Immortal Longings Program

Page 1

a NAKED SHAKES production


FREE ONLINE PERFORMANCES! SEP 2 & 8 / 6 PM - ACT I SEP 3 & 9 / 6 PM - ACT II SEP 4 / 12 PM - ACT I & II viewing link: more info:

art by Maryam Mughal

a NAKED SHAKES production

IMMORTAL LONGINGS a play in two acts adapted from William Shakespeare’s Julius Caesar and Antony and Cleopatra, and George Bernard Shaw’s Caesar and Cleopatra

Director & Adaptor / IRWIN APPEL Design Coordinator / VICKIE J. SCOTT Creative Consultant & Slideshows Creator / DANIEL ANDRES BLANCO Original Music: “River” / YUTING CHEN Original Music & Sound Design / IRWIN APPEL Assistant Director / JO PALAZUELOS-KRUKOWSKI Dramaturgs / JANINE LEANO & EUNWOO YOO Intimacy Director / HEATH PENNINGTON Education Director / MADELINE FANTON Stage Manager / MELISSA STEPANIAN Poster Artwork / MARYAM MUGHAL SUMMER PERFORMANCE DATES September 2, 6 pm - Act I September 3, 6 pm - Act II September 4, 12 pm - Acts I & II September 8, 6 pm - Act I September 9, 6 pm - Act II FALL PERFORMANCE DATES October 8, 7 pm - Act I October 9, 7 pm - Act II October 10, 1 pm - Acts I & II Immortal Longings is performed online in two acts. There will be ten minute intermissions in the middle of each act.

CAST OF CHARACTERS: in order of appearance

ENOBARBUS, narrator and lieutenant to Antony ALEXANDRA SINGLETON CLEOPATRA, Queen of Egypt SHEKINAH BRYANT MARK ANTONY HARRY DAVIS JULIUS CAESAR JARRED WEBB FLAVIUS, tribune of Rome and loyal to Pompey GRACE WILKEN MARULLUS, tribune of Rome and loyal to Pompey VIOLET JOY HANSEN COBBLER, a commoner MATTE KRANZ CASCA, tribune and conspirator to kill Caesar MEGAN BROWN CALPURNIA, wife to Caesar SARAH DAVILA SOOTHSAYER KHRYSTYNA ROSALYE CAIUS CASSIUS, senator of Rome SARA NEAL MARCUS BRUTUS, senator of Rome CYRUS ROBERTS CICERO, consul of Rome YUTING CHEN CINNA, consul and conspirator to kill Caesar VIOLET JOY HANSEN LUCIUS, servant to Brutus GRACE WILKEN DECIUS BRUTUS, politician and conspirator to kill Caesar FRANCES DOMINGOS METELLUS CIMBER, senator and conspirator to kill Caesar ARMANDO GARCIA TREBONIUS, politician and conspirator to kill Caesar STEVEN ZHANG PORTIA, wife to Brutus JORDAN FINLEY CINNA THE POET MEGAN BROWN OCTAVIUS CAESAR, Triumvir of Rome MATTE KRANZ LEPIDUS, Triumvir of Rome STEVEN ZHANG PINDARUS, servant to Cassius VIOLET JOY HANSEN CHARMIAN, servant to Cleopatra GRACE WILKEN IRAS, servant to Cleopatra SARAH DAVILA PHILO, soldier to Antony in Egypt MEGAN BROWN MECAENAS, lieutenant to Octavius Caesar YUTING CHEN POMPEY, son of Pompey the Great of Rome FRANCES DOMINGOS MENAS, a pirate, and lieutenant of Pompey CYRUS ROBERTS AGRIPPA, lieutenant of Octavius Caesar SARA NEAL MESSENGER TO CLEOPATRA MEGAN BROWN OCTAVIA, sister to Octavius and new wife to Antony VIOLET JOY HANSEN CANIDIUS, lieutenant to Antony ARMANDO GARCIA SCARUS, soldier to Antony FRANCES DOMINGOS EROS, soldier and aide to Antony JORDAN FINLEY THIDIAS, messenger from Octavius to Cleopatra FRANCES DOMINGOS A CLOWN, deliverer of the asp MEGAN BROWN CITIZENS, COMMONERS FRANCES DOMINGOS, VIOLET JOY HANSEN, GRACE WILKEN, JORDAN FINLEY, ARMANDO GARCIA, STEVEN ZHANG, YUTING CHEN, KHRYSTYNA ROSALYE, MEGAN BROWN

