A publication of the Shakespeare Theatre Company
ASIDES
2 01 0| 2 01 1 S E AS O N • I ss u e 2
Experience “the best
of all possible worlds” in
Leonard Bernstein’s
Candide
Also featuring...
Director
Mary Zimmerman
Black Watch
an extravagant parade of wonders.”
“The best of all
possible Candides.”
Chicago Examiner
Variety
“Eye-poppingly lavish…
“Gorgeously imagined, sharply
insightful…Candide is a grand
garden of delights!”
Chicago Sun-Times
“Sheer perfection.”
Around Town Chicago
“Finely tuned,
surefooted new spin
on Bernstein’s classic.”
Chicago Reader
Candide
Leonard Bernstein’s
Just in time for the holidays!
Presented by The HRH Foundation
Photo of the cast of Candide by Liz Lauren.
CONTENTS
A publication of the Shakespeare Theatre Company
ASIDES
Artistic Director
Michael Kahn
Managing Director
Chris Jennings
Director of Marketing
and Communications
Darby Lunceford
Communications Manager
Diane Metzger
Publicist
Lindsay Mady
Senior Graphic Designer
Ricardo Alvarez
Associate Graphic Designer
Nicole Geldart
Graphic Design Intern
Raphael Davison
Contributing Writers
Akiva Fox
Tanya Palmer
Marcy Spiro
Lansburgh Theatre
450 7th Street NW
Washington, DC 20004-2207
Sidney Harman Hall
610 F Street NW
Washington, DC 20004-2207
Box Office
202.547.1122
6 Candide’s Travels
by Akiva Fox
8 Director’s Words
9 Candide Artistic Team
10 Candide Cast
12 Leonard Bernstein:
Notes on a Legend
by Akiva Fox
14 Creative Conversations
15 Shakespeare Stars and
Artistic Circle
16 The Making of Voltaire’s
Candide
by Tanya Palmer
20 SHAKESPEARIENCE:
Why William Shakespeare?
by Marcy Spiro
22 Calendars
28 Harman Events
Happenings at the Harman p. 28
Upright Citizens Brigade, RadioLab
Live and Come Out Laughing p. 29
Synetic Theater p. 30
31 Cymbeline
32 Black Watch
33 NT Live
34 Audience Services
Administrative Offices
516 8th Street SE
Washington, DC 20003-2834
202.547.3230
Dear friend,
Welcome to Candide, the second play of the 2010–2011 Season and a
production touched by a host of noteworthy hands as it made its journey from
the mind of an 18th century philosopher to the stage of Sidney Harman Hall.
This incarnation of Candide is newly adapted from Voltaire’s novel by director
Mary Zimmerman, whose past productions at the Shakespeare Theatre
Company, Pericles and Argonautika, were extremely popular with our
audiences. Candide is also the first musical STC has staged at Sidney Harman
Hall, and I encourage you to experience it. It features Leonard Bernstein’s
score with lyrics perfected by a long list of contributors including Stephen
Sondheim and Dorothy Parker. Dr. Pangloss, mentor to our title character,
would surely consider this staging “the best of all possible productions.” I
hope to see you in the audience for this innovative take on a modern musical
classic.
The coming months will bring thousands of theatregoers to Sidney Harman
Hall and the Lansburgh Theatre. NT Live, a series of performances broadcast
in HD from London’s National Theatre, continues with William Shakespeare’s
Hamlet in December and the musical Fela! the following month. The STC
premiere of Cymbeline will begin January 18, marking the return of director
Rebecca Bayla Taichman to the Shakespeare Theatre Company. On January
26, The National Theatre of Scotland’s Black Watch will launch its international
tour at STC.
The Shakespeare Theatre Company remains committed to providing worldclass theatre to all members of the Washington, D.C., community. This season,
nearly 5,000 local children will attend matinee performances through the
SHAKESPEARIENCE series, which provides students and teachers with
subsidized reduced-price tickets, preparatory materials and in-school
workshops. For many of these children, this will be their first experience with
live theatre.
These productions and programs would not be possible without you. The
Shakespeare Theatre Company is fortunate to have many generous friends,
and we are deeply grateful for your ongoing support. As you make your yearend giving plans, please consider becoming a Shakespeare Star or joining the
Artistic Circle.
ShakespeareTheatre.org
Have a safe and happy holiday season. I hope to see you at our theatres.
Asides.ShakespeareTheatre.org
Best,
Michael Kahn
Artistic Director, Shakespeare Theatre Company
Cover photos: Photo of Geoff Packard
and Lauren Molina and photo of Mary
Zimmerman by Liz Lauren. Photo of
Richard Rankin as Granty in the National
Theatre of Scotland’s production of
Black Watch by Manuel Harlan.
4
Facebook.com/ShakespeareinDC
5
Candide’s
Travels
by Akiva Fox, Literary Associate
“There’s more of me in
that piece than anything
else I have ever done,”
Leonard Bernstein said
of his 1956 musical
Candide. That is a
strong endorsement
indeed, coming from the
composer who produced
such American classics
as West Side Story
and On the Town. But
Bernstein’s charming
and revolutionary score,
so unlike anything
written for the Broadway
stage before or since,
has borne out that
endorsement. More
than 50 years after
its creation, Candide
continues to challenge
and entertain audiences.
For all its enduring qualities, however,
Candide has become a classic only
after what Bernstein called a “highly
checkered career.” It began in the
mind of writer Lillian Hellman, for
whose play The Lark Bernstein had
written incidental music. Hellman
had long admired Voltaire’s work
for its attack on “all rigid thinking…
all isms.” This perspective seemed
especially relevant in 1954, as
Hellman languished on the Hollywood
blacklist for refusing to name names
to the House Un-American Activities
Committee. Over the next two years,
Bernstein and Hellman (along with a
small army of lyricists, most notably
the brilliant young poet Richard
Wilbur) collaborated to bring Candide
to the stage.
Candide opened on Broadway on
December 1, 1956, in a lavish
production directed by Tyrone
Guthrie. Despite mostly admiring
reviews, it closed after only two
months. Perhaps this was due to the
acidic satire of Hellman’s script, or
to Guthrie’s over-stuffed production,
or to the difficulty of selling a work
billed as a “comic operetta,” but
Candide failed to find an audience
in its first incarnation. Once that
original production closed, however,
the cast recording unexpectedly
became a best-seller. Listeners
across the country fell in love with
Bernstein’s thrilling and funny
music and with the witty lyrics. By
combining winning melodies with
spot-on parodies of famous classical
compositions, Bernstein had created a
new classic of his own. To this day, the
overture to Candide is a staple of the
orchestral repertoire.
magic of the songs to a complete
production. In 1973, director Harold
Prince engaged playwright Hugh
Wheeler to rewrite Hellman’s script.
