2014|2015 SEASON Issue 4 TABLE OF Dear Friend, CONTENTS In the late autumn of 2012, STC mounted one of the more unusual—and spectacularly Recipient of the 2012 Regional Theatre Tony Award® 1 Title page imaginative—pieces of theatre I 3 Cast have seen. It was titled The Strange Artistic Director Michael Kahn Undoing of Prudencia Hart and it Managing Director Chris Jennings 5 Synopsis was staged in a bar. The Bier Baron Tavern, to be exact. The audience drank and threw paper snow up in the 7 About the Playwright air, as the author, David Greig, masterfully spun a The National Theatre of Scotland and the Royal Shakespeare Company present 10 modern-day tall tale, invoking Faust, the Scottish oral On Sequels tradition and the Scottish drinking tradition. It was by Jonathan Melville utterly delightful. It sold out nearly every night. I wish 14 After the Dictator more people had been able to see it. Falls: Tracing the steps Ever since, I have wanted to expose David Greig’s work of Gruach to a wider audience, and I have been eager to partner by Jackie McGlone with our friends at the National Theatre of Scotland, the resident geniuses behind that production of Prudencia 18 Taking on “The Hart, the unforgettable Black Watch and tonight’s by DAVID GREIG Scottish Play” David production, David Greig’s Dunsinane. directed by ROXANA SILBERT Greig’s Dunsinane Dunsinane, quite simply, is a play that is long overdue. by Clare Wallace It tells the story of the events after the death of Performances begin February 4, 2015 Macbeth at the battle of Dunsinane, from a Scottish Sidney Harman Hall 24 Cast Biographies perspective. Greig is a proud Scot, as well as one of 29 Direction and Design our most imaginative contemporary writers, and the twists he adds to the familiar Shakespearean narrative Director Associate Movement Director Biographies are exciting, thought-provoking and frequently Roxana Silbert Polly Bennett 36 For STC suggestive with our contemporary political world. One of the most exciting things about my job as Artistic 38 Mapping the Play: The Director of the Shakespeare Theatre Company is the Designer Fight Director Clans and Claims of opportunity it affords me to expose audiences in Robert Innes Hopkins Terry King Washington, D.C. to theatre of the highest international Dunsinane caliber. I trust you will find that Dunsinane continues Lighting Designer Voice Coach by Laura Henry Buda that tradition with distinction. Chahine Yavroyan Stephen Kemble 40 Faces and Voices: At the Lansburgh Theatre, be sure not to miss David Composer and Sound Designer STC Partnerships by Archery Consultant Ives’ world premiere translation and adaptation Nick Powell Hannah Hessel Ratner of The Metromaniacs, an 18th-century comedy. Our Ruth Cooper-Brown, 2014-2015 Season concludes this spring with Alan RC-Annie LTD 44 About STC Paul’s production of Man of La Mancha, a classic Associate Director Luke Kernaghan About ACA reimagining of Cervantes’ Don Quixote, and Helen Casting Directors Hayes Award-winning Steven Epp returns to STC to Anne Henderson 46 Support star in Moliere’s Tartuffe. Movement Director Anna Morrissey Laura Donnelly 54 Preview: Man of We are excited to share these stories with you, and La Mancha see you at the theatre. Original 2010 production casting by Royal Shakespeare Company 56 STC Staff Warm Regards, 2011 and 2013 production casting by Anne Henderson 57 Audience Services 2014 and 2015 production casting by Laura Donnelly Dunsinane is generously sponsored by Dr. Paul and Mrs. Rose Carter Restaurant Partner: Zaytinya Michael Kahn Cover photo: Siobhan Redmond as Gruach. Artistic Director *Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers. Photo by Richard Campbell Shakespeare Theatre Company 1 CAST DUNSINANE Sergeant and Scottish Lord...... George Brockbanks Gruach’s Attendant and Hen Girl...... Helen Darbyshire Siward...... Darrell D’Silva Malcolm...... Ewan Donald Macduff...... Keith Fleming The Boy Soldier...... Tom Gill Eric the Archer...... Toyin Omari-Kinch Egham...... Alex Mann English Soldier...... Arthur McBain Scottish Soldier, Scottish Lord and English Soldier...... Matt McClure Gruach’s Attendant and Gaelic Singer...... Mairi Morrison Gruach...... Siobhan Redmond

MUSICIANS Musical Director and Cello...... Rosalind Acton Percussion...... Robert Owen Guitar...... Andy Taylor

SUPERNUMERARIES Freddie Bennett+, David Mavricos, Shane O’Loughlin, Zack Powell

PRODUCTION TEAM Neil Murray...... Executive Producer Margaret-Anne O’Donnell...... Producer Chris Hay...... Production Manager Carrie Hutcheon...... Company Stage Manager Heather Wilson...... Deputy Stage Manager David Mason-Hill...... Assistant Stage Manager Neill Pollard...... Lighting Supervisor Fergus Lockie...... Sound Supervisor Martin Woolley...... Stage Supervisor Pam Fulton...... Wardrobe Supervisor Michelle Lyon...... Wigs and Makeup Technician Raymond Short...... Props Technician Clare McCormack...... Press Officer

The Company would like to thank the National Theatre of Great Britain and the casts and production teams of previous Dunsinane tours. International Representation by Michael Mushalla of Double M Arts & Events, LLP

THERE WILL BE ONE 15-MINUTE INTERMISSION.

The Shakespeare Theatre Company operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States, and employs members of the Stage Directors and Choreographers Society and United Scenic Artists. The Company is also a constituent of Theatre Communications Group (TCG), the national organization for not-for-profit professional theatre, and is a member of the Performing Arts Alliance, the D.C. Chamber of Commerce, Association of Performing Arts Presenters (APAP), American Alliance for Theatre and Education and DC Arts and Humanities Education Collaborative. Copyright laws prohibit the use of cameras and recording equipment in the theatre. + Acting Fellow of the Shakespeare Theatre Company

3 STC BOARD OF TRUSTEES SYNOPSIS DUNSINANE

Michael R. Klein, Chair Bernard F. McKay Robert E. Falb, Vice Chair Eleanor Merrill Under the cover of night, an English army sweeps through Scotland arriving John Hill, Treasurer Melissa A. Moss at the castle of Dunsinane. There is a fierce battle and they kill the tyrant King, Pauline Schneider, Secretary Stephen M. Ryan Michael Kahn, Artistic Director George P. Stamas Macbeth, and take the seat of power. Lady Westmacott Trustees Rob Wilder After the battle, Siward, the English commanding officer, discovers that Lady Nicholas W. Allard Suzanne S. Youngkin Ashley M. Allen Macbeth (the Scottish Queen known as Gruach) is not in fact dead as he has Stephen E. Allis Ex-Officio previously been led to believe. Anita M. Antenucci Chris Jennings, Managing Director Jeffrey D. Bauman Afsaneh Beschloss Emeritus Trustees Siward attempts to install a new King in Scotland; Malcolm. However, many will William C. Bodie R. Robert Linowes*, Founding Chairman not accept Malcolm as the King while Gruach still lives. One of Siward’s Scottish Landon Butler James B. Adler Dr. Paul Carter Heidi L. Berry* allies, Macduff, suggests killing the Queen to put an end to the conflict, but Peter Cherukuri David A. Brody* Siward is a man of principle and refuses. Gloria Dittus Melvin S. Cohen* Dr. Mark Epstein Ralph P. Davidson* Stefanie Erkiletian James F. Fitzpatrick Siward attempts to encourage Gruach to renounce her claim to the throne. He Andrew C. Florance Dr. Sidney Harman* tries to understand the political landscape and allegiances of the country. Dr. Natwar Gandhi Lady Manning Miles Gilburne Kathleen Matthews Barbara Harman William F. McSweeny A parliament is called and, in a surprise move, Siward publicly proposes a John R. Hauge V. Sue Molina marriage between Gruach and Malcolm, to finally achieve peace between the Stephen A. Hopkins Walter Pincus Lawrence A. Hough Eden Rafshoon two warring clans. Malcolm and Gruach agree to this proposal and preparations W. Mike House Emily Malino Scheuer* are made for the union. On the night of the wedding, Gruach’s men storm the Jerry J. Jasinowski Lady Sheinwald Norman D. Jemal Mrs. Louis Sullivan castle and free her, killing several of Siward’s men in the process. Scott Kaufmann Daniel W. Toohey Kevin Kolevar Sarah Valente Siward realises that the Queen’s son and heir is still alive and puts all his efforts Abbe D. Lowell Lady Wright Gail MacKinnon *Deceased into finding him and the Queen, against Malcolm’s advice and wishes. Beset by a guerrilla uprising Siward must also deal with discontent amongst his own inexperienced men.

ASIDES After much bloodshed, Siward’s men capture Lulach (the Queen’s son) and he is published by SHAKESPEARE THEATRE COMPANY executed. Siward believes that this will now end the conflict.

Managing Editor Publisher Siward travels the length and breadth of a snow-covered Scotland, compelled to Heather C. Jackson Michael Porto return Lulach’s body to Gruach. When he finds her, the Queen is holding a baby whom she claims is Lulach’s child. Creative Director Advisors S. Christian Taylor-Low Alan Paul Samantha K. Wyer Contributing Editors Garrett Anderson Graphic Designer Laura Henry Buda Taylor Henry Hannah Hessel Ratner Drew Lichtenberg Editorial Assistant Alison Ehrenreich Contributing Writers Jonathan Melville Editorial Intern Jackie McGlone Jessica Peña Clare Wallace

4 5 ABOUT THE PLAYWRIGHT DAVID GREIG

David Greig was born in Edinburgh in 1969. He spent much of his childhood in Jos, Nigeria during the 1970s where his father worked in the construction industry. In 1980 his family returned to live in Edinburgh where he went to school. His first involvement with theatre was with Edinburgh Youth Theatre where he acted in a number of shows. In 1987 he went to Bristol University TASTE THIS; to study English and Drama. He graduated in 1990 and began to work with Graham Eatough and Nick Powell as Suspect Culture on the Edinburgh Fringe. Over two years he wrote and directed five shows and was twice IT’S GOING nominated for The Guardian Student Drama Award and won a Scotsman Fringe First for Stalinland.

In 1993 he moved to Glasgow where Stalinland was produced by the Citizens Theatre and he received his first professional commissions from The Traverse Theatre in TO CHANGE Edinburgh and The Royal Court in London. Since then he has written many plays, most of which have premiered in Scotland. From 2005 to 2007 he was the first Dramaturg of the National Theatre of Scotland. YOUR LIFE. Since his first mainstage production Europe, at The Traverse in 1996, his work has been produced extensively abroad. His plays have been translated and produced in most of the countries of Europe, USA, Canada, Brazil, Australia, Japan and Korea.

He continued his association with Suspect Culture through the 1990s and into the JOSÉ ANDRÉS 2000s. With Graham Eatough, Nick Powell and Ian Scott he worked to develop a theatre process in which writing and narrative was part of, but did not overwhelm, the other aspects of production. Suspect Culture became a professional company in 1995 with its first production One Way Street at The Traverse. The company received core funding in 1996 and thereafter developed and produced new work to great acclaim in Scotland and Europe. Suspect Culture is now dormant as a theatre company but Graham, Nick, Ian and David all continue to collaborate with each other.

David has worked extensively as a workshop leader on projects to teach or develop playwriting. He has a particular relationship with writers in the Middle East. He has worked extensively with playwrights in Palestine, Egypt, Syria, Lebanon, Tunisia and Morocco. In Damascus, a group of writers with whom he worked went on to found ‘The Street’—a group dedicated to producing and developing new work in Syria. In 2010 they produced a book Stories of Spirit and Cement, for which David wrote the introduction. He also worked with April De Angelis on a major two-year collaboration between the Royal Court Theatre and The British Council. The plays produced in that project were published in English and in Arabic and have been given performed readings New York, London, Beirut and Cairo.

From 2006 David has been on the board of The Traverse Theatre in Edinburgh. Innovative Greek, Turkish and Lebanese cuisine by Chef José Andrés. 701 9TH STREET NW | WASHINGTON DC 20001 | 202.638.0800 | ZAYTINYA.COM He lives in Fife with his partner, Lucie and two children, Annie and Rory.

Photo by K. Ribbe 7 Artistic Director and Chief The National ABOUT THE NATIONAL Executive: Theatre of THEATRE OF SCOTLAND Laurie Sansom Scotland is core funded Chair: Dame Seona Reid DBE multitude of awards, the by the Scottish award-winning landmark For the latest information on Government. The historical trilogy The James all our activities, visit National Theatre of Scotland, a company limited by guarantee Plays by Rona Munro, a radical www.nationaltheatrescotland.com and registered in Scotland reimagining of Macbeth (SC234270), is a registered starring Alan Cumming, Find us on Facebook: NationalTheatreScotland Scottish charity (SC033377). presented in Glasgow and at In its short life, the National the Lincoln Center Festival and Follow us on Twitter @NTSonline Supported by Theatre of Scotland has already subsequently, Broadway, New and join in the conversation the Scottish Government earned a significant national York and Let The Right One In, #dunsinane International Touring Fund and international reputation for adapted by Jack Thorne from its daring and originality. John Ajvide Lindqvist’s novel and screenplay, which won The National Theatre of the 2014 South Bank Sky Arts Scotland was established in ABOUT THE ROYAL Award for theatre. 2006 and has created over 200 SHAKESPEARE COMPANY productions. Being a theatre The National Theatre of without walls and building-free, Scotland creates much of the world through our touring, the Company presents a wide its work in partnership with residencies, live broadcasts and variety of work that ranges theatre-makers, companies, online activity. So, wherever from large-scale productions venues and participants across you experience the RSC, you to projects tailored to the the globe. From extraordinary experience work that began life in smallest performing spaces. projects with schools and Shakespeare’s home town. In addition to conventional communities, to the ground- theatres, the Company has breaking online 5 Minute Shakespeare has been performed performed in airports, schools, Theatre to immersive pieces and celebrated in Stratford tower blocks, community halls, such as David Greig’s The Everyone at the Royal for centuries and the RSC has ferries and forests. Strange Undoing of Prudencia Shakespeare Company, from trained generations of the Hart—the National Theatre of actors to technicians, milliners to very best theatre makers since The Company has toured Scotland’s aspiration is to tell musicians, plays a part in the Company was founded. extensively across Scotland, the the stories that need to be told creating the world you see on We pioneer contemporary rest of the UK and worldwide. and to take work to wherever stage. Our work begins its life approaches to Shakespeare’s Notable productions include audiences are to be found. at our Stratford workshops, plays, as well as staging the work Black Watch by Gregory Burke, rehearsal rooms and theatres and of other writers and artists. which won four Laurence we share it with audiences across Olivier Awards amongst a

8 9 ant to find out what Too often a sequel is forced upon happened to Rick and filmmakers by studios looking to Ilsa after the closing capitalize on good box office, but Wmoments of Casablanca? Ever what connects the above examples is wondered how the Wicked Witch a desire by their creators to wait until spent her days before Dorothy the time is right to tell the next part arrived in The Wizard of Oz? Keen of their character(s)’ story, rather than to see how the simians took over simply making a quick cash grab. in Planet of the Apes? The makers of the Toy Story Answers can be found in Michael franchise knew that the audience Walsh’s 1998 novel, As Time Goes cared for Woody, Buzz and Co By, Gregory Maguire’s 1995 book and wanted to spend more time (and musical), Wicked and 2011’s in their company, allowing them Rise of the Planet of the Apes, just to watch in “real time” as Andy three of the numerous sequels, grew up and grew out of his prequels and reboots that have plastic pals. In the Before... films, proliferated in recent years. Jesse and Céline’s conversations These days we’re used to were the results of years of shared scanning cinema listings and lives and experiences, feeling seeing follow-ups to a hit genuine as a result. film we probably weren’t that At the other extreme, there are interested in the first time many examples of film sequels that around, while a stroll around a prove what can happen when cash bookshop inevitably reveals a comes before scruples. Forget what new installment in a teen vampire made the original so well loved and franchise or the latest case for a you risk alienating the very people quirky New York pathologist/ who helped make it a success. psychiatrist/District Attorney If I’ve avoided mentioning turned PI. the notion of sequels in theatre Sequels can be worth making. up to this point, that’s because Pixar’s Toy Story 3 is regularly the medium remains relatively touted as being as good as, if untarnished by the phenomenon, not better than, its predecessors. though they do exist. Richard Linklater’s Before Sunrise, Shakespeare was known to Before Sunset and Before Midnight, a dabble with sequels in his history ON SEQUELS trilogy of romantic dramas starring plays, while Falstaff appears in Ethan Hawke and Julie Delpy as Henry IV Parts I and II and the later By Jonathan Melville Jesse and Céline, are adored by The Merry Wives of Windsor. In reprinted from the 2013 Production Program their fans in equal measure. musical theatre, Andrew Lloyd

11 Macbeth by John Martin, around 1820. “Martin has created a highly original In Shakespeare’s great tragedy Macbeth, “high Dunsinane Hill” is Macbeth’s castle or interpretation of the witches’ meeting with Macbeth and Banquo from Shakespeare’s stronghold. Pictured above, the remains of two forts on Dunsinane Hill, namesake of tragedy Macbeth.” National Galleries of Scotland. Public Domain. Greig’s Dunsinane. Dunsinane and Birnam Wood by (see photo copywright via flickr)