NAKED SHAKES. THE ACTOR AND THE WORD. Since 2006, the mission of NAKED SHAKES has been to present energetic, exciting, raw, vibrant Shakespeare using the power of the actors and the language. The critically acclaimed, awardwinning NAKED SHAKES has performed at UCSB and transported productions to Southwest Shakespeare Company at Taliesin West in Scottsdale, AZ, the Shakespeare Center of Los Angeles, Westmont College and Center Stage in downtown Santa Barbara. Past NAKED SHAKES productions include: the premiere of The Death of Kings, a two-part adaptation of Shakespeare’s history plays, Hamlet, King Lear, A Midsummer Night’s Dream, Macbeth, The Winter’s Tale, Twelfth Night, Romeo and Juliet, Measure for Measure, The Merchant of Venice, and The Tempest. NAKED SHAKES believes in the transformation of the actor and the space, along with the imaginative ability of the audience. Each play is presented clearly and directly so that the audience inhabits the imaginative world of the play through Shakespeare’s language. The barren physical theater space is very important to the NAKED SHAKES concept; it takes on the identity of whatever locale or particular piece of poetic language is described, and yet always reminds the audience they are in a theater. When Prospero in The Tempest describes “the great Globe itself,” he is not only referring to the entire Earth, but also the “Globe” Theater – Shakespeare’s theater. That duality is what NAKED SHAKES is all about. A note about casting: NAKED SHAKES believes strongly in giving young actors the opportunity to stretch themselves and play characters they might not normally get to play in the “real world.” Our NAKED SHAKES cast is comprised of students from two summer courses, THTR 144A and 144B, and has actors of all experience levels. All that is necessary is a desire to study a great play and have an adventurous, exciting theatrical experience. Some of our actors are non-majors, and some are members of our prestigious Bachelor of Fine Arts (BFA) Actor Training Program, the only three-year actor training program in the entire UC system. If you are interested in participating, or in learning more about NAKED SHAKES or the UCSB Department of Theater and Dance, please contact Irwin Appel at appel@theaterdance.ucsb. edu. - Irwin Appel, Professor and Chair, Department of Theater and Dance


The Winter’s Tale, UCSB Hatlen Theater The Death of Kings: Seize the Crown Southwest Shakespeare Company, Taliesin West, Scottsdale, AZ and Madison Performing Arts Center, Phoenix, AZ 2018 Hamlet, UCSB Studio Theater & Porter Theater, Westmont College • Santa Barbara Independent and BroadwayWorld Awards for Acting 2017 King Lear, UCSB Performing Arts Theater • Santa Barbara Independent Award for Acting 2016 Much Ado About Nothing, UCSB Studio Theater • Santa Barbara Independent Award for Acting 2015-17 The Death of Kings, UCSB Hatlen Theater • Adapted from Shakespeare’s history plays by Irwin Appel. Part One: I Come But For Mine Own, comprises Richard II, Henry IV, Parts 1 and 2, and Henry V. Part Two: The White Rose and the Red, consists of Henry VI, Parts 1, 2 and 3, and Richard III. Winner of seven Santa Barbara Independent awards and nine BroadwayWorld awards for outstanding achievement in Direction, Adaptation, Design, Original Music, and Performance. European premiere at Prague Shakespeare Festival in Czech Republic in summer 2017. 2014 A Midsummer Night’s Dream, UCSB Theater and Dance Movement Studio • Santa Barbara Independent Award for Direction 2013 Macbeth, UCSB Hatlen Theater 2012 The Merchant of Venice, UCSB Performing Arts Theater • also presented at Center Stage, Santa Barbara, Oct 2012 2011 Measure for Measure, UCSB Studio Theater • also presented at the Shakespeare Center of Los Angeles, Oct 2011 2010 Romeo and Juliet, UCSB Performing Arts Theater 2009 Twelfth Night, UCSB Studio Theater • also presented at Center Stage, Santa Barbara, Oct 2009 2008 The Winter’s Tale, UCSB Performing Arts Theater • also Presented at Center Stage, Santa Barbara by Lit Moon World Shakespeare Festival. Santa Barbara Independent Award winner and named Best Theater Production in Santa Barbara 2008 by SB Independent writer, Elizabeth Schwyzer 2007 The Tempest, UCSB Studio Theater 2006 A Midsummer Night’s Dream, UCSB Studio Theater

DIRECTOR’S NOTE Out of adversity, comes opportunity… We all know we are living in extremely challenging times. One story that I believe is underreported during this pandemic is the economic devastation to arts and educational institutions and to individual theater and dance artists/performers. There are so many brilliant performers, designers, directors, stage managers and technicians out of work with no prospects in sight. We feel it is essential to keep creating, keep connecting with our audiences and keep providing relevant and meaningful work for our students, alumni and faculty. NAKED SHAKES is especially thrilled to be able to give employment to two of our wonderful alumni, Jarred Webb, as Julius Caesar, and Danny Blanco as creative consultant and creator of our audio/visual slideshow collages between parts during the show. UCSB has been blessed to encounter so many remarkable young, talented human beings, and we want nothing more than for them to live creative lives and hopefully earn a living doing what they love. Our own Department of Theater and Dance and notably our new play development program LAUNCH PAD, has created groundbreaking work on the Zoom platform, and NAKED SHAKES is continuing our department’s mission to bring exciting theater to our community. But wait, is what we are doing actually theater? Film? Social media? Something else? Or a new hybrid form of all of the above and more? As we have rehearsed Immortal Longings, each one of us is isolated in our own environments, many of us challenged by constraining living spaces, distractions from family members or roommates, frustratingly intermittent internet, lack of resources, etc. But we are still doing what we always do: trying to make a play come to life. Trying to flesh out characters, moments and relationships. Trying to create an absorbing and entertaining production for our audiences. Trying to connect with one another through great works of art and the exploration of heightened language and imagery. And as we always feel doing theater, we cannot do it without you. Oh… and the show must go on. We are also in the middle of the most important election season in our lifetimes. Before the pandemic, I had already decided that Julius Caesar would be the next NAKED SHAKES production. I felt it was an important play for our current election year, and it poses many questions about power, tyranny, empire, monarchy