Prince’s innovative production placed
the action in the middle of the
audience, and the delightful result
ran for nearly two years on Broadway.
However, much of Voltaire’s sharp
satire was lost among the frivolity.
Prince returned to Candide in 1982
at the New York City Opera and for a
1997 Broadway revival, substantially
reshuffling musical numbers and
scenes each time. A more successful
version came from director and
playwright John Caird, whose 1999
production at the National Theatre
in London found a better balance
between satire and humor, between
music and words.
Now, with director and writer Mary
Zimmerman bringing her own
creative interpretation of Voltaire’s
and Bernstein’s classic works to
the Shakespeare Theatre Company,
Candide remains as stunning and alive
as ever. Few other pieces can match
its mix of social criticism and raucous
entertainment, of high and low on
the same stage. No wonder it was its
composer’s personal favorite.
The decades that followed saw
numerous attempts to translate the
6
Fo r t ic kets call 202. 5 47.112 2 or v isit Sh ake spe are Th e atre.o rg .
Left photo of Geoff Packard by Liz Lauren. Above photo
of Leonard Bernstein by Alfred Eisenstaedt, 1955.
7
DIRECTOR’S WORDS
Mary Zimmerman, Director and Adapter
I’ve always been drawn to adapt
thorny, difficult, epic old texts.
Voltaire’s Candide has that epic sweep
and broad range of feeling that I like,
and it is full of difficult things to
stage, which I like as well. And then
Bernstein’s music is so glorious.
It’s the story of a young man named
Candide, who is the illegitimate
nephew of a Baron in a small province
called Westphalia. Along with the
Baron’s daughter, he is tutored by a
professor named Doctor Pangloss, who
claims that Westphalia is “the best
possible place in all the world.” When
Candide falls in love with Cunegonde,
his benefactors kick him out of the
kingdom without a penny. The rest of
the story follows Candide making his
way in the world, having adventure
after adventure. He is candid and
honest and innocent, and he is
mistreated and swindled over and over
again. Cunegonde and her family also
meet great misfortune in a war, so
some of Candide’s adventures involve
reuniting with her.
8
I read all the previous adaptations—
the scripts for the musical—about
three or four years ago, and then I
stopped reading because I wanted to
go back to Voltaire’s original novel.
Some of the versions have big changes
from the original structure of the
novel, and the primary challenge
for me in adapting it anew is that
some of the songs have lyrics that
are tied to events or circumstances
that don’t exist in the novel. We want
to preserve these songs in a context
that makes sense, while trying to be
as trusting as possible of Voltaire’s
original structure and story.
Candide is a tougher text than people realize.
It challenges some of our most cherished
ideas—ideas about one’s own virtue and the
virtues of one’s own home. I think this play
is challenging in whichever country it is
performed, because every country thinks it is
the best in the best of all possible worlds. The
novel and the play ask people to think about
the fact that life is really complicated and that
random, tragic things happen all the time. It
suggests that blind optimism, or the idea that
everything is part of a grand plan and that
all is for the best, is not only absurd but also
an excuse for inaction in the face of social
injustice. Yet it also rejects blind pessimism,
through the figure of Martin, the scholar who
is as consistently cynical and depressed as
Pangloss is buoyant.
I am hoping that audiences are swept away
by the production, that they are extremely
entertained and enchanted, but also attentive
to Voltaire’s satire. Candide has gorgeous music
and it is incredibly witty, both lyrically and
musically. Voltaire’s and Bernstein’s works are
both achievements of such high order that
when combined, they remind us what people
are capable of at their best at the very same
moment they are showing us what is worst.
And in this way, the work manages to be
affirmative—even transcendent—in the face
of its own cynicism and satiric edge.
Music by
Leonard Bernstein
Book Adapted from
Voltaire by
Hugh Wheeler
Lyrics by
Richard Wilbur
Additional lyrics by
Stephen Sondheim,
John LaTouche,
Lillian Hellman,
Dorothy Parker
and Leonard Bernstein
Directed and
Newly Adapted from
the Voltaire by
Mary Zimmerman
Original Orchestrations by
Bruce Coughlin
Choreographer
Daniel Pelzig
Music Director/
Additional Arrangements
and Orchestrations
Doug Peck
Set Designer
Daniel Ostling
Costume Designer
Mara Blumenfeld
Lighting Designer
T.J. Gerckens
Sound Designer
Richard Woodbury
Casting
Adam Belcuore, David Muse
and Alan Paul
Finding the tone is the most difficult
key to Candide because terrible things
happen to the characters, yet the
novel is hilarious. What makes the
play funny and absurd, I hope, is the
way in which chance and mischance
pile up so fast and furious, while
the characters’ views of the world as
“all for the best” remain absolutely
unchanged in the face of all evidence
to the contrary.
Fo r t ic kets call 202. 5 47.112 2 or v isit Sh ake spe are Th e atre.o rg .
ARTISTIC TEAM
New York Casting
telsey + company
Assistant Director
Jenny Lord
Literary Associate
Akiva Fox
Stage Manager
Beth Ellen Spencer*
Assistant Stage Manager
Benjamin Royer*
Mary Zimmerman rehearses a scene with Lauren Molina during a
rehearsal for Candide. Photos by Liz Lauren.
* Member of Actors’ Equity Association,
the Union of Professional Actors and
Stage Managers.
9
CANDIDE CAST
TOM AULINO*
REBECCA FINNEGAN*
ERIK LOCHTEFELD*
TRACY LYNN OLIVERA*
LAUREN MOLINA*
HOLLIS RESNIK*
BARON/MARTIN
BARONESS/VANDERDENDUR
MAXIMILIAN
ORATOR’S WIFE
CUNEGONDE
OLD LADY
GEOFF PACKARD*
JESSE J. PEREZ*
MARGO SEIBERT*
JOEY STONE*
SOLDIER/CACAMBO
PAQUETTE
THOMAS ADRIAN
SIMPSON*
CHRIS SIZEMORE*
CANDIDE
ORATOR/GRAND
INQUISITOR
SOLDIER/SEÑOR
INNKEEPER/SCHOOLTEACHER
SPENCER CURNUTT
SAILOR
GOVIND KUMAR
SERVANT
EMMA ROSENTHAL
BIRD
TEMPE THOMAS*
ROB LINDLEY*
JONATHAN WEIR*
LARRY YANDO*
QUEEN OF EL DORADO
ANABAPTIST/CAPTAIN
SOLDIER/GOVERNOR
PANGLOSS
* Member of Actors’ Equity Association, the Union
of Professional Actors and Stage Managers.
