Seattle Theatre Group_Encore Arts Seattle

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MAY 2016
MAY 4–MAY 22, 2016
By Wiliam Shakespeare
Directed by Vanessa Miller
2016 SPRING
STATEWIDE TOUR
The Tempest
Romeo and Juliet
2015–2016 INDOOR SEASON
The Comedy of Errors
Mother Courage and Her Children
Titus Andronicus
Mrs. Warren’s Profession
Romeo and Juliet
2016 SUMMER
WOODEN O
Hamlet
Love’s Labour’s Lost
April 2016
Volume 12, No. 6
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Q & A with
The Merry Wives of Windsor (2016)
Sarah Rose Davis
The actor on singalong music, “second breakfast”
and knowing yourself.
BY BRETT HAMIL
PHOTO: KAT HENNESSEY
arah Rose Davis is an actor and Seattle
native with a BFA in musical theatre
from The Boston Conservatory who began
her career in the Village Theatre’s KIDSTAGE
program. In 2014 Davis successfully tackled
Barbra Streisand’s signature role as Fanny
Brice in Village’s Funny Girl, for which the
Seattle Times called her “highly appealing.”
You may have seen Davis at the 5th Avenue
Theatre as Maggie in A Chorus Line, Frenchy
in Grease and at least 15 other shows
there. Most recently, she played the role of
Rosemary Pilkington in their production of
How To Succeed in Business Without Really
Trying.
What’s the best performance you’ve seen
lately?
Come From Away at Seattle Rep. It was
beyond brilliant. It was captivating,
intense, humorous, and had me completely
enthralled. It’s totally my kind of theatrical
experience, both as an audience member and
a performer myself. It’s ensemble-driven—the
whole cast was involved and onstage working
together almost the entire show. The music
was new and exhilarating with incredible
rhythmic movement. The story, about a small
town in Canada whose population doubled
overnight when 38 planes were re-routed
there on September 11th, was intense yet
surprisingly relatable.
It was a show about human experience,
about amazing strangers who were forced
to work through an incredibly difficult time
together. I could go on and on about this
show! I love seeing new and inspiring theater
in Seattle especially when I have so many
friends involved in the process!
The best movie I’ve seen recently was a
Disney Pixar animated short called Lava. Oh
man, watch it. Disney tears.
What’s the best meal in Seattle?
I have to admit I’m not much of a foodie—not
that I don’t LOVE food. I do, really. I’m just not
good at finding all the cool places in Seattle
to eat. I am, however, a huge breakfast person
and a huge proponent of second breakfast as
well. Sometimes one breakfast simply is not
enough. My two favorite breakfast spots are
The 5 Point Cafe and Brave Horse Tavern.
I could eat breakfast all day long. My
boyfriend often makes amazing breakfasts
as well. He can throw anything into an egg
scramble and it is delicious.
continued on page 4
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CONTENTS
MAY 2016
MAY 4–MAY 22, 2016
Romeo and Juliet A2
By William Shakespeare
By Wiliam Shakespeare
2016 SPRING
STATEWIDE TOUR
The Tempest
Romeo and Juliet
2015–2016 INDOOR SEASON
The Comedy of Errors
Mother Courage and Her Children
Titus Andronicus
Mrs. Warren’s Profession
Romeo and Juliet
2016 SUMMER
WOODEN O
Hamlet
Love’s Labour’s Lost
ES066 covers.indd 1
3/28/16 8:50 AM
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Visit EncoreArtsSeattle.com
Sara Rose Davis, continued
What music gets you pumped up? What do you listen to when
you’re sad?
I love to listen to music I can sing along to. This usually means a female
singer or high tenor—I’ve found that if I cannot comfortably sing along
and belt out the songs, I won’t really get that into it. I love listening to
an album until I know absolutely every single word. Before my shows
right now I’ve been listening to Demi Lovato. She’s incredible and her
range is outrageous.
I’ve also just barely started to scratch the surface on Lin-Manuel
Miranda’s new show, Hamilton, and I know how obsessed I’m going to
be with it shortly.
If I need some completely calming music when I’m feeling a little
down, I listen to Carole King’s Tapestry (brilliant), which I belt out with
joy, or Colbie Caillat’s album Breakthrough.
What’s the most crucial element of any production?
There are a million crucial elements that contribute to a successful
production: story, casting, direction, production design, acting, etc.,
which is why I would say that communication is the most important
element for a production to work. Let’s assume that the story is already
worth telling, which is why someone has decided to theatricalize it. For
the production to be a success, everyone involved in the process needs
to be on board in telling the SAME story, whether that be through the
lights, costumes, sets or character relationships.
Whenever I am in a really successful production—and of course
we could have a really long conversation about the definition of a
successful production—I always attribute that success to awesome
4 ENCORE STAGES
communication from everyone involved, both on the creative team
and as part of the cast. For How To Succeed, I felt that our director,
Bill Berry, was really great at making sure everyone was telling the
same story and we were all living in the same world from set design to
costume design and musical direction. Same world, same story. To me
that is the key.
What’s the most useful thing anyone’s ever taught you about
working in theatre?
Be yourself and keep learning. Keep learning about the arts and
about yourself. Theater is an incredibly strange world in which you
have to know so much about yourself that you can then completely
lose yourself within a character. I don’t mean hide yourself behind a
character, because you need the personal connection in order to fully
transform into this person, but if you don’t understand who you are as a
human, artist, friend, lover, daughter, etc., it’s impossible to approach a
character with any sort of authenticity.
It’s really easy, especially in a musical theatre BFA program, to lose
yourself in a million suggestions, but ultimately YOU have to decide
which pieces of advice to follow. I have tattoos and currently have
blue hair—never thought I could do that in theater with auditions as
frequent as they are but then I decided: Why not?
I’ve also been told to never stop learning about your craft. I continue
to study voice and I push myself to take more dance classes and
improve my skills. I’m sure I could articulate more clearly, but as I
understand it now, this is the best way I know how to share the advice
I’ve been given. I am still learning. A Congregation
Romeo and Juliet, 1999
25 years ago this theatre was officially incorporated as a non-profit organization, but
our story began even earlier . . . as the dream of two college friends, Paul Mitri and
Cornelia Moore. Eager to explore “Shakespeare in Seattle,” they staged a production of
Romeo and Juliet three years before Seattle Shakespeare Festival (now Company) was
formally founded. It is only right to revisit this seminal play.
Everything Seattle Shakespeare Company has become came about from a love for these
enormous, spectacular, thought-provoking, affecting plays by William Shakespeare and
other great playwrights of theatre history: Molière, Shaw, Ibsen, Brecht, Wilde, et. al.
Our theatre has grown up around these plays and productions to become a
community, anchored in great works. I have often said — very often — that we, as
theatres and non-profits, should look to churches, churches with good hearts and
spirits, as models. (I say this, mind you, as a confirmed agnostic and secular person.)
Romeo and Juliet, 2005
As with churches, we as theatres should be welcoming, engaging, embracing of
everyone who shares our vision, values our mission, and sees these plays as not simply
a one-off experience, but leading to bigger conversations and themes — about our
world, our places in it, and the experiences that shape us. As a theatre, we bring people
together to share laughter and, in that laughter, discover our communal being in that
joyous experience. We provide the opportunity to reflect on the world around us and
consider what we want that world to be. In the darkened theatre, we offer the chance
to cry together over heartbreak and loss, or to collectively rail against injustice.
What theatre does best is create community. When actors truly come together as an
ensemble; when audiences truly bond with that ensemble and with each other; when
everyone is functioning together — this is theatre at its best. That moment of laughter,
that shared gasp, that intensely still, silent moment each makes us know we’re not
alone, we’re together, part of a congregation. But we should always remember, always
be striving, to extend that sense of community and congregation beyond the limits
of stage and venue. To recognize that our “church” is one of ideas, of experiences, of
people bandng together, and that it radiates outward from our stages.
I hope, if that is something you are looking for, that you will find it here. As we
celebrate our 25 years of creating great productions and highlighting outstanding
performances on stage, we also celebrate the community that has developed over
the years and decades here at Seattle Shakespeare Company — we celebrate each of
you. Thank you — and here’s to the next 25!
