The Pennsylvania Shakespeare Festival Newsletter • Spring 2017

: THE DIRECTOR’S TAKE Awards including Best Score, Best Book, the story was presented by Prince and his Best Lyricist, Best Director, Best Leading team. It made a very big impression on me Actress in a Musical, and Best Featured and I admit to being greatly influenced by it Actor in a Musical. in my own directing style.

By Dennis Razze Growing up in an era of Rodgers and The summer after I saw , I found Hammerstein book musicals, I had never myself directing a mammoth production first saw the original production of seen anything like Evita—a sung through of Jesus Christ Superstar, staged outdoors in Evita in San Francisco at the Orpheum musical/opera staged in Brechtian style by Zilker Park in Austin, Texas. Much of what I Theatre in 1979 during its pre-Broad- Prince and a young choreographer named I learned experiencing Evita I adapted for way tryout period before its New York Larry Fuller. Bertolt Brecht was a German this production—the huge scale, the indus- premiere. The cast included a fiery young playwright and director I had studied in trial setting, the presentational style of sto- actress named Patti Lupone as Eva and an graduate school who, along with a collec- rytelling, and putting on trial our notions of equally young Mandy Patinkin as a bit- tion of terrific plays, had created the very who we thought Jesus to be. It was a heady ter and passionate Che, along with Bob dark musical The Threepenny Opera, scored experience for me as a very young director. Gunton playing a politically pragmatic by the genius composer Kurt Weill. Like It was the first time I had responsibility General Juan Perón. I knew nothing about The Threepenny Opera, Evita used a stage over a large budget, a cast of nearly 50, and the musical I was going to see, nor did I environment that was industrial and stark, an orchestra of more than 30 players. The frankly know anything about the Peróns. exposed the theatrical lighting, used non- production had a run of 7 performances The musical, already a hit in London, was realistic scenery, and employed a confron- and was witnessed by 7,000 cheering people to be transferred to Broadway that fall. I tational style of presentation that made the each night. had always admired the work of Hal Prince, audience the judge of the moral and politi- the director, and was a fan of Andrew cal choices of the characters. I’ve been on the team at PSF since its Lloyd Webber’s earlier rock opera, Jesus founding in 1991, and have served on the Christ Superstar. Although at the time I did not fully DeSales faculty even longer. I encountered appreciate the Argentine cultural history and Evita again in 1985 in my second year as The Broadway production of Evita the politics portrayed in Evita—I was born a a young professor at Allentown College. swept the 1980 Tony Awards and became the year after Eva Perón’s death—I was mesmer- first British musical to win the Tony Award ized by Lloyd Webber’s score and the way continues on page 3 for Best Musical. It won a total of eight Tony

Dee Roscioli Paulo Szot Dan Domenech 40 Eva Perón Juan Perón Che The number of actors Elphaba in on World-renowned Drew in Rock of Ages in the cast of Evita and Broadway and Nat’l baritone; Tony Award- on Broadway; recurring tours; Fruma-Sarah in winner for Best Lead guest appearance on the largest ensemble on Actor in South Pacific the TV series Glee in the Festival’s history. Broadway on Broadway Notes from the Producing Artistic Director Thank You to Our Sponsors Season Sponsors We work hard to put together extraordinary David B. Rothrock & Patrina L. Rothrock teams of artists for each produc- tion in our season. Decisions are driv- Associate Season Sponsors en by our vision to create world-class Linda Lapos The Szarko Family theatre by match- Patrick Mulcahy & Paul Wirth ing terrific artists to these wonderful plays. The process is rigorous. After secur- ing 60 or more directors, designers, and Sponsors artisans who will create these entrancing worlds, we then turn our attention to casting the 100+ roles featured across the seven plays. We work to connect some of the marvelous actors who have worked with Amaranth Steve & us in the past with the next role that will Foundation Jane Auvil unlock yet another layer in their artistry, talent, and skill. We revisit lists of highly skilled actors we auditioned in the past but for Lee & Dolly Butz whom we didn’t have the right role… yet. We conduct auditions in three cities, seeing hundreds of actors in the process. We engage a Broadway casting director to help us find new talent in New York, from across the country, and across the globe—artists at the top of their game and at the top of our profession. Susan Henry Martin Brenda & John Kathleen Kund Nolan The time and attention we give to & James T. Martin, Jr McGlade & Timothy E. Nolan casting might be greater than average, but then so are the results. What a team, what a company of artists we have for you this year! Dr. James & Drs. Paul & Be sure to read their bios in the pro- Penny Pantano June Schlueter gram when you attend. A few of them are featured herein and more will follow in our next edition of The Quill. And when you join us this summer… Festival Host enjoy!

