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From Solitary to Solidarity: Unravelling the Ligatures of Ashley Smith March 2014University of Waterloo Drama Faculty of Arts

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uwaterloo.ca/stratford15

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UNIVERSITY OF WATERLOO DISCOVERY:THAT EUREKA

MOMENT

Antoni Cimolino Artistic Director

Shakespeare lived in an age of rapid change, a time of new worlds, new beliefs and scientific discoveries. In short, he lived in an age very much like our own. But in that early modern age, change was especially unsettling, overturning societal foundations and leading to revolution. In our own time we have not only become inured to change, we welcome it to the point where it is our new faith.

And so for the 2015 season I wanted to explore plays that especially examine discovery. In these plays, characters learn surprising truths about the world around them or perhaps about themselves. In that eureka moment, their lives change forever. How do they deal with that change? At what cost comes knowledge? Since Adam and Eve, these questions have been at the centre of the human narrative.

In 2015, through our playbill and in more than 200 Forum events, we will celebrate the power of the newest god in our pantheon – Discovery.

“We know what weare, but know notwhat we may be.”

— Hamlet

We are honoured to acknowledge the following corporations and individuals who have made commitments in the 2015 season:

Our 2015 Partners and Sponsors

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The Stratford Festival is a non-profit organization with charitable status in Canada* and the U.S.**

*Charitable registration number: 119200103 RR0002 **As defined by Section 501(c)(3) of the Internal Revenue Code

Performance HostsSeason Hosts

The Stratford Festival gratefully acknowledges the generous support of these contributors to our success:

an Ontario government agencyun organisme du gouvernement de l’Ontario

Corporate Partners

Corporate Theatre Partner

Production and Program Sponsors

Individual Theatre Partners

In-Kind Sponsors

Support for the 2015 season of the Festival Theatre is generously provided by Claire & Daniel Bernstein

Support for the 2015 season of the Avon Theatre is generously provided by the Birmingham Family

Support for the 2015 season of the Tom Patterson Theatre is generously provided by Richard Rooney & Laura Dinner

Support for the 2015 season of the Studio Theatre is generously provided by Sandra & Jim Pitblado

Burgundy Asset Management Inc.

Famme & Co. Professional Corporation

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BMO Financial Group, Corporate Sponsor for the 2015 season of the Tom Patterson Theatre

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Early in his career, Shakespeare boldly broke all the rules. From the title onwards, Love’s Labour’s Lost overturns our expectations of comedy. The King of Navarre opens the play vowing with his friends to study for three years, abjuring food, sleep, and the company of women in order to win fame. This monastic oath is at war with comedy, with its inexorable drive towards procreation and festivity. The sudden arrival of the Princess of France

and her three ladies puts this vow to an immediate test. The “Promethean fire” of the ladies’ eyes ignites the men’s passion. The four lords turn their minds away from study to devising entertainments for the ladies, thereby supplying the usual fun of comedy. However, the nobles play so hard, hunting, masquing, bantering, that they can hardly be said to get down to the real pursuit of comedy: finding a mate. This ebullient frivolity was what inspired Peter Brook to choose Watteauesque costumes for his 1946 production, which sealed the play’s modern reputation for theatrical mastery. The lords’ light overthrowing of their pledge convinces the ladies that their romantic overtures cannot be earnest either. The lords’ integrity thus needs to be tested, something that usually happens in the course of a Shakespearean comedy but here is launched at the conclusion. The ladies set them year-long challenges before they will consider committing themselves to what the Princess calls “a world-without-end bargain” – marriage. The witty hero, Berowne, sums it up: “Our wooing doth not end like an old play; / Jack hath not Jill.” Berowne, who is most wedded to his own wit, is given the toughest quest of all: to cheer the ill in a hospital. Shakespeare’s convention-breaking here can be partly explained by the fact that this

play is the first half of a duo; the second half, Love’s Labour’s Won, has been lost to time. Love’s Labour’s Lost is almost unrivalled for its verbal panache. The comedy is a “great feast of languages,” as the pageboy Moth observes. Shakespeare learned from John Lyly, a courtly playwright, the symmetrical patterning of characters and an elaborate style full of conceits. The stylized nature of the coupling, the

Learning to Love

By Philippa Sheppard

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no one understands him – he loses the communication battle, just as the Spanish ships after whom he is named were likewise defeated. Holofernes, the pedant (his name stolen from Rabelais), uses language expansively, at worst diminishing and alienating the simple Constable Dull. Costard, the fool, though not educated like these other two, wields language creatively, and is honest about his human desires: “Such is the simplicity of man to hearken after the flesh.” Berowne and his beloved Rosaline anticipate Beatrice and Benedick from Much Ado About Nothing in their merry war of words. Berowne excels in the art of rhetoric, and so would likely have enchanted the original audience of courtiers and lawyers. He is particularly persuasive in arguing that no dry book study could teach the young lords as much as falling in love: “Love’s feeling is more soft and sensible / Than are the tender horns of cockled snails.… And when Love speaks, the voice of all the gods / Make heaven drowsy with the harmony.” He rationalizes that their creativity never flowed as easily as when they fell for the ladies from France. Most of the characters deploy language competitively, vying for admiration or “fame,” as the King phrased it in the oath. These verbal pyrotechnics explode in a hilarious

eavesdropping scene in which each of the young lords reveals himself in a poem to his lady’s praise. Three of the poems are sonnets, and the sonnet was the height of fashion when Shakespeare wrote the play; we see echoes of his Dark Lady in his depiction of Rosaline. Rosaline, however, remains unimpressed by fine words. Berowne swears he will change his tune: “henceforth my wooing mind shall be expressed / In russet yeas and honest

