The Pennsylvania Shakespeare Festival Newsletter • Summer 2008

Allison McLemore as Roxane oet P with

Greg Wood Panache as

By Catherine Pressimone Beckowski accomplished actors, Greg Wood. Last season Shakespeare Company came over with Derek marked Wood’s 19th and 20th roles for PSF Jacobi and Sinead Cusack in a double bill hen debuted as Petruchio in The Taming of the Shrew and with Much Ado about Nothing. I saw their on the Parisian stage in 1897, it Leontes in The Winter’s Tale. Other PSF roles production and it reconfirmed my decision to was a sensation. Like many popu- W range from the dashing Elyot in Private Lives be an actor. It hit on everything it was sup- lar Broadway shows today, the original pro- to the title role in Hamlet. posed to be—poetic, romantic, heroic, touch- duction at the Porte St. Martin Theatre was ing—and it has always stayed with me.” sold out months in advance and competing Earlier this year, Wood created the role plays struggled to attract audiences. Much of of Martin Luther in the new play Wittenberg Almost as famous as the title character the play’s success springs from its bold and at Philadelphia’s Arden Theatre Company; is Cyrano’s Roxane —a celebrated role for fluid mélange of story, conflict, and character. he and his wife also welcomed a baby daugh- women that has been portrayed by famous ter in March. Now, he is looking forward to actresses from Sarah Bernhardt to Jennifer And what a character! As one of the this summer’s challenge. Garner. This summer, PSF welcomes most beloved and daring roles in the theatre newcomer Allison McLemore to the com- canon, it is fitting that Cyrano should be “Cyrano is one of my favorite plays played by one of PSF’s most beloved and ever,” he says. “In the late eighties, the Royal continued on page 2 Cyrano, continued from page 1 tion. She is also responsible for constructing Notes from the Cyrano’s nose, a process that began with a pany. She recently played Eliza in Creede special “nose summit” in early May.) Producing Artistic Repertory Theatre’s production of Pygmalion and was also seen in Agatha Christie’s Black As if directing the entire production Director Coffee at Elizabeth Wallace Theater of the wasn’t quite challenging enough, Razze is The director of a Arts Center of Coastal Carolina. composing an original score. “Music is essen- local foundation, one tial in a play like this,” he says. “Because of of our funders, said McLemore readily identifies with the epic nature of the play, the music needs to to me recently, “The Roxane. “She is so smart and driven. She sees have epic proportions—large brass ensembles, Pennsylvania Shakespeare what she thinks is right and goes for it. She rich strings, and the percussive energy of bat- Festival signifies sum- is soulful and funny.” McLemore particularly tle. The music must also support the romance mer itself to us,” referring looks forward to exploring Roxane’s depth. and poetry of the play and not detract from to his family, who has “She grows a lot as the play progresses. I’m it. I’m inspired by the best film composers for excited to explore how her ideas about love been attending for years. Patrick Mulcahy this score—certainly John Williams among Another patron said, “The change and mature.” them. But the music must also have the flavor of the 17th century Baroque style of compos- Festival is the highlight of the year for our With the intimacy of the characters' ers like Jean Baptiste Lully and Charpentier, family.” That got me thinking about what inner lives so poetically illuminated, it may who both wrote scores for Moliére.” the Festival means to me, to those who be tempting to think of the play as a drawing work here, and to you, our patrons. room romance. The scale is huge: Cyrano de For all the opulence and epic qualities So, here’s the plan. I’ll share a few ini- Bergerac will be the largest production in PSF of Cyrano, at its heart lies an honest, human tial thoughts of my own, I’ll ask some of history, requiring a cast of 30 (playing more story. “It’s very iconic in many ways, and I the artists who work here, and I’ll ask you. than 60 characters). think the challenge is to maintain Cyrano’s