SUPPORT FOR THE 2016 SEASON OF THE FESTIVAL THEATRE IS GENEROUSLY PROVIDED BY CLAIRE & DANIEL BERNSTEIN

PRODUCTION SUPPORT IS GENEROUSLY PROVIDED BY JANE PETERSEN BURFIELD & FAMILY, BY BARBARA & JOHN SCHUBERT, BY THE TREMAIN FAMILY, AND BY CHIP & BARBARA VALLIS

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Through research, teaching and public engagement, University of Waterloo is a proud supporter of culture and community.

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From Solitary to Solidarity: Unravelling the Ligatures of Ashley SmithUniversity of Waterloo Drama Faculty of Arts

WATERLOO | Canada’s most innovative university

uwaterloo.ca/stratford-16

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UNIVERSITY OF WATERLOO What do we mean by victory – and its tragic corollary, defeat? And what happens in their wake? From the fall of Troy in The Aeneid to the Second World War in All My Sons, conflicts in history or legend have inspired several of the works on our 2016 playbill. But in every case, what fascinates us is not the struggle against an external foe but the conflict within. In drama, humanity itself is the ultimate battlefield: no defeat can be more devastating than the vanquishing of the spirit; no victory more exhilarating than the triumph of the heart.

Like John Gabriel Borkman or Argan in The Hypochondriac, we can be our own worst enemies – and our greatest victories consist not of making others less but of making ourselves more. When we overcome a failing, when we find true love, when we free ourselves from the compulsions and obsessions that distort our lives, when we see ourselves clearly for the first time: these are the victories that truly transform us. I hope you will join us as we celebrate them on our stages and in our Forum events this season.

ANTONI CIMOLINOARTISTIC DIRECTOR

“When the hurly-burly’s done, When the battle’s lost and won.” – MACBETH

AFTER THE VICTORY

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OUR 2016 PARTNERSAND SPONSORS

WE ARE HONOURED TO ACKNOWLEDGE THE FOLLOWING CORPORATIONS AND INDIVIDUALS WHO HAVE MADE

COMMITMENTS IN THE 2016 SEASON:

Support for the 2016 season of the Festival Theatre is generously provided by Claire & Daniel Bernstein

Support for the 2016 season of the Avon Theatre is generously provided by the Birmingham family

Support for the 2016 season of the Tom Patterson Theatre is generously provided by Richard Rooney & Laura Dinner

Support for the 2016 season of the Studio Theatre is generously provided by Sandra & Jim Pitblado

INDIVIDUAL THEATRE SPONSORS

CORPORATE THEATRE PARTNER

BMO Financial Group, Corporate Sponsor for the 2016 season of the Tom Patterson Theatre

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University of Waterloo Stratford Campus

The Stratford Festival is a non-profit organization with charitable status in Canada and the U.S.

THE STRATFORD FESTIVAL GRATEFULLY ACKNOWLEDGES THE GENEROUS SUPPORT OF THESE CONTRIBUTORS TO OUR SUCCESS:

EDUCATION PROGRAM PARTNER

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THE INSTRUMENTS OF DARKNESS

BY ALEXANDER LEGGATT

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Returning from victory in battle, the Scottish generals Macbeth and Banquo encounter a trio of strange women who hail Macbeth as Thane of Glamis, Thane of Cawdor, and king hereafter. Who are they, what are they, how do they know what they know, and why are they greeting Macbeth this way?

We think of them as witches, but the word witch occurs only once in the dialogue, and they never use it themselves. They call themselves “the weird sisters,” and weird is a word for fate, as though they are the fates who control human lives. Yet in a later

scene they refer cryptically to “our masters.” Do they serve a higher power, and if so what is that power? As to their purpose, Banquo warns Macbeth, “to win us to our harm, / The instruments of darkness tell us truths” only to betray us in the end.

This seems clear enough; but when in a later scene Macbeth orders the witches to tell his future, he gets two riddling prophecies that offer false hope and one perfectly clear, valid warning: “Beware Macduff.” If they are trying to lure Macbeth to his doom, why the warning? The

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The instruments of darkness are not just something out there in the night; they are also the workings of the human mind

prophecies echo through the rest of the play, but the witches themselves disappear, leaving the questions they provoke unanswered.

They are just the most conspicuous embodiment of an uncanny atmosphere that haunts the drama. Something is out there, something that lives in darkness and thunder and screams in the night. Whatever it is, it does not just affect Macbeth; it attacks him. When the witches trigger the thought of murdering Duncan to become “king hereafter,” he feels his hair rising and his heart pounding. Just before the murder he has a vision of a bloodstained dagger pointing at Duncan’s bedchamber. Having done the deed, he hears a voice from nowhere that cries, “Sleep no more.” Whatever is at work, it comes to him unbidden, invading his body and his imagination.

But the power that terrifies Macbeth is a power that Lady Macbeth deliberately calls on: “Come, you spirits / That tend on mortal thoughts, unsex me here.” She wants her body invaded, filled with cruelty, her blood thickened, her milk turned to gall; she wants to be made inhuman to do the work she has to do. She remembers the tenderness of breastfeeding an infant; then imagines herself tearing it from her breast and dashing its brains out.

That horrific image is part of an argument: people should keep their promises. If she had promised to do such a thing, she would do it. In her confrontation with her husband we realize that the instruments of darkness are not just something out there in the night; they are also the workings of the human mind. Macbeth and Lady Macbeth are not just puppets operated by supernatural forces. She reminds him that even before he met the witches they were planning to murder Duncan. They work themselves up to the deed by twisting language. Murder is a sign of manliness. When Macbeth protests, “I dare do all that may become a man; / Who dares do more is none” Lady Macbeth retorts, “When you durst do it, then you were a man.” It is right to be a man; men kill; then killing is right.

But the horror of the deed remains, and once again language comes into the service of evil by concealing that horror. In the lead-in to the murder, Macbeth and Lady Macbeth find ways of not saying what they are going to do. Not “We’re going to kill Duncan” but “He that’s coming / Must be provided for.” When Macbeth says, “If it were done when ’tis done, then ’twere well / It were done quickly,” we know what “it” is and who will do it; but the words hide that knowledge. Language has its own darkness.

Once the murder is done, and discovered, there is no more hiding. The horror of it is no longer confined to the imaginations of Macbeth and Lady Macbeth; it spreads out into the world. Other characters report uncanny portents: wind, earthquake, screams in the night, horses running mad and eating each other. Macbeth feared that when the deed was done it would not be done, and he was right. The witches prophesied that Banquo would be father to a line of kings; he tries to stymie that prophecy by killing Banquo and his son Fleance – in effect, killing the future. But Fleance escapes, and the murdered Banquo won’t stay dead; he haunts the man who had him killed, and we begin to share Macbeth’s terror. No one else on stage sees Banquo’s ghost; but we see it. As part of the spread of horror, we know what it is like to be Macbeth.

The man who will kill him, Macduff, is in his own way as haunted as the tyrant. Fleeing to England, he deserted his family, and Macbeth has them massacred. In the final battle, Macduff declares that if anyone else kills Macbeth, “My wife and children’s ghosts will haunt me still.” One haunted, guilty man is killed by another. Evil has spread from Macbeth’s mind into his actions, and into the world around him; even the man who rids the world of him is tainted.

Lady Macbeth is part of the wreckage. In the early scenes, she and her husband were closely bonded. Her first entrance was reading his letter describing his encounter with the witches: his words, read in her voice. He calls her “my dearest partner of greatness.” But once he has killed Duncan

the partnership breaks, as though that one deed was what their marriage was about, and now the deed is done the marriage is over. He plans the murder of Banquo on his own: “Be innocent of the knowledge, dearest chuck / Till thou applaud the deed” – a far cry from “dearest partner of greatness.” The last time we see them together on stage is in the banquet where she tries and fails to control his panic at the sight of Banquo’s ghost. But it is not the last time they are together. Sleepwalking, she talks to him compulsively as though he were there with her, re-living everything they have been through. Seemingly broken, the bond between them is for her as powerful as ever.

And while he seems to leave her behind as he goes to war, there is a sign that in

the depths of his being she still matters. His despair in the final scenes goes from complaints that his own life is ruined to the bleak vision of “Tomorrow and tomorrow and tomorrow,” in which all life is meaningless. The difference is that he has just heard of the death of Lady Macbeth. They were the instruments of darkness, drawing each other into an evil that ruined their lives and the world around them. But they were also human, and in the glimpse of the bond between them, even as he becomes a tyrant and she becomes a restless living ghost, something of that humanity remains.

Alexander Leggatt is Professor Emeritus of English at University College, University of Toronto.

WHEN THE PLAY BEGINSMacbeth, Thane of Glamis and a general in the army of his kinsman, King Duncan of Scotland, has played a decisive role in defeating a Norwegian invasion abetted by treasonous Scots. Macbeth has personally slain Macdonwald, one of the Scottish rebels, and defeated a renewed assault by the King of Norway and another rebel, the Thane of Cawdor, earning himself honour, glory and the gratitude of his king. But on their way back from the battlefield, the victorious Macbeth and his comrade Banquo encounter three mysterious “weird sisters,” who address Macbeth as Thane of Cawdor and foretell that one day he will become king. When Duncan subsequently rewards Macbeth with the executed Cawdor’s title, Macbeth begins to contemplate fulfilling the second part of the sisters’ prophecy by taking his destiny into his own murderous hands.

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DIRECTOR’S NOTES

AN UNKNOWN FEARBY ANTONI CIMOLINO

Even in the brilliant treasury of Shakespeare’s work, Macbeth is a dark gem that stands alone. It is perhaps his greatest love story – one in which a couple destroy themselves, each for the sake of the other. A love story soaked in blood.

The setting for this love story is an unlikely one – eleventh-century Scotland – harsh, northern and clan-based. Rebellion and betrayal begin the play, to be followed by regicide, slaughter and tyranny. Nature is at its centre, not only in the rich poetic imagery of birds, animals, stones and trees. The natural rhythm of time is dictated by the sun’s rise and set; day and night are at the play’s dark heart.

We have set our production, as Shakespeare has, in the eleventh century – a time well before electricity. And we have suggested a natural landscape. In such a time and place, dark and light held a power not only over the seasons but also over people’s lives. Shadows brought mystery and fear. In Macbeth, Shakespeare enters the shadow where “light thickens” and where “the crow makes wing to the rooky wood.” He creates a world where values are inverted or confused, in which “fair is foul and foul is fair.” In this love story, “all is the fear and nothing is the love”; fear is mentioned three times more often in Macbeth than in any other of Shakespeare’s plays. When the word love is spoken, it is usually connected to murder. In this profoundly ambiguous world, the characters struggle to find their bearings.

