Hamlet by Park Avenue Armory

WILLIAM SHAKESPEARE, ROBERT ICKE

HAMLET

WELCOME We are delighted to welcome Robert Icke back to the Wade Thompson Drill Hall for an ambitious merging of theatricality and clever multimedia integration in his productions of Hamlet and Oresteia. This summer, these productions play in repertory for the first time, allowing us to show the through lines and connections Rob explores in his pairing of these classic dramas—depicting two epic family sagas written over 2,000 years apart—which will be performed by an ensemble of incredible actors. Robert Icke is a visionary director who is disrupting the way audiences consume classical works. Rob’s directorial approach recontextualizes and democratizes classic texts that are often seen as inaccessible, catapulting them into the modern world and upholding their relevance through his cogent adaptations of works like Hamlet, Oresteia, and Enemy of the People—all of which we’ve been proud to present at the Armory. The Armory is committed to providing the space for fresh, innovative perspectives from vanguard artists working around the world. We are proud that our Drill Hall offers artists like Rob the chance to ask questions and break boundaries by mounting these modern, relevant works, and are enthusiastic to work with him and his team to present these two classics, reinterpreting their timeless lessons for the modern world. Rebecca Robertson Founding President and Executive Producer Pierre Audi Marina Kellen French Artistic Director

2022 SE ASON SPONSORS

Support for Park Avenue Armory’s artistic season has been generously provided by the Charina Endowment Fund, the Donald A. Pels Charitable Trust, The Harold and Mimi Steinberg Charitable Trust, the Fan Fox and Leslie R. Samuels Foundation, the Howard Gilman Foundation, the Horace W. Goldsmith Foundation, The Shubert Foundation, the Marc Haas Foundation, The Prospect Hill Foundation, The Emma and Georgina Bloomberg Foundation, the Leon Levy Foundation, the May and Samuel Rudin Family Foundation, Gregory Annenberg Weingarten, GRoW @ Annenberg, the Richenthal Foundation, and the Isak and Rose Weinman Foundation. Additional support has been provided by the Armory’s Artistic Council. Cover Photo: Miles Aldridge 2

PARK AVENUE ARMORY PRESENTS

NORTH AMERICAN PREMIERE

HAMLET

BY WILLIAM SHAKESPEARE WADE THOMPSON DRILL HALL JUNE 10 – AUGUST 13, 2022

Robert Icke Direction Hildegard Bechtler Set and Costume Design Natasha Chivers Lighting Design Tom Gibbons Sound Design Tal Yarden Video Design Laura Marling Composer Anthony Almeida Associate Director Ilinca Radulian Associate Director Deborah Hecht Dialect Coach Thomas Schall Fight Director Casting by Julia Horan and Jim Carnahan, C.S.A.

STARRING Michael Abubakar, Tia Bannon, Bartley Booz*, Lise Bruneau*, Marty Cruickshank, Jennifer Ehle*, Calum Finlay, Joshua Higgott, Jacqueline Jarrold*, Gilbert Kyem Jnr, Alex Lawther, Andrew Long*, Imani Jade Powers*, Kirsty Rider, David Rintoul, Harry Smith*, Luke Treadaway, Ross Waiton, Peter Wight, Angus Wright, and Hara Yannas Company Stage Manager Heidi Lennard Deputy Stage Manager Natalie Braid Stage Manager Caroline Englander* Assistant Stage Manager Kasson Marroquin* Assistant Stage Manager Katie Young*

A PARK AVENUE ARMORY AND ALMEIDA THEATRE PRODUCTION This production had its world premiere at The Almeida Theatre in London produced by The Almeida Theatre and was produced in the West End by Ambassador Theatre Group and Sonia Friedman Productions. This performance is approximately 3 hours and 40 minutes, with two (2) intermissions. *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

armoryonpark.org

RUNNING IN REPERTORY WITH

OTHER HAPPENINGS

July 8 – August 13

ARTIST TALK: ORESTEIA WITH ROBERT ICKE AND BRANDEN JACOBS-JENKINS

ORESTEIA

Aeschylus’ greatest and final play is a searing familial saga that examines the sins of a family over several decades and explores whether justice can ever really be done. Robert Icke’s Olivier Award-winning adaptation of this moral dilemma comes to the Armory for its North American premiere following sold-out runs at the Almeida Theatre and on London’s West End. Icke radically reimagines this Greek drama for the modern stage, condensing the tragic trilogy into a single performance that electrifies and devastates in equal measure with Olivier Award-nominated Anastasia Hille (The Effect, The Master Builder) in the role of Klytemnestra. This daring update allows audiences to investigate the justification of vengeance, the possibility of finding justice in retaliation, and the role of judicial democracy at work—themes that continue to resonate nearly two and a half millennia after the play was written.

Thursday, August 4, 2022 at 5:30pm

ARMORY AFTER HOURS Join us after select evening performances for libations with fellow attendees at a special bar in one of our historic period rooms.

HAMLET CAST

IN ORDER OF APPEARANCE Ross Waiton Francisco/Gravedigger Hara Yannas Bernardo/Priest Joshua Higgott Horatio (u/s Hamlet) Michael Abubakar Marcellus David Rintoul Ghost/Player King Angus Wright Claudius Luke Treadaway Laertes Peter Wight Polonius Alex Lawther Hamlet Jennifer Ehle* Gertrude Kirsty Rider Ophelia Gilbert Kyem Jnr Reynaldo Calum Finlay Rosencrantz (u/s Laertes) Tia Bannon Guildenstern Marty Cruickshank Player Queen

ENSEMBLE Bartley Booz* (u/s Horatio/Rosencrantz) Lise Bruneau* (u/s Gertrude/Player Queen) Jacqueline Jarrold* (u/s Guildenstern/Bernardo/Priest) Andrew Long* (u/s Claudius/Polonius/Ghost/Player King) Imani Jade Powers* (u/s Ophelia) Harry Smith* (u/s Marcellus/Reynaldo/Francisco/Gravedigger) Additional roles played by members of the company

APPEARING ON VIDEO Nikesh Patel Fortinbras Lorna Brown Voltimand Father Roy Perason Priest Kayleigh Atkinson, Kieran Watson Reporters *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

SHAKESPEARE’S HAMLET, THE EVEREST OF LITERATURE Although I’m wary of declaring any literary work to be the greatest ever, Shakespeare’s Hamlet would be a frontrunner. It’s often proclaimed to be or voted Shakespeare’s best play (Google it). It has countless film adaptations, is widely referenced, and even gets a homage of sorts in The Simpsons.

In the play’s first scene, the ghost of old king Hamlet silently appears to Horatio, Hamlet’s friend. Upon seeing him, Horatio recalls the time when “in an angry parle [a battle], / He [the old king] smote the sledded Polacks on the ice.” This counterpoint to Hamlet’s famed inaction, like the ghost of the king itself, haunts the play.

Hamlet deserves such accolades because it offers the deepest of We soon learn that the old king has only been dead two months and insights into the human condition; although this insight can be a that Hamlet’s mother, Gertrude, has hastily married the new king, little tricky to explain. Hamlet’s uncle Claudius. Let’s consider some of Shakespeare’s other popular, serious plays. Romeo and Juliet is a tale of forbidden love—the cliché drops effortlessly. Othello is about the horrors of jealousy. And Macbeth, with its Tarantino-grade account of regicide and its grim consequences, explores the dark side of ambition. So what about Hamlet? Well… ah… It’s about when someone does something bad, and you’re pretty sure what they did wasn’t right, and you ought to do something about it, but you can’t find it within yourself to do this something, and your uncertainty and inaction cause you even more distress, but events roll on—as they always do—and everything ends up worse than if you’d done something in the first place. Maybe.

