Shakespeare & Company 2022 Season Playbill

Left to Right: Christopher Lloyd and Allyn Burrows, King Lear, 2021. Photo by Nile Scott Studios.

A HUNDRED THOUSAND WELCOMES!

– Coriolanus, Act II, sc. i

In 1978, Shakespeare & Company’s founder Tina Packer and a troupe of dedicated theater artists came to the Berkshires with one goal: to perform as the Elizabethans did, in love with poetic language, visceral experience, and the mysteries of the universe—all the while remaining rooted in the classical ideals of inquiry, balance, and harmony.

Forty-five years later, we continue to offer unprecedented excellence in Theater Performance, Training, and Education with these ideals intact – attracting more than 40,000 patrons annually, welcoming professional actors from around the world year-round to The Center for Actor Training, and reaching nearly one million elementary, middle, and high school students to date through our work.

MISSION

The mission of Shakespeare & Company is to deliver a sustainable, integrated, and vital program of Performance, Training, and Education for the audience, the artist, the Company, and the community. We embrace the key tenets of Shakespeare's work: collaboration, commitment to language, and the embodied voice.

VISION

Shakespeare & Company strives to be a thriving center of creative and collaborative excellence in Performance, Training, and Education, rooted in Shakespeare’s work. We are committed to nurturing the creative impulse, exploring the universal themes of human experience, engaging with the widest possible audience, and influencing future generations.

Shakespeare & Company is committed to evolving its approach to diversity and inclusion to engender an active process and positive change toward race equity in its employment and artistry, embracing a vigorous commitment to inclusion, diversity, equity, and accessibility, as well as anti-racism initiatives.

2022 Season

THE APPROACH by Mark O'Rowe

Co-Directed by Mark Farrell and Tina Packer

MAY 6 – 29

AN ILIAD by Lisa Peterson and Denis O'Hare

Directed by Jeffrey Mousseau

JUNE 3 – JULY 3

MUCH ADO ABOUT NOTHING by William Shakespeare

Directed by Kelly Galvin

JULY 2 – AUGUST 14

PLAYS IN PROCESS

a Series of Developing Works

JULY 9 – AUGUST 7

A WALK IN THE WOODS

by Lee Blessing

Directed by James Warwick

JULY 15 – SEPTEMBER 4

HYMN by Lolita Chakrabarti

Directed by Regge Life

JULY 22 – AUGUST 28

MEASURE FOR MEASURE by William Shakespeare

Directed by Alice Reagan

AUGUST 19 – SEPTEMBER 18

GOLDEN LEAF RAGTIME BLUES by Charles Smith

SEPTEMBER 23 – OCTOBER 30

NOTE: To ensure the safety and health of our patrons and staff, Shakespeare & Company will be following the most recent COVID-19 guidelines from the CDC. For the most current polices and masking requirements, please visit shakespeare.org/covid-19-public-safety

Sara Linares, The Wickhams: Christmas at Pemberley, 2021.

Photo by Katie McKellick.

Dear Friends,

“I’m hopeful for humanity, but I’m not ruling out setbacks.”

That was how I ended my letter to you in advance of our 2020 Season. At the time, I was unaware the season would be cut so unceremoniously short by a worldwide pandemic; that our work would be profoundly challenged and shifted, or that we would embark on our 45th Season under the pall of war.

While the setbacks can seem relentless, the hope persists. Now more than ever, as theater-makers and storytellers, we have an imperative to offer a place and time for reflection, diversion, laughter, and inspiration. The daunting discoveries of the modern world render attention to that which makes us human all the more crucial: voices, connections, empathy, touch, understanding. And so we continue: with stories that, at the end of the day, reinforce that we’re all here for each other.

We enter 2022 with the reopening of the Elayne P. Bernstein Theatre, closed during the pandemic, and The Approach – a three-woman thriller set to benefit from our new agility in the digital space with both live and online performances. The Approach will be co-directed by Mark Farrell and Shakespeare & Company Founding Artistic Director Tina Packer.

At the Tina Packer Playhouse across campus, the season continues with An Iliad directed by Jeffrey Mousseau, a modern take on a World Classic that explores the all-too-familiar human compulsion toward violence. MaConnia Chesser returns to the role of The Poet following a powerhouse performance at the Ancram Opera House last year.

Two titles we saw fall from the marquees in 2020 have returned: Measure for Measure, performed outdoors in-workshop last year, will be presented at the Tina Packer Playhouse directed by Alice Reagan. The canceled run of Much Ado About Nothing directed by Kelly Galvin, once planned for The Roman Garden Theatre, will instead take the stage at The New Spruce Theatre – our 500-seat amphitheater that didn’t exist until last summer. The New Spruce was built with uncertainties in mind, but also constructed around the bases of tall trees with deep roots – reaching up always to Berkshire skies.

It’s a view that leads us to our 45th Season theme, borrowed from Much Ado About Nothing and chosen to help guide us, ever carefully, on the path to new horizons.

“Sigh no more…One foot in sea, and one on shore, To one thing constant never.”

Onward,

Allyn Burrows Artistic Director

Allyn Burrows, Artistic Director.

Photo by Carolyn Brown.

BOARD OF TRUSTEES

Beverly Hyman, Chair

Jeffrey B. Konowitch, Vice Chair

Jenifer Salzberg, Vice Chair

Greg Lipper, Treasurer

Michael A. Miller, Clerk

Allyn Burrows, Artistic Director

Amy Handelsman, Managing Director

Henry Baker

Jerome Berko

Sandra Bourgeois

MaConnia Chesser

Kevin G. Coleman

Nancy Edman Feldman

Gerald Friedman*

Phoebe L. Giddon

Michael S. Helfer

Anita F. Heller

Karen A. Kowgios

Barri R. Marks

Helga S. Orthofer

Tina Packer

Andrew Rothstein

Barry R. Shapiro

Licia Sky

David A. Smith

Robert B. Strassler

John Douglas Thompson

Gwendolyn Hampton VanSant

Kenneth E. Werner

*Trustee Emeritus

AMBASSADORS FOR SHAKESPEARE

Kevin Bartini

Helene Berger

Roxanne Bok

Scott Bok

Judy Boomer

George Camarda

Robert Cohen

Linda B. Colvin

Janet Egelhofer

Randy Frank

Audrey Friedner

Sonya Hamlin

Barbara A. Mahony

Bruce Miller

Deborah Miller

Marybeth Mitts

Mindi Morin

Paul Perachi^

Claudia Perles

Suzanne Priebatsch

Myra Sallet

Howard Shawn

Natalie Shawn

Steven Somkin

Frank Speizer

Jeanne Speizer

Dottie Weber

Andy Weinberger

Rhea Werner

Leone T. Young

^Deceased

Welcome to the 45th SeaSon of ShakeSpeare & Company

“How like a winter hath my absence been from thee.” (Sonnet 97)

While the pandemic devastated so many of our fellow artists and companies in the performance space, darkened our stages, and limited our opportunities to be together over the last two seasons, your stalwart support in the time of COVID helped Shakespeare & Company build our beautiful New Spruce Theatre.

Not only that, you packed it: for 44 sold-out performances of King Lear in 2021. How do we show our gratitude?

We dedicate our Season to the spirit of reunion, and we place you, our most loyal supporters, in the center of the stage. Our celebration comes with a gift: Friday Talks and Wednesday Walks. Beginning in June we invite you to a series of free lectures, monthly on Fridays at 10:30 am. You’ll be treated to a discussion with the directors of each of our new Season's productions, who will join educator Ann Berman to examine the Season’s themes. Additionally, on Wednesdays, in July and August please join our Wednesday Walks for behind-thescenes tours of our theaters, prop and costume departments, and other nooks on our storied property.

Still, our celebration of you comes with responsibilities. We need you to spread the word: the most important action you can take is to announce to your friends when you loved one of our productions. Your word-of-mouth has been the key to our enduring 45 years of success. And, we urge you to recognize that ticket sales alone do not support a theater company – the actions that keep us thriving are as varied as they are impactful.

With your continued, so much appreciated support, “Here, I hope, begins our lasting joy.” (Henry VI)

Sincerely,

Beverly Hyman Chair, Board of Trustees

Board Chair Beverly Hyman

MAY 6 – 29

THE APPROACH

By Mark O'Rowe

Co-Directed by Mark

Farrell

and Tina

Packer

with Nicole Ansari, Elizabeth Aspenlieder, and Michelle Joyner

Three women have three conversations that draw us into their inner lives. Listen carefully: what do they reveal to each other, and what does each have to hide?

A play about being human, an exploration of betrayal, and an appeal to listen before it’s too late, The Approach follows the stories of Anna, Cora, and Denise as they converse over coffee about their shared childhoods and burgeoning middle-age, leaving much left unspoken.

A production The Guardian called a “jewel of a play,” The Approach delves into our collective,

deep need to make sense of our world. It’s the latest work by acclaimed playwright Mark O’Rowe, past winner of the the Rooney Prize for Irish Literature – awarded to Irish writers under 40 – in recognition of his body of work.

Known for raw, visceral scripts for both stage and screen in his earlier years, The Approach marks a departure from O’Rowe’s norm, celebrating more subtle examinations of communication, morality, empathy, and intuition.

Generously sponsored by Steve Bader and Cathy Monoxelos.

DIRECTOR’S TAKE

Some may remember the Rock Man in Harry Nilsson’s “The Point ” telling Oblio and Arrow, “The thing is… you see what you want to see and you hear what you want to hear - dig.”

Mark O’Rowe’s play, “The Approach ” is a riddle.

The story is told by what is not being said. It explores the fallout of all our selective seeing and hearing through the very human, rhythmic, yet mundane everyday expressions of sisters Anna and Denise and their long-time friend, Cora. Hidden in the shadows of their sharing, momentous things happen as the three women struggle with the reality of their lives. These expressions are mixed with hints of deep loss and tragedy. It’s a puzzle - and are the clues truthful or not?

The play is set in the present on Grafton Street in Dublin, Ireland. But, as far as we can tell, the Catholic Church is not threatening hell fires, they break up their relationships (or try to) when they are not working. So

why is it that their lives are bound by the table and the chairs? Why don’t they leave like their Irish brethren do, to America or England or other parts of the globe? It's a play about modern-day life and asks why is it so difficult for these women (and all of us) to spell out exactly what’s really happening? Something happens and the two sisters find the loyalty and love for each other while Cora is still left on the outside.

Hotline for Domestic Abuse and Suicide Prevention866-401-2425

— Mark Farrell & Tina Packer

THE APPROACH

“Holds your attention like a transfixing riddle.”

— The Irish Times

JUNE 3 – JULY 3

AN ILIAD

By Lisa Peterson and Denis O'Hare

Directed by Jeffrey Mousseau

with MaConnia Chesser

It begins with the promise of a story – a good story, and the Poet remembers a lot of it.

The armies gather, the harbors are filled with ships, and the Trojan War rages on. The warrior Achilles and proud Hector are the stars of this battle, and the Gods choose sides and cheer them on like sport as they watch from Mount Olympus.

Adapted from the acclaimed translation by Robert Fagles, An Iliad refreshes a world classic

and transforms Homer’s epic poem into a riveting monologue. As the Poet tells the tale –with plenty of action, intrigue, and humor afoot – she alternate between a classic, poetic voice and a modern, conversational tone. Important parallels between ancient history and the modern world are drawn, and the roles familial love and friendship play, even as violence persists, are explored.

Generously sponsored by Claudia Perles and Gerry Fultz.

DIRECTOR’S TAKE

Very early in Lisa Peterson and Denis O’Hare’s theatrical rendering of An Iliad , the sole performer, the Poet, says “Every time I sing this song, I hope it’s the last time.” When MaConnia Chesser as the Poet and I began collaborating on our production of the play at Ancram Opera House last fall, we took this line very much to heart.

On one level, the Poet’s wish is easy to understand: Starting with the Trojan War and bringing us to the present day, this contemporized telling of Homer’s epic poem calls for a virtuoso of a performance demanding one’s all. But, equally challenging, the recounting of so many years of wars, as the Poet does, requires every ounce of her resolve; otherwise, grief could consume her.

In Ancram, An Iliad was our first production back indoors, and we quite literally located the Poet amidst the detritus of a rehearsal stopped in its tracks—either because violence had broken out there or we, like theaters everywhere, had been abruptly shuttered.

Now, in journeying to Lenox, the Poet as embodied by MaConnia returns to a stage she knows well. It’s her artistic home, albeit one equally in the throes and caught between shows. If there’s any balm, it’s that the Tina Packer Playhouse—so familiar to MaConnia and many of you—might provide the Poet with refuge and safety.

With a bit of irony, however, it's not lost on me that this stage has witnessed its share of battles. War is obviously at the forefront of many of Shakespeare’s plays. The echoes of clashing weapons linger in the air here; relics of prior wars can be found accumulating in every inch of the place. The past is very much part of the present. This melding of time matches the Poet’s experience who has trouble distinguishing one atrocity from the next, making it essential for her to sing her song, right here and right now, if only to keep things straight. In doing so, she hopes to awaken us: yes, we may be equally overwhelmed but there must be something more that we, too, can do.

— Jeffrey Mousseau

“Through the excellent telling by MaConnia Chesser, the language of the play – simple yet complex and poetic – shows us both the pain of reality and the beauty of tradition. Nobody could do it better. Ever.”

— The Berkshire Edge, '21

JULY 2 – AUGUST 14

MUCH ADO ABOUT NOTHING

By William Shakespeare

Directed by Kelly Galvin

with Gregory Boover, Caroline Calkins, Gina Fonseca, Nigel Gore, Tamara Hickey, L. James, Madeleine Rose Maggio, Bella Merlin, Devante Owens, Naire Poole, Michael F. Toomey, and Jake Waid

One of Shakespeare’s best-loved comedic masterpieces, Much Ado About Nothing is a celebration of true love, friendship, and laughter that features some of Shakespeare’s most satisfying language.

It’s a “merry war” that ensues as of Don Pedro, Count Claudio, and Benedick return from a successful battle. Beatrice sees Benedick as “the prince’s jester,” while he asks to be spared time with “Lady Tongue.” Meanwhile, Claudio

finds himself falling in love with Hero, Beatrice’s cousin and daughter of their host, Leonato.

Misunderstandings abound at a masquerade ball and again at a wedding, with identities shrouded and both deceit and match-making afoot. Beatrice and Benedick are each duped into believing the other is in love with them, and Claudio is deceived by a plot that suggests Hero has been unfaithful. Will courage, wit, and compassion reveal the truth of their circumstances?

Generously sponsored by Howard and Natalie Shawn.

DIRECTOR’S TAKE

As I write this, it’s spring in the Berkshires. The magnolias are just starting to bloom, and the trees have only begun unfurling their leaves. You can sense the approach of summer, when the Berkshires will burst into life, and Shakespeare & Company will welcome the actors, artists, and audiences that bring fresh energy to the theaters here on Kemble Street. It’s a time that feels full of possibility—though today it feels clouded by the anxiety, conflict, and grief that seem to grip our communities and our world.

It’s an apt moment for Much Ado About Nothing . While it’s one of Shakespeare’s most beloved comedies, it dances us right to the brink of tragedy—and then has the good nature to show us the way out. Through it, Shakespeare poses profound questions about love, family, and friendship, and gives us an account of what becomes possible when we risk being vulnerable and revealing our truest selves to the people we care about. More than ever, it strikes me that Much Ado About Nothing is the story of a community coming together

to celebrate—the return home of their soldiers, the marriage of young lovers, and the arrival of a new era. But amidst their revelry, wickedness lurks, disguised, waiting for the opportunity to strike. While the future remains uncertain, fear, mistrust, and anxiety mount. Still, the characters fight for each other. They make mistakes and they make amends. Through their love for each other, they find ways to undo old hierarchies and remake their world. And through it all, they find reasons to laugh, to make music, to eat and drink, and to fall in love.

I hope that in our own era of uncertainty, this play offers us a moment to celebrate. Maybe this theater, amongst the trees and under the summer sky, can serve as a haven for all of us. Together, we can share an old story made new. We can laugh together, enjoy each other’s company, and share the joy of hearing a play. In each other, we can find reasons to celebrate.

— Kelly Galvin

Much Ado ABOUT NOTHING

“Sigh no more, ladies, sigh no more. Men were deceivers ever, One foot in sea, and one on shore, To one thing constant never.”

— Much Ado About Nothing, Act II, sc. ii

BELLA MERLIN AND TINA PACKER

Shakespeare & Company: When Action Is Eloquence is the first comprehensive insight into this internationally acclaimed company founded in 1978 in Lenox, Massachusetts, by actor-director Tina Packer and voice pioneer Kristin Linklater, with the transformative power of Shakespeare’s language at its heart.

Actors, directors, students, educators, scholars and theatre-lovers alike will find practical acting strategies, inspirational approaches to theatre making and lively insights into the sustaining of a unique and robust theatre company that has been thriving for over forty years.

Tina Packer Bella Merlin

JULY 15 – SEPTEMBER 4

A WALK IN THE WOODS

By Lee Blessing

Directed by James Warwick

with Allyn Burrows and Jonathan Epstein

Two superpower arms negotiators, a Russian and an American, meet informally in the pleasant woods on the outskirts of Geneva. The Russian, Botvinnik, is urbane and humorous but also seasoned and cynical. His American counterpart, Honeyman, is inquisitive and

determined, fervently hopeful about what can—and must—be achieved to maintain peace. They continue their informal meetings as the seasons change, and through these conversations, develop a friendship that belies the antagonisms of the world order.

Generously sponsored by Dr. Gerald and Roberta Friedman.

DIRECTOR’S TAKE

In February of this year, I got an intriguing email from Allyn Burrows. He said he’d just had a crazy idea. Would I direct him and Jonny Epstein in a contemporary play for the Roman Garden Theatre, and would I read A Walk in the Woods by Lee Blessing?

It was also the month when diplomacy and negotiation were being explored to avert, as we now know, what was to become the last gasp of humanity before the outbreak of war in Ukraine – a horrific display of the evil of which the human race is capable. I thought I would never live to see such atrocity again in my lifetime; my parents both fought in World War II. My father was a captain in the British Army, and my mother drove ambulances in London during the Blitz.

They were both still teenagers. They hardly ever talked about it when we were growing up, but I can see in retrospect that they were both deeply, emotionally scarred for the rest of their lives.

I was still a teenager in London when the war in Vietnam started, and although too young to fully understand, the photographic images and descriptions of that conflict are indelibly etched in my mind.

A Walk in the Woods is about two human beings and their professional lives as international diplomats. One Russian, one American. Two negotiators, from opposite sides of the political world, meeting in a wood outside Geneva to address the complex issue

of arms control. Lee Blessing wrote his play in 1988 in the middle of the Cold War. With his extraordinary ear for conversational dialogue around global issues, the two protagonists discuss the urgency of a peaceful agreement between East and West.

As I read the play for the first time back in February, I realized how timeless it has become. I write this director’s note as we all watch the horrors that occur when diplomacy fails, democracy is under attack, and autocracy demands control over the fragile balance of power. With eerily prophetic vision, Lee Blessing invites us to go on a thought-provoking journey of extraordinary insight, compassion, and surprising humor. By the time you see this play, and certainly by the end of our run in September, I pray that a ceasefire will be negotiated, healing can begin, and human decency restored.

So, in response to Allyn’s email after reading the play, I answered with a resounding…Yes. I’d worked with Jonathan Epstein on The Children at Shakespeare & Company a couple of years ago, and have watched Allyn’s consummate acting skills over many years. I have a profound respect for these - my colleagues - at the top of their craft. Coupled with an outstanding set designer, Devon Drohan, and a terrific production team, I wish us all peace, health, education and equal rights in the years ahead.

With love.

— James Warwick

Woods A WALK IN THE

“Lee

Blessing's brillant and wryly humorous play proves yet again how a great script and talented actors can create a memorable and thought-provoking evening.” – LA Splash

JULY 22 – AUGUST 28

HYMN

By Lolita Chakrabarti

Directed by Regge Life

with "ranney" and Kevin Craig West

This soulful new play by Lolita Chakrabarti

OBE examines the subtle intricacies of a complicated friendship between two men, using songs from across many decades to help tell their stories.

Two men in their fifties meet at a funeral. One, Gil, knew the deceased well – he plays the piano at the services and delivers the eulogy. The other, Benny, appears to be a stranger and sits quietly at the funeral with a bottle in hand.

Benny and Gil soon form a deep bond, and both experience life’s highs and lows. Music

DIRECTOR’S TAKE

helps strengthen their connection, but as they ask themselves and each other what it takes to be a good father, brother, or son, the chords they strike together are not always in harmony.

Hymn premiered during lockdown via livestream from London’s Almeida Theatre in 2021. This live production follows Shakespeare & Company’s 2015 production of Chakrabarti’s Red Velvet , for which she won the Charles Wintour Award for Most Promising Playwright in 2012.

Generously sponsored by Deborah and Bill Ryan.

Composing a “take” on a play months before rehearsals begin and the real unpacking starts in the room is not easy. I do this in collaboration with creative minds who are all working toward the same goal – to bring a message to the audience. A message you can think on, which might cause you to unpack a part of your life, and discover your personal anthem.

Hymn is about family; about the power of the blood. Brothers in blood, who have not known one another, seek to be brothers in life. During the play, Gil and Benny are like two tuning forks, finding harmony in a single note that slowly builds into the symphony of two separate families becoming The Jones Clan–one big family that “the youngest,” Benny, brings together. The play is also about generations and the challenges children face to do better than their parents; to make their parents look up to them with pride, because they made a life on their own terms. This goal in mind, Benny struggles to be the King of his castle, while Gil, the “baby of the family,” competes with his sisters for a place at the table.

Hymn is also about secrets; the secrets that parents withhold from their children, the secrets that could inspire, or that could knock down their children. As parents, we all have secrets; secrets that we dare not let our children know during this lifetime.

The pandemic has made us all think more deeply about family and the ties that bind. Life and death these last two years have called us to recognize the power of family and the resources unique to family. We have found new ways to bring family together, and to provide a roadmap for the next generation. As we continue this process, we celebrate our successes, but also come face-to-face with our failures.

We witnessed the homage to Ira Aldridge in Lolita Chakrabarti's Red Velvet in 2015, so I invite you to witness the power of Hymn and let it find a tone that resonates with the tuning fork of your soul.

— Regge Life

AUGUST 19 – SEPTEMBER 18

MEASURE FOR MEASURE

By William Shakespeare

Directed by Alice Reagan

with Ariel Bock, Nehassaiu deGannes, Ally Farzetta, David Gow, Rory Hammond, Charls Sedgwick Hall, Vaughn Pole, and Indika Senanayake

When Angelo is abruptly appointed to rule over a chaotic and debauched city, he restores order with repressive laws and an iron fist, while putting Isabella, a young nun and the object of his own twisted desire, in an unthinkable position. “To whom should I complain?” is all

she can utter. Filled with dramatic twists and turns, Measure for Measure also dishes up a fine array of wit, comedy, and passion as human nature and law collide during one of Shakespeare’s most passionately talked about plays in the canon.

DIRECTOR’S TAKE

“Who would believe thee, Isabel?” With these five words, Shakespeare comes hurtling through the centuries to us, echoing the words of so many men to too many women who were empowered to speak during the seismic #MeToo movement.

What drew me to Measure for Measure was the conundrum Isabella faces when Angelo proposes she forfeit her virginity to save her brother’s life—and how desire becomes a cudgel in the hands of a man in power. After a weeklong workshop and several performances in the Roman Garden in Summer 2021, I now see Angelo’s obscene proposition as part of a whole web of power dynamics at work in the play, and how these dynamics undo the main characters’ most noble intentions.

The urban world of Measure for Measure is a place where the leader has taken her hands off the wheel and handed power over to exactly the wrong person. Where once laws were ignored, they are now enforced with deadly consequences. Shakespeare, as he often does, shows us two classes: the cultured, powerful men and women who are in control of the city, and the underbelly of this society, a motley assortment of

miscreants who make a living off the sex trade and live in general depravity. These folks are the most relatable and lovable people in the play, perhaps because they take care of each other without judgment. The interplay of these two classes reveals a writer uneasy with the world he depicts—just whom are we rooting for?

The questions we’re attempting to tackle in this production of Measure for Measure center on power, both political and interpersonal. We will purposefully re-map gender and race onto the play, inviting new ways to understand the characters and their positions. The most important question we think the play is asking is: Who should lead us forward? By the end of our journey, hopefully, we will offer an intriguing, alternative model.

