Colorado Shakespeare Festival, 2022 by The Publishing House

Summer 2022 June 5 - August 7

The Two Gentlemen of Verona All’s Well That Ends Well The Book of Will

By Lauren Gunderson

Coriolanus The Alchemist

By Ben Jonson (1572-1637)

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Letter from the Producing Artistic Director

Season calendar

Funded by visionary philanthropist Roe Green, the University Theatre will undergo renovation

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

By William Shakespeare Directed by Carolyn Howarth

By William Shakespeare Directed by Wendy Franz

By Lauren Gunderson Directed by Rodney Lizcano How Shakespeare’s characters have marked us

By William Shakespeare Directed by Anthony Powell

By Ben Jonson (1572-1637) Actor-managed by Kevin Rich Original Practices

Who’s who

Acting company

Artistic team

Thank you to our donors

Sponsors Special acknowledgements

Festival staff

Shakespearience

Services and policies

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 Bruce Bergner, Chair; Sarah Adderholt, Joan McLean Braun, Wendy Franz, David Glimp, Amy Lavens, Tim Orr, Kevin Rich, Catherine Shea (ex officio) 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. 2022 season program Editor: Becca Vaclavik Designer: Sabrina Green Show illustration/season branding: Ligature Creative Group Photography: Jennifer Koskinen

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

2022 Colorado Shakespeare Festival

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Welcome to the Colorado Shakespeare Festival’s 2022 season! This marks the 65th season of the second oldest Shakespeare festival in the United States, and my 10th season as producing artistic director. How in the world did that happen? We are so happy to be hosting you tonight and thrilled to be back together at full capacity with a full season. And staying with that theme, full speed ahead! The Two Gentlemen of Verona opens our season with its inspired comedy, beautiful language, love triangles, bad choices, renewed friendships and a dog. Well, I’m excited! As we were reading newer plays for 2022 consideration, The Book of Will struck us all with a jolt of inspiration. It seemed to capture exactly how we were feeling about the importance of family and the resilience of a Shakespearean theatre company. (Ahem, 65 seasons and counting.) The programming of the indoor season has traveled an arc reaching back to 2018 when conversations began around All’s Well That Ends Well and Coriolanus. These plays, being part of our mission to explore the more remote corners of Shakespeare’s canon, were originally slated for production in our 2020 season. They were fully produced and ready to begin rehearsals when our lives were upended by COVID-19. Like us, our patrons were excited for these titles, and we are bringing them to you this summer. A joyous production of All’s Well That Ends Well set in a swanky 1950s France; and a white-hot political thriller about a Roman super soldier named Coriolanus awaits you in the University Theatre. By the way, when you’re seeing these plays (because I hope you see them both) say goodbye to the University Theatre as we know it. The day after we close this season, the University Theatre begins its massive acoustic renovation and will re-open next summer as the Roe Green Theatre. For me, this is the season of “re” words. Return, renewal, resilience, rejoice. At CSF, we are often working two to three years out in planning a season. When planning 2022, my notebooks from that time are full of words like this. We can never return to the way things were, good or bad, but we can return to a place. And that place is the theatre. I hope you take joy in celebrating, once again, stories about our shared experience of going through this world together. Thank you for being here and enjoy the show!

Tim Orr Producing Artistic Director Colorado Shakespeare Festival

2022 Colorado Shakespeare Festival

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SUMMER 2022 TOUR Amelia’s Big Idea

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Dorothy’s Dictionary A new play by E. M. Lewis

Touring across Colorado June 9-Aug. 7

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Summer 2022 SUN

MON

TUE

WED

THU

FRI

SAT

JUNE 5 Two Gents 7 pm (preview)

7 Two Gents 7 pm (opening)

10 Two Gents 8 pm

11 Two Gents 8 pm

16 Two Gents 7 pm

18 All's Well 7:30 pm (preview)

19 Two Gents 7 pm All's Well 7:30 pm (opening)

24 All's Well 7:30 pm Two Gents 8 pm

25 All's Well 7:30 pm Two Gents 8 pm

JULY 1 All's Well 7:30 pm

2 All's Well 7:30 pm Book of Will 8 pm (preview)

3 Book of Will 7 pm (opening)

6 Two Gents 7 pm

7 Two Gents 7 pm

8 All's Well 7:30 pm Book of Will 8 pm

9 All's Well 7:30 pm Book of Will 8 pm

10 Two Gents 7 pm

13 Two Gents 7 pm

14 Book of Will 7 pm

15 Book of Will 8 pm

16 Coriolanus 7:30 pm (preview) Two Gents 8 pm

17 Two Gents 7 pm Coriolanus 7:30 pm (opening)

20 Book of Will 7 pm All's Well 7:30 pm

21 Two Gents 7 pm All's Well 7:30 pm

22 Coriolanus 7:30 pm Two Gents 8 pm

23 Coriolanus 2 pm Coriolanus 7:30 pm Book of Will 8 pm

24 All's Well 2 pm Book of Will 7 pm

27 Two Gents 7 pm Coriolanus 7:30 pm

28 Two Gents 7 pm Coriolanus 7:30 pm

29 All's Well 7:30 pm Book of Will 8 pm

30 All's Well 7:30 pm Book of Will 8 pm

31 Coriolanus 2 pm

AUG 1

2 The Alchemist 6:30 pm

3 Two Gents 7 pm Coriolanus 7:30 pm

4 Two Gents 7 pm Coriolanus 7:30 pm

5 All's Well 7:30 pm Book of Will 8 pm

6 All's Well 2 pm All's Well 7:30 pm (closing) Book of Will 8 pm (closing)

7 Coriolanus 2 pm (closing) Two Gents 7 pm (closing)

Mary Rippon Outdoor Theatre

University Theatre (Indoors)

The Two Gentlemen of Verona

All’s Well That Ends Well

The Book of Will

Coriolanus

By Lauren Gunderson

The Alchemist

By Ben Jonson (1572-1637)

2022 Colorado Shakespeare Festival

Photo: Leslie O’Carroll, A Midsummer Night’s Dream, 2021

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is a Denver-based firm that emphasizes a team approach to its design. Their work previously has been honored for excellence in historic renovation, including in performing arts venues.

Funded by visionary philanthropist Roe Green, the University Theatre will undergo renovation via CU Boulder Today, additional reporting by Becca Vaclavik Last September, University of Colorado alumna, arts aficionado and philanthropist Roe Green announced she would provide a record-breaking $5 million gift to the CU Boulder Department of Theatre & Dance. The largest portion of Green’s gift, $2 million, will support an acoustic overhaul of the current University Theatre space. Colorado Shakespeare Festival audiences will recognize it as our indoor venue, where we are presenting All’s Well That Ends Well and Coriolanus this season. Built in 1904, the building was originally constructed as the campus library and helped define the historic Norlin Quadrangle. With the last major renovation over 30 years ago, once-new elements of the theatre’s architecture and equipment are now out of date. New 18

2022 Colorado Shakespeare Festival

Green is one of CU Boulder’s largest arts donors to date, having previously established the Roe Green Theatre Artist Residency Program and the theatre department’s first endowed faculty chair. Outside of CU, she has given gifts to name the Roe Green Center for the School of Theatre and Dance at Kent State University. She also funds the Roe Green Traveling Masters Program, a national education program on the craft of stage writing produced by the New York City-based Dramatists Guild Foundation. Professor Bud Coleman, the Roe Green Endowed Chair in Theatre, has worked with Green for almost 20 years to address the needs of the CU Department of Theatre & Dance.

structures and equipment will allow for better acoustic performance and noise control, creating a more immersive audience experience.

“She is more than a fairy godmother; she is our celebrated alumna, beneficent donor and lifelong friend,” he said.

To recognize Green’s generosity, the university will change the name of the University Theatre to the Roe Green Theatre. After a period of renovations set to kick off this fall, the theatre is expected to formally reopen under its new name in the fall of 2023.

“Acoustics are such an important part of enjoying the language of Shakespeare, and this remodel will make an already wonderful venue an even better place to experience live theatre,” added CSF Producing Artistic Director Tim Orr.

“We are thrilled and inspired by Roe’s gift of transformation for the indoor theatre,” said CSF Managing Director Wendy Franz. “Construction will begin as soon as CSF’s 2022 season closes, and we’ll move into the newly renovated theatre for CSF’s 2023 season.”

Green continues to support CU Boulder and other theatre programs around the country because of her strong belief in the power of storytelling.

The architect selected for the renovation, Architectural Workshop,

Image rendering by Architectural Workshop

“Theatre and the performing arts make us human,” she said. “This is how we pass on what we know.”

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By William Shakespeare Directed by Carolyn Howarth

Artistic team

Cast

Director Carolyn Howarth+

DUKE, father to Silvia Kevin Rich*

Scenic Designer David J. Castellano^

VALENTINE, a gentleman of Verona Walter Kmiec*

Costume Designer Meghan Anderson Doyle Lighting Designer Shannon McKinney^ Sound Designer Jason Ducat^ Dance / Movement Choreographer Erika Randall Dramaturg Amanda Giguere Voice and Text Coach Jeffrey Parker Stage Manager Paul Behrhorst* Assistant Stage Manager Kaylyn Kriaski*

PROTEUS, a gentleman of Verona Sean Scrutchins*

PANTHINO, servant to Antonia Logan Ernstthal* JULIA, beloved of Proteus Shunté Lofton*

ANTONIA, mother to Proteus Karen Slack

SILVIA, beloved of Valentine Anastasia Davidson

THURIO, rival to Valentine Christian Ray Robinson

LUCETTA, waiting woman to Julia Chloe McLeod

EGLAMOUR, agent for Silvia in her escape Troy Coleman HOST, where Julia lodges Lucinda Lazo

COSIMO Kyle J. Lawrence CRAB Mabel and Zebulon

SPEED, servant to Valentine Jacob Dresch*

+ Member, Stage Directors and Choreographers Society

Sponsors

^ Member, United Scenic Artists

• Alpine Hospital for Animals • Hazel’s Beverage World

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

LAUNCE, servant to Proteus Gary Alan Wright*

• Wright Water Engineers • Elevations Credit Union

OUTLAWS Karen Slack, Chloe McLeod, Logan Ernstthal*, Lucinda Lazo, Kyle J. Lawrence VERONA EXTRAS Troy Coleman, Anastasia Davidson, Kyle J. Lawrence, Lucinda Lazo, Kevin Rich*, Christian Ray Robinson MILAN EXTRAS Lucinda Lazo, Chloe McLeod, Karen Slack SWINGS Landon Tate Boyle, Matara Hitchcock UNDERSTUDIES Troy Coleman, Jacob Dresch*, Kyle J. Lawrence, Lucinda Lazo, Chloe McLeod, Kevin Rich*, Christian Ray Robinson, Karen Slack

• Martin/Martin Consulting Engineers #coshakes · @coshakes

Director’s note Look for The Hook. That’s the first thing I do with a play. Before I get involved with actors and designers, I look for The Hook: the thing in the story that really grabs me on a personal level. In this play, I found it right there in the first speech. It’s that fierce, lifelong friendship between Valentine and Proteus. These guys are young, but their friendship feels old, like it stretches back to childhood, school days, first crushes, heartbreaks, failures and successes (the agonies and the ecstasies, as it were). I have a friendship like that. It’s been a long, rich, rewarding trip, but there have been times—I’m sure she’d agree—when the road has been… rocky. As our play begins, we catch the eponymous Two Gentlemens’ friendship on the brink of its first real crisis: separation. Facing that dilemma is a huge first step on the path to maturity. Do I venture out into the world and make my way? Or do I stay home and claim my spot? And what happens to our friendship? We faced it too, my dear friend and I. Like Valentine, I chose to leave my hometown for college, travel, career, new horizons. My friend chose to stay home and made an equally distinct life there, as the proverbial pillar of 22

2022 Colorado Shakespeare Festival

her community. And just as we feared, the bond was broken. We got busy. We drifted. Feelings were hurt. We both had a lot of growing up to do. But then, years later, a tragic event brought us back together, the bond re-formed, and now we feel more like family than friends. To paraphrase Dr. King, the arc of friendship is long, but it bends (if it doesn’t break) toward love, acceptance, wisdom… Proteus and Valentine certainly have some adventures in this play. They both fall in love. Go out on their own. Meet new people and forge new relationships. One even becomes something akin to a pirate, for goodness’ sake! And their bond is tested. Big time. They, too, have a lot of growing up to do. But ultimately, despite profound betrayal and a breach of trust, they find forgiveness. And I like to hope that it’s this forgiveness—maybe the most supreme act of maturity—that propels them forward to love, acceptance and wisdom. Oh, and did I mention there’s a bit with a dog? —Carolyn Howarth, director

Costume renderings by Meghan Anderson Doyle

Synopsis Lifelong best friends Valentine and Proteus must part ways. Valentine leaves home in Verona to pursue a life of adventure in Milan, accompanied by his servant Speed, while Proteus stays behind to be near his beloved Julia. After Valentine’s departure, Proteus’ relatives encourage him to follow his friend and make something of himself in Milan. Proteus and Julia say their goodbyes, but not before sealing their engagement with a ring and a solemn oath. Joined by the clownish Launce and a canine companion named Crab, Proteus departs for Milan. In Milan, despite earlier pronouncements against love, Valentine is unexpectedly smitten with the Duke’s daughter Silvia. She’s engaged to her father’s favorite, Thurio, but secretly agrees to wed Valentine. When Proteus arrives in Milan, however, he also becomes infatuated with Silvia, forgetting his loyalty to Julia and Valentine. Proteus betrays his best friend by revealing Valentine and Silvia’s clandestine elopement plans to the Duke, which results in Valentine’s banishment and Silvia’s confinement. With Valentine out of the way, Proteus attempts to win Silvia over. Meanwhile, Julia disguises herself as a male page (“Sebastian”) and arrives in Milan. Proteus hires “Sebastian” to woo Silvia on his behalf. Silvia flees captivity in search of Valentine, with her father and her two unwanted suitors, Thurio and Proteus, in swift pursuit. Silvia is captured by a group of exiled outlaws in the forest, then “rescued” by Proteus, who attempts to take Silvia by force. The banished Valentine, now the newly minted leader of the outlaws, intervenes to protect Silvia. Valentine first denounces his friend, then, at Proteus’ remorse, forgives him. Julia reveals herself, and Proteus’ love for her is restored. The Duke forgives Valentine’s deception and approves of the marriage to Silvia. At Valentine’s request, the Duke permits the banished outlaws to rejoin society. All enemies are reconciled, friends forgiven, and relationships are (mostly) restored. —Amanda Giguere, dramaturg

That’s what friends are for

“...were man but constant, he were perfect.”

