TABLE OF Dear Friend, CONTENTS It always gives me a particular pleasure to introduce Ethan McSweeny. Aside from his ® 1 Title page immense talent and his Recipient of the 2012 Regional Theatre Tony Award 3 Cast wonderful work for our stages, Artistic Director Michael Kahn he has been a vital part of STC Managing Director Chris Jennings 5 Synopsis for many years now, starting when he was quite young. Before Ethan was a freelance director, he was William Shakespeare’s 7 About the Playwright a 19-year-old directing intern. I can still remember 8 Director’s Note him as dance captain in Carter Barron, teaching the kids their dance in The Merry Wives of Windsor. He 10 A Brave New World was brilliant back then, and absolutely nothing has by Drew Lichtenberg changed. He was a great assistant director, then associate 14 For the Wyn Performances begin December 2, 2014 by Drew Lichtenberg director, and he has done wonderful work for us for many years. This season will actually Opening Night December 8, 2014 18 These Charms Dissolve celebrate two of Ethan’s productions because we Sidney Harman Hall by Paul A. Kottman will be reviving his production of A Midsummer Night’s Dream as our next Free For All. And, of Director Puppet Designer & Coach 24 Cast Biographies course, this production of The Tempest, which Ethan McSweeny James Ortiz promises to be a richly imaginative experience. 27 Play in Process Scenic Designer Voice and Text Coach Joining Ethan are many familiar faces and some Lee Savage 32 Direction and Design new friends. I am pleased to welcome back Geraint Gary Logan Biographies Wyn Davies as Prospero, who has also played Don Armado, Richard III and Cyrano on our stages. Geraint Costume Designer Resident Casting Director 38 Mapping the Play: is usually busy performing at the Stratford Festival Jennifer Moeller Carter C. Wooddell What’s Your Desert in Canada, and we are thrilled he can rejoin us. Also Island? returning are many members of the multitalented Lighting Designer Casting Director by Laura Henry Buda company Ethan assembled for Midsummer, both Christopher Akerlind Laura Stanczyk, CSA onstage and behind the scenes. Ethan and his 40 For STC designers, Lee Savage and Jennifer Moeller, have Sound Designer Literary Associate/Dramaturg worked on more shows in Sidney Harman Hall than Nevin Steinberg Drew Lichtenberg 44 Faces and Voices: anyone else alive, and the world they have created STC School Shows by takes full advantage of the space’s potential for music, Composer spectacle and the finest classical acting. Assistant Director Hannah Hessel Ratner Jenny Giering Craig Baldwin 46 Support In February, don’t miss David Greig’s Dunsinane, a special presentation from the award-winning National Choreographer Directorial Assistant 54 Preview: The Theatre of Scotland. In the spring, Alan Paul takes us Matthew Gardiner Katherine Burris Metromaniacs to Cervantes’ Spain with Man of La Mancha; David Ives brings us to France with The Metromaniacs, his third Flying Director Production Stage Manager 56 About STC comedy in rhyming couplets for STC; and Helen Hayes Stu Cox Joseph Smelser* Award-winning Steven Epp stars in Molière’s Tartuffe. 58 Preview: Dunsinane We look forward to sharing these stories with you. Flying Effects provided Assistant Stage Managers 60 STC Staff I look forward to seeing you in our theatres. by ZFX, Inc. Kristy Matero* 61 Audience Services Hannah R. O’Neil* Warm Regards, The Tempest is generously sponsored by Arlene and Robert Kogod with additional support from Share Fund and KPMG LLP. Restaurant Partner: Asia Nine Cover photo: Geraint Wyn Davies by Scott Suchman Michael Kahn *Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers. Artistic Director Shakespeare Theatre Company 1 CAST THE TEMPEST Prospero...... Geraint Wyn Davies* Miranda...... Rachel Mewbron* Ariel...... Sofia Jean Gomez* Caliban...... Clifton Duncan*

Alonso, King of Naples...... C. David Johnson* Ferdinand, his son...... Avery Glymph* Sebastian, Alonso’s brother...... David Bishins* Antonio, Prospero’s brother...... Gregory Linington* Gonzalo, a councillor...... Ted van Griethuysen* Adrian, a courtier...... Avery Clark*

Trinculo...... Liam Craig* Stephano...... Dave Quay*

Boatswain...... Sean Fri* Master...... Matthew Pauli Voice...... Nancy Anderson*

Mariners & Spirits...... Freddie Bennett+, Ross Destiche+, Asia Kate Dillon +, Ben Henderson+, Dan Jones, Matthew Pauli, Stephanie Schmalzle+, Kedren Spencer+, Jessica Thorne, Katherine Renee Turner

UNDERSTUDIES Freddie Bennett+ (Boatswain/Caliban), Dave Bishins* (Prospero), Avery Clark* (Stephano), Ross Destiche+ (Ferdinand), Asia Kate Dillion+ (Ariel), Sam Faria (Male Ensemble), Sean Fri* (Antonio), Ben Henderson+ (Adrian/Master), Jim Jorgensen* (Sebastian), Kay Kerimian (Female Ensemble), Hélène Morse (Female Ensemble), Matthew Pauli (Trinculo), Stephanie Schmalzle+ (Voice), Randy Snight (Male Ensemble), Jessica Thorne (Miranda), Harry Winter* (Alonso/Gonzalo)

Production Assistant: Christopher Kee Anaya-Gorman Vocal Director/Movement Consultant/Dance Captain: Nancy Anderson Puppetry Captain: Dan Jones Fight Director: Brad Waller Alexander Technique Coach: Christopher Cherry Lighting Assistant: Jennifer Reiser

THERE WILL BE ONE 15-MINUTE INTERMISSION.

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

Copyright laws prohibit the use of cameras and recording equipment in the theatre.

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

+ Acting Fellow of the Shakespeare Theatre Company

3 STC BOARD OF TRUSTEES SYNOPSIS THE TEMPEST

Michael R. Klein, Chair Melissa A. Moss Robert E. Falb, Vice Chair Stephen M. Ryan A terrible storm at sea attacks a ship carrying Alonso, the King of Naples, and John Hill, Treasurer George P. Stamas other lords. The magician Prospero and his daughter Miranda watch from a Pauline Schneider, Secretary Lady Westmacott Michael Kahn, Artistic Director Rob Wilder nearby island. After assuring her that he will bring the men safely to dry land, Suzanne S. Youngkin Prospero tells Miranda he was once Duke of Milan. Usurped by his scheming Trustees brother Antonio, he took exile with her on this magical island. Twelve years Nicholas W. Allard Ex-Officio Ashley M. Allen Chris Jennings, Managing Director later, a serendipitous reversal has brought Antonio, Alonso and the other lords Stephen E. Allis back, as if for a final reckoning. Anita M. Antenucci Emeritus Trustees Jeffrey D. Bauman R. Robert Linowes*, Founding Chairman Afsaneh Beschloss James B. Adler To execute his plan of vengeance, Prospero calls upon his two servants: Ariel, “a William C. Bodie Heidi L. Berry* Landon Butler David A. Brody* delicate spirit” of the island whom Prospero has promised freedom, and Caliban, Dr. Paul Carter Melvin S. Cohen* a native of the island whom Prospero has tasked with menial labor. Ariel brings Dr. Mark Epstein Ralph P. Davidson* the young Prince Ferdinand ashore, separated from his father and the other Andrew C. Florance James F. Fitzpatrick Dr. Natwar Gandhi Dr. Sidney Harman* lords. Miranda and Ferdinand instantly fall in love, but Prospero puts the young Miles Gilburne Lady Manning man to work bearing logs. Barbara Harman Kathleen Matthews John R. Hauge William F. McSweeny Stephen A. Hopkins V. Sue Molina The King’s party lands in another part of the island. Believing Ferdinand Lawrence A. Hough Walter Pincus drowned, Alonso bemoans his loss of his son. After Ariel enters, invisible, and W. Mike House Eden Rafshoon Jerry J. Jasinowski Emily Malino Scheuer* puts the King’s party to sleep, Antonio urges Sebastian to kill his sleeping brother Norman D. Jemal Lady Sheinwald Alonso, thereby becoming King of Naples. But Ariel suddenly awakens Alonso Scott Kaufmann Mrs. Louis Sullivan Kevin Kolevar Daniel W. Toohey and the other lords, and the two conspirators feign innocence. Meanwhile, Caliban Abbe D. Lowell Sarah Valente meets two more survivors of the shipwreck: Stephano, a drunkard butler, and Bernard F. McKay Lady Wright Eleanor Merrill *Deceased Trinculo, a credulous clown. Stephano plies Caliban with liquor, and Caliban promises to make him King of the island if he will kill Prospero.

Elsewhere on the island, Alonso and the lords hear strange music and see a magnificent banquet set for them. Marveling, they sit down to eat, but Ariel Subscribe to STC, join the pack—and SAVE! suddenly appears, disguised as a harpy, and tells them they will all meet their NEW subscription options are now available, including deaths. Back at Prospero’s cell, Ferdinand and Miranda have agreed to be married, 3- and 4-Play Packages. and Prospero presents a masque blessing their nuptials. The celebration ends abruptly, however, as Prospero recalls Caliban’s plot against his life. After Ariel distracts Stephano and Trinculo with garments hung from a line, spirits disguised NEW as dogs chase the three men away. ShakespeareTheatre.org/ His plans drawing to a close, Prospero dons his enchanted robes and resolves SubscribeToday to abandon his magical powers once his final spell is complete. Ariel brings the shipwrecked lords to him. After forgiving Antonio and reclaiming his NEW The Box Office dukedom, Prospero reveals Ferdinand and Miranda. Thrilled to see his son alive, Alonso blesses the marriage and begs Prospero’s forgiveness. Ariel enters 202.547.1122 with the shipwrecked sailors, who report amazedly that their ship lies at harbor, Monday–Sunday, 12–6 p.m. undamaged. Ariel then brings in Caliban, whom Prospero acknowledges as his. Seeing his folly, Caliban vows to be wiser. Finally, Prospero sets Ariel free. The Subcriptions Office 202.608.6347 Monday–Friday, 6–9 p.m.

5 ABOUT THE PLAYWRIGHT WILLIAM SHAKESPEARE

No man’s life has been the subject of more speculation Located steps away from than William Shakespeare’s. Consequently, we know a Shakespeare Theatre Company great deal of information about Shakespeare’s life—far at 915 E Street NW more than that of any of his contemporaries. 202.629.9355 Scholars agree that William Shakespeare was ASIAN FUSION RESTAURANT | LOUNGE baptized at Stratford-upon-Avon on April 26, 1564. Tradition holds that he was born three days earlier, on April 23—the same date on which, 52 years later, he was recorded to have died. On November 27, 1582, a marriage license was granted to 18-year-old William and 26-year-old Anne Hathaway. A daughter, Susanna, was born to the couple six months later. We know that twins, Hamnet and Judith, were born soon after and were baptized. What we do not know is how the young Shakespeare came to travel to London and how he first came to the stage. Whatever the truth may be, it is clear that in the years between 1582 and 1592 Shakespeare became involved in the London theatre scene and was a principal actor with one of several repertory companies. The one-stop restaurant for all lovers of Asian food. By 1592 Shakespeare had become prominent enough as a playwright to engender professional jealousy. A rival playwright, Robert Greene, wrote snidely of an “Tom yum soup, Japanese dumplings, hoisin-glazed ribs—the dozens “upstart crow, beautified with our feathers, that with his tiger’s heart wrapped in a of choices make sure no Asian appetite goes unmet.” player’s hide supposes he is in his own conceit the only Shakescene in a country.” The Washington Post In the years between 1591 and 1593, the theatres of London were temporarily shut down due to an outbreak of plague; Shakespeare turned his considerable talents to sonnet writing and acquired a patron, the young Lord Southampton, to whom two Happy Hour: $4 draft beers, $5 wines, $6.50 mixed drinks of his poems, Venus and Adonis and The Rape of Lucrece, are dedicated. Monday–Friday: 4:30–8pm, Saturday: Noon–7pm, Sunday: All Day In 1594 Shakespeare was listed as a stockholder in the Lord Chamberlain’s Men; MONDAY | Draft Beer Night all for $3 he was a member of this company for the rest of his career, which lasted until approximately 1611. When James I came to the throne in 1603, he issued a royal TUESDAY | Martini Night all for $6 license to Shakespeare and his fellow players, inviting them to call themselves The WEDNESDAY | Mixed Drink Night all for $5 King’s Men. The King’s Men leased the Blackfriars Theatre in London in 1608. This theatre, which had artificial lighting and was probably heated, served as their winter THURSDAY | Second drink 50% off playhouse. The famous Globe Theatre was their summer performance space.

FRIDAY | Party Time complimentary shot In the century after Shakespeare’s death, his reputation fell into the depths of obscurity. Beginning with his 18th century rehabilitation by Samuel Johnson SATURDAY & SUNDAY | $12 pitchers of beer and others, Shakespeare began to be recognized as the greatest writer of English drama. After his adoption as a patron saint of the German romantics, Shakespeare’s writings began to transcend national and linguistic boundaries. BRUNCH SPECIAL Today, his plays are performed, read and studied all over the globe—far­ more Your choice of 3 brunch menu items, dessert, soft drink: $25 than any comparable figure. No other playwright has made such a significant and Bloody Marys and Mimosas: $1 lasting contribution to world literature.

