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Presented by:
In partnership with:
This educational resource was created for Shakespeare WA, as part of
the 2012 ―Shakespeare in the Park‖ season of The Comedy of Errors
and The Tempest. This workbook provides various teaching materials to
support senior secondary education programming.
This is a free resource which has been created with the sole purpose of
providing accessible materials and ideas to increase (and encourage)
the value and importance of Shakespearean education. Material
collated within this package has been sourced from online websites.
ALL information and worksheets copied have been acknowledged and
duly referenced. At the time of going to print, the websites mentioned
were accessible and accurate. The material has been collated for
practical usage within the classroom environment, not for financial gain.
We would sincerely appreciate any comments, feedback or suggestions
for improving this document. Please contact us if you wish to use any of
the material located in the package <[email protected]>
This material was collated and published by Shakespeare WA LTD.
38 St Georges Terrace, Perth, Western Australia, 6000.
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Acknowledgements
Artistic Director
Paige Newmark
General Manager
Katie Kent
Education Liaison
Elisa Dumitru
Editors
Andrew Kocsis
Tiffany Wendt
With additional assistance from
Jenny de Reuck
Cover Design
Karen Smart
Illustrations
Karen Smart
Allison Bell
Thanks to
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Introduction to Three Fold Shakespeare
When approaching this workbook, each ‗scene‘ provides a three ‗fold‘ (or
three step) approach to completing the student objectives. In each ‗scene‘,
three different descriptions are used to provide a bridge to the next ‗scene‘.
The six individual ‗scenes‘ have been scaffolded towards a final performance
piece. ‗Folds‘ focus predominantly upon the following concepts...
View
Play
Discuss
Research
Read
Write
Perform
– Suggest websites or videos of interest to engage and
focus the learning.
– Provide improvisational tasks or theatre games to
explore subject themes.
– Encourage class discussion as a means to examine the
text, characters or other areas of interest.
– Create opportunities for investigation into the historical
aspects of the text and themes
– Allow the reading and comprehension of textual
examples of the subject and its influences
– Offer scope for creative writing and drawing as a means
of communicating personal ideas
– Provide an arena for staging (in front of the class) a
progression or final assessment piece.
The individual ‗Scenes‘ follow the Department of Education‘s Scope and
Sequence descriptors. This enables the workbook to support the principles of
an effective Drama program and the assessment requirements of each
course. Please note there are direct references to indicate the source of the
various student worksheets. Some worksheets and activities have been
altered to fit the requirement of this package and to link more appropriately
with the scope of the program.
The activities and worksheets included in this package have been chosen to
support the differentiation of learning and the development of individual
learning styles in order to make the program more accessible and inclusive.
Warm up and vocal exercises have not been included in this package as
these aspects are a reflection of the style and preference of the individual
teacher. Please feel free to make use of the resources provided in a manner
which best suits the requirements of your students and your personal teaching
approach.
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Locate YouTube clips of staging and filming The Comedy
of Errors, then discuss the style shown...
View
Royal Shakespeare Company
http://www.youtube.com/watch?v=EtvriM_iUx8&feature=related
Folger Library Production
http://www.youtube.com/watch?v=TsyLQaewQks
Play
In small groups, improvise an advertisement promoting
the stage play The Comedy of Errors, then create a
second advertisement for the film The Comedy of
Errors... what changes?...
As one person narrates
other members of the group
should verbally re-enact scenes
Based on http://www.readwritethink.org/files/resources/
lesson_images/lesson857/interp-projects.pdf
Perform
Choose three definitions from the Glossary, then
perform these definitions to the rest of the class in
groups. While one student narrates the definition, the
remaining students in the group act out the definition
through mime...
Characterization – the
process of developing and
portraying a character
Return to ‘Fold 1 and 2’ and
discuss how the terms could have
been used to describe the YouTube
clips and the mini-advertisements
See pages 6 and 7
Obtained from http://www.bced.gov.bc.ca/irp/drama1112_tp.pdf
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Glossary
Aesthetic understanding that incorporates intellectual, sensory, and
emotional involvement in and response to the arts; relating to a sense of what
is evocative, engaging, or ―artistic.‖ What is considered aesthetic varies
greatly according to the context.
