SEPT 12-OCT 7 - Encore Arts Seattle
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SEPTEMBER 2018
SEPT 12–OCT 7
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By Wil s a Josh
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Sarah Harlett as Richard in Bring Down the House, photo by John Ulman.
2018 SUMMER WOODEN O 2018–2019 INDOOR SEASON 2019 SPRING TOUR
King Lear Richard III Romeo and Juliet
The Merry Wives Arms and the Man Macbeth
of Windsor All’s Well That Ends Well
She Stoops to Conquer
As You Like It
September 2018
Volume 15, No. 1
FALL 2018
Paul Heppner
President
Contents
Mike Hathaway
Feature
Vice President
3 Millennial and Generation Z
Kajsa Puckett arts patrons take a larger role
Vice President,
Marketing & Business Development 9 The importance of authentic
casting
Genay Genereux
Accounting & Office Manager Dialogue
Sept 13 Production 13 Jérémy Jolley on the
Oct 14
Susan Peterson development of Seattle
Design & Production Director
Modern Orchestra
by Charlotte Bronte Jennifer Sugden
Assistant Production Manager Intermission Brain Transmission
Adapted & Directed Ana Alvira, Stevie VanBronkhorst 15 Test yourself with our
by Julie Beckman Production Artists and Graphic Designers trivia quiz!
Sales
Amelia Heppner, Marilyn Kallins, Terri Reed Encore Stages is an Encore Arts
San Francisco/Bay Area Account Executives Program that features stories about
CENTER THEATRE• SEATTLE CENTER Joey Chapman, Brieanna Hansen, our local arts community alongside
BOOK-IT.ORG • 206.216.0833 Ann Manning, Wendy Pedersen information about performances.
Seattle Area Account Executives Encore Arts Programs are publications
Carol Yip of Encore Media Group. We also publish
Sales Coordinator City Arts, a monthly arts & culture
magazine, and specialty publications,
Marketing
including the Offical Seattle Pride Guide
Shaun Swick
Senior Designer & Digital Lead
and the SIFF Guide and Catalog. Learn
more at encoremediagroup.com
Ciara Caya
Marketing Coordinator
Encore Stages features the
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reserved. ©2018 Encore Media Group. Reproduction without
written permission is prohibited.
2 ENCORE STAGES
The Next Generation of
Arts Advocates
Young Patrons Circle Board of Directors at last season’s Backstage Bash. Backstage Bash is an annual celebration that takes place
backstage after a performance and includes live entertainment and dancing. Photo: Alan Albastro Photography.
Forget young, dumb When you think about the board that
supports your favorite performing
and broke. These arts organization chances are you’re In 1996, Seattle Opera founded BRAVO!,
performing arts fans picturing an older sect—folks who are a young professionals group aimed
are young, smart and established in their careers, have saved at audience members ages 21 to 39.
for retirement and have money to spare. For an annual fee of $79, BRAVO!
making sure performing It’s a group, when imagined this way, members receive discounted opera
arts are a financially that’s difficult to join and impossible tickets, invites to year-round social
viable entertainment to keep up with. But what if I were to events and access to an exclusive
tell you that performing arts boards intermission lounge, complete with
option. come in all shapes and sizes, and complimentary wine and coffee. Now
that some are even actively recruiting in its twenty-second year, BRAVO! is
young people into their fold? I had the one of the largest organizations of its
pleasure of speaking with members of kind nationwide.
the BRAVO! Council at Seattle Opera,
Young Patrons Circle at Pacific North- But BRAVO! would be nowhere without
west Ballet and New Guard at TeenTix— its council members. Nine dedicated
three organizations that are not only young professionals run this leadership
recruiting Millennial and Generation board with the mission to make opera
Z board members, they’re also training an integral and rewarding part of their
the next generation of arts advocates. peers’ lives.
encoremediagroup.com/programs 3
BRAVO! Halloween Party. Photo: BRAVO! event at Tyee Yacht Club. Photo: Genevieve Hathaway.
Jonathan Vandervelt.
BRAVO! Council member Evan Bennett opera in different ways. This diversity Murti credits council members like
has been an opera fan nearly half his of experience has been an excellent Bennett and Eoin Hudson, BRAVO!
life. The 32-year-old joined BRAVO! catalyst for innovation around how to Council president, for this conversion
a year ago, after leaving a position in get people in their twenties and thirties rate. “Our council is very active in
the opera’s community engagement involved in the art form.” programming events and bringing in
department. their own professional and personal
Young professionals groups are networks to try out opera.”
“The first thing I did once I left my cropping up at performing arts
position was to join BRAVO! as a organizations across the country, but The numbers don’t lie. Hudson joined
member,” Bennett said. This year Seattle Opera credits the vitality of the leadership council in 2013 and since
marks his first season as a BRAVO! BRAVO! to its council members. that time BRAVO! membership has
Council member. “I genuinely love more than doubled—it had less than
the art form and joining Council “. . . folks under 400 members when he joined.
is a meaningful way for me to help
get people my age involved in a
40 years old are “In that time there’s been a lot of
centuries-old tradition.” not only a growing change—at the opera and in Seattle,”
demographic in
Hudson said. The change he’s most
It’s an art form that Bennett and excited about is the fact that folks
the rest of the BRAVO! Council are Seattle Opera under 40 years old are not only a
passionate about—one that still growing demographic in Seattle Opera
resonates with audiences today. audiences but also a audiences but also a growing donor
growing donor base.” base. “It’s exciting to see the art form
“You certainly don’t need a music being embraced by my generation and
degree to be a part of this group,” “BRAVO! has over 800 members watching the preconceptions about
Bennett joked, nodding to his own and almost all of them are season opera shift.”
background in music performance ticket holders,” said Kristina
and as an employee of Seattle Opera. Murti, director of marketing and When I asked Hudson which opera
“Everyone on the council has come to communications at Seattle Opera. he was most looking forward to this
4 ENCORE STAGES
Young Patrons Circle’s Night with a Choreographer fundraising event to benefit PNB’s NEXT STEP program.
