February 4 - 28, 2021

The Shakespeare Company's Digital Performance Series

All's Well That

EndsMarch 4 -28,Well 2021 The Atlanta Intown Theatre Partnership was ASC BOARD OF created to do together what each theatre cannot do independently: expand financial resources DIRECTORS to create a sustainable theatre community and a Chair more vibrant city. Our goal is to work together to Cheryl Davis leverage our collective strength, share resources, expand audiences and talent, and increase the President number of donors and volunteers. Jeff Watkins,ASC

Secretary C. Matthew Palmer, Bank of America Members Ellen Beard

Sharon Cole

Ed Buckley Partner, Buckley Beal, LLP THANK YOU TO AITP’S SUPPORTERS

Ann and Jeff Cramer Howell Hollis Sallie Daniel Smith Moore Leatherwood, LLP Virginia Hepner and Malcolm Barnes Rick Hernandez Priscilla and Linton Hopkins Warner Media Tom Key Kurt Kuehn Denise Lawrence CFO (Retired), UPS Charles Loridans Foundation, Inc. David Paule and Gary Mann Thomas W. Thrash, Jr. Linda and Gary McNay District Judge Penelope & Raymond McPhee Eddie Northern Susan and David Peterson Milton J. Sams Sr. Vice President, CFO, and Richard “Doc” and Helen Treasurer Schneider Rollins, Inc. Stephanie Watkins Ramona and Ben White Mark and Ruthelen Williamson

Special thanks to Phillip & Ilene Candreva for their support for our Pictured on cover: Charles Thomas, Sean Kelley, Patty de la Garza and Kati Grace Brown. Education Department Photos by Daniel Parvis Directed by O'Neil Delapenha Film Production Company Up The Hills Lighting Designer Mary Ruth Ralston Fight Choreographer Sean Kelley Intimacy Choreographer Kati Grace Brown Original Costumes Anné Carole Butler Costume Coordinators Kati Grace Brown and Laura Cole Original Music by Mary Ruth Ralston and Patty de la Garza Djembe underscoring performed by Patrick Croce OTHELLO

Performances February 4 - 28, 2021

Two hour production

Othello Charlie Thomas Iago Sean Kelley Desdemona Patty de la Garza Emilia, Messenger Mary Ruth Ralston Roderigo Nick Faircloth Cassio J. L. Reed Brabantio, Montano Chris Hecke Duke of Venice, Lodovico Destiny Freeman Senator, Bianca Kati Grace Brown Othello Director's Notes

Othello has always been one of my favorite titles in The Bard’s canon. A play powered by tremendously complex characters, primal motives, and some of the most savage gaslighting seen in all of literature. All of these are just as prevalent and visceral in the world today--the world we like to think of as so much more enlightened and educated than in Shakespeare’s time.

What is different from Shakespeare’s era is that we as a society have learned from the mistakes of the past. I talk specifically of race and diversity on stage, or rather the lack thereof. I wanted a cast that was just as layered and multifaceted as the story we needed to tell. A production in which Othello was the only person of color is not something I wanted to present, nor thought it necessary. If you disagree, I respect your difference of opinion and recommend you seek out a more “homogeneous” production elsewhere.

Going into this project, I knew I would have to think as both a film director and a stage director because this show would blend both worlds. I was very inspired by the storytelling in my favorite musical, Hamilton. The story is about Alexander Hamilton, but much of it is told from the perspective of Aaron Burr, who serves as narrator. I wanted to highlight the direct similarity in Othello, which I feel is about Othello as told from the perspective of Iago. To help achieve this, we leaned hard into the Original Practice that the Atlanta Shakespeare Company is known for, but the camera lens had to serve as the eyes of our audience. Iago takes them on an inside journey through his world of deceit and lies, forcing our viewers to be his silent accomplices. My hope is that our watchers are treated to the most intimate viewing of our shows that they have ever felt.

Due to the Covid-19 Pandemic, I viewed the very thought of creating this project as an “Impossible Task”; a term often used by my friend and mentor Michael Toomey, a company member with Shakespeare & Company. We filmed Othello, in rep with All’s Well That Ends Well, using the same cast and crew for both shows, all in about the span of two weeks. With such limited time, I wasn’t sure if we could pull it off. But, with each individual putting in countless hours, coming together as a team, and believing in ourselves, I’m proud to say that we did indeed pull off the impossible task. I hope you all enjoy!

