ASIDES production program - Shakespeare Theatre Company

Transcription

TABLE OF
CONTENTS
1 Title page
3 Cast
5 Synopsis
7 About the Playwright
8 Director’s Note
10 A Brave New World
by Drew Lichtenberg
14 For the Wyn
by Drew Lichtenberg
18 These Charms Dissolve
by Paul A. Kottman
24 Cast Biographies
27 Play in Process
32 Direction and Design
Biographies
38 Mapping the Play:
What’s Your Desert
Island?
by Laura Henry Buda
40 For STC
44 Faces and Voices:
STC School Shows by
Hannah Hessel Ratner
46 Support
54 Preview: The
Metromaniacs
56 About STC
58 Preview: Dunsinane
60 STC Staff
61 Audience Services
Cover photo: Geraint Wyn Davies
by Scott Suchman
Dear Friend,
It always gives me a particular
pleasure to introduce Ethan
McSweeny. Aside from his
immense talent and his
wonderful work for our stages,
he has been a vital part of STC
for many years now, starting when he was quite
young. Before Ethan was a freelance director, he was
a 19-year-old directing intern. I can still remember
him as dance captain in Carter Barron, teaching the
kids their dance in The Merry Wives of Windsor. He
was brilliant back then, and absolutely nothing has
changed.
He was a great assistant director, then associate
director, and he has done wonderful work for
us for many years. This season will actually
celebrate two of Ethan’s productions because we
will be reviving his production of A Midsummer
Night’s Dream as our next Free For All. And, of
course, this production of The Tempest, which
promises to be a richly imaginative experience.
Joining Ethan are many familiar faces and some
new friends. I am pleased to welcome back Geraint
Wyn Davies as Prospero, who has also played Don
Armado, Richard III and Cyrano on our stages. Geraint
is usually busy performing at the Stratford Festival
in Canada, and we are thrilled he can rejoin us. Also
returning are many members of the multitalented
company Ethan assembled for Midsummer, both
onstage and behind the scenes. Ethan and his
designers, Lee Savage and Jennifer Moeller, have
worked on more shows in Sidney Harman Hall than
anyone else alive, and the world they have created
takes full advantage of the space’s potential for music,
spectacle and the finest classical acting.
In February, don’t miss David Greig’s Dunsinane, a
special presentation from the award-winning National
Theatre of Scotland. In the spring, Alan Paul takes us
to Cervantes’ Spain with Man of La Mancha; David Ives
brings us to France with The Metromaniacs, his third
comedy in rhyming couplets for STC; and Helen Hayes
Award-winning Steven Epp stars in Molière’s Tartuffe.
We look forward to sharing these stories with you.
I look forward to seeing you in our theatres.
Warm Regards,
Michael Kahn
Artistic Director
Shakespeare Theatre Company
Recipient of the 2012 Regional Theatre Tony Award®
Artistic Director Michael Kahn
Managing Director Chris Jennings
William Shakespeare’s
Performances begin December 2, 2014
Opening Night December 8, 2014
Sidney Harman Hall
Director
Ethan McSweeny
Puppet Designer & Coach
James Ortiz
Scenic Designer
Lee Savage
Voice and Text Coach
Gary Logan
Costume Designer
Jennifer Moeller
Resident Casting Director
Carter C. Wooddell
Lighting Designer
Christopher Akerlind
Casting Director
Laura Stanczyk, CSA
Sound Designer
Nevin Steinberg
Literary Associate/Dramaturg
Drew Lichtenberg
Composer
Jenny Giering
Assistant Director
Craig Baldwin
Choreographer
Matthew Gardiner
Directorial Assistant
Katherine Burris
Flying Director
Stu Cox
Production Stage Manager
Joseph Smelser*
Flying Effects provided
by ZFX, Inc.
Assistant Stage Managers
Kristy Matero*
Hannah R. O’Neil*
The Tempest is generously sponsored by Arlene and Robert Kogod
with additional support from Share Fund and KPMG LLP.
Restaurant Partner: Asia Nine
*Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers.
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
Robert E. Falb, Vice Chair
John Hill, Treasurer
Pauline Schneider, Secretary
Michael Kahn, Artistic Director
A terrible storm at sea attacks a ship carrying Alonso, the King of Naples, and
other lords. The magician Prospero and his daughter Miranda watch from a
nearby island. After assuring her that he will bring the men safely to dry land,
Prospero tells Miranda he was once Duke of Milan. Usurped by his scheming
brother Antonio, he took exile with her on this magical island. Twelve years
later, a serendipitous reversal has brought Antonio, Alonso and the other lords
back, as if for a final reckoning.
Melissa A. Moss
Stephen M. Ryan
George P. Stamas
Lady Westmacott
Rob Wilder
Suzanne S. Youngkin
Trustees
Nicholas W. Allard
Ashley M. Allen
Stephen E. Allis
Anita M. Antenucci
Jeffrey D. Bauman
Afsaneh Beschloss
William C. Bodie
Landon Butler
Dr. Paul Carter
Dr. Mark Epstein
Andrew C. Florance
Dr. Natwar Gandhi
Miles Gilburne
Barbara Harman
John R. Hauge
Stephen A. Hopkins
Lawrence A. Hough
W. Mike House
Jerry J. Jasinowski
Norman D. Jemal
Scott Kaufmann
Kevin Kolevar
Abbe D. Lowell
Bernard F. McKay
Eleanor Merrill
Ex-Officio
Chris Jennings, Managing Director
Emeritus Trustees
R. Robert Linowes*, Founding Chairman
James B. Adler
Heidi L. Berry*
David A. Brody*
Melvin S. Cohen*
Ralph P. Davidson*
James F. Fitzpatrick
Dr. Sidney Harman*
Lady Manning
Kathleen Matthews
William F. McSweeny
V. Sue Molina
Walter Pincus
Eden Rafshoon
Emily Malino Scheuer*
Lady Sheinwald
Mrs. Louis Sullivan
Daniel W. Toohey
Sarah Valente
Lady Wright
To execute his plan of vengeance, Prospero calls upon his two servants: Ariel, “a
delicate spirit” of the island whom Prospero has promised freedom, and Caliban,
a native of the island whom Prospero has tasked with menial labor. Ariel brings
the young Prince Ferdinand ashore, separated from his father and the other
lords. Miranda and Ferdinand instantly fall in love, but Prospero puts the young
man to work bearing logs.
*Deceased
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The King’s party lands in another part of the island. Believing Ferdinand
drowned, Alonso bemoans his loss of his son. After Ariel enters, invisible, and
puts the King’s party to sleep, Antonio urges Sebastian to kill his sleeping brother
Alonso, thereby becoming King of Naples. But Ariel suddenly awakens Alonso
and the other lords, and the two conspirators feign innocence. Meanwhile, Caliban
meets two more survivors of the shipwreck: Stephano, a drunkard butler, and
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
suddenly appears, disguised as a harpy, and tells them they will all meet their
deaths. Back at Prospero’s cell, Ferdinand and Miranda have agreed to be married,
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
as dogs chase the three men away.
His plans drawing to a close, Prospero dons his enchanted robes and resolves
to abandon his magical powers once his final spell is complete. Ariel brings
the shipwrecked lords to him. After forgiving Antonio and reclaiming his
dukedom, Prospero reveals Ferdinand and Miranda. Thrilled to see his son
alive, Alonso blesses the marriage and begs Prospero’s forgiveness. Ariel enters
with the shipwrecked sailors, who report amazedly that their ship lies at harbor,
undamaged. Ariel then brings in Caliban, whom Prospero acknowledges as his.
Seeing his folly, Caliban vows to be wiser. Finally, Prospero sets Ariel free.
202.608.6347
Monday–Friday, 6–9 p.m.
5
ABOUT THE PLAYWRIGHT
WILLIAM SHAKESPEARE
Located steps away from
Shakespeare Theatre Company
at 915 E Street NW
202.629.9355
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No man’s life has been the subject of more speculation
than William Shakespeare’s. Consequently, we know a
great deal of information about Shakespeare’s life—far
more than that of any of his contemporaries.
Scholars agree that William Shakespeare was
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.
By 1592 Shakespeare had become prominent enough as a playwright to engender
professional jealousy. A rival playwright, Robert Greene, wrote snidely of an
“upstart crow, beautified with our feathers, that with his tiger’s heart wrapped in a
player’s hide supposes he is in his own conceit the only Shakescene in a country.”
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
of his poems, Venus and Adonis and The Rape of Lucrece, are dedicated.
In 1594 Shakespeare was listed as a stockholder in the Lord Chamberlain’s Men;
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
license to Shakespeare and his fellow players, inviting them to call themselves The
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
playhouse. The famous Globe Theatre was their summer performance space.
In the century after Shakespeare’s death, his reputation fell into the depths of
obscurity. Beginning with his 18th century rehabilitation by Samuel Johnson
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.
Today, his plays are performed, read and studied all over the globe—far more
than any comparable figure. No other playwright has made such a significant and
lasting contribution to world literature.
SHAKESPEARE STARS—show your Bard Card and receive 15% off!
7
DIRECTOR’S NOTE
Adapted from remarks to the company on
the First Day of Rehearsal
Not long ago, I was sitting with the costume
designer Susan Hilferty and she reminded
me that her friend and frequent collaborator
Garland Wright had as a tenet that each
director should encounter The Tempest every
ten years or, at a minimum, three times:
once in early career, once in mid-career and
once in late career. It was, in his opinion, the
ultimate artistic touchstone.
Garland had been on my mind as I prepared
for this production, as I vividly recall working
for him on my final show as a young assistant
director here at this theatre. That Tempest was
to be his last. He was very sick at the time, and
he knew it, but the production was breathtaking: beautiful, elegant and—incredibly given
the weight of his personal circumstances—
incredibly buoyant. Ted van Griethuysen
starred as Prospero, and in a display of the
true evolutionary nature of what it means to
be part of this acting company, I am thrilled to
have him playing Gonzalo in this production
and in his 80th year.
As it happens, The Tempest was the very
first play I ever directed. I undertook the
play in my third year as an undergraduate
at Columbia University, when I was only
beginning to dare to think of myself as an
artist, and with only the slimmest notion of
what it might mean to be a “director.” On my
side I had only the hubris of youth and the
unfortunate, “inspired” idea to stage the play
under the stars in a quadrangle of Barnard
dormitories at 116th Street and Broadway.
Although that choice of location paved the
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
describe the half of it.
But that is a story for another time. I feel
deeply fortunate to take on this play a second
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
work. It’s hard not to view the play through
the lens of a master dramatist wrapping up his
career. There is an essentialness to the writing,
a purity of line and form and an Aristotelian
unity of time that marks it singularly among
the canon. The trio of Prospero, Caliban and
Ariel seem to echo the complicated and
conflicted relationship between creator, muse
and created. And there are elements in its
trio of plots where the playwright seems to
be consciously revisiting some of his greatest
hits: a shipwreck a la Twelfth Night, innocent
young people falling in love at first sight as in
Romeo and Juliet, scheming Neapolitan lords
reminiscent of Julius Caesar, low comedy
clowns who could be equally at home in the
8
Forest of Arden and, of course, a world of
magic and spirits co-existing with our own.
Having recently directed for STC Shakespeare’s
other most magic-laden play and working
again with designers Lee Savage and Jen
Moeller, I find the parallels between Tempest
and Midsummer to be both a thrill and a
creative challenge. We’ve asked ourselves
some provocative questions about the different
nature of magic in each play, and the astute
audience member will observe some deliberate
connections we have made while also, I hope,
noting some vast differences.
Standing here today on the threshold of
starting rehearsals, I see why Garland felt
the way he did: the play demands incredible
flexibility and dexterity from all of its creative
artists. There are multiple special effects, music,
shipwrecks, masques, harpies and, above all,
words, words, words. I am comforted, however,
that in his final act, Prospero (and Shakespeare)
identify forgiveness as the cardinal virtue of our
common humanity. I feel humbled and honored
to start this journey together, and I hope, as
Garland recommended, it will not be my last.
From left: Director Ethan McSweeny;
Dave Quay as Stephano; Clifton
Duncan as Caliban and Liam Craig
as Trinculo during The Tempest
rehearsal. Photos by S. Christian
Taylor-Low.
ASIDES
published by SHAKESPEARE THEATRE COMPANY
Managing Editor
Heather C. Jackson
Publisher
Michael Porto
Creative Director
S. Christian Taylor-Low
Advisors
Alan Paul
Samantha K. Wyer
Contributing Editors
Garrett Anderson
Laura Henry Buda
Hannah Hessel Ratner
Drew Lichtenberg
Contributing Writer
Paul A. Kottman
Graphic Designer
Taylor Henry
Editorial Assistant
Alison Ehrenreich
Editorial Intern
Jessica Peña
9
Brave
New
World
by Drew Lichtenberg
Production Dramaturg
I
n 1609, a group of settlers sailing to
Virginia (named in 1584 for the “Virgin
Queen,” Elizabeth) wrecked on the
shore of a strange island after a sudden
sea-storm. They landed in Bermuda, the
beginning of that island’s ill associations
with lost travelers. Uniquely for Shakespeare,
this episode can be traced directly to one
of his plays. Indeed, Shakespeare might
have known William Strachey, who wrote
the earliest and best narrative of the
shipwreck. Shakespeare’s patron, the Earl
of Southampton, was an investor in the
expedition, and Strachey would later
live in Blackfriars, close to the indoor
theatre where the play inspired by
his account, The Tempest, was likely
first performed.
One of the many fascinations
of The Tempest is the palpable
sensation it provides of a world on
the verge of discovery, and also of
10
a world on the verge of eclipse.
Shakespeare, who had begun his
career preoccupied by medieval
ritual and belief, ended it by
dramatizing what we can only
call our modern world.
True, it shares a visionary
supernatural dramaturgy with
A Midsummer Night’s Dream,
and its narrative of brotherly
banishment is a feudal theme
that pops up throughout
Shakespeare’s work. But
The Tempest is set
in a new world
of colony and
slavery, of bold
exploration
spurring cries
for universal
suffrage.
In fact, The
Tempest
inaugurates
an entire
genre of seaswallowed
survivors and
shipwrecks on
strange islands, from
Robinson Crusoe and
20,000 Leagues Under the Sea
to Survivor, Castaway and Lost.
The Tempest is unusually
short, and Shakespeare is
uncharacteristically keen to
conform to classical rules of
dramatic structure. The play
doesn’t merely happen in real
time, but time seems to shorten as
we move through the action, with
the three groups of shipwrecked
survivors spiraling around the
island in concentric circles until
they finally knit together.
Presiding above this
action is Prospero, a powerful
magician who manipulates
the other characters in the
manner of a theatrical director.
Prospero, we learn, was once
Duke of Milan, usurped by his
scheming brother. The story is
an elaboration of Machiavelli’s
The Prince: an indolent ruler
losing his crown to an openeyed conspirator. In this play,
however, the plot is
doubled, tripled,
even quadrupled.
The result is a
cascade of
plots that
force us to
reflect on
usurper and
usurped,
master
and slave.
For when
Prospero
arrived at the
island, we also
learn, he took the
rightful inheritance of
the island’s two natives:
Ariel and Caliban.
They are two of
Shakespeare’s most remarkable
creations, and he invents
entirely new dramatic
languages for both of them.
The “delicate spirit” Ariel,
able to adopt any shape, at
home in every element, serves
as the chief stage manager
of Prospero’s remarkable
theatricals, which have equal
capacity to amaze and terrify.
One of the play’s cardinal
One of the
many fascinations
of The Tempest is the
palpable sensation it
provides of a world on
the verge of discovery
11
As for Caliban,
perhaps no character in
Shakespeare has inspired
more controversy, or
prompted such a constant
stream of epithets. Though
he speaks fewer than
200 lines in the play, and
is described by other
characters as a monster
or animal—a “savage
and deformed slave,”
a “devil,” a “freckled
whelp”—Shakespeare
goes to great pains to
portray Caliban in as
human a manner as
possible. An untutored
native, Caliban possesses
a tragic inwardness, and
Shakespeare invents a
language for him of depth
and novelty, utterly unlike
the comic prose of the
drunkard and clown who
share his plot. Caliban has
a unique ability in the play
to apprehend the natural
Henry Fuseli, Ariel, c. 1800-10, by permission of the Folger
Shakespeare Library.
world, and his poignant
reverie on the island’s
music, at the midpoint
achievements (and one familiar
of the play, mingles tenses with a
to fans of Star Trek) is Ariel’s
curious and sublime grace.
detached yet sympathetic
“The isle is full of noises,” says
perspective on human behavior.
Caliban. Indeed, The Tempest is
Unlike Puck from A Midsummer
the most musical of Shakespeare’s
Night’s Dream, who revels in
plays, shot through with strange
mortal misfortune, Ariel is Spocksounds, chiming with words such
like, finding the human actors
as dream, spirit, sea and sleep.
of Prospero’s plays-within-theThe play, to paraphrase Ariel, is
play to be puzzling, strange and
something “rich and strange,” a
ultimately worth value. In her
beautiful object that loses us in its
interactions with Prospero, we
own mazelike rhythms. Writing at
witness the servant becoming
the end of his career, Shakespeare
the master of the master, Art
seems to have reached a peak
communicating directly with Life.
12
of virtuosity, and there is an
unmistakable nostalgia pervading
the play’s menagerie of theatrical
effects. One senses Shakespeare,
like Prospero, looking into the
“dark backward and abysm of
time” and recollecting a life lived
in dreams, spent creating illusions
for the stage.
Perhaps this is the reason for
the play’s unusual economy of
structure, as well as Prospero’s
fateful decision to renounce his
theatrical magic. By relegating
so much of the plot to backstory,
Shakespeare devotes his dramatic
action almost exclusively to final
reckonings. Invariably, they are
of the tender and human variety.
We are asked, alongside Prospero,
to stare into the mystery of the
human comedy, and into the
beautiful fantasies it sustains.
The tempest, it turns out, was
an illusion created by Prospero,
and all of us are safe, despite our
momentary terror. The same could
be said of practically every scene
in the play, full of sound and fury,
signifying something.
This play, Shakespeare’s
veritable last word on the
theatre, also addresses theatre’s
limitations, its ultimate failure to
manifest dream as reality. With
the shift from a medieval world
to a modern one, from religious
quest to scientific discovery,
Shakespeare seems to be hinting at
an attendant loss of mystery. The
dramatic action of The Tempest is
nothing less than the destruction
of the theatrical illusion itself, and
with it, the setting of the sun on an
entire era in world history.
Workshop of Theodor de Bry, The Conjurer, 1590. Courtesy of the John Carter Brown Library at
Brown University.
13
FOR
THE
WYN
Fourth Time’s the Charm for
Geraint Wyn Davies
and STC
By Drew Lichtenberg
I
t can be dangerous to have
in England before settling in for a
Wyn Davies.
the ensemble at Canada’s Stratford
brunch if you’re Geraint
One recent morning, at a favorite
Capitol Hill haunt, the veteran of
stage and screen was partaking
in some breakfast when he was
interrupted.
Three different times.
By three different fans.
Who recognized him for three
different roles.
Wyn Davies laughs. It has been
quite a ride. The actor, born in
Swansea, Wales, began his career
14
decade-plus run as a member of
Festival, where he estimates he
has performed in “24 or 26” of the
plays from Shakespeare’s 36-play
canon. He has also frequently been
featured on Canadian and U.S.
television, and his deep backlog of
roles causes fans to recognize him
as “that guy” from shows both cult
and blockbuster.
Ethan McSweeny is inordinately
fond of the actor he calls “Ger.” (The
correct pronunciation of the name,
15
one of the Arthurian Knights
of the Round Table—the Welsh
one—lays the stress on the first
syllable, with the second syllable
rhyming with “pint.”) “It was a
great joy that Geraint turned out
to be available,” McSweeny said
before rehearsals began. “He is a
mainstay at Stratford, and we’ve
worked side-by-side at the company
several times, though never before
on the same show. Prospero is at the
center of this play and you need an
actor who can play this ingenious,
industrious, versatile, self-aware
character.”
This is the fourth time Wyn
Davies has come to STC, and he
has fond feelings for the company
where he won a Helen Hayes
Award in 2005 for his turn as the
title character in Cyrano and a
Helen Hayes nom for his stint as
Don Armado in Michael Kahn’s
60s-themed Love’s Labor’s Lost, a
production that also performed at
the Royal Shakespeare Company.
In fact, during that 2006 stint
in Washington, Wyn Davies was
sworn in as a U.S. citizen. “We
needed somebody last minute,
because my green card was
expiring,” Wyn Davies says, “and
we were going over to Stratfordupon-Avon with Love’s Labor’s. By
the time I came back, it would have
16
been expired and there would have
been a huge kerfuffle. I mentioned
it to a board member, who very
casually said, ‘Oh, I know someone
who might be able to help.’” The
friend? Washington’s biggest
Shakespeare fan herself, Justice
Ruth Bader Ginsburg.
