The Metromaniacs - Shakespeare Theatre Company

2014|2015 SEASON
Issue 3
TABLE OF
CONTENTS
1 Title page
3 Cast
5 About the Playwrights
8 Metromania Mania
by David Ives
10 Lost Inside a Dream
by Drew Lichtenberg
14 Classics in
Conversation: Michael
Kahn and David Ives
by Drew Lichtenberg
18 Piron’s La Métromanie
by Derek Connon
25 Play in Process
26 Cast Biographies
29 Direction and Design
Biographies
36 For STC
40 Faces and Voices:
Poets are Present
by Laura Henry Buda
42 Mapping the Play:
Metromaniacs
by Garrett Anderson
44 About STC
About ACA
46 Support
54 Preview: Man of
La Mancha
56 STC Staff
Dear Friend,
A great classical company
cannot live on Shakespeare
alone. During my first season
as Artistic Director of the
Shakespeare Theatre Company,
we presented three plays from
our namesake playwright. For our fourth production,
however, we commissioned a new translation
and adaptation of The Mandrake, the 1518 play by
Niccolò Machiavelli. Now, 28 years later, I am proud
to say that this was just the first of many revivals
of neglected works. Through the launch of our
ReDiscovery Series, and our staging of plays such
as Schiller’s Don Carlos, Lorenzaccio by Alfred de
Musset, and Lope de Vega’s The Dog in the Manger,
the Shakespeare Theatre Company has developed a
reputation for artistic risk-taking.
But staging neglected plays is one thing. Reinventing
the canon is another. There are perhaps few
collaborations that have meant as much to me—or
plainly been so much fun—as my work with David
Ives. In our 2009-2010 Season, thanks to a pathbreaking grant from the Beech Street Foundation, we
commissioned David to translate and adapt Pierre
Corneille’s The Liar. The results were sensational.
Less than two years later, Ives followed that feat
with his translation of The Heir Apparent by JeanFrançois Regnard, and here we are now, with The
Metromaniacs, by Alexis Piron.
David’s translations have swiftly become the industry
standard, produced by theatres across the country,
and his ability to unearth and revitalize works that
haven’t seen the stage in centuries is uncanny. David
doesn’t just translate these plays. He brings them
to life. He makes us realize that history is not just
something you read in a book, but something that
you can actively shape, rediscover, and reimagine.
Our 2014–2015 Season concludes this spring with
Alan Paul’s production of Man of La Mancha, a classic
reimagining of Cervantes’ Don Quixote, and Helen
Hayes Award-winning Steven Epp returns to STC to
star in Molière’s Tartuffe. We look forward to sharing
these stories with you.
Recipient of the 2012 Regional Theatre Tony Award®
Artistic Director Michael Kahn
Managing Director Chris Jennings
BY DAVID IVES
ADAPTED FROM LA MÉTROMANIE BY ALEXIS PIRON
Performances begin February 3, 2015
Opening Night February 9, 2015
Lansburgh Theatre
Director
Michael Kahn
Voice & Text Coach
Ellen O’Brien
Scenic Designer
James Noone
Casting Director
Laura Stanczyk, CSA
Costume Designer
Murell Horton
Resident Casting Director
Carter C. Wooddell
Lighting Designer
Mark McCullough
Literary Manager/Dramaturg
Drew Lichtenberg
Sound Designer
Matt Tierney
Assistant Director
Craig Baldwin
Composer
Adam Wernick
Production Stage Manager
Bret Torbeck*
Period Movement Consultant
Frank Ventura
Assistant Stage Manager
Elizabeth Clewley*
Warm Regards,
The Metromaniacs is presented as a part of Comedy Française—The Clarice Smith Series.
The ReDiscovery Commission series is sponsored by the Beech Street Foundation.
The Clarice Smith Series is sponsored by the Robert H. Smith Family Foundation.
57 Audience Services
Michael Kahn
Artistic Director
Shakespeare Theatre Company
Restaurant Partner: Social Reform
*Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers.
1
CAST
THE METROMANIACS
Damis, a young poet........................................................................................................Christian Conn*
Dorante, a young man in love with Lucille........................................................... Anthony Roach*
Lucille, a young woman in love with poetry........................................................ Amelia Pedlow*
Lisette, Lucille’s maid......................................................................................................... Dina Thomas*
Mondor, Damis’s valet............................................................................................ Michael Goldstrom*
Francalou, Lucille’s father.............................................................................................. Adam LeFevre*
Balvieau, Damis’s uncle...................................................................................................... Peter Kybart*
Servants............................................................................................... Danny Cackley, Ross Destiche+
UNDERSTUDIES
Danny Cackley (Mondor/Damis), Ross Destiche+ (Dorante), Kay Kerimian
(Lucille/Lisette/Servant), Stephen Patrick Martin* (Baliveau/Francalou).
THE SETTING:
The ballroom of Francalou’s house in Paris. Spring, 1738.
Metromaniac. Noun. A person addicted to poetry, or to writing verses.
(From Latin metrum, poetic meter + Greek mania, madness.)
PRODUCTION TEAM
Directorial Observer: Katherine Burris
Production Assistant: Maria Tejada
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
ABOUT THE PLAYWRIGHTS
Michael R. Klein, Chair
Robert E. Falb, Vice Chair
John Hill, Treasurer
Pauline Schneider, Secretary
Michael Kahn, Artistic Director
DAVID IVES
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
Peter Cherukuri
Gloria Dittus
Dr. Mark Epstein
Stefanie Erkiletian
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
Gail MacKinnon
Bernard F. McKay
Eleanor Merrill
Melissa A. Moss
Stephen M. Ryan
George P. Stamas
Lady Westmacott
Rob Wilder
Suzanne S. Youngkin
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
All in the Timing (1993), a breakneck evening of pitter-patter patois, ran for over 600 performances
off-Broadway. In 1995-1996, it was the most-performed play in the country. In 2013-2014, Ives
repeated this coup with Venus in Fur, his Tony Award®-Nominated play, which Roman Polanski
turned into a film. He is currently collaborating with Stephen Sondheim on a much-anticipated
musical based on two films of Luis Buñuel.
All of which makes his comfort in the classical theatre—and his facility with verse—even more
impressive. The Liar and The Heir Apparent, Ives’s rhymed-verse translations of French comedy
for STC, have quickly become industry standards, and he credits working in this form with
transforming his experience of reality. “Once I started working in verse,” Ives says, “I would
walk down the streets and translate bus ads into verse, just to see how they’d sound. Know
what? Bus ads are always better in iambic pentameter.” One could say the same of French
comedies. They always sound better in Ives.
ALEXIS PIRON
*Deceased
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 Writers
David Ives
Derek Connon
Born in Chicago in 1950, Ives entered Yale School of Drama in 1981, where he began bending the
world to his inimitable rhythms. New York magazine once named him one of the 100 smartest
New Yorkers, a distinction he has called the greatest tragedy of his life.
Ex-Officio
Chris Jennings, Managing Director
ASIDES
Contributing Editors
Garrett Anderson
Laura Henry Buda
Hannah Hessel Ratner
Drew Lichtenberg
There are few playwrights who love language as much as David Ives. “I think everything
should be in verse,” Ives has said. “The New York Times and cookbooks should be in verse.
Verse raises the level.”
Graphic Designer
Taylor Henry
Editorial Assistant
Alison Ehrenreich
Editorial Intern
Jessica Peña
One of the most widely produced comic writers of the 18th century, Alexis Piron (1689-1773) lived
a life dogged by controversy. He had an uncanny ability to make powerful enemies and as a
result, he is all but forgotten today.
Born in Burgundy in 1689, Piron moved to Paris in the early 1720s, eager to be a poet. But instead
of garnering glory at the Comédie Française—the theatre of King Louis XV—Piron worked at
Paris’ unofficial fairground theatres. At these théâtres de la foire, Parisians came to have a naughty
good time, classical decorum be damned. Arlequin Deucalion (1722), an ingenious dramatic
monologue sprinkled with satirical jabs at contemporary authors and actors, established Piron as
an anarchic, dangerous wit.
In 1738, Piron produced his masterpiece, at, of all places, the Comédie Française. Inspired by a
real-life literary scandal involving Voltaire, La Métromanie brings the literary pretensions of the
ruling classes down to the parterre of public opinion. The play was a popular success, and one
that Voltaire would not forget.
Piron was nominated to the Académie Française (of which Voltaire was a member) in 1753.
Citing his artistic improprieties, Louis XV vetoed him. Though he lived a long life of material
comfort, Piron never again wrote for the Comédie Française. For his epitaph in 1773, Piron wrote
his final, and most famous, couplet:
Ci-gît Piron, qui ne fut rien
Pas même académicien.
As David Ives translates it:
Here lies Piron, a nothing, an anatomy.
He couldn’t even make the French Academy.
4
5
C
M
Y
CM
MY
CY
CMY
K
Metromania
Mania
By David Ives
Frankly, I fell in love with the title.
So I ordered the French text from the
Internet and it arrived in a blurry
offprint of an 1897 edition with an
English introduction by a huffy
scholar who heartily disapproved of
the play and all its
characters. Now
I was interested.
When I read that
the play’s author,
one Alexis Piron,
had failed to make
the Académie
Française because
he’d written a
lengthy poetic Ode
To The Penis, I was
really interested.
Having enjoyed myself enormously
adapting two French comedies of the
17th and 18th centuries for Michael
Kahn and the
Shakespeare
Theatre Company,
I was casting
around for a third.
In the course of
reading in and
about that period,
I stumbled again
and again upon
mention of an
obscure play from
1738 with a superb
title: La Métromanie.
It means, more
So what kind of
or less, The Poetry
play did the Bard Of
Craze. (“Metro”
from “metrum,”
The Hard-On write?
Latin for poetic
Portrait de la comédienne Marie-Anne de
verse, and
A very chaste
Châteauneuf by Nicolas de Largillierre, ca. 1712,
“mania” from…
via Wikicommons.
and wonderfully
Oh, never mind.)
delightful one.
As it happens,
Upon inspection
Drew Lichtenberg, STC’s omniliterate
La
Métromanie
turned
out to be a farce
literary manager, had noticed the
based
on
a
brilliant
idea,
if given
title as well: potentially a real find for
sometimes to long-winded declamations
STC’s wonderful ReDiscovery series,
on Art. Its world is the airy, unmoored,
dedicated to bringing to light classic
Watteau-ish one that Piron’s
plays that had remained too long in
contemporary Marivaux would also put
undeserving darkness. It was via the
onstage. There’s not much like realism
ReDiscovery series that Michael and
in The Metromaniacs. We’re in a levitated
I had developed our two previous
reality that’s the exact counterpart of the
happy collaborations, The Liar and
vernacular, set-in-an-inn comedies the
The Heir Apparent.
8
English were writing at the same time.
This is champagne, not ale. Since it’s
about people who are mad for poetry,
champagne is apropos, as is the fact that
it’s in verse. To dump this delicate play
into prose would be to clip the wings of
Pegasus and harness him to a plow.
exited where or why anybody’s
doing anything. Besides those fatal
disquisitions on Art, the play had not
one but two male leads, a lackluster
female ingénue and, like so many
French plays of the period, it simply
came to a stop rather than resolving.