Production photos of Jesse J. Perez, Geoff
Packard, Lauren Molina, Hollis Resnik, Larry Yando,
Jonathan Weir, Tom Aulino, Rebecca Finnegan,
Govind Kumar, Erik Lochtefeld and Margo Seibert
by Liz Lauren.
10
11
“Music can name the unnameable and
communicate the unknowable.”
Leonard Bernstein:
Leonard Bernstein
Notes on a Legend
Leonard Bernstein changed American culture in the 20th century,
bringing classical music to a new audience by popularizing older
composers, championing new ones and blending both old and new
styles in his own dynamic compositions. This timeline shows the
extraordinary career of this great American artist.
Photo of Bernstein conducting by Paul de Heuck, courtesy The Leonard Bernstein Office, Inc.
1918
Leonard Bernstein
is born in Lawrence,
Massachusetts, on
August 25.
Bernstein ca. 1921 with
parents, Samuel and Jennie.
Photographer unidentified.
1939
Bernstein graduates from
Harvard University, where
he writes and performs
several early compositions.
1940
Bernstein studies
conducting at the newlyformed Tanglewood
Music Festival with
Serge Koussevitzky,
director of the Boston
Symphony Orchestra.
Bernstein at Harvard graduation,
1939. Photographer: William Filene’s
Sons Company, Boston, MA.
1943
Bernstein is named
assistant conductor at the
New York Philharmonic.
On November 14, when
the scheduled conductor
of a nationally-broadcast
concert comes down with
the flu, Bernstein steps in
to conduct on short notice
and becomes a sensation.
1944
Bernstein composes the
music to Jerome Robbins’
exuberant ballet Fancy
Free, about three sailors
on shore leave in New
York City. After the ballet
becomes a runaway hit,
Bernstein expands the idea
into a Broadway musical,
On the Town, which runs
for more than a year.
1954
Bernstein is nominated for
an Academy Award for his
score to Elia Kazan’s classic
film On the Waterfront.
Serge
Koussevitzky.
Theatrical release poster.
1956
Candide, Bernstein’s satirical
operetta with a script by
Lillian Hellman, runs for
only two months on
Broadway, but goes on
to produce a best-selling
cast recording and several
successful revivals.
Bernstein at the piano, making
annotations to a musical score (1955).
12
12
1957
Bernstein’s musical West
Side Story, a contemporary
adaptation of Shakespeare’s
Romeo and Juliet created
with director/choreographer
Jerome Robbins, lyricist
Stephen Sondheim and
playwright Arthur Laurents,
opens on Broadway. It runs
for two years, and the 1961
film adaptation wins ten
Academy Awards.
Bernstein at rehearsal for West Side
Story. Carol Lawrence is at his left,
and Stephen Sondheim is playing the
piano (1957). © The New York Public
Library for the Performing Arts.
1958
Bernstein becomes
principal conductor of the
New York Philharmonic,
a post he will hold for 12
years. On January 18, he
broadcasts the first of his
popular Young People’s
Concerts on CBS television.
Bernstein leading his orchestra in
a rehearsal, New York, 1958.
For t ic kets call 202. 5 47.112 2 or v isit Sh ake spe are Th e atre.o rg .
Bernstein conducting the New York
City Symphony (1945).
On the Town (musical) Original Cast
Recording album cover (1960).
1971
1990
Bernstein’s Mass, a
theatrical choral piece,
premieres as part of the
opening ceremonies of
the Kennedy Center for
the Performing Arts.
The cover of
the published
score for
Leonard
Bernstein’s
Mass.
Courtesy
Boosey &
Hawkes, Inc.
Bernstein dies on
October 14 at age 72,
only five days after
conducting his farewell
concert at Tanglewood.
Bernstein
conducting
the Boston
Symphony in
a performance
of Mahler’s
“Resurrection”
Symphony at
Tanglewood,
in 1970.
Photo of Lauren Molina by Liz Lauren.
13
Creative Conversations for Candide
Windows
Sunday, December 5 at 5 p.m.
The Forum in Sidney Harman Hall
Divining Shakespeare
Wednesday, December 8 at 5 p.m.
The Forum in Sidney Harman Hall
Post-Performance Discussion
Wednesday, December 8
after the performance, Sidney Harman Hall
Classics in Context
Saturday, January 8 at 5 p.m.
The Forum in Sidney Harman Hall
All conversations are FREE and open to the public.
e arts with
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In
mpany
a Shakespeare Theatre Co
Gift Certificate!
Year-End Giving
Running the nation’s foremost classical theatre
requires a cast of thousands. That includes
extraordinarily talented actors, directors, artisans
and designers—and the countless generous
donors who stand behind us year after year.
Each season, more than 3,000 exceptional
individuals become partners in our work with a
tax-deductible gift to the Shakespeare Theatre
Company. Their commitments ensure artistic
excellence on the stages of the Lansburgh
Theatre and Sidney Harman Hall, guaranteeing
a full season of outstanding classical theatre.
Their generosity touches every part of every
production, from the actors on stage to the sets
we build to the costumes we sew.
As you make your year-end giving plans, please
consider becoming a Shakespeare Star or
joining the Artistic Circle.
If you join before December 31, your taxdeductible membership gift may significantly
reduce your income tax while ensuring that STC
continues to produce the outstanding classical
productions that set it apart. You will also enjoy
great members-only benefits that will enhance
your theatre experience.
If you are already one of our cherished donors,
please accept our humble and sincere thanks.
You are the reason we can do what we do, and
we are truly grateful for the role you play at STC.
Call 202.547.1122 or visit the
STC Box Office to order your
gift certificate today!
14
Photo of Christian Conn in The Liar by Scott Suchman.
To learn more about the Shakespeare Stars
and the Artistic Circle,
visit ShakespeareTheatre.org/Support.
