360° Viewfinder: THE WINTER'S TALE by Theatre for a New Audience

360Â° SERIES V I E W F I N D E R : FA C T S A N D P E R S P E C T I V E S O N T H E P L AY, P L AY W R I G H T, A N D P R O D U C T I O N

W W W . T FA N A . O R G

TA B L E O F CO N T E N T S The Play 4 Synopsis 5

Perspectives

Dialogues: Tales for Winter, by Tanya Pollard

The Playwright 12

Biography: William Shakespeare

The Production 13

Interview: Arin Arbus in Conversation with Gail Kern Paster

Cast and Creative Team

About Theatre For a New Audience 30

Mission and Programs

Major Supporters

The Winter’s Tale sponsored by

Endowment funds for the production are provided by The Howard Gilman Foundation Fund for Classic Drama. Theatre for a New Audience’s production is part of Shakespeare for a New Generation, a national initiative sponsored by the National Endowment for the Arts in cooperation with Arts Midwest.

Notes Front Cover Art designed by Milton Glaser, Inc. This Viewfinder will be periodically updated with additional information. Last updated March 19, 2018.

Credits Perspectives & Biography of William Shakespeare by Jonathan Kalb. The Winter's Tale 360° | Edited by Soriya Chum & Susanna Gellert | Copy-edit and Layout by Peter James Cook | Literary Advisor: Jonathan Kalb | Council of Scholars Chair: Ayanna Thompson | Designed by: Milton Glaser, Inc. | Copyright 2018 by Theatre for a New Audience. All rights reserved. With the exception of classroom use by teachers and individual personal use, no part of this Viewfinder may be reproduced in any form or by any means, electronic or mechanical, including photocopying or recording, or by an information storage and retrieval system, without permission in writing from the publishers. Some materials published herein are written especially for our guide. Others are reprinted by permission of their authors or publishers.

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Kelley Curran (Hermione) in Theatre for a New Audience’s production of THE WINTER'S TALE by William Shakespeare, directed by Arin Arbus. Photo by Carol Rosegg.

360° VIEWFINDER

THE WINTER'S TALE

T H E W I N T E R ' S TA L E 3

SYNOPSIS Polixenes, King of Bohemia, wants to return home after a nine-month state visit to the court of his childhood friend Leontes, King of Sicilia. Leontes wants Polixenes to stay and asks his wife Hermione, who is expecting their second child, to help persuade him. Seeing them talk, Leontes becomes violently jealous. Hermione is arrested. Leontes questions the paternity of both his unborn child and his young son Mamillius, and orders the Lord Camillo to kill Polixenes. Camillo tells Polixenes of Leontes’s “sickness” and escapes to Bohemia with him. When Hermione gives birth to a baby girl in prison, Leontes orders it killed. Paulina, lady-in-waiting to Hermione and wife of the Lord Antigonus, takes the baby to Leontes, but Leontes orders Antigonus to abandon it in a remote place. Messengers are sent to Delphi to ask Apollo about Hermione’s guilt. The oracle they deliver confirms her innocence, adding: “the King shall live without an heir if that which is lost be not found.” Hermione collapses on hearing that Mamillius has died of grief, and she too is reported dead. When Antigonus abandons the baby on the shore of Bohemia during a storm, he is devoured by a bear. A shepherd and his son find the baby and an accompanying box. The character of Time explains that sixteen years elapse. The baby, named Perdita, is now a shepherd’s daughter beloved by Polixenes’s son, Prince Florizel. At a sheepshearing festival, Polixenes and Camillo, in disguise, obser ve the young couple. Meanwhile, Autolycus, a former ser vant of Florizel’s and now a rogue who delights in disguises, cheats the shepherd’s son and scams others. Polixenes hears Florizel say he will wed Perdita regardless what his father thinks. Polixenes violently threatens her and the shepherd. Florizel is determined to run away with Perdita and Camillo, sympathizing with them, suggests that they go to Sicilia and ask Leontes to take them in. In Sicilia, Florizel and Perdita are received by Leontes, who has not remarried and promises not to without Paulina’s consent. Polixenes and Camillo arrive. Revelations prove Perdita’s true identity and bring the estranged kings and their children joy. Paulina invites the gathered company to her house to view a just-finished sculpture of Hermione, and its uncanny realism awes ever yone. Miraculously, the sculpture comes alive. 4

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DRAMATIS PERSONAE: LEONTES, King of Sicilia HERMIONE, Queen to Leontes PERDITA, Daughter to Leontes and Hermione POLIXENES, King of Bohemia FLORIZEL, his Son MAMILLIUS, young Prince of Sicilia CAMILLO, ANTIGONUS, CLEOMENES, DION, Lords of Sicilia PAULINA, Wife to Antigonus EMILIA, a Lady Other Ladies, attending the Queen AUTOLYCUS, a Rogue ARCHIDAMUS, a Lord of Bohemia A Mariner A Gaoler An old Shepherd, reputed Father of Perdita Clown, his Son Servant to the old Shepherd MOPSA, DORCAS, Shepherdesses Sicilian Lords and Ladies, Attendants, Guards, Satyrs, Shepherds, Shepherdesses Time, as Chorus

PERSPECTIVES

Anatol Yusef (Leontes), Kelley Curran (Hermione) and Dion Mucciacito (Polixenes) in Theatre for a New Audience’s production of THE WINTER'S TALE by William Shakespeare, directed by Arin Arbus. Photo by Carol Rosegg.

The following quotes are selected perspectives on the play from notable scholars and artists. “Shakespeare’s main source is Pandosto... that bears as its epigraph Temporis filia veritas, or Truth is the daughter of Time.... Father Time [in The Winter’s Tale]... comes at a crucial moment in the play.... Shakespeare presses home the fact that the ‘wide gap’ of dramatically ‘untried growth’ is part of the universal process of time who ‘makes and unfolds error’ in his immutable onward flight.... the play is probing into the human condition.... it looks at what time means and does.”

Inga-Stina Ewbank, The Triumph of Time in The Winter’s Tale (1964).

“Leontes’s obsession of jealousy is terrifying in its intensity. It reminds us not of other Shakespearean tragic errors, but rather of the god-sent lunacies of Greek drama, the lunacies of Ajax and Heracles.”

E.M.W. Tillyard, Shakespeare’s Last Plays (1938)

“Leontes... is one of Shakespeare’s high priests of ‘nothing,’ a worthy successor to Iago and to Edmund. Frank Kermode rightly speaks of ‘the more intellectual torments of Leontes’ as compared with the inarticulate sufferings of Othello. Leontes is intellectual enough to have become a nihilist, but why does T H E W I N T E R ' S TA L E 5

PERSPECTIVES Shakespeare also confer upon the King of Sicilia the dark distinction of being the outstanding misogynist in all of the plays? The alliance of misogyny and nihilism is one of the greater Shakespearean insights into male nature, and prompted aspects of Nietzsche’s uncannier broodings.”

Harold Bloom, Shakespeare: The Invention of the Human (1998)

“...[T]he bear is an important symbol for the play as a whole; though it exemplifies the wild and irrational character of the land of Bohemia... in folklore the bear is one of the most common symbols of immortality and resurrection, because of its habit of winter hibernation. Adherents of the cult of the Thracian Salmaxis, the bear god, believed that the bear first feasted, then slept in an underground chamber as though dead, returning to the world of the living with the spring thaw.”

Marjorie Garber, Dream in Shakespeare: from Metaphor to Metamorphosis (1974)

“Midwinter spring is its own season Sempiternal though sodden towards sundown, Suspended in time, between pole and tropic. When the short day is brightest, with frost and fire, The brief sun flames the ice, on pond and ditches, In windless cold that is the heart's heat, Reflecting in a watery mirror A glare that is blindness in the early afternoon. And glow more intense than blaze of branch, or brazier, Stirs the dumb spirit: no wind, but pentecostal fire In the dark time of the year. Between melting and freezing The soul's sap quivers. There is no earth smell Or smell of living thing. This is the spring time But not in time's covenant. Now the hedgerow Is blanched for an hour with transitory blossom Of snow, a bloom more sudden Than that of summer, neither budding nor fading, Not in the scheme of generation. Where is the summer, the unimaginable Zero summer?”

T.S. Eliot, “Little Gidding” (1942)

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Robert Langdon Lloyd (Time) in Theatre for a New Audience’s production of THE WINTER'S TALE by William Shakespeare, directed by Arin Arbus. Photo by Carol Rosegg.

PERSPECTIVES “Then as the singing ceased and the lyre ceased, Down stepped proud Galatea with a sigh. ‘Pygmalion, as you woke me from the stone, So shall I you from bonds of sullen flesh. Lovely I am, merciful I shall prove: Woman I am, constant as various, Not marble-hearted but your own true love. Give me an equal kiss, as I kiss you.”

Robert Graves, “Pygmalion to Galatea” (1926)

Anatol Yusef (Leontes) and Kelley Curran (Hermione) in Theatre for a New Audience’s production of THE WINTER'S TALE by William Shakespeare, directed by Arin Arbus. Photo by Carol Rosegg.

“Much is said about magic in the final scene, but there is no magician, no Prospero, only the sense of a participation in the redeeming and reviving power of a nature identified with art, grace, and love. Hence the final recognition is appropriately that of a frozen statue turning into a living presence, and the appropriate Chorus is Time, the destructive element which is also the only possible representative of the timeless.”