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coming together and moving apart of the effervescent flirtations, recalls a formal dance, which makes Kenneth Branagh’s decision to adapt it for the screen as a musical (in 2000) so apt. It is their wit, or lack thereof, that defines each of this play’s characters. Berowne itemizes the types, borrowed from commedia dell’arte: “the pedant, the braggart, the hedge-priest, the fool, and the boy.” Armado, the braggart, employs language so pretentiously that

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As far as we know, Love’s Labour’s Lost sprang entirely from Shakespeare’s own imagination. Like A Midsummer Night’s Dream and The Tempest, it’s not adapted from any existing source. Because they’re freely invented, unconstrained by another writer’s material, those sourceless plays perhaps bring us closest to Shakespeare himself: a brilliant intellect, witty and learned; a great poet; a man of deep human understanding; a sympathetic, tender, loving artist – and very obviously a man of the theatre. In this early masterwork, we see him testing his own skills. Echoes of Love’s Labour’s Lost recur in many of his later, more mature works, both comedies and tragedies. Berowne, for instance – that highly sensitive, poetic, passionate advocate character – reappears as Lysander in A Midsummer Night’s Dream, as Romeo, as Richard II. You can even see elements of Berowne in Hamlet. Nothing much happens in Love’s Labour’s Lost; it’s not particularly driven by plot. Even the characters themselves don’t seem to be taking the events of the story very seriously, at least not until the end. Instead, the relationships between the characters seem to be all about language, and how it is used and abused. I think that’s because Shakespeare himself was falling in love with language as he was writing this play: he was discovering himself as a mature poet. And so in a sense all the characters share his love of poetry, his love of language: he’s using them to explore his own delight in its use. But even as the play celebrates the power of language, it is also about language’s limitations. Language in Love’s Labour’s Lost is used as a device to achieve romantic destinations of one sort or another, but also to protect people from

Love BeyondWordsDirector’s notes by John Caird

real feeling. Letters are written, poems are written, sonnets are penned in praise of lovers – but when it comes down to it, there’s very little actual evidence of romantic attachment. People are mostly just being romantic in theory. The only one who proves ready to make a commitment – and to the least likely person – is the fantastical, rather pathetic Don Armado. As for the others, only time will tell. That’s why, when something serious happens at the end of the play, Shakespeare introduces the idea of penance. Those four young men have all broken the oaths they so carelessly swore at the beginning. So what is an oath worth? What is a promise worth? What are the relationships between people worth, if they don’t have any longevity? How much value can you set on a word, a poetic utterance? What is love worth? From that point on, all language stops being valuable and everything becomes about feeling and how people’s actions are going to be affected by what has transpired. I think in the end Shakespeare does believe that love trumps everything – but it has to be proved worthy. You can’t just wheel love out as the answer; it has to be proved in the fire in order to make sure that it’s real.

kersey noes. / And to begin: wench – so God help me, law! – / My love to thee is sound, sans crack or flaw.” Rosaline, recognizing his irrepressible intellectual pride surfacing again, retorts, “Sans ‘sans,’ I pray you.” This exchange illuminates one of the key questions of the play: what is the true purpose of learning? The characters’ linguistic exuberance separates them from others more often than it connects. When the common characters mount their Pageant of the Nine Worthies for the courtiers, the lords mock the amateur actors mercilessly, putting them out of suit. In this way, the competition to be the cleverest, which has been ongoing, is exposed to the audience for all its nastiness. Two urgent announcements, about the essential events of life, further interrupt this play-within-the-play. Costard blurts out that Jaquenetta, the nubile dairymaid, is expecting Armado’s baby. A black-clad messenger, Marcadé, brings news of the King of France’s death, his announcement pre-empted by the Princess’s intuition, in one of Shakespeare’s most memorable coups de théâtre. These important tidings, conveyed without fancy terms, emphasize how limited the wittier-than-thou approach to life really is. Intelligence, wordplay, fame – elements highly prized by the young lords – are not enough in the final reckoning. The Pageant of the Nine Worthies is only one of many explorations of the art of theatre in the play. It seems that when Shakespeare worked without source material, as he did in this comedy, and later in A Midsummer Night’s Dream and The Tempest, he exemplified Jane Austen’s dictum and wrote about what he knew best: performance. This play, like the latter two, investigates the extent to which our lives are an act. Earlier in the comedy, the lords appear disguised as Muscovites to the masked French ladies and, like the Nine Worthies, receive ridicule for their pains: “The tongues of mocking wenches are as keen / As is the

John Caird

razor’s edge invisible.” Is Shakespeare warning his own audience to exercise more charity? Shakespeare closes this play that crackles with repartee and Latin flourishes with two simple songs, about spring and winter. These beautiful songs celebrate the ordinary people of Shakespeare’s Warwickshire countryside, women like Jaquenetta the dairymaid, who “bleach their summer frocks” and whose “milk comes frozen home in pail.” After all, it is people like Jaquenetta who get on with the serious business of living: working and making babies; the lords and ladies are just playing. Even though the startling entrance of Marcadé leaves a sombre pall over the play’s end, Shakespeare lets us have our cakes and ale in this unusual comedy too. The winter wind of the last song may blow, but the “roasted crab” apples “hiss in the bowl” to remind us of the homely comforts of married life that await the characters if they pass their year-long tests.

Philippa Sheppard teaches for the Department of English at the University of Toronto.