Pennsylvania Shakespeare Festival’s PSF receives state arts funding support productions of As You Like It and Troilus and through a grant from the Pennsylvania Cressida are part of Shakespeare in American Council on the Arts, a state agency funded Communities, a program of the National by the Commonwealth of Pennsylvania Endowment for the Arts in partnership with and the National Endowment for the Arts, Arts Midwest. a federal agency.

he Quill, Spring 2017 610.282.will Evita, continued music, which had its origins in 19th century Buenos I chose Evita as the first musical I would Aires. direct in the three-year-old Labuda Center. The theatre department had never really The musical director done a truly large-scale musical—certainly for Evita will once again David B. Rothrock & Patrina L. Rothrock nothing of the scope of Evita. I recall that Fr. be the talented Nate Diehl, Gerard Schubert, OSFS, didn’t like the idea, who conducted West Side and he would not approve it—until a letter Story and a number of other came from the academic dean Fr. Alexander musicals for PSF. I will have the pleasure of collaborat- Phoenix Best Jason Forbach Pocetto, OSFS, who had seen the show in Perón’s Mistress Agustin Magaldi ing with the Les Miz design New York and thought it was a great idea for Broadway: The Color Enjolras, Broadway Act 1 to tackle this operatic musical. team of Steve TenEyck on scenery, Lisa Zinni Purple; PSF: Les Miz, Revival and 25th Anniversary National Tour,

I enlisted the great Alan Birney to con- on costume design, and Oklahoma!, Henry V, Cinderella Les Misérables duct the orchestra, and Christopher Patrick Eric Haugen on lighting. Mullen played a fiery Che. The production My longtime collaborator

was a huge hit, selling out every night, and Stephen Casey will choreo- sustained popularity and almost mythic kickstarted the musical theatre program at graph the exciting Argentine dances for this reputation are also undeniable. Although the college, which eventually helped set the wonderful cast of extraordinarily talented the musical is told through the critical lens stage for musicals at PSF. actor/singer/dancers. of Che’s experience, it leaves final judgment‘‘ The University produced Evita once The story of the Peróns’ rise to power, up to the audience as to a final determina- again in 1999. Faculty designer Will Neuert with its marriage of politics and show busi- tion of Eva’s motives and choices. designed a magnificent raked set. The tal- ness, may remind us of the current political I hope to see you here at PSF this ented Vinny Trovato conducted an assured and social atmosphere. The duality of their summer for ’s Tony orchestra and there were a host of terrific motives is apparent and the morality of Award-winning musical, Evita! n singers in the show, including a young Dee their methods may be questioned, but their Roscioli, then a DSU theatre major, who understudied the role of Eva. The story of the Peróns’ rise to power, with its When Patrick Mulcahy marriage of politics and show business, may offered me the opportunity to remind us of the current political and social revisit Evita in 2017 for the Pennsylvania Shakespeare atmosphere. Festival, I did not hesitate. The chance to direct the show with a ‘‘ cast of terrific professional actors, singers, and dancers, using our ter- rific new sound system, was a thrill- ing proposition. Dee Roscioli, who understudied the role 18 years ago and has since appeared on Broadway as Elphaba in the hit musical Wicked, will play Eva, and international opera star Paulo Szot, who won the Tony Award for Best Actor in a Musical for playing Emile DeBecque Lyrics by Tim Rice in the Lincoln Center revival of South Pacific, will play Music by Andrew Lloyd Webber Juan Perón. Dan Domenech, who made his Broadway debut as Drew in Rock of Ages and has also appeared on the television show Glee, has been cast to play Che. Another DeSales alumna, Phoenix Best, making her Broadway debut in The Color Purple last year, will play Perón’s mistress. Finally, Jason Forbach who recently starred as Enjolras in the Broadway revival of Les Misérables plays Eva’s first love, Agustin Magaldi. MAIN STAGE A marked difference in this production is that it JUNE 14 - JULY 2 will use the revised orchestrations used in the 2012 revival of Evita on Broadway. These new arrange- ments are heavily influenced by Argentine tango

www.pashakespeare.org The Quill, Spring 2017 Director Jim Helsinger unleashes the Hound this summer eteran actor, director, and artistic director of the Orlando Shakespeare Theater Jim Helsinger talks about the spoof, Vthe cast, and his return to PSF to direct The Hound of the Baskervilles. On a chilly February day in Pennsylvania, Jim was in repertory at Orlando Shakespeare, where he was directing and acting in two productions. During his brief rehearsal break, we caught up over a phone interview.

Q: British authors about this script. It’s much more the wit Steven Canny and that you would expect between Holmes and John Nicholson have Watson. They are framed within Sir Arthur adapted Sir Arthur Conan Doyle’s original mystery and, in this Conan Doyle’s Sherlock SCHUBERT THEATRE • JUNE 21 - JULY 16 adaptation, framed as comedic characters for Holmes novel to a spoof us. (And the original story is told in a hilari- for the stage. For more ous way that only 3 people portraying 16 than a century, Holmes has characters can do.) been one of the most adapted fictional characters. What do you like best about this comic adaptation as it Q. This production includes a lot of relates to the characters of Holmes physical comedy. Is it choreographed? Or and Dr. Watson? does the majority of this develop organi- cally during the rehearsal process? I’ve read a number of adapta- tions of this book into a play, and It’s a little bit of both. The bits are writ- this is by far my favorite. It’s very ten into the script and sometimes in a way similar to PSF’s 2013 production that is not always easy to understand. So of The 39 Steps. We are taking a the bits are the skeleton—the things writ- famous piece of literature, keep- ten into the show to be done—and then it ing to the original story, and then is up to the director and the actors to add spoofing it at the to it, embellish, and make it unique for the same time. And PSF audience. We want the audience to that’s what’s feel it’s all improv. But in fact a good comic really fun makes you believe it is all happening for the first time. With that said, as a director,

Jim Helsinger Director Jim Helsinger is well known to PSF audiences as a director and actor. PSF directing credits include The Foreigner (2015), Lend Me a Tenor (2014), The Importance of Being Earnest (2013; as director and Lady Bracknell), The Tempest (2012), The Merry Wives of Windsor (2010; as director and actor), A Midsummer Night’s Dream (2009), The Mystery of Irma Vep (2007), Sleuth (2006), and The Imaginary Invalid (2005). PSF acting credits include: Love’s Labour’s Lost (Don Armado), Twelfth Night (Malvolio), The School for Wives (Arnolphe), and Much Ado About Nothing (Dogberry).

