Lerner & Loewe's Camelot Playbill by Amanda Hamati

2017|2018 SEASON

Lerner & Loeweâ&#x20AC;&#x2122;s

ISSUE 6

Camelot

TABLE OF CONTENTS 3

Cast

Musical Numbers

From the Director

About the Creators

The Myth of Camelot

Royal Audience: Meet Lancelot, Guenevere and Arthur

Legends of a Fall

Cast Biographies

Artistic Biographies

Play in Process

Camelot Events and Activities

About STC

Support

Audience Services

ASIDES Production Program and Publication of the SHAKESPEARE THEATRE COMPANY Managing Editor Laura Henry Buda Contributing Editors Susannah Clark Drew Lichtenberg Hannah Hessel Ratner

Advisors Samantha Wyer Bello Alan Paul Graphic Designer Amanda Hamati Publisher Neal Racioppo

Cover photo of Alexandra Silber and Ken Clark by Tony Powell.

Artistic Director Michael Kahn Executive Director Chris Jennings

Lerner & Loeweâ&#x20AC;&#x2122;s

Camelot

Alan Jay Lerner Frederick Loewe Original production directed and staged by Moss Hart Based on The Once and Future King by T. H. White Book and Lyrics by Music by

Performances begin May 22, 2018 Opening Night May 29, 2018 Sidney Harman Hall

Director Alan Paul

Sound Designer Ken Travis

Assistant Director Craig Baldwin

Choreographer Michele Lynch

Fight Choreographer David Leong

Music Director James Cunningham

Casting Director Laura Stanczyk, CSA

Assistant Choreographer Brandon Bieber

New Incidental Music Arranged and Orchestrated By Michael Dansicker

Resident Casting Director Carter C. Wooddell

Scenic Designer Walt Spangler Costume Designer Ana Kuzmanic Lighting Designer Robert Wierzel

Creative Consultant Peter Duchan Dramaturg Drew Lichtenberg Voice and Text Coach Lisa Beley

Associate Music Director Brandon Adams Production Stage Manager Joseph Smelser* Stage Manager Christopher Michael Borg* Assistant Stage Manager Rebecca Shipman*

Presented by arrangement with Tams-Witmark Music Library, Inc., 560 Lexington Avenue, New York, New York 10022. Musicals at the Shakespeare Theatre Company are made possible by the Beech Street Foundation. Restaurant Partner: La Tasca

* M ember of Actorsâ&#x20AC;&#x2122; Equity Association, the Union of Professional Actors and Stage Managers

CAST King Arthur

Ken Clark*

Guenevere

Alexandra Silber*

Lancelot du Lac

Nick Fitzer*

King Pellinore

Floyd King*

Mordred

Patrick Vaill*

Merlyn

Ted van Griethuysen*

Nimue

Melissa Wimbish*

Sir Dinadan

Mark Banik*

Sir Sagramore

Brandon Bieber*

Sir Lionel

Paul Victor*

Squire Dap

Ben Gunderson*

Child

Trinity Sky Deabreu

Knights and Ladies of the Court

Mark Banik*, Brandon Bieber*, Michael Bingham, Veronica Burt, Julio CatanoYee*, Chadaé*, Jennifer Cordiner*, Ben Gunderson*, Bridget Riley*, Frankie Shin*, Paul Victor*, Casey WengerSchulman, Melissa Wimbish*

UNDERSTUDIES Mark Banik* (King Arthur/Lancelot du Lac), Kylee Hope Geraci (Child), Ben Gunderson* (King Pellinore/Mordred), Kyle Laing (Sir Sagramore/Squire Dap/ Sir Lionel/Ensemble), Frankie Shin* (Sir Dinadan), Eleanor Todd (Guenevere/ Nimue/Ensemble), Paul Victor* (Merlyn)

ORCHESTRA Conductors: James Cunningham, Brandon Adams Woodwinds: Patrick Plunk Trumpet: Chris Royal, Kieron Irvine Trombone: Paul Schultz French Horn: Michael Hall

Keyboard: Alex Tang, Michael Maher Violin: Teri Lazar Bass: Daniel Hall Percussion: Mark Carson Contractor: Bruno Nasta

There will be a 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 Professionals (APAP), American Alliance for Theatre and Education and D.C. Arts and Humanities Education Collaborative. * M ember of Actors’ Equity Association, the Union of Professional Actors and Stage Managers The Musicians employed in this production are members of and represented by Washington D.C. Federation of Musicians, Local 161-710 of the American Federation of Musicians.

MUSICAL NUMBERS ACT ONE Prologue I Wonder What the King Is Doing Tonight The Simple Joys of Maidenhood Camelot Camelot (Reprise) Follow Me Câ&#x20AC;&#x2122;est Moi The Lusty Month of May How to Handle a Woman The Jousts Before I Gaze at You Again Finale Act I

Full Company King Arthur Guenevere King Arthur Guenevere Nimue and Merlyn Lancelot du Lac Guenevere, Knights and Ladies King Arthur Knights and Ladies of the Court Guenevere Full Company

ACT TWO Madrigal If Ever I Would Leave You The Seven Deadly Virtues What Do the Simple Folk Do? Fie on Goodness I Loved You Once in Silence Guenevere Finale (Camelot Reprise)

Lancelot du Lac Lancelot du Lac Mordred King Arthur and Guenevere Mordred and Knights Guenevere Knights and Ladies of the Court King Arthur, Knights and Ladies

FOR THIS PRODUCTION Dance Captain: Brandon Bieber* Fight Captain: Ken Clark* Orchestral Reduction: James Cunningham Keyboard Programming: Kevin Roland Music Copyist: Michael Oberhauser Assistant Lighting Designer: Alex Mannix Assistant to the Fight Choreographer: Joe Myers Production Assistant: Marko Palumbo Stage Management Fellows: Chevonne Baylor, Yiwen Wu Young Performer Supervisor: Liz Daingerfield Overhire Stitchers: Andy Cutler, Eric J. Davis, Amy Vander Staay, Zina Rajic, Jesse Shipley Wardrobe Crew: Leslie Rothstein, Sarah Steele Overhire Carpenters: Michael Cherry, Sanaya Forbes, Will Hendricks Overhire Scenic Painters: Sanaya Forbes, Meaghan Toohey Followspot Operators: Calvin Anguiano, Andrew Baynard A2: George Watson Overhire Run Crew: Christian Campbell, Will Hendricks, Niki Sears

SPECIAL THANKS 4

Dave McGalliard, LED Supply

FROM THE ARTISTIC DIRECTOR

Dear Friend, Welcome to Sidney Harman Hall and to Camelot. This musical—and the legend behind it—looms large in our memory, recalling both the Golden Age of the American musical and the rose-colored era of the early 1960s. It was an optimistic and idealistic moment in American history. This was the last time Lerner and Loewe would work together on a new musical, and it was also the final production of legendary director Moss Hart. I saw the production when it opened on Broadway in 1960, with Richard Burton, Julie Andrews and Robert Goulet, and I remember the spectacular cast and all-star creative team. In many ways, Camelot and Arthur’s Round Table were Lerner and Loewe’s version of the American dream, of a world where everyone participates in the creation of a more perfect union. One of the reasons the musical was quite lengthy is—as in American politics and history—this simple and glorious ideal is actually quite complicated in practice, if not impossible. Lerner and Loewe, much like Shakespeare with his history plays, were attempting to put an enormous idea onstage, an entire body politic. In many ways, Camelot is the last great “book musical,” one that is all too rarely revived or rediscovered. I am eager to see how it speaks to America today.

rendition of Camelot. I am particularly pleased to welcome back STC Affiliated Artists Floyd King and Ted van Griethuysen, who each have performed in over 100 shows here at STC, in the roles of King Pellinore and Merlyn. They are two of our own Knights of the Round Table, so to speak, and have carried on the tradition of making great theatre here in Washington with me for over 30 years. I look forward to seeing you at the theatre.

Michael Kahn Artistic Director Shakespeare Theatre Company

As with his productions of Kiss Me, Kate, Man of La Mancha and A Funny Thing Happened on the Way to the Forum, Alan has assembled a truly stellar team of talented artists for his 5

FROM THE DIRECTOR

About a year and a half ago, I was out to dinner with a producer friend of mine. It was the night of the second presidential debate. We were talking about what musical I should work on next, and he suggested Camelot. I was skeptical at first. I remembered the show as mostly consisting of pageantry and sentimental idealism—what place could that possibly have now, I thought, in a cultural climate that was only becoming nastier and more cynical? When I went back to read it, I was still on the fence. The script was sprawling and way too long. And then the election happened. Suddenly, I saw the story of Camelot with fresh eyes. At its core the legend of King Arthur—especially in T.H. White’s The Once and Future King, Lerner and Loewe’s source material— is about an enlightened mind, a thoughtful and benevolent leader in the middle of the Dark Ages. I hadn’t understood the magnitude of how the fate of an entire nation—really all of civilization—rests on one pair of shoulders. Beyond the walls of Camelot lies a world of cruelty and violence, every person for themselves in a coarse struggle to survive. Arthur understands that there is another way to live—a world where the strong protect the weak, instead of exploiting them. A world where the powerful use their influence for the greater good, instead of for selfish endeavors.

But as the musical shows, this is not a simple notion for one man to implement, or even to live in his own life. The play implies that violence is our natural state, that the potential exists for society to backslide to its baser instincts at the drop of a hat. The project of enlightenment is a very fragile one, and when things go wrong Arthur must battle to keep his dream from being crushed by the sheer weight of human brutality. This was a fight that felt familiar to me. A few months ago I was working on an opera in Portland, and on the last day of tech there was a rally across from the opera house. I waited in line at Starbucks behind a group of Neo-Nazis. A few years ago, I never would have thought that I would meet Neo-Nazis. But there they were. As we grapple with how our country has changed, as the framework of what’s acceptable continues to shift, the idea of Camelot—that enlightened leadership, kindness and respect for each other is not something to be taken for granted, in fact is 7

something to fight for, feels more and more urgent. Camelot is a show that people tend to think they know well. But usually they only know the songs, or perhaps White’s book, or the general idea of the Round Table. I believe our job in this production is to treat this like a new musical that people don’t know. It may be quite different than you remember. At the end of the show, when the savagery of human affairs has crushed Arthur’s dream, one small ray of hope arrives. It is a vision of the future, an expression of the way that King Arthur’s legacy lives on— and perhaps what that legacy could mean to all of us as well. –Alan Paul

Photos of Alan Paul and the cast of Camelot in rehearsal.

ABOUT THE CREATORS

ALAN JAY LERNER AND FREDERICK LOEWE

The collaboration of lyricist and librettist Alan Jay Lerner (1918–1986) and composer Frederick Loewe (1901–1988) resulted in some of Broadway’s most beloved shows: Brigadoon, Gigi, My Fair Lady and Camelot. New York-born Lerner started his career writing radio scripts during the Second World War. In 1942 he was introduced to Frederick Loewe. Loewe spent his childhood in Germany. His father was a well-known Viennese operetta star. In 1924, his father was offered a job in New York and Loewe joined him to pursue his own musical ambitions. After their 1942 meeting, a partnership was quickly formed. Their first major hit Brigadoon opened in 1947 and ran for 581 performances on Broadway. They followed up the success of Brigadoon with Paint Your Wagon in 1951 and My Fair Lady in 1956. Across the country in Hollywood, they adapted Brigadoon to film and created the original movie musical Gigi in 1958. Shortly after, they started the process of adapting T. H. White’s The Once and Future King for the stage. Camelot opened in 1960 and was their last original work together for the stage. They adapted their film Gigi in 1973 and continued to create film adaptations

Photo of Alan Jay Lerner and Frederick Loewe courtesy of the Tams-Witmark archive.

of their Broadway hits. Their last collaboration was on the film version of The Little Prince. Lerner and Loewe are the recipients of multiple Tony Awards, Academy Awards and Golden Globes for their work together. Lerner also received an Academy Award in 1951 for the screenplay of An American in Paris. In 1985 they were celebrated together at the Kennedy Center Honors, and Loewe was posthumously granted a Grammy Trustee Award.

Photo of Alexandra Silber and Ken Clark by Tony Powell.

THE MYTH OF CAMELOT By Drew Lichtenberg, Dramaturg

rom roughly 1943 to 1960, the Broadway musical entered its Golden Age, a period of commercial success and aesthetic innovation that matched great theatrical leaps forward of prior centuries. And like the English drama of Elizabeth and James, the Spanish Golden Age of Ferdinand and Isabella, and French neoclassicism under Louis XIV, the coming-ofage of the Broadway musical walked hand in hand with America’s geopolitical rise as a global power. From 1945–1955, individual wealth in America tripled (predominantly among white men). By the modern measure of gross domestic product, it was the greatest increase in per-capita income in the history of Western civilization. Soldiers returning home enrolled in college and bought houses in unprecedented numbers, creating a prosperous, large middle class. Babies boomed. Drawing on a progressive tax base, the war hero President Eisenhower built a transcontinental interstate, a “highway” from coast to coast that promised a bright future for every American with a car and a dream. In 1960, the youthful and handsome President Kennedy was elected with an inspiring message of public service, promising to advance the rights of man at home and around the world. As the great Woody Guthrie wrote in 1944, this land was made for you and me. The Broadway musical matched these advances step for step, supplying a stylish vision of American life and an artistic sophistication all its own. Rodgers and Hammerstein’s Oklahoma! (1943) codified the “book musical,” a fully integrated work of art in which every element (yes, even dream ballets) served the story. Songs emerged, seemingly miraculously, out of character and situation, allowing the drama to remain naturalistic while sublimely heightening emotions. Unlike earlier musicals exemplified by Cole Porter, witty wordplay and sexy spectacle were now subsumed within a dramaturgy, instead of rambling across a loosely plotted revue. Unlike 19th-century opera or the

Victorian operetta of Gilbert and Sullivan, repetitive sung-through recitative was jettisoned, allowing a new generation of fast-thinking and faster-talking book writers to flex the dialogue muscles they had gained while working in the screwball salt mines. Put simply, there had never been anything quite like the Golden Age Broadway musical, and for a brief period it reigned supreme across American popular culture. Original cast LPs were the best-selling albums of the day. Songwriter-lyricist teams outfitted the American songbook with showtunes. And the Hollywood studio MGM, with classics such as The Wizard of Oz (1939), On the Town (1949) and Singin’ in the Rain (1952), used the movie musical as an instrument of international cultural propaganda, broadcasting iconic images of the American sublime around the world.

If others pioneered the form, Alan Jay Lerner and Frederick “Fritz” Loewe arguably perfected the mid-century musical with their milestone My Fair Lady, which ran on Broadway for a then-record six years and 2,717 performances. There had been successful musicals before, but never an international, multiyear blockbuster like this. Its cast recording was the bestselling album of 1956, and the production made, in all its various manifestations, the modern-day equivalent of over $8 billion dollars. Based on George Bernard Shaw’s play Pygmalion, it was equally successful in artistic terms. Native New Yorker Lerner transformed Shaw’s witty dialogue into equally cunning lyrics, while

the Vienna-born Loewe’s melodies suffused American optimism with continental elegance. Keeping with the times, they changed the original play’s ending, refashioning Shaw’s class-conscious allegory into the stuff of archetypal romantic comedy. On Broadway in the late ’50s, happy endings confirmed American optimism as the natural state of existence. Camelot was My Fair Lady’s longgestating follow-up, employing the same creative team of Lerner, Loewe, director Moss Hart and Julie Andrews as Guenevere. As Lerner wrote, the first draft “took 21 months and 21,000 miles,” with the pair meeting for marathon writing sessions at Loewe’s home in Palm Springs, California, on vacation at the Palm Beach Casino in Cannes, and at Lerner’s home on Sands Point, Long Island. Over protracted tryouts in Toronto and Boston, Lerner developed a bleeding ulcer brought on by amphetamine abuse and Hart suffered the second of a series of heart attacks that would ultimately end his life. The show originally ran longer than four hours and was laboriously reworked over many months. The resulting strain led to the end of Lerner and Loewe’s fabled partnership, with the exhausted composer retiring after the Broadway opening. “Excessive length is not a disease,” Lerner wrote of his attempt to wrangle Camelot’s book. “It is a symptom.” The symptomatic patient, the script of Camelot, was standing in for the American body politic itself. Lerner was trying to fashion a canvas large enough to accommodate the

dream of America, its complicated appetites and multifarious energies. Camelot functions as a twilight of the gods in other ways, a bookend to the story of the Golden Age musical. In its glamorous depiction of Arthur’s court, where “the climate must be perfect all the year,” Camelot is Lerner and Loewe’s love letter to American Eden. The love triangle between Arthur, Guenevere and Lancelot befits an era of plentiful romantic appetites and sexual intrigue, off and onstage. (“Marriage is like a besieged fortress,” wrote the eight-times-married Lerner. “Everyone inside wants to get out and everyone outside wants to get in.”) The darker second act, meanwhile, evokes the Oresteia, as the violation of personal and political taboos leads to the disintegration of the nation. Camelot’s final moments, in which a future Avalon is promised, speak to the eternal optimism at the heart of the American project. As the musical warns prophetically, there may always be an inclination toward violence and selfishness in human affairs, but there is also an eternal need to believe in a Round Table, the brotherhood of man and the rule of law. The musical ultimately pays tribute to the dream of a system of governance fit for one and all. In late November 1963, a week after the president’s assassination in Dallas, Theodore H. White (Lerner and Kennedy’s Harvard classmate) went to Hyannis Port to interview Jacqueline Kennedy for Life magazine. The mourning widow told a story that has become inextricable from this musical, and from America’s narrative of itself. Remembering Jack’s fondness for Broadway cast albums, she quoted

his favorite lines from the end of his favorite show: “Don’t let it be forgot, That once there was a spot, For one brief shining moment That was known as Camelot.” Repeating the lines twice, Jacqueline concluded, “There’ll be great presidents again…but there’ll never be another Camelot again.” The former first lady was right in more ways than one. By the end of the decade, the counterculture, civil rights movement and quagmire of the Vietnam War had put a sudden end to visions of American Eden. Two of the defining musicals of the ’70s—Grease (1971) and Rocky Horror (1975)—look to rock music for stylistic cues and boast attitudes of hip and unapologetic irony. The new era’s greatest talents diverged sharply: Stephen Sondheim took the musical book to new heights of sophistication but to a salon audience, while Andrew Lloyd Webber filled massive theatres by looking back to 19th-century operetta and European melodrama, and sideways to heavy metal and progressive rock. The culture had moved on. Tastes had changed. No longer would the Broadway musical reflect the vital energies and idioms of American life in its purest showtune form, without importing influences from outside the theatre—as our current era of Disney, jukebox and comic book musicals vividly testifies. But for one brief shining moment in American life and letters, there was a Camelot.

