villanova theatre presents

directed byJames J.Christy

NOV 10-22, 2015 A benefi t concert for Chester Charter School for the Arts

“ She is almost too good to be true…a vital artist, a beautiful woman, a regal presence.” — The Post

“ …likely to be an operatic superstar of the 21st century.” — USA Today

Renowned Mezzo Soprano DENYCE

GRAVES Devon Cass Photo: performs a program of classical, jazz, and opera standards Christ Church Philadelphia | December 1, 2015 | 7:30 pm 20 N. American Street, Philadelphia (2nd Street Above Market)

The region’s fi rst K–12 arts-integrated public school, Chester Charter School for the Arts was founded on the principle that arts education is vital to each child’s learning and development.

Educating and inspiring a new generation of artists, audiences, and passionate citizens.

INFO/TICKETS: chestercharterschoolforthearts.org/concert or 610.859.2988 Friends $75 • Partners $150 Partners receive reserved seating and are invited to a reception with Ms. Graves following the performance. About Villanova University

Since 1842, Villanova University’s Augustinian Catholic intellectual tradition has been the cornerstone of an academic community in which students learn to think critically, act compassionately and succeed while serving others. There are more than 10,000 undergraduate, graduate and law students in the Univer- sity’s six colleges – the College of Liberal Arts and Sciences, the Villanova School of Business, the College of Engineering, the College of Nursing, the College of Professional Studies and the Villanova University School of Law. As students grow intellectually, Villanova prepares them to become ethical leaders who create positive change everywhere life takes them.

In Gratitude The faculty, staff, and students of Villanova Theatre extend sincere gratitude to those generous benefactors who have established endowed funds in support of our efforts: Marianne M. and Charles P. Connolly, Jr. ’70

Dorothy Ann and Bernard A. Coyne, Ph.D. ̓55 Patricia M. ’78 and Joseph C. Franzetti ’78 The Donald R. Kurz Family Peter J. Lavezzoli ’60 Msgr. Joseph F. X. McCahon ’65

Mary Anne C. Morgan ̓70 and Family & Friends of Brian G. Morgan ̓67, ̓70 Anthony T. Ponturo ’74 For information about how you can support the Theatre Department, please contact Heather Potts-Brown, Director of Annual Giving, at (610) 519-4583. Villanova Theatre gratefully acknowledges the generous support of its many patrons & subscribers. We wish to offer special thanks to our 15-16 Benefactors: This list is updated as of November 1, 2015

A Running Friend Peggy & Bill Hill Nishikawa Donna Adams-Tomlinson Nancy & Joseph Hopko Bill & Mimi Nolan Marion Angelini Elizabeth Jekot Beverly Nolan Daphne Apostolidis Edward Kaier William Pentz Nancy Arthur Madeleine Keehn Matthew Samsel Thomas Baroth Frank Kenney Wilhelm & Diane Sandvik Phoebe Baxter Martha Kirby Joe Schick & Thomas Blackburn Martha & Leo Kob Michael Williamson Donald & Phyllis Born Joan & Jack Kramer Marguerite K. Schlag Geraldine Burton Edward & Gloria Kresch Sheila Shannon Patricia Byrne Dr. Sarvesh & Elaine Sharer William R. & Lillian Cassel Priscilla Kulkarni Nancy Shorts-Hopko Jeanmarie Cryan Bob & Mary Lawler Jacqueline Sigel Louise Dagit Kent & Fran Leider Bill & Cathy Siple Mr. Thomas D. DeSanto Patricia Loudis Norman K. Smith John Dismone Dave & Karen Mainhart Terry & Joe Sousa Valerie Downing Dorothea D. Martin Kathy Stein Mary Jane Fullam Dr. & Mrs. Edward Gay Strickler Karen Gaffney McAssey Lloyd B. Tepper Honorable John & Barbara McBlain Joseph & Susame Anne Gartland Mary Anne C. Morgan Thompson Thomas & Barbara Ann McCarraher Joanne & Paul Tierney Josephine Gudowicz Layne & Terry McHugh Mary Ellen Trainer Sonja Haggert Peg & George Murphy James Weeks Dick & Carolyn Hammond Martin Myers Seth & Becky Whidden John A. Hermann & Matthew Mykityshyn Taylor Williams Delia Mullaney A. Hirotishi & Sumie G. Patricia Wood

Gifts of $25 and above are acknowledged in the program. If your name has been misprinted or omitted, or if you are interested in supporting Villanova Theatre, please contact: Kimberly Reilly, Director of Marketing & PR at (610) 519 - 7454 NEXT ON STAGE: A WONDERFUL NOISE Book by Michael Hollinger

Story, music, and lyrics by Michael Hollinger and Vance Lehmkuhl

Directed by Harriet Power

This heartfelt musical comedy celebrates the bonds of friendship and music-mak- ing, as well as the courage required to live and love in a precarious world. With its screwball storyline, witty lyr- ics, and tuneful Swing Era score, A Won- derful Noise evokes the pleasures of a 1940s musical with a 21st-century spin!

