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Home , Bob Barrett (actor), Edward Hall, Edward Hall (director), Screen One, Thelma Holt, The Mayor of Zalamea

CAL PERFORMANCES PRESENTS

A (UK) Production by Propeller Wednesday through Sunday, November 9–13, 2005 Zellerbach Playhouse

The Winter’s Tale by directed by

Presented in association with David Eden Productions, Ltd. with Support from the British Council USA

This performance is made possible, in part, by the generous support of the members of the Cal Performances Producers Circle and Friends of Cal Performances.

Cal Performances thanks our Centennial Season Sponsor, Wells Fargo.

14 CAL PERFORMANCES PROGRAM The Winter’s Tale by William Shakespeare

Director Edward Hall Design Michael Pavelka Lighting Ben Ormerod Associate Director Heather Davies Music Tony Bell, Dugald Bruce Lockhart, Jules Werner, Richard Clothier Movement Adam Levy Text edited by Edward Hall and Roger Warren

Cast

Leontes, King of Sicilia Vincent Leigh Hermione, his Queen Simon Scardifield Mamillius, their Son Tam Williams Polixenes, King of Bohemia Matthew Flynn Camillo, lord of Sicilia Antigonus, lord of Sicilia William Buckhurst 1st lord of Sicilia Jamie Beamish Officer, lord of Sicilia Jason Baughan Emilia, Queen Hermione’s attendant James Tucker 1st Lady, Queen Hermione’s attendant Alasdair Craig Paulina, Antigonus’s Wife Adam Levy Cleomenes, lord of Sicilia Alasdair Craig Dion, lord of Sicilia Chris Myles Mariner Alasdair Craig Old Shepherd Chris Myles Young Shepherd, his son James Tucker Time Tam Williams Autolycus, a rogue Jason Baughan Florizel, son of Polixenes William Buckhurst Perdita Tam Williams Mopsa, Shepherdess Jamie Beamish Dorcas, Shepherdess Simon Scardifield

Other parts played by members of the company.

CAL PERFORMANCES 15 PROGRAM NOTES

SYNOPSIS

Leontes, the King of Sicilia, asks his dearest friend Antigonus arrives on the coast of Bohemia from childhood, Polixenes, the King of Bohemia, having dreamt that Hermione is dead and has been to extend his visit. Polixenes has not been home to found guilty. He leaves the baby, named Perdita, his wife and young son for more than nine months to her fate. He is killed by a bear and the baby but Leontes’s wife, Hermione, who is heavily is found by an Old Shepherd and his son, who pregnant, finally convinces her husband’s friend to decide to raise her as their own. stay a bit longer. As they talk apart, Leontes thinks With the help of Time, we skip forward 16 that he observes Hermione’s behavior becoming years. Perdita is now a young lady, in love with the too intimate with his friend, for as soon as they young man Doricles. He is actually Florizel, son leave his sight he imagines them “leaning cheek to of Bohemia’s King Polixenes. Perdita is the queen cheek, meeting noses, kissing with inside lip.” He of the local sheep-shearing festival and entertains orders one of his courtiers, Camillo, to stand as everyone with her winning personality, good looks cupbearer to Polixenes and poison him as soon as and natural charm. We meet a whole new cast of he can. Camillo cannot believe that Hermione is characters, including the rogue, vagabond and unfaithful and informs Polixenes of the plot. He pickpocket Autolycus. Polixenes and Camillo are escapes with Polixenes to Bohemia. looking for Florizel. They finally catch up with Leontes, discovering that they have fled, now him at the festival and observe his love of Perdita. believes that Camillo knew of the imagined affair Florizel asks the Old Shepherd to bless his and was plotting against him with Polixenes. He betrothal to Perdita. Polixenes, whose permission accuses Hermione of adultery, takes Mamillius, has not been asked, removes his disguise and their son, from her and throws her in jail. He sends declares that the marriage will not happen and that Cleomenes and Dion to Apollo’s Oracle at Delphi the Old Shepherd will be executed for allowing a for an answer to his charges. While Hermione is in prince to court his daughter. In addition, Perdita jail her daughter is born, and Paulina, her friend, will be “scratched with briers” and Florizel takes the baby girl to Leontes in the hope that the disinherited if he ever sees her again. sight of his infant daughter will soften his heart. We return to Sicilia, where Leontes is still By this time Leontes has decided that Polixenes, mourning the death of his family. Paulina gets Hermione and Camillo were all conspiring to him to agree never to marry again unless she murder him. He orders Antigonus, Paulina’s gives permission. Florizel and Perdita show up husband, to throw the baby into the fire, but pretending to be on a diplomatic mission from Antigonus will not. Leontes relents but commands Bohemia and both charm Leontes. Leontes vows that the baby be abandoned in a desolate place. to help the young couple and they go off to reunite Leontes puts Hermione on trial, and the Oracle with Polixenes and Camillo, after all these years. at Delphi confirms that she is chaste, the child is We then hear from three lords that the lovely not a bastard, Camillo is honest and Leontes is a young shepherdess is actually the long-lost heir of tyrant. The oracle also says that “The king shall live Sicilia, and that Paulina has revealed an amazing without an heir if that which is lost be not found.” statue of the long-dead Hermione. They all go Leontes refuses the truth and immediately the news to see this wonder and Paulina reveals the living arrives that Mamillius, pining for his mother, has Hermione. Her reward is to be given Camillo as died. Hermione faints, Leontes realizes his terrible a husband. errors, and Paulina enters with the horrible news that Hermione, too, has died.