Webber’s long-running The Phantom In Macbeth, we’re faced with a As with any great play, Dunsinane but anyone overly concerned that of the Opera gained a follow-up with play staged for centuries and put works on different levels. Those Shakespeare is being compromised 2010’s Love Never Dies. on film numerous times. Endlessly who want a straightforward story should remember that the original is One of the reasons for there not quotable, it’s still one of the most will find one in the relationship still available and waiting to shock, being a great amount of theatrical accessible of Shakespeare’s works. between Gruach (Lady Macbeth), enthrall and intrigue audiences for sequels is that it can often be There’s also the incomparable Siward and those around them. generations to come. difficult to see the first installment Lady Macbeth, the template for Dig deeper and parallels between of a production. It’s simple enough strong fictional female characters events in Dunsinane and those in Jonathan Melville, freelance arts to pick up a copy of Iron Man on through the ages. post 9/11 Afghanistan are easy to journalist, twitter.com/jon_melville DVD before heading out to see the Greig transports us to a Scotland find, ensuring the play has an added latest sequel, but nipping out to where the King may be dead, relevance to modern audiences. catch a tour of an obscure Russian but his wife is still scheming It also helps that Greig is himself play could be difficult. and the English are wondering a Scot, bringing with him some Which brings us to David Greig’s just what they’ve got themselves local perspective on the characters, bold decision to make his way up into north of the Border. They’re their motives and the politics Dunsinane Hill and into the lives an occupying force in a strange unique to the country. of characters known the world land, one which isn’t quite as Dunsinane may be as close to an over for more than 400 years. welcoming as they’d expected. “official” sequel as it’s possible to get,

12 13 n his essay, A Philosophical Enquiry makes the timeless Dunsinane even Into the Origin of Our Ideas of more timely today. As Greig notes: the Sublime and Beautiful (1757), “Civil wars are always with us.” Ithe great parliamentarian and If Macbeth is “the Scottish play,” philosopher Edmund Burke argued then Dunsinane reverses that—it’s that we like to go to violent plays for a play about English people. It the same reason that people went tells of an English garrison trying to hangings; not because violence to survive in a hostile land, just as improves us but because it interests our “peacekeeping” forces have us, as long as it’s happening to struggled in distant lands of late. someone else. When Greig’s play begins, Macbeth There is no bloodier play in the is dead. The queen has not taken Shakespearean canon—with the her own life. She is very much exception of Titus Andronicus— alive and she certainly has not than The Tragedy of Macbeth. “And “unsexed” herself. We encounter an yet Macbeth is a play that I would icily regal woman, who is cleverly happily sit through on a weekly playing the occupying army, led basis,” says David Greig, author of by the aristocratic Siward [Earl of Dunsinane, a magnificent “sequel” to Northumbria], at various complex Shakespeare’s version of the life and games while carving up clan death of the Celtic warrior-king and allegiances. his “fiendlike” queen. “And this is where, I think, events Greig was inspired to write in Syria are relevant,” says Greig. Dunsinane after seeing a production “What interests me is this impulse of Macbeth at Dundee Rep. “I really to do good, which can often end up like the play,” he confesses. “I like causing as much or, indeed, more the narrative of it and I love seeing bloodshed. In Dunsinane, Siward different actors playing it. I also doesn’t begin by wishing to cause admire the space it gives actors harm—he believes himself to be to explore these two archetypal doing the right thing. I’m actually figures, particularly Lady Macbeth.” fond of Siward, a man of action He remembers seeing five or six who finds himself in a confusing John Singer Sargent: Ellen Terry as Lady Macbeth . Oil painting. 1889 productions in the UK in rapid situation. He ends up mired in succession, always wanting the play trouble and even more violence. to carry on, longing to see part two. The sad thing is, in war, one man’s “I kept wondering, ‘What happens downfall is the downfall of many. after the dictator falls?’” “Bizarrely, when I began writing Dunsinane is Greig’s “response” to the play, which tells a story but is that question. “If Macbeth is about also a speculation, I didn’t know the toppling of a dictator, then we that this desire to do the right thing see in it a mirror of the Romanian would become increasingly relevant.” dictator Ceausescu or Gaddafi, say, Then, of course, there is Lady and the really interesting question Macbeth, the wicked power behind is what happens next,” Greig the throne. But here’s a thought to explains, adding that he began conjure with. I ask Greig, who has writing as Saddam Hussein’s regime adapted Roald Dahl’s Charlie and the in Iraq crumbled. A great deal of Chocolate Factory, how surreal it is to violence was actually happening go from that deliciously dark world to other people, not only in Iraq to the dark drama of Dunsinane. “It’s by Jackie McGlone but in Afghanistan. Tragically, the funny, but Willy Wonka [eccentric Reprinted from the 2013 production program. continuing unrest in the Middle East chocolatier and maverick recluse]

15 is actually a very Shakespearean cousin and father of her son, Lulach. doubly royal woman played an Fiona was so helpful—while character,” responds Greig. “He’s Is her image as a virago a farrago of active role both in her marriage and Macbeth emerged from nowhere. a huge character—and that is lies? Why is it that she seems more in public life more generally,” Watson It’s that discovery that made me very appealing to me. I really like of a monster than Macbeth? And writes, stressing that Gruoch made actually rethink the play, that and approaching characters who have why is it that, most troublingly, of all a political match with Macbeth. Her the fact that when rehearsals began, mythologies about them, characters Shakespeare’s characters the Macbeths first husband had been murdered we were embroiled in Afghanistan. that you can’t quite get to the bottom seem the most “modern”? by him. She and her fatherless son So, I see Gruach as a woman of of—whether that’s Willy Wonka or “One of the things I love about needed a strong protector; Macbeth authority, but I also wanted her to Lady Macbeth. There’s the same Gruach is the fact that she doesn’t talk fit the bill perfectly. have her own story. appeal, to try to explore them further.” much,” says Siobhan Redmond, who Was Macbeth’s queen mad, bad “Of course it’s cheeky to write a So who was this woman who, is playing the seductive, flame-haired and dangerous to know? sequel to a great Shakespeare play, surely for the first time ever, has queen for the third time, finding ever “I think today but I wanted to been spoken of in the same breath as more contemporary resonances in the that when reclaim a bit of Willy Wonka? Who was the woman character. “She’s a woman with secrets, women get to a our history, and who married a king who murdered a marvel. It’s admirable that she never certain age we’re that’s how I feel his way to the throne, but brought wastes words. However, that does not often described about Gruach. regime change and peace to Scotland mean that she’s not telling the truth. as ‘mad,’ but I I’m reclaiming in brutal times? I think she is always telling the truth do think she’d her, too, although The academic, historian and but she’s not always telling the whole have made there’s a cheekiness broadcaster, Fiona Watson believes truth. She’s cool enough to think before an excellent in saying, ‘Well, that we can’t lay all the blame on she speaks, an enviable quality.” warrior herself,” maybe Lady Shakespeare for the demonizing “Ah, the silence of medieval Redmond Macbeth was a bit of the Macbeths. The king’s women!” exclaims Watson, to believes. more like this.’ I posthumous reputation had been whose impressive and illuminating “One thing don’t think that bloodied, besmirched and blackened researches, Greig insists he’ll be Gruach does she’s a silent by Scotland’s mythmakers—early forever indebted, while echoing not do is ask woman—indeed, practitioners of the black art of Watson’s view that the real queen for anybody’s that’s evident in the spin—long before an Englishman has perhaps been wronged by approval, final confrontation dramatized his tragic rise and fall. history even more unjustly than despite between Gruach In her scholarly, “factional” Macbeth himself. Gruoch is her awful Lady Macbeth by Johann Heinrich Fuseli, 1784 and Siward, biography, Macbeth: A True Story*, conspicuous by her absence from the circumstances— when she releases Watson points out that Shakespeare’s chronicles and sources scoured by she is, after invective upon him, Macbeth bears no resemblance to the Watson in her intellectually rigorous all, a prisoner of war but she’s a which feels like a curse. The war is king who ruled between 1040 and determination to fill in the “gaping politician, too.” embedded and it will not go away 1057/8. “It is difficult to exaggerate how crevasses” in our knowledge about Greig says: “Once you take so I was interested in her ability to great an injustice history has inflicted Macbeth’s 17-year reign. another point of view of Macbeth call that up—her very real power to on him and his queen, although Do not, however, be tempted himself from Shakespeare’s, then lay a curse.” Shakespeare was merely repeating, with to interpret Gruoch’s absence as you have to think again about this some of his own embellishment, what indicative of a weak and submissive woman, who has been painted as Jackie McGlone is a freelance was already being said by the Scots personality, warns Watson, pointing monstrous. You have to recognize feature writer. themselves,” she says. to the uniqueness of Gruoch’s only that she may have been behaving Macbeth’s queen was Gruoch— recorded foray into public life. She not only rationally but with honor. *Macbeth: A True Story, by Fiona Gruach in Dunsinane—great-great- was named with her husband in I’m not saying that Gruach is a Watson (Quercus, $13.95) great-granddaughter of Malcolm documents relating to the gift of land good woman. She’s in a complex I. Macbeth had married her after to the Culdee monastic community situation—and she’s a queen. The slaughtering her first husband, of St Serf’s, an island in Loch Leven, real woman came from a very Gillacomgain of Moray, Macbeth’s Fife. “An undeniable hint that this important clan—and this is where

16 17 “the SCOTTISH play”

by Clare Wallace

ince the 1990s, Scottish playwright David Greig has built for himself a reputation as not only one of the most prolific but Smore importantly as one of the most talented, intellectually stimulating writers of his generation. Greig’s work is extremely varied, ranging from collaborations with Suspect Culture, the experimental theatre company he co-founded in the 1990s, to plays for young people, adaptations, expansive national histories and miniature plays touching massive political issues. Yet despite its obvious diversity, questions of proximity and distance, belonging and difference are among the dramatic concerns in all his work, even his recent light-hearted pieces such as Midsummer (2008) or The Strange Undoing of Prudencia Hart (2011). Greig’s theatre brims with metaphors of dislocation, with questions of value, power and the possibility of community—matters intrinsically political by nature. Greig himself is alert to these issues, however as his comments in State of Play (1999) and Cool Britannia? (2008) reveal, he has been careful to avoid simplistic conjunctions of theatre and politics. For him, theatre is most incisive when it “poses questions about society to which it does not already know the answer,” when

David Greig. Photo by Murdo MacLeod for the Guardian Murdo MacLeod/Guardian, 2014. it intervenes creatively in “the management of the imagination.”

18 19 Dunsinane is indeed a play that Paula Vogel’s Desdemona: A Play with the referendum on Scottish success of the military operation mines the potential of disorientation About a Handkerchief (1979) are independence in 2014. Taking such is soon mitigated by the discovery in order to pose open-ended just a few strikingly contrasting a context into account, we can see that Gruach—Lady Macbeth—is questions. Using its Shakespearean examples of works with overtly that Dunsinane gestures toward alive, and that her son and heir to precursor as springboard, Greig Shakespearean points of reference. several issues simultaneously. the throne has escaped. Macduff launches a nuanced exploration What remains exciting about Which of these audiences and and Malcolm, it transpires, have fed of the disparities and pitfalls of such experiments is the way such reviewers recognize as most the English with misinformation so transnational communication and overt intertextuality can produce significant depends on where the as to win the throne. This presents the amorphousness of national an interaction between texts play is produced. For instance, as Siward with the undesirable task imagined communities. The play that is destabilizing, playful and noted in The Theatre of David Greig, of administering justice and peace begins with the closing conflict productive of unexpectedly new when performed first in London in brokering in an internally divided of Shakespeare’s Macbeth as perspectives, rather than a matter 2010, it was understood in terms Scotland. The play is organized the English army camouflage of mere priority or homage. In of international in four sections themselves in preparation for an interview for the BBC, Greig politics; when The otherness of that chart the the final attack on Macbeth’s describes Dunsinane as an act of transferred seasons, and stronghold. It goes on to envisage speculation. As a sequel to Macbeth, to theatres in Scotland is woven Siward’s growing what happens after Macbeth the play only partially overlaps with Scotland it was of three main disillusionment is deposed and the new king, its predecessor. Its title explicitly seen as “a major strands: linguistic and brutalization Malcolm, is installed. Action hails Macbeth and the location of its statement of in an environment is centered on the principled concluding action, but directs us Scottish identity difference and that becomes more, English general Siward, his away from Shakespeare’s tyrant to at a time of semantic instability, rather than less, alien youthful soldiers, and their the site of his demise, suggesting the flux.” Greig’s the complexity of as time proceeds. fateful interaction with the Scots, precedence of place over personage. Macbeth sequel The otherness of as they find themselves in the The fact that Macbeth already is thus an act of political allegiances Scotland is woven midst of alien territory on an bears a metonym provides an added speculation with and the unfamiliarity of three main impossible peacekeeping mission. dimension to this game of title subversive intent; of the environment strands: linguistic In consequence, Dunsinane has a and entitlement. The tradition of it is, he explains and climate. difference and disconcertingly bifocal quality, superstitiously referring to Macbeth to Nigel Wrench, semantic instability, merging Greig’s intertextual as “the Scottish play” may seem an “answering the complexity engagement with Shakespeare’s a trivial occlusion, but it creates a back […]. Playing with some of of political allegiances and the Macbeth with an allegorical certain eddy of cultural irritation those concepts and characters, and unfamiliarity of the environment and dimension that intimates the even for Greig, who habitually claiming just a little bit of history climate. resonances between the tale of distances himself from simplistic from another point of view.” The Like Brian Friel’s Translations Scotland in the Middle Ages and national allegiances. As he mentions intertextual underpinning of (1980), Dunsinane plays with more contemporary territorial in interview with Nigel Wrench: “to Dunsinane clearly works as a cultural language barriers and linguistic conflicts in Afghanistan and Iraq. some degree for Scottish writers, intervention on a number of levels. competencies. The performance Rewriting or reorienting a it’s always felt a little bit cheeky One of Greig’s premises is to is, of course, in English but as is Shakespeare play in modern that unquestionably the greatest question the “truth” of Shakespeare’s indicated in the prefacing stage theatre is a fairly frequent practice; Scottish play was written by the Macbeth, a figure very dissimilar to directions the Scottish characters Tom Stoppard’s Rosencrantz and great English playwright.” It is one the historical King Macbeth. Hence speak Gaelic, while the educated, Guildenstern Are Dead (1966), that since Dunsinane’s premiere the play begins where Shakespeare’s privileged Scots are bilingual. The Edward Bond’s Lear (1971) and in 2010 has entered a new phase Macbeth concludes. The apparent monolingualism of the English

20 21 places them at a disadvantage language is the forest” (76) says in their chosen role as mediators Gruach. The texture of the imagery and arbiters of justice. In a very here echoes the play’s opening real sense the limits of Siward’s scene, where the soldiers disguise language competence are the limits themselves as Birnam Wood. Just of his understanding of the world. as that military force is allegedly Gruach is especially disparaging “impenetrable,” (12) so too it seems about the shortcomings of English is the Gaelic tongue. And, as soon (and by implication, the English)— becomes evident, in the linguistic “Your English is a woodworker’s forest it is easy to lose one’s way. tool. […] Simple matters. A soldier’s What Dunsinane vividly shows are language sent out to capture the the ways in which language is much world in words. Always trying to more than a vessel of meaning, it is describe.” (76) By contrast, Gaelic is a system of knowing and of identity apparently detached from a simple that delineates the contact zone denotative function, “We long gave between the cultures in the play. up believing in descriptions. Our

Clare Wallace is an associate professor at the Department of Anglophone Literatures and Cultures at Charles University in Prague. She is author of The Theatre of David Greig (2013) and Suspect Cultures: Narrative, Identity and Citation in 1990s New Drama (2006) and is editor of Monologues: Theatre, Performance, Subjectivity and Stewart Parker Television Plays (2008). Co- edited books include, Cosmotopia: Transnational Identities in David Greig’s Theatre (2011) with Anja Müller, Stewart Parker Dramatis Personae and Other Writings (2008) with Gerald Dawe and Maria Johnston, Global Ireland: Irish Literatures for the New Millennium with Ondřej Pilný (2006) and Giacomo Joyce: Envoys of the Other with Louis Armand (2002). She is a member of the editorial board of the Journal of Contemporary Drama in English.

Excerpted from full article published in the e-book Guide to the Season’s Plays Darrell D’Silva as Siward. Photo by Simon Murphy. 2014-15 available for purchase for the Kindle or Nook.

