2011-12 Season Playbill

2011-2012 season

What Think You of Falling in Love?

Tony Simotes, Artistic Director

Nicholas J. Puma Jr., Managing Director

B E R K S H I R E

M O N E Y

M A N A G E M E N T

S&P 500 Index DAILY DATA JANUARY 2, 2001- DECEMBER 31, 2010 1550 1525 1500 1475 1450 1425 1400 1375 1350 1325 1300 1275 1250 1225 1200 1175 1150 1125 1100 1075 1050 1025 1000 975 950 925 900 875 850 825 800 775 750 725 700 675

Sample Market Calls

1550 1525 1500 1475 1450 1425 1400 1375 1350 1325 1300 1275 1250 1225 1200 1175 1150 1125 1100 1075 1050 1025 1000 975 950 925 900 875 850 825 800 775 750 725 700 675

November 15, 2007 (sell)

of Berkshire Money Management

May 11, 2001 (sell)

April 4, 2010 (sell)

January 1, 2002 (sell) May 10, 2002 (sell)

July 14 2010 (buy) September 28 2001 (buy)

March 6, 2009 (buy)

October 11 2002 (buy) M

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2009

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2010

© Copyright 2011 Ned Davis Research, Inc. Further distribution prohibited without prior permission. All Rights Reserved. See NDR Disclaimer at www.ndr.com/copyright.html.

For data vendor disclaimers refer to www.ndr.com/vendorinfo/.

May 11, 2001 (sell)

October 11, 2002 (buy)

“Don’t get too scientific…just ask yourself; does it feel like a recession? We don’t think it feels as bad as 1990-1991, but it is bad enough.”

The stock market fell 16.5% until our next buy signal.

“The VIX broke 50 [on October 10th], and that is my buy signal this time.”

The stock market rose 80% until our next sell signal.

September 28, 2001 (buy) “Equity valuations are better than they have been in years.”

The stock market rose 10.4% until our next sell signal.

January 1, 2002 (sell) “I’ve had my three months of bullishness, but now I must adhere, once again, to a more bearish sentiment.”

The stock market fell 30% until our next buy signal.

May 10, 2002 (sell) “If [the NASDAQ] pierces the 1600 level again, the prudent investor will not hold out for another relief rally…the NASDAQ is setting up for a retest of the September [2007] lows of the 1400s.”

November 15, 2007 (sell) “The obvious answer is a temporary position in cash.”

The stock market fell 48.9% after that sell signal.

March 6, 2009 (buy) “Expect a bottom for the S&P 500 at 660 points.”

The stock market rose 63.2% from that buy signal to the end of 2009.

April 4, 2010 (sell) “…The bottom line is a correction is coming, but it’s not a crash.... Signs of a longer-than-typical correction.”

July 14, 2010 (buy) “…the correction is over…being in cash is a risky proposition.”

We’ll make it easy to move your portfolio.

V I S I T

U S

A T

W W W . B E R K S H I R E M M . C O M

O R

C A L L

8 8 8 . 2 3 2 . 6 0 7 2

The S&P 500 Index (S&P) has been used as a comparative benchmark because the goal of the above strategy was to provide equity-like returns. The S&P is one of the world’s most recognized indexes by investors and the investment industry for the equity market. The S&P, however, is not a managed portfolio and is not subject to advisory fees or trading costs. Investors cannot invest directly in the S&P 500 Index. The S&P returns also reflect the reinvestment of dividends. Berkshire Money Management is aware of the benchmark comparison guidelines set forward in the SEC Clover No-Action Letter (1986) and compares clients’ performance results to a benchmark or a combination of benchmarks most closely resembling clients’ actual portfolio holdings. However, investors should be aware that the referenced benchmark funds may have a different composition, volatility, risk, investment philosophy, holding times, and/or other investment-related factors that may affect the benchmark funds’ ultimate performance results. Therefore, an investor’s individual results may vary significantly from the benchmark’s performance. All indicated stock market calls and associated commentary are that of Allen Harris & Berkshire Money Management and have no relationship to NDR/MDR.

L-R: Scott Renzoni, Wolfe Coleman, Kelly Galvin, Leia Espericueta, Jason Asprey, Dana Harrison and Shea Kelly.

“As is almost always the case with productions from Shakespeare & Company, the first priority is to tell a cracking good story and to 'speak the speech' so clearly and comprehendingly that even theatergoers new to Shakespeare grasp the plot and characters” BEN BRANTLEY, THE NEW YORK TIMES

Table of Contents

Celebrating Artist Sol Schwartz page 7 5 Questions with Annette Miller page 82 Remembering Clare Reidy page 60 Right Place, Right Time: Daniela Varon page 56 Behind the Scenes Super Heroes page 90 A Werthy Fellow: Ron Werth page 110

2011-12 PERFORMANCE SEASON FOUNDERS' THEATRE Romeo and Juliet ............................................... 20 As You Like It ..................................................... 23 The Hound of the Baskervilles ........................... 27 ELAYNE P. BERNSTEIN THEATRE Women of Will, The Complete Journey: Parts I-V........................................................ 14 The Memory of Water ......................................... 19 The Two Gentlemen of Verona ............................ 30 Red Hot Patriot: The Kick Ass Wit of Molly Ivins ...................... 24 The Hollow Crown .............................................. 29 Studio Festival of Plays ..................................... 70 War of the Worlds .............................................. 33 The Santaland Diaries ....................................... 37 The Learned Ladies ........................................... 44 Shakespeare and the Language that Shaped a World ..................... 77 ROSE FOOTPRINT THEATRE The Venetian Twins ............................................ 52 Everyman Actor ................................................. 54

ALL PHOTOS BY KEVIN SPRAGUE, UNLESS NOTED PICTURED ON COVER: Brittany Morgan and

David Joseph

Letter from Tony Simotes, Artistic Director .......... 2 Letter from Richard Mescon, Chairman ............... 4 Mission, Values, Vision ........................................ 6 Board of Trustees/Board of Overseers ................. 6 Membership ...................................................... 41 Special Events..............................................48-49 Outdoor Bankside Festival................................. 50 Education .....................................................62-64 Staff Listing ...................................................... 65 Center for Actor Training ................................... 66 Performance Intern Company ............................ 69 Shakespeare & Company on Tour ...................... 72 The Conservatory ............................................... 73 The Rose Playhouse ........................................... 81 The Rose Players ............................................... 84 Volunteers ......................................................... 87 Groups, Events and Rentals .............................. 88 Visit the Gift Shop ............................................. 94 Special Thanks .................................................. 97 Facilities Thanks ............................................... 99 Players' Society ............................................... 101 Planned Giving ................................................ 101 Naming Options .............................................. 101 2009/2010 Contributors ...........................102-108 In Memoriam ................................................... 103 Who's Who ....................................................... 112 Advertisers Index ............................................. 128

We Gratefully Acknowledge the Sponsors of the 2011-2012 Season

70 Kemble Street, Lenox, MA 01240-2813 Box Office: 413-637-3353 Administrative Offices: 413-637-1199 Please support our advertisers

SHAKESPEARE.ORG

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dear friends,

i

am very happy to welcome you to our home as we embark on our 34th season at shakespeare & company. following an eventful year, the company continues to flourish as it expands in lenox, the greater berkshire region, and beyond. as luck would have it, i have also deepened my local roots, weaving myself further into the fabric of this incredibly rich cultural community. after taking the reins from founding artistic director tina packer, i headed into a very busy and exciting inaugural year as artistic director, accompanied by my wife lucy (aka: my best friend and the love of my life), who recently joined me in becoming a full-time berkshire resident. as of this printing, we are about to become new homeowners in neighboring pittsfield, and will truly plant our roots in one of the most beautiful areas in the country.

I’m pleased to report that Shakespeare & Company had a benchmark season last year. Not only did we achieve artistic success, but we also attained financial stability during a tough economic climate.

Our smart fiscal decisions and stellar performance schedule helped to bring in our highest box office record to date. Special thanks goes to the hard work and determintation our Board Chairman Richard a.

Mescon and Managing Director Nicholas J. Puma Jr.–as well as the unswerving support of our Board of Directors and Overseers. I am incredibly proud of the work we’ve done, and very optimistic as we move forward into the future.

There is much to celebrate within the family at Shakespeare & Company. One of my biggest joys has been the return of many S&Co. alumni. These incredibly talented artists are truly the bedrock of the Company, and they continue to shape and strengthen our theatre in many ways. I also want to welcome the talented pool of newcomers that will light up our stages this season. We’re extraordinarily pleased to join forces with them as we tackle a full slate of artistically thrilling productions, from Shakespeare, to contemporary fare, to fantastic new works.

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With more than a dozen plays and special events happening from May 2011 to March 2012, there is something for everyone’s taste this season! In Founders’ Theatre, our offerings include lunatics and lovers in As You like it, passion and tragedy in romeo and Juliet, and laugh-out-loud high-jinks in The hound of the Baskervilles. There’s even more happening down the hill in our Elayne P. Bernstein Theatre, such as a deliciously entertaining reading of The hollow Crown, the razor sharp wit of red hot Patriot: The kick Ass Wit of molly ivins, the irreverence and intelligence of Women of Will, The Complete Journey: Parts i-V and the Women of Will, overview, the heart-warming silliness of The Two Gentlemen of Verona, and the darkly comedic The memory of Water.

Out on the Rose Footrprint Theatre, the fast-paced new play everyman Actor and the outrageous hilarity of The Venetian Twins will have you laughing all summer. and in the fall and winter, the provocative radio drama War of the Worlds, our holiday hit The Santaland Diaries, and Molière’s raucous romp The learned ladies are sure to thoroughly warm and delight audiences.

In theatre we deal with big, compelling narratives, which deeply affect and inspire us. I often think that the story of Shakespeare & Company is akin to the tales we tell on stage. Things are always shifting, emerging, growing, and moving at S&Co., and you–our audience–have been with us throughout this incredible journey. Thank you for your continued support, and for joining us once again as we write the next chapter in S&Co.’s history. Here’s to a wonderful season!

Tony Simotes Artistic Director

We that are true lovers run into strange capers.

AS You like iT II.iv

WELCOME TO SHAKESPEARE & COMPANY,

W

hether you’re here to catch a show at the Founders’ or Elayne P. Bernstein Theatres, attend one of our many free and fun outdoor events, or simply enjoy a stroll or a picnic on our beautiful lawns, we’re so pleased to have you with us for our 34th performance season.

Both artistically and financially, 2010 was a momentous year for Shakespeare & Company. With our critically acclaimed mainstage productions in Founders’ Theatre and our year-round schedule in the Bernstein, we delighted more than 50,000 audience members during this past season. The clear vision and creative energy generated under the dynamic leadership of Tony Simotes, our new Artistic Director, brought results that exceeded our expectations.

Our fundraising, donor support, and strategic planning have helped us make giant strides in strengthening the Company’s financial condition. Last year, we restructured our capital obligations, thereby significantly reducing our annual interest expense. With the assistance of Congressman John Olver, we secured a loan guarantee from the United States Department of Agriculture, of which approximately one half has already been repaid, enabling us to complete this restructuring.

We are also extraordinarily proud to have generated an operating surplus in our most recent fiscal year. This is no small feat given the economic times in which we are all living. Contributing to our ability to reach this milestone was the exceptional level of artistic achievement offered on all our stages, the rigorous fiscal management of the Company, and the streamlining of operations

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throughout the organization. Tony and his team deserve the credit for this accomplishment, and I am confident they will continue to lead the Company toward a bright and enduring future.

As has long been our tradition, we are continuing to build community, both inside and outside our theatres. Our fantastic productions—such as Women of Will, As You Like It, Romeo and Juliet, and so many others —use powerful performance to remind us that we are all united by a common humanity. And just outside our theatre doors, we are bringing community together with our Bankside Festival events, our July Fourth Celebration, and the bustling Lenox Farmers Market, which will be coming to our gorgeous property every Friday this summer.

I would be remiss if I omitted our enormous gratitude to you: our friends, members, and patrons. It is through your unparalleled generosity that the Company has thrived. Without your support, Shakespeare & Company wouldn’t be able to continue its work touching the lives of thousands of people onstage, training professional actors throughout the year, and providing nationallyrecognized school programs for students and young people.

On behalf of Shakespeare & Company’s Board of Trustees and Board of Overseers, thank you for your continued support!

Richard A. Mescon Chair, Board of Trustees

He hath a heart as sound as a bell…

MUCH ADO ABOUT NOTHING III.ii

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MISSION, VALUES, VISION

S

hakespeare & Company was founded in 1978 to create theatre of unprecedented excellence rooted in the classical ideals of inquiry, balance and harmony; a Company that performs as the Elizabethans did—in love with poetry, physical prowess and the mysteries of the universe.

We believe in engaging the three vital questions at the heart of each of Shakespeare’s plays: What does it mean to be alive?

How should we act?

What must I do?

WE BELIEVE: That the creative impulse is the source of life and it must be at the center of our education system, our interaction with each other and our community, as well as at the center of our performance, training and education.

That creativity attracts people of all races, ethnicities, religious backgrounds, age and gender differences, to work and play together to the enrichment of the human race.

That we are an international Company, on American soil, participating with our local community and endeavoring at every turn to be good neighbors.

That our commitment is absolute, but we take ourselves lightly.

Shakespeare & Company will evolve into the American Center for Shakespeare Performance and Studies. Elements of this vision already exist, others are being created. Ultimately, we will build: an authentic and historically accurate Elizabethan playhouse… The Rose.

Also, we plan to develop an exhibit center connecting modern America to Elizabethan England and Renaissance Europe, emphasizing: artistic, intellectual and scientific revolutions; the exploration of words, the world around us and the role and effect that Shakespeare’s canon can have in America today.

Suit the action to the word, the word to the action HAMLET III.ii

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BOARD OF TRUSTEES Richard A. Mescon Chairman Robert B. Strassler Vice Chairman Dorothy Altman Weber Vice Chairman David A. Smith Treasurer Arthur Waldstein Clerk Tony Simotes Artistic Director Tina Packer Founding Artistic Director Nicholas J. Puma, Jr. Managing Director

Deborah L. Benson Jerome Berko Elayne P. Bernstein Patrick Brennan Kevin G. Coleman Linda Benedict Colvin Steven B. Deutsch Gerald Friedman Roberta Friedman Phoebe Giddon Sarah Hancock Carole Hyatt Jane Iredale Jeffrey B. Konowitch Dennis Krausnick

Frances Martinson Harry B. Mathews Rebecca Milikowsky Michael A. Miller Kate Millonzi Carole Murko Dr. Josephine Murray Helga S. Orthofer Nancy Pacocha Victoria Rhoades Charles R. Schader John Douglas Thompson Kenneth Werner Fareed Zakaria Paula Zakaria Rose Zoltek-Jick

BOARD OF OVERSEERS Kate Millonzi Chair Katherine Abraham Mia Andersen Ethan Berg Helene Berger George and Roberta Berry Roxanne and Scott Bok Vicki Bonnington Janet Carey

Diane Cataldo Peter Davenport Gretchen DeKalb Diane Durgin Janet Egelhofer Jim Finnerty Katharine Goodland Sonya Hamlin Gerald and Nancy Kaplan Eleanor Lord and Margaret Wheeler

Annette Miller The Honorable Paul Perachi Janet H. Pumphrey Carol Seldin Howard and Natalie Shawn Harriet Vines Marian Warden Rhea Werner Larry Winters

Maureen O'Flynn

CELEBRATING ARTIST SOL SCHWARTZ

S

hakespeare & Company is proud to announce a pair of exceptional exhibits of new and evocative works by our beloved friend, artist and long time supporter, Sol Schwartz.

Sol Schwartz will be honored and recognized this summer with a singular exhibition of his work as an illustrator at the Norman Rockwell Museum in Stockbridge, MA—the home of American Illustration. This extraordinary event will be complemented by an installation of Sol's insightful artwork in the Iredale Lobby of the Elayne P. Bernstein Center for the Performing Arts. We invite you to catch the spirit of music, theatre and movement this summer through Sol’s art in both locations. As the curtain rises and the lights go down, the energy and emotion of live performance provides the inspiration for his art. The exhibits include works created on location from his place in the audience at Shakespeare & Company, Tanglewood Music Center, Berkshire Theater Festival and Jacob's Pillow. His artwork truly reflects the intensity and focus of his gifted subjects, providing a unique window into their experience.

Tom O'Keefe

SOL SCHWARTZ: DRAWING IN THE DARK July 2 through September 18, 2011 Norman Rockwell Museum

"It happened by accident," says Schwartz. "I used to make little sketches in the corners of my programs when I attended plays and concerts." Eventually, Sol began bringing a sketchbook along to work in, and over the years, has completed thousands of studies, including likenesses of Founding Artistic Director Tina Packer and Artistic Director Tony Simotes, Award-winning actors John Douglas Thompson, Jonathan Epstein, Annette Miller and many, many others. "The novelty of my work is that I do it while a performance is underway, sometimes in the pitch dark," Schwartz notes. The artist prefers not to adjust or complete an artwork after the fact, and enjoys the sense of immediacy that is conveyed by drawing on site. Working in pencil, ball point pen, and Japanese sumi brush, "I try to capture the spirit of the concert, that ineffable nature of a great performance." Please join Shakespeare & Company as we applaud Sol and his artwork as it debuts in fine company at the Norman Rockwell Museum this summer.

Tony Simotes, Elayne Bernstein and Sol Schwartz

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shakespeare.org

“Women of Will combines the visceral pleasure of great performances with the heady joys of great conversation. see it for yourself. now.”

Tina Packer and Nigel Gore

Women of Will, “ms. packer glows with the energy of a quick, bright mind discovering – and enjoying itself…a lively and illuminating tour through a carefully selected gallery of shakespeare’s heroines.”

a

By TINa PaCKER Directed by ERIC TuCKER Featuring NIGEL GORE and TINa PaCKER

true tour de force performance, Women of Will, The Complete Journey is the masterful summation of founding artistic director tina packer’s 40-plus years spent investigating all things shakespeare, presented in a five-part series.

a combination of riveting scenes and trenchant analysis, Women of Will, The Complete Journey explores themes of love, loss, freedom, control, violence and power through the heroines of Shakespeare’s text. using performance and discussion, Packer traces the chronological evolution of Shakespeare’s female characters, and examines Shakespeare’s own journey and growth as a writer.

Director Eric Tucker returns to join forces with Packer and her talented acting mate Nigel Gore, giving the trio another opportunity to tackle Shakespeare’s canon. Packer and Gore have starred opposite each other in several productions, including Who’s Afraid of Virginia Woolf (which netted Gore an Elliot Norton award for Best actor in 2010), Antony & Cleopatra, and hamlet. all three artists have been working together for the past two years to fine-tune Women of Will, guiding it from a workshop piece to a fully14

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realized, five-part series. In the spring, they tried it out on audiences in Los angeles, San Francisco, Charlotte, and Boston – and the response in all cases was wild enthusiasm, fascination and desire for more. Packer has plans for performances in Boston and Colorado Springs in the fall.

“When I began work on this piece 12 years ago,” said Packer, “through a Guggenheim grant, I knew it was an unusual journey and a hybrid as far as theatrical performance is concerned – it is a performance, but it's also a discussion, a debate (as all Shakespeare’s plays are, in essence). The dramatic tension in the piece comes from those influences Shakespeare responded to in his life and my desire to show how powerful and distinct the women are in his plays.”

Finally, if you missed the Women of Will, The overview last year, you can catch it during this season’s limited run. The overview will be performed on July 26, 30, and 31, giving audiences another chance to catch Packer and Gore’s fiery energy and shrewd intelligence.

Whether you’re seeing one of Women of Will’s five parts, or taking in The overview, this is a priceless opportunity to examine the depths of Shakespeare’s plays with the Company’s visionary founder.

Women of Will, The Overview The overview is a comprehensive presentation of Shakespeare scenes. insights, and discussion taken from the full five-part series.

It covers the full breadth of Shakespeare's works.

Generously sponsored by REBECCa aND NaTHaN MILIKOWSKy

the Complete Journey: Parts I-V

A

n expansive, thrilling, wholly engrossing look at the female characters in Shakespeare’s plays, Women of Will: The Complete Journey is a triumph of theatre.

At two hours a piece, each part stands on its own, and together you will understand more about Shakespeare than you ever thought possible. Patrons should feel free to mix and match the parts (see Part One, then skip ahead to Part Three), or all five parts for a unique marathon that will leave you feeling stunned, enlightened, and wonderfully alive.

PART ONE: The Warrior Women, from Violence to Negotiation Part One examines the early writings of William Shakespeare, his journey to becoming a playwright and actor, and the role of theatre in Elizabethan England. We also examine the first plays Shakespeare wrote, including his early comedies (Comedy of Errors, The Taming of the Shrew, Two Gentlemen of Verona and Love’s Labor’s Lost) and early histories (Henry VI: Parts 1, 2, 3, and Richard III). The performance ends with the first major change in Shakespeare’s attitude and portrayal of women: Juliet. “How,” Packer asks, “is Shakespeare’s writing impacted when he portrays a young girl as intelligent, poetic and courageous as her Romeo?”

Although it is the foundation of all the subsequent parts, Part One also stands by itself as a performance, and is a terrific place to start if you’re new to Shakespeare.

PART TWO: The Sexual Merges with the Spiritual: New Knowledge By writing about Juliet, Shakespeare gains a deeper understanding of the relationship between men and women. He perceives that sexuality can be an intensely spiritual journey, just as spirituality can be expressed in sensual terms. Using Romeo and Juliet as a foundation, Part Two looks at the continuation of this sexual/spiritual story, first with A Midsummer Night’s Dream, then The Merchant of Venice, followed by Much Ado About Nothing and Troilus and Cressida. Finally, the journey takes a different turn in Measure for Measure, and finds its supreme illumination in Antony and Cleopatra.

PART THREE: Living Underground or Dying to Tell the Truth Part Three wrestles with the middle period of Shakespeare’s writing life. Through the women in these plays, Shakespeare gives us a

clearer picture of the constraints put upon them. Increasingly, Shakespeare’s female characters articulate the truth about what they are seeing and feeling. If these women stay dressed as women, they go mad or die (either by murder or suicide). If, however, they disguise themselves as men, they’re able to find their voices, organize those around them, and enact a play that ends happily.

We begin with Constance in King John, and then jump between As You Like It and Othello. We then touch on Twelfth Night, refer back to The Merchant of Venice, and end with Hamlet.

PART FOUR: Chaos is Come Again, the Lion eats the Wolf As Shakespeare enters a period of despair, he asks: what happens when women do not desire a different voice in society? What happens when they want the same power and goals as men? The answer is clearly illuminated in Macbeth, Coriolanus and King Lear, which Gore and Packer examine in Part Four.

Part Four then moves on to Timon of Athens, in which women are represented as whores who bring disease to mankind. Yet, in this dark picture, where the world is dominated by fascism, Shakespeare writes his most sublime verse. At the end, Shakespeare asks: is there no way out of this killing picture?

PART FIVE: The Maiden Phoenix: the Daughter Redeems the Father In Part Five, Shakespeare changes the story. His plays stop following the exact psychological development of the protagonists, turning instead to myths and fairy tales. In these late plays (Pericles, Cymbeline, The Winter’s Tale, The Tempest, and finally, Henry VIII) Shakespeare finds a way to make tragic events right again. And it’s the daughters who discover the way.

Led by Cordelia in King Lear, these young women find ways to redeem the past and allow the future to unfold without a story of revenge dominating the stage. The last lines written by Shakespeare about a woman is Cranmer’s blessing over the baby Elizabeth at the end of Henry VIII, and his evocation of what the feminine spirit can do for a society was born out by her reign.

Within this period of learning, music, poetry, and education, Shakespeare asks: what is the role of the artist in society? Gore and Packer investigate this question in Part Five, finishing the series in the same inquisitive spirit in which they began.

Notes written by TINA PACKER

SHAKESPEARE.ORG

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Where you belong.

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L-R: Corinna May, Nigel Gore, annette Miller, Jason asprey, Elizabeth aspenlieder and Kristin Wold

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ELayNE P. BERNSTEIN THEaTRE June 16–september 4

"I've got this tragic flaw that makes everything come out funny.”

SHELaGH STEPHENSON

Robert Lohbauer, Photo: Enrico Spada

The Memory of Water a

By SHELaGH STEPHENSON Directed by KEVIN G. COLEMaN Featuring ELIZaBETH aSPENLIEDER, JaSON aSPREy, NIGEL GORE, CORINNa May, aNNETTE MILLER and KRISTIN WOLD

stunning success at last year’s studio festival of plays, this poignant and hilarious dark comedy features a stalwart cast, including award-winning actors aspenlieder, gore and miller, along with audience favorites asprey, may and Wold. director kevin g. coleman, a shakespeare & company founder, delighted audiences with last season’s critically-acclaimed production of The Winter’s Tale, as well as recent productions of The Ladies Man (2008) and Rough Crossing (2007).

The memory of Water follows the outrageously funny highs and brutally tragic lows of three sisters (a doctor, a health-nut, and a wild child) who, in the wake of their mother’s death, have gathered together at their family’s old seaside home in Northern England.

Occasionally visited by the spirit of their mother, the sisters are joined by a lover, a husband and a non-existent boyfriend, as they grapple with long-dormant fears and jealousies. Employing equal parts humor and bile in their conversations, it soon becomes apparent that each sister has her own memory of what truly

happened years ago. Together, the women find themselves thrown into an emotionally-charged, pre-funereal melting pot.

“The title of the play infers a basic concept of homeopathy,” says Coleman, “which, according to French immunologist Jacques Benveniste, suggests that water is capable of preserving a ‘memory’ of particles dissolved in it. apparently, this property allows water to retain the properties of the dissolved substance, even if it is no longer chemically traceable in the solution. The mother in The memory of Water, even though she isn't around still has an effect on each daughter. She is the trace element or the ‘memory’ in Benveniste’s water theory, as she continues to run through their lives permeating their existences with no end in sight.”

Do we ever truly outgrow our childhood selves? What do we owe to those who shaped who we are? a striking meditation on the relationships between mothers, daughters, and sisters, The memory of Water attempts to answer these questions as it explores the rocky shores of the past.

The Memory of Water is award-winning playwright Shelagh Stephenson’s first play. it opened at the hampstead Theatre in london in 1996, and won the laurence olivier Award for Best Comedy.

Stephenson wrote The Memory of Water not long after the death of her own mother. As she makes conscious references to Woody Allen's film Hannah and Her Sisters throughout the play, some people have dubbed The Memory of Water as “Shelagh and her Sisters.”

Generously sponsored by DR. DONaLD aND PHOEBE GIDDON and HOWaRD aND NaTaLIE SHaWN

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“my bounty is as boundless as the sea, my love as deep: the more i give to thee, the more i have, for both are infinite.” romeo AnD JulieT I.v

romeo and Juliet

By WILLIaM SHaKESPEaRE Directed by DaNIELa VaRON assistant Director DaWN MONIQuE WILLIaMS Featuring KaTE aBBRuZZESE, STaRLa BENFORD, WOLFE COLEMaN, WESLEy COOPER, KELLEy CuRRaN, PauL D’aGOSTINO, JOHNNy LEE DaVENPORT, DaVID GELLES, ROSS BENNETT HuRWITZ, MaLCOLM INGRaM, SuSaNNaH MILLONZI, EQuIaNO MOSIERI, KEVIN O’DONNELL, SaM PaRROTT, TONy ROaCH, RENÉE MaRGaRET SPELTZ and WaLTON WILSON Two families, the Montagues and the Capulets, are embroiled in an ancient feud, the origin of which was forgotten generations ago. But when their teenage children meet at a masked ball, the families' hatreds are no match for their young love. Romeo and Juliet see the world, and each other, with fresh eyes and open hearts. as their love blossoms in the heat of a summer night, they discover boundless passion and the language to match it. undoubtedly one of Shakespeare’s most-performed plays, romeo and Juliet has been a celebrated favorite since its first staging in the 1590s. Elizabethan audiences flocked to see Shakespeare’s theatre troupe, the Lord Chamberlain’s Men, perform the play, making the show an instant hit. romeo and Juliet proved so popular that new 20

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adaptations arose throughout the 17th century, many of which called for the young lovers to survive and live happily ever. Most contemporary versions, however, remain true to Shakespeare’s text, and audience fascination with the story has only increased in recent years, resulting in nearly two dozen operas, a plethora of films, and countless stage productions. Shakespeare & Company’s last Mainstage production of romeo and Juliet was staged in 1999 at its former home, The Mount.

Directed by Shakespeare & Company veteran Daniela Varon (director of such favorites as Sea marks, martha mitchell Calling, The Taming of the Shrew, much Ado About nothing, The Winter’s Tale, Wit, and many others), and featuring Company actor Susannah Millonzi (king John, As You like it) as Juliet and newcomer David Gelles (Graceland at Lincoln Center Theater) as Romeo, romeo and Juliet explores the passion, violence, and love inherent in human relationships. although the story begins with innocence and infatuation, it isn’t long before bloodshed dooms the play’s young lovers, creating a narrative of both sweetness and sorrow. a miracle of expression, romeo and Juliet remains one of Shakespeare’s most lyrical plays. With its rich, heart-quickening language, this play reminds us of what it is to swear by the moon, to see the sun in another person, and to risk the consequences hanging in the stars. Filled with loyalty and rebellion, courage and recklessness, desire and revenge, romeo and Juliet is a story of a timeless love and a love for all times.

Generously sponsored by THE BOK FaMILy FOuNDaTION

L-R: Kristopher Karstedt, Wolfe Coleman, Dana Harrison, David Joseph, Birttany Morgan and allissa Wickham

FOuNDERS’ THEaTRE JulY 8–september 3

june 25 – september 4

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FOuNDERS’ THEaTRE June 24–september 4

“Love is merely a madness” aS yOu LIKE IT, III.ii

As You Like It

By WILLIaM SHaKESPEaRE Directed by TONy SIMOTES assistant Director REBECCa HOLDERNESS Featuring WOLFE COLEMaN, JONaTHaN CROy, KELLEy CuRRaN, JOHNNy LEE DaVENPORT, JONaTHaN EPSTEIN, DaNa HaRRISON, ROSS BENNETT HuRWITZ, MaLCOLM INGRaM, JENNIE M. JaDOW, MERRITT JaNSON, JOSH aaRON MCCaBE, EQuIaNO MOSIERI, KEVIN O’DONNELL, SaM PaRROTT, TOD RaNDOLPH, TONy ROaCH and RyaN WINKLES It’s love at first sight for Orlando and Rosalind, who lock eyes during one of the most thrilling (okay, perhaps only) wrestling matches in Shakespeare’s canon. unfortunately, Rosalind is banished from her uncle’s court soon thereafter, cutting her courtship with Orlando short. But rather than wallow in self-pity, the clever Rosalind uses her misfortune as an opportunity to reinvent herself. Struck with the spirit of adventure, she swaps her skirt for a sturdy pair of pants and heads into uncharted territory.

