Colorado Shakespeare Festival 2019

Summer 2019 JUNE 7-AUGUST 11 Twelfth Night As You Like It Romeo and Juliet King Charles III A Future History Play

by Mike Bartlett

King John

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Summer 2019 JUNE 7-AUGUST 11

10 14 19 23 27 32 35

Letter from the producing artistic director Season calendar Twelfth Night

Directed by Timothy Orr Performed in the Mary Rippon Outdoor Theatre

As You Like It

Directed by Carolyn Howarth Performed in the University Theatre

Romeo and Juliet

Directed by Christopher DuVal Performed in the Mary Rippon Outdoor Theatre

A campus and community collaboration

The Colorado Shakespeare Festival is a professional theatre company in association with the University of Colorado Boulder. Since 1958, the festival has celebrated and explored Shakespeare and his continuing influence and vitality through productions of superior artistic quality, education and community engagement.

Program editorial team Editor Becca Vaclavik Designer Sabrina Green

Production illustrators and season branding Ligature Creative Group Photography Jennifer Koskinen

King Charles III

A Future History Play

by Mike Bartlett Directed by Kevin Rich Performed in the University Theatre

38

King John

42

Who’s who

44 48 54 56 58 60 62 6

Directed by Kevin Rich Original Practices Performed in the Mary Rippon Outdoor Theatre

Acting company Artistic team Our supporters Festival sponsors Festival staff The CSF Shakespearience Services and policies 2019 Colorado Shakespeare Festival

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A LETTE R FROM THE PRODUCI NG ART I S T I C DI RE CT O R Welcome to the Colorado Shakespeare Festival’s 2019 season! This marks the 62nd season of the second oldest Shakespeare festival in the United States and we are happy to be hosting you tonight. We have a wonderful summer of compelling theatre ahead, but first, some history.

Over the last six years, CSF has explored some of the more exotic and less-traveled corners of Shakespeare’s canon.

From 2013-18 we produced both “Henriads” (the eight history plays spanning from Richard II through the Wars of the Roses ending with Richard III). We put up thrilling full productions of Cymbeline and Troilus and Cressida. And we were adventurous in our programming of non-Shakespeare plays, too. I’m thinking back fondly to such productions as Cyrano de Bergerac, You Can’t Take It With You, Equivocation and I Hate Hamlet. In 2017, we completed Shakespeare’s canon for the second time and since then we have felt anything is possible. So, this season, we are challenging ourselves with a summer of masterpieces.

This summer, we hope you will enjoy some of Shakespeare’s most enduring works, plus a surprisingly inventive new play.

We open the season with a production of Twelfth Night inspired by the ocean, adventure and original live music. The same cast then journeys into the heartbreaking romantic tragedy, Romeo and Juliet. The Mary Rippon Outdoor Theatre is the perfect venue for the powerful and richly imagistic language of these two plays.

On the indoor theatre, we have created an eight-person adaptation of As You Like It, Shakespeare’s sparkling comedy on the nature of love—also featuring original live music. Following that, Mike Bartlett’s brilliant new play, King Charles III, inspired by Shakespeare and written in verse, imagines a possible near future for the present-day English monarchy. Rounding out the season will be another “Original Practices” production, this time of the rarely produced King John.

Thank you for joining us this summer. I hope you enjoy the season!

Tim Orr Producing Artistic Director Colorado Shakespeare Festival

10

2019 Colorado Shakespeare Festival

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Summer 2019 CAL ENDAR

SUN

MON

TUE

WED

THU

FRI

2

3

4

5

6

7

9

10

11

12

13

16

17

18

19

20

Twelfth Night 8pm (preview) 14

Twelfth Night

JUNE

8pm 21

As You Like It

24

25

26

27

8

Twelfth Night 8pm (Opening) 15

Twelfth Night 8pm 22

As You Like It

7:30pm (preview)

7:30pm (Opening)

Twelfth Night

Twelfth Night

8pm

23

SAT

28

Twelfth Night 8pm

8pm 29

As You Like It 7:30pm

Twelfth Night 8pm

30

As You Like It

1

2

3

4

5

8

9

10

11

12

2pm 7

As You Like It

7:30pm

2pm

Romeo and Juliet 7pm

Romeo and Juliet Romeo and Juliet

7:30pm

13

Twelfth Night 8pm

8pm

15

16

17

7pm

18

19

Twelfth Night

King Charles III

7pm

7:30pm (preview)

20

King Charles III 7:30pm (Opening)

JULY

Romeo and Juliet Romeo and Juliet 8pm

21

As You Like It

22

23

2pm

Twelfth Night 7pm 28

As You Like It

29

30

2pm

King Charles III

7pm

7pm

As You Like It

As You Like It

31

6

2pm

6:30pm

1

King Charles III

7

Twelfth Night

Twelfth Night

7:30pm

8

7:30pm

7:30pm

Twelfth Night

Romeo and Juliet

As You Like It

King Charles III

7pm

27

King Charles III

King Charles III

7pm

8pm

King Charles III

2

As You Like It

7:30pm

26

8pm

Twelfth Night

7pm

King John

7:30pm

Twelfth Night 7:30pm

5

25

Romeo and Juliet Romeo and Juliet

7pm

7pm 4

24

7:30pm

Romeo and Juliet

AUGUST

As You Like It Twelfth Night

7pm (Opening) 14

6

As You Like It

7:30pm 8pm 3

As You Like It 7:30pm

Romeo and Juliet Romeo and Juliet 8pm 9

King Charles III 7:30pm

8pm 10

As You Like It 2pm

As You Like It

7:30pm

7:30pm

Romeo and Juliet 8pm

11

King Charles III

12

13

14

15

16

17

2pm

Twelfth Night 7pm

14

2019 Colorado Shakespeare Festival

Mary Rippon Outdoor Theatre Twelfth Night · Romeo and Juliet · King John

University Theatre (Indoors) As You Like It · King Charles III by Mike Bartlett

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Twelfth Night

By William Shakespeare Directed by Timothy Orr

Artistic team Director Timothy Orr

Scenic Designer Caitlin Ayer^ Costume Designer Meghan Anderson Doyle Lighting Designer Shannon McKinney^ Sound Designer Jason Ducat Music Composer Rinde Eckert Fight Choreographer Christopher DuVal Choreographer Erika Randall Casting Director Sylvia Gregory, CSA Dramaturg Amanda Giguere Voice and Text Coach Jeffrey Parker

Cast

(in order of appearance) Viola, a shipwrecked lady, later disguised as Cesario Amber Scales Captain of the wrecked ship, who befriends Viola Mark Collins Orsino, Duke of Illyria Marco Robinson* Curio, gentleman attending on Orsino Jason Toennis Valentine, gentleman attending on Orsino Matt Bender Sir Toby Belch, Olivia’s kinsman Robert Sicular* Maria, Olivia’s waiting-gentlewoman Emma Messenger Sir Andrew Aguecheek, companion to Sir Toby Rodney Lizcano*

Feste, clown, Olivia’s jester Rinde Eckert* Olivia, a countess Jessica Robblee* Malvolio, Olivia’s steward Gareth Saxe* Antonia, a sea-captain, who befriends Sebastian Madison Hart Sebastian, Viola’s twin brother, also shipwrecked Dante Rossi Fabian, a member of Olivia’s household Rakeem Lawrence Servant in Olivia’s household Isobel Rosie Makin Officers Mark Collins, Jason Toennis Priest Mark Collins

Stage Manager Stacy R. Norwood* Assistant Stage Manager Nicole Kutcher* Production sponsors: Savory Cuisines, Alpine Animal Hospital, Elevations Credit Union, Hazel’s Beverage World and Wright Water Engineers ^ Member of United Scenic Artists

* Appears courtesy of the Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States

#coshakes · @coshakes

19

Plot synopsis

After a catastrophic shipwreck, the young, resourceful Viola washes ashore in Illyria and concocts a survival plan.

Believing her twin brother drowned in the wreck, she dons male attire, calls herself Cesario and finds employment with Orsino, Duke of Illyria.

Orsino pines for the Countess Olivia, who, grieving the recent deaths of her brother and father, refuses Orsino’s advances.

Orsino sends “Cesario” (Viola in disguise) to woo Olivia on his behalf. Olivia falls in love with the messenger, and Viola, who secretly adores Orsino, finds herself in a love triangle.

Meanwhile, Olivia’s drunken uncle, Sir Toby Belch, encourages the wealthy but dim-witted Sir Andrew Aguecheek to woo Olivia. When Olivia’s butler, Malvolio, interrupts a late-night celebration, Sir Toby conspires with other members of Olivia’s household to get back at Malvolio.

They forge a letter from Olivia, convincing Malvolio that she loves him and instructing him to wear yellow stockings to prove his affection for Olivia. Malvolio obeys the letter and becomes the laughingstock of the household. Because he is presumed mad, Malvolio is confined to a prison, where his enemies continue to torment him.

Unbeknownst to Viola, her twin, Sebastian, survived the shipwreck and arrives in Illyria. Olivia encounters Sebastian, mistakes him for Cesario and proposes marriage. To her surprise, Sebastian agrees, and they quickly wed. Shortly after the wedding, Orsino, accompanied by Cesario, arrives at Olivia’s house to plead his case once more. When Sebastian and Cesario (Viola) appear in the same location, the confusion is sorted out, the twins are reunited and Orsino asks for Viola’s hand in marriage.

Just as happiness appears on the horizon, the wronged Malvolio is released from prison and confronts Olivia. When he realizes he was the victim of a cruel joke, Malvolio swears revenge and departs. The happy couples make plans for their upcoming nuptial celebrations.

—Amanda Giguere

20

2019 Colorado Shakespeare Festival

Director’s note

Twelfth Night is probably my favorite play by William Shakespeare. It is certainly my favorite of his comedies. It is a marvelous contraption combining a shipwreck, mistaken identities, multiple love triangles, a gang of loonies, happy endings, and music. But there are also darker threads of horrific bullying and ruined lives. In my mind, it is a beautiful party (disguised as a play) that goes bonkers. As Fabian notes, “If this were played upon a stage now, I would condemn it as an improbable fiction.”

Anchoring this story, though, is our heroine, Viola: washed ashore in a strange land, uncertain of her future but fiercely determined to untangle her predicament and succeed. Her determination plunges her into the middle of players engaged in a game whose rules she doesn’t yet understand. Her wits and improvisation skills are all she has.

My way into this production of Twelfth Night came from two ideas: the sea and play. First, the sea. By now, you’ve realized this play is taking place outdoors, starting in daylight. In the world of theatre magic where anything is possible, these are two things we cannot alter. Early on, I was inspired by the idea that Illyria is near the sea and what that represents: being born from the ocean and being borne by the ocean.

Whether you are coming out of it or heading in, it’s the start of an adventure. I knew I wanted to embrace the open-aired sky and energy of a summer evening in Boulder and to ensure that this seaside story would live in an outdoor world.

Play. Illyria is a fantastical place full of mischief. There are child-like qualities to this play: the flirting, the note passing, the music-making, the make-believe elements—and also the cruelty. When the pranks and mischief go too far, the comedy swerves into territory that is unexpected, unsettling, and ultimately, very human. For many young people in our audience this summer, this will be the first Shakespeare play they have ever seen. I welcome that responsibility. I want them to see how this marvelous contraption—this comedy of misrule—fractures into laughs, pathos, regret, reunion, marriage, heartbreak and joy.

—Timothy Orr

Photo: CSF’s production of Twelfth Night, 2005

Revelry and misrule: Twelfth Night’s festive roots

Twelfth Night was likely written for a 1601-02 court performance on Twelfth Night, a topsy-turvy celebration in which social order was temporarily suspended. This upside-down holiday is not unique to Elizabethan England; throughout history, other cultures have established comparable traditions of wintertime misrule.

Twelfth Night (Jan. 6, the eve of Epiphany) marked the end of the Christmas season with a final night of merriment, feasting and disguise. One seasonal tradition was a bean baked in a cake (sometimes called the Twelfth Night cake). The lucky bean-finder became the Lord of Misrule and oversaw the Christmas festivities. In most noble households, a Lord of Misrule presided over a mock court, arranged for household entertainment, and was sometimes subjected to a mock execution.

The roots of this type of wintertime social release can be traced to the ancient Roman Saturnalia, a December festival honoring the god Saturn. An appointed leader organized the celebrations, which included role reversals (a master and slave might swap roles), gift-giving, singing, gambling, decorating homes, dancing and candle-lighting.

Regular life was suspended during Saturnalia, and the rules that governed society were put on hold.

A medieval winter festival emerged in the Christian tradition that hearkened back to Rome’s Saturnalia. The Feast of Fools, established by the clergy in the 12th century, was a liturgical celebration held around Jan. 1. A lord of the revels (Dominus festi) was appointed from the lower clergy to supervise the activities. During the Feast of Fools, the lord of the revels might deliver a mock mass in gibberish, clothes were worn backwards, and clergymen might dress as women. This liturgical festival was an opportunity for the church to playfully mock itself and embrace the temporary suspension of routine. By the early 15th century, the Feast of Fools fell out of favor with the church and largely dissolved. When called upon to defend the event in 1444, a group of French clerics stated, “We do these things ... so that once a year the foolishness in us can come out and evaporate.”

Across many periods of human history, it seems that culturally-sanctioned misrule might, in fact, strengthen social order.

Why have cultures, from ancient Rome to Elizabethan England, felt compelled to release something when the temperature drops and turn the world on its head? Some present-day traditions (April Fools’ Day, Halloween) could be interpreted as part of the same tradition. Or perhaps live theatre, with its role reversal, disguise and merriment, functions as yet another incarnation of festive release. As an audience, we have permission to get lost in the temporary madness, celebrate a fictional world, and finally, settle back into our world with a fresh perspective.