This is all by way of saying I’ve
fiddled a good
Piron doesn’t want deal with Piron’s
masterpiece in
plot. He wants
bringing it into
gossamer and
English. (The first
English version
gorgeousness, he
ever, to my
knowledge, but I’m
wants rarified air
open to correction.)
The play was
a lip-smacking
scandal in its time,
spinning into art
what had been
real-life comedy. It
seems that all Paris
had fallen in love
with the poems of
and helpless highone Mademoiselle
comic passion.
Malcrais de La
When my friends
Vigne, a mysterious
ask me what it’s
A purer world.
poetess from distant
about, I always
Characters drunk say that The
Brittany (read:
Appalachia). The
is
on language, fools Metromaniacs
celebrated satirist
a comedy with
in love with love.
Voltaire publicly
five plots, none of
declared his love
important.
In other words, the them
for the lady and her
On the other hand,
way the world was that’s the beauty
great works, only to
have it revealed that
of the play, its
meant to be.
Mlle de La Vigne
purpose, and part
was a guy named
of the source of
Paul Desforges-Maillard, very much
its delight. We go to certain plays to
living in Paris and taking his revenge
inhabit a world elsewhere, and La
on the poetry establishment for not
Métromanie is that kind of play in
appreciating his genius. Needless to
spades. Piron doesn’t want plot. He
say, Voltaire wasn’t pleased when
wants gossamer and gorgeousness,
Piron’s satire showed up (and showed
he wants rarified air and helpless
him up). Worse than that, the show
high-comic passion. A purer world.
was a hit.
Characters drunk on language, fools
in love with love. In other words, the
way the world was meant to be.
The premise was comic gold. The
structural mechanics, I have to confess,
turned out to be something else.
Given what’s in our newspapers day
Piron was a wit and a poet but not
by day, a few yards of gossamer may be
much of what I’d call a farcifactor,
just what the doctor ordered. So gossam
on, mes amis, gossam on….
often content to let his characters
intone his ravishing couplets without
paying much attention to who just
9
LOST
INSIDE
A
DREAM
Galerie d’Hercule de l’Hôtel Lambert by
Bernard Picart, via Wikicommons.
By Drew Lichtenberg, Literary Manager
T
he Metromaniacs opens on
a special kind—a uniquely
18 th-century kind—of scene.
A well-to-do gentleman, one
well-off enough to own an urban
manse above the grime and grit
of Paris, is putting on an amateur
theatrical in his salon des arts
et des lettres. The subject is
amour, the play a dreamy device
designed to reach his dreamy
10
daughter. A hundred suitors,
a number drawn as if from
Homeric myth, have gathered
at the home in order to court
her, but she is more interested in
Parnassus (the literary magazine).
The daughter, you see, prefers
imagined romance to the real
thing. So the father has fronted
the money and written a play
himself (mais oui!) to bring her
back to reality. This may sound
Our play’s hero, Damis, is one
like a ludicrous if not downright
such would-be genius. He has
fantastical scenario, but it is one
arrived with “two empty pockets
that our author, Alexis Piron,
and some ten-franc words,”
bases upon close and accurate
as his servant puts it, as well
observation of Parisian literary
as a pseudonym befitting his
life in the mid-1700s.
ambitions and hiding his penury.
As Derek Connon points out
He is one “Cosmo de Cosmos,”
(page 18), Voltaire’s circle was
just like the man born Françoisfond of just such aesthetic larks.
Marie Arouet, but known to the
At the country house of his
world as “de Voltaire.”
lover and patroness, Madame
Our milieu, in fact, is the
Du Châtelet, Voltaire frequently
Paris of the young Voltaire.
staged dramatic
This play—the
readings of his
talk of the town
new plays. One
in 1738—was
reporter records,
ripped from the
in 1734, the
headlines by
partial rehearsal
Alexis Piron, a
and performance
popular writer
of 44 separate
of low-brow
acts of plays
potboilers and
and operas for
satiric farces.
an audience
Piron seized on a
of aristocratic
literary scandal
aesthetes—all
involving a
within a 48-hour
poetry magazine,
span. As The
some crossPortrait of Voltaire by Maurice Quentin de La
Tour ca. 1736, via Wikicommons.
Metromaniacs
dressing in verse
testifies vividly,
and the red-faced
these events could often result in Voltaire himself. It is a fragile
hilariously terrible art. Madame
and insulated ecosystem, this
Du Châtelet may have translated salon cosmos of the idle rich and
Newton’s Principia Mathematica
their artistic hangers-on. Piron
into French, but according to
shows us characters at a remove
one eyewitness, her attempts at
from life. They build Edens on
acting were horrific enough to
their parquet floors and escape
“induce vomiting.”
into literary daydreams, living
There have always, it seems,
a life of fantasy. In short, their
been rich people convinced they
heads are stuck firmly up their
were great artists, just as there
aesthetic derrières.
have always been penniless
The France of the 1730s was
poets in need of a patron.
one in which taxes on the
11
middle-class had never been
higher, nor their opportunities
for social mobility more
circumscribed. The royal coffers
were bankrupt, depleted by the
wars of the now-deceased “sun
king,” Louis XIV. His son, Louis
XV, who took over the throne in
1715 at the age of five, was now
well into his thirties, and still
employing surrogates to rule
in his ineffectual stead. Piron’s
own career reflects the changing
times. Unwilling or unable to
play the game of appeasing his
patrons, he was exiled from
the halls of academe and into
the artistic (though financially
profitable) purgatory of the
unregulated fairground theatres.
As an outsider to the artistic
and political establishment, he
was the ideal writer to provide
a satirical portrait of a society in
decadent decline.
But if The Metromaniacs is a
social satire, it is a magnanimous
one. This play is filled with
memorable characters, all
of them ultimately lovable,
all of them redeemed by the
engagement of their fertile
imaginations with the sensual
reality of their fellow human
beings. Damis, intoxicated by
ideas, meets his soul-mate in
Francalou, flighty father and
author of the amateur theatrical.
If indolence is to be scorned,
refulgence is to be celebrated.
Within these woods, everyone
can be who they really are
by pretending, and theatrical
12
transformation results in a
strange kind of truth. In other
words, what begins as a social
critique transfigures into the
stuff of aesthetic daydreams,
and vice versa. Piron mixes
upstairs and downstairs,
muddling the classes until he
ultimately transcends them. The
play’s characters skirt the edge
of optimistic allegory, and its
cascade of ever-complicating
plots overflows the theatre’s
tidy unities. Like Cervantes’
Don Quixote or the Gulliver’s
Travels of Jonathan Swift, Piron’s
cross-channel contemporary,
The Metromaniacs delights in
a fantasy world commenting
obliquely on its own society.
Did Voltaire, so embarrassed by
this play, learn any lessons from
it? Could it have been swirling in
the ether when he wrote his own
allegorical-satirical-fantastical
masterpiece, Candide, over two
decades later, in 1759? We’ll
never know. Courtesy of David
Ives, let’s give the last word to
our ami, Damis:
Unlike those chatterers who
speak in herds,
We speak the best of all possible
… words.
Drew Lichtenberg is the Literary Manager and
Resident Dramaturg at STC. He holds an MFA
in Dramaturgy & Dramatic Criticism from Yale
School of Drama.
Illustratio from Elemens de Philosophe de Neuton by
Mr. de Voltaire, ca. 1738, via Wikicommons.
Photos of Michael Kahn and David Ives in converssation by S. Christian Taylor-Low.
CLASSICS IN
CONVERSATION
Michael Kahn and
David Ives on
The Metromaniacs,
Collaboration, and
ReDiscovering the
Classical Canon
ON THE METROMANIACS
MICHAEL KAHN: I guess I’ve asked you this before, but what was it
about this play?
DAVID IVES: What interested me about The Liar was the language.
And The Heir Apparent had great potential for physical business, for
lazzi. It’s a vaudeville, essentially.
With this play, The Metromaniacs, I wanted to get my hands on these
plots. In the original, they were very crude, but there was this great
idea of a poet under an assumed identity who doesn’t realize that
someone else is under another assumed identity, and those start to
mix together. There was potential for such a beautiful structure here.
There are more mistaken identities in this play than in all of the plays
I’ve ever written.
14
15
MK: The plot is really
complicated, which is the fun
of the play. At one point, when
I couldn’t remember which plot
was which, you said, “It’s like
Raymond Chandler, writing The
Big Sleep.” He couldn’t keep the
plots straight either.
DI: I spent a lot of time over
coffee with you at Le Pain
Quotidien, trying to get the
plot straight. The Liar and The
Heir Apparent were both pretty
straight-ahead. On this play, you
were giving brilliant notes right
from day one.
MK: It is a lot of plots, but
without a physical object
that everyone is trying to get.
They’re ultimately trying to
get each other. For me it was
an interesting challenge: how
to make all these plots clear,
and how to make the stage
action vibrant and physical on a
neoclassical set, which doesn’t
allow for a lot of realistic stage
business. I’ve had a lot of fun
keeping it moving and trying to
keep within a style at the
same time.
It’s totally a language play. It
requires real skill on the part of
the actors. You can’t do these
plays without people who can
handle the language on the one
hand, and yet not make you think
they’re rhyming on the other,
and yet also not pretend to be
naturalistic. Any one of those
would kill the style. It’s a real
workout for an actor, and when
16
they can do it well it’s like the
Olympics. You think my God,
isn’t that fantastic that they can
do that.
DI: It’s built into the title. I just
love the title. La Métromanie.
“Metromania” is an obsession
with poetry, and it makes sense
for them to be speaking in
rhyming couplets. In this play,
there was a chance for the
language to be very upfront, and
for me to play with the Chinese
boxes of the plot.
MK: We’ve never done a play in
the mid-18th century before. The
Liar was 1640s, and The Heir
Apparent was 1708, and now
we’re doing a play in 1738. It’s
about as glamorous, as far as
the costumes, as anything we’ve
ever done. I think it’s going to
be a feast for the ears as well as
the eyes. I want people to love
the clothes, love the set, and
to really hear the language. I’m
pretty sure they’re going to love
that, too.
ON WORKING WITH
EACH OTHER
MK: The great thing about
working with you is, when you
hear your play, bang, you fix it
immediately.
DI: Isn’t that what all
playwrights do?
MK: No, not quite as easily as you
do… You give up things quicker
than I even do.
17
DI: Sometimes too quickly. We
just restored a few lines.
MK: They were such good jokes!
DI: I remember the first time we
read through The Liar with the
actors in the room, thinking, “Oh
my God, I’ve got to change all
these things.” I also remember
thinking the ending was totally
wrong, and I faxed you the new
ending! You called my phone
machine and said, “It’s great.
We’re putting it in.”
MK: It was magical. It was so
easy to stage because it was so
clear what had to happen. We
had so much fun with it. And
then, when I saw your School for
Lies [in New York] I realized that
you liked changing endings of
French plays.
DI: All of these French plays
have such limp endings! They all
just kind of stop. They’re never
satisfying the way Shakespeare is.