A Philadelphia Premiere!

FEBRUARY 9 – 21, 2016 TICKETS/ INFO: 610.519.7474 WWW.VILLANOVATHEATRE.ORG when passion leads, Success Follows.

Take the next step in your academic or professional career with an advanced degree from Villanova University’s College of Liberal Arts and Sciences.

Choose from over 60 graduate degree and certificate programs, as well as PhD programs in Philosophy and Theology.

DISCOVER WHERE YOUR PASSION WILL LEAD YOU gradartsci.villanova.edu Villanova Theatre Presents MACBETH by

Scenic Designer Costume Designer DANIEL BOYLEN SUSAN SHAEFFER

Lighting Designer Sound Designer JEROLD R. FORSYTH JOHN STOVICEK

Movement Choreographer Fight Choreographer VALERIE JOYCE JOHN V. BELLOMO

Dramaturg & Assistant Director AMANDA COFFIN

Directed by JAMES J. CHRISTY*

NOVEMBER 10 - 22, 2015 Vasey Hall, Villanova Theatre

Macbeth runs approximately two hours and thirty minutes with a fifteen minute intermission. Please silence all cell phones and electronic devices. The video and/or audio recording of this performance by any means whatsoever are strictly prohibited.

*The director is a member of the Stage Directors and Choreographer Society, a national labor union. CAST

MACBETH...... Kyle Fennie LADY MACBETH...... Meg Trelease DUNCAN, DOCTOR...... John K. Baxter BANQUO...... Dan Cullen MACDUFF...... Elizabeth Meisenzahl MALCOLM...... Rebecca Jane Cureton LADY MACDUFF...... Elise D’Avella PORTERS...... John K. Baxter, Chris Monaco, Rachel O’Hanlon-Rodriguez FLEANCE, SCARED BOY, SERVANT...... Patrick McAndrew MACDUFF CHILD...... Rachel O’Hanlon-Rodriguez DONALBAIN ...... Luke Hensley BLOODY CAPTAIN, WAITING WOMAN...... Alix Rosenfeld SEYTON...... Stephen Tornetta ROSS...... Jess Otterbine LENNOX ...... Chris Monaco WITCHES...... Rebecca Jane Cureton, Elise D’Avella, Stephen Tornetta

PRODUCTION CREW

Stage Manager...... Elizabeth Campbell Assistant Stage Managers...... Kevin Esmond, Laura Barron, Rachel DelVecchio Stage Management Consultant...... Allison Emmerich Assistant to the Movement Choreographer...... Brenden Kortenhaus Fight Captain...... Kyle Fennie Master Electrician...... Michael Hamlet Cutter/Draper...... Jenn Lanyon Scenic Arist...... Sharri Jerue

SPECIAL THANKS The Costume and Prop Shop for their help with the Macbeth scenery. WILLIAM MASTALSKI, CFP Villanova ‘78 M.A

CERTIFIED FINANCIAL PLANNER •Unbiased, objective advice for comprehensive wealth management •Committed to providing thoughtful guidance and personalized service •Client-centered approach to investment and retirement strategies •Philadelphia Magazine Multi-Year “5-Star Wealth Manager”

William J. Mastalski First Vice President/Wealth Management Janney Montgomery Scott 40 Morris Avenue, Suite 200 Bryn Mawr, PA 19010 [email protected]

EDUCATION FOR ADULTS FLEXIBLE COURSE SCHEDULES AND COMPETITIVE PRICING On campus and online!

WE OFFER: Undergraduate degree completion programs Post baccalaureate certificates Professional non-credit certifications

Visit cps.villanova.edu to learn more or call 610.519.4300.

DELAWARE COUNTY SYMPHONY 2015 - 2016 Concert Season

Symphony Series Sundays at 3:00 P.M. October 18, 2015 Guest Conductor: Joseph Caminiti Samuel Barber First Essay, Op. 12

Wolfgang Mozart Clarinet Concerto in A Major Ricardo Morales, clarinet

Frederick Delius On Hearing the First Cuckoo in Spring Jean Sibelius Symphony No. 2 in D Major

December 6, 2015 Guest Conductor: Brian Cox Rameau/Motti Ballet Suite Frédéric Chopin Piano Concerto No. 1 in E Minor Carl Cranmer, piano César Franck Symphony in D Minor

Neumann University, Meagher Theatre The Thomas A. Bruder, Jr. Life Center One Neumann Drive, Aston, PA 19014 (1/4 mile West of Concord Rd. & Rt. 452) Call (610) 879-7059 or visit– our web site at dcsmusic.org for information or tickets. The Delaware County Symphony is a Non-Profit Organization

