SUPPORT FOR THE 2021 SEASON OF THE TOM PATTERSON THEATRE IS GENEROUSLY PROVIDED BY

PRODUCTION SUPPORT IS GENEROUSLY PROVIDED BY THE HARKINS & MANNING FAMILIES IN MEMORY OF SUSAN & JIM HARKINS LAND ACKNOWLEDGEMENT Welcome to the Stratford Festival. It is a great privilege to gather and share stories on this beautiful territory, which has been the site of human activity — and therefore storytelling — for many thousands of years. We wish to honour the ancestral guardians of this land and its waterways: the Anishinaabe, the Haudenosaunee Confederacy, the Wendat, and the Attiwonderonk. Today many Indigenous peoples continue to call this land home and act as its stewards, and this responsibility extends to all peoples, to share and care for this land for generations to come. A MESSAGE FROM OUR ARTISTIC DIRECTOR WORLDS WITHOUT WALLS Two young people are in love. They’re next- cocoon, and now it’s time to emerge in a door neighbours, but their families don’t get blaze of new colour, with lively, searching on. So they’re not allowed to meet: all they work that deals with profound questions and can do is whisper sweet nothings to each prompts us to think and see in new ways. other through a small gap in the garden wall between them. Eventually, they plan to While I do intend to program in future run off together – but on the night of their seasons all the plays we’d planned to elopement, a terrible accident of fate impels present in 2020, I also know we can’t just them both to take their own lives. pick up where we left off. The world has changed; we have changed. Something Sound familiar? It’s the story of Pyramus huge has happened to us and within us. and Thisbe, as told by the ancient Roman How do we express that together? poet Ovid, one of Shakespeare’s favourite authors. Most of us know it from the comical In one significant sense, 2021 sees us play-within-the-play in A Midsummer Night’s return to our roots. Two open-sided Dream – but it’s also essentially the same canopies, one erected at the Festival story Shakespeare told in Romeo and Juliet. Theatre and the other on the grounds of the new Tom Patterson Theatre, shelter It certainly resonates with us today. We appropriately distanced seats. Sharing know what it’s like to be isolated in our the same visually gorgeous design, these homes, separated from our loved ones, structures enable audiences to gather in reduced to interacting through online safety and comfort in the open air. equivalents of a hole in the wall. And we know about other barriers, too: walls of But more than that, they bring an inherently prejudice, mistrust and hatred that can be festive quality to the season. Just like our as fatal as any pandemic. original tent in 1953, these new canopies signal that a very special event is taking But there’s more to Ovid’s story. The blood place here in Stratford: a new artistic of the lovers, seeping into the ground, beginning. is absorbed by the roots of a mulberry bush – and turns its berries from white Meanwhile, we have also been able to to a deep and vibrant red. And with that make provision for limited-capacity indoor metamorphosis comes the families’ performances at the Studio Theatre. As realization of the tragedy their enmity always, your safety, and the safety of our has wrought. artists and staff, is our very first priority, and all three of our 2021 venues will operate That idea of metamorphosis, of awakening in strict accordance with public-health and new growth arising from loss, informs guidelines. our 2021 season. Our artists, like the rest of us, have been living through a time of But far from placing limitations on our seismic shock to their psyches – but it creativity, the need to work within the has also been a time of transformative parameters required of us – with shorter regeneration. It’s as if we’ve been in a performances, smaller casts (no more than eight actors per show) and physical distancing on stage – has stimulated our artists to new feats of imagination as they devise novel modes of performance. Our 2021 playbill encompasses Shakespeare, music, modern classics and new work, presented in ways you’ve never seen at Stratford before. And it’s not only the pandemic that has opened us up to new ideas and experiences. The Black Lives Matter protests of last summer brought home to us how far our society still remains from overcoming those other dividing barriers of systemic inequity and oppression. So our playbill celebrates difference as well as universality, widening our definitions both of a classic and of who we are. To learn more about our work on anti- racism please visit our website. The pandemic has taken a dreadful toll, both in lives and in lingering psychological effects. We at the Festival may be powerless against the former, but we have a crucial role to play in addressing the latter. If theatre has anything to teach us, itis about the resilience of the human spirit. Our new season was born of our determination to emerge from this crisis more inventive, more inclusive and more creative than ever. I hope it will excite you and engage you, bring renewed joy into your life and inspire you as we dream together of a world without walls.

Antoni Cimolino Artistic Director

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OUR THANKS TO THE FOLLOWING FOR THEIR GENEROUS SUPPORT Proud Season Partner New Play Development Support is generously provided by The Foerster Bernstein New Play Development Program Festival Theatre Support for the 2021 season in the Festival Theatre Canopy is Production & Program Sponsors generously provided by Daniel Bernstein & Claire Foerster Tom Patterson Theatre Support for the 2021 season of the Tom Patterson Theatre is generously provided by Supporter of Equity, Diversity and Inclusion initiatives, with thanks to Sylvia Chrominska.

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Education Support Partner A MIDSUMMER NIGHT’S DREAM DREAMS OF DISCORD AND HARMONY

BY TED Mc GEE

Shakespeare probably wrote A Midsummer the roots of certain plants to concoct love Night’s Dream in 1595, in the wake of a potions, and young women used another devastating outbreak of the “pestilence,” plant, the “midsummer man,” to determine which spread throughout the realm and if their true loves were true to them. Given took the lives of more than eleven thousand its association with love, midsummer was people in London. Shakespeare’s fellow a festive occasion perfect for romantic actor Robert Browne, who was performing comedy. in Germany at the time, lost his wife, their children, and all his household to “the In A Midsummer Night’s Dream, Theseus sickness.” To try to limit the spread of the looks forward to a similar communal infection, the authorities took now-familiar celebration “with pomp, with triumph, and steps: they banned large public gatherings with revelling” in honour of his marriage. (except for sermons and church services), That joyful prospect vanishes immediately, blocked the importation of foreign goods, however, with the entrance of Egeus. He cancelled big civic events, and closed the demands his patriarchal right, enshrined in public theatres. In the great plague of 1592– Athenian law, to marry his daughter, Hermia, 4, the London theatre, like the Stratford to the man of his choice (Demetrius), not hers Festival in the last eighteen months, (Lysander). For Theseus, the decision is easy. experienced the longest closure in its history. Because a young woman’s father “should be Against that background, Shakespeare’s as a god” to her, Hermia must either obey Dream may be his joyous celebration of her father or “die the death.” This case is release from oppressive restrictions and the symptomatic of larger fissures in society, restoration of community. between parent and child, man and woman, age and youth, inflexible law and personal Midsummer was an ideal setting for a choice. Theseus’s judgement may also comic celebration of this kind. Centred on alienate Hippolyta. She does not say how the night before the feast of St. John the she feels about Theseus’s decision, but her Baptist, June 24, but not limited to that actions often communicate her objection to day, midsummer was a traditional time his endorsement of patriarchal privilege and of revelry and misrule. Freed up from the systemic submission of women. Hippolyta is, labours of everyday life, people made merry after all, queen of the Amazons, that mythical together with bonfires, music and morris society of women warriors who proudly ruled dancing, parades of armed men with giants, themselves. swordplayers, and devils, and, of course, lots of “cakes and ale.” Midsummer offered Lysander and Hermia, the victims of Athens’s Shakespeare a ready-made atmosphere of severe law, find an alternative. To save festivity, one specifically associated in folk their love, they flee into the moonlit woods culture with love. Young men displayed their outside the city. In romances and “green virility to potential partners by leaping over world” comedies, the forest offers an escape midsummer bonfires, herbalists gathered from social mores and societal order. In the freedom of the forest, natural human desires have been transformed: Titania by Theseus’s and erotic energies are released. Hermia and application of the nectar of love-in-idleness, Demetrius know this: Demetrius tells Helena Bottom by the mischief-making of Robin not to follow him into the wood, not to “trust Goodfellow, a “puck” or merry prankster, the opportunity of night / And the ill counsel who has replaced Bottom’s head with that of a desert place / With the rich worth of of an ass. Except for their transformations, your virginity.” Similarly, Hermia perceives Titania and Bottom have little in common. that Lysander “riddles very prettily” to make As the queen of the fairies, Titania occupies an amorous advance, which she resists by the top echelon of the hierarchy of creation insisting – three times – that he “lie further in the play; Bottom, a human/animal hybrid, off, in humane modesty.” In the forest of the bottom. Her elegant verse contrasts the Dream, passionate attachments are to his workaday prose. When she awakes increased, intensified, accelerated, and and falls in love at first sight, her infatuation destabilized. The application of Oberon’s transforms the ass into an angel, who is love-at-first-sight drug makes the difference: “as wise as [he is] beautiful” to her. Bottom, in an instant, past loves are abandoned, on the other hand, remains emotionally new ones pursued. In this imaginative detached, perceptively observing what her environment, love is passionate and behaviour reveals: that “reason and love blind, cruel and inconstant, irrational and keep little company together nowadays.” ridiculous. When Titania has her retinue “tie up [her] lover’s tongue” and lead him to her bower, The events of the forest compound the she may be looking forward to a hot night divisions among the characters and the of passionate pleasure, but Bottom’s words discord in the world of the play. Hermia, reveal nothing about his desire (though his the beloved of two men when they went braying or his body language might). Titania into the forest, is now scorned by both; and Bottom are a truly odd couple, but they Helena, unloved at the start, now has two display none of the dissension that the besotted suitors, neither of whom she trusts. Athenian lovers do: he goes along with what The men threaten to settle their rivalry by she initiates. The relationship of Titania and violent means, and the young women, who Bottom is an emblem of concord in discord, a once shared “all school-days friendship, recurrent motif in the play, like the “tragical childhood innocence,” now exchange mirth” of the “tedious and brief” “lamentable mutual recriminations, trade insults, and comedy” of Pyramus and Thisbe. blame one another for breaking the bond of womanhood by joining men in a cruel joke. The resolution of A Midsummer Night’s What must be noted is that in all this tumult Dream begins, appropriately, with the there is a lot of fun – not for the characters, dawning of a new day. In the fairy world, of course, but for theatre-goers, and Titania has been restored to herself, she and certainly for Puck, who says that “this their Oberon have settled their quarrel, and their jangling I esteem a sport.” Moreover, this dancing, an archetypal symbol of harmony, “jangling” – the personal delusions and inter- begins again. In the human world, the young personal battles – is a crucial part of the lovers, who fell asleep in isolation – all overall movement of comedy from discord to physically close together, but none aware of concord, disorder to order, separation from the others – are discovered lying together others to reunion. like an emblem of “gentle concord in the world.” And Theseus uses his authority The relationship of Titania and Bottom to overrule old Egeus, who once again is similar, but not the same, in its demands the law, and graciously protect representation of discord. Both characters the loves of the young. The harmony within society is symbolized by a triple wedding, a feast, and a play performed by “hard-handed men” of Athens for a high-ranking audience: it’s a lower-class gift for an upper-class audience.