Vowing to devote themselves to study, the King of Navarre and his courtiers Dumaine, Longaville and Berowne swear off the company of women for three years. But no sooner is their oath taken than it is put to the test when four attractive young women – the Princess of France and her companions Katherine, Maria and Rosaline – arrive on a diplomatic mission. Meanwhile, an eccentric Spanish nobleman, Don Armado, has become infatuated with a country wench, Jaquenetta. In the ensuing flurry of mix-ups and masquerades, it becomes clear that not all of life’s lessons can be learned from books.

The Story

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William ShakespearePlaywrightBorn in Stratford-upon-Avon in 1564, William Shakespeare was the eldest son of John Shakespeare, a glover and tanner who rose to become an alderman and bailiff of the town, and Mary Arden, the daughter of a wealthy farmer. The exact date of his birth is unknown,

where he would have studied rhetoric, grammar and ancient Roman literature in its original Latin. In 1582, when he was eighteen, he married Anne Hathaway, a farmer’s daughter who was eight years his senior. Anne was pregnant at the time, and the couple’s first daughter, Susanna, was born a few months afterwards in 1583. Twins followed two years later: a son, Hamnet, who died at the age of eleven, and a second daughter, Judith. Nothing further is known of Shakespeare’s life until 1592, by which time he was sufficiently established as an actor and writer in London to be the target of a literary attack by a jealous fellow playwright, Robert Greene. Soon afterwards, an outbreak of plague forced the temporary closure of the theatres, and Shakespeare turned his attention instead to his long narrative poems Venus and Adonis and The Rape of Lucrece. He also began writing the Sonnets, a series of 154 complex and

often ambiguous poems on themes of love, jealousy and mortality that have aroused much biographical speculation. By 1595, Shakespeare was back in the theatre, writing and acting for the Lord Chamberlain’s Men. His income as one of London’s most successful dramatists enabled him, in 1597, to buy a large house called New Place back in Stratford, and in 1599 he became a shareholder in London’s newly built Globe Theatre. In 1603, when James I had succeeded Elizabeth on the throne, Shakespeare’s company was awarded a royal patent, becoming known as the King’s Men. Meanwhile, the playwright continued his business dealings in Stratford and in London, where in 1613 he bought a property known as the Blackfriars Gatehouse. He is believed to have spent increasing amounts of his time in Stratford from around 1609 until his death on April 23, 1616. He is buried in the town’s Holy Trinity Church.

but there is a record of his baptism at Stratford’s Holy Trinity Church on April 26. Since an interval of two or three days between birth and baptism would have been quite common, tradition has it that he was born on April 23 – the same date as his death fifty-two years later. The young Shakespeare is assumed to have attended what is now King Edward VI Grammar School in Stratford,

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Ideas at Stratford: The Discovery of the Empty SpaceSunday, August 9, 10 to 11:30 a.m. | Studio TheatreWhen a director approaches a bare stage with a play, it’s with two questions in mind: What is the story? And how can my team of actors and other artists tell this story through their bodies, these words, and the toolkit of imagination? How are we to fill this empty space? Directors of this season’s Shakespeare productions explore the challenges of directing with Ideas host Paul Kennedy. $25

Love’s MasterpieceWednesday, August 19, 10:45 a.m. to noon | Studio TheatreWriter and poet Kate Cayley and Paul Edmondson, Head of Research and Knowledge at the Shakespeare Birthplace Trust, examine the poetry of Love’s Labour’s Lost as evidence of Shakespeare’s masterpiece – the work through which he proves his mettle as a poet. $25

Table Talk: Love’s Labour’s Lost Thursday, August 20, 5:30 to 7:15 p.m. | Paul D. Fleck Marquee, Festival TheatreBuffet dinner followed by a talk on Love’s Labour’s Lost by Graham Roebuck. $40; cash bar. Please reserve at least 48 hours in advance.

Age of ArousalSunday, August 30, 7:30 to 10 p.m. | Avon Theatre Rehearsal Hall 1A reading of this lavish, sexy play about the forbidden and gloriously liberated self by the late, great Canadian playwright Linda Griffiths. It is 1885 and virtue is barely holding down its petticoats. Five New Women struggle to find their way in the topsy-turvy world of the Victorian suffrage movement. Directed by Martha Henry. $25

Showcase performances, illuminating speakers, engaging debates and family fun!

THE FORUM

Sustaining support for the Forum is generously provided by Kelly & Michael Meighen and the T.R. Meighen Family FoundationSupport for the 2015 season of the Forum is provided in memory of Dr. W. Philip Hayman.

200+ Forum Events | April to October

PAUL EDMONDSON

UnderstudiesTim Campbell (Holofernes, Forester, French Lord), Ijeoma Emesowum (Rosaline), Xuan Fraser (Boyet, Marcadé), Adrienne Gould (Princess of France, Jaquenetta),

Josh Johnston (Dumaine, Longaville), Robert King (Sir Nathaniel), John Kirkpatrick (King Ferdinand of Navarre), Shruti Kothari (Maria, Katherine, Moth), Derek Moran (Berowne), Thomas Olajide

(Costard), Andrew Robinson (Dull), Brad Rudy (Don Adriano de Armado)

There will be one 20-minute interval.

MARTHA HENRYKATE CAYLEY

Love’s Labour’s LostBy William Shakespeare

This production is dedicated to the memory of former company member Bernard Hopkins.

