By Dennis Razze my life, perhaps the most, in that very sense of our nourishing one another. There was a generosity on everybody’s part that I’ve The radioactive fallout from West Side Story must rarely seen in the theatre… Without any still be descending on Broadway this morning. consciousness of it we were all just high on the work and loving it.” his was the opening line of Walter gang named the Sharks. Partly this was Bernstein was writing the score of West Kerr’s review of the opening night because composer Leonard Bernstein Side while also working on the musical Tperformance of West Side Story pub- became intrigued by the gang conflicts Candide and some material moved from one lished in the New York Herald Tribune on between the Americans and the Mexicans show to the other. The song “One Hand One September 27, 1957. To Kerr, the impact in Los Angeles and wanted to locate the Heart” was originally meant for the heroine ‘‘of the musical was as if an atomic bomb setting of the musical there. But Jerome of , Cunégonde, to sing, and the Candide dropped on Manhattan—West Side Story cer- Robbins, who had conceived the idea to music for “Gee, Officer Krupke” was pulled tainly changed the American musical forever. adapt Shakespeare’s Romeo and Juliet into a from the Venetian scene in Candide. contemporary musical nearly a decade earli- Originally entitled East Side Story with er, stuck to his New York roots. The musical Bernstein’s music is perfectly coupled an incendiary romance between a Catholic moved from the East Side to the West Side with Sondheim’s beautifully poetic yet gritty Tony and Jewish Maria, the story evolved where the Jets were fighting to hold their into street warfare between an American turf from the encroaching Sharks. continues on page 6 gang called the Jets and a Puerto Rican Notes from the Thank you to our sponsors. Producing Artistic Director

In this our 25th Season Sponsors Anniversary season, we mark the passing of the Kathleen Kund Nolan & Timothy E. Nolan two great men without whom this organization would not exist: William Shakespeare and our Associate Season Sponsors own founder, Fr. Gerard Patrick Mulcahy J. Schubert, OSFS. Linda Lapos Dr. James & The Szarko Family & Paul Wirth Penny Pantano 400 years ago, the world bid adieu to the man whose works would pro- foundly shape the world’s very capacity for thought, expression, and understanding of Sponsors being human. Shakespeare theatres and others the world over celebrate with us this year in honoring the man whose plays were written “not of an age, but for all time.” Then this past December, we said Amaranth Steve & Lee & good night to a sweet prince and prayed Foundation Jane Auvil Dolly Butz that flights of angels would sing him to his rest. “He was my friend, faithful and just to me,” and in that I am not alone. His life inspired so many. Fr. Schubert was one-of-a-kind. He founded and ran the Festival for its first 10 years and we have stood squarely on his shoulders to create the PSF you find today, one of only a handful of professional the- atres on the continent with such a broad range of offerings and that allows patrons to see them all within a few visits or a few weeks’ time. Brenda & John David B. McGlade & Patrina L. We spent the last few months mourn- Rothrock ing Fr. Schubert’s passing. Now it’s time to celebrate his life, his spirit, and his passion for the theatre through this year’s productions. It is an honor to dedicate this momentous anniversary season to him. Drs. Paul & June Schlueter Whether you glimpse the machina- tions in the corridors of power in Julius Caesar, or you are one of the lucky many who will get a ticket to the Shakespeare- Festival Host inspired musical West Side Story before it sells out, or you savor the three comedies from Messrs. Coward and Shakespeare, or best yet, enjoy them all, you will be sharing in the gift, the light of inspiration and joy Fr. Schubert envisioned for decades before founding PSF in 1991. Pennsylvania Shakespeare Festival’s summer PSF receives state arts productions of Julius Caesar, The Taming funding support through a Please join with us in celebration in of the Shrew and Love’s Labour’s Lost, as grant from the Pennsylvania this very special year. well as the 2015 fall WillPower tour of Julius Council on the Arts, a state Caesar, are part of Shakespeare in American agency funded by the Communities, a program of the National Commonwealth of Pennsylvania and the National Endowment for the Arts in partnership with Endowment for the Arts, a federal agency. Arts Midwest.

2 • The Quill, Spring 2016 610.282.will PSF Dedicates the 2016 25th Anniversary Season in Loving Memory of its Founder REV. GERARD J. SCHUBERT, OSFS November 21, 1929 – December 6, 2015

“Give beauty back, beauty, beauty, beauty, back to God, beauty’s self and beauty’s giver.” — From The Leaden Echo and The Golden Echo Gerard Manley Hopkins (1844–1889)

Photo by Lee A. Butz.

www.pashakespeare.org The Quill, Spring 2016 • 3 SCHUBERT THEATRE Glimpsing Intimacy in the Corridors of Power JUNE 22 - JULY 17

By Patrick Mulcahy Amid the sounds of the guns of revolu- to mind. To me, the scope of that Producing Artistic Director tion in 1776, Abigail Adams quoted Brutus “lofty scene” is beautifully balanced “ ow many ages hence will this as she wrote to her husband John: by the play’s humanity, revealed in its many intimate moments: Brutus’ closeness with our lofty scene be acted over in There is a tide in the affairs of men, states unborn and accents yet Which taken at the flood, leads on to his fiercely loving wife Portia; his care of H his servant Lucius; his dynamic relationship unknown.” With these words in Julius Caesar, fortune. Shakespeare gives Cassius, a leading conspira- Omitted, all the voyage of their life with his close friend Cassius; and even his tor in the assassination, the power of prophesy. Is bound in shallows and in miseries. love of Caesar. Caesar finds intimacy with On such a full sea are we now afloat, his wife Calpurnia, with the people of Rome, In 1864, three brothers from the promi- And we must take the current when it with the Senators who come to his home nent Booth theatrical family played principal serves, to bring him to the Capitol, and with his characters in Julius Caesar at the Winter Or lose our ventures. friend Brutus in his final moment. Antony’s Garden in New York City. Just five months Each of these acts of revolution could moments alone with the “ruins” of Caesar are later, one of the brothers, John Wilkes Booth, also be described as intimate: a point- similarly powerful and poignant. shot President Lincoln at Ford’s Theatre. As blank assassination, keeping company with he jumped to the stage, Booth shouted “sic Perhaps this full spectrum exploration of Shakespeare in solitary confinement, and a semper tyrannis” (“thus always to tyrants”), both the public and private selves is a key to love letter to a founding father and revolu- words attributed to the historic Brutus at the play’s popularity. Julius Caesar was among tionary. So personal in each case. Caesar’s assassination. the most referenced plays in Shakespeare’s Most striking to me in Julius Caesar: time even though it was not published until Nelson Mandela shared a smuggled, characters seem to speak for the ages and yet after his death. In 1599, it followed a string disguised copy of The Complete Works of also speak intimacies in the ears of friends of history plays which explored the moral- with his fellow politi- William Shakespeare and lovers, occasionally at the same time. ity of rebellion in the War of the Roses, and cal prisoners at Robben Island. Thirty-two Thus, the emotional range of the play has similarly gave Shakespeare’s audience a kind of the prisoners, including future leaders a kind of cosmic breadth despite the rela- of backstage access to the corridors of power. of post-apartheid South Africa, selected tive stoic constraint of a few of the principal Our fascination continues, if television series favorite quotes from which they drew inspi- characters. about the U.S. presidency and ancient Rome ration in their struggle. One of Mandela’s are any indication. There have been dozens selections, spoken by Julius Caesar as he Originally, we had planned Caesar for of feature films that tell the Julius Caesar responds to his wife’s fears about him going the mainstage, but then moved it to the story, several adapting Shakespeare, and our to the Senate: Schubert Theatre. That’s when I got most own production of Antony and Cleopatra had excited about this production. The intimacy Cowards die many times before their record-setting attendance. While our fascina- deaths; of that space felt perfect for the intimacy of tion with the otherwise hidden machinations The valiant never taste of death but the play. of politics is strong, how much stronger is once. it when we find that we care about these Most people probably think first of the people, that we see ourselves in them, in their assassination scene when this play comes