22 CAST BIOGRAPHIES

FREDDIE BENNETT+ performed in The Three Sisters (Tron Theatre) the Royal Shakespeare Company). Other (Grid Iron), David Leddy’s Untitled Love Supernumerary and This Is Ceilidh (PW Productions). theatre work includes The Three Sisters Story and Doubt, and Days of Wine and Roses STC: The Tempest. (Tron, Glasgow), This is Ceilidh (PW (Theatre Jezebel). REGIONAL: Florida Studio DARRELL D’SILVA Productions),The Baroness (Dogstar), Theatre: Ruined; Hartford Siward The Satire of the Three Estates (AandBC TOM GILL Stage: Antony and Cleopatra; Darrell trained at the Theatre), Be Silent or Be Killed, From The Boy Soldier Pennsylvania Shakespeare Festival: Julius Drama Centre London. These Parts (Right Lines), Knight and the Tom trained at Guildford Caesar. FILM: Delusions of Guinevere. His previous work with Crescent Hare (Ankur), King Lear (Citizens, School of Acting. His TRAINING: University of North Carolina the National Theatre Glasgow), The Prince - The Johnny Thomson previous work for the School of the Arts; Circle in the Square. WEB: of Scotland includes the 2014 tour of Story (ATG), Macbeth (Open Book), National Theatre of Scotland Pride. Dunsinane (with the Royal Shakespeare Midsummer (Traverse, Edinburgh), Wake Me includes the 2011, 2013 UK tours and Company). Other previous theatre work In The Morning, Saint One, Saint Catherine’s 2014 Asian and Russian tour of Dunsinane GEORGE BROCKBANKS includes Antony and Cleopatra, Julius Caesar, Day, Baltimire, The Seagull (Òran Mór), The (with the Royal Shakespeare Company). Sergeant and Scottish Lord King Lear, The Winter’s Tale, Camino Real, Not So Fatal Death Of Grandpa Fredo (Vox Tom’s other theatre credits include Goodbye George graduated from the The Spanish Tragedy, Troilus and Cressida, A Motus), An Imagined Sarha, An Arab Woman Barcelona (Arcola), Life On A Plum/Banging Arts Educational School. Month in the Country, A Midsummer Night’s Speaks, Ramallah (Tron, Glasgow), Grumpy Wolves (Wilderness Festival), Zig-Zag Zig- His previous work with Dream, Henry VIII, Dr. Faustus, The Drunks, Charlie Can’t Come out to Play (Theatre Bo), Zag (Manchester International Festival), the National Theatre of Little Eagles, Hecuba (Royal Shakespeare Walden (Magnetic North), Little Red Riding How We Won The World (24:7 Festival), Scotland includes the 2011, 2013 and Company), Making Stalin Laugh (JW3), The Hood (Arches, Glasgow), Cinderella, Mother Stomp (Theatre503), Territory (The Lowry 2014 tours of Dunsinane (with the Royal Rose Tattoo, Tales From The Vienna Woods, Goose, The Odd Couple (Female Version), & Pleasance Theatre) and Spring Awakening Shakespeare Company). Other theatre Closer, The Royal Hunt Of The Sun, Further Sleeping Beauty, Death of a Salesman, Proof, (Ben Kingsley Theatre). Film work includes work includes DNA (Hull Truck Theatre/ Than The Furthest Thing (National Theatre), Sinbad and the Lost Princess, The Little Foxes Eden Lake and Angels in Small Change. Tom is UK tour), A Midsummer Night’s Dream Hedda Gabler (Old Vic ), Public Enemy, Six (Perth Theatre), Sunshine on Leith, Sweet Bird also a Spoken Word Artist and is the current (Shakespeare Youth Festival) and Territory Characters In Search Of An Author (Young of Youth, A Midsummer Night’s Dream, The UK Slam Poetry Champion. He was winner (Pleasance, Islington). Theatre workshops Vic), Children’s Children (Almeida), The Talented Mr. Ripley, The Graduate, The Visit, of the Kate Tempest Lyrical Fireworks award include Wendy and Peter Pan (Royal White Devil (Menier Chocolate Factory), Merlin The Magnificent, Macbeth (Dundee in association with Paines Plough and has Shakespeare Company) and Tomorrow I’ll Paradise Lost (Northampton), Franco Rep), Othello, A Midsummer Night’s Dream featured at a range of venues and festivals Be Happy (RNT Studio). His television work Zeffirelli’s Production of Absolutely! (Bard in the Botanics), Damages (Rapture across the UK including Ronnie Scott’s Jazz includes Doctors and Hollyoaks, and his film (Perhaps) (Wyndhams Theatre), Antarctica Theatre). Television work includes River Club, Vault Festival & Tricycle Theatre. credits include The Rise and Fall of the Krays, (Savoy), Romeo and Juliet, The Three City and New Town. Frederick (short) and Dirt (short). Musketeers (Sheffield Crucible). His TOYIN OMARI-KINCH television work includes Father Brown, KEITH FLEMING Eric the Archer HELEN DARBYSHIRE Top Boy, Criminal Justice, Spooks, Prime Macduff Toyin trained at The Gruach’s Attendant and Suspect, Out of the Blue, Messiah, Krakatoa: Keith is a former member Birmingham Theatre School. Hen Girl The Final Days, Eleventh Hour, Lawless, of Dundee Rep Ensemble His previous theatre credits Helen trained at the Royal Queen of Swords, Wokenwell and A Very where he appeared in over 35 include Fields Unsown (Attic Scottish Academy of Music British Sex Scandal. His film work includes productions, during which Theatre Company), Circles, At The Gates and Drama (RSAMD). Her The Throwaways, Northmen: A Viking Saga, he was the winner of the Best Actor Award Of Gaza, Transmissions, It’s Just A Name previous work for the National Theatre of Montana, Closer To The Moon, Dirty Pretty at Critics’ Awards for Theatre in Scotland. (Birmingham REP), Empty (FT/Belgrade Scotland includes the 2013 UK tour and the Things, Jimmy’s End, His Heavy Heart and His previous work for the National Theatre Theatre), The Day The Waters Came (Theatre 2014 Asian and Russian tour of Dunsinane Song. Darrell is an Associate Artist at the of Scotland includes Dunsinane (2014 tour Centre/tour), The Lost Happy Endings (with the Royal Shakespeare Company). Royal Shakespeare Company. with the Royal Shakespeare Company), (Red Earth/MAC, Birmingham), Brothers Her other theatre work includes The Vagina Black Watch, Beautiful Burnout (with Frantic (Greenwich and Lewisham Young People’s Monologues (Mark Goucher production), After EWAN DONALD Assembly), The Miracle Man, The Making of Theatre (GLYPT), Not Quite Gospel (Nu the End (Pleasance, Edinburgh/Dundee Rep), Malcolm Us and Peer Gynt (with Dundee Rep). Recent Century Arts), Marcus The Sadist (Jonzi D The Firebird, Anna Karenina, The Rise and Fall of Ewan trained at Edinburgh work includes The Union (Royal Lyceum Productions), Promise (Belgrade Theatre), Little Voice, Sleeping Beauty, A Doll’s House and Telford College and Queen Edinburgh), Miss Julie (Citizens, Glasgow) Theatre Café Sweden, Theatre Café Banyan Trees (Dundee Rep), The Seagull (York Margaret University and Macbeth (Perth Theatre). Other theatre (Company of Angels), The Flying Machine Theatre Royal/ RSAMD), Sleeping Beauty, College. His previous work work includes The Dark Things, Pandas (Unicorn) and Fool’s Paradise (The Drum). Romeo and Juliet (RSAMD) and Sleeping Beauty with the National Theatre of Scotland (Traverse, Edinburgh), Squash, Call of the Wild, His television work includes Doctors, The (Perth Theatre). This past Christmas 2014 she includes the 2014 tour of Dunsinane (with An Incident at the Border (Òran Mór), Barflies Door and Games Men Play.

24 25 ALEX MANN includes the 2014 international tour of Choice, Metagama (Theatre Hebrides) and SIOBHAN REDMOND Egham Dunsinane (with the Royal Shakespeare her self-penned solo show Beasts of Holm Gruach Alex trained at the London Company). Theatre whilst training includes (Edinburgh Festival Fringe). Film and Siobhan trained at Bristol Academy of Music and Machinal (Royal Court, London), A New Face television credits include Katie Morag, Two Old Vic Theatre School. Dramatic Art. His previous for Fast Times (Drywrite at Soho Theatre), Days in October, Bannan, Taggart, Crowdie Her work for the National work for the National Othello, Much Ado About Nothing, Pillars of and Cream, Bad Brown Owl, PC Alasdair Theatre of Scotland Theatre of Scotland includes the 2011 and the Community, The Provoked Wife and Three Stewart, Lostbost, Broadford or Bust, Na includes the 2011, 2013 and 2014 tours of 2013 tours of Dunsinane (with the Royal Sisters. His television work includes The Daoine Beaga, Iomadh Rud, Miughlaigh Dunsinane (with the Royal Shakespeare Shakespeare Company) and for the Royal Dog Thrower. He is a member of Scaffold and An Roghainn. As a singer, Mairi has Company), The House of Bernarda Alba and Shakespeare Company Shakespeare in Shakespeare Company. performed at many festivals and appeared Mary Stuart. She is an Associate Artist of a Suitcase. Other theatre work includes on numerous music programmes. She the Royal Shakespeare Company and her Strangers on a Train (English Theatre MATT McCLURE performed at the Olympic Torch Ceremony work there includes Richard III, King John, Frankfurt), The Miser (Watermill, Newbury), English Soldier, Scottish Soldier in Glasgow and her collaboration with Twelfth Night, The Comedy of Errors, Much Chavs (Lyric, Hammersmith), Sunday is and Scottish Lord Alasdair Roberts, Urstan, was voted one Ado About Nothing and The Spanish Tragedy. the New Saturday (Edinburgh Festival Matt trained at Langside of The Herald Newpaper’s top 50 albums of Other theatre work includes Exit the King Fringe), The Art of Success, New England, College in Glasgow. the year in 2012. Mairi also has extensive (Ustinov Studio, Bath), Red Rabbit, White The Permanent Way and The Cherry Orchard Previous work with the experience as a voiceover artist. Rabbit (Traverse Edinburgh), The President (London Academy of Music and Dramatic National Theatre of Scotland includes the Has Come To See You, Death Tax and Untitled Art). Television work includes At Home with 2014 international tour of Dunsinane (with SHANE O’LOUGHLIN Matriarch Play (Open Court, Royal Court), the Georgians and Hustle. Film work includes the Royal Shakespeare Company) and Black Supernumerary Doctor Faustus (West Yorkshire Playhouse/ Maleficent. Radio work includes Dunsinane. Watch. Other theatre credits include A Model Shane trained at the Citizens, Glasgow), A Midsummer Night’s Life (Velvet Trumpet), Antigone, Sunset Song University of Maryland. His Dream (Shakespeare’s Globe), The Prince DAVID MAVRICOS (Citizens, Glasgow) and Observe the Sons regional credits include: Yentl of Homburg (Donmar Warehouse), Dido, Supernumerary of Ulster Marching Towards the Somme (XLC (Theater J), BFG (Imagination Queen of Carthage (National Theatre of Great David Mavricos received Theatre Company). Television work includes Stage), A Bid to Save the World (Source Festival), Britain), Perfect Days (Traverse, Vaudeville), his MFA at The Shakespeare River City, KNTV, Just for Laughs Sketch Show Look Homeward, Angel (Compass Rose Theater), An Experienced Woman Gives Advice (Royal Theatre Company’s Academy and Yo! Diary. Film work includes The Wee A Commedia Romeo and Juliet (Faction of Fools), Exchange, Manchester) and The Trick is to for Classical Acting at George Man (winner of Cineworld Audience Award Molière Impromptu, Dead Man’s Cell Phone, A Keep Breathing ( Tron, GlasgowithRoyal Washington University. His D.C. credits include at BAFTA Scotland). Midsummer Night’s Dream, A Measure of Our Court). Television work includes Code of A Midsummer Night’s Dream (Chesapeake Lives, Rent, A Wild Play, Minotaur, Enchanted April a Killer, Case Histories, Bob Servant, The Shakespeare), The Tempest (Annapolis MAIRI MORRISON (University of Maryland). Town, The Smoking Room, The Catherine Tate Shakespeare), The Comedy of Errors (Lean Gruach’s Attendant and Show, The High Life, Sorry About Last Night, & Hungry Theater), The Two Noble Kinsmen Gaelic Singer ZACK POWELL In The Red and Between The Lines. Film (Brave Spirits Theatre), She Stoops to Conquer Mairi trained at the Royal Supernumerary work includes Alice Through the Looking (Pallas Theatre Collective). His regional credits Scottish Academy of Zack’s regional Credits Glass, Beautiful People, Captives, Duet for include Romeo and Juliet, Othello, As You Like Music and Drama. Her include Twelfth Night, One and Latin for a Dark Room. Radio work It (MaineStage Shakespeare), The Pirates of work for the National Theatre of Scotland Sherlock Holmes: The includes 10 series of McLevy for BBC Radio Penzance, Picasso at the Lapin Agile (New includes the 2013 UK tour of Dunsinane Last Adventure, Measure 4. Recently she has narrated Noyes’ Fludde London Barn Playhouse). Visit his website at (with the Royal Shakespeare Company) for Measure, The Tempest, King John, and with the BBC Scottish Symphony Orchestra davidmavricos.com and A Dead Man’s Dying (with Òran Mór). Romeo and Juliet (educational tours, Utah and The Snow Queen with the Royal Scottish Other theatre credits include Whisky Kisses, Shakespeare Festival), The Winter’s Tale, National Orchestra. ARTHUR McBAIN The Admirable Crichton, The Yellow on the Romeo and Juliet, Othello, As You Like It, English Soldier Broom, Perfect Days (Pitlochry Festival Twelfth Night, Comedy of Errors (Theatre for Arthur trained at the Theatre), Angus, Weaver of Grass (Horse Young Audiences, Illinois Shakespeare Oxford School of Drama. and Bamboo Theatre), Jacobite Country, The Festival), Cabaret, Godspell (Off-Square His previous work for the Seer (Dogstar), Eat Your Heart Out (Òran Theatre Company). National Theatre of Scotland Mór), Roghainn nan Daoine/ The People’s

26 27 ARTISTIC BIOGRAPHIES

David Greig Gothic Tales, The Tall One, The Tape Recorded Great Scott! Playwright Highlights of a Humble Bee, The Good Father and David’s work for the National Theatre of Brace Position. Scotland includes Glasgow Girls; The Great Yes, An app to map your story and No, Don’t Know Five Minute Theatre Show; One Robert Innes Hopkins Day in Spring; The Strange Undoing of Prudencia Designer discover what’s near you. Hart; Peter Pan; The Bacchae; Futurology: A Robert’s designs for the National Theatre Global Review and Gobbo. Other theatre work of Scotland include A Doll’s House and the includes The Events, Victoria, Charlie and The original production of Dunsinane, previously Zaytinya Chocolate Factory, The Monster in the Hall, for the Royal Shakespeare Company at Midsummer, Yellow Moon, Letter of Last Resort, Hampstead Theatre. Theatre credits include 701 9th Street, NW Miniskirts of Kabul, Kyoto, Being Norwegian, Neville’s Island and King Lear (Chichester Dinner Damascus, Pyrenees, San Diego, The American Festival Theatre), Swallows and Amazons Pilot, Outlying Islands and The Cosmonaut’s (West End/ UK tour/ Bristol Old Vic),Bingo Last Message to the Woman He Once Loved in (Young Vic/ Chichester), The Last Summer the Former Soviet Union. Work with Suspect (Gate, Dublin), Children’s Children (Almeida), Culture includes 8000m, Lament Timeless, Clybourne Park (Royal Court/ West End), Mainstream and Airport. The Priory, The Pain and the Itch, Wanderlust, Tusk Tusk (Royal Court), Goodnight Mr. Tom Roxana Silbert (UK Tour), Wallenstein, Carousel (Chichester), Sidney Harman Hall Director Twelfth Night, Romeo and Juliet (Regent’s Roxana is Artistic Director of Birmingham Park Open Air), Marble (Abbey), Promises, 610 F St. NW Repertory Theatre for whom she has directed Promises (TMA Designer of the Year “Dunsinane” Molière’s Tartuffe, the world premiere of Khandan Award—Sheffield Crucible), The Resistible (Family) (with the Royal Court) and most Rise Of Arturo Ui (National Actors Theatre, recently Of Mice and Men. Previously, she was New York), Dallas Sweetman (Canterbury Associate Director of the Royal Shakespeare Cathedral), Our Country’s Good (Liverpool Company, where her work included A Soldier in Playhouse), The Weavers (Critics’ Circle Every Son, Galileo, Measure for Measure, Richard Designer of the Year Award—Gate, London), III, Shakespeare Shorts, Such Tweet Sorrow (the Pinocchio (Royal Lyceum, Edinburgh), The world’s first Twitter play), Little Eagles and Member of the Wedding (Young Vic), The Brixton Stories. As Artistic Director of Paines Malcontent (Royal Shakespeare Company), Plough, her work included Orphans, Roaring The Comedy of Errors (Critics’ Circle Designer Trade, Being Norwegian, Between Wolf and Dog, of Year Award, RSC), The Wasp Factory (TMA Long Time Dead, Strawberries in January, After the Designer of the Year Award, West Yorkshire Lansburgh Theatre End and Dallas Sweetman. As Literary Associate Playhouse) and My Mother Said (TMA 450 7th Street, NW of the Traverse Theatre, her work included The Designer of the Year Award—Oxford Stage Young Prose Night Slab Boys, Still Life, The People Next Door, Iron, 15 Company). Opera credits include Maometto Seconds and Greenfields. As Associate Director II (Garsington Opera), Nabucco (De Vlaamse at the Royal Court, her work included At the Opera), Tristan und Isolde (La Fenice), The Table, Still Nothing, I Was So Lucky, Been So Long, Bartered Bride (New Zealand/ Valencia/ Fairgame, Bazaar, Sweetheart, Essex Girls and Strasbourg/ Opera North),Tristan und Isolde Mules. Her freelance work includes Whistle in (Oslo), Lohengrin (San Francisco/Houston/ the Dark (Citizens, Glasgow), Under the Black Geneva), Wozzeck, Billy Budd (Santa Fe), Flag (Shakespeare’s Globe), Precious and Blonde Peter Grimes (Oslo/ Washington DC/Santa Bombshells of 1943 (West Yorkshire Playhouse), Fe), Paradise Moscow (Opera North),Norma, Property (National Theatre Studio, London), La bohème (Grange Park), Betrothal in a Damages (The Bush), The Price (Bolton Octagon), Monastery (Glyndebourne/Valencia) and Die Top Girls and Translations (New Vic), Cadillac Soldaten (Openwelt Set Design of the Year Ranch (Soho) and Slash Hatch on the E (Donmar). Award, Ruhr Triennale). Radio work includes Hysteria, Billiards, Japanese www.maphook.com