The Two Gentlemen of Verona, one of Shakespeare’s early comedies, tackles a subject that has intrigued philosophers for centuries and continues to dominate sitcoms, pop songs and blockbuster films today: friendship. Ancient Greek philosophers wrestled with the concept of friendship, or philia (love) and attempted to codify the various bonds between humans. Guest friendship (xenia), for example, was the sacred bond established between guest and host, involving hospitality and gift exchanges. Guest friendships were passed down through generations, and violating xenia could lead to chaos and destruction. Ideal friendship (teleia philia), according to Aristotle, was a perfect union between equals, only available to virtuous men. Ancient Roman philosophers took up this topic as well. Cicero’s writing on friendship (De Amicitia) suggests like-mindedness (concordia) as a key component of friendship. Just as the Greek word for friendship means love, the Latin word (amicitia) also originates in love (amor). Perfect friendship (amicitia perfecta), which was only possible between intrinsically good men, was rare, precious and valued even above marriage. In early modern England, a high priority was placed on male friendships, largely influenced by Classical thinking. As in Greek and Latin, the English word “friend,” from the Old English “freond” means “to love.” English translations of Cicero and Aristotle would likely have been included in a schoolboy’s education. French philosopher Michel Montaigne considered friendship in a 1580 essay, echoing once again the classical idea that friendship was a perfect union only possible between men. Let’s be honest: a perfect union between equally virtuous gentlemen does not exactly seem like the stuff of comedy, so why does Shakespeare put friendship center stage? The Two Gentlemen of Verona, it turns out, is less a play about perfect friendship than a play about friendship between imperfect people. Aminatou Sow and Ann Friedman, co-authors of the 2020 book, Big Friendship, define friendship as a “strong, significant bond that transcends life phases, geographical locations and emotional shifts.” According to Sow and Friedman, a defining factor of friendship is “making the decision to invest in one another again and again.” As you watch the play tonight, consider how Classical and Renaissance thinkers defined friendship, yet pay attention to the bonds of love represented in the play that transcend these definitions: the ties between parents and children, the strength of female alliances, and the wordless love between humans and animals (I’m looking at you, Crab). May we all appreciate the strange ways we are connected, the miraculous bonds we form with others, and the ways in which friendship—in its messy, complicated and imperfect glory—is still rooted in love. —Amanda Giguere, dramaturg #coshakes · @coshakes

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By William Shakespeare Directed by Wendy Franz

Artistic team

Cast

Director Wendy Franz

COUNTESS of Roussillon, a recent widow Kathleen Turco-Lyon*

Scenic Designer Kevin Nelson Costume Designer Clare Henkel^ Lighting Designer Katie Gruenhagen Sound Designer Jason Ducat^ Dance / Movement Choreographer Erika Randall Fight Choreographer Benjamin Reigel Dramaturg Amanda Giguere Voice and Text Coach Mare Trevathan Stage Manager Christine Rose Moore* Assistant Stage Manager Teresa Gould*

BERTRAM, Count of Roussillon, her son Ryan Omar Stack HELEN, the Countess’ young gentlewoman Madison Taylor RINALDO, steward to the Countess Topher Embrey LAVATCH, a clown in the Countess’ household Benjamin Reigel* PAROLES, companion to Bertram Matthew Schneck* KING of France Brik Berkes* LAFEU, an old French lord Gareth Saxe*

LORD G., elder of the Dumaine brothers, a French lord at court Topher Embrey

FIRST SOLDIER, acting as interpreter (also called Morgan) Jihad Milhem*

LORD E., younger of the Dumaine brothers, a French lord at court Christian Tripp

SERVANT, to Bertram Jo Hoagland

Four LORDS, at the French court Jihad Milhem*, Benjamin Reigel*, Sam Sandoe, Griffin Nielsen DUKE of Florence Sam Sandoe WIDOW, of Florence Jessica Robblee*

GERARD de NARBONNE, Helen’s late father Sam Sandoe ATTENDANTS to the King Jo Hoagland, Jessica Robblee* SOLDIERS Griffin Nielsen, Gareth Saxe*, Sam Sandoe

SWINGS Sarah Duttlinger, DIANA, daughter of Widow Jordan Pettis Ilana DeAngelo UNDERSTUDIES MARIANA, neighbor to Widow and Diana Jo Hoagland

Ilana DeAngelo, Topher Embrey, Jo Hoagland, Jihad Milhem*, Griffin Nielsen, Jessica Robblee*, Sam Sandoe, Christian Tripp

Sponsors ^ Member, United Scenic Artists * Member, Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States

• Alpine Hospital for Animals • Hazel’s Beverage World

• Wright Water Engineers • Elevations Credit Union

• Martin/Martin Consulting Engineers #coshakes · @coshakes

Director’s note “The web of our life is of a mingled yarn, good and ill together. Our virtues would be proud if our faults whipped them not, and our crimes would despair if they were not cherished by our virtues.” —Lord G. Upon my first reading of All’s Well That Ends Well, I was delighted to meet some of Shakespeare’s wittiest leading ladies, and I was fascinated by how the play examines the transition of power from an older generation to the next and the trials the younger generation must endure in order to learn life’s important lessons before they can assume that power. When I spoke with colleagues and friends who know the play, the variety of strong reactions to All’s Well… were intriguing. Many write it off because they find Bertram’s actions irredeemable. Some are disturbed by the bed trick. Scholars over centuries have decried Helen’s sexually liberated agency. All of these condemnations made me more curious to understand why the characters do the things they do. What insight do we lose when we condemn someone before we’ve taken the time to understand their perspective? The play explores the different rates at which men and women mature from adolescents to adults, the ways in which parents try so hard to set their children up for success even as the children yearn for the freedom to make their own mistakes, and the way 26

2022 Colorado Shakespeare Festival

these experiences speak to the difference between appearance and the true character of a person. There are myriad things I love about this play. It is very funny. Characters with wildly different viewpoints engage with each other in civil discourse. The characters are complex and contradictory, like people in real life—they have secrets, long to find their place in the world, and struggle to live up to others’ expectations. All’s Well That Ends Well is ultimately a journey from grief and youthful ignorance to joy and maturity. The case can be made that All’s Well … contains elements of the best Shakespearean comedies: Multigenerational families are reunited; troublemakers who urged separation and strife are exposed; there is a war in the background; there are spirited battles of wits and wills between the sexes; it has not one but two fools; and there is a classic Shakespearean gulling scene. As a director, my charge to serve the story demands that I find empathy for all of the characters in the play, not just the ones I find admirable. I have to embrace the complicated, messy truth of each character in order to tell the story of the play and ask the challenging questions: When we hurt those we love, how do we do the difficult work of reconciliation? When we cause harm or cross a line, how do we move forward and do better? —Wendy Franz, director Scenic rendering by Kevin Nelson

Synopsis In Roussillon, a family mourns the recent deaths of its patriarch and its household doctor. The doctor’s daughter Helen, who has been raised in the household, is adopted by the widowed Countess of Roussillon. The Countess’ son Bertram, now the King’s ward, departs for Paris, where the King is dying. Helen, who is secretly in love with Bertram, follows him to Paris, carrying a cure for the King’s disease. Helen heals the King and, offered a reward, chooses to marry Bertram. Despite Bertram’s refusal, the King insists on the marriage. Privately, Bertram swears he’ll never bed Helen until she bears his child and obtains his ring—both things he’ll never give her. Bertram goes to war in Florence, accepting a post as Captain of the Horse under the Duke of Florence. Helen departs under the guise of a pilgrimage but instead follows Bertram to Florence. She finds lodging with a local widow and her daughter, Diana, whom Bertram is pursuing dishonorably. Helen develops a plan; Diana will agree to rendezvous with Bertram at midnight in exchange for his ring, but Helen will swap places with Diana. Helen also spreads false news of her death abroad. Meanwhile, the Lords Dumaine propose to expose Bertram’s friend Paroles as a coward. Disguised as enemy soldiers, they capture, blindfold, and interrogate Paroles, who immediately reveals information about the Duke’s army, disparaging Bertram and the Lords. They remove his blindfold and Paroles is humiliated. The war ends; Bertram returns to France, full of regret about Helen’s death. He agrees to a second marriage, arranged by his mother and the King. Before the wedding, troubling questions arise: Bertram presents a ring of Helen’s he shouldn’t have, arousing suspicion; Diana arrives, accusing Bertram of seduction and abandonment, producing his ring as proof; and Helen appears, pregnant with Bertram’s child, explaining she was the “Diana” he slept with in Florence. Recognizing she’s accomplished the impossible tasks he demanded of her, Bertram promises to love her “ever, ever dearly.”—Heidi Schmidt and Amanda Giguere, dramaturgs

“All yet seems well”

Embracing ambiguity in All’s Well That Ends Well All’s Well That Ends Well’s history has been plagued by uncertainty—more than most Shakespeare plays. Historians can’t quite agree on when Shakespeare wrote the play or when it was first performed. It was not published until the 1623 First Folio, and that version contains enough errors and inconsistencies that it’s not entirely reliable, as scripts go. Critics have debated the play’s genre, and opinions about the central characters have varied widely by era and by critic. It’s classified as a comedy in the First Folio and includes many elements of classical comedy: disguises, pranks, mistaken identity, witty wordplay, journeys and homecomings, deaths and rebirths, separations and reunions, mistakes, and (for the lucky ones) redemption. So what’s the problem? Some scholars feel the play dabbles into subject matter too serious for a comedy, or that the tone isn’t quite festive enough, or that the actions and language of the central female character are too “indelicate” for a virtuous woman. One Victorian scholar even invented a new genre, the “problem play,” or a play that’s more interested in a social problem than in adhering to the confines of dramatic genre. (The term isn’t used much anymore; most of Shakespeare’s plays paint outside genre lines.) Scholars have often taken issue with the characters and their choices. Historically, they’ve often taken sides—Team Helen or Team Bertram—offering justification and forgiveness for one, but condemnation for the other. Prior to the 20th century, uncertainty about who to cheer for was seen to demonstrate an artistic failing on the playwright’s part rather than an exploration of moral complexity. And then there’s the ending. When the words “all’s well that ends well” are spoken by characters in the play, they’re often accompanied by qualifiers—if, yet or seems. In the final lines of the play, the King of France announces: “All yet seems well, and if it end so meet, The bitter past, more welcome is the sweet.” It looks like a happy ending, he seems to be saying, but he can’t quite tell yet. Maybe in the next scene (if we had another one) we could be sure. The King of France is asking for more information, more discussion, before he fully understands what happened and whether it constitutes a happy ending. Shakespeare seems (another qualifier—they’re contagious) to be posing a question about his own resolution. I don’t presume to know what Shakespeare intended, but I choose to interpret this conditional language as permission. Both characters have erred and (we hope) learned from their mistakes. It’s up to us to decide whether their ending is happy and whether the play ends well. —Heidi Schmidt, dramaturg #coshakes · @coshakes

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By Lauren Gunderson Directed by Rodney Lizcano Originally commissioned and produced at the Denver Center Theatre Company A division of the Denver Center for the Performing Arts (Kent Thompson, Artistic Director) Subsequent Rolling World Premiere produced by Hudson Valley Shakespeare Festival, Garrison, New York (Davis McCallum, Artistic Director; Kate Liberman, Managing Director) THE BOOK OF WILL is presented by special arrangement with Dramatists Play Service, Inc., New York

Artistic team

Cast

Director Rodney Lizcano

HENRY CONDELL Kevin Rich*

Scenic Designer David J. Castellano^

JOHN HEMINGES Walter Kmiec*

Costume Designer Meghan Anderson Doyle

RICHARD BURBAGE / WILLIAM JAGGARD Gary Alan Wright*

Lighting Designer Shannon McKinney^ Projections Designer Garrett Thompson Sound Designer Jason Ducat^ Dance / Movement Choreographer Erika Randall Dramaturg Heidi Schmidt Voice and Text Coach Jeffrey Parker Stage Manager Paul Behrhorst* Assistant Stage Manager Kaylyn Kriaski*

