THE SHAKESPEARE THEATRE OF NEW JERSEY 2014 SEASON THE TEMPEST
by William Shakespeare Begins May 28
THE DEVIL'S DISCIPLE
by George Bernard Shaw Begins July 2
SEASON
THE ALCHEMIST
by Ben Jonson adapted by Bonnie J. Monte Begins August 6
WITTENBERG
by David Davalos Begins September 10
HENRY VIII
by William Shakespeare Begins October 15
MUCH ADO ABOUT NOTHING
by William Shakespeare Begins December 3
ON THE OUTDOOR STAGE:
THE LEARNED LADIES
by Moliere translated to English verse by Richard Wilbur Begins June 18
THE SHAKESPEARE THEATRE OF NEW JERSEY
Board of Trustees The Honorable Thomas H. Kean Honorary Chairman John Rathgeber President John Barr, III Jeanne Barrett David N. Bradford Bryan Burrough Patricia A. Connell Bob Conley* James M. Deaver Frank DiPrima
Suzanne Engel Sarah Fargo Richard Fuchs James R. Gillen T. Randolph Harris Thomas W. Keffer James B. Kobak Jr. Gregory McCarthy
Joseph McDonald Richard B. McGlynn Bonnie J. Monte Edward Ng James Pohlman Philip Rosenbach Rick Sordelet Claire Zweig
*Honorary Board Member
Trustees Emeritus: S. Dillard Kirby
Heath B. McLendon
Karl Meister
Founded in 1963 by Paul Barry and Philip Dorian, The Shakespeare Theatre of New Jersey is the State’s largest professional theatre company dedicated to Shakespeare’s canon and other world classics. Now in its 52nd season, the Theatre is one of the leading Shakespeare theatres in the nation, and the longest-running on the East Coast. Designated a Major Arts Institution by the New Jersey State Council on the Arts, the company is a member of the New Jersey Theatre Alliance, the statewide association of professional theatres; and a member of ArtPRIDE New Jersey, the Shakespeare Theatre Association, and the Madison Arts and Culture Alliance. The Shakespeare Theatre of New Jersey is committed to creating an environment that is accessible to everyone. Our Main Stage venue, the F.M. Kirby Shakespeare Theatre, is fully accessible to persons with disabilities.
THE SHAKESPEARE THEATRE OF NEW JERSEY 36 Madison Avenue, Madison, NJ 07940 ShakespeareNJ.org | BoxOffice@ShakespeareNJ.org Box Office: (973) 408-5600
THE SHAKESPEARE THEATRE OF NEW JERSEY BONNIE J. MONTE is now in her 24th season as the company’s Artistic Director. Under her leadership, the Theatre has evolved into one of the largest and most respected classical theatres in the nation. Ms. Monte has garnered national recognition for her highly successful revitalization of the institution, and for her outstanding commitment to arts education and professional training. The Theatre has become one of the nation’s leading training grounds for emerging classic theatre artists. During her more than two decades at the helm, the institution successfully completed a major capital campaign resulting in the complete renovation and expansion of the F.M. Kirby Shakespeare Theatre in 1998. She is currently working on The Legacy Project, the Theatre’s new campaign to perfect and protect the institution’s future. In 2002, the Theatre’s 40th anniversary year, she initiated a new partnership with the College of Saint Elizabeth, attaining a second summer performance venue for the organization: the Outdoor Stage, a unique and stunning Greek amphitheatre on St. Elizabeth’s campus. That same year, The Star-Ledger named the company “Regional Theatre of the Year,” and The Geraldine R. Dodge Foundation awarded The Shakespeare Theatre a prestigious Strategic Partnership Grant in the amount of $1 million. In its January 2003 issue, New Jersey Monthly named Ms. Monte one of “40 New Jerseyans We Love.” She has received numerous awards and honors including a Women of Achievement Award, sponsored by the New Jersey General Assembly; an Alumni Achievement Award from Bethany College in West Virginia; and a Person of the Year Award from the National Society of Arts and Letters, for her longtime efforts to nurture young artists. She has also been named Professional Artist of the Year by the Arts Council of the Morris Area, and one of the 25 Most Influential People in the Arts in New Jersey by The Star-Ledger. Prior to arriving in New Jersey, Ms. Monte was a casting director at the prestigious Manhattan Theatre Club in New York City. From 1981 to 1989, she was Associate Artistic Director at the Williamstown Theatre Festival in Massachusetts, working closely with renowned Artistic Director Nikos Psacharopoulos. While there, Ms. Monte initiated many new programs, including a second stage and an outdoor free theatre. In 1982, she was part of a writing team, which