4 • The Quill, Spring 2016 610.282.will acts of love and compassion as much as in though is in exploring with us perhaps the we, like the characters in this play, struggle their acts of aggression. more interesting questions of why and how to create the version of the world we would we do what we do, what it says about human most want to live in. That’s power, to move The age-old question is: was it aggres- beings that we continue to wrestle with the needle. sion or were the conspirators liberators? morality, to revisit questions of what should While the world continues to struggle with or should not have been done, and how we Julius Caesar is arguably Shakespeare’s the question of what to do with a leader do so in the context of our relatedness to one first great tragedy. In honor of the play’s who is perceived to have tyran- timeless qualities, our production will nical inclinations, it also strug- highlight elements of past, present, gles more broadly to determine and imagined future. Unlike docu- under what circumstances a per- How many ages hence will this our mentaries, plays are art objects made son in authority can use deadly lofty scene be acted over in states of metaphor. Shakespeare wrote a force against a person perceived unborn and accents yet unknown. play in Renaissance England, set in as a threat. ancient Rome, that will be produced for an American audience in 2016. reat playwrights don’t preach. Often another in both intimate and glare-of-the- Any production of a Shakespeare through immersion in ambiguity and spotlight public relationships. play today ideally meets in the magical space paradox, they illuminate truths about between these different eras in human his- G This play moves from rationality to tory, including ours. Hamlet asks that the our being that transcend binary consider- ations of right and wrong. They look across frenzy, from soaring ideals to impulsive mob theatre “hold the mirror up to nature.” Our the width of the paradox to reveal what is violence and civil war. It also translates his- production aims to do so in this momentous fundamentally human. In this play, I believe tory into great entertainment, and makes and tumultuous year, and to ask the questions Shakespeare certainly fascinates the audience the harder-to-glance nuances of our natures the play asks, of our time, of Shakespeare’s with the plot history gave to him. His genius more visible, poignant, and illuminating, as time, of Caesar’s time, of all time. n

Keith Hamilton Cobb Rosalyn Coleman Steven Dennis Jacob Dresch Grace Gonglewski Christopher Patrick Julius Caesar Calpurnia, Caesar’s wife Cicero Marullus/Decius Brutus Portia Mullen, Casca/Lucilius TV: Noah’s Arc, Young & Broadway: The Piano NY stage: A Most Secret PSF: Henry V, The PSF: The Merry Wives of 1st national tour: West the Restless, Andromeda, Lesson, Seven Guitars; War, Girl of the Gold Foreigner, Lend Me a Windsor, A Moon for the Side Story; PSF: Pericles, All My Children; Emmy TV: The Blacklist, Blue West; PSF: The Tempest, Tenor, Macbeth, Antony Misbegotton, The Taming Dracula…, Romeo & nominee; Shakespeare Bloods, Elementary, Cyrano, As You Like It; & Cleopatra, Hamlet; of the Shrew, Henry V; Juliet; Twelfth Night, Theatre Company/D.C., White Collar; Regional: Shakespeare Texas Shakespeare Walnut Street, Arena Hamlet; People’s Light, Shakespeare Theatre Shakespeare Theatre Theatre of New Jersey, Festival, Red Bull Theatre Stage, Arden Theatre, Arden Theatre, Orlando of New Jersey, Actors Company, Yale Rep, Centenary Stage, Wilma Theatre Shakespeare Theater Theatre of Louisville, Shakespeare & Company Syracuse Stage Denver Theatre Center

Spencer Plachy Greg Wood Henry Woronicz, Brutus Marc Antony Cassius 11 seasons at the Oregon Broadway: Romeo & Film: Sixth Sense, Signs; Shakespeare Festival as Juliet, The Mystery of PSF: The Tempest, King resident actor/director, Edwin Drood; Tours: John, Cyrano, A Moon for Artistic Director from Oklahoma!, Fiddler on the Misbegotten, Hamlet, 1991-95. Seinfeld, 3rd Rock the Roof; PSF: South Richard III; Orlando from the Sun, American Pacific, 1776, My Fair Shakespeare Theater, Conservatory Theatre, Lady, The Two Noble People’s Light, Walnut Berkeley Rep, Arden Kinsmen Street Theatre Company, Actors Theatre of Louisville, Delaware Theatre Julius Caesar set rendering by Steve TenEyck Company, The Shakespeare Theatre www.pashakespeare.org The Quill, Spring 2016 • 5 West Side Story continued When Robbins presented a Broadway revue of his greatest hits (Jerome Robbins’ urban lyrics. Sondheim would have liked Broadway in 1989), he had to employ many to use even coarser contemporary language, dancers who had previously performed in but the f-bomb was switched to “Gee productions to help recreate the chore- Officer Krupke, krup you!” In his 2000 ography, as he himself no longer remem- memoir, Laurents recalls that Sondheim bered each and every step. A few modern would have preferred to write both music Austin Colby, Tony Karli Dinardo, Anita choreographers have attempted to create and lyrics himself, but his mentor Oscar new dances for the music, but they almost National Tour: The National Tour: Flashdance Hammerstein convinced him it would be always end up adapting the iconic memo- Sound of Music; the Musical; featured a great experience for him to work with Regional: Arena Stage, dancer, Engeman rable movement created by Jerome Robbins. Signature Theatre, Theatre: West Side Story Bernstein and Robbins. (See story next page.) Olney Theatre, Papermill (Anita), The Music Man; Theatre; Soloist, Lost BroadwayCon (world Laurents’ book exquisitely and mov- The film version of the musical, Songs of Broadway, premier), Rockefeller ingly retells the key events in Romeo and Holiday Follies Center which premiered in 1961, provides some Juliet with an unforgettable balcony scene, representation of the dances. However a dance at a gym instead of the Capulet’s much of the movement was altered for the ball, and a rumble under a bridge instead of film by Robbins, who was later replaced a duel in the town square. by Robert Wise as director, and the

