DOCSLIB.ORG

By William Shakespeare

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
By William Shakespeare presents Shakespeare In Our Parks 2021 by William Shakespeare directed by Joe Wiener Cast and Characters Theseus Duke of Athens Tom Conry Hippolyta his Amazon war bride Clare Boyd Philostrate a majordomo Timothy Kelly Egeus father to Hermia Alan Tilson Hermia loves Lysander Samantha Fairchild Lysander loves Hermia Dominic Rodgers Demetrius loves Hermia Dietrich Poppen Helena loves Demetrius Samantha V. Papke Peter Quince a carpenter Alan Tilson Nick Bottom a weaver Jacob Hooper Francis Flute a bellows-mender Dominic Rodgers Robin Starveling a tailor Samantha V. Papke Tom Snout a tinker Dietrich Poppen Snug a joiner Samantha Fairchild Oberon King of the Fairies Tom Conry Titania Queen of the Fairies Clare Boyd Puck Oberon's servant Kyle Marks Peaseblossom Bridget Foy Cobweb Titania's servants Timothy Kelly Mustardseed Maren Findlay Artistic Staff Director Joe Wiener Stage Manager Sabrina Wiekeraad Voice/Text Coach Joseph Papke Costume Designer Lolly Foy Scenic Designer Dietrich Poppen Props Designer Marc Christian Berg Assistant Stage Manager Maren Findlay Fight Choreographer David P. Schneider Thank You to: Hennepin Theatre Trust, Justin Hooper, Linda Nelson and LOTI Lutheran Church, Northern Edge Armory, Molly Smith, Erika Soukup, Hannah Steblay, and Theatre in the Round ___________________________________________________________________ This production is dedicated to our dear friend and colleague Alice Tibbetts. Alice was a student in our 2015 summer camp for teens and we subsequently asked her to be our first high school apprentice in 2016. She performed with us each summer 2016-19. A recent graduate of St. Olaf College, she died in a car accident in April at the age of 23. Honest, inquisitive, hard-working, and kind, delightfully unique with a style all her own, Alice was absolutely genuine and a truly good person. Alice was a light in this world and we will all miss her terribly. _________________________________________________________________ Please join us September 24 – October 17, 2021 at the Elision Playhouse for directed by Joseph Papke Tickets available now This activity is made possible by the voters of Minnesota through a grant from the Metropolitan Regional Arts Council, thanks to a legislative appropriation from the arts and cultural heritage fund. ___________________________________________________________________ We're seeking working board members! Find out more about how you can help us grow ___________________________________________________________________ If you are a student, parent, or educator interested in having CAE tour a production to your secondary school in 2022, please be in touch: [email protected] ___________________________________________________________________ Artist Bios Clare Boyd – Hippolyta/Titania CAE: Romeo & Juliet (2020), The Merry Wives of Windsor Theater: Zephyr Theater: Much Ado About Nothing; Prague Shakespeare Co: Romeo & Juliet; The Motley Shakespeare Players: As You Like It, Pericles, The Winter's Tale, The Knight of the Burning Pestle, Macbeth, The Spanish Tragedy; Compass Shakespeare Ensemble: Love's Labour's Lost, Sejanus: His Fall; City Theatre Austin: Inherit the Wind, She Stoops to Conquer Training: MLitt and MFA Shakespeare & Performance: Mary Baldwin University; BFA Acting: University of Texas, Arlington. Marc Berg – Props & Puppet Designer CAE: debut Theater: Chameleon Theatre: Avenue Q; Matchbox Theater: Razia's Shadow: A Puppet Rock Opera; Bryant Lake Bowl: Tipsy Kangaroo's Naughty Puppet Revue Training: BA in Theatre; University of Wisconsin - River Falls Tom Conry – Theseus/Oberon CAE: (as actor) Romeo & Juliet (2018-20), Women Beware Women, Measure For Measure, The Roaring Girl, A Midsummer Night’s Dream (2018 tour), As You Like It; (as director) Much Ado About Nothing Theater: Zephyr Theater: Midsummer Night’s Dream; South Dakota Shakespeare Festival: Comedy of Errors, Winter’s Tale; Virginia Shakespeare Festival: Antony and Cleopatra, All's Well That Ends Well; Houston Shakespeare Festival: Henry IV Part I, Two Gentlemen of Verona Teaching: Columbia Heights High School, PACT Charter School, M State Fergus Falls Training: BA Theater Arts, Saint Mary’s University of MN; MFA Acting, University of Houston Upcoming: CAE: Hamlet Samantha Fairchild – Hermia/Snug CAE:, (as actor) Arden of Faversham, Much Ado About Nothing, Women Beware Women, Measure For Measure; (as actor and assistant stage manager) The Merry Wives of Windsor; (as assistant stage manager) Romeo & Juliet (2018) Theater: Theatre Coup d'Etat: A Midsummer Night's Dream; Highland Summer Theatre; Prairie Repertory Theatre; Minnesota State University, Mankato: These Shining Lives, The Aeneid, And Baby Makes Seven, The Two Henrys Training: BS, Minnesota State University, Mankato Upcoming: CAE: Hamlet Maren Findlay – Mustardseed/ensemble CAE: Romeo & Juliet (2018), A Midsummer Night's Dream (2016, 2018) Bridget Foy – Peaseblossom/ensemble CAE: The Merry Wives of Windsor Theater: various Renaissance Festivals Lolly Foy – Costume Designer CAE: (as actor and costumer) The Merry Wives of Windsor, Romeo & Juliet (2019- 20), Women Beware Women, Measure For Measure, (as actor) Romeo & Juliet (2014), A Chaste Maid in Cheapside; (as costumer) Arden of Faversham, Much Ado About Nothing, Romeo & Juliet (2018), The Roaring Girl, A Midsummers Night Dream Theater: (as actor) Guthrie Theater: King Lear, Bad News: I was there; Mixed Blood Theatre: Barbecue; Theatre Latte Da: Oliver; Artistry; Lyric Arts; Highland Summer Theatre; Actors Theatre of Charlotte; Charlotte Repertory Theatre; Children’s Theatre of Charlotte; South West Shakespeare Festival; AZ Shakespeare Festival; Children’s Theatre Company; Troupe America; (as costumer) Children’s Theatre of Charlotte; Charlotte Ballet; Children’s Theatre Company; Guthrie Theater; Highland Summer Theatre; MSU Mankato; Norcostco Teaching: Riverland Community College, MSU Mankato; Winona State University; St Mary’s University Training: MFA: MSU Mankato; BFA: UNC Greensboro; The Actor’s Workout, Guthrie Theatre; Shakespeare & Company, Lennox, MA Upcoming: CAE: Hamlet; (as director) State Street Theatre: Little Shop of Horrors; (as actor/director) Actors Repertory Theatre Luxembourg/MN Fringe: Vignettes of a Pestilence Jacob Hooper – Bottom CAE: Arden of Faversham, Much Ado About Nothing, The Merry Wives of Windsor, Romeo & Juliet (2018-20), Women Beware Women, Measure For Measure Theatre: Burning Ember Theatre: Romeo and Juliet; Clevername Productions: Slaughterhouse 5; Windmill Theatre Company: Don Quixote; Pioneer Place on 5th: Waiting for Godot Training: BA in Theatre Arts, Hamline University Upcoming: CAE: Hamlet Timothy Kelly – Philostrate/Cobweb CAE: Arden of Faversham, Much Ado About Nothing, The Merry Wives of Windsor Training: BA, St. Olaf College Kyle Marks – Puck CAE: Romeo & Juliet (2020), Arden of Faversham, Much Ado About Nothing, The Merry Wives of Windsor Theater: North Dakota Shakespeare: Twelfth Night; Black Hills Playhouse: Unnecessary Farce; Young Frankenstein: The Musical; Peter and the Starcatcher; Bare Bodkins: Hamlet Training: BA in Theatre and English; Augustana University Upcoming: CAE: Hamlet Samantha V. Papke – Helena/Starveling CAE: Arden of Faversham, Much Ado About Nothing, The Merry Wives of