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contents Introduc tion pgs 1-2

Pla ys K ing Henr y V pgs 3-4 T h e Winter’s Tale pgs 5-6 T h e Philanderer pgs 7-8


Right now,

you are not at APT. Your picnic basket is presumably packed away, your calendar stalled out in the middle of some lesser time of year.

Yet,

you can still feel APT. You can still put yourself there, in that place that may not be a place at all, that may only exist in some fantastical fold in the fabric of the seasons, the fabric of the rolling hills, the fabric of the green trees and early evenings dimming down to a time and a light and a moment when magic and mystery might come about.


For 30 years now, people have made the pilgrimage. Thirty years. That’s 30 summers spent under innumerable stars, in the company of voices, in the presence of spirits, in the arms of Mother Nature. How many standing ovations? How many lumps in how many throats? How many afterward walks down the hill in silence, spellbound, looking for the words to describe what just happened? Of course, it’s also 30 off-seasons when the flicker of APT reminded us that another summer was not only possible, but imminent. For that flicker and so much else, we are thankful. And if we’ve been thankful in the past, we are even more so this year, with the introduction of the Touchstone Theatre. This indoor facility enhances the scope and future of APT, providing muchneeded production support space and, not to put too fine a point on it, an intimate 200-seat theatre. But it could never replace what happens up the hill. See, APT is, like all things wondrous, far away. It’s a short enough drive, to be sure, but the closer you get, the more you understand that what happens up the hill is strictly of that place and that moment. Unlike so many things in life, it is not to be recreated or replicated, sold or simplified, brought to your doorstep or delivered to your desktop. It can only happen here.

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No, right now you are not at APT. But, soon enough, you will be. (Again.)

As another APT summer draws near, the season’s best seats grow scarce. Securing tickets early ensures not only the best seating, but reduced prices for you, our most dedicated playgoers.


The Winter’s Tale Writt en By  William Shakespeare  |   Di rect ed by David Frank

Feat uring

David Daniel Steve Haggard Darragh Kennan

Brian Mani Matt Schwader Jonathan Smoots

Colleen Madden Tiffany Scott Catherine Lynn Davis

Described by  director  David  Frank  in  three  short  words,  but  not  before he talks with palpable passion for at least 51 minutes about the  unclassifiable nature, bittersweet beauty, and overall genius of  The  Winter’s Tale.

“Tears of  joy.” Described by director David Frank in a slightly less abridged manner. The  Winter’s  Tale  has  gained  in  stature  over  the  last  100  years.  Maybe that’s because it is so wonderfully optimistic and exquisitely  uplifting — as only a story of  personal redemption can be. There is  nothing  academic  about  The  Winter’s  Tale.  Despite  its  robust,  muscular storytelling, it is purely personal. It is taut with themes and  instances to which we can all relate. A defensive ruler who must know  he is slipping. The bittersweet knowledge that even though we got it  right, we used up much of  our lives in getting there. The limits of   anger.  The  passing  of   time.  Even  the  question  of   whether  we  are  engaged  in  a  comedy  or  tragedy.  The  Winter’s  Tale  delights  in  reliving  the  same  past  from  which  it  struggles  to  free  itself.  And  it  ends with one of  the most beautiful scenes ever written. Ultimately,  it  is  optimistic  without  being  delusional,  and  it  assures  us  that  the  whole human travail is worthwhile. Play  opens  June 25


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King Henry V Wri t t en B y William Shakespeare | D i re ct e d By James Bohnen Fe a t u r i n g Matt Schwader + cast of a thousand played by twelve. “ Let us o n yo u r i m a g i n ar y fo rce s w o rk … ” Prince Hal, former beer-swilling slacker, is on the brink of becoming one of Britain's greatest leaders. But witnessing this transformation asks something of us, the audience, and even asks something of this space we occupy. Can this theater hold the vasty fields of France? May we cram upon these wooden boards the very life and times of one of history’s most renowned leaders, two mighty monarchies rampant with nationalism and overwhelmed with patriotism, an incalculably costly war, and the lives of the ordinary men and women who suffer it? Indeed we can. And will. With your help. James Bohnen and William Shakespeare ask just that of you. We need you to play a part in this story, perhaps the most important part of all in this thing we all love, called theater. “ Int o a t ho u s an d part s di v i de o n e m an … ” Follow, follow…work your thoughts and grapple your minds to the decks of fleets majestical, from England to France and back again. Countries at war. The politics of rule. A King’s coming of age. A Queen’s coming to power. Loves, losses, betrayals. Life. Over 50 characters. 12 actors. And you. Pl a y o pens August 15


The Philanderer Writ t en B y George Bernard Shaw | D i re ct e d B y Kenneth Albers

Feat uri ng Paul Bentzen Jim DeVita Brian Mani

James Ridge Colleen Madden Susan Shunk

Catherine Lynn Davis

Director Kenneth Albers invites you to a night of philandering. The Philanderer is one of three plays that Shaw published as Plays Unpleasant in 1898. Which is funny. Because there’s nothing unpleasant about The Philanderer. Of course, taking Shaw at his word is risky business. By “unpleasant,” he simply meant that the purpose is not merely to entertain, but also to raise consciousness. Consciousness of what, you ask? Though it is funny (and The Philanderer is most certainly that), the play explores issues as relevant today as they were when Shaw wrote it: feminism, marriage, divorce, sexual dalliances — even the ethical and moral questions of using animals for medical research are examined. Hard to say which is the greater feat: the ongoing relevance, or the fact that Shaw makes it all so entertaining. The protagonist, Leonard Charteris, is a man who “likes to tell the truth, but doesn’t want to hear it,” and who confesses that he “could love any woman as long as she is pretty.” Such “confessions” are the excuses of self-assured men and the bane of selfassured women. Perhaps men and women laugh at The Philanderer for different reasons. But laugh they do. We hope you enjoy this evening of non-consequential philandering. Play o pens June 2 0


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Book of Summ er 2 0 1 0 - A m er i c an Pl ayer s T h eatre

APT  

booklet for American Players Theatres summer productions.

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