Colorado Shakespeare Festival 2017

JUNE 11 – AUG. 13, 2017

THE TAMING OF THE SHREW HAMLET JULIUS CAESAR ROSENCRANTZ & GUILDENSTERN ARE DEAD

BY TOM STOPPARD

HENRY VI, PART 3

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TABLE OF CONTENTS Letter From the Producing Artistic Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 2017 Season Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 CSF Sponsors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 CSF Supporters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 CSF Ambassadors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 CSF Membership . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

THE TAMING OF THE SHREW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Directed by Chirstopher DuVal

HAMLET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Directed by Carolyn Howarth

CELEBRATING OUR 60TH SEASON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

JULIUS CAESAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Directed by Anthony Powell

ROSENCRANTZ & GUILDENSTERN ARE DEAD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

By Tom Stoppard, directed by Timothy Orr

HENRY VI, PART 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Directed by Kelsey Didion

Who’s Who in the Cast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Acting Company . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Artistic Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 CSF Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 The CSF Shakespearience . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 CSF Services and Policies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

The Colorado Shakespeare Festival Program is published for the Festival by Westminster, CO

THE PUBLISHING HOUSE

Publisher Angie Flachman Johnson | Director of Sales Tod Cavey | Production Manager Stacey Krull Press Manager Mark Fessler | President Wilbur E. Flachman For advertising, call 303-428-9529 or email sales@pub-house.com | ColoradoArtsPubs.com

CU PRESENTS

Editor Jill Kimball Design & Layout Sabrina Green

6

PLAY ART

Ligature Creative Group

COVER PHOTOGRAPHY Zachary Andrews

2017 COLORADO SHAKESPEARE FESTIVAL

ONL I N E | E VE N IN G | SU M M E R

That moment when you realize it’s never too late.

Life gets busy. Find classes that fit your schedule. ce.colorado.edu • 303.492.5148

COLORADO SHAKESPEARE FESTIVAL 2017

CSF’s year-round, full-time staff: Kurt Mehlenbacher, Jarid Sumner, Timothy Orr, Wendy Franz, Amanda Giguere

The staff of the Colorado Shakespeare Festival welcomes you to the 60th season of this storied institution. The tireless efforts of the entire CSF company—the production departments and actors, the designers and directors, the advisory board and the executive committee, the CU Presents and CU Advancement teams—all deserve an enormous round of applause for creating this season. I am deeply thankful for their hard work, passion and enthusiasm for the Colorado Shakespeare Festival. Pictured here is the senior staff of the Colorado Shakespeare Festival with whom I work very closely, and for their hard work and dedication I am particularly grateful.

But here in our 60th season, gratitude needs to be extended to the countless people who have preceded us and given so much of their talent and hard work to CSF. Without them, we would not be fortunate enough to have this company. So many small moments of care and effort have passed through this theatre over 60 seasons. It’s wonderful to imagine.

This summer, we celebrate our past (and future) by reimagining the very first 1958 season with The Taming of the Shrew, Hamlet and Julius Caesar. In those days, CSF produced a three-play season. Today, with our five-play season model, we have added Rosencrantz & Guildenstern Are Dead, performed in repertory with the same cast as Hamlet, and an Original Practices production of Henry VI, Part 3. With the completion of the Henry cycle this year, CSF will have completed the entire canon of William Shakespeare’s plays—for a second time. That is something few companies can claim.

As I write this, I am looking at a CSF program from the 1958 season. Inside is a letter to the patrons (just like this one) from CSF’s first executive director, Professor J. H. Crouch. He writes, “For the past four or five years the first annual Colorado Shakespeare Festival has been in the planning stages, and now 1958 brings the first repertory season of ‘Shakespeare-Under-the-Stars.’ …We hope that our first season will be a highly enjoyable and rewarding one for you and that you will return for future seasons of the Colorado Shakespeare Festival .”

Thank you very much for returning. Please enjoy the 2017 season, and we hope you will return for future seasons as we continue the wonderful work we’ve been given.

Timothy Orr Producing Artistic Director

8

2017 COLORADO SHAKESPEARE FESTIVAL

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SEASON CALENDAR • JUNE 11-AUG. 13 SUN 11

Shrew

MON 12

8pm

18

25

TUE 13

WED 14

THU 15

FRI 16

20

26

Shrew

8pm

JUNE 19

SAT 17

21

27

28

22

23

24

8pm

7:30pm (Preview)

7:30pm

29

30

1

8pm

7:30pm

7

8

8pm (Preview)

8pm

14

15

7:30pm

8pm

Shrew

Hamlet

Shrew

Hamlet

Hamlet

Shrew 8pm

2

Hamlet

3

4

Hamlet

6

JULY

1pm

9

5

10

1pm

11

Caesar

12

13

6:30pm

Caesar

Hamlet

Shrew

Caesar Full Moon

Shrew

8pm 16

Shrew

17

6:30pm

18

Shrew

19

6:30pm

20

21

22

8pm

7:30pm (Preview)

7:30pm

8pm

8pm

Caesar

R&G

Caesar 23

Hamlet

24

1pm

Shrew Hamlet

26

27

28

29

6:30pm

7:30pm

7:30pm

8pm

7:30pm

Hamlet Shrew

R&G

Caesar

8pm 31

1pm

Shrew

Shrew

25

Shrew

6:30pm 30

R&G

R&G

Caesar

8pm

1

2

3

4

5

6:30pm

7:30pm

7:30pm

7:30pm

7:30pm

8pm

8pm

8pm

Caesar

6:30pm

Hamlet

AUGUST

R&G

R&G

Caesar

R&G

Shrew

Hamlet Shrew

7:30pm 6

Hamlet

7

6:30pm

9

10

11

12

6:30pm

7:30pm

7:30pm

7:30pm

7:30pm

8pm

8pm

Henry VI

1pm

Henry VI

8

Full Moon

R&G

Caesar

R&G

Shrew

Hamlet

R&G

Caesar

8pm

13

R&G 1pm

Shrew 6:30pm

Hamlet 7:30pm

12

2017 COLORADO SHAKESPEARE FESTIVAL

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NATIVE GARDENS Apr 6 – May 6, 2018

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May 18 – June 24, 2018

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Heartwarming, music-filled story

OUR SPONSORS PREMIER SPONSOR

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THANK YOU TO OUR ADDITIONAL SEASON SPONSORS

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College of Arts & Sciences

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2017 COLORADO SHAKESPEARE FESTIVAL

JUNIPER BOOKS

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OUR SUPPORTERS Dedicated to celebrating and exploring Shakespeare and his continuing influences, the Colorado Shakespeare Festival is thriving due to the tremendous support we receive from community members throughout the year. Your generosity, combined with smart business practices and a commitment to superior artistic quality, allows this great summer tradition to reach new heights of success, season after season. The individuals and families listed here have demonstrated their passion for Shakespeare, live theatre and nationally renowned educational outreach programs through generous contributions. As the second oldest Shakespeare festival in the country, CSF's legacy is made possible through our compassionate and philanthropic community of supporters. Thank you!

BEQUESTS

Anonymous Anne and John Blair Margot Crowe Kenneth Gamauf Lissy Garrison Lisa Hogan Diana W . and F . Michael Kinsey Carol Mellinger

$25,000+

Jill Bullington and Steven Leigh Max Dixon Pam and Duke Hartman Christine and Peter Jensen Susan Barney Jones Pattie and Ben Nelson

$10,000-$24,999

Driscoll Foundation Jeanne and Jim Fetterman Marilyn and William Fitzsimmons Lissy Garrison Karen and Robert Herz Diana W . and F . Michael Kinsey Stephany Roscoe and Brian Curtiss The Dorothy and Anthony Riddle Family Foundation

$5,000-$9,999

Anne and John Blair Christine and Robert Wester Kate Wilson and Alex Goetz

$2,500-$4,999

Laura and Kurt Bittner Chelsea and William Flagg Patty and Jerry Hauptman Theresa and Robert Keatinge Paula and Marcus Martin Mollie Mitchell and John Wilson

$1,000-$2,499

Gregory Bundy Pamela and Michael Copp Sally and Joseph Dischinger in honor of Ruth and Ken Wright Kenneth Gamauf Roe Green Thomas Mehs

Lois and Jeffrey Linsky Betsy Phelan and Paul Smith Anne Sandoe Tana Schultz Sandy Smith and Bob Biebel Julia and Fredric Stoffel Carson and John Taylor Kate and Clyde Wilson in memory of Jeanne and Stuart Wilson

$500-$999

Micah Abram and Andy Maass Candace Allen Susan and James Baldwin Carolyn and Matthew Biller Theresa and Roberto Corrada Martha and Robert Drake Adam Engle Marshall Essig Beth and Tony Fabrizio Elizabeth and Sidney Fox Carol and Todd Gleeson Carolyn Grant and Robert Krenz Marcia and Christopher Hazlitt Marilyn and Stephen Kaminski Laurie Keith and Timothy Orr Madeleine and Kenneth McCourt Carol Mellinger Brent Phillips Becky Roser and Ron Stewart Sally and Sam Sandoe Constance and TK Smith Carol Stamm Catherine Tallerico and William Rogers III Tinbet and Carl Tinstman Lola and Charles Wilcox Lani Zielsdorf and Stephen Barnes

$250-$499

Sarah and Bryan Adderholt Becca and Kevin Bracy Knight Diana Carney Donna Casey and Michael Friedman Catherine and Stephen Collins Priscilla Corielle and Kenneth Wilson Joan and Michael Dardis Fran Evans Ellen and John Gille

Sue and Gustavo Grampp Marian Hamlen Kay Hartrick Beverly Hayes-Hartnett and Lawrence Hartnett Jeffrey Kash and Jeffrey Nytch Nancy and Ralph Mann Cheryl McBay Kathleen and Gerald McIntosh Sandra and John Myers Maria Nondorf Linda and Christopher Paris Barbe Ratcliffe Mikhy and Mike Ritter Alicia and Juan Rodriguez David Wenke Barbara and James Wightman in honor of Elisabeth Collins Michelle and Lynn Wood

$100-$249

Jennifer and Alan Aboaf Janna Blanter Judith and Allan Bock Virginia Boucher Joan McLean Braun Mary and Jim Brothers Nancy and Gerry Bunce Maureen Burnett Shirley Carnahan Carolie Coates and Claude Weil Jay Cornils Barbara and Carl Diehl Lucinda and Daniel Ellerhorst Theresa and Tim Fiez Joshua Firestone Carol Fitchette-Asprey and Thomas Asprey Marguerite and Richard Franklin Wendy Franz Carol and Jack Gathright Betsy and Albert Hand Jean Hodges Ruth and Richard Irvin Mikee and Robert Kapelke Ann and William Kellogg Geoffrey Kent Rita Kotter Sharon Kouba Ellen and Dale LaGow Amy and Trevor Lavens Richard Leaman Cassidy and John Leeburg Lois and Mark Levinson

Miriam and Tom Lindahl Caroline and Matthew Loewengart Ellen and Robert Lundy Carol and Tim March Robert Marcum Cathy and Byron McCalmon Virginia McGowan and Michael Goss Jennifer McNabb Jas and James Mercer-Smith Christopher Merrell Janice Moore Patricia and Alexander Muckle Shirley and William Niemeyer Rionda Osman-Jouchoux and Alain Jouchoux Coleen and William Pass Elizabeth and David Phillips Theodore Pincus Ann and Edward Pinfield Marilyn and Gerald Pinsker Christine and Richard Quinlan Anthony Ruckel Liz Schoeberlein Rose and Thomas Selnau Elizabeth and Richard Shearer Debora and Robert Smith Zdenka Smith James Topping Leslie and Jason Trow Mary and Michael Tully Deborah and Charles Turner Heather Van Dusen Faith and Stephen Williams Gandasari and U . Kyaw Win Ruth and Ken Wright Karen and Scott Yarberry Rachel Yeates Christine Yoshinaga-Itano and Wayne Itano Ann and Gary Yost

This year’s program recognizes gifts made between April 1, 2016 and April 1, 2017. If we’ve made a mistake, please call Jeni M. Webster at 303-735-6070.

16

2017 COLORADO SHAKESPEARE FESTIVAL

OUR AMBASSADORS Those who contribute to the Colorado Shakespeare Festival as members of our Advisory Board, our Executive Committee and the Shakespeare Gardens are truly devoted volunteers. We wish to share our gratitude for their chivalrous spirit, generous gifts of time, and commitment to advocacy on behalf of our beloved festival. Thank you!

CSF ADVISORY BOARD

Robert Wester, Chair Micah Abram Bud Coleman Margot Crowe Brian Curtiss Jeanne Fetterman Pam Hartman Patty Hauptman Lin Hawkins Chris Jensen Marcus Martin Dan Mones Eric Wallace Kate Wilson

FESTIVAL ENDOWMENTS

CSF EXECUTIVE COMMITTEE

Erika Randall, Chair Sarah Adderholt Joan McLean Braun Bud Coleman Wendy Franz David Glimp Ruth-Ellen Kocher Amy Lavens Michael Roseberry Catherine Shea Michael Spires Jim Symons

SHAKESPEARE GARDENS

Carol Mellinger, President Deborah Broaddus, Treasurer Monica Van Zale, Secretary Claire-Maria Broaddus Barbara Carvallo Margot Crowe Claudia Elliott Mary Karen Euler Kenneth Gamauf Dean Hanold Holly Hart Peggie Hudiburg Diana W . Kinsey

60th Season Commemorative Acting Intern Endowed Award Fund Colorado Shakespeare Festival Education Outreach Endowment Fund Colorado Shakespeare Festival Endowment Fund Colorado Shakespeare Festival Guild Endowment David A . Busse Endowed Scholarship Fund Dorothy and Anthony Riddle Endowment for the Shakespeare Education Fund Dorothy & Carl Nelson Shakespeare Acting Intern Endowed Award Fund Jensen Family Will Power Festival Endowment Ken and Ruth Wright Colorado Shakespeare Festival Distinguished Directorship Kenneth J. Gamauf Flatirons Fund for the Colorado Shakespeare Gardens Richard M. Devin Endowed Fund for the Colorado Shakespeare Festival Max Dixon Acting Intern Endowed Award Fund Midsummer Night Acting Intern Endowed Award Fund

F . Michael Kinsey Judy Mastrine Kari Mitchell Alan Nelson Brad Nettles Kathy Tierney Pantzer Chuck Wilcox Lola Wilcox

FOUNDATIONS AND GRANTS

Anonymous Boulder Arts Commission The Community Foundation Serving Boulder County CU Boulder Office for Outreach and Engagement The Shubert Foundation, Inc.

IN-KIND

Cafe Aion FASTSIGNS Katy Faulkner Wendy Franz Half Fast Subs on the Hill Inisfree Poetry Bookstore & Cafe The Academy

The Colorado Shakespeare Festival would like to extend its gratitude to the following individuals and groups: College of Arts and Sciences, University of Colorado Boulder Steven Leigh, Dean Valerio Ferme, Associate Dean CU Boulder Department of Theatre & Dance Erika Randall, Chair CU Presents Joan McLean Braun, Executive Director Box Office staff The Publishing House Music, Arts & Culture Advancement Team Brock Media

@coshakes | #coshakes

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Complimentary CSF Sticker Recognition in season program (donations received after April 1 will be listed in the 2018 season program) Complimentary CSF T-Shirt Total ticket flexibility: complimentary ticket exchange Two complimentary tickets to a CSF 2018 season production to share with your friends and family Invitation to the 2018 Opening Night Gala Invitation to the Season Announcement Party (fall of 2017) Exclusive invitation to a private rehearsal, a backstage tour, and a Q & A reception with the Producing Artistic Director Two complimentary tickets to a CU Presents performance of your choice (during 2017 season, based on availability) A performance dedicated to you or a loved one, recognizing your outstanding commitment to CSF Invitations to insider CSF events for an exclusive Benefactor experience

Elevate your CSF experience by becoming a member!