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Time and Truth in The Winter’s Tale

The Winter’s Tale is one of a group of plays conceived. In him, Shakespeare dramatizes the ( and are the others) written essentially irrational nature of jealousy: his fevered close together at the end of Shakespeare’s career, imagination distorts what he sees. probably in 1610–11, with Pericles (1607–08) as The Winter’s Tale begins in a witty, elegant a forerunner. They are often called “romances” court society. At its centre is a relaxed and intimate because they contain unlikely events and family circle: Leontes, his pregnant wife Hermione, interventions by pagan gods; and “winter’s tale” was his lifelong friend Polixenes, and his young proverbial for a story to pass a winter’s night: the son Mamillius. All seems right with the world; play itself draws attention to the way in which its then, suddenly, in the first of the play’s extreme events seem “like an old tale,” that is, an old wives’ contrasts, Leontes misinterprets the warmth and tale. But neither “romance” nor “old tale” should affection surrounding him as sexual betrayal. imply that these late plays are escapist fantasies. His mind is seized by a destructive disease which Myths and folk-tales embody truths that remain burns ferociously through the first half of the play: relevant because they focus the deepest instincts, he treats his pregnant wife in particular with a joys and fears of human beings, and these plays savagery that borders on sadism, what Hermione contrast the extremes of human experience, setting rightly calls his “immodest hatred.” The root of betrayal, jealousy, and lust for power against Leontes’s jealousy is simple: he doesn’t trust his integrity, forgiveness, and reconciliation. The wife. By the end of the trial scene, he appears to language has a corresponding range, from quasi- have destroyed everything that was once precious tragic intensity to lyrical beauty. At the end of his to him: his wife, his children, his relationship with career, Shakespeare was vigorously experimenting his best friend. From these depths he, and the play, with his dramatic technique and renewing it, using must rise. the extremes of incident and language to create It starts to do so with another extreme contrast. new imaginative worlds. Abandoning Hermione’s baby daughter Perdita in The story of The Winter’s Tale derives from the wilds of Bohemia, Antigonus is killed by a Pandosto: The Triumph of Time, a prose narrative bear; but the baby is rescued by a kindly, humorous by Robert Greene, published some twenty years Old Shepherd, who summarizes the technique of earlier, in 1588. What attracted Shakespeare to the play when he tells his son, “thou met’st with this “old tale”? Surely the topic that it announces things dying, I with things new born.” During uncompromisingly in its opening lines: the next sixteen years, Perdita grows up in rural surroundings, and her dawning love for Polixenes’ Among all the passions wherewith human son Florizel is dramatized during the sheep- minds are perplexed, there is none that so shearing celebrations in the play’s second half. But galleth with restless despite as that infectious Shakespeare does not idealize this rural world. It sore of jealousy … Whoso is pained with is preyed upon by the con man Autolycus, whose this restless torment doubteth all, distrusteth name means “the wolf himself.” More seriously, himself, is always frozen with fear and fired Polixenes destroys the rural festivities when he tries with suspicion. to part Florizel and Perdita with a savagery that echoes Leontes’ earlier violence. Time can heal, Here is the germ of Shakespeare’s play. Sexual but it can also recycle. jealousy was an enduring preoccupation for The sixteen-year gap in the middle of the Shakespeare from the slight but virulent case of play is bridged by Time himself. This might seem Claudio in via merely another device of an “old tale,” but in fact to Posthumus in Cymbeline and Leontes in The that gap has specific dramatic functions. Here Winter’s Tale. But whereas in the other plays again, Shakespeare took a hint from his source. Shakespeare goes to some lengths to “motivate” The motto on the title page of Greene’s Pandosto the jealousy, that of Leontes is wholly self- is “Temporis filia veritas” (Truth is the daughter

