Cleveland’s Classic Company at the Hanna Theatre presents
Oct. 15 – Nov. 7, 2021
TABLE OF CONTENTS
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Welcome..................................................................................................................... 4 About Great Lakes Theater............................................................................................ 5 The Tempest................................................................................................................ 7 Cast of Characters........................................................................................................ 8 Spotlight on The Tempest............................................................................................. 9 The Artistic Company................................................................................................. 18 Donors....................................................................................................................... 25 Trustees..................................................................................................................... 29 Staff.......................................................................................................................... 30 November/December at Playhouse Square.................................................................... 31
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WELCOME Dear Friends,
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at Playhouse Square
n behalf of our artists, staff and Board of Trustees, welcome to Great Lakes Theater’s 60th anniversary season!
Our mission, “to bring the pleasure, power and relevance of classic theater to the widest possible audience,” guides our mainstage productions, as well as our educational programming. We believe theater holds the capacity to illuminate truth and enduring values, celebrate and challenge human nature and actions; and provide our student audiences a glimpse of a broader world, and the wellspring of learning made possible through the arts. In this season, more than ever, these tenets hold an even more poignant significance as we return to in-person performances. We welcome you back to the Hanna this fall after our extended intermission with an enchanting production of The Tempest. This timeless tale of redemption brings back familiar faces and introduces new, all performing under the mesmerizing direction of Sara Bruner, GLT’s Associate Artistic Director. We are deeply grateful to John and Barbara Schubert for their generous support of our production of The Tempest. With so much to celebrate in this milestone anniversary season, we especially wish to honor those who supported us over the past season and a half as we weathered this unparalleled storm. As you read your program and look around the theater tonight, you will see the names of many friends, partners, corporations and foundations whose support makes all of this possible. We encourage you to join these donors by becoming a member of the Great Lakes Theater family with your gift. We extend our sincere gratitude to all of our sponsors and Annual Fund donors/members, as well as continued appreciation to our partners of 40 years at Playhouse Square; and the tireless efforts of our Board of Trustees, dedicated administrative staff, gifted artists and the tremendous generosity of this community. We cannot wait to see you in our audience throughout the year as we celebrate this extraordinary anniversary season!
Charles Fee Producing Artistic Director
Bob Taylor Executive Director
Celebrate our 60th anniversary season!
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Founded by educators and parents in 1962, Great Lakes Theater (GLT) has produced extraordinary productions of the world’s greatest plays and created acclaimed educational programming for NEO over the past six decades since – connecting more than 5M people to the classics. GLT educational programming alone has engaged over 1M students. Today, GLT impacts the lives of over 100K adults and students annually and delivers $6.9M+ worth of economic impact for our local economy. We are grateful to the countless stakeholders who have enabled these extraordinary achievements over the years. We look forward to the next sixty!
ABOUT GREAT LAKES THEATER
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he mission of Great Lakes Theater (GLT), through its mainstage productions and its education programs, is to bring the pleasure, power and relevance of classic theater to the widest possible audience. Since the company’s inception in 1962, programming has been rooted in Shakespeare, but GLT’s commitment to great plays spans the breadth of all cultures, forms of theater and time periods — including the 20th century — and provides for the occasional mounting of new works that complement the classical repertoire. Classic theater holds the capacity to illuminate truth and enduring values, celebrate and challenge human nature and actions, revel in eloquent language, preserve the traditions of diverse cultures and generate communal spirit. On its mainstage and through its education programs, GLT seeks to create visceral, immediate experiences for participants, asserting theater’s historic role as a vehicle for advancing the common good and helping people make joyful and meaningful connections between classic plays and their own lives.
The company’s commitment to classic theater is magnified in the educational programming surrounding its productions. Since its inception, GLT has had a strong presence in area schools, bringing students to the theater for matinee performances and sending specially trained actor-teachers to the schools for weeklong residencies developed to explore classic drama from a theatrical point of view. GLT is equally dedicated to enhancing the theater experience for adult audiences. To this end, GLT regularly serves as the catalyst for community events and programs in the arts and humanities that illuminate the plays on its stage. Great Lakes Theater is one of only a handful of American theaters that have stayed the course as a classic theater. As GLT celebrates over a decade in its permanent home at the Hanna Theatre, the company reaffirms its belief in the power of partnership, its determination to make this community a better place in which to live and its commitment to ensure the legacy of classic theater in Cleveland.
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Great Lakes Theater’s spring 2018 production of Beehive – The ’60s Musical (Photo by Roger Mastroianni)
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Cleveland’s Classic Company
at the Hanna Theatre, Playhouse Square
The Bard’s Final Glorious Gift to the Theater By William Shakespeare Directed by Sara Bruner
Oct. 15 - Nov. 7, 2021 | Hanna Theatre
Northeast Ohio’s Favorite Holiday Tradition By Charles Dickens Adapted and Directed By Gerald Freedman
Nov. 26 - Dec. 23, 2021 | Mimi Ohio Theatre
A Jazzy Musical Celebration of Fats Waller Conceived by Richard Maltby, Jr. and Murray Horwitz / Created and Originally Directed by Richard Maltby, Jr./ Original Choreography and Musical Staging by Arthur Faria / Musical Adaptations, Orchestrations & Arrangements by Luther Henderson / Vocal & Musical Concepts by Jeffrey Gutcheon Musical Arrangements by Jeffrey Gutcheon & William Elliott / Directed by Gerry McIntyre
Feb. 11 - Mar. 6, 2022 | Hanna Theatre
Shakespeare’s Sublime Battle of Wits and Wills By William Shakespeare Directed by Charles Fee
Mar. 25 - Apr. 10, 2022 | Hanna Theatre
The Marvelous Off-Broadway’s Effervescent ‘50s Jukebox Musical Written & Created by Roger Bean Directed & Choreographed by Jaclyn Miller
Apr. 29 - May 22, 2022 | Hanna Theatre
2021-22 season | SUBSCRIBE & SAVE BIG!
216.453.4458 | GreatLakesTheater.org
Hanna Theatre | Oct. 15 – Nov. 7, 2021
Charles Fee Producing Artistic Director
With generous support from:
John & Barbara Schubert
Presents
BY
WILLIAM SHAKESPEARE SARA BRUNER Company
Domonique Champion* Aled Davies* Jodi Dominick* Jillian Kates*
Jaime Nebeker Julian Remulla* David Anthony Smith* Nick Steen*
Lisa Tejero* Ángela Utrera* Joe Wegner* Jessika D. Williams*
GreatLakesTheater.org
DIRECTED BY
Associate Director Jaclyn Miller Scenic Designer Efren Delgadillo, Jr.
Costume Designer Helen Q. Huang
Lighting Designer Rick Martin
Sound Designer/Composer Matthew Webb
Shadow Advisor Chad Ethan Shohet
Production Stage Manager Nicki Cathro*
Assistant Stage Manager Rachel Kaufman*
*Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States Great Lakes Theater student subscriptions are subsidized by a generous gift from Eaton. There will be one fifteen-minute intermission. The videotaping or other video or audio recording of this production is strictly prohibited.
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at Playhouse Square
CAST OF CHARACTERS
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Miranda, daughter to Prospero...................................................................Ángela Utrera* Prospero, the right Duke of Milan..................................................................Aled Davies* Ariel, a spirit................................................................................................ Joe Wegner* Alonso, Queen of Naples....................................................................Jessika D. Williams* Antonio, Prospero’s brother, the usurping Duke of Milan...................David Anthony Smith* Gonzalo, an honest councilor......................................................................... Lisa Tejero* Sebastian, Alonso’s brother......................................................................Julian Remulla* Adrian......................................................................................................Jaime Nebeker Caliban, a monster........................................................................................Nick Steen* Ferdinand, son to the Queen of Naples.......................................... Domonique Champion* Trinculo................................................................................................... Jodi Dominick* Stephano....................................................................................................Jillian Kates* Iris...................................................................................................Jessika D. Williams* Ceres............................................................................................................ Lisa Tejero* Juno....................................................................................................... Jaime Nebeker† Ensemble.................Domonique Champion*, Aled Davies*, Jodi Dominick*, Jillian Kates*, Jaime Nebeker†, Julian Remulla*, David Anthony Smith*, Nick Steen*, Lisa Tejero*, Ángela Utrera*, Joe Wegner*, Jessika D. Williams* * Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States †Movement Captain
spotlight an insider’s guide to
Generous support for Spotlight was provided by
Donald F. and Anne T. Palmer Design by:
Stacy Mallardi-StajcaR, Casual Images Graphic Design
From the Director Sara Bruner
“When I let go of what I am, I become what I might be. When I let go of what I have, I receive what I need.” –Tao Te Ching
Spotlight on the tempest
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here is no harmony on the island. Prospero is haunted by his past, pouring himself into his books and manipulating the elements with the help of his “subjects.” Miranda is coming of age and has no other human to interact with, save her father. Ariel longs for freedom and Caliban considers himself the rightful heir of the isle. These four are stranded and isolated with only one another, their pasts, and their desires to reckon with. Prospero has no choice but to create the shipwreck that will wash the “brave new world” of figures from his past ashore. This play presents a community that needs healing. Can the individuals of the play find harmony, and if so, at what cost?