So, what were the three roles
in which those dogged fans at
brunch recognized him? One was
Nick Knight, a thousand-year-old
vampire turned Toronto private
detective from the much-beloved
Canadian series Forever Knight.
“It was one of the first vampire
shows,” Wyn Davies says, “many
years before it became this huge
Hollywood genre.” The second?
James Nathanson, the terroristabetting turncoat CIA agent from
the fifth season of the smash-hit
24. The third was from the muchbeloved cult series Slings and
Arrows, in which many of Stratford’s
finest actors appear in a location
that looks suspiciously familiar.
Contrary to popular belief, and
unlike his incurably pompous,
director-baiting (and ill-fated)
Sling and Arrows character Henry
Breedlove, Wyn Davies did not
perform his most famous speech
from The Tempest for the entire
company before the first day’s
read-through.
ROLE CALL: GERAINT WYN DAVIES
The Actor Reflects on Previous Star
Turns at STC
Cyrano, Cyrano
There’s a story there.
Michael Kahn came
to see me play
Edmund opposite
Christopher Plummer
in King Lear at Lincoln
Center. Stacy Keach
was going to play Cyrano, but he had to
drop out because of a last-minute injury.
Michael remembered me and offered me
the part. Three gentlemen cornered me in
my dressing room with a glass of wine—
Christopher Plummer, Kevin Kline and Len
Cariou—and said that I would be a hack if
I didn’t do it. That’s also where I met my
wife, Claire Lautier. She played Roxanne.
She also played the Princess of France in
Love’s Labor’s and Lady Anne in Richard III.
And she was also taught by Michael Kahn.
Photo by Carol Rosegg.
Richard III, Richard III
That play is
Shakespeare having
a great romp. I don’t
think he agonized over
Richard’s evil. The
darkness of it comes
out of the results
of Richard’s actions, not out of the way
he goes about them. I think Richard has
the best relationship with an audience of
any Shakespearean character. The play is
basically his dialogue with the audience,
with interruptions. Characters come on,
and he manipulates them, but he spends
most of the play talking to his only friend,
which happens to be the audience. He is
amazingly at ease with himself. I remember
taking off the makeup at the end of each
show and saying, ‘That was fun.’
Photo by Richard Termine.
Don Armado,
Love’s Labor’s Lost
Michael’s concept
was brilliant, with the
girls riding around
on their Vespas, and
Amir dressed as the
Maharishi. I played Don
Armado as a cross between Salvador Dali
and Benny Hill.
We played at the Swan in Stratfordupon-Avon, which was great. Two
things happened during our opening
performance: one was during my first
entrance. I tore the crotch completely
out of my trousers. And then I lost half
my moustache. I just put my finger where
my moustache was, and played the rest
of the scene that way: crotchless and
half-moustachioed. I think I made up a line
saying “Half a moustache is better than no
moustache at all.”
Photo by Carol Rosegg.
Prospero, The Tempest
He’s such an observer. He has other people
do his bidding, and then he basically
comments on it. He’s almost like a reviewer,
or a critic of his own life. Ariel comes and
reports to Prospero and he then takes
that and writes over it. He’s rewriting his
own story, commenting on it in front of
the audience. Everybody else in the play is
active, but as Prospero you have to watch
and think.
This is the third time I’ve done The
Tempest, but I’ve never quite realized the
challenge that Prospero poses to an actor.
He’s not like Richard in his relationship to
the audience. He’s not speaking to you,
he’s speaking to the cosmos, to the spirits
in another world, to Ariel. Really, he’s
talking to himself, in a way.
17
These
Charms
Dissolve:
On Shakespeare’s
The Tempest
By Paul A. Kottman
T
here are at least two truisms
about Shakespeare’s drama,
generally, and The Tempest,
in particular, with which many
audiences are likely to be familiar.
First, Shakespearean drama
contains many “meta-theatrical”
moments, or scenes in which the
plays seem to reflect on themselves—
as if Shakespearean drama is
sometimes about itself, or about its
own status as theatrical drama. While
Shakespearean drama is essentially
the artistic presentation of actions
and predicaments before an audience,
Shakespeare also calls attention, from
within his plays, to the stakes and
implications of such presentations.
Think of the way Hamlet tries to
capture the conscience of Claudius
by staging The Mousetrap, or of the
way that the opening Chorus of
Henry V alerts us to the “imaginary
forces” required to watch a play, or
indeed of Prospero’s direct appeal to
the audience in the Epilogue in The
Tempest—in virtue of which Prospero
appears simultaneously in character
and as the actor playing Prospero.
Second, The Tempest is likely
Shakespeare’s valedictory, the last
play that he wrote alone. It is, I think,
difficult not to imagine Shakespeare
himself speaking when Prospero
utters those final words of the
Epilogue. “Now my charms are all
overthrown,/ And what strength I
have’s mine own…”
Taken together, what can these two
truisms tell us about The Tempest?
By working artistically to finally let
go of his Art, Prospero seems to offer
an intense reflection on one final aim
of Shakespearean theater: to transcend
drama (or art) from within the sphere
of dramatic art. But what do we mean
by dramatic art or “Art” here? And
what could it mean to transcend an art
from within its own sphere?
Consider, first, Prospero’s “art”—
not just as a fictional device but also
as an allegorical presentation of the
dramatic arts or of Art generally.
Like all Art, Prospero’s “art” denies
nature’s authority over the artist.
Most basically, Art just is a denial of
nature’s power to tell us what to do
with natural elements. Art has always
been an elemental way we work with
and through the seeming indifference
of Nature in order to achieve our own
aims. Human beings move immensely
heavy material to build temples and
palaces, turn colors and rough surfaces
into painting, change sound waves and
instruments into symphonies. Distilling
all of this, Shakespeare’s allegory
shows Prospero’s art to be as powerful
as anything yet seen in the history of
human Art:
I have bedimm’d
The noontide sun, call’d forth the
mutinous winds,
And ’twixt the green sea and the
azur’d vault
Set roaring war: to the dread
rattling thunder
Have I given fire, and rifted Jove’s
stout oak
With his own bolt; the strong-bas’d
promontory
Have I made shake, and by the
spurs pluck’d up
The pine and cedar: graves at my
command
Have wak’d their sleepers, op’d
forth, and let ’em forth
By my so potent Art …
act 5, scene 1
19
Photo by Sally Glass
That said, Shakespeare’s dramatic
interest in Prospero’s art—his interest
in theatrical drama generally—lies
not in any natural-environmental
consequences, but in the socialhistorical aftermath. By artfully
denying Nature’s authority, we
teach ourselves what we are capable
of. Through Art, that is, we alter
our self-conception—we no longer
see the course of history as set by
an all-powerful God or Nature,
but rather come to see ourselves
as capable of anything. Art is a
fundamental practice through which
we have come to better understand
ourselves—our activities and social
bonds—as self-determining or up to
us. Think of The Tempest’s opening
scene—in which our very experience
of “natural” elements (the storm, the
waves) is presented as an artistic,
human accomplishment. After
all, the meaning of the tempest is
nowhere to be found in the frothy
waves but, as Miranda, and the
audience discover, it resides in
the stirring social consequences
that follow upon the storm. Even
those on the ship feel that their
fate lies not in the indifference
of the roaring sea to the King’s
command, but in recognizing the
autonomous capacities of their own
hands—inebriated as they are: “We
are merely cheated of our lives by
drunkards…” (act 1, scene 1).
With all this in mind, and to
return to the questions I posed
earlier, consider one of the more
puzzling moments of The Tempest,
act 4, scene 1—in which the most
refined spectacular techniques of
Shakespeare’s era (so called Masques)
are pressed into the service of filling
20
the island with strange sights and
sounds: spirits, trances, somnolence,
charms. Why does Shakespeare
present this overwrought exhibition
of theatrical “art”? What is he trying
to show, or achieve?
In one sense, act 4, scene 1 simply
puts the sensuous capacities of
theatrical drama on self-conscious
display, in order to show the broader
expressive freedom of the theatre
with respect to other artistic media.
Theatrical drama can contain music
without being reducible to a musical
performance, it can contain dance
without being taken for a gambol or
a ballet, it can contain spectacles of all
sorts without being reducible to mere
show. Moreover, theatrical drama can
purposefully show this containment
of other media as essential to its own
specific expressive power—much like
cinema today. Which is, of course,
just what Prospero demonstrates.
All of this—whatever else it might
mean in the context of The Tempest
(and it is not at all clear what else
the demonstrations from act 4, scene
1 are “about”)—can be taken as
Shakespeare’s presentation of various
components of dramatic practices that
would normally escape our attention,
that we might otherwise pass over as
simply part of the proceedings at a
playhouse.
But, again, why are we asked to
be so attentive to theatrical drama’s
expressive freedom—and its eventual
self-dissolution at Prospero’s own
command? “Well done! Avoid; no
more!” (act 4, scene 1). Consider how
Prospero addresses his own activity.
Again, Prospero seems to locate the
aim of theatrical drama both in the
display of its expressive power and in
the dissolution of that display.
Our revels now are ended. These
our actors,
As I foretold you, were all spirits
and
Are melted into air, into thin air …
act 4, scene 1
At first, Prospero seems here to draw
attention to his own artistic prowess—
the free, nature-defying capacities
mentioned above. However, it soon
becomes clear that he wants to connect
this prowess to something like the fate
of all human Art.
And, like the baseless fabric of this
vision,
The cloud-capp’d towers, the
gorgeous palaces,
The solemn temples, the great
globe itself,
Ye all which it inherit, shall dissolve
And, like this insubstantial pageant
faded,
Leave not a rack behind.
act 4, scene 1
Here it might seem that Prospero is
saying that all of our artistic-cultural
achievements will eventually be quite
lost. But if we understand this loss
as owing only to the inherent frailty
of material goods or to the arbitrary
vagaries of history, then we are missing
something. For Prospero speaks of “the
baseless fabric of this vision.” What
is being dissolved is not just concrete,
artistic stuff, but also an “insubstantial
pageant”—a vision of ourselves.
The appearance and disappearance
of artworks and civilizations is the
pageant of our historically shifting selfconceptions—the various ways in which
we have seen or understood ourselves.
Indeed, following this, Prospero
invites us to identify ourselves not
with this or that material creation,
but rather with the imaginative
activity behind this rise and fall of
entire worlds.
We are such stuff
As dreams are made on, and our
little life
Is rounded with a sleep.
act 4, scene 1
In short, if revels end then this
is because our shifting needs for
different arts express and respond
to our changing self-conception.
After all, as a society, we no longer
express our collective self-conception
as we once did—in the performing
of ritual tragedies, for instance, or in
the building of cathedrals, or in the
painting of saints’ lives. We can and
do let go of certain artistic practices.
Hence, we ought to be able to
see changes in our practices as
determined by us—by shifts in our
self-understanding, and not just
by forces beyond our control. The
human freedom implicit in all Art
is perhaps made most explicit when
we can see ourselves as capable of
letting go of this or that art.
Making this explicit, I think,
is Prospero’s aim—a challenge
Shakespeare set for himself.
Hence, at the end of The Tempest,
Shakespeare will not just rehearse
the standard Elizabethan-Jacobean
epilogue about a play’s ending.
Instead, the play’s very artistic
mode must be brought to a close,
revels ended from within—first of
all by the artist, who drowns his
book and staff.
21
Now my charms are all o’erthrown,
And what strength I have’s mine
own
epilogue
But how can theatrical artistry
and all it implies—the overcoming
of nature, the artificial distance it
creates between artist and audience,
participants and spectators—be
dissolved by the artist himself? How
can theatrical drama transcend itself
from within its own sphere? After
all, ending a play from somewhere
outside the play—by, say, pulling a
fire alarm in a crowded playhouse
or by conjuring a deus ex machina—
is cheating. That does not bring
theatrical drama to a close, but
merely cuts it off.
To address this challenge, several
actions seem to be required. First, the
artist must risk appearing otherwise
than as an artist. Certain trappings
have to be jettisoned.
…I’ll break my staff,
Bury it certain fadoms in the earth,
And deeper than did ever plummet
sound
I’ll drown my book.
act 5, scene 1
This is not only a matter of trading
one guise for another, nor is it
merely the artist is undergoing a
shift within himself. Rather, and this
is the second requirement, that the
risk the artist has taken, in appearing
otherwise than as an artist, also
changes the way things stand for
others. It would not be enough for
the artist to appear as otherwise than
an artist if everyone persisted in their
former self-conception—if everyone
were still held, as it were, by the
22
enduring effects of that art’s spell.
The spell also must dissolve—so
that we, too, might see how things
between us really stand now.
…The charm dissolves apace;
And as the morning steals upon
the night,
Melting the darkness, so their
rising senses
Begin to chase the ignorant fumes
that mantle
Their clearer reason….
act 5, scene 1
Third, to truly risk appearing
otherwise than an artist means
that the letting go of art—if it
is to be a genuine risk and not
merely further artifice—cannot
itself be artfully accomplished.
To appear as otherwise than
an artist therefore could not be
accomplished as an artist—lest
that “appearance” be taken for
another demonstration of artistry.
Only a human being could appear
as otherwise than as an artist.
So, finally—as if Shakespeare’s
drama, as if all theatrical drama,
had been a preparation for this
moment—a human being stands
forth, and steps away from the
“art” he made and from what that
art itself wrought.
Now my charms are all o’erthrown,
The Tempest, 1886, Ivan Aivazovsky.
must acknowledge that Prospero
is not just a fictional character, that
the “island” is not a safely distant
aesthetic domain…
I must be here confin’d by you
… Let me not
… dwell
In this bare island by your spell;
But release me from my bands
With the help of your good
hands….
… hence, that we are no longer
acquitted from the obligation to
intervene.
Nothing is sacred in Shakespeare’s
drama, not even its own status
as dramatic art. This status
dissolves the moment that it wants
something other than passive
spectatorship from us—when it
asks us to acknowledge others, to
let them be present to us, and to
become present to them.
epilogue
And what strength I have’s mine
own
Which is most faint…
epilogue
But even at this point, another
moment is still required. The
distance between what we see and
our own lives must dissolve. We
Paul A. Kottman is Associate Professor of Comparative Literature at The New School for Social
Research. The author of A Politics of the Scene (Stanford UP, 2008), Tragic Conditions in
Shakespeare (J Hopkins UP, 2009) and the editor of Philosophers on Shakespeare (Stanford, 2009),
he is currently completing a new book, tentatively called Romantic Love as Human Freedom.
Excerpted from full article published in the e-book Guide to the Season’s Play 2014-15 available for
purchase for the Kindle or Nook.
23
CAST BIOGRAPHIES
NANCY ANDERSON
Voice
STC: A Midsummer Night’s
Dream. NEW YORK:
Broadway: Wonderful
Town, A Class Act; OffBroadway: York Theatre:
Fanny Hill (Drama Desk nomination), Jolson
& Co. (Drama Desk nomination), Ionescopade,
Yank! NATIONAL TOURS: Kiss Me Kate
(Helen Hayes nomination), Doctor Dolittle.
INTERNATIONAL: London: Kiss Me Kate
(Olivier Award nomination). TELEVISION:
Great Performances: Kiss Me Kate (West End
production), South Pacific (starring Reba
McEntire). REGIONAL: Signature Theatre: Side
By Side By Sondheim (Helen Hayes nomination);
Ogunquit Playhouse: Witches of Eastwick;
Paper Mill Playhouse/Seattle Fifth Avenue:
Damn Yankees; Goodspeed Opera House:
City of Angels; Paper Mill Playhouse: Peter
Pan, She Loves Me; Playwrights Horizons: Far
From Heaven. AWARDS: Winner of 2011 Noël
Coward Competition. CD: Ten Cents a Dance.
WEB: www.nancyanderson.name
FREDDIE BENNETT+
Ensemble
REGIONAL: Florida Studio
Theatre: Ruined; Hartford
Stage: Antony and Cleopatra;
Pennsylvania Shakespeare
Festival: Julius Caesar. FILM: Delusions of
Guinevere. TRAINING: University of North
Carolina School of the Arts; Circle in the
Square. WEB: Pride.
DAVID BISHINS*
Sebastian
STC: The Winter’s Tale (Free
For All). NEW YORK: OffBroadway: The Clurman
Theatre: The Glass House; SPF
at The Public: We Declare You a Terrorist; TACT:
Incident at Vichy; Lortel: Catch-22; Second Stage:
Sympathetic Magic; Tectonic Theater Project:
The Nest; WPA & Lortel: Boys in the Band; CSC:
Tower of Evil. REGIONAL: Woolly Mammoth
Theatre: Appropriate; Barrington Stage: Much Ado
About Nothing; The Old Globe: Brighton Beach
Memoirs/Broadway Bound, Life of Riley; Intiman:
24
To Kill a Mockingbird; Long Wharf: A Month in the
Country, Rag and Bone; Vermont Stage: True West;
Wilma: Arcadia; Pittsburgh Public: The Dybbuk;
Hartford Stage: Reckless. FILM: SALT, The
Adjustment Bureau, Henry’s Crime, Sorry, Haters!,
The War Within, The Magic Helmet. TELEVISION:
Homeland, Blue Bloods, Fringe, Babylon Fields
(pilot), The Law & Order canon. TRAINING:
Juilliard, Member of AEA since 1989.
AVERY CLARK*
Adrian
STC: Measure for Measure.
REGIONAL: Alley Theatre:
Journey’s End; Cincinnati
Playhouse: A Christmas
Carol; St. Louis Repertory Theatre: The Heidi
Chronicles; Alabama Shakespeare Festival:
Romeo & Juliet, Cymbeline, The Count of Monte
Cristo; Arkansas Repertory Theatre: The
Compleat Wrks of Wllm Shkspr, Hamlet, Henry
V, Death of a Salesman, The 39 Steps; Orlando
Shakespeare Theatre: Hamlet, The Importance of
Being Earnest, Pride & Prejudice, A Midsummer
Night’s Dream, All’s Well That Ends Well,
Charm; Pennsylvania Shakespeare Festival: A
Midsummer Night’s Dream; Oldcastle Theatre
Company: Three Days of Rain; Premiere Stages:
The Shape of Things; Theatresquared: Rabbit
Hole, The 39 Steps. TELEVISION: Guiding Light,
American Genius. TRAINING: University of
Arkansas: BA in Theatre.
LIAM CRAIG*
Trinculo
STC: Osip in The Government
Inspector, Brighella/Porter in
The Servant of Two Masters.
NEW YORK: Broadway: Boeing
Boeing (understudy, appeared); Off-Broadway:
Theatre for a New Audience: The Killer; Vineyard
Theatre: The Internationalist; The New Group:
Aunt Dan and Lemon; The Public Theater: Two
Noble Kinsmen; Roundabout Theatre Company:
Juno and the Paycock. REGIONAL: Weston
Playhouse Theatre Company: Uncle Vanya; Yale
Repertory Theatre: A Doctor In Spite of Himself,
The Servant of Two Masters, Accidental Death of an
Anarchist; Berkeley Repertory Theatre: A Doctor
In Spite of Himself, Accidental Death of an Anarchist;
Bard Summerscape: The Wild Duck; Hartford
Stage/Alley Theatre: The Scene; Intiman
Theatre: The Lady From The Sea. FILM: The Royal
Tenenbaums. TELEVISION: Mozart in the Jungle;
Unforgettable, Mercy, Rescue Me, Boston Legal,
Law & Order, Law & Order: SVU. TRAINING:
New York University Tisch School of the Arts
Graduate Acting Program: MFA.
ROSS DESTICHE+
Ensemble
REGIONAL: Walking Shadow
Theatre Company: Gabriel,
The Three Musketeers; Back
Room Shakespeare Project:
Julius Caesar. INTERNATIONAL: Egg Theatre
(Bath): How I Became a Pirate. FILM: Dear
White People, The Control Group. TRAINING:
University of Minnesota/Guthrie BFA Actor
Training Program. WEB: rossdestiche.com
ASIA KATE DILLON+
Ensemble
NEW YORK: Off-OffBroadway: HERE Arts Center:
La Mort de Tintagiles; The
Flea Theater: The Mysteries;
REGIONAL: Theatre Incognita: Iphigenia… Once
Her Heart, A Midsummer Night’s Dream; Actor’s
Workshop of Ithaca: My Name is Rachel Corrie,
Dog Sees God. FILM: Song One, Marcus Garlard.