Romeo and Juliet (Wooden O), 2008
Romeo and Juliet (Tour), 2016
— John Bradshaw
Managing Director
encore art sprograms.com A-1
This production is dedicated to the memory of Doug Walker
CAST
PRODUCTION TEAM
Tybalt
Treavor Boykin
Director
Vanessa Miller
Benvolio
Andrew Lee Creech
Stage Manager
Victoria Thompson
Lord Capulet
Mike Dooly
Set Designer
Craig Wollam
Friar Lawrence
Chris Ensweiler*
Costume Designer
Kelly McDonald
Abram / Servant
Morgan Grody
Lighting Designer
Tim Wratten
Juliet
Anastasia Higham
Sound Designer
Robertson Witmer
Dream / Death / Apothecary / Musician
Justin Huertas*
Properties Designer
Robin Macartney
Mercutio
Trevor Young Marston
Assistant Director / Choreographer
Crystal Dawn Munkers
Lady Montague / Musician
Claire Marx
Fight Choreographer
Geof Alm
Lady Capulet
Carolyn Marie Monroe
Composer
Justin Huertas
Fate / Time / Prince
George Mount*
Technical Director
Seattle Scenic Studios
Romeo
Riley Neldam*
Assistant Stage Manager
Louise Butler*
Sampson / Servant / Musician
Jason Salazar
Fight Captain
Morgan Grody
Lord Montague / Musician
Kerry Skalsky
Paris
Jordan Iosua Taylor
Nurse
Kathryn Van Meter*
Gregory / Servant
Elizabeth Wu
SPECIAL THANKS
American Life Inc, ArtsWest,
Dennis Culpepper, Eric McConaghy,
The Evergreen School
PRODUCTION SPONSORS
RUNNING CREW
Wardrobe Stage Carpenter
Nat Whitten**
Master Electrician
Marc Mixon**
Master Audio Engineer
Terry Gray**
Wardrobe Master
K.D. Schill
* Member of Actors’ Equity Association, the Union of
Professional Actors and Stage Managers in the United States.
** All Scenery, Staging and Wardrobe work is
performed by employees represented by the
I.A.T.S.E. Locals 15, 488, and 887.
A-2 SEATTLE SHAKESPEARE COMPANY
The taking of pictures or the making
of recordings of any kind during the
performance is strictly prohibited.
Director’s
Note
A Dream within a Dream within a Dream
Shakespeare has a thing about dreams. Throughout his comedies, tragedies and
histories, many of his characters speak of dreaming: Calpurnia, Hermia, Shylock,
Bottom, Mercutio, Romeo, and Hamlet.
Dreams add an important layer in this production too — identifying fears and regrets,
sending messages of warning. When Romeo fears crashing the Capulets’ party,
Mercutio inquires why. “I dreamt a dream tonight,” Romeo answers.
Shakespeare blurs the line between what is real and what is a dream throughout his
plays, questioning his characters’ reality. At Juliet’s balcony, Romeo, blissed-out after
meeting his true love, declares to the starry night:
O blessed, blessed night! I am afeard,
Being in night, all this is but a dream,
Too flattering sweet to be substantial.
Like Bottom in A Midsummer Night’s Dream, will Romeo wake to discover that this
experience was just a dream?
When Romeo and Juliet was written, people believed that dreams originated
both within and outside of individual consciousness. Dreams might spring from
the imagination or from the internal storehouse of memories or grow from the
disturbances, fears, or anxieties collected from waking life. Dreams might reveal the
true character of a person and what they most desire. As Mercutio relates, lovers dream
of their beloved, lawyers dream of fees, soldiers dream of battles.
From outside the dreamer’s consciousness, dreams were believed to be manipulated
by spirits, Gods, or demons. In Dream and Imagination in Shakespeare, Jerome Mandel
explains, “[The Renaissance man] knew for certainty that spirits existed and affected
his universe in storms and dreams: and he knew that dreams were one mode of
communication between the world in which he lived and the equally real world in
which the spirit lived.” Both Romeo and Juliet, sensing that some outside spirit or
force is manipulating the course of events, address the stars and call out to Fate or
Fortune: “Oh, I am fortune’s fool!”
Sometimes life itself is a dream and sleep equals death. In the last moments of The
Tempest, Shakespeare’s final play, Prospero says,
We are such stuff
As Dreams are made on; and our little life
Is rounded with a sleep.
PLOT SYNOPSIS
The prince of Verona interrupts a
street brawl between the Montagues
and Capulets, cautioning the two
families against further violence.
Romeo, a Montague, suffers from
unrequited love for Rosaline, and so
friends encourage him to crash the
Capulets’ upcoming ball. At the ball
he meets Juliet, the Capulets’ only
child, and they fall in love at first
sight. Later, Romeo stands below her
balcony, and they confirm their love.
The next day, they meet with Friar
Lawrence and are married. Later that
day, Juliet’s cousin Tybalt challenges
Romeo to a duel. Romeo is reluctant
to fight, but his best friend, Mercutio,
scorns his attempts to make peace.
Mercutio and Tybalt fight. Romeo
tries to intervene, and Mercutio
is killed. Romeo kills Tybalt and is
banished from Verona. That night, he
bids farewell to Juliet.
Juliet is already heartbroken when
her father demands that she marry
Paris the next day. She goes to the
Friar for help, and he offers her a
potion that will make her appear
dead, promising that she will wake in
the crypt where Romeo will rescue
her. Juliet takes the potion and is
found “dead” by her family. The letter
from the Friar fails to reach Romeo,
and, believing that she is truly dead,
he purchases a fatal poison from the
apothecary and goes to her tomb.
In the crypt, Romeo finds Paris
mourning. They fight and Paris is
killed. Romeo drinks the poison and
dies beside Juliet. The Friar arrives
as Juliet wakes to find Romeo dead.
He tries to talk her out of rash action,
but, when he leaves, Juliet kills
herself with Romeo’s dagger. The two
families gather at the tomb to mourn
their dead children. Joined in mutual
grief, they are finally reconciled.
Adapted from Shakespeare’s Genealogies by
Vanessa James
In our production, it doesn’t end there. What is learned from sleep and dreams may
result in a new chance at life, and an opportunity to fix the mistakes of the past.
— Vanessa Miller
Treavor Boykin
Andrew Lee Creech
Mike Dooly
Chris Ensweiler
Morgan Grody
CAST BIOS
Mike Dooly
Anastasia Higham
For enhanced actor profiles and
photos from past productions, check
out the Romeo and Juliet page at
seattleshakespeare.org
Previous roles include The Tiger in Bengal
Tiger at the Baghdad Zoo (Washington
Ensemble Theatre); Matt in Talley’s Folly,
George Pye in Humble Boy, Jake in The
Understudy (Seattle Public Theater); Sir
Toby Belch in Twelfth Night, Stefano in The
Tempest, Costard in Love’s Labour’s Lost,
Pompey in Antony and Cleopatra, Polixenes
in The Winter’s Tale, Aufidius in Coriolanus,
Theseus in A Midsummer Night’s Dream,
and Horatio in Hamlet (Seattle Shakespeare
Company); Mark in The Art of Racing in the
Rain and Jo Gargery in Great Expectations
(Book-It Repertory Theatre); Iago in Othello,
Larry in Closer, and Lee in True West (Balagan
Theatre). Mike loves Seattle, loves theatre,
and most of all, loves you for your continued
support in making the Great Pacific
Northwest the new Theatre Capital of the
World. Let Everybody Know!
Anastasia has traveled with Seattle
Shakespeare Company’s statewide
educational tour for three years, bringing
Romeo and Juliet to students all across the
state, as well as Julius Caesar, Othello, and
Macbeth; she played Miranda in The Tempest
outdoors with Wooden O; taught for Short
Shakes and Camp Bill; and is overjoyed to
make her main stage debut. She has also
appeared in Strawberry Theatre Workshop’s
Our Town, Seattle Repertory Theatre’s Circle
Mirror Transformation, Theatre22’s Can’t
Talk Right Now, Taproot Theatre’s Dracula,
ACTLab’s As You Like It, Island Stage Left’s
Cymbeline, and received a Gregory Award
for Outstanding Supporting Actress in
Annex Theatre’s Horse Girls.
Treavor Boykin
Tybalt
Treavor, a native of Florida, is thrilled to
make his debut at Seattle Shakespeare
Company. His recent credits include
Emboldened (Cheeky Walker/Beast) at
Theatre Off-Jackson; Slip/Shot (Monroe)
at Seattle Public Theater; A Splash of Red
(Horace Pippin), S.T.A.T. (Amar’e Stoudemire),
and The Financial Lives of Poets (Larry/
Gilbert) with Book-It Repertory Theatre. He
has also been active in the film industry
appearing in several commercials and short
films. A recent graduate of Cornish College
of the Arts 2013 with a BFA in Theater, his
favorite roles there include Bennett in Punk
Rock, Mercutio in Romeo and Juliet and Telly
in Hip Hop Saved My Life.