Synopsis Queen Alonso of Naples and her entourage sail home for Italy after attending her daughter Claribel’s wedding in Tunis, Africa. They encounter a violent tempest. As their ship splits, everyone jumps overboard. The Queen and her party are washed ashore on a strange island inhabited by the magician Prospero, who has deliberately conjured up the storm. Prospero is, in fact, the rightful Duke of Milan. Twelve years previously, his brother, Antonio, conspired to seize the dukedom. Prospero’s sole friend at court, Gonzalo, provided supplies, including some treasured books, for his enforced flight. Prospero’s spirit and right hand, Ariel, assures him the ship is intact, its crew and passengers safe, with Ferdinand, Alonso’s son and heir, separated from the others. The prince is brought to Miranda, Prospero’s daughter, and they fall in love. Prospero must act quickly to take full advantage of his favorable circumstances. He enforces hard labor on Ferdinand to test him, and, with Ariel’s help, spell-binds the court into deep slumber. But, Antonio and Alonso’s brother, Sebastian, do not succumb and they plot to murder the sleeping Queen and Gonzalo. Ariel foils their plan at the last moment. Meanwhile, two
other drunken survivors, Trinculo and Stephano, fall in with Caliban, who lived alone on the island before Prospero and Miranda’s arrival. Caliban believes he is the island’s rightful ruler, having inherited it from his mother, the witch Sycorax. He offers to make Stephano his queen, if Stephano will kill Prospero. Prospero presents Alonso and her guilty courtiers with a banquet of delights which turns terrifying with the arrival of Ariel in the form of a vengeful harpy. Prospero rewards the constancy of the lovers with a celebratory betrothal performance. At its climax, suddenly recalling Caliban’s conspiracy, he transforms the spirit-actors into dogs who hound the miscreants. The sense of danger narrowly averted and the power of human compassion evoked by Ariel prompt Prospero to renounce his magic. He brings everyone together, thanks Gonzalo for her fidelity, and confronts the group. Ferdinand is reunited with his grateful mother, who breaks the pact with Antonio and obliges him to restore the dukedom to Prospero. Caliban regrets his misplaced confidence in Stephano. As everyone prepares to return to Italy, Ariel is given his freedom and Caliban regains the island.
Playnotes: The Tempest
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t’s January 1613 in London, England. The marriage contract has just been finalized between Elizabeth, oldest daughter of King James I of England and VI of Scotland, and Frederick, the Elector Palatine of the Rhine and future King of Bohemia. The couple is to be married on Sunday, February 14. The elaborate celebrations will include a mock sea battle on the Thames River, a tilting tournament, a fireworks display depicting a queen’s rescue from a dragon, masques devised by “top-shelf” writers and composers—and The Tempest, a play by William Shakespeare. Shakespeare’s The Tempest had been presented at the Court of King James once before, on November 1, 1611. Its first iteration was already brimming with music and dance. But many commentators think that more was added in 1613 to please the King’s wife, Anne of Denmark. The Queen was a huge fan and patron of “the masque”—a form of courtly entertainment incorporating music, dance, poetry, elaborate costumes and settings, and mythological characters. Though the entertainments devised for the royal wedding were particularly extravagant, they displayed the artifice, spectacle, and whimsy that James and his court had come to expect in all their diversions. The Tempest appealed to their tastes.
Sketch of Elizabeth Stuart in 1613, on the eve of her marriage to Frederick, Count Palatine of the Rhine
It was on the strength of histories, tragedies and traditional comedies that Shakespeare had become a leading member of one of London’s most successful theater companies. The company emerged—in step with Shakespeare’s work—in
Spotlight on the tempest
View of Whitehall Palace, where The Tempest was performed in 1613, as seen in an engraving ca. 1647
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Spotlight on the tempest
Playnotes (continued)
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the 1590s, performing under the name and patronage of Henry Carey, Queen Elizabeth’s Lord Chamberlain. The company had acquired the resources to build a new outdoor theater, The Globe, in 1599. The Lord Chamberlain’s Men navigated the uncertainty surrounding Queen Elizabeth’s death and the succession of James I in 1603 and were quickly chosen to bear the name and associated patronage of “The King’s Men.” They were able to renovate an indoor theater space in the Blackfriars district in about 1608 and began performing there during the winter months. Seating in the Blackfriars Theatre was limited, and higher ticket prices drew a higher status audience. While Shakespeare’s company Conjectural reconstruction (ca. 1921) of the interior of Blackfriars continued to perform to all-com- Theatre, the “indoors” home of The King’s Men ers at the Globe Theatre during the “Enter ARIEL, like a harpy; claps his wings upon summer months, royal patronage and the deep-pocketed Blackfriars patrons seem the table; and, with a quaint device, the banquet to have driven a shift in taste. The plays that vanishes.” Such feats as vanishing banquets were Shakespeare wrote between about 1607 and typical of entertainments devised for King James. 1611—Pericles, Prince of Tyre, The Winter’s Tale, One of the masques presented at the royal wedCymbeline, and The Tempest—were all in the ding in 1613 featured moving clouds designed newly popular “romance” style, influenced by the and built by architect Inigo Jones. While Shakespeare tried to adapt to the new court masque and marked by exotic settings, wondrous events, and a startling mix of tragedy trends, it’s not clear that he wholly embraced them. Many of his contemporaries did. George Chapman, and comedy. The Tempest is set on a remote island, peopled who had translated Homer and wrote topical satby spirits and ruled by a magician—the kind of ires, was commissioned to write a masque for the setting and characters that figured frequently in 1613 wedding, as was Francis Beaumont, who, with court entertainments. One of the court’s favored John Fletcher, was rising in popularity with the masque composers and lutenists, Robert Johnson, Blackfriars crowd. Ben Jonson, another “serious” created musical settings for at least two of the contemporary, gave up writing plays for the public songs in the script. The text of The Tempest—as theatres for more than a decade to develop masques printed in the First Folio edition of Shakespeare’s for the court of King James. By contrast, Shakespeare doesn’t seem to have works in 1623—contains an unusual number of sought masque commissions. And his plays in the stage directions for elaborate props and settings. The directions at the beginning of Act 3, Scene 3, romance genre include some of his least perspecify: “Enter PROSPERO above, invisible. Enter formed. The Bloomsbury writer Lytton Strachey several strange Shapes, bringing in a banquet; once joked that by the time the playwright prothey dance about it with gentle actions of saluta- duced Cymbeline, he “was getting bored himself.” tion; and, inviting the King, & c. to eat, they We’ll never know his actual take on the emerging depart.” Another notation follows, mid-scene: trends. But what is known is that the playwright
seems to have begun, in those last years, to work more frequently with younger collaborators. Individual, original authorship was not as strong and stable a concept in Shakespeare’s day as it is in ours. Earlier in his career, Shakespeare often reworked older plays. Meeting the constant demand for new work, writers in those days often operated more interchangeably—as the writing team for a television series does today. Many commentators have dubbed The Tempest “Shakespeare’s Farewell to Theater.” The sense has been conveyed that Shakespeare left London immediately after writing the play, in late 1610 or early 1611, to retire to his home in Stratford-on-Avon, where he died in 1616. However, scholars now agree that Shakespeare probably collaborated with the younger John Fletcher on two or three plays—Henry VIII, The Two Noble Kinsmen, and the lost Cardenio— between 1612 and 1614. Shakespeare may have worked with other writers on Pericles, Prince of Tyre, and Cymbeline. And in 1613, Shakespeare became part-owner of a house in the Blackfriars district, even as he was securing property in
Spotlight on the tempest
Portrait of Inigo Jones
Stratford. Perhaps Shakespeare’s “stepping back” was not as definitive as the farewell to magic delivered in the play by his character Prospero. While critical reception has not been kind to some of the late romance plays, The Tempest represents Shakespeare operating at full strength. Unlike his more typical practice, Shakespeare does not seem to have relied on a specific source for its plot. As is customary in Shakespeare’s work, topical references to the news and ideas of the day abound. In the character Gonzalo’s description of an ideal state in The Tempest, there are echoes of observations about the New World contained in an essay by French humanist Michel De Montaigne, which was translated into English in 1603. Most scholars agree that the play’s setting and plot were in part inspired by news of an Atlantic shipwreck. In July 1609, a supply ship that was headed for the recently established English colony of Jamestown in Virginia ran aground during a storm in Bermuda. News of the shipwreck began to reach England in about September 1610, followed by news of early encounters between English settlers and Native people. An older contemporary of Shakespeare’s, a mathematician named John Dee, had championed English exploration of the “New World” by advancing tools for navigation. Dee was also a mystical humanist, occultist, astrologer and alchemist who envisioned the creation of a farflung British Empire founded on naval power and of a united world religion that would heal the split between the Catholic and Anglican Churches. Several observers have seen in John Dee’s learning and vaulting intellectual ambition a prototype for Shakespeare’s Prospero. But The Tempest transcends any topical source material. The story touches with profound and aching heart on many themes that Shakespeare examined from different angles throughout his writing career—the consequences of irrational jealousy and a deforming desire for revenge and the journey of daughters establishing themselves independently from their fathers and making their own choices in life and love.