VILLANOVA UNIVERSITY Master of Arts in THEATRE Villlanova Theatre Open House Sunday, November 22nd, 2015 11:00 AM until 2:00 PM Villanova University, Vasey Hall 800 E. Lancaster Ave, Villanova, PA 19085 Villanova’s M.A. in Theatre is the only graduate program in the U.S. that places equal emphasis on scholarly & creative work. Join us to learn about our course offerings, meet current students, faculty & staff, and see MACBETH for free. Open House attendees will have their application fee waived. For more information or to R.S.V.P Scholarships & Assistantships Available Contact Rachel O’Hanlon-Rodriguez Tuition Reduction for Educators by phone: 610-519-4763 Full-Time & Part-Time Opportunities or email [email protected] www.villanovatheatre.org CAST AND CREW

JOHN K. BAXTER (Duncan, Por- as Clive in Clive Unger’s Madame ter, Doctor) is happy to return to Vil- X for which he won Best Actor at the lanova after graduating from the MA 2013 Winter Film Awards Festival. program last year. Shows at Villano- va included The Threepenny Opera REBECCA JANE CURETON (Tiger Brown), Michael and Edie (Malcolm, Witch) is a second-year (John), Big Love (Kostas), A Light in graduate assistant in Marketing & the Piazza (Ensemble), The School PR at Villanova Theatre. Villanova for Lies (Dubois/Basque), Everyman Theatre credits include Eurydice (Confession) and a student organized (Eurydice), The Threepenny Opera production of Twelfth Night (Malvo- (Dolly, Ensemble), Fallen Angels lio.) John appeared in several shows (Julia Sterroll). Rebecca earned her at the Media Theatre for the Per- BA in Classical Civilization from forming Arts and Neumann Univer- Loyola University Maryland. She sity between 2008 ­and 2013. Favor- is a company alumna of Hedgerow ites include Lord Savage in Jekyll & Theatre where she worked as an ac- Hyde at Media, Officer Lockstock in tress and Marketing Coordinator for and Miles Gloriosus in A four years. Her favorite Hedgerow Funny Thing Happened on the Way credits include The 39 Steps (Anna- to the Forum at Neumann University. bella Schmidt, Pamela, and Marga- ret), Pride and Prejudice (Elizabeth DAN CULLEN (Banquo) is a first- Bennet), Macbeth (Lady Macduff year graduate acting scholar mak- and Second Witch), The Good Doc- ing his Villanova Theatre debut. He tor (Governess, Married Woman, holds a BA in Theatre and a BM in and Actress), and The Comedy of Er- Music Education from James Madi- rors (Adriana, Officer, Courtesan). son University. He has appeared onstage in Washington, DC and ELISE D’AVELLA (Lady Macduff, New York. Favorite roles include Witch) is a second-year graduate stu- Lucky in , Keith dent at Villanova. She was last seen in Betty’s Summer Vacation, Ro- as an ensemble bride in Villanova meo in Shakespeare’s Romeo and Theatre’s Big Love. Elise earned her Juliet, Tom in No, No, Nanette, and BA in Theatre from the University of Harry Houdini in Once Upon A Mat- Pittsburgh and has since worked as tress. He was a member of the Ex- a teaching artist for Theatre Horizon amined Man Theatre acting ensem- and Steel River Playhouse. She has ble in New York where he helped worked as an actor for Tieline The- develop several new works, and in atre, Spotlight Theatre, Arden Shake- Washington, D.C., he originated the speare Guild and Steel River Play- role of Brian in Howard Walper’s house. Her favorite credits include Renaissance. On film he appeared Sir Andrew in Twelfth Night, Sybil in Private Lives, Lily in Toys in the At- Construction making his Villanova tic and Adam in . Elise Theatre debut. Favorite credits in- also works as a yoga instructor and clude Nickles in JB, Brindsley Mill- will serve as the dramaturg for Vil- er in Black Comedy, Tim Allgood in lanova’s Translations in the spring. Noises Off and Inspector Lestrade in Sherlock Holmes: The Valley of KYLE FENNIE (Macbeth) is a Fear. Patrick earned his BA in The- second-year graduate acting scholar. ater at Ursinus College where he had This is Kyle’s fifth production -Vil the opportunity to study improvisa- lanova Theatre. He earned his BFA tion with Villanova Theatre graduate from the University of the Arts in and renowned artist, Bobbi Block. If Philadelphia, with a focus in Stage you look closely, you may be able Combat. His previous roles include: to spot Patrick in the pilot episode ’s The Threepenny of ABC’s How To Get Away With Opera (Smith); Rachel Bonds’ Mi- Murder. Patrick has written, direct- chael & Edie (Ben); Noël Coward’s ed and produced his own children’s Fallen Angels (Willie); Charles play, The Get Better Letter, and is a Mee’s Big Love (Constantine); published author for his children’s John Patrick Shanley’s Doubt (Fa- book, The Bad Day of Mr. Wolf. Pat- ther