MK: Now, The Metromaniacs
has a wonderful ending, it has
another ending after the ending.
DI: It’s a bit like Pericles…
MK: It’s great fun. The audience
has one expectation to play,
and at the very last moment
the expectation is turned into
something else. The actors can’t
play it, but it does allow us great
freedom to go wherever we feel
like stylistically, because it’s going
to be explained by the ending.
18
ON THE REDISCOVERY SERIES
MK: I’m so pleased that we’ve
been able to rediscover these
plays that were huge successes
in their time and are all but
forgotten today. By giving it to
someone like you, they get a
second lease on life. I think that’s
a wonderful thing.
DI: These three plays have been
some of the most fun I’ve ever
had working in the theatre.
The Liar is the most fun I’ve
ever had working on a play,
rehearsing a play, coming to
see a play. I will always feel so
grateful to you for that.
MK: Well, we’re hoping that
we can publish this one and
complete the “David Ives Trilogy”
of French plays. If you’re looking
into any German plays, let us
know. We could start a new
volume—eins, zwei, drei, or
whatever it is.
DI: I’ve actually been relearning
Latin, mostly because I want
to go back and read Plautus
and Terence. Plautus remains
wonderful. It’s like The
Honeymooners in Latin. It’s wild,
wonderful comedy. Terence is
more restrained. When I say I
like to be in the language, that’s
part of what I mean. So maybe a
Latin Trilogy.
MK: That sounds like fun.
Piron’s La
Métromanie:
Theatre and
Reality
Alexis Piron by Augustin de Saint-Aubin, ca. 1775, via
Wikicommons.
By Derek Connon
A
lexis Piron’s play about
metromania, the obsession
with writing verse, with its
plot about poets and playwrights,
also has a lot to tell us about theatre
and literature, and their links
with the real world. Born in 1689
in Dijon, Piron, like all aspiring
writers at the time, relocated to
Paris, where he began his theatrical
career in 1722 writing inventive
comedies for the popular theatres
that operated at the big Parisian
fairs. These plays, designed to
circumvent the laws prohibiting
more than one speaking actor
onstage at the fair theatres, were
mainly in the mixture of song
and speech known as operacomique, but the first was the
tour de force that is ArlequinDeucalion, a monologue in three
acts that kept its audience on the
edge of their seat by constantly
threatening to break the law.
He also quickly became famous
throughout Paris as the foremost
epigrammatist and sharpest crafter
of bon mots. Rather like Oscar
Wilde or Noël Coward, Piron made
many friends and enemies—and
crafted a formidable celebrity for
himself —with his wit. In 1728 he
had fulfilled the ambition of all
dramatists of the time by having
his first high comedy performed by
19
Interior of the Comédie-Française by A Meunier, ca. 1790, via Wikicommons.
Iffland ud Labe in Der Geizige by Friedrich Weise, ca. 1775, via Wikicommons.
the prestigious Théâtre Français,
the direct ancestor of the modern
Comédie Française. Of course, it
was tragedy that was the most
respected form at the time, so it
is unsurprising that he decided to
try his luck at that, too. The results
were mixed: his first, produced
in 1730, was a relative failure, but
20
he scored a major hit in 1733 with
Gustave Wasa, which became one
of the most successful tragedies
of its age. He had a similarly
mixed reception with a double bill
consisting of a short comedy and
a pastorale in 1734: the pastorale
was well received, but the comedy,
as Piron had guessed in advance,
was judged a disaster. He invited
his friends as they left the theatre to
kiss him on one cheek and slap him
on the other.
In 1729 an event occurred that
caused significant excitement in
French literary circles: the Mercure
de France began publishing verse by
the female poet Antoinette Malcrais
de La Vigne, who would eventually
become known as “the Breton muse.”
Although she was far from the first
female French writer, the event
was still unusual enough to attract
attention, and a number of important
authors of the time expressed
admiration for her, including—most
famously—Voltaire. Indeed, in 1732
he even went as far as to publish a
poem in praise of her that stopped
just short of including a declaration
of love. In due course the truth
was revealed: the poetess was the
invention of Paul Desforges-Maillard,
who had adopted his female alter
ego in order to achieve a degree of
fame that had been denied him as
a mere man. On discovering this
Voltaire tried to save face, writing to
Desforges-Maillard in February 1735
that this change of sex had not altered
his admiration at all. A subsequent
recommendation to reserve poetry
for his spare time contradicts this.
For Alexis Piron, this was too
good a story to ignore. Much of
Piron’s poetry takes the form of
satirical epigrams, and one of his
more endearing features being that
he did not seem to care whom he
upset, he cast his satirical net wide.
So, even though Voltaire-baiting
was a favourite sport, his interest in
the incident of the Breton muse was
clearly inspired by the discomfiture
of all the participants, Voltaire
included. What is more unusual for
Piron is that he chose to weave the
21
Vue de la nouvelle décoration de la Foire Saint-Germain, via Wikicommons
story into a play, rather than simply
writing a satirical poem about it,
and that the play is very far from
a straightforward retelling of the
actual events. However, Voltaire’s
correspondence reveals that this did
not stop him identifying himself as
the principal object of Piron’s satire.
In the play, would-be poet
Francaleu (Francalou in David
Ives’s translation), adopts the
alter ego of “Mlle Mériadec de
Kersic from Quimper” to publish
his poetry. Bretons were a comic
cliché in Piron’s time, for exactly
the reasons given by David Ives—
they are “hicks who live in the
sticks.” The comedy of the name
chosen by Piron, which resides
in its harsh Breton sounds, is
rather lost in translation. Hence
David Ives’s change to “Meriadec
22
de Peaudoncqville,” which is
similarly outrageous for an
English-speaking public.
Judging from the historical
narrative, we might assume that
Francaleu represents DesforgesMaillard, while Damis, the admirer
of his female avatar, is Voltaire.
And yet this does not always work.
Like Voltaire, Damis adopted a
pseudonym, “M. de L’Empyrée”
(Ives’s “Cosmo de Cosmos” picks
up the celestial associations of the
original), Francaleu has the equally
Voltairean characteristic of subjecting
others to readings of his work—
Voltaire regaled visitors to his home
to virtually non-stop readings and
performances, mostly of his own
works, whether they liked it or
not. Francaleu has also written a
tragedy in six acts, “The Death of
Bucephalus/La Mort de Bucéphale.”
There is more than one joke here:
first, for an 18th-century audience
this is a tragedy about the death of
a horse. Second, it was an accepted
principal at the time that all tragedies
had five acts; the idea of a tragedy
with six is funny because more
than five suggests the tedium of
something that does not know when
to stop. Third, Piron is taking another
shot at Voltaire, and his similarly
titled three-act tragedy La Mort de
César. A modern audience cannot,
of course, be expected to spot these
topical references, so David Ives
compensates by making Francalou’s
work “a dirge in seven acts.”
However, Voltaire is not the only
person we will find echoes of in
the play. Damis, the character most
identified with Voltaire, is struggling
to choose between poetry and the
law, a choice made by Piron himself;
Damis’s beautifully realized portrait
of an author who realizes before
his play is performed that it will
be a flop surely represents Piron’s
own experience. We can also point
to a comment made by Damis’s
servant in the original text that he
is likely to fall into the ditch of a
ha-ha while reciting poetry as an
allusion to an accident that Piron,
whose eyesight was very weak,
suffered on the estate of his wealthy
patron the Comte de Livry. We
might also think of Piron when
Damis criticizes Francaleu’s comedy
L’Indolente for having too many plot
lines, in violation of neoclassical
rules dictating the unity of action.
Of course, if we wish to identify a
real-life example of a play with three
plotlines, the most likely candidate
is La Métromanie itself, an unusually
complex comedy for the period.
In fact, rather than taking mere
satirical potshots at Voltaire, Piron
seems to be dramatizing something
more complicated and timeless: the
instability of identity pervades the
whole play.
Derek Connon is Professor of French at Swansea University. He is the author of a monograph on the
theater of Piron, Identity and Transformation in the Plays of Alexis Piron, and of critical editions
of four of his plays for the Parisian fairs. He has also published two monographs on the philosophe
Diderot, Innovation and Renewal and Diderot’s Endgames, and, with harpsichordist and
musicologist Jane Clark, The Mirror of Human Life: Reflections on François Couperin’s “Pièces
de Clavecin.” He has published a number of academic articles on French theatre from the 17th to the
20th centuries and is currently General Editor of the Modern Language Review.
Excerpted from full article published in the e-book Guide to the Season’s Plays 2014-15 available for
purchase for the Kindle or Nook.
23
CAST BIOGRAPHIES
DANNY CACKLEY
Servant
REGIONAL: National
Players: Macbeth
(Macduff), Comedy
of Errors (Antipholus of Syracuse),
Odyssey (Elpenor); Folger Theatre:
Othello (Cassio/Montano U/S);
Studio Theatre: Walworth Farce (Blake
U/S); Flying V Theatre: Flying V
Fights: Love is a Battlefield (Ensemble);
Discovery Theater: Coyote Mischief
Tales (Coyote); Adventure Theatre
MTC: Stuart Little (Stuart Little
U/S); Brave Spirits Theatre:
Romeo & Juliet (Mercutio); Young
Playwrights’ Theater: New Play
Festival(s) 2012/2013 (Ensemble);
Faction of Fools: A Commedia Romeo
& Juliet (Romeo), Tales of Marriage &
Mozzarella (Flavio).
CHRISTIAN CONN*
Damis
STC: Dorante in The
Liar, Tom Aimwell in
The Beaux’ Stratagem,
Dumaine in Love’s Labor’s Lost (Free
For All, Carter-Barron). NEW YORK:
Broadway: Desire Under the Elms;
Off-Broadway: 59e59 Theaters: Tiny
Dynamite; The Acting Company:
Pudd’nhead Wilson, Taming of the
Shrew; Manhattan Ensemble Theatre:
Dostoyevsky’s The Idiot. REGIONAL:
Studio Theatre: Venus in Fur; Guthrie
Theater: Other Desert Cities; Asolo
Repertory Theatre: Philadelphia, Here I
Come, The Grapes of Wrath; PlayMakers
Repertory Company: Angels in America,
All My Sons; Syracuse Stage: King Lear,
The Lieutenant of Inishmore, Bug; Hangar
Theatre: Playboy of the Western World;
24
Shakespeare Theatre of New Jersey:
The Grapes of Wrath, Comedy of Errors,
The Rivals, That Scoundrel Scapin, The
Merchant of Venice, Antony and Cleopatra;
Eugene O’Neill Theater Center:
Carthage, The Woodpecker. TELEVISION:
Unforgettable, The (718), Tough Crowd,
As the World Turns, Guiding Light.
TRAINING: Rutgers University: BFA.
WEB: www.christianconn.com.
PLAY IN
PROCESS
Dina Thomas as Lisette
Director Michael Kahn
Anthony Roach as Dorante
ROSS DESTICHE+
Servant
STC: The Tempest.
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.
