Issue 52014|2015 SEASON

Title page

Musical Numbers

Cast

About the Author

Director’s Words

The Impossible Musical by Drew Lichtenberg

Cast of Characters

Men of La Mancha by Edward Friedman

Cast Biographies

Play in Process

Direction + Design Biographies

Mapping the Play: The True Adventures of Miguel de Cervantes by Laura Henry Buda

For STC

Faces and Voices: To Dream and Keep Dreaming by Hannah Hessel Ratner

Support

Preview: Tartuffe

About STC

About ACA

STC Staff

Audience Services

Dear Friend,

Welcome to Sidney Harman Hall and to this evening’s production of Man of La Mancha. I have a personally warm and complicated spot in my heart for this show, since I was a

witness to its birth. It was in 1965, at the Goodspeed Opera House in East Haddam, CT. They were mounting the world premiere, directed by Albert Marre. Now, Albert was supposed to direct another world premiere for them, which was going to run in repertory with La Mancha, but he got a big job in Hollywood, and he recommended another director. That was me.

So I went up to Goodspeed and directed the other show. All the stars in La Mancha took the small parts in my show and the people who played the small parts in La Mancha got to be the stars in my show. I remember watching the first month and a half of La Mancha rehearsals. Little did anyone know at the time that it would transfer to Broadway and run for the next seven years! It is a wonderful show, a truly classic (and classically inspired) musical. It feels fitting for us to honor the memory of Cervantes and the power of his work as we approach the fourth centennial of his (and Shakespeare’s) death.

Last season it gave me huge pleasure to ask Alan Paul, STC’s Associate Artistic Director, to direct A Funny Thing Happened on the Way to the Forum. It was as good a production of Forum as you could see—inventive, smart, with great performances. Alan won the Helen Hayes Award for it, and there was no question that he would direct another musical for us. This is a show that Alan has directed previously, and one that he loves. We are all excited to see what he has in store for us.

Speaking of Helen Hayes Award winners, don’t miss Steven Epp, who concludes our 2014-2015 Season this spring by starring as the title character in Molière’s Tartuffe. As always, we look forward to sharing these stories with you.

Warm Regards,

Michael KahnArtistic DirectorShakespeare Theatre Company

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TABLE OF CONTENTS

The opening line of Don Quixote is as resonant in Latino cultures as Dickens, Twain, or Austen might be in English literature.

In recognition of Cervantes’ legacy, we at STC want to extend our content to the Spanish speaking community. Look for more article translations and special contributions from Jessica Peña Torres, STC Sales Associate and ASIDES Editorial Intern, online at asides.shakespearetheatre.org.

Queridos amigos:

Bienvenidos al Sidney Harman Hall y a la producción de esta noche de El hombre de La Mancha. Personalmente, esta obra ocupa un espacio cálido pero enreversado en mi corazón al haber sido testigo de su nacimiento. Era el año 1965 en la Casa de Opera Goodspeed en East Haddam, Connecticut. Estaban montando la premier mundial, dirigida por Albert Marre. Se suponía que Albert iba a dirigir otra premier para ellos, la cual iba a presentarse en repertorio con La Mancha, pero Albert consiguió un trabajo importante en Hollywood y les recomendó a otro director: a mí.

Así que fui a Goodspeed y dirigí la otra obra. Todas las estrellas en La Mancha tomaron los papeles pequeños en mi obra y la gente que tenía aquellos papeles fueron las estrellas en mi producción. Recuerdo haber visto el primer mes y medio de ensayos de La Mancha. ¡Nunca se imaginaron en aquel entonces que la obra se presentaría en Broadway y duraría siete años en el escenario! Es una obra maravillosa, un musical verdaderamente clásico (y clásicamente inspirado). Es apropiado para nosotros honrar la memoria de Cervantes y el poder de sus obras al acercarnos al cuarto centenario de su muerte (y la de Shakespeare).

En nuestra temporada pasada, me dio un gran gusto pedirle a Alan Paul, Director Asociado de STC, que dirigiera Algo gracioso ocurrió camino al Foro. Fue una de las mejores producciones de Foro que se haya producido; fue innovadora, astuta y con excepcionales actuaciones. Alan ganó el premio Helen Hayes por su dirección y fué entonces que no hubo duda de que iba a dirigir otro musical para nosotros. Ésta es una obra que Alan dirigió en otra ocasión, y una que él realmente ama. Estamos todos muy emocionados por ver lo que Alan tiene preparado para nosotros.

Y hablando de ganadores de los premios Helen Hayes, no se pierdan a Steven Epp, que concluye nuestra temporada 2014-2015 esta primavera al estelarizar el personaje principal en Tartufo de Molière. Como siempre, esperamos compartir estas historias con ustedes.

Con un saludo cordial,

Michael Kahn Director Artístico Shakespeare Theatre Company

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Director Alan Paul

Choreographer Marcos Santana

Music Director George Fulginiti-Shakar

Scenic Designer Allen Moyer

Costume Designer Ann Hould-Ward

Lighting Designer Robert Wierzel

Sound Designer Ken Travis

Fight Choreographer David Leong

Casting Director Laura Stanczyk, CSA

Resident Casting Director Carter C. Wooddell

Head of Voice and Text Ellen O’Brien

Literary Manager/Dramaturg Drew Lichtenberg

Assistant Director Katherine Burris

Production Stage Manager Joseph Smelser*

Assistant Stage Manager Robyn M. Zalewski*

*Members of Actors’ Equity Association, the Union

of Professional Actors and Stage Managers.

Man of La Mancha (I, Don Quixote) ........................................... Don Quixote, SanchoIt’s All the Same ........................................................................................Aldonza, MuleteersDulcinea ..............................................................................................Don Quixote, MuleteersI’m Only Thinking of Him ................................................. Antonia, Housekeeper, PadreWe’re Only Thinking of Him .......................Carrasco, Antonia, Padre, HousekeeperThe Missive ..........................................................................................................................SanchoI Really Like Him ...............................................................................................................SanchoWhat Does He Want of Me? ......................................................................................AldonzaLittle Bird, Little Bird ..............................................................Anselmo, Pedro, MuleteersBarber’s Song ......................................................................................................................BarberGolden Helmet of Mambrino........Don Quixote, Sancho, Barber, Padre, MuleteersTo Each His Dulcinea (To Every Man His Dream) .................................................PadreThe Impossible Dream (The Quest) ..............................................................Don QuixoteThe Combat ...................................................Don Quixote, Aldonza, Sancho, MuleteersThe Dubbing/Knight of the Woeful Countenance ..........Innkeeper, Don Quixote,

Aldonza, SanchoThe Abduction ....................................................................... Aldonza, Muleteers, FerminaThe Impossible Dream (The Quest) Reprise ............................................Don QuixoteMan of La Mancha (I, Don Quixote) Reprise .............................................Don QuixoteAldonza ...............................................................................................................................AldonzaA Little Gossip ...................................................................................................................SanchoDulcinea Reprise .............................................................................................................AldonzaThe Impossible Dream (The Quest) Reprise .........................Aldonza, Don QuixoteMan of La Mancha (I, Don Quixote) Reprise ........... Don Quixote, Aldonza, SanchoThe Psalm ................................................................................................................................PadreFinale .................................................................................................................................Company

Place: A prison in Seville, Spain, and in the imagination of Don Miguel de CervantesTime: 1594

MAN OF LA MANCHA WILL RUN 1 HOUR AND 45 MINUTES WITH NO INTERMISSION

ORCHESTRA/MUSICIANSConductor .............................................................................................................. George Fulginiti-ShakarFlute/Piccolo ...........................................................................................................................Nicolette OpeltOboe/Clarinet .............................................................................................................................Lee LachmanClarinet/Bassoon ....................................................................................................................Keith DaudelinTrumpet 1 ..........................................................................................................................................Chris RoyalTrumpet 2 ...................................................................................................................................... Kieron IrvineTrombone .......................................................................................................................................Paul SchultzFrench Horn ....................................................................................................................................Michael HallPercussion ..................................................................................................................................... Mark CarsonKeyboard.................................................................................................................................... Jose SimbulanGuitar ...............................................................................................................................................Gerry KunkelBass ...................................................................................................................................................... Daniel HallContractor ......................................................................................................................................Bruno Nasta

MAN OF LA MANCHA

Written by Dale WassermanMusic by Mitch Leigh Lyrics by Joe DarionOriginal Production Staged by Albert Marre

Originally Produced by Albert W. Selden and Hal James

Performances begin March 17, 2015Opening Night March 23, 2015

Sidney Harman Hall

Man of La Mancha is sponsored by Michael R. Klein and Joan I. Fabry and the Artistic Leadership Fund.Production support provided by John and Meg Hauge.

Restaurant Partner: Jaleo

Man of La Mancha is presented by arrangement with Tams-Witmark Music Library, Inc., 560 Lexington Avenue, New York, New York 10022

Artistic Director Michael KahnManaging Director Chris Jennings

Recipient of the 2012 Regional Theatre Tony Award®

MUSIC NUMBERS/ORCHESTRA

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CASTMAN OF LA MANCHA

Cervantes/Don Quixote ........................................................................................... Anthony Warlow*Aldonza .....................................................................................................................................Amber Iman*Sancho ........................................................................................................................................ Nehal Joshi*The Governer/Innkeeper ................................................................................................... Dan Sharkey*The Innkeeper’s Wife/Housekeeper ................................................................ Rayanne Gonzales*The Duke/Dr. Carrasco ........................................................................................... Robert Mammana*The Padre ...................................................................................................................................Martín Solá*Pedro ................................................................................................................................Ceasar F. Barajas*Anselmo/Barber ........................................................................................................... Nathan Lucrezio*Paco ...................................................................................................................................... Sidney DuPont*Tenorio .......................................................................................................................................... JP Moraga*Juan ................................................................................................................................................ Joey ElroseJose ................................................................................................................. James Hayden Rodriguez*Fermina/Antonia......................................................................................................................Maria Failla*The Captain of the Inquisition ................................................................................... James Konicek*Guards ...................................................................................................Jay Adriel*, Ethan Watermeier*

UNDERSTUDIESJay Adriel* (Anselmo/Barber/Jose/Tenorio/Paco), Joey Elrose (Pedro), Maria Failla* (Aldonza), Maura Hogan (Antonia/Fermina), Stephen Edwards Horst (Guards), Judith Ingber (Innkeeper’s Wife/Housekeeper), James Konicek* (Governer/Innkeeper), Nathan Lucrezio* (Sancho), Bryce Edward Peterson (Juan/Jose), Dan Sharkey* (Cervantes/ Don Quixote), Ethan Watermeier* (Duke/Dr. Carrasco/The Padre/The Captain of the Inquisition)

Production Assistant: Christopher Kee Anaya-GormanOrchestration: William YaneshAssistant Music Director/Rehearsal Pianist: Jose SimbulanSubstitute & Rehearsal Keyboard: Brandon FullenkampFlamenco Specialist: Arielle RosalesDance Captain: JP Moraga*Assistant Fight Choreographer: Robb Hunter Fight Captain: Ceasar F. Barajas*

The Shakespeare Theatre 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, and employs members of the Stage Directors and Choreographers Society and United Scenic Artists. The Company is also a constituent of Theatre Communications Group (TCG), the national organization for not-for-profit professional theatre, and is a member of the Performing Arts Alliance, the D.C. Chamber of Commerce, Association of Performing Arts Presenters (APAP), American Alliance for Theatre and Education and DC Arts and Humanities Education Collaborative.

Copyright laws prohibit the use of cameras and recording equipment in the theatre.

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers.

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STC BOARD OF TRUSTEES

Michael R. Klein, ChairRobert E. Falb, Vice ChairJohn Hill, TreasurerPauline Schneider, SecretaryMichael Kahn, Artistic Director

TrusteesNicholas W. AllardAshley M. AllenStephen E. AllisAnita M. AntenucciJeffrey D. BaumanAfsaneh BeschlossWilliam C. Bodie Landon ButlerDr. Paul CarterPeter CherukuriGloria DittusDr. Mark EpsteinStefanie ErkiletianAndrew C. FloranceDr. Natwar GandhiMiles GilburneBarbara HarmanJohn R. HaugeStephen A. HopkinsLawrence A. HoughW. Mike HouseJerry J. JasinowskiNorman D. JemalScott KaufmannKevin KolevarAbbe D. LowellGail MacKinnon

Bernard F. McKay Eleanor MerrillMelissa A. MossStephen M. RyanGeorge P. StamasLady WestmacottRob WilderSuzanne S. Youngkin

Ex-Officio Chris Jennings, Managing Director

Emeritus TrusteesR. Robert Linowes*, Founding ChairmanJames B. AdlerHeidi L. Berry*David A. Brody*Melvin S. Cohen*Ralph P. Davidson*James F. FitzpatrickDr. Sidney Harman*Lady ManningKathleen MatthewsWilliam F. McSweenyV. Sue MolinaWalter PincusEden RafshoonEmily Malino Scheuer*Lady SheinwaldMrs. Louis SullivanDaniel W. TooheySarah ValenteLady Wright

*Deceased

MIGUEL DE CERVANTESMiguel de Cervantes was an almost exact contemporary of William Shakespeare. They died, according to legend, on the same day, in the spring of 1616. Together, they bestride our Western canon like a twin colossus, one having created the greatest body of dramatic literature, the other its first and greatest novel.

Unlike Shakespeare, who lived a life of careful circumspection, Cervantes’ life was marked by constant, almost unceasing incident. He was, at various times, an actor, soldier, playwright, tax collector, and prisoner. After five decades of episodic (and quixotic) activity, he died, much as he had lived, amid penury and suffering. How ironic, then, that his work has outlived that of almost any other author, and that it speaks to the immortal desire of the human spirit to be free.

Cervantes was born in 1547, about 20 miles from Madrid, to a poor family from the minor nobility. Like Shakespeare, he does not appear to have attended university. He left Spain at the age of 21 for Italy, where, eager to make his name and fortune, he enlisted as an infantryman in a Spanish regiment stationed in Naples. In 1571, he helped defeat the Turks in the Battle of Lepanto. Cervantes fought courageously, sustaining two gunshot wounds in the chest, and a third that paralyzed his left arm for the rest of his life. He would later claim he had “lost the left for the glory of the right.”

In 1575, Cervantes set sail for Spain. Pirates, however, captured his ship, and sold Cervantes into slavery in Algiers. It took five years for his family to pay his ransom. He tried to escape four times, to no avail. Returning to Spain a wounded veteran with no money and reputation, Cervantes was forced to take odd jobs in the civil service. He eventually married a middle-class woman 19 years his junior, by the name of Catalina. As with Shakespeare and Anne Hathaway, we know nothing about their relationship. The year after his nuptials, in 1585, he published La Galatea, a pastoral romance and his first work of fiction. Though he made repeated attempts to gain success as a playwright, writing 40 plays over the next 20 years, nearly all of them failed.

From 1587 to 1605, Cervantes purchased provisions for the Armada, collected taxes for the Crown, and won his first poetry prize: three silver spoons. He was also excommunicated from the Church and imprisoned twice. It was there, in 1597, where he conceived the idea for “a story … that might be engendered in a prison where every annoyance has its home and every mournful sound its habitation.”

Part I of Don Quixote was published in 1605. It made Cervantes known throughout Europe but no richer, as he had sold the rights to his publisher. Cervantes was prolific in the last decade of his life, writing novellas (Exemplary Stories, 1613), epic poetry (Voyage to Parnassus, 1614), and dramas (Eight Plays and Entreméses, 1615). Part II of Don Quixote, considered by most critics to be richer than the first, was published in 1615. It found the elder Cervantes reflecting on authorship and identity as his old knight continued his undefinable quest.

Cervantes would complete one more work, the romance Persiles and Sigismunda, published posthumously in 1617. In the dedication, written three days before his death, Cervantes bid farewell to the world “with a foot already in the stirrup,” his travails (and travels) finally ended.

STC’s Artistic Leadership FundThe Shakespeare Theatre Company is pleased to acknowledge its

Artistic Leadership Fund Members whose generosity provides sponsorship support for this production of Man of La Mancha.

For more information on the Artistic Leadership Fund, please contact Betsy Purves, Major Gifts Officer, on 202.547.3230 ext. 2325.

Anonymous (2)Anne and Ronald AbramsonNick and Marla AllardStephen E. AllisAnita M. AntenucciThe Beech Street FoundationAfsaneh BeschlossMr. and Mrs. Landon ButlerThe Morris and Gwendolyn Cafritz FoundationDr. Paul and Mrs. Rose CarterDr. Mark Epstein and Amoretta HoeberThe Erkiletian Family FoundationMr. and Mrs. Robert FalbJames A. Feldman and Natalie WexlerMr. and Mrs. Andrew FloranceNina Zolt and Miles GilburneThe Harman Family FoundationThe Honorable Jane HarmanJohn and Meg Hauge

Catherine HeldHRH FoundationMr. and Mrs. Stephen A. HopkinsHelen KenneyMichael R. Klein and Joan I. FabryMr. Jerry KnollThe Robert P. and Arlene R. Kogod Family FoundationAbbe David Lowell and Molly A. MeeganJacqueline B. MarsAnn K. MoralesAlan and Marsha PallerSteve and Diane RudisStephen and Lisa RyanVicki and Roger SantRobert H. Smith Family FoundationFredda Sparks and Kent MontavonSam TurnerTom and Cathie WotekiSuzanne and Glenn Youngkin

ABOUT THE AUTHOR

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Man Ray, Shakespearean Equation, Julius Caesar, 1948. The Rosalind & Melvin Jacobs Collection; Mathematical Object, 1934–35. Centre Pompidou, Musée national d’art moderne / Centre de création industrielle Dation, 1994 © Man Ray Trust / Artists Rights Society (ARS), NY / ADAGP, Paris 2015

MAN RAY–HUMAN EQUATIONSA Journey from Mathematics to ShakespeareTHROUGH MAY 10, 2015

Man Ray-Human Equations is organized by The Phillips Collection and the Israel Museum, Jerusalem.The exhibition and its international tour are supported by the Terra Foundation for American Art.Generous support provided by Dr. and Mrs. Ronald A. Paul and the Harris Family FoundationProudly sponsored by Lockheed Martin

Additional support provided by the Alfred P. Sloan Foundation, the National Endowment for the Arts, and the MARPAT Foundation

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ASIDESpublished by SHAKESPEARE THEATRE COMPANY

Managing Editor Heather C. Jackson

Creative Director S. Christian Taylor-Low

Contributing Editors Garrett Anderson Laura Henry Buda Hannah Hessel Ratner Drew Lichtenberg

Contributing Writers Edward Friedman

Publisher Michael Porto

Advisors Alan Paul Samantha K. Wyer

Graphic Designer Taylor Henry

Editorial Assistant Alison Ehrenreich

Editorial Intern Jessica Peña Torres

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DIRECTOR’S WORDS

Take a look at the stage. What you see in front of you is a giant, subterranean prison cell. Although it may look modern, we are in Seville in 1594, during the Spanish Inquisition. We are in the common room of the prison, where the prisoners wait, “some an hour…some a lifetime.” The prisoners you see are a mix of thieves, murderers, and prisoners of the Inquisition. It’s a harsh place, a dangerous place.

The musical begins as Miguel de Cervantes is thrown into this cell. Although he is mostly known today as a novelist and poet, in his time Cervantes was a failed actor and playwright. The musical imagines that he was traveling with his manuscript, as well as his trunk of theatrical goods when he was imprisoned. The prisoners have little interest in the trunk, but wish to burn the manuscript. In order to save this precious bundle, Cervantes coerces the prisoners to help him act out the story it contains: the unpublished (and unfinished) adventures of Don Quixote de La Mancha.

As he sets the opening scene, Cervantes asks “May I set the stage?” When the other prisoners agree to let him tell the story, he beckons them to “enter into my imagination” and asks them all to play a part in the proceedings. Cervantes is also asking the audience to enter into his imagination, and to trust the journey he is about to lead them on.

This production will celebrate that power: our ability as an audience (of prisoners and theatregoers) to believe in an imagined, theatrical reality. All of the props and costumes in the Don Quixote scenes come from objects that already exist in the prison and from Cervantes’ trunk. Theatrical transformation—of people, of objects, of the very space itself—is integral to the story.