ALICE HEMINGES / SUSANNAH SHAKESPEARE Shunté Lofton* BOY HAMLET / HORATIO Kyle J. Lawrence BARMAID / FRUIT SELLER / MARCELLUS Chloe McLeod BEN JONSON Logan Ernstthal*

REBECCA HEMINGES / ANNE HATHAWAY SHAKESPEARE Anastasia Davidson ED KNIGHT / ISAAC JAGGARD Sean Scrutchins* RALPH CRANE / FRANCISCO Jacob Dresch* MARCUS / BERNARDO Troy Coleman

SWINGS Landon Tate Boyle, Matara Hitchcock UNDERSTUDIES Troy Coleman, Anastasia Davidson, Jacob Dresch*, Logan Ernstthal*, Kyle J. Lawrence, Lucinda Lazo, Chloe McLeod, Christian Ray Robinson, Karen Slack, Gary Alan Wright*

COMPOSITOR / SIR EDWARD DERING Christian Ray Robinson CRIER Lucinda Lazo

ENSEMBLE Troy Coleman, Jacob ELIZABETH CONDELL / EMILIA BASSANO LANIER Dresch*, Chloe McLeod, Logan Ernstthal*, Kyle J. Karen Slack Lawrence, Lucinda Lazo, Christian Ray Robinson, Sean Scrutchins*

Sponsors ^ Member, United Scenic Artists * Member, Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States

• Alpine Hospital for Animals • Hazel’s Beverage World

• Wright Water Engineers • Elevations Credit Union

• Martin/Martin Consulting Engineers #coshakes · @coshakes

Director’s note What would our world look like without the words of William Shakespeare? A world without the literary works we know as Hamlet, Romeo and Juliet, Richard III or King Lear? I would be hard pressed to find any avid theatregoer, especially a Shakespeare aficionado, who could imagine a world without Shakespeare’s words. But that’s where we find ourselves in this fictional retelling of a “what if” scenario in the play that is The Book of Will. I will confess to you that Shakespeare and his plays have had a huge impact on my personal and professional life. This play, to me, has become in many ways the ultimate “love letter” to all actors, theatregoers and acting companies who love Shakespeare’s work as much as I do. What I love most about this play are the additional names we learn from Shakespeare’s world and his band of theatre members: John Heminges, William Condell, Ed Knight, Ralph Crane, William and Isaac Jaggard— all names you may not have heard of before but were crucial individuals who led the charge to preserve Shakespeare’s work. 30

2022 Colorado Shakespeare Festival

When we begin this play, Shakespeare has been dead for three years and his brethren continue to mourn him. But what comes after death? While this play is about Shakespeare, its plot laser focuses on a grand problem: How do we preserve Shakespeare’s work? How can we honor our friend? How do we keep his language alive? The undertaking of compiling a first folio of an entire canon of plays seemed an insurmountable task which required action, desire, fortitude and—like all great plays—presented tangible obstacles. I am excited to present this new story about William Shakespeare and the journey it took to collect, produce and print what we now know as The Complete Works of William Shakespeare. As you will see in tonight’s performance, doing so was not an easy task. I ask you, the audience, to continue to consider, “what if….” I’m thrilled to share and celebrate this new work with you. To Will! —Rodney Lizcano, director Image: STC 22273 Fo.1 no.68, image 32986. Used by permission of the Folger Shakespeare Library.

Synopsis It’s 1619, Shakespeare has been dead three years, and the surviving members of his company (Richard Burbage, John Heminges and Henry Condell) have just endured a truly abysmal performance of Hamlet. They bemoan the bastardization of their dear departed friend’s play at John’s bar, the Globe Tap House, while playwright and poet laureate Ben Jonson attempts to flirt with Alice Heminges, alewife and John’s daughter. Burbage delivers an impromptu performance of Shakespeare’s greatest hits, then exits the bar. The next morning, they learn Burbage has died in the night. Alice, John, Henry, and their wives Rebecca and Elizabeth are horrified to realize that many of Shakespeare’s plays may have died with Burbage and his prodigious memory. After Burbage’s funeral they hatch a plot to collect Will’s plays and publish them together in one volume. They soon discover the immense challenges facing the project. Despite the handful of actor sides (incomplete scripts) buried in corners of their homes and a few scripts in the possession of Ralph Crane, the company’s scribe, many of the plays exist in unauthorized (and unreliable) quartos or not at all. Ed Knight, the company’s prompter (and script-keeper), reminds them how many scripts were lost in a fire at the Globe a few years ago. There’s not enough money, they don’t have rights, and no one will print it—except William Jaggard, the hated, unscrupulous printer who’s made a career of stealing Shakespeare’s work. (His son, Isaac, promises fidelity to the words of his favorite playwright.) As they struggle to get the book printed, the intrepid team faces new challenges, strange bedfellows and unimaginable personal losses. The stakes grow higher to preserve the plays of their dear friend Will, whose words give voice to their rage, bring a little light when the world grows dark, and provide solace when life offers none. —Heidi Schmidt, dramaturg

Dramaturg’s note Most historical events seem inevitable in hindsight. This is one of the great challenges of writing about history—do you try to make the audience forget they already know the ending? Or embrace it and focus on why and how things played out as they did? In The Book of Will, playwright Lauren Gunderson explores the human relationships that motivate the history at the center—the first printing of Shakespeare’s collected works in 1623. We know the First Folio (as it came to be called) was, in fact, printed. Many of us took photos with one a few years ago when the Folger Library toured a few copies throughout the US and stopped in Boulder. We know that if it hadn’t been printed, about half of Shakespeare’s plays would have been lost (including All’s Well That Ends Well, The Two Gentlemen of Verona and Coriolanus—there goes our season). This immensely influential book, however, was improbable, at best. •

Printers had some rights to what they published; writers had none. Printing just made it easier for other companies to steal your words and your ticket sales. Royalties, copyrights and author permission would take several centuries to become normalized.

•

Printing was a laborious process. Each letter was selected and placed by hand, word by word and line by line. Each page was brushed with ink, then hand-pressed on blank paper. Repeat this process for 900 pages, 750 copies.

•

Paper and printing were expensive, especially in folio. (A folio is a large format book, reserved for weighty subjects like religion—not plays. A quarto is a cheaper, smaller format, like a dime store paperback.)

•

Early 17th century London was a primarily oral culture. Londoners went to the theatre to hear a play rather than to see one. The citizens of London had large vocabularies but comparatively low literacy rates. Book ownership was uncommon outside the gentry.

•

Theatre lives in the performance of it, in a group of humans sharing space and stories. It’s easy to forget in a time with so many options for documentation, but in 1623, it required an act of imagination and hubris to translate the ephemerality of theatre to the printed word.

Printing the plays to preserve them for future generations seems obvious to us, but the deck was solidly stacked against Shakespeare’s friends and colleagues. The obvious choice was to not print the book. Which invites the question: What project are you avoiding because it seems impossible? How might the world change if you push forward and do it anyway? Want to learn more? Check out folger.edu/shakespeare/first-folio —Heidi Schmidt, dramaturg #coshakes · @coshakes

How Shakespeare’s characters have marked us This season’s plays examine the lessons we learn in our most intimate relationships —for better or worse—and how we carry them with us out into the world. By Becca Vaclavik

Each summer, the CU Presents editorial team sits down with Tim Orr, CSF producing artistic director, and Wendy Franz, managing director, to discuss what the summer lineup offers audiences thematically. Some years, the answers are as varied as the plotlines themselves. Other years, like this one, a single, central theme bubbles to the surface: The 2022 season explores our closest bonds and how each is impacted by our individual choices. Who do we choose to give our loyalty to? Why do we sometimes betray those we love the most? And, perhaps most importantly, what lessons can we learn from our choices as they propel us forward in the world?  32

2022 Colorado Shakespeare Festival

Photo: Lindsay Ryan, Rodney Lizcano and Sean Scrutchins; Richard III, 2018

“The cornerstones of each of these stories are themes exploring the way friendships are tested, as well as legacy: These plays examine how different groups choose to make their mark on the world,” says Franz, who is also set to direct All’s Well That Ends Well. In prepping All’s Well, Franz has become particularly keen to unpack Shakespeare’s take on what modern audiences have come to know as “cancel culture.” There is no denying that humans can be an unforgiving lot.

And that some people—women, for example; people of color, too—tend to face swifter judgment and harsher consequences for their mistakes, even when made in the folly of their youth. When someone is “canceled,” though, it denies them (or anyone else, for that matter) the opportunity for growth. It snuffs out their chance at making amends. Instead, perhaps, we should seek restorative justice: a modern framework that proves how, when we encounter our transgressions, we have the opportunity to repair them. And then, we have the opportunity to transform our relationships. A lesson for 2022, perhaps, but it’s evident in the pages of this 400-year-old play, says Franz. “There’s richness and maturity here. The play offers life lessons on what can be gleaned when we commit to investing in each other, rather than writing one another off.”

In The Two Gentlemen of Verona, two lifelong friends are faced with the choice of where—and how—to establish themselves as adults in the world. It’s a tried-and-true comingof-age tale, and the audience follows along with laughter (and sometimes sympathetic embarrassment) as each fumbles forward through their first moments of independence. As in All’s Well, the hope for a happy ending rests on whether love and loyalty carry enough weight to bear forgiveness, too. Coriolanus asks similar questions, though on a grander (and darker) scale. In addition to the exploration of intimate relationships, such as those between a mother and son, Shakespeare here puts community and politics on display. What does the government owe its citizens? A thorny question to be sure, and one that cultures across the globe have grappled with for centuries. If you read the directors’ and dramaturgs’ notes for each of these stories—and you should!—you’ll note that, while Shakespeare asks all this and more of his characters and audiences, you’ll be hardpressed to find a clear and concrete resolution to any of his questions. They aren’t easy to answer, of course; which is one reason they make such prolific thematic elements in the Bard’s work. It’s why his work has resonated for centuries. Enter The Book of Will: not by William Shakespeare; it’s about him. More importantly, Lauren Gunderson’s script imagines the true story of his closest friends’ work to ensure his legacy prevails, even after he is no longer around to do so himself. Rodney Lizcano—making his Rippon directorial debut, but you’ll recognize him from recent CSF roles as Oberon, Andrew Aguecheek, the titular Richard III— says this play, a love letter to theatre

folk, is the perfect Shakespearean festival companion piece. The lessons offered here on stage resonate for shifts happening inside the Colorado Shakespeare Festival as well, as leadership continues to pursue a more equitable and inclusive organization. “Tim [Orr] and I are always trying to figure out how to be better leaders,” says Franz. “Every year, we feel further away from the experience of the younger generations we are hiring. We’re continuously holding strategic conversations about new groups who have different expectations for their jobs and the world and how we can connect with them. “These plays very much parallel that generational divide. The stories show how even when we don’t ‘get’ each other or don’t listen, we all have many of the same experiences. The more things change, the more they stay the same.” In this way, The Book of Will ties each story together this summer. It helps illustrate why audiences return time and time again to the pages of Shakespeare’s work, seeking outside perspectives and potential solutions to some of our most human dilemmas. “The Book of Will looks back across the big arc of Shakespeare’s work and of being a company and surviving as a company. Audiences will really get a feel for the longevity and timelessness and seeming indestructibility of Shakespeare’s work,” says Orr. “It’s also a remembrance of people we’ve lost. That’s a big, loud ding of the bell for me as well, given what we’ve experienced as a community in recent years. That’s the power of theatre.” #coshakes · @coshakes

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What is a happy place? It’s somewhere you can go, no matter what and find feel-good-feelings. It can be a memory, old or new. A situation. An activity. A ritual. The only requirement is that it makes you feel happy and you’re welcome anytime. Downtown Boulder. Welcome to your happy place!