A Midsummer Night’s Dream is an extraordinary comedy of love. It is Shakespeare’s only romantic comedy that includes a romantic tragedy, Pyramus and Thisbe, in which the main characters die, hilariously, for love. “Notably discharged,” as Theseus says with deliberate ambiguity, it proves to be a perfect performance for a communal celebration of the marriages, as its over-the-top acting, bombast, crude dramaturgy, overwrought verse, and unwitting bawdiness fill the evening with laughter.

The Dream is also the only Shakespearean comedy that provides a sustained engagement with the “land of faery.” In doing so, the play asks the audience to suspend disbelief and accept that spirits may intervene in human life and, ultimately, bless it, as Titania and Oberon bless all the newlyweds with “sweet peace,” love, fertility, and fortunate offspring. It is difficult to exaggerate how magical the final ritualistic action of the Dream can be. In the midnight darkness, the fairies join hands, sing, and dance – all images of harmony – and, with lit tapers giving “glimmering light,” move out into “the house” to bless it. What “house”? – for us, Duke Theseus’s palace, and the playhouse, and the audience present on the night of the show, an audience that gathers again as a community to see a play together. And those untouched by the magic of theatre can do as Puck recommends: pretend that you merely dozed off, and that the “visions” that “did appear” on stage were nothing more than “a dream.”

Ted McGee is Professor Emeritus in the Department of English at the University of Waterloo. PLAYWRIGHT WILLIAM SHAKESPEARE Born in Stratford-upon-Avon in 1564, William Shakespeare was the eldest son of John Shakespeare, a glover and tanner who rose to become an alderman and bailiff of the town, and Mary Arden, the daughter of a wealthy farmer. The exact date of his birth is unknown, but there is a record of his baptism at Stratford’s Holy Trinity Church on April 26. Since an interval of two or three days between birth and baptism would have been quite common, tradition has it that he was born on April 23 – the same date as his death fifty-two years later.

The young Shakespeare is assumed to have attended what is now King Edward VI Grammar School in Stratford, where he would have studied rhetoric, grammar and ancient Roman literature in its original Latin. In 1582, when he was eighteen, he married Anne Hathaway, a farmer’s daughter who was eight years his senior. Anne was pregnant at the time, and the couple’s first daughter, Susanna, was born a few months back in the theatre, writing and acting for afterwards in 1583. Twins followed two years the Lord Chamberlain’s Men. His income as later: a son, Hamnet, who died at the age of one of London’s most successful dramatists eleven, and a second daughter, Judith. enabled him, in 1597, to buy a large house called New Place back in Stratford, and in Nothing further is known of Shakespeare’s 1599 he became a shareholder in London’s life until 1592, by which time he was newly built Globe Theatre. sufficiently established as an actor and writer in London to be the target of a literary In 1603, when James I had succeeded attack by a jealous fellow playwright, Robert Elizabeth on the throne, Shakespeare’s Greene. Soon afterwards, an outbreak of company was awarded a royal patent, plague forced the temporary closure of becoming known as the King’s Men. the theatres, and Shakespeare turned his Meanwhile, the playwright continued his attention instead to his long narrative poems business dealings in Stratford and in London, Venus and Adonis and The Rape of Lucrece. where in 1613 he bought a property known He also began writing the Sonnets, a series as the Blackfriars Gatehouse. He is believed of 154 complex and often ambiguous poems to have spent increasing amounts of his time on themes of love, jealousy and mortality in Stratford from around 1609 until his death that have aroused much biographical on April 23, 1616. He is buried in the town’s speculation. By 1595, Shakespeare was Holy Trinity Church. BY WILLIAM SHAKESPEARE

THE CAST IN ALPHABETICAL ORDER

Hermia, Snug, Peaseblossom Eva Foote Theseus, Oberon Craig Lauzon Puck, Egeus Trish Lindström Demetrius, Quince, Mustardseed Jonathan Mason Bottom André Sills Helena, Flute, Moth Amaka Umeh Lysander, Snout, Cobweb Micah Woods Hippolyta, Titania Bahareh Yaraghi

ARTISTIC CREDITS

Director Producer Production Stage Managers Peter Pasyk David Auster Meghan Callan Elizabeth McDermott Casting Director Set Designer Beth Russell Patrick Lavender Technical Director Creative Planning Director Greg Dougherty Costume Designer Jason Miller Lorenzo Savoini MUSIC Lighting Designer Assistant Director Michael Walton Marie Farsi Original Music Recorded By Composer & Sound Designer Assistant Designer Reza Jacobs Reza Jacobs Joshua Quinlan Director of Music Choreographer Assistant Lighting Designer Franklin Brasz Stephen Cota Imogen Wilson Music Administrator Fight Director Janice Owens Kevin Kruchkywich Stage Manager Marie Fewer-Muncic Fight Captain Andre Sills Assistant Stage Manager Judy Farthing Dance Captain Amaka Umeh Apprentice Stage Manager Lily Cardiff Production Assistant May Nemat Allah BACKSTAGE PRODUCTION CREDITS

Head Stage Carpenter Director of Production Production Administrator Art Fortin Simon Marsden Carla Fowler Head Electrician Associate Director of Technical Director Douglas Ledingham Production – Scenic Construction C.J. Astronomo Andrew Mestern Head Property Alan Hughes Scene Shop Manager Technical Direction Assistants Evan Bonnah-Hawkes Laura Coleman Head Sound Zach Fedora Michael Duncan Associate Technical Director David Campbell Transportation Crew Dirk Newbery Allan Laidman James Thistle Wardrobe Head Inez Khan Wigs and Makeup Head Julie Scott