Jerome Robbins has put together, and then blasted apart, the most savage, restless, electrifying dance patterns we’ve been exposed to in a dozen seasons. MaryJoanna Grisso, Nathan Madden, Riff Maria –Walter Kerr, theatre critic Broadway: An American Maria, West Side in Paris, Chicago; ontrary to Bernstein’s memory of Story, National Tour National Tour: Come screenplay re-orders several key events in and Signature Theatre, Fly Away; Dance: Les the generous spirit of the group of the story. The alleyways and fire escapes Helen Hayes nominee; Ballet Jazz DeMontreal, artists that created West Side Story, of the setting for the story were filmed Cosette, Les Misérables, Lar Lubovitch Dance C this brilliant team of collaborators was in the blocks of New York that became Palace Theatre; Soloist, Company; Regional: Carnegie Hall, Broadway Guys and Dolls, not always a cohesive one. Disagreements the locations for Lincoln Center and Rocks Concert; Lead, Footloose, Cats, A were as frequent and as tense as the gang the Julliard School. The film won a total MTV Show Choir Chorus Line warfare in the play, and by opening night of 10 Academy Awards, including Best none of the collaborators were speaking to Picture—one of the few movie musicals Jerome Robbins: he had made many deci- ever to receive that honor. sions on his own without consulting the others. He used his credit “conceived by The recent Broadway revival directed Jerome Robbins” as justification for taking by Arthur Laurents, in an attempt to the lead role in the decision-making and his modernize the piece, translated many choreography took center focus in the show. of Sondheim’s lyrics into Spanish. Lin- Walter Kerr noted in his review: Manuel Miranda, creator of the Broadway hit Hamilton, did the adaptation. Director, choreographer, and idea- However, due to the audience response, Charles South, Bernardo Joe Vincent, Doc man Jerome Robbins has put most of the English lyrics were eventually together, and then blasted apart, International Tour/ Broadway: Rock’n’Roll; restored. West End: Bernardo, The Elephant Man; PSF: the most savage, restless, electri- West Side Story; Fiddler on the Roof, Cat fying dance patterns we’ve been West Side Story remains one of the Carmencita Jones; on a Hot Tin Roof; 14 exposed to in a dozen seasons. greatest achievements in the American Regional: Fiddler on seasons with Oregon musical theatre. Few Broadway scores are the Roof, Goodspeed; Shakespeare Festival; Time magazine’s review stated that by Hartford Stage, La Jolla Orlando Shakespeare “putting choreography foremost, (West Side as successful and memorable as Bernstein’s, Playhouse; Lead dancer, Theater; Goodspeed Story) may prove a milestone in musical- and Robbins’ choreography set the stan- Richard Rogers Revue, Opera dard for all of the dance musicals that Hartford Symphony drama history....” were to follow. n For subsequent revivals of the show, Bill Zielinski, Lt. Schrank Robbins’ choreography is almost always recreated. A choreographic manual is PSF: Henry V, The Mousetrap. Seven-time provided with the script, but even that Barrymore nominee, is incomplete. Performers are dependent four-time winner; on dancers and choreographers who have MAIN STAGE • JUNE 15 - JULY 3 Regional: People’s Light and Theatre; Delaware passed down the remembered movement: Theatre Company, as a result there are many variations. Portland Stage Company

6 • The Quill, Spring 2016 610.282.will Stephen Casey Takes a Step in Time Recreating Jerome Robbins’ Choreography for West Side Story By Lisa Higgins “Robbins was of both worlds—prolific in the steps, it’s how they move together and classical ballet and Broadway,” says Stephen how they weave together. It’s highly physi- The futility of intolerance. Casey, who returns to PSF to recreate cal and athletic and very complicated in its All the dance, all the music, and all the Robbins’ original choreography. “He merged design.” words that make West Side Story the singular book, music, character, and score, and made And that’s not all, Casey says: “The cho- achievement it is, for Jerome Robbins—who them seamless. reography is very challenging musically and conceived, then choreographed and directed “In , the opening scene the dancers must understand the score com- the show—the central theme is simply “the West Side Story begins with a dance. Robbins loved move- pletely. It’s not 5, 6, 7, 8: the meter changes futility of intolerance.” ment that came from simple actions, like constantly, the accents change constantly.” Perhaps this fundamental idea propelled walking, strolling, running, and more techni- Casey, who created the choreogra- the geniuses who created West Side Story cal movement evolved from those actions to phy and some of the musical staging for to produce some of their greatest work. “I tell a story,” Casey says. last season as well as for PSF’s don’t know what was in the back of their Les Miz “In the prologue, you see Jets on a , minds, these guys were so career-driven—but Oklahoma! A Funny Thing Happened on street. Their walk becomes a snap, a snap the Way to the Forum, and 1776, previously nobody thought (West Side Story) was going becomes a glide, and the glide becomes the had the challenge of recreating Robbins’ to be a hit,” Gerald Freedman, Robbins’ iconic ‘sailing step’ of the Jets. Then in the choreography for PSF’s 2014 production assistant director, told Robbins’ biographer. background, you see the angle of the Sharks’ of —all productions that “They weren’t working for a hit. They knew Fiddler on the Roof elbows, and before anyone opens their were directed by Dennis Razze, associate this was some strange animal, so that they mouth to speak or sing, the story is told artistic director. could pour themselves into it, and it was only through movement and dance. about excellence.” (See cover story, “Geniuses “I have worked with Stephen on so at Work.”) “You have to maintain Robbins’ staging many shows now,” says Razze, “it’s like we and choreography because it’s so integral to are an extension of each other. Stephen is In gestation during the early 1950s the story.” a fantastic choreographer—he works fast, when “Broadway was still tied in many can recall every step, every count by heart, ways to the old leggs-and-laffs tradi- The dancing in West Side Story exceeds and is terrifically clear about what he wants tion,” West Side Story was shaped in part the dancing in any other musical PSF has from an actor or a dancer.” Razze continues, by Robbins’ emergence from the world produced by light years. Similar to the way “Stephen has made it his business to study of classical ballet, paired with composer Les Misérables was the most challenging every aspect of Robbins’ choreography for Leonard Bernstein’s enormous talents in singing production PSF has ever produced, this show and not only knows the move- classical music. West Side Story is the most challenging ment but what each movement communi- dancing show, Casey says. “Restaging some- cates about the story or the characters. He’s one else’s choreography is a huge responsi- absolutely brilliant.” bility,” he says. “You have an obligation to do it right. You’re The depth and range of Casey’s knowl- passing on a edge about Robbins and his work reflects legacy. Casey’s own artistry in addition to honoring Robbins. “Robbins went from American bal- “Dancers let to musical theatre to film. He did it all. have to know why How can you do all that in one lifetime? they’re doing what they’re doing: it “What do you say to genius?” can’t just be about the steps. Robbins’ vast collection of work tells many stories. And in West Side Story, his bril- “With liant adaptation of Shakespeare’s Romeo and Robbins’ choreog- Juliet, Robbins’ choreography indeed reveals raphy, it’s not just the futility of intolerance. n

