Colorado Shakespeare Festival 2021 by The Publishing House

Colorado Shakespeare Festival SUMMER 2021 JUNE 18–AUGUST 15 A Midsummer Night’s Dream The Odyssey by Homer Adapted by Mary Zimmerman

Pericles

our

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SUMMER 2021 JUNE 18-AUGUST 15 10

Letter from the producing artistic director

Season calendar

Adaptation and evolution

Support small business this summer season

A Midsummer Night’s Dream Directed by Carolyn Howarth Performed in the Mary Rippon Outdoor Theatre

The Odyssey By Homer Adapted by Mary Zimmerman Directed by Tim Orr Performed in the Mary Rippon Outdoor Theatre

A year without camaraderie

Pericles Original Practices Performed in the Mary Rippon Outdoor Theatre

Who’s who

A CSF sonnet

Acting company

Artistic team

Donor spotlight

Our supporters

Festival sponsors Special acknowledgements

Festival staff

The CSF Shakespearience

Services and policies

As we gather, we honor and acknowledge that the Colorado Shakespeare Festival resides on the traditional territories and ancestral homelands of the Arapaho, Cheyenne and Ute Nations. We recognize the sophisticated and intricate knowledge systems Indigenous peoples have developed in relationship to their lands. We recognize and affirm the ties these nations have to their traditional homelands and the many Indigenous people who thrive in this place, alive and strong. We also acknowledge the painful history of ill treatment and forced removal that has had a profoundly negative impact on Native nations. We respect the many diverse Indigenous peoples still connected to this land. We honor them and thank the Indigenous ancestors of this place. 6

2021 Colorado Shakespeare Festival

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. Tim Orr, Producing Artistic Director Wendy Franz, Managing Director 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, Amy Lavens, Tim Orr, Catherine Shea (ex officio) 2021 season program Editor Becca Vaclavik Designer Sabrina Green Contributor Olivia Lerwick Production illustrators and season branding Ligature Creative Group Photography Jennifer Koskinen

This program is published by The Publishing House, Westminster, CO. Publisher Angie Flachman Johnson Director of Sales Tod Cavey Production Manager Stacey Krull President & Founder Emeritus Wilbur E. Flachman For advertising, call 303-428-9529 or email sales@pub-house.com ColoradoArtsPubs.com

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We’re back! Welcome friends! We are back together in the Mary Rippon Outdoor Theatre, as audiences and artists have been for well over 60 years, and we are so glad. There are many words to describe how we feel about rejoining you in a theatre. We will try to say them all tonight onstage. 2021 marks the 64th season of the Colorado Shakespeare Festival producing Shakespeare’s timeless classics under the stars. As you may know, the 2020 season was postponed due to the COVID-19 pandemic. We know it was a painful and difficult year for many, and we hope tonight’s performance will lift your family’s spirits after the time apart. While we are happy to see improvements in our daily life, and we’re optimistic that those improvements will continue, I am asking everyone here in the audience to join me and CSF’s staff in following our enhanced safety protocols to continue keeping everyone safe. Hey, we’re back in a theatre together; let’s keep it that way! Let’s keep it safe and improving for the next audience, and the next!

We got this: •

We’re going to follow the festival’s mask guidelines in place for tonight’s performance.

•

We’re going to keep a safe distance from other family groups at the performance.

•

We’re going to follow the easy instructions from festival staff on moving through the space at intermission and after the show.

If we keep this up, CSF stays running for the entire season and thousands more people can experience what you’re experiencing tonight. I’m being smart and safe tonight because CSF needs me to be. CSF needs you, too! We have three gifts for you this summer: gifts we’ve been working on for two years now. First, our production of A Midsummer Night’s Dream is a perfect romantic comedy (and Shakespeare’s gift to us) and is sure to delight and surprise this year. The second is a dream project of ours, The Odyssey, adapted for the stage by the amazing Mary Zimmerman. And third, rounding out the season, will be another audience favorite Original Practices production, the not-produced-enough gem of Shakespeare’s late period: Pericles. These plays and our work this summer have reminded me about the importance of community and our resilience in the face of hard times. I want to express my gratitude for you and this time together in the theatre. Thank you for supporting the Colorado Shakespeare Festival and creating this shared experience. And now, showtime.

Tim Orr Producing Artistic Director Colorado Shakespeare Festival

2021 Colorado Shakespeare Festival

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The 2021 Colorado Shakespeare Festival is presented in the Mary Rippon Outdoor Theatre. Plans for the 2021 season are subject to the permissible event guidelines from public health officials and the university that will be in place at the time of the performances. Complete and up-to-date protocols are available at coloradoshakes.org/COVID19.

2021 Colorado Shakespeare Festival

Photo: Shunté Lofton, As You Like It, 2019.

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Adaptation and evolution

Directors Carolyn Howarth and Tim Orr discuss how their visions have changed since 2020 By Becca Vaclavik For a year and a half now, the COVID-19 pandemic has forced everyone everywhere to rethink their plans. As friends celebrated their first (and second) “pandemic birthdays,” as parents registered their children for remote learning, as family members opened holiday gifts over Zoom calls, the same phrase rang out time and time again in conversations and in writing: This year looks a bit different. So it is too at the 2021 Colorado Shakespeare Festival. Though this season’s plays are the same as those originally slated for 2020, from the top down this year’s festival has been an exercise in adaptation and evolution. As a result, this year might look a bit different. Perhaps no one understands this fact better than CSF Managing Director Wendy Franz. “Change really is the only constant over the last year,” said Franz. “The pandemic has challenged us all to approach theatremaking from new angles. We created four different budget models, negotiated safety protocols with three different unions, and partnered with countless experts and colleagues on the CU Boulder campus to envision a 2021 season that delivers beautiful performances while keeping everyone in the company and the audience safe. It has been quite a balancing act!” If this Herculean effort wasn’t enough, critical changes have also taken place regarding CSF’s approach to each production, including for rehearsals and in the scenic and costume shops. Designs have been streamlined in order to limit the number of technicians needed to build and maintain them. The acting company will rehearse exclusively outdoors, with staging that allows for plenty of physical distance. “I’ve had to rethink how I work,” said Midsummer director Carolyn Howarth. “I am very hands-on. I like to work from the stage in a rehearsal hall—I do not sit in my chair behind a desk. But now I have to keep my 18

2021 Colorado Shakespeare Festival

distance [as do the actors]. A lot of our process has been figuring out these new parameters and how to tell our story, which happens to be a love story!” A love story. From a distance. Because the actors can’t touch each other. “In some ways that's great, right? It makes the fires burn brighter if you can't touch your beloved,” confessed Howarth. “But what I’ve had to figure out is how we get that payoff when they finally emotionally and psychically can come together, even if they physically can't.” But necessity is the mother of invention. Howarth and Erika Randall, CSF’s choreographer, will collaborate on new and different movement forms to tell this story. For The Odyssey, Randall is tasked with a similar challenge, though an earlier version of the movement concept has been part of director Tim Orr’s vision since the beginning. For such an epic story—one with journeys across worlds and through storms—creatively visualizing the action was always key. Photo: Leslie O’Carroll and Carolyn Howarth, As You Like It rehearsal, 2019.

Conceptually, work began on Orr’s production several years ago. By the time last year’s festival was postponed, a major part of the director’s ideas had already been actualized during year-round production meetings. Instead, what the pandemic delivered has been new layers of emotional gravitas to the very real pain at the heart of the family’s separation in an otherwise supernatural tale. “The nature of distance and longing for his family is a key part of Odysseus’ motivation,” said Orr. “His objective from scene to scene changes, but this is an important throughline in his journey. I’ve been thinking about this a lot in the last year, and I’m acutely aware while writing this that I haven’t seen my mother in 18 months. It helps explain a lot of Odysseus’ choices when you ask yourself, ‘To what lengths would I go to get home if I had not seen my wife and child for 20 years? What wouldn’t I risk?’” Curiously, if there is another lesson to be learned, it’s that the plot can change quickly, whether because of a donkey’s head, an intervening Greek god, or—in the real world—changing pandemic guidelines. At the time

of this article’s writing, rehearsals for the festival are still six weeks away, and vaccinations in Colorado are opening quickly. With new information being presented to the directors every day, their visions remain fluid and ready to evolve. Howarth’s rehearsal challenges will differ from Orr’s. And both will face different circumstances from Kevin Rich, the leader of the 2021 Original Practices event Pericles. The OP, which only rehearses for a week and not until early August, is still worlds away, figuratively and somewhat literally. Shakespearean works aren’t strangers to adaptation. Musicals like West Side Story, gorgeous ballets, and, yes, the productions here at CSF have always embraced evolution in order to find impactful ways to breathe new life into classic works. In that way, sitting in the Rippon, with a view of the Flatirons and a spectacular work onstage, audiences just might find this year doesn’t look so different after all.  Photos, clockwise from bottom left: Rinde Eckert, Tim Orr and Rodney Lizcano, Twelfth Night rehearsal, 2019; Tim Orr with Twelfth Night design materials, 2019; Carolyn Howarth and Shunté Lofton, As You Like It rehearsal, 2019.

#coshakes · @coshakes

Support small business this summer season By Olivia Lerwick

For many, the Colorado Shakespeare Festival is a highlight of their year. Colorado’s finest theatre under an open sky has a magical effect that continues to draw people from all walks of life—so much so that some families make it a tradition to attend together decade after decade. After being forced to spend so many months apart, we’re thrilled to reopen and to invite our community back to campus. Of course Shakespeare’s poetry isn’t the only thing that makes a theatre outing with CSF special. The festival is privileged to be located in Boulder, with all its stunning beauty and the local flavor it has to offer. The Mary Rippon Outdoor Theatre is located just across the street from some of Boulder’s best restaurants, and many of our guests walk over to enjoy a delicious dinner before their performance or to grab a treat after the applause ends. Considering the difficulty of this past year, it will come as no surprise that some of these beloved restaurants and businesses have recently closed. Staples such as Brasserie Ten Ten and Via Perla have closed their doors, and even the Innisfree Poetry Bookstore & Cafe shut down in September after more than a decade on the Hill. Although there are many restaurants and shops that remain open, we want to recognize how difficult it’s been this year for small business owners in Boulder. We encourage our audiences to support our local businesses in a safe and healthy way before or after the performance. Many of these businesses directly or indirectly support the work of the festival, and whether you venture to the Hill, to Pearl Street, or somewhere else in town, know that you will be giving back to those who have given so much to us. We especially want to thank our corporate sponsors, all local businesses—and all of whom stayed with us through 2020 and into 2021. CSF is excited to bring our 2021 season to the stage and spread the joy of the Bard to all who come, but we’re most excited to be participating in our community again. Both the theatre and a dinner table bring people together, and that’s at the heart of what we do.

Bon appétit! 20

2021 Colorado Shakespeare Festival

Photo: Pearl Street in Boulder, Colorado. Photo by Casey Cass.

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2021 Colorado Shakespeare Festival

A Midsummer Night’s Dream By William Shakespeare Directed by Carolyn Howarth

Artistic team Director Carolyn Howarth+ Scenic Designer Jon Dunkle Costume Designer Meghan Anderson Doyle Lighting Designer Shannon McKinney^ Assistant Lighting Designer Jordan Hass Sound Designer Ken Travis^ Choreographer Erika Randall Casting Director Sylvia Gregory, CSA Dramaturg Amanda Giguere Voice and Text Coach Jeffrey Parker Stage Manager Matt Grevan*

Cast (in order of appearance) Theseus, a warrior, head of state in Athens Jessica Robblee*

Hippolytus, a warrior, recently defeated by and betrothed to Theseus Rodney Lizcano* Egeus, Hermia’s father Michael Anthony Tatmon Hermia, in love with Lysander Maya Camille Boyd Lysander, a young courtier in love with Hermia Christian Ray Robinson Demetrius, a young courtier in love with Hermia Jacob Dresch* Helena, in love with Demetrius Chloe McLeod

Assistant Stage Manager Rick Mireles*

Peter Quince, a carpenter; Prologue in the Interlude Sean Scrutchins* Nick Bottom, a weaver; Pyramus in the Interlude Leslie O’Carroll* Francis Flute, a bellows-mender; Thisbe in the Interlude Sean Michael Cummings Tom Snout, a tinker; Wall in the Interlude Josue Miranda Snug, a joiner; Lion in the Interlude Seth Palmer Harris Robin Starveling, a tailor; Moonshine in the Interlude Lauren Dennis Puck, or Robin Goodfellow, Oberon’s jester and lieutenant Scott Coopwood*

A Fairy, in Titania’s service Sean Scrutchins* Oberon, King of the Fairies Rodney Lizcano* Titania, Queen of the Fairies Jessica Robblee* Peaseblossom, a Fairy in Titania’s service Greta Hooston Cobweb, a Fairy in Titania’s service Stephanie Saltis Moth, a Fairy in Titania’s service Christian Tripp Mustardseed, a Fairy in Titania’s service Daniel Crumrine

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Photography and video recordings of any type are strictly prohibited during the performance.