TELEVISION: Younger. TRAINING: American
Musical and Dramatic Academy: Studio
Program; Actor’s Workshop of Ithaca; Meisner
Training. WEB: facebook.com/asiakatedillon
CLIFTON DUNCAN*
Caliban
Dream, Pericles. NEW YORK:
Off-Broadway: Public Theater:
The Good Person of Szechwan,
Twelfth Night; Signature Theatre: Kung-Fu;
New York City Center Encores: Lost in the
Stars. REGIONAL: The Old Globe/American
Conservatory Theater: The Scottsboro Boys; Arena
Stage: Ruined; New York Stage and Film: When
the Lights Went Out; Yale Repertory Theatre:
Good Goods; Center Stage: The Rivals; Barrington
Stage Company: Best of Enemies; Shakespeare
Theatre of New Jersey: All’s Well that Ends Well;
Signature Theatre: One Red Flower, Yemaya’s Belly;
WSC Avant Bard: Death and the King’s Horseman;
Williamstown Theatre Festival; The Kansas
City Repertory Theatre; Eugene O’Neill Theater
Center; Hangar Theatre; Chautauqua Theater
Company. TELEVISION: The Onion Sports
Dome, Elementary, Flesh and Bone (upcoming).
TRAINING: NYU Graduate Acting Program:
MFA. WEB: www.cliftonduncan.com;
@cliftonduncaniv on Twitter.
SEAN FRI*
Boatswain
NEW YORK: Off-Broadway:
Kirk Theater: Heat Lightning;
Aquila Theatre Company:
Cyrano de Bergerac. TOURS:
Aquila Theatre Company: Much Ado About
Nothing, Cyrano de Bergerac. REGIONAL:
Signature Theatre: The Threepenny Opera; Folger
Theatre: Richard III; Totem Pole Playhouse:
Almost, Maine, Travels With My Aunt, Honus and
Me, Suite Surrender, It Could Be Any One of Us,
Sherlock Holmes, The Final Adventure, Murder in
Green Meadows, Lone Star; Little Theater on the
Square: Sanders Family Christmas; N.Y. Fringe: M
(an adaptation of Macbeth).
AVERY GLYMPH*
Ferdinand
STC: Coriolanus/ Wallenstein.
NEW YORK: Broadway:
The Tempest. Off-Broadway:
Roundabout Theatre
Company: McReele; NY
Shakespeare Festival: Antony and Cleopatra
(dir. Vanessa Redgrave), Troilus and Cressida;
The Drama Dept.: Hope Is the Thing with
Feathers; Lincoln Center Directors Lab: ’Maid.
REGIONAL: Cleveland Play House/The
Old Globe: The Whipping Man (West Coast
premiere); TheaterWorks Hartford: Race;
PlayMakers Repertory Company/Syracuse
Stage: Angels in America; Actors Theatre
of Louisville: Spunk; Crossroads Theatre
Company: Lost Creek Township (Regional
Tony Season); Cape Fear Regional Theatre:
Fences. FILM: Against the Current, Last Ball,
He Got Game (dir. Spike Lee), 13 Conversations
About One Thing, I’m with Lucy. TELEVISION:
Forever, A Gifted Man, Ugly Betty, Oz, Law &
Order, Law & Order: CI, The Electric Company,
The X-Files. AWARDS: San Diego Critics
Circle “Craig Noel” Award Nominee, NAACP
Theatre Award Nominee for The Whipping
Man. INSTRUCTOR: UNCSA: Summer
Acting Intensive. TRAINING: BFA: The
North Carolina School of the Arts; MFA: STC
Academy for Classical Acting at the George
Washington University.
25
PLAY IN
PROCESS
TASTE THIS;
IT’S GOING
TO CHANGE
YOUR LIFE.
JOSÉ ANDRÉS
Avery Clark (Adrian) and
C. David Johnson (Alonso)
Ted van Griethuysen (Gonzalo)
Clifton Duncan (Caliban)
Rachel Mewbron (Miranda) and Geraint Wyn Davies (Prospero) with
Director Ethan McSweeny
Sofia Jean Gomez (Ariel) and
Geraint Wyn Davies (Prospero)
Innovative Greek, Turkish and Lebanese cuisine by Chef José Andrés.
701 9TH STREET NW | WASHINGTON DC 20001 | 202.638.0800 | ZAYTINYA.COM
The company of The Tempest
Avery Glymph (Ferdinand) and the company
of The Tempest
Photos by S. Christian Taylor-Low
27
SOFIA JEAN GOMEZ*
Ariel
STC: Argonautika (Helen
Hayes Nominee Best
Supporting). NEW YORK:
Off-Broadway: Angels
in America: Part 1&2 (Lucille Lortel Best
Ensemble); Signature Theatre, New George’s,
Page 73: Creature; TerraNova Collective:
P.S. Jones and the Frozen City. REGIONAL:
Berkeley Repertory Theatre: Arabian Nights
(Outer Critic Circle Bay Area Best Female
Lead Nominee), Argonautika; Goodman
Theatre: Mirror of the Invisible World; Denver
Theatre Company: Dracula (Denver Post
Nomination), Three Musketeers; Oregon
Shakespeare Festival: King Lear, Tenth
Muse, The Sign in Sidney Brustein’s Window,
Valentine in Two Gentleman of Verona; Black
Swan Lab; Arizona Theatre Company;
Portland Stage Company; Yale Repertory
Theatre; Shakespeare Theatre of New Jersey.
TELEVISION: CBS: Unforgettable. TRAINING:
Yale School of Drama: MFA. Sam Houston
State University: BFA.
BEN HENDERSON+
Ensemble
REGIONAL: Sundance
Summer Theatre: Annie
Get Your Gun; Hale
Center Theatre: Peter
Pan. AWARDS: KCACTF Irene Ryan
National Finalist; Utah Valley University
Outstanding Student 2014. TRAINING:
Utah Valley University: BS in Theatre Arts.
C. DAVID JOHNSON*
Alonso
NEW YORK: Broadway:
Priscilla, Queen of the Desert.
REGIONAL: Palm Beach
Dramaworks: Henry in The
Lion in Winter. INTERNATIONAL: Canada:
Soulpepper Theatre: Great Expectations,
Jitters, Fainall in The Way of the World, Black
Comedy/The Real Inspector Hound, Mary
Stuart, The Threepenny Opera, Cornwall in
King Lear, Max in The Real Thing, Almady in
The Play’s the Thing, A Winter’s Tale, A Chorus
of Disapproval; Neptune Theatre: Atticus
in To Kill a Mockingbird; Stratford Festival:
Major General Stanley in The Pirates of
28
Penzance, 42nd Street, Capt. Von Trapp in The
Sound of Music, The Judge in Inherit the Wind,
Two Gentlemen of Verona, Henry IV; Theatre
New Brunswick: Hook in Peter Pan, Art,
Sleuth, Macbeth. FILM: The Safety of Objects,
The Man Who Saved Christmas, Thanks of a
Grateful Nation. TELEVISION: Saving Hope,
Street Legal (8 years), Soul Food, Mysterious
Island. AWARDS: 4 Gemini/1 Dora Mavor
Moore Nominations for Best Actor. WEB:
CDavidJohnson.com.
DAN JONES
Ensemble
NEW YORK: St. Ann’s
Warehouse: Labapalooza, Point
Pleasant; Public Theater: La
Divina Caricatura (workshop).
REGIONAL: In the Heart of the Beast Puppet
and Mask Theatre: Tracing Fault Lines; Rod
Serling Conference: It’s a Good Life (director/
design); Delaware Theatre Company: The
Diary of Anne Frank. AWARDS: Delaware
Young Playwrights Festival (2). Recent
Literary Fellow at Geva Theatre Center.
GREGORY LININGTON*
Antonio
NEW YORK: Brooklyn
Academy of Music: Throne of
Blood. REGIONAL: Arena Stage:
Equivocation; The Kennedy
Center: Welcome Home, Jenny Sutter; Shakespeare
Center of Los Angeles: Romeo & Juliet; South
Coast Repertory: Tartuffe; Center Theatre Group:
End of the Rainbow; 12-Year Company Member
of Oregon Shakespeare Festival: Love’s Labor’s
Lost, Julius Caesar, Merchant of Venice, King Lear,
The Tempest, Twelfth Night, The Cherry Orchard,
Equivocation (World Premiere), Oedipus Complex
(World Premiere). INTERNATIONAL: 5-Year
Company Member of Misery Loves Company
(Prague, CZ): As You Like It, Cloud Nine, Angels
in America, The Age of Reason (World Premiere).
FILM: Heat of Deeds, Persuasion, Harrison’s Flowers.
TELEVISION: Grey’s Anatomy, Shameless, Major
Crimes, The West Wing. OTHER: Audiobooks:
The Probability Trilogy. INSTRUCTOR: Southern
Oregon University, Oregon Shakespeare Festival,
Los Angeles High School Shakespeare Project.
TRAINING: The Groundlings, SITI Company at
Skidmore College Summer Intensive (dir. Anne
Bogart), Two-Year Actor Training Program: Pacific
Conservatory for the Performing Arts. WEB:
gregorylinington.com.
RACHEL MEWBRON*
Miranda
Brooklyn Academy of Music:
The Master Builder; 59E59: In
the Summer Pavilion; Off-Off
Broadway: PS122: Exit/Interview; Studio
Tisch Festival: Breathing Time. REGIONAL:
Hartford Stage: The Crucible; Chautauqua
Theater Company: You Can’t Take It With
You; Shakespeare Theatre of New Jersey: The
Tempest; The Alliance Theatre: The Heart is
a Lonely Hunter; Synchronicity Performance
Group: Be Aggressive; The Language of Angels.
FILM: Moments; William’s Christening.
AWARDS: Connecticut Broadway World
Award. TRAINING: MFA: NYU Graduate
Acting Program.
MATTHEW PAULI
Ensemble
NATIONAL TOURS: Big
Apple Circus, Beale Street
Puppets. REGIONAL: Faction
of Fools, Constellation
Theatre Company, Everyman Theatre,
Imagination Stage. OTHER: Big Apple Circus
Clown Care Unit, Clown Cabaret (producer),
TRAINING: Ringling Bros. and Barnum &
Bailey Clown College, Shakespeare Theatre
Academy for Classical Acting at George
Washington University: MFA.
DAVE QUAY*
Stephano
Classic Stage Company:
The Heir Apparent; Mint
Theater Company: Donogoo.
REGIONAL: Chautauqua Theater Company,
The Alliance Theatre, Georgia Shakespeare,
Aurora Theatre, Out of Hand Theater,
Theater Emory, Synchronicity Performance
Group. OTHER: NY Fringe, Organic
Magnetics, Acting Company, Ensemble
Studio Theatre, Phoenix Ensemble. FILM:
The Adventure, Bad Friends, Triasumite.
TELEVISION: House of Cards, Forever, Drop
Dead Diva, Past Life. AWARDS: Rosemarie
Tichler Fund Grant Recipient (2014).
OTHER: Big Apple Circus Clown Care
company member (2007-2010). TRAINING:
MFA: NYU Graduate Acting Program; BA
in Theatre Studies: Emory University. WEB:
www.davequayonline.com.
STEPHANIE SCHMALZLE+
Ensemble
REGIONAL: Prince
George’s Shakespeare
Festival: A Midsummer
Night’s Dream; Rep Stage:
The Fantasticks; 1st Stage Theatre: The
Pitmen Painters. INTERNATIONAL: The
Bristol Old Vic (UK): Jane Eyre. OPERA:
Brent Opera (UK): Iolanthe. TRAINING:
Royal College of Music, London: MM in
Music; Bristol Old Vic Theatre School;
Crane School of Music: BM in Music. WEB:
www.stephanieschmalzle.com.
KEDREN SPENCER+
Ensemble
STC: Measure for Measure.
REGIONAL: Center Stage:
Amadeus; Studio Theatre:
CARRIE: The Musical;
The Keegan Theatre: Hair; Capital Fringe
Festival: Disco Jesus and the Apostles of Funk;
Dominion Stage: Spring Awakening. WEB:
www.KedrenSpencer.com.
JESSICA THORNE
Ensemble
Dream. REGIONAL:
Signature Theatre: The
Threepenny Opera; Studio
Theatre: The Rocky Horror Show; The
Kennedy Center: My Fair Lady in Concert;
Synetic Theater: Home of the Soldier, The
Rough-Faced Girl, Open World; Imagination
Stage: Double Trouble Workshop.
KATHERINE RENEE
TURNER
Ensemble
STC: Much Ado About
Nothing (FFA), A
Midsummer Night’s Dream.
REGIONAL: UrbanArias: Photo-Op; Ford’s
Theatre: The Laramie Project; Adventure
Theatre: The Twelve Days of Christmas;
Imagination Stage: Rumpelstiltskin;
Signature Theatre: The Threepenny Opera;
Marin Theatre Company/Round House
Theatre (co-production): Fetch Clay, Make
Man. INTERNATIONAL: Edinburgh Fringe
Festival: Deeply Rooted. TELEVISION: The
RA’s. FILM: Wintersmith, Ward 11.
29
COMPANY
PREMIERE!
F R A N CI S PO ULENC
DIALOGUES
OF THE CARMELITES
Faith is put to the ultimate test in Poulenc’s powerful 1957 opera about an
order of Carmelite nuns who refuse to renounce their beliefs in the wake of the
French Revolution. At turns hymnal and haunting, Dialogues of the Carmelites
soars with exquisite harmonies to its chilling final tableau.
“Wonderful psychological complexity…a hymn to the
powers of sisterhood and the strength of female solidarity”
PHOTO BY CHRISTIAN LEIBER / PARIS OPERA
—The Toronto Star
FEB. 21–MAR. 10
Kennedy Center Opera House
Feb. 21, 23, & 27; Mar. 5, 8 mat, & 10, 2015
Performed in English with projected English titles.
Titles may not be visible from the rear of the orchestra.
TICKETS ON SALE DEC. 3!
(202) 467-4600
kennedy-center.org
Tickets also available at the Box Office.
Groups (202) 416-8400
Major support for WNO is provided by Jacqueline Badger Mars.
David and Alice Rubenstein are the Presenting Underwriters of WNO.
General Dynamics is the proud sponsor of WNO’s 2014-2015 Season.
WNO acknowledges the longstanding generosity of Life Chairman Mrs. Eugene B. Casey.
TED VAN
GRIETHUYSEN*
Gonzalo
STC: Affiliated Artist;
roles since 1987 include
Owen Glendower in Henry
IV, Part I, and Justice Shallow in Part II,
Antigonus/Old Shepherd in The Winter’s
Tale (mainstage, FFA), Peter Quince in A
Midsummer Night’s Dream, King of France
in All’s Well That Ends Well, Henry Leeds
in Strange Interlude, Mr. Praed in Mrs.
Warren’s Profession, Malvolio in Twelfth
Night, Andrew Undershaft in Major Barbara,
Holofernes in Love’s Labor’s Lost (mainstage
and RSC), Philip II in Don Carlos, Lear in
King Lear, Prospero in The Tempest. NEW
YORK: Broadway: Romulus, Inadmissible
Evidence. REGIONAL: Folger Theatre: The
Clandestine Marriage; Studio Theatre: The
Steward of Christendom, Life of Galileo, Rock
‘n’ Roll, A Number, The Habit of Art, The
Apple Family Plays. INTERNATIONAL:
Battersea Arts Center, London: Life of Galileo;
Arcola, London: Broadway from the Shadows;
Trafalgar Studios: Mr. Paradise in Lovely
and Misfit. AWARDS: Seven Helen Hayes
Awards; The Will Award; Drama Critics
Award (NYC); Richard Bauer Award for
Outstanding Contribution to Washington
Theatre. INSTRUCTOR: Aesthetic Realism of
Eli Siegel; Columbia University; University
of South Carolina; Manchester Municipal
University (U.K.).
GERAINT WYN DAVIES*
Prospero
Selected Credits: STC:
Richard III, Cyrano (Helen
Hayes Award), Love’s
Labor’s Lost (Helen Hayes
Nomination, also performed at the RSC
in Stratford, England). Selected Credits
include: NEW YORK: Lincoln Center: King
Lear; Off-Broadway: Do Not Go Gentle,
Poetic License, Women Beware Women.
REGIONAL: Mark Taper Forum: Gross
Indecency; Chicago Shakespeare Festival: Do
Not Go Gentle. INTERNATIONAL: Canada:
Stratford Festival: 11 seasons, credits
include Mother Courage and Her Children,
Antony and Cleopatra, Measure for Measure,
Mary Stuart, Cymbeline, The Matchmaker,
Camelot, The Merry Wives of Windsor, The
Tempest, Julius Caesar, A Midsummer Night’s
Dream, Hamlet, My Fair Lady, Henry V,
The Merchant of Venice, The Relapse, Three
Musketeers, Richard III, Taming of the Shrew,
Boys from Syracuse, Pericles; Atlantic Theatre
Festival: Dylan Thomas Trilogy (Do Not
Go Gentle, Dylan Thomas and Shakespeare,
Stranger in Paradise); Shaw Festival, five
seasons; Canadian Stage’s The Elephant
Man; England: Chichester Festival: Hamlet
(Regional Theatre Best Actor award),
Henry VIII; Lyric Hammersmith: An Enemy
of the People; Wales: Theatr Clwyd, two
seasons actor and associate director. FILM:
American Psycho II, Hypercube, One of the
Hollywood Ten, Conspiracy of Fear, Taming of
the Shrew, The Tempest, Antony and Cleopatra.
TELEVISION: ReGenesis, Murdoch Mysteries,
24, Slings and Arrows, Black Harbour, Airwolf,
Forever Knight.
CAMP
Shakespeare
WE KNOW WHAT WE ARE,
BUT KNOW NOT WHAT WE MAY BE.
- HAMLET
This year, give the gift of
Camp Shakespeare!
Summer 2015 registration begins December 1.
ShakespeareTheatre.org/Camp-Shakespeare
202.547.5688
31
ARTISTIC BIOGRAPHIES
Ethan McSweeny
Director
STC: Affiliated Artist; A Midsummer Night’s
Dream, Much Ado About Nothing, The Merchant
of Venice, Ion, Major Barbara, The Persians;
Harman Center Opening Gala; Associate
Director 1993–1997. NEW YORK: Broadway:
John Grisham’s A Time to Kill, Gore Vidal’s
The Best Man (Outer Critics Circle and Drama
Desk Awards, Tony Award nomination);
Off-Broadway: John Logan’s Never the Sinner
(Outer Critics Circle and Drama Desk Awards);
Playwrights Horizons: 100 Saints You Should
Know (Top Ten: Entertainment Weekly and Time
Out magazines); Page 73 Productions: 1001
(Top Ten, Time Out magazine); Primary Stages:
Rx (world premiere), Sabina; National Actors
Theatre: The Persians. INTERNATIONAL: Gate
Theatre, Dublin: An Ideal Husband, A Streetcar
Named Desire (Irish Times Award for Best
Direction); Stratford Shakespeare Festival: Pirates
of Penzance, Dangerous Liaisons. REGIONAL:
more than 70 productions at theatres around the
nation including the Guthrie Theater: Tales from
Hollywood, Arms and the Man, A View from the
Bridge, A Body of Water (premiere, Star-Tribune
Award), Romeo and Juliet, Six Degrees of Separation
(Star-Tribune Award), Thief River, Side Man, Gross
Indecency; Goodman Theatre/Dallas Theater
Center: Trinity River Plays (premiere); Arena
Stage: A Time to Kill (premiere); The Old Globe:
Cornelia (premiere), In This Corner (premiere,
San Diego Critics Circle Award), A Body of
Water (San Diego Critics Circle Award); Denver
Center Theatre Company: 1001 (premiere,
Ovation Award); South Coast Repertory:
Ordinary Days, Mr. Marmalade (premiere,
OCIE award); Center Stage: Who’s Afraid Of
Virginia Woolf? (Baltimore City Paper Best of
2008); Prince Music Theater: Chasing Nicolette
(Barrymore Award nomination); George Street
Playhouse: A Walk in the Woods, Dirty Blonde,
Ctrl+Alt+Delete (New Jersey Star-Ledger Best of
2002), Old Times, Master Class; Westport Country
Playhouse: Someone Who’ll Watch Over Me; The
Wilma Theater: Dirty Blonde; San Jose Repertory
Theatre: Ctrl+Alt+Delete (world premiere);
Pittsburgh Public Theater: Wit (Pittsburgh PostGazette Award); Alley Theatre: The Beauty Queen
of Leenane; Signature Theatre: Never the Sinner
(Helen Hayes Award nomination); Chautauqua
32
Theater Company: A Raisin in the Sun, Fifty
Ways (world premiere), Love’s Labor’s Lost, The
Glass Menagerie, Death of a Salesman, The Just, The
Cherry Orchard, All My Sons, Cobb. ARTISTIC
LEADERSHIP: Chautauqua Theater Company,
Co-Artistic Director 2004–2011, National
Actors Theatre, Associate Director, 2003–2005;
Resident Director, New Dramatists, 2001–2002;
George Street Playhouse, Associate Artistic
Director, 2000–2004. BOARD MEMBERSHIPS:
Treasurer, Executive Board, Stage Directors &
Choreographers Society. TRAINING: Received
the first ever undergraduate degree in Theatre
and Dramatic Arts from Columbia University.
