2015|2016 SEASON Issue 2 TABLE OF Dear Friend, It has finally happened. It always CONTENTS seemed that Kiss Me, Kate was the perfect show for the Shakespeare 1 Title page Theatre Company to produce. It is Recipient of the 2012 Regional Theatre Tony Award® one of the wittiest musical comedies 3 Cast in the canon, featuring the finest Artistic Director Michael Kahn score Cole Porter ever wrote, Executive Director Chris Jennings 4 Director’s Word stuffed to the brim with songs romantic, hilarious, and sometimes both. It is also, not coincidentally, a landmark 8 Story, Musical Numbers adaptation of Shakespeare, a work that no less a critic than and Orchestra W.H. Auden considered greater than Shakespeare’s own The Taming of the Shrew. 9 Music Director’s Word All I can say to the multitudes who have suggested this show to me over the past 29 years is that we waited 13 About the Authors until the moment was right: until we knew we could do a production that could satisfy us, with a cast that could 14 The Taming of work wonders with this material. music and lyrics by Cole Porter the Screwball book by Samuel and Bella Spewack Also, of course, with the right director. He doesn’t need 18 It Takes Two any introduction, having directed two classic (and Performances begin November 17, 2015 classically influenced) musicals for us—2013–2014’s Opening Night November 23, 2015 (Times Two) award-winning staging of A Funny Thing Happened on the Sidney Harman Hall Way to the Forum and 2014–2015’s equally magnificent 24 Mapping the Play Man of La Mancha—but nonetheless I am very happy that STC Associate Artistic Director Alan Paul has agreed to Director Fight Director 26 Kiss Me, Kate and complete his trifecta with Kiss Me, Kate. This show makes Alan Paul David Leong Shakespeare tremendous demands on a director and his entire creative team. Along with Porter’s score, there are continuous Choreographer Casting Director 33 Play in Process dance numbers, a book stuffed with tremendous gags, Michele Lynch Laura Stanczyk, CSA and oodles of moving scenery. I know this is one of Alan’s 36 Cast Biographies Music Director/Orchestrator Resident Casting Director very favorite shows, and I am thrilled to see what he has Doug Peck Carter C. Wooddell in store for us. 44 Artistic Biographies Don’t miss the rest of our season, of which I am equally Associate Music Director/Conductor Literary Manager/Dramaturg 48 For STC proud. In January, I get to have some fun with critics James Cunningham Drew Lichtenberg (after they’ve had so much fun with me), directing 50 Faces and Voices Additional Dance Music Head of Voice and Text Jeffrey Hatcher’s brand new adaptation of Sheridan’s Arrangements by Ellen O’Brien The Critic together with Tom Stoppard’s The Real Inspector 52 Michael Dansicker Support Hound in the Lansburgh. In February and March at Assistant Director Sidney Harman Hall, Ron Daniels directs Faran Tahir, 60 About STC Scenic Designer Kevin Place an extraordinary actor of Pakistani descent, in an James Noone 60 About ACA exciting new interpretation of Othello. Later in March, Assistant Choreographer Headlong theatre company’s stunning adaptation of Costume Designer Patch David 62 Up Next: The George Orwell’s 1984 comes to the Lansburgh from the Alejo Vietti Almeida Theatre in London. Last but certainly not least, Production Stage Manager Critic and The Real it felt apt to revive Shakespeare’s own The Taming of the Lighting Designer Joseph Smelser* Inspector Hound Shrew in the season we finally decided to mountKiss Paul Miller Me, Kate. Auden may be right about the merits of the Stage Manager 64 STC Staff two respective works, but I will let you be the judges Sound Designer Robyn M. Zalewski* after you see Ed Sylvanus Iskandar’s enterprising Justin Stasiw 65 Audience Services Assistant Stage Manager reimagination. Maria Tejada* See you at the theatre. *Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers. Warm Regards, Musicals at the Shakespeare Theatre Company are made possible by the Beech Street Foundation. Kiss Me, Kate is sponsored by the HRH Foundation. Restaurant Partner: Carmine’s

Michael Kahn Kiss Me, Kate is presented by arrangement with Tams-Witmark Music Library, Inc., 560 Lexington Avenue, New York, New York 10022. Artistic Director Shakespeare Theatre Company 1 CAST KISS ME, KATE

BACKSTAGE, 1948 Lilli Vanessi ...... Christine Sherrill* Fred Graham ...... Douglas Sills* Lois Lane ...... Robyn Hurder* Bill Calhoun ...... Clyde Alves* First Man ...... Bob Ari* Second Man ...... Raymond Jaramillo McLeod* Harrison Howell ...... Patrick Ryan Sullivan* Paul ...... T. Oliver Reid* Hattie ...... Zonya Love* Ralph (Stage Manager) ...... Bev Appleton* Harry Trevor ...... Harry A. Winter* Pops ...... Elliot Dash*

THE TAMING OF THE SHREW PLAYERS Katherine (Lilli Vanessi)...... Christine Sherrill* Petruchio (Fred Graham)...... Douglas Sills* Lucentio (Bill Calhoun)...... Clyde Alves* Bianca (Lois Lane)...... Robyn Hurder* Hortensio (Second Suitor)...... Brandon Bieber* Gremio (First Suitor)...... Con O’Shea-Creal* Baptista (Harry Trevor)...... Harry A. Winter*

Ensemble...... Jay Adriel*, Kristen Smith Davis*, Susan Derry*, Carl Draper*, Heidi Kershaw*, Monette McKay*, Eliza Ohman, Alfie Parker Jr.*, Olivia Russell, Swings...... Stephanie Bissonnette, Kevin Michael Raponey, Wood Van Meter

UNDERSTUDIES Bev Appleton* (Harrison Howell, Harry Trevor/Baptista), Elliot Dash*(First Man, Second Man), Susan Derry* (Lilli Vanessi/Katherine), Carl Draper* (Stage Manager), Monette McKay* (Lois Lane/Bianca), Con O’Shea-Creal* (Bill/Lucentio), Alfie Parker Jr.* (Paul, Pops), Olivia Russell (Hattie), Patrick Ryan Sullivan* (Fred Graham/Petruchio)

FOR THIS PRODUCTION Dance Captain: Brandon Bieber* Overhire Carpenters: Danny Benzinger, Fight Captain: Con O'Shea-Creal* Chris Foote Lighting Assistant: Wilburn Bonnell Overhire Scenic Painters: Mariana Fernandez Production Assistant: Rebecca Shipman Laura Genson, Holly Highfill, Sam Shelton, Overhire Stitchers: Michele Macadaeg, Follow Spot Operators: Calvin Anguiano, Stephanie Goad, Belinda Haaland Christopher Stull Overhire Wardrobe: Ayanna Fox, A2: Eric Sherman Kristina Martin, Emily Price Overhire Run Crew: Kevin Crawford, Overhire Wigs: LaShawn Melton Reggie Fortune, Craig Gatling, Overhire Wardrobe Prep/ Jessica Lucey, Jess Rich Swing: Stephanie Fisher

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.

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers.

3 DIRECTOR’S WORD look closely you can see Bella’s “legitimate” debut in the theatre. fingerprints all over the work. Sam This is her big chance, and she ALAN PAUL had one major contribution, which doesn’t want to mess it up. Bill was the gangsters, those lovely is similar, but he has a vice: We Private Lives than it is like The gentlemen. But Bella wrote most he loves to gamble. They’re started Taming of the Shrew. Fred and Lilli of the book. And this is very much both incurable flirts, and they work reconnect in the dressing room a woman’s take on Shakespeare’s have a very different kind of on this and you watch them working play. Lilli is a strong and imperfect relationship, in counterpoint to project through the subtext of everything character, every bit the equal of Fred and Lilli, much like Bianca a year they feel about each other. There Fred. The balance between them and Lucentio have a completely ago, so is a lot of passion brewing just is that of two free agents. different dynamic from Kate and I’ve had beneath the surface. Petruchio in Shakespeare’s play. The other thing that makes Kate a long Lilli and Fred, unlike Kate and so special is the music and lyrics On top of these relationships, time Petruchio, have a very modern of Cole Porter. When you think there is also the mise en scène: to think about Kiss Me, Kate relationship. They are two stars Cole Porter, you think of urbanity, Kiss Me, Kate is the ultimate and what precisely makes it so of the stage, now divorced. She’s of cosmopolitan and sophisticated backstage musical. We have the special. One of the reasons it gone to Hollywood and had tastes. You don’t necessarily rare opportunity to show the isn’t produced often is because some success, but her temper think of someone with deep magic and the mystery of life it’s very hard to do. You need a has gotten in the way of her own passion. Porter was, of course, a backstage: the fun and hijinks, company of triple-threats who career. They say she has such gay man, and if you look at his the drinking and flirting, the sex. can dance, sing, and act. Most a terrible temper that she “bit letters from the 1920s, when he “Too Darn Hot” is going to be too importantly, you need two actors King Kong and gave him rabies,” was living in Venice, he writes of darn hot in our version. I’ve been of extraordinary depth and humor and we see her temper played the pain in his clandestine love fascinated by the photographer for Fred Graham and Lilli Vanessi. out backstage and onstage. affairs. The depth of passion and Rivka Katvan, who captures this And they have to be great singers. She’s come back to be in this tremendous longing in his letters tone in her book Backstage: And they have to be able to production with her ex, a musical makes them almost excruciating Broadway Behind the Curtain. handle Shakespeare! version of The Taming of the to read. Porter summons these (You'll see several of her photos Shrew, which is on its out-of- unexpected emotions in “So in later in this issue of Asides.) When you look at The Taming of town tryout in Baltimore. From Love,” when Lilli sings: the Shrew, it forces you to think that first moment you see them, Kiss Me, Kate is the ultimate about gender. “Shrew-taming” it is crystal clear that they are […] taunt me, and hurt me. valentine to the theatre and I'm is a topic we find distasteful, meant to be together, and yet Deceive me, desert me, so thrilled to direct it. It's my but Shakespeare looks at it it takes them the length of the I’m yours, till I die chance to direct an unabashedly unsparingly and in surprising musical to muster up the courage So in love with you am I lush and romantic production ways, as he did everything. to say it to each other. The that harkens back to all I love There’s no question about the In the case of Kiss Me, Kate, journey in between is fascinating, about the Golden Age of depth of feeling already there, Shakespeare gets funneled because you see all the funny Broadway. 20 minutes into the evening, and through 1940s attitudes about parts of their defensiveness and that’s one of the things I want to gender, and it becomes a different the walls they have put up. capture with this production. kind of play, a comedy of divorce Now, the book for Kate was and remarriage. I have always The other main couple is Lois Adapted from Alan Paul’s technically written by Sam thought the first scene of Kiss Lane and Bill Calhoun. Lois address to the cast on the first and Bella Spewack, but if you Me, Kate is more like Coward’s is a club singer making her day of rehearsal.

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Kennedy Center Theater Comedy at the Kennedy Center December 8 – January 24 Season Sponsor Presenting Sponsor THE STORY 1948. Ford’s Theatre, Baltimore. MUSIC DIRECTOR’S WORD Fred Graham and Lilli Vanessi were once the greatest husband-and- DOUG PECK ON COLE PORTER wife team on Broadway, but battling egos ended their personal and professional relationship. Now, on the anniversary of their divorce, they’re It’s funny to say about someone you don’t know, but I’m very proud of Cole Porter. starring together as Petruchio and Kate in a musical adaptation of William Much of his previous work before Kiss Me, Kate is from an era when people could Shakespeare’s The Taming of the Shrew. not care less about fitting songs to the plot. You know, “Someone will juggle, then we’ll sing a song, then someone will swallow a sword,” and so on. He was a master Rehearsals have begun. But when a group of gangsters show up to collect of that form, and his songs were so diverting and witty that they worked brilliantly. a mysterious debt, together with the combination of Fred and Lilli’s offstage lives and onstage characterizations, the situation looks grim. Will As all great artists do, however, Porter wanted to keep up with the trends and noises off throw the show into hilarious disrepair? push himself. Think of how many people are going to write rap musicals now that Hamilton is dominating the form. Some successfully, some horribly, and I’m very much looking forward to all of it. Cole Porter—because he was a true MUSICAL NUMBERS master—evolved with the times. Following Kern and Hammerstein, and Rodgers Act 1 and Hammerstein, he wrote a truly integrated musical. Kiss Me, Kate has elements Another Op’nin’, Another Show �����������������������������������������������������������������������������������Full Company of the previous style, of course, and there are some songs in this score that are just Why Can’t You Behave? �����������������������������������������������������������������������������������������������������������Lois Lane getting in by the skin of their teeth. But some of them are also among the great Wunderbar...... Fred Graham, Lilli Vanessi book-integrated songs of the musical theatre. I’m proud of him for evolving in that So in Love �����������������������������������������������������������������������������������������������������������������������������������Lilli Vanessi We Open in Venice...... Bill Calhoun, Fred Graham, way, which is what we’re all trying to do as artists. Lois Lane, Lilli Vanessi Tom, Dick, or Harry...... Bianca, Gremio, Hortensio, Porter revealed so much of himself in working on this piece. We all know him as Lucentio the witty sophisticate, but there is such deep longing in this music, a strain of I’ve Come to Wive It Wealthily in Padua �������������������������������������������Petruchio, Male Ensemble bittersweet romance underneath the comedy. There can be a sophisticated, even I Hate Men ������������������������������������������������������������������������������������������������������������������������������������� Katherine blasé veneer, but there’s also a whole world of passion underneath. The emotions Were Thine That Special Face ����������������������������������������������������������������������������������������������� Petruchio are sublimated beneath wit in a manner that’s very reminiscent of Shakespeare, Cantiamo D’Amore �������������������������������������������������������������������������������������������������������������������� Ensemble Wilde and other great writers of romantic comedy. Finale Act I: Kiss Me, Kate �����������������������������������������������������������������������������������������������Full Company Porter was a flat-out brilliant composer. He was a Christian boy from Indiana, but Act 2 he always said the success of his melodies is how Jewish they were. Maybe he was Too Darn Hot �������������������������������������������������������������������������������������������������������������������������������� Ensemble appropriating a little, but he knew exactly what that meant in terms of harmonic Where Is the Life That Late I Led? �������������������������������������������������������������������������������������� Petruchio Always True to You in My Fashion ����������������������������������������������������������������������������������������Lois Lane minor melodies. When he writes in that mode, it’s delicious. He was also able to Bianca...... Bill Calhoun, Ensemble write in two different styles for Kiss Me, Kate. He gives us the fabulous backstage So in Love (Reprise) ����������������������������������������������������������������������������������������������������������� Fred Graham jazz world of Baltimore in the 1940s and then he writes some honest-to-God Brush Up Your Shakespeare ������������������������������������������������������������������������ First Man, Second Man Renaissance music for the show-within-a-show. We are going to realize what this I Am Ashamed That Women Are So Simple Katherine 1940s version of a 17th-century show-within-a-show might have sounded like. Finale Act 2 Reprise: Kiss Me, Kate �����������������������������������������������������������������������������Full Company He’s also Porter the Progressive. We’re in an era where we applaud shows like Broad City for its sex-positivity, but Cole Porter was there 70 years ago. Lois Lane ORCHESTRA says filthy, juicy, delicious things onstage. Most of them are single entendres, not Conductor...... James Cunningham even double entendres. And he puts them out there. He is able to write these sassy, Reed 1 ...... Martin Nau empowered songs. You have to give him credit. He’s up there with Noël Coward, Reed 2 ...... Ronald Diehl W.S. Gilbert, and Stephen Sondheim as one of the great lyricists of all time. I want Reed 3 ...... Scott Silbert the audience to be able to understand and savor every word. Reed 4 ...... Tia Wortham Guitar ...... Gerald Kunkel We’re still dealing with equality in terms of gender in our society, and this piece Trumpet 1...... Guericke Royal from 1948 has a female book writer and a gay composer. It was very important to Trumpet 2...... Kieron Irvine Trombone...... Paul Schultz them that they write about those issues explicitly in this piece. And they did. As I Bass...... William Hones said, I’m very proud of Cole Porter. Percussion ������������������������������������������������������������������������������������������������������������������������������� Chris Barrick Contractor ��������������������������������������������������������������������������������������������������������������������������������Bruno Nasta Adapted from Doug Peck's address to the cast on the first day of rehearsal.