—Amanda Giguere VIO LA /C ES A RIO

M ALVOLIO

di

sis

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is

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O LIVIA

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at th

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ed

to

e en

by

d

S IR AGUECHEE K

Costume renderings by Meghan Anderson Doyle

tr

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pts t

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falls in love with

DUK E ORS INO

attem

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sa

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#coshakes · @coshakes

21

As You Like It

By William Shakespeare Directed by Carolyn Howarth Artistic team Director Carolyn Howarth+

Scenic Designer Stephen C. Jones^ Costume Designer Clare Henkel^ Lighting Designer Katie Gruenhagen Sound Designer Jason Ducat Music Composer Sam Misner Fight Choreographer Christopher DuVal Choreographer Erika Randall Casting Director Sylvia Gregory, CSA Dramaturg Heidi Schmidt Voice and Text Coach Julie Foh

Cast

(in order of appearance) Orlando, younger son of Sir Rowland de Boys Seth Dhonau* Adam, servant in the de Boys household Josh Innerst* Oliver, Orlando’s elder brother Jihad Milhem Celia, daughter of Duke Frederick Shunté Lofton Rosalind, daughter of Duke Senior Emily Van Fleet* Touchstone, a clown Josh Innerst* Le Beau, a courtier Leslie O’Carroll* Charles, Duke Frederick’s wrestler Sean Michael Cummings Duke Frederick, Duke Senior’s usurping brother John Hutton*

Duke Senior, living in exile John Hutton* Amiens, a lord, follower of Duke Senior Josh Innerst* Corin, a shepherd Jihad Milhem Silvius, a shepherd Sean Michael Cummings Jaques, a follower of Duke Senior Leslie O’Carroll* Audrey, a country girl John Hutton* Sir Oliver Martext, a country vicar Shunté Lofton Phebe, a shepherdess Leslie O’Carroll* William, a country youth Seth Dhonau* Hymen Jihad Milhem

Stage Manager Kaylyn Kriaski* Assistant Stage Manager Tiffany Lutz* Production sponsors: Savory Cuisines, Blue Mountain Arts, Left Hand Brewing and Martin/Martin Consulting Engineers + Member of Stage Directors and Choreographers Society ^ Member of United Scenic Artists * Appears courtesy of the Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States

#coshakes · @coshakes

23

Plot synopsis

Director’s note

To the surprise of the court, Orlando defeats Charles, winning both Rosalind’s affection and Duke Frederick’s animosity. After the match, the Duke banishes Rosalind. Celia exiles herself as well. Disguised, they head for the Forest of Arden along with the clown Touchstone. Orlando learns his brother intends to kill him and likewise flees to Arden.

As a self-proclaimed “hopeful romantic,” I’m a sucker for any plot where love is curative and where reconciliation and forgiveness triumph. The plight of Rosalind and Orlando, both victims of incredible loss, resonates: they find their true voices, their true selves when tested. And as a result, they are able to forgive and subsequently find love. The road to self-discovery, even in a place as magical as Arden, apparently isn’t easy. I’m reminded of advice from another play, “To thine own self be true.” Or perhaps a more contemporary adage, “Let your freak flag fly.”

Good advice for a happy life, I think. And certainly the folks in this play, Rosalind in particular, are poster children of this sentiment.

Duke Senior has been overthrown and exiled to the Forest of Arden, leaving his daughter Rosalind at court with her beloved cousin Celia and usurping uncle Duke Frederick. Meanwhile, Orlando has been woefully mistreated by his brother Oliver in the wake of their father’s death and is determined to break free and find his own way in the world by challenging the infamous (and lethal) wrestler Charles.

In Arden, Rosalind and her menagerie establish a household among some shepherds; Orlando joins Duke Senior’s forest court and begins writing extravagant poetry dedicated to his lost love Rosalind, thought to be still at court. Rosalind and Celia find the poetry and Rosalind decides to make the most of her disguise (as the boy Ganymede)—she offers to cure Orlando of his lovesickness by pretending to be Rosalind. She teaches Orlando how to woo the “real” Rosalind and further entertains herself by meddling in local shepherd Silvius’ love for the uninterested Phebe (who in turn falls for the attractive young stranger Ganymede). Meanwhile, Touchstone falls in love with a local shepherdess Audrey.

When approached to direct As You Like It, my heart definitely swelled a size or two.

I have such fondness for the quirky pastiche of characters that run amok in this play. Each inhabitant is a delightful little study, full of wise saws or witty bon mots— often both! There is an element of the outrageous about them, yet somehow they stay grounded in humanity—exhibiting humor and pathos, my favorite combination.

A devoted sister-cousin, a railing Duke, a shepherd-philosopher, a love-sick swain: they each play a part in this world’s stage. And then there’s Rosalind. O, Rosalind!

A divine authorial creation—her intellect is keen, her thoughts come lightning fast, she’s funny and brave and oh, so witty. Her journey to find her liberty and her authentic self—the journey at the heart of this play—paralleled by Orlando’s similar odyssey—is breathtaking and courageous.

Shakespeare included a lot of songs in Arden. I’ve been graced with the chance to collaborate with one of my all-time favorite songwriters, Sam Misner, of the Americana folk duo Misner & Smith. We’ve had a ball talking about nerdy stuff like the dramaturgy of the songs, antiquated poetry schemes and how certain instrumentation can tell a story. Not being a musician myself, it’s been a fascinating lesson for me. And watching a group of gifted musicians jam and improvise on a particular theme is magical! A song can really get to the heart of what one is feeling, and Arden is certainly a place where one can sing freely.

My greatest hope is that you will be carried away by the charm of Arden, where truly anything can happen: that you will be reminded to let go of ancient grudges, to feel the song in your heart, and to find, as Duke Senior so aptly states, the “good in everything.”

—Carolyn Howarth

Oliver arrives, seeking Orlando, and is nearly killed by wild animals.

Instead, he is rescued by his brother.

Overcome by remorse, he cedes their father’s estates to Orlando (and falls in love with Celia). Done with the disguises, Rosalind/Ganymede promises to resolve the tangled web of love triangles and obstacles if everyone will gather the next day, ready for matrimony. As disguises are abandoned and a series of weddings ensue, a courtier reveals that Duke Frederick has been converted to a religious life, and Duke Senior’s position and property have been restored.

—Heidi Schmidt 24

2019 Colorado Shakespeare Festival

Photo: CSF’s production of As You Like It, 1995

Shakespeare’s shepherds, or the grass is always greener

Shakespeare rarely wrote an original plot. He excelled at adapting (and upgrading) existing stories with added characters, parallel subplots and more complex psychology. What’s less well known is that Shakespeare often did the same thing with dramatic form and genre. Love’s Labour’s Lost (as CSF fans may remember from last year) is both an homage to and a sendup of the fad for sonnets. With As You Like It, Shakespeare is adopting (and tweaking) the English pastoral, a popular form of escapist literature in vogue in the 1590s. American audiences may not be familiar with the form, but the Elizabethans were familiar with the genre’s primary traits, much like we know what to expect when our Netflix queue sorts options by thrillers, romantic comedies, Westerns, etc.

A few key characteristics are helpful here: pastorals idealize and romanticize country life, particularly the imagined lives of shepherds. Shepherds in pastorals rarely have time for actually tending sheep—they’re far too busy falling in love, writing poetry and sharing folksy wisdom with visitors from the city. Pastorals are a city form—written by and for city dwellers.

It’s escapist fantasy, not realism. As a result, pastorals are loaded with a sense of nostalgia.

Pastorals have fallen out of fashion, but many elements persist in American pop culture. The musical Oklahoma! serves as a solid example—written by native New Yorkers and embraced by New York audiences in the 1940s about “country” life in Oklahoma territory a generation before, it tapped into a deep nostalgia for a simpler time and place. American pastoral (if such a form exists) tends to romanticize the cowboy of the American West more than the shepherd of the English countryside. But while the cowboys get more press, shepherds and their sheep are a significant part of the American West. Colorado is actually the third highest sheep producing state in the U.S. Shakespeare took this largely sentimental genre and added some humor and some depth. In the Forest of Arden, it’s not just the shepherds writing poetry. Nearly everyone does, and it’s often comically bad. Even Phebe tries her hand, violating the unwritten rule that shepherdesses are the subject, not author of poetry. Arden is more than a pleasant, country place to hide out for awhile. It also serves as a mirror, reflecting what each character who arrives there fears, needs or likes of it (hence the title). It is flexible enough to accommodate winter cold and wandering lions.

So we invite you to sit back, leave your city troubles behind, and escape to Arden.

—Heidi Schmidt RO S AL IN D / G A N Y M E D E

O RLA N D O

us co

CE L I A

S ILV IU S is in love with P H EBE PH E BE falls in love with GA N Y M ED E

rs

RO S AL IN D meddles in the love life of S ILVIU S

he

G A N Y M E D E schools O RLA N D O on how to woo RO S A LIN D

ot br

ins

marries at the end

O LIVE R

marries at the end

Costume renderings by Clare Henkel

#coshakes · @coshakes

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Romeo and Juliet

By William Shakespeare Directed by Christopher DuVal

Artistic team Director Christopher DuVal Scenic Designer Caitlin Ayer^ Costume Designer Hugh Hanson Lighting Designer Shannon McKinney^ Sound Designer Jason Ducat Fight Choreographer Christopher DuVal Choreographer Erika Randall Casting Director Sylvia Gregory, CSA Dramaturg Amanda Giguere Voice and Text Coach Jeffrey Parker Stage Manager Stacy R. Norwood* Assistant Stage Manager Nicole Kutcher*

Cast

(in order of appearance) Sampson, of the Capulet household Lois Shih Gregory, of the Capulet household Rakeem Lawrence Abraham, of the Montague household Matt Bender Balthasar, Romeo’s servant Amber Scales Benvolio, Romeo’s cousin Jessica Robblee* Tybalt, Juliet’s cousin Marco Robinson* Capulet, Juliet’s father Robert Sicular* Lady Capulet, Juliet’s mother Mare Trevathan Montague, Romeo’s father Jim Hunt Prince Escalus of Verona Rinde Eckert* Page to Prince Escalus Robert Wester Romeo, sole son and heir of the Montague family Dante Rossi

County Paris, noble kinsman to the Prince, suitor to Juliet Rodney Lizcano* Page to County Paris Isobel Rosie Makin Peter, a Capulet servant attending on the nurse Jason Toennis Nurse to Juliet Emma Messenger Juliet, sole child of the Capulet family Madison Hart Mercutio, cousin to the Prince, friend of Romeo Anne Penner Friar Laurence, of the Franciscan Order Gareth Saxe* Apothecary of Mantua Rinde Eckert* Friar John, of the Franciscan Order Matt Bender Members of the Watch, Citizens of Verona, Masquers, Torchbearers, Pages, Servants Matt Bender, Rakeem Lawrence, Isobel Rosie Makin, Amber Scales, Lois Shih, Robert Wester

Production sponsors: Savory Cuisines, Alpine Animal Hospital, Elevations Credit Union, Hazel’s Beverage World and Wright Water Engineers ^ Member of United Scenic Artists

* Appears courtesy of the Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States

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27

Plot synopsis

Two prominent families of Verona, the Montagues and the Capulets, are sworn enemies. When their feud sparks yet another public brawl, Verona’s prince, tired of the ongoing violence, threatens death to anyone who disturbs the peace. Meanwhile, the lovestruck Romeo Montague is infatuated with Rosaline and sneaks into a party hosted by the Capulets, hoping to catch a glimpse of her. Instead, he meets Juliet Capulet. The two fall in love, profess their mutual affection, and make plans to marry the following day.

Romeo’s mentor, Friar Laurence, weds the young couple, believing it will resolve the family feud. Shortly after the secret marriage, Romeo encounters Juliet’s cousin, the fiery Tybalt, but refuses to fight him. Romeo’s friend Mercutio, surprised by Romeo’s sudden sympathy for a Capulet, steps into the fight and is fatally stabbed by Tybalt. In an act of revenge, Romeo murders Tybalt. As punishment, the Prince banishes Romeo.

Aided by Juliet’s Nurse, Romeo and Juliet spend their first (and last) night together as a married couple before Romeo departs to live in banishment. Juliet learns that her parents have arranged for her hasty marriage to a family friend, Paris.

She seeks counsel from the Friar, who gives her a drug to induce a death-like state. This, he hopes, will buy her time to escape the arranged marriage and reunite with her husband.

The Friar promises to send word to Romeo, informing him of the plan. The scheme goes awry when the Friar’s message to Romeo remains undelivered. Romeo learns of Juliet’s “death” and visits her tomb. Believing her truly dead, he swallows poison. Juliet awakens when her drug wears off, sees Romeo dead, and stabs herself. The two families learn, too late, of the love between Romeo and Juliet, and they vow to bury their grievances.

—Amanda Giguere

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2019 Colorado Shakespeare Festival

Director’s note

We live in a time of great upheaval and violence. We live in a time of widespread discontent, racial profiling, fearbased retaliations against perceived “otherness,” political corruption and deceit, social unrest and distrust, and a malaise of inabilities to take substantial steps forward into positive steps for humanity.

And yet, there is also untold beauty all around us: social, political events and funerals that reflect great hope, honor, and sacrifice; evidence of civil and compassionate discourse; social and personal evolutions that seem to offer light in the face of a history of recent darkness. Cyrano de Bergerac in 2018 showed what we can become at our most inspired as humans in conflict. In contrast, Romeo and Juliet “holds the mirror up to nature” to reveal the depths of bigotry, fear, sexism and prejudice that are possible to be seduced by, as well as how these forces can undermine, derail and overcome even the most pure and innocent influences. The play shoots itself out of a cannon. On an emotional level, nobody pauses to truly reflect, consider or question their choices. It is a world driven by heat, outward appearances, reputation and deep fear—covered over by deep anger, abandoned violence and a desperation of effort even in the attempts to do good. It burns brightly and, therefore, briefly.

The world of the play ends on a hopeful note but not with a tidy bow of reconciliation and a promise to do better. Instead, it ends on a note that is marked by the reality of combustible tinder being present underfoot and therefore of potential future violence. A warning that the worst has not yet even come. A spark will be all that is needed, but perhaps the desire to light the fire has been extinguished. For now, we can live in tentative hope.

—Christopher DuVal

Photo: CSF’s production of Romeo and Juliet, 1997

“Violent delights” in Verona and Elizabethan England

Romeo and Juliet is often deemed a love story: two people fall head over heels, defy their families and die tragically. However, focusing exclusively on the couple’s passion overlooks the undeniable landscape of violence at the play’s core, which manifests itself in the Montagues’ and Capulets’ ancient grudge. Although its origin is unknown, the feud dominates every interaction in Verona: the public brawls, Tybalt’s rage, the secret marriage. This is not solely about love; it’s also about the impact of violence on a community.

CU Boulder’s Center for the Study and Prevention of Violence employs a fish tank analogy to frame violence. In a dirty tank, the fish don’t know otherwise, but in a freshly-cleaned tank, new possibilities emerge. In communities of pervasive violence, like Romeo and Juliet’s Verona, the violence is invisible to its inhabitants until they intentionally acknowledge the larger patterns.

In Elizabethan England, Shakespeare would have been no stranger to violence. Street fighting was common, though the monarchy issued proclamations against it (much like the Prince’s threats in Romeo and Juliet). Public executions were frequent, and included beheadings, drawing and quartering, hanging and burning. After an execution, which occured on a “scaffold” (the same term used for a theatre’s stage), the offender’s remains were displayed as a warning to citizens. Bearbaiting was a popular pastime, in which bears and dogs fought to the death. Dueling was technically illegal, but still occurred to settle matters of honor. Shakespeare’s fellow playwright, Ben Jonson, was imprisoned for killing another actor in a duel, and playwright Christopher Marlowe died in a 1593 tavern brawl. This was a culture in which fights broke out in the streets, animals were killed for entertainment, and London was lined with traitors’ heads.

The Friar warns, “These violent delights have violent ends,” and his prediction is eerily accurate. Scholar R. A. Foakes, in Shakespeare and Violence, argues that Shakespeare was “deeply interested in the fundamental problem of coping with human violence,” and that Romeo and Juliet “speaks across the centuries to the recurrent feuding that is all too common in the present day.” In the 2019-20 school year, CSF’s Shakespeare & Violence Prevention Program will tour Romeo and Juliet to Colorado schools in the hopes of unpacking the patterns of contemporary violence. Although every culture embodies violence its own forms (bear-baiting, public executions, violent video games or otherwise), the question remains: How do we cope with violence in our time?

