Harlem Shakespeare Fes- Tival Welcome to Everyone Visiting Taliesin West to Support

SHAKESPEARE HARLEM F E S T I V A L

Taliesin West, Scottsdale, AZ | April 19 – 28, 2019

19 APRIL 2019

We would like to extend a warm Harlem Shakespeare Fes- tival welcome to everyone visiting Taliesin West to support

Southwest Shakespeare Company’s much anticipated presentation of HARLEM SHAKESPEARE FESTIVAL'S ALL-FEMALE OTHELLO, directed by Vanessa Morosco with live cello orchestrations by Chinese cellist Wei Guo.

Harlem Shakespeare Festival is dedicated to supporting women, youth and especially classically trained artists of color. We exist primarily to help classical actors of color to realize their full potential. Central to these efforts is the staging of traditional classic works that showcase multiracial casts. It is our intention to expose the public to the

A NOTE FROM THE PRODUCERS THE NOTE FROM A works of these artists as a means of opening up a dialogue of cultural diversity, understanding and unity in the arts.

As is our custom we have pulled together a team of ex- traordinary women to help create this wonderful collaboration. Four of the cast members are from New York and four are from Arizona. Our director and costume designer are from Harlem Shakespeare and our fight director and stage manager are from Southwest Shakespeare; making this a true collaboration indeed!

My producing partner, Voza Rivers, and I are truly grateful to Mary Way and the Southwest Shakespeare Team and Board for partnering with us on this project. And I am indeed honored to be chosen as Southwest Shake’s Artist-in- Residence for their landmark 25th Anniversary Season.

To our audience, we hope you enjoy the performance today and that you will tell others about it. We are proud to bring you our All-female OTHELLO and hope that this project will inspire you to walk away empowered knowing that the sky is the limit!

Debra Ann Debra Ann Byrd Founder & Producing Artistic Director HARLEM SHAKESPEARE FESTIVAL

THE HARLEM NEW HERITAGE SHAKESPEARE FESTIVAL THEATRE GROUP, INC. DEBRA ANN BYRD - PRODUCING ARTISTIC DIRECTOR VOZA RIVERS - EXECUTIVE PRODUCER DATHAN B. WILLIAMS - ASSOCIATE ARTISTIC DIRECTOR JAMAL JOSEPH - EXECUTIVE ARTISTIC DIRECTOR

SOUTHWEST SHAKESPEARE COMPANY BETSY MUGAVERO & QUINN MATTFELD - CO- PRODUCING ARTISTIC DIRECTORS MARY WAY - EXCEUTIVE DIRECTOR

PRESENTS

WRITTEN BY WILLIAM SHAKESPEARE 90-MINUTE ADAPTATION BY LISA WOLPE

FEATURING NATALIE ANDREWS, DEBRA ANN BYRD, AMY DRIESLER*, TROI HALL, RYAN L. JENKINS, MEGAN LINDSAY, ELLA LOUDON* AND KELLYN MASTERS

WITH LIVE MUSIC BY COSTUME DESIGN WEI GUO GAIL COOPER-HECHT

FIGHT CHOREOGRAPHY STAGE MANAGER RACHELLE DART HANNAH STEWART

DIRECTED BY VANESSA MOROSCO

In 1660, nearly 50 years after Shakespeare’s death, King Charles II declared it legal for women to play female characters on the stage. On December 8th of that year, Margaret Hughes, at the age of 30, stepped onto the English stage and utterly revolu- tionized the theatre of her day by embodying the role of Desdemona in a production of Othello, forever transforming an audience's experience of the world's most popular playwright.

This occasion was a crucial first step toward gender equity in classical theatre: female performers could now be employed to play female roles. But with Shakespeare, arguably the most influential playwright in the English language, that accounts for a mere 12% of all of his characters. And more than 400 years later, this transformative moment has continued to define the gender-casting

A NOTE FROM THE DIRECTOR DIRECTOR THE NOTE FROM A norm for Shakespeare, creating a ‘corporate ladder’ of casting classical theater that discriminates more than any other business practice in the modern era: 88% job opportunities for males, but for all female-identifying actors only 12%.