CAL PERFORMANCES 17 PROGRAM NOTES of Time). Greene’s title page continues, “although Sorely to say I did. It is as bitter by the means of sinister fortune truth may be Upon thy tongue as in my thought. Now, concealed, yet by time, in spite of fortune, it is good now, most manifestly revealed.” This truth is two-fold: Say so but seldom. while new life, in the person of Leontes’s daughter, flourishes in Bohemia, there is a corresponding He fully admits what he has done, but asks renewal back in Sicilia, where Leontes himself Paulina not to remind him of it too often. He is is undergoing a process of repentance and learning the moderation he disastrously lacked psychological “re-creation.” It is easy to destroy; earlier in the play, and so he is ready for the healing takes much longer. His earlier behavior reunion with his daughter—magically expressed was so extreme that a correspondingly extreme in the language she herself uses in the rural scenes: period of repentance is needed to expiate what he “Welcome hither / As is the spring to the earth!” has done. and for the revelations of the Statue scene where, This process is supervised by Paulina, who Paulina reminds him, “It is required / You do awake embodies several roles. As she herself tells Leontes, your faith,” that trust in his wife that he so signally she is “[his] loyal servant, your physician, / Your lacked earlier. But the reunion and reconciliation at most obedient counsellor” — priestess and the end of The Winter’s Tale are hard-won. The play psychiatrist in one. But compassionate though she reminds us of the cost: Leontes’ son Mamillius is, she has directed his “re-creation” by keeping and Paulina’s husband Antigonus remain dead. his wounds open. When they reappear after the Like Greene’s Pandosto, the play may dramatize sixteen-year gap, she reminds Leontes that he “the Triumph of Time,” but in doing so it does not ‘killed’ Hermione. He replies: sentimentalize the toughness of the “Truth” that Time can reveal. Killed? Roger Warren She I killed? I did so; but thou strik’st me