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Please refrain from using electronic devices during the performance.

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Smoking is not permitted anywhere. CU Boulder is a smoke-free campus.

+ 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

A MIDSUMMER NIGHT’S DREAM

THESEUS

HIPPOLYTUS

OBERON

HERMIA

LYSANDER

TITANIA

HELENA

DEMETRIUS

NICK BOTTOM Costume renderings by Meghan Anderson Doyle

Director’s note Let’s be honest. This past year has been a lulu, hasn’t it? With so much time on my hands, I could hardly prevent taking a deep dive into the murky corners of my brain and mucking about in the things that I found there— philosophical things like life and love and the nature of the universe. Stuff like that. And in the midst of all that musing I’ve been pondering a lot about where I come from and what has made me, well, ME. Then comes the opportunity to direct A Midsummer Night’s Dream—a play that in no small part had a hand in forming the artistic side of me. My parents always nurtured my desire to see live theatre and took me as often as they could (which was a challenge since we lived in a tiny town). However, I distinctly remember an outing to see Midsummer. Its spell was cast on this young, rural girl. Fairies and lovers and clowns: The Dream had its way with me and I was hooked. Decades later I look back on that gift and realize that one afternoon in a darkened theatre— when a man transformed into a donkey, a mischievous sprite messed up every spell he cast, and young lovers (though they seemed so grown up to me then!) passionately pursued their desires—was really the catalyst for a lifetime spent in my vocation. Years later in college I played the First Fairy. Another gift: I was in a scene opposite the star of the department playing Puck. I learned so much about give and take, listening, and being in the moment from that actor. And when my professional career was abloom, I was cast as Helena. Again, a gift, as I immersed myself in the gorgeous poetry of the play, the comedy of the lovers’ plight, and the joy of playing under the stars to thousands of onlookers. And here I am now, frankly feeling all the feels about this play. As a self-proclaimed sucker for anything to do with love—requited, unrequited, messy, irrational, lost, found, you name it—I can happily find it all here. While it may be said that “the course of true love never did run smooth,” my greatest hope is that the magic of the Dream will beguile you. And though it’s not likely or sensible that it will encourage you to take up a life in the theatre as it did me, I do hope that it will embolden you to follow your passions no matter how foolish, to cherish yourselves and mankind freely, to lean into those you love more fiercely and to express yourself with wild and gleeful abandon—to be a little more, well, YOU. —Carolyn Howarth 24

20XX Colorado 2021 Colorado Shakespeare Shakespeare Festival Festival

Plot synopsis Theseus of Athens has conquered the tribe of Hippolytus, and soon the two leaders will marry. Egeus, an Athenian, begs Theseus to settle a dispute: His daughter, Hermia, refuses to marry Demetrius (Egeus’ pick) because she loves Lysander. Theseus offers Hermia three choices: marry Demetrius, live as a nun, or die. Lysander and Hermia flee to the Athenian forest, pursued by Demetrius and Helena, his ex. In the same forest, Athenian workers are rehearsing a play for the royal wedding. The director, Quince, struggles to wrangle the well-meaning thespians, especially the lead actor, Bottom. Also in the forest, the fairy rulers—Oberon and Titania—feud over custody of a changeling child. Out of spite, Oberon administers a magical flower to Titania that will enamor her of the first creature she sees, whether human, beast or otherwise. Oberon witnesses Demetrius rebuffing Helena and decides to apply the love potion to Demetrius. Oberon’s servant Puck mistakenly administers it to the wrong human—Lysander instead of Demetrius. When Puck attempts to correct the mistake, both mortal men wildly pursue Helena, while a perplexed Hermia finds herself shunned. Puck transforms Bottom’s head into a donkey head, which terrifies the other thespians, and a spellbound Titania is smitten with Bottom-as-donkey. Oberon persuades Titania to surrender the changeling, then reverses Titania’s spell, removes Bottom’s donkey head and arranges for the humans to return to their intended partners: Hermia and Lysander, Helena and Demetrius. The Athenian royals encounter the lovers asleep in the forest. Hearing of their transformed affections, Theseus, instead of adhering to the earlier decree, invites the couples to partake in a triple wedding. Bottom and the troupe, joyously reunited, perform their play for the newlyweds, despite some heckling. The mortals head to bed, the fairies bless the house, and Puck apologizes for any offense, inviting us to imagine it was all a dream. —Amanda Giguere, PhD

The Fierce Vexation of a Dream

Dreams, Freud and Hall & Oates Dreams are everywhere in A Midsummer Night’s Dream. The word appears 16 times in the play; only Richard III contains more dream references. Shakespeare’s canon mentions dreams 125 times, and the word appears in every Shakespeare play except one: Henry VI Part 1—likely one of Shakespeare’s earliest plays. Janine Rivière’s 2017 Dreams in Early Modern England illuminates how Elizabethan people might have regarded dreams. “Dreambooks” were short manuals, printed inexpensively and circulated widely, which taught readers to decipher dreams. A dream might indicate a physical ailment or illness, a prophecy of things to come, or a direct connection with God, angels, or the Devil. According to Rivière, “dreams were a locus where the boundaries between the human and divine, supernatural and natural met and merged, making the individual vulnerable to a host of external and internal forces.” Dream theory has shifted in the centuries since Shakespeare’s time. William James’ 1890 Principles of Psychology elucidated ideas about consciousness that still circulate today: “The world of dreams is our real world whilst we are sleeping, because our attention then lapses from the sensible world. Conversely when we wake, the attention usually lapses from the dream-world and that becomes unreal.” Freud’s 1900 Interpretation of Dreams posited that dreams signified repressed wishes. Joseph Campbell believed “the dream is an inexhaustible source of spiritual information about yourself.” Twenty-first century scientific theories suggest a link between dreams and sleep-dependent memory consolidation; dreams might help us process experiences into memories. Dreams have likewise inspired many artists. The Eurythmics ruminate: “Sweet dreams are made of this/ Who am I to disagree?/ I travel the world/ And the seven seas/ Everybody’s looking for something.” The Hall & Oates song “You Make My Dreams” reveals, “What I’ve got’s full stock of thoughts and dreams that scatter/ You pull them all together.” In these musical references, a dream evokes journeys, quests and wishes, but also must be pulled together and synthesized … something at which a weaver like Bottom excels. So where does this leave us, the audience of Midsummer? How are dreams and plays connected? Perhaps a play teaches us who we are, exposes our physical/mental idiosyncrasies or predicts the future. As contemporary physiologists suggest about dreams, maybe a play helps us process our experience and solidify memories. It might also be true that watching a play is deeply personal and confronts our private wishes. After all, everybody’s searching for something. —Amanda Giguere, PhD #coshakes · @coshakes

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The Odyssey

By Homer Adapted by Mary Zimmerman Directed by Tim Orr

Artistic team Director Tim Orr

Cast (in order of appearance) Athena Jessica Robblee*

Mentor / Alcinous Jacob Dresch*

2nd Neighboring Cyclops Sean Michael Cummings

Scenic Designer Jon Dunkle

Muse / Calypso Maya Camille Boyd

Aeolus / Laertes Mark Ragan

Costume Designer Meghan Anderson Doyle

Zeus / Demodocus / Cyclops / Teiresias Rodney Lizcano*

Eurycleia / Odysseus’ Mother Leslie O’Carroll*

Lighting Designer Shannon McKinney^ Assistant Lighting Designer Jordan Hass

Poseidon / Antinous Sean Scrutchins*

Helen / Eurylochus Chloe McLeod

Penelope Anne Penner

Young Menelaus / Hermes / 1st Neighboring Cyclops Josue Miranda

Projection Designers Iain Court, Teri Wagner

Telemachus Christian Ray Robinson

Sound Designer Ken Travis^

Phemios / Eidothea / Circe Laurie Keith

Choreographer & Assistant Director Erika Randall Casting Director Sylvia Gregory, CSA Dramaturg Amanda Giguere

Eteonus / Elpenor Daniel Crumrine

Leodes / Neoman / Eumaeus Seth Palmer Harris Halitherses / Menelaus / Eurymachus Michael Anthony Tatmon

Proteus Christian Tripp Odysseus Scott Coopwood* Nausicaa Stephanie Saltis

Ensemble Maya Camille Boyd, Daniel Crumrine, Sean Michael Cummings, Jacob Dresch*, Seth Palmer Harris, Greta Hooston, Laurie Keith, Chloe McLeod, Josue Miranda, Leslie O’Carroll*, Anne Penner, Mark Ragan, Christian Ray Robinson, Stephanie Saltis, Sean Scrutchins*, Michael Anthony Tatmon, Christian Tripp

Arete / Alcippe Greta Hooston

Voice and Text Coach Jeffrey Parker Stage Manager Matt Grevan* Assistant Stage Manager Rick Mireles*

Our sponsors

Please note

Alpine Animal Hospital Hazel’s Beverage World Wright Water Engineers Blue Mountain Arts Elevations Credit Union Martin/Martin Consulting Engineers National Endowment for the Arts

•

Photography and video recordings of any type are strictly prohibited during the performance.

•

Please refrain from using electronic devices during the performance.

•

Smoking is not permitted anywhere. CU Boulder is a smoke-free campus.

#coshakes · @coshakes

THE ODYSSEY

SUITOR

MUSE

YOUNG MENELAUS

CIRCE

ODYSSEUS’ MOTHER

ATHENA Costume renderings by Meghan Anderson Doyle

Director’s note What does it mean to stage mythology? After all, this is powerful stuff. To make it corporeal and put it before an audience is a big responsibility. Myth is the source material of our beliefs and understanding of the world, of our civilization. And this is Greek myth we are staging, for the first time, in our “Greek inspired” theatre. But to respect this work is to lean into the theatricality, the wonder and joy, the heartbreak, to “lift the great song again.” Mary Zimmerman obviously respected all of that to be drawn to this piece so early in her career. I was first drawn to this story, like many, as a child. I read the adventures and heroics of Odysseus, enjoyed his cleverness and imagined his confrontations with monsters, storms and gods that he somehow survived, against all odds. And then I put it aside and grew up, I guess. Then, in 2017, I saw a production of this adaptation by Mary Zimmerman and was completely swept up by it. I remember watching it, being absorbed by the language and theatricality while in the back of my mind I kept imagining it on the Mary Rippon stage at CSF and thinking, “This would be great outside in our space, windswept, under the stars.” The Rippon lends itself to larger-than-life stories and powerful language that rouses our passions. The Odyssey is threaded with lessons for us. Lessons in survival, marriage, love, hope, respect and death. It is teaching us how to grow up, be brave and resourceful, love and respect our parents, welcome strangers, accept what we can’t control, and squarely face our own end. But in the last year especially, I have now seen a lesson in the ache of Odysseus’ separation and distance from his family; as well as, I hope, the joy of his reunion. —Tim Orr 28