Andrew Lee Creech
Benvolio
Andrew is a locally grown playwright,
actor and hip-hop artist. He has appeared
in productions on many Seattle stages
including the Intiman Theatre Festival,
Langston Hughes Performing Arts Institute,
ACT Theatre, Theatre Off Jackson, and
ArtsWest. He most recently appeared as
Jackson in Buzzer, and Sam/Scratchy in Mr.
Burns, a Post-Electric Play (at ACT Theatre) and
George Bailey and company in the one-man
Wonderful Life at ArtsWest. Andrew is also
a voice-over artist, lending his voice to the
video game State of Decay and will make
his film debut in the indie film Better Than
Love, releasing in 2016. Andrew holds a BFA
from Cornish College of the Arts, is a proud
member of Parley, A Playwrights’ Group, and
holds the position of Regional Ambassador
for the Dramatists Guild of America.
Lord Capulet
Chris Ensweiler
Friar Lawrence
Previously at Seattle Shakespeare Company:
Waiting for Godot (Pozzo), A Midsummer
Night’s Dream (Puck), The Two Gentlemen of
Verona (Launce), The Servant of Two Masters
(Truffaldino) and Twelfth Night (Feste). Wooden
O: The Comedy of Errors (Dromio of Syracuse),
Much Ado About Nothing (Dogberry). In Seattle,
Chris has also performed with ACT Theatre,
Seattle Repertory Theatre, Intiman Theatre,
Village Theatre, Seattle Children’s Theatre,
Book-It Repertory Theatre, and Taproot Theatre.
Regional credits include: two seasons with
Alabama Shakespeare Festival (where he
received his MFA in Acting); seven seasons with
Georgia Shakespeare; Touchstone in Tennessee
Shakespeare Company’s inaugural production
of As You Like It; and Malcolm in Macbeth at
Human Race Theatre in Dayton, Ohio.
Morgan Grody
Abram / Servant
Morgan is an alum of Cornish College of the
Arts, most recently seen in A Broken Cage
Collective’s staged reading of the original
work A Broken Concert and Harold Pinter’s
Betrayal with Tyler Polumsky at Cornish
College of the Arts.
Juliet
Justin Huertas
Dream / Death / Apothecary / Musician
Justin won a Gregory Award for New Play
and Lead Actor in a Musical for work on his
original musical Lizard Boy (Seattle Repertory
Theatre). Seattle Shakespeare Company:
Twelfth Night (Wooden O, 2012), Much Ado
About Nothing. Seattle Repertory Theatre:
Lizard Boy, Speech and Debate. The 5th Avenue
Theatre: Grease, Secondhand Lions. ArtsWest:
American Idiot. Village Theatre: In the Heights
(Gregory Nomination, Supporting Actor in
a Musical). The late, great Balagan Theatre:
Avenue Q, Spring Awakening. Justin played
cello for the Broadway national tour of Spring
Awakening. He also performs around Seattle
in the folk-rock duo Hanschen & Ilse with
frequent collaborator and best friend Kirsten
deLohr Helland.
Mercutio
Trevor most recently appeared in Mrs.
Warren’s Profession and previously
performed two years with Seattle
Shakespeare Company’s statewide touring
productions. A Seattle-based actor and
producer, he has performed locally with
Book-It Repertory Theatre, Seattle Public
Theater, Playing in Progress, Island Stage
Left, SOAPfest, ReAct Theatre, and the
14/48 Projects. As a producer, Trevor
has helped bring to the stage the world
Anastasia Higham
Justin Huertas
premieres of For Christmas by Nick Edwards,
A Cure for Pain by Stephanie Timm, Boots
by Libby Matthews, and Barbarians — a
devised piece with SITI Company associate
Jeffrey Fracé. He earned his MFA from the
University of Washington’s Professional
Actor Training Program. You can see him
this fall in The Pride with Theatre22 at 12th
Ave Arts.
Claire Marx
Lady Montague / Musician
Claire is pleased to be making her Seattle
Shakespeare Company debut. A senior in the
Musical Theater program at Cornish College
of the Arts, she has worked professionally as
an actress, music director, and pianist. Recent
credits include Martha in The Children’s Hour
and the Bolero Soloist and Dance Captain
in Grand Hotel (Cornish College of the Arts),
Hunyak in Chicago and Amber in Hairspray
(Fort Peck Summer Theater), Polly Browne
in The Boyfriend and in The Sound of Music
(Starlight Mountain Theater).
Lady Capulet
Carolyn is excited to return to the main stage
at Seattle Shakespeare Comany where she was
previously seen as Miranda in The Tempest. She
has also appeared in Wooden O productions
as Katherine in Henry V and Sylvia in The Two
Gentlemen of Verona. With Seattle Shakespeare
Company’s educational programs, Carolyn
has taught, directed, and performed as Juliet
in Romeo and Juliet and Ophelia in Hamlet.
Other favorite roles include: Eliza Doolittle
in Pygmalion (Sound Theatre), Anisah in In
the Book Of (Taproot Theatre), Bec in 4000
Miles (Artist’s Repertory Theatre), and Jackie
in Mauritius (Seattle Public Theater). Special
thanks to John Bradshaw for his continued
support and friendship.
George Mount
Fate / Time / Prince
For Seattle Shakespeare Company, George
has appeared in Titus Andronicus, Twelfth
Night, Richard II, Love’s Labour’s Lost, A Doll’s
House, The Comedy of Errors, The Taming of
the Shrew, King Lear, Richard III, and Macbeth
and directed Henry IV Part I (Wooden O),
Waiting for Godot, Much Ado About Nothing,
Claire Marx
As You Like It, and The Tempest as well as
statewide touring productions of Hamlet,
Macbeth, A Midsummer Night’s Dream, and
Othello. George is the founding Artistic
Director of Wooden O, where he has played
Malvolio, Iago, Richard III, Shylock, Hamlet,
Cassius, Benedick, Caliban, Romeo, and
Feste and directed Henry IV Part 1, Henry V,
The Comedy of Errors, Romeo and Juliet, Julius
Caesar, The Tempest, A Midsummer Night’s
Dream, and Much Ado About Nothing. Other
credits include work at ACT Theatre, Book-It
Repertory Theatre, Seattle Public Theater,
SecondStory Repertory Theatre, and Village
Theatre. This summer, he will direct Hamlet
in the parks.
Riley Neldam
Romeo
Riley is proud to return to his homeland
with this production of Romeo and Juliet.
Previously at Seattle Shakespeare Company,
Riley appeared as Florizel in The Winter’s
Tale (Wooden O) and Francis Flute in A
Midsummer Night’s Dream. This year in Los
Angeles, Riley originated the role of Jason
in the world premiere of Stefanie Zadravec’s
Colony Collapse at The Theatre @ Boston
Court directed by Jessica Kubzansky. Riley will
be starring in the CW original digital series
I Ship It, airing this summer and will also be
appearing on ABC’s The Catch this spring.
Jason Salazar
Sampson / Servant / Musician
Jason is a Seattle-based actor. He graduated
last year from the Cornish College of the
Arts where he gave a production of Betrayal
for his senior project, playing the character
of Robert. Other school performances
include Andrey in Anton Chekov’s The
Three Sisters, Snug/Egeus in Shakespeare’s
A Midsummer Night’s Dream, and Professor/
Jerry/Brian in Jim Cartwright’s Road.
Last year he was honored to make his
professional theater debut as part of the
ensemble of Book-It Repertory Theatre’s
acclaimed adaptation of Kurt Vonnegut’s
Slaughterhouse Five. Romeo and Juliet
marks his debut with Seattle Shakespeare
Company, and he could not be more
thrilled. He lives in Northgate.
Kerry Skalsky
Lord Montague / Musician
Kerry has worked locally and internationally
as actor, director, fight director, and
teacher. He is a six-time recipient of State
Department Cultural Grants which allowed
him to live, work, and travel widely in
Europe, South Asia, and South and Central
America. A founding member of North
American Theater in Prague, Ardeo Theater
Project in France, and Teatro de las Americas
in Colombia, he also founded in Bogota the
first professional stunt group there, Golpe
de Gracia, and played a principal character
on the Colombian dramatic series La Reina
de Queens. His one act play, Que Dios Nos
Bendiga, based on Mark Twain’s A War Prayer,
toured four Latin American countries. In
Peshawar, Pakistan, and Sana’a, Yemen, he
developed Radio Drama for Social Change
with university students. He is currently on
faculty at Cornish College of the Arts.