Although Man of La Mancha touches on the major episodes of the Don Quixote story, it is not an adaptation of the famous novel. Cervantes is the real “Man of La Mancha,” not Don Quixote, and the musical is a few pivotal hours in his life. Although Cervantes and Don Quixote are separate beings, as the musical progresses their characteristics become blurred. Eventually it is hard to separate the writer from his creation. This melding is exactly what Dale Wasserman, the musical’s writer, had in mind.

Man of La Mancha is an unusual musical, written at a turning point in the history of the American Musical Theatre. When it opened in 1965, it followed some of the great musicals of the Golden Age of Broadway: 1962 was the year of A Funny Thing Happened on the Way to the Forum, 1963 was Funny Girl, and 1964 was Fiddler on the Roof. Yet Man of La Mancha breaks from many Golden Age traditions—it has no dancing chorus, it is performed without

an intermission, it tackles serious subject matter, and it dares to tell a big story without a lot of scenery and costumes. The musical also became part of the national consciousness because of its most famous song, “The Impossible Dream.”

At its core, Man of La Mancha is about our own internal battle between cynicism and optimism, something we face every day. In order to have a true emotional payoff, the musical has to have a healthy dose of skepticism to balance what can feel like Cervantes’ easy idealism. We must see the greatness and the foolishness of Quixote’s belief in “The Impossible Dream.” We must respect the scientific approach of Dr. Carrasco, but we must also see that his science doesn’t include belief in the soul.

Unquestionably, La Mancha sides with Quixote in its deep assertion that hope and optimism are transformational. However, we need to see both sides of this argument to give proper weight to the psychological complexity of the writing.

In directing this musical, my dream was to unearth the depth of what Cervantes and Wasserman were writing about. Aided by a brilliant company of actors and designers with the same mission, we have worked hard to find the balance of the story and to tell it in the most emotional and visceral way we know. I hope you enjoy your journey into La Mancha.

—Alan Paul

One of the first things to know about Man of La Mancha, perhaps the most

popular adaptation of Don Quixote, is that it isn’t an adaptation at all. During a 1959 trip to Madrid, Dale Wasserman read the book (or parts of it, it isn’t entirely clear) and came away convinced that this book, considered the greatest novel of all time, this “monument to human wit and folly could not, and should not, be dramatized.”

Wasserman was right. Begun, most likely, as a short story ridiculing the romantic notion of

chivalry, Cervantes’ Don Quixote quickly expanded into two volumes of brilliant, mercurial prose. A failed playwright and civil servant writing at the end of a long and chaotic life, Cervantes somehow produced, by some strange alchemy, a brilliant panorama of Spanish society in the 16th century, a profound meditation on life and death, and an endless hall-of-mirrors on the mysteries of identity.

The premise of Don Quixote is a simple one: a country gentleman by the name of Alonso Quixana

becomes enamored of chivalric literature, and determines to become a knight errant, by the name of Don Quixote. Accompanied by his faithful manservant Sancho Panza, what follows are countless variations on this theme. Vladimir Nabokov, the author of Lolita and an inimitable literary critic, once sat down and tallied up the result of each adventure. He realized they resembled a tennis match: “6-3, 3-6, 6-4, 5-7. But the fifth set will never be played. Death cancels the match.”

In between his own adventures, Quixana/Quixote hears the life

stories of characters from all walks of life—noblemen, knights, poets, priests, traders, barbers, muleteers, scullions, and convicts. Continuing the digressive pattern, Cervantes includes prologues to both volumes in his own voice, addressing the reader as well as another unnamed friend. Dialoguing with this ghost Cervantes, our author wonders how to tell this tale, the “true history” of Don Quixote.

There had never been anything like this. Nothing with such a variety of incident, such a dizzying

THE

IMPOSSIBLE

MUSICALby Drew Lichtenberg

Production Dramaturg

Illustration from Don Quixote, by H. L. Havell and Ernest Marriott, ca. 1908 via Flickr Commons.

menagerie of overlapping voices, so many layers of reality between the reader and the fictive world. As many critics have pointed out—Nabokov and Kafka among them—Cervantes himself is a weak and piddling character in the book, dwarfed immeasurably by Don Quixote, his great creation. One’s mind, of course, turns to Shakespeare, who pales next to his own characters such as Falstaff and Hamlet. Shakespeare’s life has been the subject of endless questioning, his characters the subject of endless fascination. So it goes with Cervantes and Quixote.

So what did Wasserman do? Brilliantly mimicking the meta-fictional tricks of Cervantes, Wasserman begins with the enigmatic figure of Cervantes himself. Instead of staging the un-stageable events of the book, he gives us two worlds: the “real” world of a Seville prison in 1594, and the world of the theatre, in which an imprisoned Cervantes acts out scenes from his manuscript. The play unfolds on an “abstract platform whose elements are fluid and adaptable,” like the ever-changing landscape of Cervantes’ stories. As Wasserman writes, “the primary effect of the play should be

improvisational,” like Cervantes’ prose itself. The only way to adapt Don Quixote, Wasserman must have realized in a flash of insight, was to abandon any attempt at replicating the content of the book and instead find a theatrical twin for the book’s form.

This breakthrough leads to every surprising twist. Instead of dramatizing Don Quixote, the un-dramatizable character, Wasserman gives us a day in the life of Miguel de Cervantes. Instead of adapting the un-adaptable, Wasserman shows us the artist, inspired, against the backdrop of the Inquisition. Instead of trying to answer the un-answerable question, Wasserman poses it: How do we dream impossible dreams?

Originally written as a 90-minute teledrama, Wasserman was frustrated by what he called the original production’s “assertive naturalism.” When he converted it into a musical, he retained the play’s one-act structure, unusual for Broadway then and now. The composer, Mitch Leigh, drew on European classical and American jazz idioms, abolishing strings in favor of a band featuring brass, winds, and guitar. Nothing like it had been heard on a Broadway stage before. Wasserman desired to create a new form of theatre that was “disciplined yet free, simple-seeming yet intricate,” a “kind of theatre that was without precedent.”

Man of La Mancha was certainly unprecedented for a Broadway musical, but it was not a kind of theatre that nobody had seen before. Instead, the work looked to the cutting edge of the contemporary avant-garde. La Mancha

premiered the same year as Peter Brook’s landmark London production of Marat/Sade, a production also designed for an empty stage and a unit set with no intermission, also featuring a play-within-a-play, also on the lofty themes of madness and sanity, of idealism amid historical cataclysm.

Unlike that work, however, Man of La Mancha does not traffic in postwar alienation or avant-garde cruelty. Equally indebted to the metatheatrical innovations of Luigi Pirandello and Bertolt Brecht, it sounds a note of utterly American optimism. While Cervantes had bid goodbye to an age of chivalry, Wasserman & Co. looked forward to an age of renewed social justice. Seen against the backdrop of the 1960s, “to dream the impossible dream” speaks strongly to the desire to leave the world a better place, to continue the fight for freedoms both social and personal, political and individual. It is a fitting phrase and signature song for the impossible musical, an adaptation of the unadaptable, one that is really not an adaptation at all.

Written at a time when the hippest works of theatre wallowed in despair, Man of La Mancha gives us something much harder to define. As the great Spanish critic Miguel de Unamuno wrote, of Don Quixote: “Only he who attempts the absurd is capable of achieving the impossible.”

Don Quixote by Gustave Doré ca. 1863 via Wikicomons.

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CAST OF CHARACTERS

Alan Paul: What drew each of you to this production?

Anthony Warlow: People often ask me what my favorite musicals are, and they’re The Secret Garden, Man of La Mancha, and My Fair Lady. In Man of La Mancha, Dale Wasserman really created a fantastic play.

Nehal Joshi: Man of La Mancha is one of the great musicals of

all time, and Sancho is one of the great fool/clown characters in all of musical theatre. And of course, I’m from Washington, and I’ve always wanted to work at the Shakespeare Theatre.

Amber Iman: I remember the first audition. I knew all of the other women in the room, and they were all older than me, dressed completely different than me. They had on cocktail dresses and I had on combat boots and fishnets. I thought, “I’m in the wrong room on the wrong day at the

wrong time.” I didn’t really think I would be considered for it—these opportunities don’t come to a 27-year-old brown girl every day. The role is so juicy. I couldn’t wait to dive into the whole thing.

AP: What’s been the biggest surprise or discovery you’ve had since we started?

AW: The joy for me is how you’ve peeled back the layers of musical

comedy, putting us into a more realistic world. The concept that you’ve come up with—not having any of us leaving the stage—that sense of claustrophobia absolutely works for what this piece is about. It’s been great for me to hang around in the room. It’s like a daily master class to watch everyone interact and the way the ensemble is allowed to “play.”

NJ: I’ve been surprised by how deep it is. Dale Wasserman was so smart for not writing "Don Quixote the Musical." Instead, it’s

ALONG THE WAY

ARRIVAL

Alan Paul, Director of Man of La Mancha and STC Associate Artistic

Director, sits down with cast members Anthony Warlow (Don Quixote),

Amber Iman (Aldonza), and Nehal Joshi (Sancho) to discuss how they

came to be a part of the production and what they have discovered

along the way.

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about this man Miguel Cervantes, and this character he’s created, a man who has failed every step along the way but he’s been saving this one last golden ticket under his arm.

AW: If anything that’s the romance of it. This one man comes and changes these people’s attitudes on life. I think we want the audience to come away with a newfound appreciation for the power of the imagination, that it’s the most powerful thing we have. Quixote doesn’t control what happens to him. What gives him greatness is that he dares to dream. It’s a piece about how optimism transforms us, told through the eyes of a writer at the end of his life. It’s not the work of a young man, it’s the work of someone who was a slave, who had been through war, who understands suffering. And still, despite all that, he says he would rather dream an impossible dream than accept life as it is.

AI: In a similar sense, it transforms Aldonza. She’s a whore. She doesn’t have any family. There’s no love, no ambition. And then this man comes in and places an idea in her mind. Of course, she doubts it, fights it, runs from it. But there

it is, twinkling in the atmosphere. She begins asking questions of herself: What do I want? What does he want? She’s never been in that place before.

AW: He places that seed in her very gently, always gently, and that’s something she’s not used to. That’s the poignant part.

THE POWER OF THE IMAGINATIONAW: This is a hard, harsh environment and Quixote is a hard, harsh character at points. The songs in the show are beautiful, but it’s nice to push away all of the sweetness and find the core.

AP: That was a conscious choice. Hope does eventually bubble up at the end of the show, but it comes after some difficult things. The contrast of this harsh world with the beauty that comes through is important.

This is also a celebration of the power of imagination and the power of the actors’ craft. We don’t have pieces of scenery that fly in to tell us that the windmill has come in or that we are in the Inn. We have little bits and pieces and it’s up to us as a group of storytellers to help the audience connect the dots.

AW: Quixote, in one of his opening speeches, says, “Come, enter into my imagination, imagine what we are doing here.” That’s the core of this production and that is exciting for me.

NJ: There is a real return to the innocence of childhood. Dale Wasserman writes about this in his autobiography. A lot of people want to make the play a religious allegory about believing in things you don’t necessarily see, but it’s bigger than that. It’s about returning to the innocence inside of you.

AW: That innocence is what is sweet about this production, surrounded by the harshness of it.

NJ: I hope that people have a good time, but more importantly that they see the unseen in the piece, also in the way it’s produced and the people involved in it. Maybe that will make them think about the unseen people in the world outside of the theatre. In the casting, in the characterizations, we’re trying to talk about the society that these people lived in, and in some ways it mirrors the society we live in today.

Visit youtube.com/ShakespeareTheatreCo for extended clips from this interview.

ON ANTHONY WARLOW: It is my honor to have Anthony Warlow at the Shakespeare Theatre Company. Anthony is a magnificent talent, and one of the best baritones in the world. Man of La Mancha asks its leading man to deliver three roles: the writer Cervantes, the aging Alonso Quijana, and the “dauntless knight” Don Quixote. The roles require tremendous spirit, and an enigmatic quality. They also require an extraordinary singing voice. Anthony has all of that.

ON AMBER IMAN: Amber was a joyful discovery during the audition process. Aldonza is a complicated role, and we needed someone who could sing and act this demanding material. We also needed someone with authentic power onstage, who could convey toughness and vulnerability. As far as I’m concerned, there was BA and AA, Before Amber and After Amber. Her audition was very special, and she will be a wonderful Aldonza.

ON NEHAL JOSHI: Nehal and I have been friends for a long time and have worked together before. A year ago Nehal and I ran into each other on the street in New York City. STC had just announced La Mancha and we both started talking about Sancho. I have always seen Sancho as a caregiver to the aging Quixote, and I knew Nehal could find the humor and warmth of this part. I also knew he had the boldness to find his own authentic interpretation of a very famous comic role.

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DIRECTOR ALAN PAUL TALKS ABOUT FINDING HIS CAST.

By Edward Friedman

Man of La Mancha is a tribute by Dale Wasserman, Joe Darion, and Mitch Leigh

to Miguel de Cervantes’ Don Quixote. The musical is an adaptation, more of a “reading” than an attempted re-creation of the novel, but it captures the spirit and much of the tone of the original.

The creators of Man of La Mancha understand essential elements of Don Quixote, Don Quixote, and most importantly perhaps, Cervantes. They realize that the author knew how to bring the literary and cultural past of Spain into a text; Cervantes simultaneously appreciates precedent and brings about change. Man of La Mancha does not provide snippets of the Don Quixote narrative with songs,

but instead the musical functions almost as an expressionist dream play. It gets into the heads, as it were, of the unconventional protagonist and the man who invented him. After all, Don Quixote celebrates the compositional process as well as the final product. The novel reflects key aspects of Spanish society and human nature, immediate contexts and universal customs, perception and perspective. As a novelist, Cervantes seems to relish the unexpected. Irony becomes one of the book’s principal tropes, but irony here is accompanied by humor, good will, generosity, and, loosely interpreted, a kind of faith. Literature, or artistic self-creation, is always part of Cervantes’s narrative scheme, and it is always assimilated into the depiction of life. A strategic point of the integration is that it is anything

Miguel Cervantes y Saavedra by Juan Juaregui ca. 1600 via Wikicommons.20 21

but seamless. On one level, Don Quixote separates

itself from the idealistic narratives that were especially popular in 16th century Spain: sentimental, pastoral, and chivalric romances. The last of these was the preferred reading of the self-styled country gentleman who chose to emulate the exploits of medieval knights errant. In this sense, Don Quixote eschews idealism for realism by exposing the chivalric ideal as a construction, but the style and scope of Cervantes’s work do not conform fully to the standards of 18th- and 19th-century European realism. Cervantes blends realism with heavy doses of literary self-referentiality, a consciousness of the construction of the art object that has been labeled metafiction, that is, fiction about fiction. Replete with allusions to Spanish chivalric tradition and to preceding texts and genres, Don Quixote foreshadows narrative realism and naturalism and, alternately, their counterpoints in modernism and postmodernism. Cervantes leads readers in antithetical directions by steering them toward ironic distance and empathy; they stand apart from

the main characters yet respond emotionally to them. The sign systems of the book relate jointly to the world at large and to the domain of literature. The adventures of the anachronistic knight are fundamental to the story, but Cervantes appears

to have much more on his mind as he moves the narrative forward.

Don Quixote, now viewed as a single novel, was, in fact, published in two parts, in 1605 and 1615. Cervantes (1547-1616), 58 years old when the first part came out, had known only modest literary success. A wounded and decorated military

veteran, he had been on his way from Italy to Spain when his ship was hijacked, and he spent five years of captivity in Algiers. Finally ransomed, he failed to prosper professionally or personally on his return. He published a pastoral novel, Galatea, in 1585, along with occasional poetry. He desperately wanted to triumph as a dramatist, but he was eclipsed by his gifted and prolific contemporary Lope de Vega and Cervantes’ full-length plays and interludes remain largely unperformed. Cervantes married a woman 19 years his junior, and the union, by all accounts, was far from

happy. He trod a number of career paths, without solid rewards. Despite these frustrations and failures, he kept busy writing, and, at an advanced age, he won unqualified acclaim through Don Quixote. The narrative hit a chord with readers of many stripes because it is deep, complex, sophisticated, highly entertaining, and accessible. Cervantes subsequently was able to publish 12 “exemplary novellas” (1613) and eight plays and eight interludes (1615), together with what he deemed to be his master work, an “epic in prose” titled The Trials of Persiles and Sigismunda (published posthumously in 1617).

Don Quixote is, from several angles, bidirectional. It fuses realism with metafiction, and it offers two plots. The journey of the knight errant, or errant knight, in search of fame and service to his lady Dulcinea del Toboso (i.e., the farm girl Aldonza Lorenzo) and to humanity, is

juxtaposed with a running narrative about the writing of a chronicle of Don Quixote’s quest. The prologue to Part 1 features a fictionalized Cervantes with a manuscript in hand but no prologue. A friend (the alter ego of an alter ego) advises him to bypass the protocols of prefatory materials and to include whatever occurs to him; the task is merely to fill in the space of the prologue, and the dialogue and some hastily written poems do just that. Irony and subversion can be seen from the start. The prologue—or, more properly, the metaprologue—is addressed to the “idle reader,” but readers of Don Quixote can hardly be passive. The “friend” shuns blind allegiance to the norms of art, and novelty and innovation are in the air. From the opening chapter, then, Cervantes challenges the aims and limits of fiction.

While Cervantes was laboring over the second part of Don Quixote—an

Miguel Cervantes y Saavedra by William Kent ca. 1742 via Wikicommons.

Cervantes brought before Hassam Pasha, the King of Algiers, author and date unknown, via Wikicommons.

22 23

undertaking that was entering its tenth year—his literary moment of glory was diminished by the appearance in 1614 of a spurious second part of Don Quixote by a writer, still unknown, who used the pseudonym Alonso Fernández de Avellaneda. Clever but by no means brilliant, “Avellaneda’s” sequel rode the wave of success of Cervantes’s novel. On the one hand, the attack and the intrusion were hard for Cervantes to swallow. On the other, Cervantes made the decision to bring the Avellaneda tome into the legitimate Part 2, and the writer’s headache became a boon to his continuation of the novel.

The speaker of the prologue to the 1615 Quixote seems to be Cervantes, who promises to avoid further unauthorized sequels by killing off Don Quixote at the end. Scholars generally posit that Cervantes left unchanged what he had written of Part 2 prior to the publication of the Avellaneda volume, which does not receive further reference in the text until chapter 59. Up to that moment, the second part builds heavily on the impact of the publication of Part 1.

The “real” second part has Don Quixote leafing through a copy of the despised imitation at an inn and in a printing establishment. A teenaged temptress in the ducal palace recounts a near-death experience in which devils were playing tennis with copies of the book instead of balls. Don Álvaro Tarfe, a character from the Avellaneda sequel, appears in the 1615 Quixote to certify that this Don

Quixote is the authentic one. When, after an off-stage illumination, Don Quixote rejects his chivalric identity at the end, he manages to degrade Avellaneda in his words and in his will. Cervantes’s vengeance is adroit and amusing, but the author may not have realized how valuable the false sequel would be. The ironies of the “true history” have the perfect twist, for the interloper has made the original genuine, “true.” Don Quixote himself gains vigor as he seeks to discredit his adversary. Cervantes could not have devised a better complement to his narratives.

By uniting process and product, Cervantes examines the ups and downs of creation through multiple approaches. He incorporates the literary past and the act of writing into a story that poses as history. Criticism, theory, and allegory are constants, and Part 1 is under strict scrutiny in Part 2, which also deals with, and skillfully integrates, the false sequel. Don Quixote is both a novel and a theory of the novel, an exercise in self-reflection and yet paradoxically moving. Cervantes involves readers and invites them—or forces them—into the picture, to participate in the proceedings and to deconstruct the notion of the idle reader. Don Quixote dies at the conclusion of Part 2, only to be revived in the future development of the literature and in virtually all media, including theatre, dance, music, film, and the visual arts. The imprint of Don Quixote is wide and profound. The novel fosters an appreciation of artistic methods

and the ties between the creator and consumer of art.