VisitDowntownBoulder.com

By William Shakespeare Directed by Anthony Powell

Artistic team

Cast

Director Anthony Powell+

ROMANS Caius MARTIUS, later Caius Martius CORIOLANUS Gareth Saxe*

Scenic Designer Kevin Nelson Costume Designer Janice Benning Lacek Lighting Designer Katie Gruenhagen Sound Designer Jason Ducat^ Dance / Movement Choreographer Erika Randall Fight Choreographer Benjamin Reigel Dramaturg Heidi Schmidt Voice and Text Coach Mare Trevathan Stage Manager Christine Rose Moore* Assistant Stage Manager Teresa Gould*

VOLUMNIA, mother to Coriolanus Kathleen Turco-Lyon* VIRGILIA, wife to Coriolanus Madison Taylor YOUNG MARTIUS, son to Coriolanus Grace Gruber COMINIUS, consul and general Jihad Milhem* MENENIUS Agrippa Brik Berkes* Titus LARTIUS Ryan Omar Stack SICINIUS Velutus, tribune of the people Topher Embrey Junius BRUTUS, tribune of the people Matthew Schneck* VALERIA Jessica Robblee* HERALD Jo Hoagland

+ Member, Stage Directors and Choreographers Society

Sponsors

^ Member, United Scenic Artists

• Alpine Hospital for Animals • Hazel’s Beverage World

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

Head of the Roman Senate VOLSCIAN LORDS Sam Sandoe Matthew Schneck*, Christian Tripp OFFICERS of the Capitol Griffin Nielsen, Ryan Omar Stack

VOLSCIAN COMMONERS Topher Embrey, Jo Hoagland, Jihad Milhem*, ROMAN CITIZENS Griffin Nielsen, Sam Topher Embrey, Jihad Milhem*, Jessica Robblee*, Sandoe, Ryan Omar Stack Benjamin Reigel*, ENSEMBLE Sam Sandoe, Matthew Brik Berkes*, Topher Schneck*, Ryan Omar Embrey, Jo Hoagland, Stack, Madison Taylor Jihad Milhem*, Griffin Nielsen, Benjamin ROMAN SOLDIERS Reigel*, Jessica Robblee*, Jo Hoagland, Griffin Sam Sandoe, Matthew Nielsen, Madison Taylor, Schneck*, Ryan Omar Christian Tripp Stack, Madison Taylor, SERVANTS Christian Tripp, Kathleen Jo Hoagland, Ryan Omar Turco-Lyon*, Grace Gruber Stack, Sam Sandoe SWINGS Caius Martius as a boy Ilana DeAngelo, Grace Gruber Jordan Pettis VOLSCIANS UNDERSTUDIES Tullus AUFIDIUS, general Topher Embrey, Jo Benjamin Reigel* Hoagland, Jihad Milhem*, VOLSCIAN LIEUTENANT Jessica Robblee* VOLSCIAN SOLDIERS Topher Embrey, Griffin Nielsen, Matthew Schneck*

• Wright Water Engineers • Elevations Credit Union

Griffin Nielsen, Jessica Robblee*, Sam Sandoe, Ryan Omar Stack, Christian Tripp

• Martin/Martin Consulting Engineers #coshakes · @coshakes

Director’s note Part political satire and part portrait of an utterly driven army veteran returning to civilian life, Coriolanus is a strange and powerful work that defies easy categorization. George Bernard Shaw puckishly called this play “the greatest of Shakespeare’s comedies,” and while there’s no denying that the script is filled to brimming with deliciously sly humor, Coriolanus moves back and forth between hilarity and heartbreak with dizzying speed. Unsettling family dynamics abound, and Coriolanus himself—”a thing of blood,” as he is called—remains one of Shakespeare’s most troubled (and troubling) creations. He’s a man who thrives on carnage, a military hero unable to function normally during peacetime. And while Coriolanus is widely acknowledged as being one of Shakespeare’s most explicitly political dramas, the Bard’s personal views prove stubbornly difficult to pin down. Coriolanus was probably the last tragedy Shakespeare ever wrote, and for much of its production history the play has been successfully co-opted by both the political right and left. Members of each camp have routinely claimed Coriolanus for their own, but Shakespeare himself wisely abstains from taking sides and simply lets the satiric arrows fly. But then, that’s the essential nature of this fierce and funny tragicomedy: Nothing is sacred and everybody’s fair game—even if his name happens to be “Caius Martius Coriolanus.” —Anthony Powell, director 36

2022 Colorado Shakespeare Festival

Scenic rendering by Kevin Nelson. Costume renderings by Janice Benning Lacek.

Synopsis Rome is in crisis. The starving citizens blame the patricians for the high cost of food, and a gang of them come looking for the imperious war hero Caius Martius. The altercation is interrupted by news of military threat by the Volscians, an enemy at the edges of Rome. Martius heads to war while his wife Virgilia worries and his mother Volumnia celebrates his bravery. After victory against the Volscian general Aufidius at Corioli, Martius is renamed Coriolanus. In Rome, the Senate chooses Coriolanus for consul and he controls his unruly tongue long enough to win over the citizens to his election. Tribunes of the people Brutus and Sicinius, however, plot against him and convince the citizens he was mocking them with faux humility. The citizens change their minds; Coriolanus is enraged at their fickleness and ignorance. The tribunes accuse him of treason against the people and succeed in banishing him from Rome. As Volumnia curses the tribunes, Coriolanus leaves Rome and seeks out Aufidius in Antium. The former enemies agree to conquer and destroy Rome together. Rumors of the alliance reach Rome, causing general panic and regret over the banishment. As the armies make their way to Rome’s gates, Aufidius questions the alliance, suspecting his own men’s loyalty may have shifted to Coriolanus. Coriolanus and Aufidius arrive outside Rome; the Romans ask Menenius, a former friend and confidante to Coriolanus, to visit the camp and beg for mercy for Rome. His pleas fail to sway Coriolanus. Volumnia, Virgilia and Young Martius (Coriolanus’ son) arrive at the camp. His mother convinces him to spare Rome and Volumnia returns to the city in triumph. Coriolanus returns to Antium with Aufidius, and to a final confrontation when Aufidius names him a traitor to their cause. —Heidi Schmidt, dramaturg

Dramaturg’s note Julius Caesar, the most familiar of Shakespeare’s Roman plays, takes place in the late Roman Republic—a Republic on the verge of Empire. For Coriolanus, we backtrack nearly five centuries to the infancy of that Republic. The birth of the Roman Republic is usually dated to 509 BCE, when the monarchy was abolished. Part fact, part legend, the story goes something like this: The last Tarquin king, Tarquin the Proud, reigned as a tyrant after murdering his father-in-law for the throne (and murdering many others to keep it). His son Sextus developed an obsession with his cousin’s wife Lucretia, raped her while her husband was away, then threatened to kill her as an adulteress. Lucretia survived the attack, secured a vow from her husband to avenge her and destroy the Tarquins, then killed herself. (If this sounds familiar, it’s the subject of Shakespeare’s narrative poem, “The Rape of Lucrece.”) This last straw sparked a revolution in which the Romans expelled the Tarquins and founded the Republic, rooted in a deep mistrust of centralized power and of kings. (Contrast this with the dominant political philosophy in Shakespeare’s England—the Divine Right of Kings.) Far from a universal democracy, the early Republic was dominated by class conflict—the Struggle of the Orders, as it’s often called. In the first years of the Republic, power was highly concentrated among a handful of aristocratic families, the patricians, who created the Republic and controlled its government. In place of a single monarch who would rule for his lifetime, the patricians elected two consuls at a time to serve terms of one year. The plebeians, however, were unsatisfied with patrician rule and often nostalgic for the Tarquins, who (for all their sins) better met the needs of the common people. The plebeians had three key demands for the patrician leadership of the brand new Republic: debt relief, access to land, and representation in political and religious office. When the senate and the consuls failed to meet these demands, the plebeians seceded from Rome in about 494 BCE. They created their own government, including elected tribuni plebis, or tribunes of the people, to lead them. There were at least two tribunes (later standardized to 10), whose primary responsibility was to protect the plebeians from the patricians— including the consuls. This parallel government was eventually incorporated into official Roman political structure, but conflicts over representation continued. Coriolanus, based on the historical Gnaeus Marcius Coriolanus and actual events from 495-490 BCE, takes place against this backdrop. —Heidi Schmidt, dramaturg

#coshakes · @coshakes

By Ben Jonson (1572-1637) Actor-managed by Kevin Rich

Artistic team

Cast

Actor-manager Kevin Rich

SUBTLE, the alchemist Sean Scrutchins*

Scenic Designer Inspired by David J. Castellano^

FACE, the housekeeper Shunté Lofton*

Costume Coordinators Megan Keenan Phi Le Audrey Lewis Lighting Designer Zoe McCracken Keelin Connolly Sound Designer Wes Halloran Props Coordinators Olivia Allen Camryn Lang

DOLL COMMON, colleague of Subtle and Face Madison Taylor DAPPER, a clerk Griffin Nielsen DRUGGER, a tobacco-man Topher Embrey

TRIBULATION, a pastor of Amsterdam Sam Sandoe ANANAIS, a deacon of Amsterdam Chloe McLeod KASTRIL, the angry boy Jessica Robblee* DAME PLIANT, a widow, sister to Kastril Ilana DeAngelo

NEIGHBOURS Topher Embrey, Ilana LOVEWIT, the owner of the DeAngelo, Griffin Nielsen house OFFICER Kevin Rich* Ilana DeAngelo

Fight Director Benjamin Reigel

EPICURE MAMMON, a knight Matthew Schneck*

Dramaturg Heidi Schmidt

SURLY, a gamester Jacob Dresch*

PROMPTER Heidi Schmidt MUSICIAN David Willey

Stage Manager Paul Behrhorst* Assistant Stage Manager Kaylyn Kriaski*

^ Member, United Scenic Artists * Member, Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States

Sponsors • Jason Trow • Alpine Hospital for Animals

2022 Colorado Shakespeare Festival

• Hazel’s Beverage World • Wright Water Engineers

Synopsis

Actor-manager’s note

Lovewit has abandoned his house in the city until the plague subsides. In his absence, his butler Face, along with co-conspirators Subtle and Doll Common, are scamming Londoners; they convince a series of gullibles that they’re experts in all manner of occult arts, particularly alchemy. A lawyer’s clerk (Dapper) wants a “familiar spirit” to ensure his gambling luck. In exchange for a generous upfront fee and a share of his winnings, the trio promises the favor of the queen of the fairies. A nearby tobacconist (Drugger) hopes for magical advice to make his shop prosper—and for a little help to marry Dame Pliant, the beautiful, rich widow next door. Sir Epicure Mammon fantasizes of the wealth he’ll soon have, despite his friend Surly’s deep skepticism. Mammon continues to provide funds and insists Subtle is about to deliver the promised “philosopher’s stone” and he’ll turn everything to pure gold. A pair of pious pastors, Tribulation Wholesome and Ananias, have also paid handsomely for the not-quite-ready philosopher’s stone, hoping that untold wealth will help their religious cause. Dame Pliant’s brother, Kastril, hears “quarreling” is fashionable in town and wants to learn how to win.

After eight years of producing Shakespeare in the OP slot, this year we’re turning our attention to a contemporary of Shakespeare’s: Ben Jonson. One of my favorite things about the Original Practices project here at CSF is the opportunity it provides to experiment with the staging practices that both Shakespeare and his contemporaries incorporated into their plays. It has been illuminating to perform Shakespeare’s plays as they were written to be performed, with audience engagement, actors playing multiple roles, lightning-fast costume changes, onstage musicians and line prompters. I’m very interested in applying these practices to Jonson’s work as well, which is quite different than Shakespeare’s.

Shenanigans, disguises—including Surly pretending to be a Spanish don in order to gather proof of fraud—and false promises ensue until Lovewit returns home unexpectedly and hears his neighbors tell him of strange doings in his absence. Face denies all, and as the victims arrive one by one, insists there must have been a jailbreak at the local madhouse. Face confesses to Lovewit but promises that forgiveness will get him wealth and a wealthy widow. Lovewit promises he’ll return all the stolen property to the victims—as long as they get a court order. Unwilling to publicly declare how badly they’ve been fooled, they each slink off. Lovewit, disguised as the Spanish don, marries Dame Pliant. Meanwhile, Subtle and Doll are getting tired of Face, and plot to run off together after they con the young widow out of all her jewels. Before they can, Face tells them Lovewit knows all, officers are coming, and the best they can hope for is to escape with the clothes on their backs. —Heidi Schmidt, dramaturg

It’s been a pleasure serving as “actor-manager” of CSF’s Original Practices (OP) production for a fourth year. In Shakespeare’s day, productions weren’t 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 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.

To compare Shakespeare and Jonson is to consider a country heart versus a city brain. Shakespeare sides with his characters; Jonson lampoons his. Shakespeare’s comedies often feature characters who flee the court and experience some degree of redemption or transformation; Jonson’s satires expose and criticize the human flaws that never change. In The Alchemist, it’s greed he’s targeting—and gullibility, too—as our three conspirators Face, Subtle and Doll Common work together to deceive their neighbors into believing that they’ll all become millionaires overnight through alchemy. We’re performing his most celebrated satire on the set of The Book of Will, which includes Jonson as a character in the play. (This play is timely for other reasons, as well, as the action takes place during a pandemic; the owner of the house, Lovewit, is absent because he’s gone to the country to quarantine!) You’ll notice that the audience doesn’t have flags to wave for this OP production, as this is not a history about England vs. France; instead, we’re leaning into a different way to engage the audience by seating some audience members on stage, as they were seated in Shakespeare’s day. We are delighted to be sharing this brutally funny play with you, which in many ways is as relevant as ever. —Kevin Rich, actor-manager

#coshakes · @coshakes

Who’s who Actor Brik Berkes*

Menenius Agrippa / Ensemble

King of France

Landon Tate Boyle

Outdoor Swing

Troy Coleman

Eglamour / Verona Extra

Marcus / Bernardo / Ensemble

Anastasia Davidson

Silvia / Verona Extra

Rebecca Heminges / Anne Hathaway Shakespeare

Ilana DeAngelo Jacob Dresch*

Diana Ralph Crane / Francisco

Speed

Sarah Duttlinger

Indoor Swing

Topher Embrey

Lord G. / Rinaldo

Logan Ernstthal*

Indoor Swing

Panthino / 3rd Outlaw

Surly

Sicinius Veletus / Ensemble

Drugger / 3rd Neighbor

Ben Jonson / Ensemble Young Martius / Caius Martius as a boy / Ensemble

Grace Gruber Matara Hitchcock

Dame Pliant / 2nd Neighbor / Officer

Outdoor Swing

Outdoor Swing Mariana / Att. to King 2 / Servant

Jo Hoagland

3rd Citizen / Ensemble

Walter Kmiec* Valentine

John Heminges

Kyle J. Lawrence

Cosimo

Boy Hamlet / Horatio / Ensemble

Lucinda Lazo

Host / 4th Outlaw / Verona Extra / Milan Extra

Crier / Ensemble

Shunté Lofton*

Julia

Alice Heminges / Susannah Shakespeare

Face

Chloe McLeod

Lucetta / 2nd Outlaw / Milan Extra

Barmaid / Fruit Seller / Marcellus

Ananais

Jihad Milhem*

Court Lord 1 / 1st Soldier (Morgan)

2022 Colorado Shakespeare Festival

Cominius / Ensemble

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

Actor Griffin Nielsen

Court Lord 4 / Soldier

4th Citizen / Ensemble

Jordan Pettis

Indoor Swing

Benjamin Reigel*

Lavatch / Court Lord 2

Tullus Aufidius / Ensemble

Kevin Rich*

Duke / Verona Extra

Jessica Robblee* Christian Ray Robinson

Dapper / 1st Neighbor

Henry Condell Widow / Att. to King 1

Lovewit Valeria / Ensemble

Kastril

Tribulation

Compositor / Sir Edward Dering / Ensemble

Thurio / Verona Extra

Sam Sandoe

Duke of Florence / Court Lord 3 / Soldier

Head of Roman Senate / Ensemble

Gareth Saxe*

Lafeu / 2nd Soldier

Caius Martius Coriolanus

Matthew Schneck*

Paroles

Junius Brutus / Ensemble

Sean Scrutchins* Karen Slack

Proteus

Ed Knight / Isaac Jaggard / Ensemble

Antonia / 1st Outlaw / Milan Extra

Elisabeth Condell / Emilia Bassano Lanier

Epicure Mammon Subtle

Ryan Omar Stack

Bertram

Titus Lartius / Ensemble

Madison Taylor

Helen

Virgilia / Ensemble

Christian Tripp

Lord E.