Windsor, Romeo & Juliet (2018-20, 2014), Women Beware Women, The Roaring Girl, A Midsummer Night’s Dream (2018, 2016), As You Like It, Julius Caesar, Macbeth, Doctor Faustus, The Tempest, The Duchess of Malfi, Twelfe Night, Love’s Labor’s Lost, A Chaste Maid in Cheapside Theater: Sidecar Theatre: Summers in Prague; Wayward Theatre: The Ghost Train, Tartuffe; Shakespeare & Company: Twelfth Night, Hamlet; Freshwater Theatre: Recollection Collection; Ghostlight Theatre: Bash; Lyric Arts: Father of the Bride; Huge Theater: Up North, OMG Before We Got Our Lady Bits, Off Book Dietrich Poppen – Demetrius/Snout, Scenic Designer CAE: (as scenic/lighting designer) Arden of Faversham, Much Ado About Nothing, Woman Beware Women, Measure For Measure, The Roaring Girl, As You Like It, Volpone, The Merchant of Venice; (as actor and scenic/lighting designer) Romeo & Juliet (2019-20), A Midsummer Night's Dream (2018); (as actor and lighting designer) The Duchess of Malfi, Twelfe Night; (as lighting designer) Julius Caesar, Macbeth, Doctor Faustus, The Tempest; (as actor) The Comedy of Errors Theater: Fitzgerald Theater (Head Electrician); Guthrie Theater (Scenic Artist); Theater Latté Da: Sweeney Todd; Girl Friday Productions: The Matchmaker; Torch Theater: Boeing Boeing; Commonweal Theater; Theatre In The Round; Ashland Productions Training: Communication Studies & Theatre, South Dakota State University Awards: Broadwayworld.com Best Lighting Design 2016 for CAE's Julius Caesar Upcoming: CAE: Hamlet Dominic Rodgers – Lysander/Flute CAE: Romeo & Juliet (2020) Theater: Billy Shakes Free Shakespeare: Much Ado About Nothing, Hamlet, Romeo & Juliet; Sparkle Theatricals: Feed Your Head; Eggtooth Productions Training: BA in Theatre and Dance, Macalester College Upcoming: CAE: Hamlet David P. Schneider – Fight Choreographer CAE: Arden of Faversham, Much Ado About Nothing, The Merry Wives of Windsor, Romeo & Juliet (2018-20, 2014), Women Beware Women, Measure For Measure, The Comedy of Errors, As You Like It, Julius Caesar, Macbeth, The Duchess of Malfi, Twelfe Night, A Chaste Maid in Cheapside, ‘Tis Pity She’s a Whore; (as actor and fight choreographer) Richard II Theater: Walking Shadow: Three Musketeers; Park Square Theatre: August: Osage County; Theater in
Load more

Recommended publications
  • Smartdraw Document
    Theatres at which ACA graduates have worked since graduation: Broadway, King Lear with Christopher Plummer Broadway, Merchant of Venice with Al Pacino 1st National Broadway Tour: August: Osage County 1st National Broadway Tour: The Graduate 1st National Broadway Tour: Spamalot National Tour: The SantaLand Diaries 34 West Theatre Company (NYC) 59E59 Theater (NYC) Acting Company Actor's Express Actors Shakespeare Company at New Jersey City University Actors Shakespeare Project Actors Theatre of Louisville* Actors Theatre of Minnesota Arden Theatre Adrienne Alabama Shakespeare Festival Alliance Theatre* American Century Theater American Globe Theatre American Players Theatre, Wisconsin American Repertory Theater* American Shakespeare Center American Theater Company A Noise Within Antaeus Theatre Company Arena Stage* Artists Repertory Theatre Arts Alive Theatre Arts Center of Coastal Carolina Arts United DC ArtsWest Arvada Center Atlas Performing Arts Attic Theatre and Film Center, L.A. Austin Playhouse Austin Shakespeare Baltimore Shakespeare Festival Baltimore Symphony Orchestra Barnstormers Barrington Stage (Berkshires) Bay Theatre, Annapolis Beckett Theatre, Theatre Row Berkeley Repertory Theatre* You created this PDF from an application that is not licensed to print to novaPDF printer (http://www.novapdf.com) Black Repertory Company of St. Louis Blue Herron Theatre, NYC Boston Playwrights' Theater Boston Theatre Works Breaking String Theatre Brooklyn Academy of Music (BAM) Outdoor Arts Festival Bunbury Theatre Cadence Theatre Company