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11 STC BOARD OF TRUSTEES ABOUT THE AUTHORS COLE PORTER Michael R. Klein, Chair Stephen M. Ryan Robert E. Falb, Vice Chair George Stamas John Hill, Treasurer Lady Westmacott Of all the giants of the American Songbook, there is perhaps no figure who united words Pauline A. Schneider, Secretary Rob Wilder and music better than Cole Porter. Blending European savoir faire with an American’s Michael Kahn, Artistic Director Tom Woteki Suzanne S. Youngkin delight in monkey business, Porter’s songs are paradoxical delights: sophisticated yet Trustees accessible and infinitely pleasurable, a world all their own. He was, as he termed himself, “a Nicholas W. Allard Ex-Officio Trustees Ashley M. Allen Chris Jennings, Executive Director cross between Eddie Cantor and the Duke of Windsor.” Stephen E. Allis Anita M. Antenucci Emeritus Trustees Born on June 9, 1891, in Peru, Indiana, Porter had a privileged upbringing. His mother, Jeffrey D. Bauman R. Robert Linowes*, Founding Chairman Catherine “Kate” Cole, was the daughter of a tycoon and doted on her son, sparing Landon Butler James B. Adler Dr. Paul Carter Heidi L. Berry* no expense. By the age of 6, Porter could play the violin and piano; at 10, he wrote his Peter Cherukuri David A. Brody* first song. Gloria Dittus Melvin S. Cohen* Debbie Driesman Ralph P. Davidson* In 1909, Cole matriculated into Yale University, where he sang a cappella with the Dr. Mark Epstein James F. Fitzpatrick Stefanie Erkiletian Dr. Sidney Harman* Whiffenpoofs and Glee Club and wrote an estimated 300 songs, including the material for Dr. Natwar Gandhi Lady Manning six musical comedy revues. After graduating in 1913 as the “most entertaining” member Miles Gilburne Kathleen Matthews Barbara Harman William F. McSweeny of his class, Porter made his Broadway debut with 1916’sSee America First; it was a flop. John R. Hauge V. Sue Molina Crushed, Porter spent much of the next two decades in Europe. In 1919, living in Paris, he Stephen A. Hopkins Walter Pincus Lawrence A. Hough Eden Rafshoon married divorced socialite Linda Lee Thomas. W. Mike House Emily Malino Scheuer* Jerry J. Jasinowski Lady Sheinwald The 1930s were Porter’s decade. He was prolific, writing 10 Broadway and two Hollywood Norman D. Jemal Mrs. Louis Sullivan musicals. The frothy books to these musicals, wildly popular in their day, are now largely Scott Kaufmann Daniel W. Toohey Sudhakar Kesavan Sarah Valente forgotten. It is the songs that have survived, a glittering list including such standards as Kevin Kolevar Lady Wright “Let’s Do It (Let’s Fall in Love)” (Parade, 1928), “What Is This Thing Called Love?” (Wake Up Abbe David Lowell *Deceased and Dream, 1929), and “Night and Day” (Gay Divorce, 1932). Anything Goes (1934) features Gail MacKinnon Bernard F. McKay a murderer’s row of the title song, “I Get a Kick Out of You,” “All Through the Night,” and Melissa A. Moss “You’re the Top.” Other modern classics include “Begin the Beguine”(Jubilee , 1935), “It’s De- Lovely" (Red, Hot and Blue!, 1936), and “I’ve Got You Under My Skin” (Born to Dance, 1936). Porter suffered a severe horse-riding accident in 1937; he would never fully recover the use of his legs. Though he threw himself into his work, the hit songs began to dwindle. 1948’s ASIDES Kiss Me, Kate was a late-career triumph, a fully integrated musical in the new manner of Production Program and Publication of the Rodgers and Hammerstein. Porter won the Tony for best composer and lyricist, andKate SHAKESPEARE THEATRE COMPANY received the first-ever Tony for Best Musical. He died on October 15, 1964, having produced an inimitable body of work. Managing Editor Publisher Jonathan Padget Michael Porto SAM AND BELLA SPEWACK Creative Director Graphic Designer S. Christian Taylor-Low Taylor Henry A husband-and-wife writing team, Samuel and Bella Spewack were both born in Eastern Contributing Editors Production Assistant Europe (Bella in Bucharest, Sam in Ukraine) in 1899, both immigrated as children, and both Laura Henry Buda Ruthie Rado worked as journalists before turning to the theatre. After marrying in 1922, they moved to Drew Lichtenberg Moscow, where they worked as foreign correspondents for four years. Ryan-Patrick McLaughlin Editorial Assistant Catherine Shook On their return to the United States, the Spewacks found success writing romantic Advisors comedies of the madcap variety. Their first break on Broadway was 1932’sClear All Wires, Alan Paul followed by 1935’s Boy Meets Girl. Their Hollywood screenplays include the Academy Samantha K. Wyer Award®-nominated My Favorite Wife (1940), starring Cary Grant. For Kiss Me, Kate, the couple won the Tony Award® for Best Author of a Musical. Sam Spewack died in 1971 and Bella Spewack in 1990.

12 13 he success of Kiss Me, Kate sexually suggestive rhymes for in 1948 could not have been “Daddy” such as “Finnan haddie” more unexpected. Cole (smoked cod), “Paddy” (for a TPorter, who had experienced a Saint Patrick’s Day assignation), glittering string of successes in “the caddy” (an aroused golf the 1930s, was yesterday’s news companion), and “strong under- by the mid-’40s. His previous two graddy.” The original finale Broadway ventures, Seven Lively consisted of Stalin leading a line Arts (1944) and Around the World dance to “The Internationale,” in Eighty Days (1945)—the former rewritten hastily after the signing a collaboration with Salvador of the Nazi-Soviet Pact. Like all of Dali, Igor Stravinsky, Benny Porter’s pieces from the ’30s, Leave Goodman, and Moss Hart, the It to Me! is high on fizz and fun, latter with Orson Welles “in the and all but unrevivable today. style of Georges Méliès”—were By 1948, the world had changed. both eccentric and expensive flops. The success of Rodgers and Worse, they hinted that Porter, Hammerstein’s Oklahoma! in who had never written his own 1943, followed by Carousel and books, had lost the magic touch of Allegro, effectively ushered in choosing an ideal collaborator. the era of the “book musical,” in As luck would have it, his which all the songs and dances next collaborators would choose were subordinated to the needs of him. Sam and Bella Spewack had the story and characters. Taking worked with Porter previously, a cue from Richard Wagner, The adapting their 1932 play Clear All composers were now expected Wires into the 1938 musical Leave to sprinkle musical themes or It to Me! Based (very) loosely leitmotifs throughout the piece, on their experiences as foreign uniting disparate plot strands into correspondents in Moscow, in a contrapuntal unity. Vaudeville Taming Porter’s hands the piece became was out, and Aristotle was in. It a sublimely nonsensical romp, was no longer enough to add blue flimsily plotted but chockablock coloration to a string of ingenious with risqué set pieces. Most notable rhymes, or to wow people with of the is Mary Martin’s striptease in a dance number. Now one had Siberia, discarding her ermine to write plays with music. “The muff while mewling “My Heart librettos are much better,” Porter Belongs to Daddy.” Porter, who would later lament, “and the scores had elevated doggerel rhyme to the are much closer to the librettos Screwball status of high art, topped himself than they used to be. Those two By Drew Lichtenberg, Literary Manager here, stringing together a line of [Rodgers and Hammerstein] made

Rendering of the Padua backdrop for Kiss Me, Kate by Scenic Designer James Noone. 15 it much harder for everybody else.” had never directed a musical such previous hits as “Begin the tune on the elevator, finishing it Two stories vividly evoke the before. For that matter, the Beguine” an exotic Middle Eastern before they reached the 41st floor. changing of the guard. Irving Spewacks were perceived as air, becomes a dramaturgical device He turned to her, and said simply, Berlin, Porter’s 1930s compatriot, playwrights, not librettists. None of here, uniting like and unlike songs. “It’s Harold’s Number.” Sure had joined the times with 1946’s them, except for Bella, particularly In Porter’s most overtly Wagnerian enough, in the show, Bill Calhoun Annie Get Your Gun, a star vehicle wanted Porter. moment, Fred Graham/Petruchio whistles as he wows the audience for Porter’s favorite 1930s naughty How wrong they were. Porter sings “So in Love” at a crucial with “Bianca,” a showstopping girl Ethel Merman, unrecognizably worked uncharacteristically hard stage in the action, picking up the dance number. transformed as a sharpshooter on Kiss Me, Kate, taking particular tune from Lilli Vanessi/Kate, even The last tune added, and one with a heart of care to integrate though he hadn’t been onstage for that would strain relations with gold. Hitting The challenge his songs with her rendition. The effect is sublime, the Spewacks (“Bella will probably closer to home, the Spewacks’ of a dream remembered, or of a cut her throat when she gets this,” when Porter and of composing a book. By opening romantic kinship with unspeakable Porter said when mailing it), is the Spewacks night of tryouts depths. Porter, who for so long had “Brush Up Your Shakespeare.” began casting unified “musical in Philadelphia, endowed lusty thoughts with double Unexpected, unwelcome, and the all-important play” liberated the text of the meanings, was now letting his music entirely ingenious, “Brush Up” role of Lilli show was set, not limn ineffable emotions, writing was a ribald list song for the Vanessi, Kate’s the erudite to be changed, a lieder worthy of Strauss or Debussy. gangsters in the show, dotted female lead, they phenomenon all “The climax comes quite a while with doggerel rhymes, much in thought instantly Porter, resulting but unknown in before the end of the song,” Porter the style of his greatest hits from of Mary Martin. in the most Broadway musicals. would say about it, elliptically, “a the 1930s. As Bella eventually She turned Furthermore, situation that would never have been realized, incorrigibility would win them down for sophisticated the challenge accepted 20 years ago.” out over integration, showbiz over Rodgers and and purely of composing a But old habits die hard. The last Shakespeare. When Kate Cole, Hammerstein’s unified “musical two songs added to the show have Porter’s beloved mother, came South Pacific. musical score of play” liberated proven two of the most popular, to the opening night of Kiss Me, Making the erudite Porter, and would not be out of place in a Kate, she sat, stone-faced, through matters worse, his career. resulting in the 1930s musical revue. Harold Lang, much of the show, letting most of the Spewacks most sophisticated who played Bill Calhoun, had the racy lyrics pass by unnoticed. were supported by a motley crew and purely musical score of his angered Porter during rehearsals, When the company got to “Brush of an artistic team consisting of career. The contrasting worlds showing up late for calls, and with Up Your Shakespeare” and Porter’s a brilliant set designer (Lemuel of Shakespeare’s Padua and a much-too-large codpiece. Not immortal couplet, “Just acclaim a “Lem” Ayers, who had created backstage Baltimore are drawn yet the star he would become after few lines from Othello / And she’ll the Oklahoma! plains) and a in complementary musical the 1952 revival of Pal Joey, he was think you’re a helluva fella,” she veteran stage manager (Arnold vernaculars, flitting from the nonetheless petulant and unhappy, turned to her companion and said, “Saint” Subber), both unproven Renaissance madrigal of “Tom, complaining about his lack of a smiling, “Cole is a naughty boy.” as producers. The director was Dick, or Harry” to the Bowery dance solo. One evening, Porter a producer, John C. Wilson, waltz of “Brush Up Your invited Lisa Kirk (Lois Lane, Bill’s most famous for mounting Noël Shakespeare.” The Porterian counterpart) back to his penthouse Coward’s works in America. He cadence of minor to major, lending for drinks, and began whistling a

16 17 Love stories are lovely (and plentiful), aren’t they? But a great love-hate story—that’s something else entirely, and that’s what makes the heart of Kiss Me, Kate beat with passion, intensity and joy. IT Like the original Broadway production starring Alfred Drake and Patricia Morison, or the film adaptation with Howard Keel and Kathryn Grayson, or the TAKES Broadway revival that paired Brian Stokes Mitchell and Marin Mazzie, Shakespeare Theatre Company’s production of Kiss TWO Me, Kate relies on the chemistry between the central couple: the actors portraying Fred Graham and Lilli Vanessi. (TIMES So, too, does it rely on another well-matched couple: the director and choreographer. Let’s see how they were all getting along with each other in the TWO) process of bringing Kiss Me, Kate By Jonathan Padget Photos by Ruthie Rado to vibrant life.