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7 Forest of Arden and, of course, a world of Standing here today on the threshold of DIRECTOR’S NOTE magic and spirits co-existing with our own. starting rehearsals, I see why Garland felt the way he did: the play demands incredible Adapted from remarks to the company on Having recently directed for STC Shakespeare’s flexibility and dexterity from all of its creative the First Day of Rehearsal other most magic-laden play and working artists. There are multiple special effects, music, again with designers Lee Savage and Jen shipwrecks, masques, harpies and, above all, Moeller, I find the parallels betweenTempest Not long ago, I was sitting with the costume starred as Prospero, and in a display of the words, words, words. I am comforted, however, and Midsummer to be both a thrill and a designer Susan Hilferty and she reminded true evolutionary nature of what it means to that in his final act, Prospero (and Shakespeare) creative challenge. We’ve asked ourselves me that her friend and frequent collaborator be part of this acting company, I am thrilled to identify forgiveness as the cardinal virtue of our some provocative questions about the different Garland Wright had as a tenet that each have him playing Gonzalo in this production common humanity. I feel humbled and honored nature of magic in each play, and the astute to start this journey together, and I hope, as director should encounter The Tempest every and in his 80th year. audience member will observe some deliberate ten years or, at a minimum, three times: Garland recommended, it will not be my last. connections we have made while also, I hope, once in early career, once in mid-career and As it happens, The Tempest was the very noting some vast differences. once in late career. It was, in his opinion, the first play I ever directed. I undertook the ultimate artistic touchstone. play in my third year as an undergraduate at Columbia University, when I was only Garland had been on my mind as I prepared beginning to dare to think of myself as an for this production, as I vividly recall working artist, and with only the slimmest notion of for him on my final show as a young assistant what it might mean to be a “director.” On my director here at this theatre. That Tempest was side I had only the hubris of youth and the to be his last. He was very sick at the time, and unfortunate, “inspired” idea to stage the play he knew it, but the production was breath- under the stars in a quadrangle of Barnard taking: beautiful, elegant and—incredibly given dormitories at 116th Street and Broadway. the weight of his personal circumstances— Although that choice of location paved the incredibly buoyant. Ted van Griethuysen way to raise substantial additional funds from a dorm council, I ultimately learned the hard way why there is not more outdoor drama

in New York in late April. “Tempest” doesn’t From left: Director Ethan McSweeny; describe the half of it. Dave Quay as Stephano; Clifton Duncan as Caliban and Liam Craig as Trinculo during The Tempest But that is a story for another time. I feel rehearsal. Photos by S. Christian deeply fortunate to take on this play a second Taylor-Low. time, from a more mature perspective and at a distinctly middle point in my career. As probably everyone knows, The Tempest is widely considered to be Shakespeare’s last ASIDES work. It’s hard not to view the play through published by SHAKESPEARE THEATRE COMPANY the lens of a master dramatist wrapping up his career. There is an essentialness to the writing, Managing Editor Publisher a purity of line and form and an Aristotelian Heather C. Jackson Michael Porto unity of time that marks it singularly among Creative Director Advisors the canon. The trio of Prospero, Caliban and S. Christian Taylor-Low Alan Paul Ariel seem to echo the complicated and Samantha K. Wyer conflicted relationship between creator, muse Contributing Editors and created. And there are elements in its Garrett Anderson Graphic Designer trio of plots where the playwright seems to Laura Henry Buda Taylor Henry be consciously revisiting some of his greatest Hannah Hessel Ratner hits: a shipwreck a la Twelfth Night, innocent Drew Lichtenberg Editorial Assistant young people falling in love at first sight as in Alison Ehrenreich Contributing Writer Romeo and Juliet, scheming Neapolitan lords Paul A. Kottman Editorial Intern reminiscent of , low comedy Julius Caesar Jessica Peña clowns who could be equally at home in the

8 9 a world on the verge of eclipse. Presiding above this Shakespeare, who had begun his action is Prospero, a powerful career preoccupied by medieval magician who manipulates ritual and belief, ended it by the other characters in the dramatizing what we can only manner of a theatrical director. call our modern world. Prospero, we learn, was once True, it shares a visionary Duke of Milan, usurped by his supernatural dramaturgy with scheming brother. The story is A Midsummer Night’s Dream, an elaboration of Machiavelli’s Brave and its narrative of brotherly The Prince: an indolent ruler banishment is a feudal theme losing his crown to an open- that pops up throughout eyed conspirator. In this play, New Shakespeare’s work. But however, the plot is The Tempest is set doubled, tripled, in a new world even quadrupled. World of colony and One of the The result is a slavery, of bold cascade of exploration many fascinations plots that by Drew Lichtenberg spurring cries of The Tempest is the force us to Production Dramaturg for universal reflect on suffrage. palpable sensation it usurper and In fact, The usurped, Tempest provides of a world on master n 1609, a group of settlers sailing to inaugurates the verge of discovery and slave. Virginia (named in 1584 for the “Virgin an entire For when Queen,” Elizabeth) wrecked on the genre of sea- Prospero I swallowed arrived at the shore of a strange island after a sudden sea-storm. They landed in Bermuda, the survivors and island, we also beginning of that island’s ill associations shipwrecks on learn, he took the with lost travelers. Uniquely for Shakespeare, strange islands, from rightful inheritance of this episode can be traced directly to one Robinson Crusoe and the island’s two natives: of his plays. Indeed, Shakespeare might 20,000 Leagues Under the Sea Ariel and Caliban. have known William Strachey, who wrote to Survivor, Castaway and Lost. They are two of the earliest and best narrative of the The Tempest is unusually Shakespeare’s most remarkable shipwreck. Shakespeare’s patron, the Earl short, and Shakespeare is creations, and he invents of Southampton, was an investor in the uncharacteristically keen to entirely new dramatic expedition, and Strachey would later conform to classical rules of languages for both of them. live in Blackfriars, close to the indoor dramatic structure. The play The “delicate spirit” Ariel, theatre where the play inspired by doesn’t merely happen in real able to adopt any shape, at time, but time seems to shorten as home in every element, serves his account, The Tempest, was likely first performed. we move through the action, with as the chief stage manager One of the many fascinations the three groups of shipwrecked of Prospero’s remarkable survivors spiraling around the theatricals, which have equal of The Tempest is the palpable sensation it provides of a world on island in concentric circles until capacity to amaze and terrify. the verge of discovery, and also of they finally knit together. One of the play’s cardinal

10 11 As for Caliban, of virtuosity, and there is an The tempest, it turns out, was perhaps no character in unmistakable nostalgia pervading an illusion created by Prospero, Shakespeare has inspired the play’s menagerie of theatrical and all of us are safe, despite our more controversy, or effects. One senses Shakespeare, momentary terror. The same could prompted such a constant like Prospero, looking into the be said of practically every scene stream of epithets. Though “dark backward and abysm of in the play, full of sound and fury, he speaks fewer than time” and recollecting a life lived signifying something. 200 lines in the play, and in dreams, spent creating illusions This play, Shakespeare’s is described by other for the stage. veritable last word on the characters as a monster Perhaps this is the reason for theatre, also addresses theatre’s or animal—a “savage the play’s unusual economy of limitations, its ultimate failure to and deformed slave,” structure, as well as Prospero’s manifest dream as reality. With a “devil,” a “freckled fateful decision to renounce his the shift from a medieval world whelp”—Shakespeare theatrical magic. By relegating to a modern one, from religious goes to great pains to so much of the plot to backstory, quest to scientific discovery, portray Caliban in as Shakespeare devotes his dramatic Shakespeare seems to be hinting at human a manner as action almost exclusively to final an attendant loss of mystery. The possible. An untutored reckonings. Invariably, they are dramatic action of The Tempest is native, Caliban possesses of the tender and human variety. nothing less than the destruction a tragic inwardness, and We are asked, alongside Prospero, of the theatrical illusion itself, and Shakespeare invents a to stare into the mystery of the with it, the setting of the sun on an language for him of depth human comedy, and into the entire era in world history. and novelty, utterly unlike beautiful fantasies it sustains. the comic prose of the drunkard and clown who share his plot. Caliban has a unique ability in the play Henry Fuseli, Ariel, c. 1800-10, by permission of the Folger to apprehend the natural Shakespeare Library. world, and his poignant reverie on the island’s achievements (and one familiar music, at the midpoint to fans of Star Trek) is Ariel’s of the play, mingles tenses with a detached yet sympathetic curious and sublime grace. perspective on human behavior. “The isle is full of noises,” says Unlike Puck from A Midsummer Caliban. Indeed, The Tempest is Night’s Dream, who revels in the most musical of Shakespeare’s mortal misfortune, Ariel is Spock- plays, shot through with strange like, finding the human actors sounds, chiming with words such of Prospero’s plays-within-the- as dream, spirit, sea and sleep. play to be puzzling, strange and The play, to paraphrase Ariel, is ultimately worth value. In her something “rich and strange,” a interactions with Prospero, we beautiful object that loses us in its witness the servant becoming own mazelike rhythms. Writing at the master of the master, Art the end of his career, Shakespeare Workshop of Theodor de Bry, The Conjurer, 1590. Courtesy of the John Carter Brown Library at communicating directly with Life. seems to have reached a peak Brown University.

12 13 FOR THE WYN Fourth Time’s the Charm for Geraint Wyn Davies and STC

By Drew Lichtenberg

t can be dangerous to have in England before settling in for a brunch if you’re Geraint decade-plus run as a member of Wyn Davies. the ensemble at Canada’s Stratford IOne recent morning, at a favorite Festival, where he estimates he Capitol Hill haunt, the veteran of has performed in “24 or 26” of the stage and screen was partaking plays from Shakespeare’s 36-play in some breakfast when he was canon. He has also frequently been interrupted. featured on Canadian and U.S. Three different times. television, and his deep backlog of By three different fans. roles causes fans to recognize him Who recognized him for three as “that guy” from shows both cult different roles. and blockbuster. Wyn Davies laughs. It has been Ethan McSweeny is inordinately quite a ride. The actor, born in fond of the actor he calls “Ger.” (The Swansea, Wales, began his career correct pronunciation of the name,

14 15 one of the Arthurian Knights been expired and there would have ROLE CALL: GERAINT WYN DAVIES of the Round Table—the Welsh been a huge kerfuffle. I mentioned one—lays the stress on the first it to a board member, who very The Actor Reflects on Previous Star syllable, with the second syllable casually said, ‘Oh, I know someone Turns at STC

rhyming with “pint.”) “It was a who might be able to help.’” The Cyrano, Cyrano Don Armado, great joy that Geraint turned out friend? Washington’s biggest There’s a story there. Love’s Labor’s Lost Michael Kahn came Michael’s concept to be available,” McSweeny said Shakespeare fan herself, Justice to see me play was brilliant, with the before rehearsals began. “He is a Ruth Bader Ginsburg. Edmund opposite girls riding around Christopher Plummer on their Vespas, and mainstay at Stratford, and we’ve So, what were the three roles in King Lear at Lincoln Amir dressed as the worked side-by-side at the company in which those dogged fans at Center. Stacy Keach Maharishi. I played Don was going to play Cyrano, but he had to Armado as a cross between Salvador Dali several times, though never before brunch recognized him? One was drop out because of a last-minute injury. and Benny Hill. on the same show. Prospero is at the Nick Knight, a thousand-year-old Michael remembered me and offered me the part. Three gentlemen cornered me in We played at the Swan in Stratford- center of this play and you need an vampire turned Toronto private my dressing room with a glass of wine— upon-Avon, which was great. Two actor who can play this ingenious, detective from the much-beloved Christopher Plummer, Kevin Kline and Len things happened during our opening Cariou—and said that I would be a hack if performance: one was during my first industrious, versatile, self-aware Canadian series Forever Knight. I didn’t do it. That’s also where I met my entrance. I tore the crotch completely character.” “It was one of the first vampire wife, Claire Lautier. She played Roxanne. out of my trousers. And then I lost half She also played the Princess of France in my moustache. I just put my finger where This is the fourth time Wyn shows,” Wyn Davies says, “many Love’s Labor’s and Lady Anne in Richard III. my moustache was, and played the rest Davies has come to STC, and he years before it became this huge And she was also taught by Michael Kahn. of the scene that way: crotchless and Photo by Carol Rosegg. half-moustachioed. I think I made up a line has fond feelings for the company Hollywood genre.” The second? saying “Half a moustache is better than no where he won a Helen Hayes James Nathanson, the terrorist- Richard III, Richard III moustache at all.” That play is Photo by Carol Rosegg. Award in 2005 for his turn as the abetting turncoat CIA agent from Shakespeare having title character in Cyrano and a the fifth season of the smash-hit a great romp. I don’t Prospero, The Tempest think he agonized over He’s such an observer. He has other people Helen Hayes nom for his stint as 24. The third was from the much- Richard’s evil. The do his bidding, and then he basically Don Armado in Michael Kahn’s beloved cult series Slings and darkness of it comes comments on it. He’s almost like a reviewer, out of the results or a critic of his own life. Ariel comes and 60s-themed Love’s Labor’s Lost, a Arrows, in which many of Stratford’s of Richard’s actions, not out of the way reports to Prospero and he then takes production that also performed at finest actors appear in a location he goes about them. I think Richard has that and writes over it. He’s rewriting his the best relationship with an audience of own story, commenting on it in front of the Royal Shakespeare Company. that looks suspiciously familiar. any Shakespearean character. The play is the audience. Everybody else in the play is In fact, during that 2006 stint Contrary to popular belief, and basically his dialogue with the audience, active, but as Prospero you have to watch with interruptions. Characters come on, and think. in Washington, Wyn Davies was unlike his incurably pompous, and he manipulates them, but he spends sworn in as a U.S. citizen. “We director-baiting (and ill-fated) most of the play talking to his only friend, This is the third time I’ve done The which happens to be the audience. He is Tempest, but I’ve never quite realized the needed somebody last minute, Sling and Arrows character Henry amazingly at ease with himself. I remember challenge that Prospero poses to an actor. because my green card was Breedlove, Wyn Davies did not taking off the makeup at the end of each He’s not like Richard in his relationship to show and saying, ‘That was fun.’ the audience. He’s not speaking to you, expiring,” Wyn Davies says, “and perform his most famous speech Photo by Richard Termine. he’s speaking to the cosmos, to the spirits we were going over to Stratford- from The Tempest for the entire in another world, to Ariel. Really, he’s talking to himself, in a way. upon-Avon with Love’s Labor’s. By company before the first day’s the time I came back, it would have read-through.

16 17 here are at least two truisms of dramatic art. But what do we mean about Shakespeare’s drama, by dramatic art or “Art” here? And generally, and The Tempest, what could it mean to transcend an art Tin particular, with which many from within its own sphere? These audiences are likely to be familiar. Consider, first, Prospero’s “art”— First, Shakespearean drama not just as a fictional device but also contains many “meta-theatrical” as an allegorical presentation of the moments, or scenes in which the dramatic arts or of Art generally. plays seem to reflect on themselves— Like all Art, Prospero’s “art” denies Charms as if Shakespearean drama is nature’s authority over the artist. sometimes about itself, or about its Most basically, Art just is a denial of own status as theatrical drama. While nature’s power to tell us what to do Shakespearean drama is essentially with natural elements. Art has always Dissolve: the artistic presentation of actions been an elemental way we work with and predicaments before an audience, and through the seeming indifference Shakespeare also calls attention, from of Nature in order to achieve our own On Shakespeare’s within his plays, to the stakes and aims. Human beings move immensely implications of such presentations. heavy material to build temples and Think of the way Hamlet tries to palaces, turn colors and rough surfaces capture the conscience of Claudius into painting, change sound waves and The Tempest by staging The Mousetrap, or of the instruments into symphonies. Distilling way that the opening Chorus of all of this, Shakespeare’s allegory Henry V alerts us to the “imaginary shows Prospero’s art to be as powerful forces” required to watch a play, or as anything yet seen in the history of By Paul A. Kottman indeed of Prospero’s direct appeal to human Art: the audience in the Epilogue in The I have bedimm’d Tempest—in virtue of which Prospero appears simultaneously in character The noontide sun, call’d forth the mutinous winds, and as the actor playing Prospero. Second, The Tempest is likely And ’twixt the green sea and the azur’d vault Shakespeare’s valedictory, the last play that he wrote alone. It is, I think, Set roaring war: to the dread rattling thunder difficult not to imagine Shakespeare himself speaking when Prospero Have I given fire, and rifted Jove’s utters those final words of the stout oak Epilogue. “Now my charms are all With his own bolt; the strong-bas’d overthrown,/ And what strength I promontory have’s mine own…” Have I made shake, and by the Taken together, what can these two spurs pluck’d up truisms tell us about The Tempest? The pine and cedar: graves at my By working artistically to finally let command go of his Art, Prospero seems to offer Have wak’d their sleepers, op’d an intense reflection on one final aim forth, and let ’em forth of Shakespearean theater: to transcend By my so potent Art … drama (or art) from within the sphere act 5, scene 1