MICHAEL
GOLDSTROM*
Mondor
NEW YORK:
Broadway: Mambo Kings
(workshop). Off-Broadway: Kitty Kitty
Kitty, The Complete Works of William
Shakespeare (Abridged), Can-Can with
Patti Lupone, Modern Orthodox (East
Coast Premiere). REGIONAL: Modern
Orthodox (West Coast Premiere, LA
Weekly Nomination), LUV, Old Wicked
Songs, All in the Timing, Merchant of
Venice. FILM: Comedy Central’s first
film Porn ’n Chicken; Sigmund Freud
in Freud’s Magic Powder (Locarno);
NBC: Equal Opportunity; Genghis
Dina Thomas as Lisette and Michael Goldstrom as Mondor
Christian Conn as Damis
In rehearsal for The Metromaniacs, directed by
Michael Kahn. Photos by S. Christian Taylor-Low.
Amelia Pedlow as Lucille
Christian Conn as Damis and Michael Goldstrom as Mondor
25
Cohn in The Dance of Genghis Cohn;
Press or Say ‘2’ (writer/director).
TELEVISION: Dreamworks/Cartoon
Network: Dragons; Disney: Ben 10:
Omniverse; A&E: The Lost Battalion;
Merchant Ivory: Heights; HBO: The
Sopranos; NBC: Law & Order: SVU;
Jelly; Approaching Union Square.
OTHER: Los Angeles Philharmonic:
Prokofiev’s Peter and the Wolf; New
York Philharmonic: Stravinsky’s A
Soldier’s Tale. CSULB: Clemenza di Tito
(director). Stand-up comedy in New
York and Los Angeles. INSTRUCTOR:
Los Angeles Opera Domingo-Thornton
Young Artist’s Program: Acting; Wolf
Trap Foundation for the Performing
Arts: Acting. TRAINING: Juilliard
School Drama Division; The London
Academy of Music and Dramatic Art;
Columbia University: BA.
PETER KYBART*
Baliveau
NEW YORK: Broadway:
Tony Award®-winning
production of Awake
and Sing (also Drama Desk Award),
Tony Award®-nominated The Diary of
Anne Frank, National Actor’s Judgment
at Nuremberg. Off-Broadway: Recent
credits include Andorra, Cymbeline,
Beckett-Albee. REGIONAL: Credits
include Actors Theatre of Louisville,
Huntington Theatre Company, La
Jolla Playhouse, Syracuse Stage,
McCarter Theatre, Virginia Stage
Company, Olney Theatre Center,
Goodman Theatre, Chautauqua
Theatre Company, Aurora Theatre,
among others. INTERNATIONAL:
Elizabethan Theater Trust (Australia):
St. Joan (with Zoe Caldwell) and other
plays. A Native of Berlin, Germany, he
performed for 14 years in Berlin and
26
Hamburg and throughout Austria and
Switzerland in plays from Von Kleist,
Shakespeare, Molière, Ustinov, and
Shaw and in musicals such as West Side
Story and Cabaret. FILM: The Mayor of
N.Y.C. in Spike Lee’s Inside Man, Miracle
at St. Anna’s; In Berlin: Escape to Freedom,
White Star; TELEVISION: Numerous
television appearances in Germany,
Ireland and the U.S. TRAINING:
London’s Webber-Douglas School.
ADAM LeFEVRE*
Francalou
NEW YORK: Broadway:
The Devil’s Disciple,
Summer and Smoke,
Our Country’s Good (U.S. premiere),
Footloose, the Musical, Mamma Mia,
Guys and Dolls (2009 revival), Priscilla,
Queen of the Desert; Off-Broadway:
Signature Theatre: Horton Foote’s
The Old Friends (premiere); Womens’s
Project Theater: The Most Deserving,
How the World Began; Primary Stages:
Him; Roundabout’s Laura Pels
Theater: The Marriage of Bette and
Boo; Flea Theater: Mr. Landing Takes
a Fall. REGIONAL: Performed new
and classic plays around the country
at theatres such as Hartford Stage,
Yale Repertory Theatre, Long Wharf
Theatre, Westport Country Playhouse,
Huntington Theatre Company, The
Alley Theater, La Jolla Playhouse
and Actors Theater of Louisville.
FILMS: Featured in over 75 films
over the years, from John Sayles’s
Return of the Secaucus 7 to The Adderall
Diaries (w/ James Franco), Freehold
(w/ Julianne Moore), Wild Oats (w/
Shirley Maclaine; to be released in
2015). TELEVISION: HBO: Empire
Falls, Recount; numerous guest roles on
episodic network and cable TV shows.
OTHER: He’s a real-life metromaniac,
having published a volume of poetry:
Everything All At Once (w/ Wesleyan
University Press), and A Swindler’s
Grace (forthcoming in October 2015
from New Issues Press).
AMELIA PEDLOW*
Lucille
STC: Hermia in A
Midsummer Night’s
Dream, Jessica in The
Merchant of Venice. NEW YORK: OffBroadway: Classic Stage Company:
The Heir Apparent; The Pearl Theatre
Company: You Never Can Tell.
REGIONAL: La Jolla Playhouse,
Hartford Stage and Huntington
Theatre Company: Ether Dome;
Denver Center Theatre Company:
Hamlet, The Liar; Cleveland Play
House: Legacy of Light; Virginia Stage
Company: The Diary of Anne Frank,
The Tempest; Chautauqua Theatre
Company: The Glass Menagerie, Death
of a Salesman, A Midsummer Night’s
Dream, Sick. TELEVISION: The Good
Wife, Blue Bloods. TRAINING: B.F.A.
The Juilliard School.
ANTHONY ROACH*
Dorante
STC: The Importance of
Being Earnest, All’s Well
That Ends Well (mainstage
and Free For All), Mrs.Warren’s
Profession, The Liar, The Imaginary Invalid.
NEW YORK: Company member
of TACT: You Can’t Take it With You,
Separate Tables, French Without Tears (all
Salon Series); Primary Stages: The Men
(World Premiere, workshop); Studio 42:
Gaugleprixtown. REGIONAL: Hartford
Stage: Hamlet; George Street/Cleveland
Play Houses: Rich Girl (World
Premiere); American Repertory Theatre;
Shakespeare Theatre of NJ; Cincinnati
Playhouse; Shakespeare & Co.; Dorset
Theatre Festival; Shakespeare Festival
of St. Louis; Arizona Theatre Company;
Kitchen Theatre Company; Portland
Stage Company; Alabama Shakespeare
Festival; Vermont Stage Company.
FILM: Title role in the musical-comedy
The Adventures of Buckskin Jack; Miles
from Nowhere. TRAINING: Columbia
University: BA; ART/MXAT Institute at
Harvard University: MFA.
DINA THOMAS*
Lisette
NEW YORK: OffBroadway: Barrow
Street Theatre: Tribes;
REGIONAL: La Jolla Playhouse: Tribes;
Barrington Stage Theatre Company:
10x10, See How They Run; Unicorn
Theatre: Bad Jews, Distracted, Miss
Witherspoon, Hungry (world premiere);
Berkshire Playwrights Lab: Release
Point; National New Play Network:
Green Whales; Cider Mill Playhouse:
Death of a Salesman, Fiddler On The Roof.
OTHER: Staged readings for Red Bull
Theater, Project Y Theatre Company,
Abingdon Theatre Company.
EDUCATION: MFA, University of
Missouri-Kansas City.
27
ARTISTIC BIOGRAPHIES
WNO
REVIVAL!
David Ives
Adapter
STC: The Liar (winner of the Charles
MacArthur Award for Outstanding
New Play); The Heir Apparent.
NEW YORK: Broadway: Venus In
Fur; Is He Dead? (adapted from
Mark Twain); White Christmas.
Off-Broadway: Classic Stage
Company: New Jerusalem (winner
of the Hull-Warriner Award); The
School For Lies (adapted from The
Misanthrope); Primary Stages: All
in the Timing, Time Flies, Ancient
History, Lives Of The Saints.
REGIONAL: Chicago Shakespeare:
A Flea in Her Ear (winner of Joseph
Jefferson Award for adaptation).
AWARDS: Guggenheim Fellowship
in playwriting. TRAINING:
Northwestern University; Yale
School of Drama.
RIC HA RD WAG NER
THE FLYING
DUTCHMAN
Formidable bass-baritone and Grammy® winner Eric Owens—one of the
most in-demand American opera stars of our day—makes his staged role debut
in Wagner’s powerful retelling of the nautical legend of a tormented captain
condemned to wander the seas in search of unconditional love.
“American bass-baritone Eric Owens speaks to you
even in his silences…. and shakes you when he sings.”
ERIC OWENS, PHOTO BY CORY WEAVER
—The Chicago Sun-Times
MAR. 7–21
Kennedy Center Opera House
Mar. 7, 9, 11, 13, 15 mat, 19, & 21, 2015
Performed in German with projected English titles.
Titles may not be visible from the rear of the orchestra.
TICKETS ON SALE NOW!
(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.
Additional support for The Flying Dutchman is provided by the Dallas Morse Coors Foundation for the Performing Arts
Michael Kahn
Director
See page 36
James Noone
Scenic Director
STC: Affiliated Artist; A Funny
Thing Happened on the Way to the
Forum, The Government Inspector,
Two Gentlemen of Verona, The Boys
From Syracuse, The Alchemist, Design
for Living, Julius Caesar, Antony
and Cleopatra, Major Barbara, The
Persians, Othello, Cyrano. NEW
YORK: Broadway: Lady Day at
Emerson’s Bar & Grill, A Time to Kill,
A Bronx Tale, Come Back Little Sheba,
Match, Urban Cowboy, A Class Act,
Judgment at Nuremberg, Jekyll and
Hyde, The Rainmaker, Night Must
Fall, The Sunshine Boys, Getting
and Spending, The Gin Game; OffBroadway: The Persians, Three Tall
Women, Fully Committed, Full Gallop,
Frankie and Johnny in the Claire de
Lune, Cowgirls, Ruthless!, Breaking
Legs, Boys in the Band, The Women
in Black; Irish Repertory Theatre;
Manhattan Theatre Club; Signature
Theatre; Lincoln Center Theater;
Playwrights Horizons; Second
Stage; National Actors Theatre;
Atlantic Theater Company;
Primary Stages; Roundabout
Theatre. NATIONAL TOURS: Jekyll
and Hyde, Full Gallop, The Gin Game,
Stieglitz Loves O’Keeffe, Breaking Legs,
Three Tall Women, Fully Committed.
OPERA: Lyric Opera of Chicago,
Washington National Opera, Los
Angeles Opera, Houston Grand,
New York City, Glimmerglass,
Canadian Opera, Portland Opera.
TELEVISION: Sweeney Todd, Passion,
Candide, Camelot, Company (shown in
movie theatres). AWARDS: Drama
Desk Award, American Theatre
Wing Design Award, LA Ovation
Award, two Helen Hayes Awards.
INSTRUCTOR: Boston University
School of Theatre Arts.
