THE TEMPEST Playbill - Great Lakes Theater (2015)

Cleveland’s Classic Company at the Hanna Theatre presents

April 10–26, 2015

Photo: Roger Mastroianni

Great Lakes Theater

welcome to

Great Lakes Theater at Playhouse Square

A not-for-profit performing arts center that presents and produces a wide variety of performing arts, advances arts education and creates a destination that is a superior location for entertainment, business and housing, thereby strengthening the economic vitality of the region.

greatlakestheater.org

Be the Star of the Show

Great Lakes Theater

About Great Lakes Theater....................................................................................................................4 Trustees.................................................................................................................................................5 Donors....................................................................................................................................................6 The Tempest........................................................................................................................................13 The Cast..............................................................................................................................................14 Spotlight: An Insider’s Guide to The Tempest......................................................................................15 A Welcome Message from the Producing Artistic Director..................................................................29 Who’s Who: The Artistic Company.......................................................................................................31 Staff: Great Lakes Theater .................................................................................................................38 April/May at Playhouse Square............................................................................................................39

PHOTO: JULIE HAHN/SUGARBUSH DESIGN

In the glamour of Downtown Cleveland’s Theater District allow Wyndham’s service professionals to host your Wedding Reception, Rehearsal Dinner, and Wedding Brunch. Contact Beth Blankenship, our wedding specialist at 216-615-3325 or bblankenship@wyndham.com

1260 Euclid Ave., Cleveland, OH 44115 216-615-7500 www.wyndhamcleveland.com

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About

T

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Great Lakes Theater

he mission of Great Lakes Theater, through its main stage 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 Great Lakes 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 Great Lakes Theater’s fall 2014 production of Les Misérables. capacity to illuminate truth (Photo by Roger Mastroianni) 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 main stage 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 the joyful and meaningful connections between classic plays and their own lives.

The company’s commitment to classic theater is magnified in the educational programs that surround its productions. Since its inception, GLT Great Lakes Theater’s fall 2014 production of The Merry has had a strong presence in area schools, bringWives of Windsor. (Photo by Roger Mastroianni) ing students to the theater for matinee performances and sending specially trained actor-teach- classic theater. As Great Lakes moves into a new ers to the schools for weeklong residencies devel- era with a permanent home in the Hanna Theatre, oped to explore classic drama from a theatrical the company reaffirms its belief in the power of point of view. GLT is equally dedicated to enhanc- partnership, its determination to make this coming the theater experience for adult audiences munity a better place in which to live, and its through Surround, a series of community pro- commitment to ensure the legacy of classic thegrams that explore the themes of a main stage ater in Cleveland. production. To this end, Great Lakes Theater 1501 Euclid Ave., Suite 300 regularly serves as the catalyst for community Cleveland, OH 44115 events and programs in the arts and humanities P: (216) 241-5490 that illuminate the plays on its stage.

F: (216) 241-6315 Great Lakes Theater is one of only a handful of W: www.greatlakestheater.org American theaters that have stayed the course as a

Trustees Chair

Great Lakes Theater

President Samuel Hartwell*

Secretary Susan Hastings*

Treasurer Walter Avdey*

Trustees Michelle Arendt Dalia Baker Viia R. Beechler David L. Bialosky Kim F. Bixenstine* Mitchell G. Blair* Todd M. Burger William Caster* Beverly J. Coen Gail L. Cudak Carolyn Dickson† Leslie Dickson

* Executive Committee † Life Trustee

READ MORE. DO MORE.

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WE BELIEVE IN

Pamela G. Noble* Laura Passerallo Michael J. Peterman† Thomas A. Piraino Jr. Timothy K. Pistell† David P. Porter† Georgianna T. Roberts† Rudolph K. Schmeller John D. Schubert† Peter Shimrak† Laura Siegal† Mark C. Siegel* Sally J. Staley* Diana W. Stromberg Gerald F. Unger Donna Walsh Thomas D. Warren Nancy Wellener Kevin M. White Julie Sabroff Willoughby Patrick Zohn Rebecca A. Zuti

Great Lakes Theater

William B. Doggett† Carol Dolan* Edward Donnelly Timothy J. Downing* Dr. Howard Epstein Natalie Epstein*† Dianne V. Foley Rudolph H. Garfield † Stephen H. Gariepy Henry G. Grendell Elizabeth A. Grove Diane Hupp William W. Jacobs*† Faisal A. Kahn John E. Katzenmeyer† Denise Horstman Keen Jonathan Leiken William E. MacDonald III† Ellen Stirn Mavec† Mary J. Mayer John E. McGrath Leslie H. Moeller Danielle M. Morris Janet E. Neary*† Robert D. Neary†

Thomas G. Stafford*†

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Great Lakes Theater

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 made generous gifts between July 1, 2013 and June 30, 2014. “I can no other answer make but thanks.” Twelfth Night, Act III, Scene iii

Make a Contribution Great Lakes Theater served over 100,000 students and adults last year through its Hanna and Ohio Theatre mainstage productions and education programs throughout northeast Ohio. This would not have been possible without the annual support of hundreds of the generous donors listed below. Please join the Great Lakes Theater family by making a tax-deductible contribution to support Cleveland’s Classic Company. Visit the “Support Us” section of our website (www.GreatLakesTheater.org) or call us at (216) 453-4442 to learn more about our membership and donation programs.

Sponsors Company Sponsors $100,000 and above The Cleveland Foundation***

Cuyahoga Arts and Culture** Lead Sponsors $50,000 to $99,999

The George Gund Foundation*** The John P. Murphy Foundation* The David & Inez Myers Foundation***

Ohio Arts Council*** The Kelvin & Eleanor Smith Foundation***

Sponsors $25,000 to $49,999 The GAR Foundation*** The Martha Holden Jennings Foundation*** The Kulas Foundation*** The Reinberger Foundation

Season Sponsors:

Shakespeare for a New Generation – National Endowment for the Arts The Sherwick Fund

Season Media Sponsors:

The Business Alliance of Great Lakes Theater

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*3 – 5 consecutive years as an Annual Fund donor **6 – 9 consecutive years as an Annual Fund donor ***10 or more consecutive years as an Annual Fund donor

THE LEGACY SOCIETY

Great Lakes Theater’s Legacy Society honors individuals, families, foundations and other generous donors that make gifts to Great Lakes Theater’s Endowment Fund or have made a provision for Great Lakes Theater through their estate plans.

Please consider becoming a member of the growing list of generous Great Lakes Theater Legacy Society supporters and help ensure that classic theater endures for future generations in northeast Ohio by designating Great Lakes Theater a beneficiary in your will, trust, or other estate plans.

“Evermore thanks.”

Marilyn* and Paul* Brentlinger Willard and Donna Carmel Mary* and Leigh Carter Natalie and Morton Epstein Edward S. Godleski Samuel S. Hartwell Kate Lunsford Mary Anne* and Jack McGrath Janet and Bob Neary

Richard II, Act II, Scene ii James A . Nelson* Donald and Anne Palmer Lynn and Tim Pistell Professor Alan Miles Ruben and Judge Betty Willis Ruben George* and Marjorie* Springer Thomas G. and Ruth M. Stafford Arthur L. Thomas Audrey* and Dick Watts

*Deceased: The legacy of these generous donors lives on for future generations.

LEAVE A LEGACY!

For more information regarding planned gifts, please contact Don Bernardo, Great Lakes Theater’s Director of Development, (216) 453-1068 | dbernardo@greatlakestheater.org.

Thank you and welcome! The following individuals are our newest donor/ members, or returned as active donors to Great Lakes Theater during the period from October 10, 2014 thru February 20, 2015. We greatly appreciate the support of all of our members.

Chuck & Maureen Adler Mary Archambault Jerry & Kathy Berkshire Elizabeth Bishop Carol Brenneman Mr. James Brown Ms. Brenda Capps Mr. & Mrs. Laurence Channing Tom & Anita Cook Ms. Marilyn Dewees

Pete & Margaret Dobbins Mr. William Dolan Mr. & Mrs. L. William Erb Mary Ann & Joseph Fischer Jeffrey Ford Edward S. Godleski Ms. Margaret Kaczmarek Ruben Kasap Bill & Susan Kirchner Ms. Theresa Kuehn Thomas & Anne LaMotte

Dr. Roseanne Lechner Howard S. Levin Mr. & Mrs. John S. Lupo David & Leslee Miraldi Dale Sr., Dale Jr., & Gayle Montgomery Fulton & Thea O’Donoghue Thomas J. Pajk Mr. William Plesec Ms. Mary L. Pollak Donna & James Reid

Keith & Margaret Robinson Mr. & Mrs. John Southworth Jan & Bill Stern Ms. Elizabeth Swenson Mr. & Mrs. William W. Taft Arthur L. Thomas Mr. & Mrs. George Thomas Ms. Adele Viguera Mr. Michael Wagner Roger & Nancy Welchans Ann Wisnieski

Shakespeare Society Individual donors of $1,000 and above are members of Great Lakes Theater’s “Shakespeare Society” and are entitled to certain benefits, including invitations to special Society events and activities. For more information, contact Don Bernardo at (216) 453-1068.

Avon Circle $10,000 to $24,999 The Abington Foundation* The Community Foundation of Lorain County*** Eaton Corporation** Jack & Mary Ann Katzenmeyer*** Janet & Bob Neary*** The Nord Family Foundation*** Nordson Corporation Foundation** Mr. & Mrs. Timothy Pistell*** Mrs. James O. Roberts*** John & Barbara Schubert*** The Shubert Foundation*** Squire Sanders, LLP Thomas G. & Ruth M. Stafford***

Stratford Circle ($5,000 to $9,999)

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Bridgewater Associates, Inc.** The Eva L. & Joseph M. Bruening Foundation*** Bill & Judie Caster* Cleveland Indians Baseball Company Carol Dolan & Greggory Hill** Larry & Eva Haas Dolan* Mr. & Mrs. Morton G. Epstein Ernst & Young, LLP*** The Harry K. & Emma R. Fox Foundation*** The Giant Eagle Foundation* Paul R. & Denise Horstman Keen** Mr. & Mrs. Leslie H. Moeller** David P. Porter & Margaret K. Poutasse***

Mr. & Mrs. Ronald Ratner* Kim Sherwin** The J.M. Smucker Company University Hospitals John & Catherine Van Hulle* Mr. & Mrs. Paul L. Wellener IV*** The Thomas H. White Foundation, a KeyBank Trust**

Globe Circle ($2,500 to $4,999) Chuck & Bonnie Abbey* Walt & Laura Avdey** Dalia & Robert Baker*** Robyn & David Barrie*** William & Viia Beechler Mitch & Liz Blair*** Glenn & Jenny Brown*** Mr. & Mrs. Homer D. W. Chisholm*** The George W. Codrington Charitable Foundation*** Gail Cudak & Thomas Young*** Edward Donnelly & Mary Kay DeGrandis Barry & Suzanne Doggett*** Richard & Evelyn Dolejs* Charles, Lidia & Alexa Fee** Dianne V. Foley Steve Gariepy & Nancy Sin*** Henry G. Grendell Elizabeth Grove & Rich Bedell Hahn Loeser & Parks, LLP Mr. & Mrs. Samuel Hartwell*** Susan C. & Jeffery A. Hastings** William W. Jacobs*** The Laub Foundation***