Disguised as a man, Rosalind journeys into the Forest of arden, accompanied by her loyal cousin Celia and the witty fool Touchstone.

Together, the trio encounter all manner of charming bumpkins and bawdy shepherdesses, many of whom are grappling with romantic problems of their own. after fleeing the murderous plans of his brother Oliver, Orlando arrives in arden as well, and it isn’t long before he encounters the still-disguised Rosalind. Surrounded by flora, fauna,

and a mix of merry and melancholy forest lords, Rosalind and Orlando strike up a friendship that dances on the edge of romance.

Directed by artistic Director Tony Simotes (director of more than a dozen plays at S&Co., including The hound of the Baskervilles, othello, The merry Wives of Windsor, A midsummer nights Dream and The Santaland Diaries), As You like it is both a philosophical feast and a lighthearted comedy. Written in 1599 or early 1600, Shakespeare’s As You like it contains one of his most famous speeches with Jacques’s “all the world’s a stage…” Indeed, the play delights in both the high and low brow, as it alternates between the hilarious high-jinks of clowns and the weighty musings of lord Jacques. It’s an original, intoxicating mix, resulting in a laugh-outloud comedy with plenty of pathos and heart. a core group of long-time Company actors joins Simotes in breathing new life into this celebrated pastoral romp. Tod Randolph takes on the role of Jacques, Jonathan Epstein slips on his clown shoes for Touchstone, and Johnny Lee Davenport and Malcolm Ingram pull double-duty by taking on dual roles. and what’s more, director Tony Simotes has given his show a Parisian twist, infusing the production with an air of style and sophistication.

“I wanted to recreate the whirlwind, dizzying feeling of falling in love,” said Simotes. “To achieve this, we used Paris, circa 1920 as our stunning backdrop, and included a blend of music, song, dance, and unbridled cheer. I want audiences to walk away from this show filled with the thrilling possibilities of love, just as the characters are throughout the course of this play.”

Generously sponsored by SaRaH HaNCOCK

shakespeare.org

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SHAKESPEARE.ORG Tina Packer

ELAYNE P. BERNSTEIN THEATRE AUGUST 3–SEPTEMBER 4

Mary Olivia Wade

ecause I b s g n i hese th t o d ’s just t i d n a f o e “I writ ut most b father.” , lf e y s m y m o elp said t d ’ can’t h I h I wis lk a t Ivins k c ba - Molly

RED HOT PATRIOT: THE KICK-ASS WIT OF MOLLY IVINS A

By MARGARET ENGEL and ALLISON ENGEL Directed by JENNA WARE Featuring TINA PACKER

fiercely independent journalist and a born hellraiser, Molly Ivins was a tireless advocate for social justice, and a constant irritation to those in power.

Writing for publications such as The Texas Observer and The New York Times, Ivins was quick to lampoon corrupt government officials, and her wit and wisdom are celebrated in this inspiring one-woman show.

In Red Hot Patriot, Shakespeare & Company’s critically acclaimed Founding Artistic Director, Tina Packer, channels the indomitable Texan writer Molly Ivins as she chronicles her life as a journalist, and struggles to make sense of her relationship with her father. Written by twin sisters (themselves seasoned reporters), Red Hot Patriot is rich with stories of Ivins’ newsroom antics as she covers everything from the death of Elvis Presley to the incompetence of the Texas Legislature. This multimedia production also includes projections of photos from Ivins’ past, giving the audience a visual glimpse into her life's story.

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Director Jenna Ware (who directed last year’s Bankside hit The Amorous Quarrel, as well as The Henry VI Chronicles, and Shakespeare & the Language that Shaped a World) joins Packer in the rehearsal room once again, having worked with her on Shirley Valentine, one of Packer’s signature roles.

“In many ways, Tina and Molly are kindred souls,” says Ware. “From their keen sense of outrage at injustice to their need to communicate the truth to a large audience, these two incredible women share so many qualities. Thanks to her humor, warmth, and intelligence, I believe Tina truly captures Molly Ivins’ essence and does a beautiful job honoring her memory.”

An irreverent and inspirational figure, Ivins could always be counted on to make her point while making a joke. Largely credited with bestowing the nickname “Shrub” on George W. Bush, she was a vocal opponent of the Iraq War, and published several funny yet biting books that simultaneously criticized conservatives and entertained readers. A champion for the people with a laugh that could be heard across the newsroom, Molly Ivins was a force to be reckoned with, and her larger-than-life spirit shines in Tina Packer’s performance.

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FOUNDERS’ THEATRE JULY 21–SEPTEMBER 4

Jonathan Croy, Ryan Winkles and Josh Aaron McCabe

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“This Hound of is a howl. If yo the Baskervilles two hours of la ur idea of fun is you’re guaranteugh upon laugh, ed a good time. ”

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The Hound of the Baskervilles

By STEVE CANNY and JOHN NICHOLSON Directed by TONY SIMOTES Featuring JONATHAN CROY, JOSH AARON MCCABE and RYAN WINKLES

W

hat do you get when you combine a beloved Sherlock Holmes story, three actors playing sixteen characters, a dozen fake beards, a bonechilling canine curse, and a dash of outrageous crossdressing? S&Co.’s uproariously funny take on The Hound of the Baskervilles!

This production was such a delight during our Fall 2009 season that we’re bringing it back with even more mystery and mayhem!

A hilarious send-up of Sir Arthur Conan Doyle's classic novel of the same name, The Hound of the Baskervilles is the perfect blend of side-splitting gags and fast-paced action. Get swept up in the adventure as our heroes head snout-first into the perilous Scottish moors to investigate the suspicious death of Sir Charles Baskerville.

The same shameless trio of actors who made The Hound of the Baskervilles a huge hit during its S&Co. premiere are reprising their

(multiple!) roles this summer. Jonathan Croy returns as the bumbling Dr. Watson, Josh Aaron McCabe as the handsome Sherlock Holmes (and frighteningly attractive flamenco dancer Cecile), and Ryan Winkles as Sir Henry Baskerville, the coddled heir to the Baskerville fortune.

Artistic Director Tony Simotes is jumping back into the director’s chair to whip up another dose of theatrical pandemonium. Says Simotes, “This story has it all—intrigue, romance, and more ridiculous wigs and accents than you can shake a paw at. I’m not sure if there’s a legal limit for the number of jokes and spoofs you can put in one production, but if there is, you can be sure that our version of The Hound of the Baskervilles has gone bounding by it. So come join us for another dose of wild and wooly high-jinks—I guarantee that this show is the funniest way to beat the dog days of summer!”

This madcap adventure is great for Sherlock Holmes novices, and will be only mildly offensive to hardcore purists…we hope. It’s a truly hilarious romp that takes one of the most popular British detective stories ever written and turns it inside out, as we follow Holmes and Watson hot on the trail. A delectable treat for the whole family to enjoy, The Hound of the Baskervilles will leave you howling with laughter!

Generously sponsored by GEORGE AND ROBERTA BERRY

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517 Warren Street HUDSON, NY 518.751.2155 34 Depot Street PITTSFIELD, MA 413.499.2400 286 Main Street GT. BARRINGTON, MA 413.528.8100

Josh Aaron McCabe and Elizabeth Aspenlieder

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ELAYNE P. BERNSTEIN THEATRE LIMITED RUN: JULY 12–24

“Wishing myself in my sweetheart’s arms, whose pretty duckies I trust shortly to kiss…”

HENRY VIII, WRITING TO ANNE BOLEYN

The Hollow Crown An Entertainment by and about the Kings and Queens of England

Devised by JOHN BARTON Directed by JONATHAN EPSTEIN Music director BILL BARCLAY Featuring JASON ASPREY, ELIZABETH ASPENLIEDER, NIGEL GORE, CORINNA MAY, ANNETTE MILLER and KRISTIN WOLD

N

o families have ever received more attention than those of the Kings and Queens of England. Long before Charles and Diana, or William and Kate, the English monarchy was the world’s paradigm for both fairytales and horror stories. And yet, most of us know little more about King Richard Lionheart and King John than we've learnt from their depictions in “The Tales of Robin Hood,” or Richard III from his portrayal in Shakespeare, or Elizabeth I from her appearance in Masterpiece Theatre (or Shakespeare in Love). It’s a rare thrill to hear about the crown of England in the words and music of its wearers, and their near and not-quite-so-near contemporaries.

Six of Shakespeare & Company’s most beloved actors gather for a concert-reading of John Barton’s celebration of the English Monarchy and our worldwide obsession with it. Join us for a performance of music, poetry, speeches, letters and other writings that draw upon various chronicles, plays, and the monarchs’ own words.

For instance, you may know that James I commissioned a Bible, but do you know what his opinion of tobacco was? “A custom loathsome to the eye, hateful to the nose, harmful to the brain, dangerous to the lungs…” It is passages such as these, set to music or transformed into verse, that humanize the towering figures of British history. A limited engagement, The Hollow Crown runs exclusively in mid-July, and is a “can’t miss” for anyone with an interest in the British monarchy.

Filled with courage, romance, indecision, and a plethora of fascinating revelations, The Hollow Crown is a moving hymn to England as seen through the eyes of its rulers.

Playbill notes by JONATHAN EPSTEIN SHAKESPEARE.ORG

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shakespeare.org Shawn ahmed and Sam Parrott in The Comedy of errors, 2010. Photo by Enrico Spada.

ELayNE P. BERNSTEIN THEaTRE JulY 6–september 3 lunchbox shakespeare

“O heaven, were man but constant, he were perfect!”

The TWo GenTlemen oF VeronA V.iv

The Two Gentlemen of Verona

By WILLIaM SHaKESPEaRE Directed by DENNIS KRauSNICK Performed by the PERFORMaNCE INTERN COMPaNy Crossed signals in love? Check. a woman disguised as a man?

Check. a vibrant balance between romance and comedy? Check.

In The Two Gentlemen of Verona, we see instances of themes that Shakespeare would return to again and again during his career, in later plays such as Twelfth night, The merchant of Venice, A midsummer night’s Dream, and As You like it (playing this summer on our Founders’ Stage!). Love, friendship, confusion and mayhem abound—oh, and there’s also a bit with a dog!

One of Shakespeare’s most accessible comedies, this production is designed to delight all ages as part of our family-oriented Lunchbox Shakespeare series. under the direction of founding Company member and Director of Training Dennis Krausnick, The Two Gentlemen of Verona is brought to life by our lively Performance Intern Company.

box lunchspeare shake 30

shakespeare.org

although the exact chronology of Shakespeare’s plays is debatable, The Two Gentlemen of Verona is among his earliest works. Here is

Shakespeare as he bursts onto the London theatre scene – an actor turned playwright, ready to entertain audiences better than anyone who’d come before. Scholars have even observed links between the themes in Two Gentlemen of Verona and Shakespeare’s sonnets, offering the tantalizing suggestion that Shakespeare may have drawn on his own experiences while writing this play.

“The lyrical language, absurd scenarios, and heart-rending pathos of those who’ve fallen desperately in love makes The Two Gentlemen of Verona a joy to direct,” says Krausnick. “The show positively bursts with youthful energy, and I’m thrilled to be able to share one of Shakespeare’s most charming plays with audiences this summer.” headed by Director of Training Dennis krausnick, the Performance intern Company is a valuable and popular option for many young performers looking to take the next step in their professional career. These internship experiences allow the best and brightest young actors to gain professional experience straight out of drama school, as they take ownership of their own Shakespeare production in a professional theatre season. Taking training into rehearsal and rehearsal into performance brings the purpose of playing back to its essence, which is… how to hold "the mirror up to nature." And if you haven’t checked out our outdoor Bankside Festival yet, be sure to catch the Performance intern Company in Everymanactor on our rose Footprint stage!

Playbill notes by SCOTT RENZONI

Individual Performance Intern sponsors KaREN aND CHaRLES SCHaDER, ELEaNOR LORD aND MaRGaRET WHEELER, LINDa BENEDICT COLVIN

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Families will definitely want to check-out the intriguing exhibits at the Berkshire Museum, or catch a game of baseball courtesy of the city’s home team, the Pittsfield Colonials. Whatever the time of day, there’s always something happening in lively Pittsfield, MA. Shakespeare2011:Layout 1

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Size: Half page (7.25" x 4.75")

3/23/10 10:37 AM

ELayNE P. BERNSTEIN THEaTRE september 9 – noVember 6

Elizabeth aspenlieder and Jonathan Croy

shakespeare.org

Directed by TONy SIMOTES adapted by HOWaRD KOCH from the novel by H. G. WELLS Featuring ELIZaBETH aSPENLIEDER, JONaTHaN CROy, DaVID JOSEPH, JOSH aaRON McCaBE and OTHERS TBa

s

hakespeare & company continues its popular fall foliage season with War of the Worlds, based on orson Welles’ thrilling radio broadcast. this behindthe-scenes look into one of the greatest hoaxes in american history will keep you ‘tuned-in’ all fall!

In 1938, there had been few, if any, attempts to present fictionalized stories as factual news broadcasts. So when 23-year-old Orson Welles and his mercury Theatre on the Air faked a radio newsflash for a special Halloween broadcast Martians invading Earth, they ignited a legendary nationwide panic.

Join our actors as they inhabit Welles’ classic radio drama, bringing this tale of Martians and madness to life on-stage. Helmed by artistic Director Tony Simotes, who directed War of the Worlds at the university of Wisconsin in 2008, the show features more than a half-dozen S&Co. actors playing a variety of outrageous roles. By combining classic radio traditions with new theatre concoctions, War of the Worlds delivers a thoroughly fun-filled performance that will have you scanning the skies for mysterious lights!

“you’ll get to watch many of your favorite Company actors slip seamlessly from one role to another, just as the original Mercury Theatre actors would have done,” says Simotes. “We’re bringing this exciting story to life as we transform our intimate Bernstein Theatre into a 1930s radio studio, complete with live acts, singing, dancing, commercial breaks (which, of course, are up for sale…just see Elizabeth in the advertising Department!), and a sound engineer live on-stage to create the effects.”

Eventually, Welles and other radio hosts were able to convince the program’s nearly 6 million frightened listeners that Martians weren’t actually invading, and all was well. Whether the uproar was as bad as they say, or has been embellished over decades, it remains a fascinating episode of american broadcasting and theatre history.

“I’m very excited to present Shakespeare & Company’s take on this perennial classic,” says Simotes. “and remember, don’t panic!”

George orson Welles was born may 6, 1915 in kenosha, Wisconsin. he skyrocketed to international fame after his 1938 broadcast of The War of Worlds, and went on to direct and act in dozens of films, radio programs, and television shows during his celebrated career. Welles was no stranger to directing live theatre, and his innovative 1936 all African-American version of Macbeth featured a staggering cast of more than one hundred people. Welles’ Macbeth is regarded as a landmark theatrical production and was a box office smash hit.

Playbill notes by SCOTT RENZONI shakespeare.org

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ELAYNE P. BERNSTEIN THEATRE DECEMBER 2–DECEMBER 30

“I wear green, velvet knickers, a forest green velvet smock and a perky little hat decorated with spangles… It doesn’t get any worse than this.”

THE SANTALAND DIARIES

The

Santaland Diaries J

By JOE MANTELLO Adapted from the essay by DAVID SEDARIS Directed by TONY SIMOTES Featuring PETER DAVENPORT

oin us for Shakespeare & Company’s newest holiday tradition! A rollicking exploration of the dark side of Christmas, The Santaland Diaries was such a hit with audiences last year that we’ve decided to bring it back for another round of satiric, peppermint-coated fun. Based on the popular short story by David Sedaris and featuring the multi-talented Peter Davenport (who originated the role for S&Co in last December’s production), this side-splittingly funny one-man show chronicles Mr. Sedaris’ time spent working as a Christmas elf in Macy’s Department Store.

Artistic Director Tony Simotes pulls out all the stops in his re-imagined production, incorporating a truckload of surprises and more fun than you can shake your pointy-toed socks at! Occasionally subversive, alarmingly clever, and engagingly poignant, The Santaland Diaries is well on its way to becoming a modern holiday classic.

After applying for the position as a gag, our hero is thrown into a world of tinsel, fake snow, Santas who are far more naughty

than nice, and all the delightful, cringe-worthy trappings of the Macy’s Christmas display. As he descends into a festive spiral of humiliation, bitterness and alienation, he begins to infect everyone around him with his wry, anti-holiday spirit. But thanks to the influence of the final Santa to join the Macy’s team, Crumpet the Elf may find himself infused with holiday cheer after all.

A master of personal essays and social critique, David Sedaris has become one of America’s most beloved writers over the last two decades. His award-winning humor collections (including Dress Your Family in Corduroy and Denim and Me Talk Pretty One Day) have become staples on The New York Times Best Seller list, and he is a frequent contributor to the New Yorker magazine. The world was introduced to Sedaris’ unmistakable holiday perspective when he read "The Santaland Diaries" on National Public Radio in 1992.

The Santaland Diaries showcases seasoned actor Peter Davenport, who was nominated in 2009 for a prestigious IRNE Award for Best Actor in a Musical for his critically-lauded performance in the Lyric Stage Company’s hit production of Kiss Me, Kate.

Be sure to check out the upcoming Fall & Winter brochure and the website for performance dates that include Talkbacks with The Santaland Diaries actor and director, special events and holiday cheer!

SHAKESPEARE.ORG

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STOCKBRIDGE ONE OF THE JEWELS OF THE BERKSHIRES, STOCKBRIDGE WAS THE PLACE NORMAN ROCKWELL CALLED HOME DURING THE LATER YEARS OF HIS LIFE. The illustrator loved the town for its quintessential New England atmosphere, and visitors continue to enjoy Stockbridge’s quaint stores and restaurants. Highlights include the Red Lion Inn, general stores stocked with homey treats, delicious eateries such as Once Upon a Table, and a whole host of whimsical shops selling locally-made clothing and goods.

For a delightful dose of Main St. USA, Stockbridge is definitely the place to visit.

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May 27–28

I Got Sick Then I Got Better (Unicorn)

June 02

Sherri James Buxton and Friends: Songs from the Great American Songbook with Special Guest Matt Cusson (Colonial) 09 Ron White: Behavioral Problems Tour (Colonial) 11 The Chinese Golden Dragon Acrobats (Colonial) 18 Bobby Sweet: CD Release Party (Colonial) 28–July 16 Moonchildren (Unicorn) July 06–16 07–16 12–30 18–30 19–30 22

Founded in 1928 in Stockbridge, MA

Founded in 1903 in Pittsfield, MA

Hansel and Gretel’s Grimm Tale (Berkshire Museum) The Who’s Tommy (Colonial) Sylvia (Fitzpatrick Main Stage) Snow White and the Seven Dwarfs (The Mount) Dutch Masters (Unicorn) Talib Kweli (Colonial)

August 05 02–13 09–27 11 13

Bob Weir Solo Acoustic (Colonial) In The Mood (Fitzpatrick Main Stage) Finian’s Rainbow (Unicorn) Tommy Tune in Steps in Time (Colonial) Bakin’ with the Boss Tour starring Buddy Valastro: The Cake Boss (Colonial) 16–Sept 3 Period of Adjustment (Fitzpatrick Main Stage) 20 Word x Word Festival (Colonial) 25 Southside Johnny and the Asbury Jukes (Colonial) 30–Sept 3 Birthday Boy (Unicorn) September 09–11 The Wizard of Oz (Colonial) 24 Berkshire Comedy Spotlight II (Colonial) 29–Oct16 Birthday Boy re-opens (Unicorn) October 14–16; 21–23 09 15 19 21 28–29

Made in the Berkshires New Works Festival (Unicorn & Colonial) Frank Rich (Colonial) The Grace Kelly Quartet with special guest Phil Woods (Colonial) David Sedaris (Colonial) The Tartan Terrors (Colonial) Romance, Soul & Rock N’ Roll presents:THIS is Broadway! (Colonial)

November 09 Ani DiFranco (Colonial) 12 Christopher O’Riley (Colonial) 19 Arlo Guthrie (Colonial) 30 Natalie MacMaster: Christmas in Cape Breton (Colonial) December 04 Knuffle Bunny: A Cautionary Musical (Colonial) 17–30 A Christmas Carol (Colonial) Pictured: Fitzpatrick Main Stage; Colonial Theatre; Unicorn Theatre; Lisa Emery in A Delicate Balance (BTF 2010); Matt Cusson; Tommy Tune; Natalie MacMaster, photo credit: Richard Beland; Jayne Atkinson and Michel Gill in The Guardsman (BTF 2010); David Sedaris, photo credit: Anne Fishbein.

(413) 997-4444 (413) 298-5576 www.thecolonialtheatre.org www.berkshiretheatre.org 111 South Street, Pittsfield, MA 01201 6 East Street, Stockbridge, MA 01262

A cultural partnership for the Berkshires and beyond presented on three stages in Stockbridge and Pittsfield.

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THE WINTER'S TALE III.ii

Everyone is an important player.

Income from our performances covers only 40% of our annual operating budget.

We count on audience participation and support to help bring our many programs to life.

Every gift matters.

Please contribute whatever you can knowing that you are bringing top-tier performances, world-class artist training and award-winning education to life. Our company is your company and every donor plays a key part.

You can join online anytime Visit4 Shakespeare.org

Membership levels and benefits Friend $50-$99 You receive:

• Regular email updates including advance announcements of the season, current shows and special productions • 10% discount at the Shakespeare & Company Gift Shop (does not apply to online store) • Complimentary attendance to one Behind-the-Scenes Tour

Contributor $100-$249 Above benefits plus:

• Special acknowledgement in our annual Playbill • Complimentary attendance to one of our Tuesday Talks

Supporter $250-$499 Above benefits plus:

• Invitation to working rehearsals and Meet the Director Event

Benefactor $500-$1,499 Above benefits plus:

• Invitation to our exclusive Season Preview Party • Two complimentary tickets to a Fall Festival of Shakespeare performance • 15% discount on event and studio space rentals (restrictions apply)

The Players’ Society Silver $1,500-$2,499 Benefactor benefits plus:

• Two complimentary tickets to a performance of your choice • Complimentary Players’ Society Event • Players’ Society ticket hotline for priority seating • Free ticket exchange • VIP parking • Attend a Weekend Intensive actor training session as a participant or auditor • Invitation to the first reading of a play in rehearsal

Gold $2,500-$4,999 Above benefits plus:

• Two additional complimentary tickets to a performance of your choice • Priority registration for our Riotous Youth summer camp session • Invitation for you and up to 4 guests to attend the final dress rehearsal of a performance

Platinum $5,000-$9,999 Above benefits plus:

• Guaranteed seating for two to any Founders’ Theatre mainstage performance (with 24 hours notice)

Underwriting Opportunities Director $10,000-$24,999

Platinum benefits plus: • Lunch with our Artistic Director • Opportunity to underwrite a production • Opportunity to sponsor an actor-in-training

Producer $25,000+

• For information on personalized benefits at this level, call 413-637-1199 ext. 146

FOR MORE INFORMATION Contact our Development Office at 413-637-1199 ext 105 or email us at development@shakespeare.org SHAKESPEARE.ORG

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shakespeare.org L-R: Kelly Galvin, Ryan Winkles and alexandra Lincoln

ELayNE P. BERNSTEIN THEaTRE februarY 3–march 25, 2012

The leArneD lADieS

The Learned Ladies f

By MOLIÈRE (JEaN BaPTISTE POQuELIN) Translated by RICHaRD WILBuR Directed by TINa PaCKER

rom one of the greatest masters of comedy in Western literature comes the outrageous satire The Learned Ladies by french playwright molière. a family of headstrong, passionate, and well-to-do women led by the matriarch philaminte, is obsessed with scholarly pursuits which they believe to be fashionable and socially beneficial. determined to study everything from latin to experimental science, the ladies invite poets and scholars to speak at a literary salon in their house. philaminte hopes to marry her youngest daughter, henriette, to one of her favorite scholars but, as it turns out, henriette is the only woman in the family who despises academics. When henriette announces that she’d rather marry her beloved suitor, this upper-class family is thrown into a fit of highly entertaining chaos.

Like a good glass of champagne, The learned ladies will have you giggling before you even know it. With no shortage of clever dialogue and (intentionally) bad poetry, this classic French farce is a bubbly tale of romantic entanglements, familial power struggles, and dangerously inflated egos. an ardent fan of poking fun at the rich, Molière used his razor wit to good effect in The learned ladies, and this play has proven to be one of his most popular shows.

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shakespeare.org

The learned ladies features a cast of S&Co. newcomers and veterans, and is directed by award-winning actor and Founding artistic Director Tina Packer (performing in this season’s Women of Will, the Complete Journey: Parts i-V and red hot Patriot: The kick Ass Wit of molly ivins, and having appeared in signature roles in countless other plays, such as Shirley Valentine, Cleopatra in Antony and Cleopatra, Queen Gertrude in hamlet, and Martha from Who’s Afraid of Virginia Woolf). Packer is also a world-class director with credits that cover nearly all of Shakespeare’s canon, including critically-acclaimed productions of king lear, macbeth, Coriolanus, The merchant of Venice, much Ado About nothing, and A midsummer night's Dream, just to name a few. Packer has also directed contemporary fare for the Company including The Taster, les liaisons Dangereuses, The Scarlet letter, and Summer.

“Molière is certainly known as one of the funniest playwrights around,” says Packer. “Like Shakespeare, he was willing to go to extremes in his plays, which resulted in some fantastic clowning and satire. The learned ladies was actually the first production we ever staged at The Mount over 30 years ago, and it’s incredibly fun to be able to do it again on our Kemble Street property.” one of the last plays he ever wrote, molière penned The Learned Ladies in 1692. Among molière’s best-known dramas are The Misanthrope, The School for Wives, Tartuffe, The Miser, The Imaginary Invalid, The Bourgeois Gentleman and last summer’s smash hit at S&Co., The amorous Quarrel.

Friday Nights = Fireworks Thursday = Thirsty Thursday

WWW.PITTSFIELDCOLONIALS.COM

2011 Schedule 22

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Start Times Mon-Sat AUGUST 7PM Sunday 2PM May 27 6:30PM 3 May 28 12:30 NY NY May 30 2PM 9 10 June 1 10:30AM June 8 10:30AM July 3 5PM July 4 6:30PM July 19 12:30PM July 26 12:30 Aug. 9 12:30PM Aug. 23 12:30PM Sept. 5 2PM

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Great Baseball!

Great Food!

Great Fun!

Wahconah Park, 105 Wahconah St. Pittsfield - Office 2 South St. Suite 100 pittsfieldcolonials.com - info@pittsfieldcolonials.com - 413.236.2961

LENOX Shakespeare & Company is very happy to welcome the Lenox Farmers Market to its campus this season!

With over a dozen vendors you are sure to find a cornucopia of fresh and organic vegetables and fruits, dairy products, meats, breads, flowers and so much more! Please join the community and the artists as they peruse The Lenox Farmers Market every Friday 1–5pm on the lawns opposite the fountain from May 13 to October 14.

“Small cheer and great welcome makes a merry feast.”

THE COMEDY OF ERRORS III.i

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Special Events

Wednesday Q&A

EVERY WEDNESDAY IN JULY AND AUGUST INCLUDED WITH TICKET PRICE FOR EACH PERFORMANCE

Our productions are sure to get you talking, so why not include Company actors in your conversation? Join us for these select performances, which are followed by an informal Q&A with the actors. This is the perfect opportunity to ask any questions you may have, or simply to hear about what it’s like to be an actor at Shakespeare & Company.

Jennifer Young and David Joseph in Preludes, 2010.

JULY 6 The Two Gentlemen of Verona JULY 13 The Memory of Water JULY 20 Romeo and Juliet JULY 27 The Memory of Water AUGUST 3 The Venetian Twins AUGUST 10 As You Like It AUGUST 17 The Hound of The Baskervilles AUGUST 24 Red Hot Patriot:

BEHIND THER SCENES TOU

LACE AT JOSIE’S P TOURS BEGIN RS’ THEATRE IN FOUNDE DAYS, S AND SATUR WEDNESDAY MBER 3, 10AM JULY 2-SEPTE 5 STUDENTS /$ $10 ADULTS

the t goes on behind Ever wonder wha are & Company? pe scenes at Shakes rtain with this cu e th Peek behind to the ch takes visitors in-depth tour, whi e shop, backstage en costume shop, sc n storage, and more. po ea w areas, sword and ure not to be missed!

A two hour advent

S 

ES   VIP ALL ACC 48

SHAKESPEARE.ORG

Preludes

OUTSIDE FOUNDERS’ THEATRE FREE! 6:45 PM, JULY 15 – AUGUST 20 ON SELECT THURSDAYS, FRIDAYS, AND SATURDAYS

In the height of the summer, join our jubilant Young Company for some delightful Elizabethan-era street performance!

A celebration of outdoor theatre, these short Preludes will whet your appetite for our evening shows. Visit Shakespeare.org for performance dates.

How shall we beguile the lazy time, if not with some delight?

A MIDSUMMER NIGHT'S DREAM V.i

The Kick-Ass Wit of Molly Ivins

AUGUST 31 As You Like It

A Midsummer Night’s Meal FOUNDERS’ THEATRE TENT EVERY SATURDAY IN JULY AND AUGUST 5-7:30PM JUST $30 PER PERSON, INCLUDING YOUR CHOICE OF BEVERAGE!

Join us for a sumptuous buffet, sure to satisfy even the heartiest of appetites! Located beneath the Founders’ Tent, our Midsummer Night’s Meals are the perfect way to enjoy delicious food before (or after!) a Saturday show. Our culinary experts use only the freshest ingredients when whipping up succulent grilled meats, savory vegetables, summery pastas, salads, and decadent desserts. Pull up a chair, relax, and take in our gorgeous views of the Berkshires while enjoying a fabulous al fresco supper. Order 24 hours in advance to guarantee availability.

Walk-ups are welcome on a space available basis. Reserve your meal at the Box Office 413-637-3353 or Shakespeare.org.

Shakespeare & Young Company ROSE FOOTPRINT THEATRE AUGUST 17 & 19, 5PM $15 ADULTS/ $5 STUDENTS

No writer has captured the powerful emotions of adolescence better than Shakespeare.

In his words, youth springs eternal. Join our Young Company actors as they perform Shakespeare’s works with a fierce and fiery temperament, passionately exploring themes of friendship, love, justice, and hope.

TUESDAY TALKS

JOIN THE ACTORS, ARTISTS AND SCHOLARS OF SHAKESPEARE & COMPANY FOR INTIMATE DISCUSSIONS ABOUT THE PROCESS BEHIND MOUNTING OUR SEASON’S PRODUCTIONS, AND THE KEY THEMES AT THE HEART OF THESE THOUGHTPROVOKING PLAYS. ONE OF OUR MOST POPULAR SUMMER EVENTS, TUESDAY TALKS PROVIDE A GREAT CHANCE TO FIND OUT WHAT MAKES OUR ARTISTS TICK, AND TO SHARE YOUR PERSPECTIVE ON THE WORK.