WEB: EthanMcSweeny.com
Lee Savage
Set Designer
STC: A Midsummer Night’s Dream, Much
Ado About Nothing, Richard III, Tamburlaine,
Edward II, Henry V, Richard II. NEW YORK:
Labyrinth: Muscles in our Toes, Sunset Baby;
Women’s Project: Collapse; LCT3: All-American;
Roundabout Theatre Company: The Dream
of the Burning Boy, Ordinary Days; Atlantic
Theater: Oohrah!; Partial Comfort: The Bereaved;
Clubbed Thumb: punkplay. REGIONAL:
Alliance Theatre, Asolo Repertory Theatre,
Berkshire Theatre Festival, Cleveland Play
House, Dallas Theater Center, George Street
Playhouse, Glimmerglass Festival, Goodman
Theatre, Guthrie Theater, Milwaukee
Repertory Theatre, Long Wharf, Shakespeare
& Co., Trinity Repertory Company, Two
River Theater, Westport Country Playhouse,
Washington National Opera, The Wilma
Theater, Yale Repertory Theatre. AWARDS:
Helen Hayes: Much Ado About Nothing; A
Midsummer Night’s Dream (nom), Richard
III (nom); Connecticut Critics Circle (The
Intelligent Design of Jenny Chow). OTHER:
with Ethan McSweeny: The Gate: A Streetcar
Named Desire; Primary Stages: Rx; Center
Stage: Who’s Afraid of Virginia Woolf?; Old
Globe: In This Corner; Chautauqua Theater
Company: A Raisin in the Sun, Fifty Ways,
Love’s Labour’s Lost, Death of a Salesman, The
Glass Menagerie, The Just. AFFILIATIONS:
Member of Wingspace Theatrical Design and
Contributing Editor for Chance Magazine.
INSTRUCTOR: Yale School of Drama: Design
Department. TRAINING: Rhode Island School
of Design: BFA; Yale School of Drama: MFA.
Jennifer Moeller
Costume Designer
STC: Affiliated Artist; A Midsummer Night’s
Dream, Julius Caesar (mainstage, Free For All),
The Merchant of Venice, Richard II, Romeo and
Juliet, Antony and Cleopatra, Tamburlaine, Richard
III. NEW YORK: Off-Broadway: Shakespeare in
the Park: Love’s Labour’s Lost; Signature Theatre:
Dance and the Railroad; Primary Stages: Happy
Now? REGIONAL: Washington National Opera:
La Boheme; Studio Theatre: Bachelorette, Venus in
Fur; Center Stage: Mud Blue Sky; The Old Globe:
The Last Goodbye; McCarter Theatre Center: The
How and the Why; Williamstown Theatre Festival:
Six Degrees of Separation; Yale Repertory Theatre:
The Winter’s Tale, dance of the holy ghosts; Berkshire
Theatre Festival: Waiting for Godot; Chautauqua
Theater Company: The Winter’s Tale. TRAINING:
Yale School of Drama: MFA.
Christopher Akerlind
Lighting Designer
STC: The Winter’s Tale (mainstage, Free For
All), Cymbeline, Twelfth Night, Julius Caesar, The
Silent Woman. NEW YORK: Broadway: The
Last Ship, Rocky (Tony Award® nomination),
The Gershwins’ Porgy and Bess (Tony Award®
nomination), Superior Donuts, Top Girls, 110° in
the Shade (Tony Award® nomination), Talk Radio,
Shining City, Awake and Sing (Tony Award®
nomination), Well, Rabbit Hole, In My Life, The
Light in the Piazza (Tony Award®, Drama Desk
Award, Outer Critics Circle Award), Reckless,
The Tale of the Allergist’s Wife, Seven Guitars
(Tony Award® nomination), among others.
INTERNATIONAL: Hamburg, Germany: Rocky
the Musical; Athens and Epidaurus Festival:
Kafeneion. OPERA: Washington National Opera:
Norma (dir. Anne Bogart); San Francisco Opera:
Dolores Claiborne. AWARDS: Obie Award for
Sustained Excellence, Michael Merritt Award for
Design and Collaboration.
Nevin Steinberg
Sound Designer
NEW YORK: Broadway: Mothers and Sons,
Rodgers and Hammerstein’s Cinderella
(TonyAward®), The Performers, Magic/
Bird. Off-Broadway: Vineyard Theatre: The
Landing; Playwrights Horizons: Far From
Heaven. AWARDS: Tony nominations for The
Gershwins’ Porgy and Bess, Bengal Tiger at the
Baghdad Zoo, Fences, Hair and In The Heights.
Jenny Giering
Composer
NEW YORK: Off-Broadway: The Zipper
Theater: Alice Unwrapped. New York Musical
Theatre Festival: The Mistress Cycle (3 Jeff Awards
Nominations); New York Theatre Workshop:
Songs from an Unmade Bed (Drama Desk
Nomination for Best Musical); Theatreworks
USA: Arthur’s War, Island of the Blue Dolphins.
REGIONAL: Weston Playhouse Theatre
Company & ASCAP/Dreamworks Musical
Theatre Workshop: Saint-Ex; Playwrights
Horizons: Alice Bliss; Chicago Shakespeare
Theater: Summerland, Elizabeth Rex (Jeff Award
Nomination), As You Like It (Jeff Award
Nomination); TheatreWorks/Palo Alto: Silent
Sky, Princess Caraboo; Boston Music Theatre
Project: Crossing Brooklyn (2008 Kleban Prize);
Harvard Community Theatre: Still Life (one
act). INTERNATIONAL: Aria Entertainment’s
Page to Stage Festival, London, UK: The Mistress
Cycle; Empire Theatre, Toowomba, Queensland,
Australia: Songs from an Unmade Bed. AWARDS:
Jonathan Larson Performing Arts Foundation
Award, Constance Klinsky Prize from Second
Stage Theatre Company, National Art Song
Award (for The Mistress Cycle), National Music
Theatre Network Director’s Choice Award (for
The Mistress Cycle), Meet the Composer Grant
(for work with the Broadway Theatre Institute),
Frederick Loewe Award (for The Hotel Carter),
Weston Playhouse Theatre Company New
Musical Award (for Saint-Ex). TRAINING: NYU:
MFA in Graduate Musical Theatre Writing.
Harvard and Radcliff College: AB in Music.
WEB: jennygiering.com.
Matthew Gardiner
Choreographer
NEW YORK: Director: New York Musical
Theatre Festival: The Greenwood Tree; Assistant
Director: Circle in the Square: Glory Days.
REGIONAL: Signature Theatre: Director/
Choreographer: Sunday in the Park with
George, The Threepenny Opera, Tender Napalm,
Dreamgirls, Dying City, Xanadu, Really
Really, The Hollow, Side by Side by Sondheim,
Art, [title of show], See What I Wanna See/
Choreographer: Company, Sweeney Todd, Dirty
Blonde/ Associate Artistic Director; Round
House Theatre: Director: Ordinary Days; Ford’s
Theatre: The Laramie Project; The Kennedy
Center: Director/Choreographer: Snow White,
33
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Rose Red (and Fred!); Everyman Theatre: Let
Me Sing And I’m Happy; MetroStage: tick, tick…
BOOM!; Catholic University of America: La
Boheme, Candide; Studio Theatre: Co-Director/
Choreographer: Jerry Springer: The Opera; Reefer
Madness (2008 Helen Hayes Award, Outstanding
Musical and Direction of a Musical); MetroStage:
Choreographer: Jacques Brel is Alive And Well…;
Studio Theatre: Grey Gardens, Adding Machine.
TRAINING: Carnegie Mellon University: BFA in
Directing.
Gary Logan
Voice and Text Coach
STC: The Importance of Being Earnest, Design
for Living, The Way of the World, As You
Like It, Julius Caesar, Antony and Cleopatra,
Enemy of the People. REGIONAL: Everyman
Theatre: August: Osage County, Private Lives,
Pygmalion, Our Town, Doubt, Soul Collector,
Much Ado About Nothing, And a Nightingale
Sang; Kennedy Center: Master Class (with
Tyne Daly); Signature Theatre: Tender
Napalm, Pride in the Falls of Autry Mill (with
Christine Lahti), I Am My Own Wife; Arena
Stage: Love in Afghanistan, Frankie and Johnny
in the Clair de Lune; Studio Theatre: Tribes,
The Real Thing, Venus in Fur, Frozen, Crestfall;
Ford’s Theatre: Shenandoah (with Scott
Bakula), State of the Union, A Christmas Carol;
Folger: Henry V, Othello, Henry VIII, Much
Ado About Nothing; Centerstage: Who’s Afraid
of Virginia Woolf, Fabulation; Chautauqua
Theater Company: Clybourne Park, Love’s
Labour’s Lost, The Winter’s Tale, The Just;
Denver Center Theatre Company: Romeo
and Juliet, Misalliance, Wit, The Winter’s Tale,
Valley Song, The Tempest and over 50 others;
INTERNATIONAL: The Royal Shakespeare
Company and Denver Center Theatre
Company: Tantalus (dir. Sir Peter Hall);
Stratford Shakespeare Festival of Canada:
Twelfth Night and The School for Scandal (with
Brian Bedford), The Miser, The Night of the
Iguana. AUTHOR: The Eloquent Shakespeare
(University of Chicago Press).
Carter C. Wooddell
See page 41
Laura Stanczyk, CSA
Additional Casting
STC: As You Like It, The Winter’s Tale, Strange
36
Interlude, Old Times. UPCOMING: Man of
La Mancha, The Metromaniacs. NEW YORK:
Broadway, Off-Broadway, National Tours:
Side Show, After Midnight, A Night With Janis
Joplin, Follies, Cotton Club Parade, Lombardi,
Ragtime, Impressionism, The Seafarer, Radio
Golf, Coram Boy, The Glorious Ones, Flight,
Translations, Tryst, Dirty Dancing; Atlantic
Theater Company: The Cripple of Inishmaan
(also national tour); Encores! Summer Stars:
Damn Yankees, Urinetown (also national
tour); Lincoln Center Festival: Gate/
Beckett. REGIONAL: Alliance Theatre: Bull
Durham; Center Theatre Group: Harps and
Angels; Alley Theatre: Gruesome Playground
Injuries, The Monster at the Door; Kennedy
Center: Side Show, The Guardsman, Follies,
Master Class, The Lisbon Traviata, Ragtime,
Broadway: Three Generations; Philadelphia
Theatre Company: Golden Age; Royal George
Theatre: Don’t Dress for Dinner; seven
seasons of casting for McCarter Theatre
Center. INTERNATIONAL: Druid Theatre
Company: My Brilliant Divorce; The Gaiety
Theatre, Dublin/West End: The Shawshank
Redemption; Druid Theatre Company/Dublin
Theatre Festival: Long Day’s Journey into
Night; Has consulted for The Lyric Theatre
in Belfast, Rough Magic Theatre Company
in Dublin, The Gate Theatre in Dublin, The
Druid Theatre in Galway.
Drew Lichtenberg
Literary Associate/Dramaturg
See page 41
James Ortiz
Puppet Designer and Coach
NEW YORK: Off-Broadway: Theatre for a New
Audience: King Lear (dir. Arin Arbus); The
Public Theatre: King Lear (dir. Daniel Sullivan);
Gotham Chamber Opera: El Gato Con Botas (dir.
Moises Kaufman); Off Broadway: Stu42: Miss
Lilly Gets Boned (dir. David Chapman), My Base,
Scurvy Heart (dir. Moritz Von Stupenhagel);
Stable Cable Company: Nibbler (dir. Stephen
Brackett); 59E59: The Woodsman (Co-director
with Claire Karpen); Glass Bandit Company:
The Little Mermaid (Director); new place players:
Midsummer (Director). AWARDS: Recipient of
the 2014 Jim Henson foundation Grant, resident
artist at The New Victory Theatre. OTHER: CoFounder and Artistic Director of Strangemen &
Co. WEB: www.strangemencompany.com.
ZFX, Inc.
Flying Effects
ZFX, INC is a world-class provider of flying
effects with over a dozen Broadway credits
including Wicked, Peter Pan, Fiddler on the Roof,
Martin Short’s Fame Becomes Me, Dance of the
Vampires and Saturday Night Fever. ZFX has also
toured with Cathy Rigby’s Peter Pan; Suessical
the Musical; Dora the Explorer; Spiderman Live!;
Go, Diego, Go! and Clifford the Big Red Dog.
Recent European projects are Dutch, Slovak and
Turkish productions of Dancing on Ice as well
as Peter Pan in Italy, Belgium and Russia. ZFX
also provides flying effects to corporate events,
trade shows and churches around the globe.
Craig Baldwin
Assistant Director
NEW YORK: New York International Fringe
Festival: Magic Kingdom, The More Loving One
(Best Overall Production of a Play); August
Strindberg Repertory Theatre: Mr. Bengt’s Wife;
Atlantic Theater School: A Midsummer Night’s
Dream; HERE Arts Center: Ingmar Bergman’s
Persona; Roundabout Theatre Company: Look
Back in Anger (dir. Sam Gold); Atlantic Theater
Company: Dusk Rings a Bell (dir. Sam Gold);
Classic Stage Company: MacB**h (workshop);
Outhouse Theatre Co: Mercy Thieves (U.S.
Premiere), The Boys (U.S. Premiere); Lincoln
Center Theater Director’s Lab: MacB**h
(workshop), Marymount Manhattan College:
Columbinus; REGIONAL Opera House Arts:
Antony and Cleopatra; SUNY Purchase College:
The Miser. Craig is the Associate Artistic
Director of Red Bull Theater, an Artistic
Associate of Classic Stage Company, and a
member of Lincoln Center Theater Director’s
Lab. OTHER: WEB: I [heart] Lucy.
TRAINING: The Julliard School.
WEB: www.craigbaldwin.net.
Katherine Burris
Directorial Assistant
See page 41
Joseph Smelser*
Production Stage Manager
STC: A Winter’s Tale (Free For All), Henry
IV Parts 1 and 2, A Funny Thing Happened on
the Way to the Forum, Measure for Measure,
Wallenstein, Coriolanus, A Midsummer Night’s
Dream, The Government Inspector, The Merry
Wives of Windsor, Strange Interlude, Much Ado
About Nothing, The Heir Apparent, All’s Well That
Ends Well. REGIONAL: Arena Stage: Let Me
Down Easy; Seattle Repertory Theatre: An Ideal
Husband, A Doll’s House, Play On!, As You Like
It, A Midsummer Night’s Dream, Peter Brook’s
The Tragedy of Hamlet, Golden Child, Don Juan,
Purgatorio, The Search for Signs of Intelligent Life
in the Universe (with Lily Tomlin); American
Conservatory Theater: The Rivals, The Circle, The
Government Inspector, Edward Albee’s At Home
at the Zoo, Vigil; Berkeley Repertory Theatre:
Journey to the West, An Almost Holy Picture,
Having Our Say; Regional Tour: Let Me Down
Easy, Twilight: Los Angeles, 1992 (both with
Anna Deavere Smith). TRAINING: Oberlin
College: BA.
Kristy Matero*
Assistant Stage Manager
REGIONAL: Woolly Mammoth Theatre
Company: Marie Antoinette, Stupid Fucking
Bird, Appropriate, The Convert, K of D, How
Theatre Failed America, If You See Something Say
Something with Mike Daisey; Signature Theatre:
God Of Carnage, And The Curtain Rises; The
Kennedy Center: Joe Turner’s Come and Gone,
Seven Guitars, Jitney, The Mostly True Adventures
of Homer P. Figg; Pig Iron Theatre Company:
Hell Meets Henry Halfway, Welcome to Yuba
City; Milwaukee Repertory Theater: To Kill A
Mockingbird, Lombardi. OPERA: Washington
National Opera: The Magic Flute, Moby Dick,
Anna Bolena; Spoleto Festival USA: Flora or Hob
in The Well, Louise, Amistad, Faustus, The Last
Night, Don Giovanni; Opera Saratoga: Elisir
d’amore; Member Actors’ Equity Association
and The American Guild of Musical Artists.
Hannah R. O’Neil*
Assistant Stage Manager
STC: Assistant Stage Manager: Henry IV Parts 1
and 2, A Funny Thing Happened on the Way to the
Forum, Much Ado About Nothing (Free For All),
Coriolanus, A Midsummer Night’s Dream, All’s
Well That Ends Well (Free For All); Production
Assistant: The Merry Wives of Windsor, Strange
Interlude, Much Ado About Nothing, Julius
Caesar (Free For All), The Merchant of Venice,
An Ideal Husband, Candide, All’s Well That Ends
Well; Stage Management Intern: Mrs. Warren’s
Profession, Richard II, Henry V, The Alchemist.
REGIONAL: Ford’s Theatre: Driving Miss
Daisy; Huntington Theatre Company: Pirates!;
Ogunquit Playhouse: The Producers, Fiddler on
the Roof, The King and I, La Cage Aux Folles, The
Full Monty, Menopause the Musical. TRAINING:
Emerson College: BFA in Stage Management
and Production.
37
MAPPING THE PLAY
WHAT’S YOUR DESERT ISLAND?
Ethan McSweeny and his artistic team design the desert
island of his/your/our imagination
By Laura Henry Buda,
Community Engagement Manager
e Savage.
Set model by Le
For The Tempest, director Ethan McSweeny and his designers
Lee Savage (set) and Jennifer Moeller (costumes) began with the
idea of scarcity. For 12 years, Prospero and Miranda have survived
on their island with the few supplies furnished by Gonzalo when
they were banished from Milan. Prospero may have had magic to
manipulate his surroundings, but in McSweeny’s mind, the realities
of shipwreck demanded economy. The designers focused on raw
materials, worn and battered by the elements: old clothes, torn
sails, sand, stone, driftwood.
38
An abandoned hou
se in Kolmanskop, a
ghost town in the
desert of southern
Namibia. Wikimedia
Commons.
Skeleton
reck on the
Shipw
Costume renderings by Jennifer Moeller.
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
usually include visual research: pouring over thousands of images,
looking for a texture, a color, a certain slant of light or a particular
sense of movement. Though later these images may seem irrelevant
to the finished design, something about them ignited inspiration.
They provide a window into the mind of the artist—a glimpse of the
enigmatic process of creation.
This is a not an island
where tranquil palms
sway on the beach, but it
is an island ringing with
“sounds and sweet airs,
that give delight and
hurt not.” Envisioning
an environment that is
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
stark, desolate places
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
preternatural photography
of Tim Walker.
s.
dia Common
mibia. Wikime
Coast in Na
Stirred by sources including Garth
Knight’s Enchanted Forest photography
collection, the underwater images of
Michael David Adams and the fashion
designs of Alexander McQueen and Sarah
Burton, Moeller envisioned the spirits,
including Ariel and Caliban, as pieces of
the islands itself that have been bound
in servitude to Prospero. Their bonds are
clearly evident, binding them both to
Prospero and their environment.
Visit ASIDES Online (Asides.ShakespeareTheatre.org) to further
explore the visual references that inspired The Tempest’s designers.
39
FOR SHAKESPEARE THEATRE COMPANY
Michael Kahn
Artistic Director
STC: Henry IV, Part 1 and 2,
Wallenstein, The Government
Inspector, Strange Interlude, The Heir
Apparent, Old Times, All’s Well That
Ends Well, The Liar, Richard II, The
Alchemist, Design for Living, The Way of the World,
Antony and Cleopatra (2008), Tamburlaine, Hamlet (2007),
Richard III (2007), The Beaux’ Stratagem, Love’s Labor’s
Lost, Othello, Lorenzaccio, Macbeth (2004), Cyrano, Five
by Tenn (at the Kennedy Center), The Silent Woman, The
Winter’s Tale (2002), The Duchess of Malfi, The Oedipus
Plays, Hedda Gabler, Don Carlos, Timon of Athens,
Camino Real, Coriolanus, King Lear (1999), The Merchant
of Venice, King John, A Woman of No Importance, Sweet
Bird of Youth, Peer Gynt, Mourning Becomes Electra,
Henry VI, Volpone, Henry V, Henry IV, The Doctor’s
Dilemma, Richard II, Much Ado about Nothing (also at
McCarter Theatre Center), Mother Courage and Her
Children, Hamlet, Measure for Measure, King Lear (1991),
Richard III (1990), The Merry Wives of Windsor, Twelfth
Night, As You Like It, Antony and Cleopatra (1988),
Macbeth (1988), All’s Well That Ends Well, The Winter’s
Tale (1987), Romeo and Juliet. NEW YORK: Broadway:
Show Boat (Tony nomination), Cat on a Hot Tin Roof,
Whodunnit, Night of the Tribades, Death of Bessie Smith,
Here’s Where I Belong, Othello, Henry V; Off-Broadway:
Manhattan Theatre Club: Five By Tenn, Sleep
Deprivation Chamber, Funnyhouse of a Negro, The Rimers
of Eldritch, Three by Thornton Wilder, A Month in the
Country, Hedda Gabler, The Señorita from Tacna, Ten by
Tennessee; New York Shakespeare Festival: Measure for
Measure (Saturday Review Award). Artistic Director:
The Acting Company, 1978–1988. TEACHING:
Richard Rodgers Director of Juilliard Drama Division
July 1992–May 2006, faculty member 1967–;
Shakespeare Theatre Company Academy for Classical
Acting at the George Washington University.
