Special IssueFREE FOR ALL 2015

presented by

Director Ethan McSweeny

Choreographer Peter Pucci

Choreography Re-created by Nancy Anderson

Scenic Designer Lee Savage

Costume Designer Jennifer Moeller

Lighting Designer Tyler Micoleau

Lighting Adapter Jason Arnold

Original Music/Sound Designer Fitz Patton

Wig and Makeup Designer Leah J. Loukas

Resident Casting Director Carter C. Wooddell

Original New York Casting Binder Casting

Jay Binder, CSA/Jack Bowdan, CSA

Literary Manager/Dramaturg Drew Lichtenberg

Voice & Text Coach Ellen O’Brien

Assistant Director Jenny Lord

Production Stage Manager Joseph Smelser*

Assistant Stage Manager Robyn M. Zalewski*

Performances begin September 1, 2015Sidney Harman Hall

A Midsummer Night’s Dream is presented by Apartments.com, with leadership support from Ameriprise Financial, CoStar Group Inc., The Dow Chemical Company, Erkiletian, The Free For All Community Partners, Friends of Free For All, Philip L. Graham Fund and Westfield LLC. Exclusive media support provided by The Washington Post. Additional support provided by The Max and Victoria Dreyfus Foundation. In-Kind Support provided by Jaleo, Metro Weekly, Red Velvet Cupcakery and Teaism.

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

Artistic Director Michael KahnManaging Director Chris Jennings

Recipient of the 2012 Regional Theatre Tony Award®Title page

Cast

Synopsis

About the Playwright

Bottomless Dream by Drew Lichtenberg

Coming Back to the Dream by Drew Lichtenberg

Cast Biographies

25th Anniversary: A Visual History of Free For All

Artistic Biographies

About STC

For STC

Friends of Free For All

STC Staff

Audience Services

Dear Friend,

Welcome to the 25th Anniversary of the Shakespeare Theatre Company’s Free For All. Since its inception in 1991, STC has brought free productions of Shakespeare to more than 665,000 people with the generous support of our sponsors,

donors, and Friends of Free For All. I have always been thankful to Joseph Papp for giving me a chance to direct for Shakespeare in the Park when I was a young director, and it was my dream to create a similar tradition of free Shakespeare here in Washington. Thank you all for helping to make it come true.

This play, A Midsummer Night’s Dream, has lain close to my heart ever since I saw the legendary “white box” production by Peter Brook in 1970, which reinvented our understanding of how Shakespeare could be staged and interpreted. One of the great things about Ethan McSweeny’s production from 2012 is the manner in which it similarly reminded audiences they were in the theatre. After all, when Shakespeare first staged this play, he did so on an empty stage, asking his audience to use their imaginations to conjure up the green world of the forest and its fairies. As you peer into the corners of the darkened stage, see if you can’t use your own imaginations. You might spot some ghosts of the theatre.

This season, we bring you productions that similarly reinterpret the classics for 21st-century imaginations. In the first of two world premieres and STC’s contribution to the citywide Women’s Voices Theater Festival, decorated international director Yaël Farber adapts Salomé, a biblical tale that still resonates thousands of years later. For the holiday season, STC Associate Artistic Director Alan Paul puts us in the 1940s backstage world of Kiss Me, Kate. I expect to have a little bit of fun with critics, since they’ve had so much fun with me over the years, with a double-bill of The Critic (adapted by Jeffrey Hatcher in our other world premiere) and The Real Inspector Hound. In February, Ron Daniels directs Faran Tahir in a production of Othello that will take a deep look at Islam and Christianity. The following month STC presents the American premiere of Headlong’s 1984 by George Orwell, a multimedia production that explores surveillance and the security state, topics as relevant now as they ever have been. Rising young director Ed Sylvanus Iskandar closes the season with his edgy alternative take on The Taming of the Shrew in a production sure to make you think hard about identity and gender roles.

I look forward to seeing you at the theatre.

Warm regards,

Michael KahnArtistic DirectorShakespeare Theatre Company

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TABLE OF CONTENTS

William Shakespeare’s

Cover photo: Adam Green by S. Christian Taylor-Low

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CASTA MIDSUMMER NIGHT’S DREAM

THE COURT

Theseus, Duke of Athens ............................................................................................Dion Johnstone*Hippolyta, Queen of the Amazon ................................................................................ Sara Topham*Philostrate, Theseus’ Master of the Revels ............................................................... Adam Green*Lysander .........................................................................................................................Stephen Stocking*Hermia ...............................................................................................................................Chasten Harmon*Helena ........................................................................................................................................ Julia Ogilvie*Demetrius ..............................................................................................................Ralph Adriel Johnson*Egeus, Hermia’s father ........................................................................................... Gregory Linington*

FAIRIES

Oberon, King of the Fairies........................................................................................Dion Johnstone* Puck ........................................................................................................................................... Adam Green*Titania, Queen of the Fairies ...........................................................................................Sara Topham*First Fairy.........................................................................................................................Nancy Anderson*Changeling Boy ................................................ Maxwell Balay, Warren Burns (alternate in role)

MECHANICALS

Peter Quince, a carpenter ................................................................................Ted van Griethuysen* Nick Bottom, a weaver .......................................................................................... Tom Alan Robbins*Francis Flute, a bellows-mender ......................................................................................Avery Clark*Tom Snout, a tinker ....................................................................................................Herschel Sparber*Snug, a joiner .............................................................................................................................Hugh Nees*Robin Starveling, a tailor ....................................................................................... Christopher Bloch*

Ensemble ............................................................................................... Laura Artesi, Freddie Bennett, Ross Destiche, Jacqui Jarrold, Taylor Robinson,

Ryan Sellers, Jessica Thorne

Production Assistants: Rebecca Shipman, Maria TejadaMusic Vocal Coach/Dance Captain: Nancy Anderson*Fight Consultant: Brad Waller

Special thanks to Chuck Fox, Chris Lewton, and Paul Villalovoz of Arena Stage.

THERE WILL BE ONE 15-MINUTE INTERMISSION

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 D.C. 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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THANK YOU FOR BRINGING THE CLASSICS TO LIFE.

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STC BOARD OF TRUSTEES SYNOPSISA MIDSUMMER NIGHT’S DREAM

Theseus, Duke of Athens, is preparing for his wedding to Hippolyta, Queen of the Amazons, but he is interrupted by Egeus, who demands Theseus resolve a quarrel. Egeus wants his daughter Hermia to marry Demetrius, but Hermia is in love with Lysander and wishes to marry him instead. Theseus tells Hermia she must marry Demetrius, enter a nunnery, or be put to death, as the law of Athens dictates. Hermia and Lysander, left alone, resolve to flee, but they are interrupted by Helena, who tells them of her love for Demetrius. Hermia, seeking to comfort her friend, tells her about their plan of escape to the woods and Helena resolves to reveal their designs to Demetrius. Elsewhere, a group of Athenian working-men, or “Rude Mechanicals,” decide to put on a play for Theseus’ wedding, and leave to rehearse in the woods.

In the forest outside Athens, fairies are dealing with the fallout from the quarrel between Oberon, the fairy king, and Titania, the fairy queen. Deciding to take revenge, Oberon orders his mischievous spirit Puck to find a magical flower, whose potion causes a person to fall in love with the next creature he or she sees. Meanwhile, Demetrius is searching for Hermia in the forest, with Helena following at his heels. She begs him to love her, but he remains disgusted by her advances. Oberon overhears their conversation and, pitying Helena, directs Puck to charm Demetrius with the nectar of the flower when he falls asleep, making him fall in love with her when he awakes. Entering Titania’s grove as she sleeps, Oberon squeezes the love potion onto her eyes. Puck, meanwhile, mistakes the sleeping Lysander for Demetrius. Waking, Lysander spots Helena and falls in love with her under the influence of the love potion.

After Puck happens upon the Mechanicals’ rehearsal, he transforms Bottom the weaver’s head into a donkey’s. The Mechanicals flee, and Bottom awakens Titania, who falls in love with him at first sight. Meanwhile, Oberon, realizing that Puck mistook Lysander for Demetrius, orders him to correct his error. Puck enchants Demetrius and he awakens, sees Helena, and swears his love to her. Hermia arrives and all four Lovers begin fighting. Puck leads them all over the forest, until, exhausted, they lie down and sleep. Puck then lifts the charm from Lysander’s eyes, so that he will love Hermia again.