The Man of La Mancha team recognizes that Cervantes’s paradigms promote transformation and flexibility. Following Cervantes, they place the author, the protagonist, and the audience equally in the center, and they highlight the metatheatrical facets of the text. In search of a special signature, Wasserman, Darion, and Leigh reconfigure the story. They add songs, they portray dual realities (or dual fictions), and,

notably, they bring in a flesh-and-blood Aldonza/Dulcinea—only alluded to in Don Quixote—to interact with the knight and his squire. They combine an intense idealism (see “The Impossible Dream”) with comedy and with an ever-lurking reality. As with Cervantes, their Don Quixote is ludicrous, off-putting, and indisputably appealing. One laughs at him, cares about him, and, surprisingly, suffers when he suffers.

Edward Friedman is Gertrude Conaway Vanderbilt Professor of Spanish and Professor of Comparative Literature at Vanderbilt University, where he also serves as director of the Robert Penn Warren Center for the Humanities. He is a past president of the Cervantes Society of America and author of Cervantes in the Middle: Realism and Reality in the Spanish Novel.

Excerpted from full article published in the e-book Guide to the Season’s Plays 2014-15 available for purchase for the Kindle or Nook.

Scene from an Inquisition, Francisco Goya, ca. 1812–1814 via Wikicommons.

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CAST BIOGRAPHIES

JAY ADRIEL*GuardREGIONAL: Arena Stage: Smokey Joe’s Café; Signature Theatre: Dreamgirls, Best Little

Whorehouse in Texas; Central Piedmont: Legally Blonde, Guys and Dolls, Cabaret, Hairspray, Hello, Dolly!, The Producers, Crazy for You, Thoroughly Modern Millie, 42nd Street, Cats; Children’s Theatre: Seussical, Aladdin, Beauty and the Beast, Peter Pan; Actors Theatre: Chorus Line. TELEVISION: Sprint Nascar National Commercial (Dancer). OTHER: 2013 Latin Inauguration: Chita Rivera and Rita Moreno (Dancer); North Carolina Education State Lottery (Dance/Dance Captain); Holland America Cruise Line: MD Eurodam (Singer/Dancer). TRAINING: Strayer University: M.Ed. Educational Management & Leadership; Winthrop University: B.A. Dance/Theater Performance.

CEASAR F. BARAJAS*Pedro/Fight CaptainREGIONAL: Walnut Street Theatre: In the Heights (Graffiti Pete); TUTS: Man of La Mancha, Miss Saigon,

Urban Cowboy (Wes); FCLO: King and I, West Side Story. FILM: Once Upon A Cheerleader, L.A. Dior (opposite Academy Award® winner Marion Cotillard). TELEVISION: Amazon’s Alpha House, Showtime’s Weeds, Starz Power, NBC’s Blacklist, Brothers. DANCE: Jennifer Lopez, Sara Bareilles, Chris Brown. WEB: www.ceasarfbarajas.com

SIDNEY DuPONT*PacoNATIONAL TOURS: A Chorus Line, Memphis the Musical. REGIONAL: North Carolina Theatre: A Chorus

Line (Ritchie); Arvada Center: Memphis (Walin Joe); Creative and Performing

Arts Theatre: Songs for a New World (Man 1); Crown Theatre: Hairspray (Seaweed); Interlakes Theatre: Cabaret (Victor); Oprah’s Green Garden Gala. DIRECTING/CHOREOGRAPHING: Broadway Dreams Foundation: Porgy & Bess (segment piece), Motown (segment piece).

JOEY ELROSEJuanNATIONAL TOURS: Memphis (Huey Calhoun), Rock of Ages (Swing), Grease (Danny u/s).

REGIONAL: RENT (Roger), Pajama Game (Sid Sorokin), Full Monty (Jerry). TRAINING: Adelphi University: B.F.A. WEB: www.JoeyElrose.com.

MARIA FAILLA*Fermina/AntoniaNATIONAL TOURS: Evita (First National), West Side Story (Rosalia, Maria u/s; International).

REGIONAL: Bristol Riverside: Pirates of Penzance; CLOC: The Vagabond King, Man of La Mancha, Call Me Madam. AWARDS: Third Place winner at the American Traditions Competition; Lys Symonette Award for “Extraordinary Promise as a Singing/Actor” at the 2012 Lotta Lenya Competition. TRAINING: The Shepherd School of Music at Rice University: B.M. WEB: www.mariafailla.com.

RAYANNE GONZALESInnkeeper’s Wife/HousekeeperNEW YORK: Broadway: The Phantom of the Opera, Hands on a Hardbody.

REGIONAL: Arena Stage: Mother Courage and Her Children, My Fair Lady, The Music Man, Damn Yankees, Señor Discretion Himself; First National Tour and Walnut Street Theatre: In the Heights; North Carolina Theatre and Casa Mañana:

South Pacific; Geva Theatre Center: The Music Man; Natchez Festival: Porgy & Bess. TELEVISION: NBC’s Sound of Music Live! AWARDS: Honors include the National Federation of Music Clubs, Metropolitan Opera Auditions, Placido Domingo’s Operalia.

AMBER IMAN*AldonzaNEW YORK: Broadway: Soul Doctor (Nina Simone). Off-Broadway: NYTW: A Civil War Christmas;

New World Stages: RENT. REGIONAL: Alliance Theatre: Into the Woods; Arena Stage/Huntington Theatre Company: Stick Fly; True Colors Theatre Company: The Colored Museum. AWARDS: 2013 Clive Barnes Award Nominee. OTHER: Web series, “Unemployed and Working” on broadwayworld.com. TRAINING: Howard University: B.F.A.

NEHAL JOSHI*Sancho STC: The Boys of Syracuse. NEW YORK: Broadway: Les Misérables (Original Revival Cast), Roundabout

Theatre Company: The Threepenny Opera; Off-Broadway: Falling for Eve, Working (2008 revision, Drama Desk Award). REGIONAL: credits include Arena Stage: Mother Courage and Her Children, Oklahoma!; Dallas Theater Center: Les Misérables, Arsenic & Old Lace; Huntington/Goodman: Disney’s The Jungle Book; Kennedy Center: Mister Roberts; Hangar Theater: Next to Normal; Woolly Mammoth Theatre Company: Recent Tragic Events. TELEVISION: HBO’s The Wire. FILM: Blackout (BET), Submissions Only. VIDEO GAME: World of Warcraft: Cataclysm.

JAMES KONICEK*The Captain of the InquisitionSTC: The Merry Wives of Windsor, As You Like It, Edward II, Tamburlaine,

Cyrano. REGIONAL: Ford’s Theatre: 1776, Parade, Liberty Smith, State of the Union; Woolly Mammoth Theatre Company: Marie Antoniette, In the Next Room or The Vibrator Play; Olney Theatre Center: Rancho Mirage, Annie, King of the Jews, Democracy, The Elephant Man; Round House Theatre: Pride and Prejudice, Around the World in 80 Days; Studio Theatre: The Internationalist, Autobahn, Terrorism, Ivanov; Kennedy Center: Unleashed, Blues Journey, Alex in Wonderland, Alice; Folger Theatre: Twelfth Night, Romeo and Juliet; Arena Stage: Mother Courage and Her Children, Born Yesterday; American Shakespeare Center: The Tempest, A Midsummer Night’s Dream, King Lear, Coriolanus, Much Ado About Nothing, Knight of the Burning Pestle, Tartuffe; Wisconsin Shakespeare Festival: Macbeth, The Taming of the Shrew, Twelfth Night. TRAINING: University of San Diego/Old Globe Theatre: M.F.A.

NATHAN LUCREZIO*Anselmo/BarberNEW YORK: Broadway: Rodgers + Hammerstein’s Cinderella. Off-Broadway: York Theatre: Ordinary

Days. Other New York: Roseland Ballroom: Happy We’ll Be; MITF: Children of God (Nominated for Outstanding Actor); New 42nd St. Studios: One For My Baby; WVPT: West Side Story, Urban Cowboy. NATIONAL TOUR: A Chorus Line. AWARDS: Recipient of the 2011 Lotte Lenya Competition’s ‘Emerging Talent Award’; Placed 12th at the 2005 World Irish Dancing Championships. OTHER: released songs/videos “Walk Out The Door” and “Crazy Girl”; Benefits include “The Rifferdancer” at Gypsy of the Year 2014 and Artists For World Peace; Wrote and produced his original show UnHeard, which debuted at The HERE Arts Center, and The Fort Salem Theatre. TELEVISION: Smash. WEB: www.nathanlucrezio.com.

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PLAY IN PROCESS

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Amber Iman

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Nehal Joshi

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Maria FaillaEthan Watermeier, Jay Adriel, James Konicek, and Alan Paul

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MARTÍN SOLÁ*The PadreNEW YORK: Broadway: The King and I, Coram Boy, Baz Luhrmann’s La Bohème; Off-

Broadway: INTAR: All Eyes and Ears (Emilio, World Premiere); The Public Theater: Pirates of Penzance at the Delacorte, Giant, 2012 member of the Shakespeare Lab; City Center Encores: credits include Fanny, Pipe Dream. REGIONAL: credits include Connecticut Repertory Theatre: Olives and Blood (Luís Trescante); The Goodspeed Opera House: The Most Happy Fella. OPERA/CLASSICAL: Featured Artist with the New York Pops at Carnegie Hall, The New York City Opera: more than a dozen productions including Séance on a Wet Afternoon, Porgy and Bess (Live from Lincoln Center). TELVISION: numerous television appearances singing for Andrea Bocelli; CBS’ Hostages. TEACHING: Martin is a teacher and educator, including the position of The Pesky Artist in Residence at Lafayette College in 2012-13, and has taught private voice lessons for more than 20 years. WEB: www.martinsola.com.

ANTHONY WARLOW*Cervantes/Don Quixote NEW YORK: Broadway: Annie. INTERNATIONAL: Australia: The Phantom of

the Opera (Phantom, original Australian production and 2007 revival/tour), Les Misérables, The Secret Garden, My Fair Lady, Doctor Zhivago: The Musical, Guys and Dolls; London: 25th Anniversary production of The Phantom of the Opera at the Royal Albert Hall. OPERA: extensive credits including The Magic Flute, La Boheme, Tosca, Otello, Tales of Hoffman, La Fanciulla del West and Don Giovanni, as well as significant Gilbert and Sullivan roles with Opera Australia

including The Mikado, The Pirates of Penzance and H.M.S. Pinafore. RECORDINGS: numerous solo albums; Annie (2012 Broadway Cast); the Grammy Award®-winning Complete Symphonic Recording of Les Misérables.

ETHAN WATERMEIER*GuardSTC: A Funny Thing Happened on the Way to the Forum (understudy for Marcus Lycus/Miles

Gloriosus); multiple roles in The Life of Galileo (staged reading in partnership with National Academy of Sciences). NATIONAL TOURS: Les Misérables. REGIONAL: Aspen Music Festival, Olney Theatre Center, Strathmore Music Center, Vital Theatre Company, Bailiwick Repertory. OPERA: Houston Grand Opera, Santa Fe Opera, Glimmerglass Opera; Composition premieres by Mark Adamo, Tom Cipullo, Ricky Ian Gordon, Jake Heggie, John Musto and Rachel Portman. AWARDS: Winner of the Lotte Lenya International Competition. OTHER: Member of National Association of Teachers of Singing, VASTA, and the artist roster of Sing For Hope; Founding panelist on the hit podcast OperaNow. TEACHING: Voice faculty at American University (current); University of Virginia; Catholic University of America; University of Maryland, College Park. TRAINING: Northwestern University (BM); The Manhattan School of Music (MM); Doctoral studies at the University of Maryland, College Park.

ROBERT MAMMANA*The Duke/Dr. CarrascoNEW YORK: Broadway: Les Misérables. NATIONAL TOURS: Show Boat, Les Misérables. REGIONAL:

The Goodman, South Coast Rep, Alliance, Pasadena Playhouse, Reprise, Portland Center Stage. TELEVISION: The Office, CSI, The Good Wife, Elementary, CSI: NY, Dexter, Prison Break, Heroes, Star Trek: Voyager, and Enterprise. FILM: Just Say Love, Flight Plan, Menace. AWARDS: Three-time L.A. Ovation nominee; LA Drama Critics Circle nominee; two-time Joseph Jefferson nominee; LA Weekly Award winner. WEB: www.RobertMammana.com.

JP MORAGA*Tenorio/Dance CaptainREGIONAL: Maltz Jupiter Theater of the Stars: The King and I; Dallas Theater Center:

Joseph and the Amazing Technicolor Dreamcoat; Walnut Street Theatre: The King and I, Miss Saigon (also performed at T.U.T.S); Riverside Theater/PCLO/Toronto Decap: Miss Saigon; Drury Lane Theatre: Miss Saigon; Virginia Stage Company/Actors Theatre of Louisville/Cleveland Play House: My Fair Lady; Barrington Stage Company: My Scary Girl; Florida Studio Theatre: Altar Boyz. OTHER: Concerts: NAAP (Signature Theatre): Hello, Dolly!, Oklahoma!; Alice Tully Hall: Suites by Sondheim; Huntington Theatre Company: Long Season. TRAINING: Baldwin-Wallace University: B.M. – Musical Theater.

BRYCE EDWARD PETERSONSwingREGIONAL: Imagination Stage: The Night Fairy (Peregrine u/s); Pioneer

Theatre Company: Much Ado About Nothing (Ensemble); other credits

include A Midsummer Night’s Dream (Demetrius), Oklahoma! (Curly), Othello (Roderigo), and Little Shop of Horrors (Seymour). FILM: Shorts Spare the Fatted Calf, The Notes. TELEVISION: Investigation Discovery: House of Horrors: Kidnapped (Ep 204, Paul). TRAINING: Brigham Young University: B.F.A.

JAMES HAYDEN RODRIGUEZ*JoseREGIONAL: Signature Theatre: Hairspray (Seaweed); Roy Arias

Theatre: Grey Street The Musical (Jack); The Media Theatre: Hairspray (Seaweed); Papermill Theatre: RENT (Benny), Almost Maine (Lendall); Way Off-Broadway Theatre: Rocky Horror Show (Rocky); Shenandoah Summer Theatre: West Side Story (Bernardo). AWARDS: Helen Hayes Award for Outstanding Ensemble: Hairspray. TRAINING: Shenandoah Conservatory. WEB: www.jameshaydenrodriguez.com.

DAN SHARKEY*The Governor/InnkeeperNEW YORK: Broadway: The Bridges of Madison County, Spider-Man: Turn off the Dark, The Music

Man, Showboat (London Company); Off-Broadway: Over 1,000 performances as Hucklebee in The Fantasticks; Captains Courageous, Prince & the Pauper, Lone Star Love, Illyria, Golden Boy of the Blue Ridge. NATIONAL TOURS: Grand Hotel, The Will Roger’s Follies, The Sound of Music (w/Marie Osmond), Seven Brides for Seven Brothers. REGIONAL: credits include Bank of America Theatre in Chicago: Amazing Grace (Pre-Broadway performance); Guthrie Theater: Sweeney Todd (title role); many more regional theatres around the nation. TELEVISION: Herb Crocker on HBO’s award-winning Boardwalk Empire.

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THE TONY AWARD-WINNING PLAY BY TOM STOPPARDDIRECTED BY AARON POSNER

“VERY FUNNY, VERY BRILLIANT, VERY CHILLING”

—The New York Times

Bring in your Man of LaMancha ticket and receive a complimentary appetizer with

purchase of an entrée.

Valid March 17—May 1.Visit Russiahouselounge.com for menu and reservations.

Russia House Restaurant and Lounge 1800 Connecticut Ave, NW

Washington, DC 20008 202.234.9433

MAY 9–21Kennedy Center Opera HouseMay 9, 11, 13, 15, 16, 17mat, 19, & 21, 2015Performed in Italian with projected English titles. Titles may not be visible from the rear of the orchestra.

TICKETS ON SALE NOW!

(202) 467-4600 kennedy-center.org

Tickets also available at the Box Office.Groups (202) 416-8400

PHO

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GIOACHINO ROSSINI

CINDERELLARossini’s popular retelling of Charles Perrault’s beloved Cinderella story adds a few fabulous twists to the traditional fairy tale with two mezzo-sopranos alternating in the title role: Isabel Leonard, the 2013 Richard Tucker Award winner, and Tara Erraught, making her U.S. debut.

Major support for WNO is provided by Jacqueline Badger Mars.

David and Alice Rubenstein are the Presenting Underwriters of WNO.

General Dynamics is the proud sponsor of WNO’s 2014-2015 Season.

WNO acknowledges the longstanding generosity of Life Chairman Mrs. Eugene B. Casey.

Generous support for WNO Italian opera is provided by Daniel and Gayle D’Aniello.

“Imaginative, fast-paced, irresistibly funny... a show that will entrance the whole family” —The Seattle Times

ARTISTIC BIOGRAPHIES

Dale WassermanBookWasserman wrote for theater, television and film for more than 50 years and is best known for the musical Man of La Mancha, a multiple Tony Award® winner. He also wrote the stage play One Flew Over the Cuckoo’s Nest, based on Ken Kesey’s novel, which has won several Tony Awards®. Both shows continue to be produced nationally and internationally, with an estimated 300 productions a year. In January 1979, Dale met Martha Nelly Garza, who became his wife, loyal partner and loving companion. More than once, Dale commented that Martha Nelly was the best thing that ever happened to him (aside from his work on Man of La Mancha) and that it was their 30-year partnership that had been the greatest contribution to extending his life and his talents to age 94. Together, they worked on numerous musicals and several new plays, including the autobiographical Burning in the Night. On December 21, 2008, Dale Wasserman, with his loving wife at his side, passed away peacefully of natural causes at his home in Paradise Valley. Martha N. Wasserman is now the sole Owner/Licensor of Dale’s intellectual properties and spends her life promoting his works all over the world.

Joe DarionLyricsDarion worked in every field in which words are put to music, from popular songs to works for the concert stage. His opera based on Don Marquis’ immortal characters Archy and Mehitabel, was turned into the Broadway musical Shinbone Alley, for which Mr. Darion supplied book and lyrics. Popular songs for which he has supplied the lyrics include “Ricochet,” “Changing Partners,” and “Midnight Rain,” selling in the tens of millions. One of the most popular has been “The Impossible Dream” from Man of La Mancha, which won Darion the Tony Award® for Best Lyrics. He also supplied the lyrics for the Broadway musical Illya Darling, adapted from the film Never on Sunday. In addition to the Tony Award®, he has the Outer Critics Circle Award, the Gabriel Award, the Ohio State Award, and the International Broadcasting Award.

Mitch LeighComposerLeigh composed Man of La Mancha, which originally opened on Broadway in 1965 and went on to win five Tony Awards® including

Best Musical. Man of La Mancha ran for 2,328 performances on Broadway, making it one of the greatest musicals of all time, spawning numerous national and international productions. His other Broadway scores include Cry for Us All, Sarava, Chu Chem, and Ain’t Broadway Grand. He is the recipient of numerous awards including the NY Drama Critics Circle Award and the Contemporary Classics Awards from the Songwriters’ Hall of Fame for “The Impossible Dream,” and he is the first composer to receive the Yale Arts Award for Outstanding Achievement in Musical Composition. He has been honored as the only living composer whose work was included in the Metropolitan Opera’s Centennial Celebration. Mr. Leigh produced and directed Yul Brynner’s farewell tour of The King and I. In 2001 the Music School at Yale University was named Leigh Hall.

Alan PaulDirectorSTC: Director: A Funny Thing Happened on the Way to the Forum (2014 Helen Hayes Award for Best Director of a Musical), The Boys from Syracuse, The Winter’s Tale (Free for All), Twelfth Night (Free for All); Associate Director: As You Like It, Henry IV, Parts 1 and 2; numerous galas, readings, and special events; Assistant Director: 13 shows. THEATRE DIRECTING: Signature Theatre: I Am My Own Wife; Studio Theatre 2ndStage: The Rocky Horror Show (co-director); Catholic University: Man of La Mancha; University of Maryland: The Matchmaker; Apex Theatre Company: Richard II; Northwestern University: Six Degrees of Separation; readings for Studio Theatre, Arena Stage, Woolly Mammoth Theatre Company, The National Academy of Sciences, The Phillips Collection, The Goethe Institut, Georgetown University. OPERA DIRECTING: Washington National Opera: Penny; Urban Arias: Blind Dates, Before Breakfast, The Filthy Habit, Photo- Op; The In Series: Dido and Aeneas, El Amor Brujo; Strathmore: Butterfly/Saigon, Blind Dates. Finalist for the 2013 European Opera Directing Prize (Vienna, Austria). WEB: AlanPaulDirector.com.

