YALE SCHOOL OF DRAMA PRESENTS
NOTES Following Julius Caesar’s assassination, Octavius Caesar, Lepidus, and Mark Antony rule Rome as a triumvirate. Lepidus controls the African territories, Octavius Caesar the west, and Mark Antony the east. While Caesar works to secure the triumvirate’s political power in Rome (staving off wars from Antony’s wife, Fulvia, and his brother, Lucius), Antony lounges in the Egyptian capital, Alexandria, with Cleopatra, Queen of Egypt. When Antony receives news that his wife, Fulvia, has died, and that Pompey (son of Pompey the Great) has allied with famous pirates and plans to attack Rome, he tears himself from Cleopatra’s arms and return to his military duties in the west.
ANTONY AND CLEOPATRA
In order to proceed and face Pompey, Antony and Caesar shakily reconcile their differences. Antony marries Caesar’s sister, Octavia, as a surety for their alliance. With the strength of the triumvirate restored, Pompey accepts a settlement, and Antony and Octavia leave to live in Athens. Antony, however, is quickly drawn back to Cleopatra. Antony bestows upon her a number of his kingdoms, enraging Caesar who has meanwhile deposed Lepidus. The two remaining triumvirs collide at the Battle of Actium: Caesar against Antony and Cleopatra. During the fight, Cleopatra’s fleet flees and Antony follows after her. Their defeat is recovered, however, when they face Caesar on land. In a third and final battle, Caesar attacks by sea and Antony’s ships are overcome as Cleopatra’s fleet turns and joins Caesar during this crucial finale. —KATE ATTWELL AND MARGOT BORDELON
by WILLIAM SHAKESPEARE directed by MARGOT BORDELON
My design is not to write histories, but lives. And the most glorious exploits do not always furnish us with the clearest discoveries of virtue or vice in men; sometimes a matter of less moment, an expression or a jest, informs us better of their characters and inclinations, than the most famous sieges, the greatest armaments, or the bloodiest battles whatsoever. Therefore as portrait-painters are more exact in the lines and features of the face, in which the character is seen, than in the other parts of the body, so I must be allowed to give my more particular attention to the marks and indications of the souls of men, and while I endeavor by these to portray their lives, may be free to leave more weighty matters and great battles to be treated of by others. —FROM PLUTARCH’S LIFE OF ALEXANDER
THURSDAY, MARCH 8 AT 4PM FRIDAY, MARCH 9 AT 4PM AND 8PM SATURDAY, MARCH 10 AT 4PM
2011–12 SEASON
The Studio Series productions are designed to be learning experiences that complement classroom work, providing a medium for students at Yale School of Drama to combine their individual talents and energies toward the staging of collaboratively created works. Your attendance meaningfully completes that process.
ISEMAN THEATER 1156 CHAPEL STREET
MARCH 8–10, 2012 YA L E S C H O O L O F DR A MA J A M ES B U N DY, DEA N V I C TO R I A N O L A N , D EP UTY D EA N P R ESE N TS
ANTONY AND CLEOPATRA
WILLIAM SHAKESPEARE directed by MARGOT BORDELON by
ARTISTIC STAFF
PRODUCTION STAFF
ADMINISTRATIVE STAFF
Mecaenas et al. JOSIAH BANIA
Associate Production Supervisor KAREN WALCOTT
Associate Managing Director JAEEUN JOO
Chairman et al. HALLIE COOPER-NOVACK
Assistant Lighting Designer MASHA TSIMRING
CAST in alphabetical order
Scenic Designer ADAM RIGG Costume Designer NIKKI DELHOMME Lighting Designer BENJAMIN EHRENREICH Sound Composition and Original Music PALMER HEFFERAN
Agrippa et al. WINSTON DUKE Cleopatra LAURA GRAGTMANS
Assistant Sound Designer and Engineer ROBERT SHEARIN
Management Assistants ANNE FLAMMANG MELISSA ZIMMERMAN House Manager SHANE D. HUDSON
Stage Management Advisor BRANDON CURTIS
Fight Director MICHAEL ROSSMY
Enobarbus MIRIAM A. HYMAN
Dramaturg KATE ATTWELL
Octavia et al. BRENDA MEANEY
Stage Manager CAROLYNN RICHER
Octavius Caesar SEAMUS MULCAHY
Assistant Technical Director MICHAEL HARVEY
Mark Antony MAX ROLL
Master Electrician CHRISTINA KERYCZYNSKYJ
SPECIAL THANKS: Mamoudou Athie, Chris Bannow, Jabari Brisport, Prema Cruz, Benjamin Fainstein, Ethan Heard, Merlin Huff, Jake Jeppson, Gabriel Levey, Dan O’Brien, Junghoon Pi, Emily Reilly, Hannah Sorenson, Mickey Thesis, Carly Zien
Scenic Charge NATHAN JASUNAS
THERE WILL BE ONE 15-MINUTE INTERMISSION.