and what it means to live in a republic. Once the pandemic hit, and then with the deaths of George Floyd, Breona Taylor, Ahmaud Arbery and many others, including most recently Jacob Blake, Julius Caesar seemed even more relevant and necessary. At the same time, as with my adaptation of Shakespeare’s history plays, The Death of Kings, I have had an idea over the past few years to combine Shakespeare’s Julius Caesar and Antony and Cleopatra into one play, and thus, Immortal Longings was born. I also was intrigued by the story of Cleopatra’s relationship with Julius Caesar that predated but is alluded to in both Shakespeare plays, and decided to explore parts of George Bernard Shaw’s Caesar and Cleopatra to fill out the story. I knew I wanted to tie the plays together with narration, a device I used in The Death of Kings: Seize the Crown, and my brilliant mother, Libby Appel, Artistic Director Emerita of the Oregon Shakespeare Festival, gave me the idea to use the character of Enobarbus, Mark Antony’s right hand man in Antony and Cleopatra, as our narrator. I have always felt that Enobarbus is one of the great Shakespearean characters that no one has heard of. Maybe I’m biased because I played Enobarbus at the Colorado Shakespeare Festival in 1985 and loved playing him so much. And that great production happened to be directed by… well… my mother. Another reason for combining the plays is at the very core of NAKED SHAKES’ mission: to provide more opportunities for actors. Julius Caesar has many great roles, but adding Antony and Cleopatra allows us to bring in Cleopatra, Enobarbus, and many others. Also, just as The Death of Kings allows us to explore the full character arcs of Prince Hal, Falstaff, Queen Margaret and Richard III, Immortal Longings reveals the full stories of Mark Antony, Octavius Caesar and the dawn of the Roman Empire. I look forward to hearing your comments. Black Lives Matter.

DRAMATURGS’ NOTE The question at the center of every play’s production is: “Why this play and why now?” No matter your party ties, we can at least agree that we are living history as we make it in one of the most politically and socially divisive and fraught moments in America. In a time when global information is at our fingertips, it seems as if something is always happening every time we refresh our social media feeds. The pandemic has magnified the cracks of our systems and put the

already marginalized at even more risk. It would be presentist to make clean parallels between Ancient Rome/Egypt and the US today, but the problems at the forefront of the play, and no doubt in Shakespeare’s own time, have followed us through a lineage of their own. No wonder we keep doing these plays. If one was being facetious, Julius Caesar and Antony and Cleopatra could be construed as a continuous story about a civilization’s struggles encapsulated in the domestic foibles of these near-mythic figures who are, in truth, fallible and painfully human as the rest of us. The realization of that is central to something that still happens today: the power of socio-political unrest and the human-made systems that can enable someone to rise high enough and accrue so much influence as to dictate the fate of the majority with a word or a lift of their hand. If you had that power, what would you do to keep it? What would you do to defeat it? Immortal Longings is all about power, honor, ideals, trust, and love. Although written originally in Renaissance England and set in Ancient Rome/Egypt, the characters’ struggle for dominance and the values they uphold are no different from the struggles we see today. Through a series of conspiracies and betrayals, we also reaffirm how difficult it is to trust and love another under such turmoils. By combining Julius Caesar and Antony and Cleopatra, with interstitial moments from George Bernard Shaw’s Caesar and Cleopatra, we gain a deeper understanding of the legacy one action can cause in the proverbial chess game of history played and in the players who make it. Caesar’s assassination might have lasted several minutes but his death would reverberate in the characters’ individual journeys, their subsequent betrayals, wars and power upheavals that would inevitably cause the fall of the Republic and the rise of an autocratic Empire as ruled by one man – for better or worse. A necessary note on language regarding women and Cleopatra & the dynamics of gender with regards to the casting and the characters: Cleopatra is both an interesting historical and cultural figure, whose portrayal often aligns with how the depictor and their respective society views femininity and women. Narratives