Women of Will, The Complete Journey: Parts I-IV

JULY 5 – 5PM

with Founding Artistic Director Tina Packer and cast Elayne P. Bernstein Theatre Lobby JULY 12 – 5PM

As You Like It

JULY 19 – 5PM

Romeo and Juliet

JULY 26 – 5PM

The Venetian Twins

with Artistic Director Tony Simotes and cast Founders’ Theatre Tent

Tina Packer, Olympia Dukakis and Tony Simotes

TUESDAYS AT 5PM, JULY 5—AUGUST 16, 5PM $8 ADULTS/$5 AGES 18 AND UNDER

Saturday, October 1, 2011

with Director Daniela Varon and cast, Founders’ Theatre Tent with Director Jenna Ware and cast, Founders’ Theatre Tent AUGUST 2 – 5PM

The Hound of the Baskervilles

AUGUST 9 – 5PM

The Memory of Water

Save the date for this very special event.

with Artistic Director Tony Simotes and cast Founders’ Theatre Tent with actress Annette Miller and cast Elayne P. Bernstein Theatre Lobby

Red Hot Patriot: The Kick-Ass Wit of Molly Ivins AUGUST 16 – 5PM

with Director Jenna Ware and Founding Artistic Director Tina Packer Elayne P. Bernstein Rehearsal Studio 2

Annual Gala in Boston Join Artistic Director Tony Simotes, Founding Artistic Director Tina Packer and a host of Company actors for an extraordinary dinner and performance celebration.

“Say as you think and speak it from your souls.”

Special guests include Olympia Dukakis.

All proceeds will benefit Shakespeare & Company and the Dana-Farber Cancer Institute.

KING HENRY VI, PART II

For more information, please call 413-637-1199 ext. 105

Triple Self Portrait © SEP 1960, Norman Rockwell Museum Collections.

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ROSE FOOTPRINT THEATRE

10 ANNIVERSARY! OUTDOOR BANKSIDE FESTIVAL TH

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e’re pleased to celebrate our 10th anniversary season of our annual summer-long Bankside Festival, including outrageously fun and energetic performances of The Venetian Twins, EveryActor, and Preludes (before select evening shows at Founders’ Theatre). We’re also throwing another blowout July Fourth Celebration, which draws crowds upwards of 800 people, joining together to share in a fun-filled day of music, song, delectable food at our Community Barbeque, and an awe-inspiring reading of the Declaration of Independence.

Those searching for a little fun and excitement in Elizabethan England needed to look no further than the South Bank of the Thames River. Just a short jaunt across the London Bridge, the South Bank (or “Banksyde”) played host to businesses and activities that authorities deemed morally suspicious, such as gambling, drinking, and – egads! – public theatre.

Several of London’s premiere playhouses were located on the Bankside, and it was there that many of Shakespeare’s plays were first performed.

Bankside’s vivacious, free spirit fits perfectly with the merry days of summer, and it’s with this in mind that Shakespeare & Company invites the community to swing by its on-going Bankside Festival.

Always free to kids, the Festival includes hilarious shows on the Rose Footprint Theatre, bite-size Prelude performances outside of Founders’ Theatre, and our much-ballyhooed July Fourth Celebration.

Don’t miss the opportunity to stroll our beautiful grounds, catch a Bankside show, and dig into some scrumptious food and drink.

Patrons are encouraged to sample one of our fabulous Midsummer Night’s Meals, or to bring a picnic to enjoy on our lawn. So come join us for a jolly afternoon or evening, filled with a contagious atmosphere of theatrical fun, music, whirling words, swordplay, jesting, and laughter.

Long live Bankside!

Fourth of July Celebration MONDAY, JULY 4TH, STARTING AT 12PM

Revolutionary Moments

12PM, BERNSTEIN THEATRE $15 ADULTS / $5 STUDENTS

Our newest tradition is a special collection of vignettes, compiled by Tina Packer, which highlights the influence of Shakespeare on some of history's most fascinating figures through performance and discussion.

Community Barbeque 1:30–5PM, JOSIE'S PLACE AT FOUNDERS' THEATRE À LA CARTE

The Declaration of Independence 3PM, BANKSIDE MEADOW BY FOUNDERS' THEATRE FREE

Our free, ever-popular public reading of our nation’s founding document features some of the most stirring words of political rhetoric ever written, spoken out loud by Company actors and special guests.

10TH ANNIVERSARY!

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Jane Lee in What Happened to Bill Vidla? Photo courtesy Ars Nova

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july 25 – august 15 FREE MUSIC • FREE WORKSHOPS • PICK YOUR OWN PRICE OPENING NIGHTS

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ROSE FOOTPRINT THEaTRE June 29–august 27

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10 ANNIVERSARY! OUTDOOR BANKSIDE FESTIVAL TH

andrew Talen, Jennie M. Jadow and David Joseph in The Amorous Quarrel, 2010

“One of us is taken for the other and a thousand mistakes follow, all in one day.”

The VeneTiAn TWinS

The Venetian Twins

By CaRLO GOLDONI Translated by JONaTHaN CROy and JENNa WaRE adapted and Directed by JENNa WaRE Music Composed by aNDREW TaLEN Featuring CaROLINE CaLKINS, EMILy EHLINGER, JuLES FINDLay, KELLy GaLVIN, DaVID JOSEPH, aLEXaNDRa LINCOLN, ROBERT LOHBauER, JaNEL MILEy, BRITTaNy MORGaN, KaTHaRINE PITT, aNDREa RaMOS, THOMaS RaNDLE, ENRICO SPaDa and JuSTIN WEaKS

will delight fans of clever, outlandish comedy. using wildly inventive language, Goldoni gleefully bombards his characters with one comic misunderstanding after another, leaving audience members dizzy with plot twists and laughter.

Join us on the outdoor Rose stage for a commedia-flavored show that includes swordfights, silly antics, whimsical music, song and more!

Two identical twin brothers, Zanetto and Tonino, could not behave more differently. Having been separated since birth, suave Tonino has grown into a sophisticated urbanite, while clumsy Zanetto has morphed into a clueless bumpkin. as luck would have it, each twin decides to visit Verona for the very first time, and it isn’t long before their friends and love interests start to confuse them for each other, with delightfully funny results.

“Goldoni was a brilliant playwright, and The Venetian Twins was the first successful commedia play to be performed without masks,” says Ware. “He single-handedly advanced the genre by allowing the audience to see the actors’ faces. and now, in 2011, we’re thrilled to be able to put our own stamp on this celebrated show. From the plucky ingénue to the two-faced villain, our actors are making these hilarious commedia characters their own, and singing while they’re at it! after all, what’s better than outrageous comedy? Outrageous comedy that you find yourself humming along to.”

Penned by Carlo Goldoni (who also wrote The Servant of Two masters, our 2006 Rose hit), The Venetian Twins is a brilliant example of commedia dell’arte. With its mistaken identities and spurned lovers, the play is reminiscent of Shakespeare’s The Comedy of errors, and

Performed beneath the tent of our outdoor Rose Footprint Theatre. kids get in free, so come cheer the hero, boo the villain, and help us untangle the plot, one joke at a time. Fun for the whole family!

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Directed by Jenna Ware (red hot Patriot, Amorous Quarrel, Shirley Valentine), featuring audience favorite David Joseph (The Amorous Quarrel, The real inspector hound, Cindy Bella) as the effervescent twins, and with original songs by andrew Talen (composer of the catchy tunes found in Quarrel last summer), The Venetian Twins is the perfect mix of cheery music and zany humor. The show even includes live commercials, which poke fun at some of our well-known Berkshire landmarks and businesses!

We Proudly Support the Exceptional Performances of Shakespeare & Company

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ROSE FOOTPRINT THEaTRE august 11–september 4

10 ANNIVERSARY! OUTDOOR BANKSIDE FESTIVAL

L-R: David Fierro, andre St. Clair, Matthew Story and Shawn ahmed more Words, more Play!, 2010

TH

"OPEN YOUR MOUTH… YOU CANNOT TELL WHO’S YOUR FRIEND!” The TemPeST II.ii

EVERYMAN Conceived by DENNIS KRauSNICK and TONy SIMOTES Written by BILL BaRCLay in collaboration with S&CO. MaSTER TEaCHERS and the

PERFORMaNCE INTERN COMPaNy Directed by BILL BaRCLay Music Composition by BILL BaRCLay

This entertaining and bitingly funny new play highlights the collaborative process that thrives at Shakespeare & Company, as participants of the Performance Intern Company team up with Company Master Teachers. Diving headlong into the frenetic, fun and fast-paced Bankside Festival repertory, everymanActor features a cast of ten as they explore the often hilarious and humbling trials and tribulations of becoming a classically trained actor in the 21st century.

Good is pitted against evil in this colorful, musical tale that features dance, sword-play, clown and song. Inspired by the classic “Everyman” morality story written in the 1400’s, everymanActor is a modern version of the age-old struggle between artistic virtue and monetary vice. Find 54

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out if our heroes are lured away by dreams of becoming the next big Hollywood star, or if they remain ‘virtuous’ by trekking though the long cold, winter months on a Shakespeare tour that goes everywhere from the wilds of New Jersey suburbs to the snowdrifts of Caribou, Maine.

Performed beneath the tent of our outdoor Rose Footprint Theatre, this joyful new work is fun for the entire family. everyman gets in free!

About the Performance Intern Company headed by Director of Training Dennis krausnick, the Performance intern Company is a valuable and popular option for many young performers looking to take the next step in their professional career.

These internship experiences allow the best and brightest young actors to gain professional experience straight out of drama school, as they take ownership of their own Shakespeare production in a professional theatre season. Taking training into rehearsal and rehearsal into performance brings the purpose of playing back to its essence, which is…how to hold "the mirror up to nature." And if you haven’t checked out our lunchbox Shakespeare Series yet, be sure to catch the Performance intern Company in The Two Gentlemen of Verona on our Bernstein stage!

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Celia Madeoy and Rocco Sisto in Varon's 2005, The Taming of the Shrew

D a n ie l a V a r o

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Yet even a year in London’s thriving West End was not enough to convince Varon that she should commit herself to theatre. She had majored in English Literature at Dartmouth (“I’ve always been drawn to dead authors,” she laughs), and briefly pursued a literary life after graduation, even traveling to Paris to write a novel (“fortunately, unpublished”). Varon also seriously considered attending medical school and walking away from an artistic profession altogether.

ircl

By ALLISSA WICKHAM

“I was ten years old, and at a birthday party in Paraguay,” says Varon. “We were taken to see the Franco Zeffirelli film of Romeo and Juliet, and I was utterly transfixed.”

The daughter of an Israeli diplomat, Varon spent much of her young life traveling throughout South America with her family. She had read Romeo and Juliet two years earlier, when her mother – an actress who always traveled with a copy of Shakespeare’s Complete Works – recommended the play to her.

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“Seeing a play in London as a student was cheaper than seeing a movie,” says Varon of this formative time. “It was a huge part of my theatrical education.”

ll C

Fu

s e m

n accomplished theatre artist who has acted, directed, and taught throughout the United States, Daniela Varon’s first encounter with Shakespearean performance wasn’t in a high school classroom, or even on a physical stage.

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Indeed, although she’s perhaps best known to Shakespeare & Company audiences as a director (having helmed such critically-acclaimed shows as last year’s Bernstein Theatre hit Sea Marks, as well as mainstage productions of Much Ado About Nothing, The Taming of the Shrew, Martha Mitchell Calling and Collected Stories), Varon began her theatrical life as an actor. When her family moved to Boston during her teenage years, Varon started acting with local theatres and doing voiceover work. Later, on a junior year abroad program in London, she fervently attended the theatre, soaking up the styles of as many directors and playwrights as she could.

& e r e at S hakespea

a n y

Right Place, Right Time:

“I fell in love with the story,” says Varon. “So much so that I insisted on breaking out the tape recorder and performing both sides of the balcony scene. Somewhere in my mother’s attic, that reel-to-reel tape still exists.”

“Having a mother who was an actress made me feel conflicted about pursuing a life in the theatre,” says Varon. “I grew up watching her struggle with creative fulfillment.”

Hoping to confront her ambivalence once and for all, Varon enrolled in Shakespeare & Company’s Month-long Intensive Training Program.

What followed was a complete artistic awakening. Founding Artistic Director Tina Packer’s emphasis on an actor’s personal connection to Shakespeare’s text, combined with Kristin Linklater’s voice training, was revolutionary for Varon.

“Coming to Shakespeare & Company allowed me to focus on training as an actor. I hadn’t even realized how much I needed it,” she says.

“Coming here made me finally jump into the theatre with both feet.”

Inspired by the techniques she’d discovered in the Intensive, Varon joined the Summer Performance Institute, one of S&Co.’s esteemed training troupes (now called the Performance Intern Company), acting in the Wharton OneActs and As You Like It at The Mount. It was the re-ignition of her love for Shakespeare’s text, Daniela Varon (center) with friends in Vermont.

Of course, Varon’s journey from actor to mainstage director was hardly a straight Daniela Varon (far right) in 1988, shot. In the time following performing in the Wharton One-Acts: her Intensive experience, Confession at The Mount she “basically spent three years following Tina Packer around,” learning all she could by assisting the Artistic Director with various projects. Varon’s interest in directing began when Packer invited her to assistant direct a 1990 revival of As You Like It. “I thought I would be bringing Tina coffee and taking notes. I didn’t realize I’d be directing scenes without her,” she says. “She had me direct people who had been my teachers about five minutes before, which was a whirlwind of on-the-job training.” Suddenly Varon, who had never expected to be a director, discovered she had a passion for it. “It just clicked,” she says. “I realized that this was what I was supposed to be doing with my life.”

This summer, decades after finding Romeo and Juliet in her mother’s Complete Works, Varon will be directing the play for the first time.

“This is a story that many people know and have a connection with,” she says. “It is a complex tale of love and violence between and within families that are more alike than different – it’s definitely not going to be the Sharks vs. the Jets.”

Looking back on her 23 years with S&Co., Varon says she’s profoundly grateful that she “landed in the right place at the right time,” allowing her to learn a great deal not only about the craft of theater, but also about the medium’s role in the world at large.

Varon was slated to act in the Company of Women’s inaugural fulllength project, Henry V, when she was awarded a prestigious national directing fellowship by the Drama League. The fellowship provided her with assistantships throughout the country, and supported her own New York production of a Pinter play. “That fellowship, along with my experiences with Tina and Kristin, was my graduate school in directing,” she says.

Varon moved to New York, returning to Lenox in the summers to direct such plays as The Turn of the Screw, A Room of One’s Own, and a poignant production of Wit with Frances West, which Varon cites as one of the her most memorable experiences in the theatre. Like Wit’s protagonist, West was herself battling cancer at the time, and the production left an indelible mark on Varon.

Since those transformative days in the mid-nineties, Varon has gone on to direct many classical and contemporary plays, and to develop new work for nearly forty theatres nationwide.

She has also taught and directed at colleges including Barnard, Smith, Dartmouth, U. Conn., Bennington, and Emerson.

“I’m drawn to Shakespeare because it’s all there: every emotion on the spectrum, every human experience,” she says. “His works have the most extraordinary language. It’s such a gift, because people are endlessly affected by Shakespeare’s words and characters.”

As a working artist, Varon has an eclectic slate of projects lined up after Romeo and Juliet. In August, she’ll be directing Robert Brustein’s Mortal Terror, a new play about Shakespeare at the time when he wrote Macbeth, at the Modern Theater in Boston (coproduced by Suffolk University and Boston Playwrights Theater).

She’ll also be participating as an actor in an international performance project at the Sfumato Theater Laboratory, a renowned experimental theater in Bulgaria.

At the same time, Varon joined Kristin Linklater in founding a Boston-based group called The Company of Women, along with acclaimed psychologist Carol Gilligan and veteran S&Co. actress Frances West. “There are a limited number of female roles in Shakespeare,” says Varon, “so this was an opportunity for us to get our hands on characters we wouldn’t normally have access to – kings, villains, clowns.”

“In addition to grappling with this woman’s struggle with mortality, the play also deals with 17th century poetry,” says Varon. “It resonated so deeply being performed at Shakespeare & Company.”

When it comes to her directing technique, Varon describes her approach as steeped in the ethos of S&Co. She’s constantly striving to help actors connect with the text, and to discover the play collaboratively in the rehearsal room. Although Varon has a great interest in new work (“I like living writers too!”), she finds that she’s continually pulled back to the Bard.

“When I first heard Tina Packer say that the function of theater is to heal, I understood that we have a mission in the world to help our communities heal themselves,” says Varon. “I didn’t have to go to medical school. That sense of the possibilities and the significance of our work kept me in the theatre, and has made me want to devote my life to it.”

“I’m drawn to Shakespeare because it’s all there: every emotion on the spectrum, every human experience,” says Varon. “His works have the most extraordinary language. It’s such a gift, because people are endlessly affected

by Shakespeare’s words and characters.”

Daniela Varon performing in the Wharton One-Acts: Afterwards at The Mount

and the beginning of Varon’s now 23 yearlong relationship with S&Co.

Allyn Burrows and Paula Langton in Varon's 2003, Much Ado About Nothing

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Remembering Clare Reidy Clare ann reIDy (FeBruary 14, 1937–aPrIl 17, 2011)

a spirit of miraculous generosity lingers still in the enormous vacuum left by Clare’s departure from us this past spring. For well over a decade, she has helped actors discover their real talent and deepest value by being honest, truthful and loving all at once, a skill which only grew as she continued to guide and teach in these last years.

Here at Shakespeare & Company, she acted as Text Coach, as Dramaturg, as Director and as Master Teacher for countless actors whose lives and work she graced and enriched between 1998 and 2011. a mastery of the intricacies of Shakespeare’s Rhetoric grew not just from the enormous amount of work which she put into the text of every play and scene she worked on, but also from an ear and an eye so sensitive to the nuance and poetic resonance she unfailingly discovered there.

Even greater was her ability to notice—without being noticed— the artistic impulses of the actor with whom she was working in each moment, and to encourage that impulse into a choice that expressed the spirit of that actor every bit as much as it spoke the intent of the text in question.

Her generosity of spirit, her irreverent and bawdy humor, her ability to give voice to the unspoken are all greatly missed. She championed not only the triumph of actors, of theater, of women, but the very truth of the human spirit in all its splendor and failure.

She has left us an incredible legacy: not simply to love each other’s best and weakest moments, but to love each other as we are – and to shout that love from the rooftops.

We take this moment to join hands with her larger theater and educational families, as well the extraordinary human beings who are blessed to be her blood family and invite all to join us in a memorial service here at Shakespeare & Company on a date this summer not yet announced. Please check with our box office to find the exact date in late July or in august.

Clare performing in the Cantata Singer's Festival of Women in the arts, 2009. Photo by Susan G. Nagle.

”My bounty is as boundless as the sea, My love as deep; the more I give to thee, The more I have, for both are infinite” [“There’s a great spirit gone! For her bounty, there was no winter in’t” [“And flights of angels sing thee to thy rest.“

Clare ann Reidy and granddaughter Kelly Galvin 60

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Dennis Krausnick, angela Bayler and Clare ann Reidy

Michael Dix Thomas and Clare ann Reidy

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E D U C AT I O N

WHO IS IT THAT CAN TELL ME WHO I AM? KING LEAR I.iv

T

he Education Program is an essential part of why Shakespeare & Company exists in the world. Our commitment to teachers and students—of all ages—permeates every aspect of this Company, and is a source of great pride for us and our community.

“After a workshop, teachers and teaching artists will often say, ‘This changes everything.’ They say it with excitement and delight.

What they discover with us is not burdensome. Rather, they rediscover their own passion for and pleasure in those moments when their students ignite their imaginations. And our workshops offer the tools and approaches to often strike that match. What the students most often say… actually, I’ll let them speak for themselves. I think their remarks are the most eloquent." says Kevin G. Coleman, Director of Education.

“The first time I saw my friend bare his heart and soul to the audience changed my life. I’m not afraid to show who I am now. Acting has taken all the fear out of talking to people.”

FALL FESTIVAL STUDENT, CHATHAM HIGH SCHOOL, 2010

Taconic High School's 2010, Fall Festival of Shakespeare production of Hamlet.

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“Thank you for the chance to grow so close to so many amazing people. This is the best thing that ever happened to me. I can’t even begin to tell you how wonderful it was.”

FALL FESTIVAL STUDENT, TACONIC HIGH SCHOOL, 2009

neW enGlanD tour oF ShakeSPeare Each year the Company brings Shakespeare alive for thousands of teachers and students through performances at venues throughout New England, New york and New Jersey. Our tour includes in-school performances, short residencies, special forums and performance workshops for students. During the spring of 2011, 100 schools and more than 25,000 students were able to see hamlet. macbeth is on tap for 2012. The National Endowment for the arts continues to help us bring this program to underserved areas and schools who have little or no funding for the arts.

Courts Project participants with Judge Paul E. Perachi. Photo: Enrico Spada.

ShakeSPeare In the CourtS “Shakespeare in the Courts is meant to boost the kids’ selfesteem, to improve their communications skills, to develop a spirit of community and cooperation.” THE WaLL STREET JOuRNaL

Kate abbruzzese and Paul D'agostino in the 2010, Tour of hamlet. Photo: Enrico Spada.

Fall FeStIVal oF ShakeSPeare “Fall Festival is absolutely and unquestionably the most wonderful experience I have had in high school. The things I have learned and the friends I have met will be with me forever.” FaLL FESTIVaL PaRTICIPaNT Continuing its tradition of immersing youth in the most active, compelling and transformative ways, last November 500 students from 10 high schools took part in our 22nd annual Fall Festival of Shakespeare, a program that WBuR from Boston compared to, “a rock concert. Show after show the theater is jammed with kids cheering for each other.” this coming november 17–20 is the 23rd anniversary of the fall festival.

The tradition continues with four days worth of Shakespeare that is passionately performed and enthusiastically—even raucously— received, all in an atmosphere of joy and celebration. These performances are uniquely insightful, heart-rending, and laughout-loud hilarious. Our Founders’ Theatre is barely able to contain the excitement of this non-competitive celebration of the students’ performances. you really must join us!

“When I got on stage, I made a conscious decision to try to give it my all and take a risk. I did, and the experience was something I will never forget.” FaLL FESTIVaL PaRTICIPaNT

Over the past eleven years, our education team has worked with Judge Paul E. Perachi and the Probation Officers of the Berkshire Juvenile Court System to develop a program for adolescent offenders to study, rehearse and perform Shakespeare as an alternative to traditional punitive consequences.

This innovative, effective, and action-oriented social program has garnered national media attention, and has been covered by NPR, the BBC, and The Wall Street Journal, in addition to local TV and print outlets. In 2007, the Courts Project was awarded a National Coming up Taller award at a special White House ceremony. In 2008, it doubled in scope with the addition of a North adams session to the original Pittsfield program. additionally, in March 2011, Shakespeare in the Courts was honored as an outstanding community arts program with a Gold Star award from the Massachusetts Cultural Council. hamlet, macbeth, A midsummer night’s Dream, Twelfth night, Julius Caesar, and henry V have all been performed by Courts Project participants.

Shakespeare & Company gratefully and warmly acknowledges the innovative leadership of Judge Paul E. Perachi, who recently retired after a distinguished career of public service. Shakespeare in the Courts has also thrived with the steadfast support of First Justice, the Hon. Daniel J. Swords, the Hon. Judge Judith Locke, Chief Probation Officer William Gale, Probation Officer Nancy Macauley, Probation Officer Jim Hunt, the City of Pittsfield, the City of North adams, and the Town of Great Barrington. Their efforts have changed the course of so many lives, and brought this important program to national attention.

“The idea is to turn their suspicion and apathy into hope, and this is what it’s ultimately about. An audience full of proud families, a stage full of kids with a sense of accomplishment they never experienced before.” BBC RaDIO shakespeare.org

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rIotouS youth

This series of two week-long summer sessions offers kids aged 7-18 the chance to perform their own versions of Shakespeare’s plays in the Rose Footprint Theatre, much to the delight and pride of their families, friends, and our own Company members. Each student plays multiple roles in this celebration of Shakespeare’s language, characters, and stories. This program is so much fun, it’s impossible to determine who enjoys it more—the participants, their teachers, parents, or the Company members who come to join the fun.

ShakeSPeare & younG ComPany

Now in its 21st year, young Company is serious training for serious students, led by the teachers and senior education artists of Shakespeare & Company. young Company sessions occur in the winter, spring, and summer, and offer high school and college students a chance to explore scene work in-depth. If you haven’t found “it” in the Drama Club or a BFa program, you will probably find it here.

“We introduce Shakespeare in ways that provoke students on multiple levels, and engage all their intelligences, so his stories become meaningful to them. Now his language and images become part of who they are, and linger the rest of their lives. Now they must consider more deeply what it means to be human and how they will act in the world.” KEVIN G. COLEMaN, DIRECTOR OF EDuCaTION

“Shakespeare is awesome. Seriously. I am not kidding.”

FaLL FESTIVaL PaRTICIPaNT

Participants of Riotous youth. Photo: Enrico Spada.

shakespeare & company’s education program was identified by the arts education partnership, the ge foundation, the macarthur foundation, and the president’s committee on the arts and the humanities as a champion of change, the education program is recognized as an innovative leader in the field of arts-in-education. it is the proud recipient of numerous awards, including the national coming up taller award at the White house, the massachusetts cultural council’s commonwealth and gold star awards, and, for kevin coleman the 2009 distinguished arts educator award by the massachusetts arts education collaborative. We are tremendously proud of our ongoing collaborations with teachers, parents, administrators and financial supporters. and we love to hear the expression, “this changes everything.”

the eDuCatIon DePartment aPPreCIateS maJor ContrIButIonS From: The atlantic Philanthropies (uSa) Inc. Bank of america Charitable Foundation, Inc. …anD InDIVIDualS Barrow Foundation Marion F. adler Berkshire Bank Berkshire Life Insurance Company of america Mark a. and Christine W. Baldridge Laura Bentz Dr. Robert C. and Tina Sohn Foundation Elayne Bernstein Schwartz and Sol Schwartz Greylock Federal Credit union andy Calkins The Guardian Life Insurance Walter Campbell Company of america Cassandre Carmon The Hearst Foundations Tiger Coleman Lee Cultural Council Wolfe Coleman Lenox School alumni association, Inc. Linda Benedict Colvin in loving Massachusetts Cultural Council memory of her brother, Mark a. Benedict and its youth Reach Innitiative Paula Consolini and James Mahon National Endowment for the arts Claire Cox Northern Berkshire Cultural Council ute and Tony DeFarlo Pittsfield Cultural Council Gretchen DeKalb Jay B. Polonsky Fund Winnie Dimock Price Chopper's Golub Foundation Bart and Janet Elsbach SaBIC Innovative Plastics Jonathan Epstein and ariel Bock Sunrise Foundation Dr. Gerald and Roberta Friedman The San Francisco Foundation Carrie Greene and James Mcallister Town of Otis Sarah Hancock Tyringham arts Lottery Council 64

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ann and John Higgins Jane Iredale and Robert Montgomery Renee and Frederick Keator Jeffrey Konowitch and Wendy Laurin David LaChance Eleanor Lord and Margaret Wheeler Elizabeth Maher anne B. Meczywor Courtney Meisberger Richard a. and Jane Mescon Jaan and Jacqueline Metsma Kate and Joel Millonzi The Claudia & Steven Perles Family Foundation Susan Pinsky and Marc and Clement Rosen Karen and Charles Schader Douglas W. Seldin Peter and Carol Seldin Barry and Marjorie Shapiro David Smith and Ranny Cooper Eric C. Williams anonymous

Robert Biggs and Caley Milliken in Othello, 2009.

SHAKESPEARE & COMPANY STAFF

Tony Simotes, Artistic Director

Nicholas J. Puma, Jr., Managing Director

Tina Packer, Founding Artistic Director

ADMINISTRATIVE

FACILITIES

COSTUMES

FINANCE, HR & IT Chief Financial Officer/ HR Director / IT Director:

Thomas Randle, Erin Ouellette Weapons Master: Bob Lohbauer Changeover Crew Heads: Thomas Randle, Lindsey Roller Production Assistants: Kate McCrea, Wesley Cooper Rice

General Manager: Stephen Ball Asst. to the Artistic Director: Catherine Wheeler Company Managers: Scott Renzoni, Nick Bussett, Heather Coulter

Manager: Phil Hiser, Jr. Associates: Chris Bird, Albert Hiser, Phil Hiser III, Bruce Kupiec

Costume Director: Govane Lohbauer Wardrobe Supervisor: Gina Loiodice Assistant to the Costume Director: Mary Readinger Drapers: Sarah Hilliard, Chris Mueller, Kara D. Midlam Design Assistants / First Hands / Stitchers / Wardrobe: Olivia Aserr, Mary Boyce, Carson Evans, Kate Fulop, Ben Hover, Kristina Howard, Emily Leskovitz, Ava Lindenmaier, Amanda Mattes, Kara D. Midlam, Amanda Murrah, Mary Readinger, Stella Schwartz, Amy Sutton, Robyn Warfield, Meredith Wilcox

Nicholas J. Puma, Jr. Controller: Sophie Breton Assistant Controller: Richard Martelle Information Technology Manager: Renée Speltz

DEVELOPMENT

Manager: Bonnie Wilson Associates: Debra Collins, Janet LeBlanc, Richard Wood

Director: Ute DeFarlo Senior Development Officer: Bonnie Stevens Manager of Institutional Giving: Marybeth Mitts Development Assistant: Patrick Buckley

EDUCATION

Director: Kevin G. Coleman Associate Director: Jenna Ware Youth Programs Director: Jonathan Croy School Programs Manager: Alexandra Lincoln Summer Youth Faculty & Staff: Paul D’Agostino, Caroline Calkins, Jonathan Croy, Emily Ehlinger, Kelly Galvin, Tom Jaeger, Corinna May, Janel Miley, Brittany Morgan, and Jules Findlay, Kate Pitt, Andrea Ramos, Justin Weaks (interns)

Berkshires Shirakaba

FRONT OF HOUSE

Audience Services: Dana Harrison (Manager), Katharine Abbruzzese, Susannah Millonzi, Hal Smyth, Eric Corbett Williams

HOUSEKEEPING

PRODUCTION

Production Manager / T.D.: Thomas L. Rindge Production Stage Manager: Hope Rose Kelly Associate Production Manager: C. Clara Patterson Assistant Technical Director: Christopher Levine Carpentry: Kevin Harvell (Master), Kristopher Karstedt, Lindsey Roller, Andrew Smith, Carl Whipple Electrics: John Elder, Will Cleland (Masters), Derek Bever, Alex Zinovenko Properties: Patrick Brennan (Master), Rachel Fischer, Jaclyn Green, Kate Stack Sound: Michael Pfeiffer (Engineer), Tyler Kieffer, Sam Shuker-Haines Scenic Artistry: Amber Subelka (Charge),

PUBLIC RELATIONS & MARKETING

Director of Communications/Artistic Associate: Elizabeth Aspenlieder Director of Sales & Facilities Liaison: David Joseph Marketing Director & Web Manager: Enrico Spada Communications Associate: Allissa Wickham Graphic Designer: Kevin Sprague at Studio Two, Lenox

TICKETING & FOOD SERVICES Ticketing & Food Services Manager: Ron Werth Box Office Assistant Managers: Jane Barish, Catherine McDougall Concessions & Catering Manager: Marcus Kearns Sales Associates: Joseph Ahmed, Alexandra Allen, Jacqueline (Alex) Claunch, Emma Doyle, Rory Hammond, Ross Hurwitz, Rachel Konowitch, Ava Lindenmaier, Megan Marchione, Connor Moroney, Williston Mortenson, James Werner

TRAINING

Director: Dennis Krausnick Training Programs Manager: Scott Renzoni Interns: Erin Ouellette, Deshik Vansadia Summer Faculty & Staff: Joe Alberti, Jason Asprey, Andrew Borthwick-Leslie, Kate Bouchard, Tod Randolph, Michael Toomey, Walton Wilson, Kristin Wold

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traInInG

center for actor training …to hold, as ‘twere, the mirror up to nature.