610.282.will Director Jim Helsinger unleashes the Hound this summer I give the actors permission to find at least one moment in the play where they can do something different every time, with every performance.

Q. Knowing the PSF audience, does this influence the way you direct and present the play? Yes, in a very positive way. The PSF audi- PSF collaboration was The ence is one of the most embracing for wit Foreigner and currently down and humor. They love physical comedy, but here at Orlando Shakespeare in they also love to listen and find the humor in The Great Gatsby and in Love’s the words, and we will be working on all of Labour’s Lost (where we are 1 DIRECTOR the above with The Hound of the Baskervilles. actually sharing the stage as 3 ACTORS competing clowns in that pro- duction). This is a dream team 16 CHARACTERS Q. With a cast this small, how do you for me; three of my favorite actors choose actors and know that they will on the stage at the same time. Let mesh well? So, there really is no transition from place the comedy begin! to place. They just say, “Let’s go here….” One of the blessings of PSF is the bench and “well, now that we’re here.”; and they’re is deep with great actors we know very well. Q. With few props, few costumes, and already there. I’ve known Greg Wood for more than 20 a set that must move quickly from many years, and he’s a great collaborator. He’ll be locations and landscapes, what are the Q. What is one wish you have for this

playing the main role of Sherlock Holmes unique challenges you face when meeting production and for your summer at PSF? and a number of other roles, too. He’s no with the set designer? stranger to playing multiple roles at PSF, I would like for this to be the highest There are a lot of challenges with mak-

he starred in Around the World in 80 Days selling show in the history of the Schubert ing changes so quickly, but once you succeed in 2005. Carl Wallnau will play the role Theatre. That means that audiences are hav- that’s where a lot of the humor comes from. of Dr. Watson. Carl is an amazing actor. ing a great time. My other big wish is to run One of the running gags in The Hound of From Sleuth to Midsummer to The Imaginary a half marathon on the Rail Trail—without the Baskervilles is when they are outside of ‘‘ Invalid, all at PSF, he has made every daring stopping. n choice I’ve ever asked for. Jacob Dresch, as the estate, and they say, “Let’s go inside.” In Sir Henry Baskerville (and others), is a DSU an instant the lights change, a fireplace rolls By Tina Slak and Victoria Marchesani. theatre graduate and PSF alum. I’ve worked in, a chandeliers drops, and “Bam” they’re with Jacob numerous times. Our most recent back at the estate. And that’s pretty funny!

This is a dream team for me; three of my favorite actors ‘‘on the stage at the same time. Let the comedy begin!

Greg Wood Carl N. Wallnau Jacob Dresch Sherlock Holmes Dr. Watson Sir Henry Baskerville

www.pashakespeare.org ALEXANDRE DUMAS AND HIS FATHER GENERAL DUMAS: Lives as Full of Adventure, Drama, and Romanticism as his Novel The Three Musketeers By Heather Helinsky, dramaturg with the sword, but with rhyming verse, ing; it’s the other qualities of brotherhood, vaudevilles, and melodramas. honor, and engaging theatrical swordfights lexandre Dumas, author of The that makes the work a classic. Three Muskeeters, was a self- At the time, the leading figure at the Aeducated man who found his life’s Comédie-Française was a tragedian named The Three Musketeers was written as calling at age 18 when he went to the Talma. Just as Captain Treville of the an episodic serial published chapter by theatre for the first time. Knowing noth- musketeers welcomed D’Artagnan because chapter, much like Charles Dickens’ Great ing of Shakespeare, Dumas went with his of a warm memory of D’Artagnan’s father Expectations. Every film or stage adapta- friends to the nearby town of Soissons in the novel, Talma also had fond memo- tion of The Three Musketeers has to make to see an adapted translation of Hamlet ries of Alexandre Dumas’ father, General some changes to the episodic plot to fit into into French. “Imagine a blind man whose Dumas. Talma gave the young man free the short span of a play. As the novel won sight is restored! Imagine Adam opening tickets. Once when Dumas snuck back- immediate success and readers wanted to his eyes on creation!” Dumas then quickly stage to visit Talma and ask for his bless- consume more spin-offs, it was immediately organized his own amateur theatre group, ing, the grand tragedian declared: “So be adapted into a play by Dumas himself. performing, directing, choosing plays…and it! I baptize you a poet, in the name of then venturing into playwriting. Shakespeare, Corneille, and Schiller!” Dumas first changed the narra- tive when he wrote the first play with Dumas, who grew up without a male Transformed and transfixed by the his musketeer characters, La Jeunesse des role model because his father had died theatre, Dumas’ stories take dramatic Mousquetaires (The Young Musketeers), when Dumas was four-years-old, found twists and turns. It’s not the plot that which opened on February 17th, 1849. His his calling in Shakespeare’s plays and made made The Three Musketeers so endur- first stab at adapting his novel into a play his entry into Parisian society with a only included the first third of the novel, goal of entering which tells of the adventure of recover- the Comédie- ing the Queen’s twelve diamonds so she Française. Like can wear them at a ball and stop her hus- the young band from suspecting that they had been D’Artagnan given to her suitor, the English Duke of who dreams of Buckingham. becoming a musketeer, The Three Musketeers is an action- Dumas driven, swash-buckling story, with the four made his friends always being chased by Cardinal mark not Richelieu’s guards, taking pleasure in outwitting them at every turn. Yet, what was Alexandre Dumas’ intent in telling this story? The greatest tragedy in an MAIN STAGE Alexandre Dumas story is to be forgot- JULY 12 - AUGUST 6 ten by society. In contrast, his heroes have great memories. D’Artagnan, the young man from Gascony, is an outsider who arrives in Paris aspiring to be a musketeer. While he does have a gift with the sword, his true talent is his memory. As the novel unfolds, D’Artagnan is lost trying to figure out all the ways of Parisian society, politics, and intrigues— however, he’s a quick study and has a sharp eye for detail, like a good detec- tive. D’Artagnan has a knack for turning chance encounters into allies, or happening upon enemies he’d do well to avoid later. As he stumbles into an intrigue involving the English Duke of Buckingham’s desire to woo Queen Anne, he is able to remem- ber and recall the faces of anyone he’s ever