2020 Colorado Shakespeare Festival 2021

Plot synopsis The Trojan War is over, but Odysseus hasn’t returned home to Ithaca, where his wife Penelope and son Telemachus are waiting. After many obstacle-ridden years, Odysseus is stranded on Calypso’s island. On Mount Olympus, the goddess Athena begs Zeus to intervene. Meanwhile, in Ithaca, suitors vying for Penelope’s hand are destroying the house. Athena, in disguise, encourages Telemachus to search for his father. After confiding in his nurse Eurycleia, Telemachus departs for Sparta to inquire about Odysseus. Aided by Athena, Odysseus leaves Calypso and arrives in Phaecia, where King Alcinous invites the stranger to tell his story. Odysseus recounts his adventures: After leaving Troy, he resisted the Lotus Eaters, blinded the Cyclops, witnessed his men turned to pigs, visited the Underworld, sailed past the Sirens and survived a sea monster. After the gods punished all of his men with death, Odysseus drifted for days at sea and landed on Calypso’s island, where he remained for eight years. His story concludes for his Phaecian audience. The Phaecians loan Odysseus a ship and a crew, and he arrives safely in Ithaca. Athena reveals herself to Odysseus, yet prepares him for one final task: defeating Penelope’s suitors. She reunites him with Telemachus at the home of Eumaeus, his old swineherd. Together, they plot to kill the suitors. Odysseus, disguised as a beggar, assures Penelope her husband is coming home. Eurycleia recognizes him, but Odysseus swears her to secrecy. Penelope issues a complicated challenge to the suitors, which Odysseus easily performs. Odysseus announces himself to the suitors, and— aided by Telemachus, Eumaeus and Athena—the slaughter begins. Penelope doubts this stranger is her husband, but Odysseus convinces her with secrets shared only between them. Odysseus then takes his father, Laertes, back to his rightful place at the palace. Athena and Zeus make plans to restore peace in Ithaca. —Amanda Giguere, PhD

The Odyssey

A Brief Contextual Overview One of the two oldest extant works of literature, the epic poem The Odyssey recounts the travails of Odysseus after the Trojan War. While many poems in the Ancient Greek epic cycle focused on war, The Odyssey is a return epic, or a nostos epic, about the homeward journey in the aftermath of war. In Ancient Greek nostos means “homecoming,” and it gives us words like nostalgia, or “longing for home.” Although the poem’s origins are shrouded in mystery, scholars generally agree The Odyssey existed in oral form before it was ever recorded. Tradition suggests it was written by a blind poet named Homer, but that’s difficult to prove. Most date the poem’s composition between the eighth and seventh centuries BCE. The extant texts we have are copies of copies, transcribed throughout history, and it’s likely that, according to translator Emily Wilson, the text as we know it was “created by many different people, over a long period of time.” The 24-book epic is 12,000 lines long, written in dactylic hexameter. What does that mean? Ready for some audience participation? It’s time to tap out some heartbeat rhythms, folks. Compared to Shakespeare’s iambic pentameter, which sounds like this: buBUM buBUM buBUM buBUM buBUM The Odyssey’s verse is six feet of dactyls (a dactyl is a stressed syllable followed by two unstressed) and sounds like this: BUMbaba BUMbaba BUMbaba | BUMbaba BUMbaba BUMbaba

Are people looking at you yet? This ancient tale has been told, retold and retold for well over two thousand years. We can’t pinpoint where it came from, who wrote it or when. It’s been adapted by James Joyce (Ulysses), the Coen Brothers (O Brother, Where Art Thou?), Daniel Wallace (Big Fish), and Margaret Atwood (The Penelopiad), to name a few. George Chapman published the first English translations of Homer’s work in 1616, which, two centuries later, John Keats memorialized with a sonnet: “On First Looking Into Chapman’s Homer.” This poem expresses the wonder of reading ancient tales in one’s own language: “I felt like some watcher of the skies/ When a new planet swims into his ken.” In this Homeric world, where strangers are respected and treated like gods, we find a story about family, daily life and impossible choices. Perhaps that’s why we’ve been retelling this tale for ages. The Odyssey connects us to a time beyond our own, but it also roots us more meaningfully to our own. —Amanda Giguere, PhD #coshakes · @coshakes

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A year without camaraderie By Becca Vaclavik

There is something special about spending an evening at a play. From the buzz of conversation as audience members make their way from the entrances to their seats, to the anticipatory hush that takes over the crowd as a play begins, to the collective gasps that can be heard throughout a group when something shocking, joyful or heartbreaking happens on stage. Over the years, Colorado Shakespeare Festival patrons have emailed time and time again to try to put the experience into words.

They call it immersive. Enchanting. Magical. As one 2019 audience member put it: “We’re lucky, it wouldn’t be summer in Colorado without it. We’ve been attending for 30 years as a family, and it’s the best place in the world to see Shakespeare.”

But what is it, exactly, that makes live theatre such a singular experience? Is it the production quality? Is it the Flatirons, the stars, the cool mountain air? Having spent the first summer without the festival since its founding in 1958, the answer—at least for some CSF company members—has become clear.

“We couldn’t comprehend it.”

When the country shut down last spring, the cancellation of live performances was swift, and in some cases, unceremonious. “I was working on a staged reading with Local Theater Company’s Local Lab in the week leading up to the shutdown,” shared Anne Penner. “We had a full day of rehearsals on Friday, March 13, and then, during our evening rehearsal, Local’s team told us they had to cancel the whole weekend festival. We performed a runthrough to celebrate the work we’d done.” And then, Penner said, it was simply over. “It was emotional and unsettling and strange to stop the work abruptly.” Rodney Lizcano’s experience was similar: “I was working at the Orlando Shakespeare Festival, and they sent us all home early. I ended up driving myself from Orlando to Denver during a very apocalyptic week; it was surreal. Everything was happening at a rate we couldn’t comprehend—the last time I remember watching the news that much was during 9/11. But still, we only thought it was going to last for a couple weeks.” Inside the Colorado Shakespeare Festival, few predicted it would severely impact the 2020 summer season, which wasn’t slated to begin rehearsals until May. “With two months until rehearsals started, we were all really hopeful that the pandemic would pass by then,” said Producing Artistic Director Tim Orr. “I now realize how naive we were, but I also realize how difficult it was to imagine no festival that summer.” Orr sent an email to audiences and company members letting them know CSF was moving full steam ahead, and indeed it was! But as the weeks and months wore on, and the reality of the pandemic set in, he and Managing Director Wendy Franz were forced to make the difficult and heartbreaking decision to postpone the 2020 season, a change that canceled contracts with hundreds of theatre artists and seasonal staff members. “I had already lost 11 other theatre jobs,” said Scott Coopwood.

Photos, from left: Scott Coopwood, Julius Caesar, 2017; Rodney Lizcano, Romeo and Juliet, 2019; Leslie O’Carroll, You Can’t Take It With You, 2018; Anne Penner, Julius Caesar, 2017

“I kept thinking, ‘As long as I don’t hear from Tim, it will be ok. We’re still on.’ And then, later, I saw his name on my phone and I knew what it was. I was so, so sad. To be honest, things got pretty dark—pretty difficult—for a while after that.” The nature of live theatre seasons means that most artists and technicians are gig workers. So with venues across the country shut down for a year or longer, the majority of artists have lost months and months of work. With it, many of them have lost their access to healthcare and retirement plans as well. “What people don’t understand is that this is our job. We rehearse for eight hours a day and perform all week. This is what we do for a living, and all our work was canceled for a year out,” Leslie O’Carroll said. “Thankfully, there have been companies that have tried to stay innovative.”

“I was lucky enough to have some work,” says Lizcano. “Around Christmas, for example, I was very fortunate to do a taped production of A Christmas Carol back with my friends in Orlando. They sent us costumes, green screens. We rehearsed as if we were performing together, but it was shot in each of our homes.” All of the artists confess that it’s this intermittent creative work that has kept them grounded throughout the pandemic. But even with virtual performances and streaming services to satisfy at-home art cravings, something of that singular theatrical experience continues to feel lost. “It’s wonderful doing Zoom theatre, but it’s just not the same,” confessed O’Carroll in our talk. “The thing about a live audience is that the audience is the third member of the play. They teach you what’s working and what’s not working—they aren’t just witnessing the experience; they are sharing it. With Zoom, there’s no interaction.” (continued on next page)

#coshakes · @coshakes

“We’re in the foxhole together.” In fact, attending live events is different than watching a performance online (and not just in the most obvious ways). That missing magic? It can be explained by science.

A small study from the University College London, University of Lancaster and Encore Tickets several years ago showed that attending a live performance can elevate a person’s heart rate as much as doing 30 minutes of cardio exercise. And a follow-up study by the same group showed heart rate levels changed approximately twice as much among those watching live theatre than in people viewing a film. Live theatregoers respond physiologically in a way they simply don’t while streaming a show from home or eating popcorn at the movies. What’s more, the studies revealed something particularly unique about sitting in a venue together 34

2021 Colorado Shakespeare Festival

and watching a play. The revelation perhaps gets at the heart of why it is so powerful to spend a night with Shakespeare under the stars. While watching a live performance, audience members’ hearts begin to synchronize with one another. O’Carroll said, “With that shared experience, you’re in the foxhole together, right? The bond and the trust level is something so unique. That’s what live theatre is; that’s why we need it. As human beings we need to edify and grow, whether that’s through confronting an injustice, or learning something, or just to laugh together.”

“For us that’s the most exciting thing,” said festival Managing Director Wendy Franz. “This summer we’ll be returning to that experience that really only live theatre can deliver. It’s feeling the same vibrations together under the stars.” Photo: Anne Penner and Scott Coopwood, Julius Caesar, 2017.

“A powerful spirit of creativity lives here.”

Art imitates life; life imitates art: One of the great powers of performance is its ability to make meaning of the world around us. With that in mind, it’s possible nearly any play performed on the Rippon this summer would feel poignant in some way. And yet, these particular plays, performed this particular year, seem to want to tell our community a universal story. It’s one of heartbreak and all-but-insurmountable loss; of families, long separated, making their way back into one another’s arms again; of that surreal, gossamer feeling that you’ve just awoken from something life-changing. “We will have a reunion this summer,” said Penner. “I get to play Penelope in The Odyssey, and she gets to reunite with her beloved husband, Odysseus, after 20 years apart. I get to feel a tiny fraction of what Penelope feels when I reunite with Scott [Coopwood]—who’s playing Odysseus and with whom I worked in 2017 in Julius Caesar.” Coopwood added: “The last 13 months has been the ultimate odyssey for so many people. And, then, with Midsummer, it was all just a bad dream. Right? It was all just a dream, and we’re back. How much is that going to resonate at the end?” Said Orr, “What we have in this space is a one-of-a-kind experience. Being together and watching live theatre, new and ancient stories under the moon and stars, really is magical. I hope after seeing one of our performances this summer, audiences leave feeling changed. I hope they feel renewed.” 

We can’t wait to see you! Thank you for joining us for the Colorado Shakespeare Festival this summer. CU Presents is eager to continue to invite our audiences back into all our performance venues as the season goes on.