ROYAL AUDIENCE: Meet Lancelot, Guenevere and Arthur By Susannah Clark, Artistic Fellow

Photos of Ken Clark, Alexandra Silber and Nick Fitzer by Tony Powell.

In the first week of rehearsals, Susannah Clark sat down with Ken Clark (King Arthur), Alexandra Silber (Guenevere) and Nick Fitzer (Lancelot) to chat about growing up with theatre and tackling legendary characters. SUSANNAH CLARK: How did you get your start in theatre? Did you have any performances or performers that really inspired you?

NICK FITZER: I grew up in Michigan, where there isn’t much live theatre, but musical theatre was still a very big deal in my house. Turner Classic Movies would have a musical theatre movie every single week, and my sister and I were instructed to get ready for bed before the musical so

that we could go to bed immediately after it was finished. The first time I saw a musical live was when my school went to Toronto for a field trip and we saw The Phantom of the Opera. But by that time I was already immersed in theatre. So for me it was really the movie musicals of the ’50s, ’60s, ’70s. ALEXANDRA SILBER: For me it was the community theatre scene. I felt like I was as much raised by community theatre as I was by my

family. I had a really charmed and loving childhood, but my dad was sick my whole life. I think it was a wonderful place to escape my environment at home and to work through big feelings. I actually did an epic production of The Music Man, where all of the children of River City are now on Broadway. Like, Andrew Keenan-Bolger (Newsies, Tuck Everlasting) and Celia Keenan-Bolger (Peter and the Starcatcher, The Glass Menagerie), and Sutton Foster (Thoroughly Modern Millie) and Hunter Foster (Million Dollar Quartet)—all the Detroit kids. And outside of performing, I lived vicariously through movie musicals and soundtracks. I have no idea how I would have responded if YouTube and Instagram and the ability to interact with people had existed in my era. The fact that I had to visualize on my own made my imagination stronger. KEN CLARK: I’m an only child, and I grew up in the country and I spent a lot of time by myself. We didn’t even have cable! It was just me and the dog. So being forced to use my imagination was huge for me. But I always sang. In fifth grade, we took a trip to New York and we saw Annie Get Your Gun on Broadway. And I remember thinking, I could do that, no problem. When I finally did a musical, I realized, “I can do this. In fact, I think I should do this.” NF: Hilariously, I wound up doing a show with the Christine that I saw in that first Phantom. We were talking one night, and she was like, “I was definitely playing Christine at that time.” KC: When I was on tour with La

Cage aux Folles—do you guys know Christophe Caballero? He’s a veteran Broadway chorus member. He was in that La Cage tour with me, and I found out that he was in that Annie Get Your Gun that I saw when I was 10. AS: The first Broadway show I saw was Ragtime, with the original cast. My dad took me, and it happened to be Broadway Cares week and it was in the era where the actors, still in costume, were in the lobby with the buckets. And my dad, who was so charismatic, started telling Judy Kaye about me, saying, “She’s in all the plays; she wants to do theatre!” I was 14 and I was so embarrassed, sure that these Broadway actors were going to laugh in my face. But Judy Kaye didn’t do that. She looked me right in the eyes and she said: “You will.” When I die and they do an autopsy, tattooed on my heart will be that memory. I ended up making my Carnegie Hall debut opposite Judy Kaye. SC: It’s incredible that you all ended up meeting these heroes of yours, and they ended up being very human. You’re now tackling some of the biggest mythological heroes that we have. How have you mentally prepared to take on these characters? KC: The same way you do any other role. Stay in the text, stay on the grind, don’t think too much about the bigger picture. Just take it one rehearsal block at a time. AS: Realizing you’re just creating a human being that’s living second to second, the way we all do.

Left: Photo of Nick Fitzer and Alexandra Silber in rehearsal. Right: Photo of Ken Clark in rehearsal.

KC: If you don’t do that, you don’t make a human. And it’s not interesting; it’s just a bunch of tapestries and pomp. NF: Fortunately, my character is extremely flawed. He is as flawed as he is brilliant and strong and courageous and upstanding. AS: All three of them are. NF: He is a human. He can do incredible things, but he’s a human. AS: I also think it’s important to allow the audience to have their experience. They’re going to bring their own personal mythology, their own relationships to these legends and these characters, and that’s not our business.

KC: Play what’s on the page, and play what you’ve worked. If you try to play to someone’s expectations,

you’re shooting in the dark. All you can do is be as honest as you can. SC: What about these characters has made this myth so prevalent and long lasting? KC: Their duality. It’s the back and forth—what is right, what should I do, what will work. It’s that push and pull of trying to implement something forward-thinking, against the backdrop of the dark ages. AS: I think that at the core it’s about a person who tried to make the world better. And there is never a moment when that’s not relevant. We all want to hope for more, for better. NF: And these characters are timeless. You look in the mythologies of a hundred different cultures across the history of the world, and you

see these characters, this struggle, this conflict. KC: We’re constantly climbing up the mountain and getting dragged back down by our own natures. This is the play that directly addresses that attempt, that—for lack of a better word—noble effort to better our natures. Not better ourselves, but better the nature of how we interact with one another. SC: If your characters were hanging out with us right now, who do you think their heroes would be? KC: Arthur’s such a simple guy. I think that’s the beauty of him. I think if you asked him, he’d probably choose Joe Montana, actually. You’d think a world leader would

say Gandhi, or the Dalai Lama, but I really don’t think there’s any pretense like that for Arthur. NF: I’d have to say the Pope. Lance is certainly more conservative than Pope Francis, but faith is everything to him. It’s the only thing that exists for him outside of this world of Arthur and Guenevere. SC: Quite a dichotomy between your two characters, right there. AS: And as a nice middle answer, I think Michelle Obama. Somehow Guenevere manages to hold dialectic thinking in her mind. Things can be “and” as opposed to “either/or.” She’s able to hold purity and immorality, devotion and betrayal at the same time, and still be good. There’s something really amazing about that. 17

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LEGENDS OF A FALL

By Patricia Clare Ingham The affecting combination of untimely loss and utopian hope is the Arthurian double-helix, knit into the narrative DNA of this centuriesold story. The earliest Arthurian narratives, composed well over 800 years ago, persistently link heroic success with devastating loss. King Arthur unites warring armies and builds a remarkable court filled with chivalry’s best and brightest. Yet that court will, ultimately, be destroyed from within when Arthur’s own nephew Mordred—in some versions, Arthur’s bastard son—connives to undermine the sovereign’s power and the unity of his knights. This story of rise and fall would have Photo of Ken Clark by Tony Powell.

very long legs, indeed. Alongside a contemporaneous range of Arthurian adventure tales, it would circulate throughout the European Middle Ages as “The Matter of Britain” and in a host of languages (Welsh, Latin, French, Middle English, Middle Scots, Middle Danish, Spanish, Middle High German, Hebrew and Old Norse, for example). In the more recent Anglo-American tradition, King Arthur and his court have served as vehicles for the consideration of persistent human questions and concerns. It served the ends of honor, nostalgia and sovereign rule in Alfred Lord Tennyson’s narrative poem cycle, 19

The Idylls of the King, published between 1859–1885; truth and popular gullibility in Mark Twain’s A Connecticut Yankee in King Arthur’s Court (1889) and David Barthelme’s darkly satiric The King (1990); gender and sexuality in Marion Zimmer Bradley’s feminist fantasy novel, The Mists of Avalon (1979); and, perhaps most incisively, the ethics of government, war and compassionate community in T.H. White’s The Once and Future King (1958).

What are we to make of Arthur’s persistent appeal? For one thing, and as the preceding makes clear, Arthur’s story has always been flexible enough to accommodate competing literary, political, social and historic agendas. The figure of Arthur began as a Welsh “native” war hero, mentioned in poetry and story as early as the sixth century C.E.; yet the first full narrative of his rise and fall emerged from the pen of a cleric known to us as Geoffrey of Monmouth (1095–1155), who gave him sovereign sway over the entire “totius insulae Britanniae,” or whole island of Britain. Arthur Pendragon is the star of Geoffrey’s monumental Latin prose Historia regum Britanniae (History of the Kings of Britain, dated 1138) and it was Geoffrey who gave the full shape to Arthur’s narrative arc, beginning in his extraordinary birth—legendary heroes often get extraordinary births—from the ambiguously adulterous coupling of Uther Pendragon and Igraine, the Duchess of Cornwall. It was Geoffrey of Monmouth who told the story of Merlyn’s prophetic prowess and it was he who depicted the noble king uniting a war-torn land eventually

brought low by the perfidy of his inner circle. The Historia inaugurated what would come to be called the Arthurian chronicle tradition and as such his Arthur—a member of the group of leaders known during the Middle Ages as the “Nine Worthies”—stands at the head of a genealogy of British kingship. Geoffrey’s Historia was equivalent to a medieval “bestseller”: more than 250 manuscripts of it survive today, written in a variety of languages. In some of those Arthur’s return is predicted, the Rex quondam, Rexque futuris—the “once and future King”—destined to return when need for him is greatest. Arthur’s fellowship of Round Table Knights would also inspire what has been called the Arthurian romance tradition, first written not in Latin prose but in French verse. The story of the famous, adulterous Arthurian lovers Lancelot and Guenevere did not originate in England, but in the gorgeous French Arthurian tradition. Arthur the King makes appearances in the writings of French poet Chrétien de Troyes (1130–1191) and when he does he is less an admirable leader than the sovereign inutile—the ineffective king. The real stars of Chrétien’s tales are Arthur’s adventurer knights, particularly Lancelot, Yvain and Perceval, who each occupy center stage in one of Chrétien’s romances. Lancelot’s story, Le Chevalier de la Charrette (“The Knight of the Cart”) relates the transfixing tale of the dashing Lance and his desperate love for Guenevere, who also happens to be his Lord and Sovereign’s queen. Their dalliance is a treasonous act. It

is also a daring and delightful story of amour courtois (courtly love), a tale of courage, humility and adulterous passion, written at the command, so Chrétien tells us, of his patron Marie de Champaigne (1145–1198). These and other Arthurian tales would be folded together in Thomas Malory’s (1405–1471) Middle English prose Le Morte D’arthur. Malory’s work—thanks in no small part to Caxton’s printing and re-printing— would be a major source for all the many modern attempts at retelling Arthur’s story. Lerner and Loewe’s Camelot is taken from this version, by way of T.H. White’s gorgeous and moving The Once and Future King. White adapted Arthur’s rise and fall specifically for readers

in the latter half of the century of the great World Wars; his Arthur is an exemplary, if tragic, leader well aware that “those who live by the sword will be forced to die by it.” White’s King is hesitant to use violence and regularly insists that “Might does not make right! Right makes right!” White also humanized Arthur by giving him a childhood, told in Part One of the novel, “The Sword in the Stone,” made famous in its 1963 animated Disney rendering. The young, unassuming Wart (as he was familiarly called) is schooled in lessons of ethics and power by a grandfatherly and wise, if also slightly doddering, Merlyn. White’s version may have defanged Merlyn (who was fierce

and, at times, ambiguously demonic in the medieval tradition), but it also retained and strengthened the Arthurian combination of greatness and loss, this time focused on ethics and right rule for a ragged world still recovering from the horrors of the Holocaust and Hiroshima. “Let us sit upon the ground,” intones Shakespeare’s Richard II, “and tell sad stories of the death of Kings” (act 3, scene 2). The story of King Arthur encodes precisely these poignant attractions: of greatness brought low, of the persistence of hope even against all odds. Arthur’s story persists because this combination resonates with the long arc of human history. It persists as well because, as the combined chronicle and romance traditions suggest, it straddles history and fiction. This last fact often leaves modern readers wondering whether a real King Arthur existed. The short answer is that we do not know. But in key ways this is the wrong question.

Searching for one historical Arthur inadvertently casts aside the avidity with which the many legendary King Arthurs have been drawn, Arthur and his fellowship reimagined to fit the needs of so many different times and places. White sketched a king committed to peace and unity in the wake of uncountable human cruelties and abject losses. This is precisely the way that King Arthur keeps returning when we need him, his story flexible enough to console us in precarious times, imaginatively rich in aesthetic pleasures, an eloquent reminder of the fragility of our communities. Patricia Clare Ingham is Professor and Chair of the Department of English at Indiana University, Bloomington. She is the author of books and articles on medieval literature and intellectual history, including Sovereign Fantasies: Arthurian Romance and the Making of Britain (University of Pennsylvania Press, 2001). Excerpted from the full essay in Guide to the Season 2017–2018, available for purchase on Kindle or Nook. Subscribers receive a complimentary print copy of the Guide each season.

SUNDAY, OCTOBER 14, 2018

SAVE THE DATE 22

Honoring Jacqueline B. Mars with the Sidney Harman Award for Philanthropy in the Arts Gala Chairs Dr. Paul and Mrs. Rose Carter For tickets and sponsorship information, email STCGala@ShakespeareTheatre.org

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CAST BIOGRAPHIES

Mark Banik* Sir Dinadan NEW YORK: Off-Broadway: Cherry Lane: Brightness of Heaven. NATIONAL TOURS: Beautiful. REGIONAL: Riverside Theatre: Mame; Fulton Opera House: All Night Strut. TRAINING: Indiana University: BFA in Musical Theatre. Brandon Bieber* Sir Sagramore STC: Kiss Me, Kate (Hortensio, Dance Captain). NEW YORK: Broadway: Side Show (Three Legged Man, u/s Buddy, Dance Captain); Anything Goes (u/s Purser, u/s Luke); Follies (u/s Young Buddy, u/s Roscoe); Mary Poppins. Other NY: On Your Toes at Encores!, Radio City New York Spectacular. NATIONAL TOURS: Something Rotten! (Dance Captain), Mary Poppins, Annie (Assistant Choreographer). REGIONAL: MUNY; PCLO; Stages St. Louis; Arizona Theatre Company; Old Globe; La Jolla Playhouse. TELEVISION: Smash. TRAINING: Cincinnati-College Conservatory of Music (CCM). Michael Bingham Ensemble REGIONAL: CPCC: Mary Poppins (Bert), Little Mermaid (Ursula); Smoky Mountain Opry and Glow Lyric: West Side Story (Baby John), Romeo et Juliette (Gounod); Rawhide Theatre Company: A Midsummer Night’s Dream (Lysander); The Lost Colony. OTHER: Theme Parks: Dollywood. TRAINING: Elon University: BFA in Music Theater. 24

Veronica Burt Ensemble NEW YORK: Off-Broadway: The Duke on 42nd: Luna Fest. REGIONAL: New London Barn Playhouse: Crazy for You (Irene), West Side Story, Brigadoon, Shrek, How to Succeed... INTERNATIONAL: Norwegian Cruise Line. TRAINING: Dartmouth College: BA in Theater and English. WEB: VeronicaBurt.com; @veronbee. Julio Catano-Yee* Ensemble TOURS: The Addams Family (Ancestor, National Tour); West Side Story Centennial World Tour (Chino). REGIONAL: Musical Theatre West; Lamb’s Players Theatre; San Diego Opera. OPERA: Salome, Nixon in China, Romeo and Juliet. TELEVISION: Pitch (FOX), Animal Kingdom (TNT). OTHER: Select credits: Les Misérables (Marius), Into the Woods (Prince Charming/ Wolf), The Little Mermaid (Prince Eric). Dance: City Ballet of San Diego, Ballet Hispanico, California Ballet Company, Jean Isaacs San Diego Dance Theater. Chadaé* Ensemble NEW YORK: Broadway: Motown the Musical. Workshop: Bridges the Musical. NATIONAL TOURS: Motown the Musical. REGIONAL: Marriott Theatre: Cabaret; Theatre at the Center: Little Shop of Horrors. OPERA: Lyric Opera of Chicago: Oklahoma!, Showboat. Houston Grand Opera: Showboat. FILM: Dhoom 3. TELEVISION: The Steve Harvey Show, Windy City LIVE. OTHER: Rhythms Dance Troupe: Founder.