The Cast King Ferdinand of Navarre Sanjay Talwar Berowne Mike Shara Longaville Andrew Robinson Dumaine Thomas Olajide Forester Xuan Fraser Forester Robert King

Don Adriano de Armado, Juan Chioran a Spanish braggart Moth, his page Gabriel Long Servant to Armado Josh Johnston Servant to Armado Shruti Kothari

Holofernes, a schoolmaster Tom Rooney Nathaniel, a curate Brian Tree Dull, a constable Brad Rudy Costard, a swain Josue Laboucane Jaquenetta, a dairymaid Jennifer Mogbock

The Princess of France Ruby Joy Rosaline Sarah Afful Maria Ijeoma Emesowum Katherine Tiffany Claire Martin Boyet John Kirkpatrick French Lord Derek Moran Marcadé Robert King

lordsattendingthe King

ladiesattendingthe Princess

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AcknowledgementsSpecial thanks to Ashley Gennuso; Tyler Vandergaag; Jennifer Anderson, MD, St. Michael’s

Hospital, Toronto; Sean Blaine, MD, Stratford; Norman Cruz, MD, Stratford; Shawn Edwards, MD, Stratford; Brian Hands, MD, FRCS (C), medical voice consultant, Vox Cura voice care specialists,

Toronto; Simon McBride, MCISc, MD, London Health Sciences Centre Vocal Function Clinic, London; Laurel Moore, MD, Stratford; David Thompson, MD, Stratford; John Yoo, MD, London

Health Sciences Centre, London. Pianos tuned and maintained by Don Stephenson. Cover photography by Don Dixon. Page 1 photography by David Hou.

Cover Photo: Mike Shara

Backstage Production responsibilities during the performance accomplished by:

Stage Carpenter Craig Geiger Alternate Chad McMillan Master Electrician Alec Cooper Alternate Michael (Mick) McDonald Property Master Tim Hartman Head of Sound Scott Matthews Wardrobe Master John Bynum Wardrobe Attendants Ina Brogan, Christine Smith, Debra Yundt Swing Laurie Krempien-Hall Wigs and Makeup Show Head Lorna Henderson Wigs and Makeup Crew Lena G. Festoso Children’s Supervisor Linda Prystawska

The Michael Langham Workshop for Classical DirectionFrom Artistic Director Antoni Cimolino:

The Michael Langham Workshop for Classical Direction continues Michael Langham’s tradition of mentorship in a risk-free environment, allowing directors to develop their craft within the rich history and evolving artistry of the Stratford Festival.

We extend our thanks to the Department of Canadian Heritage, Johanna Metcalf & the George Cedric Metcalf Foundation and the Philip and Berthe Morton Foundation.

Participants in the 2015 workshop: Graham Abbey | Charlotte Gowdy | Krista JacksonKate Newby | Bronwyn Steinberg | Kristen van Ginhoven | Rona Waddington | Ted Witzel

The Birmingham Conservatory for Classical TheatreFrom Artistic Director Antoni Cimolino:

Thirty-three members of this season’s company have taken part in our professional training program, the Birmingham Conservatory for Classical Theatre. Founded in 1998, the Conservatory has helped launch the careers of many leading Canadian actors, several of whom I have had the great pleasure of directing here at Stratford.

Headed by Martha Henry, the Conservatory is made possible by the support of the Birmingham family, the Stratford Festival Endowment Foundation and the Department of Canadian Heritage. Supporting the 2015 in-season work of Conservatory participants are the Marilyn & Charles Baillie Fund, John & Therese Gardner and The Brian Linehan Charitable Foundation. We thank them for helping us to nurture and support these talented artists.

Past Birmingham Conservatory participants include these members of our 2015 company:

Sarah Afful 2011/12Evan Buliung 1999Shane Carty 2003Paul deJong 2000 (coach)Sara Farb 2013Ryan Field 2011Jonathan Goad 1999 (winter)Adrienne Gould 2002Deborah Hay 1999Jessica B. Hill 2014Brad Hodder 2011/12Josh Johnston 2014

Ruby Joy 2011/12Josue Laboucane 2012/13Keira Loughran 2005 (associate

producer, Forum and Laboratory) Jamie Mac 2013/14Kennedy C. MacKinnon 1999

(coach)Tiffany Claire Martin 2014Gordon S. Miller 2003Jennifer Mogbock 2013/14Derek Moran 2013/14André Morin 2014

Mike Nadajewski 2012Thomas Olajide 2014Karack Osborn 2013/14Gareth Potter 2003Andrew Robinson 2012/13Tyrone Savage 2010/11Laura Schutt 2013/14E.B. Smith 2010/11Evan Stillwater 2004 (cutter) Shannon Taylor 2014Antoine Yared 2012/13

Artistic Credits Director John Caird

Designer Patrick Clark Lighting Designer Michael Walton Composer Josh Schmidt Sound Designer Peter McBoyle

Producer David Auster Casting Director Beth Russell Creative Planning Director Jason Miller

Assistant Director Krista Jackson Assistant Set Designer Mary-Jo Carter Dodd Assistant Costume Designer Alyssa Westman Assistant Lighting Designer Tristan Tidswell Ian and Molly Lindsay Young Design Fellow Stage Manager Janine Ralph Assistant Stage Managers Holly Korhonen, Elizabeth McDermott Production Assistant Katherine Dermott Production Stage Manager Margaret Palmer

Technical Director Jeff Scollon

MusiciansGraham Hargrove, Percussion; Luise Heyerhoff, Trumpet;

Shawn Spicer, Trumpet; Kate Stone (Fanfare Leader), Horn; Rob Stone, Trombone

Music Credits

Director of Music: Franklin Brasz

Music Administrator: Marilyn Dallman

Administrative Assistant: Don Sweete

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Funding for artisan apprenticeships is provided by the William H. Somerville Theatre Artisan Apprenticeship Fund, funded by the J. P. Bickell Foundation and by Robert & Jacqueline Sperandio.