included Psacharopoulos and Tennessee Williams, collaborating on Tennessee Williams: A Celebration, a major retrospective tribute to Mr. Williams’ entire literary canon. During her tenure at Williamstown, Ms. Monte also cast and helped produce joint ventures with other major theatres, including Sweet Bird of Youth at the Royal Alexandra Theatre in Toronto, A Streetcar Named Desire on Broadway at Circle-in-the-Square, The Glass Menagerie at The Long Wharf Theatre, and Arms and the Man at The Pasadena Playhouse. Since 1990, she has directed over 50 productions for The Shakespeare Theatre, including stagings of numerous Shakespeare plays, as well as work from the Russian classic canon with a focus on Chekhov and Ostrovsky. Her special affinity for Tennessee Williams has resulted in highly acclaimed productions of A Streetcar Named Desire, Camino Real and Sweet Bird of Youth. She also directed shows for the Theatre’s Shakespeare LIVE! touring company including The Myths of Ancient Greece: Old Echoes, New Ears, which she also authored. She has created a number of original translations/ adaptations for the company’s Main and Outdoor stages, including Jane Austen’s Pride and Prejudice, Marivaux’s The Triumph of Love, Pirandello’s Enrico IV, Ostrovsky’s Artists and Admirers, Maeterlinck’s The Blue Bird, Verne’s Around the World in Eighty Days, Goldoni’s The Servant of Two Masters, which was published by Playscripts, Inc, and this year’s The Alchemist. Ms. Monte has been actively involved in the training of new talent for the American stage through numerous training programs for over 30 years, and has also engaged in residencies at the University of South Carolina, where she directed The Trojan Women, and the University of Notre Dame, where she directed The Bacchae. She has been on the faculty of Drew University and The New School in Manhattan. Ms. Monte obtained a post-graduate conservatory degree in directing from The Hartman Conservatory and a B.A. in theatre from Bethany College in Bethany, West Virginia. She has Honorary Doctor of Humane Letters degrees from Drew University and the College of Saint Elizabeth. She is originally from Stamford, Connecticut.
Bonnie J. Monte, Artistic Director & Jeanne Barrett, Managing Director, present
THE ALCHEMIST by Ben Jonson adapted & directed by
BONNIE J. MONTE scenic designer
JONATHAN WENTZ
costume designer
NIKKI DELHOMME
sound designer
KARIN GRAYBASH
lighting designer
STEVEN ROSEN
production stage manager
KATHY SNYDER*
* Denotes a member of Actors' Equity Association, the Union of Professional Actors and Stage Managers
The Shakespeare Theatre of New Jersey’s programs are made possible, in part, by funding from the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts, as well as funds from the National Endowment for the Arts. Additional major support is received from The Geraldine R. Dodge Foundation, F.M. Kirby Foundation, The Edward T. Cone Foundation, The Shubert Foundation, CTW Foundation, and Drew University, as well as contributions from numerous corporations, foundations, government agencies and individuals. The Shakespeare Theatre of New Jersey is proud to be a member of The Shakespeare Theatre Association (STA). For more information visit www.stahome.org.
Media Partner
Cover illustration by Scott McKowen
On the Main Stage: the F.M. Kirby Shakespeare Theatre August 6–August 31, 2014
THE SHAKESPEARE THEATRE OF NEW JERSEY
THE PLAYERS (in order of appearance)
Dol Common......................................................................................... Aedin Moloney* Face.....................................................................................................................Jon Barker* Subtle..........................................................................................................Bruce Cromer* Dapper................................................................................................................Jon Sprik** Drugger................................................................................................Jeffrey M. Bender* Sir Epicure Mammon................................................................................. Brent Harris* Pertinax Surly..................................................................................................Kevin Isola* Ananias........................................................................................... James Michael Reilly* Tribulation Wholesome.....................................................Raphael Nash Thompson* Kastril.................................................................................................... Seamus Mulcahy* Dame Pliant.................................................................................................Kristen Kittel Lovewit.............................................................................................................John Ahlin* Carter/Parson/Officer............................................................................James Costello
THE SETTING Lovewit's home in Blackfriars; A suburb of London In 1610— during the Plague