TRAINING: Ball State University: BA in Dance Performance. WEB: IAmChadae.com; @iamchadae. Ken Clark* King Arthur NEW YORK: Broadway: Natasha, Pierre and the Great Comet of 1812 (Ensemble; u/s Dolokhov, Bolkonsky). Off-Broadway: ...Great Comet (same); The Public: February House (Reeves McCullers). NATIONAL TOURS: La Cage aux Folles (Etienne, u/s Jean-Michel). REGIONAL: Syracuse Stage: Rent (Roger); Connecticut Rep: Urinetown (Bobby), Guys and Dolls (Sky Masterson); The Gateway: Sweeney Todd (Anthony); Drury Lane Theatre: Camelot (Arthur); American Repertory Theater: Burn All Night (Zak). FILM: The Irishman (James P. Hoffa). TELEVISION: House of Cards, Gotham, Sneaky Pete, The Blacklist. TRAINING: University of Miami. Jennifer Cordiner* Ensemble NEW YORK: PBS Live From Lincoln Center: One Singular Sensation, Celebrating Marvin Hamlisch. NATIONAL TOURS: The Radio City Christmas Spectacular (Rockette), Monty Python’s Spamalot, Joseph and the Amazing Technicolor Dreamcoat, Seven Brides for Seven Brothers (Liza). REGIONAL: Papermill Playhouse: A Chorus Line (Swing); Signature Theatre: Crazy for You, West Side Story (Graziella); Olney Theatre Center: A Chorus Line (Val, Helen Hayes Nomination), The Producers (u/s Ulla), The Little Mermaid; Arrow Rock: The Producers; Anything Goes. TELEVISION:

Dr. Oz, Gossip Girl, Media Rockette. OTHER: Choreography: Wakefield HS: Anything Goes, Spamalot, Addams Family; The Lab Theatre: Titanic; Chalice Theatre: South Pacific. TRAINING: Rutgers University: BA in English. Trinity Sky Deabreu Child STC: Macbeth. TELEVISION: How It’s Made, No Kid Hungry; Commercials: Cisco, Good Game, M&T Bank, Port Covington, Capital One Sparkspay, Comcast. TRAINING: Ballet Arts Academy: Classical Ballet (Vagonava); Suzy Estrada: Vocal Training; Linda Townsend Management and Abrams Artist (NY). WEB: Amtrak: Holiday Specials. Nick Fitzer* Lancelot du Lac REGIONAL: Finger Lakes Musical Theatre Festival: Sweeney Todd, The Light in the Piazza; freeFall Theatre: Sondheim on Sondheim, The Burnt Part Boys; Indiana Repertory Theatre: A Little Night Music; Beef and Boards: Les Misérables; Derby Dinner Playhouse: Copacabana, Don’t Dress for Dinner. INTERNATIONAL: Teatro Nacional Sucre de Quito, Ecuador: West Side Story. OPERA: Opera Theatre of St. Louis: Eugene Onegin, The Golden Ticket. TRAINING: Indiana University Jacobs School of Music: MM in Music. Ben Gunderson* Squire Dap NEW YORK: Broadway: Les Misérables; Off-Broadway: York Theatre: A Time for

April 14, 2018-May 19, 2019 at the National Building Museum Free Admission

Photo by Michael Kienitz.

he National Building Museum presents Evicted, an immersive new exhibition based on Matthew Desmond’s Pulitzer prizewinning book. Using new data developed by Desmond’s Eviction Lab, Evicted examines the reasons for and fallout from the more than 2.4 million American evictions each year. The exhibition brings visitors to the intimate, frustrating, painful, and often repeated process of losing everything—chairs, toys, lamps, school supplies—as a family starts all over, over and over again. 401 F Street NW Washington, DC 20001 | Red Line Metro, Judiciary Square 26

Singing; Prospect Theatre: The Hidden Sky. NATIONAL TOURS: Les Misérables 25th Anniversary Tour. REGIONAL: Arena Stage: The Pajama Game; Theater Alliance: Still Life with Rocket; Ravinia Festival: West Side Story; Engeman Theatre: Fiddler on the Roof. INTERNATIONAL: Musical Staging for Les Mis Tokyo/Mexico. TELEVISION: The Tony Awards, The Academy Awards, America’s Got Talent. AWARDS: Helen Hayes Nomination for Caleb in Still Life with Rocket; Princess Grace Foundation Scholar. TRAINING: UNCSA: BFA in Acting; SITI Company, Odin Teatret. WEB: BenGunderson.xyz. Floyd King* King Pellinore STC: Affiliated Artist, Rev. Chasuble in The Importance of Being Earnest, Postmaster in The Government Inspector, Verges in Much Ado About Nothing (mainstage and Free For All), Geronte in The Heir Apparent, Phipps in An Ideal Husband, Feste in Twelfth Night, Parolles in All’s Well That Ends Well, Pandarus in Troilus and Cressida, Malvolio in Twelfth Night, Ford in The Merry Wives of Windsor, Bottom in A Midsummer Night’s Dream, Fool in King Lear and 100 others. REGIONAL: Ford’s Theatre: 1776, State of the Union; Wilma Theater: I Am My Own Wife; Signature Theatre: A Funny Thing Happened on the Way to the Forum; Folger Theatre: The Dresser; Woolly Mammoth Theatre Company: Quills; Studio Theatre: The Seafarer, The History Boys, The Russian National Postal Service, The Lisbon Traviata, A Tale of Two Cities, Rosencrantz and Guildenstern Are Dead; Round House Theatre: Amadeus. AWARDS: Fulbright Fellowship; Fox Fellowship. TEACHING: The Juilliard School, 1992–2007; BADA, Oxford, Endland; STC’s Academy for Classical Acting at The George Washington University.

Kyle Laing Swing REGIONAL: Maine State Music Theatre: Grease, Guys and Dolls, Mamma Mia!, Fiddler on the Roof, Evita, A Grand Night for Singing; Athens Theatre (Tulsa): Gypsy; MNM Productions: Spamalot. TRAINING: University of Central Florida: BFA Musical Theatre. WEB: KyleLaing.com. Bridget Riley* Ensemble NEW YORK: Off-Broadway: The Scarlet Letter, Freckleface, Pinkalicious. NATIONAL TOURS: West Side Story, Seussical. REGIONAL: D.C.: Arena Stage: The Pajama Game, Carousel; Ford’s Theatre: 110 in the Shade; Other: Peter Pan; West Side Story; Les Misérables; All Shook Up; The Producers; Spelling Bee; Cabaret; Wild Party; Bare. INTERNATIONAL: Stadsschouwburg Opera (Bruges, Belgium): Nine. FILM: Something Borrowed. TELEVISION: Nurse Jackie. OTHER: Concerts: Carnegie Hall, Ted Shawn Theater at Jacob’s Pillow. TRAINING: Pace University: BFA in Musical Theater; Jacob’s Pillow School for Dance. WEB: @missbridgetriley. Frankie Shin* Ensemble NEW YORK: A Chorus Line, Sirens Den: A New Rock Musical; New York Music Festival: Matthew McConaughey vs. the Devil. REGIONAL: Rock of Ages, Memphis, Sweeney Todd, Hair, Hairspray, Miss Saigon. TELEVISION: The Tonight Show Starring Jimmy Fallon. TRAINING: Missouri State University: BFA in Musical Theatre. WEB: @Frankie_Shin.

Alexandra Silber* Guenevere NEW YORK: Broadway: Fiddler on the Roof (Tzeitel), Master Class (Sophie, with Tyne Daly). Off-Broadway: the world premiere of Arlington (Sara Jane), Hello Again (Young Wife). REGIONAL: Reprise Theatre: Carousel; Kennedy Center: Master Class; Walnut Street Theatre: Love Story; McCarter Theatre Center: Murder on the Orient Express (world premiere). INTERNATIONAL: London / West End: BBC Proms at Royal Albert Hall: Kiss Me, Kate (Lilli Vanessi/Kate); Carousel (Julie Jordan); Fiddler on the Roof (Hodel); The Woman in White (Laura Fairlie). OPERA/CONCERTS: Caramoor: Amalia in She Loves Me; Carnegie Hall: Song of Norway; Royal Albert Hall with The John Wilson Orchestra; Detroit Symphony Orchestra: Dum Dee Tweedle (world premiere); Disney Hall (Los Angeles): I Am Harvey Milk. TELEVISION: 57th Grammy Awards; Kiss Me, Kate (BBC); Elementary; The Mysteries of Laura; 1408; all three branches of Law & Order. AWARDS: 2014 Grammy nominee (West Side Story); UK Theatre/TMA Award for Best Performance in a Musical (Carousel); Outer Critic’s Circle Nominee (Arlington); Drama League Award (Hello Again). OTHER: Author: After Anatevka, White Hot Grief Parade (Pegasus Books). TRAINING: Royal Conservatoire of Scotland. WEB: AlexandraSilber.net; @alsilbs.

Eleanor Todd Swing/Guenevere US STC: Fellows Project: God Is Dead and April’s Getting Married. NEW YORK: War Paint (Developmental Lab; dir. Michael Greif). NATIONAL TOUR: Amazing Grace (dir. Gabriel Barre). REGIONAL: Keegan Theatre: Parade (Helen Hayes Nomination-Outstanding Lead Actress in a Musical), Big Fish; TRAINING: University of Michigan: BFA in Musical Theatre.

Patrick Vaill* Mordred STC: Othello (mainstage, 2017 Free For All); Henry IV, Parts 1 and 2; Henry V; Richard II; As You Like It; Mrs. Warren’s Profession. NEW YORK: Broadway: Macbeth (Lincoln Center Theater). Off-Broadway: Bedlam: Peter Pan; Red Bull Theatre: Edward the Second, Don’t F*** With Love; When in Disgrace; Also: Public Theater; York Theater Company; and others. NATIONAL TOUR: Roundabout: Cabaret. REGIONAL: Bard SummerScape: Oklahoma!; Studio Tisch: Dexter and Lewellyn; Also: Bay Street Theater; Capital Rep; and others. FILM: X-Mas in July. TRAINING: Bard College: BA; NYU Graduate Acting Program: MFA (Laura Pels Award for acting). Ted van Griethuysen* Merlyn STC: Affiliated Artist; productions since 1987 include: Henry IV, Part 1 (Owen Glendower); Henry IV, Part 2 (Justice Shallow); The Winter’s Tale (Antigonus/Old Shepherd, mainstage, 2014 Free For All); A Midsummer Night’s Dream (Peter Quince, mainstage, 2015 Free For All); All’s Well That Ends Well (King of France); Strange Interlude (Henry Leeds); Mrs. Warren’s Profession (Mr. Praed); Twelfth Night (Malvolio); Major Barbara (Andrew Undershaft); Love’s Labor’s Lost (Holofernes, mainstage and RSC); Don Carlos (Philip II); King Lear (Lear); The Tempest (Prospero). NEW YORK: Broadway: Romulus, Inadmissible Evidence. REGIONAL: Folger Theatre: The Clandestine Marriage; Studio Theatre: The Steward of Christendom, Life of Galileo, Rock ‘n’ Roll, A Number, The Habit of Art, The Apple Family Plays, The Father. INTERNATIONAL: Battersea Arts Centre (London): Life of Galileo; Arcola Theatre (London): Broadway from the Shadows; Trafalgar Studios: Lovely and Misfit (Mr.

Paradise). AWARDS: Seven Helen Hayes Awards; The Will Award; Drama Critics Award (NYC); Richard Bauer Award for Outstanding Contribution to Washington Theatre, and the Helen Hayes Tribute of 2017. TEACHING: Aesthetic Realism of Eli Siegel; Columbia University; University of South Carolina; Manchester Metropolitan University (U.K.). Paul Victor* Sir Lionel NATIONAL TOURS: Dirty Dancing. REGIONAL: Pittsburgh City Theatre: Pop! (Ondine); Pittsburgh CLO: Phantom (Oberon); Bricolage: Speech and Debate (Howie); Palace NH: Footloose. INTERNATIONAL: RCCL: Saturday Night Fever the Musical (Tony Manero). TRAINING: Point Park University. TELEVISION: Creator and Star of MESS for HereTV. WEB: @paulraymond716.

Pops Orchestra: The Music Man; Festival 56: Violet (Violet), Brighten Beach Memoirs (Nora), The Winter’s Tale. TRAINING: University of Cincinnati College–Conservatory of Music (CCM): BFA in Musical Theatre. DGRW Talent. WEB: CaseyWengerSchulman.com. Melissa Wimbish* Nimue OPERA: Chelsea Opera: Josephine; OnSite Opera: Marriage of Figaro; Prototype Festival: Paul’s Case; Baltimore Symphony: Mysteries of the Macabre; Manchester Choral Society: Candide; UrbanArias: Josephine. AWARDS: NATS Artist Award Grand Prize; Franco-American Voice Award; Denver Philharmonic Competition Winner; Vocal Arts DC Competition Winner. TRAINING: Peabody Conservatory: Performance Diploma; CU-Boulder: MM Voice; MSU-Denver: BM Voice.

Casey Wenger-Schulman Ensemble REGIONAL: Arena Stage: The Pajama Game; The Lexington Theatre Company: Legally Blonde (Serena), 42nd Street (Phyllis); The Cincinnati Photo of the cast of Camelot in rehearsal.

Photo by Violetta Markelou.

201 8 -2019

THE COMEDY OF ERRORS

AN INSPECTOR CALLS

BY WILLIAM SHAKESPEARE DIRECTED BY ALAN PAUL

BY J.B. PRIESTLEY DIRECTED BY STEPHEN DALDRY

SEPTEMBER 25–OCTOBER 28, 2018

NOVEMBER 20–DECEMBER 23, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

The Grand Finale Season of

MICHAEL KAHN THE PANTIES, THE PARTNER AND THE PROFIT SCENES FROM THE HEROIC LIFE OF THE MIDDLE CLASS BY DAVID IVES INSPIRED BY THE WORK OF CARL STERNHEIM DIRECTED BY MICHAEL KAHN DECEMBER 4, 2018–JANUARY 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-thanlife social commentary. Sponsored by The Robert and Arlene Kogod Family Foundation.

VANITY FAIR BY KATE HAMILL BASED ON THE NOVEL BY WILLIAM MAKEPEACE THACKERAY DIRECTED BY JESSICA STONE PRODUCED IN ASSOCIATION WITH AMERICAN CONSERVATORY THEATER FEBRUARY 26–MARCH 31, 2019

Becky Sharp never blushes. As the wily Becky and her gentle friend Amelia scale social ladders and hurdle the whims of fate, only one question matters: how do you get what you want in life? A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

Commissioned through a grant from the Beech Street Foundation.

THE ORESTEIA

RICHARD THE THIRD

BY ELLEN MCLAUGHLIN ADAPTED FROM AESCHYLUS DIRECTED BY MICHAEL KAHN

BY WILLIAM SHAKESPEARE DIRECTED BY DAVID MUSE FEBRUARY 5–MARCH 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

APRIL 30–JUNE 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company. The Oresteia is made possible by a generous grant from

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ARTISTIC BIOGRAPHIES

Alan Paul Director STC: Associate Artistic Director; Romeo and Juliet; Kiss Me, Kate; Man of La Mancha (Helen Hayes nominee, Best Director); A Funny Thing Happened on the Way to the Forum (Helen Hayes Award, Best Director); The Boys from Syracuse; The Winter’s Tale (Free For All); Twelfth Night (Free For All); As You Like It (Associate Director); Henry IV, Parts 1 and 2 (Associate Director); numerous galas, readings, and special events; Assistant Director: 13 shows. THEATRE DIRECTING: 5th Avenue Theatre: Kiss Me, Kate; Arena Stage: The Pajama Game; Signature Theatre: I Am My Own Wife; Studio Theatre 2ndStage: Silence! The Musical (Helen Hayes nominee, Best Director), The Rocky Horror Show; MetroStage: Fully Committed; University of Maryland: The Matchmaker; Apex Theatre Company: Richard II. OPERA DIRECTING: Palm Beach Opera: The Pirates of Penzance (with Stephanie Blythe); Portland Opera: Man of La Mancha; Washington National Opera: Penny (premiere); numerous works for Urban Arias, The In Series, Strathmore Concert Hall, and the National Symphony Orchestra. Finalist for the 2013 European Opera Directing Prize (Vienna, Austria). Upcoming at STC: Romeo and Juliet (FFA), The Comedy of Errors. WEB: AlanPaulDirector.com.