Previously: New York University; Circle in the Square
Theatre School; Princeton University; British American
Drama Academy; founder of Chautauqua Theatre
Conservatory. REGIONAL: Arena Stage: A Touch of the
Poet; Signature Theatre: Pride in the Falls of Autrey Mill,
Otabenga; Guthrie Theater: The Duchess of Malfi;
American Repertory Theatre: ‘Tis Pity She’s a Whore;
American Shakespeare Theatre: Artistic Director for 10
years, more than 20 productions; McCarter Theatre
Center: Artistic Director for five seasons, including
Beyond the Horizon, filmed for PBS; Chautauqua
Theatre: Artistic Director, including The Glass
Menagerie with Tom Hulce; Goodman Theatre: Old
Times (MacArthur Award), The Tooth of Crime
(Jefferson nomination); Ford’s Theatre: Eleanor.
OPERA: Romeo and Juliette for Dallas Opera; Vanessa
for the New York City Opera (2007); Lysistrata or The
Nude Goddess for Houston Grand Opera and New
York City Opera; Vanessa for Washington Opera and
Dallas Opera; Show Boat for Houston Grand Opera;
Carmen for Houston and Washington Operas; Carousel
for Miami Opera; Julius Caesar for San Francisco
Spring Opera. INTERNATIONAL: Love’s Labor’s Lost
at the Royal Shakespeare Company’s Complete Works
Festival; The Oedipus Plays at the Athens Festival; Five
by Tenn for The Acting Company’s tour of Eastern
Europe; Show Boat for the National Cultural Center
Opera House in Cairo; The White Devil for the
Adelaide Festival. BOARD MEMBERSHIPS: Theatre
Communications Group; New York State Council on
the Arts; D.C. Commission on the Arts and
Humanities; National Endowment for the Arts; Opera
America’s 80s and Beyond. AWARDS: Commander of
the British Empire (C.B.E.); Theater Hall of Fame;
seven Helen Hayes Awards for Outstanding Director;
2011 CAGLCC Excellence in Business Award; 2010
WAPAVA Richard Bauer Award; 2007 Mayor’s Arts
Award Special Recognition for Shakespeare in
Washington; 2007 Stephen and Christine Schwarzman
Award for Excellence in Theatre; 2007 Sir John
Gielgud Award for Excellence in the Dramatic Arts;
2005 Person of the Year from the National Theatre
Conference; 2004 Shakespeare Society Medal; 2002
William Shakespeare Award for Classical Theatre;
2002 Distinguished Washingtonian Award from The
University Club; 2002 GLAAD Capitol Award; 1997
Mayor’s Arts Award for Excellence in an Artistic
Discipline; 1996 Opera Music Theater International’s
Bravo Award; 1990 First Annual Shakespeare’s Globe
Award; 1989 Washingtonian Magazine Washingtonian
of the Year; 1989 Washington Post Award for
Distinguished Community Service; 1988 John
Houseman Award. HONORARY DOCTORATES:
University of South Carolina; Kean College; The
Juilliard School; The American University.
Chris Jennings
Managing Director
STC: Joined the Company in
2004. ADMINISTRATION:
General Manager: Trinity
Repertory Company
(1999–2004), Theatre for a New Audience
(1997–1999); Associate Managing Director: Yale
Repertory Theatre; Assistant to the Executive
Producer: Manhattan Theater Club; Founder/
Producing Director: Texas Young Playwrights
Festival; Manager: Dougherty Arts Center.
MEMBERSHIPS: Currently serves on the Board
of the Theatre Communications Group, DC
Downtown BID, THE ARC, DC Arts Collaborative,
the Penn Quarter Neighborhood Association,
Theatre Washington, and is a member of the
League of Resident Theatres (served on AEA and
SSDC Negotiating Committees); has served as a
panelist for the NEA, DC Commission on the Arts,
Mid Atlantic Arts Foundation and Humanities,
and Pew Theatre Initiative. AWARDS: Arts
Administration Fellowship: National Endowment
for the Arts. TRAINING: University of Miami:
BFA in Theatre/Music; Yale School of Drama:
MFA in Theatre Management.
Alan Paul
Associate Artistic Director
STC: As You Like It (Associate Director), The
Winter’s Tale (Free for All), Henry IV, Parts 1 and 2
(Associate Director), A Funny Thing Happened on
the Way to the Forum (2014 Helen Hayes Award
for Best Director of a Musical), The Boys from
Syracuse, Twelfth Night (Free for All), numerous
galas, readings, special events; Assistant Director:
13 shows. THEATRE DIRECTING: Signature: I Am
My Own Wife; Studio 2ndStage: The Rocky Horror
Show (co-director); Catholic University: Man of La
Mancha; University of Maryland: The Matchmaker;
Apex: Richard II; Northwestern University:
Six Degrees of Separation; readings for Studio,
Arena Stage, Woolly Mammoth, The National
Academy of Sciences, The Phillips Collection,
The Goethe Institut, Georgetown University.
OPERA DIRECTING: Urban Arias: Blind Dates,
Before Breakfast, The Filthy Habit, Photo-Op; The In
Series: Dido and Aeneas, El Amor Brujo; Strathmore:
Butterfly/Saigon, Blind Dates. Finalist for the 2013
European Opera Directing Prize (Vienna, Austria).
WEB: AlanPaulDirector.com
Drew Lichtenberg
Literary Associate
STC: As You Like It, Private Lives, Henry IV, Part
1 and 2, The Importance of Being Earnest, A Funny
Thing Happened on the Way to the Forum, Measure
for Measure, Coriolanus, Wallenstein, Hughie,
A Midsummer Night’s Dream, The Government
Inspector, The Merry Wives of Windsor, The
Servant of Two Masters, Strange Interlude, The Two
Gentlemen of Verona, Much Ado About Nothing,
The Heir Apparent. REGIONAL: STC/McCarter
Theatre Center: The Winter’s Tale; Center Stage:
Caroline, or Change, Cyrano, Around the World
in 80 Days; Yale Repertory Theatre: Lulu (dir.
Mark Lamos); Williamstown Theatre Festival:
The Front Page, The Physicists, The Corn is Green;
New York Shakespeare Festival: Macbeth (dir.
Moisés Kaufman); OTHER: Yale School of Drama:
Tarell McCraney’s In the Red and Brown Water
(US premiere); TEACHING: Catholic University
of America; Eugene Lang College at the New
School. TRAINING: Yale School of Drama: MFA in
Dramaturgy & Dramatic Criticism.
Ellen O’Brien
Head of Voice and Text
STC: More than 50 productions over 11 seasons.
ACADEMY FOR CLASSICAL ACTING: 22
productions of Shakespeare and Jacobean plays.
REGIONAL: Ford’s Theatre, Arena Stage,
Charlotte Repertory Company, Aurora/Magic
Theaters; People’s Light and Theatre Company;
Shakespeare Santa Cruz; North Carolina
Shakespeare Festival. PUBLICATIONS: Articles
in The Voice and Speech Review, Shakespeare in the
Twentieth Century, Shakespearean Illuminations,
Shakespeare Survey, Shakespeare Quarterly,
Shakespeare and the Arts, The Voice and Speech
Review: Associate Editor for Heightened Text,
Verse and Scansion. TRAINING: Yale University:
MA, MPhil, PhD (English); Central School of
Speech and Drama/The Open University
(London): Advanced and Post-Graduate Diplomas
in Voice Studies. TEACHING: Academy for
Classical Acting; University of California, Santa
Cruz; Guilford College; Kirkland College.
Katherine Burris
Directorial Assistant/Directing Fellow
STC: As You Like It, The Winter’s Tale (Free For
All). REGIONAL: Santa Cruz Shakespeare:
As You Like It; Folger Shakespeare Theatre:
The Taming of the Shrew; Shakespeare Santa
Cruz: Tom Jones, Henry IV, Part 2, Henry V,
The Taming of the Shrew, The Man in the Iron
Mask; Back Room Shakespeare Project: Two
Gentlemen of Verona; San Jose Repertory
Theatre: Next Fall; UC Santa Cruz: Stupid
Fucking Bird, Machinal, Peer Gynt, The
Congresswomen, Hair. TRAINING: University
of California, Santa Cruz: Masters in Theatre
Arts—Directing Emphasis; BA in Theatre
Arts; BA in English Language Literature.
Carter C. Wooddell
STC: As You Like It, The Winter’s Tale, The Merry
Wives of Windsor, Two Gentlemen of Verona, Much
Continued on page 43
40
41
Continued from page 41
Most tempests aren’t comedies.
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
(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 (20122014). TRAINING: Rutgers University - Mason
Gross School of the Arts: BFA in Theatre Arts.
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Concord, Alabama. Photo by George Armstrong - May 03, 2011. Courtesy FEMA.
Learn how design can protect lives and property.
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On view now through August 2, 2015
www.nbm.org
FACES AND VOICES
A High Bar
for Little
Audiences:
STC’s School Shows
bring Shakespeare to
all ages
Actors Paul Reisman, Brent Stansell and Eva Wilhelm show students the fun of fairy magic in
A Mini-Summer Night’s Dream.Photo by S. Christian Taylor-Low.
By Hannah Hessel Ratner
T
he blue fabric spread across the
Shakespeare Theatre Company’s
rehearsal hall is about to come
to life. Actors warm up and chat with
the test audience waiting for The Tiny
Tempest’s first run-through. The blue
fabric whips up and there is a tempest
on stage, the actors dive into the
performance. This is not the production
of The Tempest that will be on the stage
at Sidney Harman Hall but instead it
will be performed downstairs in the
Forum over the course of STC’s Family
Week and again at elementary schools
around the area.
The actors bringing the fabric to life
are all educators as well as classically
trained performers. The performance,
though accessible to adult audiences, is
formatted for students as young as five
44
years old. Some young people grow up
attending theatre with regularity and
parents can decide when to bring their
children to see one of STC’s mainstage
Shakespeare productions. Generally
though, Shakespeare’s work isn’t
thought of as accessible for all young
audiences. The Shakespeare Theatre
Company’s Education Department
doesn’t believe that this needs to be the
case.
“If they learn Shakespeare’s stories
at a young age,” says STC Director of
Education Samantha K. Wyer, “then
when they are ushered into the plays
at an older age in school it won’t feel
as archaic and intimidating.” Wyer is
also the director of The Tiny Tempest and
the previously created A Mini-Summer
Night’s Dream. She has helped to craft
a 45-minute script and work with the
actors to find the right tone to keep
young audiences engaged. The task is
made easy when she starts looking at
the plays she knows well “through the
lens of somebody younger.”
Despite its short length Tiny Tempest
does not short-change Shakespeare’s
text, instead it “keeps the bar high for
a younger audience,” says Wyer. It is
not just the magic, comedy and family
drama that gets passed along from an
unabridged version of The Tempest to the
students but the richness and poetry of
the language. Even if they are unable to
follow every word, the rhythm of the
pentameter is recognizable to ears familiar
with nursery rhymes and
jump-rope games.
Watching the
performance of The Tiny
Tempest the story comes
to life. With energetic,
and at times acrobatic,
performers and clever
visual storytelling, it
is easy to get caught
up in Miranda and
Ferdinand’s romance
and root for Ariel to
win her freedom from
Prospero. Wyer made
sure that each of the
characters has easily recognizable visual
indicators. King Alonso is recognizable
by his crown, Prospero (played in
this production by a woman) wears a
dazzling cape, Trinculo and Stephano
have white gloves signifying their status
as servants at Court. The costume pieces
are helpful since the small cast means
most of the performers play multiple
roles. The speed at which they shift
characters and scenes means that even a
short attention span can stay focused on
the action.
“Younger children always respond to
drama with such a sense of wonder,”
says Brent Stansell, Training Programs
Manager and actor in Mini-Summer, “it’s
thrilling to look back on their smiling
faces while performing.” In many ways
young children are ideal audiences
for theatre. They are enthralled with
storytelling and imagination. “Makebelieve is a big part of what makes
theatre wonderful,” Wyer explains,
“they engage in make-believe every day,
why not meet them where they are?”
This philosophy guides the post-show
interactive workshop. Instead of leaving
at the end of the play, the audience can
join the actors in discovering more about
the characters and the art of acting.
They take a scene from the play
and teach the lines and actions to the
audience members. The students are
thrilled to get the
chance to go onstage
and participate.
Stansell recalls the
Mini-Summer post-show
workshops, “The kids
really love acting out
the parts...I remember
one boy specifically
who was having the
time of his life acting
out the characters.”
The opportunity to
act and interact with
Shakespeare is a first for
many of these young
audiences. The real excitement they
feel—Wyer described having a room of
over 120 kids (mostly in kindergarten)
rushing to the actors following the show
“like at a concert.” But the excitement
is not for The Wiggles or One Direction.
It’s for actors who have been faithfully
speaking words written over 400 years
ago.
Children
engage in
make-believe
every day,
why not meet
them where
they are?
The Tiny Tempest is presented as part of Family
Week at The Tempest, December 13-21. Visit
ShakespeareTheatre.org/FamilyWeek to learn more
about free events and performances for all ages.
Hannah Hessel Ratner, STC’s Audience
Enrichment Manager, is in her fourth season
at STC and holds an MFA in dramaturgy from
Columbia University.
45
SUPPORT
We gratefully acknowledge the following donors that currently
support the work of the 2014-2015 season.
This list is current as of October 24, 2014.
$100,000 and above
D.C. Commission on the Arts &
Humanities
The Erkiletian Family
Foundation
The Harman Family
Foundation T
The Honorable Jane Harman
HRH Foundation
Michael R. Klein and
Joan I. Fabry T BA
The Robert P. and Arlene R.
Kogod Family Foundation
Share Fund
Suzanne and Glenn Youngkin T
$50,000 to $99,999
Anita M. Antenucci T
The Beech Street Foundation T
Afsaneh Beschloss T
The Morris & Gwendolyn Cafritz
Foundation
Dr. Paul and Mrs. Rose Carter T
Dr. Mark Epstein and
Amoretta Hoeber T
Mr. and Mrs. Robert Falb T
Mr. and Mrs. Andrew Florance T
The Philip L. Graham Fund
John and Meg Hauge T
Mr. Jerry Knoll
National Capital Arts & Cultural
Affairs Program/US Comm.
of Fine Arts
Alan and Marsha Paller
The Shubert Foundation
$25,000 to $49,999
Anonymous (2)
Anne and Ronald Abramson
Stephen E. Allis T
Paul M. Angell Family
Foundation
City Fund
Debevoise & Plimpton LLP
James A. Feldman and
Natalie Wexler
FTI Consulting
Nina Zolt and Miles Gilburne
Catherine Held
Mr. and Mrs. Stephen A.
Hopkins T
Latham & Watkins
Abbe David Lowell and
Molly A. Meegan T BA
Estate of Suzy Platt 1616
Toni A. Ritzenberg
Stephen and Lisa Ryan T BA
Vicki and Roger Sant 1616
Shakespeare for a New
Generation
Fredda Sparks and
Kent Montavon
George P. Stamas T
Tom and Cathie Woteki AMB
Turner & Goss
$15,000 to $24,999
Anonymous (3)
Nick and Marla Allard T BA
Altria Group
Amazon Web Services
The Theodore H. Barth
Foundation
British Council
Brown-Forman Corporation
Mr. and Mrs. Landon Butler T
The Carmen Group
Clark Construction Group, LLC
Computer and Communications
Industry Association
The Dallas Morse Coors
46
T
Foundation for the
Performing Arts
The Max and
Victoria Dreyfus Foundation
Nina Laserson Dunn and
Eric C. Rose BA
Helen Clay Frick Foundation
Hogan Lovells US LLP
Humana Inc.
Jerry and Isabel Jasinowski T
Helen Kenney
The Jacob and
Charlotte Lehrman
Foundation
In memory of Marilyn J. Lynch
M Powered Strategies
Ann K. Morales
National Endowment
for the Arts
Pepco
Porterfield, Lowenthal, Fettig &
Sears, LLC
Toni A. Ritzenberg
Pauline A. Schneider T BA
Judi Seiden AMB
Solon E. Summerfield
Foundation
Vornado/Charles E. Smith LP
Westfield, LLC
Lynn and Jonathan Yarowsky
$10,000 to $14,999
Anonymous
Esthy and Jim Adler
Amanter Philanthropy
Barclays
Lisa Blue Baron
Batir Foundation, Inc.
Sheila and Kenneth Berman BA
Mr. and Mrs. Sameer Bhargava
Debra and Leon Black
Booz Allen Hamilton
BP America
CBRE Group Inc
CLS Strategies
CJM Foundation
The Clark-Winchcole Foundation
Donn and Sharon Davis
Douglas Development Corporation
Mr. and Ms. David Dupree
E. and B. Family Trust
Ernst & Young LLP
Arthur and Shirley Fergenson ACA
Trygve and Norman Freed
Friends of Youngkin
Gould Property Group
Grossberg, Yochelson, Fox & Beyda LLP
Clarke Murphy and Heather
Hammond
Elaine Economides Joost 1616
Scott Kaufmann T
Margot Kelly
Roger W. Langsdorf
The Ludwig Family Foundation
Mr. and Mrs. Eric Luse
Mr. and Mrs. Andrew Marino
Jacqueline B. Mars
McLane Company Inc.
Eleanor Merrill T
Morgan Stanley
Tom Mounteer and Bobby Zeliger
Michelle Newberry
Nissan North America, Inc.
PwC
Steve and Diane Rudis
Victor Shargai and Craig Pascal
The Honorable Robert E. Sharkey
and Dr. Phoebe Sharkey AMB
Doug and Gabriela Smith
Clarice Smith
Sovereign Strategy Limited
The Hattie M. Strong Foundation
US Trust Company
Mr. and Ms. Antoine Van Agtmael
Velasquez Group, LLC
VISA U.S.A., Inc.
Patricia and David Vos Foundation
Willkie, Farr & Gallagher
$5,000 to $9,999
Anonymous (7)
Aflac
Mark Tushnet and
Elizabeth Alexander
Alston & Bird LLP
Michael and Stacie Arpey
Linna Barnes and Chris Mixter
Kyle and Alan Bell
Barbara Bennett
Peter A. Bieger
Don and Nancy Bliss
The Bozzuto Group
Katherine B. and David G. Bradley
Dorothy W. Browning
Buffy and William Cafritz
Robert Crawford Carlson
Emily and Mike Cavanagh
The Honorable Joan Churchill and
Mr. Anthony Churchill BA
Richard Cleva and Madonna K. Starr
Jeffrey P. Cunard BA
Louis Delair, Jr.
The Dimick Foundation
Craig Dunkerley and
Patricia Haigh ACA
EagleBank
Ernst & Young LLP
Marietta Ethier
ExxonMobil
Bob, Kathy and Lauren Fabia
Anne and Burton Fishman BA
Forest City Washington
Tim and Susan Gibson ACA AMB
In memory of
Angelique Glass 1616 ACA AMB
Janet W. Solinger and
Jacob K. Goldhaber
Sue and Leslie Goldman
Richard A. and M. Theresa Gollhofer
Graham Holdings
David and Jean Grier
William Stein and Victoria Griffiths BA
H&R Block
The Harbour Group, LLC
Kevin T. Hennessy AMB BA
John W. Hill T
Lynne and Joseph Horning
Mike and Gina House T BA
Hughes Hubbard & Reed
The Mark & Carol Hyman Fund
The International Union of
Bricklayers and Allied
Craftworkers
Elaine Economides Joost
K&L Gates
Daniel F. Katz BA
Lou and Irene Katz
David and Anne Kendall BA
Marcel LaFollette and
Jeffrey Stine ACA
David A. Lamdin AMB
Mr. Daniel Lennon
Heidi and Bill Maloni
The George Preston Marshall
Foundation
Kathleen Matthews
MedStar National
Rehabilitation Network
Hilary B. Miller and
Dr. Katherine N. Bent BA
Ms. Connie Milstein
The Morningstar Foundation
Kristine Morris
Theodore B. Olson and
Lady Booth Olson BA
Oracle America Corporation
Ms. Karishma Page
Park Center Associates
Peach Tree Mclean
Robert and Susan Pence
Pollinger Development Co.