HaMLET III.ii

to everything from clown to stage combat, and will culminate in a full production of Cymbeline, Shakespeare’s touching late romance.

Participants will also take in-depth classes on auditioning and the business of theatre in order to give them a solid foundation as they begin their careers, and will lend a hand to our Education Department’s annual Fall Festival of Shakespeare.

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ctor training is at the very heart of shakespeare & company. the entire aesthetic of the company was created by founding artistic director tina packer and other founding members when they came together nearly 35 years ago to explore and create new ways to perform shakespeare. it is our actor training which gives our actors, education artists, and faculty a common artistic vocabulary, and an approach to theatre that is truly inspiring and original. ideas that began as “what if” or “let’s try this” are now among the methods that have made shakespeare & company the world-renowned training center it is today.

Throughout the year, we provide training opportunities for actors of every experience level and background, both at our campus in Lenox, Ma and at locations throughout the country. Our cornerstone Monthlong Intensive brings more than 40 actors and 20 teaching artists to the Berkshires every January, where they experience our innovative training. and each summer, our immersive Summer Training Institute and Performance Intern Company provide an eye-opening theatrical experience for college students and emerging actors from throughout the world.

This fall, The Conservatory at Shakespeare & Company will enter its fifth year. This intensive, thirteen-week program exposes students

Special workshops throughout the year provide opportunities for actors to deeply explore areas like fight, dance, First Folio, and other disciplines essential to performing Shakespeare. Our Training faculty travels the country teaching and coaching for universities, theatre companies, and even businesses, sharing the knowledge of more than 30 years of experience. as we enter our 34th year, we look forward to developing new approaches and exploring new ideas that will allow Shakespeare & Company’s training program to continue to evolve in its position as a revolutionary voice in the theatre community and the world at large.

Many of the actors you’ll see on stage at Shakespeare & Company are alumni of our training programs. Obie-award winning actor John Douglas Thompson, acclaimed for his performances of othello and richard iii as well as many New york credits, sought out our training early in his career. The new York Times calls Thompson “the best actor of his generation”. Lauren ambrose, Bill Murray, Sigourney Weaver, Oliver Platt, and longtime Company friend Olympia Dukakis are just some of the thousands of professionals, locally and nationally known, who have explored their craft with us. alumni of our training programs can be found worldwide performing in theatres, teaching in colleges and universities, leading workshops for businesses and corporations, working in film & television, and creating new theatre companies of their own to speak to their communities and beyond. if you are interested in learning more about Shakespeare & Company’s Center for Actor Training, please call us at 413-637-1199 x114 or visit Shakespeare.org/training.

the actor training shakespeare & company has created and developed over the past 30 years is singular. any actor passionate about performing shakespeare needs this training.

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OLyMPIa DuKaKIS

Andrew Talen in Richard III, 2010

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PLAN AHEAD FOR BIFF 2012!

Films and Events

ALL YEAR ROUND See schedule at biffma.org and become a REEL Friend of the BIFF!

PREMIERE SPONSORS Triplex Cinema • The Beacon Cinema • GWFF Berkshire Living • Studio Two • The Red Lion Inn • Jacqueline and Albert Togut Berkshire Bank • Max Ultimate Food • Karen Allen Fiber Arts PRESENTING SPONSORS Berkshire Mountain Distillers, Inc Abbott’s Limousine • Stella Artois • Medoff, Inc. • Stonover Farm • Kwik Print

Every Community Has At Least One REALTOR® Like Nancy Kalodner.

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GREAT BARRINGTON “Now does my project gather to a head...”

Crissey Farm Catering offers a perfect year round destination for your wedding, reunion or special event.

Our 6,000 square foot green building has state-of-the-art heating and cooling systems. The large, open space allows full flexibility, so we can host parties as small as 30 and as large as 200. Two fireplaces complement the simple, yet tastefully designed interior.

Decades of hospitality experience, a passion for food and entertaining, and a beautiful banquet facility make us an excellent consideration for your next function.

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Please enjoy our beer at Josie’s Place during intermission or after the performance.

Lunch & Dinner Daily

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shakespeare.org traInInG

performance intern company

t

heatre is a dynamic, mutable art form. professional attainment requires continual assessment, talent renewal and training and the ultimate test of talent and training is performance. in performance, actors must go beyond the training and rely on instinct and imagination. in a sense, they must forget all they have learned in order to live truthfully under imaginary circumstances. they must breathe life into their characters and their text in such a way as to entertain and move a living, breathing audience.

This summer we are continuing our popular Lunchbox Shakespeare series with our energetic production of The Two Gentlemen of Verona, performed by members of the Center for actor Training’s Performance Intern Company, and helmed by Director of Training, Dennis Krausnick. Internships are a valuable and popular route taken by many young performers looking to take the next step in their careers. This summer at Shakespeare & Company, our Performance Intern Company will fully get that experience. They will take ownership of their own Shakespeare production in a professional theatre season with all the challenges and rewards that entails. Taking training into rehearsal and taking rehearsal into performance brings the purpose of ‘playing’ back to its essence. If you haven’t yet seen The Two Gentlemen of Verona, come and experience this hilarious and fun romp�and enjoy the vitality of the Performance Intern Company!

Your actions are my dreams.

Sam Parrott in Pericles, 2010, Photo: Enrico Spada

THE WINTER'S TaLE, III.ii

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SePtemBer 5 11am-11Pm elayne P. BernSteIn theatre

STuDIO festiVal ofplaYs

Susannah Millonzi and Tom O’Keefe. Photo: Elizabeth Aspenlieder

Elizabeth Aspenlieder and Eric Tucker. Photo: Enrico Spada

Diane Prusha, Michael F. Toomey, Wesley Cooper, Rory Hammond and Paul Masterson. Photo: Elizabeth Aspenlieder

David Adkins and Olympia Dukakis

Josh Aaron McCabe, Bob Wicks and Tom O’Keefe. Photo: Enrico Spada

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fter 16 celebrated years, the Studio Festival of Plays is back! from 11am to 11pm, as part of our ongoing commitment to nurturing emerging voices in theatre, shakespeare & company’s extended artistic family will present a series of groundbreaking new plays, including sneak-peeks of shows that may receive full productions in future seasons.

“Shakespeare & Company’s commitment to the development of new work is one of my primary focuses as artistic Director,” says Tony Simotes. “The ‘american Story’ of the 21st Century is still emerging from our playwrights today. I believe Shakespeare & Company has a role to play in nurturing this research and development of our writers.

We have an obligation as an arts organization to bring challenging work forward as a part of our stated mission. New work helps us to re-imagine the classics. Taking inspiration from Shakespeare, whose 70

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John Douglas Thompson.

Photo: Enrico Spada

Corinna May and Kristin Wold.Photo: Enrico Spada

language cut through the darkness to help create the Renaissance, I hope that new playwrights harness the power of words to help us understand the mysteries of contemporary times. I encourage all our friends to come to the Studio Festival and hear the stories of a new generation of playwrights.”

In addition to last year’s hit, mengelberg and mahler and this season's The memory of Water, the Festival has presented many works that subsequently were given full productions in the Company’s regular season during the past 15 years, including mrs. klein, Fortune and misfortune, laughing Wild, Goodnight Desdemona Good morning Juliet, The Turn of the Screw, Brief lives, Betrayal, The mistress, Wit, Summer, The Complete Works of William Shakespeare (abridged), A Tanglewood Tale, The Scarlet letter, ice Glen, hamlet, martha mitchell Calling, no Background music, The Goatwoman of Corvis County, White People, The Dreamer examines his Pillow and Devil’s Advocate.

Generously sponsored by RHEa aND KEN WERNER

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Shakespeare & Company

ON TOUR

2 vans. 6 actors. 16 weeks.

62 performances. 94 schools.

8,191 miles…fueled by heart and soul.

I just wanted to send a quick note to let you know that yesterday’s performance was wonderful! The actors are absolutely fantastic and I can’t say enough about the workshop – our students loved it!

We hope to see them again next year!

TEACHER, WHITMAN-HANSON REGIONAL HIGH SCHOOL, WHITMAN MA

Alexandra Lincoln and Ryan Winkles.

The 2011 tour of Hamlet enjoyed great success, playing in both small, rural schools and large performing arts centers (with audiences of 1,000 or more!) all throughout the Northeast from Staten Island, NY to Bar Harbor, ME. The Tour also performed at Shakespeare & Company’s Founders’ Theatre, giving local audiences a chance to catch this one-of-a-kind theatrical experience.

H

eart-stirring, crowd-rousing, life-changing education programs are a bedrock tradition at Shakespeare & Company, and this ethos is exemplified by the New England Tour of Shakespeare. Performed at schools and theatres across the Northeast (including Massachusetts, Vermont, New Hampshire, Connecticut, Rhode Island, as well as New York and New Jersey), the Tour uses innovative performances and workshops to yank Shakespeare off the bookshelf and into the lives of students, helping them encounter the Bard as never before.

With the continuing generous support of the National Endowment of the Arts, Shakespeare & Company has been selected as a participant in their “Shakespeare in American Communities” initiative, allowing us to bring this important program to more students at affordable prices.

UP NEXT, the 2012 tour of Macbeth

Macbeth looks to build on the Tour's remarkable success, with more performances, more new venues, and more return visits. If you’re interested in bringing the Tour to your area, or would like more information, let us know! Contact School Programs Manager Alexandra Lincoln at alincoln@shakespeare.org.

GVH Studio, Inc. GRAPHIC SOLUTIONS

Now in its 31st year, this annual tour has taken the beauty and wonder of Shakespeare’s verse to audiences as it was originally intended.

While most school curricula include classroom study of his works, Shakespeare wrote his plays to be seen, heard and experienced—not read alone and memorized by rote. Seeing Shakespeare in performance makes all the difference, and our Education staff is dedicated to bringing Shakespeare to life for every generation.

The Tour presents a 90-minute version of Shakespeare’s best-loved titles, and includes a post-show discussion with the entire cast. Most schools also take advantage of in-depth, hands-on workshops led by the cast after the show, which allow audience members to get up on their feet and tackle Shakespeare’s scenes and language themselves.

As part of the Tour, we also provide educators with additional tools and resources to support and complement the classroom experience.

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St. Croix, U.S. Virgin Islands Toll Free: 877-788-0361 • amonoka.com

TRAINING

The Conservatory at Shakespeare & Company

I

n 2011, we celebrate the fifth year of The Conservatory at Shakespeare & Company, our program dedicated to training a new generation of classical actors in the skills required to master Shakespeare in performance, and to helping them succeed as working theatre artists.

Actors from around the world have attended the Conservatory in order to take their craft to the next level. By integrating a full range of disciplines— including clown, stage fight, rhetoric, and dance—into a rigorous thirteen-week program, the Conservatory arms emerging actors with a wide skill set, thereby preparing them for life in the professional theatre world.

The Conservatory is designed to immerse students in a comprehensive experience of Shakespeare performance.

Foundational Conservatory training includes the extensive voice progression developed by Company founder Kristin Linklater, and a thorough grounding in Shakespeare’s artful use of language.

The curriculum and on-stage work teaches actors how to be instinctively free, intelligently impulsive, and physically dynamic through their personal connection to text, voice, and movement.

Indeed, in the Conservatory, there is hardly a line between “class” and “rehearsal” and “experimentation.”

The training culminates in the full production of a Shakespeare play, performed in one of our state-of-the-art theatres. The 2011 production will be the late romance Cymbeline, directed by faculty member Andrew Borthwick-Leslie.

For more information about The Conservatory at Shakespeare & Company and all of our actor training programs, call the Training Department at 413-637-1199 ext. 114 or visit Shakespeare.org/training.

Monica Tedman and Aaroon Sharff. Photo: Allissa Wickham.

“Best

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I went from thinking, ‘I want to be an actor’ to knowing ‘I am an actor’ TERESA SPENCER, 2007 CONSERVATORY ALUMNA

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Stella Kammel and Aaron Sharff in the Conservatory's 2010 production of As You Like It

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AT SHAKESPEARE & COMPANY whirlwind tour through the life, times and work of William Shakespeare featuring six Shakespeare rollicking fairy tale written late in Shakespeare’s & Company actors, a bit of historical information career, Cymbeline has it all: angry kings, clever and scenes from many of his greatest plays. Music, princesses, roguish mountain bandits, and heartswordfights, and even dance are all featured in this fastpounding battles. Set in ancient Britain, the story follows paced, fun and accessible introduction to Shakespeare Imogen, a royal daughter who disguises herself in order for kids of all ages. to flee a tyrannical father and an unwanted marriage.

Shakespeare and she the Language Shaped a World will tour Along the way, meets a that variety of humorous country Middle and Elementary schools throughout the northeast in March folk, dodges the swinging swords of clashing British and and April of 2010.

Roman soldiers, and falls head-over-heels in love.

Join us inbythelongtime Elayne P.Company Bernstein Theatre this Spring for fiBorthwickve Directed actor and teacher Andrew special Saturday presentations of Shakespeare and the Language Leslie and featuring members of The Conservatory at Shakespeare that Shaped Cymbeline a World, followed by aaction-fi free interactive & Company, is a lively, lled tale workshop that’s sureofto Akeep Midsummer Night’s Dream, open to all! audience members on the edge of their seats.

Visit Shakespeare.org for tickets info,including includingThe special “Grouped with Shakespeare’s lastand works Tempest and family pricing!

The Winter’s Tale, Cymbeline is a plot-packed play filled with battle,

seduction, betrayal, despair and hope,” says Borthwick-Leslie. “The Conservatory actors will be using music and song to help bring out this wild, funny and touching adventure.”

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TheaterMania.com CONGRATULATES

Shakespeare & Company on its 34th season creating theater of unprecedented excellence

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Shakespeare and the Language that Shaped a World "His words are a very fantastical banquet."

MUCH ADO ABOUT NOTHING

A

Written by KEVIN G. COLEMAN Directed by JENNA WARE

whirlwind tour through the life, times and work of William Shakespeare, Shakespeare and the Language that Shaped a World features six actors, a few props, and a truck-load of historical information and scenes from Shakespeare’s greatest plays. This hysterical, fast-paced presentation is designed to introduce kids and adults to Shakespeare through his stories, characters, and words—with a bit of swordfighting and clowning thrown in for good measure.

Shakespeare and the Language that Shaped a World will tour middle and elementary schools throughout the Northeast in the early spring of 2012. It lit up the Elayne P. Bernstein Theatre for a successful run last year, and will return to Shakespeare & Company for a series of special Saturday and Spring Break presentations in April 2012. Each show is followed by a free, interactive workshop based on one of Shakespeare’s plays, which is open to all. (Previous workshops included A Midsummer Night’s Dream, Romeo and Juliet, and As You Like It).

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While many visit our pastoral 200 acre farm to pick apples in the fall or admire the stunning views of the Berkshire hills, our award-winning farm winery is the thing that brought us acclaim.

FREE WINE TASTING Wed.-Sun. 11am-5pm Shop the Farm Winery Store for fresh baked goods, cheeses, wines, fresh pressed cider Relax with a glass of wine in the Normandy Gazebo Easy hiking on lush woodland trails

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THE ROSE PLAYHOUSE T

he Elizabethan chronicler John Stow wrote that in his day London was “a mighty arm and instrument to bring any great desire to effect.” The city was cosmopolitan and rife with new social phenomena, theatre being one of them. The great theatres that sprang up, The Globe, The Rose, The Red Bull, The Fortune, played to those desires.

The Rose Theatre, a precursor of The Globe, was erected in 1587, in Southwark on London’s Banksyde. It was where Shakespeare’s early works were performed. Our Rose Footprint Theatre is on the ground where we one day plan to replicate the historical Rose, using historically authentic construction tools and methods.

In our Rose Footprint, we stage plays with a rich, intimate flourish. This year we’re presenting Goldoni's The Venetian Twins.

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By ENRICO SPADA

F

or fourteen years, award-winning actress Annette Miller has been a favorite with Shakespeare & Company audiences. She has appeared in such recent S&Co. productions as Richard III, Martha Mitchell Calling, and The Ladies Man, and her portrayal of Israeli Prime Minister Golda Meir in 2002’s Golda’s Balcony netted her the Elliot Norton and IRNE Awards for Best Actress. From the Central Square Theatre in Cambridge to the Actors Playhouse in Coral Gables, Florida (where she recently starred in the critically-acclaimed production of August: Osage County), Annette Miller is an in-demand, versatile and highly lauded performer. Returning to Shakespeare & Company this summer, she appears as Vi in The Memory of Water.

Annette Miller, Zoë Laiz in Richard III, 2010.

You've done a few of one-woman shows at Shakespeare & Company: Golda's Balcony and Full Gallop, as well as the two-hander Martha Mitchell Calling. How are these experiences different from plays with larger casts?

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When I begin to work on a character, one of the first questions I ask myself as an actor is "What does my character need from the other characters in the play?" But how does one answer that question in a one-woman show? Fortunately, I had taken the Month-long Intensive training program at Shakespeare & Company, where the recognition of the actor/audience relationship is central. The audience becomes another character in the play. So then I had to ask, “Why is Golda telling her story? What does she need from the audience?” The audience in a one-woman show is the actor's only partner.

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LENOX

You played the matriarch in August: Osage County this spring, and now you're the mother character in The Memory of Water. It’s a common cliché that actresses dread reaching the "mom" stage in their careers— was this ever true for you?

When I first became a professional actor, it was deemed unprofessional to even mention you had a family in your bio. It was as if having a family would distract from your credibility as an actor!

But the women's revolution changed all that. So no, I did not “dread reaching the mom stage of my career,” on or off-stage. It’s true that I missed playing some stage roles because I was busy playing the real life role of “Mom,” but how fortunate I am for that experience. It has greatly enriched my life and knowledge of human behavior, and taught me so much about playing moment to moment realities!

Are there any roles that you're just dying to perform, even if the casting would be wildly inappropriate?

Most actors will usually think they can perform any role, and that no role is inappropriate! I am fortunate in that I’ve gotten to play my all-time favorites: Chekov’s Madam Raneyevskya (The Cherry Orchard), Madam Arkadina (The Seagull), Shakespeare’s Queen Margaret, the Duchess of York (Richard III) and Violet in August: Osage County. Still to go would be "Queen" Lear, a female version of Waiting for Godot, Mrs. Warren's Profession, Sweet Bird of Youth, A Delicate Balance, Mother Courage and any of Tennessee Williams’ women. Musicals were my first love, and so before the parade passes by, there are still parts in Cabaret, Sweeney Todd and Gypsy that I’d like to try.

TANGLEWOOL

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outrageous nightly specials!

Are theatre people crazy?

I think we are actually saner than most because we are fortunate enough to get our “stuff” out on stage, as opposed to in real life. Civilians–as we actors often call people who are not in theater–often poke fun at actors because we might call each other “darling” or “dear,” but we do that because we share so much personal emotional history during the discovery period of our work. Within a short period of time, we develop deep bonds and form a close community. It is one of the great benefits to being a part of theater.

What is the most important question we should have asked but didn’t?

“What would I tell young actors entering the profession?”

I would say keep working on your craft, even when you don't get a paying job. Do voice work, scene study, study with some of the great master teachers and make sure you take the Shakespeare & Company Month-long Intensive. You will learn how to access your most intense self and be given the tools to bring that self honestly to the stage. It has helped me enormously.

JOHN S. CASSELLA, D.M.D. Dentistry for the Entire Family

Preventive and Cosmetic Dentistry New Patients Welcome Village Center 68 Main St., Lenox 637-1761

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ROSE PLAYERS

W

e would like to especially thank our playbill advertisers who helped us produce our 34th Season. All of our advertisers, in particular The Rose Players, receive many benefits, some of which include complimentary tickets, award-winning posters and invitations to special events.

If you are interested in becoming an advertiser in our playbill, please contact Sales Director, David Joseph at 413-637-1199 ext. 132

COURTIERS

Alta Wine Bar Baba Louie's Berkshire Classic Leather & Silver Berkshire Co-op Berkshire Custom Cedar Homes Berkshire Health Systems Berkshire Landmark Builders Berkshire Life/Guardian Casablanca/Shooz Chocolate Springs Clark Art Institute Face Haven

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Jonathan's Kripalu Center for Yoga & Health Mission Bar & Tapas Once Upon a Table Second Life Books Shear Design The Splendid Peasant TheaterMania Valley Advocate

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QUEEN'S CIRCLE

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Volunteers

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ook around Shakespeare & Company and you will see our secret strength—the countless volunteers

who are helping our company grow, prosper and affect the community around us. We will never be able to thank them enough for the work they undertake. They are teachers and tradesmen, artists and entrepreneurs giving freely of their time and talents.

You’ll see them ushering, designing and caring for our gardens, operating the gift shop, giving tours, helping with carpentry and other building needs, and always ready to help out at special events. They are our sustenance, ambassadors, advisors and front line. We give them infinite thanks for their tremendous efforts.

Volunteers make this Company succeed.

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GROUPS, EVENTS AND RENTALS AT SHAKESPEARE & COMPANY

W

ith our beautiful Berkshire views, fully-staffed catering kitchens, overnight accommodations and rental spaces of all shapes and sizes (not to mention our three beautiful stages), Shakespeare & Company is the perfect place to hold an unforgettable event. Our campus is the ideal location for everything from weddings and graduation parties to corporate meetings, lectures, and workshops. Whether you’d prefer a tent party with cocktails and a band, a picnic dinner on our Bankside Terrace at sunset, or simply a discounted rate for a group of friends attending the theatre, our Group Sales and Rentals Office staff is eager to put together an unforgettable experience just for you.

Our many event spaces–including our state-of-the-art Bernstein Center for the Performing Arts–have hosted a range of eclectic groups including Hillcrest Education Centers, the Environmental Protection Agency, Berkshire County Day School, BVB's Governor's Luncheon, Todd Norian’s Deep Peace Yoga, Berkshire Creative, and even an international Shakespeare conference. We offer everything from space rentals, to behind-the-scenes tours, custom-crafted visits, actor talkbacks, and more!

Have a large group that would like to catch a play together? We offer fantastic group discounts and arrange everything for you, so all you have to do is sit back and enjoy the show. We specialize in friendly and flexible customer service, which means you and your group will feel happy and welcome throughout your visit.

Shakespeare & Company offers a unique experience for birthdays, reunions, alumni events, concerts, singles and students' groups, client entertainment, book clubs, field trips, professional and church organizations…if you can imagine it, we can do it!

Please say hello to Director of Sales David Joseph when you spot him around campus, or contact him at (413) 637-1199 ext. 132 or groupsales@shakespeare.org. And be sure to check out the website for further details on group sales, space and rental details, visit www.shakespeare.org/groups.

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I just wanted to thank you for the tremendous job you did hosting our event.

I have done many of these and worked with a host of venues, and you folks were the best!

DANA, BERKSHIRE VISITORS BUREAU

Thank you so much for all of your help bringing our students to see the plays at Shakespeare & Company. They spent a lot of time talking about how much fun they had at the different shows – we will definitely be back next year!

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Behind the Scenes Superheros!

Lights, sound, props! This fearless trio does it all.

Discover how Steve Ball, Patrick Brennan, and Michael PFeiffer keep production running smoothly at S&Co.

By Allissa Wickham Illustration by Pat O'Donnell

a masters degree in stage design at NYU at the time), jumped at the chance to ditch the city for a few days of fresh air.

ure, they’ve got your ordinary superhero powers.

Lightning speed! Cat-like reflexes! The ability to be in two places at once! But let’s see Spiderman design multiple shows in a season, tame finicky equipment with a wave of the hand, and transport an audience to another world using nothing but lights, sound, and a few carefully chosen props.

“Once we arrived at Shakespeare & Company, we learned that Tina was running a bit late,” says Ball with a smile, “so the Stage Manager gave us a forty-five minute tour of the property. I guess I impressed him somehow, because at the end of the tour I was offered a job.”

S

“It’s really not all that glamorous,” says Michael Pfeiffer, as he perches on a platform 20 feet in the air. Pfeiffer, Shakespeare & Company’s resident audio expert, and the sound designer for the majority of the Company’s shows, is standing on a mini-cherry picker (otherwise known as a “Genie”) in the middle of Founders’ stage.

Technicians use the device to hoist themselves into the theatrical stratosphere, and as Pfeiffer leans over the machine’s protective rails to reach equipment hanging from the rafters, he bears a striking resemblance to a caped crusader balancing on the side of a skyscraper. He may be wearing faded blue jeans instead of spandex, but there’s no doubt that this is the guy who makes the magic happen.

Pfeiffer is part of a dynamic behind-the-scenes trio, without whom many of the shows you’re about to enjoy wouldn’t exist. He’s accompanied in his mad genius by General Manager and Lighting Designer Steve Ball and Props Master Patrick Brennan. Together, they design countless shows, oversee a horde of staff, organize a mob of artists, and make it all look easy. Operating far from the audience’s view, these gentlemen work tirelessly to keep the gears of Shakespeare & Company spinning. They are – no exaggeration – the Behind the Scenes Superheroes.

“It’s hard work,” says Patrick Brennan who, in addition to supervising the props for every show this summer, designed the sets for Memory of Water, Women of Will, The Hollow Crown, and Red Hot Patriot: The KickAss Wit of Molly Ivins (he also assisted Jim Youngerman in building The Hound of the Baskervilles for the mainstage, and will be creating the sets for War of the Worlds and The Santaland Diaries later in the year). “But I get to be immersed in creativity and craft these beautiful worlds for an audience. Not to mention that I’m surrounded by highly creative people all the time, which is tremendous fun.”

Like the origin stories of many masked crusaders, the path to Shakespeare & Company was anything but straightforward for these three technical wizards. For General Manager Steve Ball, the journey began in the late eighties when a friend suggested he join her for a weekend escape to the Berkshires. She had landed an interview with Founding Artistic Director Tina Packer for a production job with Shakespeare & Company, and was eager for company on her trip into the country. Ball, a Florida native who had recently traded the palm trees of Miami for the concrete streets of New York (he was pursuing

What started as a Technical Director position escalated with each season. Soon, Ball was working both as Shakespeare & Company’s Production and Company Manager, and using his business savvy and gift for logistics to craft the theatre’s annual budget. By the mid2000s, his impulse trip to the country had led to a full-time job as General Manager and Lighting Designer. Under this title, Ball designs lights for nearly all of Shakespeare & Company’s Bernstein Theatre shows (as well as this summer’s mainstage production of The Hound of the Baskervilles), while simultaneously coordinating the nearly 700 artists, students, and teachers who come through the Company each year. In an ironic nod to his first interaction with S&Co., Ball also wrote a Behind the Scenes tour for Shakespeare & Company patrons, which he leads throughout July and August.

Like Ball, Props Master Patrick Brennan cites the beautiful Berkshire landscape as one of the primary reasons he came to Shakespeare & Company. Taking a break from his job as an interior designer in Boston (a place “so high-end it was boring”), Brennan drove to Lenox to visit a friend who’d been performing with the theatre. At the time, Shakespeare & Company was still located at Edith Wharton’s estate, The Mount, and when Brennan woke up in Wharton’s sun-lit bedroom the next morning, he “fell in love with the place.”

Wanting to be involved with S&Co. in any way he could, Brennan asked the Company if he might design for them the following summer. When the powers that be said yes, Brennan crafted his very first set. “It was really simple,” he says. “Basically five chairs and a table.” But it was enough to catch the eyes of S&Co.’s production staff, which led to a gig as the Set and Props Designer for the Company’s Stables Theatre and Wharton One-Acts.

For Brennan, the appeal of Shakespeare & Company lay equally with its folksiness and people. His first office was an 8’ by 8’ stall in the Stables – literally, the place where Edith Wharton had kept her horses – and featured a large drain in the center of the room.

Coming from the buttoned-up world of interior design, Shakespeare & Company’s laid-back atmosphere was a welcome relief.

“To come here in jeans and a t-shirt, and get filthy dirty while creating these sets – it was incredible fun,” says Brennan. “I remember when they were performing Midsummer in 1993, I would work specifically in the evenings, just so I could take breaks to watch the Mechanicals scenes. I must’ve seen those guys perform at least 25 times, and it never got any less funny.”

Continued on page 92…

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…Continued from page 91

General Manager and lighting designer extrordinaire Steve Ball Of course, even as the outdoor stages at The Mount burst with artistic triumphs, they were full of unique technical challenges. When a production of The Tempest called for the spirit ariel to appear on the roof overlooking the audience, the production team discovered that they couldn’t legally drill safety hooks into the historicallypreserved Mount building.

ask Pfeiffer how many shows he’s designed at S&Co., and he’ll jokingly tell you that he “doesn’t count on purpose.” From mainstage productions (richard iii, hound of the Baskervilles), to the Bernstein shows (Santaland Diaries, real inspector hound) to innumerable education projects including the Fall Festival of Shakespeare and the Courts Project, Pfeiffer is constantly blending music, vocals, and sound effects to create the perfect sonic complement to a variety of plays. He can often be found sitting in on rehearsals and preview performances, absorbing the mood of a scene while he mixes sound on his laptop.

“I’m usually doing two shows at a time,” says Pfeiffer, “so I’m hopping between rehearsal rooms. I listen to what the directors need and then I riff, because sometimes your best work comes to you when you’re not paying attention.”

“So instead we used a human counter-weight,” says Ball. “We put a stage hand in a harness, roped him to ariel, and had him brace himself near a window. The poor guy had to stay there throughout the whole show. He read a lot of comic books that summer.”

With its open wings, thrust stage, and expansive sound board, the Founders’ Theatre presents its own set of challenges – which Michael Pfeiffer discovered immediately upon joining Shakespeare & Company in 2005.

“It was the first time I worked in theatre,” said Pfeiffer, “and I had absolutely no idea what I was doing. But somehow it magically all worked out!”

Prop & set whiz Patrick Brennan Given the sheer volume of shows they’re involved with, Brennan and Ball are familiar with riffing as well. all three men are incredibly quick and efficient (indeed, ask them about each other you’ll receive a deluge of mutual praise), and they take delight in solving problems on the fly. Brennan, in particular, has a talent for transforming the old into the new with astonishing speed. His flair for recycling has decreased the production department’s amount of wasted materials dramatically, and resulted in gorgeous props made from repurposed metal and piping.