Not seen at Shakespeare & Company for more than two decades, this Measure for Measure features longtime company artist Ariel Bock as the Duke, while the luminous Nehassaiu deGannes takes on the role of Isabella, joined by an ensemble of Shakespeare & Co. seasoned veterans and rising talent. I look forward to bringing this provocative, ultimately hopeful play, to Lenox audiences. — Alice Reagan

“It is excellent to have a giant's strength, but it is tyrannous to use it like a giant.”

— Measure for Measure, Act II, sc. ii

Nehassaiu deGannes, Measure for Measure, 2021.

Photo by Christina Lane.

SEPTEMBER 23 – OCTOBER 30

GOLDEN LEAF RAGTIME BLUES

By Charles Smith

Directed by Raz Golden with Glenn Barrett, Kevin G. Coleman, and Kristen Moriarty

Pompey is an aging vaudevillian. Depressed, his apartment is in disarray as he mourns the loss of his best friend and comedy partner, Ollie –ruminating on memories of their heyday together.

Jet is a Black teenager who knows Marsha, Pompey’s adult daughter, through a support program for teens living in youth homes. He first visits Pompey’s apartment with Marsha, who

PLAYWRIGHT CHARLES SMITH

Playwright Charles Smith grew up in The South Side of Chicago. After dropping out of high school and finding factory jobs unfavorable, he joined the U.S. Army, traveled the world, and returned to his hometown to begin classes at Harold Washington College, part of the city college system.

That’s where the lure of writing first caught Smith, and since then he hasn’t stopped adding lines to his resume. He started with ‘intern’ at Chicago’s Victory Gardens Theater in 1985, moving on quickly to add ‘playwright-in-residence.’

He premiered nine titles at Victory Gardens –including Knock Me a Kiss , a story centered on W.E.B. Du Bois’ daughter Yolande, poet Countee Cullen, and jazz musician Jimmy Lunceford – presented at Shakespeare & Company in February 2022 in partnership with Multicultural BRIDGE. Since that inaugural internship, Smith has written more than 30 plays, accepted commissions from nearly 20 theater companies, and produced two Emmy award-winning teleplays. In 1995, he saw his play Black Star Line become a Pulitzer Prize entrant.

leaves them together to discover an unusual connection through shared stories and music –however wary they may remain of each other.

Golden Leaf Ragtime Blues illustrates the common bonds often found within shared experiences, and how our basic needs and human emotions cut across the barriers of race, religion, and age.

He also joined the ranks of higher education, first teaching at Northwestern University and going on to become a Distinguished Professor of Theatre at Ohio University. Today, DePaul University Special Collections and Archives maintains a collection of Smith's drafts and typescripts.

Golden Leaf Ragtime Blues was developed in partnership with the American Blues Theatre Company and the HBO new writers workshop, and like Knock Me a Kiss , it’s one of several Smith titles that celebrate music. He’s not one to favor any one genre, either: sometimes, it is Vaudeville tunes like those of Golden Leaf, other times it’s jazz (The Sutherland , Shoot the Piano Player ), or old spirituals, as heard in Cane

Today, Smith’s resume continues to lengthen. The Reclamation of Madison Hemings, the story of two formerly enslaved Black Americans, had its world premiere at the Indiana Repertory Theatre in Indianapolis this year as part of IRT's INclusion Series: Celebrating Diverse Storytelling. The Chicago critics have taken note, with one (ChicagoNow ) deeming it “another excellent example of his superb storytelling abilities.”

“An exploration of prejudice and humanism... asks us to confront our human capacity for seeing the 'content of character' present in all of us.” — Ian Wolfgang Hinz

PLAYS in Process

SATURDAYS & SUNDAYS

JULY 9 – AUGUST 7

Tina Packer Playhouse 1:30pm performances

This summer, Shakespeare & Company is offering patrons an opportunity to peer into the process of playmaking.

Plays in Process , a new addition to the Company’s repertoire, will feature both new works and new interpretations of classic works as they develop into maturity for the stage. Five weekends of performances will be presented in July and August, including solo shows, readings, radio play adaptations, nods to Shakespeare’s text, and much more.

All Plays in Process shows will be held in the climate-controlled Tina Packer Playhouse. For more information or to purchase tickets, visit shakespeare.org/shows

Generously sponsored by Jerry and Honie Berko.

PLAYS IN PROCESS WEEKENDS

July 9 and July 10

July 16 and July 17

July 23 and July 24

July 30 and July 31

August 6 and August 7

FEATURING

Tamara Hickey.

Photo by Rick Bern Photography

Annette Miller and many more!

Bella Merlin

RIOTOUS YOUTH 2022

One- and Two-Week Programs for Students Ages 6–17

Our Riotous Youth Summer Theater Program is back! Designed to introduce young actors to the language, stories, characters, and ideas in Shakespeare’s plays in imaginative and playful ways, Riotous Youth sessions incorporate voice, movement, and acting to enable participants to explore Shakespeare’s text. Each session culminates with a “Greatest Hits of Shakespeare” abridged performance, free and open to the public.

For more information about everything our Education Program has to offer, visit shakespeare.org/education, or contact Education Programs Administrator Meg Marchione at (413) 637-1199 ext.172.

2022 RIOTOUS YOUTH PERFORMANCES

All free performances will be held at the Rose Footprint Theatre at Shakespeare & Company.

Friday, July 15 –Much Ado About Nothing

Friday, July 29 –Macbeth

10am (ages 7–9)

11am (ages 10–12) 12pm (ages 13–15)

10am (ages 7–9)

11am (ages 10–12) 12pm (ages 13–15)

WILD & WHISPERING WOODS

One-Week Programs for Students Ages 6–12

A fast-paced one week exploration of Shakespeare’s Characters as they encounter all manner of unexpected hijinks, love, and mysterious creatures in the woods, this session uses text from As You Like It , A Midsummer Night’s Dream, and The Winter’s Tale .

Free Performance: Friday, August 19

11am | Outdoors at The Rose Footprint Theatre

RIOTOUS COMPANY

A Three-week Program for High School Students Ages 13–17

This advanced program offers young actors more indepth training in text, voice, movement, stage fight, and character work.

Free Performance: Friday, August 19

12pm | Outdoors at The Rose Footprint Theatre

Education programming is generously sponsored by

Friday, August 12 –The Tempest

10am (ages 7–9)

11am (ages 10–12)

12pm (ages 13–15)

SHAKESPEARE & COMPANY’S COMMUNITY PARTNERS

The Berkshires are known as home to a thriving cultural community.

What some may not realize, however, is the level of support Berkshire businesses provide to our region’s many arts organizations. Through their patronage, advertising, in-kind donations, and more, they are not only an essential part of the arts landscape in the Berkshires, but essential to the success of our year-round efforts here at Shakespeare & Company.

The unprecedented challenges we’ve faced over the last several years have certainly put a strain on us all, both personally and professionally, and that includes the small businesses of the Berkshires. But rather than separate us, these challenges have brought us even closer together. Rather than dwelling on scarcity, our Community and Business Sponsors have embodied the spirit of generosity. We are proud to be able to continue to work together to support each other.

Please take note of the wonderful businesses and organizations highlighted on these pages. They are our community partners who’ve helped sustain us even as they faced their own challenges.

We urge you to support these local inns, shops, restaurants, and other businesses. We promise that you will reap the rewards, through delicious food, eclectic drinks, charming inns, unique

shopping experiences, delightful art galleries, top-notch services, and unparalleled hospitality!

There is a reason the Berkshires are one of the country’s premiere vacation destinations. Yes, we have world-class art and spectacular natural surroundings, but just as important is our caring, welcoming community they are the real stars here. ■

Photo by the Lenox Chamber of Commerce.

Downtown Lenox.

Photo by the Lenox Chamber of Commerce.

CELEBRATE OUR BUSINESS SPONSORS!

Shakespeare & Company would like to thank our 2022 Business Partners

A.W. Confections

Adams Community Bank

Alta Restaurant & Wine Bar

Ancram Opera House

Annie Selke Companies

Arcadian Shop

Bard College at Simon’s Rock

Barrington Brewery & Restaurant

Barrington Stage Company

BearFly Designs

Bella Flora

Berkshire Acupuncture / Peter Goldberg

Berkshire Agricultural Ventures

Berkshire Classic Leather & Silver

Berkshire Cosmetic & Reconstructive Surgery Center

Berkshire Elegant Country Inns

Berkshire Food Co-Op Market

Berkshire Greenscapes

Berkshire Health Systems

Berkshire International Film Festival

Berkshire Jewish Film Festival

Berkshire Mountain Distillers

Berkshire Music School

Berkshire Opera Festival

Berkshire Physical Therapy & Wellness

Berkshire Property Agents Real Estate

Berkshire South Regional Community Center

Berkshire Theatre Group

Berskhire Landscapes

Betty's Pizza Shack

The Bidwell House Museum

Blue Q

Blue Spark Financial

The Bookstore

Bousquet Mountain

Bousquet Sport

Brava Wine Bar

Café Triskele

Campo de' Fiori

Canyon Ranch

Casablanca

Casablanca South

Chester Theatre Company

Chocolate Springs Café

Clark + Green, Inc.

Architecture Design

Classical Tents & Party Rentals

Cohen + White Associates

Considine, Michael J. & Leary, Shawn P., Attorneys at Law

Courtyard Marriott

Crissey Farm Berkshire

Banquet House

Dare Bottleshop & Provisions

Decumanus Green

Design Menagerie

Devonfield Inn

Douglas James Rose

Attorney & Counsellor at Law

Firefly Gastropub

Fluff Alpaca

Frankie's Ristorante Italiano

Frelinghuysen Morris

House & Studio

Gateways Inn & Restaurant

GB9

The Gifted Child

Great Barrington Bagel

Company & Deli

Greylock Design Associates

Greylock Federal Credit Union

Guardian Life Insurance

Company of America

Guido's Fresh Marketplace

GVH Studio, Inc.

Hampton Inn & Suites

Hampton Terrace Bed & Breakfast

Haven Café & Bakery

Heller & Robbins, Attorneys at Law

Hill-Engineers Architects, Planners, Inc.

Hilton Garden Inn

Inn at Stockbridge

J.H. Maxymillian, Inc.

Kent's Vacuum Center

Kushi & Company, PC

La Pace

The Lake House of the Berkshires

Lauren Clark Fine Art

Laurie Donovan Designs

The Lenox Chamber of Commerce

Lenox Family Chiropractic

Lenox Fit

Loeb's Foodtown

MacKimmie Co.

Mahaiwe Performing Arts Center

The Marskandiser Florist

Meadow Farm Equipment

Mill Town

Mission Gastropub

Morrison's Home

Improvement Specialists

Nejaime's Wine Cellars

Norman Rockwell Museum

October Mountain

Financial Advisors

The Old Inn on the Green

The Olde Heritage Tavern

One Mercantile

Out of Hand

Paula McLean Realtors

Pignatelli Electric Contractors

Piretti Real Estate

Pizzeria Boema

Proprietor's Lodge

QualPrint

The Red Lion Inn

Red Mannequin

Renaissance Investment Group

Riverbrook Residence

Roberts & Associates

Realty, Inc.

Roche Funeral Home

Salisbury Bank

Samantha Gale Designs

Scarafoni Financial Group

Second Life Books, Inc.

Selina Lamb, Realtor

Seven Hills Inn

Shear Design

Shooz

SoCo Creamery

Stone House Properties

Sweet Dreams

SWTRZ

The Mount, Edith Wharton's Home

The Pack Shack

Toole Insurance

Township Four Florists

Villa Amonoka

WAM Theatre

Ward's Nursery & Garden Center

What a Gift

Williams & Sons

Stockbridge Country Store

Windy Hill Farm

The Yankee Inn

Zinc Bistro & Bar

IN CONVERSATION: DIRECTOR OF EDUCATION KEVIN G. COLEMAN

The original members of Shakespeare & Company are known, reverently, as The Founders – and Director of Education Kevin G. Coleman is one.

Here from the very beginning, Coleman has been involved with virtually every creative aspect of the Company, from acting to directing, training to fundraising, and beyond. He continues to oversee programs that introduce Shakespeare to students as young as six, high school students, juvenile offenders, teachers, teaching artists, and directors, as well as work with professional actors through the Company’s Center for Actor Training.

Coleman has taught, directed, or served as a guest artist at countless venues and institutions, including the American Stage Company, Harvard, MIT, Queensland University of TechnologyBrisbane, Lincoln Center, and many others.

In the world of Shakespearean theater, some might say Coleman has seen it all. And before 2020, he may have agreed.

But in these last few years that had everyone on pandemic pause, Coleman said an already vulnerable population – the high school students he sees through the Fall Festival of Shakespeare, now in its 34th year – have taken a particular hit, creating a need for new directions and course corrections.

“These students are in crucial developmental periods in their lives, and have been missing out for almost three years now,” he said. “There’s a lot of hopelessness.

Many show up as a more cautious version of themselves, and have become much more inwardly focused and guarded – hesitant to commit to any project or activity.

“Mental health in adolescence is always a concern, but now, it’s become much more serious,” he continued. “We attribute it to what they’ve endured, and continue to endure in the trauma and stresses of society and the world.”

Coleman added that the experience of theater can be a ‘reaching out’ for connection; a corrective to the insulated world to which some students have retreated.

“Theater is life-affirming. It’s revealing oneself, taking risks, exposing one's humanity, and expressing vulnerability,” he said. “So now we ask ourselves: what’s the corrective for this cautiousness? What steps can we take to bring about a more outward focus - a more hopeful and curious energy and restart the inertia?”

The course is not yet clear, but Coleman says there’s support in Shakespeare’s words, and reintroducing students to language that excites, provokes, deepens thinking, and awakens feeling.

He added that the feelings embedded in Shakespeare’s language also help students rediscover what the English language could be.

“There’s power and beauty in its eloquence – there’s courage and heartbreak,” he said. “Most of all, there’s life in his language – and it calls out to life.” ■

Kevin G. Coleman as "The Fool", King Lear, 2003.

Photo by Kevin Sprague.

Left to Right: Kevin G. Coleman, Ryan Winkles, and Josh Aaron McCabe, Irma Vep, 2003.

Photo by Kevin Sprague

Kevin G. Coleman

Photo by Ava G. Lindenmaier

“Fall Fest is an experience that brings people together. We come together to channel the words of Shakespeare and the words of our own emotions.” – Fall Festival Participant, 2018

EDUCATION CONTINUES IN 2022 AND 2023…

The 34th Fall Festival of Shakespeare, November 17 – 20, brings together more than 500 high school students from across the region for a nine-week exploration and production of Shakespeare’s plays that culminate in performances at the Tina Packer Playhouse.

The Northeast Regional Tour of Shakespeare, a Company staple since 1982, sends touring productions of Shakespeare’s plays along with a variety of related workshops into middle and high schools, colleges, largescale performance venues, and community centers, reaching more than 20,000 students, teachers, and others each year.

COMPANY

THEATER-IN-EDUCATION AT SHAKESPEARE &

Now celebrating its 45th year, Shakespeare & Company’s Education Program has reached nearly one million elementary, middle, and high school students through its work. This season the legacy continues to grow, including the return of the Riotous Youth, our Summer Theater Program for children and teenagers ages 6-17!

Designed to introduce young actors to the language, stories, characters, and ideas in Shakespeare’s plays in imaginative and meaningful ways, Riotous Youth is just one of many Shakespeare & Company’s 2022 and 2023 Education programs offer Actor Training, professional development for educators, touring productions, and much more.

Professional Development Workshops, designed for teachers, directors, and Teaching Artists to help them create dynamic and engaging learning experiences in the classroom and on the stage, and to learn appropriate strategies to help students experience Shakespeare’s language in more personal ways.

School Residencies, ranging from one day to 10-week programs, offering elementary, middle, and high-school students an innovative and meaningful introduction to Shakespeare, both in and out of the classroom.

Summer Conservatory, designed to bring Shakespeare & Company’s methodology to young actors ages 17—20, resuming in Summer 2023.

Shakespeare in the Courts, a program developed in conjunction with the Berkshire Juvenile Court System that provides adolescent offenders an opportunity to study, rehearse, and perform Shakespeare as an alternative to more punitive consequences.

Spring Young Company, designed for high school students who are looking to begin or continue their actor training, allowing them to work on voice, movement, text, scene work, and more.

For more information about everything our Education Program has to offer, visit shakespeare.org/education, or contact Education Programs Manager Meg Marchione at (413) 637 1199 ext.172.

Fall Festival of Shakespeare, Lenox High School, A Midsummer Night's Dream , 2018. Photo by Eloy Garcia.

RIotous Company, 2021. Photo by Katie McKellick.

WEDNESDAY WALKS & FRIDAY TALKS

This summer, Shakespeare & Company hosts Wednesday Walks and Friday Talks –two different week-day opportunities to enjoy the Company grounds!

FREE FRIDAY TALKS

April 22 – August 26 | 10:30am

Hosted by educator and Shakespeare & Volunteer Company member Ann Berman, these talks are held outdoors under the Tina Packer Playhouse Tent once each month at 10:30am, through August 26. The themes of the 2022 Season’s titles are explored with the help of special guests, including directors, members of the casts, and others. Reserve your spot at shakespeare.org/shows .

FREE FRIDAY TALKS

April 22 – The Approach : Ann Berman hosts coDirectors Mark Farrell and Tina Packer, and actor MaConnia Chesser.

May 20 – An Iliad : Ann Berman hosts Director Jeffrey Mousseau.

June 17 – Much Ado About Nothing : Ann Berman hosts Director Kelly Galvin, Assistant Director Sarah Shin, and design team members Patrick Brennan and Kiki Smith.

July 22 – Measure for Measure : Ann Berman hosts Director Alice Reagan and other guests.

August 26 – Golden Leaf Ragtime Blues : discussion with the Director and other guests.

WEDNESDAY

WALKS

WEDNESDAY WALKS

July 6, 13, 20, and 27

August 3, 10, 17, 24, and 31

For more information or to reserve your spot, visit shakespeare.org.

GROUP TOURS 2022

July 6 – August 31 | 10:30am

Offering a behind-the-scenes look at everything Shakespeare & Company does, General Manager Steve Ball and dog Willie lead a two-hour walk through the Company's stages, rehearsal studios, costume and prop shops, weapons armory, and more. Tickets are $10 for adults and $5 for students, including our $2 facility fee.

Bring a Group of 10 or more and Save 20%!

Bring your group to any Shakespeare & Company performance and enjoy special group benefits. Contact Elizabeth Aspenlieder groups@shakespeare.org (413) 637-1199 ext. 110

A TRIBUTE TO ELAYNE POLLY BERNSTEIN

1924 – 2011

Elayne Polly Bernstein Schwartz was a dear friend and beloved benefactor of Shakespeare & Company for more than 30 years. A member of our Board of Trustees, Elayne attended countless rehearsals, performances, and events. She also championed our Fall Festival of Shakespeare and other youth programs, in which several of her grandchildren participated. An ardent believer that Shakespeare’s words speak to us all, Elayne helped shape the very fabric of our organization.

This fall marks the 11th year following Elayne’s passing. As the Company reflects on the unprecedented challenges of the past years, one thing that has never dimmed is the power of language, art, community, determination, and hope—all trademarks of our dear Elayne.

A performer in her youth, Elayne postponed her own career on stage to raise a family. While rearing her five children, she earned a college degree and eventually became a college professor. Shakespeare had a profound impact on Elayne, igniting a passion and emboldening her to pass her love of theater and language on to future generations, many of whom—including members of her own family— continue to honor her values. Elayne’s ideals aligned with Shakespeare & Company's, its founders, artists, and staff. She was instrumental in many of our achievements.

Elayne's Corner Ribbon Cutting Ceremony, 2011

Elayne Bernstein Photo by Kevin Sprague

“If I do vow a friendship, I’ll perform it to the last article.” — Othello Act III, Scene iii

One of Elayne and her family’s most noted contributions was their support of The Elayne P. Bernstein Theatre, which opened in the summer of 2008. Elayne not only envisioned "The Bernstein" as a venue for contemporary plays and intimate productions, but also as a hub for behind-thescenes action year-round, including a resource for community-based activities including yoga retreats, seminars, graduations, bar/bat mitzvahs, weddings, and video and short movie filmings. Theater artists of all ages and levels of experience, from six year-old Riotous Youth participants to theater educators and actors from five generations, gather for rehearsals and training in our three studios; it also houses our extensive prop and costume collection, a world-class armory, and state-of-the-art set and costume shops. Elayne’s limitless friendship and kindness continue to touch and inspire each of us. Her generosity reverberates through the halls, rehearsal rooms and theatre today. We gratefully and humbly acknowledge the passion, vision, and support Elayne and her family gave to Shakespeare & Company. In typical unabashed Elayne style, we invite you to make a gift to honor her memory, carrying forward her philanthropic commitment to the Company for decades to come. ■

The Elayne P. Bernstein Performing Arts Center Photo by Ava G. Lindenmaier

2007 Gala, Elayne Bernstein with Founding Artistic Director Tina Packer, Board Member

Michael A. Miller, and summer Company artists,

Photo by Kevin Sprague

Elayne Bernstein and Founding Artistic Director Tina Packer, Photo by Kevin Sprague

Elayne Bernstein with granddaughter Jenna Rubin, Photo by Kevin Sprague

CENTER FOR ACTOR TRAINING

The Center for Actor Training lives at the heart of Shakespeare & Company. Shakespeare demands a response to the big questions in life—What does it mean to be a human being? How should we act as a society? What must I do as an individual? We believe actors must be willing to use the whole of themselves—mind, body, voice, and soul—to respond to these questions. Artists from all disciplines, at all stages of their career, and from all over the world train with us. They gain a fresh and nuanced understanding of their voices and their bodies, while delving deeply into their own creativity, imagination, intellect, and emotional life. Shakespeare & Company’s curriculum is recognized as a deeply effective training experience for theater artists who aspire to bring their talent, intuition, and spirit to a higher level. In 2022 and 2023, the Center for Actor Training is offering a full slate of actor-training opportunities:

Summer Shakespeare Intensive provides young actors the opportunity to immerse themselves in Shakespeare six days a week for four weeks during the summer performance season.

The Month-long Intensive offers a rigorous, compacted schedule in which participants are continually immersed in Shakespeare’s text and the disciplines that support it, including Linklater Voice, movement and dance, text analysis, sonnet, stage fight, and more.

Weekend Intensives are designed to meet the needs of professional actors and theater students who seek an introduction to Shakespeare & Company's training methods.

For more information, visit shakespeare.org/actor-training, or call (413) 637-1199 ext. 114.

In-person, Specialized Workshops explore a full range of disciplines including rhetoric, wit, clown, fight, voice, movement, public speaking, and more.

Online Classes and Workshops provide opportunities for theater professionals around the world to study with our distinguished faculty.

UPCOMING WORKSHOPS

Women of Will: Following the Feminine in Shakespeare’s Plays September 2-4, 2022

Faculty: Tina Packer, Kimberly White, & Sarah Kate Anderson

Month-long Intensive January 3-29, 2023

Photos by Christina Lane.

INTRODUCING DIRECTOR OF TRAINING: SHEILA BANDYOPADHYAY

Sheila Bandyopadhyay has joined Shakespeare & Company as its Director of Training! A director, movement specialist, performer, and devisor of original theater, Bandyopadhyay has an extensive background in both new work and Shakespeare, and has trained and taught with the Company as an Education and Training artist. She’s been an active player in New York’s independent theater scene with work at venues including the West End Theater, the Brick in Brooklyn, the Tank, the 72nd St. Theater Lab, and multiple festivals for new work (directing/devising); the Boston Center for the Arts, Gallatin NYU, FSU/Asolo, and the American Academy of Dramatic Arts Company (movement and choreography); and The Humanist Project and Stages on the Sound as a performer, among others. Some of her favorite roles include Tamora in Titus Andronicus,

Bianca/Grumio in The Taming of the Shrew, and Scheherazade/Dahna in 1001 by Jason Grote.

Before becoming Director of Training, she served as Head of the Professional Training Program and Core Movement Faculty at Dell’Arte International School of Physical Theatre and Head of Movement at The American Academy of Dramatic Arts in New York City. Bandyopadhyay has taught actor training workshops internationally and on both coasts.

In her new role, Bandyopadhyay will steward Shakespeare & Company’s acclaimed Center for Actor Training into a new era, continuing to refine its aesthetic and enacting positive change for a more accessible, inclusive environment. ■

“I began my career at Shakespeare & Company, so taking on this role is a wonderful return! I look forward to upholding the high quality of actor training Shakespeare & Company is known for, establishing inclusive practices, and expanding our offerings to keep us at the forefront of theatrical artistry.”

– Sheila Bandyopadhyay

SHOW YOUR SUPPORT!