PROPERTIES Assistant Head Carpenter Bijoux/Decoration Paul Cooper Liane Guttadauria Head of Properties Assisted by Boots and Shoes Dona Hrabluk Simon Aldridge Sarah Cook Assisted by Paul Hyde Ken Dubblestyne Scott King Dyeing Michelle Jamieson Corey Mielke Linda Pinhay Shirley Lee John Roth Costume Painting Heather Ruthig Jody Satchell Lisa Hughes Lisa Summers Scott Schmidt Mark Smith Millinery Properties Buyer Cliff Tipping Kaz Maxine Kathleen Orlando Costume Buyer COSTUME Erin Michelle Steele SCENIC ART Warehouse Coordinator Costume Director Kimberly Catton Head Scenic Artist Michelle Barnier Duncan Johnstone Head of Wigs and Makeup Cutters Gerald Altenburg Assistant Scenic Artist Johanna Billings Michael Wharran Luci Pottle Construction Crew Jessica Elsbrie SCENIC CARPENTRY Sewers Dave Kerr Laurie Krempien-Hall Julie Scott Anna Lach Head Carpenter Ryan Flanagan

ACKNOWLEDGEMENTS

Special thanks to Dr. David Thompson, MD, Stratford; Dr. Jennifer Anderson, MD, MSc, FRCSC, St. Michael’s Hospital, Toronto; Heather Gillis, PT, M.Sc. Anat., FCAMPT, Darcy Trefiak, PT, B.Sc.P.T., FCAMPT, Physiotherapy Alliance, Stratford; Dr. Simon McBride, MCISc, MD, London Health Sciences Centre Vocal Function Clinic; Dr. Brian Hands, MD, FRCSc, Vox Cura voice care specialists, Toronto; Dr. Leigh Sowerby, MD, MHM, FRCSc, St. Joseph’s Hospital, London; Dr. John Yoo, MD, London Health Sciences Centre; Dr. Thomas Verny, MD, DHL, DPsych, FRCPC, FAPA, Stratford; Dr. P. Neilsen, Goderich; Dr. Laurel Moore, MD, Dr. Sean Blaine, MD, Dr. Erin Glass, MD, Dr. Jacob Matusinec, MD, STAR Family Health Team, Stratford. THE COMPANY

EVA FOOTE CRAIG LAUZON TRISH LINDSTRÖM JONATHAN MASON

EVA FOOTE Birmingham Conservatory, 2019, 2021 2021: Hermia, Snug, Peaseblossom in A Midsummer Night’s Dream. Second season. (Last year slated to play Jenna in Hamlet-911, Citizen in Richard III.) Elsewhere (selected): UnCovered: Notes from the Heart (Musical Stage Co.); Girl in Once (Segal Centre); Audrey in As You Like It, Phillipa in The Taming of the Shrew (St. Lawrence Shakespeare Festival); Andrea in Dark Vanilla Jungle (Blarney Productions); Halley in Armstrong’s War (Theatre Network). Training: National Theatre School of Canada, Birmingham Conservatory for Classical Theatre. Awards: Two-time nominee – Sterling Award; three-time nominee – Edmonton Music Award; recipient of 2019 Montreal English Theatre Award for Lead Performance in a Musical & Emerging Artist; recipient of 2019 Shirley Banks Prize for Emerging Musical Theatre Artists. Other: Thanks to Mom & Dad & Toni (& Roxy) – for teaching me how to love & sing & laugh & pluck a goose. I love you.

CRAIG LAUZON 2021: Theseus, Oberon in A Midsummer Night’s Dream. Stratford debut. Elsewhere: Simon, Tales of an Urban Indian (Talk Is Free Theatre); Marmaduke, Orlando (Soulpepper); Angus, The Drawer Boy (Theatre Passe Muraille); Antipholus of Syracuse and Ephesus, The Comedy of Errors (Thousand Islands Playhouse); Trigorin, Stupid Fucking Bird (The Collective); Claude Morin/Joe Clark/Mick Jagger, Trudeau and Lévesque; Maurice/James Cross, Trudeau and the FLQ (VideoCabaret); Mooch, Where the Blood Mixes (Theatre Network); Kent, King Lear (National Arts Centre); Isaac/Jacob, Thunderstick! (Persephone Theatre). Film/TV: Phil, Trickster (CBC); Les, In a little plastic bag, in a tiny jar, on a mantel in the house (Stratfest@Home); Dr. Elliotte, Run Woman Run (Big Soul Productions). Radio/ Recordings: Matt, First Métis Man of Odessa (Factory Theatre); Mukwa, Peter Pan (POH Productions, UK); panelist on Because News (CBC Radio); narrator of For Jacob, Peace & Good Order (Penguin Random House).

TRISH LINDSTRÖM 2021: Puck, Egeus in A Midsummer Night’s Dream. Sixth season. Stratford: As You Like It (Celia), The Hypochondriac, Alice Through the Looking-Glass (Alice), MND: A Chamber Play (Titania/Hermia), The Tempest (Miranda), The Two Gentlemen of Verona, Cabaret (Sally Bowles), Trojan Women, The Miracle Worker (Helen Keller). Elsewhere (selected): Summer: The Donna Summer Musical (first US national tour);Mother Night (59E59); If Sand… (NYMF Award); Wedding Party (Crow’s/NAC/TIFT); Life After (Canadian Stage); Once (Dora Award – Mirvish); Children of God (Urban Ink/NAC); Bloodless (Theatre20); In the Next Room (Tarragon/RMTC); MND, Double Bill, Exit the King (Soulpepper); Assassins (Dora nomination – Birdland/TIFT); Mimi (Dora nomination – Tarragon); Shaw Festival (2003–2007). Film/TV: The Hot Zone, Frankie Drake, Dorothy’s Secret, Jack in the Box, Murdoch Mysteries. Training: National Theatre School; The Actors Center, NYC. For Puck-eternal, Ian Watson. To be here. Is all.

JONATHAN MASON Birmingham Conservatory 2019, 2021 2021: Demetrius, Quince, Mustardseed in A Midsummer Night’s Dream. Second season. Stratford: Valentine in Two Gentlemen of Verona (Birmingham Conservatory). Elsewhere: Iago in Othello, Richard in Richard III, Sparkish in The Country Wife, Lysander in A Midsummer Night’s Dream (London Academy of Music and Dramatic Art); Paul Bratter in Barefoot in the Park, Paul Verral in Born Yesterday (Blue Bridge Repertory Theatre); Henry Baskerville in Hound of the Baskervilles (Royal Canadian Theatre Co.); Young Sherlock in Sherlock Holmes (Chemainus Theatre Festival); Mark Antony in Julius Caesar (Victoria Shakespeare Society). Film/TV: Fragile Seeds (feature film),The Flash, Far Cry 4, Monkey Up, Cascadia, Ollie and Emma. Directing: Julius Caesar (New Image College, Vancouver). Training: Birmingham Conservatory, The London Academy of Dramatic Art (Masters with Distinction, Classical Acting). Et cetera: Jonathan dedicates this season to his family and in memory of his father. THE COMPANY

ANDRÉ SILLS AMAKA UMEH MICAH WOODS BAHAREH YARAGHI

ANDRÉ SILLS Birmingham Conservatory, 2005 2021: Bottom in A Midsummer Night’s Dream. Seventh season. Stratford: The Tempest, Coriolanus, Napoli Milionaria!, etc. Elsewhere: Julius Caesar (Crow’s/Groundling); Glass Menagerie, Sex, The Madness of George III, An Octoroon, The Adventures of a Black Girl in Her Search for God (Shaw Festival); “Master Harold”… and the Boys (Shaw Festival and Obsidian Theatre); Kim’s Convenience national tour (Soulpepper); Shakespeare’s Nigga, Ruined (Obsidian Theatre); Intimate Apparel (Alberta Theatre Projects, The Grand); Othello, Radio Golf (St. Louis Black Repertory Company). Training: Birmingham Conservatory, George Brown Theatre School. Awards: My Entertainment World Critics Pick Award, Best Leading Actor, An Octoroon; Toronto Theatre Critics Award and Dora Award, Best Leading Actor, “Master Harold”… and the Boys. Online: Check out his new web series on YouTube called Private Idiots. Twitter: @andresills373.

AMAKA UMEH Birmingham Conservatory, 2019, 2021 2021: Helena, Flute, Moth in A Midsummer Night’s Dream. Elsewhere: Audiobook narration for Butter Honey Pig Bread by Francesca Ekwuyasi (ECW Press); Bobbi in Hilda’s Yard (Foster Festival); Ensemble in Towards Youth: A Play on Radical Hope (Project:Humanity/Crow’s Theatre); 00 in The Wolves (Howland Company/Crow’s); Abigail in A Christmas Carol (Grand Theatre); Hermia in A Midsummer Night’s Dream (Shakespeare in High Park); Spiker in James and the Giant Peach (Young People’s Theatre); Ariel in The Tempest (Hart House Theatre). Training: Birmingham Conservatory for Classical Theatre, Factory Theatre Mechanicals, Toronto Fringe Theatre Entrepreneurs’ Network Training, Randolph Academy for Performing Arts. Awards: Dora Award for The Wolves; Toronto Fringe Patron’s Pick Award for All Our Yesterdays (AnOther Theatre Company). Et cetera: Thank you to my mighty Mum, dear sisters, sweet friends, far-flung family, amazing mentors, and The Talent House.

