Hudson Valley Shakespeare Festival's 2021 Program by HVSF

Summer 2021

JUNE - SEPTEMBER

Celebrating Our Farewell Season at Boscobel House and Gardens

hvshakespeare.org

Land Acknowledgement The Hudson Valley Shakespeare Festival operates on the unceded territory of the Lenape, Munsee, and Wappinger people, what is colonially known as Philipstown, New York. We gratefully acknowledge their stewardship of this land in the past and present. HVSF offers this land acknowledgement as a formal statement to recognize and respect the Indigenous Peoples who are the traditional stewards of the land on which we operate and their enduring relationship with this place.

Advertising Opportunities Our regional corporate community serves an important role in ensuring the continued vitality of the Hudson Valley Shakespeare Festival. As one of the Hudson Valley's preeminent cultural institutions, HVSF offers unparalleled promotional and corporate hospitality benefits to suit your business's social impact goals and desired audience reach.

LEAR N M OR E

Table of Contents Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Covid Protocols. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Know Your Way Around . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 MACBETH. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 THE MOST SPECTACULARLY LAMENTABLE TRIAL OF MIZ MARTHA WASHINGTON. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 THE TEMPEST. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Meet the Acting Company . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 HVSF2 Reading Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 HVSF at Home: Streaming Information. . . . . . . . . . . . . . . . . . . . . . . . . . 44 About the Festival . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Supporter of the 2021 Season . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 In Memoriam. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Meet the Team. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 HVSF Board & Advisory Board . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Dear Friends, The Tempest with a great storm, a crisis that comes seemingly out of nowhere, and upends the lives of all of the characters. I can relate, and I bet you can too. Sometimes, a crisis can also bring with it an opportunity for transformation — a chance to see the world with fresh eyes, to take stock of where we've been, how we got here, and where we want to go in the future. Both of the plays we are bringing to you this summer — written 400 years apart — are framed as acts of reckoning, pivotal moments where the past comes to bear on the present, and everything hangs in the balance. As we return to performance after 18 months away from the shared experience of human gathering under this tent, we are particularly mindful of the urgent calls for racial justice in American society. In very different ways, both of our 2021 offerings resonate with challenging questions of justice, accountability, liberation and forgiveness. I can't wait to share them with you. HVSF is at our own pivotal moment in our life as a theater. As you may have heard, this summer will be our final season at Boscobel House and Gardens, where we have pitched our iconic theater tent for the past 34 years. Thanks to the generosity of philanthropist Chris Davis, we are

busily planning our move to the company's first-ever permanent home! Just three miles down the road, this spectacular new home — with astonishing Hudson River views — will allow us to remain a vital part of the Hudson Highlands community that we've served and loved over the past 35 years. We are deeply grateful to our friends at Boscobel for hosting us for so many years, and look forward to honoring and celebrating the countless unforgettable summer evenings that have been spent here. I often end by saying that we can't wait to welcome you back under the tent, and never has it been more true than it is now. Our team has worked diligently to implement safety measures for our audience and artists to make this summer possible. The experience might not be exactly what we're all used to, but I know that the moment when our actors come over the ridge and meet our audiences under the tent will be “such stuff as dreams are made on.” On behalf of everyone at HVSF, we are so honored and thankful to share this moment with you. Warmly,

Davis McCallum, Artistic Director

Covid Protocols Masks Required for All Staff & Attendees Distanced Seating & Limited Capacity Negative COVID Test or Proof of Vaccination Required No Intermissions for Performances

Attending a Performance Guests will show proof of a recent negative COVID-19 test (within 72 hours of the performance) or proof of full vaccination. HVSF Staff will accept printed and digital documentation, including the Excelsior Pass.

Social Distancing Even though we are outdoors, please keep at least six (6) feet of distance between yourself and people outside of your party.

Distanced Seating To maintain distance between groups under the tent, we've removed every other row of seats from the audience.

Face Coverings Masks are required at all times. Masks may only be removed when actively eating/drinking while seated in a designated area that is six (6) feet apart from other parties.

Health If you are sick or do not feel well, please do not attend. Due to the pandemic, we have a fully flexible exchange policy for 2021.

For the latest Covid Protocols, please click the button (right) to be directed to our website.

COVI D PR OTOCOLS

Know Your Way Around Timed Arrival Prior to the start of the performance, HVSF's staff will announce when it is time for your group to enter the tent and will guide you to your seat. Similar to airline boarding groups.

TICKET CHECK-IN

BUG SPRAY

SOUTH

BUG SPRAY

STAGE

CAFÉ

TO SEATING

NORTH

SMOKING AREA

CENTER

RESTROOMS

Artwork by Ligature 8 Creative

artistic di r ector

manag i ng di r ector

Davis McCallum

Kate Liberman

PRESENTS AN ORIGINAL AUDIO PLAY

Macbeth by

WILLIAM SHAKESPEARE directed by RAZ GOLDEN

Sound Design and Composition. . . . . . . . . . . . . . . . . . . . Anthony Dean Stage Manager. . . . . . . . . . . . . . . . . . . . . . . . . . . Luisa Sánchez Colón Sound Engineering. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FiveOhm Casting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sean McNall

This production is supported in part by

Thomas and Agnes Carvel Foundation

Louise Este Bruce Foundation

Entergy Foundation

Crosswicks Foundation

SHS Foundation

* Member of Actors' Equity Association, the Union of Professional Actors and Stage Managers in the United States.

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

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

^ Member of the Stage Directors and Choreographers Foundation Observership Program.

Synopsis

Cast

Adapted as an audio drama for all audiences, this production has been heard by students throughout the Hudson Valley. We are thrilled to be making it available to our entire HVSF audience. The classic story charts the extremes of ambition and guilt, and the disruption of the natural order. With our world in a state of upheaval, this reexamination of Shakespeare's play speaks directly to the cultural moment and illuminates a harrowing psychological descent into darkness.

Macbeth. . . . . Biko Eisen-Martin* Malcolm, Fleance, Son of Macduff, Second Murderer, Seyton, Apparition. . . . . . . . Luis Quintero* Banquo, Donalbain, Ross, Caithness, Gentlewoman, Messenger. Antoinette Robinson* Macduff, Angus, First Murderer, Captain, Apparition. . . . Matthew Saldivar* King Duncan, Porter, Third Witch, Menteith . . . . . . . . . Thom Sesma* First Witch, Wife of Macduff, Lennox, Siward, Doctor . . . . . . . . . . . . . Julyana Soelistyo*

Listening to this play is free, with a suggested $10 donation per listener. All donations made in connection with this play will support HVSF's Educational Programming.

(in alphabetical order)

Lady Macbeth, Second Witch, Third Murderer, Lord . . . . . . . . . . . . . Amelia Workman*

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

Director's Note When I was ten I had a very old-fashioned babysitter. Her priorities for me were one, education, and two, vegetables. End of List. She didn't let me watch TV or go on the internet (this was the internet in its infancy so in truth there wasn't much for a ten-year-old to even do), and strictly enforced a routine of homework followed by an invitation to read from her book collection, which spanned an entire wall of her home. To my young self, nothing could be worse than spending 8 hours of the day learning in school and being rewarded with what was essentially more school for the 3 hours after, until my mom picked me up. My favorite books were ones that transported the reader to fantastical realms filled with magic and adventure, such as, Harry Potter and the Chronicles of Narnia, so what magical stories could I possibly find on a bookshelf filled with dusty texts bound in varying shades of beige. Eventually, though, I acquiesced and one of the first books I picked up happened to be William Shakespeare's Macbeth. I read the character name of FIRST WITCH and I was absorbed. What could this William Shakespeare, who I later learned had been dead for almost 400 years, possibly have to say about witches and their magic in our mundane world? A few days of frenzied reading later and I found out. A new world opened up to me. Nowadays students have so many more ways to discover and interact with Shakespeare's work. And young theatre-makers and scholars are entirely more critical and interrogative of his place in the canon than I ever was at their age. With this radio play I hoped to give them another entry point into this story and help them along their journey into finding where the Bard can fit into their lives. “It's about who you're going to hide the body with” – Elizabeth Hay – Casting Assistant, The Public Theater (during our Public Shakespeare Initiative Workshop December 2020)

We had the opportunity to work the script at the Public before bringing it to HVSF. My goal was to see if I could understand the script primarily through the lens of domestic struggle. To me it was less immediate that these characters were Kings and Queens and more important to render them as husbands and wives, fathers and sons, and cousins and uncles. Violence pervades this play but the violence that is the most transgressive is that which occurs within the domestic realm.The historical Macbeth did kill his predecessor but it was in battle and according to most historians he was a fairly good king. In Shakespeare's fiction, Macbeth's murder is transposed to his own home. Macbeth's sin is not violence in itself but violence against an invited guest. As I was thinking about what part of Macbeth I wanted to explore through the audio play I kept coming back to the kind of violence that we enact on and/or with our loved ones. Who do we hide the body with? Who is the body? This was no doubt influenced by it being the fall of 2020 in which I and I assume many other people were actively deciding whether they would attend Thanksgiving celebrations with their family and potentially harm them through exposure in the process. My hope is that this version of the play gets us closer to an answer. And that it does do the minimum of what I believe Shakespeare and classical theater has the power to do: Let us know that this isn't the first time and certainly won't be the last time we have to even ask the question. When Hudson Valley Shakespeare Festival approached me about directing Macbeth, it was intended to be a part of their Educational Tour but because of the Covid-19 pandemic, like our entire industry, we had to pivot. I had just finished as assistant director on The Public Theater's audio production of Richard II and it seemed to me to be a no-brainer that of all Shakespeare's works, Macbeth would live most naturally in the audio space. There's also something unique I love about the audio form: radio plays, podcasts, audio books, and musical theatre albums that grants audiences the permission to experience them in any way they see fit. Whereas a visual performance most often restricts an audience member to a single location where they must sit and stare, an audio performance allows them to experience the work on a run, in 12

a classroom, while cleaning their dishes, or beside the metaphorical fire playing from their (Bluetooth) radio. It gives them freedom. I think if Shakespeare is to survive in this world the quality and philosophy of how his words can morph and become resonant with our modern day ears should be applied over to how we present him. Certainly not everyone will be listening to this play in a dark room for two uninterrupted hours and that's OK. Wherever you end up experiencing this piece I welcome the uniqueness of that experience and I hope it's an enriching one.

Director's Bio Raz Golden is a director of theatre, film, and audio. He is a member of the Roundabout Directors Group (Cohort 2), a 2019 Drama League Classical Directing Fellow and a former Resident Director at The Flea. His current work focuses on new and classical texts, as well as narratives that explore shared cultural histories and myths and that center people of color. He has developed work with The National Black Theatre, The Public Theatre, NYU Tisch, Hudson Valley Shakespeare Festival, Waterwell, Dixon Place, and McCarter Theatre.

