KingCharles III ASIDES by David Spears

2016|2017 SEASON

ISSUE 3

TABLE OF CONTENTS

1 Title Page 3 Cast

5 About the Playwright

6 Bartlett's Bardolatry

10 Game of Thrones 16 Windsor Family Tree 18 "The Queen is Dead. Long Live the King!" 23 Cast Biographies 28 Artistic Biographies 34 Royal Primer 36 David Muse on Mike Bartlett 41 For STC 46 About STC 46 About ACA 47 Support 57 Audience Engagement

DEAR FRIEND, WELCOME to the Shakespeare Theatre Company. It gives me great pleasure to present you with tonight’s production of King Charles III by Mike Bartlett. The play originated at London’s Almeida Theatre in 2014 and continued on to award-winning runs on London’s West End and Broadway. Though it is a new play, it boasts a Shakespearean pedigree. With a mixture of audacity and technical proficiency worthy of the Bard himself, Bartlett imagines a future history for England after the death of Elizabeth II, with his characters speaking a familiar mixture of prose and blank verse. Though audiences and critics were initially dazzled simply by Bartlett’s poetic achievement, recent events have underscored his keen political insight as well. As Bartlett notes, observing a favorite Shakespearean paradox: the more power one attempts to exercise, the more chaos is sure to follow. In a time of Brexit and Trump, the play feels ever more prophetic. I can think of few directors more capable of bringing such a challenging, entertaining, ultimately Shakespearean work to life than David Muse. As the Artistic Director across town at Studio Theatre, David has helmed productions of Bartlett’s other plays, and as a former Associate Artistic Director of STC, he is a formidable interpreter of the Bard. I have always sought to provide a home here for the next generation of classical artists and I am pleased to welcome back David as a peer. Along similar lines this season, dynamic young director Liesl Tommy—fresh off a Tony® nomination for her work on Eclipsed—will helm Shakespeare’s Scottish play, Macbeth, which we have not produced for over a decade. Beginning February 18, innovative New York ensemble Elevator Repair Service presents The Select (The Sun Also Rises), an inventive literary adaptation similar to Headlong’s 1984. And I will be teaming up with another old friend on The School for Lies, which takes on The Misanthrope by Molière as only David Ives can. I look forward to seeing you at the theatre.

59 Up Next: Macbeth

Warm regards,

61 Audience Services

Michael Kahn Artistic Director Shakespeare Theatre Company

Cover: Robert Joy, photo by Kevin Berne.

Recipient of the 2012 Regional Theatre Tony AwardÂŽ

Artistic Director Michael Kahn Executive Director Chris Jennings

In association with American Conservatory Theater and Seattle Repertory Theatre presents

Performances begin February 7, 2017 Opening Night February 13, 2017 Sidney Harman Hall

Director David Muse

Resident Casting Director Carter C. Wooddell

Scenic Designer Daniel Ostling

Literary Manager/Dramaturg Drew Lichtenberg

Costume Designer Jennifer Moeller

Head of Voice & Text Lisa Beley

Lighting Designer Lap Chi Chu

Associate Director Sivan Battat

Sound Designer/Composer Mark Bennett

Production Stage Manager Joseph Smelser*

Movement Director Lisa Townsend

Assistant Stage Manager Elizabeth Clewley*

Casting Director Janet Foster, CSA

King Charles III is presented by special arrangement with Dramatists Play Service, Inc., New York. Additional production support provided by Dr. Paul and Mrs. Rose Carter. Restaurant Partner: Dirty Habit DC

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

CAST MIKE BARTLETT'S KING CHARLES III

King Charles III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Robert Joy* Camilla. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jeanne Paulsen* Prince William. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Christopher McLinden* Kate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Allison Jean White* Prince Harry. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Harry Smith* James Reiss. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dan Hiatt* Prime Minister Evans . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ian Merrill Peakes* Spencer, Kebab Seller and Others. . . . . . . . . . . . . . . . . . . . . . . Rafael Jordan* Cootsy, Sir Michael and Others. . . . . . . . . . . . . . . . . . . . . . . . . . Jefferson Farber* Jessica . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michelle Beck* Mr. Stevens. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bradford Farwell* Ghost, Newspaper Woman and Others. . . . . . . . . . . . . . . . . . . Chiara Motley* Speaker of the House, Sir Gordon and Others. . . . . . . . . . . . . Tim Getman* Ensemble. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Yesenia Iglesias, Matthew Aldwin McGee*

UNDERSTUDIES Jefferson Farber* (Prince William), Tim Getman* (Prime Minister Evans/James Reiss/ Mr. Stevens), Dan Hiatt* (King Charles III), Yesenia Iglesias (Jessica), Chelsea Mayo (Ghost/Newspaper Woman/Others/Ensemble), Matthew Aldwin McGee* (Prince Harry/Spencer/Kebab Seller/Cootsy/Sir Michael/Others), Chiara Motley* (Kate), Kimberly Schraf* (Camilla), Michael Dix Thomas (Speaker of the House/Sir Gordon/ Others/Ensemble)

FOR THIS PRODUCTION Assistant Lighting Designers: Alex Fabozzi, Catherine Girardi Associate Sound Designer: Charles Coes Vocal Coach: Brandon Adams Wardrobe Overhire: Stephanie Goad, Kelly Anne Johns

There will be a 15-minute intermission. The Shakespeare Theatre Company operates under an agreement between the League of Resident Theatres and Actorsâ&#x20AC;&#x2122; 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. *Member of Actorsâ&#x20AC;&#x2122; Equity Association, the Union of Professional Actors and Stage Managers.

ASIDES Production Program and Publication of the SHAKESPEARE THEATRE COMPANY Managing Editor Laura Henry Buda Creative Director David Spears Contributing Editors Drew Lichtenberg Hannah Hessel Ratner Rebecca Watson

Advisors Alan Paul Samantha K. Wyer Graphic Designer Kent Kondo

Season Tickets are now available! Subscribe to SAVE up to 30% off and get many great benefits. EXPLORE the lineup of plays, benefits and more: ShakespeareTheatre.org/Subscribe 4

ABOUT THE PLAYWRIGHT

mike bartlett is a multi-award-winning playwright and screenwriter whose most recent plays include Wild (Hampstead Theatre); Game (Almeida Theatre); King Charles III (Almeida Theatre, the West End, and Broadway; Criticsâ&#x20AC;&#x2122; Circle Theatre Award for Best New Play, Laurence Olivier Award for Best New Play, and Tony AwardÂŽ nomination for Best Play); An Intervention (Paines Plough and Watford Palace Theatre); Bull (Sheffield Theatres and Off-Broadway; TMA Award for Best New Play and Laurence Olivier Award for Outstanding Achievement in an Affiliate Theatre); Medea (Citizens Theatre and Headlong); a stage adaptation of Chariots of Fire (Hampstead Theatre and the West End); 13 (National Theatre); Love, Love, Love (Paines Plough, The Drum at Theatre Royal Plymouth, and Royal Court Theatre; TMA Award for Best New Play); Earthquakes in London (Headlong and National Theatre); Cock (Royal Court Theatre and off Broadway; Laurence Olivier Award for Outstanding Achievement in an Affiliate Theatre); Artefacts (Nabokov and Bush Theatre); Contractions; and My Child (Royal Court Theatre). Bartlett has also written award-winning works for radio, received BAFTA nominations for two television series, and recently won Outstanding Newcomer for British Television Writing at the 2016 British Screenwriters Awards for his TV series Doctor Foster.

bartlettâ&#x20AC;&#x2122;s bardolatry about the play

By Drew Lichtenberg Literary Manager

ike Bartlett’s King Charles III is one of the most audacious theatrical experiments in recent memory. Initially produced at London’s Almeida Theatre in 2014 before award-winning runs on Broadway and the West End, Bartlett’s play speculatively imagines the future reign of Charles Windsor as King of England. Bartlett employs Shakespeare’s flexible, inherently theatrical medium, mixing prose and blank verse (iambic pentameter), which allows the stage to transform with the speed of thought itself. As Bartlett writes in the Guardian: “The language leads, and we only have time to think in its wake. I only manage it a few times in the play, but in performance you can sometimes feel the audience enjoying the experience of catching up.” Halfway through the play, Prince Harry goes in disguise among the common people (rather like Henry V at Agincourt). He buys a döner kebab from a vendor named Paul, a man on the street who, like Shakespeare’s Scrivener in Richard III, stops the action to share his perspective. “It’s like this meat here,” Paul says: “all pulled together. It’s turning, cooking.” As the vendor speaks the kebab becomes an image of the United Kingdom itself—a series of layers crumbling under economic and political pressures. “Smaller all the time,” he says, “and when does Britain get so cut down, that it’s not Britain anymore? […] If you take enough layers away, what have you got left, underneath, know what I mean?” (act 3, scene 5). The flexibility of Shakespeare’s medium also opens up a wider range of dramatic possibilities. Unlike the Greeks, who depicted a mythic hero’s story, or his contemporaries, who wove together multiple fantastic plots, Shakespeare’s history plays chart the rise and fall of entire countries. The characters are real people, ranging from commoners on the street to those atop the social ladder. In place of the typical dramatic unities of time, place and action, Shakespeare substitutes a unity of his own: nationality. Rather than being set in a time and place, Shakespeare’s history plays dramatize time and place itself. Staging England, Shakespeare asks us to reconsider our own nationhood and our roles therein. The dramatic action of King Charles III—the short and troubled reign of a king—most closely evokes Richard II, but its sweeping panorama echoes many of the Bard’s greatest hits. For instance Prince Harry, like his Shakespearean namesake,

begins as a dissolute prince. Slumming among the common folk, this latter-day Hal meets (instead of Falstaff ) a girl named Jessica, who shows him how the other half lives. Both Harry and Hal are forced to balance personal affection with the demands of state. But the most strikingly Shakespearean element of the play is Charles himself, whose soliloquies chronicle his selfknowledge. At the beginning of the play, his musings sound a bit like Claudius’ unsuccessful prayers: “My better thoughts—they start / From scratch, slow cooked, and brewed with time. / My life has been a ling’ring for the throne” (act 1, scene 1). Charles emerges as a figure tragically out of time, a royal who insists on exercising his power in a modern world that refuses to recognize it. Met with political opposition and then by the chaotic consequences of his actions, Charles is forced to confront the limits of his own identity. It is a recognition that prompts his abdication, a decision accompanied by profound bitterness: 8

I will retreat to bed, and when I wake To a new dawn, I’ll simply be an old Forgotten gardener, who potters round And talks to plants and chuckles to himself. Whilst far away the King and Queen do rule Over a golden age of monarchy, That bothers no-one, does no good, and is A pretty plastic picture with no meaning. (act 5, scene 1) What is this plastic “golden age” that Charles bemoans? Where does real political power rest, if not with the king? The play’s women furnish an answer of sorts. Diana Spencer, whose real-life death demonstrated the still-palpable reach of the English monarchy, seems to haunt the play. It is the scandalous past of Jessica the commoner, exposed by the tabloids, that threatens to endanger Bartlett’s fictive future-tense monarchy. And then there is Kate Middleton, who

comes to play a pivotal role in the action. All three are visions of personal lives made public in a mediatized age: a woman killed by the press, one who falls victim to it, and one who wields it, if not like a sword, then like a Kardashian. Not coincidentally the conflict between Charles and Parliament, inspired by the “phone-hacking” scandal, hinges entirely on the mediatization of power. With his love of books and architecture, Charles is fundamentally a figure of the old world, a relic of an older age. He wants to fight for modern freedoms but he uses the rhetorical tools of yesterday. What Charles doesn’t understand— and Kate knows too well—is that the more public one’s parts are, the more power one has. True power, Bartlett seems to be saying, lies in celebrity rather than political will. As Kate says:

An ignorance, and detail in the way we dress Should not be thought as vanity, but is Part of the substance only we provide. We know the world. Our column inches are The greatest influence that we possess. (act 5, scene 1) The monarchy still has power, but only insofar as it claims the body and soul of those performing it. It is a theme found frequently in Shakespeare, sounded here in a play worthy of him.

Our looks don’t make us cruel, our youth is not 9

GAME OF THRONES: AN INTERVIEW WITH PLAYWRIGHT MIKE BARTLETT about the artist

By Simon Hodgson

ast summer Mike Bartlett’s neo-Shakespearean drama King Charles III was nominated for five Tony Awards®. Last fall, the second series of his television drama Doctor Foster was broadcast on BBC television. The spotlight is becoming familiar for the fast-rising Bartlett. In 2010 his play Cock won an Olivier Award for Outstanding Achievement in an Affiliate Theatre. The following year Love, Love, Love won Best New Play in the United Kingdom’s Theatre Awards. In addition to his seven plays for BBC Radio, he has written more than a dozen plays performed in New York, London and regional British theaters. He has been playwright-inresidence at the Royal Court Theatre and writer-in-residence at the National Theatre. And he’s only 35 years old. We caught up with Bartlett to talk politics, pentameter and King Charles III. What makes the British royal family so ripe for storytelling? First, they are the country embodied— which is a very Shakespearean idea. When you write about these specific people, you are then writing about the entire country. The endless metaphors and parallels you can draw between the personal and the national are brilliant. Shakespeare draws those metaphors and I can’t tell you how useful doing that is in this play. The Windsors themselves have an interesting narrative. They went from being really popular after World War II to drifting out of popularity through the ’70s and ’80s. The depths of that unpopularity were in the mid-’90s, with Windsor Castle burning down and the

divorce of Diana and Charles. With William, Harry and Kate, a new generation has fallen in love with this family. You see a dramatic rise and fall with the Windsors. Those peaks and troughs are a gift for a storyteller. The play has echoes of several Shakespeare plays. How conscious were you of those resonances, and how deliberately did that influence the register of the language? It was a very conscious decision to write it in a Shakespearean form. The idea that Charles would become king and would refuse to sign a bill into law came at the same time as the idea of writing a Shakespearean-style play. When I started to write it, I mainly had to practice how to write in this form. What I didn’t do was sit down and study my Shakespeare and go through his plays and deliberately add references. I’ve been brought up on Shakespeare. In Britain you study his work from the age of 13 all the way through high school, and then I studied it at university, and I’ve seen lots of productions. Any references that come through in the writing instinctively are great, but this wasn’t an academic exercise where I cut and pasted. I was more interested in the dramatic principles of Shakespeare than clever references. What kind of dramatic principles? A five-act structure and a central tragic archetypal figure. And a slightly comic subplot written in prose that’s thematically linked to the main plot, which is written in verse—that’s another Shakespearean technique.

Much of King Charles III is written in iambic pentameter. How does the verse affect the storytelling? It’s a way of writing kings and queens that feels appropriate. If you write them speaking as we speak, it would sound as though you were mocking them. But if they speak in verse, their language has a more formal rhythm and a heightened vocabulary. Also, verse compresses meaning down. You can get more meaning into three words of verse than you can in three lines of prose. Why did you choose press freedom as the bill on which Charles takes his stand? There is a lot of discussion about this issue in Britain. It felt like a subject about which half the audience might think one thing and half might think the opposite, and that’s always good. Also the issue of press freedom and privacy matters to Charles very personally, so the idea that he might end up defending the press is fascinating. You can feel it oozing Shakespearean complications. What are the challenges for an American audience in watching this play? We made small changes from the U.K. version to clarify to the U.S. audience that the constitutional framework really exists, that I didn’t just make up the fact that the king or queen has to sign the bill into law and technically they could refuse to do that. Before King Charles III opened in New York, people warned me that sometimes Broadway audiences were not great at 12

listening. We didn’t have that experience at all. People were smart and attentive. They’re very Shakespeare savvy. And they enjoyed learning about the strange intricacies of the United Kingdom’s nonexistent constitution and comparing that with America’s situation, where the constitution is written down and very important. Reviewers have compared the characters in King Charles III to Shakespearean roles like Lady Macbeth, Prince Hal and King Lear. Was this organic or intended from the start? It was pretty organic. The only conscious comparison was Harry and Prince Hal. When I was writing Kate there was no Lady Macbeth in my head. All I did was write her as an intelligent woman exerting power. It’s fascinating that if you have an intelligent woman who exerts power, you immediately compare her to Lady Macbeth. Is Charles King Lear because of his age or is he Hamlet thinking, “Should I do it or not?” Those Shakespearean characters are all mixed into the characters in the play, but they’re not tributes to those roles. After Britain’s vote to exit the European Union, does it seem like there are parallels with the constitutional crisis in your play? I was reminded of the play the morning after Brexit happened, when we woke up to find that something we had taken for granted as part of our identity had gone. You could feel the disorientation. I even overheard someone saying,

“You know what’s going to happen now? Chances are the queen will die!” They were linking these two ideas as events that shock the population and mean we’re not quite sure who we are anymore. What do you want audiences to take away from King Charles III? I like the idea that the play becomes a frame through which people can relate their own experiences. I love experiencing plays and stories and television in terms of something that happens in

my life. You use art to understand emotions and predicaments and politics and society and economics. You enjoy it on the night and you feel buzzing when you come out, but something of it stays with you and becomes part of your life. That’s what I’m after. This article by Simon Hodgson first appeared in American Conservatory Theater’s performance program in 2016.