humanity and not make him so grandiose Then, in the fall issue of The Quill, we’ll see “With 30 actors, you still experience the that people can’t connect,” Wood observes. what everyone had to say. pageantry and excitement of crowd scenes “Everyone in the play has something they and the intimacy of the play,” explains direc- My preliminary thoughts about PSF feel is a deficiency that makes them feel tor Dennis Razze. “Even though the play has are not just my personal feelings about what unaccepted. That’s what the story is about. a panoramic scope, the focus is really on the it means to me, but what I see and sense in It’s not about how good a swordsman you are intimate love triangle of Cyrano, Roxane, and the Festival when artists and patrons meet or how many ladies you uphold; it’s that you Christian.” (Christian, the handsome young in the same space, breathe the same air, and are enough just being yourself.” share in something unique and wonderful. soldier who uses Cyrano’s poetry to win the heart of Roxane, will be played by Spencer “It’s a beautiful story that has a little To me the Festival is freedom, a gift, Plachy, who played Freddy in PSF’s produc- something for everyone: danger, jokes, poetry, community, a veil between the worlds, a tion of My Fair Lady.) and love,” adds McLemore. “It’s also full of mirror for the life force, for beauty, and for such rich, colorful characters—people that Surveying the big picture, Razze the profane we must come to know. It’s are larger than life and compelling to watch.” inspiration, a peek under the rock, an hon- acknowledges that some of the greatest chal- est question, profound penetrating insights, lenges of presenting the play are technical. All of these attributes are skillfully ren- joy, a labor of love, a temple of invisible “The play demands a number of wonder- dered through Anthony Burgess’ sumptu- yet tangible transactions, a place where the ful 17th century costumes that have to be ous translation. McLemore is eager for the invisible becomes visible, magic, spontaneity, authentic and quite lavish. Every character challenge. “Working on a script like this is a the crackling now, the knife’s edge, Everest. is wigged, and some characters have to wear dream come true!” ■ multiple wigs, so we have someone specifi- It’s evidence that we are only here for a short Catherine Pressimone Beckowski is a 2006 cally in charge of that.” (Martha Ruskai, who time, and proof that we have not given up. DeSales University graduate working toward designed the wigs and makeup for Amadeus her master’s degree in Dramaturgy at the The Festival is freedom: to laugh last season, returns to PSF for this produc- State University of New York, Stony Brook. harder than you can perhaps anywhere else, to feel things we spend most of our day trying not to feel, to let the corners of our personalities soften just enough to let our Discovering Cyrano souls through, to see again what we have When it comes to Cyrano de Bergerac, poet of the age; I bind myself here and forgotten about ourselves. The Festival is a great actors and the great script have always now to take any play you write…without release into more and less: more life, vital- gone hand in hand. But which came first? reading it, to cancel any engagements I ity, authenticity, fullness, more joy, and less may have, and produce your play with the worry, constraint, deadening, metronomic It was actually the renowned French least possible delay.” Seeking a work wor- time, less rigidity. actress Sarah Bernhardt who discovered thy of Coquelin, Rostand found inspiration the unknown Edmund Rostand, and intro- It’s different for each of us, no doubt. in the writing of the real Cyrano—and the duced the famed actor Constant Coquelin rest is history. So what does it mean to you? E-mail me to his work. Coquelin was so impressed at [email protected]. We won’t use what you by Rostand’s writing that he made him an Qtd. in Church, Oscar and Henry Ward write without your permission, so write irresistible offer: “In my opinion, you are Kuhns. Introduction. Cyrano de Bergerac. ■ freely. destined to become the greatest dramatic New York: Henry Holt & Co., 1931. p. vii.