The Victor C. Laughlin, M.D. Memorial Foundation Trust*** The Lubrizol Foundation*** Mr. & Mrs. Donald J. Mayer*** Donald W. Morrison*** Nicholas & Sue Peay*** Mr. & Mrs. Michael J. Peterman*** Thomas A. Piraino & Barbara C. McWilliams* Prof. Alan Miles Ruben & Judge Betty Willis Ruben Mr. & Mrs. Robert C. Ruhl*** Dr. & Mrs. Gerard Seltzer* Sally J. Staley** Diana & Eugene Stromberg*** Paul & Pamela Teel* Donna & Richard Walsh*** Lori & John Wheeler

Folio Circle ($1,000 to $2,499) Michelle R. Arendt*** John & Laura Bertsch* David & Carolyn Bialosky* Kim & Bart Bixenstine* H.F. & J.C. Burkhardt*** Calfee, Halter & Griswold, LLP** Marilyn A. Callaly Jack & Janice Campbell*** Mr. & Mrs. Frank Cercone*** Beverly J. Coen* Carolyn & Charles Dickson*** Ms. Leslie C. Dickson* Mr. Edward S. Godleski David Goodman & Barbara Hawley Ms. Roe Green

Ms. Evalyn Greene The Gries Family Foundation*** William R. Gustaferro*** John & Virginia Hansen*** Hyster-Yale Materials Handling, Inc.*** Kenneth Karosy** Donna M. & Alex I. Koler Charlotte R. Kramer John & Joann Lane Mr. Jonathan Leiken & Ms. Erika Friedman Mr. & Mrs. William E. MacDonald, III Jack McGrath*** The Mersol Family*** Mr. & Mrs. William Mitchell*** Mr. & Mrs. John C. Morley*** Mr. & Mrs. William Osborne, Jr.*** Dr. & Mrs. Donald Palmer*** Laura Passerallo Dr. Scott & Mrs. Judy Pendergast*** Mary Perkins Mr. & Mrs. John S. Piety*** Dr. & Mrs. Bradford J. Richmond* Linda Schlageter*** Mr. & Mrs. Rudolph K. Schmeller Mr. & Mrs. Mark Siegel** Donald A. & Catherine C. Sinko** Brit & Kate Stenson*** Cynthia R. Stillings Target* Mr. Robert A. Tschannen*** Ulmer & Berne, LLP** Gerald F. Unger*** Raymond Voelker Mary C. Warren** Mr. & Mrs. Thomas D. Warren** Mr. & Mrs. Kevin M. White* Patrick M. Zohn***

Sustainers ($500 to $999)

Nancy L. Adams** Lori Adler Thomas & Joann Adler** John & Winnie Awarski Randy & Pam Ballard Mr. & Mrs. Benham S. Bates*** Gary & Kay Bluhm** Susan Bobey* Mr. & Mrs. Roger A. Boehnlein Julia & Ben Brouhard Audrey DeClement*** Prof. & Mrs. George W. Dent* Bob & Ginny Eckardt Dr. & Mrs. Michael Eppig*** Jeanne S. Epstein** James Eschmeyer*** Jon & Mary Fancher** Ann & Harry Farmer Mary Ann & Joseph Fischer Lainie Hadden*** Mr. & Mrs. Maurice Heller

Did you know that ticket revenue covers only half of the cost of creating a Great Lakes Theater production? Generous donors ensure that our productions of timeless classics, “re-imagined” for contemporary audiences, are of the highest quality. Thanks to donors like you, we’ve connected over four million people to the classics over the last five decades!

Learn more about how you can play a part at GreatLakesTheater.org.

Tom & Luz Higgason** Kathy & Jamie Hogg** Amy & Jeff Johnson Mr. & Mrs. Douglas Jahn Bernie & Nancy Karr*** Mr. Karl Keller Ms. Joylen J. Kent Mr. & Mrs. Donald Kimmel** Charles King & Catherine Keating Bob & Nanci Kirkpatrick** James Koehler Ronald G. Kollar** Dr. & Mrs. Eric Konicki Chris & Laura Larson** Stephen & Lillian Levine Ms. Beth Liff Eva & Rudolf Linnebach Morton & Lola Litt*** Thomas & Sheryl Love** Mr. David McKissock Rita C. McLaughlin Jean McQuillan & Richard Christ*** John J. Meiburger Mary & Steve Mitchell*** Brian & Cindy Murphy** Deborah L. Neale*** Mr. & Mrs. Wilmer M. Piper*** Maria Poulos Thomas & Helen Rathburn* Dr. Edward J. Rockwood*** Mrs. Sharon M. Rogers** Michael Russell Bob & Kathy Rutter Otmar & Rota Sackerlotzky*** Dr. Howard Simon Frances Stewart & David Mook* Dr. & Mrs. Lynn A. Smith** Karl & Carol Theil* Frank & Vicki Titas*

The Edward & Katherine Thomas Family Robert & Marti Vagi*** Mr. & Mrs. James D. Vail Carol Lee Vella*** Christine & Daniel Vento Nancy-Anne Wargo Dr. & Mrs. Gregory A. Watts* Mr. John Wiedemann & Ms. Pamela Schnellinger Mr. Lee C. Zeiszler Ms. Margaret E. Zellmer

Associates ($125 to $249) Donna Beletic* Mr. James J. Benedict, Jr.* Mr. Joseph M. Bennett John & Jeannene Bertosa* Roger Bielefeld** Bernice A. Bolek*** Mr. & Mrs. Charles P. Bolton*** Mr. D. Stephen Botorff & Ms. Patricia J. Moyer** Ms. Robin Herrington Bowen*** Joanne R. Bratush** Richard & Mary Ann Brockett V. Elizabeth Brown* Mike & Carole Brown Mrs. Nancy H. Burcham*** Larry & Andi Carlini** Tim & Cindy Carr Mr. & Mrs. Robert B. Charlick John & Donna Clifford*** Rollin & Anne Conway* Stan & Lisa Corwin* David & Gayle Cratty** Lowell & Carole Davis*** Mr. Alex Derkaschenko**

Daniel & Joyce Dyer Mr. & Mrs. Robert Eikenburg*** Janice Evans Gene & Patricia Ewald Friends of Nordonia Hills Library Susan L. Fike*** Mary Eileen Fogarty*** David V. Foos** Mrs. Barbara J. Garris* Gary & Katie Geoffrion Larry & Jean Gilbert Thomas Gilbride** Hazel Haffner*** Tom & Kirsten Hagesfeld** Marian Hancy* Michael & Suzanne Harris* James G. Hayes Curt & Karen Henkle** Clyde A. Horn*** Ron & Joanne Hulec*** Mr. Richard Hyde James & Gale Jacobsohn Mr. & Mrs. Robert L. Janson* Mr. & Mrs. Ronald Kahn Marilyn & Howard Karfeld*** Lauren Kawentel** Ms. Judith A. Kish David & Sue Klepac** Mr. Thomas Knox Jacob Kronenberg & Barbara Belovich** Charles Kruger Eleanor & Stephen Kushnick*** Fred & Joann Lafferty Mr.& Mrs. Brian Lawler Gregory Leach Ms. Carla Licastro* Mr. & Mrs. Devere E. Logan* Anne R. & Kenneth E. Love* Brian & Renee Lowery*

greatlakestheater.org

Patrons ($250 to $499)

Audiences and Artists

Great Lakes Theater

Fred & Mary Behm** Jeffrey Boecker & Susan Iler Bette Bonder & Patrick Bray* Mr. Jonathan M. Boylan & Mrs. Marianne Ludwig** Beverly & Bruce Cameron Christopher & Nancy Coburn** Eleanor Davidson Richard Furnstahl & Teresa Stankiewicz Mr. & Mrs. Rudolph H. Garfield, Jr.*** Janet & Patricia Glaeser*** Gary & Joanna Graeff*** Mrs. Robin H. Hatch Mr. Herbert J. Hoppe, Jr.*** Robert & Linda Jenkins** Stewart & Donna Kohl The Rosa & Samuel Lobe Memorial Fund of the Jewish Federation*** Ken & Mary Loparo*** Mr. & Mrs. Thomas M. Lynch*** Lynda & Charlie Mayer** Francis & Viola McDowell** Mr. & Mrs. Douglas McGregor Helen & Harry Mercer The Music & Drama Club* Mr. & Mrs. Patrick W. O’ Connor** John & Norine Prim*** Mr. John Rampe Naomi G. & Edwin Z. Singer Family Fund, a supporting foundation of the Jewish Federation of Cleveland* Lloyd Snyder & Margaret Terry Kathleen Turner*** Margaret & Loyal Wilson The Women’s Committee of Great Lakes Theater Festival*** Brian Wynne & Patrick Cozzens* Donald & Dorothy Zito

Donors support

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Mr. & Mrs. Robert E. McDonald*** Richard & Karen Middaugh* Ms. Jennifer A. Miller Amanda Mockbee Toni & Linda Moore** Roy & Cindy Moore** Tom & Mary Neff Ms. Karen Nemec* Ms. Brenda Norton Lou M. Papes* Zachary & Deborah Paris** Peggy & Michael Partington** Mr. & Mrs. Robert J. Patalon Frank Rausche Reinhold & Ginny Roedig*** Ms. Lori Riga & Mr. Jeff Saks Mrs. Kathy Salem Mr. & Mrs. James A. Saks Jim & Joan Schaefer* Dr. Dave & Faye Sholiton Dina & Richard Schoonmaker*** Donna Schuerger** John & Susan Siegfried Mr. & Mrs. Thomas Slavin** David & Rita Smith*** William E. Spatz* Susan St. John* Kathlyn & Harry Stenzel*** Anita K. Stoll Albert Stratton Mr. & Mrs. Timothy L. Sullivan** Mr. Joseph E. Talaba Elizabeth Twohig** James L. Wagner* Mrs. Betty S. Weiss* Gordon & Virginia Wepfer Ms. Jennifer B. Schwartz Wright Dr. C. Russell & Cynthia Zachem Arthur & Deborah Zinn** Ms. Rebecca A. Zuti & Mr. Anthony D. DeCello*

Friends ($75 to $124) Joel & Teresa Andreani* Dr. & Mrs. Robert C. Bahler Lynne M. Bajec* Carol Barnak Tom & Dorothy Bier*** Mr. & Mrs. David R. Blackman Dr. & Mrs. Dieter F. Bloser*** Ms. Dorothy F. Borer Mr. Stanley C. Brandt & Ms. Mary K. Whitmer*** Ms. Megan Casserlie Mr. & Mrs. Richard L. Chernus Marcia G. Christian** Kathleen M. Cooper** Doug & Mary Court** Samuel Cowling** Ronald & Patricia Cramer Shirley B. Dawson* Chris & Mary Ann Deibel*** Carolyn J. Buller & Bill Doll***