DOUBLE, DOUBLE...BY DAVID PROSSER

The play uncovers the murderer to himself; in a larger sense, it is about the discovery of the soul. It is also a brilliant psychological study of the effects of traumatic stress – but it doesn’t stop there. More than any other Shakespeare play, Macbeth explores a malevolent world of the supernatural. This is the land of fear. Within this shadow, our belief in a natural, scientific and humanistic world is upended.

The modern mind may feel some discomfort with the fact that Shakespeare, arguably our greatest writer, filled his plays with ghosts, evil spirits and magic. “His was a superstitious age,” we say to reassure ourselves. Yet Shakespeare’s work is permeated not with credulous belief but rather with skepticism. And it is this same skepticism that seemed to tell him that human understanding will always have limits. As the Lord Lafeu says in All’s Well That Ends Well, in referring to scientists (then known as natural philosophers): “They say miracles are past, and we have our philosophical persons, to make modern and familiar, things supernatural and causeless. Hence is it that we make trifles of terrors, ensconcing ourselves into seeming knowledge, when we should submit ourselves to an unknown fear.”

Shakespeare’s time, like our own, was filled with violence fuelled by religious clashes and political ambition. It seems that to be human is to know violence. Why? It is impossible to know for certain. But I suspect that Shakespeare’s dark gem will fascinate us for years to come.

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When Macbeth first utters the word murder, giving voice to the deed he has thus far only imagined, he admits that the thought of assassinating Duncan and taking his crown “shakes so [his] single state of man” that it has supplanted reality in his mind. “Nothing is,” he declares, “but what is not.”

In Shakespeare’s time, single had another meaning besides “sole”: it could also mean “weak” or “feeble.” Macbeth may be referring in that line to his own human frailty and susceptibility, rather than to his individuality. Nevertheless, that word single also contrasts ironically with the constant dualities that riddle the play: the ambiguities, the double meanings, the deceptive appearances, the paradoxical linking of opposites.

“When the battle’s lost and won.” “Fair is foul, and foul is fair.” “This supernatural soliciting / Cannot be ill; cannot be good.” “Look like th’ innocent flower / But be the serpent under’t.” “If it were done [i.e., over

with], when ’tis done [i.e., committed].…” These and countless other antitheses throughout the play reflect the deadly doubleness of Macbeth’s world.

Under the fracturing pressure of that duality, any singleness, any integrity, that Macbeth might once have claimed gives way to a relentless disintegration, both for him and his wife, as darkness overwhelms its opposite. The eyes may be open, but their moral sense is shut, enabling a lauded hero of the battlefield to turn himself into a murderer of women and children.

By the end, Macbeth’s world appears to him to be a kind of waking nightmare, one in which woods may walk and a sword may be wielded by a man unborn. The logic-defying duality of his early observation that “nothing is / But what is not” now seems all too true, as the reality of what is threatens to unravel into what cannot possibly be.

David Prosser is the Stratford Festival’s Literary and Editorial Director.

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Born in Stratford-upon-Avon in 1564, William Shakespeare was the eldest son of John Shakespeare, a glover and tanner who rose to become an alderman and bailiff of the town, and Mary Arden, the daughter of a wealthy farmer. The exact date of his birth is unknown, but there is a record of his baptism at Stratford’s Holy Trinity Church on April 26. Since an interval of two or three days between birth and baptism would have been quite common, tradition has it that he was born on April 23 – the same date as his death fifty-two years later.

The young Shakespeare is assumed to have attended what is now King Edward VI Grammar School in Stratford, where he would have studied rhetoric, grammar and ancient Roman literature in its original Latin. In 1582, when he was eighteen, he married Anne Hathaway, a farmer’s daughter who was eight years his senior. Anne was pregnant at the time, and the couple’s first daughter, Susanna, was born a few months afterwards in 1583. Twins followed two years later: a son, Hamnet, who died at the age of eleven, and a second daughter, Judith.

Nothing further is known of Shakespeare’s life until 1592, by which time he was sufficiently established as an actor and writer in London to be the target of a literary attack by a jealous fellow playwright, Robert Greene. Soon afterwards, an outbreak of plague forced the temporary closure of the theatres, and Shakespeare turned his attention instead to his long narrative poems Venus and Adonis and The Rape of Lucrece. He also began writing the Sonnets, a series of 154 complex and often ambiguous poems on themes of love, jealousy and mortality that have aroused much biographical speculation.

By 1595, Shakespeare was back in the theatre, writing and acting for the Lord Chamberlain’s Men. His income as one of London’s most successful dramatists

WILLIAM SHAKESPEARE

enabled him, in 1597, to buy a large house called New Place back in Stratford, and in 1599 he became a shareholder in London’s newly built Globe Theatre.

In 1603, when James I had succeeded Elizabeth on the throne, Shakespeare’s company was awarded a royal patent, becoming known as the King’s Men. Meanwhile, the playwright continued his business dealings in Stratford and in London, where in 1613 he bought a property known as the Blackfriars Gatehouse. He is believed to have spent increasing amounts of his time in Stratford from around 1609 until his death on April 23, 1616. He is buried in the town’s Holy Trinity Church.

PLAYWRIGHT

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MACBETH | BY WILLIAM SHAKESPEARE

Lady MacduffSarah AffulYoung SiwardRodrigo BeilfussMacduffMichael BlakeAngusTim CampbellRossDavid CollinsFleanceDeclan CooperMessengerAlexei DeLucaGentlewomanIjeoma EmesowumSecond WitchDeidre Gillard-RowlingsLady Macbeth’s AttendantJessica B. HillBloody Sergeant, Second Murderer, Old SiwardPeter HuttFirst Murderer, CathnessRobert KingDoctorJohn Kirkpatrick

UNDERSTUDIESSarah Afful Lady MacbethRodrigo Beilfuss Malcolm, Seyton,

Donalbain, MentethPetrina Bromley Second WitchTim Campbell Macduff, Old ManIjeoma Emesowum Lady MacduffJessica B. Hill Third Witch,

GentlewomanJohn Kirkpatrick Ross, PorterCyrus Lane MacbethTrish Lindström First Witch, Lady

Macbeth’s AttendantE.B. Smith Banquo, AngusSanjay Talwar Duncan, Cathness,

Bloody Sergeant, First Murderer, Second Murderer, Old Siward

Brian Tree Messenger Emilio Vieira Lenox, Young

Siward, Doctor

THE CAST in alphabetical order

THE FORUMEXCLUSIVE SHOWCASES | GUEST SPEAKERS | SPECIAL MEALSFAMILY FUN | DYNAMIC DIALOGUES | FREE FORUM

STRATFORDFESTIVAL.CA/FORUM

Sustaining support for the Forum is generously provided by Kelly & Michael Meighen and the T.R. Meighen Family Foundation

150 + Forum Events | Now through October

MacbethIan LakePorterCyrus LaneLenoxJamie MacYoung MacduffOliver NeudorfApparitionSophie NeudorfLady MacbethKrystin PellerinThird WitchLanise Antoine ShelleySeytonE.B. SmithMentethSanjay TalwarOld ManBrian TreeDonalbainEmilio VieiraBanquoScott WentworthFirst WitchBrigit Wilson

JAMES SHAPIROJUNE 18

BEVERLEY McLACHLINOCTOBER 1

SHELDON SOLOMONJUNE 11

MACBETH AND THE STROKE OF DEATHStudio Theatre, Saturday, June 11, 10:30 a.m.–noon. $22

Author Sheldon Solomon and clinical psychologist Jordan Peterson, in conversation with Antoni Cimolino, speak to the effect the fear of death has on human behaviour as evidenced in Macbeth.

“THE SCOTTISH PLAY”: PALTER WITH US IN A DOUBLE SENSEStudio Theatre, Saturday, June 18, 10:30 a.m.–noon. $20

Antoni Cimolino joins pre-eminent Shakespeare scholar James Shapiro, author of The Year of Lear: Shakespeare in 1606, in conversation about Macbeth and equivocation.

UNSEX ME HEREStudio Theatre, Wednesday, June 29, 10:45 a.m.–noon. $22

Yanna McIntosh, Seana McKenna and Lucy Peacock, all Lady Macbeths of past Stratford productions, join this season’s Lady Macbeth, Krystin Pellerin, to share the inner complexities of this mysterious character in a discussion moderated by Morgan Ring.

THE MACBETHS’ APPEALFestival Theatre, Saturday, October 1, 10–11:30 a.m. Free

The infamous couple appeal to the Supreme Court of Stratford (presided over by the Chief Justice of Canada, the Right Honourable Beverley McLachlin, joined by her Supreme Court of Canada colleagues Justices Andromache Karakatsanis and Russell Brown), contending that political ambitions have rendered them not criminally responsible for the murder of King Duncan. Expert witness Bob Rae will address the alleged deleterious effects of political ambition on the workings of the human mind – a novel defence! Famed lawyers Marlys Edwardh (who represented Kenneth Parks) and Donald Bayne (who represented Senator Mike Duffy) act as counsel.

This production is dedicated to the memory of actor and director Brian Bedford.

MalcolmAntoine YaredDuncanJoseph Ziegler

THERE WILL BE ONE

20-MINUTEINTERVAL

AUDIENCE ALERTStrobe lights, loud noises, smoke and haze are used in this production.

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ARTISTIC CREDITS

Director Antoni Cimolino

Designer Julie FoxLighting Designer Michael WaltonComposer Steven PageSound Designer Thomas Ryder PayneFight Director John SteadMovement Director Heidi Strauss

Producer David AusterCasting Director Beth RussellCreative Planning Director Jason Miller

ACKNOWLEDGEMENTS

Special thanks to Hannah Cunningham, Mary-Anne Kennedy and Tanya Ullyatt. Special thanks also to Jennifer Anderson, MD, St. Michael’s Hospital, Toronto; Sean Blaine, MD, Stratford; Norman Cruz, MD, Stratford; Shawn Edwards, MD, Stratford; Brian Hands, MD, FRCS (C), medical voice consultant, Vox Cura voice care specialists, Toronto; Simon McBride, MCISc, MD, London Health Sciences Centre Vocal Function Clinic, London; Laurel Moore, MD, Stratford; Stephanie Sischek, MD, Stratford; David Thompson, MD, Stratford; John Yoo, MD, London Health Sciences Centre, London. Pianos tuned and maintained by Don Stephenson.