    [Show full text]
  • Robert Greene and the Theatrical Vocabulary of the Early 1590S Alan
    Robert Greene and the Theatrical Vocabulary of the Early 1590s Alan C. Dessen [Writing Robert Greene: Essays on England’s First Notorious Professional Writer, ed. Kirk Melnikoff and Edward Gieskes (Aldershot and Burlington, VT: Ashgate, 2008), pp. 25-37.\ Here is a familiar tale found in literary handbooks for much of the twentieth century. Once upon a time in the 1560s and 1570s (the boyhoods of Marlowe, Shakespeare, and Jonson) English drama was in a deplorable state characterized by fourteener couplets, allegory, the heavy hand of didacticism, and touring troupes of players with limited numbers and resources. A first breakthrough came with the building of the first permanent playhouses in the London area in 1576- 77 (The Theatre, The Curtain)--hence an opportunity for stable groups to form so as to develop a repertory of plays and an audience. A decade later the University Wits came down to bring their learning and sophistication to the London desert, so that the heavyhandedness and primitive skills of early 1580s playwrights such as Robert Wilson and predecessors such as Thomas Lupton, George Wapull, and William Wager were superseded by the artistry of Marlowe, Kyd, and Greene. The introduction of blank verse and the suppression of allegory and onstage sermons yielded what Willard Thorp billed in 1928 as "the triumph of realism."1 Theatre and drama historians have picked away at some of these details (in particular, 1576 has lost some of its luster or uniqueness), but the narrative of the University Wits' resuscitation of a moribund English drama has retained its status as received truth.
    [Show full text]
  • Arden of Faversham, Shakespearean Authorship, and 'The Print of Many'
    Chapter 9 Arden of Faversham, Shakespearean Authorship, and 'The Print of Many' JACK ELLIOTT AND BRETT GREATLEY-HIRSCH he butchered body of Thomas Arden is found in the field behind the Abbey. After reporting Tthis discovery to Arden's wife, Franklin surveys the circumstantial evidence of footprints in the snow and blood at the scene: I fear me he was murdered in this house And carried to the fields, for from that place Backwards and forwards may you see The print of many feet within the snow. And look about this chamber where we are, And you shall find part of his guiltless blood; For in his slip-shoe did I find some rushes, Which argueth he was murdered in this room. (14.388-95) Although The Chronicles of England, Scotland, and Ireland by Raphael Holinshed and his editors records the identities and fates of Arden's murderers in meticulous detail (Holinshed 1587, 4M4r-4M6v; 1587, 5K1v-5K3v), those responsible for composing the dramatization of this tragic episode remain unknown. We know that the bookseller Edward White entered The Lamentable and True Tragedy ofArden ofFaversham in Kent into the Stationers' Register on 3 April 1592 (Arber 1875-94, 2: 607 ), and we believe, on the basis of typographical evidence, that Edward Allde printed the playbook later that year ( STC 733). We know that Abel Jeffes also printed an illicit edition of the playbook, as outlined in disciplinary proceedings brought against him and White in a Stationers' Court record dated 18 December 1592 (Greg and Boswell 1930, 44). No copies of this pirate edition survive, but it is assumed to have merely been a reprint of White's; Jeffes was imprisoned on 7 August 1592, so his edition must have appeared prior to this date.