Lepidus et al. BRIAN WILES Soothsayer et al. CARMEN ZILLES
Technical Director C. NIKKI MILLS
Costume Project Coordinator LINDA KELLEY-DODD Crew KRISTIN FIEBIG KEN GOODWIN COLE LEWIS
MARCH 8–10, 2012 YA L E S C H O O L O F DR A MA J A M ES B U N DY, DEA N V I C TO R I A N O L A N , D EP UTY D EA N P R ESE N TS
ANTONY AND CLEOPATRA
WILLIAM SHAKESPEARE directed by MARGOT BORDELON by
ARTISTIC STAFF
PRODUCTION STAFF
ADMINISTRATIVE STAFF
Mecaenas et al. JOSIAH BANIA
Associate Production Supervisor KAREN WALCOTT
Associate Managing Director JAEEUN JOO
Chairman et al. HALLIE COOPER-NOVACK
Assistant Lighting Designer MASHA TSIMRING
CAST in alphabetical order
Scenic Designer ADAM RIGG Costume Designer NIKKI DELHOMME Lighting Designer BENJAMIN EHRENREICH Sound Composition and Original Music PALMER HEFFERAN
Agrippa et al. WINSTON DUKE Cleopatra LAURA GRAGTMANS
Assistant Sound Designer and Engineer ROBERT SHEARIN
Management Assistants ANNE FLAMMANG MELISSA ZIMMERMAN House Manager SHANE D. HUDSON
Stage Management Advisor BRANDON CURTIS
Fight Director MICHAEL ROSSMY
Enobarbus MIRIAM A. HYMAN
Dramaturg KATE ATTWELL
Octavia et al. BRENDA MEANEY
Stage Manager CAROLYNN RICHER
Octavius Caesar SEAMUS MULCAHY
Assistant Technical Director MICHAEL HARVEY
Mark Antony MAX ROLL
Master Electrician CHRISTINA KERYCZYNSKYJ
SPECIAL THANKS: Mamoudou Athie, Chris Bannow, Jabari Brisport, Prema Cruz, Benjamin Fainstein, Ethan Heard, Merlin Huff, Jake Jeppson, Gabriel Levey, Dan O’Brien, Junghoon Pi, Emily Reilly, Hannah Sorenson, Mickey Thesis, Carly Zien
Scenic Charge NATHAN JASUNAS
THERE WILL BE ONE 15-MINUTE INTERMISSION.
Lepidus et al. BRIAN WILES Soothsayer et al. CARMEN ZILLES
Technical Director C. NIKKI MILLS
Costume Project Coordinator LINDA KELLEY-DODD Crew KRISTIN FIEBIG KEN GOODWIN COLE LEWIS
YALE SCHOOL OF DRAMA PRESENTS
NOTES Following Julius Caesar’s assassination, Octavius Caesar, Lepidus, and Mark Antony rule Rome as a triumvirate. Lepidus controls the African territories, Octavius Caesar the west, and Mark Antony the east. While Caesar works to secure the triumvirate’s political power in Rome (staving off wars from Antony’s wife, Fulvia, and his brother, Lucius), Antony lounges in the Egyptian capital, Alexandria, with Cleopatra, Queen of Egypt. When Antony receives news that his wife, Fulvia, has died, and that Pompey (son of Pompey the Great) has allied with famous pirates and plans to attack Rome, he tears himself from Cleopatra’s arms and return to his military duties in the west.
ANTONY AND CLEOPATRA
In order to proceed and face Pompey, Antony and Caesar shakily reconcile their differences. Antony marries Caesar’s sister, Octavia, as a surety for their alliance. With the strength of the triumvirate restored, Pompey accepts a settlement, and Antony and Octavia leave to live in Athens. Antony, however, is quickly drawn back to Cleopatra. Antony bestows upon her a number of his kingdoms, enraging Caesar who has meanwhile deposed Lepidus. The two remaining triumvirs collide at the Battle of Actium: Caesar against Antony and Cleopatra. During the fight, Cleopatra’s fleet flees and Antony follows after her. Their defeat is recovered, however, when they face Caesar on land. In a third and final battle, Caesar attacks by sea and Antony’s ships are overcome as Cleopatra’s fleet turns and joins Caesar during this crucial finale. —KATE ATTWELL AND MARGOT BORDELON
by WILLIAM SHAKESPEARE directed by MARGOT BORDELON
My design is not to write histories, but lives. And the most glorious exploits do not always furnish us with the clearest discoveries of virtue or vice in men; sometimes a matter of less moment, an expression or a jest, informs us better of their characters and inclinations, than the most famous sieges, the greatest armaments, or the bloodiest battles whatsoever. Therefore as portrait-painters are more exact in the lines and features of the face, in which the character is seen, than in the other parts of the body, so I must be allowed to give my more particular attention to the marks and indications of the souls of men, and while I endeavor by these to portray their lives, may be free to leave more weighty matters and great battles to be treated of by others. —FROM PLUTARCH’S LIFE OF ALEXANDER
THURSDAY, MARCH 8 AT 4PM FRIDAY, MARCH 9 AT 4PM AND 8PM SATURDAY, MARCH 10 AT 4PM
2011–12 SEASON
The Studio Series productions are designed to be learning experiences that complement classroom work, providing a medium for students at Yale School of Drama to combine their individual talents and energies toward the staging of collaboratively created works. Your attendance meaningfully completes that process.
ISEMAN THEATER 1156 CHAPEL STREET