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Barbara J. Burke* Daniel Divis Donna Douglas*** Judith Darus Rita & Dennis Dura** The Eldridge Family*** Deena & Richard Epstein*** Howard P. Erlichman* Mr. & Mrs. Frank L. Field*** Mr. & Mrs. Lou Galizio*** Katherine A. Ganz Deborah A. Geier*** Greg & Gail Gibson*** Dr. & Mrs. Norman W. Goldston*** Ilona K. Gram* Mr. & Mrs. Richard S. Gray* John Greene Jean E. Gubbins* Lee & Peter Haas Iris & Tom Harvie*** Jean Heller Ms. Eleanor W. Helper Frank & Gerry Hoffert* Mark & Lynn Hofflund Dr. Randal N. Huff Mr. & Mrs. Joseph C. Kelley*** Michael & Lynn Kleinman* Mr. & Mrs. Mark D. Kozel*** Mr. & Mrs. Robert Larson Frederick C. Luckay Jennifer & Peter Meckes Rev. Edward E. Mehok*** Mrs. Ruth P. Mennell Christine Myers-Johnston Susan Janney* Mr. Gilbert P. Kenehan* Samuel C. Kennell Stuart & Anne Klein Mary Jo Klements Mr. & Mrs. Gregory G. Kruszka Pat Murphy & Mike Kupiec* Mr. & Mrs. Stephen Lacey Lauri Laribee Gregory & Vickie Leyes* Ronald & Elizabeth Manolio*** Ms. Linda McGinty* Nan Miller** Ms. Cheryl A. Moskwa Ken Noetzel* Joan M. Oravec*** Mr. & Mrs. James M. Petras James & Susan Prince Mr. & Mrs. Harold I. Pittaway III Andrew & Brenda Pongracz Mr. & Mrs. Louis Pongracz* Larry & Susan Rakow* Judy & Clifford Reeves** The Reinker Family*** Mr. & Mrs. Gerald P. Rencehausen Ms. Jacqueline Y. Rhodes* Barbara S. Robinson Mr. Mark J. Salling & Ms. Cindie Carroll Pankhurst*** Diane Savage

Mrs. Lois Schneider Mr. & Mrs. Tom Schock* Doris A. Schultz** Steve & Kathy Schultz* Donna Sheridan** Patricia J. Shook** Mary Slak** Marg Slesnick** Alma L. Smith Mr. Joseph A. Sopko Rex & Judy Stanforth Darwin L. Steele*** Ms. Lillian Stewart Ms. Rochelle R. Straffon Dan & Robin Sullivan Dalma & Lajos Takacs*** Mr. & Mrs. Edward J. Tatman John & Emily Hartwell Taylor Anne Unverzagt & Richard Goddard** Carol A. Vidoli*** Natalie Vloedman Drs. Jay & Kathleen Ward*** Sharon & Yoash Wiener*** Mrs. Barbara S. Walker* Robert & Emily Williams Jeanne Wojciechowicz James & Sandra Wood* Mr. A. Paul Ziegler Ruth & Sidney Zilber*** *3 – 5 consecutive years as an Annual Fund donor **6 – 9 consecutive years as an Annual Fund donor ***10 or more consecutive years as an Annual Fund donor

Matinee Idols Donors who underwrote tickets to 2014-2015 Student Matinees so more students can attend.

Steve Adler AkzoNobel Packaging Coatings Mary Archambault Walt & Laura Avdey Carol Barnak David & Carolyn Bialosky Jack & Janice Campbell Mr. & Mrs. Frank Cercone Mr. & Mrs. Richard L. Chernus Karen, Ken, & Zoe Conley Mr. & Mrs. John Ferchill Mr. Gerald Freedman Mr. & Mrs. Rudolph H. Garfield, Jr. Lawrence & Linda Hatch Jack & Mary Ann Katzenmeyer Bob & Nanci Kirkpatrick Mr. & Mrs. John S. Piety Mrs. Nancy B. Pottorff Mrs. James O. Roberts John & Barbara Schubert Laura & Alvin Siegal

Thomas G. & Ruth M. Stafford Sally J. Staley Brit & Kate Stenson Linda M. Kane & Gary Stewart John & Dianne Young

Matching Gift Corporations AT&T Foundation Eaton Corporation FirstEnergy Foundation FM Global Charitable Contributions IBM Corporation Key Foundation The Lubrizol Foundation Nordson Corporation Foundation Perkins Charitable Foundation PNC Foundation Rockwell Automation

Gifts were received in honor of: Dr. Howard Epstein Mr. & Mrs. Morton G. Epstein Chris Fornadel Samuel Hartwell Sally J. Staley

Gifts were received in memory of: Jack L. Brown Corning Chisholm Marie Strawbridge

The Women’s Committee 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.

Officers

Barbara Cercone, President Janice Campbell, Vice Chair Viola McDowell, Recording Secretary Bernice Bolek, Corresponding Secretary Nanci Kirkpatrick, Treasurer

Every effort is made to ensure that our Donor records are current and correct. Please call the Development Office (216.453.4442) with questions or to report updates and revisions.

2015-16 SEASON Subscribe today!

216.400.7096 clevelandplayhouse.com Ken Ludwig’s

A Comedy of Tenors sept 5 – oct 3, 2015

A producer attempts to stage the concert of the century in this laugh-out-loud farce set amidst the glitz and glamour of 1930s Paris.

The CruCibLe oct 10 – nov 8, 2015

Rumors of witchcraft fuel deep-seeded jealousies, lust and greed in Arthur Miller’s controversial American classic.

Special Non-Subscription Holiday Engagement After much anticipation, Cph is announcing our 100th season.

The shows you will see on Cph stages this year will appeal to your head, heart, spirit, social consciousness and civic pride. We will introduce you to artists with Cleveland roots and welcome back some of your favorite performers, giving them the opportunity to imagine something new and transformative, all while we build our shows right here at Cph. Comprised of world premieres, the best of contemporary plays and American classics, this season speaks with a diversity of voices that reflect the conversations occurring in our city.

Together, we’ve already made one century of Cleveland history, and we thank you for your support as we embark on the second.

A ChrisTmAs sTory nov 27 – dec 23, 2015

The record-breaking show returns to the CPH stage in all its pink-bunny-suit, glowing-leg-lamp triple-dog-daring glory.

LiTTLe shop of horrors Jan 9 – feb 7, 2016

A ‘peculiar’ plant may be the ticket to fame and fortune for a nerdy floral clerk in this gleefully twisted, screamingly funny musical.

The mounTAinTop Jan 23 – feb 14, 2016

On the eve of the fateful day in Memphis, Dr. Martin Luther King, Jr. is challenged by an extraordinary maid in this surprising and poetic portrait of the man behind the myth.

LunA GALe

feb 27 – mar 20, 2016 A seasoned social worker wrestles with the question of what is right during a custody battle that is proving to be her toughest case yet.

mr. WoLf

Apr 2 – 24, 2016

LAURA KEPLEY | Artistic director

Centennial Season Sponsor

A family is desperate to heal each other and rebuild their world after their missing child is found in this hauntingly beautiful and mysterious tale.

Special Non-Subscription Engagement

sTeeL mAGnoLiAs may 21 – Aug 21, 2016

At a beauty shop in 1980s Louisiana, six southern spitfires face a life-changing event with heart and humor.

Cleveland’s Classic Company at the Hanna Theatre

presents...

2015 2016

SEASON

subscribe!

Sit in our best seats & SAVE BIG. A Tony Award-Winning Musical for the Whole Family

the secret garden

September 25 - October 31, 2015 / Hanna Theatre Book & lyrics by Marsha Norman / Music by Lucy Simon / Based on the novel by Frances Hodgson Burnett

Shakespeare’s Towering Tragedy

king lear

October 2 - November 1, 2015 / Hanna Theatre

By William Shakespeare

Northeast Ohio’s Favorite Holiday Tradition

a christmas carol November 28 - December 23, 2015 / Ohio Theatre

By Charles Dickens / Adapted and Directed by Gerald Freedman

An Agatha Christie Murder Mystery Classic

and then there were none February 26 - March 20, 2016 / Hanna Theatre

By Agatha Christie

A Hilarious Labor of Love and Laughter

love’s labour’s lost

April 8 - 24, 2016 / Hanna Theatre

By William Shakespeare

The World’s Longest Running Musical

the fantasticks

May 13 - 29, 2016 / Hanna Theatre

Book & lyrics by Tom Jones / Music by Harvey Schmidt

216.640.8869 / GreatLakesTheater.org

Hanna Theatre April 10–26, 2015

Charles Fee Producing Artistic Director With generous support provided by

Great Lakes Theater

John and Barbara Schubert Presents

By

William Shakespeare Directed by

Company

J. Todd Adams* Aled Davies* Jonathan Dyrud* Tom Ford* Andrew Miller Scenic Designer Russell Metheny Fight Choreographer Dusten Welch

Dougfred Miller* Ryan David O’Byrne* Xavier Reminick Patrick Riley* Costume Designer Kim Krumm Sorenson

David Anthony Smith* Nick Steen* M.A. Taylor* Dustin Tucker* Katie Willmorth

Lighting Designer Rick Martin

Dance Choreographer Sara Whale

Sound Designer Matt Tierney

greatlakestheater.org

Drew Barr

Production Stage Manager Tim Kinzel*

There will be one fifteen-minute intermission.

Special Student Matinee Series support was generously provided by AkzoNobel Packaging Coatings.

The Student Subscription Program was generously sponsored by Eaton Corporation. *Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

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The cAsT

The Tempest

Dramatis Personae (In order of appearance) Boatswain ....................................................................................................................................M.A. Taylor * Alonso, King of Naples........................................................................................................Dougfred Miller * Antonio, Prospero’s brother, the usurping Duke of Milan .................................................Jonathan Dyrud * Gonzalo, an honest councilor .....................................................................................................Aled Davies * Sebastian, Alonso’s brother........................................................................................................... Nick Steen * Miranda, daughter to Prospero...........................................................................................Katie Willmorth Prospero, the right Duke of Milan ..............................................................................................D.A. Smith * Ariel, a spirit ................................................................................................................ Ryan David O’Byrne * Caliban, a savage ....................................................................................................................J. Todd Adams * Ferdinand, son to the King of Naples. ...................................................................................... Patrick Riley * Trinculo, a cook ...................................................................................................................... Dustin Tucker * Stephano, a butler .........................................................................................................................Tom Ford * Ensemble .......................... J. Todd Adams*, Aled Davies*, Jonathan Dyrud*, Tom Ford*, Andrew Miller, Dougfred Miller*, Ryan David O’Byrne*, Xavier Reminick, Patrick Riley*, Nick Steen*, M.A. Taylor*, Dustin Tucker*, Katie Wilmorth *Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States

The Scenes of the Play: Scene 1: On a ship at sea.

Scene 2: The island. Before Prospero’s cell.

Scene 3: Another part of the island.

Scene 4: Another part of the island.

Scene 5: Another part of the island.

Scene 6: Another part of the island.

Scene 7: Another part of the island.

Scene 8: Another part of the island.

Scene 9: Another part of the island. Near Prospero’s cell.

Providing services in the home to help older adults remain independent and in the community. How may we help you?

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HOME CARE AND MORE

216.791.8000

www.benrose.org

spotlight an insider’s guide to

Generous support for Spotlight was provided by

Donald F. and Anne T. Palmer

From the Director Drew Barr

Spotlight on the tempest

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rom as far back as Aristotle to the forefront of modern neuroscience, we have linked our fundamental conception of humanity to the notion of consciousness—the spark of awareness that makes us us. Consciousness fuels our innate curiosity about the world, as well as provides the window through which we perceive that world. It establishes both the “I” and the “eye” of the beholder. In The Tempest’s spare and tantalizing allusiveness, Shakespeare delves deeper into the thrilling mystery of life than in any of his earlier plays. Written at a time when new learning was remapping the frontiers of human knowledge, The Tempest explores a paradox of human consciousness: awareness of one’s self in the world can prevent one from feeling connected to the world.

Albert Einstein once wrote: A human being is a part of the whole, called by us “Universe,” a part limited in time and space.

He experiences himself, his thoughts and feelings as something separated from the rest—a kind of optical delusion of his consciousness.

This delusion is a kind of prison for us, restricting us to our personal desires and to affection for a few persons nearest to us.