Production Credits Director of Production Simon Marsden

Technical Director – Scenic Construction Andrew Mestern Wardrobe Manager Tanya Apostolidis Production Administrator Cheryl Bender Design Coordinator Mary-Jo Carter Dodd Scene Shop Manager Robbin Cheesman Associate Technical Director David Campbell Technical Management Assistant Michael Besworth Administrative Assistant Cindy Jordan Electronics Technologist Chris Wheeler Transportation Charlie Fox, Dirk Newbery, James Thistle

Properties Head of Properties Dona Hrabluk Lead Builder Jennifer Macdonald Assisted by Eric Ball, Ken Dubblestyne, Michelle Jamieson, Kathryn Kerr, Shirley Lee, Brian McLeod, Dylan Mundy, Heather Ruthig, Lisa Summers Properties Buyer Tracy Fulton Assistant Properties Buyer Jaclyn Zaltz

Scenic Art Head Scenic Artist Christopher Klein Assistant Head Scenic Artist Daniel McManus Assisted by Kevin Kemp, Blair Yeomans

Scenic Carpentry Head Carpenter Ryan Flanagan Head of Automation Ian Phillips Assisted by Simon Aldridge, David Bedford, Mark Card, Gary Geiger, Douglas Ledingham, Stephen Morgan, Wayne Nero, John Roth, Joseph Saunders, Mark Smith, Geoff Taylor, Cliff Tipping, Joe Tracey

Wardrobe Head of Wardrobe Bradley Dalcourt Wardrobe Head – Avon/Studio Elizabeth Copeman Seasonal Wardrobe Supervisor Linda Sparks Cutters Johanna Billings, Terri Dans, Melanie Farrar- Jackson, Margaret Lamb, Carol A. Miller, Evan Stillwater First Hand Krista Nauman Sewers Susy Arnold, Wendy Bendle, Monica Berg, Denise Bott Cindy Brown, Susan E. Dick, Karen Hancock, Shona Humphrey, Olga M. Kouzmina, Laurie Krempien-Hall, Debbie Kschesinski, Anna Lach, Norma LaChance, Karen Merriam, Emma Pawluk, Joan Scheerer, Gina Schellenberg, Silvia Widmer, Christine Yundt, Joanne Zegers Bijoux/Decoration Kathi Posliff Assisted by Liane Guttadauria Boots and Shoes Sarah Cook Assisted by: Connie Puetz Costume Painting Lisa Hughes Dyeing Linda Pinhay Assisted by Sylvia Minarcin Millinery Katarzyna Maxine Assisted by Helen Flower Wardrobe Buyer Michelle Barnier Assistant Wardrobe Buyer Caitlin Luxford Wardrobe Apprentice Rebecca Forsyth Warehouse Supervisor Madonna Decker Warehouse Assistants Chevy Barlow, Valerie Lariviere

Wigs and Makeup Head of Wigs and Makeup Gerald Altenburg Construction Crew Erica Croft, Tracy Frayne, Lorna Henderson, Barb Newbery, Alana Scheel, Julie Scott, Christine Vaughan Wigs and Makeup Apprentice Anna Burton

A member of the Professional Association of Canadian Theatres, the Stratford Festival engages, under the terms of the Canadian Theatre Agreement, professional artists who are members of Canadian Actors’ Equity Association. Stage crew, scenic carpenters, drivers, wigs and makeup attendants, facilities staff and audience development representatives are members of Local 357 of the International Alliance of Theatrical Stage Employees (IATSE). Wardrobe attendants are members of IATSE Local 924. Scenic artists are members of IATSE Local 828. The musicians, musical directors, conductors and orchestra contractors engaged by the Stratford Festival are members of the Toronto Musicians’ Association, Local 149, of the American Federation of Musicians of the United States and Canada.

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Mary-Jo Carter Dodd2015: Assistant costume designer of The Taming of the Shrew and assistant set designer of Love’s Labour’s Lost. Stratford debut. Elsewhere: Head of Wardrobe for Soulpepper (12 years), Canadian Stage (two years), Young People’s Theatre (10 years), and costume coordinator for over 25 operas for the Canadian Opera Company. She taught wardrobe courses at Humber College in the Theatre Production Program and mentored students as they worked on productions. Training: Diploma, Honours BA in Theatre Production – Ryerson Polytechnical Institute; AutoCad certificate – George Brown College. She was chosen for the Theatre Ontario Professional Training Program and trained

in model building for theatre, mentoring under Camellia Koo. She’s also taken advanced model building in the U.K. She has built set models for several theatre productions across the country. Et cetera: Mary-Jo is excited to be working at the Festival, surrounded by so many wonderful and talented people, and also to assist in finding the next generation of costume and set designers.

Juan Chioran2015: Player King in Hamlet and Don Adriano de Armado in Love’s Labour’s Lost. 14th season. Stratford: Henry V, Much Ado, The Misanthrope, Twelfth Night, Kiss Me, Kate, Evita, Bartholomew Fair, Three Sisters, All’s Well, Shrew, As You Like It, Hamlet, Dracula, Dream, Man of La Mancha. Elsewhere: The Motherf**ker with the Hat (Bob Kills Theatre); Cabaret, Philadelphia Story, Light in the Piazza (Shaw); Madonna Painter (Factory); New Brain, Piazza (Acting Up Stage); It’s a Wonderful Life, Goodnight Desdemona, Much Ado (Canadian Stage); Cymbeline, The Three Musketeers, Hecuba (Chicago Shakespeare); Blithe Spirit, An Ideal Husband (Citadel); Love’s

Labour’s Lost (NAC); The Producers (Mirvish); Present Laughter (Soulpepper); Anything That Moves (Tarragon); Kiss of the Spider Woman (Livent); Hedda Gabler (MTC); Rocky Horror (Bathurst Street). Film/TV: Finn on the Fly, Republic of Love, What’s Up Warthogs, The Border, Roxy Hunter, This Is Wonderland, Cheetah Girls, Monk. Training: BFA, U of A. Awards: Dora, Gemini, Jeff, Ovation, Carbonell.