Marcos SantanaChoreographerSTC: Much Ado About Nothing (mainstage and Free For All). NEW YORK: Broadway: The Marquis Theater: On Your Feet (Associate Choreographer, dir. Jerry Mitchell, Fall 2015) Winter Garden Theater: Rocky The Musical (Associate Choreographer, dir. Alex Timbers,

Tony nomination), Guys and Dolls (Associate Choreographer, dir. Des McAnuff); Off-Broadway: The Public Theater: Fortress Of Solitude (Associate Choreographer, dir. Daniel Aukin) New Victory Theater: Brazil Brazil (Choreographer and Co-Director), Delacorte Theatre: Paul Simon’s The Capeman (Associate Choreographer, dir. Diane Paulus); NYMF: Oklahomo (Choreographer); Manhattan Movement Center: Dance Break 2010. NATIONAL TOURS: Rock of Ages (dir. Kristin Hanggi). REGIONAL: Arkansas Rep: A Christmas Carol; John Engeman Theater: Guys and Dolls (dir. Peter Flynn); Royal George Theater: White Noise (Associate Choreographer, dir. Sergio Trujillo); La Jolla Playhouse: Carmen the Musical (Assistant Choreographer, dir. Franco Dragone), The Wiz (Assistant Choreographer, dir. Des McAnuff). INTERNATIONAL: Operettenhaus, Hamburg: Rocky Das Musical (world premiere, Associate Choreographer, dir. Alex Timbers); Avon Theater, Stratford Shakespeare Festival: The Pirates of Penzance (Choreographer, dir Ethan McSweeny); Shaftesbury Theatre, West End: Rock of Ages (Associate Choreographer, dir. Kristin Hanggi); Circustheatre, Netherlands: Tarzan (Associate Choreographer, dir. Jeffrey Lee); Neue Flora Theater, Hamburg: Tarzan (Associate Choreographer, dir. Jeffrey Lee).

George Fulginiti-ShakarMusic DirectorSTC: Two Gentleman of Verona, Boys from Syracuse, Henry V, Love’s Labor’s Lost, The Winter’s Tale, The Oedipus Plays, Peer Gynt, School for Scandal, The Comedy of Errors. NEW YORK: The Public Theater, The Ohio Theatre. REGIONAL: Arena Stage, The Kennedy Center, Ford’s Theatre, Studio Theatre, Imagination Stage, Huntington Theatre (Boston), Perseverance Theatre (Juneau, Alaska), Eugene O’Neill Music Theatre Conference (Music Director), Gala Theatre, Imagination Stage, Discovery Theater, Adventure Theatre. INTERNATIONAL: Athens Theatre Festival (Greece); Choral Master for seven international Army Soldier Show tours. AWARDS: Helen Hayes Awards for Arena Stage’s acclaimed productions of Oklahoma, and Cabaret, plus seven other nominations. OTHER: Chair of the Board of the DC Cabaret Network; Musical Contractor for Ford’s Theatre; founding member of the Alliance for New-Music Theatre; Concerts with Quintango (piano), and Cabaret artists in New York Ctiy, Washington, D.C., Boston, Provincetown, and Miami (piano), and The Gay and Lesbian Bands of America (conductor). INSTRUCTOR: Master Classes: American University, George Washington University, Catholic University; Faculty Member: Studio Acting Conservatory; Theatre Lab.

Allen Moyer Scenic DesignerSTC: Private Lives. NEW YORK: Broadway: The Lyons, Lysistrata Jones, After Miss Julie, Grey Gardens (Tony and Drama Desk Award® nominations, Henry Hewes Award), Thurgood, The Little Dog Laughed, The Constant Wife; Off-Broadway: Roundabout Theatre Company: Dinner with Friends; Playwrights Horizons: Far From Heaven; The Public Theater/NY Shakespeare Festival: Giant. REGIONAL: Productions for Goodman Theatre, Yale Repertory Theatre, Huntington Theatre Company, Guthrie Theater, The Old Globe, La Jolla Playhouse, Long Wharf Theatre, Steppenwolf Theatre Company, Center Stage, Center Theatre Group. INTERNATIONAL: The Stratford Festival; Scottish Opera; Wexford Festival Opera (Ireland). OPERA: English National Opera: Die Fledermaus; San Francisco Opera: Dolores Claiborne; The Metropolitan Opera: Orfeo ed Eurydice (dir. Mark Morris); New York City Opera; Houston Grand Opera; Santa Fe Opera; Canadian Opera Company; Glimmerglass Festival; Opera Theatre of St. Louis; Boston Lyric Opera. AWARDS: Recipient of the 2006 Obie Award for Sustained Excellence.

Ann Hould-WardCostume DesignerSTC: Henry IV, Parts 1 and 2, Romeo and Juliet. NEW YORK: Broadway: The People in the Picture, A Free Man of Color (Drama Desk nomination), A Catered Affair (Drama Desk nomination), Company, Dance of the Vampires, Beauty and the Beast (Tony Award; American Theatre Wing’s Design Award; Ovation Award; Oliver nomination, Best Costume Design); Into the Woods (Tony, Drama Desk nominations; Outer Critics Circle nomination, L.A. Drama Critics Circle Award), Falsettos, Sunday in the Park with George (Tony, Drama Desk Nominations), Harrigan ‘N’ Heart, A Midsummer Night’s Dream, St. Joan, Three Men on a Horse, Timon of Athens, In the Summer House, Little Me, The Moliere Comedies. Off-Broadway: CSC: Passion (revival); Public: Hamlet, A Midsummer Night’s Dream, House Arrest; Russian Transport, The Blue Flower, Wings, In the Grand Manner, Let Me Down Easy, Road Show, Surviving Grace, Lobster Alice, Cymbeline. REGIONAL: 5th Avenue Theatre: Secondhand Lions; over 100 credits in regional theaters. OPERA: Metropolitan Opera: Peter Grimes, Ringling Brothers and Barnum & Bailey Circus; N.Y.C. Opera: The Most Happy Fella; L.A. Opera: Mahagonny. FILM: Strike!. OTHER: Ballet Hispanico: Graciela Daniele; San Francisco Ballet: Lar Lubovitch; A.B.T.: Othello, Artemis, Meadow; Alvin Ailey: Reminicin’, Saddle Up, Morning Star. AWARDS: U.S. Representative for

3534

Photo of Gregory Maheu, Kevin McAllister and Stephen Gregory Smith by Scott Suchman.

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THROUGH AUGUST 30TH

AN ODYSSEY OF ARCHITECTURAL ADAPTATION

AN UNPRECEDENTED LOOK AT THE WORK AND PROCESS OF BIG-BJARKE INGELS GROUP

AT THE THE NATIONAL BUILDING MUSEUMWASHINGTON, D.C.

go.nbm.org/HOTTOCOLD

Katherine BurrisAssistant DirectorSee page 43

Jose SimbulanAssistant Music Director/ Rehearsal Pianist STC: The Boys from Syracuse. NEW YORK: Broadway: A Chorus Line (revival), Lestat. NATIONAL TOURS: Mamma Mia!, Aida. REGIONAL: Arena Stage: My Fair Lady, The Music Man, Oklahoma!, Sunday in the Park with George; The Kennedy Center: Sweeney Todd, A Little Night Music; Westport Country Playhouse: All About Us; Williamstown Theatre Festival: Triangle; Charleston Stage: The Producers; Ford’s Theatre: Children of Eden, Eleanor: An American Love Story; Signature Theatre: Passion, Wings. OTHER: Southeastern Theatre Conference (SETC); Unified Professional Theatre Auditions (UPTA); National Asian Artists Project (NAAP). TRAINING: Virginia Commonwealth University (VCU): B.M. in Piano Performance. WEB: Twitter & IG: @JoseSPiano.

Robb HunterAssistant Fight ChoreographerSTC: As Fight Director: As You like It (dir. Michael Attenborough), Measure for Measure (dir. Jonathan Munby), The Alchemist (dir. Michael Kahn), The Winter’s Tale (dir. Rebecca Taichman), Hamlet (Asst. FD). NEW YORK: Theatre Harlem: Love Child (world premiere); Black Spectrum Theater: A Soldier’s Play; Chekhov Theatre Ensemble: Cyrano. REGIONAL: Arena Stage: King Hedley II, Ruined, Stick Fly (dir. Kenny Leon), Noises Off (dir. Jonathan Munby), Frankie and Johnny in the Claire du Lune, The Heidi Chronicles, et al; Studio Theatre: Bad Jews, Belleville, Red Speedo (Helen Hayes nomination), The Motherf**ker with the Hat, Invisible Man, The Walworth Farce (HH nomination), Superior Donuts, American Buffalo, Reasons to be Pretty, Legends, et al; Olney Theatre: The Piano Lesson, Bus Stop (dir. Austin Pendleton), Oliver, The Millionairess, Carousel, et al; Rep Stage, Washington Shakespeare, Baltimore Shakespeare, and others. OPERA: Washington National Opera: Moby Dick, Hamlet, Don Giovanni; Regina Opera: Otello, Carmen, I Pagliacci. TELEVISION: Spin City (stunt double, Michael J. Fox); Panic 911 (Firearms Coordinator). AWARDS: Helen Hayes nomination for Outstanding Choreography; Red Speedo and The Walworth Farce, ACTF Certificate of Merit in Fight Direction for Ubu Roi (American University), Likhachev Foundation Cultural Fellowship to Russia. OTHER: Founder/CEO of Preferred Arms, Inc., Theatrical Weapons INSTRUCTOR: American University: Artist in Residence. TRAINING: Virginia Commonwealth

University: MFA Theatre Pedagogy; Certified Fight Director and Teacher for the Society of American Fight Directors.

Joseph Smelser*Production Stage ManagerSTC: The Tempest, A Winter’s Tale (Free For All), Henry IV, Parts 1 and 2, A Funny Thing Happened on the Way to the Forum, Measure for Measure, Wallenstein, Coriolanus, A Midsummer Night’s Dream, The Government Inspector, The Merry Wives of Windsor, Strange Interlude, Much Ado About Nothing, The Heir Apparent, All’s Well That Ends Well. REGIONAL: Arena Stage: Let Me Down Easy; Seattle Repertory Theatre: An Ideal Husband, A Doll’s House, Play On!, As You Like It, A Midsummer Night’s Dream, Peter Brook’s The Tragedy of Hamlet, Golden Child, Don Juan, Purgatorio, The Search for Signs of Intelligent Life in the Universe (with Lily Tomlin); American Conservatory Theater: The Rivals, The Circle, The Government Inspector, Edward Albee’s At Home at the Zoo, Vigil; Berkeley Repertory Theatre: Journey to the West, An Almost Holy Picture, Having Our Say; Regional Tour: Let Me Down Easy, Twilight: Los Angeles, 1992 (both with Anna Deavere Smith). TRAINING: Oberlin College: BA.

Robyn M. Zalewski*Assistant Stage ManagerSTC: Henry IV, Parts 1 and 2, A Funny Thing Happened on the Way to Forum. REGIONAL: Hartford Stage Company: Production Stage Manager for Private Lives, Assistant Stage Manager for Hamlet, Twelfth Night, A Christmas Carol- A Ghost Story of Christmas, The Whipping Man, Gem of the Ocean, Production Assistant for Divine Rivalry, Antony & Cleopatra, The Adventures of Tom Sawyer, Noises Off; New London Barn Playhouse; Hangar Theatre; Northern Stage; Saint Michael’s Playhouse. Education: Saint Michael’s College.

the International Design Quadrennial in Prague; Recipient of F.I.T.’s Patricia Zipprodt Award.

Robert WierzelLighting DesignerSTC: As You Like It, The Taming of the Shrew, A Midsummer Night’s Dream, The Little Foxes. NEW YORK: Broadway: Lady Day at Emerson’s Bar & Grill, FELA! (Tony Award® nomination; National Theatre, London and Tours), David Copperfield’s Dreams and Nightmares; Off- Broadway: The NYSF; The Signature; Playwrights Horizons. REGIONAL: Alliance Theatre; The Goodman; A.C.T. San Francisco; Hartford Stage; Long Wharf; The Guthrie; Mark Taper Forum; The Old Globe; Chicago Shakespeare Theater among others. OPERA: The Paris Opera-Garnier; Glimmerglass Festival; Seattle; Boston Lyric; Minnesota; Washington National; Atlanta; NYCO and San Francisco. OTHER: Dance work includes over 28 years with choreographer Bill T. Jones and the BTJ/AZ Dance Company (Bessie Awards). FACULTY: Currently an adjunct member of NYU’s Tisch School of the Arts and a Guest Lecturer at the Yale School of Drama. TRAINING: MFA from the Yale School of Drama.

Ken TravisSound DesignerNEW YORK: Broadway: Aladdin, Jekyll and Hyde, A Christmas Story the Musical, Scandalous, Newsies, Memphis, The ThreePenny Opera, Barefoot in the Park, Steel Magnolias. REGIONAL: Old Globe, KC Rep, La Jolla Playhouse, LA CTG, Seattle Rep, 5th Avenue Theatre, Guthrie Theater, Dallas Theater Center, McCarter Theatre, Atlantic Theater, Playwrights Horizons, The New Group, NYSF Public Theater, CSC, Signature Theater NYC, Vineyard Theatre, The Civilians, Mabou Mines. AWARDS: NAACP Sound Design Memphis the Musical; Audelco and Lortel Nominations.

David LeongFight ChoreographerSTC: Cyrano de Bergerac, Richard III (twice), King John, Romeo and Juliet (twice), Macbeth, Antony and Cleopatra, Coriolanus, Troilus and Cressida, Henry V, Henry IV, Parts 1 and 2, King Lear, The Witch of Edmonton, Hamlet (twice), Julius Caesar, and more. NEW YORK: Broadway: A Time to Kill, Billy Elliot the Musical, Carousel, Company, Ma Rainey’s Black Bottom, The Civil War, The Rainmaker, King Hedley II, Picnic, Hamlet, Solitary Confinement, Sex and Longing, A Delicate Balance and In The Summer House. Upcoming Broadway: Fool for Love and Amazing Grace the Musical. Over 50 Off-Broadway

plays and musicals. INTERNATIONAL: London: Napoleon (West End), Jitney (National Theatre). REGIONAL: credits include the Guthrie Theater, Mark Taper Forum, Arena Stage, John F. Kennedy Center for the Performing Arts, American Repertory Theater, Geva Theatre, American Contemporary Theatre, Berkeley Repertory Theatre, Seattle Repertory Theatre, Denver Theatre Center, Alley Theatre, Goodman Theatre, McCarter Theatre, Yale Repertory Theatre, Long Wharf Theatre, Hartford Stage, Huntington Theatre, The Williamstown Theatre Festival and many more. FILM: Titus, Alien Resurrection. OTHER: David is Chair, Producer and Professor of Theatre at VCU.

Laura Stanczyk, CSACasting DirectorSTC: The Metromaniacs, The Tempest, As You Like It, The Winter’s Tale, Strange Interlude, Old Times. NEW YORK: Broadway, Off-Broadway, National Tours: Side Show, After Midnight, A Night With Janis Joplin, Follies, Cotton Club Parade, Lombardi, Ragtime, Impressionism, The Seafarer, Radio Golf, Coram Boy, The Glorious Ones, Flight, Translations, Tryst, Dirty Dancing; Atlantic Theater Company: The Cripple of Inishmaan (also national tour); Encores! Summer Stars: Damn Yankees, Urinetown (also national tour); Lincoln Center Festival: Gate/Beckett. REGIONAL: Alliance Theatre: Bull Durham; Center Theatre Group: Harps and Angels; Alley Theatre: Gruesome Playground Injuries, The Monster at the Door; Kennedy Center: Side Show, The Guardsman, Follies, Master Class, The Lisbon Traviata, Ragtime, Broadway: Three Generations; Philadelphia Theatre Company: Golden Age; Royal George Theatre: Don’t Dress for Dinner; seven seasons of casting for McCarter Theatre Center. INTERNATIONAL: Druid Theatre Company: My Brilliant Divorce; The Gaiety Theatre, Dublin/West End: The Shawshank Redemption; Druid Theatre Company/Dublin Theatre Festival: Long Day’s Journey into Night; Has consulted for The Lyric Theatre in Belfast, Rough Magic Theatre Company in Dublin, The Gate Theatre in Dublin, The Druid Theatre in Galway.

Carter C. WooddellResident Casting DirectorSee page 43

Ellen O’BrienHead of Voice and TextSee page 43

Drew LichtenbergLiterary Manager/DramatrugSee page 43

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MAPPING THE PLAYEL INGENIOSO HIDALGO: THE TRUE ADVENTURES OF MIGUEL DE CERVANTES

By Laura Henry Buda, Community Engagement Manager

Honor duels and naval battles, pirates, prelates, and prison: between the ages of 22 and 33, the young Miguel de Cervantes lived more than most people do in a lifetime. As a young soldier in the Spanish Navy, Cervantes traveled the full

breadth of the Mediterranean world. Without a doubt, the young man’s adventures helped Cervantes populate his work with characters and stories both fantastic and true to life—when he finally sat still long enough to write, that is.

1569: Cervantes leaves his childhood home of Madrid for Italy. An arrest warrant dated September 15, 1569 accuses someone named Miguel de Cervantes of wounding a young gentlemen in a duel of honor. The suggested punishment includes the removal of his right hand and 10 years of exile from Spain. Though no one has ever proven that the writer Cervantes was indeed this same fugitive from justice, some scholars speculate that Cervantes left Spain to flee arrest, possibly after fighting a duel to avenge the honor of his sister.

1569, December: Cervantes arrives in Rome and spends several months working in the household of a prominent Vatican cleric, with access to upper levels of clergy and witness to the pageantry of the Church and courtly life.

1570: As conflict between the Ottoman Empire and Catholic southern Europe heats up, Cervantes travels to Naples to enlist as a soldier in the Spanish Navy. Cervantes’ brother Rodrigo joins him in Italy and enlists as well.

1571: Several months later, the brothers fight in the historic Battle of Lepanto. Though suffering from malaria, Cervantes insists on fighting, leading 12 soldiers into the onslaught in a skiff. He is shot three times, twice in his chest and once in his arm, rendering his left arm permanently unusable. After the Holy League wins the battle, stories of Cervantes’ valor bring him to the attention of Don John of Austria, commander of the Holy League fleet, who awards him military and monetary honors.

1574, September: Lepanto makes Cervantes a hero, but leaves him permanently disabled. Somehow, he serves another four years as a soldier, participating in significant campaigns across the Mediterranean, including Corfu and Navarino. After witnessing the disastrous fall of Tunis, Cervantes arrives in Palermo, where he prepares to return to Spain by requesting letters of commendation.

1575, September: Cervantes and Rodrigo leave Naples aboard El Sol. Thanks to a violent storm, the ship loses contact with its escorts. While still alone, lost at sea, Algerian pirates attack the vessel. After a chase and brave resistance from the crew, heartbreakingly close to Spanish soil, El Sol finally surrenders and Cervantes and Rodrigo are taken as captives. The other ships arrive just in time to see the pirates sail away, and those on board can do nothing but report to the captives’ families back to Spain. In Algiers, Cervantes and Rodrigo are sold as slaves. Discovering the royal letters that Cervantes had with him, his captors believe him to be a valuable prize worth selling for ransom. However, his price is set so high that his family cannot afford it.