Flynn); Agatha Christie’s The rick, an award-winning musician, Mousetrap (Sergeant Trotter u/s). is also a percussionist, experienced Fight Directing credits include: in various musical styles including Macbeth, Beauty and the Beast, jazz, rock, swing, Latin, and funk. Crazy For You, and Oklahoma. It is an honor and a privilege to work un- ELIZABETH MEISENZAHL der the direction of Jim Christy with (Macduff) is thrilled to appear in such a tremendously talented cast. her second production at Villanova Theatre after making her debut in LUKE HENSLEY (Donalbain) is Eurydice as Little Stone. Elizabeth a junior undergraduate at Villanova has performed in the Arden Shake- pursuing a double major in English speare Guild’s production of King and Augustinian Humanities with a Lear as the Doctor, as well as with minor in Theatre. This is his second the Instant Shakespeare Company’s show with Villanova Theatre after impromptu Richard III as the Duch- appearing as an ensemble grooms- ess of York. Elizabeth has also been a man in last fall’s production of Big member of the award-winning Rock- Love. He has also starred in under- land Shakespeare Company out of graduate productions of Noises Off Suffern, NY for nine seasons. Some (Lloyd) and Rosencrantz and Guil- of her favorite roles there include denstern Are Dead (The Player). Calpurnia in Julius Caesar, Weird Sister Two in Macbeth, and Mis- PATRICK McANDREW tress Quickly in The Merry Wives (Fleance, Scared Boy, Servant) is a of Windsor. Other credits include first-year graduate assistant in Set Cookie in ’s Rumors and Mag in Brian Friel’s Lovers. Center, and is the Development As- Elizabeth is also an accomplished sociate for Kaleid Theatre where she stage combatant, ranked as an Ad- devises physical theater pieces (ka- vanced Actor Combatant with the leidtheatre.com). Rachel earned her Society of American Fight Directors. BA from Rowan University where she received their Joseph Robinette CHRIS MONACO (Lennox, Por- Award for Excellence in Theater and ter, Lady Macbeth’s Shadow) is a Dance, and was a 2010 semi-finalist first-year acting scholar at Villanova for the region II Kennedy Center who was last seen as the Nasty In- American College Theater Festival. teresting Man in Eurydice. Chris’ favorite roles as a Temple under- JESS OTTERBINE (Ross, Mac- gradute included Joe Josephson in beth’s Shadow) is thrilled to be mak- Merrily We Roll Along, Melchior ing her Villanova Theatre debut with in Spring Awakening, Reverend this amazing director, cast, and crew. Hale in , Caldwell B. She is a second-year MA in Theatre Cladwell in Urinetown, and Ca- student at Villanova University and mille Chandebise in ’ works as the Graduate Assistant for A Flea in Her Ear. He is an active the Gender and Women’s Studies member of the Upper Darby Sum- Program. She is a founding mem- mer Stage program as an assistant ber and Artistic Director of Tieline director for their Children’s Theatre Theater Company in Hamden, Con- program, as well as an actor in their necticut. She recently appeared in mainstage productions, including Tieline’s productions of Twelfth this past summer’s Mary Poppins, Night (Viola) and A Midsummer in which he played Robertson Ay. Night’s Dream (Helena). She was trained at the National Theater Insti- RACHEL O’HANLON-RODRI- tute at the Eugene O’Neill Theater GUEZ (Murderer, Porter, MacDuff’s Center. She is the Assistant Direc- Child) is a first-year Presidential tor for Administration and move- Scholar and serves as the Media & ment instructor for the New York Events Coordinator at Villanova State Summer School of the Arts, Theatre. She is delighted to be on School of Theater. She holds Bach- the Villanova stage once again, fol- elor’s degrees in Theater and Soci- lowing her recent role as Big Stone ology from Quinnipiac University. in Eurydice. For the past five years, Rachel has worked as an actress in ALIX ROSENFELD (Bloody Philadelphia with companies such Captain, Murderer, Porter, Waiting as Flashpoint Theatre Company, Woman) is the second-year Research EgoPo Classic Theater, Simpatico Scholar for the Villanova Theatre Theatre Project, and The Walking Department. Alix earned her BA in Fish Theatre. She recently finished Drama from Vassar College, where a residency at the Painted Bride Art she received the Molly Thacher Kazan Memorial Prize for distinc- last season’s production of Michael tion in the theatre arts for her thesis, & Edie and served as dramaturg for an original play titled Or What You this season’s Eurydice. This sum- Will. Alix is also an alumna of Tina mer, Meg participated in Villanova’s Packer’s Shakespeare & Company in inaugural Abbey Summer Studio in Lenox, Massachusetts, and has gone Ireland