In Shakespeare’s day, a young male apprentice to a company like the Lord Chamberlain's Men would play female roles and as such, these roles were spe- cifically designed to suit an actor of less experience and skill. This system also allowed a young male Desdemona to develop his talent onstage under the mentorship of a ‘masterful’ Othello. In modern times, all female-identifying practitioners have inherited this entry-level position embedded in the structure of Shakespeare’s plays, but today a Desdemona cannot advance in her career to eventually take on the role of Othello. As a leading ‘lady,’ she is forever restrict- ed to the role of an apprentice and is rarely, if ever, given the opportunity to achieve the pinnacle of the acting profession: a leading Shakespearean role.

This all-female production aims to dismantle the gender-binary division of roles and give professional female practitioners of Shakespeare the rare chance to play some of the juiciest classical roles to which their male counterparts have long had access. While women have always been allowed to play the most fa- mous victim of domestic violence in literary history (Desdemona), I believe they should now be given the chance to play characters who are driven by vicious jealousy (Iago), have a crippling sense of honor and duty (Othello), or take de- structive pride in their reputations (Cassio). By dismantling the long-standing gender barriers in the casting tradition of Othello, the pervasive themes that appear in this play – loyalty, pride, jealousy, betrayal, sex – can reemerge as not exclusively ‘male’ or ‘female,’ but as eternal human forces. And I trust that our audiences deserve access to the humanness of Shakespeare.

Finally, I am certain that as an astute business person and artist of great vision, if Shakespeare could see this dynamic and diverse all-female company tell his story with such skill and ingenuity tonight, the next play he penned would be just for them. THROUGH THE YEARS

Natalie Andrews Natalie Ryan L. Jenkins L. Ryan AnnByrd Debra Megan LindsayMegan Kellyn Masters Kellyn THE THE ACTION OF THEPLAY TAKES PLACE ON Amy Driesler* Amy Ella Loudon* Ella Troi Hall Troi ."

THE THE PERSONSOF THE PLAY

.. MONTANO, Venetian Governor Venetian MONTANO, of.. Cyprus Desdemonain RODERIGO, with Venetian, .. love BIANCA,Cassio's.. lover Iago's EMILIA,/.. wife Desdemona's maidservant DESDEMONA,.. Othello's wife Othello's CASSIO, loved.. most Lieutenant jealousOthello's IAGO, .. Ensign General OTHELLO, the.. in military Venetian Troi Hall & RyanJenkins L. Hall Troi 90 MINUTEPEFORMANCE SAILORS / HERALD / SAILORS The Isle Cyprus Isle of The THE THE HISTORY Late 16 Late NO INTERMISSION THE TIMETHE th th