Artwork by Jael Umerah-Makelemi

artistic di r ector

manag i ng di r ector

Davis McCallum

Kate Liberman

The Most Spectacularly Lamentable Trial of Miz Martha Washington by JAMES IJAMES directed by TAYLOR REYNOLDS Costume Designer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hahnji Jang+ Lighting Designer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Reza Behjat+ Sound Designer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Twi McCallum+ Intimacy Director . . . . . . . . . . . . . . . . . . . . . . . . Teniece Divya Johnson Properties Designer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joshua Yocom+ Hair Design. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Nikiya Mathis Production Stage Manager. . . . . . . . . . . . . . . . . . . . . . . . Janelle Caso* Stage Manager. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Roxana Khan* Dramaturg. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Martine Green-Rogers Casting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Calleri, Jensen & Davis * Member of Actors' Equity Association, the Union of Professional Actors and Stage Managers in the United States.

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

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

^ Member of the Stage Directors and Choreographers Foundation Observership Program.

THE MOST SPECTACULARLY LAMENTABLE TRIAL OF MIZ MARTHA WASHINGTON is presented by special arrangement with Dramatists Play Service, Inc., New York. Developed at the PlayPenn New Play Conference.

Synopsis

Cast

Should we be governed by our heads or our hearts?

William . . . . . . . . Tyler Fauntleroy*

Reason is prevailing.

Sucky Boy. . . . . . . . . . . . . . . . . . . . . Ralph Adriel Johnson*

In our time, we must ask ourselves, what is the balance between what zwe feel and what we know.

Priscilla. . . . . . . . . Claudia Logan*

In his will, George Washington included an order to free his enslaved people upon his wife's death. Christmas Eve, 1800: George Washington is dead, Martha is battling a wicked fever, and those who have been held in bondage at Mount Vernon wait for the end to come, and the promised hour of liberation. As the night goes on, Martha moves through a fever dream of dizzying theatricality, exploring the hideous and enduring ramifications of America's original sin. Taylor Reynolds directs.

Martha Washington. . . . . . . . . . . . . Nance Williamson*

(in alphabetical order)

Doll . . . . . . . . . . . Cyndii Johnson*

Ann Dandridge...Britney Simpson* Davy . . . . . . . . Brandon St. Clair*

a note about this production Please be aware that this show contains strong language, racially charged situations, and descriptions of sexual violence.

Member of Actors' Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Director's Note What would you do to get free? In December 1800, Martha Washington signed a deed to release the people enslaved by George Washington; they were freed on January 1st, 1801 (the enslaved people Martha inherited from her first husband's death remained enslaved). There's a rumor that Martha's decision to free the enslaved was based in fear that they would kill her to gain their freedom. And it might make you ask yourself, what would you do to get free?

The Most Spectacularly Lamentable Trial of Miz Martha Washington takes us on a journey through time, space, and American history, all through the eyes of the “Mother of America”, Martha Washington. A whirlwind of fantastically terrifying and hilarious dream landscapes are concocted by a Chorus of Negro Slaves who demand Martha to grant their freedom. They laugh with her, threaten her, dance with her, and yet, she won't budge. She doesn't have the nearly 200 years of hindsight that we do; enslavement is just part of the natural order of things. Thinking about Martha and George enslaving people may be an unpleasant pill to swallow, yet enslavement is one of the foundational cornerstones of American history. It's written in our historical DNA. If we have trouble digesting that, how can we begin to dismantle the beliefs and structures of our history that are still with us today? The global racial uprisings that began in spring 2020 brought to broad light the many racial misgivings of entire industries, personal relationships, and more. Promises were made to “listen” and “do better”, books were purchased, friends added #BlackLivesMatter to their Twitter bios. And yet, much has gone unchanged. Of course, major change takes time, but some people have been waiting hundreds of years for it. And, like the Chorus of Negro Slaves, you can only wait so long for something before you consider taking it by force. Towards the end of the play Martha says, “It was the way…we all… lived. It's just the way it was.” I think there's a part of us that wants to 17

believe we would do the “right thing” in times of struggle, that we would be on the “right side” of history. Well, we're living history right now. I hope this production thrusts you into questioning the practices we accept because it's just the way things are. How do we stretch our imaginations past the structures we've accepted as normal and reach for something that gets us all free? And what are you willing to give up to help us all get there?

Director's Bio Taylor Reynolds (she/her) is a New York-based director and theatremaker from Chicago and one of the Producing Artistic Leaders of OBIE-award winning The Movement Theatre Company in Harlem. Her work focuses on dissecting and exploring issues related to race, gender, and the intersectionality of identity (horror and ghosts also tend to be themes in her work, who knows why!). She has worked as a director, assistant, and collaborator with companies including Baltimore Center Stage, Signature Theatre Company, Page 73, Clubbed Thumb, New Georges, The Public, EST, Ars Nova, Radical Evolution, and The 24 Hour Plays. Selected directing credits: Richard & Jane & Dick & Sally by Noah Diaz, Tough by Margot Connolly, Plano by Will Arbery (Drama Desk nom for Best Director), Songs About Trains (co-directed with Rebecca Martinez), ALLOND(R) A by Gina Femia, Think Before You Holla (creator/deviser), FOOD by Rhonda Marie Khan, Accidental Burlesque by Gina Femia (developed through the Audrey Residency at New Georges). She is a member of SDC, New Georges Affiliated Artist, 2017-2018 Clubbed Thumb Directing Fellow, and Lincoln Center Theater Directors Lab alum. BFA, Carnegie Mellon University.

Playwright's Bio James Ijames is a playwright, director and educator. If you were wondering, his last name is pronounced (“I'ms.” The J is silent). He has appeared regionally in productions at The Arden Theatre Company, The Philadelphia Theatre Company, The Wilma Theatre, Baltimore Center Stage, Mauckingbird Theatre Company, and People's Light and Theatre. James' plays have been produced by Flashpoint Theater Company, Orbiter 3, Theatre Horizon, Wilma Theatre (Philadelphia, PA), The National Black Theatre (NYC), Steppenwolf Theatre, Definition Theatre, Steppenwolf Theatre (Chicago IL) Shotgun Players (Berkeley, CA) and have received development with PlayPenn New Play Conference, The Lark, Playwright's Horizon, Clubbed Thumb, Villanova Theater, Wilma Theater, Azuka Theatre and Victory Garden. James is the 2011 F. Otto Haas Award for an Emerging Artist recipient, and he has two Barrymore Awards for Outstanding Supporting Actor in a Play for Superior Donuts and Angels in America and two Barrymore Awards for Outstanding Direction of a Play for The Brothers Size with Simpatico Theatre Company and Gem of the Ocean with Arden Theatre. James is a 2015 Pew Fellow for Playwriting, the 2015 winner of the Terrance McNally New Play Award for White, the 2015 Kesselring Honorable Mention Prize winner for ....Miz Martha, a 2017 recipient of the Whiting Award and a 2019 Kesselring Prize for Kill Move Paradise. James is a founding member of Orbiter 3, Philadelphia's first playwright producing collective. He received a B.A. in Drama from Morehouse College in Atlanta, GA and a M.F.A. in Acting from Temple University in Philadelphia, PA. James an Associate Professor of Theatre at Villanova University and resides in South Philadelphia.

Dramaturgical Note

Life on Washington's Mount Vernon Estate, VA The Mansion at George Washington's Mount Vernon is one of the most iconic 18th-century homes in America. It is also ten times the size of the average home in colonial Virginia. It was also home to hundreds of enslaved men, women, and children who lived here under Washington's control. He depended on their labor to build and maintain his household and plantation. They, in turn, found ways to survive in a world that denied their freedom. As a young man, Washington accepted slavery, but after the Revolutionary War, he began to question it. Washington avoided the issue publicly, believing that bitter debates over slavery could tear apart the fragile nation. He made his most public antislavery statement after his death. In his will, Washington ordered that his enslaved workers be freed at his wife's death. Unfortunately, this applied to fewer than half of the people in bondage at Mount Vernon. Those owned by the Custis estate were inherited by Martha Washington's grandchildren after her death. Many Washington and Custis enslaved people had married and formed families together. For them, separation from loved ones tainted celebrations of newfound freedom. • In 1799, Mount Vernon consisted of 8,000 acres divided into five farms, plus a gristmill and distillery. Enslaved men, women, and children lived on each farm The workers at Mansion House Farm were primarily domestic servants and craftsmen, while those on the outlying farms labored in the fields. 20

• Over the course of George Washington's life, at least 577 enslaved people lived and worked at Mount Vernon. The number of enslaved people at Mount Vernon grew steadily during Washington's residence from 1754 to 1799. • At the time of George Washington's death, the Mount Vernon estate's enslaved population consisted of 317 people. • In 1799, a team of at least ten enslaved butlers, housemaids, waiters, and cooks ensured the Washingtons and their guests' needs were always met. • In 1799, more than 50 enslaved men and women were trained in specific trades that kept parts of Mount Vernon's operation self-sufficient. • The majority of enslaved people at Mount Vernon were assigned to agricultural work on the plantation's four outlying farms. • The standard rations enslaved people received were cornmeal and salted fish, which they harvested themselves. In their limited personal time, enslaved people kept gardens, raised poultry, and foraged. • The standard slave quarter on Mount Vernon's five farms was a rough one-room log structure with a wooden chimney. On Mansion House Farm, many enslaved house servants and craftsmen lived in larger barracks-style quarters. • At Mount Vernon, many families were separated across different farms due to their work assignments. • Mount Vernon's enslaved people usually had no choice but to wear clothing identifying them as enslaved. Enslaved house servants were provided more and better-quality clothing than field workers.

M OR E ON M OU NT VE R N ON E STATE

Dramaturgical Note

George Washington's Will In his July 1790 will, written a year after he became President of the United States in April 1789 and nine years before his death in December 1799, George Washington left directions for the emancipation, after Martha Washington's death, of all the slaves that he owned. Of the 318 slaves at Mount Vernon in 1799, fewer than half, 123 individuals, belonged to George Washington. His will stipulated that his slaves were not to be freed until Martha's death because of his desire to preserve the families of those who had intermarried with Martha's dower slaves. In accordance with state law, Washington stipulated in his will that elderly slaves or those who were too sick to work were to be supported throughout their lives by his estate. Children without parents, or those whose families were too poor or indifferent to see to their education, were to be bound out to masters and mistresses who would teach them reading, writing, and a useful trade, until they were ultimately freed at the age of 25. In December 1800, Martha Washington signed a deed of manumission for her deceased husband's slaves, a transaction that was entered into the records of Fairfax County, Virginia. The document was lost during the American Civil War. The slaves received their freedom on January 1, 1801, a little over a year after George's death. After George Washington's death, Mount Vernon's enslaved community was divided several times over.