2 • The Quill, Summer 2008 610.282.will Left to right: Anthony Lawton, Erin Clare Hurley, Carl N. Wallnau, John Ahlin. Photos by Lee A. Butz TWELVE FACTS ABOUT TWELFTH NIGHT By Lisa Higgins VI. Shakespeare’s identical twins Viola Company (Barrymore nomination), and and Sebastian, a girl and a boy, are all but the Cleveland Play House. I. The title Twelfth Night refers to the impossible—identical twins share most, if twelfth night after Christmas, which com- not all, of the same DNA and therefore X. Carl N. Wallnau returns for his ninth memorates the visit of the three Magi and must be the same sex. season to portray Malvolio, the pompous the revelation of Christ’s divinity to them. steward to Lady Olivia. His credits with However, the play makes no reference to VII. Shakespeare is considered the great- PSF include Sleuth, The Imaginary Invalid, these biblical events. est playwright of all time, deriving source Charley’s Aunt, Richard III, Love’s Labour’s material from classic stories, Greek and Lost, Romeo and Juliet, All’s Well That Ends II. The title Twelfth Night, or What You Roman plays, and actual historical events. Well, Comedy of Errors, and The Taming of Will is Shakespeare’s only play that has The classic Greek plot device—twins being the Shrew. a double title and, according to legend, separated at birth—was modified in this comes from a quote from Shakespeare, case. The twins are separated in a shipwreck. XI. Sir Toby Belch, a hearty comedian “Call my play what you will.” and partying practical joker with a lust VIII. Today, Twelfth Night is one of the for the finer—and not-so-fine—things in III. Twelfth Night is not the only most popular of Shakespeare’s 37 works. life, will be played by John Ahlin, whose Shakespeare play to include a cross-dress- In his lifetime however, the case appears to first performance at PSF was as Falstaff in ing heroine: Two Gentlemen of Verona, The have been quite different. There is record of Henry IV, Part 1. Merchant of Venice, Cymbeline, and As You only one performance during Shakespeare’s Like It all feature cross-dressing women. lifetime—for an audience of lawyers. XII. Last seen as Autolycus/Time in The Winter’s Tale, Anthony Lawton makes a IV. Probably written by 1601, Twelfth Who’s Who in the Cast triumphant return as the wise fool, Feste, Night was written after Hamlet and before the role he played in PSF’s production in Measure for Measure. IX. Some familiar faces light up the stage 2000. Referred to as “the most charming in this classic romantic comedy. PSF’s of Shakespeare’s fools,” Feste also sings the . The character of Orsino may have been own Education Director Erin Mullen—a play’s beautiful closing song: V DeSales alumna, takes on the impish, inspired by a real Italian duke entertained A great while ago the world begun, vivacious Viola. Like her character, Erin at court by Queen Elizabeth. In the play, With a hey, ho, the wind and the rain, Mullen has an alternative name, Erin Clare Duke Orsino begins the action with one But that’s all one, our play is done, Hurley—her Actors Equity Association of Shakespeare’s most renowned lines, “If And we’ll strive to please you every day. music be the food of love, play on.” name. Previous acting credits include Charley’s Aunt at PSF, Anne of Green Victoria Fragnito, a DeSales University Gables at The People’s Light and Theatre theatre major and work study student for PSF, provided research for this article.