Francesca Zambello, Artistic Director

Terence Blanchard/Michael Cristofer

Champion PHOTO BY KEN HOWARD

TO WIN IN THE RING, HE HAD TO HIDE HIS TRUTH.

March 4–18, 2017 Kennedy Center Opera House In English with Projected English Titles New WNO Production adapted from Opera Theatre of Saint Louis

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The Landscape Architecture of Lawrence Halprin Through April 16 at the National Building Museum

Celebrate influential landscape architect Lawrence Halprinâ&#x20AC;&#x2122;s centennial. See more than 50 newly commissioned photographs of iconic projects and original drawings, sketches, models, and other artifacts from the Halprin Archive, exhibited together for the first time. 401 F Street NW Washington, DC 20001 www.nbm.org

windsor family tree TRACE THE ROOTS OF THE ROYAL HOUSEHOLD OF THE UNITED KINGDOM: THE WINDSORS

Edward VII

Alexandra

George V Mary

Wallis Simpson

Edward VIII

George VI

Elizabeth

Elizabeth II

Camilla (Duchess of Cornwall)

Kate Middleton (Duchess of Cambridge)

George 16

Charles (Prince of Wales)

William (Duke of Cambridge)

Charlotte

Diana (Princess of Wales)

Henry (Harry, Prince of Wales)

Albert

Queen Victoria

Alice

Ludwig

Louis

Victoria

Alice

Andrew

Philip

legend Reigning Monarch

Abdicated the Throne Abdication is the formal act of relinquishing monarchal power. Think of it as looking at the crown and saying, â&#x20AC;&#x153;no thanks.â&#x20AC;? Since 1900, 20 monarchs around the world have peacefully abdicated. Lineage of the Monarchy Marriage Divorced

“THE QUEEN IS DEAD. LONG LIVE THE KING!”

By Christopher Andersen

e think we know what will happen when the reign of Elizabeth II ends—as earth-shaking events go, this must certainly be one of history’s most well-rehearsed. Once a year every year since the late 1970s, practice funeral processions for senior members of the Royal Family such as Prince Philip, Prince Charles and the Queen have taken place in the streets of London under cover of darkness. The Queen’s funeral plans, code-named “London Bridge,” have been planned by Her Majesty herself right down to the most minute detail—from the guest list, flowers, readings and musical selections to which regimental units would participate and the color of their uniforms. Yet before any public utterances can be made, several things must happen. First the Palace must make sure the Queen’s four children and eight grandchildren have been notified. Then the Prime Minister, who has inevitably formed a personal relationship with the monarch during their weekly tête-à-têtes, is required to immediately

summon his ministers for an emergency cabinet meeting. It is the cabinet’s job to convene an Accession Council—an assembly that includes Privy Council members, Lords of the Realm, High Commissioners of Commonwealth countries and the Lord Mayor of the City of London—to formally proclaim the new monarch. The formality is just that, since the new sovereign takes over the moment the old one has died. The Accession Council will also formalize the new monarch’s name. Since he was christened Charles Philip Arthur George, the Prince of Wales has weighed several options over the years, including being known as George VII or even King Arthur I. He has waited too long to make his mark; as expected, he will almost certainly go down in history as Charles III. Although the Palace has made use of social media to promote the image of the monarchy, it will use a more traditional medium—television—to break the news. Despite all the speculation, the planning and preparation—or perhaps because of it—this new reality will be hard to accept. It is not difficult to see why. By the time she turned 90 on April 21, 2016, Elizabeth II could lay claim to being not only the oldest British monarch in history, but also the longest-reigning sovereign (she surpassed Victoria’s reign of 63 years, 216 days on September 9, 2015). Elizabeth has, after all, been at the center of world events for five generations, an enduring symbol whose reign spanned thirteen American presidents, thirteen prime ministers, and seven popes. Simply put, fully 98 percent of

the earth’s population has only known a world with this queen in it. In that critical period between the Queen’s state funeral and the new monarch’s coronation—two historic events that will have an estimated three billion people around the world glued to their screens—there will be the inevitable speculation about what kind of king Charles will make. The Prince of Wales has had plenty of time to ponder that question himself. At 67, Charles is three years older than the oldest person ever to assume the throne—William IV, who succeeded George IV in 1830. Given the fact that the Queen Mother lived to be 101, it is not altogether unlikely that Charles might be in his late 70s before he is finally crowned king. Not that he hasn’t at times tried to speed up the process. Despite the widely-held belief that the Queen will never abdicate, she has never publicly stated whether she would or she wouldn’t. In the aftermath of Diana’s untimely death, when the Queen clearly underestimated her people’s sense of loss, Charles made his move by allowing his press secretary to leak the story that he would be “privately delighted” if the Queen stepped aside. Furious, Elizabeth summoned her son to Buckingham Palace, and then insisted on—and got—a profuse apology. To be sure, Diana’s ghost continues to haunt the Windsors, and in a very real way reshape the monarchy. She had openly vowed to do everything in her power to make sure William succeeded her mother-in-law on the throne, not Charles—something that polls consistently show most Britons want to

happen. Two-thirds of the populace find the prospect of a dynamic young King William ruling with Queen Kate at his side irresistible—particularly when the alternative includes Charles making sure his longtime mistress turned lawful wife Camilla, Diana’s nemesis and once the most despised woman in the realm, is crowned queen. The Royal Family no longer generates the sort of torrid scandals that made tabloid headlines for decades. Instead, the back-stabbing, duplicity, maneuvering and scheming have gone underground as royal players and the “Men in Gray” as Diana called them— the shadowy Palace figures who have always actually run the show—jockey for position in anticipation of what the Queen herself has somewhat enigmatically referred to as “a change of reign.” Barring some unforeseen calamity, Charles will be king, and in that role he will wield an arcane form of power that until recently has been dismissed as purely ceremonial—the power of Royal Assent. Once a bill is passed by both the House of Commons and the House of Lords, it must receive Royal Assent before it becomes law. This is accomplished by the monarch signing a “letters patent”—the written legal instrument that confers power from the Crown—in much the same way a sitting U.S. president signs a bill into law. Ironically, abuses of power by the two previous kings named Charles are what forced Parliament to curtail the power of the throne. Charles I dissolved Parliament in 1629 after it sought to limit his capricious exercise of power. Eleven years of what would be

known as “The Personal Rule” (or the “11 Years' Tyranny”) followed, during which Charles I ruled unchecked by Parliament. This led to the English Civil War that brought Oliver Cromwell to power as Lord Protector and resulted in Charles I’s beheading in 1649. Charles I’s son was only slightly less inclined toward throwing his weight around after the restoration of the monarchy in 1660. Charles II not only withheld royal assent, he also dissolved Parliament altogether in 1681 and ruled as an absolute monarch until his death four years later. As the power of Parliament grew, the Crown became less inclined to defy the will of the people’s elected representatives. The last time it happened was in 1708 when, on the advice of her ministers, Queen Anne withheld Royal Assent from a bill that would have set up a militia in Scotland—an armed force that could, she feared, eventually turn against her. Over the ensuing three centuries, the monarchy’s political power steadily eroded, leaving it to survive as an enduring but politically toothless symbol of imperial grandeur and national unity. Now when the Queen dissolves Parliament she is essentially instructed to do so by her Prime Minister so that new elections can be held. When Parliament passes a bill Royal Assent is always granted. As legal scholar John Kirkhope pointed out in the Sunday Times of London, the monarch’s perceived duty to essentially rubber-stamp legislation has been seen in modern times as little more than the “quaint and sweet” vestige

of a bygone age. The sovereign may be head of state but her role today is strictly ceremonial. Or is it? As the result of a lawsuit to release previously sealed documents, Britons were shocked to learn in 2013 that both the Queen and her heir have in truth thwarted the will of Parliament on dozens of occasions. Employing their little-known prerogatives of “Queen’s Consent” and “Prince’s Consent,” Elizabeth II and Prince Charles have the right to veto any legislation curtailing their authority even before it is debated in Parliament. Most glaringly, the queen vetoed the Military Actions Against Iraq Bill in 1999, which would have transferred the power to launch air strikes against Iraq from the sovereign to Parliament. For his part, over the past decade Charles has used his Prince’s Consent

power to essentially veto twelve government bills. The Queen and her son wield “real influence and real power,” constitutional expert Kirkhope observed, “albeit unaccountable.” Unfortunately, there is no defined role for the Prince of Wales other than waiting for his predecessor to die. His was a job, Charles liked to say, that he made up as he went along. Declining his mother’s offer to appoint him Governor-General of Australia once he left the Royal Navy in 1976, Charles chose instead to use his 7,000 pound military pension to found the Prince’s Trust. In addition to raising more than $175 million annually for the Trust’s 25 core charities, the Prince of Wales is now the patron of another 350 charities

and organizations that extend the reach of his influence across the globe. Tellingly, each of the causes for which Charles has raised hundreds of millions of dollars reflects the Prince’s personal interests—and a dauntingly wide range of interests it is. Fascinated with everything from architecture, education, sustainable farming, climate change and urban planning to meditation, Eastern philosophies and alternative medicine, Charles has expressed his opinions in countless speeches and long, rambling, sometimes intemperately-worded letters to government officials. These letters, known as the “Black Spider Memos” due to Charles’s distinctively spidery script, have drawn fierce criticism because the monarch—and by extension the heir apparent—is by tradition supposed to be politically neutral. “These letters are not merely routine and noncontroversial,” Charles’s senior press advisor Mark Bolland once conceded, “but contain his views on political matters and political issues.” According to Bolland, Charles has frequently “denounced the elected leaders of other countries in extreme terms.” Charles had done more than merely write letters to make his feelings known. On one particularly memorable occasion, he infuriated Tony Blair’s government by boycotting a banquet in honor of Chinese President Jiang Zemin in protest of China’s occupation of Tibet. The Queen has tried to rein in her son, but to no avail. Charles keeps writing his Black Spider Memos at the rate of 22

1,800 or more a year and has pledged to become a much more politically involved monarch once it’s his turn on the throne. Will he be the kind of king who, like his headstrong (and in one case, headless) namesakes, uses what remains of royal power to veto legislation, defy his ministers and dissolve parliaments? Will he risk his throne and even imperil the monarchy itself for what he sees as the greater good? For now, we can take a hint from the titles Charles has proudly bestowed upon himself: “Chief Dissident” and, more poetically, “The Meddlesome Prince.” Originally published in the e-book Guide to the Season Plays 2016–2017, available for purchase on Kindle or Nook. Season ticket holders receive a complimentary print copy of the Guide each season. Christopher Andersen is the critically acclaimed author of 18 New York Times bestsellers, which have been translated into more than 25 languages worldwide. Two of his books—The Day Diana Died and The Day John Died—reached number one. A former contributing editor of Time magazine and a longtime senior editor of People magazine, Andersen has also written hundreds of articles for a wide variety of publications including the New York Times, Life, the Economist and Vanity Fair. Andersen is also a familiar media figure and has appeared frequently on such programs as TODAY, Good Morning America, NBC Nightly News, Entertainment Tonight, CBS This Morning, Extra, Access Hollywood, Dateline, The O’Reilly Factor, ABC World News, Hardball, 48 Hours, Hannity, The Insider, CNN Newsroom, Fox & Friends, Larry King Live, “E” Entertainment, Inside Edition, Anderson Cooper 360 and more.

CAST BIOGRAPHIES

MICHELLE BECK* Jessica STC: Hamlet (Ophelia). NEW YORK: Broadway: A Raisin in the Sun; Off-Broadway: BAM/ The Old Vic: As You Like It, The Tempest (The Bridge Project); LCT3: A Kid Like Jake; Public Theater: Richard III, Love’s Labor’s Lost; Theatre for a New Audience: Much Ado About Nothing; Pearl Theatre: Uncle Vanya; Epic Theatre: Measure for Measure; Red Bull: The Changeling; 59e59: The Sentinels. REGIONAL: Chicago Shakespeare Theater: Twelfth Night; McCarter/ Yale Rep: Tartuffe; TheatreWorks Silicon Valley: Proof; Oregon Shakespeare Festival: The Winter’s Tale, Cyrano de Bergerac. FILM: Sam & Julia, Spinning into Butter, The Third Option, Ambition’s Debt, Death of a Prince, Fish. TV: Homeland, Madam Secretary. AWARDS: Bay Area Theatre Critics Circle nomination for Proof. TRAINING: SUNY Purchase. WEB: ThisIsMichelleBeck.com. JEFFERSON FARBER* Cootsy/Sir Michael/ Others STC: All’s Well That Ends Well. REGIONAL: Arena Stage: Vanya and Sonia and Masha and Spike; Signature Theatre: Shakespeare’s R&J; Sierra Repertory Theatre: Vanya and Sonia and Masha and Spike; Barrington Stage Company: Breaking the Code; Constellation Theatre Company: Metamorphoses; Synetic Theater: Genesis Reboot. TV: House of Cards, Killing Kennedy. TRAINING: STC’s Academy for Classical Acting at The George Washington University: MFA; Millikin University: BFA.

BRADFORD FARWELL* Mr. Stevens NEW YORK: Broadway: Much Ado About Nothing, The Miser. REGIONAL: Nebraska Shakespeare: Hamlet, Othello, Cymbeline; American Player’s Theatre: She Stoops to Conquer, Henry V, The Misanthrope; A Contemporary Theatre: Worse than Tigers, Seven Ways to Get There Christmas Carol, Mary Stuart, Jekyll and Hyde; Seattle Repertory Theatre: Photograph 51, You Can’t Take it With You, The Imaginary Invalid, Twelfth Night, Noises Off, The Great Gatsby; Intiman Theatre: John Baxter, All My Sons, Grapes of Wrath, Richard III, A Thousand Clowns; Strawshop: Breaking the Code; Seattle Shakespeare: Measure for Measure, Cymbeline; New Century Theatre Company: company member, Festen, My Name is Asher Lev; 5th Avenue Theatre: Guys and Dolls. INTERNATIONAL: Stratford Festival: company member for three years. TV: Grimm, Leverage. TRAINING: Webber Douglas Academy of Dramatic Arts, London. WEB: BradfordFarwell.com. TIM GETMAN* Speaker of the House/Sir Gordon/Others STC: Merchant of Venice (Solanio), Camino Real (Streetcleaner). REGIONAL: Arena Stage: Death of a Salesman, A View From the Bridge, Christmas Carol 1941, The Misanthrope, A Streetcar Named Desire; Folger Theatre: A Midsummer Night’s Dream, Elizabeth the Queen, Comus: The Masque at Ludlow; Everyman Theatre (Company Member): The Exonerated, Two Rooms, All My Sons, God of Carnage, Outside

Mullingar; Olney Theatre Center: Night Must Fall, An Enemy of the People, Somewhere in the Pacific; Rep Stage: A Lie of the Mind, In the Heart of America (Helen Hayes nomination); Signature Theatre: The Lieutenant of Inishmore, In the Absence of Spring; Theater J: Photograph 51, Passing the Love of Women, The Last Seder, The Chosen, After the Fall, Our Class, History of Invulnerability, I-Ho, Copenhagen; Woolly Mammoth Theatre Company (Company Member): Kiss, Zombie, The Nether, Detroit, Appropriate, Gruesome Playground Injuries, The Unmentionables. TELEVISION: The District, VEEP, The Men Who Built America. AWARDS: Mary Goldwater Award. TRAINING: Macalester College; Trinity College Dublin. DAN HIATT* James Reiss REGIONAL: American Conservatory Theater: Ah, Wilderness!, Major Barbara, Rosencrantz and Guildenstern are Dead, The Cherry Orchard, The Rivals; Berkeley Repertory Theatre: Joe Turner’s Come and Gone, Dinner With Friends; Huntington Theatre: The Way of the World, Mary Stuart; California Shakespeare Theater: As You Like It, Romeo and Juliet, Hamlet, Man and Superman, Nicholas Nickleby; Arizona Theatre Company: The Two Gentlemen of Verona, Dirty Blonde; San Jose Repertory Theatre: A Flea in Her Ear, This Wonderful Life; Marin Theatre Company: Othello, Anne Boleyn; TheatreWorks: Upright Grand, The Twentieth Century, The 39 Steps; Ford’s Theatre: Picasso at the Lapin Agile (Einstein). AWARDS: Helen Hayes nomination for Picasso at the Lapin Agile.