M OR E ON WAS H I N GTON'S WI LL

Dramaturgical Note

Martha Washington (June 13, 1731 – May 22, 1802) was the wife of George Washington, the first President of the United States. Although the title was not coined until after her death, Martha Washington served as the inaugural First Lady of the United States. During her lifetime, she was often referred to as “Lady Washington.” She first married Daniel Parke Custis, with whom she had four children, and was widowed by the age of 25. Two of her children by Custis survived to young adulthood. She brought her vast wealth to her marriage to Washington, which enabled him to buy land to add to his personal estate. She also brought with her 84 dower enslaved human beings from her first husband's estate for use during her lifetime. They and their descendants reverted to her first husband's estate at her death and were inherited by his heirs. The Washingtons did not have children together, but they did rear her two surviving children by her first husband, including son John “Jacky” Parke Custis.

Ann Dandridge Ann Dandridge was the daughter of Martha Washington's father, John Dandridge, and an unknown enslaved person of mixed African and Native American descent. After John Dandridge's death in 1756, Ann, who was a young girl at the time, went to live with George and Martha at Mount Vernon and enslaved by them.

M OR E ON AN N DAN D R I D G E

Artwork by Katrice 24Williams-Dredden

artistic di r ector

manag i ng di r ector

Davis McCallum

Kate Liberman

The Tempest by

WILLIAM SHAKESPEARE directed by RYAN QUINN

Costume Designer. . . . . . . . . . . . . . . . . . . . . . Charlotte Palmer-Lane+ Lighting Designer. . . . . . . . . . . . . . . . . . . . . . . . . . . . Lucrecia Briceno+ Sound Designers. . . . . . . . . . . . Charles Coes+ and Nathan Roberts+ Choreographer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Susannah Millonzi Properties Designer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joshua Yocom+ Production Stage Manager. . . . . . . . . . . . . . . . . . . . . . . . Roxana Khan* Stage Manager. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Janelle Caso* Dramaturg. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Martine Green-Rogers Casting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Calleri, Jensen & Davis

* Member of Actors' Equity Association, the Union of Professional Actors and Stage Managers in the United States.

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

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

^ Member of the Stage Directors and Choreographers Foundation Observership Program.

Synopsis

Cast

O, wonder!

Ensemble . . . . . Caturah BrownCC

(in alphabetical order)

Miranda. . . . . . . . Kayla Coleman*

How many goodly creatures are there here!

Ensemble . . Jonathan ContrerasCC Sebastian. . . . . . . . Zachary Fine*

How beauteous mankind is! O brave new world, That has such people in't!

Ferdinand. . . . . . Tyler Fauntleroy* Trinculo. . . Ralph Adriel Johnson*

Twelve years ago, Prospero was Duke of Milan. Being of a bookish disposition, he withdrew more and more into his studies, leaving the management of his state to his brother Antonio. Eventually, with the help of Alonso, King of Naples, and the King's brother Sebastian — inveterate enemies of Prospero — Antonio usurped the dukedom for himself. Prospero and his baby daughter Miranda were put to sea in a rotten boat and eventually landed on a distant island once ruled by the witch Sycorax but now inhabited only by her son, Caliban, and Ariel, a spirit.

Gonzalo. . . . . . . . . Claudia Logan* Ensemble. Marshall W. Mabry IVCC Antonio. . . . . . . . . . Sean McNall* Caliban. . . . . . . Jason O'Connell* Prospero. Howard W. Overshown* Stephano . . . . . . . . . Kurt Rhoads* Ensemble . . . . . . . . . India SheaCC Ariel. . . . . . . . . . Britney Simpson* Alonso. . . . . . . Nance Williamson*

Synopsis from the Royal Shakespeare Company

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

Director's Note The etymology of “tempest” begins with the word time. At its root, not only could The Tempest be titled The Storm, but also The Time. Although the play begins with a conjured storm, its true magic is in its reckoning with time. Time is both finite and infinite. It's the specific timing that brings a ship to crash on a shore, the amount of time a spirit must serve until they are free, or the number of years a father spends in isolation with his daughter. It is also history and legacy, in the fight to account for the stories of the past that determine the future each character believes they are owed. As the tempest of the past year swirls around me now, I am ever aware of the accounting of time. My daughter is five years old now, but every breath seems to also weave her at 8 months and 18 years. If only I had the magic to freeze the beautiful precariousness of each moment. But the magic of life is that I can't, time spirals on creating history, and the bittersweet reality is that, like Prospero, I am ultimately preparing her to find her own time. All I can do is try to focus on the intent over the account. Prospero begins with a story to his daughter, telling Miranda “tis time I inform you farther.” That moment begins a race to refold the past into Miranda's future, to control the story that has been stolen from him, and enact justice for the time that has been taken away. It is a powerful magic to have the language to shape story. That's why Caliban is adamant about “seizing his books.” They are not just spells but the power to center the story around yourself, the power to control the story of others, and the power to name and change the time.

The ability to wield this language is the storm raging through the characters of The Tempest. But in the eye of this storm, there is simply a father and a daughter, and the time it takes to prepare her to leave. Will the account get in the way of the intent? This story, like our current moment in history, is about re-entry into society, while also reckoning with time. As our own masks come off, revealing changes from the time apart, and as the tent comes down at Boscobel, leaving the festival's stories folded into the August air, I am buoyed by a renewed intention in the time we spend in communion together, shaping the narrative of our “brave new world.”

Director's Bio Ryan Quinn, originally from Racine, Wisconsin, received his BA in Theater from the University of Wisconsin Madison, where he was awarded the Smith and Butt prize for artistic achievement. He then attended The Yale School of Drama, where he received his MFA in acting. As an actor Ryan was recently seen Off-Broadway in Second Stage's world premiere of Whorl Inside a Loop (w/ Sherie Rene Scott, dir. Dick Scanlan and Michael Mayer). Additionally he has worked OffBroadway with Bedlam Theater Company in Dead Dog Park, and with Theater for a New Audience in The Killer (w/ Michael Shannon), Antony and Cleopatra (w/Laila Robins), both directed by Tony award winning Darko Tresnjak, King Lear (w/ Michael Pennington, dir. Arin Arbus), and Hamlet (w/Christian Camargo, dir. David Esbjornson). He is most proud of returning to his home state of Wisconsin to perform the lead role in Yellowman at The Milwaukee Repertory Theater, and with his eight seasons as a company member with The Hudson Valley Shakespeare Festival (HVSF). Regionally, he has also worked at The Old Globe, Yale Repertory Theater, Baltimore Center Stage, The American Repertory Theater, and others.

Meet the Acting Company

(in alphabetical order)

Caturah Browncc Ensemble (TEMPEST) Born and raised in White Plains, New York, Caturah had done it all. She grew up practicing karate, swimming competitively, learning hip hop, African, and modern dance. However, nothing excited her as much as stepping on stage for the first time ever at 13 years old when she played Taylor in a production of High School Musical. Since then, she has dedicated her whole self to story telling, whether it be in a theater reciting Shakespeare, or at home cracking up her family doing impressions at dinnertime. In her free time, Caturah teaches English to kids abroad and hosts her weekly online play readings with Online Theater Company.

Kayla Coleman* Miranda (TEMPEST) This is Kayla's 2nd season at HVSF. Kayla first joined HVSF as a Conservatory Company member for the 2019 season as Little Red Ridinghood in Into The Woods, and the productions of Cymbeline, and Much Ado About Nothing. Proudly hailing from Philadelphia, PA, Kayla is a New York City-based actor, singer, and writer. Kayla is invested in creating projects across theater, film, and television that examine race/class/culture/gender from the most historically marginalized perspectives, centering those voices. Kayla is a graduate from New York University (NYU) where she trained at the New Studio on Broadway. She received a B.F.A in Drama and B.A minor in Africana Studies (Cum Laude). Favorite credits include Hairspray (Argyle Theatre). TV: “Untitled Growing Up Series”. Upcoming: Ranked (Daryl Roth Theatre), The Cotillion (New Georges, The Movement Theatre Company). Instagram: @kayycole. Website: kaylaccoleman.com.

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

Jonathan Contrerascc Ensemble (TEMPEST) Jonathan Contreras (he/they) is an actor, musician, and writer currently based in El Paso, TX. Virtual productions last year with the Great River Shakespeare Festival (Ni De Aqui Ni De All), Teatro Chelsea (Malas Mañas, Anormales and SAA (not that one)), Stages Rep (Borderline) In The Margin Theatre (Dear Kitty), Lava House Arts (STATIC), Télatulsa's (On The Wings of a Butterfly), NextStage Theatre Co (Dulce Desesperación), and Lustre Theatre Company (No Mas). BFA in Drama, University of Oklahoma.

Biko Eisen-Martin* Macbeth (MACBETH) Born and raised in San Francisco, Biko was immersed in art and radicalism by a single mother who empowered him to use his voice, his body and art to not only overcome struggle, but to uplift others. As a youth Biko performed poetry nationally with Youth Speaks including the Youth Against War conference in Bosnia. At Brown University Biko received a BA in Africana studies and a Masters in Teaching. After teaching history at Berkeley High and performing locally in the bay area, Biko went back to school and received his MFA at the National Theatre conservatory. Biko has performed Off-Broadway and at the top regional theaters. Film/TV credits include AMC's “Dietland”, Amazon's “Modern Love” and several shorts, including “Buck”, which premiered at Sundance 2020.

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

Zachary Fine* Sebastian (TEMPEST) Zack is thrilled to be back at HVSF where he has worked as an actor, director, teacher, and playwright for the past five years. Broadway Credits include China Doll with Al Pacino. Off-Broadway Credits include The Acting Company, Mint, Pearl, Red Bull, Fiasco, TFANA. Regional: HVSF, Guthrie, Shakespeare Theater, Folger (2x Helen Hayes Award Winner/Nominee), Playmakers, and many more. Directing Credits Spanish language world premiere of El Bien Del Pais (Our Country's Good) at Teatro Helenico, Mexico City; So Please You, Sea Maid's Music, Comedy of Errors (HVSF); Alligator Alley, Throw Me On The Burnpile (Key West Theatre), Tony nominee Bryce Pinkham's Between The Moon and Me (Birdland); Bewilderness (Playmakers Repertory Company), Dennis (Spymonkey); TV/Film “Person of Interest,” BlackBox, “One Life to Live.” Writing has been developed by The Orchard Project, The Public, Long Wharf, Lark, EAT Festival's One Man Talking, Space on Ryder Farm, IRT, The Acting Company, HVSF, and Playmakers Rep. He teaches clown and games at NYU is the co-founder of Recess (www.letsgotorecess.com) and holds workshops around the world.