29 Chahine Yavroyan Global Review (with Suspect Culture) and an MA in Directing from the Central School (NI Opera), Elisir d’amore, The Barber of Lighting Designer The Wolves in the Walls (with Improbable). of Speech and Drama in London, and Seville and Manon Lescaut (Opera Holland Chahine’s previous work with the National Other recent composition and sound design trained on the National Theatre’s Director’s Park), Orpheus in the Underworld (Scottish Theatre of Scotland includes Let the Right work for theatre includes Of Mice And Men Course. Luke was Artistic Director of Opera). Anna’s direction credits include As One In, Caledonia, Realism, Elizabeth Gordon (Birmingham Rep), Othello (National Theatre Mulberry Theatre Company and Associate Strange A Maze (Sensations Festival and The Quinn and The Wonderful World of Dissocia. of Great Britain), A Life Of Galileo, Richard III Director of the David Glass Ensemble for Roundhouse), On Progress (Hampton Court Theatre credits include Bright Phoenix (Royal Shakespeare Company), The Nether, whom he directed the London production and Latitude Festival, Waterfront Stage), (Liverpool Everyman), Punk Rock (The The Mistress Contract, Narrative, Get Santa, of Gormenghast (Battersea Arts Centre). Beating Heart Cadaver (Finborough Theatre), Lyric, Belfast), Juvenalia, Dr Marigold and Mr Relocated, The Vertical Hour (Royal Court, He was the inaugural Resident Assistant Masque Arias (Royal Shakespeare Company Chops, Tuesdays at Tescos (Assembly Rooms), London), All My Sons, The Crucible, The Lord Director at the Theatre Royal Plymouth New Work/Stratford River Festival), Tartuffe, Khandan (Birmingham Rep), Of The Flies (Open Air Theatre, Regent’s and Drum, assisting on Love Song (Frantic Ghost Plays (Royal Shakespeare Company The Pass, Narrative, Get Santa, Wig Out!, Park), Los Macbez, Falstaff (Centro Dramático Assembly); Golden Dragon (ATC) and Ubu Young People’s Project), Memories Cabaret Relocated, The Lying Kind, Almost Nothing, At Nacional, Madrid), Penumbra, Tito Andronico (Theatre Royal Plymouth). As Associate or (Chapito, Lisbon). Anna has taught for the Table, Bazaar, Another Year Wasted (Royal (Animalario, Madrid), Urtain, Marat-Sade Assistant Director, Luke has worked for the Central School of Speech and Drama, the Court), King Lear, The House, Major Barbara (Animalario/CDN, Spain) and Sound National Theatre of Scotland (Dunsinane); University of London, Birkbeck College and (The Abbey, Dublin), Molly Sweeney (The Design only for Wolf Hall/Bring Up The Bodies the Royal Shakespeare Company (Richard for the Education Department at the Royal Print Room), A Soldier In Every Son, Measure (Royal Shakespeare Company, West End III and A Soldier In Every Son); the Donmar Shakespeare Company. for Measure, Marat/Sade, God in Ruins, Little and Broadway). Television and film work (Novecento); Paines Plough (Dallas Eagles (Royal Shakespeare Company), includes Beneath the Veil, Death in Gaza, Lip Sweetman) and was a Connections Regional Polly Bennett Farewell, Half a Glass of Water (Field Day, Service and the Spanish features Gente En Director for the National Theatre. As Associate Movement Director Derry), Uncle Vanya (Minerva, Chichester), Sitios and Dispongo de Barcos. He has also Movement Director, productions include Polly is a Movement Director and The Lady From The Sea The Comedy of Errors , , scored three of the films of visual artist Phil Certified Male (Leicester Curve) and Traces Choreographer working across the UK Three Sisters (Royal Exchange, Manchester), Collins. Nick has toured and recorded with (Paines Plough). Luke is also the co- and internationally. She holds an MA in The Vortex (The Gate, Dublin), Scorched (Old many bands and is one half of OSKAR, translator of Lecoq’s Theatre of Movement Movement from Royal Central School Vic Tunnels), Fuente Ovejuna, Punishment who have made two albums, performed and Gesture, published by Methuen, and of Speech and Drama and was Resident Without Revenge, Dr. Faustus (Madrid), live scores for three Prada fashion shows David Bradby’s History of French Theatre. Company Movement Practitioner at the Orphans, Dallas Sweetman, Long Time Dead in Milan and exhibited installations at the Royal Shakespeare Company 2013. She (Paines Plough), Jane Eyre, Someone Who’ll V&A, London and the CCA, Glasgow. Anna Morrissey is currently an Associate Movement Watch Over Me (Perth Theatre), Il Tempo del Movement Director Practitioner at the Royal Shakespeare Postino (Manchester International Festival), Luke Kernaghan Anna is Artist in Residence for the Historic Company. Polly was Assistant Movement How to Live (Barbican). Dance credits include Associate Director Royal Palaces, creating original dance- Director on the London 2012 Opening Jasmin Vardimon Dance, Bock and Vincenzi, Luke Kernaghan is a freelance theatre theatre pieces that respond to the history Ceremony, Mass Cast Choreographer on Frauke Requardt, Colin Poole, Candoco, director, working extensively in the UK and and architecture of Hampton Court, Kew the London 2012 Paralympic Opening Ricochet, Rosemary Lee and Arthur Pita. internationally. He is an Associate Director Palace, Kensington Palace, Banqueting Ceremony, and Mass Cast Choreographer Music work includes XX Scharnhorst (HMS of the multi-award winning company Big House and the Tower of London. Her on Sochi Winter Olympics Opening Belfast), Sevastopol, Home, Dalston Songs h’ART, with whom he has collaborated work for the National Theatre of Scotland Ceremony. Recent credits include Hopelessly (ROH2), Plague Songs (Barbican), The Death on Namatjira (Southbank Centre) and includes Caledonia and for the Royal Devoted, The Angry Brigade (Paines Plough, of Klinghoffer (Scottish Opera), Jocelyn Pook Hipbone Sticking Out (Canberra Centenary Shakespeare Company: Pericles, Antony UK Tours), Helver’s Night (York Theatre Ensemble, Diamanda Galas (International). Theatre). His directing includes: Códice and Cleopatra, Marat/Sade, The Grain Store, Royal), To Kill a Mockingbird (Regent’s Park Site specific work includesWings of Desire The Drunks The Tragedy of Thomas Hobbes Ténoch for the Compañia Nacional de Teatro , , Open Air Theatre, UK Tour), Ragnarok (Victoria Square, Birmingham), Paradise I’ll Be The Devil and Cordelia Dream. Anna’s de Mexico and the Royal Shakespeare (Eastern Angles), Mock Tudor (Pleasance, Lost (Archway Tower, London), Focal Point other movement and choreography Company, Redcrosse (Royal Shakespeare Theatre 503), Anna (Workshop, Aix-en- (Rochester Harbour), Enchanted Parks credits include King Charles III, (Almeida Company), Heartbreak Beautiful (Theatre Provence International Festival), The Web (Newcastle), Dreams of a Winter Night (Belsay Theatre/ West End), Circles (Birmingham Royal Plymouth), The Urban Girl’s Guide to (Young Vic), nut (National Theatre), Pope Hall), Deep End (Marshall St Baths) and Rep/Tricycle Theatre), World of Extreme Camping (Southwark Playhouse), Vantastic Joan (St James’ Church Piccadilly), Fazer’s Ghost Sonata (Sefton Park Palmhouse). Happiness (National Theatre, London), A & Lobster (Oval House), No Way Out (Huis Urban Symphony (Royal Albert Hall/ Christmas Carol (Birmingham Rep), The Clos) (Southwark Playhouse), Rebels & Retail BBC), Hysteria (Hampstead Theatre), A Nick Powell London 2012 Olympic Opening Ceremony (Trafalgar Studios), The B File (Etcetera Mad World My Masters (Royal Shakespeare Composer and Sound Designer (Movement Assistant), Boeing Boeing, Theatre), The Rover (Etcetera Theatre). A Company), The Queen’s Coronation Concerts Nick’s work for the National Theatre of The Village Bike (Crucible Theatre), My graduate of The University of Oxford, with (Buckingham Palace/BBC), Acis and Galatea Scotland includes The Wheel, 27, Realism Generation (West Yorkshire Playhouse), 101 a BA Joint Honours in French and Spanish, (Iford Opera), Short and Stark (Southwark (with Edinburgh International Festival), Dalmatians (Northampton Theatre Royal). Luke also earned a Diploma in Theatre Playhouse), Mudlarks (Bush Theatre), The The Wonderful World of Dissocia (with Opera credits include The Magic Flute (NI Studies from the École Internationale de Festival of Neighbourhood Finale (Royal Edinburgh International Festival/Tron, Opera & Nevill Holt), Macbeth, The Flying Festival Hall), The Lights (The Spring), Glasgow/Drum, Plymouth), Futurology: A Théâtre Jacques Lecoq in Paris. Luke gained Dutchman, Noye’s Fludde, Hansel and Gretel

30 31 Celebrity Night at Café Red (Trafalgar includes Little Eagles and The Life of Galileo. NOW PLAYING Studios), Don Juan Comes Back from the War Most recent work includes Titus Andronicus, (Finborough Theatre), Sum Zero (Lyric A Mad World My Masters, Candide, Wolf Hall, Michael Kahn, Hammersmith Studio) and Love, Question Bring Up The Bodies (Royal Shakespeare Mark (New Diorama Theatre). Company), Tartuffe and The Life of Galileo Artistic Director of (Birmingham REP). Terry King STC, on directing Fight Director Ruth Cooper-Brown of RC-Annie Ltd. Terry has worked extensively as a fight Archery Consultant The Metromaniacs, as Lucille. Amelia Pedlow Suchman. Scott by Photo arranger at all the major theatre companies Ruth Cooper-Brown is a founder and currently onstage in Britain. His credits include Henry director of RC-ANNIE Ltd. Established at the Lansburgh VI Parts I, II and III, Hamlet, Macbeth, in 2005 with Rachel Bown-Williams, Romeo and Juliet, Coriolanus, As You Like RC-ANNIE Ltd is a Dramatic Violence Theatre It, Cymbeline, Singer and Henry V (Royal Company, choreographing action for Shakespeare Company), His Dark Materials, Theatre and Film. Ruth worked extensively What prompted you to select Henry IV Parts I and II, Scenes from the in professional theatre both on stage and The Metromaniacs? Big Picture, Othello, The Duchess of Malfi behind the scenes before training as a (National, London), Our Country’s Good British Academy of Dramatic Combat Our relationship with David Ives has been (Royal Court), Peter Pan (West Yorkshire (BADC) teacher. She is currently the a tremendous one. His previous two Playhouse), Les Liaisons Dangereuses (Old Chairperson of the BADC, the first woman translations of French verse comedies for Vic), Of Mice and Men (Birmingham Rep/ to have held this role and is a member us (The Liar and The Heir Apparent) have London West End), Festen (Almeida/ of the committee of the Paddy Creen become staples of theatres all through London West End), Caligula, Don Carlos, International Stage Combat Workshop. the United States. The last two were both Othello (Donmar) and The People are Previous work with the National Theatre from the 17th century, and we decided we wanted to find one from the 18th century. Friendly (Traverse, Edinburgh). His work of Scotland includes The James Plays (with The Metromaniacs had been a huge success at the Comédie-Française but had for musicals and opera includes Porgy and Edinburgh International Festival/National never been translated into English. Bess, Saturday Night Fever, Martin Guerre, Theatre of Great Britain). Other theatre Jesus Christ Superstar, Oliver!, Spend Spend credits include Kill Johnny Glendenning Can you share a little about the process of working with David Ives? Spend!, The Fifteen Streets, Lautrec, Chitty (Royal Lyceum Theatre, Edinburgh), King Chitty Bang Bang, Guys and Dolls, Billy Elliot Charles, Bakersfield Mist, MOJO (Sonia So much of my work is with writers who are no longer with us. I have to spend a lot the Musical, Cabaret, Fiddler on the Roof, Jerry Friedman), The Colby Sisters of Pittsburg, of time trying to get into the writer’s imagination and heart. It’s a great pleasure to Springer: the Opera, Our House, The Lord of Pennsylvania, Once a Catholic, Paper the Rings, Dirty Dancing, Zorro and Otello. be able to work with David. He’s so talented and quick, so eager to keep looking at Dolls, Red Velvet (Tricycle Theatre), Garw Television work includes The Bill, Casualty, (Theatr Bara Caws), Y Negesydd (Theatr the script and improving it. His French is impeccable, so I know that the spirit of the Eastenders, Broken Glass, Fatal Inversion, Genedlaethol Cymru), A Handful of Stars original play is there, but his imagination is so fertile that I know that he is improving Nerys Glas, The Mayor of Casterbridge, Lucky (Theatre503), Jason (English Touring Opera), on it, especially for modern audiences. Jim, Blue Dove and Rock Face. Aristocrats, Salt, Root and Roe (Clwyd Theatr Cymru), Bracken Moor (Shared Experience/ I’m so pleased how successful he has become as well. Venus in Fur was the most- Stephen Kemble Tricycle Theatre), Jumpy (Royal Court) and produced play in regional theatre last year, and several years before it was The Voice Coach The Snow Queen (Trestle Theatre). Film —and I know pretty soon it’s going to be . It’s just great that he Liar Heir Apparent Stephen is a text and voice coach and actor. credits include Myrrdin, Howl, Cryptic, has continued his relationship with us. He graduated with distinction from the Down Dog, Suspension of Disbelief, The MA Voice Studies programme at the Royal Seasoning House, City Slacker, Cheerful What can audiences expect from his production? Central School of Speech and Drama. In Weather for the Wedding, Deviation and iLL 2011 he became a designated Linklater Manors. It’s a lovely romantic satire. Like many of Shakespeare’s comedies, it’s about voice teacher. The book The Voiceover Book: confused identity: a group of people who are addicted to poetry—hence the title, Don’t Eat Toast, which he co-authored, has The Metromaniacs—fall in and out of love. just been published. He has worked with the Royal Shakespeare Company for seven This is a genuinely light-hearted play. They can expect very, very clever wordplay, years, in Stratford-upon-Avon, London with lots of characters both playing themselves and playing a “part”—the lover, the and in New York as part of The Lincoln sexy maid, the witty servant. All of those types are in it, but some of them have Center Festival residency. In addition to the been turned upside down. classical repertoire, previous voice coaching work for the Royal Shakespeare Company