Northrup Frye, “Recognition in The Winter's Tale" (1962)

“The Winter’s Tale is fundamentally a play of ‘metamorphosis’.... Time and change, ‘things dying’ and ‘things new born’ underlie each of its essential symbols and processes... redemption and reconciliation emerge from the union of the temporal and eternal.... “Of all the agents and objects of metamorphosis, Autolycus is the master. He belongs to the category of quicksilver characters which also include Puck and Ariel. He is transformation itself.... His lightning facility with disguise and almost aesthetic pleasure in gulling others with a pretended identity places him thematically near the center of the play.... He is the play’s artist and poet and thus its master of manipulation and dream.”

Marjorie Garber, Dream in Shakespeare: from Metaphor to Metamorphosis (1974)

“They marry Paulina off to Camillo, and in the simplest type of repentance, Leontes asks pardon of Hermione and Polixenes, and they don’t even bother to reply. Mamillius is dead, Antigonus is dead, sixteen years have passed: all are remembered in forgiveness. Forgiveness is not in forgetting, but in remembering.”

W.H. Auden, Lectures on Shakespeare (1947)

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DIALOGUES TALES FOR WINTER TANYA POLLARD

Oberon K.A. Adjepong (Antigonus) in Theatre for a New Audience’s production of THE WINTER'S TALE by William Shakespeare, directed by Arin Arbus. Photo by Henry Grossman.

hat is a winter’s tale? Shakespeare never defines the term. Mamillius tells his mother, “a sad tale’s best for winter,” but the play does not limit its focus to sadness. Shakespeare’s contemporaries do not offer definitions either, but the term had appeared on the stage more than twenty years before the play bearing its name. In Christopher Marlowe’s Dido, Queen of Carthage— another play about a maternal queen mistreated by an uneasy husband—Aeneas wonders, “Who would not undergo all kind of toil,/ To be well stored with such a winter’s tale?” Earned by toil and kept in storage: a winter’s tale suggests work, waiting, and sustenance. Winter is a time of hibernation, a season of temporarily suspended animation. Bears retreat to caves, inert iguanas tumble frozen from trees, and Alaskan tree frogs actually die—ceasing heartbeat and breath – 8

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only to return to life when their blood thaws. Like these creatures, Shakespeare’s Sicilia shuts down, but eventually re-opens for the business of perpetuating the species. Death turns out to be just as temporary as life; the two states differ only by degrees, and shifts between them move in both directions. Lives slow and contract, but they also quicken and expand. Like a familiar fairy tale, The Winter’s Tale opens with a curse on an idyllic kingdom, issued by a villain. In his frenzied suspicions of his wife’s infidelity, and his refusal to believe the chorus of support for her, Leontes wields a cruelty that threatens to destroy his marriage, wife, children, and kingdom. As in the tale of Sleeping Beauty, a lingering supernatural force mitigates the curse. The Delphic Oracle’s proclamation—that Sicilia will remain without an heir if the king’s lost child is not found—leaves a

TALES FOR WINTER window of hope, which Hermione’s loyal supporter Paulina keeps open by insisting on the obligation to wait. As in the fairy tale, the rediscovered princess brings the kingdom, and her parents, back to life. Despite these fairy tale echoes, the seemingly simple oppositions of The Winter’s Tale quickly collapse. For all the joy of Perdita’s return, the recompense she provides is devastatingly incomplete. Mamillius never returns, and if the boy actor who played him is double-cast as either Florizel or Perdita, the play’s closing scenes are visibly haunted by his ghost. Leontes, meanwhile, doubles as both villain and victim of the kingdom’s terrible losses. The play does not exonerate him, but in his grief-ravaged acceptance of Paulina’s indictment, and his ceding of authority to her, he provides the necessary conditions for the play’s partial restoration of loss. What is Hermione thinking or feeling in this last scene, when she returns to the shards of her family? Her only words are to her rediscovered daughter; she does not speak to Leontes. Onlookers suggest at least a thaw. Polixenes reports, “She embraces him,”

TANYA POLLARD and Camillo echoes, “She hangs about his neck.” What do we make of these accounts? In Robert Greene’s Pandosto, the play’s most immediate source, the wrongly accused wife dies, never to return. In Euripides’ Alcestis, a more distant model, a wife who returns from death refuses to speak to anyone. Hermione is in new territory, and the boy actor who originally played her is long dead. We’ll never know what Shakespeare imagined. But whether this marriage is alive, dead, or somewhere in between, its issue survives and promises further generation; like Flora, the goddess of spring, their daughter hovers on the brink of fertility. As Benedick concedes in Much Ado About Nothing, the world must be peopled. The possibility of new life saturates this play, which begins with a pregnancy and ends on the cusp of a new marriage. Fittingly, its language reverberates with vocabulary of procreation, sometimes in forms that are no longer obvious. The play features 38 instances of the word bear, as well as 19 of born, 3 of birth, and 3 of burden, all of which share etymological origins in Old English words for childbirth. It also features 83 uses of genealogical

Left to right: Anatol Yusef (Leontes) and Eli Rayman (Mamillius); Kelley Curran (Hermione) and Nicole Rodenburg (Perdita) in Theatre for a New Audience’s production of THE WINTER'S TALE by William Shakespeare, directed by Arin Arbus. Photos by Carol Rosegg.

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TALES FOR WINTER words such as generation, gentry, and especially gentle, rooted in the Latin genus and Greek γένος , birth. These words, along with relatives such as gender, genesis, genitals, genes, and genetics, share deeper roots in the Aryan gen-, gon-, and gn-, to produce, engender, and beget. This larger family tree also lies behind Old English cyn, or kin, which similarly resonates in the play’s 17 instances of words including kindred, kinsman, kind, kindness, and mankind. The play’s lexical engagement with kinship and generation parallels its attention to literary kinds and genres, terms that stem from the same etymological bases and represent a thinly veiled familial metaphor.

TANYA POLLARD The play’s genre is famously ambiguous. It is listed as a comedy in Shakespeare’s First Folio, but it has intimate affinities with tragedy, as well as echoes of other forms such as pastoral and romance. In the sixteenth century, these sorts of challenges to generic decorum had prompted the revival of a term invented in antiquity. In the prologue to Plautus’ Roman comedy Amphitryo, the god Mercury claims that his audiences don’t want to watch a tragedy. “I will make it a mixture,” he announces in response; “let it be a tragicomedy” (tragicomoedia). Early modern commentators seized on this line as establishing classical authority for a controversial collision of genres. Even the skeptical poet Philip Sidney, who complained about the “mongrel tragicomedy,”

Ed Malone (Clown) and Maechi Aharanwa (Mopsa) in Theatre for a New Audience’s production of THE WINTER'S TALE by William Shakespeare, directed by Arin Arbus. Photo by Carol Rosegg.

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TALES FOR WINTER acknowledged that the classical precedent lent the genre some justification: “I know the ancients have one or two examples of tragicomedies, as Plautus hath Amphitryo.” As other writers similarly observed, Plautus’ coinage opened a conversation about the boundaries of dramatic kinds, with consequences for later developments on the stage. Shakespeare imitated Plautus from his earliest plays; The Comedy of Errors (c. 1594) offers a witty mash-up of the Roman playwright’s Menaechmi and Amphitryo. He also mingled genres throughout his career, emulating the “tragical mirth” parodied in A Midsummer Night’s Dream and the “tragicalcomical-historical-pastoral” mixtures described by Polonius in Hamlet. Not long before The Winter’s Tale, Pericles and Cymbeline similarly jumbled expectations by staging quasi-magical returns from apparent deaths. With its divided tragic and comic halves, however, The Winter’s Tale goes further, escalating these generic tensions into a selfconscious merger of opposites. Shakespeare’s intensification of tragicomic plotting reflects the moment’s theatrical fashions, but it also suggests a response to a specific logistical Arnie Burton (Autolycus) in Theatre for a New Audience’s production of THE WINTER'S TALE by William Shakespeare, directed by Arin Arbus. Photo by Carol Rosegg.

TANYA POLLARD development. His theater company, the King’s Men, performed at the outdoor Globe Theater, but when Shakespeare wrote The Winter’s Tale (c.1611), they had recently established a new seasonal arrangement. Richard Burbage, Shakespeare’s lead actor, also owned the Blackfriars playhouse, a candle-lit indoor theater for upmarket audiences. Banned from housing commercial adult performances, the Blackfriars originally showcased children’s acting companies, except when under siege from plague and other disasters. This changed, however, in 1608 when the King’s Men took over the lease. By about 1610 they were staging plays there in seasonal rotation with the outdoor Globe Theater. Like bears, the company underwent a kind of annual hibernation, retreating indoors from October to March. Just as The Winter’s Tale’s plot cycles between winter in Sicilia and spring in Bohemia, the play’s performances cycled between winter in the Blackfriars and summer in the Globe. A winter’s tale, then, might more accurately be known as a tale of two seasons—or more simply, a tragicomedy by another name. We might also think of it as a tale of two theaters, reflecting audiences’ own experiences of cyclical retreat. Like bears, like Proserpina, we too withdraw regularly into the suspended animation of a shady approximation of life, before returning to the tasks of living. What happens in the aftermath of these retreats is no more clear or inevitable than is the ending of The Winter’s Tale. In its insistent reminder that winter is inevitably followed by spring, however, the play suggests that hibernation itself is a productive state, offering its own kind of fertility. • TANYA POLLARD is Professor of English at Brooklyn College and the CUNY Graduate Center. Her books include Greek Tragic Women on Shakespearean Stages (2017), Drugs and Theater in Early Modern England (2005), and Shakespeare’s Theater: A Sourcebook (2003); with Tania Demetriou she is co-editor of Homer and Greek Tragedy on early Modern England’s Theaters (2017) and Milton, Drama, and Greek Texts (2016), and with Katharine Craik she is co-editor of Shakespearean Sensations: Experiencing Literature in Early Modern England (2013). A former Rhodes Scholar, she has received fellowships from the NEH, Whiting, and Mellon foundations, and the Warburg Institute.