—Amanda Giguere

R OME O (poisons self)

JU LIET (stabs self) M E RC U T IO (killed by T Y BALT )

BE N V O L IO

P RIN C E ES C A LU S

T Y BA LT (killed by RO M EO )

LO R D MONTA GU E

Solid lines indicate blood ties; red lines indicate parties involved in a death. Costume renderings by Hugh Hanson.

LO RD A N D LADY C A P U LE T #coshakes · @coshakes

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A C AM PU S A ND COMM U N IT Y C O L L ABO RAT IO N

By Becca Vaclavik The Colorado Shakespeare Festival’s history with the University of Colorado is as storied as the plays performed on their shared stages.

Over a century ago, CU seniors regularly staged Shakespeare performances on the lawn outside Old Main as part of commencement week, beginning in 1897 with As You Like It. Senior Shakespeare performances continued regularly through 1916, but with the United States’ entry into World War I, the regular practice ended.

Many years later, in 1944, CU professor James Sandoe was asked to direct a summer play on campus. Because of the university’s rich tradition with outdoor Shakespeare performances and because the Navy was occupying the University Theatre due to the Second World War, Sandoe decided to stage Romeo and Juliet in the relatively new (and untested) Mary Rippon Outdoor Theatre.1 It became an annual tradition, and in 1958 Jack Crouch, a CU english professor and Sandoe’s colleague, formalized the summer event by founding the Colorado Shakespeare Festival.

While the festival’s seasons and plans have evolved in the decades since, its ties to the CU campus are integral to its ongoing success, says Producing Artistic Director Tim Orr: “I want to see the festival grow and continue to be the absolute best it can be, while still maintaining the atmosphere and culture of an outdoor summer festival. That’s who we are …

Working with the university makes all of that easier than it would be if we were producing the work alone.

“We’re part of something bigger.”

Managing Director Wendy Franz agrees. “Right now, we’re in this wonderful sweet spot. CSF has established itself as a professional theatre company in the region. We attract talent from all over the country—and yet, at the same time, we’re deeply embedded in the university. Education continues to be a major part of our mission.”

The festival’s relationship with the university has grown in bursts over the years, but it anchored its position in 2013 when CSF began its partnership with CU Presents—the hub for performing arts at CU Boulder—as part of an initiative from Provost Russell Moore to raise the visibility and prestige of the arts on campus. For CSF, the collaboration opened access to existing campus resources in the form of box office support, and marketing and PR expertise. And for CU Presents and its other campus partners—the Artist Series, the Takács Quartet, the Department of Theatre & Dance and the College of Music—the collaboration elevated the work on CU Boulder stages.

“The festival brings top quality professional theatre to our offerings,” said CU Presents Executive Director Joan McLean 32

2019 Colorado Shakespeare Festival

Braun, “And it brings a true year-round arts experience to the community. Adding the festival to the remarkable Takács Quartet and 80-plus year old Artist Series strengthens the ‘Can you believe we get to see this in Boulder!’ aspect of what we do.”

CSF’s work with CU Presents has been a fruitful alliance, said Franz: “I can’t overstate the ways in which that relationship and partnership have benefited CSF. It frees Tim and me up to have more bandwidth to support the creative work, which is awesome. And that’s a huge secret to the success that we’ve been having in recent years.”

It would be foolish to assume the Colorado Shakespeare Festival’s work with the university comes to a halt in May when campus empties and CSF “takes over” campus. Many university faculty, staff and students, particularly from the Department of Theatre & Dance, stay on as choreographers, designers, cast and more. Just like in the earliest festival years.

“So many artists have come through this place and have learned something and taken something away and have gone onto big careers,” said Orr. In this way, working with 1 Nichols, L. (1992). The Evolution of the Colorado Shakespeare Festival. (doctoral dissertation). University of Colorado, Boulder, CO.

Of course, in August, the dynamic revolves again and CSF returns to its auxiliary role on campus. Theatre & Dance reclaims the artistic spaces. Students and faculty focus on academics. CU Presents turns its eye to music ensembles, touring cirque acts and new operatic works.

But the glow left behind by the best theatre under the stars can be felt for months to come—by the CU community, by CU Presents and by all of Colorado.

Said Franz: “It’s that word: collaboration. I think that is sort of the heart of all of it. It’s a beautiful example of how we are far stronger together than we would be separately, and that’s a really a lovely example to set in our culture today.”

“Thanks to that unique collaboration between Colorado Shakes, campus and community, the festival’s summer glow will continue to shine for decades to come,” says Orr. “What we’re doing here is very special. The future is very, very bright for the Colorado Shakespeare Festival.”

CU Presents is the home of performing arts on the beautiful University of Colorado Boulder campus.

With hundreds of concerts, plays, recitals and more on our stages each year, there’s something for everyone to enjoy. cupresents.org · 303-492-8008

Artist Series CSF presents a unique professional opportunity on campus for students.

The learning students receive working alongside professionals from across the country provides an invaluable supplement to their CU education and can amplify their professional opportunities after graduation. That supplement wouldn’t be possible without help from the Boulder community.

Each summer, CU students are invited to CSF as paid acting interns, supported by endowments from festival donors.

These endowments ensure that the internships are protected from fluctuations in the festival budget and, perhaps most importantly, help students overcome economic barriers that keep diverse bodies and voices out of the rehearsal room.

“That’s really important in terms of creating sustainable accessibility for students from various backgrounds,” said Franz. “More and more donors have been really excited about the prospect of helping to support that program and ensure that it continues in perpetuity.”

Chick Corea Trilogy: Oct. 9 Nobuntu: Oct. 30 Pierre-Laurent Aimard, piano: Nov. 19 Natalie MacMaster and Donnell Leahy: Dec. 17 Cirque Mechanics: Jan. 17 A Far Cry: Feb. 8 Pilobolus: March 2 Kronos Quartet: March 19 Hubbard Street Dance Chicago: April 4

Takács Quartet Takács Quartet: September-May Tesla Quartet: Nov. 10-11

College of Music Eklund Opera Program: Nov.-April Holiday Festival: Dec. 6-8 Additional events: Aug.-April

Department of Theatre & Dance Theatre performances: Sept.-April Dance performances: Sept.-April

Photos, clockwise from upper left: Wittenberg, 2015; CU Boulder acting interns teach for Camp Shakespeare, 2018; You Can't Take It With You, 2018; CU Boulder students direct and assist Camp Shakespeare, 2018. Center: A Midsummer Night's Dream, 2013.

#coshakes · @coshakes

33

King Charles III A FUTURE HISTORY PLAY

By Mike Bartlett Directed by Kevin Rich Artistic team

Cast

Director Kevin Rich

Scenic Designer Stephen C. Jones^ Costume Designer Meghan Anderson Doyle Lighting Designer Katie Gruenhagen Sound Designer Jason Ducat Video and Projection Designer Gregory W. Towle Choreographer Erika Randall Casting Director Sylvia Gregory, CSA Dramaturg Heidi Schmidt Voice and Text Coach Julie Foh Stage Manager Kaylyn Kriaski* Assistant Stage Manager Tiffany Lutz*

(in order of appearance) King Charles III John Hutton*

Nick, an associate of the Prime Minister Dee Jimenez

Camilla, Duchess of Cornwall Anne Sandoe

Butler Justin Johnson

William, Duke of Cambridge Casey Andree

Paul, kebab vendor Jihad Milhem

Catherine, Duchess of Cambridge Emily Van Fleet*

Speaker, House of Commons Sam Sandoe

Prince Harry Seth Dhonau*

Free Newspaper Woman Anastasia Davidson

James Reiss, Press Secretary to King Charles III Coleman Zeigen

Terry, Royal Security Dee Jimenez

Mr. Evans, Prime Minister Josh Innerst*

Sir Gordon, Chief of Defense Sam Sandoe

Spencer, a friend of Prince Harry Justin Johnson

Sir Michael, Head of the Metropolitan Police Jihad Milhem

Cootsey, a friend of Prince Harry Jihad Milhem

TV Producer Anastasia Davidson

Jess, an art student Shunté Lofton

Archbishop of Canterbury Sam Sandoe

Mrs. Stevens, Leader of the Opposition Leslie O’Carroll*

Assorted monarchists, hecklers, and hooligans will be portrayed by the entire company save HRH Charles III.

Ghost Anastasia Davidson Sarah, an associate of the Prime Minister Anastasia Davidson

Production sponsors: Savory Cuisines, Blue Mountain Arts, Left Hand Brewing and Martin/Martin Consulting Engineers ^ Member of United Scenic Artists

* Appears courtesy of the Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States

#coshakes · @coshakes

35

Plot synopsis

The Queen is dead. Long live the King.

In the wake of Queen Elizabeth II’s funeral, the royal family adjusts to new roles. Charles grieves his mother and considers the King he will become.

Prince Harry blows off steam with friends Spencer and Cootsey and is introduced to a young revolutionary named Jess, who offers him the chance to try on life as a commoner.

Meanwhile, the not-yet-crowned King Charles expresses concern to Prime Minister Evans about a new bill that restricts freedom of the press in exchange for better protections of individual privacy. Despite his family’s history with the paparazzi, Charles is convinced the bill dangerously erodes British freedoms, while Evans argues regulation of the press is long overdue and supported by popular opinion. Mrs. Stevens, leader of the opposition party, suggests that as King, Charles is more than a figurehead, and he can stop the bill by refusing to sign. Charles thinks he glimpses a ghost who whispers he’ll be the greatest king of all.

Director’s note

I’m thrilled that CSF is producing this fantastic contemporary verse play.

Shakespeare’s influence is evident on every page; the play is written in blank verse with a five-act structure and is full of nods to Shakespearean plays and characters, including echoes of King Lear, Macbeth, Hamlet and Henry V. Perhaps its most Shakespearean characteristic is that, while it’s a British play about British people and British politics, it transcends its historical moment and offers questions about personal, public and national identity that resonate with a much wider audience.

In this self-described “future history play,” tradition and progress collide, as its characters grapple with problems both old and new: the timeless complexities of human nature and time-specific issues surrounding 21st-century technology. Our production design explores this collision, presenting a traditional backdrop dotted with screens and portraits that serve as windows to both worlds, classical and modern. Charles is surrounded on all sides by imposing figures from England’s history and a near-constant feed of information from today’s world, pulling him in different directions.

On the face of it, there’s some distance between this play and an American audience, but that provides the space for us to make our own connections, to find ourselves in it. King Charles III may be about British government and the monarchy, but it’s also about a desire for integrity in politics, our fascination with the private lives of public personas, and beloved national traditions facing extinction in the modern world. In light of that, this play doesn’t feel an ocean apart at all.

—Kevin Rich

As Harry and Jess’s relationship develops, an ex-boyfriend blackmails Jess with compromising photos. She requests help from the royal family’s press secretary, James Reiss, who suggests leaving Harry is the best way to protect them both.

The stalemate between Charles and Parliament continues. William and Kate worry that Charles is more interested in philosophy than public relations, as unrest grows throughout the country. Prime Minister Evans introduces legislation that would substantially weaken the monarchy.

Concerned about the impact on their children, Kate urges William to take a more active role; William insists on supporting his father, the King. But late at night, a ghost whispers to William that he’ll be the greatest king of all.

With the stability of the nation and the monarchy itself at stake, each member of the royal family must make drastic choices to achieve their version of the ideal Britain.

—Heidi Schmidt

36

2019 Colorado Shakespeare Festival

Photo: Members of the British Royal Family on the balcony of Buckingham Palace, 2012.

Photo by Brian Harrington Spier via Wikimedia Commons

“What’s past is prologue”

History plays were extremely popular at the box office in the 1590s and dominated the first decade of Shakespeare’s career, before he moved on to the major tragedies. In King Charles III, a “future history play,” playwright Mike Bartlett borrows the general form of a Shakespearean history. But what does that mean, beyond naming it for a king (usually named Richard or Henry) and writing it in iambic pentameter? The obvious starting point is that it represents history, specifically English history (which is why Julius Caesar is classified as tragedy, not history, despite its focus on historical events). History plays are not literal reenactments, however. Shakespeare took liberties with factual history, rearranging the order of events or compressing timelines for dramatic efficiency. He also created composite characters or invented them outright in order to further the story.

Shakespeare’s histories are more “based on a true story” than documentary. Likewise, Bartlett’s fictionalized future (as he imagined it in 2014) diverges a bit from royal reality of 2019.

Shakespeare’s history plays centered on the monarchy as the center of power, the limits of exercising royal prerogative, and on the impact of a monarch’s actions on England as a whole and on future Brits.

Characters of every social class populate the plays, and the Elizabethans in the audience were living with the inherited consequence of the royals depicted.

Royals in these plays were deposed, killed and plunged into civil war—high stakes for all. Shakespeare’s histories are deeply invested in what characteristics and choices make for good kings, exceptional kings, and exceptionally bad kings. Today’s royals, the Windsors, are rarely seen as having the same political impact as their forebears. It’s easy to dismiss them as tabloid fodder whose duties are primarily ceremonial, but Elizabeth II actually holds many of the same rights as Elizabeth I, who reigned in Shakespeare’s day. No bill passed by Parliament can become law without the Queen signing off on it, for example.

Tradition of the last few centuries, however, dictates that the monarch refrain from using those rights. It’s been 300 years since an English monarch refused to sign a bill passed by Parliament.

Which brings us back to the future, or at least the present. Rather than rely on clichés of history repeating itself for those who fail to learn from it, I’ll defer to Shakespeare’s wisdom about the predictive value of history, from Henry VI, part 2: There is a history in all men’s lives ...

The which observed, a man may prophesy With a near aim, of the main chance of things As yet not come to life.