Cover: Ian Lake. Photography by Don Dixon. Additional photography by Ed Burtynsky and Don Dixon.

MUSIC

FANFARE MUSICIANS

Soprano Herald Trumpet/ Fanfare LeaderLarry LarsonSoprano Herald TrumpetTimothy LockwoodSoprano Herald TrumpetSteve McDadeBass Herald TrumpetRob StoneParade Snare DrumDale Anne Brendon

Assistant DirectorJames WallisAssistant Set DesignerT. Erin GruberAssistant Costume DesignerJulia HolbertAssistant Lighting DesignerBryan KenneyAssociate Fight DirectorGeoff ScovellFight CaptainE.B. Smith

Stage ManagerAnne MurphyAssistant Stage ManagersJulie Miles Corinne RichardsApprentice Stage ManagerKatherine DermottProduction AssistantHilary NicholProduction Stage ManagersMargaret Palmer Cynthia ToushanTechnical DirectorJeff Scollon

Director of MusicFranklin BraszMusic AdministratorMarilyn DallmanAdministrative AssistantJanice Owens

ORIGINAL MUSIC RECORDED BY

Conductor/Keyboard/GuitarSteven PageViolinMel MartinOboeDonna-Claire McLeodTrumpetLarry LarsonTrumpetSteve McDadePercussionDale Anne Brendon

BACKSTAGE

Production responsibilities during the performance accomplished by:

PRODUCTION CREDITS

Director of ProductionSimon MarsdenProduction AdministratorCheryl BenderAdministrative AssistantCindy JordanAssociate Technical DirectorDavid Campbell

Design CoordinatorMary-Jo Carter DoddWardrobe ManagerTanya ApostolidisTechnical Director – Scenic ConstructionAndrew MesternScene Shop ManagerRobbin Cheesman

Technical Management AssistantMichael BesworthTransportationCharlie FoxDirk Newbery B.J. ShaverJames ThistleElectronics TechnologistChris Wheeler

Head Stage CarpenterNick GlennAlternateRory FeoreHead ElectricianAlex HochHead of PropertiesTim HartmanHead of SoundScott MatthewsHead of AutomationCraig Geiger

AlternateAnthony GentileCrewWalter Sugden

Festival Wardrobe SupervisorJohn BynumWardrobe AttendantsMichael Karn Annette Lenze Jane Mallory Brigitte Nazar

SwingLela Stairs Murphy

Wigs and Makeup Show HeadDave KerrWigs and Makeup CrewJessica Elsbrie Lena G. FestosoChildren’s SupervisorSandy Davis

A member of the Professional Association of Canadian Theatres, the Stratford Festival engages, under the terms of the Canadian Theatre Agreement, professional artists who are members of Canadian Actors’ Equity Association. Stage crew, scenic carpenters, drivers, wigs and makeup attendants, facilities staff and audience development representatives are members of Local 357 of the International Alliance of Theatrical Stage Employees (IATSE). Wardrobe attendants are members of IATSE Local 924. Scenic artists are members of IATSE Local 828. The musicians, musical directors, conductors, and orchestra contractors engaged by the Stratford Festival are members of the Toronto Musicians’ Association, Local 149, of the American Federation of Musicians of the United States and Canada.

Funding for artisan apprenticeships is provided by the William H. Somerville Theatre Artisan Apprenticeship Fund, funded by the J.P. Bickell Foundation and by Robert and Jacqueline Sperandio.

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PROPERTIES

Head of PropertiesDona HrablukLead BuilderJennifer MacdonaldAssisted byEric Ball Ken Dubblestyne Michelle Jamieson Kathryn Kerr Shirley Lee Alexa Mackenzie Brian McLeod Dylan Mundy Heather Ruthig Lisa Summers Elizabeth ThomasProperties ApprenticeTyler VandergaagProperties BuyerTracy FultonAssistant Properties BuyerKathleen Orlando

SCENIC ART

Head Scenic ArtistDuncan JohnstoneAssistant Head Scenic ArtistDaniel McManusAssisted byKevin Kemp Lisa Summers Amparo Villalobos Michael Wharran Steve Wiseman Blair Yeomans

SCENIC CARPENTRY

Head CarpenterRyan FlanaganHead of AutomationIan PhillipsLead HandStephen MorganAssisted bySimon Aldridge David Bedford Mark Card Gary Geiger Paul Hyde Douglas Ledingham William Malmo Wayne Nero John Roth Joseph Saunders Mark Smith Geoff Taylor

Cliff Tipping Joe Tracey

WARDROBE

Head of WardrobeBradley DalcourtWardrobe Head – Avon/StudioElizabeth CopemanWardrobe Coordinator – Tom PattersonMichelle BarnierPurchasing CoordinatorChevy BarlowPurchasing AssistantErin Michelle SteeleToronto Wardrobe BuyerSusan RomeCuttersKim Crossley Melanie Farrar-Jackson Lela Stairs Murphy Luci Pottle Jennie WonnacottFirst HandsWendy Bendle Joanne Davies Gina Schellenberg Patricia TaylorSewersSarah Baxter Monica Berg Cindy Brown Diana Brown Susan E. Dick Rebecca Forsyth Sharon Gashgarian June Gunn Karen Hancock Kiyomi Hidaka Shona Humphrey Olga M. Kouzmina Debbie Kschesinski Deborah S. Lount Elizabeth Mastrandrea Magdalene Raycraft Joan Scheerer Laura SnowdenBijoux/DecoratingRebecca DillowAssisted byLiane Guttadauria Chantelle Laliberte Tami MacDonald Kathi PosliffBoots and ShoesMichael Karn

Assisted byKaren Beames Sarah Cook Chantelle Laliberte Connie PuetzDyingSylvia MinarcinAssisted byLinda PinhayCostume PaintingLisa HughesApprentice Costume PainterPenelope SchledewitzMillineryThea C. CrawfordAssisted byHelen Flower Kaz Maxine Monica VianiWardrobe ApprenticeKay JamesonWarehouse SupervisorMadonna DeckerWarehouse AssistantValerie Lariviere

WIGS AND MAKEUP

Head of Wigs and MakeupGerald AltenburgConstruction CrewTeddi Barrett Erica Croft Jessica Elsbrie Lena G. Festoso Tracy Frayne Lorna Henderson Dave Kerr Angela Moncur Sherri Neeb Barb Newbery Alana Scheel Julie Scott Christine Vaughan Stanley Wickens

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ACTING COMPANY ACTING COMPANY

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SARAH AFFUL RODRIGO BEILFUSS MICHAEL BLAKE PETRINA BROMLEY TIM CAMPBELL

SARAH AFFUL BIRMINGHAM CONSERVATORY, 2011/122016: Lady Macduff in Macbeth, Ann Deever in All My Sons and Mrs. Fanny Wilton in John Gabriel Borkman. Fifth season. Stratford: Player Queen, Hamlet; Bianca, The Taming of the Shrew; Rosaline, Love’s Labour’s Lost; Tiger Lily, Alice Through the Looking-Glass; A Midsummer Night’s Dream: A Chamber Play; Mariana, Measure for Measure; Mary Stuart; Elektra; The Pirates of Penzance. Birmingham Conservatory: Viola, Twelfth Night; Hermione, The Winter’s Tale. Elsewhere: Small Axe (Project Humanity/The Theatre Centre); Margaret, Much Ado About Nothing; Octavia/Iris, Antony and Cleopatra (Bard on the Beach); Macbeth: nach Shakespeare (Conspiracy/Gas Heart); Saint Monica, The Last Days of Judas Iscariot (Pound of Flesh/Pacific Theatre); The Eighth Land (PI Theatre). Film/TV: iZombie, Smallville, Caprica, Eureka, The Perfect Score, American Dreams. Recordings: Days of Old (Neworld Theatre/CBC). Training: Birmingham Conservatory; BFA Acting, UBC; Lyric School of Acting. Awards: Mary Savidge Award, Artistic Director’s Award (Stratford). Online: @SarahAfful1. Et cetera: “Thanks and respect to Dru, Esi Edugyan and Steve Price.”

RODRIGO BEILFUSS BIRMINGHAM CONSERVATORY, 20152016: Young Siward in Macbeth, Frank Lubey in All My Sons and Fellow Countryman in The Aeneid. Stratford debut. Elsewhere: Recent credits: Hamlet (Bravura Theatre), Sea Wall (Theatre by the River), The Comedy of Errors (Shakespeare in the Ruins). Additional Shakespeare credits: King Lear (University of Winnipeg), The Two Gentlemen of Verona (TBTR), The Winter’s Tale (Tom-Tom), The Merchant of Venice (SIR), Richard III, Measure for Measure (LAMDA). Credits as a director include the Canadian premières of Lungs, Bull, Generous and Cock (TBTR) and Private Lives (assistant director – Royal MTC). Training: The University of Winnipeg, London Academy of Music and Dramatic Art, Birmingham Conservatory for Classical Theatre. Online: rodrigobeilfuss.com; @RBeilfuss. Et cetera: Originally from Brazil, Rod moved to Winnipeg at age 18, where he discovered that Shakespeare made him feel tremendously giddy. He eventually moved to England in order to pursue classical training and now it feels good to call Stratford home!

MICHAEL BLAKE2016: Macduff in Macbeth and George Deever in All My Sons. Fifth season. Stratford: King Lear, Dream, Beaux’ Stratagem, Romeo and Juliet, The Three Musketeers, The Merchant of Venice, Much Ado, Henry V, Twelfth Night, The Merry Wives. Elsewhere: Martin Luther King (The Mountaintop) (Theatre Kingston); Edmund (King Lear) (Theatre Calgary/Bard on the Beach); Small Axe (Project Humanity); Simba (The Lion King) (Mirvish/Disney); Clybourne Park (Citadel); Scientific Americans (SideMart/Segal Centre); Mercutio (Romeo and Juliet), Eilif (Mother Courage), Nativity, A Christmas Carol (NAC); Othello (Othello), Angelo (The Comedy of Errors) (Bard on the Beach); Gratiano/Morocco (The Merchant of Venice) (SITR); Mitch (…Spelling Bee) (Belfry/Arts Club); As You Like It, A Raisin in the Sun, Blink, Three Sisters, Time of Your Life, Threepenny Opera (Soulpepper); Rock and Roll (Canadian Stage); Wilbur County Blues (Blyth). Film/TV: The Expanse, Senior Trip, YTV Rocks, Degrassi Junior High. Training: NTS, Soulpepper, St. Michael’s Choir School.