Photo: Andrew Tat Photography.
season, he named Benjamin Britten’s of supporting and engaging this new too. The Young Patrons Circle
The Turn of the Screw. The ghost story generation of ballet audiences. Board of Directors enjoys a rotating
will be performed in October, just in leadership structure and Yamada
time for Halloween. Meeka Charles was wrapping up is preparing to begin her first year
her first year as board chair when as chair. But it won’t be her first
Seattle Opera patrons interested in we spoke. In addition to growing the time in the Pacific Northwest Ballet
joining BRAVO! or the BRAVO! Council Pacific Northwest Ballet audience, spotlight.
can learn more at www.seattleopera.org. Charles has worked with the board
to develop the ballet’s marketing and “I was a ballet student and amateur
social media campaigns. Ballet has dancer from early childhood into early
been a part of her life for over twenty- adulthood,” Yamada said, sharing that
Seattle Opera isn’t the only arts five years. she studied at Pacific Northwest Ballet
organization prompting their young for six of those years. “I got to perform
audience members to get involved in the “I grew up overseas and moved often,” in The Nutcracker, which I loved. I’ve
world of non-profit board leadership. Charles said. “Attending ballet was always admired the incredible company
For $60 a year, Pacific Northwest Ballet something my mother and I did dancers.”
audience members ages 21 to 39 can together no matter where we lived.
enroll in the Young Patrons Circle, a When I moved to Seattle, buying ballet In the years since her Nutcracker
social and educational group that offers tickets was one of the first things I performance, Yamada has lived all
ticket discounts, ballet after–parties did. For me, attending the ballet makes over the world and has always made
and the collective sponsorship of an a new place feel like home.” ballet attendance a priority.
original piece of choreography at Pacific
Northwest Ballet’s annual NEXT STEP Charles added that she loves engaging “I can see why Pacific Northwest Ballet
performance. her peers in ballet. It’s the reason she has such a reputation for excellence in
joined the board. the global dance community,” Yamada
A fifteen-member board of directors shared. “It was an easy decision to
serves as leadership liaisons for the Pacific Northwest Ballet is personal become a subscriber when I moved
Young Patrons Circle with the mission for Board Member Emily J. Yamada back to Seattle.”
encoremediagroup.com/programs 5
During her upcoming year as chair
of the board of directors, Yamada
is hoping to expand Young Patrons
Circle’s relationship with not only
young patrons, but also other young
professionals groups across Seattle.
And, of course, continue the board’s
work hosting events tailored to the
interests and needs of Young Patrons
Circle members.
Pacific Northwest Ballet audience
members interested in joining Young
Patrons Circle and its corresponding
board of directors can learn more at
www.pnb.org.
Thirteen– to nineteen–year–olds across
Seattle and Tacoma know that TeenTix
is the performing arts organization to
join. For the duration of their teenage
years, TeenTix members are eligible for
$5 day-of tickets to arts organizations
across the region. The organization is
supported by a passionate staff and
two boards—an advisory council and
The New Guard Leadership Board, an
eight-member board made up entirely
of TeenTix members.
Members of The New Guard Leadership Board at the 2017 Teeny Awards, from left to
right: Isabel Schmidt, Katherine Draves, Anne Lim, Neha Gupta. Photo: John Ulman.
“The New Guard
Leadership Board is
the home of some of
the most talented,
inspirational and kind-
hearted individuals
I have ever met.”
Neha Gupta joined the New Guard
because she wanted to strengthen her
leadership and public speaking skills.
She fell in love with TeenTix because it
gave her the opportunity to see theatre
and attend museums without worrying
about each organization’s price point.
She still loves seeing as much theatre
Members of The New Guard cohort 2015–2016 holding signs they made for a as she can, but it’s the people that make
fundraising campaign. Photo: unknown. Gupta’s work worthwhile.
6 ENCORE STAGES
“The New Guard Leadership Board
is the home of some of the most
britten
THE TURN
talented, inspirational and kind-
hearted individuals I have ever met,”
Gupta said. She identifies as reliable,
but shy. “The Leadership Board, as
OF THE
cheesy as it sounds, forced me to break
out of my shell.”
SCREW
This season, Gupta is taking over as the
New Guard Director of Partnerships,
working with TeenTix’s arts partners to
organize events and strengthen their
bond with the teen community.
a ghostly thriller
Isabel Schmidt joined the New Guard
Leadership Board because she was
eager to connect with arts lovers in OCTOBER 13–27
her peer group. Schmidt became a
member of TeenTix as soon as she was
eligible but took advantage of TeenTix’s
2-for-$10 days as her friends’ plus one
in the years leading up to her thirteenth
birthday. She’s going on her fourth year
as a member of the New Guard, this
time as the board’s president.
“My favorite thing I’ve done on the
New Guard has been giving advice to
arts organizations in the city who are
interested in highlighting youth voices
and want advice on how to reach this
important group of audience members,”
Schmidt said. “I appreciate being valued
as an arts-goer. As we say at TeenTix,
teens know what teens want.”
Schmidt also loves having thought–
provoking conversations with her
peers and TeenTix’s arts partners
about what arts access really means. SPINE-TINGLING SUSPENSE New Production
In English with English subtitles.
When she’s not serving on the New When a young governess travels to an
Evenings 7:30 PM
Guard—and going to high school— isolated English manor house to care for
Sunday 2:00 PM
two orphaned children, a series of
Schmidt enjoys playing cello. She Featuring members of Seattle
ominous encounters with menacing
cited Seattle Symphony’s upcoming Symphony Orchestra.
specters of the estate’s previous staff
Octave 9 space, an immersive soon follows. Are the spirits supernatural MCCAW HALL
performance and community space in origin, or do they spring from the 206.389.7676
in the heart of downtown Seattle, governess’s overactive imagination? SEATTLEOPERA.ORG/TURNSCREW
as a place to watch. 2018/19 SEASON SPONSOR:
Benjamin Britten’s seductive, luminous, LENORE M. HANAUER
and brilliantly structured thriller offers PRODUCTION SPONSOR:
MARKS FAMILY FOUNDATION
“I’m looking forward to Seattle a tantalizingly veiled portrait of
PHOTO © PHILIP NEWTON
Opera’s coming season,” Schmidt psychological disintegration to usher in
said. “There are a lot of impressive the Halloween season. TICKETS START AT JUST $25!
shows coming up!”
encoremediagroup.com/programs 7
Our Favorite
Watch out, BRAVO! Council, Isabel chances are there’s a place for you on a
Schmidt might be coming for your job. performing arts board here in Seattle.
The first step is to show up. We’ll let you Ticket Deals for
TeenTix members interested in joining
The New Guard Leadership Board can
take it from there. <
Folks Under 40
Danielle Mohlman is a nationally produced
learn more at www.teentix.org. Not ready to join one of the
feminist playwright based in Seattle. Her play
Nexus is among the 2015 Honorable Mentions boards profiled? There are still
on The Kilroys list. She is an alumnus of the plenty of opportunities to see
inaugural class of Playwrights’ Arena at Arena theatre, dance and opera at
Whether you’re a teen, a twenty- Stage and a member of the 2018 Umbrella an affordable price. Here are
Project Writers Group.
something or solidly in your thirties, some of our favorites.
Club 20/30
Club 20/30 is Seattle Repertory
Theatre’s free program for
audience members in their
20s and 30s. Single tickets
at Seattle Repertory Theatre
start at $17, but Club 20/30
members are eligible for seat
upgrades, happy hour pricing
at the theatre’s bar and free
ticket exchanges.
The Pointe
The Pointe is Pacific Northwest
Ballet’s email list for audience
members ages 20 to 40.
STRAWBERRY
THEATRE WORKSHOP SEP 6– Throughout the year, The
Pointe sends out discounts
GENIU
S OCT 6 ranging from $15 balcony seats
to 50% off any seat in McCaw
Hall.
TeenTix
If you’re 13 to 19 years old and
live in the greater Puget Sound
area, you’re eligible for TeenTix.