—Heidi Schmidt

Scenic rendering of King Charles III; set design by Stephen C. Jones

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37

King John

By William Shakespeare Directed by Kevin Rich Artistic team

Cast

Actor-Manager Kevin Rich

Scenic Designer Inspired by Caitlin Ayer^ Costume Coordinator Michelle Reynes Berg Lighting Designer not yet invented Sound Designer not yet invented Fight Coordinator Josh Innerst* Casting Director Sylvia Gregory, CSA

(in order of appearance) King John of England Marco Robinson*

Limoges, Duke of Austria Jihad Milhem

Queen Eleanor, mother to King John Emily Van Fleet*

Blanche of Spain, niece to King John Amber Scales

The Earl of Salisbury Dee Jimenez

Hubert, a citizen of Angers Josh Innerst*

The Earl of Pembroke Jihad Milhem

Cardinal Pandulph, the Pope’s legate Sam Sandoe

Chatillon, ambassador from France Sam Sandoe

Executioners Emily Van Fleet*, Amber Scales

Robert Faulconbridge, son to Sir Robert Faulconbridge Gareth Saxe*

English Messenger Amber Scales

Philip the Bastard, his half-brother, illegitimate son of King Richard Kevin Rich*

Dramaturg Heidi Schmidt Stage Manager Stacy R. Norwood*

King Philip of France Gareth Saxe*

Assistant Stage Manager Nicole Kutcher*

Lewis, the Dauphin Seth Dhonau* Arthur, Duke of Brittany, nephew to King John Isobel Rosie Makin

Melun, a French Lord Gareth Saxe* French Messenger Emily Van Fleet* Prince Henry, son to King John Amber Scales Prompter Heidi Schmidt Musician David Willey

Constance, his mother Shunté Lofton Production sponsors: Savory Cuisines, Alpine Animal Hospital, Elevations Credit Union, Hazel’s Beverage World and Wright Water Engineers ^ Member of United Scenic Artists

38

* Appears courtesy of the Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States

2019 Colorado Shakespeare Festival

Plot synopsis

After the death of King Richard I, his youngest brother John takes the throne, but the French support John’s nephew Arthur’s claim to the throne. John and his mother Eleanor are asked to settle an inheritance dispute between brothers Robert and Philip Faulconbridge. Philip is recognized as the bastard son of the late King Richard and is knighted as Sir Richard Plantagenet.

The conflict over England’s throne intensifies. Austria declares support for young Arthur, joining the French and Arthur’s mother Constance. War is averted by a marriage between John’s niece Blanche and the French dauphin Lewis, though Constance is enraged by the French betrayal.

Cardinal Pandulph, an emissary from the Pope, demands that John recognize the Pope’s choice for Archbishop of Canterbury. John refuses and is excommunicated. Under pressure from Rome, King Philip of France abandons the new peace with England. Pandulph persuades Lewis that he can claim the English throne through his wife Blanche.

John sends the captured Arthur back to England and orders Hubert to kill the young prince. English Earls Pembroke and Salisbury plead with John for Arthur’s freedom, and John agrees just as Hubert announces Arthur’s death. The French army arrives; Eleanor and Constance have both died in France; and rumours and fear abound throughout England.

Arthur, having been secretly spared by Hubert, leaps to his death from a high prison wall.

John reconciles with Rome, but the French advance continues and English nobles defect to the enemy. Philip the Bastard shames English traitors as John falls ill, having been poisoned. A dying French lord warns Salisbury and Pembroke that Lewis will execute them once he secures victory over the English. They return to England, asking John’s forgiveness and bringing his son Prince Henry to his bedside. John pardons them on his deathbed, Pandulph negotiates peace with France and King Henry III is crowned upon John’s death.

—Heidi Schmidt

Photo: CSF’s Original Practices production of Edward III, 2018

Actor-Manager’s note

It’s been a pleasure serving as “actor-manager” of CSF’s Original Practices production for a second year. In Shakespeare’s day, productions were not led by a director in the way they are today; actors came together knowing only their own lines to collectively stage the play in a very short amount of time. Theatre is a collaborative art form in general, but these rehearsal practices take it to another level. What you’ll be seeing today is truly the product of a team.

Leadership is an interesting lens through which to examine each of the plays in CSF’s season. Shakespeare’s deep interest in this topic is evident in the wide variety of leadership styles he portrays in his works. Some leaders put matters of the heart over matters of the state; others view empathy as a weakness. Some suffer under the weight of the crown; others are made more hungry by it. Some prioritize individual rights; others put God or country first. Throughout the canon, Shakespeare is holding the question: What makes a leader good?

Shakespeare’s King John is a strong example of this line of questioning, asking us to consider the attributes, values and priorities of many leaders (or would-be leaders) vying for power. It’s a play that is seldom produced, but at this moment, as our nation gears up to once again elect its leaders, this deeply political story—of power, greed, shifting loyalties, lapses in judgement and the painful consequences of the failure to compromise—feels quite relevant indeed.

—Kevin Rich

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Photo by Misha Photography

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Duke Senior / Duke Frederick / Audrey

King Charles III

Josh Innerst*

Touchstone / Adam / Amiens / Ensemble

Tristan Evans / Ensemble

Hubert

Dee Jimenez

Nick / Terry

Earl of Salisbury

Justin Johnson

Spencer / Butler

Rakeem Lawrence

Fabian / Sailor

Gregory / Third Watch

Rodney Lizcano*

Sir Andrew Aguecheek

Paris

Shunté Lofton

Celia / Ensemble

Jess

Isobel Rosie Makin

Olivia’s Servant / Ensemble

Paris’ Page / Citizen

Emma Messenger

Maria

Nurse

Arthur

Jihad Milhem

Oliver / Corin / Ensemble

Cootsey / Paul / Sir Michael

Leslie O'Carroll*

Phebe / Jaques / Le Beau / Ensemble

Mrs. Stevens / Ensemble

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2019 Colorado Shakespeare Festival

Constance

Earl of Pembroke / Limoges

AC T O R

T WE L F T H N IG H T

AS YO U L IK E IT

Anne Penner

RO M EO A N D JU LIET

KIN G C H A RLES III

Mercutio

Kevin Rich*

Philip the Bastard

Jessica Robblee*

Olivia

Benvolio

Marco Robinson*

Duke Orsino

Tybalt

Dante Rossi

Sebastian

Romeo

King John

Anne Sandoe

Camilla

Sam Sandoe

Speaker / Sir Gordon / Archbishop of Canterbury

Gareth Saxe*

Amber Scales

Malvolio

Viola

Friar Lawrence

Robert Faulconbridge / King Philip of France / Melun

Balthasar / Servant / Citizen

Blanche of Spain / Executioner / English Messenger / Prince Henry

Robert Sicular*

Sir Toby Belch

Lord Capulet

Jason Toennis

Curio / Officer

Peter

Mare Trevathan

Robert Wester

Chatillon / Cardinal Pandulph

Sampson / Second Watch

Lois Shih

Emily Van Fleet*

KING JOHN

Lady Capulet

Rosalind

Catherine

Queen Eleanor / Executioner / French Messenger

Page to Prince Escalus

Coleman Zeigen

*Appears courtesy of the Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States

James Reiss

#coshakes · @coshakes

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CASEY ANDREE is honored to be returning to the festival after appearing in the previous three seasons. His favorite CSF credits include Casca in Julius Caesar and Claudio in Much Ado About Nothing. A proud ensemble member at BETC, he recently played the roles of Mary Bennet and Mr. Bingley in Pride and Prejudice.

Other favorite roles include Melchoir in Spring Awakening (True West Award, Outstanding Musical) and Claude in HAIR (Henry Award, Best Ensemble). Andree holds a degree in Classics-English from Colorado College and a master’s degree in education.

Offstage, he works as a high school calculus teacher in the Denver Public Schools. (4 seasons)

RINDE ECKERT* is a maker of music and theatre. He has composed and performed his own music/theatre pieces since his 1992 homage to Dante, The Gardening of Thomas D. In 2011, Eckert won a Grammy Award for Best Small Ensemble Performance as a collaborator on the album Lonely Motel (Cedille Records). Staged works for solo performer include Becoming…

Unusual: The Education of an Eclectic; three one-act plays: An Idiot Divine, Romeo Sierra Tango and Quit This House. In 2017 Eckert opened the inaugural season of Renée Fleming’s Voices Series at the Kennedy Center where he premiered his recital Rin: Tales from the Life of a Troubadour. (1 season)

MATT BENDER is a Midwest-based actor who cut his teeth in Chicago’s storefront theatre scene and is currently pursuing his MFA in acting at Western Illinois University. Recent credits include Judas in Okoboji Summer Theatre’s production of Godspell and Pete in Saltbox Theatre Collective’s production of Almost, Maine.

(1 season)

Originally from Ohio, MADISON HART achieved her MFA at the University of Houston’s Professional Actor Training Program. Her off-Broadway credits include Roxane in Cyrano de Bergerac with Titan Theatre Company. She has recently played Desdemona in Othello with Montana Shakespeare in the Parks, as well as Maria in Twelfth Night and Margaret in Richard III with the Houston Shakespeare Festival. A few other favorites are her appearances in Houston as Guildenstern in Tom Stoppard’s Rosencrantz & Guildenstern Are Dead, Anne Whitefield in George Bernard Shaw’s Man and Superman, and Beth in Sam Shepard’s A Lie of the Mind.

(1 season)

MARK COLLINS previously appeared onstage with CSF in 1988 in productions of Hamlet and Titus Andronicus. His recent area theatre credits include performances with Town Hall Arts Center (Casa Valentina), Firehouse Theater Company (Outside Millingar), Vintage Theater Company (The Audience), and Miners Alley Playhouse (God of Carnage). He holds an MFA in theatre from the University of North Carolina at Greensboro. (2 seasons)

JIM HUNT has been a part of the Denver and Boulder theatre scene—as an actor and director—for over 50 years. He has played the role of Selsdon in CSF’s 2012 production of Noises Off, though his last appearance on the Rippon stage was 45 years ago (1974) when he appeared in Macbeth, A Midsummer Night’s Dream and Timon of Athens. Hunt is a BETC ensemble member, having performed in eight productions, and most recently created the roles of Homer and Simon in Jessica Dickey’s The Rembrandt. At Curious Theatre—where he is an artistic company member—he played the role of Charles Ives in Jessica Dickey’s Charles Ives Take Me Home. Most recently, he has played the Stage Manager in Thornton Wilder’s Our Town at Golden’s Miners Alley Playhouse.

(3 seasons)

SEAN MICHAEL CUMMINGS is joining the Colorado Shakespeare Festival for the first time this summer. His other credits include Second City’s Twist Your Dickens (Aurora Fox Arts Center); District Merchants and The 39 Steps (Miners Alley Playhouse); Dinner (Edge Theatre); As You Like It: Under the Stars... (Band of Toughs); White Rabbit Red Rabbit (Pipedream Productions); and The Aliens (the Wit). His awards include Westword Magazine’s Best of Denver and Denver Center True West. Cummings is an alumnus of the Orchard Project Core Company and the Kennedy Center Playwriting Intensive, and is a 2017 Orchard Project Fellow. He holds a BA from Colorado State University. (1 season)

JOHN HUTTON’s* recent theatre credits include Fireflies at the Public Theatre in Lewiston, Maine; The Music Man and Outside Mullingar with the Arizona Theatre Company; and Educating Rita at the Arvada Center. He was a member of the acting company at the Denver Center, and his film and television credits include Power, Time After Time, Nobel, Lincoln, The Dwarves of Demrel, Bit Player and Murder of a President. (3 seasons)

ANASTASIA DAVIDSON is thrilled to return for another summer with the Colorado Shakespeare Festival, where she also enjoys serving as a teaching artist. Her regional credits include Anna Karenina (DCPA); The Humans and Detroit ‘67 (Curious Theatre); Pride and Prejudice, Going to a Place Where You Already Are and Silent Sky (Boulder Ensemble Theatre); Love’s Labour’s Lost (Colorado Shakespeare Festival); You on the Moors Now (The Catamounts); and In the Next Room: or The Vibrator Play (Bloomsburg Theatre Ensemble). Her film credits include Remembering Us (BS Filmworks). Davidson is an ensemble member at BETC and is represented by Radical Artists Agency.

She holds an MFA in acting from Penn State University. (2 seasons)

JOSH INNERST* is a member of the acting company at the American Shakespeare Center where he has appeared in over 30 productions including Hamlet as Hamlet, Peter and the Starcatcher as Ted, Julius Caesar as Brutus, The Importance of Being Earnest as Algernon, Wittenberg as Martin Luther, The Merchant of Venice as Bassanio and Henry V as the Chorus. Various other theatre credits include Sir Guy in Sherwood: The Adventures of Robin Hood (Cleveland Play House), Vanya in Life Sucks (Catco), Richard Hannay in The 39 Steps (Bootless Stageworks), Captain Carter in Pride & Prejudice (Milwaukee Repertory Theater), Lysander in A Midsummer Night’s Dream (Pennsylvania Shakespeare Festival), Macduff in Macbeth (Illinois Shakespeare Festival) and more. He has also worked as an educator, combat enthusiast and audiobook narrator. He graduated in 2012 from Illinois State University with an MFA in theatre. (1 season)

SETH DHONAU* studied theatre and opera at Northwestern University and spent several formative years in New York performing on a wide variety of stages and working with artists, authors and musicians across the globe. He is proud to now call Colorado home and is ever grateful for the vibrant and generous artistic community of which he is now a part. (2 seasons)

DEE JIMENEZ is an actor, writer and teacher who graduated from CU Boulder’s acting BFA program in May 2019. He is thrilled to have the opportunity to join CSF’s summer acting company this season! He has appeared as Jay in Lost in Yonkers (Miners Alley Playhouse), and played in Celebration, Florida (square product theatre). Jimenez will begin pursuit of an MFA in acting this coming fall. (1 season)

2019 Colorado Shakespeare Festival

JUSTIN JOHNSON is an actor, director and producer who facilitates applied theatre workshops on various social justice issues whenever he can. He is the founder of Radiant Hearts Theatre company, which seeks to positively advance engagement in social discourse, raise capacity for elevating conversations and increase power of expression. His favorite acting roles include Paul in Barefoot in the Park and Patsy in Spamalot, while memorable directing gigs include The Full Monty and To Kill a Mockingbird.

Johnson’s first Shakespearean experience was at the age of three here at CSF, where he sat enthralled throughout the show. He is overjoyed that his Shakespearean passions have come full circle.

(1 season)

JIHAD MILHEM is excited to be returning to CSF for the 2019 season. His past credits include Babur in Guards at the Taj, Charles Bingley in Miss Bennet and Jonny / Martin in The Rembrandt (Boulder Ensemble Theatre Company); Ricky Roma in Glengarry Glen Ross and Ned in The Nance (Edge Theatre); Henry in She Rode Horses Like the Stock Exchange and Ensemble in Everything Was Stolen (square product theatre); Ed Carmichael in You Can’t Take It With You, Clarence in Richard III, Paris in Troilus and Cressida, and Horatio in Hamlet and Rosencrantz & Guildenstern Are Dead (CSF). Milhem’s play, Mosque, has been produced locally by Fearless Theatre and The People’s Building, and he has appeared as a freestyle rapper for The Ride in Times Square.

(4 seasons)

RAKEEM LAWRENCE is elated to be making his CSF debut! Select regional credits include Romeo and Juliet (Shakespeare Theatre Company); Bite Size: Toxoplasmosis (Denver Center’s Off-Center); Gloria (Curious Theatre Comapny); Little Shop of Horrors and A Raisin in the Sun (THEATREWORKS); Six Degrees of Separation (the Redhouse; SALT Award for Best Actor); Shrek and Sister Act (Little Theatre on the Square); Peter and the Starcatcher (Virginia Stage Company); A View from the Bridge and Working (Hope Summer Rep); My Fair Lady (Quintessence Theatre Group); and Smokey Joe’s Cafe (Suzi Bass Nominee) and Lend Me a Tenor (Legacy Theatre). Lawrence holds an MFA from Regent University.