Michele Lynch Choreographer STC: Kiss Me, Kate (Helen Hayes Award for Best Choreography). NEW YORK: Broadway: The Coast of Utopia (choreographer), Everyday Rapture (choreographer), Hairspray (assistant choreographer), The Full Monty

(assistant choreographer), Urinetown (assistant choreographer), Victor/ Victoria (performer); Off-Broadway: Little Miss Sunshine (choreographer), We the People (choreographer). NATIONAL TOURS: Little House on the Prairie (choreographer), Happy Days (choreographer), Dirty Dancing (choreographer). REGIONAL: Ford’s Theatre, Yale Repertory, St. Louis Muny, Goodspeed Opera House, Paper Mill Playhouse, Riverside Theatre, Walnut Street Theatre, Mark Taper Forum, and more. OPERA: Show Boat (choreographer) at Washington National Opera (Kennedy Center), Chicago Lyric Opera, San Francisco Opera and Houston Opera. FILM: The Last Five Years, Joyful Noise, Camp. OTHER: Dolly Parton’s Better Day World Tour (choreographer). James Cunningham Music Director STC: Kiss Me, Kate. NEW YORK: OffBroadway: New World Stages: Avenue Q (conductor); DR2: Bunnicula (original cast recording); American Theatre of Actors: Hot Mess In Manhattan; Samuel Beckett Theatre: Happy Birthday. NATIONAL TOURS: Irving Berlin’s White Christmas, Spamalot, Evita, Cats. REGIONAL: Arena Stage: The Pajama Game; Pittsburgh CLO: Million Dollar Quartet, Mamma Mia, Newsies, In the Heights; Casa Mañana: Joseph and the Amazing Technicolor Dreamcoat, Rock of Ages, Jesus Christ Superstar, Rent, Fiddler on the Roof, Les Misérables, The Buddy Holly Story, Always…Patsy Cline; Sharon Playhouse: Big River; Paper Mill Playhouse: Damn Yankees; North Carolina Theatre: Phantom; The Muny: Little Shop of Horrors, Cats; The Engeman: I Love You You’re

Perfect Now Change, A Wonderful Life. OTHER: NYU: A Man of No Importance, Urinetown, The Boys From Syracuse. TRAINING: New York University: MA in piano performance; Manhattan School of Music: BM in composition. Michael Dansicker New Incidental Music Arranger and Orchestrator STC: Kiss Me, Kate (Dance music; also for 5th Avenue Theatre). REGIONAL: Arena Stage: Pajama Game (Dance music). NEW YORK: Broadway: 25 productions including Piaf, Good, Les Liaisons Dangereuses (all with dir. Howard Davies); Singin’ in the Rain (Dance Music/Film Sequences), Dance of the Vampires (Dance Music), Glass Menagerie (Original Score), The Times They Are A-Changin’ (Arrangements and Orchestration for Bob Dylan and Twyla Tharp), Little House on the Prairie (Dance and Incidental Music). FILM: Elf, Meet the Parents, Piaf, Analyze That, Brain Donors, Garfield. PUBLICATIONS: Over 30 titles including The Sixteen Bar Theater Audition (6 Volumes), The Audition Suite, Audition Songs for Kids (2 Volumes)–Hal Leonard Music. AWARDS: 2017 Dottie Burman Award (MAC) for Excellence in Song Writing. OTHER: Concert Dance: Composed, arranged and scored for Twyla Tharp, American Ballet Theatre, Joffrey Ballet, Jerome Robbins, Geoffrey Holder, Kenny Ortega, Mikhail Baryshnikov, Agnes de Mille; New Works: Chicken Soup for the Soul series (Words and Music, licensed by Rodgers & Hammerstein Organization); Play Ball! (Music and Orchestrations, Lyrics by Martin Charnin) for Cooperstown, NY (June ’19); Comedy songs performed

by Gay Men’s Chorus of Boston, San Francisco, Hartford, Knoxville and Birmingham (’18); Music licensed by B.M.I., Inc. Walt Spangler Scenic Designer STC: The Two Gentlemen of Verona, Old Times, King Lear (Helen Hayes Nomination), Hamlet (Helen Hayes Nomination), The Tempest (Helen Hayes Nomination), The Winter’s Tale, The Duchess of Malfi (Helen Hayes Nomination), Hedda Gabler, Timon of Athens, Coriolanus. NEW YORK: Broadway: Escape To Margaritaville, Tuck Everlasting, Scandalous, Desire Under The Elms, Hollywood Arms; Off-Broadway: Atlantic Theater Company, Classic Stage Company, The Public/New York Shakespeare Festival, Manhattan Theater Club, Playwrights Horizons, Signature, Second Stage. REGIONAL: The Guthrie, The Goodman, Steppenwolf, The Mark Taper Forum, The Ahmanson, Fifth Avenue Theater, The Signature, Actors Theater of Louisville, Seattle Repertory, Yale Repertory, Hartford Stage, Goodspeed Musicals, American Conservatory Theater. OPERA: San Francisco Opera, English National Opera, Lithuanian National Opera. Lyric Opera Chicago, Dallas Opera TRAINING: Yale School of Drama: MFA. Ana Kuzmanic Costume Designer STC: King Lear. NEW YORK: Broadway: August: Osage County, Desire Under the Elms, Superior Donuts. Off-Broadway: The Jacksonian. INTERNATIONAL: Royal National Theatre (U.K.); Sydney Theatre Company (Australia). REGIONAL: Goodman Theatre,

Steppenwolf Theatre; Lookingglass Theatre Company, Chicago Shakespeare Theater, The House, Milwaukee Repertory Theater, Berkeley Repertory Theatre, McCarter Theatre Center, Trinity Repertory Company, Oregon Shakespeare Festival, Geffen Playhouse. OPERA: Lyric Opera of Chicago: Don Giovanni; Dallas Opera: Don Giovanni (directed by her longtime collaborator Robert Falls). OTHER: Designing for her fashion label (1993 to 2002). TEACHING: Northwestern University: Associate Professor of costume design. TRAINING: Northwestern University: MFA in Stage Design; Faculty of Applied Arts and Design (Belgrade, Serbia): BA in Costume and Fashion Design.

Ken Travis Sound Designer STC: Man of La Mancha. NEW YORK: Broadway: In Transit, Aladdin, Jekyll and Hyde, A Christmas Story the Musical, Scandalous, Newsies, Memphis, The Three Penny Opera, Barefoot in the Park, Steel Magnolias. REGIONAL: Old Globe, Kansas City Rep, La Jolla Playhouse, LA CTG, Seattle Rep, 5th Avenue Theatre, Guthrie Theater, Dallas Theater Center, McCarter Theatre, Atlantic Theater, Playwrights Horizons, The New Group, NYSF Public Theater, CSC, Signature Theater NYC, Vineyard Theatre, The Civilians, Mabou Mines. AWARDS: NAACP Sound Design Memphis the Musical; Audelco and Lortel Nominations.

Robert Wierzel Lighting Designer STC: Man of La Mancha, As You Like It, The Taming of the Shrew, A Midsummer Night’s Dream, The Little Foxes. NEW YORK: Broadway: Lady Day at Emerson’s Bar and Grill, FELA! (Tony Award nomination; National Theatre, London and Tours), David Copperfield’s Dreams and Nightmares. OffBroadway: The NYSF, The Signature, Playwrights Horizons. REGIONAL: Alliance Theatre, The Goodman, A.C.T. San Francisco, Hartford Stage, Long Wharf, The Guthrie, Mark Taper Forum, The Old Globe, Chicago Shakespeare Theater among others. OPERA: The Paris Opera-Garnier, Glimmerglass Festival, Seattle, Boston Lyric, Minnesota, Washington National, Atlanta, NYCO and San Francisco. OTHER: Dance work includes over 33 years with choreographer Bill T. Jones and the BTJ/AZ Dance Company (Bessie Awards). FACULTY: Currently an adjunct member of NYU’s Tisch School of the Arts and a Guest Lecturer at the Yale School of Drama. TRAINING: Yale School of Drama: MFA. Upcoming: A Walk on The Moon, new musical premiering at A.C.T. San Francisco.

David Leong Fight Choreographer STC: Romeo and Juliet (1986, 2002, 2016, 2018 productions); Kiss Me, Kate; Man of La Mancha; Cyrano de Bergerac; Richard III (1990, 2007); King John; Romeo and Juliet; Macbeth; Antony and Cleopatra; Coriolanus; Troilus and Cressida; Henry V; Henry IV, Parts 1 and 2; King Lear; The Witch of Edmonton; Hamlet (1992, 2007, 2018); Julius Caesar; and many more. NEW YORK: Broadway: Fool for Love, Amazing Grace the Musical, A Time to Kill, Billy Elliot, Carousel, Company, Ma Rainey’s Black Bottom, The Civil War, The Rainmaker, King Hedley II, Picnic, Hamlet, Macbeth, Solitary Confinement, Sex and Longing, Conversations With My Father, A Delicate Balance, In the Summer House. Off-Broadway: over 50 plays and musicals. REGIONAL: Guthrie Theater, Mark Taper Forum, Arena Stage, Kennedy Center, American Repertory Theater, Geva Theatre Center, American Contemporary Theatre, Berkeley Repertory Theatre, Seattle Repertory Theatre, Denver Theatre Center, Alley Theatre, Goodman Theatre, McCarter Theatre, Yale Repertory Theatre, Long Wharf

Theatre, Hartford Stage, Huntington Theatre, Williamstown Theatre Festival, and many more. INTERNATIONAL: London: West End: Napoleon; National Theatre: Jitney. FILM: Titus, Alien: Resurrection. TEACHING: Virginia Commonwealth University, professor of theatre. Laura Stanczyk, CSA Casting Director STC: Noura, The Lover and The Collection, Macbeth, School For Lies, The Secret Garden, Romeo & Juliet, The Taming of the Shrew, Othello, Kiss Me, Kate, Salomé, The Metromaniacs, The Tempest, Man of La Mancha, As You Like It, The Winter’s Tale, Strange Interlude, Old Times. 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; 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.

DENSON LIQUOR B A R is the perfect spot for a pre-theatre bite & cocktail or an aftertheatre nightcap. This hidden gem of a cocktail bar is located just around the corner of Sidney Harman Hall, on 6th St. between E and F St. Look for the Denson globe, descend the stairs, and escape into its timeless atmosphere of classic cocktails, cozy leather booths, and gracious hospitality.

600 F St NW Lower Level Open Monday–Saturday starting at 4:30pm Sunday 3:00pm–11:00pm Happy Hour 4:30pm–7:00pm Full Menu available until 11:30pm Reservations available at

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Carter C. Wooddell Resident Casting Director Please see page 44. Peter Duchan Creative Consultant NEW YORK: Broadway: Waitress (Script Consultant), The Other Place (Assistant Director). Off-Broadway: Second Stage: Dogfight (Book; dir. Joe Mantello; Winner of the Lucille Lortel Award for Outstanding Musical, nominated for five Outer Critics Circle Awards, including Off-Broadway Musical and Book of a Musical). REGIONAL: Intiman Theatre: Stu for Silverton (Book). INTERNATIONAL: London: Southwark Playhouse: Dogfight (Nominated for two Evening Standard Awards, including Best Musical). FILM: Breaking Upwards (Co-Writer, Associate Producer; IFC Films), Unlocked (Co-Writer, Tribeca Film Fest). AWARDS: Richard Rodgers Award, 2011. TRAINING: Northwestern University. 35

Drew Lichtenberg Dramaturg Please see page 41. Lisa Beley Voice and Text Coach Please see page 43. Craig Baldwin Assistant Director STC: Hamlet, The Lover and The Collection, The School for Lies, The Tempest (2016 Free For All), The Taming of the Shrew, Othello (also 2017 Free For All), The Critic and The Real Inspector Hound, Tartuffe, The Metromaniacs, The Tempest. NEW YORK: 59E59: C.O.A.L. (Confessions of a Liar); New York International Fringe Festival: Magic Kingdom, The More Loving One (FringeNYC Overall Excellence Award: Best Overall Production/ Play); Marymount Manhattan College: Columbinus; August Strindberg Rep Theatre: Mr. Bengt’s Wife; Atlantic Acting School: A Midsummer Night’s Dream; HERE Arts Center: Ingmar Bergman’s Persona; 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). REGIONAL: 5th Avenue Theatre: The Secret Garden; Opera House Arts: Antony and Cleopatra; SUNY Purchase College: The Miser. INTERNATIONAL: The Flick by Annie Baker (Sydney Premiere); The Aliens by Annie Baker (Sydney Premiere); 4 Minutes, 12 Seconds (Australian Premiere). OTHER: Producer, Red Bull Theater, Short New Play Festival; Lincoln Center Theater Directors’ Lab (Member). TRAINING: The Juilliard School. WEB: CraigBaldwin.net. Brandon Bieber Assistant Choreographer Please see page 24.

Brandon Adams Associate Music Director STC: The Secret Garden, King Charles lll (Vocal Coach). NEW YORK: Theatre 2020: Assassins. REGIONAL: 5th Avenue: The Secret Garden (AMD); Center Rep: Life Could Be a Dream (dir. Roger Bean), Blues in the Night, 25 th Annual Putnam County Spelling Bee, Lucky Stiff, Xanadu; 42 nd Street Moon: Fanny, Little Me, Oh, Kay!, Grass Harp, Sitting Pretty, Louisiana Purchase, Nymph Errant, Do I Hear a Waltz; Marin Theatre Company: Old Wicked Songs; Woodminster: Ragtime, Kind and I, Brigadoon; Theatre Under the Stars: Fiddler on the Roof. INTERNATIONAL: Tours with Grammy Award-winning Pacific Boychoir Academy: Vietnam, China, Spain, Russia, Australia, Brazil (pianist). AWARDS: San Francisco/ Bay Area: Bay Area Theatre Critics Circle Award: She Loves Me, The Musical of Musicals, the Musical!; Shellie Awards: She Loves Me, Les Misérables; Garland Award: Let’s Face It!; TBA Award nominations: Anything Goes, Life Could Be a Dream. OTHER: San Francisco: I’m Hip (Ana Gasteyer); SF Performing Arts Library and Museum: A Conversation with Mary Rodgers. TEACHING: Lecturer in Musical Theatre: San Francisco State University, San Francisco Conservatory of Music, American University. TRAINING: Dartmouth College: BA in Music; Indiana University: MM in Choral Conducting. WEB: BrandonDavidAdams.weebly.com. Joseph Smelser* Production Stage Manager STC: 27 productions including Hamlet; The Lover and The Collection; The School for Lies; The Secret Garden (also at 5th Avenue Theatre and Theater Under the Stars); The Critic and The Real Inspector Hound (also at Guthrie Theater); Kiss Me, Kate; Man of La Mancha; The Tempest; A Funny Thing

Happened on the Way to the Forum; A Midsummer Night’s Dream; Strange Interlude; All’s Well That Ends Well. REGIONAL: Arena Stage: Let Me Down Easy; Seattle Repertory Theatre: Eight seasons including An Ideal Husband, Play On!, Golden Child, Don Juan, The Search for Signs of Intelligent Life in the Universe (with Lily Tomlin); American Conservatory Theater: The Rivals, The Circle, The Government Inspector, Vigil; Berkeley Repertory Theatre: Journey to the West, An Almost Holy Picture, Having Our Say; Regional Tour: Let Me Down Easy and Twilight: Los Angeles, 1992 (both with Anna Deavere Smith). TRAINING: Oberlin College: BA. Christopher Michael Borg* Stage Manager STC: Noura, Twelfth Night. NEW YORK: Broadway: Sister Act (PA); Off-Broadway: Public Theater: Paper Dolls (ASM), Titus Andronicus (PA). REGIONAL: Delaware Resident Ensemble Players: You Can’t Take It with You, Tartuffe, The Elephant Man, The Bells, Clybourne Park, Waiting for Godot, Things We Do for Love, To Kill a Mockingbird, Wait Until Dark, Heartbreak House, The Patsy, The 39 Steps, Juno and the Paycock, The Millionairess, Macbeth; Trinity Rep: Intimate Apparel, Vanya and Sonia and Masha and Spike, House and Garden; Center Stage Baltimore: The Container (SM), The Wiz, Ma Rainey’s Black Bottom (ASM); Everyman Theatre: By The Way…Meet Vera Stark, Heroes. TRAINING: University of MarylandBaltimore County: BA in Theatre.

Midsummer Night’s Dream (2015 Free For All); Stage Management Fellow: The Winter’s Tale (2014 Free For All), As You Like It, The Metromaniacs, Man of La Mancha. REGIONAL: Shakespeare Santa Cruz: Henry V, Honk!, It’s a Wonderful Life Radio Play, Twelfth Night, The Comedy of Errors; Jewel Theatre Company: One for the Road & The Lover. TRAINING: University of California Santa Cruz: BA in Theater Arts.

The designers at this theatre are represented by United Scenic Artists, Local USA 829, of the International Alliance of Theatrical Stage Employees.