DOUGLAS SILLS AND CHRISTINE SHERRILL Fred and Lilli are one of theatre’s with this, and then I watched Jeb greatest examples of a couple who Bush and Marco Rubio debate each can’t live either with or without other. I feel like I got so much from each other. What does it take for their love and hate for each other. actors to make that kind of passion [Laughs.] You want to start at the and complexity both entertaining truth, what’s honest here, what you’re and believable? trying to achieve. And you just have to make sure the stakes stay high. SHERRILL: The stereotype of the You have to need and want the other shrew can be challenging, but the person very, very much. When you’re humor in this is the reality of love. playing a couple known for a heated It’s funny. And it’s a torment. And relationship, you have to avoid tumultuous. There’s humor in that. focusing on just playing the fight. There can be humor in any reality. When you’re dealing with “I hate you, SILLS: I was having some trouble I’m mad at you, how dare you”—all

18 19 showing you how clever SILLS: I love that Fred is the lead. What do you hate about your he is, and at this point [Laughs.] co-star? in his career, he’s very SHERRILL: He has moments when clever. And you have to he’s like a teenage boy. Do you know navigate the different What do you love about your that about yourself, Doug? periods in the show, and co-star? then there’s Shakespeare, SHERRILL: Ooh. SILLS: She doesn’t understand but it’s modified. It’s the gloriousness that is Fred, and SILLS: Wait a minute before you quite a challenge. Douglas. No, really, I haven’t found answer. [Covers his ears.] anything yet! SHERRILL: I don’t know what to say. Since this is your first SILLS: Well, figure it out! time working together, What happens to Fred and Lilli after have you done anything SHERRILL: He’s a gentleman, he the curtain falls? What are they up believes in chivalry, which is an art special, either in or out to 20 years later? form. He is invested in this play, and of rehearsal, to get to very passionate about it. He’s strong. SHERRILL: They’re definitely know each other better? Oh my gosh, Doug, do you want to together. SHERRILL: When I arrived get married? SILLS: They’re touring, and it’s here, Mr. Sills had sent SILLS: I love that fact that she’s called the Eight Grahams. It’s a lilies to my apartment. statuesque and beautiful. She cares Shakespearean troupe, and they also Isn’t that lovely? about her work. She’s a mother. And sing. We’ve been on The Ed Sullivan SILLS: They were orchids. she’s funny. Show, and we live in Beverly Hills. We’ve done well. She took some SHERRILL: You didn’t of our money and invested it in oil, send lilies to Lilli? What because Lord knows our career didn’t were you thinking? get us there. SILLS: She’ll also tell the negatives—you have to treat me after rehearsal how them as obstacles, not the objective. exhausted she is, and how she wants The more you need someone, the to grab a cab. But I’ll be like, “No, ALAN PAUL AND MICHELE LYNCH more intense the difficulties are. let’s walk.” And she’ll see a sweet Why is the chemistry between the the rehearsals and where the show is treat in a store window, and I’ll say, director and choreographer in this going. Our attitude, collaboration and “No! We’re not having that!” It’s like Are Fred and Lilli any harder, or any production just as important as unity strengthen them. I’m starving her. easier, to bring to life than other the chemistry characters you’ve portrayed? SHERRILL: He treats me just like between Fred the shrew! and Lilli? SHERRILL: Anytime you get to play a character in love, that’s pretty easy. Lynch: Because we’re almost like Who hasn’t had that experience to What do love about your character? draw on? And it doesn’t hurt when you the parents to have Cole Porter songs to convey your SHERRILL: Everything! I love that her the cast when feelings with. That’s icing on the cake. biggest weapon is her wit, and I love we run the show. her command of the language, and If they feel a SILLS: The demands are intense. The how she can use that as a weapon. disassociation fundamentals are the same: What But I equally love her graceful with us, it’s going do you want? What are you afraid moments, when you can see that the to weaken their of? Where are you in your life? The two of them together is better than confidence in hard part is the fight, the lyrics—Cole either of them apart. the show. We Porter is a list writer. He’s always set the tone of

20 21 Paul: Ideally you shouldn’t know Kennedy Center a few years ago, a sense of authority the exact moment my work ends and it was obvious that no one but and vulnerability that and Michele’s starts. We’re trying Michele could have done that. This allows you to strip to create a physical world that can was a perfect fit. away your mask, and allow for dance that comes out be vulnerable and Lynch: In my world, the director of natural movement when we’re open, and bring your already has the job, and I’m always backstage, especially in “Too Darn best creative self. the interviewee. It is like dating in a Hot.” We both have to do the same That’s a rare gift. way, because I can know instantly if show, but our work usually happens this is someone I want to spend hours Paul: I love Michele’s in separate rooms. Once the rehearsal and hours with. I loved Alan’s energy enthusiasm, and her clock starts running, there’s not a lot when I first started talking to him. It sense of telling a story. of time for us to sit and talk about was so fresh, enthusiastic, exciting, Some choreographers everything. So we had to make sure passionate, smart, grounded and real. don’t work that way, we were completely on the same and I’ve learned page when we started. Paul: And then she got to know me. not to take it for [Laughs.] Lynch: It’s like raising a kid. You have granted. Besides to make sure you’re raising her the having incredible same way. Are there legendary directors and choreography and steps, it’s all in Paul: We’re raising a Broadway baby. choreographers whose working relationships inspire you? support of a common idea we have, or a Paul: Jack O’Brien and Jerry Mitchell. Since this is your first time working common thing we together, how did you know each Lynch: They were my role models. want to have happen other was “The One” when it came I spent 10 years with them. I was in a scene. That’s to working on Kiss Me, Kate? Jerry’s assistant and associate on especially important in The Full Monty and Hairspray, and the backstage part of Paul: There are very few people Jack was the director. We worked on the musical, because who have the sensibility for a classic remounts around the world, and they we want to capture musical in an old-fashioned kind were like my parents. a slice of what life in of style. I saw Show Boat at the the back alley is like. Paul: Jack is one Then there’s also the of my mentors brilliant showmanship I check in with, of the play within a and I really look play, which has incredible style and up to him. If you could pick any show or project is going to be different than anything to work on together next, what Lynch: That people have seen before, in some of would it be? was a happy these dances. discovery for Paul: Victor/Victoria, with new dance me—learning arrangements by Michael Dansicker. that we have What do you hate about each other? Lynch: Starring Catherine Zeta-Jones. the same role Both: Nothing! [Laughs.] models. Paul: So if she’s reading Asides, I Paul: We don’t have a love-hate hope she’ll email me. relationship. It’s just love-love. What do love Lynch: Unless there are underlying Jonathan Padget, STC’s associate about each things you want to get out now. other? director of communications and Paul: We’ll talk. public relations, serves as the Lynch: He comes managing editor of Asides. at the room with

22 23 MAPPING THE PLAY Elizabeth Wilson's tired dignity in Mornings at Noises Off By Drew Lichtenberg Seven (1981), to Gregory Hines’ uncanny calm in a 1979 production of The backstage musical. Actors and A Chorus Line (1975), , to Amy in greasepaint, waiting for their Kate employs multiple sets, Coming Uptown cue, stealing private moments cinematically traversing across Heggins’ impromptu in dressing rooms. Stagehands a range of locations. The effect split while working on smoking cigarettes and killing is both immediate and intimate, Gypsy of the Year (1999), time. The incredible tedium of personal and panoramic, an to Gordon Chater’s tech rehearsal, the high anxiety evocation of the forgotten age ineffable expression of the audition, the thrill of the of the 1940s tryout and the in The Elocution of performance. undying romance of the stage. Benjamin (1979), it’s all here: the romance and Unlike other musicals set In the photographs of mystery, the insouciant in a theatre such as Show decorated Broadway professionalism, the ups Boat (1928), Gypsy (1959) photographer Rivka S. Katvan, and downs of a life in and Cabaret (1966), Kiss Me, one of director Alan Paul’s the business of show. Kate confines its action to influences in working with Kiss Photos Copyright Rivka an evening, the opening of Me, Kate’s design team, this Katvan Studios. All Rights Fred Graham’s new Shrew at world is captured indelibly. Reserved. Used with Ford’s Theatre in Baltimore. From the furry costumes kind permission of the Unlike later, unit-set, real-time worn by the chorus in a 1980 photographer. shows such as Follies (1971) remount of Sugar Babies, to www.rivkakatvan.com

24 The marriage of Kate and Petruchio, The Taming of the Shrew, painting by Sir John Gilbert, 1865.

SHAKESPEARE’S PLAY IS KISS ME, KATE STILL THE THING AND“THE BARD OF By Geoffrey Block STRATFORD- ON-AVON”

hronologically midway Although the version that plot developments, the original Laurents’s West Side Story, between The Boys from eventually appeared on May libretto draft contained still Shakespeare’s plot relied too Syracuse and West opening night, December 30, more of Shakespeare’s language heavily on chance, depriving CSide Story lies Kiss Me, Kate, 1948, offered considerable and plot. young adults of their active Samuel and Bella Spewack’s pilfering of Shakespeare’s lines For George Abbott’s Boys agency to determine their liberal adaptation of The (compared with Syracuse and from Syracuse, the plot, not the destinies. He also concluded Taming of the Shrew with lyrics West Side) as well as cutting play, was the thing. Indeed, the that a dead Juliet (Maria) and music by Cole Porter. indispensable Shakespearean plot was the play. For Arthur served no useful dramatic

26 27 purpose. In setting Shrew, the Renaissance than he let on, Italian songs such as “Funiculi, destined to be omitted in future Spewacks and Porter tinkered clearly he had no intention to Funiculà,” published in 1880 productions. Porter also offers with and shortened, but did not flaunt this knowledge for a but still well-known in the late several quasi-Renaissance fundamentally alter the essential Broadway audience expecting 1940s. Also, in “Were Thine That moments, for example, when Shakespearean component of to hear the popular musical Special Face,” Porter inserted a he inserts a stylistic allusion the plot in their play within a argot of the era. Thus, for the more generalized Latin beguine to an a cappella pseudo- play, an abbreviated musical most part, instead of attempting rhythmic accompaniment, as madrigal for Bianca and her version of The Taming of the to incorporate Elizabethan or he did in his durable 1930s hit suitors in “Tom, Dick or Harry.” Shrew put on by characters in Italian Renaissance elements “Begin the Beguine.” Porter even unmistakably then-contemporary Baltimore in setting the Shrew portions A subtler Italian appropriation transforms “Why Can’t You who bear uncanny personal of the show, Porter elected to comes in the orchestral tag to Behave?” from a blues into a characteristics and more bring in generically Italian “We Open in Venice,” which Renaissance English dance, the than a family resemblance to musical signifiers in order to opens the Shrew play and serves pavane, albeit with stylistically Shakespeare’s characters. distinguish Shakespeare’s story as a counterpart to the Baltimore inappropriate lush modern Nevertheless, even in the from the Baltimore backstage show opener, “Another harmonies and orchestrations, final version, much of theShrew story. The latter is told through Op’nin.’” The tag offers a brief in Bianca’s wedding march. plot in Kiss Me, Kate, albeit recognizable Broadway styles but literal quotation of the Yet another nod to Renaissance significantly abbreviated, overall of the 1940s, as in the opening opening of the “Miserere” from musical style occurs in several made relatively few “unkind Baltimore ensemble showbiz act IV of Verdi’s Il Trovatore, Shrew songs that display the cuts” and retained a fair amount number, “Another Op’nin’, perhaps as a musical pun in characteristic LONG-short- of Shakespearean dialogue. Another Show,” the bluesy reference to the “misery” of short figure characteristic Some of Shakespeare’s prose “Why Can’t You Behave?” an endless road tour for the of the 16th-century French inspired song titles, including sung by the flirty Lois in the “troupe of strolling players” chanson and Italian canzona (e.g., “I’ve Come to Wive It Wealthily first act, and her jazzy “Always introduced at the outset of “Tom, Dick or Harry”), and in Padua,” “Were Thine That True to You in My Fashion” in the song. Unfortunately, this in several chord progressions Special Face,” and “Where Is the second act. Porter adopted clever Verdi reference vanished (e.g., the introduction to “I the Life That Late I Led?” In a more contemporary Italian in the 1999 Broadway revival Hate Men”) that simulate the the case of “I Am Ashamed flavor by setting as tarantellas and its recording, and, since modal harmonic language of That Women Are So Simple,” “I Sing of Love” and the main it is no longer included in Shakespeare’s time. Porter pilfered so liberally from section of “Where Is the Life rental scores, the reference is Shakespeare’s words that he That Late I Led?” A tarantella is inserted the attribution “Lyrics a rapid, even manic, southern by Wm Shakespeare,” before Italian dance in 6/8 meter Excerpted from full article published in the e-book Guide to the Season’s Plays playfully adding that the Bard’s frequently used to embody the 2015–16 available for purchase for the Kindle or Nook. words were “slightly altered by Italian ethos in 19th-century Geoffrey Block, Distinguished Professor of Music History at the University Cole Porter with apologies.” symphonic music, perhaps of Puget Sound, is, in addition to Enchanted Evenings, author of Ives: Although the erudite Porter most famously in the finale “Concord” Sonata (Cambridge University Press), Richard Rodgers (Yale may have known more about of Mendelssohn’s “Italian” University Press) and editor of The Richard Rodgers Reader (Oxford the music of the Italian Symphony and in popular University). He is also the series editor of Oxford’s Broadway Legacies.

28 29 Official Wine of the SHAKESPEARE THEATRE COMPANY

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33 The Washington Monument illuminated by its scaffold and a full moon, 2013. © Colin Winterbottom presented by

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44 outstanding dealers guided walks & dealer talks washingtonwintershow.org or 2o2.248.7159 special events CAST BIOGRAPHIES Live! REGIONAL: Ford’s Theatre: Little BRANDON BIEBER* Shop of Horrors (Plant Voice), Civil War, Hortensio Christmas Carol (Ghost of Christmas JAY ADRIEL* Theatre: Of Mice and Men, Man of La NEW YORK: Broadway: Present); Folger: Elizabeth the Queen Ensemble Mancha, Mr. Bailey’s Minder (American Side Show, Anything Goes, (Armin); Olney Theatre Center: The STC: Man of La Mancha. premiere); Philadelphia Shakespeare: Follies, Mary Poppins. Little Mermaid (King Triton); Wayside REGIONAL: Signature King Lear; Theatre Virginia: As You Like NATIONAL TOURS: Mary Theatre: Othello (Othello), Driving Theatre: The Best Little It (Touchstone), Much Ado About Nothing Poppins, White Christmas. 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OTHER: Radio City Spring Days of Our Lives, Bold and the Beautiful, theater performance; Strayer University: Hungary, India, England. FILM: The Spectacular. TRAINING: Cincinnati-College The Beat. TRAINING: University of MEd in leadership and supervision. New World, The Contender, True Colors, Conservatory of Music: BFA in musical South Carolina; Shakespeare Theatre The Fields. TELEVISION: My Name Is Bill theatre. Company Academy for Classical CLYDE ALVES* W., The Color of Love, Traitor in My House. Acting: MFA in acting. Bill Calhoun/Lucentio AWARDS: Barrymore Award nomination STEPHANIE NEW YORK: Broadway: for Lead Actor in The Fantasticks; BISSONNETTE KRISTEN SMITH On the Town (Ozzie), Barrymore Award nomination for Best Swing DAVIS* Bullets Over Broadway, Nice Ensemble for Of Mice and Men. NEW YORK: Off- Ensemble Work if You Can Get It, Broadway: Dream NATIONAL TOURS: South Anything Goes, Wicked, Hairspray, BOB ARI* Street (choreographer). Pacific(Lincoln Center Oklahoma!, The Music Man (Tommy First Man REGIONAL: Riverside Theatre: West revival), Evita, Irving Djilas); Off-Broadway: Altar Boyz (Juan). NEW YORK: Broadway: Side Story; Seven Angels Theatre: Berlin’s White Christmas. REGIONAL: New York City Center Encores!: Bells Are Lincoln Center: Act One; Footloose; Surflight: The Wizard of Oz. Arena Stage: The Music Man; Paper Mill Ringing, Anyone Can Whistle, Follies Roundabout: The Constant INTERNATIONAL: Royal Caribbean: Playhouse: Oliver! (Bet); Sacramento (Kevin). NATIONAL TOURS: A Chorus Wife; Frost/Nixon, The Man Hairspray. TELEVISION: Extreme Music Circus: Fiddler on the Roof (Chava), Line (Mike), Hairspray, Fame the Musical. Who Came to Dinner, Bells Are Ringing, Makeover Home Edition (dancer). Show Boat (Kim), Seven Brides for Seven REGIONAL: The Muny: Oklahoma! (Will Laughter on the 23rd Floor. Off-Broadway: OTHER: Broadway Bares (Nick Kenkel), Brothers (Alice), The Little Mermaid, Crazy Parker); Old Globe: Robin and the 7 Hoods; The Late Christopher Bean, Die Mommie Easter Bonnet (Rommy Sandhu). for You; Goodspeed Opera House: My Stratford Festival: West Side Story Die, Jolson & Co., June Moon, Picasso at TRAINING: Point Park University One and Only; Alley Theatre; Portland (Action); TELEVISION: ABC’s The Music the Lapin Agile. NATIONAL TOURS: Conservatory: BA in dance. WEB: Center Stage; Radio City Christmas Man (Tommy Djilas). AWARDS: Astaire Frost/Nixon. REGIONAL: Cleveland www.stephaniebissonnette.com; Spectacular. FILM: Ted 2. WEB: www. Award nominee for Ozzie in On the Town; Playhouse and Arizona Theatre Co.: @stephbizz14 on Instagram. kristensmithdavis.com. Astaire Award winner for Tommy Djilas Lombardi; George St. Playhouse and in The Music Man. 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NEW YORK: Wife, Law & Order (three series), Onion Off-Brodway: The Acting Company: the Screw; Signature Theatre: Sunday Off-Broadway: Manhattan Theatre News Network. TRAINING: Carnegie- Romeo and Juliet (Lord Capulet), in the Park, Sunset Boulevard, Saturday Club: Five by Tenn, The Other Side. Mellon University: BFA, MFA; Moscow Comedy of Errors (Dr. Pinch), O Pioneers Night, Show Boat; New Harmony REGIONAL: Arena Stage: My Fair Art Theatre School, A.C.T., the (Marcel). NATIONAL TOURS: The Theatre: Othello, My Fair Lady, Crimes Lady, Camelot; Arden Theatre: Twelfth Groundlings (improvisation), the Actors Acting Company: Schoolhouse Rock of the Heart, The Importance of Being Night, Proof, Sweeney Todd; Walnut Street Center (member).