Prospero, who has devoted his life to knowing all there is to know about the universe, must confront the extent to which he does not know himself and can never fully know others. In recognizing the limits of his comprehensive power, Prospero learns how to broaden the scope of his empathic ability and prepares for a journey that will enable him to rectify the misdeeds of his selfish past. Yet, as its title implies, The Tempest is ultimately concerned with much more than one man’s evolution.

Shakespeare, whom Ben Jonson called “the Soul of the age” —an age that considered the soul to be the seat of both thought and feeling—at once celebrates the awesome curiosity and capacity of the human mind and exposes the fears, anxieties and selfserving impulses that threaten to overwhelm it. That which makes us human, as Shakespeare shows us time and time again, is our

struggle to reconcile the enormity of our dreams with the exquisite vulnerability of our brief lives.

The characters in The Tempest confront physical and emotional landscapes that force them to question fundamental truths about who they think themselves to be. Fatigued and isolated, having been traumatically ripped from their everyday world, Prospero’s prisoners stumble through dizzying states of consciousness, uncertain whether they can trust what they see, hear or feel. Haunted by memories of their past and tempted by visions of an imagined future, the people of The Tempest struggle to comprehend the insistent present at work in Prospero’s plan.

The island, with its mysterious sights and sounds, becomes a physical manifestation of the human mind—a lens that both reveals and obscures. In Shakespeare’s day, magicians gazed for hours by candlelight into obsidian mirrors. This occult art, called “scrying,” transported its practitioners into the supernatural realm. The terra incognita of Shakespeare’s The Tempest facilitates a similar magic, bestowing upon its audience the power to participate in both sides of the act of knowing.

Our need to understand leads us to identify with both the ruler and the subject; we are both the observer and the observed.

As he reveals the extent to which human beings are enslaved by their senses, Shakespeare offers glimpses of the transformative power of perception: how the unknown can be turned into monster or god and how brief moments contain lifetimes of experience. We wonder at what it is to wonder and marvel at our capacity for the marvelous. We appreciate, in the midst of our tempestuous lives, how rare and precious are those moments when we can truly see, can truly touch, can truly feel the humanity of those around us.

There’s something resonantly modern in Shakespeare’s exploration of human consciousness. Writing twenty years before Rene Descartes shook the philosophical world with his foundational assertion, “I think therefore I am,” and three hundred years before Albert Einstein formulated his theories of relativity, Shakespeare dramatized the power of the mind both to imprison and to liberate. Like his contemporary, John Donne, Shakespeare reminds us that “No man is an island;” The Tempest dares us to open our hearts and minds fully enough to drown with all the world in the deluge of our senses.

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ing Alonso of Naples and his entourage sail home for Italy after attending his daughter Claribel’s wedding in Tunis, Africa. They encounter a violent tempest. As their ship splits, everyone jumps overboard. The King and his 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 with King Alonso to seize the dukedom.

Prospero’s sole friend at court, Gonzalo, provided supplies, including some treasured books, for his enforced flight.

Prospero’s spirit-servant, 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 King and Gonzalo. Ariel foils their plan at the last moment. Meanwhile, two other 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 king, if Stephano will kill Prospero. Prospero presents Alonso and his guilty courtiers with a banquet of delights which turns terrifying with the arrival of Ariel in the form of a vengeful harpy. Alonso, believing that his crime against the exiled duke has resulted in the death of Ferdinand, is deeply traumatized.

Prospero rewards the constancy of the lovers with a celebratory betrothal masque.

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 to Gonzalo for his fidelity, and confronts his enemies.

Ferdinand is reunited with his grateful father, who breaks the pact with Antonio and obliges him to restore the dukedom to Prospero.

Caliban regrets his misplaced confidence in Stephano. As the royal and ducal groups prepare to return to Italy, Ariel is given his freedom and Caliban regains the island.

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Summary

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Playnotes

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his is what many of us think we know about William Shakespeare’s The Tempest: that it was the playwright’s last play and represents his “farewell to theater.” That take on The Tempest first gained traction in the mid-19th century but evidence has since emerged that Shakespeare kept writing for the stage after he penned it. Also the place of The Tempest in Shakespeare’s biography does not account fully for the power and fascination that the play still holds today.

Here are a few facts: The Tempest was not published during Shakespeare’s lifetime and only appeared in print in the First Folio of collected works released by members of the playwright’s theater company in 1623. Most scholars agree that the setting and plot of The Tempest were in part inspired by news of early encounters between English settlers and Native Americans and, more specifically, of a shipwreck in Bermuda, in July 1609, of a supply ship headed for the recently established English colony of Jamestown in Virginia. News of the shipwreck began to reach England about September 1610. The window for the play’s composition was narrow. Records indicate that The Tempest was performed at the court of King James on November 1, 1611, and was reprised at court again before the marriage of James’s daughter Elizabeth in February 1613.

Many commentators have assumed that Shakespeare left London after he wrote The Tempest, in late 1610 or early 1611, to retire to his home in Stratford-on-Avon, where he died in 1616. However, scholars also increasingly agree that Shakespeare probably collaborated with the younger writer John Fletcher on two or three plays—Henry VIII, Two Noble Kinsmen, and the lost Cardenio—between 1612 and 1614.

And in 1613, Shakespeare became part-owner of a house in Blackfriars, a London district where his company operated a theater. Perhaps Shakespeare’s “farewell to the theater” was not as definitive and dramatic as the farewell to magic delivered in the play by his character Prospero.

Date of Play 1589 First play begun

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The marriage celebration of Elizabeth, the daughter of James I, and Frederick V, future King of Bohemia, provided the occasion for an early performance of The Tempest in 1613.

By 1611, when The Tempest was performed at court, Shakespeare and his company had established themselves as London’s leading theater practitioners. Performing in the 1590s as the Lord Chamberlain’s Men, the company was prosperous enough to build an outdoor theater, The Globe, in 1599. They weathered the uncertainty surrounding Queen Elizabeth’s death and the succession of James I in 1603, and they quickly won a patent from James to bear the name “The King’s Men.” They had the wherewithal to renovate a second theater space in the Blackfriars district and started performing there indoors during the winter months in 1609. In the 18th century, the poet John Dryden passed along the oral tradition that The Tempest had been presented at the Blackfriars Theatre.

And yet by 1611 Shakespeare may also have been feeling the pressure of changing tastes. The plays that he wrote between about 1607 and 1611— Pericles, Prince of Tyre, The Winter’s Tale, Cymbeline, and The Tempest— were all in the 1611

the tempest last play completed 1614 the two noble kinsman

A conjectural reconstruction of the interior of Blackfriars Theatre, the indoor space that The King’s Men started using in 1609 during winter months and where The Tempest may have been performed.

newly popular “romance” style that was marked by exotic settings, wondrous events, and a sometimes unsettling mix of tragedy and comedy.

Another strand of influence on this group of late plays was the court masque. King James and his wife Anne frequently commissioned such artists as designer and architect Inigo Jones, lutenist and composer Robert Johnson, and writer Ben Jonson to create elaborate spectacles for court involving costumes, scenery, music, dance, poetry, and mythological characters.

Such influences can readily be seen in The Tempest. It’s set on a remote island, peopled by spirits and ruled by a magician. The masque composer Robert Johnson created musical settings for at least two of the songs called for in the text. Costumed dances are also described in the First Folio text, which includes an unusual number of stage directions for specific props and actions. Witness this note at the beginning of Act 3, Scene 3: “Enter PROSPERO above, invisible. Enter several strange Shapes, bringing in a banquet; they dance about it with gentle actions of salutation; and, inviting the King, & c. to eat, they depart.” Another notation follows, midscene: “Enter ARIEL, like a harpy; claps his wings upon the table; and, with a quaint device, the banquet vanishes.”

Inigo Jones, the English designer and architect who was first employed by Queen Anne, the wife of James I, to design sets and costumes for masque entertainments at court.

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Detail of costume designs by Inigo Jones for the The Masque of Augures written by Ben Jonson in 1622.

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Playnotes continued Shakespeare does seem to have begun stepping back. In addition to the collaborations with the up-and-coming John Fletcher that have already been mentioned, Shakespeare may have worked with others on Pericles, Prince of Tyre, which, like the Fletcher collaborations, was not included in the First Folio collection, and on Cymbeline.

But 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 customary practice, Shakespeare does not seem to have relied on a specific source for its plot. The story touches on many themes that Shakespeare examined from different directions throughout his writing career: the nature of kingship and just governance, the tension

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Did Shakespeare enthusiastically embrace the possibilities of the masque-infused romance?

The Bloomsbury writer Lytton Strachey claimed that by the time the playwright produced Cymbeline, he “was getting bored himself.” We’ll never know. But what is known is that the playwright seems to have begun, in those last years, to work more frequently with 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 might today.

For whatever combination of reasons,

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Portrait of John Dee, the Elizabethan mathematician, philosopher, and occultist who may have been one of Shakespeare’s inspirations for the character of Prospero

between nature and nurture, the relationship between a father and a precious daughter, the consequences of such irrational emotions as jealousy and the desire for revenge.

Some of these issues were topical in a particular way in Shakespeare’s day. Several observers have seen in Prospero a portrait of an older contemporary of the playwright’s, a learned man named John Dee. A mathematician, philosopher, mystical humanist, occultist, astrologer, and alchemist, Dee had advised Queen

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John Dee studied navigation and promoted exploration of the New World. In the frontispiece to his 1577 treatise, the figure of Britannia begs Queen Elizabeth to permit British navigators to embark on voyages of discovery. New World encounters of the early 17th century are thought to have influenced the setting and plot of The Tempest.

Elizabeth but did not find favor with King James and died in about 1609. Dee studied and published treatises about navigation, championing British exploration of the New World and the creation of a far-flung British Empire founded on naval power. Amassing one of the country’s largest private libraries, he also plumbed mathematics, ancient philosophical texts, and the rituals involved in transforming base metals into gold and divining mystical secrets by gazing into mirrored surfaces in order to seek a basis for a unified world religion that would heal the split between the Catholic and Anglican Churches.

The Tempest seems to be grappling in a profound and moving way with some of the same questions that absorbed John Dee and like scholars—questions that still speak to us today: How does one govern oneself? Shakespeare’s contemporaries found the answer in Plato’s tripartite division of the soul into Reason, Spirit, and Appetite—which may be personified in The Tempest by Prospero, Ariel, and Caliban and which found another expression, centuries later, in Sigmund Freud’s superego, ego and id. Does kingship itself confer a fitness to govern others?

The play explores the question from several angles—from Prospero’s own controlling and indifferent style of governing to the drunken scheming of the fools Stephano and Trinculo to become “lords” of the island. Why has governance, throughout human history, resorted to subjugating “the other”—the Calibans we encounter—as less than human?

Such topics were certainly on Shakespeare’s mind when he wrote The Tempest. In the character Gonzalo’s description of an ideal state, there are echoes of observations about the New World and the nature of its people that are contained in the essay “Of Cannibals” by French humanist Michel De Montaign, which was translated into English in 1603. In an age of exploration, in the court of a king who placed a high value on the trappings of absolute monarchy, proper governance of self, state, and others posed important questions.

the tempest shortest play 1,786 lines

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The Tempest Through the Ages

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Spotlight on the tempest

he Tempest encompasses a multitude of themes, experiences, and settings—music and dance, magic, thoughts about governance and kingship, a relationship between a father and a daughter, young lovers. Throughout the years, theater practitioners have focused on aspects of Shakespeare’s play 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 focus on and amplify the play’s love story and its comic subplot. Taking The Tempest up after the Restoration, when women were also allowed on stage, Sir William Davenant and the poet John Dryden added another pair of lovers, including 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.