Stephen Casey, front and center, leads dance auditions for West Side Story earlier this year. Casey is recreating Jerome Robbins original choreography. “You have an obligation to do it right,” he says. “You’re passing on a legacy.” Photo by Dennis Razze.

www.pashakespeare.org The Quill, Spring 2016 • 7 By Heather Helinsky, Dramaturg summers later in 1559, King Phillip II made spouses were seen as dangerous socially a very unpopular decision with his Catholic and politically. What knotted a private magine waking up one morning and subjects to propose marriage to Elizabeth I, marriage to English public life stemmed your independent and sovereign nation is the Protestant Queen. from the dramatic shifts in England from Ibeing threatened by the greatest military Catholicism to the newly created Church force in the world—and a woman is the ruler Elizabeth refused the proposal and that of England. Only a generation earlier, King of your nation. In mid-July 1588, the people summer, King Phillip II prepared his earli- Henry VIII separated the English church of England found themselves surrounded by est scheme to send his Armada across the from the Roman Catholic church over seven miles of 130 Spanish battleships, sent Channel. This began 30 years of belligerent the issue of divorcing wife Catherine of from King Phillip II of Spain. threats on which King Phillip II never deliv- Aragon so he could marry Anne Boleyn, ered. Until 1588. Once the Spanish Armada the mother of Queen Elizabeth I. Which Yet like a true warrior, Queen was defeated by “the Protestant wind,” it Elizabeth I, astride her white horse, boldly solidified that England’s monarch, who may went forth to the troops in Tilbury and have had the body of a weak and feeble delivered an inspirational speech much like woman, was now a confident, powerful, and “I have the body of a weak and feeble woman, the one PSF audiences heard last summer in very popular ruler. Shakespeare’s Henry V. but…the heart and stomach of a king.” The Taming of the Shrew is known to be “I know I have the body of a weak – Queen Elizabeth I and feeble woman,” declared Queen one of Shakespeare’s earlier plays. First per- Elizabeth I, “but I have the heart and formances could have been seen as early as stomach of a king, and a king of 1590 or as late as 1594, but some experts have England too!” determined it could have been performed in 1589—only a year after Queen Elizabeth’s Queen Elizabeth I’s defeat of the triumph over the Spanish Armada. For Spanish Armada turned the tide of history, Shakespeare, the “upstart crow” actor and as England’s second-rate navy conquered the playwright of the Lord Chamberlain’s Men, fleet of the mighty colonial Spanish Empire. the possible 1589 date makes it not only his Queen Elizabeth I had challenged the great- first comedy, but possibly his first play. We est power in the European world and won. can only imagine how audiences received the This battle, which stemmed from 30 years strong-willed behavior of Katherine with a of tension with King Philip II of Spain, also strong-willed Queen ruling England. had a very personal side. The Taming of the Shrew, both a popular In 1555, comedy and the iconic dramatization of the Elizabeth, daughter battle of the sexes, is a play of contradictions of the late King without any easy answers. An audience favor- Henry VIII, was ite, it defies the common definition of comedy: 22, marriageable, a play that ends happily with the main char- and in a politically acters dancing at their wedding. Instead, The vulnerable position. Taming of the Shrew ends in the third act with Elizabeth had just Petruchio carrying an unhappy Katherine away been freed from from their wedding feast. In one of the rare her imprisonment occasions where Shakespeare dramatizes mar- in the Tower of riage, he then ends the play with three seem- London by her half- ingly happy couples betting which one’s wife is The “Armada Portrait” sister Queen Mary. the most subservient to her husband’s call. from the National Powerful King Portrait Gallery in Phillip II of Spain London depicts Queen met and attempted hile The Taming of the Shrew is Elizabeth I and was to woo Elizabeth at Shakespeare’s most complete dra- painted in celebration matization of the institution of of the defeat of the Hampton Court. It W Spanish Armada. was quite uncom- marriage, the questions it raises were impor- mon for monarchs tant ones to the subjects of Queen Elizabeth I. of the time to meet and woo in person. For Elizabethans, marriage was not a While there is no record of what either of Ian Merrill Peakes (left), multiple Barrymore award winner and Helen Hayes nominee, returns private affair but a very public one. Brawling to PSF to play Petruchio. Eleanor Handley, whose PSF’s credits include Maggie in Cat on a them said in this private meeting, only a few Hot Tin Roof and Beatrice in Much Ado About Nothing, will play Katherine.