MICAH WOODS Birmingham Conservatory, 2019, 2021 2021: Lysander, Snout, Cobweb in A Midsummer Night’s Dream. Second season. Elsewhere: Taz in Samantha: A Concept Album, Set to Stage (Greenlight Theatre); Slightly in Peter Pan (Bad Hats Theatre); Dido in Dido, Queen of Carthage, directed by Peter Hinton (York University Theatre). Training: Birmingham Conservatory, 2019, 2021 (Stratford Festival); Acting Conservatory, York University, 2018 (BFA); Michael Gordon Shore, Role Development. Online: Instagram: @micah.woods. Et cetera: This is for my family. Thank you for your endless support!

BAHAREH YARAGHI 2021: Hippolyta, Titania in A Midsummer Night’s Dream. Third season. Bahareh was born in Iran and raised in Vancouver, BC, and is a Toronto-based actor. Selected theatre credits: An Ideal Husband, Julius Caesar and The Aeneid (Stratford); A Doll’s House, Part 2 (Mirvish/RMTC); Cost of Living (Arts Club/Citadel); Shakespeare in Love (Citadel/RMTC); Unholy, HER2 (Nightwood); Salt-Water Moon (Why Not/Factory); Death of the King, Blood Wedding and Hallaj (Modern Times); Oil, Pomona, Moment and Bea (ARC); Le Placard, Les Zinspirés 2 (Théâtre Français); Kiss (Canadian Stage/Theatre Smash/ARC); Minotaur (YPT); The Kite Runner (Theatre Calgary/Citadel). Bahareh is a six-time Dora Award nominee and a two-time Sterling Award nominee. ARTISTIC COMPANY

MEGHAN CALLAN LILY CARDIFF STEPHEN COTA MARIE FARSI

MEGHAN CALLAN 2021: Production stage manager of the Tom Patterson Theatre Canopy. 21st season. Stratford: In Meghan’s 20 seasons she has served as production stage manager at all of the Festival’s stages. Some of her favourite productions have been Paradise Lost, A Midsummer Night’s Dream (2014), The Tempest (2010), A Little Night Music, Jesus Christ Superstar and Tommy. Training: Meghan holds a Bachelor of Fine Arts in Theatre Production from York University. Elsewhere: Meghan has most recently stage-managed The Goat, or Who Is Sylvia and The Virgin Trial at Soulpepper Theatre. She has worked at the National Arts Centre, Citadel Theatre, toured New Brunswick (twice), and stage-managed car and industrial trade shows and concerts. Not since her beginnings as a stage manager at Canada’s Wonderland has she worked in an outdoor theatre under a canopy and she’s grateful to be back.

LILY CARDIFF 2021: Apprentice stage manager of A Midsummer Night’s Dream. Second season. Elsewhere: Stage manager of Adam’s Unplugged Puppet Party (The Pucking Fuppets Co.), This Is How We Live (Frantic Assembly and Ryerson School of Performance), Equinox and Goose … Please Pay Attention! (New Voices Festival), The ’94 Club (Crave Productions), The Women (Ryerson School of Performance), Folks Like Us and Miss Michael: In Conversation with Michael Learned (The Victoria Playhouse Petrolia). Apprentice stage manager of Come Down from Up River (Theatre Orangeville) and Driving Miss Daisy (The Victoria Playhouse Petrolia). Training: BFA with Honours in Performance Production and Design, Ryerson School of Performance. Et cetera: Lily is so proud to be joining the team at the Stratford Festival, and would like to thank her family, friends, and professors for all their love and support!

STEPHEN COTA 2021: Choreographer of A Midsummer Night’s Dream. 16th season. Stratford: Choreographer: Romeo and Juliet, The Madwoman of Chaillot, The Hypochondriac, Cynthia Dale in Concert: Outside Looking In. Assistant director: Chicago, Little Shop of Horrors, The Rocky Horror Show. Associate choreographer: Chicago, Here’s What It Takes, Billy Elliot, Little Shop of Horrors, The Music Man, The Rocky Horror Show, Guys and Dolls. Assistant choreographer: A Chorus Line, The Sound of Music. Crazy for You, Man of La Mancha, Tommy, Fiddler on the Roof (2013, 2000), 42nd Street, The Pirates of Penzance, Kiss Me, Kate, Evita, A Funny Thing Happened on the Way to the Forum, West Side Story, The Music Man, Moby Dick, Oklahoma!, My One and Only, Oliver!, South Pacific. Elsewhere: Choreographer, Mary Poppins (The Grand); assistant choreographer, West Side Story (Vancouver Opera); White Christmas, Annie (Drayton); Mel Brooks’s The Producers (Canon Theatre).

MARIE FARSI Langham Directors’ Workshop, 2021 2021: Assistant director of A Midsummer Night’s Dream. Third season. Elsewhere: Marie works between Toronto, Vancouver and Montreal. She has directed for and collaborated with companies from across the country such as Crow’s Theatre, Théâtre La Seizième, Neworld, Necessary Angel, Bard on the Beach, Rumble Theatre and Porte- Parole. Since 2018, she has been the Associate Artistic Director at Crow’s Theatre. Training: Concordia University; Michael Langham Workshop. Awards: Dora Award for Outstanding Direction in the Musical Theatre division and Toronto Theatre Critics’ Award for Best Director of a Musical for Ghost Quartet; 2019 Ray Michal Award for Outstanding Body of Work by an Emerging Director; Patron’s Pick and Best of Fringe Awards at the 2019 Toronto Fringe for The Huns; Artistic Risk Award at the Vancouver Fringe 2018 for Surveil. Online: mariefarsi.com. ARTISTIC COMPANY

JUDY FARTHING MARIE FEWER-MUNCIC REZA JACOBS KEVIN KRUCHKYWICH

JUDY FARTHING 2021: Assistant stage manager of A Midsummer Night’s Dream. Seventh season. Stratford: Stage manager of Othello, To Kill a Mockingbird, The Changeling, Breath of Kings: Redemption and Oedipus Rex; assistant stage manager of The Merry Wives of Windsor. Most recently: Stage manager of The Runner with Human Cargo. Elsewhere: 17 seasons with the Shaw Festival, production stage manager from 2003 to 2011. Favourite productions with the Shaw Festival include My Fair Lady, Gypsy, You Can’t Take It With You, Detective Story, All My Sons, Chaplin, The Madras House, Man and Superman, Peter Pan and Lady Windermere’s Fan. Productions with The Grand Theatre, Drayton Entertainment, Canadian Stage, Manitoba Theatre Centre, Mirvish Productions, National Arts Centre, Blyth Festival, Factory Theatre, Tarragon Theatre.

MARIE FEWER-MUNCIC 2021: Stage manager of A Midsummer Night’s Dream. 15th season. Stratford: Production stage manager: Studio Theatre (2018, 2019). Stage manager: Julius Caesar, Romeo and Juliet (2017), Bunny, Possible Worlds, Hirsch. Assistant stage manager: Tartuffe, As You Like It, Twelfth Night, Evita, Kiss Me, Kate, Macbeth, Rice Boy, Romeo and Juliet (2008), Caesar and Cleopatra, My One and Only, To Kill a Mockingbird, The Duchess of Malfi, The Blonde, the Brunette and the Vengeful Redhead. Apprentice stage manager: Noises Off. Elsewhere: Theatre Sheridan, Edinburgh Fringe Festival, Tarragon Theatre, Theatre Erindale, Theatre Direct Canada/Eldritch Theatre, Theatre Passe Muraille/Obsidian Theatre Company, Bluewater Summer Playhouse, Charlottetown Festival. Training: Sheridan College. Et cetera: I am so honoured to be a part of this season’s world without walls. Enjoy the show!