Jordan Iosua Taylor
Paris
Jordan couldn’t be more excited to be
making his debut performance with Seattle
Shakespeare Company! He has always been
driven to perform Shakespeare so he finds
himself incredibly fortunate and grateful to
be joining this incredible cast for Romeo and
Juliet. Endless gratitude is sent out to those
who believe in him and who have been
there with support and love for none of this
would have been possible without them
— I love you all. You may have previously
seen him in ArtsWest productions such as
American Idiot and Really, Really.
Kathryn Van Meter
Nurse
Romeo and Juliet marks Kathryn’s debut
at Seattle Shakespeare Company, and she
couldn’t be more thrilled to tell this enduring
classic with this incredible group of storytellers.
Previous Shakespeare roles include Kate in
The Taming of the Shew, Lady Anne in Richard
George Mount
Riley Neldam
III, and Titania in A Midsummer Night’s Dream.
Previous roles in Seattle include Gwen in
Rapture, Blister, Burn (ACT Theatre); Myrtle in The
Great Gatsby (Seattle Repertory Theatre); and
Shelby in Steel Magnolias, Texas in Cabaret, and
Shirley Markowitz in The Producers (Village
Theatre). She is a member of The Sandbox
Artist’s Collective, AEA, and SDC.
Elizabeth Wu
Gregory / Servant
Elizabeth is a recent graduate from the
University of Washington School of Drama,
with Honors in Performance studies. She
studied classical acting at the London
Academy of Music and Dramatic Art last
summer and is ecstatic to make her Seattle
Shakespeare Company debut in Romeo and
Juliet. Elizabeth has performed with ACT
Theatre, SIS Productions, and originally hails
from Snohomish, WA.
PRODUCTION BIOS
Geof Alm
Fight Choreographer
Geof is pleased to return to Seattle
Shakespeare Company for Romeo and Juliet.
Earlier this season he directed the violence for
Titus Andronicus. Recent local work includes
Assassins at ACT Theatre/The 5th Avenue
Theatre; A View from the Bridge at Seattle
Repertory Theatre; and Chitty Chitty Bang Bang
at Seattle Children’s Theatre. Nationally his work
was seen at The New Victory Theatre in NYC in
Robin Hood. Geof is a Fight Master recognized
by The Society of American Fight Directors and
a proud member of SDC.
Louise Butler
Assistant Stage Manager
Louise is pleased to return to the booth
at Seattle Shakespeare Company, having
previously stage managed Titus Andronicus,
King Lear, The Two Gentlemen of Verona
Jason Salazar
Kerry Skalsky
(Wooden O) and Henry V (Wooden O). Louise
has been a part of stage management teams
for The 5th Avenue Theatre (Beautiful Poison),
Village Theatre (Great Wall, Around The World
In 80 Days, Mary Poppins, In The Heights, The
Foreigner, Trails, Big River), Book-It Repertory
Theatre (Slaughterhouse-Five, The Art of
Racing in the Rain, Border Songs), Balagan
Theatre (Carrie, Hedwig and The Angry Inch,
The Full Monty, Closer, Othello), Showtunes
Theatre Company (Miracle on 34th Street),
Theater Schmeater (Twilight Zones), the
Northwest Folklife Festival, Giant Magnet,
and 14/48. Louise is the Production Manager
for Seattle Shakespeare Company.
Robin Macartney
Properties Designer
Robin always loves working with Seattle
Shakespeare Company. Professional credits
include technical work with Café Nordo,
Youth Theatre Northwest, Annex Theatre,
The 14/48 Projects, Live Girls! Theater,
Pork Filled Productions, Macha Monkey
Productions, Printer’s Devil Productions, and
Ese Teatro. She is the scene shop supervisor
at the University of Puget Sound as well as
FOH manager/resident Set Designer at the
Theatre Off-Jackson.
Kelly McDonald
Costume Designer
Kelly has previously designed for Seattle
Shakespeare Company’s Wooden O
productions As You Like It and Julius Caesar.
Designs around town include Hello My Baby!
(Village Theatre Originals), BootyCandy
(Intiman Theatre Directors Lab), Chinglish
(ArtsWest), In the Heights (Village Theatre),
S.O.A.P. Festival (Sandbox), Something Burnin
(Café Nordo), and The Beebo Brinker Chronicles
(Cherry Manhattan Presents). She has also
designed many shows at Cornish College of
the Arts and Village Theatre’s Kidstage.
Vanessa Miller
Director
Vanessa, a Seattle native, has worked as
a director, teacher, and actress for over
20 years. Seattle Shakespeare Company/
Wooden O directing credits include Julius
Caesar (all female), Othello, A Midsummer
Night’s Dream, and The Winter’s Tale. Acting
Jordan Iosua Taylor
credits for Wooden O include Titania, Lady
Macbeth, Beatrice, Maria, Kate, and Adriana.
Favorite directing projects at Village Theatre
include new musicals in development
(Fairystories, Sacagawea, ToyMaker, Anne of
Green Gables), assisting Brian Yorkey (The
Who’s TOMMY, The Secret Garden, To Kill A
Mockingbird), and associate directing (My
Fair Lady). Vanessa earned her BA cum laude
from UCLA School of Theater, Film, and
Television and continued her post graduate
studies at LAMDA (London Academy of
Music and Dramatic Arts). She teaches full
time at The Evergreen School in Shoreline.
Crystal Dawn Munkers
Assistant Director / Choreographer
Seattle Shakespeare Company: Much Ado
About Nothing, Love’s Labour’s Lost , As You Like
It. Wooden O: As You Like It, Julius Caesar, The
Two Gentlemen of Verona, The Tempest, The
Comedy of Errors, A Midsummer Night’s Dream.
Northwest credits: Mr. Burns: A Post-Electric
Play (ACT Theatre), Little Shop of Horrors (ACT
Theatre/The 5th Avenue); Boeing, Boeing, Hound
of the Baskervilles (Seattle Repertory Theatre);
No Way to Treat a Lady, West Side Story, Peter Pan,
The Noteworthy Life of Howard Barnes, Watt?!?
(Village Theatre); Dick Whittington and His Cat
(Seattle Children’s Theatre); Passing Strange
(Sidecountry Theatre); A Chorus Line, Gypsy,
CHICAGO (Seattle Musical Theatre); Forever
Plaid (Bellevue Civic, Tacoma Actors’ Guild,
SecondStory Repertory); and the film Her Heart.
Crystal received her graduate certification in
Directing for the Stage and Screen from the
University of Washington.
Seattle Scenic Studios
Technical Director
Seattle Scenic Studios is the only non-profit
scenic fabrication organization in the United
States. They provide technical support to nonprofit theatres and museums throughout the
state, including Seattle Shakespeare Company.
Seattle Scenic has supported productions from
Washington to New York, from Lincoln, NB, to
Spoleto, Italy. They also train the next generation
of technical theatre artists, supporting programs
at Roosevelt High School, Kamiak High School,
the Bush School, Evergreen Middle School,
Billings Middle School, Seattle Prep, and Islander
Middle School.
ENRICHMENT
Kathryn Van Meter
Seattle Shakespeare Company
provides several opportunities
with each production for audience
members to learn more about the
play and interact with our artists.
Elizabeth Wu
Victoria Thompson
Stage Manager
Victoria is excited to be back at Seattle
Shakespeare Company after previously
working on Waiting for Godot, Richard II,
The Tempest (Wooden O), and Twelfth Night
(Wooden O). She has worked with various
companies around town including New
Century Theatre Company, ACT Theatre, Village
Theatre, Book-It Repertory Theatre, and On the
Boards. She is a NCTC company member.
Roberston Witmer
Sound Designer
Rob’s recent work for Seattle Shakespeare
Company includes Mrs. Warren’s Profession,
Mother Courage and Her Children, The
Comedy of Errors, and Othello. Other recent
shows include Emma (Book-It Repertory);
Three Sisters, Seven Ways to Get There (ACT
Lab); and The Flick (New Century Theatre).
Recent performance credits include Mr.
Burns, a Post-Electric Play (ACT Theatre)
and A Doctor In Spite of Himself (Yale Rep,
Berkeley Rep, Intiman Theatre). In 2013,
Rob received the 2013 Gregory Award for
Outstanding Sound Design.
Tim Wratten
Lighting Designer
Tim has been working in theater for 40 years
and has designed the lighting for around
200 shows in England and America. Since
coming to live in Seattle 20 years ago, he has
worked with Seattle Shakespeare Company,
EmptySpace Theatre, New City Theatre,
Seattle Public Theater, Book-it Repertory,
Sex in Seattle, the Alliance Theatre in Atlanta
and Seattle Children’s Theatre (including
the Summer School Season for the last
ten years — guerilla theatre at its best).