“Theatre is not a stable medium,” says Brennan. “It’s constantly King of shifting, so you have to be willing to take something apart and Sound reinvent it. and the whole time you’re thinking, how do I turn this into Michael something that will entertain an audience? How do I wow them?”

PFeiffer and that, at the end of the day, is what it all boils down to. How do Burnt out on working in freelance television production for seventeen you delight an audience without clueing them into the hundreds years (a job that took him everywhere from Boston to Malaysia, of hours of craftsmanship that went into a production? How do recording sound for various clients), Pfeiffer and his wife Jana moved you combine creative spark and technical ingenuity to create an to the Berkshires in search of something completely different. an unforgettable theatrical experience? and how do you do it all without audio buff with a penchant for dismantling electrical equipment, it keeling over at the end of the day? wasn’t long before S&Co. scooped him up to run the Founders’ sound These are the questions that Ball, Brennan, and Pfeiffer strive to board and, eventually, design shows. answer as they summon their super strength to concoct the technical “I learn by doing,” says Pfeiffer, “so jumping in head-first was the challenges of one of the most celebrated regional theatres in the best way for me to figure out how a theatrical sound system works.

Northeast. They are the few, the proud, the Behind the Scenes Luckily, Shakespeare & Company wasn’t shy about throwing me in Superheroes – making Shakespeare & Company a safe haven for the mix of things right off the bat.” curious audiences, one performance at a time.

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WEST STOCKBRIDGE A COZY VILLAGE NESTLED ON THE BANKS OF THE WILLIAMS RIVER, WEST STOCKBRIDGE OFFERS A HOST OF INTERESTING SHOPS, GALLERIES, CAFES AND MORE.

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Just five minutes from Stockbridge on Route 102, West Stockbridge is both highly accessible and just enough off the beaten path to offer a unique adventure. Visit the rustic Shaker Mill Tavern, drop by one of the pottery or art galleries, or spend the day combing through one of the town’s well-stocked antique shops.

ingredients, old-fashioned greeting cards, toys, candies, and miscellaneous sundries.

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Deshik Vansadia, Enrico Spada, Caroline Calkins and Erin Ouellette.

Get your Shakespeare On!

VISIT THE SHAKESPEARE & COMPANY

GIFT SHOP Looking for the perfect, unexpected gift?

Our gift shop has it all, from fun t-shirts to charming baby rompers, and distinctive coffee mugs to Shakespeare cookbooks.

You’ll find just what you’re looking for, to remember your visit or let your friends and family know what they missed!

oldmill Restaurant & Bar

To buy or not to buy...is that the question?

If being a buyer rests uneasy with you, imagine • your own personal shopper for a home in the Berkshires • a broker who listens and negotiates the BEST deal for you • an exclusive buyer’s broker with terrific references The real question is when will you call Jack Machanik?

Serving Dinner Tuesday - Sunday Sunday Brunch 11am-2pm Route 23, PO Box 348, South Egremont, MA 01258 413-528-1421

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Terry Moore owner/chef

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LEE CALLED THE “GATEWAY TO THE BERKSHIRES,” CHARMING LEE, MA IS ONE OF THE FIRST STOPS OFF THE MASS PIKE. Visitors can find an array of homey, delicious eateries, such as the French bistro Chez Nous or the organic Claire’s Café, located inside the Berkshire’s Green Grocer store. Unwind as you stroll along Main Street, perusing the “mom and pop” shops and admiring the First Congregational Church, which is reputed to have the tallest wooden steeple in New England.

lakeside dining J UST 5 M I NUTE S FR OM SHAKE SP E AR E & C O .

CHEF OWNED & OPERATED

LOCATED ON ROU TE 2 0 ON THE LEE/LENOX LINE

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S A L O N

Lee, MA 01238

413.243.1441

WE’D LIKE TO EXTEND SPECIAL THANKS FOR THEIR GENEROUS SUPPORT FOUNDATIONS, CORPORATE AND PRIVATE INSTITUTIONS Abe & Catherine Kaplan Philanthropic Fund Alchemy Foundation The Atlantic Philanthropies (USA) Inc. Bank of America Charitable Foundation, Inc. The Barrington Foundation, Inc. Barrow Foundation Bergen County United Way Berkshire Bank Berkshire Life Insurance Company of America Berkshire Taconic Community Foundation BNY Mellon Caligari’s Hardware Canyon Ranch In The Berkshires CEO Roundtable, LLC Combined Federal Campaign of Eastern Massachusetts Commonwealth of Massachusetts Employees Charitable Campaign Dorothy F. Thorne Foundation Dr. Robert C. and Tina Sohn Foundation F.A.O. Schwarz Family Foundation Fidelity Charitable Gift Fund Gabelli & Company, Inc. Geoffrey C. Hughes Foundation, Inc. Geraldine R. Dodge Foundation Greylock Federal Credit Union Iredale Mineral Cosmetics, Ltd. Jewish Communal Fund Jewish Community Foundation

of Greater Kansas City Jewish Foundation of Memphis The Kresge Foundation Lamar Outdoor Advertising Lee Hardware True Value Lenox School Alumni Association, Inc. LexisNexis Lily’s By Design Meadow Farm Metropolitan Opera Association Mimi and Peter Haas Fund National Endowment for the Arts Network for Good New York Community Trust Paul and Virginia Cabot Charitable Trust C/O Fiduciary Trust Price Chopper’s Golub Foundation Richards, Kibbe & Orbe, LLP The Dover Fund/Robert S. Birch Crossways Charitable Foundation/ Robert S. Birch SABIC Innovative Plastics Sander & Ray Epstein Charitable Foundation Sitcom Furniture Sunrise Foundation The T. Rowe Price Program for Charitable Giving The Bess and Israel Workman Foundation The Brownington Foundation The Community Foundation of Sarasota County

The Dayton Foundation The Edgerton Foundation The Gifted Child The Guardian Life Insurance Company of America The Hearst Foundations The Hyman Family Charitable Foundation The Jewish Endowment Foundation of Western Massachusetts The Ledgeways Charitable Trusts The San Francisco Foundation The Shubert Foundation U.S. Department of Justice Vanguard Charitable Endowment Program Yorick, Massachusetts College of Liberal Arts Shakespeare Club Zickler Family Foundation Massachusetts Cultural Council and the affiliated Cultural Councils: Lee Cultural Council Northern Berkshire Cultural Council Pittsfield Cultural Council Town of Otis Tyringham Arts Lottery Council

MATCHING GIFT COMPANIES

Aetna Foundation, Inc. AIG Matching Grants Program Albany Times Union AMD Foundation Employee Giving Program Avon Foundation Bank of America Matching Gifts Bristol-Myers Squibb Foundation ExxonMobil Foundation GE Foundation Hewlett-Packard and HP Company Foundation IBM Corporation Matching Grants Program Josiah Macy, Jr. Foundation LexisNexis The McGraw-Hill Companies Merck Partnership for Giving Pfizer REI Matching Gift Program SABIC Innovative Plastics Truist

THE BOARD OF TRUSTEES AND THE STAFF OF SHAKESPEARE & COMPANY ESPECIALLY APPRECIATE THE PRO BONO ASSISTANCE OF THE LAW FIRMS Phillip F. Heller and Lori A. Robbins Attorneys at Law, Lenox Goulston & Storrs, Boston Robins, Kaplan, Miller & Ciresi LLP, Minneapolis and New York

Their generosity is beyond measure and we are deeply grateful.

FancyPants Consignment 413-243-0011

28 Park St. • Lee, MA 01238 SHAKESPEARE.ORG

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WILLIAMSTOWN HOME TO THE CLARK ART INSTITUTE, THE TONY AWARD-WINNING WILLIAMSTOWN THEATRE FESTIVAL, AND WILLIAMS COLLEGE, WILLIAMSTOWN IS WELL WORTH A VISIT! Nestled in the heart of the Berkshire Mountains, this delightful New England town has everything from art and culture, to outdoor activities, to fine dining at fabulous eateries like the organically-focused Mezze Bar and Bistro. Bustling Spring Street offers a variety of cafés and restaurants, as well as a wide range of shops and cultural offerings including great films at Images Cinema. And nearby Mt. Greylock is the perfect spot for a picnic or nature walk. For a gorgeous view of Berkshire County and neighboring Vermont, visitors can either drive to the top of the mountain, or hike one of its many well-marked footpaths.

7.25x4.75_shakes_Layout 1 4/6/11 4:15 PM Page 1

Pop in for a movie!

50 Spring Street, Williamstown, MA

w w w. i m age s c i n e m a . o r g m ov ie lin e : 4 1 3 .4 5 8 .5 6 1 2

Pissarro’s People A different and closer look at one of the masters of French Impressionism

Sterling and Francine Clark Art Institute Williamstown, Massachusetts 413 458 2303

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Detail of Apple Harvest, 1888, by Camille Pissarro.

Dallas Museum of Art, Munger Fund

Through October 2, 2011

Facilitating Great Theatre W ith our sloping lawns and numerous theatre spaces, it takes a lot to keep Shakespeare & Company’s grounds and theatres looking beautiful throughout the year.

Lucky for us, we have a stellar facilities crew that is more than up to the task! Headed by Director of Facilities Phil Hiser, this amazing team of men and women are committed to taking care of S&Co.’s expansive property, rain or shine. From a broken window to a leaky facet, to even a troublesome tail-pipe, these folks handle it all. Without their dedication, hard work, and good humor, we couldn’t make our celebrated season happen. On behalf of all of us here at Shakespeare & Company, thank you facilities crew!

(L-R) Bruce Kupiec, Albert Hiser, Phil Hiser, and Phil Hiser III. Not pictured: Chris Bird, Rick Wood, Janet LeBlanc, Bonnie Wilson, Debra Collins, and all of our fantastic seasonal employees! Photo: Enrico Spada.

We few, we happy few, we band of brothers…

HENRY V IV.iii

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2010 SHAKESPEARE THEATRE CONFERENCE COLORADO

Kevin Coleman, Tony Simotes, Allyn Burrows, Tina Packer and Elizabeth Aspenlieder

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Kaitlyn Henderson and Ross Bennett Hurwitz in Amorous Quarrel, 2010

PLAYERS’ SOCIETY April 1, 2010 – April 30, 2011

We would like to thank all Shakespeare & Company donors for their extraordinary generosity in supporting the organization, our Capital Campaign, and our Education and Training programs.

PRODUCER ($25,000+)

Come, now, what masques, what dances shall we have.

A MIDSUMMER NIGHT'S DREAM V.ii

PLANNED GIVING A planned gift to Shakespeare & Company is a unique and personally meaningful way to support the Company and all its artistic and educational programs for years to come. Planned giving also offers beneficial tax incentives. Please consider naming Shakespeare & Company in your will or as a beneficiary to an annuity, trust, life insurance policy, or charitable remainder trust.

It is truly a gift to the future.

For more information about Planned Giving, please contact Ute DeFarlo, Director of Development, at 413-637-1199 ext. 146 or by e-mail at udefarlo@shakespeare.org.

We would like to express special thanks to Shera Cohen, Claire Cox, Gretchen DeKalb, Stuart M. Fischman, Esq., Robert and Lee Neff, Richard Russell, Dr. Raymond Schneider, and Nancy Vale for including Shakespeare & Company in their giving plans.

We also gratefully acknowledge the bequest made to Shakespeare & Company from the Estate of Marilyn Thompson.

NAMING OPTIONS & THEATRE SEATS Shakespeare & Company offers great naming opportunities, through the naming of a Garden Park Bench, a seat in Founders’ Theatre or by becoming a part of our Thousand Thousands, and more.

For more information about any of these options, please contact Bonnie Stevens, Director of the Capital Campaign, at 413-637-1199 ext. 113 or by e-mail at bstevens@shakespeare.org.

The Barrington Foundation, Inc. Jerry and Honie Berko Gene and Pamela Bernstein Jacob, Gena, Tony and Linda Bernstein Rubin Jay and Jill Bernstein Matthew and Natalie Bernstein George and Roberta Berry The Bok Family Foundation Diane Cataldo The Community Foundation of Sarasota County, Inc. from the Elayne P. Bernstein Fund Dr. Gerald and Roberta Friedman Dr. Donald and Phoebe Giddon Sarah Hancock Felda and Dena Hardymon Michael Kluger and Heidi Greene Liz and George Krupp Barnet and Phyllis Liberman Harry and Marie Mathews Rebecca and Nathan Milikowsky Michael A. and Annette Miller Karen and Charles Schader Dr. Robert C. and Tina Sohn Foundation Dorothy and Stephen Weber Anonymous

DIRECTOR ($10,000+) Deborah Benson and Frederic Marx Jane Iredale and Robert Montgomery Eleanor Lord and Margaret Wheeler Frances S. Martinson Richard A. and Jane Mescon Jay Polonksy and Kate Oppenheimer Kathleen Rogers and Rick Teller Dan and Susan Rothenberg Peter and Carol Seldin Sandra Urie and Frank Herron Antoine and Emily van Agtmael

PLATINUM ($5,000+)

Lee and Sydelle Blatt Linda Benedict Colvin in loving memory of her brother, Mark A. Benedict Claire Cox Diane Durgin Dorothy F. Thorne Foundation at the recommendation of Alison Akin Righter Lester T. Hutton Gordon and Carole Hyatt Jeffrey Konowitch and Wendy Laurin Jesse + and Dana + Lehman Mary and Kathleen Harriman Foundation Paul D. and Sherri L. Reddick Richards Kibbe & Orbe, LLC Natalie and Howard Shawn David Smith and Ranny Cooper Marilyn Thompson Fund Arthur and Andrea Waldstein Rhea and Ken Werner Anonymous

GOLD ($2,500+)

Mia Andersen, Esq. Steve, Angela, Andrew, and Natalie Bader Robert S. Birch Mr. and Mrs. Frederick C. Cabot Gretchen DeKalb Hermine Drezner and Jan Winkler Barbara and Saul Eisenberg and the Charles L. Read Foundation Sam and Betsey Farber Susan and Richard Grausman Torrence C. Harder Rebecca M. Hedgecock Jerry and Nancy Kaplan Edward P. Krugman and Ethel Klein The Levey Family Barbara A. Mahony Enid Michelman Christopher R. Morley + and Leone T. Young The Claudia & Steven Perles Family Foundation Joan and Robert Rechnitz Victoria Rhoades Dr. Robert and Esther Rosenthal Chuck Schwager and Jan Durgin Eliza Schwarz David and Marie Louise Scudder Zickler Family Foundation at the request of Arthur Rettinger in memory of Katherine Brett Rettinger

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deceased

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2010-2011 CONTRIBUTORS April 1, 2010 – April 30, 2011 BENEFACTOR ($500+) Mariaelena Parthun Adams Susan B. Aller Dr. Lawrence K. Altman Nancy and Frank Ashen Mark A. and Christine W. Baldridge Sarah Begley Ady + and Helene Berger Cindy and David Berger Lester and Ilene Bliwise John J. Bousa Patrick L. Brennan Sylvia and O. Grant Bruton Mary Campbell and James Nicoll Cooper Paula and William Caplan George and Janet Carey Robert G. Carpenter In Memory of Donna J. Carpenter James Barrese and Marie Cavanaugh Anton and Peggy Chernoff Shera Cohen Ted and Beth Comstock The Considine-Leary Family George Darey Steven Deutsch, Joyce Greenberg, and Lena Greenberg Deutsch William and Dorothy DeVoti Susan and Steven Diamond Margot and Eric Egan Cindy and Chip Elitzer Patrick Mehr and Helen Epstein Val and Tad Evans

Martin Farawell Hans Fehlmann Michael Finkelstein Bob and Debbie First Ralph and Audrey Friedner Dr. and Mrs. John Galt Paul and Cathy Goldberg Midge and Hugo Golin Donna and Bob Goodman Warren L. Habib and Alexis P. Walker Richard and Mica Hadar Ms. Bobbie Hallig Liz and John Hart Jim and Laurel Higgins Petie Hilsinger Langdon and Mark Holloway Joan and Jim Hunter Susan and Glenn Johnson Betty and Victor Jordan Kenneth H. Kaplan, M.D. Priscilla F. Kauff Howard and Nancy Kaufman Renee and Frederick Keator Mattie Kelley and Robert Fuglestad Norma and Sol D. Kugler Frank Lawler and Ann McCurdy Dr. and Mrs. Eugene Leibowitz James and Joan Levine Dede Levinson Paul London and Paula Stern Robin Magowan and Juliet Mattila Elizabeth M. Marcu

Dr. Janet and Bryan Marler Ellen and Michael Martin Richard and Barbara Midlam Judy and Richard Miller Loraine Millman Peter B. Mudge, M.D. Elissa Myers Allan and Carol Mysel Suzanne and Kenneth Nash Duncan and Beatrice Nelson Christianna Nelson Christiane Northrup, M.D. Helga S. Orthofer Tina Packer and Dennis Krausnick Elaine and Fred Panitz Carol Parrish and Paul Clark Letty and Bert Pogrebin Jonathan and Amy Poorvu William and Lia Poorvu Reisman Family James and Wesley Rice for Deb Adele P. Rodbell Abbey Rubinstein The Samuels Foundation Dr. and Mrs. Wynn A. Sayman Sayre Sheldon and Eldridge Morgan Bruce A. Sikora Roberta and Robert Silman Deborah Sims and Robert Biggs Edward and Carla Slomin Kiki Smith Mark Smith and John O'Keefe

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In Memoriam

Ady was a pure, rightous and honorable man who brought grace to the world. He was married to Helene Berger, a member of the Board of Overseers, for 55 years and together they were generous supporters and dear friends of the Company. Ady with his brotherin-law founded of Pasadena Homes in Florida, one of Broward County's leading home builders and land developers. He served the boards of numerous charitable and community organizations. He was especially passionate about the arts, particularly classical music and his beloved Berkshires. We miss his lovely smile, kindness and wonderful spirit.

JOHN C. HAAS (1918–2011)

John was one of Shakespeare & Company’s earliest friends and supporters. He and his wife Chara were life-long philanthropists and active community members, who embraced Tina and the Company with great affection and generosity. John founded and chaired the Philadelphia-based Rohm & Haas Company. We cherish his legacy.

JESSE LEHMAN 1915–2010 DANA LEHMAN 1918–2010

Shakespeare & Company had no more constant friends than Dana and Jesse Lehman, both of whom passed away last fall within two months of one another. Throughout their lives, they worked tirelessly promoting civil rights and world peace.

They especially embraced education and the arts. For more than 16 years they championed Shakespeare & Company’s performance and education programs, taking special joy in the Fall Festival of Shakespeare residency program and our work with and for younger children.

Despite increasing frailty, Jesse and Dana remained strong believers in Shakespeare & Company's mission. They will be sorely missed and lovingly remembered.

CHRISTOPHER MORLEY (1953–2010)

Chris came into our lives many years ago. He displayed a tremendous interest in the affairs of the Company, wanting to discover what made us tick.

He was always bemused by the expensive lunches with Tina! He and his wife Leone enjoyed putting people together when they were here. His deep philanthropy touched the lives of many people in the community.

He was especially fond of and dedicated to his involvement with the Falls Village Children’s Theatre. Each year, he made sure that a group of his children spent a day at Shakespeare & Company enjoying one of our Shakespeare productions. We are deeply grateful for his warm friendship, extraordinary commitment and great humor. We will always remember him with deep affections.

MARILYN THOMPSON (1928–2010)

Marilyn spent many seasons in the Berkshires enjoying performances at Shakespeare & Company with her daughter, Carol L. Edelman. For 10 years, she was a member of the Shakespeare & Volunteer Company serving in numerous positions including ushering, flower arranging, gift shop, communications and special events. Marilyn was generous and graceful and had a deep regard for the work of S&Co’s Education Department. Her memory will not soon fade from our hearts.

VICKI WINTERS (1942–2010)

AWARD-WINNING THEATRE IN DOWNTOWN PITTSFIELD

ON THE MAINSTAGE: Sponsored by

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June 15 ~ July 16 Book by Jo Swerling and Abe Burrows Music & Lyrics by Frank Loesser Based on The Idyll of Sarah Brown and characters by Damon Runyon Choreography by Joshua Bergasse Directed by John Rando WORLD PREMIERE Sponsored by Sydelle and Lee Blatt

THE BEST OF ENEMIES July 21 ~ August 6

By Mark St. Germain Inspired by The Best of Enemies

by Osha Gray Davidson Directed by Julianne Boyd

THE GAME August 11~28 Book and Lyrics by Amy Powers & David Topchik Music by Megan Cavallari Choreography by Joshua Bergasse Directed by Julianne Boyd

Mainstage Season Media Sponsor:

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Stage 2 Season Media Sponsor: Mid Day Live with Bill Sturgeon

May 18 ~ June 5 Written by and Starring Jim Brochu Sponsored by Jude Sabot

GOING TO ST. IVES June 22 ~ July 9

Vicki was a friend of Shakespeare & Company who served on the Board of Overseers from 2007 onwards. Having a background in acting herself, she and husband Larry took a special interest in the Company’s actor training offerings. She was a wonderful presence on the campus as a patron, at Overseers meetings, and as a participant in our annual reading of the Declaration of Independence on July 4th.

Her energy and presence will be missed.

"I count myself in nothing else so happy as in a soul remembering my good friends."

RICHARD II.iii

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By Lee Blessing Directed by Tyler Marchant

WORLD PREMIERE

MORMONS, MOTHERS AND MONSTERS July 14~31

Book and Lyrics by Sam Salmond Music by Will Aronson

MY NAME IS ASHER LEV

August 18 ~ September 4

Mormons, Mothers and Monsters is a production of the Musical Theatre Lab which is sponsored in part by Elayne Bernstein and Sol Schwartz and an award from the National Endowment for the Arts.

ADOLPH J. "ADY" BERGER (1929–2011)

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2010/2011 CONTRIBUTORS (FROM PAGE 102) Ms. Marsha Gray Sharon Gregory Erica and Richard Gurfein Bill and Susan Hadge Carmela and Paul Haklisch Phyllis Hammer Scott and Ellen Hand David Hapgood Scott and Stephanie Hedges Raymond L. Held Yona Hermann Maureen and Paul J. Hickey Ann and John Higgins Peter E. Hilton Susie and Stuart Hirshfield Dassie and Arthur Hoffman Carol and John Hudson Robert and Selma Josell Michael P. Kahn Family Foundation Joseph and Jeanne Kaiser-Brown Louise and George Kaminow Martin and Wendy Kaplan Drs. Joel and Carol Kaufman Lynn Keenan Lynne Hope Klein Nedra and Richard Koplin Marcia and Malvin Krupitsky Bob Lee and Rebecca Pugh Jay Levin Arleen Levine Alan and Melanie Levitan Kristin Linklater John and Nina Lipkowitz Ben and Sharon Liptzin Nick and Jenny Littlefield

Christopher L. Magee and Jo Anne Huntley Magee Michele and Steven Marantz Judy and Don Marcus Brian and Lara Margolis Robinson Markel and Joan E. Mintz Kim and Judith Maxwell Mary Anne Mayo and Stephen J. Nelson Barbara McCullough Kathryn Ann McDonald Jaan and Jacqueline Metsma Magda Mininberg Alan and Alice Model Selina Morris and Ken Grinspoon Susan Crooks Neville Carol and Michael Ochs Mary Ellen and John O'Connor Daniel Perry James Pert Sharon and Irving Picard Judith Pierson Penny and Claudio Pincus Susan Pinsky and Marc and Clement Rosen Charles Popper, M.D. Noni Pratt Sue Z. Rudd Rita L. Russell Miguel and Linda Sandoval Gerald and Stephanie Schamess Hallie Schroeder Frederick and Jean Schroeder Gil and Debbie Schwartzberg Gwendolyn A. Schwinke Barbara and Donald Shack

Dr. Michael and Jean S. Shirley Hannah and Walter Shmerler Alice Siegel, M.D. and Marvin Kaplan, M.D. Dr. Karen L. Siegel Gail and Leonard Silverman Adrienne and Joseph Silverstein Dr. Richard Simpson Eugene A. Skowronski Lyn Dohaney and Jerry Skurla Michael Steese Martha and Ron Stewart Damie and Diane Stillman Brenda and Greg Stone Martha S. Strohl Leo and Joanne Thomas Lisa Tromovitch Alexandra Warshaw Jane A. Weingarten Albert and Muriel Wermuth Jacqueline R. Werner Paul D. Wexler Ali and Ben Wheeler Anne and Arthur Wichman Anonymous

CONTRIBUTOR ($100+) Mary Ackerly Marion F. Adler Virginia Simpson Aisner Alchemy Foundation Anne Z. Allen Barbara Faith Alperin Toby and Ronald Altman Alan and Donna Altschuler

Robert C. Anderson Walter and Eleanor Angoff Hannah and Leonard Antiles Gail and Joel Appelbaum Martin and Geila Aronson Judge and Mrs. Jeffrey Atlas Sheila Auslander Beverly and Lawrence Bader Fred and Lisa Baker Nan B. and Donald S. Barcan Linda and Michael Barnas Miranda Barry Edward and Nancy Barsa Barbara and Stuart Bartle Doree Barton and Daniel Bernstein Joseph and Evalyn Basloe Joel and Janet Bauer Beth and Robert Belkin Linda and Robert Benton Laura Bentz Shelley and Bob Berend David Bergeron Norman and Phyllis Berk Bernard Berkowitz, Ph.D. Roy and Amy Bernstein Walter and Hildi Black Noel and Paula Blagg Dianne and Michael Blau Roger and Anne Bogart Carolyn and Nelson Bonheim Paul and Joanne Bourdeau Karen Bovard Patricia and James Bramley Clare and Carl Brandt Jay and Jane Braus

David and Luz Bravo-Gleicher Nancy Brennan William E. Briggs and Donald Usher Judy and Simeon Brinberg Esther and Jack Budnick Joan and Dan Burkhard T. Kevin Burns Russell and Susan Burns Jonathan and Andrea Bursaw Nancy Burstein Walter Campbell Linda Cantoni Richard Carp John and Kathleen Case Donna and Paul Castellani Cerio Family Barbara Cernak and Rob Sanducci Antonia H. Chayes Hope Childs Neil and Kathleen Chrisman John K. Clark and Judy M. Stoughton Ann and John Cohen Seth Cohen and Deborah Spey Arthur N. Collins Merry Conway Lisa Correa Kathleen Cortner Eleanor Cress Alice Cronin-Golomb Michael and Constance Cunningham Mary Ellen Czerniak and Jerry Bope Meaghan Brown Daley Milton and Martha Dalitzky Family Foundation Andrea Lee Davis

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2010/2011 CONTRIBUTORS (FROM PAGE 104) Robert and Annmarie Davis Bruce Davis Emilie and Raul de Brigard Allan Dean and Julie Shapiro Michael and Marilyn Dee Philip and Hilary Deely William Degen Lile H. Deinard Jacqueline Del Rossi and Lewis Friedman Marilyn and Robert DeRight Susan Diamond Joan and John Dighton Winnie Dimock Kathleen Doe Joanne and Gerald Dreher Stefan Dreisbach-Williams Bonnie Drewniany Christine Dwyer Joe Tom Easley and Peter Freiberg Juliette and Leonard Eiger Richard Einhorn and Amy Singer Dr. and Mrs. T. Donald Eisenstein Carole and Richard Eisner Ann Eldridge Clinton and Elizabeth Elliott Mr. and Mrs. R. Anthony Elson Monroe and Elise England Jonathan Epstein and Ariel Bock Laurily Epstein Jean Fuller Farrington Michael and Theresa Fasano David and "Mike" Faust Harley G. Featherston Marc and Joan Feeley Marty and Paulette Feit Diana and Stanley Feld Beverly and Alan Fendrick Mark P. Fennessy Jim and Pat Fingeroth Bruce Finke and Beth Coates Mr. and Mrs. Henry A. Flint Mary K. and Woody Flowers John and Barbara Flynn Jacqueline Fowler Kenneth and Linda Frank Carol Fremont-Smith

Madalyn and Steve Friedberg Ruth Friendly Jerry and Maryjane Fromm Margery Gans Herbert Geismar Ellie and Eric Gelman Bernice and Seymour Gendelman Seymour Gilbert and Erna Lindner-Gilbert Barbara Glasser Dr. and Mrs. Robert Glorioso Robert Glosenger Barbara Gold Karen and Hank Gold Kathleen Goldbach Amy and Ronald Goldberger Lynn Goldman Ron and Vivien Goldman Sherwood and Judith Gorbach Christine Mack Gordon Sheila Gordon and Robin Elliott Samuel Gorovitz David and Patricia Gosda Nancy and Peter Gossels Shimshon Gottesfeld and Marcia Zalbowitz Phillip Gottlieb Harry L. Gracey and Mary Belle Fisher Patricia and Alan Graham-Collier Amy Gray Carrie Greene and James McAllister Thomas and Jill Groff Marguerite Gulick Richard and Arlene Haft David and Patricia Hall Myrna and Alden Hammerling David A. Harris Janice and Jim Harvey Scott Haskell and Anne Occhipinti Dan Hazen and Ruth Tucker Bob and Aleva Henderson Robert J. Henry, M.D. Lisa and Ray Hiley Lee and Dorothy Hill Mary Hocken Peter and Phyllis Hofman Hans and Myna Homburger

Paul and Susan Houpt John Huppertz and Diane Mastin Carol Price Husten John and Janet Hutchison Allen and Valerie Hyman Marty Isserlis Mary E. Jacqua Gail and Ken Jaffe Arlene and Harry Jaroslaw Kevin and Moira Jones Gordon and Susan Josephson Dr. and Mrs. Stuart M. Kaback Rachel Kadish George and Barbara Kafka Sally H. Kahn Chet and Vera Kalm Dr. and Mrs. Roger Kane Kathleen Flynn-Kasuba and Mark Kasuba Ruth and Donald Katzner Rosalind and Richard Kaufman Rita and Phil Kaye Msgr. Leo A. Kelty Sally Kneipp and Ray Finley Phil and Eileen Knowles William and Diana Knox Don, Andrea and Miranda Knutson John E. Kochanowski Martin Konowitch and Barbara Jones Gail Kotler Lawrence and Roberta Krakoff Nancy A. Kramer Margaret and Richard Kronenberg Dr. Stuart and Carol Kuller Fred and Barbara Lafer Barry M. Lamont, M.D. Fran and Ira Lapidus Bill and Joanna Larmon Sandra Larson Richard and Edith Lasner Steve and Alice Lawrence Joan R. Lea Kathleen G. Lee Alan and Susan Leff Joan Leftwich Elizabeth and Alan Legatt Estelle and Ephraim Leibowitz