Since 1978, Shakespeare & Company has delighted audiences with edifying productions of plays by William Shakespeare and thoughtprovoking contemporary playwrights. Our Education programs have inspired countless students across the region to become immersed in engaging, hands-on activities and inspiring performances. Our Training programs have impacted thousands of artists, inspiring their work on stages and screens around the world.

This work would not be possible without the generosity of people like you.

Donations to Shakespeare & Company help sustain a bold tradition of Performance, Education, and Actor Training. Your support has a direct impact on our ability to serve students, artists, and audiences through the power of live theater.

If you enjoyed the work you saw onstage or online today, please consider joining the Shakespeare & Company donor community with a contribution. With your support, we can continue to offer productions of the highest artistic quality and expand access to our award-winning Educational programs and Training opportunities.

Shakespeare & Company supporters enjoy many benefits, including early ticket purchase access, an inside look at the creative process, complimentary behind-the-scenes tours, exclusive donor events, and more!

MAKING A GIFT IS SIMPLE!

• Donate online at shakespeare.org/donate

• Call (413) 637-1199 ext. 105

• Mail a check to: Shakespeare & Company attn.: Development Office 70 Kemble Street Lenox, MA 01240

• Shakespeare & Company accepts donations of stock. E-mail kmoriarty@shakespeare.org for more information.

Thank you!

For additional information about ways you can support Shakespeare & Company, please call Bonnie Stevens at (413) 637-1199 ext. 180 or visit shakespeare.org/support-us

JOIN THE PLAYERS’ SOCIETY

Play an integral part of the Shakespeare & Company donor community! As a member of the Players’ Society, you will enjoy inside access to all the Company has to offer, including [everything listed], and many other exceptional benefits. To join or receive additional information, please call the Development Office at (413) 637-1199 ext. 105 or visit shakespeare.org/support-us/players-society.

Fall Festival of Shakespeare 2017, Much Ado About Nothing.

Photo by Olivia Winslow.

THE STRATFORD CIRCLE: A GIFT OF A LIFETIME

Making a legacy gift is a uniquely meaningful way to help Shakespeare & Company continue to provide an innovative, diverse, and sustainable program of Performance, Training, and Education to audiences, artists, and communities for generations to come.

Your legacy gift will provide much-needed financial assistance to Shakespeare & Company, while simultaneously offering tax and financial benefits to you.

We hope you will consider including Shakespeare & Company in your estate plans by becoming a member of The Stratford Circle. As we continue to grow and make a difference throughout the Berkshire community and in countless lives around the world, your very special gift—like the timeless words of William Shakespeare—will leave an indelible mark on the Company’s health, stability, and longevity.

To learn more about joining The Stratford Circle, please call Bonnie Stevens at (413) 637-1199 ext. 180.

“When in eternal lines to time thou grow’st, So long as men can breathe or eyes can see, So long lives this, and this gives life to thee.”

– Sonnet 18

We express our heartfelt gratitude to the following supporters who have included Shakespeare & Company in their estate plans:

Carol Anderson, The Estate of Elayne P. Bernstein Schwartz*, Sandy Bourgeois and Sarah Lytle, Shera Cohen, Carol Braun, The Estate of Claire Cox*, Gretchen DeKalb, Ruth Dinerman, Stuart M. Fishman, Esq., Katharine Goodland, The Estate of Robert D. Gorden*, Jeff Konowitch, The Estate of Dennis Krausnick*, Greg Lipper, The Estate of Lucille McCabe*, Robert B. Neff, Tina Packer, Richard Russell, The Estate of Linda Sambel*, The Estate of Marilyn Thompson*, The Estate of Nancy and Michael Vale*, Dr. Raymond Vale, and anonymous donor.

*Deceased

Dennis Krausnick, King Lear 2012, Photo by Kevin Sprague

Fall Festival of Shakespeare 2018, Taconic Hills High School, Much Ado About Nothing

Photo by Eloy Garcia.

Riotous Youth, 2019.

Photo by Zachary de Silva.

Tina Packer, 2008

Photo by Kevin Sprague

Left to Right: "ranney", L. James, and Michael F. Toomey,

Art, 2021. Photo by Nile Scott Studios.

Left to Right: Ryan Winkles, Christopher Lloyd, and David Bertoldi, King Lear, 2021. Photo by Nile Scott Studios.

JUNE 23–JULY

JULY

JULY

AUGUST

THANK YOU FOR YOUR SUPPORT!

Shakespeare & Company gratefully acknowledges the generosity of the following individuals, foundations, businesses, and government agencies whose annual support is essential to our programs.

“I can no other answer make but thanks, And thanks; and ever thanks”

– Twelfth Night, Act III, Scene iii

Individual donors who contribute $1,500 and above are members of the Players' Society, our leadership gift society. Through their generous philanthropy, leadership, and service, these donors exhibit a deep commitment to the organization.

PLAYERS’ SOCIETY

$25,000+

Arts Midwest

The Bok Family Foundation

Peter and Candy LaPlante

Massachusetts Cultural Council

Claudia Perles and Gerry Fultz

Barry and Marjorie Shapiro/ Dr. Robert C. and Tina Sohn Foundation

Natalie and Howard Shawn

The Shubert Foundation

Estate of Michael and Nancy Vale*

$10,000–24,999

Jerry and Honie Berko

Berkshire Taconic Community Foundation

The Elayne P. Bernstein Family

Ranny Cooper and David A. Smith

The Feigenbaum Foundation

Dr. Gerald and Roberta Friedman

Dr. Thomas M. Fynan and Mr. William F. Loutrel

Estate of Robert D. Gorden*

Bev Hyman and Larry Birnbach

The Janey Fund Charitable Trust

Jeff Konowitch and Wendy Laurin

Karen A. Kowgios and Robert Fried

David M. Kozak

Greg Lipper and Kate Kohler Amory

Michael A. and Annette Miller

Emily J. Rechnitz Philanthropic Fund

Kathleen Rogers and Rick Teller

Deborah and Bill Ryan

Jenifer and Mark Salzberg

Licia Sky and Dr. Bessel A. van der Kolk

Toni and Robert B. Strassler

Trauma Research Foundation, Inc.

Paul and Jennifer Walsh

Rhea and Ken Werner

Anonymous

$5,000–9,999

Steve Bader and Cathy Monoxelos

Paul Clark and Carol Parrish

Michael J. Considine and Shawn P. Leary

Robert d'O. Rieffel

Nancy Edman Feldman and Mike Chefetz

Randall and Ellen Frank

Dr. Donald and Phoebe L. Giddon

Deann Simmons Halper

Michael S. and Ricki Tigert Helfer

Anita F. Heller ^

Barri Marks and Woody Exley

Karen and Ron Rettner

Marvin Seline

Jeanne and Frank Speizer

Stone Soup Fund

Sandra Urie and Frank Herron

Jacqueline R. Werner and Richard L. Soffer

Janet Wynn and Roger Kubarych

Leone T. Young

$2,500–4,999

Shari and Steve Ashman

Liz and Frank Blake

Judy and Tim Boomer

Patrick J. Buckley

Bob and Debbie First

Martin and Judy Isserlis

Jennifer Kotler

Levitt Foundation

Barbara A. Mahony +

Joseph Martinson Memorial Fund

Brooke Owen-Thomas

Suzanne Priebatsch

Joan and Robert Rechnitz

Ro Family Foundation

Lawrence Rosenthal

Jeffrey and Karen Ross

Melinda and Andy Rothstein

Lynne Sebastian and George Klemp

Ted Shiffman and Barbara Serating

Pamela Wagner

Anonymous

$1,500–2,499

Sandra and Eric Berkowitz

Jody Bourgeois

Judy Bergman and Dr. Richard Budson

Jacob Buurma

Linda Benedict Colvin

Claudia Davidoff and Joseph Kahan

Gretchen DeKalb

Joanne and Gerald Dreher

Jody Dushay and Paul Gompers

John and Janet Egelhofer

Jill Hai and Marc Rubenstein

William and Suzanne Harley

Steve Kay and Lisbeth L. Tarlow

Lenox School Alumni Association, Inc.

Nancy Lukitsh

Jon and Rosemary Masters

Janice McCormick and Davis Dyer

Robert and Jeanne Meister

Enid Michelman

Deborah Miller and Adam Strickberger

Selina Morris

Northern Berkshire Cultural Council

Mary Ellen O'Connor

Peter B. F. and Helen G. Randolph

Kiki Smith

Amy and David Sorkin

Springfield Cultural Council

Marian M. Warden

Andrew B. Weinberger and Meredith Sue Willis +

Laird and Reid White

Fareed Zakaria

Anonymous

INDIVIDUAL & INSTITUTIONAL DONORS

$1,000–1,499

Virginia S. Akabane

John Bousa

Maggie and Don Buchwald

Linda Cantoni

Christine and Larry Carsman

Marie Cavanaugh and James Barrese

Neil and Kathleen Chrisman

Lori Cohen and Christopher Rothko

Contrapuntal Performance, Inc.

Michael and Constance Cunningham

Paul Deutsch and Kiu Ling Tom

Geraldine R. Dodge Foundation

Ed Feller

Nancy Fitzpatrick and Lincoln Russell

Ricki Gardner and William Cavanagh

Andrew Gates

Dan and Mary Gates

Linda and David Glickstein

Jonathan and Amy Goldberg

Ken Goldman and Marlo Hyman

Carol and Joseph Green

Freda Grim and Dan Courchaine

Ellen and Scott Hand

Torrence C. Harder

Joan and Jim Hunter

Heather Coulter Kemp

Kathleen Lee

Lee Bank Foundation

Carol and Lance Liebman

Molly Lynch

Darlene McCampbell

Janis and Alan Menken

Esther Messing

Martin Messinger

Jaan and Jacqueline Metsma

Peter B. Mudge, MD

New Marlborough Cultural Council

Irving and Sharon Picard

William and Lia Poorvu

Noni Pratt

Elizabeth and Jeffrey Pyle ^

Myra Sallet

Barry and Janie Salzberg

Lee and Cecilia Sandwen

David Scudder

Charles Schulze and Lucy Holland

Eliza Ladd Schwarz

The Sholley Foundation

Edward and Carla Slomin

Gerald Smetana

Steven Somkin and Naomi Spatz

David Strassler

Ward's Nursery and Garden Center

Paul Wiener

Paul Wing

Susan and Geoffrey Woglom

$500–999

Virginia Simpson Aisner

Marcie N. Aiuvalasit

Katherine L. Babson, Jr.

Nancy D. Baker

Rosalie Bandyopadhyay

Karl and Patricia Benedict

Marjorie and Barry S. Berg

Mary and David Berman

The Bookstore and Get Lit Wine Bar

Sandy Bourgeois and Sarah Lytle

Carol and Robert Braun

Donnaldson K. Brown

Jadwiga and Donald Brown

Joan and Robert Buccino

George Camarda and David Murphy

Philippa Claude and Tony Stretton

Fran Pilato and Jim Cochran

Mary and James Nicoll Cooper

Chip and Cindy Elitzer

Tom and Ellen Ennis

Tad Evans

Robert and Iris Fanger

Ralph and Audrey Friedner

Bill Fuller

Ann and John Galt

Stephen Graves and Caroline Marten-Ellis

Holly Hardman

Jim Heeger and Daryl Messinger

Peter E. Hilton

Daniel and Judy Hoffman

John and Janet Hutchison

Susan and Glenn Johnson

Dana Gliserman Kopans and Matthew Kopans

Neil Aldin and Mary Lou Lacek

Sandra Larson and Nicolas Minutillo

Jorie and Steve Latham

Dr. and Mrs. Eugene Leibowitz

Lenox Cultural Council

Eric Levin and Minh-Ha Nguyen

James A. and Joan Levine

Alan and Melanie Levitan

Ira Levy, Lana Masor, and Juliette Freedman

Christopher and Krista Loose

Michael Mann, Bill Orbe, and Jon Kibbe

Charles and Debra McCambridge

Ann and Donald Morrison

Anne and Peter Most

Paul and Deborah O'Brien

Arthur Oliver

Steve Pittman and Jenifer Handy

Bert and Letty Cottin Pogrebin

Frederick Rich

Adele P. Rodbell

Lawrence and Patricia Rutkowski

Chuck Schwager and Jan Durgin

The Zelda and John Schwebel Family Foundation at The Miami Foundation

Laura Shaffer and Jahangir Rahman

Shakespeare and Volunteer Company

Sheffield Cultural Council

Joan Simand

Rita and Harvey Simon

Heather Stanford and James Salzman

Brenda and Greg Stone

Noreene Storrie and Wesley McCain

Alison Taunton-Rigby

June and Teresa Thomas

Kevin Truex and Frank Burnes

Mary Ann Turney

Lorraine Vekens

Dr. Deborah Verlen

Harriet Vines

Harry and Karen J. Waizer

Paula Wardynski and Jed Scala

Robert Wechsler

Matthew Whitney

David P. Young

Paula Zakaria

Anonymous (3)

$250–499

Vicki and Bill Abrams

Dorothy Anger

Liz Ashbes

Steve and Judy August

Michael Azzara

Fred Baker and Lisa Powers

Christine W. Baldridge

Barnum Family

Donald Bashline

Jane and Ken Bopp

Luz Bravo-Gleicher

Elaine and Charlie Brenner

David S. Brink

Christine and Tack Burbank

Deborah and Richard Burke

Sheldon Bustow

Katie and Paul Buttenwieser

Patricia Callahan

Susan Caron

Seth Cohen and Deborah Spey

Lewis G. Cole

Nomi and Harold Colton-Max

Susan Crofut and Benjamin Luxon

Burke and Marie Cunha

Allan Dean and Julie Shapiro

Herbert and Carol Diamond

Ritchie Dion

The Doyle Family

Marjorie and Skip Durning

M. Christine Dwyer and Michael Huxtable

Marjorie and Tony Elson

Michael Feder

Nelson Fernandez

Nora Fernandez

Margaret and Howard Fluhr

Adaline Frelinghuysen

Tiki Fuhro and Kevin O'Leary

Nora Galer

Monique and N. Richard Gershon

R. Constance Giesser

Karen and Hank Gold

David Goldston

John Goodhue and Anne Smith

Marilyn and Alan Gordon

Harry L. Gracey

Great Barrington Cultural Council

Andrea Graham and Geoff Simon

Rob and Wilma Guerette

Erica and Richard Gurfein

Laura and Peter Haas

Mela and Paul Haklisch

Charls Sedgwick Hall and Henry Bachofer

Sonya B. Hamlin

Philip Harvell

Peter and Phyllis Hofman

Brittney Holland

Robert and Clare Holzman

Tim and Elaine Hurley

The Hyatt Family

Alicia Ianiere

Maureen Johnston

Gordon and Susan Josephson

Julie and Saskatoon

Jane and Joel Kamer

Alice Kaplan

Carla E. Kazanjian and Don E. Giroux

Suzanne King

Tracy King

Gail Kitch, Ed Kitch, and Charles Leftwich

Phyllis Klein

Marilyn and Ronald Kohn

Linda Kopec

Nedra and Richard Koplin

John and Rachel Krauser

Madeleine Kreitman

Ilene Lander

Barbara and Ed Lane

Bob Lee

Michele Lettiere

Benjamin Liptzin and Liz Schneider

Paula Stern and Paul London

Robert Lonergan

Aimee Maddalena and William Beslow

Dawilla Madsen

Ezra and Reeva Mager

Steven and Michele Marantz

Judy and Don Marcus

Alissa P. Margulies

Katherine and Christopher McCarthy

Elizabeth and Jack McCoy

Nancy McIntire

Minkie West McKevitt

Kate McNulty-Vaughan and Robert Vaughan

Bruce Miller and Valeska O’Leary

Judy and Richard J. Miller

Lisa Miller

Magda and Gus Mininberg

Teresa and Martin Monas

Dr. and Mrs. James F. Mooney, III

Alan Morse

Louisa and William Newlin

Jill and Ralph Norgren

Karen O'Donnell and Peter Scheffer

Grace and Scott Offen

Helga S. Orthofer

Marykate Owens

Elaine and Fred Panitz

Matthew and Candace Penn

Lisa and Taylor Perron

Donna M. Pignatelli

Susan Popper and Robert Greenberg

Dr. Stephen P. Naber and Janis Porter

Barbara and Raf Pritchard

Julie R. Quain

Sanford and Shelley Reback

David Reis

Louis M. Ricciardi

Richmond Cultural Council

Natasha Rizopoulos and Michael Kirk

Christina E. Robb

The Philip and Myn Rootberg Foundation

Elizabeth Rosenberg

Amy Rudnick and Ben Hillman

Raquel and Michael Scheck

Maxine Schlyen

Arlene and Donald Shapiro

Eleanor G. Shore, M.D., MPH

Alice Jo Siegel

Roberta Silman

Marcia Slaminsky

Carole Smargon and Richard Tibbetts

Terri and Charles Smith

Aliana Spungen

Arthur Stampleman

Nancy Stauffer and Jeffrey Hughes

Jean Marie and Kerry Stein

Erica and Don Stern

KEY

Stockbridge Cultural Council

Dr. Elizabeth Strand Cimini and Dean Cimini

Abbie M. Strassler

Jonathan A. Swartz

Sheila and Randy Thunfors

Diane and Steven Tobin

Ann Marie Truppi

Joan and Michael Ury

Elizabeth Vale

Craig and Junior Vickers

Alexandra Warshaw

Judy F. Wein and Gerald Sussman

Gayle Weiss

Albert and Muriel Wermuth

Heather Weston

West Stockbridge Cultural Council

Nancy and Eric Williams

Mary Jane Wilson-Bilik

Mara and Randy Winn

Wovsaniker Family Fund, Alan and Mark Wovsaniker

David and Patty Wukitsch

Abigail Young

Audrey Zucker

Anonymous (8)

^denotes contributor to the Philip Heller Fund

+denotes contributor to the Dennis Krausnick Fellowship Fund

*deceased

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. 145 or development@shakespeare.org

We are also grateful to our many friends whose gifts of under $250 make a difference every year!

Shakespeare & Company is grateful to the donors who have generously contributed clothing, accessories, shoes, and fabric to our Costume Shop; props and paint to our Prop Shop; furniture for Company housing; and cars to our motor fleet. We also recognize those who have donated food, beverages, or specialized skills.

List complete as of April 1, 2022.

Shakespeare & Company also expresses its sincere gratitude for the invaluable pro bono assistance of the following firms:

Boston Trust & Investment Management Company

Goulston & Storrs, Boston

Heller & Robbins PC Lori A. Robbins, Esq

Robins, Kaplan, Miller, & Ciresi LLP, Minneapolis and New York

INTRODUCING MANAGING DIRECTOR

AMY HANDELSMAN

Shakespeare & Company is thrilled to announce the appointment of Amy Handelsman as Managing Director, effective May 1, 2022.

Handelsman accepted the position following an executive search process led by Arts Consulting Group (ACG), and comes to the Company with more than two decades of diverse experience in theater, dance, film, and television, particularly in the areas of nonprofit management, business development, and strategic planning.

“I am thrilled to be joining Allyn Burrows, the rest of the staff, and the Board at Shakespeare & Company—one of the nation's most highly regarded theater companies—to uphold the playful rigor of its work and to open up new avenues for programming, partnerships, and community engagement,” she said.

Most recently, Handelsman served as Managing Director of GALLIM, a movement production company that has staged productions at Lincoln Center’s Hearst Plaza, New York City Ballet, the Martha Graham Dance Company, Ailey II Dance Company, and other venues.

She serves on the Artistic Council of the Eugene O'Neill Theater Center's Playwrights Conference, and has worked as a curator, dramaturge, project manager, and consultant for a wide range of clients including the Hip-Hop Theater Festival (Hi-ARTS), HBO’s U.S. Comedy Arts Festival, and locally with Jacob’s Pillow and the Batsheva Dance Company’s 2018 Summer Tour.

She’s also served as Executive Director of David Dorfman Dance, as Executive Director of United States Mind Sports Association (USMSA) and United States Poker Federation (USPF), and as Creative Director of the Showtime Development Project at Center Theatre Group, developing cable projects with playwrights, directors, and talent. Handelsman has lent her talents as a story executive and producer to Disney, Warner Bros., Tri-Star, and PBS, and has also held a number of teaching positions, including as an adjunct professor at New York University’s Tisch School of the Arts and SUNY Stony Brook University, a guest lecturer at Columbia Graduate School

for Film and Television, and Literacy Instructor at Girls Prep Bronx Middle School in the South Bronx, in addition to teaching aspiring b’nai mitzvah students at Lab/Shul. She holds a Master of Fine Arts degree in Creative Writing and Literature from Stony Brook University, Stony Brook, N.Y., and a Bachelor of Arts, cum laude, in Fine Arts from Harvard University.

"We're very happy to welcome Amy into our midst as Managing Director,” said Artistic Director Allyn Burrows. “Ours is a unique organization, and Amy brings a perspective and sensibility that aligns with our collective conversation as we look toward new horizons.”

Burrows’ sentiments are echoed by members of the Shakespeare & Company Board of Trustees, including Search Committee Chair and former Board Chair Michael A. Miller, who noted Handelsman's vast experience in the arts as a particular plus.

“Having managed other very reputable arts organizations, Amy brings a wealth of experience that this company will truly benefit from. We're looking forward to having her join the Board and staff to build on the accomplishments of the last 45 years."

Similarly, Board Chair Beverly Hyman, Ph.D., added that “of course, you cannot fail to recognize Amy’s rich theater experience when you meet her. But I am sure the cultural community of the Berkshires will be struck by her incredible warmth and the depth of her network of contacts in the field.” ■

Amy Handelsman

THE PHILIP HELLER FUND & DISTINGUISHED SERVICE AWARD

A longtime friend and an occasional spear-carrier (Much Ado About Nothing, 1995), Philip Heller was a highlyrespected real estate attorney in Lenox and represented Shakespeare & Company pro bono for 40 years until his passing in 2018. Phil, as he was known to all of us here, believed deeply in service to the Berkshire community, and he donated countless hours to its cultural and artistic institutions. His wise counsel and persuasive advocacy were essential to Shakespeare & Company’s development into the globally recognized organization that it is today.

We are deeply grateful to Phil for his longtime commitment, service, and love of the Company, and to Anita Heller, who imbues Phil’s joyful spirit.

A heartfelt thank you, also, to all of our Philip Heller Fund contributors who preserve his legacy and memory. May they always reverberate throughout Shakespeare & Company’s stages, rehearsal halls, and grounds!

180.

“Life every man holds dear; but the dear man holds honor far more precious than dear life.”

–Troilus and Cressida, Act V, Scene iii

Philip Heller

Philip Heller, Much Ado About Nothing , 1995

Left to Right: Anita Heller and 2021 Philip Heller Distinguished Service Award Recipient, Mary Ann Turney. Photo by Jaclyn C. Stevenson.

DENNIS KRAUSNICK FELLOWSHIP FUND

The Dennis Krausnick Fellowship Fund was established in 2018 by Company Founder and longtime Director of Training Dennis Krausnick.

One of Dennis’s missions at the end of his life was to establish this fund in order to offer scholarships to artists of the global majority wishing to study with Shakespeare & Company’s Center for Actor Training, as well as provide resources to train in our pedagogical work. The Dennis Krausnick Fellowship Fund also supports periodic retreats, bringing teachers and trainees together to brainstorm about the direction of the programming, strengthen the Center for Actor Training, and determine how to collaborate and celebrate more deeply.

Gifts to the Dennis Krausnick Fellowship Fund help bring Dennis’s mission to life. In an overwhelming outpour of love and support, more than 1,000 individual donors have contributed to the Krausnick Fund in Dennis’s memory, enabling Shakespeare & Company to grant more than $41,000 in scholarships to 35 artists of the global majority in less than three years. These gifts play a vital role in increasing access to training for the next generation of theater makers and teaching artists, helping to build a more encompassing and inclusive theater.

“It was a dream to learn from the best teachers. It taught me to be more grounded and made me more confident and open to new things.”

– Prashant Tiwari, Center for Actor Training

DENNIS KRAUSNICK FELLOWSHIP FUND SCHOLARSHIP RECIPIENTS

AMANDA SALAZAR received scholarships to attend two virtual workshops in January 2021. Her theater credits include Capital Stage, TheatreworksUSA, New Ohio Theatre, Multistages, Ensemble Studio Theatre, Austin Shakespeare, Marin Shakespeare, Zachary Scott Theatre, and Dreamcatcher Repertory. Amanda is currently training as an Intimacy Coordinator with IDC, and is also a Program Designer and Facilitator for a Diversity, Equity, and Inclusion consultancy. Amanda holds an MFA in Acting from The University of Texas at Austin and is a member of AEA. She dreams and fights for an industry that is inclusive of all people, reflective of the world around us, and protects disenfranchised populations.