(1 season)

LESLIE O’CARROLL’s* CSF credits include Penny in You Can’t Take It With You (2018), Duchess of York in Richard III (2018), Dotty in Noises Off (2012), Maria in Twelfth Night (2012), and Nurse in Romeo and Juliet (2011). Local credits include 22 seasons at the Denver Center Theatre Company, most recently The Whistleblower and A Christmas Carol. Additional credits include Parallel Lives (Colorado Springs Fine Arts Center); Much Ado About Nothing, The Grapes of Wrath and Our Town (Theatreworks); Pride and Prejudice and Silent Sky (Boulder Ensemble Theatre Company); The Odd Couple (Senior Housing Options); Good People (Curious Theatre); Tartuffe, Mrs. Mannerly, Blithe Spirit and The Crucible (Arvada Center). TV and film credits include Breaking Bad, Longmire and Footloose. O’Carroll is a recipient of Best of Westword and Denver Post Ovation Awards and holds an MFA from the National Theatre Conservatory. (4 seasons)

RODNEY LIZCANO’s* CSF credits include Richard III in Richard III, Boris Kolenkhov in You Can’t Take It With You, Polonius in Hamlet and Rosencrantz & Guildenstern Are Dead, Roderigo in Othello, Dogberry in Much Ado About Nothing, Pistol / Montjoy in Henry V, Trinculo in The Tempest, Pastor Hugh in The Merry Wives of Windsor, Vernon in Henry IV Part 1, Robert Cecil in Equivocation, and Pisanio in Cymbeline. Other credits include Denver Center Theatre Company (16 seasons), The Old Globe, Dallas Shakespeare Festival, Orlando Shakespeare Theatre, Stories on Stage, Theatre Aspen, and the Arvada Center. Off-Broadway credits include Actors Ensemble Theatre and DreamScape Theatre Company. Film and TV credits include Silver City (directed by John Sayles) and Stage Struck (Bravo Network). He is a graduate of the Meadows School of the Arts at Southern Methodist University and the National Theatre Conservatory. (6 seasons)

ANNE PENNER’s acting credits include Richard III (Margaret), Julius Caesar (Portia / Soothsayer) and Cymbeline (Queen) with CSF; The Wolves (Soccer Mom) with BETC; Abundance (Macon), Crimes of the Heart (Babe), American Notes (Pauline) and Savage in Limbo (Savage) with Sis Tryst Productions; Seascape (Sarah) with Modern Muse; Crimson Thread (Eilis) with Arvada Center; and Joan Didion’s The Year of Magical Thinking and other performances with Stories on Stage. Directing credits include Kid Simple, Eurydice, Gidion’s Knot, The Nina Variations, Arabian Nights and The Seagull. Penner is an associate professor in the University of Denver’s Department of Theatre and co-host of the acting / psychology podcast The Actor’s Mind. She received an MFA from Columbia University and a BA from Amherst College. (4 seasons)

SHUNTÉ LOFTON received her BFA from the University of Houston School of Theatre and Dance. She spent five seasons working at the American Shakespeare Center in Staunton, Virginia, where she performed in 22 productions. Some of her favorite credits include Ophelia in Hamlet, Princess of France in Love’s Labour’s Lost, Celia in As You Like It, and Lady Anne in Richard III. Selected regional credits include Perdita in The Winter’s Tale (4th Wall Theatre Company), Esther in Intimate Apparel (University of Houston) and Anya in The Cherry Orchard (Classical Theatre Company).

(1 season)

KEVIN RICH’s* Shakespeare acting credits include Hamlet (Gravedigger), Richard II (Richard), The Tempest (Sebastian) and Richard III (Richard) with the Illinois Shakespeare Festival; Hamlet (Osric/Reynaldo) and Short Shakes! Taming of the Shrew (Tranio) with Chicago Shakespeare; Love’s Labour’s Lost (Berowne), Twelfth Night (Sebastian), The Winter’s Tale (Clown), and The Comedy of Errors (Dromio) with Milwaukee Shakespeare; A Midsummer Night’s Dream (Puck) and Antony & Cleopatra (Thidias) with Shakespeare & Company and As You Like It (Touchstone) with Kentucky Shakespeare. Other credits include Distracted (Dad) with the American Theatre Company; Peter and the Starcatcher (Smee) and The Three Musketeers (Porthos) with the Illinois Shakespeare Festival and The Intelligent Design of Jenny Chow (Dr. Yakunin/Terrance) with Portland Center Stage and San Jose Rep. Rich holds a BA from Grinnell College and an MFA from Yale School of Drama. (2 seasons)

ISOBEL ROSIE MAKIN is excited to be a part of her first season with the Colorado Shakespeare Festival. Her previous credits include Estella in Great Expectations, Luciana in The Comedy of Errors and Bette in The Marriage of Bette and Boo. Makin is currently pursuing a BFA in acting from the University of Colorado Boulder. (1 season)

JESSICA ROBBLEE* makes her CSF debut this summer. She holds a BA in theatre and English from Davidson College and an MA in theatre education from the University of Northern Colorado. Her credits include Frankenstein, All the Way, Lord of the Butterflies and Drag Machine (DCPA); Siren Song, Duck Duck Dupe and Trunks (Buntport Theater for All Ages); The Moors, Sense and Sensibility, The Foreigner, Electric Baby and Drowning Girls (Arvada Center Black Box); 5 Lesbians Eating a Quiche (square product theatre) and This (Boulder Ensemble Theatre Company).

(1 season)

EMMA MESSENGER has appeared on stage in The Diary of Anne Frank, The Moors, Sin Street Social Club, All My Sons and Sense & Sensibility (the Arvada Center); Bite-Size: Marginalia (DCPA); The Cake (Curious Theatre Company); The Lying Kind (Theatreworks); Who’s Afraid of Virginia Woolf?, Misery, I’ll Eat You Last, Mud Blue Sky and The Beauty Queen of Leenane (Edge Theatre); Agnes of God, Stella and Lou and ’night, Mother (Vintage Theatre Company).

Her awards include three CTG Henry Awards for Outstanding Acting, several Westword Best of Awards, including Westword Best Season for an Actress, and three True West Awards. She holds a Bachelor of Arts from Texas A&M. (1 season)

As recent graduate of the University of Northern Colorado, MARCO ROBINSON* has been fortunate enough to work as an actor for the past year. His most recent credits are Sonny in Xanadu and Topper in A Christmas Carol (DCPA). He has also participated in DCPA’s Off-Center productions of This Is Modern Art as JC, and The Wild Party as Eddie. With CSF, he played in Love’s Labour’s Lost as the King of Navarre, Cyrano de Bergerac as Christian and Edward III as Lorraine and Villiers. (2 seasons)

*Appears courtesy of the Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States

#coshakes · @coshakes

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AC T IN G C OMPA NY

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DANTE ROSSI is a recent graduate of California Institute of the Arts and is thrilled to be a part of the Colorado Shakespeare Festival. Rossi is known for his roles as the Black Panther in Roger Guenveur Smith’s The Hendrix Project and Gomez in The Addams Family. He has been studying acting and musical theatre since 2010 and is excited to continue the journey with CSF. (1 season)

ROBERT SICULAR* has performed a universe of roles—both classical and contemporary—at theatres all over the country including the Denver Center Theatre Company; ACT in San Francisco; the Berkeley, San Jose, Seattle, South Coast and St. Louis Repertory Theatres; the Oregon, California, San Francisco, Lake Tahoe and Santa Fe Shakespeare Festivals; and the Shakespeare Theatre Company in Washington, D.C. He was previously seen at CSF in 2017 playing Baptista in The Taming of the Shrew and Caesar in Julius Caesar, and in 2010 as the Duke in Measure for Measure and Kent in King Lear. On the screen, he can be seen as the Dad in Love and Taxes; in the sci-fi comedy thriller Never Die Twice and the Bollywood potboiler Dil Pardesi Ho Gaya.

Sicular attended the University of California at Berkeley and the London Academy of Music and Dramatic Art. (3 seasons)

ANNE SANDOE’s past roles at CSF include Lillian Troy in I Hate Hamlet (2014), the Duchess of York in Richard III (2012), and the Duchess of Venice in Othello (2015). She is an ensemble member with the Boulder Ensemble Theatre Company, where she has performed in Ghost-Writer, The Clean House and Going to a Place Where You Already Are. Other favorite productions include Futura, A Little Night Music and Women of Lockerbie. Sandoe received an MFA from Florida State University and has published The War of the Roses (a compilation of Shakespeare’s Henry VI trilogy) and three other adaptations of Shakespeare’s plays. (18 seasons)

JASON TOENNIS is an actor from the Denver area who recently concluded his third year at the University of Colorado Boulder.

He is a part of the BFA in acting program and recently performed in CU’s production of Almost, Maine as Pete, Steve, Lendall, Randy, and Man. Previous credits at CU include Talthybios in the world premiere production of a new translation of Hecuba, Matt and Father Donnally in The Marriage of Bette and Boo, and an ensemble member in HAIR. Outside of CU, he played the role of Agent Cod in the ensemble of Catch Me If You Can at the Arvada Center. (2 seasons)

SAM SANDOE has acted with CSF since 1970, including the last 17 consecutive seasons, and here has done 60 versions of 35 of Shakespeare’s 37-play canon, as well as nine non-Shakespeare productions. He has also worked at the Alabama Shakespeare Festival and the Milwaukee Repertory Theatre, and locally with Maya Productions, the Boulder Ensemble Theatre Company, Longmont Theatre Company, the Upstart Crow, Colorado Actors Theatre and several seasons each with the Shakespeare Oratorio Society, Overland Stage Company and the Stanley Hotel in Estes Park. Sandoe trained at the University of Colorado Boulder and the University of California at San Diego. (30 seasons)

MARE TREVATHAN has narrated more than 550 audio books and teaches voice acting at the Denver Center for the Performing Arts.

She is an aspiring gardener, frequent traveler, animal enthusiast, stepmom, coffee drinker and compulsive upcycler. (8 seasons)

GARETH SAXE* is extremely pleased to be returning to CSF after many years. In the time between, his Broadway credits have included the Drama Desk-winning revival of The Homecoming with Ian McShane and Michael McKean, Scar in The Lion King and George Bernard Shaw’s Heartbreak House with Swoozie Kurtz and Phillip Bosco. Off Broadway and regionally, Saxe has been privileged to work with Frances Stemhagen in J.M. Barries’ Echoes of War and with Jane Alexander in A Moon to Dance By. Some other highlights include Harper Regan (Atlantic Theater Company); Hamlet and Dangerous Liaisons (Shakespeare Theatre of New Jersey) and—if you don’t blink—he can be seen in Michael Mann’s film Public Enemies. Saxe is a proud graduate of Colorado College and NYU’s MFA program. (3 seasons)

EMILY VAN FLEET* is happy to be returning to CSF for her third season. Past CSF roles include Mariana (Measure for Measure), Clarice (The Servant of Two Masters), and Louisa (The Fantasticks).

Her favorite local credits include The Wild Party (DCPA’s OffCenter), The Moors, Sin Street Social Club, Educating Rita, Sunday in the Park with George, The Drowning Girls, Bus Stop, Tartuffe and Death Takes a Holiday (Arvada Center). Emily has also performed with BDT Stage, Midtown Arts Center, and more than 18 productions over six seasons with Creede Repertory Theatre.

Regionally, she has been seen at the New York Musical Theater Festival, Indianapolis Symphony, and the Lake Tahoe and Sierra Shakespeare Festivals. (3 seasons)

AMBER SCALES is thrilled to be returning to CSF after performing last summer in Love’s Labour’s Lost (Katherine) and Cyrano de Bergerac (Duenna). Scales is a recent graduate of the University of Alabama, where she studied public relations and theatre.

Her educational credits include Sense and Sensibility (Fanny Dashwood), I Gelosi (Vittoria), We Are Proud to Present... (Black Woman / Actor 6), La Ronde (Young Wife) and Hamlet (Courtier).

(2 seasons)

ROBERT WESTER is a physician practicing in Denver. His acting credits with CSF include attendant / ensemble in Hamlet, King Lear, Romeo and Juliet and Much Ado About Nothing; soldier in Macbeth; assistant bishop in Richard III; Herne the Horrible in The Merry Wives of Windsor; waiter and headsman in The Comedy of Errors, and an ensemble member in Cyrano de Bergerac. He has also played the role of Teleman in Bach at Leipzig with the Boulder Ensemble Theatre Company. (11 seasons)

LOIS SHIH’s acting credits include The Curious Incident of the Dog in the Night-Time and The Wolves (BETC); Dirty Rotten Tofu and The Gohan Girls (Theatre Esprit Asia) and Last Stop (sponsored reading with Upstart Crow Theatre Company). Educational credits include Trojan Women, Talk to Me Like the Rain, Pericles and The Little Shop of Horrors. She is a recent graduate of the University of Denver with a BA in theatre and communication studies. (1 season)

COLEMAN ZEIGEN is thrilled to be performing in his fourth season with the Colorado Shakespeare Festival. In his previous three seasons, Zeigen performed in The Comedy of Errors, Troilus and Cressida, The Taming of the Shrew, Julius Caesar, Richard III and You Can’t Take It With You. In a past life, Zeigen performed on and off Broadway, at regional theatres around the country and in film and television, but currently he spends his time as a theatre teacher, director and producer at a K-12 charter school in Westminster, Colorado. Zeigen holds an MFA in acting from Rutgers University Mason Gross School of the Arts. (4 seasons)

2019 Colorado Shakespeare Festival

*Appears courtesy of the Actors’ Equity Association, the Union of Professional Actors and Stage Managers of the United States

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ART IST IC TEA M Producing Artistic Director

TIMOTHY ORR (Director: Twelfth Night) has been with the Colorado Shakespeare Festival as a performer since 2007.

He joined the staff as the associate producing director in 2011 and became producing artistic director in 2013. During his tenure at CSF, he has helped found the CSF School of Theatre and CSF’s nationally recognized Shakespeare anti-bullying school tour, he has begun the Original Practices series of Shakespeare’s plays, and he has led CSF through several successful capital and endowment campaigns. As an actor, he has appeared in 10 productions at CSF and in numerous theatres across California. CSF directing credits include Rosencrantz & Guildenstern Are Dead, Wittenberg, I Hate Hamlet and several touring productions. He has held lecturer positions in classical acting, voice and musical theatre at the University of California-Davis, the University of Colorado Boulder and the Berkeley Repertory School of Theatre. He holds degrees in music and arts management from California State University-Sacramento and an MFA in theater from the University of California-Davis. He was a Fellow with the League of American Orchestras.