Members are eligible for $5
day-of-show tickets at partner
organizations across Seattle
and Tacoma—including Taproot
Theatre, ACT Theatre, Book-
It Repertory Theatre, Seattle
Repertory Theatre and many
more.
MySymphony
MySymphony is Seattle
Symphony’s free program
for patrons ages 21 to 39.
Members are eligible for $25
tickets to performances at
Benaroya Hall.
S T R A W S H O P . O R G
8 ENCORE STAGES
upstart crow
upstart crow collective was
co-founded by Betsy Schwartz,
Kate Wisniewski, and Rosa Joshi
in 2006. They are dedicated to
producing classical works with
all-female casts for contemporary
audiences. Focused on telling story
and living characters honestly on
stage, their work is text centered
and visually imaginative.
upstart crow has presented three
critically acclaimed productions of
This may come as a surprise to you. After the success of Bring Down the House, our Shakespeare plays: Bring Down the
first collaboration with upstart crow collective, we didn’t initially plan on continuing House (an adaptation of the Henry
the story with Richard III. It just wasn’t in our thoughts and discussions. VI plays, produced with Seattle
Shakespeare Company) in 2017,
In 2015 the upstart crow team of Rosa Joshi, Kate Wisniewski, and Betsy Schwartz Titus Andronicus in 2012,
approached us about developing their adaptation of the Henry VI plays. It was and King John in 2006.
an exciting idea. I’d enjoyed and admired their previous productions, and the
prospect of realizing their ambitious concept was one that I eagerly wanted Seattle
Shakepseare Company to be a part of. In fact, they were fairly modest in their early
proposals. They pitched the idea of cutting the Henry VI trilogy so that it could be While You Watch
performed in one, lengthy evening performance. I set about convincing them to split
Sensing & Shaping the Future
it into two parts and presenting them in repertory. (Which is probably what they Pay attention to dreams and
really wanted all along!) curses throughout the play.
These storytelling devices build
The result was a truly epic and memorable theatrical event. Bring Down the House
anticipation and help recap events
was a local phenomenon, earning critical praise and numerous year-end awards. It from the past. When characters
was a thrilling process and a high-water mark for Seattle Shakespeare Company and relate dreams, it foreshadows future
upstart crow collective. But, as we were working on it, there was no plan to keep the action. When characters curse each
story going into Richard III. In fact, early on, I was actively resisting even the thought other, they remind us what their
of it. I didn’t really want to plan a sequel just for the sake of a sequel. Hollywood all grievances are and shape the future
too often falls into that trap. However, the compelling work of Rosa and her team of by speaking their curse.
actors and designers, in particular the riveting performance of Sarah Harlett as the
young Richard, and the chilling final tableau at the close of Part Two left me, and I’m
Names vs. Titles
Characters are referred to by their
sure many others, breathless for more.
given names and their titles. It’s even
Soon after was the production wrapped, I called on Rosa, Kate, and Betsy to keep confusing for the characters: When
King Edward learns his children are
the story going. (Which is probably what they really wanted all along!) It was too late
prophesied to be killed by “G,” he
in the planning stages to get Richard III into the season immediately following Bring
suspects his brother, Duke of Clarence,
Down the House, but I put a lock in for the season after. This season. And for the first whose given name is George — but
slot in the season. We just could not wait any longer to get this dynamic and thrilling it’s really about his other brother,
ensemble back together and on our stage! Richard, Duke of Gloucester!
It’s a true pleasure to bring this sequel (that wasn’t supposed to happen, but couldn’t Famous Quotes
NOT happen) to life. We know your patience will be rewarded. “Now is the winter of our
discontent” — Act I, scene i
“Bloody thou art, bloody will be
George Mount thy end.” — Act IV, scene iv
Artistic Director “So wise so young, they say, do
never live long.” — Act III, scene i
“A horse! a horse! my kingdom for a
horse!” — Act V, scene iv
encoremediagroup.com/programs A-1
Bring Down the House
Bring Down the House was upstart
crow collective’s original, two-part
adaptation of Shakespeare’s Henry VI
trilogy. Together with Richard III,
these plays make up the final four of
Shakespeare’s eight plays chronicling
the century-long Wars of the Roses.
The Plot of the Prequel
After the death of King Henry V, his
allies fear the young Henry VI will be
unfit to rule. Their fears are realized
when the Duke of York revives a long-
dormant claim to the throne. York’s
followers rally behind the white rose
of his house and Henry’s followers The Plot of the Play
behind the red rose of Lancaster. Richard, Duke of Gloucester, the youngest brother of King Edward IV, is now sixth in
During infighting between his line for the crown. He has already killed King Henry VI and Henry’s son, Prince Edward.
advisors, Henry marries Margaret Now Richard plots the death of everyone else who stands in his way. His first victim
of Anjou, hoping is his older brother, the Duke of Clarence. He convinces the king that Clarence is
to strengthen plotting against him. Edward imprisons Clarence in the tower, where Richard has
his position. The him drowned in a butt of his favorite Malmsey wine. Lady Anne, the widow of Prince
Lancasters implode Edward, is grieving by the coffin of her late father in-law, Henry VI. Richard tells her
with a series of
that she, not he, is responsible for their deaths because he killed them for love of her
assassinations
and, astoundingly, convinces her to marry him.
that leave
them vulnerable. Edward dies suddenly, leaving his young family in a vulnerable position. Richard
After the Yorkists and Lancasters declares himself Lord Protector. He places his nephews, the young King Edward V and
engage in battle, both sides race to his brother, in the Tower of London for “safekeeping” and then demands that the Duke
London. York arrives first and sits on of Buckingham have them killed. Buckingham balks, and Richard withdraws his trust in
the throne. Desperate to make peace, him. Instead, Richard hires two professional murderers who smother the boys to death.
Henry disinherits his own son, Prince
Edward, and names York his heir. Richard, now free of all impediments, has himself proclaimed King Richard III. Old
Queen Margaret, ex-Queen Elizabeth, and even Richard’s mother, the Duchess of
York, all curse him. Buckingham leads a revolt, but it fails and he is executed.
Richard poisons Anne, leaving him free to court his neice, Elizabeth, whose brothers
were killed in the tower. Marrying Elizabeth would unify the Yorkist and Lancastrian
factions and finally bring to an end the 30 years of civil war. Henry Tudor, the Duke of
Richmond, has had the same idea. He is a Lancastrian whose claims to the throne are
at best tenuous.
Margaret and her forces attack Henry raises an army to challenge Richard. The night before the battle of Bosworth,
York’s castle, killing York. The two Richard is haunted by the ghosts of those he has so remorselessly murdered. During
sides battle again, and the Yorkists the battle, his horse is killed, and he is forced to fight on foot. He is killed in single
are victorious. York’s oldest son is combat with Henry who seizes the crown and proclaims himself King Henry VII.
crowned King Edward IV and marries
Elizabeth Woodville. News arrives
that Henry has been captured. Adapted from Shakespeare’s Genealogies by Vanessa James.