    [Show full text]
  • King and Country: Shakespeare’S Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company
    2016 BAM Winter/Spring #KingandCountry Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board BAM, the Royal Shakespeare Company, and Adam E. Max, Vice Chairman of the Board The Ohio State University present Katy Clark, President Joseph V. Melillo, Executive Producer King and Country: Shakespeare’s Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company BAM Harvey Theater Mar 24—May 1 Season Sponsor: Directed by Gregory Doran Set design by Stephen Brimson Lewis Global Tour Premier Partner Lighting design by Tim Mitchell Music by Paul Englishby Leadership support for King and Country Sound design by Martin Slavin provided by the Jerome L. Greene Foundation. Movement by Michael Ashcroft Fights by Terry King Major support for Henry V provided by Mark Pigott KBE. Major support provided by Alan Jones & Ashley Garrett; Frederick Iseman; Katheryn C. Patterson & Thomas L. Kempner Jr.; and Jewish Communal Fund. Additional support provided by Mercedes T. Bass; and Robert & Teresa Lindsay. #KingandCountry Royal Shakespeare Company King and Country: Shakespeare’s Great Cycle of Kings BAM Harvey Theater RICHARD II—Mar 24, Apr 1, 5, 8, 12, 14, 19, 26 & 29 at 7:30pm; Apr 17 at 3pm HENRY IV PART I—Mar 26, Apr 6, 15 & 20 at 7:30pm; Apr 2, 9, 23, 27 & 30 at 2pm HENRY IV PART II—Mar 28, Apr 2, 7, 9, 21, 23, 27 & 30 at 7:30pm; Apr 16 at 2pm HENRY V—Mar 31, Apr 13, 16, 22 & 28 at 7:30pm; Apr 3, 10, 24 & May 1 at 3pm ADDITIONAL CREATIVE TEAM Company Voice
    [Show full text]
  • Accepted Version
    Article [Review of:] The New Oxford Shakespeare: The Complete Works: Modern Critical Edition / gen. eds. Gary Taylor , John Jowett , Terri Bourus , and Gabriel Egan. - Oxford : Oxford Univ. Press, 2016 ; The New Oxford Shakespeare : The Complete Works : Critical Reference Edition / gen. eds. Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan. - Oxford: Oxford University Press, 2017 ; The New Oxford Shakespeare : Authorship Companion / eds. Gary Taylor and Gabriel Egan. - Oxford: Oxford University Press, 2017 ERNE, Lukas Christian Reference ERNE, Lukas Christian. [Review of:] The New Oxford Shakespeare: The Complete Works: Modern Critical Edition / gen. eds. Gary Taylor , John Jowett , Terri Bourus , and Gabriel Egan. - Oxford : Oxford Univ. Press, 2016 ; The New Oxford Shakespeare : The Complete Works : Critical Reference Edition / gen. eds. Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan. - Oxford: Oxford University Press, 2017 ; The New Oxford Shakespeare : Authorship Companion / eds. Gary Taylor and Gabriel Egan. - Oxford: Oxford University Press, 2017. Shakespeare, 2018, vol. 14, no. 3, p. 291-296 DOI : 10.1080/17450918.2018.1496136 Available at: http://archive-ouverte.unige.ch/unige:123514 Disclaimer: layout of this document may differ from the published version. 1 / 1 Review of The New Oxford Shakespeare: The Complete Works: Modern Critical Edition, gen. eds. Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan (Oxford: Oxford University Press, 2016); Critical Reference Edition, 2 vols., gen. eds. Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan (Oxford: Oxford University Press, 2017); Authorship Companion, eds. Gary Taylor and Gabriel Egan (Oxford: Oxford University Press, 2017). Lukas Erne English Department, University of Geneva, Switzerland The publication of The New Oxford Shakespeare is a major event in the editorial history of Shakespeare.