36 37 Earnest, I Do! I Do!; Merry-Go-Round: Dolls-Tour De Fierce. NATIONAL TOURS: MONETTE MCKAY* Reebok, Macy’s. TRAINING: The King’s Brigadoon; North Shore: A Little Night A Chorus Line (Cassie), Spamalot, Starlight Ensemble College: BA in media, culture and the arts. Music; Media Theatre: West Side Story; Express (Pearl). REGIONAL: Ogunquit NEW YORK: Broadway: WEB: elizaohman.com; @elizaohman on Pittsburgh CLO: Company; York Theatre Playhouse: Victor/Victoria (Norma Spider-Man: Turn Off the Instagram. Co.: Regina; Portland Opera: Merchant Cassidy); Mason Street Warehouse: Dark, Memphis, Mamma of Venice. INTERNATIONAL Phantom Chicago (Roxie). Mia! NATIONAL TOUR: CON O'SHEA-CREAL* of the Opera (Hamburg, Germany). Mamma Mia! (Ali). REGIONAL: Human Gremio OTHER: New York Philharmonic, HEIDI KERSHAW* Race Theatre: Crowns (Yolanda); Penobscot NEW YORK: Broadway: New York Pops, BSO, co-founder Ensemble Theatre: Little Shop of Horrors (Crystal). Side Show, Irving Berlin’s of UrbanArias. INSTRUCTOR: REGIONAL: Washington TELEVISION: HBO’s Crime, Law & Order: White Christmas. Off-Off- American University: professor of National Opera: Show Criminal Intent (series finale). OTHER: Broadway: 92Y: Lyrics voice for musical theatre. TRAINING: Boat (principal dancer); Olive Garden (commercial). TRAINING: & Lyricists: All Dancing! All Singing! Northwestern University: BM in vocal Olney Theatre Center: Drill Hall (London); Wagner College Irving Berlin in Hollywood. NATIONAL performance; Manhattan School of A Chorus Line (Kristine, Helen Hayes (NYC): BA in theatre and speech. WEB: TOURS: Mary Poppins (Bert), Irving Music: MM in vocal performance. Award). INTERNATIONAL: BB www.monettemckay.com; Berlin’s White Christmas. REGIONAL: WEB: www.susanderry.com. Promotion: 50th anniversary world tour @monettemckay on Instagram and Kennedy Center: Side Show; Goodspeed of West Side Story (Jet Girl/Graziella; Twitter. Musicals: Annie Get Your Gun; Lyric CARL DRAPER* Anybodys u/s). OPERA: Washington Theatre of Oklahoma: 42nd Street, Ensemble National Opera: corps de ballet, soloist RAYMOND JARAMILLO Urinetown, Oklahoma!; Westchester NATIONAL TOUR: and dance captain in 20 productions, MCLEOD* Broadway Theatre: Singin’ in the Rain; Monty Python’s Spamalot. most recently in Carmen (2015); Arizona Second Man Red Mountain Theatre: Mary Poppins. REGIONAL: Paramount Opera: Aida; Santa Fe Opera: Platee, NEW YORK: Broadway: INTERNATIONAL: New York Song and Theatre: Oklahoma! (Will Daphne, Wozzeck, The Last Savage, Faust, Jekyll & Hyde, Wonderful Dance Company: 2010 Middle East Tour. Parker), A Chorus Line (Bobby); Maltz Maometto II, King Roger; Metropolitan Town, The Wild Party, TELEVISION: Royal Pains. TRAINING: Jupiter: Crazy for You (Sam); Cape Opera: The First Emperor; Washington In Dance of the Vampires, A Tale of Two Weitzenhoffer School of Musical Theatre Playhouse: Crazy for You (Sam); Lyric Series: choreogrphaer: Dido & Aeneas/El Cities; Off-Broadway: New York City at the University of Oklahoma: BFA Opera of Chicago: Carousel; Cincinnati Amor Brujo, Idomeneo, Barber & Barberillo. Center Encores!: Wonderful Town. in musical theatre performance. WEB: Playhouse: Cabaret (Bobby); St. Louis OTHER: The Spanish Dance Theatre of NATIONAL TOURS: Evita, Jekyll & Hyde. www.conosheacreal.com. Repertory: Cabaret (Bobby); Drury the Spanish Dance Society and Bowen REGIONAL: Annie, Evita, Zorba. OPERA: Lane: West Side Story; West Virginia McCauley Dance (company member/ Metropolitan Opera, Los Angeles Opera, ALFIE PARKER JR.* Public: My Fair Lady, Wedding Singer, guest artist). INSTRUCTOR: Maryland Santa Fe Opera. FILM: 450 soundtracks Ensemble Will Rogers Follies, Fiddler on the Roof; Youth Ballet: Early Dance Division. including Aladdin, Beauty and the Beast, NEW YORK: Broadway: Marriott Lincolnshire: Pirates of Penzance; TRAINING: George Mason University: Pocahontas, The Little Mermaid, Tom South Pacific(u/s Henri), Interlakes Summer Theatre: Anything BFA in dance; NVCC: AAS, licensed and Jerry: The Movie, Nightmare Before Chicago. NATIONAL Goes (Billy). AWARDS: Laurie Beechman physical therapist assistant. Christmas. TELEVISION: Law & Order: TOURS: Miss Saigon, Award for Vocal Achievement in Musical SVU, NCIS, John Denver Christmas Memphis, Evita. REGIONAL: Goodspeed: Theatre. TRAINING: Cincinnati-College ZONYA LOVE* Special, PBS Presents. AWARDS: Drama Damn Yankees; Guthrie: H.M.S. Pinafore; Conservatory of Music. Hattie Desk nomination. INSTRUCTOR: voice, Asolo Repertory Theatre (with Maltz NEW YORK: Broadway: audition and musical theatre teacher. Jupiter Theatre): Barnum; Center ROBYN HURDER* The Color Purple (Celie); Stage: The Wiz; Lyric Theatre: Seven Lois Lane/Bianca Off-Broadway: Avenue ELIZA OHMAN Brides for Seven Brothers, Swing; Media NEW YORK: Broadway: Q (Gary Coleman). Ensemble Theatre: Aida; Itinerant Theatre: Nice Work if You Can Get NATIONAL TOUR: Avenue Q (Gary NEW YORK: Radio Godspell; University Resident Theatre It (Jeannie Muldoon), Coleman). REGIONAL: The Wiz City Christmas Company: A Soldier’s Play, Sweet Grease (Marty), Chicago (Evilene), Blues in the Night (Lady), Spectacular. REGIONAL: Charity; Boal Barn Playhouse: Brigadoon. (Mona), Wedding Singer (Holly u/s), Hairspray! (Dynamite), Intimate Apparel Stages St. Louis: All That INTERNATIONAL: Pilobolus Dance Chitty Chitty Bang Bang (Violet); New (Mayme), Twelfth Night (Maria), Wit Tap. FILM: How You Look at It, I Really Company. TV: Brandermill Woods York City Center Encores!: Paint Your (Susie). TELEVISION: Smash. OTHER: Like You, Chicago. TELEVISION: So commercial; PBS: Masterpiece Theatre, Wagon (Cherry Jourdell); Off-Broadway: The Broadway Inspirational Voices You Think You Can Dance, America’s H.M.S. Pinafore, Live at Lincoln Center: Play It Cool (Lena Starling); New York (member), recorded for America’s Got Got Talent, Tonight Show, Good Morning South Pacific; a no-smoking campaign. Musical Theatre Festival: The Broadway Talent and with the Ting Tings. America. OTHER: Commercials: Target, OTHER: Dance: Pilobolus Dance Theater,

38 39 Nommo Performing Arts Company. Dance Company (dancer), Carnival Williamstown Theatre Festival, Long WOOD VAN METER TRAINING: Alvin Ailey American Cruise Line (dancer). TRAINING: Wharf Theatre, La Jolla Playhouse, Swing Dance Theater; Koresh Dance Company; Howard University: BFA. WEB: Series: Westport Country Playhouse, Kennedy REGIONAL: Studio Pennsylvania State University: BA in Doing It Wrong. Center, South Coast Rep, Paper Mill Theatre: Silence! The theatre and dance. Playhouse, Hollywood Bowl, Reprise!, Musical; Signature WEB: www.alfieparkerjr.com CHRISTINE SHERRILL* and many more. FILM: The Erotic Fire of Theatre: Elmer Gantry Lilli Vanessi/Katherine the Unattainable, Deuce Bigelow: European (u/s), Cloak & Dagger (u/s); Rep Stage: KEVIN MICHAEL NATIONAL Gigolo, Funny About Love. TELEVISION: The Whale; Imagination Stage: Sinbad: RAPONEY TOURS: Mamma Just in Case (series regular), CSI, Will The Untold Tale; Hangar Theatre: Gypsy, Swing Mia! (Tanya). REGIONAL: & Grace, Sabrina the Teenage Witch, The James and the Giant Peach; Weathervane NATIONAL TOURS: Signature Theatre: The Closer, Coach, Sisters, Party of Five, The Playhouse: Les Misérables; Pittsburgh Radio City Christmas Fix (Violet); Las Vegas: Mamma Cavanaughs, Numb3rs, Models Inc., Empty Musical Theatre: The Sound of Music. Spectacular, Nice Work if Mia! (Donna); Chicago: First Wives Nest, and many more. AWARDS: Tony OTHER: Hersheypark, Busch Gardens You Can Get It, Legally Blonde, A Chorus Club (Elise, opposite Faith Prince, pre- Award nomination (Leading Actor), Williamsburg. TRAINING: Point Park Line. REGIONAL: Paper Mill Playhouse: Broadway), Sunset Boulevard (Norma Drama Desk Award nomination (Leading University: BFA. Ever After; TriArts Playhouse: 42nd Street; Desmond, 2013 Jeff Award), Annie (Miss Actor), Drama League Distinguished Armory Theatre: Guys and Dolls; Skyline Hannigan), Xanadu (Melpomene), [title Performance nomination (two times), HARRY A. WINTER* Theatre: Funny Girl. WEB: of show] (Heidi), Legally Blonde (Paulette, Los Angeles Ovation Award (Best Actor), Harry Trevor/Baptista @kevinraponey on Instagram and Twitter. Jeff Award nomination), Million Carbonell Award (Best Supporting STC: The Government Dollar Quartet (Dyanne); Goodman Actor), LA Dramalogue Award (Best Inspector, A Funny Thing T. OLIVER REID* Theatre: A Christmas Carol (Mrs. Actor), Broadway.com Audience Award Happened on the Way to the Paul Cratchit); Curtains (Georgia (Favorite Featured Actor). Forum, The Tempest (u/s

NEW YORK: Broadway: Hendricks), Cabaret (Fraulein Kost), All Alonso/Gonzalo). NATIONAL TOURS: After Midnight, Sister Shook Up (Miss Sandra), Once PATRICK RYAN Gigi, Jolson the Musical. REGIONAL: Act, Mary Poppins, The Upon a Time in New Jersey (Celeste, SULLIVAN* Signature Theatre: Allegro, 110 in the Wedding Singer, Chicago, Jeff Award nomination), Into Harrison Shade, Pacific Overtures, Xanadu; Kennedy La Cage Aux Folles, Never Gonna Dance, the Woods (Witch), Urinetown NEW YORK: Broadway: Center: Cat on a Hot Tin Roof, Mame; Thoroughly Modern Millie, Follies, Kiss (Pennywise), Anyone Can 42nd Street (Julian), Beauty Olney Theatre Center: Racing Demon, Me, Kate. NATIONAL TOURS: Guys and Whistle (Joan), Hello Again (Nurse/ and the Beast (Gaston), Laramie Project, Bringing Up Amy; Dolls, Once on This Island. REGIONAL: Actress), Of Thee I Sing (Diana Titanic (Barrett/Farrell). REGIONAL: Washington Jewish Theatre: Pins and Theatre Under the Stars: Smokey Joe’s Devereaux), Singin’ in the Rain (Lina Ford’s Theatre: Meet John Doe; 42nd Street, Needles, Forum. TELEVISION: Homicide, Cafe. FILM: Jack & Diane. TELEVISION: Lamont, Jeff Award nomination), Jekyll A Midsummer Night’s Dream (Oberon), The Wire. TRAINING: Midwestern Sex and the City, Girls, Mercy, Kennedy and Hyde (Lucy), The King and Doubt (Flynn), Pygmalion (Higgins), University; Edinboro University; Center Honors. AWARDS: multiple MAC I (Anna). TRAINING: master’s Art (Serge), Empty Plate (Victor), Berklee College of Music; Johns Hopkins and Bistro awards. INSTRUCTOR: NYU, degree in education. WEB: www. Tuna Christmas (Petey), Sweeney Todd University: BA in music education. musical theatre for Graduate Acting christinesherrillactor.com. (Sweeney Todd), Urinetown (Lockstock), program. TRAINING: University of Les Misérables (Javert), Mack and Mabel North Carolina School of the Arts: BM. DOUGLAS SILLS* (Mack), Mikado (Mikado), Mame (Beau/ WEB: Toliverreid.com; @toliverreid on Fred Graham/Petruchio Mrs. Upson), 1776 (Rutledge), Forum Instagram and Twitter. NEW YORK: Broadway: (Magnus and Senex), A Christmas Story Living on Love, Little Shop (Gene), I Do! I Do! (Michael), Phantom OLIVIA RUSSELL of Horrors, The Scarlet (Phantom), Burnt Part Boys (John Wayne), Ensemble Pimpernel. Off-Broadway: Guys and Dolls (Sky). INTERNATIONAL: REGIONAL: The Manhattan Theatre Club: Moonlight 2014 Edinburgh Festival: Get Got; Macao: Professional Center for and Magnolias; Actors Fund: On the Chicago (Billy); Japanese Tour: Labor the Arts: Hair, West Side Twentieth Century; New York City Center of Love; Switzerland: The Fantasticks. Story, Romeo and Juliet; Encores!: Lady Be Good, Music in the Air, OPERA: Pirates of Penzance (Pirate King). Kennedy Center (various performances). Carnival; York Theatre: My Favorite TELEVISION: Law & Order: SVU, Starved. FILM: Fire Reds, The One. AWARDS: 2015 Year. NATIONAL TOURS: The Addams Suzan-Lori Parks Excellence in the Arts Family, The Scarlet Pimpernel, The Secret Award. OTHER: I.Am.We Contemporary Garden, Into the Woods. REGIONAL:

40 41 BRAVO to the Shakespeare Theatre Company for bringing the magic and inspiration of Shakespeare to so many.