O'Neil Delapenha (Director) I am proud and altogether humbled to be the first black artist to direct a Main Stage production in The Atlanta Shakespeare Company’s history. I have been a lover of Shakespeare’s works for the majority of my life, in fact my very first play was a production of in the 5th grade. I played Polonius and spray painted my hair white to make myself look old. From those humble beginnings, I studied and performed Shakespeare in high school and college, until finding my current professional home in Atlanta and at The Tavern. My time in the hallowed walls of The Tavern has granted me numerous acting, teaching, learning, and even directing opportunities. I have co-directed two "Shakespeare Intensive for Teens” productions ( & ), along with several camp and residency performances. Outside of The Tavern, I have worked with Flagstaff Shakespeare Festival, based in Arizona and Shakespeare & Company based in Massachusetts. I also have to show love to Shakespeare on Draught, a company run by me and my talented friends. Here I have directed/assistant directed numerous shows, including Titus Andronicus and . I would like to thank Jeff Watkins and Kati Grace Brown for giving me this opportunity and my talented cast for sharing their gifts with me. Directed by Chris Hecke Film Production Company Up The Hills Lighting Designer Sean Kelley Fight Choreographer Mary Ruth Ralston Original Costumes created by Anné Carole Butler Costume Coordination by Kati Grace Brown and Laura Cole Music by Atlanta Shakespeare Company Resident Composer Bo Gaiason

Performances March 4 - 28, 2021 90 minute production All's Well that Ends Well

Helena Kati Grace Brown Bertram Sean Kelley King of France Nick Faircloth Countess, Mariana Charlie Thomas Parolles O'Neil Delapenha LeFeau Destiny Freeman Lord, Clown, Widow J. L. Reed Duke of Florence, Gentleman Dumain Mary Ruth Ralston Diana, Gentleman Dumain Patty de la Garza

ASC is proud to be a member of The Shakespeare Theatre Association (STA). For more information visit www.stahome.org. STA was established to provide a forum for the artistic, managerial, educational leadership for theatres primarily involved with the production of the works of William Shakespeare; to discuss issues and methods of work, resources, and information; and to act as an advocate for Shakespearean productions and training. All's Well that Ends Well Director's Notes

What if we stop trying to be right, and instead try to get it right? I’ve asked myself this question many times this year.

I have to admit, All’s Well that Ends Well is not the kind of Shakespeare play that rolls around in my mind. When I was approached to direct it, I had to ask: Why now? Why this play? Doesn’t it seem odd that we wouldn’t try to do one of the plays that we know by rote? Why not Midsummer again, or , or Comedy of Errors? So, I read the play. Then read it again, then read it with actors. While I couldn’t initially answer my own questions, something started to clarify for me: this felt new!

There was no way we were going to deprive ourselves of daring to do something new, particularly a play with a reputation as a “problem play” (though I prefer the term dark comedy, now). It was stepping into the rehearsal room on the first day, with nine other actors (distanced, masked and all having tested negative) that we found answers. The magic and comedy of this play live in the insight Shakespeare gives us of characters living in the extremes. While our heroine takes her fate into her own hands after the death of her father, a Widow takes in travelers & pilgrims, in war-torn Florence. While the King of France is at death’s doorstep, a coward is willing to sell his own comrades to the enemy so long as he has his life. 2020, for so many of us, has been a year lived in the extremes.

That became our approach. What happens if we play near the extremes (of grief, joy, silliness, clowning)? What does it look like to challenge what we think, the way Helena challenges the King “What I can do, can do no hurt to try” (Act 1.2.)? In pursuit of this, we first chose to de-gender the characters. Not as a form of challenging gender identity in society, but as a way for us to approach the Spirit and Heart of the characters without our implicit biases.

I trust that The Spirit and Heart of this play, The Spirit and Heart of our ensemble, and the Spirit and Heart of the Bard bring you some joy and permission to live through the extremes.

Chris Hecke (Director) I hold an MFA in Acting from the University of Arkansas, another Masters degree and a Bachelor of Arts from North Greenville University. As an immigrant from Brazil, I am proud to make my directing debut in these uncertain and odd times. My experience began with first witnessing plays at the Teatro Municipal de São Paulo, all the way through to working with Augusto Boal’s Theatre of the Oppressed in college, to Master courses in Suzuki, Meisner, Chekhov (Michael), & Viewpoints, amongst others at the U of A. When it comes to Shakespeare specifically, my love affair dates back to 2008 and the Upstate Shakespeare Festival, held every year in Greenville, SC (the festival began in 1994). I have been fortunate enough to have worked on (mostly acted in) 22 plays of Shakespeare’s cannon, so far. Most recently, I played Edmund, the bastard, in at the Atlanta Shakespeare Company, Bernie in My Father’s War, (at award winning Theatre Squared), and many zoom plays & readings with Horizon Theatre, Soul-stice Theatre and others. Cheers to the Friends in the Big City - this was by you, and for you - I am eternally grateful. the Company: Biographies Kati Grace Brown (Othello: Senator, Bianca / AWEW: Helena) I have been acting with the Atlanta Shakespeare Company since 2007. Favorite roles include Titus Andronicus (with Shakespeare on Draught), Helena (Midsummer), Beatrice (Much Ado) Emilia (Othello) and Miranda (Tempest). I am a proud alumna of the 2007-8 ASC apprentice company. Thank you to Jeff. Love to the entire Shakespeare quaranteam.