JENNEAN FARMER received her Master of Fine Arts in Acting from The New School for Drama in New York City in 2015 and received a full scholarship for the 2020 Month-Long Intensive. Before receiving her MFA, Jennean served eight years in the military and is an Operation Iraqi Freedom War Veteran. She also has a background in Radio/Television Broadcasting, having worked professionally as a traffic reporter. A few of her credits include: Television/Film - The Good Nurse on Netflix, That Damn Michael Che on HBOMax, New Amsterdam on NBC, FBI on CBS, One Tree Hill, How the Light Gets In on Amazon Prime, Smile NYC Theatre - Toni Stone (Roundabout Theatre), Ain’t No Mo’ (The Public Theatre). RegionalMlima’s Tale (Westport Country Playhouse), Think Before You Holla (DC Fringe Festival), A Piece of My Heart (Speranza Theatre Company).

PRASHANT TIWARI is an actor/artist based in Mumbai, India and was awarded scholarships for two virtual workshops in January 2021. Before choosing to be an actor, Prashant tried different sports and musical instruments but found he couldn’t express himself fully through them. It was after getting involved in theatre and working as an actor that he found a way to express himself freely and considers theatre to be his home where he feels most alive. Prashant is dedicated to continuing to learn, explore, be more kind and have more empathy.

Dennis Krausnick

SPEAK WHAT WE FEEL The Fall Festival of Shakespeare Documentary

Winner of the Audience Award for Best Documentary Film at the 2021 Berkshire International Film Festival (BIFF) and the first in-house, feature-length film project in Shakespeare & Company’s history, Speak What We Feel follows students from each of 10 area high schools as they prepare to stage their own full productions of Shakespeare’s plays.

Speak What We Feel offers an intimate glimpse into a collaborative and immersive exploration of the Fall Festival of Shakespeare, a mainstay of arts education offered by the Company for more than three decades that is being replicated around the world, including in Australia, Bosnia, India, Israel, the U.K., the U.S., and beyond.

“I can’t think of a more compelling and inspiring documentary subject to cover than the Fall Festival of Shakespeare,” says

Speak What We Feel director Patrick J. Toole. “Anthropologists should be studying this program and the unique community that has emerged from it.”

Director of Education Kevin G. Coleman, who helps narrate the film, added that an abridged version of the documentary for use in schools is also in process, designed to serve as an introduction to the program for teachers.

“Our focus is introducing teachers and students to an exciting, visceral, academically rigorous, artistically playful model for encountering Shakespeare, and supporting them with webbased resources and professional development workshops to create similar programs in their schools,” he said. ■

Kevin G. Coleman

The Fall Festival of Shakespeare, Reverance, 2019. Photo by Katie McKellick.

Patrick J. Toole

Official Hospital Partner of Tanglewood

An Orchestra of Medical Specialties

SHAKESPEARE & COMPANY LAUNCHES

#LIVEINCOMPANY SOCIAL MEDIA CAMPAIGN

In an extension of our mission to live creatively, work collaboratively, and honor community, Shakespeare & Company has launched the #LiveinCompany social media campaign, spearheaded by its IDEA (Inclusion, Diversity, Equity, and Accessibility) Committee.

Highlighting the words and work of visionaries in various disciplines with one hashtag, this campaign features social media content designed to be shared by anyone and to spark conversation. To date, posts have been made regarding Black History Month, the International Day of Women and Girls in Science, Lunar New Year, and solidarity with the people of Ukraine, to name a few.

Our IDEA committee—comprised of year-round staff, seasonal artists, board members, and volunteers—has taken the lead in planning, researching, and collaborating to identify people, causes, days of recognition, and other important events using a social-media calendar as a guide. But the effort takes a cue from our overall mission and vision, centered on the idea of engaging with the three vital questions at the heart of each of Shakespeare’s plays: What does it mean to be alive? How should we act? and What must I do?

What’s more, the #LiveinCompany campaign is just one of many moves we're making to deepen our collective Inclusion, Diversity, Equity, and Accessibility knowledge. All of our fulltime, part-time, and seasonal staff complete trainings in cultural competency, bystander intervention, sexual harassment prevention, and

microaggressions through resources provided by Multicultural BRIDGE (Berkshire Resources for Integration of Diverse Groups through Education), Right To Be, and Derald Wing Sue. Just this year, we started incorporating optional Company Artist and Actor-training Faculty pronouns in marketing materials such as press releases, e-blasts, and print pieces, including this Playbill.

And web accessibility upgrades have ramped up in pursuit of achieving ideal accessibility as opposed to required accessibility. This isn’t a task completed quickly, but we’ve made our first few steps, including creating accessible downloadable forms and addressing colorcontrast and font-size issues on our website, in order to improve the overall experience for all.

Shakespeare & Company now has two years of formal IDEA work under our belts, with decades to come. We will continue to move forward with the understanding that becoming an inclusive, antiracist organization requires continual practice and self-examination to build a foundation; a place where all of our stories are nurtured and celebrated. ■

“To be or not to be... It is obvious, we will be. It is obvious, we will be free.”

– President Volodymyr Zelenskyy

Amanda Gordon

President Volodymyr Zelenskyy

Tina Packer

THE NEW SPRUCE THEATRE: SHAKESPEARE UNDER THE BERKSHIRE SKIES

For many years, the sounds of Shakespeare echoed through the trees at The Mount, Edith Wharton’s iconic Berkshire estate.

Now, more than four decades after its founding, Shakespeare & Company has reimagined its legacy of outdoor performance with the creation of The New Spruce Theatre: a 500-seat amphitheater set beneath a towering shelter of trees.

Not unlike the scaffold-and-canvas Tina Packer Playhouse inspired by Elizabethan theaters-inthe-round, Artistic Director Allyn Burrows said The New Spruce Theatre was designed with history in mind.

“We’re thrilled that this venue can serve present and future generations of theater-lovers,” he said, noting that the stage pays homage to both Greek amphitheaters and the Company’s own history at The Mount. “Now, Shakespeare’s words resonate among these spruce trees, as they have in the pines at The Mount, and the lilacs of our Roman Garden Theatre.”

Constructed in the spring of 2021, The New Spruce Theatre is the newest performance space on Shakespeare & Company’s 33-acre grounds. Our production of Shakespeare’s King Lear, featuring the incomparable Christopher Lloyd as the legendary Leir of Britain, christened its stage on July 2nd; fittingly, also

the 20 th anniversary of the final production of A Midsummer Night’s Dream at the Mainstage at The Mount.

The time from ground-breaking to opening night was only a matter of a few months, a speed Burrows attributes to the Company’s many supporters who recognized outdoortheater venues as one of the only ways to welcome audiences to in-person performances in a pandemic-paused world. As such, 2022 will mark The New Spruce Theatre’s first full season in operation, as well as the beginning of a new period of growth, focused on making theater as accessible for all as possible.

“Outdoor performances in the summer have had profound resonance for our audiences and actors alike,” added Burrows. “We want everyone to feel welcome here—as if our venue is their backyard in the Berkshires.”

As we enter our second Season at our newest venue, we continue to develop this unique space with additional beautifications and plans to enhance the patron experience while enjoying theater under the stars.

We invite you to join us in supporting this one-of-a-kind venue built expressly to appreciate Shakespeare & Company’s artistry, and to continue to celebrate our 45th year of performances in the Berkshires. ■

Patrons at The New Spruce Theatre to see King Lear featuring Christopher Lloyd, 2021.

Photo by Katie McKellick.

THE NEW SPRUCE THEATRE CAMPAIGN

Thank you for helping to make our dreams come true.

As we celebrate our 45th season, our dreams are in fact coming true with the realization of The New Spruce Theatre. This 500-seat venue will continue the Company’s tradition of performing outdoors under the Berkshire stars.

Shakespeare & Company extends its deepest gratitude to the following donors who have made generous gifts to The New Spruce Theatre Campaign from 2021-2022 (gifts and pledges as of April 26, 2022).

Leaders ($25,000+)

Jerry and Honie Berko

The Bok Family Foundation

The Jane and Jack Fitzpatrick Trust

Dr. Gerald and Roberta Friedman

Dr. Donald and Phoebe L. Giddon

Michael S. and Ricki Tigert Helfer

Bev Hyman and Larry Birnbach

Karen A. Kowgios and Robert Fried

Greg Lipper and Kate Kohler Amory

Michael A. and Annette Miller

Amelia Peabody Charitable Fund

Claudia K. Perles Family Foundation

Jenifer and Mark Salzberg

Anonymous

Sustainers

($10,000–24,999)

Helene Berger

David and Jane Cohen

Linda Benedict Colvin

Ranny Cooper and David A. Smith

Timothy and Lisa Kent

Barri Marks

Deborah and Bill Ryan

Robert and Toni Strassler

Rhea and Ken Werner

We invite you to join this list of donors by lending your support to The New Spruce Theatre Campaign. For more information on making a gift, please call Director of Development Bonnie Stevens at (413) 637-1199, ext. 180.

Supporters (under $10,000)

Henry Baker and Jerry Arko

Sandy Bourgeois and Sarah Lytle

Mary and Robert Cohen

Nancy Edman Feldman

Anita F. Heller

Jeff Konowitch and Wendy Laurin

Bruce Miller and Valeska O’Leary

Deborah Miller and Adam Strickberger

Helga S. Orthofer

Melinda and Andy Rothstein

Myra Sallet

Barry and Marjorie Shapiro/ Dr. Robert C. and Tina Sohn Foundation

Howard and Natalie Shawn

John Douglas Thompson

Dorothy and Stephen Weber

Andrew B. Weinberger and Meredith Sue Willis

Leone T. Young

Bryce Michael Wood, King Lear, 2021.

Photo by Nile Scott Studios.

Left to Right: Ryan Winkles, Christopher Lloyd, and Jonathan Epstein, King Lear, 2021. Photo by Nile Scott Studios.

Photo by Ogden Gigli, 2021.

FIVE QUESTIONS WITH COMPANY ARTIST DEVANTE OWENS

Since 2016, Devante Owens has immersed themselves in the Shakespeare & Company culture. They’ve seen our Mission and Vision at play as a Company Artist, Education Artist, member of the IDEA Committe, and a Specialized Workshop Teacher with The Center for Actor Training. They first performed with the Shakespeare & Young Company Summer Conservatory as a college student, and essentially never left, appearing in shows throughout college at Shakespeare & Company as well as The Mount, performing with the Northeast Regional Tour of Shakespeare, and later featuring on our main stages. Just last year, Devante appeared as Burgundy in King Lear – our first production on The New Spruce Theatre stage –alongside Christopher Lloyd in the title role.

Having recently notched their New York City debut at The Tank, a non-profit venue in Manhattan that serves emerging artists, Devante returns to Shakespeare & Company this Season in the role of Conrad in Much Ado About Nothing . A true veteran of the Company, Devante has become an integral part of the culture that first drew them to us – and, we believe, just one of the keys to our future. To learn more about Devante, we asked them five questions.

Devante Owens

Left to Right: Devante Owens, Madeleine Rose Maggio, David Bertoldi, and Rylan Morsbach, Love Labor's Lost , 2018.

Photo by Eloy Garcia.

Q: How did you become involved with so many aspects of Shakespeare & Company so quickly?

A: I first came to Shakespeare & Company the summer after my freshman year of college to participate in Shakespeare & Young Company, to get that first taste of Shakespeare & Company’s way of working. I got really involved quickly; in fact, I don’t know if I’d be so involved now if I hadn’t been encouraged so early on. Later, the Education program was looking for people to work with the kids in Riotous Youth, and I was attracted to that because we allow kids to really play with Shakespeare, and have a lot of fun. I’ve been part of Riotous Youth ever since.

Q: Do you have any passions outside of Shakespeare?

A: I am a passionate lover of queer culture – I think it’s so important to carry the torch of queer knowledge, passing on stories of the stars of our ilk – and not just those who are in the limelight, but those lesser-known today, especially in classic film. I also like to look at how aspects of queer culture and gender have influenced our identities today. If you ever want to spend an hour chatting about What Ever Happened to Baby Jane and how the queer community latched onto the Bette Davis and Joan Crawford relationship for more reasons than just entertainment value, find me. We'll talk.

Q: As we emerge from the pandemic, have you learned any lessons or gained new perspectives?

A: A big lesson I took out of the pandemic is this: If I want to have work that is fulfilling, joyful and compelling, the first voice that I have to listen to is my own. This is not to say that other voices don't matter. I am an avid student and love to work with people that I trust to help shape me as an artist; but as a black, queer, non-binary person in this field, it is so easy to fall into what other people see you as rather than having a voice of one's own that guides your work. The only thing that I know that I can bring into a room with me is me, and that is more than enough. It's wonderful.

Q: What excites you most about where Shakespeare & Company is headed?

A: I’m really excited about the people I see the Company investing in. People like Kelly Galvin {Director of Much Ado About Nothing} – I have had the privilege of being directed by her three times and think of her as one of my most dear collaborators. Now, she’s directing a main stage show with a cast that has been put together in a way I think is also admirable. It’s exciting that I heard talk of this kind of direction in the past, and now we’re seeing it happen. The Company can create change – I really believe that, and that’s important.

Q: Why do you keep coming back?

A: This is a question I’ve asked myself – especially in the midst of a global pandemic. At the core of the Company’s work is a real curiosity about human nature. We’ve chosen to work with this particular playwright, William Shakespeare, because we believe he had things to say about the world that are visceral and true, and they are worthy of being shared. And if shared in a generous and whole-bodied way, it can change lives. ■

Devante Owens in The Wickhams: Christmas at Pemberley, 2021. Photo by Katie McKellick.

Devante Owens with Riotous Youth participants, 2021. Photo by Katie McKellick.

Left to Right: Kirsten L. Peacock and Devante Owens, Shakespeare and the Language that Shaped a World, 2021. Photo by Katie McKellick.

INTERNSHIPS AT SHAKESPEARE & COMPANY

The Shakespeare & Company Internship Program is designed to train the next generation of theater professionals to become successful and well-rounded members of the theater community.

Our interns receive one-on-one mentoring from their department leads, in addition to the opportunity to work with professional artists and learn more about the inner workings of a large arts organization with a commitment to fostering an identity-conscious environment.

Designed to offer an education-focused experience in a professional setting, the Internship Program includes an Intern Seminar Series that is held throughout the internship, with Company members leading workshops exclusively for Shakespeare & Company Interns. Participants may also complete

independent capstone projects within their departments, and receive career guidance through performance evaluations, resume preparation, and portfolio review.

Internships are typically 12- to 16-weeks in duration, however programs of custom duration or areas of interest may be developed.

For more information on our Internships Program e-mail Internship Coordinator Natalie Love at internships@shakespeare.org , or call (413) 637-1199 ext. 106.

“My favorite part here has been getting to work with a group of really awesome people and learning new things about my craft every single day.” – Regan McKay, 2018 Intern

All’s Well That Ends Well, Act III, Scene V

Guardian has been helping people protect their future and secure their lives for more than 160 years. We’re pleased to provide high-quality jobs and support outstanding local non-profits such as Shakespeare & Company that make the Berkshires such a special place.

SHAKESPEARE & VOLUNTEER COMPANY –THE STARS OF THE SHOW!

As we return to in-person performances both indoors and outdoors this summer,

Shakespeare & Company is taking time to celebrate its volunteers – a group Artistic Director Allyn Burrows calls “the lifeblood of the Company.”

“There’s a reason the gardens look the way they do,” he said. “There’s a reason we hear from our patrons how wonderful the ushers are, and there’s a reason our actors feel so welcome here.”

Shakespeare & Company has recently renewed its list of opportunities and benefits, including vouchers for free tickets to plays and special programs.

“Our volunteers have the unique opportunity to learn about the inner workings of one of the largest Shakespeare companies in the country right here in the Berkshires, assisting with ushering, show promotion, gift shop sales, maintaining the gardens on campus, tours of the grounds, and Company events,” said Henry Baker, president of Shakespeare & Volunteer Company.

“Plus, there are also opportunities to participate in activities outside of performing arts.”

Baker noted Shakespeare & Company’s interpretive garden program centered on the grounds as one such offering, as well as its Oral History and Archive Project team, which works to preserve the Shakespeare & Company story through the creation of a digital archive and online database.

Volunteers also often take the lead in offering Company Artists' hospitality during the summer months – an opportunity Baker said is enriched by many diverse talents.

“Our volunteers have taken on baking goods such as coffee cakes, muffins, or other treats, occasional hosting for visiting artists or guests, redecorating housing for artists staying on campus, and many other perks that help personalize the Shakespeare & Company experience,” he said, noting that volunteers can also take advantage of community service credits for honors programs, college applications, and resumes. ■

Those interested in learning more about volunteering at Shakespeare & Company are encouraged to e-mail the Volunteer Office at volunteers@shakespeare.org or to fill out a Volunteer Application at the administration office.

CIVIL AS AN ORANGE: FOOD AS METAPHOR IN SHAKESPEARE

by Rebecca Selman

As well as using food and meals to create character and add dramatic impact, Shakespeare litters his plays with food references used metaphorically.

Perhaps that is no surprise given Shakespeare’s interest in playing with the English language and finding ever more inventive ways to express ideas and thought. Whether it be Falstaff’s derogatory description of the cowardly men he has pressed to fight for him as “toasts-andbutter” (Henry IV Part One , Act IV, sc. 2, 20), or Helena in A Midsummer Night’s Dream using the image of a “double cherry” (III, 2, 209) to describe her former intimacy with Hermia, such images add poetry and resonance to Shakespeare’s language.

Much Ado About Nothing , a comedy of warring couples and foolish misunderstandings, is also steeped in food metaphors, but to an entirely different end. Beatrice and Benedick, the play’s central couple who, at the start, delight in hating one another and share a mutual antipathy to love and marriage, but who through trickery are persuaded to fall in love, use references to food and eating as part of their self-proclaimed “merry war” against one another (I, i, 57).

When they meet up at the beginning of the play, after Benedick has been away fighting, Benedick declares his surprise that Beatrice – whom he dubs “Lady Disdain” is still alive. She retorts: “Is it possible disdain should die while she hath / such meet food to feed it as Signior Benedick? ” (I, i, 112-113) Later on, after a bruising encounter with Beatrice at a masked party, Benedick declares to his superior, Don Pedro, that he will not hang around in Beatrice’s presence: “O God, sir, here’s a dish I love not; I cannot / endure my Lady Tongue.” (II, i, 251-52)

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1993

Berman, a member of Shakespeare & Volunteer Company, tried her hand at Rebecca Selman’s Civil Orange Cake recipe, with amazing results! Find the recipe on the following page; if you find yourself feeling ‘civil as an orange,’ share your results with us at news@shakespeare.org !

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film adaptatioin of Much Ado About Nothing

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As well as these general images of food and feeding, Shakespeare makes use of the image of an orange at two points in the play. When the young soldier Claudio is sulking because he thinks Don Pedro has courted Beatrice’s meek cousin, Hero, for himself, rather than for Claudio as he had promised, Beatrice notes of him: The count is neither sad, nor sick, nor merry nor well; but civil count, civil as an orange, and something of that jealous complexion. (II, i, 269-271)

Here the Seville orange metaphor encapsulates Beatrice’s sharp wit and tart satire, as well as the rather unattractive sulky jealousy that characterizes the easily gulled Claudio. But the image of an orange will be used later in the play for far more cruel ends. Persuaded to believe (wrongly) that Hero has been unfaithful to him, Claudio rejects her on their wedding day, comparing her to a “rotten orange” (IV, i, 30) which looks virtuous and honorable on the outside but is decayed and corrupt within. Fortunately, since Much Ado is a comedy, Claudio is led to see the error of his ways and to realize that Hero is as chaste and pure within as she appears on the outside.

In honor of the fact that Beatrice uses her orange metaphor appropriately – unlike the foolish Claudio – I also responded metaphorically to these metaphorical references and devised the Seville / Civil Orange cake.

This article and recipe are abridged from their original, first published by Rebecca Selman at frompagetoplate.com. Read the full article at: tinyurl.com/CivilOrangeCake

BEATRICE’S CIVIL ORANGE CAKE

(makes approximately 8 slices)

INGREDIENTS

1 cup soft butter

1 cup golden caster sugar*

2 large eggs

½ cup plain flour

2 tablespoons Seville marmalade

1 1/8 cups ground almonds

Grated zest and juice of 1 orange

6 tablespoons (approx.) icing sugar

METHOD

Line a loaf tin with greaseproof paper or baking parchment. Cream together the butter and sugar until pale and fluffy. Gently beat in the eggs one at a time, adding some of the flour between each addition to stop the mixture from curdling. Then fold in the marmalade, orange zest (not the juice), and ground almonds.

Spoon the mixture into the lined cake tin, lightly smoothing the top, and bake for 45-60 minutes at 350 degrees, until a skewer leaves the cake without any mixture stuck to it.

Leave the cake to cool in its tin.

When the cake is cold remove it from the tin. Make icing by mixing the sieved icing sugar with sufficient orange juice to make a thin, smooth paste. Drizzle this over the top of the cake and leave it to set.

*To make your own caster sugar:

1. For every one cup of caster sugar that your recipe calls for, add one cup plus two teaspoons of granulated sugar to a clean coffee or spice grinder, food processor, or blender.

2. Grind the sugar for just a few seconds until the sugar is fine, but not so fine that a powder starts to clump together.

3. For added precision run your homemade caster sugar through a fine strainer before adding it to your recipe.

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In Memoriam

Generous of Spirit and Heart

Shakespeare & Company Remembers Critic, Writer, and Visionary Terry Teachout

Theater critic, author, and director Terry Teachout passed away on January 13, 2022.

A true artist—a playwright, librettist, musician, director, and one of the most respected theater critics in the country—Teachout was a friend to many at Shakespeare & Company.

“He was incredibly special; one of the greats,” said Company Artist Elizabeth Aspenlieder.

“He was fair, generous, kind, and always unabashedly living in the moment.”

A denizen of New York since 1985, Teachout was a prolific writer who penned everything from dramatic critique to operatic libretti and autobiography forewords to album liner notes for the likes of Gene Krupa, Diana Krall, and bluegrass-band Nickel Creek. He wrote for The Wall Street Journal, New York Times , Harper’s ,

and New York Daily News , among many other outlets, and published biographies about visionaries including choreographer George Balanchine, musicians Louis Armstrong and Duke Ellington, and journalist H. L. Mencken.

Teachout first came to Shakespeare & Company in 2006 to see a production of The Merry Wives of Windsor, and continued this tradition up until this past summer, taking in King Lear and BECOMING OTHELLO, a one-woman play by Debra Ann Byrd.

Later, he returned as a playwright, bringing his first play Satchmo at the Waldorf to the Company with John Douglas Thompson in the title role. He would go on to stage two more plays as works-inprogress at Shakespeare & Company.

“It is rare to find someone so multi-talented as Terry,” noted Founding Artistic Director Tina Packer. “Most famous as a theater critic, he actually held a huge amount of knowledge about how theater works, a passion for writing plays, and the love of all things dramatic and life-enhancing.”

To continue to enjoy the words and work of Terry Teachout, visit Publishers Weekly for a full list of his books at tinyurl.com/TerryTeachoutBooks. ■

“…And all the men and women merely players; They have their exits and their entrances; And one man in his time plays many parts, His acts being seven ages.”

– As You Like It, Act II, sc. vii

Terry Teachout

Left to Right: Gordon Edelstein, John Douglas Thompson, and Terry Teachout, Rehearsal of Satchmo at the Waldorf

Left to Right: Hilary Teachout, Elizabeth Aspenlieder, Tony Simotes, and Terry Teachout

“And teach me how To name the bigger light, and how the less, That burn by day and night…”

– The Tempest, Act I, sc. ii

Close Encounters and Final Frontiers

The Legacy of Cinematic Pioneer Douglas Trumbull

Shakespeare & Company honors the memory of the great futurist and friend Doug Trumbull: special effects pioneer, director, and inventor.

Trumbull, a two-time Academy-award winner and four-time nominee, leaves a legacy that stretches across seven decades and from coast to coast. His special effects work was responsible for some of cinema’s most memorable scenes, in films including 2001: A Space Odyssey, Close Encounters of the Third Kind, Star Trek: The Motion Picture, and Blade Runner, among others. He created Showscan technology – often used in interactive amusement rides including the ‘Back to the Future ’ Ride at Universal Studios – and earned his first Oscar for doing so. Today, the Academy Film Archive houses the Showscan Collection.