Rebecca Shipman* Assistant Stage Manager STC: Hamlet, The Lover and The Collection, Othello (2017 Free For All); Production Assistant: Macbeth; King Charles III; The Secret Garden; Romeo and Juliet; The Taming of the Shrew; Othello; Kiss Me, Kate; Salomé; A

PLAY IN PROCESS

Alexandra Silber and the company of Camelot rehearse“The Lusty Month of May.”

Nick Fitzer and Alexandra Silber rehearse as Director Alan Paul observes.

Ken Clark, Director Alan Paul and Patrick Vaill.

Casey WengerSchulman, Michael Bingham and Bridget Riley in dance rehearsal.

Patrick Vaill and the company.

Floyd King.

Ken Clark.

Nick Fitzer and Alexandra Silber.

FOR SHAKESPEARE THEATRE COMPANY

MICHAEL KAHN Artistic Director STC: Hamlet (2018); The Lover and The Collection; The School for Lies, The Critic and The Real Inspector Hound; The Metromaniacs; 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: Classic Stage Company: The Liar; Manhattan Theatre Club: Five by Tenn, Sleep Deprivation Chamber, Funnyhouse of a Negro, The Rimers of Eldritch, Three by 40

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). The Acting Company: Artistic Director, 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; Studio Theatre: Cloud 9, Torch Song Trilogy. Guthrie Theater: The Critic and The Real Inspector Hound, The Duchess of Malfi; American Repertory Theatre: ‘Tis Pity She’s a Whore; The Old Globe: The Metromaniacs; American Shakespeare Theatre: Artistic Director for 10 years, more than 20 productions; McCarter Theatre Center: Artistic Director for five seasons, including Beyond the Horizon, filmed for PBS; Chautauqua Theatre: Artistic Director, including The Glass Menagerie with Tom Hulce; Goodman Theatre: Old Times (MacArthur Award), The Tooth of Crime (Jefferson nomination); Ford’s Theatre: Eleanor. OPERA: Roméo et 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 Order of the British Empire (C.B.E.); Theater Hall of Fame; seven Helen Hayes Awards for Outstanding Director; 2016 Theatre Communications Group Theatre Practitioner Award; 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 Executive 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 D.C. Downtown BID, THE ARC, D.C. Arts Education 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, D.C. Commission on the Arts and Humanities, 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 Please see page 32. DREW LICHTENBERG Dramaturg STC: Noura; Hamlet; Twelfth Night; The Lover and The Collection; The School for Lies; Macbeth; King Charles III; The Secret Garden; Romeo & Juliet; 41

Adrianna Hicks (Celie) and the North American tour cast of THE COLOR PURPLE. Photo by Matthew Murphy, 2017.

July 31â&#x20AC;&#x201C;August 26 | Eisenhower Theater KENNEDY-CENTER.ORG | (202) 467-4600 Tickets also available at the Box Office. Groups call (202) 416-8400. For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540. Theater at the Kennedy Center is made possible by

Major support for Musical Theater at the Kennedy Center is provided by

Kennedy Center Theater Season Sponsor

Additional support is provided by Ambassador Elizabeth Frawley Bagley.

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The Taming of the Shrew; Othello; The Critic and The Real Inspector Hound; Kiss Me, Kate; Salomé; Tartuffe; Man of La Mancha; The Metromaniacs; 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. NEW YORK: Broadway: Roundabout: Time and the Conways (dir. Rebecca Taichman). REGIONAL: Woolly Mammoth Theatre Company: The Arsonists (German translation/ Text Consultant); 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). INTERNATIONAL: National Theatre: Salomé, Les Blancs (dir. Yaël Farber). OTHER: Yale School of Drama: Tarell McCraney’s In the Red and Brown Water (U.S. premiere); TEACHING: Catholic University of America; Eugene Lang College at the New School. TRAINING: Yale School of Drama: MFA in Dramaturgy and Dramatic Criticism. LISA BELEY Head of Voice and Text STC: Noura, Hamlet, Twelfth Night, The Lover and The Collection, Othello (2017 Free For All), The School for Lies, Macbeth, King Charles III; ACA: A Midsummer Night’s Dream; Coriolanus. INTERNATIONAL: Vancouver, Canada: Rumble Theatre: Indian Arm; Vancouver Playhouse: The Music Man; Dorothy Somerset Studio: The Glass Menagerie, The Cherry Orchard; SFU Theatre: Laurier; Tooba Theatre: Twelfth

BEDLAM’S

Written by GEORGE BERNARD SHAW Directed by ERIC TUCKER

NOW ON STAGE! Extended through June 10

“A production to be treasured” — The New York Times

folger.edu/theatre | 202.544.7077 Folger shakespeare library PHOTO BY C. KING PHOTOGRAPHY

Night; UBC Theatre: The House of Atreus, Arcadia; York University: Our Country’s Good. FILM: Dialect, voice or text: Warcraft, Horns, Firewall, Monster Trucks, Diary of a Wimpy Kid, Suckerpunch, The Watchman, Hidden, Apollo 18, The Uninvited, Hot Rod, Pirates of the Caribbean 3, Elektra. TELEVISION: Dialect: Tin Star, Bates Motel, The Wilding, The 100, Alcatraz, Rogue, Red Widow, The Secret Circle, Heavenly, The River, Human Target, The Good Wife, Inseparable, Cooking Lessons, Just Cause. OTHER: Acting: theatre, film and voice-overs; Directing: The Bay at Nice, Agamemnon. TEACHING: STC’s Academy for Classical Acting at The George Washington University: Voice, Speech and Text Instructor; Canada’s National Voice Intensive: Voice, Speech and Text Instructor. TRAINING: York University: MFA in Acting, Voice Teacher’s Diploma; University of British Columbia: BFA in Acting.

CARTER C. WOODDELL Casting Director STC: Waiting for Godot (child casting); Noura; Hamlet; Twelfth Night; The Lover and The Collection; Othello (2017 Free For All); The School for Lies; Macbeth; King Charles III; The Secret Garden; Romeo & Juliet; The Tempest (2016 Free For All); The Taming of the Shrew; 1984 (children); Othello; The Critic and The Real Inspector Hound; Kiss Me, Kate; Salomé; A Midsummer Night’s Dream (2015 Free For All); Tartuffe; Dunsinane (supernumerary); Man of La Mancha; The Metromaniacs (STC and Old Globe); The Tempest; As You Like It; The Winter’s Tale (2014 Free For All); The Merry Wives of Windsor; Two Gentlemen of Verona; Much Ado About Nothing; The Merchant of Venice; ReDiscovery Reading Series. Other Casting Experience (McCorkle Casting, Ltd.): NEW YORK: Broadway: End of the Rainbow, High; Off-Broadway (partial): Tribes, Our Town, The Acting Company, Freud’s Last Session, A

Perfect Future, The Irish Curse, An Error of the Moon; 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, Guthrie Theater, Pittsburgh Public Theater, TheaterWorks Hartford. RADIO: BBC Radio: The Piano Lesson. TELEVISION: Sesame Workshop: The Electric Company, Pilot: 27 East. FILM: Premium Rush (Columbia Pictures), Junction (Choice Films). TEACHING: Guest Lecturer at Rutgers University, BFA and MFA acting students.

CAMELOT EVENTS AND ACTIVITIES Be more than an audience member at events inspired by STC productions. Visit ShakespeareTheatre.org/Events for details.

Sidney Harman Hall

HAPPENINGS HAPPY HOUR: XUEJUAN DANCE ENSEMBLE Thursday, May 24 at 6 p.m. The Forum in Sidney Harman Hall PAGE AND STAGE Sunday, May 27 at 5 p.m. The Forum in Sidney Harman Hall ASIDESLIVE SYMPOSIUM: THE ROMANCING OF CAMELOT Sunday, June 3 at 10 a.m. The Forum in Sidney Harman Hall Tickets: $10 general, $5 student UNSEX ME HERE: POLITICAL WIVES Tuesday, June 5 at 6 p.m. The Forum in Sidney Harman Hall BOOKENDS Wednesday, June 6 at 5:30 p.m. and post-show The Forum in Sidney Harman Hall/Stage SHAKESPEARE SALON: CAMELOT Fridays, June 8â&#x20AC;&#x201C;22 at 1 p.m. Sidney Harman Hall Tuition: $150 BOOK CLUB: MISTS OF AVALON Tuesday, June 12 at 6 p.m. The Forum in Sidney Harman Hall

A B C H O P R U Y

AUDIO DESCRIPTION BOOKENDS OPEN CAPTIONING HAPPENINGS HAPPY HOUR OPENING NIGHT PAGE AND STAGE REFLECTIONS UNSEX ME HERE YOUNG PROSE NIGHT

REFLECTIONS Saturday, June 16 at 5 p.m. The Forum in Sidney Harman Hall ACTING INTENSIVE WITH ALEXANDRA SILBER Monday, June 18 at 7 p.m. The Forum in Sidney Harman Hall Tuition: $40 BRUSH UP Tuesday, June 19 at 6:15 p.m. The Forum in Sidney Harman Hall HAPPENINGS HAPPY HOUR: LA TI DO CABARET Thursday, June 21 at 6 p.m. Mezzanine Lobby in Sidney Harman Hall THE 2018 ANNUAL DINNER AND MOCK TRIAL June 25 at 7:45 p.m. Sidney Harman Hall SOLD OUT

THE ACADEMY FOR CLASSICAL ACTING’S 2018 REPERTORY SEASON IS UNDERWAY!

Pericles, Prince of Tyre, directed by Alec Wild and Jef Awada, and Julius Caesar, directed by Cameron Knight, run June 18–June 30. Thrilling movement and original music coalesce amidst Shakespeare’s poetry to create two worlds in conversation. Shakespeare’s Pericles, like his other late plays, speaks to the themes of family, redemption, forgiveness and reconciliation. At the same time, it’s a lively and buoyant adventure story that touches on experiences both soaring and sordid—love, sex, friendship, incest, loyalty, betrayal—as 46

Pericles, Prince of Tyre, finds his fate inexorably intertwined with the Mediterranean Sea. Julius Caesar likewise explores timeless ideas of friendship, loyalty and betrayal amidst political upheaval. Caesar is a thrilling, cerebral play of intrigue, investigating where personal ambition and the ideals of Rome diverge, as Brutus and Marc Antony make their stands. Visit ACA.ShakespeareTheatre.org for more information about the ACA and our Summer Repertory Season.

The Graduate Institute at St. John’s College

READ SHAKESPEARE And Plato And Darwin And Austen And Kant And Confucius And more great books at St. John’s College. St. John’s College partners with the Shakespeare Theatre Company to offer free seminars each year in Washington, DC.

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Master of Arts in Liberal Arts 60 COLLEGE AVE. | ANNAPOLIS, MD 21401 410-626-2522 | WWW.SJC.EDU

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ABOUT STC

OUR MISSION The Shakespeare Theatre Company creates, preserves and promotes classic theatre—ambitious, enduring plays with universal themes—for all audiences.

international relevancy—those with profound themes, complex characters and heightened language—through a contemporary 21 st-century lens.

OUR VISION

We expand the classic theatre repertoire in America by reviving and commissioning adaptations and translations of important forgotten works.

We create theatre to ignite a dialogue that connects the universality of classic works to our shared human experience in the modern world. OUR VALUES AND FOCUS Shakespeare Theatre Company produces and presents the highestquality classic theatre productions across genres, bringing them to vibrant life in a provocative, imaginative and accessible style. With Shakespeare at our core, we explore plays of national and

We create impactful and responsive arts education and community engagement programs to connect audiences to the significance of classic works and themes. We provide a home for leading classical artists and a training ground for the next generation of theatre artists and arts administrators.

STC BOARD OF TRUSTEES

Michael R. Klein, Chair Robert E. Falb, Vice Chair John Hill, Treasurer Pauline A. Schneider, Secretary Michael Kahn, Artistic Director TRUSTEES Nicholas W. Allard Stephen E. Allis Anita M. Antenucci Michael Bahar Jeffrey D. Bauman Michael Beriss Landon Butler Dr. Paul Carter Lady Darroch Gloria Dittus Debbie Driesman Dr. Mark Epstein Stefanie Erkiletian Dr. Natwar Gandhi Barbara Harman Stephen A. Hopkins Lawrence A. Hough W. Mike House Jerry J. Jasinowski Norman D. Jemal Scott Kaufmann Sudhakar Kesavan Emily Lenzner Abbe David Lowell Timothy R. Lowery Gail MacKinnon Bernard F. McKay Melissa A. Moss Michael Paese Irene Pollin

Stephen M. Ryan Jonathan Sherman George Stamas Rob Wilder Michele Williams Tom Woteki Suzanne S. Youngkin Lolita Zinke EX-OFFICIO TRUSTEE Chris Jennings, Executive Director EMERITUS TRUSTEES R. Robert Linowes*, Founding Chairman James B. Adler Heidi L. Berry* David A. Brody* Melvin S. Cohen* Ralph P. Davidson* James F. Fitzpatrick Dr. Sidney Harman* Lady Manning Kathleen Matthews William F. McSweeny V. Sue Molina Walter Pincus Eden Rafshoon Emily Malino Scheuer* Lady Sheinwald Mrs. Louis Sullivan Daniel W. Toohey* Sarah Valente Lady Westmacott Lady Wright cu r r ent a s o f may 2018

*Deceased

SUPPORT We gratefully acknowledge the following donors that currently support the work of the 2016-2017 and 2017-2018 Seasons. This list is current as of April 15, 2018.

$100,000 and above

Beech Street Foundation T The Roy Cockrum Foundation D.C. Commission on the Arts and Humanities, which receives support from the National Endowment for the Arts The Harman Family Foundation T The Honorable Jane Harman

Michael R. Klein and Joan I. FabryT BA The Robert and Arlene Kogod Family Foundation Alan and Marsha Paller Share Fund Robert H. Smith Family Foundation

$50,000 to $99,999

Paul M. Angell Family Foundation Anita M. Antenucci T Mr. and Mrs. Landon Butler T The Morris and Gwendolyn Cafritz Foundation Dr. Paul and Mrs. Rose Carter T Debbie Driesman and Frank F. Islam T BA Dr. Mark Epstein and Amoretta Hoeber T The Erkiletian Family Foundation T

Mr. and Ms. Sudhakar Kesavan T Mr. Abbe Lowell and Ms. Molly Meegan T BA Jacqueline B. Mars National Capital Arts & Cultural Affairs Program/US Comm. of Fine Arts Mrs. Irene Pollin T The Shubert Foundation Tom and Cathie Woteki T AMB Suzanne and Glenn Youngkin T

$25,000 to $49,999

Anonymous William S. Abell Foundation Anne and Ronald Abramson Stephen E. Allis T Mr. and Mrs. Stephen A. Hopkins T Helen Kenney AMB Ms. Emily A. Lenzner T Michael & Maureen McMurphy & the Patrick Michael McMurphy Memorial Foundation

National Endowment for the Arts Steve and Diane Rudis 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 Carolyn L. Wheeler BA

$15,000 to $24,999 Anonymous Aflac Nick and Marla Allard T BA Altria Group The Theodore H. Barth Foundation Brown-Forman Corporation Capital One Clark Construction Group, LLC The Dallas Morse Coors Foundation for the Performing Arts Diamond & Schmitt Architects Inc. Douglas Development Corporation Mr. and Mrs. Robert Falb T James A. Feldman and Natalie Wexler Arthur and Shirley Fergenson ACA Helen Clay Frick Foundation Sue and Les Goldman

Green Dot Corporation Catherine Held Hogan Lovells US LLP Houlihan Lokey Humana Inc. JM Zell Partners, LTD Ms. Elaine Economides Joost 1616 K&L Gates LLP The Jacob and Charlotte Lehrman Foundation James J. Lynch The Morningstar Foundation Seyfarth Shaw LLP Mark Tushnet and Elizabeth Alexander Michele Williams T WilmerHale Lynn and Jonathan Yarowsky $10,000 to $14,999 Anonymous (3) Esthy and Jim Adler Sheila and Kenneth Berman CBRE Group, Inc.