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Updated_Jaleo_Ad.indd 1 8/10/15 1:56 PM Publications: Hal Leonard Music (38 music Pittsburgh Public, Saint Louis Repertory, ARTISTIC BIOGRAPHIES folios, including The 16-Bar Theatre Audition and Goodspeed Opera House, Philadelphia Theatre Audition Songs for Kids); Walt Disney: Cruise Line Company, 5th Avenue Seattle, and many more. ALAN PAUL Theatre, Oregon Shakespeare Festival. Studio Seven (music supervisor/dance music for INTERNATIONAL: Edinburgh Festival Fringe, Director AWARDS: Joseph Jefferson Awards (The launch), MGM Studios Disney World (arranger/ Donetsk Opera (Ukraine). OPERA: Chicago STC: Man of La Mancha, A Funny Thing Happened Jungle Book, Porgy and Bess, Caroline, or Change, orchestration); Baseball Hall of Fame: Stars and Lyric, New York City Opera, Minnesota Opera, on the Way to the Forum (2014 Helen Hayes Carousel, Man of La Mancha, Fiorello!), After Dark Strikes (writing and scoring, June 2016). Wolf Trap, Opera Santa Barbara. AWARDS: Award for Best Director of a Musical), The Awards (Guys and Dolls, Hello Again), Sarah 2010 TDF/Irene Sharaff Young Master Award. Boys from Syracuse, The Winter’s Tale (Free For Siddons Award (musical direction in Chicago), JAMES NOONE OTHER: Ringling Brothers Barnum & Bailey All), Twelfth Night (Free For All), As You Like Guy Adkins Award (musical direction in Scenic Designer Gold Unit 07/09. It (Associate Director), Henry IV, Parts 1 and 2 Chicago). OTHER: Recordings: Bright Young STC: affiliated artist;The Metromaniacs, A Funny (Associate Director), numerous galas, readings, People: The Songs of Noël Coward, A Blanket of Thing Happened on the Way to the Forum, The PAUL MILLER and special events; Assistant Director: 13 shows. Winter, Foiled Again Live, Loving Repeating: A Government Inspector, Two Gentlemen of Verona, Lighting Designer THEATRE DIRECTING: Signature Theatre: Musical of Gertrude Stein. The Boys From Syracuse, The Alchemist, Design NEW YORK: Broadway: Amazing Grace, The I Am My Own Wife; Studio Theatre 2ndStage: for Living, Julius Caesar, Antony and Cleopatra, Illusionists, Legally Blonde, Freshly Squeezed, Silence! The Musical, The Rocky Horror Show (co- JAMES CUNNINGHAM Major Barbara, The Persians, Othello, Cyrano. Laughing Room Only. Off-Broadway: Promising, director); Catholic University: Man of La Mancha; Associate Music Director/Conductor NEW YORK: Broadway: Lady Day at Emerson’s Clinton: The Musical, Pageant, Vanities, A New University of Maryland: The Matchmaker; Apex NEW YORK: Off-Broadway: New World Stages: Bar & Grill, A Time to Kill, A Bronx Tale, Come Musical, Waiting for Godot, Addicted, Nunsense, Theatre Company: Richard II; Northwestern Avenue Q (conductor); DR2: Bunnicula (original Back Little Sheba, Match, Urban Cowboy, A Class Balancing Act; New York City Center (Encores!): University: Six Degrees of Separation; readings for cast recording); American Theatre of Actors: Act, Judgment at Nuremberg, Jekyll and Hyde, Irma La Douce, Of Thee I Sing, Music in the Air, Studio Theatre, Arena Stage, Woolly Mammoth Hot Mess in Manhattan; Samuel Beckett Theatre: The Rainmaker, Night Must Fall, The Sunshine Lost in the Stars, Where’s Charley. NATIONAL Theatre Company, The National Academy of Happy Birthday. NATIONAL TOURS: Irving Boys, Getting and Spending, The Gin Game; Off- TOURS: The Illusionists, Elf, Shrek, Story Time Sciences, The Phillips Collection, The Goethe- Berlin’s White Christmas, Spamalot, Evita, Cats. Broadway: The Persians, Three Tall Women, Fully Live, Wizard of Oz, Legally Blonde, Sweeney Institut, Georgetown University. OPERA REGIONAL: Casa Mañana: Fiddler on the Roof, Committed, Full Gallop, Frankie and Johnny in Todd, Hairspray, The Producers, The Sound of DIRECTING: Washington National Opera: Les Misérables, The Buddy Holly Story, Always… the Claire de Lune, Cowgirls, Ruthless!, Breaking Music. REGIONAL: Stratford Shakespeare Penny; Urban Arias: Blind Dates, Before Breakfast, Patsy Cline, Cats; Paper Mill Playhouse: Damn Legs, Boys in the Band, The Women in Black; Festival, Chicago Shakespeare Theatre, Idaho The Filthy Habit, Photo-Op; The In Series: Dido Yankess; North Carolina Theatre: Phantom; the Irish Repertory Theatre, Manhattan Theatre Shakespeare Festival, Great Lakes Theatre, and Aeneas, El Amor Brujo; Strathmore Concert Muny: Little Shop of Horrors, Cats; the Engeman: I Club, Signature Theatre, Lincoln Center Pioneer Theatre Company, Asolo Repertory, Hall: Butterfly/Saigon, Blind Dates. Finalist for the Love You, You’re Perfect, Now Change, A Wonderful Theater, Playwrights Horizons, Second Stage, A.C.T., Cleveland Playhouse, Pasadena 2013 European Opera Directing Prize (Vienna, Life. OTHER: NYU: A Man of No Importance, National Actors Theatre, Atlantic Theater Playhouse, Goodspeed Opera House, Bay Street Austria). Acting Instructor for the Domingo- Urinetown, The Boys From Syracuse. TRAINING: Company, Primary Stages, Roundabout Theatre. Theater, Ogunquit Playhouse, Maltz Jupiter Cafritz Young Artists Program at WNO. New York University: MA in piano performance; NATIONAL TOURS: Jekyll and Hyde, Full Gallop, Theatre, and many more. INTERNATIONAL: Manhattan School of Music: BM in composition. The Gin Game, Stieglitz Loves O’Keeffe, Breaking West Side Story (Milan), Legally Blonde (London MICHELE LYNCH Legs, Three Tall Women, Fully Committed. OPERA: and Vienna), Race for Love (China), Cinderella Choreographer MICHAEL DANSICKER Lyric Opera of Chicago, Washington National and Saturday Night Fever (Manilla, Singapore NEW YORK: Broadway: The Coast of Utopia, Additional Dance Music Arrangements Opera, Los Angeles Opera, Houston Grand, and Malaysia). TELEVISION: Camelot (Live from Everyday Rapture; Off-Broadway: Little Miss NEW YORK: Broadway: Singin’ in the Rain New York City Opera, Glimmerglass, Canadian Lincoln Center); numerous specials for Comedy Sunshine, We the People. NATIONAL TOURS: (dance music/film sequences),Dance of the Opera, Portland Opera. TELEVISION: Sweeney Central, Netflix and Bravo; Times Square New Little House on the Prairie, Happy Days, Dirty Vampires (dance/incidental music), More to Todd, Passion, Candide, Camelot, Company (shown Year’s Eve celebration (lighting director for Dancing. REGIONAL: Ford’s Theatre, Yale Love (dance music), Jerome Robbins’ Broadway in movie theatres). AWARDS: Drama Desk the past 15 years). OTHER: New Jersey Ballet, Repertory, St. Louis Muny, Goodspeed Opera (reconstruction), The Times They Are A-Changin’ Award, American Theatre Wing Design Award, Grand Rapids Ballet. House, Paper Mill Playhouse. Riverside Theatre, (arranger/orchestration), Les Lisasons L.A. Ovation Award, two Helen Hayes Awards. Walnut Street Theatre, Mark Taper Forum, Dangereuses (music director); Iceman Cometh INSTRUCTOR: Boston University. JUSTIN STASIW and more. OPERA: Show Boat at Washington (with Kevin Spacey, music supervision), Glass Sound Designer National Opera (Kennedy Center), Lyric Opera Menagerie (original score, with Jessica Tandy), ALEJO VIETTI NEW YORK: Broadway: Something Rotten of Chicago, San Francisco Opera and Houston Grease (music director); Man of La Mancha (music Costume Designer (associate sound designer), Side Show (associate Grand Opera. INTERNATIONAL: Dirty Dancing supervisor), Carnival (music supervisor); Piaf NEW YORK: Broadway: Allegiance, Beautiful: sound designer, Drama Desk nomination), It’s (Sydney), Hairspray (Cologne), The Full Monty (arranger/orchestration), Good (music director/ The Carole King Musical (West End, Olivier Only a Play (associate sound designer), Casa (Melbourne). FILM: The Last Five Years, Joyful additional orchestration). Off-Broadway: Book, nomination, and U.S. national tour). Off- Valentina (assistant sound designer), Outside Noise, Camp. OTHER: Dolly Parton’s Better Day Music, and Lyrics: MTC: Swing Shift; WPA: Broadway: Manhattan Theatre Club, Primary Mullingar (assistant sound designer), Jekyll and World Tour (choreographer). Twenty Fingers, Twenty Toes!; York Theatre: Stages, MCC, Radio City Music Hall Rockettes, Hyde (sound engineer), Hedwig and the Angry Bobby Driscoll; All Night Strut (orchestration). Irish Rep, New Group, Cherry Lane, Rattlestick, Inch (sound engineer, sub.). REGIONAL: 59e59: DOUG PECK NATIONAL TOUR: Little House on the Prairie Soho Rep, Ensemble Studio Theatre, and Songbird; 5th Avenue Theatre: Jasper in Deadland, Music Director (dance music/incidental music). FILM: Elf, many more. REGIONAL: Ford’s Theatre, A Christmas Story; A Contemporary Theatre: STC: Candide (dir. Mary Zimmerman). Analyze That!, Meet the Parents, Piaf, Brain Signature Theatre, Arena Stage, Hartford Stage Little Shop of Horrors; Atlantis Manila: Ghost; REGIONAL: The Wallis Center for the Donors, Garfield, Charlie Bookworm, Georgetown Company, Alley Theatre, Long Wharf Theatre, Casa Mañana: Sweeney Todd. OTHER: Member Performing Arts: Guys and Dolls (upcoming); Forever. OTHER: Concert dance: Twyla Tharp, Old Globe, Colorado Ballet, Centerstage, of International Alliance of Theatrical and Stage Goodman Theatre: Wonderful Town (upcoming); Jerome Robbins, Agnes de Mille, Geoffrey Pasadena Playhouse, Cleveland Playhouse, Employees and United Scenic Artists. Glimmerglass Festival, Huntington Theatre Holder, American Ballet Theatre, Joffrey, Donald Cincinnati Playhouse, Guthrie, New York Company, Long Wharf Theatre, Asolo Repertory McKayle, Mikhail Baryshnikov, Kenny Ortega; Stage and Film, Williamstown Theatre Festival,

44 45 DAVID LEONG My Brilliant Divorce; Gaiety Theatre, Dublin/ JOSEPH SMELSER* Happened on the Way to the Forum (production Fight Director West End: The Shawshank Redemption; Druid Production Stage Manager assistant), Much Ado About Nothing (Free For STC: Man of La Mancha, Cyrano de Bergerac, Theatre Company/Dublin Theatre Festival: Long STC: Tartuffe, Man of La Mancha, The Tempest, A All, production assistant), Hughie (production Richard III, King John, Romeo and Juliet, Macbeth, Day’s Journey into Night; Has consulted for the Winter’s Tale (Free For All), Henry IV, Parts 1 and assistant), A Midsummer Night’s Dream Antony and Cleopatra, Coriolanus, Troilus and Lyric Theatre in Belfast, Rough Magic Theatre 2 (in rep), A Funny Thing Happened on the Way to (Mainstage and Free For All, production Cressida, Henry V, Henry IV, Parts 1 and 2, King Company in Dublin, the Gate Theatre in Dublin, the Forum, Measure for Measure, Wallenstein and assistant), All’s Well That Ends Well (Free For Lear, The Witch of Edmonton, Hamlet, Julius Caesar, the Druid Theatre in Galway. Coriolanus (in rep), A Midsummer Night’s Dream All, production assistant), The Merry Wives of and many more. NEW YORK: Broadway: Fool (Mainstage and Free For All), The Government Windsor (stage management intern), The Two for Love, Amazing Grace the Musical, A Time to CARTER C. WOODDELL Inspector, The Merry Wives of Windsor, Strange Gentlemen of Verona (stage management intern), Kill, Billy Elliot, Carousel, Company, Ma Rainey’s Resident Casting Director Interlude, Much Ado About Nothing, The Heir The Heir Apparent (stage management intern). Black Bottom, The Civil War, The Rainmaker, See page 49 Apparent, All’s Well That Ends Well. REGIONAL: REGIONAL: Spooky Action Theater: Jarry King Hedley II, Picnic, Hamlet, Macbeth, Solitary Arena Stage: Let Me Down Easy; Seattle Inside Out; Sitar Arts Center: Hairspray; Abreact Confinement, Sex and Longing, Conversations With DREW LICHTENBERG Repertory Theatre: An Ideal Husband, A Doll’s Theatre: La Ronde; Magenta Giraffe Theatre My Father, A Delicate Balance, In the Summer Literary Manager/Dramatrug House, Play On!, As You Like It, A Midsummer Company: Last of the Boys; Planet Ant Theatre: House. Off-Broadway: over 50 plays and See page 49 Night’s Dream, Peter Brook’s The Tragedy of Salvage, Endangered. TRAINING: Grand Valley musicals. REGIONAL: Guthrie Theater, Mark Hamlet, Golden Child, Don Juan, Purgatorio, The State University: BA in theatre and Spanish. Taper Forum, Arena Stage, Kennedy Center, ELLEN O’BRIEN Search for Signs of Intelligent Life in the Universe American Repertory Theater, Geva Theatre, Head of Voice and Text (with Lily Tomlin); American Conservatory American Contemporary Theatre, Berkeley See page 49 Theater: The Rivals, The Circle, The Government Repertory Theatre, Seattle Repertory Theatre, Inspector, Edward Albee’s At Home at the Zoo,