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WILLIAM SHAKESPEARE

Illustration by Milton Glaser.

THE PLAY WRIGHT

he most celebrated and widely produced of the world’s great playwrights, William Shakespeare (1564-1616) was born and raised in the small country town of Stratford-upon-Avon, where his parents were prominent citizens, though his father, a tanner and glove-maker, seems to have suffered financial reverses around the time young William’s formal education apparently ceased in 1577. He married a local girl, Anne Hathaway, in 1582, and over the next decade the marriage produced three children. Shakespeare’s only son, Hamnet, died at age 11, in 1596; his daughters Judith and Susanna survived him. How and why Shakespeare entered the theatrical profession is unclear. He seems to have come to London in the late 1580s, and quickly made himself indispensable as a reviser of old plays and a supplier of new ones. By 1594, he had become a shareholder, along with the prominent actor Richard Burbage and the latter’s businessmanager brother, Cuthbert, in the Lord Chamberlain’s Men, one of the dominant theatre companies of its day, popular with the public and frequently in demand for performances at Queen Elizabeth’s court. In the reign of her successor, King James I, the troupe was officially taken under royal protection and became the King’s Men. While he appeared regularly in works by others, Shakespeare’s principal function seems to have been turning out new plays for his companies. Working in all the standard genres of the time—tragedy, comedy, tragicomedy, and episodes from British history—he rapidly developed both remarkable expertise and a startlingly individual, innovative style. Measure for Measure was probably written in 1604, shortly after the accession of King James I, for whom it was performed on Dec. 26 of that year. It is one of Shakespeare’s last comedies before his final career phase that produced a trail of great tragedies (Othello, King Lear, Macbeth, Antony and Cleopatra) and romances (Cymbeline, A Winter’s Tale, Pericles, The Tempest). Shakespeare retired from the King’s Men around 1612, spending the last years of his life with his family in Stratford, where he died in 1616. His plays have never been off the stage. Theatres return to them time and again for their brilliant storytelling, theatrical excitement, incisive character expression and memorably intense poetry. To this day, Shakespeare is still the most performed, translated, adapted, quoted, analyzed and discussed author in the entire history of dramatic literature. Figures from his plays like Hamlet, Falstaff, Lear, Macbeth, Rosalind, Viola, Shylock, Prospero, and Duke Vincentio have virtually taken on an independent existence in the world. 12

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INTERVIEW HOPING FOR TRANSFORMATION DIRECTOR ARIN ARBUS IN CONVERSATION WITH GAIL KERN PASTER

Anatol Yusef (Leontes) and Kelley Curran (Hermione) in Theatre for a New Audience’s production of THE WINTER'S TALE by William Shakespeare, directed by Arin Arbus. Photo by Gerry Goodstein.

s rehearsals approached for The Winter's Tale, director Arin Arbus sat down for a conversation with Gail Kern Paster, a member of Theatre for a New Audience's Council of Scholars.

GAIL You directed Othello for TFANA and I’m

GAIL KERN PASTER My first question is, why did

ARIN They’re such an interesting pair of plays—

you and Jeffrey decide to do this play now? ARIN ARBUS This is a play that I have wanted to

direct for many years, but I always felt that I did not know how. About a year ago, I gained an insight into it that made me feel game to tackle this. It’s an interesting play to be doing at this moment because misogyny and the abuse of male power are being talked about so much. But as is often the case, that’s not the reason why we’re doing this. For me it always comes from an instinctive kind of personal impulse—the thought, “Oh, I feel like I can step up to the mat with this play.”

wondering how the experience of directing Othello helped you in thinking about The Winter’s Tale—or didn’t help you. almost like The Winter’s Tale is an alternative version of Othello. And yet what’s very useful is to identify the ways in which they’re different from one another. The relationship between Othello and Desdemona is very different from the relationship between Leontes and Hermione, and knowing about Othello and Desdemona helps me to clarify some of the mysterious things happening between them. It’s significant that Leontes and Hermione are never alone on stage together, you know—except arguably at the end, but that's a director’s choice. They never have a scene where they talk to each T H E W I N T E R ' S TA L E 13

INTERVIEW WITH DIREC TOR ARIN ARBUS

GAIL KERN PASTER

other without people watching, which is unlike Othello and Desdemona. And it reveals to me something about the dynamics of their relationship. Those are some of the things I think about in relation to the two plays even without mentioning jealousy. There is that obvious connection, but again, it’s the differences between the two that are significant. In Othello, someone is manipulating him. He is being fed information, and in The Winter’s Tale Leontes is not. There is no one manipulating him. He is perceiving an infidelity that isn’t actually there.

and directing the play for you and for the actors? Or, does it somehow get in the way and prevent other kinds of interpretations?

GAIL One of the things that the two plays have in

GAIL You either elevate as different from all other

common is that in both cases the heroine is really a figure of idealization by others. Do you think that idealization is helpful in thinking about the play

ARIN Shakespeare wrote misogyny so amazingly. I love

the way he creates misogynistic societies, and I think that the idealization of Desdemona and Hermione is there is because these two plays are about misogyny. GAIL Because idealization and misogyny are two

sides of the same coin? ARIN Yes, because it’s the same thing.

women, or you degrade as the same as all other women. And those two things just pivot back and forth, back and forth. Clockwise, from left: Kelley Curran (Hermione); Mahira Kakkar (Paulina); and Anatol Yusef (Leontes) in Theatre for a New Audience’s production of THE WINTER'S TALE by William Shakespeare, directed by Arin Arbus. Photos by Carol Rosegg.

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INTERVIEW WITH DIREC TOR ARIN ARBUS ARIN Right, but the thing that’s missing with

idealization and misogyny is actually seeing the human being in front of you. GAIL So, what will you as the director tell your Leontes

about what motivates his jealousy, or is this is something that you work out at the table or on the stage? ARIN It comes from the language and the language

is so rich and has so many layers, and is so filled with mysteries that you can't fully understand it until you’re speaking it or playing with it. I can get far just reading it in a book and there are elements of the jealousy which I totally get—even the irrationality of the jealous. But it's whatever we decide. So holding on to those things that I know and the things that the actors know instinctually, then we go into the rehearsal room and try and make something. That’s how I’m interested in working as opposed to coming in with a prescription

GAIL KERN PASTER

and trying to impose that on somebody. I find that the thrill of working on Shakespeare is that you have faith in his language and it continues to surprise you with its insights if you just stick with it. GAIL One of the things that’s going to happen no

matter how you stage it, is that we, as the audience, are going to watch Leontes watch Hermione and Polixenes have a conversation that we don’t hear. The play tells us that she is paddling with his palm and that they’re clearly enclosed in intimate conversation. This is a scene that gives you as director and Hermione and Polixenes a lot of latitude, as to what they’re doing and how intimate and warm they seem to be. ARIN I was able to explore that scene in a

workshop. What became clear was just how sexual the language is from Polixenes to Leontes, from Leontes to Polixenes, from Polixenes to Hermione—

Kelley Curran (Hermione) and Dion Mucciacito (Polixenes) in Theatre for a New Audience’s production of THE WINTER'S TALE by William Shakespeare, directed by Arin Arbus. Photo by Carol Rosegg.

T H E W I N T E R ' S TA L E 15

INTERVIEW WITH DIREC TOR ARIN ARBUS "burden,""filled up," "multiply." There’s pent-up sexual energy there. I begin with what I think is happening in those relationships. It’s a very bizarre situation that he’s a king and a father, and he’s been there for nine months, and they don’t want him to leave. There are little clues in the way Hermione speaks to Leontes, and Leontes to Hermione just before the jealousy erupts where you get a sense of what’s happening within their relationship. And suddenly that triangle becomes very full. GAIL One of the things we learn from the

conversation between Hermione and Polixenes is that Polixenes and Leontes have both been wetnursed by the same woman. As little boys they were in what the Elizabethans would have regarded as a perfectly normal practice for princes, which is that they would not be nursed by their own mothers, but by someone else. They were nursed by the same woman, and they had a relationship which in the Renaissance would be called "brothers of the milk."