that paint her as a sexually lecherous and exocitized Other were inherited from the views of her Roman contemporaries. Her ambition, charm, savvy, and influence were considered excessive, the antithesis of Roman virtue. The added fact that she was an Egyptian woman who claimed equal (if not more) power exacerbated her status not just as a threat to Rome as a nation state but to Roman masculinity and “proper” femininity as an identity. As such, the gendered and shaming language of promiscuity are reflective of this fear and derision, and it is important to highlight this in context of the characters’ understanding, historical understanding, and our own understanding of women today. Logistically, casting is narrowed to whoever is in the Naked Shakes class. While gender can be a determinant, the production approached casting with the mindset of which person in the class was best suited for each role. As such, students of all genders had the opportunity to be cast in roles that were normatively assigned as being men. While gender-blind casting can introduce new nuances and wrinkles as to how we view these characters and how they’re played, it is important to note our intentions here as artists when we decided which person was going to play what character so we can approach our future discussions regarding gender and this production with clarity and frankness.

SYNOPSIS Two lovers embrace and cry as one is about to die; it is Antony in Cleopatra’s arms. Cleopatra, once Julius Caesar’s lover, is now in love with his ardent follower Antony. How come? Caesar has promised her that he will get her a beautiful present from Rome, her son Antony. Then where did Caesar go? We must go back in time. As triumphant Julius Caesar returns to Rome after his battles with Pompey, he is celebrated and venerated by the citizens. Anxious that he will become a tyrant, Brutus is lured into Cassius and the other senators’ conspiracy to eliminate Caesar. Dismissing all the warnings, Caesar heads to the senate-house and is assassinated. “Liberty! Freedom! Tyranny is dead!” But is it? Brutus gives a public speech to justify the conspirators’ deed of killing Caesar, which the citizens respond with affirmation. Then, when Antony speaks to these Romans, they are driven into a frenzy…… Fourteen years later: once young, valiant and reasonable Antony

is now turned into a libertine, indulging himself in Egypt with Cleopatra and neglecting his duties. News comes from Rome that Antony’s wife Fulvia, who was rebelling against Octavius Caesar, has died. Antony returns to Rome to make amends with Octavius – which he does by marrying Octavius’s sister Octavia. Antony, Octavius, and Lepidus again stand hand in hand as the triumvirs, and together they agree to a peace with Pompey’s son Sextus Pompeius. However, the peace does not last long. Antony’s return to Cleopatra and his mistreatment of Octavia incenses Octavius and war is declared. How will the battle go? What will happen to Antony and Cleopatra? And to the Roman Republic?


Why a Roman Play in Renaissance England? Ancient Roman Republic was an important precedent in politics and history that had bearing on events and people in Renaissance England. England was a ‘mixed-estate’ rather than absolute monarchy. The monarch had to obtain the consent of Parliament in order to levy certain kinds of taxes and enact certain kinds of law. The English Parliament included the house of lords and the house of commons, similar to how the Roman Republic had the senate, consisting of aristocratic patricians, and the popular tribunate elected from common plebeians. Although the people of England accepted that they were subject to a monarch, they distinguished between a just ruler and a tyrant. They identified themselves as “free” in ways that they believed citizens of the Roman Republic had been, and others in Europe were not. Shakespeare’s Roman plays Julius Caesar and Antony and

Cleopatra explores the motives and consequences of political overthrow, the effects of charismatic individual leadership, and the obligations of virtuous citizenship which would have raised questions that his contemporaries were compelled to ask. To the people of Renaissance England, Rome was not some distant past that had no relation and resonances to them. Through what they perceived to be the history, political structure, social system, and values of “Rome,” they engaged in building a sense of their own nation’s history and identity. Resonances to the Present Day Knowing how much it mattered to Shakespare, what does this matter to us today? The productions of Julius Caesar in particular are often put up on the curb of social unrest. It was produced in 1770 at a theater in Philadelphia, PA as a way to criticize King George III. John Wilkes Booth played Mark Antony in a production of Caesar just months before assassinating Lincoln. In July 2017, a production of Caesar by The Public Theatre’s “Shakespeare in the Park” series incited controversy from their portrayal of the character of Caesar as President Trump. Looking into these productions we learn that it’s not really about the rising figures—whether they be populares or demagogues— but rather the socio-political unrest in the background that supports a figure to rise that high. We can’t really know what it means to be a Roman thousands of years ago, but we do know what it is like to live in an unstable period where we seem to be ruled by injustice and by people who are interested in their personal gain more than the rights and good of all. In that, we have a lot in common with the Romans.

