Concessions Menu

Sweet & Savory

• Grain Bowls

• Salads

• Sandwiches

• Sides

• Desserts

Our picnic menu is available for pre-order online and at the concession stand from 5–7pm for evening performances and 12–1:30pm for matinees.

Snacks

• Freshly Popped Popcorn

• Deep River Potato Chips

• Rold Gold Pretzels

• Assorted Bakery Items

• Nuts & Candy

Frozen Treats

Daily variety and prices subject to change.

• Jane’s Ice Cream

Sorbet Trio: Raspberry, Blueberry & Lemon

Sorbet (DF & V)

Neapolitan: Killer Chocolate, Tahitian Vanilla & Strawberry

Cappuccino Kahlua

Calypso: Cappuccino Ice Cream & Toffee Bits

Coconut Almond Joy: Coconut Ice Cream, Shaved Coconut & Choco-Chunks

A Mint Summer Night’s

Dream: Minty Chocolate Ice cream, Choco-chips, Marshmallows

• Häagen-Dazs Ice Cream Bar

• Fat Boy Ice Cream Sandwich

“Good company, good wine, good welcome can make good people”

Ice Cold Beverages

• House-Made Selection of Iced Teas, Iced Coffee & Lemonade

• Pepsi, Diet Pepsi & Ginger Ale

• Schweppe’s Seltzers

• Dowser Spring Water

Hot Beverages

• Gramercy Park Regular & Decaf Coffees

• SerendipiTea Single Sachet Selection

Cocktails

• House-Made Sangria

• Margaritas

Craft Beers & Cider

• Sloop Juice Bomb

• Captain Lawrence Clear Water Kölsch

• Allagash White

• Farnum Hill Dry Farmhouse Cider

Wines

Expertly Curated Reds, Whites, Rosé & Sparkling by the Glass & Half Bottle

SPRING artistic director

LOCAL CHEESES. CHARCUTERIE BOARDS. ARTISAN SUNDRIES.

Scan to pre-order and pick up at intermission!

Davis McCallum managing director Kendra Ekelund

directed by DAVIS MCCALLUM**

Anya Klepikov+ Costume Designer

Buffy Cardoza Props Designer

Fitz Patton+ Sound Designer, Composer

Sandra Goldmark Scenic Advisor

Mike Inwood+ Lighting Designer

Susannah Millonzi** Movement Director

Alithea Phillips Voice Coach

Jo Fernandez* Stage Manager

Casting ......................... Calleri Jensen Davis (James Calleri, Erica Jensen, Paul Davis)

Ligature Creative

This production is supported in part by SHS Foundation

Frederic C. Rich, Steven L. Holley, Robin and Ralph Arditi

*Appearing through an Agreement between this theatre, HVSF, and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

+Represented by United Scenic Artists, Local USA 829 of the IATSE.

**Member of the Stage Directors and Choreographers Society, a national theatrical labor union.

The videotaping or making of electronic or other audio and/or visual recordings of this production and distributing recordings or streams in any medium, including the internet, is strictly prohibited.

This Shakespearean epic follows a charismatic warrior King and his cohort through the brutality of warfare, as the ragtag band confronts heavy opposition and their own destinies in an aggressive pursuit of the French crown. The play’s central question — What kind of leadership would it take to forge a resilient and unified band of brothers and sisters from a fractious and anxious group of individuals? — resonates with fresh urgency in our contemporary world.

Emily Ota* King Henry

Duane Boutté* Archbishop of Canterbury, The King of France, Erpingham

Timothy Bright CC Cambridge, Bedford

Carl Howell* Nym, Constable, Williams

Lennon Xin Wen Hu CC Gloucester, Orleans

Phoebe Lloyd CC French Ambassador, Court, York

Melissa Mahoney* Montjoy, Hostess Quickly, Jamy

Sean McNall* Chorus, Boy

Francis Pàce-Nuñez CC Bardolph, Bates, Salisbury

Luis Quintero* Pistol, Bourbon

Kurt Rhoads* .................................................... Exeter, Le Fer, Falstaff

Antoinette Robinson* ............................................. King Henry Understudy

Mayadevi Ross CC ..............................Grey, Governor of Harfleur, Queen of France

Omar Shafiuzzaman* ............................. Westmoreland, Gower, Princess Katherine

Stephen Michael Spencer* .................................... Scroop, Dauphin, Macmorris

Nance Williamson* ................................................... Ely, Fluellen, Alice

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. cc Member of the Hudson Valley Shakespeare Festival Conservatory Company

- Henry V

Shakespeare’s history plays sometimes get a bad rap as being intimidatingly remote: a confusing parade of Richards and Henrys, served up with endless political wrangling by English aristocrats over the crown. I get it. If it makes you feel any better, I will confess something to you: I really don’t think of Henry V as a history play at all. King Henry’s military campaign in France in 1415 (and his questionable reasons for launching it) may be the setting of the play, but it is not its primary subject.