Photos: Francesca Faridany and John Behlmann in As You Like It; Amanda Quaid and Elizabeth Ashley in Mrs. Warren’s
Profession; Michael Hayden in Henry V; Erin Partin and Christian Conn in The Liar and Ted van Griethuysen and Miriam Silverman
in All’s Well That Ends Well by Scott Suchman.
The Making of
Voltaire’s Candide
by Tanya Palmer, Goodman Theatre
Born François-Marie Arouet
in 1694, Voltaire, who
changed his name when
he was 23, was the son
of a successful lawyer.
He claimed, however,
that he was the product
of an affair between his
mother, who died young,
and a nobleman poet. He
was educated along with
the sons of the French
aristocracy at the College
Louis-le-Grand and then
went on to study law. But
he soon abandoned his
studies, defying his father
who insisted that he find “a
decent profession.” Voltaire
responded, “I don’t want
any other [profession] than
that of man of letters.”
His skills as a poet and
wit opened doors for him
amongst the country’s
elite. But those same skills
soon landed him in trouble
when a series of satirical
Painting of Voltaire.
verses he had written
criticizing the French Regent were made public. He was sent into exile in the
provinces, and then a year later was thrown into the Bastille prison for further
offenses against the Regent. In the midst of this conflict, Voltaire was quickly
establishing himself as an important poet and playwright.
16
For t ic kets call 202. 5 47.112 2 or v isit Sh ake spe are Th e atre.o rg .
It was around this time that Voltaire
took on his new name, a move that
led to his next skirmish with the
French establishment. One night in
February 1726, Voltaire crossed paths
with the Chevalier de Rohan-Chabot,
an aristocrat who reportedly asked
the young poet whether his name
was Arouet or Voltaire in order to
expose the presumptuousness of the
young man’s claim to a place among
nobles. The young writer asserted
that a new cultural and intellectual
elite (one that presumably included
Voltaire himself ) was poised to seize
control from a nobility whose power
was derived only from its bloodline.
The Chevalier, not surprisingly, took
offense. Voltaire was beaten for his
trouble and landed once again in the
Bastille. This episode is often seen as
a turning point for Voltaire—he was
forced to see the illusory nature of his
early social ascendancy. When he was
released from prison, he fled France
for England.
his tutor wholeheartedly, even when
he is thrust from the castle and must
travel the world from one horrible
misadventure to the next, braving a
seemingly endless series of man-made
and natural disasters.
Subtitled “Optimism,” Candide grew
out of an ongoing—and heated—
debate about the existence of evil in a
divinely created universe. The primary
sources for much of the philosophical
debate underpinning Candide are
German philosopher Gottfried Leibniz
and English writer Alexander Pope. It
is from Leibniz that Voltaire borrows
the phrase “the best of all possible
worlds.” Leibniz argued that it was
not in God’s power to create a perfect
world, but among possible worlds,
he created the best. He thought it
inevitable that there would be things
in the universe that would be painful
or evil, but he claimed that pain and
evil would only exist in order to make
possible a greater good. Alexander
Pope’s An Essay on Man, published in
1733, presents the argument
this way:
{ }
Voltaire spent two and a half years in
England, where he encountered the
writings of several key Enlightenment
figures, including poet/philosopher
Alexander Pope and satirist Jonathan
Swift. Though written more than 30
years later, Voltaire’s most famous
book, Candide, is immersed in a
conversation with the philosophy and
stylistic approach of these important
writers and thinkers. Beginning in
the idyllic land of Westphalia in the
castle of the Baron von Thunderten-tronckh, the book tells the
story of a young innocent named
Candide—the illegitimate son of
the Baron’s sister—who grows up
alongside the Baron’s daughter, the
beautiful Cunegonde. Both are under
the tutelage of Pangloss, who teaches
them that they live “in this best of
all possible worlds.” Candide believes
All nature is but art, unknown to thee;
All chance, direction,
which thou canst not see;
All discord, harmony not understood;
All partial evil, universal good.
And, spite of pride,
in erring reason’s spite,
One truth is clear, Whatever is, is right.
17
Like Leibniz, Pope believed that
evil existed as part of a larger plan
that man could not fathom, but
nevertheless was good insofar as
it must exist for some purpose.
And while Voltaire took exception
to some of the assertions made by
both philosophers, he expressed an
essentially optimistic view of mankind
and the universe in much of his
early writing. However, a key turning
point in Voltaire’s thinking came
in November 1755, when much of
Lisbon and the surrounding country
of Portugal were destroyed by an
earthquake. Killing between 10,000
and 100,000 people, it was one of the
deadliest earthquakes on record. In
the face of such destruction, Voltaire
felt that it was ridiculous to argue that
“all was well.”
was published in 1759, it continues
to attract readers. It has inspired
many adaptations, including Leonard
Bernstein’s 1956 comic operetta.
The book’s energy and humor have
certainly contributed to its longevity,
but so has the ongoing relevance of
the book’s political and ideological
debate. Voltaire’s targets—stupidity,
war, fanaticism, dogmatism—never
go out of style. By composing a tale
that gleefully creates a world that is
both full of hope and full of disaster,
Voltaire crafted a story for the ages,
one steeped in the ideas and events of
his time that continues to speak to our
lives today.
Candide is presented by
The HRH Foundation
Rather than taking a grim tone in his
attack on optimism, Voltaire borrowed
a page from another English writer
and thinker, satirist Jonathan Swift.
Swift’s works—such as Gulliver’s Travels
and A Modest Proposal—combined
darkly comic social and political satire
with a playful approach to form,
poking fun at the popular styles and
genres of the day. In Candide, we see
this approach at work: in addition to
mocking swipes at Leibniz and Pope
through the character of Pangloss,
the philosopher who insists that all is
well in the face of one terrible tragedy
after the next, Voltaire constructs a
tale that parodies novels themselves,
in particular the heroic novels and
romances characteristic of the
17th century.
Additional support provided by
But while some of the immediacy
of the book’s historical context and
references may have receded into
history, the story’s power, appeal
and comic energy have not abated.
A best-seller from the moment it
18
Maxine Isaacs and James A. Johnson
Media Partners
Voltaire at age 70. Engraving published as the frontispiece
to Voltaire’s A Philosophical Dictionary, W. Dugdale (1843).
Photo of Lauren Molina and Geoff Packard by Liz Lauren.