The adaptation of The Tempest by Davenant and Dryden in 1667 brought both the love plot and the comic subplot of Caliban, Stephano and Trinculo to the fore. Their adaptation held sway for another century. Johann Heinrich Ramberg, a German-born painter and engraver who worked in England, contributed this illustration of the Davenant and Dryden text to John Boydell’s Shakespeare Gallery, a multivolume illustrated edition of Shakespeare plays that was released between 1791 and 1803.

The musicality of The Tempest inspired an operatic treatment of Davenant and Dryden’s adaptation, which was developed by Thomas Shadwell 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.

Charles Kean’s elaborate production of The Tempest in 1857 included a full-scale ship and water on stage.

The 19th century witnessed the gradual re-introduction of more of Shakespeare’s own text, as happened with many of his other plays as well. Not unexpectedly, spectacle was a prominent feature of most 19th century productions of The Tempest. Charles Kean employed 140 stage hands to execute such stage effects as Ariel descending on a fire ball in a show that lasted five hours.

As the 19th century progressed, interest grew in the character of Caliban as a noble savage and rebellious antihero—along the lines of the darkly charismatic heroes of the poet Lord Byron. Such actor-managers as Beerbohm Tree preferred to play Caliban rather than Prospero.

Some of the 19th century actor-managers preferred the role of Caliban. A contemporary illustration captures actor Beerbohm Tree’s rendition of Caliban in a 1904-1905 production at His Majesty’s Theatre in London.

Presenting Prospero in the likeness of Shakespeare emphasized the sense of Shakespeare’s “farewell to the theater” in Great Lakes Theater’s 1997 production, directed by Dennis Rosa.

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 role of Caliban. In 1976, the year of the United States bicentennial, Great Lakes artistic director Vincent Dowling envisioned The Tempest as a “New World” encounter in this vein.

The late 20th century witnessed a variety of approaches. Some directors focused on the play’s historical context. A 1973 production at Britain’s National Theatre featured John Gielgud as Prospero, dressed to resemble the occultist John Dee. Others brought Shakespeare’s biography to the fore; in a 1997 production at Great Lakes Theater, guest directed by Dennis Rosa, Prospero was clothed to resemble iconic representations of the playwright himself.

John Gielgud’s Prospero

Many contemporary directors have plumbed the play’s psychological depths. The tender and bittersweet relationship between father and daughter infused Great Lakes Theater’s 2007 production, directed by Andrew May. Prospero and Miranda share a moment of easy familiarity in Great Lakes Theater’s 2007 production, directed by Andrew May.

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Great Lakes Theater’s 1976 production of the play, directed by artistic director Vincent Dowling, also approached the play from the perspective of New World encounters.

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From inspiration to design

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Prospero

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he dynamics of power that drive Shakespeare’s play—at once political, sexual, and psychological—are at the heart of the current Great Lakes Theater production of The Tempest, directed by long-time guest director Drew Barr. So many questions arise: How to embody Prospero’s sometimes capricious cruelty and his all-consuming need for control and revenge? Is he best likened to a modern-day terrorist bent on vengeance or to a Renaissance scholar trapped in his own selfabsorption? How to reveal the humanity of the slave Caliban when no one in the play wants to see him as a human person?

Like all producers of Shakespeare’s play, director Barr and his design team have had to grapple with how to represent the various worlds that collide in The Tempest. There are the original inhabitants of the island—Caliban and Ariel; the Europeans in exile—Prospero and Miranda; the shipwrecked courtiers; the spirits who perform the play’s masque entertainments; and even the mariners on the boat.

Caliban

Each group has its own separate and isolated experiences, and yet the play moves forward by gradually drawing them together. Unlike the protagonists of Shakespeare’s other plays, Prospero orchestrates the movements of the other characters while only interacting with them sparingly himself. He engages most closely with Ariel—the private instrument of his machinations. As a result, Prospero’s physical relationship with the action of the play becomes an interesting challenge.

Things also have to be embodied on stage that are difficult to carry off—storms, islands, spirits. If not depicted literally, how can the psychology of a storm, the trajectory from madness to peace, be tracked? If the setting is an island of the mind, how can the desperate sense of confinement be communicated? Until the storm, Miranda had only a slave or her own father to choose as a potential mate. What are the visual signals that the tensions among the three of them have neared the breaking point?

Drew Barr had not worked on The Tempest

Costume Design by Kim Krumm Sorenson

Juno

Ariel

Trinculo

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Ceres

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From inspiration to design

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A photo of the scenic model depicting the storm in GLT’s production of The Tempest.

Scenic design by Russell Metheny.

before taking on this assignment, either as an actor or a director. He thought he knew the play as “an island fantasy,” but the more he read and re-read it, the more he realized “how dark it was psychologically, how rich and scary.” From reading the play itself, Barr dove into reading about the play and its historical context and then kept reading. Finding out about the mathematician John Dee led on the one hand to reading about Athanasius Kircher, a 17th century German Jesuit who aspired to know everything, and on the other hand to delving into astrology. He also sought out images that resonated with his emerging ideas about the play. Curious about shipwrecks, for instance, he clicked on videos of the recent sinking of the ferry Costa Concordia in the Mediterranean.

Design collaborators have been crucial to Barr’s process. Fortunately, he and his design team—set designer Russell Metheny, costume designer Kim Krumm Sorenson, and lighting designer Rick Martin—have worked together at Great Lakes Theater and elsewhere for more than a decade. Their knowledge of each other, of the Hanna Theatre, and of the technical crews enables them to push the possible. They start by sharing images with each other—from all sorts of disparate places. “We let it grow,” confides Sorenson. “We don’t lock in too early.”

The mirror and LED light installations of contemporary artist Yayoi Kusama were among the images that inspired thinking about how mirrors might function in the world of the play.

The organic shapes and textures of Nick Cave’s eco-inspired “Soundsuits” offered ways of thinking about the play’s Masque performers.

Scenic Design by Russell Metheny

Rembrandt’s paintings of Dutch merchants who profited from the “Age of Discovery,” the polished obsidian Aztec mirror that John Dee acquired, dramatic tableaus from designer Thom Browne’s fashion shows, organic “wearable” art by Nick Cave, art installations of mirrors and lights by Yayoi Kusama, photographs of homeless people, images of scarring and tattoos—all became part of the mix and enabled the collaborators to start honing in on the images that “stuck” and inspired the world and the look of the play.

And of such stuff, “dreams are made on”— to borrow Prospero’s words about the power of magic. In the end, says Russell Metheny, “Making scenery is not about making scenery. You rely on the story, the director, and the actors. You create a space where it can work, a space full of air that can instigate invention.” Actors and air—these are the essential ingredients of Prospero’s revels and of all theater: “These our actors,/ As I foretold you, were all spirits and/ Are melted into air, into thin air.”

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Above: Detail of the mirror box; Below: Models of the mirror box open and closed.

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Learn More and Explore Experience Enhancement Salon Thursdays

Grab a beverage and enjoy a 30 minute pre-show discussion with a GLT artist an hour before the curtain.

Nightcap Saturdays Stick around after the evening performance to mingle in the Hanna’s lounge – open ninety minutes following the show.

Director’s Night Enjoy a pre-show discussion with our Artistic Director and the director of the show an hour before curtain.

Playnotes Listen in on a pre-show introduction to the content of the show before Saturday matinees at 12:30 p.m.

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Visit our website for the latest production related audio and visual content in the Sights and Sounds section of our show page

Special Thanks

Margaret Lynch, Writer/Researcher Stacy Mallardi-Stajcar, Casual Images Graphic Design

weLcome

Producing Artistic Director

Dear Friends,

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n behalf of our artists, staff and Board of Trustees, welcome to Great Lakes Theater’s 53rd 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 that 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.

We offer special thanks to our great friends, John and Barbara Schubert, for their continued support of Great Lakes Theater as Production Sponsors of The Tempest. As you read through your program and look around the theater tonight, you will see the names of many other friends, partners, corporations and foundations whose support makes all of this possible. We invite you to utilize the enclosed brochure and join the Great Lakes Theater family as a member, supporting the work we create on the Parker Hannifin Stage at the Hanna Theatre and in schools throughout our region.

I hope to see you in our audience next season!

Charles Fee, Producing Artistic Director

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We extend our deepest gratitude to each and every one of our supporters — with particular recognition to our partners of over 30 years at Playhouse Square — and the tireless efforts of our extraordinary artists, talented administrative staff, dedicated board of trustees and the tremendous generosity of this community!

Great Lakes Theater

Continuing our record-breaking season of Les Misérables, The Merry Wives of Windsor, A Christmas Carol and Dial “M” for Murder, we are thrilled to share the final production of the year, Shakespeare’s late romance, The Tempest. I am overjoyed to welcome Drew Barr back to Cleveland as director of The Bard’s late masterpiece. Drew spent the last two years directing The National Theater of London’s award-winning production of War Horse in Australia and Holland, so we consider this a homecoming for him!

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Introduce Your Children to the Magic of Theater!

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THEATER !

JUNE 8-12 and JUNE 15-19, 2015 FULL- and HALF-DAY camps available!

at Berea-Midpark High School Register online at: GreatLakesTheater.org/educa�on 216.453.4443 korian@greatlakestheater.org

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who’s who COMPANY

Jonathan Dyrud* Antonio/Ensemble, The Tempest; Tony Wendice, Dial “M” for Murder First season at Great Lakes Theater Jonathan is thrilled to be a part of the Great Lakes/ISF family this season. In his two years in New York City, he performed as Proteus in The Two Gentlemen of Verona, Ciaus Lucius in Cymbeline (Hip to Hip Theater Company), Grumio in The Taming of the Shrew (Pulse Ensemble Theater) and Huck in the world premiere of Minstrel Show (The Weasel Festival). His previous regional credits include four seasons at the Oregon Shakespeare Festival, where he performed as Medvedenko in The Seagull, Froth and Friar Peter in Measure for Measure, Ensemble in To Kill a Mockingbird on the main stages, and Solomon in Speech and Debate, C.B. in Dog Sees God and Marcus Gee in Yellowface as part of their Midnight Project series. His film credits include Bartender in My Crazy Love (Oxygen Network) Captain in So SOHA, Pale Interviewee in Redheads Anonymous, and he just wrapped filming on his first independent film in December as Verder in Big House. Visit him at www.jonathandyrud@squarespace.com

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Aled Davies* Gonzalo/Ensemble, The Tempest; Inspector Hubbard, Dial “M” for Murder; Scrooge/ Samuels, A Christmas Carol; Mr. John Falstaff, The Merry Wives of Windsor Fourteen seasons at Great Lakes Theater Previously for GLT: Scrooge/Samuels in A Christmas Carol, Old Adam/Corin in As You Like It, Porter Milgrim in Deathtrap, Arvide Abernathy in Guys and Dolls, Dr. Bradman in Blithe Spirit, Camillo in The Winter’s Tale, Monsieur Diafoirus in The Imaginary Invalid, Capulet in Romeo and Juliet, Major Metcalf in The Mousetrap, Vincentio in The

Taming of the Shrew, Duke of Milan in The Two Gentlemen of Verona, Brabantio in Othello, The Earl of Caversham in An Ideal Husband, Sheriff Reynolds in Bat Boy: The Musical, Oberon/Theseus in A Midsummer Night’s Dream, Your Chairman in The Mystery of Edwin Drood, Sea Captain/Priest in Twelfth Night, Solinus/Dr. Pinch in The Comedy of Errors, Dorn in The Seagull, Duncan/Old Siward in Macbeth, Deputy Governor Danforth in The Crucible, King of France in All’s Well That Ends Well, Mr. Witherspoon in Arsenic and Old Lace, Escalus in Measure for Measure, Prospero in The Tempest, David Bliss in Hay Fever, Senex in A Funny Thing Happened on the Way to the Forum, Boyet in Love’s Labour’s Lost, Lady Bracknell in The Importance of Being Earnest, Julius Caesar in Julius Caesar, Claudius in Hamlet, Cleante in Tartuffe, Leonato in Much Ado About Nothing, Buckingham in Richard III and Topper in A Christmas Carol. Aled has been a proud and appreciative member of Actors’ Equity Association since 1984.