Titania falls asleep with Bottom in her grove. Oberon wakes Titania and disenchants her, as Puck changes the sleeping Bottom back into a man. Elsewhere in the forest, day approaches and Theseus and Hippolyta enter with a hunting party. Seeing the Lovers asleep on the ground, Theseus wakes them. Demetrius and Helena now love each other, as do Lysander and Hermia. Theseus approves, and all leave for Athens. Bottom awakes and recounts his dream. Rushing back to Athens, Bottom promises the Mechanicals their play will be a success.

At the wedding celebration, after Theseus and the Lovers have all been married, he selects the Mechanicals’ play, “Pyramus and Thisbe,” to the great amusement of the court. After the play’s conclusion, Theseus, Hippolyta, and the Lovers retire to bed. Puck, Oberon, and Titania enter and bless the marriage beds. The play ends with Puck’s epilogue, in which he asks the audience for their applause.

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

TrusteesNicholas W. AllardAshley M. AllenStephen E. AllisAnita M. AntenucciJeffrey D. BaumanAfsaneh BeschlossWilliam C. Bodie Landon ButlerDr. Paul CarterPeter CherukuriGloria Dittus Debbie DriesmanDr. Mark EpsteinStefanie ErkiletianDr. Natwar GandhiMiles GilburneBarbara Harman John R. HaugeStephen A. HopkinsLawrence A. HoughW. Mike House Jerry J. JasinowskiNorman D. Jemal Scott KaufmannSudhakar KesavanKevin KolevarAbbe David LowellGail MacKinnon

Bernard F. McKayMelissa A. MossStephen M. RyanGeorge StamasLady WestmacottRob WilderTom WotekiSuzanne S. Youngkin

Ex-Officio Trustees 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 Matthews William F. McSweenyV. Sue MolinaWalter PincusEden RafshoonEmily Malino Scheuer*Lady SheinwaldMrs. Louis SullivanDaniel W. TooheySarah ValenteLady Wright

*Deceased

“Sweet Moon, I thank thee for thy Sunny beaMS.

I thank thee, Moon, for ShInIng now So brIght.”

a Midsummer night’s Dream, act 5, scene 2

Presented by

Leadership Support

Additional Support

In KindExclusive Media Sponsor

The Shakespeare Theatre Company is grateful for the support of the Sponsors of the 2015 Free For All.

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No man’s life has been the subject of more speculation than William Shakespeare’s. Consequently, we know a great deal of information about Shakespeare’s life—far more than that of any of his contemporaries.

Scholars agree that William Shakespeare was baptized at Stratford-upon-Avon on April 26, 1564. Tradition holds that he was born three days earlier, on April 23—the same date on which, 52 years later, he was recorded to have died. On November 27, 1582, a marriage license was granted to 18-year-

old William and 26-year-old Anne Hathaway. A daughter, Susanna, was born to the couple six months later. We know that twins, Hamnet and Judith, were born soon after and were baptized. What we do not know is how the young Shakespeare came to travel to London and how he first came to the stage. Whatever the truth may be, it is clear that in the years between 1582 and 1592 Shakespeare became involved in the London theatre scene and was a principal actor with one of several repertory companies.

By 1592 Shakespeare had become prominent enough as a playwright to engender professional jealousy. A rival playwright, Robert Greene, wrote snidely of an “upstart crow, beautified with our feathers, that with his tiger’s heart wrapped in a player’s hide supposes he is in his own conceit the only Shakescene in a country.” In the years between 1591 and 1593, the theatres of London were temporarily shut down due to an outbreak of plague; Shakespeare turned his considerable talents to sonnet writing and acquired a patron, the young Lord Southampton, to whom two of his poems, “Venus and Adonis” and “The Rape of Lucrece,” are dedicated.

In 1594, Shakespeare was listed as a stockholder in the Lord Chamberlain’s Men; he was a member of this company for the rest of his career, which lasted until approximately 1611. When James I came to the throne in 1603, he issued a royal license to Shakespeare and his fellow players, inviting them to call themselves The King’s Men. The King’s Men leased the Blackfriars Theatre in London in 1608. This theatre, which had artificial lighting and was probably heated, served as their winter playhouse. The famous Globe Theatre was their summer performance space.

In the century after Shakespeare’s death, his reputation fell into the depths of obscurity. Beginning with his 18th century rehabilitation by Samuel Johnson and others, Shakespeare began to be recognized as the greatest writer of English drama. After his adoption as a patron saint of the German romantics, Shakespeare’s writings began to transcend national and linguistic boundaries. Today, his plays are performed, read, and studied all over the globe—far more than any comparable figure. No other playwright has made such a significant and lasting contribution to world literature.

ABOUT THE PLAYWRIGHTWILLIAM SHAKESPEARE

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The Washington Post celebrates the artistic work of William Shakespeare

as exclusive media sponsor of the Shakespeare Free for All

- A Midsummer Night’s Dream

“ ‘tis almost fairy time”

The Cast of Shakespeare Theatre Company’s 2012 production of A Midsummer Night’s Dream, directed

by Ethan McSweeny. Photo by Scott Suchman.

There’s a famous proverbial saying about music criticism: that it’s like “dancing about architecture.” The same challenge applies to anyone writing about A Midsummer Night’s Dream. Trying to describe it is like pinning a fluttering butterfly against the wall. The play’s effect is musical as much as dramatic, its register lyric, its form elegant and dancelike.

Structurally speaking, Midsummer’s two halves mirror each other, like a palindrome. We begin in the Athenian court, with Theseus sorting the competing claims of four young lovers as he prepares to wed Hippolyta. We next meet the “Rude Mechanicals,” Athenian working-men rehearsing a play for Theseus’ nuptials. Thirdly, we enter the forest, a fairyland into which the lovers and Mechanicals stumble. Coming out of the forest, the play proceeds in reverse order: We see a short scene with the mechanicals and end back at the Athenian court with the promised wedding rites, transformed unfathomably from their first reference into the Mechanicals’ play, “Pyramus and Thisbe.”

Shakespeare thus telescopes us into and out of the dreamlike world of the forest, mediating from the most formal level of civilization (Theseus’ court) to the everyday (the Mechanicals’ rehearsal room) to the natural world (the magical forest). This last “green world” is the theatre in its purest form: It hosts a series of magical metamorphoses and is described in such hyperbolic language that it has proven impossible for directors to illustrate completely. It is Shakespeare’s own ingenious adaptation of the empty Elizabethan stage, a world limited only by the imaginations of the playwright, his company, and his audience. Which is to say, limitless.

“The best in this kind are but shadows,” Theseus says to Hippolyta, referring

specifically to the Mechanicals’ play, and more generally to the theatre itself, “and the worst are no worse, if imagination amend them.” “It must be your imagination then,” Hippolyta replies, “and not theirs.” In other words, the theatre relies upon the imaginations of its creators and spectators, rather than the finery of its stage dressing, to cast its magic spell.

Another name for this kind of layered structure is the palimpsest. The word comes from the Latin palimpsestus, “scraped clean and used again.” The Romans wrote on wax tablets (palimpsests), which were erased, or “scraped clean,” and written over. On Latin lesson books, old meanings, like the natural order undergirding society, or the imagination lying beneath the conscious mind, were often visible in ghostly echoes. In the medieval era, layered, palimpsestic structures were used in religious dramas depicting spiritual journeys, such as the stations of the cross, the pilgrim’s progress, or a saint’s life. On the one hand, it is exceedingly odd that Shakespeare should adapt this structure for A Midsummer Night’s Dream, a secular play that functions mostly as a comedy. But it’s precisely this palindromic stripping-away that helps to explain the play’s curiously intense power, and Shakespeare’s palimpsestic method of overwriting his source materials provides harmony to the dissonances of its world.

A Midsummer Night’s Dream was written during Shakespeare’s “lyric period” between 1592 and 1596, an extraordinary stretch in which he also wrote Richard II, Romeo and Juliet, and epic poems such as “The Rape of Lucrece” and “Venus and Adonis.” He had begun, most likely, the sequence of sonnets addressed to “the beautiful youth.” Collectively, these works are unlike anything that had been seen or read in English literature. Written in some

by Drew Lichtenberg, Literary Manager

of the most beautiful verse in the English language, they unite such disparate strands as Ovidian mythology, medieval tradition, and psychologically modern portraits of individuals adrift in an unknowable world. They are a young writer’s works, teeming with the spirit of invention, and they are almost postmodern in their virtuosic conflation of high and low source material.