Denver Theatre Center, Alley Theatre, Goodman KEVIN PLACE Vigil; Berkeley Repertory Theatre: Journey to the The designers at this theatre are represented by Theatre, McCarter Theatre, Yale Repertory Assistant Director West, An Almost Holy Picture, Having Our Say; United Scenic Artists, Local USA 829, of the Theatre, Long Wharf Theatre, Hartford Stage, REGIONAL: McCarter Theatre: Antony and Regional Tour: Let Me Down Easy, Twilight: Los International Alliance of Theatrical Stage Employees. Huntington Theatre, Williamstown Theatre Cleopatra (dir. Emily Mann), Ken Ludwig’s Angeles, 1992 (both with Anna Deavere Smith). Festival, and many more. INTERNATIONAL: Baskerville: A Sherlock Holmes Mystery (dir. TRAINING: Oberlin College: BA. London: Napoleon (West End), Jitney (National Amanda Dehnert, also at Arena Stage), Sizwe Theatre). FILM: Titus, Alien: Resurrection. Banzi Is Dead (dir. John Kani, also at the ROBYN M. ZALEWSKI* INSTRUCTOR: Virginia Commonwealth Market Theatre and Syracuse Stage); Eugene Stage Manager University, professor of theatre. O’Neill Theater Center. INSTRUCTOR: STC: A Midsummer Night’s Dream (Free For NextStop Theatre Company teaching artist. All), Man of La Mancha, Henry IV, Parts 1 LAURA STANCZYK, CSA TRAINING: College of William & Mary: BA and 2, A Funny Thing Happened on the Way Casting Director in theatre and international relations; National to the Forum. REGIONAL: Hartford Stage STC: Salomé, The Metromaniacs, The Tempest, As Theatre Institute. Company: Private Lives (production stage You Like It, The Winter’s Tale, Strange Interlude, Old manager), Hamlet (assistant stage manager), Times. NEW YORK: Broadway, Off-Broadway, PATCH DAVID Twelfth Night (assistant stage manager), A National Tours: Side Show, After Midnight, A Assistant Choreographer Christmas Carol–A Ghost Story of Christmas Night With Janis Joplin, Follies, Cotton Club Parade, NEW YORK: Off-Broadway: The Anthem (assistant stage manager), The Whipping Man Lombardi, Ragtime, Impressionism, The Seafarer, (Pericles and inline skating choreographer); (assistant stage manager), Gem of the Ocean Radio Golf, Coram Boy, The Glorious Ones, Flight, Off-Off-Broadway: TV Time! (choreographer); (assistant stage manager); Divine Rivalry Translations, Tryst, Dirty Dancing; Atlantic Theater workshop: Severed Hand of Neverland (Peter Pan). (production assistant), Antony and Cleopatra Company: The Cripple of Inishmaan (also national NATIONAL TOUR: Fiddler on the Roof (Sasha (production assistant), The Adventures of Tom tour); Encores! Summer Stars: Damn Yankees, and assistant choreographer). REGIONAL: Hope Sawyer (production assistant), Noises Off Urinetown (also national tour); Lincoln Center Summer Repertory Theatre: Closer Than Ever (production assistant); New London Barn Festival: Gate/Beckett. REGIONAL: Alliance (choreographer), Petite Rouge (choreographer); Playhouse, Hangar Theatre, Northern Stage, Theatre: Bull Durham; Center Theatre Group: Broadway in Chicago: First Wives Club (actor, Saint Michael’s Playhouse. TRAINING: Saint Harps and Angels; Alley Theatre: Gruesome pre-Broadway); Paper Mill Playhouse: The Sound Michael’s College. Playground Injuries, The Monster at the Door; of Music (Rolf u/s), Thoroughly Modern Millie Kennedy Center: Side Show, The Guardsman, (actor). TELEVISION: NBC’s The Best Time Ever MARIA TEJADA* Follies, Master Class, The Lisbon Traviata, Ragtime, (premiere episode with Neil Patrick Harris) and Assistant Stage Manager Broadway: Three Generations; Philadelphia America’s Got Talent. OTHER: Wagner College: STC: The Metromaniacs (production assistant), Theatre Company: Golden Age; Royal George Tick, Tick…BOOM! (choreographer). As You Like It (production assistant), The Theatre: Don’t Dress for Dinner; seven seasons WEB: www.patchdavid.com; Winter’s Tale (Mainstage and Free For All, of casting for McCarter Theatre Center. @iPatch4 on Instagram. production assistant), Henry IV, Parts 1 and INTERNATIONAL: Druid Theatre Company: 2 (production assistant), A Funny Thing

46 47 CHRIS JENNINGS ELLEN O’BRIEN FOR SHAKESPEARE THEATRE COMPANY Executive Director Head of Voice and Text STC: Joined the Company in STC: More than 50 productions over 11 MICHAEL KAHN years, more than 20 productions; McCarter 2004. ADMINISTRATION: seasons. ACADEMY FOR CLASSICAL Artistic Director Theatre Center: Artistic Director for five General Manager: Trinity ACTING: 22 productions of Shakespeare and STC: The Metromaniacs. Henry seasons, including Beyond the Horizon, filmed Repertory Company (1999– Jacobean plays. REGIONAL: Ford’s Theatre, IV, Part 1 and 2, Wallenstein, for PBS; Chautauqua Theatre: Artistic Director, 2004), Theatre for a New Arena Stage, Charlotte Repertory Company, The Government Inspector, including The Glass Menagerie with Tom Hulce; Audience (1997–1999); Associate Managing Aurora/Magic Theaters; People’s Light Strange Interlude, The Heir Goodman Theatre: Old Times (MacArthur Director: Yale Repertory Theatre; Assistant to and Theatre Company; Shakespeare Santa Apparent, Old Times, All’s Well Award), The Tooth of Crime (Jefferson the Executive Producer: Manhattan Theater Cruz; North Carolina Shakespeare Festival. That Ends Well, The Liar, Richard II, The nomination); Ford’s Theatre: Eleanor. OPERA: Club; Founder/Producing Director: Texas PUBLICATIONS: Articles in The Voice and Alchemist, Design for Living, The Way of the Roméo et Juliette for Dallas Opera; Vanessa for Young Playwrights Festival; Manager: Speech Review, Shakespeare in the Twentieth World, Antony and Cleopatra (2008), the New York City Opera (2007); Lysistrata or Dougherty Arts Center. MEMBERSHIPS: Century, Shakespearean Illuminations, Shakespeare Tamburlaine, Hamlet (2007), Richard III (2007), The Nude Goddess for Houston Grand Opera Currently serves on the Board of the Theatre Survey, Shakespeare Quarterly, Shakespeare The Beaux’ Stratagem, Love’s Labor’s Lost, and New York City Opera; Vanessa for Communications Group, D.C. Downtown and the Arts, The Voice and Speech Review: Othello, Lorenzaccio, Macbeth (2004), Cyrano, Washington Opera and Dallas Opera; Show BID, THE ARC, D.C. Arts Collaborative, the Associate Editor for Heightened Text, Verse Five by Tenn (at the Kennedy Center), The Silent Boat for Houston Grand Opera; Carmen for Penn Quarter Neighborhood Association, and Scansion. TRAINING: Yale University: Woman, The Winter’s Tale (2002), The Duchess of Houston and Washington Operas; Carousel for Theatre Washington, and is a member of MA, MPhil, PhD (English); Central School Malfi, The Oedipus Plays, Hedda Gabler, Don Miami Opera; Julius Caesar for San Francisco the League of Resident Theatres (served on of Speech and Drama/ The Open University Carlos, Timon of Athens, Camino Real, Coriolanus, Spring Opera. INTERNATIONAL: Love’s AEA and SSDC Negotiating Committees); (London): Advanced and Post-Graduate King Lear (1999), The Merchant of Venice, King Labor’s Lost at the Royal Shakespeare has served as a panelist for the NEA, D.C. Diplomas in Voice Studies. TEACHING: John, A Woman of No Importance, Sweet Bird of Company’s Complete Works Festival; The Commission on the Arts and Humanities, Mid Academy for Classical Acting; University Youth, Peer Gynt, Mourning Becomes Electra, Oedipus Plays at the Athens Festival; Five by Atlantic Arts Foundation and Pew Theatre of California, Santa Cruz; Guilford College; Henry VI, Volpone, Henry V, Henry IV, The Tenn for The Acting Company’s tour of Initiative. AWARDS: Arts Administration Kirkland College. Doctor’s Dilemma, Richard II, Much Ado About Eastern Europe; Show Boat for the National Fellowship: National Endowment for the Arts. Nothing (also at McCarter Theatre Center), Cultural Center Opera House in Cairo; The TRAINING: University of Miami: BFA in CARTER C. WOODDELL Mother Courage and Her Children, Hamlet, White Devil for the Adelaide Festival. BOARD Theatre/Music; Yale School of Drama: MFA in Resident Casting Director Measure for Measure, King Lear (1991), Richard MEMBERSHIPS: Theatre Communications Theatre Management. STC: Salomé, A Midsummer Night’s Dream III (1990), The Merry Wives of Windsor, Twelfth Group; New York State Council on the Arts; (Free For All), Tartuffe, Man of La Mancha, Night, As You Like It, Antony and Cleopatra D.C. Commission on the Arts and Humanities; ALAN PAUL The Metromaniacs, The Tempest, As You Like (1988), Macbeth (1988), All’s Well That Ends National Endowment for the Arts; Opera Associate Artistic Director It, The Winter’s Tale, The Merry Wives of Well, The Winter’s Tale (1987), Romeo and Juliet. America’s 80s and Beyond. AWARDS: See page 44 Windsor, Two Gentlemen of Verona, Much Ado NEW YORK: Broadway: Show Boat (Tony Commander of the British Empire (C.B.E.); About Nothing, The Merchant of Venice. Other DREW LICHTENBERG Casting Experience (McCorkle Casting, Ltd.): nomination), Cat on a Hot Tin Roof, Whodunnit, Theater Hall of Fame; seven Helen Hayes Literary Manager NEW YORK: Broadway: Belasco Theatre: Night of the Tribades, Death of Bessie Smith, Awards for Outstanding Director; 2011 STC: Salomé, Tartuffe, Man of La Mancha, End of the Rainbow (dir: Terry Johnson), Here’s Where I Belong, Othello, Henry V CAGLCC Excellence in Business Award; 2010 ; The Metromaniacs, The Tempest, As You Like Booth Theatre: High (dir: Rob Ruggiero); WAPAVA Richard Bauer Award; 2007 Off-Broadway: Manhattan Theatre Club: Five It, Private Lives, Henry IV, Part 1 and 2, The Off-Broadway (partial): Barrow Street by Tenn, Sleep Deprivation Chamber, Funnyhouse Mayor’s Arts Award Special Recognition for Importance of Being Earnest, A Funny Thing Theatre: Tribes (dir: David Cromer), Our Town of a Negro, The Rimers of Eldritch, Three by Shakespeare in Washington; 2007 Stephen and Happened on the Way to the Forum, Measure (dir: David Cromer), The Acting Company, Thornton Wilder, A Month in the Country, Hedda Christine Schwarzman Award for Excellence for Measure, Coriolanus, Wallenstein, Hughie, Marjorie S. Deane Little Theater: Freud’s Gabler, The Señorita from Tacna, Ten by in Theatre; 2007 Sir John Gielgud Award for A Midsummer Night’s Dream, The Government Last Session (dir: Tyler Marchant), Cherry Tennessee; New York Shakespeare Festival: Excellence in the Dramatic Arts; 2005 Person Inspector, The Merry Wives of Windsor, The Lane Theatre: A Perfect Future (dir: Wilson Measure for Measure (Saturday Review of the Year from the National Theatre Servant of Two Masters, Strange Interlude, The Milam), SoHo Playhouse: The Irish Curse (dir: Award). Artistic Director: The Acting Conference; 2004 Shakespeare Society Medal; Two Gentlemen of Verona, Much Ado About Matt Lenz), Beckett Theatre: An Error of the Company, 1978–1988. TEACHING: Richard 2002 William Shakespeare Award for Classical Nothing, The Heir Apparent. REGIONAL: Moon (dir: Kim Weild); NYC Other: Lincoln Rodgers Director of Juilliard Drama Division Theatre; 2002 Distinguished Washingtonian STC/McCarter Theatre Center: The Winter’s Center Institute: Hamlet, Fly, Sheila’s Day. July 1992–May 2006, faculty member 1967–; Award from The University Club; 2002 Tale; Center Stage: Caroline, or Change, NATIONAL TOURS: The Acting Company, Shakespeare Theatre Company Academy for GLAAD Capitol Award; 1997 Mayor’s Arts Cyrano, Around the World in 80 Days; Yale Riverdance. REGIONAL: Alley Theatre, Classical Acting at The George Washington Award for Excellence in an Artistic Discipline; Repertory Theatre: Lulu (dir. Mark Lamos); Center Stage, Barrington Stage Company, University. Previously: New York University; 1996 Opera Music Theater International’s Williamstown Theatre Festival: The Front The Broad Stage, Contemporary American Circle in the Square Theatre School; Princeton Bravo Award; 1990 First Annual Page, The Physicists, The Corn Is Green; New Theater Festival, Crossroads Theatre University; British American Drama Shakespeare’s Globe Award; 1989 York Shakespeare Festival: Macbeth (dir. Company, George Street Playhouse, The Academy; founder of Chautauqua Theatre Washingtonian Magazine Washingtonian of the Moisés Kaufman); OTHER: Yale School of Guthrie Theater, Pittsburgh Public Theater, Conservatory. REGIONAL: Arena Stage: A Year; 1989 Washington Post Award for Drama: Tarell McCraney’s In the Red and TheaterWorks Hartford. RADIO: BBC Touch of the Poet; Signature Theatre: Pride in the Distinguished Community Service; 1988 John Brown Water (U.S. premiere); TEACHING: Radio: The Piano Lesson (dir: Claire Grove). Falls of Autrey Mill, Otabenga; Guthrie Theater: Houseman Award. HONORARY Catholic University of America; Eugene Lang TELEVISION: Sesame Workshop: The Electric The Duchess of Malfi; American Repertory DOCTORATES: University of South Carolina; College at the New School. TRAINING: Yale Company, Pilot: 27 East. FILM: Columbia Theatre: ‘Tis Pity She’s a Whore; American Kean College; The Juilliard School; The School of Drama: MFA in Dramaturgy & Pictures: Premium Rush (dir: David Koepp), Shakespeare Theatre: Artistic Director for 10 American University. Dramatic Criticism. Choice Films: Junction (dir: Tony Glazer).