19
“Several
Why William
Shakespeare?
commented
that it was
the best day
You have to “SHAKESPEARIENCE”
it to understand.
in school in
their life.”
by Marcy Spiro, Community Access Programs Manager
Susan Allen, Teacher,
Bryant Alternative School
Each season the SHAKESPEARIENCE student
matinee program welcomes between 3,000
and 5,000 students into our theatres to
experience live theatre; for many of them it
may be the first and only time that they will
see a live performance of Shakespeare. Our
hopes, however, are that we are developing our
audience members of the future and that the
students come away with the understanding
that Shakespeare is relevant to their lives.
The program includes subsidized, reducedprice tickets, preparatory materials, in-school
workshops and a talkback discussion with the
actors immediately following the performance.
Supplemental materials are provided free of
charge to all participants.
The pre-performance workshop is extremely
important; it creates a dialogue between
the Shakespeare Theatre Company teaching
artist and the students before they see
the production. During these workshops,
students often ask, “Why are we learning
about something that was written more than
400 years ago?” It’s at this point during the
workshop that their pre-conceived notions
about Shakespeare can be addressed. Students
and teachers learn that many popular movies
are based on his plays: Ten Things I Hate About
You is a modern adaptation of The Taming of the
Shrew, She’s the Man is a modern Twelfth Night
and The Lion King is a Disney cartoon inspired by
Hamlet. At this moment, students can begin to
discover why Shakespeare is considered to be
the greatest playwright, why his plays are still
20
performed all over the world today
and, most importantly to students,
why no matter what school they go to,
they will have to read something by
Shakespeare. Through the workshop
they start to realize that the themes
and issues found in Shakespeare’s
work are still relevant; the play makes
sense in their world.
Susan Allen, a teacher at Bryant
Alternative School in Fairfax
County, commented on one of the
pre-performance workshops that
her students participated in before
attending Henry V: “My students were
thrilled and excited, and actually
didn’t want to talk about anything
else the next day. I had them freewrite in their journals about the
experience. Several commented that
it was the best day in school in their
life. You certainly showed us that the
arts can be such an essential element
of education.”
So far this season, SHAKESPEARIENCE
matinee productions have been
scheduled for All’s Well That Ends
Well, Candide and Cymbeline. We are
extremely excited that students will
have the opportunity to see Cymbeline,
because it will be the first production
of this play at the Shakespeare Theatre
Company. School groups will be a part
of history as some of the first audience
members to see this lesser-known play
on our stage.
SHAKESPEARIENCE would not
be possible without the generous
support of our funders: the National
Endowment for the Arts/Arts
Midwest Shakespeare in American
Communities, HSBC and the DC Arts
and Humanities Collaborative. Miles
Gilburne and Nina Zolt are Founding
Sponsors of the education programs of
the Shakespeare Theatre Company.
To find out more about the
SHAKESPEARIENCE
Student Matinee Program, email
[email protected]
or visit ShakespeareTheatre.org/Education.
Photos of students at the All’s Well That Ends Well SHAKESPEARIENCE; students attending the As You Like It
SHAKESPEARIENCE; Resident Teaching Artist Jim Gagne and Community Access Programs Manager Marcy Spiro
warming up the SHAKESPEARIENCE crowd.
21
NOVEMBER
SUNDAY
MONDAY
7
H NT Live presents:
A Disappearing
Number 2:00
TUESDAY
H Sidney Harman Hall
WEDNESDAY
1
2
8
9
3
H Happenings:
Congressional
Chorus noon
H Happenings:
Violin Dreams
noon
10
THURSDAY
L Lansburgh Theatre
FRIDAY
SATURDAY
4
5
L Preludes: Duncan,
Sand & Chopin
7:30
11
L Synetic Theater’s
The Master and
Margarita 8:00
12
L Synetic Theater’s
The Master and
Margarita 8:00
L Hal Sparks and
Finesse Mitchell
7:15 and 9:45
FREE EVENTS
6
13
H Radiolab Live
8:00
L Synetic Theater’s
The Master and
Margarita
2:00 and 8:00
14
L Synetic Theater’s
The Master and
Margarita 2:00
15
16
H Happenings:
Beau Soir
Ensemble noon
17
L Synetic Theater’s
The Master and
Margarita 8:00
21
L Synetic Theater’s
The Master and
Margarita 2:00
22
23
24
L Synetic Theater’s
The Master and
Margarita 8:00
18
H Candide
Meet the Cast 6:00
(STC Stars Only)
L Synetic Theater’s
The Master and
Margarita 8:00
25
THANKSGIVING
H Candide 2:00
28
29
30
H Candide 7:30
L Synetic Theater’s
The Master and
Margarita 2:00
H Upright Citizens
Brigade
7:30 and 9:30
19
L Synetic Theater’s
The Master and
Margarita 8:00
H Candide 8:00
26
L Synetic Theater’s
The Master and
Margarita 8:00
20
H Upright Citizens
Brigade
7:30 and 9:30
L Synetic Theater’s
The Master and
Margarita
2:00 and 8:00
H Candide
2:00 and 8:00
Happenings at
the Harman
Located in The Forum
in Sidney Harman Hall.
Seating is based on
availability and is
first-come, first-served.
Artists are subject to
change. Reservations
not required.
27
STC STARS
EVENT
Meet the Cast
Meet the cast and
artistic team of our
productions while
enjoying a glass of
wine and a delightful
reception with other
Theatre donors. The
director will talk about
his/her vision for the
play, followed by a
presentation by the
production’s designers.
For more information
about Shakespeare Stars,
visit ShakespeareTheatre.
org/Support.
L Synetic Theater’s
The Master and
Margarita
2:00 and 8:00
Candide
November 26, 2010–
January 9, 2011
SPECIAL EVENTS
NT Live
A Disappearing Number
Sunday, November 7
Sidney Harman Hall
22
Photo of Lauren Molina and Geoff Packard by Liz Lauren.
The Master and Margarita
Synetic Theater
November 11–December 12
Lansburgh Theatre
Radiolab Live
Presented by NPR
and WNYC
Saturday, November 13
Sidney Harman Hall
Upright Citizens Brigade
Live Improv Comedy
presented by DCComedy.org
November 19–20
The Forum in
Sidney Harman Hall
Dates and times subject to change; visit ShakespeareTheatre.org.