In A Midsummer Night’s Dream, for example, Puck is identified with Robin Goodfellow, a mischievous spirit from popular folklore, but he also functions within the play as Cupid, the classical archer who curses mortals with irrational love. Doubling as Philostrate at the end of the action, Puck serves as Theseus’ Master of Revels, an Elizabethan functionary who reviews the Mechanicals’ play and approves it for Theseus. Titania and Hippolyta, the Fairy and Amazon queens, respectively, evoke both Venus and Diana, yoking the hedonistic goddess of love to the virginal goddess of the moon. Similarly, Bottom, an Athenian weaver, wears the ass-head of a medieval mummer in the world of the forest. After performing the role of the Romeo-like Pyramus before the Duke, he leads the company in a bergomask, a dance associated with the Harlequin of the commedia dell’ arte, who like Bottom is also a rustic fool.

Bottom’s most profound echo, the moment when Shakespeare’s palimpsestic method comes closest to its medieval sense of a

spiritual journey, is when he wakes up in the forest and tries to remember the details of his dream. Of all the mortals in the play, the lowly weaver is the one who comes closest to remembering the mystic fairy world. He speaks haltingly, and in his confused senses Shakespeare translates nonsense into the sublime, evoking uncannily the experience of dream: “The eye of man hath not heard, the ear of man hath not seen, man’s hand is not able to taste, his tongue to conceive, nor his heart to report what my dream was!”

This is Shakespeare’s gloss on Paul’s first epistle to the Corinthians. “The eye hath not seen, the ear heard, neither have entered into the heart of man the things which God hath prepared for them that love Him.” Paul concludes this sermon by trying to describe the limits of the spiritual experience, but he finds only depths. “The Spirit searcheth all things, yea, the deep things of God.” I believe that Shakespeare encountered this last phrase in the Tyndale New Testament of 1526. The most popular book in Elizabethan England, the Tyndale translates “the deep things of God” as “the bottom of God’s secrets.” And so, in Bottom’s vision, the theatrical dream evokes the bottomless apprehension of the divine itself. It is little wonder the effect of this play is so hard to describe. It is about, and makes one feel, indescribable sensations.

(or, Palindromes & Palimpsests)

BDottomlessream

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Back to the Ethan McSweeny returns to A Midsummer Night’s Dream and the Free For All

“There’s something magical about watching something you worked on very closely,” Ethan McSweeny says, sounding a bit like Bottom trying to remember his dream.

“When I go to the closing performance of one of my shows, I can see all the strata of the rock. The audience sees the results, but I can see a moment and remember when we first imagined it, when we first worked with the actor, when it didn’t work. It’s a slightly out-of-time, out-of-body experience. You remember all the steps at the same time that you’re actually witnessing the thing happening. And that can be, that can be great. Sometimes it can be a little bit …” He trails off, trying to find the right words. “I’m not sure. I get a little emotional at times because you can feel the work that went into it.”

In a wide-ranging conversation a few weeks before starting rehearsals, McSweeny seems awash in memories as he recalls his 2012 production of A Midsummer Night’s Dream. McSweeny, who has compared the play to a “three-ring circus,” knows all too well the challenges it poses to a director’s imagination. “In the initial 2012 production, it was my ambition to make all the different stories work equally well: the Fairies, the Lovers, the Mechanicals. I’d like to think the remount is a testament to our success, but it is also a challenge to get all those plates spinning again.”

McSweeny’s specific insight was to set Midsummer in an abandoned theatre, allowing

the three worlds—the magical forest of the fairies, the civil pomp of the Athenian court, the play-within-a-play of the Mechanicals—to be revealed as what they always were: rich metaphors for the theatrical experience. The setting also allowed McSweeny and the creative team to behave like kids in a, well, a magical forest, letting their imaginations run free.

Now the memories come flooding back: pianos flying in mid-air, mud-fights conjured out of laborious research and development, fairies swinging from chandeliers and climbing the walls. “Oh my gosh, the trap doors!” McSweeny says. “We really had never done multiple trap doors with different events underneath them, including trampolines!” He later adds, “Most of what we did in the rehearsal hall was kind of a sketch. It didn’t really take shape until we got onstage, which was engineered with tools that allowed us to treat it like a playground and a jungle gym.”

Keen-eyed subscribers were able to spot many of the storytelling tools McSweeny employed for Midsummer returning in his 2014-2015 production of The Tempest. Not only did both productions seamlessly integrate three Shakespearean worlds, both also allowed STC to fill the 774-seat Sidney Harman Hall with Broadway-worthy feats of song and spectacle. McSweeny, who has directed many productions in the Harman, credits Midsummer as a personal breakthrough, one that continued into The Tempest. “I was really proud of what we accomplished with Midsummer at the time. It represented a coming-together of a

by Drew Lichtenberg, Literary Manager

bunch of things I’d been working on at STC and in my own approach to Shakespeare, but the work done by the entire organization to research and develop all sorts of things that don’t exist in real life (chandelier trapezes come to mind) was really something. And that meant that a couple of years later, as a company we then went into The Tempest with more confidence in our collective ability to start with a bold idea and find the ways to achieve it.”

As to whether anything will be different this time around, McSweeny hopes so, pointing out that scheduling conflicts have led to a host of new actors in the roles of Oberon/Theseus, Bottom, and all of the young lovers, though he is happy to have continuity elsewhere in the cast. “Fortunately we’ve got the extraordinary Adam Green back as Puck and the equally extraordinary Sara Topham back as Titania.” He pauses, adding wryly, “not to mention the pivotal Nancy Anderson as First Fairy.” This may be another reason for McSweeny’s wistful tone. After working together on Midsummer, McSweeny and Anderson (who was also music coach for the production) are now married.

McSweeny has other personal connections to the show. Admitting that he has designed these last two productions with his young nephew in mind, as an introduction to Shakespeare for young audiences, this Free For All marks another McSweeny making his theatrical debut. “My nephew, Warren Burns, is going to be one of our two Changeling Boys,” McSweeny says. “I will say he earned it on his own merits. We made him

come in and audition and he did a very good job.” Denying that he’s trying to launch another theatrical career, McSweeny is nevertheless proud that he was able to reach this one young audience member. “He has been interested since he saw Midsummer a few years ago. I think when he realized there were parts for young boys it sort of sparked his imagination, you know?”

McSweeny, a native Washingtonian, got his own start with Shakespeare Theatre Company and the Free For All. As a young directing intern, McSweeny worked on the very first Free For All production. “I was the child-wrangler on The Merry Wives of Windsor,” he says, admitting that the passage of time has given him pause. “It was 25 years ago. That’s absolutely insane.”

Prepping for rehearsal, watching archival videos of his old production, McSweeny’s attention turns back to the play, to the lovers waking up from the night’s revels, groggily trying to recall their incredible night. It’s Shakespeare writing about the theatre, isn’t it? “Yes, and I’m sure that is exactly what Shakespeare intended. There is something gained and also something lost when you wake up from a dream: What is it Caliban says in the sounds and sweet airs speech, ‘that when I waked I cried to dream again’? You’re glad to have had the experience, but you can’t go back.” He pauses, “In our case, we do get to go back to it, but a little bit differently. It’s like getting to visit an old friend. When you get to do something a second time, you get a chance to give it a little longer life. I’m very happy to be sharing it again.”

Coming

The Cast of Shakespeare Theatre Company’s 2012 production of A Midsummer Night’s Dream, directed

by Ethan McSweeny. Photo by Scott Suchman.

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The Cast of Shakespeare Theatre Company’s 2014 production of The Tempest, directed by Ethan McSweeny. Photo by Scott Suchman.

CAST BIOGRAPHIES

NANCY ANDERSON*First Fairy STC: The Tempest, A Midsummer Night’s Dream. NEW YORK: Broadway: Wonderful Town, A Class Act; Off-Broadway: York Theatre:

Fanny Hill (Drama Desk nomination), Jolson & Co. (Drama Desk nomination), Ionescopade, Yank!; Playwrights Horizons: Far From Heaven. NATIONAL TOURS: Kiss Me, Kate (Helen Hayes nomination), Doctor Dolittle. INTERNATIONAL: London: Kiss Me, Kate (Olivier Award nomination). REGIONAL: Goodspeed Musicals: Adelaide in Guys and Dolls; Signature Theatre: Side By Side By Sondheim (Helen Hayes nomination); Ogunquit Playhouse: Witches of Eastwick; Paper Mill Playhouse/Seattle Fifth Avenue: Damn Yankees; Goodspeed Opera House: City of Angels; Paper Mill Playhouse: Peter Pan, She Loves Me. TELEVISION: Great Performances: Kiss Me, Kate (West End production), South Pacific (starring Reba McEntire). AWARDS: Winner of 2011 Noël Coward Competition. CD: Ten Cents a Dance.