REZA JACOBS 2021: Music director of and Keyboard for Play On! and composer and sound designer of A Midsummer Night’s Dream. Third season. Stratford: Musician for Up Close and Musical; composer, sound designer of Twelfth Night. Elsewhere: Reza is an award-winning composer, sound designer and music director known for his versatility in style and genre. His credits include sound design and composition for the Shaw Festival, Factory Theatre, Tarragon, Passe Muraille, Volcano, Cahoots, YPT, Luminato Festival and Harbourfront’s World Stage Festival. He has won Dora Awards for Music Direction for Life After (Musical Stage Company), London Road (Canadian Stage), and Caroline, or Change (MSC). He has played Ted in 2 Pianos 4 Hands, most recently at the NAC, and has toured with Andrea Martin as her music director. His favourite gig of all time is being partner to Stephanie and father to Arabel and Iris. He also wishes to express his gratitude for his agent and friend, Emma Laird.

KEVIN KRUCHKYWICH 2021: Fight director of A Midsummer Night’s Dream. Fourth season. Stratford: Undiscovered Sonnets; Michael, Moloch in Paradise Lost; Sir Thomas Cromwell and Bishop of Lincoln in Henry VIII. Elsewhere: 12 Angry Men, Death of a Salesman (Drayton Entertainment); The Taming of the Shrew, Macbeth, Henry V (Bard on the Beach); Romeo and Juliet, The Glass Menagerie, Rough Crossing (Theatre Calgary); Death of a Salesman, The Wars (Playhouse); The Hound of the Baskervilles, The Red Priest (Globe Theatre); Hedda Gabler (Persephone); The Secret Annex, The Philadelphia Story (MTC); A Christmas Carol, The Drawer Boy, Picasso at the Lapin Agile (Belfry Theatre); Wit, Aberhart Summer, Respectable, that elusive spark (ATP); Boeing Boeing, The School for Scandal (Arts Club); The Woman in Black (CTF); Guys and Dolls (Gateway Theatre); Macbeth (theatre nomad – England/South Africa tour); Goodnight Desdemona (Good Morning Juliet) (BeMe Theatre – Munich, Germany). ARTISTIC COMPANY

PATRICK LAVENDER ELIZABETH McDERMOTT PETER PASYK JOSHUA QUINLAN

PATRICK LAVENDER 2021: Set designer of A Midsummer Night’s Dream. Second season. Elsewhere: Set, costume, lighting design for Ghost Quartet (Crow’s Theatre); set, lighting, sound design for Book of Life (Volcano Theatre/Canadian Stage); lighting design for Café Sarajevo (Bluemouth Inc.); lighting design for Charlotte (Theaturtle); set and lighting design for The Nether (Coal Mine Theatre); lighting design for It Comes in Waves (Bluemouth Inc./Necessary Angel Theatre); set and lighting design for Brave New World (Litmus Theatre/Theatre Passe Muraille); set, costume, lighting design for Late Company (Surface Underground/Why Not Theatre). Awards: Dora Award in Lighting Design for The Nether (Coal Mine); Dora Award in Independent Set Design for Crawlspace (Videofag); Dora Award in Lighting Design for It Comes in Waves (Bluemouth Inc./Necessary Angel); Toronto Theatre Critics Award in Design for The Nether (Coal Mine). Et cetera: Kaitlin, you’re the best!

ELIZABETH McDERMOTT 2021: Production stage manager of the Tom Patterson Theatre Canopy. Eighth season. Stratford: Production stage manager, Festival Theatre, 2020. Assistant stage manager: Billy Elliot, Othello, The Music Man, To Kill a Mockingbird, Shakespeare in Love, The Hypochondriac, The Sound of Music, The Taming of the Shrew, Love’s Labour’s Lost, As You Like It, King of Thieves. Elsewhere (selected): King Lear, Twelfth Night (SiHP); A City, Divisadero (Necessary Angel); Cracked: new light on dementia (UW/Collective Disruption); Comfort (Red Snow Collective); The Road to Paradise, Night (Human Cargo); Miracle on 34th Street (STC); Bella (HGJTC); Anne of Green Gables, Canada Rocks! (Charlottetown); Falling: A Wake (Blyth); The Barber of Seville (Soulpepper); Binti’s Journey, Head à Tête, Old Man and the River (Theatre Direct); Danny, King of the Basement (Roseneath); Othello, A Midsummer Night’s Dream, Twelfth Night, All’s Well That Ends Well (SLSF).

PETER PASYK Langham Directors’ Workshop, 2016/17 2021: Director of A Midsummer Night’s Dream. Fifth season. Stratford: Director of Hamlet, 2020 – cancelled due to COVID. Assistant director: Birds of a Kind, School for Scandal, Breath of Kings. Elsewhere: Peter is an acclaimed theatre director who has worked with Canada’s leading theatre companies including Tarragon Theatre, Soulpepper, Shaw Festival, Royal Manitoba Theatre Centre and Canadian Stage. Peter directed the world premières of Jordan Tannahill’s Late Company (Theatre Centre), Rosamund Small’s Sisters (Soulpepper), and Rosa Laborde’s Like Wolves (GCTC). Peter’s Dora-nominated productions include The Nether, Killer Joe, Dying City, When the World Was Green and The Jones Boy. Peter also works as a filmmaker in Canada and Poland.Awards: Peter is a two-time Dora Award nominee for Outstanding Direction and a Winnipeg Theatre Award nominee for Outstanding Direction. Et cetera: For Ian Watson.

JOSHUA QUINLAN 2021: Assistant designer of A Midsummer Night’s Dream and assistant set designer of The Rez Sisters, I Am William and Serving Elizabeth. Fifth season. Stratford: The Front Page, Othello, Billy Elliot the Musical, The Merry Wives of Windsor, Paradise Lost, The Rocky Horror Show, An Ideal Husband, Napoli Milionaria!, HMS Pinafore, Treasure Island and The School for Scandal. Elsewhere: Set design: Beauty and the Beast, Love and Information (UWindsor); Giving Up the Ghost, Book Club, The Drawer Boy (PSFT); An Enemy of the People, Don Giovanni (OSU). Costume design: Stupid F*cking Bird, Spring Awakening (OSU). Associate set and props design: Swan Lake (National Ballet of Canada). Associate set and costume design: Bed and Breakfast (Globe, Blyth). Training: MFA Theatre – Design, The Ohio State University; BA Honours Drama, University of Windsor; Off the Wall Theatre Production Arts Program. Awards: 2019 Tom Patterson Award, 2017 Ian and Molly Lindsay Design Fellow. Online: joshuaquinlan.com. ARTISTIC COMPANY

BETH RUSSELL LORENZO SAVOINI MICHAEL WALTON IMOGEN WILSON

BETH RUSSELL 2021: Casting director for the Stratford Festival. 13th season. Broadway and West End: As Senior Vice President, Casting and Creative Development for Livent, Beth was responsible for productions including Parade, Ragtime, Candide, Show Boat and Kiss of the Spider Woman; as well as productions of Joseph and the Amazing Technicolor Dreamcoat, Show Boat, Sunset Boulevard, Aspects of Love and The Phantom of the Opera in Canada, the United States, Australia, Singapore and Hong Kong. Elsewhere: Co-Producer of CBC-TV’s Triple Sensation, National Casting Director for CBC Radio Drama and Artistic Associate for Toronto Arts Productions (now Canadian Stage). Also, as an agent, Beth has represented actors, directors, choreographers, writers and composers.

LORENZO SAVOINI 2021: Costume designer of A Midsummer Night’s Dream. Eighth season. Stratford: Mother’s Daughter – set and costumes; The Front Page – set; Two Gentlemen of Verona – set and lighting; Cat on a Hot Tin Roof, Timon of Athens, Agamemnon, Electra, Bereav’d of Light, Fellini Radio Plays, Walk Right Up and Shadows – set; The Flies – set and costumes. Elsewhere: Designs for Soulpepper, Pershing Square Theatre (Off-Broadway), Les Grands Ballets Canadiens, Ballet Nacional de Cuba, Joffrey Ballet, Crow’s Theatre and regional theatres throughout Canada. His design for Soulpepper’s Of Human Bondage was selected to represent Canada at the 2015 Prague Quadrennial. Awards: Dora Awards for lighting design for Julius Caesar (Crow’s Theatre); set and projection design for Rose (Soulpepper); set and lighting design for Of Human Bondage (Soulpepper). Et cetera: Lorenzo is a member of the Associated Designers of Canada and is a faculty member of the Soulpepper Academy. Online: lorenzosavoini.com.