For more information call: 303-492-3054 18

coloradoshakes.org 2017 COLORADO SHAKESPEARE FESTIVAL

*please consult with your tax advisor

(100% Tax Deductable*)

$100-$249

SHAKESPEARE MEMBER

($25 non-tax deductible portion*)

$250-$499

SHAKESPEARE CONTRIBUTOR

($101 non-tax deductible portion*)

$500-$999

SHAKESPEARE SUPPORTER

($ 101 non-tax deductible portion*)

$1,000-$2,499

SHAKESPEARE PATRON

($181 non-tax deductible portion*)

$2,500-$4,999

SHAKESPEARE PARTNER

($181 non-tax deductible portion*)

$5,000 +

JUNE 11 - AUGUST 13

SHAKESPEARE BENEFACTOR

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Summer 2017

BACKSTAGE THEATRE

Summer 2017

Aug 25- Sept 4 Summer 2017

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June 9-Aug 6

Roald Dahl’s

June 22- Aug 5

Roald Dahl’s

June 22- Aug 5

June 22- Aug 5 June 22- Aug 5

June 9- Aug 6 June 9- Aug 6

July 6- Aug 12 July 6- Aug 12

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`` HELP US CELEBRATE THIS MILESTONE SEASON

BY SUPPORTING A COMMUNITY TRADITION Colorado Shakespeare Festival Education Outreach Endowment Fund Colorado Shakespeare Festival Endowment Fund Your gift will ensure that the timeless and insightful wisdom of Shakespearean classics lasts a lifetime. Make a gift today.

LEARN MORE: coloradoshakes.org/contribute | 303-492-3054

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With an assortment of menu options collected from cultures around the world, Savory Cuisines can serve a delicious meal to a group of any size that is uniquely suited to your tastes.

CU Boulder allows Shakespeare enthusiasts to gain a professional education through our Applied Shakespeare certificate program.

This one-of-a-kind program is a partnership with the Colorado Shakespeare Festival, which allows our students to gain hands-on experience as they work alongside nationally recognized experts.

Students begin the program exploring upcoming festival plays during fully integrated online courses. After engaging with the plays, students participate in a two-week immersion at CU Boulder, where they learn, act, direct, interpret and teach Shakespeare during the Colorado

Shakespeare Festival.

Students spend the mornings in small, active classrooms with actors and directors from the CSF company, learning to perform and stage Shakespeare. In the afternoon, students join scholars from the CU Boulder departments of English and Theatre & Dance to explore the vibrant world of Elizabethan culture, Shakespearean dance, stage combat and modern adaptation.

Although general applications open in August, CSF audience members may reserve a space now and learn more at our Applied Shakespeare page.

Application deadline is Dec. 1, 2017.

Learn more at:

CONTACT US TODAY

colorado.edu/graduateschool/shakespeare

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22

2017 COLORADO SHAKESPEARE FESTIVAL

THE

TAMING OF THE

SHREW

S IT BY M Y S IDE , AND LE T THE WORLD S LIP: WE S HALL NE’ER BE YOUNGER .

PLOT SYNOPSIS

Lucentio of Pisa arrives in Padua with his servant Tranio and falls in love with Bianca, but he learns that her father, the wealthy Baptista, will allow no suitors to Bianca until his elder daughter Katherina weds .

Baptista vows to keep his daughters at home to study with tutors until they marry. Hortensio and Gremio, two of Bianca’s suitors, decide to find a husband for Kate. Tranio suggests that Lucentio disguise himself as the poetry tutor Cambio in order to woo Bianca, and Tranio will take his place as Lucentio in Padua .

Petruchio and his servant Grumio arrive in Padua . Petruchio visits his friend Hortensio and shares his plans to catch a wealthy wife. Learning of Kate, a woman with a sizable dowry but a sharp tongue, Petruchio decides to pursue her. At Baptista’s house, Petruchio offers Hortensio in disguise as the music tutor Licio. Gremio offers the poetry tutor Cambio, charging him to woo Bianca for Gremio, not knowing that Cambio is Lucentio in disguise, aiming to woo Bianca for himself.

Baptista accepts Petruchio’s bid to marry Kate . On their wedding day, Petruchio is late and stirs up trouble at the ceremony. After the wedding, Petruchio hastily whisks Kate away to his home in Verona. In Padua, Baptista prepares for the wedding of Bianca, now promised to Tranio disguised as Lucentio . Hortensio leaves and plans to marry a wealthy widow. Tranio finds a Pedant to pretend to be Vincentio to bless the marriage of Lucentio and Bianca. At Petruchio’s house, Kate is starved of food and rest, while Petruchio behaves erratically. Petruchio then tells Kate they will return to Baptista’s house . On the way, Kate vows that she is done fighting and will be a partner to Petruchio, no longer an opponent . On the road, they encounter the real Vincentio, and all travel to Lucentio’s house . The disguised characters meet their counterparts and Vincentio and Baptista meet for the first time.

ARTISTIC TEAM Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Christopher DuVal Scenic Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Caitlin Ayer Costume Designer . . . . . . . . . . . . . . . . . . Meghan Anderson Doyle Lighting Designer . . . . . . . . . . . . . . . . . . . . . . Shannon McKinney^ Sound Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jason Ducat Fight Director . . . . . . . . . . . . . . . . . . . . . . . . . . . Christopher DuVal Choreographer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Erika Randall Assistant Fight Directors . . . . . . . . .Benaiah Anderson, Ava Kostia Dramaturg. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bianca Gordon Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . Stacy R. Norwood* Assistant Stage Manager . . . . . . . . . . . . . . . . . . .Miranda Baxter*

CAST IN ORDER OF APPEARANCE Lucentio, suitor to Bianca . . . . . . . . . . . . . . .Christopher Joel Onken* Tranio, Lucentio’s servant. . . . . . . . . . . . . . . . . . . . . . . . . Tony Ryan Baptista, a rich citizen of Padua . . . . . . . . . . . . . . . . Robert Sicular* Gremio, a rich old man, suitor to Bianca . . . . . . . . . . . . Sam Sandoe Katherina, Baptista’s elder daughter . . . . . . . . . . . . . . Shelly Gaza* Hortensio, Petruchio’s friend, suitor to Bianca . . . . . . Casey Andree Bianca, Baptista’s younger daughter . . . . . . . . . . . . . Rachel Turner Biondello, Lucentio’s servant . . . . . . . . . . . . . . . . Benaiah Anderson Petruchio, a gentleman of Verona . . . . . . . . . . . . Scott Coopwood* Grumio, his groom . . . . . . . . . . . . . . . . . . . . . . . Matthew Schneck* Curtis, Petruchio’s steward . . . . . . . . . . . . . . . Meredith C. Grundei Pedant, from Mantua . . . . . . . . . . . . . . . . . . . . . . . . David Derringer Tailor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . David Derringer Haberdasher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ian Roy Fraser Vincentio, Lucentio’s father . . . . . . . . . . . . . . . . . . Coleman Zeigen Widow, Hortensio’s wife . . . . . . . . . . . . . . . . . . . . . . . Anne Sandoe Attendants, Servants, Officer . . . . . . . . . . . . . . . . . Michael Chen, David Derringer, Evan Ector, Ian Roy Fraser, Anne Sandoe, Ayla Sullivan, Robert Wester

The confusion is resolved and a wedding feast ensues. Petruchio starts a wager on whose wife is the most obedient, and when Bianca and the widow are sent for, they refuse to come. When Petruchio sends for Kate, she comes, brings the wives and shares her thoughts on wives’ duties to their husbands. The feast ends in merriment as Petruchio has won the bet, and the others marvel at his and Kate’s unconventional union .

—Bianca Gordon, Dramaturg + Stage Directors and Choreographers Society

@coshakes | #coshakes

^ United Scenic Artists * Appears courtesy of Actors’ Equity Association

23

JOYFUL, CELEBRATORY AND DELIGHTFULLY COMPLEX LOVE

The Taming of the Shrew is first and foremost a deeply joyful, celebratory and delightfully complex love story of two strong-willed human beings who employ every verbal barb, every tactical response and every behavioral maneuver and counter as they test the waters of a relationship. These initial clashes ultimately reveal the strength of their eventual unity, but not at the expense of their independence .

The relationship of Kate and Petruchio is a shining example of unity that is forged in complexity and therefore bound to survive the tests of time.

Civility, trust and true respect are the frameworks for any relationship—whether that relationship is within business, society or culture, between governments or between individuals within governments . One cannot truly be in communication and connection without civility, trust and respect. To opt to “choose your battles,” to “agree to disagree” or to embrace someone else’s needs and hopes as your own are also fundamental frameworks for relationship-building. Kate and Petruchio, as mature individuals who secretly (and perhaps even unconsciously) long for a deeper connection with another human being, surprisingly learn that sometimes it’s worth picking your battles to enjoy the richness of a loving and supportive true partnership .

However, this relationship between Petruchio and Kate is a “warts and all” real relationship, not the superimposed Hollywood version of love. It has an ugly side, yet it endures and will stand the test of time precisely because Kate and Petruchio, for all their complexity, are vulnerable in their relationship.

CSF 2010

As the common saying goes, “only through vulnerability lies strength”—and so too do Kate and Petruchio find their strength through their ability to place each other in deep trust.

We hope you sit forward and revel in our story as we celebrate humanity’s foibles and strengths, along with our collective hopes for trust, civility and a bright future.

—Christopher DuVal, Director

CSF 1981

24

CSF 2003

2017 COLORADO SHAKESPEARE FESTIVAL

PLEASURE AND DANGER:

POST-WAR LITTLE ITALY AND THE TAMING OF THE SHREW The Taming of the Shrew was likely received as a farcical comedy in its original context. However, the performance history and critical reception of Shrew has greatly varied over time . Barbara Hodgdon writes that productions can focus anywhere from “delighted celebrations of the play’s comic artistry and metatheatrical playfulness to troubled acknowledgement of its merged pleasures and dangers .”

CSF’s production takes us to the “pleasures and dangers” of Little Italy in a post-World War II context, where the characters are deeply informed by that socio-cultural time and place.

Costume Renderings by Meghan Anderson Doyle

The significance of Little Italy, a neighborhood in New York City, has shifted over time. At the turn of the century the neighborhood was the foremost destination for Italian immigrants arriving from Southern Italy. Scholar Bogdana Simina Frunza defines 1880 to 1930 as the “flourishing phase,” where more than 20,000 immigrants moved from Italy to New York. The first wave of immigrants largely kept to this neighborhood, maintained social relations with established family and friends, and came with the intention to make enough

money to return to Italy and buy land.

During the “declining phase,” the 1930s to 1970s, the children of the initial wave of immigrants had acquired more wealth and taste for American culture. Younger generations left the neighborhood for other New York suburbs. This phenomenon is threaded throughout our production as intergenerational tensions emerge . The older Baptista and Gremio maintain older worldviews and are unable to control younger characters like Kate and Bianca, who explore different ways of defying their elders and seeking their own paths .

Another contextual influence is Kate’s role as a WASP, or a Women Airforce Service Pilot . Although more than 350,000 women served in the U .S . military during World War II, the conflict between acceptable feminine and masculine roles was particularly threatening in the WASP program . Molly Merryman writes in Clipped Wings: The Rise and Fall of the Women Airforce Service Pilots (WASPS) of World War II that:

WASPs were involved in activities considered both dangerous and adventurous for the men who performed them; thus, a high level of status was associated with their roles and missions.”

However, the WASP program was also not militarized, and returning WASPs were not able to benefit from the GI bill or other veteran rewards programs .

The injustice of historical events like the end of the WASP program reveal how changeable and yet how entrenched cultural beliefs about gender and identity can be. In The Taming of the Shrew, these characters must work through their limitations, fears and confusions by building relationships with one another .

In doing so, we discover, along with the characters, how danger and pleasure are deeply intertwined .

—Bianca Gordon, Dramaturg

“WASPs were the first American wartime service unit composed entirely of women who performed functions traditionally associated with men.

Tailor & Haberdasher

Kate

Gremio & Hortensio

Bianca

Grumio

Baptista

Widow

Petruchio

Curtis

Lucentio

@coshakes | #coshakes

25

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2017 COLORADO SHAKESPEARE FESTIVAL

HAMLET THIS ABOVE ALL: TO THINE OWN SELF BE TRUE .

PLOT SYNOPSIS

Upon her father’s death and mother’s quick remarriage to her uncle, Hamlet has returned to Denmark to cope with her grief. Horatio reveals that he has seen her father; the next night, Hamlet confronts her father’s ghost, who charges her to avenge his alleged murder . Hamlet vows to find out the truth and obtain justice, and she will do so under the guise of madness.

Polonius and his daughter Ophelia have bid farewell to his other daughter, Laertes . Hamlet’s change in character unsettles Ophelia, and Polonius determines to find the cause of her lunacy. King Claudius and Queen Gertrude welcome Rosencrantz and Guildenstern to the castle and charge them with elucidating Hamlet’s madness .

Meanwhile, Fortinbras’ army has neared Denmark; Voltemand arrives with assurances that Norway is not planning war, though the threat looms .

Hamlet maintains the illusion of madness, even with childhood friends Rosencrantz and Guildenstern . When the Players arrive, she enlists them to play “The Murder of Gonzago,” a play that mimics the death of Old Hamlet. Claudius interrupts the performance, appearing upset; Hamlet believes she’s found proof of guilt. But when she has the opportunity to kill Claudius as he prays, she hesitates . Hamlet visits Gertrude and accidentally kills Polonius, resulting in her banishment to England; on the way, she finds that Fortinbras’ army is still nearby.

Laertes returns to discover that Ophelia, driven mad by the loss of her father and lover, has drowned in a nearby brook. As they go to bury her, the court encounters Hamlet, an unpleasant surprise return; Hamlet and Laertes quarrel over Ophelia’s corpse . Claudius and Laertes conspire to have Laertes challenge Hamlet to a duel . Laertes’ sword is poisoned, and Claudius poisons a cup of wine as well, to ensure Hamlet’s death.

In the chaos of the fight, many lives are lost. Fortinbras marches into Denmark virtually unopposed .