LAURA ARTESI EnsembleREGIONAL: Capital T Theatre: Gruesome Playground Injuries; Threshold Repertory Theatre: The Lieutenant of Inishmore; City Theatre: Othello, A Streetcar

Named Desire. TRAINING: The Shakespeare Theatre’s Academy for Classical Acting at George Washington University: MFA.

MAXWELL BALAYChangeling BoySTC: A Midsummer Night’s Dream. FILM: The Brooklyn Brothers Beat the Best. TELEVISION: NBC: Blacklist; PBS Kids: Coach Hooper;

WBOC 16: Outdoors Delmarva; National Aquarium in Baltimore Commercial. AWARDS: National and regional awards in competitive hip hop and acrobatic dance. Navy League Cadet Corps awards. PRINT: Bruce Lee in Because of Them We Can Campaign. TRAINING: Linda Townsend Management. OTHER: National Junior Honor Society; Petty Officer 2nd Class in Navy League Cadet Corps.

FREDDIE BENNETT EnsembleSTC: Dunsinane, The Tempest. REGIONAL: Anacostia Playhouse: Occupied Territories; Florida Studio Theatre: Ruined, Shotgun; Hartford Stage: Antony

and Cleopatra; Pennsylvania Shakespeare Festival: Julius Caesar. FILM: Delusions of Guinevere. TRAINING: University of North Carolina School of the Arts; Circle in the Square. WEB: Pride.

CHRISTOPHER BLOCH* Robin StarvelingSTC: A Midsummer Night’s Dream, Romeo and Juliet. NATIONAL TOUR: The Buddy Holly Story. REGIONAL: Ford’s Theatre: 1776, Big

River, Shenandoah, State of the Union, Liberty Smith, A Christmas Carol; Signature Theatre: Kid Victory, Chess, Les Misérables (Helen Hayes Award nomination), Kiss of the Spider Woman, Merrily We Roll Along, Urinetown (Helen Hayes Award nomination), 20th Century; Arena Stage: A Christmas Carol 1941 (Helen Hayes Award nomination), Black No More, Damn Yankees; Everyman Theatre: Rabbit Hole, Uncle Vanya, Jaques Brel, Art; Lyric Theatre of Oklahoma: Billy Elliot; Guthrie Theater, The Repertory Theatre of St. Louis, Virginia Stage Company; ACT (Seattle), Indiana Repertory Theatre, Olney Theatre Center, Round House Theatre, Kennedy Center. FILM: Damascus Road, Butler MN. TELEVISION: House of Cards, The West Wing, Fast Food Films, PBS’s The Great Northfield Raid, PBS’s The Dakota Conflict. AWARDS: 2012 Lunt-Fontanne Fellowship, Helen Hayes Award for Thénardier in Les Misérables. OTHER: Star Wars audio drama.

WARREN BURNS Changeling Boy STC: A Midsummer Night’s Dream is Warren’s STC and professional debut. He is a native Washingtonian and is currently a second grader at

Capitol Hill Day School.

AVERY CLARK*Francis FluteSTC: The Tempest, Measure for Measure. REGIONAL: Alley Theatre: Journey’s End; Cincinnati Playhouse: A

Christmas Carol; St. Louis Repertory Theatre: The Heidi Chronicles; Alabama Shakespeare

Festival: Romeo and Juliet, Cymbeline, The Count of Monte Cristo; Arkansas Repertory Theatre: The Compleat Wrks of Wllm Shkspr, Hamlet, Henry V, Death of a Salesman, The 39 Steps; Orlando Shakespeare Theatre: Hamlet, The Importance of Being Earnest, Pride & Prejudice, A Midsummer Night’s Dream, All’s Well That Ends Well, Charm; Pennsylvania Shakespeare Festival: A Midsummer Night’s Dream; Oldcastle Theatre Company: Three Days of Rain; Premiere Stages: The Shape of Things; Theatresquared: Rabbit Hole, The 39 Steps. TELEVISION: Guiding Light, American Genius. TRAINING: University of Arkansas: BA in Theatre.

ROSS DESTICHEEnsemble STC: Tartuffe, The Metromaniacs, The Tempest. REGIONAL: Walking Shadow Theatre Company: Gabriel, The Three

Musketeers; Back Room Shakespeare Project: Julius Caesar; CTC: Fashion 47. INTERNATIONAL: Egg Theatre (Bath): How I Became a Pirate. FILM: Dear White People, The Control Group. TRAINING: University of Minnesota/Guthrie BFA Actor Training Program. WEB: rossdestiche.com.

ADAM GREEN* Philostrate/Puck STC: Affiliated Artist; A Midsummer Night’s Dream (Helen Hayes nomination), All’s Well That Ends Well (mainstage and Free For All),

The Two Gentlemen of Verona, The Liar (Helen Hayes nomination, Emery Battis Award). NEW YORK: Pearl Theatre; Red Bull Theatre; Second Stage Theatre; Cherry Lane Theatre; Lion Theatre; Theater at St. Clement’s; New York City Opera; 59e59; Theatre for the New City; Walkerspace. REGIONAL: McCarter Theatre: Figaro in The Figaro Plays (dir. Stephen Wadsworth), The Understudy; Hartford Stage (CT Critics Circle nomination); Barrington Stage; Alley Theatre; La Jolla Playhouse: Peter in Peter and the Starcatchers (dir. Roger Rees/Alex Timbers); Geva Theatre; Actors Theatre of Louisville; Arena Stage: Awake and Sing! (dir. Zelda Fichandler, Rose Robinson Cowen Fellowship); Alliance Theatre: The Heart Is a Lonely Hunter (dir. Doug Hughes); Shakespeare on the Sound. TELEVISION: The Good Wife.TRAINING: NYU: MFA; Harvard: BA in English.

CHASTEN HARMON*HermiaNEW YORK: Broadway: HAIR (Tony Award® for Best Musical Revival); Off-Broadway: Signature Theatre Company:

Iphigenia 2.0 (Tina Landau). NATIONAL TOURS: Les Misérables 25th Anniversary. REGIONAL: Yale Repertory Theatre: Familiar, The House that will not Stand; Chautauqua Theater Company: A Raisin in the Sun, The Tempest; Berkshire Theatre Festival: Oklahoma; Papermill Playhouse: Les Misérables 25th Anniversary; Marriott Lincolnshire: Once on This Island, All Shook Up. TRAINING: New York University: BFA Acting; Yale School of Drama: MFA Acting.

JACQUI JARROLDEnsembleSTC: 2012–2013 Acting Fellow; Measure for Measure, Coriolanus, Wallenstein, A Midsummer Night’s Dream. NEW YORK:

The Flea Theatre: The Mysteries (WKSP); The Seeing Place Theater: Independence; Columbia MFA Collaboration: Spoon River Anthologies. OTHER: AATE’s Developmental Premiere of The Edge of Peace. TRAINING: Northwestern University: BA in Theatre, European History.

RALPH ADRIEL JOHNSON*DemetriusREGIONAL: Trinity Repertory Company: Christmas Carol; Bread Loaf School of English: George in Our Town, Jem Finch

in To Kill a Mockingbird, Richard Henry in Blues for Mister Charlie, Hector in Troilus and Cressida; Brown/Trinity MFA: Benedick in Much Ado About Nothing, Duke Orsino in Twelfth Night, Galactic Jack/Doc in The Tooth of Crime, Reverend D/Baby in In the Blood, Lysimachus in Pericles, Eilert Lövborg in Hedda Gabler; Oberlin College: Lincoln in Topdog/Underdog, John in Oleanna, Banquo in Macbeth, George Armstrong in Intimate Apparel. TRAINING: Brown/Trinity Rep: MFA in Acting; Oberlin College: BA in Theatre.