For me, it’s a play about a company, about a group of people who are transformed from disparate individuals into a cohesive whole. It’s also about growing up, and the never-ending process of integrating all of your past selves in the person you are BECOMING today. It’s about leadership, and in particular the ability to use language to galvanize, and inspire, and transform. Finally, it’s about creativity and performance. INVENTION. Play. The life-affirming act of creating something out of nothing.

Ultimately, any truly great production of Henry V must also be about the relationship between the actors and You, the audience. It’s about the circle, the co-creation, the weaving-together that makes the theater so uniquely compelling as an art form. Take a moment to look up from reading this program note and have a look around the HVSF tent, transformed for this production into a theater-in-the-round. As King Henry says at one point in the play, “Wish not a man from England.” We are enough! More than enough, if we really bring all of ourselves and our imaginations to each other and to the story. Theater that involves the audience in the unfolding of the story is my favorite kind of theater, and it’s what we do best at HVSF.

I find great humor and irony and heart in this play, and I think we often read it far too earnestly. Though the play takes very seriously the terrible cost of war, it’s constantly switching tones from the high drama of politics into some other key – more personal, warmer, more ridiculous, more about the texture of human relationships. This makes sense given that the central figure of the play is a bit of a chameleon, and an expert performer. Henry is described as someone who “can drink with any tinker in their own language,” which I think means not just that he’s an expert code-switcher, but also that he understands that effective communication is not primarily about the speaker, but about the listeners. Henry knows how to read a room. It’s a gift that the playwright and the central figure of the play share.

I hope this production allows these two tones, personified by Henry’s two fathers — the brutality and razer-sharp strategy of his blood father, Henry Bolingbroke, and the absurdity and physicality and heart of his father-of-choice, Sir John Falstaff — to coexist in harmony. Our idea is that we don’t compromise either tone by bringing them to some luke-warm middle, but rather allow them to live vibrantly side-by-side, and invite you, the audience, to marry them in your imaginative experience of the play. Thank you for going on the journey with us, and I hope you enjoy the ride!

Discover the compelling backstory of the play by scanning the code to watch a quick video, created by Luis Quintero and other members of the company.

Now in his ninth season as HVSF’s Artistic Director, Davis is a passionate advocate for the power of the arts to bring people together and create more interconnected and resilient communities. Under his leadership, HVSF established HVStories, a multi-year exploration of the people, history, and culture of the Hudson Valley; and Full Circle, a community engagement program inspired by 2016’s citizen-driven production of Our Town. For HVSF, he has directed productions of Cymbeline, Richard II, The Winter’s Tale, Measure for Measure, Anne Washburn’s Mr. Burns: A Post-Electric Play and the rolling world premiere of Lauren Gunderson’s The Book of Will. Notable productions in New York include Greater Clements (LCT), Lewiston/Clarkston (Rattlestick – Drama Desk nomination for Best Play), The Harvest (LCT3); Stupid Fucking Bird (Pearl), Fashions for Men and London Wall (Mint – Drama Desk and Lortel nomination for Best Revival); The Whale (Lortel Award for Best Play, and Calloway nomination for Best Director) and Pocatello (Playwrights Horizons); Water by the Spoonful (Second Stage – Pulitzer Prize for Drama); and February House (The Public). Other NYC credits include Signature Theatre, The Acting Company, 13P, Clubbed Thumb, Play Company, Page 73, and the New Victory. Regional credits include the Denver Center, Dallas Theater Center, Old Globe, Guthrie, Oregon Shakespeare Festival, the O’Neill, American Shakespeare Center, Williamstown, Humana Festival, others. A graduate of Princeton, he studied Shakespeare at Oxford University as a Rhodes Scholar, and trained as a director at LAMDA. He has taught acting and directing at Princeton and The New School for Drama. He lives in Cold Spring with his family.

artistic director

Davis McCallum managing director

Kendra Ekelund

by WILLIAM SHAKESPEARE directed and adapted by AMANDA DEHNERT** original music by AMANDA DEHNERT & ANDRÉ PLUESS

Buffy Cardoza Props Designer

Jessica Shay+ Costume Designer

Ken Travis+ Sound Designer

Reza Behjat+ Lighting Designer

Alithea Phillips Voice Coach

Colt Luedtke*

Casting ......................... Calleri Jensen Davis (James Calleri, Erica Jensen, Paul Davis)

Creative

This production is supported in part by SHS Foundation

*Appearing through an Agreement between this theatre, HVSF, and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

+Represented by United Scenic Artists, Local USA 829 of the IATSE.

**Member of the Stage Directors and Choreographers Society, a national theatrical labor union.

The videotaping or making of electronic or other audio and/or visual recordings of this production and distributing recordings or streams in any medium, including the internet, is strictly prohibited.

Four young noblemen absent themselves from society, in order to focus entirely on their studies. They even take a monastic oath: No girls! All books! But when the Princess of France turns up with three young ladies, how long will the men’s resolve hold up? Director Amanda Dehnert (Pride and Prejudice) infuses

Shakespeare’s delightful comedy with an original pop/rock score (by Dehnert and Andre Pleuss) that gives full voice to the heart-pounding experience of being young and in love.