CityCenterDC CJM Foundation Christopher Clarke Computer and Communications Industry Association Cozen Oâ&#x20AC;&#x2122;Connor Kay Kendall and Jack Davies Tom and Krista Di Iaconi BA The Dow Chemical Company The Max and Victoria Dreyfus Foundation E. and B. Family Trust Julie M. Feinsilver 1616 ACA Samuel Freeman Charitable Trust Goldman Sachs & Co. Gould Property Group Ms. Elizabeth Graham Grossberg, Yochelson, Fox & Beyda, LLP Lynne and Joseph Horning The International Union of Bricklayers and Allied Craftworkers

Irene and Lou Katz Mr. and Mrs. Kevin Kolevar Mr. and Mrs. Andrew Marino Mars Foundation Hazel C. Moore Rita T. Mullin Nissan North America, Inc. Theodore B. Olson and Lady Booth Olson BA Craig Pascal and Victor Shargai Pauline A. Schneider T BA Judi Seiden AMB The Honorable Robert E.Sharkey and Dr. Phoebe Sharkey Doug and Gabriela Smith Clarice Smith Velasquez Group, LLC Venable LLP JBG Smith Patricia and David Vos Foundation $5,000 to $9,999 Anonymous (2) Adler Family Foundation, Inc. Kevin and Amanda Allexon BA Alston & Bird LLP Bill & Sunny Alsup Mark and Cindy Anderson Keith and Celia Arnaud AT&T Services, Inc. Mr. and Mrs. Albert H. Barclay Jr. Ms. Kyle Z. Bell and Mr. Alan G.R. Bell Barbara Bennett Peter A. Bieger Bloomberg Philanthropies The Bozzuto Group British Council Robert Crawford Carlson Teresa Phelps Carr and Edward Carr Audrey Chang and Michael Vernick The Honorable Joan Churchill BA Richard H. Cleva and Madonna K. Starr BA Jeffrey P. Cunard ACA BA Louis Delair, Jr. C. Maury Devine Beverly and Richard Dietz The Dimick Foundation Nina Laserson Dunn and Eric C. Rose BA Ernst & Young LLP Patricia and Miguel Estrada Marietta Ethier BA Denise Ferguson Anne and Burton Fishman BA Paige Franklin and David Pancost Friedman-French Foundation Tim and Susan Gibson ACA AMB Global Tapas LLC Marilyn and Michael Glosserman Lee Goodwin and Linda Schwartzstein Graham Holdings David and Jean Grier John and Meg Hauge

Kevin T. Hennessy AMB BA John W. Hill T Mr. Ken Hitz Mike and Gina House T BA The Mark & Carol Hyman Fund Jerry and Isabel Jasinowski T Jody Katz and Jeffrey Gibbs BA Richard Kelley David and Anne Kendall BA Thomas and Bridget Kluwin Kovler Fund of the Community Foundation of the National Capital Region Sara and Stephen Kraskin Barry Kropf Marcel C. LaFollette and Jeffrey K. Stine ACA Gail and Jeff MacKinnon T Mallinckrodt Pharmaceuticals Heidi and Bill Maloni Kathleen Matthews Bernard and Mary McKay T Mr. Jim McKenzie Merrill Family Foundation Melissa Moss T Oracle Corporation Mr. Michael Paese, Esq T Karishma and Jonathan Page Scott Pearson and Diana Farrell BA Mr. and Mrs. Carl Pfeiffer Carter Phillips and Sue Henry BA Porterfield, Fettig & Sears, LLC Property Capital LLC Bill Pugh and Lisa Orange Quicken Loans Robert and Nan B. Ratner Raymond James Financial, Inc. Reset Public Affairs The Nora Roberts Foundation Gerri and Murray Rottenberg 1616 Mr. Albert C. Schneider and Ms. Catherine L. Heron William Stein and Victoria Griffiths BA Story Partners T Terra Nova Title and Settlement Services, LLC Mr. Derek Thomas and Mr. Ernesto Abrego United Airlines Mr. and Ms. Antoine Van Agtmael Verizon Foundation Karen Walker BA Marvin F. Weissberg Wells Fargo Philanthropy Whirlpool Corporation Rob and Robin Wilder and the Duane Wilder Foundation T Alan and Irene Wurtzel Chris and Carol Yoder Zickler Family Foundation Judy and Leo Zickler $2,500 to $4,499 Anonymous (6) Miriam and Robert Adelstein Robert N. Alfandre Tony Anderson and Kevin Lorei Mr. Decker Anstrom and Ms. Sherron Hiemstra

Stephen P. Anthony BA Stephen Kim Badzik 1616 Drs. Hilda and William O. Bank Anita Dunn and Bob Bauer BA Carmela and James Bell Brent J. Bennett Bob, Kathy and Lauren BA Bill and Evelyn Braithwaite Mr. and Mrs. Jere Broh-Kahn ACA Howard M. Brown ACA Claudyne Y. Brown BA Mr. and Mrs. I.T. Burden III Capitol Tax Partners Dawn and James Causey Ellen MacNeille Charles Chicago Title NCS DC Monica Rose Chodur Linda and John Cogdill Mary Cole AMB Jeff and Jacky Copeland Cornerstone Government Affairs LLC Marshall B. Coyne Foundation Douglas W. Crandall and Carlton W. Gleed Erin Cromer BA The Charles Delmar Foundation Dr. Marjorie Deutsch and John Broadbent Dorchester Towers and Dorchester Apts on Columbia Pike in Arlington Helaine G. Elderkin BA John Estes BA ExxonMobil Leo Fisher and Sue Duncan BA Barry and Marie Fleishman Forest City Washington Rhona Wolfe Friedman and Donald J. Friedman BA Burton Gerber 1616 Alice and John Goodman Donald H. Goodyear, Jr. Gould Family Foundation John E. Graves RIA and Hanh Phan Nicole Alfandre Halbreiner Frona Hall Jay and Robin Hammer Robert & Margaret Hazen William L. Hopkins 1616 James and Marissa Huttinger Dr. Juel Janis Larry and Georganne John Belinda M. Kane Mr. Richard Kasten Daniel F. Katz BA Joel and Mary Keiler Joe & Joanne Kelly Mr. Jeffrey D. Kirkwood Mary Hughes Knox David A. Lamdin AMB Richard Levi and Susan Perry Marjorie and John Lewis James and Barbara Loots BA Amanda Machen Mary M. McCue ACA AMB The McGwin/Bent Family BA Thomas and Ingrid McPherson Foundation Katy Mead MediaDC Kristine Morris

Motion Picture Association of America National Association of Realtors NCTA- The Internet and Television Association National Multifamily Housing Council Navigators Global Madeline Nelson Louisa and William Newlin Melanie and Larry Nussdorf OCNC Group Mr. and Mrs. David Osnos Sydney M. Polakoff and Carolyn Goldman Lutz Alexander Prager Bruce and Julie Press Molly and Joe Reynolds BA The Honorable John T. Rooney Beverly Schacht Richard E. Scott Carl and Elizabeth Seastrum Linda and Stanley Sher The Smith-Free Group LLC Southern Company STUDIOS Architecture Peter Threadgill Sylvia Toone and James Baxter Kathy Truex Allen Unsworth Ralph Voltmer and Tracy Davis BA The Walt Disney Company Stephen and Alexandra Wrage BA Margot and Paul Zimmerman

$1,500 to $2,499 Anonymous (9) Gisela and Thomas Ahern Sanford K. Ain, Esq. BA Dean Amel and Terry Savela Ameresco American Express Company American Legislative Exchange Council Ms. Jerrilyn Andrews and Mr. Donald Hesse ACA Steven Anzalone BA Alan Asay and Mary Sturtevant Association of Flight Attendants-CWA Vince and Julie Auletta Katharine Austin Barnes Dan and Nancy Balz Galen and Carolyn Barbour Linna Barnes and Chris Mixter Danielle L.C. Beach BA Nan Beckley James A. Belson Carol Benedict and Paul Ashin Dr. and Mrs. James E. Bernhardt Sue E. Berryman Bowen Billups Darwin Bingham Mr. and Mrs. John H. Birdsall Vaughn and Marian Bishop Dr. Donna W. Blake and Mr. Bruce E. Eckstein Cathleen E. Blanton Martha Blaxall and Joe Dickey Richard and Susan Bloch BA

James Blum Ms. Gretchen S. Bolton Ronald Bottomly Janet C. Boyd Michael A. Boyd Jill and Jay Brannam Thomas C. Brennan Dr. Chris and James D. Bridgeman Adrianne Brooks Ms. Carol E. Bruce, Esq. BA The Family of Marion and Charles Bryce 1616 AMB Ms. Elizabeth Buchbinder Daniel H. Burd and Anne Reynolds BA Colonel and Mrs. Lance J. Burton Mr. Michael Butterfield and Ms. Hallee Morgan BA Mr. Owen Caine and Mr. Tom Garron Capitol Hill Community Foundation ACA Capitol Counsel LLC Sarah Cavitt Cheryl and Matthew Chalifoux Mr. Tom Challinor Charter Communications CLS Strategies Barbara and John Cochran Marcie Cohen In Honor of Bill Coleman Mr. and Mrs. Anthony C. Collins Congressional Black Caucus Foundation, Inc. Greg and Karen Cooke BA Cox Enterprises, Inc. Mary Crawford and Brian Downie Julia and Francis Creighton Donn and Sharon Davis William and Sandra Davis Matthew and Mike DazĂŠ Mr. Mark Sterling Determan BA Dr. Asif Dhar and Mrs. Aisha Imam E.R. Dolly Dieter Jean and Paul Dudek BA Duke Energy Corporation Becky and Alan Dye Fynnette Eaton and James E. Miller Emily, Susannah and Michael Eig Franc and James Ellzy-Oâ&#x20AC;&#x2122;Malley Ms. Catherine B. Elwell Diana C. Erbsen BA Mrs. Joelle Faucher and Mr. David H. Webber Naomi and Gary Felsenfeld Fierce Government Relations Mr. Joseph Z. Fleming BA Donald and Cathy Fogel Robert and Carole Fontenrose BA Forbes Tate Partners Julian W. Fore Franklin Square Group FTI Consulting Aaron and Susan Fuller Mr. Cary Fuller Charles and Amy Gardner

Dr. Laura J. George AMB Ruth Bader Ginsburg JoAnne Glisson Angela and Dan Goelzer Amnon and Sue Golan Alisa M. Goldstein and Lee Blank Tom Goldstein and Amy Howe BA Grant Thornton LLP Mr. and Mrs. David L. Gray Greenberg Traurig, LLP Linda Griggs and Bill Swedish Lisa Grosh and Donald Names BA Lucia & Woolf Gross H&R Block Merle Haberman Kenneth G. Hance Barbara and Thomas Harr Laura Hart Doris Hausser Mr. Mark E. Herlihy and Ms. Ann M. Kappler Dr. and Mrs. Stephen Hersh Richard and Mary Ellen Hibey BA Linda Lurie Hirsch F. Lynn Holec 1616 Fran and Bill Holmes David H. Holtzman Steven and Patricia Janssen Birdie Johnson BA John Edward Johnson Eric and Heather Kadel BA Michael Kades and Mary Giovagnoli BA Thomas R. and Laurie S. Kelly Frank Kendall and Beth Halpern BA Dana and Ray Koch Mr. Sanjiv Kumar and Ms. Mansoora Rashid L. L. Lanam Laura Langford In memory of Mary G. LaRoche Rob Layden and Nancy Chabot Frances and Emery Lee Charlotte and Russell Leighton Sharon and Steven Lieberman BA Lori and Ross Lindholm Freddi Lipstein and Scott Berg 1616 ACA AMB BA Jessie K. Liu BA David Lloyd Nancy and Dan Longo Shirley Loo 1616 Lorraine S. Dreyfuss Theatre Education Fund Mr. and Mrs. Eric Luse Janet and Steven Magel James and Tamara Dan and Susan Mareck MAXIMUS Foundation Mr. Dorn McGrath BA John & Connie McGuire BA Dr. Nathan Miller Mr. Steven Miller Nancy and Herbert Milstein Jane and Paul Molloy LTC Dee Dodson Morris, Esq. BA Jeff Morrison BA Mr. Melvin Mosley Jr and Mrs. Maryam Ulomi Michael and Lissa Murphy

Carl and Undine Nash BA National Credit Union Foundation Andy Navarrete Jo-Ann Neuhaus Beth Nolan and Charles Wright The OB-C Group, LLC Oliver Ocean BA Mr. and Mrs. Lawrence Oâ&#x20AC;&#x2122;Connor Mr. Daniel Ohlstein BA Mrs. Jean Oliver Mr. and Mrs. Gerald W. Padwe Rodney and Deborah Page Thomas A. Pauls and Eleanor Pelta BA Ms. Penelope Payne Randolph Perry BA Robert and Lillian Philipson Foundation BA Posner-Wallace Foundation Sheldon Pratt ACA Mrs. Eden Rafshoon Lloyd and Claudia Randolph 1616 BA Wendy and John Daniel Reaves Steven and Anne Reed Peter S. Reichertz Phillip Reiman and Leslie Binns Alberto J. Rivera and Sharla J. Rivera BA In memory of Jeanne Addison Roberts Ms. Jaclyn Roeing BA Steve and Diane Rothman AMB Allan Sacks and Barbara Taff James and Stephanie Scobey Ms. Rhonda Shaffer Mr. Kannon and Dr. Victoria Shanmugam BA Mark and Joan Siegel BA Ed and Andy Smith Richard and Sophia Smith BA Software and Information Industry Association Sovereign Strategy Limited Lynne M. Stephens and Kenneth Larson Lawranne Stewart and Mark Kantor Mark Sucher and Jane Lyons Judi and Richard Sugarman Susan and Brian Sullam Mr. and Mrs. David Tate Mr. and Mrs. Ralph Terkowitz Alice W. Thomas 1616 Time Warner Inc. David Tone TPG Capital Drs. Stephen and Susan Ungar John K. Vestal Visa Inc. Mr. and Mrs. John Vogel BA Vulcan Materials Company Foundation Dr. David L. Ward Clare Donelan and Victoria Wei Mr. Eric A. Wenger BA Sonia and Dale West Rob and Raidza Wick Laura and Paul Weidenfeld BA Ms. Molly Wilkinson Robert P. Wilkinson and Kevin Riley Gowen 1616

Ms. Lauren Willard BA Sandy and Jon Willen BA Mr. Robert Wittie Deborah and David Yaffe The Honorable and Mrs. Dov S. Zakheim

$1,000 to $1,499 Anonymous (6) Mrs. and Mr. Natanya Allan Michele A. Manatt and Wolfram Anders Michael D. Audi and Jackie Shapiro Leonard Bachman Mr. and Mrs. Gregory Ballentine R. Joseph Barton and Tricia Placido Rhoda Baruch Ms. Mary Ellen Bergeron Ms. Anita Bizzotto Elizabeth Boyle The Honorable Susan G. Braden and Thomas M. Susman Roger and Nancy Brown The Brueggeman Family Candice C. Bryant James M. Carr Nicholas and Mary Jeanne Carrera Thomas and Robin Clarke JoEllen and Michael Collins Mr. and Mrs. William D. Coston Elizabeth Crompton John and Valerie Cuddy Ronald & Jessica Dabrowski The Damien Foundation Ms. Carol Danko Davis & Harman LLP Deirdre Donahue & Jamie Dahlberg Richard and Patricia Draper Donna Z. Eden Paul Ehrenreich Roberta Ellington Garrett Epps Sandra and James Fitzpatrick Claire Frankel Ms. Elizabeth Galvin Corbin and Pamela Gwaltney Dr. Sara Hale Henry and Mr. Austin Henry Newman T. Halvorson Hines Interests Limited Partnership Fred Philip Hochberg Mark and Brabble Hoffman Judy Honig and Stephen Robb Nancy Garruba and Chris Hornig Joe and Embry Howell Lois Howlin Susan Immelt and Amelie Immelt Mr. Loring J. Ingraham and Ms. Dale Rubenstein International Brotherhood of Boilermakers Ian Jobling John and Marcia Price Family Foundation Ashok and Stuti Kaveeshwar Mark Kearney

David A. Klaus Kathleen Knepper Jeffrey and Barbara Kohler Karen Leider Chris and Lisa Leinberger Maryellen Trautman and Darrell Lemke Lucinda A. Low and Daniel B. Magrow Timothy Madigan Alice Mandanis Jon and Belinda McKenzie Diane Compagno Miller Iris and Larry Miller Mr. and Mrs. Timothy P. Mulligan Donald and Lynne Myers Michael Nannes and Nancy Everett Mr. and Mrs. Ralph Nash Linda S. Neighborgall Philip Nelson and Anne Parten Marina Ottaway Mr. and Mrs. P. David Pappert Mr. William Pappert Mark Perry and Adele Mouzon Julie Phillips Polinger Company Colonel Terry C. Quist Margaret Rice and Bill Sette Steven M. Rosenberg and Stewart C. Low III Lynn N. Rothberg Steven and Rachael Schroeder Richard & Rochelle Schwab Don G. Scroggin and Julie L. Williams In Memory of Betty F. Shepard John and Roma Sherman Patricia Sherman and Terry Murphy Judy and Jerry Shulman John and Eleanor Spoor Robert and Virginia Stern Elizabeth and George Stevens Mr. Paul Tagliabue Diana M.L. Tucker James and Cynthia Tuite Jocelyn and David Turkel USO of Metropolitan Washington Carole and John Varela Ms. Natalie von Seelen M.E. Wagner C. Wakefield Martin and Paula S. Thiede Washington Resource Associates Richard and Sally Watts Bill and Ted Wears-Richards Gerry Widdicombe Caroline C. Willis Xcel Energy $500 to $999 Anonymous (21) Mr. and Mrs. George T. Abed Actorsâ&#x20AC;&#x2122; Equity Foundation, Inc. Donald B. Adams and Ellen Maland Vickie and David Adamson Don and Allison Aitken Rana Al Saadi