Murell Horton
Costume Designer
STC: Coriolanus, Wallenstein, The
Government Inspector (Helen Hayes
nomination), The Heir Apparent, The
Liar (Helen Hayes nomination),
The Alchemist, Edward II, Hamlet
(2007), Titus Andronicus, Lorenzaccio
(Helen Hayes nomination), Richard
III (2003), Hamlet (2002), The Silent
Woman, Hedda Gabler (Helen Hayes
nomination), Camino Real (Helen
Hayes nomination). AWARDS: 2007
Irene Sharaff Young Master Award
for costume design. NEW YORK:
Jeffrey Finn Productions, The Acting
Company, The Juilliard School, Pearl
29
Theatre Company. REGIONAL:
Guthrie Theater, Oregon Shakespeare
Festival, Denver Center Theatre,
Cleveland Playhouse, Philadelphia
Theatre Company, Berkshire Theatre
Festival, Shakespeare Theatre of New
Jersey, Madison Repertory Theatre,
Indiana Repertory Theatre. OPERA:
New York City Opera, Houston
Grand Opera.
Mark McCullough
Lighting Designer
STC: Coriolanus, Wallenstein, Design
for Living, Julius Caesar, Anthony and
Cleopatra, Edward II, Tamburlaine,
Titus Andronicus; Richard III, Hamlet,
Henry V, Richard II. NEW YORK:
Broadway: Outside Mullingar, The
American Plan, Accent on Youth, After
Miss Julie, Jesus Christ Superstar
(Broadway; National and UK Tour);
Off-Broadway: The Language Archive,
Old Money, Mouth to Mouth, How I
Learned to Drive, The Long Christmas
Ride Home, This is Our Youth, Lobby
Hero. REGIONAL: Court Theatre; La
Jolla Playhouse; Mark Taper Forum;
Long Wharf Theatre; Hartford Stage;
The Huntington Theatre; Center
Stage; The Old Globe; Oregon
Shakespeare; Guthrie Theater,
Steppenwolf Theatre Company.
INTERNATIONAL: Aldwych
Theatre, London: Whistle Down the
Wind; Ronacher Theatre, Vienna: Der
Besuch Der Alten Dame; St. Gallen,
Switzerland: Artus, Rebecca (and
the Palladium Theatre, Stuttgart);
U.K. tour of Jesus Christ Superstar.
OPERA: Metropolitan Opera; The
Bolshoi; La Scala; New York City
Opera; Washington National Opera;
Glimmerglass; Lyric Opera of
Chicago; San Francisco Opera; Teatro
Real Madrid; Royal Opera House
Covent Garden; Opéra National du
Rhin; Opera North; Dallas Opera;
Opéra de Montréal; Seattle Opera;
National Centre for the Performing
Arts (NCPA) in Beijing. TRAINING:
North Carolina School of the Arts;
Yale School of Drama: MFA.
Matt Tierney
Sound Designer
STC: The Winter’s Tale. NEW YORK:
Broadway: Roundabout: Machinal
(2014 Tony Award® nomination,
Drama Desk Award). Off-Broadway:
Signature: Our Lady of Kibeho;
Playwrights Horizons: Pocatello,
The (curious case of the) Watson
Intelligence, Detroit, Kin, This; Theatre
for a New Audience: A Midsummer
Night’s Dream (Julie Taymor, dir.);
Soho Repertory Theatre: generations,
An Octoroon, Uncle Vanya, The
Ugly One, A Public Reading…Walt
Disney, Blasted (Hewes Award); The
Public: Arguendo; LCT3: Luck of the
Irish; New York Theatre Workshop:
Elevator Repair Service’s The Sound
and the Fury (April Seventh, 1928)
(2009 Lortel nomination); The Select
(The Sun Also Rises) (2012 Lortel,
Obie Awards); Manhattan Theatre
Club: That Face. REGIONAL:
McCarter Theatre Center, American
Repertory Theater, Alley Theatre,
Woolly Mammoth Theatre Company,
BAM, Long Wharf Theatre, Center
Theatre Group. The Wooster Group:
Hamlet (The Public Theater, 2008
Lortel nomination), Who’s Your
Dada?! (Museum of Modern Art),
The Emperor Jones; Young Jean
Lee’s Theater Company: Lear, The
Shipment, Church.
Adam Wernick
Composer
STC: Measure for Measure, The
Government Inspector, The Heir
Apparent, All’s Well That Ends Well
(Mainstage and Free For All), The
Liar, The Alchemist, The Way of the
World, Hamlet (Mainstage and
Free For All), Love’s Labor’s Lost
(Mainstage and RSC), Othello,
Five by Tenn, Cyrano de Bergerac,
Henry IV, Part 1 and Part 2, The
Winter’s Tale, Romeo and Juliet, The
Duchess of Malfi, Hamlet, Hedda
Gabler, Camino Real, The Merchant
of Venice, King John, Twelfth Night,
Sweet Bird of Youth, The Tempest,
Mourning Becomes Electra, Henry
VI, Henry V, Macbeth, Henry IV,
Richard II, Hamlet, Troilus and
Cressida, Measure for Measure. NEW
YORK: Manhattan Theatre Club:
Five by Tenn; The Public Theater:
Temptation; The Joyce Theater:
1984. REGIONAL: Guthrie Theater,
Denver Center Theatre Company,
Signature Theatre, Santa Cruz
Shakespeare, Great Lakes Theater,
Berkshire Theatre Festival, Wilma
Theater, Idaho Shakespeare
Festival, PlayMakers Repertory
Company, Mum Puppettheatre,
Philadelphia Theatre Company,
Walnut Street Theatre. OTHER:
Concert Works: 21st Century
Consort; Orchestra 2001; Network
for New Music; American
Composers Forum; Original Works:
Sleeping Beauty (2006), The Princess
and the Pea (2004): original musicals
with book and lyrics by Kate
Hawley.
Frank Ventura
Period Movement Consultant
STC: The Heir Apparent, The Liar,
The Way of The World. NEW YORK:
Broadway: The Winslow Boy, The
Importance of Being Earnest, After Miss
Julie, The Constant Wife, Top Girls,
Winchell; Off-Broadway: The New
York Idea, Tartuffe, Annie Warbucks, No
Frills Revue, Kiss Me Quick. OTHER:
Founder/Executive Artistic Director
of CAP21.
Ellen O’Brien
Voice & Text Coach
See page 37
Carter C. Wooddell
Resident Casting Director
See page 37
Laura Stanczyk, CSA
Casting Director
STC: The Tempest, As You Like It,
The Winter’s Tale, Strange Interlude,
Old Times. UPCOMING: Man of La
Mancha. 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.
31
Drew Lichtenberg
Literary Manager/Dramaturg
See page 37
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Organizational Development
Program Development
Professional Development
Collaboration
Craig Baldwin
Assistant Director
STC: The Tempest. 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.
Bret Torbeck*
Stage Manager
STC: As You Like It, Coriolanus, 2012
& 2013 Harman Center for the Arts
Gala, Velocity DC Festival. NEW
YORK: Off-Broadway: Vineyard:
Miracle Brothers. REGIONAL: The Old
Globe: The Two Gentlemen of Verona,
The Merchant of Venice, Rosencrantz
and Guildenstern…, A Midsummer
Night’s Dream, Richard III, As You Like
It, Inherit the Wind, The Tempest, Much
Ado About Nothing, Amadeus, Sisters
Rosensweig, The Women, Take Me Out;
eight seasons at Seattle Repertory
Theatre; four seasons at the 5th
Avenue Theatre, Center Stage, Long
Wharf Theatre, Pittsburgh Public
Theater, and others. UPCOMING:
Alliance Theatre: Blues for an Alabama
Sky. INSTRUCTOR: University
of Washington School of Drama.
TRAINING: Carnegie Mellon: BFA in
Production/Directing.
Elizabeth Clewley*
Assistant Stage Manager
STC: As You Like It, The Importance
of Being Earnest (Stage Manager);
As You Like It, The Winter’s Tale
(Free For All and Main Stage),
Private Lives, Wallenstein, The
Government Inspector, The Servant
of Two Masters, The Two Gentlemen
of Verona, Much Ado About Nothing,
Julius Caesar (Free For All), Old
Times, Cymbeline, Twelfth Night
(Free For All), The Liar (Assistant
Stage Manager) REGIONAL:
Hartford Stage: Macbeth, La
Dispute (Assistant Stage Manager),
Hartford Stage 50th Anniversary
Gala (Stage Manager); Theater
of the American South: Driving
Miss Daisy (Stage Manager);
Cape Fear Regional Theatre:
Thoroughly Modern Millie, Rodgers
and Hammerstein’s Cinderella,
Tuesdays with Morrie (Stage
Manager). INTERNATIONAL:
International Festival of Arts
and Ideas; International VSA
Festival TRAINING: East
Carolina University: BFA in Stage
Management.
Daily Command Performances.
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AN ODYSSEY OF ARCHITECTURAL ADAPTATION
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AN UNPRECEDENTED LOOK AT THE WORK
AND PROCESS OF BIG-BJARKE INGELS GROUP
AT THE THE NATIONAL BUILDING MUSEUM
WASHINGTON, D.C.
ON STAGE THRU MAR 8
202.544.7077 | folger.edu/theatre
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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;
36
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 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,
and special events; Assistant Director: 13
shows. THEATRE DIRECTING: Signature
Theatre: I Am My Own Wife; Studio Theatre
2ndStage: The Rocky Horror Show (co-director);
Catholic University: Man of La Mancha;
University of Maryland: The Matchmaker; Apex
Theatre Company: Richard II; Northwestern
University: Six Degrees of Separation; readings
for Studio Theatre, Arena Stage, Woolly
Mammoth Theatre Company, The National
Academy of Sciences, The Phillips Collection,
The Goethe Institut, Georgetown University.
OPERA DIRECTING: Washington National
Opera: Penny; Urban Arias: Blind Dates,
Before Breakfast, The Filthy Habit, PhotoOp; 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 Manager
STC: The Tempest, 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);
37
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.
Carter C. Wooddell
Resident Casting Director
STC: The Tempest, As You Like It, The
Winter’s Tale, The Merry Wives of Windsor,
Two Gentlemen of Verona, Much 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 (20102012). Education Associate: TFANA (20122014). TRAINING: Rutgers University - Mason
Gross School of the Arts: BFA in Theatre Arts.
MAN OF
LA MANCHA
directed by Alan Paul
Begins March 17
Sidney Harman Hall
On sale now!
Don’t miss
our one-day
workshops with
The Metromaniacs
Cast!
SUMMER
2015
Performance Intensives
for Ages 7-18
202.547.5688
www.shakespearetheatre.org/camp
Taught by award-winning ShakespeareTheatre.org/Classes
actors and educators.
Education Hotline: 202.547.5688
38
FACES AND VOICES
Metromaniac
n. One addicted
to poetry, or to
writing verses.
DAMIS
I am poet to the bone, Mondor!
My daily trade is actualizing dreams.
Poets love love! We’re sated by what seems!
Unlike those chatterers who speak in herds,
We seek the best of all possible…words.
by Laura Henry Buda
attendee will find an original poem in their
inbox, written in response to the show or the
experience at STC.