Tyler Fauntleroy* William (TRIAL); Ferdinand (TEMPEST) Born in New York and raised in Virginia, Tyler Fauntleroy is excited to be making his HVSF debut. Tyler is a New York based actor and a graduate of Virginia Commonwealth University where he earned a BFA in Theatre with a concentration in performance. Off-Broadway: Looking For Leroy (New Federal Theatre). Regional Theatre: Romeo and Juliet (Westport Country Playhouse), Next to Normal (Syracuse Stage), Cinderella: A Musical Panto (People's Light), 1 Henry IV (Folger Theatre). TV: “The Oath” (Sony Crackle), “Succession” (HBO), “FBI” (CBS).

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

Marshall W. Mabry IVcc Ensemble (TEMPEST) Marshall W. Mabry IV is a connector, storyteller, artist activist, and the youngest speaker in TEDxBroadway history. Currently studying at the Boston Conservatory at Berklee, Mabry is interested in inclusive and equitable spaces and stories told for and by BIMPOC, queer, differently abled, fat, and neurodiverse artists.

Cyndii Johnson* Doll (TRIAL) Cyndii Johnson (she/her) is an actor and writer hailing from Cleveland, Ohio. Theatre Credits Include: BLKS (Woolly Mammoth Theatre Company), How We Got On (The Cleveland Playhouse), Peter And The Starcatcher (The Oregon Shakespeare Festival), Remix 38 and Our Town (Actors Theatre of Louisville), 48 Hours in Harlem (The National Black Theatre). She was a part of the sketch comedy show Who Made the Potato Salad? Her first short film, Ash Land was a 2021 selection at both The Pan African Film Festival and the Brooklyn Film Festival. Training: BFA in Acting, Wright State University; Professional Training Company, Actors Theatre of Louisville.

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

Ralph Adriel Johnson* Sucky Boy (TRIAL); Trinculo (TEMPEST) TV/FILM: Blue Bloods (CBS), Like Father (Netflix), Madam Secretary (CBS), Friends from College (Netflix), Bull (CBS), Enough Cocaine to Time Travel (Independent Feature); REGIONAL: Shakespeare Theater Company: Demetrius in A Midsummer Night's Dream (incl. China Performances); Trinity Repertory Company: Christmas Carol; Bread Loaf School of English: George in Our Town, Jem Finch in To Kill a Mockingbird, Richard Henry in Blues for Mister Charlie, Cassio in Othello; Brown/Trinity MFA: Benedick in Much Ado About Nothing, Duke Orsino in Twelfth Night, Reverend D/Baby in In the Blood, Lysimachus in Pericles, Eilert Lövborg in Hedda Gabler; TRAINING: Brown/Trinity Rep: MFA in Acting; Oberlin College: BA in Theatre

Claudia Logan* Priscilla (TRIAL); Gonzalo (TEMPEST) Claudia Logan hails from the city of hustle, Detroit, MI and is a current resident of Brooklyn, NY. She thanks Mother/Father God for her gifts, talents, and drive. She thanks her family, loved ones, and agents for the endless support. She is very excited about her Hudson Valley debut and bittersweet farewell to the Boscobel tent! Thank you Mama Taylor and this phenomenal cast for bringing this amazing story to life. Credits Include: “The Equalizer” (CBS), “Hightown” (Starz), “Tales of the City” (Netflix), “Random Acts of Flyness” (HBO), “New Amsterdam” (NBC), Penny Candy (Dallas Theater Center), Don Juan (Westport Country Playhouse) “Spread Love. Give No Quarter.”

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

Sean McNall* Antonio (TEMPEST) Sean returns to HVSF, having appeared most recently in Cymbeline, Much Ado About Nothing, The Heart of Robin Hood, Rip Van Winkle, Twelfth Night, The Book of Will, Our Town, A Midsummer Night's Dream, Measure for Measure, and A Winter's Tale. Before joining HVSF in 2014 as Associate Artistic Director and Director of Education, he spent 13 years as a member of The Pearl Theatre Acting Company in New York City, where he appeared in over 40 productions, receiving an OBIE Award for Sustained Excellence of Performance and a Drama Desk Award. His recent productions include A Midsummer Night's Dream, Terrence McNally's And Away We Go, Shaw's You Never Can Tell, and Henry IV, Part One, directed by Davis McCallum. He and his wife, Abigail, have a wonderful son named Declan.

Jason O'Connell* Caliban (TEMPEST) Jason is thrilled to be back for this very special final season at Boscobel, his 11th with the festival. HVSF credits include: Benedick in Much Ado About Nothing, Claudius in Hamlet, Berowne in Love's Labour's Lost, Bottom and Puck in A Midsummer Night's Dream, Mr. Darcy in Pride and Prejudice, and the title role in his own adaptation (co-written with Brenda Withers) of Cyrano. Off-Broadway: Judgment Day (Park Avenue Armory), Happy Birthday, Wanda June (The Duke on 42nd St), Pride and Prejudice (Primary Stages), Sense and Sensibility (Gym at Judson), A Midsummer Night's Dream (The Pearl), The Seagull (Sheen Center), and Jason's own solo show, The Dork Knight (Joe's Pub, Abingdon Theatre Company, etc). Regional: Syracuse Stage (Amadeus and Talley's Folly in 2020) Two River Theater (Cyrano and Noises Off in 2019), American Players, Great Lakes Theater, Peterborough Players, Florida Studio, Arkansas Rep, etc. TV: “Search Party”, “Law & Order: SVU” and “Law & Order: Criminal Intent.”

Howard W. Overshown* Prospero (TEMPEST) Howard W. Overshown is thrilled and honored to spend his first summer with HVSF, as Prospero. He had the pleasure of working with HVSF company member Nance Williamson in Henry V at the Shakespeare Theatre Washington DC, and Kurt Rhoads in Julius Caesar on Broadway (Starring Denzel Washington). His most recent theatre productions are; King John at The Folger Shakespeare Theatre, Passage at SoHo Rep, The Underlying Chris at Second Stage, and A Soldiers Play on Broadway, where he understudied David Allen Grier. His most recent TV projects include “Blue Bloods,” “Fosse/Verdon,” Tina Fey's “Girls5Eva,” and “The Marvelous Mrs Masiel.” Howard can't wait to start exploring The Tempest and Garrison, NY!

Luis Quintero* Malcolm (MACBETH) Luis Quintero is thrilled to be returning to the HVSF after serving in the 2019 HVSF Acting Company! Recent credits include: Twelfth Night Red Bank Theatre; The River Bride Stages Reparatory Theater; A Midsummer Night’s Dream, Man of La Mancha Triad Stage; Around the World in 80 Days A.D Players Theater; American Mariachi Denver Center Performing Arts/ Old Globe San Diego; Into the Woods, Cyrano, Love’s Labour’s Lost The Acting Company/HVSF; Twelfth Night, Book of Will, Pride and Prejudice HVSF; A Midsummers Night’s Dream N.C Symphony; The Lightning thief, A Christmas Carol Theaterworks USA; Bloody Bloody Andrew Jackson, Our Town at Generations, A Theater Company. BFA: University of North Carolina School of the Arts.

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

Kurt Rhoads* Stephano (TEMPEST) Recent: Rothko in Red, Arts Center of Coastal Carolina; Toby Belch, Twelfth Night, Two River Theatre Co; Torvald, A Doll's House Pt.2, Hudson Stage. Broadway: Julius Caesar. Off-Broadway: Mint Theatre: Fashions For Men; Pearl Theatre: Othello, The Good Natur'd Man; Present Company: Americana Absurdum. Regional: Everyman Theatre: Sweat; Long Day's Journey Into Night. Shakespeare Theatre: Measure For Measure, Antony And Cleopatra, Julius Caesar, Richard III. Arena Stage: How I Learned to Drive, Agamemnon and His Daughters. Denver Center: Book of Will. Clarence Brown Theatre: King Charles III, Titus Andronicus. Arvada Center: A Man for All Seasons. Playmakers Rep: Arcadia. Alabama Shakespeare Festival: To Kill A Mockingbird. Arizona Theatre Co: Blithe Spirit, Rocket Man. Old Globe: Fiction, Dinner With Friends. 8 seasons at Dallas Theatre Center. 23 seasons performing and directing at Hudson Valley Shakespeare Festival: Much Ado About Nothing, An Iliad, Measure for Measure, Othello; Winter's Tale, Taming of the Shrew, Macbeth, Tartuffe. Usniversity of Chicago(BA), DePaul University(MFA). The Tempest marks play 67 with the amazing Nance Williamson.

Antoinette Robinson* Banquo (MACBETH) Theatre Includes: Off Broadway: As You Like It (New York Classical Theatre), Twelfth Night (Theatre for a New Audience). Selected Regional: Sherlock’s Last Case (Huntington); Twelfth Night (Shakespeare Theatre Company); As You Like It, Timon of Athens (Folger Shakespeare Theater); A Flea In Her Ear (Westport Country Playhouse); Our Town, As You Like It, Measure for Measure (Hudson Valley Shakespeare Festival); Hamlet, Much Ado About Nothing (Pennsylvania Shakespeare Festival); The Edge of Peace (Seattle Children’s Theatre); The Mountaintop (The Rep). Film includes: Ol’Daddy, 9 Actors, Consumed, The Great Black Way. Training: MFA University of Texas at Austin

Matthew Saldivar* Macduffs (MACBETH) Matthew Saldivar was raised directly across the river in West Point and became involved in the drama club at James I. O'Neil High School in neighboring Highland Falls. Broadway: Junk and Act One (Lincoln Center Theater), Honeymoon in Vegas, Bernhardt/Hamlet, Saint Joan, Black Stache in Peter and the Starcatcher, A Streetcar Named Desire, The Wedding Singer, Grease. Off-Broadway includes: Annie Get Your Gun (Sarna Lapine, dir), Rent: Live on Fox (Michael Greif), Our Dear Dead Drug Lord (Whitney White), Hamlet (Sam Gold), Hadestown and The Royal Family (Rachel Chavkin), Daphne's Dive (Thomas Kail), Randy Newman's Harps and Angels (Jerry Zaks) as well as productions at The Public, CSC, NY Shakespeare Festival, Atlantic, TFANA, NY Theater Workshop, NY Stage and Film, The Guthrie, Shakespeare Theater Company DC, etc. 1st National Tour: Luther Billis in Lincoln Center Theater's production of South Pacific (Bartlett Sher) various film and television. MFA-NYU, BA/MA-Middlebury College.