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GAIL KERN PASTER

Here is Hermione very pregnant, and the displacement that her pregnancy might represent is part of what reactivates Leontes’ jealousy—a sense of rivalry with Polixenes. And when Mamillius, the son, comes on stage, and Leontes is fully in the throes of his jealousy, he says to Hermione, “I am glad you did not nurse him.” Do you find the language of this play especially difficult? Because it has seemed to many to be pretty obscure and difficult. ARIN It feels to me unlike any other language that

I’ve worked on. There are sections of the play that I have found totally intimidating, that seem very hard to make work. But when I have worked on those sections with actors it becomes very accessible. GAIL Do you find that the structure of the verse

line is helpful to you, and to the actors, or just something that you don’t even pay attention once you’re deep into the play? ARIN It’s a balance for me in terms of trying to

INTERVIEW WITH DIREC TOR ARIN ARBUS

GAIL KERN PASTER

honor the structure that has been given there and trying to enable the actor to make it their own. But, I think it’s very useful in this play. We’re working with an amazing voice and text director named Alison Bomber, who worked with [director] Michael Boyd at the RSC, and on his Tamburlaine at TFANA. I’ve talked to her a little bit about Leontes’ language, and she has been able to articulate how those verse lines—which often are coming mid-thought—can get you inside the volatility of Leontes. GAIL The tragic climax of the first movement of

the play is the trial scene during which Leontes accuses Hermione of infidelity and pushes through to that horrible conclusion of banishing Perdita. Obviously, Leontes loses the audience’s sympathy pretty completely, but he’s going to come back. How do you keep him sympathetic for an audience that really wants to hate him, and watches him be so self-destructive, and destructive of others? ARIN I probably won’t know until we’re quite a

way into rehearsal. The earlier scene in Act 5 where Paulina is testing him is a very important scene. GAIL It’s really pretty clear that jealousy for

Shakespeare is a primary emotion because he returns to it again and again. We see it in Claudio in Much Ado and we see it in [Hamlet’s] Claudius for that matter—so jealous of his brother that he wants to have everything his brother has, and then obviously Othello, and here we are with Leontes. It may be that the audience can say, “Ah, yes, I know about jealousy. I, too, have felt jealous.” Even if we watch the destructiveness of the jealousy, and perceive it as deeply, deeply wrong, we can’t say we’re strangers to jealousy. ARIN Yes, and even the way that he talks to specific

people in the audience—Sir Smile, his neighbor. Opposite page: Anatol Yusef (Leontes) and Eli Rayman (Mamillius). This page, top: Eddie Ray Jackson (Lord), Anatol Yusef (Leontes), Maechi Aharanwa (Emilia), Kelley Curran (Hermione), Mahira Kakkar (Paulina), John Keating (Officer). Center: Anatol Yusef (Leontes), Mahira Kakkar (Paulina). Bottom: Anatol Yusef (Leontes) in Theatre for a New Audience’s production of THE WINTER'S TALE by William Shakespeare, directed by Arin Arbus. Photos by Carol Rosegg.

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INTERVIEW WITH DIREC TOR ARIN ARBUS

GAIL KERN PASTER

It could be the guy who lives down the street or a person actually sitting next to you.

intense, that little exchange. And that’s all you really get between them to build that relationship.

GAIL The shame for a king, of the perception that

GAIL It’s almost as if he’s still mad at her for

he might be perceived as a cuckold would be almost overwhelming. It would be interesting to think about the difference between women’s reactions to Leontes and men's, and whether there’s a greater identification from one part of the audience or another. But I also think that it’s going to depend a lot upon what we see Hermione and Polixenes doing.

making him work so hard. And, then she at the trial says that she is the daughter of the emperor of Russia, and this is not how she should be treated, and he’s violated her by robbing her of the dignity that is due to her in giving birth. Elizabethans would have imagined that somebody, particularly of the rank of queen, would have laid in for a month. That’s shocking, too.

ARIN The relationship of Leontes and Hermione

is so interesting to me. Shakespeare just gives you the tiniest amount of information prior to the relationship. But there’s a lot in that little exchange where she says that she spoke well twice. There is something so starved for Leontes’ affection in the way she talks to him there, and there’s something so stingy in his response and his description of that courtship. I’m shocked every time I hear it—it’s so

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After the apparent deaths of Hermione and Mamillius, the play moves to the abandonment of the baby, Perdita, and the most famous stage direction in Shakespeare: Antigonus, deputized to abandon this baby on a seashore:, must "Exit pursued by a bear." This is a kind of a problem for any production of the play because the audience is likely to find it comic.

INTERVIEW WITH DIREC TOR ARIN ARBUS ARIN I have so many thoughts about this bear.

Marjorie Garber said, “The bear is an important symbol for the play as a whole. It exemplifies the wild and irrational character of the land of Bohemia. In folklore, the bear is one of the most common symbols of immortality and resurrection because of its habit of winter hibernation . . .The bear is the symbol of cult of immortality. His own cycle coinciding with the patterns of the spring reconciliation festival.” So, the bear is connected to Leontes because the bear is a sleeping beast that comes out hungry, but then the bear’s also connected to Hermione because the bear goes to sleep and then it comes alive again. And the bear is connected to the seasons which are so significant in this play. The seasons have something to do with time, and time is a restorative force. When I talked to Jim Shapiro about the play he said, “Shakespeare is asking what happens after a tragedy.” In this wild structure of the play—that it’s part

GAIL KERN PASTER

tragedy, part comedy—he’s creating this new form to answer a new question, which the old forms wouldn’t answer. What happens after the death of the child, after the biggest tragedy? GAIL What does recovery look like? What does

recovery feel like? ARIN It’s useful to use the facts from the life of

Shakespeare, and it is 15 years after his son died. This is a play written by a man who feels guilty, who's hoping for transformation, and the bear is about transformation. The bear is coming out hungry because it’s the end of winter. There is a change happening and the bear’s also the hinge in the play between tragedy and comedy. I hope that we will be able to convey a couple of different things in that moment, but humor is a positive one because as soon as that bear exits, we then get some clowns coming in. GAIL We do laugh at horror, so it’s not impossible

to think of the bear as something you laugh at and

Opposite page, left to right: Oberon K.A. Adjepong (Antigonus); Arnie Burton (Bear). This page: John Keating (Old Shepherd) and Ed Malone (Clown) in Theatre for a New Audience’s production of THE WINTER'S TALE by William Shakespeare, directed by Arin Arbus. Photos by Carol Rosegg.

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INTERVIEW WITH DIREC TOR ARIN ARBUS

GAIL KERN PASTER

also as horror, certainly for Antigonus. And the baby is spared for discovery by the shepherds, and we enter into the world of pastoral Bohemia.

against his father and the society in order to be with her. It’s unusual for the young male lover in Shakespeare to be politically smart.

Do you find Perdita and Florizel complicated characters? They seem to me so naïve that it may be hard to find something inside them, except love, longing....

I’ve grown to love them. She’s very smart and very strong. Her minor obsession with purity of the blood comes from a place of humility and not wanting to pretend to be anything other than what she is.

I’ve come a long way with Bohemia and with Perdita especially, and I have always liked Florizel, because he is a rebel. He’s politically advanced in his thinking and he’s going against the very rigid hierarchy that holds his kingdom together and ensures his power. It’s interesting because Perdita is the one who says, “This is wrong. We should not be together. You’re of royal blood and I am of low blood, and that is wrong.” Florizel doesn’t care, and he’s willing to go up ARIN

GAIL It seems to me that there’s a way in which

Shakespeare’s saying to us, “Okay, you can have your cake and eat it too.” Shakespeare finds the escape hatch, because she’s a princess. ARIN But I don’t think Shakespeare believes in that.

I think his political leanings are closer to Florizel’s. GAIL All of these plays speak to fantasies, and

Eddie Ray Jackson (Florizel) and Nicole Rodenburg (Perdita) in Theatre for a New Audience’s production of THE WINTER'S TALE by William Shakespeare, directed by Arin Arbus. Photo by Henry Grossman.

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INTERVIEW WITH DIREC TOR ARIN ARBUS

GAIL KERN PASTER

one of the fantasies is, “My parents aren’t my real parents. I’m really an adopted princess.” And if you are the princess, somebody will figure that out.

GAIL What do you make of the fact that Hermione

The theater is the space of aspiration, so we don’t want those aspirations to be taken away from us. It provides us with a specter of loss, and then of recovery.

ARIN If I was Hermione, that’s who I would

This leads to my final question, and that is how much does restoration really mean here? Do you think that Leontes and Hermione will find harmony or a kind of uneasy peace?

and Leontes don’t speak, that she doesn’t speak to him? She speaks to Perdita. want to speak to. I would want to speak to my child, who was taken from me at two weeks old. The second reconciliation between Hermione and Leontes is very complicated. There’s no “Oh, I’m so happy to see you. Oh, I forgive you.” There’s a dead child still at the end of that play, and that dead kid is there with them on the stage.

of Perdita, which is more or less uncomplicated. There’s the loss of the time together, but they found each other and they didn’t think they would.

I don’t find it to be a romantic ending but a complex ending. The miracle is they’re standing there together, after having found their child. But what will happen? I don’t know, but they have lost time. They’re older, probably they’ve aged more than the 16 years, you know?

Kelley Curran (Hermione), Anatol Yusef (Leontes), and Nicole Rodenburg (Perdita) in Theatre for a New Audience’s production of THE WINTER'S TALE by William Shakespeare, directed by Arin Arbus. Photo by Carol Rosegg.

GAIL So, this is part of what you need to discover,

ARIN There are a couple of restorations. One is

when you work through from the beginning of the play to the end of the play. That trajectory is the one that will tell you how you want to end. ARIN I’m actually clearest on that ending right

now, more clear than I am on earlier parts. GAIL So you’ll work backwards – a backwards

trajectory! That would be wonderful. Thank you, Arin, for this wonderful conversation. • This interview has been edited and condensed. GAIL KERN PASTER is editor of Shakespeare Quarterly, the leading scholarly journal devoted to Shakespeare. She retired in July 2011 as Director of the Folger Shakespeare Library. She came to the directorship from George Washington University, where she was a Professor of English. She earned a B.A., magna cum laude, at Smith College, where she was elected to Phi Beta Kappa, and a Ph.D. at Yale University. She has won many national fellowships and awards, including fellowships from the Woodrow Wilson Foundation, National Endowment from the Humanities, the John Simon Guggenheim Memorial Foundation, and the Mellon Foundation. She was named to the Queen’s Honours List as a Commander of the British Empire in May 2011. She has published widely—including three books (The Idea of the City in the Age of Shakespeare [1986]; The Body Embarrassed: Drama and the Disciplines of Shame in Early Modern England [1993]; and Humoring the Body: Emotions and the Shakespearean Stage [2004]). She continues to pursue her scholarly interests in the drama of Shakespeare and his contemporaries.