CULTURAL CONTEXT “One Hand Washes the Other” Equal friendship, or amicus, in a highly stratified society was hard to encounter. The principle of patronage/clientelism, or manus manum lavat (translated to “one hand washes the other”) formed the core of Roman socio-politics. The clients conferred prestige and votes while the patron offered protection and financial support. More interestingly, a patron could take his own patron, forming entrenched social units that encompassed all levels of Roman society. Gratitude and debt are not taken for granted or resented; they are just simply expected. In many of

the relationships featured in this play, an undercurrent of such expectation, separate from the characters’ own personal feelings and loyalties, drove their dynamics with each other. Virtus, Dignitas, and Pietas A Roman citizen couldn’t hold office unless he served in the military. If responsibility to the state was tied with masculinity, then the ultimate value of a Roman as a man was in military prowess, or virtus. Glory in battle was a way to gain status, wealth, fame and political power (specifically consulship). With virtus comes dignitas. Loosely translated, it means dignity or honor. But it acted more as social currency, a public manifestation of internal and external worth. Great men weren’t hidden; they had a duty to be public and be great for the public. To our ambitious upper class characters such as Brutus and Cassius, how people saw and regarded them are codependent with their inner sense of worth and morality. Pietas, or piety meant respect conferred to one’s family and ancestors, the gods, and the law of the state. Showing auctoritas maiorum, “respect of the ancestors”, tied dignitas with the family line. Brutus, for example, justifies his part in the conspiracy because that is what his king-killing ancestor would have done. This concept also adds significance in Caesar’s choice of an heir. That he considered Brutus and Decius Brutus at all in his line of succession with Octavius was not a choice made lightheartedly. It showed his loyalty, trust, and even affection for these men he considered sons and worthy to uphold his dynasty. Gods and Death Rome had a healthy respect and fear for the gods, most of which they adopted from the Greek pantheon. Political activity could even be delayed until the people were assured of the gods’ will by employing augurers who interpreted the movements of birds as omens. Caesar thought that relying on auspices was unproductive. Nevertheless, his ordeal with falling sickness, what we consider epilepsy today, might have promoted his superstition in the play because seizures were seen as a “sickness from the gods”. Death was almost quotidian. Burials however were a religious

duty not to be taken lightly. From the rich senator to the lowly slave, everyone had to be buried or cremated. Failure to complete these rites needed atonement. Otherwise, the deceased’s family was funesta, “tainted with death”, and was subject to the vengeance of the Dirae, the Furies. Romans prioritized their earthly concerns rather than any concept of the afterlife in their prayers. Caesar said it best: “Death is not a torment but a relief from suffering; it is the end of all human misfortune, beyond which there is no place for grief, or joy.” To our characters, the only time they have is the time they have, and it was their duty to the state to make their death count.


in Stratford-upon-Avon, England, and died April 23, 1616 in Stratford-upon-Avon) was an English poet, dramatist and actor. He was a prolific writer, composing 38 plays, 2 narrative poems, 154 sonnets, and a variety of other poems throughout his life. With great intellectual agility, perceptiveness, and poetic power, he devoted his talents in portraying human beings and their complete range of emotions and conflicts. His language and expressions are convincing and imaginatively stimulating, and lives on till today, surviving even in times and places remote from his own.

GEORGE BERNARD SHAW (PLAYWRIGHT) (born July 26, 1856 in Dublin, Ireland, and died November 2, 1950 in Hertfordshire, England) was an Irish critic, playwright, and dramatist. A known socialist, his works highlighted social ills through high comedy. Shaw first broke ground with Caesar and Cleopatra (1898) and further plays, including Pygmalion (1912), which propelled Shaw into acclaim and renown. He won the Nobel Prize for Literature in 1925 and an Academy Award for Best Screenplay in 1938 for a movie adaptation of Pygmalion.

IRWIN APPEL (DIRECTOR & ADAPTOR) is Professor of Theater and

Chair of the Department of Theater and Dance at UCSB. He is also a professional director, Equity actor and composer/sound designer, and has worked with Prague Shakespeare Company, Shakespeare Santa Cruz, the Shakespeare Center of Los Angeles (formerly Shakespeare Festival/LA), the New York, Oregon, Utah, New Jersey and Colorado Shakespeare Festivals, The Acting Company, Theatre For a New Audience, Hartford Stage, Indiana Repertory Theatre, Arizona Theatre Company, PCPA, both the