India Sheacc Ensemble (TEMPEST) India is an actor/writer from Berkeley, California. They have spent the last year as a Duffy Fellow; working on a play about Judaism, ghosts, and the weight of inheritance, called “Fifth Cup”. While not writing or performing you can likely find India at the farmer's market, playing guitar, or drinking coffee — sometimes all at once. Favorite credits include Kate Hamill's Pride and Prejudice (Jane) and Brief History (Sadie) both at the Hangar Theatre, American Idiot (Heather) at CCCT, and Twelfth Night (viola) and Orlando (Orlando) both on the Fordham University mainstage. India graduated Summa Cum Laude from the Fordham University BA Acting Program in 2020 with supplementary training from the Bard Berlin Theatrical Devising Program, the Hangar Theatre Lab Company, and the 24 Hour Plays Festival.

Thom Sesma* King Duncan (MACBETH) As an actor of mixed-race heritage, Thom has been for four decades an activist for diversity, equity and inclusion in every aspect of the entertainment industry. Since his Broadway debut in La Cage Aux Folles in 1984, he's spent most of his life in rehearsal studios, on large and small stages in New York and around the country, on Broadway and off, in major regional theaters and summer stock barns, in front of cameras on tv and film sets, in works ranging from classical theatre, contemporary dramas and musicals, to police procedurals, soaps and sitcoms. Since the COVID shutdown he's accumulated many remote live-stream digital credits (including HVSF's Paradise Lost) in plays, musicals, concerts and works in development as well as taught a popular course in “Acting on Zoom”. He continues to teach and coach in New York, where he resides with his wife, Broadway company manager Penelope Daulton. For more details, visit thomsesma.com.

Britney Simpson* Ann Dandridge (TRIAL); Ariel (TEMPEST) This is Britney's third season with HVSF. She was in the 2019 production of Into the Woods as The Baker's Wife and in Cyrano as Roxanne. Britney first joined HVSF in 2018 for The Taming of the Shrew (Bianca) and Richard II (Queen Isabella). She's performed in four seasons at The Oregon Shakespeare Festival: Mme. de la Grand Bouche in Disney's Beauty and the Beast; Nausicaa and Ensemble in The Odyssey; Phœbe Meryll/ Krazy Kate in The Yeomen of the Guard; Dorothy, Glinda and Ensemble in The Wiz; Hot Box Girl and Ensemble in Guys and Dolls; Mopsa in Head Over Heels. Other Theatres: Dorothy in The Wizard of Oz, Myrtle Webb in Our Town, Grandma Tzeitel in Fiddler on the Roof (PCPA Theaterfest); Nina in S'Wonderful (Oregon Cabaret Theatre). Education: The Pacific Conservatory of the Performing Arts.

Brandon St. Clair* Davy (TRIAL) Brandon St. Clair is proud of recently becoming a New York resident, since graduating with his MFA in 2020. While studying theatre in undergrad, he took interest in African American Studies and discovered he could add more dimension to characters he was being asked to portray. A few of his recent works include Native Son at Playmakers Repertory and The Problem of a Hero, an upcoming film where he will portray Canada Lee.

Julyana Soelistyo* First Witch, Wife of Macduff (MACBETH)

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

Nance Williamson* Martha Washington (Trial); Alonso (TEMPEST) Nance is so very thrilled to return to HVSF for a 20th season. Favorite roles include Cleopatra, Tamora, Beatrice, Nurse, Lady M, Jacques, Kate, Mrs. Malaprop, Mrs. Bennet and so many others. This past year, Nance and her husband actor Kurt Rhoads recorded an audio book called Unflappable, they also did some print work and an episode of “The Walking Dead.” Nance also did a movie called “The Hating Game” scheduled to come out at the end of the year. She has had a 37 year acting career in film, television, commercials and over 150 plays regionally, off-Broadway and on Broadway she was seen in Broken Glass, Henry IV, Cyrano, and Romeo and Juliet. Nance and Kurt have been married 37 years and The Tempest will be their 67th production together.

Amelia Workman* Lady Macbeth (MACBETH)

Raised in Washington, DC by a civil rights attorney and a griot, a strong sense of justice and the ability to express yourself were required in Amelia's house. A childhood full of exposure to all kinds of people, stories and traditions gave Amelia a wild imagination and a deep sense of community. As an adult, she's found the arts to be the most profound way to be a part of creating community and contributing to the larger conversation. Being intrigued by the ways in which people live (love, survive, heal, etc.) has Amelia to travel extensively and explore the living habits of all kinds of people. Her life in the arts has always been about work that she feels in some way helps to validate and enrich the experience of herself and/ or others. It's about helping people understand one another better. It's about helping people cope with the pain and absurdity of being human. It's about helping people get through their day. Consequently she tends to work with a lot of writers, directors and actors to create and develop new work for theater, television and film.

HVSF2 Reading Series The twelfth season of HVSF's popular new works series kicks off in August! With a combination of online and in-person performances. Tickets: $20 Suggested Donation

ONLINE Thursday, Aug. 19 | 7:30 pm Hip Hop Therapy By Luis Quintero Director to be announced HVSF insiders have long been delighted by company member Luis Quintero's skills at writing and performing themed raps as part of his process to delve into characters. We can't wait to present his forage into playwriting to present his talents to a wider audience.

Luis Quintero and Rhett Guter in HVSF's 2019 Production of INTO THE WOODS. Photo by T.Charles Erickson.

ONLINE Sunday, Aug. 22 | 7:30 pm Untitled Agatha Project By Hiedi Armbruster Director to be announced HVSF presented the first iteration of this play by Hiedi Armbruster over Zoom in August 2020. She has since continued to develop the piece, and we are thrilled to be presenting the latest version this August.

IN-PERSON, THE GARRISON Tuesday, Aug. 24 | 7:30 pm Dignity, Always Dignity By Zachary Fine and Bryce Pinkham Director Zachary Fine A new play that has been commissioned by the Longwharf Theater. Featuring Tony Nominee Bryce Pinkham (A Gentleman's Guide to Love and Murder). The play explores human's impact on our environment through the lens of the classic American musical romantic comedy, Singin' in the Rain. 43

HVSF At Home: Streaming Information Want to relive the magic under the tent? Or recommend the show to some far-flung friends? This season we're filming our in-person shows so that you can stream them from the comfort of your couch.

The Tempest

The Most Spectacularly Lamentable Trial of Miz Martha Washington

In-Person: Aug. 7 – Sep. 4 Online: Aug. 21 – Sep. 19

In-Person: June 26 – July 30 Online: July 10 – Aug. 15

Streaming tickets available! Discover more and book online. 44

STR EAM ON LI N E

Strawberry-Basil Martini from Nerds With Knives Strawberry Simple Syrup:

For 1 cocktail:

• 1 cup water

• 4 large basil leaves plus one leaf for garnish, if desired

(makes about 2 cups syrup)

• 1 cup sugar • 3 cups strawberries hulled and sliced (about 1 quart)

• 2 ounces gin or vodka (recommend Hendricks or Bulldog) • 1 ounce Lillet Blanc • ½ ounce elderflower liquor • 1 ounce strawberry simple syrup • ½ ounce lemon juice

Instructions

For the strawberry syrup: In a medium saucepan, add water, sugar and strawberries. Bring to a boil and stir until sugar dissolves, about 2 to 3 minutes. Lower heat and simmer for 10 minutes, occasionally skimming off any foam that forms on the surface. Pour liquid through a fine mesh strainer set over a heatproof bowl and allow liquid to drain on it's own. Don't press down or the syrup will be cloudy. Cool to room temperature and transfer to a clean glass jar. Chill until ready to use. For the cocktail: Add basil leaves to a shaker and gently bash a few times with a muddler or the bottom of a wooden spoon. Fill shaker with ice and add all the other ingredients. Shake hard for 10 to 15 seconds. Double strain into a chilled martini glass, float a basil leaf on top and serve. 45

About Hudson Valley Shakespeare Festival Founded in 1987, Hudson Valley Shakespeare Festival (HVSF) is a critically acclaimed (The New York Times, The New Yorker, The Wall Street Journal), professional, non-profit theater company based in Garrison, NY, one-hour north of Manhattan. The Festival has established a reputation for lucid, engaging, and highly inventive productions staged under an iconic, open-air Theater Tent overlooking the Hudson River at historic Boscobel House and Gardens. In recent years, the Festival has also ventured beyond the Tent, touring its work to other venues throughout the Hudson Valley, transferring productions to other theaters, engaging its community through radically participatory artmaking, and reaching over 60,000 students and educators annually through its year-round Education programs. As a 501(c)3 not for profit organization and a public trust, our theater belongs to you. Britney Simpson and Jason O'Connell in HVSF's 2019 Production of CYRANO. Photo by T.Charles Erickson.

Mission Rooted in the landscape of the Hudson Valley, with the plays of William Shakespeare as our touchstone, HVSF engages the widest possible audience in a theatrical celebration of our shared humanity.

Vision We are a classical repertory theater that embraces the present moment, and our work springs from the most essential of elements — actor, audience, language, and landscape. As both a local community hub and a national arts destination, we foster meaningful human connections at the convergence of nature and culture.

Core Values Excellence Inclusion Generosity Playfulness Sustainability

Ralph Adriel Johnson in HVSF's 2018 Production of RICHARD II. Photo by T.Charles Erickson.