Over the years some highlights have been
Steven Sondheim musicals, (especiallly the
European premiers of Pacific Overtures and
Follies), Forbidden Planet, Coventry Mystery
Play (in the Old Cathedral ruins), Expressions
of the Spirit with UMO at the Empty Space.
Tim loves to work with light and loves living
between the mountains and the Sound.
LEADERSHIP BIOS
The best part? They’re all free!
John Bradshaw
Managing Director
Now in his thirteenth season with Seattle
Shakespeare Company, John is a graduate
of the University of Washington and has
spent nearly his entire career as part of
the Seattle theatre community. Prior to
joining Seattle Shakespeare Company,
he was Managing Director at The Empty
Space Theatre and Director of Endowment
and Planned Giving for Seattle Repertory
Theatre. John served as General Manager
and Development Director during
construction and initial operations at Kirkland
Performance Center. At Seattle Children’s
Theatre, he was part of the development
staff during the capital campaign to build
the Charlotte Martin Theatre. Prior to going
into administration, John served as an
AEA stage manager at several professional
theatres in Seattle. John is on the Honorary
Advisory Board for the School of Drama at the
University of Washington and the Board of
Directors for TeenTix.
George Mount
MOBILE APP
Available on Apple and Google
Play’s app stores, our free mobile
app features special enrichment
resources for each production. Have
plot summaries, cast bios, and our
original “Bluff Your Way Through the
Play” all at your fingerstips.
JUMPSTART LECTURES
Artistic Director
See cast bios.
Actors’ Equity Association (AEA),
founded in 1913, represents more
than 45-thousand actors and stage
managers in the United States. Equity
seeks to advance, promote and foster
the art of live theatre as an essential
component of our society. Equity
negotiates wages and working conditions, providing
a wide range of benefits, including health and
pension plans. AEA is a member of the AFL-CIO, and
is affiliated with FIA, an international organization of
performing arts unions. The Equity emblem is our
mark of excellence. www.actorsequity.org
Scenery, Staging and
Wardrobe work is performed
by employees represented
by the I.A.T.S.E. Locals 15,
488, and 887 working in
collaboration with Seattle
Shakespeare Company.
Get to know the play before you
see it! A member of our artistic
team will bring you up to speed
on the plot, characters, and history
of the play, as well as artistic
concepts for the production.
POST-SHOW TALKBACKS
Join the cast and crew after the
performance as they answer your
questions and share some insights
into the production.
seattleshakespeare.org/
enrichment
Remembering
Doug Walker
By Steve Kelley
Let’s start with Romeo and Juliet because it seems that in the telling, most stories
about Doug Walker become love stories.
A party was planned for him, celebrating his years at WRQ, a highly-successful
technology company he co-founded and was preparing to leave. “It was a bittersweet
night,” Doug’s wife Maggie recalled.
(ages 8–18)
Get hands-on experience
with voice and text work, scene
study, Elizabethan dance, comedy
techniques, and stage combat —
guided by professional actors and
teaching artists.
SHAKESPEARE’S CIRCUS: HAMLET
June 27–July 1
COMBAT AND IMPROV
July 11–15
HAMLET STAGE COMBAT CAMP
July 18–22
HAMLET INTRO TO ACTING CAMP
July 18–22
PRODUCTION INTENSIVE: HAMLET
July 25–Aug 12
HALF-DAY COMBAT INTENSIVE
August 15–19
ENROLL TODAY!
Stephanie Shine, however, was determined to emphasize the sweet and soften the
bitter. As her gift to Doug she wanted to perform an edited version of the balcony
scene from Romeo and Juliet. She would surprise Doug at the party and give him
the part of Romeo. She brought costumes. When it came time for the “show,” Shine
announced — well actually she lied -— that the actor who was supposed to play
Romeo was sick. She asked Doug if he would stand in and play Romeo.
“Even though Romeo and Juliet ends in tragedy, I think people forget that it’s about
being in love,” said Shine, a former artistic director of Seattle Shakespeare Company.
“It’s a happy time.” The love Shine’s Juliet showed for Doug’s Romeo was real, a
metaphor for how everyone at the party felt about him. And Doug’s Romeo was, well,
Doug being Doug.
“I remember Doug smiling that indelible smile and the good will and graciousness
with which he accepted the role,” Shine said. “He was so tickled. He was giggling like a
teenager. And he was glorious. That’s a part of Doug. He smiled, and he loved, and he
approached this without fear and that was how he approached all of his life. We got to
see his big smile put to use in a love scene.” This was Doug Walker, ever-ebullient, evergame, always willing to take a chance, accept a challenge and enjoy the experience.
This past New Year’s eve, Doug Walker died in an avalanche while hiking in the
Cascade Range. Seattle Shakespeare Company lost one of its most passionate and
generous supporters. Doug was a remarkably successful business man, a fearless
outdoorsman, a passionate preserver of the environment, a math genius, a dedicated
philanthropist and so much more.
“He was a low-key, charming, southern gentleman,” Seattle Shakespeare Company’s
managing director, John Bradshaw, said. “He was a generous supporter of ours from
early on. He hosted our board meetings at his office. He provided information about
us to his employees. His company was a perfect corporate partner. He really cared
about Shakespeare and our company. We had a great relationship.”
Early in this century, Seattle Shakespeare Company faced an unsure future. At a
company Christmas party that Doug attended, board president Dan Drais somberly
told the gathering, “This is probably our last Christmas party, and, if it is, I want to thank
all of you, and I want you to be proud of what you’ve done.” Doug, a stranger to defeat,
took Drais’ message as a challenge. He wrote a healthy check to the company but much
more important, he and Maggie suggested they host a fund-raiser at their home in the
Highlands, where they could introduce many of their friends to the company.
TRIPLE CROWN
We produce a lot of Shakespeare.
This month alone we are
performing this staging of Romeo
and Juliet as well as statewide
touring productions of Romeo and
Juliet and The Tempest
“We wanted a lot of great people to be aware of the quality of the shows,” Maggie
said. “We believed the company could manage its way out of its problems, and we
wanted to be a part of that. Doug always believed that if you give people a shot, a
boost, you can make a difference.”
“Doug didn’t just see a problem and hope something would happen,” Drais said. “He
looked for solutions. He clearly was enthusiastic about what we were doing. He was
the kind of person who asked, ‘How can I help?’ Doug and Maggie couldn’t have been
more gracious and enthusiastic about what we were doing. Their house was filled with
people who didn’t know much about us. It was the first time we were able to dip our
toes in a whole new pool.”
“They saved Seattle Shakespeare Company,” John Bodoia, a former board president, said.
Maggie Walker introduced her husband to Shakespeare when both were students at
Vanderbilt. Maggie was a history and humanities major and Doug was a math major.
“Shakespeare’s plays were about people, history, and human experience,” Maggie said.
“There are so many complex sets of layers built into his plays. They are amazingly thought
provoking. There is an amazing richness to the language. It’s almost overwhelming. He
helped us understand the English language, because he generated so much of it. The
complexities of his plays were a lot like puzzles, and Doug loved puzzles. Doug was a
person of obsessions, and Shakespeare became one of his obsessions.”
At an early Bill’s Bash, the company’s annual spring fundraiser, Doug bid and won a
walk-on role in a production of Hamlet. Judging from the broad smile on his face,
you would have thought he had won the role of Hamlet at Ashland. “He was wearing
some goofy costume and was beaming the whole time,” Drais said. “He was obviously
thrilled to be on stage.”
Shine remembered how happy Doug looked on stage. “A lot of us couldn’t take our
eyes off of him,” Shine said. “All he did was stand on stage and watch, but we found
ourselves watching him, watching the actors. Most of all I think he just liked being with
all of the actors in the dressing room. I can’t help but smile whenever I think of Doug.”
The influence of Doug and Maggie Walker on Seattle Shakespeare Company is
profound and immutable. Doug’s legacy is the evolving and enduring quality of its
shows. “The company is way more visible now (than in the earlier years),” Maggie said.
“The audiences are younger, livelier, more diverse and more engaged. Their plays are
more fun and more adventurous. They don’t treat Shakespeare as if it were the Bible.
The deadliest thing you can do to Shakespeare is to get too ossified. Shakespeare is
still relevant, still part of us. The company makes it part of today. I like that.”
In July we will launch into the next
25 years of Seattle Shakespeare
Company with free outdoor
productions of Love’s Labour’s Lost
and Hamlet in parks across the Puget
Sound region.