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THE PRODUC TION CAST AND CREATIVE TEAM OBERON K.A. ADJEPONG (Antigonus). New York: Homecoming Queen (Atlantic);

Uncommon Sense (Tectonic); Measure for Measure, Pericles, Tamburlaine (TFANA); Party People (Public); 12 Angry Men (Billie Holiday); Like I Say, Cellophane (Flea); Mother Courage, The Blacks (CSC, CTH); Wabenzi (New Ohio); Hamlet Project (La Mama); Sango (AUDELCO nom./NBT). Regional: Civil War Christmas (Center Stage); Electric Baby (Two River); Good Goods (Yale Rep); Ruined (La Jolla, Huntington, Berkeley Rep, IRNE Award); Timon of Athens, Coriolanus (Shakespeare Theatre); Rhyme Deferred (Kennedy Ctr.). TV/Film: “Blacklist,” “The Knick,” “Louie,” Crazy Famous, Crown Heights. Training: British American Dramatic Academy; Howard U. MAECHI AHARANWA (Mopsa / Emilia). Off-Broadway: The Old Settler (Billie

Holiday); Sweet (NBT); An Octoroon (TFANA); Facing Our Truth – Night Vision and No More Monsters Here (NBT); Mother Courage, Macbeth, The Blacks, Trojan Women (Classical Theatre of Harlem); The Beyonce Effect (TFTTF); Regional: The Call, Seven Guitars, Antigone, Miss Julie, A Woman Called Truth. TV/Film: “Elementary” (CBS), “Show Me a Hero” (HBO), “Person of Interest” (CBS), “30 Rock” (NBC), “Mercy” (NBC), Boy in a Backpack, Maybe There’s a Tree, Police State, Silver Sling. Princess Grace Award recipient. The Actors Center Company member. Training: Juilliard. www.maechi.net ARNIE BURTON (Autolycus / Bear / Officer of Court). Broadway: 39 Steps,

Peter and the Starcatcher, Machinal, A Free Man of Color, Amadeus, and The New Yorkers (Encores). Off-Broadway highlights: The Government Inspector (Callaway Award), The Temperamentals (Drama Desk Award), The Mystery of Irma Vep (Drama League nom.), Lonely Planet, The Explorers Club, The Jew of Malta / The Merchant of Venice, Lives of the Saints, Mere Mortals. Film/TV includes: The Greatest Showman, The Invention of Lying, “The Good Fight,” “Blacklist,” “Jessica Jones,” “Elementary,” “Frasier,” “White Collar.” KELLEY CURRAN (Hermione). Broadway: Present Laughter with Kevin Kline.

Off-Broadway: Sense & Sensibility, Peter Pan (Bedlam); The DingDong (Pearl, Drama League Award nom.); ‘Tis Pity She’s a Whore (Red Bull, Callaway Award); Angels In America (Signature); The Atmosphere of Memory (LAByrinth); Henry V (New Victory); Knives & Spoons... (59E59); and work with The Drama League and Public Theater. Regional: Paper Mill Playhouse, Shakespeare Theatre Company of DC, Shakespeare & Co, Guthrie, Portland Center Stage and The Acting Company. Film: The Man Who Killed Hitler and Then the Bigfoot, Dear Santa. Additional honors: 2017 National Theatre Conference Emerging Professional Award. EDDIE RAY JACKSON (Florizel / Lord) This is Eddie’s TFANA debut! His Off-

Broadway productions include Much Ado About Nothing (Don Pedro, Classic Stage Company). His Regional credits include The Heart of Robin Hood (Much Miller, Oregon Shakespeare Festival); X’s and O’s: A Football Love Story Top: Arnie Burton (Autolycus). Below: Mahira Kakkar (Paulina) in Theatre for a New Audience’s production of THE WINTER'S TALE by William Shakespeare, directed by Arin Arbus. Photos by Henry Grossman.

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T H E P R O D U C T I O N C A S T A N D C R E AT I V E T E A M (Man 4, Berkeley Rep and Center Stage); Fetch Clay, Make Man (Muhammad Ali, Marin Theatre Company/Round House Theatre). Eddie received his MFA in Theatre at Columbia University. www.eddierjackson.com MAHIRA KAKKAR (Paulina / Shepherdess) is excited to be at TFANA. Select New

York credits include: Against the Hillside, When January Feels Like Summer (EST); Romeo and Juliet (Public Mobile Unit); Clive (New Group); Opus (Primary Stages); Harper Regan (Atlantic); Miss Witherspoon (Playwrights Horizons). Select regional theatres include: Huntington, Denver Center, OSF, Old Globe, Berkeley Rep, Hartford Stage, Baltimore CenterStage, McCarter. Film/TV: Hank and Asha, “The Big C,” “Louie,” “Blue Bloods,” “Blacklist,” “Law & Order: CI.” Training: Juilliard, Harold Guskin, SITI, Public Shakespeare Lab. Proud member: EST, Hero Theater Co., The Actors Center. JOHN KEATING (Old Shepherd / Officer). TFANA: Pericles, Much Ado About

Nothing, Taming of the Shrew, The Broken Heart, Measure for Measure. 18 shows at Irish Rep including Rebel in the Soul, The Pigeon in the Taj Mahal, The Weir, Da, Juno and the Paycock. Extensive NY credits include The New York Idea (Atlantic); Public Enemy (Pearl); Is Life Worth Living, John Ferguson (Mint); Juno and the Paycock (Roundabout). Most leading regional theatres including: McCarter, Old Globe, Hartford Stage, Westport, Wilma, ACT. TV: “Boardwalk Empire,” “John Adams,” “The Following,” “Nurse Jackie,” “SVU,” “High Maintenance,” “Alpha House,” “Lipstick Jungle.” Film: The Lone Ranger, Freedom, Emerald City. 160 audiobook narrations (AUDIE winner). ROBERT LANGDON LLOYD (Archidamus/Time/Lord/Officer). Founding member

of Peter Brook’s company. Former member of the Royal Shakespeare Company. American theatre includes: Midsummer Night’s Dream, Marat/Sade, Conference of the Birds, Carmen, Mahabharata (dir. Peter Brook); Othello, Measure for Measure, Macbeth, Taming of the Shrew, Much Ado, King Lear (dir. Arin Arbus); Hay Fever, Legacy, Up Centre Between (dir. Shauna Kanter); Burial at Thebes (dir. Charlotte Moore). Film: The Mahabharata, Paul Scofield’s King Lear, Julie Taymor’s Midsummer Night’s Dream, Tell Me Lies. Video: “Wrong Number” (The Cure). ED MALONE (Clown / Jailer) is delighted to be making his TFANA debut!

Thanks so much to Arin and all the staff at TFANA. NY theatre: The Home Place, The Weir, Juno and the Paycock (Irish Rep); Imperfect Love (Connelly Theater). Film/TV: “Lipstick Jungle” (NBC), “Zhe Zhe” (webseries). Training: École Internationale de Theatre Jacques Lecoq and École Philippe Gaulier in Paris. Ed is a teacher of Theatrical Clown. edmalone.guru DION MUCCIACITO (Polixenes). Theatre: Romeo and Juliet (Classic Stage Company),

Golden Boy (Lincoln Center), Napoli! (American Conservatory Theatre), Apple Cove (The Women’s Project), The House of the Spirits (The Denver Center), The Sins of Sor Juana (The Goodman), Age of Iron (Classic Stage Company), Waiting for Lefty

Top: John Keating (Old Shepherd). Below: Dion Mucciacito (Polixenes) in Theatre for a New Audience’s production of THE WINTER'S TALE by William Shakespeare, directed by Arin Arbus. Photos by Carol Rosegg.

T H E W I N T E R ' S TA L E 23

T H E P R O D U C T I O N C A S T A N D C R E AT I V E T E A M (Hero Theatre Company). Film/TV: Brawl in Cell Block 99, Black Site Delta, NBC’s “The Player,” Day 39, “Law & Order.” Graduate of The Juilliard School. ELI RAYMAN (Mamillius / Boy) is thrilled to be joining The Winter’s Tale. He

played in Sleepy Hollow at the Duke, Christmas in Hell at Urban Stages, and Shakespeare’s Henry V. He played lead in the films Shiksa and Sweet Dreams and performed at Carnegie Hall. Eli thanks Parkside Talent, Barry Kolker and Acting Out! School. NICOLE RODENBURG (Perdita). Off-Broadway: The Antipodes (Signature); The

Flick (Barrow Street). Selected regional: Juliet in Romeo and Juliet (Westport Country Playhouse); As You Like It, Venus in Fur (Alley Theatre); world premieres of The Whale (Denver Center), Slasher (Humana), and The End (Guthrie Theatre); Bus Stop (Huntington); and three seasons with the Great River Shakespeare Festival. TV/Film: “Inside Amy Schumer,” “The Shivering Truth” (Comedy Central); “Amish Witches” (Lifetime); “The Girl’s Guide to Depravity” (Cinemax); What Children Do. BFA: University of Minnesota/ Guthrie Theatre Actor Training Program. MICHAEL ROGERS (Camillo / Cleomenes) has appeared at theatres across

the United States and internationally in roles including Titania, Othello, Dracula, Robert Mugabe, and God. Recent times: The Call, The Trial of an American President, Generations, Born Bad, Marley, Sucker Punch. TV: “Tattingers,” “Kay O’Brien,” “Six Degrees,” “The Jury,” “Law & Order,” “Law & Order: Criminal Intent,” Law & Order: SVU,” “Butterfield.” Film: The Mosquito Coast, Weekend at Bernie’s II, Side Streets, Moonfire, Inscape, Dance of the Quantum Cats, Dope Fiend. Mr. Rogers is a graduate of the Yale School of Drama. He has appeared at TFANA in many productions throughout his career, and is excited to return. ZSAZ RUTKOWSKI (Musician). Praised for her "focused and rich hued

performances' (NYTimes), Zsaz is a versatile cellist with recent performances at Lincoln Center, Carnegie Hall, and the Beacon Theatre, Her recent solo recital at the NY Historical Society commemorated Pablo Casals's 1961 concert at the White House. Zsaz's latest creative projects have led her to compose music for meditations, performing on both cello and ambient percussion. No matter the arena, her musical intention expresses her passion to create music that touches the heart. Ms. Rutkowski currently teaches cello and chamber music at The Third Street School Settlement and The Spence School. TITUS TOMPKINS (Mariner / Musician). Regional: Contrafact of Freedom