Century

The

THE SYNOPSIS One name is at the center of every conversation: Othello. He has recently promoted Cassio to Lieutenant- a title Iago had been coveting. News has reached Brabantio, via Iago, his daughter, Desdemona, has secretly eloped with Othello. This news infuriates Brabantio and devastates Roderigo who is desperately in love with Desde- mona. Brabantio is convinced Othello used witchcraft to woo Desdemona until she arrives and professes her love. Iago and Roderigo join forces to seek revenge against Othello. We set sail for Cyprus: Iago with Desdemona, Othello with a fleet to prepare for battle against the Turks. Othello is still at sea for battle; news arrives that the Turkish fleet has wrecked. Meanwhile, Iago lands in Cyprus with Desdemona where they are greeted with great affection by Cassio, an affluent gesture that en- rages and inspires Iago. Iago convinces Roderigo to confront Cassio with being in love with Desdemona. Othello arrives and throws a party to celebrate his marriage and the demise of the Turks. Iago convinces Cassio, who has a drinking problem, to get drunk. Cassio causes a scene and is disgraced by Othello. Iago then convinces Cassio to plead forgiveness through Desdemona; he plots to make Othello see the Cassio and Desdemona together. Othello walks in on Cassio and Desdemona talking. Cassio leaves with haste and Desdemona takes to pleading to Othello on behalf of Cassio. These actions, fueled by Iago's sinister advice, takes hold and Othello becomes suspicious of Desdemona's fidelity. Emilia, Iago's wife, steals the handkerchief Othello gave to Desdemona so Iago can place it in Cassio's room to further the deception. Othello demands proof of the affair. First Iago claims that Cassio, while sleepwalking, passionately embraced him thinking Iago was Desdemona, but Othel- lo doesn't bite. He then says he saw Cassio wipe his beard with Desdemona's handkerchief. This works. Desdemona presses Othello to speak with Cassio. Othello demands the handkerchief; she can't produce it. Iago sets up Othello to hear Cassio speaking candidly about his "affair" with Desdemona and does so by tricking Cassio into talking openly about his real relationship with Bianca. Othello is over the edge and seeks to murder Desdemona for revenge; Iago feeds that fire. Word comes that Othello must away and Cassio is to be put in charge in Cyprus. Roderigo confronts Iago about not delivering gifts to Desdemona on his behalf as promised. Iago spins this into convincing Roderigo that what needs to happen is Cassio being murdered. Desdemona, now full of fear, confides in Emilia. Roderigo and Cassio fight; Roderi- go is injured. Running to his "aide," Iago takes the opportunity to kill Roderigo. Cas- sio gets away with a leg wound. Othello watches Desdemona sleep as he contem- plates killing her. She awakes and pleads her innocence after Othello confronts her to confess her sin. He smothers her and then confesses to Emilia. His confession leads Emilia to connect the dots of the command to steal the handkerchief; Iago immediately kills her upon the confession and is swiftly arrested. Cassio then enters and reveals the entire plot to Othello. Overcome with remorse and sorrow, Othello ends it all.

The above is a summary of the entire play; this production has been condensed and some characters and scenes have been completely cut for time and flow. WHO’S WHO IN THE COMPANY

CELLO the union of professional stage actors and stage managers in the the in managers stage United States. and actors stage professional of union the *

These Actors are appearing courtesy of Actors’ Equity Association, Association, Equity Actors’ of courtesy appearing are Actors These

Amy Driesler*Amy Natalie Andrews Megan Lindsay

Wei Guo Rachelle Dart Hannah Stewart ORCHESTRATIONS Troi Hall Ryan L.Jenkins Kellyn Masters Debra Ann Byrd

FIGHT

CHOREOGRAPHER

Ella Loudon* STAGE

MANAGER

DEBRA ANN BYRD (Othello | Founder & Producing Artistic Director HSFest) is an award winning classically trained actress and producer who recently won an Outstanding Achievement Award from AUDELCO for her portrayal of the title character in the all-female multiracial mainstage production of Shake- speare’s OTHELLO: The Moor of Venice, directed by Trezana Beverley. She was celebrated for her role as Marc Antony in the all-female production of Julius Caesar, directed by Petronia Paley. As the Founder and Producing Artistic Director of Take Wing And Soar Productions and the Harlem Shake- speare Festival, she guided the company's growth from its birth as the passionate dream of one determined woman, into a viable support organization serving classical artists of color and theater arts groups throughout New York. She received a Bachelor of Fine Arts degree in Acting from Marymount Manhattan College and completed advanced studies at The Public Theater’s Shakespeare Lab, Shakespeare & Company and The Broadway League’s Commercial Theatre Institute. Her classical roles for the stage include Queen Elizabeth in Richard III, The Choragos in Antigone, Mrs. Malaprop in The Rivals, Volumnia in Coriolanus, Winter in Love’s Labors Lost, Hippolyta in A Midsummer Night’s Dream, Cleopatra in Antony & Cleopatra, Othello in The Tragedy of Othello: The Moor of Venice and Lady Bracknell in The Im- portance of Being Earnest; the latter, for which she received Best Lead Ac- tress and Outstanding Actress in a Lead Role nominations from AUDELCO and the NY Innovative Theatre Awards.