23
DECEMBER
SUNDAY
MONDAY
TUESDAY
H Sidney Harman Hall
L Lansburgh Theatre
Audio-Described
Sign-Interpreted
WEDNESDAY
1
H Happenings:
Charles
Mokotoff noon
THURSDAY
FRIDAY
2
H Candide 8:00
SATURDAY
3
H Candide 8:00
FREE EVENTS
4
H Candide
2:00 and 8:00
H Candide 7:30
5
H Candide
2:00 and 7:30
6
H Cymbeline
Meet the Cast 6:00
H Candide 7:45
7
(STC Stars Only)
OPENING NIGHT
L Synetic Theater’s
The Master and
Margarita 2:00
13
12
H Candide 7:30
14
19
9
H Candide 8:00
H Candide 8:00
10
H Candide 7:30
Post-Perf. Discussion
L Synetic Theater’s
The Master and
Margarita 8:00
H Happenings:
Encore Chorale
noon
15
L Synetic Theater’s
The Master and
Margarita 8:00
H Candide 8:00
16
L Synetic Theater’s
The Master and
Margarita 8:00
H Candide 8:00
17
26
H Candide
2:00 and 8:00
11
L Synetic Theater’s
The Master and
Margarita
2:00 and 8:00
H Candide
2:00
18
H Candide 7:30
20
H Candide 7:30
21
H Happenings:
Brooke Evers
noon
22
H Candide
2:00 and 8:00
23
24
27
H NT Live presents:
Hamlet 7:30
H Candide 7:30
28
H Candide 7:30
25
CHRISTMAS
29
H Candide 8:00
30
H Candide 8:00
31
Windows
Discussion Series
Engage in a lively
discussion with local
scholars and the
artistic staff.
Divining Shakespeare
Explore the play’s
relevance through
a theological
perspective.
Post-Performance
Discussion
Ask questions of the
acting company.
H Candide 7:30
H Candide
noon and 7:30
H Candide
2:00 and 7:30
L Synetic Theater’s
The Master and
Margarita
2:00 and 8:00
H Candide 8:00
L Synetic Theater’s
The Master and
Margarita 2:00
H Candide 2:00
8
H Candide Divining
Shakespeare 5:00
H Candide Windows
5:00
H Candide
2:00 and 7:30
H Happenings:
Life Rhythm Dance
Move Project noon
L Synetic Theater’s
The Master and
Margarita 8:00
L Synetic Theater’s
The Master and
Margarita 8:00
L Synetic Theater’s
The Master and
Margarita 8:00
Happenings at
the Harman
Located in The Forum
in Sidney Harman Hall.
Seating is based on
availability and is
first-come, first-served.
Artists are subject to
change. Reservations
not required.
STC STARS
EVENT
Meet the Cast
Meet the cast and
artistic team of our
productions while
enjoying a glass of
wine and a delightful
reception with other
Theatre donors. The
director will talk about
his/her vision for the
play, followed by a
presentation by the
production’s designers.
For more information
about Shakespeare Stars,
visit ShakespeareTheatre.
org/Support.
SPECIAL EVENTS
The Master and Margarita
Synetic Theater
November 11–December 12
Lansburgh Theatre
24
Photo of Jonathan Weir, Geoff Packard and Lauren Molina by Liz Lauren.
NT Live
Hamlet
Monday, December 27
Sidney Harman Hall
FOR AUDIENCE TESTIMONIALS, INTERVIEWS,
TRAILERS AND MORE CHECK OUT
SHAKESPEARETHEATRE.ORG
Dates and times subject to change; visit ShakespeareTheatre.org.
25
JANUARY
SUNDAY
MONDAY
TUESDAY
H Sidney Harman Hall
2
3
WEDNESDAY
4
H Candide 7:30
Audio-Described
Sign-Interpreted
Cymbeline
H Candide
2:00 and 7:30
L Lansburgh Theatre
THURSDAY
FRIDAY
SATURDAY
5
H Happenings:
Chelsey Green
noon
6
H Candide 8:00
7
H Candide 8:00
9
16
L Cymbeline
Windows 5:00
23
L Cymbeline 7:30
L Cymbeline
2:00 and 7:30
10
17
H NT Live presents:
Fela! 7:30
24
L Cymbeline 7:45
OPENING NIGHT
30
11
L Cymbeline 7:30
18
25
12
L Cymbeline 7:30
19
26
L Cymbeline 7:30
Post-Performance
Discussion
31
H Black Watch 2:00
13
H Happenings:
Next Reflex Dance
Collective
noon
H Happenings:
Cam Magee
and Beverly
Cosham noon
26
8
H Candide
2:00 and 8:00
H Black Watch 8:00
20
L Cymbeline 8:00
27
14
L Cymbeline 8:00
21
28
15
L Cymbeline
2:00 and 8:00
22
Happenings at
the Harman
Located in The Forum
in Sidney Harman Hall.
Seating is based on
availability and is
first-come, first-served.
Artists are subject to
change. Reservations
not required.
Classics in Context
Located in The Forum
in Sidney Harman Hall.
Seating is based on
availability and is
on a first-come,
first-served basis.
Artists are subject to
change. Reservations
not required.
Windows
Discussion Series
Engage in a lively
discussion with local
scholars and the
artistic staff.
Post-Performance
Discussion
Ask questions of the
acting company.
Dates and times subject
to change; visit
ShakespeareTheatre.org.
29
L Cymbeline 8:00
L Cymbeline 8:00
L Cymbeline
2:00 and 8:00
H Black Watch
2:00 and 8:00
H Black Watch 8:00
H Black Watch
2:00 and 8:00
H Upright Citizens
Brigade
7:30 and 9:30
H Upright Citizens
Brigade
7:30 and 9:30
SPECIAL EVENTS
Upright Citizens Brigade
Live Improv Comedy
presented by DCComedy.org
January 28–29
The Forum in
Sidney Harman Hall
NEW YEAR’S DAY
H Candide
Classics in Context
5:00
H Candide 7:30
H Candide
2:00 and 7:30
1
H Candide
2:00 and 8:00
January 18–March 6, 2011
FREE EVENTS
The National Theatre of
Scotland’s production of
NT Live
Fela!
Monday, January 17
Sidney Harman Hall
Photo of Jamie Quinn in the National Theatre of Scotland’s production of Black Watch by Manuel Harlan.
“Black Watch is an
astonishing artistic
whirlwind.”
BLACK
WATCH
January 26–February 6, 2011
27
HARMAN CENTER FOR THE ARTS EVENTS
Upright Citizens Brigade
Live Improv Comedy
presented by DCComedy.org
November 19–20, 2010, and January 28–29, 2011
at 7:30 and 9:30 p.m.
