Shakespeare & Company 2013-14 Season Playbill by Shakespeare & Company

Lenox, MA

“Shakespeare & Company’s productions are full of bull’s-eye moments that make you sit up straight in your seat!” Terry Teachout,

Tony Simotes, Artistic Director Nicholas J. Puma, Jr., Managing Director

2013-2014 PERFORMANCE Season

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.

Tod Randolph, Jonathan Croy, Malcolm Ingram, and Equiano Mosieri in As You Like It, 2011 Cover: Dennis Krausnick, Olympia Dukakis (original photo by Debra Feingold), John Douglas Thompson. Playbill Design: Studio Two. Photography: Kevin Sprague.

TABLE OF CONTENTS: FEATURES

5 Questions with Rocco Sisto............................................. 68 25 Years Celebrating The Fall Festival of Shakespeare...... 40 Algorithms and Pentameter featuring Sarah Hancock..... 112 A Labor of Love................................................................... 63 Coming Full Circle featuring Timothy Douglas................. 130 Drawing Between the Lines featuring Sol Schwartz........... 54 The Art of Finance with Sophie Breton.............................. 132 The History Cycle.............................................................. 114 Josh of All Trades with Josh Aaron McCabe........................ 58 Nickel Shakespeare Girls.................................................... 96 Richard Mescon Tribute.................................................... 104 These Are the Youths That Thunder at a Playhouse.......... 100 The Transformation of Self-Perception............................... 76 Tina Packer: A Woman of Will........................................... 136

2013-14 PERFORMANCE SEASON TINA PACKER PLAYHOUSE

Broadway in the Berkshires Special Benefit....................... 13 Dibbledance..................................................................... 109 25th Fall Festival of Shakespeare Celebration..................... 16 Love’s Labour’s Lost........................................................... 38 Mother Courage and Her Children...................................... 94 Pearl................................................................................ 119 Richard II........................................................................... 64

ELAYNE P. BERNSTEIN THEATRE

Accomplice....................................................................... 126 The Beauty Queen of Leenane............................................ 82 Heroes................................................................................ 52 It’s A Wonderful Life: A Live Radio Play............................. 134 Master Class...................................................................... 32 None But the Lonely Heart: The Strange Story of Tchaikovsky and Madame Von Meck......................... 116 Private Lives.................................................................... 140 Romeo and Juliet Northeast Regional Tour of Shakespeare..................................................... 103 Shakespeare and the Language that Shaped a World...... 106

ROSE FOOTPRINT

Les Faux Pas: Or, The Counter Plots................................. 120 Riotous Youth................................................................... 100 Shakespeare & Young Company......................................... 92 Riotous Youth..................................................................... 92

BANKSIDE

Fourth of July Celebration................................................... 93 Nickel Shakespeare Girls.................................................... 96

NEW OFF-SITE OFFERINGS!

Bard College At Simon’s Rock, Daniel Arts Center, McConnell Theater: Great Barrington Leap Year......................................................................... 122

The Dell at The Mount, Edith Wharton’s Home: Lenox

A Midsummer Night’s Dream............................................ 110

Upstreet Barbers: Pittsfield

Kaufman’s Barber Shop.................................................... 124

STAPLES

Letter from Tony Simotes, Artistic Director........................... 2 Letter from Sarah Hancock, Board Chair.............................. 6 Mission, Values, Vision......................................................... 8 Board of Trustees and Board of Overseers............................ 8 Who’s Who Actors Bios...................................................... 148

Author! Author!.................................................................. 91 Bankside/Special Events.................................................... 92 Behind the Scenes Tours.................................................... 88 Clare’s Place.................................................................... 128 The Conservatory at Shakespeare & Company................... 56 Contributors......................................................................... 4 Education........................................................................... 48 Gift Shop/Concessions....................................................... 35 Groups/Parties/ Rentals................................................... 142 In Memoriam...................................................................... 26 Membership....................................................................... 10 Planned Giving................................................................... 18 Players Society................................................................... 19 Romeo and Juliet Northeast Tour of Shakespeare............. 103 Institutional Giving............................................................ 30 Staff Listing..................................................................... 146 Studio Series...................................................................... 88 The Training Program......................................................... 72 Tuesday Talks..................................................................... 88 Wednesday Q&A’s............................................................... 91 Shakespeare & Vounteer Company..................................... 36

Shakespeare.org

Dear Friends,

irst and foremost, I would like to thank you, our beloved patrons, for your incomparable faith and support over the past three and a half decades. I couldn’t be more excited for the future of Shakespeare & Company as we move into our 36th Season of Rebellion and Revolution with a line-up of compelling, inspiring and thought-provoking works.

We gratefully acknowledge the support of:

The Guardian Life Insurance Company

The Charles H. Hall Foundation The Mimi and Peter Haas Fund

I would like to welcome new Board Chair Sarah Hancock, who took over the reigns from Richard A. Mescon in February. Sarah has truly become a wonderful friend to the Company and one of our most esteemed and highly regarded off-stage ‘talents’ to grace our midst. I would also like to salute Richard for his unwavering and dedicated service to the Company over the past five years. We are enormously grateful to Richard and look forward to his continued support as an active member of our Board of Directors for years to come. I’m elated to welcome back a number of artists who made our 35th Season such a phenomenal success. I have the privilege of once again directing my friend and mentor, Academy Award winner Olympia Dukakis, in Bertolt Brecht’s profound play, Mother Courage and Her Children, which also features Apollo Dukakis and OBIE Award winner John Douglas Thompson. I’m also honored to welcome back another dear friend who has significantly impacted my life, our indomitable Founder Tina Packer, who will return to the Bernstein stage in the provocative The Beauty Queen of Leenane. We have a cornucopia of new programing both on and off campus including the Ensemble for the Romantic Century’s production of None but the Lonely Heart: The Strange story of Tchaikovsky and Madame Von Meck–an innovative fusion of drama and live music. And Pearl, a new opera and ONE-NIGHT-ONLY Benefit featuring the very talented Maureen O’Flynn and John Cheek. Our Northeast touring school production of A Midsummer Night’s Dream will perform at The Mount (our first home, and our first production back in 1978). Choreographer Susan Dibble will create a special dance for the show along with her own magical production of DibbleDance later in the summer. We also have two world-premieres with Kaufman’s Barber Shop, which performs at the Upstreet Barber Shop in Pittsfield, and Leap Year, which will be hosted by Bard College at Simon’s Rock, in their Daniel Arts Centers’ McConnell Theatre in Great Barrington. The Playhouse features two Shakespeares both rich in language and invention: Love’s Labour’s Lost, directed by Lisa Wolpe, Artistic Director of the LA Women’s Shakespeare Company, who helms this hilarious battle of the sexes, and Richard II, starring three-time OBIE Award winner Rocco Sisto, with the very talented Timothy Douglas directing. Richard II inaugurates our new five-year long History Cycle, The Wars of The Roses–the first in a series of history plays that we will produce leading up to our 40th Season. Our Bernstein Theatre features three of our strongest contemporary playwrights with Terrence McNally’s evocative Master Class (featuring our beloved Annette Miller), Tom Stoppard’s hilarious translation of Heroes (directed by Kevin G. Coleman and featuring Jonathan Epstein), and the aforementioned drama by Martin McDonagh, The Beauty Queen of Leenane. You won’t want to miss our star-studded summer Benefit performance of Broadway in the Berkshires on July 8, a fun-filled evening of song, dance, and theatre followed by a Dinner Reception with the cast. And we are very happy to welcome the Honorable Deval Patrick, Governor of Massachusetts and Mrs. Patrick as they join a myriad of other talented writers and special guests for our Author! Author! Series. Our exciting family-friendly Bankside Festival will host a new translation of one of Molière’s funniest plays, Les Faux Pas: Or, the Counter Plots. But wait…there’s more! Buckle up for the Fall & Winter Season with a host of great programming including a celebration for our award winning Education Program and the 25th Anniversary of the Fall Festival of Shakespeare on October 12. So bring your friends, your family, and your imagination and enjoy all we have to offer. With all good wishes,

Tony Simotes Artistic Director

EncorE.

Hereâ&#x20AC;&#x2122;s to many more years of memorable performances. We are proud to support the Shakespeare & companyâ&#x20AC;&#x2122;s 2013-2014 season.

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n June 30th, 2012, we celebrated our 35th Season Gala and the renaming of our main stage to The Tina Packer Playhouse in recognition of Founding Artistic Director Tina Packer and her invaluable contributions to the organization. That night, Campaign Co-Chair Michael A. Miller proudly announced the completion of the Campaign: $5 million in pledges and gifts to retire Shakespeare & Company’s short and most of its long-term debt and $1 million to create the Tina Packer Fund for Shakespeare & Company to support annual facilities expenses and create an operating reserve for the organization, to further strengthen S&Co.’s financial position.

We continue to receive gifts in support of the Tina Packer Fund, which is an open-ended fund that will greatly strengthen the Company’s reserves over the next several years. The Fund will enable the Company to lay the foundation towards an endowment in future years. To make a gift to the Tina Packer Fund, please contact Patrick Buckley at 413.637.1199 x105 or pbuckley@shakespeare.org.

35 Anniversary Campaign th

and The Tina Packer Fund for We are most grateful to the following individuals who have made generous contributions and pledges (as of April 30, 2013): SUPPORTERS LEADERS Steve, Angela, Andrew, and Natalie Bader Elayne P. Bernstein + and Sol Schwartz Deborah Benson and Frederic Marx Donna A. and Sam Bernstein Diane Cataldo Gene M. Bernstein and Family Linda Benedict Colvin Jay and Jill Bernstein and Family Gretchen DeKalb Jacob, Gena, Tony and Linda Bernstein Rubin Harold Grinspoon and Diane Troderman Matthew and Natalie Bernstein and Family Eleanor Lord and Margaret Wheeler The Bok Family Foundation, Enid Michelman Scott & Roxanne Bok The Claudia & Steven Perles Sarah Hancock Family Foundation Felda and Dena Hardymon William and Lia Poorvu Michael A. and Annette Miller Alison Akin Righter Dorothy and Stephen Weber Alan Sagner and Bea W. Bloch SUSTAINERS Barry and Marjorie Shapiro The Barrington Foundation, Inc. Sandra Urie and Frank Herron Jerry and Honie Berko Dr. Robert C. and Tina Sohn Foundation George and Roberta Berry Taos Community Foundation, Inc. Dr. Donald and Phoebe Giddon PATRONS Iredale Mineral Cosmetics, Ltd. Helene Berger Richard A. and Jane Mescon Sydelle and Lee Blatt Nathan and Rebecca Milikowsky Genie and Bob Birch BENEFACTORS Lee M. Elman Dr. Gerald and Roberta Friedman Dr. Marc and Susan Goldman Paul D. and Sherri L. Reddick Susan and Richard Grausman Kathleen Rogers and Rick Teller Ricki Tigert Helfer and Michael Helfer Karen and Charles Schader Laurel and James Higgins David and Marie Louise Scudder Joan and Jim Hunter Rhea and Ken Werner Norma and Sol D. Kugler Elwer Foundation, Inc. 4

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Frances S. Martinson + Kate and Joel Millonzi Kevin and Joyce Parks Peter B. F. and Helen Garside Randolph Victoria Rhoades Carraro and Alvaro Carraro Ernest Rubenstein and Tova Friedler Usdan Rochelle and Steven Rubin The Samuels Foundation Dr. and Mrs. Wynn A. Sayman Jenn and Jeff Stanley Antoine and Emily van Agtmael Arthur and Andrea Waldstein Joan H. Wallace Robert and Claudia Wells Rose Zoltek-Jick CONTRIBUTORS Susan B. Aller Alan Altschuler Stephen and Shari Ashman Rosalie M. Bandyopadhyay Elaine and Marvin Bass Robert Boland Jay and Jane Braus David S. Brink Susan and Duncan Brown Janet Carey Bob and Mary Carswell Mark and Phyllis Cash Jim Cochran and Fran Pilato

Herb and Jayne Cohan Michael and Constance Cunningham Barbara Daelman L. Berkley and Katharine H. Davis Ruth Dinerman Delight and Paul Dodyk Joanne and Gerald Dreher Shelley Malinoff and Paul Dygert John and Janet Egelhofer Cindy and Chip Elitzer Dorothea R. Endicott Nancy and Martin Engels Donald Estabrook Sam and Betsey Farber Nancy and Raymond Feldman William and Sandra Flannery Mary and Henry Flynt Ralph and Audrey Friedner Karen Grassle Barbara and Ralph Greenberg Tom and Jill Groff MJ Guidette Joyce W. Hensley David Hodgdon Mary C. Huntington Gordon and Carole Hyatt Kevin and Moira Jones Mildred and Richard Kirby Sally Kneipp and Ray Finley

Tina Packer, Women of Will, 2012

A Bag for All Seasons Nancy A. Kramer Edgar Landa Frank Lawler and Ann McCurdy Donna Lefkowitz Melissa Legg and Richard Reeves Dr. and Mrs. Eugene Leibowitz Richard Levinson and Phyllis Walt Thomson H. Littlefield Peter Tassia and Maija Lutz William J. Macanka Barbara A. Mahony Barbara E. Mandler Barbara and Roger Manring Ann and Ben Marcus Craig Mathers Darlene McCampbell Barbara McCullough Minkie West McKevitt Henry and Edith Meininger Estelle Miller Linda and Jerry Monchik Emily N. Moore Alice and Manny Nadelman Helga S. Orthofer Marina and William Perry Stephen and Patricia Peters Heather and Brian Phillips Sharon and Irving Picard

Noni Pratt Ilene and Michael Prokup Janet and John Rausch Frederick and Bonnie Rich Joseph W. Rinaldi Martha Rosen Rhoda and Ted Rosenblatt Ellen Runge Karen S. Ryker David and Susan Saul Dorothy A. Schecter Sunny Schwartz Marilyn and Nat Schwartzberg Nina Segre and Frank Furstenberg Carol and Peter Seldin Rita E. Shawn Gayle Merling and James Shields Joanne A. Spellun Brenda and Greg Stone M. K. Terrell John Toole Randy J. Tryon Bessel A. van der Kolk MD John A. and Mary C. Vassallo Greg Votaw Eric and Linda White Anonymous (16) + deceased

For Her, For Him Accessories, Outerwear Jewelry, Travel Goods

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welcome to SHAKESPEARE & COMPANY.

e’re so pleased to have you with us for our 36th Performance Season. I am privileged to have been elected Chair of the Board of this wonderful organization. Under the stewardship of past Chairs Michael Miller and Richard Mescon, Shakespeare & Company has navigated through the treacherous waters of a major building project, an Artistic Director transition, and sudden change in the wider economic environment. My goal is to continue the journey towards stability and on to sustainability and vitality.

Board Chair Sarah Hancock, photo Enrico Spada

My introduction to the Company was quite serendipitous. I have always been a great lover of language and the power of Shakespeare’s works. I discovered Shakespeare & Company while visiting Lenox back in 2007, and I was immediately captivated by the quality and depth of the productions. I quickly learned that the Company’s core values were rooted in language, education, training and performance. Both artistically and financially, 2012 was a great success for Shakespeare & Company. With our critically acclaimed main stage productions in the newly renamed Tina Packer Playhouse and our year-round schedule of provocative and new works in the Elayne P. Bernstein Theatre, we delighted more than 55,000 audience members during the past season, a record. Under the leadership of Artistic Director Tony Simotes and with the support of our patrons, supporters, staff, and community leaders, we have now completed our fourth consecutive year with operating results in the black. We are all very proud of this accomplishment in these tight economic times. We are thrilled that our educational activities have touched the lives of over 25,000 young people over the course of the year, via the Riotous Youth summer programs, residencies in local schools, the Northeast Tour of Shakespeare, and our prestigious Courts Program. We look forward to October, when we celebrate our 25th Fall Festival of Shakespeare, the cornerstone of our Education aesthetic and the laboratory for the development of our philosophy of self-discovery and exploration. Our training programs attracted actors from across the United States, Canada, Australia and Europe. A highlight this winter was a week-long workshop exploring scenes from Chekhov with our friends from the Sfumato Theater Laboratory of Sofia, Bulgaria. None of this would be possible without the support of our loyal patrons, donors, volunteers, Trustees, and Overseers. New friends and long-time fans, I salute you all and thank you from the bottom of my heart. Sarah Hancock Chair, Board of Trustees

Celebrating our 30th Anniversary Fine Dining Serving Dinner Nightly from 5pm reserve@cafelucialenox.com 80 Church Street, Lenox, MA (413) 637-2640

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MARISA OLSON, â&#x20AC;&#x2122;16

Criminal Justice Major As Lucia in Julius Caesar

We are Westfield. We are explorers and scholars, builders and innovators, artists and athletes,

dream seekers and care takers. We are a community of possibilities â&#x20AC;&#x201D; onsite, online and in touch. P R I VAT E Q U A L I T Y. P U B L I C VA L U E .

WeAreWestfield.com

, Values Vision

David Joseph, The Tempest, 2012

, Mission

BOARD OF TRUSTEES

hakespeare & Company was founded in 1978 to create a 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.

Sarah Hancock, Chair

Jane Iredale

Charles R. Schader, Vice Chair

Jeffrey B. Konowitch

Dorothy Altman Weber, Vice Chair

Dennis Krausnick

Diane Cataldo, Treasurer

Barbara Mahony

Michael A. Miller, Clerk & Chair Emeritus

Harry B. Mathews

Tony Simotes, Artistic Director/President

Rebecca Milikowsky

Richard A. Mescon, Chair Emeritus

Tina Packer, Founding Artistic Director

Kate Millonzi

Nicholas J. Puma Jr., Managing Director

Helga S. Orthofer Claudia Perles

Deborah L. Benson

Victoria Rhoades Carraro

Jerome Berko

William M. Ryan

Gene M. Bernstein

Sol Schwartz

Jerry Bilik

Barry R. Shapiro

Patrick Brennan

David A. Smith

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.

Kevin G. Coleman

Robert B. Strassler

Gerald Friedman MD PhD

John Douglas Thompson

Roberta Friedman

Kenneth Werner

Phoebe Giddon

Fareed Zakaria

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.

Susan Grausman

Paula Zakaria

Carole Hyatt

Rose Zoltek-Jick

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?

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

BOARD OF OVERSEERS Kate Millonzi, Chair

Diane Durgin

Katherine Abraham

Janet Egelhofer

Mia Andersen

Sonya Hamlin

Helene Berger

Eleanor Lord and Margaret Wheeler

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 hope to create: an authentic and historically accurate Elizabethan playhouse…The Rose.

Roberta and George Berry

Annette Miller

Stanley and Gail Bleifer

Carolyn Newberger

Roxanne and Scott Bok

The Honorable Paul Perachi

Vicki Bonnington

Carol Seldin

Janet Carey

Natalie and Howard Shawn

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.

Linda Benedict Colvin

Harriet Vines

Michael J. Considine and Shawn Leary Considine

Marian Warden

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

Shakespeare.org

Peter Davenport Gretchen DeKalb

Rhea Werner

Lenox With its charming cobblestone streets, fabulous shopping, and rich cultural offerings, it’s no wonder that Lenox has become a summer destination hot spot. Established in 1767, this delightful town features many cultural highlights including Tanglewood, Ventfort Hall, Edith Wharton’s The Mount, and of course, Shakespeare & Company. Lenox’s award-winning restaurants, inns, and spa resorts (such as Canyon Ranch, Cranwell and Kripalu) ensure that visitors will feel relaxed and pampered throughout their stay. Grab a scrumptious bite to eat, explore the local shops, catch a show, and enjoy all that Lenox has to offer!

Find Chocolate Inspiration

Hand crafted in the Berkshires Famous Chocolate and Café Open 7 days a week

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Route 7, Lenox MA 413-637-9820 chocolatesprings.com Shakespeare.org

Membership

You are an important player.

Income from our performances covers only 40% of our annual operating budget. Your support makes all the difference.

Your gift matters.

Please contribute and take pride in knowing that you are bringing top-tier performances, world-class artist training and award-winning education to children throughout the Northeast.

The Players’ Society

levels and benefits

Silver $1,500-$2,499

Friend $50-$99

Benefactor benefits plus:

You receive:

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

• 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

Contributor $100-$249

Gold $2,500-$4,999

Above benefits plus:

• Acknowledgement in our annual Playbill • Complimentary attendance at one of our Tuesday Talks

Supporter $250-$499 Above benefits plus:

• Invitation to attend working rehearsals with the artists

Benefactor $500-$1,499

• 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:

• 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)

• Guaranteed seating for two to any Tina Packer Playhouse mainstage performance (with 24 hours notice) • Invitation to attend the first reading of a play in rehearsal • Complimentary Voice coaching session with an S&Co. master teacher

Contact our Development Office at 413-637-1199 ext 105 or email us at development@shakespeare.org

Become an Underwriter 10

Shakespeare.org

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 x146

Elliot Norton and “Best of Boston” Award winner Johnny Lee Davenport and Kelley Curran in As You Like It, 2011. Photo: Kevin Sprague Springfield Central High School’s The Taming of the Shrew, Fall Festival ‘10. Photo: Enrico Spada Student Erin Butcher with text teacher Tod Randolph. Photo: Enrico Spada

Romeo and Juliet, 2011

hakespeare & Company aspires to create a 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. With a core of over 120 artists, the company performs Shakespeare, generating opportunities for collaboration between actors, directors and designers of all races, nationalities and backgrounds.

Shakespeare & Company provides original, in-depth, classical training and performance methods. The company also develops and produces new plays of social and political significance. Our education and training programs inspire new generations of students and scholars to discover the resonance of Shakespeare’s truths in the everyday world, demonstrating the influence that classical theatre can have within a community. Shakespeare.org

Lenox My good will is great, though the gift small. PERICLES III.iv

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BROADWAY IN THE BERKSHIRES SPECIAL BENEFIT PERFORMANCE & DINNER RECEPTION

Producer DEBORAH GRAUSMAN Director SAM SCALAMONI

Monday, July 8 5:00 PM

Tina Packer Playhouse Producer and Company member Deborah Grausman (Master Class) is bringing together a dazzling array of guest stars from Broadway, Off-Broadway, National Tours and The Metropolitan Opera. The event will also feature a delicious walkaround dinner reception and a VIP after-party with the artists, hosted by Hampton Terrace Inn. Don’t miss this spectacular evening of incredible performances, laughter, music and more! All proceeds to benefit Shakespeare & Company’s internationally acclaimed Education and Training Programs. For more information about Broadway in the Berkshires, please contact Ariel Bock, Manager of Institutional Giving and Event Coordinator at 413-637-1199 ext. 117 or abock@shakespeare.org. This event is expected to sell out, so please reserve your tickets early!

“A rousing broadway-style extravaganza... a hit!” The Berkshire Eagle

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HAMPTON TERRACE Bed and Breakfast

Fourteen rooms with private baths, a/c, ﬁreplaces, Jacuzzis or period tubs

Romantic weekend specials

Turn Back the Clock to the Gilded Age

One of the original “Berkshire Cottages” An inn since 1937

Full breakfast buffet

Heated outdoor pool

Located in Lenox Village Center

One block from Shakespeare & Company One mile to Tanglewood Your home is so beautiful, so charming, so exquisite and ﬁlled with such an amazing personal touch - I wished I could stay forever. Sabine Singh“Greenlee Smythe” All My Children For a moment I thought I had walked into a Christmas story ﬁlm...now a cherished memory. Lori Singer, Actress, Fame, Footloose

A spendid place to work, to play, to rest and to meet friends. We’ll be back. Frequently. David Black, Author (Pulitzer Prize nominee) and Screenwriter (Law and Order, Hill Street Blues, 100 Centre Street)

Being a good host to strangers and making them feel at home is the key to a b&b. You are the best. Joel Dien, Director of Communications, Big Apple Circus

Perfectly located and warmly suited. Peter Reigert, Actor, Animal House, Trafﬁc, Crossing Delancy, Law and Order, Local Hero

...full of wonderful images enhanced by your family’s warmth and hospitality. Ray Abruzzo, “Little Carmine,” The Sopranos

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Lenox

SOUTH STREET VETERINARY SERVICES Margaret L. Darcy, D.V.M. Raymond C. Reiners, V.M.D. Andrew J. Breslin, V.M.D. Emily Gassman, D.V.M. 864 South Street Pittsfield, MA 01201

Telephone: (413) 443-9069 (413) 637-0749 Fax: (413) 443-7479

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Save the Date!

25 th Fall Festival of Shakespeare

CELEBRATION Saturday, October 12 Tina Packer Playhouse

Fall Festival 2012, Mount Everett students

A special 25th Fall Festival of Shakespeare Celebration on Saturday, October 12 will kick off a weekend of festivities and a reunion of participants, artists, supporters and friends. The event will look back on Shakespeare & Company’s flagship arts-education program through film, photos, short performances, scenes, and more. Each year our Education Program reaches over 40,000 students, teachers and patrons. All proceeds will benefit the Education Program and the Fall Festival of Shakespeare. Visit Shakespeare.org for further details!

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413.528.9697 • WWW.BERKSHIRE.COOP 42 BRIDGE STREET • GREAT BARRINGTON, MA

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Great Barrington

CASTLE STREET CAFÉ “From soba noodles to locally raised sirloin, there’s plenty to please. The Café itself is casually elegant, but an extensive pub menu is available with outside seating as well as in the Celestial Bar. Friday and Saturday nights serve up live jazz.” (No cover.) Entrees from $15 (Café), from $9 (bar).

10 Castle Street, Great Barrington, MA 413-528-5244 castlestreetcafe.com

Simultaneously chic and bohemian, Great Barrington has it all! This eclectic town, named the ‘best small town in America’ by Smithsonian magazine, boasts a wide variety of attractions ranging from hip cafes, to a welcoming brewery to a fullystocked retro candy shop. Stroll along bustling Railroad Street and you’ll encounter fine dining establishments (Fiori, Allium, Castle Street Café), an ice cream shop (SoCo Creamery), and a plethora of intriguing stores, all in a single stretch. Check out the marvelous entertainment at the historic Mahaiwe Theatre and enjoy great eats and music on Castle Street while you're there. Whether you’re looking for a leisurely afternoon or a night on the town, Great Barrington is bursting with fun things to see, eat, and do!

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OPEN YEAR-ROUND!

PINK MARTINI Artistic Director Tony Simotes, the late Elayne P. Bernstein and husband and Sol Schwartz.

PLANNED GIVING A planned gift to Shakespeare & Company is a unique and personally meaningful way to support the Company and all its artistic, and actor training 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 our 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 B. and M. Lee Neff, Abigail Rubinstein, Richard Russell, Dr. Raymond Schneider, Nancy Vale, and two anonymous donors for including Shakespeare & Company in their giving plans.

To support, or not to support, there is no question.

breakfast at tiffany’s meets the united nations

tues jul 2 at 8pm

THE FAB FAUX master artistry of the beatles’ works

Sat Jul 20 at 8pm

NATALIE MERCHANT with the HUDSON VALLEY PHILHARMONIC Sun Jul 21 at 7pm

MANHATTAN TRANSFER a magical odyssey

Sat Jul 27 at 8pm

RITA RUDNER classy comedy

Sat Aug 4 at 7pm

FREE TO BE YOU AND ME

40th anniversary with Marlo Thomas, Alan Alda & Letty Cottin Pogrebin

Sun Aug 18 at 7pm

BELA FLECK ny banjo summit

Sun Oct 6 at 7pm

WORLD BLUES For local arts information visit

timesunion.com/localarts

with taj mahal, vusi mahlasela, and fredericks brown

Sun Nov 3 at 7pm 14 Castle Street, Great Barrington, MA www.mahaiwe.org • 413.528.0100

John Douglas Thompson, Richard III, 2010

PLAYERSâ&#x20AC;&#x2122; SOCIETY April 1, 2012 â&#x20AC;&#x201C; April 30, 2013

We would like to thank all Shakespeare & Company donors for their exceptional generosity in supporting all aspects of the Company. Producer ($25,000+) The Barrington Foundation, Inc. Jerry and Honie Berko Donna A. and Sam Bernstein Gene M. 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 Alan L. Copland Dr. Gerald and Roberta Friedman Dr. Donald and Phoebe Giddon Sarah Hancock George and Lizbeth Krupp Harry and Marie Mathews Nathan and Rebecca Milikowsky Michael A. and Annette Miller The Claudia & Steven Perles Family Foundation Paul D. and Sherri L. Reddick Kathleen Rogers and Rick Teller Deborah and Bill Ryan Karen and Charles Schader Sol Schwartz Barry and Marjorie Shapiro Dr. Robert C. and Tina Sohn Foundation The Estate of Barbara Stuhlmann Dorothy and Stephen Weber

Director ($10,000+) Deborah Benson and Frederic Marx Joe and Kathy Buckley Helga and Jerry Bilik Felda and Dena Hardymon Jane Iredale and Robert Montgomery Richard A. and Jane Mescon William and Lia Poorvu Dan and Susan Rothenberg Carol and Peter Seldin Natalie and Howard Shawn Sandra Urie and Frank Herron Rhea and Ken Werner Rose Zoltek-Jick

Platinum ($5,000+)

Sydelle and Lee Blatt Claire Cox Hermine Drezner and Jan Winkler Susan and Richard Grausman Ricki Tigert Helfer and Michael Helfer Gordon and Carole Hyatt Jeffrey Konowitch and Wendy Laurin Frances S. Martinson + Victoria Rhoades Carraro and Alvaro Carraro Richards Kibbe & Orbe, LLP Alison and Malcolm Thwaites

GOLD ($2500+)

Steve, Angela, Andrew, and Natalie Bader Dr. and Mrs. Frederick C. Cabot Barbara and Saul Eisenberg and the Charles L. Read Foundation Sam and Betsey Farber Rosemary and Torrence Harder Rebecca M. Hedgecock Edward P. Krugman and Ethel Klein Barbara A. Mahony Joan and Robert Rechnitz Dr. Robert and Esther Rosenthal Rochelle and Steven Rubin Eliza Schwarz David Smith and Ranny Cooper Warren Spector and Margaret Whitton David and Barbara Thomas Leone T. Young

Ann and Joe Gallo Mr. and Mrs. James W. Giddens Dr. Marc and Susan Goldman Sonya B. Hamlin and Bernard Berkowitz Liz and John Hart Laurel and James Higgins Lola Jaffe in honor of Tina Packer and Jane Iredale Jon and Rosemary Masters Mr. and Dr. H. Bruce McEver Kate and Joel Millonzi Drs. Carolyn and Eli Newberger Carol Parrish and Paul Clark Bert and Letty Cottin Pogrebin Peter B. F. and Helen Randolph Chuck Schwager and Jan Durgin David and Marie Louise Scudder Dr. Michael A. and Jean S. Shirley Edward and Carla Slomin Richard and Ingrid Taylor

Roger and Jerry Tilles Lotti Tobler-Berenson Reid and Laird White Judith Wilkinson and Lionel Delevingne Betsy Lee Workman

I am your own forever. OTHELLO III.iii

Silver ($1,500+)

Katherine and Lee Abraham Tony and Marcie Aiuvalasit Helene Berger Dr. Stanley and Gail Bleifer Vicki Bonnington and David Schecker Tim and Judy Boomer James Barrese and Marie Cavanaugh Linda Benedict Colvin in loving memory of her brother, Mark A. Benedict John and Janet Egelhofer Nancy Fitzpatrick and Lincoln Russell Gallagher Family Legacy of the Community Foundation of New Jersey

105 Main Street Great Barrington, MA

Wed - Sat 10am - 5pm 413-429-8005 linengb.com TA B L E

BED

B AT H

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Lenox Four legs and two voices; a most delicate monster. THE TEMPEST II.ii

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E S U O H Y A L P The Rose

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 playhouses (as they were called in Shakespeare’s day) that sprang up, The Globe, The Rose, The Red Bull, The Fortune, played to those desires.

The Rose, 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 is on the ground where we one day hope to replicate the historical Rose, using historically authentic construction tools and methods. Our popular Rose Footprint productions are always vibrant, fresh and fast-paced fare suitable for the entire family. The Rose plays feature an array of young performers from our Riotous Youth actors ages 7 to 18, our Shakespeare & Young Company actors ages 16 to 20, our professional training program actors, as well as many of our seasoned and long-time Company artists. This year’s offering includes a full production of Molière’s hysterical and frothy romp, Les Faux Pas: Or, the Counter Plots, featuring a bevy of our favorite actors.

2012/13 INDIVIDUALDONORS bENFACTOR ($500+) Katherine and Lee Abraham in support of the Overseers’ Scholarship Nancy and Frank Ashen Stephen and Shari Ashman Mark and Christine Baldridge The Barrington Foundation Inc. Lee Barstow, Kim Dobson, Jay Dragonette, Nicholas Earl, Sarah Shriver, Evan Silverman, and Dan Suratt in memory of Franklin M. Boykoff Stephanie Beling Matthew and Natalie Bernstein in honor of Sol Schwartz John J. Bousa Sylvia and O. Grant Bruton Joan and Robert Buccino Walter Campbell Paula and Bill Caplan Janet Carey in support of the Overseers’ Scholarship Anton and Peggy Chernoff Jim Chervenak Scott and Karyn Clemons Robert and Joan Comeau Ted and Beth Comstock Carla Cooke Mary and James Nicoll Cooper Herbert and Jeanine Coyne George Darey and Virginia Akabane Joseph Kahan and Claudia Davidoff

L. Berkley and Katharine H. Davis Carol and Richard Daynard Gretchen DeKalb William and Dorothy DeVoti Jody Dushay John and Janet Egelhofer in support of the Overseers’ Scholarship Cindy and Chip Elitzer Tom and Ellen Ennis Val and Tad Evans Martin Farawell Estanne and Martin Fawer Bob and Debbie First in honor of Mike and Annette Miller Jacqueline Fowler in memory of Frances Martinson Mattie Kelley and Bob Fuglestad Dr. and Mrs. John Galt Marilyn and Allan Glick in honor of George and Roberta Berry Midge Golin Donna and Bob Goodman Ms. Bobbie Hallig in honor of Tina’s Women of Will in NYC Scott and Ellen Hand Dan Hazen and Ruth Tucker Scott and Stephanie Hedges Ann and John Higgins Peter E. Hilton Lucy Holland and Charles Schulze Leslie and Stephen Jerome Susan and Glenn Johnson Michael P. and Loretta Cornelius Kahn Kristopher Karstedt

Priscilla Fierman Kauff Mr. and Mrs. John Kellman Norma and Sol D. Kugler Frank Lawler and Ann McCurdy Jaan and Jacqueline Metsma Enid Michelman Judy and Richard J. Miller Loraine B. Millman Peter B. Mudge, M.D. Luke Mullen Allan and Carol Mysel Christianna Nelson and Rob Cohen Duncan and Beatrice Nelson Mary Ellen and John O’Connor Elaine and Fred Panitz Kevin and Joyce Parks Alan H. Peck, M.D. Penny and Claudio Pincus Jonathan and Amy Poorvu Mary E. Porter Adele P. Rodbell Linda and Marvin Levine Phyllis and Samuel Rubinovitz Abigail Rubinstein The Samuels Foundation Dr. and Mrs. Wynn A. Sayman Raquel and Michael Scheck Bonnie Schur and Sidney Myers in honor of Mike Miller Lynne Sebastian Mrs. Sayre P. Sheldon Robert and Roberta Silman Tony and Lucy Simotes Deborah Sims and Robert Biggs

Vicky Singer Mark Smith and John O’Keefe Mark Smith and Miriam Cukier in honor of Tony Simotes Heather Stanford Jenn and Jeff Stanley Joan Steiger The Honorable Paula Stern and Dr. Paul London Wesley G. McCain and Noreene Storrie Jenni Swan James V. and Caroline Taylor M. K. Terrell Allen L. Thomas and Jane Simpson June and Teresa Thomas Randy J. Tryon Harriet and Elliott Vines Harry and Karen Waizer Lynn Weigel Rhea and Kenneth Werner in support of the Overseers’ Scholarship Suzanne and Robert Werner Sally Williams and William Fuller Bob and Karin Wiseman J. Peter Young Anonymous (2)

SUPPORTER ($250+)

Rosalie M. Bandyopadhyay Gwyneth Barger Donald Bashline Helene Berger in memory of Elayne Bernstein Mary and David Berman David Black

Shakespeare.org

Lenox

SUPPORTER CONTINUED...

Dianne and Michael Blau Marlene and Dr. Stuart H. Brager Clare Brandt Judith Brinberg Lorraine Buch Russell and Susan Burns Nancy Burstein Jim Cochran and Fran Pilato Andy and Jane Cohen Ms. Shera Cohen Sara and Lewis G. Cole Merry Conway Susan Crofut and Ben Luxon Suzanne and William Dakin Wendy Davis Lile H. Deinard Winnie Dimock Joanne and Gerald Dreher Marjorie and Tony Elson Peggy and Miles Feinstein Teresa and Joseph Finnegan Roz Forman Maxine and James Frank Martha and Russell Freedman Paul and Carol Fremont-Smith Barbara and Mark Friedman Ira Fuchs and Jean Citarella Margery Gans N. Richard and Monique Gershon Richard and R. Constance Giesser Dr. Herbert Ginsburg Robert and Marcia Gold Naomi and Roger Gordon Sue and Howard Gorham 22

Shakespeare.org

Alice and Geoff Gottlieb Eden Gruenberg Paul Haklisch Ellen and Michael Hallor Marilyn and George Haus Susan and Raymond Held Eric J. Heyer and Diana A. Steele Petie Hilsinger Susie and Stuart Hirshfield Arthur and Dassie Hoffman Sarah Horne and Alan Wilken Richard and Judith Jacobs Sally H. Kahn in memory of Patricia Jane Horrigan Joseph and Jeanne Kaiser-Brown Joel M. and Carol Goodman Kaufman Msgr. Leo A. Kelty Ed Keon and Pat Kennelly Stephen King and Margaret Gage Nedra and Richard Koplin Margaret and Richard Kronenberg Marcia and Malvin Krupitsky Rosemary G. and Thomas E. Lague Rebecca Lantzakis Bob Lee and Rebecca Pugh Alan and Susan Leff Dede Levinson and Lori Levinson Alan and Melanie Levitan Kristen Lippincott Dr. and Mrs. Ben Liptzin Shelley Malinoff and Paul Dygert Steven and Michele Marantz Judy and Don Marcus Ellen and Michael Martin

Kim Maxwell Mary Anne Mayo and Stephen J. Nelson Barbara McCullough Ken and Katy Menges Joan Mento Edie Michelson and Sumner Milender Alan and Alice Model Selina Morris and Kenneth Grinspoon Suzanne Nash Susan Crooks Neville Edward and Carolyn Oâ&#x20AC;&#x2122;Malley Lynn and David Pearle Susan Pinsky and Marc and Clement Rosen Jay Polonsky and Kay Oppenheimer Charles Popper, M.D. James Goodwin Rice and Wesley Miller Rice Andy Rothstein Sue Z. Rudd Martin and Jane Schwartz Kathy and Joel Segall Betsey and Mark Selkowitz David and Betsy Sessions Barbara and Donald Shack Hannah and Walter Shmerler Ben Silberstein Susan Silver Gail and Leonard Silverman Joseph and Adrienne Silverstein Bradford and Cara Smith Margery and Lewis Steinberg Jane Bucci Stewart Damie and Diane Stillman Brenda and Greg Stone Martha Strohl

Charles B. Stuzin Albert Tani Linda and Art Tenenbaum Alexandra Warshaw Patrick Washington and MJ Borrelli Al and Muriel Wermuth Jacqueline R. Werner Jeffrey and Louise West Anne and Arthur Wichman Eric C. Williams James Yeara In Memory of Jinny and Alice Yeara Robert Zimmerman Anonymous (4)

CONTRIBUTOR ($100+) Daniel and Mary Abbruzzese Mary M. Ackerly Jean Adelson Marion F. Adler Virginia Simpson Aisner Alchemy Foundation Barbara Faith Alperin Alan Altschuler Josephine V. Anderson Robert C. Anderson Gail and Joel Appelbaum Jon and Sia Arnason Martin and Geila Aronson Dr. and Mrs. Carl Atkins Judge and Mrs. Jeffrey Atlas Stephen and Judith August John and Catherine Azzone

Lenox

4 seasons of fun fashion at the arc shop

bikes·kayaks·travel clothing·footwear·sportswear·camping 91 Pittsfield Rd., Lenox, MA 413-637-3010 arcadian.com

Beverly and Larry Bader Fred Baker and Lisa Powers Nan and Don Barcan Sarah A. Barker Linda and Michael Barnas Bill Barry / Barry Engineering and Construction, Inc. Edward and Nancy Barsa Janet and Joel Bauer Drs. Robert and Beth Belkin Winifred and Lee Bell Derek and Joan Benham Alan and Judith Benjamin Shelley and Bob Berend Robert and Marlene Bergendahl in memory of Shirley Powers David Bergeron Norman and Phyllis Berk Helene and Larry Berke Adam Bernstein in honor of Sol Schwartz Gregory Bertsch Ph.D. Roberta Bianco and Robert Davenport J. Andrew Billings Don and Barbara Bilyeu Robin and Sheldon Birnhak Walter and Hildi Black Lester and Ilene Bliwise Edward and Eleanor Bloom Carolyn and Nelson Bonheim Paul and Joanne Bourdeau Luz Bravo-Gleicher Elaine and Charlie Brenner William E. Briggs and Donald Usher David S. Brink

Dr. and Mrs. Paul A. Brown Jadwiga and Donald Brown Katherine Brown in memory of Elayne Bernstein Jackie Browner and Randy Johnson in honor of Elizabeth Aspenlieder Wendy Bruneau and Rick Swanson Esther and Jack Budnick Kevin Burns Jon and Andrea Bursaw Megha-Nancy Buttenheim The Callahan Family Dr. Richard I. Carp Robert G. Carpenter in memory of Donna J. Carpenter Mary Lou and Jerry Cartwright John and Kathleen Case Max S. Case Paul and Donna Castellani Cerio Family Mr. and Mrs. Stuart Chase Antonia H. Chayes Hope S. Childs Neil and Kathleen Chrisman John K. Clark and Judith M. Stoughton Ann and John Cohen Audrey and Jerry Cohen Elaine and Stephen P. Cohen Robert and Iris Cohen Seth Cohen and Deborah Spey Dr. and Mrs. John A. Collins III Lisa Correa Alice Cronin-Golomb Mary Ellen Czerniak and Jerald Bope

www.colorful-stiches.com 800-413-6111 48 Main St. Lenox, MA 01240

Martha and Milton Dalitzky Bruce C. Davis Matthew and Jocelyn Davis Pat Davis Emilie and Raul de Brigard Anne F. De Gersdorff Alessandro De Gregori and Sarah Hitchcock-De Gregori Allan Dean and Julie Shapiro Catharine Deely Philip and Hilary Deely William Degen Jacqueline Del Rossi and Lewis Friedman Stephen and Mary Kay DelGiacco Susan Diamond Sophie and Lee Dichter David and Margaret Doe Kathleen Doe Megan Doe Lyn Dohaney and Jerry Skurla Marshall Donnelley Roy Dorrance Peter and Marilyn Douglas M. Christine Dwyer and Michael Huxtable Joe Tom Easley and Peter Freiberg James and Carol Edelman Bonnie and Alvin Edelstein Juliette and Leonard Eiger Dr. T. Donald and Janet Eisenstein Carole and Richard Eisner Clinton and Elizabeth Elliott Elise and Monroe England Toby Evers in memory of Franklin M. Boykoff Dr. and Mrs. G. Falk

Jean Fuller Farrington Mike and David Faust Diana and Stanley Feld Ruth and Michael Feldberg Kristin Feldner Harris in memory of Franklin M. Boykoff Arthur Fentin Jim and Pat Fingeroth Peter and Nancy Finn Lucia and Steven Fischer Mr. and Mrs. Henry A. Flint Barbara and John Flynn Albert and Deborah Franco Kenneth and Linda Frank Robert Fried and Karen Kowgios Madalyn and Steve Friedberg Rae Nadler Friedenberg Maryjane and Jerry Fromm Cono and Eileen Fusco Henry and Kathryn Gallitano Brian and Anne Gannon in memory of Franklin M. Boykoff Sue Ganz Dr. and Mrs. Seymour Gendelman Everett and Mary Gendler Kathleen A. Giuffrida Robert Glosenger Barbara Gold Amy and Ronald Goldberger Rebecca Golden Gorbach Family Foundation Garet and Bernice Gordon William and Linda Grabel Harry L. Gracey

Shakespeare.org

FRONT ST GALLERY & STUDIO Housatonic, MA

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 Open daily 9am-5pm

Recent Work

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

508 Canaan Rd / Rt 295 • Richmond, MA 01254

Just 10 miles from Lenox, 4 miles from Hancock Shaker Village

800-833-6274 • hilltoporchards.com • furnacebrookwinery.com Treat yourself to a stay at our Inn, set back on ﬁve private acres, just steps from Lenox Village. Awarded TripAdvisor.com Certiﬁcate of Excellence!