MICHAEL WALTON 2021: Lighting designer of A Midsummer Night’s Dream. 17th season. Stratford (selected): Billy Elliot, Little Shop of Horrors, Birds of a Kind, The Rocky Horror Show, The Music Man, The Tempest, Napoli Milionaria!, Guys and Dolls, The School for Scandal, Macbeth, A Chorus Line, Hamlet, The Sound of Music, Oedipus Rex, King Lear, A Midsummer Night’s Dream, Othello, Fiddler on the Roof, The Matchmaker, Twelfth Night. Elsewhere: Piaf/ Deitrich (Mirvish); A Christmas Carol (Theatre Calgary); Così Fan Tutte (Israeli Opera, COC); Il Trittico, Jenufa, Maria Stuarda, Albert Herring (Pacific Opera Victoria);A Doll’s House Part 2 (RMTC/Mirvish); The Full Light of Day (Electric Company); Tartuffe (Canadian Stage/Stratford); The Humans (Citadel/Canadian Stage); Enron (NAC); A Word or Two with Christopher Plummer (CTG/Stratford, Los Angeles); Yoshimi Battles the Pink Robots, Sideways (La Jolla Playhouse); Julie, The Other Place, Harper Regan, Venus in Fur (Canadian Stage); Chimerica (RMTC/ Canadian Stage).

IMOGEN WILSON 2021: Assistant lighting designer of A Midsummer Night’s Dream, The Rez Sisters, I Am William and Serving Elizabeth. Fourth season. Stratford: Assistant lighting designer of Billy Elliot the Musical, The Merry Wives of Windsor, The Front Page, Long Day’s Journey Into Night, Brontë: The World Without. Elsewhere: Lighting design credits include La Bohème: A National Tour of Opera in Bars (Against the Grain), What I Call Her (Crow’s Theatre), Dark Heart (Thought for Food). Assistant lighting designer of Caroline, or Change (Musical Stage Company), How to Fail as a Popstar, Let’s Run Away, Every Brilliant Thing (Canadian Stage), Bat Out of Hell (Mirvish), A Beautiful View (Festival Players of Prince Edward County). Imogen is also a scenic artist and proud member of IATSE ADC659. Et cetera: Imogen is honoured to be back at the Festival this year and is grateful for every day that we can gather to tell stories. THE BIRMINGHAM CONSERVATORY Janine Pearson is the Director of the Birmingham Conservatory. In January 2022 she will begin her leadership of the newly reimagined two-year professional training program that nurtures talented young artists for a future career in live theatre. The program includes, among other activities, classes in voice, movement and text with Festival coaches and distinguished guest instructors. The Birmingham Conservatory is made possible by the support of the Birmingham family, the Stratford Festival Endowment Foundation and the Department of Canadian Heritage. Support for the 2021 in-season work of Conservatory participants is generously provided by the Marilyn & Charles Baillie Fund.

Past Birmingham Conservatory participants include And contributing to STRATFEST@HOME: these members of our 2021 company: Dan Chameroy 2003 Sara Farb 2013 Ijeoma Emesowum 2015/16 Eva Foote 2019/21 Jessica B. Hill 2014/15 Paul de Jong 2000 (coach) Chilina Kennedy 2009 Andrew Iles 2017/18 André Morin 2014/15 Beck Lloyd 2019/21 Emilio Vieira 2015/16 Kennedy C. MacKinnon 1999 (coach) Antoine Yared 2012/13 Jonathan Mason 2019/21 Lisa Nasson 2019/21 Thomas Olajide 2014 (associate) André Sills 2005 Shannon Taylor 2014 Sara Topham 2000 Amaka Umeh 2019/21 Micah Woods 2019/21 Mamie Zwettler 2017/18

THE LANGHAM DIRECTORS’ WORKSHOP Overseen by Antoni Cimolino, Artistic Director, and Langham workshop alumnus Esther Jun, Director of the Langham Directors’ Workshop, this program seeks the most promising directing talent and provides them with fertile ground to explore, play, and hone their craft. The Workshop endeavours to help cultivate the directors’ interests, refine their aesthetics, and enable them to create inspired and boundary-pushing work – not only for the Stratford Festival’s stages, but across the globe. Participants this season: Marie Farsi, Sadie Epstein-Fine, Christine Horne, Sara Jarvie-Clark. Alumni this season: Jessica Carmichael, Ravi Jain, Esther Jun, Julia Nish-Lapidus, Peter Pasyk, James Wallis. We extend our thanks to the Department of Canadian Heritage and to the Philip and Berthe Morton Foundation. The Langham Directors’ Workshop is sponsored by THE STRATFORD FESTIVAL LABORATORY Founded by artistic director Antoni Cimolino in 2013, and overseen by Antoni and ted witzel, the Laboratory is the Stratford Festival’s research and development wing: a suite of experiments and investigations that drive our artistic and organizational evolution in an era of exciting cultural change. Advancing inclusive and innovative practice, the Lab: • INCUBATES NEW WORKS for our stages by supporting long-term and unconventional development processes. • CONDUCTS EXPERIMENTS through our resident Lab Ensemble, to build our capacity to support other forms and cultural protocols, and to create new relationships with artists from across Canada and beyond. • BUILDS CONNECTIONS with the national artistic community by hosting and supporting gatherings of makers to share practices, questions, challenges and strategies. • FOSTERS ENSEMBLE by offering full-company sessions to encourage horizontal learning and build a shared spirit among the huge group of artists who come together at the Festival every season. • OPENS DIALOGUE, internally and externally, by creating spaces to reflect on the Festival’s role as a heritage institution and the growth and change necessary to ensure that it remains a vital asset to Canada’s cultural ecology. Like any successful R&D wing, the Lab will be agile and flexible in its response to the changing landscape. The scope of its activities will expand and shift as we identify new challenges and opportunities to serve our community of artists and audiences, locally, nationally and beyond. Support for the Laboratory is generously provided by the Dalio Foundation and by an anonymous donor. The services of the Metcalf Foundation Dramaturgy Intern were made possible through Theatre Ontario’s Professional Theatre Training Program, funded by the Ontario Arts Council.

Funding for artisan apprenticeships is provided by the William H. Somerville Theatre Artisan Apprenticeship Fund, funded by the J.P. Bickell Foundation and by Robert and Jacqueline Sperandio.

A member of the Professional Association of Canadian Theatres, the Stratford Festival engages, under the terms of the Canadian Theatre Agreement, professional artists who are members of Canadian Actors’ Equity Association. Stage crew, scenic carpenters, drivers, wigs and makeup attendants, wardrobe attendants, facilities staff and audience development representatives are members of Local 357 of the International Alliance of Theatrical Stage Employees (IATSE). Scenic artists are members of IATSE Local 828. The musicians, musical directors, conductors, and orchestra contractors engaged by the Stratford Festival are members of the Toronto Musicians’ Association, Local 149 of the American Federation of Musicians of the United States and Canada. Toronto’s Premier International Dance Festival

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FAF_StratfordProgAd-2021.indd 1 2021-06-08 5:26 PM STRATFORD SHAKESPEAREAN STRATFORD SHAKESPEAREAN FESTIVAL FESTIVAL OF CANADA – 2021 ENDOWMENT FOUNDATION – 2021 FOUNDER BOARD OF DIRECTORS Tom Patterson OFFICERS BOARD OF GOVERNORS Interim Chair: Daniel S. Bernstein, Westport, CT OFFICERS DIRECTORS Chair: Carol Stephenson, London, ON David Adams, Montreal, QC Vice Chair: Robert H. Gorlin, Northville, MI Robert Astley, Waterloo, ON Treasurer: David Adams, Montreal, QC Paul Brisson, London, ON Secretary: Joy Wishart, Stratford, ON Peter G. Restler, Brooklyn, NY Cathy Riggall, Stratford, ON GOVERNORS Kim Shannon, Toronto, ON Ikram Al Mouaswas, Toronto, ON Nargis Tarmohamed, Exeter, ON Karon C. Bales, Stratford, ON Chip Vallis, Stratford, ON Yaprak Baltacioğlu, Ottawa, ON John K. Bell, Cambridge, ON The Stratford Shakespearean Festival Endowment Barbara E. Crook, Ottawa, ON Foundation Board mourns the loss of Director Robert Franklin H. Famme, Stratford, ON Badun, a member of the Endowment Foundation J. Ian Giffen, Toronto, ON Board from 2017, and as its Chair from 2020, until his passing in April of 2021. Rob is remembered by Nancy L. Jamieson, Ottawa, ON his fellow Directors for his unwavering service and Pamela Jeffery, Stratford, ON unique combination of expertise, wisdom, leadership Jaime Leverton, Toronto, ON and humility. John D. Lewis, Grosse Pointe Farms, MI Harvey McCue, Ottawa, ON Address: c/o Corporate Secretary, Stratford Festival, M. Lee Myers, London, ON P.O. Box 520, Stratford, ON N5A 6V2 David R. Peterson, Toronto, ON Peter G. Restler, Brooklyn, NY STRATFORD SHAKESPEAREAN FESTIVAL Brian J. Rolfes, Toronto, ON Martha Sachs, Juno Beach, FL OF AMERICA – 2021 Kay Schonberger, Toronto, ON BOARD OF TRUSTEES Alan Shepard, London, ON OFFICERS David Simmonds, Toronto, ON Kristene Steed, Stratford, ON Chair: Linda K. Rexer, Ann Arbor, MI Lawrence N. Stevenson, Toronto, ON Vice-Chair: John Gardner, Mishawaka, IN Harriet Thornhill, Oakville, ON Treasurer: Kate Arias, Chicago, IL Secretary: Kevin Turner, Birmingham, MI EX OFFICIO TRUSTEES Artistic Director: Antoni Cimolino Executive Director: Anita Gaffney John D. Lewis, Grosse Pointe Farms, MI Past Chair: Sylvia Chrominska, Stratford, ON Christie Peck, Birmingham, MI Mayor of Stratford: His Worship Dan Mathieson Cindy Person, Rochester Hills, MI Chair, Stratford Shakespearean Festival of America: Mary Stowell, Winnetka, IL Linda K. Rexer, Ann Arbor, MI EX-OFFICIO Address: c/o Corporate Secretary, Stratford Festival, Past Chair: Gloria Friedman, Chicago, IL P.O. Box 520, Stratford, ON N5A 6V2 Executive Director: Anita Gaffney, Stratford, ON Chair, Stratford Festival of Canada: Carol Stephenson, London, ON