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The Tempest
Through the Ages
Spotlight on the tempest
The Tempest encompasses a multitude of themes, experiences—music and dance, magic, thoughts about governance and kingship, a relationship between a father and a daughter, and young lovers. Throughout the years, theater practitioners have focused on aspects of Shakespeare’s play and settings that suited their own times and purposes.
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The Tempest was “revived” after the theaters were allowed to reopen when King Charles II was restored to the English throne in 1660. It may have seemed safe in those dangerous times to avoid questions of kingship and focus on the play’s love story and its comic subplot. After the Restoration, when women were allowed on stage, the theater-reopening duo of Sir William Davenant and poet John Dryden added another pair of lovers to The Tempest, inventing sisters for Miranda and Caliban. Displaying the free hand that they used on many of Shakespeare’s plays, Davenant and Dryden used less than a third of Shakespeare’s own text. Davenant and Dryden led the way in “reshaping” the texts of Shakespeare’s plays in the 17th and 18th centuries. Editor Nicholas Rowe also based his 1709 edition of Shakespeare’s works on altered texts. The play was never entirely robbed of its majesty, however. Rowe demonstrated the play’s power in his choice of illustration for its opening storm. The musicality of The Tempest inspired Thomas Shadwell to develop an operatic treatment of Davenant and Dryden’s adaptation in 1674. Shadwell’s opera was popular enough to inspire a farcical parody that included a riot in a brothel and was titled The Mock Tempest, or The Enchanted Castle. 19th-century theater managers gradually reintroduced more of Shakespeare’s own text. And in a development recalling the elaborate scenic traditions of the court masque, they also invested more heavily in stage machinery and spectacle. Not unexpectedly, spectacle was a prominent feature of most 19th century productions of The Tempest. Charles Kean had Ariel descending on a fireball and himself
Illustration for The Tempest included in Nicholas Rowe’s 1709 edition of the play
Engraving of the final scene of Charles Kean’s 1857 production of The Tempest at the Princess’s Theatre in London
James Earl Jones as Caliban, in an undated photo by Friedman-Abeles Photographers
as Prospero speaking from the deck of a massive sailing ship. Kean employed 140 stagehands to execute such effects in a production that lasted five hours. As the 19th century progressed, interest grew in the character of Caliban as a noble savage and rebellious anti-hero—along the lines of the darkly charismatic heroes of the poet Lord Byron. Such actor-managers as Herbert Beerbohm Tree preferred to play Caliban rather than Prospero. In 1956, French psychoanalyst Octave Mannoni published a provocative treatise entitled Prospero and Caliban: The Psychology of Colonization, prompting “post-colonial” explorations of the relationship in the play between oppressor and oppressed. In the 1960s, such prominent black actors as Earle Hyman and James Earl Jones took on the pain and rage of Caliban. Rather than focus on revisiting Emily Taaffe as Miranda in the 2012 production directed by David the horrors of oppression on Farr for the Royal Shakespeare Company their own actors, many contemporary directors have chosen to plumb the play’s psychological depths. For instance, in 2012, the Royal Shakespeare Company produced The Tempest with Twelfth Night and The Comedy of Errors, under the title What Country Friends Is This? A Shipwreck Trilogy, promising exploration of love, loss and reunion.
Spotlight on the tempest
A charcoal drawing of English actor-manager Herbert Beerbohm Tree as Caliban in a 1904 production of Shakespeare’s The Tempest
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Spotlight on the tempest
From page to stage
The work of international installation artist Christo and his wife and long-time collaborator Jeanne Claude were an inspiration for the production team of The Tempest. Illustrated here is one of their early works, Valley Curtain, which was hung across Rifle Gap in Colorado in 1972.
Scenic designer Efren Delgadillo, Jr. “inverted” or created color negatives of research images, in this case a photo showing a detail of Christo’s 19681969 “Wrapped Coast” project along the 1.5 mile, cliff-lined “Little Bay,” south of Sydney, Australia.
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ara Bruner has been working on The Tempest on and off for her entire adult life. It was the first show she acted in professionally when she joined the Idaho Shakespeare Festival company 1996. She has played both Miranda and Ariel, and now, in 2021, she is directing the play in a co-production for both of her longtime “home” companies. Whatever thoughts Bruner might have had about the play—when it was first announced for Great Lakes Theater’s 2020-2021 season—were redirected after the production was canceled. Her thinking was completely reshaped as the country—and world—sunk deeper and deeper into the isolation enforced by the onslaught of the coronavirus pandemic. Bruner saw parallels in The Tempest to a world emerging from the isolation of COVID. In The Tempest, a sudden storm brings Prospero a chance to escape from a leadership crisis of his own making—as his beloved daughter, trusted spirit-servant, and the island native he’s stripped of land and language are all in rebellion. Prospero’s daughter Miranda now has a chance to decide what kind of “Brave New World” she wants to live in and what kinds of relationships she wants to build. Casting was an essential building block for the production that Bruner began to envision. Although Bruner had played the role of Ariel herself, she decided to cast white men to play Prospero, Ariel, and Caliban, giving the island
A three-dimensional model begins to convey how the scenic elements fit together.
what she calls “a masculine energy.” By contrast, the people who land on the island and explode Miranda’s world are diverse in gender and race. Bruner wanted the people “who exist in this new world” to represent “who we are in America, as a society, as a theater company.” (Bruner recently joined Great Lakes Theater’s Management Team as Associate Artistic Director and is a passionate proponent of bringing that breadth of representation to every aspect of the theater’s operations onstage and off.) In this “Brave New World” of upended gender stereotypes, women can play a king, a faithful counselor, or even the two drunken sailor-clowns, Stephano and Trinculo. “When two women make Caliban their private pet or when it’s a closet of clothing that waylays them, things drop in differently,” laughs Bruner. A play that abounds in music and dance is a
Research and rendering images for the clothing worn by one of the “clown” characters, Trinculo (left) and Ariel (right)
until colors, textures, or shapes resonate. When Delgadillo created “negative” images of several key color photographs of installation art, the production team felt that he had “found” the “midnight blue” that the color palette for the island is based on. The parachute fabric that he called for could be used to evoke the storm in one instance, supernatural harpies in another. It could convey the monumental scale of ocean and island as well as create enclosed spaces for intimate encounters. And the switch from one scale to the other could be accomplished almost instantaneously. Bruner called for a similar lightness and fluidity in the clothing that costume designer Helen Q. Huang fashioned. In addition, Huang used color in a way that reinforces the contrasting worlds created by Bruner’s casting choices. The clothing for the people on the island hovers within a blue range, but the people who land on the island bring an explosion of color. Asymmetric lines introduce a contemporary flair while detailing on the clothing can evoke Renaissance stylistic elements, reminding us that Shakespeare can speak to us now.
Spotlight on the tempest
pleasurable fit for a theater company that produces musical theater and boasts a wealth of musical talent. The incantations of the masque-like scenes can be sung readily in three-part harmony, for instance. Bruner worked with sound designer Matt Webb and Joel Wegner, the actor who plays Ariel, to develop vocalizations that would define the sonic world of the island—whether through “high tech” distortions or echoes or having Ariel sing lines that are usually spoken. Bruner and scenic designer Efren Delgadillo, Jr. also employed a low-tech approach to creating the scenic world of the play. The play’s production history is rife with elaborate and heavily built scenic designs. But the legacy of its masque origins also calls for quick changes and the need to support movement of all kinds. Bruner and Delgadillo agreed to rely on platforms and dyed parachute fabric. Inspired by the artist Christo’s “wrappings”—of everything from landmark structures to common objects—the fabric provided what Bruner calls “a soft goods toolbox.” “My job,” says designer Delgadillo, “is to translate the director’s excitement into visuals.” Delgadillo assembles images—in this case, of work by Christo and another installation artist, Ann Hamilton—then begins to manipulate them
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THE ARTISTIC COMPANY Actors
at Playhouse Square
Lynn Robert Berg* Understudy for Prospero/ Antonio/Caliban Twenty seasons with Great Lakes Theater Great Lakes Theater: Brutus, (Julius Caesar), the title roles of Macbeth and Richard III, Charlie Cowell (Music Man), The Ghost and Player King (Hamlet), Zoltan Karpathy (My Fair Lady), Gremio (Taming of the Shrew), Malvolio (Twelfth Night) and Frank Ford (Merry Wives of Windsor). Other credits: Don Armado (Love’s Labor’s Lost), Watson (Hound of the Baskervilles) and Complete Works of William Shakespeare Abridged at Lake Tahoe Shakespeare Festival; Hucklebee (The Fantasticks), Mayhew (Witness for the Prosecution), Friar Laurence (Romeo and Juliet), Jonas Fogg (Sweeney Todd) and Polixenes (The Winter’s Tale) at Idaho Shakespeare Festival. MFA from the University of Delaware Professional Theater Training Program. SLL’M Domonique Champion* Ferdinand/Ensemble Great Lakes Theater debut season
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Recent credits: Montana Shakespeare in the Parks: Prince Hal in Henry the Fourth, Part One, Master Page in The Merry Wives of Windsor; Texas Shakespeare Festival: Borachio in Much Ado About Nothing, Bellerose/Cadet 3 in Cyrano de Bergerac, Brakenbury in Richard III; First Stage - Milwaukee: Robin Hood in Robin Hood; Shakespeare Walla Walla: Prince of Morocco/Salanio in Merchant of Venice; Thunderclap Productions: Gregory in From White Plains; Catastrophic Theatre Company: Reverend Benson, Writer 3, Stepdad, Larry, Old Granny in BootyCandy; Black Lab Theatre Co.: Johnson in Really Really. Training: University of Houston School of Theatre and Dance, BFA in Acting (’14).