1575-1580: During his captivity, Cervantes engineers several complex escape attempts, making him a living legend in Algiers. His plots include hiring local spies; trekking across the desert to Spanish territory; hiding 14 fellow captives in a cave for months while they waited for rescue; writing a letter (in verse, of course) to the Spanish secretary of state demanding that the Spanish army lay siege to Algiers; and hiring a frigate to sail away himself. Each time, Cervantes is betrayed and caught, and each time, his captor Hassan Pasha, the viceroy of Algiers, inexplicably spares his life. Laura Henry Buda is STC’s

Community Engagement Manager and served as Artistic Fellow in the 2011-2012 Season. She holds an MFA in Dramaturgy from the A.R.T./M.X.A.T. Institute at Harvard University.

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FOR SHAKESPEARE THEATRE COMPANY

Michael Kahn Artistic Director STC: The Metromaniacs, Henry IV, Part 1 and 2, Wallenstein, The Government Inspector, Strange Interlude, The Heir Apparent, Old Times, All’s Well That Ends Well, The

Liar, Richard II, The Alchemist, Design for Living, The Way of the World, Antony and Cleopatra (2008), Tamburlaine, Hamlet (2007), Richard III (2007), The Beaux’ Stratagem, Love’s Labor’s Lost, Othello, Lorenzaccio, Macbeth (2004), Cyrano, Five by Tenn (at the Kennedy Center), The Silent Woman, The Winter’s Tale (2002), The Duchess of Malfi, The Oedipus Plays, Hedda Gabler, Don Carlos, Timon of Athens, Camino Real, Coriolanus, King Lear (1999), The Merchant of Venice, King John, A Woman of No Importance, Sweet Bird of Youth, Peer Gynt, Mourning Becomes Electra, Henry VI, Volpone, Henry V, Henry IV, The Doctor’s Dilemma, Richard II, Much Ado about Nothing (also at McCarter Theatre Center), Mother Courage and Her Children, Hamlet, Measure for Measure, King Lear (1991), Richard III (1990), The Merry Wives of Windsor, Twelfth Night, As You Like It, Antony and Cleopatra (1988), Macbeth (1988), All’s Well That Ends Well, The Winter’s Tale (1987), Romeo and Juliet. NEW YORK: Broadway: Show Boat (Tony nomination), Cat on a Hot Tin Roof, Whodunnit, Night of the Tribades, Death of Bessie Smith, Here’s Where I Belong, Othello, Henry V; Off-Broadway: Manhattan Theatre Club: Five By Tenn, Sleep Deprivation Chamber, Funnyhouse of a Negro, The Rimers of Eldritch, Three by Thornton Wilder, A Month in the Country, Hedda Gabler, The Señorita from Tacna, Ten by Tennessee; New York Shakespeare Festival: Measure for Measure (Saturday Review Award). Artistic Director: The Acting Company, 1978–1988. TEACHING: Richard Rodgers Director of Juilliard Drama Division July 1992–May 2006, faculty member 1967–; Shakespeare Theatre Company Academy for Classical Acting at the George Washington University. Previously: New York University; Circle in the Square Theatre School; Princeton University; British American Drama Academy; founder of Chautauqua Theatre Conservatory. REGIONAL: Arena Stage: A Touch of the Poet; Signature Theatre: Pride in the Falls of Autrey Mill, Otabenga; Guthrie Theater: The Duchess of Malfi; American Repertory Theatre: ‘Tis Pity She’s a Whore; American Shakespeare Theatre: Artistic Director for 10 years, more than 20 productions; McCarter Theatre Center: Artistic Director for five seasons, including Beyond the Horizon, filmed for PBS; Chautauqua Theatre: Artistic Director, including The Glass Menagerie with Tom Hulce; Goodman Theatre: Old Times (MacArthur Award), The Tooth of Crime (Jefferson

nomination); Ford’s Theatre: Eleanor. OPERA: Romeo and Juliette for Dallas Opera; Vanessa for the New York City Opera (2007); Lysistrata or The Nude Goddess for Houston Grand Opera and New York City Opera; Vanessa for Washington Opera and Dallas Opera; Show Boat for Houston Grand Opera; Carmen for Houston and Washington Operas; Carousel for Miami Opera; Julius Caesar for San Francisco Spring Opera. INTERNATIONAL: Love’s Labor’s Lost at the Royal Shakespeare Company’s Complete Works Festival; The Oedipus Plays at the Athens Festival; Five by Tenn for The Acting Company’s tour of Eastern Europe; Show Boat for the National Cultural Center Opera House in Cairo; The White Devil for the Adelaide Festival. BOARD MEMBERSHIPS: Theatre Communications Group; New York State Council on the Arts; D.C. Commission on the Arts and Humanities; National Endowment for the Arts; Opera America’s 80s and Beyond. AWARDS: Commander of the British Empire (C.B.E.); Theater Hall of Fame; seven Helen Hayes Awards for Outstanding Director; 2011 CAGLCC Excellence in Business Award; 2010 WAPAVA Richard Bauer Award; 2007 Mayor’s Arts Award Special Recognition for Shakespeare in Washington; 2007 Stephen and Christine Schwarzman Award for Excellence in Theatre; 2007 Sir John Gielgud Award for Excellence in the Dramatic Arts; 2005 Person of the Year from the National Theatre Conference; 2004 Shakespeare Society Medal; 2002 William Shakespeare Award for Classical Theatre; 2002 Distinguished Washingtonian Award from The University Club; 2002 GLAAD Capitol Award; 1997 Mayor’s Arts Award for Excellence in an Artistic Discipline; 1996 Opera Music Theater International’s Bravo Award; 1990 First Annual Shakespeare’s Globe Award; 1989 Washingtonian Magazine Washingtonian of the Year; 1989 Washington Post Award for Distinguished Community Service; 1988 John Houseman Award. HONORARY DOCTORATES: University of South Carolina; Kean College; The Juilliard School; The American University.

Chris JenningsManaging DirectorSTC: Joined the Company in 2004. ADMINISTRATION: General Manager: Trinity Repertory Company (1999–

2004), Theatre for a New Audience (1997–1999); Associate Managing Director: Yale Repertory Theatre; Assistant to the Executive Producer: Manhattan Theater Club; Founder/Producing Director: Texas Young Playwrights

Festival; Manager: Dougherty Arts Center. MEMBERSHIPS: Currently serves on the Board of the Theatre Communications Group, DC Downtown BID, THE ARC, DC Arts Collaborative, the Penn Quarter Neighborhood Association, Theatre Washington, and is a member of the League of Resident Theatres (served on AEA and SSDC Negotiating Committees); has served as a panelist for the NEA, DC Commission on the Arts, Mid Atlantic Arts Foundation and Pew Theatre Initiative. AWARDS: Arts Administration Fellowship: National Endowment for the Arts. TRAINING: University of Miami: BFA in Theatre/Music; Yale School of Drama: MFA in Theatre Management.

Drew LichtenbergLiterary ManagerSTC: The Metromaniacs, The Tempest, As You Like It, Private Lives, Henry IV, Part 1 and 2, The Importance of Being Earnest, A Funny Thing Happened on the Way to the Forum, Measure for Measure, Coriolanus, Wallenstein, Hughie, A Midsummer Night’s Dream, The Government Inspector, The Merry Wives of Windsor, The Servant of Two Masters, Strange Interlude, The Two Gentlemen of Verona, Much Ado About Nothing, The Heir Apparent. REGIONAL: STC/McCarter Theatre Center: The Winter’s Tale; Center Stage: Caroline, or Change, Cyrano, Around the World in 80 Days; Yale Repertory Theatre: Lulu (dir. Mark Lamos); Williamstown Theatre Festival: The Front Page, The Physicists, The Corn is Green; New York Shakespeare Festival: Macbeth (dir. Moisés Kaufman); OTHER: Yale School of Drama: Tarell McCraney’s In the Red and Brown Water (US premiere); TEACHING: Catholic University of America; Eugene Lang College at the New School. TRAINING: Yale School of Drama: MFA in Dramaturgy & Dramatic Criticism.

Ellen O’BrienHead of Voice and TextSTC: More than 50 productions over 11 seasons. ACADEMY FOR CLASSICAL ACTING: 22 productions of Shakespeare and Jacobean plays. REGIONAL: Ford’s Theatre, Arena Stage, Charlotte Repertory Company, Aurora/Magic Theaters; People’s Light and Theatre Company; Shakespeare Santa Cruz; North Carolina Shakespeare Festival. PUBLICATIONS: Articles in The Voice and Speech Review, Shakespeare in the Twentieth Century, Shakespearean Illuminations,

Shakespeare Survey, Shakespeare Quarterly, Shakespeare and the Arts, The Voice and Speech Review: Associate Editor for Heightened Text, Verse and Scansion. TRAINING: Yale University: MA, MPhil, PhD (English);

Katherine BurrisAssistant Director/Directing Fellow STC: The Metromaniacs, The Tempest, As You Like It, The Winter’s Tale (Free For All). REGIONAL: Santa Cruz Shakespeare: As You Like It; Folger Shakespeare Theatre: The Taming of the Shrew; Shakespeare Santa Cruz: Tom Jones, Henry IV, Part 2, Henry V, The Taming of the Shrew, The Man in the Iron Mask; Back Room Shakespeare Project: Two Gentlemen of Verona; San Jose Repertory Theatre: Next Fall; UC Santa Cruz: Stupid Fucking Bird, Machinal, Peer Gynt, The Congresswomen, Hair. TRAINING: University of California, Santa Cruz: Masters in Theatre Arts—Directing Emphasis; BA in Theatre Arts; BA in English Language Literature.

Carter C. WooddellResident Casting DirectorSTC: The Metromaniacs, The Tempest, As You Like It, The Winter’s Tale, The Merry Wives of Windsor, Two Gentlemen of Verona, Much Ado About Nothing, The Merchant of Venice. Other Casting Experience: NEW YORK: Broadway: Belasco Theatre: End of the Rainbow (dir: Terry Johnson), Booth Theatre: High (dir: Rob Ruggiero); Off-Broadway (partial): Barrow Street Theatre: Tribes (dir: David Cromer), Our Town (dir: David Cromer), The Acting Company, Marjorie S. Deane Little Theater: Freud’s Last Session (dir: Tyler Marchant), Cherry Lane Theatre: A Perfect Future (dir: Wilson Milam), SoHo Playhouse: The Irish Curse (dir: Matt Lenz), Beckett Theatre: An Error of the Moon (dir: Kim Weild); NYC Other: Lincoln Center Institute: Hamlet, Fly, Sheila’s Day. NATIONAL TOURS: The Acting Company, Riverdance. REGIONAL: Alley Theatre, Center Stage, Barrington Stage Company, The Broad Stage, Contemporary American Theater Festival, Crossroads Theatre Company, George Street Playhouse, The Guthrie Theater, Pittsburgh Public Theater, TheaterWorks Hartford. RADIO: BBC Radio: The Piano Lesson (dir: Claire Grove). TELEVISION: Sesame Workshop: The Electric Company, Pilot: 27 East. FILM: Columbia Pictures: Premium Rush (dir: David Koepp), Choice Films: Junction (dir: Tony Glazer). OTHER: McCorkle Casting Ltd: Casting Assistant (2008-2009), Casting Associate (2010-2012). Education Associate: TFANA (2012-2014). TRAINING: Rutgers University - Mason Gross School of the Arts: BFA in Theatre Arts.

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WILLHILLON

THE

WILL ON THE HILL Monday, June 15, 2015Join us for one of Washington’s most anticipated spring events —Will on the Hill! This Shakespeare Theatre Company annual benefit welcomes Senators, Representatives and distinguished Washington insiders to the stage to perform scenes from Shakespeare with a Capitol twist. Infused with comedic references to contemporary politics, this distinctive and fun-filled evening is sure to leave you in stitches. Will on the Hill pays tribute to the unique dynamic of our city and raises indispensable funds for the Shakespeare Theatre Company’s artistic, education and community engagement programs.

“Imagine a theatre full of really, really enthusiastic second-graders who have been allowed to dress however they want

and who spout jokes about cap and trade and the

liberal media.” Washington Post Express

“To play or not to play, that is the question”

NBC Washington

For additional information about Will on the Hill 2015, please contact STC’s Corporate Giving Office at 202.547.3230 ext. 2331 or WillontheHill@ShakespeareTheatre.org.

Photos of Harry Hamlin, Michael Kahn & Representative Mike McIntyre, Representative Terri Sewell, The Hill’s Bob Cusack and Representative Dina Titus and Representative Kevin Yoder by Kevin Allen.

The Shakespeare Theatre Company is a 501(c)(3) non-profit organization. STC does not retain or employ registered lobbyists or foreign agents.

MEDIA SPONSOR

2015 EXECUTIVE SPONSORS

Stephen andLisa Ryan

2015 DIRECTOR SPONSORS Venable LLP 202.547.5688 www.shakespearetheatre.org/camp

SUMMER 2015

Performance Intensivesfor Ages 7-18

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Barbara and Ralph Alterowitz, provided by the couple.

By Hannah Hessel Ratner

Since its first publication Don Quixote has inspired readers to dream of their own quests. It’s

no surprise that the word “quixotic” has entered the popular lexicon as an idealistic striving towards a potentially unrealistic and impractical goal. Throughout the centuries many have seen elements of their own life in this man who gives his all despite the odds against him. The story and dreams have been passed down through multiple editions, artist’s variations, and multi-lingual translations; many of which have found their way onto the shelves of Potomac, Maryland, residents Ralph and Barbara Alterowitz.

Collecting is its own type of quixotic action. There is no end to new editions and the thrill of discovery keeps the

collector moving from place to place trying to find the next purchase. For the Alterowitzs, collecting brings an additional thrill: their relationship grew, blossomed, and solidified over visits to used bookstores all over the world. It was on an early date, lunch followed by a trip to the bookstore around the corner, that Ralph spotted an old edition of Don Quixote, leather bound with gilded edges. He bought it and two days later the two returned following another lunch and spotted a second used edition. A collection was born.

In speaking about the collection, Ralph keeps returning to the idea of love. “It’s almost like another love,” he shares and later describes it as “an insatiable love.” Ralph continues talking about the adventures the two of them have shared thanks to the collection: staying in a stranger’s

To Dream and Keep Dreaming A Journey to The Journey Errant

FACES AND VOICES 12th-century townhouse in France, seeing the Berlin Wall dismantled, and now showcasing their collection during the Shakespeare Theatre Company’s run of Man of La Mancha.

The musical is only one of a number of works of art inspired by Cervantes’ epic tale. Some even believe that Cardenio, a supposed “lost play” of Shakespeare’s, was inspired by a section of Don Quixote. The characters Quixote and Sancho made an appearance on the Shakespeare Theatre stage in Michael Kahn’s production of Tennessee William’s Camino Real. On other stages around the world Don Quixotes have danced choreography by Alexander Gorsky or George Balanchine. He’s appeared in operas and in songs by popular artists ranging from the Cherry Poppin’ Daddies to Coldplay, and the alternative band They Might Be Giants was named, in part, for a reference to Don Quixote mistaking windmills for giants.

The story of Don Quixote was first seen on film as early as 1906 in a French short. Every decade since has reimaged the errant knight for film. Some filmed versions have become prominent in their inability to reach audiences. Orson Wells famously directed an unfinished version over decades, which was later edited and released by Spanish director Jesus Franco. Director Terry Gilliam also famously failed at making an adaption, which was later turned into the documentary Lost in La Mancha—supposedly he continues to pursue his dream—and The Man Who Killed Don Quixote featuring John Hurt will be released in 2016.

The 1965 musical Man of La Mancha was successful in reviving Cervantes’ intentions for a modern audience. Accompanied by

this collection, on display in the Gift Store and Orchestra Lobby at Sidney Harman Hall, audiences are able to witness first-hand centuries of inspiration derived by Cervantes’ enduring characters. Included in the exhibit, merely a fraction of the Alterowitz’s collection, are editions written in languages from Swedish to Thai, editions as old as 1792 and as recent as the past decade, and examples of illustrations by artists ranging from Salvador Dali to Gustave Doré. Also included are statues, needlepoint, a chess set, and one hand-made Don Quixote helmet.

The Alterowitz’s shelves may be a little empty during the production’s run, but sharing their passion for the story is part of their love of collecting. Barbara explains it as a “focal point” for conversations. “You meet people in a different way, it opens up a conversation with other people about their dreams, their ideals…

you can have much more meaningful conversations.” Audience members will have the opportunity to see how Quixote and Sancho have been envisioned through multiple eyes as they think about their own impossible dreams.

Though, or perhaps because, the collection will never be complete, Ralph and Barbara will keep exploring the world with a Quixotesque frame. “You have an objective for as long as you’re alive and it keeps you alive…you’re always looking for the next step.”

Hannah Hessel Ratner, STC’s Audience Enrichment Manager, is in her fourth season at STC and holds an MFA in dramaturgy from Columbia University.

Have an objective for as long as

you’re alive and it keeps you alive

SUPPORT

We gratefully acknowledge the following donors that currently support the work of the 2014-2015 season. This list is current as of January 30, 2015.

$100,000 and above The Beech Street Foundation T

D.C. Commission on the Arts & Humanities

The Erkiletian Family Foundation T

The Harman Family Foundation T

John and Meg Hauge T

HRH Foundation

Michael R. Klein and Joan I. Fabry T BA

The Robert P. and Arlene R. Kogod Family Foundation

Share FundRobert H. Smith Family

FoundationSuzanne and Glenn Youngkin T

$50,000 to $99,999 Anita M. Antenucci T

Afsaneh Beschloss T

The Morris & Gwendolyn Cafritz Foundation

Dr. Paul and Mrs. Rose Carter T

Dr. Mark Epstein and Amoretta Hoeber T

Mr. and Mrs. Robert Falb T

Mr. and Mrs. Andrew Florance T

The Philip L. Graham FundMr. Jerry KnollNational Capital Arts & Cultural

Affairs Program/US Comm. of Fine Arts

Alan and Marsha PallerAlice and David RubensteinThe Shubert Foundation

$25,000 to $49,999 Anonymous (2)William S. Abell FoundationAnne and Ronald AbramsonNick and Marla Allard T BA

Stephen E. Allis T

Paul M. Angell Family Foundation

City FundDebevoise & Plimpton LLPJames A. Feldman and

Natalie WexlerFTI ConsultingNina Zolt and Miles Gilburne T

Catherine Held

Abbe David Lowell and Molly A. Meegan T BA

Jacqueline B. MarsEstate of Suzy Platt 1616

Stephen and Lisa Ryan T BA

Vicki and Roger Sant 1616

Shakespeare for a New Generation

Fredda Sparks and Kent Montavon

Tom and Cathie Woteki AMB

$15,000 to $24,999 Anonymous (3)Altria GroupAmazon Web ServicesThe Theodore H. Barth

FoundationBritish CouncilBrown-Forman CorporationMr. and Mrs. Landon Butler T

The Carmen GroupClark Construction Group, LLCComputer and Communications

Industry AssociationThe Dallas Morse Coors

Foundation for the Performing Arts

The Max and Victoria Dreyfus Foundation

Nina Laserson Dunn and Eric C. Rose BA

E. and B. Family TrustErnst & Young LLPHelen Clay Frick FoundationGoldman Sachs & Co.Hogan Lovells US LLPMr. and Mrs. Stephen A.