—Hadley Kamminga-Peck, Dramaturg

+ Stage Directors and Choreographers Society

@coshakes | #coshakes

ARTISTIC TEAM Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Carolyn Howarth+ Scenic and Lighting Designer . . . . . . . . . . . . . Stephen C. Jones^ Costume Designer . . . . . . . . . . . . . . . . . . . . . . . . . . Hugh Hanson Sound Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jason Ducat Fight Director . . . . . . . . . . . . . . . . . . . . . . . . . . . Christopher DuVal Assistant Scenic and Lighting Designer . . . . . . . .Whitney Brady Assistant Fight Director . . . . . . . . . . . . . . . . . . . . . . . . .Ava Kostia Dramaturg. . . . . . . . . . . . . . . . . . . . . . . . . Hadley Kamminga-Peck Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paul Behrhorst* Assistant Stage Manager . . . . . . . . . . . . . . . . . . . Darion Ramos*

CAST IN ORDER OF APPEARANCE Horatio, Hamlet’s friend and fellow student . . . . . . . . .Jihad Milhem Marcellus, a sentinel . . . . . . . . . . . . . . . . . . . . . . . . . Blake Williams Ghost of Hamlet’s Father, late King Hamlet . . . . . . . Sam Gregory* King Claudius, Hamlet's uncle . . . . . . . . . . . . . . . . . . Gary Wright* Queen Gertrude, Hamlet’s mother . . . . . . . . . . . . . Mare Trevathan Polonius, King Claudius’ councilor . . . . . . . . . . . . . Rodney Lizcano* Laertes, Polonius’ daughter . . . . . . . . . . . . . . . . . . . . . . .Ava Kostia Ophelia, Polonius’ daughter . . . . . . . . . . . . . . . . . . . . Emelie O’Hara Hamlet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lenne Klingaman* Osric, a courtier . . . . . . . . . . . . . . . . . . . . . . . . . . . Kristofer Buxton Voltemand, Danish ambassador to Norway . . . . . . . . . Cindy Spitko Cornelius, Danish ambassador to Norway . . . . . . . . . . Austin Terrell Rosencrantz, a fellow student . . . . . . . . . . . . . . . Michael Bouchard Guildenstern, a fellow student . . . . . . . . . . . . . . . .Sean Scrutchins* Prologue, a Player . . . . . . . . . . . . . . . . . . . . . . . . . . . Sam Gregory* Player King, a Player . . . . . . . . . . . . . . . . . . . . . . . . . . Austin Terrell Player Queen, a Player . . . . . . . . . . . . . . . . . . . . . Kristofer Buxton A Player. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Blake Williams A Player. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cindy Spitko A Player. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Elise Collins Fortinbras, Old Fortinbras of Norway's daughter . . . . . . Elise Collins Captain, in Norwegian army . . . . . . . . . . . . . . . . . . . . . Cindy Spitko Gravedigger, a clown . . . . . . . . . . . . . . . . . . . . . . Rodney Lizcano* Priest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Alan Nelson Ambassador, from England . . . . . . . . . . . . . . . . . . . . Blake Williams

^ United Scenic Artists * Appears courtesy of Actors’ Equity Association

27

Costume Renderings by Hugh Hanson

WHY NOT A WOMAN? I’m hardly the first director to cast a woman as Hamlet. A formidable list of female talent has tackled the role through the ages: Sarah Siddons, Sarah Bernhardt and Maxine Peake, to name a few. It’s a fun afternoon of research, reading about the various productions and the critiques of the time. I encourage you to do it! One can learn almost as much about the trending notions of gender as one can about the performances themselves.

Hamlet

I’ve been interested in a female Hamlet since my college days, when my Shakespeare acting professor purposely assigned us roles we’d never be cast in. (I played Falstaff: My tall, gangly, 20-year-old, goody-two-shoes self was simply dreadful, but boy was it fun!) One of my female classmates was assigned Hamlet. It was the most compelling performance of the semester. The entire class was riveted—mesmerized by her portrayal. And it got me thinking,

“Why not a woman?”

Throughout the design and casting process for this production, I kept expecting to be asked, “Why? Why would you do that?”

Surprisingly, to me, I wasn’t. Not once. I find that to be a wonderful sign of where we, collectively, are heading. The dozens of women who auditioned for the role brought their A Game. Unabashed, bold, sensitive, emotional, raw. It was thrilling to see all those incredibly talented female actors tango with a new partner—a role that most had never even considered a possibility.

Ophelia

I saw things in the role, and in several of the character relationships, that I had never seen before.

And I was reminded that there is always a new lens through which to see a person, or a situation or a belief.

Laertes

Gertrude

Fortinbras

Voltemand

And perhaps that is one of the reasons why we keep doing these plays over and over again: for a new look, a new angle, a new moment of clarity. It shakes us out of our preconceptions. It forces us to look at the familiar with a new eye. It begs us to reassess.

And maybe … that’s the Why.

28

—Carolyn Howarth, director

2017 COLORADO SHAKESPEARE FESTIVAL

WHAT A PIECE OF WORK IS A WOMAN:

CSF 2003

FEMALE HAMLETS

The role of Hamlet is widely considered the pinnacle for Shakespearean actors, but what about for the actresses? As Sue Parrish observed, “Everyone in the world knows Hamlet.

Women have no equivalent character. The famous … quotation ‘It is we who are Hamlet’ makes me think: hang on, we women don’t get a go at doing this creature …There are two roles for women … Ophelia is iconized as the Madonna and Gertrude is demonized as the Whore.”

Zainab Jah as Hamlet The Wilma Theater, 2015 Photo by Alexander Iziliaev

CSF 1988

More than 200 female actresses have taken on the melancholy Dane in the last 300 years.

The first recorded performance of Hamlet by a professional actress was on April 28, 1741 by Fanny Furnival at the Smock Alley Theatre in Dublin. British women continued to take on the role through the 18th century, and in the U.S. after the War of 1812.

Some of the greatest actresses in history have played the role to great acclaim,

Sarah Bernhardt as Hamlet London, 1899 Source: Library of Congress

including Sarah Siddons, Sarah Bernhardt, Eva La Galliene and Charlotte Cushman (who was also infamous for her public transvestism). In the 20th century, actresses such as Frances de la Tour and Ruth Mitchell took on the role; Angela Winkler portrayed the prince without gender for the Edinburgh Fringe Festival in 2000. And in 2015, the Wilma Theater in Philadelphia became the second theatre to cast a black woman as Hamlet (the first was Yale Repertory and the actress was a student). It is only in the last century that women have chosen to play Hamlet as a woman. In a 1921 silent film adaptation, Asta Nielsen plays the title role as, according to Edward Vining, “a princess raised as a boy for reasons of state and is trapped in the fiction of it.”

Many of Hamlet’s qualities would have appeared feminine to an Elizabethan audience, including his penchant for melancholy and weeping and his erratic behavior. Where Claudius exhorts him to behave “as ourself,” Hamlet seems to ignore the crown and fall victim to speculation and inaction.

CSF 1980

Yet in many ways, for a modern audience, Hamlet defies gender expectations.

Asta Nielsen as Hamlet Silent film, 1921 Source: mapledanish.com

@coshakes | #coshakes

Her intense fixation on Gertrude’s actions suggest an understanding of the apparent depth of betrayal it takes to marry a dead husband’s brother; “Frailty, thy name is woman” takes on new meaning in this context. With a female Laertes and Fortinbras, the formerly father-son relationships are now all father-daughter; all three offer distinct futures for Denmark, each with her own strengths and faults, offering a counterpoint to the Polonius-Ophelia relationship. The gender swapping creates new character dynamics and relationships within the story, allowing for a new exploration of Shakespeare’s greatest play.

—Hadley Kamminga-Peck, Dramaturg

29

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2017 COLORADO SHAKESPEARE FESTIVAL

1958 In CSF’s early

years, the outdoor stage was covered in grass. “It was constantly soaking wet,” says cast member Richard Bell.

“Every morning I drove to a lumber yard in Longmont, got a bucket of sawdust and spread it across the grass so people wouldn’t trip.”

But it didn’t always help: One night, two dancers instructed to run offstage during a performance went slipping and sliding.

1966

“That was the year that we attacked the English department,” says Ed Stafford, then the festival’s fencing master. “[During Coriolanus, we had a] flight of lances thrown offstage, which ended up going through the windows of the English office.”

1974

Ricky Weiser became the first woman to direct a performance in the Rippon with her Timon of Athens.

1975 With

a production of Cymbeline, CSF completed Shakespeare’s entire 37-play canon. “To the best of our knowledge,” writes Ricky Weiser, “this is the first time that an American festival has [given] each play, even the less well-known, a full round of repertory performances."

In the Colorado Shakespeare Fe were $1.50, actors were mostly un less than $10,000. Sixty seasons la institution with a professional cast

This is the story of America’s sec

estival’s inaugural season, tickets npaid students and the budget was ater, CSF is a nationally recognized and an award-winning reputation.

1980

The headline-stealer would prove to be Annette Bening, then just 22. The future film star played the Princess of France in Love’s Labour’s Lost.

cond-oldest Shakespeare festival.

1982 In its 25th

season, CSF refused to play by the rules. A startling and popular production of Macbeth tackled the difficult subject of alcoholism, dressed Lady Macbeth in slinky, sensual gowns and featured three topless witches.

1988

When CSF cast Top Gun star Val Kilmer in the title role of Hamlet, ticket sales soared. At the end of that season, the festival walked away with the Denver Drama Critics Circle’s “Best Season For A Company” prize.

1992 On the heels

of several exceptional seasons, TIME named CSF one of the top Shakespeare festivals in the nation. The Denver Drama Critics Circle also awarded the festival its coveted “Best Season for A Company” prize.

2007

CSF’s 50th season broke new artistic ground by hiring a fully professional cast of actors, including a cohort of six Actors’ Equity Association members, for the first time.

Multiple national publications named Boulder a top town for the arts, citing CSF as a major draw.

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2017 COLORADO SHAKESPEARE FESTIVAL

JULIUS CAESAR

THE FAULT, DE AR BRUTUS, IS NOT IN OUR STARS, BUT IN OURSELVES, THAT WE ARE UNDERLINGS…

PLOT SYNOPSIS

Commoners celebrate Caesar’s victory over Pompey and are reprimanded by tribunes . Elsewhere, a soothsayer warns Caesar to beware the Ides of March; Cassius and Brutus discuss their fears of Caesar’s growing power; Caesar confides to Antony his distrust of Cassius; and Casca describes the spectacle of Antony thrice offering Caesar a crown (and he thrice refusing it).

Rome is beset by unnatural phenomena as Cassius, Casca and others solidify their resistance to Caesar. Brutus concludes death is the only way to prevent Caesar from becoming a tyrant. His wife, Portia, rebukes him for excluding her from his heavy thoughts. The conspirators arrive and plan to kill Caesar at the Capitol the next day. Caesar’s wife, Calpurnia, has ominous dreams and implores Caesar to stay home . He initially agrees but then changes his mind . On his way to the Capitol, Caesar again ignores the soothsayer’s warning . The conspirators stab Caesar and proclaim liberty and freedom from tyranny. Brutus promises Antony safety and justification for killing Caesar. Antony makes shows of friendship, but when alone, he swears vengeance.

Brutus appears before the people to explain that he loved Caesar but killed him for the good of Rome. The people cheer him. Antony follows, grieving the loss of his beloved friend, and whips the crowd into a frenzy against the conspirators. The enraged mob rushes off to avenge Caesar’s death. Rome is plunged into civil war; Antony and Octavius (Caesar’s adopted heir) oppose Brutus’ and Cassius’ forces. Brutus and Cassius quarrel over honor; they reconcile and Brutus reveals that Portia has killed herself. They receive new information about enemy troop movements and prepare their armies to march separately to Philippi . Alone, Brutus is haunted by Caesar’s ghost, who promises he’ll return at Philippi .

Confusion and misinformation soon overtake the battle at Philippi.

When the dust settles, neither Brutus nor Cassius has survived the day. Antony and Octavius emerge victorious and praise Brutus as “the Noblest Roman of them all.”

—Heidi Schmidt, dramaturg

+ Stage Directors and Choreographers Society

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ARTISTIC TEAM

Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anthony Powell+ Scenic Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Caitlin Ayer Costume Designer . . . . . . . . . . . . . . . . . . . . . . . . . . Clare Henkel^ Lighting Designer . . . . . . . . . . . . . . . . . . . . . . Shannon McKinney^ Sound Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jason Ducat Fight Director . . . . . . . . . . . . . . . . . . . . . . . . . . . Christopher DuVal Assistant Fight Directors . . . . . . . . .Benaiah Anderson, Ava Kostia Dramaturg. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Heidi Schmidt Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . Stacy R. Norwood* Assistant Stage Manager . . . . . . . . . . . . . . . . . . .Miranda Baxter*

CAST IN ORDER OF APPEARANCE

Flavius, a tribune of the people . . . . . . . . . . . . . . . . Erik Fellenstein Marullus, a tribune of the people . . . . . . . . . . . . . . Coleman Zeigen Carpenter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tony Ryan Cobbler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bob Buckley Julius Caesar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Robert Sicular* Calpurnia, wife of Caesar . . . . . . . . . . . . . . . . . . . . . . Shelly Gaza* Marcus Brutus, conspirator against Caesar . . . . . Scott Coopwood* Caius Cassius, conspirator against Caesar . . . . . . Matthew Schneck* Casca, conspirator against Caesar . . . . . . . . . . . . . . . Casey Andree Decius Brutus, conspirator against Caesar . . . . . . . . . Andy Walker Mark Antony, follower of Caesar . . . . . . . . Christopher Joel Onken* Soothsayer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anne Penner Cinna, conspirator against Caesar . . . . . . . . . . . . Benaiah Anderson Lucius, servant to Brutus . . . . . . . . . . . . . . . . . . . . . . Ian Roy Fraser Trebonius, conspirator against Caesar . . . . . . . . . . . David Derringer Metellus Cimber, conspirator against Caesar . . . . . . . . . Tony Ryan Portia, wife of Brutus . . . . . . . . . . . . . . . . . . . . . . . . . . Anne Penner Caius Ligarius, conspirator against Caesar . . . . . . . . . Sam Sandoe Publius, senator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bob Buckley Artemidora, teacher of rhetoric . . . . . . . . . . . . . . . . . . Ayla Sullivan Popilius Lena, senator . . . . . . . . . . . . . . . . . . . . . Coleman Zeigen Octavius Caesar, grand-nephew of Caesar . . . . . . . Erik Fellenstein Lepidus, ruler of Rome after the death of Caesar . . Coleman Zeigen Lucilius, follower of Brutus and Cassius . . . . . . . . . . . . . . Tony Ryan Titinius, follower of Brutus and Cassius . . . . . . . . Benaiah Anderson Pindarus, bondman to Cassius . . . . . . . . . . . . . . . . . . Andy Walker Young Cato, follower of Brutus and Cassius. . . . . . . . . . Evan Ector Strato, follower of Brutus and Cassius . . . . . . . . . . . . Casey Andree Clitus, follower of Brutus and Cassius . . . . . . . . . . . David Derringer Messala, follower of Brutus and Cassius . . . . . . . . . . . Bob Buckley Volumnius, follower of Brutus and Cassius . . . . . . . . . Michael Chen Citizens/Attendants/Soldiers/Messengers . . Benaiah Anderson, Casey Andree, Bob Buckley, Michael Chen, David Derringer, Evan Ector, Erik Fellenstein, Ian Roy Fraser, Tony Ryan, Sam Sandoe, Ayla Sullivan, Andy Walker, Coleman Zeigen ^ United Scenic Artists * Appears courtesy of Actors’ Equity Association

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"MAY YOU LIVE IN INTERESTING TIMES" There’s an old Chinese curse—or at least there purports to be—that goes: “May you live in interesting times .” Apocryphal or not, this remains a darkly funny sentiment and seems spookily apt for our own century, especially when one considers all the war, tumult and political terror marking so much of it. “May you live in interesting times” was also one of the very first things to pop into my head after sitting down to re-read Julius Caesar in preparation for this summer’s production of the play at CSF.

Because the ancient Romans of 44 BC definitely found themselves living in “interesting times.” Definitely.

Shakespeare based his script for The Tragedy of Julius Caesar primarily on Plutarch’s Lives and hews pretty closely (at least for him) to the actual historic record.

But moment-to-moment, the playwright

seems far more interested in the specific psychology of his troubled, complex characters than he does with those epochal events surrounding the assassination of Caesar. In trying to describe this play to friends and coworkers, I keep falling back on the term “schizophrenic,” simply because the whole thing feels to me like an intense little chamber piece masquerading as an epic .

Or maybe like an epic masquerading as an intense little chamber piece. Okay, now even I’m confused …

And frankly, the play’s title only adds to this sense of disorientation. A great deal of critical ink has been spilled over the years debating the reasons why Shakespeare chose to call his drama The Tragedy of Julius Caesar when the character of Marcus Brutus stands out

CSF 1958

so clearly as the story’s real protagonist .

We’ll let the scholars duke it out on this one, but in terms of our production, the answer seems pretty straightforward: Since for all intents and purposes Julius Caesar WAS the Roman Republic, then this great leader’s violent end is also the end of that particular civic dream.

His personal tragedy mirrors the tragedy of Rome slipping inexorably into civil war and political chaos.