Aled Davies* Prospero ✶ /Ensemble Twenty-one seasons with Great Lakes Theater Mr. Fezziwig/Ensemble in A Christmas Carol, Cicero/ Lepidus in Julius Caesar, Sir Wilfrid Robarts QC in Witness for the Prosecution, Seyton the Porter in Macbeth, Marcellus/The Gravedigger in Hamlet, Colonel Pickering in My Fair Lady, The Old Actor in The Fantasticks, Scrooge/Samuels in A Christmas Carol, King Lear in King Lear, John Falstaff in The Merry Wives of Windsor, Oberon/ Theseus in A Midsummer Night’s Dream, Your Chairman in The Mystery of Edwin Drood, Dorn in The Seagull, Deputy Governor Danforth in The Crucible, Prospero in The Tempest, Lady Bracknell in The Importance of Being Earnest. A proud and appreciative member of Actors’ Equity since 1984. GO BROWNS! | ✶ Paul & Heather Blonsky Jodi Dominick* Trinculo/Ensemble Thirteen seasons with Great Lakes Theater Previous shows include Witness for the Prosecution, The Music Man, Mama Mia!, Julius Caesar, Wait Until Dark, Les Misérables, The Merry Wives of Windsor, Sweeney Todd, The Mousetrap, Cabaret, Into the Woods, Twelfth Night, An Ideal Husband, The Imaginary Invalid, My Fair Lady, A Midsummer Night’s Dream, The Hunchback of Notre Dame and Richard III. Eleven seasons at The Idaho Shakespeare Festival, GLT’s sister company. Other theaters: New World Stages, Hudson Backstage Theater, The Beck Center, The Repertory Theatre of St. Louis, The Hayworth Theatre, Dobama Theatre and Cincinnati Playhouse in the Park. Jodi is a graduate of Baldwin Wallace University Conservatory of Music. ✶ Thank you to our Character Sponsors for their generous support of the Great Lakes Theater artistic company.
Jillian Kates* Stephano/Ensemble Eight seasons with Great Lakes Theater Select previous roles include Marian in The Music Man, Portia in Julius Caesar, Donna in Mamma Mia, Jane in Pride and Prejudice, Titania in A Midsummer Night’s Dream, Eliza Doolittle in My Fair Lady, and Texas/Sally US in Cabaret. She also appeared in the Ensemble of the Broadway National Tour of Wicked and covered the roles of Glinda and Nessarose. She is a proud graduate of Baldwin Wallace Conservatory of Music, and is Oklahoma-raised and Brooklyn-based. So much love to the insanely talented creative team, cast, crew and office staff members who make up this magical place. You are the rainbow after the storm!
Jaime lives and works in Boise, Idaho, as an actor, director, puppeteer, fight choreographer and movement director. Jaime is the Managing Director and associate artist with HomeGrown Theatre, and has worked with many other Boise theater companies, including Idaho Shakespeare Festival, Boise Contemporary Theater, Alley Repertory Theater and Boise Bard Players. Jaime is fortunate to be working in a time where the future is female. Directors like Sara Bruner, who choose to create models of possibility in the world, have given Jaime the opportunity to speak the speech of both Hamlet and Caesar for ISF’s educational program, Shakespearience. Julian Remulla* Sebastian/Ensemble Two seasons with Great Lakes Theater Other theaters: The Tragedy of Julius Caesar, Theatre for a New Audience; Romeo and Juliet, The Way the Mountain Moved, Julius Caesar, Beauty and the Beast, Shakespeare in Love, Hamlet,
David Anthony Smith* Antonio/Ensemble Nineteen seasons with Great Lakes Theater At GLT: Andrew Wyke in Sleuth, Benedick in Much Ado About Nothing, Iago in Othello, Sergius in Arms and the Man, Bottom in A Midsummer Night’s Dream. Twenty seasons with The Idaho Shakespeare Festival (title role in Henry V). Other theaters: The Old Globe, Laguna Playhouse, South Coast Rep, and the Shakespeare festivals of Utah, Colorado, Rhode Island, Nevada and Lake Tahoe. In addition to numerous television appearances, David has starred in four feature films: The Hanoi Hilton, Terror in Paradise, Field of Fire and Judgement Day. Nick Steen* Caliban/Ensemble Nine seasons with Great Lakes Theater Nick is immensely grateful to be returning to the stage for his ninth season with Great Lakes Theater. Previous roles with the company include Mark Antony in Julius Caesar, Mr. Darcy in Pride and Prejudice, Macduff in Macbeth, Mike Talman in Wait Until Dark, Bob Cratchit in A Christmas Carol and Clifford in Deathtrap. Nick holds a Bachelor of Fine Arts degree from the University of Evansville, and a Master of Fine Arts degree from the American Conservatory Theater. He’s also a voice actor whose work can be heard on Hulu, and Spotify. Nick is a member of the Actors’ Equity Association. He has endless gratitude for his family and for his love, Nicki. <4 you, my gorgeous fish! NickSteen.com
GreatLakesTheater.org
Jaime Nebeker Adrian/Juno/Ensemble Great Lakes Theater debut season
The Winter’s Tale, Timon of Athens, Oregon Shakespeare Festival; Appoggiatura, Denver Center Theatre Company.
Lisa Tejero* Gonzalo/Ceres/Ensemble Great Lakes Theater debut season Lisa Tejero was last seen in an all-female production of
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Cymbeline at American Players Theatre. She was also in Bring down the House at OSF. Broadway credit: Metamorphoses at Circle in the Square. Lisa is an artistic associate of Lookingglass where she has appeared in numerous productions. In Chicago, she has appeared in Journey to the West, Mirror of the Invisible World, The Odyssey and The White Snake (Goodman); King Lear (BackRoom Shakespeare); Kafka on the Shore (Steppenwolf); The Importance of being Earnest (Iowa Repertory Theatre); Macbeth (Oak Park Festival). She received a Jeff award nomination for her portrayal of Vivian Bearing in The Hypocrite’s production of Wit. Ángela Utrera* Miranda Great Lakes Theater debut season Angela is delighted to be making her debut with Great Lakes Theater! Originally from Asturias, Spain, she earned her Acting/Directing BFA from Sam Houston State University, where she played roles that included Elizabeth Bennet in Pride and Prejudice, Anne Frank in The Diary of Anne Frank and Witch No. 6 in A MacBeth. She would like to thank her family and friends for supporting her during a global pandemic, as well as her former acting professor Kevin Crouch for pointing her toward this great opportunity. Joe Wegner* Ariel/Ensemble Two seasons with Great Lakes Theater
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Previously at Great Lakes Theater: Grumio in The Taming of the Shrew. Joe was most recently seen in the off-Broadway production of Judgment Day at the Park Avenue Armory, starring Emmy award winner Luke Kirby. Regional theater: Archduke (world premiere) (Center Theater Group), Guys and Dolls, A Wrinkle in Time (world premiere), A Midsummer Night’s Dream, The Taming of the Shrew, Very Merry Wives of Winsor Iowa, Secret Love in Peach Blossom Land, Romeo and Juliet (Oregon Shakespeare Festival), Guys and Dolls (Wallis Annenberg Center),
The School for Lies (Arkansas Repertory Theatre), In the Blood (Mixed Blood Theatre). TV/Film: Tales of the City (Netflix). Education: BFA, Southern Oregon University. joewegner.net Jessika D. Williams* Alonso/Iris/Ensemble Two seasons with Great Lakes Theater Jessika has performed over 40 roles in more than half of Shakespeare’s canon. They include Othello (Othello), Benedick (Much Ado About Nothing), Jaques (AYLI), Gertrude (Hamlet), Queen Margaret (Richard III), Morocco, (Merchant of Venice), Goneril (King Lear), Viola (Twelfth Night), Rumor, Archbishop and Poins (Henry IV parts I and II,) Eleanor (Henry VI part 2 )(American Shakespeare Center). Rosalind (As You Like It ) (California Shakespeare Theater); Rosaline, (Love’s Labour’s Lost )(Shakespeare Forum); The Bacchae (The National Theater of Scotland); St Monica (The Last Days of Judas Iscariot) (Almeida Theater, London); Faith (Wig Out) (Royal Court); Anita (Dr. Who) (BBC UK).