Eric Amick Nancy P. Anderson Richard and Rosemarie Andreano Edward M. Andrews and John H. McCrary Cherrill Alfou Anson Richard T. Arndt Mrs. Martin Atlas Kevin and Sheila Avruch Whit and Angela Ayres Lucia Backer Dr. Sheryl D. Baldwin Mr. Joel Balsham Jonathan H. Barber Mr. Michael F. Barrett and Ms. Danielle Beauchamp Joan Barron and Paul Lang John and Patricia Barth Dan and Linda Bartlett Brian Bayliss and Athena Caul Rev. John P. Beal Peter Mathers and Bonnie Beavers Kathleen Bergin Elissa and Bob Bernius Barbara Berrie Bethesda MRI&CT Mary C. Blake Randall J. Boe Thomas Booth Jennifer Boulanger and Bruce Schillo Jacqueline Bowie and Joseph Starnes Dr. Ronald Brady Jerry and Mary Breed Robert Ramsey and Betti Brown Christopher Brown Dana E. Brown Sharon P. Brown Philip Buchan and June Krell Harold R. Bucholtz Michael L. Burke and Carl W. Smith Samuel Sanders Visner and Antoinette Burnham Susan and Dixon Butler Kim and Glenn Campbell Robert Campbell and Mary Schellinger Ann Cardoni Ann Cataldo and Walt Ennaco Mr. and Mrs. Jeffrey E. Christ Ms. Janice L. Clark John Clark and Ana Steele Clark Mr. Timothy Cole and Ms. Kathy Galloway William and Carol Conrad Rachel Conway Robert W. Cover Stephen T. Cramolini Janice King Crawford Todd Culbertson Mr. and Mrs. Mark Darnell Paul J. Davis, M.D. Anthony and Nancy DeCrappeo David desJardins Alan and Susan Dranitzke Dutch and Brenda Dunham David Dunn Mark and Laura Duvall Sayre Ellen Dykes

Stephen and Magda Eccles Stuart and Joanna Edwards Ellen Epstein and Will Guthrie Raymond S. Eresman and Diana E. Garcia Robert and Sue Faron Colonel and Mrs. Charles Feldmayer Mr. and Mrs. Alan M. Fern Dorothy E. Fickenscher Ms. Christine Fisher and Mr. Oscar Goldfarb Rev. and Mrs. Frederick Foltz Thomas & Ilona Fox Jeff Franzen Candida Fraze Moskovitz and Peter Moskovitz David G. Freeman Dr. Helene Freeman Jean Fruci Mr. and Mrs. Davis R. Gamble, Jr. Mr. Stephen Gambrill Mr. and Mrs. Charles Gary Dr. Douglas E. Gill and Mrs. Karen S. Vartan Lewrene Glaser Michael S Gold MD and Ellen Gold David M. Goldberg 1616 Mr. and Ms. Hal Gordon Ms. Lynn M. Gowen Judy and Sheldon Grosberg Margaret S. Grotte Tom Gusdorff and Ed Dennison Jack E. Hairston Jr. Paul and Priscilla Hanley CDR Lars Hanson and RADM Rosanne Levitre Peter D. and Florence R. Hart Terry and Jenny Heiland-Luedtke Peggy O. Heller Shawn C. Helm and J. Thomas Marchitto Margaret Hennessey June and George Higgins Elizabeth Hilder and Randy Smith Mr. Frederic Hill Melissa Hodgman and Peter Strzok Stanley and Vicki Hodziewich Laura L. Hoffman and David E. Colin David Hofstad Mr. Henry H. Holcomb Eric and Susan Holdsworth Judge Christopher Holleman Ambassador Richard Holwill Silvia M. Hoop and Alfred Kammer Donald M. and Barbara S. Hoskins Mr. and Mrs. Timothy Howard Stanley Alan Hurwitz Antonia B. Ianniello and George M. Chuzi Mr. Kurt Jaeger Elizabeth Janthey Stewart Jeffries Mary Frances Jetton Cynthia and Jason Johnson Samantha Johnson

Ms. Susan B. Kamener Maryanne and David Kane Arthur M. Katz and Sima Osdoby 1616 Monsignor Francis G. Kazista Caroline E. Kenney Andrea and Joseph Kerr Sally and Joseph Keyes Dr. Paul Kimmel and Dr. Prudence Kline Robert L. Kimmins Mr. Masami Kojima Karen E. Krueger Dennis and Lori Kruse Dr. Anthony-S. LaMantia Anne E Lamond Margaret Lane Robert L. Larke Eileen Lawrence and Robert Greenfield Nicholas R. Lefevre Dr. and Mrs. Stanley Legum Mr. and Mrs. Tracy Leigh Stephen Leisge Herb and Dianne Lerner Michael and Bianca Levy Marcia Litwack Mr. and Mrs. Joseph Livingston Mr. and Mrs. Kenneth Lorber Janice Louise Lower and Paul R. Berger Linda L. Lum Her Excellency Noreen Major, Order of Merlin David and Claire Maklan David and Pamela Roberts Malmgren Beth Marcus Dr. Devra C Marcus and Michael J. Horowitz Catherine Marich Joann Markon John and Liza Marshall Dr. and Mrs. Robert Martin Winton E. Matthews Michael S. Maurer and Rachel L. Sher Aileen M. May Catherine McClave David and Sarah McMeans In Memory of Patrick Michael McMurphy and Marilyn Shockey Susan C. McNabb and Brent Hillman W. Bruce McPherson Ms. Beverly Melani and Mr. Bruce Walker Starke Meyer Susan and Harry Meyers Mr. and Mrs. Edward Miller Stephen and Nicole Minnick Nicole Monachino Jessine Monaghan Livezey & John More Catherine and David Nielsen Russ and Ellen Notar Mr. John Oliver Judy Olmer C and J Orza Mary Ann Palka Margery Patten in Memory of Michael Patten

Stan Peabody Kevin and Sherry Pearson Trudy and Gary Peterson Mary Irene Pett Ms. Barbara F. Phillips Victoria Phipps Geraldine Fogel Pilzer Ann and Walter Pincus Joseph D. Piorkowski Jr. Elizabeth Piotrowski Ms. Annette Polan Stephen Powell and Kristine Pumphrey Sharis and Thorn Pozen Drs. Dena and Jerome Puskin Alice Rand Julie and Sam Rea The Honorable and Mrs. Joe R. Reeder John and Sue Renaud Barbara and Sheldon Repp Resch Family In Memory of Richard J. Ricard, Jr. Ms. Marie J. Ritzo John Forest Roemer Bella Rosenberg Eugene and Shirley Rosenfeld Katy & Paul Rosenzweig Burton Rothleder Marilyn Rubin, Encore! Bud and Peggy Rubin Ms. Fath Ruffins Robert and Lelia Russell Susan Safer Suzonne Sage Ron and Sharon Salluzzo Charles B. Saunders, Jr. Chris Savage and Lisa Hemmer Mr. Justin Aaron Savage, Esq Linda B. Schakel Jane Scholz Eugene & Alice Schreiber Philanthropic Fund Kathleen R. Scott in Memory of Matteson M. Scott In Memory of Matteson Scott Sally S. Simms Donald M. Simonds Stephen Sleigh and Ann Greiner Dr. and Mrs. Delbert D. Smith Michael R. Smith and Holly A. Larisch Steve and Diane Sockwell Ms. Julia M. Soler Randall Speck and Samantha Nolan Mr. and Mrs. William Spellbring James and Sue Sprague Cecile and James Srodes Judith E. Stein and James P. Petrila Mr. Edward Steinhouse Janice Sterling Stoiber + Associates, Architects Dorothy and Donald Stone Maureen Sullivan Marsha Swiss and Ron Costell M.D. Alice J. Sziede Harry and Carol Tabak Drs. Sheila and Steven Taube John Taylor

Jonathan Taylor and Dianne Shaughnessy Larry and Cathy Thompson Jessica and Henry Townsend Al and Jackie Tucker Dr. Kazuko Uchimura Marilyn and Roderick Uveges Dr. Arina van Breda Joan and Lyman Van Nostrand Stephanie and Fernando van Reigersberg Dwight and Carrie Vaughn Mr. Steve Verna Robert Warren and Jane Grayson Dr. Arthur Weinstein BA Ms. Judith Weintraub Jack and Ruth Ellen Wennersten Dr. Marjorie Williams ACA Scott and Lucy Wilson C. Lawrence Wiser Neville Withington and Kerry Kingham Anita Woehler Anne and Tom Wotring Irving and Carol Yoskowitz Michael Zeigler Mr. Mark Ziomek and Mr. Gary Bowden $250 to $499 Anonymous (26) In Memory of Steven J. Agresta Anthony A. Aldwell Ambassador and Mrs. Frank Almaguer Ruth and Sam Alward Judy Areen and Richard Cooper Jean W. Arnold Jane Bachner Beverly Baker Mr. John Ball Margaret and Gordon Bare Mr. Thomas Barlow Michael and Lissa Barry Julianne Beall Marion and Rand Beers Rita Beier Braman Marguerite Benson Dr. Margaret L. Benson-Mccarthy Jane C. Bergner Ms. Dava A. Berkman Maya A. Bernstein Drs. Ernst and Nancy Scher Billig Ms. Bernice Blair Mary Josie and Bruce Blanchard Mr. Robert L. Bleimann and Dr. May Chin John W. Blouch Donald and Carol Bobby Rick and Burma Bochner Kaye and Andrew Boesel Lisa and Richard Bohrer Vincent & Veronica Boles The Bowie Family Ms. Megan Bowles Susan and Peter Bowman Cindy and Dennis Brack Susan Bradshaw and Gerald Kauvar

Andrew and Shellie Bressler Liz and Randy Brouckman Steve Broughman Mr. and Mrs. Douglas Brown Perry Brown Roger M. Brown and Karen J. Doswell Buckley/Palmore/Hind Family Jan Burchard Sarah & Ed Burger Dianna and Mickey Campagna Donna M. Campbell Peggy Canale J & M Canary Margaret Capron Patrick and Katharine Carney Connie Carter Greg and Jane Castanias Wallace Chandler Mr. Edward Chmielowski Tim and Glenda Christenson Kimberlee Christian Ray Clark, Rhonda Starkey and Alex Mr. and Mrs. Robert L. Clark William and Louise Cleveland John and Sheila Compton Raymond K. Connolly Carol Cooke Jovana Cooke John F. Copes Andrea and Tim Corcoran Bob and Jamie Craft Edward E. Cragg Alan T. Crane Katheryn L. Cranford Drs. Frank and Joanne Crantz Ms. Carolyn Crooks Matt Crouch Isabelle D. and John L. Cummings Ms. Donna Dana Mr. Gerald P. Dargis Belle and Martin Davis Mr. and Mrs. Scott W. Davis Deanna Dawson Donna J. Dean and John L. Meyer Carol S Dickenson Beverly Dickerson Mark R. Disler Yinâ&#x20AC;&#x2122;ying Djuh Carol Doherty Thomas and Carol Donlan Don Douglas and Carolyne Weil Stephen Dove Sue and George Driesen Mr. Brian Driscoll and Ms. Helen Disenhaus Dr. and Mrs. John V. Dugan, Jr. Josef and Vera C. Dvorak Erica and Alan Edelman Betsy Edwards Dr. Stephen Ehrmann Stephen Entin Sarah G. Epstein and Donald A. Collins Mr. William Erdmann David and Marilyn Falksen William Faragher Carissa Faroughi Marc and Anne Feinberg Dr. Julie Fischer

Tracy Fisher Isabelle and James Fitzwilliam Ms. Anne P. Fortney Jim Fraser David Furth and Martha Finnemore Carol Galaty and Ken Shuck Dr. Arlyn Garcia-Perez Mr. and Mrs. Terry M. Gernstein Dennis Gerrity Virginia Giroux Scott Glabman In memory of Angelique Glass 1616 Mr. Carter Glass Anne-Marie Glynn Gigi and Jeff Godwin Greg & Kathleen Gohn Burton Goldberg Charles E. Goldblum Jinny and Michael Goldstein David Goldston Eloise Gore and Allen Hile Alan Goulty & Dr. Lillian Harris Dr. and Mrs. John Grausz Eldon and Emily Greenberg Mr. Bruce Gregory and Ms. Paula Causey Susan and David Gries Jacqueline Lester David Grover Collot Guerard Mary C. Guibert Jerry Haggin Richard and Michelle Hamecs Bonnie Hammerschlag Anne Hammond Betsy Ann Harris Rev. Linda Harrison Donna Hart Lafayette Harter Frank and Lisa Hatheway Judith Hautala Mr. and Mrs. Neil F. Hawks Kevin and Anne Heanue Charles and Dorothy Heise Constance and Richard Heitmeyer Robert J. Herbert Dorsey Hiltenbrand Frederick S. Hird Amanda and Larry Hobart Mr. and Mrs. Cal Hoffman Mr. Andrew T. Hollinger and Ms. Niki L. Holmes Kalaida Marie Holmes Dr. and Mrs. Mack P. Holt Ms. Lindsey Hooper Charles Horn and Jane Luxton Catherine Hotvedt Charlotte Hrncir Thomas Hudson Michael Hughes and Linda Wiessler-Hughes Dave Hughes Dr. and Mrs. Carl E. Hunt Carol Ireland Will, Amanda and Fran Irwin Ms. Patricia Jackman and Mr. Stephen L. John Team Jackson Rachel R. Jaffe Edward & Victoria Jaycox

W. Luther Jett Mr. and Mrs. Donald Johnson George and Ayah Johnson Linda Johnson Jennifer Crier Johnston Mark Johnston Dr. M. Colleen Jones Ms. Margaret Jones Catherine Jordan Mark Joseph Marvin and Madeleine Kalb Richard Kane Ron Kaplan and Yoni Bock Jack and Colleen Katz Ruth Katz Mr. and Mrs. Robert Keatley Don and Alison Kerr Sandy and Pat Kimble Karen D. King, PhD Mrs. William Kingsbury William and Susan Kirby Stephen and Mary Sue Kitchen Robert Klotz and Leslie Campbell Dr. Randall Knack and Misty Knack In Memory of Robert Knouss Tom and Kathy Knox Mr. Jackson Kochen Mr. Michael W. Kolakowski Tija Krumins Ms. Debbie Lansford Mr. Bob Lawshe L. L. Lawson Dr. and Mrs. Daniel and Saskia Leeds Stuart and Brock Lending Mrs. Lee Leonhardy Carol A. Lewis Craig and Stephanie Lewis Ms. Donna Lewis Linda Lewis-Garcia Mr. Richard Wayne Ley Robbie L Lloyd Scott and Ellen Lutrey Ms. Margot E. Machol and Mr. Mark C. Bisnow Chris and Ellie Maginniss Drs Mark and Leigh Maier Leslie Maitland and Dan Werner Captain Lory Manning USN (ret) Robert and Ida May Mantel Maury and Beverley Marks Rita and Paul Marth Stephanie Martin Marc Martinez and Jeff Sturman Jeff Mason and Sage Russell Marc J. Masurovsky Ms. Nicole A. Mazur Matt and Peggy McCarty Donald and Kathleen McGlew Anna Therese McGowan Mr. and Mrs. Daniel J. Meadows Mr. Michael Meier Mrs. Marjory Melnick Ms. Elaine Metlin Lisa M. Mezzetti JoAnn Mican and Skip Mahon M. Elaine Mielke Jack and Barbara Miller Susan Milligan and Philip McGuire Louise C. Millikan

Tony and Gracie Mills Jay and Mary Minnix Bobbe and Herb Mintz Ellen Elow-Mintz and Daniel Mintz Dr. Robert Misbin Ryland and Mary L. Mitchell Andy and Janice Molchon Dr. Allen Mondzac Dominic J. Monetta Ms. Sally F. Morell and Mr. Geoffrey C. Morell Ms. Beret Moyer Elisabeth Murawski Mr. and Mrs. Robert W. Mustain, Jr. Stanley and Marianne Myles 1616 Anne Mytych Dr. Sachin Nagrani Elizabeth and John Newhouse Melissa Nicholson Melissa Nielson and Edward Yawn Joe M Norton Ms. Kathleen J. Norvell Catherine Oâ&#x20AC;&#x2122;Connor John Ohrnberger Mr. and Mrs. John and Karin Old Edward and Susan Oldfield Fanchon A. Oleson Mr. and Mrs. Ernest T. Oskin Mr. and Mrs. Mack Ott Patricia Overmeyer Ms. Ruth Oyen AJ Parr Judy Horgan and Steve Pavsner Laurence Pearl and Anne Womeldorf Julia Perlman Rocky Piaggione Beth Pile Col. and Mrs. Scott Pinckney Stephen and Rutha Piper Jessica Pollner Ms. Toby Port and Mr. Jeffrey Ahl Mr. and Mrs. Joseph A. Presel Maria Proestou and Savana Hadjipanteli Neal Racioppo and Rebecca Scott Alfred S. Raider Bo and Andrea Razak Alisha Reay Michael Rebain Mr. and Mrs. Thomas J. Reckford Mr. and Mrs. John Rennick William L. Ritchie, Jr. Mr. Adam Roberts David and Sandy Robinson Mary and Fernando Rondon Saul Rosen and Deborah Kiefer Dr. and Mrs. Robert L. Rosenberg Sheila M. Ross J. M. Rowe and Nancy J. Chesser Ms. Pamela Russ and Ms. Nancy Stutsman Margaret L. Ryan Linda Bradley Salamon Lenore Salzman Sandall Family