32 33 THROUGH AUGUST 30TH

ON STAGE THRU MAR 8 AN ODYSSEY OF ARCHITECTURAL ADAPTATION

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Michael Kahn seasons, including Beyond the Horizon, filmed for Chris Jennings Brujo; Strathmore: Butterfly/Saigon, Blind Artistic Director PBS; Chautauqua Theatre: Artistic Director, Managing Director Dates. Finalist for the 2013 European Opera STC: Henry IV, Part 1 and 2, including The Glass Menagerie with Tom Hulce; STC: Joined the Company in Directing Prize (Vienna, Austria). WEB: Wallenstein, The Government Goodman Theatre: Old Times (MacArthur Award), 2004. ADMINISTRATION: AlanPaulDirector.com Inspector, Strange Interlude, The The Tooth of Crime (Jefferson nomination); Ford’s General Manager: Trinity Heir Apparent, Old Times, All’s Theatre: Eleanor. OPERA: Romeo and Juliette for Repertory Company Drew Lichtenberg Well That Ends Well, The Liar, Dallas Opera; Vanessa for the New York City (1999–2004), Theatre for a New Audience Literary Manager Richard II, The Alchemist, Design for Living, The Opera (2007); Lysistrata or The Nude Goddess for (1997–1999); Associate Managing Director: Yale STC: The Tempest, As You Like It, Private Lives, Way of the World, Antony and Cleopatra (2008), Houston Grand Opera and New York City Opera; Repertory Theatre; Assistant to the Executive Henry IV, Part 1 and 2, The Importance of Being Tamburlaine, Hamlet (2007), Richard III (2007), The Vanessa for Washington Opera and Dallas Opera; Producer: Manhattan Theater Club; Founder/ Earnest, A Funny Thing Happened on the Way Beaux’ Stratagem, Love’s Labor’s Lost, Othello, Show Boat for Houston Grand Opera; Carmen for Producing Director: Texas Young Playwrights to the Forum, Measure for Measure, Coriolanus, Lorenzaccio, Macbeth (2004), Cyrano, Five by Tenn Houston and Washington Operas; Carousel for Festival; Manager: Dougherty Arts Center. Wallenstein, Hughie, A Midsummer Night’s Dream, (at the Kennedy Center), The Silent Woman, The Miami Opera; Julius Caesar for San Francisco MEMBERSHIPS: Currently serves on the The Government Inspector, The Merry Wives of Winter’s Tale (2002), The Duchess of Malfi, The Spring Opera. INTERNATIONAL: Love’s Labor’s Board of the Theatre Communications Group, Windsor, The Servant of Two Masters, Strange Oedipus Plays, Hedda Gabler, Don Carlos, Timon of Lost at the Royal Shakespeare Company’s DC Downtown BID, THE ARC, DC Arts Interlude, The Two Gentlemen of Verona, Much Ado Athens, Camino Real, Coriolanus, King Lear (1999), Complete Works Festival; The Oedipus Plays at the Collaborative, the Penn Quarter Neighborhood About Nothing, The Heir Apparent. REGIONAL: The Merchant of Venice, King John, A Woman of No Athens Festival; Five by Tenn for The Acting Association, Theatre Washington, and is a STC/McCarter Theatre Center: The Winter’s Tale; Importance, Sweet Bird of Youth, Peer Gynt, Company’s tour of Eastern Europe; Show Boat for member of the League of Resident Theatres Center Stage: Caroline, or Change, Cyrano, Around Mourning Becomes Electra, Henry VI, Volpone, the National Cultural Center Opera House in (served on AEA and SSDC Negotiating the World in 80 Days; Yale Repertory Theatre: Lulu Henry V, Henry IV, The Doctor’s Dilemma, Richard Cairo; The White Devil for the Adelaide Festival. Committees); has served as a panelist for the (dir. Mark Lamos); Williamstown Theatre Festival: II, Much Ado about Nothing (also at McCarter BOARD MEMBERSHIPS: Theatre NEA, DC Commission on the Arts, Mid Atlantic The Front Page, The Physicists, The Corn is Green; Theatre Center), Mother Courage and Her Children, Communications Group; New York State Council Arts Foundation, and Pew Theatre Initiative. New York Shakespeare Festival: Macbeth (dir. Hamlet, Measure for Measure, King Lear (1991), on the Arts; D.C. Commission on the Arts and AWARDS: Arts Administration Fellowship: Moisés Kaufman); OTHER: Yale School of Drama: Richard III (1990), The Merry Wives of Windsor, Humanities; National Endowment for the Arts; National Endowment for the Arts. TRAINING: Tarell McCraney’s In the Red and Brown Water Twelfth Night, As You Like It, Antony and Cleopatra Opera America’s 80s and Beyond. AWARDS: University of Miami: BFA in Theatre/Music; (US premiere); TEACHING: Catholic University (1988), Macbeth (1988), All’s Well That Ends Well, Commander of the British Empire (C.B.E.); Yale School of Drama: MFA in Theatre of America; Eugene Lang College at the New The Winter’s Tale (1987), Romeo and Juliet. NEW Theater Hall of Fame; seven Helen Hayes Awards Management. School. TRAINING: Yale School of Drama: MFA in YORK: Broadway: Show Boat (Tony nomination), for Outstanding Director; 2011 CAGLCC Dramaturgy & Dramatic Criticism. Cat on a Hot Tin Roof, Whodunnit, Night of the Excellence in Business Award; 2010 WAPAVA Alan Paul Tribades, Death of Bessie Smith, Here’s Where I Richard Bauer Award; 2007 Mayor’s Arts Award Associate Artistic Director Ellen O’Brien Belong, Othello, Henry V; Off-Broadway: Special Recognition for Shakespeare in STC: As You Like It (Associate Director), The Head of Voice and Text Manhattan Theatre Club: Five By Tenn, Sleep Washington; 2007 Stephen and Christine Winter’s Tale (Free for All), Henry IV, Parts STC: More than 50 productions over 11 seasons. Deprivation Chamber, Funnyhouse of a Negro, The Schwarzman Award for Excellence in Theatre; 1 and 2 (Associate Director), A Funny Thing ACADEMY FOR CLASSICAL ACTING: 22 Rimers of Eldritch, Three by Thornton Wilder, A 2007 Sir John Gielgud Award for Excellence in the Happened on the Way to the Forum (2014 productions of Shakespeare and Jacobean plays. Month in the Country, Hedda Gabler, The Señorita Dramatic Arts; 2005 Person of the Year from the Helen Hayes Award for Best Director of a REGIONAL: Ford’s Theatre, Arena Stage, from Tacna, Ten by Tennessee; New York National Theatre Conference; 2004 Shakespeare Musical), The Boys from Syracuse, Twelfth Night Charlotte Repertory Company, Aurora/Magic Shakespeare Festival: Measure for Measure Society Medal; 2002 William Shakespeare Award (Free for All), numerous galas, readings, Theaters; People’s Light and Theatre Company; (Saturday Review Award). Artistic Director: The for Classical Theatre; 2002 Distinguished Shakespeare Santa Cruz; North Carolina Acting Company, 1978–1988. TEACHING: Washingtonian Award from The University Club; and special events; Assistant Director: 13 shows. THEATRE DIRECTING: Signature Shakespeare Festival. PUBLICATIONS: Articles Richard Rodgers Director of Juilliard Drama 2002 GLAAD Capitol Award; 1997 Mayor’s Arts in The Voice and Speech Review, Shakespeare in the Theatre: I Am My Own Wife; Studio Theatre Division July 1992–May 2006, faculty member Award for Excellence in an Artistic Discipline; 1996 Twentieth Century, Shakespearean Illuminations, 2ndStage: The Rocky Horror Show (co-director); 1967–; Shakespeare Theatre Company Academy Opera Music Theater International’s Bravo Award; Shakespeare Survey, Shakespeare Quarterly, Catholic University: Man of La Mancha; for Classical Acting at the George Washington 1990 First Annual Shakespeare’s Globe Award; 1989 Shakespeare and the Arts, The Voice and Speech University of Maryland: The Matchmaker; Apex University. Previously: New York University; Washingtonian Magazine Washingtonian of the Year; Review: Associate Editor for Heightened Text, Circle in the Square Theatre School; Princeton 1989 Washington Post Award for Distinguished Theatre Company: Richard II; Northwestern Verse and Scansion. TRAINING: Yale University: University; British American Drama Academy; Community Service; 1988 John Houseman Award. University: Six Degrees of Separation; readings MA, MPhil, PhD (English); Central School founder of Chautauqua Theatre Conservatory. HONORARY DOCTORATES: University of South for Studio Theatre, Arena Stage, Woolly of Speech and Drama/The Open University REGIONAL: Arena Stage: A Touch of the Poet; Carolina; Kean College; The Juilliard School; The Mammoth Theatre Company, The National (London): Advanced and Post-Graduate Signature Theatre: Pride in the Falls of Autrey Mill, American University. Academy of Sciences, The Phillips Collection, Diplomas in Voice Studies. TEACHING: Otabenga; Guthrie Theater: The Duchess of Malfi; The Goethe Institut, Georgetown University. Academy for Classical Acting; University American Repertory Theatre: ‘Tis Pity She’s a OPERA DIRECTING: Washington National of California, Santa Cruz; Guilford College; Whore; American Shakespeare Theatre: Artistic Opera: Penny; Urban Arias: Blind Dates, Kirkland College. Director for 10 years, more than 20 productions; Before Breakfast, The Filthy Habit, Photo- Continued on page 42 McCarter Theatre Center: Artistic Director for five Op; The In Series: Dido and Aeneas, El Amor

36 37 MAPPING THE PLAY THE CLANS AND CLAIMS OF DUNSINANE CLAN TERRITORY

By Laura Henry Buda, Community Engagement Manager

In dramatizing murderous medieval Scottish history with his tragedy Macbeth, Shakespeare simplified the tangled web of Scottish clans and claims to the throne. In Dunsinane, his Scottish sequel to Shakespeare’s play, David Greig tangles these knots back up.

HISTORY OF SCOTLAND SHAKESPEARE’S MACBETH SUTHERLAND 1005—Kenneth III is killed in battle Macbeth, Thane of Cawdor, secretly by his kinsman Malcolm II, who also murders the good King Duncan in cold murders Kenneth’s grandson, clearing blood—at the urging of his ambitious succession for his own grandson, wife, Lady Macbeth—and seizes Duncan I. Kenneth III’s granddaughter, the throne. • Gruoch, remains alive. Around this 1 ROSS 1 Elgin MACLEOD • A time, Macbeth is born to Finlay, Duncan’s son Malcolm and Macduff, Cawdor Mormaer of Moray. His mother may a Scottish nobleman, flee to England. 2 MACNEIL D have been Donada, second daughter of There, they raise an army with the • King Malcolm II. support of Siward and invade Scotland. Essie C MORAYLumphanan • • 1034—When Duncan comes to power, Macbeth fortifies his defense in his castle he tries to impose rule over Moray at Dunsinane, but the English army STRATHSPREY Aberdeen lands (independent at the time) advances disguised in trees and brush—in by military force. He also marries a other words, as Birnam Wood, fulfilling a MANGUS cousin of Siward, Earl of Northumbria, prophecy of doom for Macbeth. ii strengthening his ties to England. 3 • Glamis As the English army approaches Glen Lyon  Dunsinane 1040—After marrying Gruoch, thus Dunsinane, Lady Macbeth kills herself. Mull Birnam Wood strengthening their claim to the throne, Macduff kills Macbeth in battle, giving ARGYLL • 4 B Macbeth seizes power by killing Malcolm the throne. 3 Scone Duncan I. Macbeth and Gruoch reign 4 MACDUFF for 17 peaceful years. FIFE iver F R ort A GREIG’S DUNSINANE ALBA h i 1054—In the battle of Dunsinane, Siward and his forces invade Scotland • Macbeth is defeated by Siward, who with Malcolm and Macduff, landing at Fife. attempts to place his nephew and Edinburgh Duncan’s son, Malcolm III, on the i throne. Macbeth, however, remains king The complicated alliances of the many after returning Malcolm’s lands. clans of Scotland make the politics SCOTTISH B incredibly difficult for an outsider 1057—Macbeth is killed at the Battle of to navigate. KINGS Lumphanan by Malcolm III. C In Greig’s version, Gruoch (now Gruach) is 997-1093 AD 1058—Lulach, the son of Gruoch by her the eldest princess of the Moray clan, and Kenneth III r first husband, Gillacomgan, Mormaer has survived. Her power comes from her de Malcolm II or of Moray, is briefly recognized as king own lineage, not Macbeth’s, and her son B but is killed by Malcolm III at the Battle Lulach is the rightful heir. She hides him in Duncan I lish Eng of Essie. Glen Lyon, among her allies. Macbeth D ii Northumbria Lulach 2 Laura Henry Buda is STC’s Community Engagement Manager and served as Artistic Fellow in the Malcolm III 2011-2012 Season. She holds an MFA in Dramaturgy from the A.R.T./M.X.A.T. Institute at Harvard University.

38 39 FACES AND VOICES lead to other points of connection. plays. In addition to our monthly When looking for a panelist for last ReDiscovery reading series, we year’s AsidesLIVE Symposium on have been able to coordinate Adaptation, the Washington Ballet’s readings of a variety of classics Artistic Director Septime Webre with partner organizations. A recent became an obvious choice, allowing partnership with SPAIN arts & both STC and the Ballet’s work to be culture, the cultural branch of the seen in context. Embassy of Spain, has provided The Washington Ballet also us a space to read Spanish Golden participates in the annual Age texts within their magnificent ACROSS THE OCEAN AND VelocityDC Dance Festival, building. For the past five years, part of an ongoing partnership a partnership with the National ACROSS THE STREET: with Washington Performing Academy of Sciences has explored THE SHAKESPEARE Arts. Since 2009 VelocityDC has the intersection of science and THEATRE COMPANY AND brought a range of dancers to the theatre. Cultural Programs Director Harman, providing opportunities J.D. Talasek sees this as a perfect OUR PARTNERS for dance companies large and fit. “Science and theatre are two By Hannah Hessel Ratner small to preview their season to ways of looking at the world,” he D.C. audiences. Over the years, noted. “This collaboration allows Washington Performing Arts has us to consider the grand questions ulture does not thrive in a to share a play of such relevance been a partner not only in creating through both filters.” vacuum. Washingtonians and importance, called by The Velocity but in providing artists to In this city where there are so are lucky to have access to Washington Post “the most ingenious STC’s Happenings program where many opportunities for inter- Ca wealth of arts at their fingertips. portrait to date of the war in Iraq performances by their Men and cultural sharing, STC is happy to Over the years the Shakespeare and of modern warfare in general,” Women of the Gospel Choir, Feder be branching across the district Theatre Company has developed led to a continued conversation. String Competition and their roster and the oceans to make sure strong relationships with many NTS returned with Black Watch in of individual artists have provided that classic theatre is in constant local, national and international 2012 and brought with it a uniquely free entertainment to hundreds of conversation. “Partnerships feed organizations. These partnerships poetic site-specific play The Strange audience members. and fuel us,” shared Chris Jennings come about in a variety of ways Undoing of Prudencia Hart by The Happenings series has as he reflected on the list of but each connection increases the Dunsinane playwright David Greig. also brought in numerous local organizations and artistic kindred richness of the culture available to One of the exciting aspects of these artists, many of whom have deep spirits who help to provide a Washington audiences. types of collaboration is, as Jennings connections with STC education broad range of programming for STC’s Managing Director says, “who knows what will come programming. Happenstance all audience members. Chris Jennings believes in next.” Presenting Mies Julie last Theatre has appeared at Happenings “strength through partnerships.” season led to building a relationship numerous times and the artistic Programmatically building with the director Yaël Farber, whose team behind it leads yearly Physical Hannah Hessel Ratner, STC’s Audience relationships with exemplary adaptation of Salomé will be STC’s Comedy classes. Wyckham Avery, Enrichment Manager, is in her fourth season international artists expands local entry into the city-wide Women’s who teaches both adults and youth at STC and holds an MFA in dramaturgy from Columbia University. awareness of the work being created Voices Theatre Festival. The benefits with STC, will be presenting her around the world. Dunsinane is of partnerships are not restricted new piece with dog & pony dc Photos, opposite page, left to right: Scott Fletcher Sing Me A Song and Jamie Quinn in the National Theatre of Scotland’s the third visit from the National to STC productions. Since the at the Happenings 2011 production of Black Watch, photo by Manuel Theatre of Scotland; however, when opening of Sidney Harman Hall the Happy Hour on March 18 before a Harlan; Melody Grove in the National Theatre of Scotland’s 2012 production of The Strange Undoing Black Watch first arrived at Sidney Washington Ballet has made the production of Man of La Mancha. of Prudencia Hart, photo by Drew Farrell; Bongile Relationships with other Mantsai, Hilda Cronje and Thoko Ntshinga in the Harman Hall in 2011 there were no stage a second home, performing Baxter Theatre Centre’s 2013 production Mies Julie, plans to bring over other pieces from one of their shows there each organizations can also help photo by Murdo MacLeod. NTS’s repertoire. The opportunity season. These types of partnerships expand our mission to rediscover

40 41 Continued from page 37

Carter C. Wooddell Fly, Sheila’s Day. NATIONAL TOURS: The Resident Casting Director Acting Company, Riverdance. REGIONAL: STC: The Tempest, As You Like It, The Alley Theatre, Center Stage, Barrington Stage MAN OF Winter’s Tale, The Merry Wives of Windsor, Company, The Broad Stage, Contemporary Two Gentlemen of Verona, Much Ado About American Theater Festival, Crossroads Nothing, The Merchant of Venice. Other Casting Theatre Company, George Street Playhouse, LA MANCHA Experience: NEW YORK: Broadway: Belasco The Guthrie Theater, Pittsburgh Public Theatre: End of the Rainbow (dir: Terry Theater, TheaterWorks Hartford. RADIO: BBC Johnson), Booth Theatre: High (dir: Rob Radio: The Piano Lesson (dir: Claire Grove). directed by Alan Paul Ruggiero); Off-Broadway (partial): Barrow TELEVISION: Sesame Workshop: The Electric  Street Theatre: Tribes (dir: David Cromer), Company, Pilot: 27 East. FILM: Columbia Our Town (dir: David Cromer), The Acting Pictures: Premium Rush (dir: David Koepp), Company, Marjorie S. Deane Little Theater: Choice Films: Junction (dir: Tony Glazer).  Freud’s Last Session (dir: Tyler Marchant), OTHER: McCorkle Casting Ltd: Casting Begins March 17 Cherry Lane Theatre: A Perfect Future (dir: Assistant (2008-2009), Casting Associate (2010- Wilson Milam), SoHo Playhouse: The Irish 2012). Education Associate: TFANA (2012- Curse (dir: Matt Lenz), Beckett Theatre: An 2014). TRAINING: Rutgers University - Mason Sidney Harman Hall Error of the Moon (dir: Kim Weild); NYC Gross School of the Arts: BFA in Theatre Arts. Other: Lincoln Center Institute: Hamlet, On sale now!