he Quill, Spring 2017 610.282.will ALEXANDRE DUMAS AND HIS FATHER GENERAL DUMAS: Lives as Full of Adventure, Drama, and Romanticism as his Novel The Three Musketeers run into on the road. D’Artagnan’s talent to be a man of color with a title living in hadn’t caught up to European society’s for recall helps him work his way up in France, the Chevalier de Saint-Georges, attitudes towards race. society, as he works towards his goal of who later—during the French Revolution becoming one of the King’s Musketeers. in 1789—formed a mounted cavalry called French military records paint a pic- the Légion Noire and recruited his protégé ture of General Dumas as a bold hero. Dumas as his second in command. He first captured the army’s attention umas became known for his as a lowly corporal when he captured 12 “historical” novels, although his As Thomas-Alexandre turned 19, enemy soldiers and marched them back to Dhistories were less history and the same age as D’Artagnan in The Three camp by himself. As a leader, unlike other more history as imagined by Dumas. He Musketeers, he was accepted by Parisian generals, he did not give orders to his took great liberties with the time period society for his handsome good looks, his men and then hang back to watch them to service his own stories. Yet for many of talent for dancing, and his reputation as put their lives on the line; Dumas was the Dumas’ adventure narratives, he had to a swordsman, but he was also thrust for- first to charge out into battle, protecting look no further than his father, General ward into complicated politics. What did his men from the first attack. Thomas-Alexandre Dumas’ own stories it mean for the French, who were in love as a young social climber in Paris. with the ideals of the Enlightenment and Later, Napoleon used General Dumas’ intimidating physical strength Dumas’ father was a man of color the American Revolution, to also have black slaves? As more mixed race marriages to his advantage. When Napoleon cam- who worked his way up to become paigned in Egypt, he knew it made an General Dumas during the French impression on the enemy to see Dumas Revolution. The French Revolution Alexandre Dumas in his library; Maurice lead an army of white soldiers. Napoleon LeLoire (illustrator); Jules Huyot (engraver); offered a promise to men of color, like gave Dumas his own elite guard of two- himself, to enjoy the same privileges as Les Trois Mousquetaires, Paris: Calmann Levy, p. iii. dozen men and instructed him: “I want white Frenchmen. General Dumas even you to be the first general that they see, served Napoleon on his campaigns but the first leader they deal with.” According then was betrayed at the end. For that to the memoirs of Napoleon’s chief medi- reason, he did not achieve what he merit- cal officer Nicolas-René Desgenettes, ed and died in obscurity in 1806. Dumas wrote stories inspired by his father’s Among the Muslims, men from memory, and it’s why the bond between every class who were able to catch sight of General Bonaparte father and son are so strong in his works. were struck by how short and how General Dumas was the son of skinny he was…The one, among the French Count Antoine Davy de our generals, whose appear- ance struck them even more… la Pailleterie, who went to the French was General-in-Chief of the cav- sugar colony of Saint-Domingue (mod- alry, Dumas…when they saw him ern Haiti) to make his fortune in the ride his horse over the trenches, American colonies. By December 1775, going to ransom the prisoners, all Count Antoine made his return to France of them believed that he was the to claim his estate, followed shortly by leader of the Expedition. his son, listed on the ship’s manifest as It was during this campaign that “the slave Alexandre.” The 14-year-old Napoleon’s great betrayal of Dumas’ boy Thomas-Alexandre Dumas Davy occurred from France’s colonial enterprises, father occurred. The French officers de la Pailleterie, a child born in the new Thomas-Alexandre was coming of age as began to complain about the purpose of world, stepped off the boat into Le Havre a Count, a six-foot-tall handsome man of this whole war. They were exhausted, hot, on August 30, 1776, to return to the “old color with money that his father had put in starving, and ready to leave the Middle world” of European intrigue, ideas, tradi- his pocket, and was now running around East for home. Dumas rode out on his tions, and politics. Parisian society and falling in love. own to find nourishing food, but his good Count Antoine, who was already in Alexandre Dumas, the son and the deeds to care for his men were derided by his 60s, took what was left of the estate novelist, knew from his father’s story those calling him racial epithets. When and lavished all he could on his promis- what it meant to be young, in love, and he finally asked Napoleon for leave to ing son. Count Antoine wanted his son an outsider. Although eventually Dumas’ take the men back to France, Napoleon Thomas-Alexandre to have all the lat- father worked his way up the social ladder conceded but then muttered as Dumas est fashions, a lackey, the best education to make a name for himself, he encoun- was leaving: “Blind is he who does not money could buy—and an excellent fencing tered a major problem: the French values believe in my fortune.” teacher! His fencing master also happened of “Liberty, Equality, and Fraternity” still continues on page 10