Hopkins T

Humana Inc.Elaine Economides Joost 1616

Helen KenneyThe Jacob and Charlotte

Lehrman Foundation

In memory of Marilyn J. LynchAnn K. MoralesNational Endowment for the

ArtsPEPCOToni A. RitzenbergPauline A. Schneider T BA

Judi Seiden AMB

Solon E. Summerfield Foundation

Westfield LLCLynn and Jonathan Yarowsky

Turner & Goss

$10,000 to $14,999 AnonymousEsthy and Jim AdlerBarclaysBatir Foundation, Inc.Sheila and Kenneth Berman BA

Mr. and Mrs. Sameer BhargavaPeter A. BiegerDebra and Leon BlackBooz Allen HamiltonBP AmericaCBRE Group IncCJM FoundationThe Clark-Winchcole FoundationCLS StrategiesDonn and Sharon DavisDouglas Development CorporationMr. and Ms. David DupreePatricia and Miguel EstradaArthur and Shirley Fergenson ACA

Trygve and Norman FreedSue and Leslie GoldmanGould Property GroupGrossberg, Yochelson, Fox & Beyda LLPJerry and Isabel Jasinowski T

Scott Kaufmann T

Margot KellyRoger W. LangsdorfThe Ludwig Family FoundationMr. and Mrs. Eric LuseMr. and Mrs. Andrew MarinoMcLane Company IncEleanor Merrill T

Morgan StanleyTom Mounteer and Bobby ZeligerClarke Murphy and Heather

HammondMichelle NewberryNissan North America, Inc.Theodore B. Olson and Lady Booth

Olson BA

Porterfield, Lowenthal, Fettig & Sears, LLC

PwCSteve and Diane RudisVictor Shargai and Craig PascalThe Honorable Robert E. Sharkey

and Dr. Phoebe Sharkey AMB

Doug and Gabriela SmithClarice SmithSovereign Strategy LimitedThe Hattie M. Strong FoundationUS Trust CompanyMr. and Ms. Antoine Van AgtmaelMr. and Mrs. Jay VelasquezVISA U.S.A., Inc.Vornado/Charles E. Smith LPPatricia and David Vos FoundationAlan and Irene WurtzelFriends of Youngkin

$5,000 to $9,999 Anonymous (7)AflacAlston & Bird LLPMichael and Stacie ArpeyKyle and Alan BellBarbara BennettDon and Nancy BlissThe Bozzuto GroupKatherine B. and David G. BradleyBuffy and William CafritzRobert Crawford CarlsonEmily and Mike CavanaghThe Honorable Joan Churchill and

Mr. Anthony Churchill BA

Richard H. Cleva and Madonna K. StarrJeffrey P. Cunard BA

Louis Delair, Jr.The Dimick FoundationCraig Dunkerley and Patricia Haigh ACA

EagleBankMarietta EthierExxonMobilBob, Kathy and Lauren FabiaAnne and Burton Fishman BA

Forest City WashingtonTim and Susan Gibson ACA AMB

Scott and Lauren GilbertRichard A. and M. Theresa GollhoferAlice and John GoodmanLee Goodwin and Linda

SchwartzsteinGraham HoldingsDavid and Jean GrierH&R BlockThe Harbour Group, LLCKevin T. Hennessy AMB BA

Mike and Gina House T BA

The Mark & Carol Hyman FundThe International Union of

Bricklayers and Allied Craftworkers

K&L GatesDaniel F. Katz BA

Lou and Irene KatzDavid and Anne Kendall BA

Marcel LaFollette and Jeffrey Stine ACA

David A. Lamdin AMB

Bill Lands and Norberta SchoeneRichard Levi and Susan PerryHeidi and Bill MaloniThe George Preston Marshall

FoundationKathleen MatthewsHilary B. Miller and Dr. Katherine

N. Bent BA

Hazel C. MooreMorningstar Philanthropic FundKristine MorrisOracle America CorporationPinnacle West Capital CorporationPolinger Development Co.The Prince Charitable TrustsProperty Capital LLCWillam Pugh and Lisa OrangeReset Public AffairsRisk InternationalBruce and Lori Laitman RosenblumGerri and Murray Rottenberg 1616

Security Industry And Financial Markets Association

Software and Information Industry Association

Janet W. Solinger and Jacob K. Goldhaber

John and Leslie SteeleWilliam Stein and Victoria Griffiths BA

Terra Nova Title and Settlement Services, LLC

TPG CapitalMark Tushnet and Elizabeth

AlexanderRoderick and Alexia Von LipseyVulcan Materials Company

FoundationEvan J. Wallach and Katherine

Tobin BA

Marvin F. WeissbergWells Fargo PhilanthropyCarolyn L. Wheeler BA

Mike Wyckoff and Aida GatellChris and Carol YoderJudy and Leo Zickler

$2,500 to $4,999 Anonymous (4) Airlines for America Miriam and Robert AdelsteinSunny and Bill AlsupDean Amel and Terry SavelaTony Anderson and Kevin LoreiMr. Decker Anstrom and Ms.

Sherron HiemstraStephen P. Anthony BA

Celia and Keith ArnaudDrs. Hilda and William O. BankLinna Barnes and Chris MixterBB&TBrent J. BennettDr. Bill and Evelyn BraithwaiteMr. and Mrs. Jere Broh-Kahn ACA

Claudyne Y. Brown BA

The Family of Marion and Charles Bryce 1616 AMB

Mr. and Mrs. I.T. Burden, IIIDawn and James CauseyAudrey Chang and Michael VernickEllen MacNeille CharlesMonica Rose ChodurJoan ChoppinLinda and John CogdillMary Cole AMB

Jeff and Jacky CopelandCornerstone Government Affairs, LLCMarshall B. Coyne FoundationDouglas W. CrandallThe Charles Delmar FoundationBeverly and Richard DietzDorchester Towers and Dorchester

Apts on Columbia Pike in Arlington

Fynnette Eaton and James E. MillerEmily, Susannah and Michael EigHelaine G. Elderkin BA

Elmendorf RyanMichael Evans BA

Expedia, IncRob and Anne FarisLeo Fisher and Sue DuncanMr. And Mrs. Barry FleishmanClaire FrankelFranklin Square GroupPaige Franklin and David PancostFTI ConsultingBurton GerberCarol and Ken Gideon BA

In memory of Angelique Glass 1616 ACA AMB

Josh Goldfoot BA

Donald H. Goodyear, Jr.Ms. Myra P. GossensJohn E. Graves RIA and Hanh PhanMr. and Mrs. Woolf P. GrossPamela and Corbin GwaltneyNicole Alfandre HalbreinerJames T. and Vicky Sue HattKaren L Hawkins BA

Catherine MacNeil Hollinger and Mark Hollinger

James and Marissa HuttingerInternational Brotherhood

Of TeamstersLarry and Georganne JohnJohn Edward JohnsonJody Katz and Jeffrey GibbsMichael and Michelle KeeganJoel and Mary KeilerThomas and Bridget KluwinMary Hughes KnoxDr. Richard M. Krause 1616

Barry KropfDr. Mark T. Lewellyn

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Marjorie and John LewisJames M Loots, Esq. and Barbara

Dougherty Loots, Esq. BA

Linda MatthewsMary McCue ACA AMB

The McGwin/Bent FamilyThomas and Ingrid

McPherson FoundationRajesh, Radhika and Karan MurariNational Association of RealtorsNational Rural Electric

Cooperative AssociationNavigators GlobalLouisa and Bill NewlinThe Nora Roberts FoundationMelanie and Larry NussdorfThe OB-C Group, LLCJames Oldham and Elizabeth

Conahan BA

Dr. and Mrs. Kenneth OscarMr. and Mrs. David OsnosPeck, Madigan, Jones & Stewart, Inc.Mr and Mrs Carl F. PfeifferPodesta GroupSydney M. Polakoff and

Carolyn GoldmanLongview Strategies, LLCLutz Alexander PragerRasky Baerlein PrismMary and Gene ProcknowProperty Casualty Insurers

Association of AmericaRobert and Nan RatnerRed HatMolly and Joe Reynolds BA

Steven and Beverly SchachtRichard ScottLinda and Stanley SherPatricia Sherman and Terry MurphyRichard SimpsonThe Smith-Free Group LLCLouisa and Daniel TarulloThinkFoodGroupMr. Derek Thomas and Mr.

Ernesto AbregoProfessor Philip TirpakKathy TruexMr. Ralph C. Voltmer and

Ms. Tracy A. Davis BA

Washington Forrest FoundationRob Wilder

$1,500 to $2,499Anonymous (7)Ernest and Dianne AbruzzoThe Ada Harris Maley Memorial FundGisela and Thomas AhernSanford K. Ain, Esq. BA

Kevin and Amanda Allexon BA

Patricia ArnoldJulie, Tina, June and Vince AulettaKeith and Sherry BabbGalen and Carolyn BarbourRobert B. Barnett and Rita BraverMichael F. Barrett, Jr. and

Danielle BeauchampJohn and Patricia BarthJames and Carmella BellDr. and Mrs. James E. BernhardtSue E. BerrymanElaine and Richard BinderMr. and Mrs. John H. BirdsallDr. Donna W. Blake and

Mr. Bruce E. EcksteinJohn BlandfordCathleen E. BlantonMartha Blaxall and Joe DickeySusan Bokern and Ted Holmberg

Ronald BottomlyMichael BoydDavid BradleyThomas C. BrennanChris H. and James D. BridgemanHoward M. Brown ACA

Mr. and Mrs. Douglas BrownElizabeth BuchbinderMr. Michael Butterfield and Ms. Hallee

Morgan BA

Capitol Hill Community Foundation ACA

Joanna and Alan CappsCherrie and Matthew ChalifouxBarry Coburn BA

Mr. and Mrs. Anthony C. CollinsFrancis and Julia CreightonMs. Suzanne CreminsMr. and Mrs. Mark DarnellWilliam C. and Sandra DavisCarol Der GarryTom and Krista Di Iaconi BA

David and Kenna Dorsen BA

Ms. D. Chris DowneyDr. Damien and Elizabeth DoyleClaudia Hastings Dulmage BA

Anita DunnBecky and Alan DyeMs. Nike M. ElderMs. Catherine B. ElwellGarrett Epps BA

Raymond S. Eresman and Diana E Garcia

John Estes and Veronica AnguloFederal Lodge No. 1 Free and

Accepted Masons Washington D.C.Julie M. Feinsilver 1616 ACA

Mr. Elliot Feldman BA

Joseph and Jeri FellermanDenise FergusonMr. and Mrs. Alan M. FernBarbara and Ralph FerraraThe Lee & Juliet Folger FundJulian W. Fore and Beverly A. SauerThe H.O. Peet Foundation In Memory

of Margot Peet FosterLisa and Phil FriedmanRhona Wolfe Friedman and Donald

J. Friedman BA

Brenda and David FriendJuan H GaddisCharles and Amy GardnerDr. Laura J. George AMB

Dr. Douglas E. Gill and Mrs. Karen S. Vartan

Ruth Bader GinsburgJoAnne GlissonKevin Riley Gowen and Robert

Paul WilkinsonMr. and Mrs. David L. GrayMs. Pat Gray ACA

The Greczmiel FamilyLinda Griggs and Bill SwedishLisa Grosh and Donald Names BA

Merle HabermanFrona HallFrank Kendall and Beth HalpernKenneth G. HanceRobert and Margaret Hazen 1616

Andrea L. HeithoffMr. Mark E. Herlihy and

Ms. Ann M. KapplerJean and Stephen HershCheryl R. HodgeMr. Gerald HoeflerMr. Henry H. HolcombCharlotte Hollister and

Donald ClagettFran and Bill Holmes

David H. HoltzmanMs. Ann Homan BA

William L. Hopkins and Richard B. Anderson 1616

Antonia B. Ianniello and George M. Chuzi

Maxine IsaacsMr. Steven JanssenJohn, Pam and Kim JaskeBirdie Johnson BA

Eric Kadel BA

Michael Kades and Mary Giovagnoli BA

Stephanie KanwitRick KastenCandace and Hadrian KatzJoe and Joanne KellyThomas R. and Laurie S. KellyMelinda KimbleDavid A. KlausDana and Ray KochRay KogutSara Dunham Kraskin and Stephen

G. KraskinMr. Sanjiv Kumar and

Ms. Mansoora RashidL. L. LanamLeonard, Street and Deinard

FoundationNancy and David Lesser BA

Diane Lindquist BA

Freddi Lipstein and Scott Berg 1616 ACA AMB

David Lloyd, RealtorJames J. LombardiChristopher and Lane MacavoyAmanda MachenRev. Frederick MacIntyre and Mickey

MacIntyreHardee Mahoney and Juan VegegaDan and Susan MareckMars FoundationDavid and Martha MartinDr. and Mrs. James E. MartinJohn and Connie McGuire BA

In memory of Patrick Michael McMurphy who loved Shakespeare

Brenda MetzgerRussell Mikel and Alison HurstDr. Jeanne-Marie A. MillerMr. Steven MillerNancy and Herbert MilsteinChristopher Mondini and Martin SkeaDee Dodson Morris BA

Rita MullinMichael Nannes and Nancy Everett BA

Ralph and Gwen NashMadeline NelsonPhilip B. Nelson and Anne PartenMs. Beth Nolan and Mr.

Charles WrightMr. and Mrs. Lawrence O’ConnorMrs. Jean OliverTimothy P. O’TooleMr. and Mrs. Gerald W. PadweKarishma and Jonathan PageThomas Pauls and Eleanor PeltaPenelope PayneScott Pearson and Diane Farrell BA

Robert and Lillian Philipson Foundation BA

Carter G. Phillips BA

Sheldon Pratt ACA

Mr. Bruce F. Press and Mrs. Julie V. Press

Hon. Frank PressThe John and Marcia Price

Family Foundation

Ms. Elise Rabekoff and Mr. Christopher Gladstone

Mrs. Eden RafshoonLloyd and Claudia Randolph 1616 BA

Susan and Ronald RappaportSteven and Anne ReedPhillip Reiman and Leslie BinnsAlberto J. Rivera BA

Steve and Diane Rothman AMB

Ron and Sharon SalluzzoMrs. Stanley J. Sarnoff 1616

Richard and Rochelle SchwabKannon and Victoria Shanmugam BA

Dickstein ShapiroMargaret Sheer BA

Kelly S. Shoop BA

Patricia L. Sims, Esq. and David M. Sims, Esq. BA

Ed and Andy SmithCandace Smyth BA

Lynne Stephens and Kenneth LarsonRuss Stevenson and

Margaret R. AxtellLawranne Stewart and Mark KantorMark Sucher and Jane LyonsSusan and Brian SullamAl and Nadia TaranPeter ThreadgillDavid ToneTruetheatergoer LLCMichael TubbsMr. Clifton Hyde Tucker, Jr.José Alberto UclésTessa van der Willigen and

Jonathan WaltersJohn H. Vogel BA

Thomas and Molly Ware AMB

In memory of Dorothy B. Watkiss BA

Sally and Richard WattsIn memory of Mary WeathersDr Arthur Weinstein and Ellen SpinSonia and Dale WestLaura and Paul Weidenfeld BA

Ms. Molly WilkinsonMr. Alan F. WohlstetterJulian Yap BA

Fred and Sandra YoungThe Honorable Dov S. Zakheim and

Mrs. Deborah Bing ZakheimMargot and Paul Zimmerman

$1,000 to 1,499 Anonymous (10)Douglas and Jane AlspachAnthony Francis

Lucas-Spindletop FoundationMr. and Mrs. Gregory BallentineDan and Nancy BalzMr. and Mrs. Albert H. Barclay Jr.R. Joseph Barton and Tricia PlacidoJudge James A. BelsonMs. Marion C. BlakeyJames BlumBill Bodie T

Elizabeth BoyleJill and Jay BrannamRoger and Nancy BrownCandice C. BryantLora and Stan BurgessMichael L. Burke and Carl W. SmithJohn and Linda ByingtonDianna and Mickey CampagnaRita A. Cavanagh and

Gerald A. KafkaElaine H. ChristElaine ChurchBarbara and John Cochran

Mr. Timothy Cole and Ms. Kathy Galloway

JoEllen and Michael CollinsRonald Costell, M.D. and

Marsha E. SwissThe Honorable and Ms. Tom DavisEmma R. Dolly DieterMr. and Mrs. John DillonRichard and Patricia DraperSusan and Dorsey DunnDonna Z. EdenESPY Energy SolutionsGary and Naomi FelsenfeldSandy and Jim FitzpatrickAaron and Susan FullerMs. Elizabeth GalvinAngela and Dan GoelzerAlisa M. Goldstein and Lee BlankJudy HallMr. and Mrs. HarrJeanie and Tex HarrisFred Philip HochbergJudy G. Honig and Stephen W. RobbKen HunterInternational Brotherhood

of BoilermakersLorna JaffeJones Lang LaSalleMr. Jeffrey D. KirkwoodPolly KraftKaren LeiderLEVICKShirley Loo 1616

Mr. John H. LoomisSteven M. Rosenberg and

Stewart C. Low IIIBruce and Virginia MacLauryMr. and Mrs. Gregory MayBernard and Mary McKay T

Belinda and Jon McKenzieW. Bruce McPhersonSarah D. MeredithSusan Milligan and Philip McGuireMr. Peter G. MirijanianNewTrends PublishingMr. and Mrs. P. David PappertJames D. ParkerBarbara A. Potcka and

Everett MattlinMark Perry and Adele MouzonProfessional Women in

Advocacy ConferenceJulie PhillipsSusan and Donald RappaportThe Honorable Joe R. ReederPeter S. ReichertzMac and Michelle-Anne RileyJohn Forest RoemerNancy and Miles RubinJames and Madeleine SchallerJennifer M. SchlenerEugene & Alice Schreiber

Philanthropic FundElizabeth and Carl SeastrumShe Should RunIn memory of Betty F. ShepardJohn and Roma ShermanJerry and Judith ShulmanMark J. and Joan B. SiegelSprintGary and Libby StanleyMr. Edward SteinhouseSteptoe & Johnson LLPRobert and Virginia SternElizabeth and George Stevens, Jr.Alan Asay and Mary SturtevantDavid and Sarah TateUnited Airlines

Carole and John VarelaMr. and Mrs. L. Von HoffmanWashington Resource AssociatesBill and Ted Wears-RichardsDavid Webber and Joelle FaucherMr. and Mrs. Rosanne WeberMs. Judith WeintraubGerry WiddicombeDr. Frederick W. Wolff and Dr.

Catherine ChuraPenny S Younce $500–$999Anonymous (23)George and Polla AbedActors’ Equity Foundation, Inc.Vickie and David AdamsonMaqbool AlianiMr. and Mrs. John AllenThomas and Kathleen AltizerEric AmickWolfram Anders and Michele ManattJerome Andersen and June HajjarRichard and Rosemarie AndreanoMs. Jerrilyn Andrews and

Mr. Donald HesseCherrill Alfou AnsonM. AntounJudy Areen and Richard CooperJean W. ArnoldMrs. Martin AtlasKevin and Sheila AvruchMary Anne and Charlie BacasLeonard BachmanMr. Joel BalshamJonathan H. BarberMargaret and Gordon BareJoan Barron and Paul LangCharles D. Bartlett and Linda BartlettDanielle L.C. BeachRev. John P. Beal, IIIJulianne BeallNan BeckleyCarol Benedict and Paul AshinPaul R. Berger and Janice L. LowerMs. Mary Ellen BergeronRobert C. and Elissa B. BerniusBethesda MRI & CTPaul Bickart and Marcia ReecerVaughn and Marian BishopWilliam D. Blair

Charitable FoundationAmbassador Julia Chang Bloch and

Stuart BlochRick and Burma BochnerThomas BoothDick and Sarah BourneMr. Chris BoylesThe Honorable Susan G. Braden and

Thomas M. SusmanDr. Ronald BradyRobert and Lucy BremnerMichael and Taylor BroganChristopher BrownDana E. BrownPhilip Buchan and June KrellHarold R. BucholtzJayne BultenaMs. Beverly J. BurkeMs. Destiny BurnsCol. and Mrs. Lance J. BurtonCesar A. Caceres MDPeggy CanaleAnn CardoniCaroline Willis Book AppraisalsJames M. CarrNicholas and Mary Jeanne CarreraConnie Carter

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Ann Castiglione-Cataldo and Walt Ennaco

Athena Caul and Brian BaylissSarah and William CavittMs. Janice L. ClarkJohn Clark and Ana Steele ClarkThomas and Robin ClarkeMatthew and Sharon CoffeyWilliam and Sara ColemanLillian H. CollinsJack and Julia CorradoOwen Costello and Erlin WebbMichael and Sue CraneMr. and Mrs. Scott W. DavisMatthew and Mike DazéAnthony and Nancy DeCrappeoMary des JardinsMarjorie Deutsch, Ph.D and John

Broadbent, JDCaroline M. DevineAlan and Susan DranitzkeJean and Paul DudekDutch and Brenda DunhamJoy DunkerleyDavid DunnSayre Ellen DykesStephen and Magda EcclesStuart and Joanna EdwardsMr. Paul EhrenreichMr. and Mrs. Kenneth A. EisenhardtRoberta EllingtonVictoria Elliott and

J. Michael ShanahanWilliam EricksonMs. Janice FaucettGail W. FeaglesColonel and Mrs. Charles F.

FeldmayerDorothy E. FickenscherScott FineLouise A. FishbeinMs. Christine Fisher and

Mr. Oscar GoldfarbDonald and Cathy FogelRev. and Mrs. Frederick FoltzRobert and Carole FontenroseLt. Col. Michael A. Foughty and Rev.