  

  SUMMER Performance Intensives  2015 for Ages 7-18 

Taught by award-winning ShakespeareTheatre.org/Classes 202.547.5688 actors and educators. Education Hotline: 202.547.5688 www.shakespearetheatre.org/camp    

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   ABOUT STC

STC is the recipient of the 2012 Regional Acting, a one-year master’s program at The Theatre Tony Award® as well as 81 Helen Hayes George Washington University. Beyond the Awards and 322 nominations. classroom, educational opportunities like Creative Conversations are available to all in Presenting Classic Theatre the community. Performance Schedule The mission of the Shakespeare Theatre Company is to present classic theatre of Supporting the Community SUN MON TUES WED THUR FRI SAT scope and size in an imaginative, skillful and STC has helped to revitalize both the Penn FEBRUARY accessible American style that honors the Quarter and Capitol Hill neighborhoods and 3 4 5 6 2:00 7 playwrights’ language and intentions while to drive an artistic renaissance in Washington, 7:30 O 7:30 B 8:00 T 8:00 Y 8:00 viewing their work through a 21st-Century lens. D.C. Each season programs such as Free For 2:00 8 9 10 11 12 13 2:00 A 14 All and Happenings at the Harman present free 7:30 7:30 S 7:30 Y 8:00 C 8:00 8:00 Promoting Artistic Excellence performances to residents and visitors alike, 2:00 15 16 17 18 10:00 19 20 2:00 R 21 STC’s productions blend classical traditions allowing new audiences to engage with the 7:30 P 7:30 7:30 8:00 8:00 8:00 and modern originality. Hallmarks performing arts. include exquisite sets, elegant costumes, leading classical actors and, above all, an Playing a Part uncompromising dedication to quality. STC is profoundly grateful for the support of those who are passionately committed to Calendar Key Fostering Artists and Audiences classical theatre. This support has allowed STC REFLECTIONS STC is a leader in arts education, with a myriad to reach out and expand boundaries, to inform A AUDIO-DESCRIBED R of user-friendly pathways that teach, stimulate and inspire the community and to challenge The National Theatre of B BOOKENDS S SIGN-INTERPRETED and encourage learners of all ages. Meaningful its audiences to think critically and creatively. school programs are available for middle Learn more at ShakespeareTheatre.org/ Scotland and the Royal C OPEN CAPTION T TWITTER NIGHT and high school students and educators, and Support or call 202.547.1122, option 7. Shakespeare Company’s O OPENING NIGHT Y YOUNG PROSE NIGHT adult classes are held throughout the year. Michael Kahn leads the Academy for Classical P PAGE AND STAGE

Dunsinane Open Caption performances by David Greig made by possible by a grant from ABOUT ACA directed by Roxana Silbert

The Academy for Classical Acting (ACA), the Shakespeare Theatre Company’s premier MFA training program run jointly with The George Washington University, is February 4–February 21 celebrating its 15th year! Every fall, 14-16 professional actors from all over the United Sidney Harman Hall States and abroad join the Shakespeare Theatre Company’s remarkable faculty to immerse themselves in a rigorous, one-year, conservatory-style training program especially dedicated to mastering the complexities of heightened text and classical acting. In the past 15 years, the ACA has trained 210 actors of all ages. Some of the alumni go on to careers in NYC, some return to their places of origin, and many make homes for themselves right here in Washington, D.C. On any given night, dozens of CREATIVE CONVERSATIONS ACA graduates can be seen on stages throughout the D.C. metro area. And of those D.C.-based alumni, many have been nominated for and even won the coveted Helen BOOKENDS FREE REFLECTIONS FREE Wednesday, Feb. 4, pre- (5:30 p.m.) and post-show Saturday, February 21, 5–6 p.m. Hayes Award. Already, midway through STC’s 2014-2015 season, seven ACA grads The Forum in Sidney Harman Hall The Forum in Sidney Harman Hall spanning the years ’03-’14 can be seen playing roles on our own stages. Immerse yourself in the world of the play with pre- Discuss the production from multiple perspectives. and post-show discussions. ASL DISCUSSION FREE In February, an audition team comprised of ACA faculty will conduct auditions in PAGE AND STAGE FREE Tuesday, February 10, 5:30–6 p.m. Sunday, February 15, 5–6 p.m. Mezzanine Lobby at Sidney Harman Hall New York City, Washington, D.C., Chicago, and Seattle looking for the next class of The Forum in Sidney Harman Hall Learn about the production before you see it with students. They will be looking for actors who already have professional experience Explore the production with the artistic team and this ASL-Interpreted discussion with STC’s Audience and are looking to advance their skills when it comes to Shakespeare and classical local scholars. Enrichment Manager. theatre. The training is deep and it’s broad, with classes in Acting, Alexander #STCnight FREE Technique, Movement, Voice & Speech, Stage Combat, Masks, Clown and Text, to Thursday, Februrary 5, 6:30 p.m. and post-show Sidney Harman Hall name a few. If you or someone you know might be interested in receiving training Use the hashtag #STCnight to join the conversation from some of the top professionals in the field, including Michael Kahn, please visit from the theatre lobby or from home. Performance tickets available for purchase. our site, ShakespeareTheatre.org/Academy for information on how to apply. Happy 15th Anniversary, ACA!

44 45 $10,000 to $14,999 Buffy and William Cafritz Alan and Irene Wurtzel SUPPORT Anonymous Robert Crawford Carlson Mr. Mike Wyckoff Esthy and Jim Adler Emily and Mike Cavanagh Chris and Carol Yoder Barclays The Honorable Joan Churchill and Judy and Leo Zickler Batir Foundation, Inc. Mr. Anthony Churchill BA We gratefully acknowledge the following donors that currently Sheila and Kenneth Berman BA Richard Cleva and Madonna K. Starr $2,500 to $4,999 Debra and Leon Black Jeffrey P. Cunard BA Anonymous (3) support the work of the 2014-2015 season. Booz Allen Hamilton Louis Delair, Jr. Mr. Derek Thomas and Mr. Ernesto The Dimick Foundation Abrego This list is current as of January 14, 2015. BP America CBRE Group Inc Craig Dunkerley and Miriam and Robert Adelstein CLS Strategies Patricia Haigh ACA The Robert N. Alfandre Foundation EagleBank $100,000 and above The Beech Street Foundation T Michael R. Klein and The Clark-Winchcole Foundation Sunny and Bill Alsup Miguel and Patricia Estrada Dean Amel and Terry Savela D.C. Commission on the Arts & Joan I. Fabry T BA Donn and Sharon Davis Douglas Development Corporation Marietta Ethier Tony Anderson and Kevin Lorei Humanities The Robert P. and Arlene R. ExxonMobil Mr. Decker Anstrom and Ms. Sherron Kogod Family Foundation Mr. and Ms. David Dupree The Erkiletian Family E. and B. Family Trust Bob, Kathy and Lauren Fabia Hiemstra Foundation Share Fund Arthur and Shirley Fergenson ACA Anne and Burton Fishman BA Stephen P. Anthony BA The Harman Family Robert H. Smith Family Trygve and Norman Freed Forest City Washington Celia and Keith Arnaud T Foundation Foundation Sue and Leslie Goldman Tim and Susan Gibson ACA AMB Drs. Hilda and William O. Bank T HRH Foundation Suzanne and Glenn Youngkin Gould Property Group In memory of BB&T Grossberg, Yochelson, Angelique Glass 1616 ACA AMB Brent J. Bennett Fox & Beyda LLP Janet W. Solinger and Jacob K. Dr. Bill and Evelyn Braithwaite Goldhaber Mr. and Mrs. Jere Broh-Kahn ACA T T Clarke Murphy and Heather $50,000 to $99,999 Anita M. Antenucci John and Meg Hauge Hammond Richard A. and M. Theresa Gollhofer Claudyne Y. Brown BA T Afsaneh Beschloss Mr. Jerry Knoll Jerry and Isabel Jasinowski T Alice and John Goodman The Family of Marion and Charles The Morris & Gwendolyn Cafritz National Capital Arts & Cultural Scott Kaufmann T Graham Holdings Bryce 1616 AMB Foundation Affairs Program/US Comm. Margot Kelly David and Jean Grier Mr. and Mrs. I.T. Burden, III Dr. Paul and Mrs. Rose Carter T of Fine Arts Roger W. Langsdorf William Stein and Victoria Griffiths BA Dawn and James Causey Dr. Mark Epstein and Alan and Marsha Paller The Ludwig Family Foundation Mr. and Mrs. Woolf P. Gross Audrey Chang and Michael Vernick Amoretta Hoeber T Alice and David Rubenstein Mr. and Mrs. Eric Luse H&R Block Ellen MacNeille Charles Mr. and Mrs. Robert Falb T The Shubert Foundation Mr. and Mrs. Andrew Marino The Honorable Jane Harman Monica Rose Chodur Mr. and Mrs. Andrew Florance T Jacqueline B. Mars Kevin T. Hennessy AMB BA Joan Choppin T The Philip L. Graham Fund McLane Company Inc John W. Hill Linda and John Cogdill Eleanor Merrill T Mike and Gina House T BA Mary Cole AMB Morgan Stanley The Mark & Carol Hyman Fund Jeff and Jacky Copeland Tom Mounteer and Bobby Zeliger K&L Gates Marshall B. Coyne Foundation Mr. and Mrs. Sameer Bhargava Daniel F. Katz BA Douglas W. Crandall $25,000 to $49,999 Anonymous (2) Mr. and Mrs. Stephen A. Lou and Irene Katz T Ms. Connie Milstein Mr. Ralph C. Voltmer and William S. Abell Foundation Hopkins Michelle Newberry David and Anne Kendall BA Ms. Tracy A. Davis BA Anne and Ronald Abramson Abbe David Lowell and Nissan North America, Inc. Marcel LaFollette and The Charles Delmar Foundation T BA Nick and Marla Allard T BA Molly A. Meegan Theodore B. Olson and Jeffrey Stine ACA Beverly and Richard Dietz 1616 Stephen E. Allis T Estate of Suzy Platt Lady Booth Olson BA David A. Lamdin AMB Dorchester Towers and Dorchester Paul M. Angell Family Stephen and Lisa Ryan T BA Porterfield, Lowenthal, Fettig & Heidi and Bill Maloni Apts on Columbia Pike in Foundation Vicki and Roger Sant 1616 Sears, LLC The George Preston Marshall Arlington City Fund Shakespeare for a New PwC Foundation Emily, Susannah and Michael Eig Generation Steve and Diane Rudis Hilary B. Miller and Helaine G. Elderkin Debevoise & Plimpton LLP BA Fredda Sparks and Security Industry And Financial Dr. Katherine N. Bent Elmendorf Ryan James A. Feldman and BA Kent Montavon Markets Association Hazel C. Moore Michael Evans Turner & Goss Natalie Wexler Morningstar Philanthropic Fund George P. Stamas T Victor Shargai and Craig Pascal Expedia, Inc FTI Consulting Kristine Morris Rob and Anne Faris T AMB The Honorable Robert E. Sharkey Nina Zolt and Miles Gilburne Tom and Cathie Woteki and Dr. Phoebe Sharkey AMB Mr. and Mrs. Tom Monahan Leo Fisher and Sue Duncan Catherine Held Clarice Smith Oracle America Corporation Barry and Marie Fleishman Doug and Gabriela Smith Pinnacle West Capital Corporation Claire Frankel Sovereign Strategy Limited Polinger Development Co. Paige Franklin and David Pancost The Hattie M. Strong Foundation The Prince Charitable Trusts Franklin Square Group US Trust Company Property Capital LLC FTI Consulting $15,000 to $24,999 The Dallas Morse Coors The Jacob and Charlotte Mr. and Ms. Antoine Van Agtmael Willam Pugh and Lisa Orange Burton Gerber Foundation for the Lehrman Foundation Anonymous (3) Mr. and Mrs. Jay Velasquez Reset Public Affairs Carol and Ken Gideon BA Performing Arts Altria Group In memory of Marilyn J. Lynch VISA U.S.A., Inc. Risk International Josh Goldfoot BA Amazon Web Services The Max and M Powered Strategies Patricia and David Vos Foundation Bruce and Lori Laitman Rosenblum Ms. Myra P. Gossens The Theodore H. Barth Victoria Dreyfus Foundation Ann K. Morales Friends of Youngkin Gerri and Murray Rottenberg 1616 John E. Graves RIA and Hanh Phan Foundation Nina Laserson Dunn and National Endowment Lee Goodwin and Linda Pamela and Corbin Gwaltney BA British Council Eric C. Rose for the Arts $5,000 to $9,999 Schwartzstein James T. and Vicky Sue Hatt Brown-Forman Corporation Ernst & Young LLP Pepco Anonymous (6) Software and Information Industry Karen L Hawkins BA Mr. and Mrs. Landon Butler T Helen Clay Frick Foundation Toni A. Ritzenberg Aflac Association Catherine MacNeil Hollinger and The Carmen Group Goldman Sachs & Co. Pauline A. Schneider T BA Mark Tushnet and Elizabeth John and Leslie Steele Mark Hollinger Hogan Lovells US LLP Judi Seiden AMB Alexander Terra Nova Title and Settlement James and Marissa Huttinger Clark Construction Group, LLC Services, LLC Computer and Communications Humana Inc. Solon E. Summerfield Alston & Bird LLP International Brotherhood Of Elaine Economides Joost 1616 Michael and Stacie Arpey Harbour Group, LLC Teamsters Industry Association Foundation TPG Capital Helen Kenney Linna Barnes and Chris Mixter Larry and Georganne John Vornado/Charles E. Smith LP Roderick and Alexia Von Lipsey Latham & Watkins Kyle and Alan Bell John Edward Johnson Westfield, LLC Barbara Bennett Vulcan Materials Company Jody Katz and Jeffrey Gibbs Lynn and Jonathan Yarowsky Peter A. Bieger Foundation Michael and Michelle Keegan Don and Nancy Bliss Evan J. Wallach and Joel and Mary Keiler BA The Bozzuto Group Katherine Tobin Thomas and Bridget Kluwin Katherine B. and David G. Bradley Wells Fargo Philanthropy Mary Hughes Knox Carolyn L. Wheeler BA