(13 seasons)

Directors

CHRISTOPHER DUVAL (Romeo and Juliet; Fight Choreographer for Twelfth Night, As You Like It, Romeo and Juliet) has worked in regional theatres and Shakespeare festivals as an actor, director and fight director for the past 25 years. His work has been seen at Syracuse Stage, Sacramento Theatre Company, Utah Opera, Dallas Theatre Center, South Coast Repertory, Shakespeare Orange County, Utah Shakespeare Festival and Salt Lake Acting Company, and for 18 years he has worked as a company member and guest teacher at the Oregon Shakespeare Festival. He currently serves as the resident fight director with Pioneer Theatre Company and is head of the actor training program at the University of Utah. He holds an MFA in acting from the University of California-Irvine and is a certified teacher with the Society of American Fight Directors, a master instructor with Dueling Arts International and associate teacher of Fitzmaurice Voicework. His book, Stage Combat Arts: An Integrated Approach to Acting, Voice, and Text Work, is published by Methuen. (3 seasons) CAROLYN HOWARTH+ (As You Like It) is the former artistic director of the Foothill Theatre Company in Nevada City, California. Her directing credits include numerous productions with such theatres as FTC, CSF, Orlando Shakespeare Theatre, Lake Tahoe and Sierra Shakespeare Festivals, Capital Stage (Sacramento, California), and the Perseverance Theatre Company (Juneau, Alaska). Her CSF credits include You Can’t Take It With You, Hamlet, Troilus and Cressida, Henry V, Henry IV Part 1, The Comedy of Errors, Treasure Island and The Three Musketeers. As an actor, Howarth has performed in more than 50 productions with FTC, ranging from classics to new works.

Other professional acting credits include appearances with the Jewish Theatre of San Francisco, the B Street, Sacramento Theatre Company, Lake Tahoe and Sierra Shakespeare Festivals, and the Maxim Gorky Drama Theatre (Vladivostok, Russia). Howarth holds an MFA from the University of California at Davis. (9 seasons) KEVIN RICH’s (King Charles III, King John) recent directing credits include The Winter’s Tale and The Importance of Being Earnest at the American Shakespeare Center; Lord of the Flies at Nebraska Repertory Theatre; Falstaff in Love and The Comedy of Errors at CU Boulder; I Heart Juliet and Antony & Cleopatra at the Illinois Shakespeare Festival; Romeo and Juliet at Illinois State University; and As You Like It at Bradley University. He is a member of AEA and SAG/AFTRA and an associate member of the Stage Directors and Choreographers Society. Rich holds a BA from Grinnell College and an MFA from the Yale School of Drama. (2 seasons)

Playwrights

MIKE BARTLETT (King Charles III) is a multi-award winning playwright and screenwriter. He was associate playwright at Paines Plough, writer-in-residence at the National Theatre and Pearson Playwright-in-Residence at The Royal Court Theatre. His play King Charles III won the Critic’s Circle Award and Olivier Award, and was nominated for a Tony Award—all for Best New Play. Love, Love, Love won Best New Play in the 2011 Theatre Awards UK; he won the Writer’s Guild Tinniswood and Imison prizes for Not Talking and the Old Vic New Voices Award for Artefacts.

His television series The Town and Doctor Foster both earned BAFTA nominations and Bartlett won Outstanding Newcomer for British Television Writing at the British Screenwriters’ Awards 2016 for Doctor Foster.

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2019 Colorado Shakespeare Festival

Dramaturgs

Massachusetts native AMANDA GIGUERE (Twelfth Night, Romeo and Juliet) joined CSF in 2004 as a graduate student and became a full-time staff member in 2011. She received her MA and PhD in theatre history and criticism from the University of Colorado Boulder and has taught undergraduate courses at CU Boulder, the University of Northern Colorado and Lingnan University. Her book, The Plays of Yasmina Reza on the English and American Stage, was published in 2010. She completed her undergraduate work at Trinity College (Connecticut) in theatre and French and taught in Hong Kong for two years. She has worked with Curious Theatre, Boulder Ensemble Theatre Company, Rebel Shakespeare Company, North Shore Music Theatre and Cleveland Play House. Giguere’s research and work in developing CSF’s Shakespeare in the Schools Tour: Shakespeare and Violence Prevention has been nationally recognized.

HEIDI SCHMIDT (As You Like It, King Charles III, King John) is a director, dramaturg and teacher. Dramaturgy: Denver Center Theatre Company (Disgraced, The Christians, Tribes), Colorado Shakespeare Festival (Julius Caesar, Equivocation, The Merry Wives of Windsor, Macbeth, Richard III, Inspector General), Local Theater Company (Faith), Curious Theatre Company (Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures). Directing: CU Boulder (Picnic, Melancholy Play), Dirtyfish Theater (Wedding Cake Vodka), CSF Education (Measure for Measure, King Lear, As You Like It), readings for Curious New Voices, Athena Project, and Paragon Theatre Company. Administrative positions: Colorado Shakespeare Festival, Local Theater Company, Repertory Dance Theatre (Salt Lake City), Women and Theatre Program. As an all-around theatre maker, she has designed props for Curious Theatre, presented pre-show talks at the Arvada Center, served as voice coach for CSF’s Camp Shakespeare and performed in a devised ensemble piece on the National Mall in Washington, D.C. Schmidt holds a PhD in theatre history, criticism and dramatic literature from CU Boulder, where she regularly teaches. She serves as CSF’s Outreach Marketing and Grants Coordinator and regularly teaches after school Shakespeare classes for kids, teens and adults.

Designers, choreographers and casting

CAITLIN AYER^ (Scenic Designer: Twelfth Night, Romeo and Juliet) returns to Boulder for her sixth season with CSF. Her recent credits include Richard III, You Can’t Take It With You, The Taming of the Shrew, Julius Caesar, The Comedy of Errors, Troilus and Cressida, Henry V and Henry IV, Part I and II (CSF); The Making of King Kong (Target Margin Theater); Opacity (Big Art Group at the Live Arts Bard Biennial); the UK premiere of ID, Please (Tete a Tete Festival); The Time of Your Life (Frederick Loewe Theatre); Drag Queen Time Machine (DCPA’s Off-Center Stage) and Good People (Curious Theatre Company). Ayer received the Rose Brand Scene Design Award in 2017 and was named “a young designer to watch” by Live Design magazine.

She holds a BFA from Webster University and an MFA from Carnegie Mellon Universty. (6 seasons) MEGHAN ANDERSON DOYLE’s (Costume Designer: Twelfth Night, King Charles III) previous CSF credits include Love’s Labour’s Lost, You Can’t Take It With You, The Taming of the Shrew and The Comedy of Errors. Other selected costume design credits include Xanadu; This is Modern Art; American Mariachi; First Date; The Wild Party; An Act of God; The Glass Menagerie; Sweet & Lucky; One Night in Miami; Appoggiatura; Vanya and Sonia and Masha and Spike; Jackie & Me; I Love You, You’re Perfect, Now Change!; Five Course Love and The Giver (Denver Center for the Performing Arts); The Moors, Waiting for Godot and The Drowning Girls (Arvada Center for the Arts and Humanities); The Brother / Sister Plays, Good People, A Number, Up and tempOdessey (Curious Theatre); as well as productions at LOCAL Theatre Company, Theatre Aspen, the Aurora Fox, and the National Theatre Conservatory. Doyle holds a BA in theatre from the University of Denver and an MFA in costume design from the University of Florida. (4 seasons) JASON DUCAT (Sound Designer: Twelfth Night, As You Like It, Romeo and Juliet, King Charles III) has designed sound for the past six seasons with CSF. These credits include Love’s Labour’s Lost, Cyrano de Bergerac, Richard III, You Can’t Take It With You, The Taming of the Shrew, Julius Caesar, Hamlet, Rosencrantz & Guildenstern Are Dead, Troilus and Cressida, Henry V, The Tempest, Othello, Macbeth and I Hate Hamlet. Ducat is an artistic company

member at Curious Theatre Company, where his credits include Venus in Fur, Good People, The Brothers Size, Maple and Vine, 9 Circles, A Number and Astronomical Sunset. He has served as resident sound designer with the Denver Center Theatre Company, where he designed more than 20 shows in seven seasons. Other designs include Constellations and Born Yesterday (THEATREWORKS); The Few and Full Code (Boulder Ensemble Theatre); Marat/ Sade and The Winter’s Tale (Purdue University); Lab Coats on Clouds (Prague Quadrennial); Hedwig and the Angry Inch (Elemental Theatre Company); Sideways Stories from Wayside School (Hope Summer Repertory Theatre) and Tribulation and The Demolition Squad (Chicago Dance Crash). Ducat received his MFA in sound design from Purdue University. (7 seasons) RINDE ECKERT (Music Composer: Twelfth Night) composes, writes, performs and directs productions that tour throughout America and to major European and Asian festivals. A Grammy winner, inaugural Doris Duke Artist and finalist for the Pulitzer Prize in Drama, Eckert is also a Guggenheim Fellow and received the 2005 Marc Blitzstein Award from The American Academy of Arts and Letters.

His work has received Critics Circle and Isadora Duncan Awards in San Francisco, an Obie Award and two Drama Desk Award Nominations in New York, and Boston’s Eliot Norton Award for Best Production by a Large Resident Company. His work has been produced by ART, Culture Project, Center Stage in Baltimore, Dobama Theatre Company and Berkeley Repertory Theater.

JULIE FOH (Voice and Text Coach: As You Like It, King Charles III) is a Connecticut-based voice, text and dialect specialist, and this is her first season with the Colorado Shakespeare Festival. Previous professional credits include Sherwood for Cleveland Play House, Pygmalion for BEDLAM, Familiar for Woolly Mammoth Theatre Company, Trans Scripts and Cardenio for the American Repertory Theatre, The Tallest Tree in the Forest for Tectonic Theatre Project at the Brooklyn Academy of Music, Charley’s Aunt and Shakespeare in Love for the Shakepseare Theatre of New Jersey, Eurydice and An Ideal Husband for American Players Theatre, among many others. She is an associate teacher of Fitzmaurice voicework and a certified teacher of Knight-Thompson speechwork, and is currently on faculty at the University of Connecticut and the National Theater Institute. (1 season) SYLVIA GREGORY (Casting Director) has cast shows for Denver Center Attractions, Denver Center Theatre Company, LOCAL Theatre, Boulder Ensemble Theatre Company, and TheatreWorks, among others. Gregory cast the Screen Actors Guild feature film Fishing Naked and SAG independent short films Death of the Bar-T and Distance.

She has cast commercially for Honda, Southwest Airlines, CenturyLink, Sprint, Duracell, Bayer, the Colorado Lottery (40 spots) and King Soopers, among others. She cast the 2015 Emmy Award-winning Crossroads: Without Health, There is Nothing for PBS and Univision and the Colorado Office of Suicide Prevention’s Man Therapy campaign, which was written up in the New York Times. Gregory holds degrees from California State University at Fullerton and the London Academy of Music and Dramatic Arts and earned an MFA from the Alabama Shakespeare Festival/University of Alabama and is a member of the Casting Society of America. (6 seasons) KATIE GRUENHAGEN (Lighting Designer: As You Like It, King Charles III) is currently based out of Houston after many years of calling Colorado home. Her previous CSF credits include Richard III and You Can’t Take It With You (2018). Other design credits include This Is Modern Art (Denver Center Theatre Company, Off-Center); The Revolutionists and Birds of North America (BETC); Peter and the Starcatcher (Town Hall Arts Center); Mamma Mia, Newsies and West Side Story (Rocky Mountain Repertory Theatre); Body of an American (Curious Theatre Company); Romeo and Juliet (Best Lighting Design, 2014 Southeastern Theater Conference) and Into the Woods (Indiana Universty).

(2 seasons) At CSF, HUGH HANSON (Costume Designer: Romeo and Juliet) has served as costume designer for Cyrano de Bergerac, Hamlet, Rosencrantz & Guildenstern Are Dead, Troilus and Cressida, Equivocation, Much Ado About Nothing, Wittenberg, Othello, The Merry Wives of Windsor, Henry IV, Part 1, Henry V, Richard II & III, Treasure Island, and The Comedy of Errors. Additional credits include Trelawny of the Wells, A Streetcar Named Desire and A Christmas Carol at the Shakespeare Theatre (New Jersey); The Whipping Man, Words By, Wittenberg and Color of Flesh at Portland Stage (Maine) and As You Like It and The

Liar at Theatreworks (Colorado Springs). Hanson currently serves as associate professor of costume production at Carnegie Mellon University. (9 seasons) CLARE HENKEL^ (Costume Designer: As You Like It) has designed for CSF since 2007. Locally, she has worked with the Denver Center for the Performing Arts, the Arvada Center for the Arts and Humanities, Phamaly Theatre Company, Boulder Ensemble Theatre Company, THEATREWORKS and 3rd Law Dance Theatre. Other theatres include Arizona Theatre Company, the Old Globe Theatre, La Jolla Playhouse, San Diego and San Jose Repertory Theatres, the Aurora Theatre, Perseverance Theatre, Dallas Theatre Center, Geva Theatre, the Indianapolis Symphony’s Pops Consortium (including Carnegie Hall), Sacramento Theatre Company, the Lake Tahoe, San Francisco, and Idaho Shakespeare Festival, and the Maxim Gorky Theatre in Vladivostok, Russia. Henkel has taught at the University of California Davis, the University of California Berkeley, and the University of Colorado Boulder and is a member of the USA Local 429 union. (11 seasons) STEPHEN C. JONES’^ (Scenic Designer: As You Like It, King Charles III) selected design credits include the offBroadway premiere of The Dressmaker’s Secret, Portland Stage Company (Maine), Orlando Shakespeare Theatre (Florida), Sacramento Ballet (California), Alley Theatre (Texas), Sting and Honey (Utah), and One Year Lease (New York City). Jones serves as a consultant for Viacom, Inc. and Vectorworks, Inc., was featured for his design process by Live Design magazine in 2017, and was named a featured designer by Novedge for innovation in entertainment design.

He currently serves as assistant professor of theatrical design and director of theatre in the Department of Drama at Vassar College. (4 seasons) SHANNON MCKINNEY’s^ (Lighting Designer: Twelfth Night, Romeo and Juliet) previous design credits include Love’s Labour’s Lost (2018), Cyrano de Bergerac (2018), The Taming of the Shrew (2017), Julius Caesar (2017), The Comedy of Errors (2016), Troilus and Cressida (2016), Much Ado About Nothing (2015), Othello (2015), The Tempest (2014), The Merry Wives of Windsor (2014), A Midsummer Night’s Dream (2013), Macbeth (2013) and Twelfth Night (2012) (CSF); The Snowy Day and Tribes (DCPA); Sense and Sensibility, The Electric Baby, A Chorus Line, Waiting for Godot and Jesus Christ Superstar (Arvada Center); and Constellations, The Brothers Size and Red (Curious Theatre). Her regional credits include designs for the Indiana Repertory Theatre and the Steppenwolf, and the Goodman, Court and Lookingglass Theatres. McKinney is the recipient of seven CTG Henry Awards for Outstanding Lighting Design. She is a faculty member at the Unversity of Denver. (10 seasons)

the Florence Queer Festival in Italy and the Façade Film Fesitval in Plovdiv, Bulgaria. Randall co-wrote, directed and choreographed the feature-length dance film Leading Ladies, which has played to sold-out audiences at more than 65 festivals worldwide. Since 2017, Randall had the great privilege of collaborating with director Christopher DuVal as the choreographer for CSF’s The Taming of the Shrew and Cyrano de Bergerac, and served as the choreographer for Richard III and You Can’t Take It With You. This is her third season with CSF. (3 seasons) GREGORY W. TOWLE (Video and Pojection Designer: King Charles III) is excited to be working with the Colorado Shakespeare Festival for the first time this summer.