Understudies Lynn
Robert
Berg*,
Colette
Caspari,
Mateus Cordosa, Mark Doyle, Bobbie Hart, Syd Krauth, Retta Laumann, Daniel Lindstrom, Victoria Lurz, Chad Ethan Shohet, Mia Soriano, Kinza Surani, Rodrigo Torrejon
Directors Sara Bruner Director Sixteen seasons with Great Lakes Theater Directing: Oregon Shakespeare Festival: Alice in Wonderland, Repertory Theatre of St. Louis: The Cake, Arizona Theatre Company: Cabaret, Great Lakes Theater: Julius Caesar, The Taming of the Shrew, A Christmas Carol (four years); Idaho Shakespeare Festival: Julius Caesar, The Taming of the Shrew. She has directed/ adapted educational tours of Macbeth, Romeo and Juliet, Othello, Much Ado About Nothing, A Midsummer Night’s Dream,
Julius Caesar, Twelfth Night and The Taming of the Shrew. Other theaters: Lake Tahoe Shakespeare Festival, Baltimore Center Stage, Drop Dance Collective, Baldwin Wallace University. Acting: Arena Stage, Berkeley Rep: Norma McCorvey in ROE (world premiere), Oregon Shakespeare Festival: Mercutio in Romeo and Juliet, Viola and Sebastian in Twelfth Night, Sue Trinder in Fingersmith (world premiere), LeFou in Disney’s Beauty and the Beast, Charles Wallace in A Wrinkle in Time (world premiere). She’s been a company member at Great Lakes Theater for 10 years, Idaho Shakespeare Festival for 19 years and Oregon Shakespeare Festival for five years. Education: Executive MBA, Boise State, with expected graduation in 2022. Awards: 2018 Princess Grace Award for directing.
Directing credits at GLT: Sleuth, Witness for the Prosecution, A Christmas Carol, Misery, Macbeth, Hamlet, And Then There Were
GreatLakesTheater.org
Charles Fee Producing Artistic Director Twenty seasons with Great Lakes Theater
None, Dial “M” for Murder, Deathtrap, Blithe Spirit, Romeo and Juliet, The Two Gentlemen of Verona, A Midsummer Night’s Dream, Twelfth Night, The Comedy of Errors, Macbeth, All’s Well That Ends Well, Hay Fever, The Importance of Being Earnest, Arms and the Man and The Complete Works of William Shakespeare (abridged). Charles holds a unique position in the American theater as producing artistic director of three independently operated, professional theater companies: Great Lakes Theater in Cleveland, Ohio (since 2002); Idaho Shakespeare Festival in Boise, Idaho (since 1991) and Lake Tahoe Shakespeare Festival in Incline Village, Nevada (since 2010). His appointments have resulted in a dynamic and groundbreaking producing model for the companies, in which more than 60 plays have been shared since 2002. In 2009, Charles was honored to receive recognition for his leadership by the Cleveland Arts Prize as a recipient of the Martha Joseph Award. Other awards include The Mayor’s and Governor’s Awards for Excellence in the Arts, Idaho. From 1988 to 1992, he held the
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position of artistic director at the Sierra Repertory Theatre in California. He has also worked with The Old Globe, La Jolla Playhouse, the Milwaukee and Missouri repertory theaters, Actor’s Theatre of Phoenix and the Los Angeles Shakespeare Festival. In addition to his work with the companies in Ohio, Idaho and Nevada, Charles is active within the community. He has served as a member of the strategic planning committee for the Morrison Center, as producer of the FUNDSY Award Gala (’96, ’98 and 2000), and as producer of the 1996 Idaho Governor’s Awards in the Arts. Charles has served on the board of the Boise Metro Chamber of Commerce and as a member of the Downtown Rotary Club. He received his BA from the University of the Pacific and Master of Fine Arts from the University of California, San Diego. Along with his wife, Lidia and daughter, Alexa, Charles resides in Boise, Cleveland and Lake Tahoe — a feat that is only possible because of the incredible love and support of his family, and the generous communities he serves!
Helen Q. Huang Costume Designer Great Lakes Theater debut season
Artistic Staff and Designers
Rick Martin Lighting Designer Nineteen seasons with Great Lakes Theater
Efren Delgadillo, Jr. Scenic Designer Great Lakes Theater debut season New York: The Three Musketeers (The Acting Company); Mycenaean (BAM, Brooklyn Academy of Music); Notable regional theater productions include American Mariachi (South Coast Rep. and Arizona Theatre Company); Romeo and Juliet (Oregon Shakespeare Company); BLKS (Woolly Mammoth); Bordertown Now (Pasadena Playhouse); Smart People and Indecent (Denver Center for the Performing Arts); Othello (Hartford Stage); Mojada: A Medea in Los Angeles (The Getty Villa/Boston Court); Prometheus Bound (The Getty Villa/ Center for New Performance). MFA: California Institute of the Arts. BFA in Studio Arts from University of California, Irvine. Efren is an assistant professor of Scenic Design at UC Irvine. efrendelgadillojr.com
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Design credits: Off-Broadway: Classic Stage Company. Regional: Oregon Shakespeare Festival, Guthrie Theater, Children’s Theatre Company, Repertory Theatre of St Louis, Seattle Repertory Theatre, Syracuse Stage, PlayMakers Repertory Company, Milwaukee Repertory Theater, Philadelphia Theatre Company, George Street Playhouse, Utah Shakespeare Festival, Arena Stage, Ford’s Theatre, Studio Theatre, The Roundhouse Theatre Company, Woolly Mammoth Theatre Company, Shakespeare Theatre Company, Folger Theatre, Signature Theatre Company, Disney Entertainment. Ballet: The Washington Ballet. Opera: Boston Lyric Opera International: Set and costume design for National Opera House of China and the Central Television of China. Awards: Helen Hayes Award and Ivey Award Teaching: Professor of MFA Costume Design Program, University of Maryland, College Park. helenqhuang.com
Many productions with GLT, including Julius Caesar, Romeo and Juliet and Hamlet. Opera: Le nozze di Figaro, Don Giovanni, Così fan tutte (La Monnaie, Brussels – scenery), Mitridate, Re di Ponto (La Monnaie, Brussels – scenery and lighting), Le Diable dans le beffroi, La Chute de la Maison Usher (Opéra national de Paris – scenery and lighting) and BUTTERFLY – d’après Madama Butterfly de Puccini (Opera de Limoges and Opera de Rouen, France – lighting). Concerts: Harawi (Opèra Comique, Paris – scenery and lighting), Le martyre de Saint Sèbastien (Citè de la Musique, Paris). Coming up: Rusalka (Avignon, Marseilles and Nice, France – lighting) Member: United Scenic Artists, Local USA 829, IATSE.
Jaclyn Miller Associate Director Five seasons with Great Lakes Theater Choreography/Movement credit for GLT: Music Man, Julius Caesar, Mamma Mia!, The Taming of the Shrew, Pride and Prejudice, The Hunchback of Notre Dame. Regional: Oregon Shakespeare Festival: Hairspray, Alice in Wonderland, Book of Will, Shakespeare in Love, Twelfth Night, Yeoman of Guard, Fingersmith (world premiere), The Cocoanuts, My Fair Lady; South Coast Rep: She Loves Me; Arizona Theatre Company: Cabaret; Guthrie Theatre: The Cocoanuts; Baltimore Center Stage: Fun Home. Additionally, Jaclyn has worked as an associate director and/or choreographer around the country, including at Arena Stage, Kirk Douglas Theatre, Ogunquit Playhouse, Portland Opera, Berkshire Theatre Festival and Lyric Theatre of Oklahoma.
Chad is an explorer of poking the theatrical bear, who is primarily a director, playwright,
Matthew Webb Sound Designer/Composer Sixteen seasons with Great Lakes Theater Matthew is music director for music theater at Baldwin Wallace University and is unbelievably thrilled for the return of live theater!! Previous GLT sound designs: Julius Caesar, Taming of the Shrew, Macbeth,
Cleveland’s Classic Company
GreatLakesTheater.org
Chad Ethan Shohet Shadow Advisor Great Lakes Theater debut season
actor and puppeteer. Chad has been a professional theater artist based in Boise for 15 years, where he’s been seen onstage at Boise Contemporary Theater, HomeGrown Theatre and Idaho Shakespeare Festival’s education tours. Favorite roles include Lungs (HGT), Marcellus/Ghost/Osric in Hamlet, Silvius in As You Like It and Demetrius in A Midsummer Night’s Dream (ISF). Shadowplays include Clara Umbra, Oppy and Alligator (HGT) and Carnival of Animals (Boise Philharmonic). Chad was a 2018 and 2019 Resident Company Member at the National Puppetry Conference at the Eugene O’Neill Theatre Center and has served as the Artistic Director of HomeGrown Theatre and the Horrific Puppet Affair for eight seasons.
Northeast Ohio’s Favorite Holiday Tradition By Charles Dickens Adapted and Directed By Gerald Freedman
Nov. 26 - Dec. 23, 2021 Mimi Ohio Theatre, Playhouse Square TICKETS START AT $35!
• STUDENTS SIT IN ANY SEAT FOR $30!
216.241.6000 | GreatLakesTheater.org
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Hamlet and several Shakespearience tours. Music director: Music Man, Mamma Mia, The Fantasticks, Sweeney Todd, Cabaret, Bat Boy, The Mystery of Edwin Drood and Two Gentlemen of Verona. Elsewhere: Kinky Boots (Baldwin Wallace University), LIZZIE (Playhouse Square), Once (Beck Center), Hair (Cain Park and Kent State). Many thanks to Sara, Charlie, and his incredible parents, Carol and Jerry.