YESENIA IGLESIAS Ensemble REGIONAL: Ford’s Theatre: A Christmas Carol; Source Festival: Buried Cities; Seattle Children’s Theatre: Mwindo (Gregory

Nominee); Seattle Shakespeare Company/Wooden O: Henry V; Theatre 22: Water by the Spoonful; Sidecountry Theatre: Passing Strange; Annex Theatre: Is She Dead Yet? (Gregory Award). TRAINING: University of Washington (Professional Actor Training Program). WEB: YeseniaIglesias.com. RAFAEL JORDAN* Spencer/Kebab Seller/ Others NEW YORK: Resonance Theatre: Caesar and Cleopatra (Harold Clurman Theatre); Metropolitan Playhouse: Uncle Tom's Cabin (OBIE Award, Outstanding Season Achievement); Performa NYC Commission: I Feel Your Pain (with multiple OBIE Award-winner Kathryn Grody); Second Generation: Thunder Above, Deeps Below (World Premiere by Lark Fellow A. Rey Pamatmat); 2050 Legacy: Co-creator/co-director of CATALYST (NYC Fringe). REGIONAL: American Conservatory Theater: King Charles III, Love and Information, A Christmas Carol; Actors Theatre of Louisville: 365 Days/365 Plays, The Open Road Anthology; Aurora Theatre Company: American Buffalo (Theatre Bay Area Award, Best Ensemble Acting; Theatre Critics Circle Award, Best Production); California Shakespeare Theater: King Lear, The Tempest; Magic Theatre: Dogeaters, runboyrun (World Premiere by Mfoniso Udofia); Livermore Shakespeare: The Liar. FILM: Me, You, & the Road (C&I Studios), The Best Laid Plans (Messyhouse Moving Productions), Othello the Web Series (Ready Set Go Theatre Company). TRAINING: American Conservatory Theater: MFA in Acting. ROBERT JOY* King Charles III NEW YORK: Broadway: Side Show, The Nerd, Hay Fever, Shimada, Abe Lincoln in Illinois; Off-Broadway: New York Shakespeare Festival: Head of Passes, Found a

Peanut, The Taming of the Shrew, As You Like It; Playwrights Horizons: Life and Limb, Hyde in Hollywood, Lydie Breeze; Classic Stage Company: Good Night Desdemona (Good Morning Juliet); Drama Dept.: June Moon; Ensemble Studio Theater: Pigeon. REGIONAL: The Kennedy Center: Side Show; Old Globe: Twelfth Night (Malvolio); McCarter Theatre: Baby Doll; Kirk Douglas Theatre: The Nether (World Premiere); American Repertory Theater: Big River (Huck, World Premiere); Long Wharf Theatre: Privates on Parade; New York Stage and Film: My Andy; Theatre by the Bay: The Tempest (Prospero); La Jolla Playhouse: Side Show, Romeo and Juliet (Mercutio, Drama-Logue Award). FILM: Atlantic City, Ragtime, Desperately Seeking Susan, Fallen, Resurrection, Land of the Dead, The Hills Have Eyes, The Shipping News, Harriet The Spy, Waterworld, Radio Days, Amityville 3D. TELEVISION: Grey’s Anatomy, The Good Wife, The Mentalist, Masters of Sex, Hand of God, Everybody Loves Raymond, CSI:NY (Sid Hammerback).

CHRISTOPHER MCLINDEN* Prince William NEW YORK: LaMaMa: Tempest; Compagnia de' Colombari: Everything That Rises Must Converge; New York Fringe: Nicholas, Maeve, Marianne. REGIONAL: Steppenwolf Theatre Company: Last of the Boys, Diary of Anne Frank; Writer’s Theatre: The Lion in Winter, The Seagull, Duchess of Malfi; Chicago Shakespeare Theater: Taming of the Shrew; Notre Dame Shakespeare Festival: Twelfth Night, Cymbeline; City Theatre of Pittsburgh: Speak American; American Theatre Company: Celebrity Row; Appletree Theatre: Vincent in Brixton; First Folio Shakespeare: A Midsummer Night’s Dream; Greasy Joan & Co.: The Lady From the Sea. FILM: Muhammad Ali’s Greatest Fight (HBO), 5-25-77 (Moonwatcher Films). TELEVISION: Boardwalk Empire (HBO), Alpha House (Amazon Studios). OTHER: Proud member of The Actors Center in New York City.

MATTHEW ALDWIN MCGEE* Ensemble STC: Henry IV, Parts 1 and 2, The Merry Wives of Windsor, The Two Gentlemen of Verona, Much Ado About Nothing (2011-2012 Acting Fellow). REGIONAL: Constellation Theatre: Taking Steps (Helen Hayes Award, Outstanding Supporting Actor), Scapin, Avenue Q (assistant director, puppet coach, Helen Hayes Award, Outstanding Musical), Urinetown; Imagination Stage: The BFG, Wonderland (upcoming); National Children’s Theatre: The BFG; Studio Theatre: Rocky Horror; Folger Theatre: Romeo & Juliet; Flying V: Pirate Laureate and the King of the Sea; Edge of the Universe Players 2: Entertaining Mr. Sloane; LiveArt DC: The Merry Death of Robin Hood; WSC Avant Bard: The Good Devil, in Spite of Himself. OTHER: Freelance puppet designer. TEACHING: National Conservatory of Dramatic Arts.

CHIARA MOTLEY* Ghost/Newspaper Woman/Others REGIONAL: Virginia Stage Company: All My Sons (Ann Deever); Gulfshore Playhouse: The Butcher (Jane); Center Stage: It’s a Wonderful Life (Mary Hatch); Hudson Valley Shakespeare Festival: King Lear (Goneril); Denver Center for the Performing Arts: Three Musketeers (Madame Chevreuse); Seattle Shakespeare Company/Wooden O: Othello, A Midsummer Night's Dream, Richard II, The Comedy of Errors; A Contemporary Theatre: A Christmas Carol (Belle); Book-It Repertory Theatre: Persuasion (Anne Eliot). FILM: And, Apart. TRAINING: Stanford University: BA; National Theatre Conservatory: MFA.

JEANNE PAULSEN* Camilla NEW YORK: Broadway: Robert Schenkkan’s The Kentucky Cycle (dir. Warner Shook, starring Stacy Keach); The Crucible (Ann Putnam, dir. Richard Eyre, starring Liam Neeson and Laura Linney). REGIONAL: McCarter Theatre Center: The Figaro Plays (Marceline, dir. Stephen Wadsworth); Denver Center for the Performing Arts: Richard III (Margaret), Romeo and Juliet (Nurse), Doubt (Sister Aloysius), All My Sons (Kate Keller), Mrs. Warren’s Profession (Mrs. Warren), You Can’t Take It with You (Penny Sycamore), Side Man (Terry), Molly Sweeney (Molly); A Contemporary Theatre: A Moon for the Misbegotten (Josie); Intiman Theatre: Our Town (Mrs. Webb, dir. Bartlett Sher), The Little Foxes (Birdie), Faith Healer (Grace); South Coast Repertory: Holy Days

(Rosie). AWARDS: Tony® nomination for Best Actress in a Supporting Role in The Kentucky Cycle; Los Angeles Drama Critics Circle Award for Lead Performance in Holy Days. IAN MERRILL PEAKES* Prime Minister Evans STC: The Taming of the Shrew. REGIONAL: Arden Theatre: Equivocation, Something Intangible (Barrymore Award), All My Sons (Barrymore Award), Three Days of Rain; Wilma Theater: Body of an American, The Invention of Love; Philadelphia Theatre Company: Sideman (Barrymore Award); Theatre Exile: Invisible Hand (Barrymore Award Nomination), Red Light Winter (Barrymore Award nomination); Pennsylvania Shakespeare Festival; Walnut Street Theatre: Peter and the Starcatcher; People’s Light & Theatre; Folger Theatre: Rosencrantz

THE JAKE GROUP PRESENTS OUR BEST PERFORMANCE YET!

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Company: The Explorers Club; Inis Nua Theatre Company: Pumpgirl, Walworth Farce, Hand of Gaul; Lantern Theater Company: Photograph 51, Emma; People’s Light & Theatre: Pride and Prejudice; INTERNATIONAL: Edinburgh Royal Lycum: The Merchant of Venice; Bristol Old Vic: Twelfth Night, Les Liaisons Dangereuses; Cambridge Arts Theatre: Serious Money; Old Fire Station (Oxford): Arcadia; Shakespeare’s Globe: Gorboduc (Read, Not Dead series). FILM: Freedom. TELEVISION: The Good Wife, Crossbones TRAINING: Cambridge University; Bristol Old Vic Theatre School. WEB: HarrySmith.info.

and Guildenstern Are Dead (Helen Hayes Award), Othello, Henry VIII (Helen Hayes nomination), Macbeth (Helen Hayes nomination), The Game of Love and Chance (Helen Hayes nomination); Denver Center for the Performing Arts: The Catch, Glengarry Glen Ross, When Tang Met Laika; Actors Theatre of Louisville: The Crucible, Twelfth Night; Shakespeare Santa Cruz: Much Ado About Nothing; Pittsburg Irish & Classical Theatre: The False Servant. TELEVISION: Still Standing, Hack, Homicide. FILM: Lebanon, PA, Gentleman’s Game. HARRY SMITH* Prince Harry BROADWAY: King Charles III. REGIONAL: Wilma Theater: Body of an American, Rapture, Blister, Burn, The Real Thing; Walnut Street Theatre: And Then There Were None, The Mousetrap, An Ideal Husband; Delaware Theatre

ALLISON JEAN WHITE* Kate NEW YORK: Broadway: Man and Boy. OffBroadway: Irish Repertory Theatre: The Shaughraun. NATIONAL TOUR: The 39 Steps. REGIONAL: American Conservatory Theater: King Charles III, The Realistic Joneses, The Imaginary Invalid, The Circle, Travesties, The Real Thing, A Christmas Carol; Seattle Repertory Theatre: King Charles III; Arizona Theatre Company: Disgraced; Berkeley Repertory Theatre: Heartbreak House; Northern Stage: Orwell in America; San Francisco Playhouse: Abigail’s Party; Virginia Stage Company: The Odd Couple; Living Room Theatre: Uncle Vanya; Magic Theatre: The Crowd You’re In With, Tir na nOg; Wellfleet Harbor Actors Theater: Red Light Winter. FILM: The Family Fang, We’re All Gonna Die. TELEVISION: The Blacklist, The Slap, High Maintenance, I Love You…But I Lied, As The World Turns. TRAINING: American Conservatory Theater: MFA in Acting; Brown University: BA in Theater.

ARTISTIC BIOGRAPHIES

DAVID MUSE Director STC: Affiliated Artist; Associate Artistic Director, 2005–2010; Director: Coriolanus, Henry V, The Taming of the Shrew (Free For All), Romeo and Juliet, Julius Caesar, On the Eve of Friday Morning, Pericles (Free For All); Assistant Director: Othello, Lady Windermere’s Fan, The Tempest, Pericles, Macbeth; director of numerous readings, galas and special events; Master Acting Class instructor. REGIONAL: The Studio Theatre: Artistic Director since 2010; Director: 17 productions including Chimerica, Tribes, The Real Thing, The Habit of Art, Frozen, Blackbird, Mike Bartlett’s Cock (Helen Hayes Award for Outstanding Resident Production); Arena Stage: Frankie and Johnny in the Claire de Lune; Theatre Alliance: The Bluest Eye; New York Summer Play Festival: Patrick Page’s Swansong. TEACHING: Shakespeare Theatre Company’s Academy for Classical Acting; Georgetown University; Yale University. OTHER: New play development at numerous theatres including New York Theatre Workshop, Arena Stage, Geva Theatre, Kennedy Center, Ford’s Theatre. AWARDS: Six-time Helen Hayes Award nominee for Outstanding Direction; D.C. Mayor’s Arts Award for Outstanding Emerging Artist. TRAINING: Yale University: BA; Yale School of Drama: MFA in Directing.

DANIEL OSTLING Scenic Designer STC: Candide, Argonautika, Pericles. NEW YORK: Broadway: Clybourne Park (Walter Kerr Theatre, 2012 Tony Award® nomination), Metamorphoses (Circle in the Square Theatre, 2003 Tony Award® nomination); Off-Broadway: Brooklyn Academy of Music, New York

Shakespeare Festival, Lincoln Center Theater, Public Theater, Playwrights Horizons. REGIONAL: American Conservatory Theater: Let There Be Love, The Orphan of Zhao, Major Barbara, Stuck Elevator, Endgame and Play, Once in a Lifetime, The Homecoming, Brainpeople; Lookingglass Theatre Company: Blood Wedding (directing and set design), ensemble member; Oregon Shakespeare Festival: Timon of Athens, Guys and Dolls; McCarter Theatre Center: All the Days; Long Wharf Theatre; Steppenwolf Theatre Company; La Jolla Playhouse; Seattle Repertory Theatre; Berkeley Repertory Theatre; Goodman Theatre. INTERNATIONAL: K-Ballet Company, Tokyo, Japan: Carmen. OPERA: Teatro alla Scala, Milan/Metropolitan Opera, New York/Tokyo: Lucia di Lammermoor; Metropolitan Opera: La sonnambula; Lyric Opera of Chicago: The Merry Widow; New York/London/ Chicago: Philip Glass’s Galileo Galilei. TEACHING: Northwestern University. JENNIFER MOELLER Costume Designer STC: Affiliated Artist; The Tempest (mainstage, 2016 Free For All), A Midsummer Night’s Dream (mainstage, 2015 Free For All), Julius Caesar (mainstage, 2011 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 Labour’s Lost; Signature Theatre: Dance and the Railroad; Primary Stages: Happy Now?. REGIONAL: Arena Stage/Oregon Shakespeare Festival: Sweat; Washington National Opera: La Boheme; Studio Theatre: Bachelorette, Venus in Fur; Glimmerglass Opera: Candide; 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. LAP CHI CHU Lighting Designer STC: Romeo and Juliet. NEW YORK: Public Theater; New York Theatre Workshop; Signature Theatre; Second Stage Theatre; Performance Space 122; Kitchen Theatre Company. REGIONAL: Mark Taper Forum; Geffen Playhouse; South Coast Repertory; Oregon Shakespeare Festival; La Jolla Playhouse; Old Globe; Berkeley Repertory Theatre; Goodman Theatre; Arena Stage; Hartford Stage; Dallas Theater Center. OTHER: Lighting/video designer for chameckilerner Dance Company (United States/Brazil): Costumes by God, Visible Content, Hidden Forms, I mutantes seras, Por favor, Não me deixe. AWARDS: Recognition from Los Angeles Drama Critics Circle, Angstrom Award for Career Achievement in Lighting Design, multiple San Francisco Bay Area Theatre Critics Circle Awards, a Drammy Award for Best Lighting, and a Lucille Lortel Award nomination for The Good Negro at The Public Theater. TEACHING: Lighting design faculty, California Institute of the Arts. MARK BENNETT Sound Designer/Composer STC: Salomé, Coriolanus. NEW YORK: Broadway: Vanya and Sonia and Masha and Spike, Driving Miss Daisy, A Steady Rain, The Coast of Utopia (2007 Drama Desk Award for Outstanding Music in a Play), Henry IV, Golda’s Balcony, The Goat, or Who Is Sylvia?, Lily Tomlin’s The Search for Signs of Intelligent Life in the Universe; Off-Broadway: Brooklyn Academy of Music/The Old Vic Bridge Project productions from 2009 to 2012 (Sam Mendes, director), An Iliad (OBIE Award), Mad Forest; New York Theatre Workshop: My Children! My Africa!;

Public Theater: original scores for eight Shakespeare in the Park productions. REGIONAL: Berkeley Repertory Theatre: Our Town, An Iliad, Mad Forest; La Jolla Playhouse: JUNK, His Girl Friday, Most Wanted, Dogeaters (world premiere), A Midsummer Night’s Dream (Craig Noel Award for Outstanding Sound Design); Old Globe: Arms and the Man, Pygmalion, Twelfth Night; AWARDS: 1998 OBIE Award for Sustained Excellence of Sound Design, the 1998 Bessie Award, an Ovation Award, two Garland Awards, and 14 Drama Desk Award nominations. LISA TOWNSEND Movement Director NEW YORK: The Wooster Group: Early Shaker Spirituals (The Performing Garage). FILM: Townsend makes dance films in collaboration with photographer/bassist Piro Patton and is currently creating a new film, FitsAndStarts. AWARDS: Support from Creative Capital, Headlands Center for the Arts, the Zellerbach Family Foundation, Theater Bay Area (CA$H), and YBCAway. OTHER: Lisa Townsend Company/ Dance FraCas: original performance works combining dance, music and theater, venues including: NYC: St. Marks Church-inthe-Bowery, Movement Research at Judson Church, P.S. 122, LA: Los Angeles Theater Center, SF: Dance Mission Theater, ODC Theater, Cowell Theater; Resident Artist: The Joyce Theater in SoHo, Los Angeles Contemporary Exhibitions, the CounterPulse Artist Residency Commissioning Program, Choreographers in Mentorship Exchange, The Garage (San Francisco), ODC. TEACHING: Director of theater program for youth ages 8 through 14; American Conservatory Theater M.F.A. Program: adjunct faculty member, movement director: Crazy for the Country (dir. Stephen Buescher), The Rocky Horror Show (dir. John Carrafa). JANET FOSTER, CSA Casting Director NEW YORK: Broadway: The Light in the Piazza (Artios Award nomination),

Robert Lepage / Ex Machina

Photo by Tristram Kenton

Robert Lepageâ&#x20AC;&#x2122;s dazzling multimedia tale of heartbreak takes inspiration from the lives of Jean Cocteau and Miles Davis to explore addiction, disorientation and the creative drive.