Donna L. FoughtyCandida Fraze Moskovitz and

Peter MoskovitzPamela Frazier and Michael FinanDavid FrederickDavid FreemanMike and Pati Froyo-McCartyMichael GabaMr and Mrs Davis R Gamble, Jr.Mr. and Mrs. Charles GaryNorman I. GelmanLewrene GlaserVera GlocklinJinny and Michael GoldsteinMs. Eloise Gore and Mr. Allen HileLynn M. GowenPatricia GrahamJudy and Sheldon GrosbergMargaret S. GrotteBruce and Georgia Sue GuentherTom Gusdorff and Ed DennisonWill Guthrie and Ellen EpsteinCliff HackettJack E. Hairston Jr.Dr. Sara Hale Henry and

Mr. Austin HenryKathryn HalpernCDR Lars Hanson and RADM

Rosanne LevitreDonna HartPeter D. and Florence R. Hart

Doris HausserDr. James A. HeathKari and Max HeermanShawn C. Helm and

J. Thomas MarchittoMargaret HennesseyJane and David HeppelBernardo HirschmanMelissa Hodgman and Peter StrzokStanley and Vicki HodziewichLaura L. Hoffman and David C. ColinDavid HofstadPaul and Carol HonigbergSilvia M. Hoop and Alfred KammerDonald and Barbara HoskinsJohn K. Hoskinson and

Ana I. FàbregasMr. and Mrs. Timothy HowardLois HowlinDave HughesStanley Alan HurwitzSusan C. ImmeltMr. Loring J. Ingraham and

Ms. Dale RubensteinEric R. JablowMr. Kurt JaegerRachel R. JaffeMary Frances JettonDixie Porter JohnsonJason and Cynthia JohnsonStacy Johnson and Charles CorbinCatherine JordanMaryanne and David KaneDaniel Kaplan and Kay Richman

Gift FundKathleen KarrPreston and Lois KavanaghAshok and Stuti KaveeshwarMsgr Francis KazistaMark KearneyBarbara KellerMary E. KennellyAndrea and Joseph KerrBill and Marion KetteringRobert KimminsLt. Col. Jo Kinkaid USAF (Ret)Susan and Bill KirbyStephen and Mary Sue KitchenDr. Prudence Kline and

Dr. Paul KimmelSally Weinbrom KramHoward KraussKaren E. KruegerRobert L. LarkeFrances and Emery LeeDr. and Mrs. Stanley E. LegumMr. and Mrs Tracy LeighMrs. Sandra LevenbookShirley J. and William S. LevineMichael and Bianca LevyChip LinnemeierDr. Richard F. LittleMarcia LitwackMr. and Mrs. Joseph LivingstonNancy and Dan LongoRaudel Che LopezKenneth and Joan LorberJoan LorrLucinda A. Low and

Daniel B. MagrawLinda L. LumOsborne Mackie and Morgan DelaneyDonald and Julianna MahleyDavid and Claire MaklanTom and Joan MalarkeyMrs. Maureen MaloneJohn and Liza MarshallRita and Paul Marth

Patrick Martyn and Eric LomboyPeter Mathers and Bonnie BeaversWinton E. Matthews, Jr.Catherine McClaveCynthia and Richard McConnellWilliam A. McDaniel, Jr.David and Sarah McMeansSusan McNabb and Brent HillmanBeverly Melani and Bruce WalkerSusan and Harry MeyersMadalene MielkeRoger and Robin MillayMr. and Mrs. Edward MillerDaniel Mintz and Ellen Elow-MintzJane and Paul MolloyDr. Allen MondzacCatherine Moore and Carl StephensTheresa MorrisMr. and Mrs. Timothy P. MulliganCarl and Undine NashLinda S. NeighborgallJo-Ann NeuhausElizabeth and John NewhouseD.W. and Martha NewmanEugene NojekMs. Kathleen J. NorvellRuss and Ellen NotarIn honor of Oliver OceanMr. James OlanderWarren S. Oliveri, Jr. and

McGennis WilliamsMr. Francis O’Malley and

Dr. James EllzyA. OrzaMr. and Mrs. Ernest T. OskinMr. and Mrs. Mack OttRodney and Deborah PageMike and Pam PeabodyJulia PerlmanMark and Nina PerryGary and Trudy PetersonMs. Mary I. PettVictoria PhippsCol. and Mrs. Scott PinckneyElizabeth PiotrowskiMichael ProffittJulie and Navarro PulleyDrs. Dena and Jerome PuskinAlice RandSheldon and Barbara ReppResch FamilyWilliam L. Ritchie Jr.Gail A. RobinsonThe Honorable John T. RooneyLinda O. Rosenfeld and Fred KrosnerPeter D. RosensteinPaul and Katy RosenzweigLynn N. RothbergBurton RothlederPeggy and Bud RubinSuzonne SageLinda B. SchakelAmy Schwartz and Eric KoenigMatteson and Kathleen ScottIn honor of Shakespeare classes and

the Theatres that support themPhil SharpCatherine M. SheppardAdele Z. SilverDonald M. SimondsDr. and Mrs. Delbert D. SmithRandall Speck and Samantha NolanMr. and Mrs. William SpellbringCecile and James SrodesDr. William and Vivienne R. StarkMr. and Mrs. Ronald W. SteeleCarol SteinJanice Sterling

Jeff StollerDorothy and Donald StoneBarbara StoutJudi and Richard SugarmanMaureen SullivanAlice J. SziedeCarol and Harry TabakDrs. Steven and Sheila TaubeCharles E. TaylorJohn TaylorJonathan Taylor and Dianne

ShaughnessyGrant P. and Sharon R. ThompsonMs. Pauline ThompsonWilliam J. Tito and Debra J. DuncanMaryellen Trautman and

Darrell LemkeLynn TrundleMr. and Mrs. Alvin TuckerDiana M.L. Tucker James and Cynthia TuiteDavid S. TurnerDrs. Stephen and Susan UngarAllen UnsworthRod and Marilyn UvegesDr. Richard ValachovicArina van BredaJoan and Lyman Van NostrandFernando and Stephanie

van ReigersbergDwight and Carrie VaughnMartin and Susan WaldLibby and Herb WareRobert Warren and Jane GraysonIn memory of Marjorie Hecht WatsonRobert and Isabel WeinJack and Ruth Ellen WennerstenDr. Edward WhitmanMs. Kelly WilcoxDeAunn and Jeffrey WilderDr. Marjorie Williams ACA

Virginia and Wayne WilliamsLinda WinslowC. Lawrence WiserGeorge E. WishonNeville Withington and Kerry

KinghamMs. Anita WoehlerMarty WoelfleKathryn WoodDeborah YaffeJulie and David ZalkindMark Ziomek and Gary Bowden

$250–$499 Anonymous (41)Jean AbinaderMr. and Mrs. Elias Aburdene and

Annette AburdeneDonald Adams and Ellen MalandJon and Kate AikmanDon and Allison AitkenMs. Emily L. AitkenAnthony A. AldwellMr. and Mrs. Charles T. AlexanderIn honor of Marla and Nick AllardMr. and Mrs. Theodore E. AllisonAmbassador and Mrs. Frank

AlmaguerBill and Sue AltermanGabriela Anaya and Bruce TanzerKirsten Anderson and Jeff HarrisNancy P. AndersonEdward M. Andrews and

John H. McCraryJohn AusinkJames H. BabcockJane Bachner

Kathy and Bob BaerBeverly BakerSheila Eddy BakerDr. Sheryl D. Baldwin 1616

Joaquin and Maite BallesteroNancy and Ed BarsaAndrea BaruchinMichaele and Phil BattlesIn honor of Jeff BaumanMr. Michael J. BeckMs. Kathleen BerginJane C. BergnerJennifer BergstromMichael BerissSharon L. BernierPam and David BernsteinBarbara BerrieClaire and Tom BettagMr. Bowen BillupsDarwin BinghamAnita BizzottoMary C. BlakeElizabeth and Michael BlakesleeMary Josie and Bruce BlanchardMr. Robert L. Bleimann and

Dr. May ChinJohn W. BlouchDonald J. and Carol L. BobbyElizabeth R. BoeKaye and Andrew BoeselConstance Bohon, M.D.Douglas G. BonnerLillibeth Boruchow, M.D.Jennifer Boulanger and Bruce SchilloThe Bowie FamilyCindy and Dennis BrackDrs. James and Jean BradenBill Brewer and Collot GuerardPaul S. BridgeLiz and Cornelius BronderAdrianne B. BrooksSteve BroughmanBetti Brown and Bob RamseyLorraine BrownPerry L. BrownThe Brueggeman FamilyBuckley/Palmore/Hind FamilyGita BuddJan BurchardJeffrey and Josephine BurtonSusan and Dixon ButlerThomas Calhoun and Thelma TricheKim and Glenn CampbellPatricia CampbellRobert J. Campbell and

Mary A. SchellingerJosh CanaryLouis CannonMargaret CapronPatrick and Katharine CarneyMarge Carrico and James TraylorMandy ChalouWallace ChandlerShu Hui ChenJM Rowe and Nancy ChesserEdward ChmielowskiHeidi ChristensenRicky ChristieLily L. Chu and Gerald W. Weaver IIMrs. Nancy B. ClarkRay Clark, Rhonda Starkey and AlexMr. and Mrs. Robert L. ClarkWilliam and Louise ClevelandBob CohenJohn and Sheila ComptonSusan E. ConnorsWilliam and Carol Conrad

Rachel ConwayBeverly CookJovana CookeJohn F. CopesMs. Victoria CordovaWilliam and Elise CouperRobert W. CoverEdward E. CraggPaul CrainStephen T. CramoliniAlan T. CraneDrs. Joanne and Frank CrantzD. Elizabeth CromptonBill Cross and Dr. David McCallJoseph CrossMatt CrouchJohn CuddySuzanne and Gregory CurtMs. Donna DanaDr. Lawrence and Dr. Dolores

D’AngeloAmbassador and Mrs. Jaime

DaremblumAllen and Louisa Warren DavidsonIris DavisMs. Deanna DawsonCharles and Connie DelaplaneBeverly DickersonPeter DickinsonMs. Suzzane DomarukThomas and Carol DonlanMs. Bridget DonohueKathleen M. Donovan-ScullyColleen DoughertyDr. Richard Drawbaugh and Suzanne

DrawbaughAlison Drucker and Tom HolzmanDr. and Mrs. John V. Dugan, Jr.Mrs. Karen-Sue DunnJulia and Joe DzikiewiczMary and Bob EcclesChristian and Angela EhemannDr. Stephen C. EhrmannMichele B. EisenbergMarjorie and Anthony ElsonEncore!William ErdmannConnie EricsonBrandon EtheridgeWilliam FaragherAnne and Marc FeinbergTracy FisherAnne and Al FishmanJames and Isabelle FitzwilliamDonald FlandersBarbara FormosoRichard L. ForstallV. Lee FortnaMichael B. Fowler and

John E. Nappi, EsqMs. Mary FrakerElizabeth FranceMolly M. FrantzJim FraserDavid Furth and Martha FinnemoreMary FusonRobert GallagherMr. Melvin L. GambleMary Alice GarberDr. Arlyn Garcia-PerezDennis GerrityGersony FamilyRobert Gerwin and Ruth AssalAnne-Marie GlynnKathleen GohnAmnon and Sue GolanGabriela GoldMichael and Ellen Gold

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Burton GoldbergDavid M. GoldbergMrs. Lawrence GoldmuntzEllen L. GoldsteinDavid GoldstonMargaret GoodmanBrent Gordon and Susan MillerKaren and Hal GordonSheffy Gordon and Aimee SmartMarian L. GreenEldon and Emily GreenbergBruce Gregory and Paula CauseyDavid GroverMr. Paul K. GuinnessyGail J. GulliksenDonald HarrisonValorie HarrisonFrank and Lisa HathewayConstance and Richard HeitmeyerRobert J. HerbertDr. Roger E. Herst and

Dr. Judith L. BaderJune and George HigginsDorsey HiltenbrandRichard and Ardeth HinesFrederick S. HirdAmanda and Lawrence HobartVirginia A. HodgesDee Ann HoliskyAndrew Hollinger and Niki HolmesMr. and Mrs. Richard HolwillDonald H Hooker Jr and

Mary I BradshawCharles Horn and Jane LuxtonChris Horning and Nancy GarrubaCapt. and Mrs. Thomas C. HoughtonCharlotte HrncirVeronica HubbardDr. and Mrs. Carl E. Hunt MDBill and Kathleen HurleyCarol IrelandPaul and Susan IrwinWill, Amanda and Fran IrwinJacqueline L. JacksonKatherine JamesonElizabeth JantheyEdward and Victoria JaycoxMr. and Mrs. Donald JohnsonGeorge and Ayah JohnsonMaj. Jeff JohnsonLinda JohnsonMr. and Mrs. James M. JohnstoneFred JonesMs. Margaret JonesTerri and Phil JordanMark JosephBarbara (Grabon) and

Robert JuszczykStephen KaiserMarvin and Madeleine KalbTim and Sandy KamasRichard KaneMr. and Mrs. Albert J. Kappes IVVirginia KarlNancy KaslerArthur Katz and Sima Osdoby 1616

Colleen and Jack KatzSheila KauttMr. and Mrs. Robert KeatleyThomas Keenan, Dr. Joel Shapiro and

Elizabeth LaneMr. Allen L KeiswetterJohn and Tommie KelleyCaroline E. KenneyDon and Alison KerrJudge Gladys KesslerSandy and Pat KimbleMichael and Carolyn Kirby

Audrius KirvelaitisMr. and Mrs. Alan KistlerFrank D. KistlerIn memory of Robert KnoussTom and Kathy KnoxJeffrey and Barbara KohlerW. Gary Kohlman and Lesley ZorkMichael W. KolakowskiMary KotzSara KouryMr. T. C. LaceyMr. Michael LainoffMargaret LaneMs. Debbie LansfordThomas A. and Jean L. LauzonEileen Lawrence and

Bobby GreenfieldL. L. LawsonVirginia LawtonJohn W. LaymanLisa and Chris LeinbergerRaymond and Betty LepesqueurMs. Annie LesherMr. Ben LevyCharles Levy and Yvonne ZoomersHerman D. LevyJoann and Nancy LewinsohnCarol A. LewisCraig and Stephanie LewisMs. Elizabeth H. Lewis and Mr.

Thomas J. SaundersSallie and Sam LewisErik Lichtenberg and Carol MermeyBarbara Liggett and

Augustine MatsonSandy LiottaLyndsey LivingstoneSandra LottermanSteven MagelEllie and Chris MaginnissDrs Mark and Leigh MaierDr. Jack MalgeriWm Gary and Phoebe MallardAlice S. MandanisRobert and Ida May MantelDaniel and Maeva MarcusMaury and Beverley MarksMr. Thurgood Marshall JrDonald Martin and Tammy WilesDr. and Mrs. Robert MartinRoy and Leeann MatthewsMr. Michael S. Maurer and Ms. Rachel

L. SherMr. and Mrs. James W. McBrideMatt and Peggy McCartyCarol McGarryAnna Therese McGowanE.A. McGrathMs. Katy MeadHenry MendeloffLisa MezzettiJoAnn and Skip MicanM. Elaine MielkeDrs. Rolf and Lee Anna MielzarekJack and Barbara MillerNicole and Stephen MinnickBobbe and Herb MintzAlexandra and Jeffrey MitchellBarbara A. MitchellRyland and Mary L. MitchellJessine A. MonaghanDr. and Mrs. T. Lindsay MooreJohn and Livezey MoreKathryn A. MorricalMelvin MosleyWilliam MullinixElisabeth MurawskiViola S. Musher

Mr. and Mrs. Robert W. Mustain Jr.Anne MytychDr. Valerie NealElizabeth NeblettAmy NelsonWinkle Williams NemethMelissa Nielson and Edward YawnMrs. William A. NitzeAlice L. NorrisGeraldine NovakPaul and Beth NyhusPaul D. O’BrienDr. Edward and Susan OldfieldJudy OlmerNancy Swanson OlsonJoe and Margot OnekDr. Betty Ann OttingerPatricia OvermeyerJoe PalcaMary Ann PalkaMerrillee PallanschThomas and Yates PalmerSusan Papp-LippmanVisvas J. PatelIn memory of Michael PattenRebecca PattonDonald D. PealerKevin and Sherry PearsonRandolph PerryCol. Sandra PerryRick PetersGeraldine Fogel PilzerDiane and Arnold PolingerJessica PollnerChris Poppe and Teresa ChannonLisa PoulinMr. and Mrs. Joseph A. PreselElvis PresleyDiana L. PrestonColonel Terry C. QuistTamar and Stanley RabinAlfred S. RaiderJennifer and Harry RandJulie and Sam ReaMichael RebainMr. and Mrs. Thomas J. ReckfordJohn and Sue RenaudClark and Maggie RheinsteinMs. Catherine RibnickIn memory of Richard J. Ricard, JrMargaret Rice and Bill SetteJoan RinebergDwight and Laurie RodgersAudrey RohMarcia and Robert RosenbergGene and Shirley RosenfeldLoretta RosenthalLaura Roulet and Rafael HernandezFaith RuffinsLelia and Robert RussellMargaret L. RyanBarbara RylandElizabeth and Noel SaffordMr. and Mrs. Albert L. SalterBetty H. SamsMr. and Mrs. Stephen B. SanbornPat SandallMary SandersMr. Charles B. Saunders, Jr.Christy Schmidt and Tony and

Peter BayneSteve and Rhonda SchonbergGeane and Richard SchubertJane Schubert and Robert WoolfolkDr. and Mrs Frank and

Susan SchusterJoyce and Richard Schwartz

Don G. Scroggin and Julie L. Williams

Joan SearbyJeffrey and Patricia SedgwickEllen Seidman and Walter SlocombeSeema ShahIn Honor and Appreciation to the

Staff of STCPatrick Shannon and Gita MaitraCarol Anne ShapiroDesta ShawLouise I. ShelleyEric SherredH. James and Judy SilvaSteve SleighIn Memoriam Brenda S SmitthMichael R. Smith and Holly A. LarischNick and Robbie SnowSusan SnyderSteve and Diane SockwellBill and Susan SoderbergCathy and Bob SolomonMr. Richard E. Spear and

Ms. Athena TachaSarah SplittJames and Sue SpragueMr. and Mrs. William StansberyHelene and Michael SteinBetsy and Ralph StephensSue and Steve SternheimerCrawford Feagin StoneMiss Chris StottmannThe Honorable and

Mrs. James W. SymingtonBarbara TaffElizabeth A. Taylor 1616

Karla Taylor and Mike McNameeMiller and Virginia TaylorCynthia TerrellJill and Scott ThompsonMr. Mike TomanOrlando ToujagueMr. William H. TruettnerSilvia B. TrumbowerJocelyn and David TurkelMr. Glenn TuttleMr. Paul TwohigDr. Kazuko UchimuraMr. and Mrs. Stewart UmphreyEli and Zahava VelderJames M. VerdierScott VicklandJames VollmanDr. and Mrs. A. VourlekisPeggy and Ted W.Dr. and Mrs. Bruce Wald

Linda WalshMr. Peter Q. Weeks - ElderCaringThomas and Elizabeth WehrAllan and Marjorie WeingoldDavid WentworthKaren Whaley and Jim MagnerJune White DillardMichael WilliamsRobert E. WilliamsMs. Beth Anne WilsonDavid and Myra WilsonMr. Scott WilsonEllis WisnerBetsy L. WolfSandra WolfeStacy WoodruffAnne and Tom WotringMr. and Mrs. Rob WyseNicholas and Wendy YarnoldCarolyn YocomIrving and Carol YoskowitzMr. and Mrs. John J. ZeugnerVictor Zitel

Permanent support through the establishment of endowment fundsThe Leading National Theatres Program,

a joint initiative of the Doris Duke Charitable Foundation and the Andrew W. Mellon Foundation

Helen Harris Spalding and Herman Bernard Meyer Shakespeare Memorial Fund

Gizella Moskovitz Fund

Additional Members of the Society of 1616AnonymousHelen Alexander and Roland WeissLorraine E. ChickeringAnne CoventryPeter and Linda Parke Gallagher*Ms. Claudia J. GreerMichael Kahn T

Lt. Col. and Mrs. William K. KonzeEstate of Gwenneth Lavin*Mrs. R. Robert LinowesShirley LooMarian MlayJudith E. MooreSusana and Roberto Morassi*Stanley MylesSuzy Platt*Jennie RoseHenry J. SchalizkiAnne and Daniel Toohey

In KindAsia NineBridgeStreet WorldwideCarmine’sCedar RestaurantConstellation Brands, Inc.Corner Bakery CafeDC AccessDistrict ChopHouse & BreweryFUEL PizzaGordon Biersch BreweryThe Greene TurtleThe HillHomewood Suites by Hilton

Washington DCKnightsbridge, Inc.LaTascaLavagnaMAC CosmeticsMoet & ChandonMOM’s Organic MarketNando’s Peri PeriOld Town Shoe & Luggage RepairPitango GelatoRed Velvet CupcakeryRosa MexicanoSocial Reform Kitchen & Bar/Private

Caucus RoomsTangysweetTaylor GourmetTDFTeaismThinkFoodGroupUberU Street CleanersUrban EssentialsVapianoWashington Metropolitan Area

Transit AuthorityThe Washington Post CompanyWest Wing Writers GroupZengo

Matching GiftsBank of AmericaComputer Associates International, Inc.ExxonMobil FoundationFreddie Mac FoundationIBM International FoundationInternational Monetary FundQualcommT. Rowe Price Foundation, Inc.Verizon FoundationWiley Rein LLPYourCause, LLC

Members of the Society of 1616, the Theatre’s planned giving societySupporters of the Academy for Classical ActingAmbassadors of the Theatre, generous donors who help to develop and enhance our patrons’ relationship with the Theatre. To join, please contact Sara Conklin at 202.547.3230 ext. 2312.