Margaret and Prince Edward try to
reclaim the throne but are captured in
battle and Edward is executed. Richard
of York kills the imprisoned Henry, and
Margaret is banished. Edward IV seems
to have secured the crown.
A-2 SEATTLE SHAKESPEARE COMPANYAgainst All Odds
Richard was the 11th of 12 siblings,
and one of only four brothers to
reach adulthood. His ascent to the
throne was unlikely, and the glory
barely lasted. Richard’s reign (24
months) is the shortest of England’s
crowned rulers in 1,000 years.
A Hunch Confirmed
For years historians disagreed
whether Richard III had an actual
hunchback — some scholars
suspected it was made up by
Tudor enemies. In 2012, an
archeological dig uncovered
Our Production Richard’s grave under a parking lot
in Leicester. His skeleton showed
“ We’re out of civil war [of Bring Down the House],” explained director Rosa Joshi at first that scoliosis had twisted his spine
rehearsal, “and we are now in an authoritarian fascist world.” Richard’s England is a and one shoulder would have
controlled, piercing, and dangerous world. The set, designed by Shawn Ketchum appeared higher than the other.
Johnson, showcases thin, angled wires on a dark and open stage.
Costumes by Christine Tschirgi blend the aesthetics of twentieth century
authoritarian regimes with medieval elements — unified in black materials and
sleek, severe lines — to create an abstract world that hovers outside of any
specific time or location in history.
“ To me the history plays are really cautionary tales,” Joshi reflected. “I think we go back
to them to look at the dark, dangerous things that have happened in the past and
think about how we might be more mindful about how to avoid these things in our Going Out with a Fight
present and our future.” Allies and enemies alike praised
Richard’s bravery in the Battle of
Bosworth. Richard led a cavalry
charge into the enemy forces,
getting within a sword’s reach
of Henry Tudor before being
surrounded and killed. His skeleton
showed eleven separate wounds —
eight to his skull alone. Richard was
the last English king to die in battle.
Cold Case
Shakespeare pins the murder of the
princes in the tower on Richard, but
their actual disappearance remains
a historic mystery, and conspiracy
theories (and memes) abound.
encoremediagroup.com/programs A-3At Seattle Shakespeare Company, we believe that the plays of William Shakespeare
MISSION and other classic playwrights are timeless works that cross social and cultural
STATEMENT boundaries. With their rich themes and wide gallery of characters, these plays
examine the full breadth of human experience: love, jealousy, loyalty, leadership,
With the plays of William
passion, vengeance, romance, ambition, and humor. Within these time-tested
Shakespeare at our core, Seattle
works are insights that continue to sing to contemporary audiences, and that is
Shakespeare Company engages
our audiences, our artists and our why we believe our region deserves a theatre committed to first-rate, professional
community in the universal human productions of Shakespeare and the classics.
experience inherent in classic drama
Whether set in Elizabethan England, in a backwoods trailer park, or in a 1950’s seaside
through the vitality, immediacy and
intimacy of live performance and resort, our productions illuminate the relevance of these works, delighting, moving, and
dynamic outreach programs. often surprising audiences.
Founded in 1991, Seattle Shakespeare Company is a non-profit organization and is
Washington State’s only year-round, professional classical theatre company. We operate
with a budget of $2 million, a board of 21 trustees, a corps of 320 volunteers, a
FREE AUDIENCE staff of 18, and a pool of more than 200 artists. Each year, we offer more than 200
ENRICHMENT performances and educational opportunities through four arms of programming:
Seattle Shakespeare Company The Indoor Season consisting of five professional productions performed in
provides several opportunities with multiple theatre venues from September through May.
each mainstage production for
audience members to learn more The Wooden O outdoor summer shows are free Shakespeare productions in the
about the play and interact with parks performed for 13,000 people in 11 cities across the Puget Sound region.
our artists. For dates and times, visit
Our Education Programs including workshops, school residencies, classroom
seattleshakespeare.org/enrichment
teacher training, after-school classes, and summer camps that serve 25,000 young
Jumpstart Lecture people each year and reach out to 140 schools across the state
Get to know the play before you
The State-Wide Tour bringing productions of Shakespeare’s plays to schools and
see it! A member of our artistic
communities throughout Washington, traveling from Port Angeles to Pullman.
team will bring you up to speed on
the plot, characters, and history of These award-winning, professional programs reach across barriers of income,
the play, as well as artistic concepts geography, and education to bring classical theatre to more than 54,000 people in
for the production. Washington State each year.
Post Show Talkback
Join the cast after the performance
as they answer your questions and
share some insights into
the production.
Pictured: Eleanor Moseley, Imogen Love, and Annie Lareau in The Merry Wives of Windsor,
photo by HMMM Productions.
A-4 SEATTLE SHAKESPEARE COMPANYhakespeare
By William S
CAST PRODUCTION TEAM STAGE CREW
Buckingham / Ensemble Director Master Electrician
Suzanne Bouchard* Rosa Joshi Desirae Brownlee
Hastings / Tyrrel / Ensemble Set Designer Master Stage Carpenter
Chantal De Groat* Shawn Ketchum Johnson Joel Wilmot
Grey / Prince Edward / Ensemble Costume Designer Master Audio Engineer
Yadira Duarte Christine Tschirgi Mark Krida
Clarence / Ratcliffe/ Ensemble Lighting Designer Wardrobe Master
Sunam Ellis Geoff Korf Cindy Sabye
Edward IV / Catesby / Ensemble Sound Designers
Peggy Gannon Meghan Roche SPECIAL THANKS
Dorset / Young York / Ensemble Robertson Witmer American Life Inc, Seattle University
Meme Garcia Movement Director
Richard Alice Gosti PRODUCTION
Sarah Harlett* Fight Choreographer SPONSORS
Duchess of York / 1st Murderer / Peter Dylan O’Connor
Ensemble Properties Designer
Mari Nelson* Robin Macartney
Stanley / Ensemble Technical Director
Lisa Norman Benjamin Radin This project is supported in part by an award from
Elizabeth / Henry VI Ghost / Ensemble Dramaturg the National Endowment for the Arts.
Betsy Schwartz* Wiley Basho Gorn
Anne / 2nd Murderer / Richmond / Text Coach
Ensemble Kate Wisniewski
Porscha Shaw Stage Manager
George Stanley / Ensemble Maria Gray*
Chanya Wiparungsri Assistant Stage Manager
Margaret / Bishop Ely / Ensemble Ariel Bui
Kate Wisniewski* Assistant Director
Rivers / Brakenbury / Mayor / Ensemble Francie Mylet
Dedra D. Woods Assistant Costume Designer upstart crow is an associated program of Shunpike
Musician / Ensemble Elaine Ortiz
Aimee Zoe Assistant Lighting Designer
Trevor Cushman
* Appearing through an Agreement between this theatre,
Seattle Shakespeare Company, and Actors’ Equity Assistant Text Coach
Association, the Union of Professional Actors and Stage Mara E. Palma
Managers in the United States. There will be one 15-minute intermission.