The best part of coming back “I miss the people. I’m going to get a brand new family in June, and it’s going to be amazing. I really missed the creative process of being in the room, playing and laughing and growing fonder and fonder. You build real relationships that sometimes last for a month afterwards, sometimes for a lifetime.” —Scott Coopwood “We still need to be cautious, so trying to produce and engage and tell stories the way that we always would have told stories will involve a lot of learning. So I’m excited to get back into the rehearsal room and collaborate. Plus, I’m just really excited to see people!” —Rodney Lizcano “I’ve missed the theatrical camaraderie, not just with the audience but with the other actors. I miss the creative process: working with your director and your designers of props and costumes to ask, ‘How are we going to all make this work? What are we going to do?’” —Leslie O’Carroll “Anticipating spending the summer working at CSF is a bright spot. Sharing and reuniting—with my fellow actor friends, with audience members, and with the outdoor space itself and the powerful spirit of creativity that lives there—is something I look forward to daily.” —Anne Penner

To stay up-to-date on reopening and to celebrate the return of other programs like the College of Music, the Artist Series and the Department of Theatre & Dance, visit cupresents.org and plan your visit today. #coshakes · @coshakes

“All the world’s a stage”

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Colorado’s most intrepid professional choir

Pericles

By William Shakespeare Original Practices

Artistic team Actor-Manager Kevin Rich Scenic Designer Inspired by Jon Dunkle Costume Coordinator Elise Rosado Lighting Designer not yet invented Sound Designer not yet invented Casting Director Sylvia Gregory, CSA Dramaturg Heidi Schmidt Stage Manager Matt Grevan* Assistant Stage Manager Rick Mireles*

Cast (in order of appearance) Gower, fourteenth-century poet and Chorus of the play Sean Scrutchins*

Thaisa, princess of Pentapolis, wife to Pericles Jessica Robblee*

Antiochus, king of Antioch Scott Coopwood*

Lychorida, attendant to Thaisa, later to Marina Greta Hooston

Pericles, prince of Tyre Jihad Milhem

Lord Cerimon, a wiseman/physician in Ephesus Kevin Rich*

Daughter, princess of Antioch Maya Camille Boyd Thaliard, a nobleman of Antioch Jacob Dresch* Helicanus, a lord of Tyre Tim Orr* Escanes, a lord of Tyre Sam Sandoe Cleon, governor of Tarsus Kevin Rich* Dionyza, wife to Cleon Jessica Robblee* Simonides, king of Pentapolis Scott Coopwood*

Leonine, servant to Dionyza Josue Miranda Marina, daughter of Pericles and Thaisa Maya Camille Boyd Pander, owner of brothel Tim Orr* Bawd, mistress of brothel, wife to Pander Sam Sandoe Bolt, servant to Pander and Bawd Jacob Dresch*

Lysimachus, governor of Mytilene Josue Miranda Diana, goddess of chastity Stephanie Saltis Ensemble, playing lords, knights, squires, messengers, fisherman, pirates, attendants, gentlemen, ladies, marshals, servants, sailors, suppliants and citizens Jacob Dresch*, Greta Hooston, Josue Miranda, Christian Ray Robinson, Stephanie Saltis, Sam Sandoe, Christian Tripp Prompter Heidi Schmidt Musician David Willey

Our sponsors

Please note

Alpine Animal Hospital Hazel’s Beverage World Wright Water Engineers Blue Mountain Arts Elevations Credit Union Martin/Martin Consulting Engineers

•

Photography and video recordings of any type are strictly prohibited during the performance.

•

Please refrain from using electronic devices during the performance.

•

Smoking is not permitted anywhere. CU Boulder is a smoke-free campus.

#coshakes · @coshakes

PERICLES

Actor-Manager’s note It’s been a pleasure serving as “actor-manager” of CSF’s Original Practices production for a third season. 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. After seven years of producing history plays in the Original Practices slot, this year we offer one of Shakespeare’s romances. Pericles, Cymbeline, The Winter’s Tale and The Tempest comprise Shakespeare’s late-career plays, coined “romances” in the late 19th century for their resemblance to the sweeping plots of late medieval romances. Some characteristics Pericles shares with the other three include an epic, tragicomic plot structure; a variety of locales and/or large passages of time; broad, heightened characters (think fairy tales); magic, music and spectacle; a focus on father-daughter relationships; and themes of redemption and forgiveness. Not unlike another play on the Rippon this summer, Pericles features an odyssey: a winding journey of twists and turns through many lands. In the next two hours, we’ll take you to Antioch, Tyre, Pentapolis, Ephesus, Tarsus, Mytilene, and back to Tyre, and you’ll meet a wide variety of characters (played by just 14 actors) along the way. If we accept the chronology that scholars have pieced together of his plays, it’s interesting to note that starting about two-thirds of the way through his career, Shakespeare stopped writing comedies, turning instead to some of his darkest and most heavy-hitting tragedies. In the end, though, he returns to comedies—or a version of them. I like to think the message here (which resonates considerably this year) is that even after challenging times, there can be a light at the end of the tunnel. —Kevin Rich 38

2021 Colorado Shakespeare Festival

Plot synopsis The poet Gower introduces us to King Antiochus, who’s secretly sleeping with his own daughter. Antiochus requires his daughter’s suitors to solve a riddle; any who fail will be killed. Pericles, Prince of Tyre, solves the riddle—which reveals the incest. Fearing for his life, Pericles flees. Antiochus, fearing discovery, sends an assassin (Thaliard) after Pericles. Back home in Tyre, Pericles designates Helicanus to rule in his absence and heads to Tarsus, just as Antiochus’ assassin arrives in Tyre. In Tarsus, Pericles is welcomed by Cleon, the governor, and Cleon’s wife Dionyza. Pericles saves the city from famine but is forced to flee again. He is shipwrecked off the coast of Pentapolis, ruled by Simonides, where he wins a tournament and the heart of Thaisa, the king’s daughter. They marry. Word arrives that Antiochus and his daughter are both dead, and the newlyweds—now expecting a child—head off to Tyre. Thaisa gives birth at sea and dies in childbirth. She is buried at sea. Pericles leaves his infant daughter Marina in Tarsus to be fostered by Cleon and Dionyza. Unbeknownst to Pericles, Thaisa’s coffin has washed ashore in Ephesus, where she is revived by the physician Cerimon. Thaisa joins the priestesses of Diana at the temple. Fourteen years later, Marina has grown into a beautiful and talented young woman. Dionyza fears Marina is outshining her own daughter and arranges to have Marina killed, reporting her death to Pericles. The murder, however, is interrupted by pirates, who abduct Marina and sell her to a brothel in Mytilene. Pander and Bawd, who run the brothel, sell her virginity to Lysimachus, the governor, but she talks him out of it, earning his admiration. On his way home from Marina’s tomb in Tarsus, Pericles passes through Mytilene and is reunited with Marina. The goddess Diana descends and commands Pericles to travel to her temple in Ephesus and tell his story there. When they arrive, they find Thaisa, and the family is reunited. —Heidi Schmidt, PhD

Original Practices production of Edward III, 2018. Page 38: Kevin Rich, Leslie O’Carroll, Betty Hart, Benaiah Anderson, Scott Coopwood, Desiree Mee Jung and Sam Sandoe in Edward III, 2018.

#coshakes · @coshakes

Who’s who Actor

A Midsummer Night’s Dream

The Odyssey

Pericles

Maya Camille Boyd

Hermia

Muse / Calypso / Ensemble

Daughter / Marina / Ensemble

Scott Coopwood*

Puck

Odysseus

Antiochus / Simonides

Daniel Crumrine

Mustardseed

Eteonus / Elpenor / Ensemble

Sean Michael Cummings

Francis Flute

2nd Neighboring Cyclops / Ensemble

Lauren Dennis

Robin Starveling

Jacob Dresch*

Demetrius

Mentor / Alcinous / Ensemble

Seth Palmer Harris

Snug

Leodes / Neoman / Eumaeus / Ensemble

Greta Hooston

Peaseblossom

Arete / Alcippe / Ensemble

Laurie Keith

Phemios / Eidothea / Circe / Ensemble

Rodney Lizcano* Hippolytus / Oberon

Zeus / Demodocus / Cyclops / Teiresias

Chloe McLeod

Helen / Eurylochus / Ensemble

Helena

Jihad Milhem

Josue Miranda

Thaliard / Bolt / Ensemble

Lychorida / Ensemble

Pericles

Tom Snout

2021 Colorado Shakespeare Festival

Young Menelaus / Hermes / 1st Neighboring Cyclops / Ensemble

Leonine / Lysimachus / Ensemble

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

Actor Leslie O'Carroll*

A Midsummer Night’s Dream Nick Bottom

The Odyssey

Pericles

Eurycleia / Odysseus' Mother / Ensemble

Tim Orr*

Helicanus / Pander

Anne Penner

Penelope / Ensemble

Mark Ragan

Aeolus / Laertes / Ensemble

Kevin Rich*

Cleon / Lord Cerimon

Jessica Robblee*

Theseus / Titania

Athena

Dionyza / Thaisa

Christian Ray Robinson

Lysander

Telemachus / Ensemble

Ensemble

Stephanie Saltis

Cobweb

Nausicaa / Ensemble

Diana / Ensemble

Sam Sandoe Sean Scrutchins*

Escanes / Bawd / Ensemble

Peter Quince / A Fairy

Poseidon / Antinous / Ensemble

Michael Anthony Tatmon Egeus

Halitherses / Menelaus / Eurymachus / Ensemble

Christian Tripp

Proteus / Ensemble

Moth

Gower

Ensemble

#coshakes · @coshakes

A CSF sonnet

A brainchild from the English department, On the wonderful campus of Boulder, Joined with Theatre for an Arts enlargement In the U.S., only Ashland is older. Home to the Sandoes, and such great actors, There lies the Rippon, where all are engaged. Rain or shine, weather’s not a distractor. Even wildlife has a role on the stage. Along the backdrop of the cool Rockies, You will enjoy your next midsummer night. Learn and hear Shakespeare, Modern or O.P. Completed the canon … and did it twice. With Ales and Tales, become one with the Bard. CU at the next play under the stars. By The Sonnet Man, Devon Glover sonnetman.com 42

2021 Colorado Shakespeare Festival

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Acting company MAYA CAMILLE BOYD’s recent credits include In the Blood (Quintero Theatre); A Midsummer Night’s Dream (Studio 208); The Seagull (Moscow Art Theatre School); Flyin’ West and Baltimore (Henry Heymann Theatre); Aglaonike’s Tiger and Our Town (Studio Theatre); and Little Shop of Horrors (Foster Memorial). Boyd received her BA in theatre arts from the University of Pittsburgh, trained at the Moscow Art Theatre School, and is currently pursuing her MFA in the University of Houston’s Professional Acting Training Program. (1 season)

GRETA HOOSTON grew up in Salida, Colorado, playing roles such as Kate in Taming of the Shrew, Helena in A Midsummer Night’s Dream, Olivia in Twelfth Night and Portia in The Merchant of Venice in summer community theatre. Hooston is currently pursuing a BFA in acting and a BA in speech language hearing science at the University of Colorado Boulder. (1 season)

SCOTT COOPWOOD* has appeared as an actor in 23 of Shakespeare’s 38 plays at theatres and festivals around the country, including the Utah, Orlando, Marin, Lake Tahoe, Seattle and Colorado Shakespeare Festivals. Coopwood has played the title roles of Hamlet, Macbeth, King John, Cymbeline, King Edward III and Cyrano de Bergerac, as well as the roles of Shylock, Iago, Mercutio, Benedick, Angelo, Dogberry, Jaques, Brutus, Pertruchio and Edmund. Other regional theatres include Portland Center Stage, Berkeley Repertory Theatre, Arkansas Repertory Theatre, Artists Repertory Theatre, Arizona Theatre Company, the Marin Theatre Company, TheatreWorksSV and the San Francisco Playhouse. Coopwood has been a proud and active AEA member for over 20 years. (3 seasons)

LAURIE KEITH has performed Off-Broadway at the Grove Street Playhouse, Atlantic Theatre Company and La MaMa ETC. Her regional credits include the National Theatre for the Performing Arts, Marin Shakespeare Festival, San Francisco Shakespeare Festival, Sierra Shakespeare Festival, Lake Tahoe Shakespeare Festival, Pacific Alliance Stage Company, Theatreworks and the Mountain Play Association. Keith’s CSF credits include Mrs. Cratchit and Belle in A Christmas Carol. Some of her favorite roles include Isabella in Measure for Measure, Paulina in The Winter’s Tale, Hermia in A Midsummer Night’s Dream, Julia in Two Gentlemen of Verona, Laurey in Oklahoma! and Lily St. Regis in Annie. She received her BFA from NYU Tisch School of the Arts and a master’s degree in classical acting from the Central School of Speech and Drama in London. (2 seasons)