The ghost of Hamlet’s father returns, this time telling his son he was murdered – poisoned – by Claudius (it was “murder most foul”) and urging Hamlet to avenge his death. The scene finishes with young Hamlet revealing reluctance: The time is out of joint: – O cursed spite, / That ever I was born to set it right! But the ever more troubled prince is uncertain whether the ghost even spoke the truth. He gains proof when he asks a troupe of actors to reenact the poisoning before Claudius and Claudius reacts strongly.

Now Hamlet really must avenge his father. The opportunity arises when, on his way to meet his mother, he comes upon Claudius I’m being silly, but it’s my way of coping. For while I’m familiar praying. But Hamlet is beset by doubts and cannot kill Claudius. with the woes associated with love, jealousy and ambition, my greatest grief is that time and again I did not act when the situation Hamlet goes on to confront his mother about her hasty marriage. called for it. I was a coward. I’m certain that I’m far from alone in While arguing with her, he stabs Polonius (the father of Ophelia, assessing my life this way. And this is why Hamlet, which depicts the woman he has been courting), who had been planted behind a this state of inaction, is the Everest of literature. curtain to spy on him. AN OVERVIEW OF THE PLAY

Polonius’s son Laertes wants to avenge his father. He, unlike Hamlet, is willing to act.

Hamlet, the prince of Denmark, is a modern character. He attends the University of Wittenberg and is an intellectual. His father, the Claudius, who now also wants Hamlet dead, arranges for Laertes to recently deceased king, also called Hamlet, was, in contrast to his fight a duel with Hamlet with a poisoned rapier. They fight. Hamlet son, a warrior. is cut by the rapier, and then Laertes is too. Meanwhile Hamlet’s

mother accidentally consumes a poisoned drink intended for her THE REFUSAL OF THE CALL TO ADVENTURE son and dies. Shakespeare’s play is notable because it tells of one who, to draw on Hamlet learns the truth of what has happened. He stabs Claudius, Joseph Campbell’s enduring concept of the “hero’s journey,” refuses making him drink the poison too. Claudius dies, then Laertes dies, “the call to adventure.” then finally, Hamlet dies. (South Park efficiently represents the final So many of the stories we consume involve some sort of heroic quest scene). where a reluctant hero accepts this call. Observe Frodo in Lord TO BE OR NOT TO BE – OR MAYBE NOT of the Rings or Luke Skywalker’s ambivalence around the call in Star Wars. Both heroes end up defeating evil. And while they are I had expected to illustrate Hamlet’s struggle to act with an analysis changed by the experience (not entirely for the better), one senses of the most famous speech in all of Shakespeare: “To be, or not to that refusing the call would have led to worse outcomes. be” (Act III Scene I). It begins with these oft-quoted lines: Hamlet’s inaction – his refusal of the call – directly or indirectly To be, or not to be, that is the question: causes eight deaths, including his own. If he had acted, then Whether ‘tis nobler in the mind to suffer probably only Claudius would have died. The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles The moral of the story is that there is risk in action, but the greater risk lies in inaction. In short, action, in bad situations, is the lesser But now I’m not so sure it’s a good idea. “To be, or not to be” of two evils. is ambiguous. Also, Hamlet probably knows he is being watched by the king or others while he is speaking, and thus is not really But maybe this isn’t the moral. Maybe the play is not exhorting the speaking his mind. audience to act, but asking a deeper question. Namely, what does it mean for us to cross the threshold that separates reason from power? Arguably, Hamlet’s definitive speech in the play comes just before That is, what does it mean for us to abandon reason and strike back this one, at the end of Act II. In this red-blooded soliloquy, he berates at the monster? himself for his inaction, asking, “am I a coward?” and reflects that he lacks the gall, “To make oppression bitter.” Reason appeals to principles. It appeals to the capacity for reason in others. It doesn’t take the law into its own hands. But what if it is He says, “I should have fatted all the region kites / With this slave’s sometimes reasonable to abandon reason and strike at power with offal”; i.e. murdered Claudius and fed his guts to the carrion eaters. power? Can reason survive such a decision? He also mocks his proclivity to seek solace in words: THE ENDLESS APPEAL OF HAMLET Why, what an ass am I! Ay, sure, this is most brave; That I, the son of a dear father murder’ d, Hamlet is not only successful because Hamlet himself embodies our Prompted to my revenge by heaven and hell, own struggles. Hamlet is also staggeringly quotable – the quip is Must, like a whore, unpack my heart with my words… that there are too many quotations in it.

The play’s appeal also lies in the depth of the secondary characters, Two gravediggers have a wry debate about whether or not Ophelia such as Ophelia, Polonius, and the inseparable Rosencrantz and committed suicide as they are digging her grave. It’s a moment of Guildenstern (Hamlet’s friends from university). blackest comedy. And the play is seductively enigmatic. We are unsure whether Hamlet’s mother was in on the murder of the old king, whether Polonius is indeed a fool, whether Hamlet loses his mind, and so on. Where there are mysteries, there are detectives. Hamlet turns up everywhere in Western culture – not just in The Simpsons and South Park. Given all the trouble Hamlet has with his father and mother, it’s not surprising that Freud saw something Oedipal in the whole business. Ophelia, who suffers the double tragedy of her own demise and being less discussed than Hamlet despite having a compelling struggle and brilliant lines (“we know what we are, but / know not what we may be”), is referenced in Eliot’s “The Waste Land.” Her words, “Good night, ladies; good night, sweet ladies; good night, good night” provide a foreboding conclusion to the ghastly pub scene in Part II of Eliot’s poem.

The gravediggers unearth Yorick’s skull. After Hamlet’s “Alas, poor Yorick! – I knew him,” Hamlet reflects that the most famous people, such as Alexander the Great and the Roman emperor Caesar, ended up no different to Yorick. Imperious Caesar, dead and turned to clay Might stop a hole to keep the wind away. Oh, that that earth, which kept the world in awe, Should patch a wall to expel the winter’s flaw! Despite exploring the most serious aspects of the human condition, Shakespeare, with this memento mori, seems to be reminding us that existence has something of the cosmic joke about it. This is reminiscent of the ending of Life of Brian. Roll the credits.

Dr. Jamie Roberts is a Lecturer in the Department of Government and International Relations at the University of Sydney. He is a ‘first principles’ political philosopher interested in the relationship between the individual and the group and the nature of progress and knowledge. Additional interests include exploring the political insights we can gain from literature.

And for the Star Wars fans (one Star Wars reference is never enough), Chewbacca has his own “Alas, poor Yorick” moment when he is reassembling C3P0 in Empire Strikes Back (Yorick was a jester who entertained Hamlet when Hamlet was a boy). This article is republished from The Conversation (theconversation.com), a MEMENTO MORI All this said, and with Yorick in mind, what stands out most for me in Hamlet is the dark and beautiful graveyard scene at the beginning of Act V. Polonius is dead. Ophelia, whom Hamlet probably loved, is dead. The bloody final sequence is nigh. And the play pauses.