Supporters of the 2021 Season The Hudson Valley Shakespeare Festival gratefully acknowledges the following generous donors to the 2021 Season (gifts from June 1, 2020 to June 1, 2021). If you would like to join our growing family of supporters, please contact Semra Ercin, Director of Development, at 845-809-4339 or sercin@hvshakespeare.org

Heroes Circle $50,000+ The Scott B. and Annie P. Appleby Charitable Trust Boscobel House and Gardens The Louise Este Bruce Foundation SHS Foundation

Artistic Director’s Circle $25,000 - $49,999 Robin Shelby Arditi and Ralph Arditi Arts Midwest/NEA Shakespeare in American Communities Steven L. Holley Alastair and Wing Keith Chip Loewenson and Susan Brune Ann McDonald Friedrike Merck Dan Kramer and Judy Mogul The New York State Council on the Arts Frederic C. Rich Shubert Foundation Ned Whitney and Martha Howell Laura Jean Wilson and Mark Jay Menting Byron and Siew Thye Stinson Drs. Elliott and Anne Sumers

Producers Circle $15,000 - $24,999 Jan and Suzanne Baker Mary Elizabeth and Jeffrey Bunzel Heidi Ettinger and Jonathan Reynolds Carson and Joseph Gleberman Sarena Straus and James Gary Patricia King William H. Donner Foundation

Insiders Circle $10,000 - $14,999 The Thomas and Agnes Carvel Foundation Pepper Evans and Bob Lieber Natalie Fishman Mr. Chris Hughes Anita and Robert Jacobson Alan Jones and Ashley Garrett Jim and Theresa Kilman Martin and Sheila Major Robert McCaffrey Kathleen & Michael Schoen

Opening Night Circle $5,000 - $9,999 Anonymous (1) Meg Armstrong and Greg Lozier Gavin Baker The Bogosian Quigley Foundation Kim Conner and Nick Groombridge Crosswicks Foundation Steve Dunn Derrick and Heather Hopkins Humanities New York Lauren and Peter Lese Roberta Levine M&T Charitable Foundation Lauri Washington Sawyer Ken Vittor and Judith Aisen 49

Actors Circle $2,500 - $4,999 Anonymous (1) Ellen Blackler Sara J. Cook Entergy Charitable Foundation Matt and Kelly Fairweather Lou Feeney Lars and Marit Kulleseid Joseph C. Mahon and Elizabeth Anderson Carol Marquand & Stan Freilich Kris McCormack & Mitch Newman Belle and Blake Newton Christine and Rodman Patton The Peckham Family Foundation Rudolph and Sheila Rauch Corinne Steensma and Richard Prins Theatre Development Fund Martha Upton and Peter Davis

Tent Raisers Circle $1,500 - $2,499 Rachel Bernstein and Alan Milton John Beurket Thomas G. Byrne Anne Champion Dr. and Mrs. Howard and Sharon Charles T. Jefferson Cunningham III Natalie Diggins and Oren Michels Dr. Patrick Driscoll and Mrs. Marie Samples EASTER Foundation/Anne and Fred Osborn III Shari & Ken Eberts Pamela and Ray Endreny Elizabeth and Irv Flinn Jay Francis and Elizabeth Bradford Bruce and Diana Geller Eva Marie Graham John T Graham Brian Keating and Stacy Styles Mr. and Mrs. Al Lemke Roger and Susan Lipsey James Menick and Liz Pereira Greg and Paula Powell Christopher and Mary Ann Robinson Ellen and Merrill Roth Tatiana Serafin and Mick Kalishman Martha and Philip Scott Scott and Tinka Shaw The Stebbins Fund, Inc Angela & Tyson Thompson-Tinsley Pat Truscelli and Bud Ellis Eric Tucker & Susannah Millonzi John and Anne Uglum Alan Winters Wong Family Foundation

Saints & Poets Society $500 - $1,499 Anonymous (1) Sarah Banker Elizabeth Barrett and Lee Kyriacou Kerrin and Stephne Behrend Dr. and Mrs. Francis Belloni Carol and Roger Berlind Ethan Berman and Fiona Hollands Tom and Nancy Berner Ms. Fritz Beshar and Mr. Peter Lehner Monica Bernheim Ms. Kimberly Blanchard Ms. Chris Bockelmann and Mr. Floyd Norris Richard J. Bowler & Jeanne E. Zunich Bradley Family Fund Mr. and Mrs. Douglas Braunstein Mrs. Kathy Brown-Prohaska and Mr. Vincent Prohaska Elizabeth Bryson Steven & Betsy Bush Bill and Nancy Byrne Luis Castro John and Maureen Clancy Eric & Stacy Cochran Shelly and Chuck Cohen Community Foundations of The Hudson Valley Joseph T. Conklin & Rita Kilduff Kenny and Laura Eade Franklin Cole Foundation Joel Gantcher Ms. Phoebe Geer and Dr. Matt Speiser Libbie F. Gerry Linda Gerstel & Ed Joyce Mr. Gilbert Giannini and Ms. Lily Paris Sandra Goldmark Kate Goodland and Don Kleszy Kristin Griffith Maloney/Griffith Raj and Urmil Gupta John Ham Andrew D Hamingson and Sarah McLellan Meg Helmreich Mr. Jeremy Henderson Larry Hirschhorn & Melissa Posen Natasha Ippolito Mr. Kurt Knight Candace Latham Mr. and Mrs. Michael Lebowich Clara and Bevis Longstreth

Arthur Lowenstein and Ann Patton Mr. and Mrs. John Magerlein Christopher Mann and Claire Svetlik Mann Mr. and Mrs. William McCabe Paul Michael Mr. and Mrs. Thomas Muldoon Lynn and William T. Nolan Kevin and Hedi O'Connor Lyn and Tom Olson Doug Land and Lynn Peebles Pershing (A BNY Mellon Company) Kathy and Joe Plummer Nat and Anita Prentice Putnam Arts Council Hon. Jed S. and Dr. Ann R. Rakoff River Architects, PLLC Drs. Cynthia and William Roberts Barry and Mary Jean Ross Raymond and Kimber Sanseverino Mary Sasala Edward Scolnick Mark and Roberta Shapiro Dr. Nina Shoulberg Maria and Brian Shydlo Betsy and John Simons Jodie Staton James Stanford and Kate Farrell Stanford Dr. Susan Stewart Michael and Kathleen Stringer Ryan Swift & Alletta Cooper Tim and Carolyn Tenney Gayle Watkins & Andy Chmar Mr. Stanley J. and Mrs. Laura G. Wiegand Catherine Williams Danielle & Michael Williams Mark Wilson and Denise Rempe Vernon Wilson Andrea P. Wood Roxanne Woodruff Rafael and Dale Zaklad

Saints & Poets Society $100 - $499 The Hudson Valley Shakespeare Festival receives many donations under $500 which we grate-fully acknowledge. All gifts to HVSF are valued and appreciated. Thank you for your support 53

In Memoriam Robert Jonathan Cresci Longtime friend and HVSF supporter Bob Cresci passed away at the end of 2020. In addition to the joy he found under the HVSF tent, Bob was An avid tennis player, a graduate and enthusiastic supporter of the United States Military Academy at West Point, and the co-founder and managing director of Pecks Management Partners Ltd. As a Captain in the US Army he served two tours in Vietnam, earning a Purple Heart and a Bronze Star. Bob's wife Mary Beth Cresi is a former member of the HVSF board. Many friends of the Cresci family made generous contributions to HVSF in Bob's Memory. We acknowledge them here: Robin Shelby Arditi Allan Harris David Bryant Simon Kendall Sandi Slack Monica Bernheim Steve Dunn

Hilary Dyson Teachout Smart, funny, generous, and gallant, Hilary was loved and admired deeply. HVSF was her favorite place to see theater. We're honored to share this special memory from her husband, Terry Teachout: For those of us still on earth, straining to make something of ourselves, it seems there is no weaning away from the people we love and lose: they are always there, dissolved into the completeness of eternity, waiting patiently—and, I suspect, indifferently—for the little resurrection that is memory.

Alastair J. Keith The entire HVSF family mourns the death in February 2021 of our dear friend and colleague, Alastair J. Keith. Alastair and his wife Wing have been a welcome and familiar presence under the tent for decades. Schooled in the works of our resident playwright on both sides of the Atlantic, at Eton College and Harvard, he was both astute critic and enthused fan. In his understated way, a “rather good” let us know we had met his high standards. When Alastair agreed to join our Board of Directors,the Festival began to benefit from his business and financial acumen, gained over an extraordinary career that spanned from Wall Street to the Middle East, Eastern Europe and his home country, the United Kingdom. But most of all, we gained, and have now lost, a friend – a kind and generous gentleman whose wit delighted us all. We will miss him.

Thus yields the cedar to the axe's edge, Whose arms gave shelter to the princely eagle; Under whose shade the ramping lion slept: Whose top-branch overpeer'd Jove's spreading tree, And kept low shrubs from winter's powerful wind.” — Henry VI, Part III, Act V, Sc. 2

Robert Morf HVSF remembers long time crew member Robert "Bob" J Morf, who lost his life doing what he liked best - riding his motorcycle. A resident of Kingston, Bob was a stagehand/stage manager/ production manager his entire adult life. Bob loved all things music and festivals and was a member of the Red Devils NY motorcycle club. The family suggests memorial donations to the Michael J. Fox Foundation at www.michaeljfox.org.

Meet the Team Davis McCallum Artistic Director Davis is in his seventh season as HVSF's Artistic Director, and is honored to lead the company alongside Managing Director Kate Liberman. Under their leadership, HVSF established HVStories, a multi-year programming initiative to tell the stories of the Hudson River Valley; and FULL CIRCLE, a year-round community engagement program inspired by 2016's citizen-driven production of Our Town. His extensive background with Shakespeare and the classics includes productions at Oregon Shakespeare Festival, The Guthrie, The Old Globe, The Pearl, the American Shakespeare Center, and The Acting Company. 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 is the father of two sons, Thomas and Angus.

Kate Liberman Managing Director Kate joined HVSF as Managing Director in 2015. She is honored to lead HVSF in partnership with Davis McCallum. Previously, she served as General Manager at The Laguna Playhouse, where she worked on strategic planning, a fiscal turnaround, and capital improvements. Prior to The Playhouse, she served as Associate Managing Director at Yale Repertory Theatre, Managing Director of Yale Summer Cabaret, and Managing Director Fellow at Berkeley Repertory Theatre. Kate was Associate Manager of Development at The John F. Kennedy Center for the Performing Arts in Washington, DC where she executed a successful $10M campaign for the 2008 festival, Arabesque: Arts of The Arab World. She holds an MFA in theater management from Yale School of Drama and an MBA from Yale School of Management, and a BA from the University of

Pennsylvania, summa cum laude. At Yale, she was the recipient of the Morris J. Kaplan Prize for recognition in theater management. She is a recipient of the Harry S. Truman Scholarship and served as President of the Truman Scholars Association. In 2017, Kate received the Business Council of Westchester's 40 Under 40 Rising Star Award. She proudly serves as the immediate past president of the Cold Spring Area Chamber of Commerce. Originally from the Boston area, Kate lives in Peekskill with her wonderful husband, Eric, and her son, Toby.