Sarah Afful2015: Player Queen in Hamlet, Bianca in The Taming of the Shrew and Rosaline in Love’s Labour’s Lost. Fourth season. Stratford: Tiger Lily, Alice Through the Looking-Glass; featured in A Midsummer Night’s Dream: A Chamber Play; Mariana, Measure for Measure; understudy, Othello; Mary Stuart; Chorus, Elektra; The Pirates of Penzance. Viola, Twelfth Night; Hermione, The Winter’s Tale (Birmingham Conservatory). Elsewhere: Margaret, Much Ado About Nothing, Octavia/Iris, Antony and Cleopatra (Bard on the Beach); Macbeth: nach Shakespeare (Conspiracy/Gas Heart); Saint Monica, The Last Days of Judas Iscariot (Pound of Flesh/Pacific Theatre); The Eighth Land (PI Theatre); Old

Goriot (Western Gold/UBC Theatre); Small Axe (Project Humanity/The Theatre Centre). Film/TV: Smallville, Caprica, Eureka, The Perfect Score, American Dreams, numerous commercials. Recordings: Days of Old (Neworld Theatre/CBC). Training: Birmingham Conservatory; BFA Acting, UBC; Lyric School of Acting; Tarlington Training. Online: Twitter: @SarahAfful1. Et cetera: “Thanks to my brothers for all their support and unconditional love this year!”

Tim Campbell2015: Horatio in Hamlet and understudy in The Taming of the Shrew and Love’s Labour’s Lost. Seventh season. Stratford: Credits include Julius Caesar, The Tempest, Macbeth, Hamlet, As You Like It, Titus Andronicus, Henry IV (1), Henry IV (2), Henry V, Romeo and Juliet, Richard III, Antony and Cleopatra, Troilus and Cressida. Elsewhere: Recent credits include Venus in Fur (ATP); Twelve Angry Men, Death of a Salesman, Who’s Afraid of Virginia Woolf? (Soulpepper); Jane Eyre (MTC); A Midsummer Night’s Dream (Shakespeare Theatre Company, Washington, D.C.); Death of a Salesman (Citadel); A Streetcar Named Desire (Blue Bridge); Private Lives (Chicago

Shakespeare). Film/TV: Credits include Reign, Republic of Doyle, Warehouse 13, Nikita, The L.A. Complex, Saving Hope, Deadly Hope, The Firm, Lost Girl, Against the Wall, Combat Hospital, Flashpoint, Murdoch Mysteries, Killshot, Hollywoodland. Awards: Past recipient of the Dora Mavor Moore Guthrie Award (for outstanding contribution to the Stratford Festival).

John Caird2015: Director of Love’s Labour’s Lost. Stratford debut. Elsewhere: John is a director and writer of plays, musical theatre and opera. He is an honorary associate director of the Royal Shakespeare Company, where he has directed over 20 productions. He has been a regular director at the National Theatre and is principal guest director at the Royal Dramatic Theatre in Stockholm. His award-winning productions include Nicholas Nickleby, Candide, Peter Pan, Les Misérables, Hamlet, Humble Boy, Jane Eyre, Twelfth Night and Daddy Long-Legs, most of which ran, or are still running, in the West End, on Broadway and all over the world. His book Theatre Craft, an

encyclopedic handbook for aspiring directors, was published by Faber and Faber in 2010. Online: For further information on John’s career, go to www.johncaird.com.

She Stoops to ConquerBy Oliver Goldsmith | Director Martha Henry

with Lucy Peacock, Joseph Ziegler, Maev Beaty, Sara Farb, Brad Hodder, Karack Osborn, Tyrone Savage

Production support is generously provided by Nona Macdonald Heaslip, Dr. Desta Leavine in memory of Pauline Leavine and by Jack Whiteside

Lucy Peacock, Joseph Ziegler. Photo: Don Dixon

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“TERRIFICALLY FUNNY” THE GLOBE AND MAIL

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Ijeoma Emesowum2015: Maria in Love’s Labour’s Lost and appears in Hamlet and The Taming of the Shrew. Second season. Stratford: Jackie Coryton in Hay Fever, Pudding/Daisy 2 in Alice Through the Looking-Glass and Cleopatra Attendant in Antony and Cleopatra. Elsewhere: Five seasons with Shaw Festival including Major Barbara, Serious Money, Guys and Dolls, Ragtime, Cat on a Hot Tin Roof, A Man and Some Women, The Admirable Crichton, The Women, The Devil’s Disciple, Born Yesterday, Binti’s Journey (Theatre Direct); The Aftermath (Nightwood Theatre); A Midsummer Night’s Dream (Shakespeare in High Park, Canadian Stage). Film/TV: Antony and Cleopatra

(Stratford Festival). Training: BFA, University of Windsor. Online: Twitter: @UsoIje. Et cetera: Ijeoma has an online Etsy store that sells homemade cream and lip balms as well as cake stands made of recycled glasses and dishes. etsy.com/shop/usovintagedesigns. “Love and thanks to my family and Jake.”