Trumbull also pioneered biometric research on audience response and developed a novel cinematic process that resulted in "Giant Screen," high-definition images, and was honored twice by the Society of Motion Picture and Television Engineers (SMPTE) for these and other contributions to visual effects and

cinematography – including its most prestigious honor, the Progress Medal, in 2016.

Born in Los Angeles, Trumbull spent the last two decades of his life in the Berkshires, from which he continued to work in visual effects as both a contributor and inventor of new technology. It was this work that earned him the distinction of “creator of the Berkshire Hollywood Hills,” as he pursued projects with other visionaries such as directors James Cameron and Terrence Malick.

Among other projects, Trumbull developed a new digital capture and projection system called Magi in the Berkshires, in partnership with his wife Julia. This 3D photographic and projection technology was featured at Shakespeare & Company's 2019, Gala, honoring the Trumbulls: blending images with live performances of excerpts from Shakespeare’s The Tempest, Hamlet, and Richard III

From early concepting to final touches, Trumbull was there – ensuring a show both technically sound and artistically inspiring. ■

Shakespeare & Company artists working with Doug Trumbull using his technology for the 2019 Gala. Photo by Allyn Burrows.

Doug Trumbull. Photo by Allyn Burrows.

Doug Trumbull.

Photo by Allyn Burrows

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LEADERSHIP & STAFF

Allyn Burrows, Artistic Director

Amy Handelsman, Managing Director

ADMINISTRATIVE

Founding Artistic Director: Tina Packer

General Manager: Stephen Ball

Producing Associate: Ariel Bock

Executive Assistant: Catherine E. Wheeler

Company Manager / Internship Coordinator: Natalie Love

COVID Safety Managers: A’Rhyan Samford & Madalynn Williams

CENTER FOR ACTOR TRAINING

Director of Training: Sheila Bandyopadhyay

Administrative Director: MaConnia Chesser

Faculty: Sarah Kate Anderson, Ariel Bock, Andrew Borthwick-Leslie, Kevin G. Coleman, Merry Conway, Paul D’Agostino, Susan Dibble, Marie Ramirez Downing, Tom Giordano, Rebecca Goodheart, Charls Hall, Michael Hammond, Sarah Hickler, Corinna May, Kristen Moriarty, Julie Nelson, Normi Noel, Tina Packer, Tori Rhoades, Rebecca Schneebaum, Gwendolyn Schwinke, Michael F. Toomey, Ryan Winkles, Kimberly White, & Kristin Wold

Specialized Workshop Teachers: Nehassaiu deGannes, Devante Owens, Zo Tipp

COSTUMES

Costume Director: Govane Lohbauer

Drapers: Michelle Benoit & Toby Kreimendahl

Design Assistants / First Hands / Stitchers / Wardrobe: Christina Beam, Nathaniel Bokaer, Mary Boyce, Amie Jay, Lezlie Lee, Victoria Loughborough, Eliza Maggio, Cal Murphy, Quinn Nayenezgani, Emily Peck, Audrey Pugh, Stella Schwartz, Peggy Walsh & Melissa Ziccardi

DEVELOPMENT

Director of Development: Bonnie Stevens Director of Business Sponsorships and Group Sales: Elizabeth Aspenlieder Manager of Individual Giving: Kristen Moriarty

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EDUCATION

Director of Education: Kevin G. Coleman

Education Programs Manager: Meg Marchione Director of Riotous Youth: Caitlin Kraft

Education Artists: Ellie Bartz, David Bertoldi, Gregory Boover, Caroline Calkins, Kirstin Leigh Daniel, Noa Egozi, Diana Evans, Lori Evans, Luke Haskell, L. James, Tom Jaeger, Caitlin Kraft, Charlie Lavaroni, Sara Linares, Victoria Loughborough, Madeleine Rose Maggio, Claire Martin, Josephine McDonald, Jake Merriman, Kirsten Mulrenan, Nick Nudler, Devante Owens, Kirsten L. Peacock, Naire Poole, Tom Reynolds, Nicole Ricciardi, Antonio Rodriguez, Elaina Rowe, Gabriella Sanchez, Elexis Selmon, & Ryan Winkles

FACILITIES & HOUSEKEEPING

Facilities Associates: Al Hiser, Graham Moriarty & Robert Pelliciotti

Housekeeping: Bonnie Wilson (Manager) & Gina Squires

FINANCE & IT

Director of Finance: Richard Martelle

IT & Business Systems Manager: Tim Auxier

Staff Accountant: Stan Bolton

MARKETING, PUBLIC RELATIONS, & PATRON SERVICES

Director of Marketing and Communications: Jaclyn Stevenson

Graphic Designer / Marketing Associate: Katie McKellick

Patron Services Manager: Kevin Lempke

Associate Patron Services Manager: Malle Winters

Patron Services Associates: Haley Barbieri, Mae Hedges, Jim Keegan, & Grace Kelley

PRODUCTION & STAGE MANAGEMENT

Production Manager / Chief Safety Officer: Kevin Harvell

Associate Production Manager: Erika Johnson

Technical Director: Christopher Konstantinidis

Carpentry: Scottie Scott, Sean Sweeney, Billy Waisnor, & Jarod Hoshaw (Intern)

Electrics: Katie Ward (Master), James W. Bilnoski, John Hoag, & Sandra McDonald

Properties: Patrick Brennan (Master), Islay Reed, Peggy Walsh, & Alex Drake (Intern)

Sound: Danny Irwin (Supervisor), Gillian Lawrence & Victor Pruchnick (Engineers), & Alison Nolan (Intern)

Paints: Devon Drohan (Charge) & Caitrin Leigh

Equity Stage Managers: Melissa Collins, Maegan Conroy, Rachel Harrison, Hope Rose Kelly, Matthew Luppino, Eric Montesa, & Josh Rodrigues

Stage Managers & Assistants: Dennis Ebert (SM), Diana Evans, Anthony Feola, Sarah Nicholson, Kathleen Soltan, Amanda Wingo, & Melissa Ziccardi

Shakespeare & Company, 2019, Photo by Zachary de Silva

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WHO’S WHO

KATE KOHLER AMORY

she / her (Director, Plays in Process / This is It) Kate Kohler Amory is an award-winning theater maker, director, actor, choreographer, dancer, writer and teacher. Her directing/ devising credits include: DREAM LOVE ESCAPE, Pandemic Plays 20|20, The Birds, Romeo and Juliet: A Space Oddity for Ridiculous Project ; Mr. Burns: A PostElectric Play, The Mermaid Hour: Remixed, A Midsummer Night’s Dream for Boston Conservatory Berklee; Macbeth, D.arc Water, Big Love, Ghosts of Troy, The Wolves, and Comedy of Errors for Salem State University, and Hamlet at Brandeis University (co-directed). Kate is founding Artistic Director of The Ridiculous Project, founding member of Convergences Theater Collective, and Professor of Movement and

Acting for Boston Conservatory at Berklee. She was a founding member of Holderness Theater Company and Convergences Theater Collective NYC. MFA Naropa University, MA RADA/ Kings College, BFA Goldsmiths College, University of London. Certified in Trish Arnold Pure Movement, DE-SMTT: Somatic Movement Educator and CYT. Acting and other credits can be found at katekohleramory.com.

MILES ANDERSON* he / him (Director, Plays in Process / Tilly No-Body) S&Co: Twelfth Night (Malvolio). Regional: Henry V, Heartbreak House (Hartford Stage); George in The Madness of George III, Shylock (The Merchant of Venice) (both awarded San Diego Theatre Critics Circle Craig Noel Awards for Best Actor), Prospero (The Tempest ), Salieri ( Amadeus) (both nominated for San Diego

Theatre Critics Circle Craig Noel Awards for Best Actor), Bottom (Midsummer Night’s Dream), (all Old Globe, San Diego with Adrian Noble). Ten years at Royal Shakespeare Company with Trevor Nunn & John Barton, including: Twelfth Night, Macbeth, The Comedy of Errors, A Winter's Tale, Volpone, Mother Courage West End includes: Oliver! The Weir, The Unknown Soldier. Olivier nomination for Sigismund in Life’s a Dream; three London Critics Awards for The Witch of Edmonton, Money and Twin Rivals Recent films: The Tragedy of Macbeth, La La Land, The Wind, Radioflash. TV includes: Hunters, Always Sunny in Philadephia, Fairly Odd Parents, Baskets, Battlecreek, Midsomer Murders, Soldier Soldier, Ultimate Force and the original BBC House of Cards Training: RADA.

NICOLE ANSARI* she / her (Cora, The Approach) Nicole Ansari started in European Theatre and Film. She performed with the Théâtre du Soleil under Ariane Mnouchkine in Paris and starred in numerous plays at the Public Theatre in Vienna, in Zuerich, London and NY (Irma la douce; Much Ado About Nothing ; Alma; Hamlet ; Daybreak ; I am Antigone, etc). Nicole originated her role in Tom Stoppard’s Rock N’ Roll, directed by Trevor Nunn at the Royal Court in London and went on to perform in the West End and on Broadway. She just finished performing in Stephano Massini’s new play “7 minutes” at here Arts in NYC and starred in Sinners at the Playground Theatre, London, directed by her husband Brian Cox. Directing credits: The Web series Messy (multiple awards including two best director). She/ Her at PS21 in Chatham, NY (which she is bringing to this Year’s Edinburgh Fringe). Most recent Film Shirin Neshat’s Land of Dreams. Current Films on Vod: Son of the South (best ensemble by AFI); Remember me; Last moment of clarity ; Soderbergh’s Side

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effects. TV: FBI; Hit and Run; The Blacklist ; Mysteries of Laura; Deadwood. Full bio on IMDB or nicoleansari.com or actorsrising.com.

ELIZABETH ASPENLIEDER*

she / her (Denise, The Approach) S&Co: Over 40 productions – favorites: The Waverly Gallery, HIR, God of Carnage; Mother of the Maid (pre–Broadway run, originated role of The Lady of the Court); Vanya and Sonia and Masha and Spike; The Beauty Queen of Leenane; Parasite Drag; Merry Wives of Windsor ; The Winter’s Tale; Les Liaisons Dangereuses; Ice Glen; Bad Dates (Elliot Norton Award Best Solo Performance); Rough Crossing; King Lear ; A Midsummer Night’s Dream; Richard III. Other: Berkshire Playwrights Lab: Radius series, Gala’s etc.; Simon’s Rock: The House of Bernarda Alba; Oldcastle: The Consul, The Tramp & America’s Sweetheart, The Lion in Winter ; Barrington Stage: 10X10 Play Fest ; Merrimack Rep:

Bad Dates; Boston Theatre Works: Angels in America, Othello. Directing: Merchant of Venice (Assistant Dir, Tina Packer Dir.). Indy Films: Trigger Finger ; Seriously Twisted. Voice–overs (TV, cartoons, radio, audiobooks.) Producing: Living the Dream, A Simple Gift, Peregrine Island, and 5 back to back feature films shot over the last two years here in our beautiful Berkshires!

STEPHEN D. BALL he / him (General Manager) Steve holds an MFA in set design from New York University’s Tisch School, an MBA from the University of Miami School of Business, and has participated in an Executive Education in non-profit management at Harvard’s Kennedy School. After interning at the Greater Miami Opera, Steve has been a box office manager, a scenic charge artist, a scenic carpenter, and has provided set and/or lighting design services to theatres in Boston, Falmouth, Foxboro, and Lenox, MA; Sharon, CT; New York, NY; New Hope, PA; Marietta, GA; and Miami, FL. Steve has consulted on home and theatre designs as well as providing museum design services in Dalton, MA. At S&Co, Steve has been Production Manager, Company

Manager, Set Designer, Lighting Designer, Theatre Designer, General Manager and Interim Managing Director, helping to coordinate the company’s multi-faceted, multi-departmental activities.

SHEILA BANDYOPADHYAY

she / her (Movement , Much Ado About Nothing ; Director of Training) Sheila Bandyopadhyay is delighted to be back at Shakespeare & Company! A director, deviser, movement specialist, Alexander Technique and yoga teacher based in Brooklyn, NY, Sheila has been part of the Faculty at Shakespeare & Company since 2007. Movement Direction: Macbeth (The Humanist Project); Mother Courage and her Children, The Cherry Orchard (American Academy of Dramatic Arts Company); Hamlet, Measure for Measure (NYU Gallatin); Twelfth Night (FSU Conservatory/ Asolo Rep). Sheila’s work has directed shows in New York

at the Brick, the United Solo Festival (Theater Row), the Tank, the Women in Theater Festival (the Gural), the West End Theater, and the 72nd St Theater Lab. Favorite roles include Stephano in The Tempest (Stages on the Sound), Tamora in Titus Andronicus (The Humanist Project) and Bianca/Grumio in The Taming of the Shrew (Tempest Ladies). Sheila is a proud member of the Humanist Project and a sponsored artist with Leviathan Lab.

GLENN BARRETT he / him (Pompey, Golden Leaf Ragtime Blues) Glenn has been performing on stages throughout the Berkshires, New York, Connecticut and abroad since 1969. In New York at La Mama ETC., The Manhattan Theater Club, and in the New York Shakespeare Festival Tony Award winning revival of Threepenny Opera. Regionally with Longwharf Theatre, Riggs Theatre 37, Pittsfield Shakespeare in the Park, Great

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Barrington Public Theatre, Berkshire Theatre Festival, Walking the Dog Theatre , Mixed Company and Barrington Stage. As a founding member of The Berkshire Public Theatre , Glenn had the good fortune to work with great directors from Frank Bessell to our very own Kevin G. Coleman who he will share the stage with for the first time this fall. Finally, way back in 1985 with Shakespeare & Co. in their Salon Plays In One Door and Out the Other, Songs from the Heart, and 2019’s production of The Merry Wives of Windsor

CHRISTINA BEAM she / her (Costume Designer, A Walk in the Woods) Christina Beam is a New York and New England based costume designer and technician whose work spans theater, opera, dance and film. Christina holds an MFA in costume design from UMass Amherst, having completed an assistantship that included rigorous work in costume construction. Some of her recent design credits include Taylor Mac’s The Lily’s Revenge (UMass), Re/Emergence (The Re/ Emergence Collective),

The Tempest (Hartt), The Revolutionists (Silverthorne Theater Company), She Loves Me (UConn Opera), and Queer and Now: Sync or Swim (NYPOP). Her designs for The Lily’s Revenge were included in the Emerging Artist Exhibit at the 2019 USITT Conference and also at the 2019 Prague Quadrennial, and they will be displayed at the upcoming 2022 World Stage Design Emerging Artist Exhibit in Calgary in August. Christina is also currently working as the Costume Shop Supervisor at Western Connecticut State University. For further examples of her work, please visit christinabeamdesign.com.

SAMUEL BECKETT (Playwright, Plays in Process / All that Fall ) Samuel Beckett is widely recognized as one of the greatest dramatists of the 20 th century. He was awarded the Nobel Prize for Literature in 1969. Mr. Beckett is most renowned for his play Waiting for Godot, which launched his career in theater. He then went on to write numerous successful full-length plays, including Endgame in 1957, Krapp’s Last Tape in 1958,

and Happy Days in 1960. Mr. Beckett received his first commission for radio from the BBC in 1956 for All That Fall. This was followed by a further five plays for radio, including Embers, Words and Music and Cascando. Like no other dramatist before him, Mr. Beckett’s works capture the pathos and ironies of modern life yet still maintain his faith in man’s capacity for compassion and survival, no matter how absurd his environment may have become.

JAMES W. BILNOSKI he / him (Lighting Designer, Plays in Process) James W. Bilnoski is currently the Technical Director at the Massachusetts College of Liberal Arts in North Adams, MA and is a freelance Lighting, Projection and Scenic designer. He holds a Master of Fine Art in Theatrical Design from Temple University, Philadelphia, PA where he concentrated in Lighting, Projection, and Scenic Design. James also holds a Bachelor of Science in Technical Theatre from West Texas A&M, Canyon, TX. Since college his main concentration has been in lighting design,

while pursuing other creative endeavors. He has been fascinated with the potential of projections and how it can be incorporated into any kind of performance since his first introduction to it. Shakespeare & Company shows include hang (2021), The Waverly Gallery (2019), Mothers and Sons (2018), God of Carnage (2017). Stay Curious! jamesbilnoski.com Insta @ TinySceneShopInNorthCounty.

BLESSING (Playwright, A Walk in the Woods) Lee Blessing is the author of A Walk in the Woods, Two Rooms, Eleemosynary, Going to St. Ives and other plays which have been performed throughout the U.S. and worldwide. His work has earned numerous awards— Outer Critics Circle, Drama Desk, Steinberg/American Theater Critics Association, L.A. Critics Association to name a few—and has been a finalist for the Pulitzer Prize and nominated for Tony and Olivier Awards. Blessing is married to playwright and TV writerproducer Melanie Marnich and lives in Los Angeles. Thomas Cooney, DPT

LEE

ARIEL BOCK* she / her (Producing Associate; Vocal Coach, Much Ado About Nothing ; Duke, Measure for Measure ) S&Co: Acting: Rose (The Children ), Mom (Ugly Lies the Bone ); Mistress Quickly ( Henry IV Pts. 1 & 2 ); Goneril ( King Lear ); Beatrice ( Much Ado About Nothing ); Elizabeth ( Richard III ); Audrey ( As You Like It ); Hippolyta ( Midsummer Night’s Dream ); The Nurse ( Romeo and Juliet ); Mistress Quickly ( Merry Wives of Windsor ); Paulina (The Winter’s Tale ), Ruth ( Private Eyes ), The Woman ( Laughing Wild ); Arlene (Off the Map ) Directing: The Wickhams, Christmas at Pemberley, Emma, Pride and Prejudice, Sense and Sensibility, Miss Bennet: A Christmas at Pemberley. At Mixed Company: Ramona ( Zara Spook and Other Lures ) and Eileen (The Cripple of Inishmaan ). With the Ensemble for the Romantic

Century in NYC: Nadezhda VonMeck ( None But the Lonely Heart ), as well as Fanny Mendelsohn, Emily Dickinson, Sonia Tolstoy, and Anna Akhmatova. Ariel is a Designated Linklater Voice Teacher.

GREGORY BOOVER* he / him (Claudio, Much Ado About Nothing) S&Co: Feste (Twelfth Night), Fenton/Slender (Merry Wives), Silvius/Amiens (As You Like It), Young Men (Macbeth), Iago (Othello ed. tour ), Bottom/ Demetrius (Midsummer ed. tour ), Leo (4000 Miles), Scaramouch (The Emperor of the Moon), Macduff/ Duncan (Macbeth ed. tour ), Musician/ Composer (An Iliad ), Greg (SLaW ), Polonius/Horatio (Hamlet ed. tour ), Nurse/Friar (R&J ed. tour ), Ensemble (The Tempest), Damis (Tartuffe). Off-Off B’way: Ernst, Spring Awakening: A Sin of Omission (Looking Glass Theatre); Greg has worked with many theaters across the northeast including Urbanite Theatre,

The Theater at Woodshill, The Umbrella Stage Company, Berkshire Playwrights Lab, WAM Theatre, Emergent Ensemble Theater, The Theatre at Monmouth, and Hampshire Shakespeare, and has taught with Community Access to the Arts, The Berkshire Music School and in the Education department at S&Co. Training: S&Co 2017 January Intensive; (BA) UMass Amherst; UKent, Canterbury. For more, visit GregoryBoover.com

PATRICK BRENNAN he / him (Set Designer, Much Ado About Nothing; Plays in Process / All that Fall; Props Master) S&Co Set Design: Morning After Grace, Mothers and Sons, Miss Bennet: Christmas at Pemberley, Roman Fever / Fullness of Life, It’s A Wonderful Life: A Live Radio Play, The How and the Why, Henry V, Mother of the Maid, Shakespeare’s Will, Vanya and Sonia and Masha and Spike, Private Eyes, Master Class, Heroes, Beauty Queen of Leenane, Accomplice, Cassandra Speaks, The Tale of the Allergist’s Wife, Parasite Drag, 39 Steps, Santaland Diaries, Private Lives, The Learned Ladies, Women of Will, The Memory of Water, The Hollow Crown, Red Hot Patriot: The Kick–Ass Wit of Molly Ivins, War of the Worlds (Bernstein Theatre); Mother Courage,

Richard III, Winter’s Tale, The Liar (Tina Packer Playhouse). Designer & Performer: Dibble Dance (Tina Packer Playhouse & Colonial Theatre). Patrick holds a Bachelor of Arts in Interior Design from Academy of Art College, San Francisco. Other work includes Laura Ashley, Pierre–Deux, Anthropologie.

ALLYN BURROWS*

(Artistic Director; John Honeyman, A Walk in the Woods) S&Co: Director: The Tempest (2017), As You Like It (2018), Twelfth Night (2019). Shakespeare & Company performances: God of Carnage, Or, King John, Much Ado About Nothing, Henry V, A Midsummer Night’s Dream, Henry IV Part 1, among others. As Artistic Director of Actors’ Shakespeare Project, directed numerous productions and performed in The Winter’s Tale, Henry VIII, Twelfth Night, King Lear, etc. Performances in Boston include Can You Forgive Her (Huntington Theatre), Breaking the Code (Underground Railway

Award-winning contemporary theatre in Columbia County, NY www.ancramoperahouse.org

Photo by B. Docktor

Theatre), Shipwrecked (The Lyric Stage), The Seafarer and The Homecoming (Merrimack Repertory Theater), Five by Tenn (Speakeasy Stage). Elliot Norton Award for The Homecoming, King Lear, Five by Tenn; IRNE Award for Breaking the Code. Off-Broadway: Bug, Killer Joe, Louis Slotin Sonata, Closetland. Regionally: Actors’ Theatre of Louisville, American Conservatory Theatre, Long Wharf, Denver Center, Walnut St. Television: “The Broad Squad,” “Law and Order,” “Law and Order: Criminal Intent,” “Against the Law.” Films include The Company Men, Julie & Julia, Manchester by the Sea, and Don’t Look Up.

ELIZABETH CAHILL (Sound Designer, Much Ado About Nothing) Elizabeth has sound designed for Commonwealth Shakespeare Company, Lyric Stage Company of Boston, Actors’ Shakespeare Project, New Repertory Theatre, Gloucester Stage, SpeakEasy Stage, The A.R.T. Institute, Dance The Yard, Central Square Theatre, New England Conservatory, Fresh Ink Theatre, Bridge Rep, Greater Boston Stage Company, Hasty Pudding Theatricals at Harvard University, Brownbox Theatre Project, Baldwin Wallace University, Boston Conservatory, Moonbox

Productions, and more. A/V Supervisor for operas with New England Conservatory, Boston Early Music Festival, and Boston University. Elizabeth serves as the Sound Area Head and Resident Sound Designer for Emerson Stage at Emerson College. elizabethsound.com.

CAROLINE CALKINS* she / her (Dogberry, Much Ado About Nothing) S&Co: Time Stands Still, Love’s Labor’s Lost, A Midsummer Night’s Dream, The Emperor of the Moon, Henry V, and others Caroline has taught for many years in S&Co’s Education Program, including directing in the Fall Festival of Shakespeare (2011-2018) and performing in the Northeast Regional Tours of Romeo and Juliet, A Midsummer Night’s Dream, and Macbeth. She recently performed at Boston Playwrights’ Theatre and the Theater at Woodshill. Caroline is a collaborator with the rig, an arts collective based in the Berkshires. BA: Brown

University; MA: Emerson College. Other training: National Theatre Institute.

LOLITA CHAKRABARTI

(Playwright, Hymn) Winner of the 2012 Most Promising Playwright Evening Standard award, Lolita Chakrabarti is a British actress and writer who has worked extensively on stage and screen. Her most recent acting theatre credits include The Great Game, Afghanistan for The Tricycle, Last Seen - Joy for the Almeida, Free Outgoing for the Royal Court and John Gabriel Borkman for the Donmar Warehouse. Her acting screen credits include The Casual Vacancy, Jekyll and Hyde, My Mad Fat Diary season 3, Vera, Outnumbered, Hustle, Extras Christmas Special, Holby City, Silent Witness, Amnesia, William and Mary, Fortysomething, Bodies, and Forgiven. Writing credits include The Goddess for Woman’s Hour on BBC Radio 4, Faith, Hope and Blue Charity, also on BBC

Radio 4 and Last Seen - Joy for Slung Low and the Almeida. In 2012, Red Velvet was the first play performed under the Tricycle’s new artistic director Indhu Rubasingham. It returned to the Tricycle in 2014 before having its US premiere at St Ann’s Warehouse New York. Lolita Chakrabarti also runs Lesata Productions with Rosa Maggiora. Their short film won Best Short Narrative at PAFF, Los Angeles 2012. They are currently in development with their first feature.