UNIVERSITY OF WINDSOR SCHOOL OF DRAMATIC ART uwindsor.ca/drama Congratulations to our past students and graduates at the Stratford Festival this season: Antoni Cimolino, Artistic Director Andrew Iles

UWindsor School of Dramatic Art Undergraduate Degrees in: • BFA Acting • BA Drama • BA Drama and Concurrent Education • Drama in Education and Community (Applied Theatre) Turn Passion Pictured: Cast of Beauty and the Beast by Laurence Boswell, 2019-2020 Season. Directed by Monica Dottor, set by Joshua Quinlan, costumes by Esther Van Eek, lighting by Kirsten Watt. Photo by Melissainto Stewart. Purpose Subscribe now STRATFEST@HOME

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Artistic Director Head of Voice Human Resources Manager of Information Larisa Orlova Antoni Cimolino Kennedy C. MacKinnon Manager & Technology Nancy Plummer The Head of Voice & Coaching positions Krystal Holmes Paul Muncaster Wesley Pope Executive Director at the Stratford Festival is generously Sherry Priestap Anita Gaffney endowed by David Green & Mary Winton Green Associate Health Systems Administrator Jane Rowcliffe & Safety Manager Andrei Martchenko Tara Spencer DIRECTORS’ OFFICE Head of Voice Emerita Wes Mazur Clare Stockley Ann Skinner Help Desk Technician Producer Payroll Manager Tristan Hughes Glen Sutherland Sandy Thistle David Auster Alexander Technique Kathy McKellar & Movement Coach Senior Developer Rachel Tourout Creative Planning Kelly McEvenue Payroll Coordinator Bryan Richardson David Wick Director Marcos Guimaraes Jason Miller Movement Coach ROKU & Android Stage Door Guards Brad Cook Payroll/HR Assistant Developer Trevor Bannon Casting Director Leah Vandermeulen Pintu Jat Ryan Cleveland Beth Russell Voice, Text Mandy Illman & Dialect Coaches Company Facilities Kyle Llewellyn Director of the Foerster Accommodations Nancy Benjamin Facilities Manager Darlane Payne Bernstein New Play Supervisor Jane Gooderham Jeff Heggie Development Program Janine Pearson Cindy Cnockaert Casual Stage Door Bob White Assistant Facilities Guards Speech-Language Manager Mattan Jones Director of the Pathologist & Voice ADVANCEMENT Val Bielecki Ihor Orenchuck Birmingham Senior Director of Coach Assistant Manager, Conservatory Lori Holmes Advancement Janine Pearson Rachel Smith-Spencer Facilities Services MARKETING, Singing Coach Sandy Davis AUDIENCE Director of the Jennie Such Playwright’s Circle DEVELOPMENT, Laboratory, and Artistic Manager Carpenter COMMUNICATIONS Associate for Research Text Coach Sharon Butler Micah Hussey & CORPORATE & Development Tim Welham SPONSORSHIP Membership Manager Chief Engineer ted witzel John Luesink Senior Director of Professional Ceariy Free Director of the Langham Development Program Marketing and Audience Shift Engineers Development Directors’ Workshop, – Voice Coaches Major Gifts GTA Peter N. Bailey Richard Arnold Michael Adams and Artistic Associate & Campaign Manager Paula Burns This program is generously sponsored Heather McMartin Digital Projects for Planning by Douglas and Janet Watson Chad Wheeler Esther Jun Coordinator Major Gifts Electricians Hamid Oki Guest Coach & U.S. Patron Manager Associate Producer Ginette Hamel Tony Iacobellis Bonnie Green Christine Seip Ryan Wagner Audience Development Associate Producer of Music Membership Coordinator Head Gardener Digital Programming and Director of Music Susan Mavity Anita Jacobsen Director of Audience The Meighen Forum Franklin Brasz Development Julie Miles Membership Seasonal Gardeners Sarah Hamza Director of Music Administrator Joelle Bullbrook New Play Development Emeritus Donna Hyde Elizabeth Lazear Front of House Associates Berthold Carrière Playwright’s Circle Manager of Patron Carmen Aguirre Student Gardeners Administrator Services Kamana Ntibarikure Music Administrator Maxwell Britton Janice Owens Jennifer McCaw Kris Bernard Mũkonzi Mũsyoki Ronan Curneen Jacob Dekok Senior House Manager Casting Associate ADMINISTRATION FINANCE, FACILITIES Madeline Mortimer – Festival Theatre Marcel Stewart Administrative Director & INFORMATION Manuel Muncaster Sam Tynkkynen Shelley Stevenson TECHNOLOGY Casting Assistant Head of Maintenance House Manager Jennifer Emery Finance Archives Ron Brown – Tom Patterson Theatre Director of Finance, Mark James Company Manager Archives Director Maintenance Staff Hilary Nichol Facilities & Information GiannaMaria Babando Technology Dar Del Chiaro Studio & Forum Darryl Huras Blair Holden House Manager Corporate Secretary Archives Coordinator Thomas Lemenchick & Executive Assistant Terry Hastings Christine Schindler Controller Myrna Lewis to the Artistic Director Ushers Cataloguing & Emily Rooke Larry Shurrie Joy Wishart Art Tucker Paula Bentley Digitization Archivist Karen Brooks Executive Assistant to Stephanie Vaillant Finance Manager Leanne Atkinson Housekeepers Jen Culligan the Executive Director Lori Adcock Marion Burr Archives Assistant Jessica Darling Nora Polley Senior Accountant Robert Barrett Kimberly De Haan Producing Coordinator Todd Bridges Marc Boisvert Sarah Elliott Shira Ginsler Education Lynn Brown Beth Fischer Accountant William Clelland Hayden Fischer Director of Education Alexandria Pretty Laboratory Coordinator Lois Adamson Jeff Daigneault Keagan Goforth Rachel Wormsbecher Finance Assistant Diane Dench Judy Hart Education Administrative Shelley Assayag Catherine Dishman Debra Holota Production Coordinator Manager Jacqueline Dodier Charlie Kevill – Digital Projects Katherine Laing Information Patti Hinz Holly Matthews Gregory McLaughlin Christine Koehler Beverley Meyer Education Associate Technology Shawn Larder Cam Ohler Forum Assistant Stephanie Johns & Application Alexis Rowlinson Robert Lee Wendy Orchard Development Marjorie Lundrigan Nancy Patterson Human Resources Interim Director of IT Sebastian Marshall Valerie Pinder Coaches Director of Human & Application Laura Martin Nikkie Priestap Head of Coaching Resources Development Haille MacLeod Mary Rankin Paul de Jong Dawnette Baldeo Darren Worswick Janet McFarlane Pat Ranney Dale Ratcliffe Cafés & Catering Social Media Manager Terry Raymond Catering Events Manager Stephanie Leger GUEST SERVICES Pat Reavy Victoria Parkinson Victoria Sandquist Groups & Schools FOR ASSISTANCE AND Carol Schlemmer ExecutiveLIMITED EDITION Chef Sales Manager ACCESSIBILITY Susan Steven Kendrick Prins Heather Martin Larke Turnbull We’re here to help. If you require EXCLUSIVE PICNICS Marketing Manager, Lois Tutt Head Chef assistance, please ask the House Kevin Hallman Analytics Victoria VanDenBelt Adrienne Steer Manager or any other member of Milton van derCOMMEMORATIVE Veen Event Coordinators WATCHES the Stratford Festival team. Faye Wreford Carlie Bero Graphic Designer ON THE ALONZO TERRACE Caroline Yates Lynne DeWys Shelby Boyd COVID-19 SAFETY Parking Lot Attendants Cafés & Catering Staff Tessitura Administrator Masks are encouraged to be Tracy