Members of the Bard Association, dedicated supporters of the Theatre who are members of the legal community. To join, please contact Sara Conklin at 202.547.3230 ext. 2312.Members of the Board of TrusteesDeceased

OFFICIAL 2014–2015 SPONSORSHotel

Costume & Garment CareMake-Up Wine Airline

KEY TO SYMBOLS

1616 BA

Every effort has been made to ensure that this list is accurate. If your name is misspelled or omitted, please accept our apologies and inform Arielle Katz in Member Services at 202.547.1122, option 7, or email SupportSTC@ShakespeareTheatre.org.

ACA

AMB

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Shoe Repair

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What was your inspiration for this production?

The very first time we approached this piece was when the Republican congress in 1994 was attacking artists—the religious right and the far right began comparing artists to pornographers. We thought, “Now is the time to do Tartuffe.”

Once you pursue a piece, you realize what you could do better. For the design, we wanted a 17th-century interior that could get very bright—we didn’t want a dark setting, hypocrisy should be in a bright environment. It slowly becomes reminiscent of a cathedral or a church within the home. The lights remain the same throughout: we wanted to start the show at the end of the night, when the family conversation about Tartuffe has been going on all night. The play continues all through the evening up to night again.

This production is coming from runs at South Coast Repertory and Berkeley Repertory. What has the audience response been?

Obviously it is a very strong piece, not the comedic farce Molière that people expect. It’s a more brutal piece, darker. The comedic elements are still there—of course, it’s Molière—particularly in the servants. But it’s darker, not farcical. The audience response has been very good. They didn’t

expect Molière to be like that. It’s a powerful, moving experience.

It is important for there to be strong production values. We want it to feel like a celebration and a pleasure for the audience to see the production. Even if it’s dark and brutal, it’s made for an audience.

How do you expect D.C. audiences to react?

Considering what the city is, a big political capital, I think it will touch a nerve—but in a good way.

Will you share a bit about working with Steven Epp?

Steve and I have worked together for many years—coproducing, adapting, on comedies, operas, new pieces. We have a long, long history together. He’s not just a great actor but an author, an adaptor, and the artistic director of our new company, our baby, The Moving Company. We share a common language about how to approach a piece. He’s a true collaborator: we start at the beginning of a project and work together throughout the process to its production. Here, he is not just playing Tartuffe but was central to the process, in developing it, and how we went about producing the piece. He is also a great ambassador for talking to new artists and actors who might not be familiar with our work.

TARTUFFEAn interview with Tartuffe director Dominique Serrand

Tartuffe is a Co-production with South Coast Repertory and Berkeley Repertory Theatre. Photo: Nathan Keepers as Laurent, Steven Epp as Tartuffe, Brian Hostenske as Damis and ensemble members in South Coast Repertory’s production of Molière’s Tartuffe, adapted by David Ball, directed by Dominique Serrand. Photo by Debora Robinson/SCR.

TARTUFFE atSidney Harman Hall begins June 2.

Tickets now on sale atShakespeareTheatre.org or 202.547.1122.

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March 17-April 26Sidney Harman Hall

Open Caption performances made by possible by a grant from

CREATIVE CONVERSATIONS

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PAGE AND STAGESunday, March 22, 5–6 p.m.The Forum

BOOKENDSWednesday, March 25, pre- (5:30 p.m.) and post-showThe Forum

REFLECTIONSSaturday, April 11, 6 p.m.The Forum

DISCUSSION IN ASLTuesday, April 14, Pre-show (6 pm)The Forum

POST-PERFORMANCE DISCUSSIONWednesday, April 15Post-Show Sidney Harman Hall

STC is the recipient of the 2012 Regional Theatre Tony Award® as well as 81 Helen Hayes Awards and 322 nominations.

Presenting Classic TheatreThe mission of the Shakespeare Theatre Company is to present classic theatre of scope and size in an imaginative, skillful and accessible American style that honors the playwrights’ language and intentions while viewing their work through a 21st-Century lens.

Promoting Artistic ExcellenceSTC’s productions blend classical traditions and modern originality. Hallmarks include exquisite sets, elegant costumes, leading classical actors and, above all, an uncompromising dedication to quality.

Fostering Artists and AudiencesSTC is a leader in arts education, with a myriad of user-friendly pathways that teach, stimulate and encourage learners of all ages. Meaningful school programs are available for middle and high school students and educators, and adult classes are held throughout the year. Michael

Kahn leads the Academy for Classical Acting, a one-year master’s program at The George Washington University. Beyond the classroom, educational opportunities like Creative Conversations are available to all in the community.

Supporting the CommunitySTC has helped to revitalize both the Penn Quarter and Capitol Hill neighborhoods and to drive an artistic renaissance in Washington, D.C. Each season programs such as Free For All and Happenings at the Harman present free performances to residents and visitors alike, allowing new audiences to engage with the performing arts.

Playing a PartSTC is profoundly grateful for the support of those who are passionately committed to classical theatre. This support has allowed STC to reach out and expand boundaries, to inform and inspire the community and to challenge its audiences to think critically and creatively. Learn more at ShakespeareTheatre.org/Support or call 202.547.1122, option 7.

ABOUT STC

ABOUT ACA

The Academy for Classical Acting (ACA), the Shakespeare Theatre Company’s premier MFA training program run jointly with The George Washington University, is celebrating its 15th year! Every fall, 14-16 professional actors from all over the United States and abroad join the Shakespeare Theatre Company’s remarkable faculty to immerse themselves in a rigorous, one-year, conservatory-style training program especially dedicated to mastering the complexities of heightened text and classical acting. In the past 15 years, the ACA has trained 210 actors of all ages. Some of the alumni go on to careers in NYC, some return to their places of origin, and many make homes for themselves right here in Washington, D.C. On any given night, dozens of ACA graduates can be seen on stages throughout the D.C. metro area. And of those D.C.-based alumni, many have been nominated for and even won the coveted Helen Hayes Award. Already, midway through STC’s 2014-2015 season, seven ACA grads spanning the years 2003-2014 can be seen playing roles on our own stages.

Now that the 2015 Audition Tour is over, the ACA students and faculty are ramping up for our summer repertory season. Every summer, the ACA produces two shows: one written by William Shakespeare, and one from the Jacobean era. The productions are a great way for audiences to experience classical theatre in an intimate setting. Be sure to check ShakespeareTheatre.org/Academy in the coming months for information on this year’s season.

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SHAKESPEARE THEATRE COMPANY STAFFArtistic Director Michael KahnManaging Director Chris JenningsExecutive Assistant to the Artistic Director and Managing Director David Lloyd Olson

ARTISTICAssociate Artistic Director Alan PaulHead of Voice and Text Ellen O’BrienResident Casting Director Carter C. WooddellLiterary Manager Drew LichtenbergArtistic Fellow Garrett AndersonDirecting Fellow Katherine BurrisAffiliated Artists Keith Baxter, Avery Brooks, Helen Carey, Veanne Cox, Aubrey Deeker,

Colleen Delany, Franchelle Stewart Dorn, Cameron Folmar, Adam Green, Edward Gero, Philip Goodwin, Jane Greenwood, Michael Hayden, Simon Higlett, Christopher Innvar, Stacy Keach, Floyd King, Andrew Long, Ethan McSweeny, Jennifer Moeller, David Muse, James Noone, Patrick Page, Robert Perdziola, Nancy Robinette, David Sabin, Miriam Silverman, Derek Smith, Walt Spangler, Tom Story, Rebecca Taichman, Ted van Griethuysen, Craig Wallace, Adam Wernick,

Gregory Wooddell

ADMINISTRATIONDirector of Administration James RoemerAssociate Managing Director Anne S. KohnHuman Resources Manager Lindsey MorrisHuman Resources Coordinator Danielle MohlmanAccounting Manager Mary Margaret FinneranStaff Accountant Marco DimuzioCompany Manager Mackenzie DouglasCompany Management Intern Brittney HollandReceptionist Ursula David General Management Intern Kathryn AtkinsonDirector of Operations Timothy FowlerOperations/IT Assistant Melissa AdlerTheatre Building Engineer Dave F. HendersonTheatre Monitors Milton Garcia, Jeff WhitlowFacilities Custodian Jorge Ramos LimaHarman Custodians Dennis Fuller, Mirna Guzman, Roderick ProctorLansburgh Custodians Zulma I. Bonilla, Izilma Membreno, David GuzmanDirector of Information Technology Brian McCloskeySystems Administrator Patrick HayesDatabase Administrator Brian Grundstrom

DEVELOPMENTChief Development Officer Ed ZakreskiSenior Associate Director of Development Amy GardnerIndividual Campaigns Officer Betsy PurvesMajor Gifts Officer Sara ConklinSpecial Events Manager Moriah MillsDevelopment Operations and Membership Manager Kristina WilliamsDevelopment Operation Coordinator Sara SeidlerMembership Coordinator Arielle Katz Associate Director of Development Noreen MajorCorporate Giving Manager Katie Burns-Yocum Director of Foundation and Government Relations Meghann Babo-ShroyerInstitutional Fundraising Coordinator Michael TrottierDevelopment Intern Amanda Herman

MARKETING AND COMMUNICATIONSChief Marketing Officer Michael PortoAssociate Marketing Director Austin AuclairMarketing and Communications Assistant Alison EhrenreichAssociate Director of Audience Development and Promotions Teddy RodgerAudience Services Director Joy JohnsonGroup Sales and Ticket Manager Danielle SparklinTicket Manager Tim HelmerSales Associates Zindzi Ali, Evelyn Chester, Heather Hart,

Christopher Hunt, Jessica Kaplan, Andre McBride, Izetta Mobley, Kristin Nam, Christopher Pearson, Jessica Peña Torres, Carmelitta Riley, Marie Riley,

Crystal Stewart, Lauren Ward, Michael Wharton, Genevieve Williams Call Center Director Monte Hostetler Teleservices Associates Bill Billante, Thomas Brennan,

Kelly Carson, Eric Garvanne, James Graham, Cheryl Kempler, Elizabeth MacMahon, Jill McAfee,

Joanna Morgan, Colin O’Bryan, Cynthia Perdue, Lee Sanders, Amy Sloane, Chris Soto

Director of Event Sales and Partnerships Ryan Michael HayesTheatre Services Manager Dora HoytHouse Manager Amanda LoerchLead House Managers Erica Brown, Addie Gayoso,

Stephanie McLean, Carissa Milliken, Rae DavidsonAssistant House Managers Melissa Adler, Jeremy Blunt,

Thomas Browne, Quintin Cary, Irene Casey, Chris Hunt, Susan Koenig, Carmelitta Riley,

Marie Riley, Bridget Scheaff, Christopher Schoen, Alex Zeese

Retail and Concessions Manager Kristra ForneyConcessions Associates Eileen Chaffer,

Adrianne Glover, Stephanie McLean, Justin Lane, Chris Pearson, Marie Riley, Petrice Roman,

Christopher Schoen, Eric WoodsRetail Associates Quintin Cary, Eileen Chaffer,

Tiara Copeland, Kara TeschHarman Receptionist and Usher Coordinator Rachel Toporek Associate Director of Communications and PR Heather C. JacksonWeb and Media Programmer Brien PattersonVisual Communications Manager S. Christian Taylor-LowJunior Graphic Designer Taylor HenryGraphic Design Intern Keshia PacePhotographers Kevin Allen, Margot Schulman,

Scott Suchman

EDUCATION Director of Education Samantha K. WyerAssociate Director of Education Dat NgoAudience Enrichment Manager Hannah Hessel RatnerCommunity Engagement Manager Laura Henry BudaSchool Programs Manager Vanessa HopeTraining Programs Manager Brent Stansell Education Coordinator Emily MarcelloEducation Intern Sarah Kate PattersonAffiliated Teaching Artists Carolyn Agan, Wyckham Avery,

Tonya Beckman, Lise Bruneau, Dan Crane, Vince Eisenson, Jim Gagne, Tara Giordano, Brit Herring,

Paul Hope, Naomi Jacobson, Mark Jaster, Joy Jones, Manu Kumasi, Jessica Lefkow, Sabrina Mandell, Chelsea

Mayo, Brenna McDonough, Victoria Reinsel, Paul Reisman, Melissa Richardson, Nancy Robinette, Joel David Santner, Kristala Smart, Rebecca Swislow, Katie Tkel, Eva Wilhelm,

Esther Williamson, Carter Wooddell, Gregory Wooddell, Jaysen Wright, Daniel Yabut

LANSBURGH THEATRE 450 7th Street NW

SIDNEY HARMAN HALL 610 F Street NW

TICKET AND GROUP SALES: Tickets: 202.547.1122 Toll-free: 877.487.8849 Group Sales: 202.547.3230 ext. 3405 Box Office fax: 202.608.6350 Bookings: 202.547.3230 ext. 2321

BOX OFFICE PHONE HOURS (both theatres): Daily: noon–6 p.m. (Box Office window open until curtain time)The Lansburgh Box Office is closed on the weekends if there is no performance at the Lansburgh Theatre.

CONCESSIONS AND GIFT SHOPS: Food and beverages are available one hour before each performance. Pre-order before curtain for immediate pick-up at intermission. Lansburgh Theatre and Sidney Harman Hall gift shops are open before curtain, at intermission and for a short time after each performance.

CONNECT WITH US: Facebook.com/ShakespeareinDC Twitter @ShakespeareinDC YouTube.com/ShakespeareTheatreCo Flickr.com/ShakespeareTheatreCompany Instagram @ShakespeareinDC

Latecomers will be seated at management’s discretion.

ACCESSIBILITYOur theatres are accessible to persons with disabilities.

Please request special seating at time of ticket purchase and arrive 30 minutes before curtain for priority seating.

Open-captioned performance of Man of La Mancha. Thursday, April 2 at 8 p.m.

Audio-described performance of Man of La Mancha: Saturday, April 11 at 2 p.m.

Sign-interpreted performance of Man of La Mancha: Tuesday, April 14 at 7:30 p.m.

An audio-enhancement system is available for all performances. Both headset receivers and neck loops (to use with hearing aids outfitted with a “T” switch) are available at the coat check on a first-come basis.

Program notes in Braille and large print are available at the coat check.

Support for the Shakespeare Theatre Company’s Accessibility Program provided by

Support for open captioning provided by

The video and/or audio recording of this performance by any means whatsoever are strictly prohibited. As a courtesy, turn off pagers, telephones, watch alarms and all other electronic devices during the performance.

Audience members may be reached during a performance by calling house management at 202.547.3230 ext. 2517. Specify seat location.

AUDIENCE SERVICES

THE ACADEMY FOR CLASSICAL ACTING The Academy for Classical Acting Director Gary LoganACA Program Coordinator Sloane A. L. SpencerFaculty Members Isabelle Anderson,

Christopher Cherr, Dody DiSanto, Edward Gero,Leslie Jacobson, Lisae Jordan, Michael Kahn, Floyd King, Gary Logan, Ellen O’Brien, Roberta Stiehm, Brad Waller

PRODUCTIONDirector of Production Tom HaygoodAssociate Directors of Production Tim Bailey, Kimberly LewisProduction Administrator Emmy LandskroenerResident Production Stage Manager Joseph SmelserStage Manager Bret TorbeckAssistant Stage Managers Elizabeth Clewley,

Kristy Matero, Hannah R. O’Neil, Robyn M. Zalewski

Production Assistants Christopher Kee Anaya-Gorman, Maria Tejada

Stage Management Interns Sean Carleton, Rebecca ShipmanCostume Director Wendy Stark PreyFloor Manager Julie RoseResident Design Assistant Lynda MyersDrapers Denise Aitchison, Randall Exton, Tonja PetersenFirst Hands Jennifer Rankin, Sandra Thomas Sara TrebingStitchers Kathryn Hansen, Michelle Ordway,

Donna Sachs Overhire Stitchers Ellis Greer, Erin NugentLead Crafts Artisan Joshua KelleyCrafts Artisan Kara TeschWardrobe Supervisors Jeanette Lee Porter,

Monica SpeakerWig Master Dori Beau Seigneur

Costume Painters Rhonda Key, Debra Nash, Ted StumpfCostume Design Intern Eileen Chaffer Costume Interns Stephanie Goad, Hilary-Ann Rogers,

Britteny HollandTechnical Director Mark PreyAssistant Technical Director Kelly DunnavantScene Shop Foreman Eric DixonScene Shop Administrator Jessica NoonesCarpenters John Cincioni, Jr., Carrie Cox,

Christian SullivanOverhire Carpenter Matt GrisdelaCharge Scenic Artist Sally GlassScenic Artist Jose OrtizScenic Painter Kelly RiceOverhire Painters Laura Genson, Deni Holl,

Sam SheltonProp Shop Director Elaine SabalAssistant Prop Shop Director Guy PalaceLead Props Artisan Chris YoungProps Painter/Sculptor Eric HammesfahrSoft Goods Artisan Rebecca WilliamsMaster Electrician Sean R. McCarthyAssistant Master Electrician Lauren A. HillHarman Electrician Brian FloryLansburgh Electrician Jacob Moriarty-StoneAssociate Lighting Designer Amith ChandrashakerFollow Spot Operators Calvin Anguiaro, Logan DuvallAudio/Video Supervisor Brian BurchettAssistant Audio/Video Supervisor Roc Lee Live Mix Engineer Ryan GravettLansburgh Board Operator Amanda Labonte, A2 Natalie KinsaulStage Operations Supervisor Louie BaxterAssistant Stage Operations Supervisor Fran Hopkins-MaxwellStage Carpenters Laura Cividanes, Nick CusterRun Crew and Follow Spot Operator Marc WassermanOverhire Run Crew Abbie Clements

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“If you can perform the classics, you can perform anything.”Michael Kahn Artistic Director, STC

Donate $5,000 or more to the ACA at GWU, and name a scholarship for one of our talented MFA Candidates!

Your support is crucial to our goal of providing financial aid to 100% of our students.

Learn more at

ShakespeareTheatre.org/Support or

gwu.edu/giveContact Amy Gardner at STC

202.547.3230 ext. 2327 orGWU

202.994.9909