March 16â&#x20AC;&#x201C;18, 2017 | Eisenhower Theater TICKETS ON SALE NOW! KENNEDY-CENTER.ORG (202) 467-4600 Tickets also available at the Box Office. Groups call (202) 416-8400. For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540

International Theater is underwritten by HRH Foundation.

Additional support for International Theater is provided by the Laura Pels International Foundation for Theater.

International Programming at the Kennedy Center is made possible through the generosity of the Kennedy Center International Committee on the Arts.

Lennon, Ma Rainey’s Black Bottom, and Taking Sides; Off-Broadway: Playwrights Horizons: Nine and a half years, including Lucy, Brundibar, True Love, Endpapers, The Dying Gaul, The Maiden’s Prayer, The Trojan Women: A Love Story, Floyd Collins, The Monogamist, A Cheever Evening, Later Life. REGIONAL: Intiman Theatre; Seattle Repertory Theatre; California Shakespeare Theater; Berkeley Repertory Theatre; Dallas Theater Center; Yale Repertory Theatre; Goodman Theatre; Steppenwolf Theatre Company; The Old Globe; Center Stage (Baltimore); Westport Country Playhouse; American Repertory Theater. TELEVISION: Cosby (CBS), Tracey Takes On New York (HBO). FILM: Lewis Black’s The Deal, Advice from a Caterpillar. OTHER: The Day That Lehman Died (BBC World Service, Blackhawk Productions; Peabody, SONY, Wincott Awards), “T” is for Tom (Tom Stoppard radio plays, WNYC, WQXR). CARTER C. WOODDELL Resident Casting Director See page 45. DREW LICHTENBERG Literary Manager See page 44. LISA BELEY Head of Voice & Text See page 45.

SIVAN BATTAT Associate Director REGIONAL: American Conservatory Theatre/Seattle Repertory Theatre: King Charles III; Studio Theatre: Chimerica, The Apple Family Cycle, Between Riverside and Crazy, Moment, Hedda Gabler; Mosaic Theater Company: Hkeelee (Talk to Me); Cape Cod Theatre Project: numerous readings; Arab-Hebrew Theatre of Jaffa; Jerusalem Stories Project; Elm Shakespeare Company. OTHER: New Work Development: Doris Duke Charitable Foundation Building Bridges Grant at Wesleyan University, In/Between with the Muslim Women’s Voices Series; Integrated Refugee & Immigrant Services and Collective Conscious Theatre: Stories

of a New America; Corrigan-Radgowski Correctional Center: SeaChanges. TRAINING: Wesleyan University; Moscow Art Theatre School. JOSEPH SMELSER* Production Stage Manager STC: The Secret Garden, The Taming of the Shrew, The Critic and The Real Inspector Hound (also at Guthrie Theater), Kiss Me, Kate, Tartuffe, Man of La Mancha, The Tempest (Mainstage, 2016 Free For All), A Winter’s Tale (2014 Free For All), Henry IV, Parts 1 and 2 (in rep), A Funny Thing Happened on the Way to the Forum, Measure for Measure, Wallenstein and Coriolanus (in rep), A Midsummer Night’s Dream (Mainstage, 2015 Free For All), 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 and Twilight: Los Angeles, 1992 (both with Anna Deavere Smith). TRAINING: Oberlin College: BA. ELIZABETH CLEWLEY* Assistant Stage Manager STC: Stage Manager: The Metromaniacs, The Importance of Being Earnest; Assistant Stage Manager: The Secret Garden, The Critic and The Real Inspector Hound, Salomé, Tartuffe, As You Like It, The Winter’s Tale (Mainstage and Free For All), Private Lives, Wallenstein, The Government Inspector, The Servant of Two Masters, The Two Gentlemen of Verona, Much Ado About Nothing,

Julius Caesar (Free For All), Old Times, Cymbeline, Twelfth Night (Free For All), The Liar. REGIONAL: Hartford Stage: Stage Manager: Hartford Stage 50th Anniversary Gala; Assistant Stage Manager: Macbeth, La Dispute; Theater of the American South: Stage Manager: Driving Miss Daisy; Cape Fear Regional Theatre: Stage Manager: Thoroughly Modern Millie, Rodgers and Hammerstein’s Cinderella, Tuesdays with Morrie. INTERNATIONAL: International Festival of Arts and Ideas; Kennedy Center - International VSA Festival. TRAINING: East Carolina University: BFA in Stage Management. AMERICAN CONSERVATORY THEATER American Conservatory Theater is a Tony Award®-winning theatre and educational institution dedicated to nurturing the art of live theatre through dynamic productions, intensive actor training in its conservatory, and an ongoing engagement with its community. Under the leadership of Artistic Director Carey Perloff and Executive Director Peter Pastreich, A.C.T. embraces its responsibility to conserve, renew, and reinvent its relationship to the rich theatrical traditions and literatures that are our collective legacy, while exploring new artistic forms and new communities. A commitment to the highest standards informs every aspect of A.C.T.’s creative work. A.C.T.’s conservatory has moved to the forefront of America’s actor training programs, while serving as the creative engine of the company at large. Founded in 1965, A.C.T. opened its first San Francisco season at the historic Geary Theater in 1967. More than 320 A.C.T. productions have since been performed to a combined audience of more than seven million people.

theaters, Seattle Repertory Theatre has achieved international renown for its consistently high production and artistic standards, and was awarded the 1990 Tony Award® for Outstanding Regional Theatre. With an emphasis on entertaining plays of true dramatic and literary worth, Seattle Repertory Theatre produces a season of plays along with educational programs, new play workshops, and special presentations.

The designers at this theatre are represented by United Scenic Artists, Local USA 829, of the International Alliance of Theatrical Stage Employees.

SEATTLE REPERTORY THEATRE Seattle Repertory Theatre was founded in 1963 and is currently led by Artistic Director Braden Abraham and Managing Director Jeffrey Herrmann. One of America’s premier not-for-profit resident 33

royal primer: REAL CHARACTERS IN REGAL DRAMA

mapping the play By Rebecca Watson, Marketing and Communications Fellow

Charles Prince of Wales, Duke of Cornwall, first heir to the throne • Served in both the Royal Navy and the Royal Air Force. • 750 million people watched his wedding to Lady Diana Spencer in 1981 on television all over the world. • Publically separated from Princess Diana in 1992, legally divorced in 1996. • Married Camilla Parker Bowles, a long-time love interest, in 2005 in a private civil ceremony. Charles’ parents did not attend. (They did attend a televised blessing a day later.) • Continues to encounter issues with media coverage of his personal life, from newspapers publishing personal journal entries to releasing personal phone calls.

Diana Princess of Wales • Became the Princess of Wales at 20 years old when she married Charles. 600,000 people lined the streets to catch a glimpse of the couple in their carriage.

• Born into British gentry and dated Prince Charles 1971–1973. Many believe any engagement would have been rejected by the royal family.

• Wanted to give her sons William and Harry a wider range of experiences than other royal children, famously taking them to Disney World, McDonald’s and homeless shelters.

• Married Andrew Parker Bowles in 1973, with whom she had 2 children. They amicably divorced in 1995.

• Framed by the press as the “People’s Princess,” she was naturally wonderful during public appearances and became a beloved member of the royal family. • • Their marriage troubled, Charles began again seeing his former girlfriend Camilla, and Diana was linked to Major James Hewitt. Both Charles and Diana’s personal reputations were besmirched by scandal, including leaked tapes and phone conversations. • On August 31, 1997, Diana was fatally injured in a car crash in a Parisian road tunnel.

Camilla Duchess of Cornwall

• Married Prince Charles in 2005 after a slow integration into public royal life. • Appointed to the Queen’s Privy Council in June 2016, the first British princess by marriage to hold the office. • If Charles becomes King, Camilla’s title becomes Princess Consort.

Prince William Duke of Cambridge, second heir to the throne

Catherine (Kate) Middleton Duchess of Cambridge

• Eldest son of Prince Charles and Princess Diana. He was 15 when Diana died.

• Born into a prosperous and upper class family—but not royal.

• Studied at Eton College and the University of St. Andrews.

• Studied at University of St. Andrews. Worked at her family business in many capacities including design, production, marketing and photography.

• Served in two branches of the British military: the British Army and the Royal Air Force. Retiring from active military service, William became a fulltime pilot in the East Anglican Air Ambulance. • Started dating Kate Middleton in 2003, and due to intense media attention, William personally asked the media to keep their distance from Kate. • William and Kate’s wedding took place in 2011, televised all over the world. A reported three billion people tuned into the event. • They have two children: Prince George (born 2013) and Princess Charlotte (2015).

• Welcomed into the royal family fairly quickly, attending many high-level royal events even without the Prince’s escort long before their engagement was announced. • In 2010, pursued a claim of invasion of privacy when photographers followed her over Christmas. She received a public apology and recompense. • Known as a fashion icon and selected as one of Time’s “100 Most Influential People in the World” in 2012 and 2013.

Prince Henry (Harry) Prince of Wales • Fifth in line for the throne after Charles, William and William’s children. • Was 12 years old at the time of his mother’s death. • Rumors of his illegitimacy persist, though Harry was born long before Diana and Hewitt began their affair. • Served in the British army 2005–2015. Completed a tour in Afghanistan in 2012, serving as a co-pilot and gunner for an Apache helicopter. • Very active in charity work, including the launch of the Invictus Games in 2014, which celebrate the athletic achievements of injured service men and women. • Earned a reputation for rebellion in his younger years, photographed drinking, smoking and engaging in unseemly behavior.

d avid muse on mike bartlett: PLAYWRITING, POLITICS AND AUDACITY

faces and voices By Hannah Hessel Ratner, Audience Enrichment Manager

A contemporary play with Shakespearean ambitions falls in a sweet spot for David Muse. His history directing Shakespeare goes back to his tenure as the Associate Artistic Director at STC. Now Artistic Director of Studio Theatre, he focuses on plays from living authors—including Muse’s production of Mike Bartlett’s Cock, which won the Helen Hayes Award for Outstanding Play for 2014. For this production of Bartlett’s King Charles III, Muse had to summon skills both classic and contemporary. He spoke with American Conservatory Theater’s Simon Hodgson in San Francisco� here's an excerpt from that interview.

What makes Mike Bartlett’s work so powerful? What’s it like working with him? Summing up Mike Bartlett’s work is tricky because the forms that his plays take are so incredibly varied. In fact, that’s one of the defining characteristics of his work. But I’ve read a lot of Mike Bartlett plays, I’ve seen a lot of Mike Bartlett plays, and I know the guy, so I’ve noticed some trends. He’s incredibly precise with language. He writes with real control of rhythm. There’s a certain palpable confidence in his writing. It’s bold, sometimes to the point of viciousness. He is preoccupied with gamesmanship and he’s interested in the metaphor of theater as sport. Mike is a surprisingly gracious, lovely, gentle guy. I say “surprisingly” because so many of his plays are assertive and bold and aggressive. What relevance does King Charles III have for an American audience? I think that relevance is a tricky word. I tend to prefer to ask whether a play is interesting. And this play is most certainly that. Like any great Shakespeare play, the themes in King Charles III are bigger than the specifics of history. This play deals with idealism versus pragmatism and elitism versus populism. It deals with unspoken and radioactive things between sons and fathers, the persistent struggles of being a woman with influence, and generational change. And like a Shakespearean history play, it has a complicated, fascinating central character with nobility and with flaws.

Americans have been drawn to Shakespeare’s history plays for centuries. Why? Because they operate as much on the level of the human as the national, because the psychology is as interesting as the politics, and because we as audience members can take imaginative leaps and apply his play to modern circumstances. King Charles III operates like those history plays. What’s your favorite thing about King Charles III? I love its audacity. I feel that way about many of Mike’s plays. I mean, who says to himself, “I’m going to write a play about my country’s royal family that examines what it means to be British, and I’m going to write it in the form of a Shakespearean history play”? When I first heard about it, I admired the boldness of the endeavor but thought there was no way Mike could pull it off. I’m very happy that he proved me wrong!

heatre is ephemeral—but King Charles III has had the unique chance to run in three cities from early fall of 2016 until now. This third D.C. presentation has the potential to feel different after the election results and transfer of power. STC asked Muse to consider how the play may change over time. Does this play feel different to you post-election? In my experience, everything with political content feels different and more charged at the moment. Charles is no Trump, or Clinton for that matter, but there are certainly parallels

to which audiences feel particularly alive. In the play, you have: a country freaking out about the behavior of a leader; a king who expresses unease in private but feels compelled to project confidence; a country coming to terms with its diminished role in the world; a conflict between old and new ways of doing things; and a news cycle that operates so quickly that newspapers feel quaint. So yeah, it’s easy to see our situation in the drama onstage. How do you think future political changes, here and in the United Kingdom, will affect the longevity and life of the play?

The play is purposefully of the moment—I don’t think Mike intended for it to have a long shelf life. And of course if the Queen were to pass away in real life, the imaginative conceit of the play would feel quite different. That said, this play, like a history play of Shakespeare’s, is about a particular moment but also about more universal concerns: the gap between our private and public selves; how we deal with beloved national traditions when they become outmoded; what role principle plays in politics; and so on. Those themes will continue to hold our attention for decades.

“LOVE IS MERELY A MADNESS” WILLIAM SHAKESPEARE’S

Photo: T. Charles Erickson

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STC BOARD OF TRUSTEES

Michael R. Klein, Chair Robert E. Falb, Vice Chair John Hill, Treasurer Pauline A. Schneider, Secretary Michael Kahn, Artistic Director TRUSTEES Nicholas W. Allard Ashley M. Allen Stephen E. Allis Anita M. Antenucci Jeffrey D. Bauman Michael Beriss Landon Butler Dr. Paul Carter Peter Cherukuri Lady Darroch Gloria Dittus Debbie Driesman Dr. Mark Epstein Stefanie Erkiletian Dr. Natwar Gandhi Barbara Harman Stephen A. Hopkins Lawrence A. Hough W. Mike House Jerry J. Jasinowski Norman D. Jemal Scott Kaufmann Sudhakar Kesavan Abbe David Lowell Gail MacKinnon Bernard F. McKay Melissa A. Moss Irene Pollin Stephen M. Ryan

*Deceased

Jonathan Sherman George Stamas James Stone Karen Wawrzaszek Rob Wilder Michele Williams Tom Woteki Suzanne S. Youngkin EX-OFFICIO TRUSTEE Chris Jennings, Executive Director EMERITUS TRUSTEES R. Robert Linowes*, Founding Chairman James B. Adler Heidi L. Berry* David A. Brody* Melvin S. Cohen* Ralph P. Davidson* James F. Fitzpatrick Dr. Sidney Harman* Lady Manning Kathleen Matthews William F. McSweeny V. Sue Molina Walter Pincus Eden Rafshoon Emily Malino Scheuer* Lady Sheinwald Mrs. Louis Sullivan Daniel W. Toohey Sarah Valente Lady Westmacott Lady Wright

FOR SHAKESPEARE THEATRE COMPANY

MICHAEL KAHN Artistic Director STC: The Critic and The Real Inspector Hound, 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: Classic Stage Company: The Liar; 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). The Acting Company: Artistic Director, 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; Studio Theatre: Cloud 9, Torch Song Trilogy. Guthrie Theater: The Critic and The Real Inspector Hound, The Duchess of Malfi; American Repertory Theatre: ‘Tis Pity She’s a Whore; The Old Globe: The Metromaniacs; 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.