Adams Don’tMaureen miss Abbott this exceptionalMichele Keutsch opportunityworn at all indoorto own and outdoor AT THE TOM PATTERSON THEATRE Ian Elliott Amanda Boemer James MacKinnon Reporting Coordinator venues, as per government Sara Brown Leanne Herbert Malvern Ardeshir Sasani Dona Campbellpiece of Stratford Festival healthhistory! guidance. Please respect Gavin Stephenson- Lisa Campbell Video Production physical distancing and the Jackman Meghan Fritch Coordinator direction of Stratford Festival staff Brent Sylvester Arrianne Fulig Sarah McNeil and volunteers working to keep INDIVIDUALLY CATERED PICNICS FOR A GROUP OF 2 TO 10 GUESTS. Bob Wells Katherine Hopf WOMEN’S KaylaAND Jantzi MEN’S WATCHES,Groups & Schools Officer HANDCRAFTED everyone safe. FROM THE ONLY 2 SEATINGS PER DAY. $200 FOR 2 GUESTS, $50 FOR Ticketing Stephanie Kropf-Untucht Joanne Schalk & Membership Amanda Langis CAMERAS, CELL PHONES AND EACH ADDITIONAL GUEST UP TO 10. Corinne Montgomery Social Media Coordinator OTHER ELECTRONIC DEVICES Associate Director,ORIGINAL TOM PATTERSONIsabela Stille THEATRE RED OAK STAGE Ticketing & Membership Lori Noon We welcome your photo memories Jo-Anne Hood Tidman Janice Pavelin Marketing Coordinator Only 200Wendy Seguin of each styleMelinda available, Timmins each ofwith your Stratfordits unique Festival experience; Manager, Ticketing Fraser Tamas however, all cameras, audio and Includes private seating, butler service, and sparkling wine. & Membershipproduction Liam Taylornumber engraved on the back,video made recorders exclusively must be turned off Patrick King Joe Walsh PUBLICITY by RevivalPublicity by Director Martin & Co.during the performance. In addition, A splendid spread of gourmet sandwiches, cured meats, artisanal Customer Service Stratford Festival Ann Swerdfager please turn off all mobile devices, as Coordinator Shop their sounds and lights will disturb cheeses, decadent desserts and much more. Bev Nicholson Publicist Interim Retail Manager Amy White actors and other guests. Special Orders Victoria Parkinson Coordinator FOOD AND DRINK Colleen White Merchandising THANKS TO OUR Coordinator VOLUNTEERS! We offer a selection of snacks and Box Office Supervisors Chaslyn Stevenson- beverages. However, in accordance Hastings The Stratford Festival Debbie Steinacker acknowledges the with COVID-19 protocols, guests Christine Teeple Avon Supervisor members of The Friends must be seated to consume any Ticketing & Membership Cindy Ramier of the Festival for their concessions. While masks can be Representatives continued contributions. removed when enjoying food and Sales Associates This dedicated group Gay Allison Kristina Baron-Woods beverages, they are encouraged Myrtle Baker of volunteers provides George Bertwell thousands of hours of be worn at all other times. Drinks Cindy Bissell Michele Gillan Anna Burton support annually. They can be enjoyed throughout the Shelly Gilson can be found everywhere performance, but no food may be Hilary Culp Theresa Gleadall Christine Darragh – welcoming patrons to Tania Harvey the theatre, answering consumed while actors are on stage. Susan Davis Sherry LeSouder Geena DeWeerd questions, working on Kristina McCann special projects, assisting LATE ARRIVAL AND Chardon Dingwall Ashley McGowan READMISSION Paul Duncan at Meighen Forum events Shireen Sasani and so much more! We Frank Etwell Kim Switzer If you arrive late or leave the Martin Fielding are so grateful for all they contribute to making auditorium during the performance, Graeme Gionet we will make every effort to seat you Suzanne Grandy Corporate each season possible. Sponsorship at a suitable break. Please follow the Lori Hicks 2021 President: Jennifer Hord Associate Director of Kim Thompson direction of ushers at all times. Marianne Hord Sponsorship Yvonne Hord Lorraine Patterson 2021 Vice-President: FIRST AID Janice Kastner Barry Becker We take patron health and safety Anna Kowalchuk Sponsorship Coordinator Donna Lawley Heather Martin seriously. Any member of our team will coordinate first-aid assistance Cameron Leyser Marketing Maria Loghrin for you if required. Automated Director of Marketing Jane Mallory external defibrillators (AEDs) are Aislinn McCauley Trudy Watson $349.00 available at all our$299.00 venues. Meredith McCauley Associate Director, Brand Savannah+ McIntyreshipping Carly Douglas + shipping Ruth Ann Miller IN CASE OF EMERGENCY Janice Mitchell Video Production In case of an evacuation, please Cheryl Moses Manager follow the instructions of Stratford Kelly Nicholls Genna Dixon Tara Nimmo Festival staff, who will escort you to Kathy Partridge Graphic Design Manager safety. If you discover a fire, please Barbara Redden Christopher Kelly activate the fire alarm and notify a Raphe St. Pierre Stratford Festival team member. Sheila Taylor Direct Marketing Susan Varcoe Manager PREORDERJessica Klumper YOURS TODAY BY CONTACTINGPROTECTING YOUR PRIVACY Distribution Centre Interim [email protected] Production To view our patron and donor Mailroom Coordinator Manager privacy protection policy please FOR DETAILS AND BOOKING, CALL 1.800.567.1600. Candy Neumeister Kaitlyn Krestiankova visit stratfordfestival.ca/privacy WATCHES INCLUDE A 2’YEAR MANUFACTURER’S WARRANTY STRATFORDFESTIVAL.CA 2 60 LIMITED EDITION EXCLUSIVE PICNICS COMMEMORATIVE WATCHES ON THE ALONZO TERRACE Don’t miss this exceptional opportunity to own AT THE TOM PATTERSON THEATRE a piece of Stratford Festival history! INDIVIDUALLY CATERED PICNICS FOR A GROUP OF 2 TO 10 GUESTS. WOMEN’S AND MEN’S WATCHES, HANDCRAFTED FROM THE ONLY 2 SEATINGS PER DAY. $200 FOR 2 GUESTS, $50 FOR ORIGINAL TOM PATTERSON THEATRE RED OAK STAGE EACH ADDITIONAL GUEST UP TO 10. Only 200 of each style available, each with its unique production number engraved on the back, made exclusively Includes private seating, butler service, and sparkling wine. by Revival by Martin & Co. A splendid spread of gourmet sandwiches, cured meats, artisanal cheeses, decadent desserts and much more.

$349.00 $299.00 + shipping + shipping

PREORDER YOURS TODAY BY CONTACTING [email protected] FOR DETAILS AND BOOKING, CALL 1.800.567.1600.

WATCHES INCLUDE A 2’YEAR MANUFACTURER’S WARRANTY STRATFORDFESTIVAL.CA 2 61

Powerful. Moving. Inspirational.

We are proud to support the Stratford Festival and the artists who have been captivating audiences with exciting, innovative and entertaining productions since 1953. BMO is the 2021 season sponsor of the new Tom Patterson Theatre.

21-1775 Stratford ad_Ev1.indd 1 2021-06-25 9:14 AM STUDIO THEATRE

Three Tall Women

FESTIVAL THEATRE CANOPY

R + J

CABARETS

Why We Tell the Story You Can’t Stop the Beat Play On! Freedom Finally There’s Sun

TOM PATTERSON THEATRE CANOPY

A Midsummer Night’s Dream The Rez Sisters I Am William Serving Elizabeth

stratfordfestival.ca 1.800.567.1600 | 519.273.1600 1 1 800 567 1600 | 519 273 1600