ELLA LOUDON* (Iago) is a Scottish born actress, artist, model and singer based in New York. She has trained with Harold Guskin and Tina Packer. She is a member of Shakespeare and Company, having played Miranda in The Tempest and Phoebe in As you Like It. She will be playing Viola in Twelfth Night this summer season. Ella was in the New York Times critically acclaimed opera The Mother of Us All. She had lead roles in the award winning films ManEater and Trauma in a Time Machine. Ella shall be playing the lead in Solidago a British Film Institute supported film this coming fall. She is currently working on putting on her one-woman show.

AMY DRIESLER* (Cassio) is excited to be a part of this co-production with Harlem Shakespeare Festival and Southwest Shakespeare Company. Previ- ously with Harlem Shakespeare Festival: Cassius in Julius Caesar and Mon- tano in Othello: The Moor of Venice. Other recent credits include: Dunn in Men on Boats (Third Rail Repertory), Quince in A Midsummer Night’s Dream (Anonymous Theatre Company), Lucentio in Taming of the Shrew (The Queen’s Company) and Hal/Hotspur in Henry Four (Circo de Nada). She is a

regular member of the critically acclaimed The Queen’s Company. Thanks to my friends and family. Extra special thanks to Sarah. For Juliana.

NATALIE ANDREWS (Desdemona) is an actress, musician, teaching artist, and creativity advocate from Louisville, Kentucky. She received her B.F.A. in Theatre from the University of Oklahoma where she was an adjunct professor of Voice and Yoga. Some of her favorite onstage credits include S#!tfaced Shakespeare (Blk Box Phx) playing Ophelia and Juliet, A Discourse in the Wonders of the Invisible World (The Bridge Initiative) playing Abigail, and A Midsummer Night’s Dream (Southwest Shakespeare) playing Puck. She currently serves on the board for Healing TREE and The Bridge Initiative. She is incredibly grateful to be part of this exciting collaboration between Harlem

WHO’S WHO IN THE COMPANY THE IN WHO WHO’S Shakespeare Festival and Southwest Shakespeare.

MEGAN LINDSAY (Emilia) is privileged to be playing Emelia in the Harlem Shakespeare Festival all-female production of Othello. Her other recent Shakespeare credits include: Duke Senior in As You Like It, Earl of Worcester and Mistress Quickly in Henry IV, Part I, Nerissa in Merchant of Venice (Southwest Shakespeare Company); Nurse in Romeo & Juliet and Olivia in Twelfth Night (Flagstaff Shakespeare Festival). Megan has developed classical theater programs for 3rd-12th and currently teaches literature and theater and Veritas Preparatory Academy. She would like to thank her husband and four daughters for inspiring her both on and off stage.

TROI HALL (Bianca | Sailor) is making her professional stage debut with the Harlem Shakespeare Festival. Previous stage credits include Maybe Not, Twilight: Los Angeles and the film Day by Day. Troi is a graduate of Talent Unlimited High school in New York City. She is delighted to be a producer for Debra Ann Byrd’s upcoming documentary film BECOMING OTHELLO: A Black Girl’s Journey.

RYAN L. JENKINS (Roderigo/Sailor) is returning for her third production with Southwest Shakespeare after joining the Fall 2018 repertory of Frankenstein (Agatha/Ensemble) and Pericles, Prince of Tyre (Daughter of Antiochus/Cerimon). Other Arizona credits include Flag- staff Shakespeare Festival’s The Taming of the Shrew (Katherine) and Macbeth (Third witch / Third murderer), Much Ado About Noth- ing (Beatrice) with Paradise Valley Community College, iTheatre Collabora- tive’s Permanent Collection (Kanika), Stray Cat Theatre’s Anything You Hear and Only Half of What You See (Jackie), and Cock (W) with Nearly Naked Theatre. Ryan earned her acting BFA from the University of Illinois at Urbana -Champaign.