Ms. Mary Sanders Elizabeth Lewis and Thomas Saunders Raymond Scalettar Alan and Geraldine Schechter Stephen Schembs William Schilling Christy Schmidt and Tony and Peter Bayne Mark and Barbara Schoeberl Sharon Schoeller and Edward Saltzberg Steve and Rhonda Schonberg Amy Schwartz and Eric Koenig Joyce and Richard Schwartz Jennifer Shea and Peter Bruns Louise I. Shelley Catherine M. Sheppard Christiane Shipley Mary Sies and Christopher Stark Aimee Smart and Shefa Gordon Wagner-Smith Family Nick and Robbie Snow Mr. and Mrs. Jerome Speltz Mr. and Mrs. William Stansbery Helene and Michael Stein Dr. Yaron M. Sternberg Sue and Steve Sternheimer Jean Stewart Drs. Linda and Robert Stillman Susan Stocks Barbara Stout Mr. Christopher Streight Marc and Ellen Rosser Sukolsky John and Meg Symington Amy and Aaron Taliaferro Mr. David Tannous Peter & Ann Tanous Elizabeth A. Taylor 1616 Carol Thayer Mrs. Eunice Thomas Grant P. and Sharon R.Thompson William J. Tito and Debra J.Duncan Michael Toman and Toi Carter Mr. and Mrs. John Townsend Peter and Rhoda Trooboff Silva B. Trumbower Glenn W. Tuttle Barbara Ann Uhler Mr. Alan Unterein Mrs. Adrienne Vincent George Walser Matthew Watson In Memory of Mary C. Weathers Allan and Marjorie Weingold Roslyn L. Weinstein Catherine and Ronald Weinstock David and Gail Weiss Nancy West Mr. Mark A. Westman

Kathleen White Laura Willumsen David and Myra Wilson Linda Winslow Mr. & Mrs. Robert H. Winter Ellis Wisner Betsy L. Wolf Michelle Yang Carolyn Yocom John and Bucci Zeugner Elizabeth A. Zimmer Victor Zitel Permanent support through the establishment of endowment funds The Leading National Theatres Program, a joint initiative of the Doris Duke Charitable Foundation and the Andrew W. Mellon Foundation Helen Harris Spalding and Herman Bernard Meyer Shakespeare Memorial Fund Gizella Moskovitz Fund Additional Members of the Society of 1616 Anonymous Helen Alexander and Roland Weiss Dr. Sheryl D. Baldwin Mr. John Ball Susan Barrett Mr. John Cahill Lorraine E. Chickering Anne Coventry Zelda Fichandler* Donald Flanders Dr. Helene Freeman Peter and Linda Parke Gallagher* Dr. Olga Gilloegly* Ms. Claudia J. Greer Robert and Magaret Hazen Michael Kahn T Randall Knack Lt. Col. and Mrs. William K. Konze Dr. Richard M. Krause* Estate of Gwenneth Lavin* Mrs. R. Robert Linowes Dorothy and Bill McSweeny Marian Mlay Judith E. Moore Susana and Roberto Morassi* Mr. and Mrs. Richard J. Park Suzy Platt* Jennie Rose Henry J. Schalizki* Anne and Daniel* Toohey

In Kind 701 Asia Nine Bakers & Baristas BridgeStreet Carmineâ&#x20AC;&#x2122;s Cedar Restaurant China Chilcano Constellation Brands, Inc. DBGB Kitchen & Bar Denson Liquor Bar Dirty Habit DC Farmers & Distillers Flight Wine Bar Free State FUEL Pizza Gordon Biersch Brewery Graffiato The Greene Turtle The Hill Newspaper Jaleo Knightsbridge, Inc. La Tasca Lavagna MAC Cosmetics Metro Weekly NOPA Of Iron Oyamel Pitango Gelato Red Velvet Cupcakery Rosa Mexicano SEI Restaurant Teaism ThinkFoodGroup United Airlines The Washington Post West Wing Writers Zaytinya Matching Gifts Bank of America Computer Associates International, Inc. ExxonMobil Foundation Freddie Mac Foundation Goldman Sachs IBM International Foundation International Monetary Fund Qualcomm T. Rowe Price Foundation, Inc. Verizon Foundation Wiley Rein LLP YourCause, LLC

* Deceased

Official 2017–2018 Sponsors: Airline

Hotel

Wine

Make-Up

Costume and Garment

Shoe Repair

Coffee

Key to Symbols 1616 Members of the Society of 1616, the Theatre’s planned giving society ACA Supporters of the Academy for Classical Acting AMB Ambassadors of the Theatre, generous donors who help develop and enhance our patrons’ relationship with the Theatre. To join, please contact Clare Klanderman at 202.547.3230 ext. 2327.

BA Members of the Bard Association, dedicated supporters of the Theatre who are members of the legal community. To join, please contact Emily Wilson at 202.547.3230 ext. 2325 T Members of the Board of Trustees * Deceased

Every effort has been made to ensure that this list is accurate. If your name is misspelled or omitted, please accept our apologies and inform Member Services at 202.547.1122, option 3, or email SupportSTC@ShakespeareTheatre.org.

SUMMER 2018 Ages 7-18 Locations in Washington D.C., Alexandria, McLean and Bethesda.

ShakespeareTheatre.org/Camp 202.547.5688

SHAKESPEARE THEATRE COMPANY STAFF Artistic Director: Michael Kahn Executive Director: Chris Jennings Manager of Executive Office and Board Engagement: David Lloyd Olson ARTISTIC Associate Artistic Director: Alan Paul Head of Voice and Text: Lisa Beley Resident Casting Director: Carter C. Wooddell Literary Manager: Drew Lichtenberg Artistic Associate: Craig Baldwin Artistic Fellow: Susannah Clark 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, Naomi Jacobson, Stacy Keach, Floyd King, Andrew Long, Ethan McSweeny, Jennifer Moeller, David Muse, Hugh Nees, James Noone, Patrick Page, Robert Perdziola, Nancy Robinette, David Sabin, Miriam Silverman, Derek Smith, Walt Spangler, Tom Story, Rebecca Taichman, Ted van Griethuysen, Andrew Veenstra, Craig Wallace, Adam Wernick, Gregory Wooddell ADMINISTRATION Senior Director of Administration: James Roemer Associate Director of Administration: Caroline Reich Human Resources Manager: Lindsey Morris Human Resources Coordinator: Ryn Weil Accounting Manager: Marco Dimuzio Company Manager: Max Schwager Receptionist: Ursula David Company Management Fellow: Anna Torchia Director of Operations: Timothy Fowler Theatre Building Engineer: Dave F. Henderson Theatre Monitors: Milton Garcia, Jeff Whitlow Facilities Custodian: Jorge Ramos Lima Facilities Maintenance Technician: Rashee Archie Harman Custodians: Dennis Fuller, Mirna Guzman, Wilfredo Guzman Lansburgh Custodians: Zulma I. Bonilla, David Guzman, Izilma Membreno Director of Information Technology: Brian McCloskey Systems Administrator: Brian Mureithi Database Administrator: Brian Grundstrom Operations/IT Assistant: Tameka Taylor

DEVELOPMENT Senior Director of Development: Laura Willumsen Capital Campaign Director: Clare Klanderman Director of Individual Giving: Emily Wilson Membership Manager: Daniel Ebert Director of Special Events: Amanda Herman Special Events Coordinator: Katharine Lai Director of Corporate Giving: Kathryn Burns-Yocum Corporate Giving Manager: Katie Atkinson Director of Foundation and Government Relations: Meghann Babo-Shroyer Institutional Fundraising Coordinator: Emma Wesslund Development Operations Manager: Allison Fuhrman Development Coordinator: Jobeth Hammer Development Fellow: Aleksej Aarsaether

MARKETING AND COMMUNICATIONS Senior Director of Marketing and Communications: Neal Racioppo Marketing Manager: Gabriel Benghiat Publicist: Amy Killion Marketing and Communications Coordinator: Christine Covino Marketing and Communications Fellow: Madelyn Odegaard Director of Bookings and Partnerships: Shaun Hart Associate Director of Communications: Laura Henry Buda Graphic Designers: Maryam Banyahmad, Ann Lipscombe Graphic Design Fellow: Amanda Hamati Director of Audience Services: Joy Johnson Group Sales and Ticket Services Manager: Brian Jon Moran Ticket Services Manager: Kieran Shaw Sales Associates: Zindzi Ali, Jake Campbell, Meg Edyvean, Scott Gaines, Christopher Hunt, Amber Jones, Jessica Kaplan, Andre McBride, Kristin Nam, Christopher Pearson, Sarah Polaski, Sarah Pultz, Chad Rabago, Carmelitta Riley, Marie Riley, Crystal Stewart, Michael Wharton Theatre Services Manager: Robert Montenegro House Manager: Danny Romeo Lead House Managers: Ric Birch, Marley Kabin, Jamel Levine, Marie Riley Assistant House Managers: Melissa Adler, Andrea Beland, Anfernee Bryant, Doug Gould, Benjamin Gunderson, Christopher Hunt, Chelsea James, Anna-Claire McGrath, Ryan-Patrick McLaughlin, Michael Moya, Molly Nevola, Carmelitta Riley, Bridget Sheaff, Kara Sparling Retail and Concessions Manager: Nicholas Kilburn Retail and Concessions Associates: Amelia Brookins, Julia Capizzi, Quintin Cary, Susannah Clark, Julia Colpitts, Madalaina Dâ&#x20AC;&#x2122;Angelo, Elizabeth Daingerfield, Negar Esfandiari, Adrianne Glover, Amanda Hamati, Grace Kang, Teresa Kennedy, Justin Lane, Margaret Lee, Grace Murtha, Madelyn Odegaard, Christopher Pearson, Elena Robertson, Leslie Rothstein, Emma Vissicchio EDUCATION Senior Director of Education: Samantha Wyer Bello Associate Director of Education: Dat Ngo Audience Enrichment Manager: Hannah Hessel Ratner Community Engagement Manager: Jared Shortmeier School Programs Manager: Vanessa Hope Training Programs Manager: Brent Stansell Resident Teaching Artist: Dan Crane Education Coordinator : Jess Phillips Education Fellow: Emma Vissicchio Affiliated Teaching Artists: Laura Artesi, Wyckham Avery, Craig Baldwin, Tonya Beckman, Renea Brown, Danny Cackley, Guadalupe Campos, Alina Collins Maldona, Liz Daingerfield, Mary C. Davis, Michael Dove, Vince Eisenson, Randall Exton, Briana Gibson, Brit Herring, Paul Hope, Adrian Iglesias, Mark Jaster, Joy Jones, Drew Lichtenberg, Sabrina Mandell, Katelyn Manfre, Chelsea Mayo, Brenna McDonough, Kiernan McGowan, Sarah Kate Patterson, Jess Phillips, Alex Piper, Zack Powell, Victoria Reinsel, Melissa Richardson, Christopher Richardson, Catherine Ritter, Nancy Robinette, Brayden Simpson, Kristala Smart, Stephen Spotswood, Rebecca Swislow, Michael Thomas, Khaleshia Thorpe-Price, Katie Tkel, Justin Weaks, Eva Wilhelm, Nathan Winkelstein, Gregory Wooddell

THE ACADEMY FOR CLASSICAL ACTING Senior Director of The Academy for Classical Acting: Alec Wild ACA Program Coordinator: Katherine White Faculty Members: Isabelle Anderson, Lisa Beley, Christopher Cherry, Dody DiSanto, Edward Gero, Robb Hunter, Leslie Jacobson, Lisae Jordan, Michael Kahn, Floyd King, Roberta Stiehm PRODUCTION Senior Director of Production: Tom Haygood Associate Directors of Production: Kimberly Lewis Barna, KayCee Tucker Production Administrator: Sloane A. L. Spencer Resident Production Stage Manager: Joseph Smelser Stage Managers: Christopher Michael Borg, Cynthia Cahill, Kristy Matero, Jess Slocum Assistant Stage Managers: Rebecca Shipman, Teresa Wood Production Assistant: Marko Palumbo Stage Management Fellows: Chevonne Baylor, Yiwen Wu Costume Director: Barbara Hicks Floor Manager: Julie Rose Resident Design Assistant: Jeanette Lee Porter Drapers: Denise Aitchison, Randall Exton, Tonja Petersen First Hands: Sara Cardwell, Jennifer Rankin, Sandra Thomas Stitchers: Lauren Pederson, Michele Ordway, Donna Sachs Lead Crafts Artisan: Joshua Kelley Costume Crafts Artisan: Kathryn Hansen Wardrobe Supervisors: Stephanie Goad,

Monica M. Speaker Wig Master : Dori Beau Seigneur Costume Design Fellow: Grace Kang Costume Production Fellows: Leslie Rothstein, Sarah Steele Technical Director: Kelly Dunnavant Assistant Technical Director: Tyler Grady Scene Shop Foreman: David P. Stock Scene Shop Administrator: Charles Cobb Carpenters: Justin Carnes, Matthew Grisdela, Zack Mancini Charge Scenic Artist: Sally Glass Scenic Artist: Jose Ortiz Scenic Painter: Laura Genson Lowe Scenic Art Intern: Hye Su Kang Properties Director: Chris Young Assistant Properties Director: Kimberley E. Cruce Props Painter/Sculptor: Eric Hammesfahr Props Artisan: Justin Titley Soft Goods Artisan: Rebecca Williams Props Intern: Jesse Goodwin Master Electrician: Sean R. McCarthy Assistant Master Electrician: Lauren Lee Harman Electrician: Brice Hilburn Lansburgh Electrician: Peter Goldschmidt Audio/Video Supervisor: Brian Burchett Assistant Audio/Video Supervisor: Alexis Macchiaroli Live Mix Engineer: William Wacker Lansburgh Sound Board Operator: Matthew Allen Stage Operations Supervisor: Will Gautney Assistant Stage Operations Supervisor: Tim Hache Stage Carpenters: Jess Rich, Rachel Wolf Run Crew: Craig Gatling

AUDIENCE SERVICES Lansburgh Theatre 450 7th Street NW Sidney Harman Hall 610 F Street NW Ticket and Group Sales: Tickets: 202.547.1122 Toll-free: 877.487.8849 Group Sales: 202.547.3230 ext. 3405 Box Office fax: 202.608.6350 Bookings: 202.547.3230 ext. 2321 Box Office phone hours (both theatres): Daily: noon–6 p.m. (Box Office window open until curtain time) The Lansburgh Box Office is closed on the weekends if there is no performance at the Lansburgh Theatre. Concessions and Gift Shops: Food and beverages are available one hour before each performance. Pre-order before curtain for immediate pick-up at intermission. Lansburgh Theatre and Sidney Harman Hall gift shops are open before curtain, at intermission and for a short time after each performance. Connect with us: Facebook.com/ShakespeareinDC Twitter @ShakespeareinDC YouTube.com/ShakespeareTheatreCo Flickr.com/ShakespeareTheatreCompany Instagram @ShakespeareinDC Latecomers will be seated at management’s discretion.

Accessibility Our theatres are accessible to persons with disabilities. Please request special seating at time of ticket purchase and arrive 30 minutes before curtain for priority seating. Open-captioned performance of this play: Thursday, June 7 at 8 p.m. Tuesday, June 19 at 7:30 p.m Audio-described performance of this play: Saturday, June 16 at 2 p.m. An audio-enhancement system is available for all performances. Both headset receivers and neck l loops (to use with hearing aids outfitted with “ a T” switch) are available at the coat check on a first-come basis. Programs in large print are available at the coat check. Support for the Shakespeare Theatre Company’s Accessibility Program 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.

2018 -2019

The Grand Finale Season of

MICHAEL KAHN

BY WILLIAM SHAKESPEARE DIRECTED BY ALAN PAUL

BY J.B. PRIESTLEY DIRECTED BY STEPHEN DALDRY

Photos of Gregory Wooddell by Tony Powell.

Photo by Mark Douet.

BY DAVID IVES INSPIRED BY THE WORK OF CARL STERNHEIM DIRECTED BY MICHAEL KAHN

BY WILLIAM SHAKESPEARE DIRECTED BY DAVID MUSE Photo by Tony Powell.

Sponsored by The Robert and Arlene Kogod Family Foundation. Commissioned through a grant from the Beech Street Foundation. Photo by Tony Powell.

BY KATE HAMILL BASED ON THE NOVEL BY WILLIAM MAKEPEACE THACKERAY DIRECTED BY JESSICA STONE PRODUCED IN ASSOCIATION WITH AMERICAN CONSERVATORY THEATER Photo by Tony Powell.

BY ELLEN MCLAUGHLIN ADAPTED FROM AESCHYLUS DIRECTED BY MICHAEL KAHN The Oresteia is made possible by a generous grant from Photo by Tony Powell.

N OW O N SA L E . S U B S C R I B E TO DAY ! S H A K E S P E A R E T H E AT R E . O R G | 2 0 2 . 5 4 7. 1 1 2 2