There will be one 15-minute intermission. * Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers **Appearing courtesy of Actors’ Equity Association
THE SHAKESPEARE THEATRE OF NEW JERSEY
THE EQUITY COMPANY
JOHN AHLIN
JON BARKER
JEFFREY M. BENDER
BRUCE CROMER
BRENT HARRIS
KEVIN ISOLA
AEDIN MOLONEY
SEAMUS MULCAHY
JAMES MICHAEL REILLY
JON SPRIK
RAPHAEL NASH THOMPSON
JOHN AHLIN (Lovewit) is in his seventh season with The Shakespeare Theatre. Company credits: Henry IV, Part One, A Christmas Carol, All’s Well That Ends Well, The Comedy of Errors, King John, and the Coriolanus reading. Broadway credits: Waiting for Godot (with Bill Irwin, Nathan Lane and John Glover), Journey’s End (2007 Tony Award for Best Revival), The Lieutenant of Inishmore, Voices in the Dark, One Mo’ Time, Whoopee!, and Macbeth. OffBroadway credits: Orson Welles in Austin Pendleton’s Orson’s Shadow. Regional credits: Much Ado About Nothing at Two River Theatre Company, Red Bank; American Buffalo at TheaterWorks, Hartford; A Midsummer Night’s Dream at Pittsburgh Public; Floyd Collins at Actors Theatre of Louisville, Old Globe Theatre, and Goodman Theatre. TV/Film: Late Night with David Letterman, Law & Order: SVU, Third Watch, As the World Turns, The Education of Max Bickford, Inside Llewyn Davis (the Coen Brothers). As a playwright, John’s latest play is scheduled to appear this fall at Centerstage, Baltimore. JON BARKER (Face) is in his seventh season at The Shakespeare Theatre. Company credits: The Tempest, Pericles, Tovarich, Trelawny of the Wells, Henry IV, Part One, Othello, The Misanthrope, All’s Well That Ends Well, The Taming of the Shrew, Twelfth Night, Hamlet, The School For Wives, The Winter’s Tale, Romeo and Juliet, A Streetcar Named Desire, King Lear, and Amadeus on the Main Stage; A Midsummer Night’s Dream, Macbeth, and Nevermore with Shakespeare LIVE! New York/Regional credits: Venus In Fur, The Wild Duck at Colorado Theatreworks; The Tempest for The New Jersey Symphony Orchestra in collaboration with The
THE SHAKESPEARE THEATRE OF NEW JERSEY Shakespeare Theatre; Omnivores at Hamilton Stage; The Dangers of Electric Lighting at Luna Stage; The Strange Dog Eat Dog and Pony Show at The Tank Theater; The Woods at The Red Room; Attention Span of a Fly at the Paramount Theater; Close Shave at 12 Miles West; and Spilling Stuff and Breaking Things at The Kennedy Center. JEFFREY M. BENDER (Drugger) is in his fifteenth season with The Shakespeare Theatre. Company credits: Stephano in The Tempest, Fred Sterroll in Fallen Angels, Bill Sikes/Mrs. Sowerberry in Oliver Twist, Poins in Henry IV, Part One, The Constable in Accidental Death of an Anarchist, Brighella in The Servant of Two Masters, The Complete Works of William Shakespeare (abridged) on the Outdoor Stage, Bob Acres in The Rivals, Ludovico in Life of Galileo, Trinculo in The Tempest, Landolph in Enrico IV, Solyony in Three Sisters, and Bread in The Blue Bird, to name a few. Broadway credits: A Time to Kill at the Golden Theater and Cymbeline at Lincoln Center. He has also worked at Denver Center Theatre, Arena Stage in D.C., Old Globe in San Diego, Seattle Repertory Theatre and numerous regional and NYC theatre companies. Jeff is a graduate of the University of Michigan. BRUCE CROMER (Subtle) is in his sixth season with The Shakespeare Theatre. Company credits: both Dukes in As You Like It, Apemantus in Timon of Athens, Arnolphe in The School For Wives, Baptista Minola/Grumio in The Taming of the Shrew, and Sagredo/Cardinal Bellarmin in Life of Galileo. Bruce is a Resident Actor with the Human Race Theatre, a professor and head of Acting for Wright State University's Professional Actor Training Program, and a certified Stage Combat teacher with the Society of American Fight Directors. Select Regional credits: Alabama Shakespeare Festival, Cincinnati Shakespeare Company, Santa Fe Stages, Milwaukee Repertory Theater, Repertory Theatre of St. Louis, Seattle Children’s Theatre, Clarence Brown Theatre, etc. Bruce will play The Poet in AN ILIAD (a one-man show) with Ensemble Theatre Cincinnati in September and then returns (for his tenth year) as Scrooge in the Cincinnati Playhouse’s A Christmas Carol in December. BRENT HARRIS (Sir Epicure Mammon) is in his fourth season with The Shakespeare Theatre. Company credits: Henry IV, Part One, To Kill A Mockingbird, and Timon of Athens. Brent is currently playing Screwtape in the national tour of The Screwtape Letters. He also recently played Scar in the national tour of The Lion King and the title role in AJAX at the American Repertory Theatre (IRNE award nomination). Regional credits: Present Laughter, Much Ado About Nothing, and Dr. Faustus (Oregon Shakespeare Festival); Measure for Measure, Amadeus, and Noises Off (Denver Center Theatre Company); The