So, yes, Julius Caesar and the ancient Romans of 44 B.C. most assuredly found themselves living in extremely “interesting times.” Here’s hoping that all of us attending the Festival tonight can help find ways to coexist in far less interesting ones .

—Anthony Powell, director

CSF 1981

CSF 2007

36

2017 COLORADO SHAKESPEARE FESTIVAL

Costume Renderings by Clare Henkel

Brutus

Cassius

Caesar

Portia

Soothsayer

THE MOMENT BEFORE Shakespeare took it for granted that his audience had sufficient working knowledge of the late Roman Republic and could jump into the story near the end—on the verge of Caesar’s assassination.

For those of us less familiar, here’s a quick refresher: In 509 B.C., the patricians (the aristocracy) ejected the monarchy from Rome and instituted a less centralized system of government consisting of a Senate and two consuls, elected annually. Gaius Julius Caesar, born in 100 B.C., rose to power, wealth and military prestige in the provinces of a greatly expanded Roman Republic, positioning himself for a major power play in 59 B.C. That year, he ended a major political rivalry between Crassus and Pompey by establishing a tenuous but effective alliance among the three; solidified the alliance by marrying his daughter to Pompey; and was elected consul. Within a few years, the deaths of both Pompey’s wife (Caesar’s daughter) and Crassus (in an ill-advised military campaign in modern day Turkey) relieved Pompey of two significant ties to Caesar; in 52 B.C, Pompey switched allegiances by marrying the daughter of Caesar’s political enemy Scipio, the new consul .

Caesar was effectively shut out.

Consideration for consul would require him to leave his army behind in the provinces and present himself in Rome, but

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entering Rome would dissolve the immunity he enjoyed as a provincial general, leaving him vulnerable to prosecution by political enemies (for what, it hardly mattered). In 49 B.C., the Senate authorized Pompey to raise an army from within Rome and removed all tribunes loyal to Caesar from office.

Using this as justification, Caesar crossed the Rubicon with his army and essentially invaded Rome.

In the civil war that ensued, Caesar’s army chased Pompey’s eastward out of Italy, through Greece and into Egypt, where Pompey was promptly killed. Caesar followed, engaged in a dalliance with Egyptian politics (placing Cleopatra on the throne and having a son with her). In the meantime, Pompey’s supporters, undeterred by his death, used Caesar’s Egyptian distraction to build armies in North Africa (under Scipio) and, later, Spain (under Pompey’s sons).

Caesar eventually prevailed militarily and returned to Rome in triumph, but he was weakened by two political blind spots: He perpetually failed to anticipate his enemies’ spin on his decisions, and he routinely steamrolled the Senate, giving rise to old Republic fears about the monarchy. In 44 B.C., 60 senators stabbed him to death in a theater built by (and named for) his old ally and enemy, Pompey, and he died at the feet of Pompey’s statue.

—Heidi Schmidt, dramaturg

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ROSENCRANTZ &

GUILDENSTERN ARE

DEAD PLOT SYNOPSIS

Rosencrantz and Guildenstern are puzzled. As they journey toward Elsinore, the coins they have been flipping keep landing on heads.

Have the laws of probability been suspended? Does this reflect their current situation? And where exactly are they going?

They encounter a group of actors who invite them to participate in their performance for a fee. Instead, Rosencrantz and Guildenstern use the irregular odds of the coin toss to their advantage while betting with the tragedians . Eventually the tragedians move on and Rosencrantz and Guildenstern find themselves thrust into the ever-so-perplexing world of Shakespeare’s Hamlet .

Rosencrantz and Guildenstern are instructed to ascertain the cause of Hamlet’s irregular behavior and draw the melancholy Dane into pleasant pastimes. The confused friends do their best to navigate the world of the play. The tragedians arrive at the court and Rosencrantz and Guildenstern attend a dress rehearsal of a play that depicts the events of Hamlet, including their own deaths .

Rosencrantz and Guildenstern fail to recognize themselves in the play and they question an actor’s ability to represent death. Hamlet offends the king, who sends Rosencrantz and Guildenstern to escort Hamlet to England . The king sends a letter which, unbeknownst to Rosencrantz and Guildenstern, orders Hamlet’s death .

BY TOM STOPPARD LOOK ON E VERY E XIT AS BEING AN ENTR ANCE SOME WHERE ELSE .

ARTISTIC TEAM Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Timothy Orr Scenic and Lighting Designer . . . . . . . . . . . . . Stephen C. Jones^ Costume Designer . . . . . . . . . . . . . . . . . . . . . . . . . . Hugh Hanson Sound Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jason Ducat Assistant Scenic and Lighting Designer . . . . . . . .Whitney Brady Dramaturg. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gillian Riley Nogeire Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paul Behrhorst* Assistant Stage Manager . . . . . . . . . . . . . . . . . . . Darion Ramos*

CAST IN ORDER OF APPEARANCE Rosencrantz . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michael Bouchard Guildenstern . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Sean Scrutchins* The Player . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sam Gregory* Alfred. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kristofer Buxton Hamlet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lenne Klingman* Ophelia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Emelie O'Hara Claudius . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gary Wright* Gertrude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mare Trevathan Polonius . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rodney Lizcano* Horatio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jihad Milhem Ambassador . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Blake Williams Court Attendant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Alan Nelson Tragedians . . . . . . . . . . . . . . . . . . . . . . . Elise Collins, Cindy Spitko Austin Terrell, Blake Williams This production of Rosencrantz & Guildenstern Are Dead is produced by special arrangement with Samuel French, Inc .

On the voyage to England, Rosencrantz and Guildenstern discover the contents of the letter and debate their control over the circumstances.

They resolve to do nothing . While they sleep, Hamlet replaces the letter with one that condemns the two friends and subsequently disembarks when pirates attack. The two wonder if they could have done anything to avoid their impending death .

The play ends in the final moments of Hamlet, when the ambassador from England announces that, in Shakespeare’s own words, “Rosencrantz and Guildenstern are dead.”

—Gillian Nogeire, Dramaturg

+ Stage Directors and Choreographers Society

@coshakes | #coshakes

^ United Scenic Artists * Appears courtesy of Actors’ Equity Association

39

Costume Renderings by Hugh Hanson

Rosencrantz

Guildenstern

THIS HALL OF MIRRORS In Rosencrantz & Guildenstern Are Dead, we meet two minor characters in the world’s most famous play, and the laws of probability are breaking down around them .

Time loops are being created, everyone knows more than them, and a greater power seems to be deciding all their movements—or maybe everything is random and things are just happening.

Is it fate? Determinism? For everyone involved in a production of R&G, the temptation to delve into these philosophical questions is huge . But when producing this play in repertory with its source material, the hall of mirrors deepens and the temptation gets even bigger. “Every exit is an entrance to someplace else.” It can keep you up at night .

Two concepts are anchoring this production, or rather, keeping it taut. The first is the relative powerlessness of our two main characters, Rosencrantz and Guildenstern . Their position is highlighted when you produce this play alongside Hamlet . The concerns in Hamlet are not only the prince’s existential crisis but

40

also the affairs of the royal family and issues of state; in short, the dealings of the great and powerful.

Rosencrantz and Guildenstern, in both plays, are nobodies. As humorous as they are in Stoppard’s hands, they are still powerless and uninformed.

They’re so unimportant that no one can remember who is who, not even them. They get mixed up in the business of their betters, and their ending isn’t even worth a line of poetry: “… his commandment is fulfilled, That Rosencrantz and Guildenstern are dead .” (Hamlet, V, ii). To me, their endless, optimistic journey through every production of Hamlet, as told from the perspective of Stoppard’s play, is sad, intriguing, hilarious and chilling. All of which makes for a great evening in the theatre. The other anchor to this play is provided by the playwright himself in the forward to his script: “Rosencrantz & Guildenstern Are Dead, whatever else it is, is a comedy. My intention was comic, and if the play had not turned out funny I would have considered that I had failed.”

Those words have been a great guide through this hall of mirrors.

—Timothy Orr, Director

2017 COLORADO SHAKESPEARE FESTIVAL

HEADS OR TAILS? Shortly after the construction of the Berlin Wall, the Ford Foundation launched a program to sponsor young artists-in-residence in West Berlin to stimulate cultural life amid political turmoil.

It was in West Berlin that Tom Stoppard, as a participant of this program, first developed the idea for a play about Rosencrantz and Guildenstern from Shakespeare’s Hamlet.

The play was a short burlesque about the unfortunate duo’s final days in England, where they met with the British King, who in Stoppard’s version was King Lear. After the program, Stoppard returned to England and wrote Rosencrantz & Guildenstern Are Dead .

Reworking an existing story is not something with which we, as Shakespeare buffs, are unfamiliar. Shakespeare, after all, did the same thing . Stoppard’s inspiration was not limited to Shakespeare, however . When Stoppard began his play in Berlin, he started by writing verse that imitated Shakespeare’s style; however, he later diverted from verse and began to infuse the play with language reminiscent of the absurdist playwright Samuel Beckett . The parallels to Beckett’s Waiting for Godot are almost as significant as the use of the Hamlet story, as our leading men find themselves questioning their existence and caught up in a story they cannot comprehend . Stoppard channels two great masters, Shakespeare and Beckett, in a play that is at once an homage to existentialism and the theatre .

There is a lot to be gained from knowing Hamlet, a play that is embedded in our culture .

Rosencrantz & Guildenstern Are Dead is still Hamlet … it’s just Hamlet turned the other way around.

The story is added to, but unchanged . Stoppard has cleverly reversed the audience’s experience, making what happens offstage happen onstage. What the Shakespeare scholar Marjorie Garber labels “unscenes” in Shakespeare’s plays become scenes for Stoppard. Stoppard also maintains Hamlet’s key structure, the play within a play, highlighting the metatheatricality of us watching Rosencrantz and Guildenstern watch a dress rehearsal in which they watch their own deaths .

Before burning too much brainpower reading these program notes, get comfortable in your seat, take a breath and remember that:

the playwright’s primary purpose, in Stoppard’s own words, was to “exploit a situation which seemed … to have enormous dramatic and comic potential.”

After all, Stoppard is, at his core, Shakespearean. While his writing is complex, imaginatively structured, expansive and full of witty puns, Stoppard, just like our favorite Bard, is also exceptionally entertaining .

—Gillian Riley Nogeire, Dramaturg

CSF 1995

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41

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2017 COLORADO SHAKESPEARE FESTIVAL

We believe in a better life through dance

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43

HENRY VI PART 3

FE ARLESS MINDS CLIMB SOONEST UNTO CROWNS.

PLOT SYNOPSIS

Following the Lancastrian defeat at the first Battle of St. Albans (at the end of Henry VI, Part 2), the Yorkists pursue the Lancastrians (King Henry and Queen Margaret) back to London. York claims the throne, and the ensuing argument is resolved with the agreement that Henry will remain king but that York and his sons will inherit upon Henry’s death. Upon the disinheritance of their prince, Margaret and the other Lancastrians abandon Henry and declare war on the Yorkists.

In the next battle, Margaret and Clifford capture York and taunt him before killing him. Margaret then forces Henry, once again king, to rescind his agreement with the Yorkists, which compels York’s son George Plantagenet to join his brothers Richard and Edward in fighting her. The Yorkists win the Battle of Towton and Clifford dies. Edward (York’s eldest son) is proclaimed king, and each of his brothers is given a dukedom, though Richard is dissatisfied.

Warwick and Margaret each seek French aid, which Louis gives to Warwick and the Yorkists in exchange for his sister-in-law marrying Edward. However, Edward has fallen in love with the Lady Grey. In retaliation, Warwick swears loyalty to the Lancastrians and defeats the Yorkists with French troops. Edward is captured and Henry is again king .

With the aid of his brothers, Edward escapes, and in the next battle, Warwick is betrayed by George, leading to his death . Margaret arrives with another force from France, and the battle rages. Meanwhile, Henry laments the horrors of war and pressures of a crown. He is captured, and the Lancastrians are defeated in the Battle of Tewkesbury.

Margaret’s son Edward is stabbed by the Plantagenet brothers, then Richard goes to London and kills Henry as well . Edward celebrates his new reign as king and the end of England’s civil war, unaware of Richard’s discontent .

—Hadley Kamminga-Peck, Dramaturg

+ Stage Directors and Choreographers Society

44

ARTISTIC TEAM Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kelsey Didion Scenic Designer . . . . . . . . . . . . . . . . . . . . . Inspired by Caitlin Ayer Lighting Designer . . . . . . . . . . . . . . . . . . . . . . . . . .not yet invented Sound Designer . . . . . . . . . . . . . . . . . . . . . . . . . . .not yet invented Fight Director . . . . . . . . . . . . . . . . . . . . . . . . . . . Benaiah Anderson Dramaturg and Prompter . . . . . . . . . . . . Hadley Kamminga-Peck Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . Stacy R. Norwood* Assistant Stage Manager . . . . . . . . . . . . . . . . . . .Miranda Baxter*

CAST IN ORDER OF APPEARANCE Richard Plantagenet, Duke of York. . . . . . . . . . . . Robert Sicular* Edward, Earl of March, later King Edward IV, son of York . . . . . . . . . . . . . Rodney Lizcano* George, later Duke of Clarence, son of York. . . . Benaiah Anderson Richard, later Duke of Gloucester, son of York . . . . .Jihad Milhem Earl of Warwick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Shelly Gaza* King Henry VI . . . . . . . . . . . . . . . . . . . . . . Christopher Joel Onken* Lord Clifford . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Austin Terrell Earl of Northumberland . . . . . . . . . . . . . . . . . . . Michael Bouchard Duke of Exeter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Blake Williams Queen Margaret, wife of King Henry . . . . . . . . . . . . . Emelie O’Hara Prince Edward, son of King Henry . . . . . . . . . . . . . . . . Ayla Sullivan Earl of Rutland, youngest son of York . . . . . . . . . . . . . Ayla Sullivan Tutor, of Rutland . . . . . . . . . . . . . . . . . . . . . . . . . . . . Blake Williams Marquess of Montague, brother of Warwick . . . . . . . . Sam Sandoe Son, killed his father while fighting for York . . . . . . . . . Blake Williams Father, killed his son while fighting for Lancaster . . . . . Sam Sandoe Two Keepers . . . . . . . . . . . . . . . . . Kristofer Buxton, Blake Williams Lady Grey, later Queen Elizabeth. . . . . . . . . . . . . . . Kelsey Didion* Nobleman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sam Sandoe King Louis XI, of France . . . . . . . . . . . . . . . . . . . . . Robert Sicular* Lady Bona, sister-in-law of King Louis . . . . . . . . . . . . . Austin Terrell Earl of Oxford . . . . . . . . . . . . . . . . . . . . . . . . . . . Michael Bouchard Post . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kristofer Buxton Fourth Duke of Somerset . . . . . . . . . . . . . . . . . . . . Blake Williams Two Watchmen . . . . . . . . . . . . . . . . . . . .Ayla Sullivan, Austin Terrell Lord Rivers, brother of Lady Grey . . . . . . . . . . . . . Kristofer Buxton Huntsman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Austin Terrell Henry Tudor, Earl of Richmond . . . . . . . . . . . . . . . . . Ayla Sullivan Mayor of York . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Robert Sicular* Sir John Montgomery . . . . . . . . . . . . . . . . . . . . . . . . Austin Terrell Messengers . . . . . . . . . . . . . . . . . . .Kristofer Buxton, Ayla Sullivan, Austin Terrell, Blake Williams

^ United Scenic Artists * Appears courtesy of Actors’ Equity Association

2017 COLORADO SHAKESPEARE FESTIVAL

CSF 1980

ORIGINAL PRACTICES AT THE COLORADO SHAKESPEARE FESTIVAL Now in its fourth year, our “Original Practices” experiment, in which we stage a play with Elizabethan rehearsal conventions, is growing more familiar to Colorado Shakespeare Festival audiences. Many of the hallmark features have proved quite popular: universal lighting (since the plays were performed in daylight), live onstage music and a more immediate connection with an audience who is engaged with the action .

productions? All props and costumes were requested by the company members; where possible, we have tried to identify families and “teams” to help tell the story. And of course, we have a live onstage musician to help create atmosphere, punctuate the dialogue and help tell the story .