A metromaniac is someone who is so
obsessed with poetry that they eschew all
other pursuits. One might think the only
true metromaniac alive in 2015 must be
locked away in the bowels of a university
library, pouring over impenetrable lines. But
to that the thriving D.C. poetry community
would take offense; they are the modern
metromaniacs—and they are about to invade
Shakespeare Theatre Company.
As the word spread about STC’s call for
poets, Rodger was thrilled at the wide range
of writers who applied. The breadth of the
literary scene in D.C. might be surprising,
even to those who are active in the arts
scene. STC’s team of 32 poets hail from
across the area, write as professionals and
part-time devotees, and represent a variety
of ages and backgrounds. Their poetry, too,
is diverse, featuring topics from nature
to black femaleness to Russia, and forms
including sonnets, free verse and spoken
word performance.
Over the past few months, Teddy Rodger,
STC’s Associate Director of Audience
Development and Promotions, has been
collecting applications for Poets are Present,
a special series to be held alongside STC’s
production of The Metromaniacs. At each
performance, a local poet will take up
residence in the Lansburgh lobby before
the show. Audience members will be able
to ask questions and watch the poet write
or perform. Some poets will also compose
on the spot for patrons: an instant, totally
unique commission. The next morning, each
The D.C. Youth Poetry Slam Team, for
example, participates in monthly open mic
nights and travels to slam competitions
across the country. Last year, the team took
first place at the 2014 Brave New Voices
International Youth Poetry Slam Festival,
making them the current world champions
of youth slam poetry. Another spoken
word artist, Regie Cabico is also a theatre
performer. He received a 2006 New York
Innovative Theater Award as part of the
New York Neo-Futurist’s Too Much Light
Makes The Baby Go Blind and his latest solo
40
play, Godiva Dates and One Night Stands,
received critical acclaim at the 2013 Capital
Fringe Festival. Cabico was also the first
queer and Asian American poet to take top
prizes in the 1993, 1994 and 1997 National
Poetry Slams. As members of the beltway
political world, Beenish Ahmed and Michael
H. Levin exemplify capital city writers.
Besides being an award-winning poet, Levin
is a lawyer and solar energy developer.
Ahmed works as a journalist by day and
a poet by night, but her day job infuses
her poetic work with political strife. In her
words, Ahmed’s lyrics attempt “to jam hardedged things next to the softer side of life...
car bombs and heart valves, shrapnel and a
good night’s sleep.”
These writers redefine our notion of what a
poet looks like today; their work responds
to the modern world and challenges us to
consider painful topics as well as beautiful
words. Pair these writers with David Ives’s
meditation on the love of rhyme, and it
suddenly becomes clear that metromania may
not be dead after all. And, perhaps, there is a
new (old) art form to explore in the District.
Curious about our writers? Here’s a bite-size
sample of some original poems from STC’s
assembled team. To see the full poems and
the Poets are Present schedule, please visit
ShakespeareTheatre.org/Poets-are-Present.
“The Makers of Memorials”
by Paulette Beete
They sing. They sing blue songs
their mothers wore.
They sing grief, bone-thick & left-handed.
They sing songs cross oceans, cross
sidewalks.
They sing skies sealed shut.
They sing men born wearing walking shoes.
They sing women born palms up.
[...]
Originally published in Voice Lessons by
Paulette Beete.
“POEM (or, why I am not a poet)”
by Bob Blair
[...]
Long story short: If I
were sunning myself
on the Costa Blanca,
and eating oranges,
and had a lover waiting
in bed for me, and later
I wrote a poem about it,
I’d probably call it
STILL LIFE WITH SARDINES.
[...]
“A User’s Guide to Finishing Chemistry
Homework on the Metro Without
Dropping Your Physics Notebook,
Calculator, and Borrowed Copy of A Brief
History of Time Despite Simultaneously
Being Black on the Metro”
by Kosi Dunn of D.C. Youth Poetry Slam Team
[...]
Now, that you have developed conclusive
evidence,
Broadcast to the general public, specifically,
to every black boy who’s swapped
ballpoint pens for basketballs because
their fifth grade teacher was convinced
kinematic equations were beyond the
their mental capacity
One, acceleration is quite literally defined as
a change in motion.
Two, you are nothing but change in motion.
[...]
“Appendix R”
by Sarah Ann Winn
Fig. 19: Sheet music for an untitled lullaby,
copyright 19-. Paper foxed and water
marked, alternate lines end with the
sound of two slender trees bending in the
wind, and the sound of leaves rustling.
The song ends in a baby’s cry for her
mother, unanswered, unanswerable. Note
penciled at first staff, Piano 4 hands.
First published in Quarterly West.
Laura Henry Buda is STC’s Community
Engagement Manager and served as Artistic
Fellow in the 2011-2012 Season. She holds an
MFA in Dramaturgy from the A.R.T./M.X.A.T.
Institute at Harvard University.
41
MAPPING THE PLAY
THE METROMANIACS
By Garrett Anderson,
Artistic Fellow
The characters of David Ives’s Metromaniacs seem to be changing
form constantly. From lower to upper class, from one name to another,
entering here and exiting there. Forget plot! It’s a challenge just to figure
out who’s who. Piron was inspired by the stock figures of the commedia
dell’ arte, but that only explains half of the method to his comic madness.
Here is a map to help take the mania out of The Metromaniacs.
Baliveau
(aka Signor
Pirandello)
Status: Uncle
to Damis
Commedia
Archetype: Il
Dottore
• Like the Doctor,
Baliveau is an
elderly authority
figure and a
commanding
presence.
His refusal to
distinguish
between reality
and make-believe
drives the plot
to its surprising
conclusion.
42
Dorante
(aka Eraste)
Status: Son of
Francalou’s enemy
Commedia
Archetype:
Innamorato
• Dorante, like Damis,
is looking for love.
Dorante, however, is
dumbstruck when
it comes to words
of love. In a plot
that anticipates
Rostand’s Cyrano,
Dorante poses as
Eraste, a poet, using
Mondor’s words. He
also seems to have
something going
on with Lisette.
Francalou
(aka Meriadec de
Peadoncqueville)
Status: Father of
Lucille
Commedia
Archetype:
Pantalone
• Francalou fulfills
many of the roles
of Pantalone, who
was always an
older man, father
of one of the
lovers, and head
of the household.
Francalou, however,
isn’t a miser, and he
has just as puppyish
an enthusiasm for
poetry as Damis.
Renderings by Costume Designer Murell Horton. Lucille
(mistaken for
Meriadec de
Peadoncqueville
and Lisette)
Status: Daughter
of Francalou
Commedia
Archetype:
Innamorata
• Like the young
female lover of
the commedia,
Lucille is in love
with being in love.
Piron, however,
makes Lucille
surprisingly
intelligent, and
gives her a great
deal of agency in
choosing her
own suitor.
Damis
(aka Cosmo
de Cosmos,
Bouillabaise)
Status: Nephew
of Baliveau,
would-be poet
Commedia
Archetype:
Innamorato
• Like the young
male lover of the
commedia dell’
arte, Damis is
looking for love.
• Piron, however,
makes Damis
one of the
first aesthetes
in dramatic
literature.
Indifferent to
his uncle’s plans
for his future
and enamored
of poetry to the
point of vanity,
Damis plays the
role of a benign
antagonist,
complicating the
plots of everyone
else in the play.
Mondor
Status: Servant
to Damis
Commedia
Archetype:
Arlecchino
• Like Arlecchino
(Harlequin),
Mondor is a
loyal and funny
servant, and he
has a side plot
going with the
clever maid.
• Piron, however,
doesn’t give
Mondor the
lazzi (extended
comic bits) of
a Harlequin.
Instead, he has a
grounded, realistic
concern for the
irresponsible
Damis, and takes
responsibility
for his master’s
foibles.
Lisette
(mistaken for
Lucille, aka
Meriadec de
Peadoncqueville)
Status: Maid to
Lucille
Commedia
Archetype:
Colombina
• Like the
commedia’s
female clown,
Lisette is often
the smartest
person in the
room, a lusty
gossip, and a
schemer.
• As with Mondor,
Piron makes
Lisette
surprisingly
grounded.
Unlike the
aristocrats, she
has no interest
in words or
aesthetics, only
action. She’s
more than
capable of
standing in for
her mistress.
Get an inside look at the costume construction process by visiting asides.shakespearetheatre.org
43
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
SUN
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! Every fall, 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 of the
alumni go on to careers in NYC, some return to their places of origin, and many make
homes for themselves right here in Washington, D.C. On any given night, dozens of
ACA graduates can be seen on stages throughout the D.C. metro area. And of those
D.C.-based alumni, many have been nominated for and even won the coveted Helen
Hayes Award. Already, midway through STC’s 2014-2015 season, seven ACA grads
spanning the years ’03-’14 can be seen playing roles on our own stages.
In February, an audition team comprised of ACA faculty will conduct auditions in
New York City, Washington, D.C., Chicago, and Seattle looking for the next class of
students. They will be 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 or someone you know might be interested in receiving training
from some of the top professionals in the field, including Michael Kahn, please visit
our site, ShakespeareTheatre.org/Academy for information on how to apply. Happy
15th Anniversary, ACA!
MON TUES WED THUR
FRI
SAT
FEBRUARY/MARCH
3
7:30
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
44
Performance Calendar
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.
9
8
15
7:30
2:00
7:30
2:00
7:30
2:00
10
7:45 O
7:30 P
16
17
22
23
8:00 T
8:00
4
7:30 D
27
26
8:00 Y
8:00
7:30 S
20
19
25
3
2
13
8:00
8:00 C
7:30
1
12
11
18
24
8:00
8:00
7:30 Y
7:30
6
5
4
7:30
12:00
7:30 B
5
8:00
6
8:00
2:00
8:00
2:00
8:00
2:00
8:00
2:00 A
8:00 R
2:00
8:00
7
14
21
28
7
8
Calendar Key
A
B
D
C
O
The
Metromaniacs
by David Ives
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
adapted from La Métromanie by Alexis Piron
directed by Michael Kahn
February 3–March 8
Lansburgh Theatre
CREATIVE CONVERSATIONS
PAGE AND STAGE
FREE
BOOKENDS
FREE
Wednesday, Feb. 11, pre- (5:30 p.m.) and post-show
The Lansburgh Theatre
Immerse yourself in the world of the play with preand post-show discussions.
Tuesday, March 3, 6:30–7 p.m.
The Lansburgh Theatre
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, February 8, 5–6 p.m.
The Forum in Sidney Harman Hall
Explore the production with the David Ives and
Michael Kahn.
Thursday, February 12, 6:30 p.m. and post-show
The Lansburgh Theatre
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, February 28, 5–6 p.m.
The Lansburgh Theatre
Discuss the production from multiple perspectives.
Wednesday, March 4
The Lansburgh Theatre
Extend your experience after the show.
FREE
45
SUPPORT
We gratefully acknowledge the following donors that currently
support the work of the 2014-2015 season.
This list is current as of January 14, 2015.
$100,000 and above
The Beech Street Foundation T
D.C. Commission on the Arts &
Humanities
The Erkiletian Family
Foundation
The Harman Family
Foundation T
HRH Foundation
Michael R. Klein and
Joan I. Fabry T BA
The Robert P. and Arlene R.