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Director Edward Hall’s work Roger Warren’s (text editor) numerous publications in the theater includes: A Funny include books about A Midsummer Night’s Dream Thing Happened On The Way To and Shakespeare’s Late Plays in performance, and The Forum (National Theatre), editions of , Cymbeline, Henry VI, Part Calico (Duke of York’s), Edmond II, and Pericles for the Oxford Shakespeare series. (National Theatre), A Midsummer His theatre work includes extensive collaboration Night’s Dream (Comedy Theatre, with at the National Theatre, at Stratford- Watermill Theatre, Brooklyn upon-Avon, at the new Rose theatre in Kingston- Academy of Music, New York, UK Tour—TMA upon-Thames, and for his American Shakespeare Award for Best Touring Production), The Hinge of Company in Los Angeles. His collaborations with the World (Guildford), (Albery Theatre), Edward Hall include Julius Caesar at Stratford in Rose Rage adapted with Roger Warren from 2001, and both A Midsummer Night’s Dream and Henry VI parts I, II and III (Haymarket Theatre, a two-play adaptation of the Henry VI cycle, Rose Watermill Theatre, UK/International Tour and Rage, at the Watermill, Newbury, on tour, and in Chicago Shakespeare Theatre—Olivier Award the West End. Nomination for Best Director and TMA Award for Best Touring Production), The Constant Wife Michael Pavelka (designer) (Apollo), Putting It Together (Chichester), Julius trained at Wimbledon School Caesar (RSC), Tantalus (Denver Centre and UK of Art, where he has since Tour), (RSC—The South Bank Show returned to lead the Design for Award for Theatre for “The Histories”), Twelfth Performance class. Pavelka has Night (Watermill—Winner of the TMA/Barclays designed some 150 productions, Theatre Best Director Award),Sacred Heart (Royal most of which have been new Court Theatre Upstairs), Celaine (Hampstead plays or new musicals. His work Theatre), The Two Gentleman of Verona (RSC), includes two shows for the late Lindsey Anderson: and Henry V (Watermill, The Fishing Trip and Holiday (Old Vic Theatre). Pleasance Theatre , RSC, The Other Place, Also The Life of Galileo (Best Design, Manchester Stratford and International Tour), That Good Night Evening News Theatre Awards), A Midsummer (Yvonne Arnaud Tour), Othello (Watermill and the Night’s Dream (winner Best Production, MEN Tokyo Globe), Richard III (Tokyo Globe), Cain Awards) also The Resistible Rise of Arturo Ui (Minerva Studio, Chichester), Bare Knuckle Selling and The Caucasian Chalk Circle at the Library (Edinburgh Festival). Edward Hall’s production Theatre, Manchester. Pavelka’s ongoing work of A Midsummer Night’s Dream, which played in with Edward Hall and the Propeller Company London at the Comedy Theatre in 2003, went includes productions of A Midsummer Night’s on to play at the Brooklyn Academy of Music in Dream, Twelfth Night, Henry V and the adaptation New York in early 2004, where both he and the of the Henry VI plays, Rose Rage, at the Watermill production were nominated for Drama Desk Theatre, at the and new Awards. His production of Rose Rage, which he production at the Chicago Shakespeare Theatre, directed for the Chicago Shakespeare Theatre in which transferred to New York and earned him 2003, transferred to the Duke’s Theatre in New a Best Costume Design nomination at Chicago’s York in September 2004. It recently won four Jeff Awards. Other productions in the West End Jeff Awards including Best Play, Best Director include: The Constant Wife, How the Other Loves, and Best Ensemble Cast. Hall’s television work Other People’s Money, Leonardo, Blues in the Night includes: Safari Strife (Cutting Edge, Channel (performed in Dublin, New York and Tokyo after 4) and Richard III (NHK in Japan). His radio two West End seasons) and Macbeth. Pavelka co- productions include Dear Exile, Eveline, and Into produced a Young People’s Shakespeare Festival Exile (all for Radio 4). in Ulaanbaatar, Mongolia and has since designed the first African language Mother Courage and Her Children in Kampala, at the Kennedy Center,