The Triple Crown honors a very
special group of actors, directors,
stage managers, and designers who
have participated in all three of our
performance programs — indoor,
touring, and Wooden O:
Patrick Allcorn
Xandria Barber
Susanna Burney
Louise Butler
Gordon Carpenter
Gavin Cummins
Tom Dewey
Jocelyne Fowler
Noah Greene
Anastasia Higham
Harry Todd Jamieson
Brenda Joyner
Kelly Kitchens
Annie Lareau
Mary Machala
Chris Maslen
Gavin Sakae McLean
George Mount
Conner Neddersen
Richard Nguyen Sloniker
Brandon Petty
José Rufino
Jason Sanford
Victoria Thompson
Terri Weagant
Craig Wollam
We at Seattle Shakespeare Company owe Doug and Maggie so much and the quality
of our work is the only way we will continue to repay our debt to them, and the only
way we can honor the life of Doug Walker.
SEASON
5-Play Packages Start at $100 — Subscribe Today!
THE WINTER’S
TALE
MEDEA
Oct 18–Nov 13
2016
Sept 7–Oct 2, 2016
Leo K. Theatre
Center Theatre
By Euripides | Directed by Kelly Kitchens
Directed by Sheila Daniels
BRING DOWN
THE HOUSE
The premiere of an epic
two part adaptation
of Shakespeare’s
Henry VI trilogy
Jan 25–Mar 12, 2017
Center Theatre
Adapted by Rosa Joshi and Kate Wisniewski | Directed by Rosa Joshi
A MIDSUMMER
NIGHT’S DREAM
May 3–May 21, 2017
Cornish Playhouse at Seattle Center
By William Shakespeare | Directed by George Mount
Renewing?
To guarantee your
same seats, renew by
Tuesday,
May 31
All titles, dates, and artists subject to change.
FREE SHAKESPEARE IN THE PARKS
LOVE’S LABOUR’S LOST
HAMLET
By William Shakespeare | Directed by Mary Machala
By William Shakespeare | Directed by George Mount
JULY 7–AUGUST 7
JULY 7–AUGUST 7
WHAT IT’S ABOUT
The idealistic resolve of four young men gets tested
by four young ladies who show up at their doorstep.
The King and his friends vow to abstain from women’s
company for three years. They plan to devote their time
to academics. The Princess of France and her ladies arrive
for a visit just as the vows leave the men’s lips. It’s will
against want and heart against head in this delightful
summer romance.
WHO YOU’VE SEEN
Keiko Green: Othello
Harry Todd Jamieson: Measure for Measure, Macbeth
(Wooden O), Twelfth Night (Wooden O), and others
Jason Marr: Titus Andronicus, Mother Courage and Her
Children, The Two Gentlemen of Verona (Wooden O),
and others
Ben McFadden: Cymbeline
WHAT IT’S ABOUT
After receiving news of his father’s death, a young
man comes home to a much changed world. Doubt,
uncertainty, and grief dog him at every turn. Struggling to
make sense of the new order, Hamlet faces a crossroad. He
can consent, or rage against the injustice around him. Rich
with soaring language, Shakespeare’s masterpiece opens
up fresh insights with each new viewing.
WHO YOU’VE SEEN
Jim Gall: Mother Courage and Her Children, Othello, The
Two Gentlemen of Verona (Wooden O), and others
Meme Garcia: Measure for Measure
Trevor Young Marston: Mrs. Warren’s Profession,
Titus Andronicus
Conner Neddersen: Henry IV part 1 (Wooden O), Twelfth
Night, The Two Gentlemen of Verona (Wooden O)
David Pichette: As You Like It, Hamlet, Henry IV parts 1 and 2
Betsy Schwartz: A Doll’s House, The School for Scandal, As
You Like It (Wooden O)
Find our summer calendar, park directions, and more at
As our 25th Anniversary Season comes to a close, we invite you
to make a lasting gift by joining The Swans of Avon, Seattle
Shakespeare Company’s legacy society.
A charitable gift through your estate ensures that your passion
for the works of Shakespeare and live classical theatre will be
shared with future generations, while providing tax advantages
and other benefits.
“Ben Jonson said that Shakespeare ‘was not of an age, but for
all time!’ We want Seattle Shakespeare to be for all time as
well. Our city deserves a theatre devoted to the classics. The
hallmarks of the company’s productions are clarity, intimacy,
vibrancy and relevance. We hope our gift will help Seattle
Shakespeare continue to be for everyone, for all time.”
— Sarah and Bob Alsdorf
To learn more about The Swans of Avon and planned giving options at Seattle Shakespeare Company, please contact:
Tracy Hyland, Individual Giving Manager
(206) 733-8228 x 268 or tracyh@seattleshakespeare.org
INSTITUTIONAL SUPPORTERS
$25,000 and More
ArtsFund
The Boeing Company
Shakespeare for a New
Generation, a national
program of the National
Endowment for the Arts
in cooperation with
Arts Midwest
Treeline Foundation
$10,000–$24,999
4Culture
John Brooks Williams and
John H. Bauer Endowment
for Theatre
Microsoft Matching
Gifts Program
The Morgan Fund
The Norcliffe Foundation
Seattle Office of Arts &
Cultural Affairs
Tuxedos and Tennis Shoes
Catering
Washington State Arts
Commission
Wells Fargo Foundation
Williams Trading, LLC
$5,000–$9,999
Adobe Matching Gifts
Program
American Life, Inc.
The Boeing Gift Matching
Program
Colymbus Foundation
Costco Arts Education
and Access
Issaquah Arts Commission
KUOW 94.9 FM
Nesholm Family Foundation
U.S. Bankcorp Foundation
$2,500–$4,999
Anne & Mary Arts &
Environmental Ed Fund
at the Greater Everett
Community Foundation
The Bungie Foundation
Matching Gifts Program
Carillon Points Matching
Gift Program
CliftonLarsonAllen LLP
Daqopa Brands LLC
Fales Foundation Trust
Gartner Matching Gift
Program
Hazel Miller Foundation
Horizons Foundation
IBM International
Foundation
Mercer Island Community
Fund
Perkins Coie LLP
The Seattle
Foundation
Teatro ZinZanni
$1,000–$2,499
Actors’ Equity Foundation, Inc.
Ascent Private Capital
Management
F5 Connects Matching
Program
Mercer Island Rotary Club
Moccasin Lake Foundation
U. M. R. Foundation, Inc.
$500–$999
Bill and Melinda Gates
Foundation Matching Gifts
Program
Elysian Brewing Company
Expedia Gives Matching Gift
Program
Mangetout Catering
Mercer Island Lions Club
THE ARDEN CIRCLE
U.S. Bank Foundation
Employee Matching Gift
Program
Savage Color
$100–$499
Bridge Partners LLC
The Coca-Cola Foundation
Eastside Acupuncture &
Chinese Medicine Center
Goldman, Sachs and Co.
Matching Gift Program
Hildegard Protection
Society
Kiwanis Club of Mercer
Island
Oriental Royal Arch Masons
#19
Starbucks Foundation
T-Mobile Matching Gift
Program
Workplace
Campaign Donors
Thank you to the
following companies
and organizations for
encouraging giving
through workplace
campaigns:
Boeing Employee Individual
Giving Program
City of Seattle Employee
Giving
IBM Employee Charitable
Contribution Campaign
King County Employee
Charitable Campaign
Microsoft Workplace
Campaign
Washington State Employee
Combined Fund Drive
Arden Circle members are pillars of support
who ensure Seattle Shakespeare Company’s
growth and development through a multi-year,
sustaining pledge of $1,500 or more.