    [Show full text]
  • TEACHER and STUDENT GUIDEBOOK
    TEACHER and STUDENT GUIDEBOOK 1 Table of Contents What to Expect at the Park Director’s Note by Jaclynn Jutting Letter from Artistic Director, Denice Hicks Plot Summary by Dr. Marcia MacDonald Who’s Who in the Cast Shakespeare’s Life– A Brief Timeline Reading the Play in the Classroom A Conversation with Rollie Mains, Composer and Music Director Poetic Meter by Jayme M Yeo, Ph.D Class Lessons and Activities: Genre, Setting and Set Design, Characters and Character Groups, The Play-Within-the-Play Key Themes Additional Resources for A Midsummer Night’s Dream About the Nashville Shakespeare Festival and Apprentice Company Guidebook Contributors Thanks to our Season Sponsors! 2 What to Expect… At the Centennial Park Band shell and Franklin Academy Park The Nashville Shakespeare Festival will have performances of A Midsummer Night’s Dream beginning at 7:30 pm at the band shell in Nashville’s Centennial Park, August 9th through September 9th. The production will move to Franklin’s Academy Park for it’s closing weekend, September 13-16th. Franklin Academy Park Centennial Park Band shell ...During The Performance The band shell and Academy Park are open-air theaters. Theatergoers are invited to bring blankets and lawn chairs, or cushions for bench seating. Each night, food trucks are present for pre-show and intermission, or patrons may bring pic- nics. Many parking areas surround the parks. Audience members can expect to be up close and personal with actors en- tering through aisles and playing down on the stage thrust. Because this show is performed al fresco, the audience will hear street noises, airplanes and helicopters, and Vanderbilt Football cheering.
    [Show full text]
  • Synopsis: a Midsummer Night's Dream
    SHAKESPEAREANCES.COM Synopsis: A Midsummer Night’s Dream The fairies create a lot of havoc—misapplying love potions, causing confusion among young lovers, turning a guy’s head into that of an ass, causing foul weather—but that’s nothing compared to the play a bunch of amateur thespians put on for the Duke of Athens’ marriage festivities. By William Shakespeare, written about 1596, first printed in a 1600 quarto Act I, Scene 1 Theseus, the Duke of Athens, has defeated the Amazons in a war but now intends to marry their queen, Hippolyta. The wed- ding is set for four days’ hence, and while he is eager to get on with the nuptials, she is showing much more patience. Into the scene comes Egeus with his daughter, Hermia, and two men, Lysander and Demetrius. Egeus wants Hermia to marry Demetrius, but she is in love with Ly- sander and refuses her father’s will. For this, Egeus wants his daughter executed under Athenian law. Theseus at least gives Hermia another option—become a virgin Nick Bottom (Max Casella, center) shows his fellow actors how he would play the lion in Theatre for a New Audience’s 2013 production of A Midsummer Night’s votary—but allows her three days to Dream. From left, Jacob Ming-Trent as Tom Snout, Zachary Infante as Francis choose whether to marry Demetrius, enter Flute, Brendan Averett as Snug, and William Youmans as Robin Starveling. Photo the sisterhood, or die. Left alone (really?), by Gerry Goodstein, Theatre for a New Audience. Lysander and Hermia complain about the not-so-smooth-course of true love and then brained scheme of telling Demetrius about Hermia’s determine to flee Athens, meet in the woods, and flight so that he would more appreciate Helena— run off to his aunt’s home where they can marry.