KELLYN MASTERS (Montano) is a recent transplant to the Southwest from Seattle, Washington. There she performed with many regional credits including Seattle Shakespeare. Since moving to the valley, Kellyn has recently appeared in Southwest Shakespeare's fall season in both Pericles: Prince of Tyre (Dionyza) and Frankenstein (Gravedigger/ Vocal Soloist). She is ex- tremely excited to be working with the Harlem Shakespeare Festival. She would like to thank her husband for always being her biggest fan. BA Univer- sity of Washington. For more information email: [email protected] or follow on IG @wander.wonder.wherever

WEI GUO (Cello Orchestrations) Chinese cellist Wei Guo enjoys an active performing and teaching career in the world. She has been described as “a tremendous talent who plays with real passion and integrity,” (UW News). Wei works for String Project of Arizona State University as the passionate teacher. She was a finalist at the 2013 National MTNA Young Artist Solo Competition and an Honorable Mention Winner of the 2014 Northwest MTNA Chamber Music Competition. As a graduate student at the University of Wyo- ming, Wei was awarded a full scholarship and teaching assistantship. She also served as principal cellist of the UW Symphony and Chamber Orches- tras and studied with Professor Beth Vanderborgh. Wei is currently pursuing her doctoral degree at Arizona State University and is studying with Profes- sor Tom Landschoot.

HANNAH STEWART (Stage Manager) is a playwright, director, and all- around theatre artist from Phoenix, AZ. Their playwright debut was in 2018 with But In Ourselves, a devised piece produced by Aside Theatre Company, co-written by Keach Siriani-Madden. Other works include All The Wrong Places, which had its first reading in Phoenix Theatre Company’s 2019 Festi- val of New American Theatre. Other credits include movement director of SENSE & SENSIBILITY (Southwest Shakespeare Co.) and director for Here Lies Henry (Aside Theatre Company). You can find more about them at www.hannahstewartartist.com

PROGRAM DESIGN: dab entertainment

VANESSA MOROSCO (Director) is a New York based director and educator, specializing in Original Practices Shakespeare and Contem- porary Elizabethan Dance & Movement. Her directing credits include: Cymbeline, Equivocation, Romeo & Juliet, The Tempest, A Midsum- mer Night's Dream (American Shakespeare Center); Macbeth (Shakespeare Theatre of New Jersey); Henry VI, Part 1 (Colorado Shakespeare Festival); Pericles (Mary Baldwin University); Boeing- Boeing (Fordham University); The Tempest, Comedy of Errors, Mid- summer Night's Dream (Hamptons Shakespeare Festival). Assistant Directing & Choreography credits: Hold These Truths (Off-Broadway); Dancing Lessons, One Man, Two Guvnors (Florida Studio Theatre); Henry VIII, Merry Wives of Windsor (Alabama Shakespeare Festival); Much Ado About Nothing (Colorado Shakespeare Festival); Romeo & Juliet, ‘Tis Pity She’s a Whore, Duchess of Malfi (American Shake-

WHO’S WHO IN THE COMPANY THE IN WHO WHO’S speare Center). Vanessa also teaches nationally and internationally, developing live training and E-Learning programs for fortune 500 multi -national corporations using the tools of theatre (with a focus on Shakespeare) to address issues of diversity & inclusion and uncon- scious bias. She is member of AEA, SDC, The League of Profession- al Theatre Women, and holds an M.A. in Ethics from Yale. She lives in Manhattan with her husband Peter and is a proud stepmother to Octavia. vanessamorosco.com

RACHELLE DART (Fight Choreography) is excited about fighting! She holds a Bachelors of Theatre from Arizona State University and is an advanced actor combatant with the Society of American Fight Di- rectors. She is passionate about safe stage violence and has taught stage combat around the Valley and in England and for ages 5-75. She has choreographed for shows including Kill Will, Shakespeare Land of the Dead (Scottsdale Community College), and MINOTAUR (Paradise Valley Community College). She would like to thank her mamma and pop for their support.