135 Main St. Lenox, MA 01240 888-243-0193 • gardengablesinn.com

KATE KNAPP

Landscape StillLife Portraits

PAINTING CLASSES

MON WED THURS 10 -1 pm

Gallery Hours

SAT and SUN 12-5pm or by Appointment Gallery: 413-274-6607 Cell: 413-429-7141

www.kateknappartist.com

CONTRIBUTOR CONTINUED...

Eric and Phyllis Greenberg David Greetham Sharon Gregory Tom and Jill Groff Renee Gross Richard and Arlene Haft Elie and Myrna Hammerling Anne and Neil Harper David A. Harris Margaret and Jim Hartshorn Janice Harvey Scott Haskell and Anne Occhipinti Guy Hedreen Robin and Kenneth Heim Sean and Michelle Hennessey William and Emilie Henry Yona Hermann Matthew and Lee Hieb Elizabeth Hilder Lisa and Ray Hiley Dr. and Mrs. Fred Hochberg Arlene Hochman P. Hofman Langdon and Mark Holloway Rosalie T. Holt Paul and Susan Houpt Carol and John Hudson Carol Price Husten John S. and Janet R. Hutchison Allen and Valerie Hyman Carole Ireland Adam Irick Jim Jacobs Seth N. Jaffe in memory of Franklin M. Boykoff Arlene and Harry Jaroslaw William Jennings 24

Shakespeare.org

Kevin and Moira Jones Mark W. Jones and Keith F. Spencer Gordon and Susan Josephson Dr. and Mrs. George Kafka Louise and George+ Kaminow Roger and Carol Kane Martin and Wendy Kaplan Michael and Alyce Kaplan Henrietta Katzen Ruth and Donald Katzner Howard and Nancy Kaufman Carla Kazanjian Ann Kearns Katherine and John Keenum Jeffrey D. Kent Phyllis and Harvey Klein Sally Kneipp and Ray Finley Phil and Eileen Knowles William and Diana Knox Don, Andrea and Miranda Knutson John E. Kochanowski Konowitch/Jones Family Sharlene J. Konowitch Gail Kotler Edward R. Kozacek and Rosemary Tucci-Kozacek Nancy A. Kramer John and Rachel Krauser Carol and Stuart Kuller Dr. and Mrs. Stephan Kulvin Wayne and Christy LaGue Micheline Laguilhomie Barry M. Lamont, M.D. Marilyn and Arnold Lampert Fran and Ira Lapidus Richard LaRhette and Diane Moran Edith and Richard Lasner

Joanne Lee in memory of Franklin M. Boykoff Kathleen G. Lee Elizabeth and Alan Legatt Estelle and Ephraim Leibowitz Rick and Jean Leif Jeffrey Leppo and Marjorie Safran Dolores Lerman Joel Lester Edward M. and Marjorie B. Levin Richard Levinson and Phyllis Walt Drs. Ruth and Irwin Levy Thom Lipiczky and Anne Lesser Norman and Nancy Lipoff Jean F. Lippincott Keith and Emiley Lockhart Nancy Ludmerer and Malcolm Spector Rona and Joseph Lupkin Jack, Sam and Jake Lyons Joan Mitchell MacGillivray Judy and Jack Machanik Janet and Michael Magnifico Frank and Pat Mahoney Richard and Candace Mandel Herbert Maneloveg Janet and Herbert Mann Barbara and Roger Manring Paul and Carolyn Maramaldi Ann and Ben Marcus Len and Sue Margulies Patricia Martin and Lawrence Tuttle Carol Matorin Kenneth and Katja Mayer Gayle and Charles Mazursky Darlene McCampbell James T. and Helen L. McCarthy Judson McCune Natalie and Richard McManus

Jane W. Meisel Jim Melius Nora Menken Gayle Merling and James Shields Pete Michaels Alan and Nancy Milbauer Alan D. Miller Estelle Miller Joan Miller and Jim Smith John and Marcia Miner Magda Mininberg Ruth Ann Mitchell Ileene Mittleman and Wynn Murrell Linda and Jerry Monchik David and Joann Monk Emily N. Moore Joanne C. Moses Robert and Lynn Moskin Jan and Harold Moskowitz Robert and Leslie Murray Alice and Manny Nadelman Harvey and Susan Nagler Sok Nam and Harold Kuplesky Wade and Elisa Narin Van Court Jill and Hank Narrow Gail Neale Robert B. and M. Lee Neff Lisa Nelson Louisa and William Newlin Raymond C. Nied Gale Nigrosh and Robert Sakakeeny Susie Norris Paul and Deborah O’Brien Carol and Michael Ochs Regina Olchowski and Ed Potter James and Ellen O’Neill Lesley Oransky

A compendium of cultural news and observations by Seth Rogovoy

Mike and Judy Orenstein James Overmyer and Ellen Weiden William S. Packard Mary and Richard Palmer Janie and Larry Pellish Richard Peoples Katharina and William Perlow Daniel and Susan Perry Marina and William Perry Judith C. Pierson in memory of Roberta White P.J. and Tana Plauger Jane L. Polin Marion and David Pollock in honor of David Smith Don and Lois Porter Janis Porter and Stephen Naber Susan Price in memory of Roberta White Fran and Don Putnoi Kathleen Quinn and James Lortsher Michael and Joyce Rappeport Judith W. Reichert Laura and Bruce Reid David Reis Frederick and Bonnie Rich Karina Ricker Carol J. Riddle Phyllis and Bob Rivlin Maia Robbins-Zust Fred and Judy Robins William J. and Paula H. Rooks Ruth Rootberg Rosemarie V. Rosen Syrille and Paul Rosman Michael Rotenberg John and Martha Rozett Ernest Rubenstein and Tova Friedler Usdan

Ken and Fran Rubenstein Alan and Sandi Rubin Harvey and Constance Rubin Norma E. Ruffer Linda and Frank Russell Kristina Sachs Janis Martinson Sagarin and Stephen Sagarin Myra Sallet Barry and Jane Salzberg Linda E. Sambel Gerald and Stephanie Schamess Robert and Silvia Schechter Roz and Fred Scheiner Bill and Louise Scheuerman Gary Schieneman and Susan Fisher Hallie Schroeder Jean and Frederick Schroeder Mr. David Schulman Alice Anne Schwab and Bob Garrett Sunny Schwartz Marvin and Carol Schwartzbard Carole Schwimmer Carol and Richard Seltzer Judith L. and David Sensibar Arline and Les Shalan Donald and Arlene Shapiro Mari and Kenneth Share Rita E. Shawn Carl H. and Claudia Shuster Peter Siedlecki and Lynette Mende Dr. Karen and Grant Siegel Kathleen and Richard Simon Dr. Richard Simpson Jane and Arthur Singer Eugene A. Skowronski Mark Slotkin Gerald W. Smetana, M.D.

Kiki Smith Claudette and Harvey Snitiker Marsha Soffer Norman Solomon, M.D. Joanne A. Spellun Nancy and Arthur Stampleman Ron and Martha Stewart Esta-Lee and Harris E. Stone Sharon M. Strassfeld Donald and Rachel Strauber Larry Strauss and Fran Weinberg Robert and Sally Sugarman Barbara A. Syer Ellen and Leonard Tabs Peter Tassia and Maija Lutz Bruce Teague Paul Thaler and Linda Batchelor Sheila and Randy Thunfors Amy and Jack Tobin Charles Tower Lisa A. Tromovitch Norma and Henry Tulgan Mary Ann Turney Alba and Bob Tutnauer Ann and Peter Usher Nan and David Vacheron Annette and Michael Vandow Harold E. Varmus Michael L. and Susan M. Wachter Barry Waldorf and Stanley Gotlin Marilyn and Ron Walter Louise and Steven Weinberg Andrew Weinberger and Meredith Sue Willis Roney and Gail Weis Margot Welch and Alan Harwood Robert and Claudia Wells Lynda F. Wertheim in honor of Mildred Quain

Toby Wertheim Marjorie Wexler Douglas White M. Jane Williams Dr. and Mrs. Randall S. Winn Janet Wohlberg Lisa Wong Burns and Kathy Woodward Elena Yanushpolsky David P. Young Benjamin Zelermyer and Dianne Selditch Janis and Harvey Zimbler Anne Zimmerman Faith and Al Zubasky Richard and Gloria Zupcak Anonymous (16) + deceased

We also gratefully acknowledge the generosity of so many friends of the organization whose gifts of under $100 make a difference every year! If we inadvertently omitted your name or listed it incorrectly, please accept our sincere apologies and contact the Development Office at 413.637.1199 ext. 105 or development@shakespeare.org.

Shakespeare.org

IN MEMORIAM

This year, Shakespeare & Company lost two of its most beloved friends and longtime Board members, Frances Martinson and Josephine Murray. Both of these remarkable women were tireless champions of the arts, and their contributions to our Company–and other cultural organizations around the country–have created an indelible legacy of support. Shakespeare & Company celebrates the lives of these two amazing individuals.

“I count myself in nothing else so happy as in a soul remembering my good friends.” Richard II, II.iii

Frances

Martinson

Frances and Paul Martinson

Roberta Friedman and Frances Martinson

“F

rances embodied the passionate belief and ardent commitment that allowed the Company to flourish over the years,” says Board Chair Emeritus Richard A. Mescon. “Frances was a devoted patron of the arts, a voracious reader, an earnest intellectual, a lover of music and in particular a great lover of theater. We are deeply saddened by her loss and will miss her independent voice and spirit greatly. We are blessed to have had her many years of service and support.”

Frances was vibrant, rich, and varied. She practiced law at a time when few women were involved. She was a Village Justice in the Westchester community of Croton: President of her local chapter of the League of Women Voters: involved with Phoenix House, a drug rehabilitation facility: all while parenting a young son and daughter. Above all, Frances was an enthusiastic supporter of the arts, serving on the Boards of the Folk Art Museum and the Pearl Theater in New York, and contributing to the Lincoln Center Theater and the Manhattan Theater Club. Her most passionate allegiance, however, was to Shakespeare & Company. 26

Shakespeare.org

“I first met Paul Martinson in a diner on Sixth Avenue,” says S&Co. Founding Artistic Director Tina Packer. “Mitch Berenson, our radical Founding Board Chairman, knew Paul through the fight against McCarthyism–and he thought Paul would make a great addition to our Board. I watched as Mitch and Paul made diagrams on the back of a napkin about what the Board structure might be. We were preparing to buy The Mount, stables and gatehouse at the time. And Paul said: ‘My wife Frances would be a good Trustee for the Edith Wharton Board, if we decide we should have two separate boards.’ That’s how our long and committed relationship with the Martinson family began. After serving for several years on the Board of Edith Wharton Restoration, Frances came over to the S&Co. Board and stayed with us ever after.” “Between them,” continued Packer, “Paul and Frances gave sixty years of loyal, humorous, and generous service to the Company. Paul’s ashes are scattered on our land and Frances’ spirit lives in the rehearsal rooms, corridors, and theatres–she was with us in every phase of our development and we will miss her dearly.”

Josephine Lee Murray J

osie came into my life, and the life of Shakespeare & Company, in late August 1978. We had started the Company that May, living in Edith Wharton’s derelict, now-no-longer-abandoned house: The Mount in Western Massachusetts. We had a burning desire to do Shakespeare the way he wrote it, with language and physical prowess forming the spine of all the productions; unpretentious, in your face, funny and musical. And we had created A Midsummer Night’s Dream in the white pines overlooking the house. It had been a huge success, but in those days we only charged $5 a ticket and everyone sat on blankets on the ground, and the Summer was coming to an end. What were we to do? We didn’t want to go back to New York City and London, the cities we had come from; we wanted to stay put and see if we could make it through the Berkshire winter, teaching workshops and going into the schools. We were good at what we did. We had no money. But we did have a vegetable garden. And we had this huge mansion to live in. Then, into our make-shift box office basket, someone dropped a check for $2,000–more money than we had ever received from someone we didn’t know. It was, of course, from Josie.

She was visiting friends who were part of the fairy band, Susie Fuggis and her husband Peter. Susie had told her in passing what our dilemma was. $2,000 meant we could live for at least a month and in that month, we could get our first workshop announced, and our first school booked. Life with Josie was always like that. She did whatever was needed in a very low-key, generous, interested way. We formed a Board of Trustees. She sat on it. We needed to buy The Mount, the stables, the gatehouse and 50 acres. She helped us put together the money. And at the same time, the National Trust, which was key to us buying The Mount, knew Josie and her work and she gave us credibility. We needed a van to send the team out to all the schools in New England. She helped us with that. She was always there for 25 years and she and I became very close. I went to the Bunting Institute at Radcliffe. She lived across the way and I would go and have tea with her–one tea bag for the two of us–because money should be spent on what was really needed, and for Josie that was always the arts. The last thing she did for Shakespeare & Company, with the aid of Diana deVegh, was to help convert an old gym into a playhouse, now the principle theatre at our Kemble Street property, the place we moved to after The Mount. The bar is called Josie’s Place. It’s the place where all the actors hang out, where our audiences converge to eat, drink and discuss. We could never have built Shakespeare & Company without her, and she was enormously proud of us. In the last weeks of her life I went to the farm and recited Shakespeare to her. I don’t know if she understood, but it soothed both of us to have those words and cadences flowing about the room, and filling our ears with poetic truths that will, of course, outlive us all. And, all of us–Kevin, Dennis, Kristin, Tony, Susan, Merry, Noni, Susie, Gena, Andrea, Natsuko, Cecil, Michael–she helped us be who we are. She will always be in our midst. She was a part of us and knowing her was a great blessing in our lives.

Shakespeare.org

IN MEMORIAM CONTINUED... Chara Cooper Haas Chara Aurora Cooper Haas’ love of family, community, nature, and music touched all who knew her. She was a significant philanthropist in the Philadelphia area and was devoted to helping vulnerable and underserved children and families. “Her love of children and desire to help those in need was really strong,” says her son Leonard. “She cared intensely about ending gun violence. She was incredibly sensitive to any needless violence.” She was a founder and a board chair of the Pathway School in Norristown, PA, which serves students with neurological impairment, including Autism Spectrum Disorders, learning and other psychological disorders. Among her many contributions, she and her late husband John sponsored Philadelphia Reads, a summer program to help children retain reading skills acquired during the school year.

Roberta White Roberta White resided in New York City and spent summers at her home in the Berkshires. She enjoyed entertaining friends there and took advantage of the diverse culture that the Berkshires offered. Roberta was a volunteer at Shakespeare & Company for many years, working on the Membership and Gift Shop committees, among others. She is remembered by her family and friends as a welcoming friend and a gracious host.

Proudly serving the Berkshires. Karen Climo has joined William Pitt Sotheby’s International Realty

Shirley Powers Shirley Powers volunteered at Hancock Shaker Village and Shakespeare & Company for many years with her husband Bill. She practiced social work in Vermont both for the state and at the Elizabeth Lund Home in Burlington. After a move to Mississippi, she and her family settled in Pittsfield, where she worked at the Berkshire Center for Families and Children, specializing in adoptions. She enjoyed gardening, her quilting/gossip group and book club, and was a member of the local PEO chapter.

308 Main Street, Great Barrington c: 413.429.6732 | o: 413.528.8088 karen.climo@williampitt.com williampitt.com | sothebysrealty.com

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

classes and works for all ages

hops

y • CeramiCs • Jewelr Painting • Drawing Fiber anD more PhotograPhy •

arT is for everyone! IS183.org

13 willard hill road stockbridge, Mass.

3-298-5252 ext.100

To regISTer call 41

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.

tHE aRt oF HosPitalitY tREnDsEtting tRaDition

Entertainment Nightly in the Lion’s Den Pub

distinctive lodging · artful cuisine · timeless elegance

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Red Lion Inn Shakespeare and Company

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INSTITUTIONAL GIVING

Shakespeare & Company would like to extend special thanks to the following foundations, corporations and local businesses, organizations, and government agencies for their generous support. FOUNDATIONS, BUSINESSES, COPORATE AND PRIVATE INSTITITIONS

The Jewish Endowment Foundation of Western Massachusetts Jewish Foundation of Memphis Lenox School Alumni Association, Inc. Lily’s By Design A+E Networks in memory of Franklin M. Meadow Farm Boykoff Mimi and Peter Haas Fund Alchemy Foundation Monument Mountain Regional High School Arts Midwest National Endowment for the Arts A.W. Confections Nejaimes Wine & Cheese Barrington Brewery Network for Good Barry Engineers & Constructors, Inc. New York Community Trust The Barrington Foundation, Inc. Paul and Virginia Cabot Charitable Trust c/o Berkshire Bank Fiduciary Trust Berkshire Highlanders Pipe Band Pine Cone Hill Berkshire Mountain Distillers Price Chopper’s Golub Foundation Berkshire Organics Razoo Foundation Berkshire Taconic Community Foundation Richards Kibbe & Orbe, LLP The Boston Foundation Ruth C. and Charles S. Sharp Foundation, Inc. Calvert Foundation Salem State Theatre Department Carriage House Real Estate Schwab Charitable Fund Casablanca Shakespeare on the Hudson Central Market Florist, Price Chopper in Lenox The Shubert Foundation Century Bank The Social Club of Rolling Hills Condominium CEO Roundtable, LLC Dr. Robert C. and Tina Sohn Foundation The Charles H. Hall Foundation Studio Two Clark & Green Architecture and Design Tavitian Foundation Inc. Classical Tents and Party Goods Tobi’s Limousine Service, Inc. Combined Federal Campaign of Eastern Trust for Mutual Understanding Massachusetts UBS Donor Advised Fund Combined Jewish Philanthropies Vanguard Charitable Endowment Program Commonwealth of Massachusetts Berkshire Vendini District Attorney Yorick, the Massachusetts College of Liberal Commonwealth of Massachusetts Employees Arts’ Shakespeare Club Charitable Campaign Community Foundation of New Jersey Matching Gift The Community Foundation of Sarasota Companies County Aetna Foundation, Inc. The Dayton Foundation AIG Matching Grants Program Elwer Foundation, Inc. Avon Foundation F.A.O. Schwarz Family Foundation Bank of America Matching Gifts Fidelity Charitable Gift Fund Bank of the West Employee Giving Program Firefly Bristol-Myers Squibb Foundation A Foundation of Philanthropic Fund ExxonMobil Foundation Francis Ford Coppola Presents GE Foundation Gabelli & Company, Inc. IBM Corporation Matching Grants Program Gateways Inn and Restaurant LexisNexis Geraldine R. Dodge Foundation The McGraw-Hill Companies The Gifted Child Merck Partnership for Giving Good-Serv Tennis Courts Microsoft Matching Gifts Program The Guardian Life Insurance Company of Pfizer Foundation Matching Gifts Program America Phoenix Matching Gift Program The Guela Charitable Trust The Prudential Foundation Matching Gifts Haven Bakery and Cafe SABIC Innovative Plastics High Meadow Foundation Temptime Corporation Gift Matching Program The Hyman Family Charitable Foundation Truist Iredale Mineral Cosmetics, Ltd. UBS Matching Gift Program Jewish Communal Fund Verizon Foundation 30

Shakespeare.org

The Board of Trustees and the Staff of Shakespeare & Company especially appreciate the pro bono assistance of the Law Firms of: Phillip F. Heller and Lori A. Robbins, Attorneys at Law, Lenox Goulston & Storrs, Boston Robins, Kaplan, Miller & Ciresi LLP, Minneapolis and New York

Their continued generosity is beyond measure, and we are deeply grateful.

A Special Thanks to all of our In-Kind Donors Our In-Kind Donors, and you know who you are, generously contribute to the Company throughout the year: clothing, accessories and shoes to our Costume Shop, cars to our motor fleet, furniture for our campus, props for our Prop Shop, floral arrangements, food and beverages for our special events, and even photography and design services. We appreciate you thinking about Shakespeare & Company before you discard these treasures! Our profound Thanks go out to you all! Thank you to the Central Market Florist at Price Chopper in Lenox for donating the flowers arranged in the Tina Packer Playhouse by Shakespeare & Company’s volunteers, to Monument Mountain Regional High School’s Horticulture Program- for their donation of plants for Shakespeare’s Garden, and thank you to Stop & Shop in Pittsfield for providing the gift bags for arriving artists and staff.

Stockbridge

to thine own self be true. We are each an expression of the life force within. Shakespeare expressed this beautifully: “And this, our life … Finds tongues in trees, books in the running brooks, sermons in stones, and good in every thing.” Yoga guides us into a relationship with this life force. Through the breath, the body, the mind, and an open heart, we encounter a way of being that is truer to the spirit inside us. Come to Kripalu and discover your unique self in one of our R&R retreats, Healthy Living workshops, or programs with world-renowned invited presenters. Cultivate the gifts of yoga in your life.

mission driven, donor supported Stockbridge, Massachusetts | 800.741.7353 | kripalu.org

Tour our Gilded Age Mansion! Original Furnishings & Art

Celebrating the Arts in the Berkshires

Ten Acres of Gardens

for over 50 years

NAUMK EAG

Located in Stockbridge, MA n Open Daily, 10am–5pm May 26–October 15 n www.thetrustees.org

eresa’s

Stockbridge Cafe  Dine at the famous 

Alice’s Restaurant Lunch & Dinner 40 Main St. 413-298-5465 Eat in – Take out – Outdoor Patio

at The Red Lion Inn Main Street, Stockbridge, MA • 413-298-5565

NY3095_Shakespeare&Co_QuarterPg_4C_3-01-10.indd 1

3/1/10 12:18 PM

y Main Street Cafe, Stockbridge Also tr Breakfast & Lunch 413-298-3060 Shakespeare.org

MASTER CLASS

Bernstein Theatre / MAY 24 – AUGUST 18

by TERRANCE MCNALLY / directed by DANIEL GIDRON featuring ANNETTE MILLER and DEBORAH GRAUSMAN with alec donaldson, nora menken, luke reed and josephine wilson A master class with famed opera singer Maria Callas is an intimidating affair. Just ask Sophie, her first “victim” in Terrence McNally’s Tony Award winning play. McNally takes us inside Callas’ infamous sessions, which she conducted late in her career. Callas regales us with the details of her illustrious and controversial professional life, encouraging her pupils (and the audience) to take notes. In a true tour-de-force performance, audience favorite Annette Miller embodies the iconic opera diva Maria Callas. Ms. Miller, an Elliot Norton and IRNE Award-winner (Golda’s Balcony) and star of last summer’s hit comedy, The Tale of the Allergist’s Wife, once again teams up with Daniel Gidron, who returns to Shakespeare & Company to direct the production. Gidron previously directed Miller in Golda’s Balcony (2002 and 2009), and in Full Gallop in 2003. In addition to his work with Shakespeare & Company, Gidron’s directing credits include productions with the Lyric Stage Company, Gloucester Stage Company, and Merrimack Repertory, among many others. He is the Associate Director of the Nora Theatre Company in Cambridge, MA.

Generously sponsored by:

HONIE BERKO in honor of jerry

“A performance is a struggle. You have to win.” MASTER CLASS

DIRECTOR’S TAKE I remember distinctly the first time I heard Maria Callas singing. I was a Freshman in high school in Tel Aviv, and an American girl lent me a record of Callas singing Puccini arias. Even though I was a classical music lover I had never heard anything like it. The pain, the joy, the power, the vulnerability of those Puccini ladies were jumping at me from the LP grooves. I was hooked. I started listening to everything of Callas I could get a hold of, and saving money to buy those treasured albums. I could not believe that the soprano singing Santuzza in Cavalleria Rusticana, Tosca in Tosca, or Rosina in The Barber of Seville was one and the same woman, yet it was clear that the sensibility, musical judgment, and acting power were all Callas’. I have spent a lifetime admiring the art and craft of Maria Callas. So when Tony Simotes called me to see if I would be interested in directing Master Class with Annette Miller I was ecstatic. Reuniting with Annette Miller at Shakespeare & Company is wonderful. I directed Annette’s amazing performance in Golda’s Balcony and the experience was joyful and rewarding. The prospect of working with her on inhabiting another icon of the twentieth century, Maria Callas, fills me with anticipation and delight. I can’t wait for the audience to share in our journey. – Daniel Gidron 32

Shakespeare.org

Master Class

Annette Miller

25 Church St. Lenox, MA

Live a colorful life - call 413-637-2662 to book your appointment today.

GET YOUR SH

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Looking for the perfect, unexpected gift? Visit the Shakespeare & Company

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Drawing in the Dark The Art of Sol Schwartz Drawing in the Da rk The Art of Sol Sc hwartz Nor ma n Roc Nor man Museu Rockwe seu kwellllMu mm

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Our gift shop has it all, from fun t-shirts to charming baby rompers, 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! Shakespeare.org

Lenox

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John Douglas Thompson as Othello, 2008.

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s r e e t n u l o V

“Marc has been an integral part of my wellbeing for many years.Gallery During my rehearsals Clearwater fine art performances prints by Lenox Iartist Sadoway and rely Jack on Marc’s expertise to keep me aligned both on and off stage.”

any nteer Comp u l o V & e r a Shakespe

—John Douglas Thompson Shakespeare & Company Actor

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.

LOOKING FOR A HOME IN THE BERKSHIRES? We are exclusive Buyer Brokers. We work only for you. We accept no listings and have no conflict of interest.

Buyer Brokers of the Berkshires

Christopolis / Kolodkin

24 Franklin Street Lenox, MA 01240 Phone: 413-637-4110 Deane Christopolis 499-1923 Barbara Kolodkin 637-3381

SHAKE IT UP WITH SHAKESPEARE WANTED: Ushers, Retail Associates, Guides, Gardeners, Office Staff, Meeters and Greeters

QUALIFICATIONS: Enthusiasm, Energy, High Spirits, Love of Community, Willingness to Learn, Appreciation of Great Theatre REWARDS: Play a key role in our theatre company. Make new

friends, reunite with old friends, and incorporate the wonder of Shakespeare as a part of your life.

YOU CAN JOIN US by contacting volunteers@shakespeare.org or call us at 413.637.1199, ext 177. 36

Shakespeare.org

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www.kimballfarms.org INDEPENDENT LIVING • ASSISTED LIVING SKILLED NURSING • MEMORY CARE Shakespeare.org

Tina Packer Playhouse / June 22 – September 1

by William Shakespeare / directed by Lisa Wolpe featuring JASON ASPREY, KATE ABBRUZZESE, Mark Bedard, KELLY GALVIN, Charls SEDGWICK Hall, DAVID JOSEPH, Edgar Landa, Paula Langton, ALEXANDRA LINCOLN, Josh Aaron McCabe, Nafeesa Monroe, BROOKE PARKS, ERIC SIRAKIAN, Andy Talen, Michael F. Toomey and Ryan Winkles Love’s Labour’s Lost is a delightful comedy serving up a feast of language, clowning, music, dance, and romance. A wounded king, a beautiful princess, a world of shenanigans…what could go wrong? When the beautiful Ladies of France meet the Lords of Navarre, disguises and deception lead to a whirlwind of mischief, good intentions and broken promises. Set against the provocative backdrop of post-war 1940’s, as the world reimagined itself, expanding the frontiers of science, music, fashion, and language, our characters find themselves in one of the most memorable decades in American history. Longtime Company actor and director Lisa Wolpe, Producing Artistic Director of the Los Angeles Women’s Shakespeare Company, directs a talented ensemble that includes Company favorites and several newcomers. Costumes are designed by the talented Govane Lohbauer, which underscore and support Wolpe’s vision of weaving together a rich and vibrant tapestry from the era. This production will truly be a feast of fun and mad-capp’d merriment!

Shakespeare.org

Generously CO-sponsored by:

HOWARD and NATALIE SHAWN

Atalanta Siegel, Brittany Morgan, Kelly Galvin, Ryan Winkles, Josh Aaron McCabe and Greg Hughes

Love’s Labour’s Lost 38

Love’s Labour’s Lost

“They have been at a great feast of languages, and stolen the scraps.” LOVE’S LABOUR’S LOST V.i

DIRECTOR’S TAKE I am contemplating the journey of the young princess, sent by her father to marry a man who has banished all women from his court. I imagine watching her grow into a woman and a queen before our eyes, while managing the education and evolution of her intended swain. What can Holofernes, an educated, bohemian artist, and Jaquenetta, a working woman, both banished from the court, contribute to the healing of both the men and the women of high station, bringing the battle of the sexes into a beautifully balanced and well-intentioned dance? How can Don Armado, in his quixotic quest for inclusion and valuation, find a place for himself in a world of contradictions? Kings and clowns strive together to explore virtue and vice, commitment and conflict, learning and loss, and hopefully become better people in their time shared together. I am delighted to be invited back to Shakespeare & Company, where I trained and taught as a young artist, to direct at the Tina Packer Playhouse. I am thrilled to be able to collaborate with our wonderfully wise Warden of Wit (S&Co.’s Founding Company Clownmaster, Merry Conway), hang-gliding on high-borne currents of Levity to land with Gravity in this beautifully transformational situation comedy. Susan Dibble brings her extraordinarily beautiful, poetic choreography; Georgia Lee’s scenic imagination evokes the austerity of the court setting and a world of awakenings; and Govane Lohbauer crafts a gorgeous 1940’s palette wherein women are shedding the cultural corsets of fashion and submission in a post-war world of growth and change. A brilliant company of actors is stepping up to lift our hearts to enter a finely crafted labyrinth of learning and laughter. I couldn’t be more grateful to Tony Simotes for bringing me here to helm this project. We all hope you enjoy the play - and thank you so much for coming! – Lisa Wolpe Shakespeare.org

Shakespeare.org

Regional Monument Mountain vane, 1993 Pa g sin Clo High School

: hakespeare S of al v esti F The Fall

years 5 2 celebrating

by Kevin G. Coleman

“Who is it that

can tell me

?” who I amKing Lear

Director of Education Kevin G. Coleman

dy of Errors, 1999

Lee High School’s Come

Springfield Central High School Romeo and Juliet, 1994

Lenox High School’s Taming

of the Shrew, 1988

cation “Education is not the filling of a pail. Edu

is the lighting of a fire.”

W.B. Yeats

he Fall Festival began as an experiment 25 years ago. It was the embodiment of our belief that Shakespeare is the ideal script to put into the hands of an adolescent. Only Shakespeare consistently has the accuracy of expression, the breadth and depth of thought and feeling, the passionate expression and articulation of the tragedies and comedies that make up our lives.

Shakespeare is unsurpassed in his ability to express the range of human feeling. He is unmatched in his presentation of the deeper conflicts in our nature, in our relationships, in our beliefs and politics–in the way we construe our world. Shakespeare is the epitome of humanistic education. In Shakespeare’s language and stories, what we ultimately discover is nothing less than the complexity of ourselves.

Hamlet, 2011. Mount Everett High School’s

“Shakespeare & Company’s Fall Festival is the only place I know where the audience [who are mostly teenagers] give standing ovations during the performance! There is just no other [theatre] experience like it.” –Two adults overheard in the lobby after one of the shows. What can I possibly say to capture the pride, the history, the work and play of over 240 productions? How can one even add up the overwhelming numbers of students, teachers, parents, families, directors, costumers, technicians, liaisons, custodians, administrators, friends and financial supporters? Festival students have become Festival directors. Past Festival children are now the parents of present Festival children. It is a tradition we are so very, very proud of, and–as one of our trustees said at a recent Board meeting–“The Fall Festival is the jewel in our crown.” I must also acknowledge and bring to your attention the many achievements that happen behind the scenes during the 4-day Festival event. There are many more students involved in each of the productions beyond those appearing onstage. The production crews of students who contribute by designing and running lights; designing and running sound, and who become the stage managers and dramaturges and join the research teams; helping with the costumes, building the sets–both for their own show, and sets for other schools. Students also create the posters and the playbills, help each other with lines, with homework, and support each other in a hundred ways. We recognize the small victories–the long hours and conscientious work–that have taken place behind the scenes to make the Festival possible. And finally, the courage and hard work, the cooperation and encouragement that happen day after day in rehearsal. Praise and gratitude go to the many businesses, funding organizations, individuals, friends and advocates who have contributed material, time and money to this program, especially as arts funding disappears in this time of shrinking budgets, financial disasters and fear. Lastly, we thank all of the Shakespeare & Company artists and staff who have worked tirelessly since the earliest days of each production year after year.

Director of Education Kevin G. Coleman and entire Production and Artistic team Fall Festival, 2012

Shakespeare.org

est themes “For children, only the high

are high enough.”

Bertolt Brecht

y student involved in the an e, ad gr th 12 d an h 7t e th Between ns of Shakespeare. But tio uc od pr 6 on ed rk wo ve Festival can ha lebrate 54 other ce to ty ni rtu po op e th ve ha s. then consider, they and peers from other school ds en fri r ei th by ed rm rfo shows pe

To meet the demands of Shakespeare, theatre built on language, there is much to do. We must help students develop the awareness, desire and skill to breathe more deeply, free their voices, and commit their bodies through acting, stage combat, dance and movement. We must help them to embody and speak sublime poetry in their own voices; to listen openly and respond genuinely. We must help them to appreciate–even celebrate–the multiple points of view expressed in dramatic situations; to be flexible and expansive intellectually, physically, emotionally and imaginatively.

are akespe ll Festival oF sh , 2012 -18 15 er Novemb

We must help them to become more courageous in relationships, honesty and empathy; to join their energy to the group through conviction, or through conviction, to stand alone.

ere could I breatHe my soul Into tHe aIr.”

We must help them to manage both success and failure; to give and receive praise and criticism; and support them in a more vital experience of their own humanity. And, as we say in the director training meetings, we must help each other to do the same.

Henry VI, PArT II

Like Virginia Woolf, we believe that “masterpieces are not the result of a single genius, but the outcome of many people thinking in common over many years.” The ethic and aesthetic we’ve created, the methods, models and materials we’ve developed enable students and teachers to effectively experience the power and beauty of Shakespeare’s language, expand and release inherent creativity, practice effective–even joyful–ways of working together to explore and reveal what it means to be human. The Fall Festival and our Education Program at large is the masterpiece we are committed to create.

ox, Ma tina packer playhouse, len 353 7-3 -63 413 or rg re.o tickets shakespea

Shakespeare.org

Center: Artistic Associate/Education Youth Programs Director Jonathan Croy

in part by Shakespeare is made possible tts e 24th Annual Fall Festival of for the Arts, the Massachuse Deborah and ants from the National Endowment and Tina Sohn Foundation, Bill ltural Council, Dr. Robert C. Berkshire Bank, The Lenox, Lee, an, Price Chopper’s Golub Foundation,Springfield, and Great Barrington high onterey, New Marlborough, Richmond, support of the participating generous the and ultural Councils, families, and businesses. hools, and a coalition of individuals,

School’s Richard III, 2011. Photo High2009 - King John, SchoolRegional High Greylock Lee Mount

by Kevin Sprague

Kevin G. Coleman, Director of Education

DOCUMENTING

THE FALL FESTIVAL:

25 years

Young Since last year’s Festival, we have been laying the groundwork to document this extraordinary project. We’ll be capturing footage of rehearsals, common classes, performances, director meetings, 25 years of clips and photos, interviews with students, teachers, parents and directors. We will then share them on our website in short YouTube clips, and then in a longer–more comprehensive– documentary segment. We want students from every school in the nation to see fellow students bring Shakespeare alive in such moving and compelling ways. We want other teachers and administrators and parents to hear the stories and see the images of the profound and positive effect, the significant and lasting value that a deep immersion in Shakespeare can have in the students’ lives, in their schools and even their homes. We are both excited and daunted by the task of getting this story out into the world.

W S

In partnership with

THE WHARTON SALON 5TH ANNIVERSARY

presents

Two by Wharton

The Quicksand and The Looking Glass Directed by Catherine Taylor-Williams and Daniela Varon Featuring Ariel Bock, Wesley Cooper, Ava Lindenmaier and Diane Prusha

August 14-25, 2013 for tickets and information visit whartonsalon.org

If you would like more information on this project–or an opportunity to help–please contact Education Director kevincoleman@shakespeare.org, 413.637.1199x104.

I N S P I R AT I O N E V E R Y W H E R E

“These are but wild and whirling words.”

changing exhibitions | distinguished collection artist-designed restrooms | museum shop + café

Hamlet I.v Image: Sopheap Pich. Born Cambodia, 1971. Seated Buddha—Abhaya Mudra, 2012. Bamboo, rattan, wire, plywood. Purchased with the Dorothy C. Miller, class of 1925, Fund. Photograph by Sopheap Pich.

www.smith.edu/artmuseum

Shakespeare.org

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BFMC:

BERKSHIRE FILM and MEDIA COMMISSION

of Western Massachusetts

• Acts as a liaison between visiting productions & our communities • Markets our cities and towns as shooting locations • Develops educational courses and creates workforce opportunities • Oﬀers networking events for industry professionals • Provides an online production guide & locations database

We are dedicated to creating a vibrant film and media community in western Massachusetts.

For more information: info@berkshirefilm.com • 413 528 4223 The Berkshire Film and Media Commission is a fund of the Berkshire Taconic Community Foundation, a 501(c)(3) public charity.

Shakespeare.org

www.berkshirefilm.com

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Decades of hospitality experience, a passion for food and entertaining, and a beautiful banquet facility make us an excellent consideration for your next function. 413-528-4844 www.crisseyfarm.com

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

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www.barringtonbrewery.net Shakespeare.org

E D U C ATION

“Thou canst not speak of that thou dost not feel.” Romeo and Juliet III.iii

FALL FESTIVAL OF SHAKESPEARE 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 24th 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.” 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 laugh out-loud hilarious. Our Tina Packer Playhouse is barely able to contain the excitement of this non-competitive celebration of the students’ performances. You really must join us.