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THE REST IS NOT SILENCE: ARTS EDUCATION AND HAMLET In March of 2020, 150 sophomores at Armory partner school Williamsburg High School for Architecture and Design (WHSAD) began their exploration of Hamlet through a residency facilitated by Park Avenue Armory master teaching artists Vickie Tanner and Neil Tyrone Pritchard in collaboration with WHSAD English Language Arts teacher Christopher Koestner. The residency initially focused on the relationships within the play and was intended to culminate in the creation and performance of short, original scenes illustrating the thematic connections between the play and today’s young people, as well as the experience of attending Robert Icke’s Hamlet at the Armory in a student matinee performance. But, much as Hamlet’s world is upended by his father’s death and his mother’s perceived betrayal, the world of these students was also upended by the COVID-19 pandemic two weeks into their Armory residency. And so, what started as an exploration of relationships turned into a very personal and immediate examination of isolation. Hamlet’s isolation in the play may have been self-imposed, but the isolation thrust upon the students through citywide lockdowns and mandated introduction of remote learning forced them into an eerie parallel universe to Hamlet, where the person-to-person connections necessary to trust and navigate the world around them were tested. With the full support of the Armory and administration of WHSAD, the residency continued in this new paradigm, making the choice to lean into these new and immediate thematic connections to, in fact, combat their effects. After a short break to reconfigure the plans, the residency restarted its weekly sessions, gathering on Google Meets instead of in person, with ideas being exchanged via virtual chat instead of through the physicality of ensemble work. Through the patience and persistence of both teachers and students, the Hamlet residency sessions provided these young people with a creative outlet and a forum to speak up and speak out, especially during the profound civil unrest and social justice reckoning that rose in the wake of George Floyd’s murder later in the semester. The artistic form may have shifted by necessity (there is nothing like prolonged isolation to explore the virtues of the soliloquy), but the goal remained the same—the offering of the arts as a way through those “things in heaven and earth” that feel overwhelming or hard to express. The end result of this residency was not what was originally intended, but the stream-of-consciousness monologues that were shared on Google Meets rather than performed at the Armory at

the end of that semester emerged from the admirable creativity and commitment of all involved parties, and proved once again that the understanding, truthful connections, and community that Hamlet seeks, and that the students doubled down on to maintain during their own isolation, can be found in the arts. The Armory’s Arts Education programs are built on this power of a creative community and the primacy of the voices of young people. Crucial to the Armory’s mission, the Arts Education program immerses students from New York City public schools in the creative process of world-class artists and fosters students’ own creative instincts. In addition to the Partner School Program, in which long-term, in-depth relationships with schools like WHSAD are created through customized residencies that support curriculum, the programs—offered at no cost to participants—also include Production-based Programming, in which students experience unconventional works of music, theater, dance, and visual arts in conjunction with workshops co-facilitated by Teaching Artists, and the Armory Youth Corps, a paid and closely mentored internship program for students ages 16-25+. As social distancing and other COVID-19 restrictions eased during the 2021-2022 school year, the Armory began to reintroduce inperson facilitation and field trips, and so were once again able to explore the timeless story and themes of Hamlet with students and finally experience it brought so vividly to life by Robert Icke’s production. And while the Armory’s active work with young people has never paused, the student matinee of Hamlet on June 13 is an important milestone as it is the most students that have been able to return to the space since the twin global pandemics of COVID-19 and ongoing racial violence of the last two years. Joined by hundreds of their peers from public schools across the city, a group of those 2020 residency students from WHSAD, now seniors about to graduate, will finally experience Hamlet at the Armory, bringing this chapter of their story full circle. And while the world around today’s young people will continue to shift, they can perhaps take away from this production both an affirmation of how overwhelming it is to feel powerless and disconnected from those around you, and also a reassurance that the key to overcoming those emotions lies in the creation of strong communities whose support ensures that, indeed, the rest is NOT silence.

CREATIVE TEAM WILLIAM SHAKESPEARE (PLAYWRIGHT) ROBERT ICKE (DIRECTOR) Elizabethan English poet, playwright, and actor William Shakespeare (1564-1616) is widely regarded as the greatest writer in the English language and the world’s pre-eminent dramatist. Shakespeare’s work includes 38 plays, two narrative poems, 154 sonnets, and a variety of other poems. His works have been translated into every modern language and are performed around the globe, inspiring new adaptations and works across artistic genres. Previous Shakespearean works presented at Park Avenue Armory include: an immersive Macbeth set in a Scottish heath with Kenneth Branagh in 2014; and Julius Caesar, As You Like It, King Lear, Romeo and Juliet, and The Winter’s Tale performed by the Royal Shakespeare Company during their sixweek residency in 2011 in collaboration with Lincoln Center Festival.

Robert Icke is a writer and director. Recent productions include Enemy of the People at Park Avenue Armory (2021); Judas, After Nora, and Oedipus at Internationaal Theater Amsterdam (2022, 2020, 2018); and The Doctor at the Burgtheater, Vienna (2022), Internationaal Theater Amsterdam (2021), the Adelaide Festival (2019), and this year, the Duke of York’s Theatre in London’s West End (2022). His adaptation of Animal Farm has just completed a UK tour; and his 1984, which he co-adapted and directed with Duncan Macmillan, played for three summers in the West End (2014-6) and on Broadway in 2017. Other adapting and directing work includes Ivanov (Schauspiel Stuttgart, 2019), The Wild Duck (Almeida Theatre, 2018), Mary Stuart (West End, 2018), and Uncle Vanya (Almeida Theatre, 2016). He is the youngest ever winner of the Olivier Award for “Best Director” for Oresteia (2015), which also won the “Best Director” prize at both the Critics’ Circle and Evening Standard Theatre Awards. In 2018, Icke won the Kurt Hübner Award for his debut production in Germany The first of classical Athens’ great dramatists, Aeschylus (~525 BCEand was elected Fellow of the Royal Society of Literature. For The 455 BCE) is known as the father of tragedy and the foundation for Doctor and The Wild Duck, he won a second Evening Standard Award understanding of Greek theater. He expanded the definition of for “Best Director” in 2019. Greek drama to include multiple actors, allowing for the evolution of dialogue and dramatic tension and a new variety and freedom in plot construction. In total, Aeschylus is estimated to have written between 70 and 90 plays, of which only seven survive; they include The Persians (472 BCE), Seven Against Thebes (467 BCE), The Suppliants (463 BCE), and Prometheus Bound (date disputed). His greatest masterpiece, The Oresteia (458 BCE), is comprised of three Hildegard Bechtler is an award-winning designer based in London. individual plays—Agamemnon, The Choephori (The Libation Bearers), Select theater credits: Arcadia, Primo, The Seagull (Broadway); The and The Eumenides—following the story of the end of the curse of the Sunshine Boys (Los Angeles); My Name is Rachel Corrie (Off-Broadway); house of Atreus; it remains the only Greek trilogy preserved into the After the Dance (Olivier Award); Iphigenia at Aulis (Evening Standard Award nomination); Antony and Cleopatra (Royal National Theatre); modern day. Top Hat (Olivier Award nomination), Hedda Gabler, The Crucible, The Master Builder; The Misanthrope (West End). She designed Krapp’s Last Tape with Harold Pinter at The Royal Court and, most recently, Four Quartets with Ralph Fiennes in the West End. Previous work with Robert Icke: Enemy of the People at Park Avenue Armory; Oresteia (Olivier Award nomination), Hamlet, Mary Stuart (Almeida, West End); The Doctor (Almeida, Internationaal Theater Amsterdam, Burg Theatre Vienna); Uncle Vanya (Almeida); Ivanov (Stuttgart Schauspielhaus); Oedipus, Kinderen van Nora, Judas (Internationaal Theater Amsterdam). Her numerous designs for opera and ballet include productions for Opéra National de Paris, Salzburg Festival, Santa Fe Opera, La Scala, and the Royal Opera House, as well as the world premieres of The Exterminating Angel for the Metropolitan Opera and The Cellist for the Royal Ballet. Bechtler won the Australian Green Room Award for Best Opera Design for Lady Macbeth of Mtsensk at Sydney Opera House.