46 47 Dr. Richard M. Krause 1616 Eckstein Cheryl R. Hodge Sheldon Pratt ACA Galloway United Airlines Barry Kropf John Blandford Mr. Gerald Hoefler Mr. Bruce F. Press and JoEllen and Michael Collins Carole and John Varela Bill Lands and Norberta Schoene Cathleen E. Blanton Mr. Henry H. Holcomb Mrs. Julie V. Press Marsha E. Swiss and Ronald Mr. and Mrs. L. Von Hoffman Richard Levi and Susan Perry Martha Blaxall and Joe Dickey Charlotte Hollister and Donald Clagett Hon. Frank Press Costell MD Washington Resource Associates Dr. Mark T. Lewellyn Ronald Bottomly Susan Bokern and Ted Holmberg Ms. Elise Rabekoff and The Honorable and Ms. Tom Davis Bill and Ted Wears-Richards Marjorie and John Lewis Michael Boyd Fran and Bill Holmes Mr. Christopher Gladstone Emma R. Dolly Dieter Mr. and Mrs. Rosanne Weber James M Loots, Esq. and David Bradley David H. Holtzman Mrs. Eden Rafshoon Mr. and Mrs. John Dillon Ms. Judith Weintraub Barbara Dougherty Loots, Esq. BA Thomas C. Brennan Ms. Ann Homan BA Lloyd and Claudia Randolph 1616 BA Richard and Patricia Draper Gerry Widdicombe Linda Matthews Mr. and Mrs. Douglas Brown William L. Hopkins and Susan and Ronald Rappaport Claudia Hastings Dulmage BA Patricia Yee Mary McCue ACA AMB Howard M. Brown ACA Richard B. Anderson 1616 Steven and Anne Reed Susan and Dorsey Dunn Penny S Younce The McGwin/Bent Family Roger and Nancy Brown Russell Mikel and Alison Hurst Phillip Reiman and Leslie Binns ESPY Energy Solutions Thomas and Ingrid McPherson Elizabeth Buchbinder Maxine Isaacs Alberto J. Rivera BA David Webber and Joelle Faucher $500–$999 Foundation Mr. Michael Butterfield and Ms. Hallee Mr. Steven Janssen Steve and Diane Rothman AMB Gary and Naomi Felsenfeld Anonymous (25) Rajesh, Radhika & Karan Murari Morgan BA John, Pam and Kim Jaske Richard and Rochelle Schwab Sandy and Jim Fitzpatrick George and Polla Abed Patricia Sherman and Terry Murphy Capitol Hill Community Birdie Johnson BA Kannon and Victoria Shanmugam BA Aaron and Susan Fuller Actors’ Equity Foundation, Inc. National Association of Realtors Foundation ACA Eric Kadel BA Dickstein Shapiro Ms. Elizabeth Galvin Vickie and David Adamson National Rural Electric Cooperative Joanna and Alan Capps Michael Kades and Margaret Sheer BA Angela and Dan Goelzer Mr. and Mrs. John Allen Association Cheryl and Matthew Chalifoux Mary Giovagnoli BA Kelly S. Shoop BA Mr. and Mrs. Harr Thomas and Kathleen Altizer Navigators Global Antonia B. Ianniello and Lawranne Stewart and Mark Kantor Mark J. and Joan B. Siegel Jeanie and Tex Harris Eric Amick Louisa and Bill Newlin George M. Chuzi Stephanie Kanwit Patricia L. Sims, Esq. and Ken Hunter Richard and Rosemarie Andreano Nora Roberts Foundation Mr. and Mrs. Anthony C. Collins Rick Kasten David M. Sims, Esq. BA International Brotherhood of Ms. Jerrilyn Andrews and Melanie and Larry Nussdorf Julia and Francis Creighton Candace and Hadrian Katz Christopher Mondini and Martin Skea Boilermakers Mr. Donald Hesse The OB-C Group, LLC Mr. and Mrs. Mark Darnell Thomas R. and Laurie S. Kelly Ed and Andy Smith Lorna Jaffe Cherrill Alfou Anson James Oldham and Elizabeth William C. and Sandra Davis Melinda Kimble Candace Smyth BA Jones Lang LaSalle M. Antoun Conahan BA Carol Der Garry David A. Klaus Dr Arthur Weinstein and Ellen Spin Mr. Jeffrey D. Kirkwood Judy Areen and Richard Cooper Dr. and Mrs. Kenneth Oscar Tom and Krista Di Iaconi BA Dana and Ray Koch Mark Sucher and Jane Lyons Ray Kogut Jean W. Arnold Mr. and Mrs. David Osnos David and Kenna Dorsen BA Sara Dunham Kraskin and Stephen Susan and Brian Sullam Mr. and Mrs. Jerome Kossar Carol Benedict and Paul Ashin Theda Parrish Ms. D. Chris Downey G. Kraskin Al and Nadia Taran Polly Kraft Mrs. Martin Atlas Peck, Madigan, Jones & Stewart, Inc. Dr. Damien and Elizabeth Doyle Mr. Sanjiv Kumar and Alice W. Thomas 1616 Karen Leider Kevin and Sheila Avruch Mr and Mrs Carl F. Pfeiffer Joy Dunkerley Ms. Mansoora Rashid Peter Threadgill LEVICK Mary Anne and Charlie Bacas Podesta Group Anita Dunn L. L. Lanam David Tone Shirley Loo Leonard Bachman Sydney M. Polakoff and Carolyn Becky and Alan Dye Lynne Stephens and Kenneth Larson Mr. Clifton Hyde Tucker, Jr. Mr. John H. Loomis Mr. Joel Balsham Goldman Fynnette Eaton and James E. Miller Leonard, Street and Deinard José Alberto Uclés Steven M. Rosenberg and Stewart Jonathan H. Barber Lutz Alexander Prager Ms. Nike M. Elder Foundation Tessa van der Willigen and C. Low III Margaret and Gordon Bare Rasky Baerlein Prism Ms. Catherine B. Elwell Nancy and David Lesser BA Jonathan Walters Bruce and Virginia MacLaury Joan Barron and Paul Lang Mary and Gene Procknow Garrett Epps BA Diane Lindquist BA John H. Vogel BA Mr. and Mrs. Gregory May Charles D. Bartlett and Linda Bartlett Property Casualty Insurers Raymond S. Eresman and Freddi Lipstein and In memory of Dorothy B. Watkiss BA Susan Milligan and Philip McGuire Athena Caul and Brian Bayliss Association of America Diana E Garcia Scott Berg 1616 ACA AMB Sally and Richard Watts Bernard and Mary McKay T Rev. John P. Beal, III Robert and Nan Ratner Federal Lodge No. 1 David Lloyd, Realtor In memory of Mary Weathers Belinda and Jon McKenzie Julianne Beall Molly and Joe Reynolds BA Free and Accepted Masons James J. Lombardi Sonia and Dale West Sarah D. Meredith Peter Mathers and Bonnie Beavers Ron and Sharon Salluzzo Washington D.C. Christopher and Lane Macavoy Laura and Paul Weidenfeld BA Nancy and Herbert Milstein Nan Beckley Mrs. Stanley J. Sarnoff* 1616 Julie M. Feinsilver 1616 ACA Amanda Machen Ms. Molly Wilkinson Mr. Peter G. Mirijanian Paul R. Berger and Janice L. Lower Steven and Beverly Schacht Mr. Elliot Feldman BA Rev. Frederick MacIntyre and Kevin Riley Gowen and Mark Perry and Adele Mouzon Robert C. and Elissa B. Bernius Richard Scott Joseph and Jeri Fellerman Mickey MacIntyre Robert Paul Wilkinson Mr. and Mrs. P. David Pappert Bethesda MRI & CT Linda and Stanley Sher Denise Ferguson Hardee Mahoney and Juan Vegega Mr. Alan F. Wohlstetter James D. Parker Paul Bickart and Marcia Reecer Richard Simpson Mr. and Mrs. Alan M. Fern Dan and Susan Mareck Julian Yap BA Barbara A. Potcka and Everett Mattlin Vaughn and Marian Bishop The Smith-Free Group LLC Barbara and Ralph Ferrara Mars Foundation Fred and Sandra Young Thomas Pauls and Eleanor Pelta William D. Blair Charitable Foundation Louisa and Daniel Tarullo The Lee & Juliet Folger Fund David and Martha Martin The Honorable Dov S. Zakheim and Professional Women in Advocacy ThinkFoodGroup Julian W. Fore and Beverly A. Sauer Dr. and Mrs. James E. Martin Mrs. Deborah Bing Zakheim Conference Ambassador Julia Chang Bloch and BA Stuart Bloch Professor Philip Tirpak The H.O. Peet Foundation In Memory John and Connie McGuire Margot and Paul Zimmerman Julie Phillips Rick and Burma Bochner Kathy Truex of Margot Peet Foster Brenda Metzger The John and Marcia Price Family Thomas and Molly Ware AMB Rhona Wolfe Friedman and Dr. Jeanne-Marie A. Miller $1,000 to 1,499 Foundation Thomas Booth BA Dick and Sarah Bourne Washington Forrest Foundation Donald J. Friedman Mr. Steven Miller Anonymous (8) Susan and Donald Rappaport Mark Ziomek and Gary Bowden Lisa and Phil Friedman Catherine L. Moore and Douglas and Jane Alspach The Honorable Joe R. Reeder Mr. Chris Boyles $1,500 to $2,499 Brenda and David Friend Carl W. Stephens Anthony Francis Lucas-Spindletop Peter S. Reichertz BA The Honorable Susan G. Braden and Anonymous (7) Juan H Gaddis Dee Dodson Morris Foundation Mac and Michelle-Anne Riley Thomas M. Susman Ernest and Dianne Abruzzo Charles and Amy Gardner Mr. Jeffrey Morrison BA Mr. and Mrs. Gregory Ballentine John Forest Roemer Dr. Ronald Brady The Ada Harris Maley Memorial Fund Dr. Laura J. George AMB Rita Mullin Dan and Nancy Balz Peter D. Rosenstein Jill and Jay Brannam Gisela and Thomas Ahern Dr. Douglas E. Gill and Mrs. Karen Michael Nannes and Nancy Everett BA Mr. and Mrs. Albert H. Barclay Jr. Nancy and Miles Rubin Robert and Lucy Bremner Sanford K. Ain, Esq. BA S. Vartan Ralph and Gwen Nash Robert B. Barnett and Rita Braver James and Madeleine Schaller Michael and Taylor Brogan Kevin and Amanda Allexon BA Ruth Bader Ginsburg Madeline Nelson R. Joseph Barton and Tricia Placido Jennifer M. Schlener Liz and Cornelius Bronder Patricia Arnold JoAnne Glisson Ms. Beth Nolan and Mr. Charles Ms. Marion C. Blakey Eugene & Alice Schreiber Henry J. Brothers, II Donald H. Goodyear, Jr. Wright Alisa M. Goldstein and Lee Blank Julie, Tina, June and Vince Auletta Philanthropic Fund Christopher Brown Mr. and Mrs. David L. Gray Mr. and Mrs. Lawrence O’Connor James Blum Russ Stevenson and Margaret R. Elizabeth and Carl Seastrum Lorraine Brown Axtell Ms. Pat Gray ACA Mrs. Jean Oliver Bill Bodie T She Should Run Philip Buchan and June Krell Keith L. Babb Linda Griggs and Bill Swedish Robert and Martha Osborne Elizabeth Boyle In memory of Betty F. Shepard Harold R. Bucholtz Galen and Carolyn Barbour Lisa Grosh and Donald Names BA Timothy P. O’Toole Chris H. and James D. Bridgeman Jerry and Judy Shulman Jayne Bultena Merle Haberman Mr. and Mrs. Gerald W. Padwe Michael F. Barrett, Jr. and Danielle Dana E. Brown Sprint Ms. Beverly J. 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Phillips BA Dr. Donna W. Blake and Mr. Bruce E. Mr. Timothy Cole and Ms. Kathy Michael Tubbs Peggy Canale

48 49 Ann Cardoni Judy and Sheldon Grosberg Shirley J. and William S. Levine Matteson and Kathleen Scott Maqbool Aliani Susan M. Connolly Caroline Willis Book Appraisals Margaret Grotte CDR Lars Hanson and RADM In honor of Shakespeare classes and In honor of Marla and Nick Allard Susan E. Connors James M. Carr Bruce and Georgia Sue Guenther Rosanne Levitre the Theatres that support them Mr. and Mrs. Theodore E. Allison Rachel Conway Nicholas and Mary Jeanne Carrera Cliff Hackett Bianca and Michael Levy Phil Sharp Ambassador and Beverly Cook Ann Castiglione-Cataldo and Jack E. Hairston Jr. Chip Linnemeier Dianne Shaughnessy and Mrs. Frank Almaguer Jovana Cooke Walt Ennaco Dr. Sara Hale Henry and Sandy Liotta Jonathan Taylor Bill and Sue Alterman John F. Copes Sarah and William Cavitt Mr. Austin Henry Dr. Richard F. Little Catherine M. Sheppard Jerome Andersen and June Hajjar Ms. Victoria Cordova Wallace Chandler Judy Hall Mr. and Mrs. Joseph Livingston John and Roma Sherman Kirsten Anderson and Jeff Harris William and Elise Couper Shu Hui Chen Kathryn Halpern Nancy and Dan Longo Adele Z. Silver Nancy P. Anderson Robert W. Cover Dr. Frederick W. Wolff and Dr. Donna Hart Raudel Che Lopez Donald M. Simonds Edward M. Andrews and Edward E. Cragg Catherine Chura Peter D. and Florence R. Hart Kenneth and Joan Lorber Dr. and Mrs. Delbert D. Smith John H. McCrary Paul Crain Ms. Janice L. Clark Frank and Lisa Hatheway Joan Lorr Randall Speck and Samantha Nolan James H. Babcock Stephen T. Cramolini John Clark and Ana Steele Clark Doris Hausser Linda L. Lum Mr. and Mrs. William Spellbring Jane Bachner Alan T. Crane Thomas and Robin Clarke Dr. James A. Heath Donald and Julianna Mahley Cecile and James Srodes Beverly Baker Drs. Joanne and Frank Crantz William and Sara Coleman Kari and Max Heerman David and Claire Maklan Dr. William and Vivienne R. Stark Sheila Eddy Baker D. Elizabeth Crompton Laura L. Hoffman and David C. Colin Shawn C. Helm and J. Thomas Mrs. Maureen Malone Mr. and Mrs. Ronald W. Steele Mr. and Mrs. J.I. Ballestero, Jr Bill Cross and Dr. David McCall Stacy Johnson and Charles Corbin Marchitto John and Liza Marshall Carol Stein Nancy and Ed Barsa Joseph Cross Jack and Julia Corrado Margaret Hennessey Rita and Paul Marth Janice Sterling Andrea Baruchin Matt Crouch Owen Costello and Erlin Webb Jane and David Heppel Patrick Martyn and Eric Lomboy Robert and Virginia Stern Christy Schmidt and Tony and John Cuddy Michael and Sue Crane June and George Higgins Winton E. Matthews, Jr. Jeff Stoller Peter Bayne Suzanne and Gregory Curt Mr. and Mrs. Scott W. Davis Susan McNabb and Brent Hillman Catherine McClave Dorothy and Donald Stone Mr. Michael J. Beck Ms. Donna Dana Matthew and Mike Dazé Bernardo Hirschman Cynthia and Richard McConnell Barbara Stout Ms. Mary Ellen Bergeron Dr. Lawrence and Dr. Dolores Anthony and Nancy DeCrappeo Melissa Hodgman and Peter Strzok William A. McDaniel, Jr. Judi and Richard Sugarman Ms. Kathleen Bergin D’Angelo Osborne Mackie and Morgan Delaney Stanley and Vicki Hodziewich E.A. McGrath Maureen Sullivan Jane C. Bergner Ambassador and Mrs. Jaime Tom Gusdorff and Ed Dennison David Hofstad David and Sarah McMeans Alice J. Sziede Michael Beriss Daremblum Mary des Jardins Judy G. Honig and Stephen Robb W. Bruce McPherson Carol and Harry Tabak Sharon L. Bernier Allen and Louisa Warren Davidson Marjorie Deutsch, Ph.D and John Paul and Carol Honigberg Beverly Melani and Bruce Walker Drs. Steven and Sheila Taube Pam and David Bernstein Iris Davis Broadbent, JD Silvia M. Hoop and Alfred Kammer Susan and Harry Meyers John Taylor Barbara Berrie Ms. Deanna Dawson Caroline M. Devine Donald M. and Barbara S. 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Bobby Kathleen M. Donovan-Scully Stuart and Joanna Edwards Mr. Loring J. Ingraham and Ms. Dale Carl and Undine Nash Allen Unsworth Elizabeth R. Boe Colleen Dougherty Mr. Paul Ehrenreich Rubenstein Linda S. Neighborgall Rod and Marilyn Uveges Kaye and Andrew Boesel Dr. Richard Drawbaugh and Mr. and Mrs. Kenneth A. Eisenhardt Eric R. Jablow Elizabeth and John Newhouse Dr. Richard Valachovic Constance Bohon, M.D. Suzanne Drawbaugh Roberta Ellington Mr. Kurt Jaeger D.W. and Martha Newman Arina van Breda Lillibeth Boruchow, M.D. Alison Drucker and Tom Holzman Victoria Elliott and J. Michael Rachel R. Jaffe Eugene Nojek Joan and Lyman Van Nostrand Jennifer Boulanger and Bruce Schillo Dr. and Mrs. John V. Dugan, Jr. Shanahan Mary Frances Jetton Ms. Kathleen J. Norvell Fernando and Stephanie van The Bowie Family Mrs. Karen-Sue Dunn Will Guthrie and Ellen Epstein Dixie Porter Johnson Russ and Ellen Notar Reigersberg Cindy and Dennis Brack Julia and Joe Dzikiewicz William Erickson Jason and Cynthia Johnson Mr. James Olander Dwight and Carrie Vaughn Drs. James and Jean Braden Mary and Bob Eccles Ms. Janice Faucett Catherine Jordan Warren S. Oliveri, Jr. and McGennis Martin and Susan Wald Bill Brewer and Collot Guerard Christian and Angela Ehemann Gail W. Feagles Maryanne and David Kane Williams Libby and Herb Ware Paul S. Bridge Dr. Stephen C. Ehrmann Colonel and Mrs. Charles F. Daniel Kaplan and Kay Richman Mr. Francis O’Malley and Dr. James In memory of Marjorie Hecht Watson Adrianne B. Brooks Michele B. Eisenberg Feldmayer Gift Fund Ellzy Robert and Isabel Wein Steve Broughman Marjorie and Anthony Elson Dorothy E. Fickenscher Kathleen Karr A. Orza Jack and Ruth Ellen Wennersten Betti Brown and Bob Ramsey William Erdmann Pamela Frazier and Michael Finan Preston and Lois Kavanagh Mr. and Mrs. Ernest T. Oskin Dr. Edward Whitman Perry L. Brown Connie Ericson Scott Fine Ashok and Stuti Kaveeshwar Mr. and Mrs. Mack Ott Ms. Kelly Wilcox Paula Stoiber and Willard Bucklen Brandon Etheridge Louise A. Fishbein Msgr Francis Kazista Rodney and Deborah Page DeAunn and Jeffrey Wilder Buckley/Palmore/Hind Family Stockwell Everts Ms. Christine Fisher and Mr. Oscar Mark Kearney Mike and Pam Peabody Dr. Marjorie Williams ACA Gita Budd William Faragher Goldfarb Barbara Keller Julia Perlman Virginia and Wayne Williams Jan Burchard Anne and Marc Feinberg Donald and Cathy Fogel Mary E. Kennelly Ms. Mary I. Pett Linda Winslow Jeffrey and Josephine Burton Mr. and Mrs. Sam Fields Rev. and Mrs. Frederick Foltz Andrea and Joseph Kerr Victoria Phipps C. Lawrence Wiser Susan and Dixon Butler David Furth and Martha Finnemore Robert and Carole Fontenrose Bill and Marion Kettering Col. and Mrs. Scott Pinckney George E. Wishon Thomas Calhoun and Thelma Triche Tracy Fisher Lt. Col. Michael A. Foughty and Rev. Robert Kimmins Elizabeth Piotrowski Neville Withington and Kerry Patricia Campbell Anne and Al Fishman Donna L. Foughty Lt. Col. Jo Kinkaid USAF (Ret) Michael Proffitt Kingham Josh Canary James and Isabelle Fitzwilliam Candida Fraze Moskovitz and Peter Susan and Bill Kirby Julie and Navarro Pulley Ms. Anita Woehler Louis Cannon Donald Flanders Moskovitz Special Thanks to Mike Klein and Drs. Dena and Jerome Puskin Marty Woelfle Margaret Capron Ms. Christine Flinton David Frederick Joan Fabry David A. Quick Kathryn Wood Patrick and Katharine Carney Barbara Formoso David Freeman Dr. Prudence Kline and Dr. Paul Alice Rand Deborah Yaffe Marge Carrico and James Traylor Richard L. Forstall Mike and Pati Froyo-McCarty Kimmel Wendy and John Daniel Reaves Julie and David Zalkind Bruce Gregory and Paula Causey V. Lee Fortna Michael Gaba Amy Schwartz and Eric Koenig Sheldon and Barbara Repp Mandy Chalou Michael B. Fowler and Mr and Mrs Davis R Gamble, Jr Sally Weinbrom Kram Resch Family $250–$499 Anna Uhl Chamot John E. Nappi, Esq Mr. and Mrs. Charles Gary Howard Krauss William L. Ritchie Jr. Anonymous (42) JM Rowe and Nancy Chesser Elizabeth France Norman I. Gelman Karen E. Krueger Gail A. Robinson Jean Abinader Edward Chmielowski Molly M. Frantz Lewrene Glaser Robert L. Larke The Honorable John T. Rooney Mr. and Mrs. Elias Aburdene and Ricky Christie James Fraser Vera Glocklin Diana M. Lee Linda O. Rosenfeld Annette Aburdene Lily L. Chu and Gerald W. Weaver II Mary B. Fuson Michael and Ellen Gold Frances and Emery Lee Paul and Katy Rosenzweig Donald Adams and Ellen Maland Mrs. Nancy B. Clark Robert Gallagher Jinny and Michael Goldstein Dr. and Mrs. Stanley E. Legum Lynn N. Rothberg Jon and Kate Aikman Ray Clark, Rhonda Starkey and Alex Mr. Melvin L. Gamble Ms. Eloise Gore and Mr. Allen Hile Mr. and Mrs Tracy Leigh Burton Rothleder Don and Allison Aitken Mr. and Mrs. Robert L. Clark Mary Alice Garber Lynn M. Gowen Maryellen Trautman and Darrell Peggy and Bud Rubin Ms. Emily L. Aitken William and Louise Cleveland Dr. Arlyn Garcia-Perez Patricia Graham Lemke Suzonne Sage Anthony A. Aldwell Bob Cohen Chris Horning and Nancy Garruba Robert Warren and Jane Grayson Mrs. Sandra Levenbook Joyce and Richard Schwartz Mr. and Mrs. Charles T. Alexander John and Sheila Compton Dennis Gerrity