Live like a King with MapHook Charles: Finally made it to Washington! Harry, Kate, William and the children will the love the views from this hotel.

2 hours ago

Kate: This Museum is just as much fun as the MapHook reviews promised. Little George and Charlotte are having a blast!

1 hour ago

Harry: The National Mall is brilliant! Now, who do you have to know around here to get tickets to a Caps game? #LuvDC

Just now

Find cool places. See whatâ&#x20AC;&#x2122;s trending. Pin your own story. 42

E TH R E TH FA BEGINS MAY 10

THE FATHER

— THE TIMES (LONDON)

Florian Zeller’s internationally acclaimed and theatrically thrilling exploration of who we are to ourselves when our signposts disappear, starring Ted van Griethuysen.

S 20 TU 2. DIO 33 T 2. HE 33 A 00 TR E.

“AS SHARP AND SURPRISING A PLAY AS YOU’LL SEE ALL YEAR”

OR G

BY FLORIAN ZELLER TRANSLATED BY CHRISTOPHER HAMPTON DIRECTED BY DAVID MUSE

Ages 7-18 Now! Register today! ShakespeareTheatre.org/Camp 202.547.5688 43

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; 2016 Theatre Communications Group Theatre Practitioner Award; 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 JENNINGS Executive Director STC: 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 Education 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. DREW LICHTENBERG Literary Manager/ Dramaturg STC: The Secret Garden, Romeo & Juliet, The Taming of the Shrew, Othello, The Critic and The Real Inspector Hound, Kiss Me, Kate, Salomé, 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). INTERNATIONAL: National Theatre: Les Blancs (dir. Yaël Farber). 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. LISA BELEY Head of Voice & Text INTERNATIONAL: Vancouver, Canada: Rumble Theatre: Indian Arm; Vancouver Playhouse: The Music Man; Dorothy Somerset Studio: The Glass Menagerie, The Cherry Orchard; SFU Theatre: Laurier; Tooba Theatre: Twelfth Night; UBC Theatre: The House of Atreus, Arcadia; York University: Our Country’s Good. FILM: Dialect, voice or text: Warcraft, Horns, Firewall, Monster Trucks, Diary of a Wimpy Kid, Suckerpunch, The Watchman, Hidden, Apollo 18, The Uninvited, Hot Rod, Pirates of the Caribbean 3, Elektra. TELEVISION: Dialect: Tin Star, Bates Motel, The Wilding, The 100, Alcatraz, Rogue, Red Widow, The Secret Circle, Heavenly, The River, Human Target, The Good Wife, Inseparable, Cooking Lessons, Just Cause. OTHER: Acting: theatre, film and voice-overs. Directing: The Bay at Nice, Agamemnon. TEACHING: STC’s Academy for Classical Acting at The George Washington University: Voice, Speech and Text Instructor; Canada’s National Voice Intensive: Voice, Speech and Text Instructor. TRAINING: University of British Columbia: BFA in Acting; York University: MFA in Acting, Voice Teacher’s Diploma.

CARTER C. WOODDELL Resident Casting Director STC: The Secret Garden, Romeo & Juliet, The Tempest (2016 Free For All),The Taming of the Shrew, 1984 (children), Othello, The Critic and The Real Inspector Hound, Kiss Me, Kate, Salomé, A Midsummer Night’s Dream (Free For All), Tartuffe, Dunsinane (supernumerary), Man of La Mancha, The Metromaniacs (STC and The Old Globe), The Tempest, As You Like It, The Winter’s Tale (Free For All), The Merry Wives of Windsor, Two Gentlemen of Verona, Much Ado About Nothing, The Merchant of Venice, the ReDiscovery Reading Series. Other Casting Experience (McCorkle Casting, Ltd.): 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). TEACHING: Guest Lecturer, Mason Gross School of the Arts at Rutgers University, BFA and MFA acting students.

ABOUT STC

ABOUT ACA

OUR MISSION The Shakespeare Theatre Company creates, preserves and promotes classic theatre—ambitious, enduring plays with universal themes—for all audiences.

The Academy for Classical Acting (ACA), the Shakespeare Theatre Company’s premier MFA training program run jointly with The George Washington University, is now in its 17th year. 20 professional actors from all over the United States and abroad join the Shakespeare Theatre Company’s remarkable faculty for a rigorous, one-year conservatory program dedicated to mastering the complexities of heightened text and classical acting. In the past 17 years, the ACA has trained over 235 actors from all walks of life. Some go on to New York City, others return to their places of origin, and many make new homes right here in Washington, D.C. On any given night, ACA graduates can be seen on stages throughout the D.C. metro area. The ACA can also boast several recipients of the coveted Helen Hayes Award. Already this season, four ACA grads can be seen on STC’s stages. More are sure to return.

OUR VISION We create theatre to ignite a dialogue that connects the universality of classic works to our shared human experience in the modern world. OUR VALUES AND FOCUS Shakespeare Theatre Company produces and presents the highest-quality classic theatre productions across genres, bringing them to vibrant life in a provocative, imaginative and accessible style. With Shakespeare at our core, we explore plays of national and international relevancy—those with profound themes, complex characters and heightened language—through a contemporary 21st-century lens. We expand the classic theatre repertoire in America by reviving and commissioning adaptations and translations of important forgotten works. We create impactful and responsive arts education and community engagement programs to connect audiences to the significance of classic works and themes. We provide a home for leading classical artists and a training ground for the next generation of theatre artists and arts administrators.

It is already time to start looking for next year’s class. We are conducting auditions in Los Angeles, New York, Washington D.C., Toronto and Chicago to look for the next generation of classical actors. The training is deep and broad, with classes in Acting, Alexander Technique, Text, Movement, Voice & Speech, Stage Combat, Masks and Clown, to name a few. If you’re interested, or know someone who might be interested in receiving training from some of the top professionals in the field, please visit ShakespeareTheatre.org/Academy.

SUPPORT We gratefully acknowledge the following donors that currently support the work of the 2016â&#x20AC;&#x201C;2017 Season This list is current as of December 21, 2016.

$100,000 and above

Anonymous (2) Beech Street Foundation T D.C. Commission on the Arts & Humanities The Erkiletian Family Foundation The Harman Family Foundation T The Honorable Jane Harman HRH Foundation Michael R. Klein and Joan I. Fabry T BA

The Robert P. and Arlene R. Kogod Family Foundation Share Fund Robert H. Smith Family Foundation

$50,000 to $99,999

Abramson Family Foundation Inc. Paul M. Angell Family Foundation Anita M. Antenucci T The Morris and Gwendolyn Cafritz Foundation Annie Carey and Jonathan Sherman T Dr. Paul and Mrs. Rose Carter T Debbie Driesman and Frank F. Islam T BA Dr. Mark Epstein and Amoretta Hoeber T

Mr. and Mrs. Robert Falb T The Philip L. Graham Fund John and Meg Hauge Abbe David Lowell and Molly A. Meegan T BA Jacqueline B. Mars Alan and Marsha Paller Mrs. Irene Pollin T The Shubert Foundation National Capital Arts & Cultural Affairs Program/US Comm. of Fine Arts

$25,000 to $49,999

Anne and Ronald Abramson Stephen E. Allis T Mr. and Mrs. Landon Butler T Catherine Held John W. Hill T Mr. and Mrs. Stephen A. Hopkins T Mr. Jerry Knoll Jacqueline B. Mars Ann K. Morales National Endowment for the Arts Dr. Channing Paller and Mr. Brian Toll Toni A. Ritzenberg Stephen and Lisa Ryan T BA Shakespeare for a New Generation Fredda Sparks and Kent Montavon George P. Stamas T

Michele Williams T Tom and Cathie Woteki

Sue and Leslie Goldman Helen Clay Frick Foundation Hogan Lovells US LLP Humana Inc. Jerry and Isabel Jasinowski T Ms. Elaine Economides Joost 1616 Helen Kenney AMB The Jacob and Charlotte Lehrman Foundation James J. Lynch Michael & Maureen McMurphy & the Patrick Michael McMurphy Memorial Foundation Steve and Diane Rudis Vicki and Roger Sant 1616 Pauline A. Schneider T BA

Martin Skea and Christopher Mondini Solon E. Summerfield Foundation, Inc. Carolyn L. Wheeler BA WilmerHale Nina Zolt and Miles Gilburne

Turner & Goss

$15,000 to $24,999 Altria Group The Theodore H. Barth Foundation Brown-Forman Corporation Capital One Clark Construction Group, LLC The Dallas Morse Coors Foundation for the Performing Arts Douglas Development Corporation The Max and Victoria Dreyfus Foundation James A. Feldman and Natalie Wexler

T AMB

$10,000 to $14,999 Anonymous Esthy and Jim Adler Aflac Nick and Marla Allard T BA Altamira Technologies Corporation Sheila and Kenneth Berman BA Peter A. Bieger

CBRE Group, Inc Mr. Peter Cherukuri T CLS Strategies Cozen O'Connor The Dow Chemical Company E. and B. Family Trust Patricia and Miguel Estrada Arthur and Shirley Fergenson ACA Gould Property Group Grossberg, Yochelson, Fox & Beyda, LLP K&L Gates LLP Irene and Lou Katz Mr. and Ms. Sudhakar Kesavan T Mr. and Mrs. Kevin Kolevar Mr. and Mrs. Andrew Marino Merrill Family Foundation Hazel C. Moore The Morningstar Foundation Nissan North America, Inc. Theodore B. Olson and Lady Booth Olson BA Craig Pascal and Victor Shargai Porterfield, Fettig & Sears, LLC Rockefeller & Co. Judi Seiden AMB The Honorable Robert E. Sharkey and Dr. Phoebe Sharkey Clarice Smith Doug and Gabriela Smith Sovereign Strategy Limited Mark Tushnet and Elizabeth Alexander Velasquez Group, LLC Visa Inc. Vornado/Charles E. Smith LP Patricia and David Vos Foundation Vulcan Materials Company Foundation Rob Wilder T Lynn and Jonathan Yarowsky

$5,000 to $9,999 Anonymous (3) Alston & Bird LLP Amazon Web Services Peter and Joan Andrews Keith and Celia Arnaud AT&T Services, Inc. Bean, Kinney & Korman, P.C. BA Kyle and Alan Bell Barbara Bennett The Bozzuto Group Katherine B. and David G. Bradley British Council Robert Crawford Carlson Teresa Phelps Carr and Edward Carr The Honorable Joan Churchill BA CJM Foundation Richard H. Cleva and Madonna K. Starr BA Jeffrey P. Cunard BA Louis Delair, Jr. Tom and Krista Di Iaconi BA Beverly and Richard Dietz The Dimick Foundation Nina Laserson Dunn and Eric C. Rose BA EagleBank Ernst & Young LLP Marietta Ethier

Julie M. Feinsilver 1616 ACA Denise Ferguson Anne and Burton Fishman BA Paige Franklin and David Pancost The George Preston Marshall Foundation Tim and Susan Gibson ACA AMB Lee Goodwin and Linda Schwartzstein Graham Holdings David and Jean Grier Mr. and Mrs. Woolf P. Gross Corbin and Pamela Gwaltney H&R Block Kevin T. Hennessy AMB BA Hirshorn Zuckerman Design Group Inc. William L. Hopkins 1616 Mike and Gina House T BA The Mark & Carol Hyman Fund The International Union of Bricklayers and Allied Craftworkers David and Anne Kendall BA Kettler Thomas and Bridget Kluwin Kovler Fund of the Community Foundation of the National Capital Region Barry Kropf Marcel C. LaFollette and Jeffrey K. Stine ACA David A. Lamdin AMB Bill Lands and Norberta Schoene Richard Levi and Susan Perry Mallinckrodt Pharmaceuticals Heidi and Bill Maloni Mars Foundation Kathleen Matthews Hilary B. Miller and Dr. Katherine N. Bent BA Meridith Moldenhauer Oracle America Corporation Mr. and Mrs. Carl F. Pfeiffer Carter Phillips and Sue Henry BA Politico Property Capital LLC William Pugh and Lisa Orange Nicole Putnam-Frenchik and Michael Frenchik Reset Public Affairs The Nora Roberts Foundation Gerri and Murray Rottenberg 1616 Software and Information Industry Association Southern Company William Stein and Victoria Griffiths BA Story Partners T STUDIOS Architecture Terra Nova Title and Settlement Services, LLC ThinkFoodGroup Mr. Derek Thomas and Mr. Ernesto Abrego TPG Capital United Airlines Mr. and Ms. Antoine Van Agtmael Marvin F. Weissberg Wells Fargo Philanthropy Alan and Irene Wurtzel Mike Wyckoff and Aida Gatell

Chris and Carol Yoder Suzanne and Glenn Youngkin Judy and Leo Zickler

$2,500 to $4,999 Anonymous (7) Ernest and Dianne Abruzzo Miriam and Robert Adelstein Kevin and Amanda Allexon BA Sunny and Bill Alsup Mark and Cindy Anderson Tony Anderson and Kevin Lorei Mr. Decker Anstrom and Ms. Sherron Hiemstra Stephen P. Anthony BA Bank of America Linna Barnes and Chris Mixter Brent J. Bennett Mr. Michael J. Blier Bill and Evelyn Braithwaite Mr. and Mrs. Jere Broh-Kahn ACA Claudyne Y. Brown BA The Family of Marion and Charles Bryce 1616 AMB Mr. and Mrs. I.T. Burden III Capitol Counsel LLC Dawn and James Causey Audrey Chang and Michael Vernick Ellen MacNeille Charles Linda and John Cogdill Mary Cole AMB Jeff and Jacky Copeland Cornerstone Government Affairs LLC Marshall B. Coyne Foundation Douglas W. Crandall The Charles Delmar Foundation Dentons US LLP Dr. Marjorie Deutsch and John Broadbent, JD Dorchester Towers and Dorchester Apts on Columbia Pike in Arlington Ms. D. Chris Downey Anita Dunn and Bob Bauer Emily, Susannah and Michael Eig Helaine G. Elderkin BA John Estes and Veronica Angulo BA Michael Evans ExxonMobil Bob, Kathy and Lauren BA Mr. and Mrs. Ralph C. Ferrara Fierce Government Relations Leo Fisher and Sue Duncan Barry and Marie Fleishman Robert and Carole Fontenrose Forbes Tate Partners Forest City Washington Franklin Square Group Rhona Wolfe Friedman and Donald J. Friedman BA FTI Consulting Burton Gerber 1616 Carol and Ken Gideon BA Alice and John Goodman Donald H. Goodyear, Jr. John E. Graves RIA and Hanh Phan Greenberg Traurig, LLP Nicole Alfandre Halbreiner Frona Hall James T. and Vicky Sue Hatt

Andrea L. Heithoff James and Marissa Huttinger Maxine Isaacs Dr. Juel Janis Larry and Georganne John Daniel F. Katz BA Jody Katz and Jeffrey Gibbs Michael and Michelle Keegan Mr. Jeffrey D. Kirkwood Dr. Mark T. Lewellyn Marjorie and John Lewis Freddi Lipstein and Scott Berg 1616 ACA AMB James and Barbara Loots BA Mr. and Mrs. Eric Luse Amanda Machen David and Martha Martin MAXIMUS Foundation Mr. and Mrs. Gregory May Mary M. McCue ACA AMB The McGwin/Bent Family Bernard and Mary McKay T Tom and Ingrid McPherson Foundation Brenda Metzger Rajesh, Radhika and Karan Murari Patricia and Terry Murphy National Association of Realtors National Cable & Telecommunications Association National Credit Union Foundation National Multifamily Housing Council Navigators Global Madeline Nelson Louisa and William Newlin Melanie and Larry Nussdorf The OB-C Group, LLC Dr. and Mrs. Kenneth Oscar Mr. and Mrs. David Osnos Robert and Susan Pence BA Phillips Realty Capital & EB5 Capital Sydney M. Polakoff and Carolyn Goldman Posner-Wallace Foundation Lutz Alexander Prager Bruce and Julie Press QGA Public Affairs Robert and Nan B. Ratner Molly and Joe Reynolds BA Steven and Beverly Schacht Steven and Rachael Schroeder Carl and Elizabeth Seastrum Linda and Stanley Sher Richard Simpson Squire Patton Boggs, LLP Stoiber + Associates, Architects Judi and Richard Sugarman Peter Threadgill Kathy Truex Ralph Voltmer and Tracy Davis BA Dorothy Watkiss BA Dr. Arthur Weinstein BA Stephen and Alexandra Wrage BA Margot and Paul Zimmerman $1,500 to $2,499 Anonymous (9) Gisela and Thomas Ahern Sanford K. Ain, Esq. BA Mrs. and Mr. Natanya Allan