Rick and Jean Leif Monica and Rob Lender Jeffrey Leppo and Marjorie Safran Dolores Lerman Michele Lettiere Edward M. and Marjorie B. Levin Andy and Toby Levine Richard Levinson Michael and Dorothy Lewis Carol and Lance Liebman Stephen and Zelda Litwin Keith and Emiley Lockhart James Lortsher and Kathleen Quinn Henry and Kenneth Louria Nancy Ludmerer and Malcolm Spector Leslie and R.J. Lyman Michael and Janet Magnifico Rochelle Malinoff and Paul Dygert Richard and Candace Mandel Janet and Herbert Mann Paul and Carolyn Maramaldi Ann and Ben Marcus Sol and Paula Marenberg Jon and Rosemary Masters Carol Matorin Kenneth and Katja Mayer Gayle Mazursky Sara B. McCain Darlene and Jim McCampbell James T. and Helen L. McCarthy Dr. and Mrs. Judson McCune Betsey and David McKearnan Joyce and Harry McLaughlin Anne B. Meczywor Jane W. Meisel James Melius Rolf Meyersohn Joseph and Sonia Michelson Alan and Nancy Milbauer Sumner Milender and Edith Michelson Alan and Judy Miller Mr. and Mrs. Charles Miller Estelle Miller John and Marcia Miner Ileene Mittleman and Wynn Murrell Kate Moller David and Joann Monk

Jan and Harold Moskowitz Richard and Rosemarie Myerson Alice and Manny Nadelman Rae H. Nadler Harvey and Susan Nagler Elisa and Wade Narin Van Court Jill and Hank Narrow Irvin Nathan and Judith Walter Robert and Lee Neff Gale Nigrosh and Robert Sakakeeny H. Richard and Dana Noble Kim Noltemy Tom and Ann Northrup Paul and Deborah O'Brien Dr. Peter Ofner and Nancy Amstutz Edward and Carolyn O'Malley Lesley Oransky Michael and Judith Orenstein Mr. and Mrs. W. James Orovitz James Overmyer and Ellen Weiden Virginia and David Packer Dial Parrott Dr. Richard Pasternak Shela Pearl Jane and Larry Pellish David Peretz William and Marina Perry Kaethe Peters Stephen and Patricia Peters Mr. and Mrs. Carl A. Pforzheimer Heather and Brian Phillips David Pilbeam and Maryellen Ruvolo Dr. Theodore Pincus Jane L. Polin Janis Porter and Stephen Naber Mary E. Porter Margaret and David Poutasse Shirley and Bill Powers Jane W. and Daniel H. Present, M.D. Susan Price Ilene and Michael Prokup Nicholas J. Puma Jr. and Linda Caffin Richard Ranti and Laura Ahlbeck Joyce and Michael Rappeport Janet and John Rausch Mr. George Raymond Charles and Diana Redfern

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2010/2011 CONTRIBUTORS (FROM PAGE 106) Susan and David Saul Raquel and Michael Scheck Bill and Louise Scheuerman Gary Schieneman and Susan Fisher Justine and Harvey Tuesday-Thursday 4:00 pmSchussler - 9:00 pm Friday-Saturday 4:00 pmM.D. -10:00 pm James G. Schwade Sunday Margo and Jack 4:00Schwartz pm - 9:00 pm Sunny Schwartz Debra and John Sculley Martha and William Selke Betsey and Mark Selkowitz Phyllis Selnick Carol and Richard Seltzer Honorable and Mrs. Bruce M. Selya David and Judith Sensibar Ann and Robert Sepcilka Donald and Arlene Shapiro Miles and Eleanor Shore Timothy and Frances Shuker-Haines Carl and Claudia Shuster Peter A. Siedlecki and Lynette N. Mende Dr. Karen L. Siegel Susan Silver Lawrence Silverman Simons Family Jane and Arthur Singer Mark Slotkin

Bill and Jan Reid Frederick and Bonnie Rich Karina Ricker Phyllis and Reuben Rivlin George and Zara Roberts 448.2095 William J. and Paula H. Rooks outh St. Pittsfield, Rosemarie V.MA Rosen Rhoda and Ted Rosenblatt Syrille and Paul Rosman Laura Rotenberg and Jeff Yeager Doris and Lester Rothman Alan and Debora Rottenberg Ellen and Peter Rowntree John and Martha Rozett Ernest Rubenstein and Tova Friedler Usdan Ken and Fran Rubenstein Mr. and Mrs. Harvey Rubin Norma Ruffer Ellen Fitzpatrick Runge Linda and Frank Russell Jane Ryan Kristina and David Sachs Mr. and Mrs. Richard G. Safran Kim and Fernando Salazar Myra Sallet Jane and Barry Salzberg

tion A

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Marjorie Wexler Norma Propp Tulgan and Henry Tulgan Gerald W. Smetana, M.D. Craig and Muriel White Mary Ann Turney Alan Solomon Cynthia Wick and Channing Gibson Nan and David Vacheron Norman Solomon, M.D. Warren and Myra Widmann Jo Valens Chiyo and Paul Soroken Hannelore Wilfert Moschner Mrs. Helga Valigorsky Elise and Alan Sosenko Tuesday-Thursday 4:00and pm -Karl 9:00 pm Friday-Saturday 4:00 pm -10:00 pm Eric C. Williams Bessel A. vander Kolk MD Renee M. Speltz 413.448.2095 Sunday 4:00 pm - 9:00 pm 1015 South St. Pittsfield, MA M. Jane Williams Harold E. Varmus Edith Springer and Lavinia Chase Dr. and Mrs. Randall S. Winn Guillermo and Martha Vicens Nancy and Arthur Stampleman Cherie L. Winner Gregory Votaw Michael Staub and Robin Ratcliff Alison E. Wondriska Barry Waldorf and Stanley Gotlin Diana A. Steele and Eric J. Heyer Burns and Kathy Woodward M. Burke Walker Paul and Doris Steenstrup Jerome and Catherine Yavarkovsky Mr. Michael Steinberg Marilyn and Ron Walter Young Family Jan and Lowell Steinbrenner Dr. Andrew and Lynn Warheit Martin H. Zafman Dan and Helene Sterling Judy Drasin and Bob Washburn Benjamin Zelermyer Laura and Edward Stettner Louise and Ira Wasserberg and Dianne Selditch Jane Bucci Stewart Joan Weberman and Roy Lennox Barton and Louise Wechsler Anne Zimmerman Francine Lida Stone Eileen Weinberg Faith and Al Zubasky Esta-Lee and Harris E. Stone Andrew Weinberger Richard and Gloria Zupcak Lawrence Strauss and Meredith Sue Willis Anonymous (13) and Francine Weinberg Brian H. and Kolleen M. Weinrich Gail Street and Anita Stuart We also gratefully acknowledge the Gail and Roney Weis Robert and Sally Sugarman generosity of so many friends of the Erica Weiss and Eddie Shapiro Barbara A. Syer organization whose gifts of under Larry Weiss and Jerry Bowles Peter Tassia and Maija Lutz $100 make a difference every year!

Robert and Claudia Wells Sheila and Martin Terens Lynda F. Wertheim Paul Thaler and Linda Batchelor + deceased Jeffrey and Louise West Jahala Ann Tomaselli

Option B

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A Werthy Fellow

Chef Ron offers nourishment to the masses.

A

By ENRICO SPADA

s an actor in Shakespeare & Company’s Young Company many years ago—playing Leontes in The Winter’s Tale directed by Director of Education Kevin G. Coleman—17-year-old Ron Werth never could have imagined that he’d one day return to S&Co., not only as the master of the theatre's box office, but of its kitchen, too.

He certainly has a lot on his plate. “I’m in charge of anything that has a ticket and anything that has food. Which is a lot of things,” says Werth, who is the Company’s first-ever Ticketing & Food Services Manager. This summer he will manage a staff of twenty to operate the Company's three box office locations, two bars and concession areas, and the industrial kitchen in the Lawrence Hall dormitory, out of which he feeds dozens of actors, students, and event guests throughout the year.

For Ron Werth, the job is an amalgamation of two stages in his life.

Following his Young Company days, Werth worked in Shakespeare & Company’s box office for a brief period, before moving on to a talent agency in NYC where he helped book comedians on television and cast children in commercials. Eventually, after receiving a degree in Arts Management from MCLA, Werth returned to Shakespeare & 110

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Company as the Box Office Manager, assisting the company during its transition from The Mount to its current home on Kemble Street.

Hungering for a change of pace, Werth then enrolled at the Culinary Institute of America. Perhaps not the most obvious step, but it made sense at the time. “I was at a point in my life where theatre and entertainment were all that I’d ever done. I wanted to try something else, and I loved cooking and going out to eat,” he says. “It was a dramatic switch but it worked out.”

Indeed, but it wouldn’t appear so at first.

After working as a line cook at a resort, and then as a chef for an assisted living facility in Florida (a difficult environment, to say the least), Werth was again looking for a change. And so he contacted Shakespeare & Company. “I emailed Steve Ball [S&Co’s General Manager, see page 90] and asked, ‘do you have anything available?

Box office, I don’t care—anything.’” Fortune had it that his email arrived just as Shakespeare & Company was looking for a new head chef, so Ron Werth was hired back.

As it turns out, returning to his roots was the best move Werth could have made. Cooking for Shakespeare & Company’s hungry actors— who truly appreciate his work—Werth is rather content. “It made me fall in love with food again,” he says.

PITTSFIELD

Case in point: “This January, one of the actors [in Shakespeare & Company’s Month-long Intensive] said to me, ‘Ron, when I eat food out of your kitchen, I feel like it’s cooked by somebody that loves me.’ And that feeling is the best feeling in the world.”

But how did he end up taking over the box office too? Last summer, as his chef contract was coming to an end, the position of Ticketing Services Manager opened up. Having held the position before, Werth was the obvious choice, so he was quickly tapped to helm the box office ship. Now, he says, he’s happy to finally be a full-fledged Shakespeare & Company Artist-Manager. His art just happens to be on a plate instead of the stage.

“I like creating. I like the challenge of going into the cooler and seeing what's there and coming up with something,” says Werth.

“Or the challenge of, ‘oh, we don't have this? Well we can make the same thing if we use this instead.’”

Patrons can experience Werth’s art during this summer's Saturday night Midsummer Night's Meals, or before our Lunchbox Shakespeare production, The Two Gentlemen of Verona. Feel free to stop by Mike’s Place (in the Bernstein Theatre lobby) during lunch hours to pick up a sandwich and say “hi” to Chef Ron, who’ll be happy to see you.

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“There's something meaningful about cooking here,” says Werth.

“When somebody comes to see something at Shakespeare & Company, we're nourishing their minds. When somebody eats something at Shakespeare & Company, I like to think we’re nourishing their body.”

The authentic flavors of Pompeian brick oven cooking & grilling savored in an elegant rustic ambiance.

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413.499.1192 Trattoria-Rustica.com 26 McKay Street, Pittsfield. Dinner daily 5 pm (closed Tuesday)

Cooking at S&Co. “made me fall in love with food again,” says Werth.

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WHO’S WHO KATE ABBRUZZESE second season (Rosaline/ Paris’ page in Romeo and Juliet) recently graduated Vassar College where she studied psychology, literature, and drama while performing and directing in the Vassar College Shakespeare Troupe, Vassar Improv, and Philaletheis Society. She received the Molly Thatcher Kazan Memorial Prize for her portrayal of Lady Macbeth in the college’s all-female production of Macbeth. Kate spent two summers at the critically acclaimed Hudson Valley Shakespeare Festival, performing the roles of Helen in Cymbeline, Lychorida in Pericles, and Perdita in The Winter’s Tale, and has since bounded across the nation to play Portia (Julius Caesar), Sylvia (Sylvia), Desdemona (Othello), and most recently, Hamlet in Shakespeare & Company’s 2011 educational tour of Hamlet.

ELIZABETH ASPENLIEDER* sixteenth season (Catherine in The Memory of Water; Ensemble in The Hollow Crown; Ensemble in War of the Worlds. Communications Director/ Artistic Associate) S&Co: The Winter’s Tale (Hermione), Les Liaisons Dangereuses (Marquise de Merteuil), Bad Dates (Haley), The Ladies Man (Suzanne), Othello (Bianca), Rough Crossing (Natasha), The Merry Wives of Windsor (Mistress Ford); Ice Glen (Dulce); The Comedy of Errors (Adrianna), Much Ado About Nothing (Margaret),

KATE ABBRUZZESE

King Lear (Regan), Ethan Frome (Mattie), The Valley of Decision (Fulvia), A Midsummer Night’s Dream (Hermia), A Tanglewood Tale (Sophia), Twelfth Night (Antonia), Richard III (Anne), All’s Well That Ends Well (Helena), Wit (Susie), The Winter’s Tale (Perdita), Mercy (Annie), Much Ado About Nothing (Ursula), and Pericles (Thaisa/Diana). Regional: Boston Theatre Works: Angels in America (Angel/Nurse) and Emilia (Othello); Mixed Company: Ten Minutes in the Berkshires Play Festival(s). Canada: Eccentricities of a Nightingale (Alma), Brighton Beach Memoirs (Nora), Fifth of July (Shirley), Ludlow Fair (Rachel). Independent Films: Trigger Finger; Seriously Twisted. Elizabeth won the 2009 Elliot Norton Award for her performance in Bad Dates at Merrimack Repertory and S&Co., and was nominated for an I.R.N.E. award for the same role. She also provides the voices for commercials and animated features.

JASON ASPREY* seventeenth season (Frank in The Memory of Water, Ensemble in The Hollow Crown, Summer Training Institute Faculty) S&Co: The Winter’s Tale (Autolycus), Richard III (Lord Hastings/Oxford), Hamlet (Title Role), White People (Alan Harris), All’s Well That Ends Well (Bertram), Rough Crossing (Gal), Blue/Orange (Bruce), The Mission of Jane (Julian Lethbury), The Promise (Jean Le Fanois), As You Like It (Oliver/Corin), Comedy of Errors (Angelo), King Lear (Edgar), Much Ado About

ELIZABETH ASPENLIEDER*

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Nothing (DonJohn/Sexton), Henry V (Fluellen), A Midsummer Night’s Dream (Puck), Macbeth (Macduff), and Julius Caesar (Antony). Regional: Julius Caesar (Cassius) at Shakespeare Now, Betrayal (Robert) at Nora Theatre, Einstein’s Dreams (Eduard Einstein) at Culture Project NYC, A Life in the Theatre (John) and The End of the Day (Grayden Massey) at Ensemble Theatre, Romeo and Juliet (Mercutio) at Swine Palace; also Knightbridge Theatre, Orpheum Theatre, Los Angeles Theatre Center, Mixed Company, and theatre in England, where he has also worked in TV and film.

STEPHEN BALL twenty-third season (Lighting Designer for The Memory of Water, The Hollow Crown, Red Hot Patriot, The Hound of the Baskervilles, War of the Worlds, The Santaland Diaries, The Learned Ladies; General Manager) Lighting & Set Designs: Boston, Falmouth, Foxboro, and Lenox, MA; Sharon, CT; New York, NY; New Hope, PA; Marietta, GA; Miami, FL; lighting for last season’s Julius Caesar, Mengelberg and Mahler, Sea Marks, Bad Dates, Real Inspector Hound and Mystery of Irma Vep. Executive Education in non-profit management, Harvard’s Kennedy School; M.B.A., University of Miami; M.F.A., N.Y.U.’s Tisch School. Steve proudly holds the 2002 Achievement Award from the Town of Ripton, MA, Candlelight Council.

BILL BARCLAY ninth season (Director, Composer, Adaptor, EverymanActor; Tanglewood

JASON ASPREY*

Liaison) At Shakespeare & Co.: Over 20 productions including Rough Crossing (Adam Adam), King John (title role, ‘01), Richard III (Ratcliffe), Winter’s Tale, All’s Well That Ends Well, Antony & Cleopatra, King John (‘05), Twelfth Night, and many others as Composer and Sound Designer. Artistic Associate and member of the Resident Acting Company at the Actors’ Shakespeare Project (7 seasons) including Henry IV Pts. I & II (Prince Hal), Timon of Athens (Director), and over a dozen others. Other credits include: Shakespeare’s Globe in London (Much Ado), The Mercury Theatre in Colchester, England as composer and actor, in New York at La MaMa, 4th St Theatre, and Theatre Row, and many other theatres throughout the country including The Huntington Theatre Co., The Olney Theatre Center, North Shore Music Theatre, W.H.A.T., Vineyard Playhouse and Connecticut Rep. Bill is a twotime recipient of the grant Meet the Composer, and is a past winner of the Fox Foundation Resident Actor Fellowship, the nation’s largest grant for actors. MFA Boston University School of Theatre.

JOHN BARTON (Playwright, The Hollow Crown) has been an active director of the RSC for over 40 years. He directed over 30 productions either on his own or as a collaborator with Sir Peter Hall and Trevor Nunn.

Some landmark productions at the RSC include

BILL BARCLAY

1969’s Twelfth Night with Judi Dench as Viola and Donald Sinden as Malvolio and 1970s’s A Midsummer Night’s Dream with Patrick Stewart as Oberon. John Barton possesses an encyclopaedic knowledge of Shakespeare and is known to be able to identify one of his plays from a single line of text.

STARLA BENFORD* first season (Nurse in Romeo and Juliet) Broadway/National Tour Credits: Macbeth, Cat on a Hot Tin Roof, Streetcar Named Desire, Vagina Monologues (1st National Tour, League of Broadway Theatre’s Nomination). International/Regional Credits: Doubt, Irish Premier/Abby Theatre, Dublin; Death of a Salesman, Yale Rep; Hold Please, Old Globe Theatre; The Crucible, Barrington Stage Co; From The Mississippi Delta, Stanford Theatreworks/Connecticut Critics Circle Award; Anthony & Cleopatra, Shakespeare Theatre; The Orestia, ART. Film/ TV Credits: Half Nelson, United 93, A Perfect Murder, 13, Our Song, Nurse Jackie, Rescue Me, L&O, SVU/CI, and numerous daytime soaps. Graduate of American Repertory Theatre at Harvard University.

five sets in the Bernstein Theater between now and December. (He is very busy. He has to get back to work.)

NICHOLAS BUSSETT second season (Stage Manager for The Venetian Twins; Company Manager) Nick recently returned from his second contract with Actors Theatre of Louisville, where he worked on the Humana Festival production of Maple & Vine by Jordan Harrison. He has also traveled to the Edinburgh Fringe Festival as a Production Stage Manager. Nick is a graduate of Western Connecticut State University, and holds a BA in Theatre Arts Management.

ERIN EVA BUTCHER second season (Performance Intern, The Two Gentlemen of Verona and EveryActor) S&Co: Amiens (As You Like It) Holds a BA in Theatre from BaldwinWallace College, proud Alumni of the 2010 Conservatory. She would like to thank her family, friends, and the Training Faculty for helping her expand the realm of what is possible.

PATRICK BRENNAN eighth season (Set Designer for Memory of Water, Red Hot Patriot, War of the Worlds and The Santaland Diaries; Props Master; Board of Trustees) Patrick is thrilled to be back to provide all props for the 2011-12 season and has the honor of designing

CAROLINE CALKINS first season (Columbina in The Venetian Twins; Riotous Youth Faculty) S&Co: Shakespeare and the Language that Shaped a World, Elementary School Residencies (Education Artist). Caroline first came to S&Co as a member of Summer Young Company ‘06.

She graduated from Brown University (BA Theater Arts), where favorite plays included: The Other Shore (Ensemble), The Skriker (Skriker),

STARLA BENFORD *

ERIN EVA BUTCHER

and The Learned Ladies (Vadius). Other training: NTI, SITI Company.

KEVIN G. COLEMAN founding member (Director of The Memory of Water; Director of Education) teaches text analysis, stage combat, clown and directing. Kevin has been a guest teacher and director at the American Stage Company, MIT, Harvard, UMass/Boston,

L.S.U., SUNY/Albany, Stanford University, Shenandoah Shakespeare, Queensland University of Technology-Brisbane, Australia, Lincoln Center, the Folger Library in Washington, DC, the Stratford Festival in Ontario, and the Mercury Theatre in Colchester, UK. Kevin is the Project Director for the National Institute on Teaching Shakespeare, a program funded by the National Endowment for the Humanities where high school teachers from across the nation train with the master teachers of Shakespeare & Company and internationally renowned scholars in a month-long, intensive workshop.

Shakespeare & Company’s Education Program has been recognized by the President’s Council on the Arts and Humanities, the MacArthur Foundation and the GE Foundation as a “Champion of Change” in Arts in Learning. It also received the Commonwealth Award, the highest honor awarded by the Massachusetts Cultural Council for contributions to the quality of life for Mass. residents in the arts, humanities and sciences. He was recently honored at the White House for the Education Program’s work with juvenile offenders which received the Coming Up Taller award. He has also received the Teaching Artist Award for Theatre from Massachusetts. Outside the Education Program, Kevin is the Theatre Director at the Austen Riggs Center where he has directed more than 30 productions. Kevin holds degrees from St. Louis University and NYU.

CAROLINE CALKINS

KEVIN G. COLEMAN

STEVEN CANNY (Co-playwright, The Hound of the Baskervilles) is a director, playwright and frequent collaborator with Peepolykus, an award-winning international theatre company based in England. Collaborations include: SPYSKI! and The Hound of the Baskervilles with John Nicholson. Steven is a founding member of Hullaballo and Rollercoaster theatre companies and associate director of GRiP Theatre.

WILL CLELAND second season (Lighting Designer for The Two Gentlemen of Verona; Bernstein Theatre Master Electrician) S&Co: The Comedy of Errors. North East Shakespeare Ensemble: Lighting designer for Comedy of Errors and Waiting for Godot. Master Electrician for King Lear and Much Ado about Nothing.

Opera North: Master Electrician for Carmen, The Barber of Seville, The Magic Flute, Madame Butterfly, Falstaff, Turandot, Albert Herring, Il Trovatore. William is a native of Vermont and has been lighting for theater and photography since 1998.

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WHO’S WHO FROM PAGE 113 WOLFE COLEMAN eleventh season (Paris in Romeo and Juliet, Ensemble in As You Like It) first appeared in Macbeth performed at the Mount in 1996. Since then he has had many swordfights, worn the red nose, wooed a lady or three, laughed at gilded butterflies, strutted, fretted, and had a clever bit with an umbrella.

His favorite misadventures at S&Co. were had with the Very Young Company, the most riotous of youths.

WESLEY COOPER first season (Ensemble in Romeo and Juliet) is intoxicated to be appearing in his first Mainstage show. He debuted at S&Co as part of the Very Young Company and

was seen as Touchstone in The Conservatory at S&Co’s production of As You Like It (Fall 2010).

He would like to thank his parents and loved ones for their support. This performance is dedicated to his mother.

DENIS COUILLARD first season (Performance Intern, The Two Gentlemen of Verona and EveryActor). Selected credits include: Alchemy Theatre: Lafew/Duke, All’s Well That Ends Well. Real Theatre: La Duchess, La Duchesse de Langais, Nash, The Story of a Sinking Man. Acanthus Theatre: Lomov, The Proposal, Nyukhin, The Evils Of Tobacco. Trigoran, The Seagull, ASM Productions. Denis wrote and performed two one man shows: Exit This Way and Safe Word which won the award

for Best New Original Script at Montreal’s Harvest Festival.

HEATHER R. COULTER fifth season (ASM for Romeo and Juliet and As You Like It; Company Management/General Management Assistant) Heather has been involved with Shakespeare & Company since 2002, when she participated in Fall Festival and Young Company. In addition to serving as Assistant Production Manager at the end of the 2009 season, her stage management credits include: A Midsummer Night’s Dream (ASM), The Goatwoman of Corvis County (2nd ASM), Pinter’s Mirror (ASM), The Winter’s Tale (2nd ASM) and Richard III (2nd ASM).

WOLFE COLEMAN

WESLEY COOPER

JONATHAN CROY* twenty-sixth season (Corin in As You Like It, Watson in The Hound of the Baskervilles; Ensemble in War of the Worlds; Youth Programs Director). A Company member since 1982, Jon has played more than 60 roles in over 50 plays, including Rough Crossing (Turai), The Merry Wives of Windsor (Dr. Caius), The Taming of the Shrew (Baptista), Much Ado About Nothing (Don Pedro), Henry V (Pistol/French King), The Tempest (Caliban), Complete Works abridged (Jon), Twelfth Night (Orsino), Richard III (Buckingham), A Midsummer Night’s Dream (Bottom), Comedy of Errors (Dromio of Syracuse), Custom of the Country (Elmer Moffat), Twelfth Night (Aguecheek), Macbeth (title role), and Much Ado About Nothing (Benedick). Directing credits include Richard III, The Real Inspector

DENIS COUILLARD

JONATHAN CROY *

KELLEY CURRAN *

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Hound, Twelfth Night and Scapin, along with many New England Tours, Shakespeare in the Courts programs, Summer Institute productions, Young Company performances, and more than 40 others in Residencies. Jon has directed professionally in Chicago, Milwaukee and North Carolina...and has acted at the NY Shakespeare Festival, Missouri Rep, NC Shakespeare Festival, Virginia Shakespeare Festival, Indiana Rep, St. Louis Rep, Milwaukee Rep, Playmakers Rep, the Studio Arena, The Woodstock Playhouse, The Actors’ Theatre, the Actors’ Warehouse, and the Actors’ Lab...others, too, with stranger names: Sparkplug Stage Co., The New Theatre Co., Monkeywrench Productions, Twentieth Century, ComedyCo., The Lighter Side Theater Co. KELLEY CURRAN* first season (Lady Capulet in Romeo and Juliet, Celia in As You Like It) Off-Broadway: Angels In America (Signature Theatre Company - Lucille Lortel Award, Drama League nom.), Henry V (New Victory), Jane Eyre, The Spy, The Tempest, Moby Dick–Rehearsed (The Acting Company), Knives & Spoons Go On the Right (59E59), Violent Delights (The Public).

Regional: The Guthrie, McCarter Theatre, Alabama Shakespeare Festival, Arizona Theatre Company, The Barnstormers Theatre. Film: Still On the Road. Training: B.A., Fordham at Lincoln Center, The Public Theater Shakespeare Lab, The British American Dramatic Academy at Oxford.

Honors: 2005 Princess Grace Award Nominee.

PAUL D’AGOSTINO

PAUL D’AGOSTINO fourth season (Ensemble in Romeo and Juliet, Riotous Youth Director ) Paul is grateful to be working again with Shakespeare & Company, where his previous credits include: Hamlet, Richard III, The Amorous Quarrel, Romeo & Juliet, Toad of Toad Hall, and A Midsummer Night’s Dream. In Boston, Paul has worked with Speakeasy Stage, Gloucester Stage, and The Devanaughn Theatre, the Boston Playwrights Theatre, and the Metro Stage Company. Training includes: Shakespeare & Company (‘04), Gordon College (‘05), and The Boston Conservatory (‘07).

You, A Soldier’s Play, Harpers Ferry, Proof, True West, Saint Joan, Refuge, The 5th of July, On the Razzle.

CHRISTIAN DALY first season (Performance Intern, The Two Gentlemen of Verona and EveryActor) Christian is entering his fourth year at UNCSA’s Undergraduate Acting Program.

Training: William Esper Studio. At UNCSA: Love’s Labor’s Lost, You Can’t Take It With

JOHNNY LEE DAVENPORT* twelfth season (Lord Montague in Romeo and Juliet, Duke Senior/Duke Frederick in As You Like It).

S&Co: The Winter’s Tale, Richard III, Twelfth Night, Hamlet, King Lear, Much Ado About Nothing, Henry V, Macbeth, Romeo & Juliet, Love’s Labor’s Lost, The Lear Project, The Millionairess, Women of Will II, Merry Wives of Windsor, Measure For Measure, and Othello.

Recent credits: Broke-ology (William King) with Lyric Stage Company of Boston (Elliot Norton nomination), Neighbors (Richard Patterson) with Boston’s Company One, Vengeance Is the Lord’s (Parcel Sytes) with Huntington Theatre Company (IRNE nomination), and Othello (title role) with Tennessee Shakespeare Co. During his career,

JOHNNY LEE DAVENPORT*

PETER DAVENPORT*

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Johnny has appeared in more than 110 plays in 15 states and four countries. Visit www. johnnyleedavenport.com to view his complete performance history and check for future shows.

PETER DAVENPORT* fourth season (Crumpet the Elf in The Santaland Diaries) S&Co: All’s Well That Ends Well (Amor Dumaine), Scenes From An Execution (Admiral Sufficci, staged reading). Nat’l Tour: Sound Of Music (Captain Georg von Trapp). Regional: Lyric Stage Company: Kiss Me Kate (Fred Graham/ Petruchio, 2009 IRNE nominated); New Rep Theatre: A Christmas Carol (Bob Cratchitt); Williamstown Theatre Festival: Our Town (Howie Newsome, Dir. Roger Rees); The Fools’ Theatre: The Libertine (George Etherege). All My Children, As The World Turns, Law & Order: CI, film, commercial, and V/O work. CD “Clear Day,” LML Music. Love to V n S.

SUSAN DIBBLE

SUSAN DIBBLE thirtieth season (Choreographer for Romeo and Juliet) Choreographer, dancer, painter, Professor Susan Dibble is the Barbara Sherman ’54 and Malcolm L. Sherman Chair of the Theater Arts Department at Brandeis University. She received her B.F.A. from the State University of New York, Purchase. Her areas of expertise, among many, include movement for the actor, historical dance, movement styles, modern dance, composition and choreography, clown, mask, Rudolf Laban Movement Theory, and history of dance and movement training. She is the director of Susan Dibble Dance Theater and has performed in her work for more than 30 years in New York, Massachusetts, and Vermont as well as numerous times at Shakespeare & Co. in the program DibbleDance. Susan has choreographed for the Berkshire Theatre Festival, Phoenix Theatre Company, Merrimack Repertory Theatre, Manhattan Theatre Club, Nora Theater, Súgán Theater, Madison Repertory Company and numerous theaters in NYC. Before Brandeis, she taught at New York University’s Tisch School for the Arts, the Denver Center Performing Arts Center, University of Ohio, University of Utah and Webster College.

She also traveled to Orvietto, Italy where she taught in a theater and movement workshop sponsored by Fordham University. Susan has presented lecture demonstrations on dance, theater and therapy for The Boston Institute for Psychotherapy, and The Erikson Institute of The Austen Riggs Center. Shakespeare Honors the Three Centers of the Body is an article written by Susan Dibble in Movement for Actors

The final act to a perfect evening is just 6 miles down the road.

Perigee Restaurant now serves a special “late-night” menu Friday and Saturday, 10pm to midnight.

Perfect for after-theater light dining or dessert, you might want to save some of the applause for our chef.

1575 Pleasant St. (Route102), Lee, MA 413-394-4047 Lunch M-F 11am to 2pm; Dinner daily 5pm to 10pm; Late dining Fri. & Sat. 10pm to midnight; Brunch Sat. & Sun.10am to 2pm.

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WHO’S WHO FROM PAGE 115 published by Allworth Press. Susan received the 2006 Leonard Bernstein Festival of Creative Arts Award for Distinguished Contribution to the Arts at Brandeis.