We also have an onstage prompter, who makes sure things keep moving right along!

Actors learn their lines from cue scripts, which contain only one character’s lines along with the line preceding it (the cue)—just like Shakespeare’s company did. The company has had the opportunity to learn their lines on their own, and the show is staged through collaboration, often using pieces of other shows in the season to aid in the process. While Shakespeare’s company comprised all male actors, our cast does not. We utilize the CSF company of actors, male and female, using the working relationships we have developed over the course of the summer to bring a full Shakespearean play to life in a mere 20 hours of rehearsal.

There is much we cannot recreate perfectly in our attempt to recreate Shakespeare’s theatrical practices . Most importantly, we do not have an Elizabethan audience— though CSF’s audiences are probably as close as it comes!

The fights are built from the fights used in other plays: Can you spot reused fight choreography from the other

@coshakes | #coshakes

Every performance brings a unique relationship between performers and audience.

Moving the show outdoors and identifying key points for audience interaction have helped us to explore this relationship more . We continue to learn through the Original Practices process and hope you enjoy this year’s foray more than ever .

—Hadley Kamminga-Peck, Dramaturg

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WHO’S WHO ACTOR

TAMING OF THE SHREW

HAMLET

JULIUS CAESAR

Benaiah Anderson

Biondello

Cinna/Titinius/Ensemble

Casey Andree

Hortensio

Casca/Strato/Ensemble

Michael Bouchard

Rosencrantz

Northumberland/Oxford

Alfred

Messenger/Keeper/Post/Rivers

Cobbler/Publius/Messala/Ensemble

Kristofer Buxton

Osric/Player Queen Ensemble

Elise Collins

Volumnius/Ensemble Fortinbras/Tragedian

Tragedian

Scott Coopwood

Petruchio

Marcus Brutus

David Derringer

Tailor/Pedant/Ensemble

Trebonius/Clitus/Ensemble

Kelsey Didion Evan Ector

HENRY VI PART 3

George (aka Clarence)

Rosencrantz

Bob Buckley

Michael Chen

ROSENCRANTZ & GUILDENSTERN ARE DEAD

Lady Grey (aka Queen Elizabeth) Ensemble

Young Cato/Ensemble

Erik Fellenstein

Flavius/Messenger/Octavius Caesar/Ensemble

Ian Roy Fraser

Haberdasher/Ensemble

Lucius/Ensemble

Shelly Gaza

Katherina

Calpurnia

Sam Gregory

Warwick

Ghost/The Player

The Player

Lenne Klingaman

Hamlet

Hamlet

Ava Kostia

Laertes

Rodney Lizcano

Polonius/Gravedigger

Polonius

Edward, Earl of March

Jihad Milhem

Horatio

Horatio

Richard (aka Gloucester)

Meridith C. Grundei

Curtis

Hadley Kamminga-Peck

Prompter

Alan Nelson

Priest

Attendant

Emelie O’Hara

Ophelia

Ophelia

Christopher Joel Onken

Lucentio

Mark Antony

Anne Penner Tranio

Anne Sandoe

Widow/Ensemble

Sam Sandoe

Gremio

Caius Ligarius/Ensemble

Matthew Schneck

Grumio

Cassius

Sean Scrutchins

Guildenstern Julius Caesar

York/King Louis/Mayor

Voltemand/Tragedian/ Captain Ensemble

Mare Trevathan

Tragedian Artemidora/Ensemble

Prince Edward/Rutland/Watchman/ Richmond/Messenger

Cornelius/Player King

Tragedian

Gertrude

Gertrude

Decius Brutus/Pindarus/Ensemble Ensemble

Blake Williams

Marcellus/ Ambassador/Tragedian

Tragedian/ Ambassador

Gary Wright

Claudius

Claudius

Coleman Zeigen

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Clifford/Bona/Watchman/ Huntsman/Montgomery/Messenger

Bianca

Andy Walker Robert Wester

Montague/Father/Nobleman

Guildenstern

Austin Terrell

Rachel Turner

Carpenter/Metellus Cimber/Lucilius/Ensemble

Baptista

Cindy Spitko Ayla Sullivan

King Henry VI

Portia/Soothsayer

Tony Ryan

Robert Sicular

Queen Margaret

Vincentio

Exeter/Tutor/Messenger/Son/ Keeper/Somerset

Marullus/Popilius Lena/Lepidus/Ensemble

2017 COLORADO SHAKESPEARE FESTIVAL

ACTING COMPANY (9 seasons) BENAIAH ANDERSON is happy to be joining his summer family for another season. His favorite recent CSF credits include Thurio in Two Gentlemen of Verona and Diomedes in Troilus and Cressida. He has recently assumed the position of armorer for CSF and maintains the weapons collection in use by the festival every season.

(2 seasons) CASEY ANDREE is honored to be returning after playing Claudio in Much Ado About Nothing in CSF’s 2015 season. A proud ensemble member at BETC, he recently played the role of Sander in Full Code by David Valdes Greenwood. Other favorite roles include Melchior in Spring Awakening (True West Award, Outstanding Musical) and Claude in HAIR (Henry Award, Best Ensemble). Casey holds a degree in classics/English from Colorado College and a master’s degee in education. Offstage, he works as a high school math teacher in Denver Public Schools.

(1 season) MICHAEL BOUCHARD has just finished his second run of The Santa Land Diaries at the Denver Center. Locally, Michael has performed with the Arvada Center, Avenue Theater, Aurora Fox, Boulder Ensemble Theatre Company, Curious Theatre, the Catamounts, the Edge Theatre, Lone Tree Arts Center, Miners Alley Playhouse and the Vintage Theater. He is a graduate of the Pacific Conservatory of the Performing Arts and an ensemble member with the Boulder Ensemble Theater Company.

Noted awards include the Denver Post’s Best Season by an Actor (2009) and Best Supporting Actor in a Comedy (2011), as well as the Westword Best Supporting Actor in a Comedy (2011 and 2015) and Best on Stage Couple (2012).

(8 seasons) BOB BUCKLEY’s credits include Julius Caesar, Egeus, Earl of Gloucester, Baptista Minola, Duke of York, Pantalone in The Servant of Two Masters, Judge Taylor in To Kill a Mockingbird, Professor Willard in Our Town and Scrooge in A Christmas Carol. He is a member of the Boulder Ensemble Theatre Company.

(2 seasons) KRISTOFER BUXTON holds a BFA in Theatre Performance from the University of Colorado Boulder.

His CU acting credits include Peter and the Starcatcher, Return to the Forbidden Planet, Fiddler on the Roof, Jesus Christ Superstar and The Pirates of Penzance.

His previous CSF credits include The Comedy of Errors, Troilus and Cressida and Cymbeline.

*Appears courtesy of the Actors’ Equity Association, the Union of Professional Actors and Stage Managers of the United States

@coshakes | #coshakes

(1 season) MICHAEL CHEN is currently pursuing a BFA in theatre performance and a BA in computer science at the University of Colorado Boulder. In addition to his CU acting credits, he enjoys playing music and has performed in a staged reading with Historic Elitches Theatre’s New Works Festival during Summer 2016.

(3 seasons) ELISE COLLINS has performed with CSF in Equivocation (Judith), Cymbeline (Ensemble), Henry VI Part 2 (multiple roles), Much Ado About Nothing (Watch / Servant), Othello (Cypriot Dancer) and Henry V (English Page). Her CU Boulder credits include The Rocky Horror Show (Dr. Scott / the Narrator), Twelfth Night (Malvolio), Fiddler on the Roof (Tzeitel), Trial of God (Mendel) and Our Town (Mrs. Webb).

Currently, Elise is a student at CU Boulder pursuing her BFA in performance and has received award nominations for both her acting and directing from the Kennedy Center American Theater Festival.

(1 season) SCOTT COOPWOOD* has appeared in 23 of Shakespeare’s 38 plays at theatres and festivals around the country, including at Utah, Orlando, Marin, Lake Tahoe and Seattle Shakespeare Companies. Scott has played the title roles of Hamlet, Macbeth, King John, Cymbeline and Cyrano De Bergerac as well as Shylock, Iago, Mercutio, Benedict, Angelo, Dogberry, Jaques and Edmund. This past year, he had the great privilege to work alongside Frances McDormand and Conleth Hill in the Berkeley Repertory production of Macbeth, directed by Daniel Sullivan. Scott also serves as the Co-executive Director of SHAKESPEARIENCE!, a non-profit education program for young people in the San Francisco Bay Area.

(1 season) DAVID DERRINGER is currently attending the University of Alabama in the MFA acting program. Previous acting credits include Soldier in La Ronde, Seth Lord in The Philadelphia Story and the Ghost in Hamlet.

He has also performed with the company of the Texas Shakespeare Festival.

(2 seasons) KELSEY DIDION's* directing credits include Red at PlayMakers Rep (assistant director). As an actor, credits include: Curious Theatre Company, Colorado Shakespeare Festival, the PIT, Theatre Row, Chautauqua Theater Company, PlayMakers Rep, New York Shakespeare Exchange, the New Harmony Project and others. Film credits include Ricki and the Flash. Kelsey is a founding member and resident composer of New York-based sketch group Recent Cutbacks and holds a Bachelor of Science from the University of Evansville and and MFA from the University of North Carolina-Chapel Hill.

(1 season) EVAN ECTOR is in his junior year as a musical theatre and math double major at the University of Alabama. Previous roles include Septimus in Arcadia, Sebastian in Twelfth Night and Sharpe in Equivocation.

(1 season) ERIK FELLENSTEIN is a recent graduate of the University of Denver with a BA in theatre. Erik plays violin in La Pompe Jazz as well as mandolin in other solo and collaborative Denver area music projects. He is an avid improviser, having served in the Jump, Soundbox and Skintight Outrage improv comedy troupes. Previous top credits include Pericles in Pericles, Prince of Tyre (University of Denver), Roy Selridge in Biloxi Blues (Miners Alley Playhouse) and Dorn in The Seagull (University of Denver).

(1 season) IAN ROY FRASER holds a BFA in theatre performance from the University of Colorado Boulder.

As an actor, he has appeared in Rabbit Hole (Jason), The Rocky Horror Show (Brad) and Fiddler on the Roof (Fyedka). Ian is also actively pursuing training as an aerial dancer with the Frequent Flyers Dance Company.

(1 season) SHELLY GAZA* has performed with theatre companies across the country, including four seasons with the Utah Shakespeare Festival (Twelfth Night, King Lear, Merry Wives of Windsor and others) and five seasons with Little Theatre of the Rockies (Collected Stories, Master Class, On Golden Pond, God of Carnage and others). She is also a member of the theatre faculty at the University of Northern Colorado and co-founder and COO of Statera Foundation for Women in Theatre. She is a member of Actors’ Equity Association and holds an MFA in acting from Wayne State University, a BFA in acting from Millikin University and a certificate in acting from the Moscow Art Theatre School in Russia. Shelly now lives in Greeley with her husband and two children and is excited to be making her Colorado Shakespeare Festival debut.

(5 seasons) SAM GREGORY’s* regional credits include multiple seasons with the California and Alabama Shakespeare Festivals. He has performed with Seattle, Milwaukee and San Jose Rep; Cleveland, Cincinnati and George Street Playhouses; American Players Theatre; Eureka, Chautauqua and Two River Theatre Companies; TheatreWorks; the New Playwrights Festival as part of the Eugene O’Neill Theatre Center; and the Northern Stage Company. New York credits include the Actor’s Company Theatre and The Directors Company. Locally, Sam has performed in more than 45 productions with DCPA and has served as a member of the Black Box Theatre Company at the Arvada Center and of Curious Theatre, Boulder Ensemble Theatre and Paragon Theatre Companies. Additional TV and film credits include NY Undercover, One Life to Live and As the World Turns.

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ACTING COMPANY (1 season) MERIDITH C. GRUNDEI holds an MFA in theatre from Naropa University. Her theatre credits include The Misanthrope (American Conservatory Theatre); O Chicago, Baby Wants Candy and ABOUND (Sprung Movement Theatre); House of Yes (Square Product Theatre); God’s Ear (Recipient of the 2011 Camera Eye Award for Best Actress in a Drama), The Three Faces of Dr. Crippen, Messenger #1 (Nominated as Best Actress in a Comedy for the 2012 Culture West True West Awards), Failure...A Love Story, Mr. Burns, a post-electric play and Spirits to Enforce (The Catamounts); FAITH (LOCAL Theatre Company); and Sweet & Lucky and FRANKENSTEIN (Denver Center for the Performing Arts).

(2 seasons) LENNE KLINGAMAN’s* recent productions include Fingersmith at A.R.T. (directed by Bill Rauch), To Kill A Mockingbird (Rep of St. Louis) and Tartuffe (a co-production with Berkeley Repertory Theatre, Shakespeare Theatre and South Coast Repertory). She has appeared locally in Appoggiatura and Romeo and Juliet (DCPA) and Measure for Measure and The Fantasticks (CSF). Other regional credits include the Jungle Theater, Capital Stage, Sacramento Theatre, Shakespeare Santa Cruz, Intiman Theatre, P3/East and A Noise Within. Her television and film credits include Cold Case (Love: As You Like It), Twenties and The Lizzie Bennett Diaries spinoff Welcome to Sanditon. She received her MFA in acting from the University of Washington.

(1 season) AVA KOSTIA is a recent graduate of the Royal Conservatoire of Scotland with a BA in musical theatre and currently serves as the primary combat assistant to Master Teacher and Fight Director Chris DuVal. Ava is certified in numerous weapon and hand-to-hand combat styles and continues her studies in Aikido. She has sold, toured and produced visual art from a young age and is an active creator in her field. Recent projects include the U.S. professional premiere of The Count of Monte Cristo (Pioneer Theatre Company), Henry IV Part 1 (Oregon Shakespeare Festival), Man of La Mancha (Utah Opera), Godspell (RCS), Hand to God (Salt Lake Acting Company), The Comedy of Errors (The Grand Theatre) and assistance in stage combat classes for the Actor Training Program at the University of Utah.

(4 seasons) RODNEY LIZCANO’s* CSF credits include Roderigo in Othello, Dogberry in Much Ado About Nothing, Pistol/ Montjoy in Henry V, Trinculo in The Tempest, Pastor Hugh in The Merry Wives of Windsor, Vernon in Henry IV Part 1, Robert Cecil in Equivocation and Pisanio in Cymbeline. Other credits include Denver Center Theatre Company (14 seasons), Dallas Shakespeare Festival, Orlando Shakespeare Theatre, Stories on Stage, Theatre Aspen and the Arvada Center. Off-Broadway credits include Actors Ensemble Theatre and DreamScape Theatre Company. Film and TV credits include Silver City (directed

by John Sayles) and Stage Struck (Bravo Network). He is a graduate of the Meadows School of the Arts at Southern Methodist University and the National Theatre Conservatory.

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(2 seasons) JIHAD MILHEM is excited to be joining CSF for the 2017 season. His past credits include Henry in She Rides Horses Like the Stock Exchange (Square Product Theatre), Ned in The Nance (Edge Theatre) and Paris in Troilus and Cressida (CSF). Jihad has also produced and acted in his own play Mosque in Philadelphia and is a freestyle rapper for the Ride in Times Square.