(Capital Fringe Festival), Sophocles’ Elektra, Arcadia, 4,000 Miles (u/s), A Christmas Carol (American Conservatory Theater). Off-Broadway: Peer Gynt and the Norwegian Hapa Band. Off-Off Broadway: R&J: Star-Cross’d Deathmatch, The Goree All-Girl String Band (NYMF), Phantom Pains. TV: Above: Nicole Rodenburg (Perdita). Below: Michael Rogers (Camillo) in Theatre for a New Audience’s production of THE WINTER'S TALE by William Shakespeare, directed by Arin Arbus. Photos by Carol Rosegg.

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T H E P R O D U C T I O N C A S T A N D C R E AT I V E T E A M "Younger." Titus performs in several bands locally, including The Good Morning Nags, The Rusty Guns, The Bearcat Catchers, and The Talking Deads. LIZ WISAN (Dorcas / Dion / 1st Lady) is delighted to return to TFANA after

appearing in last season’s The Servant of Two Masters (also Yale Rep/Guthrie/ Shakespeare Theatre Company/Seattle Rep). Other NY credits: These Paper Bullets (Atlantic), Other Desert Cities (Broadway, LCT), The Tempest (La MaMa), DannyKrisDonnaVeronica (Wheelhouse/4th St. Theatre). Regional: Assassins, These Paper Bullets, Caucasian Chalk Circle (Yale Rep), Baskerville (Old Globe, Dorset Theatre Festival), Absurd Person Singular (Two River), Intelligent Homosexuals Guide (Berkeley Rep), Merchant of Venice (Shakespeare Theatre Company). TV/ Film: “Elementary,” Garden DayZe, Ready or Knot. MFA: Yale School of Drama. Member of New Neighborhood and Actors Center. www.lizwisan.com ANATOL YUSEF (Leontes). Anatol Yusef ’s stage work encompasses a range of

productions both in the U.K. and U.S. Shakespeare roles include extensive work with the Royal Shakespeare Company, as well as Mercutio in Romeo & Juliet, the titular role in Richard III and, most recently, as Laertes and The Player in Sam Gold's Hamlet at The Public. He is best known for playing Meyer Lansky on HBO’s “Boardwalk Empire” and the U.K.’s acclaimed Channel 4 mini-series “Southcliffe,” Yusef last appeared on AMC’s “Preacher” and the film Bastille Day. He trained at the Bristol Old Vic Theatre School. ARIN ARBUS (Director)is a resident artist at TFANA, where she directed The Skin

of Our Teeth (Obie), repertory productions of Strindberg’s The Father and Ibsen’s A Doll’s House, as well as King Lear, Much Ado About Nothing, The Taming of the Shrew, Macbeth, Measure for Measure, and Othello. She staged Britten’s The Rape of Lucretia at Houston Grand Opera and La Traviata at Canadian Opera Company and Lyric Opera of Chicago. She was a Drama League Directing Fellow, a Princess Grace Award Recipient and spent several years making theatre with prisoners at a medium security prison in upstate New York in association with Rehabilitation Through the Arts. This summer, she’s directing an adaptation of The Tempest in a refugee camp in Greece: www.campfire-project.org AUSTIN McCORMICK (Choreographer) is the founder COMPANY XIV.

Recent credits include choreographer for the Metropolitan Opera, Chicago Lyric Opera, Canadian Opera Company, Guggenheim Works in Process, Carnegie Hall La Serenissima Festival, Kennedy Center, Houston Grand Opera, and Opera Columbus. Drama Desk Award, Best Choreography (nomination, 2015) and Unique Theatrical Experience (Nutcracker Rouge, nomination 2014). Bessie Awards, Best Light, Set, and Costume Design (nomination 2011). Robert L.B. Tobin Director-Designer Grant from Opera America (winner, 2011). Innovative Theater Award, Outstanding Choreography (winner, 2009). Grand Jury Prize Dance on Camera Lincoln Center (nomination, 2007). Education: The Juilliard School. Above: Liz Wisan (1st Lady). Below: Arnie Burton (Autolycus) in Theatre for a New Audience’s production of THE WINTER'S TALE by William Shakespeare, directed by Arin Arbus. Photos by Carol Rosegg (above) and Henry Grossman (below).

T H E W I N T E R ' S TA L E 25

T H E P R O D U C T I O N C A S T A N D C R E AT I V E T E A M JUSTIN ELLINGTON (Composer). Broadway: Other Desert Cities. Off-Broadway:

He Brought Her Heart Back in a Box (TFANA); Pipeline (LCT); The Pride (dir. Joe Mantello); Fetch Clay, Make Man (dir. Des McAnuff); The Seven (dir. Jo Bonney); American Clock (workshop dir. Rachel Chavkin); X or Betty Shabazz vs The Nation of Islam (dir. Ian Belknap). Other theatre: Until the Flood (dir. Neel Keller), As You Like It (dir. Des McAnuff), The Mountaintop (dir. Steve Broadnax), Syncing Ink (dir. Nigel Smith), Trouble in Mind (dir. Valerie Curtis Newton), Move Act Free (dir. George C. Wolfe). Awarded by: American Society of Composers and Publishers, National Academy of Recording Arts and Sciences, Industry Film Producers Association. RICCARDO HERNANDEZ (Scenic Designer). Broadway: The Gin Game, The Gershwins’ Porgy and Bess (Tony 2012 Best Musical Revival), The People in the Picture (Studio 54), Caroline, or Change, Topdog/Underdog, Elaine Stritch at Liberty, Noise/Funk (also National Tour and Japan), Parade (Tony/Drama Desk Noms), The Tempest, Bells are Ringing. Recent: La Mouette, Jan Karski, Mon Nom Est Une Fiction (both for Avignon Festival: Cour d’Honneur, Opera Theatre, France), The Dead (Abbey Theater, Dublin) Il Postino (L.A. Opera, PBS Great Performances), Philip Glass’ Appomattox (SFO), Lost Highway (London’s ENO/Young Vic) Over 200 Productions US/Internationally. EMILY REBHOLZ (Scenic Designer). Broadway: Dear Evan Hansen; Oh, Hello;

If/Then; Vanya and Sonia and Masha and Spike; Bloody Bloody Andrew Jackson. Recent Off-Broadway: Indecent (Vineyard), Dear Evan Hansen, The Way We Get By (Second Stage), The Robber Bridegroom (Roundabout), The Tempest, Into The Woods (Shakespeare in the Park), Pretty Filthy (The Civilians), Our Lady of Kibeho (Signature), Yardbird (Apollo Theater). Regional Theater/Opera: Don Giovanni (Santa Fe), La Boheme (Opera Theater of St. Louis), Another Word for Beauty (Goodman), Othello (Shakespeare DC). In New York her additional designs have been seen at Playwrights Horizons, Second Stage, Lincoln Center, MCC, Atlantic, Rattlestick, The Women’s Project, many more. MFA: Yale. MARCUS DOSHI (Lighting Designer). Previously with TFANA: Othello, Hamlet,

Measure for Measure, The Taming of the Shrew, King Lear, The Father, A Doll’s House, and The Skin of Our Teeth. International: The Barbican, La Comédie Française, La Monnaie, Venice Biennale, Dutch National Opera, Holland Festival, Canadian Opera, Sydney Festival, others. U.S.: most major regional theatres and opera companies. NYC: Lincoln Center, Public, Park Avenue Armory, New York Theatre Workshop, Signature, Vineyard, others. He is a frequent collaborator with Chicago’s Steppenwolf Theatre. Education: Wabash College, Yale Drama. Faculty: Northwestern University. marcusdoshi.com BROKEN CHORD (Sound Designer). Broadway: Eclipsed, The Parisian Woman.

Off-Broadway: Scarcity, The Jammer, The Lying Lesson (Atlantic); OZET (Incubator Arts Project); The Insurgents (Labyrinth); Bull in a China Shop (LCT3); Above: Michael Rogers (Camillo) and Anatol Yusef (Leontes). Below: Ed Malone (Clown) in Theatre for a New Audience’s production of THE WINTER'S TALE by William Shakespeare, directed by Arin Arbus. Photos by Henry Grossman.