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Stage Management Nicki Cathro* Production Stage Manager Six seasons with Great Lakes Theater Nicki is overjoyed to be returning for her sixth season at the Hanna. Previously she’s worked as the production stage manager for The Tempest (ISF), Julius Caesar and A Christmas Carol; assistant stage manager for Sleuth, Music Man, Witness for the Prosecution, Misery, Macbeth and Pride and Prejudice; and production assistant for Hamlet, The Hunchback of Notre Dame and A Midsummer Night’s Dream. Nicki earned her BFA in Radio, Television, and Film from the University of North Texas and is a member of AEA. She is beyond thrilled to be back in the theater with her husband and friends.
four seasons. This is her first season at Great Lakes! ISF credits: The Tempest, Sleuth, Million Dollar Quartet, Music Man, Witness for the Prosecution, Misery, Macbeth and Pride and Prejudice. Selected New York credits: Riddle of the Trilobites (CollaborationTown), beep boop (Crowded Outlet), Bitter Greens (One Viking Productions) and The Drowning Girls (The Drama League). MFA: Mason Gross School of the Arts at Rutgers University. Rachel is a Kennedy Center Award Winner in Stage Management and a member of Actors’ Equity Association.
Playwright William Shakespeare ✶
Rachel Kaufman* Assistant Stage Manager Great Lakes Theater debut season
Other productions at GLT: All’s Well That Ends Well, Antony and Cleopatra, As You Like It, The Comedy of Errors, Coriolanus, Cymbeline, Hamlet, Henry IV, Part I, Henry IV, Part II, Henry V, Henry VI, Part I, Julius Caesar, King John, King Lear, Love’s Labour’s Lost, Macbeth, Measure for Measure, The Merchant of Venice, The Merry Wives of Windsor, A Midsummer Night’s Dream, Much Ado About Nothing, Othello, Richard II, Richard III, Romeo and Juliet, The Taming of the Shrew, Titus Andronicus, Troilus and Cressida, Twelfth Night, The Two Gentlemen of Verona, and The Winter’s Tale. ✶ Paul & Heather Blonsky | Mr. & Mrs. Samuel Hartwell | Janet E. Neary | Thomas G. & Ruth M. Stafford
Rachel is a New York City-based stage manager and has been part of the stage management team at Idaho Shakespeare Festival for
✶T hank you to our Playwright Sponsors for their generous support of the Great Lakes Theater artistic company.
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DONORS The trustees, staff, and artistic company of Great Lakes Theater express our deepest gratitude to the hundreds of supporters of Cleveland’s Classic Company. The donors listed below and on the following pages made generous gifts to our Annual Fund between July 1, 2020 and June 30, 2021. “I can no other answer make but thanks.” Twelfth Night, Act III, Scene iii
Make a Contribution Great Lakes Theater serves more than 100,000 students and adults annually through its Hanna and Mimi Ohio Theatre mainstage productions and education programs throughout Northeast Ohio. Please consider joining the Great Lakes Theater family by making a gift to support Cleveland’s Classic Company. To learn more about our Membership and gift-giving opportunities, please visit the “Support” section of our website (GreatLakesTheater.org) or contact Jeremy Lewis, Development & Donor Relations Manager at (216) 453-4457 or jlewis@greatlakestheater.org.
$100,000 and above The Kelvin and Eleanor Smith Foundation
The George Gund Foundation Kulas Foundation
John P. Murphy Foundation
Ohio Arts Council
$50,000 to $99,999 David and Inez Myers Foundation, a supporting foundation of the Jewish Federation of Cleveland
$25,000 to $49,999 Community Foundation of Lorain County
The Reinberger Foundation
The National Endowment for the Humanities: Democracy demands wisdom.
Shakespeare in American Communities: National Endowment for the Arts in partnership with Arts Midwest
Janet E. Neary
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Cuyahoga Arts & Culture
“Intermission” Ticket Donors
Over 800 patrons generously donated the value of their tickets back to support Great Lakes Theater during pandemic-related disruptions to our 2019-20 and 2020-21 seasons. This vital “intermission” support has enabled us to raise our curtain once again. We are truly grateful! Scan the QR code to check out the full list of donors online.
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THE SHAKESPEARE SOCIETY
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Annual Fund donors of $1,000 and above are members of Great Lakes Theater’s “Shakespeare Society” and are entitled to exclusive benefits, including access to special services, events, and opportunities to connect deeply with Cleveland’s Classic Company. To learn more, contact Jeremy Lewis at (216) 453-4457 or jlewis@greatlakestheater.org.
$10,000 to $24,999
$2,500 to $4,999
The Paul M. Angell Family Foundation The Eva L. and Joseph M. Bruening Foundation Eaton The Char and Chuck Fowler Family Foundation The Family of Jill Hearey Martha Holden Jennings Foundation Don & Anne Palmer Georgianna T. Roberts The Shubert Foundation Thomas G. & Ruth M. Stafford The Stocker Foundation The Treu-Mart Fund, a supporting organization of The Cleveland Foundation and the Jewish Federation of Cleveland The Thomas H. White Foundation, a KeyBank Trust Robert C. & Emily C. Williams
Michelle R. Arendt Walt & Laura Avdey Carol A. Barnak Gina L. Beebe Kim & Bart Bixenstine Mr. Todd M. Burger & Ms. Kristie Beck Homer Chisholm and Gertrube Kalnow Chisholm Fund George A. M. Currall Timothy J. Downing & Ken Press Charles, Lidia & Alexa Fee Dianne V. Foley Lynn M. Gattozzi & Glenn Myers Jeanette Graselli-Brown & Glenn R. Brown Mr. & Mrs. Arthur C. Hall III Mary Elizabeth Huber Faisal Khan & Angela DiCorleto Mr. & Mrs. John J. Lane, Jr. The Laub Foundation Victor C. Laughlin, M.D. Memorial Foundation Trust Susan & John Lebold The Lubrizol Foundation Rita & Charles Maimbourg David and Denise Maiorana Mr. & Mrs. Donald J. Mayer Jack E. McGrath Karen Nemec Dr. Scott & Mrs. Judy Pendergast Michael & Barbara Peterman Ms. Ana G. Rodriguez Kim Sherwin Sally J. Staley A.J. & Nancy Stokes Geoff & Catherine Tanner Kris & George Tesar Arthur L. Thomas Mr. & Mrs. Paul L. Wellener IV
$5,000 to $9,999 Anonymous (1) Chuck & Bonnie Abbey Dalia & Robert Baker Fred & Mary Behm Bill & Judie Caster Gail Cudak Carol Dolan & Greggory Hill Evelyn Dolejs Natalie Epstein Ernst & Young, LLP The Harry K. and Emma R. Fox Foundation Glenmede Trust Company Elizabeth Grove & Rich Bedell Mr. & Mrs. Samuel Hartwell Diane Kathleen Hupp Paul R. Keen & Denise Horstman Keen Thomas A. Piraino & Barbara C. McWilliams Tim & Lynn Pistell Greg Pribulsky & Donna Heinz John & Barbara Schubert
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$1,000 to $2,499 Anonymous (3) Gary D Benz & Betsy A Karetnick Mitch & Liz Blair Mr. Kip T. Bollin & Catherine Bollin Matthew Burke & Victoria Sistek Jack & Janice Campbell
Donald & Annamarie Chick Christopher & Nancy Coburn Mrs. Anthea Daniels & Mr. Matthew Burke Eva & Larry Dolan Rebecca Dunn Dr. Howard Epstein Evans Charitable Foundation Steve Gariepy & Nancy Sin The Giant Eagle Foundation Rich & Barbara Gray The Gries Family Foundation Geoffrey Michael Heller Memorial Fund Mr. & Mrs. Douglas M. Hicks Hyster-Yale Materials Handling, Inc. Katie Kennedy & Doug White Donna M. Koler The Milton A. & Charlotte R. Kramer Charitable Foundation Ms. Cathy Lincoln Eva & Rudolf Linnebach Ken & Mary Loparo Mr. & Mrs. John S. Lupo Mr. & Mrs. William E. MacDonald III Katie McVoy & Justin Cernansky Nordson Corporation Foundation Michael Novak The Perkins Charitable Foundation M.B. Perkins Donor Advised Fund Mr. & Mrs. Wilmer M. Piper John & Norine Prim Uma & Lilena Rajeshwar Mr. & Mrs. Andrew Rosen Otmar & Rota Sackerlotzky Linda Schlageter The Sherwin-Williams Company Christopher & Gail Steward Katherine Stokes-Shafer The Alvah Stone & Adele Corning Chisholm Memorial Fund Diana & Eugene Stromberg Mr. Frederick & Mrs. Elizabeth G. Stueber James L. Wagner Nancy-Anne Wargo Mary C. Warren