Properties Artisan
Adrian Delahunt The taking of pictures or the making of recordings of
any kind during the performance is strictly prohibited.
encoremediagroup.com/programs A-5Peggy Gannon
CAST Edward IV / Catesby / Ensemble
Peggy is a working actress, director, and producer in
Seattle since 1994. She is honored to be continuing
Suzanne Bouchard the journey of the York family in this “sequel” to Bring
Buckingham / Ensemble Down the House. Peggy is the Producing Director for
Suzanne last appeared as Queen Elizabeth I in MAP Theatre, where she has also acted (The Feast, The
Shakespeare in Love at Seattle Shakespeare Company. Art of Bad Men, Greensward), and directed (Soft Click
Suzanne Bouchard She has worked in Seattle and other regional venues of a Switch, A Behanding in Spokane, Belleville, Year
for thirty-five years with so many remarkable and of the Rooster). Peggy has performed with: Seattle
astonishing actors and directors. Other Shakespeare Shakespeare Company and Wooden O (As You Like It,
credits include Helena, Titania/Hippolyta, Rosalind, The Tempest, Henry V), upstart crow collective (Titus
Beatrice, Ariel, Lady Capulet, Regan, Lady Macbeth, Andronicus, King John), Seattle Repertory Theatre
Queen Margaret, Brutus, and Humphrey. For Ames: (Inspecting Carol), ACT Theatre (The Women), as well
Thank you. as numerous shows at ArtsWest, Sound Theatre
Company, Seattle Public Theater, Theater Schmeater,
Chantal DeGroat and others.
Hastings / Tyrrel / Ensemble
Meme Garcia
Chantal is honored to return to Seattle Shakespeare
Dorset / Young York / Ensemble
Chantal DeGroat Company and collaborate with the remarkable
upstart crow collective for the first time! Chantal Meme is a graduate of the London Academy of
began her training at Shakespeare and Company, Music and Dramatic Art where she received an MA in
she now teaches with The August Wilson Monologue Classical Acting. She is a Fulbright Scholar and holds
Competition (Seattle Repertory Theatre and August degrees in Theatre and Women and Gender Studies
Wilson Red Door Project), and is a company member from Seattle University. Originally from El Salvador,
of Third Rail Rep. Seattle: Well (Seattle Repertory she is committed to creating theatre which subverts
Theatre), Stick Fly (Intiman Theatre), Julius Caesar cultural norms while raising major questions about
(Seattle Shakespeare Company). Portland: Twist Your gender, race, and class inequality. She is a playwright
Dickens (Portland Center Stage/Second City, four years whose first play, House of Sueños: A Chubby Latinx
running); The Piano Lesson (Portland Playhouse); We Hamlet, premiered last fall at 18th and Union. She
Are Proud To Present… and The Liar (Artists Rep); Bright is a founding member of Wyrd Sisters Productions,
Yadira Duarte
Half Life and The Call (Profile Theatre); and The Nether an ensemble member of The Seagull Project, and a
and Belleville (Third Rail Rep). New play development: member of the Umbrella Project Writers Group. She
Seven Devils Playwrights Conference, Seattle Repertory has worked with numerous theatre companies in
Theatre’s The Other Season, The Hansberry Project, and Seattle such as upstart crow collective, ACT Theatre,
Portland Experimental Theatre Ensemble. Upcoming: Seattle Repertory Theatre, and Intiman Theatre.
Twist Your Dickens (Portland Center Stage), Well and Let Sarah Harlett
Me Down Easy (In rep, Profile Theatre). Richard
Yadira Duarte Previously with upstart crow collective: Bring Down
Grey / Prince Edward / Ensemble the House Parts 1 & 2 (Beaufort / Richard), Titus
Yadira returns to Seattle Shakespeare Company to Andronicus (Demetrius), and King John (Austria).
Sunam Ellis Seattle Shakespeare Company: All’s Well That
speak William Shakespeare’s words with a group of
women. Thank you for supporting these women, this Ends Well (Helena), The Two Gentlemen of Verona
company, and the arts. (Speed). Freehold’s Engaged Theatre: The Winter’s
Tale (Hermione), Othello (Desdemona), Julius Caesar
Sunam Ellis (Portia), King Lear (Fool). Most recently seen in Frost/
Clarence / Ratcliffe / Ensemble Nixon (Strawberry Theatre Workshop). Locally: ACT
Sunam is grateful to be a part of this second Theatre, On the Boards, Seattle Children’s Theatre,
collaboration with upstart crow collective and New City Theater, Intiman Theatre, Annex Theatre, The
Seattle Shakespeare Company after an incredible Compound, and The Empty Space Theatre. Regional/
experience during Bring Down the House. An MFA International: Dancing at Lughnasa (Tantrum Theater-
grad from University of Washington, she has worked Ohio), Rich Grandeur of Boxing (Centre de Danse:
Peggy Gannon Paris, France). A graduate of Cornish College of the
on productions and readings with Book-It Repertory
Theatre, Seattle Children’s Theatre, Sound Theatre, Arts, Gaiety School of Acting (Dublin), and British
Seattle Repertory Theatre, Theatre22, The Horse in American Drama Academy (Oxford). Sarah currently
Motion, Freehold’s Engaged Theatre, and Seattle teaches at Cornish College of the Arts.
Public Theater. Favorite local roles include Margery
Mari Nelson
in Hand to God, Eleanor in Bring Down the House,
Duchess of York / 1st Murderer / Ensemble
Mrs. Cratchit in A Christmas Carol, and Marie in The
Wellesley Girl. Sunam is supported in her work by Broadway: Six Degrees of Separation, Guys and Dolls,
her amazing husband, Joshua, and three wonderful and Translations. Off-Broadway: The Public Theater
children: Nolan, Jacob, and Moira. (Up Against It); The Delacorte Theater (Twelfth Night);
Saint Ann’s Warehouse (Slain in the Spirit). Regional
Meme Garcia Theater: Village Theatre, Seattle Repertory Theatre,
A-6 SEATTLE SHAKESPEARE COMPANYACT Theatre, Seattle Shakespeare Company, Baltimore and honored to be a part of this project and looking
Center Stage, Intiman Theatre, The Alley Theatre, forward to more!
Hartford Stage, The Paper Mill Playhouse. TV: One Life to
Live, Another World, and MTV’s Pirate TV. Film: Bad Girls, Kate Wisniewski
Back Spot Turn, Laggies. Nominated BBW 2014 Best Margaret / Bishop Ely / Ensemble
Supporting Actress, five-time Gordo Award winner for Kate a founding member of upstart crow collective
Best Actress 2005–2012, Seattle Theater Writers Best and played Margaret of Anjou in their co-production
Supporting Actress Award 2016, The Gregory Award with Seattle Shakespeare Company of Bring Down
for Best Actress in a Play 2017. A Graduate of University the House. Previously with upstart crow collective:
of Washington and The Juilliard School. King John and Titus Andronicus. Seattle Shakespeare Sarah Harlett
Company: The Importance of Being Earnest, Richard
Lisa Norman II, and Much Ado About Nothing with Wooden
Stanley / Ensemble O. Locally: Intiman Theatre, ACT Theatre, Seattle
Lisa is an actor, coach, and educator. She performed Repertory Theatre, Book-It Repertory Theatre, The
under Rosa Joshi’s direction in Footfalls, as part of Empty Space Theatre, Tacoma Actors Guild, New
Seattle’s Beckett Festival. With Freehold’s Engaged Century Theater, and New City Theatre. Regionally:
Theatre, she toured in Henry V and Julius Caesar. The American Repertory Theatre in Cambridge, MA.