“The Fall Festival is the highlight of my year, every year. Year after year. The things I’ve learned here have helped shape who I am. I can only imagine they will continue to shape who I want to become.” Chatham High School student

“Fall Festival is a chaotic world of passion and a whirlwind of fun. It gives my life meaning. It’s the best part of my entire year.” Taconic High School student

Shakespeare.org

Lee High School’s Romeo and Juliet, 2011 Photo by Enrico Espada

This coming November 21-24 is the 25th Anniversary of the Fall Festival. 25 years of Shakespeare in the hearts and minds, souls and bodies, voices and hands of adolescents.

RIOTOUS YOUTH This series of two-week-long summer camp sessions offers kids aged 7–9, 10–12, 13–15, and Riotous Youth Company (a three-week program specifically designed for high school students who are RY veterans) the chance to perform their own versions of Shakespeare’s plays on the Rose Footprint, 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.

Riotous Youth participants, 2010 Photo by Dan Kurtz

SHAKESPEARE & YOUNG COMPANY Now in its 23rd year, Shakespeare & 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 the chance to explore scene work in-depth. If you haven’t found “it” in a Drama Club or a BFA program, you will certainly find it here.

SHAKESPEARE IN THE COURTS Over the past thirteen 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 and those in need of special support to study, rehearse and perform Shakespeare as an alternative to traditional punitive consequences. A Midsummer Night’s Dream 2013 Northeast Tour of Shakespeare. L-R: Luke Reed, Adam Huff, Jordan Jones and Brittany Morgan Photo by Chad Champoux

Northeast TOUR OF SHAKESPEARE Each year the Company brings Shakespeare alive for thousands of 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 2013, 70 schools and more than 15,000 students were able to see A Midsummer Night’s Dream. Romeo and Juliet is on tap for 2014. 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.

This innovative, effective, and action-oriented social program has garnered overwhelming local and national media attention and has been covered by NPR, the BBC, the Boston Globe, the Albany Times Union, and The Wall Street Journal. In 2007, the Courts Project was awarded the 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. Judge Joan McMenemy, the Hon. Judge Judith Locke, Chief Probation Officer William Gale, Probation Officer Nancy Macauley, and others, the City of Pittsfield and the City of North Adams. Their efforts have changed the course of so many lives, and brought this important program to national attention.

“What a great experience for our students. It could not have enhanced and supported our curriculum better.” Teacher, Delmar, ny Shakespeare in the Courts, 2011 Photo by Enrico Espada

Shakespeare.org

The late Elayne P. Bernstein and husband Sol Schwartz.

E D U C ATION

continued

hakespeare & 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, 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 G. 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.”

We gratefully and humbly acknowledge the ongoing passion, vision, and support that began with Elayne and continues with Sol Schwartz and the entire Bernstein family.

EDUCATION DONORS:

Institutions Arts Midwest Berkshire Bank Berkshire Taconic Community Foundation/James and Robert Hardman Fund The Charles H. Hall Foundation Commonwealth of Massachusetts Berkshire District Attorney F.A.O. Schwarz Family Foundation The Guardian Life Insurance Company of America Lenox School Alumni Association, Inc. Massachusetts Cultural Council and its YouthReach Initiative National Endowment for the Arts Price Chopper’s Golub Foundation Red Lion Inn and Country Curtains Salem State Theatre Department Schwab Charitable Fund Dr. Robert C. and Tina Sohn Foundation Yorick, the Massachusetts College of Liberal Arts’ Shakespeare Club Cultural Councils Lee Cultural Council Lenox Cultural Council Monterey Cultural Council New Marlborough Cultural Council Northern Berkshire Cultural Council Pittsfield Cultural Council Richmond Cultural Council Sheffield Cultural Council 50

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Springfield Cultural Council Stockbridge Cultural Council Town of Great Barrington Tyringham Arts Council West Stockbridge Cultural Council Individuals Katherine and Lee Abraham Mark and Christine Baldridge Matthew and Natalie Bernstein Tess McHugh Cassandra J. Cleghorn Mike and Wendy Coakley Wolfe and Tiger Coleman and Benjamin Epstein Paula Consolini and James Mahon in honor of MGHS directors Jonathan Croy and Daniel Joeck Claire Cox Allan Dean and Julie Shapiro Gretchen DeKalb John Dolan James and Carol Edelman Cindy and Chip Elitzer Jonathan Epstein and Ariel Bock Hope Fitzgerald and James Sexton Rick Gregg Ann and John Higgins Cecilia Hirsch Jason Jayko Mark E. Kolenski Jeffrey Konowitch and Wendy Laurin

Alexyss Langevin Lisa B. Martin Kate and Joel Millonzi Arthur T. Oliver Marilyn Rossier Deborah and William Ryan Eric C. Scherrer Eliza Schwarz Carol and Peter Seldin Barry and Marjorie Shapiro Sharon M. Strassfeld David and Barbara Thomas Patrick Washington and M.J. Borrelli in honor of Kevin G. Coleman and Lezlie Lee Eric C. Williams Anonymous We also extend our heartfelt thanks to so many of our friends who supported the balloon auction at our 35th Season Gala Celebration. The Bok Family Foundation Diane Cataldo Anthony Chojnowski/Casablanca John Cortner Governor Michael and Kitty Dukakis Charles and Lorie Epstein Diana Felber and Stephen Glick Dr. Gerald and Roberta Friedman Ann and Joe Gallo Mr. and Mrs. James W. Giddens

Ms. Bobbie Hallig Sarah Hancock Sally and Fred Harris Thomas and Stephanie Hoadley Jane Iredale and Robert Montgomery Richard and Judith Jacobs J. Kopperl John and Alexandra Lange Govane and Bob Lohbauer Andrew and Su-Ellyn McMaster Irvin B. Nathan and Judith A. Walter The Claudia & Steven Perles Family Foundation Jonathan Prince and Bridget Hughes Victoria Rhoades Carraro and Alvaro Carraro Kathleen Rogers and Rick Teller Eric Roozekrans and Anna Chitinsky Deborah and William Ryan David Schwartz and Nan Thompson Risa Schwartz in honor of my stepmother, Elayne Bernstein Carol and Peter Seldin Douglas W. Seldin David Smith and Ranny Cooper Donald and Erica Stern David Surrenda and Lisa Rafel Christopher and Roberta Tunnard Dorothy and Stephen Weber Rhea and Ken Werner Jean and Peter Whitehead Rebekah and Richard Wise Leone T. Young

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“Nothing revolts me more than a picnic!”

HEROES

Heroes

Bernstein Theatre / June 13 – September 1

by Gérald Sibleyras / translated by Tom Stoppard / directed by Kevin G. Coleman featuring Jonathan Epstein, Malcolm Ingram and Robert Lohbauer Winner of the Laurence Olivier Award for Best New Comedy, Heroes is the irreverent story of three World War I veterans confined to a retirement home in their twilight years. The year is 1953, and Gustave, Philippe and Henri amuse themselves with nostalgic anecdotes, provocative gossip, and generally irritating one another. But life in the French countryside proves to be a bit too calm, and the three war veterans begin to plot their escape. Under the direction of Kevin G. Coleman (The Liar, Rough Crossing, The Winter’s Tale), Heroes features longtime Company members Jonathan Epstein (Elliot Norton Award winner), Malcolm Ingram, and Robert Lohbauer.

Generously sponsored by:

DR. GERALD AND ROBERTA FRIEDMAN 52

Shakespeare.org

Heroes Malcolm Ingram, Robert Lohbauer and Jonathan Epstein

DIRECTOR’S TAKE

I think I first became haunted by HEROES almost two years ago when someone from the Company gave me a copy to read for consideration in our summer season. Since then, I’ve been handed two more copies from two others. There was really no need, as the play has been alive in my mind since the first reading. I’ve always loved Stoppard’s plays– well, most of them–and his translation of Gérald Sibleyras Le Vent des Peupliers is no exception. And he makes me uneasy. There’s always more going on in his plays, with his delicious language and his comic/absurd/ Chekhovian characters than can be easily discovered in a quick read, or even in the pressured pace of the rehearsal room. Who knew we’d care so deeply about three old World War veterans on a terrace with a bronze dog? Who knew their story could be so funny or so heartbreakingly sad? I’m fortunate to have had this script for a while. I’m relieved to have Bob and Jonny and Malcolm in the room with me. – Kevin G. Coleman

Shakespeare.org

Artist Sol Schwartz

L-R: Rocco Sisto, The Taster; Jonathan Epstein, King Lear; Robert Lohbauer, Mengelberg and Mahler

Sol Schwartz Art Show Opening Celebration and Dedication of Elayne P. Bernstein Shakespeare Corner at The Lenox Library

n July 19th, 2013, The Lenox Library dedicates the Shakespeare Corner in the Sedgwick Reading Room in memory of Elayne P. Bernstein. Elayne was a longtime Board member at Shakespeare & Company, and a passionate advocate for all things Shakespeare and arts education for children.

The dedication takes place in concert with the opening of Sol Schwartz’s new exhibit of drawings in the Welles Gallery inside the Library. The event includes theatre and musical interludes provided by Shakespeare & Company’s Young Company actors along with a group of young musicians from the Berkshire Children and Family: Kids 4 Harmony project in Pittsfield. Drawing Music

The La Musica Intern ational Chamber Music Festival

Sketchbook

1987 - 2013

The Art of Sol Schwartz

Sol’s portraits of Shakespeare & Company artists, including Artistic Director Tony Simotes, Founder Tina Packer, John Douglas Thompson, Annette Miller, Malcolm Ingram, and many others remain on exhibit in the Company’s Iredale Lobby of the Bernstein Center for the Performing Arts. The exhibit runs year round and includes works Sol created from his place in the audience at Shakespeare & Company over the past several decades. Sol’s sketches reflect the intensity and focus of his gifted subjects, whom he captures in performance, providing a unique window into their experience. “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 in a sketchbook to work in, and over the years has compiled thousands of studies. “The novelty of my work is that I do it while the performance is underway, sometimes in the pitch dark,” adds Schwartz. He 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 play, that ineffable nature of a great performance.”

AUTHOR! AUTHOR! JULY 14TH, 10:30 a.m. We celebrate Sol and his work and invite you to join us for his talk during our Author! Author! Series on Sunday July 14th at 10:30 am, when he will discuss his four recently published art books: Drawing in the Dark, Drawing Music, Connections in Line and Drawing Music II: The La Musica International Chamber Music Festival Sketchbook. Sol will be joined by photographer and designer Kevin Sprague who designed all of Sol’s books and who will be on hand to discuss his own book Imagining Shakespeare, which is filled with beautiful and provocative photos and designs he has created from Shakespeare & Company’s productions over the past decade. 54

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n 2013, we celebrate the seventh 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 help 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 the rigorous thirteen-week program, the Conservatory arms emerging actors with a wide skill set, thereby preparing them for life in the professional theatre world.

f ea st

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 a full production of a Shakespeare play, performed in one of our state-of-the-art theatres. For more information about The Conservatory at Shakespeare & Company and all of our actor training programs, call the Center for Actor Training at 413-637-1199 ext. 114 or email training@shakespeare.org or visit Shakespeare.org/training.

King John Conservatory production 2012: L-R: Jenna May Cass, Eric Scherrer, Kate Dylan, Iam Coulter. Photo by Chad Champoux

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Josh Aaron McCabe, Photos by Enrico Espada

JOSH OF ALL TRADES S

by JASON VELAZQUEZ

hakespeare & Company has always operated both its administrative and artistic areas with artist-managers, partly due to the constraints of a not-for-profit’s budget, but also partly, even largely, as a way of ensuring the Company manages itself in accordance with its mission statement: “to perform as the Elizabethans did.” William Shakespeare and his men were investors, builders, carpenters, writers, etc., in addition to being frequentlyarrested actors. If the actors (players) didn’t build it, write it, and market it, they couldn’t very well act it. So they were passionate about their work inasmuch as it was their livelihood. They could succeed all they wanted to on stage, but if they couldn’t support it, of course, their playing was all for naught. To this end, Shakespeare’s men, including Richard Burbage, and other leading players since, including Laurence Olivier, and Kenneth Branagh, who both owned and ran their theatre companies, were responsible. They were not pawns in the larger entertainment scheme that actors today are treated as. The artists had a stake in the company, a stake in their and their partners’ work, and they personally shared the success and the failure. They were taking responsibility for their decisions, and that’s what Shakespeare & Company does. The artists are teachers, administrators, designers, builders, and Board members. They know the Company intimately and have a passion for its work and have a stake in its future prosperity. And when they fail, they don’t ask, “Why didn’t THEY do such-and-such?” They ask, “What can WE do better?” 58

Shakespeare.org

Being an artist-manager is specialized and demanding. It is a discipline of time-management, focus, energy, resolve, and grace under daily, immediate, and stressful pressure. On the other side of the discipline is the willingness to replace the artist’s drive for “self” with “us” in the theatre community and in the Berkshire community. This also transfers beautifully onto stage. Shakespeare & Company is a vital part of the community; we are all good neighbors and we are all as comfortable digging a ditch, cleaning a basement, marketing the season, creating our budgets. As we are on stage or designing a set or adapting a novel by Edith Wharton or a play by Moliére. The artist-manager model, while not for the faint of heart, is a large part of what is responsible for keeping Shakespeare & Company alive through good and bad times because the creative impulse is always at the heart of our artistic and managerial decisions. We encourage articulation, multiple leadership, new ideas, and stepping out into the darkness knowing full well we will probably make a mistake or two. This is what a brave actor does, and it is this courage from passionate, disciplined artist-managers that has allowed Shakespeare & Company to achieve something fewer than 10% of all start-up companies achieve: a life of 35 plus years with at least 35 plus more to go. JOSH OF ALL TRADES Long has it been proclaimed, “No one has just one job at Shakespeare & Company!” Now, whether the sentiment is meant to reflect a strong esprit de corps or a cautionary note to job seekers depends on your point of view, but one Company man who could shed some light on the issue is a certain Josh Aaron McCabe, an adept Artist Manager and our own Josh of All Trades. Originally cast by Tony Simotes in 2006 for a role in The Merry Wives of Windsor, McCabe quickly found a place in the Education Department—he has directed in six Fall Festival of Shakespeare programs since then. He is currently leading this year’s Shakespeare in the Courts program running in Pittsfield and North Adams, a program he has directed in for several years as well. McCabe has also directed for the Shakespeare & Young Company and Riotous Youth programs. He’s directed residency programs for elementary and middle schools, both near and far. He played the title role in Macbeth in the Company’s Touring production of that show in 2007 and spent two years performing in Shakespeare and the Language that Shaped a World. This blend of performance and work with youth is a strangely logical one for a guy who almost abandoned his acting career in favor of a more logical pursuit. “As a kid I wanted to be an actor,” says McCabe, “but after high school I decided to be ‘practical’ and major in Education. During my first year of Undergrad I took an acting class for non-majors, and the instructor, Bob Winters, sat me down after class one day and said, ‘What in the hell are you doing? You’re an actor. You pretend as though you have a choice, but it’s who you are.’

Somehow, amidst all this work in Education, he managed to squeeze in 12 more performances on stage including box office hits such as The 39 Steps, Parasite Drag, The Hound of the Baskervilles, The Winter’s Tale, Richard III, As You Like It, War of the Worlds, The Mystery of Irma Vep, The Real Inspector Hound and Les Liaisons Dangereuses. So how does he do it? “How do I sustain it?” McCabe chuckles. “It gets easier as I get into shape with each show! Ha ha! The first time we did Hound of the Baskervilles I lost 14lbs during the run. During The 39 Steps I lost 10lbs. It may sound cliché, but I strive to play. My mind is still willing to be childlike, but sometimes my body has to catch up!” Though McCabe can be quick with a comedic comeback, his role as an Artist Manager is serious business. Both in performance and education, he’s taken a thoughtful approach to his work. And Josh McCabe is serious about comedy. “With the students, I try to work with them as I would work, myself,” he explains. “The language–especially in Shakespeare is the jumping off point. We first have to understand the text—moment-to-moment, breath by breath. What is the story that is unfolding? We have to be curious! This is the detective work and the clues live in the rhetoric. Once we own what we are saying, then we can breath our own point of view into it: we add our voice.” As odd as it sounds, McCabe says, it is often meticulous and tedious work to ultimately appear loose and free-form. Typically, he sits down with a new script armed with different colors of pens and highlighters, taking notes and doing his detective work, connecting

Aaron 0 nd Josh nleider a angereuses, 201 e p s A th D s n o s Elizabe in Les Lia McCabe

Josh Aaron McCabe and Jonathan Epstein, The Winter’s Tale, 20 10

So McCabe switched tracks and, with the help of his incredibly supportive parents, Dan and Mary Lou, followed his dream, and moved to New York City for seven years, before eventually earning his Masters of Fine Arts degree in Acting from the University of Wisconsin—Madison. His professor, Tony Simotes, invited him to S&Co. to act in the summer season. McCabe will always be grateful to him for that opportunity. “It changed my life,” he says. Josh Aaron McCabe in The Mystery of Irma Vep, 2011

Shakespeare.org

ARTIST MANAGER’S LIFE FOR ME! “It’s a balance,” he says, “Often I have to get out of my own way.” That type of embrace of, and then separation from, one’s own identity might seem paradoxical to some. “Children play freely with ease,” he notes. “When we were little, our imaginations would bring our own sense of honesty to our play, and we’d openly play outside for all the world to see. A typical five-yearold is not going to suddenly announce to his friend, ‘Billy, what are we doing? Just stop. I am no cowboy. You are no Indian. And, quite frankly, I feel ridiculous holding this plastic squirt gun.’ “I think as we get older we become more self-conscious,” McCabe continues, “and we learn how to duck and cover to protect ourselves from being ‘judged.’ We develop defense mechanisms. The same holds true for acting. Younger actors typically haven’t accumulated their own bag of tricks on stage yet, so in many ways what they have to bring is themselves.” Does the “bag of tricks” ever get full? Not yet, says McCabe. “Every show I am in is an opportunity to develop as an actor,” he reassures. “There is always a new challenge that I come up against– a new fear. Plus, here at Shakespeare & Company there are so many talented artists that I can learn from just by observing them–and then stealing from them!

McCabe, our Josh of All Trades, clearly possesses more than a little sage wisdom of his own. While his musings center mainly on theatre, most could well be axioms for life. Whether he is juggling two roles on-stage, being the Company Manager AND rehearsing a third show…while directing for one of the Education Programs ALL AT THE SAME TIME…he always keeps his head above water and sails into the next adventure that awaits him as an Artist Manager. So what does he think about the Artist-Manager model? “Human beings multi task. Juggling careers and families and relationships and money and dreams and–I believe that every individual aspect of our lives informs the collective. So it makes a certain sense to use this model here as we thread the theatre and the community together. Shakespeare & Company was built on this: Performance, Education and Training all co-existing to become something greater. Part of our endeavor is to keep exploring who we are, not only as artists, but as human beings so that we can continue to bring our full selves on the journey–whether on stage or not. “In the end,” he suggests, “I think secretly everyone wants his or her voice to be heard—however mute that they imagine themselves to be. I believe that part of our job is to inspire students of all ages to feel confident enough to speak. Our work with them here may begin on the stage, but what a contribution to their families and to their communities if they brought their voices to their daily lives as well.”

Shakespeare.org

villes, 201 the Basker e Hound of cCabe in Th Josh Aaron M

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Josh Aaron M

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Josh Aaron McCabe in The 39 Steps, 2012

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“And I am constantly learning as I work in our Education Program. There is a reason this Program is nationally recognized! Kevin G. Coleman, Jonathan Croy and Jenna Ware possess truly brilliant minds

when it comes to engaging students in Shakespeare and in Theatre in general. I am continually cornering one of them and seeking their sage wisdom. The Education Artists are forever asking how to improve upon what we do and put in the hours necessary to strive toward it. I am proud to be surrounded by such a committed group.”

all the dots in the story. McCabe says that he has learned to honor his analytical nature ahead of time, so that his mind can be quieted to be present and listen in rehearsal–to let the kid out and play with the other voices in the space.

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We are very proud to showcase the talents of a few of these artists including, Costume Designers Govane Lohbauer (Love’s Labour’s Lost), Arthur Oliver (Mother Courage and her Children) and Lena Sands (Richard II). These talented designers and their costumes are an integral component of the overall design, concept and entire feel for each of these provocative shows.

MOTHER COURAGE AND HER CHILDREN “Quick pencil/line drawings help the designer refine, discover and develop the clothes of a character. This is one of my favorite parts of the creative process because it’s so spontaneous— organic and raw. Once a design concept has been approved by the director we create a final set of renderings and then the fun really begins!” Arthur Oliver

A LABOR OF LOVE

his season the Tina Packer Playhouse will host three distinct and powerful productions including, Love’s Labour’s Lost, Richard II and Mother Courage and Her Children—all of which are supported by dozens of behind-the-scenes artists.

LOVE’S LABOUR’S LOST “I always start a design with lots of image research. Going back to my books and the Internet, seeing the real thing in photos and drawings refreshes a period in my mind. It also allows me to show the director concrete images to discuss before we decide on the final period and look of the show.” Govane Lohbauer

RICHARD II “I use free association inspired by the text as a springboard for research. What images speak to me of religion, fragmentation or kingship? What are our modern relics?” LENA SANDS Shakespeare.org

Richard II

SPECIAL LIMITED RUN The History Cycle Begins! Catch the first episode in this mesmerizing and heart-stopping series of The Wars of The Roses. Tina Packer Playhouse / July 5 – 21

Shakespeare.org

by William Shakespeare / directed by Timothy Douglas featuring Rocco Sisto with Jake Berger, Thomas BrazzLE, Wolfe Coleman, Jonathan Croy, Johnny Lee Davenport, Tyrone Mitchell Henderson, Elizabeth Ingram, Rachel Leslie, JIM Nutter, Tom O’Keefe, THOMAS L. RINDGE, Walton Wilson, and Kristin Wold How does a state contend with a visionary, ambitious and perplexing leader who proclaims himself to be God’s anointed? King Richard II, portrayed by three-time OBIE Award winner Rocco Sisto (Caliban in The Tempest 2012, The Taster 2010), blithely orchestrates events which lead to the murder of a revered uncle, the squandering of public funds, and inevitable misuse of absolute power, bringing his nation to the brink of collapse. When Richard banishes Henry Bolingbroke (Tom O’Keefe, The Taster 2010) he unwittingly fashions a worthy foil who becomes the catalyst for a King’s evolution from confused omnipotence toward a quiet state of grace. While remaining faithful to Shakespeare’s text, this modern staging by long time Company actor, teacher and director Timothy Douglas (Director of Blue/Orange 2007; Oswald in King Lear and Trinculo in The Tempest 2012) utilizes a soundscape of contemporary sacred music which serves to underscore the enduring conflict where power and human nature intersect. Richard II begins our History Cycle, The Wars of the Roses–the first in a series of history plays that we will produce leading up to our 40th Season. Designed to present a cohesive look at these rarely produced works, audiences will receive a rare chance to take a unique, episodic journey that will span five seasons. Stay tuned for our next exciting episode!

Generously sponsored by:

SARAH HANCOCK

“Mine honour is my life; both grow in one.” RICHARD II I.i

DIRECTOR’S TAKE

Rocco Sisto as Richard II

Shakespeare’s RICHARD II illumines the tragic consequences of an ideological breakdown. Prevailing analyses of the play aim at the doctrine of the King’s ‘two bodies’: the natural (mortal) and the politic (spiritual). In an ideal existence, the King brings together Christ’s divine and earthly effects, and the expectation of this fusion has become essential for understanding– not only Shakespeare’s play, but the whole political culture of early modern England. The Elizabethans found sustaining the unity of this ideology increasingly difficult, and thus projected it onto a medieval past. While combing through the play and meditating on modern day parallels for what I believe to be its inherent seeds of fundamentalism, I was determined to remain faithful to the script’s original intent to expose each character’s humanity and articulated need that drives them forward. In line with the play’s historical accuracy, our close tending to the script brings to the surface subtleties of faith and believing that might have escaped a less sensitive, less observant period of time. We tend not the surface, but the driving forces inside and the belief that these characters are ‘real’ and have real lives behind them that press them forward. – Timothy Douglas Shakespeare.org

PITTSFIELD

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With its art galleries, stylish restaurants, and attractions including the Colonial Theatre and Barrington Stage, THE newly revitalized Pittsfield is the place to be. The city’s main road, North Street, is teeming with activities for every age and mood. Hungry? Swing by Mission Tapas Bar for a Spanish-influenced meal, or duck into Trattoria Rustica or Baba Louie’s for some Italian fare. Families will definitely want to check out the intriguing exhibits at the Berkshire Museum. Whatever the time of day, there’s always something happening in lively Pittsfield, MA.

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Adapted by Aaron Posner and Chaim Potok From the novel by Chaim Potok Directed by Aaron Posner

Much Ado About Nothing sponsored by Cynthia and Randolph Nelson

August 8-25 By William Shakespeare Directed by Julianne Boyd

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Shakespeare.org

July 19 - August 10 Book & Lyrics by Dan Collins Music by Julianne Wick Davis Directed by Tom Caruso

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The Taster, 2010

The Tempest, 2012 Richard II, 2013

Questions with

isto S occo R

You’re a Founding Member of Shakespeare & Company— What’s your favorite memory from the early days? My favorite memory of those first few years is a dinner that the company had at The Mount in 1979—that year we did The Winter’s Tale and Romeo and Juliet during the fall season at the Berkshire Playhouse. We celebrated the end of the run with a great banquet. In those days everyone did something other than their prescribed jobs. I helped to cook. There was much celebrating and everyone had to make a toast. I remember the beauty and talent of those around me as they spoke and felt very lucky to be included. What drew you to the role of Richard II? I’m drawn to the journey man makes; how grace is achieved. And of course the language. This production looks at Richard II through a contemporary lens—Will that shift how you look at the text? Timothy assures me that the concept will not be at odds with the text and I trust him. If it is, there will be some discussion, I’m sure. 68

Shakespeare.org

Last summer, you acted alongside Timothy Douglas in The Tempest—What qualities does Timothy have as an actor that also serves him as a director? When you act with someone you get to know them very well, how generous that person is or how greedy. I’ve been in the trenches with Timothy and know that he works for the play. I’ve seen him in two very different roles in the course of one season and can tell you that he is a generous, talented actor with a keen eye and someone you want to spend time with both on stage and off. Are there any Shakespearean roles you haven’t played that you’d like to play? Oh, yes. Leontes in Winter’s Tale, Macbeth and Prospero. I’d like another crack at Malvolio, which I’ve done on three different occasions all before I was thirty. I’d like to see what he’s like for me with a couple of dozen years under my belt.

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PITTSFIELD FIVE FIVE STAGES STAGES

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at at The The Colonial Colonial Theatre Theatre

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6/25–7/13

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August 1–August 24

by James Goldman directed by Robert Moss featuring Christine Lahti and Treat Williams

at The Unicorn Theatre music by Richard Rodgers 6 East Street, Stockbridge FIVE STAGES book & lyrics by Oscar Hammerstein II www.BerkshireTheatreGroup.org (413) 997-4444 | (413) 298-5576 based on the play “Green Grow the Lilacs” by Lynn Riggs original dances by Agnes de Mille directed by Eric Hill choreographed by Gerry McIntyre

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Guardian is proud to support Shakespeare in the Courts, a groundbreaking partnership between Shakespeare & Company and the Berkshire County Juvenile Justice System.

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ACTOR TRAINING

ctor training is at the very heart of Shakespeare & Company, which has been applauded from the beginning by audiences and critics alike for the way in which this company of actors speaks the Shakespeare text with compelling and illuminating ease. At the behest of Founding Artistic Director Tina Packer, co-founders Kristin Linklater, John Broome, and B.H. Barry brought their talent and expertise to create the Company aesthetic along with actors Tony Simotes, Dennis Krausnick, Kevin G. Coleman, and many others in the early years of Shakespeare & Company. Our actor training programs have influenced the way Shakespeare performance is taught to actors across the U.S. and across the whole of the English-speaking world.

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, Canada and abroad. Our cornerstone Month-Long Intensive brings more than 50 actors and 20 teaching artists to the Berkshires every January, where they experience our innovative training. And each summer, our Summer Training Institute provides an eye-opening theatrical immersion for college students and emerging actors from throughout the world. This fall, The Conservatory at Shakespeare & Company will enter its seventh year. This intensive, thirteen-week program exposes students to everything from clown to stage combat, and will culminate in a full production of a Shakespeare play. 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.

…to hold, as ‘twere, the mirror up to nature. Hamlet III.ii

Shakespeare.org

Special workshops throughout the year provide opportunities for actors to deeply explore areas like fight, dance, the 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 36th season, 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, and Louis Armstrong in last season’s Satchmo at the Waldorf as well as many New York credits, sought our training early in his career. The New York Times calls Thompson “the best actor of his generation.” Also, three time OBIE Award-winner Rocco Sisto, appears this summer in Richard II. Other alumni such as 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, 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 and 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 2012 Conservatory cast of King John Photo by Chad Champoux

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THE transformation

perception F L E OF S h by Jona

Lipsky

t’s the first day of the January Month-Long Training Intensive, or Workshop to folks in-the-know, and snowstorms are raging across the Northeast. Thankfully, despite biting winds and heavy snowfall, most of the acting students have managed to make it to Shakespeare & Company’s Bernstein rehearsal room, where they sit in a circle, red-cheeked and damp.

“Participants spend twelve hours a day going through a sequence of voice, movement, text, and fight classes, which have been developed by Company members for over 30 years.” DENNIS KRAUSNICK 76

Shakespeare.org

Director of Training Dennis Krausnik Month Long Intensive 2012. Photo by Enrico Spada

A quick glance reveals people of all age and descriptions. The youngest actors are in their 20s and the oldest are in their 60s. Some people are from across town, while others hail from Australia, Ireland, Canada, India and New Zealand. Many are seasoned actors and acting teachers, but some are also newcomers, looking for a deeper theatrical experience. The common denominator amongst everyone is a hunger to experience themselves more deeply as actors and people.

Tina Packer (center) works with Month-Long participants Kate Willett and Deshik Vansadia

With its rigorous twelve hour days, during which participants go through a sequence of voice, movement, text, and fight classes, the Intensive lives up to its name. According to Dennis Krausnick, Director of Training and one of the Founding Members of Shakespeare & Company, one of the primary aims of this program is to break through old acting habits. “What is needed is for people to take the plunge into the work,” said Krausnick who, with his warm presence and scruffy white beard, is reminiscent of Dumbledore (a fact further confirmed by the twinkle in his eye). Krausnick played King Lear to critical-acclaim last season in the Company’s Tina Packer Playhouse. In addition to leading Shakespeare & Company’s summer and fall training programs, Krausnick has been teaching in the Intensive since its inception in 1978. He is joined by other senior Shakespeare & Company instructors, including founding member Artistic Director Tony Simotes (a master fight teacher), Founding Artistic Director Tina Packer (who helps students find a personal connection to Shakespeare’s text), Director of Education and founding member Kevin G. Coleman (text, clown and fight teacher as well). There are over a dozen teachers including audience favorites like Jason Asprey, Jonathan Croy, Andrew Borthwick-Leslie, Michael F. Toomey and Kristin Wold to name a few. In keeping with the Intensive’s mission to provide participants with a breakthrough acting experience, Krausnick kicks the first class off with a bracing self-examination exercise. “I ask the participants to say something they wouldn’t normally say to a group of people they had never met before,” says Krausnick. “Many people think, ‘What am I going to say?’ and ‘How big a risk am I willing to take?’ But then somebody goes out on a limb, and it changes the energy in the room. Suddenly everyone thinks, ‘Oh... that’s the game we’re playing, oh my goodness, let’s see.” As people realize that it’s safe to say personal things in the circle, they begin to share deeper parts of themselves. And so the Intensive process begins. Day Two Two participants, Deshik Vansadia (from India) and Daniel Joeck (from Minnesota), arrive late from waylaid flights. Krausnick halts the class to introduce them, and the two young men hold their breath in anticipation. Within a week, they will learn to harness the intensity of seeing and being seen by a group of strangers (aka, “an audience”). This is one of the most fundamental Shakespeare & Company acting tools. Several of the actors from the Intensive move into Mainstage and Bernstein productions–Joeck was cast in the 2011 production of The Learned Ladies. The connection between actor, audience, and text is further examined during the third evening, when Tina Packer leads students through a “Basics” class. Under Packer’s guidance, actors explore Shakespearean monologues that they feel a strong personal connection with. One participant, Eliza McKelway, described Basics as a process of bringing one’s whole self to the monologue.

“I had three teachers working on me,” said McKelway. “Doug was sitting on my feet, Melissa was working on my voice, and Andrew was asking me questions about my life, based on how I was saying the lines.” According to McKelway, for many people in her group, the most important thing was learning to undo the habit of controlling one’s breathing pattern. Participants experimented with letting breath in, and allowing whatever experience was happening to simply exist. A week into the Intensive It’s “Actor-Audience” day. Watching a play at Shakespeare & Company, you’ll notice that the actors frequently acknowledge audience members by looking straight at them. This practice, known as “breaking the fourth wall,” is taught as a discipline at Shakespeare & Company. The “Actor-Audience” exercise is designed to get students used to sharing truths about themselves with a large group of people. Participants and faculty members are asked to stand in front of their peers and observe what happens when they are in eye contact with the audience and reveal themselves. They also acknowledge their bodies, claim their personal identity and immediately speak Shakespeare’s text. All of this is done while the actor is encouraged to be self-observant and present to the audience. This creates a powerful, usable energy which is referred to in the actor training as “the Actor/Audience relationship.” The exercise was initially created by Tina Packer with input from other founding members of the Company. Everyone on the faculty has done the exercise many times beforehand, and so they are able to model the exercise for the students. Teachers are more comfortable with Actor-Audience than the students. This is apparent afterwards in the dining room, when Kevin G. Coleman quips, “The students aren’t allowed to talk about what was said, but we on the faculty can tear each other to shreds.” Everyone laughs. But this is one of the few jokes made that night, underscoring the seriousness of the day.

Shakespeare.org

“I’ve grown from infancy to maturity,” says Vighi. “Emotionally and intellectually, and believing in the words and the character. I trust that Shakespeare won’t let me down–that as deep as I go into the depravity of this character, I know that my own heart and love for Erin aka Kate will shine through.” It’s evident that Vighie and Ouellette connect deeply, both as people and as scene partners. The trust between them is palpable as they rehearse the battle of will and wits that is Shrew’s wooing scene. “Before coming to Shakespeare & Company, my prep work was so steeped in the scansion of things,” says Ouellette. “‘Oh, here’s assonance, here’s alliteration’ - I hid in that. It was so much less about what am I feeling and what are the characters feelings, and I had really convinced myself that that was all I was capable of. The work here breeds this openness and vulnerability, which is frightening, freeing and necessary.” According to Krausnick, this openness is, in fact, the goal of the workshop. “It’s about the transformation of self-perception from someone who performs well for others into someone who creates on the spot,” says

“It is to begin thinking of the profession of acting as the profession of an artist rather then the profession of someone who does what they are told.” Dennis Krausnick 78

Shakespeare.org

Krausnick. “It is to begin thinking of the profession of acting as the profession of an artist rather then the profession of someone who does what they are told.” During the final rehearsal, friends and family are invited to watch scenes that participants have tackled during the four weeks. Characters who are often treated as footnotes to the plot, such as Orsino in Twelfth Night and Mistress Ford and Mistress Page in The Merry Wives of Windsor, are portrayed with surprising emotional depth. “Seeing everybody from start to finish − the folks I was in Basics with especially, but everyone − it’s as though different creatures walked out on this stage,” says Ouellette. “These are beautiful, stunning, open people who are able to tell their stories with such clarity and honesty. It’s because of what they do here. They’re magicians, they’re shamans. Best decision I’ve ever made, coming here, absolutely.” Writer Jonah Lipsky was an intern in S&Co.’s Training Department in 2011. If you are interested in learning more about Shakespeare & Company’s Center for Actor Training, email training@shakespeare.org, or call 413.637.1199 x114 or visit Shakespeare.org/training.

S&Co teacher Andrew Borthwick-Leslie works with Month-Long training participants Jim Tasse and Diane Krondat. Photo by Enrico Spada

Four weeks have passed and everyone has changed. Tight shoulders have loosened, strained voices have opened, and seriousness has turned to play. Taking a break from rehearsing a Kate/Petruchio scene from The Taming of the Shrew, Intensive participants Erin Ouellette and Scott Vighie reflect on their experience.