National Theatre Conservatory and Colorado New Play Summit at the Denver Center of the Performing Arts, the Bread Load Acting Ensemble, and other prominent regional theaters. From 20052018 until becoming department chair, he was director of the Bachelor of Fine Arts (BFA) Actor Training Program at UCSB. He is also founding artistic director of NAKED SHAKES, producing award-winning Shakespearean productions at UCSB, traveling to downtown Santa Barbara and Los Angeles since 2006, and becoming a member of the Shakespeare Theatre Association in 2018. He also has led workshops and lectured about NAKED SHAKES at the International Festival of Making Theater (InFoMaT) in Athens, Greece, the International Platform for Performer Training (IPPT) in Zürich, Switzerland, and the Institutes of English and American Studies at the Universities of Gdansk and Warsaw in Poland, as well as the Shakespeare Theatre of Gdansk. In 2018, he lectured and led workshops on Shakespeare and NAKED SHAKES in China at the Institute of Foreign Studies at China Agricultural University in Beijing, and the College of Foreign Studies at Nanjing Agricultural University in Nanjing. He has consulted for the Department of Foreign Languages and Cultures of the University of Genoa in Italy, and also served on Canadian Association for Theatre Research (CATR) panels focusing on university theater productions as research at three different meetings of the Congress of the Humanities and Social Sciences at Victoria, Ottawa and Calgary, Canada. Directing credits at UCSB and other theaters include: A View from the Bridge (SB Independent Award), King Lear, Lydia, Much Ado About Nothing, Equivocation, Macbeth, A Streetcar Named Desire, The Merchant of Venice, Anowa, Hamlet (SB Independent Award), Measure for Measure, Romeo and Juliet, Rabbit Hole, Twelfth Night, The Winter’s Tale (SB Independent Award), Seagull, The Tempest, Angels in America, Three Sisters, Comedy of Errors, Pentecost, The Cherry Orchard, Speed-the-Plow, A Midsummer Night’s Dream, The Crucible, The Countess, Madwoman of Chaillot, Sylvia, and the world premiere of Brown Baby (SB Independent Award for his sound design). He also directed Man and Superman and Uncle Vanya for the National Theatre Conservatory at the Denver Center for the Performing Arts. He is a graduate of Princeton University and the Juilliard School. WWW.DEATHOFKINGS.COM


Designer for Dance, Theatre, and Themed Entertainment, and is the Executive Producer for Dramatic Women, founded in 1993 to explore and promote the participation of women in all areas of theatre and to produce original scripts for the theater by Santa Barbara, California based writers. She is also the Director of the Design in the Department of Theater and Dance, where she teaches lighting design for theater and dance, designs lights and mentors students. Professionally, Vickie is the Chairperson of the Advisory Board for The California Arts Project (TCAP), is the VicePresident for Exhibitions for the United States Institute for Theater Technology (USITT), is a member of the Illuminating Engineering Society of North America (IES), the International Organization of Scenographers, Theatre Architects and Technicians (OISTAT), and United scenic Artists local 829 (USA). Pronouns: she/her/hers

DANIEL ANDRES BLANCO (CREATIVE CONSULTANT & SLIDESHOWS CREATOR) is a recent graduate of the BFA acting program, working now as an actor, writer, and director for film and theater. Daniel is thrilled to join his old colleagues at UCSB once again, this time working behind-the-scenes to bring Immortal Longings to life on the Zoom Screen!


doctorate in theater at UC-Santa Barbara. She has loved working with the dedicated Immortal Longings cast and crew to bring Shakespeare to life over Zoom. If audiences can’t come to the theater, we’ll bring the theater to you. Now, more than ever, she believes in the power of performance to bring us together.

JANINE LEANO (DRAMATURG) is a second year MA graduate student in the Department of Theater and Dance. She currently works as LAUNCH PAD’s literary associate and co-dramaturg for Immortal Longings.

EUNWOO YOO (DRAMATURG) is an incoming second year PhD

student in Theater Studies in the Department of Theater and Dance. She is a Shakespeare scholar, and after studying his works as literature has enjoyed jumping into her first experience with Shakespeare on stage as a dramaturg. Pronouns: she/her/hers


Chancellor’s Fellow in the UCSB Department of Theater and Dance. Heath has worked as an actor for stage, film, and television; a script supervisor on feature films; in casting; in sound post-production; and as an English and Theatre teacher in Hong

Kong. Heath is honored to be NAKED SHAKES’ first Intimacy Director. Pronouns: they/them/their


Department of Theater and Dance. She is thrilled to be working as NAKED SHAKES’ Education Director, connecting local high schools with Immortal Longings.

MELISSA STEPANIAN (STAGE MANAGER) is a fourth year Philosophy major and Applied Psychology minor. She is new to NAKED SHAKES as the Stage Manager for this production. She enjoys the wonderful world of acting as it is the best escape from the physical world of chaos.


Theater major in the BFA Acting program at UCSB. Some of her past credits include What Martha Did (Martha, Young Woman) and Winter’s Tale (Clown). She has also performed in the Prague Shakespeare Company’s Macbeth (Witch) and Midsummer Night’s Dream (Hermia). Pronouns: she/her/hers

SHEKINAH BRYANT (CLEOPATRA) is a fourth year double major in

the BFA Acting program and Black Studies. Some of her previous credits include Zubaida Ula in The Laramie Project, Emilia in The Winter’s Tale, and Kayleigh in Hookman. She would like to remind you that Black Lives Matter always. Pronouns: she/her/hers

HARRY DAVIS (MARK ANTONY) is a fourth year BFA Acting major in

the Department of Theater and Dance. His previous acting credits include What Martha Did, Tartuffe, Hamlet, and The Winter’s Tale. He would like to thank his parents.