Kogod Family Foundation
Share Fund
Robert H. Smith Family
Foundation
Suzanne and Glenn Youngkin T
$50,000 to $99,999
Anita M. Antenucci 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
Alice and David Rubenstein
The Shubert Foundation
$25,000 to $49,999
Anonymous (2)
William S. Abell Foundation
Anne and Ronald Abramson
Nick and Marla Allard T BA
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
Abbe David Lowell and
Molly A. Meegan T BA
Estate of Suzy Platt 1616
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)
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
46
T
The Dallas Morse Coors
Foundation for the
Performing Arts
The Max and
Victoria Dreyfus Foundation
Nina Laserson Dunn and
Eric C. Rose BA
Ernst & Young LLP
Helen Clay Frick Foundation
Goldman Sachs & Co.
Hogan Lovells US LLP
Humana Inc.
Elaine Economides Joost 1616
Helen Kenney
Latham & Watkins
The Jacob and Charlotte
Lehrman Foundation
In memory of Marilyn J. Lynch
M Powered Strategies
Ann K. Morales
National Endowment
for the Arts
Pepco
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
Barclays
Batir Foundation, Inc.
Sheila and Kenneth Berman BA
Debra and Leon Black
Booz Allen Hamilton
BP America
CBRE Group Inc
CLS Strategies
The Clark-Winchcole Foundation
Donn and Sharon Davis
Douglas Development Corporation
Mr. and Ms. David Dupree
E. and B. Family Trust
Arthur and Shirley Fergenson ACA
Trygve and Norman Freed
Sue and Leslie Goldman
Gould Property Group
Grossberg, Yochelson,
Fox & Beyda LLP
Clarke Murphy and Heather
Hammond
Jerry and Isabel Jasinowski T
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
Mr. and Mrs. Sameer Bhargava
Ms. Connie Milstein
Michelle Newberry
Nissan North America, Inc.
Theodore B. Olson and
Lady Booth Olson BA
Porterfield, Lowenthal, Fettig &
Sears, LLC
PwC
Steve and Diane Rudis
Security Industry And Financial
Markets Association
Victor Shargai and Craig Pascal
The Honorable Robert E. Sharkey
and Dr. Phoebe Sharkey AMB
Clarice Smith
Doug and Gabriela Smith
Sovereign Strategy Limited
The Hattie M. Strong Foundation
US Trust Company
Mr. and Ms. Antoine Van Agtmael
Mr. and Mrs. Jay Velasquez
VISA U.S.A., Inc.
Patricia and David Vos Foundation
Friends of Youngkin
$5,000 to $9,999
Anonymous (6)
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
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
Miguel and Patricia Estrada
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
Richard A. and M. Theresa Gollhofer
Alice and John Goodman
Graham Holdings
David and Jean Grier
William Stein and Victoria Griffiths BA
Mr. and Mrs. Woolf P. Gross
H&R Block
The Honorable Jane Harman
Kevin T. Hennessy AMB BA
John W. Hill T
Mike and Gina House T BA
The Mark & Carol Hyman Fund
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
Heidi and Bill Maloni
The George Preston Marshall
Foundation
Hilary B. Miller and
Dr. Katherine N. Bent BA
Hazel C. Moore
Morningstar Philanthropic Fund
Kristine Morris
Mr. and Mrs. Tom Monahan
Oracle America Corporation
Pinnacle West Capital Corporation
Polinger Development Co.
The Prince Charitable Trusts
Property Capital LLC
Willam Pugh and Lisa Orange
Reset Public Affairs
Risk International
Bruce and Lori Laitman Rosenblum
Gerri and Murray Rottenberg 1616
Lee Goodwin and Linda
Schwartzstein
Software and Information Industry
Association
John and Leslie Steele
Terra Nova Title and Settlement
Services, LLC
Harbour Group, 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
The Robert N. Alfandre Foundation
Sunny and Bill Alsup
Dean Amel and Terry Savela
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
The Family of Marion and Charles
Bryce 1616 AMB
Mr. and Mrs. I.T. Burden, III
Dawn and James Causey
Audrey Chang and Michael Vernick
Ellen MacNeille Charles
Monica Rose Chodur
Joan Choppin
Linda and John Cogdill
Mary Cole AMB
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 and Dorchester
Apts on Columbia Pike in
Arlington
Emily, Susannah and Michael Eig
Helaine G. Elderkin
Elmendorf Ryan
Michael Evans BA
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 BA
Josh Goldfoot BA
Ms. Myra P. Gossens
John E. Graves RIA and Hanh Phan
Pamela and Corbin Gwaltney
James T. and Vicky Sue Hatt
Karen L Hawkins BA
Catherine MacNeil Hollinger and
Mark Hollinger
James and Marissa Huttinger
International Brotherhood Of
Teamsters
Larry and Georganne John
John Edward Johnson
Jody Katz and Jeffrey Gibbs
Michael and Michelle Keegan
Joel and Mary Keiler
Thomas and Bridget Kluwin
Mary Hughes Knox
47
Dr. Richard M. Krause 1616
Barry Kropf
Bill Lands and Norberta Schoene
Richard Levi and Susan Perry
Dr. Mark T. Lewellyn
Marjorie and John Lewis
James M Loots, Esq. and
Barbara Dougherty Loots, Esq. BA
Linda Matthews
Mary McCue ACA AMB
The McGwin/Bent Family
Thomas and Ingrid McPherson
Foundation
Rajesh, Radhika & Karan Murari
Patricia Sherman and Terry Murphy
National Association of Realtors
National Rural Electric Cooperative
Association
Navigators Global
Louisa and Bill Newlin
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
Peck, Madigan, Jones & Stewart, Inc.
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
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
Mr. and Mrs. Douglas Brown
Howard M. Brown ACA
Roger and Nancy Brown
Elizabeth Buchbinder
Mr. Michael Butterfield and Ms. Hallee
Morgan BA
Capitol Hill Community
Foundation ACA
Joanna and Alan Capps
Cheryl and Matthew Chalifoux
Antonia B. Ianniello and
George M. Chuzi
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
David and Kenna Dorsen BA
Ms. D. Chris Downey
Dr. Damien and Elizabeth Doyle
Joy Dunkerley
Anita Dunn
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
Federal Lodge No. 1
Free and Accepted Masons
Washington D.C.
Julie M. Feinsilver 1616 ACA
Mr. Elliot Feldman BA
Joseph and Jeri Fellerman
Denise Ferguson
Mr. and Mrs. Alan M. Fern
Barbara and Ralph Ferrara
The Lee & Juliet Folger Fund
Julian W. Fore and Beverly A. Sauer
The H.O. Peet Foundation In Memory
of Margot Peet Foster
Rhona Wolfe Friedman and
Donald J. Friedman BA
Lisa and Phil Friedman
$1,500 to $2,499
Brenda and David Friend
Anonymous (7)
Juan H Gaddis
Ernest and Dianne Abruzzo
The Ada Harris Maley Memorial Fund Charles and Amy Gardner
Dr. Laura J. George AMB
Gisela and Thomas Ahern
Dr. Douglas E. Gill and Mrs. Karen
Sanford K. Ain, Esq. BA
S. Vartan
Kevin and Amanda Allexon BA
Ruth Bader Ginsburg
Patricia Arnold
JoAnne
Glisson
Julie, Tina, June and Vince Auletta
Donald H. Goodyear, Jr.
Russ Stevenson and Margaret R.
Mr. and Mrs. David L. Gray
Axtell
Ms. Pat Gray ACA
Keith L. Babb
Linda Griggs and Bill Swedish
Galen and Carolyn Barbour
Lisa Grosh and Donald Names BA
Michael F. Barrett, Jr. and Danielle
Merle Haberman
Beauchamp
Frona Hall
John and Patricia Barth
Frank Kendall and Beth Halpern BA
James and Carmella Bell
Kenneth G. Hance
Judge James A. Belson
Robert and Margaret Hazen 1616
Dr. and Mrs. James E. Bernhardt
Andrea L. Heithoff
Sue E. Berryman
Mr. Mark E. Herlihy and
Elaine and Richard Binder
Ms. Ann M. Kappler
Jean and Stephen Hersh
48
Cheryl R. Hodge
Mr. Gerald Hoefler
Mr. Henry H. Holcomb
Charlotte Hollister and Donald Clagett
Susan Bokern and Ted Holmberg
Fran and Bill Holmes
David H. Holtzman
Ms. Ann Homan BA
William L. Hopkins and
Richard B. Anderson 1616
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
Stephanie Kanwit
Rick Kasten
Candace and Hadrian Katz
Thomas R. and Laurie S. Kelly
Melinda Kimble
David A. Klaus
Dana and Ray Koch
Sara Dunham Kraskin and Stephen
G. Kraskin
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
Hardee Mahoney and Juan Vegega
Dan and Susan Mareck
Mars Foundation
David and Martha Martin
Dr. and Mrs. James E. Martin
John and Connie McGuire BA
Brenda Metzger
Dr. Jeanne-Marie A. Miller
Mr. Steven Miller
Catherine L. Moore and
Carl W. Stephens
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
Philip B. Nelson and Anne Parten
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
Mr. Bruce F. Press and
Mrs. Julie V. Press
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
Phillip Reiman and Leslie Binns
Alberto J. Rivera BA
Steve and Diane Rothman AMB
Richard and Rochelle Schwab
Kannon and Victoria Shanmugam BA
Dickstein Shapiro
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
Dr Arthur Weinstein and Ellen Spin
Mark Sucher and Jane Lyons
Susan and Brian Sullam
Al and Nadia Taran
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
Ms. Molly Wilkinson
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 (8)
Douglas and Jane Alspach
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
Ms. Marion C. Blakey
Alisa M. Goldstein and Lee Blank
James Blum
Bill Bodie T
Elizabeth Boyle
Chris H. and James D. Bridgeman
Dana E. Brown
Candice C. Bryant
Michael L. Burke and Carl W. Smith
John and Linda Byington
Rita A. Cavanagh and Gerald A. Kafka
Elaine H. Christ
Elaine Church
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
Emma R. Dolly Dieter
Mr. and Mrs. John Dillon
Richard and Patricia Draper
Claudia Hastings Dulmage BA
Susan and Dorsey Dunn
ESPY Energy Solutions
David Webber and Joelle Faucher
Gary and Naomi Felsenfeld
Sandy and Jim Fitzpatrick
Aaron and Susan Fuller
Ms. Elizabeth Galvin
Angela and Dan Goelzer
Mr. and Mrs. Harr
Jeanie and Tex Harris
Ken Hunter
International Brotherhood of
Boilermakers
Lorna Jaffe
Jones Lang LaSalle
Mr. Jeffrey D. Kirkwood
Ray Kogut
Mr. and Mrs. Jerome Kossar
Polly Kraft
Karen Leider
LEVICK
Shirley Loo
Mr. John H. Loomis
Steven M. Rosenberg and Stewart
C. Low III
Bruce and Virginia MacLaury
Mr. and Mrs. Gregory May
Susan Milligan and Philip McGuire
Bernard and Mary McKay T
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
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
Peter S. Reichertz
Mac and Michelle-Anne Riley
John Forest Roemer
Peter D. Rosenstein
Nancy and Miles Rubin
James and Madeleine Schaller
Jennifer M. Schlener
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
United Airlines
Carole and John Varela
Mr. and Mrs. L. Von Hoffman
Washington Resource Associates
Bill and Ted Wears-Richards
Mr. and Mrs. Rosanne Weber
Ms. Judith Weintraub
Gerry Widdicombe
Patricia Yee
Penny S Younce
$500–$999
Anonymous (25)
George and Polla Abed
Actors’ Equity Foundation, Inc.