www.pashakespeare.org The Quill, Spring 2017 Musketeers, continued wish to love. And as always, those characters cal Crazy for You, chose The Three Musketeers who live the promise of “all for one” will tri- because it was a great work of art with the These words proved true as Napoleon umph over the other characters who follow spirit of Robin Hood that could be “full of left his General-in-Chief behind as a pris- their own selfish desires and schemes. mayhem, sacrifice, and tears.” oner in the fortress of Taranto, which later became the inspiration for his son’s novel Yet setting The Three Musketeers in the The spirit of Dumas’ The Three The Count of Monte Cristo. When General 1620s, roughly 200 years before Dumas’ own Musketeers is embodied by that famous quote Dumas was finally freed—much due to his time, enabled him to make clear parallels. “All for one, and one for all.” Director Rick loving wife’s letters begging for her husband’s Cardinal Richelieu became an apt villain to Sordelet explores that in this adaptation by return back in France—he was physically look back to during the mid-1800s when playwright Ken Ludwig. weakened by several illnesses, including a European monarchies were challenged by paralysis. General Dumas died at home of a Revolutionary ideals. Richelieu was originally “Like Shakespeare’s Romeo & Juliet, we grave illness when his son was four. from a minor European family who grew to all think we know the story of The Three be the most powerful man in 17th-century Musketeers,” says Sordelet, who has directed Alexandre Dumas, the son, tried to right France. The mother of King Louis XIII this particular version once before at Seattle an injustice by writing stories where fathers appointed Richelieu as a Chaplain who was Repertory Theatre. “It’s a great opportunity showed kindness to their sons and sons fought then appointed to France’s Secretary of State to re-visit this great work of literature. How duels to honor their fathers. He invented for War and Foreign Affairs. Richelieu’s do we stage this tale the audience thinks it worlds where the true values of the French power, as he worked to centralize France knows, to re-imagine it, surprise them, and Revolution applied to everyone, honor was n and eliminate the Huguenots, made him the have a lot of fun along the way?” defended, and there were rich rewards for scheming villain. For someone who had so standing by your brother on the battlefield. Heather Helinsky is a freelance dramaturg much control over King Louis XIII, Dumas with an MFA from A.R.T./Moscow Art Theatre has some fun at his expense that a young Institute for Advanced Theatre Training at n Dumas’ world of The Three Musketeers, 19-year-old from Gascony could outwit the Harvard and is a 2001 alumna of DeSales our heroes are true examples of “Liberty, most dangerous intellect in France. University Theatre. Equality, and Fraternity”—the battle I Editor’s Note: For more on cry of his generation fighting in the 1848 n playwright Ken Ludwig’s adaptation of Dumas’ father, reference Revolution. Outsider D’Artagnan quickly The Three Musketeers, a new character is the Pulitzer Prize winning earns the respect of his friends Athos, invented who hopes for equality with the The Black Count: Glory, Porthos, and Aramis. They fight for lib- I Revolution, Betrayal, and musketeers. Ludwig’s adaptation was original- erty for their country and King Louis XIII the Real Count of Monte ly commissioned by England’s Bristol Old Vic against the oppressive regime of Cardinal Cristo by Tom Reiss. New Theatre as a comic British panto performed Richelieu and his spies. They fight for their York: Broadway Books, during the Christmas season. Ludwig, known 2012. personal freedom to love whomever they for his farce Lend Me a Tenor and the musi- INTRODUCING THE MUSKETEERS….

Sean Patrick Higgins Ian Merrill Peakes Zack Robidas Alex Sovronsky D’Artagnan Athos Porthos Aramis by Brian Sidney Bembridge. palace. Set design and rendering Outside the Cardinal’s

The Quill, Spring 2017 610.282.will Paul Kiernan John W. Keabler Dan Hodge Esau Pritchett Cardinal Richelieu Rochfort/Stanley King Louis XIII Treville

Mike Rossmy Stella Baker Marnie Schulenburg Buckingham Milady/Old Lady Queen Anne

Rick Sordelet Director World-renowned fight director. 66 Broadway credits, including Sunset Boulevard starring Glenn Close, Misery starring Bruce Willis, Disney’s The Lion King, Beauty and the Beast, Tarzan, and the national tours of Beauty and the Beast and Les Misérables. International Credits: Tarzan, Aida, Ben Hur Live in Rome and the European tour. Opera Credits: Cyrano de Bergerac starring Placido Domingo at the Metropolitan Opera, The Royal Opera House and the LaScala in Milan, Italy; Film: The Game Plan, Dan in Real Life, and Hamlet. TV: chief stunt coordinator for Guiding Light for 12 years. Awards: Edith Oliver Award for Sustained Excellence from the Lucille Nortel Foundation. Instructor at Yale School of Drama, board member of The Shakespeare Theatre of New Jersey, and the author of the play Buried Treasure.