PETRINA BROMLEY2016: Rosalind in As You Like It, appears in The Hypochondriac and understudy in Macbeth. Stratford debut. Elsewhere: Bonnie in Come From Away (La Jolla Playhouse, Seattle Repertory Theatre); Violet in Oil and Water (Artistic Fraud of Newfoundland); Claudia Roe in Enron, Elsa in The Sound of Music, Dorine in Tartuffe, Alcyone in Metamorphoses (National Arts Centre). Training: Memorial University of Newfoundland, School of Music. Online: @petieb. Et cetera: At home in St. John’s, Newfoundland, Petrina also works as a director, writer, composer and musician. She is delighted to be making her Stratford debut.

TIM CAMPBELL2016: Angus in Macbeth, Chris Keller in All My Sons and Carol in Bunny. Eighth season. Stratford (selected): Hamlet (twice), Julius Caesar, The Tempest, Macbeth, As You Like It, Titus Andronicus, Henry IV (1), Henry IV (2), Henry V, Romeo and Juliet, Richard III, Antony and Cleopatra, Troilus and Cressida. Elsewhere: Recent credits include Venus in Fur (ATP); Twelve Angry Men, Death of a Salesman, Who’s Afraid of Virginia Woolf? (Soulpepper); Jane Eyre (MTC); A Midsummer Night’s Dream (Shakespeare Theatre Company, Washington, D.C.); Death of a Salesman (Citadel); Private Lives (Chicago Shakespeare). Film/TV (selected): Reign, Republic of Doyle, Warehouse 13, Nikita, The L.A. Complex, Saving Hope, Deadly Hope, The Firm, Lost Girl, Against the Wall, Combat Hospital, Flashpoint, Murdoch Mysteries, Killshot, Hollywoodland. Awards: Dora Award, Best Ensemble (Twelve Angry Men). Past recipient of the Dora Mavor Moore Guthrie Award (for outstanding contribution to the Stratford Festival).

DAVID COLLINS DECLAN COOPER ALEXEI DELUCA

DAVID COLLINS2016: Ross in Macbeth, Corin in As You Like It and Monsieur Purgon in The Hypochondriac. Eighth season. Stratford: The Adventures of Pericles (Cerimon), The Alchemist (Lovewit), King Lear, A Midsummer Night’s Dream, Much Ado About Nothing, Henry V, Richard III (Rivers), Titus Andronicus, The Tempest (Francisco), Macbeth (Seyton), Caesar and Cleopatra (Theodotus). Elsewhere: Shakuntala (Premiere Dance Theatre); The Adventures of a Black Girl in Search of God (Mirvish); The Comedy of Errors, Twelfth Night, Donut City (Canadian Stage); Pusha Man, Ma Rainey’s Black Bottom (Passe Muraille); Top Gun the Musical (Factory Theatre/N.Y.C.); Romeo and Juliet (Shakespeare in Action); Walls (VECC). Founding member of Obsidian Theatre Company. Film/TV: Ubisoft, 12 Monkeys, Jean of the Jones, Saving Hope, Murdoch Mysteries, Nikita, The Firm, 11 Cameras, ReGenesis, Owning Mahowny, The Incredible Hulk, MVP, Warehouse 13, Nurse.Fighter.Boy, Rookie Blue, XIII. Training: MFA, York University. Awards: Dora nominations: Twilight Café, The America Play.

IJEOMA EMESOWUM BIRMINGHAM CONSERVATORY, 20152016: Gentlewoman in Macbeth, Phebe in As You Like It and appears in The Hypochondriac. Third season. Stratford: Maria in Love’s Labour’s Lost, Jackie Coryton in Hay Fever, Hamlet, The Taming of the Shrew, Alice Through the Looking-Glass, Antony and Cleopatra. Elsewhere: Five seasons with the Shaw Festival including Major Barbara, Serious Money, Ragtime, The Admirable Crichton, The Women, The Devil’s Disciple, Born Yesterday; Binti’s Journey (Theatre Direct); The Aftermath (Nightwood Theatre); A Midsummer Night’s Dream (Shakespeare in High Park, Canadian Stage). Film/TV: Antony and Cleopatra, Love’s Labour’s Lost, Hamlet, The Taming of the Shrew (Stratford Festival HD). Training: Birmingham Conservatory for Classical Theatre; BFA, University of Windsor. Online: Twitter: @UsoIje. Et cetera: “Love and thanks to my family and Jake.”

DEIDRE GILLARD-ROWLINGS2016: Second Witch in Macbeth, Audrey in As You Like It and appears in John Gabriel Borkman. Third season. Stratford: Chorus Leader (Oedipus Rex), Chorus (The Diary of Anne Frank), Yvette (Mother Courage). Elsewhere: Francis (Fly Me to the Moon, The Grand); Myra Bennett (Tempting Providence), Elizabeth (Winter, Theatre Newfoundland Labrador); Gnat (Alice Through the Looking-Glass, NAC); Katherine (The Taming of the Shrew, New Curtain); Nancy (Pillow Trade, Rising Tide); Minnie (Salvage, Artistic Fraud); Beatrice (The Servant of Two Masters, Wonderbolt); Christine (How It Works, PTE); Holly (Kiss the Sun, Kiss the Moon, WCTC); Agnes (Marion Bridge, Bare Boards). Film/TV: Heyday!, Republic of Doyle, Last of the Snow, Four Sisters. Recordings: The Grey Islands, Hard Light (Rattling Books). Training: BFA, Memorial University, Newfoundland. Et cetera: Deidre is a member of Bare Boards Theatre, based in Newfoundland, which is committed to creating contemporary theatre with Spartan and inventive methods.

IJEOMA EMESOWUM DEIDRE GILLARD-ROWLINGS

DECLAN COOPER2016: Fleance in Macbeth. Stratford debut. Drayton Entertainment: Winthrop Paroo in The Music Man; Lost Boy in Peter Pan: The Panto; member of the children’s chorus in Aladdin: The Panto, The Wizard of Oz, Snow White: The Panto. Training: Triple Threat with Basic Attitude Dance Company, Cambridge, Ontario; The Acting Centre, Guelph, Ontario; Theatre Troupers with the Cambridge Community Players. Et cetera: Declan thanks Daniel at the Talent House and his family for supporting his continued love for the stage. He is excited about the opportunity to be part of the 2016 Stratford Festival season.

ALEXEI DELUCA2016: Messenger in Macbeth. Stratford debut. Elsewhere: Puck in A Midsummer Night’s Dream, Sheriff in Robin Hood: Tales of the Sheriff of Nottingham, Thurio in The Two Gentlemen of Verona, Hamlet in Kidnapped by Pirates (Playmakers! Theatre School); Robin Hood in Robin Hood (St. Aloysius School). Training: Apprentice/Journeyman casts in Playmakers! Theatre School, Play On! drama summer camp. Et cetera: Alexei would like to thank the Stratford Festival for this opportunity. A big thank you also goes out to Susan, Stacy and Jen, along with his mom, dad, grandma and grandpa for all of their help and support.

ACTING COMPANY ACTING COMPANY

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ROBERT KING JOHN KIRKPATRICK IAN LAKE CYRUS LANE TRISH LINDSTRÖM

ROBERT KING2016: First Murderer, Cathness in Macbeth and understudy in All My Sons. 23rd season. Stratford: Hamlet, Shrew, Love’s Labour’s Lost, The Three Musketeers, The Merchant of Venice, Romeo and Juliet, Richard III, Richard II, Cymbeline, King Lear, Twelfth Night, Measure for Measure, The Merry Wives of Windsor, Dream, Pericles, Henry V, Henry VI, Shoemakers’ Holiday, Treasure Island, Count of Monte Cristo, Hunchback of Notre Dame, The Grapes of Wrath, Home, Of Mice and Men, The Diary of Anne Frank, Ah, Wilderness!, Quiet in the Land, The Donnellys. Elsewhere: A Wind in the Willows Christmas, The Yalta Game, Afterplay, Falling: A Wake (Alternative Theatre Works); Bolsheviki (world première, Infinithéâtre/ATW); Owen in The Melville Boys (world première, TNB); five seasons with Blyth Festival: I’ll Be Back Before Midnight, Garrison’s Garage, Country Hearts. Et cetera: A proud “Domie” – Dawson College’s Dome Theatre program. Robert lives in Stratford with his wife, Peggy, and children, Mary and Lawrence.

JOHN KIRKPATRICK2016: Doctor in Macbeth, Oliver in As You Like It and appears in The Hypochondriac. Third season. Stratford: Marcellus, Fortinbras in Hamlet, Philip, Pedant in The Taming of the Shrew, Boyet in Love’s Labour’s Lost, René Descartes in Christina, The Girl King, Red Knight/Walrus in Alice Through the Looking-Glass. Elsewhere: Jaques in As You Like It, Cassius in Julius Caesar, Lucio in Measure for Measure, Jake in Stones in His Pockets, Sam in Fully Committed (Citadel); Slim in Of Mice and Men (Canadian Stage/Theatre Calgary); Tybalt/Friar Laurence in Romeo and Juliet, Roy Darwin in Counsellor-at-Law (Theatre Calgary); Everard in Age of Arousal, Ned in The Gift of the Coat (ATP); Milan in Rock ’n’ Roll (Canadian Stage/Citadel); Kent in King Lear, Sir Andrew Aguecheek in Twelfth Night (Freewill Shakespeare Festival.) Film/TV: Blackstone, Mixed Blessings. Training: BFA, Acting, University of Alberta. Awards: Elizabeth Sterling Haynes Award, Measure for Measure, Citadel Theatre. Et cetera: Love to Breanna.