DION JOHNSTONE*Theseus/OberonINTERNATIONAL: Arts Club Theatre (Vancouver, BC): Dr. Martin Luther King Jr. in Katori Hall’s The Mountaintop; Nine

seasons with the Stratford Festival: Othello in Othello, White King in Alice Through the Looking Glass, Aaron in Titus Andronicus, Caliban in The Tempest, Macduff in Macbeth, Oberon in A Midsummer Night’s Dream, Valentine in The Two Gentlemen of Verona, Edmund in King Lear, Tom Robinson in To Kill a Mockingbird; Mirvish Productions: originated the role of Boromir in the musical of Lord of the Rings (world premiere); Canstage: Davey Battle in Take Me Out (Canadian premiere). FILM: Underground Railroad: The William Still Story (PBS); X-Files: I

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Want to Believe; The Core. TELEVISION: UPtv’s original series Ties That Bind (currently playing Det. Devin Stewart); Stargate SG-1 (Showtime); The Listener, Flashpoint (CTV); Defiance (Syfy). TRAINING: University of Alberta: BFA in acting; Graduate of Stratford’s Birmingham Conservatory for Classical Theatre Training.WEB: www.dionjohnstone.com.

GREGORY LININGTON*EgeusSTC: The Tempest, Tartuffe; NEW YORK: Brooklyn Academy of Music: Throne of Blood; Joe’s Pub at The Public: The Unfortunates.

REGIONAL: Arena Stage: Equivocation; The Kennedy Center: Welcome Home, Jenny Sutter; Shakespeare Center of Los Angeles: Romeo & Juliet; Berkeley Repertory: Tartuffe; South Coast Repertory: Tartuffe; Center Theatre Group: End of the Rainbow; 12-Year Company Member of Oregon Shakespeare Festival: Love’s Labor’s Lost, Julius Caesar, Merchant of Venice, King Lear, The Tempest, Twelfth Night, The Cherry Orchard, Equivocation (World Premiere), Oedipus Complex (World Premiere). INTERNATIONAL: 5-Year Company Member of Misery Loves Company (Prague): As You Like It, Cloud Nine, Angels in America, The Age of Reason (World Premiere). FILM: Innocent Sleep, Persuasion, Harrison’s Flowers. TELEVISION: Grey’s Anatomy, Shameless, Major Crimes, The West Wing. INSTRUCTOR: Southern Oregon University, Oregon Shakespeare Festival, Los Angeles High School Shakespeare Project. TRAINING: The Groundlings, SITI Company at Skidmore College Summer Intensive (dir. Anne Bogart), Two-Year Actor Training Program: Pacific Conservatory for the Performing Arts. WEB: gregorylinington.com.

HUGH NEES*SnugSTC: Measure for Measure, The Government Inspector, The Merry Wives of Windsor, King Lear, The Beaux’ Stratagem and others.

REGIONAL: Arena Stage: Oklahoma!, Christmas Carol 1941 and others. TELEVISION: Netforce, Homicide. OTHER: Member AEA, SAG-AFTRA. TRAINING: Santa Clara University.

JULIA OGILVIE*HelenaNEW YORK: Off-Broadway: La MaMa: That Beautiful Laugh (starring Alan Tudyk, dir. Orlando Pabotoy); Steinberg

Studio: Author/Performer of solo play Freckle and Burn (dir. Vivienne Benesch); Upright Citizens Brigade Theatre: in-house sketch comedy team

Moriarty. REGIONAL: Dorset Theatre Festival: The Mousetrap (dir. Paul Mullins); Chautauqua Theater Company: You Can’t Take It With You, Macbeth, Anna Ziegler’s An Incident; LA’s Comedy Store, Flappers, and Improv Olympics West: Comedy Duo Manifesto of Hiatus. FILM: American Bistro. TELEVISION: Shakespeare, Hashish & Ish. AWARDS: Presidential Scholar in the Arts. TRAINING: Maggie Flanigan Studio, The Juilliard School. WEB: www.juliaogilvie.com.

TOM ALAN ROBBINS*Nick BottomNEW YORK: Broadway: Original casts of: The Lion King (Pumbaa), Is He Dead? (Dutchy), Sunset Boulevard,

Jerome Robbins’ Broadway, Threepenny Opera, Once Upon a Mattress; Other Broadway: Newsies; Off-Broadway: Brooklynite, On the Verge (New York Premiere), Isn’t It Romantic (World Premiere), The Rise and Rise of Daniel Rocket (World Premiere), The Cradle Will Rock, King Lear (Cornwall); Public Theater: Henry V. NATIONAL TOURS: Les Misérables (Thénardier). REGIONAL: Denver Center: The Whale (Charlie, World Premiere), Fiddler on the Roof (Tevye), Man of La Mancha (Sancho), The Producers (Franz); Cleveland Play House: My Name Is Asher Lev. Encores: Music in the Air, Pardon My English, Tenderloin. TRAINING: The Juilliard School; The Acting Company.

TAYLOR ROBINSON EnsembleREGIONAL: HalfMad Theatre: Death and the Mermaid; relEASE Physical Theatre: straight on till mourning; Source

Theatre: Painted; Synetic Theater: The Island of Dr. Moreau (understudy); Capital Fringe: Size Doesn’t Matter; D.C. Black Theatre Festival: Seed. TRAINING: The National Conservatory of Dramatic Arts; NCDA’s Actors Repertory Theatre program.

RYAN SELLERSEnsembleREGIONAL: Signature Theatre: The Threepenny Opera, Miss Saigon; Studio Theatre: Bloody Bloody Andrew Jackson;

Imagination Stage: The Night Fairy, Anime Momotaro, P. Nokio, The Wind in the Willows; Synetic Theater: The Taming of the Shrew, The Three Musketeers, King Lear, A Midsummer Night’s Dream (Helen Hayes Award, Best Ensemble), Macbeth, Host and Guest, The Master and Margarita, Antony and Cleopatra, Don Quixote, Dante, Romeo and Juliet (Helen Hayes

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NEED A NEW PLACE?

SURF THEAPARTMINTERNETBRAD BELLFLOWERSILICON VALLEY MAVERICK

25 TH ANNIVERSARY

FREE FOR ALL

“I love it. I love the atmosphere. there’s a sense of community. We all do it together, whether you hold a spear or speak all the lines of the play.”Kelly McGillis, Viola in Twelfth Night

“There was a dog in Two Gents; he actually took a bath, if you know what I’m saying—he washed all his private parts with his tongue while I was talking. The audience went insane watching him do that; it was hysterical. My next line was: ‘Have you ever seen me do such a thing?’ I mean, it was perfect.”

Floyd King, Launce in The Two Gentlemen of Verona

“One of the major goals of Free For All is to make Shakespeare accessible to diverse audiences. We hope that by changing venues we will be able to expand and improve this cherished event.”

Michael Kahn

“I always say on the first day [of rehearsal] that the Free For All has to be fun.”

Jenny Lord, former Resident Assistant Director

1991 The Merry Wives of Windsor

1995Twelfth Night

2002The Two Gentlemen of Verona

25years ago, Michael Kahn and Board Chair R. Robert Linowes had a vision: to share Shakespeare with all of D.C., with no formality, no pressure, and no price of admission. “From the start, the goal was to make the works of Shakespeare accessible to everybody,” explains Kahn. “People who have never been to a theatre or can’t afford a babysitter or don’t know what [Shakespeare] is all about—that’s who we want, and that’s who keeps showing up. They show up and they experience how these plays, written 400 years ago, can still resonate.”

From the very first performances in the 4,200-seat Carter Barron Amphitheatre on the edge of Rock Creek Park, Free For All became a beloved fixture in the District’s culture. Families and young people, first-time theatregoers and dedicated patrons came together in a relaxed, festival-like atmosphere. For 25 years, STC has been honored to share two weeks of live Shakespeare performances with our D.C. neighbors and friends.

For more FFA memories, see the lobby displays and ShakespeareTheatre.org.

Photos opposite page: Paul Winfield and Michael Kahn, courtesy of STC; Wallace Acton, Peter Webster, and Kelly McGillis by Carol Rosegg; Floyd King by Carol Rosegg. Photos this page: Set of The Comedy of Errors by Carol Rosegg; Harry Hamlin by Carol Rosegg; Theatregoers, courtesy of STC; Mauricio Tafur Salgado and Hank Stratton by Stan Barouh; Mark Hairston and Rachel Spencer Hewitt by Scott Suchman.