LES DICKERT‡ sixth season (Lighting Designer for Women of Will, As You Like It, Romeo and Juliet) S&Co: Enchanted April, Hamlet, The Merry Wives of Windsor, Rough Crossing, A Midsummer Night’s Dream, Blue/Orange, Antony and Cleopatra, Ladies Man, All’s Well That Ends Well, Othello, Twelfth Night, Richard III, The Winter’s Tale, Women of Will. Broadway: Wrong Mountain (Associate), High Society (Assistant). Off-Broadway: Atlantic Theater, Rattlestick Theater, Ensemble Studio Theater, Theater Row, others. Regional: Adirondack and Great Lakes Theater Festivals, Geva Theater, Idaho Shakespeare, Perseverance Theater, Syracuse Stage, Triad Stage, others. Dance: White Oak Dance Project, San Francisco Ballet,

Tulsa Ballet, Joffrey Ballet, Yvonne Rainer, Lucinda Childs, Jacob’s Pillow. International: La Scala (Milan), Bayerisches Staatsballet (Munich), and the National Ballets of England, Denmark, Australia, Belgium, Canada and Russia. Graduate of the Yale School of Drama.

EMILY ROSE EHLINGER first season (Arlecchino in The Venetian Twins, Riotous Youth Faculty) S&Co: Hamlet (Gertrude/Gravedigger, 2011 New England Tour), Cymbeline (Co-Director Fall Festival of Shakespeare), Twelfth Night (Feste, ’08 Conservatory Performance). Regional & NYC Connecticut Free Shakespeare: Much Ado (Margaret), The Electric Theater Co.:The Poor of New York (Lucy), Snorks & Pins Theater: As You Like it (Rosalind), BareShakespeare: Cymbeline (Imogen). Training: Bachelor of Arts from Indiana University of Pennsylvania, The Electric Theater, Shakespeare & Company Conservatory ’08, The American Globe (NYC) & The Shakespeare Forum (NYC).

LES DICKERT‡

EMILY EHLINGER

JONATHAN EPSTEIN *

JULES FINDLAY

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ALLISON ENGEL (Co-playwright, Red Hot Patriot) is the director of communications at the University of Southern California. She has co-authored, with Margaret, three editions of “Food Finds: America’s Best Local Foods and the People Who Produce Them,” a compendium of regional food products, which has also spawned a television show on The Food Network.

MARGARET ENGEL (Co-playwright, Red Hot Patriot) directs the Alicia Patterson Foundation, the oldest journalism writing fellowship program, and helped create the Newseum in Washington, DC. A former Washington Post reporter, she is the co-author with her husband, Bruce Adams, of three guidebooks about baseball in America.

JONATHAN EPSTEIN* twentieth season (Touchstone in As You Like It, Director of The Hollow Crown) Broadway/National Tour: Merchant of Venice, Dirty Dancing, Man of la Mancha, A Meeting by the River, London: Faust. Regional: ART, The Shakespeare Theatre, Intiman, Berkshire Theatre Festival and many others. This summer marks his 50th production with Shakespeare & Company including Winter’s Tale, Lear, Much Ado, Merry Wives, Dream, Merchant of Venice, Richard III, Women of Will, Private Eyes and Brief Lives. He is a twotime recipient of Boston’s Elliot Norton award.

JULES FINDLAY fourth season (Tiburzio/ASM in The Venetian Twins; Riotous Youth Intern); S&Co: Metaphrastus in Amorous Quarrel; Leap Year Benefit with Olympia Dukakis (Johnny); Young Company: Summer ‘08 Henry V (Dauphin, Burgundy); Spring ‘09 Henry V1 part 1(Lord Talbot); Summer ‘09 Comedy of Errors (Dromio of

KELLY GALVIN

Syracuse), The Boys Of York (Warwick); Spring ‘10 The Life of Queen Meg (Jack Cade, King Edward). Pursuing my acting career full-time, while completing my undergraduate degree at the Harvard Extension School. Graduated from Northfield Mount Hermon School, MA in 2008. NMH roles: The Crucible (Rev. Hale), The Complete History of America (abridged). Once more unto the breach, dear friends!

KELLY GALVIN fourth season (Beatrice in The Venetian Twins; Riotous Youth Faculty) S&Co: The Winter’s Tale (Perdita), Les Liaisons Dangereuses (Mme de Tourvel). Fall Festival of Shakespeare Director, 2008-2010. Boston Publick Theatre: Romeo & Juliet (u/s Juliet), Young Company Director 2007. Kitchen Theatre: Secret Order (Alice). Wellesley Summer Theatre: Playboy of the Western World (Pegeen Mike), An Ideal Husband (Mabel), Pride & Prejudice (Lydia Bennet), IRNE Nomination. Wellesley College, BA Political Theory 2007.

DAVID GELLES* first season (Romeo in Romeo and Juliet) Off-Broadway: Graceland (Lincoln Center Theater); Microcrisis (Ma-Yi Theatre Co.), Edgewise (Cherry Lane Studio); White People, Photograph 51, Close Ties, Both (Ensemble Studio Theatre); The Dumb Waiter (Under St. Marks); Twelfth Night, A Midsummer Night’s Dream (Communicable Arts), As You Like It (Oval House, London). Film/ TV: Mercy (NBC); Killing the Dog (Six Part Productions); On Hiatus, Valencia (Mettenheimer Filmproduction); Sundays.

SANDRA GOLDMARK ‡ first season (Set Designer for Romeo and Juliet and As You Like It) With Transport Group (resident designer): The

DAVID GELLES *

Boys in the Band (Drama Desk nom.), All the Way Home, Bury the Dead, and Crossing Brooklyn (Hewes Award nom.) Also: Keen Company, Page 73 Productions, Barrington Stage Co., The Juilliard School, Trisha Brown Dance Company and many more. MFA, Yale School of Drama.

Sandra is Assistant Professor of Professional Practice (Design) at Barnard College.

CARLO GOLDONI (Playwright, The Venetian Twins) was an Italian playwright in the commedia dell’arte style. Notable works include The Servant of Two Masters and The Mistress of the Inn. KATHARINE GOODLAND, second season (Dramaturge As You Like It); Shakespeare & Company: Dramaturge, Richard III, The Taster, Women of Will; Editor, A Directory of Shakespeare in Performance (Palgrave); Author Female Mourning and Tragedy in Medieval and Renaissance English Drama (Ashgate);

Editorial Board Shakespeare Bulletin; Associate Professor, City University of New York’s College of Staten Island; PhD, English Renaissance, Purdue University.

NIGEL GORE* sixth season (35 men, 4 women in Women of Will, Mike in The Memory of Water, Ensemble in The Hollow Crown) 2010, Eliot Norton Award, Outstanding Actor; George, in Who’s Afraid of Virginia Woolf.

2011 Outstanding Actor nomination; Squeers, in Nicholas Nickleby. S&Co: Buckingham in Richard III, Claudius in Hamlet, Bottom in A Midsummer Night’s Dream, Mark Antony in Antony and Cleopatra, Lavache in All’s Well That Ends Well, Sir Toby Belch in Twelfth Night. Recent work: Seasons 2/3 of “Brotherhood” on Showtime.

SEAN GRAY second season (ASM for As You Like It and The Hound of the Baskervilles) worked last summer as a Sound Board Op

and a Production Assistant and is excited to come back to the Berkshires. He is currently pursuing a B.F.A. in Technical Production, Stage Management from The University of North Carolina at Greensboro.

Tempest (Trinculo), King Lear (Goneral), Play (The Wife), Sin (Avery), The Dining Room (various roles), FM (Constance). Film: All In the Game (Crystal Sullivan). Dana holds a Master’s degree from Emerson College.

DANA HARRISON sixth season (Phebe in As You Like It; Audience Services Manager; Education Artist). S&Co: The Real Inspector Hound (Lady Cynthia Muldoon), The Winter’s Tale (Emelia/Mopsa), White People (Mara Lynn Dodson), Othello (u/s-performed Desdemona), Shakespeare and the Language that Shaped a World (Lady Anne, Beatrice, Constance, Juliet), Cindy Bella (Clorinda) The Canterville Ghost (Lucretia Otis), Scapin (Nerine), Old Times in Celebrate Pinter (Anna). Regional, local and London Fringe credits include: Taking Steps (Elizabeth Crabbe), Dancing at Lughnasa (Christina Mundy), Macbeth (Third Witch), The

DIANE HEALY* third season (Stage Manager for Romeo and Juliet, ASM for The Hound of the Baskervilles) S&Co: Women of Will, The Winter’s Tale, All’s Well That Ends Well.

Six seasons with Oldcastle Theatre Co. in Bennington, VT. Most recently with OTC: Awake and Sing, Third, Beauty Queen of Leenane, One Two Three, Our Town. Recently she has worked at Bard College as well as having worked with East Tennessee State University & Green Mountain College (the last two on joint projects with OTC). In New York, Diane has stage managed with Circle East Rep., Lincoln Center Directors Lab, Irish Arts Center, and EST, amongst others. Love to Tini & Nick.

REBECCA HOLDERNESS fifth season (Choreographer and Assistant Director for As You Like It) S&Co: Glimpses of the Moon, Valley of Decision. Lori-Parks 365 Days/Plays The Public NYC-Director’s Project, Twelfth Night, Einstein’s Dreams and Crowns at Burning Coal, NC. Off Broadway: The Life of Spiders, Htc/The Culture Project; The Lion, The Witch and the Wardrobe, tour for Lincoln Center NY. MFA Columbia University, Associate Professor UW-M.

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NIGEL GORE*

KRISTINA LEIGH HOWARD first season (Costume Designer for The Venetian Twins; Stitcher) S&Co: Costume Designer for SYCo,

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WHO’S WHO FROM PAGE 117 Stitcher for Irma Vep, Costumer for 2010 Fall Festival of Shakespeare. UAB: Purcell’s Dido and Aeneas and Britten’s The Burning Fiery Furnace, Eurydice, The Rivals. Kristina received her BA in Theatre/Design & Technology from the University of Alabama at Birmingham.

ROSS BENNETT HURWITZ third season (Ensemble in Romeo and Juliet and As You Like It) S&Co: The Amorous Quarrel (Erastus), Measure for Measure (Claudio/ Froth/ Varrius) NYC: Playhouse Creatures—The Libertine (George Etherege), Ensemble Studio Theatre— Burning Leaves reading (Jesse) and Pick-Up Artist: The Musical reading (Eddie). Regional: Actors Shakespeare Project: Taming of the Shrew (Bianca, Elliot Norton Award nominee).

Other roles include: Much Ado About Nothing (Conrade), City of Angels (Jimmy Powers).

Training: BFA from Emerson College.

ELIZABETH INGRAM fifteenth season (Voice and Text Coach for Romeo and Juliet and As You Like It) S&Co: Queen Margaret in Richard III, Volumnia in Coriolanus, The Countess in All’s Well That Ends Well, Mistress Quickly in The Merry Wives of Windsor, The Abbess in Comedy of Errors, Paulina in The Winter’s Tale, Mrs. Klein in Mrs. Klein, Mrs. Graves in Enchanted April, Three One Act Plays by Harold Pinter, Edith Wharton in The Inner House. The Berkshire Theatre Festival Heartbreak House; Actors’ Theatre Louisville All My Sons; The Company of Women King Lear (Kent); Syracuse Stage You Never Can Tell, A Streetcar Named Desire, A Christmas Carol.

England and Scotland productions: London’s West End Theatre, The Royal National Theatre, Several Major Repertory Theatres and also BBC and ITV Television plays and series.

ROSS BENNETT HURWITZ

MALCOLM INGRAM* sixteenth season (Lord Capulet in Romeo and Juliet, Adam in As You Like It) S&Co credits include: The Winter’s Tale (Old Shepherd), Rough Crossing (Ivor), Blue/ Orange (Robert), Enchanted April (Mellersh Wilton), The Merry Wives of Windsor (Falstaff), Much Ado About Nothing (Leonato), King Lear (Kent), Romeo and Juliet (Friar Lawrence), Private Eyes (Adrian). Other credits include: Syracuse Stage: The Miracle Worker. Broadway: Match, The Rivals. BTF: Rat in the Skull, Hay Fever. Actors Theater of Lousiville: All My Sons. StageWest: Someone To Watch Over Me. Syracuse Stage includes: Little Women, My Fair Lady, The Crucible, Oliver. London: West End: Half Life, Dirty Linen, New Foundland, Popkiss.

Royal Court credits include: The Fool, Total Eclipse. Riverside Studios: Julius Ceasar, As You Like It. The Roundhouse: The Glass Menagerie, Skyvers, Feast of Fools. Plus many other regional

ELIZABETH INGRAM

MALCOLM INGRAM*

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theatre productions in the UK. TV includes: “The Camerons”, “Beloved Enemy”, and most recently in the US “Chapelle’s Show”.

JENNIE M. JADOW sixth season (Audrey in As You Like It) S&Co: The Amorous Quarrel (Mascarill); Les Liaisons Dangereuses (Madame de Volanges), Toad of Toad Hall (Rat), Scapin (Zerbinetta), Macbeth, Spring Tour (Lady Macduff/Lennox), Comedy of Errors (Luciana), A Midsummer Night’s Dream (Fairy). Regional Credits: Barrington Stage Company: Cyrano De Bergerac (Duenna); Funny Girl (Mrs. Meeker).

Berkshire Theatre Festival: Camelot (Lady); Wilder, Wilder... (Dodie, Beulah). Jacob’s Pillow: Historias (Guest Dancer); The Wharton Salon: Xingu (Mrs. Leverett). New York Credits: Heights Players: Babes in Toyland (Mary). Gallery Players: Pirates of Penzance (Isabel). 92nd St Y: Diamonds and Jewels Cabaret (Soloist). Jennie has appeared in numerous local productions and is currently a member of Shakespeare & Company’s Education team. As such she has directed over 25 productions, served as the Director of Riotous Youth for four years and is currently the Director of Shakespeare in the Courts. Jennie holds a BFA from TISCH School of the Arts with a dual major in Acting and American History and an MA in Movement Therapy and Clinical Counseling from Antioch University.

Juliet (Peter), A Midsummer Night’s Dream (Snout and Tank the Dog), Three years as Co-Director/Faculty of Shakespeare & Young Company, Director for 17 productions for the Spring and Fall Festivals of Shakespeare.

MERRITT JANSON* third season (Rosalind in As You Like It) S&Co: Twelfth Night (Viola); Othello (Desdemona). Most recently appeared as Helena in the U.S. premiere of Autumn Sonata at Yale Repertory Theatre. Other credits include Liza in Notes from Underground (Theatre for a New Audience, La Jolla Playhouse, Yale Repertory Theatre); Libby in Paradise Lost, Junia in Britannicus (IRNE nomination), and Bear/Mute Girl in The Onion Cellar, at American Repertory Theater; Chevalier in The Deception (La Jolla Playhouse, Theatre de la Jeune Lune); the title role in Eurydice (The Wilma Theater); and Emilia in The English Channel (Vineyard Playhouse).

Film work includes Mail Order Wife and Otto and Anna. Training: A.R.T./MXAT Institute at Harvard University, MFA. DANIEL JOECK first season (Performance Intern, The Two Gentlemen of Verona and EveryActor) S&Co: Minneapolis: The Nerd (Starting Gate Productions); Ramona Quimby (Childrens’ Theatre Company); Skin Tight (3AM Productions); What I Learned From Grizzly Bears (Yellow Tree Theatre); Romeo and Juliet (3AM Productions); Metamorphoses (Theatre Pro Rata).

TOM JAEGER seventh season (Director, Shakespeare & Young Company) S&Co: The Comedy of Errors (Duke Solinus), Berkeley Square (Mr. Throstle), Twelfth Night, Tour/ Stables (Malvolio, Sebastian), A Midsummer Night’s Dream (Snug), Hamlet, Tour/Stables (Hamlet), Troilus and Cressida (Hector, Ulysses, Patroclus), Souls Belated (Gannett), Romeo and

KATE JOHNSON second season (Stage Manager for The Two Gentlemen of Verona, Revolutionary Moments, and EverymanActor) SM credits include: The Mystery of Irma Vep, As You Like It (Conservatory), Sea Marks, and Mengelberg & Mahler at Shakespeare

JENNIE M. JADOW

MERRITT JANSON *

& Company. Cabaret Tuesdays at Drury Lane Water Tower Place with the Chicago Cabaret Professionals. Stones in His Pockets, Same Time Next Year, Almost Maine, Two Rooms, and The Glass Menagerie with the Winnipesaukee Playhouse. Training: Stage Management Internship at the Seattle Repertory Theatre; Bachelor’s Degree in Theatre & Drama from the University of Wisconsin-Madison.

credits include: All In The Game, Deathcam, and Get Your Act Together. Feature films include Glowing Screens, Magdalena’s Brain. David moved back from NYC seven years ago where he was in many Off-Broadway shows and a national tour of Man of La Mancha. In 2008 and 2010, David sang the National Anthem at Fenway Park. David dedicates this season in fond memory of Nan.

DAVID JOSEPH sixth season (Tonino/Zanetto in The Venetian Twins; Ensemble in War of the Worlds; Director of Sales) S&Co: Simon in The Real Inspector Hound, Hugh in The Amorous Quarrel, Sea Captain/First Officer in Twelfth Night, Dandini in Cindy Bella, Cyrus in The Mad Pirate and the Mermaid, Octave in Scapin, Herve in Kerfol, and Florindo in The Servant of Two Masters, four spring tours of Shakespeare and the Language that Shaped a World. Regional: Bill in Pinter’s The Collection at BTF, the World Premiere of Ballet Metropolis’ Dracula (Jonathan Parker) at the Colonial Theatre. Films

HOPE ROSE KELLY* eighth season (Stage Manager for As You Like It, The Hound of the Baskervilles, War of the Worlds; Production Stage Manager) S&Co: Rough Crossing, Blue/ Orange, The Ladies Man, Othello (2008 & 2009), Twelfth Night, Richard III and The Taster.

Regional: The Public Theatre, McCarter Theatre, New Repertory Theatre, Hangar Theatre, George Street Playhouse, CLOC. Education: M.A from University of Toronto and B.A. from Ithaca College. Member of Actors’ Equity Association and serves as Co-Secretary on the Board for the Stage Managers’ Association.

DANIEL JOECK

DAVID JOSEPH

HOPE ROSE KELLY *

SCOTT KILLIAN

THOMAS A. KELLY* first season (Stage Manager for Women of Will and Red Hot Patriot) Over 40 years experience including The Tempest, Twelfth Night, Taming of the Shrew, A Midsummer Night’s Dream and the Peter Hall Co.’s Merchant of Venice with Dustin Hoffman, King Lear with Lee J. Cobb and Othello with Christopher Plummer and James Earl Jones on Broadway. Other NYC credits include HAIR, The Wiz, Sugar Babies, Speed-The-Plow, I’m Not Rappaport, A Day in Hollywood, A Night in the Ukraine, and others. Tom currently teaches at Columbia and Rutgers Universities and wrote the book Backstage Guide to Stage Management, published by Random House. He resides in Housatonic, MA. SCOTT KILLIAN sixth season (Composer/ Sound Designer for Romeo and Juliet) Past Shakespeare & Co. productions: As You Like It, Merry Wives of Windsor, Hamlet, Othello, Richard III, The Taster. Resident Composer/ Sound Designer Berkshire Theatre Festival (over 25 productions); Manhattan Theatre Club: Sarah, Sarah, Five by Tenn, A Picasso (Lortel nom.), The Other Side; Red Bull: Duchess of Malfi,Women Beware Women, Edward the Second; MCC: Side Effects. Rattlestick: Steve and Idi, Miss Julie.

Regional Theatres: Alley Theatre, Westport Playhouse, Shakespeare Theatre (DC), Seattle Rep, Alabama Shakespeare Festival, Huntington Theatre, George Street Playhouse, Cincinnati Playhouse-in-the-Park, Geva Theatre, Theatre Calgary, Vancouver Playhouse (“Jessie Award” for Outstanding Sound Design). Original Music for Dance: Alvin Ailey American Dance Theatre, Hubbard Street Dance Chicago, Nikolais-Louis Dance, The Jose Limon Company.

DENNIS KRAUSNICK

HOWARD KOCH (Author, War of the Worlds) Legendary Hollywood screenwriter Howard Koch was awarded the Academy Award in 1943 for his script of one of the greatest films of all time, Casablanca. Koch also wrote the radio script for Orson Welles’ 1938 production of “The War of the Worlds.”

DENNIS KRAUSNICK founding member (Director of The Two Gentlemen of Verona; Director of Training; Board of Trustees; Summer Training Institute faculty) Krausnick played the title role in King Lear last year at Shakespeare Orange County and hopes for the opportunity to reprise the role at Shakespeare & Company. He teaches and directs in theater programs across the country as well as designing and leading the actor-training programs for S&Co. ZACHARY KROHN* second season (Stage Manager for The Memory of Water) S&Co: Richard III (ASM), The Taster (Guillaume).

Regional: The 39 Steps, Greater Tuna, ...Spelling Bee, Hamlet (Northern Stage); The Method Gun (Actors Theatre of Louisville); Light in the Piazza, Drowsy Chaperone (MSMT); The Tempest (Dallas Shakespeare); A Brief History of White Music (WaterTower Theatre).

Training: BA in both Theatre Arts and Public Relations from Baylor University. Proud AEA & SMA member.

EDGAR LANDA fourth season (Fight Director for Romeo and Juliet) S&Co: The Henry Chronicles (Co-Director/Fight Choreographer), Romeo & Juliet and Macbeth (New England Schools Tour). Regional: Florida Studio Theatre: The Lieutenant of Inishmore (James/Fight Director), Mark Taper Forum/CTG: Chavez Ravine

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WHO’S WHO FROM PAGE 119 (Ensemble), Homebody/Kabul (Fight Consultant), South Coast Rep: Anna In The Tropics (Fight Director), Theatre @ Boston Court: Oedipus El Rey (Fight Director). Training: University of Southern California School of Theatre. Lincoln Center Directors Lab alum.

ALEXANDRA LINCOLN fourth season (Rosaura in The Venetian Twins; School Programs Manager) S&Co: The Real Inspector Hound (Felicity); Les Liaisons Dangereuses (Emilie); Twelfth Night (Maria u/s–performed / Ensemble); The Canterville Ghost (Washington).

Recent local productions include: WAM Theatre: 24 Hour Capital Region/Berkshire Theatre Project; New Stage: Fahrenheit 451 (Clarisse); Ghent Playhouse: Dancing at Lughnasa (Agnes); Lavender Door Theater: Cymbeline (Posthumus) and Alice in Wonderland (March Hare). Prior

ALEXANDRA LINCOLN

to landing at S&Co, Alexandra studied at The William Esper Studio in New York City and worked at The Ensemble Studio Theater where she wrote and performed her own work.

Mockingbird (Judge Taylor/Walter Cunningham).

ROBERT LOHBAUER sixteenth season (Dr. Balanzoni in The Venetian Twins; Weapons Master) S&Co: Mengelberg and Mahler (Willem Mengelberg), Twelfth Night (Curio/Priest), The Mad Pirate and the Mermaid (Erasmus), Scapin (Argante); The Tamer Tamed (Petronius), Chekov One Acts (Luka and Nikita), A Midsummer Night’s Dream (Egeus), Romeo and Juliet (Lord Montegue), Woman in Black (character men), Glimpses of the Moon (Lord Streffington), Private Eyes (Frank); Regional: Arabian Nights (Sheik Harun Al Rashid), Equus (Dysart), Dear Liar (GB Shaw), The Marriage of Bette and Boo (Father Donnelly), Picasso at the Lapin Agile (Gaston), Red Noses (Le Grue), To Kill a

GOVANE LOHBAUER thirtieth season (Costume Designer for Women of Will, The Hound of the Baskervilles and Red Hot Patriot; Costume Director) Selected credits at S&Co.: The Taster, Mengelberg and Mahler, Twelfth Night, Les Liaisons Dangereuses, Shirley Valentine, Golda’s Balcony, The Ladies Man, Rough Crossing, Enchanted April, Martha Mitchell Calling, Ice Glen, Lettice and Lovage, Collected Stories, Ethan Frome, Macbeth, An International Episode, Glimpses of the Moon, Summer, Wit, House of Mirth. Regional: Arabian Nights, Red Noses, Picasso at the Lapin Agile, Metamorphosis, The Marriage of Bette and Boo, Alice in Wonderland, A Christmas Carol, Once Upon A Mattress, Top Girls, H.M.S. Pinafore, Gianni Schicci, Carousel, The Merry Widow; La Finta Giardiniera. As Adjunct

ROBERT LOHBAUER

GOVANE LOHBAUER

Faculty/Designer, Simon’s Rock of Bard College: Cloud Nine, Our Country’s Good, Suddenly Last Summer.

J O N AT H A N M A J O R S f i r s t s e a s o n (Performance Intern, The Two Gentlemen of Verona and EveryActor) is a rising senior at the University of North Carolina School of the Arts (BFA Acting). At UNCSA: Fences, A Soldiers Play, Our County’s Good, Harpers Ferry, On the Razzle.

At Stella Adler Studio; The Seagull, The Tempest.

Regional: Ceremonies in Dark Old Men. Film/TV; Do not Disturb, All the Girls Love Freddie.

AMANDA NICOLE MATTES, fourth season (Costume Designer for The Two Gentlemen of Verona and EverymanActor) S&Co: The Amorous Quarrel (Cost. Designer), Toad of Toad Hall (Asst.

Cost. Designer), The Mad Pirate & The Mermaid (Asst. Cost. Designer). Wells College: Sleepy Hollow (Cost. Designer), The Words Upon the

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Window Pain (Cost. Designer). She has also worked at The Alabama Ballet as Associate Costume Director, The Alabama Shakespeare Festival as First Hand/Cutter, and Romantasy’s Corset Company. Training: B.A. with Honors in Theatrical Design and Technology from the University of Alabama at Birmingham.

Rep. Theater of St. Louis, Studio Arena Theatre.

Film: Split Ends (starring); Rain Without Thunder; A Secret Little War. Television: “Bourbon Street” (pilot); “Law & Order”; “PBS: Evening at the Pops”. Playwright: Dancing with the Czar.

Designated Linklater voice teacher. Proud to be a union member!

CORINNA MAY* twentieth season (Mary in The Memory of Water, Ensemble in The Hollow Crown; Young Company Voice/Movement/ Text Faculty) S&Co. favorites: A Winter’s Tale, Twelfth Night, Enchanted April, Roman Fever, An International Episode, Jack and Jill, Betrayal, Fortune and Misfortune, House of Mirth, A Midsummer Night’s Dream, Much Ado About Nothing, Hamlet. NYC: premiere of Thirty Story Masterpieces by Tommy Smith; National Tour: The Graduate with Jerry Hall/ Linda Gray/Lorraine Bracco/Kelly McGillis/ Morgan Fairchild. Regional (selected): Berkshire Theatre Festival, Syracuse Stage, Capitol Rep.,

JOSH AARON MCCABE* sixth season (Oliver in As You Like It, Sherlock Holmes in The Hound of the Baskervilles; Ensemble in War of the Worlds) S&Co: Nicodemus/ Lady Enid in The Mystery of Irma Vep; Birdboot in The Real Inspector Hound; Camillo in The Winters Tale; Catesby in Richard III; Valmont in Les Liaisons Dangereuses; Host of the Garter in Merry Wives of Windsor, Macbeth in the New England Tour and Shakespeare & the Language that Shaped a World. Josh performed Off-Broadway playing the role of Mike in Peep Show at Actor’s Playhouse. Regional theatres include Madison Repertory Theatre, Milwaukee’s Chamber

Theatre, Ensemble Theatre of Cincinnati and Milwaukee’s Renaissance Theaterworks. He has appeared in national commercials, various daytime serials and Saturday Night Live. He is proud to direct and teach as a part of S&Co’s Education Dept. Josh received his MFA in Acting from The University of Wisconsin-Madison and is a member of AEA, AFTRA and SAG. JULIA MELTZER first season (Performance Intern, The Two Gentlemen of Verona and EveryActor) S&Co: Phebe, As You Like It. Fall Conservatory, Summer Training Institute. Other credits: Mistress Quickly, Mistress Overdone, and Stephano (The Stanford Shakespeare Company). Playwright: Jenna and the Ark, Balloon Heaven. Director: A Midsummer Night’s Dream, King Lear. Alumna of the Hangar Theater Lab Co. B.A. English/Creative Writing, Stanford University.

KARA D. MIDLAM fourth season (Costume Designer for The Memory of Water and War of the Worlds; First Hand, Draper) S&Co Costume Design: The Winters Tale, Irma Vep, Cindy Bella, Omelet: Prince of Breakfast! Recent Costume Design: Edinburgh Fringe Festival: Moonshine, Peepshow; RED CAT, Los Angeles: Moonshine, Ontological Hysteric; NYC: La Santa; Cohoes Music Hall: Beauty and the Beast; Montreal Fringe Festival: The Immaculates (performer and assistant designer). www.karadmidlam.com JANEL MILEY second season (Brighella in The Venetian Twins, Riotous Youth Faculty) S&Co: The Comedy of Errors (Adriana), More Words!

More Play! (Swift), Conservatory ‘09: Pericles (Dionyza). Regional: Quintessence Theatre: The

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Importance of Being Earnest (Gwendolyn). ECT: Measure for Measure (Juliet). Folger Theatre: Much Ado About Nothing (u/s Margaret).

Baltimore Shakespeare Festival: Mondo Shakespeare (Lady Anne), Imagination Stage: The Borrowers (Arrietty). Run of the Mill: Miss Julie (title role), Twelfth Night (Viola).

ANNETTE MILLER* fourteenth season (Vi in The Memory of Water) recently appeared as Violet in August: Osage County at the Actors Playhouse in Coral Gables, FL. She is the winner of the 2003 Elliot Norton Award plus IRNE Award for Best Actress as Golda Meir, 2003.

S&Co: Richard III (Duchess), The Ladies Man (Madame Aigreville), Martha Mitchell Calling (Martha)—toured at Stageworks Hudson (Best Actress, Independent News 2007) and at The Actors Playhouse, and in Oct ‘08 at the Nora Theater Co. (2009 Elliot Norton Award nominee); Full Gallop (Diana Vreeland); Golda’s Balcony (Golda); Love Letters and Ancestral Voices (with A.R. Gurney); Collected Stories (Ruth Steiner); Richard III (Margaret); Twelfth Night (Maria); Merchant of Venice (Nerissa); Ethan Frome (Zenobia). B’way: Odd Couple, female version (Sylvie). Off B’way: The Primary English Class (Debbie Wastba). Boston: Shubert Theater, Dance of Death (Woman with Ben Gazzara, Colleen Dewhurst), Nobody Dies on Friday at A.R.T. (Paula Strasberg), The Seagull (Arkadina), Hamlet (Gertrude), The Cherry Orchard (Madam Ranyevskaya), Glass Menagerie (Amanda), Sisters Rosensweig (Sarah). Film: Autumn Heart, Next Karate Kid, Night School, Boardwalk, The Company Men. TV: As the World Turns (Smythe/ Bettina) Brotherhood (Kate). Training: Stella Adler, Brandeis University B.A. and M.F.A.