Ms. Ashley M. Allen Dean Amel and Terry Savela In Memory of Patricia Arnold Vince and Julie Auletta Keith and Sherry Babb Mr. Kim Badzik 1616 Dan and Nancy Balz Galen and Carolyn Barbour Ms. Deborah B. Baum BA Danielle L.C. Beach BA Nan Beckley James and Carmela Bell Judge James A. Belson Carol Benedict and Paul Ashin Dr. and Mrs. James E. Bernhardt Sue E. Berryman Mr. and Mrs. John H. Birdsall Vaughn and Marian Bishop Dr. Donna W. Blake and Mr. Bruce E. Eckstein Cathleen E. Blanton Martha Blaxall and Joe Dickey James Blum Ronald Bottomly Helen and Ted Boutrous BA Michael A. Boyd Thomas C. Brennan Adrianne Brooks Roger and Nancy Brown Ms. Carol E. Bruce, Esq. BA Mr. Michael Butterfield and Ms. Hallee Morgan BA Capitol Hill Community Foundation ACA Cheryl and Matthew Chalifoux Dr. and Mrs. Purnell Choppin Barry Coburn BA Barbara and John Cochran Marcie Cohen In Honor of Bill Coleman Mr. and Mrs. Anthony C. Collins Congressional Black Caucus Foundation, Inc. Greg and Karen Cooke BA Francis and Julia Creighton Mr. and Mrs. Mark Darnell William and Sandra Davis Lorraine S. Dreyfuss Theatre Education Fund Mr. Craig G. Dunkerley and Mrs. Patricia Haigh ACA Becky and Alan Dye Fynnette Eaton and James E. Miller Donna Z. Eden Dr. James Ellzy and Mr. Franc O'Malley Ms. Catherine B. Elwell Diana Erbsen BA Joelle Faucher and David Webber Donald and Cathy Fogel Julian W. Fore and Beverly A. Sauer Claire Frankel Brenda and David Friend Aaron and Susan Fuller Charles and Amy Gardner Dr. Laura J. George AMB Dr. Douglas E. Gill and Mrs. Karen S. Vartan Ruth Bader Ginsburg

Christopher Gladstone and Elise Rabekoff JoAnne Glisson Alisa M. Goldstein and Lee Blank Tom Goldstein and Amy Howe BA Kevin Gowen and Robert Wilkinson 1616 Mr. and Mrs. David L. Gray Mr. Allen B. Green BA Linda Griggs and Bill Swedish Lisa Grosh and Donald Names BA Merle Haberman Kenneth G. Hance Michael Hargreaves Barbara and Thomas Harr Mr. Mark E. Herlihy and Ms. Ann M. Kappler Dr. and Mrs. Stephen Hersh Richard and Mary Ellen Hibey Ms. Linda A. Hildreth BA Linda and Steven Hirsch Cheryl R. Hodge Fran and Bill Holmes David H. Holtzman Ann Homan BA Mr. Steven Janssen John, Pam and Kim Jaske Birdie Johnson BA John Edward Johnson Eric and Heather Kadel BA Michael Kades and Mary Giovagnoli BA Belinda M. Kane Laura Cox Kaplan & Joel Kaplan Andrew Karron and Janet Storella BA Mr. Richard Kasten Elizabeth Keeley Joel and Mary Keiler Joe and Joanne Kelly Thomas R. and Laurie S. Kelly Frank Kendall and Beth Halpern BA Mr. and Mrs. Tom Klanderman Mary Hughes Knox Dana and Ray Koch Sara and Stephen Kraskin Mr. Sanjiv Kumar and Ms. Mansoora Rashid L. L. Lanam Ms. Carol A. Leedy and Mr. Vincent A. Salgado BA Charlotte and Russell Leighton Nancy and David Lesser BA Michael D. Lieberman and Lauren Sidner BA Steven Lieberman BA Lori Lindholm Jessie K. Liu BA David Lloyd Nancy and Dan Longo Nick and Alyssa Lovegrove Rev. Frederick MacIntyre and Mickey MacIntyre Drs. Daniel and Susan G. Mareck Mr. Dorn McGrath BA John and Connie McGuire BA Thomas and Ingrid McPherson Foundation Katy Mead Brian Meighan Ms. Kristin Millay, Esq. BA Roger and Robin Millay BA

Dr. Jeanne-Marie A. Miller Nancy and Herbert Milstein Jane and Paul Molloy Ms. Sally F. Morell and Mr. Geoffrey C. Morell LTC Dee Dodson Morris, Esq. BA Kristine Morris Melissa Moss T Mr. and Mrs. Ralph Nash Philip B. Nelson and Anne Parten Beth Nolan and Charles Wright Oliver Ocean BA Mr. and Mrs. Lawrence O'Connor Mrs. Jean Oliver Mona and John P. Oswald Tim and Shana O'Toole Mr. and Mrs. Gerald W. Padwe Karishma and Jonathan Page Rodney and Deborah Page Barbara A. Patocka and Everett Mattlin Thomas Pauls and Eleanor Pelta Ms. Penelope Payne Robert and Lillian Philipson Foundation BA Julie Phillips Sheldon Pratt ACA Mrs. Eden Rafshoon Lloyd and Claudia Randolph 1616 BA Steven and Anne Reed Phillip Reiman and Leslie Binns Alberto J. Rivera and Sharla J. Rivera BA Steve and Diane Rothman AMB Ron and Sharon Salluzzo Chad and Christina Sarchio BA Richard and Rochelle Schwab Richard E. Scott Kannon and Victoria Shanmugam BA Dan Sherman Judith and Jerry Shulman Mark and Joan Siegel Mrs. Vivien K. Silber Patricia L. Sims, Esq. and David M. Sims, Esq. BA Ed and Andy Smith Paul Smith BA Richard and Sophia Smith BA Lynne M. Stephens and Kenneth Larson Ms. Catherine E. Stetson BA Lawranne Stewart and Mark Kantor Mark Sucher and Jane Lyons Susan and Brian Sullam Judith Terra Alice W. Thomas 1616 David Tone Mr. Clifton Hyde Tucker, Jr. Alan Untereiner and Karen Donfried BA Sarah Valente Tessa van der Willigen and Jonathan Walters Mr. and Mrs. John Vogel BA Mr. Jeffrey Wall and Ms. Porter Wilkinson BA Dr. David L. Ward Thomas and Molly Ware AMB Laura and Paul Weidenfeld BA Sonia and Dale West Ms. Molly Wilkinson

Ms. Lauren Willard Mr. Alan F. Wohlstetter The Honorable and Mrs. Dov S. Zakheim $1,000 to $1,499 Anonymous (9) Adler Family Foundation, Inc. In Memory of Steven Agresta (2) Robert N. Alfandre Ms. Jerrilyn Andrews and Mr. Donald Hesse Alan Asay and Mary Sturtevant Katharine Austin Barnes Mr. and Mrs. Gregory Ballentine Bank of America Charitable Foundation Mr. and Mrs. Albert H. Barclay, Jr. Mr. and Mrs. James Barker Mr. Michael F. Barrett and Ms. Danielle Beauchamp R. Joseph Barton and Tricia Placido Rhoda Baruch Ms. Mary Ellen Bergeron Elaine and Richard Binder Darwin Bingham Elizabeth Boyle The Honorable Susan G. Braden and Thomas M. Susman Dr. Ronald Brady Rita Braver and Robert Barnett BA Chris and James Bridgeman Candice C. Bryant Ms. Elizabeth Buchbinder Jayne Bultena Colonel and Mrs. Lance J. Burton Capital Transaction Partners James M. Carr Sarah Cavitt Thomas and Robin Clarke JoEllen and Michael Collins Owen Costello and Erlin Webb Michael and Sue Crane Mr. and Mrs. Richard Daniels The Honorable and Ms. Tom Davis C. Maury Devine E.R. Dolly Dieter Richard and Patricia Draper Susan and Dorsey Dunn Paul Ehrenreich Roberta Ellington Raymond S. Eresman and Diana E. Garcia ExxonMobil Foundation Naomi and Gary Felsenfeld Sandy and Jim Fitzpatrick Ms. Elizabeth Galvin Nancy Garruba and Chris Hornig Mr. and Mrs. Charles Gary Angela and Dan Goelzer Grant Thornton LLP The H.O. Peet Foundation In Memory of Margot Peet Foster Newman T. Halvorson Hamilton Place Strategies Dr. James A. Heath and Mrs. Maureen Heath June and George Higgins Hines Interests Limited Partnership Fred Philip Hochberg Judy Honig and Stephen Robb

Mr. Paul and Carol Honigberg Lois Howlin Susan Immelt and Amelie Immelt International Brotherhood of Boilermakers Ms. Deborah Jaffe Jerry L. Kearns and Leland Moore Kay Kendall and Jack Davies Dr. Paul Kimmel and Dr. Prudence Kline David A. Klaus Polly Kraft Mr. Jack Krumholtz Mr. Michael Lainoff Rob Layden and Nancy Chabot Diana M.L. Tucker Karen Leider Shirley Loo 1616 Lucinda A. Low and Daniel B. Magrow Ms. Gail MacKinnon T Juan and Hardee Vegega-Mahoney Maller Wealth Advisors Jon and Belinda McKenzie Susan Milligan and Philip McGuire Candida Fraze Moskovitz and Peter Moskovitz Mr. and Mrs. Timothy P. Mulligan Elizabeth and John Newhouse Mr. and Mrs. P. David Pappert Mr. and Mrs. Geoff Pence Mark Perry and Adele Mouzon Robert and Lillian Philipson Foundation, Inc. Podesta Group The John and Marcia Price Family Foundation Colonel Terry C. Quist Peter S. Reichertz John Forest Roemer Steven M. Rosenberg and Stewart C. Low III Peter D. Rosenstein Nancy and Miles Rubin Susan Safer Linda B. Schakel Jane Scholz In Memory of Betty F. Shepard The Shiloh Foundation Addison and Kay Smith The Smith-Free Group LLC Randall Speck and Samantha Nolan Robert and Virginia Stern Elizabeth and George Stevens Ann S. Stock Pedro Taborga Mr. and Mrs. David Tate TRACE International Drs. Stephen and Susan Ungar Carole and John Varela Venn Strategies LLC John K. Vestal Washington Resource Associates Richard and Sally Watts In Memory of Mary Weathers Mr. Robert Wein Gerry Widdicombe Caroline Willis Book Appraisals Deborah and David Yaffe

$500 to $999 Anonymous (20) Mr. and Mrs. George T. Abed Actors' Equity Foundation, Inc. In Memory of Steven Agresta (3) Don and Allison Aitken Maqbool Aliani Eric Amick Wolfram Anders and Michele Manatt Jerome Andersen and June Hajjar Richard and Rosemarie Andreano Cherrill Alfou Anson Judy Areen and Richard Cooper The Associated Jewish Community Federation of Baltimore Michael D. Audi and Jackie Shapiro Kevin and Sheila Avruch Dr. Leonard Bachman Beverly Baker Jonathan H. Barber Margaret and Gordon Bare Joan Barron and Paul Lang Dan and Linda Bartlett Brian Bayliss and Athena Caul Rev. John P. Beal III Julianne Beall Bonnie Beavers and Peter Mathers Robert C. and Elissa B. Bernius Bethesda MRI&CT Bowen Billups William D. Blair Charitable Foundation Mary Josie and Bruce Blanchard John W. Blouch Harriet and Bruce Blum Constance Bohon, MD Thomas Booth Ms. Amanda Bowker Jill and Jay Brannam Henry J. Brothers II Christopher Brown Dana E. Brown Perry Brown Sharon P. Brown Jeff and Wendy Brueggeman Family Philip Buchan and June Krell Harold R. Bucholtz Michael L. Burke and Carl W. Smith Susan and Dixon Butler Patty and Len Campbell Robert Campbell and Mary Schellinger Peggy Canale Ann Cardoni Rita A. Cavanagh and Gerald A. Kafka The Center Wallace Chandler T. Channon and C. Poppe Shu Hui Chen, PhD Mr. Edward Chmielowski Ms. Janice L. Clark John Clark and Ana Steele Clark Philip Cohen Tim Cole and Kathy Galloway John and Sheila Compton

Elizabeth Crompton John and Val Cuddy Isabelle D. Cummings Mr. and Mrs. Scott W. Davis Donn and Sharon Davis Matthew and Mike DazĂŠ Tony and Nancy DeCrappeo Mary des Jardins Tom and Carol Donlan Dr. Richard Drawbaugh and Suzanne Drawbaugh Ms. Sarah Drew Jean and Paul Dudek David Dunn Mark and Laura Duvall Sayre Ellen Dykes Stephen and Magda Eccles Stuart and Joanna Edwards Marjorie and Tony Elson Eng Garcia Properties LLC Walt Ennaco and Ann Cataldo Robert and Sue Faron Dorothy E. Fickenscher Mr. Carlos Fierro and Mrs. Jennifer Tonkel Ms. Judy Finney Louise A. Fishbein Ms. Christine Fisher and Mr. Oscar Goldfarb Patrick Flinn and Karen Hegtvedt Rev. and Mrs. Frederick Foltz Mr. Patrick Ford David G. Freeman Jean Fruci Colleen Gallagher Mr. and Mrs. Davis R. Gamble, Jr. In Memory of Esther P. Gelman Lewrene Glaser Anne-Marie Glynn Amnon and Sue Golan Richard Goldie and Jacqueline Tibbetts Mr. and Ms. Hal Gordon Karen and Hal Gordon Eloise Gore and Allen Hile Ms. Lynn M. Gowen Ms. Patricia D. Graham Melanie Grishman and Herman Flax Judy and Sheldon Grosberg Margaret S. Grotte Bruce and Georgia Sue Guenther Tom Gusdorff and Ed Dennison Mr. Jack E. Hairston Jr. Dr. Sara Hale Henry and Mr. Austin Henry CDR Lars Hanson and RADM Rosanne Levitre Doris Hausser Shawn C. Helm and J. Thomas Marchitto Margaret Hennessey Elizabeth Hilder and W. Randolph Smith Melissa Hodgman and Peter Strzok Stanley and Vicki Hodziewich Mark and Brabble Hoffman David Hofstad F. Lynn Holec 1616 Ambassador Richard Holwill

Silvia M. Hoop and Alfred Kammer Mr. and Ms. Paul Horvath Donald M. and Barbara S. Hoskins Mr. and Mrs. Timothy Howard Ms. Margaret Huber Stanley Alan Hurwitz Mr. Loring J. Ingraham and Ms. Dale Rubenstein Will, Amanda and Fran Irwin Mr. Eric R. Jablow Mr. Kurt Jaeger Rachel R. Jaffe Katherine B. Jameson Elizabeth Janthey Mary Frances Jetton Cynthia and Jason Johnson Catherine Jordan Terri and Phil Jordan Arthur Katz and Sima Osdoby 1616 Ashok and Stuti Kaveeshwar Monsignor Francis G. Kazista Mark Kearney Andrea and Joseph Kerr Sally and Joseph Keyes Robert L. Kimmins Kathleen Knepper Mr. Masami Kojima Sara Koury Fred Krosner and Linda Rosenfeld Karen E.Krueger Mark A. Kukuruga Margaret Lane Sydney Langston Ms. Debbie Lansford Robert L. Larke Eileen Lawrence and Bobby Greenfield Frances and Emery Lee Mr. Nicholas R. Lefevre Dr. and Mrs. Stanley Legum Mr. and Mrs. Tracy K. Leigh Christopher and Lisa Leinberger Darrell Lemke and Maryellen Trautman Ms. Lee Nelles Leonhardy Ms. Louise Levathes Shirley J. and William S. Levine Michael and Bianca Levy Craig and Stephanie Lewis Marcia Litwack Mr. and Mrs. Joseph Livingston Mr. and Mrs. Kenneth Lorber Mrs. Joan Lorr In Recognition of Abbe Lowell Janice Louise Lower and Paul R. Berger Linda L. Lum Timothy Madigan Vincent and Debra Maffeo Janet and Steven Magel Carey Majeski David and Claire Maklan Tom and Joan Malarkey Ms. Beth Marcus John and Liza Marshall Rita and Paul Marth Winton E. Matthews, Jr. Michael S. Maurer and Rachel L. Sher Catherine McClave David and Saran McMeans