1994 The Comedy of Errors 1997 Henry V

2009 Free For All moves to Sidney Harman Hall

2007 Love’s Labor’s Lost

2013 Much Ado About Nothing

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1991199219931994199519961997199819992000200120022003200420052006200720082009201020112012201320142015

The Merry Wives of WindsorAs You Like ItMuch Ado About NothingThe Comedy of ErrorsTwelfth Night Measure for MeasureHenry VAll’s Well That Ends WellThe Merry Wives of WindsorThe Merchant of VeniceKing LearThe Two Gentlemen of VeronaHamletMuch Ado About NothingA Midsummer Night’s DreamPericles Love’s Labor’s LostHamletThe Taming of the ShrewTwelfth NightJulius CaesarAll’s Well That Ends WellMuch Ado About NothingThe Winter’s TaleA Midsummer Night’s Dream

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Award, Best Ensemble), Carmen, Othello, The Magic Balloon, The Music Box.

HERSCHEL SPARBER*Tom SnoutA Midsummer Night’s Dream. NEW YORK: Broadway: City of Angels (dir. Michael Blakemore), Guys and Dolls

(Jerry Zaks). REGIONAL: Kings County Shakespeare: Measure for Measure; Mark Taper Forum: The Street of the Sun (world premiere); Cleveland Play House: On the Waterfront (world premiere); Intiman Theatre: Paradise Lost; Hollywood Bowl: Guys and Dolls; Tennessee Rep (founding member): Of Mice and Men; Reprise Theatre Company: Kiss Me, Kate. FILM: The Birdcage, Serenity, Osmosis Jones, Brother, The Search for El Dorado, Lucky Stiff. TELEVISON: Star Trek: Deep Space Nine, NYPD Blue, Newsradio, My Name Is Earl, Boy Meets World, Scarred City (HBO).

STEPHEN STOCKING*LysanderNEW YORK: Off-Broadway: Les Freres Corbusier: Dance Dance Revolution. NATIONAL TOUR: Henry and Mudge.

REGIONAL: Williamstown Theatre Festival: Romeo and Juliet, Anything Goes. TRAINING: New York University: MFA; Grad Acting: Rajiv Joseph’s Describe the Night (world premiere), Desire, Three Sisters, Plenty, Landscape of the Body, The Beaux’ Strategem, Pale Fires.

JESSICA THORNE EnsembleSTC: The Tempest, A Midsummer Night’s Dream. REGIONAL: Signature Theatre: Cabaret, The Threepenny Opera;

Studio Theatre 2nd Stage: The Rocky Horror Show; The Kennedy Center: My Fair Lady in Concert; Synetic Theater: Home of the Soldier, The Rough-Faced Girl, Open World; Imagination Stage: Double Trouble Workshop. WEB: www.jessicathornemusic.com.

SARA TOPHAM*Hippolyta/TitaniaSTC: A Midsummer Night’s Dream. BROADWAY: Roundabout Theatre Company: Gwendolen in The

Importance of Being Earnest. REGIONAL: The Old Globe: Olivia in Twelfth Night; McCarter Theatre: Cecily in Travesties; Hartford Stage: Miranda in The Tempest, Thea in Hedda Gabler. INTERNATIONAL: London: Mrs. Van Buren

in the U.K. Premiere of Intimate Apparel, Dorothy in the world premiere of Love Me Do; Stratford `Festival (Canada): Juliet in Romeo and Juliet, Ruth in Blithe Spirit, Célimène in The Misanthrope, Olivia in Twelfth Night, Madame de Tourvel in Les Liaisons Dangereuses, Wendy in Peter Pan, Gwendolen in The Importance of Being Earnest, Laurencia in Fuente Ovejuna, Mabel in An Ideal Husband, Cordelia in King Lear, Laura in The Glass Menagerie, Grace in London Assurance, Rosalind in As You Like It, Brooke Ashton in Noises Off, Anne Boleyn in Henry VIII, Cassandra in Agamemnon, Diana in All’s Well That Ends Well; Belfry Theatre: The Governess in The Turn of the Screw; Neptune Theatre: Maggie in Cat on a Hot Tin Roof; Theatre Aquarius: Constanze in Amadeus. FILM/TELEVISION: Eloise at Christmastime, The Importance of Being Earnest, Twelfth Night.

TED VAN GRIETHUYSEN*Peter QuinceSTC: Affiliated Artist; roles since 1987 include Owen Glendower in Henry IV, Part I, and Justice Shallow

in Part II, Antigonus/Old Shepherd in The Winter’s Tale (mainstage, FFA), Peter Quince in A Midsummer Night’s Dream, King of France in All’s Well That Ends Well, Henry Leeds in Strange Interlude, Mr. Praed in Mrs. Warren’s Profession, Malvolio in Twelfth Night, Andrew Undershaft in Major Barbara, Holofernes in Love’s Labor’s Lost (mainstage and RSC), Philip II in Don Carlos, Lear in King Lear, Prospero in The Tempest. NEW YORK: Broadway: Romulus, Inadmissible Evidence. REGIONAL: Folger Theatre: The Clandestine Marriage; Studio Theatre: The Steward of Christendom, Life of Galileo, Rock ‘n’ Roll, A Number, The Habit of Art, The Apple Family Plays. INTERNATIONAL: Battersea Arts Center, London: Life of Galileo; Arcola, London: Broadway from the Shadows; Trafalgar Studios: Mr. Paradise in Lovely and Misfit. AWARDS: Seven Helen Hayes Awards; The Will Award; Drama Critics Award (NYC); Richard Bauer Award for Outstanding Contribution to Washington Theatre. INSTRUCTOR: Aesthetic Realism of Eli Siegel; Columbia University; University of South Carolina; Manchester Municipal University (U.K.).

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ARTISTIC BIOGRAPHIES

Ethan McSweenyDirectorSTC: Affiliated Artist; The Tempest, A Midsummer Night’s Dream, Much Ado About Nothing, The Merchant of Venice, Ion, Major Barbara, The Persians; Harman Center Opening Gala; Associate Director 1993–1997. NEW YORK: Broadway: John Grisham’s A Time to Kill, Gore Vidal’s The Best Man (Outer Critics Circle and Drama Desk Awards, Tony Award® nomination); Off-Broadway: John Logan’s Never the Sinner (Outer Critics Circle and Drama Desk Awards); Playwrights Horizons: 100 Saints You Should Know (Top Ten: Entertainment Weekly and Time Out magazines); Page 73 Productions: 1001 (Top Ten: Time Out); Primary Stages: Rx (world premiere), Sabina; National Actors Theatre: The Persians. INTERNATIONAL: Gate Theatre, Dublin: A Month in the Country, An Ideal Husband, A Streetcar Named Desire (Irish Times Award for Best Direction); Stratford Shakespeare Festival: Pirates of Penzance, Dangerous Liaisons. REGIONAL: more than 70 productions at theatres around the nation including the Guthrie Theater: Tales from Hollywood, Arms and the Man, A View from the Bridge, A Body of Water (premiere, Star-Tribune Award), Romeo and Juliet, Six Degrees of Separation (Star-Tribune Award), Thief River, Side Man, Gross Indecency; Goodman Theatre/Dallas Theater Center: Trinity River Plays (premiere); Arena Stage: A Time to Kill (premiere); The Old Globe: Cornelia (premiere), In This Corner (premiere, San Diego Critics Circle Award), A Body of Water (San Diego Critics Circle Award); Denver Center Theatre Company: 1001 (premiere, Ovation Award); South Coast Repertory: Ordinary Days, Mr. Marmalade (premiere, OCIE award); Center Stage: Who’s Afraid of Virginia Woolf? (Baltimore City Paper Best of 2008); Prince Music Theater: Chasing Nicolette (Barrymore Award nomination); George Street Playhouse: A Walk in the Woods, Dirty Blonde, Ctrl+Alt+Delete (New Jersey Star-Ledger Best of 2002), Old Times, Master Class; Westport Country Playhouse: Someone Who’ll Watch Over Me; The Wilma Theater: Dirty Blonde; San Jose Repertory Theatre: Ctrl+Alt+Delete (world premiere); Pittsburgh Public Theater: Wit (Pittsburgh Post-Gazette Award); Alley Theatre: The Beauty Queen of Leenane; Signature Theatre: Never the Sinner (Helen Hayes Award nomination); Chautauqua Theater Company: A Raisin in the Sun, Fifty Ways (world premiere), Love’s Labor’s Lost, The Glass Menagerie, Death of a Salesman, The Just, The Cherry Orchard, All My Sons, Cobb.