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T H E P R O D U C T I O N C A S T A N D C R E AT I V E T E A M Spirit Control, When We Were Young and Unafraid (MTC); A Liftime Burning, Harrison TX, Informed Consent (Primary Stages); The Good Negro, Eclipsed, Party People (Public). Stay, Massacre, Charles Ives Take Me Home (Rattlestick); 10 Things to Do Before I Die, The Other Thing (Second Stage); The Dance and the Railroad, Appropriate (Signature); Lascivious Something, Row After Row (Women’s Project). Regional: Actors Theatre of Louisville, Alley, Berkeley Rep, Baltimore Center Stage, Cleveland Playhouse, Dallas Theater Center, Hartford Stage, Huntington, La Jolla, Oregon Shakespeare Festival, People’s Light, Shakespeare Theatre Company, Yale Rep: Film: Fall to Rise. BrokenChord.us ALISON BOMBER (Voice & Text Coach) spent seven years with the Royal

Shakespeare Company, five of those as Senior Text & Voice Coach. Productions included Michael Boyd’s award-winning Histories Cycle and many others. Now freelance, she continues to work with the RSC, and other work has included King Charles III for the Almeida, London and Broadway, Tamburlaine and Measure for Measure for TFANA in New York, Othello at the RSC, the Cumberbatch Hamlet at the Barbican, London, and collaborations with Polish company, Pieśń Kozła (Song of the Goat). Alison is an Associate Artist of the RSC. JONATHAN KALB (Production Dramaturg) ) is Professor of Theatre at Hunter

College, CUNY, and Resident Dramaturg at TFANA. He has published five books on theater and his writing has appeared in The New Yorker, The New York Times, The Nation, salon.com and many other publications. A two-time winner of the George Jean Nathan Award for Dramatic Criticism, he writes about theater on his blog, Something the Dust Said, at www.jonathankalb.com. MARCELLO MAGNI (Artistic Associate). Co-founder of Complicité in 1983,

performing in many productions, including The Visit and The Winter's Tale. At Shakespeare's Globe, created the solo show Arlecchino, played in The Merchant of Venice, Pericles, and The Comedy of Errors, playing both Dromios. With Peter Brook, performed in Fragments, The Tightrope, The Valley of Astonishment, and collaborated as movement director of A Magic Flute. Directed Tell Them that I Am Young and Beautiful; acted in Playing Cards: Hearts by Rober Lepage; choreographed Faithful Ruslan and The Hounds of Baskerville. Film: Nine, Pinocchio, Doctor Who, and Mr Turner. Marcello is the voice of Pingu. J. JARED JANAS & DAVE BOVA (Hair & Makeup Designers). Broadway:

Sunset Boulevard, Bandstand, Indecent, The Visit, M. Butterfly, The Real Thing, Violet, Lady Day at Emerson’s Bar & Grill, Motown, Peter and the Starcatcher, The Gershwins’ Porgy and Bess, All About Me, and Next to Normal. Recent offBroadway: The Low Road (Public), The Amateurs (Vineyard), Jerry Springer the Opera (New Group), and Yours Unfaithfully (Mint, Drama Desk Nomination). Films include Angelica and The Night Before. TV includes "Six by Sondheim,” "Scream Queens," "Gotham," "Mozart in the Jungle," and "Inside Amy Schumer. Above: Maechi Aharanwa (Emilia) and Mahira Kakkar (Paulina). Below: John Keating (Old Shepherd) and Ed Malone (Clown) in Theatre for a New Audience’s production of THE WINTER'S TALE by William Shakespeare, directed by Arin Arbus. Photos by Carol Rosegg.

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T H E P R O D U C T I O N C A S T A N D C R E AT I V E T E A M JON KNUST (Props Supervisor) is a NYC-based prop master and artisan. Recent

prop master credits: Happy Days, The Skin of Our Teeth, the rep of A Doll’s House and The Father (TFANA); The Painted Rocks at Revolver Creek, Big Love, and Appropriate (Signature); Peter and the Starcatcher (1st Nat. Tour); Too Much Sun (Vineyard); Marie Antoinette, …The Death of Walt Disney, and We Are Proud to Present a Presentation… (Soho Rep). Frequent over hire prop work for Signature, Playwrights Horizons, Atlantic, Vineyard, Public, Mint. Jon got his start in props at Williamstown Theatre Festival and graduated from Eastern Connecticut State University. MAX GORDON (Music Director & Vocal Arrangements) is a music director,

orchestrator, and music producer. Recent credits include The Band's Visit (Broadway, music associate), The Skin of Our Teeth (TFANA, associate MD), and Dust Can't Kill Me (NYMF, Outstanding Orchestrations, Best Music, MD/ orchestrations). He has worked as an audio engineer for Wynton Marsalis, and as a vocal producer for artists on Universal Music Group and Capitol Records. He has performed the music of Arthur Russell at Primavera Sound, the Sydney Festival, and Moogfest. His band, Nero, My Panda, has opened for Diplo and Macklemore. Education: B.A. in American Studies, Yale University. J. ALLEN SUDDETH (Fight Director) is a Broadway veteran of twelve shows, over

150 Off-Broadway shows, and hundreds of Regional Theater productions. He has staged action for over 750 television shows, and teaches at SUNY Purchase and Lee Strasberg. Allen authored a book, Fight Director For The Theatre. For TFANA, he has worked on The Skin of Our Teeth, Tamburlaine, The Killer, The Broken Heart, Henry V, Cymbeline, As You Like It, and several more. RENEE LUTZ (Production Stage Manager). TFANA: Skin of Our Teeth,

Pericles, King Lear, Othello, All’s Well, Merchant of Venice (NY, RSC, National Tour), Measure for Measure, Antony & Cleopatra, etc. Off- Broadway: MTC, Playwrights, Signature, Public, Primary Stages, etc., and commercial productions. Regional: Barrington Stage: over 60 productions, Hamlet (Hartford), Goodspeed, La Jolla, ART, NJ Shakespeare, Berkshire Theatre, etc. She is a trustee of historic FDNY fireboat John J. Harvey. Best credit and longest run: her husband, actor Gordon Stanley. EGYPT DIXON (Assistant Stage Manager). TFANA: He Brought Her Heart Back in

a Box, Marcel and The Art of Laughter, The Skin of Our Teeth, The Servant of Two Masters, The Father and A Doll’s House. Clubbed Thumb: The World My Mama Raised. Queen’s Theatre in the Park: To Kill a Mockingbird. ANDREW WATKINS (Associate Director). TFANA: The Skin of Our Teeth, The

Father and A Doll’s House (dir. Arin Arbus). Directing credits include: The Yellow Wallpaper, Miss Julie, Hedda Gabler, The Buck, A Gentle Spirit, The Dumb Waiter, among others. Assistant credits: The Things That Pass (Toneelgroep Above: Liz Wisan (Dorcas), Arnie Burton (Autolycus) and Maechi Aharanwa (Mopsa). Below: Eddie Ray Jackson (Florizel) and Nicole Rodenburg (Perdita) in Theatre for a New Audience’s production of THE WINTER'S TALE by William Shakespeare, directed by Arin Arbus. Photos by Carol Rosegg.

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T H E P R O D U C T I O N C A S T A N D C R E AT I V E T E A M Amsterdam/Ruhrtriennale, dir. Ivo van Hove), The Lion in Winter (The Guthrie); observer to Katie Mitchell and Max Stafford-Clark. Training: B.A Theater Directing, Fordham University and Royal Conservatoire of Scotland. andrewwatkinstheatre.com BLAKE ZIDELL & ASSOCIATES (Press Representative) is a Brooklyn-based public

relations firm representing artists, companies and institutions spanning a variety of disciplines. Clients include St. Ann’s Warehouse, Soho Rep, The Kitchen, Ars Nova, BRIC, P.S.122, Abrons Arts Center, Taylor Mac, LAByrinth Theater Company, StoryCorps, Irish Arts Center, Café Carlyle, Peak Performances, Batsheva Dance Company, The Playwrights Realm, Stephen Petronio Company, The Play Company, and FIAF’s Crossing the Line Festival.

JEFFREY HOROWITZ (Founding Artistic Director) began his career in theatre

as an actor and appeared on Broadway, Off Broadway, and in regional theatre. In 1979, he founded Theatre for a New Audience. Horowitz has served on the Panel of the New York State Council on the Arts and on the Board of Directors of Theatre Communications Group. He is currently on the Advisory Board of The Shakespeare Society and the Artistic Directorate of London’s Globe Theatre. He received the John Houseman Award in 2003 and The Breukelein Institute’s 2004 Gaudium Award. DOROTHY RYAN (Managing Director) joined Theatre for a New Audience in

2003. She spent the previous ten years devoted to fundraising for the 92nd Street Y and the Brooklyn Museum. Ryan began her career in classical music artist management and has also served as company manager for Chautauqua Opera, managing director for the Opera Ensemble of New York, and general manager of Eugene Opera. She is a 2014 Brooklyn Women of Distinction honoree from Community Newspaper Group. MICHAEL PAGE (General Manager) joined Theater for a New Audience in

2013 and has managed seventeen TFANA productions including King Lear, Pericles, Measure for Measure, Fiasco Theater’s The Two Gentlement of Verona, Soho Rep’s An Octoroon, Yale Rep’s Happy Days with Dianne Wiest, and Peter Brook’s The Valley of Astonishment. Prior to TFANA Michael was the General Manager of the Tony Award-winning Vineyard Theatre and Managing Director of Barrow Street Theatre where he managed the US premiere of Nina Raine’s Tribes, David Cromer’s landmark production of Our Town, and Craig Wright’s Mistakes Were Made with Michael Shannon, among others.

Above: Ed Malone (Clown). Below: The Ensemble in Theatre for a New Audience’s production of THE WINTER'S TALE by William Shakespeare, directed by Arin Arbus. Photos by Carol Rosegg.