Vickie and David Adamson
Mr. and Mrs. John Allen
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
Kevin and Sheila Avruch
Mary Anne and Charlie Bacas
Leonard Bachman
Mr. Joel Balsham
Jonathan H. Barber
Margaret and Gordon Bare
Joan Barron and Paul Lang
Charles D. Bartlett and Linda Bartlett
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
Bethesda MRI & CT
Paul Bickart and Marcia Reecer
Vaughn and Marian Bishop
William D. Blair Charitable
Foundation
Ambassador Julia Chang Bloch and
Stuart Bloch
Rick and Burma Bochner
Thomas Booth
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
Michael and Taylor Brogan
Liz and Cornelius Bronder
Henry J. Brothers, II
Christopher Brown
Lorraine Brown
Philip Buchan and June Krell
Harold R. Bucholtz
Jayne Bultena
Ms. Beverly J. Burke
Ms. Destiny Burns
Col. and Mrs. Lance J. Burton
Cesar A. Caceres MD
Dianna and Mickey Campagna
Robert J. Campbell and
Mary A. Schellinger
Peggy Canale
Ann Cardoni
49
Caroline Willis Book Appraisals
James M. Carr
Nicholas and Mary Jeanne Carrera
Ann Castiglione-Cataldo and
Walt Ennaco
Sarah and William Cavitt
Wallace Chandler
Shu Hui Chen
Dr. Frederick W. Wolff and Dr.
Catherine Chura
Ms. Janice L. Clark
John Clark and Ana Steele Clark
Thomas and Robin Clarke
William and Sara Coleman
Laura L. Hoffman and David C. Colin
Stacy Johnson and Charles Corbin
Jack and Julia Corrado
Owen Costello and Erlin Webb
Michael and Sue Crane
Mr. and Mrs. Scott W. Davis
Matthew and Mike 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
Alan and Susan Dranitzke
Jean and Paul Dudek
William J. Tito and Debra J. Duncan
Dutch and Brenda Dunham
David Dunn
Sayre Ellen Dykes
Stephen and Magda Eccles
Stuart and Joanna Edwards
Mr. Paul Ehrenreich
Mr. and Mrs. Kenneth A. Eisenhardt
Roberta Ellington
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
Mike and Pati Froyo-McCarty
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53
UP NEXT: An interview with Alan
Paul, Man of La Mancha director and
Associate Artistic Director at STC
Can you tell us how you came to
direct Man of La Mancha?
The story begins in 2011, when I
directed La Mancha at Catholic
University. That detail stuck in Michael
Kahn’s mind, and on opening night of
A Funny Thing Happened on the Way
to the Forum last season, he pulled
me aside and said, “Could you do a La
Mancha for us?” And I of course said
(well, exclaimed), “Yes!”
Did you have any prior personal
connection to the musical?
La Mancha is one of those musicals
that everyone is supposed to have
seen, and oddly enough, I had never
seen it. What I had seen was a clip of
Richard Kiley singing “The Impossible
Dream” from The Ed Sullivan Show.
On the first day of rehearsal at
Catholic University, I was immediately
overwhelmed by the power of the
musical. The students were also new to
the musical, and at the end of the readthrough everyone in the room started
crying. Man of La Mancha is really
about our own internal battle between
cynicism and optimism, something all
of us face every day.
What is your approach to the show?
Most people think Man of La Mancha
is a musical retelling of Don Quixote,
but in fact it’s a story about the
writer Cervantes. The story moves
between the reality of a Spanish
Inquisition prison and Cervantes’
conjuring of the Don Quixote story.
My production will highlight the
improvisational theatricality of turning
everyday objects into props, and our
surprisingly easy ability to believe in
an imagined reality. Everything in the
Don Quixote scenes will come from
objects that already exist in the prison
and from the trunk Cervantes brings
into the prison with him. Everyday
objects will transform into the horses
that Quixote and Sancho ride, the
windmill, Alonso Quijana’s sick-bed,
and all of the other key elements.
There is a lot of potential for the
magic of transformation in the piece.
Can you discuss the connection
between Cervantes and Shakespeare?
Shakespeare and Cervantes were
contemporaries, and legend has it
that they died on the same day in
1616 (although I’m
sure they died a few
days apart). Dale
Wasserman, who
wrote the book for
the musical, also
wrote the 1959 nonmusical teleplay I,
Don Quixote, which
starred Lee J. Cobb.
In that version, one
of the prisoners is an
English spy. There’s
a great scene where
he asks Cervantes
if he is aware of
Shakespeare, to
which Cervantes says
“no.” The truth is, we
don’t know if they were aware of each
other, but there is a Cervantine quality
to Shakespeare, and a Shakespearean
quality to Cervantes. That they were
writing at the same time is pretty
remarkable.
of La Mancha,” “The Impossible
Dream” and “Dulcinea”—and they
require a singer who can deliver them
with power, nuance and a depth of
musicality. Anthony is phenomenal,
and for those who aren’t aware of
him, this production
will be an amazing
introduction.
Man of La
Mancha is really
about our
own internal
battle between
cynicism and
optimism,
something all of
us face
every day.
What can you share about casting?
Amber Iman is playing
Aldonza. She made
her Broadway debut
last year playing Nina
Simone in Soul Doctor,
and has an unbelievable
voice and presence.
She will be a powerful
Aldonza. Nehal Joshi
is playing Sancho, and
you may know him
from the work that
he has done at Arena
Stage. Although he’s
playing a comic role,
he has a serious side—he just played
Jean Valjean in Les Miserables at Dallas
Theater Center.
I’m excited about the combination of
these three actors. Their rich talents
inspire me deeply, and together we
will create a deep re-imagining of this
classic musical.
The great Australian star Anthony
Warlow is playing Cervantes/Quixote.
The show-stopping moments of the
musical are his three songs—“Man
Alan Paul
Man of La Mancha at
Sidney Harman Hall begins March 17.
Tickets at ShakespeareTheatre.org or
202.547.1122.
54
55
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
Resident Casting Director
Carter C. Wooddell
Literary Manager
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
Brittney Holland
Receptionist
Ursula David
General Management Intern
Kathryn Atkinson
Director of Operations
Timothy Fowler
Operations/IT Assistant
Melissa Adler
Theatre Building Engineer
Dave F. Henderson
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Milton Garcia, Jeff Whitlow
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Jorge Ramos Lima
Harman Custodians
Dennis Fuller, Mirna Guzman,
Roderick Proctor
Lansburgh Custodians
Zulma I. Bonilla,
Izilma Membreno, David Guzman
Director of Information Technology Brian McCloskey
Systems Administrator
Patrick Hayes
Database Administrator
Brian Grundstrom
DEVELOPMENT
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Ed Zakreski
Senior Associate Director of Development Amy Gardner
Individual Campaigns Officer
Betsy Purves
Major Gifts Officer
Sara Conklin
Special Events Manager
Moriah Mills
Development Operations and
Membership Manager
Kristina Williams
Development Operation Coordinator
Sara Seidler
Membership Coordinator Arielle Katz
Associate Director of Development
Noreen Major
Corporate Giving Manager
Katie Burns-Yocum
Director of Foundation and
Government Relations
Meghann Babo-Shroyer
Development Intern
Kristen Olsen
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,
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
Erica Brown, Addie Gayoso,
Stephanie McLean, Carissa Milliken, Rae Davidson
Assistant House Managers
Melissa Adler, Jeremy Blunt,
Quintin Cary, Irene Casey, Chris Hunt, Susan Koenig,
Carmelitta Riley, Marie Riley,
Christopher Schoen, Alex Zeese
Retail and Concessions Manager
Kristra Forney
Concessions Associates Eileen Chaffer,
Adrianne Glover, Stephanie McLean, Justin Lane,
Chris Pearson, Marie Riley, Petrice Roman,
Christopher Schoen, Eric Woods
Retail Associates
Quintin Cary, Eileen Chaffer, Tiara
Copeland and Kara Tesch
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,
Lise Bruneau, Dan Crane, Vince Eisenson, Jim Gagne,
Tara Giordano, Brit Herring, Paul Hope, Naomi Jacobson,
Mark Jester, Joy Jones, Manu Kumasi, Jessica Lefkow,
Sabrina Mandall, Chelsea Mayo, Brenna McDonough,
Victoria Reinsel, Paul Reisman, Melissa Richardson,
Nancy Robinette, Joel David Santner, Kristala Smart,
Rebecca Swislow, Katie Tkel, Eva Wilhelm,
Carter Wooddell, Gregory Wooddell, Jaysen Wright,
Daniel Yabut
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
Production Administer
Emmy Landskroener
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
Crafts Artisan and Metromaniacs Design Assistant
Kara Tesch
Drapers
Denise Aitchison, Randall Exton,
Tonja Petersen
First Hands
Jennifer Rankin, Sandra Thomas
Sara Trebing
Stitchers
Michelle Ordway, Donna Sachs,
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.
56
Rebecca Williams
Overhire Stitchers Dorothy Barnes Driggers, Erin Nugent
Lead Crafts Artisan
Joshua Kelley
Wardrobe Supervisors
Jeanette Lee Porter,
Monica Speaker
Overhire Wardrobe
Ayanna Fox, Alina Gerall
Wig Master
Dori Beau Seigneur
Overhire Wigs
Sara Jane Palmer, Melissa Thiede
Costume Design Intern
Eileen Chaffer
Costume Interns Stephanie Goad, Hilary-Ann Rogers, Britteny Holland
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 Painters Holly Highfill, Deni Holl, 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
Master Electrician
Sean R. McCarthy
Assistant Master Electrician Lauren A. Hill
Harman Electrician
Brian Flory
Lansburgh Electrician Jacob Moriarty-Stone
Lighting Assistant
Paul Callahan
Audio/Video Supervisor
Brian Burchett
Assistant Audio/Video Supervisor Roc Lee
Live Mix Engineer
Ryan Gravett
Sound Board Operator
Amanda Labonte
Stage Operations Supervisor
Louie Baxter
Assistant Stage Operations SupervisorFran Hopkins-Maxwell
Stage Carpenters
Nick Custer, Catherine Russell
Run Crew
Laura Cividanes, Marc Wasserman
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 Metromaniacs.
Thursday, February 19 at 8 p.m.
Audio-described performance of The Metromaniacs:
Saturday, February 28 at 2 p.m.
Sign-interpreted performance of The Metromaniacs:
Tuesday, March 3 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
•
•
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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