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Shakespeare.org

AUG

2:00 LOVE’S p 6:00 DREAM m 7:30 Mother p* 8:30 LONELY b

1-5 FARM MKT 5:30 FAUX r 7:30 Mother p 8:30 LONELY b

10:30 TOUR p 3:00 MASTER b 5:00 STUDIO b 5:30 FAUX r 7:30 Mother p 8:30 HEROES + Q&A b

2:00 Mother p 6:00 DREAM m 7:30 LOVE’S p 8:30 QUEEN b*

10:00 RIOT r^ 11:00 RIOT r^ 1-5 FARM MKT 3:00 HEROES b 5:30 FAUX r 7:30 LOVE’S p 8:30 QUEEN b

10:30 TOUR p 2:00 LOVE’S p 5:00 STUDIO b 5:00 SYCo r 7:30 Mother + Q&A p 8:00 KAUFMAN u 8:30 QUEEN b 10:30 TOUR p 3:00 HEROES b 5:00 STUDIO b 5:30 FAUX r 7:30 Mother p 8:00 KAUFMAN u 8:30 QUEEN + Q&A b

3:00 QUEEN b 5:30 FAUX r 7:30 Mother p 8:30 HEROES b

1-5 FARM MKT 5:00 SYCo 7:30 Mother p 8:00 KAUFMAN u 8:30 QUEEN b

2:00 Mother p 7:30 LOVE’S p 8:30 QUEEN b

10:00 RIOT r^ 11:00 RIOT r^ 12:00 RIOT r^ 1-5 FARM MKT 5:30 FAUX r 7:00 YEAR mc 7:30 LOVE’S p 8:30 QUEEN b

10:30 TOUR p 3:00 QUEEN b 5:00 STUDIO b 7:30 LOVE’S p 8:30 HEROES b

3:00 HEROES b 7:30 LOVE’S p 8:30 QUEEN b

1-5 FARM MKT 7:00 YEAR mc 7:30 DIBBLE p 8:00 KAUFMAN u 8:30 QUEEN b

10:30 TOUR p 2:00 LOVE’S p 2:30 YEAR mc 3:00 QUEEN b 5-7 MEAL pt 5:30 FAUX r 7:00 YEAR mc 7:30 Mother p 8:30 HEROES b 10:30 TOUR p 2:00 DIBBLE p 2:30 YEAR mc 3:00 QUEEN b 5-7 MEAL pt 7:00 YEAR mc 7:30 LOVE’S p 8:30 HEROES b

2:00 RICHARD p* 3:00 HEROES b 7:30 LOVE’S p

10:30 AUTHOR p 2:00 LOVE’S p 3:00 HEROES b 7:30 RICHARD p

2:00 RICHARD p 3:00 MASTER b 7:30 LOVE’S p 8:30 HEROES b

28 10:30 AUTHOR p

2:00 Mother p* 3:00 LONELY b 7:30 LOVE’S p 8:30 MASTER b

10:30 AUTHOR p 2:00 LOVE’S p 3:00 HEROES b 8:30 MASTER b

10:30 AUTHOR p 2:00 Mother p 3:00 MASTER b 7:30 LOVE’S p 8:30 HEROES b

10:30 AUTHOR p 2:00 LOVE’S p 3:00 MASTER b 7:30 Mother p 8:00 KAUFMAN u 8:30 QUEEN b

AUTHOR p 25 10:30 2:00 Mother p 2:30 YEAR mc 3:00 HEROES b 7:00 YEAR mc 7:30 LOVE’S p 8:30 QUEEN b

sep Fri 6

OCT

NOV Legend MOTHER........................Mother Courage and Her Children LOVE’S................................................ Love’s Labour’s Lost RICHARD.............................................................Richard II HEROES...................................................................Heroes MASTER........................................................ Master Class QUEEN..................................The Beauty Queen of Leenane FAUX.......................... Les Faux Pas: Or, The Counter Plots DIBBLE.............................................. Dibble Dance: SWAY DREAM..................................A Midsummer Night’s Dream ACCOM............................................................Accomplice LIFE....................... It’s a Wonderful Life: A Live Radio Play CONS................................................... Conservatory Show PRIVATE..........................................................Private Lives KAUFMAN..................................... Kaufman’s Barber Shop YEAR....................................................................Leap Year PEARL.........................................................................Pearl BROADWAY............................. Broadway in the Berkshires FARM MKT..................................... Lenox Farmers’ Market LONELY......................................None But the Lonely Heart RIOT..............................................................Riotous Youth AUTHOR.....................................................Author! Author! STUDIO..........................................................Studio Series SYCO............................... Shakespeare & Young Company Q&A....................................................... Wednesday Q & A MEAL....................................... A Midsummer Night’s Meal TOUR.............................................Behind the Scenes Tour TALK............................................................. Tuesday Talks FFS......................................... Fall Festival of Shakespeare FFS GALA....................... Fall Festival of Shakespeare Gala REV...................................................... Reverence on Stage SLAW.......Shakespeare and the Language that Shaped a World preview............................................................................. * opening............................................................................ closing............................................................................. free Bankside program......................................................^ Tina Packer Playhouse......................................................p Rose Footprint...................................................................r Elayne P. Bernstein Theatre...............................................b Tina Packer Playhouse Tent..............................................pt The Mount (Lenox, MA)...................................................m Upstreet Barbers (Pittsfield, MA).......................................u McConnel Theatre (Great Barrington, MA)..................... mc

TH 21

6:30 FFS p 8:30 FFS p

DEC 26

7:30 LIFE b

Sat

1-5 FARM MKT 8:30 QUEEN b 1-5 FARM MKT 8:30 QUEEN b

1-5 FARM MKT 7:30 ACCOM b*

1-5 FARM MKT 7:30 ACCOM b 1-5 FARM MKT 7:30 ACCOM b

3:00 QUEEN b 8:30 QUEEN b 7:30 QUEEN b 8:30 QUEEN b

Sun 1

10:30 AUTHOR p 2:00 LOVE’S p 2:30 YEAR mc 3:00 HEROES b 7:00 YEAR mc 8:00 KAUFMAN u 8:30 QUEEN b

3:00 QUEEN b

22 29

2:00 ACCOM b*

21 28

7:30 ACCOM b*

2:00 ACCOM b

2:00 ACCOM b 7:30 ACCOM b 2:00 ACCOM b 5:00 FFS GALA p 7:30 ACCOM b

2:00 ACCOM b 7:30 ACCOM b

7:30 ACCOM b

2:00 ACCOM b

7:30 ACCOM b

2:00 ACCOM b 7:30 ACCOM b

2:00 ACCOM b

7:30 ACCOM b

2:00 ACCOM b 7:30 ACCOM b

2:00 ACCOM b

7:30 ACCOM b

2:00 ACCOM b

7:30 ACCOM b

2:00 ACCOM b 7:30 ACCOM b 2:00 ACCOM b 7:30 ACCOM b

2:00 ACCOM b

6:30 FFS p 8:30 FFS p

1:30 FFS p 3:30 FFS p 6:30 FFS p 8:30 FFS p

1:30 FFS p 3:30 FFS p 5:00 REV p

6 13

7:30 LIFE b *

7 14

7:30 LIFE b

8 15

2:00 LIFE b

7:30 LIFE b

2:00 LIFE b 7:30 LIFE b

2:00 LIFE b

7:30 LIFE b

2:00 LIFE b 7:30 LIFE b

2:00 LIFE b

7:00 PRIVATE b *

7:00 PRIVATE b

11:00 Valentine’s Brunch 2:00 PRIVATE b 7:00 PRIVATE b

7:00 PRIVATE b

2:00 PRIVATE b

7:00 PRIVATE b

7:00 PRIVATE b 2:00 PRIVATE b

2:00 PRIVATE b

FEB 14

7:00 cons p 7:30 LIFE b

mar

1:00 cons p 7:00 cons p 7:30 LIFE b

2:00 LIFE b

7:00 PRIVATE b

2:00 PRIVATE b

7:00 PRIVATE b

7:00 PRIVATE b 2:00 PRIVATE b

2:00 PRIVATE b

7:00 PRIVATE b

2:00 PRIVATE b

7:00 PRIVATE b

7:00 PRIVATE b 2:00 PRIVATE b

2:00 PRIVATE b

2:00 SLAW b

apr 25

2:00 SLAW b

19 26

2:00 SLAW b 2:00 SLAW b

Shakespeare.org

Elizabeth Aspenlieder and Tina Packer

The Beauty Queen of Leenane

Bernstein Theatre / August 8 – September 15 by Martin McDonagh / directed by Matthew Penn featuring Elizabeth Aspenlieder and Tina Packer with Edmund Donovan and David Sedgwick

Irish writer Martin McDonagh is one of today’s most powerful voices writing for the stage and screen. The Tony Award nominated The Beauty Queen of Leenane is described by The Wall Street Journal as “the cleverest, most cunningly constructed and assured play in years.” Set in Connemara, a small village on the west coast of Ireland, and steeped with razor sharp dialogue and Irish humor, The Beauty Queen of Leenane unfolds into a darkly comic thriller certain to leave you breathless as mother and daughter lock themselves in a dance of mutual loathing, which may prove more durable than any love. Founding Artistic Director Tina Packer returns to the Shakespeare & Company stage after closing her Off-Broadway run of Women of Will to portray the formidable and manipulative Mag with Elliot Norton Award winning actor Elizabeth Aspenlieder as her lonely middle-aged daughter. Shakespeare & Company welcomes the very talented Matthew Penn, a veteran director of stage and screen, who takes on the directors’ reins of this award-winning and heartbreaking play. The Beauty Queen of Leenane received rave reviews as part of the Company’s new play reading series last summer.

Generously sponsored by:

Roxanne and scott bok 82

Shakespeare.org

DIRECTOR’S TAKE

All families are characterized by how they navigate the mine field of those human relationships. When we look at ourselves we see that our own family dynamic has marked us forever, whether we have moved closer to or further from those we love. Martin McDonagh creates a world of particular complexity in The Beauty Queen of Leenane. An increasingly ailing and dependent mother and her daughter are bound by the invisible ties that have prevented the daughter from escaping her filial obligations. It is the measure of Mr. McDonagh’s talent, and it is extraordinary, that he is able to confront the painful and complex with unexpected wit and insight. In this play we will see aspects of our own families and the families of so many around us whether they be dear friends or those we only know from a distance. The power of theater is its ability to paint a picture of humanity with all its horror and romance.

of Leenane

I believe The Beauty Queen of Leenane is about the most basic of human relationships: the family. Whether our families are characterized by strife and adversity or unity and love, most of us are part of families that fall somewhere in between. As people we are indelibly marked by a combination of siblings, birth order, marriage, divorce, and perhaps most importantly, our parents.

In families with children there is a natural growth that goes from birth and love, to dependence and connection, to growth and departure. The often contradictory dynamic of connection and departure is very difficult for every family to navigate. What Mr. McDonagh asks us in The Beauty Queen of Leenane is what happens when this natural albeit thorny path is made impossible by circumstance?

“That’s Ireland isn’t it… there’s always someone leaving.” THE BEAUTY QUEEN OF LEENANE

The Beauty Queen

In the theater our own insight is frequently made possible by the recognition of ourselves in the play. This is a play of passion, connection, love, hatred, suffocation and escape. In other words it is a play about families. – Matthew Penn

Shakespeare.org

Premium Tours • Workshops Exhibitions •Country Fair •Shaker Suppers

Find out more at hancockshakervillage.org • 413-443-0188

Hancock Shaker V I L L A G E

The very instant that I saw you, did my heart fly to your service. THE TEMPEST IIi.i

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Your source for NEWS, ARTS & ENTERTAINMENT

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Ward’s Where Gardeners Grow 600 S. Main St., Great Barrington Open Every Day

www.wardsnursery.com 413-528-0166

MASSLIVEARTS.ORG MASSLIVEARTS.ORG MASSLIVEARTS.ORG THE GREAT BARRINGTON BAGEL CO. & DELI 777 South Main Street, Great Barrington, MA 01230 413-528-9055 • www.gbbagel.com WE’RE NOT JUST BAGELS AND CREAM CHEESE...

WE’RE A DELI IN DISGUISE!

MASS LIVE ARTS

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QUICK TAKE The Beauty Queen of Leenane

WITH playwright Martin McDonagh

he universe of McDonagh’s imagination isn’t necessarily going to overlap his audience’s comfort zone. The familiar collides with the surreal, the comic skids off into the cruel. McDonagh, at age 27, had four of his plays running concurrently in London -- probably the first playwright since Shakespeare to do so. From that time he has netted dozens of prizes in Britain, Ireland and America in recognition of his talent. One American critic recently dubbed him “the first great dramatist of the 21st century.”

The Beauty Queen of Leenane, written in 1996, was McDonagh’s first play which earned him several awards from a Lucille Lortel, Drama Desk, and Outer Critics Circle Award to a Tony Award nomination to name a few. He has written close to a dozen plays including the Tony Award winning The Lieutenant of Inishmore. London-born and bred but of Irish parents McDonagh is considered one of the most important living playwrights to date. As an accomplished film director and screenwriter McDonagh has dozens of awards under his belt for such films as his recent Seven Psychopaths with Colin Farrell, Christopher Walken and Woody Harleson. His film In Bruges was nominated for Best Original Screenplay at the 2008 Academy Awards. “And, yeah, I tend to push things as far as I can because I think you can see things more clearly through exaggeration than through reality. It’s like a John Woo or a Tarantino scene, where the characters are doing awful things and, simultaneously, talking about everyday things in a really humorous way. There is a humour in there that is straightahead funny and uncomfortable. It makes you laugh and think.” *McDonagh quotes excerpted from The Guardian interview by Sean O’Hagan 86

Shakespeare.org

Martin McDonagh

“I suppose I walk that line between comedy and cruelty because I think one illuminates the other. We’re all cruel, aren’t we? We are all extreme in one way or another at times and that’s what drama, since the Greeks, has dealt with. I hope the overall view isn’t just that though, or I’ve failed in my writing. There have to be moments when you glimpse something decent, something life-affirming even in the most twisted character. That’s where the real art lies.” Martin McDonagh

Great Barrington

Shakespeare.org

Special Events and Talks Sam Perry and Deborah Grausman

Actor Elizabeth Aspenlieder and Casablanca owner Tony Chojnowski

L-R: Writer David Black, Actor Rocco Sisto, Artistic Director Tony Simotes, Academy Award Winning Actors Olympia Dukakis and Richard Dreyfuss

Bernstein Studio TWO / Every Wednesday / July 24 – August 28 / 5PM

Studio Series $15 adults / $5 students

The Studio Series returns to Shakespeare & Company giving a weekly stage to new and unique works. The staged readings feature many popular Company actors and directors who explore the work of provocative contemporary voices. Many of the plays are subsequently selected for full productions in the coming seasons, including last years Cassandra Speaks and Parasite Drag, and this season’s The Beauty Queen of Leenane featuring Founding Artistic Director Tina Packer and Elizabeth Aspenlieder. JULY 24 Seminar by Theresa Rebeck AUG 14 An Impossible Life by David Black directed by Nicole Ricciardi directed by Joe Cacaci JULY 31 Johnson Lives! by Lee Kalcheim AUG 21 A Thousand Words by Gwendolyn Rice directed by Jonathan Croy directed by Tony Simotes AUG 7 The Waiting Room by Lisa Loomer AUG 28 Foreclosure by Vincent Delaney directed by Tony Simotes directed by Roger Danforth

Every Tuesday / July 2 – August 13 / 5PM

Tuesday Talks $8 adults / $5 students

Join the actors, directors, designers, and scholars of Shakespeare & Company for an intimate discussion of the process behind creating this season’s productions and the key themes of these thought-provoking plays. All talks take place in the lobby of their respective theaters. JULY 2 Love’s Labour’s Lost JULY 9 Les Faux Pas: Or, the Counter Plots JULY 16 Richard II JULY 23 None But the Lonely Heart

JULY 30 Master Class AUG 7 Mother Courage and Her Children AUG 13 The Beauty Queen of Leenane

Every Wednesday and Saturday / July 3 – August 31 / 10:30AM

Behind the Scenes Tour Tours begin at Josie’s Place in the TINA PACKER PLAYHOUSE $10 adults / $5 students

Ever wonder what goes on behind the scenes at Shakespeare & Company? Peek around the curtain with this in-depth tour, which takes visitors to the costume shop, scene shop, backstage areas, weapons storage, and more. An interesting and informative two-hour adventure not to be missed! 88

Shakespeare.org

Lenox

Pizzas • Salads • Samiches • Baja Burritos • Cold Beer

Take me home and eat me

OPEN SEVEN DAYS A WEEK 80 Main Street, Lenox MA 413-637-4455

To be, ortakeout! not to be, Betty does is the question. Call that 413-637-8171

Like your Mamma used to make.

HAMLET III.i

26 Housatonic Street ✌ Lenox, MA ✌ bettyspizza.com

Bistro Zinc is a tiny oasis of Manhattan in the wild... - James Beard Foundation, Discovery Series

House Tours, Gardens, Outdoor Café, & Book Store

Kids free

•

EdithWharton.org

•

Route 7 at Plunkett Street, Lenox

•

413-551-5111

,UNCH $INNER 4AKE /UT 90

Shakespeare.org

lunch, dinner, late night • 56 church street, lenox

(OUSATONIC 3TREET ,ENOX -!

Shakespeare & Young Company Actors

Tina Packer Playhouse July 14 – AUGUST 25 / SUNDAYS 10:30AM

Board Chair Emeritus Richard A. Mescon, Founding Artistic Director Tina Packer, Honorable Deval Patrick, Massachusetts Governor, Artistic Director Tony Simotes

Author! Author! $15 general admission

The 2013 Summer Season will see the return of Author! Author!, our popular series of talks with bestselling and award-winning authors. Author! Author! showcases authors both local and national, covering a wide array of literary expertise. These lively and informal discussions are sure to entertain and enlighten. Tasty, light breakfast items are available at Josie’s Place before and after discussions, and book signings with the authors always follow the discussion! July 14 Sol Schwartz (Drawing in the Dark; Drawing Music; Connections in Line; Drawing Music II: The La Musica International Chamber Music Festival Sketchbook) Kevin Sprague (Imagining Shakespeare) JULY 21 Elisabeth Gitter (The Imprisoned Guest: Samuel Howe and Laura Bridgman; The Original Deaf-Blind girl) July 28 Honorable Deval Patrick, Governor of Massachusetts and Mrs. Diane Patrick (A Reason to Believe: Lessons in an Improbable Life) Aug 4 Dr. Carol Gilligan (Pearl; In a Different Voice; The Birth of Pleasure) and Jonathan Gilligan (Pearl) Aug 11 David Black (The Extinction Event; Like Father; The King of Fifth Avenue; Murder at the Met) Aug 18 Olympia Dukakis (Ask Me Again Tomorrow: A Life in Progress) AUG 25 Letty Cottin Pogrebin (How to Be A Friend to A Friend Who’s Sick)

Every Wednesday IN JULY AND AUGUST / After the Show

Wednesday Q&A’s Included in 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. JULY 10 / 7:30PM Richard II

AUG 7 / 8:30PM

JULY 17 / 7:30PM Love’s Labour’s Lost

AUG 14 / 7:30PM Mother Courage and her Children

JULY 24 / 3PM

AUG 21 / 8:30PM The Beauty Queen of Leenane

None But the Lonely Heart

Heroes

JULY 31 / 8:30PM Master Class Shakespeare.org

Fun for the whole family!

e’re pleased to celebrate the 12th season of our annual summer-long Bankside Festival with the outrageously funny Les Faux Pas: Or, The Counter Plots on the tented Rose Footprint. 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, 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, bite-size Prelude performances outside of Tina Packer Playhouse, and our much-ballyhooed Fourth of July Celebration. Don’t miss the opportunity to stroll our spacious grounds, catch a Bankside show, and indulge in 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 lawns. 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!

Shakespeare.org

Rose Footprint / August 14 & 16 / 5PM

Shakespeare & Young Company

No one has captured the powerful emotions of adolescence better than Shakespeare. Join our Young Company actors as they perform Shakespeare’s works with a fierce and fiery temperament, exploring their passion for friendship, love, justice, and hope. Shakespeare & Young Company runs all summer long. Visit www.Shakespeare.org for more information! FREE PERFORMANCES! Rose Footprint Alternating Friday Mornings / July 12 – August 23

Riotous Youth

Now in its 14th year, Riotous Youth is a two-week program for multiple age groups, designed to introduce young actors to Shakespeare through a series of fun and creative workshops. At the end of each two-week session, participants create a performance piece based on scenes from a play, which they share with family, friends, S&Co. members, and the public! Sessions run July 1 – August 23. Visit www.Shakespeare.org to sign your child up today!

Cast of Tartuffe the Imposter, 2012

Bankside Festival

FOURTH of July Celebrations: Outdoors at Bankside (rain or shine)

Wednesday, July 4th, Starting at 1:30pm

Great Barrington

FREE!

“When in the course of Human Events... we mutually pledge to each other our Lives, our Fortunes and our sacred Honor.” Rose Meadow / 3pm

Reading of The Declaration of Independence Generously sponsored by: Michael A. Miller

Each Fourth of July, Shakespeare & Company presents a remarkable reading of The Declaration of Independence, along with a bevy of live musicians, singers and some of best hot dogs this side of the Atlantic! Written in 1776, The Declaration of Independence is a vital part of our shared legacy and possibly the most historically-significant text ever penned. With no less than 56 signatories representing 13 states, The Declaration of Independence included signatures from John Hancock, President of the Continental Congress, two future U.S. presidents (John Adams and Thomas Jefferson) along with the youngest signer Edward Rutledge (age 26) and the oldest signer, Benjamin Franklin (age 70). The Declaration of Independence features some of the most stirring words of political rhetoric ever written, spoken out loud by Company actors, community members, state and local dignitaries and too many other special guests to mention!

HOME ©'

Interior & Landscape Design Architectural Renovations Custom Cabinetry Home Furnishings & Accessories Bedding & Window Treatments Oriental Rugs, Floral Shop & more!

1:30-5PM, Outside at Tina Packer Playhouse

Community BBQ

Enjoy our All-American BBQ with a variety of palate pleasing treats from grilled burgers and dogs, to salads, corn on the cob, delicious desserts, and more! Josie’s Place will also be open serving up some great spirits including locally brewed ales & stouts and a wide selection of ice-cold beverages, sodas, wine and mixed creations.

Jenifer House Commons, Gt. Barrington, MA 413-644-9960 • www.wingateltd.com Open daily: Mon. - Sat. 10 - 5, Sun. 12 - 5

Shakespeare.org

and Her Children

Mother Courage

“I won’t let you spoil my war for me. Destroys the weak, does it? Well, what does peace do for’em, huh? War feeds its people better.” MOTHER COURAGE

Mother Courage and Her Children Tina Packer Playhouse / July 26 – August 25

by Bertolt Brecht / directed by Tony Simotes assistant directors RAPHAEL MASSIE, Aimee Michel and ERIC SIRAKIAN featuring Olympia Dukakis, Apollo Dukakis, and John Douglas Thompson with Mark Bedard, Charls SEDGWICK Hall, Edgar Landa, Paula Langton, Josh Aaron McCabe, Nafeesa Monroe, Brooke Parks, RENéE MARGARET SPELTZ, DOUGLAS SELDIN, Andy Talen, Michael F. Toomey and Ryan Winkles

Considered by many to be one of the greatest plays of the 20th Century, Mother Courage and Her Children is set against the backdrop of the Thirty Years War and follows the fate of Mother Courage, an artful canteen woman with the Swedish Army intent on keeping her business and family alive amid the destruction around her. Mother Courage and Her Children still resonates as a profound insight into the moral implications of war. Simotes sets the play traditionally, during the period of the Thirty Years War—one of the longest conflicts in European history. The decades between 1618 and 1648 brought violence, cruelty, plague and famine to the people in and around present-day Germany. Yet, despite the bleak milieu of a war torn nation, Mother Courage and Her Children is filled with plenty of humor, music, dance and song. Artistic Director Tony Simotes brings in an unparalleled creative team who will underscore the show including, costume designer Arthur Oliver, choreographer Barbara Allen, lighting designer Matthew Adelson and set designer Patrick Brennan. Sound designer Scott Killian teams up with music director Ian Milliken to create a vibrant and powerful musical palette that buoys and supports the production. The trio of Tony Simotes, Academy Award winner Olympia Dukakis and her brother, Apollo Dukakis reteam after their successful collaboration on The Tempest, which enjoyed a sold-out run in the Playhouse last summer. Joining the cast will be OBIE Award-winner John Douglas Thompson, the star of last summer’s Satchmo at the Waldorf. Thompson’s classical work, which includes title role performances in both Othello and Richard III at Shakespeare & Company, has prompted The New York Times to describe him as “one of the most compelling classical stage actors of his generation.” Olympia Dukakis has previously performed the role of Mother Courage to great critical acclaim. She recently completed a run in the title role of Elektra at the American Conservatory Theater in San Francisco, CA and will be receiving a star on the Hollywood Walk of Fame this spring.

Generously sponsored by:

CLAUDIA AND STEVEN PERLES FAMILY FUND 94

Shakespeare.org

Olympia Dukakis and John Douglas Thompson

R DIRECTO

’S TAKE

When you think of the play as something beyond an anti-war play, it becomes clear that Brecht casts a light on the war of humanity, not just a war of countries. He details, through characters and situations, the war that rages inside so many of us as we try to understand who and what we are as human beings. Through metaphor, Mother Courage and Her Children illuminates the idea of how we buy and sell and trade each other—our events, ideas, even our children sometimes—just as commodities. Today, family is an institution to be cherished. In the United States in the 21st Century, we have a hard time imagining that people didn’t always cherish their children as something to be protected. Mother Courage does love her children. She loves her children in the way a lioness protects her cubs, but she also has a reality-based consciousness. She is willing to make sacrifices, but because of the chaos of an endless war that engulfs her world, she understands that there’s only so much she can do to protect her children and their livelihoods. There is a thread within Mother Courage, and within this play, that constantly pulls life forward—an inherent sense there’s only so much time for remorse or regret because we have to keep moving forward. And this thread stems from the inner conviction that women have that keeps us moving forward as a race. The understanding about the power of life is deeply ingrained in a woman like Mother Courage; her inner warrior understands the need to go forward, to keep moving, in order to protect her family’s best chance for survival. – Tony Simotes Shakespeare.org

L-R: Lily Cardaropoli, Caroline Calkins, Carmen Mandley, Jessie Earl and Caitlin Kraft. Photos by Enrico Spada

L E K NIC PEARE

S E K A SH

! S L R I G

E D I S K N A B A O T G N I ! M U O O C Y R NEAN VELAZQUEZ SO

by JA

omething is happening over on the other side of the lawn. A crowd is gathering, drawn in by three outrageously dressed young women who are barking something about “…any Shakespeare play!”

In their poofy blouses, signature bodices, and vividly striped stockings, The Nickel Shakespeare Girls are making their pitch: “My lords, my ladies! For a nickel or any denomination higher, myself and my friends will perform a speech from any one of master Shakespeare’s plays for you.” This scene might take place at any Renaissance Fair, street fair, or festival in America. The Nickel Shakespeare Girls are a troupe of traveling performers and educators who spread The Bard’s works through their brightly colored costumes and high-energy performance. And the Girls have been converting unsuspecting festival-goers into Shakespeare fans since 1999. Carmen Mandley, founder and artistic director of The Nickel Shakespeare Girls (NSG), explains the simple recipe that has made their work so durable. “It’s all about joy. It’s all about laughing,” she says. “Making audience members feel incredibly special. Making them part of the piece of theatre. Introducing them to this incredible language in a way that’s fast and accessible and fun and get’s them hooked.” When you see The Nickel Shakespeare Girls on the Bankside grounds at Shakespeare & Company this season, you won’t need even a ha’penny in your pocket—S&Co. has dropped a nickel in the cup for you. “Basically, we’re a Shakespeare jukebox,” Mandley notes wryly. “It’s to the point now, especially with technology,” she says, “ that people will sit in the back of the crowd and look up Shakespeare 96

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plays on their iPhones and just keep pumping them out. And the thing is, they can’t stump us.” Mandley recalls the origins of the Girls. A chance meeting at the Orlando Shakespeare Festival almost 20 years ago with Tony Simotes, Artistic Director of S&Co. since 2009, set her on a northward path to training at the company. Mandley admits that she didn’t know what she was getting into when she came to S&Co. in 1995. “But I ended up loving it and believing in the aesthetic of the Company. And I found the incredible clown work here, which has changed my life.” Mandley studied with master teachers and scholars Tina Packer, Dennis Krausnick, Susan Dibble and Kevin G. Coleman, among others. In 1999, she found herself at the Raleigh Little Theater, in North Carolina, as the education director. “I was working with a troupe of young people, and one of the service projects that we were doing was to provide performance for a small Renaissance fair in Raleigh,” Mandley remembers. After a rough first day trying to convince people to listen to some Shakespeare, “We brainstormed that night,” explains Mandley, “and came back the next day and started creating story theatre pieces around each piece of Shakespeare—physically creating. We did the ‘Willow Cabin’ speech from Twelfth Night, and someone would be the cabin and we’d physicalize everything. And then we realized that we could do things chorally. We could lift each other in the air. We could make it funny. We could do stage combat. So that’s how it was born.” Fourteen years and 34 Girls later, The Nickel Shakespeare Girls has evolved from a whimsical, migrating experiment into a whimsical, migrating sensation. During all this time, Mandley and the rest of the troupe have refined their approach, built the act, and earned appreciation of audiences and critics alike.

2013

The NSGs actually has two homes now. Mandley’s best friend, Rebecca Blum, joined in 2006, and is the managing director of the troupe while also raising a family in North Carolina. With the creation of “Team North” last year, Mandley sees the possibility for growth. Team North includes: Lily Cardaropoli, Caroline Calkins, Carmen Mandley, Jessie Earl and Caitlin Kraft. “Last summer I said, ‘Hey Tony. I’ve been doing this thing for 13 years. It might work here.’ And he said, ‘Okay.’ It was that easy,” recalls Mandley. This season, The Nickel Shakespeare Girls welcome two new members here in Lenox.

Lily Cardaropoli, who graduated in 2012 from MCLA in North Adams with a degree in Theatre and Arts Management, says that she is thrilled to be part of the NSG when not working in her role as the Assistant to the Director of Training at Shakespeare & Company.

july 06 – august 24

“What could be better,” Cardaropoli muses, “than spreading iambic pentameter and joy in the sunshine alongside these ladies whom I respect and love? I am honored that Carmen asked me to be a member of the troupe and I hope that I can be a valued addition to this sisterhood of Shakespeare.”

THE FLYING DUTCHMAN Richard Wagner

Visitors may recognize Jessie Earl, one the directors for S&Co’s Education Department’s Fall Festival of Shakespeare, Stage Manager for Les Faux Pas, The Liar, and Tartuffe the Imposter.

july 13 – august 24

“I can’t wait to don my striped socks, pigtails, and converse sneakers, and speak text whilst enduring all the elements Berkshire summers have to offer,”says Nickel Girl Jessie Earl. She says that as well as being an honor to perform Shakespeare’s words with the atypical guise Carmen Mandley has created, it will also be great fun.

SEASON

And that’s the main point of this very unique group of performers. “I think Shakespeare’s language speaks a lot of truth to most humans,” Mandley says. “I think that if there is a way that we can introduce Shakespeare to people so that they can benefit from the language, or so that they can find a bit of who they are in the words, then yeah, I think that’s one of the reasons why we do it. But it’s also fun. It’s wicked fun. I wouldn’t have done it this long if it weren’t for the fact that it’s an immediate, visceral, wickedly fun way to do Shakespeare.”

CAMELOT Alan Jay Lerner & Frederick Loewe july 21 – august 23

KING FOR A DAY Giuseppe Verdi july 20 – august 22

PASSIONS

a double bill

PURCHASE YOUR 2013 TICKETS at our box office, online at www.glimmerglass.org or by calling (607) 547-2255.

SHEFFIELD

THE TOWN OF SHEFFIELD, THE OLDEST COMMUNITY IN BERKSHIRE COUNTY, LIES ALONG THE HOUSATONIC RIVER VALLEY. Popular year-round with its numerous antique dealers and shops, Sheffield also touts some great restaurants, scenic hiking and adventurous camping areas. The Schenob Brook wetland complex (identified as one of the most unique unspoiled ecosystems in the world) is also located in beautiful Sheffield. Noted for its deep agricultural soils, much of Sheffield remains open and in agricultural production today. Originally called Outhotonnook, meaning “over the mountain,” the land was purchased in 1724 from Chief Konkapot and 20 other Stockbridge Mahican Indians. Its price was 460 pounds, three barrels of cider and 30 quarts of rum. 98

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SHEFFIELD

painted porch country antiques

413.229.2700

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Riotous Youth participants, 2010 Photo by Dan Kurtz

: playhouse a thunder at

that shaped a world youths that the are and the language These and shakespeare

acobs by Melanie J

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MICHAEL A. MIL

L-R: Alexandra Lincoln, Brittany Morgan, Enrico Spada, and Kelly Galvin. SLAW, 2011

Riotous Youth

t’s a bright afternoon in mid-July, and a group of 10-12 year old kids are rehearsing scenes from The Tempest. Sadie, a cheerful 11-year-old playing Trinculo, cowers in fear as she scans the sky for imaginary thunder clouds.

“Alas, the storm is come again!” Sadie shrieks, falling to the ground in mock terror. Her fellow students shriek with laughter, applauding vigorously as Sadie covers her face, a surreptitious smile hidden beneath her fingers. Welcome to Riotous Youth, the summer theater program that runs at Shakespeare & Company from early July to late August. Students ages 7-9, 10-12, and 13-15 spend 2 weeks playing theater games, rehearsing Shakespeare scenes, and performing a short play on Shakespeare & Company’s pastoral campus in Lenox, MA. The aim is to engage children’s imaginations while exposing them to the language, story, characters, and ideas in the Shakespeare plays. In essence, to make Shakespeare fun. After a morning of theater games, Riotous Youth students will break-up into smaller groups to play with Shakespeare scenes and monologues. Trained theater education artists - many of whom also perform in the Company’s various summertime shows–lead the students on these creative explorations. “What does it feel like if you walk through space with mischievous knees?” asks Paul D’Agostino, a veteran Riotous Youth teacher and Shakespeare & Company actor, as a group of students meander through the room, their knees suddenly wobbly and rebellious. “Now, see what happens if your arms are made of noodles? How does that affect how you move around the room?” Riotous Youth incorporates voice, movement, acting, and theatre games as a way to enable young actors to explore Shakespeare’s plays intellectually, physically, and emotionally. On the final day of each session, the students perform in Shakespeare & Company’s outdoor Rose Footprint, wearing costume pieces from the Company’s extensive costume shop. These performances are often joyfully attended by family members, friends, and the actors, teachers, and staff of Shakespeare & Company, who applaud with wild abandon as students perform their monologues and scenes. The Riotous Youth day camp began in 1999, and is part of a long history of education programs at Shakespeare & Company.

“It’s unanimous - we loved it!” said one middle school teacher who saw SLaW last year. “What a great experience for our students and teachers! Everything went very smoothly, and the actors were great, both onstage and with the kids. I can’t wait to go to school tomorrow and talk to everyone some more. Hopefully, we will do it again next year!” Indeed, now in its 24th year, Shakespeare and the Language the Shaped a World has proved a hit with audiences all over the Berkshires. Teachers, in particular, have praised the show for its wit and enthusiasm. “Getting to perform in scenes from Romeo and Juliet and As You Like It after the show is just as much fun as seeing the show itself!” said one audience member. “We come back to see SLaW every spring. Since the workshops change each year, it’s always a different experience.” Part of the magic of SLaW is its combination of performance and audience engagement. After the show, audience members of all ages are invited to participate in theater games that explore Shakespeare’s words and plays. Families who come to see SLaW in the Elayne P. Bernstein Theatre have a fabulous time. In fact, SLaW is a perfect outing for children who are home on Spring Break.

Those interested in registering their children in Riotous Youth can fill out an enrollment online at www.shakespeare.org. Financial aid is available to those who qualify. For more information, contact Jenna Ware, Associate Director of Education at (413) 637-1199 ext. 172 or jenna@shakespeare.org. For SLaW information, or to bring it to your area, contact Alexandra Lincoln, alincoln@shakespeare.org or call 413.637.1199 ext 131

The Company is also presenting Shakespeare and the Language that Shaped a World, which uses scenes, monologues, and bits of history to examine the impact of Shakespeare on the words we use today. Shakespeare and the Language that Shaped a World (or SLaW, as it’s commonly known) tours elementary and middle schools throughout the Berkshire County region, and also performs at Shakespeare & Company’s Elayne P. Bernstein Theatre from April 5-27, 2014. The show features six talented Company actors, who perform scenes from a variety of Shakespeare plays in order to explore Shakespeare’s evolution as a writer–tackling everything from Romeo and Juliet to Julius Caesar. Shakespeare.org

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The

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Shakespeare & Company

ON TOUR

eart-stirring, crowd-rousing, life-changing education programs are a bedrock tradition at Shakespeare & Company, and this ethos is exemplified by the Northeast Tour of Shakespeare. Performed at schools and theatres across the Northeast (including Maine, Massachusetts, Vermont, New Hampshire, Connecticut, Rhode Island, New York, and New Jersey), the Tour uses innovative performances and workshops taking Shakespeare off the bookshelf and placing him within the hearts, minds, and bodies of students and teachers.

Now in its 33rd year, the annual Tour has taken the beauty and wonder of Shakespeare’s verse to audiences as it was originally intended. While most school curriculi include classroom study of his works, Shakespeare wrote plays to be seen, heard and experienced—not read alone and memorized by rote. Witnessing 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 bestloved titles, and includes a post-show discussion with the entire audience. Most schools also take advantage of in-depth, hands-on

workshops led by the cast after the show, which allow students 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. The 2013 tour of A Midsummer Night’s Dream enjoyed great success, playing to both small, rural schools and large performing arts centers (with audiences of 1,000 or more!) throughout the Northeast from Long Island, NY to Deer Isle, ME. The Tour also performed at Shakespeare & Company’s Tina Packer Playhouse, giving local audiences a chance to catch this one-of-a-kind theatrical experience. With continuing generous support of the National Endowment for the Arts, Shakespeare & Company has been selected as a participant in the “Shakespeare in American Communities” initiative, allowing us to bring this important program to more students at affordable prices. Up next, the 2014 tour of Romeo and Juliet directed by Jonathan Croy. Romeo and Juliet looks to build on the Tour’s remarkable success with more performances, more venues, and more return visits. If you’re interested in bringing the Tour to your area, or would like more information, contact School Programs Manager Alexandra Lincoln at alincoln@shakespeare.org, 413.637.1199x131. Shakespeare.org

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L-R: Richard A. Founding Artis Mescon, tic Artistic Direct Director Tina Packer, or Tony Simotes

A TRIBUTE TO

RICHARD A. MESCON

hen Richard Mescon joined Shakespeare & Company’s Board in 2005, he did not anticipate that merely three years hence, in 2008, he would be the new Chairman of the Board of Trustees. Fortunately for all of us, he was the perfect choice to guide us through one of the most tumultuous and challenging periods in the Company’s storied history.

In February 2008, The Bernstein Center for the Performing Arts was under construction and set for a partial opening that summer – with the capital campaign yet to be completed; the country was headed towards the most severe economic downturn in a generation; and S&Co. was about to be confronted by its own financial crisis. Bolstered by a remarkable sense of timing and a wry humor, Richard oversaw the completion and opening of the Bernstein Center–making Shakespeare & Company’s year-round performance season a reality; managed the transition of Tony Simotes as our new Artistic Director and President; helped steer the Company out of the financial crisis by securing the refinancing of its loans– through the good offices of then-Congressman John Olver; and presided over what is now our fourth consecutive year in the black. This past year, the Company celebrated its 35th Season–including the renaming of its main stage the Tina Packer Playhouse. We not only enjoyed one of our most critically acclaimed seasons ever, but also successfully completed our $6 million 35th Anniversary Campaign (under former Chair Mike Miller’s able stewardship) and The Tina Packer Fund for Shakespeare & Company. Richard’s legacy is a renewed sense of pride in our mission, paired with the confidence that we are on the road to a more stable financial future. We are deeply grateful for Richard’s great determination, persistence, diplomacy and skill in getting us here and into our 36th Season.

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n and wife Jane

Richard A. Mesco

Mescon

L-R: Artist and Board of Massachusetts Gove Trustees member Sol Schwartz, rnor, Honorable Deva l Patrick, Artistic Director Tony Simotes, Richard A. and Massachusetts Mescon, State Senator Benja min Downin

, the late Berger ctor Tony Simotes L-R: Artistic Dire Richard A. Mescon, and Helene n, ei st Elayne P. Bern

Founding Artistic Dir

ector Tina Packer an

d Richard A. Mescon

BECKET The Beautiful hill town of Becket, named after the 12th century Archbishop of Canterbury, is a haven for hikers, cyclists, campers and even dance enthusiasts! Just off of US Route 20 and Route 8, Becket is bordered by some of the most stunning parks, lakes and ponds in the area including Becket State Forest, Otis State Forest, October Mountain State Forest, Buckley Denton Lake, and Yokum Pond to name a few. Whether it’s the number of artists who have made it their home, or the world-renowned Jacob’s Pillow Dance Festival all summer long, Becket is a hidden town that always has something in store with which to impress the curious visitor.

JACOB’S PILLOW D A N C E

50 dance companies

films, talks & exhibits

FESTIVAL 2013

free performances & events

June 19-August 25 “ the dance center of the nation ” – The New York Times

Tickets start at $22! Rachel Meyer of Ballet BC; photo Michael Slobodian.

Located just 20 minutes from Lenox

onsite dining

413.243.0745 • jacobspillow.org Shakespeare.org

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/ directed by Jenna

Ware

E H T D N A E R A E P S E K A SH A WORLD E / APRIL 5 – 27

BERNSTEIN THEATR

Coleman written by Kevin G.

D E P A H S T A H LANGUAGE T

Shakespeare and the Language that Shaped a World will tour middle and elementary schools throughout the Northeast in the early spring of 2014. It lit up the Elayne P. Bernstein Theatre for a successful run this year, and will return to Shakespeare & Company for a series of special weekend and Spring Break presentations in April 2014. Each show is followed by a free, interactive workshop based on one of Shakespeare’s plays, and is open to all. (Previous workshops included A Midsummer Night’s Dream, Romeo and Juliet, As You Like It, and The Tempest.)

For SLaW tickets and information, patrons can call the box office at 413.637.3353, or visit www.shakespeare.org.

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L-R: Marcus Kearns, Kelly Galvin, Ryan Winkles, Kiki Bertocci, Enrico Spada and Emily Ehlinger

ts work with audience participan Galvin Post show workshop Ke ily Ehlinger and lly L-R: Enrico Spada, Em

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, a truck-load of historical information, popular misinformation and scenes from Shakespeare’s 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 sword-fighting and clowning thrown in for good measure.

Reach over 50,000 patrons annually! Email ads@shakespeare.org for more info, or visit www.shakespeare.org/advertise

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L-R: Ryan Winkles and Josh Aaron McCabe in The Hound of the Baskervilles, 2011

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PITTSFIELD

Though this be madness, yet there is method inâ&#x20AC;&#x2122;t. (Hamlet, II.ii)

KUSHI & MYERS, PC Certified Public Accountants 21 Henry Avenue Pittsfield, MA 01201 413-443-4731 Toll Free: 1-877-443-4731 108

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61 Main Street, P.O. Box 233 North Adams, MA 01247 413-664-6301

dibbledance

DIBBLEDANCE: SWAY world premiere / limited engagement 2 performances only Tina Packer Playhouse / August 30 and 31 Founding Member Susan Dibble has choreographed numerous productions for Shakespeare & Company over the years, including a special piece for last summerâ&#x20AC;&#x2122;s 35th Season. Dibble returns with an entirely new performance, SWAY, which features NYC, Boston and Berkshire-based performers. SWAY brings forth a village of characters who choose dance instead of dialogue to tell their life stores. Featuring the music of Keppie Coutts, Bob Dylan, Chopin, and Dean Martin, SWAY will be presented for only two special performances!

Captions clockwise: L-R: Susan Dibble, Grazia Della-Terza, Rebecca Perrin, Sara Hickler R-L: Rebecca Perrin, Susan Dibble, Grazia Della-Terza, Merry Conway, Barbara Allen Susan Dibble L-R: Sara Greenfield, Patrick Brennan, Tori Rhoades, Jim Nutter, Enrico Spada, Susannah Millonzi Photos by Elizabeth Aspenlieder

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A MIDSUMMER NIGHT’S DREAM

by William Shakespeare / directed by Jonathan Croy featuring: Caroline Calkins, Annie Considine, Adam Huff, Jordan Jones, Brittany Morgan, Luke Reed, and Atty Siegel

Bring a Picnic, a Blanket or Lawn Chair, Your Imaginations and Enjoy! 110

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Alexandra Lincoln

Outdoors/The Dell at The Mount, Edith Wharton’s Home 2 Plunkett Street, Lenox July 20 – August 17

hakespeare & Company returns to The Mount, Edith Wharton’s Home, with a special 90-minute performance of A Midsummer Night’s Dream, its Northeast Tour of Shakespeare, which played to thousands of students this winter and spring. Its final stop will be where S&Co. was founded 36 years ago. This fast-paced and hilarious pareddown version of Shakespeare’s classic romantic comedy has 7 actors playing all the roles. Long time Company artist and choreographer Susan Dibble will create a special dance for the opening performance of this production to bless the grounds that resonated for over two and a half decades with Shakespeare & Company’s wild and whirling words.