19 Photo by Sally Glass That said, Shakespeare’s dramatic the island with strange sights and the dissolution of that display. Indeed, following this, Prospero interest in Prospero’s art—his interest sounds: spirits, trances, somnolence, invites us to identify ourselves not in theatrical drama generally—lies charms. Why does Shakespeare Our revels now are ended. These with this or that material creation, our actors, not in any natural-environmental present this overwrought exhibition but rather with the imaginative consequences, but in the social- of theatrical “art”? What is he trying As I foretold you, were all spirits activity behind this rise and fall of and historical aftermath. By artfully to show, or achieve? entire worlds. denying Nature’s authority, we In one sense, act 4, scene 1 simply Are melted into air, into thin air … teach ourselves what we are capable puts the sensuous capacities of act 4, scene 1 We are such stuff of. Through Art, that is, we alter theatrical drama on self-conscious As dreams are made on, and our At first, Prospero seems here to draw little life our self-conception—we no longer display, in order to show the broader attention to his own artistic prowess— see the course of history as set by expressive freedom of the theatre the free, nature-defying capacities Is rounded with a sleep. an all-powerful God or Nature, with respect to other artistic media. mentioned above. However, it soon act 4, scene 1 but rather come to see ourselves Theatrical drama can contain music becomes clear that he wants to connect In short, if revels end then this as capable of anything. Art is a without being reducible to a musical this prowess to something like the fate is because our shifting needs for fundamental practice through which performance, it can contain dance of all human Art. different arts express and respond we have come to better understand without being taken for a gambol or to our changing self-conception. ourselves—our activities and social a ballet, it can contain spectacles of all And, like the baseless fabric of this After all, as a society, we no longer bonds—as self-determining or up to sorts without being reducible to mere vision, express our collective self-conception The Tempest us. Think of ’s opening show. Moreover, theatrical drama can The cloud-capp’d towers, the as we once did—in the performing scene—in which our very experience purposefully show this containment gorgeous palaces, of ritual tragedies, for instance, or in of “natural” elements (the storm, the of other media as essential to its own The solemn temples, the great the building of cathedrals, or in the waves) is presented as an artistic, specific expressive power—much like globe itself, painting of saints’ lives. We can and human accomplishment. After cinema today. Which is, of course, Ye all which it inherit, shall dissolve do let go of certain artistic practices. all, the meaning of the tempest is just what Prospero demonstrates. And, like this insubstantial pageant Hence, we ought to be able to nowhere to be found in the frothy All of this—whatever else it might faded, see changes in our practices as The Tempest waves but, as Miranda, and the mean in the context of determined by us—by shifts in our audience discover, it resides in (and it is not at all clear what else Leave not a rack behind. act 4, scene 1 self-understanding, and not just the stirring social consequences the demonstrations from act 4, scene by forces beyond our control. The that follow upon the storm. Even 1 are “about”)—can be taken as Here it might seem that Prospero is human freedom implicit in all Art those on the ship feel that their Shakespeare’s presentation of various saying that all of our artistic-cultural is perhaps made most explicit when fate lies not in the indifference components of dramatic practices that achievements will eventually be quite we can see ourselves as capable of of the roaring sea to the King’s would normally escape our attention, lost. But if we understand this loss letting go of this or that art. command, but in recognizing the that we might otherwise pass over as as owing only to the inherent frailty Making this explicit, I think, autonomous capacities of their own simply part of the proceedings at a of material goods or to the arbitrary is Prospero’s aim—a challenge hands—inebriated as they are: “We playhouse. vagaries of history, then we are missing Shakespeare set for himself. are merely cheated of our lives by But, again, why are we asked to something. For Prospero speaks of “the Hence, at the end of The Tempest, drunkards…” (act 1, scene 1). be so attentive to theatrical drama’s baseless fabric of this vision.” What Shakespeare will not just rehearse With all this in mind, and to expressive freedom—and its eventual is being dissolved is not just concrete, the standard Elizabethan-Jacobean return to the questions I posed self-dissolution at Prospero’s own artistic stuff, but also an “insubstantial epilogue about a play’s ending. earlier, consider one of the more command? “Well done! Avoid; no pageant”—a vision of ourselves. Instead, the play’s very artistic puzzling moments of The Tempest, more!” (act 4, scene 1). Consider how The appearance and disappearance mode must be brought to a close, act 4, scene 1—in which the most Prospero addresses his own activity. of artworks and civilizations is the revels ended from within—first of refined spectacular techniques of Again, Prospero seems to locate the pageant of our historically shifting self- all by the artist, who drowns his Shakespeare’s era (so called Masques) aim of theatrical drama both in the conceptions—the various ways in which book and staff. are pressed into the service of filling display of its expressive power and in we have seen or understood ourselves.

20 21 Now my charms are all o’erthrown, enduring effects of that art’s spell. And what strength I have’s mine The spell also must dissolve—so own that we, too, might see how things epilogue between us really stand now.

But how can theatrical artistry …The charm dissolves apace; and all it implies—the overcoming And as the morning steals upon of nature, the artificial distance it the night, creates between artist and audience, Melting the darkness, so their participants and spectators—be rising senses dissolved by the artist himself? How Begin to chase the ignorant fumes can theatrical drama transcend itself that mantle from within its own sphere? After all, ending a play from somewhere Their clearer reason…. outside the play—by, say, pulling a act 5, scene 1 fire alarm in a crowded playhouse Third, to truly risk appearing or by conjuring a deus ex machina— otherwise than an artist means is cheating. That does not bring that the letting go of art—if it theatrical drama to a close, but is to be a genuine risk and not merely cuts it off. merely further artifice—cannot To address this challenge, several itself be artfully accomplished. actions seem to be required. First, the To appear as otherwise than artist must risk appearing otherwise an artist therefore could not be The Tempest, 1886, Ivan Aivazovsky. than as an artist. Certain trappings accomplished as an artist—lest … have to be jettisoned. that “appearance” be taken for must acknowledge that Prospero hence, that we are no longer is not just a fictional character, that acquitted from the obligation to …I’ll break my staff, another demonstration of artistry. Only a human being could appear the “island” is not a safely distant intervene. Bury it certain fadoms in the earth, as otherwise than as an artist. aesthetic domain… Nothing is sacred in Shakespeare’s And deeper than did ever plummet drama, not even its own status So, finally—as if Shakespeare’s I must be here confin’d by you sound as dramatic art. This status drama, as if all theatrical drama, … Let me not I’ll drown my book. had been a preparation for this dissolves the moment that it wants … dwell act 5, scene 1 moment—a human being stands something other than passive forth, and steps away from the In this bare island by your spell; spectatorship from us—when it This is not only a matter of trading “art” he made and from what that But release me from my bands asks us to acknowledge others, to one guise for another, nor is it art itself wrought. With the help of your good let them be present to us, and to merely the artist is undergoing a hands…. become present to them. shift within himself. Rather, and this Now my charms are all o’erthrown, epilogue is the second requirement, that the And what strength I have’s mine risk the artist has taken, in appearing own otherwise than as an artist, also Which is most faint… Paul A. Kottman is Associate Professor of Comparative Literature at The New School for Social changes the way things stand for epilogue Research. The author of A Politics of the Scene (Stanford UP, 2008), Tragic Conditions in others. It would not be enough for Shakespeare (J Hopkins UP, 2009) and the editor of Philosophers on Shakespeare (Stanford, 2009), the artist to appear as otherwise than But even at this point, another he is currently completing a new book, tentatively called Romantic Love as Human Freedom. an artist if everyone persisted in their moment is still required. The former self-conception—if everyone distance between what we see and Excerpted from full article published in the e-book Guide to the Season’s Play 2014-15 available for were still held, as it were, by the our own lives must dissolve. We purchase for the Kindle or Nook.

22 23 CAST BIOGRAPHIES Stage/Alley Theatre: The Scene; Intiman Center; Hangar Theatre; Chautauqua Theater Theatre: The Lady From The Sea. FILM: The Royal Company. TELEVISION: The Onion Sports Tenenbaums. TELEVISION: Mozart in the Jungle; Dome, Elementary, Flesh and Bone (upcoming). NANCY ANDERSON To Kill a Mockingbird; Long Wharf: A Month in the Unforgettable, Mercy, Rescue Me, Boston Legal, TRAINING: NYU Graduate Acting Program: Voice Country, Rag and Bone; Vermont Stage: True West; Law & Order, Law & Order: SVU. TRAINING: MFA. WEB: www.cliftonduncan.com; STC: A Midsummer Night’s Wilma: Arcadia; Pittsburgh Public: The Dybbuk; New York University Tisch School of the Arts @cliftonduncaniv on Twitter. Dream. NEW YORK: Hartford Stage: Reckless. FILM: SALT, The Graduate Acting Program: MFA. Broadway: Wonderful Adjustment Bureau, Henry’s Crime, Sorry, Haters!, SEAN FRI* Town, A Class Act; Off- The War Within, The Magic Helmet. TELEVISION: ROSS DESTICHE+ Boatswain Broadway: York Theatre: Homeland, Blue Bloods, Fringe, Babylon Fields Ensemble NEW YORK: Off-Broadway: Fanny Hill (Drama Desk nomination), Jolson (pilot), The Law & Order canon. TRAINING: REGIONAL: Walking Shadow Kirk Theater: Heat Lightning; & Co. (Drama Desk nomination), Ionescopade, Juilliard, Member of AEA since 1989. Theatre Company: Gabriel, Aquila Theatre Company: Yank! NATIONAL TOURS: Kiss Me Kate The Three Musketeers; Back Cyrano de Bergerac. TOURS: (Helen Hayes nomination), Doctor Dolittle. AVERY CLARK* Room Shakespeare Project: Aquila Theatre Company: Much Ado About INTERNATIONAL: London: Kiss Me Kate Adrian Julius Caesar. INTERNATIONAL: Egg Theatre Nothing, Cyrano de Bergerac. REGIONAL: (Olivier Award nomination). TELEVISION: STC: Measure for Measure. (Bath): How I Became a Pirate. FILM: Dear Signature Theatre: The Threepenny Opera; Folger Great Performances: Kiss Me Kate (West End REGIONAL: Alley Theatre: White People, The Control Group. TRAINING: Theatre: Richard III; Totem Pole Playhouse: production), South Pacific (starring Reba Journey’s End; Cincinnati University of Minnesota/Guthrie BFA Actor Almost, Maine, Travels With My Aunt, Honus and McEntire). REGIONAL: Signature Theatre: Side Playhouse: A Christmas Training Program. WEB: rossdestiche.com Me, Suite Surrender, It Could Be Any One of Us, By Side By Sondheim (Helen Hayes nomination); Carol; St. Louis Repertory Theatre: The Heidi Sherlock Holmes, The Final Adventure, Murder in Ogunquit Playhouse: Witches of Eastwick; Chronicles; Alabama Shakespeare Festival: ASIA KATE DILLON+ Green Meadows, Lone Star; Little Theater on the Paper Mill Playhouse/Seattle Fifth Avenue: Romeo & Juliet, Cymbeline, The Count of Monte Ensemble Square: Sanders Family Christmas; N.Y. Fringe: M Damn Yankees; Goodspeed Opera House: Cristo; Arkansas Repertory Theatre: The NEW YORK: Off-Off- (an adaptation of Macbeth). City of Angels; Paper Mill Playhouse: Peter Compleat Wrks of Wllm Shkspr, Hamlet, Henry Broadway: HERE Arts Center: Pan, She Loves Me; Playwrights Horizons: Far V, Death of a Salesman, The 39 Steps; Orlando La Mort de Tintagiles; The AVERY GLYMPH* From Heaven. AWARDS: Winner of 2011 Noël Shakespeare Theatre: Hamlet, The Importance of Flea Theater: The Mysteries; Ferdinand Coward Competition. CD: Ten Cents a Dance. Being Earnest, Pride & Prejudice, A Midsummer REGIONAL: Theatre Incognita: Iphigenia… Once STC: Coriolanus/ Wallenstein. WEB: www.nancyanderson.name Night’s Dream, All’s Well That Ends Well, Her Heart, A Midsummer Night’s Dream; Actor’s NEW YORK: Broadway: Charm; Pennsylvania Shakespeare Festival: A Workshop of Ithaca: My Name is Rachel Corrie, The Tempest. Off-Broadway: FREDDIE BENNETT+ Midsummer Night’s Dream; Oldcastle Theatre Dog Sees God. FILM: Song One, Marcus Garlard. Roundabout Theatre Ensemble Company: Three Days of Rain; Premiere Stages: TELEVISION: Younger. TRAINING: American Company: McReele; NY Shakespeare Festival: Antony and Cleopatra REGIONAL: Florida Studio The Shape of Things; Theatresquared: Rabbit Musical and Dramatic Academy: Studio (dir. Vanessa Redgrave), Troilus and Cressida; Theatre: Ruined; Hartford Hole, The 39 Steps. TELEVISION: Guiding Light, Program; Actor’s Workshop of Ithaca; Meisner The Drama Dept.: Hope Is the Thing with Stage: Antony and Cleopatra; American Genius. TRAINING: University of Training. WEB: facebook.com/asiakatedillon Feathers; Lincoln Center Directors Lab: ’Maid. Pennsylvania Shakespeare Arkansas: BA in Theatre. REGIONAL: Cleveland Play House/The Festival: Julius Caesar. FILM: Delusions of CLIFTON DUNCAN* Old Globe: The Whipping Man (West Coast Guinevere. TRAINING: University of North LIAM CRAIG* Caliban premiere); TheaterWorks Hartford: Race; Carolina School of the Arts; Circle in the Trinculo STC: A Midsummer Night’s PlayMakers Repertory Company/Syracuse Square. WEB: Pride. STC: Osip in The Government Dream, Pericles. NEW YORK: Stage: Angels in America; Actors Theatre Inspector, Brighella/Porter in Off-Broadway: Public Theater: of Louisville: Spunk; Crossroads Theatre DAVID BISHINS* The Servant of Two Masters. The Good Person of Szechwan, Company: Lost Creek Township (Regional Sebastian NEW YORK: Broadway: Boeing Twelfth Night; Signature Theatre: Kung-Fu; Tony Season); Cape Fear Regional Theatre: STC: The Winter’s Tale (Free Boeing (understudy, appeared); Off-Broadway: New York City Center Encores: Lost in the Fences. FILM: Against the Current, Last Ball, For All). NEW YORK: Off- Theatre for a New Audience: The Killer; Vineyard Stars. REGIONAL: The Old Globe/American He Got Game (dir. Spike Lee), 13 Conversations Broadway: The Clurman Theatre: The Internationalist; The New Group: Conservatory Theater: The Scottsboro Boys; Arena About One Thing, I’m with Lucy. TELEVISION: Theatre: The Glass House; SPF Aunt Dan and Lemon; The Public Theater: Two Stage: Ruined; New York Stage and Film: When Forever, A Gifted Man, Ugly Betty, Oz, Law & Order, Law & Order: CI, The Electric Company, at The Public: We Declare You a Terrorist; TACT: Noble Kinsmen; Roundabout Theatre Company: the Lights Went Out; Yale Repertory Theatre: The X-Files. AWARDS: San Diego Critics Incident at Vichy; Lortel: Catch-22; Second Stage: Juno and the Paycock. REGIONAL: Weston Good Goods; Center Stage: The Rivals; Barrington Circle “Craig Noel” Award Nominee, NAACP Sympathetic Magic; Tectonic Theater Project: Playhouse Theatre Company: Uncle Vanya; Yale Stage Company: Best of Enemies; Shakespeare Theatre Award Nominee for The Whipping The Nest; WPA & Lortel: Boys in the Band; CSC: Repertory Theatre: A Doctor In Spite of Himself, Theatre of New Jersey: All’s Well that Ends Well; Man. INSTRUCTOR: UNCSA: Summer Tower of Evil. REGIONAL: Woolly Mammoth The Servant of Two Masters, Accidental Death of an Signature Theatre: One Red Flower, Yemaya’s Belly; Acting Intensive. TRAINING: BFA: The Theatre: Appropriate; Barrington Stage: Much Ado Anarchist; Berkeley Repertory Theatre: A Doctor WSC Avant Bard: Death and the King’s Horseman; North Carolina School of the Arts; MFA: STC About Nothing; The Old Globe: Brighton Beach In Spite of Himself, Accidental Death of an Anarchist; Williamstown Theatre Festival; The Kansas Academy for Classical Acting at the George Memoirs/Broadway Bound, Life of Riley; Intiman: Bard Summerscape: The Wild Duck; Hartford City Repertory Theatre; Eugene O’Neill Theater Washington University.