MACONNIA CHESSER* she / her (The Poet, An Iliad ; the Center for Actor Training’s Administrative Director)

S&Co: King Lear, The Merry Wives of Windsor, As You Like It, Intimate Apparel, Henry VI.six (Tygre’s Heart, A Pair of Molehills... Boys of York, Queen Meg), Pride & Prejudice, Lovers’ Spat (2017 & 2018), Winter Studio Festival of Plays. REGIONAL: Ancram Opera House, Actors’ Shakespeare Project, Kennedy

Center, WAM Theatre, NJ Rep (company member), Theater Alliance (Insurrection: Holding History, Helen Hayes nomination), Ensemble Studio Theatre, Tennessee Shakespeare, Chester Theatre, Berkshire Playwrights Lab, York Shakespeare, African Continuum Theatre, Totem Pole Playhouse, & Folger Theatre. FILM/TV: The Shape of Destiny (Official selection, 2018 Women in Comedy Festival), Nothing But the Truth, Ghosts of Hamilton Street, Diseasels, HBO’s “The Wire.” EDUCATION: S&Co, National Conservatory of Dramatic Arts, Alcorn State University. UPCOMING: Nurse in Romeo & Juliet with Notre Dame Shakespeare Festival (shakespeare.nd.edu) and Dee/ Patrisse in Cadillac Crew with WAM Theatre (wamtheatre. org). For my mom, Dorothy D. Scott Chesser.

KEVIN G. COLEMAN he / him Founding Member (Director of Education; Board

of Trustees; Fight Director, Much Ado About Nothing ; Ollie, Golden Leaf Ragtime Blues) Kevin is one of Shakespeare & Company’s artistic and administrative leaders. He works in the Performance and Training departments as an actor, teacher, and director, and oversees the mission of the Education department. Kevin has been a guest teacher or director at MIT, Harvard, L.S.U., Stanford, Shenandoah Shakespeare, Q.U.T.- Brisbane, Lincoln Center, the Folger Library, Shakespeare Festivals in both Stratfords, and the Mercury Theatre in Colchester, UK. Kevin is the Theatre Director at the Austen Riggs Center, where he has directed over 30 productions. In 2016, Kevin was Runner-Up for the Tony Award for Excellence in Theatre Education. Along with Patrick Toole, Kevin recently produced the soon to be released film, Speak What We Feel, documenting the Fall Festival of Shakespeare.

MELISSA COLLINS* she / her (Stage Manager, Hymn) An Atlanta Native and Florida resident, Melissa studied at Valencia College in Orlando, Florida receiving an A.A. in Entertainment Design and Technology. This is Melissa’s first season with Shakespeare & Company and she is thrilled to be here. Past credits include Much Ado About Nothing, Macbeth, and A Christmas Carol at Orlando Shakes, and The Fantasticks at Flint Repertory Theatre.

MAEGAN A. CONROY* she / her (Stage Manager, The Approach, Much Ado About Nothing) S&Co: Creditors, Ugly Lies the Bone, DibbleDance: Shoes On, Shoes Off, Private Lives, Julius Caesar. Merrimack Repertory Theatre: Erma Bombeck: At Wit’s End, The Rise and Fall of Holly Fudge, Wild Horses, Until the Flood, Nina Simone: Four Women, The Wickhams: Christmas at Pemberley, Tiny Beautiful Things, Cry It Out,

The Heath, Miss Bennet: Christmas at Pemberley, Native Gardens, The Royale. Greater Boston theatres: The Legend of Georgia McBride, Guards at the Taj, The Effect, A Measure of Normalcy. Maegan received her BFA in Stage Management from Millikin University in Decatur, Illinois. She and her husband live with their dog in Lowell, MA. Maegan is a proud member of Actors’ Equity Association.

NEHASSAIU DEGANNES*

she / her (Isabella / Pompey, Measure for Measure) S&Co: “Yolande Du Bois” Knock Me A Kiss, “Isabella” and “Pompey” Measure for Measure (2021 workshop) “Esther” Intimate Apparel, “Nell Gwynne/ Lady Davenant/Maria” Or,, “Virgilia et al” Tina Packer’s Bare Bard Coriolanus. Off B’way: Is God Is (Soho Rep), SEAGULLMACHINE (LaMaMa.) Select Regional: Three Musketeers, SWEAT (Cleveland Play House), My Lord, What A Night (Florida Studio

Members of the

Theatre), Our Town, Romeo & Juliet (Alabama Shakespeare Festival), KINGS (Studio Theatre, DC,) The Last Wife (WAM), The Convert (Central Square), King Lear, (Chicago Shakespeare Theatre), Doubt (Oldcastle), Marisol (Luna Stage), Antony & Cleopatra, Harlem Shakespeare Festival, COCo Dance Theatre National Tour, & more. International: Stratford Festival of Canada, Driftwood Theatre, Theatre Aquarius, Theatre Passe Muraille,. and Film: “Krystal Rullan” EQUAL STANDARD Nehassaiu’s plays include Door of No Return (soloshow) EBB & lo’ (in progress), recipient of an Assembly 2020 Deceleration Lab Grant. Her poetry collection, Music for Exile (Tupelo Press) is co-winner of the 2021 Sheila Margaret Motton Book Prize. She teaches at Princeton University. nehassaiu.com

Doyle is a sound designer, engineer, and artisan working primarily in live performance applications: theatrical sound design, live music, and bespoke audio objects. He holds a MSc in Sound Design from the University of Edinburgh, and a BFA in Theatre Design and Technology from Emerson College. His work has been heard in theatres, concert halls, bars, basements and other venues around the Northeast and in Scotland. Previous projects with Shakespeare & Company include hang, Art, Topdog/ Underdog, The Waverly Gallery, and Macbeth. He is a proud member of United Scenic Artists Local USA 829.

DEVON DROHAN she / her (Scenic Designer, A Walk in the Woods ; Scenic Charge) Hailing from Westborough, Massachusetts, scenic designer, production designer, props master and scenic charge Devon has

been involved in technical theater since the age of eight. Most recently she served as Adjunct Scenic Designer at UAlbany for A Dream Play and Twelfth Night and received the BroadwayWorld Berkshires 2021 Award for best Scenic Design of a Play/ Musical for her design of S&Co’s production of B ECOMING OTHELLO: A Black Girl's Journey. Other professional and academic credits include scenic design for Taming of the Shrew, Love’s Labor’s Lost, and God of Carnage (S&Co), The Magic Flute (UNCG Opera), Antigone, Charlie and the Chocolate Factory (UNCG), Machinal and Casanova (UMass Amherst); props master at S&Co and the Cape Playhouse in Dennis, Massachusetts. Devon has also served as a production designer for S&Co’s Fall Festival of Shakespeare. She holds an MFA in Design from UNC-Greensboro’s School of Theatre and a BA from UMass-Amherst. Website: DevonDrohanDesigns. Weebly.com.

DUMAINE she / her (Intimacy Choreographer, Much Ado About Nothing) Olivia Dumaine is a Bostonbased actor and Intimacy Choreographer. Past Intimacy credits include: Everyday Life and Other Odds and Ends (Sleeping Weazel), Passing Strange (Moonbox Productions),Twelfth Night (Catskill Mountain Shakespeare) and 7 Rooms: Masque of the Red Death (Flat Earth Theatre). She is a graduate of the BFA Theatre Performance program at Salem State University, and has continued her studies with Intimacy Directors and Coordinators, Theatrical Intimacy Education, Intimacy for the Stage and Screen, Hollaback!, and Atlanta Artist Relief Fund's Creative Resilience and Trauma Education program. Additionally, she has toured the country with Speak About It, educating high school and college students on consent and bystander intervention. For more information: OliviaDumaine.com.

BRENDAN F DOYLE^ he / him (Sound Designer, The Approach, Hymn) Brendan F

OLIVIA

DENNIS EBERT JR. he / him (Stage Manager, Golden Leaf Ragtime Blues) Dennis is a NYC based Stage Manager and graduate of Pace University, holding a BA in Stage Management. Some NYC credits include: Everyone Comes to Elaine’s (Theater Barn NY), In the Same Space (Dixon Place), Eat the Devil (One Year Lease), The Waiting (The Triad) and Pre-Production rehearsals for Love Life (New York City Center). He is also a member of the production faculty at the American Musical and Dramatic Academy (AMDA) NYC, working as a stage manager for their fourth semester graduation performances. He is stoked to be returning to Shakespeare & Company for another season, after serving as their stage management intern for the 2019 summer season and as the rehearsal ASM for last year’s production of hang

SARAH EDKINS she / her (Set Designer, An Iliad ) Sarah Edkins is a set designer based in Brooklyn, NY. Originally from London, England, where she started her theater career as a puppeteer. Sarah has designed sets internationally. She worked five seasons as resident set designer for Shakespeare-On-The-Sound in Rowayton, CT and was awarded a TCG/NEA design fellowship in 1991. Sarah collaborated with director Ioli Andreadi as a /devisor/ designer/performer on three versions of The Return Of The Exile in NYC, London and Athens. She worked previously on An Iliad with director Jeff Mousseau at The Ancram Opera House in Ancram, NY. Sarah has collaborated on numerous projects with Jeff at The Ancram Opera House and throughout New York State.For more information: sarahedkinsdesign.com.

ROBERT EGAN (Director, Plays in Process / All that Fall ) Robert Egan is an awardwinning producer and director who has served as the Artistic Director/Producer of the Ojai Playwrights Conference since 2002. Prior to OPC, Robert served for 20 years as the Producing Artistic Director at the Mark Taper Forum where he was Director of New Play Development and the Founder and Producing Artistic Director of its prestigious New Work Festival. He was also the Associate Artistic Director of the Seattle Repertory Theatre where he created their new play development program. Robert has produced, directed, and dramaturged hundreds of new plays in the United States and Europe. Robert is also the Founder and President of RHEgan Productions, LLC where he conceives, writes, produces and directs major live events and media projects for non-profits including Cure Autism Now, Operation Smile, L.A,, Team Mentoring, Global Green USA Homeboy Industries, Center Theatre Group and UCLA.

CAROLINE ENG she / her (Sound Designer, Measure for Measure) Caroline Eng is a sound designer and podcast engineer based in New York. Selected Sound Design credits: The Late Wedding (Brown University/Trinity Rep), The Moors (Greater Boston Stage Company), Measure For Measure (Theatreworks, UCCS), The Broken Machine (American Academy for the Dramatic Arts) Selected Assistant Design credits: Bring Down The House (Oregon Shakespeare Festival), Fefu and Her Friends (Theatre For A New Audience) Selected Training: Fordham College At Lincoln Center (NY). Connect at carolineengdesign.com.

JONATHAN EPSTEIN* he / they (Andrey Botvinnik, A Walk in the Woods) S&Co: Jonny has directed or acted in more than 60 S&Co productions since 1987 including Creditors, Henry V, Merchant of Venice, Tempest, Cymbeline, Midsummer, Merry Wives, Private Eyes, Brief Lives, Heroes, An Iliad and the title roles in King Lear, Henry IV, Richard III and Macbeth. In 1990 he created the role of The Men in Tina

Packer’s original Women of Will. He has performed on and off-Broadway and at scores of regional theatres around the country including Berkshire Theatre Festival (Amadeus, Cuckoo’s Nest, Via Dolorosa, Educating Rita...) and ART (Merchant of Venice, Phaedra, Paradise Lost). He is a two-time recipient of the Elliot Norton Award and is Teaching Professor of Classical Performance at the FSU/Asolo Conservatory for Actor Training where this year he adapted and directed their production of 12th Night. Jonny and his wife Ariel Bock met onstage during The Aspern Papers (1991).

DIANA EVANS she / her (Assistant Stage Manager, The Approach, An Iliad, Measure for Measure, Plays in Process / Tilly No-body, This is It) Diana Evans is a writer, stage manager, and theatre education artist. She holds a BA in Communication, Journalism, Creative Writing, & English from New England College, Henniker N.H. Recent credits include: Advice To The Players (Sandwich N.H.): Stage Manager (As You Like It, 2020), Director (Noir Hamlet, 2020). Shakespeare & Company (Lenox, Mass.): Stage Manager (Becoming Othello, The Wickhams: Christmas at Pemberley, 2021) Asst. Stage Manager (ART, Measure for Measure, 2021), Production Assistant (Breath of Life, 2021), Director (Fall Festival of Shakespeare, 2019 & 2021).

Diana and her pup Huckleberry Finn hail from central New Hampshire, where her family has lived since King James I granted her ancestors land there in the 17th century.

MARK FARRELL he / him (Co-Director, The Approach) As a 3rd generation “showbiz kid”, Mark has produced, directed and written in all formats and genres, focusing on comedy, biography, music and social consciousness. His credits include plays, feature films and hundreds of hours of television. After directing COVID-friendly versions of “Martha Mitchell Calling” and “Breath of Life” for Shakespeare & Company over the last two years, Mark recently directed a reading of Catherine Filloux’s White Savior. Since moving to the Berkshires, Mark has been focusing on stage and feature films, but his work in TV includes - “Curb Your Enthusiasm” with Larry David for HBO, “Ben Stiller’s Comedy Roundtable” with Ben Stiller, Jim Carrey, Chris Rock and Bill Hader for Epix, 11 A&E Bios including Bruce Springsteen, Jennifer Aniston and Red Hot Chili Peppers, and “Off the Record” with Bono and the

Edge and Ringo Starr for HBO. Mark won Cable Emmys for “The A List” with Richard Lewis and “Coming Home” with Jackson Browne. Also among his credits are music videos for The Black Crowes, Diana Ross, Barbara Streisand, and David Lee Roth and many more. On the social consciousness side, he produced pieces for Pathways to Peace, an NGO at the UN. More to come!

ALLY FARZETTA (Mariana / Provost, Measure for Measure)

Ally Farzetta is brimming with gratitude to be back on stage making her Shakes & Co debut! Just before the pandemic Ally appeared as Elinor Dashwood in Virginia Stage Company’s

ANNIE SELKE SHOP • 36 MAIN ST, LENOX, MA THE OUTLET @ PINE CONE HILL • 125 PECKS RD, PITTSFIELD, MA

production of Sense and Sensibility. She spent two seasons with the American Shakespeare Center in Staunton, VA where her credits include Macbeth (Lady Macbeth), The Winter's Tale (Hermione), Sense and Sensibility (Elinor Dashwood), among many others. Additional regional credits include Guess Who's Coming to Dinner & Living on Love (Asolo Rep), It's A Wonderful Life: A Live Radio Play (Shadowland Stages), and Boeing, Boeing (Theater at Monmouth). Ally earned her MFA from FSU/Asolo Conservatory for Actor Training where she trained in classical acting under long-time Shakes & Co company member Jonathan Epstein.

ANTHONY FEOLA he / him (Assistant Stage Manager, A Walk in the Woods) Anthony Feola is excited to work with Shakespeare & Company for the first time! Selected credits: The Lion, The Witch, & The Wardrobe (Production Stage Manager Sub) and A Midsummer Night’s Dream (Asst. Stage Manager) with

Northern Stage; Next to Normal (Stage Manager), Marisol (Stage Manager), Spring Awakening (Asst. Stage Manager), Stupid F##king Bird (Asst. Stage Manager), The Resistible Rise of Arturo Ui (Production Supervisor), and Into the Woods (Assoc. Production Supervisor) with Emerson Stage; Big Fish (Stage Manager) and 13! The Musical (Stage Manager) with Emerson student theatre groups. Anthony recently graduated with a BFA in Stage and Production Management from Emerson College and would like to thank his family and friends for their support.

GINA FONSECA* she / her (Hero, Much Ado About Nothing) Gina Fonseca is a Miami native, actor, and creative based in NYC. Regional: Witch (Huntington Theatre Company); Fade (Kitchen Theatre Company); Our Dear Dead Drug Lord (Florida Premiere, Zoetic Stage at The Adrienne Arsht Center); Our Dear Dead Drug

WHAT A GIFT

gifts for her, him & home

Lord (Workshop Premiere, Off the Grid Theatre Company). Educational: Photograph 51, Antigone, Time Stands Still, The Clean House, Measure for Measure (Boston University); The Tempest (Shakespeare Academy @Stratford); BFA Acting, Boston University. ginafonseca.com.

ARSHAN GAILUS^ (Sound Design, A Walk in the Woods) previously designed sound and composed music for S&Co’s productions of Twelfth Night, As You Like It, and The Tempest. Arshan has created soundscapes and original music for theater companies including ArtsEmerson, California Shakespeare Theater, The Huntington Theatre Company, Capital Repertory Theatre, Contemporary American Theater Festival, Commonwealth Shakespeare Company, Plays in Place, A.R.T Institute, The Lyric Stage Company, New Repertory Theater, Actors’ Shakespeare Project, Harvard

College Theater Dance and Media Department, Brandeis University, The Nora Theatre Company, SpeakEasy Stage Company, The Gloucester Stage Company, and Company One. Arshan was awarded the 2016 IRNE Award for Best Sound Design (Small Theater) for sound design of appropriate (SpeakEasy Stage Company) and was a member of the Elliot Norton Award winning design teams for The Elaborate Entrance of Chad Deity (Company One, 2012) and Twelfth Night (Actors’ Shakespeare Project, 2011). Arshan holds a B.S. in Music from MIT and is currently a candidate for an M.F.A in Interdisciplinary Arts at Goddard College. arshangailus.com.

KELLY GALVIN she / her (Director, Much Ado About Nothing) Kelly most recently directed Beasts for the Boston Playwrights’ Theatre and this August she will direct A Midsummer Night’s Dream for The Theater at Woodshill. With

S&Co, she has directed The Taming of the Shrew and Love’s Labour’s Lost at the Mount, and Let’s Recount Our Dreams for the virtual gala. Regionally, Kelly has directed for Gloucester Stage, WAM Theater, Great Barrington Public Theater, Southwest Shakespeare, Berkshire Playwrights’ Lab, and The Theater at Woodshill. She has assisted at the Guthrie, Orlando Shakespeare, and Asolo Rep, where she received a 2018 Directing Fellowship, and she has also completed directing internships with Arena Stage, the Huntington, and Bedlam. Kelly is the founder of the rig, a group that creates performances for audiences with limited access to arts and cultural resources, and she serves on the faculty for CATA. She holds an MFA from Boston University and a BA from Wellesley College. kellydirecting.com.

SHIRA GITLIN they / them (Assistant Intimacy Choreographer, Much Ado About Nothing) Shira Helena Gitlin is a trans nonbinary director, gender consultant, intimacy choreographer, dramaturg, and musical theatre enthusiast. Shira is currently training with

Theatrical Intimacy Education and Intimacy Directors and Coordinators to further their intimacy knowledge. As a gender consultant, they have held Trans Training workshops for Dramatists Guild, Directors Lab North, individual theatre makers, and various theatres across the United States. They are also a member of StageSource's Gender Explosion Initiative. They have directed for the National Women's Theatre Festival, Moonbox Productions, Flat Earth Theatre, Sparkhaven Theatre, Playwrights’ Platform, the Boston Theatre Marathon and more. Shira is a graduate of the Arden Professional Apprentice Class 26, was an Artistic Fellow at SpeakEasy Stage Company, and is an alumni of Directors Lab North in Toronto, Canada. They have a BA from Hampshire College in directing with an emphasis on musical theatre studies. For more information, please visit shirahelenagitlin.com.

RAZ GOLDEN he / him (Director, Golden Leaf Ragtime Blues) Raz Golden is a director of theatre, film, and audio. He focuses on new and classical

texts, as well as narratives that explore shared cultural histories and myths and that center people of color. He has developed work with the Mercury Store, Public Theatre, The National Black Theatre, NYU Tisch, and the Williamstown Theatre Festival. He is currently a member of the Drama League Director’s Council and the Roundabout Directors Group. As a filmmaker he has collaborated on numerous projects with the creative agency Adventure We Can and recently worked as a videographer and editor for Eisa Davis’ Afrofemononomy Directing: We Are Proud to Present… (SUNY Purchase), The Tempest (AADA), The Mountaintop by Katori Hall (Weston Theatre Company), Queen of the Night, a new play by travis tate (Dorset Theatre Festival), Macbeth, (HVSF), Associate/ Assistant Directing: Macbeth (dir. Sam Gold) Romeo y Julieta, Shipwreck, Richard II (dir. Saheem Ali).

NIGEL GORE* (Leonato, Much Ado About Nothing) Recent: Titus, Titus Andronicus ; Portland Playhouse. Scrooge, A Christmas Carol; Orlando Shakes. Gloucester, King Lear ; Prospero, The Tempest ; Belarius/Doctor, Cymbeline; Falstaff, Merry Wives; Caesar, Julius Caesar : Shakespeare & Company. George, Who’s Afraid of Virginia Woolf (Eliot Norton Award Outstanding Actor); Public Theatre Boston. Off-Broadway: Dr. Rank, A Doll’s House; Ostermark, The Father ; TFANA. Pickering, Pygmalion; Col. Brandon,

Sense & Sensibility ; Dorn, The Seagull; Bedlam. Regional: Killigrew, Nell Gwynn; Enobarbus, Antony & Cleopatra; Folger DC. Richard, Richard III (Westword Denver; Best Actor); Bottom, A Midsummer Night’s Dream; Macbeth, Macbeth; Colorado Shakes. Squeers/Hawk, Nicholas Nickleby ; Lyric, Boston. James Tyrone, Long Day’s Journey ; Lyman Felt, The Ride Down Mt. Morgan; Oldcastle, VT: Caesar, Julius Caesar ; Orlando Shakes. Brutus, Julius Caesar ; Prague Shakes. Women of Will: U.S. Tour; Shanghai, Prague, The Hague, Mexico. Volumnia, Coriolanus ; Mercury Theatre, England. TV: Bedlam: The Series ; Justice Shallow.

DAVID GOW* he / him (Angelo, Measure for Measure) FILM: Till, The Intruder. TV: The Good Fight (CBS), Madam Secretary (CBS), Jon Glaser Loves Gear (truTV). NY THEATER: Burning Leaves (Duke Theater), Chokehold (14th St.Y), Where Has Tommy Flowers Gone (Workshop Theater), Bleach (Wilson’s Lounge); Decky Does a Bronco (Royal Family Productions), REGIONAL: Mothers and Sons, Waverly Gallery (Shakespeare & Company), Up The Hill (Eugene O’Neill Center), Peter and the Starcatcher (Smithtown Performing Arts Center), Pirira (Luna Stages), Why Do You Stand There In The Rain (Edinburgh Fringe), Scooter Thomas Makes It To The Top of the World (Hollywood Fringe); David holds a BFA from the University of North Carolina School of the Arts.

CHARLS

SEDGWICK HALL*

he / him (Lucio, Measure for Measure; Movement and Shakespeare Text Faculty)

Charls Sedgwick Hall is a Chicago based artist and have spent many years working with Shakespeare & Company in the following productions: Charlie in The Complete Works of William Shakespeare (Abridged), Boyet in Love’s Labours Lost, The Recruiting Officer in Mother Courage and Her Children, Benvolio in Romeo & Juliet, with the School’s Tour as Brutus in Julius Caesar and Macduff in Macbeth. Other credits include, Preacher/Ol’ Mister in The Color Purple, Don Pedro in Much Ado About Nothing, Puck in A Midsummer Night’s Dream, Trinculo in The Tempest, the triumvirate Ghost of Hamlet’s Father, The Player King/Queen and The Gravedigger in Hamlet, Nicola in Arms and the Man, Biedermann in The Firebugs, and Gertie in Angels of Lemnos Charls is a graduate of New York University’s School of the

Performing Arts, represented by Lori Lins, LTD, a faculty member of Shakespeare & Company, and dedicates his performance to the memory of Ms. Fran Bennett.

RORY HAMMOND* (Escalus / Abhorson, Measure for Measure) Rory is pleased to be back at her home, S&Co. In 2018 she played The Princess of France in Love’s Labours Lost. In 2016 she was Kacie in Ugly Lies the Bone. NY credits: Pericles (SoHo Rep), Measure for Measure, Bachelorette (Circle in the Square), Where’s My Money (Cherry Lane Theatre), and The Scarlet Letter. Berkshire credits: Romeo & Juliet, A Midsummer Night’s Dream, Taming of the Shrew ; King John, Richard III, Merry Wives of Windsor, Off the Map, Much Ado about Nothing, Merchant of Venice, Dibble Dance, Autres Temp, Xingu, and Summer. Actor Training: S&Co starting with Young Company, eventually becoming a member of the Summer Performing Institute (SPI); graduate of Circle

in the Square Theatre School in NYC, and a Founding Member of Animus Theatre Company (New York City). animustheatre.org.