DANIEL CRUMRINE is originally from Portland, Oregon. In 2018, he graduated with a degree in theatre and distinction in acting from the University of Denver. His previous credits include Ben in Ablaze (Staged!), Peter van Daan in The Diary of Anne Frank and a maid in The Moors (Arvada Center for the Performing Arts). (1 season)

SEAN MICHAEL CUMMINGS premiered with the Colorado Shakespeare Festival in 2019 as Silvius in As You Like It. His other acting credits include Family Tree (The Arvada Center); The Rough (The Catamounts); Nina Variations and The Curious Incident of the Dog in the Nighttime (Boulder Ensemble Theatre Company); Second City’s Twist Your Dickens (Aurora Fox Arts Center); District Merchants and The 39 Steps (Miners Alley Playhouse); Eurydice and The Aliens (the Wit); and The Social Dilemma (Netflix). Cummings is a two-time alumnus of the Orchard Project as well as the Kennedy Center Playwriting Intensive and is currently a member of the Boulder Ensemble Theater Company’s Writer’s Group. He holds a BA from Colorado State University. (2 seasons) LAUREN DENNIS graduated from NYU’s Tisch School of the Arts. In New York, she enjoyed performing as Helena in A Midsummer Night’s Dream at the Lincoln Center and in strange experimental pieces at La MaMa. Dennis originated the role of Rivka in Michael Mitnick’s Elijah with the Local Theater Company and regularly sings for the Colorado Symphony Orchestra musicals in concert and Symphony Pops series. In her spare time, she is a published short story writer in the Scarlet Leaf Review, The Flash Fiction Press, daCuhna and Microfiction Monday Magazine. (3 seasons)

JACOB DRESCH*, a classical clown who revels in repertory, has many favorite credits, including The School for Scandal (OffBroadway); Lend Me a Tenor, The Foreigner, The Hound of the Baskervilles, The Playboy of the Western World, Julius Caesar and Macbeth (Pennsylvania Shakespeare Festival); The Merry Wives of Windsor and Measure for Measure (Texas Shakespeare Festival); The Comedy of Errors (Chautauqua Theater Company); and Twelfth Night, Love’s Labour’s Lost, Shakespeare in Love and The Great Gatsby (Orlando Shakespeare Theater). Currently serving as an instructor at the New York Film Academy and Adjunct Professor at DeSales University, Dresch received his MFA from the University of California, Irvine. (1 season) SETH PALMER HARRIS has been a regular on Front Range stages for years and has been featured most recently in the Second City’s Twist Your Dickens at the Aurora Fox and 1 Night, 6 Plays with 5280 Artist Coop. Among his favorite theatrical experiences are Northside at Su Teatro, It’s Only a Play with Vintage Theatre, As You Like It with Theatre Hikes CO and Entertaining Mr. Sloane with Germinal Stage Denver. Harris was born in Germany, raised in Minnesota, and has lived in Colorado since 2006. (1 season)

2021 Colorado Shakespeare Festival

RODNEY LIZCANO’s* CSF credits include Sir Andrew Aguecheek in Twelfth Night, Paris in Romeo and Juliet, 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. His other credits include Denver Center Theatre Company (17 seasons), the Old Globe, Dallas Shakespeare Festival, Orlando Shakespeare Theatre, Stories on Stage, Theatre Aspen and the Arvada Center. His Off-Broadway credits include Actors Ensemble Theatre and DreamScape Theatre Company. His film and TV credits include Silver City (directed by John Sayles) and Stage Struck (Bravo Network). Lizcano is a graduate of the Meadows School of the Arts at Southern Methodist University and the National Theatre Conservatory. (7 seasons) CHLOE MCLEOD’s recent credits include You Can’t Take It With You (Colorado Shakespeare Festival); Anna Karenina, A Christmas Carol (DCPA Theatre Company); This is Modern Art (DCPA OffCenter); A Christmas Carol (Boulder Ensemble Theatre Company); A Midsummer Night’s Dream, Romeo and Juliet (DCPA Shakespeare in the Parking Lot); Queen of Conspiracy, Fun Home, Biloxi Blues (Miners Alley Playhouse); Bad Jews (Edge Theater); and Little Women (Aurora Fox). McLeod is a teaching artist with DCPA Education and studied at the American Musical and Dramatic Academy in New York. (2 seasons)

JIHAD MILHEM’s regional credits include Guards at the Taj, The Rembrandt, A Christmas Carol and Oslo (Boulder Ensemble Theatre Company); Plaza Suite (Arvada Center Theatre); King Charles III, You Can’t Take It With You, As You Like It and Hamlet (Colorado Shakespeare Festival); The Crucible (Miner’s Alley Playhouse); Small Mouth Sounds (Theatreworks); Glengarry Glen Ross and The Nance (Edge Theatre); and She Rode Horses Like the Stock Exchange and Everything Was Stolen (square product theatre). The Black Actor’s Guild and Fearless Theatre both recently produced Milhem’s play Mosque in Denver, which included his directorial debut. He is represented by Radical Artists Agency and is a proud ensemble member of the Boulder Ensemble Theatre Company (BETC). (5 seasons) JOSUE MIRANDA’s professional credits include Much Ado About Nothing and The Comedy of Errors (Colorado Shakespeare Festival’s Shakespeare & Violence Prevention tour), Best Foot Forward (Creede Repertory Theatre) and My Name Is Asher Lev (Cherry Creek Theatre Company). Miranda trained at the University of Northern Colorado, where he appeared as an actor in By The Way Meet Vera Stark, She Kills Monsters, Luna, A Midsummer Night’s Dream, The Pillowman, Love’s Labour’s Lost and Marathon 33, among others. (1 season)

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

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LESLIE O’CARROLL’s* CSF credits include Jacques in As You Like It (2019), Stevens in King Charles III (2019), 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 23 seasons at the Denver Center Theatre Company, most recently A Doll’s House and A Doll’s House, Part 2. 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); The Secretary and Good People (Curious Theatre); Tartuffe, Mrs. Mannerly, Blithe Spirit and The Crucible (Arvada Center). Her TV and film credits include Breaking Bad, Longmire and Footloose. O’Carroll is a recipient of Best of Westword, True West, and Denver Post Ovation Awards and holds an MFA from the National Theatre Conservatory. (5 seasons) TIM ORR* Please see Orr’s bio under Artistic Staff. (14 seasons)

ANNE PENNER’s acting credits include Romeo and Juliet, Richard III, Julius Caesar and Cymbeline with CSF; The Wolves with BETC; Abundance, Crimes of the Heart, American Notes and Savage in Limbo with Sis Tryst Productions; Seascape with Modern Muse; Crimson Thread with Arvada Center; and Joan Didion’s The Year of Magical Thinking and other performances with Stories on Stage. This year, she co-created a new script about Lady Macbeth with the support of LOCAL Theater Company. Penner is an associate professor in the University of Denver’s Department of Theatre where she teaches acting, directing, movement and voice. She also cohosts the popular acting / psychology podcast, The Actor’s Mind. She received an MFA from Columbia University and a BA from Amherst College. (5 seasons) MARK RAGAN has appeared on stages throughout the U.S. in roles as varied as Lord Capulet in Romeo and Juliet to Bottom in A Midsummer Night’s Dream. Other roles have included Scrooge in A Christmas Carol (Backstage Theater) to Wayne Foster in Beth Henley’s Wake of Jamey Foster (Studio Theatre). (1 season)

CHRISTIAN RAY ROBINSON’s most recent theatre credits include the New York Off-Broadway production of Ocean in a Teacup and Native Gardens at the Eagle Theatre in New Jersey. His Colorado theatre credits include Ragtime and A Christmas Story (Midtown Arts Center); You Can’t Take It With You, Richard III and Edward III (CSF); Altar Boyz, The Addams Family Musical, Dogfight and Gypsy (Little Theatre of the Rockies); The Producers, Dogfight and Joseph and the Amazing Technicolor Dreamcoat (Colorado Springs Fine Arts Center); and 8 (Springs Ensemble Theatre). Robinson can also be heard on the Foreward Podcast and seen in The Marvelous Mrs. Maisel, The Plot Against America and the upcoming short film Expulse. An aspiring voiceover artist, Robinson is also an avid creator of dog content through his social media outlets. He holds a BA in musical theatre from the University of Northern Colorado. christianrayrobinson.com (2 seasons) STEPHANIE SALTIS received her BFA in acting from the University of Colorado Boulder in Spring 2020. Some of her previous roles include Jacob Marley/Christmas Present in A Broadway Christmas Carol; Ginette, Glory, Villian, Gale and Hope in Almost, Maine; and Rebecca in The Long Christmas Ride Home (CU Boulder). (2 seasons)

SAM SANDOE has acted with the Colorado Shakespeare Festival since 1970, including the last 18 consecutive seasons and here has done 63 versions of all 37 plays of Shakespeare’s canon, as well as 10 non-Shakespeare productions. He has also worked at the Alabama Shakespeare Festival and the Milwaukee Repertory Theatre; 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. This year marks his 50th anniversary since he first began with CSF. (31 seasons) SEAN SCRUTCHINS* is an active teaching artist in the Denver area. He has worked as a theatre instructor for the CSF education and outreach programs and at the Denver Center for the Performing Arts. He received his MFA in theatre performance from the University of Southern Mississippi. Previous acting credits include A Midsummer Night’s Dream (2013), The Comedy of Errors (2016), Troilus and Cressida (2016), Cymbeline (2016), Much Ado About Nothing (2015), Henry V (2015), Hamlet (2017), Rosencrantz & Guildenstern Are Dead (2017), Richard III (2018) and You Can’t Take It With You (2018) (CSF); Tartuffe, Bus Stop, Waiting for Godot, and Charlotte’s Web (Arvada Center); Appropriate, The Body of an American, The Whipping Man, 9 Circles and Dust (Curious Theatre); Artdog (Denver Children’s Theatre); and Seminar (Boulder Ensemble Theatre Company). (7 seasons)

KEVIN RICH* has recently played Philip the Bastard (King John) and Derby (Edward III) at CSF, and Hercule Poirot (Murder on the Orient Express) and Jan (Small Mouth Sounds) with the Arvada Center Black Box Rep. His other acting credits include Chicago Shakespeare, Illinois Shakespeare Festival, Milwaukee Shakespeare, Shakespeare & Company, Kentucky Shakespeare, American Theatre Company, Portland Center Stage, and San Jose Rep. Rich holds a BA from Grinnell College and an MFA from Yale School of Drama. (3 seasons)

MICHAEL ANTHONY TATMON studied professionally at the American Conservatory Theater in San Francisco. He went on to intern at the Alliance Theater in Atlanta and begin his work with 7 Stages Theater, continuing on to play the titles roles in Faust, Othello, and Blind Tom. Tatmon has also played Troy in Fences and Tranio in The Taming of the Shrew. He was recognized for his work with 7 Stages at the Magnolia Festival in Shanghai, China, as the first American actor to receive a Best Actor’s nod for his portrayal of the Old Man in Eugene Ionesco’s The Chairs. He is currently producing and starring in Thurgood, a work based on the life of the first African American Supreme Court justice. (1 season)

JESSICA ROBBLEE* performed in CSF’s 2019 productions of Twelfth Night and Romeo and Juliet. Her other acting credits include Frankie and Johnny in the Clair de Lune (Miners Alley Playhouse); The Moors, Sense and Sensibility, The Foreigner, Electric Baby and Drowning Girls (Arvada Center Black Box); Frankenstein, All the Way, Lord of the Butterflies and Drag Machine (Denver Center forthe Performing Arts); Siren Song, Duck Duck Dupe and Trunks (Buntport Theater for All Ages); 5 Lesbians Eating a Quiche (square product theatre); and This (Boulder Ensemble Theatre Company). She holds a BA from Davidson College and an MA from the University of Northern Colorado. (2 seasons)

CHRISTIAN TRIPP is a second year MFA student at the University of Alabama. Originally from Richmond, Virginia, his previous credits include The Christians (Pastor Paul), An Iliad (The Poet) and The Importance of Being Earnest (Jack Worthing). He has also acted with the Flagstaff and Camden Shakespeare Festivals. (1 season)