“It’s hard to believe that it’s been over three decades since we first arrived at The Mount,” says Simotes. “And we thank The Mount for their efforts and help to make this happen. I simply can’t wait to see our production of A Midsummer Night’s Dream performed on the same grounds where Founding Artistic Director, Tina Packer directed me as that ‘merry wanderer of the night’ for our inaugural production.” “We are very happy to once again be offering family theatre on the grounds,” says The Mount Executive Director, Susan Wissler. “Working together with Shakespeare & Company and Tony Simotes seemed like a natural fit. We look forward to a successful and fun-filled summer with many more collaborations in the future.” The Mount is both a historic site and a cultural destination inspired by the passions and achievements of Edith Wharton. Designed and built by Edith Wharton in 1902, the house embodies the principles outlined in her influential book, The Decoration of Houses (1897). The property includes three acres of formal gardens designed by Wharton, who was also an authority on European landscape design, surrounded by extensive woodlands. For Media inquiries for The Mount, Edith Wharton’s Home, please contact: Rebecka McDougall rmcdougall@ edithwharton.org. For general inquires, tours of the property and directions visit: edithwharton.org or call 413.551.5111.

“I know a bank where the wild thyme blows, Where oxlips and the nodding violet grows, Quite over-canopied with luscious woodbine, With sweet musk-roses and with eglantine.” A Midsummer Night’s Dream, II, iii

Algorithms and Pentameter:

A Computer Programmer & SHAKESPEARE Photo Enrico Spada

by Gregory Hughes

Board Chair, Sarah Hancock

hen new Board Chair Sarah Hancock first arrived at Shakespeare & Company in 2007, she was somewhat of an enigma. A former software engineer for IBM, among other notable tech companies, she also had a vibrant, infectious passion for the arts. In addition to her work at Shakespeare & Company, she serves on the boards of American Repertory Theatre (A.R.T.) and the Kripalu Center for Yoga and Health. Not to mention, she’s also the producer of the Off-Broadway run of Women of Will (starring Shakespeare & Company Founding Artistic Director Tina Packer), which has been playing to critical and audience acclaim since it arrived in New York this past January.

Shakespeare & Company has a long history of stellar Board Chairs, and Sarah Hancock is undoubtedly a fitting addition to their ranks, and she is also the first woman at the helm of the Board. She has played an integral role in Shakespeare & Company’s climb towards financial stability, offering fresh insight that always has the Company’s Mission at heart.

in a park in downtown Columbus. It wasn’t until I was working as a computer programmer in Harvard Square, Cambridge, and became a subscriber to the American Repertory Theater that I saw what real professional theater could be like–and I fell in love with it.

We posed a few questions to Shakespeare & Company’s new Board Chair to find out more about her background, what about the Company inspires her commitment, and more. Join us in welcoming Sarah this summer–and in learning more about her!

I stumbled across Shakespeare & Company in 2007. My daughter had gone to sleep-away camp in New Hampshire and I decided to give myself a vacation in the Berkshires. I literally Googled “Shakespeare in the Berkshires” and naturally Shakespeare & Company was at the top of the list. I bought tickets to nearly every show that season, sight unseen, and enjoyed every moment.

Tell us a little bit about your background. What role have the arts played in your life? I grew up in rural Ohio where I played clarinet in the marching band and the pit orchestra for the high school musicals. I loved the magic of being a part of a theatrical production. We didn’t do straight plays, so my only exposure to Shakespeare was reading the plays in English class. While I was at Ohio State University to study Engineering, I was fortunate to have the opportunity to see a few Shakespeare plays 112

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When did you discover Shakespeare & Company? Were you familiar with the organization before your first visit?

Was there a particular moment that compelled you to become involved at a deeper level? At the end of that week in 2007, someone invited me to sit in on the scene-sharing for the Riotous Youth program. I was amazed at the experience that these kids were being offered. At that point, I realized that Shakespeare & Company was more than a company

that produced incredible productions on stage. It turns out that even Riotous Youth is just the tip of the iceburg–there’s Fall Festival, school residencies, the Courts Program, the Spring Tour. And also there’s a unique training program for up-and-coming and professional actors. The depth of what is going on here and the impact on the community is what drew me into a deeper level of involvement. What do you see as the major long-term goals of Shakespeare & Company?

Lenox B H  C Susan L. Baum

I tend to look at things from the boring business perspective–it’s not by chance that I land on the Finance Committees of every board I serve. From the business perspective, Shakespeare & Company has to complete the transition from being a Founder-led organization to a Mission-led organization. We’ve made great strides, and the Founders are crucial to the process, helping us understand and articulate what is at the core of the Mission. The theater world changes over time, the not-for-profit funding world changes, the demographics of the Berkshires changes–our long-term goal is to be a strong, well-run organization that adapts to all those changes and continues to serve the community with the joy of Shakespearean theater.

ABR, CBR, CPA, CRS, CSA, GRI

What are you most excited about in the short-term?

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As a Shakespeare geek, I have to say that I’m most excited about the commitment to do the History Cycle over the next few years. We’re starting this year with Richard II. The cycle continues with Henry IV Part I, and Part II, Henry V, Henry VI Part I, Part II, and Part III, and concludes with Richard III. As the producer for Tina Packer’s Women of Will project, I’ve seen Tina and Nigel Gore perform scenes from the Henry VI plays, but I’ve never seen the plays done on their own. I’m really looking forward to seeing how Tony pulls that off! The Fall Festival of Shakespeare is about to celebrate its 25th Anniversary; the Actor Training program continues to thrive with worldrenowned programs and international collaborations. How do you view these facets of Shakespeare & Company?

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I think these facets are absolutely central and here’s why: the model of Shakespeare & Company has always been to develop actors in addition to bringing in actors from the outside. Every summer and every January, we bring talented actors like Kristin Wold and Michael Toomey to teach in our training programs–and act in our productions. All year round we have young talents like Kelly Galvin, Ryan Winkles, Jennie Jadow, and Josh McCabe teaching in our education programs– and acting in our productions. It’s that constant cross-pollination that makes us stronger than we would be if we were just bringing a completely new group of people together each summer to put on a few plays. The education and training programs are essential to Shakespeare & Company’s mission to serve the community. Yes, putting on plays for people to enjoy is core to our mission, but we also serve the community by bringing our education programs to kids all around New England. And we serve our wider community by teaching actors and educators how to work with Shakespeare’s texts in exciting and unique ways–and then sending them all around the world to share with people in their own communities. experience the art and architecture of the

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“I think we

hen Artistic Director Tony Simotes uttered those fateful words this past spring, he set the Marketing and Development Departments into a whirl of scampering, twittering, googling—and instigating endless Wikipedia queries. A pair of eyebrows ventured sideways around the side of my cubicle followed shortly by a timid “Do you know what a History Cycle is?” It’s not nearly as scary as it sounds. When one overhears jokes at the Shakespeare Theater Association, one is likely to hear a quip like “When you’ve done all the comedies and all of the popular tragedies, what to do you do next?” Answer: “Jonson…or maybe Molière. But certainly not the Histories!”

need to do the

History

cycle!” Allyn Burrows (seated) and Mel Cobb. King John, 2005

by Dennis Krausnick

The Histories, however, occupy a place of special affection, in the hearts of most Shakespeare Aficionados. When Elizabeth’s ministers passed the Act of Uniformity in 1559, many Saints’ Feast days and the accompanying celebrations were curtailed. One practical result of the Reformation in England was that the Miracle, Mystery and Morality plays of Shakespeare’s youth ceased to be performed at planting and harvesting celebrations. This left a large part of the population without their annual “Storytelling” and “Playgoing” fix. Into this void rushed a gaggle of bright young graduates of the Grammar Schools established in every market town across England. These young writers pillaged the “Chronicles” of England, the histories written by monks and others since the beginnings of Christianity in England. So the first glut of stories to hit the new purpose-built theaters were the stories of the making of England, complete with its rebellions and struggles for the throne, as well as its struggles against foreign powers. The Shakespeare Theater Association has undertaken an initiative to repeat this extraordinary experiment in creativity and story-telling, by encouraging, even commissioning new works by current playwrights in America to write their version of what it has taken to make America. It’s an exciting time we’re living in and we want to see it onstage. So Tony wants us over these next seasons to look at the plays that wrote England into existence. And perhaps to start taking some of the new plays by America’s best and brightest and producing them as well. In other words, he’s bent on taking our mission seriously!

“For God’s sake, let us sit upon the ground And tell sad stories of the death of kings; How some have been deposed; some slain in war, Some haunted by the ghosts they have deposed; Some poison’d by their wives: some sleeping kill’d; All murder’d: for within the hollow crown That rounds the mortal temples of a king Keeps Death his court and there the antic sits, Scoffing his state and grinning at his pomp, Allowing him a breath, a little scene, To monarchize, be fear’d and kill with looks, Infusing him with self and vain conceit, As if this flesh which walls about our life, Were brass impregnable, and humour’d thus Comes at the last and with a little pin”

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“We’ve never tackled the Histories as an agenda item for the Company,” Tony said, “but I really felt that we were ready to take them on. We need to explore them and tackle them from the perspective of all three pillars of the Company: Performance, Training, and Education. At the same time, we can begin to delve into America’s history by creating new productions—not just about political leaders, but leaders from the many sociological movements that have shaped this country into what it is today. It could be a leader in journalism like Dorothy Parker, brought to life in 2012’s Cassandra Speaks or a Jazz master like Louis Armstrong in Satchmo at the Waldorf.” So what is this History Cycle from Shakespeare’s point of view? What people who use the phrase mean is actually two series of plays, each consisting of four plays. The first one Shakespeare wrote quite early in his career: and this covers what we now call “the Wars of the Roses,” a title given this period of history in the 17th and 18th centuries because of a scene from the first part of Henry VI. The scene which never happened historically, but was invented by

Shakespeare to help his audience keep track of who is who in the chaotic, bloody struggle for the throne of England—a series of murders, depositions and rebellions that wracked England from about 1435 to 1485. In the scene, each of the Lords present plucks a rose from the bushes growing in the courtyard of the Inns of Court. They pluck either a red rose (House of Lancaster) or a white one (House of York) to indicate which dynastic house they believe has the appropriate claim to sit on the throne of Kings. el F. Toomey,

otes, Micha ctor Tony Sim re Di tic tis Ar 2002 L-R: Croy. Henry V, and Jonathan

“Tetralogy”

(a very expensive word meaning four works telling one story) is the one Shakespeare wrote first and consists of:

Play Subject King’s Reign 1 Henry VI

End of 100 Years’ War

1422-1461

2 Henry VI

Wars of Roses

1422-1461

3 Henry VI

Wars of Roses

1422-1461

Richard III End of Wars of Roses and Founding of the Tudor Dynasty

1483-1485

The second “Tetralogy” covers the period earlier than the first one and was written somewhat later in Shakespeare’s career. The final play of this sequence was completed the same year that Shakespeare’s Company built and moved into the Globe Playhouse on the south bank of the Thames River, just outside the jurisdiction of the City of London. This part of the Cycle consists the following plays:

Dan McCleary,

am (seated) d Malcolm Ingr

Henry IV Part

I, 1997

Play Subject King’s Reign Richard II

Usurpation of the Throne

1377-1399

1 Henry IV

Rebellions/Falstaff

1399-1413

2 Henry IV

Rebellions/Falstaff

1399-1413

Henry V

100 Years’ War and Victory at Agincourt

1413-1422

A few interesting facts about the short handful of other history plays that Shakespeare wrote—there are only three of them—are quite surprising. King John was the guy who signed the Magna Carta in the early 13th Century; Edward III was recently added to the Canon of Shakespeare’s plays because sections of it match his style so perfectly that it’s obvious that he wrote some of it; and Henry VIII, or All is One, is about England’s separation from Rome and the founding of the Church of England, the fall of Cardinal Wolsey, and the divorce of Catherine of Aragon, the first of Henry’s wives.

y, on, Bill Barcla uglas Thomps Do hn Jo t, or e Davenp d III, 2010 L-R: Johnny Le sh Aaron McCabe. Richar Jo d an re Go l Nige

chard II, 2013

Rocco Sisto, Ri

For those wanting to do a bit of preparation on the Shakespeare end of things, check on Peter Saccio’s Shakespeare’s English Kings in our Lobby. And the next time you see an AP wire-release about another English King’s bones being found under yet another parking lot in the Northern Midlands, you can shrug it off, knowing that you read the book and there’s no surprise there. Shakespeare.org

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BERNSTEIN THEATRE / JULY 18 – AUG 3

by Eve Wolf / directed by Donald T. Sanders a production of Ensemble for the Romantic Century / featuring Jonathan Epstein and Ariel Bock / A Theatrical Concert of Live Music and Drama Shakespeare & Company is pleased to present None But The Lonely Heart: The Strange Story of Tchaikovsky and Madame von Meck, a special engagement with Ensemble for the Romantic Century, one of New York’s most innovative ensembles, in a theatrical concert featuring Tchaikovsky’s Piano Trio in A minor, violin scherzo and some of his most moving songs. If Tchaikovsky’s strange relationship with his patroness Madame von Meck hadn’t actually happened, Hollywood would have had to invent it. This tale, told in their own words and with musicians playing the composer’s works, offers a fascinating glimpse into the life of the real Tchaikovsky and an enduring and enigmatic love that defied all convention. “Do not regret giving to one who is drawing near the end of her life–I am already 45 years old, indeed practically dead –the chance to feel alive by allowing me to write to you anytime I wish.” Madame von Meck to Tchaikovsky Elliot Norton Award Winner Jonathan Epstein (Tchaikovsky) teams up with his on and off-stage wife, actor Ariel Bock (Madame von Meck). Both long time Company actors, they have appeared in a number of ERC’s productions in New York. Their last performances together for Shakespeare & Company were in As You Like It and The Comedy of Errors in 2004. This season Epstein will also be appearing in Stoppard’s hilarious Heroes. The internationally acclaimed Ensemble for the Romantic Century, now in its thirteenth season, has created over 40 original theatrical concerts in the United States and abroad.

Shakespeare.org

Jonathan Epstein and Ariel Bock, None But the Lonely Heart, 2010

NONE BUT THE lonely heart 116

NONE BUT THE LONELY HEART: The Strange Story of Tchaikovsky and Madame von Meck

Lenox Lenox

ADDITIONAL MUSINGS

“My music is the confession of a soul in which many things have welled up and are poured out in the form of sound…everything that I have so carefully hidden…” Pyotr Ilyich Tchaikovsky

Undermountain Farm Do you love horses? Come ride with us!

“So much of Shakespeare’s work is filled with music and songs,” says Artistic Director Tony Simotes, “many of which have inspired dozens of operas, musicals and classical composers. Having the Ensemble for the Romantic Century as part of the mix this summer just seemed like a perfect fit with our programming. This presentation, in particular, brings not only two of our top actors into the roles, but it’s also such a poignant and magical blend of powerful language and striking music. We hope audiences will delight in this special presentation as we look forward to future collaborations.”

 Guided rides on miles of scenic trails  All levels of personal instruction  We love beginners, young and not so young…  Rain or shine, we are snug in our 80 x 160 indoor arena  Outdoor arena, trails, boarding, great turn out  Training, shows, dressage, driving, sales  Day camp for ages 7-15 by the week

Eve Wolf, Executive Artistic Director with Ensemble for the Romantic Century agrees. “ERC is thrilled to appear at Shakespeare & Company in our signature form of drama, in which live music plays such a central role,” said Wolf. “In this production, audiences will have a chance to hear the actual words, feelings and thoughts of Tchaikovsky. The central musical work, his Trio in A minor, is a drama in itself! In addition there are his expressive songs and a brilliant violin scherzo. With the actors and musicians on stage at the same time, the chemistry is visceral. I don’t want to give the plot away, but even while I am playing the piano during the performance I am drawn into this compelling story and keep my handkerchief nearby. To me, Tchaikovsky is the epitome of passion in music.”

400 Undermountain Road Lenox, MA 01240

(one mile from the main entrance to Tanglewood)

413-637-3365 

 



 



“The artist lives a double life–an everyday human one and an artistic one…and these two lives do not always coincide.”



 

Pyotr Ilyich Tchaikovsky  



  Shakespeare.org

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Hudson/COLUMBIA COUNTY Just a short hour away from Shakespeare & Company, Hudson NY is a veritable treasure trove of art galleries, artisans, great shopping, scrumptious eateries, and trendy coffee shops. The town boasts over 80 different antique shops, making it a decorator’s dream. Many of these stores are located on thriving Warren Street, which hosts a wide collection of clothing boutiques, gourmet food shops, and fabulous lunch and dinner spots. Live music is a constant at the popular Club Helsinki restaurant, and visitors can pick up both a novel and a drink at Spotty Dog Books & Ale. With so much to check out, why not hop down the road to Hudson?

■

Carrie Haddad Gallery ■ Open Daily from 11 to 5pm closed Wednesdays

622 Warren Street ■ Hudson, NY 12534 CarrieHaddadGallery@verizon.net (518) 828-1915 ■ CarrieHaddadGallery.com

556 Warren Street, Hudson, NY 12534, USA 518-822-0729 • www.sutterantiques.com

Hail Columbia! music, theater, dance Bronwyn Sims in Moment of Impact. photo: Ivan Singer

2013 season

theater dance music

July 15 - August 5 berkshirefringe.org

(413) 320-4175

at the Daniel Arts Center, Bard College at Simon’s Rock, 84 Alford Rd, Gt Barrington, MA

just next door For more information visit www.columbiacountytourism.org

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Shakespeare.org

PEARL

“If God is love, how can love be sin?” Pearl

ONE NIGHT ONLY! PEARL

Tina Packer Playhouse / August 5 / 7:30pm

composer Amy Scurria / librettists Carol Gilligan and Jonathan Gilligan / music director and producer Sara Jobin THE PERFORMANCE WILL BE FOLLOWED BY A RECEPTION WITH THE ARTISTS After a packed-house performance last summer, Pearl comes back to S&Co. with new music and a new ending. Join us for a special one-night engagement with Metropolitan Opera singer Maureen O’Flynn, (The Taster, 2010) and John Cheek. Also returning are John Bellemer as Dimmesdale, Marnie Breckenridge as Adult Pearl, and Olivia Marchione as Child Pearl, along with Michael Corvino in an expanded role for Chillingworth, and the creative team who will talk about the revisions of the score and libretto at the post show reception with the artists. Carol Gilligan also wrote an adaptation of Nathaniel Hawthorne’s The Scarlet Letter which was produced by Shakespeare & Company in 2002 and directed by Founding Artistic Director Tina Packer. Dr. Carol Gilligan is also a published author of best selling books In A Different Voice and The Birth of Pleasure. She was named by Time Magazine in 1996 as one of the 25 most influential Americans. Join the growing audience for a project the Boston Musical Intelligencer called a “Bold Opera Experiment.” In March, Pearl performed to a standing-room only crowd in Shanghai as part of a Chinese-American cultural exchange. All proceeds from this event will benefit S&Co.’s Actor Training Scholarship Program. For tickets contact Patrick Buckley 413.637.1199 x105 or pbuckley@shakespeare.org Shakespeare.org

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L-R: -Jennie M. Jadow, David Joseph and Andy Talen, The Amorous Quarrel, 2010

Les faux pas: or, The Counter Plots

“I have a most ingenious plot in my head, from which I expect a glorious success.” LES FAUX PAS

Les faux pas: or, The Counter Plots

Rose Footprint / JuNE 26 – August 24

DIRECTOR’S TAKE “If at first you don’t succeed, try, try, try again.” And initially, the search for a play for our Bankside show this year was just that–a seemingly endless exercise in failure; too long, too short, too many characters, too few, or worse–not funny. Ultimately, I came across ‘L’Etourdi ou Les Countre-temps’ by Molière, featuring Mascarille, the same mischievous clown that Jennie Jadow played in 2010’s The Amorous Quarrel. I was tickled to see the story of the play I finally chose so easily mimicked the process of attempting to choose one; as the trickster clown spends the entire play reaching for success, only to be foiled over and over again by her hapless master, Lelio. There is something recognizable and innately human for me in the desire to succeed; to pick oneself up and accomplish one’s goal regardless of the pitfalls, mistakes and face-plants along the way. Our much abridged adaptation Les Faux Pas is not so much an exercise in failure but a celebration of our willingness to try...try...try...again! – Jenna Ware 120

Shakespeare.org

by Molière / adapted and directed by Jenna Ware featuring Joseph Ahmed, Alexandra Allen, Kiki Bertocci, Caroline Calkins, Max Dakin, Dana Harrison, Jennie M. Jadow, Sean Kazarian, Marcus Kearns, JoJo MacDonald, BRITTANY MORGAN and Justin Weaks

The work of Jean-Baptiste Poquelin, better known to us as Molière, returns to the Rose Footprint with a new adaptation of one of his funniest plays, Les Faux Pas: Or, The Counter Plots. Director Jenna Ware, who also adapted the piece, pulls out all the stops with this riotously funny play with music and lyrics by Andy Talen. Multi-talented Company actor, musician, and composer, Talen is no stranger to the popular Rose shows, he has collaborated with Ware on both The Amorous Quarrel and The Venetians Twins. Talen can be seen onstage this summer in both Love’s Labour’s Lost and Mother Courage. With a recipe that includes pirates, clowns, sword fights, food fights, and hilariously failed schemes, there’s something for everyone in this madcap jaunt. Company artist Jennie M. Jadow (The Learned Ladies and As You Like It) returns as Mascarille, her side-splitting role from our 2010 production of The Amorous Quarrel. She is joined by the comedy stylings of Dana Harrison (The Liar, The Learned Ladies and As You Like It), Justin Weaks (The Venetian Twins) and an equally talented ensemble of nine other actors. It’s a comedic afternoon under the tent that’s assured to delight audiences of all ages!

Lenox

TOBI’S TOBI’S AIRPORT SERVICE AIRPORT SERVICE 413-637-1224 413-637-1224

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www.tobislimo.com

If it matters to you, it matters to us.

800-958-6653

tooleinsurance.com Shakespeare.org

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LEAP YEAR

Generously c0-sponsored by:

LEAP YEAR

dr. donald and phOEbe giddon

World Premiere Bard College at Simon’s Rock/ Daniel Arts Center McConnell Theater / 84 Alford Rd, Great Barrington, MA August 23 – September 1

by William Coe Bigelow / directed by Stephen Rothman / featuring Karen Beaumont, jOAn COOMBS, dave demke, Caley milliken, and PEGGY PHARR WILSON Shakespeare & Company arrives in South County to present a special production of William Coe Bigelow’s first play Leap Year, at Bard College at Simon’s Rock in Great Barrington. Directed by Stephen Rothman (Parasite Drag 2012), Leap Year tells the story of Rob and Lisa Montgomery whose second child is born with Down syndrome. The first act takes place in their duplex apartment in Los Angeles, starting the day their son is born, on February 29th, 1988. As act one unfolds we see the couple, their friends, and family struggle to come to terms with the painful event and the difficult choices they suddenly face. The second act transpires five leap years later, when the decisions the Montgomery’s have made with regard to their son’s upbringing play out in stark terms. This captivating drama goes straight to the gut. At its center are questions about personal responsibility, parenting, a personal sense of God, and finally, the redemptive quality of love and forgiveness. Leap Year is a recipient of an Edgerton Foundation New American Plays award. “Shakespeare & Company has a longstanding relationship with Bard College at Simon’s Rock,” says Artistic Director Tony Simotes. From running our month-long acting workshops back in the early 90s to the present. We look forward to the upcoming collaboration on Leap Year, and performing in the state-of-the-art McConnell Theatre. It will be such a privilege to work with some of the artists I’ve known for many years who are now faculty at Simon’s Rock including Aimee Michel, Sandy Cleary, and Karen Beaumont as well as new artists that I have yet to meet. What a thrill!” DIRECTOR’S TAKE New work is for me the life blood of The American Theatre. When Shakespeare & Company, known for their unique approaches to world renowned classics, adds a World Première to their mix–it is such a gift to performers and audiences alike. LEAP YEAR is a heart wrenching and true account of a life decision that none of us would want to face. While Bill’s play is a unique story that happened to him, I believe it resonates for all of us when at one time or another in our lives we’ve had to make a difficult choice that affects not only you, but someone you love deeply. It is honest, brutal, and real and leaves you asking yourself so many questions about what you would’ve done had this happened to you. And Leap Year is also part of a new collaborative experiment with Simon’s Rock College that allows the young artists studying theatre in a University setting to have the unique opportunity to have a professional company in residence with them on campus creating new work. A World Premiere play, in a new and unique environment for Shakespeare & Company with veteran professionals and up and coming artists of the future is a mixture that has my theatrical adrenaline flowing. I hope it does the same for you! –Stephen Rothman

Directions visit:

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Shakespeare.org

www.simons-rock.edu/EarlyCollege or call (413) 644-4400.

Williamstown

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

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 cafĂŠs 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.

Celebrating the artistic achievements of Winslow Homer, the Clark presents an in-depth exploration of its leading collection of his works.

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

Shakespeare.org

Winslow Homer, West Point, Proutâ&#x20AC;&#x2122;s Neck (detail), 1900. The Clark

m oviel i n e : 4 1 3 . 4 5 8 . 5 6 1 2

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KAUFMAN’S BARBER SHOP 124

kaufman’s barber shop

World Premiere / Limited Run! Upstreet Barbers, 442 North Street, Pittsfield August 14 – September 1

by Robert Sugarman / directed by Regge Life Featuring KATHARINE ABBRUZZESE, THOMAS BRAZZLE, Jonathan CROY, Malcolm Ingram and Robert Lohbauer

Shave and a haircut? Shakespeare & Company comes to Pittsfield for a unique environmental theatrical experience with its production of Kaufman’s Barber Shop, which will be performed in the Upstreet Barbers. In 1925, America was booming. In Upstate New York, the children of Jewish immigrants had moved out of Yiddish speaking neighborhoods into America’s mainstream. In Kaufman’s barber shop, a group of successful businessmen and professionals meet regularly to have their hair cut and to socialize away from a society that accepts them only marginally. Three highly spirited men, who had early on been tempted to go into vaudeville, find themselves enmeshed in the lives of an immigrant Irish manicurist and an African American shoeshine boy with literary aspirations. This engrossing play is about survival in a complex world. “Kaufman’s Barber Shop has been one of my favorite projects to work on with Bob,” says Artistic Director Tony Simotes. “We’ve had various incarnations and readings of the play over the past few years as it’s been developed and I am so happy it will finally be produced in our coming season. Not only is Bob a talented playwright, but his insights into the world of the play have been an education for us all. We are so happy to have him, the wonderful Regge Life and a team of terrific actors on board to bring this final version of the play to fruition. What a treat it is to have our friends and owners of Upstreet Barbers, Shawn and Mike host this world premiere production, which I guarantee will be a unique and moving experience.” Regge Life has directed across the country with credits such as I Just Stopped by to See the Man for Milwaukee Rep, Yellowman and Gem of the Ocean for Pittsburgh Public Theater, Ghosts for the Pearl Theater, Piano Lesson for Virginia Stage Company, Railroad Bill at the Chester Theater Company, A Walk in the Woods at Capital Rep, Rebel Armies into Deep Chad, Laurence Fishburne’s Riff Raff and Arthur Miller’s The American Clock for the Juilliard School and Living in the Wind and Do Lord Remember Me at The American Place Theatre (its longest running show). Other credits include Mango Tango for the Public Theater and They Were all Gardenias for the Theater at St.Clements.

Shakespeare.org

Audiences are encouraged to visit Mission Tapas next door to Upstreet Barbers for intermission fare! Directions visit: shakespeare.org or call 413.637.3353.

DIRECTOR’S TAKE When Tony Simotes gave me Kaufman’s Barber Shop to read as part of the New Play series two summers ago, I was intrigued. Tony had asked me to do a reading of another new play the previous summer but in the end, we couldn’t get the rights. It was a wonderful opportunity to introduce this new play to audiences at Shakespeare & Company. What I loved most after the first read were the characters and the relationships that are nurtured in a barber shop. Barbering is not just cutting hair, it is listening to people recount their lives, the dreams, hopes and particularly in the case of this play–their fears. Syracuse, New York, is the locale, but you realize this barber shop could have been in any number of small American communities where immigrants settled and began a life in the United States. Kaufman’s Barber Shop tells us a lot about the cost of taking hold of the American dream and with it firmly in your hands - reaching higher. – Regge Life

Berkshiremuseum @110

years

art, history, natural science ...

make inspiring connections! Aquarium, Little Cinema, Dino Dig, plus exhibitions, programs, and activities for visitors of all ages! Open daily: Mon-Sat 10 to 5; Sun noon to 5 39 South St. Pittsfield MA berkshiremuseum.org

Shakespeare.org

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ACCOMPLICE

Bernstein Theatre / September 21 – November 10

by Rupert Holmes / directed by Stephen Rothman featuring Elizabeth Aspenlieder, Jason Asprey, and Josh Aaron McCabe Well, we could divulge the plot of this complex and laugh-out-loud thriller but then we might have to kill you. Suffice it to say, Accomplice, which won the prestigious Edgar Award (the ‘Oscar’ of Crime) and the Dramalogue Award for Best Play, begins like many conventional English thrillers. It is set in a lovely country house where a wife and her lover plan to murder her stuffy husband. Conventional, yes? Well buckle up, because Accomplice has enough plot twists, character twists and compromising situations to spin the British comic-thriller genre on its ear. Director Stephen Rothman (Parasite Drag 2012, Leap Year this season) has lured back his partners in crime from last summer’s dark comedy, Parasite Drag to literally take a stab at this intricately hilarious and deceptive comedy-thriller. A prolific author, singer-song writer, musician and playwright, Holmes’ script crackles with witty references to well-known thrillers including, The Mouse Trap and Death Trap, soap operas and even dance instructor Arthur Murray. It’s guaranteed to keep you guessing until the very end, and if not, well the director says dinner is on him. Really, just read his notes below!

DIRECTOR’S TAKE

Directing opportunities come in a number of ways. Sometimes you find a play you have a passion for and you sell that theatre’s Artistic Director on why it needs to be part of their season. Or sometimes you get a call from the Artistic Director who says “I have the perfect play for you to direct, are you interested?” It has been over 13 years since I last directed this play (a lifetime ago in directing years) but I knew instinctively that Shakespeare & Company had the actors who would take this chiller/thriller on a collaborative adventure. So when Tony called I said, “I have a real passion for this unique play and have had two previous experiences with it. And I would be thrilled to explore this mystery/comedy/roller-coaster ride again with this amazing group of actors.” Rupert Holmes has written a very distinctive play that creates a maze of tricks, traps, and twisted turns that are so unique I challenge you to figure out where the play is going as you walk out for your intermission break. In fact as long as you promise me that you have never read, seen, or heard about the way Accomplice works I will personally buy any audience member dinner if they answer to how the play will conclude after the first act ends. Rupert Holmes is a master story teller who has written an evening of scares, laughs, and surprises that I find so unique and so invigorating as a director that I could not resist returning to the scene of the crime. ENJOY! – Stephen Rothman

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L-R: Josh Aaron McCabe and Elizabeth Aspenlieder. Accomplice, 2013

â&#x20AC;&#x153;Part murder-mystery, part sexfarce and completely entertaining ... Suspenseful, charming and funny.â&#x20AC;? USA Today

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CLARE’S PLACE

Shakespeare & Company has recently finalized plans to convert a space on its property to create a special meeting room in memory of Company teacher and director Clare Reidy.

In the summer of 2011, we came together to celebrate Clare’s life in a moving, life-affirming testament to a dedicated, wonderful friend, a gifted teacher of actors and a true fixture on our campus and in our hearts. At the end of the celebration we announced that we wanted to create a space that was warm and welcoming, where faculty could mingle, meet and spend time together, to replace the crowded and uncomfortable quarters currently in use–and to name it Clare’s Place.

Today, we are asking for your generosity and support in making Clare’s Place a reality by making a gift to Shakespeare & Company. You can do so online at Shakespeare.org/support; by calling Ute DeFarlo at 413.637.1199 ext 146, or by sending a check through the mail.

In memory of Clare Reidy and in support of Clare’s PLace Monica Fay Anderson Elizabeth Aspenlieder Bill Barclay Sarah A. Barker Kate Kelly Bouchard Jessica Bremner Erin Eva Butcher Kevin G. Coleman Heather Coulter Tom and Bobbie Curran Margaret Davis Laura Fusare Edinger Thomas F. Giordano Dennis Krausnick Govane and Bob Lohbauer 128

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Susannah K. Millonzi Arthur T. Oliver Tina Packer Margaret Reidy Thomas E. Reidy Victoria Rhoades Carraro and Alvaro Carraro Marina Shay Tony Simotes Renée M. Speltz Andy Talen Monica Tedman Stacey Weckstein Anonymous

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

A perfect space has been mapped out and the much needed renovations, upgrades and improvements will soon be underway. The basic design has been created by long time Company artist and set designer Patrick Brennan, who will also oversee the entire project. The anticipated cost will be approximately $10,000 - $15,000.

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Become a Reel FRiend biffma.org

FILMS FILMMAKERS PARTIES TRIBUTES TALKS The Berkshire International Film Festival introduces the REEL FRIENDS OF BIFF SOCIETY designed to engage our audience year-round culminating in the 4-day festival in June. The BIFF, as it is affectionately known, is a boutique festival that connects audiences to compelling documentaries, award-wining international releases and premieres, incredible parties and events, and a taste of Hollywood just a short drive from New York and Boston. BIFF BRINGS THE WORLD TO THE BERKSHIRES Shakespeare.org

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f you saw him onstage at Shakespeare & Company last summer, you might be surprised to know that acting is not Timothy Douglas’ primary profession. Seamlessly maneuvering between two very different roles—Oswald, the nefarious accomplice in King Lear, and Trinculo, the eccentric jester in The Tempest—Douglas was a subtle chameleon on the Tina Packer Playhouse stage.

Timothy Douglas

L-R: Timothy Douglas and Kristin Villaneuva, All’s Well That End’s Well, 2008

Coming Full Circle, If you count a 2008 production of All’s Well that Ends Well, also at S&Co., you’ve listed Douglas’ entire acting resume over the past decade. Surprised? We were, given how comfortably he inhabited those roles. For more than twenty years, Timothy Douglas has been almost exclusively a theatrical director, and a prolific one at that. He has helmed productions at some of the most prominent regional theaters in the United States, including Yale Rep, Steppenwolf in Chicago, and the Guthrie in Minneapolis. His 2006 production of Joe Penhall’s psychoanalytic drama, Blue/Orange, was a highlight of Shakespeare & Company’s 30th Season, and also a homecoming for Douglas, who landed one of his first professional acting roles at S&Co. some 20 years prior. Douglas first arrived in Lenox, MA while he was still pursuing graduate studies at the Yale School of Drama for acting. He auditioned for S&Co. Founding Artistic Director Tina Packer and her production of Antony and Cleopatra, landing a role in the ensemble. At the time, directing was not in Douglas’ sights, but he would soon discover his role in theatre, and it wouldn’t be a part in any play. When we caught up with Douglas in April, a few short months before Richard II was scheduled to start rehearsals, he was in Chicago overseeing the final technical rehearsals of The Lake Effect at Silk Road Rising, the world premiere of a work by Rajiv Joseph, a Pulitzer Prize finalist and one of the most lauded young playwrights. His balancing act also included preproduction on both Richard II and a new all-female Hamlet starring Lisa Wolpe, Artistic Director of Los Angeles Women’s Shakespeare Company and the director of Shakespeare & Company’s summer production of Love’s Labour’s Lost.

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This isn’t an unusual schedule for Douglas, who often finds himself working on both classical and contemporary productions simultaneously. But he doesn’t feel the need to compartmentalize the various projects. Instead, he allows the themes of each work to brew in his brain and pervade each other. “It’s like raising kids—they’re always influencing me,” Douglas says of working on multiple productions. “They live in the same house: my brain.” In addition to his work as a freelance director, Douglas is also an Artistic Associate at Milwaukee Rep and a New York Theatre Workshop Usual Suspect, a selective network of 500 theatre artists. This list of directorial merits didn’t happen overnight, and they certainly weren’t in the game plan for Douglas. Shortly after Antony and Cleopatra and performing a few other roles for Shakespeare & Company, Douglas found himself in Los Angeles, teaching voice in the theater department at the University of Southern California. At USC, he was required to direct a student production, which was seen by Mara Issacs, currently producing director at the prestigious McCarter Theatre, then with the Mark Taper Forum. Issacs was so impressed with the production she inferred Douglas must have been a professional brought in from outside the university. Despite the compliment, Douglas didn’t think of himself as a director. Even after he accepted a position as director-in-residence in new play development with Issacs at the Taper, he still had difficulty embracing the title. “I did not presume to call myself a director,” he says, with a deep chuckle of irony, as if to say ‘if I only knew.’ It would take some convincing, but after several years of sustained success, including a stint as an NEA/TCG directing fellow, Douglas came around.

L-R: Rocco Sisto, Jonathan Epstein and Timothy Douglas. The Tempest, 2012

to The Crown by Gregory Hughes

“I thought, ‘If the government thinks I’m a director, I must be a director.’” Since that fellowship, awarded in 1998, Douglas has worked steadily throughout the country and around the world. Acting has been put on the backburner, but Douglas is confident about his professional course. It took a very special offer for him to return to the stage, and that offer came in 2008. Douglas accepted the role of the King of France in Shakespeare & Company’s All’s Well That Ends Well, reuniting him with Founding Artistic Director Tina Packer and with acting. But even under someone else’s direction, Douglas still found ways for the experience to inform the sensibilities of his main profession. “I learned more about myself as a director than I did as an actor,” Douglas says of his work in All’s Well That Ends Well, “Choosing when to speak and when not to speak. Talking a lot less, trusting the actors a lot more.” Before Douglas returned to Shakespeare & Company in 2012 to take on roles in King Lear and The Tempest, Packer had been the only director he had worked with on a Shakespeare production. This time around, he was under the guidance of two different artists, Rebecca Holderness in King Lear, and Packer’s successor as Shakespeare & Company Artistic Director, Tony Simotes, who helmed The Tempest. It would be natural to assume, given Douglas’ accolades as a stellar director himself, that he could easily slip into the other role when on the opposite end of someone’s instruction. But he insists the two remain separate in the rehearsal room.

Jonathan Epstein and Timothy Douglas. King Lear, 2012

productions. Both were given a more contemporary historical reference—King Lear in Czarist Russia at the turn of the 20th Century, and The Tempest in the early 1940s. Douglas’ production of Richard II will also be given a contemporary treatment, drawing connections between modern fundamentalism and Richard’s belief that his crown has been bestowed on him by a higher power. Rocco Sisto, a three-time OBIE Award winner, and Founding Member of Shakespeare & Company, will portray Richard. The two worked together in last summer’s Tempest—audiences reveled in a sidesplitting scene featuring Sisto’s drunken Caliban and Douglas’ Trinculo—but this will be the first time Douglas has directed Sisto. Despite the production’s more contemporary sensibilities, the two are intent on staying true to the text, using modern parallels to illuminate it. “Timothy assures me that the concept will not be at odds with the text,” says Sisto, “and I trust him.” As any actor will tell you, trust is key, and Douglas has more than earned the trust of Shakespeare & Company—as an actor, and director—continually producing great work. It may be hard to believe that Timothy Douglas is not primarily an actor, but audiences will soon see how his skills as a director will ignite the Tina Packer Playhouse stage. His deep understanding of Shakespeare, along with years of honing his craft around the world, will make for an exhilarating production—one steeped in rich language, remarkable talent, and a distinct vision that will revive a rarely produced work.

“I do not have the capacity to do it,” he says, “That’s my amateur self-diagnosis.”

“I can feel the embracing of what is fundamental about Shakespeare & Company into the 21st Century,” says Douglas about the Company in recent years, under the artistic direction of Tony Simotes. “This is a circle completing. When I started directing, I wanted nothing more than to come back to Shakespeare & Company.”

Last summer’s productions of King Lear and The Tempest possessed conceptual twists that have become commonplace in Shakespeare

And on July 6, when Berkshire audiences are greeted with Richard II, he will. Shakespeare.org

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hakespeare & Company Controller Sophie Breton isn’t one to hide her love of painting. Just walk up the winding stairs in the Miller Building, the main administrative offices of Shakespeare & Company, and poke your head in the first workspace on the right—you’ll be greeted by a small array of Breton’s works displayed beautifully around her desk.

While you might expect a Controller to live in a state of constantly crunching numbers, Breton is hardly a Bob Cratchit-like figure at a desk. Between the hours of eight and four, she may be armed with a calculator and Excel spreadsheets, but outside of office hours, she’s equipped with a paintbrush and a vision. Breton doesn’t see any disconnect between her day job and her passion, though she understands why the two are commonly perceived as opposite ends of a wide spectrum of interests. Instead, she feels her artistic work is liberated by her work in finance.

Sophie Breton

“I like being an accountant and an artist,” says Breton. “I feel that supporting myself as an accountant has given me the artistic freedom to create anything I want without having to worry about paying the rent—phew, and thank the Lord! I am not sure why people find my talent combination so unusual; I am not so different from anyone else.” Drawing inspiration from the world around her, Breton’s subjects are often first captured in a photograph and added to a seemingly endless bank of potential works.