Xuan Fraser2015: Fortinbras Captain in Hamlet, Nicholas in The Taming of the Shrew and appears in Love’s Labour’s Lost. Ninth season. Stratford: King Lear (Curan), The Beaux’ Stratagem (Fellow, Chamberlain), A Midsummer Night’s Dream, Wanderlust (Blount), Henry V (Duke of Burgundy), As You Like It (Le Beau), The Winter’s Tale (Cleomenes), Titus Andronicus (Aaron), The Tempest (Caliban), Macbeth (Witch), Romeo and Juliet (Benvolio), The Three Musketeers (Jussac), The Night of the Iguana (Pedro), Juno and the Paycock, Oedipus Rex (Chorus), Julius Caesar (Pindarus), The Alchemist, The Merchant of Venice, Hamlet. Elsewhere: Oberon/Theseus (Shakespeare in Action/Canadian Stage), Thomas Matthews

(Toronto the Good – Factory Theatre), Othello (Othello – Driftwood Theatre), Macbeth (Macbeth – Workman Arts/Shakespeare in Action), Cody (This Is How It Goes – Neptune Theatre), Dubois (Counterfeit Secrets – Artword Theatre, Dora nomination). Film/TV: Nikita, Suits, Insecurity, King, The Rick Mercer Report. “For my lovely fiancée, Leigh, and my wonderful children, Myles, Bailey, Cole, Max, Lyric and Marley! Here lies all my future hopes.”

Patrick Clark2015: Designer of The Adventures of Pericles and Love’s Labour’s Lost. 17th season. Stratford: Krapp’s Last Tape/Hughie (also Goodman Theatre), The Music Man, Oklahoma!, Hello, Dolly!, Anything Goes, King Lear, Richard III, Romeo and Juliet, Coriolanus, The Boy Friend, Pericles, The Comedy of Errors, Titus Andronicus. Elsewhere: Pride and Prejudice, Cats, A Christmas Carol (Theatre Calgary); Albert Herring (Pacific and Vancouver operas); The Norman Conquests, The Glass Menagerie, Jitters (Soulpepper); Shadowlands, Jane Eyre, Three Sisters (Guthrie); Othello, Much Ado (Chicago Shakespeare); Hit the Deck, She Loves Me (Shaw Festival); Tartuffe (NAC);

Frost/Nixon, Fallen Angels (Canadian Stage); Having Hope at Home, Blithe Spirit (Neptune); Evangeline, Buddy Holly (Charlottetown); Good People, The Price (MTC); The Mousetrap, Sherlock Holmes (Aquarius); Private Lives, The Bricklin, It’s a Wonderful Life (TNB). TV: Witness to Yesterday. Training: University of New Brunswick. Awards: New Brunswick Arts Award, several Merritt Awards and a Jessie.

Adrienne Gould2015: Ophelia in Hamlet and understudy in Love’s Labour’s Lost. 10th season. Stratford: Selected credits: Hamlet, The Taming of the Shrew, Pentecost, Much Ado About Nothing, Ghosts, The Tempest, As You Like It, The Swanne (part 3), Love’s Labour’s Lost, The Merchant of Venice, Tempest-Tost and The Diary of Anne Frank. Elsewhere: The Matchmaker and The Rivals (Williamstown Theater Festival); The Butter and Egg Man (American Stage Company); Love’s Labour’s Lost (NAC); Buried Child (NAC/Segal Centre); Einstein’s Gift, Ed’s Garage and Other Desert Cities (Grand Theatre). Film/TV: The Lady in Question, Jonovision and Nikita. Recordings:

Timothy Goes to School. Training: North Carolina School of the Arts, Birmingham Conservatory. Awards: Mary Savidge Award. Online: Adrienne is the founder of ABCyogis.com, a children’s/family yoga company. Et cetera: “This one’s for my ‘better half!’”

Krista Jackson2015: Assistant director of Love’s Labour’s Lost. Second season. Stratford: Michael Langham Workshop for Classical Direction: Mother Courage and Her Children. Elsewhere: Director: Private Lives, The Seagull, The Seafarer (Royal Manitoba Theatre Centre); Much Ado About Nothing (The Grand); Dying to be Thin (Manitoba Theatre for Young People); The Miser of Middlegate (zone41 theatre/Theatre Projects Manitoba); Village Wooing (zone41 theatre). Assistant director: Hedda Gabler, Misalliance, His Girl Friday (Shaw Festival); The Wizard of Oz (Globe Theatre). Training: Shaw Festival’s Neil Munro Intern Directors Project, 2012; Ryerson Theatre School. Awards:

Gina Wilkinson Prize (2013). Online: www.zone41.ca. Et cetera: Founding artistic director of zone41 theatre and associate/apprentice artistic director at The Grand Theatre for the 2014/2015 season.

Luise Heyerhoff2015: Trumpet (onstage) in Love’s Labour’s Lost. Stratford debut. Elsewhere: Luise performs regularly with the Toronto Symphony Orchestra, the Canadian Opera Company Orchestra and the Hamilton Philharmonic. She is the co-founder of Reverb Brass. Radio/Recordings: Mozart: Arie e Duetti (2006, CBC Records) with the Canadian Opera Company Orchestra, conducted by Richard Bradshaw. Training: The Boston Conservatory; the Glenn Gould School of the Royal Conservatory of Music, Toronto. Online: @heyluise, @reverbbrass, www.reverbbrass.com.