JARRED WEBB (JULIUS CAESAR) is a Chicago-based actor who

graduated from UCSB’s BFA in 2019. Regional credits include The Brothers Size (Steppenwolf); The Death of Kings (Southwest Shakespeare Co.); Moon Shot (Theatre Unspeakable; also an ensemble member); First Called (Valiant Theatre) and upcoming credits include Faust (Prop Thtr). He is represented by DDO Artist Agency. Pronouns: he/him/his


is a third year Theater and English double major. Some of their previous acting credits include Spring Awakening (Thea), Hair (Dance Ensemble), and The Drowsy Chaperone (The Drowsy Chaperone).


BFA program for Acting, and the BM program for Voice. She is excited to work with this inspiring new production, amazing actors and director. Tackling two Shakespearean shows at once is an opportunity for growth unlike any other, and Violet is honored to be a part of the experience.

MATTE KRANZ (COBBLER & OCTAVIUS CAESAR) is a third year in the

BFA Acting major in the Department of Theater and Dance. Some of his previous acting credits include Laurent/Officer in Tartuffe and Truffaldino in A Servant of Two Masters. You may have also seen him in Alone Together, as well as the LAUNCH PAD Summer Series in a variety of roles! His faviorite fish is salmon and he also never learned how to spell favoirite. Pronouns: he/him/his


Acting major in the Department of Theater and Dance. This is her first season with NAKED SHAKES and she is very excited for the work at hand! Pronouns: she/her/hers

SARAH LOUISE DAVILA (CALPURNIA & IRAS) is a third year English

and Theater double major at UCSB. Her previous acting credits include Hair, Spring Awakening (Anna), Mamma Mia (Lisa), and A Midsummer Night’s Dream. She has also performed for two years with UCSB’s Women’s Ensemble Theatre Troupe. She loves to sing and dance or anything Broadway related, so she is honored to be a part of a play in which she gets to explore a new side of acting! Pronouns: she/her/hers

KHRYSTYNA ROSALYE (SOOTHSAYER & CITIZENS, COMMONERS) is a fifth year Theater—with a concentration in Theater & Community— Major at UCSB. This production will be a jump back into acting after focusing on directing for a year and playwriting for another year. Her previous acting credits include Capulet in Romeo and Juliet. Pronouns: she/her/hers

SARA NEAL (CAIUS CASSIUS & AGRIPPA) is a fourth year BFA Acting

major in the Department of Theater and Dance. Her most recent acting credits include Rose in Ghost Quartet, Sue in Do Not Go, My Love, and Sydney in Black Flag. She is thankful and overjoyed to be participating in her first NAKED SHAKES production. Pronouns: she/her/hers

CYRUS ROBERTS (MARCUS BRUTUS & MENAS) is a third year in the

BFA Acting major in the Department of Theatre and Dance. Their previous acting credits include Hookman/Sean/Adam in Hookman, Ambimbola in Electric Baby, Cyrus in the 2020 Sundance film ‘Summertime’ and Antigonus in The Winter’s Tale. He prefers waffles over pancakes and shares the same Myers-Briggs personality as Shakespeare and Alicia Keys (INFP). Pronouns: he/him/his

YUTING CHEN (CICERO, MECAENAS & CITIZENS, COMMONERS / ORIGINAL MUSIC: “RIVER”) is a second to third year Financial Mathematics and Statistics BS and Music Studies BA double major in Math and Music department. Chen doesn’t have any previous professional acting experience, but is working on it. Pronouns: she/her/hers


Department of Theater and Dance. They previously performed in Alone, Together at UCSB. They have also worked on What Martha Did and Hookman as costuming assistance and head of wardrobe run crew. Frances is excited to return to Shakspeare’s canon with this production. In their off time, Frances can be found longboarding through Santa Barbara. Pronouns: they/them/theirs

ARMANDO GARCIA (METELLUS CIMBER, CANIDIUS & CITIZENS, COMMONERS) is an incoming fourth year Theater major in the BA

Theater program at UCSB. This is his first experience acting but he has hopes of performing in many more plays. Pronouns: he/him/ his


second year Political Science major in the Department of Political Science. Immortal Longings is Zhang’s debut to theatrical production and the wonderful world of NAKED SHAKES. Pronouns: he/him/his


is a second year Writing and Literature major in the College of Creative Studies, and a first year BFA Acting major in the Department of Theater and Dance. Her previous acting credits include Camillo/Mariner/Lord in The Winter’s Tale (The Old Globe Theatre,) Charlotte in The White Card (UCSB,) Mrs. Tendesco in Vivien (UCSB,) and Beatrice in Much Ado About Nothing (UCSB.)

SPECIAL THANKS Ralph Gallucci and the UCSB Freshman Summer Start Program, James Kearney, Denise Umland, Mark Williams, Daniel Herrera, Devin Gee, Eric Mills, Una Mladenović, Libby Appel, Julie Fishell, Jan Ruskin, Liya Zhiu, and all of you amazing parents, siblings and roommates that have supported each one of us to create Immortal Longings in our living rooms, bedrooms, backyards and hallways. NAKED SHAKES would also like to especially thank John and Jody Arnhold for their support of NAKED SHAKES and production at UCSB. We also especially thank UCSB Summer Sessions for awarding Immortal Longings and NAKED SHAKES with a 2020 Summer Cultural and Community Program grant.