24 25 PLAY IN PROCESS

Avery Clark (Adrian) and TASTE THIS; Ted van Griethuysen (Gonzalo) C. David Johnson (Alonso) IT’S GOING TO CHANGE YOUR LIFE.

Rachel Mewbron (Miranda) and Geraint Wyn Davies (Prospero) with JOSÉ ANDRÉS Clifton Duncan (Caliban) Director Ethan McSweeny

Sofia Jean Gomez (Ariel) and Geraint Wyn Davies (Prospero)

Innovative Greek, Turkish and Lebanese cuisine by Chef José Andrés. Avery Glymph (Ferdinand) and the company The company of The Tempest of The Tempest 701 9TH STREET NW | WASHINGTON DC 20001 | 202.638.0800 | ZAYTINYA.COM Photos by S. Christian Taylor-Low

27 Penzance, 42nd Street, Capt. Von Trapp in The RACHEL MEWBRON* STEPHANIE SCHMALZLE+ SOFIA JEAN GOMEZ* Sound of Music, The Judge in Inherit the Wind, Miranda Ensemble Ariel Two Gentlemen of Verona, Henry IV; Theatre NEW YORK: Off-Broadway: REGIONAL: Prince STC: Argonautika (Helen New Brunswick: Hook in Peter Pan, Art, Brooklyn Academy of Music: George’s Shakespeare Hayes Nominee Best Sleuth, Macbeth. FILM: The Safety of Objects, The Master Builder; 59E59: In Festival: A Midsummer Supporting). NEW YORK: The Man Who Saved Christmas, Thanks of a the Summer Pavilion; Off-Off Night’s Dream; Rep Stage: Off-Broadway: Angels Grateful Nation. TELEVISION: Saving Hope, Broadway: PS122: Exit/Interview; Studio The Fantasticks; 1st Stage Theatre: The in America: Part 1&2 (Lucille Lortel Best Street Legal (8 years), Soul Food, Mysterious Tisch Festival: Breathing Time. REGIONAL: Pitmen Painters. INTERNATIONAL: The Ensemble); Signature Theatre, New George’s, Island. AWARDS: 4 Gemini/1 Dora Mavor Hartford Stage: The Crucible; Chautauqua Bristol Old Vic (UK): Jane Eyre. OPERA: Page 73: Creature; TerraNova Collective: Moore Nominations for Best Actor. WEB: Theater Company: You Can’t Take It With Brent Opera (UK): Iolanthe. TRAINING: P.S. Jones and the Frozen City. REGIONAL: CDavidJohnson.com. You; Shakespeare Theatre of New Jersey: The Royal College of Music, London: MM in Berkeley Repertory Theatre: Arabian Nights Tempest; The Alliance Theatre: The Heart is Music; Bristol Old Vic Theatre School; (Outer Critic Circle Bay Area Best Female DAN JONES a Lonely Hunter; Synchronicity Performance Crane School of Music: BM in Music. WEB: Lead Nominee), Argonautika; Goodman Ensemble Group: Be Aggressive; The Language of Angels. www.stephanieschmalzle.com. Theatre: Mirror of the Invisible World; Denver NEW YORK: St. Ann’s FILM: Moments; William’s Christening. Theatre Company: Dracula (Denver Post Warehouse: Labapalooza, Point AWARDS: Connecticut Broadway World KEDREN SPENCER+ Nomination), Three Musketeers; Oregon Pleasant; Public Theater: La Award. TRAINING: MFA: NYU Graduate Ensemble Shakespeare Festival: King Lear, Tenth Divina Caricatura (workshop). Acting Program. STC: Measure for Measure. Muse, The Sign in Sidney Brustein’s Window, REGIONAL: In the Heart of the Beast Puppet REGIONAL: Center Stage: Valentine in Two Gentleman of Verona; Black and Mask Theatre: Tracing Fault Lines; Rod MATTHEW PAULI Amadeus; Studio Theatre: Swan Lab; Arizona Theatre Company; Serling Conference: It’s a Good Life (director/ Ensemble CARRIE: The Musical; Portland Stage Company; Yale Repertory design); Delaware Theatre Company: The NATIONAL TOURS: Big The Keegan Theatre: Hair; Capital Fringe Theatre; Shakespeare Theatre of New Jersey. Diary of Anne Frank. AWARDS: Delaware Apple Circus, Beale Street Festival: Disco Jesus and the Apostles of Funk; TELEVISION: CBS: Unforgettable. TRAINING: Young Playwrights Festival (2). Recent Puppets. REGIONAL: Faction Dominion Stage: Spring Awakening. WEB: Yale School of Drama: MFA. Sam Houston Literary Fellow at Geva Theatre Center. of Fools, Constellation www.KedrenSpencer.com. State University: BFA. Theatre Company, Everyman Theatre, GREGORY LININGTON* Imagination Stage. OTHER: Big Apple Circus JESSICA THORNE BEN HENDERSON+ Antonio Clown Care Unit, Clown Cabaret (producer), Ensemble Ensemble NEW YORK: Brooklyn TRAINING: Ringling Bros. and Barnum & STC: A Midsummer Night’s REGIONAL: Sundance Academy of Music: Throne of Bailey Clown College, Shakespeare Theatre Dream. REGIONAL: Summer Theatre: Annie Blood. REGIONAL: Arena Stage: Academy for Classical Acting at George Signature Theatre: The Get Your Gun; Hale Equivocation; The Kennedy Washington University: MFA. Threepenny Opera; Studio Center Theatre: Peter Center: Welcome Home, Jenny Sutter; Shakespeare Theatre: The Rocky Horror Show; The Center of Los Angeles: Romeo & Juliet; South Pan. AWARDS: KCACTF Irene Ryan DAVE QUAY* Kennedy Center: My Fair Lady in Concert; Coast Repertory: Tartuffe; Center Theatre Group: Stephano Home of the Soldier The National Finalist; Utah Valley University Synetic Theater: , End of the Rainbow; 12-Year Company Member NEW YORK: Off-Broadway: Rough-Faced Girl, Open World; Imagination Outstanding Student 2014. TRAINING: of Oregon Shakespeare Festival: Love’s Labor’s Classic Stage Company: Stage: Double Trouble Workshop. Utah Valley University: BS in Theatre Arts. Lost, Julius Caesar, Merchant of Venice, King Lear, The Heir Apparent; Mint The Tempest, Twelfth Night, The Cherry Orchard, Theater Company: Donogoo. KATHERINE RENEE C. DAVID JOHNSON* Equivocation (World Premiere), Oedipus Complex REGIONAL: Chautauqua Theater Company, TURNER Alonso (World Premiere). INTERNATIONAL: 5-Year The Alliance Theatre, Georgia Shakespeare, Ensemble NEW YORK: Broadway: Company Member of Misery Loves Company Aurora Theatre, Out of Hand Theater, STC: Much Ado About Priscilla, Queen of the Desert. (Prague, CZ): As You Like It, Cloud Nine, Angels Theater Emory, Synchronicity Performance Nothing (FFA), A REGIONAL: Palm Beach in America, The Age of Reason (World Premiere). Group. OTHER: NY Fringe, Organic Midsummer Night’s Dream. Dramaworks: Henry in The Magnetics, Acting Company, Ensemble FILM: Heat of Deeds, Persuasion, Harrison’s Flowers. REGIONAL: UrbanArias: Photo-Op; Ford’s Lion in Winter. INTERNATIONAL: Canada: Studio Theatre, Phoenix Ensemble. FILM: TELEVISION: Grey’s Anatomy, Shameless, Major Theatre: The Laramie Project; Adventure Soulpepper Theatre: Great Expectations, The Adventure, Bad Friends, Triasumite. Crimes, The West Wing. OTHER: Audiobooks: Theatre: The Twelve Days of Christmas; Jitters, Fainall in The Way of the World, Black TELEVISION: House of Cards, Forever, Drop The Probability Trilogy. INSTRUCTOR: Southern Imagination Stage: Rumpelstiltskin; Comedy/The Real Inspector Hound, Mary Dead Diva, Past Life. AWARDS: Rosemarie Oregon University, Oregon Shakespeare Festival, Signature Theatre: The Threepenny Opera; Stuart, The Threepenny Opera, Cornwall in Los Angeles High School Shakespeare Project. Tichler Fund Grant Recipient (2014). Marin Theatre Company/Round House King Lear, Max in The Real Thing, Almady in TRAINING: The Groundlings, SITI Company at OTHER: Big Apple Circus Clown Care Theatre (co-production): Fetch Clay, Make The Play’s the Thing, A Winter’s Tale, A Chorus Skidmore College Summer Intensive (dir. Anne company member (2007-2010). TRAINING: Man. INTERNATIONAL: Edinburgh Fringe of Disapproval; Neptune Theatre: Atticus Bogart), Two-Year Actor Training Program: Pacific MFA: NYU Graduate Acting Program; BA Festival: Deeply Rooted. TELEVISION: The in To Kill a Mockingbird; Stratford Festival: Conservatory for the Performing Arts. WEB: in Theatre Studies: Emory University. WEB: RA’s. FILM: Wintersmith, Ward 11. Major General Stanley in The Pirates of gregorylinington.com. www.davequayonline.com.

28 29 TED VAN Dream, Hamlet, My Fair Lady, Henry V, COMPANY GRIETHUYSEN* The Merchant of Venice, The Relapse, Three PREMIERE! Gonzalo Musketeers, Richard III, Taming of the Shrew, STC: Affiliated Artist; Boys from Syracuse, Pericles; Atlantic Theatre roles since 1987 include Festival: Dylan Thomas Trilogy (Do Not FRANCIS POULENC Owen Glendower in Henry Go Gentle, Dylan Thomas and Shakespeare, IV, Part I, and Justice Shallow in Part II, Stranger in Paradise); Shaw Festival, five Antigonus/Old Shepherd in The Winter’s seasons; Canadian Stage’s The Elephant Tale (mainstage, FFA), Peter Quince in A Man; England: Chichester Festival: Hamlet Midsummer Night’s Dream, King of France (Regional Theatre Best Actor award), in All’s Well That Ends Well, Henry Leeds Henry VIII; Lyric Hammersmith: An Enemy of the People DIALOGUES in Strange Interlude, Mr. Praed in Mrs. ; Wales: Theatr Clwyd, two seasons actor and associate director. FILM: Warren’s Profession, Malvolio in Twelfth American Psycho II, Hypercube, One of the Night, Andrew Undershaft in Major Barbara, OF THE CARMELITES Hollywood Ten, Conspiracy of Fear, Taming of Holofernes in Love’s Labor’s Lost (mainstage the Shrew, The Tempest, Antony and Cleopatra. Faith is put to the ultimate test in Poulenc’s powerful 1957 opera about an and RSC), Philip II in Don Carlos, Lear in TELEVISION: ReGenesis, Murdoch Mysteries, order of Carmelite nuns who refuse to renounce their beliefs in the wake of the King Lear, Prospero in The Tempest. NEW 24, Slings and Arrows, Black Harbour, Airwolf, Romulus Inadmissible French Revolution. At turns hymnal and haunting, Dialogues of the Carmelites YORK: Broadway: , Forever Knight. soars with exquisite harmonies to its chilling final tableau. Evidence. REGIONAL: Folger Theatre: The Clandestine Marriage; Studio Theatre: The Steward of Christendom, Life of Galileo, Rock “Wonderful psychological complexity…a hymn to the ‘n’ Roll, A Number, The Habit of Art, The powers of sisterhood and the strength of female solidarity” Apple Family Plays. INTERNATIONAL: Battersea Arts Center, London: Life of Galileo; —The Toronto Star Arcola, London: Broadway from the Shadows; Trafalgar Studios: Mr. Paradise in Lovely and Misfit. AWARDS: Seven Helen Hayes CAMP Awards; The Will Award; Drama Critics Shakespeare Award (NYC); Richard Bauer Award for Outstanding Contribution to Washington WE KNOW WHAT WE ARE, Theatre. INSTRUCTOR: Aesthetic Realism of Eli Siegel; Columbia University; University BUT KNOW NOT WHAT WE MAY BE. of South Carolina; Manchester Municipal - HAMLET University (U.K.).