8 • The Quill, Spring 2016 610.282.will was more powerful: the King of England, Churchgoing in England was compul- the patience of both spouses and seeks to or the Catholic church? Catholicism holds sory: as the monarch of England was also the counsel the English couple “struggling to marriage up as a sacrament, but King Henry head of the Church of England, and subjects conquer the frustrations of marriage and to VIII wanted to treat marriage as a contract owed the monarch both political and reli- tame their own rebellious wills.” that could be broken. gious allegiance. Under Queen Elizabeth, the Bible was translated into English, making it Yet if marriage is simply a contract that n this play about life beyond the celebra- widely accessible in a society where, regard- tory wedding feast, Shakespeare uses the can be broken, the concept creates some less of class, children were taught to read. very real challenges to other fundamental conventions of a play-within-a-play in a The Book of Common Prayer, published in I Catholic teachings, particularly that a man unique way. The audience is asked to imag- 1549, revised prayers and liturgies, including ine being in Italy instead of England and to is the head of the household, the king of his the marriage ceremony. Queen Elizabeth’s domestic castle. And a ruler over his wife. stay conscious that the stage is only a rep- revision of “Thirty-Nine Articles” intended resentation of reality. The audience doesn’t As Henry VIII’s daughter Queen to shift the focus of worship away from cer- have to suspend their disbelief; they can stay Elizabeth I worked to establish the Anglican emonies in an effort to put the believer in a aware that this situation is being portrayed Church, the common man felt these dra- more direct relationship with God. At the by actors playing roles. It’s helpful to remem- matic shifts from marriage as a sacrament to same time, Anglican clergy were allowed for ber that in original practice, the audience marriage as defined by the Anglican Church. the first time to marry. was accustomed to suspending their disbe- One can assume that a radical change in lief as all women’s roles, including Shrew’s the church from the Catholic church’s celibate Katherine and Bianca, were played by young priests to married Anglican clergy had a direct boys dressed as women. “I have the body of a weak and feeble woman, impact on the homilies that the Elizabethan Shakespeare’s plays often dramatize but…the heart and stomach of a king.” English family would hear! The publication dutiful daughters, yet in The Taming of the of the Bible in English was soon followed by Shrew, both sisters are only playing at their – Queen Elizabeth I publications of sermons as well as “household roles. Baptista believes he is a good parent manuals”—the beginning of an industry of and values reputation and status above all books giving advice on one’s personal life. else.1 Baptista rebukes his oldest daughter By the early 17th century, marriage advice Katherine for any word or deed that tarnish- books were widely distributed. While all these es their family’s public image. Bianca seems books called upon the authority of Scripture to be the good, dutiful daughter because she to assert that households were both hierarchi- is compliant and outwardly obedient. Yet cal and patriarchal, the status of the wife was Katherine, called a shrew for being publicly sometimes referred to as a “joint governor” or disobedient, sees through Bianca’s “good girl” companion, which complicated discussions of act. Shakespeare will not dramatize a pair of domestic authority. sisters competing for parental attention until One of the Anglican Church’s offi- much later in his career in King Lear, a tragic cial sermons was A Homily on the State of play opposite in mood and tone from Shrew. Matrimony, first published in 1547 but Bianca’s name means “white,” which revised 39 times over the next 100 years. seems symbolic for the traits all her suitors Like Shakespeare’s play, A Homily on the State value in her: beauty, a seemingly gentle of Matrimony provided no easy answers or nature, and purity. Katherine is trapped, common consensus on the roles of husband then, by a role as an unconventional daugh- and wife. One such contradiction concerned ter and Baptista would like nothing more a husband’s right to beat his wife. The than to “rid the house of her.” Perhaps Christian wife’s response to this violence as a comic foreshadow of King Lear and was to turn the other cheek, pray, and have Cordelia, Baptista has been completely patience. However, the homily attempts fooled by the true nature of each daughter. to redefine masculinity as nonviolent and None of the men of the town can see into deplores a husband’s use of violence, even Katherine’s heart, judging her only by her as it concedes that violence is a husband’s outward shrewish behavior. It’s not until right. The homily’s ideal of a politic, patient, Petruchio arrives that someone can see and gentle husband was not the reality of beyond the act and fall in love with Kate. Elizabethan households. Because of this real- Almost everyone, from the servants to the ity, the homily stressed that marriage tests

MAIN STAGE JUNE 13 - AUG 7

Ian Merrill Peakes (left), multiple Barrymore award winner and Helen Hayes nominee, returns to PSF to play Petruchio. Eleanor Handley, whose PSF’s credits include Maggie in Cat on a Hot Tin Roof and Beatrice in Much Ado About Nothing, will play Katherine.

www.pashakespeare.org The Quill, Spring 2016 • 9 lords, ends up disguising their true natures and playing a role as they pursue Baptista’s daughters.

irector Matt Pfeiffer—who PSF audiences know from last sea- Dson’s Henry V and 2014’s The Two Eric Hissom, Grumio Brandon Pierce, Lucentio Linda Thorson, Baptista Carl N. Wallnau, Gremio —starts his directing Gentleman of Verona PSF: Around the Shakespeare Theatre of TV: The Avengers, PSF: The Foreigner, process by embracing the humanity of the World in 80 Days; The New Jersey, Philadelphia Marblehead Manor; Henry V, Lend Me a actors playing these roles. “It’s clear that Complete Works of Theatre Company, Arden BBC, ITV London; Tenor, Twelfth Night. Shakespeare knew he was going to write a Shakespeare…; A Man Theatre, others. Broadway: Noises Off, Paper Mill Playhouse. for All Seasons, and City of Angels; Tours. New York: Pearl Theatre. play that’s challenging. What’s it like for a national tours. man and woman to find common ground? Because of this, it seemed important for Shakespeare to remind the audience that this With The Two Gentleman of Verona, direc- “The play is not an answer or prescrip- is, first and foremost, a play.” tor Pfeiffer had musicians casually introduce tion about a woman’s place in society. The the action of the play through songs, while last playwright has a history of writing very Pfeiffer also sees Shrew as Shakespeare’s summer’s production of Henry V used music strong female characters,” says Pfeiffer. “For way of turning a typical love story upside to create heightened ceremonial moments. me the play asks, what do we give up of our- down. “The pursuit of Bianca, where two Pfeiffer uses music not in a conceptual way, selves to be in a relationship? suitors are fighting over a beautiful girl, is but to create an event and remind the audi- the usual love story plot. That’s not what ence of the presentational style of telling the “Am I a better person with my partner? That’s the real test of true love.” n we have with the main plot of Katherine story. “If Two Gents used music like a joyous, and Petruchio. Petruchio, for all his bravado, relaxed summer picnic, and brought Henry V 1. In PSF’s production, the role of Baptista is admits he doesn’t know what he’s doing. a religious tone, then The Taming of the Shrew being played by a woman. Kate wants to be loved, but she doesn’t will use music with explosive energy. In Shrew, understand Petruchio’s actions until she love is chaotic and crazy.” Heather Helinsky is a Philadelphia-based learns how to play the game. There’s some- dramaturg with an MFA in Dramaturgy from thing about the way they fight that adds up “Love wrought these miracles,” explains Harvard and a BA in Theatre Arts from DeSales University. Her primary focus is new play devel- to a more satisfying, complicated love story. a character in Shrew, after much comic con- fusion and deceptive role playing, towards opment and she has worked for 35+ regional They’re in it to win it.” theaters. the end of the play.