Characterization the process of developing and portraying a character—as
actor, director, or scriptwriter. The process may include character analysis
(motivation, interpretation, objectives, character in relation to other characters
and script elements, stock characters), use of voice elements, use of
elements of movement, blocking, business, focus, stage presence, etc.
Central image the overall theme or message of a theatre work as
represented symbolically through characterization and production elements.
Creative process an ongoing intellectual and emotional process of
exploration, selection, combination, refinement, and reflection to create artistic
works.
Crew head lead technician in a running or technical crew, such as costume
co-ordinator, lighting co-ordinator, props chief, etc.
Drama forms overall medium or structure for the expression of dramatic
meaning and message, such as 1-act play, 3-act play, mime, puppetry,
improv, tableau, musical theatre, story theatre, one-person show, street
theatre, etc. See also style.
Elements of design levels, colours, space, texture, line, shape, time, etc.
affecting the physical representation of a dramatic work.
Elements of drama focus, tension, contrast, symbol, form, balance, climax
and resolution, etc. as used for dramatic purpose.
Elements of movement the ways in which a performer uses whole body or
individual body parts for dramatic purpose. Elements of movement can be
classified by Body (e.g., whole or partial body action, locomotor/travelling, vs.
non-locomotor/on-the-spot, shape, dimension), Space (e.g., direction,
level, plane, personal and general space), Time (e.g., pace/ tempo,
rhythm), Dynamics (e.g., energy, intensity, flow), and Relationship (e.g.,
among performers, in relationship with props and set).
Motivation why a character does something in relation to his or her objective.
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
PPENDIX E: GLOSSARY
Objective what a character needs and wants, which determines her or his
behaviour.
Performance elements acting, script, and direction.
Production concept overall theme conveyed by style, central image, use of
production elements, and reflected in all aspects of the production.
Principles of design unity, variety, contrast, repetition, balance, pattern, etc.,
used to create artistic effect in a dramatic work.
Production elements lighting, sound, costume, props, costume, hair,
makeup, special effects, etc.
Production techniques ways in which specific production elements are used
to achieve desired effects—fade, cue level, painting shadows, old-age
makeup, etc.
Role assuming the perceptions, attitudes, and beliefs of another in a drama.
Script conventions and structure elements common to theatre scripts.
Script conventions and structures include:
• literary conventions—the three unities (time, place, manner/action),
character, plot (exposition, complication, suspense, conflict, crisis,
climax, etc.), dramatic units (e.g., act, scene, beat), etc.
• format conventions—play synopsis, character synopses, stage
directions, technical directions, dialogue format, etc.
Stage composition creating ―shapes‖ on stage through blocking, set design,
etc.
Stage terminology stage directions (stage left, downstage, centre back, etc.),
and terminology related to the structural aspects of a theatre (proscenium
arch, wings, apron, fly loft, etc.).
Style specific compositional characteristics that distinguish one type of
theatre work from another, such as epic, realism, expressionism, surrealism,
melodrama, farce, comedy of manners, or allegory. Style may also be defined
by historical period (e.g., restoration drama, commedia dell‘arte), or by culture
(e.g., Greek tragedy, kathakali, noh, passion play). See also drama forms.
Voice elements the way in which a performer can use her or his voice for
dramatic purpose, including consideration of diction, articulation, enunciation,
dialect, volume, projection, pace, timbre, tone, pitch, inflection, vocal qualities
(e.g., nasal, pallet, resonant), control of vocal anatomy to achieve desired
results (e.g., diaphragm, breath, larynx, posture), etc.
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Read
Read the article on how to write a review and then
discuss some of the possible responses. Remember to
be critical (not just summarising what you saw) and
discuss the atmosphere and mood created...