www.pashakespeare.org The Quill, Summer 2008 • 3 PSF Thanks Education News On Shakespeare’s birthday, April 23, Prior to receiving the PSF got a great gift. U.S. Representative NEA grant in 2007, tak- Charlie Dent announced that for the sec- ing WillPower beyond a 2008 Festival ond consecutive year, PSF ranks among 75-mile radius was cost- only 40 companies nationwide awarded prohibitive, restricting the Erin Mullen SponsoFESTIVAL HOST funding from the National Endowment for tour to areas within driv- Education Director the Arts (NEA) for its signature program, ing distance not requiring Shakespeare in American Communities/ overnight stays. The 2008 grant allows us to Shakespeare for a New Generation. continue expanding WillPower’s audience in underserved schools remote from PSF and PSF’s annual Linny Fowler WillPower other major arts organizations by support- Tour has served almost half of Pennsylvania’s ing food, lodging, and travel expenses for the 67 counties and more than 60,000 students SEASON SPONSOR touring artists and by reducing performance at more than 100 schools since the tour was fees required of the selected schools. Amaranth founded in 2000. The NEA grant supports WillPower Foundation With the $25,000 NEA grant, the fall by connecting Shakespeare with today’s stu- 2008 tour of Shakespeare’s Much Ado About dents in the most enriching way possible: ASSOCIATE SEASON SPONSORS Nothing will include up to 12 new rural or live performance. The feedback from the The Morning Call inner city schools in 10 previously unserved students and their teachers tells us that a live Pennsylvania counties, with an emphasis on Shakespeare performance impacts learning PRODUCTION SPONSORS western and central Pennsylvania. Funding long after the truck is packed and the actors Service Electric Cable TV & will also support busing local students to sum- are gone. ■ Communications mer Shakespeare performances at the Festival. Steve & Jane Auvil Breslin Ridyard Fadero Architects Alvin H. Butz, Inc. New Online Ticketing System Makes it Easy for Patrons Linda Lapos & Paul Wirth By Dael Jackson when you enter your selection criteria, a new Lutron Electronics Company, Inc. seat is just a click away. Dr. & Mrs. Frank J. Szarko A major investment in the PSF box Viamedia office’s new software ticketing program, Another significant upgrade: the box Wills Hall Oblate Community Theatre Manager, allows patrons to choose office staff can easily access patron informa- their seats online and streamline their ticketing tion during a transaction. Your patron num- PRODUCTION CO-SPONSORS process, bringing the festival in line with the ber, right above the PSF logo on the ticket, Air Products industry standard and customer expectations. allows us to link directly to your account Capital BlueCross without having to ask a series of questions. Under the old system, patrons ordering Keenan-Nagle Advertising, Inc. Plus, the bar codes printed on the sides of single tickets online had to wait until they Kathleen Kund Nolan & the tickets allow us to count ticket stubs and got to the theatre to discover which seats Timothy Nolan track attendance. Orlando Diefenderfer Electrical they purchased. Now, you can see the seats Contractors online before you purchase them. Even bet- So feel free to order online, and we’ll see ■ The Rider-Pool Foundation ter, if you don’t like the first seats offered you at the theatre!