Two Gentlemen of Verona and The Winter’s Tale (Shakespeare Theatre Company in D.C.); Heartbreak House (Actors Theatre of Louisville); A Midsummer Night’s Dream (Seattle Repertory Theatre); Macbeth and Dracula (Syracuse Stage); The Beard of Avon, (Drammy Award winner for Outstanding Leading Actor) (Portland Center Stage); Orson’s Shadow, (Barrymore Award nomination, Outstanding Leading Actor) (Philadelphia Theatre Company). New York credits: Richard III (The Pearl Theatre), Long Island Sound (The Actors Company Theatre), and Tryst (The Promenade Theatre), among many others. Television: Out of the Box and Guiding Light. KEVIN ISOLA (Pertinax Surly) is in his sixth season with The Shakespeare Theatre. Company credits: The Liar, Accidental Death of an Anarchist, Around The World in Eighty Days, King Lear, and As You Like It. Broadway credits: Brooklyn Boy. Off-Broadway credits: By The Way, Meet Vera Stark (Second Stage), The Boys in The Band (Transport Group), New House Under
THE SHAKESPEARE THEATRE OF NEW JERSEY Construction (59E59 Street Theatre), Aliens with Extraordinary Skills (The Women’s Project), Trust (The Play Company), The World Over, The Water Children (Playwrights Horizons), Twelfth Night, Venus, WASP and Other Plays (NYSF/The Public Theater), Everett Beekin (Lincoln Center), The New Bozena (The Cherry Lane). Regional credits: My Wonderful Day (Two River Theatre), Twelfth Night (McCarter Theatre), The Glass Menagerie (The Old Globe), Brooklyn Boy (South Coast Repertory Theatre), As Bees in Honey Drown (Provincetown Repertory Theatre), The Rainmaker (Baltimore Center Stage), The New Bozena (The Hudson Theatre, The Tiffany Theatre), Venus (Yale Repertory). TV and Film credits: Passing Harold Blumenthal, Frank the Rat, The New Bozena, How The Grinch Stole Christmas, Uninvited, 24 Nights, Academy Boyz, The New Yorker, Fringe, Damages, Boston Legal, Law and Order, The Summer of Ben Tyler (Hallmark Hall of Fame), All My Children, and Viva Variety. Kevin received his MFA from the NYU Graduate Acting Program. AEDIN MOLONEY (Dol Common) is in her second season with The Shakespeare Theatre. Company credit: George Eliot in A Most Dangerous Woman, world premiere (NJ Footlights award winner, Best Actress 2013). She is founder and producing artistic director of New York’s Fallen Angel Theatre Company. Recent NYC Credits: starred alongside Peter Gerety & Dana Ivey in Dubliners by Arthur Yorinks for WNYC Public Radio; Airswimming (Irish Rep/Fallen Angel Theatre), Rose in Dancing at Lughnasa (20th Anniversary production) (Irish Rep). Other New York & regional credits: Hobsons Choice (Atlantic Theatre), Under Milk Wood (Hartford Stage, director Mark Lamos), Shadow of a Gunman, Playboy of the Western World, Eclipsed, Juno & the Paycock, Same Old Moon and Pigtown (Irish Rep), Eva the Chaste, Talent and Cell (Fallen Angel Theatre). She has worked at various theatres in the UK including: Bristol Old Vic, Sheffield Crucible, and Battersea Arts Center. Film credits: Nora with Ewan McGregor, Far and Away, The Captives, and Agnes Brown. Television in the UK and New York: Ballykissangel, The Moth, The Bill, Vanity Fair, and Law and Order. She has recently completed a recording of Molly Bloom’s soliloquy from James Joyce’s Ulysses in collaboration with Paddy Moloney of The Chieftains. Aedin is a graduate of Trinity College, Dublin. SEAMUS MULCAHY (Kastril) is in his sixth season with The Shakespeare Theatre. Company credits: Tovarich, A Midsummer Night’s Dream, King Lear (The Fool), A Christmas Carol, Henry V, and Rosencrantz and Guildenstern Are Dead. Off-Broadway credits: Our Town directed by David Cromer. Regional credits: World Premiere of Above the Fold with Taraji P. Henson (Pasadena Playhouse), Rabbit Hole (La Mriada Playhouse), Master Harold and the Boys (Delaware Theatre Company), Romeo and Juliet (Yale Repertory Theater), Diary of Anne Frank (Paper Mill Playhouse), Light Up the Sky (The Chautauqua Theatre Company), Billy Witch (Astoria Performing Arts Center). Film credits: One Fall, Killing Lincoln (with Tom Hanks). MFA, The Yale School of Drama. JAMES MICHAEL REILLY (Ananias) is in his twenty-second season with The Shakespeare Theatre. Select company credits: Our Town, To Kill a Mockingbird, The Taming of the Shrew (2010 and 1993), The Grapes of Wrath, The Comedy of Errors, The Rivals, The Three Sisters, among many others on the Main Stage; That Scoundrel Scapin and The Grouch on the Outdoor Stage. Tours: West Side Story (Europe). Off-Broadway credits: The Comedy of Errors with Aquila Theatre Company. Regional credits: Bob Cratchit in A Christmas Carol (with music), Dan Needham in A Prayer for Owen Meany, and Lingk in Glengarry Glen Ross at The Denver Center Theatre Company; Amos Hart in Chicago at the Arts Center of Coastal Carolina; E.K.