Previous credits include Around the World in 80 Days with the Arizona Theatre Company, All the Way at Arena Stage, Milk Like Sugar with the Mosiac Theatre Company, Into the Woods with Village Theatre, and Paper Cut with LOCAL Theatre Company. (1 season)

Management

ADAM M. DILL (Costume Shop Manager) has worked for the Flint Youth Theatre, PlayMakers Repertory Company, Utah Shakespeare Festival, Arizona Theatre Company, Great River Shakespeare Festival, Dallas Children’s Theatre, the Dallas Theatre Center and the Colorado Shakespeare Festival. He is well versed in costume design, costume shop management, cutting, draping, tailoring and costume crafts, and currently serves as costume shop supervisor and lecturer at the University of Michigan-Flint. (6 seasons) KAYLYN KRIASKI* (Stage Manager: As You Like It, King Charles III) is thrilled to be spending her summer with CSF! A native of Jackson, Tennessee, Kriaski holds a BA from the University of Southern Mississippi, and has called Orlando home for the last four years. During her time there, she has been part of the stage management team for over 15 different projects. She currently works freelance with the Orlando Shakespeare Theater and enjoys picking up many other side projects. Some of her favorite credits include Man of La Mancha, Peter and the Starcatcher, and the

world premiere of Gertrude and Claudius in repertory with Hamlet. (1 season) NICOLE KUTCHER* (Assistant Stage Manager: Twelfth Night, Romeo and Juliet, King John) is an AEA stage manager in the New England and Chicago areas, and is delighted to be back in her home state of Colorado. She is a graduate of Columbia College Chicago with a BA in technical theater with a stage management concentration.

Along with her foundation in Chicago theatre, she has a strong background in regional theatre, particularly new plays and musicals. Her most recent credits include Murder for Two and the world premiere of Little Orphan Danny at Merrimack Repertory Theatre. Kutcher also has experience in event management of corporate and fundraising events.

(1 season) TIFFANY LUTZ* (Assistant Stage Manager: As You Like It, King Charles III) is excited for her first summer with CSF. During the year, she is the assistant stage manager of musicals at the Arvada Center for the Arts and Humanities, and has held that title one whole season. Prior to that role, she worked as a stage hand for the Arvada Center’s Rep season and backstage on a few shows for the Denver Center. Lutz graduated with a BA in theatre from the University of Wisconsin-Parkside in 2012 and has worked regionally ever since. Some of her favorite credits include working on the world premieres of Kalamazoo and Calling All Kates (Bloomington Playwrights Project); The Merchant of Venice, Grounded and Junie B. Jones (Cardinal Stage Company) as well as the time she spent in Kentucky with the Lexington Children’s Theatre. (1 season) STACY R. NORWOOD* (Stage Manager: Twelfth Night, Romeo and Juliet, King John) is thrilled to return to CSF for her fourth season. She graduated in May 2006 from Rollins College and has worked with the Depot Theater, Orlando Shakespeare Theater and the Pennsylvannia Shakespeare Festival. Norwood is a proud member of Actors’ Equity Association and is indebted to her mother and father, who allow her to follow her dreams. (4 seasons)

SAM MISNER (Music Composer: As You Like It) is thrilled to return to CSF, having appeared as an actor in Woody Guthrie’s American Song and Henry VIII in 2008. His acting credits include regional theatres such as California Shakespeare Theater, Geva Theatre Center, Indiana Rep, and Shakespeare Santa Cruz. Alongside his longtime musical collaborator, Megan Smith, he has co-written original music for productions of The Grapes of Wrath and To Kill a Mockingbird (Sacramento Theater Company), and the west coast premiere of The Way West (Marin Theater Company). In 2004, Misner and Megan formed the folk / rock band Misner & Smith, and they tour regularly around the United States and overseas. They have released five albums and have a new one in the works now. (2 seasons) JEFFREY PARKER (Voice and Text Coach: Twelfth Night, Romeo and Juliet) is an associate professor of theatre at MSU Denver and a teaching artist at DCPA. He holds an MFA from UC Irvine, and is a certified teacher of KnightThompson speechwork and a certified associate teacher of Fitzmaurice voicework. He has coached productions for theatre all across the country. Local coaching credits include the DCPA, Curious Theatre, Vintage, Town Hall Arts Center, Performance Now, Aurora Fox, Lake Dillion and Rocky Mountain Repertory Theatre. (1 season) ERIKA RANDALL (Dance Choreographer: Twelfth Night, As You Like It, Romeo and Juliet) is a teacher, dancer, choreographer, filmmaker and the chair of CU Boulder’s Department of Theatre & Dance. As a performer, she has worked with Megan Odom, Teena Marie Custer, Sydney Skybetter, Sara Hook, David Parker, the Bang Group, Michelle Ellsworth, the Mark Morris Dance Group and Buglisi/Foreman Dance. Her choreography has been seen in four countries and 16 states over the last 10 years and her screendance works Down for the Count, less, more and self defence—with collaborators Daniel Beahm and Markas Henry—have screened at festivals such as the Sans Souci Dance Cinema Festival, Starz Denver Film Festival, + Member of Stage Directors and Choreographers Society ^ Member of United Scenic Artists * Appears courtesy of the Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States

#coshakes · @coshakes

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Member of the Exclusive

$100-$249

MEMBERSHIP FLYER

SHAKESPEARE MEMBER

($25 non-gift portion*)

$250-$499

SHAKESPEARE CONTRIBUTOR

($135 non-gift portion*)

$500-$999

SHAKESPEARE SUPPORTER

($ 135 non-gift portion*)

$1,000-$2,499

SHAKESPEARE PATRON

($217 non-gift portion*)

$2,500-$4,999

SHAKESPEARE PARTNER

($217 non-gift portion*)

$5,000 +

J UN E 7 - AU G . 1 1

SHAKESPEARE BENEFACTOR

CSF Membership Benefits

Complimentary CSF Sticker

Recognition in season program Complimentary CSF T-Shirt Total ticket flexibility: complimentary ticket exchange A voucher for two complimentary tickets to a CSF 2019 season production to share with your friends and family Invitation to the Season Announcement Party (fall of 2019) Invitation to the 2019 Celebration of Donors NOTE: This benefit has changed Exclusive invitation to a private rehearsal, a backstage tour and a Q&A reception with the Producing Artistic Director A voucher for two complimentary tickets to a CU Presents performance of your choice (during 2019 season, based on availability) A performance dedicated to you or a loved one, recognizing your outstanding commitment to CSF Invitations to insider CSF events for an exclusive Benefactor experience

Elevate your Shakespearience by becoming a member! coloradoshakes.org For more information call: 303-492-3054 *please consult with your tax advisor

O U R SU P P ORTER S Dedicated to celebrating and exploring Shakespeare and his continuing influences, the Colorado Shakespeare Festival is thriving due to the tremendous support we receive from community members throughout the year. Your generosity, combined with smart business practices and a commitment to superior artistic quality, allows this great summer tradition to reach new heights of success, season after season.

The individuals and families listed here have demonstrated their passion for Shakespeare, live theatre and nationally renowned educational outreach programs through generous contributions. As the second oldest Shakespeare festival in the country, CSF’s legacy is made possible through our compassionate and philanthropic community of supporters.

Thank you!

This year’s program recognizes gifts made between April 1, 2018 and May 1, 2019. If we’ve made a mistake, please call Jeni M. Webster at 303-735-6070.

Bequests

Anonymous Anne and John Blair Margot Crowe Kenneth Gamauf Lissy Garrison Lisa Hogan Diana W. and F. Michael Kinsey Jeffrey A. Kash and Jeffrey C. Nytch Carol Mellinger Dee Perry Gail Promboin and Robert Burnham Leslie and Jason Trow

$100,000+

Jeffrey A. Kash and Jeffrey C. Nytch

$25,000-$99,999

Pam and Duke Hartman Christine and Peter Jensen Leslie and Jason Trow

$10,000-$24,999 Marilyn and William Fitzsimmons Patty and Jerry Hauptman Diana and Mike Kinsey Stephany Roscoe and Brian Curtiss The Dorothy and Anthony Riddle Family Foundation

54

$5,000-$9,999

John and Anne Blair Driscoll Foundation Karen and Bob Herz Susan Barney Jones Anne Sandoe Roger Theodoredis Christine and Robert Wester

$2,500-$4,999

Sandy Smith and Bob Biebel Pamela and Michael Copp Chelsea and Bill Flagg Alli and Gil Fronzaglia Jeffrey A. Kash and Jeffrey C. Nytch Theresa and Robert Keatinge Mollie Mitchell and John Wilson Sandy and John Myers Pattie and Ben Nelson Nissi’s Coffeehouse & Bistro Debra and Richard Ordway Kate Wilson and Alex Goetz

$1,000-$2,499

Anonymous Susan and James Baldwin, Jr. Kathy Bourland Sally and Joseph Dischinger Jenny Elkins Kenneth Gamauf Lissy Garrison Roe Green Lin and Matthew Hawkins Ken Hitz Lois and Jeff Linsky

2019 Colorado Shakespeare Festival

Love’s Labour’s Lost, 2018

Betsy Phelan and Paul Smith Julia and Fredric Stoffel Kate and Clyde Wilson in memory of Jeanne and Stuart Wilson

$500-$999

Anonymous Candy Allen and Bob Woodward Carolyn and Matthew Biller Vicki and David Dansky Marshall and Andrew Essig in memory of Jennifer Hokanson Essig Elizabeth and Sidney Fox Marcia and Christopher Hazlitt Constance Holden and TK Smith Ruth and Richard Irvin Marilyn and Stephen Kaminski Laurie Keith and Tim Orr Buddy Kring Madeleine and Kenneth McCourt Jennifer McNabb Linda and Chris Paris Deedee Perry Mikhy and Mike Ritter Sally and Sam Sandoe Carol Stamm Catherine Tallerico and William Rogers

$250-$499

Jennifer and Alan Aboaf Becca and Kevin Bracy Knight

Deborah Broaddus Donna Casey and Michael Friedman Joan and Michael Dardis Martha and Robert Drake Marguerite and Richard Franklin Carol and Jack Gathright Mary and David Giese Sue and Gustavo Grampp Heidi and Roger Hall Marian Hamlen Shelby Holt and George Burmeister Mary Jarchow Paul Katz Joan Knaub Nancy and Paul Levitt Carol Mather Donna Meckley Carol Mellinger Jan and Jas. Mercer-Smith Coleen and William Pass Marilyn and Gerald Pinsker Barbe Ratcliffe William Rense Alicia and Juan Rodriguez Becky Roser and Ron Stewart Bob Ruyle Zdenka Smith Kathleen and Brian Spear Carson and John Taylor Lola and Chuck Wilcox Michelle and Lynn Wood Christine Yoshinaga-Itano and Wayne Itano

$100-$249

Micah Abram and Andy Maass Christopher Baer Nancy and Gil Berman Mary Blue Joan McLean Braun Maureen Burnett Shirley Carnahan Carolie Coates and Claude Weil Jane Daniels Glenn Davis Thomas DeCock Barbara and Carl Diehl Mary Dimand and Sheeyun Park Amie and Benji Durden Lucinda and Daniel Ellerhorst Catharine Eppinger

Carol Fitchette-Asprey and Thomas Asprey Wendy Franz Betsy and Albert Hand Judy and Jim Hartley Beverly Hayes-Hartnett and Lawrence Hartnett Edna and Hugh Heckman Susan Henderson Paula Hoffman Ann and William Kellogg Carla and Richard Kem Julie Koehler Rita Kotter Sharon Kouba Jessica Kramer Ellen and Dale LaGow MaryAnn and Steven Langer Amy and Trevor Lavens

Richard Leaman Lois and Mark Levinson Judy and Hal Lewis Miriam and Tom Lindahl Nancy and Ralph Mann II Carol and Tim March Cathy and Byron McCalmon Virginia McGowan and Michael Goss Christopher Merrell Gay Miller and Norman Williams Janice Moore Rionda Osman-Jouchoux and Alain Jouchoux Ann and Dave Phillips Theodore Pincus Leslie and Bill Pizzi Christy and Daniel Pratt

Christine and Richard Quinlan in honor of Kate Wilson Susan Raymond Juli and Russ Rew Tony Ruckel Liz Schoeberlein Jackie and Wayne Seltzer Samuel Serra Elizabeth and Richard Shearer Laura and David Skaggs in honor of Ruth and Ken Wright Jean Theobald Mary and Michael Tully Deborah and Charles Turner Kristin and James White Faith and Stephen Williams Karen and Scott Yarberry Rachel Yeates Ann and Gary Yost

Festival endowments

Colorado Shakespeare Festival Education Outreach Endowment Fund Colorado Shakespeare Festival Endowment Fund Colorado Shakespeare Festival Guild Endowment David A. Busse Endowed Scholarship Fund Dorothy & Carl Nelson Shakespeare Acting Intern Endowed Scholarship Fund Kenneth J. Gamauf Flatirons Fund for the Colorado Shakespeare Gardens Richard M. Devin Endowed Fund for the Colorado Shakespeare Festival Dorothy and Anthony Riddle Endowment for the Shakespeare Education Fund Ken and Ruth Wright Colorado Shakespeare Festival Distinguished Directorship Jensen Family Will Power Endowment Midsummer Night Acting Intern Endowed Award Midsummer Endowed Fund for Choreography and Movement in CSF Sandoe Family Shakespeare Endowed Award 60th Season Commemorative Acting Intern Endowed Award Max Dixon Acting Intern Endowed Award

Foundations and grants

Anonymous Boulder Arts Commission Colorado Garden Foundation Community Foundation Boulder County CU Boulder Office for Outreach and Engagement CU Boulder President’s Fund for the Humanities Shakespeare in American Communities: National Endowment for the Arts in partnership with Arts Midwest The Shubert Foundation

In-kind

Savory Cuisines Catering Boulder Organic Coffee Cafe Aion Cosmo’s Pizza FASTSIGNS Flatiron Coffee Half Fast Subs on the Hill Innisfree Poetry Bookstore & Cafe The Sink #coshakes · @coshakes

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O U R SU P P ORTER S Special acknowledgements

CU Boulder College of Arts and Sciences (James White, dean and Ruth-Ellen Kocher, associate dean) CU Boulder Department of Theatre & Dance (Erika Randall, chair) CU Presents (Joan McLean Braun, executive director) The Publishing House CU Boulder College of Music Advancement Team (Courtney Rowe, assistant dean for advancement) Martin/Martin Consulting Engineers Theatre Fairfield Brenda King and the Arvada Center for the Arts and Humanities Denver Center for the Performing Arts Those who contribute to the Colorado Shakespeare Festival as members of our Advisory Board, our Executive Committee and the Shakespeare Garden are truly devoted volunteers. We wish to share our gratitude for their chivalrous spirit, generous gifts of time and commitment to advocacy on behalf of our beloved festival. Thank you!