ACTOR SPONSORS Lee & Dolly Butz Richard & Sandy Straube

OFFICIAL PHOTOGRAPHER Lee A. Butz

OFFICIAL HOTEL Holiday Inn Express Hotel & Suites, Bethlehem

The Pennsylvania Shakespeare Festival receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania and the National Endowment for the Arts, a federal agency.

4 • The Quill, Summer 2008 610.282.will King Lear:The “I” of the Storm

By Lisa Higgins kingdom. His youngest daughter, Cordelia, After 30 years in theatre, includ- cannot convince Lear of her genuine love, ing artistic leadership positions at the All things have their season. But Lear and is stripped of her dowry and banished. revered Oregon Shakespeare Festival only wants one season: a permanent season The Earl of Kent, Lear’s loyal friend, defends and the Delaware Theatre Company, of power. Cordelia, and is also banished. Syer has directed and acted in many of “There are times in our lives when Shakespeare’s works. While she has we must be powerful, strong, and Fontaine Syer directs King Lear in the seen several productions of King decisive, and there are times when we Schubert Theatre, July 9 through August 3. Lear—at Stratford on Avon, Stratford, need to be gentle, compassionate, and Canada, and last year at the Utah loving. But Lear learns in the most Shakespearean Festival—this produc- Befitting his outsized ego, Lear decides painful way possible that he cannot only be tion is her first as director of Lear. he wants to keep 100 knights and assigns all powerful and demanding,” says Fontaine the responsibility of feeding continued on page 7 Syer, who is directing PSF’s production. “He and caring for this large is out of balance.” entourage to two of his When he recovers his balance, his daughters, Goneril and incomparable pain reveals astonishing beauty. Regan, who have avidly proclaimed their love for In Harold Bloom’s landmark work, him upon his command. Shakespeare: The Invention of the Human, he “They lose their sense of writes: balance, too, and become as Lear himself is Shakespeare’s most awful as their father in the sublime and most demanding charac- things they do,” Syer says. ter. Outrageously hyperbolical, insanely Describing King Lear as eloquent, Lear nevertheless always “an enormous mountain of a chal- demands more love than can be given. lenge” Syer recalled that “the minute Lear’s inability to listen to those who Patrick (Producing Artistic Director truly love him and who have the courage Patrick Mulcahy) asked me to direct, to offer counsel that defies his blind rage I knew the only answer to the chal- leads to the devastation of his family and his lenge was to say ‘yes.’” Christopher Coucill, who will play King Lear, portrayed Don Quixote in PSF’s 2004 production, Man of La Mancha. Who’s Who in King Lear To reflect the timeless and universal qual- Christopher Patrick Mullen – Edgar. Susan Riley Stevens – Regan. Lear’s ity of the play, the production has a spare, The legitimate son of Gloucester – an enig- middle daughter and wife of the Duke of elemental set design by five-time Emmy win- matic character who transforms himself to Cornwall will stop at nothing to secure her ner Bob Phillips. The costumes, designed by survive and, ultimately, to challenge his half- power and pleasure. Marla Jurglanis, feature sleek, elegant, classic brother’s atrocities. lines. Eric Haugen is designing lighting, and Rachael Joffred – Cordelia. Lear’s young- Matthew Given is sound designer. Chris Faith – Lear’s Fool. Devoted to Lear, est daughter, remains true to Lear despite his his sarcastic songs illuminate Lear’s poor cruelty towards her. Christopher Coucill – King Lear. The decisions and their consequences. aging, power-hungry King of Britain who, in his misguided demands in old age, brings catastrophe for his family and kingdom. David Alan Anderson – Earl of Kent. The extremely loyal nobleman of King Lear who remains dedicated to Lear, even after being Left to right: David Alan Anderson, Christopher Patrick Mullen, Chris Faith, Susan Riley Stevens and Rachael Joffred. banished by him. Photos by Lee A. Butz. www.pashakespeare.org The Quill, Summer 2008 • 5 Actor and Director: Lifeblood of a Production

By Julie J. Grega Dracula through the eyes of Jonathan doing something that’s sort of in your Harker,” says Pfeiffer. bones, that has cooked in your mind Like most superstars, Dracula—a for a few years.” superstar in the literary world for “When Jim originally did this more than a century—has been talked play,” remembers Mullen, “he was just That’s not to say he doesn’t have about, written about, misinterpreted, at a desk with papers and candles, and his work cut out for him. Mullen has exploited, and even sanitized. People that was basically it, and it worked been mining the novel for details and have preconceived notions about who tremendously well. An audience’s first deeper insights, and he still has all those he is, what he looks like, and how his impression is that the actor has no lines to re-learn. “I can’t believe that I story will end. escape, nothing to hold onto, nothing had this all memorized at one point! to use. It also puts the audience there, That’s the horror story of Dracula, the Leave your preconceptions at the and they have no escape either.” lines,” he joked. The reality: “The goal door. Dracula: The Journal of Jonathan is to be absolutely off-book, backwards Harker is a fast-paced, nuanced adap- The Orlando Shakespeare and forwards, in the first rehearsal.” tation by PSF veteran Jim Helsinger, Theatre’s subsequent productions directed and performed by two more added more scenography, and in PSF’s, Over the past few summers, PSF favorites: Matt Pfeiffer and the impressive set by Bob Phillips will audiences have applauded Mullen’s Christopher Patrick Mullen, respectively. function almost like one more fascinat- ability to switch deftly from one ing character. character to another—masterfully In Helsinger’s adaptation, the so in Around the World in 80 Days audience sees Dracula through the has received three pro- Dracula in 2005 and in The Mystery of eyes of Jonathan Harker, a young ductions at the Orlando Shakespeare Irma Vep last season. Like solicitor who travels from the com- Theatre, where Helsinger is artistic a professional athlete, forts of genteel Victorian London to director. Lauding the play’s inventive he makes it look rustic Eastern Europe to close a real theatricality, reviewers suggest that effortless, belying the estate deal with Count Dracula of what is imagined is more frightening tremendous work and Transylvania. than what is seen. “We’ll try to cre- training behind it. ate a world where you see hints of the Says Mullen, “Harker’s got this macabre, so you fill in the rest with “Playing mul- great commission, so it’s nothing but your own imagination,” says Pfeiffer. tiple roles calls for excitement and a fun trip. The audience different strategies as should feel like they’re going along with In Orlando’s 2003 production, an actor than pro- him. It’s raw—like the novel.” Helsinger brought in Mullen to do ductions where the acting, and Mullen is enthusiastic “The brilliance of Jim’s adapta- you play one about tackling the play a second time. tion is trusting Stoker’s own view of “I got very turned on by the idea of continued on page 7