MAIN STAGE JULY 20 - AUG 6

BY WILLIAM SHAKESPEARE

The cast of The Three Musketeers will also be featured in As You Like It, playing in repertory.

As love notes grow on trees and romance rules the land, wit and wrestling, poetry and music create a rare theatrical enchantment. www.pashakespeare.org The Quill, Spring 2017 PSF Hits Record-breaking Attendance at 9th Annual High School Shakespeare Competition SF’s 9th Annual High School Shakespeare Competition was held on Saturday, March 4, 2017, and with more than 100 Pparticipants from 14 counties across 4 states, it was an event for the record books. The competition is open to all high-school-aged students attending public, private, or homeschools, with most students reg- istering as part of a school team. Students prepare monologues and 2017 Shakespeare Competition Award Recipients. Photo by Marla Wolfinger. scenes from any of Shakespeare’s plays, which are adjudicated by professional artists from PSF’s summer mainstage productions. All SECOND PLACE: Hannah Krivulka as Viola from Twelfth Night, LV students receive constructive feedback on their work and have the Charter High School for the Arts opportunity to learn from the PSF artists in workshops and panel THIRD PLACE: Kellan McMichael as Benedick from Much Ado About discussions throughout the day. This year’s event was the largest in Nothing, Homeschool the competition’s history, with seven adjudicators on hand to work with 101 students. Scene Awards FIRST PLACE: Kristopher Sanchez & August Fegley as Benedick & Next year’s competition—our 10th annual—is scheduled for Beatrice from Much Ado About Nothing, LV Charter High School Saturday, March 3, 2018. Join us! for the Arts SECOND PLACE: Andrew Bozzelli IV, Daniel Wescoe & Liam McKee Team Awards as Macbeth, Witch 1, & Witch 2 from Macbeth, North Penn High FIRST PLACE: Lehigh Valley Charter High School for the Arts, School Bethlehem, Pa. THIRD PLACE: Saria Rosenhaj & Drew Jacobson as Isabella & SECOND PLACE: Abington Friends School, Jenkintown, Pa. Claudio from Measure for Measure, Abington Friends School THIRD PLACE: North Penn High School, Lansdale, Pa. Scholarship Recipients Monologue Awards Aiden McDonald, Krystal Hall, Patrick Moran, Hannah Krivulka, FIRST PLACE: Krystal Hall as Lady Percy from Henry IV, Part 1, LV Kyle Jacobs, Gabe Moses, Drew Jacobsen, Gabe Savage, Olivia Charter High School for the Arts Behr, Kristopher Sanchez, August Fegley

The Linny Fowler WillPower Tour On your reading list and on your stage! Romeo & Juliet

Experience the richness and complexity of Shakespeare’s characters and the power of his language.

Touring schools in PA, NJ, & DE October 4 - November 3, 2017 Kimberly Wong and Brandon Meeks. Photo by Lee A. Butz. Book the tour for your school today! · 610.282.9455, ext. 9 · pashakespeare.org/willpower

12The • Quill,Spring Spring 2017 2017 610.282.will Increasing Accessibility at Pennsylvania Shakespeare Festival By Jill Arington, Education Director formances typically include a reduction of Towards the end of the season, we startling sound or lighting effects, freedom will also offer American Sign Language- “ o enrich, inspire, engage, and to vocalize and leave seats during the perfor- interpretation and audio description for entertain the widest possible audi- mance as needed, and freedom to use person- the July 29 performance of . ence”: so begins the mission of the The Ice Princess T al electronic devices for communication or This will be the sixth year that PSF has Pennsylvania Shakespeare Festival. Though sensory reasons. Noise cancelling headphones hosted an ASL-interpreted performance of we work towards this goal in many different and a variety of stress sensory toys will be the children’s show, but audio description ways, we are especially excited by the steps available to borrow, and there will also be a is a relatively new offering at the Festival we’ll be taking this summer towards the quiet area in the lobby for patrons who need and 2017 marks the first time this service “widest possible audience” part of our mis- a break during the performance. PSF will will be available for the children’s show. sion by broadening the accessibility of our also provide pre-show preparation materials Audio description is a form of audio-visual children’s production. to help attendees plan their experience of vis- translation, using natural pauses to insert This season, our calendar for The Ice iting PSF and seeing The Ice Princess. narrative that translates the visual image Princess will include sign-interpreted and into an audible form. Patrons use headsets The single most important accommo- audio-described performances and, for the to hear the audio description, which is pro- dation, however, is the establishment of a first time ever at the Festival, a sensory- vided by a live describer. In addition to The “shush-free zone,” in which patrons are free friendly “relaxed” performance. Ice Princess, audio description will also be to experience the show in whatever way is available for Evita and The Three Musketeers A “relaxed” performance is a specially most comfortable, and all modes of expression this summer. adjusted sensory-friendly show designed to are not only accepted, but expected and cel- create a theatre experience for individuals ebrated. Everyone in attendance will be aware For pricing and more information of the relaxed nature of the performance, with with a wide range of sensory, learning, and contact [email protected] n communication differences—and, of course, the aim of creating their families and friends! Some patrons who an environment may benefit from a relaxed experience, in that is inclusive addition to those on the autism spectrum, and judgement- RELAXED include individuals with neurological and free. By combining PERFORMANCE communication differences such as ADHD, this understanding SATURDAY, JUNE 10 social anxiety, OCD, and agoraphobia, as with the accommodations 10:00 A.M. well as families with small children. described above, our hope The Linny Fowler WillPower Tour is that all patrons and their PSF’s first relaxed performance will be On your reading list and on your stage! families, especially those who held on Saturday, June 10, at the 10:00 a.m. have been reluctant to visit the performance of The Ice Princess. Adjustments theater, will feel welcomed and and accommodations made at relaxed per- included.