Patty de la Garza (Othello: Desdemona / AWEW: Diana, Gentleman Dumain) I am thrilled and humbled to be back on a stage after this whirlwind of a year and even more excited that it’s at the Tavern with an amazing group of people! Previous credits include: , Anne of the Thousand Days, Romeo and Juliet. Other Atlanta credits include Tuck Everlasting, Aesop Fables, and Schoolhouse Rock Live! All of my love to my family. Instagram: @pattyndelagarza

O’Neil Delapenha (AWEW: Parolles) I am humbled to be able to play the part of Parolles under such extraordinary circumstances. Making art has never been more important and cathartic for me and I’m happy to do it safely with some of my very talented friends. Art imitates life, but more often, art brings meaning to life. Previous digital credits include Romeo and Juliet with The ASC,The Ghosts of Little Five Points with Horizon Theatre, and Interface with Interface Theater. Follow me on IG @oneild14

Nick Faircloth (Othello: Roderigo / AWEW: King of France) I’ve been with The Atlanta Shakespeare Company for many, many, many, many years. Really excited for everyone to see us in a different way. Thanks to Kati Grace, O’Neil, and Chris. Enjoy!

Destiny Freeman(Othello: Duke of Venice, Lodovico / AWEW: LaFeau)I am a University of Memphis graduate, currently working as an Atlanta actor. Atlanta theatre credits include True Color’s School Girls (Ama), Journey’s End, MacB60 and R&J60 with the Atlanta Shakespeare Company Education Touring Co., Ragtime, Titanic, and Shenandoah at Serenbe. I am excited to return to the Tavern and encourage everyone to stay hopeful and creative!

Chris Hecke (Othello: Brabantio, Montano) I hold an M.F.A. in Acting from U. of Arkansas and B.A. in Theatre from N.G.U. Favorite Atlanta credits: Henry IV pt.1, Love’s Labour’s Lost, King Lear (Atlanta Shakespeare Company), Native Gardens, (Aurora Theatre),Completeness & Love, M. (Horizon Theatre). Regional credits:Shakespeare in Love, My Father's War (TheatreSquared),SADA (Warehouse Theatre). @chrishecke

Sean Kelley (Othello: Iago / AWEW: Bertram) I am thoroughly grateful to be involved in this project. I have appeared in several Tavern productions since completing the Apprenticeship; some highlights include- playing Philip in , designing lights for Brontë, and designing sound for Three Musketeers (ask about the horse). Thanks to all my loved ones. BLM. Everyone musttakeaCOVIDtest&receivenegativeresults intheweekpriortorehearsals Everyone woremasksuntilDressRehearsalwhenactorsremoved masks(crewkepton Actors wereaskedtobringapersonal toothbrushandtoothpastetoeachrehearsalday of the building whilethe repertory ensemble wasworking inorderto preventoutside exposure. Actors woreglovesthroughout therehearsalprocessandwereabletorequestthatgloves be Everyone mustlimitexposureasmuchpossiblewhenoutside ofthetheatrebuildingand Temperatures weretakenuponenteringthebuildingeach day andmustfallbetween96-99 ASC staff memberswho werenotworking onthese productionswere notpermitted tobein Each actor'sdressingroomstation wasequippedwithapersonalhandsanitizer,reusable

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Artistic Director Director of Education House Manager/ Jeffrey Watkins & Training Volunteer Coordinator Laura Cole Rich Snow Associate Producer Associate Director of Vickie Marlin Kati Grace Brown Training Rob Schofer Development Director Andrew Houchins Wig Designer Rivka Levin Fiona K. Leonard Associate Director of Marketing Manager Costume Design & Jeanette Meierhofer Education Sales Kati Grace Brown Construction Box Office Manager Anné Carole Butler Becky Cormier Finch Elementary & Homeschool Programs Coordinator Costume Shop Manager Company Manager/ Adam King Clint Horne Technical Director Costume Assistants Joseph Rossidivito Educational Performances Coordinator Catherine Thomas Associate Technical Tony Brown Angela Tebbe Burke Director Amanda Lindsey McDonald Greg Hanthorn, Jr. Social Media Specialist Julia Barton Amanda Lindsey McDonald Production Associates Chef For A Night Nick Faircloth Catering Matt Nitchie (IT Nancy Myers Rinehart Specialist) Bar Manager Garrett Gentry Playbill Ad Sales Associate Sarah Newby Halicks

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The Atlanta Shakespeare Company is a registered 501 (C) 3 non-profit organization. The Shakespeare Tavern is an Original Practice Playhouse® The Atlanta Shakespeare Company is a member of The Actors’ Equity Association, The British American Business Group, The Atlanta Coalition of Performing Arts, The Atlanta Convention and Visitor’s Bureau, The Center for Nonprofits, The Metro Atlanta Chamber of Commerce, The Shakespeare Theater Association of America, and The Theater Communications Group (National Organization for the American Theater). The Atlanta Shakespeare Company (ASC) at The Shakespeare Tavern Playhouse is supported in part by the Fulton County Commission under the guidance of the Fulton County Arts Council. Major support also is provided by the City of Atlanta Mayor’s Office of Cultural Affairs. Support is provided in part by Georgia Council for the Arts through the appropriations of the Georgia General Assembly - in partnership with the National Endowment for the Arts. But, PRIMARILY, ASC is funded through the generous support provided by people just like you through the Shakespeare Club, the Royals and the Exceptions.