IAN LAKE BIRMINGHAM CONSERVATORY, 2007/082016: Macbeth in Macbeth and Thomas Diafoirerhoea in The Hypochondriac. Seventh season. Stratford: Mortimer in Mary Stuart, Orestes in Elektra, Arviragus in Cymbeline, Joey in The Homecoming, Silvius in As You Like It, Florizel in The Winter’s Tale, Demetrius in A Midsummer Night’s Dream, Trouble-All in Bartholomew Fair, Berowne in Love’s Labour’s Lost. Elsewhere: Once (Mirvish – Dora nomination, Outstanding Performance in a Musical); The Valley, This Is War (Tarragon); For This Moment Alone (Theatre Aquarius); Amadeus (Segal Centre); Schoolhouse, Lost Heir (Blyth Festival); Much Ado About Nothing (Resurgence Theatre). Film/TV: Catch Ian as Anson Haight on Bitten (Syfy/Space); Brace for Impact (Incendo); Remedy, Bomb Girls, Rookie Blue (Global); Beauty and the Beast (CW); The Divide (WE/AMC); Flashpoint (CTV). Training: National Theatre School of Canada, Birmingham Conservatory. Awards: 2009 Michael Mawson Award. Online: Twitter: @SirIanoftheLake. Instagram: @ianhlake.

TRISH LINDSTRÖM2016: Celia in As You Like It, Beline in The Hypochondriac and understudy in Macbeth. Fifth season. Stratford: Alice Through the Looking-Glass (Alice), A Midsummer Night’s Dream: A Chamber Play (Titania/Hermia), The Tempest (Miranda), The Two Gentlemen of Verona (Lucetta), Cabaret (Sally Bowles), The Trojan Women, The Miracle Worker (Helen Keller), The Prime of Miss Jean Brodie. Elsewhere: Once – Dora Award (Mirvish); The Man Who Shot Liberty Valance (RMTC); A Misfortune (Next Stage); The Mousetrap (Aquarius); Bloodless (Theatre 20 – founding artist); The Game of Love and Chance (Canadian Stage); In the Next Room (Tarragon/RMTC); Exit the King, A Midsummer Night’s Dream (Soulpepper); Assassins – Dora nomination (Birdland/TIFT); Mimi – Dora nomination (Tarragon); Shaw Festival (five seasons); Love’s Labour’s Lost (NAC); The Greatest Gift (TIFT); Dancing in Poppies (Grand); Mary’s Wedding (Ship’s Company); Pippi Longstocking (MTYP); Emily (Charlottetown). Film/TV: Dorothy’s Secret, Jack in the Box, Murdoch Mysteries. Training: National Theatre School. Et cetera: Trish as a photographer: trishlindstrom.org.

CYRUS LANE2016: Porter in Macbeth, Orlando in As You Like It and Ethan in Bunny. Fifth season. Stratford: The Taming of the Shrew, Possible Worlds, Peter Pan, King of Thieves, Richard III, Titus Andronicus, Cymbeline, Wanderlust. Elsewhere: Twelve Angry Men (Soulpepper); The Gift of the Magi (Theatre Orangeville); The De Chardin Project (Passe Muraille); Minotaur (YPT); RIFLES (Next Stage); The Tin Drum (UnSpun Theatre); Passion Play (Convergence, Outside the March, Sheep No Wool); Rock ’n’ Roll, Habeas Corpus, Take Me Out, Amadeus, Sweeney Todd (Canadian Stage); Blood Brothers (Theatre Aquarius); Kiss of the Spider Woman, The Inspector General (Talk Is Free); You’re a Good Man, Charlie Brown (YPT). Film/TV: Reign, Murdoch Mysteries, Anne of Green Gables: A New Beginning, The Summit. Training: London Academy of Music and Dramatic Art. Awards: Two Dora Awards (Ensemble – Passion Play, Twelve Angry Men). Et cetera: Love always to Joanne and Eliza.

JESSICA B. HILL PETER HUTT

JESSICA B. HILL BIRMINGHAM CONSERVATORY, 2014/152016: Lady Macbeth’s Attendant in Macbeth, Lydia Lubey in All My Sons and Lola in Bunny. Second season. Stratford: Dame Pliant (The Alchemist), Maiden Priestess (Pericles). Birmingham Conservatory: Duchess of York/Richard (Richard III), Paulina (The Winter’s Tale). Elsewhere: Ilona Szabo (The Play’s the Thing), Petra (An Enemy of the People) (Segal Centre); Heartbreaker (Les Zinspirés 2.0) (Théâtre français de Toronto); Lena Horne (Joe Louis: An American Romance) (Infinithéâtre); Holly (The Lady Smith) (Black Theatre Workshop); Zerbinette (Scapin), Ursula (Much Ado About Nothing) (Repercussion Theatre); Tamora (Titus Andronicus) (Montreal Shakespeare Theatre Company); Jehanne (Jehanne of the Witches) (Tableau d’Hôte). Film/TV: 30 vies (Radio-Canada); The Jensen Project (Muse Entertainment); The Battle of Wills (Informaction). Training: Birmingham Conservatory; McGill University; Dawson College. Awards: Elsa Bolam Award (2006); Brian Cloutte Award (2005). Online: jessicabhill.com. Et cetera: “Boundless gratitude to my friends and family for their love and support.”

PETER HUTT2016: Second Murderer, Old Siward in Macbeth and Monsieur Diafoirerhoea in The Hypochondriac. 17th season. Peter dedicates his 41st year in the business to his late son, Adam. Stratford: Includes Measure for Measure (Escalus), Mary Stuart (Aubespine), Othello (Brabantio), Cymbeline (Doctor), Elektra (Old Man), The Misanthrope (Oronte), The Tempest (Alonso), Richard III (Buckingham), The Scarlet Pimpernel (Chauvelin), The Merchant of Venice, Titus Andronicus, Elizabeth Rex (portraying William Shakespeare), Macbeth. Elsewhere: Shaw Festival: 20 seasons including An Inspector Calls, Belle Moral, The Philanderer and Summer and Smoke. Mr. Hutt’s career has taken him across Canada, to the Tarragon, Citadel, Neptune and Grand theatres, Manitoba Theatre Centre, National Arts Centre and Toronto’s Royal Alexandra. Film/TV: Includes The Age of Dorian, Forever Knight, The Taming of the Shrew (CBC), Breaking All the Rules, Echoes in the Darkness and CBC Television’s much-acclaimed production of Elizabeth Rex. Awards: Dora nomination, Patience (Tarragon Theatre).

JAMIE MAC

JAMIE MAC BIRMINGHAM CONSERVATORY, 2013/142016: Lennox in Macbeth, Silvius in As You Like It and appears in The Hypochondriac. Third season. Stratford: Kastril (The Alchemist), Fisherman (Pericles), Danny McArthur (The Physicists), Young Soldier (Mother Courage and Her Children), Towrus (Antony and Cleopatra). Birmingham Conservatory: Berowne in Love’s Labour’s Lost, Polixenes in The Winter’s Tale. Theatre: Jacob Mercer in Salt-Water Moon (NAC); Laurie in Vimy (GCTC); Clown in The 39 Steps (Stage West); David Jung in Rockbound (Two Planks and a Passion); Michael in The Elephant Song (Beothuk Street Players); Dromio of Ephesus in The Comedy of Errors (Shakespeare by the Sea); Jerry in Zoo Story (Reid Theatre). Film/TV: Beauty and the Beast, Republic of Doyle, Covert Affairs, Life With Derek. Training: Birmingham Conservatory; Ryerson University, BFA Acting. Awards: For The Elephant Song: Walter C. Chambers Memorial Scholarship, D.A. Matthews Memorial Scholarship, Honorary Chairman’s Award for Best Actor. Et cetera: Jamie is from St. John’s, NL.

OLIVER NEUDORF SOPHIE NEUDORF

OLIVER NEUDORF2016: Young Macduff in Macbeth. Stratford debut. Training: Singing, dancing and acting have filled Oliver’s childhood as he’s grown up performing with vogelJoy, his family’s band. From street corners to stages, he’s enjoyed entertaining with characters from Aesop Fables to his favourite, Don Quixote. He recently completed a term at Original Kids Theatre and is currently studying voice and ukulele. Online: vogeljoy.com. Et cetera: Oliver is grateful for all the people who helped make this adventure possible and is looking forward to many more. “Sally forth!”

SOPHIE NEUDORF2016: Apparition in Macbeth. Stratford debut. Training: “All the world’s a stage” for Sophie as she’s performed with her family’s band, vogelJoy, singing, acting and dancing all around the country. She entertains children and parents alike with her characters from Aesop’s Grasshopper to Cervantes’s Sancho and the Innkeeper in her audio theatre production. Currently she is studying voice and recorder. Online: vogeljoy.com. Et cetera: Sophie is excited that she has been given this great opportunity! She is looking forward to many more stages.

ACTING COMPANY ACTING COMPANY

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KRYSTIN PELLERIN LANISE ANTOINE SHELLEY E.B. SMITH SANJAY TALWAR BRIAN TREE EMILIO VIEIRA SCOTT WENTWORTH BRIGIT WILSON ANTOINE YARED

KRYSTIN PELLERIN2016: Lady Macbeth in Macbeth, Maggie in Bunny and understudy in All My Sons. Second season. Stratford: Joyce in Possible Worlds (2015). Elsewhere: Emily in Our Town, Luisa in The Fantasticks, Mary Snow in Salt-Water Moon, Cathleen in Long Day’s Journey Into Night, Cecily in Travesties, Debbie in The Real Thing (Soulpepper); Nellie in Floyd Collins (Patrick St. Productions/Talk Is Free); Kate in The Little Years (NAC/Neptune); Viola in Twelfth Night, Hero in Much Ado About Nothing (Shakespeare by the Sea, NL). Film/TV: Anne Boleyn in Reign (CW). Series lead: Leslie Bennett in Republic of Doyle (CBC). Guest appearances on The Tudors (Showtime/CBC), Lost Girl (Showcase), Saving Hope, The Listener (CTV). Training: National Theatre School of Canada. Awards: Gemini Award nomination: Best Actress in a Dramatic Series, Republic of Doyle. Jessie Award nomination: Best Supporting Actress in a Musical, Floyd Collins. Online: Twitter: @krystinpellerin. Et cetera: “Love to my family. I’m so thankful.”

