Bag&Baggage - Richard III

BAG&BAGGAGE PRESENTS:

RICHARD III Based on the play by William Shakespeare Adapted and Directed by Scott Palmer

Scott Palmer Artistic Director Beth Lewis Managing Director Arianne Jacques Patron Services Manager Cassie Greer Engagement Officer Emily Trimble Company Stage Manager

CAST Peter Schuyler*........................................ King Richard III Joey Copsey*................................................. Clarence and Prince Edward Cassie Greer*.............................................Lady Anne and The Duchess of York Eric St. Cyr*.......................................... Lord Hastings and Second Murderer Gary Strong*.................................... Queen Margaret and the Bishop of Ely Mariel Sierra................................... Queen Elizabeth and James Tyrell

GENEROUSLY SPONSORED BY

Fred and Gayle Nachtigal & Nachtigal, Eisenstein and Associates

Sam Jones................................................ Lord Rivers and Lord Richmond Eric Nepom........................................... Lord Buckingham Trevor Jackson............................Supporting Roles and the Young Prince of York Josh Meyers..................................Supporting Roles and Messengers

CREW/PRODUCTION TEAM Scott Palmer.................................. Director and Adaptor Emily Trimble......................Company Stage Manager/ Props Mistress THE 2014–2015 SEASON GENEROUSLY SPONSORED BY

Ronni Lacroute and WillaKenzie Estate

Amanda Kishlock................. Assistant Stage Manager Melissa Heller..................Resident Costume Designer Josh Meyers............................................Set Construction John Armour...................................Fight Choreographer * Member of the Bag&Baggage Resident Acting Company

Performance approximately two hours and 15 minutes with one 15 minute intermission Please turn off your cell phone.

Photography and texting are not allowed.

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DIRECTOR’S NOTES The World Through Richard’s Eyes Richard III is, without question, one of Shakespeare’s most compelling inventions.

But, as with almost all of Shakespeare’s works, he didn’t invent the character, the text, the plot, or the language on his own; in fact, a number of important histories, plays and narratives are at the heart of Shakespeare’s Richard III. Among the most powerful literary influences on Shakespeare were the standard texts that he turned to time and again for story ideas; Holinshed’s Chronicles of England, Scotland and Ireland which is the primary source for Richard III’s plot and history. But in order to understand more about Richard as a dramatic character, Shakespeare turned to Edward Hall’s The Union of The Two Noble and Illustrious Families of Lancastre and Yorke from 1550 which, itself, was a version of Sir Thomas More’s The History of King Richard The Thirde from 1513. Scholars note that, prior to Shakespeare’s staging of Richard III in 1592 or 1593, there were a number of quite popular and successful dramatizations of King Richard’s story, including The True Tragedy of Richard III, an anonymous play, and Richardus Tertius, a Latin drama by Dr. Tomas Legge performed in 1597. It is interesting to note that one of Shakespeare’s most famous lines, “A horse, a horse! My kingdom for a horse!” was taken (but improved upon) from the anonymous play where Richard cries “A horse, a horse, a fresh horse!”

But all of these texts, and Shakespeare’s own representation of Richard, owe much more to a far earlier social influence: The Catholic Church.

Hundreds of year before Shakespeare, the Church employed a remarkable dramatic instrument to teach moral lessons to their parishioners; staged productions filled with Catholic doctrine and Christian values called Morality Plays. These Morality Plays (the earliest known is The Castle of Perseverance although the most well-known is Everyman) were thought to have been written by clergymen as an extension of their sermons or as entertainments at the end of services, and often (almost always) included characters that were…shall we say…fairly easy to comprehend.

Their names? Idleness, Envy, Sloth, Knowledge, Beauty, and…of course…Vice.

The plots were equally simplistic, and often comic. The hero, (sometimes called Everyman or Man), is tempted by a character (with a name like Sin) and, ultimately, through the teachings of the Church, either denies temptation or is redeemed from temptation. Pretty straightforward, right?

In fact, it may have been too straightforward. Kaitlin Steiner, in her essay From Classic Morality Play Tradition to Macbeth, writes, “Due to the fact that many of the early Moralities were written by clergymen strictly to stress spiritual righteousness and strongly discourage sinful behavior, in many cases the author is unknown, the quality of writing is uneven, characterization is also crude and naïve, and there is little attempt to portray psychological depth.” Sounds delightful.