GERAINT WYN DAVIES* This year, give the gift of Prospero Camp Shakespeare! Selected Credits: STC: Richard III, Cyrano (Helen PHOTO BY CHRISTIAN LEIBER / PARIS OPERA PHOTO BY CHRISTIAN LEIBER / PARIS Hayes Award), Love’s TICKETS ON SALE DEC. 3! Labor’s Lost (Helen Hayes FEB. 21–MAR. 10 Nomination, also performed at the RSC (202) 467-4600 in Stratford, England). Selected Credits Kennedy Center Opera House include: NEW YORK: Lincoln Center: King Feb. 21, 23, & 27; Mar. 5, 8 mat, & 10, 2015 kennedy-center.org Lear; Off-Broadway: Do Not Go Gentle, Performed in English with projected English titles. Tickets also available at the Box Office. Poetic License Women Beware Women Titles may not be visible from the rear of the orchestra. Groups (202) 416-8400 , . REGIONAL: Mark Taper Forum: Gross Indecency; Chicago Shakespeare Festival: Do Major support for WNO is provided by Jacqueline Badger Mars. Not Go Gentle. INTERNATIONAL: Canada: David and Alice Rubenstein are the Presenting Underwriters of WNO. Stratford Festival: 11 seasons, credits General Dynamics is the proud sponsor of WNO’s 2014-2015 Season. include Mother Courage and Her Children, Antony and Cleopatra, Measure for Measure, Summer 2015 registration begins December 1. Mary Stuart, Cymbeline, The Matchmaker, ShakespeareTheatre.org/Camp-Shakespeare WNO acknowledges the longstanding generosity of Life Chairman Mrs. Eugene B. Casey. Camelot, The Merry Wives of Windsor, The 202.547.5688 Tempest, Julius Caesar, A Midsummer Night’s

31 ARTISTIC BIOGRAPHIES of Design: BFA; Yale School of Drama: MFA. Jennifer Moeller Jenny Giering Ethan McSweeny Theater Company: A Raisin in the Sun, Fifty Costume Designer Composer Director Ways (world premiere), Love’s Labor’s Lost, The STC: Affiliated Artist; A Midsummer Night’s NEW YORK: Off-Broadway: The Zipper STC: Affiliated Artist; A Midsummer Night’s Glass Menagerie, Death of a Salesman, The Just, The Dream, Julius Caesar (mainstage, Free For All), Theater: Alice Unwrapped. New York Musical Dream, Much Ado About Nothing, The Merchant Cherry Orchard, All My Sons, Cobb. ARTISTIC The Merchant of Venice, Richard II, Romeo and Theatre Festival: The Mistress Cycle (3 Jeff Awards of Venice, Ion, Major Barbara, The Persians; LEADERSHIP: Chautauqua Theater Company, Juliet, Antony and Cleopatra, Tamburlaine, Richard Nominations); New York Theatre Workshop: Harman Center Opening Gala; Associate Co-Artistic Director 2004–2011, National III. NEW YORK: Off-Broadway: Shakespeare in Songs from an Unmade Bed (Drama Desk Director 1993–1997. NEW YORK: Broadway: Actors Theatre, Associate Director, 2003–2005; the Park: Love’s Labour’s Lost; Signature Theatre: Nomination for Best Musical); Theatreworks John Grisham’s A Time to Kill, Gore Vidal’s Resident Director, New Dramatists, 2001–2002; Dance and the Railroad; Primary Stages: Happy USA: Arthur’s War, Island of the Blue Dolphins. The Best Man (Outer Critics Circle and Drama George Street Playhouse, Associate Artistic Now? REGIONAL: Washington National Opera: REGIONAL: Weston Playhouse Theatre Desk Awards, Tony Award nomination); Director, 2000–2004. BOARD MEMBERSHIPS: La Boheme; Studio Theatre: Bachelorette, Venus in Company & ASCAP/Dreamworks Musical Off-Broadway: John Logan’s Never the Sinner Treasurer, Executive Board, Stage Directors & Fur; Center Stage: Mud Blue Sky; The Old Globe: Theatre Workshop: Saint-Ex; Playwrights (Outer Critics Circle and Drama Desk Awards); Choreographers Society. TRAINING: Received The Last Goodbye; McCarter Theatre Center: The Horizons: Alice Bliss; Chicago Shakespeare Playwrights Horizons: 100 Saints You Should the first ever undergraduate degree in Theatre How and the Why; Williamstown Theatre Festival: Theater: Summerland, Elizabeth Rex (Jeff Award Know (Top Ten: Entertainment Weekly and Time and Dramatic Arts from Columbia University. Six Degrees of Separation; Yale Repertory Theatre: Nomination), As You Like It (Jeff Award Out magazines); Page 73 Productions: 1001 WEB: EthanMcSweeny.com The Winter’s Tale, dance of the holy ghosts; Berkshire Nomination); TheatreWorks/Palo Alto: Silent (Top Ten, Time Out magazine); Primary Stages: Theatre Festival: Waiting for Godot; Chautauqua Sky, Princess Caraboo; Boston Music Theatre Rx (world premiere), Sabina; National Actors Lee Savage Theater Company: The Winter’s Tale. TRAINING: Project: Crossing Brooklyn (2008 Kleban Prize); Theatre: The Persians. INTERNATIONAL: Gate Set Designer Yale School of Drama: MFA. Harvard Community Theatre: Still Life (one Theatre, Dublin: An Ideal Husband, A Streetcar STC: A Midsummer Night’s Dream, Much act). INTERNATIONAL: Aria Entertainment’s Named Desire (Irish Times Award for Best Ado About Nothing, Richard III, Tamburlaine, Christopher Akerlind Page to Stage Festival, London, UK: The Mistress Cycle; Empire Theatre, Toowomba, Queensland, Direction); Stratford Shakespeare Festival: Pirates Edward II, Henry V, Richard II. NEW YORK: Lighting Designer Australia: Songs from an Unmade Bed. AWARDS: of Penzance, Dangerous Liaisons. REGIONAL: Labyrinth: Muscles in our Toes, Sunset Baby; STC: The Winter’s Tale (mainstage, Free For Jonathan Larson Performing Arts Foundation more than 70 productions at theatres around the Women’s Project: Collapse; LCT3: All-American; All), Cymbeline, Twelfth Night, Julius Caesar, The Award, Constance Klinsky Prize from Second nation including the Guthrie Theater: Tales from Roundabout Theatre Company: The Dream Silent Woman. NEW YORK: Broadway: The Stage Theatre Company, National Art Song Hollywood, Arms and the Man, A View from the of the Burning Boy, Ordinary Days; Atlantic Last Ship, Rocky (Tony Award® nomination), Award (for The Mistress Cycle), National Music Bridge, A Body of Water (premiere, Star-Tribune Theater: Oohrah!; Partial Comfort: The Bereaved; The Gershwins’ Porgy and Bess (Tony Award® Theatre Network Director’s Choice Award (for Award), Romeo and Juliet, Six Degrees of Separation Clubbed Thumb: punkplay. REGIONAL: nomination), Superior Donuts, Top Girls, 110° in The Mistress Cycle), Meet the Composer Grant (Star-Tribune Award), Thief River, Side Man, Gross Alliance Theatre, Asolo Repertory Theatre, the Shade (Tony Award® nomination), Talk Radio, (for work with the Broadway Theatre Institute), Indecency; Goodman Theatre/Dallas Theater Berkshire Theatre Festival, Cleveland Play Shining City, Awake and Sing (Tony Award® Frederick Loewe Award (for The Hotel Carter), Center: Trinity River Plays (premiere); Arena House, Dallas Theater Center, George Street nomination), Well, Rabbit Hole, In My Life, The Playhouse, Glimmerglass Festival, Goodman Light in the Piazza (Tony Award®, Drama Desk Weston Playhouse Theatre Company New Stage: A Time to Kill (premiere); The Old Globe: Musical Award (for Saint-Ex). TRAINING: NYU: Cornelia (premiere), In This Corner (premiere, Theatre, Guthrie Theater, Milwaukee Award, Outer Critics Circle Award), Reckless, Repertory Theatre, Long Wharf, Shakespeare The Tale of the Allergist’s Wife, Seven Guitars MFA in Graduate Musical Theatre Writing. San Diego Critics Circle Award), A Body of Harvard and Radcliff College: AB in Music. Water (San Diego Critics Circle Award); Denver & Co., Trinity Repertory Company, Two (Tony Award® nomination), among others. INTERNATIONAL: Hamburg, Germany: Rocky WEB: jennygiering.com. Center Theatre Company: 1001 (premiere, River Theater, Westport Country Playhouse, the Musical; Athens and Epidaurus Festival: Ovation Award); South Coast Repertory: Washington National Opera, The Wilma Theater, Yale Repertory Theatre. AWARDS: Kafeneion. OPERA: Washington National Opera: Matthew Gardiner Ordinary Days, Mr. Marmalade (premiere, Helen Hayes: Much Ado About Nothing; A Norma (dir. Anne Bogart); San Francisco Opera: Choreographer OCIE award); Center Stage: Who’s Afraid Of Midsummer Night’s Dream (nom), Richard Dolores Claiborne. AWARDS: Obie Award for NEW YORK: Director: New York Musical Virginia Woolf? (Baltimore City Paper Best of III (nom); Connecticut Critics Circle (The Sustained Excellence, Michael Merritt Award for Theatre Festival: The Greenwood Tree; Assistant 2008); Prince Music Theater: Chasing Nicolette Intelligent Design of Jenny Chow). OTHER: Design and Collaboration. Director: Circle in the Square: Glory Days. (Barrymore Award nomination); George Street with Ethan McSweeny: The Gate: A Streetcar REGIONAL: Signature Theatre: Director/ Playhouse: A Walk in the Woods, Dirty Blonde, Named Desire; Primary Stages: Rx; Center Nevin Steinberg Choreographer: Sunday in the Park with Ctrl+Alt+Delete (New Jersey Star-Ledger Best of Stage: Who’s Afraid of Virginia Woolf?; Old Sound Designer George, The Threepenny Opera, Tender Napalm, 2002), Old Times, Master Class; Westport Country Globe: In This Corner; Chautauqua Theater NEW YORK: Broadway: Mothers and Sons, Dreamgirls, Dying City, Xanadu, Really Playhouse: Someone Who’ll Watch Over Me; The Company: A Raisin in the Sun, Fifty Ways, Rodgers and Hammerstein’s Cinderella Really, The Hollow, Side by Side by Sondheim, Wilma Theater: Dirty Blonde; San Jose Repertory Love’s Labour’s Lost, Death of a Salesman, The (TonyAward®), The Performers, Magic/ Art, [title of show], See What I Wanna See/ Theatre: Ctrl+Alt+Delete (world premiere); Glass Menagerie, The Just. AFFILIATIONS: Bird. Off-Broadway: Vineyard Theatre: The Choreographer: Company, Sweeney Todd, Dirty Pittsburgh Public Theater: Wit (Pittsburgh Post- Member of Wingspace Theatrical Design and Landing; Playwrights Horizons: Far From Blonde/ Associate Artistic Director; Round Gazette Award); Alley Theatre: The Beauty Queen Contributing Editor for Chance Magazine. Heaven. AWARDS: Tony nominations for The House Theatre: Director: Ordinary Days; Ford’s of Leenane; Signature Theatre: Never the Sinner INSTRUCTOR: Yale School of Drama: Design Gershwins’ Porgy and Bess, Bengal Tiger at the Theatre: The Laramie Project; The Kennedy (Helen Hayes Award nomination); Chautauqua Department. TRAINING: Rhode Island School Baghdad Zoo, Fences, Hair and In The Heights. Center: Director/Choreographer: Snow White,

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LASER OUTPUT @ None PRO Rose Red (and Fred!); Everyman Theatre: Let Interlude, Old Times. UPCOMING: Man of ZFX, Inc. Down Easy; Seattle Repertory Theatre: An Ideal Me Sing And I’m Happy; MetroStage: tick, tick… La Mancha, The Metromaniacs. NEW YORK: Flying Effects Husband, A Doll’s House, Play On!, As You Like BOOM!; Catholic University of America: La Broadway, Off-Broadway, National Tours: ZFX, INC is a world-class provider of flying It, A Midsummer Night’s Dream, Peter Brook’s Boheme, Candide; Studio Theatre: Co-Director/ Side Show, After Midnight, A Night With Janis effects with over a dozen Broadway credits The Tragedy of Hamlet, Golden Child, Don Juan, Choreographer: Jerry Springer: The Opera; Reefer Joplin, Follies, Cotton Club Parade, Lombardi, including Wicked, Peter Pan, Fiddler on the Roof, Purgatorio, The Search for Signs of Intelligent Life Madness (2008 Helen Hayes Award, Outstanding Ragtime, Impressionism, The Seafarer, Radio Martin Short’s Fame Becomes Me, Dance of the in the Universe (with Lily Tomlin); American Musical and Direction of a Musical); MetroStage: Golf, Coram Boy, The Glorious Ones, Flight, Vampires and Saturday Night Fever. ZFX has also Conservatory Theater: The Rivals, The Circle, The Choreographer: Jacques Brel is Alive And Well…; Translations, Tryst, Dirty Dancing; Atlantic toured with Cathy Rigby’s Peter Pan; Suessical Government Inspector, Edward Albee’s At Home Studio Theatre: Grey Gardens, Adding Machine. Theater Company: The Cripple of Inishmaan the Musical; Dora the Explorer; Spiderman Live!; at the Zoo, Vigil; Berkeley Repertory Theatre: TRAINING: Carnegie Mellon University: BFA in (also national tour); Encores! Summer Stars: Go, Diego, Go! and Clifford the Big Red Dog. Journey to the West, An Almost Holy Picture, Having Our Say Let Me Down Directing. Damn Yankees, Urinetown (also national Recent European projects are Dutch, Slovak and ; Regional Tour: Turkish productions of Dancing on Ice as well Easy, Twilight: Los Angeles, 1992 (both with tour); Lincoln Center Festival: Gate/ as Peter Pan in Italy, Belgium and Russia. ZFX Anna Deavere Smith). TRAINING: Oberlin Gary Logan Beckett. REGIONAL: Alliance Theatre: Bull also provides flying effects to corporate events, College: BA. Voice and Text Coach Durham; Center Theatre Group: Harps and trade shows and churches around the globe. STC: The Importance of Being Earnest, Design Angels; Alley Theatre: Gruesome Playground Kristy Matero* for Living, The Way of the World, As You Injuries, The Monster at the Door; Kennedy Craig Baldwin Assistant Stage Manager Like It, Julius Caesar, Antony and Cleopatra, Center: Side Show, The Guardsman, Follies, Assistant Director REGIONAL: Woolly Mammoth Theatre Enemy of the People. REGIONAL: Everyman Master Class, The Lisbon Traviata, Ragtime, NEW YORK: New York International Fringe Company: Marie Antoinette, Stupid Fucking Theatre: August: Osage County, Private Lives, Broadway: Three Generations; Philadelphia Festival: Magic Kingdom, The More Loving One Bird, Appropriate, The Convert, K of D, How Pygmalion, Our Town, Doubt, Soul Collector, Theatre Company: Golden Age; Royal George (Best Overall Production of a Play); August Theatre Failed America, If You See Something Say Much Ado About Nothing, And a Nightingale Theatre: Don’t Dress for Dinner; seven Strindberg Repertory Theatre: Mr. Bengt’s Wife; Something with Mike Daisey; Signature Theatre: Sang; Kennedy Center: Master Class (with seasons of casting for McCarter Theatre Atlantic Theater School: A Midsummer Night’s God Of Carnage, And The Curtain Rises; The Tyne Daly); Signature Theatre: Tender Center. INTERNATIONAL: Druid Theatre Dream; HERE Arts Center: Ingmar Bergman’s Kennedy Center: Joe Turner’s Come and Gone, Napalm, Pride in the Falls of Autry Mill (with Company: My Brilliant Divorce; The Gaiety Persona; Roundabout Theatre Company: Look Seven Guitars, Jitney, The Mostly True Adventures Christine Lahti), I Am My Own Wife; Arena Theatre, Dublin/West End: The Shawshank Back in Anger (dir. Sam Gold); Atlantic Theater of Homer P. Figg; Pig Iron Theatre Company: Stage: Love in Afghanistan, Frankie and Johnny Redemption; Druid Theatre Company/Dublin Company: Dusk Rings a Bell (dir. Sam Gold); Hell Meets Henry Halfway, Welcome to Yuba in the Clair de Lune; Studio Theatre: Tribes, Theatre Festival: Long Day’s Journey into Classic Stage Company: MacB**h (workshop); City; Milwaukee Repertory Theater: To Kill A The Real Thing, Venus in Fur, Frozen, Crestfall; Night; Has consulted for The Lyric Theatre Outhouse Theatre Co: Mercy Thieves (U.S. Mockingbird, Lombardi. OPERA: Washington Ford’s Theatre: Shenandoah (with Scott in Belfast, Rough Magic Theatre Company Premiere), The Boys (U.S. Premiere); Lincoln National Opera: The Magic Flute, Moby Dick, Bakula), State of the Union, A Christmas Carol; in Dublin, The Gate Theatre in Dublin, The Center Theater Director’s Lab: MacB**h Anna Bolena; Spoleto Festival USA: Flora or Hob Folger: Henry V, Othello, Henry VIII, Much Druid Theatre in Galway. (workshop), Marymount Manhattan College: in The Well, Louise, Amistad, Faustus, The Last Ado About Nothing; Centerstage: Who’s Afraid Columbinus; REGIONAL Opera House Arts: Night, Don Giovanni; Opera Saratoga: Elisir of Virginia Woolf, Fabulation; Chautauqua Drew Lichtenberg Antony and Cleopatra; SUNY Purchase College: d’amore; Member Actors’ Equity Association Theater Company: Clybourne Park, Love’s Literary Associate/Dramaturg The Miser. Craig is the Associate Artistic and The American Guild of Musical Artists. Labour’s Lost, The Winter’s Tale, The Just; See page 41 Director of Red Bull Theater, an Artistic Associate of Classic Stage Company, and a Hannah R. O’Neil* Denver Center Theatre Company: Romeo member of Lincoln Center Theater Director’s Assistant Stage Manager and Juliet, Misalliance, Wit, The Winter’s Tale, James Ortiz Lab. OTHER: WEB: I [heart] Lucy. STC: Assistant Stage Manager: Henry IV Parts 1 Valley Song, The Tempest and over 50 others; Puppet Designer and Coach TRAINING: The Julliard School. and 2, A Funny Thing Happened on the Way to the INTERNATIONAL: The Royal Shakespeare NEW YORK: Off-Broadway: Theatre for a New WEB: www.craigbaldwin.net. Forum, Much Ado About Nothing (Free For All), Company and Denver Center Theatre Audience: King Lear (dir. Arin Arbus); The Coriolanus, A Midsummer Night’s Dream, All’s Company: Tantalus (dir. Sir Peter Hall); Public Theatre: King Lear (dir. Daniel Sullivan); Katherine Burris Well That Ends Well (Free For All); Production Stratford Shakespeare Festival of Canada: Gotham Chamber Opera: El Gato Con Botas (dir. Directorial Assistant Assistant: The Merry Wives of Windsor, Strange Twelfth Night and The School for Scandal (with Moises Kaufman); Off Broadway: Stu42: Miss See page 41 Interlude, Much Ado About Nothing, Julius Brian Bedford), The Miser, The Night of the Lilly Gets Boned (dir. David Chapman), My Base, Caesar (Free For All), The Merchant of Venice, Iguana. AUTHOR: The Eloquent Shakespeare Scurvy Heart (dir. Moritz Von Stupenhagel); Joseph Smelser* An Ideal Husband, Candide, All’s Well That Ends (University of Chicago Press). Stable Cable Company: Nibbler (dir. Stephen Production Stage Manager Well; Stage Management Intern: Mrs. Warren’s Brackett); 59E59: The Woodsman (Co-director STC: A Winter’s Tale (Free For All), Henry Profession, Richard II, Henry V, The Alchemist. Carter C. Wooddell with Claire Karpen); Glass Bandit Company: IV Parts 1 and 2, A Funny Thing Happened on REGIONAL: Ford’s Theatre: Driving Miss Resident Casting Director The Little Mermaid (Director); new place players: the Way to the Forum, Measure for Measure, Daisy; Huntington Theatre Company: Pirates!; See page 41 Midsummer (Director). AWARDS: Recipient of Wallenstein, Coriolanus, A Midsummer Night’s Ogunquit Playhouse: The Producers, Fiddler on the 2014 Jim Henson foundation Grant, resident Dream, The Government Inspector, The Merry the Roof, The King and I, La Cage Aux Folles, The Laura Stanczyk, CSA artist at The New Victory Theatre. OTHER: Co- Wives of Windsor, Strange Interlude, Much Ado Full Monty, Menopause the Musical. TRAINING: Additional Casting Founder and Artistic Director of Strangemen & About Nothing, The Heir Apparent, All’s Well That Emerson College: BFA in Stage Management STC: As You Like It, The Winter’s Tale, Strange Co. WEB: www.strangemencompany.com. Ends Well. REGIONAL: Arena Stage: Let Me and Production.