48 49 FACES AND VOICES MORE TIMES WHEN THE SHOW Working with the actors to ALMOST DIDN’T GO ON . . . maximize their vocal contributions STORIES FROM BACKSTAGE is deeply rewarding.” “I did a show once where a girl got Ellen O’Brien caught in the curtain and lifted Head of Voice and Text into the air by her foot; she was dangling 30 feet in the air upside “I love the rehearsal process—trying down. We stopped the show to things one way, assessing what retrieve her. Needless to say the works and what doesn’t, making show did not go on for her, but changes, etc. The creative team gets the rest of us resumed after a brief to connect with the actors and bring moment of shock and horror.” the vision of the writers to life. It is Douglas Sills Carl Draper truly a beautiful moment when it all backstage at The Ensemble comes together.” Scarlet Pimpernel Patch David on Broadway, Assistant Choreographer 1998. Photos by “Summer stock doing Wait Until Rivka Katvan. Dark. Near the end of the show I was pulling myself across the www.rivkakatvan. stage, digging a knife into the floor, DO YOU HAVE ANY BACKSTAGE com and the knife slid through my fist RITUALS? and sliced up my hand. Blood was running pretty fierce at first. The “I don’t like to lower the curtain at ASM whispered to me that she the end of the closing performance. was going to stop the show, and I In an art form that is ephemeral, it’s whispered (adamantly) NO! About a gesture that says we won’t shut 10 minutes later, the curtain came the door on the experience of doing down, and I went to the emergency the show. We’ll keep it alive in our CAN YOU TELL room and got sewed up.” memories." US ABOUT A TIME Bev Appleton Alan Paul WHEN THE SHOW Ralph (Stage Manager) Director ALMOST DIDN’T GO ON? “I had a show canceled on opening “I’m extremely superstitious! I have night because of a dispute with the my ‘good luck’ scarf from when “There was a time in the national tour of The Addams Family when one writers. A replacement show was I played Peggy Sawyer in 42nd wonderful actor was watching the Super Bowl with such great interest cobbled together in six days that Street that is always in my bag. I that he missed his entrance and his partner in the scene was forced was much better than the original.” usually listen to my favorite song to vamp for what felt like a 30-year mortgage. The stage manager Harry A. Winter and eat a little piece of cookies- and-cream chocolate for one extra screamed in panicked tones, ‘Mr. so-and-so to the stage. Mr. so-and-so Harry Trevor/Baptista little boost of energy! I also like to to the stage,’ while a poor actress died a thousand deaths adlibbing say a few prayers and take a second a passionate argument with her husband, on her own, like a character WHAT’S YOUR FAVORITE THING to remember how lucky I am to be out of Cuckoo’s Nest. ABOUT WORKING BACKSTAGE/ BEHIND THE SCENES? doing what I love as my career.” Douglas Sills Stephanie Bissonnette Fred Graham/Petruchio “I love seeing the show develop Swing from conception to realization.

50 51 $10,000-$14,999 First Potomac Realty Trust Stephen P. Anthony BA SUPPORT Anonymous (2) Anne and Burton Fishman BA Celia and Keith Arnaud Esthy and Jim Adler Tim and Susan Gibson ACA AMB AT&T Services, Inc. Aflac Scott and Lauren Gilbert BA Bank of America We gratefully acknowledge the following donors that currently Sheila and Kenneth Berman BA Lee Goodwin and Drs. Hilda and William O. Bank Peter A. Bieger Linda Schwartzstein Linna Barnes and Chris Mixter support the work of the 2015–2016 Season. Bill Bodie Donald H. Goodyear, Jr. Brent J. Bennett This list is current as of October 2, 2015. Booz Allen Hamilton Graham Holdings Bob, Kathy and Lauren CBRE Group, Inc. David and Jean Grier Dr. Bill and Evelyn Braithwaite Mr. Peter Cherukuri T Mr. and Mrs. Woolf P. Gross Mr. and Mrs. Jere Broh-Kahn ACA BA $100,000 and above Anonymous Michael R. Klein and The Clark-Winchcole Foundation Pamela and Corbin Gwaltney Claudyne Y. Brown T T BA CLS Strategies H&R Block Roger and Nancy Brown Beech Street Foundation Joan I. Fabry Douglas Development Corporation Kevin T. Hennessy AMB BA The Family of Marion and The Erkiletian Family The Robert P. and Arlene R. Nina Laserson Dunn and The Mark & Carol Hyman Fund Charles Bryce 1616 AMB Foundation T Kogod Family Foundation Eric C. Rose BA The International Union of Mr. and Mrs. I.T. Burden III The Harman Family Share Fund E. and B. Family Trust Bricklayers and Allied Capitol Counsel LLC Foundation T Robert H. Smith Family Arthur and Shirley Fergenson ACA Craftworkers Dawn and James Causey John and Meg Hauge T Foundation Gould Property Group K&L Gates LLP Audrey Chang and Michael Vernick Daniel F. Katz BA HRH Foundation Suzanne and Glenn Youngkin T Grossberg, Yochelson, Fox & Ellen MacNeille Charles Beyda LLP Irene and Lou Katz Charter Communications Scott Kaufmann T David and Anne Kendall BA Monica Rose Chodur Margot Kelly Barry Kropf The Clearing House Roger W. 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Friedman STUDIOS Architecture FTI Consulting Catherine Held Kent Montavon $5,000-$9,999 Terra Nova Title and Settlement Burton Gerber T AMB Turner & Goss Mr. and Mrs. Stephen A. Tom and Cathie Woteki Anonymous (6) Services, LLC Carol and Ken Gideon BA Hopkins T Alston & Bird LLP Mr. Derek Thomas and Josh Goldfoot BA Jerry and Isabel Jasinowski T Amazon Web Services Mr. Ernesto Abrego Alice and John Goodman Mr. and Mrs. Kevin Kolevar T Peter and Joan Andrews TPG Capital John E. Graves RIA and Hanh Phan Kyle and Alan Bell Mark Tushnet and The Greczmiel Family Barbara Bennett Elizabeth Alexander Nicole Alfandre Halbreiner Don and Nancy Bliss Evan J. Wallach and Karen L. Hawkins BA Katherine Tobin BA Katherine B. and David G. Bradley Dr. and Mrs. Stephen Hersh Marvin F. Weissberg Robert Crawford Carlson Charlotte Hollister and The Honorable Joan Churchill BA Wells Fargo Philanthropy Donald Clagett $15,000 to $24,999 The Max and Victoria Dreyfus James J. Lynch BA Foundation Richard H. 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Foundation Tom and Krista Di Iaconi BA Anonymous (3) Mary Hughes Knox 1616 Computer and Communications Ms. Elaine Economides Joost WilmerHale Beverly and Richard Dietz Miriam and Robert Adelstein David A. Lamdin AMB AMB Industry Association Helen Kenney Lynn and Jonathan Yarowsky The Dimick Foundation AECOM Dr. Mark T. Lewellyn The Dallas Morse Coors The Jacob and Charlotte DirecTV Airlines for America Marjorie and John Lewis BA Foundation for the Lehrman Foundation Craig Dunkerley and Amanda K. Allexon Freddi Lipstein and Performing Arts Patricia Haigh ACA Sunny and Bill Alsup Scott Berg 1616 ACA AMB Ernst & Young LLP Dean Amel and Terry Savela LMO Advertising Marietta Ethier Tony Anderson and Kevin Lorei Longview Strategies, LLC. ExxonMobil Mr. Decker Anstrom and James and Barbara Loots BA Denise Ferguson Ms. Sherron Hiemstra Nick and Alyssa Lovegrove

52 53 Amanda Machen Dr. and Mrs. Purnell Choppin Jessie K. Liu BA Mr. and Mrs. L. Von Hoffman Lincoln Financial Group Rev. John P. Beal III Heidi and Bill Maloni Mr. and Mrs. Anthony C. Collins David Lloyd, Realtor Mr. Jeffrey Wall and Shirley Loo1616 Julianne Beall Drs. Daniel and Susan G. Mareck Mr. and Mrs. Thomas B. Cormack Lorraine S. Dreyfuss Theatre Ms. Porter Wilkinson Steven M. Rosenberg and Ms. Mary Ellen Bergeron Linda Matthews Francis and Julia Creighton Education Fund Thomas and Molly Ware AMB Stewart C. Low III Robert C. and Elissa B. Bernius Mr. and Mrs. Gregory May Ms. Suzanne Cremins BA Christopher and Lane MacAvoy A. Shuanise Washington Bruce and Virginia MacLaury Sue E. Berryman Mary McCue ACA AMB Mr. and Mrs. Mark Darnell Rev. Frederick MacIntyre and Mickey In Memory of Dorothy B. Watkiss BA Alice S. Mandanis Mr. Bowen Billups The McGwin/Bent Family William and Sandra Davis MacIntyre In Memory of Mary Weathers Winton E. Matthews, Jr. Darwin Bingham Thomas and Ingrid McPherson E.R. Dolly Dieter Hardee Mahoney and Juan Vegega Weinreich Family Jon and Belinda McKenzie Vaughn and Marian Bishop Foundation Ms. D. Chris Downey David and Martha Martin Dr. Arthur Weinstein and Ellen Spin Susan Milligan and Philip McGuire William D. Blair Charitable Rajesh, Radhika and Karan Murari Claudia H. Dulmage BA John and Connie McGuire BA Sonia and Dale West Mr. Peter G. Mirijanian Foundation National Association of Realtors Anita Dunn Ms. Beverley McKee and Laura and Paul Weidenfeld BA NewTrends Publishing Mary C. Blake National Credit Union Foundation Becky and Alan Dye Mr. William McKee Mr. Alan F. Wohlstetter Mr. and Mrs. P. David Pappert Harriet and Bruce Blum National Multifamily Housing Council Fynnette Eaton and James E. Miller In Memory of Julian Yap BA James D. 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Robert Linowes 1616 Members of the Society of 1616, the Theatre’s BA Members of the Bard Association, dedicated Stanley and Marianne Myles 1616 Dr. Stephen R. Sleigh and Ms. Ann Dorothy and Bill McSweeny planned giving society supporters of the Theatre who are members Dr. Valerie Neal C. Greiner Marian Mlay ACA Supporters of the Academy for Classical Acting of the legal community. To join, please contact Elizabeth Neblett Michael R. Smith and Holly A. Larisch Judith E. Moore AMB Ambassadors of the Theatre, generous donors Eric C. Bailey at 202.547.3230 ext. 2312. Amy Nelson Steve and Diane Sockwell Susana and Roberto Morassi* who help to develop and enhance our patrons’ T Members of the Board of Trustees Winkle Nemeth Cathy and Bob Solomon Mr. and Mrs. Richard J. Park relationship with the Theatre. To join, please contact Deceased Suzy Platt* * D.W. and Martha Newman Barbara Spangenberg Eric C. Bailey at 202.547.3230 ext. 2312. 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58 59 FREE ABOUT STC CREATIVE CONVERSATIONS STC is the recipient of the 2012 Regional leads the Academy for Classical Acting, Theatre Tony Award® as well as 84 Helen a one-year master’s program at The HAPPENINGS HAPPY HOUR Hayes Awards and 342 nominations. George Washington University. Beyond the Thurs., Nov. 19 and Dec. 10, 6 p.m. classroom, educational opportunities like Forum at Sidney Harman Hall Presenting Classic Theatre Creative Conversations are available to all in November 17-January 3 Sidney Harman Hall The mission of the Shakespeare Theatre the community. PAGE AND STAGE SUN MON TUES WED THUR FRI SAT Company is to present classic theatre of Sun., Nov. 22, 5 p.m. scope and size in an imaginative, skillful Supporting the Community Forum at Sidney Harman Hall NOVEMBER/DECEMBER/JANUARY 17 18 19 20 21 and accessible American style that honors STC has helped to revitalize both the Penn 2:00 HAPPENINGS HAPPY HOUR 7:30 7:30 8:00 8:00 8:00 the playwrights’ language and intentions Quarter and Capitol Hill neighborhoods and Thurs., Dec. 10, 6 p.m. while viewing their work through a 21st- to drive an artistic renaissance in Washington, Forum at Sidney Harman Hall 22 23 24 25 26 27 28 12:00 2:00 Century lens. D.C. Each season, programs such as Free For 7:30 P 7:45 O 7:30 8:00 8:00 All and Happenings at the Harman present REFLECTIONS 29 30 1 2 3 4 5 Promoting Artistic Excellence free performances to residents and visitors Sat., Dec. 12, 5 p.m. 2:00 2:00 STC’s productions blend classical traditions alike, allowing new audiences to engage with Forum at Sidney Harman Hall 7:30 7:30 7:30 Y 8:00 8:00 8:00 and modern originality. Hallmarks the performing arts. 6 7 8 9 10 11 12 2:00 2:00 A include exquisite sets, elegant costumes, ASL-INTERPRETED 7:30 7:30 8:00 C 8:00 Y 8:00 R leading classical actors and, above all, an Playing a Part CONVERSATION 13 14 15 16 17 18 19 Tue., Dec. 15, 6:30 p.m. 2:00 2:00 uncompromising dedication to quality. STC is profoundly grateful for the support 7:30 S 7:30 B 8:00 8:00 8:00 of those who are passionately committed to Mezzanine Lobby at Sidney Harman Hall 20 21 22 23 24 25 26 Fostering Artists and Audiences classical theatre. This support has allowed 2:00 2:00 2:00 2:00 STC is a leader in arts education, with a STC to reach out and expand boundaries, 7:30 7:30 8:00 BOOKENDS myriad of user-friendly pathways that to inform and inspire the community 27 28 29 30 31 1 2 Wed., Dec. 16, 2015 2:00 2:00 teach, stimulate and encourage learners and to challenge its audiences to think 5:30 p.m. and post-show 7:30 7:30 7:30 7:30 8:00 8:00 of all ages. Meaningful school programs critically and creatively. Learn more at Forum at Sidney Harman Hall 3 2:00 are available for middle and high school ShakespeareTheatre.org/Support or call 7:30 students and educators, and adult classes 202.547.1122, option 7. SPECIAL EVENT are held throughout the year. Michael Kahn NSO IN YOUR NEIGHBORHOOD A AUDIO-DESCRIBED P PAGE AND STAGE Fri., Jan. 8, 2016, 7 p.m. B BOOKENDS R REFLECTONS Forum at Sidney Harman Hall C OPEN CAPTION S SIGN-INTERPRETED National Symphony Orchestra D POST-PERFORMANCE DISCUSSION Y YOUNG PROSE NIGHT musicians perform a free concert O OPENING NIGHT ABOUT ACA of Cole Porter’s music.