Which is why, according to Steiner and others, Morality Plays began to change, deepen and grow in complexity during the early onset of the Renaissance.

Steiner writes, “The plays became a lot less sermon-like, the characters moving from allegorical in nature to actual BAG&BAGGAGE 3

The World Through Richard’s Eyes cont. characters with human names and attributes. They ceased to be metaphors.

The plays became less about eternal after-life salvation and more about being brought to earthly justice.” Which is also why these new versions became much, much funnier.

So common, and so powerful, was the character of The Vice that scholars throughout the early Renaissance researched, codified and detailed the essential nature of the character. Peter Happ, in his dissertation The Vice from 1966, lists the sixty characteristics of The Vice, and they include the use of an alias, strange physical appearance, the use of asides and direct address, self-explanation in soliloquies, satire, slapstick, depravity, boasting and conceit, and the seeking and enjoyment of great power.

Does that sound like anyone to you?

So much of Shakespeare’s Richard III is owed to these conceptions of the Morality Plays that it feels almost like Theatre 101 to use The Vice as a template for our Richard.

Which is why we aren’t doing that to Richard. We are doing it to the rest of the characters in the play.

Because, let’s be honest, none of the rest of the characters in this play (with perhaps the exception of the Princes and Richmond) are stalwart, upstanding moral characters. Anthony Hammond, in his introduction to the Arden edition of Richard III, “It has often been remarked that all of the characters in the play are guilty. This is so…it is worth remembering that the motives for their behavior, when examined, are no more rational or moral that Richard’s.”

I have always been drawn to Richard as a character. I like him. Everyone does. He is the charming Machiavel, the gorgeous grotesque, the hilarious schemer, and one of the only villainous characters in all of Shakespeare’s canon that I feel badly for when he loses in the end. I have always wanted Richard to win, and have wondered what the world of Shakespeare’s play would have been like had he found that horse he called for.

Yes, he is an unrepentant villain and a mass murderer, but…he is just so damn likeable!

I wonder about how Richard sees the other characters in the play, what they must look like to him. What does Richard see?

A kingdom populated with falseness, personal ambition, greed, and sloth.

Corruptions of nature and vile selfserving pride. Arrogance and vanity, callous indifference and unearned influence. And, like the great Morality Plays upon which Richard III is based, I imagine Richard finds it all so very, very hilarious.

Richard III is the first show in our 15–16 season and, it is my great hope that you will find our unique, innovative approach to the classics engaging, entertaining and compelling. I can promise you a season filled with this kind of innovation; every show in the season has a twist, a take, or an approach that you can’t see anyplace else; we call it the Bag&Baggage factor, and we hope you will join us for our full season of work by becoming a Season Subscriber tonight.

“And thus I clothe my naked villany With odd old ends stol’n out of holy writ, And seem a saint, when most I play the devil!”

Scott Palmer Artistic Director

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ACTOR BIOGRAPHIES CASSIE GREER LADY ANNE/DUCHESS OF YORK

Cassie received her training in the MFA Acting program at Florida Atlantic University, and the undergraduate theatre program at Goshen College in Indiana. She has appeared with a number of companies around the country, some of her favorite shows being with New World Arts: Hello and Goodbye (Hester) and Lysistrata (Lysistrata); Shared Space: David’s Redhaired Death (Jean); Festival Rep. Boca Raton: Company (Sarah) and Twelfth Night (Olivia); South Bend Civic: Intimate Apparel (Mrs. VanBuren); and Oregon Children’s Theatre: Gathering Blue (Katrina) and The Lion, the Witch, and the Wardrobe (Unicorn). Cassie is a proud Resident Acting Company member at Bag&Baggage, where she has appeared in fifteen shows since the 2011–12 season, and is thrilled to be returning outdoors for the summer following Love’s Labour’s Lost (Princess of France); Julius Caesar (Mark Antony); and The Tempest, or The Enchanted Isle (Ariel).