1st Citizen / Ensemble

Kathleen Turco-Lyon*

Countess of Roussillon

Volumnia / Ensemble

Gary Alan Wright*

Launce

Mabel

Crab

Zebulon “Zeb”

Crab

Doll Common

Richard Burbage / William Jaggard

#coshakes · @coshakes

Acting company BRIK BERKES* is thrilled to be joining the Colorado Shakespeare Festival this season. His regional credits include The Curious Case of the Watson Intelligence at Relative Theatrics; Charm at Salt Lake Acting Company; The Little Dog Laughed at Portland Center Stage; Proof, Glengarry Glen Ross, and Medea with Phylicia Rashad at The Alliance Theatre; as well as The Tempest, King Lear, A Midsummer Night’s Dream, Sherlock Holmes, The 39 Steps, Around the World in 80 Days, among others during nine years with the Alabama Shakespeare Festival. His film credits include Kill the Messenger; Run, Ronnie, Run!; and Ruby in Paradise; his TV credits include Good Eats with Alton Brown and Foods That Built America. (1 season) LANDON TATE BOYLE is making his CSF debut. His other credits include Big River, Henry VI: Parts 1-3, Macbeth, The Merry Wives of Windsor, The Pirates of Penzance, and Ragtime (Utah Shakespeare Festival); All is Calm (Alabama Shakespeare Festival); Kinky Boots (Arvada Center); A Midsummer Night’s Dream (Repertory Theatre St. Louis); Romeo and Juliet (Redhouse Arts Center); The Wizard of Oz (Syracuse Stage); The Tempest (Secret Theatre NYC); and A Christmas Carol (DCPA Theatre Company). He holds a BFA in acting from the Sargent Conservatory at Webster University, and has trained in corporeal mime and contortion. (1 season)

TROY COLEMAN holds a Bachelor of Fine Arts from Colorado State University and completed The Second City Training Center Conservatory Program in his adopted hometown, Chicago. He has worked with the National Theatre for Children, was repeatedly killed with Defiant Theatre, and overcame modesty with Hell in a Handbag Productions. His favorite roles include Stephano in The Tempest, Detective Cole in Stop Kiss and Tybalt in Romeo and Juliet. He is currently pursuing a Master of Arts in theatre and performance studies at CU Boulder and is also a proud member of SAG/AFTRA. Offstage, he is a runner, vegan and animal activist who loves hikes with his wife and Westie Maggie Mayhem. (1 season) ANASTASIA DAVIDSON is delighted to return to CSF after last being seen as the Ghost of Diana in King Charles III in 2019. Since moving to Colorado in 2016, Davidson has had the pleasure of performing at many theatres across the Front Range, including the Arvada Center, Denver Center for Performing Arts, Butterfly Effect Theatre of Colorado, the Catamounts, Curious Theatre Company, Miners Alley Playhouse and more. She wrapped shooting the feature film Publish or Perish earlier this year, and her voiceover and motion capture work can be seen in the graphic adventure video game series Life is Strange. Davidson holds an MFA from Pennsylvania State University. (3 seasons) ILANA DEANGELO is originally from Marblehead, Massachusetts. She holds a degree in musical theatre from the University of Northern Colorado. Her credits include #14 in The Wolves and Lucinda in Into the Woods (The Little Theatre of the Rockies). (1 season)

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. (2 seasons)

2022 Colorado Shakespeare Festival

SARAH DUTTLINGER is thrilled to join CSF’s summer season for the first time. Previously with the CSF Educational Tour she played Brutus in Julius Caesar and Toby and Olivia in Twelfth Night. Recent roles include Feste in Twelfth Night and King Henry VI in She Wolf with Prague Shakespeare Company, and Front Range Fables with Colorado Springs Fine Arts Center. Duttlinger is an advanced-actor combatant with the SAFD and has recently graduated from Mary Baldwin University in association with the American Shakespeare Center with her MFA in Shakespeare & performance. (1 season)

TOPHER EMBREY has recently played Cliton in The Liar, Boxer/ Mollie in Animal Farm (Arvada Center); Sir Toby in Twelfth Night (Nashville Shakespeare Festival); Mercutio/Lord Capulet in Romeo and Juliet (Red Bull Theater); Dromio of Ephesus in The Comedy of Errors, Bottom in A Midsummer Night’s Dream, Christmas Present in A Christmas Carol, and myriad other roles in Sense and Sensibility, The Winter’s Tale, Antigone, Cymbeline, and The Grapes of Wrath (American Shakespeare Center); Simon Fernando in The Lost Colony (Waterside Theatre); Ted in Peter and the Starcatcher and varied roles in Antony and Cleopatra, The Tempest, and Pericles (Orlando Shakespeare Theatre); and has appeared in The Merchant of Venice, The Two Gentlemen of Verona, Julius Caesar, and Richard III (Virginia Shakespeare Festival). He holds a BFA in performing arts from Christopher Newport University. (1 season) LOGAN ERNSTTHAL* has performed at the Colorado Shakespeare Festival in The Comedy of Errors (2011), Antony and Cleopatra (2004), Twelfth Night (2012) and Treasure Island (2012). His other credits include The Ladies Man, Road To Mecca, The Liar and Animal Farm (Arvada Center); General Store (world premiere), Our Town, The Joy of Going Somewhere Definite, Moon for the Misbegotten and A Beautiful Country (Creede Repertory Theatre); The Merry Wives of Windsor, King Lear and The Comedy of Errors (Riverside Shakespeare); Of Mice and Men (Colorado Springs Fine Arts Center); and Skull In Connemara (Miner’s Alley Playhouse). He hold an MFA from the University of Missouri Kansas City. (3 seasons) GRACE GRUBER is honored to be performing with Colorado Shakespeare Festival for the first time. She has attended Camp Shakespeare for several years and has trained in tap, jazz and hip hop. Gruber previously appeared in BETC’s A Christmas Carol at the Dairy Arts Center. (1 season)

MATARA HITCHCOCK has worked in various capacities at CSF since 2019 and enjoys artistic and administrative theatre work. She is a member of the CU Playback Ensemble, saw her own play A Book of Common Prayer in the CU New Play Festival, and performed in immersives A Dickens Experience and Information for Foreigners. Other recent credits include Agnes (She Kills Monsters), Lady Katherine (Falstaff in Love), Miss Havisham (Great Expectations) and a swing for CSF’s King Charles III. She holds a BA from her time as a McDermott Scholar at UT Dallas and a MA/ MBA from CU Boulder. (4 seasons)

JO HOAGLAND is a third-year student at the University of Colorado Boulder, pursuing their BFA in acting with minors in business and French. Some of their favorite recent CU credits include the title role in Gallathea, Kaliope in She Kills Monsters: Virtual Realms, Escalus / Juliet in Measure for Measure and Lambchop in Climate Cabaret. (1 season)

WALTER KMIEC* is a theatre artist based out of Orlando, Florida. His acting credits include Much Ado About Nothing; Henry IV, Part 1; The Three Musketeers; and Snow White with the Orlando Shakespeare Theater, as well as title roles in Hamlet and Macbeth for Endstation Theater Company (Virginia), where he served as artistic director for two years. He holds an MFA in directing from Florida State University and does adjunct work for Stetson University. His directing credits include Cymbeline, Counter/Top (premiere) and The Importance of Being Earnest. His writing credits include a Shakespeare adaptation titled The Two Gentlemen of Virginia. (1 season)

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

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KYLE J. LAWRENCE is a recent graduate of CU Boulder’s BFA in acting program with minors in music and dance. His recent credits include Rhys Thurston (Appropriate, CU Boulder) Billy Idol (The Wedding Singer, Northglenn Players), and Peter Quince (The Popular Mechanicals, CU Boulder). He has worked as an actor, director, singer, music director and teacher in various university and professional companies. (1 season)

BENJAMIN REIGEL* is originally from Wisconsin and has lived and worked all over the country. He has scores of credits at theatres from coast to coast including Milwaukee Repertory Theatre, American Players Theatre, Farmers Alley Theatre, First Stage Children’s Theatre, Aspen Fringe Festival, and the Oregon, Utah, Texas, Michigan, Maine, Wisconsin, and Milwaukee Shakespeare Festivals. He received his MFA from the University of Delaware’s Professional Theatre Training Program (PTTP) and currently resides with his family in Grand Junction, where he serves as associate professor of acting and directing at Colorado Mesa University. (1 season)

LUCINDA LAZO grew up in Pueblo, Colorado, with an extensive history performing traditional Baile Folklórico dance. She is a thirdyear BFA in acting student with a minor in dance at the University of Colorado Boulder. Her recent credits include roles as Isabella in Measure for Measure, The Nina in Airness! and Lilith in She Kills Monsters at CU Boulder Theatre & Dance. She is the Dorothy & Carl Nelson Acting Intern for this year’s summer outdoor season with the Colorado Shakespeare Festival. (1 season)

KEVIN RICH’s* recent acting credits include Pericles, King John and Edward III at CSF, and Murder on the Orient Express and Small Mouth Sounds with the Arvada Center Black Box Rep. Previous credits include the Illinois Shakespeare Festival, Chicago Shakespeare, Milwaukee Shakespeare, Shakespeare & Company, Kentucky Shakespeare and Portland Center Stage. He holds a BA from Grinnell College and an MFA from Yale School of Drama. (4 seasons)

SHUNTÉ LOFTON* is elated to be returning to CSF this summer! In 2019 she played Celia in As You Like It, Jess in King Charles III and Constance in King John. She spent five seasons working at the American Shakespeare Center in Staunton, Virginia, where she performed in 22 productions. Some of her favorite credits include Ophelia in Hamlet, Princess of France in Love’s Labour’s Lost, Celia in As You Like It and Lady Anne in Richard III. Her selected regional credits include: Chorus in Medea (Alley Theatre), Perdita in The Winter’s Tale (4th Wall Theatre Company), Esther in Intimate Apparel (University of Houston), and Anya in The Cherry Orchard (Classical Theatre Company). She is projected to graduate from the Case Western Reserve University / Cleveland Play House MFA acting program in 2024. (2 seasons)

JESSICA ROBBLEE* holds a BA in theatre and English from Davidson College and an MA in theatre education from the University of Northern Colorado. She performed last summer with CSF in A Midsummer Night’s Dream, The Odyssey and Pericles. Her other credits include Twelfth Night and Romeo and Juliet (CSF); Frankie and Johnny in the Clair de Lune (Miners Alley Playhouse); Sylvia, Sense and Sensibility, The Foreigner, and Drowning Girls (Arvada Center Black Box); Frankenstein, All the Way, and Lord of the Butterflies (Denver Center for the Performing Arts); and Siren Song, Duck Duck Dupe, and Trunks: a live comic book (Buntport Theater for All Ages). (3 seasons)

CHLOE MCLEOD’s recent credits include A Midsummer Night’s Dream, The Odyssey, You Can’t Take It With You (Colorado Shakespeare Festival); Anna Karenina, A Christmas Carol (DCPA Theatre Company); This is Modern Art (DCPA Off-Center); A Christmas Carol (Butterfly Effect Theatre of Colorado); Macbeth, A Midsummer Night’s Dream, Romeo and Juliet (DCPA Shakespeare in the Parking Lot); Fun Home, Biloxi Blues (Miners Alley Playhouse); Bad Jews (Edge Theater); and Little Women (Aurora Fox). She is a teaching artist with DCPA Education and studied at the American Musical and Dramatic Academy in New York. (3 seasons)