Great Lakes Theater

J. Todd Adams* Caliban/Ensemble, The Tempest; Father/Bob Cratchit/Ensemble, A Christmas Carol Four seasons at Great Lakes Theater Previously for Great Lakes Theater: Much Ado About Nothing (Benedick), Romeo and Juliet (Mercutio), Richard III (Clarence/Catesby), As You Like It (Oliver), The Imaginary Invalid (Bonnefoi) and The Winter’s Tale (Cleomenes). Regional: As You Like It, Richard III, Much Ado About Nothing, Romeo and Juliet, The Imaginary Invalid and The Winter’s Tale at Idaho Shakespeare Festival; The Crucible (Reverend John Hale) at Pioneer Theatre Company; Sherlock Holmes: The Final Adventure (Sherlock Holmes) at the Utah Shakespeare Festival; Romeo and Juliet (Mercutio) at the Denver Center; Henry IV pt. 1 (Hotspur), The Three Musketeers (Aramis), Love’s Labour’s Lost (Costard) and A Midsummer Night’s Dream (Puck) at Shakespeare Santa Cruz; The Importance of Being Earnest (Jack) and The Real Thing (Billy) at PCPA; Drawer Boy, Lonesome West, Entertaining Mister Sloane and Cyrano de Bergerac (South Coast Repertory); Gross Indecency (Mark Taper Forum); King Lear (San Diego Repertory). Film/ Television: Gilmore Girls, The West Wing, Flyboys and Warriors of Virtue. Mr. Adams holds an MFA from the American Conservatory Theater.

The Artistic Company

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Tom Ford* Stephano/Ensemble, The Tempest; Dr. Caius, Merry Wives of Windsor; Farmer/Thénardier/ Loud Hailer, Les Misérables Nine seasons at Great Lakes Theater Great Lakes Theater: Sidney Bruhl in Deathtrap, Dr. Caius in The Merry Wives of Windsor, Thénardier in Les Misérables, Sweeney in Sweeney Todd, Hastings/Tyrrel in Richard III, Argan in The Imaginary Invalid, Autolycus in The Winter’s Tale, Mr. Paravicini in The Mousetrap, the Baker in Into the Woods, Ross in Macbeth, Pseudolus in A Funny Thing Happened on the Way to the Forum, the King of Navarre in Love’s Labour’s Lost, Casca in Julius Caesar, Bob Cratchit in A Christmas Carol, Nicola in Arms and the Man and Peter Quince in A Midsummer Night’s Dream. Idaho Shakespeare Festival: Sweeney Todd, Richard III, The Imaginary Invalid, The Winter’s Tale, The Mousetrap, Into the Woods, Macbeth, A Funny Thing Happened on the Way to the Forum, Friar Laurence in Romeo and Juliet, Love’s Labour’s Lost, Gremio in The Taming of the Shrew, Ford in The Merry Wives of Windsor, Touchstone in As You Like It, Julius Caesar, the title role in You’re A Good Man, Charlie Brown and Hucklebee in The Fantasticks. Boise Contemporary Theater: This Wonderful Life, Truman Capote in Tru, I Am My Own Wife (coproduced with ISF). Portland Stage Company: Greater Tuna, The Snow Queen, Schott in Bach at Leipzig, The Mystery of Irma Vep, I Am My Own Wife, Billy in Iron Kisses, Kipps in The Woman in Black, Scrooge in A Christmas Carol, Max in Lend Me a Tenor, Mr. Manningham in Gaslight and Yvan in Art. Broadway: Alan Ayckbourn and Andrew Lloyd Webber’s By Jeeves at the Helen Hayes Theater. New London Barn Playhouse: Sheridan Whiteside in The Man Who Came to Dinner, The Man in the Chair in The Drowsy Chaperone, Pseudolus in A Funny Thing Happened on the Way to the Forum, Elwood P. Dowd in Harvey, Major General Stanley in The Pirates of Penzance, Edna Turnblad in Hairspray, Sipos in She Loves Me and Max in The Producers. Other performances: Dromio of Ephesus in The Comedy of Errors at Pittsburgh Public Theater, Puck in A Midsummer Night’s Dream at Lincoln Center Director’s Lab, Once Around the City at New York Stage and Film, Rutherford and Son at the Mint Theater, Salvador Dali in Hysteria at Florida

Studio Theater, Johnny in Maurice Sendak’s production of Really Rosie and Hysterium in A Funny Thing Happened on the Way to the Forum at McCarter Theater. TomFordActor.com Andrew Miller Ensemble, The Tempest Three seasons at Great Lakes Theater Andrew is thrilled to be rejoining Great Lakes Theater after 10 long years away! Previous credits with GLT: Strato in Julius Caesar and Ensemble in The Merry Wives of Windsor. Other credits: Male 1, Teacher from the Black Lagoon and Other Storybooks (TheatreWorks USA); Marcellus, The Music Man; Milt Fields, Laughter on the 23rd Floor, Hysterium, A Funny Thing Happened on the Way to the Forum (New London Barn Playhouse); Grumio, The Taming of the Shrew (Ithaca Shakespeare Company). “Thanks to my family for their love and support — and for letting me move back in for a bit!” Andrew is a proud graduate of Ithaca College.

Dougfred Miller* Alonso/Ensemble, The Tempest; Captain Lesgate, Dial “M” for Murder Ten seasons at Great Lakes Theater Returning from his multifarious performance as no fewer than four characters in Dial “M” for Murder (Lesgate, O’Brien, Pendleton and Williams), Dougfred was last seen

by Cleveland audiences as the Dukes in As You Like It. Previous appearances for Great Lakes Theater include the title role in Macbeth, Bob Cratchit in A Christmas Carol, Jonathan in Arsenic and Old Lace, Cassius in Julius Caesar, Jaques in As You Like It, Jack in The Importance of Being Earnest and a widely acclaimed Dogberry in Much Ado About Nothing. In several seasons with the Idaho Shakespeare Festival, his roles include Holofernes in Love’s Labor’s Lost, Malvolio in Twelfth Night, Horatio in Hamlet, Don Pedro in Much Ado About Nothing, several Dukes, an Emperor in Amadeus, and Prince Hal in Henry IV, Part 1 and Part 2. He has played Moriarty in Sherlock Holmes and the Case of the Christmas Carol at the Alabama Shakespeare Festival, Versati in The Underpants at Milwaukee Repertory Theatre, Jim Tyrone in A Moon for the Misbegotten at the Coach House

Theatre, King Arthur in Spamalot at the Beck Center (opposite his real-life Lady of the Lake, Jessica Cope), Lysander in a Vietnamese/English production of A Midsummer Night’s Dream with the Central Dramatic Theatre Company in Hanoi, Scrooge in A Christmas Carol at Portland Center Stage, Richard in Richard III and Benedick in Much Ado About Nothing at Tygres Heart Shakespeare Company, and Prospero in The Tempest and the Duke in Measure for Measure with the Texas Shakespeare Festival. Doug is a graduate of the PTTP at the University of Delaware, and a proud member of Actors’ Equity Association.

greatlakestheater.org

Xavier Reminick Ensemble, The Tempest Great Lakes Theater debut Xavier is thrilled and honored to be making his Great Lakes debut!

A Cleveland native, Xavier began performing at Near West Theatre, Cleveland Shakespeare Festival, and as a participant in ESU Shakespeare competitions before pursuing an acting degree in NYC. Notable NYC credits include the world premieres of the one-man-show (Mary)Todd by Dennis Bush (winner of three Fresh Fruit Festival awards including Best Actor), The Lost (Or, How To: Just Be) (winner of four Planet Connections Festivity awards), Franklin Stein, as well as productions at the renowned La MaMa, E.T.C. Pace University, BFA Acting. Love to his family, Rebeca, and his hallowed hometown.

David Anthony Smith* Prospero, The Tempest Twelve seasons at Great Lakes Theater In 12 seasons at Great Lakes Theater, audiences have seen him as Iago in Othello, Jaques in As You Like It, Duke of Buckingham in Richard III, Muggeridge/The Ghost of Christmas Present/ Debtor/Ensemble in A Christmas Carol, Viscount Goring in An Ideal Husband, Bottom in A Midsummer Night’s Dream, Malvolio in Twelfth Night, Macduff in Macbeth, Benedick in Much Ado About Nothing, Sergius in Arms and the Man, Algernon in The Importance of Being Earnest, Marc Antony in Julius Caesar and Berowne in Love’s Labour’s Lost. He has performed at the Tony-Award-winning Old Globe Theater in San Diego, South Coast Repertory, 14 seasons with the Idaho Shakespeare Festival (title role in Henry V), Laguna Playhouse, Sierra Rep, Madison Rep and the Shakespeare festivals of Utah, Colorado, Garden Grove, Rhode Island and Nevada. Forever and a day — Natalia.

Great Lakes Theater

Ryan David O’Byrne* Ariel/Ensemble, The Tempest Two seasons at Great Lakes Theater Ryan is so thrilled to be returning to Great Lakes Theater.

Regional: Great Lakes Theater, Idaho Shakespeare Festival, Lake Tahoe Shakespeare Festival and Peterborough Players.

New York: MoMA PS1, Joe’s Pub, La MaMa Experimental Theatre Club (SQUIRTS: New Voices in Queer Performance), Culture Project, Baryshnikov Arts Center and Judson Memorial Church. Ryan has premiered solo performance/ dance works at Dixon Place, Brooklyn Arts Exchange, Culturefix, Danspace Project, REDCAT (Los Angeles) and with AUNTS. Juilliard, 2011.

RyanDavidOByrne2014.weebly.com

Patrick Riley* Ferdinand/Ensemble, The Tempest Great Lakes Theater debut Patrick is very excited to make his Great Lakes debut! Recent acting credits include George in Our Town (La Jolla Playhouse WoW Festival), Howie in Speech and Debate (American Theatre Co.), Richard in Ah, Wilderness! (Arena Stage), Ferdinand in The Tempest (Hartford Stage, directed by Darko Tresnjak), Here’s Hoover! (La Jolla Playhouse, directed by Alex Timbers). Other credits include The Tempest, Twelfth Night, As You Like It (Shakespeare Santa Cruz), Measure for Measure (A Noise Within), The Seagull, Camino Real, The Misanthrope, As You Like It (UCSD). TV credits include Chicago Fire, Torchwood, 90210, Pretty/ Tough. Patrick is a founding member of the awardwinning fringe company Lonesome No More!