PSF STAFF Pennsylvania Shakespeare Festival Names PATRICK MULCAHY Producing Artistic Director Melissa Kerr as Director of Development DENNIS RAZZE Associate Artistic Director The Pennsylvania A member of the Association of CASEY WILLIAM GALLAGHER Shakespeare Festival Fundraising Professionals, Kerr comes to Managing Director welcomes Melissa Kerr PSF with experience in both higher educa- as the new director of tion and non-profit administration. She Director of Marketing & Public Relations development. A key began her career at McCarter Theatre Center LISA HIGGINS PECHTER Education Director/Assistant General Manager administrative posi- in Princeton, N.J., serving as the donor rela- JILL ARINGTON tion, the director of tions manager—overseeing the theatre’s Director of Production JARED GOLDSTEIN development manages donor events and recognition programs. MELISSA KERR the Festival’s fundrais- Most recently, she served as assistant director Director of Development Melissa Kerr Business Manager KAREN SPANO ing operations through of donor relations for Lafayette College. Her Box Office Manager CATHERINE M. LOGAN individual contributions, corporate, govern- experience also includes volunteer service Associate Box Office Manager NICOLE MOYER ment and foundation grants, season spon- with the Bucks County Playhouse and work Marketing/Management Assistant TINA SLAK sorships, and donor engagement events, with Downtown Performing Arts Center in Development Assistant MEGAN DIEHL most notably Luminosity, PSF’s annual Lambertville, N.J. gala. Kerr succeeds Debra Walter, who now Kerr received her Bachelor of Arts The Quill is published up to three times a year by the serves on the development staff of DeSales Pennsylvania Shakespeare Festival, the professional University. degree in theatre from DeSales University, company in residence at DeSales University. Artists and served the Festival in several intern- subject to change. “Melissa is a terrific addition to our ship capacities at that time. “It’s very much EDITOR Lisa Higgins staff,” says Producing Artistic Director a return home for me,” she says, “and it is a DESIGN Laura Zielinski Patrick Mulcahy. “Her maturity, experience, true pleasure to promote the advancement of

CONTRIBUTORS: Heather Helinsky and Ingrid Russo and insight will help ensure the Festival’s this great organization.” momentum as we gear up for our 25th FR. GERARD J. SCHUBERT, OSFS (1929-2015) Anniversary season.” Kerr and her husband live in Easton, Pa. Founder

10 • The Quill, Spring 2016 610.282.will Fr. Bernard F. O'Connor, OSFS, to receive 2016 Will Shakespeare Award

r. Bernard F. “Bernie” O’Connor, remarks about the relationship between OSFS, visionary leader and president the arts and the Salesian tradition, that St. Fof DeSales University, will be pre- Francis de Sales saw the human sensing sented with PSF’s annual Will Shakespeare apparatus as one of the pathways to God, Award. In celebration of PSF’s 25th anni- and that which is beautiful in the world as versary season, the award will be conferred such a gateway. Artists have a natural incli- on June 4 at the Festival's annual gala, nation to see their work as ‘sacred,’ and these Luminosity, to be held in the DeSales remarks illuminated the sense of the impor- University Center. tance and value of our offerings.” Fr. O'Connor has presided over the Fr. O’Connor attended last season’s pro- University’s tremendous growth since his duction of Les Misérables several times and inauguration in 1999. He joined Allentown considered it “the finest production in the College of St. Francis de Sales (now DeSales history of [PSF]. University) as an instructor of philosophy in 1974 and assumed multiple academic and “The story enlightens eternal truths about leadership roles on his path to the presidency. our human nature and our worldly condition.” As DeSales celebrates its 50th Anniversary in The Will Shakespeare award is given the 2015-16 academic year, Fr. O’Connor is annually to a person, group, or organization the longest serving president of any institu- that enriches the world by the sharing of tion of higher learning in the Lehigh Valley. gifts, inspires others through luminosity of “PSF was founded by an Oblate of St. spirit and engages with society in a way that Francis DeSales, Fr. Jerry Schubert,” says leaves an indelible and beautiful impression. Producing Artistic Director Patrick Mulcahy, The annual gala also features entertain- “and then another Oblate through his stead- ment by Festival favorite actors and will serve PSF will honor Fr. Bernard O’Connor with the fast support made its present success possible. as a prelude to the 25th anniversary season. annual Will Shakespeare Award at Luminosity, Without Fr. O’Connor, we could have been Tickets for the gala are available by calling PSF’s gala in June. a theatre, but not this theatre.” Mulcahy also 610.282.WILL [9455], ext. 6, or online at remembers, “feeling moved by Fr. O’Connor’s www.pashakespeare.org. n

Saturday, June 4, 2016 Also This Summer:

Luminosity Gala JULY 21 – AUGUST 7

Celebrating Years JULY 27 – AUGUST 7 HONORARY CHAIRS David B. and Patrina L. Rothrock

2016 WILL SHAKESPEARE AWARD RECIPIENT Rev. Bernard F. O’Connor, OSFS

Purchase tickets online at pashakespeare.org/gala or call 610.282.9455 ext. 6. JUNE 3– AUGUST 6 The PSF 8th Annual High School Shakespeare Competition hakespeare’s kings and clowns, queens and maids “strut and fret” upon the stage in the Pennsylvania Shakespeare Festival’s 8th Annual Shakespeare Competition held March 5. With monologues and scenes performed by 71 high school students from 15 schools, Sthe competition was adjudicated by 6 professional actors and teaching artists from New York and Philadelphia. Next year’s competition is scheduled for Saturday, March 4, 2017.

Team Awards FIRST PLACE: North Penn High School, Lansdale, Pa. SECOND PLACE: Lehigh Valley Charter High School for the Arts, Bethlehem, Pa. THIRD PLACE: Wilson High School, West Lawn, Pa.

The winners of the 8th Annual Shakespeare Competition. Photos by Amy Herzog. Monologue Awards FIRST PLACE: Ahkira Hamilton as Portia from Julius Caesar, Lehigh Valley Charter High School for the Arts SECOND PLACE: Hannah Hakim as Portia from The Merchant of Venice, Parkland High School THIRD PLACE: Samuel Boelens as Berowne from Love’s Labour’s Lost, Hereford High School

Scene Awards FIRST PLACE: Abriel Smith & Catherine Winner as Celia & Rosalind from As You Like It, North Penn High School SECOND PLACE: Gabriel Moses & Ciara Alvarado as Othello & Desdemona from Othello, Lehigh Valley Charter High School for the Arts THIRD PLACE: Kylie Brown & Kevin Cook as Isabella & Claudio from Measure for Measure, Schuylkill High School

Scholarship Recipients Abriel Smith as Celia (left) and Catherine Winner Ciara Alvarado, Kylie Brown, Kevin Cook, Ahkira Hamilton, Gabriel Moses, as Rosalind perform a scene from As You Like It. Mackenzie Moyer, Abriel Smith, Catherine Winner, and Crystal Ye.