THE SHAKESPEARE THEATRE OF NEW JERSEY Hornbeck in Inherit the Wind at Geva Theatre; Charles in Blithe Spirit, Serge in ‘Art’ at the Delaware Theatre Company; Lodovico in Othello and Marley in A Christmas Carol at Indiana Repertory Theatre; and Felix in The Odd Couple with the Human Race Theatre Company. Television credits: Unforgettable, The Blacklist, Boardwalk Empire, Elementary, Person of Interest, Law & Order, and Louie. He has an M.F.A in Acting from Indiana University. JON SPRIK (Dapper) is in his second season with The Shakespeare Theatre. Company credit: Pericles. He recently performed Off-Broadway in The Awesome 80’s Prom as DJ Johnny Hughes. He has worked with The Texas Shakespeare Festival, The Powerhouse Theatre, The Titan Theatre Company, Door Shakespeare, The Hope Summer Repertory Theatre, The Lost Colony, and Theatre for a New City. Television credits include work on The Discovery ID and Biography channels, as well as the new TLC show titled Amish Haunting. MFA from The University of Houston Professional Actor Training Program. RAPHAEL NASH THOMPSON (Tribulation Wholesome) is in his seventh season with The Shakespeare Theatre. Company credits: Pompey and Escalus in Measure for Measure, Exeter in Henry V, Othello in Othello (2003), Duncan in Macbeth, and Corin in As You Like It. Recent credits: Morocco in The Merchant of Venice at Theater for a New Audience with F. Murray Abraham as Shylock; Lord Hastings in Richard III at Shakespeare Theatre Company and Lake Tahoe Shakespeare Festival; Caesar in Julius Caesar at Shakespeare Festival of St. Louis; Gower in Pericles at Red Bull Theatre; Aegisthus in Electra at Hartford Stage; Bob in Every Day A Visitor at Clurman Theater; and MacHeath in The Threepenny Opera at Wilma Theatre. Television credits: Ed (NBC), Third Watch (NBC) and Soul Food (Showtime).
THE NON-EQUITY COMPANY
JAMES COSTELLO
KRISTEN KITTEL
JAMES COSTELLO (Carter/Parson/Officer) is in his third season with The Shakespeare Theatre. Company credits: The Tempest (Master of the Boat), As You Like It ( Jaques de Bois), and Timon of Athens (Messenger). James was also a member of The Shakespeare Theatre’s Apprentice Company in 2011. Other credits include: Hamlet (Hamlet), King Lear (Kent), Twelfth Night (Orsino), and A Midsummer Night’s Dream (Oberon). He is a third year MFA candidate at the University of South Carolina. KRISTEN KITTEL (Dame Pliant) is in her fifth season with The Shakespeare Theatre. Company credits: I Capture the Castle and The Winter’s Tale on the Main Stage; As You Like It on the Outdoor Stage; Romeo and Juliet and A Midsummer Night’s Dream with Shakespeare LIVE! 2010; The Taming of the Shrew and The Odyssey with The Next Stage Ensemble 2009; and Timon of Athens with the Apprentice Company 2008. Recent credits: Curley’s Wife in Of Mice
THE SHAKESPEARE THEATRE OF NEW JERSEY and Men at Chenango River Theatre; Edna Ellen in P.O.E. at the Hollywood Fringe Festival; Titorelli/Mrs. Grubach in The Trial and Lily in Benjamin Constant at the Gallatin Theatre; Katrina in The Legend of Sleepy Hollow with Gad’s Hill Theater Company; Carla in Subtlety at American Theatre of Actors; Anabel in Chicken With Stars at Looking Glass Theatre’s Winter Forum. Other credits: Shakespeare In The Valley Theatre Under the Stars, The National Theatre A&E, Mt. Hope Theatre, Pennsylvania Renaissance Faire, Alder Amphitheatre, Off-Broadway Theatre, Cottonwood Theatre, Great River Shakespeare Festival, and training with the Utah Shakespearean Festival. She graduated Magna Cum Laude from New York University.
THE ARTISTIC STAFF NIKKI DELHOMME (Costume Designer) is in her first season with The Shakespeare Theatre. She is currently working with Applied Mechanics in Philadelphia on a devised feminist piece called We Are Bandits. Recent credits include The Vibrator Play with Trinity/Brown Penguins, a new play about sexuality and family, and an adaptation of Mikhail Bulgakov’s novel Fatal Eggs. Her designs have been presented at the Tri-centric Foundation/Roulette, Amherst College, Yale Repertory Theatre, CalArts University, Disney’s RedCat Theatre, The Flea, The Redhouse Theatre, Teatro Vision, A Noise Within, Maltz Jupiter Theatre, Los Angeles Theatre Center, Theatre at the Center Indiana, Light Opera Works, Piven Theatre Ensemble, Strawdog Theatre, Evanston Dance Ensemble, and the Appletree Theatre, amongst others. She lived in Los Angeles assisting on projects including True Blood and Party Down, as well as freelance designing for numerous companies while living in Chicago. She begins teaching costume design this fall at Amherst College and holds an MFA from Yale and a BFA from Carnegie Mellon. www.nikkidelhomme.com KARIN GRAYBASH (Sound Designer) is in her eleventh season with The Shakespeare Theatre. Company credits: Pericles, Tovarich, The Liar, Timon of Athens, Othello, Hamlet, King Lear, No Man’s Land, and Julius Caesar, among others. Regional credits: Arena Stage, McCarter Theatre, Berkeley Repertory Theatre, Walnut Street Theatre, Dallas Theater Center, Alliance Theatre, Folger Theatre, Yale Repertory Theatre, Portland Stage, and Two River Theater Company. Karin is also the Sound Supervisor for the Mason Gross School of the Arts at Rutgers University. BONNIE J. MONTE (Adapter and Director) Please see Artistic Director bio. STEVEN ROSEN (Lighting Designer) is in his twenty-second season with The Shakespeare Theatre. Company credits: Tovarich, Measure for Measure, Othello, No Man’s Land, Hamlet, King Lear, Henry V, The Cherry Orchard, Les Liaisons Dangereuses, A Very Old Man With Enormous Wings, Pygmalion, Carnival!, Three Sisters, Antony and Cleopatra, Camino Real, Sweet Bird of Youth, Twelfth Night (1991), Macbeth (1992), Arms and the Man, Diary of a Scoundrel, and Leocadia. When not lighting the stage, Mr. Rosen is the President of Available Light, a design firm specializing in museum, architectural, and corporate communications lighting design with offices in Boston & NYC. KATHY SNYDER (Production Stage Manager) is in her tenth season with The Shakespeare Theatre. Company credits: Production Stage Manager for The Tempest, Pericles, A Most