(10 seasons) ALAN NELSON first appeared with CSF in the 2000 production of The Tempest. Since then, he has contributed to numerous productions, including To Kill A Mockingbird (2009), Much Ado About Nothing (2003), Othello (2005) and Macbeth (2013). Alan retired from the University of Colorado Boulder's Department of Facilities Management in 2013 after serving as the grounds maintainance supervisor for 25 years. A longtime CSF supporter, he was recognized in 2014 as the CSF volunteer of the year.

(2 seasons) EMELIE O’HARA first appeared with CSF in their productions of The Comedy of Errors, Troilus and Cressida, Cymbeline and Henry VI, Part 2. Her regional theater credits include Macbeth (Lady Macbeth), Twelfth Night (Viola), Becket (Becket), Private Lives (Amanda), Love’s Labour’s Lost (Rosaline), A Midsummer Night’s Dream (Hermia), Bus Stop (Cherie), Wonderful Town (Ruth Sherwood), Much Ado About Nothing (Hero) and Shakespeare in Hollywood (Puck). She is currently performing around the world in Kerry Tribe’s installation piece, Critical Mass, and has appeared on both film and television.

(2 seasons) CHRISTOPHER JOEL ONKEN* last performed at CSF in Troilus and Cressida, The Comedy of Errors, Cymbeline and Henry VI Part 2. Colorado credits include Arabian Nights and Little Women (Aurora Fox); The Explorer’s Club (Lone Tree Arts Center); and Into the Woods, The 39 Steps, Greater Tuna and My Fair Lady (Thin Air Theatre Company).

Regional credits include Red, 4000 Miles, Deathtrap, Clybourne Park and Other Desert Cities (Playhouse on the Square); Les Miserábles, To Kill a Mockingbird and The Merry Wives of Windsor (Orlando Shakespeare Theatre); and The Merchant of Venice, Vanya and Sonia and Masha and Spike, Eurydice, In the Next Room, Romeo and Juliet and The Elephant Man (The Warehouse Theatre).

*Appears courtesy of the Actors’ Equity Association, the Union of Professional Actors and Stage Managers of the United States

(2 seasons) ANNE PENNER’s acting credits include Cymbeline (Queen) with CSF; Adundance (Macon), Crimes of the Heart (Babe), American Notes (Pauline) and Savage in Limbo (Savage) with Sis Trst Productions; Seascape (Sarah) with Modern Muse; and Crimson Thread (Eilis) with the Arvada Center, as well as several productions with Stories on Stage.

Directing credits include Eurydice (Sarah Ruhl), Gidion’s Knot (Johnna Adams), Arabian Nights (Mary Zimmerman) and The Seagull (Anton Chekhov). Anne currently serves as an assistant professor at the University of Denver’s department of theatre.

(1 season) TONY RYAN’s recent roles include Steve in Beating A Dead Horse (Athena Project), Peter in No Sex Please, We’re British (Spotlight Theatre Company) and Caldwell in the award-winning Getting Out (The Edge Theatre). He is the founder and artistic director of Pipedream Productions and recently directed their production of 4.48 Psychosis.

(16 seasons) ANNE SANDOE’s past roles at CSF include Lillian Troy in I Hate Hamlet, the Duchess of York in Richard III and the Duchess of Venice in Othello. Anne has performed with the Oregon, Antioch, Virginia and Alabama Shakespeare Festivals and regionally with the Boulder Ensemble Theatre Company, the Catamounts, Longmont Theatre Company, Coal Creek Theatre and the Shakespeare Oratorio Society.

(28 seasons) SAM SANDOE has been acting with CSF since 1970, including the last 15 consecutive seasons, and has done 58 versions of 34 of Shakespeare’s 37-play canon, as well as eight non-Shakespeare productions. He has also worked at the Alabama Shakespeare Festival and the Milwaukee Repertory Theatre, as well as locally with the Boulder Ensemble Theatre Company, Longmont Theatre Company, The Upstart Crow, Colorado Actors Theatre and several seasons with the Shakespeare Oratorio Society, Overland Stage Company and the Stanley Hotel in Estes Park. Sam trained at the University of Colorado Boulder and the University of California-San Diego.

(1 season) MATTHEW SCHNECK’s* previous credits include London Assurance (Broadway); The Merchant of Venice (Royal Shakespeare Company); The Temperamentals (New World Stages—Drama Desk Award Winner); A 12lb. Discourse (SoHo Rep); The Merchant of Venice and Anthony and Cleopatra (Theatre for a New Audience); Little Foxes (Shakespeare Theatre of D.C.); Noises Off (Playmakers Rep); Romeo and Juliet (The Folger); Beauty Queen of Leenane (Actor's Theatre of Louisville); Restoration Comedy (Seattle Rep); Gross Indecency (Alley Theatre); and Major Barbara (San Jose Rep). He is a graduate of Villanova University and the National Theatre Conservatory, is the author of ten plays and has held academic appointments at Southern Oregon University and the University of Kentucky.

2017 COLORADO SHAKESPEARE FESTIVAL

ACTING COMPANY (5 seasons) SEAN SCRUTCHINS* is an active teaching artist in the Denver area. He has worked as a theatre instructor for the CSF education and outreach programs and at the Denver Center for the Performing Arts.

Scrutchins received his MFA in theatre performance from the University of Southern Mississippi. Previous acting credits include A Midsummer Night’s Dream, The Comedy of Errors, Troilus and Cressida, Cymbeline, Much Ado About Nothing and Henry V (CSF); Tartuffe, Bus Stop, Waiting For Godot and Charlotte’s Web (Arvada Center); The Whipping Man, 9 Circles and Dust (Curious Theatre); Artdog (Denver Children’s Theatre); and Seminar (Boulder Ensemble Theatre).

(2 seasons) ROBERT SICULAR* has performed a universe of roles—both classical and contemporary—at theaters all over the country, including: the Denver Center Theatre Company; ACT (San Francisco); the Berkeley, San Jose, Seattle, South Coast and Saint Louis Repertory Theatres; Actors Theater of Louisville; Marin Theatre Company; Word for Word; California Revels; the Oregon, California, San Francisco, Lake Tahoe and Santa Fe Shakespeare Festivals; and the Shakespeare Theatre Company in Washington, D.C. He was previously seen at CSF in 2010 playing Kent in King Lear and Duke Vincentio in Measure for Measure. On the screen he can be seen as the dad in the upcoming Love and Taxes, in the sci-fi comedy thriller Never Die Twice and in the Bollywood potboiler Dil Pardesi Ho Gaya. Robert attended the University of California-Berkeley and the London Academy of Music and Dramatic Art.

(1 season) CINDY SPITKO is an MFA acting candidate at the University of Alabama. Previous credits include: A Little Night Music (Arden Theater, Pennsylvania); Marat/Sade (EgoPo, Pennsylvania); Arcadia (Pendragon Theater, New York); and La Ronde, Hamlet and The Philadelphia Story (University of Alabama). She is also an avid outdoorswoman and is thrilled to be surrounded by mountains to climb.

(1 season) AYLA SULLIVAN is an undergraduate at the University of Colorado Boulder pursuing degrees in performance and secondary English education.

Their CU acting credits include The Winter’s Tale, Return to the Forbidden Planet, Twelfth Night and Peter and the Starcatcher. An avid activist on campus, Ayla serves as the communication coordinator for the Gender and Sexuality Center and has helped create the first ever National Coming Out Day testimonial theatre performance on campus. Outside of theatre, they serve as the 2017 Denver Youth Poet Laureate.

(2 seasons) AUSTIN TERRELL is thrilled to join the company for CSF’s landmark 60th season. As a Denver-based actor, his recent credits include Peter in Silent Sky (BETC), Nick in A Krumpus Story (Buntport) and Ajax in Troilus and Cressida (CSF 2016). He received his BFA from Baylor University in 2007.

(6 seasons) MARE TREVATHAN has performed Inupiat folk tales in Barrow, Alaska, stage managed dance threatre in Tokyo and studied Chekhov in Vladivostok, Russia. Colorado tamed her wanderlust and has been home since 2001. As the associate artistic director of Local Theater Company, she develops new plays and organizes artist training. Mare is an audition book narrator with more than 400 titles recorded for the National Library Service.

(2 seasons) RACHEL TURNER’s selected credits include La Cage Aux Folles (Anne), Buddy Holly Story (Mary Lou), She Loves Me, Camelot, Curtains and Big River at the Arvada Center; Into The Woods (Cinderella), Singin’ In The Rain (Kathy Selden) and Bye Bye Birdie (Kim MacAfee) at Candlelight Dinner Playhouse; Big Fish (Josephine), Consider The Oyster (Marisa) and Annie (Grace Farrell) at Aurora Fox; The Drowsy Chaperone (Janet Van DeGraff) and The Hobbit (Gollum) at Vintage Theater; You’re A Good Man, Charlie Brown (Sally Brown), and Oklahoma! (Ado Annie) at Performance Now; and Much Ado About Nothing (Hero) with CSF.

during his studies.

(1 season) BLAKE WILLIAMS is a graduate acting candidate at the University of Alabama. Originally from Charlotte, North Carolina, Blake has had the pleasure of performing in productions of Equivocation, Arcadia and Doubt

(6 seasons) GARY WRIGHT’s* previous CSF credits include directing The Complete Works of William Shakespeare (abridged) and playing Buckingham in Richard III, the mayor in The Inspector General, Dromio of Syracuse in The Comedy of Errors, Porthos in The Three Musketeers and several others. Other professional credits include acting and/or directing for the Foothill Theatre Company, B Street Theatre, Fantasy Theatre, Music Circus, Sacramento Theatre Company, Lake Tahoe Shakespeare Festival, Shakespeare Santa Cruz, Oregon Shakespeare Festival, Americana Theatre Company and Maxim Gorky Drama Theatre in Vladivostok, Russia.

(2 seasons) COLEMAN ZEIGEN is pleased to return for his second season at CSF. From 1997 to 2005, Coleman performed in The Gathering (on Broadway, starring Hal Linden); and Much Ado About Nothing, The Taming of the Shrew and Pudd’nhead Wilson (off Broadway). He also performed in regional productions of The Miracle Worker, The Mousetrap, Lobby Hero, Biloxi Blues, Who’s Afraid of Virginia Woolf?, The Comedy of Errors and Troilus and Cressida and has spent three seasons at the Shakespeare Theatre of New Jersey. Coleman received his MFA in acting from Rutgers University.

(1 season) Originally from Whidbey Island, Washington, ANDY WALKER is currently a senior at the University of Northern Colorado.

Recent credits include Mal in The Addams Family (Little Theatre of the Rockies) and Ferdinand in Love’s Labour’s Lost (UNC).

(9 seasons) ROBERT WESTER is a physician practicing in Denver.

Acting credits with the Colorado Shakespeare Festival include Attendant/Ensemble in Hamlet, King Lear, Romeo and Juliet and Much Ado About Nothing; Soldier in Macbeth; Assistant Bishop in Richard III; Herne the Horrible in The Merry Wives of Windsor and the Waiter and Headsman in The Comedy of Errors. Robert has also played Telemann in Bach at Leipzig with the Boulder Ensemble Theatre Group.

*Appears courtesy of the Actors’ Equity Association, the Union of Professional Actors and Stage Managers of the United States

@coshakes | #coshakes

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ARTISTIC TEAM PRODUCING ARTISTIC DIRECTOR Director: Rosencrantz & Guildenstern Are Dead

Timothy Orr has been with the Colorado Shakespeare Festival as a performer since 2007, joined the staff as the associate producing director in 2011 and became producing artistic director in 2013. During his tenure at CSF he has helped found the CSF School of Theatre and CSF’s nationally recognized Shakespeare anti-bullying school tour, he began the original practices series of Shakespeare’s plays and led CSF through several successful capital and endowment campaigns. As an actor he has appeared in 10 productions at CSF and numerous theatres across California.

CSF directing credits include I Hate Hamlet, Wittenberg and several touring productions. He has held lecturer positions in classical acting, voice and musical theatre at the University of California at Davis, University of Colorado Boulder and the Berkeley Repertory School of Theatre (CA). He holds degrees in music and arts management from California State University, Sacramento, and an MFA in theatre from the University of California at Davis and was a Fellow with the League of American Orchestras.

DIRECTORS KELSEY DIDION* (2 seasons) Director: Henry VI Part 3

Kelsey Didion's directing credits include Red at PlayMakers Rep (assistant director). As an actor, credits include: Curious Theatre Company, Colorado Shakespeare Festival, the PIT, Theatre Row, Chautauqua Theater Company, PlayMakers Rep, New York Shakespeare Exchange, the New Harmony Project and others.

Film credits include Ricki and the Flash. Kelsey is a founding member and resident composer of New York-based sketch group Recent Cutbacks and holds a Bachelor of Science from the University of Evansville and and MFA from the University of North Carolina-Chapel Hill.

CHRISTOPHER DUVAL (1 season) Director: The Taming of the Shrew

Christopher DuVal has worked in regional theatres and Shakespeare festivals as an actor, director and fight director for the past 25 years. His work has been seen with Syracuse Stage, Sacramento Theatre Company, Utah Opera, Dallas Theatre Center, South Coast Repertory, Shakespeare Orange County, Utah Shakespeare Festival and Salt Lake Acting Company, and for 18 years he has worked as a company member and guest teacher at the Oregon Shakespeare Festival. He currently serves as the resident fight director with Pioneer Theatre Company and is head of the Actor Training Program at the University of Utah. He holds an MFA in acting from the University of California-Irvine and is a Certified Teacher with SAFD, a Master Instructor with DAI and Associate Teacher of Fitzmaurice Voicework. His book, Stage Combat Arts: An Integrated Approach to Acting, Voice, and Text Work, is published by Methuen.

CAROLYN HOWARTH*+ (7 seasons) Director: Hamlet

Carolyn Howarth is the former artistic director of the Foothill Theatre Company in Nevada City, California. Her directing credits include numerous productions with such theatres as FTC, CSF, the Lake Tahoe and Sierra Shakespeare Festivals, Capital Stage (Sacramento, California) and the Perserverance Theatre Company (Juneau, Alaska). Her CSF credits include Troilus and Cressida, Henry V, Henry IV Part 1, The Comedy of Errors, Treasure Island and The Three Musketeers. As an actor, Carolyn has performed in more than 50 productions with FTC, ranging from classics to new works.

Other professional acting credits include appearances with the Jewish Theatre of San Francisco, the B Street, Sacramento Theatre Company, the Lake Tahoe and Sierra Shakepseare Festivals and the Maxim Gorky Drama Theatre (Vladivostok, Russia). Carolyn holds an MFA from the University of California-Davis.

ANTHONY POWELL+ (1 season) Director: Julius Caesar

Anthony Powell began his professional career on a bus, touring as a performer with John Houseman’s The Acting Company. He served as associate artistic director with the DCPA Theatre Company for 18 seasons, during which he directed more than 25 productions, including Wit, Love’s Labour’s Lost, Macbeth, The Dresser and Martin McDonagh’s Connemara Trilogy (The Beauty Queen of

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PLAYWRIGHTS TOM STOPPARD Playwright: Rosencrantz & Guildenstern Are Dead

Czech-born British playwright Tom Stoppard began to write plays in 1960 after moving to London. Rosencrantz & Guildenstern Are Dead (1964–65) was first performed at the Edinburgh Festival in 1966, entered the repertory of Britain’s National Theatre in 1967 and rapidly became internationally renowned. Stoppard’s other notable stage plays include The Real Inspector Hound (1968), Jumpers (1972), Travesties (1974), Every Good Boy Deserves Favour (1978), Night and Day (1978), Undiscovered Country (1980, adapted from a play by Arthur Schnitzler), On the Razzle (1981, adapted from a play by Johann Nestroy), The Real Thing (1982), Arcadia (1993), The Invention of Love (1997), The Coast of Utopia, first performed in 2002, and Rock ’n’ Roll (2006). Stoppard has also written a number of notable screenplays, including those for The Romantic Englishwoman (1975), Despair (1978) and Brazil (1985), as well as for a film version of Rosencrantz & Guildenstern Are Dead (1990), which he also directed, and The Russia House (1990). In 1999 the screenplay for Shakespeare in Love (1998), cowritten by Stoppard and Marc Norman, won an Academy Award.