SANJAY TALWAR2016: Menteth in Macbeth, Touchstone in As You Like It and Louis XIV in The Hypochondriac. Sixth season. Stratford: Hamlet, The Taming of the Shrew, Love’s Labour’s Lost, Alice Through the Looking-Glass, Hay Fever, Peter Pan, Dangerous Liaisons, Macbeth, Julius Caesar, Rice Boy, Twelfth Night, Much Ado About Nothing, Coriolanus. Elsewhere: The Road to Paradise (Human Cargo); Free Outgoing (Nightwood); Around the World in 80 Days (ATP); two seasons at the Shaw Festival; The Story (Theatre Columbus); Bombay Black (Cahoots/Arts Club); The Last Days of Judas Iscariot (Birdland Theatre); The Two Gentlemen of Verona, Measure for Measure, Titus Andronicus, director of The Merchant of Venice and Artistic Director for five seasons (Shakespeare in the Rough); five seasons at Dream in High Park; Helen’s Necklace (Tarragon and Pi Theatre – Jessie Award). Film/TV: Orphan Black, Puck Hogs, The Border, Flashpoint, Guns, Supernatural, Murder Unveiled. Training: Dalhousie University.

BRIAN TREE2016: Old Man in Macbeth, Adam in As You Like It and appears in The Hypochondriac. 27th season. Stratford: Grumio (The Taming of the Shrew), Sir Nathaniel (Love’s Labour’s Lost), Cardinal Pandulph (King John), Humpty Dumpty (Alice Through the Looking-Glass), Elbow (Measure for Measure), Melvil (Mary Stuart), Pisanio (Cymbeline), Wasp (Bartholomew Fair), Erronius (A Funny Thing Happened on the Way to the Forum), Costard (Love’s Labour’s Lost), Touchstone (As You Like It), Stephano (The Tempest), Joxer Daly (Juno and the Paycock), Mr. Bennet (Pride and Prejudice), Dolly Spanker (London Assurance), Oswald (King Lear), Peter Quince (A Midsummer Night’s Dream). Elsewhere: Various roles (The Sneeze and other Chekhov one-acts), Talk Is Free Theatre; Jimmy (The Pitmen Painters), Theatre Aquarius; Michael (Someone Who’ll Watch Over Me), Kemp (Vigil), Tarragon Theatre; Bottom (A Midsummer Night’s Dream), Canadian Stage; Harry (The Sum of Us), Belfry Theatre; Jim (Passion), Grand Theatre; the Player (Rosencrantz and Guildenstern Are Dead), Touchmark.

EMILIO VIEIRA BIRMINGHAM CONSERVATORY, 20152016: Donalbain in Macbeth, Justin in Bunny and understudy in All My Sons. Stratford debut. Elsewhere: Father in Six Characters in Search of an Author, Hastings/King Richard III in Richard III (Birmingham Conservatory); Benvolio in Romeo and Juliet (Guild Festival Theatre); Charles/Amiens in As You Like It, Lucius Andronicus in Titus Andronicus (Canadian Stage); Talbot in Henry VI, Part 1, Scullery in Road, Cassius in Julius Caesar (York University). Film/TV: Santiago in The Soliloquies of Santiago (webseries). Radio/Recordings: Dan in Priceless. Training: Birmingham Conservatory for Classical Theatre; BFA Specialized Honours in Acting, York University; Intermediate Actor-Combatant, Rapier Wit. Et cetera: Emilio thanks his mentors and all teachers who foster a love of storytelling in their students and dedicates this season to the two most influential teachers in his life: Ma and Pop.

SCOTT WENTWORTH2016: Banquo in Macbeth, Duke Frederick in As You Like It and John Gabriel Borkman in John Gabriel Borkman. 22nd season. Stratford: Favourites include last season’s Epicure Mammon in The Alchemist, Gloucester in King Lear, Tevye in Fiddler on the Roof, Shylock in The Merchant of Venice, Sky Masterson in Guys and Dolls, Iago in Othello and the title role in Macbeth. He also directed the 2001 productions of Henry IV, parts 1 and 2, and last season’s The Adventures of Pericles. Elsewhere: He recently played in Andrew Kushnir’s Wormwood at the Tarragon Theatre. Et cetera: Mr. Wentworth is a Tony-nominated actor, a director and playwright whose work has been celebrated on Broadway, in London’s West End, on television, in films and in theatres across the U.S. and Canada.

BRIGIT WILSON2016: First Witch in Macbeth, Duchess Senior in As You Like It and Toinette in The Hypochondriac. 11th season. Stratford: Pericles, The Alchemist, The Swanne, All’s Well, Quiet in the Land, Hunchback, The Count of Monte Cristo, The Triumph of Love, Cat on a Hot Tin Roof, Orpheus Descending (Stratford, MTC, Mirvish), The Merchant of Venice, The Comedy of Errors, An Ideal Husband, Three Sisters, Bartholomew Fair, Peter Pan, The Grapes of Wrath, King John, Christina, Mother Courage. Elsewhere: Clytemnestra in Agamemnon (Next Stage Festival); Narcisse Mondoux (Grand); Come Back to the Five and Dime… (Grand Theatre/Five & Dime Productions – Dora nomination); Enron (Theatre Calgary); The Merry Wives of Windsor, Glorious, Man of La Mancha (TBTB); The Ballad of Stompin’ Tom, Another Season’s Harvest (Blyth); The Odd Couple (Segal Centre). TV: Harriet Sims on The Campbells (four seasons). Film: Beyond Innocence, Anne of Avonlea, The Marriage Bed, Echoes in the Darkness, Lustre. Online: Twitter: @HOOPOOHEART.

ANTOINE YARED BIRMINGHAM CONSERVATORY, 2012/132016: Malcolm in Macbeth, William in As You Like It and Erhart Borkman in John Gabriel Borkman. Fourth season. Stratford: Lysimachus (Pericles), Dapper (The Alchemist), Guhl (The Physicists), Lewis, the Dauphin (King John), Swiss Cheese (Mother Courage), Mardian (Antony and Cleopatra), Prince of Aragon (The Merchant of Venice), Planchet (The Three Musketeers), Paris (Romeo and Juliet). Elsewhere: Mercutio (Romeo and Juliet), Touchstone (As You Like It), Stefano (The Tempest) (Repercussion Theatre); Fox (Pinocchio), Goat, Soldier (Alice Through the Looking-Glass) (Geordie Productions); Justin (Jesus Jello) (Sheep in Fog); Galoshin (Provincial Anecdotes) (Concordia University). Film/TV: Boucherie Halal (Babek Aliassa), Open (Tom Abray). Voice: Kojiro Sasaki, Samurai Warriors 2 (KOEI). Training: Birmingham Conservatory, Concordia University, Dawson College. Awards: 2014 Michael Mawson Award; 2013 Peter Donaldson Award; 2010 Elsa Bolam Award. Et cetera: “Thank you to my family and friends for your continued support and to all the mentors, teachers and coaches who have helped me along the way.”

LANISE ANTOINE SHELLEY BIRMINGHAM CONSERVATORY, 20152016: Third Witch in Macbeth, Sue Bayliss in All My Sons and Elissa in The Aeneid. Stratford debut. Chicago: Lady Macbeth in Macbeth, Titania/Hippolyta in A Midsummer Night’s Dream, Adriana in The Comedy of Errors (Short Shakespeare!, Chicago Shakespeare Theater); Goodman Theatre; Lookingglass Theatre; Backroom Shakespeare. Elsewhere: Two Plays by Sophocles (Outside the Wire); A Midsummer Night’s Dream, Julius Caesar (Shakespeare Santa Cruz); Eurydice, The Night is a Child, The Glass Menagerie, Gem of the Ocean, King Lear, Intimate Apparel, Sueno, …Young Lady from Rwanda, Lady Windermere’s Fan, The Crucible (Milwaukee Repertory Theatre); American Repertory Theatre; Indiana Repertory Theater; Book-It Repertory Theater; Seattle Repertory Theatre. Film/TV: Chicago Fire (NBC), Goodman Theatre’s Stop. Reset., Discovery World. Training: MFA from ART/MXAT at Harvard University; BFA from Cornish College of the Arts; certificate from BADA, Oxford, England; Birmingham Conservatory, 2015/2016 Chicago Fellow. Et cetera: Instagram: @Lantoines. “All things for my mom, Heidi and Jessi.”

E.B. SMITH BIRMINGHAM CONSERVATORY 2010/112016: Seyton in Macbeth, Dr. Jim Bayliss in All My Sons and The Scavenger, Allecto’s Son in The Aeneid. Sixth season. Stratford: Juan Murillo (The Physicists), Thaliard, Leonine (Pericles), Eilif (Mother Courage), Melun (King John), Alexas (Antony and Cleopatra), Bellievre (Mary Stuart), Abhorson (Measure for Measure), Cymbeline, Elektra, Richard III, Titus Andronicus. Elsewhere: Dr. Martin Luther King Jr. (The Mountaintop) (The Grand); Big Sam (Gone With the Wind) (RMTC); Seyton (Macbeth), Friar Laurence (Romeo and Juliet) (Chicago Shakespeare); Macduff (Macbeth) (First Folio Theatre); King (King Hedley II) (Karamu); Moustique (Dream on Monkey Mountain); Junior (Before It Hits Home); Cleveland Play House; Idaho Shakespeare Festival; Theater Wit, Chicago; The Great Lakes Theater Festival. Film/TV: The Beast (Sony), Ask Gilby, Maybe By Then, Thunder Bay (PBS). Training: Ohio University, Birmingham Conservatory. Et cetera: E.B. would like to dedicate his work to his parents and grandmother, and to the memory of his Papa, who will always be in the front row.

JOSEPH ZIEGLER

JOSEPH ZIEGLER2016: Duncan in Macbeth, Joe Keller in All My Sons and Vilhalm Foldal in John Gabriel Borkman. Ninth season. Stratford: 2015 season: The Diary of Anne Frank, She Stoops to Conquer and The Last Wife. Joseph was part of the Stratford company from 1983 to 1987, acting in Love’s Labour’s Lost, Henry IV, Part 1, A Midsummer Night’s Dream, King Lear, Twelfth Night, The Winter’s Tale, Cymbeline, Pericles, Measure for Measure and many others. In 2000 he directed Paul Gross as Hamlet, and in 2009 he appeared in Morris Panych’s play The Trespassers. Elsewhere: Founding member of Soulpepper, where he has directed and acted in many plays, including Our Town, Death of a Salesman and A Christmas Carol. He has had a long association with the Shaw Festival, as an actor and as director of plays such as When We Are Married, Harvey, Major Barbara and Widowers’ Houses.