David Allais
Bob and Sarah Alsdorf
Stella and Steve Bass
Mary and Scott Berg
Jeannie Buckley Blank and
Tom Blank
John Bodoia
Pierre DeVries and
Susan Tonkin
Dan Drais and Jane Mills
Sue Drais
Lauren Dudley
Rick and Terry Edwards
Emily Evans and Kevin Wilson
Ann and Donald Frothingham
Lynne Graybeal and
Scott Harron
Bert and Bob Greenwood
Maria Mackey Gunn
John and Ellen Hill
Ken and Karen Jones
Gustavo and Kristina Mehas
Sarah Merner and
Craig McKibben
Phil and Carol Miller
Nancy Miller Juhos and
Fred Juhos
Susan and Steven Petitpas
Mary Pigott
Erik Pontius
Anne Repass
TheHappyMD.com
Nicole Dacquisto Rothrock
and Tim Rothrock
Chuck Schafer and
Marianna Clark
Laura Stusser-McNeil and
K.C. McNeil
Doug and Maggie Walker
Pat Walker
Steve Wells
Janet Westin and
Michael McCaw
Susan and Bill Wilder
Jim and Jeanne Wintz
Jolene Zimmerman and
Darrell Sanders
For more information about joining the Arden Circle,
please contact Tracy Hyland, Individual Giving Manager:
tracyh@seattleshakespeare.org or 206-733-8228 x 268
seattleshakespeare.org/arden
INDIVIDUAL SUPPORTERS
$10,000 and More
David Allais
Warren and Anne Anderson
Jane and Robert Doggett
Emily Evans and Kevin Wilson
John and Ellen Hill
Stellman Keehnel and
Patricia Britton
Mary Pigott
Maggie Walker
$5,000–$9,999
In Memory of Sid and Rae Buckley
—
Anonymous (1)
—
Sarah and Bob Alsdorf
John Bodoia
Jeannie Buckley Blank and
Tom Blank
Dan Drais and Jane Mills
Bert and Bob Greenwood
Mark Hamburg
Angelique Leone and Ronald
Fronheiser
Maria Mackey Gunn
Douglas and Kimberly McKenna
Phil and Carol Miller
Nancy Miller-Juhos and
Fred Juhos
Patrick O’Kelley and
Laura McCorkle
Sue and Steve Petitpas
Shirley and David Urdal
Pat and Charlie Walker
Susan and Bill Wilder
$2,500–$4,999
Anonymous (2)
—
Steve and Stella Bass
Terry Barenz Bayless
Scott and Mary Berg
Marisa Bocci
Paula and Paul Butzi
Sharon Coleman
Rick and Terry Edwards
Sandra K. Farewell
Barbara and Tim Fielden
Donald and Ann Frothingham
Lynne Graybeal and
Scott Harron
Lawrence and Hylton Hard
Randi Jean Hedin and
Andy Gardner
Jeff Kadet and Helen Goh
Steve and Carole Kelley
Susan Leavitt and Bill Block
Peter and Kelly Maunsell
Gustavo and Kristina Mehas
Sarah Merner and
Craig McKibben
Richard Monroe
Bill Neukom
Rosemarie and H. Pike Oliver
Dave Oskamp
Kyle and Michele Peltonen
David and Valerie Robinson
Mavis and Stephen Roe
Jim and Kasey Russell
Chuck Schafer and
Marianna Clark
Suzanne Skinner and Jeff Brown
Laura Stusser-McNeil and
K.C. McNeil
Nancy Talley
Jim and Kathy Tune
Richard and Catherine
Wakefield
Jay Weinland and Heather
Hawkins Weinland
Steve Wells
Elisabeth S. Yaroschuk and
Miles A. Yanick
Jolene Zimmerman and
Darrell Sanders
Anonymous (7)
—
Rhoda Altom and Cory Carlson
Philip and Harriett Beach
Julie Beckman and Paul Lippert
Lenore and Dick Bensinger
Pirkko and Brad Borland
Bobbie and Jon Bridge
Janet Brown
Frank Buxton and Cynthia Sears
Barney and
Denise Balthrop Cassidy
Steven and Judith Clifford
Nicole Dacquisto Rothrock and
Tim Rothrock
Mary Dickinson
Eric and Tracy Dobmeier
Lauren Dudley
Jean and David Farkas
Stan and Jane Fields
Brad and Linda Fowler
Natalie Gendler
Susan George
Slade Gorton
Lisa Hager
David and Meg Haggerty
James Halliday and Tyson Greer
John and Wendy Hardman
Brad and Zoe Haverstein
Edwin and Noriyo Hawxhurst
Barbara and David Heiner
Lucy Helm
Susan Herring and Norman Wolf
Harold and Mary Frances Hill
Mark Houtchens and Pat Hackett
Jane and Randall Hummer
Dean W. Koonts
Frida Kumar
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$1,000–$2,499
In Memory of Melissa Hines
—
Susan F. Nelson
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TheHappyMD.com
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$500–$999
In Memory of Carlo and
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—
Anonymous (3)
—
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—
Anonymous (11)
—
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In Memory of Haig Bosmajian
—
Anonymous (19)
—
Diane Aboulafia
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This list recognizes donors
with combined donations of
$100 or more made between
September 30, 2014 and
March 31, 2016. Thank you!
If you wish to change your
acknowledgement listing,
please contact Tracy Hyland,
Individual Giving Manager, at
(206) 733-8228 x268 or tracyh@
seattleshakespeare.org.
DOUBLE
YOUR IMPACT
WITH
MATCHING GIFTS
When you donate to Seattle
Shakespeare Company, your gift
can go much farther.
Many employers will match your
gift to non-profit organizations on a
one-to-one basis. It’s an easy way to
increase your impact here at Seattle
Shakespeare Company.
HOW TO MATCH YOUR GIFT
Check with your Personnel
Department. They will either
provide you with a Gift Matching
form or direct you to an online
resource. If a form, you simply fill
out the employee part of the form
and mail it to:
Seattle Shakespeare Company
PO Box 19595
Seattle, WA 98109
We’ll take care of the rest!
STAFF
Leadership
John Bradshaw, Managing Director
George Mount, Artistic Director
Artistic
Amy Thone, Casting Director
Hannah Mootz, Casting Associate
Sheila Daniels, Associate Artist
John Langs, Associate Artist
info@seattleshakespeare.org
Seattle Shakespeare
Company
@seattleshakes
seattleshakespeare
Seattle Shakespeare
Company
seattleshakespeare
CONTACT US
Seattle Shakespeare
PO Box 19595
Seattle, WA 98109
Ticket Office Hours
Tuesday–Friday: 1–6 pm
Sarah Alsdorf, President
Susan Petitpas, Vice President / President Elect
Marisa Bocci, Vice President
David C. Allais, Treasurer
Phillip S. Miller, Secretary
Emily H. Evans, Immediate Past President
Board Members
Michelle Burce, Education Director
Casey Brown, Education Associate
Front of House
Advisory Board
Lorri McGinnis, Box Office Manager
Courtney Bennett, Box Office Associate
Jordan Lusink, Box Office Associate
Hannah Mootz, Box Office Associate
Ali Morgan, Box Office Associate
Thea Roe, Box Office Associate
Lucinda Stroud, Box Office Associate
Communications
Jeff Fickes, Communications Director
Thea Roe, Graphic Designer
Development
Kaeline Kine, Events Manager and
Development Associate
Tracy Hyland, Individual Giving Manager
Annie Lareau, Institutional Funding Manager
Kyle Thompson, Development Assistant
Education
Dana Masters, House Manager
Courtney Bennett, Assistant House Manager
Operations
Victoria Watt Warshaw, Bookkeeper / Office
Manager
Production
Ticket office: (206) 733-8222
Administrative offices: (206) 733-8228
Fax: (206) 733-8202
Board Officers
Steve Bass
Jeannie Buckley Blank
Lynne Graybeal
Robert H. Green
Roberta Greenwood
David Haggerty
Chris Hansen
Brad Haverstein
Steve Kelley
Nancy Miller Juhos
Patrick O’Kelley
Rosemarie Oliver
Michele Peltonen
Dr. Madhu Rao
Renee Roub
Chuck Schafer
Suzanne Skinner
Laura Stusser-McNeil
Tom Sunderland
Jay Weinland
Jeanne C. Wintz, Ph.D.
Jolene Zimmerman
Box Office
STAY CONNECTED
BOARD OF DIRECTORS
Louise Butler, Production Manager
Jocelyne Fowler, Costume Shop Manager
Marleigh Driscoll, Properties Shop Manager
Courtney Bennett, Production Management
Intern
Kenneth Alhadeff
John Bodoia
Paula Butzi
Mary E. Dickinson, CPA
Dan Drais
Donald Frothingham
Slade Gorton
Maria Mackey Gunn
Ellen Hill
John Hill
Stellman Keehnel
Sarah Merner
Jane Mills
Meg Pageler Mourning
Laurie Smiley
James F. Tune
Pat Walker
Steven Wells
FACILITIES PARTNERS
ENCORE ARTS NEWS
Q & A with
R. Hamilton
Wright
6720 E Green Lake Way N
“There has to be a
surplus of joy at the
end for it to be a really
significant experience.”
Seattle, WA 98103
206-517-2213
sgregory@hearthstone.org
BY BRETT HAMIL
www.hearthstone.org
R. Hamilton Wright is a Seattle actor and
playwright who’s been in more than 130
productions over 35 years of working in
theatre. Most recently, he appeared in Seattle
Shakespeare’s Mother Courage and Her
Children, Seattle Rep’s Who’s Afraid of Virginia
Woolf and ACT’s Vanya, Sonia, Masha and
Spike.