Stoppard also adapted the French screenplay for the Englishlanguage film Vatel (2000), and wrote the screenplay for Enigma (2001). He later penned scripts for a lavish miniseries based on novelist Ford Madox Ford’s tetralogy Parade’s End and for a film adaptation of Leo Tolstoy’s Anna Karenina in 2012. Stoppard was knighted in 1997 and has won four Tony Awards for Best Play.

DRAMATURGS

Theatre), Picnic and Melancholy Play (CU) and readings for Curious New Voices, Athena Project and Paragon Theatre Ensemble. Heidi is an associate artist with LOCAL Theater, regional vice president for the Literary Managers and Dramaturgs of the Americas and the marketing and grants coordinator for CSF Education and Outreach.

Heidi holds a PhD from the University of Colorado Boulder.

DESIGNERS, CHOREOGRAPHERS AND CASTING CAITLIN AYER (4 seasons) Scenic Designer: The Taming of the Shrew, Julius Caesar

Caitlin Ayer is thrilled to return to Boulder for her fourth season with CSF. Credits include The Comedy of Errors, Troilus and Cressida, Henry V, Wittenberg, Othello, Much Ado About Nothing, Henry IV, Part 1 and I Hate Hamlet (CSF); Drag Queen Time Machine and Wheel of Misfortune (Off-Center, DCPA); Good People, Time Stands Still (Curious Theatre Company); and Lord of the Flies, The Rover and Il Mondo della Luna (Carnegie Mellon University). Assistant credits include The Book of Mormon (First National Tour) and two seasons at the Denver Center Theatre Company. She was recently named a “Young Designer to Watch” by Live Design magazine. She earned her MFA from Carnegie Mellon University in 2017.

WHITNEY BRADY (1 season) Assistant Scenic and Lighting Designer: Hamlet, Rozencrantz & Guildenstern Are Dead

Whitney Brady is a lighting designer originally from Virginia and currently based in New York. She is pursuing a Bachelor of Arts in drama and religion at Vassar College. She will by no means miss the summer humidity of the East Coast and is thrilled to be a part of the 2017 season.

MEGHAN ANDERSON DOYLE (2 seasons) Costume Designer: The Taming of the Shrew

BIANCA GORDON (6 seasons) Dramaturg: The Taming of the Shrew

Bianca Gordon has served as a CSF dramaturg for several years, including for productions of Treasure Island (2012), A Midsummer Night's Dream (2013), The Tempest (2014), Othello (2015) and The Comedy of Errors (2016). She has also served as a dramaturg for the Aurora Fox, PHAMALY Theatre Company and the CU Department of Theatre & Dance. She has interned in the literary department at the Denver Center for the Performing Arts and with the associate artistic director of Curious Theatre Company. Bianca is currently pursuing her PhD at the University of Colorado Boulder.

HADLEY KAMMINGA-PECK (7 seasons) Dramaturg: Hamlet, Henry VI Part 3

Select costume design credits include Fade, Tribes, One Night in Miami, Perception, Appoggiatura, Vanya and Sonia and Masha and Spike, Jackie & Me, I Love You, You’re Perfect, Now Change!, Five Course Love, Ed, Downloaded, The Giver, Superior Doughnuts and Well (DCPA); Marcus or the Secret of Sweet, In the Red and Brown Water, Good People, The Brothers Size, A Number, Up and tempOdessey (Curious Theatre); Metamorphoses (Aurora Fox) and the National Theatre Conservatory (2005-2012). Meghan holds a BA in theatre from the University of Denver and an MFA in costume design from the University of Florida.

CHRISTOPHER DUVAL (1 season) Fight Director, The Taming of the Shrew, Hamlet, Julius Caesar

See: Directors, Chirstopher DuVal.

Hadley Kamminga-Peck completed her PhD in theatre history and criticism at the University of Colorado Boulder in 2015. She received her BA in drama and Italian from Colorado College and her master's degree in acting from the Liverpool Institute of Performing Arts. She comes from the Twin Cities, Minnesota, where she worked for the Guthrie Theater. At CSF, she has served as dramaturg, assistant director, interim education manager, Shakespeare's Sprites counselor and onstage prompter for the Original Practices productions.

JASON DUCAT (5 seasons) Sound Designer

Gillian Nogeire moved to Boulder from New York, where she worked as a director, a singing teacher and an acting coach. In New York, she ran a bilingual summer Shakespeare festival that worked with underserved communities in local parks and gardens. Recently, she completed her master's degree at the University of Colorado Boulder with research focusing on the study of Shakespeare in high-security prisons to reduce recidivism. Gillian will be continuing her research in the PhD program this fall.

Jason Ducat has designed sound for the past five seasons with CSF. These credits include Troilus and Cressida, Henry V, The Tempest, Othello, Macbeth and I Hate Hamlet. Jason is an artistic company member at Curious Theatre Company, where his credits include Venus in Fur, Good People, The Brothers Size, Maple and Vine, 9 Circles, A Number and Astronomical Sunset. He has served as resident sound designer with the Denver Center Theatre Company, where he designed more than 20 shows in seven seasons. Other designs include Constellations and Born Yesterday (THEATREWORKS); The Few and Full Code (Boulder Ensemble Theatre); Marat/Sade and The Winter’s Tale (Purdue University); Lab Coats on Clouds (Prague Quadrennial); Hedwig and the Angry Inch (Elemental Theatre Company); Sideways Stories from Wayside School (Hope Summer Repertory Theatre); and Tribulation and the Demolition Squad (Chicago Dance Crash). Jason received his MFA in sound design from Purdue University.

HEIDI SCHMIDT (7 seasons) Dramaturg: Julius Caesar

SYLVIA GREGORY (3 seasons) Casting Director

GILLIAN NOGEIRE (3 seasons) Dramaturg: Rosencrantz & Guildenstern Are Dead

Heidi Schmidt has served as a CSF dramaturg since 2011, with credits including The Inspector General (2011), Richard III (2012), Macbeth (2013), The Merry Wives of Windsor (2014) and Equivocation (2016). She has also served as the dramaturg with the CSF touring productions of The Taming of the Shrew and Twelfth Night. Other dramaturgy credits include Disgraced, The Christians and Tribes (DCPA) and Faith (LOCAL Theatre Company).

Her directing credits include Wedding Cake Vodka (Dirtyfish

Sylvia Gregory has cast shows for Denver Center Attractions, Denver Center Theatre Company, LOCAL Theatre, Boulder Ensemble Theatre Company and TheatreWorks, among others.

Sylvia cast the SAG feature film Fishing Naked and SAG independent short films Death of the Bar-T and Distance. She has cast commercially for Honda, Southwest Airlines, CenturyLink, Sprint, Duracell, Bayer, the Colorado Lottery (35 spots!) and King Soopers, among others. She cast the 2015 Emmy award-winning

2017 COLORADO SHAKESPEARE FESTIVAL

+ Member of Stage Directors and Choreographers Society | ^ Member of United Scenic Artists | *Appears courtesy of the Actors’ Equity Association, the Union of Professional Actors and Stage Managers of the United States

TIMOTHY ORR (11 seasons)

Leenane, A Skull in Connemara and The Lonesome West). Most recently, he directed the DCPA Theatre Company’s All the Way and is currently artistic director of Denver’s Stories on Stage.

+ Member of Stage Directors and Choreographers Society | ^ Member of United Scenic Artists | *Appears courtesy of the Actors’ Equity Association, the Union of Professional Actors and Stage Managers of the United States

ARTISTIC TEAM Colorado Health Foundation Crossroads & Encrujiada for PBS and Univision and the Colorado Office of Suicide Prevention’s “Man Therapy” campaign, which was written up in The New York Times.

Sylvia holds degrees from CSU Fullerton and the London Academy of Music and Dramatic Arts and earned an MFA degree from the Alabama Shakespeare Festival/University of Alabama/PAT.

CLARE HENKEL^ (10 seasons) Costume Designer: Julius Caesar

Clare Henkel has designed for CSF since 2007. Locally, she has worked with the Denver Center for the Performing Arts, Arvada Center for the Arts and Humanities, Phamaly Theatre Company, Boulder Ensemble Theatre Company, Theatreworks and 3rd Law Dance Theatre. Other theatres include Arizona Theatre Company, the Old Globe Theatre, La Jolla Playhouse, San Diego and San Jose Repertory Theatres, the Aurora Theatre, Perseverance Theatre, Dallas Theatre Center, Geva Theatre, the Indianapolis Symphony's Pops Consortium (including Carnegie Hall), Sacramento Theatre Company, the Lake Tahoe, San Francisco and Idaho Shakespeare Festivals and the Maxim Gorky Theatre in Vladivostok, Russia.

Clare has taught at the University of California-Davis, the University of California-Berkeley and the University of Colorado Boulder. She is a member of the USA Local 429 union.

HUGH HANSON (7 seasons) Costume Designer: Hamlet, Rosencrantz & Guildenstern Are Dead

At CSF, Hugh Hanson has served as costume designer for Troilus and Cressida, Equivocation, Much Ado About Nothing, Wittenberg, Othello, The Merry Wives of Windsor, Henry IV Part 1, Henry V, Richard II & III, Macbeth, Treasure Island and The Comedy of Errors. Additional credits include Trelawny of the Wells, Hamlet, A Streetcar Named Desire, Wittenberg and A Christmas Carol at the Shakespeare Theatre (New Jersey); The Whipping Man, Words By, Wittenberg and Color of Flesh at Portland Stage (Maine); and As You Like It and The Liar at Theatreworks (Colorado Springs). Hugh currently serves as Associate Professor of Costume Production at Carnegie Mellon University.

Her choreography has been seen in four countries and 16 states over the last 10 years and, in 2012, her screendance works Down for the Count, less, more and self defence—created with primary film collaborator Daniel Beahm—have screened at festivals such as the Sans Souci Dance Cinema Festival, Starz Denver Film Festival, the Florence Queer Festival in Italy and the Façade Film Festival in Plovdiv, Bulgaria. Erika co-wrote, directed, produced and choreographered the feature-length dance film Leading Ladies, which has played to sold-out audiences at more than 65 festivals worldwide.

MANAGEMENT MIRANDA BAXTER* (1 season) Assistant Stage Manager: The Taming of the Shrew, Julius Caesar, Henry VI Part 3

Miranda Baxter is very excited to be joining Colorado Shakespeare Festival for the first time. Regional credits include: Equity assistant stage manager for Jesus Christ Superstar, I'll Be Home For Christmas, Sister Act, Death Takes a Holiday, The Mountaintop, Mrs. Mannerly and White Christmas (Arvada Center), and Equity stage manager for In the Red and Brown Water, All The Rage, The Tricky Part (Curious Theatre Company), and assistant stage manager for Richard III and Shakespeare's Will (American Players Theatre Company, Spring Green, WI), among many others. She has also assistant stage managed many shows at the Creede Repertory Theatre in Creede, Colorado. She received her BA in theatre and philosophy from Saint Mary's College.

PAUL BEHRHORST* (4 seasons) Stage Manager: Hamlet, Rosencrantz & Guildenstern Are Dead

Paul Behrhorst is excited to return to CSF this summer! He has worked in many capacities for the Denver Center Theatre Company, the Arvada Center, Phamaly Theatre Company, National Theatre Conservatory, the Avenue, Theaterworks and Senior Housing Options. In 2009, Paul was

the receipient of the CTG Henry Award for Special Achievement in Stage Management. He holds as BFA in applied theater technology and design from the Metropolitan State University of Denver.

ADAM M. DILL (4 seasons) Costume Shop Manager

Adam M. Dill is thrilled to be returning to CSF for his fourth season.

His costume credits include the Flint Youth Theatre, PlayMakers Repertory Company, Utah Shakespeare Festival, Arizona Theatre Company, Gret River Shakespeare Festival, Dallas Children's Theatre and the Dallas Theatre Center. A well-versed designer, manager, draper, tailor and crafter, he currently serves as the Costume Shop Supervisor and Lecturer at the University of Michigan-Flint.

STACEY R. NORWOOD* (2 seasons) Stage Manager: The Taming of the Shrew, Julius Caesar, Henry VI Part 3

Stacy Renee Norwood is thrilled to return to CSF for her second season outdoors. She graduated in May 2006 from Rollins College and has worked with the Depot Theater, Orlando Shakespeare Theater and Pennsylvania Shakespeare Festival. Stacy is a proud member of Actors' Equity Association and is indebted to her mother, father and Mike, who allow her to follow her dreams.

DARION RAMOS* (1 season) Assistant Stage Manager: Hamlet, Rosencrantz & Guildenstern Are Dead

Darion Ramos is a recent graduate from the University of Northern Colorado with a BA in theatre arts for stage management. Her regional credits include stage managing for Pygmalion, Tiny Tim's Christmas Carol and James and the Giant Peach with Phamaly Theatre Company and serving as assistant stage manager for First Date, The Doyle and Debbie Show and Cabaret with the Lake Dillon Theatre Company. She has also served as assistant stage manager for multiple shows with Little Theatre of the Rockies.

KATIE HAMILTON (2 seasons) Props Supervisor

Katie Hamilton is thrilled to be returning for her second season with Colorado Shakespeare Festival. She currently serves as the assistant technical director and lighting supervisor at Colorado College. Katie has previously worked with Ensemble Theatre of Cincinnati (assistant technical director), Theatre at Monmouth (props), Opera Theatre of the Rockies (lighting design) and Ormao Dance (lighting technician).

STEPHEN C. JONES^ (2 seasons) Scenic and Lighting Designer: Hamlet, Rosencrantz & Guildenstern Are Dead

Stephen C. Jones' selected regional theatre design credits include Portland Stage Company (Maine), Sacramento Ballet (California), Alley Theatre (Texas), B Street Theatre and Capital Stage Theatre Company (California), Sting and Honey (Utah) and One Year Lease (New York). Recent projects include the the off-Broadway primiere of The Dressmaker's Secret. Stephen serves as a consultant for Viacom Inc. and Vectorworks Inc., and he was highlighted

by Novedge for innovation in entertainment design. He currently serves as assistant professor of theatrical design and as the director of theatre in the drama department of Vassar College.

SHANNON MCKINNEY^ (8 seasons) Lighting Designer: The Taming of the Shrew, Julius Caesar

Shannon McKinney's previous design credits include The Comedy of Errors, Troilus and Cressida, Much Ado About Nothing, Othello, The Tempest, The Merry Wives of Windsor, A Midsummer Night's Dream, Macbeth and Twelfth Night (CSF); Tribes and Vanya and Sonya and Masha and Spike (DCPA); Tartuffe, Bus Stop, Waiting for Godot and Jesus Christ Superstar (Arvada Center); and Constellations, Sex With Strangers, The Brothers Size and Red (Curious Theatre). Her regional credits include designs for the Indiana Repertoiry Theatre and the Steppenwolf (Chicago), Goodman, Court and Lookingglass Theatres. Shannon is the recipient of six CTG Henry Awards for outstanding lighting design and is a frequent guest designer at the University of Denver.

ERIKA RANDALL (1 season) Choreographer: The Taming of the Shrew

Erika Randall is a teacher, dancer, choreographer and filmmaker who has worked with Megan Odom, Teena Marie Custer, Sydney Skybetter, Sara Hook, David Parker, the Bang Group, Michelle Ellsworth, the Mark Morris Dance Group and Buglisi/Foreman Dance.

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2017 COLORADO SHAKESPEARE FESTIVAL

BE A

SHAREHOLDER OF YOUR COMMUNITY.