Terrence O'Brien Founding Artistic Director Terrence O'Brien co-founded HVSF with actress Melissa Stern in 1987, and for 27 years, O'Brien was HVSF's artistic leader. During that time, he direct-ed more than 30 of HVSF's productions, garnered significant critical acclaim in major press nationally, and built a very loyal audience who enthusiastically returned to our tent theater year after year. He co-authored, with Stern, HVSF's original Statement of Purpose, he developed and evolved HVSF's signature performance style, and he remains deeply dedicated to the idea that Shakespeare's plays can be made accessible without sacrificing any of their depth and integrity. O'Brien was instrumental in developing the design of the HVSF tent theater and in integrating HVSF's acting style with the theater space. Over several years he developed an informal company of actors and artists, many of whom have developed lasting friendships, marriages, and in some cases, have had children. He performed his original oneman play, Popular Mechanics, for Bedlam in New York City, in Garrison, and in Gainesville, GA. Last May, he directed a cast of prisoners in his own adap-tation of On The Waterfront at Sing Sing Correctional Facility. He is currently adapting Investigating Sex into a theatre piece, and he'll be doing studio work on that project at the Baryshnikov Arts Center this summer. O'Brien is the director of the New World Shakespeare Lab in New York City, a group that seeks to evolve a more spontaneous style of acting Shakespeare. He and his wife, Jane Praeger, live in Manhattan with their daughter, Jenne, and son, Leo.

Cyndii Johnson in HVSF's 2021 Production of THE MOST SPECTACULARLY LAMENTABLE TRIAL OF MIZ MARTHA WASHINGTON Photo by T.Charles Erickson.

Creative Team & Designers Reza Behjat lighting designer: trial Reza was born and raised in Iran where he worked with some of the prominent directors for several years. In 2014, he moved to United Stated to pursue his artistic career abroad. Off-Broadway: Public Theater, NAATCO, NY ARTS, NYLA, New Victory Theater, Nour Theater, Sheen Center, Connelly Theater and etc. Regionals: Guthrie Theater, Geva Center, Actors Theater of Louisville, Long Wharf Theater, Baltimore Center Stage, Playmakers Rep, Alabama Shakespeare Festival, and etc. Upcoming: PS (Ars Nova), The Skin of Our Teeth (PlayMakers Rep), English (Atlantic Theater), Wish You Where Here (Playwrights Horizons), The Vagrant Trilogy (The Public Theater), How to Make An American Son (Arizona Theater Company), and etc. Knight of Illumination Award (2019)

Lucrecia Briceno lighting designer: tempest Lucrecia Briceno is a Peruvian artist currently based in Brooklyn. Much of her work has been in association with artists developing innovative and original pieces. Her work includes theatre, opera, puppetry and dance, as well as collaborations in several non-performance projects. Her designs have been presented at such venues as Oxford Playhouse (UK), The Public Theater, Arena Stage, The Metropolitan Museum of Art, Dallas Theatre Center, BAM (Fischer), Kennedy Center, Atlas Performing Arts, Berlind Theatre, Chicago Shakespeare Theater, La Mama ETC, Birmingham Repertory (UK), Culture Project, Pregones Theatre, Intar, HERE Arts Center, Soho Rep, Ohio Theatre, Irondale Center, ArtsEmerson, among many others. Lucrecia is an Associate Artist with The Civilians, a Core Member of Anonymous Ensemble, a Resident Designer with Pregones Theatre/PRTT and La Micro; she has also been a guest artist/lecturer at NYU, Princeton University, Hunter College, and the Pontificia Universidad Católica del Perú. Member of 829 59

Charles Coes sound designer: tempest Credits include Cymbeline, Much Ado About Nothing (HVSF); Pride and Prejudice (St. Louis Rep), Sing Street (NYTW); Jitney (Mark Taper Forum, Music Hall of Detroit, Arena Stage); Miss You Like Hell, Fun Home, Soul, The Christians, Les Liaisons Dangereuses (Baltimore Center Stage); The Good Book (Berkeley Rep); The Belle of Amherst, Third, (Two River Theater); Natural Shocks (WP Theater); The Way the Mountain Moved, Sense and Sensibility (OSF) Little Black Shadows, The Tempest (South Coast Rep); Animal Farm (Milwaukee Rep); For Peter Pan on Her 70th Birthday (Playwright's Horizons); Robber Bridegroom (The Laura Pels); Sense and Sensibility (Dallas Theater Center, The Guthrie); tokyo fish story (The Old Globe). He has been the associate on more than 20 Broadway shows including Girl from the North Country, To Kill a Mockingbird, Peter and the Starcatcher, and Junk. He has toured the world with the Homer's Coat production of An Iliad.

Martine Green-Rogers dramaturg Martine Kei Green-Rogers is the Interim Dean of the Division of Liberal Arts at UNCSA, Past President of the Literary Managers and Dramaturgs of the Americas, and the Fellowship Associate at the Playwrights' Center. Her dramaturgical credits include: “The Catastrophist” at Marin; He Brought Her Heart Back in a Box and The Ohio State Murders at Round House Theatre; The Greatest with the Louisville Orchestra; Fences and One Man, Two Guvnors at Pioneer Theatre Company; Sweat at the Goodman; productions of King Hedley II, Radio Golf, Five Guys Named Moe, Blues for An Alabama Sky, Gem of the Ocean, Waiting for Godot, Iphigenia at Aulis, Seven Guitars, The Mountaintop, Home, and Porgy and Bess at Court Theatre; Hairspray, The Book of Will, Shakespeare in Love, UniSon, Hannah and the Dread Gazebo, Comedy of Errors, To Kill A Mockingbird, The African Company Presents Richard III, A Midsummer Night's Dream, and Fences at the Oregon Shakespeare Festival.

Hahnji Jang costume designer: trial Hahnji Jang (Costume Designer) is a queer Asian American costume designer and activist stylist. They are excited to be joining the Hudson Valley team and to bring their passion for sustainable design and conscious sourcing to the valley. Hahnji is thrilled to feature Black and Indigenous owned clothing brands on the Hudson Valley stage, as well as locally sourced secondhand and vintage items. Selected projects include Theatre for One's Here We Are, The City & Working Theatre's project to tell the stories of New Yorkers lost to Covid: Missing Them, Baltimore Center Stage's Men on Boats, The Public Mobile Unit's A Midsummer Night's Dream, Pan Asian Repertory's Incident at Hidden Temple & political tour No-No Boy, the premier of translated play Sister Mokrahn, as well as upcoming projects Hurricane Diane and Polylogues. hahnjijang.com

Teniece Divya Johnson intimacy director: trial Teniece Divya Johnson, MA (Lehigh University, Sociology), MFA (University of Florida), is a student of life, stunt performer and certified intimacy coordinator and intimacy director for television, film and stage. Some credits include HBO's Emmy winning “Succession,” “Lovecraft Country,” “Ramy,” HULU's “Wu-Tang: An American Saga,” FX's “Pose,” STARZ “Run The World,” “The Hunters” on Amazon, West Side Story directed by Steven Spielberg and the limited series “The Underground Railroad” written and directed by Barry Jenkins on Amazon. Teniece is also honored to have worked on Slave Play at the Golden Theater and NYTW. imdb.me/teniecedivyajohnson Teaching and performing for over a decade, Teniece uses a multidisciplinary approach to cultivating self-healing and creative wellness practices. Driven to keep actors safe but the story dangerous Teniece's devised theater experience, movement training and spoken word poetry lends for a natural curiosity and commitment to honoring and dissecting what is on the page in order to develop a captivating movement dialogue of action and reaction. They are also an outspoken advocate for diversity, inclusivity, restorative justice, anti-racism, boundaries, collective healing and consent culture. linktr.ee/TenieceDivyaJohnson

Twi McCallum sound designer: trial Twi McCallum is a sound designer in NYC, from Baltimore, MD. Her favorite theatrical credits include Kansas City Rep, Baltimore Center Stage, Atlantic Theater Company, and her Broadway debut in fall 2021. She has worked in television/digital production for STARZ, NBC, and Marvel. Most importantly, she is a former student of Howard University's theatre department and a graduate of Yale School of Drama's one-year sound program. When not working, she loves archery, zombie video games, and taking care of her pet snails. She is thankful to her lovely director Taylor Reynolds, and sound supervisor Andrew Rovner, for this fantastic collaboration while still in a pandemic.

Marissa Menezes asst. costume designer: trial

Susannah Millonzi choreography: tempest Bedlam: The Crucible (Drama League nom. Distinguished Performance), Uncle Romeo Vanya Juliet, Peter Pan, New York Animals (WSJ Performance of the Year), Dead Dog Park, Twelfth Night(s); Classic Stage Company: Prometheus Bound (w/ David Oyelowo); David Neumann/Advanced Beginner Group: tough, the tough, 21st Annual Bessie Awards; Clubbed Thumb: Pageant; Regional: HVSF; Shakespeare & Company; Seattle Shakespeare Company (Footlight Award: Best Actor); Georgia Shakespeare Festival; Orlando Shakespeare Company. Choreographer: Bedlam, HVSF, Orlando Shakespeare Company, Georgia Shakespeare Festival, Milwaukee Repertory Theatre, Esperance. For my brave mom and Terry O’Brien.

Charlotte Palmer-Lane costume designer: tempest Recent Credits: HVSF (Twelfth Night, Romeo & Juliet, Hamlet, King Lear, The 3 Musketeers ,Winters Tale, An Iliad ,As You Like It, Our Town, The General from America, Richard 2); Pennsylvania Shakespeare (Blithe Spirit); Mint Theatre (Rutherford & Son); Syracuse Stage (Pride & Prejudice); Hudson Stage Co (Family Reunion, Other Desert Cities, You will Remember Me); Barrington Stage (Camping with Henry & Tom); Shakespeare & Co (God of Carnage, Heisenberg, Hir); Folger Shakespeare (As you Like it, Bedlam, Pygmalion, The Crucible). Film & TV: Dr Who, “Miss Marple,” The Chronicles of Narnia., “Quiz Show,” “Sneaky Pete.” charlottepalmerlane.squarespace.com

Ryan Quinn* director: tempest Ryan is an actor, director and teacher. His work with HVSF spans 18 years filling various roles. HVSF directing (tour/conservatory company): Macbeth, The Two Noble Kinsman, and two productions of Romeo and Juliet. HVSF acting (favorites from 8 seasons): Edmond (King Lear), Friar Lawrence (Romeo and Juliet), and Ferdinand (Tempest). Ryan is a co-founder and the Artistic Directer of Esperance Theater Company. Esperance directing: Twelfth Night, Youth and Ambition, and Breitwisch Farm. Additional directing: Everybody, Lost Girl, So Thrive My Soul, at Milwaukee Rep (PTI Program), Comedy of Errors at LIU Post, 15 Minute Hamlet (NYU), and upcoming Dad's Season Tickets at Milwaukee Rep, and The Mountaintop at Arc Stages. 2020/21 faculty member at Carnegie Mellon. MFA: Yale School of Drama.