36 37 This is a not an island MAPPING THE PLAY where tranquil palms WHAT’S YOUR DESERT ISLAND? sway on the beach, but it is an island ringing with Ethan McSweeny and his artistic team design the desert “sounds and sweet airs, island of his/your/our imagination that give delight and hurt not.” Envisioning By Laura Henry Buda, an environment that is Community Engagement Manager as varied and volatile as its shipwrecked inhabitants, McSweeny and Savage searched for images of barrenness from the Caribbean to Ireland’s Aran Islands. These An abandoned house in Kolmanskop, a ghost town in the stark, desolate places desert of southern Namibia. Wikimedia Commons. became a blank slate that could be a dreamlike wilderness as easily as a hellish exile. Savage’s muses were as diverse as the film The Fall (director Tarsem Singh, 2006), a desert ghost town in southern Namibia, and the Set model by Lee Savage. preternatural photography of Tim Walker.

How can a team of artists construct a world as ubiquitous and mysterious as a deserted island? Artists search for inspiration everywhere, and in theatre, the early stages of the design process Shipwreck on the Skeleton Coast in Namibia. Wikimedia Commons. usually include visual research: pouring over thousands of images, looking for a texture, a color, a certain slant of light or a particular Costume renderings by Jennifer Moeller. sense of movement. Though later these images may seem irrelevant Stirred by sources including Garth to the finished design, something about them ignited inspiration. Knight’s Enchanted Forest photography They provide a window into the mind of the artist—a glimpse of the collection, the underwater images of enigmatic process of creation. Michael David Adams and the fashion designs of Alexander McQueen and Sarah For The Tempest, director Ethan McSweeny and his designers Burton, Moeller envisioned the spirits, Lee Savage (set) and Jennifer Moeller (costumes) began with the including Ariel and Caliban, as pieces of idea of scarcity. For 12 years, Prospero and Miranda have survived the islands itself that have been bound on their island with the few supplies furnished by Gonzalo when in servitude to Prospero. Their bonds are they were banished from Milan. Prospero may have had magic to clearly evident, binding them both to manipulate his surroundings, but in McSweeny’s mind, the realities Prospero and their environment. of shipwreck demanded economy. The designers focused on raw materials, worn and battered by the elements: old clothes, torn Visit ASIDES Online (Asides.ShakespeareTheatre.org) to further sails, sand, stone, driftwood. explore the visual references that inspired The Tempest’s designers.

38 39 FOR SHAKESPEARE THEATRE COMPANY

Michael Kahn OPERA: Romeo and Juliette for Dallas Opera; Vanessa MEMBERSHIPS: Currently serves on the Board Mark Lamos); Williamstown Theatre Festival: Artistic Director for the New York City Opera (2007); Lysistrata or The of the Theatre Communications Group, DC The Front Page, The Physicists, The Corn is Green; STC: Henry IV, Part 1 and 2, Nude Goddess for Houston Grand Opera and New Downtown BID, THE ARC, DC Arts Collaborative, New York Shakespeare Festival: Macbeth (dir. Wallenstein, The Government York City Opera; Vanessa for Washington Opera and the Penn Quarter Neighborhood Association, Moisés Kaufman); OTHER: Yale School of Drama: Inspector, Strange Interlude, The Heir Dallas Opera; Show Boat for Houston Grand Opera; Theatre Washington, and is a member of the Tarell McCraney’s In the Red and Brown Water Apparent, Old Times, All’s Well That Carmen for Houston and Washington Operas; Carousel League of Resident Theatres (served on AEA and (US premiere); TEACHING: Catholic University Ends Well, The Liar, Richard II, The for Miami Opera; Julius Caesar for San Francisco SSDC Negotiating Committees); has served as a of America; Eugene Lang College at the New Alchemist, Design for Living, The Way of the World, Spring Opera. INTERNATIONAL: Love’s Labor’s Lost panelist for the NEA, DC Commission on the Arts, School. TRAINING: Yale School of Drama: MFA in Antony and Cleopatra (2008), Tamburlaine, Hamlet (2007), at the Royal Shakespeare Company’s Complete Works Mid Atlantic Arts Foundation and Humanities, Dramaturgy & Dramatic Criticism. Richard III (2007), The Beaux’ Stratagem, Love’s Labor’s Festival; The Oedipus Plays at the Athens Festival; Five and Pew Theatre Initiative. AWARDS: Arts Lost, Othello, Lorenzaccio, Macbeth (2004), Cyrano, Five by Tenn for The Acting Company’s tour of Eastern Administration Fellowship: National Endowment Ellen O’Brien by Tenn (at the Kennedy Center), The Silent Woman, The Europe; Show Boat for the National Cultural Center for the Arts. TRAINING: University of Miami: Head of Voice and Text Winter’s Tale (2002), The Duchess of Malfi, The Oedipus Opera House in Cairo; The White Devil for the BFA in Theatre/Music; Yale School of Drama: STC: More than 50 productions over 11 seasons. Plays, Hedda Gabler, Don Carlos, Timon of Athens, Adelaide Festival. BOARD MEMBERSHIPS: Theatre MFA in Theatre Management. ACADEMY FOR CLASSICAL ACTING: 22 Camino Real, Coriolanus, King Lear (1999), The Merchant Communications Group; New York State Council on productions of Shakespeare and Jacobean plays. of Venice, King John, A Woman of No Importance, Sweet the Arts; D.C. Commission on the Arts and Alan Paul REGIONAL: Ford’s Theatre, Arena Stage, Bird of Youth, Peer Gynt, Mourning Becomes Electra, Humanities; National Endowment for the Arts; Opera Associate Artistic Director Charlotte Repertory Company, Aurora/Magic Henry VI, Volpone, Henry V, Henry IV, The Doctor’s America’s 80s and Beyond. AWARDS: Commander of STC: As You Like It (Associate Director), The Theaters; People’s Light and Theatre Company; Dilemma, Richard II, Much Ado about Nothing (also at the British Empire (C.B.E.); Theater Hall of Fame; Winter’s Tale (Free for All), Henry IV, Parts 1 and 2 Shakespeare Santa Cruz; North Carolina McCarter Theatre Center), Mother Courage and Her seven Helen Hayes Awards for Outstanding Director; (Associate Director), A Funny Thing Happened on Shakespeare Festival. PUBLICATIONS: Articles Children, Hamlet, Measure for Measure, King Lear (1991), 2011 CAGLCC Excellence in Business Award; 2010 the Way to the Forum (2014 Helen Hayes Award in The Voice and Speech Review, Shakespeare in the Richard III (1990), The Merry Wives of Windsor, Twelfth WAPAVA Richard Bauer Award; 2007 Mayor’s Arts for Best Director of a Musical), The Boys from Twentieth Century, Shakespearean Illuminations, Night, As You Like It, Antony and Cleopatra (1988), Award Special Recognition for Shakespeare in Syracuse, Twelfth Night (Free for All), numerous Shakespeare Survey, Shakespeare Quarterly, Macbeth (1988), All’s Well That Ends Well, The Winter’s Washington; 2007 Stephen and Christine Schwarzman galas, readings, special events; Assistant Director: Shakespeare and the Arts, The Voice and Speech Tale (1987), Romeo and Juliet. NEW YORK: Broadway: Award for Excellence in Theatre; 2007 Sir John 13 shows. THEATRE DIRECTING: Signature: I Am Review: Associate Editor for Heightened Text, Show Boat (Tony nomination), Cat on a Hot Tin Roof, Gielgud Award for Excellence in the Dramatic Arts; My Own Wife; Studio 2ndStage: The Rocky Horror Verse and Scansion. TRAINING: Yale University: Whodunnit, Night of the Tribades, Death of Bessie Smith, 2005 Person of the Year from the National Theatre Show (co-director); Catholic University: Man of La MA, MPhil, PhD (English); Central School of Here’s Where I Belong, Othello, Henry V; Off-Broadway: Conference; 2004 Shakespeare Society Medal; 2002 Mancha; University of Maryland: The Matchmaker; Speech and Drama/The Open University Manhattan Theatre Club: Five By Tenn, Sleep William Shakespeare Award for Classical Theatre; Apex: Richard II; Northwestern University: (London): Advanced and Post-Graduate Diplomas Deprivation Chamber, Funnyhouse of a Negro, The Rimers 2002 Distinguished Washingtonian Award from The Six Degrees of Separation; readings for Studio, in Voice Studies. TEACHING: Academy for of Eldritch, Three by Thornton Wilder, A Month in the University Club; 2002 GLAAD Capitol Award; 1997 Arena Stage, Woolly Mammoth, The National Classical Acting; University of California, Santa Country, Hedda Gabler, The Señorita from Tacna, Ten by Mayor’s Arts Award for Excellence in an Artistic Academy of Sciences, The Phillips Collection, Cruz; Guilford College; Kirkland College. Tennessee; New York Shakespeare Festival: Measure for Discipline; 1996 Opera Music Theater International’s The Goethe Institut, Georgetown University. Measure (Saturday Review Award). Artistic Director: Bravo Award; 1990 First Annual Shakespeare’s Globe OPERA DIRECTING: Urban Arias: Blind Dates, Katherine Burris The Acting Company, 1978–1988. TEACHING: Award; 1989 Washingtonian Magazine Washingtonian Before Breakfast, The Filthy Habit, Photo-Op; The In Directorial Assistant/Directing Fellow Richard Rodgers Director of Juilliard Drama Division of the Year; 1989 Washington Post Award for Series: Dido and Aeneas, El Amor Brujo; Strathmore: STC: As You Like It, The Winter’s Tale (Free For July 1992–May 2006, faculty member 1967–; Distinguished Community Service; 1988 John Butterfly/Saigon, Blind Dates. Finalist for the 2013 All). REGIONAL: Santa Cruz Shakespeare: Shakespeare Theatre Company Academy for Classical Houseman Award. HONORARY DOCTORATES: European Opera Directing Prize (Vienna, Austria). As You Like It; Folger Shakespeare Theatre: Acting at the George Washington University. University of South Carolina; Kean College; The WEB: AlanPaulDirector.com The Taming of the Shrew; Shakespeare Santa Previously: New York University; Circle in the Square Juilliard School; The American University. Cruz: Tom Jones, Henry IV, Part 2, Henry V, Theatre School; Princeton University; British American Drew Lichtenberg The Taming of the Shrew, The Man in the Iron Drama Academy; founder of Chautauqua Theatre Chris Jennings Literary Associate Mask; Back Room Shakespeare Project: Two Conservatory. REGIONAL: Arena Stage: A Touch of the Managing Director STC: As You Like It, Private Lives, Henry IV, Part Gentlemen of Verona; San Jose Repertory Poet; Signature Theatre: Pride in the Falls of Autrey Mill, STC: Joined the Company in 1 and 2, The Importance of Being Earnest, A Funny Theatre: Next Fall; UC Santa Cruz: Stupid Otabenga; Guthrie Theater: The Duchess of Malfi; 2004. ADMINISTRATION: Thing Happened on the Way to the Forum, Measure Fucking Bird, Machinal, Peer Gynt, The American Repertory Theatre: ‘Tis Pity She’s a Whore; General Manager: Trinity for Measure, Coriolanus, Wallenstein, Hughie, Congresswomen, Hair. TRAINING: University American Shakespeare Theatre: Artistic Director for 10 Repertory Company A Midsummer Night’s Dream, The Government of California, Santa Cruz: Masters in Theatre years, more than 20 productions; McCarter Theatre (1999–2004), Theatre for a New Audience Inspector, The Merry Wives of Windsor, The Arts—Directing Emphasis; BA in Theatre Center: Artistic Director for five seasons, including (1997–1999); Associate Managing Director: Yale Servant of Two Masters, Strange Interlude, The Two Arts; BA in English Language Literature. Beyond the Horizon, filmed for PBS; Chautauqua Repertory Theatre; Assistant to the Executive Gentlemen of Verona, Much Ado About Nothing, Theatre: Artistic Director, including The Glass Producer: Manhattan Theater Club; Founder/ The Heir Apparent. REGIONAL: STC/McCarter Carter C. Wooddell Menagerie with Tom Hulce; Goodman Theatre: Old Producing Director: Texas Young Playwrights Theatre Center: The Winter’s Tale; Center Stage: Resident Casting Director Times (MacArthur Award), The Tooth of Crime Festival; Manager: Dougherty Arts Center. Caroline, or Change, Cyrano, Around the World STC: As You Like It, The Winter’s Tale, The Merry (Jefferson nomination); Ford’s Theatre: Eleanor. in 80 Days; Yale Repertory Theatre: Lulu (dir. Wives of Windsor, Two Gentlemen of Verona, Much Continued on page 43 40 41  