PETER SCHUYLER KING RICHARD III

Peter is a proud member of the Bag&Baggage Resident Acting Company, and holds a Bachelors of Theatre Performance from Northern Arizona University as well as apprenticing at the now defunct Grand Canyon Shakespeare Festival and AZ TheatreWorks, where he received practical training in Jehlinger/ Richardson method and Shakespeare performance. Since moving to PDX from NYC in 2011, Peter has performed for numerous companies in the area including Artists Repertory Theatre, Badass Theatre Co, triangle productions!, Lakewood Theatre, Northwest Classical Theatre Company, Portland Actors

Ensemble, and Northwest Children’s Theater. In NY, he worked with La MaMa E.T.C., Immediate Theater, Dysfunctional Theatre, DMTheatrics, Three Graces, Native Aliens, The Tank, and Alliance Repertory.

JOEY COPSEY* (CLARENCE/PRINCE EDWARD)

Joey received his primary theatrical training at Hiram College in Ohio.

Having grown up on the south Oregon Coast, Joey returned to Oregon after college and has worked on stage intermittently in the 12 years since around the Portland area. He has recently appeared for Valley Repertory Theatre in All My Sons (Chris Keller); Faultline ensemble in Holding onto the Sky (Scott); as well as a reading of Spokesong (Francis) with Corrib Theatre. Some notable productions include Antony and Cleopatra (Marc Antony); How the Other Half Loves (Frank Foster); and Caucasian Chalk Circle (Azdak) at Hiram College. More recently at Portland Community College he appeared in Judevine (David) and Woyzech (The Captain).

ERIC ST. CYR* SECOND MURDERER, LORD HASTINGS

Born and raised a short drive outside the city of Boston, Eric is a proud graduate of Plymouth State University where he received his BA in Theatre Arts with a concentration in Acting. Following his graduation in 2011, Eric joined up with Lost Nation Theatre in Montpelier, Vermont for Woody Guthrie’s American Song (Young Woody Guthrie). Eric then ventured back to the NH seacoast where he performed regularly with The Players Ring, New Hampshire Theatre Project, and ACT ONE (Artists Collaborative Theatre of New England). Eric received two Seacoast Spotlight Award nominations BAG&BAGGAGE 5

ACTOR BIOGRAPHIES under the category of Best Supporting Actor in a Play for his role(s) in Eurydice (Nasty Interesting Man/ Lord of the Underworld) as well as his role in the world premiere of Kate Wenner’s Make Sure it’s Me (Lance Corporal Kevin Daniels).

TREVOR JACKSON YORK, ET AL

Trevor just completed his BFA in Acting from Western Oregon University in June, where he appeared in several shows, such as The Liar (Dorante); Death by Design (Walter Pearce); The Ladies Man (Dr. Molineaux); Deathtrap (Clifford); Thoroughly Modern Millie (Trevor Graydon); Pride and Prejudice; The Crucible; Romeo and Juliet; Spike Heels; Catastrophe; and Half a Block from Home. This is Trevor’s Bag&Baggage premiere, and he is immensely excited to be a part of their season kick-off. Richard III is his favorite play of Shakespeare’s, and he considers himself very lucky to be a part of it coming straight out of school.

JOSHUA MYERS GUARD/MESSENGER/LORD

Josh is working towards his undergraduate degree in Technical Theatre at Lewis and Clark College. In high school, Josh appeared in Beauty and the Beast; A Midsummer Night’s Dream (as Oberon); and You Can’t Take it With You (as Paul Sycamore).

Over the last year he has appeared in Lewis and Clark’s production of Eurydice (as Orpheus) and been a set builder for Spring Awakening, and Exit the King.

This is Josh’s first time performing with Bag&Baggage, and his first voyage into professional theatre.

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MARIEL SIERRA (QUEEN ELIZABETH/ JAMES TYRELL)

Mariel is a graduate of the Portland Actors Conservatory and is an Associate Artist at Post5 Theatre where she recently was the Assistant Director for The Comedy of Errors. Portland theatre credits include Portland Actors Ensemble’s A Midsummer Night’s Dream (Hermia); Fertile Ground’s Dear Momma: A Love Letter (Megan 3); HumanBeingCurious’s Antony and Cleopatra (Alexas/Octavia); Portland Actors Conservatory’s A Bright Room Called Day (Zillah); Rosencrantz and Guildenstern Are Dead (Player King); Milagro Theatre Group Corrido Calavera (Bonnie Bone/ensemble). In addition to mainstage productions, she was a Resident Teaching Artist for Teatro Milagro’s national education tour from 2013–2014.