GAIL COOPER-HECHT (Costume Designer) most recent work in NYC is Camp Logan, OTHELLO: The Moor of Venice, The Most Dan- gerous Man In America and the world premieres of Massinissa: And The Tragedy of The House of Thunder and Saviour? Other credits include The Importance of Being Earnest in which she won the New York Innovative Theatre Award for Best Costumes. VOZA RIVERS (Producer) is a New York producer who has produced some of the most trendsetting works of the 20th Century, including works by celebrated South African writer/actor/director Mbongeni Ngema: OBIE winner Wo- za Albert!, TONY nominated Asinamali!, and TONY nominated Sarafina!. In 1989 Ngema, Hugh Masekela and Rivers were nominated for a GRAMMY for Best Show Album for Sarafina!. Rivers has worked with such artists as Nina Simone, Ray Charles, Celia Cruz, Nancy Wilson, Tito Puente, Miriam Make- ba, Chaka Khan and more. Rivers heads Harlem’s 55-year-old Theatrical In- stitution: New Heritage Theater Group and is Executive Producer of HARLEM WEEK for over 45 years.

NEW HERITAGE THEATRE GROUP (Producer) celebrating its 55th Anniver- sary, is the oldest Black nonprofit theater company in New York City. It was established in 1964 by the late Roger Furman, a revered playwright, director, actor and lecturer who began his career in the 1940s with the American Ne- gro Theatre in Harlem. In 1983, Voza Rivers, an award winning music and theatre producer took over the company. In 1991, Rivers co-produced with Haworth Shakespeare Festival, The Tragedy of Macbeth at the historic St. Bartholomew’s church and in 1996 Romeo & Juliet, featuring leading black actors from the Royal Shakespeare Company and Royal National Theatre in England. Both of the Shakespeare presentations toured nationally and throughout the Caribbean. In 1997 Jamal Joseph, a playwright, director, au- thor, award-winning documentary filmmaker and educator joined NHTG as Executive Artistic Director. In 2005 Rivers and Greg Mosher (former artistic director of Lincoln Center Theatre) co-produced Columbia University’s U.S. premiere of international British director Peter Brook’s epic production Tierno Bokar. Under the leadership of Rivers and Joseph NHTG expanded its mission and transformed the theatre into a leading nonprofit arts organization serving tens of thousands of community members and youth annually. New Heritage is composed of three major divisions: IMPACT Repertory Theatre, New Heritage Films / Harlemwood Film Festival and Furman Theatre Rep. New Heritage has been a producing partner of Harlem Shakespeare Festival since its inception. (www.newheritagetheatregroup.org)

HARLEM SHAKESPEARE FESTIVAL™ (Producer) With the plays of William Shakespeare as its foundation, Debra Ann Byrd and Voza Rivers/New Herit- age Theatre Group have teamed up to produce the Harlem Shakespeare Fes- tival™, a theatre festival spanning across Harlem with ongoing programming from late summer through early spring. The festival, now celebrating its 6th season was formed with a social justice mission to foster understanding and unity in the arts by producing special events and plays with multicultural casts, with a special emphasis in giving center stage opportunities to women, youth and especially classically trained actors of color. The Festival, inaugurated in summer 2013, brings Shakespeare scripts alive featuring 3-5 Shakespeare and modern plays, Master classes, Panel discussions, International symposiums, Artist talkbacks, Workshops, Shakespeare4Kids, ShakespeareInMusic, ShakespeareOn- Film and Shakespeare-In-The-Open-Air.

SOUTHWEST SHAKESPEARE COMPANY (Presenter) Founded in 1993 by two educator/artists, Randy Messersmith and Kevin Dressler, the “user-friendly” theatre concept, high artistic values and educational bent were present from the start. The goal of the user-friendly approach is to create a modern day people’s theatre, originally inspired by Shakespeare and his contemporaries, whereby audience members from all walks of life are encouraged to take an active role in SSC through contact with artists (i.e., talkbacks and seminars today). SSC believes this enhances the total theatre experience for the audience and fosters a sense of community. The mission and goals have changed little over the years: to en- tertain, educate, inspire, and elevate the general public and educational commu- nities of Arizona.