AMY HANDELSMAN

(Managing Director) Amy Handelsman has more than two decades of diverse experience in theater, dance, film, and television, particularly in the areas of nonprofit management, business development, and strategic planning. She’s served as Managing Director of GALLIM in Brooklyn NY; Executive Director of David Dorfman Dance; Executive Director of United States Mind Sports Association (USMSA) and United States Poker Federation (USPF), and as Creative Director of the Showtime Development Project at Center Theatre Group. She’s served as a story executive, producer, curator, dramaturge, project manager, and consultant for a wide range of clients including Disney, Warner Bros., Tri-Star, PBS, and Jacob’s Pillow. She serves

on the Artistic Council of the Eugene O’Neill Theater Center’s Playwrights Conference, and holds a MFA in Creative Writing and Literature from Stony Brook University, Stony Brook, NY, and a Bachelor of Arts, cum laude, in Fine Arts from Harvard University.

RACHEL HARRISON* she / her (Stage Manager, Plays in Process / All that Fall ) Rachel Harrison is a St. Petersburg, FL based Stage Manager and Sound Designer. As the Production Stage Manager for more than 45 productions at American Stage Theatre Co. (St. Pete, FL), she includes among her favorites Two Trains Running, The Royale, Joe Turner’s Come and Gone, Jitney, A Raisin in the Sun, Pipeline, Silent Sky, Long Day’s Journey Into Night, Vietgone, and Skeleton Crew. In October of 2021, Rachel joined the American Stage Theatre staff as an Associate Artistic Producer. She also serves as “chief problem solver”

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for Your Real Stories Inc., a not-for-profit storytelling company committed to talking across differences through theatrical journalism; and provides production support for numerous projects with JNL Media to tell stories in the digital, visual media of video and streaming television. Rachel is the Eastern Region Director of the Stage Managers’ Association and a proud member of Actors’ Equity Association.

KEVIN HARVELL he / him (Production Manager) S&Co: Production Manager (2016-2022) Technical Director (2013-2016), Fall Festival of Shakespeare Production Coordinator (20092018), Technical Director (Satchmo at the Waldorf, 2012; War of the Worlds, 2011), Assistant Technical Director (2012), Master Carpenter (2011). Other production positions include Assistant Technical Director at Hangar Theater, and Master Carpenter at North Shore Music Theater. Kevin

holds a BFA in Theater Arts Production with a concentration in Technical Direction from Hofstra University, is a Certified EMT, and in the winter is an avid ski patroller.

TAMARA HICKEY* she / her (Beatrice, Much Ado About Nothing ; Plays in Process / This is It ) S&Co: Time Stands Still, Heisenberg, Cymbeline, The Tempest, Merchant of Venice, Two Gentlemen of Verona; Regional: Appropriate, SpeakEasy Stage; God’s Ear (Elliot Norton Award Best Actress & Best Production), Henry VIII, Pericles, Living In Exile, all for Actors’ Shakespeare Project; Rancho Mirage, New Repertory Theatre; Cabaret, American Repertory Theatre (IRNE Award Best Ensemble); Film/ TV: Mother/Android, John And The Hole (2020 Cannes/2021 Sundance), The Equalizer 2, Chappaquiddick, Good Kids, The Judge; “Defending Jacob;” “Bull;” “The Secret Life Of Marilyn Monroe;”

“Olive Kitteridge;” “Chasing Life,” “The Makeover,” “Army Wives,” “One Life To Live;” Canadian TV: “Blue Murder” (Series Lead), “The Associates” (Series Lead); MFA American Repertory Theatre. Upcoming: Tamara is currently devising her own solo show called This Is It, which will appear at the United Solo festival in NYC in the fall as well as at Shakespeare & Company’s Plays in Process Festival in July. Instagram: @ thisisit_soloshow

BONITA JACKSON she / her (Playwright, Plays in Process / This Soil, These Seeds…) Bonita Jackson is

an actor, writer, and teaching artist based in New York City. An MFA graduate from FSU/Asolo Conservatory for Actor Training. She's the co-founder of BARE, an interdisciplinary theatre and film-based organization that empowers artists, by cutting through fear and shame, to create transformative works of theatre and film. Theatre credits include This Soil, These Seeds... (Super Secret Arts), The Niceties (Urbanite Theatre), As You Like It (FSU/ Asolo Conservatory), Antigone (FSU/Asolo Conservatory), A Midsummer Night’s Dream (Asolo Rep), Sweat (Asolo Rep), Corey & Vanessa (The Tank), Black Footnotes (Nuyorican Poets Café), and Adventures of Kieron & Jade (Bridge Street Theatre). Film credits include Beneath the Sound and Drowning Above Water. Psalm 126:5. bonitajackson.com.

L. JAMES* he / him (Benedick, Much Ado About Nothing) Shakespeare & Company: Art. TV Credits include: FBI. Theater Credits: Sender, The Merry Wives of Windsor, Intimate Apparel, Hamlet, Sweat, The MotherF@cker with the Hat, ThreePenny Opera, Ideation, and Angels in America.

AMIE JAY she / her (Costume Designer, Hymn) Amie Jay is pleased to be part of the Shakespeare & Company team for another year. After graduating from the University of Wisconsin - Stevens Point in 2018 she worked for a summer season as the costume intern at the Cortland Repertory Theatre in Cortland, NY. Shortly after her time there she was ecstatic to join Shakespeare & Company for hr first season working year round on various projects. Since her first Fall Festival, Amie has worked as a designer on Taming of the Shrew (2019), the regional

tour of Macbeth (2020), Fall Festival 2019 & 2021, and last season's production of hang. She has also worked on several productions as stitcher, wardrobe, and assistant stage manager. Jumping for joy, Amie is ready to take on the new challenges that lie ahead in the changing world of pandemic theatre and is grateful to be able to design this year's production of Hymn with an amazing team.

MICHELLE JOYNER* (Anna, The Approach) Michelle Joyner is an actor, writer, and director and thrilled to be back with Shakespeare & Co! Recent shows include The Waverly Gallery (Assoc. Dir. with Tina Packer), The Winter Studio Festivals of Plays, The Valentine’s Surprise Show (Co-dir. with Allyn Burrows). Locally she has acted and directed for The Radius Festival (Berkshire Playwrights Lab), and performed an original short play Asking for a Friend (Theater Fest) with Elizabeth Aspenlieder, She/Her, directed by Nicole Ansari at PS21 last

season (and this coming summer at The Edinburgh Festival, Scotland) and Annapurna at Chester Theater. She is directing The Shot at Great Barrington Public Theatre this summer with Sharon Lawrence. Notable stage roles include the premiere of Life Sentences by Richard Nelson at The Second Stage, NY (opposite Edward Herrmann) and Romeo and Juliet (opposite Michael Cerveris and Viggo Mortensen) at IRT. She has a prolific acting career in television and film and has written ten studio screenplays, and is a repeat performer at THE MOTH. michellejoyner.com.

HOPE ROSE KELLY*

(Stage Manager, An Iliad, Measure for Measure, Plays in Process) S&Co: The Chairs, King Lear, Topdog/Underdog, Macbeth, Heisenberg, Cymbeline, God of Carnage, Or, Two Gentleman of Verona, Complete Works of Shakespeare (Abridged), It’s A Wonderful Life: A Live Radio Play, Comedy of Errors, Richard II, Rough Crossing,

Blue/Orange, The Ladies Man, Othello, Twelfth Night, Richard III, The Taster, As You Like It, The Hound of the Baskervilles, The War of the Worlds, Santaland Diaries. Regional: American Stage Theatre Company, Hartford Stage Company, Montana Repertory Theatre, WAM Theatre, Long Wharf Theatre, The Wilma, Wallis Center, The Public Theatre, McCarter Theatre, New Repertory Theatre, Hangar Theatre, George Street Playhouse, Stonington Opera House Arts, CLOC. Education: MA from University of Toronto; BA from Ithaca College. Member of Actors’ Equity Association and Stage Managers’ Association where she serves on the Board of Directors as Editor-in-Chief and International Cohort chair. Follow @doctorstgmgr on Instagram.

KENT^ she / her (Lighting Designer, Measure for Measure) Marika Kent is a Brooklyn based lighting

MARIKA

designer. Recent/upcoming design: Gem of the Ocean; School Girls, or the African Mean Girls Play (Portland Center Stage), Rent ; 25th Annual Putnam County Spelling Bee (ACT of CT), The Seagull (Elevator Repair Service), Reconstruction (The TEAM), Sweeney Todd (The Hangar), Generation Rise; Generation NYZ (Ping Chong + Co, The New Victory), Fly Away (created by Derek Fordjour + Nick Lehane), No Child; Memphis; Peter and the Starcatcher (Cape Fear Regional Theater), Roan @ The Gates (Luna Stage). marikakent.com.

REGGE LIFE† he / him (Director, Hymn) Regge Life recently directed Knock Me a Kiss for the W.E.B. DuBois celebration in the Tina Packer Playhouse. Last season debbie tucker green’s hang, the 2019 multiple Berkie Award winning production of Topdog/ Underdog, the wildly acclaimed Morning After Grace in 2018 and God of Carnage in 2017

and Kaufman’s Barbershop in 2013. To keep theater going at Shakespeare & Company during the pandemic, he directed Zoom productions of Autumn and Kernel of Sanity. He has directed across the country with credits such as Cross That River at 59E59th, the I Just Stopped by to See 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, 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, Living in the Wind and Do Lord Remember Me at The American Place Theatre. He is the Senior Distinguished Director in Residence at Emerson College.

GOVANE LOHBAUER she / her (Costume Director; Costume Designer, The Approach, An Iliad, Measure for Measure) Selected credits at S&Co: King Lear, Martha Mitchell Calling play and film, Twelfth Night, As You Like It ; The Tempest, Ugly Lies the Bone, Or..., It’s a Wonderful Life, An Iliad, Henry V, Mother of the Maid, Shakespeare’s Will, The Complete Works of William Shakespeare (Abridged),

Private Lives, Loves Labor’s Lost, Kaufman’s Barbershop, King Lear, The Learned Ladies, Women of Will, The Hound of the Baskervilles, The Taster, Mengelberg and Mahler, Les Liaisons Dangereuses, Shirley Valentine, Golda’s Balcony, The Ladies Man, Rough Crossing, Enchanted April, Ice Glen, Lettice and Lovage, House of Mirth, Glimpses of the Moon and many years of the Education Department’s Fall Festival and Tour productions including Shakespeare & the Language That Shaped a World film for Shakespeare’s 2021 Birthday. Selected Regional: Grant & Twain, Emilie..., The Long Run, In Darfur, Arabian Nights, Red Noses, Picasso at the Lapin Agile, Metamorphosis, The Marriage of Bette and Boo, Alice in Wonderland, Our Country’s Good

MATTHEW LUPPINO* he / him (Stage Manager, Hymn) S&Co: Mothers and Sons, Cymbeline, The Tempest, Ugly Lies the Bone, The Taming Broadway: Bandstand, The Illusionists: Turn of the Century & Live on Broadway. Off-Broadway/ NYC: The Public Theatre, The Pearl Theatre Company, Elizabeth Swados’s The Nomad (The Flea). Touring: Apollo 11- The Live Show ; The Lightning Thief (TheatreWorks/USA). Regional: People’s Light Theatre, Montana

Peace of Mind

Repertory Theatre, Geva Theatre Center, Eagle Theatre, Hangar Theatre, Kitchen Theatre Company, Barrington Stage Company, and The Shakespeare Theatre of NJ. Matthew is an alum of The College of New Jersey and a proud member of Actors’ Equity Association.

MADELEINE ROSE MAGGIO she / her (Don John, Much Ado About Nothing) S&Co: Cassie, The Wickhams: Christmas at Pemberley, Ensemble: Shakespeare and the Language that Shaped a World, Marianne Dashwood: Sense & Sensibility ; Robert Shallow/Bardolph: Merry Wives; Elizabeth Bennet: Pride & Prejudice; Longaville/ Jaquenetta, Love’s Labor’s Lost ; Elizabeth Darcy, Miss Bennet: Christmas at Pemberley ; Helena/ Cobweb, A Midsummer Night’s Dream; S&Co Regional Tour: Lady Capulet/ Benvolio, Romeo & Juliet ; The Humanist Project: Lavinia, Titus Andronicus Madeleine is proud of her work as an education artist in the Fall Festival of Shakespeare, and Shakespeare & Young

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Company. She completed the two-year professional course at L’École Internationale de Théatre Jacques Lecoq in Paris, is a graduate of the University of Massachusetts Amherst, and has studied at The Second City in Chicago.

JAMES MCNAMARA he / him (Light Designer, An Iliad ) James McNamara is the Professor of Light/Sound Design and the Chair of the Theatre Arts Department at Westfield State University. He is also an Associate Artist/Designer at Chester Theatre Company, where he has designed for the last 16 seasons. Professional Design: Ancram Opera House, LaMaMa ETC, CompanyOne, Lost Nation Theater, Pilgrim Theater Company, New Century Theatre, Strong Coffee Stage, New World Theater, Vermont Commons Group, Sankofa Dance Project, World Myth and Music, and The Calvin Theater. Assistant design: The Guthrie Theatre Center, The McCarter Theatre, Yale Repertory Theatre, The Clarence Brown Theatre and Bard SummerScape. James received his MFA in Theatre Design from The University of Massachusetts, Amherst.

BELLA MERLIN* she / her (Ursula, Much Ado About Nothing ; Tilly Wedekind, Plays in Process / Tilly No-body: Catastrophes of Love) S&Co: Maria (Twelfth Night ), Sir Hugh Evans (Merry Wives of Windsor ), Queen/Arviragus (Cymbeline), Trinculo (The Tempest ), Nerissa (The Merchant of Venice), Margaret (Worse Than Wolves), Outlaw (Two Gentlemen of Verona). Regional: Colorado Shakespeare Festival: Margaret (Richard III ), LA Phil: Beckett One–Acts. UK: National Theatre: A Laughing Matter ; The Permanent Way ; She Stoops to Conquer. UK Regional includes: The Seagull; As You Like It ; Brighton Beach Memoirs ; Can’t Pay? Won’t Pay!; Anna Karenina; Orlando. Film: Mente Revolver (Best Feature at Granada Cines del Sur, 2018). Numerous BBC TV and Radio. Publications include: Shakespeare & Company: When Action is Eloquence with Tina Packer (2020); With the Rogue’s Company: Henry IV at the National Theatre (2005), The Complete Stanislavsky Toolkit (2014). Training: Russian University of Cinematography, Moscow; PhD from University of Birmingham, UK. Professor of Acting & Directing, University of California, Riverside. Union: AEA, British Equity, SAG-AFTRA. 2016 S&Co. Winter Intensive.

ANNETTE MILLER* (Mrs. Rooney, Plays in Process / All That Fall ) S&Co; Received the 2018 Berkshire Theater Critics Association Award for Best Actress in a Leading Role as Katherine in Mothers and Sons; Elliot Norton and Irne Award for best actress as Golda in Golda’s Balcony (2003); Elliot Norton best actress nomination for Martha in Martha Mitchell Calling (2006). Florida Carbonell Award best actress nomination for Vi in August Osage County (2012). This past fall Annette was featured as Esther Greenbaum in a new play for Zoom / Film “You Will Not Play Wagner” and can be seen as Mrs. Tanken in the Oscar nominated film “Don’t Look Up” with Leonardo DiCaprio and Jennifer Lawrence for Netflix. Also, she narrated the opera Brundibar at the BSO for the Terezin Music Foundation featuring Yo-Yo Ma. Annette is currently touring her original theatrical collage Now is Our Time - the Pleasures and Perils of our Third Chapter, and a new play Prime Time. Favorite roles: Madeline Palmer, Breath of Life; Vera, 4000 Miles; Bernadette Kahn, Sotto Voce; Maria Callas, Master Class; Duchess, Richard

III; Arkadina, The Seagull B’Way: The Odd Couple Female Version. Films include: Company Men, Next Karate Kid, Autumn Heart. TV: “As The World Turns.” BA & BFA Brandeis and is an affliate Scholar at Brandeis University Women’s Studies Research Center.

ERIC MONTESA* he / him (Stage Manager, A Walk in the Woods) Francis ERIC Montesa Coming out of lockdown, ERIC stage managed In the Heights for Mill Mountain Theatre; Twelfth Night twice for The Acting Company and Shakesperience Production, Inc. ERIC’s other credits include Romeo & Juliet and Ain’t Supposed to Die a Natural Death (Tour) for The Classical Theatre of Harlem Hamlet, A Midsummer Night’s Dream, The Rules Of Charity for Theatre By The Blind, Romeo & Juliet for Princeton Rep Shakespeare Festival, The Tempest for the Arkansas Repertory Theatre, Falstaff for The Shakespeare Project, Driving Miss Daisy and Charley’s Aunt for the Pennsylvania Shakespeare Festival, Welcome to Our City for Mint Theatre Company, Awake & Sing! w/ Anne

Jackson and Dark Laughter for The Actors’ Studio, and Regionally for the Wayside Theatre (Va.), Source Theatre Co., Arena Stage, The Shakespeare Theatre (Washington, DC) and the Centenary Stage (PA). ERIC has done National Tours of Porgy & Bess, How to Succeed in Business Without Really Trying, Singin’ In the Rain, Titanic, and Crazy for You. ERIC has been a stage manager since 1982 in high school and member of Actors Equity since 1997.

KRISTEN MORIARTY

she / her (Marsha, Golden Leaf Ragtime Blues)

S&Co: Jean Hatch (White Savior ), Mrs. Reynolds (The Wickhams: Christmas at Pemberly ), Provost / Mariana (Measure for Measure), Miss Bates (Emma), Olive (The Norwegians); Chicago: Vitalist Theatre (contributing artist), Lifeline Theatre, Greasy Joan & Co., Emerald City Theatre, Attic Playhouse; Regional: Elsewhere Shakespeare, Montana Repertory Theatre,

Montana Actors Theatre, Classic Theatre Co., Tacoma Little Theatre, Toy Boat Theatre, Philipsburg Theatre. MFA Acting, University of Montana; BFA Acting/Dance, Adelphi University. Kristen began her actor training with Shakespeare & Company in 2011 just before completing her MFA. At Shakespeare & Company she began her Teacher Trainee journey in 2017 and joined the Center for Actor Training faculty in 2022. Additionally, she has worked full-time in Development since 2019. Kristen lives with her husband Graham and their two daughters in Lenox where she plays out the best roles ever of wife and mom. This is for them, for Dennis, and for you—the audience.

EDWARD T. MORRIS^ he / him (Scenic Designer, Measure for Measure) Edward T. Morris is a set and projections designer for live performance and a sustainability consultant. He’s a member of United

Scenic Artists Local 829 and Wingspace Theatrical Design. He is a graduate of University of Michigan and Yale School of Drama. Edward is passionate about conserving our environment and co-authored The Sustainable Production Toolkit. He’s lectured at numerous universities and is a proud supporter of the Broadway Green Alliance. Edward has designed for Shanghai Dramatic Arts Center, Yale Repertory Theatre, Martha Graham Dance Company, LaMama, The Barrow Group, Goodspeed Opera House, Gulfshore Playhouse, Virginia Stage Company, Cherry Lane Theater, TheatreSquared, Parallel 45 Theatre, Magic Theatre, San Francisco Playhouse, Interlochen Shakespeare Festival, Weston Playhouse, and Westport Country Playhouse; among many others. Edward designed Halloween decorations for President Obama’s White House in 2015.

JEFFREY MOUSSEAU he / him (Director, An Iliad ) Jeffrey Mousseau is co-director of Ancram Opera House in Columbia County, NY, where he staged An Iliad with MaConnia Chesser in October 2021. At Ancram, he has also helmed Homebody by Tony Kushner (Berkshire Theatre Critics Award, Outstanding Solo Performance), Young Jean Lee’s We’re Gonna Die, the American premiere of In Praise of Elephants by Kevin Dyer, and two Barbara Wiechmann plays, Aunt Leaf, which toured to Aguascalientes, Mexico, and the premiere of a musictheatre adaptation of The Snow Queen. Regionally, his work has also been seen at Stageworks/Hudson and Hudson Opera House. Other credits include The Kennedy Center in Washington, HERE Arts Center in NYC where he is an alum of the HERE Artist Residency Program and numerous productions as founding artistic director of the Elliot & IRNE award-winning Coyote Theatre in Boston.

CAL MURPHY they / them (Assistant Stage Manager, The Approach) Cal began at Shakespeare & Company in 2019 as a costume intern, and has since been thrilled to expand their duties into wardrobe, draping, costume

design assisting, costume shop management, and now assistant stage management. Cal has been involved in many Shakespeare & Company productions, including Merry Wives of Windsor (2019), Time Stands Still (2019), King Lear (2021), and The Chairs (2021), as well as various education programs such as Riotous Youth and the annual Fall Festival of Shakespeare.

SARAH NICHOLSON she / her (Assistant Stage Manager, Golden Leaf Ragtime Blues) Sarah is excited to join the team at Shakespeare & Company! Credits include Much Ado About Nothing, Our Town, The Great Leap, and Hood at Asolo Repertory Theatre; The Wake and What Are You Worth? as part of Playfest at Orlando Shakes, and Writes of Spring 2019 and 2021 at the Orlando Repertory Theater. She holds her BFA in Stage Management from the University of Central Florida.

DENIS O’HARE (Playwright, An Iliad ) Denis O’Hare is a writer and Tony Awardwinning actor who has performed on Broadway and off-Broadway as well as in numerous regional productions and in film and television. His TV work includes roles on HBO’s True Blood and FX’s American Horror Story

MARK O’ROWE (Playwright, The Approach) Mark O’Rowe is a playwright and film writer whose second play, Howie the Rookie, won him the George Devine Award when it premiered at the Bush Theatre in 1999. In 2003, Mark wrote his first feature film, “Intermission,” starring Colin Farrell and Cillian Murphy. In 2008 he adapted Jonathan Trigell’s novel “Boy A” for Cuba Pictures and Channel

4. Originally written for television, the film was picked up for theatrical release by the Weinstein Company after it won numerous awards, including the 2009 Broadcast Award for Best Single Drama, the 2008 Broadcasting Guild Award for Best Single Drama, and four jury awards at Dinard British Film Festival, including the Golden Hitchcock, Dinard’s top jury prize, which was awarded by a unanimous vote by the festival judges. O’Rowe’s plays include Terminus, Crestfall, Made in China, Howie the Rookie, and From Both Hips. Film credits include “Broken,” “Perrier’s Bounty,” “Star of the Sea,” “Boy A,” and “Intermission."

DEVANTE OWENS they / them (Conrad, Much Ado About Nothing) Recent credits include Ade, The Easiest Thing (The Tank, NYC debut);S&Co: Burgundy, King Lear (starring Christopher Lloyd), Lucentio, The Taming of the Shrew, Dumaine, Love’s Labor’s Lost, Theseus, A Midsummer Night’s Dream, Ensemble, I HAVE HAD A MOST RARE VISION, Ensemble, Shakespeare and the Language that Shaped the

World; Brian, The Wickhams: Christmas at Pemberley (reading), Mr. Woodhouse, Emma (reading), Ronald Drayton, Autumn (reading), Roger Peterson, Kernel of Sanity (reading); S&Co Regional Tour: Angelo, The Comedy of Errors, Duncan, Macbeth. With a deep interest in classical work and the voice, they are also a teacher and Education Artist with S&Co and have been a devoted student of the Linklater Voice Method for the past five years in the hopes of one day becoming a Designated Linklater Voice Teacher.”

TINA PACKER Founding Member (Founding Artistic Director; Co-Director, The Approach) Born in England, Tina was trained at RADA, performed in regional theatre, was an Associate Artist at the RSC, played in television series for the BBC and ITV, arrived in the U.S. in 1974. She had a Ford Foundation Travel and Study to research the visceral roots of Shakespeare’s plays, and travelled to India, Israel, Italy and the U.S. She co-founded S&Co. in 1978 and has worked for the Company ever since! She has directed

all of Shakespeare’s plays (some of them several times), acted in eight of them (never when directing) and taught the whole canon at over thirty colleges, including Harvard, M.I.T. and NYU. At Columbia University, she taught in the M.B.A. program for four years, resulting in the publication of Power Plays: Shakespeare’s Lessons in Leadership and Management with Deming Professor John Whitney for Simon and Schuster. For Scholastic, she wrote Tales from Shakespeare, a children’s book and recipient of the Parent’s Gold Medal Award. Most recently Tina’s book Women of Will was published by Knopf and she has been performing Women of Will with Nigel Gore, in New York, Mexico, England, The Hague, China, and across the US. Her directing work is currently being written about in a work entitled Shakespeare in the Theatre: Tina Packer by Katharine Goodland, and will be published by Bloomsbury-Arden for their Shakespeare in the Theatre Series. For S&Co acting credits include: Shirley Valentine, Molly Ivins, The Beauty Queen of Leenane, Mother of the Maid; Volumnia, Gertrude, Cleopatra, and Edith Wharton several times. She’s the recipient of numerous awards and honorary degrees, including the Commonwealth Award.