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Washington DC and Grahamstown Festival, South Bob Barrett (Camillo) trained Africa. His Designs for the Royal Shakespeare at Guildford School of Music Company include The Odyssey, Two Gentlemen of and Drama. His recent theater Verona, Henry V and Julius Caesar. includes: Horatio in (Thelma Holt Productions— Ben Ormerod’s (lighting designer) work in the Bite ’04, Barbican and tour), theater includes The Watermill’s A Midsummer the Colonel in Journey’s End Night’s Dream (also Brooklyn Academy New York, (West End) and John Reid West End ); Rose Rage (also Chicago Shakespeare in After the Dance (Oxford Stage Company— Theatre, Duke Theatre New York, West End) and nominated Best Supporting Actor 2003 TMA Twelfth Night, as well as all four plays in the current Regional Theatre Awards). His other theatre Spanish Golden Age season and Julius Caesar, includes: Victory, Guys and Dolls, Dancing at Henry V, Two Gentlemen of Verona, The Revenger’s Lughnasa, Recruiting Officer, Of Mice and Men Tragedy (Royal Shakespeare Company); Headcase (Royal Lyceum, Edinburgh); (Uncle) Vanya, The (RSC, Soho Theatre, Coventry Belgrade); Pinter’s Castle, Hated Night Fall (The Wrestling School); adaptation of Remembrance of Things Past; Uncle Hamlet (Greenwich); St. Joan (Birmingham Rep); Vanya, Accidental Death of an Anarchist, Bent, At Comedians (Belgrade, Coventry); Cyrano de Bergerac Our Table, The Winter’s Tale, The Colleen Bawn (West End); School for Scandal (Royal Exchange, (); ’s Macbeth, Manchester). Damned for Despair (Gate). Barrett’s Calico, The Constant Wife, The Winslow Boy (West television appearances include: Social, A Very End); Hinge of The World (Yvonne Arnaud); Social Secretary () Eastenders, Absolutely John Gabriel Borkman, and The Caretaker Fabulous, , The Cazalet Chronicles, (ETT); Resurrection (Lichfield Garrick); Enemy Invasion: Earth, Inspector Alleyn Series (BBC); The of the People (Theatre Clwyd); Journey to the West 10th Kingdom, Wonderful You (Hartswood); Rich (Tara Arts Trilogy); The Nest (Living Pictures) Tea and Sympathy (YTV); , Bad Girls, Ruth and Murder (Gate). Other International Theatre Rendell Mysteries, Unsuitable Jobs for Women (ITV). includes The Beauty Queen of Leenane (Druid His films include Shakespeare in Love. Theatre, Broadway, Sydney, Toronto, West End); Oedipus Tyrannos (Epidaurus); The Father (Athens); Jason Baughan (Officer, Silence, Silence, Silence (Slovenia); Ole Bornedal’s Autolycus) trained at the Welsh Macbeth (Denmark); the World premieres of Tom College of Music & Drama. His Murphy’s The Wake at the Abbey Theatre, (Dublin work in the theater includes: & Edinburgh Festival), The House (also Abbey) and Blood Wedding (Almeida), Made In China and Lonesome West (Gaiety Theatre, Festen (Lyric), Season’s Greetings Dublin). Ormerod’s dance work includes See Blue (Stephen Joseph & UK Tour), Through (Ballet Gulbenkian, Lisbon and Phoenix Love’s A Luxury (Orange Tree), Dance Company); Tender Hooks and Outsight Peribanez (Young Vic), Much Ado About Nothing (Ballet Gulbenkian); I Remember Red (Cullberg (London Stage), The Three Sisters, Have You Ballet); A Streetcar Named Desire (Northern Anything To Declare, The Caucasian Chalk Circle Ballet Theatre); Ibi l’ohun (Brest) and God’s Plenty (Orange Tree); Clockwatching, Whisper Along The (Rambert). His work in opera includes the world Patio (Stephen Joseph); Twelfth Night, The Tempest, premiere of Michael Berkley’s Baa Baa Black Measure For Measure (RSC); Winner Takes All Sheep (Opera North/BBC 2); Punch and Judy (Orange Tree); The Dove (Croydon Warehouse); (Aldeburgh, Berlin and Vienna); The Coronation of Tales From The Magic Story Bowl (Bolton Poppea (Japan) and Il trovatore (Scottish Opera). Octagon); A Midsummer Night’s Dream, Romeo & He is also currently lighting the Calico Textiles Juliet (Orange Tree); Love In A Wood (New End); Museum, Ahmedebad and has just made his Macbeth (Angels Theatre Co.); A Midsummer directing debut with Athol Fugard’s Dimetos at the Night’s Dream (Mappa Mundi); The Woolgatherer Gate Theatre, London. (RSC). His television and film credits include: The