PSF’s relaxed performance is made possible through an Romeo Audience (R)Evolution grant from Theatre Communications Group (TCG), the national organization for the American the- atre, supported by the Doris Duke Charitable Foundation. PSF & Juliet is honored to receive this support and to work collectively with a cohort of six theatres in the Greater Philadelphia area to address accessibility and inclusivity needs in the tri-state region. Experience the richness and complexity of The Lehigh Valley Arts Council has been instrumental to Shakespeare’s characters and the power of his language. the establishment of all of Pennsylvania Shakespeare Festival’s accessible performances and has provided support though their Arts & Access program, which was initially designed as a year- Touring schools in PA, NJ, & DE long celebration of the 25th anniversary of the Americans with Disabilities Act. PSF’s relaxed performance of The Ice Princess is SCHUBERT THEATRE October 4 - November 3, 2017 supported by a Greater Inclusion Grant. JUNE 2 - AUG 5

AUDIO DESCRIBED performance of AUDIO DESCRIBED and SIGN- AUDIO DESCRIBED performance of The Book the tour for your school today! · 610.282.9455, ext. 9 · pashakespeare.org/willpower Evita—Wednesday, June 28 at 8:00 p.m. INTERPRETED performance of The Ice Three Musketeers—Saturday, July 29 at Princess—Saturday, July 29 at 10:00 a.m. 2:00 p.m.

www.pashakespeare.org The Quill, Spring 2017 AIR PRODUCTS TO RECEIVE 2017 WILL SHAKESPEARE AWARD Bestowed upon individuals and organi- zations whose contributions to the commu- nity create an indelible and beautiful impres- sion, PSF’s Will Shakespeare Award will be given to Air Products at PSF’s annual gala, Luminosity, on June 3. ety of levels throughout PSF’s 26-year his- tory, through significant financial contribu- Air Products is a world-leading industri- tions and event and season sponsorships, as al gases company in operation for more than well as through the volunteer efforts of their 75 years. With a well-demonstrated philan- employees. thropic commitment throughout the Lehigh Valley and beyond, Air Products partners “The Festival is most grateful for the with numerous nonprofit and civic organi- consistent and generous support of Air zations to add value to the community and Products. Air Products makes so much of Will Shakespeare make a difference in many areas including what we do possible, as they do for so many Award Past Honorees education, arts, STEM, safety, and workforce organizations in the Valley,” said Patrick Steve & Jane Auvil development. Mulcahy, PSF’s producing artistic director. Breslin Ridyard Fadero Architects “They deserve a round of applause from Lee A. Butz “We are honored to receive the Will us, our patrons, and members of the com- Shakespeare award because it is such a Marlene “Linny” Fowler munity.” n unique acknowledgement of our sincere and Priscilla Payne Hurd consistent commitment to the arts and to Editor’s Note: Tickets for Luminosity are available Linda Lapos & Paul Wirth the incredible impact of PSF,” said Laurie by calling 610-282-WILL [9455], ext. 6, or online Joan Miller Moran at www.pashakespeare.org. The annual gala fea- Hackett, manager of philanthropy and com- Kathleen Kund Nolan & Timothy E. Nolan tures entertainment by members of the Festival’s Rev. Bernard F. O’Connor, OSFS munity relations at Air Products. artistic company, including Broadway headliners and actors with significant film and television The Rider-Pool Foundation PSF has been the beneficiary of Air credits, who offer a prelude to the upcoming Gerard J. Schubert, OSFS Products generosity for more than a decade. season. Drs. Frank and Carol Szarko Air Products has provided support at a vari- Harry C. Trexler Trust

PSF STAFF PATRICK MULCAHY Producing Artistic Director luminosity DENNIS RAZZE Associate Artistic Director

CASEY WILLIAM GALLAGHER Managing Director

Director of Marketing & Public Relations TINA SLAK Education Director/Assistant General Manager JILL ARINGTON Director of Production JARED GOLDSTEIN Director of Development MELISSA KERR 2017 Business Manager KAREN SPANO Box Office Manager CATHERINE M. LOGAN Associate Box Office Manager NICOLE MOYER Development Associate MEGAN DIEHL Marketing Associate VICTORIA BLAIR Saturday, June 3, 2017 DeSales University Center The Quill is published up to three times a year by the Pennsylvania Shakespeare Festival, the professional company in residence at DeSales University. Artists subject to change. Honorary Chairs: Timothy and Lesley Fallon EDITOR Tina Slak 2017 Will Shakespeare Award Recipient: Air Products EDITORIAL ASSISTANT Antonia Spano DESIGN Laura Zielinski

CONTRIBUTORS: Heather Helinsky, Victoria Marchesani. For more info contact Melissa Kerr, Director of Development 610.282.WILL ext.6, [email protected] FR. GERARD J. SCHUBERT, OSFS (1929-2015) Founder Gala tickets available online at pashakespeare.org