where she studied and per- on to work as an actor, verse coach, formed at the Abbey Theatre, Ire- dramaturg, and literary manager in land’s national theatre. Meg earned New York City. Favorite credits in- a BA in Theatre from Holy Cross in clude Electra in Vengeance Becomes Worcester, MA, and has worked as a Electra, Miranda in The Tempest, theatre and dance educator, choreog- Lady Hotspur in Henry IV Part I, rapher and director for over a decade. and Thea in Spring’s Awakening. JAMES J. CHRISTY (Director) is STEPHEN TORNETTA (Witch, touched to be returning to Villanova Murderer, Seyton) is a second-year Theatre for the first time since his graduate Acting Scholar and is per- retirement from the Theatre Depart- forming in his sixth show with Vil- ment eight years ago. He was a pro- lanova Theatre. Stephen earned a fessor here for thirty-nine years and BS in Business Management with the bulk of his creative work took a focus in International Business place on the Vasey Stage, from the from Penn State University, Univer- premiere of David Rabe’s Bones in sity Park. Favorite credits include: 1969 (which went on to win a Tony Eurydice (Orpheus), The Three- Award as Sticks and Bones) to the penny Opera (Macheath), Pride & summer theatre he ran during his Prejudice (Charles Bingley), Big thirteen-year tenure as chair, from Love (Giuliano), Fallen Angels specially loved productions such as (Maurice Duclos), The Light in the Woyzeck and an undergrad produc- Piazza (Ensemble), All Shook Up tion of Taming of the Shrew (with a (Chad), Lucky Stiff (Harry Wither- senior named Peter Donohue), to the spoon), A Chorus Line (Mark), and multiple Barrymore Award-winning West Side Story (Tony). In addition collaboration with Harriet Power on to attending Villanova, Stephen both parts of ’s Angels works full-time for Citizens Bank in America. He has directed profes- in Non-Profit Commercial Banking. sionally in Philadelphia and at Shake- speare festivals around the coun- MEG TRELEASE (Lady Macbeth) try. In 2005, he was honored with is a second-year graduate Theatre Philadelphia’s Barrymore Award for and Nonprofit Management certifi- Lifetime Achievement, a real high- cate student. She was last seen on light of his longtime career as a di- the Villanova stage as Bella in Big rector and educator in Philadelphia. Love and Betty in The Threepenny Opera. Meg also stage managed JOHN V. BELLOMO (Fight Chore- ographer) is a Director, Actor, Move- rate Entrance of Chad Deity at Inter- ment Specialist and Teacher. He is act Theatre Co. He has taught Stage the former Artistic Director of The Combat at The Royal Academy of Maryland Shakespeare Festival and Dramatic Arts in London, Teatro Co-Artistic Director of Ombelico in Polvere in Milan, Accademia Mask Ensemble. Directing Credits Internazionale dello Spettacolo in include: Twelfth Night, As You Like Calabria Italy, and The American It, Romeo & Juliet, The Taming of Musical and Dramatic Academy in the Shrew at Maryland Shakespeare New York. John is also a graduate Festival; The Do’s and Don’ts of of The International School for the Time Travel at Strawflower Produc- Comic Actor in Reggio Emilia, Italy tions, The Bros. Flanagan at Original where he studied commedia dell’arte Theatre Productions; The Capitano with Italian Maestro Antonio Fava. Duped, The Power of Magic at Om- In 2006, John co-founded Teatro belico Mask Ensemble; Fuddy Meers Ronda, an international commedia at Allens Lane Theatre; A Midsum- dell’arte company, with actors from mer’s Night’s Dream, The Tempest, Poland, Switzerland and Italy. Their Twelfth Night and As You like It for original commedia play, Two Ser- Teatro Delle Due, in Reggio Emilia, vants for a Master, was performed in Italy. He received an MFA in Direct- Arden Delaware, Philadelphia Penn- ing from Temple University where sylvania, Krakow Poland, and Med- he directed A Lesson Before Dying, nrisio and Monte Verita Switzerland. The Nina Variations, and Oleanna, and a BFA in Acting from the Uni- DANIEL P. BOYLEN (Set Design- versity of the Arts. For OMBELICO er) received an AB in English from Mask Ensemble, John has directed Yale University, studied Anglo-Irish and acted in several shows and is the Literature for a year in Dublin and co-creator of Dead Man’s Mambo, a then went on to receive an MFA in one man commedia show in which Scenery and Lighting from UW he plays 11 different characters. Madison. He taught 45 years in the John has choreographed violence for MFA program at Temple Univer- many of Philadelphia’s theatre com- sity. Mr. Boylen has designed exten- panies, including People’s Light and sively for regional theater including Theatre Co., Philadelphia Theatre Goodspeed Opera House, McCarter