AESCHYLUS (PLAYWRIGHT)

HILDEGARD BECHTLER (SET AND COSTUME DESIGN)

NATASHA CHIVERS (LIGHTING DESIGN)

TAL YARDEN (VIDEO DESIGN, HAMLET)

Natasha Chivers is a London-based lighting designer. Her extensive work in theater/dance/opera includes Prima Facie (Pinter Theatre, West End); Enemy of People (Park Avenue Armory, New York); Message in a Bottle, Electric Hotel (Sadler’s Wells); Drive and Live: La Bohème (ENO); The Doctor, Hamlet, and Oresteia (Almeida Theatre); Judas, Oedipus (Toneelgroep Amsterdam); The Antipodes, Statement of Regret (National Theatre); Allelujah! (The Bridge Theatre); The Duchess of Malfi (RSC); Belleville (Donmar Warehouse); Shoe Lady and Fireworks (Royal Court); 1984 (West End/Broadway); Electric Counterpoint, Strapless (Royal Ballet); Green Snake (National Theatre of China); Macbeth (Broadway); 27, The Wolves in the Walls and Home (National Theatre of Scotland); Sunday in the Park with George (West End). She has won an Olivier award and received a Drama Desk nomination in 2018 for 1984 on Broadway.

Tal Yarden is a director and media designer for theater, opera, and music. His design work includes: Get Up, Stand Up! (Lyric), Anna X (Pinter), Network (National/Broadway), Hamlet (Almeida/Pinter), My Brilliant Friend (National), Lazarus (Kings Cross), Roman Tragedies, Antigone, Obsessione, Antonioni Project, Kings of War (Barbican), Exterminating Angel (Royal Opera), Sunday in the Park with George, The Crucible, Indecent, Waverly Gallery (Broadway), Between the World and Me (Apollo), King Lear (Public), Mahagonny (Festival d’Aix), Boris Godounov (Opéra Bastille), Les Damnés (Comedie Francaise), Edward II, The Misanthrope (Schaubühne Berlin), Idomeneo, La Clemenza di Tito (La Monnaie), Brokeback Mountain (Teatro Real), Macbeth (Opéra de Lyon), Salome, Der Schatzgraber (De Nederlandse Opera), and Cries & Whispers (ITA). He has directed video for Pat McGrath, Rick Owens, Balenciaga, Alicia Keys, Snoop Dogg, and James Brown. Awards include: Lucille Lortel (Network), Moliere Award (Les Damnés), Drama Desk Nomination (Lazarus), Tony nomination (Network), WhatsOnStage nomination (Hamlet, Network).

TOM GIBBONS (SOUND DESIGN) Recent theater includes: Animal Farm (UK tour); West Side Story, Who’s Afraid of Virginia Woolf? (Bway); Cabaret (Goteborg Opera); Judas, Oedipus, The Doctor (International Theatre Amsterdam); The Antipodes, Home, I’m Darling, People, Places and Things (Olivier, Best Sound Design), Hedda Gabler, Sunset At The Villa Thalia, The Red Barn (National Theatre/West End); All About Eve (West End); Our Town (Regent’s Park); The Doctor, Wild Duck, Hamlet, Oresteia (Almeida/ West End); Madness of King George III (Nottingham Playhouse); Hexenjagd (Theater Basel); Mr Burns, 1984 (Almeida/West End/ Bway); Fanny and Alexander, The Lorax (Old Vic); A View From the Bridge (Young Vic/West End/Bway); Obsession (International Theatre Amsterdam, Barbican); Life of Galileo, Happy Days, A Season in the Congo, Disco Pigs, Best of Enemies (Young Vic); The Crucible (Theater Basel, Bway); Henry IV, Julius Caesar (Donmar, St Ann’s); The End of History, Pah La, The Woods, Love Love Love, Goats (Royal Court).

TIM REID (VIDEO DESIGN, ORESTEIA) Credits include: 1984 (Broadway/West End/Almeida/Tour); Oresteia, Ivanov (Stuttgart); Oresteia, Mary Stuart (Almeida/West End); The Red Barn (National Theatre); The Tsar has his Photograph Taken (Scottish Opera); First Piano on the Moon, Oh Yes We Are! (Perth Theatre/Zoom); Quiz (Chichester Festival Theatre/West End); Show Boat (Sheffield Crucible/West End); Chaplin, The Tramp (Slovakia National Ballet); Macbeth, Fracked! (Chichester Festival Theatre); The Bubbly Black Girl Sheds Her Chameleon Skin (Theatre Royal Stratford East); If You Kiss Me, Kiss Me, La Musica (Young Vic); Can We Talk About This? (DV8 Physical Theatre); Blood Wedding (Dundee Rep/Graeae/Derby Playhouse); Meeting Bea, Where is Peter Rabbit?, Tell Me on a Sunday (The Old Laundry Theatre); Stemmer (Bergen National Opera); Scale (Scottish Dance Theatre); England in a Pink Blouse (Grid Iron); A Christmas Carol (Royal Lyceum Edinburgh); The Effect, Love Your Soldiers, The History Boys (Sheffield Crucible).

LAURA MARLING (COMPOSER) For the Almeida: Hamlet, Mary Stuart. Albums include: Song For Our Daughter, A Creature I Don’t Know, I Speak Because I Can, Alas I Cannot Swim. Laura Marling is a globally acclaimed songwriter and guitarist.

ANTHONY ALMEIDA (ASSOCIATE DIRECTOR) Anthony Almeida was a former Resident Director at the Almeida Theatre, where he directed Figures of Speech, and a former Link Artist Stage Director at the Royal Opera House. Theater includes: Cat on a Hot Tin Roof (Curve, English Touring Theatre). Opera includes: Mavra and Pierrot Lunaire (Royal Opera House). Forthcoming engagements include: Turn of the Screw (Royal Danish Opera). With Robert Icke, Anthony Almeida has both co-directed Oresteia (Staatstheater Stuttgart) and revived The Doctor (Adelaide Festival). Anthony Almeida is the only director to have won both the RTST Sir Peter Hall Director Award and the European Opera Director Prize. He currently serves on the Board of Trustees at Nottingham Playhouse.

ILINCA RADULIAN (ASSOCIATE DIRECTOR) As Assistant or Associate Director: The Night of the Iguana (West End), Summer and Smoke (West End), Mary Stuart (Almeida Theatre, West End, and UK tour), Hamlet (Almeida Theatre and West End), A Series of Increasingly Impossible Acts, Glitterland, Chamber Piece, A Streetcar Named Desire, Woyzeck (Secret Theatre at the Lyric Hammersmith and UK tour). As Director: Henry VI, Richard III (Sam Wanamaker Playhouse at Shakespeare’s Globe), Luck Out, Roulette Player (The Yard). This summer, Ilinca Radulian is directing a new version of the Joan of Arc story for Shakespeare’s Globe. Radulian has a BA in English and Theater from Harvard University and an MFA in Theater Directing from Birkbeck, University of London.

DEBORAH HECHT (DIALECT COACH) Broadway: Over 95 productions, including How I Learned to Drive and Martin McDonagh’s Hangmen. Upcoming productions include Sing Street. Recent productions include Angels in America (both original and recent Broadway productions), The Ferryman. The full list can be seen on IMDb. Off-Broadway: hundreds of productions at Playwrights Horizons, MCC, MTC, Signature, the Vineyard, Laura Pels, others. Regional/International: Seattle Rep, Yale Rep, Long Wharf, Huntington, others. Royal National Theatre, RSC. Film: All the Money in the World, Under the Skin, others. TV: The Fall of the House of Usher, Law and Order (Jeffrey Donovan), others. Faculty: Juilliard.