ARTISTIC COMPANY ARTISTIC COMPANY

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ANTONI CIMOLINO KATHERINE DERMOTT JULIE FOX T. ERIN GRUBER

ANTONI CIMOLINO2016: Artistic Director of the Stratford Festival. Director of Macbeth and The Hypochondriac. 29th season. Stratford: Directing credits include Hamlet; The Alchemist; King Lear; The Beaux’ Stratagem; Mary Stuart; The Merchant of Venice; Cymbeline; The Grapes of Wrath; Bartholomew Fair; Coriolanus, with Colm Feore and Martha Henry; As You Like It, featuring original music by Barenaked Ladies; King John; Love’s Labour’s Lost, with Brian Bedford; Twelfth Night, with William Hutt; The Night of the Iguana; and Filumena, with Richard Monette. Among his other accomplishments, Mr. Cimolino was instrumental in establishing the Festival’s Endowment Foundation, which has raised more than $75 million to date, as well as in the renovation of its Avon Theatre and the creation of its Studio Theatre. Elsewhere: The Canadian première of ENRON (Theatre Calgary); Twelfth Night (Attic Theatre, Detroit); A Woman of No Importance (Hilberry Theater, Detroit). A champion of the arts and culture, Mr. Cimolino served as the Founding Chair of Culture Days, a nation-wide celebration of arts and culture in Canada. He has initiated collaborations with several prestigious theatre companies, including Montreal’s Théâtre du Nouveau Monde, Ottawa’s National Arts Centre, New York’s Lincoln Center and City Center, San Francisco’s American Conservatory Theater and the Chicago Shakespeare Theater. He also spearheaded the Festival’s involvement in a joint project with CUSO International, Canada’s international volunteer co-operation agency, to establish a performing arts and educational centre in the city of Suchitoto, El Salvador.

JULIE FOX2016: Designer of Macbeth. Seventh season. Stratford: The Taming of the Shrew, A Midsummer Night’s Dream, Othello, The Best Brothers, The Little Years, For the Pleasure of Seeing Her Again. Elsewhere: The Watershed, The Seagull, Someone Else, Seeds, I, Claudia, The Country (Crow’s Theatre); Arigato, Tokyo, The Maids, Blasted (Buddies in Bad Times); Endgame, The Long Valley (Soulpepper); Within the Glass, The Patient Hour, Faust, The Designated Mourner, The Cryptogram (Tarragon); We Are Not Alone, Geometry in Venice (Segal Centre); Frozen (Citadel); The Eco Show, Insomnia (Necessary Angel); Possible Worlds (Theatre Passe Muraille). Opera: A Synonym for Love (Volcano). Dance: Still Here (adelheid); Shudder (Susanna Hood); Bas-Reliefs (Chartier Danse). Training: National Theatre School. Awards: Four Dora Awards for set design; Virginia Cooper Award for costume design; META and Sterling Award nominations. Teaching: National Theatre School.

T. ERIN GRUBER2016: Assistant set designer of Macbeth, A Chorus Line and As You Like It. Second season. Stratford: Assistant projection designer for Tommy. Elsewhere: Co-founder of the ShowStages Video Collective, a group who build narratives through projected media for theatre and live events. Category E (production designer, Sterling Award for Lighting Design, Maggie Tree Collective); Mary Poppins (lighting and projection designer, Globe Theatre); A Bomb in the Heart (production designer, Downstage, Betty Mitchell nomination); Ring of Fire (set and projection designer, Chemainus Festival Theatre). Training: BFA in Theatre Design from the University of Alberta. Online: eringruber.com; showstages.com. Et cetera: Erin is really pleased to be back at Stratford for a second season and owes a debt of gratitude to her family and friends for their continued support. Lots of love to Pat, Laurie and Haley, and her colleagues Joel and Elijah at the ShowStages Video Collective.

KATHERINE DERMOTT2016: Apprentice stage manager of Macbeth and The Hypochondriac. Second season. Stratford: Festival Theatre production assistant, 2015. Elsewhere: Anne & Gilbert: The Musical, Alice Through the Looking-Glass, The Sound of Music (National Arts Centre); Tosca, Madama Butterfly (Opera Lyra Ottawa); This is War (Great Canadian Theatre Company); As You Like It, Hal & Falstaff, The Merry Wives of Windsor, Henry V (A Company of Fools); Pacino One Night Only (NAC presentation).

BRYAN KENNEY JULIE MILES ANNE MURPHY STEVEN PAGE

JULIA HOLBERT2016: Assistant costume designer of Macbeth. Second season. Stratford: She Stoops to Conquer (assistant costume designer, 2015). Elsewhere: Tweed & Company (costume designer, 2015), Platypus Theatre (costumer, 2014), Drayton Entertainment (dresser and stitcher, 2011 to present), Collective Productions (costume designer, 2010), Queen’s Musical Theatre (costume designer and head of wardrobe, 2008 to 2010), Chaos Theory Theatre (costume designer, 2008). Training: BAH from Queen’s University; Fashion Design and Technical Costume Studies Post-Graduate from Fanshawe College.

JULIA HOLBERT

BRYAN KENNEY2016: Assistant lighting designer of Macbeth and A Chorus Line. Stratford debut. Elsewhere: Lighting design: A Christmas Carol (Theatre North West); Vanya and Sonia and Masha and Spike, Helen’s Necklace, On the Edge (Belfry Theatre); The Rocky Horror Picture Show (Capilano University); The Trojan Women (Douglas College). Lighting and set design: MissUnderstood (Frank Theatre); Boeing Boeing (Keyano College). Set design: Gas Light (Blue Bridge Repertory Theatre). Lighting and projection design: Alice vs. Wonderland (Blue Bridge Repertory Theatre); Lion in the Streets (University of Victoria). Training: MFA University of Victoria; BA Dalhousie University. Online: bryankenney.com.

JULIE MILES2016: Production stage manager of the Avon Theatre, stage manager of The Hypochondriac and assistant stage manager of Macbeth. 19th season. Stratford: Ten seasons as production stage manager (Tom Patterson, Avon and Studio theatres). Stage manager: The Alchemist, The Beaux’ Stratagem, A Word or Two, The Thrill, The Homecoming, Jacques Brel, Shakespeare’s Universe, Othello, The Measure of Love/Ruth Draper on Tour. Assistant stage management (selected): Noises Off, The Merchant of Venice, King Lear, Inherit the Wind, Fiddler on the Roof. Elsewhere: In 2014, Julie travelled to Los Angeles with Christopher Plummer’s A Word or Two. Production stage manager: The Odd Couple, As You Like It (Soulpepper). Assistant stage manager: Don Giovanni, Roméo et Juliette, Eugene Onegin, Lakmé, Tosca (Opera Ontario); La Bohème, Die Walküre (Canadian Opera Company). Training: Graduate of the Ryerson Theatre School. Et cetera: Much love and gratitude to Mom, Dad, Roger, Eldon and Annie-Irene.

ANNE MURPHY2016: Stage manager of Macbeth and assistant stage manager of The Hypochondriac. 24th season. Stratford: Anne is pleased to be back for the 2016 season. Elsewhere: Cabaret (MTC), Sleeping Beauty (Globe Theatre), Orpheus Descending (MTC, Royal Alexandra Theatre), toured the Belfry Theatre’s The Year of Magical Thinking to the Tarragon Theatre and the National Arts Centre, toured with Joseph and the Amazing Technicolor Dreamcoat and the NAC’s The Mikado and worked on The Lion King and Jane Eyre in Toronto. She has had the pleasure of working across Canada at the Grand Theatre, Vancouver Playhouse, Neptune Theatre (production manager for two years), Manitoba Theatre Centre and Expo ’86 in Vancouver. Et cetera: Anne lives in Stratford with her partner, Anne; their son, Callum; daughter Brianna; Richard, a Nova Scotia Duck Tolling Retriever; Lucy, the cutest Maltipoo ever; and three beautiful cats.

STEVEN PAGE2016: Composer for Macbeth. Sixth season. Stratford: Bartholomew Fair, Coriolanus, As You Like It, Cymbeline, Hamlet. Elsewhere: Singer and songwriter Steven Page’s distinctive and powerful tenor is among the most familiar voices in popular music today. His evolving artistic path has always included a diverse array of musical endeavours – like composing scores for the Stratford Festival and collaborating with Toronto’s Art of Time Ensemble – but 2016 marks the release of Heal Thyself, Pt.1: Instinct. This new collection of original songs debuted in early March and was followed by Steven’s critically acclaimed residency at New York’s storied Café Carlyle. Called “whip smart” and “perfect pop,” his new album finds Steven Page “at the top of his game” and touring across the continent. “The best you can do is make the art you are driven to make. And, in the end, I know this album sounds like me.” www.stevenpage.com.

ARTISTIC COMPANY ARTISTIC COMPANY

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MARGARET PALMER THOMAS RYDER PAYNE CORINNE RICHARDS GEOFF SCOVELL JOHN STEAD

MARGARET PALMER2016: Production stage manager of the Festival Theatre and assistant stage manager of A Little Night Music. 33rd season. Stratford: Maggie has been PSM at the Avon, Tom Patterson and Festival theatres for 25 seasons. Stage-management credits include Henry IV (parts 1 and 2); Iolanthe; The Imaginary Invalid; My Fair Lady; A Man for All Seasons; Kiss Me, Kate; Guys and Dolls; The Government Inspector; Coriolanus; The Mikado (national tour, London’s Old Vic); and Twelfth Night (U.S. tour). Elsewhere: Maggie has worked at the St. Lawrence Centre (Toronto Arts Productions), MTC and the Grand Theatre, where she stage-managed a Dora Award-winning production of A Little Night Music. She stage-managed Eugene Onegin (Manitoba Opera), the first Dream in High Park and the first Dora Awards. She did publicity for the NDWT Company and toured Canada with the Charlottetown Festival. Training: Graduate of the National Theatre School.

THOMAS RYDER PAYNE2016: Sound designer of Macbeth and The Hypochondriac. Eighth season. Stratford: Hamlet, The Taming of the Shrew, The Alchemist, King Lear, A Midsummer Night’s Dream, The Beaux’ Stratagem, Othello, The Matchmaker, Much Ado About Nothing, The Little Years, Hosanna, King of Thieves, Rice Boy. Elsewhere: Designs for BIBT, Soulpepper, Canadian Stage, Tarragon, Factory, Theatre Passe Muraille, NAC, Blyth Festival, RMTC, Theatre Calgary, GCTC, Volcano, Nightwood, Modern Times, Aluna, Crow’s and many others. Film: Hero.Traitor.Patriot, Alegra & Jim, Robert’s Circle. Training: Studied composition with James Tenney, Honours BA, York University. Awards: 16 nominations and two Dora Awards for Sound Design and Composition. Et cetera: Started as a songwriter with a four-track tape machine and still endlessly fascinated with the storytelling possibilities of layered sound.