Lisa performed for several seasons with Tennessee Kate can next be seen at Seattle Repertory Theatre
Repertory Theater, Clarence Brown Theater Company, in their upcoming production of Last of the Boys.
Nashville Shakespeare Theater, and South Carolina Kate is a graduate of the American Repertory Theatre
Repertory, among others. She co-founded Operating Institute at Harvard. She is an adjunct faculty member Mari Nelson
Theater, in residence at Cornish College of the Arts, at Seattle University in the Performing Arts and Arts
where she is Professor of Acting. Film/Television Leadership Department.
credits include Our Very Own (with Allison Janney)
and Disney’s Wild Hearts Can’t Be Broken, as well as Dedra D. Woods
TV’s Grimm. Lisa studied Shakespeare’s text in London Rivers / Brakenbury / Mayor / Ensemble
and with Master Voice teacher Cecily Berry. Her Dedra is thrilled to join this company of amazing
extensive coaching credits in Seattle include serving artists for this production. She was last seen on Seattle
as text coach for Seattle Shakespeare Company’s Shakespeare Company’s stage in their collaboration
Richard II and the Seattle Shakespeare Company and with upstart crow collective for Bring Down the House.
upstart crow collective co-production of Bring Down Most recently she starred in Wild Horses (Intiman
the House. Theatre). Other credits include An Octoroon (ArtsWest Lisa Norman
Playhouse), The Little Prince (Seattle Children’s Theatre),
Betsy Schwartz I Know Why the Caged Bird Sings (Book-It Repertory
Elizabeth / Henry VI Ghost / Ensemble Theatre), Medea (Seattle Shakespeare Company),
As a founding member of upstart crow collective, Wedding Band (Intiman Theatre), We Are Proud to
Betsy was last seen as Henry VI in the upstart crow Present . . . (Pony World Theatre), and Intimate Apparel
collective/Seattle Shakespeare Company co- (Artist Repertory Theater). Dedra has also had the
production of Bring Down the House, Parts 1 and pleasure of working with The Hansberry Project,
2. Other Seattle Shakespeare Company/Wooden Hedgebrook Women Playwright’s Festival, and ACT’s
O credits include: The Princess of France in Love’s Construction Zone. Offstage she has worked as a
Labour’s Lost, Rosalind in As You Like It, Lady Teazle in teaching artist with Seattle Public Theater, Seattle
The School for Scandal, and Ms. Linde in A Doll’s House. Repertory Theatre, and Intiman Theatre. Betsy Schwartz
Betsy was also a founding company member of New
Century Theatre Company and was seen in many Aimee Zoe
productions, including The Big Meal, Festen, Tails of Musician / Ensemble
Wasps, and Orange Flower Water. Betsy has worked Aimee is a drummer and vocalist about town. She
for many local theatres in town including: Book-It can be found throwin’ down a wide variety of grooves
Repertory Theatre, ACT Theatre, Thalia’s Umbrella, with various projects in Seattle and beyond including
Strawberry Theatre Workshop, Village Theatre, Tacoma Wildcat Rose, Del Vox, The Sound of the Hunter,
Actors Guild, The Empty Space Theatre, Seattle Lelavision, Jackrabbit, Ian McFeron Band, Jealous
Children’s Theatre, and Intiman Theatre. Dogs: Seattle’s Only Pretenders Tribute, The Bushwick
Book Club, and Sam Russell.
Porscha Shaw Porscha Shaw
Anne / 2nd Murderer / Richmond / Ensemble
Porscha has recently completed her 3rd year in the
Professional Actor Training Program at the University
of Washington. She is a native of Richmond, Texas,
and a graduate of Santa Fe University of Art and
Design where she majored in Drama under the
training of Jon Jory. Her recent credits include: By The
Way, Meet Vera Stark, Sound Theatre’s Hoodoo Love, As
You Like It, Anne Washburn’s The Octavia, Iphigenia
and Other Daughters, Wooden O’s Love’s Labour’s Lost,
and Force Continuum. Porscha is extremely excited Kate Wisniewski
encoremediagroup.com/programs A-7A few favorites include: Welcome to Braggsville (Book-
PRODUCTION It Repertory Theatre), Oklahoma! (Charlottesville
Opera), Bring Down the House (Seattle Shakespeare
Company/upstart crow collective), Master Class
Wiley Basho Gorn (Shakespeare & Company), and The Little Prince (Bristol
Dramaturg Riverside Theatre). She was Head of Props on several
bus and truck National Tours from 2013 thru 2017.
Wiley is a voice and text coach, theatre director, Maria also works as a Corporate Stage Manager,
dramaturg, and avid swing dancer based in Seattle, Event Coordinator, Stagehand: focus Electrics and
Dedra D. Woods WA. Recent directing credits include: House of Sueños Properties, and is a proud member of: IATSE Local#8.
(18th and Union: an arts space), Twelfth Night: A
Workshop with Music (Solo Bar), As You Like It (ACT Rosa Joshi
Theatre) and The Tempest (Taksu Theatre Co, Brooklyn, Director
NY). Assistant director credits include: Henry V at Rosa is a Seattle based director and co-founder of
Oregon Shakespeare Festival (directed by Rosa upstart crow collective. Her directing credits include
Joshi); Bring Down the House at Seattle Shakespeare Henry V (Oregon Shakespeare Festival); all-female
Company (directed by Rosa Joshi); and Mr. Burns: a productions of Bring Down the House (upstart crow
Post-Electric Play, A Christmas Carol, and Assassins at collective and Seattle Shakespeare Company), Titus
ACT Theatre (directed by John Langs). Wiley is an Andronicus (upstart crow collective), and King John
affiliate artist of upstart crow collective and received (upstart crow collective); John Baxter Is a Switch
Aimee Zoe his BFA in directing from the University of North Hitter (Intiman Theatre Festival); Richard II (Seattle
Carolina School of the Arts. In January 2019 he will Shakespeare Company); and Fen and Watbanaland
begin a six month residency in Dramaturgy and Voice (New City Theater). Rosa was Interim Artistic Director at
and Text at Oregon Shakespeare Festival. Northwest Asian American Theatre and was a resident
Ariel Bui director at New City Theater. Currently on the faculty
Assistant Stage Manager of Seattle University, she has also taught at Hong Kong
University and Hong Kong Academy of Performing
Ariel’s production and stage management credits Arts. Rosa received her MFA in directing from Yale
include Uncle Vanya with The Seagull Project; Public School of Drama. Next she will be directing As You Like
Works: The Odyssey with Seattle Repertory Theatre; It in Oregon Shakespeare Festival’s 2019 season.