2021 Colorado Shakespeare Festival

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

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Artistic team Producing Artistic Director

TIM ORR (Director: The Odyssey) 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 antibullying school tour, has begun the Original Practices series of Shakespeare’s plays and 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. His CSF directing credits include Twelfth Night (2019), Rosencrantz & Guildenstern Are Dead (2017), Wittenberg (2015) and I Hate Hamlet (2014), as well as 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. (14 seasons)

Managing Director

WENDY FRANZ has directed, produced and designed sound for numerous productions in the Front Range region and has served in arts administration roles in professional theatre and academia since 2001. She was a charter ensemble member and served as production manager for Denver’s critically-acclaimed Paragon Theatre and has also worked with CU Boulder’s Department of Theatre & Dance, Ashton Productions, square product theatre, Goddess Here Productions, Curious Theatre, Santa Fe Opera, Colorado Dance Theatre and Little Theatre of the Rockies. Franz received her BA in theatre directing and design/technology from the University of Northern Colorado. (7 seasons)

Directors

CAROLYN HOWARTH+ (A Midsummer Night’s Dream) 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, the Colorado Shakespeare Festival, Orlando Shakespeare Theatre, Lake Tahoe and Sierra Shakespeare Festivals, Capital Stage (Sacramento, California) and the Perseverance Theatre Company (Juneau, Alaska). Her CSF credits include As You Like It (2019), You Can’t Take It With You (2018), Hamlet (2017), Troilus and Cressida (2016), Henry V (2015), Henry IV Part 1 (2014), The Comedy of Errors (2013), Treasure Island (2012) and The Three Musketeers (2011). 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. (10 seasons) KEVIN RICH’s* (Pericles) recent directing credits include King Charles III: A Future History Play, King John and King Edward III at the Colorado Shakespeare Festival; 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 the University of Colorado Boulder; and I Heart Juliet and Antony and Cleopatra at the Illinois Shakespeare Festival. 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 Yale School of Drama. (3 seasons)

Playwrights

MARY ZIMMERMAN’s (The Odyssey) credits as an adapter and a director include Metamorphoses, The Arabian Nights, Journey to the West, Eleven Rooms of Proust, and The Notebooks of Leonardo da Vinci, The Secret of the Wings (based on fairy tales), and Mirror of the Invisible World (from the Persian Haft Paykar). Her work has been produced at the Lookingglass Theatre and Goodman Theatre of Chicago; on Broadway at Circle in the Square; in New York at Second Stage, the Brooklyn Academy of Music, and

2021 Colorado Shakespeare Festival

the Manhattan Theatre Club; at the Mark Taper Forum in Los Angeles; and at the McCarter, Berkeley Repertory, and Seattle Repertory as well as many other theatres around the country and abroad. The recipient of a Tony Award for directing for Metamorphoses and a MacArthur Fellowship, Zimmerman is a professor of performance studies at Northwestern University.

Dramaturgs

Massachusetts native AMANDA GIGUERE (A Midsummer Night’s Dream, The Odyssey) 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. (17 seasons) HEIDI SCHMIDT (Pericles) is a director, dramaturg and teacher. Dramaturgy: Colorado Shakespeare Festival (Julius Caesar, Equivocation, The Merry Wives of Windsor, Macbeth, Richard III, Inspector General), Denver Center Theatre Company (Rattlesnake Kate, Disgraced, The Christians, Tribes), 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 allaround 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. (10 seasons)

Designers, Choreographers and Casting

IAIN COURT (Projection Designer: The Odyssey) is a director, designer and performer who has worked in medieval churches, caves, circus tents, on riverbanks and in haunted houses, as well as many theatres. His work in dance and other genres has toured Australia, Asia, Europe and North America. He is particularly interested in collaborative new media performance. Currently, he serves as the director of dance production for the University of Colorado Boulder Department of Theatre & Dance. (1 season) MEGHAN ANDERSON DOYLE’s (Costume Designer: A Midsummer Night’s Dream, The Odyssey) previous credits with the Colorado Shakespeare Festival include Twelfth Night, King Charles III, Love’s Labour’s Lost, You Can’t Take It With You, The Taming of the Shrew and The Comedy of Errors. Other costume design credits include A Doll’s House, Xanadu, This is Modern Art, American Mariachi, The Wild Party, Sweet & Lucky, One Night in Miami, plus nearly 20 other productions (Denver Center for the Performing Arts); The Moors, Waiting for Godot and The Drowning Girls (Arvada Center for the Arts and Humanities); The Secretary, The Brother / Sister Plays, A Number, Up and tempOdyssey (Curious Theatre); Caroline or Change (Aurora Fox Arts Center); as well as productions at LOCAL Theatre Company, Theatre Aspen 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. (5 seasons)

JON DUNKLE (Scenic Designer) is a Colorado based designer, manager and educator with credits and professional connections on Broadway and Off, with national and international tours, dance, concerts, special events, as well as television and architecture. Prior to arriving in Colorado, Dunkle was a member of the production and design faculty at NYU Tisch School of the Arts and was production manager at NYU’s Jack H. Skirball Center for the Performing Arts. He is production manager for the Colorado Shakespeare Festival. jonnydunkle.info (2 seasons) SYLVIA GREGORY has cast shows for Denver Center Attractions, Denver Center Theatre Company, LOCAL Theatre, Boulder Ensemble Theatre Company and TheatreWorks, among others. Gregory also casts films and commercials through her company, Sylvia Gregory Casting. She is currently the performance director for Deck Nine Video Games, where she casts game projects and directs actors for the games. 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. She is a proud member of The Casting Society of America. sylviagregorycasting.com (7 seasons) JORDAN HASS (Assistant Lighting Designer: A Midsummer Night’s Dream, The Odyssey) is an emerging lighting designer and artist with several years of experience in theatre and live events. He holds a bachelor’s degree in theatre from the University of Denver, where his co-design credits include Hedda Gabler, Something Wicked and The Lonesome West. (1 season) SHANNON MCKINNEY^ (Lighting Designer: A Midsummer Night’s Dream, The Odyssey) has designed for CSF productions Twelfth Night (2019), Romeo and Juliet (2019), Love’s Labour’s Lost (2018), Cyrano de Bergerac (2018), The Taming of the Shrew (2017), Julius Caesar (2017), The Comedy of Errors (2016), and Troilus and Cressida (2016), among others. Her other design credits include Honk! the Musical (Phamaly, Tokyo, Japan); The Diary of Anne Frank, Sin Street Social Club and Bright Star (Arvada Center); Roe and Sanctions (Curious Theatre). Her regional credits include designs for the Indiana Repertory Theatre, as well as Steppenwolf Theatre, the Goodman, the Court Theatre and Lookingglass Theatre (Chicago). McKinney is the recipient of seven CTG Henry Awards for Outstanding Lighting Design. She is a faculty member at the University of Denver. (11 seasons) JEFFREY PARKER (Director of Voice and Text: A Midsummer Night’s Dream, The Odyssey) is an associate professor of theatre at Metropolitan State University of Denver and a teaching artist at DCPA. He holds an MFA from University of California Irvine, and is a certified teacher of KnightThompson Speechwork and a certified associate teacher of Fitzmaurice Voicework. He has coached productions all across the country with local coaching credits including the Denver Center of Performing Arts, the Arvada Center, Curious Theatre, Vintage, Town Hall Arts Center, Performance Now, Aurora Fox, Lake Dillon, Rocky Mountain Repertory Theatre and the Colorado Shakespeare Festival. (2 seasons) ERIKA RANDALL (Choreographer: A Midsummer Night’s Dream, The Odyssey; Assistant Director: The Odyssey) is a teacher, dancer, choreographer and filmmaker, and the chair of the University of Colorado Boulder’s Department of Theatre & Dance. As a performer, she has worked with Anna Sapozhnikov, 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 defense—with collaborators Daniel Beahm and Markas Henry—have screened at festivals such as the Sans Souci Dance Cinema Festival, Starz Denver Film Festival, the Florence Queer Festival in Italy, and the Façade Film Festival 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 has had the great privilege of collaborating as the choreographer for CSF’s Twelfth Night, As You Like It, Romeo and Juliet, Richard III, You Can’t Take It With You, Cyrano de Bergerac, and The Taming of the Shrew. (4 seasons)

KEN TRAVIS^ (Sound Designer: A Midsummer Night’s Dream, The Odyssey) recently moved to Colorado after over 20 years of living in New York City. He has designed the sound for all of Disney’s productions of Aladdin and Newsies from Broadway to the West End and across the world. His designs have been heard on four continents from Broadway theatres to stadiums to forests and even a train car above the Arctic Circle. When not designing theatrical productions, he mixes audio for acts as diverse as Sinead O’Connor, the National Symphony Orchestra and numerous hip-hop, folk, and rock bands. Travis is a graduate of SUNY Fredonia. (1 season) TERI WAGNER (Projection Designer: The Odyssey) is a visual artist working across many media. She has shown her work in the United States, Europe and Australia, and has desgned and fabricated sets, props, costumes, and projections for theatre, dance and opera. Currently, she is on faculty at the University of Colorado Boulder Department of Theatre & Dance and also maintains a studio practice. (1 season)

Management

MATT GREVAN* (Stage Manager) has worked regionally with Encores! At New York City Center, Casa Mañana, Dallas Theater Center, Kansas City Repertory Theater and many more. A few of his favorite regional credits include Catch Me If You Can, The Boy From Oz and La Cage Aux Folles (Uptown Players); Fly By Night (Dallas Theater Center); and The Very Hungry Caterpillar Show (Dallas Children’s Theater). Grevan holds a BFA in theatre performance from the University of Texas-Arlington and an MFA in stage management from the University of Illinois Urbana-Champaign. (1 season) SAVANA LEVEILLE (Costume Shop Manager) recently relocated to Denver from New York City, where she was a freelance designer, associate and tailor/wardrobe for Broadway shows. Leveille has a BA in costume design and technology from Rhode Island College. Recent design credits include The Addams Family, An American in Paris, Miracle on 34th Street and Titanic (Arizona Broadway Theatre); L’appel du Vide (Mason Gross School of the Arts); and HouseWorld (San Damiano Mission). Leveille is a proud member of the International Alliance of Theatrical and Stage Employees Local 764. (1 season) RICK MIRELES* (Assistant Stage Manager) is a Denverbased AEA stage manager. Mireles hails from southern Texas where he earned his BA and MA at the University of Texas-Pan American and MFA in stage management from the University of Illinois Urbana-Champaign. Mireles is a resident stage manager at the Denver Center for the Performing Arts, whose works include The Wild Party, DragOn, Vietgone, Goodnight Moon the Musical and Remote Denver. Mireles has previously worked with BETC, Creede Rep, Montana Shakespeare in the Parks and the Eugene O’Neill Theater Center. This is Mireles’ first time with CSF and he is grateful for the opportunity to spend the summer in Boulder. (1 season)

Photo: The Colorado Shakespeare Gardens, 2018.