The Prince Charitable Trusts
Property Capital LLC
Willam Pugh and Lisa Orange
Reset Public Affairs
Risk International
Gerri and Murray Rottenberg 1616
Lee Goodwin and Linda
Schwartzstein
Security Industry And Financial
Markets Association
Skadden, Arps, Slate,
Meagher & Flom
Software and Information
Industry Association
John and Leslie Steele
Terra Nova Title and Settlement
Services, LLC
TPG Capital
Roderick and Alexia Von Lipsey
Vulcan Materials
Company Foundation
Evan J. Wallach and
Katherine Tobin BA
Wells Fargo Philanthropy
Carolyn L. Wheeler BA
Alan and Irene Wurtzel
Mr. Mike Wyckoff
Chris and Carol Yoder
Judy and Leo Zickler
$2,500 to $4,999
Anonymous (3)
Mr. Derek Thomas and
Mr. Ernesto Abrego
Miriam and Robert Adelstein
Robert N. Alfandre
Sunny and Bill Alsup
Tony Anderson and Kevin Lorei
Mr. Decker Anstrom and
Ms. Sherron Hiemstra
Stephen P. Anthony BA
Celia and Keith Arnaud
Drs. Hilda and William O. Bank
BB&T
Brent J. Bennett
Dr. Bill and Evelyn Braithwaite
Mr. and Mrs. Jere Broh-Kahn ACA
Claudyne Y. Brown BA
Mr. and Mrs. I.T. Burden, III
Dawn and James Causey
Audrey Chang and Michael Vernick
Ellen MacNeille Charles
Joan Choppin
Linda and John Cogdill
Jeff and Jacky Copeland
Marshall B. Coyne Foundation
Douglas W. Crandall
Mr. Ralph C. Voltmer and
Ms. Tracy A. Davis BA
The Charles Delmar Foundation
Beverly and Richard Dietz
Dorchester Towers & Dorchester
Apartments on Columbia Pike in
Arlington
Emily, Susannah and Michael Eig
Helaine G. Elderkin
Michael Evans
Expedia, Inc
Rob and Anne Faris
Leo Fisher and Sue Duncan
Barry and Marie Fleishman
Claire Frankel
Paige Franklin and David Pancost
Franklin Square Group
FTI Consulting
Burton Gerber
Carol and Ken Gideon
Josh Goldfoot BA
Alice and John Goodman
Ms. Myra P. Gossens
John E. Graves RIA and Hanh Phan
Mr. and Mrs. Woolf P. Gross
Pamela and Corbin Gwaltney
Karen L Hawkins BA
Catherine MacNeil Hollinger and
Mark Hollinger
James and Marissa Huttinger
International Brotherhood Of
Teamsters
47
Larry and Georganne John
John Edward Johnson
Jody Katz and Jeffrey Gibbs
Michael and Michelle Keegan
Thomas and Bridget Kluwin
Mary Hughes Knox
Dr. Richard M. Krause 1616
Barry Kropf
Bill Lands and Norberta Schoene
Dr. Mark T. Lewellyn
Marjorie and John Lewis
James M Loots, Esq. and
Barbara Dougherty Loots, Esq. BA
Mary McCue ACA AMB
The McGwin/Bent Family
Thomas and
Ingrid McPherson Foundation
Hazel C. Moore
Rajesh and Radhika Murari
Patricia Sherman and Terry Murphy
National Association of Realtors
National Rural Electric
Cooperative Association
Navigators Global
Louisa and Bill Newlin
The Nora Roberts Foundation
Melanie and Larry Nussdorf
The OB-C Group, LLC
James Oldham and Elizabeth
Conahan BA
Dr. and Mrs. Kenneth Oscar
Mr. and Mrs. David Osnos
Theda Parrish
Mr and Mrs Carl F. Pfeiffer
Podesta Group
Sydney M. Polakoff and
Carolyn Goldman
Lutz Alexander Prager
Rasky Baerlein Prism
Mary and Gene Procknow
Property Casualty Insurers
Association of America
Robert and Nan Ratner
Molly and Joe Reynolds BA
Ron and Sharon Salluzzo
Mrs. Stanley J. Sarnoff 1616
Steven and Beverly Schacht
Richard Scott
Linda and Stanley Sher
Richard Simpson
The Smith-Free Group LLC
Louisa and Daniel Tarullo
ThinkFoodGroup
Professor Philip Tirpak
Kathy Truex
Thomas and Molly Ware AMB
Washington Forrest Foundation
$1,500 to $2,499
Anonymous (7)
Ernest and Dianne Abruzzo
Gisela and Thomas Ahern
Kevin and Amanda Allexon BA
Patricia Arnold
Julie, Tina, June and Vince Auletta
Russ Stevenson and
Margaret R. Axtell
Keith L. Babb
Galen and Carolyn Barbour
Michael F. Barrett, Jr. and
Danielle Beauchamp
John and Patricia Barth
James and Carmella Bell
Judge James A. Belson
Sue E. Berryman
Elaine and Richard Binder
48
Phillip Reiman and Leslie Binns
Dr. Donna W. Blake and
Mr. Bruce E. Eckstein
John Blandford
Cathleen E. Blanton
Martha Blaxall and Joe Dickey
Ronald Bottomly
Michael Boyd
David Bradley
Thomas C. Brennan
Roger and Nancy Brown
Howard M. Brown
Mr. and Mrs. Douglas Brown
Elizabeth Buchbinder
Capitol Hill Community
Foundation ACA
Joanna and Alan Capps
Cheryl and Matthew Chalifoux
Mr. and Mrs. Anthony C. Collins
Julia and Francis Creighton
Mr. and Mrs. Mark Darnell
William C. and Sandra Davis
Carol Der Garry
Tom and Krista Di Iaconi BA
Dickstein Shapiro
David and Kenna Dorsen BA
Ms. D. Chris Downey
Dr. Damien and Elizabeth Doyle
Joy Dunkerley
Becky and Alan Dye
Fynnette Eaton and James E. Miller
Ms. Nike M. Elder
Ms. Catherine B. Elwell
Garrett Epps BA
Raymond S. Eresman and
Diana E Garcia
John Estes and Veronica Angulo
Federal Lodge No. 1
Free and Accepted Masons
Washington D.C.
Julie M. Feinsilver 1616 ACA
Mr. Elliot Feldman BA
Joseph and Jeri Fellerman
Mr. and Mrs. Alan M. Fern
Barbara and Ralph Ferrara
The Lee & Juliet Folger Fund
Julian W. Fore and Beverly A. Sauer
Rhona Wolfe Friedman and
Donald J. Friedman BA
Lisa and Phil Friedman BA
Brenda and David Friend
Juan H Gaddis
Charles and Amy Gardner
Dr. Laura J. George AMB
Dr. Douglas E. Gill and
Mrs. Karen S. Vartan
Ruth Bader Ginsburg
JoAnne Glisson
Donald H. Goodyear, Jr.
Mr. and Mrs. David L. Gray
Ms. Pat Gray ACA
Lisa Grosh and Donald Names BA
Merle Haberman
Frona Hall
Frank Kendall and Beth Halpern BA
Kenneth G. Hance
James T. and Vicky Sue Hatt
Robert and Margaret Hazen 1616
Andrea L. Heithoff
Ann Kappler and Mark Herlihy
Jean and Stephen Hersh
Cheryl R. Hodge
Mr. Gerald Hoefler
Mr. Henry H. Holcomb
Charlotte Hollister and
Donald Clagett
Fran and Bill Holmes
David H. Holtzman
Ms. Ann Homan BA
William L. Hopkins and
Richard B. Anderson 1616
Mr. and Mrs. Timothy Howard
Russell Mikel and Alison Hurst
Maxine Isaacs
Mr. Steven Janssen
John, Pam and Kim Jaske
Birdie Johnson BA
Eric Kadel BA
Michael Kades and
Mary Giovagnoli BA
Lawranne Stewart and Mark Kantor
Rick Kasten
Candace and Hadrian Katz
Joel and Mary Keiler
Thomas R. and Laurie S. Kelly
Melinda Kimble
David A. Klaus
Dana and Ray Koch
Sara Dunham Kraskin and
Stephen G. Kraskin
Mr. and Mrs. William Kristol
Mr. Sanjiv Kumar and
Ms. Mansoora Rashid
L. L. Lanam
Lynne Stephens and Kenneth Larson
Leonard, Street and
Deinard Foundation
Nancy and David Lesser BA
Diane Lindquist BA
Freddi Lipstein and
Scott Berg 1616 ACA AMB
David Lloyd, Realtor
James J. Lombardi
Christopher and Lane Macavoy
Amanda Machen
Rev. Frederick MacIntyre and
Mickey MacIntyre
Dan and Susan Mareck
Mars Foundation
David and Martha Martin
Dr. and Mrs. James E. Martin
John and Connie McGuire BA
Stephen M. McNabb BA
Ms. Kate McSweeny BA
Dr. Jeanne-Marie A. Miller
Mr. Steven Miller
Catherine L. Moore and
Carl W. Stephens
Ms. Hallee Morgan BA
Dee Dodson Morris BA
Mr. Jeffrey Morrison BA
Rita Mullin
Michael Nannes and Nancy Everett BA
Ralph and Gwen Nash
Madeline Nelson
Ms. Beth Nolan and
Mr. Charles Wright
Mr. and Mrs. Lawrence O’Connor
Mrs. Jean Oliver
Robert and Martha Osborne
Timothy P. O’Toole
Mr. and Mrs. Gerald W. Padwe
Karishma and Jonathan Page
Penelope Payne
Scott Pearson and Diane Farrell BA
Gary and Trudy Peterson
Robert and Lillian Philipson
Foundation BA
Carter G. Phillips BA
Sheldon Pratt ACA
Hon. Frank Press
Ms. Elise Rabekoff and
Mr. Christopher Gladstone
Mrs. Eden Rafshoon
Lloyd and Claudia Randolph 1616 BA
Susan and Ronald Rappaport
Steven and Anne Reed
Alberto J. Rivera BA
Steve and Diane Rothman AMB
Richard and Rochelle Schwab
Kannon and Victoria Shanmugam BA
Margaret Sheer BA
Kelly S. Shoop BA
Mark J. and Joan B. Siegel
Patricia L. Sims, Esq. and
David M. Sims, Esq. BA
Christopher Mondini and Martin Skea
Ed and Andy Smith
Candace Smyth BA
Susan and Brian Sullam
Linda Griggs and Bill Swedish
Al and Nadia Taran BA
Jeff Thamkittikasem
Alice W. Thomas 1616
Peter Threadgill
David Tone
Mr. Clifton Hyde Tucker, Jr.
José Alberto Uclés
Tessa van der Willigen and
Jonathan Walters
John H. Vogel BA
In memory of Dorothy B. Watkiss BA
Sally and Richard Watts
In memory of Mary Weathers
Sonia and Dale West
Laura and Paul Weidenfeld BA
Kevin Riley Gowen and
Robert Paul Wilkinson
Mr. Alan F. Wohlstetter
Julian Yap BA
Fred and Sandra Young
The Honorable Dov S. Zakheim and
Mrs. Deborah Bing Zakheim
Margot and Paul Zimmerman
$1,000 to 1,499
Anonymous (7)
Anthony Francis Lucas-Spindletop
Foundation
Mr. and Mrs. Gregory Ballentine
Dan and Nancy Balz
Mr. and Mrs. Albert H. Barclay Jr.
Robert B. Barnett and Rita Braver
R. Joseph Barton and Tricia Placido
Dr. and Mrs. James E. Bernhardt
Ms. Marion C. Blakey
James Blum
Bill Bodie T
Elizabeth Boyle
The Family of Marion and
Charles Bryce 1616 AMB
John and Linda Byington
Rita A. Cavanagh and
Gerald A. Kafka
Elaine H. Christ
Elaine Church
Antonia B. Ianniello and
George M. Chuzi
Barbara and John Cochran
Mr. Timothy Cole and
Ms. Kathy Galloway
JoEllen and Michael Collins
Marsha E. Swiss and
Ronald Costell MD
The Honorable and Ms. Tom Davis
Dahl-Morrow International
Thomas Damisch
The Honorable and Ms. Tom Davis
Mr. and Mrs. John Dillon
Richard and Patricia Draper
Claudia Hastings Dulmage
Susan and Dorsey Dunn
ESPY Energy Solutions
David Webber and Joelle Faucher
Gary and Naomi Felsenfeld
Sandy and Jim Fitzpatrick
Ms. Elizabeth Galvin
Angela and Dan Goelzer
Mr. and Mrs. Harr
Jeanie and Tex Harris
Hines Interests Limited Partnership
Susan Bokern and Ted Holmberg
Ken Hunter
International Brotherhood of
Boilermakers
Lorna Jaffe
Jones Lang LaSalle
Stephanie Kanwit
Andrea and Joseph Kerr
Mr. Jeffrey D. Kirkwood
Ray Kogut
Mr. and Mrs. Jerome Kossar
Polly Kraft
Karen Leider
LEVICK BA
Shirley Loo
Mr. John H. Loomis
Steven M. Rosenberg and
Stewart C. Low III
Bruce and Virginia MacLaury
Hardee Mahoney and Juan Vegega
Mr. and Mrs. Gregory May
Susan Milligan and Philip McGuire
Bernard McKay
Belinda and Jon McKenzie
Sarah D. Meredith
Nancy and Herbert Milstein
Mr. Peter G. Mirijanian
Mark Perry and Adele Mouzon
Mr. and Mrs. P. David Pappert
James D. Parker
Philip B. Nelson and Anne Parten
Barbara A. Potcka and
Everett Mattlin
Thomas Pauls and Eleanor Pelta
Professional Women in Advocacy
Conference
Julie Phillips
The John and Marcia Price Family
Foundation
Susan and Donald Rappaport
The Honorable Joe R. Reeder
Roger Roberts
Mr. John Roemer
Peter D. Rosenstein
Nancy and Miles Rubin
James and Madeleine Schaller
Eugene & Alice Schreiber
Philanthropic Fund
Elizabeth and Carl Seastrum
She Should Run
In memory of Betty F. Shepard
Jerry and Judy Shulman
Sprint
Gary and Libby Stanley
Mr. Edward Steinhouse
Steptoe & Johnson LLP
Elizabeth and George Stevens, Jr.
Alan Asay and Mary Sturtevant
David and Sarah Tate
Michael Tubbs
Carole and John Varela
Mr. and Mrs. L. Von Hoffman
Washington Resource Associates
Bill and Ted Wears-Richards
Ms. Judith Weintraub
Gerry Widdicombe
Patricia Yee
Penny S Younce
$500–$999
Anonymous (24)
George and Polla Abed
Actors’ Equity Foundation, Inc.
Vickie and David Adamson
Mr. and Mrs. John Allen
Douglas and Jane Alspach
Thomas and Kathleen Altizer
Eric Amick
Richard and Rosemarie Andreano
Ms. Jerrilyn Andrews and
Mr. Donald Hesse
Cherrill Alfou Anson
M. Antoun
Judy Areen and Richard Cooper
Jean W. Arnold
Carol Benedict and Paul Ashin
Mrs. Martin Atlas
Mary Anne and Charlie Bacas
Leonard Bachman
Mr. Joel Balsham
Jonathan H. Barber
Joan Barron and Paul Lang
Athena Caul and Brian Bayliss
Rev. John P. Beal, III
Julianne Beall
Peter Mathers and Bonnie Beavers
Nan Beckley
Paul R. Berger and Janice L. Lower
Robert C. and Elissa B. Bernius
Paul Bickart and Marcia Reecer
Vaughn and Marian Bishop
William D. Blair Charitable
Foundation
Alisa M. Goldstein and Lee Blank
Ambassador Julia Chang Bloch and
Stuart Bloch
Rick and Burma Bochner
Thomas Booth
Jennifer Boulanger and Bruce Schillo
Dick and Sarah Bourne
Mark Ziomek and Gary Bowden
Mr. Chris Boyles
The Honorable Susan G. Braden and
Thomas M. Susman
Dr. Ronald Brady
Jill and Jay Brannam
Robert and Lucy Bremner
Dr. Chris H. and
Mr. James D. Bridgeman
Liz and Cornelius Bronder
Henry J. Brothers, II
Christopher Brown
Dana E. Brown
Lorraine Brown
Candice C. Bryant
Philip Buchan and June Krell
Harold R. Bucholtz
Jayne Bultena
Michael L. Burke and Carl W. Smith
Ms. Destiny Burns
Col. and Mrs. Lance J. Burton
Cesar A. Caceres MD
Dianna and Mickey Campagna
Robert J. Campbell and
Mary A. Schellinger
Ann Cardoni
Caroline Willis Book Appraisals
James M. Carr
Nicholas and Mary Jeanne Carrera
Ann Cataldo
Sarah and William Cavitt
49
Wallace Chandler
Shu Hui Chen
Dr. Frederick W. Wolff and
Dr. Catherine Chura
John Clark and Ana Steele Clark
Thomas and Robin Clarke
Dr. Warren Coats Jr.
William and Sara Coleman
Laura L. Hoffman and David C. Colin
Jack and Julia Corrado
Owen Costello and Erlin Webb
Michael and Sue Crane
Whitney Moore and Jacy Daiutolo
Ms. Donna Dana
Mr. and Mrs. Scott W. Davis
Matthew and Michel Dazé
Anthony and Nancy DeCrappeo
Osborne Mackie and Morgan Delaney
Tom Gusdorff and Ed Dennison
Mary des Jardins
Marjorie Deutsch, Ph.D and
John Broadbent, JD
Caroline M. Devine
Mr. Ken Dreyfuss
Jean and Paul Dudek
William J. Tito and Debra J. Duncan
David Dunn
Sayre Ellen Dykes
Stephen and Magda Eccles
Stuart and Joanna Edwards
Mr. and Mrs. Kenneth A. Eisenhardt
Victoria Elliott and
J. Michael Shanahan
Will Guthrie and Ellen Epstein
William Erickson
Ms. Janice Faucett
Gail W. Feagles
Colonel and
Mrs. Charles F. Feldmayer
Dorothy E. Fickenscher
Pamela Frazier and Michael Finan
Scott Fine
Louise A. Fishbein
Ms. Christine Fisher and
Mr. Oscar Goldfarb
Donald and Cathy Fogel
Rev. and Mrs. Frederick Foltz
Robert and Carole Fontenrose
Lt. Col. Michael A. Foughty and
Rev. Donna L. Foughty
Candida Fraze Moskovitz and
Peter Moskovitz
David Frederick
David Freeman
Dr. Helene Freeman 1616
Mike and Pati Froyo-McCarty
Aaron and Susan Fuller
Michael Gaba
Mr and Mrs Davis R Gamble, Jr
Mr. and Mrs. Charles Gary
Norman I. Gelman
Lewrene Glaser
Vera Glocklin
Michael and Ellen Gold
Jinny and Michael Goldstein
Ms. Eloise Gore and Mr. Allen Hile
Stanley Alan Hurwitz
Lynn M. Gowen
Patricia Graham
Robert Warren and Jane Grayson
Judy and Sheldon Grosberg
Margaret Grotte
Bruce and Georgia Sue Guenther
Cliff Hackett
Jack E. Hairston Jr.