Department of Theater and Dance Donors The Department of Theater and Dance at UC Santa Barbara is honored to recognize Jody and John Arnhold ‘75 whose lifetime giving makes a profound impact on our students, faculty, and community. We also recognize donors whose lifetime giving to the Department of Theater and Dance is $100,000 and above. We are deeply grateful for their longtime visionary support and for believing that theater, dance, and the arts are vital to our lives. Thank you for making an extraordinary difference in our program. Recognition is based on cumulative, lifetime giving to the department. Anonymous Jody and John Arnhold ‘75 Richard A. Auhll Jill and John C. Bishop, Jr. Michael K. Douglas ’68 Dorcas* and Dr. Theodore W.* Hatlen H’93 Lillian and Jon* Lovelace Jan and Don O’Dowd Dianne and Dr. Daniel Vapnek

Donors Anonymous Bari and Marc Adelman Barbara and Lane Albanese Susan Alexander Christine Anderson David Anderson Jody and John Arnhold ‘75 Dinah and Jerome Baumgartner ‘69 Jill and Arnold Bellowe Jill and John C. Bishop Laurel Blair Diane Boss Constance Brainin Risa Brainin and Michael Klaers Eric Bushard

Kristina and Adam Cipriano Marcia and John Mike Cohen Alicia Corella Marianne Corgorno Toni And Bruce Corwin H’97 Paige Dunbar Yussef El Guindi Lorrie and Michael Epling Carolyn and James Flanigan Allyn Fleming Mark Flick Dennis Freedman Cecily Freedson Susan And Mark Frink Jill and Leonard Fromer

Allan Ghitterman* and Susan Rose Nelson Gibbs Ashley and Jeffrey Gish Lisa Harris Juliane Heyman Melinda and Alexander Horwitz Laura Isham Gib Johnson and Zoe Iverson Bob Johnson and Lisa Reich Laura and Benjamin King ‘94 Bill and Linda Kitchen Ada Ko Beverlie and Ronald Latimer Barbara Lebow Margaret Leonard and Clare Sheils Fima and Jere Lifshitz Jason Loewith Myles Mattenson David Marshall and Candace Waid Lucinda and Thurman Newsome, Jr. Jan and Don O’Dowd Vicki and Gary Olson Alissa and Doug Parrish Pauline Paulin Joanna and Mark Penner Philip Pierce Dean Pitchford Tyler Pon and Alice Youmans Albert Reid, Jr. Joanna and Charles Reisner Tanya Rice Cheryl Riggins Lisa Rock Gayle and Charles Rosenberg Rona J. Sande Santa Barbara Foundation Towbes Fund For The Performing Arts Arlene Satterlee Nancy Schlosser Bernard Seder and Lilyan Cuttler Anne Shanto Jeffry Sherbakoff and Amelia Gomez Manuel Sherbakoff Jessie Sherman

Diana and Stan Sherrill Tonia Shimin John and Suzanne Steed Fran and Thomas Stein Kat Sullivan Kay And Ashok Talwar Nicholas Tingle and Carol Press ‘80/’77 David A. Tufts, Jr. Katherine and John Ugoretz Dana Wayne Thomas Whitaker Dana White Laura Wilson Andre Yew Joan and Steven Young

If you are interested in making a gift to the Department of Theater and Dance please contact Leslie Gray Senior Director of Development LESLIE.GRAY@UCSB.EDU or visit us on the web at Your support makes a difference!

This list notes gifts made between July 1, 2018 and June 30, 2019. We apologize for any errors or omissions. Please contact Leslie Gray, Senior Director of Development.

*In Memoriam

PRODUCTION Chair / Director of Perfomance / IRWIN APPEL Vice Chair / Director of Dance / CHRISTINA MCCARTHY Director, BFA Actor Training Program / ANNIE TORSIGLIERI Production Manager / DANIEL J HERRERA Community Relations Specialist / UNA MLADENOVIĆ Theater Production Supervisor, Scenery+ Props / DEVIN GEE Theater Production Supervisor, Lighting + Audio / MARK WILLIAMS Costume Shop Manager / DENISE UMLAND Cutter/Draper / LILLIAN HANNAHS Senior Scene Technician / SANDARBH TRIPATHI Marketing Interns / ISABELLE GUILLORY House Managers / KAYLY HOWELL

ADMINISTRATION Chief Administrative Officer / ERIC MILLS Financial Assistant / LAUREN MARQUEZ Undergraduate Advisor / SEAN O’SHEA Graduate Program Coordinator / MARY TENCH Academic Personnel Chair’s Assistant / DEBRA VANCE Principal Musician / PATRICK WELLS LINDLEY