GARY STRONG* (QUEEN MARGARET/ BISHOP OF ELY)

Gary is one of the inaugural members of the Resident Acting Company here at Bag&Baggage. For over six years now Gary has been in Portland performing the Bard outdoors. You saw him last summer with Bag&Baggage playing Don Armado in Love’s Labour’s Lost. His previous outdoor Shakespeare includes Sir Tobey Belch in Twelfth Night for Bag&Baggage, Oberon from A Midsummer Night’s Dream for Fuse Theatre Ensemble and occasionally you can find him goofing off with Original Practice Shakespeare in some Portland park somewhere.

ACTOR/CREW BIOGRAPHIES SAM JONES LORD RIVERS/ LORD RICHMOND

Sam is currently a student at Portland State University, working towards a Bachelor’s of Science in Arts and Letters. He has recently appeared in several shows at Portland State, including Our Town (as the Stage Manager); Romeo and Juliet (as Friar Laurence); and The Importance of Being Earnest (as Reverend Chasuble). At Portland Community College, he appeared in many productions, including All in the Timing (as various characters); Die, Mommie, Die! (as Angela Arden); and Cloud 9 (as Betty/Edward). Other past shows include Is He Dead? (as Dutchy); The Odd Couple (as Oscar Madison); and A Midsummer Night’s Dream at HART Theatre (as Lysander). * Member of the 2015–2016 Bag&Baggage Resident Acting Company

SCOTT PALMER DIRECTOR AND ADAPTOR

Scott received his Bachelor’s Degree from the University of Oregon, his Master’s Degree from Oregon State University and completed his PhD Coursework in Theatre, Film, and Television studies at the University of Glasgow in Scotland.

Over the past 20 years, Scott has developed an international reputation for his approach to classical dramatic literature, and more specifically his work with major literary adaptations of Shakespeare and his contemporaries.

Scott has adapted and directed critically acclaimed shows for Glasgow Repertory Company, Toi Whakkari (the National Drama School of New Zealand), Salem Repertory Theatre, Oregon State University, and Bag&Baggage Productions. Scott was the Founding Artistic Director of Glasgow Repertory Company, Scotland’s only Shakespearededicated theatre company, as well as the Bard in the Quad Outdoor Shakespeare summer event at Oregon State University.

BETH LEWIS MANAGING DIRECTOR

Beth Lewis has over ten years of experience in theater administration and management. She most recently served as Managing Director of Curious Comedy Theater, Portland’s only nonprofit comedy theater. She moved back home to the Portland area in 2013, after being in Los Angeles for five years working at The Pasadena Playhouse where she ended her tenure there as their Annual Giving Manager. Before that, she lived in New York City, where she served as the Director of Development for The Looking Glass Theatre and the Associate of Special Events for Sonnet Repertory Theatre. In addition to her work at Bag&Baggage, she is currently a board member of the Portland Area Theatre Alliance. She also holds a B.A. in Theatre from Connecticut College and is a Core Company Member of the Original Practice Shakespeare Festival.

ARIANNE JACQUES PATRON SERVICES MANAGER

Arianne holds a BA in Theater Arts from Oregon State University.

Over the past seven seasons with Bag&Baggage Productions, she has performed in The Importance of Being Ernest (as Gwendolyn); Crimes of the Heart (as Babe); The Great Gatsby (as Jordan); Private Lives (as Sibyl); and The Crucible (as Abigail Williams), among others. Arianne has been box officer for the company since 2011, and began her position as Operations Officer in 2013.

MELISSA HELLER RESIDENT COSTUME DESIGNER

A six year Portland resident, Melissa Heller is a native Oregonian, originally from Bend. She received a BS in Apparel Design while attending Oregon State University where her interest in costumes for theatre began. Melissa splits most of her time between heading the costume shop and designing costumes at Pacific University, designing for local area BAG&BAGGAGE 7

CREW BIOGRAPHIES theatre companies, and a few custom projects in between. Her partnerships include Mt. Hood Community College, Broadway Rose Theatre Company, St. Mary’s Academy, Oregon Children’s Theatre, Pacific University, and is also the Resident Costume Designer for Bag&Baggage Productions since 2010.

She continues as Resident Costume designer for their upcoming season.