THE SHAKESPEARE THEATRE OF NEW JERSEY Dangerous Woman, Trelawny of the Wells, Henry IV, Part One, The Misanthrope, Othello, The Lion in Winter, No Man’s Land, Hamlet, The Comedy of Errors, Blood and Roses, The Bald Soprano, Henry V, The Rivals, and Les Liaisons Dangereuses. Other credits: 4000 Miles at Long Wharf Theatre; A Picture of Autumn, Mary Broome, and What the Public Wants with the Mint Theater Company; The Complete Works of William Shakespeare (abridged), Glyn Maxwell’s Wolfpit and The Lifeblood with the Phoenix Theatre Ensemble; Beyond Belief, The Man Who Came to Dinner, and Crumbs from the Table of Joy with New Century Theatre; Belize and Delicious Rivers with The Talking Band at La MaMa, E.T.C.; Party Time at the Napoli Scena Internationale Festival in Naples, Italy; All My Sons, Proof, The Piano Lesson, Fully Committed, and the national tour of Romeo and Juliet with Arkansas Repertory Theatre. JONATHAN WENTZ (Scenic Designer) is in his fourth season with The Shakespeare Theatre. Company credits: Scenic Designer for Henry IV, Part One and As You Like It; Scenic Charge for The Learned Ladies, The Devil’s Disciple, The Tempest Pericles, Playboy of the Western World, The Misanthrope, Oliver Twist, Man of La Mancha, To Kill a Mockingbird, A Christmas Carol, Trelawny of the Wells, and the 2013 Shakespeare LIVE! tour of The Comedy of Errors. Favorite Regional credits include: Romeo and Juliet, Red, The Caretaker, Enchanted April, Death of A Salesman, Seven Guitars, The Weir, The Smell of the Kill, What A Glorious Feeling, Boeing Boeing, Twelve Angry Men, Mauritius, The House of Bernarda Alba, The Drawer Boy, and Moonlight and Magnolias. Creative affiliations include: Adirondack Theatre Festival, Berkshire Theatre Festival, TheatreWorks of Colorado Springs, Slant Theatre Project, Metropolitan Opera Company, The Depot Theatre, Colorado Springs Fine Art Center, Cherry Lane Theatre and several area member theaters of the NJ Theatre Alliance. Mr. Wentz studied art and design at Rochester Institute of Technology and scenic design with Rutgers’ Mason Gross School of the Arts. www.jonathanwentzdesign.com
ADDITIONAL ARTISTIC STAFF Fight Consultant and Captain
JEFFREY M. BENDER Assistant to the Director
DREW WEINSTEIN
Assistant to the Stage Manager
ERICA FURNALD
Assistant to the Stage Manager
MATTHEW LUPPINO
Ms. Moloney's wig provided by Wigboys
SPECIAL THANKS TO JOAN KENNY
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THE SHAKESPEARE THEATRE OF NEW JERSEY
ADMINISTRATIVE & PRODUCTION STAFF ADMINISTRATION
Artistic Director...................................................................................................................................................Bonnie J. Monte Managing Director.................................................................................................................................................Jeanne Barrett Artistic Associate & Casting Director.................................................................................................... Stephen Brown-Fried Assistant to the Artistic Director............................................................................................................................Kristen Saran Business Manager................................................................................................................................................. Duane P. Dietz Information Systems Manager.................................................................................................................................. Colin Gallo Company Manager.................................................................................................................................................Amanda Lenti Director of Education...........................................................................................................................................Brian B. Crowe Associate Director of Education..................................................................................................................................Doug West Professional Training & Outreach Coordinator................................................................................................... Maria Souza Director of Marketing..................................................................................................................................................Rick Engler Marketing Associate....................................................................................................................................Elizabeth Greenfield Marketing Assistant............................................................................................................................................. Lauren Biscaldi Director of Development....................................................................................................................................Heidi Speckhart Associate Director of Development................................................................................................................Anneke Demarest Development Associate......................................................................................................................................Sarah Braverman Devleopment Associate.........................................................................................................................................Christine Ward Sales & Patron Services Manager................................................................................................................Robert Worshinski Assistant Patron Services Managers & House Managers.........................................................Kyle Conner & Nina Marti Patron Services Associates......................................................................... Chelsea Binkert, Lauren Biscaldi, Jess Bonder, Lèna Chilingerian, Emily Embler, Elizabeth Greenfield, Peter Kendall, Gina McCrostie, & Janice McCrostie
PRODUCTION & FACILITIES
Director of Production & Facilities..................................................................................................................Steven L. Beckel Production & Facilities Assistant..................................................................................................................Benjamin Kramer Technical Director.................................................................................................................................................. Joe McDonald Assistant to the Technical Director.........................................................................................................................Chance Rush Scenic Charge Artist.............................................................................................................................................Jonathan Wentz Scenic Paint Assistant..................................................................................................................................... Nathan McNamee Master Electrician & Sound Engineer................................................................................................... Hamilton E.S. Smith Sound Technician......................................................................................................................................Nicholas Gackenbach