Continued from page 41 Ado About Nothing, The Merchant of Venice. Other Casting Experience: NEW YORK: Broadway:  Belasco Theatre: End of the Rainbow (dir: Terry Johnson), Booth Theatre: High (dir: Rob  Ruggiero); Off-Broadway (partial): Barrow Street Theatre: Tribes (dir: David Cromer), Our Town  Most tempests aren’t comedies. (dir: David Cromer), The Acting Company, Marjorie S. Deane Little Theater: Freud’s Last Session (dir: Tyler Marchant), Cherry Lane Theatre: A Perfect Future (dir: Wilson Milam), SoHo Playhouse: The Irish Curse (dir: Matt Lenz), Beckett Theatre: An Error of the Moon (dir: Kim Weild); NYC Other: Lincoln Center Institute: Hamlet, Fly, Sheila’s Day. NATIONAL TOURS: The Acting Company, Riverdance. REGIONAL: Alley Theatre, Center Stage, Barrington Stage  Company, The Broad Stage, Contemporary American Theater Festival, Crossroads Theatre Company, George Street Playhouse, The Guthrie Theater, Pittsburgh Public Theater,  TheaterWorks Hartford. RADIO: BBC Radio: The Piano Lesson (dir: Claire Grove). TELEVISION:  Sesame Workshop: The Electric Company, Pilot:  27 East. FILM: Columbia Pictures: Premium Rush  (dir: David Koepp), Choice Films: Junction (dir: Tony Glazer). OTHER: McCorkle Casting Ltd: Casting Assistant (2008-2009), Casting Associate (2010-2012). Education Associate: TFANA (2012- 2014). TRAINING: Rutgers University - Mason Gross School of the Arts: BFA in Theatre Arts.  

Concord, Alabama. Photo by George Armstrong - May 03, 2011. Courtesy FEMA.

Learn how design can protect lives and property.

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

On view now through August 2, 2015 www.nbm.org FACES AND VOICES young audiences engaged. The task is young children are ideal audiences made easy when she starts looking at for theatre. They are enthralled with the plays she knows well “through the storytelling and imagination. “Make- lens of somebody younger.” believe is a big part of what makes Despite its short length Tiny Tempest theatre wonderful,” Wyer explains, does not short-change Shakespeare’s “they engage in make-believe every day, text, instead it “keeps the bar high for why not meet them where they are?” a younger audience,” says Wyer. It is This philosophy guides the post-show not just the magic, comedy and family interactive workshop. Instead of leaving drama that gets passed along from an at the end of the play, the audience can A High Bar unabridged version of The Tempest to the join the actors in discovering more about students but the richness and poetry of the characters and the art of acting. the language. Even if they are unable to They take a scene from the play for Little follow every word, the rhythm of the and teach the lines and actions to the pentameter is recognizable to ears familiar audience members. The students are with nursery rhymes and thrilled to get the Audiences: jump-rope games. chance to go onstage Watching the Children and participate. STC’s School Shows performance of The Tiny Stansell recalls the Tempest the story comes engage in Mini-Summer post-show to life. With energetic, workshops, “The kids bring Shakespeare to and at times acrobatic, make-believe really love acting out performers and clever the parts...I remember all ages visual storytelling, it every day, one boy specifically is easy to get caught who was having the Actors Paul Reisman, Brent Stansell and Eva Wilhelm show students the fun of fairy magic in why not meet A Mini-Summer Night’s Dream.Photo by S. Christian Taylor-Low. up in Miranda and time of his life acting Ferdinand’s romance them where out the characters.” and root for Ariel to The opportunity to By Hannah Hessel Ratner years old. Some young people grow up win her freedom from they are? act and interact with attending theatre with regularity and Prospero. Wyer made Shakespeare is a first for he blue fabric spread across the parents can decide when to bring their sure that each of the many of these young Shakespeare Theatre Company’s children to see one of STC’s mainstage characters has easily recognizable visual audiences. The real excitement they rehearsal hall is about to come Shakespeare productions. Generally indicators. King Alonso is recognizable feel—Wyer described having a room of Tto life. Actors warm up and chat with though, Shakespeare’s work isn’t by his crown, Prospero (played in over 120 kids (mostly in kindergarten) the test audience waiting for The Tiny thought of as accessible for all young this production by a woman) wears a rushing to the actors following the show Tempest’s first run-through. The blue audiences. The Shakespeare Theatre dazzling cape, Trinculo and Stephano “like at a concert.” But the excitement fabric whips up and there is a tempest Company’s Education Department have white gloves signifying their status is not for The Wiggles or One Direction. on stage, the actors dive into the doesn’t believe that this needs to be the as servants at Court. The costume pieces It’s for actors who have been faithfully performance. This is not the production case. are helpful since the small cast means speaking words written over 400 years of The Tempest that will be on the stage “If they learn Shakespeare’s stories most of the performers play multiple ago. at Sidney Harman Hall but instead it at a young age,” says STC Director of roles. The speed at which they shift will be performed downstairs in the Education Samantha K. Wyer, “then characters and scenes means that even a The Tiny Tempest is presented as part of Family Forum over the course of STC’s Family when they are ushered into the plays short attention span can stay focused on Week at The Tempest, December 13-21. Visit Week and again at elementary schools at an older age in school it won’t feel the action. ShakespeareTheatre.org/FamilyWeek to learn more around the area. as archaic and intimidating.” Wyer is “Younger children always respond to about free events and performances for all ages. drama with such a sense of wonder,” The actors bringing the fabric to life also the director of The Tiny Tempest and says Brent Stansell, Training Programs are all educators as well as classically the previously created A Mini-Summer Hannah Hessel Ratner, STC’s Audience Manager and actor in Mini-Summer, “it’s trained performers. The performance, Night’s Dream. She has helped to craft Enrichment Manager, is in her fourth season thrilling to look back on their smiling at STC and holds an MFA in dramaturgy from though accessible to adult audiences, is a 45-minute script and work with the faces while performing.” In many ways Columbia University. formatted for students as young as five actors to find the right tone to keep

44 45 $10,000 to $14,999 The Honorable Joan Churchill and Industry Association SUPPORT Anonymous Mr. Anthony Churchill BA John and Leslie Steele Esthy and Jim Adler Richard Cleva and Madonna K. Starr Terra Nova Title and Settlement Amanter Philanthropy Jeffrey P. Cunard BA Services, LLC Barclays Louis Delair, Jr. TPG Capital We gratefully acknowledge the following donors that currently Lisa Blue Baron The Dimick Foundation Roderick and Alexia Von Lipsey Batir Foundation, Inc. Craig Dunkerley and Vulcan Materials support the work of the 2014-2015 season. Sheila and Kenneth Berman BA Patricia Haigh ACA Company Foundation Mr. and Mrs. Sameer Bhargava EagleBank Evan J. Wallach and This list is current as of October 24, 2014. BA Debra and Leon Black Ernst & Young LLP Katherine Tobin Booz Allen Hamilton Marietta Ethier Wells Fargo Philanthropy ExxonMobil Carolyn L. Wheeler BA $100,000 and above D.C. Commission on the Arts & Michael R. 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48 49 Wallace Chandler Mr. Austin Henry David and Claire Maklan Dr. William and Vivienne R. Stark Sheila Eddy Baker Drs. Joanne and Frank Crantz Shu Hui Chen Judy Hall Mrs. Maureen Malone Mr. and Mrs. Ronald W. Steele Mr. and Mrs. J.I. Ballestero, Jr D. Elizabeth Crompton Dr. Frederick W. Wolff and Kathryn Halpern John and Liza Marshall Carol Stein Margaret and Gordon Bare Bill Cross and Dr. David McCall Dr. Catherine Chura Peter D. and Florence R. Hart Patrick Martyn and Eric Lomboy Janice Sterling Nancy and Ed Barsa Joseph Cross John Clark and Ana Steele Clark Frank and Lisa Hatheway Winton E. Matthews, Jr. Robert and Virginia Stern Charles D. Bartlett and Linda Bartlett Matt Crouch Thomas and Robin Clarke Doris Hausser Catherine McClave Jeff Stoller Andrea Baruchin John Cuddy Dr. Warren Coats Jr. Dr. James A. Heath Cynthia and Richard McConnell Dorothy and Donald Stone Christy Schmidt and Suzanne and Gregory Curt William and Sara Coleman Kari and Max Heerman William A. 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52 53 UP NEXT: An interview with Michael Kahn, The Metromaniacs director, and Artistic Director of STC Left: Adam Green, Christian Conn and David Sabin in The Liar (2010). Right: Andrew Veenstra, Floyd King and Nancy Robinette in The Heir Apparent (2012). Photos by Scott Suchman.

What prompted you to select his dreamy daughter to reality. There’s I’m so pleased how successful he has We are doing it in the century it was The Metromaniacs? a sense of chaos to the play that David become as well. Venus in Fur was the written, so Murell Horton’s costumes are finds very amusing, as do I. most-produced play in regional theatre going to be quite beautiful, Jim Noone’s Our relationship with David Ives has last year, and several years before it was set will be elegant and charming and been a tremendous one. His previous Can you share a little about The Liar—and I know pretty soon it’s going amusing. I’m glad to be working with that two translations of French verse the process of working with David Ives? to be Heir Apparent. It’s just great that team of people. comedies for us have become staples of he has continued his relationship with us. theatres all through the United States. So much of my work is with writers We’re looking around for the next play— but I don’t think it will be a French one. It’s We wanted to find a third, to make a who are no longer with us. I have to going to be something else. trilogy. The last two (The Liar and The spend a lot of time trying to get into Heir Apparent) were both from the 17 th the writer’s imagination and heart. It’s a How does this piece connect century, and we decided we wanted to great pleasure to be able to work with to Tartuffe? find one from the 18 th century, from one David. He’s so talented and quick, so of the heirs of Molière and Corneille. We eager to keep looking at the script and As part of the Clarice Smith Repertory, I ended up finding a play that had been a improving it. His French is impeccable, so wanted to do a French comedy repertory, huge success at the Comédie-Française I know that the spirit of the original play so here we have an unknown play in The but which had never been translated is there, but his imagination is so fertile Metromaniacs, and with Tartuffe we have into English. that I know that he is improving on it, what many of us consider the greatest especially for modern audiences. French comedy. It’s a lovely romantic satire. Like many of Shakespeare’s comedies, it’s about He didn’t know this play and he really What can audiences expect from his confused identity: a group of people who liked it when we sent it to him. He has production? are addicted to poetry—hence the title, done several drafts, and one of the great The Metromaniacs—fall in and out of love. things is that he comes to rehearsals and This is a genuinely light-hearted play. They The play is like a hall of mirrors: the set he immediately knows, “that doesn’t work, can expect very, very clever wordplay, consists of a forest inside an 18th-century that doesn’t work,” and he fixes it right with lots of characters both playing The Metromaniacs at the ballroom. It’s been created as the set away. It’s fun to be casting with him, to themselves and playing a “part”—the Lansburgh Theatre begins lover, the sexy maid, the witty servant. All for a play written by a father to wake up have him there while we’re casting the play. February 3, 2015. of those types are in it, but some of them Tickets at ShakespeareTheatre.org have been turned upside down. or 202.547.1122.

54 55 ABOUT STC

STC is the recipient of the 2012 Regional Acting, a one-year master’s program at The SUN MON TUES WED THUR FRI SAT ® Theatre Tony Award as well as 81 Helen Hayes George Washington University. Beyond the DECEMBER/JANUARY Awards and 322 nominations. classroom, educational opportunities like 2 3 4 5 2:00 6 Creative Conversations are available to all in 7:30 7:30 8:00 8:00 8:00 Presenting Classic Theatre the community. 7 8 9 10 11 12 2:00 13 The mission of the Shakespeare Theatre 7:30 P 7:45 O 7:30 B 8:00 T 8:00 Y 8:00 Company is to present classic theatre of Supporting the Community 2:00 14 15 16 12:00 17 18 19 2:00 20 scope and size in an imaginative, skillful and STC has helped to revitalize both the Penn 7:30 7:30 Y 8:00 N 8:00 8:00 accessible American style that honors the Quarter and Capitol Hill neighborhoods and 21 22 2:00 23 24 25 26 2:00 A 27 playwrights’ language and intentions while to drive an artistic renaissance in Washington, 7:30 7:30 8:00 8:00 viewing their work through a 21st-Century lens. D.C. Each season programs such as Free For 2:00 28 29 30 31 1 2 2:00 3 All and Happenings at the Harman present free 7:30 7:30 S 7:30 7:30 8:00 8:00 R Promoting Artistic Excellence performances to residents and visitors alike, 2:00 4 5 6 7 8 9 2:00 10 STC’s productions blend classical traditions allowing new audiences to engage with the 7:30 7:30 D 8:00 8:00 8:00 and modern originality. Hallmarks performing arts. 2:00 11 include exquisite sets, elegant costumes, leading classical actors and, above all, an Playing a Part uncompromising dedication to quality. STC is profoundly grateful for the support of those who are passionately committed to Calendar Key Fostering Artists and Audiences classical theatre. This support has allowed STC A AUDIO-DESCRIBED P PAGE AND STAGE STC is a leader in arts education, with a myriad to reach out and expand boundaries, to inform of user-friendly pathways that teach, stimulate and inspire the community and to challenge William Shakespeare’s B BOOKENDS R REFLECTIONS and encourage learners of all ages. Meaningful its audiences to think critically and creatively. SIGN-INTERPRETED school programs are available for middle Learn more at ShakespeareTheatre.org/ D POST-PERFORMANCE DISCUSSION S and high school students and educators, and Support or call 202.547.1122, option 7. N OPEN CAPTION T TWITTER NIGHT adult classes are held throughout the year. The Tempest O OPENING NIGHT Y YOUNG PROSE NIGHT Michael Kahn leads the Academy for Classical directed by Ethan McSweeny Open Caption performances made by possible by a grant from ABOUT ACA December 2–January 11 Sidney Harman Hall The Academy for Classical Acting (ACA), the Shakespeare Theatre Company’s premier MFA training program run jointly with The George Washington University, is celebrating its 15th year! Each year, 14–16 professional actors from all over the United States and abroad join the Shakespeare Theatre Company’s remarkable faculty to immerse themselves in a rigorous, one-year, conservatory-style training program especially dedicated to mastering the complexities of heightened text and classical acting. In the past 15 years, the ACA has trained 210 actors of all ages. Some go on to NYC and to Broadway, some return to their places of origin, whether that be San Francisco or Toronto, Canada, and many make homes for CREATIVE CONVERSATIONS themselves right here in Washington, D.C. On any given night, dozens of ACA graduates can be seen on stages throughout the D.C. metro area. Many have PAGE AND STAGE FREE REFLECTIONS FREE been nominated and even won the coveted Helen Hayes Award. Already, at the Sunday, December 7, 5–6 p.m. Saturday, January 3, 5–6 p.m. The Forum in Sidney Harman Hall The Forum in Sidney Harman Hall beginning of the STC’s 2014|15 Season, six ACA grads spanning the years 2003- Explore the production with the artistic team and Discuss the production from multiple perspectives. 2014 can be seen playing leads on our own stages. More are sure to return. local scholars. ASL DISCUSSION FREE BOOKENDS FREE Monday, December 29, 6:30–7 p.m. In February, the audition team of ACA faculty will conduct auditions in New York Wednesday, Dec. 10, pre- (5:30 p.m.) and post-show Mezzanine Lobby at Sidney Harman Hall The Forum in Sidney Harman Hall Learn about the production before you see it with City, Washington, D.C., Chicago, and Seattle, looking for actors who already have Immerse yourself in the world of the play with pre- this ASL-Interpreted discussion with STC’s Audience professional experience and are looking to advance their skills when it comes to and post-show discussions. Enrichment Manager.