His play, Sherlock Holmes and the American
Problem, receives its world premiere at the
Rep in April, directed by Allison Narver. He’s
also been chosen as a member of ACT’s new
Core Company, serving as an ambassador
and regular contributor to their productions
throughout the coming year.
Wright—his friends call him Bob—lives in
a little brick house in North Seattle with his
wife, the playwright and master baker Katie
Forgette.
PHOTO: ALABASTRO PHOTOGRAPHY
What’s the best performance you’ve seen
lately?
Whenever my dear wife, confronted by four
day’s growth of beard on my sorry face, says,
“I love you.” It is beautifully delivered and
there are endless little variations in how she
delivers this simple phrase. It is magic.
I always buy it.
What’s the best meal in Seattle?
In the winter, when the water gets cold, I love
the oysters at The Walrus and the Carpenter.
They are delicious—if you like oysters—and
they make it possible for us to order the
maple bread pudding for dessert, which is
magnificent.
We live not far from Holman Road and
we both grew up in Seattle so whether we
need it or not we eat at Dick’s once a month.
When I was ten or eleven, I could get a
hamburger, cheeseburger, fries and a shake
for about a dollar. I get the same meal today.
Life Plan Community
at Green Lake
Independent, Assisted, Memory
and Skilled Living Options
What music gets you pumped up? What
do you listen to when you’re sad?
I don’t listen to music to get excited. I don’t
listen to music if I’m doing anything else. I
really don’t listen to much music, actually,
which sounds like I’m admitting to being
an alien but it is true. I listen to The Beatles
when I am in the car. Sometimes Django
Reinhardt.
What’s the most crucial element of any
production?
A good play. Good actors. The text is
important but the really crucial thing is the
cast. Talent is critical but everyone has to
want to work really hard and there has to be
a surplus of joy at the end for it to be a really
significant experience.
What’s the most useful thing anyone’s
ever taught you about working in
theatre?
Woody Allen has said that 80% of success
is showing up. I learned a long time ago
from older and wiser and far more talented
men and women that you need to arrive
at rehearsal on time and ready to work.
Ready to talk, but more importantly, ready
to listen. 6850 Woodlawn Ave NE
Seattle, WA 98115
206-517-2110
villagecove@hearthstone.org
www.villagecove.org
ENCORE ARTS PREVIEWS
Only at
Mirabella Seattle
As spring turns the corner into
summer, theatre houses conclude
the season with a bang, from
award-winning modern musicals
to celebrated adaptations to world
premieres.
Stupid F*cking Bird
April 8–May 8
This sort-of adaptation of The Seagull
grapples with familiar Chekhovian
themes around the role of theatre and the
ossification of culture. Written by Aaron
Posner, the LA Weekly called it “the best
Chekhov adaptation in two decades.”
ACT Theatre
Sherlock Holmes and the American
Problem
April 22–May 22
In this world premiere by Seattle actor/
playwright R. Hamilton Wright, the Victorian
sleuth brings his powers of deduction to the
American Wild West of 1887. Directed by
Allison Narver.
Seattle Repertory Theatre
Billy Elliott
many arts venues, or simply take part in Mirabella’s
May 12–July 3
This charming musical tells the story of a boy
who dreams of dancing ballet, set against
the conflict and poverty of a Northern
England miners’ strike in in the mid-80s.
Based on the hit movie and featuring music
by Elton John, it won ten Tony Awards
and has been called “best musical of the
decade.”
Village Theatre Issaquah
busy activities calendar. No matter what you choose,
American Stories
Living here means being surrounded by the best the
city has to offer. Dine at a nearby restaurant, cruise
Pike Place Market, catch a show at one of the city’s
you’ll experience vibrant urban living at its finest.
Call today for a tour and find out how
you can retire in the middle of it all.
(206) 254-1441
retirement.org/mirabellaseattle
June 3–12
This program brings together folk, jazz and
classical in a selection of work from three of
the world’s greatest choreographers. Jerome
Robbins’s Fancy Free set to the music of
Leonard Bernstein, George Balanchine’s
Square Dance and Twyla Tharp’s Waiting at
the Station featuring the music of recently
departed jazz great Allen Toussaint.
Pacific Northwest Ballet
116 Fairview Avenue North
Seattle, WA 98109
For more previews, stories, video and a look
behind the scenes, visit EncoreArtsSeattle.com
Mirabella Seattle is a Pacific Retirement Services Community. Equal Housing Opportunity.
PROGRAM ARCHIVE
6 ENCORE STAGES
CALENDAR
PREVIEWS
ARTIST SPOTLIGHT
ENCORE ARTS NEWS
Breaking the Fifth Wall: Dying
While Performing
BY BRETT HAMIL
Recently I was shocked to read the story of an
Italian actor who accidentally hung himself
during an immersive performance in Pisa. After
reciting a monologue from Frank Wedekind’s
Spring Awakening in a courtyard in front of just
one audience member, Raphael Schumacher
placed his head in a noose and an apparent
malfunction rendered him asphyxiated.
A second spectator arrived, noticed that
something had gone wrong and rushed to help
Schumacher, but it was too late. Doctors later
declared him brain dead.
Sheer horror sent me scrambling to debunk
the story. It seemed too awful to be true, but
several reputable news sources confirmed it.
The worst possible thing had occurred.
One likes to think of the performance space
as an inviolable microcosm, a zone where the
most terrible things that can happen are a
flubbed line, a missed sound cue, a critically
panned production. Death—the actual kind,
not the theatrical facsimile—doesn’t enter into
the equation. But here the “fifth wall” had been
breached.
I couldn’t stop thinking about Schumacher:
his last conscious moments, the shock of the
onlookers, the heartbreak of his loved ones.
Driven by morbid curiosity, I jumped on Google
and started looking for other instances of midperformance fatality.
Death onstage bears its own strange poetry;
the literal embodiment of the old trope, “He
died doing what he loved.” The circumstances
of each stage death—and there are many—stand
out variously as ironic, or eerily appropriate,
or even slapstick; consider the great Molière’s
death in 1673 by violent coughing fit while
playing the lead in his own play, Le Malade
imaginaire (The Hypochondriac). In 1888
the British bass-baritone Frederick Federici
succumbed to a heart attack after singing the
last note of the opera Faust in the role of the
demon Mephistopheles as he was descending
through a trap door to the Underworld.
The comedian Redd Foxx, known for faking
heart attacks as Fred Sanford on Sanford and
Son, died of an actual heart attack in 1991
during the filming of his new sitcom, and the
cast assumed he was clowning on his signature
role. In 1986, an actor named Edith Webster
died at the close of her death scene in the play
The Drunkard after singing the song “Please
Don’t Talk About Me When I’m Gone” and
slumping to the floor, dead, as indicated in the
script.
In a cemetery on Capitol Hill lies the final
resting place of Brandon Lee, who became one
of the most notorious modern on-set fatalities
when a gun malfunctioned during the filming
of the movie The Crow.
My macabre search turned up another Seattle
connection to death-in-performance I hadn’t
known about. In 1985, the Japanese butoh
troupe Sankai Juku came to town for the first
stop on their tour, in which they opened their
residency with a unique public performance.
The piece, entitled “Jomon Sho” (“Homage to
Prehistory”), consisted of dancers suspended
from ropes mounted to the top of the Mutual
Life Building in Pioneer Square. Over the course
of a half hour they were to gradually unfurl
themselves while being lowered to the earth.
One of the ropes broke, sending Yoshiyuku
Takada plummeting to the sidewalk below. He
was pronounced dead at Harborview Medical
Center later that afternoon.
Video footage still exists of that horrific
event, recorded from Japanese news footage,
but I wouldn’t recommend watching it. The
camera cheapens and flattens the existential
shock of that tragedy, somehow robs it of its
solemnity. It’s disturbing to consider that now,
in the age of the ever-present smartphone, the
possibility of a public death not recorded on
digital device becomes ever more remote. Some
things you just don’t need to see.
Sankai Juku cancelled the rest of that tour,
but they chose Seattle as the first US stop on
their tour the following year. Decades later,
they’re still at it; they performed here last
October.
It’s difficult to imagine what it would take to
return to the stage after witnessing the death
of a colleague, impossible to consider what’s
going on in the minds of Raphael Schumacher’s
fellow company members right now. Perhaps
they’re feeling the frivolity of theatre in the face
of mortality, the taunting absurdity of dying
over made-up diversions. But viewed another
way, is there any greater symbol of the victory of
art over death than the willingness to continue
creating when confronted with such loss? As
we mourn the departure of artists great and
unknown, the show must go on. PRESENTED IN TWO PARTS
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