Actors’ Equity Association Hand to God, Ironbound, On Clover Road, The Other
(AEA), founded in 1913, Place, Christmastown: A Holiday Noir (2014–15), Shawn Ketchum Johnson
represents more than
45-thousand actors and and Arcadia with Seattle Public Theater; As One Set Designer
stage managers in the with Seattle Opera; The Secret Garden, A Splash of
United States. Equity seeks to Shawn is a Seattle-based theater maker. His expertise
Red, and Flora and Ulysses with Book-It Repertory
advance, promote and foster in site-specific and devised performance keep him
the art of live theatre as an Theatre; Mother Courage and Her Children with Seattle
linked to innovative socially-engaged ensembles in
essential component of our Shakespeare Company; and Live! From the Last Night
society. Equity negotiates Chicago and throughout the country. Recent local
of My Life with Theatre22. Ariel is a graduate of Seattle
wages and working projects include the workshop premiere of Time to Tell,
conditions, providing a wide Pacific University.
range of benefits, including
an original hybrid performance piece presented at Lee
health and pension plans. Alice Gosti Center for the Arts. Recent local scenic designs include
AEA is a member of the AFL- the world premiere of Daisy at ACT Theatre (Gregory
CIO, and is affiliated with FIA,
Choreographer
an international organization Alice is an Italian-American choreographer, hybrid Award), Ghosts at ArtsWest (Gregory nominated),
of performing arts unions.
performance artist, curator, educator, DJ, and architect and upstart crow collective’s Bring Down the House
The Equity emblem is our at Seattle Shakespeare Company. An alumnus of
mark of excellence. of experiences, working between Seattle and Europe
actorsequity.org since 2008. Gosti’s work has been recognized with Northwestern University, Johnson holds the Scenic
numerous awards, commissions, and residencies Design faculty position at Seattle University.
including being a recipient of the 2012 Vilcek Creative Geoff Korf
United Scenic Artists, Local Promise in Dance Award, the 2012 danceWEB
USA 829 of the IATSE is the Lighting Designer
union representing Scenic, scholarship, Velocity’s 2015 Made in Seattle Program,
Costume, Lighting, Sound NEFA’s 2016 National Dance Project and 2017 Artist Geoff has lived in Seattle since 2002. Previous
and Projection designers in Trust Fellowship. Gosti’s work has been commissioned productions for Seattle Shakespeare Company
Live Performance. include: Hamlet, Richard II, The Merchant of Venice,
and presented nationally and Internationally in
universities, theaters, museums and galleries. Othello, and Bring Down the House. Most recently
Geoff designed Cornerstone Theater’s production of
All Scenery, Staging Maria Gray The Cardinal in Queens, NY. Notable world premieres
and Wardrobe work is
performed by employees
Stage Manager have included Sarah Ruhl’s The Clean House at Yale
represented by the I.A.T.S.E.
Maria is elated to join Seattle Shakespeare Company Repertory Theatre, Disney’s High School Musical at
Locals 15 and 887. the Children’s Theatre Company of Minneapolis, and
and upstart crow collective after working with them
on the co-production of Bring Down the House. She August Wilson’s Two Trains Running. Geoff has been a
recently assistant stage managed Familiar (Seattle member of the Ensemble of Cornerstone Theater in Los
Repertory Theatre) and stage managed The Merchant Angeles since 1996. Geoff also serves as the Associate
of Venice (Seattle Shakespeare Company), Timon of Director of the School of Drama at the University
Athens (Seattle Shakespeare Company) and I Know of Washington and is a graduate of California State
Why the Caged Bird Sings (Book-It Repertory Theatre). University, Chico, and the Yale School of Drama.
A-8 SEATTLE SHAKESPEARE COMPANYRobin Macartney the University of Washington and is also a Journeyman with IATSE
Properties Designer Local #15.
Robin always loves working with Seattle Shakespeare Company. Meghan Roche
Professional credits include technical work with Café Nordo, Sound Designer
Youth Theatre Northwest, New Century Theatre Company, Book-It
Repertory Theatre, Theatre22, Annex Theatre, Bainbridge Center Meghan is a Seattle-based freelance sound designer and technician.
for the Performing Arts, Live Girls! Theater, Pork Filled Productions, Previous design credits for Seattle Shakespeare Company: Pericles
and eSe Teatro. She is the scene shop supervisor at the University (Wooden O), Twelfth Night (Educational Tour), and Bring Down the
of Puget Sound as well as front of house manager/resident set House (as Assistant Sound Designer). Other design credits include
designer at the Theatre Off Jackson. work with Book-It Repertory Theatre, Ethereal Mutt/ACTLab, A
Sensible Theatre Company, Intiman Theatre, Macha Theatre Works,
Francie Mylet New Century Theatre Company, ReACT Theatre, Sandbox Radio,
Assistant Director Taproot Theatre, The Merc Playhouse, and more. Meghan also works
Francie is a recent graduate of Seattle University’s theatre and as Seattle Shakespeare Company’s Associate Production Manager.
arts leadership programs. She is also a former intern from Seattle
Christine Tschirgi
Repertory Theatre’s Professional Arts Training Program with a focus
Costume Designer
in development. Her directing and assisting credits include A
Number by Caryl Churchill and Women of Troy directed by Rosa Joshi. Christine is thrilled to be back with these powerful women
and upstart crow collective for Richard III. Previously at Seattle
Peter Dylan O’Connor Shakespeare Company: Measure for Measure, Bring Down the House,
Fight Choreographer and The Merchant of Venice. Recently in Seattle: King of the Yees (ACT
Past fight choreography with Seattle Shakespeare Company Theatre), Building the Wall (Azeotrope), Citizen Ben Uchida (Seattle
(Wooden O and mainstage) includes King Lear x 2, Shakespeare in Children’s Theatre). Other local credits include Seattle Repertory
Love, Julius Caesar, Bring Down the House, Hamlet, Twelfth Night, Henry Theatre, The 5th Avenue Theatre, Village Theatre, New Century
V, Macbeth, Much Ado About Nothing, Pericles, As You Like It, Othello, Theatre Company, Washinton Ensemble Theatre, Strawberry Theatre
and The Taming of the Shrew. Other credits include A Streetcar Named Workshop, Degenerate Art Ensemble, and Circus Contraption’s
Desire, Abe Lincoln in Illinois, Crime and Punishment, The Children’s The Show to End All Shows. She is a graduate of The University of
Hour, John Baxter Is a Switch Hitter, and Bootycandy (Intiman Theatre); Washington and is a member of United Scenic Artists Local, USA 829.