SOPHIE BRETON AND

The Art of

Finance by Gregory Hughes

Breton was born in Springfield, MA, less than an hour’s drive away from Shakespeare & Company’s home in the Berkshires. But her artistic passion was cultivated in Honolulu, where she lived after graduating from college, nearly 5,000 miles from the place of her upbringing, but home to her artistic exploration. Though she left Hawaii some 17 years ago, the influence of the beauty and remoteness of that tropical location still breathes in her portfolio of work. Breton has devoted several original works to the indigenous flowers of our southernmost state. The works are as diverse as the flowers themselves, covering a vast spectrum of color. Breton often personifies her inanimate subjects, bestowing them titles such as “Happy Couple” and “Perfect Pair.” Breton was born to French Canadian immigrants. Her first language is French and she spent several summers during her childhood in La Durataye, Quebec, a parish municipality with a population of slightly more than 700 people. A French sensibility is evident in her work, especially in her pastels—the subdued colors are reminiscent of Renoir, as are the profiled subjects. Her landscapes are similarly dreamlike, and range from metropolitan cities like Paris and New York, to the rural familiarities of the Berkshires, each with a distinct hue, sometimes vivid, others more delicate. What’s most impressive about her work is that Breton is essentially self-taught. She attributes her skill to many hours at the canvas and in workshops. Since first sitting down at a canvas in 1995, she has sold more than 200 originals and prints of her work, and has had several exhibits, including, most notably, “My Little Gecko,” a series of stunning tropical flowers, and yes, a darling little gecko. The exhibit originated at Hawaii Pacific University O’Hana Exhibit, where Breton was a featured artist in 2012, and has since moved to State Senator Benjamin Downing’s offices in Downtown Pittsfield. The public can view the exhibition, but calling ahead is advised. Like many visual artists in the 21st Century, Breton utilizes the Internet to spread the word about her work. You can view her extensive portfolio at www.sophiemuseum.com or read her blog, www.sophiemuseum.blogspot.com, which profiles new works and old favorites with commentary by Breton. “I think it was Einstein who said, ‘All is energy.’ We all have creative energy, and are just destined or choose to use it differently,” she says. “Some people create families or companies, and others, like me, artwork and financial statements. In my mind it’s the same creative force we all have access to.”

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Jonathan Croy

DIRECTOR’S TAKE

In keeping with our traditional holiday offerings, we wanted to once again give our audiences something special this season. It’s A Wonderful Life: A Live Radio Play is something I think will resonate with our patrons throughout the year. Not only is it a terrific story, but it’s filled with great revelatory moments, a strong sense of family, values and the power of faith and love. We had such fun creating our production of War of Worlds, the radio play a few years back, we couldn’t wait for the right time to bring another of our favorite stories to the boards with It’s A Wonderful Life. The entire cast is working together with our sound designer, the wonderful Michael Pfeiffer, to create an incredible array of special sound effects and storytelling. You’ll get to watch many of your favorite Company actors slip seamlessly from one role to another, as we transform The Bernstein Theatre into a 1940’s radio studio, complete with live acts, singing, and commercial breaks. We hope to create an amalgamation of radio and heart-stopping theatre, and provide our on own take on this classic and heart-warming holiday tale. –Jenna Ware

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adapted by Joe Landry from the screenplay by Frances Goodrich, Albert Hackett, Frank Capra and Jo Swerling directed by jenna ware / featuring JONATHAN CROY, DAVID JOSEPH and JOSH AARON McCABE

A perfect show for the holiday season. It’s A Wonderful Life: A Live Radio Play, inspired by Frank Capra’s classic 1946 film starring Donna Reed and James Stewart, is filled with just the right hint of nostalgia, charm and straight-from-the-heart moments. In true old-fashioned radio style, Ware brings audiences this poignant, funny and unique play within a play that will leave you believing in angels! It’s Christmas Eve 1945 and George Bailey, owner of a building and loan association in the small town of Bedford Falls, New York loses an $8,000 bank deposit, which threatens to ruin his business, personal, and family life. Just as George falls deeper into despair, and believing himself to be a complete failure, an ‘angel’ named Clarence appears and shows George what the world would have been like if he’d never been born. George sees the value of his “wonderful” life, and Clarence “wins his wings” for helping to save George’s soul. Much like our take on the 2011 hit production of War of the Worlds, Ware relies on five actors to play all the roles, of which there are over 50, and includes live radio commercials, home grown sound effects, and a pre-show welcome into the ‘recording studio’ that is sure to warm the hearts and toes of audiences young and old.

“Remember, no man is a failure who has friends.” It’s A Wonderful Life

IT’S A WONDERFUL LIFE

IT’S A WONDERFUL LIFE: A Live Radio Play BERNSTEIN THEATRE / DECEMBER 6 – 29

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cker, As You Like It

Nigel Gore and Tina Pa

d Cleopatra

Tina Packer, Antony an cker, Macbeth

Nigel Gore and Tina Pa

: R E K C A P TINA

ill W of n A om W A ghes

by Gregory Hu

cker, Romeo and Juliet

Nigel Gore and Tina Pa

fter years of cultivating Women of Will in the Berkshires, right here at Shakespeare & Company, Founding Artistic Director Tina Packer’s seminal work has blossomed in New York. New York—in turn—has bestowed the production with accolade after accolade. Along with her longtime acting partner Nigel Gore, Packer’s exploration of Shakespeare’s female roles has prompted a new discussion about the Bard. As we prepare to celebrate Shakespeare’s 450th birthday next year, the discussion is still as profoundly relevant and riveting as ever.

The dialogue about Shakespeare’s female characters, and how they reflect the greatest writer in the English language, has not only surfaced at the Gym at Judson, where Women of Will performed January though June 2013, but also in distinguished news sources—The New York Times and The Wall Street Journal, to name a few—and on some of our nation’s most reputable television programming. Charlie Rose, whose Charlie Rose Show has frequently welcomed artists of the highest caliber, has long been a Shakespeare enthusiast. His Why Shakespeare? series has invited some of the most lauded Shakespearean scholars, actors and directors. Kenneth Branagh, Liev Schreiber, Peter Brook, and Michael Boyd have all sat at Rose’s unmistakable table and been posed a simple question, “Why Shakespeare?” Finally, on March 14th, 2013, Packer had her chance to answer: 136

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EXERPTS FROM

HO THE CHARLIE ROSE S

CHARLIE ROSE: Why did you decide to do what you’re doing in terms of Women of Will? TINA PACKER: When I was a young actor and played some of the female roles, it had always been a terrible struggle because my perception of what was going on was not always the director’s— male director’s—idea of what was going on. I switched to directing so that I could really explore, “What did I mean?” I was getting a bad reputation as an actor, you know, “She’s so stroppy,” and so I started directing the plays. It was through directing the plays—when I was about two-thirds of the way through the cannon—I started realizing that Shakespeare changed deeply in his attitude towards women over his writing lifetime. And that, in fact, I felt you could hear Shakespeare’s own voice through the women. The riveting conversation between Packer and Rose continued with an in-depth look at each of Women of Will’s five parts: The Warrior Women, The Sexual Merges with the Spiritual, Living Underground, Chaos is Come Again, and The Maiden Phoenix. Packer demonstrates just how Shakespeare’s attitude toward women evolved over his lifetime, and how his “late plays,” The Winter’s Tale and The Tempest among them, were in part reactionary to the one-dimensional violence of his first works: CHALIE ROSE: You also say that Shakespeare focused on the entire story as opposed to the motif. TINA PACKER: Yes, what happens in the late plays is that he goes to myth time, Joseph Campbell time. It’s the fairytale, because I really think he’s trying to say, “What is the story I can tell which will actually show the way out of the violence. When he began writing the Henry VI plays, he was just chronicling what the violence was, but by the time we get to the end, he’s saying we’ve got to tell the story on a different level—the veil has got to be lifted, if you will—and we’ve got to tell the story which will allow humanity to actually find a way through the violence. In response to Packer’s reply, Rose invoked a clip of Harold Bloom discussing his own perception of Shakespeare’s attitude towards women. In the clip, Bloom asserts that Shakespeare demonstrated that women garner emotional maturity and understanding much earlier than men (Juliet is an undeniable example of this) and that men, especially in the late plays (Leontes in The Winter’s Tale and the aging monarch in King Lear), take much longer to develop those sensibilities. Rose asks Packer if she agrees, to which she delivers her trademark laugh: TINA PACKER: Not everything, but I do agree with him about the “invention of the human.” I have become more human through doing Shakespeare’s plays, in other words, I’ve discovered who I am through doing the plays and things I didn’t know about myself before. CHARLIE ROSE: What did you discover about yourself? TINA PACKER: Well, that I could be extremely violent. CHARLIE ROSE: Violent?

cker, Henry VI, part I

Nigel Gore and Tina Pa

TINA PACKER: Yes, yes. CHARLIE ROSE: When was the last act of violence you committed? TINA PACKER: Last night, on stage. I mean, I know that I like it, Charlie. I wouldn’t do it in life, or I would try never to do it in life, but I know the feeling of it and it is deeply satisfying, deeply satisfying. CHARLIE ROSE: Why? TINA PACKER: Because it’s the adrenaline going. You’re at one with your rage and anger and it feels right somehow. We’ve experienced this candor from Packer in the Berkshires, through the unrelenting honesty of her productions and her fierce portrayals of Shakespeare’s women, not only in Women of Will, but also in full productions of Antony and Cleopatra and Hamlet. Now, New York has had the chance to experience her vast knowledge and performative wizardry, and they’ve reveled in the opportunity.

WHAT THE CRITICS

ARE SAYING:

“Fashion is hardly the first thing on Tina Packer’s mind in Women of Will, her impassioned exploration of Shakespeare’s heroines, which opened Sunday night at the Gym at Judson. Yet even in this month, when designers are strutting their wares on runways all over New York, there’s unlikely to be a more compelling demonstration of how clothes make the woman than the one provided by Ms. Packer, a longtime, multifarious interpreter of Shakespeare.” —Ben Brantley, The New York Times “She and her director Eric Tucker must have had a difficult time pruning the original, as her enthusiasm for her subject matter is boundless and irresistible. The result is a bit like having a timetraveling speed-date with Shakespeare and his work, which leaves you wanting more.” —Jennifer Farrar, The Associated Press “…a beguiling, enlightening oddball of a performance and master class in Shakespeare and the socio-economic psychology of gender politics. Comfortably ensconced through the spring in the historic, ramshackle arts sanctuary at the Judson Church, Packer and invaluable co-star/sidekick Nigel Gore bring us happily into a selective five-part division of the plays and their increasing understanding of women.” —Linda Winer, Newsday Shakespeare.org

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Williamstown TO N Y AWA R D -W I N N I N G T H E AT R E I N T H E B E R K S H I R E S

MAIN STAGE ANIMAL CRACKERS Book by George S. Kaufman & Morrie Ryskind Music and Lyrics by Bert Kalmar & Harry Ruby Adapted and Directed by Henry Wishcamper

June 26 – July 14

THE BRIDGES OF MADISON COUNTY

PYGMALION By George Bernard Shaw Directed by Nicholas Martin With Robert Sean Leonard and Heather Lind

July 17 – 27

Book by Marsha Norman Music and Lyrics by Jason Robert Brown Based on the novel by Robert J. Waller Directed by Bartlett Sher With Steven Pasquale and Elena Shaddow

August 1 – 18

WORLD PREMIERE

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Book by Richard Dresser Music by Robert Reale Lyrics by Willie Reale Directed by Gordon Greenberg

June 26 - July 7

WORLD PREMIERE

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Congratulations to shakespeare & Co. on another exCellent season!

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July 24 – August 3

BLOOD PLAY Written by Hannah Bos and Paul Thureen Directed and Developed by Oliver Butler Made by The Debate Society

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“I think very few people are completely normal really, deep down in their private lives.” Private Lives

private lives

Chock-full of witty dialogue and laughs, Noël Coward’s Private Lives is considered one of the greatest comedies ever written. A divorced couple, Elyot and Amanda are honeymooning with their new spouses in the South of France. By chance they meet across adjoining hotel balconies, and without concern for scandal, their new partners, or any memory of what drove them apart in the first place, Elyot and Amanda rekindle their former tempestuous relationship. As the plot gets hot, it becomes apparent that while Elyot and Amanda cannot live without each other, they clearly can’t live with each other either. When the affair is discovered, the two wronged spouses, Sybil and Victor, steam up the scene even more and audiences are left with a brilliantly funny Coward-esque twist. 140

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L-R: David Joseph and Dana Harrison

Bernstein Theatre February 14 – March 30

by Noël Coward / directed by TONY SIMOTES featuring dana harrison and david joseph

Noel Coward “For most of his life, Noël Coward was widely regarded as a theatrical lightweight, albeit a brilliant one. Not until the 1960s did the critics start to figure out that Private Lives, his masterpiece, was something more than (in his own ironically selfdeprecating words) “a reasonably well-constructed duologue for two experienced performers, with a couple of extra puppets thrown in to assist the plot and to provide contrast.” Needless to say, Coward knew better, and now so do we. Yes, Private Lives is a comedy—one of the funniest ever written—but beneath its slapstick lunacy and impish repartee, it preaches a stealthy sermon about hypocrisy that is as much to the point today as it was in 1930.” – Terry Teachout (exerpted from his About Last Night blog).

PRIvaTE LIVES

As I was rereading this play after many years, I remembered why I liked it so much. Coward’s facility with language and quick and witty repartee is simply brilliant. The dialogue moves so rapidly at times it has a dizzying effect. It is a very clever comedy filled with really silly and scandalous moments which, if played DIRECTOR’S TAKE for truth and not comedy, will take our audiences headlong into a wonderfully fun and frothy ride. I loved what Coward said about acting “In the first act, you get the audience’s attention–once you have it, they will repay you in the second. Play through the laughs if you have to. It will only make the audience believe there are so many of them that they missed a few.” Coward was well-known for his wit and flamboyance, and the clever repartee in this script in particular is not to be slighted, especially when Elyot is given such outrageous lines such as “Women should be struck regularly - like a gong.” Private Lives has been said by some to represent Coward’s own attitudes to marriage and well, it’s probably a good thing he never married! –Tony Simotes

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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 a picturesque 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. Bankside Gala 2012

RENTALS & EVENTS

Our many event spaces—including our state-of-the-art Bernstein Center for the Performing Arts—have hosted an eclectic range of groups including Hillcrest Education Centers, WAM 24 Hour Theatre Project, the Enviromental Protection Agency, Berkshire Country Day School, Berkshire Visitors Bureau’s Governor’s Luncheon, Jaguar Path Yoga, Todd Norian’s Deep Peace Yoga, Berkshire Creative, and even an international Shakespeare conference. From space rentals, to behindthe-scenes tours, custom-crafted visits, actor talkbacks– Shakespeare & Company has it all.

GROUPS

Nickel Shakespeare Girls entertain

at Bankside

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.

PARTIES

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. 142

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L-R: Ryan Winkles, Jules Findlay, Dana Harrison and Kelly Galvin. The Learned Ladies, 2012

Shakespeare & Company Staff Administrative

Artistic Director: Tony Simotes Managing Director: Nicholas J. Puma Jr. Founding Artistic Director: Tina Packer General Manager: Stephen Ball Asst. to the Artistic Director: Catherine Wheeler Company Manager: Jessie Earl

Costumes

Costume Director: Govane Lohbauer Costume Shop Manager: Mary Readinger Drapers: Lillian Dunham & Kelley Farley Design Assistants / First Hands / Stitchers / Wardrobe: Genevieve Bergeron, Mary Boyce, Caroline Coenen, Ann Marie Donnelly, Ben Hover, Sierra Johnson, Herin Kaputkin, Margaret Koeber, Kaysha Korrow, Lezlie Lee, Adrienne Nixon, Lillian Prentice, Mary Readinger, Lena Sands, Stella Schwartz, Amy Sutton, Esther Van Eek, Peggy Walsh, Kate Washington, Josie Wilson

Development

Director: Ute DeFarlo Director of Annual Giving: Patrick Buckley Manager of Institutional Giving & Events Coordinator: Ariel Bock

Education

Director: Kevin G. Coleman Associate Director: Jenna Ware Youth Programs Director & Artistic Associate: Jonathan Croy School Programs Manager: Alexandra Lincoln Summer Youth Faculty & Staff: Joseph Ahmed, Kiki Bertocci, Caroline Calkins, Annie Considine, Jessie Earl, Kelly Galvin, Tom Jaeger, Corinna May, Brittany Morgan, Sarah Taylor, Justin Weaks and Alexandra Allen, Max Dakin and JoJo MacDonald (apprentices) 146

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Facilities

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

Public Relations & Marketing

Chief Financial Officer/ HR Director / IT Director / General Counsel and Officer: Nicholas J. Puma, Jr. Controller: Sophie Breton Assistant Controller: Richard Martelle Information Technology Manager: Renée Speltz

Director of Communications & Artistic Associate: Elizabeth Aspenlieder Sales & Group Tour Director, Facilities Liaison: David Joseph Associate Director of Communications / Marketing Director: Jason Velazquez Communications Associates: Adam Huff, Alissa Mesibov, Enrico Spada Graphic Designer: Kevin Sprague at Studio Two, Lenox

Front of House

Ticketing & Food Services

Finance, HR & IT

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

Housekeeping

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

Production

Production Manager: Thomas L. Rindge Production Stage Manager: Hope Rose Kelly Technical Directors: Kevin Harvell & Brendan Conroy Carpentry: Markus Weinfurter (Master), Jordan Jones, Marcus Kearns, Eric Randall, Luke Reed, Isaak van der Meulen and Connell Gess (apprentice) Electrics: C. Clara Patterson & Keith Chapman (Master), Thomas Brazzle, James Bilnoski, Erika Johnson, Marcus Kearns Properties: Patrick Brennan (Master), Devon Drohan, Anastasia Egan, Megan Radish Sound: Michael Pfeiffer (Engineer), Iain Fisher, Carmen Mandley Scenic Artistry: Jessica Atanas (Charge), Atty Siegel Weapons Master: Bob Lohbauer Changeover Crew Heads: Kevin Harvell and Markus Weinfurter

Ticketing & Food Services Director: Ron Werth Box Office Manager: Jane Barish Concessions Manager: Sean Kazarian Concessions & Catering Manager: Caitlin Kraft Sales Associates: Max Dakin, Ben Epstein, Luke Haskell, Caitlin Kraft, Brittany Morgan

Training

Director: Dennis Krausnick Assistant to the Director of Training: Elizabeth “Lily” Cardaropoli Faculty: Jason Asprey, Melissa Baroni, Ariel Bock, Andrew Borthwick-Leslie, Kevin G. Coleman, Tori Rhoades Carrero, Susan Dibble, Corinna May, Tod Randolph, Robert Serrell, Michael Toomey, Kristin Wold, Walton Wilson

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Who’s Who

KATE ABBRUZZESE fourth season (Katharine, Love’s Labours Lost, Maggie in Kaufman’s Barber Shop) S&Co: Julius Caesar (Portia, Casca), Hamlet (title role), Romeo & Juliet (Rosaline/Paris’ page), Parasite Drag (Susie); Off-Off Broadway: To Walk In Darkness (Adella). Regional: Hudson Valley Shakespeare Festival: The Winter’s Tale (Perdita), Pericles (Lychorida), Cymbeline (Helen). World’s End Theatre: Rendition in Damascus (Missy); Florida Studio Theatre: Sylvia (title role); Tennessee Shakespeare Festival: Othello (Desdemona), Macbeth (Third Witch/Boy). Kate received her BA in Drama from Vassar College and currently attends NYU’s Graduate Acting Program (Class of 2015).

Matthew E. Adelson^ third season (Lighting Designer for Love’s Labor’s Lost, Richard II and Mother Courage) S&Co: King Lear (2003 and 2012), The Tempest, Satchmo at the Waldorf, All’s Well That Ends Well and Complete Works of William Shakespeare (Abridged). Recent credits include: Ruined and Shining City (Burning Coal/ Raleigh, NC), Red (Theatreworks/Colorado Springs) and A Christmas Carol (Berkshire Theatre Group/Colonial). Matthew is the Director of Production and Lighting Designer for the Mahaiwe Performing Arts Center where he has lit over 250 concerts and events including Los Lobos, Chris Botti, Suzanne Vega, Dr. John, Deborah Voigt, Joan Rivers, Christine Ebersole, Barbara Cook, Angelique Kidjo, Natalie MacMaster, the Cowboy Junkies, Jason Samuels Smith and James Taylor.

KATE ABBRUZZESE

He is also the Lighting Designer for the Dance Department at Williams College, and a graduate of the Yale Drama School.

JOSEPH AHMED second season (Leander & Ensemble in Les Faux Pas; Riotous Youth Faculty). S&Co: Shakespeare & Young Company - Boys of York (York), Distract (Macbeth). Regional: Underground Railway Theater/Boston Playwrights’ Theatre: Ti-Jean and His Brothers (Firefly/Devil). Boston University: Buried Child (Vince), In the Jungle of Cities (Worm). Direction: Stella Maris by Celia Pain, West of Stupid by Cusi Cram. Training: semester at the Accademia Dell’Arte in Arezzo, Italy; BFA in Theatre Arts with a Dance Minor from Boston University. Alexandra Allen second season (Assistant Stage Manager & Ensemble: Les Faux Pas; Education Program Apprentice) Mount Holyoke College: Hamlet (Horatio), Juliet & Her Romeo (Juliet), Urinetown (Little Becky Two Shoes), The Glass Menagerie (Jim). Shakespeare & Young Company 2011: Boys of York (Queen Margaret) and Distract (Ensemble). Gender Studies major at Mount Holyoke College. Has participated in almost all of the Shakespeare & Company education programs and is excited to be back. BARBARA ALLEN third season (Director of Movement for Mother Courage) Barbara Allen is a NYC based choreographer. She has choreographed and created movement for

JOSEPH AHMED

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Elizabeth Aspenlieder* eighteenth season (Maureen in The Beauty Queen of Leenane, Janet in Accomplice; Artistic Associate/ Communications Director). S&Co: Parasite Drag (Joellen), 39 Steps (multiple roles), The Memory of Water (Catherine), The Winter’s Tale (Hermione), Les Liaisons Dangereuses (Marquise de Merteuil), Bad Dates (Elliot Norton Award Winner for Best Solo Performance 2009), Rough Crossing (Natasha), Ice Glen by Joan Ackermann, King Lear (Regan), Much Ado About Nothing (Margaret), A Midsummer Night’s Dream (Hermia), Richard III (Anne), Wit (Susie). Regional: Barrington Stage Company 10x10 Play Fest (multiple roles); Merrimack Rep: Bad Dates; Boston Theatre Works: Angel’s in America (Angel/multiple roles), Othello (Emelia). Canada: Eccentricities of a Nightingale (Alma), Brighton Beach Memoirs (Nora). Indy Films: Trigger Finger, Seriously Twisted. She also provides the voices for commercials and cartoons. JASON ASPREY* nineteenth season (Ferdinand in Love’s Labour’s Lost, Derek in Accomplice; Summer Training Institute Faculty) S&Co: The 39 Steps (Richard Hannay), Parasite Drag (Ronnie— named Best Actor by the Berkshire Eagle and Berkshire Record), The Memory of Water (Frank), The Winter’s Tale (Autolycus), Richard III (Lord

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Stage, Film, Cabaret and Light Opera. She has been a guest artist at various colleges including Skidmore College, CAL ARTS and Columbia University. Barbara is currently an instructor at New Studio Broadway at NYU – Tisch School of the Arts. She is thrilled to be working again with Tony Simotes and Olympia Dukakis along with the wonderful cast of Mother Courage. Barbara is an associate member of Stage Directors and Choreographers (SDC).

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 Nothing (Don John/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-fifth season (Lighting Designer for Accomplice and It’s A Wonderful Life: A Live Radio Play; 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 Bernstein Theatre productions. 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 is a new homeowner and proudly holds the 2002 Achievement Award from the Town of Ripton, MA, Candlelight Council. Karen Beaumont* fifteenth season (Dottie in Leap Year). S&Co: Othello (Emilia), The Merry Wives of Windsor (Mistress Page), Shakesquad & Clown Co. (Stormy), A Midsummer Night’s Dream (Assistant Director). She has performed across Canada, off-Broadway and locally. Karen

JASON ASPREY*

is an actor, director and teacher/artist of mask, movement and clown. Most recently Karen was Associate Director and Movement Director of the multi media production of The Wind Up Bird Chronicles (NYC, Edinburgh, Singapore). She developed the theatre program at Bard College at Simon’s Rock in Great Barrington, MA where she serves as professor of theatre and Chair of the Arts Division. Karen studied internationally including the Canadian Mime School, Pantheatre Acts, with Augusto Boal, Philippe Gaulier, Monika Pagneux, Powys Thomas, and is a designated teacher of Trish Arnold’s (LAMDA, Guild Hall) movement for actors and is a Somatic Movement Educator. Mark Bedard* first season (Berowne in Love’s Labour’s Lost; Recruitment Officer in Mother Courage) Oregon Shakespeare Festival: Animal Crackers (Captain Spaulding), Love’s Labor’s Lost (Ferdinand), She Loves Me (George), The Merchant of Venice (Launcelot), The Servant of Two Masters (Truffaldino), Paradise Lost (Kewpie), Macbeth (McDuff), The Comedy of Errors (Antipholus of Ephesus), The Taming of the Shrew (Biondello). Seattle Rep: Boeing Boeing (Robert). Marin Theatre Company: Waiting for Godot (Vladamir). Shakespeare Theatre Company D.C: Cymbeline (Posthumous). International City Theatre Long Beach: A Circus Christmas Carol (Clown). Graduated from University of California, Irvine. JAKE BERGER eighth season (Green/Second Gardener/Exton in Richard II) S&Co: Tartuffe (Orgon), The Liar (Geronte) and the touring productions of Macbeth (Duncan/Macduff) and Julius Caesar (Caesar). Regional: The Shakespeare Theatre of NJ: To Kill A Mockingbird (Boo Radley), The Taming of the Shrew (Tailor/ Pedant), The Grapes of Wrath (Noah Joad) and The Tempest (Sebastian). Other credits include The Astronomer in Hotel Cassiopeia with Fort Point Theatre Channel and Herr Gabor in Spring Awakening with Zeitgeist Stage. Training: Emerson College, Virginia Commonwealth University and Shakespeare & Company. Kiki Bertocci eleventh season (Pandolph & Ensemble in Les Faux Pas; Riotous Youth Faculty) Other credits include: Asylum (Janine), The House Of Bernarda Alba (Magdalena), Creative Stages (Elizabeth), Arms And The Man

(Louka), Women Of Lockerbie (Hattie), Baby Dance (Wanda), Final Placement (Loellen), The Skriker (Josie), The Tale Of Breutali (Tierney), A Beautiful Color (Corinne). Kiki studied at Circle In The Square and The American Academy of Dramatic Arts. William Coe Bigelow (Playwright, Leap Year) has written extensively for TV and film. His produced credits include “Murder, She Wrote,” “Quantum Leap,” “The Commish,” “Silk Stalkings,” “Renegade” and “Pacific Blue.” Bigelow most recently wrote for the NBC-TV series “Grimm.” He has also written longer form for Lifetime, and is in pre-production on a movie for them called “A Date to Die For.” He has sold screenplays to Disney, Universal and Lionsgate. In another life, he worked at the City Desk of the New York Post. Bigelow currently resides in Los Angeles. Leap Year is his first play. James W. Bilnoski first season (Lighting Designer for Master Class and Heroes; Electrician/Carpenter) Lighting design credits S&Co: King John, The Liar. Pensacola Shakespeare Festival: The Taming of the Shrew. Youth Opera of El Paso: Les Miserables, Godspell. 2010 summer performance of TEXAS, a musical drama. James is a lighting designer based out of Colorado. He received a B.S. in lighting design from West Texas A&M and continued lighting design studies at The University of Arkansas. David BlacK (Playwright, Studio Series’ An Impossible Life) is an award-winning journalist, novelist, screenwriter, and producer. His novel Like Father was named a notable book of the year by the New York Times and listed as one of the seven best novels of the year by the Washington Post. Among the television shows he has produced and written are the Sidney Lumet series “100 Centre Street”, which was listed as one of the 10 best shows of the year, the Richard Dreyfuss series “The Education of Max Bickford”, “Monk”, “CSI-Miami”, the new “Kojak’, “Hill Street Blues”, “Miami Vice”, “Law & Order: Criminal Intent”, “Law & Order: Trial By Jury”, the original “Law & Order”, which received an Emmy nomination for Best Dramatic Show and a Golden Globe nomination, and “Copshop”, an innovative PBS series filmed in one-take, three camera real time. He has published nine books

and over 150 articles in magazines, including The Atlantic, The New York Times Magazine, Harper’s, and Rolling Stone. ARIEL BOCK* twenty-ninth season (Woman in None But the Lonely Heart; Manager of Institutional Giving) A longtime member of Shakespeare & Company, Ariel has served as Artistic Associate and Casting Director. Her credits at Shakespeare & Company include Goneril in King Lear, Beatrice in Much Ado About Nothing, Elizabeth in Richard III, Audrey in As You Like It, Hippolyta in A Midsummer Night’s Dream, The Nurse in Romeo and Juliet, Mistress Quickly in Merry Wives of Windsor, Paulina in The Winters Tale, Ruth in Private Eyes, the woman in Laughing Wild, Arlene in Off the Map along with many others. At Mixed Company: Ramona in Zara Spook and Other Lures and Eileen in The Cripple of Inishmaan. A Designated Linklater Voice Teacher, she has taught voice for actors at Dartmouth, Smith, MIT, and at innumerable Shakespeare & Company workshops. Ariel has worked extensively with the Ensemble for the Romantic Century, playing Fanny Mendelsohn, Sonia Tolstoy and Anna Akhmatova among others.

She also curates the Wharton on Wednesday reading series at The Mount. THOMAS BRAZZLE second season (Bagot, Salisbury, York Servant in Richard II, Walter Henderson in Kaufman’s Barber Shop) S&Co: Duke of Burgundy in King Lear; Ensemble in The Tempest. Connecticut Repertory Theatre: Hairspray, His Girl Friday, Romeo and Juliet, O Beautiful, and The Winter’s Tale. Alley Theatre: Peter Pan and I Barbara Jordan. Dallas Shakespeare: Taming of the Shrew, Julius Caesar. Huron Playhouse: Kiss Me Kate, I Remember Mama. Training: MFA Acting University of Connecticut. Bertolt Brecht (Playwright, Mother Courage) is best known for his plays and poems, in which he embraced anti-bourgeois themes and being forced from his native Germany. His other plays include the satirical musical The Threepenny Opera (1928) written with comoser Kurt Weill and The Caucasian Chalk Circle (1948). Patrick Brennan tenth season (Set Designer for Mother Courage, Master Class, Heroes, The

KAREN BEAUMONT*

MARK BEDARD*

JAKE BERGER

KIKI BERTOCCI

ARIEL BOCK*

THOMAS BRAZZLE

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Who’s Who from page 149 Beauty Queen of Leenane, Accomplice, and It’s A Wonderful Life: A Live Radio Play; Props Master) Patrick is happy to be back to provide all props for the 2013-14 season. He is very busy. He has to get back to work. Joe Cacaci† first season (Director of Studio Series’ An Impossible Life) is the founding director of East Coast Arts, where he produced twenty world premiere plays over seven seasons, and the Producing Director, with Dan Lauria, of The Playwrights Kitchen Ensemble in L.A. from 1993 to the present, where over 500 new plays have been given staged readings in the Monday Night Reading Series. Joe coproduced David Mamet’s Obie-winning play, Edmond at the Provincetown Playhouse. His own plays have been produced at The Public Theater, The Coconut Grove Theatre (where he also directed), The Long Wharf Theater, and at The Alley Theatre in Houston. He has directed

at The Westport Playhouse and commercially in Los Angeles. He has written numerous madefor-television movies and co-created the CBS prime time series “The Trials of Rosie O’Neill.” He was executive producer (show runner) of two prime time series: Showtime‘s “The Hoop Life” and CBS’ “The Education of Max Bickford”, which starred Richard Dreyfuss and Marcia Gay Harden. He directed the PBS pilot “Cop Shop”, which starred Richard Dreyfuss and Blair Brown. Currently, Joe teaches television writing in the graduate program of the Film School at Columbia University. CAROLINE CALKINS third season (Hermia/ Starveling/Faerie in A Midsummer Night’s Dream, Celie in Les Faux Pas; Riotous Youth Faculty) S&Co: the New England tours of A Midsummer Night’s Dream and Macbeth (Witch 1/Lady Macduff), King Lear, The Venetian Twins (Columbina), Shakespeare and the Language

KEVIN G. COLEMAN

CAROLINE CALKINS

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that Shaped a World. Fall Festival of Shakespeare Director, 2011-12. Caroline first came to S&Co as a member of Shakespeare & Young Company 2006. BA: Brown University. Other training: NTI, SITI Company. Joe Cerqua^ second season (Composer/ Sound Designer for Leap Year and Accomplice) is a freelance composer, sound designer, and producer. S&Co: composer/designer for Parasite Drag. He has composed music for over 250 productions nationally and internationally. Regional: American Players Theatre: The Royal Family, The Taming of the Shrew, The Circle, The Plays the Thing, Ahh Wilderness. Steppenwolf: Side Man, The Royal Family, Uncle Vanya, Wedding Band, The Fall to Earth, Homebody Kabul. Also productions at the Goodman Theatre, the Alliance, Mark Taper Forum, BAM, Oregon Shakespeare Festival, Berkshire Theatre Festival, Deaf West, Kansas City Rep, Cleveland Playhouse and others. Kevin Clutz* first season (Stage Manager for Kaufman’s Barber Shop and None But The Lonely Heart) Graduated from Santa Fe University of Art & Design in 2011 with a BFA in Theatrical Design / Technical Theatre emphasis in Stage Management. Off Broadway: Around The World in 80 Days (Aaron Grant Theatrics), Off-Off: The Drowning Girls (Strange Sun Theater) ,From White Plains (Fault Line), Unusual Love Life of Bedbugs and Other Creatures (Jamie Richards, Ensemble Studio Theatre), Brunch Series 2011-2012 (EST), Asking For Trouble 2011 (EST). Regional: Sound of Music (Chuck Abbott, Surflight), I Love You, You’re Perfect,

Now Change (Chris Sutton, SL), Steel Magnolias (Robin Irwin, SL). KEVIN G. COLEMAN founding member (Director of Heroes; Director of Education) teaches text analysis, stage combat, clown and directing. Kevin has been a guest teacher or 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 Distinguished Artist Award for Theatre from the Massachusetts Arts Alliance. Outside the Education Program, Kevin is the Theatre Director

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at the Austen Riggs Center where he has directed over 30 productions. Kevin holds degrees from St. Louis University and NYU. Wolfe Coleman twelfth season (Aumerle/ Berkeley/Fight Choreographer, Richard II) first appeared in Macbeth performed at the Mount in 1996. Since then he has had many sword fights, 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 the Company were had with the Very Young Company, the most riotous of youths. He currently lives and works in Los Angeles. ANNIE CONSIDINE second season (Puck/ Egeus/Philostrate/Snug in A Midsummer Night’s Dream). S&Co: Actor/Assistant Stage Manager for 2013 Northeast Regional Tour, Toad of Toad Hall (Badger/Weasel Girl), Twelfth Night (Sailor). International Voices Project: Night (Gloria). Training: Bachelor’s degree in

WOLFE COLEMAN

Theater and Performance Studies from the University of Chicago. Merry Conway founding member (Warden of Wit, Love’s Labour’s Lost; Training Faculty, Originating Clownmaster) has explored comedy for the past 37 years (www.merryconway.com). She received an NEA grant to study clown and fool in Shakespeare through Shakespeare & Company. Recently co-directed Wittenberg, Portland Stage; developed Wit and Wordplay course taught at NYU Tisch; performed and taught clown, created large-scale devised performance/installation for 20 years as Conway & Pratt Projects (www. conwayandprattprojects.org). Still laughing.

(Alice), Phantasie (Leah), The Bald Soprano (Mrs. Smith); Theater Barn: The Hollow (Lady Angkatell); Also Lettice and Lovage; Enchanted April; Three Viewings; The Cocktail Hour; WAM 10x10on10, New Play Reading BTF. Alumna of S&Co’s Month-long Intensive.

(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 Hound, Twelfth Night, The 39 Steps, Julius Caesar, Romeo &

Joan Coombs second season (Betty in Leap Year) S&Co: The Tale of the Allergist’s Wife (Frieda), Tartuffe (Mme. Pernelle). Hubbard Hall: All My Sons (Kate); Curtain Call: Death of a Salesman (Linda), The Last Romance (Rose); Aglet Theatre Co: Dance of Death

JONATHAN CROY* twenty-eighth season (John of Gaunt in Richard II, Morris in Kaufman’s Barber Shop, Ensemble in It’s a Wonderful Life: A Live Radio Play, Director of A Midsummer Night’s Dream and Romeo & Juliet; Artistic Associate). A Company member since 1982, Jon has played more than 70 roles in over 60 plays, including King Lear (Gloucester), The Hound of the Baskervilles (Watson), Rough Crossing (Turai), The Merry Wives of Windsor (Dr. Caius), Much Ado About Nothing (Don Pedro), Henry V (Pistol/French King), The Tempest (Caliban), The Complete Works…(abridged) (Jon), Twelfth Night (Orsino), Richard III (Buckingham), A Midsummer Night’s Dream (Bottom), Comedy of Errors

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Who’s Who from page 151 Juliet and Scapin, along with many New England Tours, Shakespeare in the Courts programs, Summer Institute productions, Young Company projects, and more than 40 others in Schools’ 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. Jared Culverhouse first season (Assistant Director, The Beauty Queen of Leenane) is

about to embark on his second year in the MFA Directing program at UMass, Amherst. Originally from Texas, Jared lived and worked in NYC founding the award-winning theatre company, Working Man’s Clothes. He has worked as both an actor and director, earning his BFA in acting from Texas State University. He is honored to work on this production with such incredible artists. An enormous thanks Gina Kaufmann and to everyone at Shakespeare & Co. Maxwell Dakin second season (Ensemble/ ASM in Les Faux Pas, Riotous Youth Intern) Max first became a part of S&Co. with the Shakespeare & Young Company 2011, performing in Distract and The Boys of York. This is his second year working with the Riotous Youth team. He is a proud graduate of Phillips Exeter Academy and is currently studying at St. John’s College.

ROGER DANFORTH† first season (Director of Studio Series’ Foreclosure) Artistic director of Drama League Directors Project. Previous: literary manager & acting artistic director Cleveland Play House. Artistic staffs: Berkshire Theatre Festival, Urban Stages, Manhattan Ensemble Theatre. Director: Classics and many new plays by Alan Ball, Lydia Stryk, Jules Feiffer, Murray Schisgal, Jo Carson, Larry Loebell. World Premiere of Seth Greenland’s Jungle Rot received Steinberg New Play Citation, published in The Best Plays of 1995-1996. American Premiere of Stephen Massicotte’s The Oxford Roof Climber’s Rebellion at Urban Stages which transferred to Albany’s Capital Rep. JOHNNY LEE DAVENPORT* thirteenth season (Lord Marshal/Earl of Northumberland in Richard II). S&Co: As You Like It, The Winter’s

Tale, Richard III, Twelfth Night, Hamlet, King Lear, Much Ado About Nothing, Henry V, Macbeth, Romeo and Juliet (2000 & 2011), Love’s Labour’s Lost, The Lear Project, The Millionairess, Women of Will II, Merry Wives of Windsor, Measure For Measure, and Othello. Most recently, Mr. Davenport shared the 2013 Helen Hayes Award for Best Ensemble for the Studio Theatre and Huntington Theatre Company co-production of Invisible Man. He also played Sam in Gloucester Stage Company’s Master Harold. . .and the boys (IRNE Nominations for Best Actor and Best Ensemble) and Prospero in the Tennessee Shakespeare Company and Walla Walla Shakespeare coproduction of The Tempest. In 2011, he was named Best Actor in Boston Magazine’s “Best of Boston” issue. Film credits include Ted, The Fugitive, and U.S. Marshals. His stage career spans 115 plays in 15 states and four countries, and he has played more than 50 roles in 24 of Shakespeare’s plays. Richard II takes him one step closer to his goal of completing the canon. Visit www.johnnyleedavenport.com for upcoming performances. Vincent Delaney (Playwright, Studio Series’ Foreclosure) Vincent Delaney’s plays have been produced and commissioned at theatres around the US, including the Guthrie, ACT, and the Humana Festival, as well as in Canada, Japan, and the UK. 99 Layoffs originated at ACT, and will be produced in Amsterdam this

JARED CULVERHOUSE

MAXWELL DAKIN

JOHNNY LEE DAVENPORT*

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Who’s Who from page 152 summer. Ampersand won the 2013 Reva Shiner Comedy Award from the Bloomington Playwrights Project. Other awards include McKnight and Bush Fellowships, Core Membership at the Playwrights Center, the Heideman Award, and a Jerome Commission. He is a resident playwright at Seattle Repertory Theatre. DAVE DEMKE* twelfth season (Rob in Leap Year) S&Co: Ladies Man (Etienne), King John (Salisbury), Merry Wives (Master Slender); Director: Measure for Measure, Two Gentlemen of Verona, Turn of the Screw. Other acting credits: Midsummer (Bottom) at NACTA in Beijing, China; The Dick and the Rose (Sleeper), Edinburgh Fringe Festival; Sandwalk (Darwin), University of Maryland; Directing Fellow at Arena Stage, Washington, DC; writer and

DAVE DEMKE*

Susan Dibble

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director of Sacred Soil. MFA in Performance, University of Maryland. Susan Dibble thirty-second season (Choreographer for Love’s Labour’s Lost, DibbleDance: SWAY) Choreographer, teacher, dancer, painter, Professor Susan Dibble is the Barbara Sherman ’54 and Malcolm L. Sherman Chair of the Theater Arts Department at Brandeis University. 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. Susan was a participant in the first January Intensive in 1979. She is the director of Susan Dibble Dance Theater and has performed in her work for over 35 years in

ALEC DONALDSON

EDMUND DONOVAN

New York, Massachusetts, and Vermont as well as numerous times at Shakespeare & Co. in the program DibbleDance. Susan has choreographed for the Actors Shakespeare Project, Berkshire Theatre Festival, Merrimack Repertory Theatre, Manhattan Theatre Club, The 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. Shakespeare Honors the Three Centers of the Body is an article written by Susan Dibble in Movement for Actors published by Allworth Press. Susan received the 2006 Leonard Bernstein Festival of Creative Arts Award for Distinguished Contribution to the Arts at Brandeis.