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The Elevations Foundation has awarded over $1 million in scholarships, community grants, emergency relief and donations to help strengthen our community.

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CSF STAFF ADMINISTRATION Producing Artistic Director . . . . . . . . . . . . . . . . . . . . . . . Timothy Orr Managing Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Wendy Franz Operations Manager . . . . . . . . . . . . . . . . . . . . Kurt M. Mehlenbacher House Managers . . . . . . . . . . . . . William Lewis, Heather Macdonald, McKenna Warren, Allison Zema Audience Services . . . . . . . . . . . . . . . Valerie DeGroot, Aziza Gharib, Annie Howell, Rose Lavino, Brendan Lynch, Jessica Nilles, Elena Sayeedi, Katharine Turner, Elizabeth Williamson, Rachel Wood Event Management Interns . . . . . . . . . . . Valerie DeGroot, Annie Howell

ADVANCEMENT TEAM Assistant Dean . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lissy Garrison Director of Development . . . . . . . . . . . . . . . . . . . . . Courtney Rowe Associate Director of Development . . . . . . . . . . . Ashley Harkrader Senior Program Manager, Annual Giving . . . . . . . . Jeni M. Webster Program Manager, Stewardship & Strategy . . . . . . . . . . . . . . Katy Touysinhthiphonexay Events Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Katie Hayes Development Assistant . . . . . . . . . . . . . . . . . . . . . . . Madison Munn

CU PRESENTS Executive Director . . . . . . . . . . . . . . . . . . . . . . . Joan McLean Braun Director of Marketing & Public Relations . . . . . . . . . . . Laima Haley Public Relations Manager . . . . . . . . . . . . . . . . . . . . . . . . . Jill Kimball Marketing Manager . . . . . . . . . . . . . . . . . . . . . . . . . . Daniel Leonard Publications Specialist . . . . . . . . . . . . . . . . . . . . . . . . Sabrina Green Graphic Design Assistant . . . . . . Amanda Greening, Analise Iwanski Video Producers . . . . . . . . . . . . . . . . . . . . Emma Salvati, Jackson Xia Social Media Content Creator. . . . . . . . Morgan Gallo, Kelsey Kinzer Communications Assistant . . . . . . . . Maureen Bailey, Noelle Limbird Website Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Erin Gardner

EDUCATION AND OUTREACH Director of Outreach . . . . . . . . . . . . . . . . . . . . . . . . Amanda Giguere Outreach Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . Kelsey Didion Outreach Marketing & Grants Coordinator . . . . . . . . Heidi Schmidt Outreach Interns . . . . . . . . .Sela Dombrower, Rose Lavino, Jade Tulk

BOX OFFICE Director of Operations . . . . . . . . . . . . . . . . . . . . . . . Andrew Metzroth Box Office Manager . . . . . . . . . . . . . . . . . . . . . . . . . . Elise Campbell Box Office Services Manager . . . . . . . . . . . . . . . . . . .Michael Casey Box Office Assistants. . . . . . . . . . . Adrienne Havelka, Megan Ogden, Christopher Ruiz, Megan Quilliam, Karen Van Acker, Christin Woolley

PRODUCTION Production Manager . . . . . . . . . . . . . . . . . . . . . . . . . . .Jarid Sumner Technical Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dan Movick Assistant Technical Director, Mary Rippon . . . . . . . . . Diana Davila Assistant Technical Director, University Theatre .Francesca DeCicco Staff Carpenters . . . . . . . . . . . . . . . . . . . . . . . Ally Lacey-Kachelmeier, Kyle McGinnis, Marli Ray Carpentry Interns . . . . . . . . . . . . . . Ashley Acevedo, Bethany Crescini Scenic Charge Artist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Noah Files Scenic Artist . . . . . . . . . . . . . . . . . . . . . . . . . . . Matthew B. Kornegay Scenic Art Intern . . . . . . . . . . . . . . . . . . . . . . . . . . . Sasha Schwartz Props Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Katie Hamilton Props Artisan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Amber Felker Props Interns . . . . . Isabella Barnett, Amy Bowman, Lindsay Matheos Festival Armorer . . . . . . . . . . . . . . . . . . . . . . . . . . . Benaiah Anderson Master Electrician, Mary Rippon . . . . . . . . . . . Cooper Braun-Enos Master Electrician, University Theatre . . . . . . . . . . . . . . Chris Evans Electrics Interns . . . . . . . . . . . . . . . . . . . . . . . Max Boelte, Leo Hilton Sound Engineer, Mary Rippon. . . . . . . . . . . . . . . . . . . Robert Byerly Sound Engineer, University Theatre . . . . . . . . . . . . Bailey Trierweiler Sound Intern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jason McGuire Over Hire Technicians . . . . . . . . . . . . . . . . . . . . Stephen Balgooyen, Daniel Burns, Mitchell Dailey, Tyler Edmondson, Evan Mues, Reed Otto, Benjamin Smith, Emily Tabler CU Theatre & Dance Practicum Students . . . . . . . . Michael Crone, Megan Flett, Brendan Lynch, Olivia Murrow, Katie Turner

COSTUMES Costume Shop Manager . . . . . . . . . . . . . . . . . . . . . . . . Adam M. Dill Draper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ananda Keator Junior Draper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stephanie Orr First Hand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Christina HadleyDike Lead Stitcher . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lydia Parker VanTol Stitchers . . . . . . . . . . . . . . . . . . . . Andrea Goldstein, Vanessa Randall Crafts Head . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dominique Glaros Crafts Assistant . . . . . . . . . . . . . . . . . . . . . . . . . December Mathisen Crafts Assistant/Outdoor Wardrobe Supervisor . . . . . . Anneke Ciup Wig Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Danielle Griffith Design Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Erika Daun Design Assistant/Indoor Wardrobe Supervisor . . . . Samantha Paul Costume Interns . . . . . . . . . . . . Tahirah K. Agbamuche, Lauren Nail, Quill Neuville, Claire Waid

STAGE MANAGEMENT Stage Manager, Mary Rippon . . . . . . . . . . . . . . . . Stacy R. Norwood Stage Manager, University Theatre . . . . . . . . . . . . . Paul Behrhorst Assistant Stage Manager, Mary Rippon . . . . . . . . . . Miranda Baxter Assistant Stage Manager, University Theatre . . . . . . . .Darion Ramos Stage Management Interns . . . . . . . . . . . Lea Bock, Sydney Chinowsky

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2017 COLORADO SHAKESPEARE FESTIVAL

2017-2018 Season

80th Anniversary

Martha Graham Dance Company ................ Oct. 5 The Triplets of Belleville .............................. Oct. 15 Van Cliburn Gold Medal Winner ................... Nov. 3 Dianne Reeves ......................................... Dec. 16 Béla Fleck and Brooklyn Rider ................... Jan. 20 Joshua Bell ................................................ Feb. 9 Ailey II ....................................................... Feb. 17 Lila Downs ............................................... March 3 RUBBERBANDance ............................... March 24 Quicksilver Baroque Ensemble................... April 20

Faculty Tuesday Series ......................... Sept.-April Student Music Ensembles .................... Sept.-April Student Recitals ................................... Sept.-April CU Theatre ................................. Sept. 29-April 22 CU Dance .................................. Sept. 22-April 28 Eklund Opera ............................... Oct. 27-April 29 Holiday Festival ..................................... Dec. 8-10

Takács Quartet ........................... Sept. 24-April 30 Altius Quartet ....................................... Jan. 21-22

2018 season tickets on sale Oct. 30

303-492-8008 · cupresents.org @coshakes | #coshakes

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Music sounds better when you know more.

Listen, study, enjoy—with CPR Classical.

“Music Forward” Saturdays at 7 p.m. on CPR Classical Explore music of the past century through musician interviews and discussion of Colorado’s contemporary performances.

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2017 COLORADO SHAKESPEARE FESTIVAL

THE CSF SHAKESPEARIENCE BEFORE & AFTER THE SHOW Prologue on Performance Evenings Producing Artistic Director Timothy Orr or other company members will discuss the play you are about to see . This popular program offers insights, sets the stage and adds to your enjoyment of the plays.

Begins 45 minutes before curtain time except for preview performances.

Talkbacks Following many performances, audience members are invited to move closer to the stage and join a talkback discussion with members of the cast and crew.

Green Shows Before outdoor plays, performers provide free entertainment in the Shakespeare Gardens at 6:45 p.m. Wednesdays through Saturdays and 5:15 p.m. on Sundays and Tuesdays. Visit coloradoshakes.org for a full schedule of performances.

Picnic in the Shakespeare Gardens Come early and picnic in the Shakespeare Gardens, courtesy of Savory Cuisines Catering. Choose from a delicious menu of nibbles and sandwiches. Wine and beer are available for purchase inside the Gardens and catered meals are available for groups of 10 or more. No matter what size your group is, we’ll provide a sonnetworthy feast. Visit coloradoshakes.org for more information.

EDUCATION & COMMUNITY ENGAGMENT Classics 101 For a behind-the-scenes discussion of the shows with the directors and dramaturgs for this season’s productions, join us for this free series at the Boulder Public Library . Visit coloradoshakes.org for the schedule and more information.

Camp Shakespeare (For ages 10-18) Session One: May 30–June 26, 2017 Session Two: July 24–Aug. 11, 2017 Held at CSF’s facilities on the CU Boulder campus, this popular summer program focuses on the skills needed for acting in Shakespeare plays. Each class performs an abridged Shakespeare play in the Mary Rippon Outdoor Theatre .

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Shakespeare’s Sprites (For ages 6-9) Session One: July 10–14, 2017 Session Two: July 17–21, 2017 A weeklong program designed to introduce campers to the playfulness of Shakespeare’s language .

CSF School of Theatre Offering year-round theatre classes and workshops for kids, teens and adults. Visit coloradoshakes.org for more information about current offerings.

Shakespeare & Violence Prevention CSF offers a nationally-recognized school touring program in which professional actors visit schools to perform an abridged Shakespeare play, followed by classroom workshops about violence prevention .

Visit coloradoshakes.org for current tour information or to set up a visit at your child’s school .

Dramaturg Presentations CSF dramaturgs are available for book club meetings, private lectures or classroom visits. Call 303-735-1181 for details.

COLORADO SHAKESPEARE GARDENS The Colorado Shakespeare Gardens (CSG) invites all who love Shakespeare’s work to extend their experience from the sights and sounds of the stage to the scent and sweet beauty of his gardens.

Before taking your seat in the Mary Rippon Outdoor Theatre or in the University Theatre, spend some time in the courtyard between the Hellems and Education buildings . Here, a passionately committed team of volunteers cultivates and tends gardens devoted to the plants Shakespeare knew and memorably referenced in his plays. You will see a towering specimen of Rosa x alba ‘Alba Semiplena,’ the White Rose of York, and the ancient Rosa gallica officinalis, The Red Rose of Lancaster.

You can savor the fragrance of musk roses, carnations and rosemary, fennel and rue, banks of thyme, lavender and savory. Visit our sample of a traditional Elizabethan knot garden and be enchanted by our moonlight garden interpretation of A Midsummer Night’s Dream . Encounter familiar carrots, lettuces, squash, turnips and radishes in the Kitchen Garden,

punctuated with bay and apricot trees and twisted willow teepees for climbing peas and beans .

CSG members will take you around the courtyard on a personalized tour of the gardens each Saturday when a performance is scheduled in the Mary Rippon. You will find us in the gardens starting 90 minutes before curtain. Guide brochures are always available in the garden to aid your self-guided tours.

Plan to be pampered in the Gardens on July 1, 2017, as we welcome you to our annual midsummer High Tea, featuring herb-scented baked goods and flowery iced teas from the Tea Spot. The festivities begin at 5:30 p.m. and wrap up in time for you to take your seat for that night’s performances of Hamlet at the University Theatre and The Taming of the Shrew in the Mary Rippon .

CSG enthusiastically welcomes new members, donors and sponsors . Visit our website at coloradoshakespearegardens . org or The Colorado Shakespeare Garden group at Meetup .com . We devote ourselves to work in the gardens from March to October. In the winter months, we gather periodically to prepare for the Colorado Shakespeare Festival’s upcoming season with presentations on the plays and plant research .

“There is Rosemary, that’s for remembrance.

Pray you love remember .

And there is Pansies, that’s for thoughts.

There’s Fennel for you, and Columbines .

There’s Rue for you, and here’s some for me….”

—Ophelia: Hamlet IV, v.

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CSF SERVICES AND POLICIES

ADA Access and Seating Assistance

Ticket Exchange Policy

Ticket exchanges are free for subscribers . Single ticket buyers are charged $3 per seat to exchange .

Exchanges may be made for tickets to any performance of any play based on availability . All exchanges must be made at least one business day in advance of a performance. When exchanging your existing tickets for a higher-priced performance or seat(s), the difference in ticket price must be paid before the exchange can be completed. No refunds are given for exchanges into lower-priced performances or seats. Ticket exchanges are subject to seat availability. CSF does not make refunds on any purchases.

Rain and Cancellation Policy

Summer rains are common in Colorado and usually pass within 20 to 30 minutes. Performances will proceed in the rain unless weather conditions become threatening to performers or the audience. For safety reasons, open umbrellas are not permitted at any seats during performances; we recommend that patrons bring wearable raingear .

If a performance is canceled before intermission due to weather, tickets may be exchanged for another performance, subject to availability. Exchanges must be made within one week of rain-out.

There will be no refund or exchanges for shows canceled after intermission.

Please notify the box office or audience services personnel if you require any assistance in getting to your seat . All patrons requiring assistance should enter the Mary Rippon Outdoor Theatre from the west side .

Audio Enhancement

Assistive listening devices are available at the box office on the day of the performance.

CSF will hold a driver’s license or credit card at the box office, giving it back when the listening device is returned . Please return the device to your House Manager at the end of the performance.

ASL Interpreted Performances

CSF offers American Sign Language interpretation for our productions. Please call to make arrangements at least four weeks in advance of the performance date desired . For more information and to make arrangements for an ASL interpreter, please call 303-492-8008.

Children at Performances

Alcohol

CSF maintains a beverage license for the sale of beer and wine within the premises of the Shakespeare Gardens and the Mary Rippon Outdoor and University Theatres . Alcohol purchased inside the venue may not be taken outside of the licensed premises, and no outside alcoholic beverages may be brought into the licensed venue . Please note that the allowance of private alcohol consumption on the Green was discontinued in 2012 in compliance with the University of Colorado Boulder’s alcohol service on campus policy (BRC § 5-7-2 and CRS § 12-47-901 (2) (c)) as well as Colorado liquor code and Colorado liquor rules (CRS § 12-47-901 (1) (h)).

Food and Beverages

No outside food or beverages are allowed in the theatres . Picnic baskets, large bags and coolers are not permitted in the theatres .

Products purchased on site are permitted in the Mary Rippon Outdoor Theatre only; no food or drink is allowed in the University Theatre, including concessions purchased at the performance. Bottled water is permitted if it has a secure lid. No glass containers are allowed . While consuming food or beverages, please be respectful of other patrons near you .

Children under the age of 5 are not permitted in the theatres .

On the Evening of the Performance • Photography and video recording of any type—including on cell phones—is strictly prohibited during performances.

during the performance, as light from these devices can be distracting to the actors and audience .

• For safety reasons, we ask that patrons not walk on the stone benches in the Mary Rippon Outdoor Theatre .

• Electronic devices may not be used in the theatres . Please silence cell phones, tablets, music players, pagers and all other personal devices upon entering .

Please refrain from texting or emailing

• Latecomers will be seated at the discretion of house management at the first appropriate break that allows for the least disruption of the performance.

• Coolers, baskets and large bags are not permitted in the Mary Rippon Outdoor Theatre . Please leave these items in your vehicle before finding your seat.

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