ARTISTIC LEADERSHIP: Chautauqua Theater Company, Co-Artistic Director, 2004–2011, National Actors Theatre, Associate Director, 2003–2005; Resident Director, New Dramatists, 2001–2002; George Street Playhouse, Associate Artistic Director, 2000–2004. AFFILIATIONS: Treasurer, Executive Board, SDC, the national labor union that represents stage directors and choreographers; member, Wingspace Theatrical Design Collective. TRAINING: Received the first ever undergraduate degree in Theatre and Dramatic Arts from Columbia University. WEB: ethanmcsweeny.com.

Peter PucciChoreographerSTC: A Midsummer Night’s Dream, The Merry Wives of Windsor, Twelfth Night, The Beaux’ Stratagem, Ion, A Midsummer Night’s Dream. NEW YORK: Off-Broadway: Desire, The Money Shot, The Old Friends, Death Takes a Holiday, Queens Boulevard, The Orphans’ Home Cycle, The Late Henry Moss, True Love, Eyes for Consuela. REGIONAL: Movement Direction: Phaedra Backwards, The Cherry Orchard, Twelfth Night, The Learned Ladies, Fool for Love, Romeo and Juliet, The Importance of Being Earnest, Macbeth, Camino Real. OPERA: The Chamber Music Society of Lincoln Center: Renard; Tender Land, Samson and Delilah. AWARDS: Lucille Lortel Award and Drama Desk nomination for Outstanding Choreography (Queens Boulevard), Drama Desk Award (The Orphans’ Home Cycle). OTHER: Pilobolus Dance Theatre: principal dancer and rehearsal director for nine years; Choreography: Joffrey Ballet, Ballet Arizona, Ballet Hispanico, Colorado Ballet, Pittsburgh Ballet; Big Apple Circus: Dance On; Dance commissions: New Mexico Ballet, Dance Theater of Harlem, State Street Ballet: FILM: Sway n’ Bach: A Path to Choreography. INSTRUCTOR: Manhattanville College: Artist in Residence; The Juilliard School of Drama: Guest Artist. TRAINING: North Carolina School of the Arts: BFA in Modern Dance.

Lee SavageSet DesignerSTC: The Tempest, A Midsummer Night’s Dream, Much Ado About Nothing, Richard III, Tamburlaine, Edward II, Henry V, Richard II. NEW YORK: Labyrinth: Muscles in Our Toes, Sunset Baby; Women’s Project: Collapse; LCT3: All-American; Roundabout Theatre Company: The Dream of the Burning Boy, Ordinary Days; Atlantic Theater: Oohrah!; Partial Comfort: The Bereaved; Clubbed Thumb: punkplay.

REGIONAL: Alliance Theatre, Asolo Repertory Theatre, Berkshire Theatre Festival, Cleveland Play House, Dallas Theater Center, George Street Playhouse, Glimmerglass Festival, Goodman Theatre, Guthrie Theater, Milwaukee Repertory Theatre, Long Wharf, Shakespeare & Co., Trinity Repertory Company, Two River Theater, Westport Country Playhouse, Washington National Opera, The Wilma Theater, Yale Repertory Theatre. AWARDS: Helen Hayes: Much Ado About Nothing; A Midsummer Night’s Dream (nom), Richard III (nom); Connecticut Critics Circle (The Intelligent Design of Jenny Chow). OTHER: with Ethan McSweeny: The Gate: A Streetcar Named Desire; Primary Stages: Rx; Center Stage: Who’s Afraid of Virginia Woolf?; Old Globe: In This Corner; Chautauqua Theater Company: A Raisin in the Sun, Fifty Ways, Love’s Labor’s Lost, Death of a Salesman, The Glass Menagerie, The Just. AFFILIATIONS: Member of Wingspace Theatrical Design and Contributing Editor for Chance Magazine. INSTRUCTOR: Yale School of Drama: Design Department. TRAINING: Rhode Island School of Design: BFA; Yale School of Drama: MFA.

Jennifer MoellerCostume DesignerSTC: Affiliated Artist; The Tempest, A Midsummer Night’s Dream, Julius Caesar (mainstage, Free For All), The Merchant of Venice, Richard II, Romeo and Juliet, Antony and Cleopatra, Tamburlaine, Richard III. NEW YORK: Off-Broadway: Shakespeare in the Park: Love’s Labor’s Lost; Signature Theatre: Dance and the Railroad; Primary Stages: Happy Now? REGIONAL: Washington National Opera: La Bohème; Studio Theatre: Bachelorette, Venus in Fur; Center Stage: Mud Blue Sky; The Old Globe: The Last Goodbye; McCarter Theatre Center: The How and the Why; Williamstown Theatre Festival: Six Degrees of Separation; Yale Repertory Theatre: The Winter’s Tale, dance of the holy ghosts; Berkshire Theatre Festival: Waiting for Godot; Chautauqua Theater Company: The Winter’s Tale. TRAINING: Yale School of Drama: MFA.

Tyler MicoleauLighting DesignerSTC: A Midsummer Night’s Dream, Much Ado About Nothing (mainstage and Free For All), Ion, Ghosts. NEW YORK (recent): 2nd Stage: King Liz; Playwrights Horizons: Iowa; Manhattan Theatre Club: The World Of Extreme Happiness, By The Water; New York Theatre Workshop: The Invisible Hand; Public Theater: The Fortress of Solitude; Signature Theatre Company: The Wayside Motor Inn. REGIONAL: Huntington Theatre Company, Alley Theatre, Goodman

Theatre, American Repertory Theatre, Trinity Repertory Company, Old Globe, Dallas Theater Center, Yale Repertory Company, Long Wharf, among others. AWARDS: 2011 Helen Hayes nomination (Much Ado About Nothing); 2010 Obie Award for Sustained Excellence; 2010 Lucille Lortel Award (When the Rain Stops Falling); 2009 American Theatre Wing Hewes Award (Blasted); Obie and Lucille Lortel Awards (Bug, 2004); Two Connecticut Critics Circle Awards; four Philadelphia Barrymore nominations. INSTRUCTOR: Visiting artist positions at Bates, Bowdoin, Yale, Dartmouth; adjunct faculty at Sarah Lawrence College. EDUCATION: Bowdoin College: BA.

Jason ArnoldLighting AdapterSTC: Julius Caesar (Free For All). NEW YORK: Zero Hour (dir. Piper Laurie). REGIONAL: Philadelphia Theatre Company: Resurrection (dir. Oz Scott); Hartford Stage: Resurrection; Arena Stage: Emergence-See!; Theater J: The Tale of the Allergist’s Wife, Something You Did, Honey Brown Eyes, Without You I’m Nothing (starring Sandra Bernhard), The Price, Family Secrets, Central Park West/Riverside Drive, A Bad Friend, Oh the Innocents, Welcome to My Rash/Third, Talley’s Folly; Rep Stage: Boeing, Boeing, Intelligence, The Santaland Diaries, A Shayna Maidel, Mrs. Farnsworth; Imagination Stage: Double Trouble, The BFG (Helen Hayes Nomination), Aladdin’s Luck, Junie B. Jones, How I Became a Pirate, Busy Town, The Neverending Story, The Jungle Book, Sleeping Beauty, Seussical, Cinderella, Charlotte’s Web, Bunnicula, The BFG; Adventure Theatre: Petite Rouge, Big Nate, Stuart Little, Five Little Monkeys, If You Give a Cat a Cupcake, You’re a Good Man, Charlie Brown; MetroStage: The Stephen Schwartz Project, Three Sistahs; Washington Shakespeare Company: Hapgood, The Milktrain Doesn’t Stop Here Anymore; Everyman Theatre: The Waverly Gallery, Blues for an Alabama Sky, The Crucible. TEACHING: American University: Artist in Residence. TRAINING: Brandeis University: MFA in Design; Vassar College: BA in Drama.