EMILY TRIMBLE COMPANY STAGE MANAGER & PROPS MISTRESS

Emily holds from a BA in Arts & Performance from The University of Texas at Dallas. When working in Dallas, she worked at a number of theatre companies including WaterTower Theatre as an Assistant Stage Manager: The Diary of Anne Frank; Little Shop of Horrors; The Lieutenant of Inishmore; and Our Town.

At Undermain Theatre she worked as an Assistant Stage Manager: Ages of the Moon; and The Shipment. She also worked at Dallas Children’s Theatre on many productions including Señora Tortuga (SM); The Best Christmas Pageant Ever (PA); and The Lion, the Witch, and the Wardrobe (Run Crew). Recently, she has worked for Bag&Baggage as Stage Manager: Our Country’s Good; The Six Gentlepersons of Verona; Miracle on 43rd Street; Dial M for Murder; The Crucible; Love’s Labour’s Lost; Lear; Twlefth Night of the Living Dead; and The Great Gatsby; Assistant Stage Manager: Rough Crossing; and The Velveteen Rabbit; and Props Designer on It’s a (Somewhat) Wonderful Life; Love’s Labour’s Lost; and The Crucible. She has also worked for Broadway Rose as an Assistant Stage Manager: My Fair Lady; and I Love You, You’re Perfect, Now Change; and Stage Manager: Jungle Book. She has also worked at Oregon Children’s Theatre as ASM for The Giver.

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AMANDA KISHLOCK ASSISTANT STAGE MANAGER

Amanda has been working in theatre professionally since the age of 16. Over the past few years she has worked as part of several Bag&Baggage productions, including The Merry Wives of Windsor (production crew); Rough Crossing (production crew); Julius Caesar (assistant stage manager); The Great Gatsby (assistant stage manager); It’s a (Somewhat) Wonderful Life (production crew); Lear (assistant stage manager); Love’s Labour’s Lost (assistant stage manager); The Crucible (assistant stage manager); A Miracle On 43rd Street (assistant stage manager); The Six Gentlepersons of Verona (assistant stage manager); and most recently Our Country’s Good (assistant stage manager).

ABOUT BAG&BAGGAGE’S WORK Bag&Baggage is committed to unique interpretations and novel stagings of plays by the world’s best-known authors. We seek to rethink and reinvigorate the most celebrated titles, to challenge the public to experience them in new ways, and to connect our work to the lives and experiences of our audiences. Founded by a Hillsboro native, Bag&Baggage believes that cultural experiences like live theatre play an absolutely crucial role in the health of our community.

BAG&BAGGAGE BOARD OF DIRECTORS Carol Beauchamp Julie Case Karl Citek Lisa Curry Lisa DuPre’ Kathy Gaona Sherry Lamoreaux Beth Lewis

Eric Lewis Patricia Logan Linda Morrisson Gayle Nachtigal (chair) Scott Palmer Jan Simmons Donna Swanson K. Marie Tylertler

Partnership dissolving?

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Our unique PASSPORT free ticket program enables Bag&Baggage to provide free tickets to any student from any high school in Washington, Columbia, Tillamook, and Yamhill Counties‌on demand. As long as there is a seat available, B&B pledges to never turn away a student who wants to see our shows. Very special thanks to our donors who have generously supported this important program through our 2014 Gala and Auction. $2500 & ABOVE Debi Coleman John & Carole Figueiredo Andrew Hoffmann & Linda Morrisson Kevin Hoover Don & Linda Sinclair Fred & Nessie Williams $1000 & ABOVE Sandy Palmer Henry Grimmett Peter & Sherry Sunderland Steve & Marilyn Gray Molly Davis Sara Behrman & FX Rosica Karl Citek & Patricia Logan Greg Sweeney Ryan Hoover $500 & ABOVE Margaret Deveraux Scott Eisenstein & Kelly Ritz-Eisenstein Don Hastler & Dan Bergsvik Ralph & Marilynn Helzerman Sue Hinshaw & Jim Hennig Michael & Laura McMurray Gayle Nachtigal Linda & Brad Needham Ann Nickerson Landscape Design Dennis & Suzann Ott Scott Palmer Roger Palmer & Donna Rondema David & Shirley Woodford $250 & ABOVE Luci Griffith Peter & Sue Harris Jeff Kishlock & Anne Brennan Sherry Lamoreaux & Paul Duchene Kathryn Oliva Pamela South Jerry & Judy Willey $100 & ABOVE MaryJo Bartels

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