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Sustaining Shakespeare for future generations Donor spotlight by Emily Heninger

The arts have always been part of Jeffrey Kash’s life. His mother, Carolyn King Kash, surrounded her children with creative opportunities from a young age, introducing them to music, dance and drama. After discovering a regional summer stock company near his Pennsylvania hometown at age 12, Kash fell in love with the theatre. Today, Kash’s passion for the performing arts continues alongside his husband, Jeff Nytch—and the Colorado Shakespeare Festival (CSF) is one of their favorite summertime haunts. “We have world-class theatre within our own little area here [in Boulder],” said Kash, a member of CSF’s advisory board. “The Shakespeare Festival elevates the stories to show their relevance in our times, the times in which they were written and everything in between.” One of the special things about the festival, according to Nytch, is that “you see a lot of the actors coming back year after year. So we not only get to see them in a lot of different plays … but you start to feel like they’re a part of the family.” Though Nytch—an associate professor in CU Boulder’s College of Music—spends much of his summers in Pittsburgh for his own musical endeavors, he always manages to catch a show or two when he’s back in Boulder. But he can’t compete with Kash, who sees every CSF show at least four or five times—sometimes as many as seven. “There is a really significant arc watching opening night and closing night for the same show,” said Kash. To sustain the beloved festival for future generations of theatregoers, Kash and Nytch have included a generous bequest to CSF in their estate plans, one of the festival’s largest gifts to date. “If we’re going to leave a legacy and leave an impact, we want it to mean something,” said Kash. The gift is in honor of Kash’s mother, Carolyn, and the

indelible mark she left on her children and the world of theatre: “Jeffrey’s mom… was a presence,” said Nytch. “She was her own theatrical production.” CSF relies on private philanthropic support to operate and sustain the festival, including its associated programs like school outreach, camps, actor coaching, student internships and community events. “Donor support allows us to take risks and produce the highest quality artistic product—of professional artistry—that is possible,” said Tim Orr, CSF’s producing artistic director. Even 400 years after Shakespeare penned now-classics like Romeo and Juliet, Hamlet and A Midsummer Night’s Dream, the plays remain relevant to audiences. That’s in large part because they can be produced and presented in so many unique ways—with donor support providing much of the financial freedom for that innovation. “We don’t have to rely solely on selling tickets to make creative decisions,” said Wendy Franz, managing director for the festival. “That independence is crucial to making meaningful art.” Kash and Nytch are two such donors who keep the festival thriving year after year. With their gift, the pair emphasizes that they’re placing a vote of confidence in CSF’s longevity and impact—and investing in Boulder’s vibrancy. “What you see on a stage is only one part of the festival,” said Kash. “The other part is the community that’s gathering to do that production—it’s the community that’s gathering on the lawn as a family to enjoy music before the show. … “It’s the entire economy of the city. And that is worth investing in.” 

For information on how you can leave a legacy with lasting impact by including the Colorado Shakespeare Festival in your estate plans, please contact the CSF Advancement Office at 303-492-3054 or csfshakespearience@colorado.edu.

2021 Colorado Shakespeare Festival

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Thank you to our supporters Jennifer and Alan Aboaf Cheryl and Michael Adams Sarah and Bryan Adderholt Candy Allen and Bob Woodward Terri Allen Alpine Hospital for Animals Nina and Joseph Amabile Deborah Arhelger and Wayne Citrin Frank Baird Sue and Jim Baldwin Karen Barrett Brian Bennett Carolyn and Matthew Biller Kurt and Laura Bittner John and Anne Blair Judith and Allan Bock Catherine Boddie Catherine and Sean Bowman Becca and Kevin Bracy Knight Greta Brandstetter and Martin McCabe Claire-Maria Broaddus Deborah Broaddus Raymon Brown Brenda and Gregory Bruening Nancy and Gerry Bunce Gregory Bundy Susan and Robert Burton Andrew Butt Shirley Carnahan Donna Casey and Michael Friedman 52

Sue and Stephen Catterall Lucy Clark Norman Close Marty Coffin Evans and Robert Trembly Matthew Cole Catherine and Stephen Collins Maureen Connors and Mark Christie Pamela and Michael Copp Cynthia Corwin Randal Culver Laurie Cushing Jane Daniels Vicki and David Dansky Brandi Dantzler Joan and Michael Dardis David R. Ericson Trust Jean Davis Sandra and William Davis Elizabeth Dennis Georgiana Desaire Barbara and Carl Diehl Carleen and Bruce Dierking Mary Dimand and Sheeyun Park Jack Donnelly Theresa Donnelly Martha and Robert Drake Driscoll Foundation Robert Edris Maryann and Patrick Edwards Elevations Credit Union Jenny Elkins

2021 Colorado Shakespeare Festival

Virginia Elkins Lucinda and Daniel Ellerhorst Janet and Robert Evans Leslie and John Ewy Bev and Bruce Fest Jeanne and Jim Fetterman Fran Fischbach Marilyn and William Fitzsimmons Bill and Chelsea Flagg Lisa Metzgar and Todd Forkner Christopher Fornia Elizabeth and Sidney Fox Marguerite and Richard Franklin Susan Franz Wendy Franz Alli and Gil Fronzaglia Daniel Frost Teal and Mike Fyrberg Ken Gamauf Lissy Garrison Tom Garrison Carol and Jack Gathright Debra and Richard Geddes Sarah Gibson and Marks Miesch Mary and David Giese Edie and Tom Gilboy Ellen and John Gille Linda and Wiley Gillmor Paula Glaser Carol and Todd Gleeson Alex Goetz Donna and Stephen Good

Virginia McGowan and Michael Goss Sue and Gino Grampp Elaine Granata Roe Green Marian Hamlen Rebecca Hammond Treva and Homer Hancock Albert and Betsy Hand Ashley and Bradley Harkrader Christopher Harrison Duke and Pam Hartman Patty and Jerry Hauptman Matthew and Lin Hawkins Hazel’s Beverage World Edna and Hugh Heckman Karen and Bob Herz Deborah and Bruce Hill Jean Hodges Renee and Steve Howbert Ruth and Richard Irvin Mary Jarchow Delilah Jaworski Tyler and Jesse Jenner Maria and Robert Jennett Peter and Christine Jensen Pam Jones and Mark Bianchi Susan Jones Marilyn and Stephen Kaminski Robert and Theresa Keatinge Peggy Driscoll and Robert Keeley Kimberly Keffeler Carla and Richard Kem Diana and Mike Kinsey Photo: Romeo and Juliet, 2019

Lisa and Paul Klemme Joan Knaub Bonnie and Lee Knuti Julie and Paul Koehler Rita Kotter Lenna and Jon Kottke Sharon Kouba Buddy Kring MaryAnn and Steven Langer Amy and Trevor Lavens Richard Leaman Pam and Charles Leder Left Hand Brewing Company Sarah and Mark Leonard Lois and Mark Levinson Katie and Saul Levy Paula and Neel Levy Judy and Harrie Lewis Tom and Miriam Lindahl Jeff and Lois Linsky Kristine and Robert Lupi Ellen Morris and Stefan Magnusson Greta Maloney and Bob Palaich Nancy and Ralph Mann II Mark D. Masters Attorney Martin/Martin Consulting Engineers Cindy Marvell Kathleen and Mark Masters Carol Mather Randi Mauro Karen and Lowell McBride Cathy and Byron McCalmon Madeleine and Kenneth McCourt Terri and Paul McGowan Kathleen and Gerald McIntosh Jennifer McNabb Kathryn Harms and Kurt M. Mehlenbacher Stephanie Mehlenbacher Carol Mellinger Jennifer and Jason Mendelson Kurt Menning Christopher Merrell Gay Miller and Norman Williams Annette and Paul Miller Susan Moffson

Amanda and Dan Mones Janice Moore Karissa Moore Patricia and Alexander Muckle Brenda and Boyd Mueller Sandy and John Myers Ben and Pattie Nelson Tamara and Jeffrey Nelson Martha Neth Erin O’Brien Tim Orr and Laurie Keith Cheri Orwig Rionda Osman-Jouchoux and Alain Jouchoux Elis Owens Chris and Linda Paris Frances Peavey Kathryn and David Penzkover David Pham Betsy Phelan and Paul Smith Dave and Ann Phillips Marilyn and Gerald Pinsker Julie Pogachefsky Judith Jaehning and Barry Polisky Kim and Frank Prager Christy and Daniel Pratt Jill and Ryan Prew Thomas Ptach Christine and Richard Quinlan James Rairdon Barbe Ratcliffe Susan Raymond Susan and Kurt Reisser Kimberly and Christopher Riddle Dorothy Riddle Mikhy and Mike Ritter Alicia and Juan Rodriguez William Rogers and Catherine Tallerico Becky Roser and Ron Stewart Tony Ruckel Cheryl Barr Sandgrund and Ron Sandgrund Anne Sandoe Sam Sandoe Liz Schoeberlein Tana Schultz Jamie Shaak Robert Shay and Kathryn Lowerre

Laura and David Skaggs Robin and Robert Slover Joseph Smith Debora and Robert Smith Zdenka Smith Sarah and Simon Sparks Kathleen and Brian Spear Nicole Speer and Jeremy Reynolds Carol Stamm Amanda and Jebb Stewart Fredric and Julia Stoffel Natalie and David Sudia Kenneth Tindall Leslie and Jason Trow Mary and Michael Tully Charles and Debbie Turner Heather Van Dusen Karin Verdon Bridget and Stephen Voss Eric and Cinzia Wallace Lucinda and Brian Walsworth Marcie and Cord Weatherly Robert and Christine Wester Clyde Wilson Mollie Mitchell and John Wilson Kate Wilson Wayne Wohler Michelle and Lynn Wood Wright Water Engineers, Inc. Ken and Ruth Wright Karen and Scott Yarberry Rachel Yeates Christine Yoshinaga-Itano and Wayne Itano Ann and Gary Yost Pamela Zachar Yangmin Zhang FESTIVAL ENDOWMENTS Clara M. Smith Memorial Endowed Shakespeare Fund Colorado Shakespeare Festival Education Outreach Endowment Fund Colorado Shakespeare Festival Endowment Fund Colorado Shakespeare Festival Guild Endowment David A. Busse Endowed Scholarship Fund

Dorothy and Anthony Riddle Endowment for the Shakespeare Education Fund Dorothy & Carl Nelson Shakespeare Acting Intern Endowed Scholarship Fund Jensen Family Will Power Endowment Ken and Ruth Wright Colorado Shakespeare Festival Distinguished Directorship Kenneth J. Gamauf Flatirons Fund for the Colorado Shakespeare Gardens Max Dixon Acting Intern Endowed Award Midsummer Endowed Fund for Choreography and Movement in CSF Midsummer Night Acting Intern Endowed Award Richard M. Devin Endowed Fund for the Colorado Shakespeare Festival Sandoe Family Shakespeare Endowed Award 60th Season Commemorative Acting Intern Endowed Award FOUNDATIONS AND GRANTS Anonymous Boulder Arts Commission Colorado Creative Industries Community Foundation Boulder County CU Boulder Office for Outreach and Engagement CU Boulder President’s Fund for the Humanities The National Endowment for the Arts The National Endowment for the Humanities Shakespeare in American Communities: National Endowment for the Arts in partnership with Arts Midwest The Shubert Foundation

Gifts to the Colorado Shakespeare Festival support and sustain us, helping us share the magic of Shakespeare on stage and in our community. To make your gift, please visit giving.cu.edu/csf or call 303-492-3054. This list includes CSF donors of $100+ between 1/1/2020 and 4/15/2021. Every effort has been made to present this list as accurately as possible. If you have any questions, please contact 303-492-4072.