Dr. Sara Hale Henry and
50
Mr. Austin Henry
Judy Hall
Kathryn Halpern
Peter D. and Florence R. Hart
Frank and Lisa Hatheway
Doris Hausser
Dr. James A. Heath
Kari and Max Heerman
Shawn C. Helm and
J. Thomas Marchitto
Margaret Hennessey
Jane and David Heppel
June and George Higgins
Susan McNabb and Brent Hillman
Bernardo Hirschman
Melissa Hodgman and Peter Strzok
Stanley and Vicki Hodziewich
David Hofstad
Judy G. Honig and Stephen Robb
Paul and Carol Honigberg
Silvia M. Hoop and Alfred Kammer
Donald M. and Barbara S. Hoskins
Lois Howlin
Dave Hughes
Susan C. Immelt
Mr. Loring J. Ingraham and
Ms. Dale Rubenstein
Eric R. Jablow
Mr. Kurt Jaeger
Rachel R. Jaffe
Mary Frances Jetton
Jason and Cynthia Johnson
Catherine Jordan
Maryanne and David Kane
Daniel Kaplan and
Kay Richman Gift Fund
Kathleen Karr
Preston and Lois Kavanagh
Ashok and Stuti Kaveeshwar
Msgr Francis Kazista
Mark Kearney
Barbara Keller
Mary E. Kennelly
Bill and Marion Kettering
Robert Kimmins
Lt. Col. Jo Kinkaid USAF (Ret)
Susan and Bill Kirby
Special Thanks to Mike Klein and
Joan Fabry
Dr. Prudence Kline and Dr. Paul
Kimmel
Amy Schwartz and Eric Koenig
Sally Weinbrom Kram
Howard Krauss
Karen E. Krueger
Robert L. Larke
Diana M. Lee
Frances and Emery Lee
Mr. and Mrs Tracy Leigh
Maryellen Trautman and
Darrell Lemke
Mrs. Sandra Levenbook
Shirley J. and William S. Levine
CDR Lars Hanson and RADM
Rosanne Levitre
Bianca and Michael Levy
Chip Linnemeier
Liotta Osterman family
Dr. Richard F. Little
Mr. and Mrs. Joseph Livingston
Nancy and Dan Longo
Raudel Che Lopez
Kenneth and Joan Lorber
Joan Lorr
Linda L. Lum
Donald and Julianna Mahley
David and Claire Maklan
Mrs. Maureen Malone
John and Liza Marshall
Patrick Martyn and Eric Lomboy
Winton E. Matthews, Jr.
Catherine McClave
Cynthia and Richard McConnell
William A. McDaniel, Jr.
David and Sarah McMeans
W. Bruce McPherson
Beverly Melani and Bruce Walker
Susan and Harry Meyers
Lisa Mezzetti
Madalene Mielke
Roger and Robin Millay
Mr. and Mrs. Edward Miller
Daniel Mintz and Ellen Elow-Mintz
Dr. Allen Mondzac
Theresa Morris
Mr. and Mrs. Timothy P. Mulligan
Carl and Undine Nash
Linda S. Neighborgall
Elizabeth and John Newhouse
D.W. and Martha Newman
Eugene Nojek
Ms. Kathleen J. Norvell
Russ and Ellen Notar
Mr. James Olander
Warren S. Oliveri, Jr. and
McGennis Williams
Mr. Francis O’Malley and
Dr. James Ellzy
A. Orza
Mr. and Mrs. Ernest T. Oskin
Rodney and Deborah Page
Mike and Pam Peabody
Julia Perlman
Ms. Mary I. Pett
Victoria Phipps
Col. and Mrs. Scott Pinckney
Elizabeth Piotrowski
Michael Proffitt
Julie and Navarro Pulley
Drs. Dena and Jerome Puskin
David A. Quick
Alice Rand
Wendy and John Daniel Reaves
Peter S. Reichertz
Sheldon and Barbara Repp
In memory of Richard Ricard, Jr
Mac and Michelle-Anne Riley
William L. Ritchie Jr.
Gail A. Robinson
The Honorable John T. Rooney
Linda O. Rosenfeld
Paul and Katy Rosenzweig
Lynn N. Rothberg
Burton Rothleder
Peggy and Bud Rubin
Suzonne Sage
Jennifer M. Schlener
Joyce and Richard Schwartz
Matteson and Kathleen Scott
In honor of Shakespeare classes and
the Theatres that support them
Phil Sharp
Dianne Shaughnessy and
Jonathan Taylor
Catherine M. Sheppard
John and Roma Sherman
Adele Z. Silver
Donald M. Simonds
Dr. and Mrs. Delbert D. Smith
Randall Speck and Samantha Nolan
Mr. and Mrs. William Spellbring
Cecile and James Srodes
Dr. William and Vivienne R. Stark
Mr. and Mrs. Ronald W. Steele
Carol Stein
Janice Sterling
Robert and Virginia Stern
Jeff Stoller
Dorothy and Donald Stone
Barbara Stout
Judi and Richard Sugarman
Maureen Sullivan
Alice J. Sziede
Carol and Harry Tabak
Drs. Steven and Sheila Taube
John Taylor
Grant P. and Sharon R. Thompson
Ms. Pauline Thompson
Steven and Alison Thompson
Lynn Trundle
Mr. and Mrs. Alvin Tucker
James and Cynthia Tuite
David S. Turner
Drs. Stephen and Susan Ungar
Allen Unsworth
Rod and Marilyn Uveges
Arina van Breda
Joan and Lyman Van Nostrand
Fernando and
Stephanie van Reigersberg
Dwight and Carrie Vaughn
Mr. Andrew Wainner
Martin and Susan Wald
Libby and Herb Ware
In memory of Marjorie Hecht Watson
Mr. and Mrs. Rosanne Weber
Jack and Ruth Ellen Wennersten
Dr. Edward Whitman
Ms. Kelly Wilcox
DeAunn and Jeffrey Wilder
Dr. Marjorie Williams ACA
Virginia and Wayne Williams
Linda Winslow
C. Lawrence Wiser
George E. Wishon
Neville Withington and
Kerry Kingham
Ms. Anita Woehler
Marty Woelfle
Kathryn Wood
Deborah Yaffe
$250–$499
Anonymous (41)
Jean Abinader
Mr. and Mrs. Elias Aburdene and
Annette Aburdene
Donald Adams and Ellen Maland
Jon and Kate Aikman
Don and Allison Aitken
Ms. Emily L. Aitken
Anthony A. Aldwell
Mr. and Mrs. Charles T. Alexander
Maqbool Aliani
In honor of Marla and Nick Allard
Mr. and Mrs. Theodore E. Allison
Ambassador and
Mrs. Frank Almaguer
Bill and Sue Alterman
Jerome Andersen and June Hajjar
Nancy P. Anderson
Kirsten Anderson and Jeff Harris
Edward M. Andrews and
John H. McCrary
Kevin and Sheila Avruch
James H. Babcock
Jane Bachner
Beverly Baker
Sheila Eddy Baker
Mr. and Mrs. J.I. Ballestero, Jr
Margaret and Gordon Bare
Nancy and Ed Barsa
Charles D. Bartlett and Linda Bartlett
Andrea Baruchin
Christy Schmidt and
Tony and Peter Bayne
Mr. Michael J. Beck
Ms. Mary Ellen Bergeron
Jane C. Bergner
Michael Beriss
Sharon L. Bernier
Pam and David Bernstein
Barbara Berrie
Bethesda MRI & CT
Claire and Tom Bettag
Mr. Bowen Billups
Darwin Bingham
Mary C. Blake
Elizabeth and Michael Blakeslee
Mary Josie and Bruce Blanchard
John W. Blouch
Elizabeth R. Boe
Kaye and Andrew Boesel
Constance Bohon, M.D.
Joanne Bollhofer-White
Lillibeth Boruchow, M.D.
The Bowie Family
Cindy and Dennis Brack
Drs. James and Jean Braden
Bill Brewer and Collot Guerard
Paul S. Bridge
Michael and Taylor Brogan
Adrianne B. Brooks
Steve Broughman
Betti Brown and Bob Ramsey
Perry L. Brown
Paula Stoiber and Willard Bucklen
Buckley/Palmore/Hind Family
Gita Budd
Jan Burchard
Jeffrey and Josephine Burton
Susan and Dixon Butler
Thomas Calhoun and Thelma Triche
Patricia Campbell
Peggy Canale
Josh Canary
Margaret Capron
Patrick and Katharine Carney
Marge Carrico and James Traylor
Bruce Gregory and Paula Causey
Mandy Chalou
Anna Uhl Chamot
JM Rowe and Nancy Chesser
Edward Chmielowski
Ricky Christie
Lily L. Chu and Gerald W. Weaver II
Ms. Janice L. Clark
Mrs. Nancy B. Clark
Ray Clark, Rhonda Starkey and Alex
Mr. and Mrs. Robert L. Clark
William and Louise Cleveland
Mary Combs
John and Sheila Compton
Susan M. Connolly
Susan E. Connors
Rachel Conway
Beverly Cook
Jovana Cooke
John F. Copes
Ms. Victoria Cordova
Robert W. Cover
Edward E. Cragg
Stephen T. Cramolini
Alan T. Crane
Drs. Joanne and Frank Crantz
D. Elizabeth Crompton
Bill Cross and Dr. David McCall
Joseph Cross
Matt Crouch
John Cuddy
Suzanne and Gregory Curt
Ambassador and
Mrs. Jaime Daremblum
Allen and Louisa Warren Davidson
Iris Davis
Ms. Deanna Dawson
Charles and Connie Delaplane
Beverly Dickerson
Anne and John Dickerson
Peter Dickinson
Thomas and Carol Donlan
Ms. Bridget Donohue
Kathleen M. Donovan-Scully
Alan and Susan Dranitzke
Dr. Richard Drawbaugh and
Suzanne Drawbaugh
Alison Drucker and Tom Holzman
Dr. and Mrs. John V. Dugan, Jr.
Dutch and Brenda Dunham
Mrs. Karen-Sue Dunn
Julia and Joe Dzikiewicz
Mary and Bob Eccles
Christian and Angela Ehemann
Mr. Paul Ehrenreich
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Michele B. Eisenberg
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William Erdmann
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Brandon Etheridge
Stockwell Everts
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Tracy Fisher
Anne and Al Fishman
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Richard L. Forstall
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John E. Nappi, Esq
Elizabeth France
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Anne-Marie Glynn
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David Goldston
Margaret Goodman
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Eldon and Emily Greenberg
Susan and David Gries
David Grover
Mr. Paul K. Guinnessy
51
Gail J. Gulliksen
Donald Harrison
Valorie Harrison
Donna Hart
Constance and Richard Heitmeyer
Robert J. Herbert
Laura Roulet and Rafael Hernandez
Dr. Roger E. Herst and
Dr. Judith L. Bader
Dorsey Hiltenbrand
Richard and Ardeth Hines
Frederick S. Hird
Amanda and Lawrence Hobart
Virginia A. Hodges
Dee Ann Holisky
Andrew Hollinger and Niki Holmes
Mr. and Mrs. Richard Holwill
Donald H Hooker Jr and
Mary I Bradshaw
Charles Horn and Jane Luxton
John K. Hoskinson and
Ana I. Fàbregas
Capt. and Mrs. Thomas C. Houghton
Charlotte Hrncir
Veronica Hubbard
Carol Ireland
Paul and Susan Irwin
Jacqueline L. Jackson
Edward and Victoria Jaycox
Mr. and Mrs. Donald Johnson
George and Ayah Johnson
Maj. Jeff Johnson
Linda Johnson
Fred Jones
Ms. Margaret Jones
In loving memory of
Mary Roberta Jones
Terri and Phil Jordan
Mark Joseph
Barbara (Grabon) and
Robert Juszczyk
Stephen Kaiser
Marvin and Madeleine Kalb
Tim and Sandy Kamas
Richard Kane
Mr. and Mrs. Albert J. Kappes IV
Virginia Karl
Nancy Kasler
Arthur Katz and Sima Osdoby 1616
Colleen and Jack Katz
Mr. and Mrs. Robert Keatley
Thomas Keenan, Dr. Joel Shapiro and
Elizabeth Lane
Mr. Allen L Keiswetter
John and Tommie Kelley
Caroline E. Kenney
Judge Gladys Kessler
Sandy and Pat Kimble
Michael and Carolyn Kirby
Audrius Kirvelaitis
Mr. and Mrs. Alan Kistler
Frank D. Kistler
Stephen Kitchen
In memory of Robert Knouss
Tom and Kathy Knox
Jeffrey and Barbara Kohler
W. Gary Kohlman and Lesley Zork
Michael W. Kolakowski
Robert Kopp
Mary Kotz
Sara Koury
Mr. T. C. Lacey
Margaret Lane
Ms. Debbie Lansford
Thomas A. and Jean L. Lauzon
Eileen Lawrence and
52
Bobby Greenfield
L. L. Lawson
Virginia Lawton
John W. Layman
Dr. and Mrs. Stanley E. Legum
Lisa and Chris Leinberger
Ms. Annie Lesher
Mr. Ben Levy
Charles Levy and Yvonne Zoomers
Herman D. Levy
Carol A. Lewis
Ms. Elizabeth H. Lewis and
Mr. Thomas J. Saunders
Sallie and Sam Lewis
Erik Lichtenberg and Carol Mermey
Barbara Liggett and
Augustine Matson
Marcia Litwack
Steven Magel
Chris and Ellie Maginniss
Drs Mark and Leigh Maier
Tom and Joan Malarkey
Dr. Jack Malgeri
Wm Gary and Phoebe Mallard
Alice S. Mandanis
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Mr. Thurgood Marshall Jr
Rita and Paul Marth
Don Martin and Tammy Wiles
Dr. and Mrs. Robert Martin
Stephanie Martin
Roy and Leeann Matthews
Mr. Michael S. Maurer and
Ms. Rachel L. Sher
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Matt and Peggy McCarty
Carol McGarry
Anna Therese McGowan
E.A. McGrath
Karla Taylor and Mike McNamee
Ms. Katy Mead
Henry Mendeloff
JoAnn and Skip Mican
M. Elaine Mielke
Drs. Rolf and Lee Anna Mielzarek
Iris and Lawrence Miller
Jack and Barbara Miller
Carolyn Yocom
Nicole and Stephen Minnick
Bobbe and Herb Mintz
Alexandra and Jeffrey Mitchell
Barbara A. Mitchell
Ryland and Mary L. Mitchell
Jane Molloy
Jessine A. Monaghan
Dr. and Mrs. T. Lindsay Moore
John and Livezey More
Kathryn A. Morrical
Elisabeth Murawski
Viola S. Musher
Mr. and Mrs. Robert W. Mustain Jr.
Anne Mytych
Elizabeth Neblett
Winkle Williams Nemeth
Jo-Ann Neuhaus
Mrs. William A. Nitze
Alice L. Norris
Paul D. O’Brien
Dr. Edward and Susan Oldfield
Judy Olmer
Nancy Swanson Olson
Ms. Suzane Domaruk
Mr. and Mrs. Mack Ott
Dr. Betty Ann Ottinger
Patricia Overmeyer
Joe Palca
Mary Ann Palka
Merrillee Pallansch
Thomas and Yates Palmer
Susan Papp-Lippman
The Honorable Elizabeth Paris
Visvas J. Patel
In memory of Michael Patten
Rebecca Patton
Donald D. Pealer
Laurence Pearl and Anne Womeldorf
Kevin and Sherry Pearson
Mark Perry
Randolph Perry
Rick Peters
Diane and Arnold Polinger
Jessica Pollner
Chris Poppe and Teresa Channon
Lisa Poulin
Elvis Presley
Diana L. Preston
Tamar and Stanley Rabin
Alfred S. Raider
Jennifer and Harry Rand
Julie and Sam Rea
Mr. and Mrs. Thomas J. Reckford
John and Sue Renaud
Resch Family
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Ms. Catherine Ribnick
Margaret Rice and Bill Sette
Joan Rineberg
Dwight and Laurie Rodgers
Duchesse Rodnez Lyons
Audrey Roh
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Gene and Shirley Rosenfeld
Faith Ruffins
Margaret L. Ryan
Barbara Ryland
Elizabeth and Noel Safford
Mr. and Mrs. Albert L. Salter
Betty H. Sams
Mary Sanders
Mr. Charles B. Saunders, Jr.
Steve and Rhonda Schonberg
Geane and Richard Schubert
Dr. and Mrs Frank and
Susan Schuster
Don G. Scroggin and
Julie L. Williams
Jeffrey and Patricia Sedgwick
Ellen Seidman and Walter Slocombe
Seema Shah
Howard and Harriet Shapiro
Louise I. Shelley
Eric Sherred
H. James and Judy Silva
Steve Sleigh
In Memoriam Brenda S Smitth
Michael R. Smith and Holly A. Larisch
Nick and Robbie Snow
Susan Snyder
Steve and Diane Sockwell
Bill and Susan Soderberg
Cathy and Bob Solomon
Mr. Richard E. Spear and
Ms. Athena Tacha
Sarah Splitt
James and Sue Sprague
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John Steele
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Crawford Feagin Stone
Miss Chris Stottmann
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The Honorable and
Mrs. James W. Symington
Barbara Taff
Gabriela Anaya and Bruce Tanzer
Elizabeth A. Taylor 1616
Miller and Virginia Taylor
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Mr. Mike Toman
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Mr. Glenn Tuttle
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James M. Verdier
Steve Verna
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Dr. and Mrs. A. Vourlekis
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Martha Wallach
Linda Walsh
Mr. Peter Q. Weeks – ElderCaring
Thomas and Elizabeth Wehr
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Catherine and Ronald Weinstock
David Wentworth
Karen Whaley and Jim Magner
June White Dillard
Michael Williams
Robert E. Williams
David and Myra Wilson
Mr. Scott Wilson
Ellis Wisner
Mr. and Mrs. Allen Wolfe
Sandra Wolfe
Stacy Woodruff
Anne and Tom Wotring
Mr. and Mrs. Rob Wyse
Nicholas and Wendy Yarnold
The Greene Turtle
The Hill
Homewood Suites by Hilton
Washington DC
Knightsbridge, Inc.
Permanent support through the
establishment of endowment funds LaTasca
The Leading National Theatres
Lavagna
Program, a joint initiative of the
MAC Cosmetics
Doris Duke Charitable Foundation Moet & Chandon
and the Andrew W. Mellon
MOM’s Organic Market
Foundation
Nando’s Peri Peri
Helen Harris Spalding and Herman
National Law Journal & Legal Times
Bernard Meyer Shakespeare
Old Town Shoe & Luggage Repair
Memorial Fund
Pitango Gelato
Gizella Moskovitz Fund
Red Velvet Cupcakery
Rosa Mexicano
Additional Members of the
SEI
Society of 1616
Social Reform Kitchen & Bar/Private
Anonymous
Caucus Rooms
Helen Alexander and Roland Weiss
Tangysweet
Lorraine E. Chickering
Taylor Gourmet
Anne Coventry
TDF
Peter and Linda Parke Gallagher*
Teaism
Ms. Claudia J. Greer
ThinkFoodGroup
Michael Kahn T
Uber
Lt. Col. and Mrs. William K. Konze
U Street Cleaners
Estate of Gwenneth Lavin*
Urban Essentials
Mrs. R. Robert Linowes
Vapiano
Shirley Loo
Washington Metropolitan Area
Marian Mlay
Transit Authority
Judith E. Moore
The Washington Post Company
Susana and Roberto Morassi*
West Wing Writers Group
Suzy Platt*
Zengo
Jennie Rose
Henry J. Schalizki
Matching Gifts
Anne and Daniel Toohey
Bank of America
Julie and David Zalkind
Mr. and Mrs. John J. Zeugner
Victor Zitel
Computer Associates
International, Inc.
ExxonMobil Foundation
Freddie Mac Foundation
IBM International Foundation
International Monetary Fund
Qualcomm
T. Rowe Price Foundation, Inc.
Verizon Foundation
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YourCause, LLC
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Carmine’s
Cedar Restaurant
Constellation Brands, Inc.
Corner Bakery Cafe
DC Access
District ChopHouse & Brewery
FUEL Pizza
Gordon Biersch Brewery
OFFICIAL 2014–2015 SPONSORS
Hotel
Make-Up
Wine
Airline
Costume &
Garment Care
Shoe Repair
KEY TO SYMBOLS
1616 Members of the Society of 1616, the Theatre’s
planned giving society
ACA Supporters of the Academy for Classical Acting
AMB Ambassadors of the Theatre, generous donors
who help to develop and enhance our patrons’
relationship with the Theatre. To join, please contact
Sara Conklin at 202.547.3230 ext. 2312.
BA
T
*
Members of the Bard Association, dedicated
supporters of the Theatre who are members
of the legal community. To join, please contact
Sara Conklin at 202.547.3230 ext. 2312.
Members of the Board of Trustees
Deceased
Every effort has been made to ensure that this list is accurate. If your name is misspelled or omitted, please
accept our apologies and inform Arielle Katz in Member Services at 202.547.1122, option 7,
or email SupportSTC@ShakespeareTheatre.org.
53
UP NEXT: An interview with
Michael Kahn, The Metromaniacs
director, and Artistic Director of STC
What prompted you to select
The Metromaniacs?
Our relationship with David Ives has
been a tremendous one. His previous
two translations of French verse
comedies for us have become staples of
theatres all through the United States.
We wanted to find a third, to make a
trilogy. The last two (The Liar and The
Heir Apparent) were both from the 17th
century, and we decided we wanted to
find one from the 18th century, from one
of the heirs of Molière and Corneille. We
ended up finding a play that had been a
huge success at the Comédie-Française
but which had never been translated
into English.