As You Like It (Oregon State College); Henry IV (Freehold’s Engaged
Robertson Witmer
Theatre); as well as work with New Century Theatre Company, UMO
Sound Designer
Ensemble, Cornish College of the Arts, The 14/48 Projects, Emerson
College, Capitol Hill Arts Center, Theater Schmeater, Theatre Rob’s recent work with Seattle Shakespeare Company includes
Under the Influence, Consolidated Works, The Globus Theatre King Lear, Timon of Athens, Shakespeare in Love, The Government
(Novosibirsk, Russia), and the Novosibirsk College of Acting. Peter is Inspector, and Bring Down the House. Other shows this year include
the Production Director for The 14/48 Projects and a Co-Founding Ironbound, Hand to God (Seattle Public Theater); The Wolves, Until
member of New Century Theatre Company. Peter works on faculty the Flood (ACT Theatre). His onstage appearances include Go, Dog.
and is the Staff Technical Director/Scene Shop Supervisor at Cornish Go! (Seattle Children’s Theater); A Doctor in Spite of Himself (Intiman
College of the Arts where he graduated with honors in 1994. Theatre, Yale Rep) and Mr. Burns, a Post-Electric Play (ACT Theatre). His
sound designs have been heard at Seattle Repertory Theatre, New
Mara E. Palma Century Theatre Company, ReAct Theatre, Strawshop, Spectrum
Assistant Text Coach Dance Theater, and Teatro ZinZanni. Rob plays with several bands,
Mara (she/her) joins upstart crow collective and Seattle Shakespeare including The Love Markets, “Awesome” and the Toucans steel drum
Company for the first time! Her training includes a semester at the band. Rob is a member of United Scenic Artists, Local USA-829.
London Academy of Music and Dramatic Art (Shakespeare and
Jacobean Tragedy) and a degree from Wellesley College (Political
Science and Theatre Studies). She was part of the Intiman Emerging
Artists’ Program in 2017 with Sara Porkalob and Dedra D. Woods.
Mara is a performer, playwright, and producer based in Seattle with
roots in the Philippines and Boston, MA. As a performer, she was last
seen in Richard II (staged reading, upstart crow collective), As You Like
It (Rosalind, REBATEnsemble), and Persimmon Nights and the Kimchi
Kittens (Hae Kyung Kang, Café Nordo). Gratitude to mom, the Obers,
the Golden Triangle, RKH, Maile and the Wong’s, and Sonnet LXV.
Benjamin Radin
Technical Director
Ben is the Technical Director for Book-It Repertory Theatre and is
ecstatic to again be partnering with Seattle Shakespeare Company
to produce scenery for their season. Prior to joining Book-It
Repertory Theatre, he worked as a Scenic Carpenter at Seattle
Repertory Theatre for five seasons and before that built scenery
for ACT Theatre, Seattle Opera, The 5th Avenue Theatre, Pacific
Northwest Ballet, and many others. He has worked as a Technical
Director for Washington Ensemble Theatre, The Satori Group, and
the Okoboji Summer Theatre. He received his BA in Drama from
encoremediagroup.com/programs A-9By George Bernard Shaw
Directed by David Armstrong
Oct 23–Nov 18
WHAT IT’S ABOUT WHO YOU’VE SEEN
Raina Petkoff is young, beautiful, and Suzy Hunt Sylvester Foday
filled with romantic notions about Tartuffe Kamara
love. She’s all set to marry war hero Medea, Titus Andronicus,
Major Saranoff, but then the combat Measure for Measure
crashes through her window in
the form a soldier fighting for the Jonelle Jordan George Mount
opposing side. Intrigued, Raina agrees King Lear (Wooden O), A Midsummer Night’s
to hide him, but only after learning he The Government Inspector, Dream, The Winter’s
carries chocolates instead of bullets. The Winter’s Tale Tale, Romeo and Juliet
After the war ends, both rival soldiers
return for their love and that’s when
Brenda Joyner Richard Nguyen
the real battle for Raina’s heart begins. Sloniker
Bring Down the House,
Shaw’s most popular play was also The Winter’s Tale, The Merchant of Venice,
one of the author’s first commercial As You Like It (Wooden O) The Comedy of Errors
successes. Former 5th Avenue Theatre (Wooden O), Henry V
Artistic Director David Armstrong makes
his Seattle Shakespeare Company debut Performs at the Center Theatre
with this classic romantic comedy. in the Armory at the Seattle Center. seattleshakespeare.org
A-10 SEATTLE SHAKESPEARE COMPANYBring Shakespeare
to Your Community
Seattle Shakespeare Company’s
touring productions are designed
for accessibility and delivering
live Shakespeare to your
community may be easier than
you’d expect!
____________________________________
Performance venues
Our touring productions have
performed in school auditoriums
and gymnasiums, at regional
Something important goes on, in between the lines of text, when a play is
performing arts centers, and for
performed. The ring of swords and flush on faces, the unspoken gestures of
retirement communities.
comfort, the side eye — these unscripted elements don’t exist on the page, and
they are exactly what our spring tour delivers. Age
Appropiate for junior high aged
Between March and June, a van packed with six actors and the set pieces, props, and audiences and up.
costumes for two 90-minute shows will bring live, professional Shakespeare all across
Washington State. Our smallest productions serve Seattle Shakespeare Company’s Cost
largest audience: performing for 16,000 people in farmlands east of the Cascades, $1,700 up to 400 audience
port towns on the coast, suburbs on the Eastside of Lake Washington, and islands in members (that’s just $4.25 per
person). Additional fees may
the San Juans.
apply for larger groups, travel, and
For many students these nimble, small-cast productions are their first experience of accommodations.
live theatre. They’ve read Shakespeare from books in the classroom, but Shakespeare Financing
wrote plays, not novels. His text is like a stained glass window, masterfully composed to Partial financial assistance is available
be played upon by the light of human action. Live theatre is a completely new form of to qualifying schools. Regional
storytelling for many far-flung audiences and, every year, students are enthralled. performing arts centers often charge
ticket fees for public performance.
The first time Romeo leans in to kiss Juliet, the ooohs, aaahs, and whoops tumble
from the audience onto the stage. Teachers, wanting their students to be respectful, ____________________________________
hiss soft “shhshes,” but, the truth is, the actors encourage these responses. They feed
off that buzz, and they believe the audience’s involvement makes the performance Free Enrichment
feel even more authentic. Every booking includes a free study
guide with custom articles and
The actors like it when students yell “Don’t do it!” when Romeo begins to drink the classroom activities, and a post-play
poison. When Lady Capulet spits at Juliet, the audience gasps and murmurs. At one Q&A with the tour cast!
performance an audience member yelled out, “No!” when Mercutio was stabbed.
____________________________________
At post-play talkbacks, students are brimming with questions for the cast about
their acting process, memorization, whether Romeo and Juliet are a real life couple, if How to Book a Tour
people ever get hurt in the fights, and the list goes on. These students have realized that This spring’s tour features our
flagship Elizabethan Romeo and
Shakespeare — with all its lofty and intimidating stigma — is actually for them.
Juliet and a new, bilingual Macbeth,
in English y en Español.
To book a show — or find out how
to bring a show to your community
— contact Touring Manager, Casey
Brown, at 206-733-8228 x 241 or
caseyb@seattleshakespeare.org
Pictured: Aishé Keita and Rafael Molina in Romeo and Juliet, photo by John Ulman.
encoremediagroup.com/programs A-11You can also read