Don’t forget to use terms
from the discussion in Scene 1, Fold 3
See page 9
Obtained from http://www.sarasota.k12.fl.us/bhs/bryan/bryan_therev.html
Discuss
Write you own theatre review based on the production
just seen. Provide detail on points from your class
discussion, but also add your personal response to the
play...
Establish your point-of-view
with the play, and be clear
why you liked (or didn’t like) it.
Write
Discuss the differences between film and theatre. Use
the worksheet to investigate this difference in relation
to The Comedy of Errors. Then investigate
Shakespeare’s text using the questions provided...
See pages 10 and 11
Obtained from http://www.curriculumsupport.education.nsw.gov.au/
secondary/english/stages4_ 5/teachlearn/eng_esl/eng_esl.htm
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
How To Write a Theatre Review
When writing a theatre review, you must remember
three main components: the acting, the technical,
and the overall view.
The acting aspect is probably most important. It is a good idea to read the
play before you go see it so that you are familiar with the script ahead of time.
Make sure you know all of the characters' names and the actors who are
playing them; a playbill is an ideal place in which to find all this information.
Ask yourself if the actors understand what they are saying. How familiar are
they with the script? Do they really know what the play is all about? Also look
to see if each actor is connecting well with his/her character. (However, keep
in mind that everyone has a very unique style of acting and maybe even
comment on that.) How well are they giving and taking focus? Is there any
one person who sticks out in your head as "hogging" all the attention? (Make
sure that you comment on that.)
The second aspect to look at is the technical. This includes everything from
the lights and sound to the costumes and makeup. Someone once said that if
the technical aspect of the performance becomes noticeable, then it was not
effective. Keep in mind that the lights, sound, makeup, etc. are there to
enhance the performance, not to be the main focus. (But as the reviewer, you
should be looking for it.) For instance, the lights should be prospective to the
time of day, the season and so on. Also, it should not cast any shadows on
the actors' faces. The sound is usually just your opinion because everyone
likes different kinds of music; however, it should accent the style and format of
the play. If they are using microphones, look for the quality of sound coming
from that. The costumes should portray the time period and part of each
character's personality. The makeup should do the same, but as well, keep a
look out for shadows and lines on the face. All these things are very important
to the performance of the show.
The overall view of the theatre will give the reader a feel of exactly how well
you enjoyed your experience at this play. Include ticket prices here and your
opinion of the worthiness of that cost. Also, keep in mind the quality of the
theatre and its facilities. The audience is also a major part of your theatre
experience. Was the audience big? Were they perceptive and interactive?
Remember, you shouldn't make this the main point, but it would be good to
comment on it. This entire portion should convey your opinion and feeling of
how the show went.
So in conclusion, remember the acting, the technical, and the overall view,
and you'll have written a successful theatre review. Oh, and one more thing:
Don't ever lie so as not to hurt someone's feelings. Constructive criticism will
only do someone good. Keep all these things in mind when writing your
review and it will be great. Have fun!
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
A stage play - one more medium
Use the chart below to compare how the same plot is presented through a
Shakespearean stage play and a film version.
Film
Shakespearean stage play
Setting: how is the
viewer
encouraged to
suspend disbelief
and enter the
world of the story?
Duration: over
what period does
it progress?
Time: movements
from day to night,
changes in scene
and place
Number of actors
and extras and
their entries and
exits
Relationship
between the
composer, the
viewer and the
text
One of the biggest differences between film and stage play is the timing. A
stage play will be watched as it is performed whereas a film can be endlessly
stopped, refilmed, edited and can be watched and replayed by the audience
at different times.
Consider what this might mean for the people who work on movie sets and
those who worked in The Globe theatre on one of Shakespeare‘s plays.
Look at a page from the script of The Comedy of Errors. Work with a partner
to locate the following features:
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12






The character who is speaking the lines
Instructions to the person acting the part
Setting
Line number
Scene number
Act number
How is each of these features set out?
What are the conventions for layout and font?
Why are these features and conventions of layout used in the playscript?
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Compare the mood and atmosphere in The Comedy of
Errors, with A Midsummer Night’s Dream...