ACTORS’ EQUITY ASSOCIATION* [AEA] founded in 1913, repre- sents more than 45,000 actors and stage managers in the United States. Equity seeks to advance promote and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performing arts unions. The Equity emblem is our mark of excellence. www.actorsequity.org.

MANY THANKS TO OUR SPONSORS & DONORS David Barker, Diane Nancy Glenn-Futrell, Dr. Dana and Alex Jamison, Suzanne and Armando Viteri, Mary and William Way, Saint Barnabas on the Desert Episcopal Church, Paradise Valley.

This program is supported in part by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, New York City Council Speaker Corey Johnson, New York, City Council Member Bill Perkins, City Council Member Mark Levine, The New York City Council Committee on Cultural Affairs, Libraries and International Intergroup Relations, Jimmy Van Bramer, Chair, NY State Council on the Arts, with the support of Governor Andrew Cuomo & New York State Legislature, NY State Assemblywoman Inez E. Dickens, NY State Assemblyman Al Taylor, NY State Senator Brian Benjamin, NY State Senator Robert Jackson, NY State Senator Jose M. Serrano, The Greater Harlem Chamber of Commerce, CB 10 Arts & Culture Committee, CommunityWorksNYC, and Con Edison HARLEM SHAKESPEARE FESTIVAL’S

ALL-FEMALE OTHELLO COLLABORATIVE TEAM

ALL-FEMALE OTHELLO PRODUCTION TEAM Producing Artistic Director … Debra Ann Byrd Associate Artistic Director … Dathan B. Williams Producing Associate … Jackie Jeffries Stage Manager … Hannah Stewart Assistant to the Costume Designer … Susie Ghebre Wardrobe Supervisor … Angela Kabasan Production Photographer & Becoming Othello Cinematographer … Yasmine Lawler Production Graphics, Website, Programs & Key Art … DAB Entertainment

NEW HERITAGE THEATRE GROUP TEAM Founding Member | Executive Producer … Voza Rivers Senior Executive Artistic Director … Jamal Joseph Distinguished Artist in Residence … Daniel Beaty Producing Partner … Debra Ann Byrd Associate Producer … Lainie Cooke International Producer … Kats Abe Administrative Director of Programs … Joyous R. Pierce Consultant to Executive Producer … Shawn Shearer Technical Director … Meredith Waddy Audience Development … Darryl T. Downing

SOUTHWEST SHAKESPEARE COMPANY TEAM Producing Artistic Director … Betsy Mugavero Producing Artistic Director … Quinn Mattfeld Associate Artistic Director … Patrick Walsh Executive Director … Mary Way Executive Advancement Officer … Jessica Taylor Education Director … Breona Conrad Education Director … Joshua Murphy Projects Manager … Amie Bjorklund Student Matinees … Susan Freestone Production Manager … Stacey Walston Birthplace Shakespeare StratfordTrust in the at writer as residence Venice’ of Moor be- ‘The on coming experiences her actress recorded The recently Harlem. native her in formed Othello of role the on take to journey remarkable a undertook Byrd Ann Debra producer and actress Classical SHAKESPEARE HARLEM FROM NEXT UP! and theColumbiaUniversity Archives. Library Folger the Trust, Birthplace the gender from her research include also will and journey on flipped experiences memorable her classics, the and race with triumphs trialsand her Othello, becoming to road the on journey acting her explore will which memoir Girl’s Black Journey A OTHELLO: BECOMING planned Ann’s three Debra sponsor to working together are Festival Shakespeare Harlem the and Inc. Misfit, with together Warwick of University the and Trust Birthplace the Now and Debra Ann finally got her wish. day Othello. of one role the play would too she that dreamed Ann speare the at performed Dutton he Charles when actor by 2000, in Inspired F E S T I V A L - er rtn ad ouetr project. documentary and writing year

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