THOMAS SCHALL (FIGHT DIRECTOR) At the Armory: Judgement Day, The Hairy Ape (Drama Desk nomination for Outstanding Fight Choreography). On Broadway, over 100 shows: Company, A Soldier’s Play (Drama Desk award for Outstanding Fight Choreography), To Kill A Mockingbird, The Music Man, True West, Waitress, The Inheritance, Network, The Front Page, War Horse, The Crucible, Death of a Salesman, Venus In Fur, Romeo and Juliet, King Lear. At the Public Theater: The Visitor, Much Ado About Nothing, Othello, Hamlet, King Lear, Titus Andronicus, The Merchant of Venice. At NYTW: Othello (Drama Desk nomination for Outstanding Fight Choreography), Red Speedo. At the Met Opera: Le nozze di Figaro, Il Trovatore, Tosca, Samson et Dalila.

NATALIE BRAID (DEPUTY STAGE JACK BRADFIELD (ASSISTANT DIRECTOR) MANAGER) Jack Bradfield is an award-winning playwright and director. He is Artistic Director of Poltergeist (“One of the UK’s Best Young Companies,” The Guardian), Resident Director at the Almeida Theatre, Associate Artist at the Rose Theatre, Kingston, and has worked as an Assistant Director with the ITA-Ensemble in Amsterdam. Work as writer-director includes: Ghost Walk, (New Diorama, starring Juliet Stevenson), Art Heist (New Diorama, Untapped Award 2019), and Lights Over Tesco Car Park (Pleasance, Samuel French New Play Award 2018). Upcoming work includes: Alice, Underground (Brixton House).

Natalie Braid is a freelance showcaller and stage manager, with over a decade’s experience running spectacular events. Originally from New Zealand, where she was the showcaller for the National Opera and tutored stage management for Unitec, she moved to the UK in 2016. Notable productions include the National Theatre’s When We Have Sufficiently Tortured Each Other, TFANA’s The Emperor, Netflix and Secret Cinema’s Stranger Things, and The Starry Messenger (West End Premiere). Braid is a proud British and New Zealand Equity member. Much aroha and mihi to her family in Aotearoa – Linda, Dennis, Eddy, and Napoleon.

CAROLINE ENGLANDER* (STAGE MANAGER) Broadway: King Lear. Off-Broadway: The Vagrant Trilogy, Julius Caesar, The Outer Space, The Civilians’ The Great Immensity, Richard Nelson’s The Apple Family Plays (The Public Theater/NYSF), sandblasted (Vineyard Theatre/WP Theater); runboyrun, In Old Age (NYTW); La Susanna (Heartbeat Opera/Opera Lafayette); Renascence, Summer and Smoke (Transport Group); Describe the Night (Atlantic Theater Company); The Courtroom, Hamlet (Waterwell); Sense & Sensibility (Bedlam); Little Children Dream of God (Roundabout). Tours: Hamlet and St. Joan (Bedlam). Various productions for NYU Tisch Graduate Acting. BA: Barnard College. e2.

KASSON MARROQUIN* (ASSISTANT STAGE MANAGER) They/he. Off-Broadway: Out of Time (NAATCO and The Public Theater); The Thin Place (Playwrights Horizons); The Light, Charm (MCC). Regional: Quixote Nuevo (Hartford Stage), Kill Local (La Jolla Playhouse). Dance/Touring: The Big Five-OH!, Come to Your Senses, Shadowland, Shadowland the New Adventure, Pilobolus at The Joyce Theater (Pilobolus); On Their Bodies, Footprints (The American Dance Festival). Music/Opera: Path of Miracles, Tree of Codes (Spoleto Festival USA). Events: MCC Theater’s Miscast 2022 and 2019, Primary Stages Gala 2021, San Diego Comic-Con’s The Good Place Activation, Yo-Yo Ma’s Day of Action, Queer Liberation March Rally 2019.

KATIE YOUNG* (ASSISTANT STAGE MANAGER)

JULIA HORAN (CASTING DIRECTOR, UK) Recent theater: The Wife of Willesden, Pass Over (Kiln); Macbeth, The Duchess of Malfi, The Doctor, Three Sisters, The Wild Duck, Machinal, The Writer, Oil, Uncle Vanya, Game, Mr Burns (Almeida); Summer and Smoke, Mary Stuart, Chimerica (Almeida/West End); The Inheritance (Young Vic/Noel Coward/Ethel Barrymore); The Jungle (Young Vic/ Playhouse/St Ann’s/Curran); Yerma (Young Vic/Park Ave Armory); A View From The Bridge (Young Vic/Wyndhams/Broadway); Blood Wedding, Jesus Hopped the A Train, Fun Home, Life of Galileo, Once in a Lifetime, Blue/Orange, Ah, Wilderness, Happy Days (Young Vic); Appropriate (Donmar); All About Eve (Noel Coward); Harry Potter and The Cursed Child (Palace Theatre/Lyric Theater); Hamlet (Barbican); Clybourne Park, Tribes, Adler & Gibb, Birdland (Royal Court); The Nether (Royal Court/West End); The Events (ATC/Young Vic/NYTW); A Doll’s House (Young Vic/West End/BAM). Recent Film/TV: The Exception; Departure; The Read, Together, Hamlet, Why It’s Kicking Off Everywhere (BBC); The Trial – A Murder in the Family (C4).

JIM CARNAHAN CASTING (CASTING DIRECTOR, US) Jim Carnahan has cast over 150 Broadway shows. His work on Broadway this season includes: Funny Girl; Take Me Out; Plaza Suite; Harry Potter and the Cursed Child; Caroline, or Change; Moulin Rouge! The Musical; and The Lehman Trilogy as well as off-Broadway’s Little Shop of Horrors. Other work this season includes: Mad House and The 47th in London’s West End; A Beautiful Noise in Boston; A Christmas Carol in Los Angeles; and Harry Potter and the Cursed Child, Swept Away, and A Christmas Carol in San Francisco. Upcoming Broadway work includes: Almost Famous, A Beautiful Noise, and Leopoldstadt. Upcoming Film: Ari Aster’s Disappointment Blvd.

She/her. Broadway/Tour: The King and I, Hamilton, Something Rotten, Once. Off-Broadway/Regional: A Case for the Existence of God (Signature), Terra Firma (The Coop), In The Green (LCT3), Norma Jeane Baker of Troy (The Shed), Ni Mi Madre, Lewiston/Clarkston, The Few (Rattlestick), What We’re Up Against (WP Theater), June Rites!!, The Courtroom, Blueprint Specials (Waterwell), Hudson Valley Shakespeare Festival, Playwrights Horizons, The Pearl, RENT, Women of Will. As Director: VODVIL (The Magic Patio), Back and Forth (Super Secret Arts), Paradise Lost and Found (Isle of Shoals Productions), Loyalty (Without A Net Productions), Julius Caesar (Pocket Universe). Member of the 2019 Lincoln Center Theater Directors Lab. Thanks TLCCGGx5 and Henry. 13

COMPANY MICHAEL ABUBAKAR (MARCELLUS, CALCHAS) Theater: The Tragedy of Macbeth (Almeida); King John/The Whip (Royal Shakespeare Company); The Glass Menagerie (Arcola Theatre/Wolford Palace Theatre); The Whip Hand (Traverse Theatre, Edinburgh); Cadaver Police in the Electrocution Afterlife (Tron Theatre); Invisible Army (Terra Incognita); Dream On (BBC Arts); Romeo & Juliet, Death of a Salesman, Ghosts (Royal Conservatoire of Scotland); Blood Lines (The Arches); Der Rosenkavalier (Scottish Opera House). Film: Artemis Fowl (Disney); Long Night at Blackstone (Hopscotch/BBC Scotland). TV: Crime (BritBox); Annika (Alibi); Grantchester (Kudos/ ITV); Motherland (BBC Two); News Crack (Electric Ray); Horrible Histories, Doctors (BBC); Trust Me (Red Prod Co).