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Festival sponsors Leading sponsors

Supporting sponsors College of Arts & Sciences

Media sponsors

Granting organizations

Special acknowledgements CU BOULDER COLLEGE OF ARTS AND SCIENCES James White, Interim Dean Amy Lavens, Vice Dean of Finance & Administration Bud Coleman, Divisional Dean, Arts & Humanities Zack Tupper, Assistant Dean of Infrastructure

CU BOULDER DEPARTMENT OF THEATRE & DANCE Erika Randall, Chair CU PRESENTS Joan McLean Braun, Assistant Dean for Concerts and Communications Box Office staff COLLEGE OF MUSIC ADVANCEMENT TEAM Angela Farone, Interim Assistant Dean for Advancement

CU BOULDER FACILITIES MANAGEMENT Vince Aquino, Arboriculture Manager Trisha Hallerberg, Project Manager - Non Capital Charles Scott Redder, Main Campus Grounds Supervisor CU BOULDER DEPTARTMENT OF ENVIRONMENTAL HEALTH & SAFETY Christopher Cox, Occupational Safety Specialist Rachel Eastman, Occupational Health & Safety Specialist Derek Hayes, Occupational Health & Safety Manager Cher Masini, Occupational Health & Safety Specialist

2021 Colorado Shakespeare Festival

CU MEDICAL SERVICES Kristen Bjorkman, Research Associate Gloria Brisson, Sr. Director of Medical Clinic Services Ann Mattson, Medical Director Brent Klingemann, Director of Administrative Services CU BOULDER DEPARTMENT OF HUMAN RESOURCES Lauren M. Harris, Training & Development Manager CU Boulder Office of Institutional Equity and Compliance The Publishing House Martin/Martin Consulting Engineers Richard Sacks City of Boulder Fire-Rescue Department

SHAKESPEARE GARDENS Claire-Maria Broaddus Deborah Broaddus Barbara Caravallo Margot Crowe Mary Karen Euler Ken Gamauf Becky Hammond Dena Hanold Holly Hart Barbara Kantor Diana Kinsey Mike Kinsey Judy Mastrine Carol Mellinger Kari Mitchell Alan Nelson Brad Nettles Kathy Tierney-Pantzer Monica Van Zale Lu Wang K Watkins Chuck Wilcox Lola Wilcox Jill Zuercher

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Festival staff ADMINISTRATION Producing Artistic Director Tim Orr Managing Director Wendy Franz

Devon Glover Mya Gosling Anne Penner Jessica Robblee Sean Scrutchins

Operations Manager Kurt M. Mehlenbacher

ADVANCEMENT Interim Assistant Dean Micah Abram

Administrative Assistant Matara Hitchcock

Senior Director of Development Ashley Harkrader

House Managers Matara Hitchcock Lauren Perlis

Assistant Director of Annual Giving Emily Chesnic

Front of House Staff Alex Allegra Muhammad Haikal Ezhar Abu Bakar Tiffany Beebe Peri Cooper Brooke Curry Brittny Daboll Xaalan Dolence Teresa Orosco Maija Pieper Wessie Simmons Alexandra Tompkins Marisa Weissmann Madeline Young

Senior Events Manager Katie Neal

OUTREACH Director of Outreach Amanda Giguere Outreach Specialist / Resident Dramaturg Heidi Schmidt Outreach Assistant Tamarra Nelson CSF Touring Company Marialuisa Burgos Peter Bussian Anastasia Davidson Rhianna Devries Ana Langmead Adeline Mann Jihad Milhem Josue Prieto Miranda Tamarra Nelson Royce Roeswood Outreach Faculty Maya Camille Boyd Scott Coopwood 56

Program Manager for Strategy and Stewardship Madison Munn Development Assistant Caitlin Stokes CU PRESENTS Executive Director Joan McLean Braun Director of Marketing & Public Relations Laima Haley Assistant Director of Marketing Daniel Leonard Assistant Director of Public Relations Becca Vaclavik Publications Specialist Sabrina Green Social Media Assistant Erika Haase Video Producer Vanessa Cornejo Interim Digital Communications Coordinator Tiara Stephan

2021 Colorado Shakespeare Festival

Marketing Assistant Natalie Werner

Lighting Supervisor Cooper Braun-Enos

Public Relations Assistant Olivia Lerwick

Audio Supervisor / Front of House Mixer Wes Halloran

BOX OFFICE Director of Operations Andrew Metzroth Box Office Manager Christin Rayanne Box Office Services Coordinator Adrienne Havelka Lead Box Office Assistant Alex Herbert STAGE MANAGEMENT Stage Manager Matt Grevan* Assistant Stage Manager Rick Mireles* Stage Management Intern Kelsea Sibold PRODUCTION Production Manager Jon Dunkle Technical Consultants Steve Balgooyen Jordan Feeler Constance Lane Deck Carpenter Matthew S. Crane A Midsummer Night’s Dream Scenic Artwork Designer Katy Keenan Technical Draftsperson Adam Garb Props Supervisor Matthew S. Crane Props Artisan Michael Dold

Audio Technician / Deck Audio Tim Schoeberl Production Intern Nikky Haabestad Stage / Scene Shop Technicians Olivia Allen Matthias Bolon Lexi Booker Darcy Brander Kaylyn Buehler Christian Castaneda Stephanie CastroRivera Evan Cerda Natalie Connelly Peri Cooper Claudia Davis Aleighya Dawkins Rita DiSibio Asher Faarr Rachael Fields Bennet Forsyth Eric Gadon Adam Garb Cali Greenbaum Nikky Haabestad Victoria Harbison Jo Hoagland Greta Hooston Clara Hoppe Isabella Jones Wesley Juels Katy Keenan Mimi Kuntz Kyle Lawrence Calvin Logan Hannah Male Edwin McArthur Sam Morin Reed Otto Maya Owens Vik Padilla Hayley Parnell Lauren Perlis Marianne Pettis

Emily Ray Taylor Rivet Conor Robertson Issac Sadow James Shemwell Kelsea Sibold Stephanie Talder Logan Wallace Madelyn Wible Destin Woods COSTUMES Costume Shop Manager Savana Leveille Costume Crafts Supervisor Nicole Watts Costume Crafts Technician Domino Douglas Wig and Makeup Supervisor Sarah Annette Opstad Demmon Wig and Makeup Assistant Elise Rosado Wardrobe Supervisor Sarah Zinn Wardrobe Assistant Elise Rosado Draper Becky Evans First Hand Jessica Land Costume Shop Technicians Domino Douglas Becky Evans Jessica Land Elise Rosado Ryan Wilke-Braun Sarah Zinn Costume Intern Abby Allison CU Theatre & Dance Practicum Students Dylan Comiskey Peri Cooper

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

2021 A musical adventure through Colorado.

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The CSF Shakespearience Before and after the show Prologue

CSF dramaturgs 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. Look for the link to this virtual offering in your preshow email from CU Presents.

Picnic in the Shakespeare Gardens

Pack your basket, come early and picnic in the Shakespeare Gardens. More information available at cupresents.org/your-visit.

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 virtual series. Visit coloradoshakes.org for the schedule and more information.

Shakespeare Storytime

Join a CSF teaching artist in-person or virtually as they introduce Shakespeare’s plays and guide participants to explore the stories through participatory activities! In-person and virtual: ages 6-11. Limit of 10 students per session. A Midsummer Night’s Dream June 8, 10-11 a.m. in-person June 9, 10-11 a.m. virtual

2021 Colorado Shakespeare Festival

The Odyssey June 15, 10-11 a.m. in-person June 16, 10-11 a.m. virtual Pericles June 22, 10-11 a.m. in-person June 23, 10-11 a.m. virtual The Comedy of Errors June 29, 10-11 a.m. in-person June 30, 10-11 a.m. virtual

Shakespeare Lab

Every Friday during the summer season, join us for a two-hour training session with a member of the CSF company (or a rockstar in the Shakespeare theatre world!) as they introduce their favorite acting exercises and share tips for students to strengthen their own performance skills. Virtual: ages 12-18.

Shakespeare & Violence Prevention Summer Family Series

This summer we’re making our nationally-recognized Shakespeare & Violence Prevention program, which combines the Bard with a violence prevention curriculum, available to families at home! Our filmed performances are a great way to experience Shakespeare. Your virtual ticket gives you a passwordprotected link to an online performance, plus a prerecorded 15-minute virtual workshop with actors from the performance. 30-minute Comedy of Errors (recommended for grades 3-5) 45-minute Much Ado About Nothing (recommended for grades 6-12) Photo: Robert Sicular and Rodney Lizcano, Twelfth Night, 2019

Original Practices workshop

In this one-week workshop, students ages 12-18 follow the same process our professional company uses in our Original Practices production. We rehearse the way Shakespeare’s company rehearsed! These inperson sessions will be held outdoors and will require masks and distancing. We’re offering two sessions during the summer. Limit of 10 students per session. Session 1: Pericles Rehearsals: Aug. 2-6, 9 a.m.-noon Held outdoors on the Mary Rippon stage Invited performance Saturday, Aug. 7, 10 a.m. Session 2: Coriolanus Rehearsals: Aug. 9-13, 9 a.m.-noon Held outdoors on the Mary Rippon stage Invited performance Saturday, Aug. 14, 10 a.m.

CSF School of Theatre

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

Shakespeare & 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.

Services and policies Ticket exchanges

Due to limited seating availability at this year’s festival we anticipate reduced opportunities for exchanges. We encourage guests to plan their dates carefully at the time of purchase. Ticket exchanges are free for subscribers, and 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 higher priced performance or seat(s), the difference in ticket price must be paid 60

2021 Colorado Shakespeare Festival

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.

Cancellation and rain policy

The Colorado Shakespeare Festival performs rain or shine! 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 check the forecast for their performance and bring wearable raingear if necessary. 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. If a performance occurs as scheduled, the Colorado Shakespeare Festival does not refund unused tickets or tickets that cannot be exchanged. During the COVID-19 crisis, we’d like to reassure ticket buyers that if an event is canceled by CU Presents or the Colorado Shakespeare Festival due to pandemic safety concerns, we will reach out to ticket holders to offer refunds and other options.

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.

Audio enhancement

Assistive listening devices are available at theatre entrances 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.

Live Captioning, ASL and Audio Description

The Colorado Shakespeare Festival offers live captioning, American Sign Language interpretation, and audio description for its productions upon request. Please call the box office to make arrangements at least two

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CSF educational programming CSF’s nationally recognized education program offers summer camps and year-round classes— and our innovative Shakespeare & Violence Prevention school tours, seen by more than 100,000 Colorado schoolchildren since its inception in 2011. To learn more, please visit coloradoshakes.org/education.

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weeks in advance of the performance date desired. For more information and to make arrangements, please call 303-492-8008.

Children at performances

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. Due to COVID-19 safety concerns, CSF will not be selling concessions during the 2021 summer season. 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)).

Food and beverages

While picnicking on campus lawns before the performance is welcomed, large items such as picnic baskets, food bags and coolers are not permitted in the theatre. Due to COVID-19 health restrictions imposed by Actors’ Equity Association, eating and drinking will not be permitted in the Mary Rippon Outdoor Theatre during performances in 2021.

On the evening of the performance

• 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. • Due to COVID-19 restrictions in 2021, late seating will not be permitted. Latecomers will be directed to the box office to arrange ticket exchanges. • 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. 62

2021 Colorado Shakespeare Festival

Colorado Shakespeare Gardens

When the hawthorn tree bloomed in the Colorado Shakespeare Gardens in the late spring of 2020— untroubled by lockdown, closures and cancellations that unsettled our world and kept the lights off for CSF last year—it became an encouraging reminder of the durability not only of our gardens but of the work that inspired them. The Colorado Shakespeare Gardens are a tangible salute to a 16th-century dramatist whose explorations of raw humanity continue to reveal us to ourselves in the 21st century. The Colorado Shakespeare Gardens remind us that the pleasures of Shakespeare extend offstage and that his poetry can find exquisite expression not only by masterful actors but also in the fragrant beauty of flowers, herbs, shrubs and trees. We welcome you back to the Mary Rippon Outdoor Theatre this summer and invite you to visit the courtyard between Hellems and the Lucile Berkeley Buchanan Building. Here, a passionately committed team of volunteers 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 enjoy the mingled fragrances of musk roses, carnations, rosemary, thyme, lavender, savory and honeysuckle. Visit our rendition of a traditional Elizabethan knot garden and be enchanted by our moonlight garden interpretation of A Midsummer Night’s Dream. The Gardens feature signage throughout to help you identify the plants and enjoy some of Shakespeare’s quotable insights about them. Our virtual tour is available for use on your mobile device at csgtour.org. Scan the QR code on the large sign in the midst of the garden and you will be transported to Shakespeare’s own instruction into the horticulture, history and lore of the plantings. CSG welcomes new members, donors, and sponsors. Visit the coloradoshakes.org and search for Colorado Shakespeare Gardens, or visit our website at coloradoshakespearegardens.org. Click the Volunteer tab, then the Opportunities section and send us a message. We 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 the season’s Shakespeare plays and with plant research.

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LIVES SAVED!

The number of Lions, Tigers, Bears and Wolves that we have rescued from the so-called Stars of Netﬂix’s TIGER KING series. There are many more that need our help! Please support our eﬀorts to rescue them all.

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