    [Show full text]
  • Reimagining a Midsummer Night's Dream
    TABLE OF CONTENTS Preface 1 Art That Lives 2 Bard’s Bio 2 The First Folio 3 Shakespeare’s England 4 The Renaissance Theater 5 Barbara Gaines Criss Henderson Courtyard-style Theater 6 Artistic Director Executive Director On the Road: A Brief History of Touring Shakespeare 8 Timeline 10 Chicago Shakespeare Theater is Chicago’s professional theater dedi- cated to the works of William Shakespeare. Founded as Shakespeare Shakespeare’s Repertory in 1986, the company moved to its seven-story home on Navy Pier in 1999. In its Elizabethan-style courtyard theater, 500 seats on three A Midsummer Night's Dream levels wrap around a deep thrust stage—with only nine rows separating the farthest seat from the stage. Chicago Shakespeare also features a Dramatis Personae 12 flexible 180-seat black box studio theater, a Teacher Resource Center, and The Story 13 Who's Who: What's in a Name? 13 a Shakespeare specialty bookstall. Act-by-Act Synopsis 14 Now in its twenty-seventh season, the Theater has produced nearly the en- Something Borrowed, Something New… tire Shakespeare canon: All’s Well That Ends Well, Antony and Cleopa- Shakespeare's Sources 15 tra, As You Like It, The Comedy of Errors, Cymbeline, Hamlet, Henry The Nature of Comedy 17 IV Parts 1 and 2, Henry V, Henry VI Parts 1, 2 and 3, Henry VIII, Julius A History of Dreams 18 Caesar, King John, King Lear, Love’s Labor’s Lost, Macbeth, Measure Scholars’ Perspectives for Measure, The Merchant of Venice, The Merry Wives of Windsor, A Midsummer Night’s Dream, Much Ado About Nothing, Othello, Pericles, Spirits of Another Sort 20 Richard II, Richard III, Romeo and Juliet, The Taming of the Shrew, The What the Critics Say 21 Tempest, Timon of Athens, Troilus and Cressida, Twelfth Night, The Two Gentlemen of Verona, The Two Noble Kinsmen, and The Winter’s Tale.
    [Show full text]
  • In Defence of Kyd: Evaluating the Claim for Shakespeare's Part
    1 In Defence of Kyd: Evaluating the Claim for Shakespeare’s Part Authorship of Arden of Faversham DARREN FREEBURY-JONES Abstract: MacDonald P. Jackson first argued for Shakespeare’s part authorship of Arden of Faversham in his university dissertation in 1963. He has devoted several articles to developing this argument, summarized in his monograph Determining the Shakespeare Canon (2014). Jackson’s part ascription has led to the inclusion of the domestic tragedy in The New Oxford Shakespeare. However, Jackson and his New Oxford Shakespeare colleagues have either dismissed or neglected the evidence for Thomas Kyd’s sole authorship presented by other scholars. This essay focuses primarily on Jackson’s monograph and argues that the evidence for adding the play to Kyd’s canon, encompassing phraseology, linguistic idiosyncrasies, and verse characteristics, seems solid. Contributor Biography: Darren Freebury-Jones is Lecturer in Shakespeare Studies (International – USA) at The Shakespeare Birthplace Trust in Stratford-upon-Avon. His 2016 doctoral thesis examined Thomas Kyd’s influence on Shakespeare’s early plays and he is one of the editors for the first edition of Kyd’s collected works since 1901. He has also investigated the boundaries of John Marston’s dramatic corpus as part of the Oxford Marston project. His recent and forthcoming work on the plays of authors such as Shakespeare, Kyd, Lyly, Marlowe, Peele, Nashe, Marston, Dekker, Fletcher, and others can be found in a range of peer-reviewed journals. The Authorship of Arden of Faversham He was right after all, and the scholars who for a generation now have ignored or sneered at his evidence, sometimes—when they have condescended to mention it—printing the word evidence itself between inverted commas, have not turned out to be our most reliable guides.