Lighting Technician..........................................................................................................................................Samantha Brewer Costume Shop Manager........................................................................................................................ Joleen Addleman Loyd First Hand.................................................................................................................................................................. Tiffany Lent Draper.................................................................................................................................................................Caroline LaPorta Stitchers................................................................................................................................ Leslie Palmer & Suzanne Hawley Wardrobe Supervisor............................................................................................................................................Nina Escobedo Costume Vision Manager.............................................................................................................................................Kate Kelly Properties Master..............................................................................................................................................Helen Tewksbury Carpenters..................................................................................................................... Matt Montville & Stephen Trammell Facilities Coordinator......................................................................................................................................Nelson Rodriguez
SUMMER PROFESSIONAL TRAINING PROGRAM Director of Education............................... Brian B. Crowe Acting.............................................A. Bernard Cummings & Bruce Cromer Voice and Speech................................... Vivian Majkowski Viewpoints.................................................. Donnie Mather Stage Combat..................................................... Doug West Play Reading.................................................... Maria Souza Text Analysis...................................Stephen Brown-Fried
Director, Senior Corps..........................Suzanne Houston Director, Junior Corps.................................... Maria Souza Instructor, Senior Corps.............................Meagan Tynan Instructor, Junior Corps..............................Jordan Laroya Next Stage Ensemble Directors: A Midsummer Night's Dream.................Daniel Roberts The Libation Bearers...................................Awoye Timpo
THE SHAKESPEARE THEATRE OF NEW JERSEY
I
Director's Notes
t is a very exciting and humbling thing to discover something precious that one has previously been blind to or ignored. Such is my excitement over Mr. Jonson’s The Alchemist. I fully and shamefully admit to sustaining a kind of juvenile disdain for the play over a 40-year span, based on nothing but my avoidance of it for so long. It was one of many plays I was assigned to read in college, and I remember perusing the first few pages and tossing it aside in frustration. I found it daunting to decipher, and lacking in any aspect compelling enough for me to complete the assignment— and so I didn’t. Luckily, it wasn’t the subject of any subsequent essay test! I recall trying to read it again several times over the years, as occasionally it would be mentioned as a great classic that I should consider for production, both here at The Shakespeare Theatre and at other companies where I have worked. Each and every time, I would get about three or four pages in and then shove it back in the bookshelf, annoyed by its obstinate resistance to entering my brain with ease. I also admit to the fact that given my tentative and extremely limited exposure to the play— literally a sporadic re-reading of the first three pages over four decades— I had completely misconstrued what the play was about, assuming that it was about an alchemist. This did not seem terribly stupid at the time; the play’s title seemed to indicate the likelihood of that being the case. So, it is with much chagrin and full disclosure that I confess to being wrong about everything in regard to The Alchemist. For some reason (I sometimes think there is a mysterious divining rod hovering about me that leads me to certain plays at the exact right time), I picked the script up again this past winter with the thought, “well, I’ll give it one more try.” Inexplicably, I got past page three. Not only did I keep reading, but somehow it suddenly seemed so clear, and to my delight, hysterically funny. I found myself laughing out loud as I read it; at one point, so much so that I became quite alarmed. It is a rare play that can make one laugh audibly and quite uncontrollably in the solitude of a reading room. This is not to say that I don’t recognize the comedy in comedies when I read them, yet most don’t make me laugh raucously out loud until they are brought to life by actors. I became convinced that The Alchemist was possibly the funniest play I had ever encountered. I also saw, with dismay and clarity, why it is so rarely performed. It’s a massive understatement to say that it’s a tough nut to crack, as my own prolonged experience so clearly demonstrates. After much thought and re-reading, I decided on the bold (and I’m sure controversial) decision to adapt it, in the hope of alleviating the problems that it presents for a contemporary audience. Though written in modern English, the text is overflowing with archaic language, obtuse references, topical jokes, and technical jargon from 450 years ago; not to mention grammatical construction that feels almost foreign, numerous settings, a barrage of minor characters and, in its original form, is probably well over four hours long. Each and every adaptation that I create presents a very different set of challenges and goals. The goal here was not to “dumb down” Ben Jonson’s work at all, but rather to create a more up-to-date language conduit through which the play could flow and emerge with deserved brilliance for the modern ear. Language, sentence and thought structure, slang, and so much else have changed over the centuries since the play was penned, that even though it is written in our tongue, it strains that assertion. Add
THE SHAKESPEARE THEATRE OF NEW JERSEY
Ben Jonson’s particular writing style, far more convoluted to us than Shakespeare’s, and you have a very difficult piece of theatre. I’m sure that the language issues in combination with the play’s epic production demands have prevented many a company or director from attempting it.