Co., Theatre Exile, The Philadelphia Theatre, Philadelphia Drama Guild, Shakespeare Festival, Lantern The- Delaware Theater Company, Wil- atre, The Wilma Theatre, InterAct liamstown Theatre Festival, Pennsyl- Theatre Co., Delaware Theatre Com- vania Ballet, American Music The- pany, and The PA Shakespeare Fes- ater Festival, Theatre Exile, Act II tival. He is a four-time Barrymore and InterAct. University productions nominee for his fight choreography include University of Pennsylvania, and received a Barrymore Award for Princeton, Yale, numerous produc- his fight choreography inThe Elabo- tions at Villanova and, of course, Temple. His most recent scene design JEROLD R. FORSYTH (Light- sfor Villanova were The Threepenny ing Designer) has designed over 300 Opera, Big Love, and Muswell Hill. productions to date. Philadelphia credits include designs for The Wil- ELIZABETH CAMPBELL (Stage ma Theater, Villanova Theatre, Ama- Manager) is a second-year gradu- ryllis Theatre, Philadelphia Shake- ate student in Theatre and Nonprofit speare Theatre, Simpatico Theatre Management. She is a props/scenic Project, Arden Theatre Company, assistant for Villanova Theatre and a Walnut Street Theatre, InterAct The- member of Curio Theatre Company atre Company, American Music in West Philadelphia. She previous- Theatre Festival, People’s Light & ly acted on the Villanova stage last Theatre Company, Bristol Riverside season in The Threepenny Opera. Theatre, Venture Theatre, Philadel- phia Festival Theatre for New Plays, AMANDA COFFIN (Dramaturg, and Philadelphia Drama Guild. Ad- Assistant Director) is a second-year ditional East Coast credits: Kennedy graduate assistant in the Set Shop. Center, New York Shakespeare Fes- She was an ASM for Big Love and tival, Lincoln Center Theatre, York Stage Manager for The Threepenny Theatre Company, Village Theatre Opera at Villanova Theatre. She Company, Opera Ebony - New York, participated in the Abbey Theatre and Palm Beach DramaWorks. Je- Summer Studio where she studied at rold has been nominated thirteen the Abbey Theatre in Dublin and at times for Barrymore Awards, twice the National University of Ireland: receiving the Barrymore Award for Galway. Amanda earned her BA in Outstanding Lighting Design. In ad- Theatre Studies with an emphasis dition, he has twice received “Most in Directing and Dramaturgy from Notable Lighting Design” citations Emerson College in Boston, MA. from The Philadelphia Inquirer. Emerson Stage credits: Six Char- acters in Search of an Author (As- VALERIE JOYCE (Movement sistant Director), Bat Boy (Drama- Choreographer) has been perform- turg), Newfest: Paint (Dramaturg). ing, directing, or designing on stage Amanda served as Artistic Intern at at Villanova Theatre for more than 20 Roundhouse Theatre in Bethesda, years. Joyce directed Bertolt Brecht’s MD where she was Assistant Direc- The Threepenny Opera in the 2014- tor on Becky Shaw and Dramaturg 2015 season, Rogers and Hammer- for and How to stein’s Carousel in the 2011-12 sea- Write a New Book for the Bible. She son at Villanova Theatre and Batboy: spent two summers at Plimoth Plan- The Musical in the 2010-11 season. tation in Plymouth, MA as their Mu- Other directing credits include­ Annie seum Theatre/Public Programs Intern Get Your Gun, Cabaret, The Light in and Dramaturg for the Plimoth Play- the Piazza and Talley’s Folly at Vil- ers, a summer Shakespeare Troupe. lanova, and The Meat Opera­ and Up Your Ante for the New York and Philadelphia International Fringe Big Love, Fallen Angels, Every- Festivals, and Thank You for Sharing man, Red Herring, The School for with Amaryllis Theatre Company. Lies, The Light in the Piazza, How Valerie­ has also worked as a profes- I Learned to Drive, Muswell Hill, sional costume designer for local and The Drowsy Chaperone, Three Days regional productions including Six of Rain, The Cherry Orchard, Bat Story Build­ing (Off Broadway), The Boy: The Musical (Set Design), An- Real Thing (Arden Theatre Com- nie Get Your Gun, The Chairs, Three pany), Moon for the Misbegotten Sisters, Incorruptible, Prayers of (Venture Theatre), True West and Sherkin, Urinetown, Big River. Other Waiting for Godot (Lan­tern Theatre regional credits include: Twain Un- Company), Billy and Zelda (Opera plugged, Angels in America: Mil- Delaware), and The Comedy of Er- lennium Approaches, Any Given rors (Princeton Repertory), as well Monday, Boeing-Boeing, Chasin’ as many university productions. She Dem Blues, Blithe Spirit, Sylvia, The has also written a one-woman show Tempest, The 12 Dates of Christmas, dramatizing the lost stories of Afri­ Lend Me A Tenor, I Am My Own Wife. can American women pre-emancipa­ tion entitled I Will Speak for Myself.