Advisory Board

Robert Wester, chair Micah Abram, Margot Crowe, Brian Curtiss, Jeanne Fetterman, Pam Hartman, Patty Hauptman, Lin Hawkins, Chris Jensen, Jeffrey A. Kash, Robert Keatinge, Marcus Martin, Dan Mones, Eric Wallace, Kate Wilson

Executive Committee

Erika Randall, chair Sarah Adderholt, Joan McLean Braun, Bud Coleman, Wendy Franz, David Glimp, Ruth-Ellen Kocher, Amy Lavens, Catherine Shea (ex officio), Jim Symons

Shakespeare Gardens

Beverly Baima, Claire-Maria Broaddus, Deborah Broaddus, Barbara Carvallom, Margot Crowe, Mary Karen Euler, Ken Gamauf, Dena Hanold, Holly Hart, Peggie Hudiburg, Diana Kinsey, Mike Kinsey, Judy Mastrine, Carol Mellinger, Kari Mitchell, Alan Nelson, Brad Nettles, Kathy Tierney Pantzer, Monica van Zale, Lu Wang, Chuck Wilcox, Lola Wilcox

Production volunteers

Zac Curtis, Veronica Dewey, Ana Fiz, Tamarra Nelson, Joe Rogan

FEST IVAL S P ONS OR S Concessions sponsor

Leading sponsors

Supporting sponsors College of Arts & Sciences

Media sponsors

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2019 Colorado Shakespeare Festival

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FE S T IVAL S TA FF Administration

Producing Artistic Director Timothy Orr Managing Director Wendy Franz

Operations Manager Kurt M. Mehlenbacher

Administrative Assistant Rachel Wood

Digital Communications Assistant K. Woodzick Graphic Designers Analise Iwanski Sue Kim

Marketing Assistant Maeve Reilly

Public Relations Assistants Corinne Baud Pranathi Durgempudi

House Managers Matara Rae Hitchcock, Lauren Social Content Creator Perlis, Talia Watrous, Erika Haase Allison Zema Video Producers Audience Services Jack Dorfman Leandra Fischman, Kate Madelyne Smith Howard, Sunny Jin, Rose Lavino, Anissa Lujan, Samantha Piel, Sarah Rand, Outreach Maeve Reilly, Stephanie Saltis, Director of Outreach Alexandra Tompkins, Patrick Amanda Giguere Tooley, Leah Woods, Outreach Coordinator Rachel Wood Heidi Schmidt

Advancement Assistant Dean Courtney Rowe

Director of Development Ashley Harkrader Assistant Director of Development Colleen Reese

Manager of Annual Giving Jeni M. Webster Program Manager for Strategy & Stewardship Madison Munn Senior Events Manager Katie Neal Senior Development Assistant Emily Chesnic

CU Presents

Executive Director Joan McLean Braun

Director of Marketing & Public Relations Laima Haley Marketing Manager Daniel Leonard

Public Relations Manager Becca Vaclavik Publications Specialist Sabrina Green 58

Outreach Assistants Bianca Frazer, George Lopercio, Tessa Nelson Outreach Intern Alexandra Tompkins

CSF Touring Company MacKenzie Beyer, Lea Bock, Katie Medved, Jihad Milhem, Royce Roeswood, Maggie Tisdale

Outreach Faculty Brooke Collins, Anastasia Davidson, Michelle Diller, Madison Hart, Justin Johnson, Rose Lavino, Rakeem Lawrence, Lauren Perlis, Royce Roeswood, Heidi Schmidt, Sean Scrutchins, Ayla Sullivan, Jason Toeniss, Alexandra Tompkins

Box Office Assistants Elise Collins, Samantha Cox, Indigo Fischer, Alex Herbert, Autumn Pepper

Electrics Interns Austin Hendricks Ali Calegari

Stage Management

Sound and Projection Engineer, University Theatre Samuel Ravelo Jr.

Stage Managers Kaylyn Kriaski* (UT) Stacy R. Norwood* (MR)

Assistant Stage Managers Nicole Kutcher* (MR) Tiffany Lutz* (UT)

Stage Management Interns Nate Coffey (UT) Teresa Orosco (MR)

Production

Production Manager Jon Dunkle

Technical Director Clifford J. C. Glowacki

Assistant Technical Directors Bethany Crescini (UT) Laura Copenhaver (MR) Lead Carpenter Allyson Lacey-Kachelmeier

Staff Carpenters Rylee Garvine, Mark Ivachtchenko, Keizo T. Osuga Carpentry Interns Mattox Reed, Molly Rocca, Lukas White Scenic Charge Artist Noah J. Files Staff Scenic Artist Kate Kanne

Scenic Art Intern Gaya Maria Chatterjee Props Supervisor Katie Hamilton

Props Artisan Camp Staff Kat Blakeslee Bianca Frazer, Ana Langmead, Props Interns Tessa Nelson, Annie Zander Jessie Pietrera, Ryan W. S. Rouillard, Andres Ugarte

Box Office

Director of Operations Andrew Metzroth Box Office Manager Christin Woolley Box Office Services Coordinator Adrienne Havelka

2019 Colorado Shakespeare Festival

Festival Armorer Josh Innerst

Festival Master Electrician Cooper Braun-Enos Staff Electrician Sam Kisthardt

Sound Engineer, Mary Rippon Wes Halloran

Sound Intern Delaney Bray

Over Hire Technicians Margaret Boyle, Ana Fiz, Eli King, Drew Knapp, Reed Otto CU Theatre & Dance Practicum Students Leandra Fischman, Steven Fox, Samantha Piel, Andrew Winterfeld

Costumes

Costume Shop Manager Adam M. Dill Assistant Costume Shop Manager Erika Daun Drapers Ananda Keator Ryan B. Moore First Hand Sam Cole

Stitchers Laura Clark Jessica Land

Stitching Intern Molly Gluzinski

Costume Crafts Supervisor Sarah Havens Costume Crafts Artisans Birdie Plank Nicole Watts Costume Crafts Intern Kelli Gibbons

Costume Design Intern Michelle Reynes Berg Wardrobe Supervisor Samantha Jean Paul

Wardrobe Chiefs Samantha Jean Paul (MR) Ana Langmead (UT)

Wig and Makeup Supervisor Danielle Griffith Wig and Makeup Intern Elise Rosado

*Appears courtesy of the Actors’ Equity Association, the Union of Professional Actors and Stage Managers of the United States

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THE CSF S HA KES P E A R IE N C E Before and after the show

Prologue on performance evenings

Producing Artistic Director Timothy Orr or other company members will discuss the play you are about to see. This popular program offers insights, sets the stage and adds to your enjoyment of the plays. Begins 60 minutes before curtain time except for preview performances.

Talkbacks

Following every performance, except opening and closing nights, audience members are invited to move closer to the stage and join a talkback discussion with members of the cast and crew.

Green shows

Before outdoor plays, performers provide free entertainment in the Shakespeare Gardens at 6:45 p.m. Fridays and Saturdays and 5:45 p.m. on Sundays through Thursdays.

Visit coloradoshakes.org for a full schedule of performances.

Picnic in the Shakespeare Gardens

Come early and picnic in the Shakespeare Gardens. Wine and beer are available for purchase inside the Gardens and Savory Cuisines Catering can provide a sonnet-worthy feast for groups of 10 or more. Go to the Plan Your Visit page at coloradoshakes.org for more information.

Education and community engagement Classics 101

For a behind-the-scenes discussion of the shows with the directors and dramaturgs for this season’s productions, join us for this free series at the Boulder Public Library. Visit coloradoshakes.org for the schedule and more information.

Camp Shakespeare (ages 9-18)

Session One: May 28-June 24, 2019 Session Two: July 22-Aug. 9, 2019 Each summer, CSF invites kids and teens to CU Boulder’s campus to study Shakespeare in a creative and supportive environment. Working in small groups, students rehearse, stage and perform a shortened Shakespeare play on the Rippon stage!

Shakespeare’s Sprites (ages 6-9)

Session One: July 8-July 12, 2019 Session Two: July 15-19, 2019 Shakespeare’s Sprites is a playful introduction to the Bard through pool-noodle fights, Elizabethan costumes, period insults, Renaissance songs and lively scene work. This program is the perfect way to instill a love of language and theatre in your child!

CSF School of Theatre

Offering year-round theatre classes for kids, teens and adults. Visit coloradoshakes.org/education for more information about current offerings.

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Shakespeare and violence prevention

CSF offers a nationally-recognized school touring program in which professional actors visit schools to perform an abridged Shakespeare play, followed by classroom workshops about violence prevention.

Visit coloradoshakes.org/education for current tour information or to set up a visit at your child’s school.

Dramaturg presentations

CSF dramaturgs are available for book club meetings, private lectures or classroom visits. Call 303-735-1181 for details.

Colorado Shakespeare Gardens

The Colorado Shakespeare Gardens (CSG) invites all who love Shakespeare’s work to extend their experience from the sight and sounds of the stage to the scent and sweet beauty of his gardens. Spend some time before taking your seat in the Mary Rippon Outdoor Theatre or in the University Theatre and visit the courtyard between the Hellems and Education buildings. Here, a passionately committed team of volunteers cultivates and tends gardens devoted to the plants that Shakespeare knew and memorably referenced in his plays.

You will see a towering specimen of Rosa alba x alba, the White Rose of York, and the ancient Rosa gallica officianalis, the Red Rose of Lancaster. You can savor the fragrance of musk roses, carnations, and rosemary, fennel, rue and banks of thyme, lavender, savory and honeysuckle. Visit our sample of a traditional Elizabethan knot garden and be enchanted by our moonlight garden interpretation of A Midsummer Night’s Dream. Encounter familiar carrots, lettuces, squash, turnips and radishes in the Kitchen Garden, punctuated with bay and apricot trees and trellises for climbing peas and beans. The Gardens feature signage throughout to help you identify the plants and enjoy some of Shakespeare’s quotable insights about them. Garden guide brochures are available in the Gardens to aid your self-guided tours.

Plan to be pampered in the Gardens on June 22, 2019, as we welcome you to our annual Midsummer High Tea, featuring herb-scented baked goods and flowery iced teas from the Tea Spot. The festivities begin at 6 p.m. and wrap up in time for you to take your seat for that night’s performances of As You Like It in the University Theatre and Twelfth Night in the Mary Rippon.

CSG enthusiastically welcomes new members, donors and sponsors. Visit the Shakespeare Festival website at cupresents.org/coshakes and search for Colorado Shakespeare Gardens, or visit our web site at coloradoshakespearegardens.org, or check out the Colorado Shakespeare Gardens at Meetup.com. We devote ourselves to work in the gardens from March to October.

In the winter months we gather periodically to prepare for the Colorado Shakespeare Festival’s upcoming season with presentations on plant research and the season’s Shakespeare plays.

tiny beautiful things

NAMED

“2019 Best Theatre For Adults” - Denver Westword

based on the book by Cheryl Strayed, adapted for the stage by Nia Vardalos

Sept. 12th – Oct. 6th

by Will Eno

Oct. 24th – Nov. 17th

A Christmas Carol adapted by Rebecca Remaly from the book by Charles Dickens

Dec. 5th – 24th

Bloomsday

by Steven Dietz

Feb. 6th – March 1st

OSLO

by J.T. Rogers

April 16th – May 10th

(303) 444-7328 • BETC.ORG

SERVIC ES A ND P OL I CIE S Ticket exchanges

Children at performances

Ticket exchanges are free for subscribers.

Single ticket buyers are charged $3 per seat to exchange. Exchanges may be made for tickets to any performance of any play based on availability.

All exchanges must be made at least one business day in advance of a performance. When exchanging your existing tickets for a higherpriced performance or seat(s), the difference in ticket price must be paid before the exchange can be completed. No refunds are given for exchanges into lower-priced performances or seats. Ticket exchanges are subject to seat availability. The Colorado Shakespeare Festival does not make refunds on any purchases.

Children under age 5 are not permitted in the theatres.

Alcohol

The Colorado Shakespeare Festival maintains a beverage license for the sale of beer and wine within the premises of the Shakespeare Gardens, the Mary Rippon Outdoor Theatre and the University Theatre. Alcohol purchased inside the venue may not be taken outside of the licensed premises, and no outside alcoholic beverages may be brought into the licensed venue. Please note that the allowance of private alcohol consumption on the Green was discontinued in 2012 in compliance with the University of Colorado Boulder’s alcohol service on campus policy (BRC § 5-7-2 and CRS § 12-47-901 (2) (c)), as well as Colorado liquor code and Colorado liquor rules (CRS § 12-47-901 (1) (h)).

Cancellation and rain policy

Summer rains are common in Colorado and usually pass within 20 to 30 minutes.

Performances will proceed in the rain unless weather conditions become threatening to performers or the audience. For safety reasons, open umbrellas are not permitted at any seats during performances; we recommend that patrons bring wearable raingear. If a performance is canceled before intermission due to weather, tickets may be exchanged for another performance, subject to availability. Exchanges must be made within one week of a rain-out.

There will be no refund or exchanges for shows canceled after intermission.

ADA access and seating assistance

Please notify the box office or audience services personnel if you require any assistance in getting to your seat. All patrons requiring assistance should enter the Mary Rippon Outdoor Theatre from the west side.

Food and beverages

Picnic baskets, large bags and coolers are not permitted in the theatres. Products purchased onsite are permitted in the Mary Rippon Outdoor Theatre only; no food or drink is allowed in the University Theatre, including concessions purchased at the performance. Bottled water is permitted if it has a secure lid. No glass containers are allowed. While consuming food or beverages, please be respectful of other patrons near you.

On the evening of the performance • •

Audio enhancement

Assistive listening devices are available at the box office on the day of the performance. CSF will collect and hold a driver’s license or credit card, giving it back when the listening device is returned to the house manager in the theatre at the end of the performance.

ASL interpreted performances

The Colorado Shakespeare Festival offers American Sign Language interpretation for its productions upon request. Please call to make arrangements at least two weeks in advance of the performance date desired. For more information and to make arrangements for an ASL interpreter, please call 303-492-8008.

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•

• •

Photography and video recording of any type— including on cell phones—is strictly prohibited during performances.

Electronic devices may not be used in the theatres.

Please silence cell phones, tablets, music players and all other personal devices upon entering. Please refrain from texting or emailing during the performance, as light from these devices can be distracting to the actors and audience.

Latecomers will be seated at the discretion of house management at the first appropriate break that allows for the least disruption of the performance. Late patrons may be seated in alternate seats until intermission to minimize disruption of the performance.

For safety reasons, we ask that patrons not walk on the stone benches in the Mary Rippon Outdoor Theatre.

Coolers, baskets and large bags are not permitted in the theatres. Please leave these items in your vehicle before finding your seat.

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