CHRISTIAN RAY ROBINSON is elated to be back working with CSF. Most recently he was seen in The Legend of Georgia McBride at the Colorado Springs Fine Arts Center. His other credits include Ocean in a Teacup (Off-Broadway / Theatre Row); A Christmas Carol (DCPA); Native Gardens (Eagle Theatre); Shakespeare in the Parking Lot (DCPA Education); A Midsummer Night’s Dream, The Odyssey, You Can’t Take It With You, and Richard III (CSF); Ragtime (Midtown Arts Center); The Producers and Joseph and the Amazing Technicolor Dreamcoat (Colorado Springs Fine Arts Center); and The Importance of Being Earnest (Breckenridge Backstage Theatre). His TV / film / VO credits include The Marvelous Mrs. Maisel, Plot Against America, Expulse, Yugioh! Duel Links and Foreward. He holds a Bachelor of Arts in musical theatre from the University of Northern Colorado. (3 seasons)

JIHAD MILHEM* is honored to be returning to CSF for his sixth season. He has worked professionally as an actor, director, playwright and teaching artist with numerous regional theatre companies in Colorado and around the country including BETC, the Black Actor’s Guild, the Arvada Center Theatre, Miner’s Alley Playhouse, Off Square Theatre, Theatreworks Colorado Springs, the Edge Theatre, and square product theatre. His play, Mosque, has been produced locally in Denver. He is represented by Radical Artists Agency and is a proud ensemble member of the Butterfly Effect Theatre of Colorado (BETC). (6 seasons)

SAM SANDOE has acted with the Colorado Shakespeare Festival since 1970 and has done more than 60 versions of Shakespeare’s plays as well as 12 non-Shakespeare productions. He has also worked locally with the Butterfly Effect Theatre of Colorado, Longmont Theatre Company, Upstart Crow, 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, San Diego. With this summer’s production of Coriolanus he will have acted in every one of Shakespeare’s 37-play canon. (32 seasons)

GRIFFIN NIELSEN was exposed to Shakespeare performance at a young age with a dream-role of Puck in A Midsummer Night’s Dream and has been chasing that high ever since. A year of indepth Shakespeare training at CU Boulder has helped pave the way for his CSF debut, and he is beyond excited to help bring to life the Shakespearean magic he enjoyed as a kid in the audience growing up. He will graduate with a BFA in theatre from the University of Colorado Boulder in August 2022. (1 season)

GARETH SAXE’s* Broadway credits include The Homecoming, The Lion King and Heartbreak House. Off-Broadway and regionally, he has been privileged to work with Frances Stemhagen in Echoes of War, Jane Alexander in A Moon to Dance By, and Alvin Epstein in Nikolai and the Others. His other highlights include Harper Regan (Atlantic Theater Company); and Hamlet and Dangerous Liaisons (Shakespeare Theatre of New Jersey). He appeared in the Denver Center’s premiere of Bonnie Metzger’s You Lost Me and at the Arvada Center in A.R. Gurney’s Sylvia. He is a proud graduate of Colorado College and NYU’s MFA program. (4 seasons)

JORDAN PETTIS is thrilled to be joining this storied company for his first season. His favorite credits include Armado in Love’s Labour’s Lost, The Douglas / Mortimer in Henry IV, Part 1, Slender in The Merry Wives of Windsor, and Montano in Othello (Montana Shakespeare in the Parks); the world premiere reading of Scoundrel (Here We Go Winter Festival in NYC); and Carl Finnegan in The Incredible Hank (New Millennium Theatre Company in Chicago). His music and compositions have also been featured in several Shakespeare productions throughout Montana and Illinois. He holds a BFA from the University of Illinois and currently resides in Los Angeles with his soulmate. (1 season)

MATTHEW SCHNECK* was seen previously at CSF in Love’s Labour’s Lost (Holofernes), Cyrano de Bergerac (Le Bret), Julius Caesar (Cassius), The Taming of the Shrew (Grumio), and Henry VI, Part 3 (King of France). Since relocating to Colorado in 2017, he has performed with Local Theater Company (Henry Award Nom.), The Denver Center Theater Company, Stories on Stage, and Curious Theatre Company. His other selected credits include London Assurance (Nominated for four Tony Awards), The Merchant of Venice (The Royal Shakespeare Company), and The Temperamentals (New World Stages, NYC; Drama Desk Award Winner). He is the author of 12 plays, has held academic appointments at Southern Oregon University and the University of Kentucky, and currently teaches acting and directing at the University of Colorado Denver while also serving as a teaching artist at The DCPA. He is a proud graduate of the National Theatre Conservatory. (3 seasons)

2022 Colorado Shakespeare Festival

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

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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. His previous acting credits include A Midsummer Night’s Dream (2013 and 2021), Much Ado About Nothing (2015), Henry V (2015), The Comedy of Errors (2016), Troilus and Cressida (2016), Cymbeline (2016), Hamlet (2017), Rosencrantz and Guildenstern Are Dead (2017), Richard III (2018), The Odyssey (2021) and Pericles (2021) (CSF); The Liar, Animal Farm, Tartuffe, Bus Stop and Waiting for Godot (Arvada Center); American Son, Appropriate, The Whipping Man, and 9 Circles (Curious Theatre); 1984 (Benchmark). (8 seasons) KAREN SLACK is a Denver local trained at the American Academy of Dramatic Arts and HB Studio in New York. Some of her favorite roles include Medea (Medea), Lady Macbeth (Macbeth), Frida Kahlo (Painted Bread), Beatrice (Much Ado About Nothing), Vanda (Venus in Fur), Eurydice (Eurydice), and the one-woman shows 9 Parts of Desire and The Syringa Tree. She is a company member with Curious Theatre Company and has worked with various theatres throughout Colorado receiving awards and accolades for her work. (7 seasons)

MABEL, a sweet 8-year-old lab mix, was adopted as a rescue from the Humane Society of Boulder County. She loves long walks where she can sniff the ground and greet other dogs and people. When she’s not out walking, Mabel spends her days sunbathing in the backyard or in a sunny spot in the house. The Two Gentlemen of Verona is her stage debut, and she’s very happy to be a part of the Colorado Shakespeare Festival. (1 season)

ZEBULON, known by his friends as “Zeb,” lives with his puppy raiser Sharon Nuanes. Bred to do great things, Zeb is trained for service through Canine Partners of the Rockies and spends his days as a Facility Intervention Dog at DCS Montessori, where he works with his handlers in the special education and counseling departments. Ever the show dog, Zeb is honored to be taking the stage this summer in the role of Crab. (1 season)

RYAN OMAR STACK is making his CSF debut. He is a teaching artist touring in repertory for Shakespeare in the Parking Lot (DCPA Education), which includes roles as Macbeth, Romeo, Mercutio and more. Other local credits include Actor 5 in the world premiere Our American Cousin: A Nation Divided, D-Vicious in Airness, and Martin in 1984 (Benchmark Theatre); and Dr. Rosen in Jest A Second! (Cherry Creek Theatre). He is a volunteer CASA and resident artist at Benchmark Theatre. He holds a Bachelor of Arts from Benedictine College, with additional training through DCPA Education and as a Lewis-Myers Scholar. (1 season)

MADISON TAYLOR played her dream-role of Juliet in 2019 on the Mary Rippon Outdoor Theatre, as well as the ever-fierce Antonia in Twelfth Night. Her Off-Broadway credits include Roxane in Cyrano de Bergerac with Titan Theatre Company, and regional credits include Desdemona (Othello) with Montana Shakespeare in the Parks, and Maria (Twelfth Night) and Margaret (Richard III) with the Houston Shakespeare Festival. A few of her other favorite credits from Houston include Guildenstern (Rosencrantz and Guildenstern Are Dead), Anne Whitefield (Man and Superman), and Beth (A Lie of the Mind). She received her MFA from the University of Houston’s Professional Actor Training Program and currently resides in Los Angeles with her soulmate. (2 seasons) CHRISTIAN TRIPP is an actor, director, playwright and teaching artist. He holds a BFA in acting from Emory & Henry College and an MFA from the University of Alabama’s acting concentration. He is honored to be returning to CSF for his second season after performing last summer in A Midsummer Night’s Dream, The Odyssey and Pericles. His other credits include productions with the Barter Theatre, Camden Shakespeare Festival, Flagstaff Shakespeare Festival and UpstART Theatre Company. (2 seasons)

KATHLEEN TURCO-LYON* is pleased to join CSF’s 2022 season. Her Off-Broadway and regional credits include Prospero (The Tempest), Arkadina (The Seagull), Barbara (August: Osage County [Outstanding Supporting Actor; Pittsburgh Post Gazette]), Lady Bird Johnson (All The Way), Queen Elizabeth I (Elizabeth Rex), Merteuil (Les Liaisons Dangereuses), Chorus (Hecuba), among many others. She has adapted Henry James’ novels The Europeans and The Awkward Age for the stage, and Shakespeare’s Timon of Athens (with director Randall Stuart), and played the title role. She has developed Creating Character Through Gesture workshops for actors, based on the work of Michael Chekhov. She is a proud member of The Actors Center (theactorscenter.org), Dramatists Guild, SAG-AFTRA, and AEA, and currently resides in New York City. (1 season) GARY ALAN WRIGHT* is returning for his eighth season with the Colorado Shakespeare Festival, where he has appeared in A Child’s Christmas in Wales, The Inspector General, Treasure Island, Rosencrantz and Guildenstern Are Dead, and a number of plays by William Shakespeare. His other acting credits include stints with Foothill Theatre Company, B Street Theatre, Shakespeare Santa Cruz, Oregon Shakespeare Festival, and the Maxim Gorky Drama Theatre in Vladivostok, among others. He is also a writer, with screenplays optioned to Salt & Light Productions and Votiv Film. He is currently working on commission with the Palo Alto Children’s Theatre, writing book and lyrics for a new musical about meerkats. (8 seasons)

2022 Colorado Shakespeare Festival

All 37 plays: Sam Sandoe completes the canon with Coriolanus Read the story by scanning the QR code below:

Photo: Sam Sandoe, Richard III, 2018

* Member, 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 has been with the Colorado Shakespeare Festival as a performer since 2007. He joined the staff as the associate producing director in 2011 and became producing artistic director in 2013. During his tenure at CSF, he has helped found the CSF School of Theatre and CSF’s nationally recognized Shakespeare anti-bullying school tour, 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 The Odyssey (2021), Twelfth Night (2019), Rosencrantz and 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. (15 seasons)

Managing Director

WENDY FRANZ (Director: AW) 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. (8 seasons)

Directors

CAROLYN HOWARTH+ (TG) is the former artistic director of the Foothill Theatre Company in Nevada City, California. Her directing credits include numerous productions with such theatres as FTC, CSF, Orlando Shakespeare Theatre, Lake Tahoe and Sierra Shakespeare Festivals, Capital Stage (Sacramento, California), and the Perseverance Theatre Company (Juneau, Alaska). Her CSF credits include A Midsummer Night’s Dream (2021), 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), Treasure Island (2012), The Comedy of Errors (2011), and The Three Musketeers (2008). As an actor, she 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). She holds an MFA from the University of California, Davis. (11 seasons) RODNEY LIZCANO’s (BW) CSF acting credits include Oberon in A Midsummer Night’s Dream (2021), Zeus / Cyclops / Tiriesas in The Odyssey (2021), Sir Andrew Aguecheek in Twelfth Night (2019), Paris in Romeo and Juliet (2019), Richard III in Richard III (2018), Boris Kolenkhov in You Can’t Take It With You (2018), Polonius in Hamlet and Rosencrantz and Guildenstern Are Dead (2017), Robert Cecil in Equivocation (2016), Pisanio in Cymbeline (2016), Roderigo in Othello (2015), Dogberry in Much Ado About Nothing (2015), Pistol / Montjoy in Henry V (2015), Trinculo in The Tempest (2014), Pastor Hugh in The Merry Wives of Windsor (2014), and Vernon in Henry IV, Part 1 (2014). 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. Film and TV credits include Silver City (directed by John Sayles) and Stage Struck (Bravo Network). He is a graduate of the Meadows School of the Arts at Southern Methodist University and the National Theatre Conservatory. (8 seasons)

2022 Colorado Shakespeare Festival

ANTHONY POWELL+ (CO) began his professional career on a bus, touring as a performer with John Houseman’s The Acting Company. He served as associate artistic director with the DCPA Theatre Company for 18 seasons, during which he directed more than 25 productions including Wit, Love’s Labour’s Lost, Macbeth, The Dresser, Hamlet, Racing Demon, and Martin McDonagh’s Connemara Trilogy (The Beauty Queen of Leenane, A Skull in Connemara and The Lonesome West). More recently, he directed the Arvada Center’s Black Box Repertory production of The Moors. He is currently artistic director of Denver’s Stories on Stage. KEVIN RICH’s* (OP) recent directing credits include Pericles, 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; and ShakesFEAR and Lord of the Flies at Nebraska Repertory Theatre. He is a member of AEA and SAG/AFTRA and an associate member of the Stage Directors and Choreographers Society. He holds a BA from Grinnell College and an MFA from Yale School of Drama. (4 seasons)

Playwrights

LAUREN GUNDERSON (BW) has been one of the most produced playwrights in America since 2015, topping the list twice including 2019/20. She is a two-time winner of the Steinberg/ATCA New Play Award for I and You and The Book of Will, the winner of the Lanford Wilson Award and the Otis Guernsey New Voices Award, a finalist for the Susan Smith Blackburn Prize and John Gassner Award for Playwriting, and a recipient of the Mellon Foundation’s Residency with Marin Theatre Company. She studied southern literature and drama at Emory University and dramatic writing at NYU’s Tisch School where she was a Reynolds Fellow in Social Entrepreneurship. She co-authored the Miss Bennet plays with Margot Melcon, and her play The Half-Life of Marie Curie is available on Audible.com. Her work is published at Playscripts (I and You; Exit Pursued By A Bear; The Taming and Toil And Trouble), Dramatists Play Service (The Revolutionists; The Book of Will; Silent Sky; Bauer, Natural Shocks, The Wickhams and Miss Bennet) and Samuel French (Emilie). Her picture book Dr Wonderful: Blast Off to the Moon is available from Two Lions/ Amazon. She is currently developing musicals with Ari Afsar, Dave Stewart and Joss Stone. LaurenGunderson.com BEN JONSON (1572-1637) (OP) was an English poet and playwright, both friend and rival to William Shakespeare. His plays include Every Man In His Humour (1601), Sejanus (1603), Volpone (1607), Epicene (1616), The Alchemist (1612), Bartholomew Fair (1631), and many others. Jonson was known for his biting social satire and his plays were primarily set in his modern/urban world (in contrast to Shakespeare, whose plays were almost exclusively set in other times and places). His plays are populated by Londoners of all classes, who often put on a show of their own as they attempt to swindle each other, sell their wares, and otherwise survive life in the city. He was twice imprisoned for scandalous content in his plays, and again for killing an actor in a duel.