Shakespeare and classical theatre. The training is deep and it’s broad, with classes #STCnight FREE POST-PERFORMANCE CAST DISCUSSION Thursday, December 11, 6:30 p.m. and post-show Wednesday, January 7 in Acting, Alexander Technique, Movement, Voice & Speech, Stage Combat, Masks, FREE Sidney Harman Hall Sidney Harman Hall Clown, and Text, to name a few. If you’re interested, or know someone who might Use the hashtag #STCnight to join the conversation Extend your experience after the show. interested in receiving training from some of the top professionals in the field, from the theatre lobby or from home. Performance tickets available for purchase. including Michael Kahn, please visit our site: ShakespeareTheatre.org/Academy. Happy 15th Anniversary, ACA!

56 57 Macbeth is dead, UP NEXT: Dunsinane long live the King.

“Dunsinane is a new play, inspired A dramatic sequel to by Shakespeare’s Macbeth, by Shakespeare’s Macbeth, David one of Scotland’s greatest Greig’s Dunsinane by the contemporary writers, David National Theatre of Scotland Greig,” says STC Artistic and Royal Shakespeare Director Michael Kahn. “If Company is a vision of one it had been available for man’s attempt to restore us to put it on, I believe peace in a country ravaged by we would have done it. war. Under cover of night, an The National Theatre of Scotland However, the National English army has swept through returns to the Shakespeare Theatre of Scotland, with Scotland, killed the tyrant Theatre Company with David whom we have had a Macbeth and taken the seat Greig’s Dunsinane. This production great relationship since of power. Siward, the English continues the relationship between Blackwatch, decided to commanding officer, tries to put the two companies, which bring their production in place a new ruler while beset includes the highly praised 2012 to the United States, by a brutal guerrilla uprising Presentation Series performance and we were very and simmering discontent of Black Watch and David Greig’s eager to include it amongst his troops. Struggling play-in-a-pub, The Strange Undoing in our season. It is to grasp the alien customs and of Prudencia Hart, presented at the a contemporary politics of this harsh country, Bier Baron tavern. play that fits he finds himself drawn towards uniquely into our Macbeth’s powerful widow in mission, because search of someone to share it deals with the his burden of responsibility. after effects of Increasingly isolated from his Macbeth’s defeat own men and Scottish allies on Scotland. All alike, his efforts to restore order the characters are appear futile as the situation people that audiences spins out of control. will recognize from the Scottish Play. In Greig’s most Written from the perspective of brilliant conceit, Lady Macbeth a Scot, Dunsinane examines the leads the resistance against the struggle of a foreign invader to English occupying army. Not only grasp local customs and politics does it give us a new perspective while trying to restore order in on Shakespeare’s Macbeth, it a war-torn land. also gives us a new perspective on Scotland’s relationship with Dunsinane, by David Greig, England.” directed by Roxana Silbert, Photos of Siobhan Redmond as Gruach and the Company of Dunsinane, 2013, by Richard Campbell. at Sidney Harman Hall begins February 4, 2015. Tickets at ShakespeareTheatre.org or 202.547.1122.

58 59 Lorraine Ressegger, Melissa Richardson, Wardrobe Supervisors Jeanette Lee Porter, SHAKESPEARE THEATRE COMPANY Nancy Robinette, Amie Root, Oran Sandel, Monica Speaker Kristala Smart, Lyndsey Snyder, Eva Wilhelm Overhire Wardrobe Stephanie Fisher, STAFF Ellis Greer, Emily Price THE ACADEMY FOR CLASSICAL ACTING Wig Master Dori Beau Seigneur The Academy for Classical Acting Design and Crafts Assistant Kara Tesch Artistic Director Michael Kahn MARKETING AND COMMUNICATIONS Director Gary Logan Costume Design Intern Eileen Chaffer Managing Director Chris Jennings Chief Marketing Officer Michael Porto ACA Program Coordinator Sloane A. L. Spencer Costume Interns Stephanie Goad, Hilary-Ann Rogers Executive Assistant to the Artistic Director Associate Marketing Director Austin Auclair Faculty Members Isabelle Anderson, Technical Director Mark Prey and Managing Director David Lloyd Olson Marketing and Christopher Cherr, Dody DiSanto, Edward Gero, Assistant Technical Director Kelly Dunnavant Communications Assistant Alison Ehrenreich Leslie Jacobson, Lisae Jordan, Michael Kahn, Floyd King, Scene Shop Foreman Eric Dixon Associate Director of Audience Development Gary Logan, Ellen O’Brien, Roberta Stiehm, Brad Waller Scene Shop Administrator Jessica Noones ARTISTIC and Promotions Teddy Rodger Carpenters John Cincioni, Jr., Carrie Cox, Associate Artistic Director Alan Paul Audience Services Director Joy Johnson PRODUCTION Christian Sullivan, Matt Wolfe Head of Voice and Text Ellen O’Brien Group Sales and Ticket Manager Danielle Sparklin Director of Production Tom Haygood Charge Scenic Artist Sally Glass Resident Casting Director Carter C. Wooddell Ticket Manager Tim Helmer Associate Directors of Production Tim Bailey, Scenic Artist Jose Ortiz Literary Associate Drew Lichtenberg Sales Associates Zindzi Ali, Benjamin Chase, Kimberly Lewis Scenic Painter Kelly Rice Artistic Fellow Garrett Anderson Evelyn Chester, Jonathan Engel, Resident Production Stage Manager Joseph Smelser Overhire Scenic Painter Laura Genson Directing Fellow Katherine Burris Heather Hart, Christopher Hunt, Jessica Kaplan, Stage Manager Bret Torbeck Prop Shop Director Elaine Sabal Affiliated Artists Keith Baxter, Avery Brooks, Emmy Landskroener, Andre McBride, Assistant Stage Managers Elizabeth Clewley, Assistant Prop Shop Director Guy Palace Helen Carey, Veanne Cox, Aubrey Deeker, Izetta Mobley, Kristin Nam, Christopher Pearson, Kristy Matero, Hannah R. O’Neil, Lead Props Artisan Chris Young Robyn Zalewski Colleen Delany, Franchelle Stewart Dorn, Carmelitta Riley, Marie Riley, Crystal Stewart, Props Painter/Sculptor Eric Hammesfahr Production Assistants Christopher Kee Anaya-Gorman, Cameron Folmar, Adam Green, Edward Gero, Lauren Ward Michael Wharton, Genevieve Williams Soft Goods Artisan Rebecca Williams Maria Tejada Philip Goodwin, Jane Greenwood, Michael Hayden, Overhire Props Bethany Watson Call Center Director Monte Hostetler Stage Management Interns Sean Carleton, Simon Higlett, Christopher Innvar, Stacy Keach, Master Electrician Sean R. McCarthy Teleservices Associates Bill Billante, Thomas Brennan, Rebecca Shipman Floyd King, Andrew Long, Ethan McSweeny, Kelly Carson, Eric Garvanne, James Graham, Assistant Master Electrician Lauren A. Hill Costume Director Wendy Stark Prey Cheryl Kempler, Elizabeth MacMahon, Jill McAfee, Harman Electrician Brian Flory Jennifer Moeller, David Muse, James Noone, Floor Manager Julie Rose Joanna Morgan, Colin O’Bryan, Cynthia Perdue, Lansburgh Electrician Jacob Moriarty-Stone Patrick Page, Robert Perdziola, Nancy Robinette, Resident Design Assistant Lynda Myers Lee Sanders, Amy Sloane, Chris Soto Audio/Video Supervisor Brian Burchett David Sabin, Miriam Silverman, Derek Smith, Drapers Denise Aitchison, Randall Exton, Walt Spangler, Tom Story, Rebecca Taichman, Director of Event Sales and Assistant Audio/Video Supervisor Roc Lee Partnerships Ryan Michael Hayes Tonja Petersen Live Mix Engineer Mackenzie Ellis Ted van Griethuysen, Craig Wallace, Adam Wernick, First Hands Jennifer Biehl, Sandra Thomas Gregory Wooddell Theatre Services Manager Dora Hoyt Sound Board Operator Amanda Labonte House Manager Amanda Loerch Sara Trebing Stage Operations Supervisor Louie Baxter Lead House Managers Addie Gayoso, Stitchers Michelle Ordaway, Jennifer Rankin, Donna Sachs Stage Carpenters Nick Custer, Catherine Russell ADMINISTRATION Overhire Stitchers Ellis Greer, Erin Nugent, Edwin Schiff Director of Administration James Roemer Stephanie McLean, Carissa Milliken, Ali Peterson Run Crew Laura Cividanes, Marc Wasserman Lead Crafts Artisan Joshua Kelley Overhire Run Crew Abbie Clements, Christian Hershey, Associate Managing Director Anne S. Kohn Assistant House Managers Melissa Adler, Jeremy Blunt, Irene Casey, Rae Davidson, Hannah Martin Human Resources Manager Lindsey Morris Chris Hunt, Susan Koenig, Aaron Lewis, Marie Riley, Human Resources Coordinator Danielle Mohlman Christopher Schoen, Justin Silverman Accounting Manager Mary Margaret Finneran Retail and Concessions Manager Kristra Forney Staff Accountant Marco Dimuzio Concessions Associates Eileen Chaffer Company Manager Mackenzie Douglas Melanie Cunningham, Adrianne Glover, AUDIENCE SERVICES Company Management Intern Britteny Holland Stephanie McLean, Marie Riley, Christopher Schoen, Receptionist Ursula David LANSBURGH THEATRE ACCESSIBILITY Shawn Stevens, Tiffany Tilghman 450 7th Street NW Our theatres are accessible to persons with disabilities. Director of Operations Timothy Fowler Harman Receptionist and Please request special seating at time of ticket Operations/IT Assistant Melissa Adler Usher Coordinator Rachel Toporek SIDNEY HARMAN HALL purchase and arrive 30 minutes before curtain for 610 F Street NW priority seating. Theatre Building Engineer Dave F. Henderson Associate Director of Open-captioned performance of The Tempest. Theatre Monitors Milton Garcia, Jeff Whitlow Communications and PR Heather C. Jackson TICKET AND GROUP SALES: Thursday, December 18 at 8 p.m. Custodian Jorge Ramos Lima Web and Media Programmer Brien Patterson Tickets: 202.547.1122 Audio-described performance of The Tempest: Harman Porters Dennis Fuller, Mirna Guzman, Marketing and Communications Toll-free: 877.487.8849 Saturday, December 27 at 2 p.m. Roderick Proctor Intern Jessica Peña Torres Group Sales: 202.547.3230 ext. 3405 Sign-interpreted performance of The Tempest: Box Office fax: 202.608.6350 Monday, December 29 at 7:30 p.m. Lansburgh Porters Agustin Hernandez Visual Communications Bookings: 202.547.3230 ext. 2321 An audio-enhancement system is available for all Director of Information Technology Brian McCloskey Manager S. Christian Taylor-Low performances. Both headset receivers and neck loops Systems Administrator Patrick Hayes Junior Graphic Designer Taylor Henry BOX OFFICE PHONE HOURS (both theatres): (to use with hearing aids outfitted with a “T” switch) Graphic Design Intern Keshia Pace Daily: noon–6 p.m. are available at the coat check on a first-come basis. Database Administrator Brian Grundstrom (Box Office window open until curtain time) Program notes in Braille and large print are available at Photographers Kevin Allen, Margot Schulman, The Lansburgh Box Office is closed on the the coat check. Scott Suchman weekends if there is no performance at the Support for the Shakespeare Theatre Company’s DEVELOPMENT Lansburgh Theatre. Accessibility Program provided by EDUCATION Chief Development Officer Ed Zakreski Director of Education Samantha K. Wyer CONCESSIONS AND GIFT SHOPS: Associate Director of Development Amy Gardner Food and beverages are available one hour before Associate Director of Education Dat Ngo Individual Campaigns Officer Betsy Purves each performance. Pre-order before curtain for Partial support for open captioning provided by Audience Enrichment Manager Hannah Hessel Ratner immediate pick-up at intermission. Major Gifts Officer Sara Conklin Community Engagement Manager Laura Henry Buda Lansburgh Theatre and Sidney Harman Hall Special Events Manager Moriah Mills School Programs Manager Vanessa Hope gift shops are open before curtain, at intermission and for a short time after each performance. Gala Assistant Freddy Mancilla Training Programs Manager Brent Stansell Development Operations and Education Coordinator Emily Marcello CONNECT WITH US: The video and/or audio recording of this performance Membership Manager Kristina Williams Education Intern Sarah Kate Patterson Facebook.com/ShakespeareinDC by any means whatsoever are strictly prohibited. As a Twitter @ShakespeareinDC Development Operation Coordinator Sara Seidler Affiliated Teaching Artists Carolyn Agan, courtesy, turn off pagers, telephones, watch alarms and Membership Coordinator Arielle Katz YouTube.com/ShakespeareTheatreCo Wyckham Avery, Dan Crane, George Grant, Flickr.com/ShakespeareTheatreCompany all other electronic devices during the performance. Director of Corporate Giving Noreen Major Jon Harvey, Brit Herring, Paul Hope, Instagram @ShakespeareinDC Corporate Giving Manager Katie Burns-Yocum Rachel Hynes, Mark Jaster, Sabrina Mandell, Audience members may be reached during a Director of Foundation and Chelsea Mayo, Nafeesa Monroe, Jennifer L. Nelson, performance by calling house management at Government Relations Meghann Babo-Shroyer Matthew Pauli, Victoria Reinsel, Paul Reisman, Latecomers will be seated at management’s discretion. 202.547.3230 ext. 2517. Specify seat location.

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

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

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

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