TIA BANNON (GUILDENSTERN, ELECTRA) Tia Bannon trained at RADA. Theater: Seven Methods of Killing Kylie Jenner (Royal Court); House of Ife workshop (Bush Theatre); Losing Venice (Orange Tree); Faith, Hope and Charity workshop, All of Us workshop, Paradise workshop, Dead Don’t Floss (National Theatre); Abigail (Bunker Theatre); The Winter’s Tale, Pericles (The Globe); Camelot: The Shining City (Sheffield Theatres); Obamaology, Unprotected, Dogs Barking, Women of Twilight, The Double Dealer (RADA). TV: Shakespeare and Hathaway, Midsomer Murders. Film: Good Morning, Midnight (Netflix), Drifters. Shorts: Dead End, Nightless, Balls, Lynch, Oxygen & Terror. Radio: Pygmalion, Camberwell Green, Martians, Relativity 2,3,4.

BARTLEY BOOZ* (ENSEMBLE) Understudy Horatio/Rosencrantz/Calchas/Talthybius. Theater: The Play That Goes Wrong (Off-Broadway), For Annie (The Hearth), Park Plays (Queens Theater), Little League (Kraine Theater). Film/TV: “The Good Fight” (CBS), “Bull” (CBS), “Happy” (SyFy), Here and Now (Tribeca Film Festival), “TURN: Washington’s Spies” (AMC). BFA Acting CCM University of Cincinnati.

LISE BRUNEAU* (ENSEMBLE) Understudy Gertrude/Klytemnestra/Player Queen/Cilissa/Fury. Lise Bruneau has performed in theaters across the country and at the Roundabout appeared in Cherry Orchard with Diane Lane. Credits include: Sweat (ACT-SF); Watch on the Rhine, Junk, and Legacy of Light (Arena Stage); Hamlet and Othello (Shakespeare Theatre); Eureka Day; The Revolutionists; Threepenny Opera; Heartbreak House (Henry Award); Wars of the Roses; and Angels in America. Directing credits include: Measure for Measure; 4,000 Miles; Savage in Limbo; Hamlet; and many for Taffety Punk, including the Riot Grrrls’ Shakespeares, where she also performed the role of Iago. Bruneau trained at RADA and is proud to be a Taffety Punk.

MARTY CRUICKSHANK (PLAYER QUEEN, CILISSA, FURY) Theater includes: Henry VI (RSC); Uncle Vanya (Theatre Royal Bath); Hamlet (The Almeida); A Midsummer’s Night’s Dream, Richard II, The Heresy of Love, Hamlet (RSC); Much Ado About Nothing (Royal Exchange); Pygmalion (West End/Chichester Festival Theatre); Absurd Person Singular (West End); Early Days; A Fair Quarrel; The World Turned Upside Down; (RNT). Television includes: The Crown S5; Catastrophe; Call the Midwife; Babs; Line of Duty; Lewis; Spooks; Midsomer Murders; Road to Freedom. Film includes: London Wall; I, Anna; The Fool. Writing credits include: The Princess of Cleves (ICA); A Difficult Age (ETT); Why Things Happen (Second Stride); Bathing Elizabeth (Channel 4).

JENNIFER EHLE* (GERTRUDE) Broadway: Oslo, The Coast of Utopia (Tony), Design for Living, The Real Thing (Tony). Off-Broadway: Oslo (Lortell), Mr. and Mrs. Fitch. West End: The Philadelphia Story, The Real Thing, Tartuffe. National: Summerfolk. RSC: Richard III, The Painter of Dishonor. Select Film: Saint Maud, John and the Hole, Beneath the Blue Suburban Skies, Vox Lux, Monster, The Miseducation of Cameron Post, Detroit, A Quiet Passion, Little Men, The Fundamentals of Caring, Advantageous, A Little Chaos, Zero Dark Thirty, Contagion, The Ides of March, The King’s Speech, Pride and Glory, Possession, Sunshine, Wilde, Paradise Road. Select TV: “Dead Ringers,” “The Comey Rule,” “The Blacklist,” “Pride and Prejudice (BaftA),” “The Camomile Lawn.”

CALUM FINLAY (ROSENCRANTZ, ENSEMBLE) Understudy Laertes. Trained at: LAMDA. Theater includes: Bloody Difficult Women (Riverside Studios), Switzerland (West End/Theatre Royal Bath), Mary Stuart, Hamlet (Almeida/West End), The Ghost Train, Too Clever by Half (Told by An Idiot/Manchester Royal Exchange), Dunsinane (RSC/NT Scotland, International Tour), Tartuffe (Birmingham REP), Merry Wives of Windsor, The Mouse and His Child, Macbeth, Jubilee (RSC), The Prince of Denmark (National Theatre). Film and TV includes: Bates of the Amazon, A Midsummer Night’s Dream, Holby City.

ALEXIS RAE FORLENZA* (IPHIGENIA) Alexis Rae Forlenza is proud to make her Park Avenue Armory debut. Acting since age 5, she can be seen in The King of Staten Island, guest starring on several tv shows, and currently filming two motion pictures. She studies acting and dance and performed in local productions of Miracle on 34th Street/Henrika and Little Mermaid/ Ariel. Forlenza is a 4th grader from Long Island and enjoys soccer and spending time with her brother. Forlenza would like to thank CESD Talent Agency, Kogen Management, From Stage to Screen Performing Arts Academy, Take 2 Actors Studio, Michael Radi, and her supportive family.

ANASTASIA HILLE (KLYTEMNESTRA) Anastasia Hille’s extensive work in theater includes: The Power, The Effect (Olivier nomination), Dido, Queen of Carthage, Women of Troy, Waves, A Dream Play, The Oresteia (the National); A Midsummer Night’s Dream (Young Vic); Hamlet (Barbican); The Master Builder (Almeida, Olivier nomination); and Macbeth (European tour, New York). TV: I Hate Suzie, Ipcress Files, The Pembrokeshire Murders, Baptiste (S1-3), Silent Witness, Keeping Faith, West of Liberty, The Last Kingdom, Wanderlust, Requiem, Humans, Him, Class, You, Me and the Apocalypse, The Fear (BAFTA nomination). Films: Martyr’s Lane, Mamma Mia! Here We Go Again, A United Kingdom, Trespass Against Us, Tulip Fever, The Riot Club.

WESLEY HOLLOWAY* (YOUNG ORESTES) Wesley Holloway makes his Armory debut in Oresteia. He began acting in local theaters at the age of six, quickly landing the role of Randy in A Christmas Story and Young Tommy in The Who’s Tommy. His TV credits include Dispatches from Elsewhere (AMC/Jason Segel). His feature film credits include As They Made Us (Mayim Bialik), Meet Cute (Alex Lehmann), She Said (Maria Schrader), and Junction (Bryan Greenberg). Holloway’s next performance will be in the Broadway production of Leopoldstadt. He is grateful to his family and friends for their love and support. He would like to thank the entire Oresteia cast and crew.