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Bill (Thames), The Inspector Lynley Mysteries and Alisdair Craig (1st Lady, Doctors (BBC), Life Boat (BBC Wales), Hit and Cleomenes, Mariner) trained Run (LWT), Three Steps Back (Carolex Films). at Webber Douglas Academy of Dramatic Art. His theater Jamie Beamish’s (1st lord of work includes: Tony Blear Sicilia, Mopsa) theater in The Dubya Trilogy (Teatro credits include: Balthasar Technis and The Players Theatre, in Much Ado About Nothing West End). Previous work (Peter Hall Co. / Theatre for Propellor includes Helena in A Midsummer Royal Bath), Giorgio Joyce Night’s Dream (West End and New York), Jack in Calico (Duke of York’s), Absolute in The Rivals (The Theatre Royal Bath, Ray in The Beauty Queen tour) Mutius in Voices (The Oxford Playhouse), of Leenane (Theatre Royal, Jack in Undercovers (The Old Operating Theatre), York), The Cowardly Lion in The Wizard of Oz Lord Byron in Of Bright and Dark (The White (Birmingham Rep), Legolas/Merry in Lord of Bear Theatre),Getting Attention (The Tristan Bates the Rings: The Musical (workshop), Toad in The Theatre) and The Critique (White Bear). Film Wind in the Willows, Flute in A Midsummer Night’s and Television credits include: The Tapes (Willing Dream and Sir Thurio in The Two Gentlemen of Suspension Productions); Lawless Heart (Martin Verona (Ian Charleson Award Nomination 2003), Pope Productions) and Dreaming Will (BBC). High Society, Pirates of Penzance (all at the Open Air Theatre, Regent’s Park), Edward in Someone Matthew Flynn’s (Polixenes) Who’ll Watch Over Me (Eye Theatre), Jigger Craigin was born in Birmingham and in Carousel (Perth Rep), Clem in The Fair Maid of trained at The Drama Centre, the West (Pleasance Theatre). His television work London. For Propellor he has includes Judge John Deed. Beamish was born and appeared in A Midsummer bred in Waterford, Ireland. Night’s Dream (National tour, Comedy Theatre and New William Buckhurst (Antigonus, Florizel) trained York), Rose Rage (national at the Webber Douglas Academy of Dramatic tour and Theatre Royal Haymarket) Twelfth Art. His theater credits include Pedro the Great Night (Watermill Theatre), Henry V (National Pretender, House of Desires, Tamar’s Revenge and international tour), The Comedy of Errors (RSC and West End); Othello (Royal Theatre, (nation and international tour). Other theater Northampton); The Circle, (Oxford credits include Tibalt in at Derby Stage Company); Hamlet (RSC Fringe); Richard Playhouse, The Mayor of Zalamea (Everyman, II, Henry V, Henry IV Pt II (RSC), The Virtual ) (national tour), Coward Revue (Chichester); Easy Virtue, Katherine The Prince Of Homburg (Lyric Hammersmith, Howard (Chichester Festival) Sexual Perversity in RCA), Meat (Plymouth Theatre Royal), Hamlet Chicago, Virtual Coward Revue (Minerva Sutdio); (Bristol Old Vic), Julius Caesar (Manchester Not About Heroes tour, Have You Met Our Rabbit? Royal Exchange) and Romeo And Juliet (RSC), (Bridewell), Hard Feelings (Georgian Int. Festival, Othello (Watermill Theatre), and Ideal Husband T’bilisi). His television appearances include (West End and tour). Flynn’s film work includes Coronation Street (Andrew), , Doctors, As Sahara, directed by Brett Eisner for Paramount If, Murphy’s Law, The House that Jack Built (Ben), and Final Passage for Channel Four Films. His Spooks I & II (Bomb Disposal Expert), My Hero, recent television work includes The Quatermass Man and Boy (Cliff). Experiment (BBC), Midsummer Murders, Foyles War, Trial And Retribution, Class Act (all ITV) and Hello (BBC).