Discuss
Compare the similar use of
language and emotions in
these two speeches, and
discuss what mood they create
See page 13
Play
Work together in small groups, and use the worksheet
to discuss the emotional changes in the scene from A
Midsummer Night’s Dream, Act 3, Scene 2. Make notes
about the changes in the speech...
See page 14
Based on http://nationalstrategies.standards.dcsf.gov.uk/node/197700?uc=force_uj
Improvise with the text, exploring the new motivations
created...
Play
If the symbols are inadequate,
create new emotional icons
to communicate your group’s
opinion of this speech
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
A Midsummer Night’s Dream and Comedy of Errors
Bottom Act - 4, Scene 1
I have had a most
rare vision. I have had a dream, past the wit of
man to say what dream it was: man is but an ass,
if he go about to expound this dream. Methought
I was—there is no man can tell what. Methought I
was,—and methought I had,—but man is but a patch'd
fool, if he will offer to say what methought I
had. The eye of man hath not heard, the ear of man
hath not seen, man's hand is not able to taste, his
tongue to conceive, nor his heart to report, what
my dream was.
ANTIPHOLUS OF SYRACUSE - Act 2, Scene 2
To me she speaks; she moves me for her theme:
What, was I married to her in my dream?
Or sleep I now and think I hear all this?
What error drives our eyes and ears amiss?
Until I know this sure uncertainty,
I'll entertain the offer'd fallacy.
What do these speeches have in common?
What mood or atmosphere do these speeches create?
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Imagine my thoughts
Use the symbols below
so that they are inserted
into the text, or draw arrows
to show how you think
Helena is feeling at various
stages in this speech
Lo, she is one of this confederacy!
Now I perceive they have conjoin'd all three
To fashion this false sport, in spite of me.
Injurious Hermia! most ungrateful maid!
Have you conspired, have you with these contrived
To bait me with this foul derision?
The symbols
Is all the counsel that we two have shared,
The sisters' vows, the hours that we have spent,
Speaking from the heart
When we have chid the hasty-footed time
For parting us,--O, is it all forgot?
All school-days' friendship, childhood innocence?
Holding back/being cautious
We, Hermia, like two artificial gods,
Have with our needles created both one flower,
Both on one sampler, sitting on one cushion,
Both warbling of one song, both in one key,
Going forward/making decisions
As if our hands, our sides, voices and minds,
Had been incorporate. So we grow together,
Like to a double cherry, seeming parted,
Feeling anxious
But yet an union in partition;
Two lovely berries moulded on one stem;
So, with two seeming bodies, but one heart;
Feeling angry
Two of the first, like coats in heraldry,
Due but to one and crowned with one crest.
And will you rent our ancient love asunder,
To join with men in scorning your poor friend?
It is not friendly, 'tis not maidenly:
Our sex, as well as I, may chide you for it,
Though I alone do feel the injury.
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Explore the same passage from A Midsummer Night’s
Dream (Return to Scene 3, Fold 2), and try to make
modernised metaphors or similes from the language ...
Discuss
Sometimes the simplest changes
occur when the sentence is reordered
(i.e. the syntax is changed)
See page 16
Obtained from http://www.enotes.com/midsummer-nights-dream
Choose a short scene from A Midsummer Night’s
Dream, and identify some of the similes and metaphors
located within it...
Write
See page 17
Obtained from http://www.curriculumsupport.education.nsw.gov.au/
secondary/english/stages4_5/teachlearn/eng_esl/eng_esl.htm
Play
Improvise a scene based on the script from ‘Fold 2’. This
improvised piece needs to reflect the scene in a
‘modern’ setting using ‘modern’ English. When
competed, draft a script based on the improvisation...
View some examples of
what lines you could say
See page 18
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Shakespeare’s Wordplay
All of Shakespeare‟s works exhibit his mastery of playing with language
and with such variety that many people have authored entire books on
this subject alone. Shakespeare‟s most frequently used types of wordplay
are common: metaphors, similes, synecdoche and metonymy,
personification, allusion, and puns. It is when Shakespeare violates the
normal use of these devices, or rhetorical figures, that the language
becomes confusing.