Where There’s a WILL, There’s a Way: More Students Get to Know Shakespeare Thanks to a Grant from Lehigh Valley Community Foundation

new program funded in part by a “The science “Through the generosity of the Lehigh Community Partnership grant from is compelling: a Valley Community Foundation, we are able Athe Lehigh Valley Community child’s engage- to build on existing partnerships with area Foundation— “Where There’s a WILL, ment in the arts schools, their students and teachers,” says There’s a Way”—will provide free and can increase Mulcahy. subsidized tickets to the Pennsylvania cognitive devel- Shakespeare Festival and its education opment, graduation rates, SAT scores and “This program ideally complements programs. future employability,” says Patrick Mulcahy, the work we do supported by Shakespeare in PSF producing artistic director. “This fund- American Communities, a grant program of the Designed to serve one or more Lehigh ing will allow us to combine programming National Endowment of the Arts in partner- Valley schools with populations of students for students and multiply the impact beyond ship with Arts Midwest. (See story p. 13.) that may otherwise have limited access what attending any one performance or set “We know from experience that stu- to such programming, “Where There’s a of workshops can do.” WILL…” is a pilot program that aims to dents of all ages are often surprised—and more fully integrate a student’s experience The program’s goal is to reach 850 to inspired—by the work they see on stage. Our with PSF’s summer Main Stage productions 1,000 students and to measure their respons- real aim is for students to discover the power and its annual fall tour of a Shakespeare play, es to surveys about their experience. of language. Once that happens, a world of n The Linny Fowler WillPower Tour. possibilities opens before them.”

12 • The Quill, Spring 2016 610.282.will “The Ides of March are come…but not gone” Julius Caesar in Schools and on the PSF Stage

By Jill Arington, Education Director him see as black and white—an interesting point to consider when national conversa- hile Festival audiences eagerly tions oversimplify issues in our increasingly await our June 2016 production of polarized world. It’s also a point that’s rein- Julius Caesar, almost 15,000 stu- W forced when, midway through the play, the dents in the Lehigh Valley and beyond have audience’s empathy begins to waver between already sunk their teeth into this play, which Brutus and Marc Antony. Deciding what to is at once political, personal, and timely. In believe and who to trust are important ques- October 2015, PSF’s annual Linny Fowler tions for young people now as then. If Brutus WillPower Tour began its journey of 2,865 had trusted Caesar, if the conspirators had not miles to share Julius Caesar with 14,706 stu- trusted Marc Anthony, how might the tide dents in 47 schools across Pennsylvania and in the affairs of men have turned? If Caesar New Jersey. Thanks to Shakespeare in American had trusted his wife who (wisely, it turns out) Communities, a grant program of the National begged him to stay home, how would the fate summer Main Stage season. Funding from Endowment of the Arts in partnership with of Rome have been affected? will even Arts Midwest, PSF was once again able to Shakespeare in American Communities allow us to provide busing where transporta- extend the initially planned four-week run of Clearly, there is more to Julius Caesar tion is an obstacle to attendance. Students Julius Caesar by two full weeks, reaching 5,786 (and all of Shakespeare’s plays!) than can be who were introduced to this school additional students over the course of 12 extra Caesar absorbed in a single sitting—especially for year will have the opportunity to explore the performances. students experiencing a play for the first time! play in greater depth this summer—or experi- Every aspect of WillPower, from the size of Julius Caesar, long a staple of English ence an entirely new story in Shrew and Love’s the cast to the portability of its scenic ele- curricula, has much to offer students and Labour’s Lost. Fortunately for these students, ments, is designed for schools. So, too, are the adults alike—and this play is never more the “Ides of March”—and the many fascinat- scripts we use, which always convey the full salient than in an election year. Indeed, Marc ing worlds of Shakespeare—“are come…but arc of the story, but in an 80-minute, “school- Antony’s famous funeral oration (“Friends, not gone.” n assembly-friendly,” time frame. Romans, Countrymen, lend me your ears…”) is a masterclass in effective use of rhetoric and This summer, thanks to the Shakespeare Pennsylvania Shakespeare Festival’s WillPower the power of language to win the hearts and production of Julius Caesar, plus its summer in American Communities initiative, PSF will mainstage productions of Julius Caesar, The minds of citizens. Brutus’ struggle to discern be able to invite some of the students who Taming of the Shrew, and Love’s Labour’s Lost, are the moral course of action from the options experienced WillPower last fall to spend more part of Shakespeare in American Communities, a laid before him illuminates shades of grey time with Julius Caesar—plus The Taming of program of the National Endowment for the Arts present in a situation that Cassius would have the Shrew and Love’s Labour’s Lost—during our in partnership with ArtsMidwest.

The Linny Fowler WillPower Tour

On Your Reading List & HAMLET on Your Stage! Touring schools in Pa., N.J., & Del. October 5 - November 4, 2016

• A professionally directed 80-minute production with sets and costumes • Trained and experienced teaching artists deliver compelling performances and quality curriculum that meets academic standards • Half-day or full-day programming, including workshops • A classroom study guide for Hamlet • Post-performance discussion with the cast

Book the tour for your school today! 610.282.9455, ext. 9 • www.pashakespeare.org/willpower www.pashakespeare.org Photo by Lee A. Butz The Quill, Spring 2016 • 13 Pennsylvania Shakespeare Festival Guild: Service with a Smile By Ingrid Russo How about joining our volunteer team? As the Pennsylvania Shakespeare Festival celebrates its 25th A PSF volunteer is: Anniversary this season, so, too, does the Pennsylvania Shakespeare Festival • An energetic and enthusiastic person Guild. Integral to the Festival founder’s vision, the Guild served as an • Open to working with others and making new friends essential resource even before the first performance in 1992. When you • Able to volunteer four or more times during the Festival attend the Festival, the Guild members are there to help you enjoy your season experience. From serving you refreshments to helping you find your seat, our 200+ volunteers enjoy assisting our patrons. You can play an active role: • Greet patrons Though our summer performances span only 10 weeks, the Guild is • Serve at a concession stand • Take tickets busy all year long. In addition to helping patrons during performances, the • Assist the house manager • Be an usher Guild assists in setting up opening night parties, celebrates the Bard’s birth- • Support special events • Sell souvenirs day in April, hosts a picnic in June to greet the Festival artists, and provides • Enrich the patron experience welcoming touches for their temporary rooms on campus. When you become a member of the PSF Volunteer Guild, you are enti- tled to great benefits. After volunteering for two performances, you receive a voucher to see a performance of your choice for free. At the Bard’s Birthday Dinner in April, which is free to Guild members, you get a sneak preview of the coming season. Then in the fall, you also are invited to a “thank you” din- ner in recognition of all the Guild’s work that helps make the season successful. If you have enjoyed yourself at the Festival, why not become part of the Shakespearience? Visit www.pashakespeare.org/volunteer for more informa- tion, or contact us at [email protected] or 610.282.WILL, ext. 9, to get involved!