The Academy for Classical Acting (ACA), the beginning of STC’s 2015–2016 season, ShakespeareTheatre.org Open Caption performances the Shakespeare Theatre Company’s four ACA grads can be seen on our own 202.547.1122 made by possible by a grant from premier MFA training program run stages. More are sure to return. jointly with The George Washington University, is starting its 16th year! In January and February, the audition Fourteen professional actors from all team of ACA faculty will conduct over the United States and abroad join auditions in New York, Washington, CAMP SHAKESPEARE the Shakespeare Theatre Company’s Chicago, and Seattle, looking for actors remarkable faculty to immerse themselves who already have professional experience in a rigorous, one-year, conservatory-style and are looking to advance their skills Summer 2016 training program especially dedicated to when it comes to Shakespeare and mastering the complexities of heightened classical theatre. The training is deep text and classical acting. In the past 16 and it’s broad, with classes in Acting, years, the ACA has trained 224 actors Alexander Technique, Movement, Voice of all ages. Some go on to NYC and to & Speech, Stage Combat, Masks, Clown, Broadway, some return to their places and Text, to name a few. If you’re of origin, such as San Francisco, Seattle, interested, or know someone who might or Toronto, and many make new homes be interested in receiving training from for themselves right here in Washington, some of the top professionals in the field, D.C. On any given night, dozens of including Michael Kahn, please visit our Ages 7-18 ACA graduates can be seen on stages site: ShakespeareTheatre.org/Academy. throughout the D.C. metro area, and the Registration begins December 1 ACA can boast several recipients of the coveted Helen Hayes Award. Already, at 202.547.5688 ShakespeareTheatre.org/camp 60 UP NEXT: THE CRITIC AND AN INTERVIEW WITH JEFFREY HATCHER, THE REAL INSPECTOR HOUND ADAPTOR OF THE CRITIC After STC presented your understand what it was to be a critic AN INTERVIEW WITH STC ARTISTIC DIRECTOR MICHAEL KAHN, adaptation of The Government in the 18th century. It’s not exactly DIRECTOR OF THE CRITIC AND THE REAL INSPECTOR HOUND Inspector in 2012, you were the way it is now. It had a different approached by Michael Kahn to impact. It was like being a spy: you Are you a fan of critics? What are the theatre styles adapt Sheridan’s The Critic. How don’t know who the critic is. satirized in these plays? familiar were you with the play? I’m a director who’s actually known What did you think about it? Of all the critics working in to be friendly with critics. I basically The Critic mocks 18th century London, we come upon Mr. Puff like them. However, they regularly overacting, and The Real Inspector It seemed like a great choice. A title who not only writes reviews but is have a chance to tell me what they Hound makes fun of English country- that a lot of people in theatre know paid by playwrights to write good think of my work, and sometimes it’s house murder mysteries that were so but very few had seen performed. reviews, and doesn’t even see the happy, and sometimes it’s hurtful, popular in the 1940s and ’50s. I knew of the famous production plays. He has become so adept and sometimes it’s annoying, and sometimes it makes me mad. So I I’ve certainly done my research on from the 1940s with Olivier, on a at reviewing that decides he can thought I’d have a really good time these eras and styles, and I can draw double bill with Oedipus Rex. Kind write his own play. doing these plays about them. on my own experience, too, since I of a crazy “Look, Ma, no hands” did an Agatha Christie play with Joan show-off event. The second half of the play is all Why these plays? Fontaine, The Unexpected Guest, about a performance that goes early in my career. But the most I had read it sometime in the 1980s. wrong, and there’s nothing more Richard Brinsley Sheridan’s The important thing for audience It’s very funny, very funny. But a entertaining in a play about theatre Critic, an 18th century play, and members to know is that lot of the comedy isn’t relevant than to watch something go wrong. Tom Stoppard’s The Real Inspector these works are there for them anymore. I knew that either I’d People often joke about theatre Hound, a 20th century play, are to have fun with. I think they’re have to make things clear or cut people being unable to enjoy a play both about critics, and they’re both really terrific plays. things that only the cognoscenti because we’re too critical—we don’t beastly about critics, on one level. from 1780 could remember. go to be entertained, we go to find I’ve been so nice to them for years, out what went wrong. and these plays are wonderful ways How did you approach to have some fun with them. They’re the adaptation? Trust us, the play must go on but terribly funny plays. And they’re not show must fall apart. just beastly about critics, they’re We are doing it on a pretty satirical about very bad double bill so I had to cut As a playwright, how do you feel writing and particular theatre styles. about 50 percent of the about critics? original script. It forces you to The Critic is normally a two-act make choices. There was a time when I thought it play, but has rather famously would be fun to be a critic, there’s been done as a one-act play, Sheridan himself said that the a part of your brain that functions originally by Laurence Olivier, who first half ofThe Critic was the critically. Imaginatively/creatively paired it with Oedipus Rex. We’ve best writing he’d ever done. I was you think one way, critically commissioned Jeffrey Hatcher, who very hesitant about what to cut intellectually another. It’s how you did a wonderful adaptation of The and trim there. But Michael and look at a second draft. Government Inspector, to rethink [Dramaturg] Drew Lichtenberg how you do The Critic in one act, The Critic and have encouraged me to keep If you’re a playwright you can’t help which he’s done a brilliant job with. The Real Inspector Hound adapting. but have a few critics you want to It’s a truly funny script. begin January 5, 2016, at murder, who got it wrong or they the Lansburgh Theatre. The first point is trying to got it right and you’re upset they find a way for the audience to told everybody. ShakespeareTheatre.org 202.547.1122 62 63 Chelsea Mayo, Brenna McDonough, Lead Crafts Artisan Joshua Kelley SHAKESPEARE THEATRE COMPANY Victoria Reinsel, Paul Reisman, Melissa Richardson, Design Assistant/Crafts Artisan Kara Tesch Robert Bowen Smith, Stephen Spotswood, Latia Stokes, Wardrobe Supervisors Jeanette Lee Porter, STAFF Khaleshia Thorpe-Price, Katie Tkel, Monica Speaker Michele Vicino, Eva Wilhelm, Gregory Wooddell Wig Master Dori Beau Seigneur Costume Design Fellow Amelia Brookins Artistic Director Michael Kahn MARKETING AND COMMUNICATIONS THE ACADEMY FOR CLASSICAL ACTING Costume Production Fellows Natalie Flango Executive Director Chris Jennings Chief Marketing Officer Michael Porto The Academy for Classical Mackenzie Malone Executive Assistant to the Artistic Director Associate Marketing Director Austin Auclair Acting Director Gary Logan Technical Director Mark Prey and Executive Director David Lloyd Olson Associate Director of Audience Development ACA Program Coordinator Bekah Eichelberger Assistant Technical Director Kelly Dunnavant and Promotions Teddy Rodger Faculty Members Isabelle Anderson, Scene Shop Foreman David Stock ARTISTIC Audience Services Director Joy Johnson Christopher Cherry, Dody DiSanto, Edward Gero, Scene Shop Administrator Jessica Noones Associate Artistic Director Alan Paul Ticket Service Manager Tim Helmer Leslie Jacobson, Lisae Jordan, Michael Kahn, Floyd King, Carpenters John Cincioni, Jr., Justin Carnes, Gary Logan, Ellen O’Brien, Roberta Stiehm, Brad Waller Head of Voice and Text Ellen O’Brien Sales Associates Zindzi Ali, Evelyn Chester, Carrie Cox, Christian Sullivan Resident Casting Director Carter C. Wooddell Heather Hart, Christopher Hunt, Jessica Kaplan, Charge Scenic Artist Sally Glass PRODUCTION Literary Manager Drew Lichtenberg Andre McBride, Izetta Mobley, Kristin Nam, Scenic Artist Jose Ortiz Director of Production Tom Haygood Artistic Associate Craig Baldwin Sarah Kate Patterson, Christopher Pearson, Scenic Painter Kelly Rice Associate Directors of Production Kimberly Lewis, Artistic Fellow Ryan-Patrick McLaughlin Carmelitta Riley, Marie Riley, Kieran Shaw, Prop Shop Director Elaine Sabal Gordon Nimmo-Smith Affiliated Artists Keith Baxter, Avery Brooks, Crystal Stewart, Lauren Ward, Michael Wharton, Assistant Prop Shop Director Guy Palace Production Administrator Emmy Landskroener Genevieve Williams Lead Props Artisan Chris Young Helen Carey, Veanne Cox, Aubrey Deeker, Resident Production Stage Manager Joseph Smelser Colleen Delany, Franchelle Stewart Dorn, Interim Call Center Director Gary McKain Props Painter/Sculptor Eric Hammesfahr Stage Managers Cynthia Cahill, Laura Smith Cameron Folmar, Adam Green, Edward Gero, Teleservices Associates Bill Billante, Kelly Carson, Soft Goods Artisan Rebecca Williams Jade Davis, Valerie Ekhato, Assistant Stage Managers Elizabeth Clewley, Philip Goodwin, Jane Greenwood, Michael Hayden, Master Electrician Sean R. McCarthy Eric Garvanne, Miles Gheesling, Cheryl Kempler, Maria Tejada, Robyn M. Zalewski Simon Higlett, Christopher Innvar, Naomi Jacobson, Assistant Master Electrician Lauren A. Hill Stephanie King, Amy Kitchin, Isabelle Mahoney, Production Assistant Rebecca Shipman Stacy Keach, Floyd King, Andrew Long, Harman Electrician Brian Flory Jill McAfee, Joanna Morgan, Cynthia Perdue, Stage Management Fellows Eric Michael Batts, Ethan McSweeny, Jennifer Moeller, David Muse, Hugh Nees, Lansburgh Electrician Samantha Brewer Amy Sloane, Chris Soto, Robert Vierick Micaela Cirimeli James Noone, Patrick Page, Robert Perdziola, Audio/Video Supervisor Brian Burchett Associate Director of Event Sales Costume Director Wendy Stark Prey Nancy Robinette, David Sabin, Miriam Silverman, Assistant Audio/Video Supervisor Roc Lee and Partnerships Shaun Hart Floor Manager Julie Rose Derek Smith, Walt Spangler, Tom Story, Live Mix Engineer Ryan Gravett Theatre Services Manager Dora Hoyt Resident Design Assistant Lynda Myers Rebecca Taichman, Ted van Griethuysen, Lansburgh Board Operator Kurt Davis House Manager Robert Montenegro Drapers Denise Aitchison, Randall Exton, Craig Wallace, Adam Wernick, Gregory Wooddell Stage Operations Supervisor Louie Baxter Lead House Managers Stephanie Atkinson, Tonja Petersen Assistant Stage Operations Supervisor Fran Hopkins-Maxwell ADMINISTRATION Jeremy Blunt. Erica Brown, First Hands Jennifer Rankin, Sandra Thomas, Stage Carpenters Derek Antoine, Nick Custer Director of Administration James Roemer Addie Gayoso, Marie Riley Sara Cardwell Run Crew Rachel Wolf Associate Managing Director Anne S. Kohn Assistant House Managers Melissa Adler, Kathryn Atkinson, Stitchers Kathryn Hansen, Michele Ordway, Human Resources Manager Lindsey Morris Ron Hoekstra, Chris Hunt, Donna Sachs Human Resources Coordinator Ryn Weil Donald Jones, Susan Koenig, Accounting Manager Mary Margaret Finneran Jamel Levine, Jessie Mornero, Molly Nevola, Staff Accountant Marco Dimuzio April Powell, Carmelitta Riley, Shaun Russell, Bridget Sheaff, Alex Zeese AUDIENCE SERVICES Company Manager Mackenzie Douglas Retail and Concessions Manager Kristra Forney Receptionist Ursula David LANSBURGH THEATRE ACCESSIBILITY Assistant Retail Manager Tiara Copeland General Management Fellow Kathryn Atkinson 450 7th Street NW Our theatres are accessible to persons with disabilities. Concessions Associates Amelia Brookins, Joy Falzarano, Company Management Fellow Averill Corkin Please request special seating at time of ticket Adrianne Glover, Justin Lane, Freddy Mancilla, SIDNEY HARMAN HALL purchase and arrive 30 minutes before curtain for Director of Operations Timothy Fowler Thanh Nyugen, Chris Pearson, Elena Robertson, 610 F Street NW priority seating. Operations/IT Assistant Sloane A.L. Spencer Petrice Roman, Robert Russell, Catherine Shook, Open-captioned performance of Kiss Me, Kate: Theatre Building Engineer Dave F. Henderson Christine Strassner, Kara Tesch, Eric Woods TICKET AND GROUP SALES: Thursday, December 10 at 8 p.m. Theatre Monitors Milton Garcia, Jeff Whitlow Retail Associates Amelia Brookins, Quintin Cary, Tickets: 202.547.1122 Audio-described performance of Kiss Me, Kate: Facilities Custodian Jorge Ramos Lima Tiara Copeland, Joy Falzarano, Elena Robertson, Toll-free: 877.487.8849 Saturday, December 12 at 2 p.m. Harman Custodians Dennis Fuller, Mirna Guzman, Christine Strassnet, Kara Tesch Group Sales: 202.547.3230 ext. 3405 Sign-interpreted performance of Kiss Me, Kate: Roderick Proctor Harman Receptionist and Usher Coordinator Amy Veloz Box Office fax: 202.608.6350 Tuesday, December 15 at 7:30 p.m. Bookings: 202.547.3230 ext. 2321 Lansburgh Custodians Zulma I. Bonilla, Associate Director of An audio-enhancement system is available for all performances. Both headset receivers and neck loops Izilma Membreno, David Guzman Communications and PR Jonathan Padget BOX OFFICE PHONE HOURS (both theatres): Director of Information Technology Brian McCloskey Web and Media Programmer Brien Patterson (to use with hearing aids outfitted with a “T” switch) Daily: noon–6 p.m. are available at the coat check on a first-come basis. Systems Administrator Patrick Hayes PR/Marketing Fellow Catherine Shook (Box Office window open until curtain time) Program notes in Braille and large print are available at Database Administrator Brian Grundstrom Visual Communications The Lansburgh Box Office is closed on the the coat check. Manager S. Christian Taylor-Low weekends if there is no performance at the DEVELOPMENT Junior Graphic Designer Taylor Henry Lansburgh Theatre. Support for the Shakespeare Theatre Company’s Accessibility Program provided by Chief Development Officer Ed Zakreski Graphics Fellow Ruthie Rado CONCESSIONS AND GIFT SHOPS: Senior Associate Director of Development Amy Gardner Photographers Kevin Allen, Margot Schulman, Food and beverages are available one hour before Major Gifts Officers Eric Bailey Scott Suchman each performance. Pre-order before curtain for Betsy Purves EDUCATION immediate pick-up at intermission. Special Events Manager Moriah Lemming Director of Education Samantha K. Wyer Lansburgh Theatre and Sidney Harman Hall Support for open captioning provided by Development Operations and Associate Director of Education Dat Ngo gift shops are open before curtain, at intermission and Membership Manager Kristina Williams Audience Enrichment Manager Hannah Hessel Ratner for a short time after each performance. Development Operations Coordinator Sara Seidler Community Engagement Manager Laura Henry Buda Membership Coordinator Arielle Katz CONNECT WITH US: School Programs Manager Vanessa Hope The video and/or audio recording of this performance Associate Director of Development Noreen Major Training Programs Manager Brent Stansell Facebook.com/ShakespeareinDC Twitter @ShakespeareinDC by any means whatsoever are strictly prohibited. As a Corporate Giving Manager Katie Burns-Yocum Resident Teaching Artist Renea Brown YouTube.com/ShakespeareTheatreCo courtesy, turn off pagers, telephones, watch alarms and Director of Foundation and Education Coordinator Emily Marcello Flickr.com/ShakespeareTheatreCompany all other electronic devices during the performance. Government Relations Meghann Babo-Shroyer Education Fellow Thanh Nguyen Instagram @ShakespeareinDC Institutional Fundraising Coordinator Michael Trottier Affiliated Teaching Artists Elizabeth Alman, Audience members may be reached during a Development Fellow Elena Robertson Tonya Beckman, Kevin Brown, Dan Crane, Katie deBuys, performance by calling house management at Jim Gagne, Brit Herring, Paul Hope, Naomi Jacobson, 202.547.3230 ext. 2517. Specify seat location. Joy Jones, Manu Kumasi, Alina Collins Maldonado, Latecomers will be seated at management’s discretion. 64 65 Acting • Movement • Mask • Voice • Speech Text • Stage Combat • Alexander Technique Located in the heart of Washington, D.C., at The George Washington University

UPCOMING AUDITIONS Jan. 30 • Washington, D.C. Feb. 6 • New York Feb. 13 • Seattle Feb. 20 • Chicago

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