A metaphor is a comparison in which an object or idea is replaced by
another object or idea with common attributes. For example, in Macbeth
a murderer tells Macbeth that Banquo has been murdered, as directed, but
that his son, Fleance, escaped, having witnessed his father‟s murder.
Fleance, now a threat to Macbeth, is described as a serpent:
There the grown serpent lies, the worm that‟s fled
Hath nature that in time will venom breed,
No teeth for the present. (III, iv, ll. 29−31)
Similes, on the other hand, compare objects or ideas while using the
words “like” or “as.” In Romeo and Juliet, Romeo tells Juliet that “Love
goes toward love as schoolboys from their books” (II, ii, l. 156). Such
similes often give way to more involved comparisons, “extended
similes.” For example, Juliet tells Romeo:
„Tis almost morning,
I would have thee gone,
And yet no farther than a wonton‟s bird,
That lets it hop a little from his hand
Like a poor prisoner in his twisted gyves,
And with silken thread plucks it back again,
So loving−jealous of his liberty. (II, ii, ll. 176−181)
What Metaphors or Similes could Helena have used in Act 3, Scene 2?
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Focus on the play script
.
Example of simile or
metaphor
Shakespeare compares
what to what?
Purpose and effect of the
comparison
Lingers my desires, like to a
step dame or a dowager
Desires to a step mother or a This suggests that a young
widow
man will have to wait a long
time for his inheritance
.
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Shakespeare’s Language
When asked the number one challenge with Shakespeare’s works, modern-day
audiences will almost always respond: “the language.” It’s true that the language
does sound a bit different to our ears, and Shakespeare uses phrases that we no
longer use in our everyday speech. But think of this: There are phrases that we use
today that would baffle Shakespeare, should he mysteriously time travel to this day
and age. That’s because language (especially English) is constantly transforming.
Here are some original quotes from A Midsummer Night’s Dream. Can you match
them to their modern-day translations?
For aught that I could ever read,
Could ever hear by tale or history,
The course of true love never did run
smooth.
Lysander, Act 1, Scene 1
This lantern represents the crescent moon.
How now, spirit? Whither wander you?
Puck, Act 2, Scene 1
Don‘t bother wishing you could leave this
forest, because you‘re going to stay here
whether you want to or not.
I’ll follow thee and make a heaven of
hell,
To die upon the hand I love so well.
Helena, Act 2, Scene1
In books they say that true love always faces
obstacles
Out of this wood do not desire to go.
Thou shalt remain here whether thou
wilt or no.
Titania, Act 3, Scene 1
If we actors have offended you, just think of it
this way and everything will be all right-you
were asleep when you saw these visions, and
this silly and pathetic story was no real than a
dream
Shall we their fond pageant see?
Lord, what fools these mortals be!
Puck, Act 3, Scene 2
Should we watch this ridiculous scene? Lord,
what fools these mortals are!
This lanthorn doth the hornèd moon
present—
Starveling (Moonshine), Act 5, Scene 1
I‘ll follow you and turn this hell I‘m in into a kind
of heaven. It would be heavenly to be killed by
someone I love so much.
If we shadows have offended,
Think but this, and all is mended—
That you have but slumbered here
While these visions did appear.
Puck, Act 5, Scene 1
Hello, spirit! Where are you going?
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Discuss
Using the improvised piece from the previous ‘Scene’,
begin to examine the narrative purpose and mood.
Also, try to justify the new setting for your piece; how
can you make Shakespeare ‘real’?...
See page 20
Write
Following the worksheet, you will need to unpack the
scene by developing an understanding of the narrative
flow. This also includes the created mood at certain
points and well as the motivation for the character’s
actions...
See page 21
Play
Using the draft script from ‘Scene 4, Fold 3’, make rewrites to your performance. Remember to return to the
original piece from Shakespeare to compare, so you
don’t ‘stray’ too far...
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Playwriting processes
Select a scene from A Midsummer Night’s Dream to re-write
Act ______ Scene ______
What is the narrative purpose of the scene?