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ABOUT THEATRE FOR A NEW AUDIENCE About Theatre for a New Audience Founded in 1979 by Jeffrey Horowitz, the mission of Theatre for a New Audience is to develop and vitalize the performance and study of Shakespeare and classic drama. Theatre for a New Audience produces for audiences Off-Broadway and has also toured nationally, internationally and to Broadway. We are guided in our work by five core values: a reverence for language, a spirit of adventure, a commitment to diversity, a dedication to learning, and a spirit of service. These values inform what we do with artists, how we interact with audiences, and how we manage our organization. Theatre for a New Audience Education Programs

S TA F F

Founding Artistic Director Jeffrey Horowitz Managing Director Dorothy Ryan General Manager Michael Page Director of Institutional Advancement James J. Lynes Finance Director Mary Sormeley Education Director Kathleen Dorman Associate Producer / Director of the Studio Susanna Gellert Associate General Manager Matthew Cleaver Theatre Manager Steven Gaultney Production Coordinator Joshua Kohler Box Office & Subscriptions Supervisor Allison Byrum Facilities Manager Jordan Asinofsky Marketing Manager Maya Shah Education Manager Victoria Barclay Development Manager Jena Yarley Literary & Humanities Manager / Assistant to Artistic Director Soriya Chum Finance Associate Jacob Farber Facilities Associate Rashawn Caldwell House Manager Coral Cohen Downtown Brooklyn Arts Management Fellows Kiana Carrington, Alexa Smithwrick Press Representative Blake Zidell & Associates Resident Literary Advisor Jonathan Kalb Resident Casting Director Jack Doulin Resident Director of Voice Andrew Wade Teaching Artists Adam Crescenzi, Stephen DiMenna, Albert Elias, Devin Haqq, Mel House, Alvin Keith, Sam Leichter, Elizabeth London, Erin McCready, Jen Shirley

Theatre for a New Audience is an award-winning company recognized for artistic excellence. Our education programs introduce students to Shakespeare and other classics with the same artistic integrity that we apply to our productions. Through our unique and exciting methodology, students engage in hands-on learning that involves all aspects of literacy set in the context of theatre education. Our residencies are structured to address City and State Learning Standards both in English Language Arts and the Arts, the New York City DOE’s Curriculum Blueprint for Teaching and Learning in Theater, and the Common Core Learning Standards for English Language Arts. Begun in 1984, our programs have served more than 126,000 students, ages 9 through 18, in New York City Public Schools city-wide. A New Home in Brooklyn: Polonsky Shakespeare Center After 33 seasons of award-winning and internationally-acclaimed productions, Theatre for a New Audience’s new home, Polonsky Shakespeare Center, is a centerpiece of the Brooklyn Cultural District. Designed by celebrated architect Hugh Hardy, Polonsky Shakespeare Center is the first theatre in New York designed and built expressly for classic drama since Lincoln Center’s Vivian Beaumont in the 1960s. The 27,500 square-foot facility is a unique performance space in New York. The 299-seat Samuel H. Scripps Mainstage, inspired by the Cottesloe at London’s National Theatre, combines an Elizabethan courtyard theatre with modern theatre technology that allows the stage and seating to be arranged in seven configurations. The new facility also includes the Theodore C. Rogers Studio (a 50-seat rehearsal/ performance studio), and theatrical support spaces. The City of New York-developed Arts Plaza, designed by landscape architect Ken Smith, creates a natural gathering place around the building. In addition, Polonsky Shakespeare Center is also one of the few sustainable (green) theatres in the country, with an anticipated LEED-NC Silver rating from the United States Green Building Council. Now with a home of its own, Theatre for a New Audience is contributing to the continued renaissance of Downtown Brooklyn. In addition to its season of plays, the Theatre has expanded its Humanities offerings to include lectures, seminars, workshops, and other activities for artists, scholars, and the general public. When not in use by the Theatre, its new facility is available for rental, bringing much needed affordable performing and rehearsal space to the community.

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BOARD OF DIRECTORS

Chairman: Theodore C. Rogers Vice Chairman Robert E. Buckholz President Jeffrey Horowitz Vice President and Secretary Dorothy Ryan Members John Berendt* Cicely Berry, CBE, Hon. D.Lit* Sally Brody William H. Burgess, III Zoë Caldwell* Ben Campbell Robert Caro* Merle Debuskey* Dr. Sharon Dunn* Dana Ivey* John J. Kerr, Jr. Seymour H. Lesser Larry M. Loeb Catherine Maciariello* Audrey Heffernan Meyer Caroline Niemczyk Rachel Polonsky Barbara Rifkind Philip R. Rotner Mark Rylance* Daryl D. Smith Susan Stockel Michael Stranahan John Turturro* Kathleen C. Walsh Monica Gerard-Sharp Wambold Frederick Wiseman* Emeritus Robert Arnow Francine Ballan Dr. Charlotte K. Frank Jane Wells *Artistic Council

THEATRE FOR A NEW AUDIENCE MA JOR SUPPORTERS Even with capacity audiences, ticket sales account for a small portion of our operating costs. The Theatre expresses its deepest thanks to the following Foundations, Corporations, Government Agencies and Individuals for their generous support of the Theatre’s Humanities, Education, and Outreach programs.

The 360° Series: Viewfinders has been made possible in part by a major grant from the National Endowment for the Humanities: Exploring the Human Endeavor. Any views, findings, conclusions, or recommendations expressed in this Viewfinder do not necessarily represent those of the National Endowment for the Humanities. A Challenge Grant from the NEH established a Humanities endowment fund at Theatre for a New Audience to support these programs in perpetuity. Leading matching gifts to the NEH grant were provided by Joan and Robert Arnow, Norman and Elaine Brodsky, The Durst Organization, Perry and Marty Granoff, Stephanie and Tim Ingrassia, John J. Kerr & Nora Wren Kerr, Litowitz Foundation, Inc., Robert and Wendy MacDonald, Sandy and Stephen Perlbinder, The Prospect Hill Foundation, Inc., Theodore C. Rogers, and from purchasers in the Theatre’s Seat for Shakespeare Campaign. Theatre for a New Audience’s Humanities, Education, and Outreach programs are supported, in part, by The Elayne P. Bernstein Education Fund. For more information on naming a seat or making a gift to the Education or Humanities endowments, please contact James Lynes, Director of Institutional Advancement, at 212-229-2819 x29, or by email at jlynes@tfana.org. Theatre for a New Audience’s productions and education programs receive support from the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; and from the New York City Department of Cultural Affairs in partnership with the City Council.

Additional funding is provided by the generosity of the following Foundations and Corporations through either their general operating support or direct support of the Theatre’s arts in education programs: PRINCIPAL BENEFACTORS

The Andrew W. Mellon Foundation Booth Ferris Foundation Cleary Gottlieb Steen & Hamilton LLP (pro bono support) The Hearst Foundations, Inc. National Endowment for the Humanities New York City Department of Cultural Affairs The Polonsky Foundation The SHS Foundation The Winston Foundation LEADING BENEFACTORS

Bloomberg Philanthropies Deloitte LLP The Shubert Foundation, Inc. The Starr Foundation The Harold and Mimi Steinberg Charitable Trust The Thompson Family Foundation MAJOR BENEFACTORS

The Sidney E. Frank Foundation Hearst King & Spalding LLP Kramer Levin Naftalis & Frankel LLP Latham & Watkins LLP New York State Council on the Arts The Fan Fox and Leslie R. Samuels Foundation Shakespeare in American Communities, a program of the National Endowment for the Arts in partnership with Arts Midwest Stavros Niarchos Foundation

SUSTAINING BENEFACTORS

Anonymous (3) A'lani Kailani Blue Lotus White Star Foundation The Howard Bayne Fund Consolidated Edison Company of New York, Inc. Debevoise & Plimpton LLP Jean and Louis Dreyfus Foundation, Inc. The Dubose and Dorothy Heyward Memorial Fund The Geen Family Foundation Gibson, Dunn & Crutcher LLP The J.M. Kaplan Fund The Gladys Krieble Delmas Foundation Loeb & Loeb LLP Paul, Weiss, Rifkind, Wharton & Garrison May and Samuel Rudin Foundation, Inc. / Fiona and Eric Rudin Select Equity Group Sidley Austin LLP Skadden, Arps, Slate, Meagher & Flom LLP The Tow Foundation PRODUCERS CIRCLE— THE ARTISTIC DIRECTOR’S SOCIETY

Anonymous (1) Akin Gump Strauss Hauer & Feld, LLP Axe-Houghton Foundation The Ettinger Foundation The Claire Friedlander Family Foundation Hughes, Hubbard & Reed LLP Litowitz Foundation, Inc. Macy’s Morgan, Lewis, & Bockius LLP Orrick, Herrington & Sutcliffe LLP

The Starry Night Fund Troy Chemical Corporation Michael Tuch Foundation, Inc. Wells Fargo Bank The White Cedar Fund PRODUCERS CIRCLE—EXECUTIVE

Alloy American Theatre Wing Council Member Laurie A. Cumbo, NY City Council Discretionary Funding Barbara Bell Cumming Charitable Trust The Bulova Stetson Fund DeWitt Stern Group, Inc. The Joseph & Sally Handleman Foundation Trust A The Irving Harris Foundation Marta Heflin Foundation Lucille Lortel Foundation The Bulova Stetson Fund The Alice M. & Thomas J. Tisch Foundation PRODUCERS CIRCLE—ASSOCIATE

Actors’ Equity Foundation, Inc. Calamos Wealth Management The Norman D. and Judith H. Cohen Foundation DeLaCour Family Foundation EMM Wealth Management Forest City Ratner Companies Kinder Morgan Foundation Lucille Lortel Foundation Laurie M. Tisch Illumination Fund Wiggin and Dana LLP

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W W W . T FA N A . O R G