ANNETTE MILLER*

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WHO’S WHO FROM PAGE 121 SUSANNAH MILLONZI* seventh season (Juliet in Romeo and Juliet) S&Co: King John (Prince Arthur), As You Like It (Phebe), House of Mirth/DibbleDance (Lily Bart), Comedy of Errors (Ensemble); Classic Stage Company, Clubbed Thumb/Ohio Theater, Aquila Theatre Company, Seattle Shakespeare Company, Georgia Shakespeare Festival, Orlando Shakespeare Theater, Elm Shakespeare Company, Hudson Valley Shakespeare Festival, Boston Theatre Works. B.A. Theatre Studies from Barnard College. LOML

BRITTANY MORGAN second season (Tarentellar in The Venetian Twins; Riotous Youth Faculty) S&Co: Alls Well That Ends Well (Diana), Wild & Whirling Words (Juliet, Beatrice, Desdemona, Hermia). Tennessee Shakespeare: Co-creator & Associate Director of Education, Julius Caesar (Portia), Midsummer Night’s Dream (Hermia), As You Like It (Phoebe), The Tempest (Director, Miranda). Orlando: King Lear (Cordelia), The Imaginary Invalid (Louisson), Twelfth Night, To Kill A Mockingbird (Mayella). Chicago: Tempest (Ariel), Midsummer (Peaseblossom), Hamlet. London: IPH… (Iphigenia). BFA: Illinois Wesleyan / British American Drama Academy.

EverymanActor and Revolutionary Moments) Tierney is a recent graduate of Trinity College in Hartford, CT and is so excited to be joining the S&Co team! She worked as a stage technician at the Austin Arts Center at Trinity for four years and just finished directing her senior thesis, Disturbing Silence. Recent Trinity stage credits include: Edges (Woman 2), Journey to the End of the Russian Empire (Yalena/Masha), Spring Awakening (Ilse), and Eurydice (Loud Stone).

Training: BA in Theatre/Dance and English from Trinity College, and studied Shakespeare at The London Dramatic Academy.

SUSANNAH MILLONZI *

TIERNEY NOLEN first season (Assistant Stage Manager for Two Gentlemen of Verona,

KEVIN O’DONNELL* third season (Mercutio in Romeo and Juliet, Charles the Wrestler in As You Like It). S&Co: Parolles in All’s Well That Ends Well; Laertes in Hamlet. Broadway: Irena’s Vow. Most recently appeared at The Irish Repertory Theatre in The Shaughraun.

Other Off Broadway: Stephen Belber’s Geometry of Fire (Rattlestick); So Help Me God! (Mint); Not Waving (SPF); The Hairy Ape (Irish Rep).

Other New York: Romeo in Romeo and Juliet (Guggenheim Works & Process); The Melancholy Keeper (Production Company); The Comedy of Errors (Gallery Players). Regional: Herr Hudetz in Judgment Day (Bard SummerScape 2010); Major Barbara (Shakespeare Theatre DC); Troilus in Troilus and Cressida (Chicago Shakespeare Theatre); title role in Britannicus (ART); Horatio in Hamlet (Guthrie); Charles Surface in The School For Scandal with Brian Bedford (Mark Taper Forum); Thief River (Barrington Stage).

Film/TV: Salt, Sucker Punch, Black Irish, “The Good Wife” (CBS), “All My Children” (ABC).

The Sublet, a short film he wrote, directed, and stars in is an official selection of the 2011 NYC

BRITTANY MORGAN

EQUIANO MOSIERI

KEVIN O'DONNELL *

MOLIÈRE (JEAN-BAPTISTE POQUELIN) (Playwright, The Learned Ladies) was a French playwright and actor who is considered one of the greatest masters of comedy in Western literature. Among Molière’s best-known dramas are The Misanthrope, The School for Wives, The Learned Women, Tartuffe, The Miser, The Imaginary Invalid, and The Bourgeois Gentleman.

EQUIANO MOSIERI first season (Tybalt in Romeo and Juliet and LeBeau in As You Like It) BTF: MacBeth (Third Witch, Third Murderer and Angus), Company One: Neighbors (Zip C. Crow) Brandeis Theatre Company: Three Sisters (Solyony), Funnyhouse (Patrice Lumumba), Hecuba (Polymestor). Training: Brandeis University MFA Candidate 2011, BTF Monthlong Intensive.

JOHN NICHOLSON (Co-playwright, The Hound of the Baskervilles) is a founder-director of, and regular performer with, the award-winning international theatre company Peepolykus, which specializes in its own peculiar brand of madcap comedy. Peepolykus credits: SPYSKI! (or The Importance of Being Earnest), No Man’s Land, Squid, Let the Donkey Go, I Am a Coffee, Horses for Courses, Midsummer Rude Mechanicals, Goose Nights, Rhinoceros, Mindbender and All In The Timing.

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ARTHUR OLIVER twenty-first season (Costume Desginer for As You Like It) Broadway: Broadway Bares Myth Behavior, Broadway Bares 19.0 Click It!, Broadway Bares, 20th Anniversary Stripopoly, Roseland Ballroom NYC. Off-Broadway/ New York: The Dishwashers 59E59 Theatres, The Man in Room 306 59E59 Theatres, Belle of the Books Harlem Renaissance Festival. Regional: Resident Costume Designer Shakespeare & Company 1998-2008, Alabama Shakespeare Festival, Berkshire Theatre Festival, Gloucester Stage, Boston Conservatory, Opera Louisiane, NYU/Tisch, Colonial Theatre, Mabou Mines, Central Square Theatre, Gordon College, LSU, Swine Palace, Virginia Arts Festival, Buffalo Philharmonic, Mt. Ida College, Summer Theater of New Canaan, Chester Theatre Company, Berkshire Opera, Connecticut Opera, Trinity College, Mixed Company, Bardavon Opera House, MassMOCA, The Yard, Wharton Salon, Merrimack Repertory Theatre, The Flying Karamozov Brothers, Connecticut Repertory Theatre, UCONN, Ventfort Hall, Emerson College, The Bronx Opera, The Moscow Ballet.

Film: Tropicana Film Festival (Sydney, Australia), Speck’s Last Stand, Hilltown Pictures. Television: Evening at POPS Brush Up Your Shakespeare PBS, ESPN 2 Period Baseball Game. Publications: Shakespeare Festivals Around the World, Broadway Bares: Backstage Pass, Imagining Shakespeare, Inside the Berkshires: Sixteen Journeys, The Modern Scholar: Shakespeare: The Seven Major Tragedies, The Applause Shakespeare Library: Romeo and Juliet. Personal Comment: “Life without the Arts is barbarism.” www.arthuroliver.com

ARTHUR OLIVER

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TINA PACKER* founder (Writer/Performer in Women of Will, Molly Ivins in Red Hot Patriot, Director of Revolutionary Moments and The Learned Ladies; Founding Artistic Director) started Shakespeare & Company 34 years ago.

She has directed most of Shakespeare’s plays, many modern ones, and is an actor, teacher, writer as well as a director. Her time is currently taken up developing Women of Will.

SAM PARROTT third season (Benvolio in Romeo and Juliet, Ensemble in As You Like It) S&Co: Hamlet (Laertes/Guildenstern/ Marcellus), The Comedy of Errors (Dromio of Syracuse), Pericles: Prince of Tyre (Young Pericles/Boult), More Words! More Play!

(Condell). Regional: Paris in Romeo and Juliet (Tri-State Actor’s Theatre), Messenger in Medea (NYC Frigid Festival), Lysistrata (NYC Fringe Festival), Macbeth (Warrior Poet Productions in L.A.). Sam is a recent graduate of Skidmore College where he received his B.S. in Theater.

Favorite college credits include: Green/Exton in

Richard II and Sinbad Sailors/Mr. Pugh in Under Milk Wood. He has also trained with the British American Drama Academy in London, and The Conservatory at Shakespeare & Company.

ANTHONY PERULLO first season (Performance Intern, The Two Gentlemen of Verona and Every Actor) Film: The New Testament Apostle Paul–LDS Church (Filming fall 2011). Television: Rescue Me (Derek) – FX/Sony.

Video Games: “World of Warcraft” (Various Characters), Blizzard Entertainment.

MICHAEL PFEIFFER sixth season (Bernstein Theatre Resident Sound Designer; Staff Sound Engineer) Recent Productions: The Ladies Man, The Hound of the Baskervilles, Les Liaisons Dangereuses (sound designer), Fall Festival of Shakespeare and Shakespeare in the Courts (sound coordinator), 1986–2003: Freelance Location Sound Recordist based in Boston, Education: BS 1986 Emerson College. Other: 1999 RTNDA Edward R. Murrow Award for

feature reporting. Michael and wife Jana live year round in Berkshire County.

KATHARINE PITT first season (Officer/ASM in The Venetian Twins, Riotous Youth Intern) S&Co: Summer Young Company 2009. Yale College: Cyrano de Bergerac (title role) Richard III (Margaret), Last Days of Judas Iscariot (Mother Teresa). Yale Drama Coalition President. B.A from Yale in History and Theater Studies (2012).

NICHOLAS J. PUMA, JR. sixth season (Managing Director) has more than 25 years of extensive experience in financial management, including public accounting, investment banking, and as C.F.O. for several large not-for-profit corporations. He has degrees in both Accounting and Law. ANDREA RAMOS second season (Officer/ ASM in The Venetian Twins; Riotous Youth Intern). Boston University: Aura (Aura/Consuelo), Six Characters In Search Of An Author (the Director) S&Co Education Programs: Mercutio’s Tale, (Mercutio). Training: Boston University, BFA Acting Major, class of 2013. Andrea is very excited to be returning to S&Co for another glorious summer in the Berkshires and to be studying Shakespeare at LAMDA in the spring!

TINA PACKER*

SAM PARROTT

THOMAS RANDLE third season (Lelio in The Venetian Twins; Assistant Scenic Charge/Electrician/Production Associate) S&Co: Shakespeare and the Language that Shaped a World (Demetrius, Silvius, Antony, Antipholus), The Mystery of Irma Vep (Paints, Electrics, Carpentry, Props), Cindy Bella (Scenic & Props Designer), Props Artisan (2009 summer season). Production Coordinator for the Fall Festival for 3 seasons.

ANTHONY PERULLO

ANDREA RAMOS

TOD RANDOLPH*

TOD RANDOLPH* fifteenth season (Jaques in As You Like It; Summer Training Institute faculty) S&Co: Richard III (Q. Elizabeth); As You Like It (Director, Conservatory 2010 production); The Dreamer Examines His Pillow (Director); Enchanted April (Rose); Midsummer Night’s Dream (Titania); Vita & Virginia (Virginia); Love’s Labor’s Lost (Princess of France); A Room of One’s Own (Virginia Woolf); Merchant of Venice (Portia); The Fiery Rain (Edith Wharton); Mrs. Klein (Melitta); Virginia (title role); Duet for One (Stephanie); Julius Caesar (Portia); Twelfth Night (Viola). New York & Regional: Play by Play/Blue Moons (Stageworks/Hudson); The Libertine (Theatre Row Theatre); Cymbeline (Holderness Group); Beauty Queen of Leenane (Syracuse Stage); New England (Milwaukee Rep); Othello (Portland Stage); The Winter’s Tale (Trinity Rep); in light of Jane (Mixed Company).

TONY ROACH* first season (Orlando in As You Like It, Prince Escalus in Romeo and Juliet) I Capture the Castle (Shakespeare Theatre of New Jersey); The Imaginary Invalid, The Liar (World Premiere), Mrs. Warren’s Profession, All’s Well That Ends Well (Shakespeare Theatre, DC); Enchanted April (Arionza Theatre Co.); Woody Guthrie: An American Song , Three Days of Rain (Vermont Stage Co.); Much Ado About Nothing (Shakespeare Festival of St. Louis); A Christmas Carol (Cincinnati Playhouse); Fair & Tender Ladies (Alabama Shakespeare Festival); Far East (Stamford Theatre Works); Romeo & Juliet (American Repertory Theatre); Who’s Afraid of Virginia Woolf??, Secret Order, Stage Blood and many others (Kitchen Theatre Co.).

NYC: Gaugleprixtown (Studio 42), Cop Out (Drama League/Fringe), The Life I’ve Chosen.

TONY ROACH *

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WHO’S WHO FROM PAGE 123 Film : The Adventures of Buckskin Jack; Miles from Nowhere. BA, Columbia University; MFA, ART/MXAT Institute at Harvard.

MONIQUE A. ROBINSON first season (Performance Intern, The Two Gentlemen of Verona and EveryActor) is a second year MFA student at the University of Washington School of Drama’s Professional Actors Training Program.

Other Credits include Elvis Presley in Picasso at the Lapin Agile, Abigail of In the Continuum, Edna in Waiting for Lefty, and Lydia in Big Love.

DAVID SEDARIS (Playwright, The Santaland Diaries) is a Grammy Award-nominated humorist, writer, comedian, bestselling author, and radio contributor. He was first publicly recognized in 1992 when NPR broadcast his essay “SantaLand Diaries”. He published his first collection of essays and short stories, Barrel Fever, in 1994.

Each of his five subsequent essay collections, Naked, Holidays on Ice, Me Talk Pretty One Day, Dress Your Family in Corduroy and Denim, and When You Are Engulfed in Flames, have become New York Times best sellers.

KATIE SHADE second season (Assistant Stage Manager for As You Like It and Romeo and Juliet) S&Co: The Winter’s Tale (ASM) and Bad Dates (SM). Regional: Actors Theatre of Louisville: Bob, Barefoot in the Park, Phoenix, Heist!, A Christmas Carol, and Dracula. Training: Professional Stage Management Internship at Actors Theatre of Louisville, BFA in Theatre Management from Auburn University.

WILLIAM SHAKESPEARE (Playwright, As You Like It, Romeo and Juliet, The Two Gentlemen

MONIQUE A. ROBINSON

of Verona) was an English poet and playwright (1564–1616) widely regarded as the greatest writer in the English language and the world’s pre-eminent dramatist. His surviving works, including some collaborations, consist of 37 plays, 154 sonnets, two long narrative poems, and several additional poems. His plays have been translated into every major living language and are performed more often than those of all other playwrights.

TONY SIMOTES founding member (Director of As You Like It, The Hound of the Baskervilles, The War of the Worlds and The Santaland Diaries; Artistic Director & President) Tony is a Master Teacher of Fight and Movement and has been one of the Company’s Artistic Associates since 1995. S&Co Director: Othello, The Merry Wives of Windsor, A Midsummer Nights Dream, Two Gentlemen of Verona and The Compleat Works of Wllm Shkspr (Abridged) (Three Times) plus many others. He’s been an Associate Director and Fight Director on many of Tina Packer’s shows over the years and together they have created some of the Company’s most inspired productions. His work as a fight choreographer and director has been featured from coast to coast from the Mark Taper Forum in Los Angeles and its world premieres of Green Card by Joanne Akalaitis and The Waiting Room by Lisa Loomer to the New York Shakespeare Festival’s Public Theater New York premiere’s of The Woods by David Mamet. Recent directing credits include: The War of the Worlds by Howard Koch and The Water Engine by David Mamet which were both broadcast live on Wisconsin Public Radio and NPR, The Nerd for Madison Repertory Theatre and Fight Direction for Macbeth at Orlando Shakespeare Theatre. Internationally his work

TONY SIMOTES

has been featured at The Stage X Festival in Brisbane Australia, The Canadian Stage Company in Toronto and in Vancouver at Theater 48 New Play Festival, just to name a few. Mr. Simotes’ desire to establish new technology in the development/research area of actor training lead to establishing a core stable of actors at Raven Soft Ware of Middleton, Wisconsin for training in Motion Capture Acting and Voice Overs for Raven’s game technology division. This collaboration was featured on NPR’s Market Place. Mr. Simotes also works as an actor and is a proud member of AEA, SAG and AFTRA. Film roles include: Father of the Bride II, Terminator II, Hot Shots, Alien Nation, The Waterdance, Pacific Heights, Maid to Order, A Class Act, Whose Life is It Anyway, and a starring role in the Academy Award nominated Bronx Cheers for Best Live Action Short Film. TV: “Buddy Rich” for CBS’ Sinatra mini-series, fight choreography for ABC News “What Would You Do?” with John Quinones, and many other prime-time shows.

Mr. Simotes spent six years at the University of Wisconsin–Madison where he was a full professor and Director of University Theatre. To my Lucy, I have only one true partner!

KIKI SMITH founding member (Costume Designer for Romeo and Juliet) Designer of costumes and sets here for over 30 productions and for many regional theatres and choreographers, including the Talking Band in New York; in 2003, she won an OBIE award for her costume designs for their production of A Painted Snake in a Painted Chair. She is a Professor of Theatre at Smith College.

ELENI SOPHIA first season (Performance Intern, The Two Gentlemen of Verona and

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EveryActor) Having seen S&Co performances since age 10 (thanks Mom!), Eleni is beyond thrilled to be performing here this summer in her first professional Shakespeare production.

Other Credits: Little Women (Jo), Proof (Claire), Crossing Delancey (Izzy), Urinetown, Almost Maine, Kathy and Mo Show, and the ‘09 Italian Hair tour. Thanks so much to Dennis and the company.

ALEXANDER SOVRONSKY third season (Composer/Music Director of As You Like It, Hound of the Baskervilles) S&Co: Composer for Les Liaisons Dangereuses, Hound of the Baskervilles, Twelfth Night, Pericles; Actor in Twelfth Night, Hamlet, All’s Well That Ends Well. Other music/composition credits include the current production of Measure for Measure (Public Theater/NYSF, with John Gromada), Cyrano de Bergerac (Broadway), Women Beware Women (Red Bull Theatre Co, with Scott Killian), The Three Sisters (Classical Theatre of Harlem), The Libertine (Fools’ Theatre), and Summer (Wharton Salon). Alexander is also an accomplished actor/musician, performing on Broadway, Off-Broadway and in many regional theatres. For a good time, check out www.

AlexanderSovronsky.com ENRICO SPADA fourth season (Pancrazio in The Venetian Twins; Marketing Director & Web Manager) S&Co: The Real Inspector Hound (Moon), Richard III (Rivers), The Winter’s Tale (Cleomenes), Les Liaisons Dangereuses (Danceny), Hamlet (Fortinbras), Fall Festival director. Regional: The Laramie Project: 10 Years Later at Barrington Stage, Five Flights at Mixed Company. Directed by Kevin G. Coleman at Riggs Theatre 37: Julius Caesar (Antony),

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The Bourgeois Gentleman (Jourdain), The Two Gentlemen of Verona (Thurio).

R E N É E M A R G A R E T S P E LT Z e i g h t h season (Lady Montague in Romeo and Juliet, Information Technology Manager). S&Co: Winter’s Tale (Assistant Director), Les Liaisons Dangereuses (Rosemonde), Cindy Bella (Alidora), Ladies Man (Assistant Director); Rough Crossing (Assistant Director); Sonnet Prelude 2007 (Director); Tamer Tamed (Pedro) and Comedy of Errors (Luce). Minnesota State UniversityMankato (MSU): Equus (Dora), Butterflies are Free (Mrs. Baker), Golden Age (Isabel).

Wimbledon Studio Theatre: Dining Room (6 roles). Saint Mary’s University of Minnesota: Our Country’s Good (Meg). University of WisconsinEau Clare: Tartuffe (Pernelle). MFA Acting MSU. CARL SPRAGUE (Set Designer for The Two Gentlemen of Verona) has designed for numerous film, theatre, opera and ballet companies, including the Berkshire Theatre

Festival, the Berkshire Opera, the Chester Theatre, the Oldcastle Theatre, The Colonial Theatre and the Music-Theatre Group. With Shakespeare & Co. he has designed sets for Comedy of Errors, Les Liasions Dangereuses, The Ladies’ Man, Antony & Cleopatra, Kerfol, The Promise, The Mission of Jane and Ice Glen.

Carl’s design work for film includes The Age of Innocence, The Social Network, Salt, State & Main, Company Men, and Amistad. He received a Guild nomination for his work as art director on The Royal Tenenbaums. As a production designer his credits include the films Art of Love, Peace Love & Misunderstanding, Satie & Suzanne, Long Distance, Disappearances, Wedding Daze, Company Retreat, Another Harvest Moon, and The Last Harbor. His sets at Mass MoCA for art photographer Gregory Crewdson were featured in The New York Times. He is currently developing a feature film adaptation of Edith Wharton’s 1917 novel Summer.

SHELAGH STEPHENSON (Playwright, The Memory of Water) was born in Northumberland and read drama at Manchester University. Her plays frequently deal with new advances in science, such as the concept in the title of The Memory of Water, and include commentary on possible pseudo-scientific fads. Other plays include An Experiment with an Air Pump, Ancient Lights, Mappa Mundi and The Long Road.

ALEX STEWART first season (Performance I n t e r n , T h e Tw o G e n t l e m e n o f Verona and EveryActor) S&Co: Oliver in As You Like It (Conservatory 2010). Other credits: Touchstone in As You Like It, Octave in Scapin, and Mr. Smith in The Bald Soprano for the University of Pittsburgh Repertory Theater.

ANDY TALEN third season (Composer for The Venetian Twins) S&Co: Richard III (Richmond), Winter’s Tale (Rogero/ Musician), Julius Caesar (Mark Antony), The Amorous Quarrel (Valere/Composer), All’s Well That Ends Well (Soldier/Musician), Wild & Whirling Words (Ensemble); Regional: Madison Repertory Theatre: Carousel (Enoch Snow Jr.), The Almond & The Seahorse (Joe), University Theatre-Madison: HAIR (Claude), The Love of the Nightingale (Tereus), The Water Engine (Dave Murray); Training: BA – Theatre Acting Specialist from the Univeristy of Wisconsin–Madison. Andy will be attending Columbia University in the fall to pursue his MFA in Acting. Thanks & love to his family mom, dad, petie, bunker & tonka!

ENRICO SPADA

RENÉE MARGARET SPELTZ

ERIC TUCKER third season (Director of Women of Will: The Complete Journey). S&Co: Women of Will: The Overview; Bad Dates; Pinter’s Mirror

CARL SPRAGUE

ALEX STEWART

ANDY TALEN

(Director). Other Directing Credits include: OffBroadway: The Belle of Belfast (Cherry Lane); The Libertine; 86’d (Theatre Row). Off-off Broadway: The Libertine, Closer, 16E; Regional: Hamlet (with William Hurt, Stella Adler Theatre); Macbeth (nominated Best Overall Production and Best Director by L.A. Critics); Uranium and Peaches (with Ed Asner, L.A.); Women of Will (Mercury Theatre, Colchester, England); Twelfth Night; Romeo and Juliet (Trinity Repertory Company); Antony and Cleopatra, Hamlet, Measure for Measure (Redlands Shakespeare); Man of La Mancha, Sanctuary (North American Premiere; VCPA); Watership Down (World Premiere; Burning Coal); Macbeth, Closer (SFGT); The Voyage of the Carcass (Brown Playwrights Festival); Angels in America: Parts I & II, Hamlet (Beowulf); Much Ado About Nothing, The Tempest (Trinity Conservatory); The Last Days of Judas Iscariot (U. of Utah). He received his M.F.A. from Trinity Rep Conservatory and is a proud member of Equity since 1996.

DANIELA VARON† eighteenth season (Director of Romeo and Juliet) S&Co: Director, Sea Marks, Martha Mitchell Calling, The Taming of the Shrew, Much Ado About Nothing, Love Letters, Collected Stories, Winter’s Tale, Wit, A Room of One’s Own, Turn of the Screw. NY: Abingdon Theatre, Blue Heron, Culture Project, EST, HERE, Joe’s Pub, Lincoln Center Theater Directors’ Lab, Mud/Bone, the Public, 78th Street Theatre Lab, T.W.E.E.D., Vineyard Theatre. Regional: Actors’ Playhouse, Boston Playwrights’ Theatre, Connecticut Repertory, LA Women’s Shakespeare, Nora Theatre, North Country Center for the Arts, The Poets’ Theatre, Sun Valley Shakespeare, Tygre’s Heart Shakespeare,

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WHO’S WHO FROM PAGE 125 Vineyard Playhouse. New play development: A.R.T., Cherry Lane, ACT Seattle, Crossroads, Hartford Stage, Immigrant Theater Project, John Drew Theater, National New Play Network, New Dramatists, New Georges, Performance Network, Playwrights Horizons, the Public, Transport Group, Voice & Vision. Upcoming: Robert Brustein’s Mortal Terror at the Modern Theatre, Boston, and an acting residency with Bulgaria’s Sfumato Theater Laboratory. Daniela has taught and directed at numerous colleges, conservatories and actor training programs.

Co-creator, Conversations with Shakespeare; co-founder, The Company of Women; founding faculty, Linklater Center; Drama League Fellow; NYTW Usual Suspect.

JENNA WARE eighteenth season (Director of The Venetian Twins and Red Hot Patriot, Director for Shakespeare & Young Company; Associate Director of Education) S&Co director: Amorous Quarrel, Shakespeare and the Language that

JUSTIN WEAKS

WALTON WILSON*

Shaped a World, Shirley Valentine, The Henry VI Chronicles, Macbeth tour, The Triumph of Darkness. Jenna has directed over 40 productions for S&Co’s Education Program and is the founder of Shakespeare & Young Company. S&Co actor: Romeo and Juliet tour (Juliet), Macbeth tour (Lady Macduff), The Merchant of Venice (Solanio), Lady’s Maid’s Bell (Mrs. Blinder), Expiation (Bella), and Much Ado About Nothing (Margaret). Regional director: Rosencrantz and Guildenstern are Dead (Maine Shakespeare), and Three Tall Women (Penobscot Theatre). Regional actor: The Comedy of Errors (Adriana) at Maine Shakespeare, and Macbeth (Lady Macduff) at Orlando Shakespeare. Jenna recently served as a reviewer for the President’s Committee on the Arts and the Humanities ‘Coming Up Taller’ award. Education: BFA from NYU/Tisch.

his sophomore year at Georgetown University where he is on the Board of the Mask & Bauble Dramatic Society.

DAWN MONIQUE WILLIAMS first season (Assistant Director of Romeo and Juliet) joins us as a Drama League Directing Fellow. Select directing credits: Steel Magnolias, In the Blood, Anna Bella Eema, Medea, Trojan Women, Burial at Thebes, Children of Eden, Spelling Bee, Little Shop of Horrors, Scapin the Cheat, Tempest, Much Ado About Nothing, and Twelfth Night. Assistant directing: Hartford Stage, TheatreWorks (California), and Cal Shakes.

Training: MFA, UMass Amherst.

JUSTIN WEAKS first season (Florindo in The Venetian Twins; Rioutous Youth Intern) S&CO: Summer Young Company ’07. Regional: Barter Theatre: Pinocchio (Lampwick, Fisherman), Barter Players Apprentice ’10, The Paper Lantern Theatre: The Shadow of Eldorado (Andy).

Studies theatre with emphasis in performance at Greensboro College in North Carolina. GC credits: Blues for an Alabama Sky (Guy), Romeo and Juliet (Benvolio), Rabbit Hole (Jason), Eurydice (Father, Irene Ryan nomination). Love to my family!

WALTON WILSON* thirteenth season (Friar Lawrence in Romeo and Juliet; Summer Training Institute faculty) S&Co: Sea Marks, The Ladies’ Man, Othello, Antony & Cleopatra, A Midsummer Night’s Dream, Taming of the Shrew, King John, Twelfth Night, Henry IV part 1, The Winter’s Tale, Measure for Measure, Much Ado About Nothing, Comedy of Errors, etc. New York: BAM, Culture Project, La Mama, Public/ NYSF, Vineyard Theatre, etc. Regional: Actors Theatre of Louisville, Alley Theatre, ART, Dallas Theatre Center, Empty Space, the Shakespeare Festivals of Dallas, Houston, Santa Fe and St. Louis, Stages, Swine Palace, Williamstown Theatre Festival, Yale Repertory Theatre, etc.

Acting faculty, Yale School of Drama.

HARRISON WILKEN first season (ASM for The Memory of Water and Red Hot Patriot) Harrison has acted in many of the Education Programs here at S&Co including Young Company and four years in the Fall Festival at Monument Mountain Regional High School. Harrison is going into

RYAN WINKLES sixth season (Silvius in As You Like It, Sir Henry in The Hound of the Baskervilles) S&Co: The Mystery of Irma Vep (Jane/Lord Edgar), The Winter’s Tale (Florizel), Richard III (Tyrrel/2nd Murderer/Fight Choreographer), Julius Caesar NE Tour (Cassius),

RYAN WINKLES

KRISTIN WOLD*

Hound of the Baskervilles (Sir Henry), Twelfth Night (Sir Andrew), Othello (Roderigo), Antony & Cleopatra (Pompey/Eros), Midsummer Night’s Dream (Flute), Macbeth NE Tour (Banquo/ Porter), Merry Wives of Windsor (Fenton).

Regional: Madison Rep: Muskie Love (Claude), Milwaukee Chamber Theatre: Christmas Memory (Buddy), Misalliance (Bentley). Training: MFA from University of Wisconsin-Madison.

KRISTIN WOLD* twenty-second season (Teresa in The Memory of Water; Ensemble in The Hollow Crown; Summer Training Institute Faculty) S&Co: Sea Marks (Timothea), Othello (Emilia), Ice Glen (Sarah), King Lear (Cordelia), The Tempest (Ariel), Twelfth Night (Viola), Measure for Measure (Isabella), Romeo and Juliet (Juliet), Berkeley Square (Helen).

Directing credits include The Last Days of Judas Iscariot, Abraham Lincoln’s Big Gay Dance Party, (Connecticut Repertory Theatre); Indian Blood (Mixed Company). Kristin teaches acting and movement for S&Co and at the University of Connecticut.

JIM YOUNGERMAN ninth season (Set Designer for The Hound of the Baskervilles) S&Co: The Hound Of The Baskervilles, A Midsummer’s Night Dream, Romeo & Juliet, Much Ado About Nothing, Love’s Labor’s Lost, Summer, Merchant of Venice, Two Gentlemen of Verona, Ethan Fromme, Laughing Wild, Killer’s Head & Dumbwaiter (Barrington Stage), The Man Who Killed The Buddha (Odyssey LA), The Coyote Cycle (Coyote Productions). Jim is primarily known as a painter whose artwork can be viewed at jimyoungerman.com

JIM YOUNGERMAN

* Appears courtesy of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. † This director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union. ‡ This designer is represented by United Scenic Artists - Local USA 829 of the International Alliance of Theatrical Stage Employees.

Shakespeare & Company operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Shakespeare & Company is a constituent of Theatre Communications Group (TCG), the national organization for the American theatre, and the Shakespeare Theatre Association.

What's in a name? That which we call a rose by any other name would smell as sweet.

ROMEO AND JULIET II.ii

126

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