What is the atmosphere/mood of the scene?
Compared to modern-day, where else could this scene be set? Why?
How much of the ‗language‘ needs to be changed? Why?
Compared to modern-day, how else can you make the scene ‗real‘?
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Narrative structure of a scene
Discuss your scene in the form of narrative structure and purpose
What occurs:
The mood/atmosphere
Character‘s motivation
Beginning:
Middle:
End:
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Perform
Perform your re-written Shakespearean piece. Besides
maintaining a professional approach in and out of the
scene, remember to re-create a ‘real’ modern setting to
establish the context of your performance...
See page 23
Write
Using the performance elements listed, thoughtfully
reflect on your performance. Your response should also
reflect the amount of thought and energy that you have
provided in creating a modern interpretation of
Shakespeare’s work...
See page 24
Devised from
http://www.ket.org/artstoolkit/pdf/dramateachstudguide.pdf
Discuss
As a final reflection piece, discuss
the concepts and reasons behind
your re-writes and the
appropriateness in relation to
Shakespeare’s work. Furthermore,
as a final question, what is your
opinion on the need for
Shakespearean adaptations; is
adaptation required?...
See page 25
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Re-write reflection
Discuss and comment on your process
Where is your ‗re-write‘ scene set? Why?
How have you recreated this environment?
What is the mood? How is this communicated?
How have you employed technologies?
What aspects of the rehearsal process are working?
What aspects of the rehearsal process require focus?
What steps are you employing to improve these issues?
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Personal reflection
Reflect on your performance, using some of the terms provided.
Performance
Elements
In my performance…
acting
blocking
character
analysis
… and..
diction
empathy
facial expression
… and the audience‘s response was…
gestures
inflection
motivation
My strength was…
movement
nonverbal
expression
projection
… I still require to work on my…
speaking style
vocal expression
Overall…
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Comparison to original
Describe and discuss the difference between your script and
Shakespeare‘s original text. Provide an example of dialogue you created.
Shakespeare’s Words
Your Script
How did your script modernise Shakespeare’s language?
How did your performance create a ‘real’ environment for Shakespeare’s play?
Does Shakespeare’s work need to be adapted? Why?
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12
Images
The Acting Company‘s Comedy of Errors
http://www.moviegoods.com/Assets/product_images/1020/454017.1020.A.jpg
Fairbanks Shakespeare Theatre‘s Comedy of Errors
http://www.fstalaska.org/wp-content/uploads/2010/03/Comedy-of-ErrorsModel.JPG
Lauren High School‘s The Comedy of Errors
http://www.rudemechanicals.com/coe/
Fox Searchlight Pictures‘ A Midsummer Night’s Dream
http://www.imdb.com/title/tt0140379/
KVPAC‘s A Midsummer Night’s Dream
http://dallas.broadwayworld.com/article/A_MIDSUMMER_NIGHTS_DREAM_
Comes_To_KVPAC_5859_20090424
Boston Ballet‘s A Midsummer Night's Dream
http://themodernworldofperformingarts.wordpress.com/2010/09/20/amidsummer-nights-dream-told-through-dance/
Headlong Theatre‘s A Midsummer Night's Dream
http://www.guardian.co.uk/culture/theatreblog/2011/feb/14/midsummer-nightsdream-headlong-theatre
Boca Raton Community High School‘s A Midsummer Night's Dream
http://blogs.trb.com/community/news/boca_raton_forum/2008/11/the_drama_
department_at_boca.html
Utah Shakespeare Festival‘s A Midsummer Night's Dream
http://rakstagemom.wordpress.com/tag/romeo-and-juliet/
Young Artists Program‘s A Midsummer Night's Dream
http://www.seattleoperablog.com/2011_04_01_archive.html
Shakespeare Theatre of New Jersey‘s A Midsummer Night's Dream
http://www.nj.com/independentpress/index.ssf/2011/03/shakespeare_theatre_
in_madison_2.html
Created by Shakespeare WA, Murdoch University and supported by Healthway © 2011/12