The Forum in Sidney Harman Hall
Connor Studios
The Harman
Center for the Arts
The Shakespeare Theatre Company is proud to
present performances by many of Washington’s
most acclaimed companies as well as visiting
national and international artists through the
Harman Center for the Arts. Located in the
heart of the arts district in Washington, D.C.,
the Harman Center for the Arts opens doors for
many multi-disciplinary art forms to be enjoyed.
Furthering this mission, Happenings at the
Harman offers another exciting season of free
performances celebrating the best of dance,
film, poetry and theatre. Memorable performers
will return and the introduction of new directions
in jazz and dance are just some of the highlights
planned for the upcoming season. Many of this
year’s Happenings also celebrate the work of
STC’s 2010–2011 main stage productions along
with several city-wide festivals.
These free afternoon performances are
held in The Forum in Sidney Harman Hall on
Wednesdays from noon to 1 p.m.
A schedule of events can be found in the
Asides calendar (pages 22–27) or online at
ShakespeareTheatre.org.
28
Photos (from top to bottom): Charles Mokotoff; Aysha Upchurch by
Melanie Joy Wilson; Encore Chorale; Next Reflex Dance Collective;
and Chelsey Green.
The UCB Theatre is a great producer of comedic
talent in America today and the Upright Citizens
Brigade Touring Company brings the very best
of UCB’s theatres in NYC and LA to the Harman Center for the Arts. See
comedy stars of today and tomorrow perform live on stage from the theatre
that brought you comedy greats like Horatio Sanz, Amy Poehler, Rob
Corddry, Ed Helms, MTV’s Human Giant, The Daily Show’s Rob Riggle
and more.
For more information visit UCBtourco.com.
General Admission Tickets: $20. Students, seniors and military: $17.
For tickets call 202.547.1122 or visit ShakespeareTheatre.org.
Radiolab Live
Presented by NPR and WNYC
Saturday, November 13 at 8 p.m.
Sidney Harman Hall
Join us and you’ll be transported to a laboratory
of the imagination where a potent mix of stories,
ideas and questions transform the ordinary into
the extraordinary. Radiolab hosts Jad Abumrad
and Robert Krulwich explore the notion of
symmetry. Philosophers in Ancient Greece and
modern day particle physicists alike have
pondered the notion of symmetry, wondering
whether we live in a world that’s fundamentally
symmetric or deeply asymmetric?
In this LIVE edition of Radiolab we’ll reflect on how symmetry tugs on our
hearts and guides our lives—from sub-atomic molecular behaviors, to how
your hair part might affect your likeability. This is a night of fascinating
voices, engaging images and live musical performances. Radiolab is one part
vaudeville and one part scientific inquiry. Bring your curiosity and we’ll feed
it with possibility.
Tickets: $40–$50.
For tickets call 202.547.1122 or visit ShakespeareTheatre.org.
29
HARMAN CENTER FOR THE ARTS EVENTS
“Practically
every scene
with Margarita
and the Master
is a treasure,
so sure are the
Tsikurishvilis of
their craft, so
exquisitely chosen
and calibrated are
their movements.
When they finally
come together,
you are greatly
moved.”
The Washington Times
Synetic Theater,
DC’s Premier Physical Theater Presents
The Master
and Margarita
Directed by Paata Tsikurishvili
Choreographed by Irina Tsikurishvili
Set and Costumes by Anastasia R. Simes
Original Music by Konstantine Lortkipanidze
November 11–December 12, 2010
Lansburgh Theatre
2010|2011 SEASON
BEGINS JANUARY 18
Cymbeline
by William Shakespeare
directed by Rebecca Bayla Taichman
January 18–March 6, 2011
Lansburgh Theatre
Wednesday–Saturday at 8 p.m.
Saturdays and Sundays at 2 p.m.
Previews: Thursday, November 11 at 8 p.m.;
Friday, November 12 at 8 p.m.; Saturday matinee,
November 13 at 2 p.m.
Recipient of the 2005 Helen Hayes Award for
Outstanding Choreography, Resident Production.
The Master returns in The Master and
Margarita, the first of two productions staged
at the Lansburgh Theatre as part of Synetic’s
Legendary 10th Anniversary season! Paata and
Irina Tsikurishvili reunite as the title roles in this
adaptation of Mikhail Bulgakov’s masterpiece
about the devil’s visit to Stalin’s Moscow—a
powerful tale about the juxtaposition of good
and evil, sacrificing for love and artistic
struggles in a repressive society. A
supernatural, exotic fusion of text,
startling visuals, physicality and
humor, this metaphorical play will
be re-imagined and redesigned
by Synetic’s award-winning
artistic team.
“Ferocious
theatricality...
hallucinogenic
stagecraft”
The Washington Post
For tickets: 202.547.1122
ShakespeareTheatre.org
30
Tickets: $50–$55
Senior and Military: $45–$50
Student Tickets: $20–$25
Cymbeline marks the return of director Rebecca
Bayla Taichman, whose recent Twelfth Night
was “gorgeously romantic… as brand new as
a first kiss” (The Downtowner), and whose
The Taming of the Shrew found “a satisfying
quantity of heart in a play that can be made to
seem merely playful” (Washington City Paper).
The Shakespeare Theatre Company premiere
of Cymbeline follows Imogen on her search for
reconciliation against the backdrop of a colorful
and magical journey. Forbidden love, mistaken
identities, banishment and a magic potion—
Shakespeare combines multiple styles in this
endlessly inventive fairy tale.
Call 202.547.1122 or visit ShakespeareTheatre.org
Groups of 10+, call 202.547.1122, option 6
31
BEGINS JANUARY 26
presents
From the stage
to the big screen.
presents
The National Theatre of
Scotland’s production of
BLACK
WATCH
by Gregory Burke
directed by John Tiffany
January 26–February 6, 2011
Sidney Harman Hall
Presented at Sidney Harman Hall
NT Live enters its second season of
broadcasting performances from
London’s National Theatre in HD!
Broadcast in HD
Buy the
series an
d
Season Schedule
“It’s essential that you
see Black Watch.”
New York Observer
Hurtling from a pool room in Scotland to an armored wagon in Iraq,
Black Watch is based on interviews conducted by Gregory Burke
with former soldiers who served in Iraq. Viewed through the eyes of
those on the ground, Black Watch reveals what it means to be part
of the legendary Scottish regiment, what it means to be part of the
war on terror and what it means to make the journey home again.