Theatre in Los Angeles, CA, where he directed and produced works such as Spring Awakening, Woyzeck and No Exit. He is also a certified yoga instructor and the drummer of a super cool band. He received his MFA from University of California, San Diego. Endless love and gratitude to Dana and Mom and Dad.ThePatrickRiley.com

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Nick Steen* Sebastian /Ensemble, The Tempest; Max Halliday, Dial “M” for Murder Two seasons at Great Lakes Theater Other regional credits include American Conservatory Theater (Orestes in Elektra and Topper in A Christmas Carol) and Shakespeare Santa Cruz (Antonio in Twelfth Night). Other roles include Torvald in A Doll’s House, Harry Bagely and Martin in Cloud 9, Lord Byron in Block Eight on the Camino Real, Beau in The Traveling Companion, Moe in The American Clock, Cassio in Othello and Horace in Courtship.

Nick received his BFA from the University of Evansville and his MFA from American Conservatory Theater. Follow his journey at www.NickSteen.com!

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M. A. Taylor* Boatswain/Ensemble, The Tempest; Mr. Hugh Evans, Merry Wives of Windsor; Babet/Lesgles, Les Misérables Twelve seasons at Great Lakes Theater Mark Anthony (aka M.A.) is pleased to return to the Magnificent Hanna Theater. Previously at Great Lakes Theater he was Hugh Evans, Merry Wives of Windsor; Legles/Babet, Les Miserables; Le Beau/Oliver Martext, As You Like It; Charity Man/ Old Joe, A Christmas Carol; Beadle, Sweeney Todd; Lord Rivers, Richard III; Verges, Much Ado About Nothing; Guy, The Imaginary Invalid; Peter, Romeo and Juliet; Grumio, The Taming of the Shrew; Speed, The Two Gentlemen of Verona; Actor 3, The Complete Works of William Shakespeare (Abridged); and Flute/Fairy, A Midsummer Night’s Dream. Also among his credits: Candy in Of Mice and Men (directed by Adrian Hall) for PTTP/Rep, Dracula for Boise Contemporary Theater in the title role, Launce, Two Gentlemen of Verona; Gravedigger/Player King, Hamlet at Pennsylvania Shakespeare Festival. He holds an MFA from the University of Delaware’s Professional Theatre Training Program (PTTP). He wishes to thank his Families (both genetic & professional) for All their Support and patience, and the Loyal Audiences of Great Lakes Theater. Lastly, for the Tribe, in the words of the late great Ernie Banks: “Let’s play Two!!”

Dustin Tucker* Trinculo/Ensemble, The Tempest; Muggeridge/Christmas Present/ Debtor/Ensemble, A Christmas Carol Two seasons at Great Lakes Theater Broadway: The Rainmaker (Roundabout Theatre).

Off-Broadway credits include SoHo Rep, Manhattan Ensemble Theater, Primary Stages, Culture Project and HERE. For Great Lakes Theater, he played Touchstone in last season’s production of As You Like It (BroadwayWorld Cleveland, Best Actor) and the Ghost of Christmas Present in A Christmas Carol. Mr. Tucker currently resides in Portland, Maine, where he is an affiliate artist with Portland Stage Company and has appeared in Fully Committed, Bach at Leipzig, The 39 Steps, Peer Gynt, Vigil and six seasons of The Santaland Diaries (BroadwayWorld Maine, Best Actor), as well as Greater Tuna with his Tempest compatriot and dear friend, Tom Ford. His other regional credits include Williamstown, Idaho Shakespeare Festival, Lake Tahoe Shakespeare Festival, Sierra Rep and Festival Stage of Winston-Salem. A proud and blessed member of Actors’ Equity Association. Much love to Peter. www.dustintucker.com.

Katie Willmorth Miranda /Ensemble, The Tempest Great Lakes Theater debut Katie is making her GLT debut!

Favorite credits: Belle in A Christmas Carol: A Radio Play at The Pearl Theater; Calpurnia in Julius Caesar (Smith Street Stage); Essie in The Devil’s Disciple (Shakespeare Theatre of NJ); Mrs. Marchmont in An Ideal Husband (Idaho Shakespeare Festival); Rosalind in As You Like It, Chris in Dancing at Lughnasa, various roles in The Caucasian Chalk Circle (dir. John Gould Rubin) all at Stella Adler Studio. Katie graduated from NYU, training at The Stella Adler Studio of Acting in NYC and the Royal Academy of Dramatic Arts in London. Thanks to my family and friends, whose love and support is a true testament to how beauteous mankind is!

Understudies Aled Davies*, Andrew Miller, Callee Miles, Dougfred Miller*, Roderick O’Toole, Xavier Reminick, Nick Steen*, M.A. Taylor*

DIRECTORS

Great Lakes Theater greatlakestheater.org

Drew Barr Director, The Tempest Nine seasons at Great Lakes Theater Drew returns to Cleveland for his ninth season with GLT, where he has previously directed The Mousetrap, The Seagull, The Crucible, Arsenic and Old Lace, Love’s Labour’s Lost, You Can’t Take It With You, The Taming of the Shrew, Tartuffe and Much Ado About Nothing. Most recently, Drew directed the Dutch language premiere of War Horse at Amsterdam’s Royal Carré Theatre, after previously directing the Australian premiere and serving as the Resident Director of War Horse at Lincoln Center Theater. Other New York credits include revivals of Frank Marcus’ The Killing of Sister George and Brian Friel’s Lovers for The Actors Company Theatre and the off-Broadway premieres of Karl Gajdusek’s Greedy; Barbara Blumenthal Ehrlich’s Hitting the Wall; Adam Bock’s The Typographer’s Dream; and Steve Murray’s This Passion Thing. Regionally, at North Carolina’s PlayMakers Repertory Company, Drew staged productions of Doubt, Frozen, Copenhagen, The Subject was Roses, Dinner with Friends, Sideman, W;t and the musical Violet. For Portland Stage Company in Maine, his productions include Two Rooms, I Am My Own Wife, The Woman in Black, Lend Me a Tenor, The Misanthrope and W;t.

His productions for the Idaho Shakespeare Festival include The Woman in Black; The Spitfire Grill; The Fantasticks; You’re A Good Man, Charlie Brown; and I Am My Own Wife (co-production with Boise Contemporary Theater, where he also directed Tru, At Home at the Zoo, Souvenir and This Wonderful Life). He directed Thornton Wilder’s The Skin of Our Teeth at Perseverance Theater in Alaska, as well as productions for the Juilliard School’s Drama Division, the Graduate Acting Program at NYU’s Tisch School of the Arts, the Conservatory of Theatre Arts at SUNY Purchase, the University of Washington’s School of Drama and the University of Delaware’s Professional Theater Training Program. Drew received his BA from Stanford University and his MFA from the Graduate Acting Program of New York University’s Tisch School of the Arts. He is a member of SDC and AEA.

Charles Fee Producing Artistic Director; Director, Dial “M” for Murder Thirteen seasons at Great Lakes Theater Directing credits at GLT: 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, Hamlet, 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 Lake Tahoe, Nevada (since 2010). His appointments have resulted in a dynamic and groundbreaking producing model for the companies, in which more than 50 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, in Boise, Idaho.

From 1988 to 1992, he held the 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 B.A. from the University of the Pacific and Master of Fine Arts from the University of California, San Diego.

Along with his wife, Lidia, and 19-year-old 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!

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DESIGNERS Rick Martin Lighting Designer, The Tempest and Dial “M” for Murder Thirteen seasons at Great Lakes Theater Many productions with GLT and ISF. Other theater: US premiere of Kurt Weil’s Marie Galante (Opèra Français de NY); Hekabe, The Illiad and The Rage of Achilles with Music-Theatre Group (New York and Santa Fe); and The Bitter Tears of Petra van Kant (Henry Miller Theatre, New York).

Opera: Le Diable dans le beffroi, La Chute de la Maison Usher (Opéra national de Paris – scenery and lighting); Castor et Pollux, Pellèas et Mèllisande and To Be Sung (Opéra Français de NY); Dialogues des Carmèlites, Cenerentola (Opéra de Toulon); and Romèo et Juliette (Spoleto Festival USA).

Concerts: Harawi (Opèra Comique, Paris – scenery and lighting), Le martyre de Saint Sèbastien (Citè de la Musique, Paris and Arsenal, Metz), Orchestre national de Lyon and the Orchestre de Champs Élysées (Lyon, Poitiers, Buenos Aires, Montevideo, São Paulo). Coming up: Cenerentola (Bilbao, Spain).

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Russell Metheny Scenic Designer, The Tempest and Dial “M” for Murder Ten seasons at Great Lakes Theater For Great Lakes Theater, Russell has designed Dial “M” for Murder, Deathtrap, As You Like It, Blithe Spirit, The Mousetrap, The Two Gentlemen of Verona, Othello, The Seagull, The Comedy of Errors, Measure For Measure, The Tempest, Julius Caesar, Arsenic and Old Lace, Love’s Labour’s Lost and The Merry Wives of Windsor. For Idaho Shakespeare Festival, he has designed The 39 Steps, The Two Gentlemen of Verona, The Woman In Black, Othello, A Tuna Christmas, The Seagull, The Comedy of Errors, Greater Tuna, Measure for Measure, Arsenic and Old Lace, The Tempest, Love’s Labor’s Lost, King Lear and Julius Caesar.

Recent productions include The Matchmaker, Both Your Houses, Philadelphia, Here I Come, The Game’s Afoot, Kurt Vonnegut One Acts, A Little Night Music, 4000 Miles, 1776, The House That Jack Built, Jekyll and Hyde, My Fair Lady, Betrayal, Twelve Angry Men and Superior Donuts.

Regionally, Russell has also designed for ACT San Francisco, Asolo Theatre, Maltz Jupiter Theatre, The Old Globe, Pasadena Playhouse, Missouri Rep, Indiana Rep, Syracuse Stage, Geva Theatre,

Weston Playhouse, The Studio Theatre (D.C.), Portland Stage, Philadelphia Theatre Co., Goodspeed Musicals and Geffen Playhouse.

Upcoming productions: The Tempest for Great Lakes and Idaho Shakespeare Festival. Mr. Metheny has received three Helen Hayes awards for outstanding scenic design.

Kim Krumm Sorenson Costume Designer, The Tempest and Dial “M” for Murder Eleven seasons at Great Lakes Theater Kim is pleased to be spending her 11th season with Great Lakes Theater, where she most recently designed Dial “M” for Murder. Past designs include Blithe Spirit, The Mousetrap, Othello, The Seagull, The Crucible, Love’s Labor’s Lost, Measure for Measure, The Taming of the Shrew, Julius Caesar, The Importance of Being Earnest, Much Ado About Nothing and Tartuffe. She is a frequent designer for the Idaho Shakespeare Festival, as well as The Juilliard School, where she designs both theater and opera. Her work has also been seen at Delaware Theatre Company, TACT, Playmakers Repertory Company, Hartford Stage Company, Guthrie Theatre, Intiman Theatre, George Street Playhouse, Coconut Grove Playhouse, Walnut Street Theatre, The Acting Company, Indiana Repertory Theater and Portland Stage Company. Kim holds an MFA from Southern Methodist University and is a member of USA 829. She lives in New York with her husband, Scott, and their two beautiful daughters, Carly and Gemma.