Taylor Reynolds* director: trial Taylor Reynolds is a New York-based director from Chicago and one of the Producing Artistic Leaders of OBIE-winning The Movement Theatre Company in Harlem. She has worked as a director, assistant, and collaborator with companies including Clubbed Thumb, Keen Company, Page 73, Baltimore Center Stage, Signature Theatre Company, Ars Nova, MCC, and The 24 Hour Plays. Selected directing credits: Digging in the Dark (Keen Company audio play), RADIO NOWHERE (Keen Company audio play), Tambo & Bones (upcoming at Playwrights Horizons/CTG), Richard & Jane & Dick & Sally (Baltimore Center Stage/ Playwrights Realm), Tough (AADA), Plano (Clubbed Thumb, Drama Desk nom for Best Director), Songs About Trains (Radical Evolution), Allond(r)a (New Georges Audrey Residency), Think Before You Holla (creator/deviser). She is the recipient of the 2021 LPTW Lucille Lortel Award, a New Georges Affiliated Artist, 2017–2018 Clubbed Thumb Directing Fellow, Lincoln Center Theater Directors Lab alum, and member of SDC. iamtaylorreynolds.com

Member of Actors' Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Nathan Roberts sound designer: tempest

Nathan A. Roberts (Composer/Sound Designer The Tempest) — is a multi-instrumentalist, composer, instrument-maker, and sound designer who specializes in creating original music and soundscapes for plays. For HVSF, he designed sound (with design partner Charles Coes) for 2019's Cymbeline and Much Ado About Nothing. He also created the sound sculptures and composed the original score for 2015's An Iliad. He worked really hard on it. He has lots of composition and sound design credits at really cool theaters across the country.

Jillian Warner asst. costume designer: tempest Jillian is thrilled to return to HVSF for her fourth season! Growing up in nearby Beacon, NY, she always enjoyed the magic of HVSF. Jillian appreciated the opportunity to hone her construction skills under Charlotte Palmer-Lane's mentorship as a stitcher on General From America, Rip Van Winkle, Cymbeline, and Into The Woods. She is delighted to have the opportunity to assist Charlotte on The Tempest. Jillian is currently a rising junior costume design student at Carnegie Mellon University's School of Drama. At CMU, she was Assistant Costume Designer for Everybody this past spring and is looking forward to working as Assistant Costume Designer for Power/Trip in the fall as well as Costume Designer for Athena in the spring.

Joshua Yocom prop designer Broadway: The Humans (Roundabout and Broadway), The Sound Inside (Studio 54), Hangmen (Atlantic and John Golden Theater) Off-Broadway: Heroes of the Fourth Turning (Playwright's Horizons), Lazarus (NYTW), Halfway Bitches Go Straight to Heaven, Secret Life of Bees, Between Riverside and Crazy (Atlantic); Collective Rage (MCC), Do You Feel Anger (Vineyard), Mary Paige Marlow (Second Stage), For All the Women… (Soho Rep.), Sarah Ruhl's Passion Play (Epic). He is eternally grateful for the continued love and support of his husband Roberto.

Stage Management Roxana Khan* production stage manager In three seasons at HVSF: Cymbeline, Much Ado About Nothing, Richard II, Taming of the Shrew, Pride and Prejudice, General From America. Off-Broadway: Greater Clements (Lincoln Center); The Dance of Death, Mies Julie (CSC); Kings (The Public); Pride and Prejudice (Primary Stages). Selected Regional: Actors Theatre of Louisville, Westport Country Playhouse, South Coast Repertory, Oregon Shakespeare Festival.

Janelle Caso* production stage manager HVSF: Cyrano, Into The Woods. The Public: Romeo y Julieta, Shipwreck, The Line, Coal Country, The Tempest Mobil Unit, Wild Goose Dreams, Mlima's Tale, Under the Radar Festival, Oedipus El Rey. Broadway: Charlie and the Chocolate Factory, Noises Off. National tour: Evil Dead. Regional: A Midsummer Night's Dream, Hamlet, Othello, The Comedy of Errors, Frost/Nixon, RFK, Hurlyburly, Fiddler on the Roof, Gypsy, Philadelphia Orchestra Valentine's Day Concert. MFA from Columbia University.

Autumn Roza asst. stage manager Autumn is so excited to be part of the 2021 season at the Hudson Valley Shakespeare Festival and the return to live theatre! She is currently attending SUNY Fredonia and has a double major in Theatre Arts and English Adolescence Education with a minor in Stage Management. She grew up in Hamburg New York and would like to thank her Mom for the support that she always provides!

Member of Actors' Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Production Staff Rachel Behrman production carpenter

Hanna Brandow company manager This is Hanna's 5th season under the tent. A Hudson Valley native, Hanna is delighted to return for another summer under the stars. Hanna is a freelance Company Manager and Artistic Administrator in NYC and Regionally. Works include: Be More Chill (Broadway), One in Two (The New Group) Freestyle Love Supreme (Ars Nova), A Letter to Harvey Milk (LDK Productions), and The Glimmerglass Festival. SUNY New Paltz Class of 2017.

Summer Glodstein asst. wardrobe supervisor Summer is thrilled to be participating in her first season with HVSF. Previously, Summer worked at Glimmerglass Opera as a Hair and Makeup Intern. As a rising senior at SUNY New Paltz studying Theatre Design and Technology, Summer is excited to take her love of costumes into the professional world.

Merit Glover company safety manager

Dan Hasse company safety manager Dan Hasse’s directing credits include: Regional: TWELFTH NIGHT (American Shakespeare Center; Marquee TV). Off-Broadway: THE TRAGEDY OF ROMEO AND JULIET (Gym at Judson). Off-Off: Richard II (Robert Moss Theater), A MIDSUMMER NIGHT’S DREAM (Access Theater; East Coast Tour). Dan adapted and co-directed HAMLET IN THE GOLDEN VALE (feature film; 2018) and KING OF INFINITE SPACE (VR experience; 2018), produced by Roll The Bones with production support from The National Theatre (UK). Writing credits include: ROCCO, CHELSEA, ADRIANA… (HERE Arts; dir. John Gould Rubin), FIST IN MOUTH (Studio at Cherry Lane), and PEACE: BURIAL AT SEA (Shakespeare’s New Contemporaries – Final Shortlist), and FRITZ HABER (Alfred P. Sloan Foundation). Dan co-founded Shakespeare in the Square and recently served as Associate Artistic Director at American Shakespeare Center, producing their National Tour. www.danhasse.com

Alyssa Henkelman asst. company manager Alyssa Henkelman is thrilled to join HVSF for its 2021 season. She has previously worked at Cleveland Play House, Playhouse Square, The Rev Theatre Company (formerly FLMTF/Merry-Go-Round Playhouse), Central City Opera, Richmond Shakespeare Festival, and Dobama Theatre.

Daniel Mullins master electrician Dan is pleased to be returning for another season under the tent, and excited to be a part of creating live theatre once again. Dan stays busy the rest of the year as a Production Electrician in the Off-Broadway community, and with his wife and children, Katy, Lucy, and Oliver. Dan would like to acknowledge the hard work and excellent personality of Bob Morf, a longtime HVSF lighting crew member who will be genuinely missed here, and among all who knew him.

Andrew Rovner audio supervisor Andrew Rovner (he/him/his) is a sound designer, composer, and audio engineer for live performance. His work has been heard at Audible Theater, Yale Repertory Theatre, Steppenwolf Theatre Company, Jackalope Theatre Company, First Floor Theater, Walkabout Theater Company, and others. MFA: Yale School of Drama. BA: Vassar College. andrewrovner.com.

Claudia Stefany wardrobe supervisor Claudia is returning for her 3rd season with HVSF. A freelance Costume Designer and Wardrobe Supervisor, Claudia has recently returned from Belgium where she served as Associate Artistic Director at the SHAPE Performing Arts Centre located on a NATO base just outside of Brussels. An alumnus of the College Conservatory of Music at the University of Cincinnati and Baldwin-Wallace University in Cleveland, Ohio, Claudia is honored to be part of this remarkably creative and magically singular theatre company.

Cassandra Zeugin lighting supervisor Cassandra E. Zeugin is excited to return for a 6th season at HVSF! She is a production electrician and lighting designer based in New Jersey. Cassandra has worked on numerous Off-Broadway shows as an assistant lighting designer or electrician, including Is God Is (Soho Rep), Pride & Prejudice (Primary Stages and Hudson Valley Shakespeare), Father Comes Home from the Wars (Juilliard). Cassandra is currently pursuing an MBA at the Rutgers Business School. BFA, Rutgers University, Mason Gross School of the Arts. This Theatre 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. 69

Front-of-House Lindsay Higgins Audience Services Manager

Earline Stephen Box Office Manager Sarah Byrons Associate Box Office Manager

Cole Crozier Concessions Manager Allison Marino House Manager

Artistic & Administrative Staff Kate Liberman Managing Director

Semra Ercin Director Of Development

Davis Mccallum Artistic Director

Gina Marie Miele Bookkeeper

Nora Mcnally-Reif Director Of Production

Samir Patel Development Associate

Sean Mcnall

Linda Patterson Finance Director

Associate Artistic Director and Director of Education

Paloma Wake Executive Assistant

Amy Brown Director of Marketing and Communications

HVSF Board & Advisory Board Board of Directors

Advisory Board

Robin Shelby Arditi, President Laura Jean Wilson, Vice President Edward B. Whitney, Secretary Heather Hopkins, Treasurer Suzanne Baker Elizabeth Barrett Luis Castro Mary Elizabeth Bunzel Heidi Ettinger Pepper Evans Sandra Goldmark Steven L. Holley Alastair Keith James Kilman Patricia King Daniel J. Kramer Chip Loewenson Nat Prentice Frederic C. Rich Lauri Washington Sawyer James Stanford Byron Stinson Sarena Straus Dr. Elliott Sumers Vernon Wilson

Lee Balter Sarah Griffin Banker Nancy Meiselas Berner Patricia M. Cloherty Mary Beth Cresci Patrick J. Driscoll, Ph.D. Elizabeth Flinn Don Foster, Ph.D. Sarah Geer Peter Gergely, M.D. Jerry Gretzinger Marit Kulleseid Susan Landstreet Melissa Stern Lourie Carol Marquand Jason D. McManus Belle Blanchard Newton Anne Todd Osborn Katharine Plummer Sheila Rauch Betsy Simons Kristin Sorenson Jennifer Stebbins Carolyn Clark Tenney Terrence O’Brien, Founding Artistic Director