$750 to $999 Robyn & David Barrie John & Laura Bertsch Barry & Suzanne Doggett Gary & Joanna Graeff Dr. & Mrs. Lynn A. Smith
$500 to $749
$250 to $499 Anonymous (2) Ms. Louise Acheson The Thomas and Joann Adler Family Donor Advised Fund of the Jewish Federation of Cleveland Bill Amato Mrs. Kathryn Berkshire John & Jeannene Bertosa Mr. & Mrs. Patrick Beyer Gary & Kay Bluhm Cindy & Tim Carr Jim & Berni Cockey Rollin & Anne Conway Dr. & Mrs. Kevin D. Cooper Pete & Margaret Dobbins Mary Eileen Fogarty Jenifer Garfield Robert & Linda Jenkins Gary Nemeth & Gail Jones-Nemeth Larry & Joy Kent
$125 to $249 Anonymous (3) Judie & Bruce Amsel Matthew Baker Ms. Carol Barasha Mr. Thomas D. Basco Ms. Pamela Benson Mr. & Mrs. Thomas W. Berges Lynn Berner Susan Bobey Tommy Boddy John Bolton Ms. Carole Rupnik Brown Mike & Carole Brown Larry & Andi Carlini Mr. Robert Carlyon Ms. Joanne Clifford Samuel Cowling Mr. & Mrs. Thomas Craft David & Gayle Cratty Ms. M. Judith & Mr. Ronald J. Crocker Judith Darus Mr. William M. & Mrs. Ruth Ann Delong Mr. & Mrs. Robert Eikenburg Mr. & Mrs. L. William Erb David V. Foos Carla & Jim Gallagher Deborah A. Geier Janet & Patricia Glaeser Ms. Linda Grau Jean E. Gubbins Ms. Edith F. Hirsch Lynn & Mark Hofflund Jessica Holland Ms. Marie Ivkanec Mr. & Mrs. Robert L. Janson Stephen Jones Lauren Kawentel Mr. Kenneth R. Kessler William & Marion Kettering Mr. & Mrs. David R. Knowles Ms. Robin Kunikis Gregory & Vickie Leyes
Mr. & Mrs. Kenneth A. Linick Charles E. & Donna Loper Philip & Simone Montgomery Ms. Barbara H. Nahra Tom & Mary Neff Joan Niederriter Joan M. Oravec Robert & Margery Orth Frederick Perry Mr. David Porter Ms. Bette M. Prendergast Ms. Jacqueline Y. Rhodes Mr. & Mrs. Michael P. Rowan Mr. Richard Shirey Edward W. & Donna Rae Smith Mr. Byron Solomon & Mrs. Julie Johnson Susan St. John Kathlyn & Harry Stenzel Betsy Sullivan Kara Suzelis Dr. Elizabeth Swenson Sean & Tabitha Swick Dr. & Mrs. Ken Tomecki Dr. Joanne M. Uniatowski Anne Unverzagt & Richard Goddard Mr. & Mrs. James D. Vail Christine & Daniel Vento Carol A. Vidoli Mr. Kenneth Vinciquerra Mr. & Ms. Michael Wagner Jerry & Carolyn Webb Ms. Martha Webster Ms. Suann M. Winczek Ms. Jean Wingate Thomas M. Wladyka Ms. Constance Wolfe James & Sandra Wood Jason & Gretchen Woods Mr. Ted Zajac, Jr.
$75 to $124 Anonymous (2) Lori Adler Ms. Kimberley Barton Brian & Teresa Bester Roger Bielefeld Tom & Dorothy Bier James & Anita Bridges Mr. David Byrnes Mr. & Mrs. Robert B. Charlick Mr. Edward A. Chuhna Gary Ciolli Dr. & Mrs. Dale H. Cowan Chris & Mary Ann Deibel The Eldridge Family Mr. & Mrs. Emerson Clyde & Janice Evans Mr. & Mrs. Fishwick Ms. Jeanne Frey Mr. & Mrs. Timothy Gabb Charles & Julia Gall Givinga Foundation Ms. Pamela S. Goetsch Ms. Wanda Gulley Richard & Esther Haberlen Marian Hancy
Gale Hazen Linda A. Heath Jean Heller Curt & Karen Henkle John Higgins & Cicilia Yudha Janice Hornack IBM Corporation Tom & Terri Jecker Amy & Jeff Johnson Deb & Gar Kaminski Marilyn & Howard Karfeld Paul Kershey Ms. Kerry King Mr. & Mrs. Albert Kirby Benjamin R. Kirkpatrick Richard B. Kotila Jacob Kronenberg & Barbara Belovich Al & Cynthia Kuntz Mike Kupiec & Pat Murphy Brian & Renee Lowery David & Cheryl Lundgren Ms. Anne Martin Ms. Margaret Martino Gretchen Mates Ms. Constance May Cathy J. McCall Mr. & Mrs. Robert E. McDonald David & Eileen McGee Jean McQuillan & Richard Christ Rev. Edward E. Mehok Ms. Meribeth A. Pannitto Zachary & Deborah Paris Brian Perry & Ka Pi Hoh Mr. & Mrs. James M. Petras Sandy & Kate Robbins Pauline Ryder Dr. Dave & Faye Sholiton Mr. & Mrs. Alan Shubert Mary Slak Mr. and Mrs. Vernon C. Sponseller Diane Stewart Darren & Missy Toms Thomas Wagner & Malinda Smyth Ms. Kathleen Waits William Wallis Lance Whitson & Terry Juhn Sharon & Yoash Wiener Colleen Williams & Jim Persichitti Ms. Jeanne Wojciechowicz Patrick M. Zohn
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Anonymous Ms. Carol Arbaczewski Jennifer & Michael Armstrong Joanne R. Bratush Julia & Ben Brouhard Patricia Brownell & James Collins Beverly & Bruce Cameron Bruce & Maryellen Cudney Audrey DeClement Ms. Charlotte A. Estafen Ann & Harry Farmer Mr. Joseph Ferritto Dale & Linda Gabor Bernie & Nancy Karr Eileen Kennedy & Greg Cloyd Bill & Susan Kirchner Jim & Paula Lang Barbara & Mark Mazzone Helen & Harry Mercer David & Leslee Miraldi Roy & Cindy Moore Toni & Linda Moore Ms. Barbara B. O’Connor Thomas & Helen Rathburn Mrs. Sharon L. Rogers Dina & Richard Schoonmaker Jack & Terry Southworth Albert Stratton Wulf & Moira Utian Chris & Mary Weaver Mr. & Mrs. Harold L. Williams Brian Wynne & Patrick Cozzens Mr. Lee C. Zeiszler John & Jane Zuzek
Bob & Nanci Kirkpatrick Michael & Lynn Kleinman Ronald G. Kollar Mr. & Mrs. Mark D. Kozel Stephen & Carolyn Kuerbitz Robert & Jennifer Larson Mr. & Mrs. Brian Lawler Daniel Leschnik Kenneth E. & Anne R. Love Thomas & Sheryl Love The Mersol Family Steve Z. & Mary Gibbs Mitchell Glenn & Susan Morley Mr. & Mrs. Robert J. Patalon Ms. Diane L. Pauley Jeff & Nancy Reinhart Dr. Edward J. Rockwood Amy & Ben Schaum Mr. & Mrs. James L. Wamsley III Dr. & Mrs. Gregory A. Watts John & Dianne Young Ms. Rachel Zbiegien
Endowment Fund Gifts to the Great Lakes Theater Endowment Fund were received from the following donors between July 1, 2020 and June 30, 2021. Mrs. Mary Jane Hartwell° Edward S. Godleski
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Gifts were received in honor of:
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Carol Dolan by: The Ashkettle Family Mr. and Mrs. John Azzolina Mary Dolan and David Haracz Paula Drdyen Dianne V. Foley Chad & Ivy Gaizutis Barb Harris Ms. Kathy Leciejewski Jeremy P. Lewis Tanya Scharpf Bob Taylor & Jeff Herrmann Kris & George Tesar Antoanela Vaccaro Laura Weiss Shauna Widman Hal Holzer by: Ramona Bause
Charles H. Dickson by: Cerity Partners, LLC Gail Cudak Ann & Harry Farmer Mr. & Mrs. Samuel Hartwell Janet E. Neary Lucy Oliver & Tom Rightmyer Thomas G. & Ruth M. Stafford Bob Taylor & Jeff Herrmann Jean Lewis by: Elizabeth Woolf Kate Lunsford by: John & Judith Fuller Debbie Hunter Tricia & Stephen Mullin Georgianna T. Roberts Neil & Laurie Segall
Todd Krispinsky by: Ms. Margaretta B. Harris
Viola McDowell by: Jack & Janice Campbell Women’s Committee of Great Lakes Theater
Janet & Bob Neary by: Mr. & Mrs. Doug Neary
Carole Nicolosi by: Ms. Joyce L. Adams
Gifts were received in memory of:
Jim Sheridan by: Donna Sheridan
Mrs. Al A. Archambault by: Women’s Committee of Great Lakes Theater
Jean Terstage by: Marcia J. Terstage
Sarah C. Umek by: Sarah Clemons-Ogan
The Women’s Committee
Demitra Xinakes by: Ed & Denise Bell The Bornstein Family Sherry & Ira Feuer & Family Anita B. Rosenbaum
Formed in 1961, the committee is Great Lakes Theater’s longest standing volunteer support group. Members act as hosts for our actors, provide support in our administrative office and at events, and cheer us on throughout the season. If you would like to become a member, call Joanne Hulec at (216) 252-8717 for more information.