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Vincent Leigh’s (Leontes) most Theatre, Notting Hill. He has previously appeared recent roles were Polixenes in for Propeller at The Watermill and then on tour and the Spring tour of The Winter’s in the West End in A Midsummer Night’s Dream, Tale and Hero in A Funny Thing Rose Rage, Twelfth Night, Comedy of Errors and Happened on the Way to the Henry V. Also for the Watermill he performed in Forumn at The National Theatre. The Adventures of Mr. Toad. Other theater includes: He appeared previously at the Insignificance (Einstein), Hamlet (Horatio), Watermill in Edward Hall’s Dr. Faustus (Mephistopheles), Romeo and Juliet productions of A Midsummer Night’s Dream, Rose (Benvolio), , Rosencrantz and Rage, Twelfth Night and Othello and also in Rose Guildenstern are Dead (Guildenstern), Macbeth, Rage in the West End. Other theater includes: all for Wildcard Theatre Company; The Devil’s Porter in Henry VIII, Don Alexandro in The Disciple, The Applecart, Cock of the Walk, Shaw Spanish Tragedy, Roman Captain in Cymbeline, Cornered (A Germ and Shakespeare, amongst George Seacoal in Much Ado About Nothing and others), Mrs. Warren’s Profession, Cold Comfort Cinna/Stato in Julius Ceasar (all RSC). Also, Is there Farm, You Never Can Tell, for Michael Friend Life After High School (Bridewell), Gary in Dead Productions. In London: Coffee for Garrulous at Guilty (Apollo), Lysistrata (London and Greek the Latchmere, Epitaph for the Whales and Ballard Festival at Epidaurus), The Fly (Garrick), The Ten of Wolves at the Gate, The Tenth Man at the New Commandments (The Place), Maxwell (West End), End, and Screaming Eagles at the Finborough Moll Flanders (Lyric Hammersmith), Tutenkhamun Arms. Films include Lip up Fatty, Vigo, The Score, (Imagination), Just So (Tricycle), Cats (West End) Little Joe’s Bad Trip and Freddie and the Big Apple. and No Remission (Edinburgh). His television work includes: Marple, Sleeping Murder, Family Affairs, Simon Scardifield (Hermione, Jonathan Creek, Broken Heart, Jo Brand Through the Dorcas) studied modern Cakehole, One Foot in the Grave, and That Sunday languages at Cambridge (nominated for BAFTA Award 1995). Feature film University and then trained at work includes: Toyman. Guildhall and with Philippe Gaulier. Apart from Rose Rage Adam Levy’s (Paulina) theater credits include: and A Midsummer Night’s Dream The Kindness Of Strangers (Liverpool Everyman); for Propeller, Simon has played Edmond and Henry V (National Theatre); Romeo Romeo at the Contact Theatre, Manchester, and and Juliet (Regent’s Park); Crossing Jerusalem Eric in Stephen Daldry’s An Inspector Calls at the (Tricycle Theatre); Beauty and The Beast, Henry IV Garrick Theatre, as well as appearing in Goodnight Part 1, Back to Methusalah and Richard II (RSC); Children Everywhere and Twelfth Night for the The Jew of Malta (Almeida) and Conversations With RSC, and The Cherry Orchard for ETT. Other My Father (Old Vic). His television work includes: stage work includes Spring Awakening at BAC, Rome (H.B.O.); 10th Kingdom, McCallum, Call Ferdinand in The Duchess of Malfi at the New Vic Red and Chillers Prophesy. Levy’s films include The Theatre, Paradise Lost at the Bristol Old Vic and, Sin Eater, Gladiator, Being Considered and The most recently, on tour and at BAM, New York in Governess. A Passage to India with Shared Experience. Screen credits include, inevitably, Casualty and Soldier Chris Myles (Dion, Old Soldier; also Monsignor Renard, Broken News and Shepherd) read modern the feature film High Heels and Low Lifes. On the languages at Oxford radio Scardifield has performed in The Constant University before training at Prince, , The Weight of Water, the Central School of Speech The Marseilles Trilogy and The Pyramid, among and Drama. This summer others. In the summer of 2004 Simon made his Chris played Bertolt Brecht directorial debut, helping The Bearded Ladies to in Marieluise at The Gate success at the Edinburgh Festival.