Christopher Patrick Mullen in the 2003 Orlando Shakespeare Theatre production. Photo by Tony Fiorello.

6 • The Quill, SummerSpring 2008 2008 610.282.will King Lear, continued from page 5 “There are elements of all things human in each of us.” Got Guild? Consumed by the idea of power with- Every summer, PSF welcomes... out responsibility or benevolence, Lear loses “Many readers of Shakespeare become his grasp on reality. “Lear’s journey through as dangerously enthralled by Edmund as • 120 visiting actors, directors, madness teaches him humility and reminds they are by Iago, yet Edgar, recalcitrant designers, and artisans from him that human beings have vulnerabilities and repressed, actually is the larger enig- New York, Philadelphia, and that cannot be denied,” Syer says. ma,” writes Bloom, who considers them around the country Shakespeare’s most interesting brothers. Accompanied by his Fool, Lear escapes • 30,000 patrons from 22 states. from his daughters’ mistreatment into the “After all the madness,” Syer says, “Lear’s great revelation is in finding Cordelia—and Who greets all these people and stormy night. “Trying to command the storm puts the ‘fest” in festival? The on the heath and tumbling into insanity discovering or rediscovering that love can Volunteer Guild. makes him accept his place in the universe as endure and be unconditional. Lear’s joy at Call now to join! just a man—and reminds him that humans the reunion with Cordelia makes him feel are not all-powerful.” that being in prison will be a kind of para- Great times. dise—if she is with him. Lear is not the only older man with fam- Great benefits. ily trouble: his friend the Earl of Gloucester “All of Shakespeare’s plays are about the Great smiles! struggles with his two sons, Edgar, the elder, language,” says Syer, “and that’s where our legitimate son and Edmund, an illegitimate emphasis is in this production. King Lear 610.282.WILL ext. 8 son, whom he initially treats with some con- is one of the greatest plays in our language tempt. Edmund’s trickery leads Gloucester to and it has something to say to everyone. repudiate the benevolent Edgar. Not just to older men and older women. It speaks to the broadest possible audience. Although he proclaims himself “a ser- It may say something different to someone vant to the laws of Nature” and seduces both who is twenty, than to someone who is fifty, Regan and Goneril, “Edmund reminds us or eighty. But it has something magnificent that no one is all good or all bad,” says Syer. to say.” ■ The Volunteer Guild, like the Green Show, brings smiles to PSF patrons. Photo by Lee A. Butz.