The Quill, Spring 2017 610.282.will David B. Rothrock and Patrina L. Rothrock Lead in Sponsorship Role

By Melissa Kerr, Director of Development port of PSF’s vision for expansion. As president Pennsylvania Shakespeare Festival is and CEO of Rothrock pleased to partner with David B. and Patrina Motor Sales, David has L. Rothrock as season sponsors for the had a lifelong passion for Festival’s 26th season. automobiles that began “The Festival’s programming thrives with cleaning and detail- when caring people take meaningful action,” ing cars at the young age says Producing Artistic Director Patrick of ten. Throughout his Mulcahy. “In serving as our season sponsors, career he has increased David and Trina have demonstrated their his presence in the caring for this community and all the patrons industry, beginning as a that PSF serves—students, individuals, cou- service technician and ples, families, and seniors.” working his way through the company to become In addition to their sponsorship roles, the president and CEO David and Trina have supported the work of Rothrock Motor of the Festival through positions on the Sales, Inc. Festival’s board and annual gala planning committee. Last season, for PSF’s 25th anni- David also currently versary gala event, Luminosity, David and works as the execu- Patrina served as the honorary chairs. tive vice president of dealer development at For David and Trina, PSF’s educa- American Automotive David and Trina Rothrock at the 2016 PSF Luminosity Gala. Photo by tion and outreach programming is of special Imports, LLC, and is Ali Grusha Photography importance. Their support of PSF centers on a managing member at their desire to inspire the next generation of to enhancing the vibrancy of the com- Cedar Crest Professional Park VII, LP. He is munity. David serves as a board member theatregoers to experience live, professional a member of the New York, New Jersey, and theatre productions. PSF offers programming and officer for the Women’s 5K Classic for Pennsylvania Bar, as well as the American Breast Cancer Research and is a member of for people of all ages—in particular, young Bar Association. people and students—through two annual Masonic Lodge 152 in Easton, Pa. children’s shows, the educational WillPower David and Trina continue to serve as “We’re so grateful for David and Trina’s Tour each fall, and a robust intern and men- volunteer and philanthropic leaders of PSF, generous support and for their appreciation torship program for college-aged theatre and the Festival is proud to recognize the of the importance that the arts and live the- artists. For the Rothrocks, it’s not just about Rothrocks as this year’s season sponsors. atre hold for families in our community,” says engaging with students but entire families to The Rothrock’s commitment to the Mulcahy. “They are the true beneficiaries of expand the reach of PSF’s programming and Lehigh Valley extends well-beyond their sup- David and Trina’s philanthropy, advocacy, introduce new fans and friends to the Festival. port of PSF. They are both active members and leadership.” n David first joined PSF’s board in 2014, and supporters of many local organizations and has made an impact with his strong sup- which demonstrates their true commitment

www.pashakespeare.org The Quill, Spring 2017 NONPROFIT ORG. U.S. POSTAGE PAID LEHIGH VALLEY, PA The Professional Theatre at DeSales niversity Permit 68 2755 Station Avenue Center Valley, PA 18034

Facebook “f” Logo610.22.WILLCMYK / .ai Facebook “f” Logo CMYK / .ai PaShakespeare.org ProudProud partner partner with with

2017 Season Sponsors: David B. Rothrock & Patrina L. Rothrock 2017 Season Sponsors: David B. Rothrock & Patrina L. Rothrock THE NewTHREE York quality MUSKETEERS EVITAPennsylvania THE ICE PRINCESS One of AND World PRICESTROILUS class a kind PROFESSIONAL CRESSIDA INSPIRED BY YO AS YOU OF THE HOUND THE BASKERVILLESLIKE IT

of the The highlight summerSHAKESPEARE FOR KIDS

NONPROFIT ORG. RARELY PRODUCED AND NOT TO BE MISSED!U.S. POSTAGE PAID ONE NIGHT ONLY LEHIGH VALLEY, PA Mike Eldred,The The Professional Tenor Moments Theatre at DeSales niversity Permit 68 Jeff Steinberg, Pianist 2755 Station Avenue Center Valley, PA 18034 Monday, June 26, 7:30 p.m. WILLIAM SHAKESPEARE’S

Main Stage •Facebook “f”$38 Logo610.22.WILLCMYK / .ai Facebook “f” Logo CMYK / .ai PaShakespeare.org Proud partner with Mike Eldred, PSF’s return- ing concert artist and spectacular Jean Valjean in Les Misérables of 2015,2017 and Season pianist Sponsors: and music Daviddirec- B. Rothrock & Patrina L. Rothrock tor Jeff Steinberg (Count Basie and Maynard Ferguson Bands, Nashville SCHUBERT THEATRE and London Symphony Orchestras), present an exciting eve- JULY 26 - AUGUST 6 ning of some of the most beloved tenor songs from Broadway, the American Songbook and beyond. Prepare to soar through an evening of high notes, romance and goosebumps!

Dee Roscioli—In Concert Monday, July 31, 7:30 p.m. Main Stage • $38 Dee is excited to return to PSF “Extreme Shakespeare” following her run as Eva Perón in this season’s Evita. Dee is best No directors. No designers. known for her portrayal as the green-skinned heroine Elphaba in Just great actors, a compelling play, the New York production of Wicked. Come join her for a fun, pure adrenaline, spontaneity, and creativity. eclectic evening of Broadway, pop hits, and new original work.