There’s a “Part” for You STUDENTS SENIORS • Fulfill volunteer hours. • Make your free time count. • Learn about careers in theater. • Enjoy the company of interesting people. SINGLES • Meet new friends. CORPORATE EMPLOYEES • Share a new experience. • Perform community service hours. FAMILIES • Support professional • Volunteer together. theater. • Enjoy family time. CORPORATE & GROUP VOLUNTEERING Do you work for an area business or belong to a community service group? Perhaps members of your affiliate organization would like to organize a group to volunteer for a single performance and be recognized for your service at the event. Please call to discuss group benefits and for information on coordinating the activity with PSF.

PSF’s new volunteer brochure will be available in the lobby.

14 • The Quill, Spring 2016 610.282.will Kathleen Kund Nolan ’79 & Timothy Nolan ’77: Season Sponsors with a Cause for Celebration

By Melissa Kerr, Director of Development acceptance speech, Kathleen recounted, Of course Fr. Schubert’s passing in “There have been three men in my life: my December deeply saddens the Nolans, but as he Nolan’s support of PSF is sim- father, my husband, and Fr. Schubert.” Kathleen recounted, “He was at peace, and that ply second-nature. This year is the made me feel at peace.” As he neared the end third season that Kathleen and Tim As a student in Fr. Schubert’s notorious of his life, the Nolans witnessed his struggle Nolan have served as the Festival’s History of Theatre courses, Kathleen was in with illness and marveled at how he continued seasonT sponsors, the leading philanthropic awe. “Class was hard. He was a demanding to work—with his customary and incredible role of the year. For Kathleen, it was not a and brilliant teacher. I could sit and listen to focus and strength on the things that were decision that had to be made. “Who wouldn’t him in that class forever,” Kathleen recalls most important to him. “He left so much of want to be connected with PSF? That’s the fondly. Kathleen loved the theatre but strug- himself behind,” says Kathleen. way I look at it,” she says. And their connec- gled to find her place. “Fr. Schubert opened tion runs deep. The Festival remains an unquestionable constant Tim and Kathleen It’s a miracle in a cornfield. It’s mystical. It’s for the Nolans as their supported the Festival lives continue to evolve even before its inception, magical. For us, supporting PSF is a no brainer. and take new shape. “It’s and the 25th anniversary a miracle in a cornfield,” season is a meaningful milestone. The couple my eyes to show me that there is more to Nolan jokes. “It’s mystical. It’s magical. For us, watched PSF grow under founder Fr. Gerard this business than being on stage.” supporting PSF is a no brainer.” Schubert, OSFS, and now see it flourish under Patrick Mulcahy’s gifted leadership. “That in While also taking business courses, PSF proudly recognizes Kathleen and itself is cause for celebration,” says Kathleen. Kathleen began stage managing at Schubert’s Tim as season sponsors in this pivotal year. request. Today, her career includes senior “Sometimes in the lexicon of fundraising, Raised in a household where her mother management roles at some of the leading pro- the word ‘friend’ is a term for ‘donor,’” says was adamant that all of her children would fessional theatres around the country, includ- Patrick Mulcahy, producing artistic direc- pursue a college education, Kathleen recalls: ing Boston, Cleveland, and Philadelphia. tor. “Yet a true friend is someone you can “I had a passion for theatre that my parents Kathleen spent 20 years at McCarter Theatre call at crazy hours or sit with to discuss real recognized and supported.” Center in Princeton, N.J., as general manager, challenges and opportunities, someone who In the fall of 1975, she enrolled at interim managing director, and currently as a celebrates with you and cares about what you DeSales University, then Allentown College trustee. She was a founding board member of care about, and who will help and encour- of St. Francis de Sales, to major in theatre. PSF and she credits Fr. Schubert for pushing age where they can. Kathleen and Tim are To say this was a life-altering experience her to see how it could all come together. true friends, to me and to PSF, and I treasure would be a dramatic understatement. their friendship.” n Tim and Kathleen met their first semes- ter on campus, and this year they will cel- ebrate their 34th wedding anniversary. As a biology student, Tim volunteered as an usher to see friends in University productions, while Kathleen pursued her degree in theatre. Together, they have a rich, deep connection to the University and the Festival. After graduation, Tim went on to a suc- cessful management career in the healthcare industry and currently serves as president and chief operating officer of Independent Living Systems, LLC. He was the first alumnus in the University’s history to be elected as chair- man of the board, a position he held for six years, which he considers “an honor.” In 2011, Tim and Kathleen received PSF’s Will Shakespeare Award. In their

For the third time in the history of the Festival, Tim and Kathleen Nolan are serving as Season Sponsors.

www.pashakespeare.org The Quill, Spring 2016 • 15 NONPROFIT ORG U.S. POSTAGE PAID Lehigh Valley, PA On the campus of DeSales University Permit No. 68 2755 Station Avenue • Center Valley, PA 18034 610.282.WILL • PaShakespeare.org Facebook “f” Logo CMYK / .ai Facebook “f” Logo CMYK / .ai Proud partner with

2016 Season Sponsor: Kathleen Kund Nolan & Timothy E. Nolan

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ONE NIGHT ONLY Casting News & More Inside The Great Divorce • Based on the novel by C.S. Lewis Monday, June 27, 7:30 p.m. Main Stage • $32 Back by popular demand! Lauded by The Philadelphia Inquirer in this “masterful solo show,” actor Anthony Lawton “delivers a won- drous ride filled with dazzling insight and language.” An allegorical jour- ney, The Great Divorce weaves philo- Keith Hamilton Cobb Linda Thorson sophical imaginings with theatrical Noted Shakespearean and Stage, screen, and television magic. Emmy-nominated television actor to portray Baptista in actor to play Julius Caesar The Taming of the Shrew Mike Eldred, Songs of Life and Love Monday, August 1, 7:30 p.m. Features Include: Main Stage • $38 It’s time to “Bring Him Home.” Mike Eldred, last season’s spectacular cover Jean Valjean, and pianist and music director Jeff Steinberg (Count Basie and Maynard Ferguson Bands, page 4 Nashville and London Symphony Orchestras) present an inspiring evening of some of the most beloved page 8 songs from Broadway and the American Songbook. A feel-good experience that will have you sing- ing along and wanting more. Education News page 12