John Tiffany’s production from the National Theatre of Scotland
makes powerful and inventive use of movement and music to create a
visceral, complex and urgent piece of theatre.
This production of Black Watch launches its U.S. tour at the
Shakespeare Theatre Company, having played to universal acclaim
in Australia, New Zealand, London, Toronto, Los Angeles, New York,
Edinburgh and more.
SAVE 20
%
Hamlet
Monday, December 27, 2010, at 7:30 p.m.
Nicholas Hytner directs this “constantly
compelling” (The Daily Telegraph) production that
“demands to be seen” (The Independent), featuring
Rory Kinnear in the title role.
Fela!
Monday, January 17, 2011, at 7:30 p.m.
This Tony Award-winning musical stars
Sahr Gaujah as Fela Anikulapo-Kuti.
King Lear
Monday, February 7, 2011, at 7:30 p.m.
The Donmar Warehouse presents Shakespeare’s
classic, starring British luminary Derek Jacobi,
winner of Tony, Emmy and Helen Hayes awards and
founding member of the National Theatre.
Frankenstein
Runtime is 1 hour 50 minutes long with no
intermission. Black Watch contains very strong
language, loud explosions and strobe lighting.
Recommended for audiences 13 years and older.
Monday, March 21, 2011, at 7:30 p.m.
Danny Boyle’s production of a play by Nick Dear,
based on the novel by Mary Shelley.
Special notice for stage seating: Due to the
highly physical nature of the performance, there
will be absolutely no late seating for these seat
locations. If you need to leave during the show
you must be escorted by an usher and will not
be allowed to re-enter the theatre.
The Cherry Orchard
Tickets on sale now!
Call 202.547.1122 or visit
ShakespeareTheatre.org today!
*dates subject to change
Media Partners:
Groups of 10+, call 202.547.1122, option 6
32
Monday, July 11, 2011, at 7:30 p.m.
A play by Anton Chekhov, directed by NT
Associate Director Howard Davies, whose recent
productions of Russian plays have earned huge
critical acclaim.
Photos: Cameron Barnes as Macca; Chris Starkie as Stewarty, Keith Fleming as Sergeant and Scott Fletcher as
Kenzie in the National Theatre of Scotland’s production of Black Watch. All photos by Manuel Harlan.
$20 Tickets!
VIP seating will be given to series holders and
STC subscribers and donors.
Call 202.547.1122 or visit ShakespeareTheatre.org/NTLive.
Photos of Rory Kinnear by Ela Hawes; The original Broadway cast of Fela! by Monique Carboni; and King Lear
by Johan Persson.
33
AUDIENCE SERVICES
Contact the Box Offices
at the Lansburgh Theatre and Sidney Harman Hall
Tickets: 202.547.1122
Toll-free: 877.487.8849
Group sales: 202.547.1122, option 6
TTY (hearing impaired): 202.638.3863
Box Office fax: 202.608.6350
Bookings: 202.547.3230 ext. 2206
Tom Arban
Sidney Harman Hall
610 F Street NW
Box Office Hours
When there is an evening performance:
Monday: 10 a.m.–6 p.m.
Tuesday–Saturday: 10 a.m.–6:30 p.m.
Sunday: noon–6:30 p.m.
When there is no evening performance:
Monday–Saturday: 10 a.m.–6 p.m.
Sunday: noon–6 p.m.
Lansburgh Theatre
Traveling to the Theatres
450 7th Street NW
The Lansburgh Theatre is located near the
Archives–Navy Mem’l–Penn Quarter and Gallery Pl–Chinatown Metro stations.
Sidney Harman Hall is near Gallery Pl–Chinatown and Judiciary Square. For
driving directions and parking information, visit ShakespeareTheatre.org/Visit.
Concessions and Gift Shops
Food and beverages are available one hour before each performance. Pre-order
before curtain for immediate pick-up at intermission. Lansburgh Theatre and
Sidney Harman Hall gift shops are open before curtain, at intermission and for a
short time after each performance.
Accessibility
The Shakespeare Theatre Company is
committed to providing full access for
persons with disabilities.
6TH STREET NW
VERIZON
CENTER
Gallery PlChinatown
Station
The Shakespeare Theatre
Company Gift Shop has
something for everyone.
Find your perfect holiday
gift in our growing
collection of t-shirts,
CDs, DVDs, jewelry,
glassware, books
and more!
Our Gift Shops are
located in the lobby
of Sidney Harman Hall
(610 F Street NW) and
the Lansburgh Theatre
(450 7th Street NW).
Gift Shop Hours:
Monday–Friday
10 a.m.–5:45 p.m.
F STREET NW
LAZ Garage
Entrance
E
SIDNEY
HARMAN
HALL
LAZ Garage Entrance
E STREET NW
E
LANSBURGH
THEATRE
PMI Garage
Entrance
Colonial Parking
Garage Entrance
E
D STREET NW
PENNSY
LVANIA
AV
ArchivesNavy Mem’lPenn Quarter
Station
UE
VEN
AA
NW
IAN
IND
ENUE N
W
NATIONAL MALL
Go to ShakespeareTheatre.org/PlanYourVisit
34
7TH STREET NW
SMITHSONIAN AMERICAN ART MUSEUM
AND NATIONAL PORTRAIT GALLERY
Please see event calendar for
dates of sign-interpreted and
audio-described performances.
Program notes in large print
and Braille are available at the
coat check.
MAP
G STREET NW
8TH STREET NW
Audio-enhancement devices are
available for all performances.
Receivers with earphones (or neck
loops with “T” switch for use with
hearing aids) are available at the
coat check on a first-come basis.
AREA
CHINATOWN
9TH STREET NW
Our theatres are accessible to
patrons with physical disabilities
or mobility impairments. Please
request accessible seating when
purchasing tickets.
T H E AT R E
Looking for
the perfect
holiday gift?
E
Elevator to/from Garage
Special Holiday Hours (December 1–23):
Tuesday–Friday 10 a.m.–8 p.m.
Lansburgh Theatre
by William Shakespeare
directed by Rebecca Bayla Taichman
January 18–March 6, 2011
Cymbeline
Next issue...
A publication of the Shakespeare Theatre Company
ASIDES
Administrative Offices
516 8th Street SE
Washington, DC 20003-2834
Asides.ShakespeareTheatre.org
ASIDES IS ONLINE!
FOR MORE ARTICLES,
IMAGES AND DETAILS VISIT