Dramaturgs

AMANDA GIGUERE (TG, AW) 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, Butterfly Effect Theatre of Colorado, 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. (18 seasons) HEIDI SCHMIDT (BW, CO, OP) 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

TG: The Two Gentlemen of Verona AW: All’s Well That Ends Well

(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 all-around theatre maker, she has designed props for Curious Theatre, presented pre-show talks at the Arvada Center, served as voice coach for CSF’s Camp Shakespeare and performed in a devised ensemble piece on the National Mall in Washington, D.C. Schmidt holds a PhD in theatre history, criticism and dramatic literature from CU Boulder, where she regularly teaches. She serves as Resident Dramaturg and Assistant Director of Outreach and regularly teaches after-school Shakespeare classes for kids, teens and adults. (11 seasons)

Designers / Choreographers

DAVID J. CASTELLANO^ (Scenic Designer: TG, BW) is a Colorado local. This is his first summer with Colorado Shakespeare Festival. He has had the pleasure working for several companies including Richard Frankel Productions, William Ivey Long Studios, Stella Adler Studio, Actors Theatre of Phoenix and Stray Cat. His favorite projects include Little Shop of Horrors (Broadway and National Tour), Twentieth Century (Broadway), Octopus (Stray Cat), Shipwrecked! An Entertainment (Actors Theatre of Phoenix) and Spring Awakening (Phoenix Theatre/NNT). He graduated from the University of Evansville with a BFA in theatre design and technology and from Ohio University with an MFA in scenic and costume design. He is a member of USA829. (1 season) MEGHAN ANDERSON DOYLE’s (Costume Designer: TG, BW) previous credits with the Colorado Shakespeare Festival include A Midsummer Night’s Dream, The Odyssey, 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 Who’s Afraid of Virginia Woolf?, 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. (6 seasons) JASON DUCAT^ (Sound Designer) has designed sound for eight seasons with CSF. Highlights of these credits include Twelfth Night (2019), Romeo and Juliet (2019), As You Like It (2019), King Charles III (2019), Cyrano de Bergerac (2018), Richard III (2018), The Taming of the Shrew (2017), Julius Caesar (2017), Rosencrantz and Guildenstern Are Dead (2017), Troilus and Cressida (2016), Henry V (2015) and I Hate Hamlet (2014). Ducat is an artistic company member at Curious Theatre Company, where his credits include Venus in Fur, Good People, The Brothers Size, Maple and Vine, 9 Circles, A Number and Astronomical Sunset. He has served as resident sound designer with the Denver Center Theatre Company, where he designed more than 20 shows in seven seasons. His other designs include Constellations and Born Yesterday (TheatreWorks); The Few and Full Code (BETC); Lab Coats on Clouds (Prague Quadrennial); Hedwig and the Angry Inch (Elemental Theatre Company); Sideways Stories from Wayside School (Hope Summer Repertory Theatre); and Tribulation and The Demolition Squad (Chicago Dance Crash). Ducat received his MFA in sound design from Purdue University. (8 seasons) KATIE GRUENHAGEN (Lighting Designer: AW, CO) is based out of Houston after many years of calling Colorado home. Her previous CSF credits include As You Like It, King Charles III (2019); Richard III, and You Can’t Take It With You (2018). Other design credits include This Is Modern Art (Denver Center Theatre Company-Off Center); The Revolutionists and Birds of North America (BETC); Peter and the Starcatcher (Town Hall Arts Center); Mamma Mia, Newsies, and West Side Story (Rocky Mountain Repertory Theatre); Body of an American (Curious Theatre Company); Romeo and Juliet (Best Lighting Design, 2014 Southeastern Theater Conference); and Into the Woods (Indiana University). (3 seasons)

BW: The Book Of Will CO: Coriolanus

OP: The Alchemist (Original Practices)

CLARE HENKEL^ (Costume Designer: AW) has designed for CSF since 2007. Locally, she has worked with the Denver Center for the Performing Arts, the Arvada Center for the Arts and Humanities, Phamaly Theatre Company, Butterfly Effect Theatre of Colorado, TheatreWorks and 3rd Law Dance Theatre. Her other theatre credits include Arizona Theatre Company, the Old Globe Theatre, La Jolla Playhouse, San Diego and San Jose Repertory Theatres, the Aurora Theatre, Perseverance Theatre, Dallas Theatre Center, Geva Theatre, the Indianapolis Symphony’s Pops Consortium (including Carnegie Hall), Sacramento Theatre Company, and the Lake Tahoe, San Francisco and Idaho Shakespeare Festivals. She is part of an ongoing collaboration with the Maxim Gorky Theatre in Vladivostok, Russia. She has taught at the University of California Davis, the University of California Berkeley and the University of Colorado Boulder, and is a member of the USA Local 429 union. (12 seasons)

the choreographer for CSF’s A Midsummer Night’s Dream, The Odyssey, 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. (5 seasons)

JANICE BENNING LACEK (Costume Designer: CO) marks Coriolanus as her fourth production with CSF, with previous credits for Twelfth Night (2012), As You Like It (2006) and Richard II (1999; designs invited to represent CSF and the U.S. at the Prague Quadrennial that year). Her other national credits include Marisol, The Swan, and What the Butler Saw (La Jolla Playhouse); Scapin (ACT); Goodnight, Desdemona... (San Diego Rep); Revenger’s Tragedy (Sledgehammer Theatre); Pair of Threes (Oregon Shakespeare Festival); Cymbeline (Utah Shakespeare Festival); All’s Well That Ends Well (Great River Shakespeare Festival); and The Two Gentlemen of Verona, Henry V, The Tempest, A Midsummer Night’s Dream, and Twelfth Night (Tennessee Shakespeare Company). Colorado audiences have seen her work at the Arvada Center, Lone Tree Arts, and in over 20 productions with Curious Theatre Company. She is an associate professor of costume design and technology at the University of Denver, and has taught theatre costume at Kenyon College, the University of Colorado Boulder, and the University of Memphis. She holds an MFA from the University of California, San Diego. (4 seasons)

GARRETT THOMPSON’s (Projection Designer: BW) projection design work has been featured in venues all over the world. From children’s theatres in South Korea to church conferences attended by tens of thousands, he has extensive experience designing for shows of all different scales and styles. A recent transplant to the Denver area, this is his first season working with the Colorado Shakespeare Festival, and he is ecstatic for the opportunity to collaborate with such a phenomenal artistic community. (1 season)

SHANNON MCKINNEY’s^ (Lighting Designer: TG, BW) previous design credits include A Midsummer Night’s Dream (2021), The Odyssey (2021), 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), Troilus and Cressida (2016) (CSF); Honk! the Musical (Phamaly, Tokyo, Japan); The Liar, Stick Fly, and Bright Star (Arvada Center); Fireflies and Sanctions (Curious Theatre). Her regional credits include designs for the Indiana Repertory Theatre, 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. (12 seasons)

BENJAMIN REIGEL* (Fight Choreographer: AW, CO, OP) is originally from Wisconsin and has lived and worked all over the country. He has scores of credits at theatres from coast to coast including Milwaukee Repertory Theatre, American Players Theatre, Farmers Alley Theatre, First Stage Children’s Theatre, Aspen Fringe Festival, and the Oregon, Utah, Texas, Michigan, Maine, Wisconsin, and Milwaukee Shakespeare Festivals. He received his MFA from the University of Delaware’s Professional Theatre Training Program (PTTP) and currently resides with his family in Grand Junction, where he serves as associate professor of acting and directing at Colorado Mesa University. (1 season)

Management

PAUL BEHRHORST* (Stage Manager: TG, BW, OP) most recently worked as the safety manager for the Oregon Shakespeare Festival. Behrhorst was the director of production for Phamaly Theatre Company and staged managed at the Denver Center for the Performing Arts, the Arvada Center, the Aurora Fox and many more. He was the 2009 CTG Henry Award winner for special achievement in stage management. He received his BFA in applied theater technology and design from the Metropolitan State University of Denver. (5 seasons) TERESA GOULD* (Assistant Stage Manager: AW, CO) is a freelance stage manager in the Denver metro area and is thrilled to be joining the CSF team for her third season. She

KEVIN NELSON (Scenic Designer: AW, CO) is excited to be working with CSF for the first time. He moved to Denver after completing his MFA training at Indiana University in 2017. When not designing, he spends his time at the Denver Center for the Performing Arts as a scenic design assistant. (1 season) JEFFREY PARKER (Director of Voice and Text: TG, BW) is an associate professor of theatre at Metropolitan State University of Denver and a teaching artist at the Denver Center for the Performing Arts. He holds an MFA from University of California Irvine, and is a certified teacher of Knight-Thompson 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. (3 seasons) ERIKA RANDALL (Dance / Movement Choreographer) is a teacher, dancer, choreographer, and filmmaker, former chair of the University of Colorado Boulder’s Department of Theatre & Dance, and current associate dean for student success with the CU College of Arts & Sciences. 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

+ Member, Stage Directors and Choreographers Society ^ Member, United Scenic Artists

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

received her BFA in theatre from the University of Colorado Boulder. She has worked with multiple regional production companies including the Catamounts, Phamaly, the Denver Fringe Festival, BETC, square product theatre and the Colorado Shakespeare Festival. When she is not stage managing, she spends her time as a house manager at the Denver Center for the Performing Arts. (3 seasons) KAYLYN KRIASKI* (Assistant Stage Manager: TG, BW, OP), from Jackson, Tennessee, holds a BA in theatre from the University of Southern Mississippi and now calls the Colorado Front Range her home. Prior to coming to Colorado, she was a member of the stage management team at the Orlando Shakespeare Theater for six seasons. Some of her production credits include Man of La Mancha, Peter and the Starcatcher and the world premiere of Gertrude and Claudius in repertory with Hamlet. She currently serves as the production coordinator for the CU Boulder Department of Theatre & Dance. (2 seasons) CHRISTINE ROSE MOORE* (Stage Manager: AW, CO) is a stage manager for the Arvada Center for the Arts and Humanities Black Box Repertory Company. Her Arvada production credits include Bus Stop, Waiting for Godot, Murder on the Orient Express, Educating Rita and Sylvia. Her other regional credits include Richard III and You Can’t Take It With You (Colorado Shakespeare Festival); In the Heights, Of Mice and Men, Les Misérables, and Clybourne Park (Pioneer Theatre Company); Mary Poppins, To Kill a Mockingbird, Singin’ in the Rain, and Forever Plaid (Arts Center of Coastal Carolina); and Annapurna, Driving Miss Daisy, and Vanya and Sonia and Masha and Spike (Peterborough Players). She holds a degree from the University of Utah. (2 seasons) RYAN B. MOORE (Costume Shop Manager) holds an MFA in costume design from the University of Arizona, as well as a BFA in costume design from Webster University. Throughout the academic year, he is the costume shop manager and a part-time lecturer at the University of Texas Rio Grande Valley. His design work has been seen in print, music videos, album art, exhibited at the Prague Quadrennial in 2019 and also appeared on RuPaul’s Drag Race All Stars 6. (3 seasons)

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Applied Shakespeare at CU Boulder Choose from several options! NEW THIS YEAR: Applied Shakespeare CSF Weekend Comprehensive, July 28-31, 2022 Designed to provide a deep dive into this season’s plays, including dramaturgical talks, a tour of the Norlin Library Special Collections, and an invited dress rehearsal of The Alchemist. FOR TEACHERS: a 3-credit online course, Teaching Shakespeare, in Fall 2022, taught by CSF Director of Outreach Amanda Giguere OR APPLY FOR: the 2023 cohort of the Appled Shakespeare Graduate Certificate program! Learn more at: colorado.edu/graduateschool/applied-shakespeare