LISA PETERSON (Playwright, An Iliad ) Lisa Peterson is a theater director who wrote and adapted An Iliad with actor Denis O’Hare, for which they won 2012 Obie and Lucille Lortel Awards. Her other adaptations include The Waves, adapted from the novel by Virginia Woolf, with

composer David Bucknam (Drama Desk nominations), the upcoming The Good Book with Denis O’Hare, and Insurance Men with composer Todd Almond. She was Resident Director at the Mark Taper Forum for ten years, and Associate Director at La Jolla Playhouse for three years before that. Her directing credits include the world premieres of Tony Kushner’s Slavs!, Donald Margulies’ Collected Stores and The Model Apartment, Naomi Wallace’ Trestle at Pope Lick Creek, Janusz Glowacki’s The Fourth Sister, John Belluso’s The Poor Itch, Beth Henley’s Ridiculous Fraud, Jose Rivera’s Sueno, Marlane Meyer’s The Chemistry of Change, and many others. She has worked at theaters around the country including New York Theater Workshop, The Public, Playwrights Horizons, The Vineyard, Primary Stages, Manhattan Theater Club, MCC, Guthrie Theater, Seattle Rep, Berkeley Rep, Actors Theater of Louisville, Arena Stage, Yale Rep, and the McCarter Theater. Lisa won an Obie in 1991 for Caryl Churchill’s Light Shining in Buckinghamshire at NYTW, and Dramalogue, Drama Desk, and Calloway Award nominations for many other productions. She was the recipient of a TCG/NEA Career Development grant, and regularly develops new plays with the Sundance Theater Lab, New Dramatists, The Playwrights’ Center, and the O’Neill Theater Center. She is a graduate of Yale College, and a member of Ensemble Studio Theater, and the executive board of SDC.

VAUGHN POLE* he / him (Claudio, Measure for Measure) Vaughn is excited to be making his Shakespeare & Company debut! Off-Broadway: Malaise (Cherry Lane Theatre), Welcome to Cookie Mountain (National Black Theatre) Regional: Macbeth (Northampton Center for the Arts) Columbia University: A Midsummer Night's Dream, Macbeth, Three Sisters, Measure for Measure, The Death of The Last Black Man… MFA: Columbia University. Thank you for spending your time with us. @vaughnpole

NAIRE POOLE she her (Margaret, Much Ado About Nothing) Naire Poole is a Virginia-born, New York-based actor, director, teaching artist and organizational artist. After tackling the roles of Antigone, Hermia, and three (hang) during her time at FSU/ Asolo Conservatory for actor training, she is returning to the industry with a spacious heart and determined mind. Amidst her acting and directing, she hopes to mirror her past incredible teachers in her own teaching. She recently served as director and editor of a full-length film adaptation of Jessica Posey’s Boring Black Play for White Mouse Productions and will continue contributing to productions that broaden the current perceptions of marginalized groups and awaken communal empathy. She is learning from her current favorite author, Adrienne Maree Brown; moving the world in large ways by moving herself in small ways. Her gratitude is endless.

“ ranney ”* (Benny, Hymn) “ranney” has five decades in the performing arts as a multi-disciplinarian. Acting credits include Marc ( Art, Shakespeare & Company); Polonius/Gravedigger, Toledo, Troy Maxson (Hamlet; Ma Rainey’s Black Bottom; Fences ; Cincinnati Shakespeare Company); Sterling, Hambone (Two Trains Running; Radio Golf; American Stage Company.); King Hedley, Chutes & Ladders (Seven Guitars ; Water By the Spoonful ; Nevada Conservatory Theatre); Boy Willie (The Piano Lesson ; Center Theatre Co.); Adriana/ Antipholis/others (The Bomb-itty of Errors ; American Stage), Chicago Shakespeare Theatre, The Helix in Dublin, Ireland, and Ambassadors Theatre in London’s West End. As a comedian, he has headlined internationally and shared billing with Martin Lawrence, Chris Rock, and Paul Mooney. Nine one-man shows include And the Horse You Rode In On (Projects Arts Centre, Dublin), Whatever (People’s Improv Theater, NY), Incendiary (The Straz Center, Tampa), and Cufflinks and Jolly Ranchers for Dummies (Edinburgh Fringe Festival, Scotland). itsranney.com.

ALICE REAGAN she / her (Director, Measure for Measure)

S&Co: Or, by Liz Duffy Adams (seven Berkshire Theatre Award nominations including Best Director) and HIR by Taylor Mac (two Berkie nominations). Other directing credits: The Cherry Orchard by Anton Chekhov (Portland Experimental Theatre Ensemble); Evelyn Brown: A Diary by María Irene Fornés (Princeton Atelier); On Loop by Charly Evon Simpson (New Plays at Barnard); Grounded by George Brant (Cleveland Critics Circle Superior Production, Superior Direction, and Best Actress) (Dobama Theatre); Elliot, A Soldier’s Fugue by Quiara Alegría Hudes (Profile Theatre); Jackie by Elfriede Jelinek (Boom Arts); The Miser by Molière (Brave New World); Nomads by Julia Jarcho (Incubator Arts Project); I Came to Look for You on Tuesday by Chiori Miyagawa (La MaMa). Mabou Mines/ SUITE Resident Artist Program; Soho Rep Writer/Director Lab; Women’s Project Directors Lab; Lincoln Center Directors Lab; Princess Grace Award and Princess Grace Special Project Grant; Drama League Directing Fellow. Alice is Associate Professor of Professional Practice in Directing at Barnard College. MFA: Columbia. alicereagan.com

JOSH RODRIGUES* he / they (Assistant Stage Manager, Much Ado About Nothing) Josh is thrilled to be making their Shakespeare & Co. debut! Having previously worked mostly on musicals they are very excited to share the work of the Bard of Avon with you! They would like to thank their friends and family but, especially their mother for her unending love and support!

STELLA GIULIETTA

SCHWARTZ (Costume Designer, Plays in Process)

S&Co: Costume Designer for Art (2021), Topdog/Underdog (2019), Morning After Grace and Mothers and Sons (2018), 4000 Miles (2017), The Two Gentlemen of Verona (2016), The Unexpected Man (2015), The Servant of Two Masters (2014) and Les Faux Pas (2013); Costumer for S&Co’s Education Program, 2011–2018. Recent design credits include Disgraced (Chester Theatre), The Aliens (Chester Theatre), The 25th Annual Putnam County Spelling Bee (BCC Players), Twelfth Night (Pittsfield Shakespeare in the Park) and The Last Wife (WAM Theatre).

GWENDOLYN SCHWINKE

she / her (Voice and Text, Dialect Coach, Much Ado About Nothing, Measure for Measure; Training Faculty)

Vocal Coaching/S&Co: Merry Wives of Windsor, Taming of the Shrew, Love’s Labor’s Lost, Heisenberg, Cymbeline, Intimate Apparel, The Merchant of Venice, Two Gentlemen of Verona, Or, Ugly Lies the Bone, Comedy of Errors, The Unexpected Man, Hamlet, Shakespeare and the Language that Shaped a World. Vocal Coaching/ Regional: PlayMakers

Repertory Company: Julius Caesar, Native Son, Skin of Our Teeth, Dairyland, Yoga Play, Wrinkle in Time, Atlantic Stage, Oxford Shakespeare Festival, Frank Theatre. Acting/Regional: Adam ( As You Like It ), Margie (Good People), Gertrude (Hamlet ), Mistress Quickly (Merry Wives), Nurse (Romeo & Juliet ), Desdemona (Masks

of Othello), Betty Dullfeet (Resistible Rise of Arturo Ui ), Jean (Love Song of J. Robert Oppenheimer ), Inspector (The Enchanted ), Amanda (Glass Menagerie). MFA from Illinois State, Designated Linklater Teacher, Certified Feldenkrais Teacher, Teacher of Colaianni Speech and Dialect Work, and member of Actors Equity.

INDIKA SENANAYAKE*

she / her (Mistress Overdone/ Juliet/ Barnadine/ Friar Peter, Measure for Measure) Indika Senanayake is happy to be back at Shakespeare & Co. NYC credits include: Be the Death of Me and Occupy Your Mind (The Civilians), A Family of Perhaps Three, Yes is for a Very Young Man, Women of Trachis, The Knights and The Birds (Target Margin Theatre), Money Thinks I’m Dead (Mabou Mines RAP), Arden/Everywhere (BPAC), A Midsummer Nights’ Dream (Classic Stage Company), The House of Bernada Alba (NAATCO), and The Jackson Heights Trilogy (Theatre 167). Internationally: Villa (ICES, Sri Lanka). Regionally: Serendib (Hippodrome Theatre), Miss Witherspoon (New City Stage), Cecilia’s Last Tea Party (Passage Theatre), Florida! (Luna Stage) and Confluence (Guthrie Theatre). Film/TV: Beast (2022 Tribeca Film Festival premiere), Lost Cat Corona (with Ralph Macchio), Big Dogs, and Love and Badminton. A TCG/Mellon Foundation Global Connections Grant recipient, she holds an MFA in Acting from Columbia University where she was a Deans’ Fellow.

WILLIAM SHAKESPEARE

Founding Member (Playwright, Much Ado About Nothing, Measure for Measure) He was an English poet, playwright, and actor, widely regarded as the greatest writer in the English language and the world’s pre-eminent dramatist. His works, including some collaborations, consist of about 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.

SARAH SHIN she / her (Assistant Director, Clare Reidy Assistantship, Much Ado About Nothing) Sarah Shin is a Schwenksville-raised, Boston-trained, Brooklynbased Korean American theatre artist. Recent directing credits include The Cradle Will Rock (Concord Academy), Manuka (Youngbloods @ EST), Final Contact (Central Square Theater), A Very Herrera Holiday (New Repertory Theater), The First Pineapple and Other Folktales (Central Square Theater), and Amputees (Boston University). Assistant Credits include My H8 Letter 2 the Gr8 American Theatre (Assistant Director, Public Theater, Ma-Yi Theatre/ AYE DEFY), Endlings (Assistant Director, NYTW), Twelfth

Night (Catskill Mountain Shakespeare), Moby Dick (Choreography Assistant, ART), and The Gift Project (All For One Theater). She is the Co-Founding Artistic Producer of Asian American Theatre Artists of Boston (AATAB), 2020-2021 Asian American Arts Alliance Virtual Residency Cohort Member, and 20212022 National Queer Theatre Artistic Collective Member. sarah-shin.com.

CHARLES SMITH (Playwright, Golden Leaf Ragtime Blues) Charles Smith’s plays include Objects in the Mirror<, Free Man of Color, Knock Me a Kiss, Jelly Belly, The Gospel According to James, Pudd’nhead Wilson, Sister Carrie, The Sutherland, Freefall, Les Trois Dumas and Black Star Line. His plays have been produced by Goodman Theatre, Indiana Repertory Theatre, Victory Gardens Theater, New Federal Theatre, The Acting Company, People’s Light, Penumbra Theatre, Crossroads Theatre Company, Penguin Rep Theatre, Ujima Company, Inc., The Colony Theatre, St. Louis Black Rep, Seattle Rep, Jubilee Theatre, The Ensemble Theatre in Houston, Westcoast Black Theatre Troupe, The Robey Theatre Company, Berkeley Repertory Theatre, Ensemble Theatre in Cleveland and Independent Theatre in Adelaide, South Australia, among others. He is a recipient of the Joseph Jefferson Award, John W. Schmid Award, two Ohio Arts Council Individual Excellence Awards, an Illinois Arts Council Governor’s Award, Edgerton Foundation New Play Award, Princess Grace Theater Fellowship, the Cornerstone

National Playwriting Award, the Joyce Award, The National Black Theatre Festival’s August Wilson Playwriting Award, the Theodore Ward National Playwriting Award, two Black Theatre Alliance Awards for New Work, the NBC New Voices Award and numerous other AUDELCO, Jeff, NAACP and Black Theatre Alliance award nominations. An alumnus playwright of New Dramatists, graduate of the University of Iowa Playwrights Workshop, and one of the founding members of the Playwrights Ensemble at Victory Gardens Theater in Chicago, Smith has taught playwriting at Northwestern University, Ohio University, the Prague Summer Program in Creative Writing in the Czech Republic and the Center for Dramatic Art in Groznjan, Croatia. Charles Smith is a member of the Dramatist Guild.

LOGAN SLATER he / him (Jet, Golden Leaf Ragtime Blues) Logan Slater was born in Los Angeles, Calif., and began in the performing arts as a child, singing with the Hillcrest Christian School choir. After graduating from California State University, Northridge with a degree in film production, he decided to further his studies; but this time, focusing on acting. Slater has studied with Carl Ford, Lesly Kahn, and Gregory Berger-Sobeck, and is an alumnus of the 2020 Monthlong Intensive at Shakespeare & Company. Some of his recent roles include playing Jeff in You Have a Visitor, which won Best Horror and Best Cinematography at the Los Angeles Film Awards, and Troy

Boy in Home Soon, an official selection at the San Francisco Black Film Festival. Recently, Slater completed courses at Magdalen College, Oxford University where he continued to deepen his skills as an actor with the British American Dramatic Academy (BADA).

KIKI SMITH she / her; Founding Member (Costume Designer, Much Ado About Nothing) Designer for over 23 productions here. Obie Award for costumes for the Talking Band in New York. Professor of Theatre at Smith College. So glad to be back in person!

KATHLEEN H. SOLTAN

she / her (Assistant Stage Manager, Much Ado About Nothing ; Production Assistant, Plays in Process / All that Fall ) Kathleen H. Soltan is a Philadelphia based Stage Manager and Creator. Current Role with WAM: Stage Manager WAM Theatre: Second WAM Show. Selected Theatre Credits Elsewhere: King Lear, The Waverly Gallery, Macbeth at Shakespeare & Company, Noises Off!, Othello, The Birds, The Handmaid’s Tale at Curio Theatre Company. Selected Training: BA Theater Temple University. Creative Inspiration: Kathleen is dedicated to providing and promoting safe spaces for all Performers, Designers, and Artistic Creators. Parting Thoughts from The New Galileos: And yet it moves.

ALEXANDER SOVRONSKY

he / him (Composer / Sound Designer, An Iliad ) Alexander Sovronsky is a NYC-based actor/musician/composer that has created original music

for theatrical productions all over the country. Some career highlights include: Broadway: Cyrano de Bergerac (starring Kevin Kline), Off Broadway: Mother of the Maid (The Public Theatre); Bottom of the World (Atlantic); Women Beware Women (Red Bull Theatre); King Lear, Three Sisters (Classical Theatre of Harlem); As You Like It (Happy Few Theatre Co); Cyrano de Bergerac (Resonance Ensemble). Alexander has created the original music & sound for productions at Shakespeare & Co, Barrington Stage, Berkshire Theatre Group, Ancram Opera House, Arena Stage, KC Rep, Baltimore Center Stage, and at many other regional theaters. Alexander is also an award-winning Music Director and has created workshops that explore the music and sound of Shakespeare’s plays. AlexanderSovronsky.com.

he / him (Borachio, Much Ado About Nothing) Michael is a Brooklyn based actor and creator. He has been a member of S&Co since 1998. Numerous roles at S&Co include Serg ( ART ), Puck (Midsummer ), Poet ( An Iliad ), Bassinet (Ladies Man), Scapan (title role), Walter (Split Knuckle’s Endurance). Various Roles in NYC: Francis (Francis Goes To War ), Francis (Heisenberg Uncertainty Principle), Macbeth (title role). He is the Artistic Director of The Humanist Project and a founding member of Split Knuckle Theatre. Michael directs at the American Academy of Dramatic Arts where

MICHAEL F. TOOMEY*

he teaches Shakespeare and Fight. He has directed or devised many shows including Titus Andronicus, Julius Caesar and Alice In Wonderland. He teaches clowning for professional performers throughout the country. Michael has studied with clown master Philippe Gaulier and LISPA (London International School of Performing Arts). He holds an MFA in Lecoq-based actor created theatre from Naropa University. Michael lives in Brooklyn with his wife Sarah and son August. michaelftoomey.com.

KRISTIN VINING (Pianist, Plays in Process / This Soil, These Seeds…) Kristin Vining is a Brooklyn-based composer, pianist, teacher, and poet with Pacific Northwest roots. She has a heart for artistic collaboration and a gift for reflecting the energy of those around her back to them through her music, which is centered in hope and healing. Kristin has composed numerous works for singers, instrumentalists, dancers, and theater, and her music has been commissioned for projects and performances in the PNW, Boston, and NYC. Many of her current projects focus on honoring the stories and artistic work of women around the world along with a growing community of international women artists.

VON HAUBRICH

she / her (Scenic Designer, Hymn) S&Co: Scenic Designer, The Waverly Gallery, Heisenberg : Regional: The Arena Stage/Dallas Theatre Center ( Ann – National Tour ), WAM Theatre (Emilie, In Darfur, Bakelite Masterpiece, The Last Wife, Lady Randy ), Chester Theatre (I And You, Disgraced, Curve of Departure, Title & Deed, The Niceties, Tiny Beautiful Things), Adirondack Theatre Festival (The Whale). NYC: The Acting Company (Pudd’nhead Wilson, The Taming of the Shrew ), The Juilliard School (La Cenerentola, Richard II ), Present Company Theatre ( A Word to No One). LA: Echo Theatre (Uncle Vanya, Ghosts in the Cottonwood ), Ojai Playwrights Conference (new plays concept artist). TV: TNT (“Babylon 5 ”), BBC (“Bugs ”), Paramount (“Star Trek NG/Voyager.”) Juliana is a founding member of Mosaic Youth Theatre of Detroit, holds a BA in Anthropology from the University of Michigan, and an MFA in Scenic Design from Calarts. Online: JulianaDesigns.org.

JAKE WAID* he / him (Don Pedro, Much Ado About Nothin g) Jake Waid was last seen at Shakespeare & Company in 2009 as Horatio in Hamlet and Sebastian in

Twelfth Night. He played the title roles in Hamlet and Henry V, Hal in Henry IV part I, and Brutus in Julius Caesar at Fairbanks Shakespeare Theatre. In 2007, he played the title role in Perseverance Theatre’s Macbeth, which, in partnership with The Kennedy Center and Shakespeare Theatre Company, was translated into his tribe’s Tlingit language and performed at The Smithsonian National Museum of the American Indian in Washington D.C. Most recently he originated the role of John Ross / Jim Ross in Mary Katherine Nagle’s Sovereignty at both Arena Stage and Marin Theatre Company. He has also worked with History Theatre, Pillsbury House, Working Class Theatre, La Jolla Playhouse, Native Voices at the Autry, and Notre Dame Shakespeare Festival. He Studied at Cornish College and Freehold Theatre Lab/Studio.

KATIE WARD (Lighting Designer, The Approach, Hymn, Golden Leaf Ragtime Blues) Katie is delighted to be back in the theatre to bring the season to life. She holds an MFA in Drama with a concentration in Design from the University of North Carolina at Greensboro. Previous work includes Lighting and Scenic Design for The Hunchback of Notre Dame and Puffs at Holly Springs High School, Lighting Design for Coriolanus, Pride and Prejudice, and Sense and Sensibility at Shakespeare & Company, Production Design for the Fall Festival of Shakespeare, and Lighting Design for Heathers: The Musical and As You Like It at UNCG.

JAMES WARWICK† (Director, A Walk in the Woods) James played leading roles in London’s West End and in UK regional theatre before becoming a US resident 20 years ago. James has received BAFTA, Spotlight, Helen Hayes, Berkshire Eagle and Ovation awards for his theatre and television work. James played Sir Robert Chiltern on Broadway in An Ideal Husband and in many leading parts for PBS Masterpiece Theatre, including Tommy Beresford in Partners in Crime, currently being shown again on Amazon Prime. In 2018, he directed Mothers and Sons for S&C, receiving an Outstanding Director award from Berkshire Theatre Critics Assn. In 2019, he directed The Children, also for S&C and again nominated as outstanding director. He has recorded many audiobooks, receiving an Audiophile award for The Portrait of Dorian Gray last year. Last Fall, James directed Ionesco’s The Chairs here and this year opens the Great Barrington Public Theatre season with Alison Larkin’s solo show, Grief the Musical.

KEVIN CRAIG WEST* (Gil, Hymn) Actor/Filmmaker Kevin Craig West has been seen on stage regionally with Capital Rep (Shakespeare in Love), Oldcastle Theatre (Judevine), WAM and Central Square

JULIANA

Theatre (Pipeline). On screen Kevin portrayed Terrance Bryant on NBC’s hit series Law & Order - Organized Crime, appeared in an episode of NBC’s series, New Amsterdam, CBS’s series, FBI Most Wanted and Netflix’s Oscar nominated film, Don’t Look Up starring Meryl Streep and a host of other stars. Look for Kevin in a couple of Apple TV+ Projects premiering later this year. West has received multiple nominations for Best Actor for his starring role in the feature film The Way Forward, which won Best Feature Film at the 2021 World Independent Cinema Awards in London. He also received an Actor of the Year nomination from the 2021 International Christian Film and Music Festival.

CATHERINE WHEELER

(Artistic / Executive Assistant) Catherine enjoys supporting the artistic team at S&Co. She serves as assistant to Allyn Burrows and Tina Packer, including doing research and preparing the manuscripts for Tina’s publications. She studied at The School of American Ballet and performed in various productions with the New York City Ballet, including The Nutcracker, A Midsummer Night’s Dream and Tarantella Each summer she enjoys partaking in all of the Berkshire arts and culture offerings.

AMANDA WINGO she / her (Assistant Stage Manager, Hymn) Amanda is a freelance stage manager, director, and writer from New Jersey. She is excited to be working with Shakespeare & Company for the first time! Amanda loves to bring artists together in positive and collaborative creative spaces to create art that makes an impact.

A recent graduate from University of North Carolina School of the Arts, her credits include work with The Old Globe, The Shakespeare Theatre of New Jersey, and The Paper Mill Playhouse.

JIM YOUNGERMAN

(Set Designer / Artist, The Approach) Jim is a visual artist who has exhibited his paintings throughout the U.S. & Europe. Shakespeare & Co.: King Lear, As You Like It, The Tempest, The Hound of the Baskervilles, A Midsummer Night’s Dream, Romeo & Juliet, Much Ado About Nothing, Love’s Labour’s Lost, The Merry Wives of Windsor,

Merchant of Venice, Summer, Two Gentlemen of Verona, Ethan Frome, Laughing Wild Odyssey Theater, L.A.: The Man Who Killed the Buddha (award winning). Barrington Stage: Killer’s Head, The Dumbwaiter. Bard College: Vinegar Tom, Berkshire Public Theatre: Carousel, Angel City, Tongues, Savage Love, Just Passing Thru. Jim’s artwork can be viewed at his websitejimyoungerman.com.

MELISSA ZICCARDI she / her (Wardrobe; Assistant Stage Manager, An Iliad, Hymn) Melissa is excited to back for a fifth season and Shakespeare & Company.

ACTORS' EQUITY ASSOCIATION (“Equity"), founded May 26, 1913, is the U.S. labor union that represents more than 51,000 professional Actors and Stage Managers. Equity fosters the art of live theatre as an essential component of society and advances the careers of its members by negotiating wages, improving working conditions and providing a wide range of benefits, including health and pension plans. Actors' Equity is a member of the AFL-CIO and is affiliated with FIA, an international organization of performing arts unions. Equity is governed by its own members through an elected Council, representing principal actors, chorus actors and stage managers living in three regions: Eastern, Central and Western. Members at large participate in Equity’s governance through a system of regional Boards and Committees. Equity has 28 designated area liaison cities with over 100 members each. #EquityWorks

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

†This director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union.

^This designer is represented by United Scenic Artists – Local USA 829 of the International Alliance of Theatrical Stage Employees.

Shakespeare & Company operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Shakespeare & Company is a constituent of Theatre Communications Group (TCG), the national organization for the American theater. Shakespeare & Company is a constituent of The Shakespeare Theatre Association, a forum for theatres involved in the production of works of William Shakespeare.

Cast of The Merry Wives of Windsor, 2019. Photo by Nile Scott Studios.

2022 CALENDAR

(P) 6:30 Much

2022 CALENDAR

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