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James Tucker (Emilia, Young (Windsor Theatre Royal), Donalbain/Young Shepherd) has appeared in: At Siward in Macbeth (West End), Robin Conway The Watermill: Katherine/ in Time and The Conways (UK No. 1 Tour). His The Boy in Henry V, Viola in film and television work includes: Backwater, The Twelfth Night; Peter Quince in Trench (Support Lead) (BBC Films), A Time to Love A Midsummer Night’s Dream (lead), Unforgettable, War Poem, Martin Chuzzlewit (Sheffield Crucible); Player (BBC), Linda La Plante’s Killer Net (lead) Casualty Queen in Hamlet (Glasgow (BBC), Silent Witness (BBC), Dance to the Music of Citizens); Curio in Twelfth Night, Adrian in The Time (Channel 4), Cold Enough for Snow (BBC), Tempest (Nottingham Playhouse), Yepikhodov in Anorak (BBC Screen One), Starhunter 2300, The Cherry Orchard (English Touring Theatre); Heartbeat and Rosemary and Thyme. Jimmy in Shadowlands, Castelli in The Hinge of the World (Yvonne Arnaud Guildford); Uriah Heep Propeller is an all-male Shakespeare company in David Copperfield (UK) Tour). For the RSC: that mixes a rigorous approach to the text with a Golding in Eastward Ho!, Prince Charles in Edward modern physical aesthetic. We look for as many III, Pedro in , Prepasso in The ways as possible to inform the physical life of , William Lucy/Peter Thump/Tutor/ production with the poetry of the text and we give Catesby in Henry VI Parts I, II and III, Catesby as much control as possible to the actor in the in Richard III, Mr Tumnus in The Lion, the Witch telling of the story. and the Wardrobe, Mooncalf in Bartholomew Fair, We have been influenced by mask work, Thurio in The Two Gentlemen of Verona, Froth in animation, classic and modern film and music Measure for Measure, Peter in Seeds Under Stones. from all periods. As our times have changed, so In London: Hamlet (Bite 04 at the Barbican) The our responses to Shakespeare’s work have changed Jacobean Season (), A Woman of too and I believe we have become an ensemble in No Importance (Theatre Royal, Haymarket), A the true sense of the word: we break and reform Month in the Country (Albery Theatre), Life Under our relationships using the spirit of the particular Water (Man in the Moon), The Ghost Train (Lyric, play we are working on. We have grown together, Hammersmith). His television credits include eaten together, argued and loved together. We have Silent Witness (BBC), Agatha—A life in Pictures toured all over the world from Huddersfield to (BBC). Bangladesh. We have played in national theaters, ancient amphitheaters, farmyards and globe Tam Williams (Mamillius, Time, theaters. We have been applauded, shot at and Perdita) trained at Guildford challenged by different audiences wherever we School of Acting in London. His have gone. theater credits include Doublecut We want to rediscover Shakespeare simply (Mill at Sonning), Barnaby in by doing the plays as we believe they should be The Matchmaker (Chichester done: with great clarity, speed and full of as much Festival Theatre, Rutland),Henry imagination in the staging as possible. We don’t VI: The Battle for The Throne want to make the plays “accessible,” as this implies and The Park both for The Royal Shakespeare that they need “dumbing down” in order to be Company and West End, Damis in Tartuffe understood, which they don’t. We want to continue (Mobil tour), in to take our work to as many different kinds of (Chichester Festival Hall), Jimmy in Remember audiences as possible and thus to grow as artists This (Royal National Theatre), Claudio in Much and people. We are hungry for more opportunity Ado About Nothing and Lysander in A Midsummer to explore the richness of Shakespeare’s plays and if Night’s Dream (Regent’s Park Open Air), Granillo we keep doing this with rigor and invention, then in Rope (Salisbury Playhouse) Harev in Gamblers I believe the company, and I hope our audiences (Kings Head/BAC), Kit in French Without Tears too, will continue to grow. (Northcott Theatre), Desmond in Dark Corners Edward Hall

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Production Team on tour Our Thanks To: Heather Davies, associate director Paperchase for paper Mark Howland, relights Grundon’s for help with the sand Jen Shepherd, tour production manager Grifrite Bounty for the toy boat Anthony Field, tour company manager eJay Props for all his help Jenefer Tait, deputy stage manager Timpsons for keys Catherine Harper, assistant stage manager Stage Electrics Carley Marsh, wardrobe supervisor Orbital Sound Paul Matthew Transport For Watermill Productions by Propeller Jill Fraser, artistic/executive director The UK tour was supported by: James Sargant, financial adviser Arts Council England Lawrence T. Doyle, production manager Esme Fairburn Foundation Caro MacKay, tour coordinator The British Council USA Clare Lindsay, general manager Tei Williams, tour press/marketing Rebecca Emery, stage manager Jen Shepherd, assistant production manager Sandra Robbs, wardrobe supervisor Ade Morris, Will Wollen, outreach Jan Ferrer, Steve Gibbs, marketing Michele Tubman, Ellen McKevitt, www.propeller.org.uk Hannah Hallam, administration www.watermill.org.uk

For The Winter’s Tale original production For David Eden Productions, Ltd: Matt Steele-Childe, set construction Erica Charpentier, general management Laura Martin & Jules Fuller, scenic artists Christopher D. Buckley, technical director Ed Green, assistant carpenter Stonie Darling, visa coordinator Ray Doncaster, metal work construction

24 CAL PERFORMANCES