Matching Gift Corporations Many companies, like the ones listed below, match all or a portion of their employees’ charitable giving. Is your employer a matching gift company? Find out by contacting your employer or the Great Lakes Theater Development Office at (216) 453-4457. Aramark Eaton GlaxoSmithKline Foundation The Lubrizol Foundation Nordson Corporation Foundation PNC Foundation Progressive Insurance Foundation The Sherwin-Williams Company
Officers Janice Campbell, President Barbara Chernus, Recording Secretary Bernice Bolek, Corresponding Secretary Nanci Kirkpatrick, Treasurer °Deceased: The legacy of these generous donors lives on for future generations. Thank you to our donors! Every effort is made to ensure that our donor records are current and correct. Please contact the Great Lakes Theater Development Office at (216) 453-4457 to share an update or request a revision.
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TRUSTEES Chair
Samuel Hartwell*
President
William Caster *
Secretary
Elizabeth A. Grove *
Treasurer
Kathleen Kennedy *
Trustees
Beth A. Adams Michelle Arendt Jennifer Dowdell Armstrong* Walter Avdey*
Dalia Baker Gary D. Benz Kim Bixenstine* Kip T. Bollin Todd M. Burger* Gail L. Cudak George A. M. Currall Anthea Daniels Carolyn Dickson† Barry Doggett† Carol Dolan* Timothy J. Downing* Dr. Howard G. Epstein* Natalie Epstein† Dianne V. Foley* Lynn M. Gattozzi Arthur C. Hall III* Mary Elizabeth Huber
Diane Kathleen Hupp Denise Horstman Keen Faisal Khan* John W. Lebold* William MacDonald III† Charles Maimbourg David M. Maiorana Ellen Stirn Mavec† Mary J. Mayer John E. McGrath† Katie McVoy* Ingrid A. Minott* Janet E. Neary† Michael Novak Michael J. Peterman† Timothy K. Pistell† David P. Porter† Gregory Pribulsky*
Uma M. Rajeshwar Georgianna T. Roberts† Ana G. Rodriguez John D. Schubert† Peter Shimrak† Thomas G. Stafford*† Sally J. Staley Diana W. Stromberg Catherine Tanner Kristine M. Tesar* Arthur L. Thomas Nancy Wellener * Executive Committee † Life Trustee
In 2002, Great Lakes Theater (Cleveland, Ohio) and Idaho Shakespeare Festival (Boise, Idaho) conceived a unique, strategic producing alliance designed to maximize return on organizational investments, increase production efficiencies, create long term work opportunities for artists and share best practices. In 2010, Lake Tahoe Shakespeare Festival (Incline Village, Nevada) joined the collaborative — further contributing to the momentum of the revolutionary producing prototype’s success. The long term results have been remarkable. The alliance’s three independent, 501c3 regional theaters have shared over 60 jointly-created productions — each featuring long term, multi-city employment opportunities for artistic company members. This revolutionary producing model has realized its vision and exceeded expectations while simultaneously resulting in notable audience growth for each company.
GreatLakesTheater.org
STRATEGIC ALLIANCE
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STAFF Leadership Charles Fee, Producing Artistic Director Bob Taylor, Executive Director
at Playhouse Square
Management Team Associate Artistic Director.........................Sara Bruner Production Manager.................................... Majel Cuza Director of Educational Services.................Kelly Schaffer Florian Managing Director................................Todd Krispinsky Director of Educational Programming...... Lisa Ortenzi Director of Administration....................Stephanie Reed Director of Marketing & Communications................................... Kacey Shapiro
Artistic Artistic Associate.........................................Jaclyn Miller
Development Development & Donor Relations Manager................................................... Jeremy Lewis Patron Services Coordinator.................. Marilyn Niksa
Education Education Outreach Associate................David Hansen School Residency Program Actor-Teachers ..........Noelle Elise Crites, Kelly Elliott, Tim Keo, Ryan Pangracs, Avery LaMar Pope and Asia Sharp-Berry
First Hand...........................................Christina Spencer Hair/ Wardrobe Supervisor............. Mackenzie Malone Wardrobe Crew........Zachary Hickle, Christina Spencer Master Electrician.................................... Tammy Taylor Electrics Consultant......................................Paul Miller Electrics..................................... Joshua Prescott-Smith Charge Scenic Artist...............................Kaitie Branton Audio Supervisor.....................................Brian Chismar Production Assistant...............................Michael Burns Run Crew.............................. Ralph Melari, Gary Zsigrai Hanna Theatre Crew............Thomas Boddy, Chris Guy, Shaun Milligan, Nathan Tulenson
Volunteers Company Doctor.....Dr. Donald Ford & Cleveland Clinic
Special Thanks Great Lakes Theater is a member of the League of Resident Theaters (LORT) and operates under agreements with LORT, Actors’ Equity Association, American Federation of Musicians, the International Alliance of Theatrical Stage Employees, the Society of Stage Directors and Choreographers, and the United Scenic Artists, which are unions representing professional actors, stage managers, musicians, stagehands, directors, choreographers, and designers, respectively, in the United States.
LORT
Production Assistant Production Manager................ Shaun O’Neill Company Manager.......................................Amy Essick Technical Director.......................................Mark Cytron Assistant Technical Director.............Richard Haberlen Master Carpenter.......................................Lindsay Loar Carpenters........................... Ralph Melari, Gary Zsigrai Properties Master............................. Bernadine Cockey Costume Director/ Soft Goods Artisan.........................Esther M. Haberlen Assistant Costume Shop Manager/Tailor......Leah Loar Design Assistant..................................... Zachary Hickle
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1501 Euclid Ave., Suite 300 Cleveland, OH 44115 P: (216) 241-5490 F: (216) 241-6315 W: GreatLakesTheater.org
Playbill Editor: Linda Feagler For advertising information, please contact Matthew Kraniske: 216-377-3681
NOV./DEC. AT PLAYHOUSE SQUARE OUTCALT/ HELEN/ MIMI CONNOR KEYBANK US BANK WESTFIELD ALLEN ALLEN ALLEN HANNA KENNEDY’S OHIO PALACE STATE PLAZA STUDIO Sunday
Monday
Tuesday
NOVEMBER
Wednesday
The Prom The Tempest The Prom Where Did We Sit on Where Did We Sit on The Bus? The Bus? Mystery Science Theater 3000 Live
Thursday The Prom The Tempest Where Did We Sit on The Bus?
Friday The Prom The Tempest Where Did We Sit on The Bus? The Year Of Magical Thinking
Saturday The Prom The Tempest Where/Sit/The Bus? A.I.M “An Untitled Love” The Whispers Year/Magical Thinking
1 2 3 4 5 6
The Prom The Tempest Where Did We Sit on The Bus? Set It Off
The Prom The Prom The Prom The Prom Where Did We Sit on Where Did We Sit on Where Did We Sit on Where Did We Sit on The Bus? The Bus? The Bus? The Bus? The Year Of Magical Thinking
The Prom Where Did We Sit on The Bus? The Year Of Magical Thinking
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The Prom Where Did We Sit on The Bus? The Year Of Magical Thinking
The Prom
The Prom
The Prom
The Prom The Prom The Year Of Magical Pete Correale Thinking The Year Of Magical Thinking
A Christmas Carol The Year Of Magical Thinking Jim Brickman
A Christmas Carol Light it Up! The Year Of Magical Thinking Jim Brickman
The Year Of Magical Thinking A Christmas Carol Light it Up! The Nutcracker Vic DiBitetto Live
The Year Of Magical Thinking A Christmas Carol Light it Up! The Nutcracker The Great Divorce
Wicked The Year Of Magical Thinking A Christmas Carol Light it Up! The Uncle Louie Holiday Variety Show
Wicked The Year Of Magical Thinking A Christmas Carol Light it Up!
Wicked A Christmas Carol Light it Up!
Wicked A Christmas Carol Light it Up!
21 22 23 24 25 26 27 A Christmas Carol Light it Up! Cleveland POPS Orchestra Jim Brickman
Light it Up!
DECEMBER
Light it Up!
A Christmas Carol Light it Up!
28 29 30 1 2 3 4
A Christmas Carol Light it Up! The Nutcracker
Light it Up!
Wicked Wicked Light it Up! A Christmas Carol Dave Koz and Friends Light it Up!
GreatLakesTheater.org
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The Prom The Year Of Magical Thinking
5 6 7 8 9 10 11 Wicked A Christmas Carol Light it Up! Straight No Chaser
Wicked Light it Up!
Wicked Light it Up!
Wicked A Christmas Carol Light it Up!
12 13 14 15 16 17 18 Wicked A Christmas Carol Light it Up!
Wicked
Wicked A Christmas Carol Light it Up!
Wicked A Christmas Carol Light it Up!
Wicked A Christmas Carol
Wicked
19 20 21 22 23 24 25 Wicked
Wicked
Wicked
Wicked
Wicked
Wicked
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New shows are announced every week. Sign up for the Playhouse Square newsletter at playhousesquare.org to get advance notices by email!
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LIVE YOUR BEST CLEVELAND BEST PLACES TO LIVE
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