GEOFF SCOVELL2016: Associate fight director of Macbeth, All My Sons, The Lion, the Witch and the Wardrobe, As You Like It, Shakespeare in Love, A Little Night Music, Breath of Kings: Rebellion and Breath of Kings: Redemption. Sixth season. Stratford: Associate fight director (selected): Hamlet, The Physicists, Pericles, The Taming of the Shrew, Oedipus Rex, King Lear, Crazy for You, King John, Man of La Mancha, A Midsummer Night’s Dream, Romeo and Juliet, The Three Musketeers, Othello. Assistant fight director: Fiddler on the Roof, Cyrano de Bergerac, The Count of Monte Cristo. Elsewhere: Fight director: Peter and the Starcatcher, Sweet Charity (Shaw); Don Giovanni, War and Peace (COC); The Godot Cycle (Yes Let’s Go); Mirandolina (Soulpepper); Romeo and Juliet (ShakespeareWorks). Film/TV: Stunt performer (selected): Suicide Squad, Dark Matter, Killjoys, 12 Monkeys, Bitten, The Strain, Covert Affairs, Pompeii, Robocop, Reign, Orphan Black, Assassins Creed: Unity, Carrie, Total Recall, Lost Girl. Training: BFA, Ryerson University. Awards: Paddy Crean: excellence in stage combat. Online: @GeoffScovell. Et cetera: This season is dedicated to the memory of Joel Harris.

JOHN STEAD2016: Head of Stage Combat. Fight Director of All My Sons, The Lion, the Witch and the Wardrobe, As You Like It, A Little Night Music, Breath of Kings: Rebellion and Breath of Kings: Redemption. 23rd season. Stratford: Fight director, 200+ productions. Elsewhere: 500+ productions, including 15 seasons with Shaw Festival. Film director: Cyborg Soldier, Troubled Waters, Good Morning Tomorrow, The Waking, The Hot Flash, End Game, Charon’s Obal. TV director: Dark Matter, Bitten, The Bobby Buck Show, XIII, Lost Girl, Earth: Final Conflict, Tracker, Mutant X, The Dresden Files, The Adventures of Sinbad. 400+ film/TV credits as stunt coordinator/action director. Awards: Award of Excellence (Canadian International Film Festival); Genre Award for Best Suspense (BNFF); Derek F. Mitchell Artistic Director’s Award, Tyrone Guthrie Award (Stratford); Judges’ Choice Award (15 Minutes of Fame International Film Festival); Best Short Award nominee (Directors’ Guild of Canada). Online: johnstead.com; IMDB: imdb.com/name/nm0824093/.

CORINNE RICHARDS2016: Assistant stage manager of Macbeth and All My Sons. 29th season. Stratford: Festival productions include 20 Shakespearean plays (some multiple times) plus The Physicists, The Beaux’ Stratagem, The Thrill, Wanderlust, The Grapes of Wrath, The Homecoming, For the Pleasure of Seeing Her Again, Home, Memoir, Les Belles-Soeurs, Phaedra, Alice Through the Looking-Glass, Amadeus, Little Women, The Country Wife, Pride and Prejudice, An Ideal Husband, Ghosts, The Lark and a 1998 run at the City Center in New York City of Much Ado About Nothing and The Miser. Elsewhere: Corinne has also worked for the Grand Theatre, Manitoba Theatre Centre, the National Arts Centre, the Red Barn Theatre and Douglas Beattie Productions. Training: University of Waterloo.

MICHAEL WALTONJAMES WALLIS

JAMES WALLIS MICHAEL LANGHAM WORKSHOP, 20162016: Assistant director of Macbeth. Stratford debut. Elsewhere: Director: Romeo and Juliet, Love’s Labour’s Lost, Macbeth, The Merry Wives of Windsor, Edward II (staged reading), King John (Shakespeare BASH’d – also Founder and Artistic Director); Shakespeare in Hospitals (Spur of the Moment Collective); As You Like It (Theatre by the Bay); Reasons to Be Pretty (Labute Cycle). Actor: Hamlet in Hamlet, Benedick in Much Ado About Nothing, Petruchio in The Taming of the Shrew (Shakespeare BASH’d); Romeo and Juliet, Measure for Measure, Love’s Labour’s Lost (Resurgence Theatre Company); Shakespeare’s Magic, A Midsummer Night’s Dream (Theatre by the Bay). Film/TV: Actor: The Movie Out Here, Dead of Winter, Last Chance for Christmas, And Now a Word from Our Sponsors. Training: Ryerson Theatre School. Online: @ShakesBASHd; shakespearebashd.com. Et cetera: “Thanks to Julia for all her support.”

MICHAEL WALTON2016: Lighting designer of Macbeth, A Chorus Line and The Hypochondriac. 12th season. Stratford: Hamlet, The Sound of Music, Oedipus Rex, Love’s Labour’s Lost, King Lear, A Midsummer Night’s Dream (2009, 2014), Antony and Cleopatra, Othello, Fiddler on the Roof, The Three Musketeers, Henry V, The Matchmaker, Twelfth Night, The Misanthrope, The Tempest, As You Like It, King of Thieves, Macbeth, Hamlet (2008). Elsewhere: Evangeline (Charlottetown/Citadel); The Little Prince – The Musical (Theatre Calgary); Così Fan Tutte (Canadian Opera Company); A Word or Two with Christopher Plummer (CTG/Stratford, Los Angeles); Maria Stuarda (Pacific Opera); Enron, The Year of Magical Thinking (NAC); Yoshimi Battles the Pink Robots, Sideways (La Jolla Playhouse, California); Julie, The Other Place, Harper Reagan, Venus in Fur (Canadian Stage); Glenn, A Tender Thing, ’Night Mother (Soulpepper); Mary Poppins, Next to Normal (Citadel/Theatre Calgary); The Rocky Horror Show (Citadel); Chimerica (RMTC/Canadian Stage).

HEIDI STRAUSS2016: Movement director of Macbeth. Stratford debut. Elsewhere: Golden Dragon (Tarragon Theatre); Another Africa/Africa Trilogy (Canadian Stage, Luminato); The Marriage of Figaro (Canadian Opera Company); Through Roses (Frankfurt Opera); Julie Sits Waiting (Good Hair Day); Insomnia (Necessary Angel). Film/TV: elsewhere (Festival Internacional de Vídeo & Dança, Rio de Janeiro); IDN festival, Barcelona; Art in Transit, Pattison (OneStop); a settling haze (Young Centre); Girl in Mourning (Harbourfront Centre Theatre). Commissions: Everyday Anthems (Harbourfront Centre Theatre World Stage/Toronto Dance Theatre). With adelheid: adelheid solos (Harbourfront Centre Theatre); as it is, this time, still here (Factory Theatre); elsewhere (Harbourfront Centre Theatre). These works have toured nationally. With adelheid, Heidi is currently a resident artist at the Theatre Centre. Training: The School of Toronto Dance Theatre. Awards: K.M. Hunter Award for Dance, Dora Award for choreography of this time. Online: adelheid.ca; @adelheid_dance.

CYNTHIA TOUSHAN2016: Production stage manager of the Festival Theatre and stage manager of A Chorus Line. 20th season. Stratford: Shows include Crazy for You, Fiddler on the Roof, 42nd Street, Camelot, The Music Man, Oklahoma!, West Side Story, My Fair Lady, Man of La Mancha, Hello, Dolly!, The King and I and others. Elsewhere: Over 35 years as a stage manager; over 25 years with the Canadian Opera Company as a stage manager and choreographer, most recently on Siegfried; White Christmas for Drayton Entertainment with Michael Lichtefeld; production stage manager and resident director of Jersey Boys, Toronto; 25 years as a singer/dancer and choreographer in Canadian theatre; assistant director/choreographer to her mentor, Alan Lund. Et cetera: Love to daughters Stephanie and Jennifer, son-in-law Andrew, fiancé Paul and her beautiful grandchildren, Kennedy and Koston.

HEIDI STRAUSS CYNTHIA TOUSHAN

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THE BEST OF BRITISH THEATRE

BROADCAST AT A CINEMA NEAR YOUVisit Cineplex.com/Stage

™/® Cineplex Entertainment LP or used under license.

The Birmingham Conservatory for Classical TheatreLed in 2016 by Stephen Ouimette and Martha Henry, this intensive professional training program nurtures talented young actors for a future in classical theatre.

Selected by audition, participants are usually graduates of an accredited theatre training program who have at least two years’ professional experience. Upon completion of the program – which includes, among other activities, classes in voice, movement and text with Festival coaches and distinguished guest instructors – participants are offered places in the following season’s acting company. Thirty members of this season’s company are past participants.

The Birmingham Conservatory for Classical Theatre is made possible by the support of the Birmingham family, the Stratford Festival Endowment Foundation and the Department of Canadian Heritage. The 2016 in-season work of Conservatory participants is supported by the Marilyn & Charles Baillie Fund and by John & Therese Gardner.

The Michael Langham Workshop for Classical DirectionOverseen by Antoni Cimolino, Artistic Director, and David Latham, Theatre Training Consultant, this program offers an unparalleled opportunity for directors in the early or mid stages of their careers to develop their craft within the rich history and evolving artistry of the Stratford Festival.

Participants serve as assistant directors on specific productions for periods ranging from eleven to sixteen weeks; in the fall, selected participants return to the Festival to direct a short piece of classical theatre to be performed for an invited audience. Twelve current or past Langham Workshop participants are members of this season’s artistic company.

We extend our thanks to the Department of Canadian Heritage, Johanna Metcalf and the George Cedric Metcalf Foundation and the Philip and Berthe Morton Foundation.

The Michael Langham Workshop for Classical Direction is sponsored by The RBC Emerging Artists Project.

SHAKESPEARE IN LOVE | BASED ON THE SCREENPLAY BY MARC NORMAN AND TOM STOPPARD | ADAPTED FOR THE STAGE BY LEE HALLDIRECTED BY DECLAN DONNELLAN

PRODUCTION SUPPORT IS GENEROUSLY PROVIDED BY MARTIE & BOB SACHS

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