SUSAN SCHAEFFER (Costume Designer) has designed several pro- ductions at Villanova University and is delighted to be designing for Dr. James Christy again. Her most recent costume design collabora- tion with Dr. Christy was Prayers of Sherkin at Villanova University. Prior to that she has designed Taming of The Shrew, and Playboy of The Western World with Dr. Christy at Villanova. She also has designed Lysistrata, Top Girls, Owners and Beyond Therapy at Vil- lanova for Dr. Joanna Rotté. Susan has also designed for The Philadel- phia Theater Company, Theatre Exile and The Delaware Theater Company. It is wonderful to be home again in this crazy creative environment.

JOHN STOVICEK (Sound De- signer) For Villanova Theatre: The Threepenny Opera, Michael & Edie, ROYAL FAMILY WHo's Who? King DUNCAN

MALCOLM DONALBAIN Scottish Court His Eldest Son His Younger Son

MACBETH LADY MACBETH BANQUO MACDUFF LADY MACDUFF Thane of ROSS Thane of LENNOX

Thane of Glamis His Wife Thane of Lochaber Thane of His Wife Then, Thane of Fife Their Cawdor, Then, King SON FLEANCE

His Son Others Servants of Macbeth

GENTLEWOMAN DOCTOR FIRST WITCH PORTER Attends Lady Attends Lady SECOND WITCH Macbeth Door Keeper For Macbeth THIRD WITCH Macbeth’s Castle SEYTON THREE MURDERERS Officer, Attends Macbeth “Far more than ours, Shakespeare’s period put considerable energy into anatomizing and under- standing the conscience. Macbeth is written soon after two important theorizations of conscience, Alexander Hume’s Ane Treatise of Conscience (1594) and William Perkin’s more expansive A Dis- course of Conscience (1596).” - Macbeth’s equivocal conscience, Abraham Stoll STUFF, WHICH Weighs upon the heart

The issue of morality was quite present in Shakespeare’s Eng- land. As Stoll points out above, Shakespeare was one of many poets, philosophers, and theologians exploring conscience during the late 17th and early 18th century. Even royalty was concerned with these larger issues of individual betterment for the greater good. King James I, the reigning monarch when Macbeth was per- formed, was particularly concerned with the idea of conscience and wrote about it in his Basilikon Doron, a treatise on govern- ment written for his son and published in London in 1603:

“And as for conscience, which I call the conserver of religion, it is nothing else, but the light of knowl- edge that God hath planted in man, which ever watching over all his actions, as it beareth him a joyful testimony when he does right, so choppeth it him with a feeling that he hath done wrong, when ever he commiteth any sin. [...] Above all them, my Son, labor to keep sound this conscience, which many prattle of, but over few feel.” -James I, Basilikon Doron Throughout Macbeth, we see the drastic differences between the “joyful testimony” of a clear conscience and the “feeling that he hath done wrong,” not just in the title character but in Banquo’s desire to keep his “allegiance clear” (II.1) and in Lady Macbeth’s “sorely charged” heart (V.1). Each character that to darkness or to light. Society has created rules these charac- terscrosses live the within stage but fights very with quickly inner society demons falls that away pull and him a newor her world order begins to be established—Macbeth begins to make his own decisions about what is right and what is wrong even as the world around him falls apart. And yet Shakespeare’s play doesn’t provide answers one way or the other. This is not a mo- rality tale but an examination of a “mind diseased” (V.3), a look into the psychology of conscience, which still concerns us today.

Shakespeare’s primary source material for Macbeth was Holin- shed’s Chronicles of England, Scotland, and Ireland. Character names, relationships, plot points, and even the prophesies of the witches are documented in this book. It’s no wonder, then, that the issue of conscience also appears:

“For so commeth it to passe, that such as are pricked in conscience for anie secret offense com- mitted, have ever an unquiet mind.” -Holinshed’s Chronicles of England, Scotland, and Ireland, 1577

Macbeth’s mind is one “full of scorpions” (III.2)—his conscience is certainly pricked and his mind is unquiet. Shakespeare ex- plored the issues of his day in drama, and with this realization we recognize that the exploration of contemporary issues by playwrights is not a recent phenomenon. The power of drama is written. The strength of Shakespeare is that we are still wres- tlingthe ability with histo reflectlarger andideas comment in the 21 onst century. the world in which it was MY VOICE IS IN MY SWORD Is violence inherent in our nature or does society provoke us to violent acts? Shakespeare’s play juxtaposes war, blood, and violence with the quieter, domestic themes of friendship, marriage, and loyalty. These dichotomies lead us to ask questions about human nature and the origins of violence. Are we inherently violent or are we hardwired to be good? Stephen Pinker’s The Better Angels of Our Nature was a source of inspiration for this production: How is it that violence has actually decreased over the years when society seems to tell us things have gotten worse?

“The belief that violence has increased suggests that the world we made has contaminated us, perhaps irretrievably. The belief that it has decreased suggests that we started off nasty and that the artifices of civilization have moved us in a noble direction, one in which we can hope to continue.”