ARGUMENT. T he sickness hot, a master quit, for fear, H is house in town, and left one servant there, E ase him corrupted, and gave means to know A Cheater, and his punk; who now brought low, L eaving their narrow practice, were become C ozeners at large; and only wanting some H ouse to set up, with him they here contract, E ach for a share, and all begin to act. M uch company they draw, and much abuse, I n casting figures, telling fortunes, news, S elling of flies, flat bawdry with the stone, T ill it, and they, and all in fume are gone.
What has not changed over 450 years is human nature. Each and every thing that –Ben Jonson Jonson so magnificently and astutely observes about humanity, and then satirizes with equal brilliance, remains stunningly, appallingly, hysterically true and relevant. I could go on and on about the complexity and dazzling genius of the play, but I do not have the room to do so here. Let me simply say, that it is no mistake that Jonson is often touted as Shakespeare’s only equal from that time or since. They lived at the same time, in the same place, and practiced the same occupation, but they could not be more different as writers. I read a wonderful remark that said that Shakespeare’s genius was so unique that it has never been imitated or equaled since, that it will stand alone forever; but that Jonson’s genius was in creating a new form that was adopted, imitated, and influenced dramatic literature for generations after.
I have made at least 1,000 changes to Jonson’s original text— some as minute as shifting the placement of a comma, others as arrogant as re-writing entire lines. I made hundreds of cuts and word changes, and deleted various minor characters and locations. What I have attempted is to create an adaptation that so honors Jonson’s language, style, and intent that, unless you are an expert, you will not notice the changes. This has all been done because I want this piece to be brought to the glorious life and attention it deserves as one of the world’s greatest comedies. As a now fervent admirer of the play, I have assigned myself the role of modern tour guide to bring Jonson to the audiences of the 21st century. I am sure I will offend or even outrage the purists, but the world and language change, even though humans do not, and so, in the spirit of the transformational nature of alchemy, I have endeavored to convert old gold into new gold.
“God bless all con men and hustlers and pitch-men…” Tennessee Williams, Camino Real
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THE SHAKESPEARE THEATRE OF NEW JERSEY
THE ANNUAL FUND
Ticket sales generate approximately 58% of the funds necessary to produce The Shakespeare Theatre of New Jersey’s artistic and educational work. The Theatre must raise the remaining funds through annual gifts from donors who recognize the impact that The Shakespeare Theatre has on the quality of life in New Jersey. We extend our deepest gratitude to the following individuals, corporations, foundations, and government agencies, whose gifts make it possible for The Shakespeare Theatre to present the finest in classic theatre on our Main Stage and our Outdoor Stage, and allow us to work with thousands of young people with our outreach education programs throughout New Jersey, the tri-state region, and the nation. For more information on how you can make a contribution to support the ongoing activities of The Shakespeare Theatre of New Jersey, please contact the Development Department at (973) 845-6732. The list below reflects gifts received in support of the Theatre’s general operating needs between February 1, 2013 and July 1, 2014. DEUS EX MACHINA $25,000 AND ABOVE Arch Reinsurance Company Bank of America Mr. & Mrs. David N. Bradford Edward T. Cone Foundation CTW Foundation The Geraldine R. Dodge Foundation The F.M. Kirby Foundation Mr. & Mrs. S. Dillard Kirby The National Endowment for the Arts/Arts Midwest New Jersey State Council on the Arts Mr. & Mrs. James Pohlman The Prudential Foundation John & Lynne Rathgeber The Shubert Foundation LEADING PLAYERS $10,000-$24,999 Anonymous The Thomas & Agnes Carvel Foundation Mrs. Buena Chilstrom Ms. Patricia A. Connell & Mr. Martin A. Schwarz Mr. James M. Deaver Helen & Frank DiPrima Ms. Suzanne Engel Rich & Jean Fuchs Mr. & Mrs. James R. Gillen The Honorable & Mrs. Thomas H. Kean Tom & Lynn Keffer Peter R. & Cynthia K. Kellogg Foundation Jim & Carol Kobak
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IN-KIND CONTRIBUTIONS
The Shakespeare Theatre of New Jersey wishes to acknowledge the following donors of in-kind gifts received between February 1, 2013 and July 1, 2014
Mr. Ames Adamson Ms. Linda Bacha Carolyn Barrett Jeanne & Jim Barrett Steven & Sarah Beckel Pro Bono Partnership, Inc. David & Kate Bradford Ms. Marjorie C. Brandriss & Mr. David Kristol Cabot Creamery Ms. Marcia Casais Climax Brewery Ms. Patricia A. Connell & Mr. Martin A. Schwarz Ms. Rose Cosentino Kevin & Joy Cox Brian B. Crowe
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