Timothy Douglas†

APOLLO DUKAKIS*

Alec Donaldson first season (Tony in Master Class) Regional: Opera Per Tutti: The Mikado (Pish Tush). Baldwin-Wallace Conservatory: Don Giovanni (title role), La Boheme (Schaunard). University of Maryland: La Boheme (Parpignol). Training: BM in Vocal Performance from BaldwinWallace College, Conservatory of Music. MM in Opera Performance anticipated 2014 from University of Maryland. Edmund Donovan first season (Ray in The Beauty Queen of Leenane) New York: Hot Fun in the Summer Time (Cherry Lane), Authentic Lesbian Cuisine (Manhattan Repertory Theatre); Regional: Macbeth (Actors’ Shakespeare Project), One Minute Play Festival (Boston Playwrights’ Theatre), Good (Boston Center for American Performance), A Christmas Carol (Hanover Theatre). Edmund has done readings and workshops with LABrynth Theatre Company, and CRASH Theatre. Training: BFA Boston University; LAMDA. TIMOTHY DOUGLAS† founding member (Director of Richard II). S&Co: King Lear (Oswald), Tempest (Trinculo), Antony & Cleopatra (Soothsayer), A Midsummer Night’s Dream (Starveling), Shakesquad & Clown Co. (Sandefur Yellow), As You Like It (LeBeau, Amiens, Hymen), All’s Well That Ends Well (King), and Blue/Orange (director). Staged the world premieres of August Wilson’s RADIO GOLF (Yale Rep), Rajiv Joseph’s The Lake Effect (Silk Road Rising), three Humana Festival plays (Actors Theatre of Louisville, associate artistic director), as well as Trip To Bountiful (Cincinnati Playhouse in the Park, associate artist), Bronte: A Portrait of Charlotte (off-Broadway), and projects for the Guthrie, Steppenwolf, Center Theatre Group, American Conservatory Theater, Berkshire Theatre Festival, National Theater of Norway, and many others. Timothy is a Linklater voice instructor and has taught at USC, Emerson College and New Zealand Drama School. MFA: Yale School of Drama. APollo dUKAKIS* second season (The Chaplain in Mother Courage) S&Co: The Tempest (Gonzalo). Apollo has been a professional actor for over forty years. He has appeared extensively in regional theaters across the country including

Actors Theater of Louisville, Trinity Repertory Company, Cleveland Playhouse, Mark Taper Forum, Williamstown Theater Festival, Dallas Theater Center, Denver Theater Center, Pasadena Playhouse, The Hollywood Bowl, The Getty Villa, Arizona Theater Company, and American Conservatory Theater. He is a co-founder and was Associate Artistic Director, actor, director, and teacher with the Tony-nominated The Whole Theater of New Jersey for fifteen years. In Los Angeles, as a resident artist since 1995 with the award-winning A Noise Within, he was Sir Toby Belch in Twelfth Night, Argan in Imaginary Invalid, Vandergelder in The Matchmaker, and Mangan in Heartbreak House among others. He was Lear in King Lear and Shylock in Merchant Of Venice for Shakespeare Santa Monica. As a member of L.A.’s Antaeus Classical Theater Company he was the King in Exit The King, John in Rhinoceros, and the father in Pera Palas (L.A.Drama Critics Award, Ovation Award nomination). T.V. appearances include “Seinfeld” and “E.R.” and

in film he was seen in The Last Action Hero and American Heart with Jeff Bridges. olYMPIA dUKAKIS* third season (Mother Courage in Mother Courage) S&Co: The Tempest (Prospera). Actress, director, producer, teacher, activist, and most recently, author of the bestselling Ask Me Again Tomorrow. Academy Award Best Supporting Actress, BAFTA Film Award, Los Angeles Film Critics Award, and Golden Globe Award for Moonstruck. Broadway: Rose (Drama Desk Nominee). London: Rose (Royal National Theatre), Credible Witness (Royal Court). OffBroadway: Singing Forest, The Marriage of Bette and Boo (Obie Award), Curse of the Starving Class, Titus Andronicus, A Man’s A Man (Obie Award), Electra and Peer Gynt at the Public Theatre. She has performed in over 130 productions Off-Broadway and regionally at theatres including A.C.T., Shakespeare in the Park, Shakespeare & Company, and the Williamstown Summer Theatre Festival, where

she also served as Associate Director. Founding member and Producing Artistic Director of the Whole Theatre in Montclair, NJ for 19 years; also a founding member of the Actor’s Company and the Charles Playhouse, both in Boston. She taught acting at New York University (graduate school) for fourteen years and teaches master classes for colleges and universities across the country. Film: Cloudburst (most recent), Mr. Holland’s Opus, Steel Magnolias, Dad, Look Who’s Talking I, II & III, Mighty Aphrodite, among many others. Television: “Last of the Blond Bombshells” (Judi Dench), “Tales of the City”, “More Tales of the City”, and “Further Tales of the City”, among many others. Jessie Earl second season (Stage Manager for Les Faux Pas; Company Manager; Riotous Youth Faculty; Personal Assistant to Olympia Dukakis) At S&Co., Jessie has worked in the Communications Department, directed in the Fall Festival, and Stage Managed Tartuffe the

Imposter and The Liar. Regional: Advice To The Players; Julius Caesar School Tour (Calphurnia), The Comedy of Errors, The Winter’s Tale (Time), As You Like It (LeBeau). Jessie has also served as an educator and production stage manager with ATTP since 2007. Jessie received her BA in Theatre Arts from Plymouth State University. This fall, Jessie is getting married on the Tina Packer Playhouse stage. Beverly Emmons first season (Lighting Designer for None But the Lonely Heart) Broadway: Stick Fly, Annie Get Your Gun, Jekyll & Hyde, The Heiress, Passion, Amadeus and The Elephant Man. Off B’way: Joseph Chaikin, Robert Wilson and Meridith Monk. Regionals: the Guthrie, Arena Stage, The Alley in Houston, Children’s Theatre of Minneapolis. Dance: Martha Graham, Trisha Brown, Alvin Ailey, Merce Cunningham. Awards: one Tony award, seven Tony nominations, a 1976 Lumen, a 1980 Obie, Theatre Wing awards. 6 years with the ERC. Jonathan Epstein* twenty-first season (Gustave in Heroes; Man in None But the Lonely Heart) S&Co: King Lear, Leontes, Stephano, Touchstone, Dogberry, Benedict, Puck, Brutus, Jaques, Shylock and dozens of others. Most recently played the title roles in Titus Andronicus for Orlando Shakespeare Theater and The Jewish Jester for New Stages. This fall he will join the faculty of the Asolo/FSU Conservatory, teaching Shakespeare performance to the second-year MFA candidates, a position made possible by the Elayne P. Bernstein Fund. He is married to actress Ariel Bock.

OLYMPIA DUKAKIS*

BEVERLY EMMONS

JONATHAN EPSTEIN*

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Who’s Who from page 155 KElly Galvin sixth season (Maria in Love’s Labour’s Lost, Education Program Faculty) S&Co: King Lear (Cordelia), The Learned Ladies (Henriette), The Venetian Twins (Beatrice), The Winter’s Tale (Perdita), Les Liaisons Dangereuses (Tourvel), Shakespeare & the Language that Shaped a World, Fall Festival of Shakespeare Director, 2008-2012. Kitchen Theatre: Secret Order (Alice). Boston Publick Theatre: Romeo & Juliet (u/s Juliet), Young Company Director 2007. Wellesley Summer Theatre Company: Playboy of the Western World (Pegeen Mike), Pride & Prejudice (Lydia Bennet—IRNE nomination). BA: Wellesley College. Daniel Gidron† fourth season (Director of Master Class). S&Co: Directed Golda’s Balcony (Lenox and Boston), Full Gallop. He was born in Israel, earned Fulbright and Wien Scholarships, and received his MFA from Brandeis University. Daniel has taught at Tel Aviv University, Hebrew University of Jerusalem, and Brandeis. He currently teaches at U Mass Boston. In Israel he has directed for Habimah National Theatre, Haifa Municipal Theatre, Arab Theatre in Israel (Accidental Death of an Anarchist), and Beersheva Municipal Theatre (Beauty Queen of Leenane). Directing credits in the USA include Peterborough Players, Lyric Stage Company of Boston, Gloucester Stage, Merrimack Repertory, Opera Boston, New Repertory Theatre, and Nora Theatre Company, where he serves as Associate Director. Recent productions include Groundswell, Or, The Chosen (Lyric Stage), Hysteria, Photograph

KELLY GALVIN

51, The How and the Why (Nora). His production of Arabian Nights (a co-production of Nora and Underground Railway Theater) won 2012 IRNE award for Best Direction. Katie Goodland fourth season (Dramaturge for Richard II) is Associate Professor of English at the City University of New York’s College of State Island where she teaches Renaissance Drama and Shakespeare. Previous dramaturgy includes: Richard III, The Taster, Women of Will, As You Like It, The Tempest (Shakespeare & Company), and Saint Joan (Bedlam, New York). She is the author of Female Mourning in Medieval and Renaissance English Drama (Ashgate 2006) and editor of A Directory of Shakespeare in Performance in North America (Palgrave 2007; 2011).

MARIA GRAY* first season (Stage Manager for Master Class) Maria’s favorite recent shows include: The Little Prince (ASM, Bristol Riverside Theatre/National Tour), Joe Turner’s Come and Gone (PSM, Plays & Players), Who Killed the King of Rock and Roll? (PA, Without A Cue), and Joy Cutler’s Pardon My Invasion (PSM, Plays & Players). Maria also works as an Electrician and General Stagehand for theatres and event companies in the Philadelphia and Delaware region. Much love to family and especially Nathan…oxox.

DANA HARRISON eighth season (Anselm in Les Faux Pas, Amanda in Private Lives) S&Co: The Liar (Isabelle/Sabine), The Learned Ladies (Philemente), As You Like It (Phebe); War of the Worlds (Melinda McGuire), The Real Inspector Hound (Lady Cynthia Muldoon), The Winter’s Tale (Emelia/Mopsa), White People (Mara Lynn Dodson), Othello (u/s-performed Desdemona), Scapin (Nerine), Shakespeare and the Language that Shaped a World (Lady Anne, Beatrice, Constance, Juliet), Cindy Bella (Clorinda), The Canterville Ghost (Lucretia Otis), Old Times in Celebrate Pinter (Anna); Audience Services Manager; Education Artist. Regional, local and London Fringe credits include: Taking Steps (Elizabeth Crabbe), Dancing at Lughnasa (Christina Mundy), Macbeth (Third Witch), The Tempest (Trinculo), King Lear (Goneral), WAM 24 hr theatre festivals, Play (The Wife). Film: All In the Game (Crystal Sullivan). Dana holds a Master’s degree from Emerson College.

DEBORAH GRAUSMAN* first season (Sharon in Master Class, Producer of Broadway in the Berkshires) Select credits: National Tour of Fiddler on the Roof (Chava) opposite Topol, Harvey Fierstein, Theodore Bikel. Off-Broadway: A Stoop on Orchard Street (Seama), The Flood— Prospect Theater Company, Regional: Peter Pan (Wendy)—Philadelphia Theater Critic Award Nomination. Deborah’s voice can be heard in national commercials for McDonald’s, Clearasil, Nintendo DS, and American Express. Graduate of Duke University and founder of Berkshire Musical Theater Workshop (BMTW), she has also performed at several S&Co galas including Tony ‘n’ Tina’s Wedding, the 35th Anniversary Gala and Broadway in the Berkshires. www.deborahgrausman.com.

CHARLS SEDGWICK HALL* fourth season (Boyet in Love’s Labor’s Lost, Sergeant and Colonel in Mother Courage) S&Co: Romeo and Juliet (Benvolio), The Comedy of Errors (Jailer), A Midsummer Night’s Dream (Philostrate, Mustardseed). A recent recipient of the 2102 LA Stage Alliance Ovation Acting Ensemble Award in a Musical for The Color Purple at Celebration Theatre. Regional: Southern California Shakespeare Festival—Twelfth Night (Feste), Much Ado About Nothing (Leonato), Hamlet (Ghost/Player King/Gravedigger). Celebration Theatre—The Next Fairy Tale (Mirror/Dragon), The Color Purple—The Musical (Preacher, Ol’ Mister, Ensemble). Downtown Repertory Theatre—The Firebugs (Gottlieb Biedermann), Romeo and Juliet (Friar Laurence). Quantum Theatre—Our Country’s Good (Harry Brewer/ Black Caesar). A Noise Within—The Little Foxes (Cal), Cymbeline (Lord/Jailer) A Christmas Carol (Ensemble). HapaLis Theatre—Three

Diane Healy* fifth season (Stage Manager for Love’s Labour’s Lost, Mother Courage) S&Co: The Tempest, Satchmo at the Waldorf, The 39 Steps, Women of Will, Romeo & Juliet, Hound of the Baskervilles, The Winter’s Tale, All’s Well That Ends Well. Recent NY credits: Hit The Wall, Tribes (Barrow Street Theatre), Painting Churches

Daniel Gidron†

DEBORAH GRAUSMAN*

CHARLS SEDGWICK HALL*

• • • • •

Frank Lloyd Wright School of Architecture

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Sisters (Chebutykin). Queensland University of Technology, Brisbane, Australia—Angels of Lemnos (Girtie Colter). A proud member of Actors’ Equity Association and holds an MFA from the NYU Graduate Acting Program.

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(Keen Company). Regional credits: You Better Sit Down: Tales from My Parents Divorce (The Civilians/Arts Emerson); Northern Boulevard, Judevine, Moon for the Misbegotten, Third, Tale of Two Cities (Oldcastle Theatre Company). Diane has worked at Bard College, East Tennessee State University & Green Mountain College. Love to Tini & Nick. Tyrone Mitchell Henderson* first season (Thomas Mowbray, Captain & Bishop of Carlisle in Richard II) has worked on the following plays with Timothy Douglas: The Trip To Bountiful, Radio Golf, Piano Lesson, Jitney, All My Sons, Art, and The Crucible. Tyrone’s New York credits include Bring In Da Noise, Bring In Da Funk first national tour, The America Play, The Tempest starring Patrick Stewart, Two Noble Kinsmen (all with NYSF), The Public Sings (City Center), Medea, Stonewall, Letters To The End Of The World (Theatre Row) and King Lear (EPBB). Other Regional credits: The 39 Steps, Enemy Of The People, Romeo And Juliet, Julius Caesar, Antony & Cleopatra starring Suzanne Bertish, (STC,D.C.), The Tempest starring Anthony Head, Much Ado About Nothing, Merchant Of Venice, Othello, Hamlet, Topdog/Underdog, Intimate Apparel, Gutenberg The Musical, Yellowman, Master Harold...and the boys, Angels In America, A Raisin In The Sun, and Blues For An Alabama Sky, opposite Phylicia Rashad. His television and film credits include “Boardwalk Empire”, “Suits (Pilot)”, “Law and Order”, “Law and Order—Criminal Intent”, “As The World Turns,” and

“All My Children”, “Ride For Your Life,” and “The Treatment.” Tyrone has received the following nominations and awards: Audelco Nominee, Dallas Theatre Critics Award and a Leon Rabin Award. www.tyronemitchellhenderson.com Rupert Holmes (Playwright, Accomplice) is a British and American composer, singersongwriter, musician and author of plays, novels and stories. He is best known for his number one pop hit “Escape (The Piña Colada Song)” (1979/1980) and the song “Him”, which reached the number 6 position on the Hot 100 U.S. pop chart in 1980. He is also known for his 1985 Tony Award-winning musical Drood (originally The Mystery of Edwin Drood) and his 2007 Drama Desk Award-winning book for the Broadway musical Curtains, and for his television series “Remember WENN”. ADAM HUFF first season (Demetrius/Bottom in A Midsummer Night’s Dream, Marketing Intern), S&Co: A Midsummer Night’s Dream (2013 New England Tour), Conservatory ‘12 (in King John as Philip the Bastard), Summer Training Institute ‘10. Adam is a graduate of Clarion University of Pennsylvania where he earned BFA Acting and BS Mass Media Arts and Journalism degrees. He is originally from the Pittsburgh area, where some of his credits include The Merry Wives of Windsor (Doctor Caius, Slender) and The Tempest (Sebestian, Stefano) with Pittsburgh Shakespeare in the Parks, Hamlet (Hamlet) with Three Rivers Theatre Company, Hamlet (Laertes)

with Poor Yorick’s Players, The Two Gentlemen of Verona (Valentine/Speed/Thurio) with Unseam’d Shakespeare Company, An Adult Evening with Shel Silverstein (Harvey/Dog) with Hart Chapel Theatre, and A Funny Thing Happened on the Way to the Forum (Marcus Lycus) with The Sawmill Theater. ELIZABETH INGRAM* seventeenth season (Duchess of Gloucester, Fitzwater & Groom in Richard II; Voice and Text Coach) 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.

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

MALCOLM INGRAM* eighteenth season (Phillipe in Heroes; Jesse Markowitz in Kaufman’s Barber Shop; Text and Vocal Coach) S&Co credits include: The Tale of the Allergist’s Wife (Ira), Romeo and Juliet (Lord Capulet), As You Like It (Adam), The Winter’s Tale (Old Shepherd), Rough Crossing

ELIZABETH INGRAM*

ADAM HUFF

MALCOLM INGRAM*

DANA HARRISON

Tyrone Mitchell Henderson*

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Who’s Who from page 157 Jennie M Jadow twelfth season (Mascarille in Les Faux Pas) S&Co: Comedy of Errors (Luciana), A Midsummer Night’s Dream (Fairy), Macbeth Spring Tour (Lady Macduff/Lennox), Scapin (Zerbinette), Toad of Toad Hall (Rat), Les Liaisons Dangereuses (Madame de Volanges), The Amorous Quarrel (Mascarille), As You Like It (Audrey), Learned Ladies (Belize). 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). New York Credits: Heights Players: Babes in Toyland (Mary). Gallery Players: Pirates of Penzance (Isabel). 92nd St Y: Diamonds and Jewels Cabaret (Soloist). www. JennieJadow.com TOM JAEGER ninth season (Director, Shakespeare & Young Company) S&Co: Director of SYCo 2011 & 2012, 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 Juliet (Peter), A Midsummer Night’s Dream (Snout and Tank the Dog). Three years as Co-Director/Faculty of Shakespeare & Young Company, Director for 18 productions for the Spring and Fall Festivals of Shakespeare.

Museum’s Costume Institute. Professor - Mount Holyoke College. Author of popular reference books, The Genealogy of Greek Mythology and Shakespeare’s Genealogies. Jordan J. Jones first season (Oberon/Theseus in A Midsummer Nights Dream; Production Associate) S&Co: As You Like It (Silvius). Regional: Connecticut Repertory Theater: HAIR (Margaret Mead / Tribe), Macbeth (Donalbain / Ensemble), Jonah’s Dream (Ensemble), The Skin of our Teeth (Homer / Ensemble). University of Connecticut Department Series: Marat/Sade (Jaques Roux), and A Midsummer Nights Dream (Theseus). Hartford Players: Urinetown (Officer Lockstock), Into the Woods (Rapunzel’s Prince), The Secret Garden (Dr. Neville Craven), and CHICAGO (Billy Flynn). Training: B.F.A. in Acting from the University of Connecticut. S&Co: ‘09 Intensive, and 2010 Conservatory Alumni.

VANESSA JAMES first season (Set & Costume Designer for None But the Lonely Heart) Designs include seven productions for the Joseph Papp Public Theatre; residencies New York Art Theatre, The Ensemble for the Romantic Century; off-Broadway The Red Robins (Kenneth Koch), Chambers (Arthur Penn). Films include Brand X (Andy Warhol), King of Comedy (Martin Scorsese). Two Emmy nominations for Art Direction. Her designs in plastic and paper are in the collection of the Metropolitan

DAVID JOSEPH eighth season (Dumaine/Fight Captain in Love’s Labour’s Lost, Ensemble in It’s A Wonderful Life: A Live Radio Play; Elyot in Private Lives Director of Sales & Special Events) S&Co: Sebastian in The Tempest, Dorante in The Liar, Tonino/Zanetto in The Venetian Twins, 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, five 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 credits include: All In The Game, Deathcam, and Get Your Act Together. Feature films include, Glowing Screen Productions Magdalena’s Brain and Ang Lee’s Taking Woodstock. David moved back from NYC where he was in many OffBroadway shows and a national tour of Man of

JENNIE M. JADOW

VANESSA JAMES 158

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La Mancha. In 2008 and 2010, David sang the National Anthem at Fenway Park. Lee Kalcheim (Playwright, Studio Series’ Johnson Lives!) Lee Kalcheim is an Emmy Award-winning screenwriter and playwright who has written for “All in the Family”, “N.Y.P.D.” and others. His plays include Defiled, Breakfast with Les and Bess, and Friends. Sean Kazarian third season (Trufaldin in Les Faux Pas; Concessions Manager) S&Co: Macbeth (Macbeth-NE Tour), Julius Caesar (Brutus), Romeo and Juliet (Mercutio/Capulet/ Sampson). NY Credits include: Treasure Island with the Directors Company. Readings/ workshops at The Flea, Naked Angels, and The New Group. Regional Credits Include: Much Ado About Nothing with Montana Shakespeare in the Parks. Twelfth Night with Salt Lake Shakespeare. A Christmas Carol and Cyrano de Bergerac with Milwaukee Repertory Theater. And Julius Caesar and Enchanted April with Pioneer Theater Company. Training: University of Utah Actor Training Program. MARCUS KEARNS third season (Andres in Les Faux Pas; Production Associate) Education Artist, Technician, and Actor: Shakespeare & Company’s Educational residencies, Spring Young Company, and the Fall Festival of Shakespeare. Constructed sets for The Liar, The Tempest, King Lear, Learned Ladies, Tartuffe, Macbeth, Hamlet, and Twelfth Night. Training: S&Co Month Long Intensive 2012, Franklin Pierce University.

Richard III, The Taster, As You Like It, The Hound of the Baskervilles, The War of the Worlds, The Santaland Diaries, King Lear. Regional: Long Wharf Theatre, Wilma Theater, The Public Theatre, McCarter Theatre, New Repertory Theatre, Hangar Theatre, George Street Playhouse, Stonington Opera House Arts, CLOC. Education: M.A from University of Toronto and B.A. from Ithaca College. Member of Actors’ Equity Association. SCOTT KILLIAN eighth season (Composer/Sound Designer for Mother Courage) S&Co: As You Like It, Merry Wives of Windsor, Hamlet, Othello, Richard III, The Taster, Romeo and Juliet, The Tempest. Resident Composer/Sound Designer Berkshire Theatre Festival since 1997(over 30 productions); Off-Bway: Manhattan Theatre Club: Sarah, Sarah, Five by Tenn, A Picasso (Lortel nom.), The Other Side; Red Bull: Volpone, Duchess of Malfi, Women Beware Women, Edward the Second; MCC: Side Effects; Rattlestick: Steve and Idi, Miss Julie; New York Theatre Workshop: A Forest in Arden. Regional Theatres: Alley Theatre, Cleveland Playhouse, George Street Playhouse, Seattle Rep, Westport Playhouse, Shakespeare Theatre (DC), Alabama Shakespeare Festival, Huntington Theatre, Cincinnati Playhouse-in-thePark, Geva Theatre, Theatre Calgary, Vancouver Playhouse (“Jessie Award” for Outstanding Sound Design). Many collaborations with choreographers, including Shapiro and Smith, Zvi Gotheiner, Cherylyn Lavagnino, Murray Louis, Johannes Wieland.

HOPE ROSE KELLY* tenth season (Stage Manager for Richard II, Accomplice, It’s A Wonderful Life: A Live Radio Play, Assistant Stage Manager for Love’s Labor’s Lost; Second Stage Manager for Mother Courage; Production Stage Manager) S&Co: Rough Crossing, Blue/ Orange, The Ladies Man, Othello, Twelfth Night,

DENNIS KRAUSNICK founding member (Director of Training; Board of Trustees; Summer Training Institute faculty) Krausnick played the title role in King Lear at S&Co last summer and at other theaters on three previous occasions. He teaches and directs in theater programs across the country as well as designing and leading the actor-training programs for S&Co; long-time audience members will remember his adaptations of the fiction of

JORDAN J. JONES

SEAN KAZARIAN

Edgar Landa*

DAVID JOSEPH

MARCUS KEARNS

DENNIS KRAUSNICK*

Edith Wharton performed over two decades in the Salon of The Mount during Shakespeare & Company’s time there. Edgar Landa* fifth season (Fight Choreographer & Don Armado in Love’s Labour’s Lost, Ensemble in Mother Courage) Regional: Son of Semele Ensemble - What The Moon Saw (Ensemble); Shakespeare Orange County – Taming of the Shrew (Grumio), The Tempest (Ariel); Florida Studio Theatre – The Lieutenant of Inishmore. Fight credits: Los Angeles: The Nether (CTG/Kirk Douglas Theatre), The Motherf*cker With The Hat (South Coast Repertory), Helen (Getty Villa), The Lieutenant of Inishmore (Florida Studio Theatre). S&Co: Romeo & Juliet. Edgar is a long-time company member of Son of Semele Ensemble in Los Angeles. Faculty: USC School of Dramatic Arts. Training: USC School of Theatre. Edgar is an extreme/endurance race athlete and Death Racer. He writes about his

adventures on his blog (www.mymuddyshoes. wordpress.com). Joe Landry (Adapter, It’s a Wonderful Life: A Live Radio Play) Joe’s published plays include It’s a Wonderful Life: A Live Radio Play (named one of the top ten most produced plays in America by American Theatre magazine), Vintage Hitchcock and Reefer Madness. Other works for stage include Lifeboat, Dahling! (with Bert Bernardi) and the musical Mothers and Sons (with Kevin Connors). He is founder of Second Guess Theatre Company in Westport, CT, where he produced and directed over two dozen original plays. Paula Langton* fifth season (Holofernes in Love’s Labour’s Lost, Yvette Pottier & Ensemble in Mother Courage) S&Co: The Tempest (Miranda), The Mysteries (Mrs. Noah), Much Ado About Nothing (Beatrce). Curriculum development & directing — elementary schools program. Master

Linklater Voice Teacher- January Intensive. Actors’ Shakespeare Project: Middletown, Twelfth Night, Othello, The Winter’s Tale, King Lear, Measure for Measure, Henry V, All’s Well That Ends Well, Richard III. Recent Credits: Amadeus (New Rep), Bakersfield Mist (New Rep, Wellfleet Harbor Actor’s Theatre), The Effect of Gamma Rays on Man-in-the-Moon Marigolds, Good (BCAP), Monster, A Question of Mercy (The Atlantic II & PTP/NYC), The Glass Menagerie (The Olney Theatre Center), Trojan Barbie, Donnie Darko (American Repertory Theatre). Boston Playwrights’ Theatre, Los Angeles Women’s Shakespeare Company, La Mama e.t.c. Currently: Head of Acting at Boston University. Junghyun Georgia Lee^ first season (Set Designer for Love’s Labour’s Lost and Richard II) Junghyun Georgia Lee is a set and costume designer based in New York City. She collaborated with many directors, playwrights

and choreographer across US, Europe and South Korea. She designed for Cedar Lake Contemporary Ballet, The Juilliard School, American Players Theater, Milwaukee Rep, Playmakers Rep, Syracuse Stage, TheaterworksUSA, The Play Co., Sungnam Art Center (Korea) and National Theater of Korea. She received MFA from Yale School of Drama and is a founding member of Chance Magazine for theater design. Rachel Leslie* first season (The Queen, Harry Percy, the Keeper in Richard II) NY credits include: Nightlands (New Georges), The Conscientious Objector (Keen Company), Women of Orleans (HERE). Regional theatres Ms. Leslie has appeared at include: The Repertory Theatre of St. Louis, The Folger, The Shakespeare Theatre, Cleveland Playhouse, Cincinnati Playhouse in the Park, The Shakespeare Festival of St. Louis, Milwaukee Repertory Theatre, Geva, Indiana Rep, The Guthrie, Syracuse Stage, Roundhouse Theatre, The Berkshire Theatre Festival and Actor’s Theatre of Louisville. Film and TV credits include Quietly, “666 Park Avenue” and “Law & Order”. Rachel holds an MFA from Temple University. Regge Life† first season (Director of Kaufman’s Barber Shop) is pleased to be directing for Shakespeare & Company. His first productions include I Just Stopped By To See The Man for Milwaukee Rep, Yellowman and Gem Of The Ocean for Pittsburgh Public Theater, Ghosts for the Pearl Theater, Piano Lesson for Virginia Stage Company, Railroad Bill at the Chester Theater Company, A Walk In The Woods at Capital

PAULA LANGTON*

RACHEL LESLIE*

Regge Life†

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Who’s Who from page 159 Rep, Rebel Armies Deep Into Chad, Laurence Fishburne’s Riff Raff and Arthur Miller’s The American Clock for the Juilliard School and Living In The Wind and Do Lord Remember Me at The American Place Theatre (its longest running show). Other credits include Mango Tango for the Public Theater and They Were All Gardenias for the Theater at St. Clements. Alexandra Lincoln sixth season (Jaquenetta in Love’s Labours Lost) S&Co: The Liar (Clarice), The Learned Ladies (Armande), Shakespeare and the Language That Shaped a World (Lady Anne, Beatrice, Cleopatra), The Venetian Twins (Rosaura), The Real Inspector Hound (Felicity), Les Liaisons Dangereuses (Emilie), Twelfth Night (Maria u/s-performed/Ensemble), The Canterville Ghost (Washington). Local productions include: New Stage: Fahrenheit 451 (Clarice), Ghent Playhouse: Dancing at Lughnasa (Agnes), Lavender Door Theatre: Cymbeline (Posthumus), Alice in Wonderland (March Hare). Govane Lohbauer thirty-third season (Costume Designer for Master Class, Love’s Labour’s Lost,

ALEXANDRA LINCOLN

Kaufman’s Barber Shop; Costume Director) Selected credits at S&Co: King Lear, The Liar, The Learned Ladies, Women Of Will, The Hound of the Baskervilles, 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 Faculty/Designer, Simon’s Rock of Bard College: Cloud Nine, Our Country’s Good, Suddenly Last Summer. ROBERT Lohbauer* seventeenth season (Henri in Heroes, Jake in Kaufman’s Barber Shop; Weapons Master) S&Co: Mengelberg and Mahler (Willem Mengelberg), The Venetian Twins (Dr. Balanzoni), Twelfth Night (Curio/Priest), The

Robert Lohbauer*

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 Montague), Woman in Black (character men), Glimpses of the Moon (Lord Streffington), Private Eyes (Frank). Regional: Hamlet (Polonius) at Tennessee Shakespeare Company, The Jewish Jester (King), 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 Mockingbird (Judge Taylor/ Walter Cunningham). Lisa Loomer (Playwright, Studio Series’ The Waiting Room) is a playwright and screenwriter who has also worked as an actress and standup comic. She co-wrote the screenplay for the film Girl Interrupted. Loomer is an alum of the New Dramatists and was a 1985 playwright-inresidence at the Intar Theatre in New York City. Many of her plays deal with the experiences of Latinos and Hispanic-Americans, and with various aspects of contemporary family life.

The Waiting Room and Living Out are taught in university drama programs, Women’s Studies programs, and Latino Studies programs. JOJO MCDONALD first season (ASM/Ensemble in Les Faux Pas; Riotous Youth intern) Shakespeare & Young Company: The Comedy of Errors (Luciana), Hamlet (title role), The Tempest (Ferdinand), Twelfth Night (Olivia), Measure for Measure (Duke Vincentio). Williams College: The Infernal Project (Lust), The Worker (Woman), East O West O (August). JoJo is an English and French double major at Williams College, class of ‘14. She is thrilled to be returning to Shakespeare & Company after spending many years as a participant in Riotous Youth as well as the Fall Festival of Shakespeare. Nicole Marconi* first season (Stage Manager for The Beauty Queen of Leenane) Stones in His Pockets (SM; Yale Repertory Theatre), Langston Hughes Festival (PSM; Yale School of Drama), American Night: The Ballad of Juan Jose (ASM; Yale Repertory Theatre), Page 73: New Haven Workshop (SM; New Yale University), YIMT: Mortality Play (SM; Off Broadway Theater, New Haven), Fen (ASM; Yale School of Drama), The Winter’s Tale (ASM; Yale Repertory Theatre), Cymbeline (SM; Yale School of Drama), The Rake’s Progress (ASM; The Princeton Festival). MFA in Stage Management from Yale School of Drama. Raphael Massie first season (Assistant Director of Mother Courage; 2013 Drama League Classical Fellow) England: Elysium Theatre: Wars of the Roses: Richard II-Richard III (various); Northcott Theatre: Measure for Measure (director); Exeter Fringe: Titus Andronicus (director). Regional: Southern Connecticut State University: Julius Caesar (director); Elm

JOJO MCDONALD

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Shakespeare: Art (Ivan), Hamlet (Horatio), Three Musketeers (Porthos), Much Ado About Nothing (Don Pedro); Oak Park: Othello (title role); Godlight: Macbeth (Macduff), Romeo and Juliet (Mercutio). Training: BA Theatre/BS Elementary Education from SCSU, MFA Staging Shakespeare from the University of Exeter. JOSH AARON MCCABE* eighth season (Eilif in Mother Courage; Sir Nathaniel & understudy for Berowne in Love’s Labour’s Lost; Jon in Accomplice; Ensemble in It’s A Wonderful Life: A Live Radio Play) S&Co: Clown in The 39 Steps, Gene in Parasite Drag, Sherlock Holmes (and others!) in The Hound of the Baskervilles, Oliver in As You Like It, Pierson in War of the Worlds, 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 the New York Times critically acclaimed Peep Show at Actor’s Playhouse. Regional theatres include Madison Repertory Theatre, Forward Theater, 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 be a part of S&Co’s Education Dept., directing Shakespeare projects in schools, as well as Director of Shakespeare in the Courts. Josh received his

MFA in Acting from The University of WisconsinMadison and is a member of AEA & SAG- AFTRA MARTIN MCDONAGH (Playwright, The Beauty Queen of Leenane) Plays: The Pillowman (Tony nominee, Best Play 2005; Olivier Award Winner 2004), The Lieutenant Of Inishmore (Olivier Award Winner, Best Comedy 2003), The Beauty Queen Of Leenane (Tony nominee, Best Play 1998), The Lonesome West (Tony nominee, Best Play 1999), A Skull In Connemara, The Cripple Of Inishmaan, The Banshees Of Inisheer, The Retard Is Out In The Cold, Dead Day At Coney. Other works include Barney Nenagh’s Shotgun Circus, Suicide on Sixth Street, In Bruges, Seven Psychopaths, Six Shooter (Oscar, Best Short 2006). Terrance McNally (Playwright, Master Class) was awarded the Dramatists Guild Lifetime Achievement Award in 2011. He is the winner of Tony Awards for his plays Love! Valour! Compassion! and Master Class and his books for the musicals Ragtime and Kiss Of The Spiderwoman. His other plays include Frankie And Johnny In The Clair De Lune; Lips Together, Teeth Apart; Corpus Christi and others, including the books for the musicals The Full Monty, A Man Of No Importance, The Visit and The Rink. He won an Emmy Award for Best Drama with his teleplay Andre’s Mother. Among his many awards are a Citation from the American Academy of Arts and Letters, the New York Drama Critics Circle Award for Best New Play, four Drama Desk Awards, three Hull-Warriner Best Play Awards from the Dramatists Guild, two Obies, two Lortel

Awards and two Guggenheim Fellowships. NORA MENKEN first season (Sophie in Master Class, Broadway in the Berkshires) Regional: Olivia in Twelfth Night at The Schoolhouse Theatre. NYC: Kitty in Pumped: The Musical (reading), A Christmas Carol at MSG. UofM: Little Red in Into The Woods, and ensembles of Brigadoon, Ragtime, Evita, and Rent. Numerous recordings and concerts in the NYC area. B.F.A Musical Theatre from The University of Michigan. Many thanks to S&Co, The Price Group, Deborah Grausman, Nancy & Diane, Mom, Dad, Anna, and Moe.

She is an associate member of the UK-based Entita Theatre and dramaturge for Turbulence, playing at the 2013 Edinburgh Fringe Festival. Internships: UMass Theater publicity, NBC, New Georges Theater, and 13th Street Repertory Company. Thanks to family, teachers, and friends.

Alissa Mesibov first season (Dramaturge for Mother Courage; Communications Associate) is a recent graduate of the University of Massachusetts Amherst, where she got a BA in theater and journalism. While there, she was the dramaturge for A Midsummer Night’s Dream and assistant dramaturge for Twelfth Night.

Aimee K. Michel first season (Assistant Director for Mother Courage) was Artistic Director of the Drama League of NY’s Directors Project where she created the New Directors/ New Works program. She was Artistic Director of The Shakespeare Festival at Tulane (now New Orleans Shakespeare) for ten years where she launched a three part educational initiative for Louisiana schools and directed half of Shakespeare’s canon as well as new plays by Louisiana playwrights. As a freelance director she has directed at Capital Repertory Theater, Berkshire Theater Festival, The Hangar Theater, Actors Theater of Louisville and Williamstown

JOSH AARON MCCABE*

NORA MENKEN

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Who’s Who from page 161 Theater Festival among others. She is currently on faculty in theater at Bard College at Simon’s Rock where she is developing a theatrical adaptation of a novel about Hurricane Katrina called Hurricane Hotel. She is a former recipient of both the Drama League’s Director’s Project fellowship and the WTF Boris Segal Fellowship. ANNETTE MILLER* seventeenth season (Maria Callas in Master Class) 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: The Tale of the Allergist’s Wife (Marjorie), 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,

ANNETTE MILLER*

Night School, Boardwalk, The Company Men. TV: “As the World Turns” (Smythe/Bettina) Brotherhood (Kate). Annette was nominated for the Prestigious 2011 Carbonell Award as Best Actress in Southern Florida for her portrayal of Vi in August: Osage County at the Actors Playhouse in Coral Gables Florida. She is the Voice of Diana Vreeland in the soon to be theatrically released documentary film about Ms Vreeland The Eye Travels. Training: Stella Adler, Brandeis University B.A. and M.F.A. MATTHEW MILLER fifth season (Lighting Designer for Beauty Queen of Leenane) S&Co: world premier of The Goatwoman of Corvis County, Bad Dates and The Secret of Sherlock Holmes. Matthew was the Technical Director at S&Co from 2005-2007. Recent credits include: Next to Normal and The K of D (Adirondack Theatre Festival), The Temperamentals (Mauckingbird Theatre Company) and The 39 Steps (Cape May Stage). Matthew is on the faculty of Temple University in Philadelphia, where he serves as Production Manager and was recently appointed Assistant Chair. He is a product of the MFA program of The University of North Carolina at Chapel Hill. Samples of his work may be seen at: www.mbradfordmiller.com

Jim Nutter* eighth season (Bushy, Scroop, Murderer in Richard II) S&Co: Romeo & Juliet (Romeo), Macbeth (Macduff), Midsummer (Flute/Thisby), Shrew (Hortensio), Berkeley Square (Peter Standish), Off the Map (William Gibbs). StageWest: Visions (Orestes), Macbeth (Lennox, Sergeant), A Funny Thing Happened… (Protean), The Real Thing (Brodie). Napa Valley Rep: The Real Thing (Henry), Table Manners (Reg), The Woman in Black (Actor). DibbleDance: The Dinner Party (Host), The Attic (Rochester), Here, There and Everywhere (Edgar).