Fitz PattonOriginal Music/Sound DesignerSTC: Wallenstein, A Midsummer Night’s Dream, Strange Interlude. NEW YORK/REGIONAL: Designed and scored more than 240 productions in 20 cities across the U.S. including five on Broadway. AWARDS: 2010 Lucille Lortel and Drama Desk Awards for When the Rain Stops Falling at Lincoln Center’s Mitzi E. Newhouse Theater; nominated in 2011 for The Other Place (dir. Joe Mantello). OTHER: He is the founder of Chance Magazine, a new

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theater design magazine coming out this fall in both print and on the iPad. UPCOMING: The Other Place, on Broadway, at MTC’s Samuel Friedman Theater. INSTRUCTOR: Barnard College of Columbia University. TRAINING: Vassar College, Bard College, Yale University.

Carter C. WooddellResident Casting DirectorSee page 28

Drew LichtenbergLiterary ManagerSee page 28

Ellen O’BrienVoice and Text CoachSee page 28

Jenny LordAssistant DirectorSTC: Director: Much Ado About Nothing (Free For All), All’s Well That Ends Well (Free For All), Dream a Little Dream (Fellows Project), several ReDiscovery readings; Resident Assistant Director: 14 productions. NEW YORK: Associate Director, Broadway: Twelfth Night and Richard III. Director: NYMF: Going Down Swingin’, Don Imbroglio. REGIONAL: Dallas Theater Center: A Christmas Carol; New Century Theatre: Bee-luther-hatchee; 42nd Street Moon: By Jupiter; Berkeley Opera: The Girl of the Golden West, The Marriage of Figaro, Così fan tutte, Beatrice & Benedick; Pocket Opera: Eugene Onegin, The Grand Duchess of Gerolstein, The Daughter of the Regiment. Choreographer: California Shakespeare Theater, San Francisco Shakespeare Festival, 42nd Street Moon, etc. READINGS: National Academy of Sciences, Phillips Collection, Goethe Institut/Zeitgeist, TheatreWorks. EDUCATIONAL: Juilliard: Measure for Measure, All My Sons, As You Like It; NYU/Stella Adler Conservatory: The Cherry Orchard, Angels in America: Perestroika; San Francisco State University: Street Scene. TRAINING: Yale University: BA. MEMBER: SDC.

Joseph Smelser*Production Stage ManagerSTC: Tartuffe, Man of La Mancha, 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: Man of La Mancha, Henry IV, Parts 1 and 2, A Funny Thing Happened on the Way to the 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 and 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 designers at this theatre are represented by United Scenic Artists, Local USA 829, of the International Alliance of Theatrical Stage Employees.

free for all

Additional Support

DAVIS Construction DirecTV First Potomac Realty Trust Forest City Enterprises Hines Interests LimitedPartnership

National Cable &TelecommunicationsAssociation

Polinger Shannon & Luchs

SIGAL Construction Corporation

Shalom Baranes Associates Stoiber + Associates,Architects

STUDIOS Architecture Terra Nova Title andSettlement Services, LLC

Time Warner Cable

Sponsors as of August 6, 2015

Stefanie S. Erkiletian, Erkiletian

Kingdon Gould III, Gould Property Company

Norman D. Jemal, Douglas Development

Scott Kauffman, JM Zell Partners, Ltd.

2015 Free For All Community Partnership Committee

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Presented by

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ASIDESpublished by SHAKESPEARE THEATRE COMPANY

STC is the recipient of the 2012 Regional Theatre Tony Award® as well as 84 Helen Hayes Awards and 342 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

Managing Editor Jonathan Padget

Creative Director S. Christian Taylor-Low

Contributing Editors Laura Henry Buda Drew Lichtenberg Ryan-Patrick McLaughlin

Publisher Michael Porto

Advisors Alan Paul Samantha K. Wyer

Graphic Designer Taylor Henry

Editorial Assistant Alison Ehrenreich

BRAVOto the Shakespeare Theatre Company for bringing

the magic and inspiration of Shakespeare to so many.

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FOR SHAKESPEARE THEATRE COMPANYMichael 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: Roméo et 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, D.C. Downtown BID, THE ARC, D.C. Arts Ameriprise Financial Services, Inc. Member FINRA and SIPC.

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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, D.C. Commission on the Arts and Humanities, 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.

Alan PaulAssociate Artistic DirectorSTC: Man of La Mancha, 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), As You Like It (Associate Director), Henry IV, Parts 1 and 2 (Associate Director), numerous galas, readings, and special events; Assistant Director: 13 shows. THEATRE DIRECTING: Signature Theatre: I Am My Own Wife; Studio Theatre 2ndStage: Silence! The Musical, 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 Concert Hall: Butterfly/Saigon, Blind Dates. Finalist for the 2013 European Opera Directing Prize (Vienna, Austria). Acting Instructor for the Domingo-Cafritz Young Artists Program at WNO.

Drew Lichtenberg Literary Manager STC: Tartuffe, Man of La Mancha, 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 (U.S. 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’Brien Head of Voice and Text STC: 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); Central School of Speech and Drama/ The Open University (London): Advanced and Post-Graduate Diplomas in Voice Studies. TEACHING: Academy for Classical Acting; University of California, Santa Cruz; Guilford College; Kirkland College.

Carter C. Wooddell Resident Casting Director STC: Man of La Mancha, 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: (2008-2012). TFANA (Education Associate: 2012-2014).

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Thanks to the generous support of our sponsors and our Friends, the Shakespeare Theatre Company can continue this program each season. If you are interested in keeping the Free For All FREE, please consider supporting this great Washington experience. Gifts received as of August 10, 2015

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SHAKESPEARE THEATRE COMPANY

Taught by award-winning actors and educators.ShakespeareTheatre.org/ClassesEducation Hotline: 202.547.5688

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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 Associate Craig BaldwinArtistic Fellow Ryan-Patrick McLaughlinAffiliated 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, Naomi Jacobson,

Stacy Keach, Floyd King, Andrew Long, Ethan McSweeny, Jennifer Moeller, David Muse, Hugh Nees,

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 Ryn WeilAccounting Manager Mary Margaret FinneranStaff Accountant Marco DimuzioCompany Manager Mackenzie DouglasReceptionist Ursula David General Management Fellow Kathryn AtkinsonDirector of Operations Timothy FowlerOperations/IT Assistant Sloane A.L. SpencerTheatre 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 GardnerMajor Gifts Officers Eric Bailey Betsy PurvesSpecial Events Manager Moriah LemmingGala Assistant Freddy MancillaDevelopment Operations and Membership Manager Kristina WilliamsDevelopment Operations 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 Fellow Elena Robertson

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, Sarah Kate Patterson, Christopher Pearson, Carmelitta Riley, Marie Riley, Kieran Shaw,

Crystal Stewart, Lauren Ward, Michael Wharton, Genevieve Williams

Call Center Director Monte Hostetler Teleservices Associates Bill Billante, Thomas Brennan,

Kelly Carson, Alfred Cassell, Jade Davis, Valerie Ekhato, Eric Garvanne,

Miles Gheesling, Cheryl Kempler, Stephanie King, Amy Kitchin, Isabelle Mahoney,

Jill McAfee, Joanna Morgan, Cynthia Perdue, Amy Sloane, Chris Soto, Robert Vierick

Director of Event Sales and Partnerships Ryan Michael HayesTheatre Services Manager Dora HoytHouse Manager Robert MontenegroLead House Managers Stephanie Atkinson,

Erica Brown, Addie Gayoso, Marie RileyAssistant House Managers Melissa Adler, Kathryn Atkinson,

Jeremy Blunt, Thomas Browne, Quintin Cary, Chris Hunt, Susan Koenig,

Jamel Levine, Molly Nevola, Carmelitta Riley, Shaun Russell, Bridget Sheaff, Christopher Schoen,

Alex ZeeseRetail and Concessions Manager Kristra ForneyConcessions Associates Joy Falzarano, Adrianne Glover,

Alfred Gussom, Justin Lane, Aaron Lewis, Chris Pearson, Petrice Roman, Robert Russell,

Christopher Schoen, Christine Strassner, Kara Tesch, Eric Woods

Retail Associates Quintin Cary, Tiara Copeland, Kara Tesch

Harman Receptionist and Usher Coordinator Rachel ToporekAssociate Director of

Communications and PR Jonathan PadgetWeb and Media Programmer Brien PattersonMarketing and Communications Fellow Catherine Shook Visual Communications Manager S. Christian Taylor-LowJunior Graphic Designer Taylor HenryGraphics Fellow Ruthie RadoPhotographers Kevin Allen, Margot Schulman,

Scott Suchman

EDUCATION Director of Education Samantha K. WyerAssociate Director of