Dracula, continued from page 6 sion credits and works so steadily, he rarely PSF STAFF has any time off between contracts. Adds PATRICK MULCAHY character. On the one hand, you have to be Pfeiffer, “It’s hard to find a better combina- Producing Artistic Director extremely precise and define each character, tion of spirit and talent than Chris Mullen. and on the other hand, you paint in broad I am honored and thrilled.” DENNIS RAZZE Associate Artistic Director strokes because you have to take on sev- eral personalities in just one evening.” The Mullen and Pfeiffer each have more CASEY WILLIAM GALLAGHER complexities of a one-man, multi-character than 20 PSF productions to their names, and General Manager both are DeSales University alumni; Mullen show do guarantee that, as Mullen says, “It’s Director of Development JEANNE L. BITLER graduated in 1987 and Pfeiffer in 1999. never boring.” Education Director ERIN MULLEN Directing a one-man show isn’t boring They both know The Labuda Center Director of Marketing & Public Relations either. “When we’re working in rehearsal, for the Performing Arts inside and out. “It’s LISA HIGGINS PECHTER it’s all on Chris’s shoulders, so that can be my home. I grew up here,” shares Pfeiffer. Box Office Manager SOPHIE A. REGNIER fairly intense. But because it’s just the two “This is where I learned what kind of art- Business Manager JANICE S. HEIN ist I wanted to be, and the family here still of us, it makes the work more personal and Office Manager SALLY A. REITH inspires me.” therefore relaxed,” Pfeiffer says. Management Associate TIMOTHY T. WALLING Although Mullen and Pfeiffer have “The quality of work here is some- Associate Box Office Manager DAEL L. JACKSON acted together at PSF over the span of a thing that I’m really proud of,” says Mullen. Development/Marketing Assistant JULIE J. GREGA decade in Comedy of Errors (1997), Richard “Every year PSF is attracting better and better talent. There’s a spirit of adventure III, Twelfth Night (2000), and Charley’s Aunt FR. GERARD J. SCHUBERT, OSFS (2001), this is the first time that they will [here], and there’s an insistence on taking Founder work together as actor and director. Both risks. At PSF, they want people to go for a are highly regarded theatre artists in the ride when they sit in those seats, and that’s The Quill is published three times a year by Philadelphia area, each receiving Barrymore really cool.” the Pennsylvania Shakespeare Festival at DeSales University. nominations last year. Hang on to your seats, and get ready for the adventure! ■ EDITOR Lisa Higgins Says Mullen, “Matt is one of the best DESIGN Laura Charnick directors I know.” High praise from an actor Julie J. Grega, PSF’s development/marketing who has 20 years of theatre and televi- assistant, is a 2007 DSU theatre alumna. CONTRIBUTORS: Catherine Pressimone Beckowski; Orlando Shakespeare Theatre www.pashakespeare.org The Quill, Summer 2008 • 7 Season Finale Cabaret Sunday, July 27 • 7:30 p.m. Twelfth Night June 18 - July 6 The stars of PSF's acting company in a cabaret-style performance. One night only!

Greg Wood, Marnie Schulenburg, Wayne S. Turney. Photos (left and right) by Lee A. Butz and Phil Tartaglione (center).

King Lear Tickets: 610.282.WILL • pashakespeare.org NONPROFIT ORG July 9 - August 3 U.S. POSTAGE PAID Lehigh Valley, PA Permit No. 68 Dracula: at DeSales University The Journal of 2755 Station Avenue Jonathan Harker Center Valley, PA 18034 June 11 - June 29

Cyrano de Bergerac July 16 - August 3

The Jungle Book May 31 - August 2

TheThe BENEFIT FOR PSF EDUCATION PROGRAMS JJungleungle BBoookok Win a Merriment and music, mysteries and Holiday in monkeys accompany Mowgli and his bear friend Baloo as they try to reach the village and defeat the villainous Tuscany tiger, Shere Kahn. Featuring the scenic design of five-time Emmy Award winner Bob Phillips. The Jungle Book is appropriate for ages three to tween Raffle tickets ~ $100 each (parents and grandparents, Only 300 tickets will be sold! too). Meet the cast for autographs and Enjoy a one-week (7-night) stay for two adults in a centuries-old photos after villa in the Tuscan countryside, surrounded by vineyards and olive every performance! groves, just 17 miles from Florence. May 31 - August 2 Gracious accommodations for two Tues.-Sat. at 10:00 a.m. plus $4,000 cash for airfare, car rental, and spending money. Raffle drawing at PSF – August 3, 2008 (Need not be present to win. License 69R08 - Permit #1) To order: www.pashakespeare.org • 610.282.WILL, ext. 6