Caley Milliken* fourth season (Lisa in Leap Year) S&Co: Othello (Bianca), Cindy Bella (Tisbe), The Ladies Man (Marie), A Midsummer Night’s Dream (Mustardseed). Off Broadway: Cherry Lane Theatre/ NYC Fringe: The Dick & the Rose. Regional: Portland Stage Company: Wittenberg (Eternal

BRITTANY MORGAN fourth season (Hippolyta/ Titania/Peter Quince in A Midsummer Night’s Dream, Hippolyta in Les Faux Pas; Riotous Youth Faculty) S&Co: All’s Well That Ends Well (Diana), The Learned Ladies (Martine), Venetian Twins (Tarantella), SLAW, Education Artist (since 2010). Regional: Romeo & Juliet (Juliet), Julius Caesar (Portia / Decius Brutus / Marellus), A Midsummer Night’s Dream (Hermia), Tempest (Miranda /

Caley Milliken*

NAFEESA MONROE*

Brittany Morgan

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NAFEESA MONROE* first season (Rosaline/ Sword Mistress in Love’s Labour’s Lost; Ensemble in Mother Courage) Off-Off Broadway: Backhouse Theatre Co.: Hello Herman (Sheyla Duvall). Regional: Paradise Theatre: Byron’s Don Juan (Hadee), Three Sisters (Olga). Shakespeare Thtr Co./ACA: King Lear (Goneril), The Malcontent (Emilia). L.A. Women’s Shakespeare: As You Like It (Jacques de Boys). Theatreworks: Miami Lights (Cookie). Robey Theatre Co.: For the Love Of Freedom Parts 1-3 (Gold / Letitia). Film/T.V.: Gridiron Gang, HBO’s “Def Poetry”, “The Bold and the Beautiful”. Training: Meisner School of Acting, MFA in Classical Acting at The Shakespeare Theatre Company’s Academy for Classical Acting at The George Washington University.

Ariel), As You Like It (Phebe), King Lear (Cordelia), Imaginary Invalid (Louisson), Jungle Book (Kaa / Sister Wolf), To Kill A Mockingbird (Mayella), Midsummer (Peaseblossom). London: IPH... (Iphigenia). Tennessee Shakespeare: Co-creator & Associate Director of Education; BFA: Illinois Wesleyan / British American Drama Academy.

TOM O’KEEFE* third season (Bolingbroke in Richard II) S&Co: The Taster, Measure for Measure, Wordplay. NYC: Hamlet & Saint Joan (Bedlam), The Best of Everything (HERE Arts Center), Hamlet (TFNC), A Hard Wall at High Speed (APAC), A Midsummer Night’s Dream (Riverside Theater), The Libertine (The Kirk), Barking Girl (4th Street Theater). Regional: From Orchids to Octopi (Central Square, MA), Humble Boy (Publick, MA), Questa (The Court, CA), The Little Gentleman (Hollywood Court, CA), Choice Words (Hollywood Court, CA). Television: “CSI”; “Criminal Minds”; “The Shield”; “ER.” Film: “A New Tomorrow”; “Avenging Angel”; and “Crash N’ Burn.” Proud member of AEA and SAG/AFTRA.

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Feminine); Constellation Theatre Company: Women Beware Women (Bianca); Tennessee Shakespeare Company/Shakespeare Walla Walla: The Tempest (Ariel); TSC: Romeo & Juliet (Lady Capulet), Julius Caesar (Marc Antony), A Midsummer Night’s Dream (First Fairy); Corning Classics: Much Ado About Nothing (Beatrice), Antigone (Chorus). TV: VEEP. Training: MFA; Purdue University.

Arthur Oliver twenty-third season (Costume Designer for Mother Courage) Resident Production Designer for Moscow Ballet, Resident Costume Designer S&Co (1997-2008). Since 1991 Arthur Oliver has designed costumes for star crossed lovers, several armies (English, French, Roman, Egyptian), a few Welshmen, Mr. and Mrs. Macbeth, Fools, Kings, Queens, murderers and lovers for Shakespeare & Company. His designs have been seen in Australia, Ireland and all across North America via three National Tours. Working for Tina Packer and Tony Simotes is one of the many highlights of his career. TINA PACKER founder (Mag Folan in The Beauty Queen of Leenane; Founding Artistic Director) started Shakespeare & Company 35 years ago. She has directed most of Shakespeare’s plays, many modern ones, and is an actor, teacher, writer as well as a director. For the last year Tina has been performing Women of Will in Boulder Colorado, Prague, and New York City. She takes it to The Hague in the Netherlands and Mexico in the coming year. The book Women of Will will be published by Knopf in Fall 2014. Brooke Parks* first season (The Princess in Love’s Labour’s Lost; Kattrin/Ensemble in Mother Courage) recently played Ophelia in Hamlet (Yale Repertory Theater); Helen of Troy and Andromache in Troilus and Cressida, Princess of France in Henry V, Caroline Bingley in Pride and Prejudice, and Viola in Twelfth Night (Oregon Shakespeare Festival); Helena in A Midsummer Night’s Dream, Georgette in The School for Wives, Antoinette in A Flea in Her Ear, (A Noise Within); Hilda in The Autumn Garden (Williamstown Theatre Festival). Ms. Parks is a graduate of Yale School of Drama. Fitz Patton^ first season (Composer / Sound Designer for Richard II) Fitz Patton has designed

and scored over 260 productions in 20 cities across the U.S. In 2010 he was awarded both the Lucille Lortel and Drama Desk Awards for his design for When the Rain Stops Falling at Lincoln Center’s Mitzi E. Newhouse Theater and was nominated again in 2011 for his work on The Other Place at MCC, which completed its Broadway run this Winter at The Friedman. His symphony, The Holy Land, a 45-minute work for baritone, tenor and mezzo-soprano and orchestra, was completed in January of this year. He is the founder of Chance Magazine, a new theatre design magazine to be published this winter and is a graduate of Vassar College, Bard College and Yale University. Matthew Penn† first season (Director of The Beauty Queen of Leenane) began his directing career at New York’s Ensemble Studio Theater but is best known for his work in episodic television where he has directed and /or produced over 150 episodes of some of TV’s best known series. His credits include: “Law And Order,” “Damages”, “The Sopranos”, “House”, “NYPD Blue”, “Royal Pains”, “The Closer”, “Private Practice”, “Golden Boy” and the new netflix series “Orange Is The New Black” as well as many others. Penn was nominated for an Emmy for the 200th episode of “Law and Order” starring Julia Roberts. Penn was the show’s Executive Producer for four seasons during which time he produced nearly 100 episodes. He has had roots in the Berkshires for over 40 years and is a co-artistic director of the Berkshire Playwrights Lab. MICHAEL PFEIFFER eighth season (Bernstein Theatre Resident Sound Designer; Staff Sound Engineer). He has designed over 35 shows for S&Co. including The 39 Steps, The Ladies Man, The Hound of the Baskervilles, Memory Of Water, Pinter’s Mirror, The Learned Ladies, White People, The Allergist’s Wife, War Of The Worlds, Sea Marks, The Santaland Diaries and

JIM NUTTER*

brooke parks*

TOM O’KEEFE*

Matthew Penn†

Cassandra Speaks. His previous career as a Location Sound Recordist spanned 17 years. He received an RTNDA Edward R. Murrow award (for feature reporting network) in 1999. Michael and wife Jana relocated to Berkshire County in 2005. Ben Prusiner first season (Assistant Director of Love’s Labour’s Lost). Directing: NYC: The Alchemist, Edward II, Rest in Pieces, The Paper Crown (upcoming), Prescriptions (Winner, Best Director). SF: Othello, Comedy of Errors, Cymbeline. LA: Doctor Faustus, Pushing up the Sky. JAPAN: California Suite. Assistant Directing: Volpone, Julius Caesar, Carmen’s Place, Threepenny Opera, Ghosts. Training: M.A. Applied Theatre, CUNY; LA Women’s Shakespeare; Shakespeare & Company. Artistic Director: Re:Verse Theatre (www.reversetheatre.org) nIcholAS J. PUMA, JR. eighth season (Managing Director, General Counsel, Chief Financial Officer, H.R. Director, I.T. Director) has over 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. Mary Readinger fifth season (Costume Designer for A Midsummer Night’s Dream; Costume Shop Manager) S&Co: The 39 Steps (Costume Designer), The Taster (Assistant Costume Designer), Twelfth Night (Assistant Costume Designer). Education costumer 2009 – 2013. Theresa Rebeck (Playwright, Studio Series’ Seminar) is a widely produced playwright both in the United States and abroad. Past New York productions of her work include Mauritius at the Biltmore Theatre in a Manhattan Theater Club Production; The Scene, The Water’s Edge, Loose Knit, The Family Of Mann, and Spike Heels at Second Stage; Bad Dates, The Butterfly Collection, and Our House at Playwrights Horizons; View Of The Dome at New York Theatre Workshop; and The Understudy at the Roundabout. Omnium Gatherum (cowritten, finalist for the Pulitzer Prize in 2003) was featured at the Humana Festival, and had a commercial run at the Variety Arts Theatre. She has won the National Theatre Conference Award, The William Inge New Voices Playwriting Award, an IRNE Award for Best New Play, and the Elliot Norton Award for various works.

Lysander/Francis Flute in the 2013 New England Tour of A Midsummer Night’s Dream, Director in the 2012 Fall Festival of Shakespeare, Composer and Laurant in Tartuffe. Other credits include Twelfth Night (Composer and Assistant Director), Equus (Director), Oleanna (Director). Training: BA in Theater from University of Massachusetts Amherst. NICOLE RICCIARDI second season (Assistant Director for Richard II; Director of Studio Series’ Seminar) Nicole is an actor, director, writer, and instructor. S&Co: Director of last year’s Cassandra Speaks. Recent directing credits: Stephen Schwartz’ Working, Twelfth Night, The Complete Works of William Shakespeare (abridged), Shining City, A Midsummer Night’s Dream, Triumph of Love, and two original pieces, The Juliet and Romeo Project and Roasting Alice. Training: MFA, Carnegie Mellon University. Gwendolyn Rice (Playwright, Studio Series’ A Thousand Words) holds a Master’s degree in Theater Literature, History, and Criticism from the University of Wisconsin, Madison. Gwen has worked in marketing, communications, and fundraising for a variety of non-profit arts organizations including First Stage Milwaukee, the Friends of the Coronado, and the Rockford Symphony Orchestra. She is currently Communications Director for Forward Theater Company in Madison, WI. THOMAS L. RINDGE sixth season (Willoughby/ Surrey in Richard II; Production Manager & Chief Safety Officer) S&Co: Alonso in The Tempest, twice Duke of Venice, Othello; 4th season as Production Manager/Technical Director (also for High Output Inc, designed/rigged the lighting grids in the Tina Packer Playhouse Theater, as well as the Bernstein Theater and Studios – having climbed many trees to that effect, in the early years at the Mount); Regional: Berkshire Theater Festival – No Mercy (J. Robert Oppenheimer), The Hasty Heart (Col. Cobwebs); East Lynne Co. – Thomas Jefferson (touring one man). TV: “The Guiding Light”, CBS (McLaughton). Film: Mass Illusions/Warner Bothers – The Matrix (Proj. Manager and test A.D. for the Oscar winning Bullet-time Effect). Directing: Berkshire Opera (L’Oca Del Cairo, Albert Herring), Opera Classics of NJ (La Boheme). Tom is a direct descendant of the Booth family, the renowned Shakespearians Junius, Edwin and alas John Wilkes.

Luke Reed second season (Manny in Master Class, Lysander/Francis Flute in A Midsummer Night’s Dream; Production Associate) S&Co:

STEPHEN ROTHMAN† second season (Director of Accomplice and Leap Year) returns to S&Co having directed last season’s east coast premiere of Parasite Drag. Rothman is best known by West

TINA PACKER*

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Who’s Who from page 163 Coast Theatre audiences for his work as founder and artistic leader of the revitalized Pasadena Playhouse. He also served as artistic director of the Sacramento Theatre Company. His directing career has taken him across the country and around the world, including a 2008 production of Harold Pinter’s Betrayal in Florence, Italy for the Florence International Theatre Company. His American Resident/Regional Theatre credits include more than 100 plays in 16 different States for 40 different theatre companies. He is especially proud of his work on numerous world premieres including Sparky And The Fitz starring Academy Award winner Eli Wallach at the George Street Playhouse in New Jersey, Learn To Fall starring France’s award winning clown/artist Buffo at The Attic Theatre in Detroit, Gilligan’s Island The Musical for Chicago’s Organic Theatre and Father, Son, And Holy Coach for the Santa Monica Playhouse to name just a few. His theatre awards include winning Florida’s

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Carbonell Award for “Best Director” for God’s Man In Texas at Florida Stage as well as a Los Angeles Dramaloge win for his direction of an American Sign Language production of Orphans for Deaf West Theatre. For American television, he spent two seasons directing episodes of The New “WKRP In Cincinnati”. He serves as a Professor of Theatre at California State University, Los Angeles where he recently received the 2012/2013 award as “Outstanding Professor of the Year.” Mr. Rothman is a proud 33-year member of The Society of Director’s and Choreographers (SDC). Steve’s most fun production continues to be his son Will “Banno” Rothman who provides him with the best living theatre possible. Fran Rubenstein* first season (Stage Manager for Heroes) Recent NY credits: Scrambled Eggs, Lawnpeople, 7th Monarch, The Fartiste, Reading Under the Influence, Made in Heaven. Also, four seasons at The New Group

STEPHEN ROTHMAN†

where shows include Rafta Rafta, Two Thousand Years, Things We Want, The Prime of Miss Jean Brodie, Abigail’s Party, and Hurlyburly. Regional: Dorset Theatre Festival 2011- Dial M for Murder and Mauritius and 2010- Fallen Angels, The Novelist and When Something Wonderful Ends. Member AEA. Donald T. Sanders first season (Director of None But the Lonely Heart) ERC Director of Theatrical Production: Seduction, Smoke and Music starring Jeremy Irons and Sinéad Cusack, Tuscan Sun Festival 2011; Napa Valley Festival del Sole 2012; Toscanini: Nel Mio Cuore Troppo di Assoluto, Teatro La Fenice Sale Apolline, Venice; Van Gogh’s Ear, Florence Gould Hall, New York; Festival de Musique de Chambre Montréal. Productions, New York Shakespeare Festival/ Public Theater and off-Broadway; graduate, Yale School of Drama; Executive Artistic Director, Massachusetts International Festival of the Arts

DONALD T. SANDERS

(MIFA); conferred Chevalier dans L’Ordre des Arts et des Lettres, Republic of France (2002). Lena Sands third season (Costume Designer of Richard II and The Beauty Queen of Leenane) S&Co: Bad Dates, The Dreamer Examines his Pillow. Favorite costume design credits include Changes of Heart at Remy Bumppo (Chicago), Trans-Euro Express and Safe Home (Off-Broadway), and the world premieres of two experimental operas FUGA, by Burak Ozimer and The Last Dreams of Helene Weigal by Esther Neff. Assistant design: A Christmas Story: the Musical (national tour), Measure for Measure (The Public Theater). Training: BFA in Costume Design from University of Michigan, currently pursuing MFA in Costume Design from California Institute of the Arts. STELLA GIULIETTA SCHWARTZ third season (Costume Designer for Les Faux Pas) S&Co: Costume Design Assistant for The Learned Ladies, King Lear, and The Liar; Costumer for S&Co’s Education Program, 2011-2013. She studied Costume Design and Classics at Smith College. DAVID SEDGWICK* first season (Pato in The Beauty Queen Of Leenane) Favorite roles include A Moon for the Misbegotten (Jim Tyrone): Luna Stage; Three Sisters (Vershinin): Seeing Place; Shining City (Ian): Shadow Lawn Stage; What the Butler Saw (Dr. Prentice): Gallery Players; Arcadia (Bernard Nightingale), A Doll’s House (Torvald Helmer): Tokyo. Off-Broadway: Hamlet: Pearl Theatre. Regional: A Wedding Story: Stageworks/Hudson. Other: Standards

of Decency 3: Blue Coyote; Dear Ruth: Retro Productions; The Fourth Estate, Mr. Sensitivity: NY Fringe; Misalliance: NY Classical. Training: BFA (Theatre Nepean, Sydney); Primary Stages; LAByrinth. www.davidsedgwick.com DOUGLAS SELDIN sixth season (Ensemble in Mother Courage; Summer Training Institute Staff; Linklater Designation Workshop Liaison) S&Co: The Liar (Cliton), Tartuffe (Title Role), Macbeth New England Tour (Banquo, Porter), Richard III (Grey), The Winter’s Tale (Dion), Les Liaisons Dangereuses, All’s Well That Ends Well, Wild and Whirling Words. At Worcester Shakespeare Co.: Comedy of Errors (Dromio of Ephesus), Hamlet (Laertes), Macbeth (Ross), Much Ado About Nothing (Borachio). Other Regional Credits: The Winter’s Tale (Shakespeare on the Sound); Three Sisters (Saratoga Arts Festival). Doug holds a BS in Theatre from Skidmore College and was a founding member of The Conservatory at Shakespeare & Company. He is also a Certified Advanced ActorCombatant through Dueling Arts International & The Society of American Fight Directors.

(Stage Manager). New York Credits: Page 73 Productions: Sleeping Rough; Lincoln Center Theatre: The Nance; Kindling Theatre: The Future is Not What it Was; NYCFRINGE: The Dick and the Rose; Playwrights Horizons: Rapture, Blister, Burn; Assistance; Milk like Sugar; The Juilliard School: A Midsummer Night’s Dream; Top Girls; The Bartered Bride. Regional Credits: Shakespeare Theatre of NJ: Man of la Mancha. Training: Ithaca College BA Drama/English. Gérald Sibleyras (Playwright, Heroes) In the English-speaking world, Sibleyras is best known for Heroes, Tom Stoppard’s 2005 translation into English of Sibleyras’s 2003 play, Le vent des peupliers. His next play L’Inscription was produced in Paris and later in Poland. La Danse de L’Albatros premiered in Paris in 2006. Une Heure et Demie de Retard (An Hour And A Half Late, 2005) adapted by Mel Smith, was produced in England and toured for several months. In 2003 Un Petit Jeu Sans Consequence (Consequences) was awarded 5 Moliere Awards. The screenplay is in development with Focus Film

William Shakespeare (Playwright, Love’s Labour’s Lost, Richard II, and A Midsummer Night’s Dream) 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 other poems. His plays have been translated into every major living language and are performed more often than those of any other playwright.

Atalanta (Atty) Siegel first season (Helena/ Fairie/Snout in A Midsummer Night’s Dream; Scenic Painter) is an actor and scenic artist from Washington DC. After being introduced to performing Shakespeare through Lumina Studios at age 12, she has continuously been acting and working in theater. She attended Oberlin College and Queen Mary University of London for Theater Arts and English. Previous performances include: SubUrbia (Oberlin College), Fewer Emergencies (Pinter Theater of London), Much Ado About Nothing (OSTF), and Keely and Du (Shakespeare & Company Fringe Festival)

TORI SHEEHAN second season (Production Assistant of Love’s Labor’s Lost; Stage Manager of Broadway in the Berkshires, Pearl, and DibbleDance: SWAY) S&Co: Measure for Measure, Wordplay, and Preludes 2009

TONY SIMOTES† founding member (Director & Fight Choreographer of Mother Courage; Director of Studio Series’ The Waiting Room and A Thousand Words, Director of It’s A Wonderful

Life: A Live Radio Play; 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: The Tempest (with Olympia Dukakis), The Tale of the Allergist’s Wife, The Santaland Diaries (three times), Othello, The Merry Wives of Windsor, A Midsummer Night’s 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: 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 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’ Sinatramini-series, fight choreography for ABC News “What would you do?” with John Quinones, and many other primetime 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! ERIC SIRAKIAN second season (Moth in Love’s Labour’s Lost, Assistant Director for Mother Courage). S&Co: King Lear (Gentleman/ Ensemble). Yale: Orlando (Queen Elizabeth/ Ensemble), Romeo and Juliet (Paris/Prince), The Real Thing (Max), Twelfth Night (Malvolio), and Coriolanus (Brutus). International: RADA: Troilus and Cressida (Ulysses). As director: A Prayer for Owen Meany. Eric is a rising junior studying English and theater at Yale University. He is a codirector of the undergraduate theater company Control Group, and will direct Anna in the Tropics for the Yale Dramat in the fall. ROCCO SISTO* founding member (Richard in Richard II) S&Co: Seen last season as Caliban in The Tempest. Broadway: To Be Or Not To Be (Manhatten Theatre Club), Amadeus (Music Box Theatre), A Month In The Country (Roundabout Theatre), The Comedy Of Errors (Lincoln Center); Recent Off Broadway: Old Fashioned Prostitutes (Public Theater), Volpone (Red Bull Theater), Iphenia 2.0 (Signature Theatre). Regional theatre credits include ACT-Seattle and Seattle Rep., Mark Taper -L.A., The Guthrie, Dallas Theatre Center, Center Stage Baltimore, among others. Films include Donnie Brasco, Frequency, Eraser, Illuminata, Carlito’s Way and the cult hit The American Astronaut. Television: “Mildred Pierce”, “The Sopranos”, “Law & Order”, “Law & Order: C.I.”, “Homicide”, “C.S.I.”, “666 Park Ave.”, “Star Trek T.N.G.”, “Alias”, “N.Y.P.D. Blue”, Awards: OBIE winner for Sustained Excellence, OBIE for The Winter’s Tale (Public Theatre) OBIE and Drama Desk nomination and Drama League Award for Quills (N.Y.T.W.). He holds an MFA from the NYU Graduate Acting Program. Student of Peter Kass.

The world’s mine oyster. THE MERRY WIVES OF WINSDOR, II.ii DAVID SEDGWICK*

Atalanta (Atty) Siegel

ROCCO SISTO*

Douglas Seldin

TONY SIMOTES†

ERIC SIRAKIAN

JOE CACACI†

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Who’s Who from page 165 Alexander Sovronsky fifth season (Composer/Sound Designer for Love’s Labour’s Lost; Composer for The Beauty Queen of Leenane; Music Director for Kaufman’s Barber Shop) S&Co: As You Like It (composer/sound designer), The Hound of the Baskervilles (composer), Les Liaisons Dangereuses (composer), Twelfth Night (Fabian), Hamlet (Rosencrantz, Fortinbras), All’s Well That Ends Well (Dumaine Soldat). Mr Sovronsky is an accomplished multi-instrumentalist that has performed as an actor/musician as well as serving as composer/sound designer for many productions. His credits include BROADWAY: Cyrano de Bergerac (with Kevin Kline). OFFBROADWAY: Romeo & Juliet (Public/NYSF); Volpone, Women Beware Women (Red Bull Theater); Othello (TFANA); Bottom of the World (Atlantic Theater); King Lear, Macbeth, Romeo & Juliet, Three Sisters, Marat/Sade (Classical Theater of Harlem); The Libertine (Fools’ Theatre). REGIONAL: Shakespeare Theatre of DC, Shakespeare Theatre of NJ, Walnut Street Theatre, The Wharton Salon. FILMS: Cyrano de Bergerac (PBS Great Performances), Inside

Man, Sex & The City 2, Confessions of an ExDoofus-ItchyFooted Mutha. TRAINING: MFA in Acting from the Academy for Classical Acting at The Shakespeare Theatre of DC, BA in Theatre Direction from SUNY Geneseo. In September of 2013, he will be playing the title role in Hamlet with the Hyperion Theatre Company in Milan, Italy. For a good time, check out www. AlexanderSovronsky.com Renée Margaret Speltz tenth season (Old Woman/Ensemble in Mother Courage; Information Technology Manager) S&Co: Romeo & Juliet (Lady Montague), Winter’s Tale (Assistant Director), Les Liaisons Dangereuses (Madame de Rosemonde), Cindy Bella (Fairy Godmother), Sonnet Prelude 2007 (Director); Tamer Tamed (Pedro) and Comedy of Errors (Luce). The Wharton Salon: Autres Temps (Annette). Austen Riggs Theatre 37: Assistant Director/Text Coach for 6 plays. Minnesota State University-Mankato (MSU): Equus (Dora Strang), Butterflies are Free (Mrs. Baker), Golden Age (Isabel Hastings Hoyt), Julius Caesar (Popilius/Ensemble), A Christmas Carol (2nd Solicitor/Chorus), and

Alexander Sovronsky

ROBERT SUGARMAN

Renée Margaret Speltz

ANDY TALEN

Footloose (Eleanor Dunbar). Wimbledon Studio Theatre: The Dining Room (Annie, Grace, Sandra, Old Lady and Harriet). Saint Mary’s University of Minnesota: Our Country’s Good (Meg), Uncle Harry (Hester), and Antigone (Chorus). University of Wisconsin-Eau Clare: Time of Your Life (Nick’s Ma/Killer) and Tartuffe (Madame Pernelle). MFA in Acting from MSU. ROBERT SUGARMAN first season (Playwright, Kaufman’s Barber Shop) Two years ago this play was read here at the Studio Festival, last year a revised version was read here along with a prequel and a sequel. Bob’s books include Performing Shakespeare: A Way to Learn. Other plays have been produced by the Oldcastle Theatre Company and in workshops in New York and Los Angeles. Bob has taught and directed at SUNY/Albany, Bennington College, Cazenovia College and Southern Vermont College.

JOHN DOUGLAS THOMPSON* eighth season (The Cook in Mother Courage) S&Co: Satchmo at the Waldorf, Richard III, Othello, The Dreamer Examines His Pillow, All’s Well That Ends Well, King Lear. Herald Loomis in Joe Turner’s Come And Gone (Mark Taper Forum), Satchmo (Long Wharf and Wilma Theater), Joe Mott in The Iceman Cometh with Nathan Lane and Brian Dennehy at the Goodman Theatre, Kent in King Lear at the Public Theater with Sam Waterston, Macbeth at TFANA, Marc Antony in Antony and Cleopatra at Hartford Stage with Kate Mulgrew, Gennady in The Forest at CSC with Dianne Wiest, Brutus Jones in The Emperor Jones at The Irish Rep (Lucille Lortel, Drama League and Drama Desk nominations), Othello at TFANA (OBIE, Lucille Lortel Award, Drama League nomination, AUDELCO nomination). Broadway: LeBret in Cyrano with Kevin Kline and Jennifer Garner, and Julius Caesar with Denzel Washington. International credits: Hotspur in Henry IV (Royal Shakespeare Company). Other off-Broadway credits: Women Beware Women (Red Bull), Enobarbus in Antony and Cleopatra, Orombo in Oroonoko (TFANA, AUDELCO nomination), Judge Brack in Hedda Gabler (NYTW), Edgar in King Lear (Classical Theater of Harlem, AUDELCO nomination). Regional credits: Lucious Jenkins in Jesus Hopped the A Train (Wilma Theater, Barrymore Award), Williamstown Theater, Trinity Rep, Shakespeare & Company, ART. TV/FILM: “Law and Order”, “Conviction”, Michael Clayton, Midway, Malcolm X.

ANDY TALEN fourth season (Longaville in Love’s Labour’s Lost, Ensemble in Mother Courage, Composer for Les Faux Pas) S&Co: Richard III (Richmond), Winters’ Tale (Rogero/ Musician), Julius Caesar (Mark Antony), The Amorous Quarrel (Valere/Composer), All’s Well That Ends Well (Solider/Musician); Regional: Madison Repertory Theatre: Carousel (Enoch Snow Jr.), The Almond & The Seahorse (Joe); Illinois Shakespeare Festival: Othello (Cassio), The Rivals (Faukland), As You Like It (Amiens), R & J (Benvolio); New York Theatre: Spoon River Anthology (Invisible Dog), Caucasian Chalk Circle (Simon/Composer), Far Away (Todd, Columbia Stages); Training: MFA Columbia University (2nd year). Much love to mom, dad, petie, bunker, tonka, chuck & n.

MICHAEL F. TOOMEY* fourteenth season (Costard in Love’s Labour’s Lost, Ensemble in Mother Courage). Michael is a long time company member appearing in such roles as The Ladies Man (Bassinett), Scapin (title role),

JOHN DOUGLAS THOMPSON*

ESTHER VAN EEK

MICHAEL F. TOOMEY*

JUSTIN WEAKS

Featuring 3,000 square feet of eclectic antiques, collectibles & treasures. Mon-Sat 10-5, Sun 11-5

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Macbeth (title role), Hamlet (Polonius), Henry V (Bardolph), Caesar (title role), The Canterville Ghost (Mr. Otis). He teaches both Fight and Clown through out the country. He is a Founding Member of Split Knuckle Theatre performing around the globe. Michael is also the Co-Artistic Director for the Humanist Project, a company dedicated to investigating the human experience on Stage, in the Studio and in life. ESTHER VAN EEK third season (Costume Designer for Heroes) S&Co: Costume Designer The Tale of the Allergist’s Wife and Parasite Drag. Resident Faculty Designer at the University of Windsor: Tartuffe, Emma, Crimes of the Heart, Hedda Gabler, A Midsummer Night’s Dream, Jenny’s House of Joy, Heartbreak House, Man of Mode, Don Juan on Trial, Ravenscroft, Jitters, Age of Arousal, Steel Magnolias, 7 Stories. Also: Washington Stage Guild, Studio Theatre, Academy of Classical Acting, The Shakespeare Theatre, The George Washington University, Folger Theatre, Didactic Theatre. Esther is Assistant Professor at the School of Dramatic Art, University of Windsor. JENNA WARE twentieth season (Director for Les Faux Pas or the Counter Plots; Associate Director

Peggy Pharr Wilson*

of Education) S&Co director: The Venetian Twins, Red Hot Patriot, Amorous Quarrel, Shakespeare and the Language That 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. JUSTIN WEAKS second season (Lelio in Les Faux Pas; Riotous Youth faculty) S&Co: The Venetian Twins (Florindo), SYCO ‘07 (Hamlet, The Rape of Lucrece, Divertimento). NAT’L: Romeo and Juliet (Tybalt/Paris; National Players Tour 64), Animal Farm (Napoleon; National Players Tour 64).

KRISTiN WOLD*

Regional: The Shadow of Eldorado (Andy; Paper Lantern Theatre Co.), Pinocchio (Lampwick/ Fisherman; Barter Theatre), Violet (Flick u/s; Barter Theatre). Other selected credits include: Passing Strange (Youth), Rabbit Hole (Jason), Dog Sees God: Confessions of a Teenage Blockhead (Beethoven). Training: B.A. in Theatre, Greensboro College.

III (Tyrrel), Twelfth Night (Sir Andrew), Othello (Roderigo), Antony & Cleopatra (Pompey/Eros), Midsummer Night’s Dream (Flute), Merry Wives of Windsor (Fenton), Macbeth & Julius Caesar NE Tours. Other theatres: Madison Rep, WAM Theatre, Milwaukee Chamber Theatre, Outcast Café Theatrix. Training: MFA from University of Wisconsin-Madison.

Peggy Pharr Wilson* first season (Grace in Leap Year) Barrington Stage Co: The Crucible, To Kill A Mockingbird, Guys & Dolls, Carousel, Laramie Project: Epilogue, 10 x 10 new play festival (2012/13). BAT: Doubt. New York: Six Women With Brain Death (co-author, and performed it also in Chicago, Dallas & Kansas City). Regional: Creede Repertory Theatre in Colorado - over 50 roles, Dallas Theatre Center, Theatre 3, Kansas City Rep, Unicorn, KC Lyric Opera, White River in Vermont and Rose Theatre in Chicago. Married to Tristan Wilson, Managing Director of Barrington Stage.

KRISTIN WOLD* twenty-fourth season (Duchess of York/Ross in Richard II; Training Program Faculty) S&Co: The Tempest (Ariel), King Lear (Regan, Cordelia), The Memory of Water (Teresa), Sea Marks (Timothea), Othello (Emilia), Ice Glen (Sarah), Twelfth Night (Viola), Measure for Measure (Isabella), Romeo and Juliet (Juliet), Berkeley Square (Helen). Directing credits include Punk Rock, 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.

Walton Wilson* fourteenth season (Duke of York, Richard II) S&Co: Romeo and Juliet, Sea Marks, The Ladies’ Man, Othello, Antony & Cleopatra, A Midsummer Night’s Dream, The Taming of the Shrew, King John, Twelfth Night, Henry IV-1, The Winter’s Tale, Measure for Measure, Much Ado About Nothing, Macbeth, Comedy of Errors, etc. New York: BAM, Culture Project, La Mama, PS 122, Public/NYSF, etc. Regional: Actors Theatre of Louisville, Alley Theatre, American Repertory Theatre, Dallas Theatre Center, Empty Space, Stages Repertory Theatre, Swine Palace, Williamstown Theatre Festival, Yale Rep, Shakespeare Festivals of Dallas, Houston, Santa Fe, St. Louis, etc. In August, he will appear in Anna Christie at Berkshire Theatre Festival. Faculty, Yale School of Drama and Fall 2013 Conservatory at Shakespeare & Company. Ryan Winkles* eighth season (Dull in Love’s Labour’s Lost, Swiss Cheese/Ensemble in Mother Courage) S&Co: King Lear (Edgar), The Tempest (Ferdinand), The Learned Ladies (Trissotin), Santaland Diaries (Crumpet), As You Like It (Silvius), The Hound of the Baskervilles (Sir Henry), The Mystery of Irma Vep (Jane/ Lord Edgar), The Winter’s Tale (Florizel), Richard

EVE WOLF first season (Founder, Executive Artistic Director of Ensemble for the Romantic Century, pianist for None but the Lonely Heart) has concertized in the United States and Europe and has written scripts for and performed in more than 25 of ERC’s theatrical concerts, also on both continents. Ms. Wolf was a Tanglewood Music Center Fellow and received a BA in Art History from Columbia University and an MA in Piano Performance from New York University. She teaches at Columbia University Teachers College and has lectured at The Juilliard School and the Curtis Institute. Lisa Wolpe second season (Director, Love’s Labour’s Lost) is an actress, director, teacher, playwright and Producing Artistic Director of the Los Angeles Women’s Shakespeare Company. LAWSC was named as “one of the ten coolest things to do in Los Angeles”, featured on PBS, CNN, ABC, NBC, and CBS News, and won the Sustained Excellence Award from the L.A. Critics Circle. For LAWSC’s 20th she will play Hamlet, directed by Timothy Douglas. She recently played Jason in Medea/Macbeth/Cinderella and Polina in Seagull for the Oregon Shakespeare Festival.

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

Walton Wilson*

EVE WOLF

† 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.

RYAN WINKLES*

LISA WOLPE

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Considine, Michael J. ...............................................................74 Cornell Inn in Lenox, The ........................................................161 Country and Abroad, The ........................................................102 Country Curtains .......................................................................31 Cranwell Resort, Spa & Golf Club .............................................12 Crissey Farm .............................................................................47 Cupboards & Roses ..................................................................99 Dancing Dragonfly Acupuncture................................................79 Devonfield Inn ...........................................................................75 Dream Away Lodge, The ..........................................................105 Electra’s Café............................................................................121 Elise Abrams Antiques ..............................................................87 Elle Day Spa...............................................................................66 EVVIVA! ...................................................................................151 Face Haven ...............................................................................17 Fiori ..........................................................................................87 Finders Keepers.......................................................................166 Firefly ........................................................................................56 Flynn Volkswagen, Audi, BMW............................................... 108 Foresight Land Services............................................................ 71 Frankie’s Ristorante Italiano ......................................................90 Frelinghuysen Morris House & Studio ....................................113 Front St. Gallery & Studio..........................................................24 Furnace Brook Winery at Hilltop Orchards ................................24 Garden Gables Inn ....................................................................75 Gateways Inn, The .....................................................................22 GB9............................................................................................73 Gifted Child, The .......................................................................12 Glimmerglass Festival ...............................................................97 Goulston & Storrs ...................................................................143 Great Barrington Bagel Co., The ................................................85 Greenfeld, Barbara K., Realtor .................................................162 Greylock Federal Credit Union ................................................160 Guardian....................................................................................70 Guido’s Fresh Marketplace...................................................... 133 Haddad Motor Group ..............................................................139 Hampton Inn & Suites ...............................................................57 Hampton Terrace .......................................................................14 Hancock Shaker Village ............................................................84 Haven Café & Bakery ................................................................55 Health New England ..................................................................89 Heirlooms Jewelry ..................................................................150 Heller & Robbins Attorneys at Law ............................................55 Hillcrest Educational Centers ..................................................153 Hill-Engineers, Architects, Planners, Inc. ................................147 Images Cinema .......................................................................123 In the Spotlight .......................................................................155 Inn at Stockbridge .....................................................................75 Iredale Mineral Cosmetics............................................back cover IS183 Art School........................................................................29 It’s My Style Consignment.......................................................153 Jacob’s Pillow .........................................................................105 Jae’s.........................................................................................147 Jewelz Fine Jewelry/ Tres Belle Décor .........................................9 John F. Graney Metal Design ......................................................6 Juice n’ Java ............................................................................153 JWS Art Supplies ....................................................................164 Kimball Farms Lifecare Retirement Community.........................37 Kitchen, The...............................................................................56 Kripalu Center for Yoga & Health ..............................................31 Kushi & Myers, PC .................................................................108 Lance Vermeulen Real Estate....................................................160 LD Builders............................................................................. 145 Le Trianon Fine Arts & Antiques ................................................98 Lee Bank ...................................................................................75 Lee Hardware.............................................................................75 Lenox Caroling Festival ............................................................57 Lenox Family Chiropractic ........................................................36 Lenox Farmers Market ..............................................................61 Lenox Fitness Center & Spa ......................................................20 Lenox Village Pharmacy.............................................................15 Liberty Investment Group ........................................................150 Linen..........................................................................................19 Loeb’s Food Town .....................................................................57 Mahaiwe Performing Arts Center ..............................................18 MASS LIVE ARTS.......................................................................85

MASS MoCA ..........................................................................144 McLean Realtors .......................................................................36 Montessori School of the Berkshires, The .................................15 Motorcycle Medic .....................................................................28 Mount, The ...............................................................................90 Naumkeag .................................................................................31 Nejaime’s Wine Cellar................................................................12 Norman Rockwell Museum .....................................................143 Old Inn on the Green .................................................................75 Old Mill Restaurant & Bar .......................................................148 Olde Heritage Tavern .................................................................12 Out of Hand ...............................................................................46 Painted Porch Country Antiques ...............................................99 Park Place Salon......................................................................106 Pignatelli Electrical Contractors ................................................37 Piretti Real Estate ....................................................................129 Pittsfield Lawn and Tractor.......................................................139 Prime ........................................................................................15 Purple Plume ..........................................................................129 Red Lion Inn, The ......................................................................29 Renaissance Arts Center............................................................92 Riverbend Café...........................................................................87 Riverbrook Residence ...............................................................29 Roberts & Associates Realty, Inc. ..............................................15 Rouge .......................................................................................79 Sarna, Natasha.........................................................................159 Second Life Books ..................................................................155 Second Nature Garden Design ................................................153 Seeds ......................................................................................148 Seven Salon Spa........................................................................86 Seven Hills Inn ..........................................................................20 Shear Design ............................................................................34 Shooz ........................................................................................73 Shots Cafe ................................................................................57 Signature Weddings.................................................................149 Smith College Museum of Art ...................................................43 Sophie Museum ........................................................................15 South Street Veterinary Services ...............................................15 Spirited .....................................................................................20 Splendid Peasant, The ..............................................................99 Stone House Properties ............................................................79 Studio Two...............................................................................152 Sullivan Station Restaurant .......................................................74 Susan Silver Antiques ...............................................................99 Sutter Antiques .......................................................................118 SWTRZ.......................................................................................73 Tanglewood/Boston Symphony Orchestra .................................51 Tanglewool ................................................................................57 Theresa’s Stockbridge Cafe .......................................................31 Times Union...............................................................................18 Tobi’s Limousine .....................................................................121 Tom’s Toys ..............................................................................164 Toole’s Insurance .....................................................................121 Trattoria Rustica ........................................................................28 Undermountain Farm ..............................................................117 Upstreet Barbers......................................................................125 Valico Group............................................................................107 Valley Advocate .........................................................................84 Vault Gallery............................................................................111 Ventfort Hall ............................................................................147 Villa Amonoka .........................................................................101 Villager Gifts ...........................................................................117 Ward’s Nursery and Garden Center ...........................................85 Westfield State University ............................................................7 WGBY .......................................................................................85 Wharton Salon, The...................................................................43 WHDD Robin Hood Radio .......................................................125 Williamstown Theatre Festival .................................................138 Wingate, Ltd. .............................................................................93 Wit Gallery, The..........................................................................90 Xicohtencatl Authentic Mexican Cuisine ...................................46 Yankee Inn ................................................................................57 Yankee Suites ............................................................................57 Zinc Bistro & Bar ......................................................................37

Bringing Fish to taBle our towns: w. stockBridge

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MARY POPE OSBORNE’S SISTER ACT WHO ARE VOLUNTEERS IN MEDICINE?

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INDASHIO: BACK TO HIS BAD ROOTS A HIP FAMILY IN A HIPSTER HOME

ZIPPING THROUGH TREES LIVING IN NOWHERE

JULY

a gOOd egg Where to Breakfast

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GETTING INTO BERKSHIRE CHIC

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NANCY TAKES A (LONG) HIKE ICE CREAM AND FARM MARKETS

HOW BERKSHIRE EATS

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FARMING FINDS ITS NICHE

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ISSUE

2012

JOSH PENN: FROM OTIS TO SUNDANCE

TAYLOR MALI SPEAKS UP

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