-Pinker, The Better Angels of Our Nature, xxi There have been many theories of violence over the years. Below, a few major philosophies that have shaped our society and touched the world of Shakespeare: Thomas Hobbes John Locke Jean-Jacques (1588-1679) (1632-1704) Rousseau (1712-1778) •Man is naturally •Man is a social crea- wicked and predis- ture who inherently •Man is naturally posed to violence. knows what is right good. Rousseau and wrong. stated: “Nothing is so •Man will commit gentle as man in his violence for three •Peace is the normal primitive state.” primary reasons: (1) state of man. competition, (2) diffi- •All steps away dence (meaning fear), •Man is capable of from this primitive and (3) glory. punishing wrongdo- state and towards an ings done against him ordered society lead •To escape this vio- by himself; man gives to the “decay of the lence, a government up this power to the species.” must be established state to ensure that to uphold the law impartial justice is •Thus, law and order and dole out justice. achieved by force. or the creation of Hobbes calls this “the civilization is a detri- Leviathan.” ment to man and not a benefit. Macbeth allows us to explore the above philosophies as we ask whether Macbeth was born to become a “tyrant” (V.7), or if society and the competitive world create this man “steeped in blood (III.4).” It is the difference between Macbeth as a tragic hero and Macbeth as a villain. The Set

Brutalism: an austere style of architecture characterized by emphasis on such structural materials as undressed concrete and unconcealed service pipes. This architectural style emerged in the mid 1940s-1960s. Set designer Daniel Boylen and director James Christy were inspired by the brutalist style of architecture when designing the playing space for the actors. This style was frequently used when building prisons, hospitals, or institutions. The design ex- poses the structural components of buildings and often reveals what is usually hidden or masked in more beautiful materials, an apt metaphor for the production’s examination of Macbeth’s mind.

Amanda Coffin, Dramaturg

VILLANOVA THEATRE FACULTY David Cregan, OSA, PhD...... Chairperson; Gender, Politics and Performance; Modern Irish Drama; Acting; Voice & Movement Earl Bader, PhD...... Dramatic Vision and Form Andrew Blasenak, PhD...... Riots and Controversies Michael Hollinger, MA...... Solo Performance; Playwriting; Songwriting James Ijames, MFA...... Acting, Collaborative Theatre Valerie Joyce, PhD...... Musical Theatre; Script Analysis; Teaching of Theatre; Acting Harriet Power, MFA...... Directing; Acting/Directing Styles; Creativity Chelsea Phillips, PhD...... Dramaturgy; Acting Professors Emeriti...... James J. Christy, Joanna Rotté

VILLANOVA THEATRE STAFF Parris Bradley ...... Production Manager Eileen Ciccarone...... Audience Services Manager Elisa Loprete Hibbs ...... Business Manager Michael Hollinger ...... Associate Artistic Director Kimberly Reilly ...... Director of Marketing & Public Relations Janus Stefanowicz ...... Costume Shop Manager Ashley Leamon...... Office Manager Sharri Jerue ...... Properties Master & Scenic Charge Rajiv Shah...... Technical Director

GRADUATE ASSISTANTS AND SCHOLARS Costume Construction...... Laura Barron, Cari Brezina, Megan Rose, Lexa Vanech Properties Construction & Scenic Artists ...... Elizabeth Campbell, Rachel DelVecchio Set Construction ...... Amanda Coffin, Sean Connolly, Christopher Dayett, Patrick McAndrew Marketing/Public Relations ...... Rebecca Cureton Acting Scholars ...... Dan Cullen, Kyle Fennie, Chris Monaco, Stephen Tornetta Research Scholar...... Alix Rosenfeld Merit Scholars...... Kasey Phillips, Rachel O’Hanlon-Rodriguez

PRODUCTION ASSISTANTS Academic Office Staff...... Kasey Phillips Business & Production Assistants...... Daniel Cluskey, Brenden Kortenhaus, Emily Zvosec Media & Events Coordinator...... Rachel O’Hanlon-Rodriguez Box Office Assistants...... Raymond Dengler, Norbert Dengler, Daniel Doris, Molly Lake, Sarah McMahon, Danielle Radomile, Aimee Lee Russell, Michael Valentine, Austin Wild Assistants to Costume Designer...... Megan Rose, Kristin Miller, Lexa Vanech, Wardrobe Managers...... Kellie Joyce, Mary Rose Makoski, Anastasia Schweiger, Denisa Wartinbee Costume Technicians...... Sage Baisden, Casey Berner, Sydney Blasi, Elizabeth Campbell, Casey Berner, Anira Jones, Brenden Kortenhaus, Kasey Lynch, Allyce Morrissey Set Construction...... Mark Bowers, Dan Cullen, John Griffon, Elizabeth Meisenzahl, Mark Wheeler Properties Construction & Scenic Artists...... Javier Chica, Luke Hensley, Alexandra Laird, Courtney Lees, Mary Pat Norton, Lexi Schreiber, Lexa Vanech

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