It’s a lovely romantic satire. Like many
of Shakespeare’s comedies, it’s about
confused identity: a group of people who
are addicted to poetry—hence the title,
The Metromaniacs—fall in and out of love.
The play is like a hall of mirrors: the set
consists of a forest inside an 18th-century
ballroom. It’s been created as the set
for a play written by a father to wake up
54
his dreamy daughter to reality. There’s
a sense of chaos to the play that David
finds very amusing, as do I.
Can you share a little about
the process of working with David Ives?
So much of my work is with writers
who are no longer with us. I have to
spend a lot of time trying to get into
the writer’s imagination and heart. It’s a
great pleasure to be able to work with
David. He’s so talented and quick, so
eager to keep looking at the script and
improving it. His French is impeccable, so
I know that the spirit of the original play
is there, but his imagination is so fertile
that I know that he is improving on it,
especially for modern audiences.
He didn’t know this play and he really
liked it when we sent it to him. He has
done several drafts, and one of the great
things is that he comes to rehearsals and
he immediately knows, “that doesn’t work,
that doesn’t work,” and he fixes it right
away. It’s fun to be casting with him, to
have him there while we’re casting the play.
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.
I’m so pleased how successful he has
become as well. Venus in Fur was the
most-produced play in regional theatre
last year, and several years before it was
The Liar—and I know pretty soon it’s going
to be Heir Apparent. It’s just great that
he has continued his relationship with us.
We’re looking around for the next play—
but I don’t think it will be a French one. It’s
going to be something else.
We are doing it in the century it was
written, so Murell Horton’s costumes are
going to be quite beautiful, Jim Noone’s
set will be elegant and charming and
amusing. I’m glad to be working with that
team of people.
How does this piece connect
to Tartuffe?
As part of the Clarice Smith Repertory, I
wanted to do a French comedy repertory,
so here we have an unknown play in The
Metromaniacs, and with Tartuffe we have
what many of us consider the greatest
French comedy.
What can audiences expect from his
production?
This is a genuinely light-hearted play. They
can expect very, very clever wordplay,
with lots of characters both playing
themselves and playing a “part”—the
lover, the sexy maid, the witty servant. All
of those types are in it, but some of them
have been turned upside down.
The Metromaniacs at the
Lansburgh Theatre begins
February 3, 2015.
Tickets at ShakespeareTheatre.org
or 202.547.1122.
55
ABOUT STC
STC is the recipient of the 2012 Regional
Theatre Tony Award® as well as 81 Helen Hayes
Awards and 322 nominations.
Presenting Classic Theatre
The mission of the Shakespeare Theatre
Company is to present classic theatre of
scope and size in an imaginative, skillful and
accessible American style that honors the
playwrights’ language and intentions while
viewing their work through a 21st-Century lens.
Promoting Artistic Excellence
STC’s productions blend classical traditions
and modern originality. Hallmarks
include exquisite sets, elegant costumes,
leading classical actors and, above all, an
uncompromising dedication to quality.
Fostering Artists and Audiences
STC is a leader in arts education, with a myriad
of user-friendly pathways that teach, stimulate
and encourage learners of all ages. Meaningful
school programs are available for middle
and high school students and educators, and
adult classes are held throughout the year.
Michael Kahn leads the Academy for Classical
Playing a Part
STC is profoundly grateful for the support
of those who are passionately committed to
classical theatre. This support has allowed STC
to reach out and expand boundaries, to inform
and inspire the community and to challenge
its audiences to think critically and creatively.
Learn more at ShakespeareTheatre.org/
Support or call 202.547.1122, option 7.
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
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
been nominated and even won the coveted Helen Hayes Award. Already, at the
beginning of the STC’s 2014|15 Season, six ACA grads spanning the years 20032014 can be seen playing leads on our own stages. More are sure to return.
In February, the audition team of ACA faculty will conduct auditions in New York
City, Washington, D.C., Chicago, and Seattle, looking for actors who already have
professional experience and are looking to advance their skills when it comes to
Shakespeare and classical theatre. The training is deep and it’s broad, with classes
in Acting, Alexander Technique, Movement, Voice & Speech, Stage Combat, Masks,
Clown, and Text, to name a few. If you’re interested, or know someone who might
interested in receiving training from some of the top professionals in the field,
including Michael Kahn, please visit our site: ShakespeareTheatre.org/Academy.
Happy 15th Anniversary, ACA!
MON TUES WED THUR
FRI
SAT
DECEMBER/JANUARY
2
7:30
7
7:30 P
2:00
Supporting the Community
STC has helped to revitalize both the Penn
Quarter and Capitol Hill neighborhoods and
to drive an artistic renaissance in Washington,
D.C. Each season programs such as Free For
All and Happenings at the Harman present free
performances to residents and visitors alike,
allowing new audiences to engage with the
performing arts.
ABOUT ACA
56
SUN
Acting, a one-year master’s program at The
George Washington University. Beyond the
classroom, educational opportunities like
Creative Conversations are available to all in
the community.
8
15
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Calendar Key
A
B
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N
O
William Shakespeare’s
The Tempest
directed by Ethan McSweeny
AUDIO-DESCRIBED
BOOKENDS
POST-PERFORMANCE DISCUSSION
OPEN CAPTION
OPENING NIGHT
P
R
S
T
Y
PAGE AND STAGE
REFLECTIONS
SIGN-INTERPRETED
TWITTER NIGHT
YOUNG PROSE NIGHT
Open Caption performances
made by possible by a grant from
December 2–January 11
Sidney Harman Hall
CREATIVE CONVERSATIONS
PAGE AND STAGE
FREE
BOOKENDS
FREE
Wednesday, Dec. 10, pre- (5:30 p.m.) and post-show
The Forum in Sidney Harman Hall
Immerse yourself in the world of the play with preand post-show discussions.
Monday, December 29, 6:30–7 p.m.
Mezzanine Lobby at Sidney Harman Hall
Learn about the production before you see it with
this ASL-Interpreted discussion with STC’s Audience
Enrichment Manager.
#STCnight
FREE
POST-PERFORMANCE CAST DISCUSSION
Sunday, December 7, 5–6 p.m.
Explore the production with the artistic team and
local scholars.
Thursday, December 11, 6:30 p.m. and post-show
Sidney Harman Hall
Use the hashtag #STCnight to join the conversation
from the theatre lobby or from home. Performance
tickets available for purchase.
REFLECTIONS
FREE
ASL DISCUSSION
FREE
Saturday, January 3, 5–6 p.m.
Discuss the production from multiple perspectives.
Wednesday, January 7
Sidney Harman Hall
Extend your experience after the show.
FREE
57
UP NEXT: Dunsinane
“Dunsinane is a new play, inspired
by Shakespeare’s Macbeth, by
one of Scotland’s greatest
contemporary writers, David
Greig,” says STC Artistic
Director Michael Kahn. “If
it had been available for
us to put it on, I believe
we would have done it.
However, the National
Theatre of Scotland, with
whom we have had a
great relationship since
Blackwatch, decided to
bring their production
to the United States,
and we were very
eager to include it
in our season. It is
a contemporary
play that fits
uniquely into our
mission, because
it deals with the
after effects of
Macbeth’s defeat
on Scotland. All
the characters are
people that audiences
will recognize from the
Scottish Play. In Greig’s most
brilliant conceit, Lady Macbeth
leads the resistance against the
English occupying army. Not only
does it give us a new perspective
on Shakespeare’s Macbeth, it
also gives us a new perspective
on Scotland’s relationship with
England.”
58
Macbeth is dead,
long live the King.
A dramatic sequel to
Shakespeare’s Macbeth, David
Greig’s Dunsinane by the
National Theatre of Scotland
and Royal Shakespeare
Company is a vision of one
man’s attempt to restore
peace in a country ravaged by
war. Under cover of night, an
English army has swept through
Scotland, killed the tyrant
Macbeth and taken the seat
of power. Siward, the English
commanding officer, tries to put
in place a new ruler while beset
by a brutal guerrilla uprising
and simmering discontent
amongst his troops. Struggling
to grasp the alien customs and
politics of this harsh country,
he finds himself drawn towards
Macbeth’s powerful widow in
search of someone to share
his burden of responsibility.
Increasingly isolated from his
own men and Scottish allies
alike, his efforts to restore order
appear futile as the situation
spins out of control.
The National Theatre of Scotland
returns to the Shakespeare
Theatre Company with David
Greig’s Dunsinane. This production
continues the relationship between
the two companies, which
includes the highly praised 2012
Presentation Series performance
of Black Watch and David Greig’s
play-in-a-pub, The Strange Undoing
of Prudencia Hart, presented at the
Bier Baron tavern.
Written from the perspective of
a Scot, Dunsinane examines the
struggle of a foreign invader to
grasp local customs and politics
while trying to restore order in
a war-torn land.
Photos of Siobhan Redmond as Gruach and the
Company of Dunsinane, 2013, by Richard Campbell.
Dunsinane, by David Greig,
directed by Roxana Silbert,
at Sidney Harman Hall begins
February 4, 2015. Tickets at
ShakespeareTheatre.org or
202.547.1122.
59
SHAKESPEARE THEATRE COMPANY
STAFF
Artistic Director
Managing Director
Michael Kahn
Chris Jennings
Executive Assistant to the Artistic Director
and Managing Director David Lloyd Olson
ARTISTIC
Associate Artistic Director
Alan Paul
Head of Voice and Text
Ellen O’Brien
Carter C. Wooddell
Literary Associate
Drew Lichtenberg
Artistic Fellow
Garrett Anderson
Directing Fellow
Katherine Burris
Affiliated Artists
Keith Baxter, Avery Brooks,
Helen Carey, Veanne Cox, Aubrey Deeker,
Colleen Delany, Franchelle Stewart Dorn,
Cameron Folmar, Adam Green, Edward Gero,
Philip Goodwin, Jane Greenwood, Michael Hayden,
Simon Higlett, Christopher Innvar, Stacy Keach,
Floyd King, Andrew Long, Ethan McSweeny,
Jennifer Moeller, David Muse, James Noone,
Patrick Page, Robert Perdziola, Nancy Robinette,
David Sabin, Miriam Silverman, Derek Smith,
Walt Spangler, Tom Story, Rebecca Taichman,
Ted van Griethuysen, Craig Wallace, Adam Wernick, Gregory Wooddell
ADMINISTRATION
Director of Administration
James Roemer
Associate Managing Director
Anne S. Kohn
Human Resources Manager Lindsey Morris
Human Resources Coordinator
Danielle Mohlman
Accounting Manager
Mary Margaret Finneran
Staff Accountant
Marco Dimuzio
Company Manager
Mackenzie Douglas
Company Management Intern
Britteny Holland
Receptionist
Ursula David
Director of Operations
Timothy Fowler
Operations/IT Assistant
Melissa Adler
Theatre Building Engineer
Dave F. Henderson
Theatre Monitors
Milton Garcia, Jeff Whitlow
Custodian
Jorge Ramos Lima
Harman Porters
Dennis Fuller, Mirna Guzman,
Roderick Proctor
Lansburgh Porters
Agustin Hernandez
Director of Information Technology Brian McCloskey
Systems Administrator
Patrick Hayes
Database Administrator
Brian Grundstrom
DEVELOPMENT
Chief Development Officer
Ed Zakreski
Associate Director of Development
Amy Gardner
Individual Campaigns Officer
Betsy Purves
Major Gifts Officer
Sara Conklin
Special Events Manager
Moriah Mills
Gala Assistant
Freddy Mancilla
Development Operations and
Membership Manager
Kristina Williams
Development Operation Coordinator
Sara Seidler
Membership Coordinator Arielle Katz
Director of Corporate Giving
Noreen Major
Corporate Giving Manager
Katie Burns-Yocum
Director of Foundation and
Government Relations
Meghann Babo-Shroyer
60
MARKETING AND COMMUNICATIONS
Chief Marketing Officer
Michael Porto
Associate Marketing Director
Austin Auclair
Marketing and
Communications Assistant Alison Ehrenreich
Associate Director of Audience Development
and Promotions
Teddy Rodger
Audience Services Director
Joy Johnson
Group Sales and Ticket Manager
Danielle Sparklin
Ticket Manager
Tim Helmer
Sales Associates
Zindzi Ali, Benjamin Chase,
Evelyn Chester, Jonathan Engel,
Heather Hart, Christopher Hunt, Jessica Kaplan,
Emmy Landskroener, Andre McBride,
Izetta Mobley, Kristin Nam, Christopher Pearson,
Carmelitta Riley, Marie Riley, Crystal Stewart,
Lauren Ward Michael Wharton, Genevieve Williams
Call Center Director
Monte Hostetler
Teleservices Associates Bill Billante, Thomas Brennan,
Kelly Carson, Eric Garvanne, James Graham,
Cheryl Kempler, Elizabeth MacMahon, Jill McAfee,
Joanna Morgan, Colin O’Bryan, Cynthia Perdue,
Lee Sanders, Amy Sloane, Chris Soto
Director of Event Sales and
Partnerships
Ryan Michael Hayes
Theatre Services Manager
Dora Hoyt
House Manager
Amanda Loerch
Lead House Managers
Addie Gayoso,
Stephanie McLean, Carissa Milliken, Ali Peterson
Assistant House Managers
Melissa Adler,
Jeremy Blunt, Irene Casey, Rae Davidson,
Chris Hunt, Susan Koenig, Aaron Lewis, Marie Riley,
Christopher Schoen, Justin Silverman
Retail and Concessions Manager
Kristra Forney
Concessions Associates Eileen Chaffer
Melanie Cunningham, Adrianne Glover,
Stephanie McLean, Marie Riley, Christopher Schoen,
Shawn Stevens, Tiffany Tilghman
Harman Receptionist and
Usher Coordinator
Rachel Toporek
Associate Director of
Communications and PR
Heather C. Jackson
Web and Media Programmer
Brien Patterson
Marketing and Communications
Intern
Jessica Peña Torres
Visual Communications
Manager
S. Christian Taylor-Low
Junior Graphic Designer
Taylor Henry
Graphic Design Intern
Keshia Pace
Photographers
Kevin Allen, Margot Schulman,
Scott Suchman
EDUCATION
Director of Education
Samantha K. Wyer
Associate Director of Education
Dat Ngo
Audience Enrichment Manager Hannah Hessel Ratner
Community Engagement Manager Laura Henry Buda
School Programs Manager
Vanessa Hope
Training Programs Manager
Brent Stansell
Education Coordinator
Emily Marcello
Education Intern
Sarah Kate Patterson
Affiliated Teaching Artists
Carolyn Agan,
Wyckham Avery, Dan Crane, George Grant,
Jon Harvey, Brit Herring, Paul Hope,
Rachel Hynes, Mark Jaster, Sabrina Mandell,
Chelsea Mayo, Nafeesa Monroe, Jennifer L. Nelson,
Matthew Pauli, Victoria Reinsel, Paul Reisman,
Lorraine Ressegger, Melissa Richardson,
Nancy Robinette, Amie Root, Oran Sandel,
Kristala Smart, Lyndsey Snyder, Eva Wilhelm
THE ACADEMY FOR CLASSICAL ACTING
The Academy for Classical Acting
Director Gary Logan
ACA Program Coordinator
Sloane A. L. Spencer
Faculty Members
Isabelle Anderson,
Christopher Cherr, Dody DiSanto, Edward Gero,
Leslie Jacobson, Lisae Jordan, Michael Kahn, Floyd King,
Gary Logan, Ellen O’Brien, Roberta Stiehm, Brad Waller
PRODUCTION
Director of Production
Tom Haygood
Associate Directors of Production
Tim Bailey,
Kimberly Lewis
Resident Production Stage Manager Joseph Smelser
Stage Manager
Bret Torbeck
Assistant Stage Managers
Elizabeth Clewley,
Kristy Matero, Hannah R. O’Neil,
Robyn Zalewski
Production Assistants Christopher Kee Anaya-Gorman,
Maria Tejada
Stage Management Interns
Sean Carleton,
Rebecca Shipman
Costume Director
Wendy Stark Prey
Floor Manager
Julie Rose
Resident Design Assistant
Lynda Myers
Drapers
Denise Aitchison, Randall Exton,
Tonja Petersen
First Hands
Jennifer Biehl, Sandra Thomas
Sara Trebing
Stitchers Michelle Ordaway, Jennifer Rankin, Donna Sachs
Overhire Stitchers
Ellis Greer, Erin Nugent, Edwin Schiff
Lead Crafts Artisan
Joshua Kelley
Wardrobe Supervisors
Jeanette Lee Porter,
Monica Speaker
Overhire Wardrobe
Stephanie Fisher,
Ellis Greer, Emily Price
Wig Master
Dori Beau Seigneur
Design and Crafts Assistant
Kara Tesch
Costume Design Intern
Eileen Chaffer
Costume Interns Stephanie Goad, Hilary-Ann Rogers
Technical Director
Mark Prey
Assistant Technical Director
Kelly Dunnavant
Scene Shop Foreman
Eric Dixon
Scene Shop Administrator
Jessica Noones
Carpenters
John Cincioni, Jr., Carrie Cox,
Christian Sullivan, Matt Wolfe
Charge Scenic Artist
Sally Glass
Scenic Artist
Jose Ortiz
Scenic Painter
Kelly Rice
Overhire Scenic Painter
Laura Genson
Prop Shop Director
Elaine Sabal
Assistant Prop Shop Director
Guy Palace
Lead Props Artisan
Chris Young
Props Painter/Sculptor
Eric Hammesfahr
Soft Goods Artisan
Rebecca Williams
Overhire Props
Bethany Watson
Master Electrician
Sean R. McCarthy
Assistant Master Electrician Lauren A. Hill
Harman Electrician
Brian Flory
Lansburgh Electrician Jacob Moriarty-Stone
Audio/Video Supervisor
Brian Burchett
Assistant Audio/Video Supervisor Roc Lee
Live Mix Engineer
Mackenzie Ellis
Sound Board Operator
Amanda Labonte
Stage Operations Supervisor
Louie Baxter
Stage Carpenters
Nick Custer, Catherine Russell
Run Crew
Laura Cividanes, Marc Wasserman
Overhire Run Crew
Abbie Clements, Christian Hershey,
Hannah Martin
AUDIENCE SERVICES
LANSBURGH THEATRE
450 7th Street NW
SIDNEY HARMAN HALL
610 F Street NW
TICKET AND GROUP SALES:
Tickets: 202.547.1122
Toll-free: 877.487.8849
Group Sales: 202.547.3230 ext. 3405
Box Office fax: 202.608.6350
Bookings: 202.547.3230 ext. 2321
BOX OFFICE PHONE HOURS (both theatres):
Daily: noon–6 p.m.
(Box Office window open until curtain time)
The Lansburgh Box Office is closed on the
weekends if there is no performance at the
Lansburgh Theatre.
CONCESSIONS AND GIFT SHOPS:
Food and beverages are available one hour before
each performance. Pre-order before curtain for
immediate pick-up at intermission.
Lansburgh Theatre and Sidney Harman Hall
gift shops are open before curtain, at intermission and
for a short time after each performance.
CONNECT WITH US:
Facebook.com/ShakespeareinDC
Twitter @ShakespeareinDC
YouTube.com/ShakespeareTheatreCo
Flickr.com/ShakespeareTheatreCompany
Instagram @ShakespeareinDC
Latecomers will be seated at management’s discretion.
ACCESSIBILITY
Our theatres are accessible to persons with disabilities.
Please request special seating at time of ticket
purchase and arrive 30 minutes before curtain for
priority seating.
Open-captioned performance of The Tempest.
Thursday, December 18 at 8 p.m.
Audio-described performance of The Tempest:
Saturday, December 27 at 2 p.m.
Sign-interpreted performance of The Tempest:
Monday, December 29 at 7:30 p.m.
An audio-enhancement system is available for all
performances. Both headset receivers and neck loops
(to use with hearing aids outfitted with a “T” switch)
are available at the coat check on a first-come basis.
Program notes in Braille and large print are available at
the coat check.
Support for the Shakespeare Theatre Company’s
Accessibility Program provided by
Partial support for open captioning provided by
The video and/or audio recording of this performance
by any means whatsoever are strictly prohibited. As a
courtesy, turn off pagers, telephones, watch alarms and
all other electronic devices during the performance.
Audience members may be reached during a
performance by calling house management at
202.547.3230 ext. 2517. Specify seat location.
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
Feb 7
Feb 14
Feb 21
•
•
•
•
Washington, D.C.
New York
Chicago
Seattle
TO APPLY
ShakespeareTheatre.org/Academy
AskACA@shakespearetheatre.org
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

ASIDES production program - Shakespeare Theatre Company

Transcription

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