Susan McNabb and Brent Hillman W. Bruce McPherson Beverly Melani and Bruce Walker Lisa M. Mezzetti Drs. Rolf and Lee Anna Mielzarek Iris and Larry Miller Stephen and Nicole Minnick Jessine Monaghan Mr. and Mrs. Thomas C. Mooney Kathryn A. Morrical Kevin Murphy and Susy Elder Murphy Donald and Lynne Myers Michael Nannes and Nancy Everett Linda S. Neighborgall Jo-Ann Neuhaus Ellen and Ross Notar Paul O'Brien and Susanne Owens Warren S. Oliveri, Jr. and McGennis Williams Mary Ann Palka In Memory of Michael E. Patten Don and Linda Peebles Randolph Perry Gary and Trudy Peterson Mary Irene Pett Ms. Barbara F. Phillips Victoria Phipps Geraldine Fogel Pilzer Elizabeth Piotrowski Mr. Michael Warren Proffitt Drs. Dena and Jerome Puskin Julie and Sam Rea Wendy and John Daniel Reaves The Honorable and Mrs. Joe R. Reeder John and Sue Renaud Barbara and Sheldon Repp Resch Family In Memory of Richard J. Ricard, Jr. Margaret Rice and Bill Sette William L. Ritchie, Jr. Bobby and Cassandra Robinson The Honorable John T. Rooney Eugene and Shirley Rosenfeld Paul and Katy Rosenzweig Lynn N. Rothberg Burton Rothleder Peggy and Bud Rubin Ms. Fath Ruffins Margaret L. Ryan Suzonne Sage Julie and David Sande Charles B. Saunders, Jr. Chris Savage and Lisa Hemmer Mr. and Mrs. James P. Schaller Drs. Ernst and Nancy Scher Billig Mrs. Jennifer M. Schlener-Thomas Jonathon and Carla Schraub Eugene and Alice Schreiber Philanthropic Fund Ms. Tina Schwartz Kathleen R. Scott Ellen Seidman and Walter Slocombe Harriet and Howard Shapiro John and Roma Sherman Angela L. Shortall Donald M. Simonds Aimee Smart and Shefa Gordon Dr. and Mrs. Delbert D. Smith

Nick and Robbie Snow Mr. and Mrs. William Spellbring Cecile and James Srodes Dr. William and Vivienne R. Stark Mrs. Marjorie D. Starling Steele Foundations Carol Stein Mr. Edward Steinhouse Janice Sterling Russell B. Stevenson and Margaret R. Axtell Dorothy and Donald Stone Maureen Sullivan Marsha Swiss and Ron Costell M.D. Alice J. Sziede Harry and Carol Tabak Al and Nadia Taran Drs. Steven and Sheila Taube Mr. Carl A. Taylor John Taylor Jonathan Taylor and Dianne Shaughnessy Carol Thayer Larry and Cathy Thompson William J. Tito and Debra J. Duncan Sylvia Toone Al and Jackie Tucker Jim and Cindy Tuite Jocelyn and David Turkel Dr. Kazuko Uchimura Allen Unsworth Marilyn and Roderick Uveges Joan and Lyman Van Nostrand Stephanie and Fernando van Reigersberg Dwight and Carrie Vaughn William Von Alt II Mr. and Mrs. L. Von Hoffman M.E. Wagner Robin and George H. Walker IV Herb and Libby Ware Robert Warren and Jane Grayson Mr. and Mrs. Rosanne Weber Jack and Ruth Ellen Wennersten Karen M. Whaley and Jim Magner Sandy and Jon Willen Dr. Marjorie Williams ACA David and Myra Wilson C. Lawrence Wiser George Wishon Neville Withington and Kerry Kingham Anita Woehler Harrold Wolcott Julie and David Zalkind Mr. Mark Ziomek and Mr. Gary Bowden $250 to $499 Anonymous (39) Donald Adams and Ellen Maland Mrs. Terri R. Adams In Memory of Steven Agresta Ms. Emily L. Aitken Mr. and Mrs. Charles T. Alexander Mr. and Mrs. Theodore E. Allison Ambassador and Mrs. Frank Almaguer Ruth and Sam Alward Gabriela Anaya and Bruce Tanzer Ms. Kirsten Anderson Nancy P. Anderson

Jean W. Arnold Mrs. Martin Atlas John Ausink Dr. James Babcock and Mrs. Carol Ann Babcock Tovey Bachman Jane Bachner Lucia Backer Ms. Sheila E. Baker Mr. Harry Barnes Ms. Sonya Barnette Mike and Lissa Barry Ed and Nacy Barsa Mr. Mel Bass Jim Beale Marion and Rand Beers Mrs. Anne Bellinger Marguerite Benson Ms. Kathleen Bergin Gilbert Berglass Jane C. Bergner Ms. Dava A. Berkman Ms. Cathy Bernasek Pam and David Bernstein Gretchen Birkle Eugene and Joann Bissell Ms. Anita Bizzotto Mary C. Blake Carl Blaurock Mr. Robert L. Bleimann and Dr. May Chin Gilbert and Madeleine Bloom Donald J. and Carol L. Bobby Rick and Burma Bochner Kaye and Andrew Boesel Lisa and Richard Bohrer Lillibeth Boruchow, MD Jennifer Boulanger and Bruce Schillo Jacqueline Bowie and Joseph Starnes The Bowie Family Ms. Megan Bowles Cindy and Dennis Brack Jean and Barbara Broussard Buckley/Palmore/Hind Family Jan Burchard Daniel H. Burd, Anne Reynolds, & Emma R. Burd Jeffrey and Josephine Burton Kim and Glenn Campbell Margaret Capron Patrick and Katharine Carney Margaret J. Carpenter Ms. Barbara Carr Patricia and Vincent Carretta Anna Uhl Chamot Chevy Chase Bank Mr. and Mrs. Jeffrey E. Christ Tim and Glenda Christenson Elaine Church Patricia Clark Ray Clark, Rhonda Starkey and Alex Mr. and Mrs. Robert L. Clark Dorothy and Frederic Clarke Rachel Conway Jovana Cooke John F. Copes William Coston William and Elise Couper Robert W. Cover

Mr. and Mrs. Robert H. Craft Edward E. Cragg Stephen T. Cramolini Marcia P. Crandall Alan T. Crane Katheryn Cranford Drs. Frank and Joanne Crantz Matt Crouch Suzanne and Gregory Curt Mr. Gerald P. Dargis Paul J. and Faith B. Davis Deanna Dawson Carol Dickenson Beverly Dickerson Ms. Helen Disenhaus Yin'ying Djuh Carol Doherty Ms. Margaret Dotseth Don Douglas and Carolyne Weil Stephen Dove Alan and Susan Dranitzke Dr. and Mrs. John V. Dugan, Jr. Dr. Sam Dunlap Jacqueline H. Dunlavey Vera and Josef Dvorak Mary and Bob Eccles Erica and Alan Edelman Betsy Edwards Dr. Stephen Ehrmann Sarah G. Epstein and Donald A. Collins Mr. William Erdmann Connie Ericson David and Marilyn Falksen William Faragher Marc and Anne Feinberg Drs. Aaron and Cynthia Field Tracy Fisher James and Isabelle Fitzwilliam V. Lee Fortna Thomas and Ilona Fox Elizabeth France Molly M. Frantz Jim Fraser Dr. Helene Freeman Carol Galaty and Ken Shuck Robert Gallagher Mary Alice Garber Dr. Arlyn Garcia-Perez Mr. and Mrs. Terry M. Gernstein Dennis Gerrity Dr. Catherine Gira Scott Glabman In Memory of Angelique Glass 1616 Kathleen and Greg Gohn Ellen and Michael Gold Burton Goldberg David M. Goldberg Jinny and Mike Goldstein David Goldston Barbara (Grabon) and Robert Juszczyk Dr. and Mrs. John Grausz Mr. Charles Green Marian L. Green Eldon and Emily Greenberg The Greenspan/Doyle Family Mr. Bruce Gregory and Ms. Paula Causey Susan and David Gries David Grover Mr. Paul K. Guinnessy

Gail J. Gulliksen Dr. & Mrs. Frank R. Gunter Richard and Michelle Hamecs John Harman Rev. Linda Harrison Laura Hart Peter D. and Florence R. Hart Frank and Lisa Hatheway Judith Hautala Mr. and Mrs. Neil F. Hawks Constance and Richard Heitmeyer Ellen M. Heller and Shale D. Stiller Peggy Osna Heller Robert J. Herbert Frederick S. Hird Bernardo Hirschman Amanda and Larry Hobart Judge Christopher Holleman Michael Hollinger Junann Holmes Dr. and Mrs. Mack P. Holt Charles Horn and Jane Luxton John K. Hoskinson and Ana I. FĂ bregas Lauren and Glen Howard Mr. Lee Howard Charlotte Hrncir Dr. and Mrs. Carl E. Hunt Carol Ireland Edward and Victoria Jaycox Laura Jehl and Michael Cicero W. Luther Jett Mr. and Mrs. Donald Johnson George and Ayah Johnson Linda Johnson Fred Jones Ms. Margaret Jones Mark Joseph Marvin and Madeleine Kalb Maryanne and David Kane Richard Kane Daniel Kaplan and Kay Richman Gift Fund Ron Kaplan and Yoni Bock Virginia Karl Jack and Colleen Katz Sheila Kautt Mr. and Mrs. Robert Keatley Mr. Michael J. Kelleher Brian G. Kennedy Caroline E. Kenney Don and Alison Kerr Patricia King Elisa and Michael Kirby William and Susan Kirby Stephen and Mary Sue Kitchen Mr. Frank Klotz Robert Klotz and Leslie Campbell Dr. Randall Knack and Misty Knack In Memory of Robert Knouss Tom and Kathy Knox Kristin and Dave Koehler Jeffrey and Barbara Kohler Michael W. Kolakowski Robert Kopp Mary and Nick Kotz Ms. Beverly LaCross L. L. Lawson Rosalind A. Lazarus Stuart and Brock Lending Herb and Dianne Lerner

Herman D. Levy Carol A. Lewis Ms. Donna Lewis Linda Lewis-Garcia Mr. Richard Wayne Ley Erik Lichtenberg and Carol Mermey Joseph Liu Robbie L Lloyd Margaret Long Scott and Ellen Lutrey Ms. Margot E. Machol and Mr. Mark C. Bisnow Ellie and Chris Maginniss Drs. Mark and Leigh Maier Judith Mangubat Robert and Ida May Mantel Maury and Beverley Marks Donald Martin and Tammy Wiles Dr. and Mrs. Robert Martin Roy and Leeann Matthews Ms. Diana Matthias Mr. and Mrs. James W. McBride Matt and Peggy McCarty Anna Therese McGowan Ms. Elizabeth A. McGrath In Memory of Patrick Michael McMurphy Mr. and Mrs. Daniel J. Meadows Ms. Marjory H. Melnick Henry Mendeloff John Meyer and Donna Dean Susan and Harry Meyers M. Elaine Mielke Diane Compagno Miller Jack and Barbara Miller Louise C. Millikan Jay and Mary Minnix Bobbe and Herb Mintz Les and Bonnie Miyaoka Andy and Janice Molchon In Honor of Sidney Moore Margolis Catherine L. Moore Sally Moravitz Livy and John More Mr. Melvin Mosley, Jr. Toni Muller William Mullinix Mrs. Elisabeth Murawski Edward Murphy Esq Ms. Viola S. Musher Mr. and Mrs. Robert W. Mustain, Jr. Stanley and Marianne Myles 1616 Anne Mytych Elizabeth Neblett Amy Nelson Winkle W. Nemeth Melissa Nielson and Edward Yawn Eugene and Christina Nojek Fulbright and Jaworski Edward and Susan Oldfield Fanchon A. Oleson Judy Olmer Mr. and Mrs. Ernest T. Oskin Marina Ottaway Ms. Ruth Oyen Frank Palumbo Dr. Norval S. Peabody III Laurence Pearl and Anne Womeldorf Kevin and Sherry Pearson

Julia Perlman Col. and Mrs. Scott Pinckney Jessica Pollner Ms. Leslie A. Powell Mr. and Mrs. Joseph A. Presel Maria Proestou and Savana Hadjipanteli Alfred S. Raider Raymond James Financial, Inc. Alisha Reay Michael Rebain Mr. and Mrs. Thomas J. Reckford Mr. and Mrs. John Rennick Ms. Marie J. Ritzo David and Sandy Robinson Capt. and Mrs. Evan D. Robinson, USN (Ret.) Dwight and Laurie Rodgers Milt and Lisa Roney Bella Rosenberg Dr. and Mrs. Robert L. Rosenberg David and Samantha Ross Roberta Ross Sheila M. Ross Ms. Amy G. Rudnick, Esq. Ms. Pamela Russ and Ms. Nancy Stutsman Robert and Lelia Russell Barbara Ryland Ms. Sue Sadik Betty H. Sams Sandall Family James and Nancy Scheeler Christy Schmidt and Tony and Peter Bayne Mark Schoeberl Steve and Rhonda Schonberg Amy Schwartz and Eric Koenig Joyce and Richard Schwartz In memory of Matteson Scott Don G. Scroggin and Julie L. Williams Jeffrey and Patricia Sedgwick Seema Shah Jennifer Shea and Peter Bruns Louise I. Shelley Anne B. Shine Mr. Wright Sigmund Dr. Stephen R. Sleigh and Ms. Ann C. Greiner Michael R. Smith and Holly A. Larisch Randolph Smith Steve and Diane Sockwell Catherine and Robert Solomon Jim and Noell Sottile George R. Sparling John and Eleanor Spoor James and Sue Sprague Helene and Michael Stein Sue and Steve Sternheimer Greig Stewart and Jake Hudson Barbara Stout Will and Lois Stratton Robin and Mark Swope Elizabeth A. Taylor 1616 O. Miller Taylor Paula S. Thiede and C. Wakefield Martin Mrs. Eunice Thomas Grant P. and Sharon R. Thompson Jill and Scott Thompson

Michael Toman and Toi Carter Peter and Rhoda Trooboff Mr. William H. Truettner Silva B. Trumbower Glenn W. Tuttle Mr. and Mrs. Stewart Umphrey Dr. Arina van Breda Eli and Zahava Velder James M. Verdier Boris Veytsman James Vollman Dr. and Mrs. A. Vourlekis Martin and Susan Wald George Walser Matthew Watson Peggy and Ted Weidlein Allan and Marjorie Weingold Catherine and Ron Weinstock Mr. David Wentworth and Ms. Betsy Broder Michael Hughes and Linda Wiessler-Hughes Dr. Christopher Wilcox Scott and Lucy Wilson Linda Winslow Ellis Wisner Betsy L. Wolf Mendelle P. Woodley Anne and Tom Wotring Carolyn Yocom Irving and Carol Yoskowitz Rebecca Young John and Bucci Zeugner Victor Zitel Permanent support through the establishment of endowment funds The Leading National Theatres Program, a joint initiative of the Doris Duke Charitable Foundation and the Andrew W. Mellon Foundation Helen Harris Spalding and Herman Bernard Meyer Shakespeare Memorial Fund Gizella Moskovitz Fund Additional Members of the Society of 1616 Anonymous Helen Alexander and Roland Weiss Dr. Sheryl D. Baldwin Mr. John Ball Susan Barrett Mr. John Cahill Lorraine E. Chickering Anne Coventry Zelda Fichandler* Donald Flanders Dr. Helene Freeman Peter and Linda Parke Gallagher* In memory of Angelique Glass Dr. Olga Gilloegly* Ms. Claudia J. Greer Robert and Magaret Hazen Michael Kahn T Lt. Col. and Mrs. William K. Konze Dr. Richard M. Krause* Estate of Gwenneth Lavin* Mrs. R. Robert Linowes Dorothy and Bill McSweeny

Marian Mlay Judith E. Moore Susana and Roberto Morassi* Mr. and Mrs. Richard J. Park Suzy Platt* Jennie Rose Henry J. Schalizki Anne and Daniel Toohey In Kind 701 Asia Nine Bakers & Baristas BridgeStreet Worldwide Carmine's Cedar Restaurant China Chilcano Constellation Brands, Inc. Denson Dirty Habit DC EcoLips FUEL Pizza Gordon Biersch Brewery The Greene Turtle The Hill Jake Group Jaleo Knightsbridge, Inc. LaTasca Lavagna MAC Cosmetics Metro Weekly NOPA Old Town Shoe & Luggage Repair Oyamel Pitango Gelato Rasika Red Velvet Cupcakery Rosa Mexicano SEI Teaism Thayerâ&#x20AC;&#x2122;s ThinkFoodGroup U Street Cleaners Weleda West Wing Writers Group Zaytinya Zengo Matching Gifts Bank of America Computer Associates International, Inc. ExxonMobil Foundation Freddie Mac Foundation IBM International Foundation International Monetary Fund Qualcomm T. Rowe Price Foundation, Inc. Verizon Foundation Wiley Rein LLP YourCause, LLC

Official 2016–2017 Sponsors: Airline

Hotel

Wine

Make-Up

Costume and Garment

Shoe Repair

Key to Symbols 1616

ACA

AMB

Members of the Society of 1616, the Theatre’s planned giving society Supporters of the Academy for Classical Acting Ambassadors of the Theatre, generous donors who help develop and enhance our patrons’ relationship with the Theatre. To join, please contact Clare Klanderman at 202.547.3230 ext. 2327.