Duane Boutté*

Love’s Labor’s Lost is so many things. It’s a rangy, free-spirited, oddly plotted comedy that doesn’t take itself too seriously. It’s a brilliant capture of the extremely earnest and profoundly naïve spirit that inhabits us all when we are young. It’s a scathing indictment of those unfettered actions that tread the fine, line between what one might call ‘wit’, and another might call ‘meanness’. It’s the literary equivalent of pop-art: Andy Warhol took a soup can, the most ordinary of objects, and placed it on a canvas over and over again in ever increasing maddening, whimsical, provocative ways; Shakespeare takes the common elements of a romantic comedy, tosses them into a fictional-but-not enclave in the woods, and lets all the typical constraints of a well-behaved society go by the wayside in order to make a play where the characters invent their own rules — their own selves — and then transform, break, and re-make those rules over again - also in increasingly whimsical, wonderful, maddening ways.

It is a play that knows it’s a play, and in that, not unique — but it recognizes itself in an attempt to capture a paradox inherent within both theatre and life. In the theatre, we try awfully hard to help you (the audience), get interested in the characters, invested in their journeys, their endings…all of it. We want you to care about something that’s going on in that story, on that stage. We want it to never be boring, or false, and we want it to somehow all have meant something at the end. We hope it will have meant something (in the end), to you and to us — but we can’t ever really know. I think it’s the same with life. We want to create lives for ourselves that have meaning, and love, and wisdom, and experiences. We want to care, and we want to be invested in the world around us.

We also never want it — life — to be boring or false. And we want it all to have meant something, in the end.

Sir Nathaniel

Timothy Bright CC Moth

Carl Howell* Dull

Lennon Xin Wen Hu CC Dumain

Phoebe Lloyd CC

The Princess of France

Melissa Mahoney* Jaquenetta

Sean McNall* Holofernes

Emily Ota* Maria

Francis Pàce-Nuñez CC Longaville

Luis Quintero* Costard

Kurt Rhoads*

Antoinette Robinson*

Mayadevi Ross CC

Sir Adrian O. Dearmaddow

. Rosaline

Katharine

Omar Shafiuzzaman* ........................................... Ferdinand, King of Navarre

Stephen Michael Spencer* cc Member of the Hudson Valley Shakespeare Festival Conservatory Company

Love’s Labor’s Lost is so many things. The most important thing happens in the last ten minutes. I hope you’ll forget you’ve read this and can be swept up in all the things it is until it becomes the thing it sets out to do. It tells a truth about who we are in our youth, in our middle-age, in our dotage, in our ending.

Amanda Dehnert bring badey-watson.com

Productions include: West Side Story (director), Carnegie Hall at the Knockdown Center, Queens NY; Lucy & Charlie’s Honeymoon (by Matthew Yee, world premiere musical) Eastland: A New Musical (world premiere - director, orchestrator), and Peter Pan – A Play (by Amanda Dehnert, world premiere), all for Lookingglass Theatre Company; Timon of Athens (adaptor, composer, director), Into the Woods (director, music director/conductor), My Fair Lady (director, music director), Julius Caesar (director, adaptor), all for Oregon Shakespeare Festival; Richard III (director, adaptor, composer), for The Public Theatre Mobile Shakespeare Unit; Cloudlands (by Adam Gwon and Octravio Solis; director, world premiere), for South Coast Repertory; The Verona Project (words and music by Amanda Dehnert, world premiere), for California Shakespeare Theatre; Death of a Salesman (director, composer), for Dallas Theatre Center); The Fantasticks (director, music director), for Trinity Rep, Long Wharf, Arena Stage, and South Coast Rep; Cabaret (director), for the Stratford Shakespeare Festival, Canada; Romeo and Juliet and A Midsummer Night’s Dream (director, adaptor, composer), for Chicago Shakespeare Theatre. Amanda is an Associate Professor of Theatre at Northwestern University.

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CHOOSE from 30 performances, presented by over 40 New York City actors, directors, dancers musicians, choreographers, set designers and costumers. Six indoor and outdoor stages. All in Nyack—a treasure trove of over 100 shops and restaurants packed into a walkable one square mile.

• Crime and Punishment: Edge-of-your seat adaption of Dostoyevsky’s classic

• The Importance of Being Earnest: Oscar Wilde’s frothy, funny, forever comedy

• Drinks with Dead Poets: Glyn Maxwell’s pints and conversations with deceased literati

• The Wind in the Willows: Kenneth Grahame’s beloved book in a new onstage animation

• Children’s Shakespeare Theatre: Young actors bravely present the best of the Bard

• Pan: A theatrical dance fable on Black masculinity by Emotions Physical Theatre

• ARTSRock in concert: World class instrumentalists o er a specially curated live program

• Now I am Alone: Acclaimed classical actor Geo rey Owens performs Shakespeare

• Reflections From the Shallow End of the Dating Pool: Real experiences good and bad

• Scandalton: Court-side seats to social drama. Audience helps spill the tea

• Honduras: A riveting performance by Valeria Avina of real accounts from the US Southern Border 2018

• Nyack is the stage: Free smart phone-based augmented reality walking tour of the village artistic director

Davis McCallum managing director

Kendra Ekelund