    [Show full text]
  • Stick Fly Program
    theatre.indiana.edu STICK FLY BY LYDIA R. DIAMOND DIRECTED BY LERALDO ANZALDUA A DIGITAL EVENT IU Theatre & Dance wishes to acknowledge and honor the Miami, Delaware, Potawatomi, and Shawnee people, on whose ancestral homelands and resources PRESENTS Indiana University was built. LIVE STICK FLY PERFORMANCE by Lydia R. Diamond The mission of the Department of Theatre, Drama, and Contemporary Dance is to advance the art, scholarship, and appreciation of theatre and dance and its DIRECTOR Leraldo Anzaldua place in society. We pursue this mission collectively STAGE MANAGER Jorie Miller and as individuals through theatrical productions, scholarship and publication, presentation of our work in national and international venues, formal instruction, and individual mentoring. The Department of Theatre, Drama, and Contemporary Dance is accredited by the National Association of Schools of Theatre and is a member of the University/ Stick Fly is presented by arrangement with Concord Theatricals on behalf of Resident Theatre Association Samuel French, Inc. www.concordtheatricals.com and United States Institute for Theatre Technology. Stick Fly was developed in part at Chicago Dramatists, originally produced by Congo Square Theatre and subsequently produced by McCarter Theatre Center. A further developmental production directed by Kenny Leon, was LIVING produced jointly by Arena Stage and the Huntington Theatre Company. IMPACT The video and/or audio recording of this production is strictly prohibited. A DIGITAL EVENT | FEBRUARY 12–13, 2021 3 Cast Production
    [Show full text]
  • A Midsummer Night's Dream
    SUPPORT FOR THE 2021 SEASON OF THE TOM PATTERSON THEATRE IS GENEROUSLY PROVIDED BY PRODUCTION SUPPORT IS GENEROUSLY PROVIDED BY THE HARKINS & MANNING FAMILIES IN MEMORY OF SUSAN & JIM HARKINS LAND ACKNOWLEDGEMENT Welcome to the Stratford Festival. It is a great privilege to gather and share stories on this beautiful territory, which has been the site of human activity — and therefore storytelling — for many thousands of years. We wish to honour the ancestral guardians of this land and its waterways: the Anishinaabe, the Haudenosaunee Confederacy, the Wendat, and the Attiwonderonk. Today many Indigenous peoples continue to call this land home and act as its stewards, and this responsibility extends to all peoples, to share and care for this land for generations to come. A MESSAGE FROM OUR ARTISTIC DIRECTOR WORLDS WITHOUT WALLS Two young people are in love. They’re next- cocoon, and now it’s time to emerge in a door neighbours, but their families don’t get blaze of new colour, with lively, searching on. So they’re not allowed to meet: all they work that deals with profound questions and can do is whisper sweet nothings to each prompts us to think and see in new ways. other through a small gap in the garden wall between them. Eventually, they plan to While I do intend to program in future run off together – but on the night of their seasons all the plays we’d planned to elopement, a terrible accident of fate impels present in 2020, I also know we can’t just them both to take their own lives.
    [Show full text]
  • A Midsummer Night's Dream
    THE SHAKESPEARE THEATRE OF NEW JERSEY EDUCATION PRESENTS SHAKESPEARE LIVE! 2017 A Midsummer Night’s Dream BY WILLIAM SHAKESPEARE STUDENT-TEACHER STUDY GUIDE COMPILED AND ARRANGED BY THE EDUCATION DEPARTMENT OF THE SHAKESPEARE THEATRE OF NEW JERSEY Shakespeare LIVE!, The Shakespeare Theatre of New Jersey’s educational touring company, is part of Shakespeare in American Communities: Shakespeare for a New Generation, a national program of the National Endowment for the Arts in cooperation with Arts Midwest. Additional support for Shakespeare LIVE! is provided by The Investors Foundation, Johnson & Johnson, The Provident Bank Foundation, and the Turrell Fund. COVER: Mustardseed, Peasblossom and Moth from the 2015 touring production of A MIDSUMMER NIGHT’S DREAM THIS PAGE: The Mechanicals from the 2015 touring production of A MIDSUMMER NIGHT’S DREAM. ALL PHOTOS by Jerry Dahlia ©2015 unless noted. In This Guide: Classroom Activities for Teachers and Students ...............................p2 Shakespeare: Helpful Tips For Exploring & Seeing His Works .......p3 About the Playwright ................................................................................p4 Shakespeare’s London .............................................................................p5 Shakespeare’s Verse ..................................................................................p6 “Are you SURE this is English?” .............................................................. p7 A Midsummer Night’s Dream: An Introduction ...................................p8 Midsummer:
    [Show full text]