Members of the Bard Association, dedicated supporters of the Theatre who are members of the legal community. To join, please contact Emily Wilson at 202.547.3230 ext. 2325 Members of the Board of Trustees Deceased

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

WILL ON THE HILL JUNE 12, 2017

WILL ON THE HILL AD J OIN US FOR ONE OF WASHINGTON’S MOST ANTICIPATED SPRING EVENTS—WILL ON THE HILL! This Shakespeare Theatre Company annual benefit welcomes Senators, Representatives, and distinguished Washington influencers onto the stage to perform scenes from Shakespeare with a modern, Capitol twist. Infused with comedic references to contemporary politics, this distinctive and fun-filled evening is sure to leave you in stitches. Will on the Hill pays tribute to the vibrant and engaged dynamic of our city and raises indispensable funds for the Shakespeare Theatre Company’s artistic, education, and community engagement programs. For additional information about Will on the Hill 2017, please contact STC’s Corporate Giving Office at 202.547.3230 ext. 2333 or WillontheHill@ShakespeareTheatre.org. “To play or not to play, that is the question.” NBC Washington

“[It] warmed our bipartisan hearts.” Roll Call

Photos (clockwise) of Rep. Gerry Connolly (D-VA); Rick Klein, Rep. Jared Polis (D-CO), Rebecca Cooper and Rep. Scott Peters (D-CA); Rep. Eleanor Holmes Norton (D-DC); Rep. Charles Rangel (D-NY) and Linda Chavez (Center for Equal Opportunity); Rep. Ann Wagner (R-MO).

2016 LEAD SPONSOR

2016 MEDIA SPONSOR

2016 EXECUTIVE SPONSORS

2016 DIRECTOR SPONSORS Nick & Marla Allard

Steven & Lisa Ryan

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

AUDIENCE ENGAGEMENT Be more than an audience member at events inspired by STC's productions. Visit ShakespeareTheatre.org/Events for more information. Happenings Happy Hour (Free) Thursdays, Feb. 9 and March 9 6–7 p.m. The Forum in Sidney Harman Hall

February 7–March 12, 2017 Sidney Harman Hall

Page and Stage (Free) Sunday, Feb. 12 5–6 p.m. The Forum in Sidney Harman Hall Inside the Media: Regime Change and Freedom of the Press Sunday, Feb. 12 2:30 p.m The Newseum (555 Pennsylvania Ave, NW) Free with a ticket to the Newseum Bookends (Free) Wednesday, Feb. 15 5:30–6:30 p.m. and post-show The Forum in Sidney Harman Hall

A B C H O

Audio-Described Bookends Open Caption Happenings Happy Hour Opening Night

P R S Y

Page And Stage Reflections Sign-Interpreted Young Prose Night

Book Club (Free) Game of Crowns: Elizabeth, Camilla, Kate, and the Throne Saturday, Feb. 18 11:00–12:30 p.m. The Forum in Sidney Harman Hall Reflections (Free) Saturday, March 4 5–6 p.m. The Forum in Sidney Harman Hall AsidesLIVE Symposium Sunday, March 5 1-4 p.m. The Forum in Sidney Harman Hall Brush Up ASL-Interpreted Conversation (Free) Tuesday, March 7 6:30–7 p.m. Mezzanine Lobby in Sidney Harman Hall

Enjoy an afternoon of conversation about political transition, fictionalizing leadership and the play's language, featuring Robert Joy (King Charles III), Cordelia Lynch (Sky News), Alexandra Petri (The Washington Post), Leigh Gibson (Director, British Council USA) and more.

WHAT'S ON NOW

An adaptation created by Elevator Repair Service

Based on the novel by Ernest Hemingway

Directed by John Collins

AT THE LANSBURGH THEATRE beginning February 18 TICKETS ShakespeareTheatre.org 202.547.1122

The Select (The Sun Also Rises) is sponsored by Michael R. Klein and Joan I. Fabry.

restaurant partner:

The Select (The Sun Also Rises) was initially produced by Elevator Repair Service and New York Theatre Workshop.

UP NEXT AT STC: MEET LIESL TOMMY URVEYING LIESL TOMMY’S CAREER so far, you might say variety is her specialty. She would counter that storytelling, in fact, is her specialty—no matter what that story is. The past several years have brought her from classics like Shakespeare and August Wilson to developing new plays Off-Broadway; to becoming the first woman STAY TUNED FOR MORE INFORMATION on Macbeth. Performances begin April 25. For tickets, visit ShakespeareTheatre.org or call 202.547.1122. of color nominated for a Tony Award ® for Best Direction of a Play for Danai Gurira’s Eclipsed with Lupita Nyong’o; and to the West Coast, where Disney tapped her to stage a $28 million production of Frozen, seen by up to 10,000 people every day. In March, Tommy will arrive at STC to direct Macbeth in her provocative, electric style. “For me, it does start with the vision. It does start with that dirty word: concept. Because of all of my time in new plays, as long as that concept can stand up dramaturgically, as long as it’s not just interesting for the first five minutes, but can stand up till the final moment of the play, it has woven itself into it and propelled it forward [then it works]. I don’t get to do it a ton in this country, but whenever I have the freedom of working on a classic, I’m always going to push the envelope. I’m never just going to deliver the traditional production.” –The Interval, March 2016

“I knew I wanted to be an actors’ director—a clear communicator—and create a space where actors could shine. Because when clarity is all around them, then that magical, artistic part of an actor can flourish.” –The Interval, March 2016 “Because I love theater, I have to care about who the audience is, and the more I know about the audience the more I know how to challenge them.” –Guernica, May 2016 “My wheelhouse is really visceral, intense storytelling. I want the audience to lean forward and forget that they are watching a play. I want them to feel like they have a window into actual real lives of people that they didn’t have before they walked into the theater.” –Associated Press, June 2016 “At first I was like, 'Why did these people hire me? I’ve been doing political theatre my whole life. Why am I working at Disney?' But what I started to understand is that when you work at a level like that, you want the director to have a vision, to be bold, and to lead…. So sometimes at night I wake up and I have an idea and I’m like, ‘That’s too crazy, calm down,’ and then I’m like, ‘Art is risk.’” –The Interval, March 2016 “I’m interested in the violence of being a human being. Sometimes that is with actual physical violence onstage, and sometimes it’s just the thing that pulsates underneath every exchange.” –BostonTheatreScene.com, 2012

SHAKESPEARE THEATRE COMPANY STAFF Artistic Director: Michael Kahn Executive Director: Chris Jennings Manager of Executive Office and Board Engagement: David Lloyd Olson ARTISTIC Associate Artistic Director: Alan Paul Head of Voice and Text: Lisa Beley Resident Casting Director: Carter C. Wooddell Literary Manager: Drew Lichtenberg Artistic Associate: Craig Baldwin Artistic Fellow: Anna Alison Brenner Directing Fellow: Charlie McGrath Affiliated 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, Andrew Veenstra, Craig Wallace, Adam Wernick, Gregory Wooddell ADMINISTRATION Director of Administration: James Roemer Associate Director of Administration: Caroline Reich Human Resources Manager: Lindsey Morris Human Resources Coordinator: Ryn Weil Accounting Manager: Mary Margaret Finneran Staff Accountant: Marco Dimuzio Company Manager: Max Schwager Company Management Fellow: Sarah Brodsky General Management Fellow: Caroline Hirsch Receptionist: Ursula David Director of Operations: Timothy Fowler Theatre Building Engineer: Dave F. Henderson Theatre Monitors: Milton Garcia, Jeff Whitlow Facilities Custodian: Jorge Ramos Lima Harman Custodians: Dennis Fuller, Mirna Guzman, Wilfredo Guzman Lansburgh Custodians: Zulma I. Bonilla, David Guzman, Izilma Membreno Director of Information Technology: Brian McCloskey Database Administrator: Brian Grundstrom

DEVELOPMENT Chief Development Officer: Noreen Major Director of Individual Giving: Eric Bailey Major Gifts Officers: Clare Klanderman, Emily Wilson Membership Coordinator: Sean Cummings Special Events Manager: Amanda Herman Development Operations Manager: Michael Trottier Development Operations Coordinator: Deja’ M. Gibson Director of Corporate Giving: Kathryn Burns-Yocum Corporate Giving Manager: Katie Atkinson Director of Foundation and Government Relations: Meghann Babo-Shroyer Institutional Fundraising Coordinator: Emma Wesslund Development Fellow: Nancy Walker

MARKETING AND COMMUNICATIONS Director of Marketing and Communications: Neal Racioppo Associate Marketing Director: Austin Auclair Associate Director of Audience Development and Promotions: Teddy Rodger Associate Director of Bookings and Partnerships: Shaun Hart Director of Audience Services: Joy Johnson Group Sales and Ticket Services Manager: Paul Vintner Ticket Services Manager: Brian Jon Moran Sales Associates: Zindzi Ali, Lauren Douglas, Christopher Hunt, Jessica Kaplan, Andre McBride, Kristin Nam, Christopher Pearson, Sarah Polaski, Chad Rabago, Carmelitta Riley, Marie Riley, Kieran Shaw, Eugenia Siero, Crystal Stewart, Julia Tibor, Lauren Ward, Michael Wharton Theatre Services Manager: Robert Montenegro House Manager: Danny Romeo Lead House Managers: Ric Birch, Jeremy Blunt, Erica Brown, Jamel Levine, Marie Riley Assistant House Managers: Melissa Adler, Andrea Beland, Arpan Bhattacharyya, Ron Hoekstra, Chris Hunt, Susan Koenig, Anna-Claire McGrath, Molly Nevola, April Powell, Carmelitta Riley, Bridget Sheaff Retail and Concessions Manager: Nicholas Kilburn Retail and Concessions Associates: Amelia Brookins, Quintin Cary, Adrianne Glover, Justin Lane, Tara Moses, Christopher Pearson, Elena Robertson, Robert Russell, Christine Strassner Associate Director of Communications: Laura Henry Buda Publicist: Amy Hughes Visual Communications Manager: David Spears Junior Graphic Designer: Kent Kondo Graphic Design Fellow: Christian Gardner Web and Media Programmer: Brien Patterson Marketing and Communications Coordinator: Christine Covino Marketing and Communications Fellow: Rebecca Watson Photographers: Kevin Allen, Margot Schulman, Scott Suchman EDUCATION Director of Education: Samantha K. Wyer Associate Director of Education: Dat Ngo Audience Enrichment Manager: Hannah Hessel Ratner Community Engagement Manager: Jared Shortmeier School Programs Manager: Vanessa Hope Training Programs Manager: Brent Stansell Resident Teaching Artist: Dan Crane Education Coordinator : Thais Menendez Education Fellow: Jess Phillips Affiliated Teaching Artists: Kevin Alan Brown, Tonya Beckman, Robert Bowen Smith, Alina Collins Maldonado, Katie deBuys, Michael Dove, Vince Eisenson, Randall Exton, Elizabeth Forte Alman, Jim Gagne, Brit Herring, Paul Hope, Naomi Jacobson, Mark Jaster, Joy Jones, Thomas Keegan, Josh Kelley, Manu Kumasi, Gregory Linington, Sabrina Mandell, Chelsea Mayo, Brenna McDonough, Kiernan McGowan, Stephen Michel, Alex Piper, Victoria Reinsel, Paul Reisman, Melissa Richardson, Stephen Spotswood, Latia Stokes, Rebecca Swislow, Khaleshia ThorpePrice, Megan Thrift, Katie Tkel, Michele Vicino, Eva Wilhelm, Gregory Wooddell, Jaysen Wright

THE ACADEMY FOR CLASSICAL ACTING The Academy for Classical Acting Director: Alec Wild ACA Program Coordinator: Bekah Eichelberger Faculty Members: Isabelle Anderson, Lisa Beley, Christopher Cherry, Dody DiSanto, Edward Gero, Leslie Jacobson, Lisae Jordan, Michael Kahn, Floyd King, Roberta Stiehm, Brad Waller PRODUCTION Director of Production: Tom Haygood Associate Directors of Production: Kimberly Lewis Barna, Gordon Nimmo-Smith Resident Production Stage Manager: Joseph Smelser Stage Managers: Michael B. Paul, Brandon Prendergast Assistant Stage Managers: Elizabeth Clewley, Kate Kilbane, Kristy Matero, Jessica Skelton, Maria Tejada, Teresa Wood Production Assistant: Rebecca Shipman Stage Management Fellows: Mark Palumbo, Sara Patterson Costume Director: Barbara Hicks Floor Manager: Julie Rose Resident Design Assistant: Lynda Myers Drapers: Denise Aitchison, Randall Exton, Tonja Petersen First Hands: Sara Cardwell, Jennifer Rankin, Sandra Thomas Stitchers: Stephanie Goad, Michele Ordway, Donna Sachs Lead Crafts Artisan: Joshua Kelley Costume Crafts Artisan: Kathryn Hansen

AUDIENCE SERVICES Lansburgh Theatre 450 7th Street NW Sidney Harman Hall 610 F Street NW Ticket and Group Sales: Tickets: 202.547.1122 Toll-free: 877.487.8849 Group Sales: 202.547.3230 ext. 3405 Box Office fax: 202.608.6350 Bookings: 202.547.3230 ext. 2321 Box Office phone hours (both theatres): Daily: noon–6 p.m. (Box Office window open until curtain time) The Lansburgh Box Office is closed on the weekends if there is no performance at the Lansburgh Theatre. Concessions and Gift Shops: Food and beverages are available one hour before each performance. Pre-order before curtain for immediate pick-up at intermission. Lansburgh Theatre and Sidney Harman Hall gift shops are open before curtain, at intermission and for a short time after each performance. Connect with us: Facebook.com/ShakespeareinDC Twitter @ShakespeareinDC YouTube.com/ShakespeareTheatreCo Flickr.com/ShakespeareTheatreCompany Instagram @ShakespeareinDC Latecomers will be seated at management’s discretion.

Wardrobe Supervisors: Jeanette Lee Porter, Monica M. Speaker Wig Master : Dori Beau Seigneur Costume Design Fellows: Jen Gillette, Heather Grandprey Costume Production Fellows: Madeline Corson, Celeste Jennings, Grace Kang Technical Director: Kelly Dunnavant Assistant Technical Director: Tyler Grady Scene Shop Foreman: David P. Stock Scene Shop Administrator: Charles Cobb Carpenters: Justin Carnes, John Cincioni, Jr., Matthew Grisdela, Zack Mancini Charge Scenic Artist: Sally Glass Scenic Artist: Jose Ortiz Scenic Painter: Laura Genson Lowe Properties Director: Chris Young Assistant Proerties Director: Kimberley E. Cruce Props Painter/Sculptor: Eric Hammesfahr Props Artisan: Justin Titley Soft Goods Artisan: Rebecca Williams Master Electrician: Sean R. McCarthy Assistant Master Electrician: Lauren Lee Harman Electrician: Brian Flory Lansburgh Electrician: Samantha Brewer Audio/Video Supervisor: Brian Burchett Assistant Audio/Video Supervisor: Alexis Macchiaroli Live Mix Engineer: Jess Hoover Lansburgh Board Operator: Kurt Davis Stage Operations Supervisor: Dan Collier Assistant Stage Operations Supervisor: Will Gautney Stage Carpenters: Jess Rich, Rachel Wolf Run Crew: Reggie Fortune, Craig Gatling

Accessibility Our theatres are accessible to persons with disabilities. Please request special seating at time of ticket purchase and arrive 30 minutes before curtain for priority seating. Open-captioned performance of King Charles III: Thursday, February 23 at 8 p.m. Audio-described performance of King Charles III: Saturday, March 4 at 2 p.m. Sign-interpreted performance of King Charles III: Tuesday, March 7 at 7:30 p.m. An audio-enhancement system is available for all performances. Both headset receivers and neck loops (to use with hearing aids outfitted with a “T” switch) are available at the coat check on a first-come basis. Programs in large print are available at the coat check. Support for the Shakespeare Theatre Company’s Accessibility Program provided by

THE VIDEO AND/OR AUDIO RECORDING OF THIS PERFORMANCE BY ANY MEANS WHATSOEVER ARE STRICTLY PROHIBITED. As a courtesy, turn off pagers, telephones, watch alarms and all other electronic devices during the performance. Audience members may be reached during a performance by calling house management at 202.547.3230 ext. 2517. Specify seat location. 61

A PENN QUARTER RESTAURANT Proud Sponsor of the Shakespeare Theatre Company

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