Matt Tierney Sound Designer, The Tempest Great Lakes Theater debut New York credits include the Broadway production of Machinal (2014 Tony Award nomination, Drama Desk Award; Roundabout Theatre Company); Our Lady of Kibeho (Signature Theatre); Pocatello, The (curious case of the) Watson Intelligence, Detroit (2013 Lortel nomination), Kin,This (Playwrights Horizons); A Midsummer Night’s Dream directed by Julie Taymor (Theatre for a New Audience); Generations, An Octoroon, Uncle Vanya, The Ugly One, A Public Reading Of An Unproduced Screenplay About The Death Of Walt Disney, Blasted (Hewes Award), all at Soho Rep; Arguendo (The Public Theater); Luck of the Irish (LCT3);

Elevator Repair Service’s The Sound and the Fury (April Seventh, 1928) (2009 Lortel nomination) and The Select (The Sun Also Rises) (2012 Lortel, OBIE Awards); The Wooster Group’s Hamlet (2008 Lortel nomination), Who’s Your Dada?!, and The Emperor Jones; and Young Jean Lee’s Lear, The Shipment, and Church. Other credits include Manhattan Theatre Club, Shakespeare Theatre Company, McCarter Theatre Center, American Repertory Theater, Alley Theatre, Woolly Mammoth Theatre Company, Long Wharf Theatre, Center Theatre Group and Yale Repertory Theatre.

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Tim Kinzel* Stage Manager, The Tempest, Dial “M” for Murder, A Christmas Carol and The Merry Wives of Windsor Six seasons at Great Lakes Theater Previous stage management credits for Great Lakes Theater include Dial “M” for Murder, A Midsummer Night’s Dream, An Ideal Husband, The Complete Works of William Shakespeare (Abridged), The Mystery of Edwin Drood, The Taming of the Shrew, Romeo & Juliet, Imaginary Invalid, Blithe Spirit, Much Ado About Nothing, Richard III, A Christmas Carol, Deathtrap, As You Like It, Merry Wives of Windsor. Tim has multiple stage management credits from the following companies: Lake Tahoe Shakespeare Festival, Idaho Shakespeare Festival, Playwrights Horizon, Cherry Lane Theater NYC and Houston’s Stages Repertory Theatre. He also holds multiple production assistant and intern credits with Alley Theater, Houston Grand Opera and Stages Repertory Theater. Diehard Cleveland sports fan.

Love to his family, friends and Cleveland who have supported him and the arts over the years.

Cavs! Roll Tribe!

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STAGE MANAGEMENT

Great Lakes Theater

Dusten Welch Fight Choreographer, The Tempest Great Lakes Theater debut Dusten is a fight choreographer, educator and director based out of Cleveland, OH. His work for Great Lakes includes acting with the Outreach Tour: The Dark Side of Twilight, understudying for A Midsummer Night’s Dream, and serving as an Actor Teacher with the Education Residency Program. Previous work includes fight choreography for Romeo and Juliet and Henry IV Part One for Baldwin Wallace University, A Master with Two Servants for Ashland University, Titus: A Grand and Gory Rock Musical for Cleveland Public Theatre and Voodoo Macbeth for Ensemble Theatre. His fight choreography has been recognized and awarded by the Kennedy Center American College Theater Festival. Dusten earned his BA from Ashland University, and is an

Advanced Actor Combatant with the Society of American Fight Directors. He is the Administrative Director and resident fight choreographer for the Academy for the Performing Arts, and teaches stage combat for Baldwin Wallace University.

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staff

Great Lakes Theater

Charles Fee, Producing Artistic Director Bob Taylor, Executive Director

ADMINISTRATION

DIRECTORS

Audience Engagement Manager................................... Chris Fornadel Donor Relations Associate............................................ Rebecca Frick Assistant Production Manager.................................... Corrie Purdum Finance Associate...................................................... Stephanie Reed Marketing Intern..................................................................Dan Ebert Trinity High School Intern.......................................... Chloe Opperman Office Volunteers........ Janice Campbell, Barb Cercone, Janet Glaeser

Drew Barr, Sara Bruner, Victoria Bussert, Charles Fee, Joel Mercier, Matthew Webb, Tracy Young

PRODUCTION

2014–15 ARTISTIC COMPANY

Les Misèrables, The Merry Wives of Windsor, A Christmas Carol, Dial “M” For Murder, The Tempest

DESIGNERS Joe Court, Gregory Daniels, Mary Jo Dondlinger, John Ezell, Gene Emerson Friedman, Esther M. Haberlen, Jeff Herrmann, Alex Jaeger, Stan Kozak, Lucy Mackinnon, Tom Mardikes, Rick Martin, Ken Merckx, Russell Metheny, Michael Mueller, Helene Peterson, Katie Proulx, James Scott, Mary Schilling-Martin, David Shimotakahara, Kim Krumm Sorenson, Cynthia Stillings, Matt Tierney, Robert Waldman, Dusten Welch, Amanda Werre, Sarah Whale, Brandon Wolcott ACTORS J. Todd Adams*, Kyle Jean Baptiste, Pedar Benson Bate*, Laura Welsh Berg*, Lynn Robert Berg*, Stephen Mitchell Brown*, Nicolas Bustamante, Robyn Cohen*, Lexi Cowan, Aled Davies*, Brandyn Day, Owen Desberg, Jodi Dominick*, Jonathan Dyrud*, Clare Howes Eisentrout*, Cole Emerine, Tom Ford*, Colin Frothingham, Keri René Fuller, Ian Gould*, Kayleigh Hahn, Leah Jennings*, Kameryn McKay Jones, Patrick John Kiernan, Mia Knight, Quinn Mattfeld*, Ian McLaughlin, Andrew Miller, Dougfred Miller*, Betsy Mugavero*, Cara Myers, Lisa Nazelli, Cameron Nelson, Carly Marie Nelson, Ryan David O’Byrne* Tracee Patterson*, Fabio Polanco*, Katie Proulx, Xavier Reminick, Patrick Riley*, Mickey Ryan, Kayla Ann Slater, David Anthony Smith*, Nick Steen*,Brian Sutherland*, Alex Syiek*, M.A. Taylor*, Karen Thorla, Dustin Tucker*, Malik Victorian, Madison Wayt, Katie Willmorth, Colin Wheeler, Sam Wolf*, Chase Christopher Zadd, Calista Zajac *Members of Actors’ Equity Association MANAGEMENT TEAM Director of Development...............................................Don Bernardo Production Manager......................................Christopher D. Flinchum Director of Educational Services........................Kelly Schaffer Florian Director of Marketing & Strategic Advancement........Todd Krispinsky Director of Educational Programming..............................Lisa Ortenzi ARTISTIC Artistic Associate.............................................................. Sara Bruner Artistic Associate................................................................... Tom Ford EDUCATION Education Outreach Associate....................................... David Hansen Actor-Teachers School Residency Program.........................Luke Brett, Chennelle Bryant-Harris, Chelsea Cannon, Katelyn Cornelius, Khaki Hermann, Tim Keo, Shaun O’Neill, Michael Silverstein

Technical Director.............................................................Mark Cytron Assistant Technical Director................................. William Langenhop Master Carpenter.............................................................Lindsay Loar Carpenter/Welder.....................................................Richard Haberlen Carpenters.......................Casey Burke-Ruhl, Paul Miller, Gary Zsigrai Properties Master.............................................................Terry Martin Props Carpenter.........................................................Rachel Bertrand Props Assistant..................................................... Alexandra Haubrich Costume Shop Manager........................................ Esther M. Haberlen Assistant Shop Manager...................................................... Leah Loar Draper.............................................................................Grace Keenan Wardrobe Supervisor........................................... Colleen McLaughlin First Hand......................................Christine Krysa, Christina Spencer Design Assistant................................................................ Zach Hickle Stitchers................................................... Zach Hickle, Miranda Marti Wardrobe Crew........................................Tamara French, Zach Hickle Costume Intern....................................................Nicholas Lynch-Voris Wig Design......................................................... Mary Schilling-Martin Master Electrician.......................................................... Tammy Taylor Charge Scenic Artist..........................................................Ruth Lohse Scenic Artist.............................................................Justine Schneider Paint Intern............................................................... Mikhayla Wilkins Audio Visual Coordinator..............................................Brian Chismar Production Stage Manager................................................Tim Kinzel* Production Associate................................................ Jessica B. Lucas Production Assistant..........................................................Amy Essick Run Crew.....................................................Ralph Melari, Gary Zsigrai Hanna Theatre Crew................................... Thomas Boddy, Chris Guy, Shaun Milligan, Robert Prah Special Thanks: Mark Liderbach and Arrow Video, Mike Vendeland and Ideastream 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

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HANNA

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Friday

US BANK PLAZA Saturday

Vanya and Sonia and Vanya and Sonia and Masha and Spike Masha and Spike Flanagan’s Wake Flanagan’s Wake

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Kinky Boots Kinky Boots Kinky Boots Kinky Boots Vanya and Sonia and Vanya and Sonia and Vanya and Sonia and Vanya and Sonia and Masha and Spike Masha and Spike Masha and Spike Masha and Spike The Tempest Lisa Lampanelli Flanagan’s Wake

Kinky Boots Vanya and Sonia and Masha and Spike The Tempest Flanagan’s Wake

Kinky Boots Kinky Boots Vanya and Sonia and Vanya and Sonia and Masha and Spike Masha and Spike Celtic Thunder

Kinky Boots Vanya/Spike The Tempest W. Tx Marsupial Girl Flanagan’s Wake Cleveland Ballet Youth Company

Kinky Boots Vanya/Spike The Tempest W. Tx Marsupial Girl America’s Got Downton Flanagan’s Wake

Vanya and Sonia and Vanya and Sonia and Vanya and Sonia and Vanya/Spike Masha and Spike Masha and Spike Masha and Spike The Tempest The Tempest The Tempest Tale of a West Texas Marsupial Girl Disney’s Beauty and the Beast Flanagan’s Wake

Vanya/Spike The Tempest W. Tx Marsupial Girl Disney’s Beauty and the Beast Restless Creature Flanagan’s Wake

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Fairfield RAIN - A Tribute to the Beatles

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Fairfield Welcome to Night Vale

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Flanagan’s Wake Fairfield Frankie Valli & The Four Seasons Standing in the Need

Flanagan’s Wake Fairfield Oliver Dragojevic 3 Acts, 2 Dancers, 1 Radio Host Cle Jazz Orchestra

Fairfield Timber!

Fairfield Timber!

Manxmouse The Star Keeper Robin Hood KAPUT

Fairfield I Love Lucy

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Fairfield I Love Lucy

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Vanya and Sonia and Masha and Spike The Tempest W. Tx Marsupial Girl Disney’s Beauty and the Beast Jay Leno

Great Lakes Theater

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OHIO

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Vanya and Sonia and Masha and Spike

Kinky Boots Vanya and Sonia and Masha and Spike The Tempest

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Fairfield I Love Lucy

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Legacy William

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Family is a top priority for us. Which is why we want to know that the decisions we make now will ensure a bright future for us, our children and our grandchildren. Our FirstMerit Client Advisor understands our aspirations and helped us develop a long-term investment plan. He also helps us manage our day-to-day banking needs so we can focus on what’s important. We have peace of mind knowing our legacy will live on.

TO L E A R N MOR E A B O U T F I R S T M E R I T P R I VA T E B A N K , C O N T A C T : Tom Anderson,

Senior Vice President, at 216-694-5678 or tom.anderson@firstmerit.com.

Follow the latest market trends @firstmerit_mkt *William reflects a composite of clients with whom we’ve worked; he does not represent any one person.

Non-deposit trust products are not insured by the FDIC; are not deposits or obligations of FirstMerit Bank, N.A, or any of its affiliates; are not guaranteed by FirstMerit Bank, N.A or any of its affiliates; and are subject to investment risk, including possible loss of principal invested.

Member FDIC

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