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Thank you to our supporters Dedicated to celebrating and exploring Shakespeare and his continuing influences, the Colorado Shakespeare Festival endures thanks to the tremendous support we receive from community members throughout the year. Your generosity, combined with smart business practices and a commitment to superior artistic quality, allows this great summer tradition to reach new heights of success season after season. The individuals and families listed here have demonstrated their passion for Shakespeare, live theatre and nationally renowned educational outreach programs through generous contributions. As the second oldest Shakespeare festival in the country, CSF's legacy is made possible through our compassionate and philanthropic community of supporters. Thank you! Those who contribute to the Colorado Shakespeare Festival as members of our Advisory Board, our Executive Committee and the Shakespeare Gardens are truly devoted volunteers. We wish to share our gratitude for their chivalrous spirit, generous gifts of time and commitment to advocacy on behalf of our beloved festival. Thank you! Jennifer and Alan Aboaf Micah Abram and Andy Maass Cheryl and Michael Adams Sarah and Bryan Adderholt Jody Alderman Candy Allen and Bob Woodward Alpine Hospital for Animals Nina and Joseph Amabile Sue and Jim Baldwin Allison Betley and Joshua Firestone Kurt and Laura Bittner Judith and Allan Bock Brad Bolon Kathy and Jay Bourland Catherine and Sean Bowman Greta Brandstetter and Martin McCabe Claire-Maria Broaddus Deborah Broaddus Brenda and Gregory Bruening Nancy and Gerry Bunce Gregory Bundy

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2022 Colorado Shakespeare Festival

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Photo: Chloe McLeod, Jacob Dresch*, Maya Camille Boyd and Christian Ray Robinson; A Midsummer Night’s Dream, 2021

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Christopher Merrell Susan Moffson Dan and Amanda Mones Janice Moore Patricia and Alexander Muckle Sandy and John Myers Betsy Shumaker and Edgar Neel Ben and Pattie Nelson Christine Arden and David Newman Sofia and Andrew Niemeyer Margaret and Charles Norton Jean and Chuck Orr Tim Orr and Laurie Keith Rionda Osman-Jouchoux and Alain Jouchoux Chris and Linda Paris Carolyn Paul and Alex Paul Kathryn and David Penzkover Dee Perry Dave and Ann Phillips Marilyn and Gerald Pinsker Martha Piper Leslie and Bill Pizzi Ly Poe Julie Pogachefsky Christy and Daniel Pratt Michael Ransom Susan Raymond Kimberly and Christopher Riddle Dorothy Riddle Robert Ridgeway Mikhy and Mike Ritter Robert W. Baird & Co. Incorporated Brian Curtiss and Stephany Roscoe Becky Roser and Ron Stewart Tony Ruckel Anne Sandoe Sam Sandoe Dan Schachtner Ray Schoch Liz Schoeberlein Tana Schultz Rose and Thomas Selnau Jamie Shaak

Laura and David Skaggs Robin and Robert Slover II Judith Gonnell and Edmond Smith Betsy Phelan and Paul Smith Zdenka Smith Kathleen and Brian Spear Carol Stamm Amanda and Jebb Stewart Fredric and Julia Stoffel The Active Network, Inc. The Hazel’s Foundation The Shubert Foundation, Inc Leslie and Jason Trow Mary and Michael Tully Charles and Debbie Turner Heather Van Dusen Greta Von Bernuth Bridget and Stephen Voss Clare-Marie Wall Eric and Cinzia Wallace Robert Wester Karen and Christopher Wilke Clyde Wilson Joyce and James Wilson Mollie Mitchell and John Wilson Kate Wilson Mary Winston Wayne Wohler Gregory Robl and Phillip Wong Michelle and Lynn Wood Wright Water Engineers, Inc. Ken and Ruth Wright Karen and Scott Yarberry Ann and Gary Yost Michael Yourshaw Barbara Zumfelde

Festival Endowments Colorado Shakespeare Festival Education Outreach Endowment Fund Colorado Shakespeare Festival Endowment Fund Colorado Shakespeare Festival Guild Endowment David A. Busse Endowed Scholarship Fund

Dorothy 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 Rude Mechanicals CSF Fund Sandoe Family Shakespeare Endowed Award Clara M. Smith Memorial Endowed Shakespeare Fund 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 National Endowment for the Arts 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 1/1/2021 and 4/15/2022. Every effort has been made to present this list as accurately as possible. If you have any questions, please contact 303-492-3054.

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Special acknowledgements

CU Boulder College of Arts and Sciences James White, Acting Dean Amy Lavens, Vice Dean of Finance & Administration John-Michael Rivera, Divisional Dean, Arts & Humanities Zack Tupper, Assistant Dean of Infrastructure CU Boulder Department of Theatre & Dance Bruce Bergner, Chair CU Presents Joan McLean Braun, Assistant Dean for Concerts and Communications Box Office staff College of Music Advancement Team Andrew Scott, Assistant Dean Scott Finlay, Senior Director of Development

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2022 Colorado Shakespeare Festival

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Festival staff Administration Producing Artistic Director Tim Orr Managing Director Wendy Franz Operations Manager Kurt M. Mehlenbacher

Audience Services Retail Manager Steven Langer House Managers Matthias Bolon Xaalan Dolence Matara Hitchcock Alexandra Tompkins Front of House Staff Brittny Daboll Marisa Dinsmoor Cameron Hazlip Sebastian Kearney Samantha Lewis Tilly Musser Hunter Stricker Amanda Sturman Ned Swartz Jacob Turner Casey Noelle Walsh Marisa Weissmann

Outreach Director of Outreach Amanda Giguere Outreach Specialist / Resident Dramaturg Heidi Schmidt Outreach Assistants Sarah Duttlinger Matara Hitchcock Tamarra Nelson CSF Touring Company Brian Bohlender Sarah Duttlinger Teresa Gould Ana Langmead Josue Prieto Miranda Stephanie Saltis

Outreach Faculty Matthias Bolon Marisa Dinsmoor Sarah Duttlinger Celeste Fenton Kaitlin Nabors Josue Prieto Miranda Tilly Musser Jordan Pettis Stephanie Saltis Camp Manager Alexandra Tompkins

Advancement Assistant Dean Andrew Todd Senior Director of Development Scott Finlay Assistant Director of Development Caitlin Stokes Senior Events Manager Katie Neal Development Assistant Rachelle Dizon

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 Video Producer Jacqueline Sandstedt Marketing Communications Assistant Emma St. Lawrence

2022 Colorado Shakespeare Festival

Box Office Director of Operations Andrew Metzroth Box Office Manager Christin Rayanne Box Office Services Coordinator Adrienne Havelka Lead Box Office Assistant Alex Herbert Box Office Assistants Jenna Christine Macy Crow Skylar Finch Morgan Ochs Lily Valdez

Stage Management

Carpentry Interns Mackenzie Goeken Zach Hodgson AJ Mueth Scenic Charge Artist Noah J. Files Staff Scenic Artist Jordan Couper Scenic Art Intern Makenzie Lawson

Costumes Costume Shop Managers Savana Leveille (pre-season) Ryan B. Moore Assistant Costume Shop Manager Kelsey Blotter

Props Supervisor Kat Blakeslee

Drapers Elizabeth Eaton Becky Evans

Props Artisan Ryan Rouillard

First Hand Jessica Land

Props Interns / Run Crew Olivia Allen Camryn Lang

Stitchers Alexandra Ligh Mateo Ramirez

Lighting Supervisor Cooper Braun-Enos

Costume Crafts Supervisor Heather Duzan Costume Crafts Assistant Domino Douglas

Stage Managers Paul Behrhorst* (MR) Christine Rose Moore* (UT)

Production Electrician / Light Board Operator Sam Kisthardt Timothy Swenson

Assistant Stage Managers Teresa Gould* (UT) Kaylyn Kriaski* (MR)

Electrics Interns Keelin Connelly Zoe McCracken

Costume Interns Meghan Keenan Phi Le Audrey Lewis

Audio Supervisor Wes Halloran

Wardrobe Supervisor Molly Gluzinski

Audio Engineer (UT) Molly Danieli

Wardrobe Technicians Domino Douglas Holly Kirk Alexandra Ligh

Stage Management Interns Wessie Simmons (MR) Jasmine J. Lomax (UT)

Production

Deck Audio (MR) Sam Morin

Technical Director Tom Fagerholm

Over Hire Technicians Adam Garb Nick Luecking James Shemwell Wyatt Sutter

Assistant Technical Directors Daniel Hall (MR) Jason Washburn (UT)

CU Theatre & Dance Practicum Students Cameron Hazlip Camryn Lang

Production Manager Jon Dunkle

Carpenters Uriel Achilleus Rebecca Stock Destin Woods

Wig and Makeup Supervisor Lisa Padraza Wig and Makeup Technician Leena Summer

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Before and after the show Prologue

CSF staff will discuss the play you are about to see. This popular program offers insights, sets the stage and adds to your enjoyment of the plays. Begins 60 minutes before curtain time except for preview performances.

Picnic in the Shakespeare Gardens

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

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

CSF Summer Camps

The Colorado Shakespeare Festival offers summer camps for ages 6 to 18 on CU Boulder’s campus to play with Shakespeare and CSF professionals. Students will rehearse, stage, and perform a shortened Shakespeare play (scenes for Sprites). Camp Shakespeare and Shakespeare's Sprites are a fabulous way for kids and teens to explore theatre and Shakespeare in a creative and supportive environment.

Shakespeare's Sprites (ages 6 to 9) July 11-15, 2022 | 9 a.m. to Noon Final showing: Friday, 11:30 a.m.

Camp Shakespeare (ages 9 to 18)

Monday through Friday | 9 a.m. to Noon Camp Days: July 18 - August 5, 2022 Final showing: August 6 (Sat.) | 9 a.m. | Mary Rippon Outdoor Theatre Ages 9 to 11: Coriolanus Ages 12 to 14: All's Well That Ends Well Ages 15 to 18: The Two Gentlemen of Verona

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.

Colorado Shakespeare Gardens When the hawthorn tree bloomed in the Colorado Shakespeare Gardens in the late spring 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 by both masterful actors and in the fragrant beauty of flowers, herbs, shrubs and trees. We welcome you back to the festival 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 coloradoshakes.org and search for Colorado Shakespeare Gardens, or send us a message at coloradoshakespearegardens.org. 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.

2022 Colorado Shakespeare Festival

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Services and policies Ticket exchanges

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 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. To exchange your ticket, please call 303-492-8008 or visit our box office during normal business hours (Monday-Friday, 10 a.m. to 5 p.m.).

Cancellation and weather policy

The Colorado Shakespeare Festival performs rain or shine. Unless the CU Boulder campus is closed, we will not cancel a Mary Rippon Outdoor Theatre performance prior to its scheduled start time. We do not stop performances in a light rain unless weather conditions become threatening to performers or the audience, at which point we will hold the show to see if the weather will clear. If we cancel a performance before intermission due to weather, you may exchange tickets at the box office within one week for a ticket to another performance, subject to availability. We do not provide exchanges for shows canceled after intermission. Open umbrellas, or anything that might block another patron’s view, are prohibited during a performance. If air quality is extremely poor due to smoke or other atmospheric conditions, CSF may make the decision to cancel a performance no earlier than at the performance start time. 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. University Theatre Building elevator access to the box office and accessible restrooms in the lower lobby is located at the east entrance.

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 contact the box office to make arrangements at least two weeks in advance of the performance date desired. For more information and to make arrangements, please call 303-492-8008 or email cupresents@colorado.edu.

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. Alcohol purchased inside the venue may not be taken outside of the licensed premises and no outside alcoholic beverages may be brought into the licensed venue. Please note that the allowance of private alcohol consumption on the Green was discontinued in 2012 in compliance with the University of Colorado Boulder’s alcohol service on campus policy (BRC § 5-7-2 and CRS § 12-47-901 (2) (c)), as well as Colorado liquor code and Colorado liquor rules (CRS § 12-47-901 (1) (h)).

Food and beverages

While picnicking on campus lawns before the performance is welcomed, large items such as picnic baskets, grocery bags and coolers are not permitted in the theatres. Policies pertaining to the consumption of food and beverages inside the Mary Rippon Outdoor Theatre will be subject to the permissible COVID-19 safety guidelines of Actors’ Equity at the time of performance. No food or drink is allowed in the University Theatre. Bottled water is permitted if it has a secure lid. No glass containers are allowed.

On the evening of the performance • •

Audio enhancement

Assistive listening devices are available at theatres on the day of the performance. CSF will collect and hold a driver’s license or credit card and return it when the listening device is returned to the house manager at the end of the performance.

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2022 Colorado Shakespeare Festival

Photography and video recording of any type—including on cell phones—is strictly prohibited during performances. Latecomers will be seated at the discretion of house management at the first appropriate break that allows for the least disruption of the performance. Late patrons may be seated in alternate seats until intermission to minimize disruption to the performance. Please arrive well before the event start time. 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. For safety reasons, we ask that patrons not walk on the stone benches in the Mary Rippon Outdoor Theatre. Coolers, baskets and large bags are not permitted in the theatres. Please leave these items in your vehicle before finding your seat.

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Colorado Shakespeare Festival, 2022

Articles inside

Services and policies

Artistic team

Shakespearience

Acting company

Thank you to our donors

Letter from the Producing Artistic Director

How Shakespeare’s characters have marked us

Funded by visionary philanthropist Roe Green the University Theatre will undergo renovation