50 51 Robert Gerwin and Ruth Assal Sandy and Pat Kimble John and Livezey More Joan Searby Allan and Marjorie Weingold In Kind Charles H. Gilliland Michael and Carolyn Kirby Kathryn A. Morrical Jeffrey and Patricia Sedgwick David Wentworth Asia Nine Anne-Marie Glynn Audrius Kirvelaitis Melvin Mosley Ellen Seidman and Walter Slocombe Karen Whaley and Jim Magner BridgeStreet Worldwide Kathleen Gohn Mr. and Mrs. Alan Kistler William Mullinix Seema Shah June White Dillard Carmine’s Amnon and Sue Golan Frank D. Kistler Elisabeth Murawski In Honor and Appreciation to the Michael Williams Cedar Restaurant Gabriela Gold Stephen and Mary Sue Kitchen Viola S. Musher Staff of STC Robert E. Williams Constellation Brands, Inc. Burton Goldberg In memory of Robert Knouss Mr. and Mrs. Robert W. Mustain Jr. Carol Anne Shapiro Ms. Beth Anne Wilson Corner Bakery Cafe David M. 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Salter 1616 Members of the Society of 1616, the Theatre’s BA Members of the Bard Association, dedicated Nancy Kasler M. Elaine Mielke Betty H. Sams 1616 planned giving society supporters of the Theatre who are members Arthur Katz and Sima Osdoby Drs. Rolf and Lee Anna Mielzarek Pat Sandall ACA Supporters of the Academy for Classical Acting of the legal community. To join, please contact Colleen and Jack Katz Jack and Barbara Miller Mary Sanders AMB Ambassadors of the Theatre, generous donors Sara Conklin at 202.547.3230 ext. 2312. Mr. and Mrs. Robert Keatley Nicole and Stephen Minnick Mr. Charles B. Saunders, Jr. who help to develop and enhance our patrons’ T Members of the Board of Trustees Thomas Keenan, Dr. Joel Shapiro and Bobbe and Herb Mintz Steve and Rhonda Schonberg relationship with the Theatre. To join, please contact Deceased Elizabeth Lane Alexandra and Jeffrey Mitchell Geane and Richard Schubert * Sara Conklin at 202.547.3230 ext. 2312. Mr. Allen L Keiswetter Barbara A. 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52 53 Can you discuss the connection of La Mancha,” “The Impossible UP NEXT: An interview with Alan between Cervantes and Shakespeare? Dream” and “Dulcinea”—and they require a singer who can deliver them Paul, Man of La Mancha director and Shakespeare and Cervantes were with power, nuance and a depth of Associate Artistic Director at STC contemporaries, and legend has it musicality. Anthony is phenomenal, that they died on the same day in and for those who aren’t aware of 1616 (although I’m him, this production Can you tell us how you came to crying. Man of La Mancha is really sure they died a few will be an amazing direct Man of La Mancha? about our own internal battle between days apart). Dale Man of La introduction. cynicism and optimism, something all Wasserman, who Mancha is really The story begins in 2011, when I of us face every day. wrote the book for Amber Iman is playing directed La Mancha at Catholic the musical, also about our Aldonza. She made University. That detail stuck in Michael wrote the 1959 non- own internal her Broadway debut Kahn’s mind, and on opening night of What is your approach to the show? musical teleplay I, last year playing Nina A Funny Thing Happened on the Way Don Quixote, which battle between Simone in Soul Doctor, to the Forum last season, he pulled Most people think Man of La Mancha starred Lee J. Cobb. cynicism and and has an unbelievable me aside and said, “Could you do a La is a musical retelling of Don Quixote, In that version, one voice and presence. Mancha for us?” And I of course said but in fact it’s a story about the of the prisoners is an optimism, She will be a powerful (well, exclaimed), “Yes!” writer Cervantes. The story moves English spy. There’s Aldonza. Nehal Joshi between the reality of a Spanish a great scene where something all of is playing Sancho, and Inquisition prison and Cervantes’ he asks Cervantes us face you may know him Did you have any prior personal conjuring of the Don Quixote story. if he is aware of from the work that connection to the musical? My production will highlight the Shakespeare, to every day. he has done at Arena improvisational theatricality of turning which Cervantes says Stage. Although he’s La Mancha is one of those musicals everyday objects into props, and our “no.” The truth is, we playing a comic role, that everyone is supposed to have surprisingly easy ability to believe in don’t know if they were aware of each he has a serious side—he just played seen, and oddly enough, I had never an imagined reality. Everything in the other, but there is a Cervantine quality Jean Valjean in Les Miserables at Dallas seen it. What I had seen was a clip of Don Quixote scenes will come from to Shakespeare, and a Shakespearean Theater Center. Richard Kiley singing “The Impossible objects that already exist in the prison quality to Cervantes. That they were Dream” from The Ed Sullivan Show. and from the trunk Cervantes brings writing at the same time is pretty I’m excited about the combination of On the first day of rehearsal at into the prison with him. Everyday remarkable. these three actors. Their rich talents Catholic University, I was immediately objects will transform into the horses inspire me deeply, and together we overwhelmed by the power of the that Quixote and Sancho ride, the will create a deep re-imagining of this musical. The students were also new to windmill, Alonso Quijana’s sick-bed, What can you share about casting? classic musical. the musical, and at the end of the read- and all of the other key elements. There is a lot of potential for the through everyone in the room started The great Australian star Anthony magic of transformation in the piece. Warlow is playing Cervantes/Quixote. The show-stopping moments of the musical are his three songs—“Man

Alan Paul Man of La Mancha at Sidney Harman Hall begins March 17. Tickets at ShakespeareTheatre.org or 202.547.1122.

54 55 Sabrina Mandell, Chelsea Mayo, Brenna McDonough, Stitchers Michelle Ordway, Donna Sachs SHAKESPEARE THEATRE COMPANY Victoria Reinsel, Paul Reisman, Melissa Richardson, Lead Crafts Artisan Joshua Kelley Nancy Robinette, Joel David Santner, Kristala Smart, Wardrobe Supervisors Jeanette Lee Porter, STAFF Rebecca Swislow, Katie Tkel, Eva Wilhelm, Carter Wooddell, Monica Speaker Gregory Wooddell, Jaysen Wright, Daniel Yabut Wardrobe Maintenance Kristina Martin Wig Master Dori Beau Seigneur Artistic Director Michael Kahn MARKETING AND COMMUNICATIONS THE ACADEMY FOR CLASSICAL ACTING Costume Design Intern Eileen Chaffer Managing Director Chris Jennings Chief Marketing Officer Michael Porto The Academy for Classical Acting Costume Interns Stephanie Goad, Hilary-Ann Rogers Executive Assistant to the Artistic Director Associate Marketing Director Austin Auclair Director Gary Logan Technical Director Mark Prey and Managing Director David Lloyd Olson Marketing and ACA Program Coordinator Sloane A. L. Spencer Assistant Technical Director Kelly Dunnavant Communications Assistant Alison Ehrenreich Faculty Members Isabelle Anderson, Scene Shop Foreman Eric Dixon ARTISTIC Associate Director of Audience Development Christopher Cherr, Dody DiSanto, Edward Gero, Scene Shop Administrator Jessica Noones Associate Artistic Director Alan Paul and Promotions Teddy Rodger Leslie Jacobson, Lisae Jordan, Michael Kahn, Floyd King, Carpenters John Cincioni, Jr., Carrie Cox, Head of Voice and Text Ellen O’Brien Audience Services Director Joy Johnson Gary Logan, Ellen O’Brien, Roberta Stiehm, Brad Waller Christian Sullivan, Matt Wolfe Resident Casting Director Carter C. Wooddell Group Sales and Ticket Manager Danielle Sparklin Charge Scenic Artist Sally Glass Literary Manager Drew Lichtenberg Ticket Manager Tim Helmer PRODUCTION Scenic Artist Jose Ortiz Director of Production Tom Haygood Artistic Fellow Garrett Anderson Sales Associates Zindzi Ali, Benjamin Chase, Scenic Painter Kelly Rice Associate Directors of Production Tim Bailey, Directing Fellow Katherine Burris Evelyn Chester, Jonathan Engel, Prop Shop Director Elaine Sabal Kimberly Lewis Affiliated Artists Keith Baxter, Avery Brooks, Heather Hart, Christopher Hunt, Jessica Kaplan, Assistant Prop Shop Director Guy Palace Production Administrator Emmy Landskroener Helen Carey, Veanne Cox, Aubrey Deeker, Andre McBride, Izetta Mobley, Kristin Nam, Lead Props Artisan Chris Young Resident Production Stage Manager Joseph Smelser Colleen Delany, Franchelle Stewart Dorn, Christopher Pearson, Carmelitta Riley, Marie Riley, Props Painter/Sculptor Eric Hammesfahr Stage Manager Bret Torbeck Cameron Folmar, Adam Green, Edward Gero, Crystal Stewart, Lauren Ward, Michael Wharton, Soft Goods Artisan Rebecca Williams Assistant Stage Managers Elizabeth Clewley, Genevieve Williams Master Electrician Sean R. McCarthy Philip Goodwin, Jane Greenwood, Michael Hayden, Kristy Matero, Hannah R. O’Neil, Call Center Director Monte Hostetler Assistant Master Electrician Lauren A. Hill Simon Higlett, Christopher Innvar, Stacy Keach, Robyn Zalewski Teleservices Associates Bill Billante, Thomas Brennan, Harman Electrician Brian Flory Floyd King, Andrew Long, Ethan McSweeny, Production Assistants Christopher Kee Anaya-Gorman, Jennifer Moeller, David Muse, James Noone, Kelly Carson, Eric Garvanne, James Graham, Maria Tejada Lansburgh Electrician Jacob Moriarty-Stone Cheryl Kempler, Elizabeth MacMahon, Jill McAfee, Patrick Page, Robert Perdziola, Nancy Robinette, Stage Management Interns Sean Carleton, Audio/Video Supervisor Brian Burchett Joanna Morgan, Colin O’Bryan, Cynthia Perdue, David Sabin, Miriam Silverman, Derek Smith, Rebecca Shipman Assistant Audio/Video Supervisor Roc Lee Lee Sanders, Amy Sloane, Chris Soto Walt Spangler, Tom Story, Rebecca Taichman, Costume Director Wendy Stark Prey Live Mix Engineer Ryan Gravett Director of Event Sales and Ted van Griethuysen, Craig Wallace, Adam Wernick, Floor Manager Julie Rose Sound Board Operator Amanda Labonte Partnerships Ryan Michael Hayes Gregory Wooddell Resident Design Assistant Lynda Myers Stage Operations Supervisor Louie Baxter Theatre Services Manager Dora Hoyt Assistant Stage Operations Supervisor Fran Hopkins-Maxwell ADMINISTRATION House Manager Amanda Loerch Drapers Denise Aitchison, Randall Exton, Tonja Petersen Stage Carpenters Nick Custer, Catherine Russell Director of Administration James Roemer Lead House Managers Erica Brown, Addie Gayoso, First Hands Jennifer Rankin, Sandra Thomas Run Crew Laura Cividanes, Marc Wasserman Associate Managing Director Anne S. Kohn Stephanie McLean, Carissa Milliken, Rae Davidson Sara Trebing Human Resources Manager Lindsey Morris Assistant House Managers Melissa Adler, Jeremy Blunt, Human Resources Coordinator Danielle Mohlman Quintin Cary, Irene Casey, Chris Hunt, Susan Koenig, Accounting Manager Mary Margaret Finneran Carmelitta Riley, Marie Riley, Staff Accountant Marco Dimuzio Christopher Schoen, Alex Zeese Company Manager Mackenzie Douglas Retail and Concessions Manager Kristra Forney Company Management Intern Brittney Holland Concessions Associates Eileen Chaffer, Adrianne Glover, Stephanie McLean, Justin Lane, Receptionist Ursula David AUDIENCE SERVICES Chris Pearson, Marie Riley, Petrice Roman, General Management Intern Kathryn Atkinson Christopher Schoen, Shawn Stevens, Eric Woods LANSBURGH THEATRE ACCESSIBILITY Director of Operations Timothy Fowler Retail Associates Quintin Cary, Eileen Chaffer, 450 7th Street NW Our theatres are accessible to persons with disabilities. Operations/IT Assistant Melissa Adler Please request special seating at time of ticket Tiara Copeland, Kara Tesch purchase and arrive 30 minutes before curtain for Theatre Building Engineer Dave F. Henderson SIDNEY HARMAN HALL Harman Receptionist and 610 F Street NW priority seating. Theatre Monitors Milton Garcia, Jeff Whitlow Usher Coordinator Rachel Toporek Open-captioned performance of Dunsinane. Facilities Custodian Jorge Ramos Lima TICKET AND GROUP SALES: Thursday, February 12 at 8 p.m. Associate Director of Harman Custodians Dennis Fuller, Mirna Guzman, Tickets: 202.547.1122 Audio-described performance of Dunsinane: Communications and PR Heather C. Jackson Toll-free: 877.487.8849 Saturday, February 14 at 2 p.m. Roderick Proctor Web and Media Programmer Brien Patterson Group Sales: 202.547.3230 ext. 3405 Sign-interpreted performance of Dunsinane: Lansburgh Custodians Zulma I. Bonilla, Marketing and Communications Box Office fax: 202.608.6350 Tuesday, February 10 at 7:30 p.m. Izilma Membreno, David Guzman Bookings: 202.547.3230 ext. 2321 An audio-enhancement system is available for all Intern Jessica Peña Torres performances. Both headset receivers and neck loops Director of Information Technology Brian McCloskey Visual Communications BOX OFFICE PHONE HOURS (both theatres): (to use with hearing aids outfitted with a “T” switch) Systems Administrator Patrick Hayes Manager S. Christian Taylor-Low Daily: noon–6 p.m. are available at the coat check on a first-come basis. Database Administrator Brian Grundstrom Junior Graphic Designer Taylor Henry (Box Office window open until curtain time) Program notes in Braille and large print are available at Graphic Design Intern Keshia Pace The Lansburgh Box Office is closed on the the coat check. weekends if there is no performance at the Support for the Shakespeare Theatre Company’s DEVELOPMENT Photographers Kevin Allen, Margot Schulman, Lansburgh Theatre. Accessibility Program provided by Chief Development Officer Ed Zakreski Scott Suchman Senior Associate Director of Development Amy Gardner CONCESSIONS AND GIFT SHOPS: EDUCATION Food and beverages are available one hour before Individual Campaigns Officer Betsy Purves each performance. Pre-order before curtain for Partial support for open captioning provided by Major Gifts Officer Sara Conklin Director of Education Samantha K. Wyer immediate pick-up at intermission. Special Events Manager Moriah Mills Associate Director of Education Dat Ngo Lansburgh Theatre and Sidney Harman Hall Development Operations and Audience Enrichment Manager Hannah Hessel Ratner gift shops are open before curtain, at intermission and for a short time after each performance. Membership Manager Kristina Williams Community Engagement Manager Laura Henry Buda School Programs Manager Vanessa Hope Development Operation Coordinator Sara Seidler CONNECT WITH US: The video and/or audio recording of this performance Training Programs Manager Brent Stansell Membership Coordinator Arielle Katz Facebook.com/ShakespeareinDC by any means whatsoever are strictly prohibited. As a Education Coordinator Emily Marcello Twitter @ShakespeareinDC Associate Director of Development Noreen Major courtesy, turn off pagers, telephones, watch alarms and Education Intern Sarah Kate Patterson YouTube.com/ShakespeareTheatreCo Corporate Giving Manager Katie Burns-Yocum all other electronic devices during the performance. Affiliated Teaching Artists Carolyn Agan, Wyckham Avery, Flickr.com/ShakespeareTheatreCompany Director of Foundation and Instagram @ShakespeareinDC Lise Bruneau, Dan Crane, Vince Eisenson, Jim Gagne, Audience members may be reached during a Government Relations Meghann Babo-Shroyer Tara Giordano, Brit Herring, Paul Hope, Naomi Jacobson, performance by calling house management at Development Intern Kristen Olsen Mark Jaster, Joy Jones, Manu Kumasi, Jessica Lefkow, Latecomers will be seated at management’s discretion. 202.547.3230 ext. 2517. Specify seat location.

56 57 Acting • Movement • Mask • Voice • Speech Text • Stage Combat • Alexander Technique Located in the heart of Washington, D.C., at The George Washington University

AUDITIONS HELD Jan 31 • Washington, D.C. Feb 7 • New York Feb 14 • Chicago Feb 21 • Seattle

TO APPLY ShakespeareTheatre.org/Academy [email protected] Kelly Lynn Hogan and Rafael Untalan in The Maid’s Tragedy (ACA)

“If you can perform the classics, you can perform anything.” Michael Kahn Artistic Director, STC