JOSHUA HIGGOTT (HORATIO, TALTHYBIUS) JACQUELINE JARROLD* (ENSEMBLE) Understudy Hamlet/Orestes. Theater: Hamlet, Oresteia (Almeida, West End); Animal Farm (UK tour); 1984 (Headlong, Almeida) Ghost Stories (ATG); Shakespeare in Love (Sonia Friedman, Disney); Regeneration (Royal, Derngate Theatre); Birdsong (UK tour); The Alchemist (Liverpool Playhouse); Iliad, The Odyssey (Almeida); Making Noise Quietly (Donmar Warehouse). Film: Darkest Hour (Working Title Films); Bohemian Rhapsody (20th Century Fox); The Mummy, The Snowman (Universal); The Machine (Pandora Films, Ltd.); DASHCAM (Blumhouse). Television: The Witcher (Netflix); This is Going to Hurt, Hamlet, McMafia (BBC). Short film: Juliet Remembered.

Understudy Guildenstern/Bernardo/Priest/Doctor. Broadway: The Cherry Orchard. Broadway National Tour: The Play That Goes Wrong. Regional: The Shakespeare Theatre Company (A Midsummer Night’s Dream, Measure for Measure, Coriolanus, Wallenstein), Florida Studio Theatre (PTGW). Jacqueline Jarrold (she/her) is a Northwestern Alumna and proud member of Actors Equity Association (#1U!). Thanks to her wonderful family and team.

GILBERT KYEM JNR (REYNALDO, ENSEMBLE) Gilbert Kyem Jnr is an actor/writer who trained at LAMDA. Since graduating in 2019, he also co-founded OneFiveFive Productions, which has developed work in Film. His acting credits in theater include: Incriminating Objects, (Theatre503), We Too Are Giants, (Tricycle Theatre), Lest We Forget (Greenwich Theatre), and Never Not Once (Park Theatre). He was a finalist in The Stage’s Alan Bates Award 2019. 15

ALEX LAWTHER (HAMLET)

ELYANA FAITH RANDOLPH* (IPHIGENIA)

Alex Lawther is best known for his acclaimed roles in The Last Duel, Black Mirror, Howard’s End, and multiple BAFTA winning The End of the F***ing World. He made his screen debut as young Alan Turing in The Imitation Game. Previous theater work includes South Downs (Minerva Theatre, Harold Pinter West End); Fault Lines, The Glass Supper (Hampstead Theatre); Crushed Shells and Mud (Southwark Playhouse); The Jungle (Young Vic, Playhouse West End, and St. Ann’s); The Tempest (Caliban/Ferdinand, Les Bouffes du Nord, Paris). Lawther will next be seen in STAR WARS: ANDOR.

Elyana Faith Randolph is thrilled to be part of Park Avenue Armory’s production of Oresteia. This is her professional theatrical debut; Randolph has appeared in various local productions, recently playing Amaryllis in The Music Man (SYJCC). She also appeared on CBS in FBI: Most Wanted and has been studying acting and singing since the first grade. Randolph is in 4th grade and resides on Long Island. She is grateful for the support of her mentors Rochele, Sid, and Regina, her manager Jana Kogen, and her agents David and Abrielle at Zuri Agency, and the encouragement of her loving family.

ANDREW LONG* (ENSEMBLE)

KIRSTY RIDER (OPHELIA, DOCTOR)

Understudy Claudius/Polonius/Ghost/Player King/Agamemnon/Aegisthus. Broadway: The Curious Incident of the Dog in the Night-Time, Harry Potter and the Cursed Child. Old Vic: Richard III. International tour: War Horse, Richard III. San Francisco: Harry Potter and the Cursed Child. Regional: Antony and Cleopatra, Duchess of Malfi, Don Carlos (Shakespeare Theatre Company); Hamlet, Heartbreak House (Hartford Stage); M Butterfly (Guthrie); I Am My Own Wife, My Fair Lady (Signature Theater); Amadeus, Enrico IV (Rep of St Louis); Good People, The Watch on the Rhine (Arena Stage); Richard III (Denver Center). Television: Archive 81, Blindspot. Film: Blue Jasmine, NOW: In the Wings on a World Stage. Awards: Helen Hayes Award, Will Award, Lunt Fontanne Fellow.

Theater: Nora: A Doll’s House (Royal Exchange Manchester) Robert Icke’s The Doctor, Machinal (Almeida Theatre); Macbeth (Shakespeare’s Globe); lead role in The Great Wave, Saint George and the Dragon (National Theatre); Pride and Prejudice (Regent’s Park Open Air Theatre, UK Tour). Television: Sandman (Netflix); The Girl Before, Industry (BBC). Short Film: lead role in Hafu by Elliot BarnesWorrell. Royal Court Writing Group 2019. Awards: nomination for Best Newcomer at the Manchester Theatre Awards; Winner of Neal Street Bursary 2021 and Channel Four Screenwriting 2022.

HUDSON PAUL* (YOUNG ORESTES) Hudson Paul is thrilled to be part of this incredible production of Oresteia. Television credits include guest-starring on Law & Order SVU as well as appearances on Sesame Street and Saturday Night Live. Gratitude, appreciation, and love to the cast and creative team, Alexandre Bleau, Jim Carnahan, Dave McKeown, Stephanie Artuso, and Melanie Hinkle at Edge Entertainment, Bonnie ShumofskyBloom at Stewart Talent, Bryan Manley Davis, Matt Newton, MN Acting Studio, Mom, Dad, Caleb, and of course his dog Maceo.

IMANI JADE POWERS* (ENSEMBLE) Understudy Ophelia/Electra/Cassandra/Athene. Imani Jade Powers is thrilled to be a part of this wonderful team. Theater: Mac Beth (Hunter Theater Project); Suddenly Last Summer, The House of Bernarda Alba (RADA); The Winter’s Tale, The Arabian Nights (Hudson Valley Shakespeare Festival); The Winter’s Tale (The Pearl Theatre Company). Film/TV: Mother Future Self (Human Horse); Wu-Tang: An American Saga (Hulu); A Heart Shaped Stone (RADA); Guarded (Powers Productions). Training: RADA. 16

DAVID RINTOUL (PLAYER KING, GHOST) A phenomenally experienced actor, David Rintoul has worked consistently for 50 years. After eight years with the influential Joint Stock Company, he has played leading parts with all the major British companies including The National Theatre and the RSC. TV incudes Michael Adeane in The Crown (SAG Ensemble award), Aerys II in Game of Thrones, and four series as Doctor Finlay. Films include The Protege, The Ghost Writer, Unrelated, The Iron Lady, and My Week With Marilyn. Rintoul has voiced many video games and cartoons, including several characters in Peppa Pig and has recorded over 300 audio books.

HARRY SMITH* (ENSEMBLE)

PETER WIGHT (POLONIUS, MENELAUS)

Understudy Marcellus/Reynaldo/Francisco/Gravedigger/Menelaus. Broadway: Hangmen; King Charles III. Off-Broadway: Plough and the Stars; Juno and the Paycock; Shadow of a Gunman (Irish Repertory Theatre). Regional: Guthrie Theater; Two River Theater; Shakespeare Theatre Company of DC; Seattle Rep; American Conservatory Theater; Delaware Theatre Company; The Wilma Theater; Walnut Street Theatre; People’s Light; Lantern Theater Company; Inis Nua Theatre Company. UK: Edinburgh Royal Lyceum; Bristol Old Vic; Third Party; Tobacco Factory; Taunton Brewhouse. Film/television: Freedom, The Goldfinch; “The Good Wife,” “Crossbones,” “The Blacklist,” “Elementary,” “Jessica Jones,” “Sprung.” Training: Bristol Old Vic Theatre School.

Select theater: Uncle Vanya, The Birthday Party (Harold Pinter); Rosmersholm (Duke of York); Hamlet (Almeida/Harold Pinter), The Red Lion, Ivanov, Murmuring Judges, The Resistible Rise of Arturo Ui, Black Snow, Waiting for Godot (National Theatre); The Seagull (Royal Court/Broadway); Otherwise Engaged, Chekhov’s Women (West End), The Spanish Tragedy, Much Ado About Nothing, Barbarians, A Clockwork Orange, Hamlet (RSC); In The Republic of Happiness, In Basildon, Face to the Wall (Royal Court). Select TV: His Dark Materials, The Crown, Titanic, Vanity Fair, Persuasion, Hit and Miss. Select film: Cyrano, Hot Fuzz, Pride and Prejudice, Babel, and with Mike Leigh: Naked, Vera Drake, Another Year, Mr Turner.

ANGUS WRIGHT (CLAUDIUS, LUKE TREADAWAY (LAERTES, ORESTES) AGAMEMNON, AEGISTHUS) Theater includes: Christopher in The Curious Incident of the Dog in the Night-Time (Olivier Award Best Actor), Albert in Warhorse, Saint Joan (National Theatre), Who’s Afraid of Virginia Woolf? (West End), Over There (Royal Court and Schaubühne). Film includes: A Street Cat Named Bob, Unbroken, The Rise, Cheerful Weather for the Wedding, Attack the Block, Clash of the Titans, Brothers of the Head. Television includes: Lockwood and Co. (Netflix), Ordeal by Innocence, The Hollow Crown, The Rack Pack (BBC), The Singapore Grip (ITV), Traitors, Clapham Junction (C4), Fortitude (Sky Atlantic), The Nightmare Worlds of HG Wells (Sky Arts).

ROSS WAITON (FRANCISCO, GRAVEDIGGER, ENSEMBLE) Theater: The Curious Incident of the Dog in the Night-Time (also West End), King Lear, Timon of Athens, Antigone, The Revenger’s Tragedy, Much Ado About Nothing, Saint Joan (National Theatre); Much Ado About Nothing, Antony and Cleopatra, The Duchess of Malfi (RSC); Twelfth Night (Sheffield Crucible/ ETT); Henry IV, parts 1 and 2 (Theatre Royal Bath); The Tempest, As You Like It (Old Vic/ Brooklyn Academy of Music); Rutherford and Son (Northern Stage); Corpse (Salisbury Playhouse); Hamlet (ETT/ West End). TV: Luther, Maigret, Grantchester, Beowulf, Vera, EastEnders, Holby City, The Welsh in Shakespeare, G Force. Film: Pride, Skyfall, Film X.

Recent theater includes: Hamlet, Oresteia (Almeida, West End); 1984 (Playhouse); The Cherry Orchard (Young Vic); Twelfth Night, Richard III (The Globe, Bway); Mrs. Affleck, War Horse, St Joan, The Seagull, Dream Play, Stuff Happens (National Theatre); Master & Margarita, Measure for Measure (Complicite); A Midsummer Night’s Dream (Almeida); Merchant of Venice, Hamlet, Henry IV (RSC). Select films: The Queen Mary, The Courier, The Witches, Official Secrets, Rogue One, Maleficent, The Iron Lady, Kingdom Of Heaven, RKO 281, Bridget Jones’ Diary, Frankenstein. Select TV: Succession (HBO); His Dark Materials (BBC 1/HBO); Cursed, The Crown (Netflix); Peep Show (Channel 4), Ragdoll, Flowers, Cambridge Spies (BBC).

HARA YANNAS (BERNARDO, PRIEST, CASSANDRA, ATHENE) Training: LAMDA. Theater: Maryland (Royal Court); The Welkin (National Theatre); Overruled, Amsterdam, Dealing with Clair (Orange Tree); Uncle Vanya (Arcola/HOME); Oresteia (Almeida/ West End); 1984 (Headlong/Almeida/West End/US Tour); The House of Bernarda Alba, The Treatment (Almeida); Britannicus (Wilton’s); Pericles (Regent’s Park); A Midsummer Night’s Dream (Shakespeare’s Globe); it felt empty... (Arcola). Television: Casualty, Silent Witness, The Musketeers, Holby City (BBC); Dark Heart, Trauma, Innocent, Broadchurch, Law & Order (ITV); The Smoke (Sky); The Bible (History Channel). Film: Patient Zero. Yannas is an experienced voice and motion capture artist, specializing in video games. Credits include: Assassins Creed: Odyssey and Warhammer III.

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. 17

PRODUCTION CREDITS PRODUCTION STAFF Hector Murray Lighting Associate Andrew Joseph Sound Associate Sam Cortez Company Manager Kanako “Kana” Morita Assistant Company Manager Jack Bradfield Assistant Director Tash Holdaway, Humnah Abdullah Rehearsal Assistant Stage Managers Wessex Grove UK Producer and General Manager Jim Leaver Scenic Supervisor Aidan Nelson Technical Director Laura Aupert Assistant Production Manager Craig Emerson Head of Stage Simon York Scene Shop Carpenter Carl Whipple Production Carpenter Justin Hill, Pablo Solano, Rob Robinson, Cody Lee Carpenters Stephen Pucci Production Rigger

Kirrin Tubo Child Guardian Jessica Ashleigh Pomeroy Production Assistant, Programming Janet Rucker Visa Coordinator

PRODUCTION ACKNOWLEDGEMENTS BNW Rigging; CoveyLaw; Five Ohm Productions; Mind the Gap; Premier Stagehands; Automation by PRG Scenic Technologies; Audio Equipment by Masque Sound, Stage Sound Services; Firearms by J&M Special Effects; Intimacy Direction by Teniece Divya Johnson; Lighting Equipment by 4Wall Entertainment, Production Resource Group, Main Light, Hayden Production Services, Christie Lites; Props Built by Propworks London; Rigging Equipment by 4Wall Entertainment; Scenery Built by Miraculous Engineering, Scott Fleary Productions, Coolflight Limited; Video Equipment by 4Wall Entertainment, Sound Associates; Video Wall built by Hudson Scenic; Video Production thanks to All Hallows Church, The Antwerp Arms, John Laverick, Mark Raggett, Erin McCulloch, Sarah Alford Smith, Tom Powis, and Eloise Kenny-Ryder.

CASTING

Aaron Copp Lighting Supervisor Dave “Tater” Polato Production Electrician Marc Polimeni Lighting Programmer Griffyd Cole Light Board Operator James Palmer Automation Operator, Deck Electrician

Julia Horan, CSD

Mark Grey Audio Supervisor Andrew Lulling Audio Engineer Jeffrey Rowell Production Sound Josh Dorman A2

MUSIC CREDITS, HAMLET

Andrew Gusciora Video Programmer and Engineer Daniel Santamaria Production Video Victoria Bek US Costume Supervisor Laura Hunt UK Costume Supervisor Amelia Dent Assistant US Costume Supervisor James Terrell, Jasmine Thomas, Molly Fenn Dressers Olivia Harris Wardrobe Dayworker Sarah Cimino Makeup Consultant Charlotte Bravin Lee Makeup Artist Amanda Miller Hair Consultant Jordynn Hill Hair Artist Lizzie Frankl UK Prop Supervisor Justin Cox US Prop Supervisor Poppy Morris Associate UK Prop Supervisor Zoe Wilson, Sofie Keefe-Haliburn UK Prop Assistants Cordelia Senie Props Crew

Jim Carnahan Casting, Inc Jim Carnahan, CSA, Alexandre Bleau, CSA Maureen Kelleher, Kendall Latimer, Jason Thinger

“All Along the Watchtower”