Graham Hargrove2015: Drums, Percussion (onstage) in The Taming of the Shrew, Percussion (onstage) in Love’s Labour’s Lost and Festival Theatre fanfares. Seventh season. Stratford: Percussion: Crazy for You, Man of La Mancha, Wanderlust, West Side Story, Forum, Kiss Me, Kate, Evita. Onstage musician: Fuente Ovejuna, Henry V. Elsewhere: Performed professionally on four continents, in orchestras of numerous Mirvish shows, and with the COC and Esprit orchestras. Member of the Evergreen Club Contemporary Gamelan since 2000. Co-created The Mark of Zorro, a live soundtrack/foley show featuring the 1920 Douglas Fairbanks silent film, which has been performed throughout

Ontario. Radio/Recordings: Soundtracks for Stratford productions; CBC Radio and numerous studio recordings; two CDs, Reinventions and Theme and Evolutions, with Toronto percussionist Nicholas Coulter; four CDs with the Evergreen Club Gamelan. Recent: released the album A 440, with his band Dan Stacey and the Black Swans. Training: Bachelors (UVic), Masters (UofT) in Percussion Performance. Et cetera: “Love and gratitude to my wife, Samantha – it isn’t easy being married to a drummer!”

Ruby Joy2015: Princess of France in Love’s Labour’s Lost. Fourth season. Stratford: Hay Fever, Alice Through the Looking-Glass, Measure for Measure, Othello, Mary Stuart, The Matchmaker, Cymbeline. Elsewhere: The Mousetrap (Chemainus Festival), Intimate Apparel (The Grand), The Tempest (Theatre by the Bay), Hamlet and The Winter’s Tale (Theatre80 St. Marks), Evolutionism (The Schapiro Theatre), Look Back in Anger (The Old Stone House), Sex and the Holy Land (The Players Theatre), The Libertine (Robert Moss Theater). Film/TV: Chantel in Republic of Doyle (CBC), Audrey in Oddly Flowers (CFC). Training: Birmingham Conservatory for Classical Theatre, New

York University Tisch School of the Arts. Online: www.rubyjoy.net.

Josh Johnston2015: Appears in Hamlet and Love’s Labour’s Lost and understudy in The Taming of the Shrew. Stratford debut. Elsewhere: Proteus in The Two Gentlemen of Verona, Young Shepherd in The Winter’s Tale (Birmingham Conservatory); Sebastian in Who’s Under Where? (Lighthouse Festival Theatre); Louis Martin in In His Name (Canadian History Project); Giri in The Resistible Rise of Arturo Ui (red light district); Thespis in Something Is Wrong (Naught, A Theatre Company); Troilus in Troilus and Cressida (York University). Film/TV: Stephen in The Silver Chevy (Sheridan College). Radio: Collaborator and speaker in The Other Families Radio Show. Training: BFA in Acting, York

University; Birmingham Conservatory for Classical Theatre. Et cetera: Josh dedicates his work this season to the memory of his mother and to all those who have helped him on his journey thus far. “You know who you are.”

Robert King2015: Gravedigger #1 in Hamlet, Peter, Vincentio in The Taming of the Shrew and Marcadé in Love’s Labour’s Lost. 22nd season. Stratford: King Lear, The Beaux’ Stratagem, The Three Musketeers, The Merchant of Venice, Romeo and Juliet, Richard III, Richard II, Cymbeline, Twelfth Night, Measure for Measure, The Merry Wives of Windsor, Pericles, Henry V, Henry VI, Hamlet, The Shoemaker’s Holiday, Treasure Island, The Count of Monte Cristo, The Grapes of Wrath, Home, Of Mice and Men, The Diary of Anne Frank, Ah, Wilderness!, Quiet in the Land, The Donnellys. Elsewhere (selected): A Wind in the Willows Christmas, The Yalta Game, Afterplay,

Falling: A Wake (Alternative Theatre Works – founding member); Bolsheviki (world première, Infinithéâtre/ATW); original Owen in The Melville Boys (TNB); Garrison’s Garage, Country Hearts, Blyth Festival. Et cetera: Graduate of Dawson College’s Dome Theatre program – a proud “Domie.” Robert lives in Stratford with his wife, Peggy Coffey, and children, Mary and Lawrence.

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John Kirkpatrick2015: Marcellus, Fortinbras in Hamlet, Philip, Pedant in The Taming of the Shrew and Boyet in Love’s Labour’s Lost. Second season. Stratford: René Descartes in Christina, The Girl King and Red Knight/Walrus in Alice Through the Looking-Glass. Elsewhere (selected): Jaques in As You Like It, Cassius in Julius Caesar, Lucio in Measure for Measure, Jake in Stones in His Pockets, Sam in Fully Committed (Citadel Theatre); Slim in Of Mice and Men (Canadian Stage/Theatre Calgary); Tybalt/Friar Laurence in Romeo and Juliet, Roy Darwin in Counsellor-at-Law (Theatre Calgary); Everard in Age of Arousal, Ned in The Gift of the Coat (Alberta Theatre Projects); Milan in

Rock ’n’ Roll (Canadian Stage/Citadel Theatre); Kent in King Lear, Sir Andrew Aguecheek in Twelfth Night (Freewill Shakespeare Festival.) Film/TV: Blackstone, Mixed Blessings. Training: BFA in Acting, University of Alberta. Awards: Elizabeth Sterling Haynes Award, Measure for Measure, Citadel Theatre. Et cetera: “Love to Breanna.”

Holly Korhonen 2015: Assistant stage manager of The Taming of the Shrew and Love’s Labour’s Lost. 14th season. Stratford: Assistant stage manager: King Lear, A Midsummer Night’s Dream, Blithe Spirit, Mary Stuart, Charlie Brown, The Pirates of Penzance, The Merry Wives of Windsor, The Misanthrope, Kiss Me, Kate, Dangerous Liaisons, The Importance of Being Earnest, Ever Yours, Oscar, Cabaret, My One and Only, The Comedy of Errors, South Pacific, Oliver!, Cat on a Hot Tin Roof, Edward II, The Count of Monte Cristo, Anything Goes, Henry VI. Stage manager: Birmingham Conservatory, 2006 and 2007. Elsewhere: Stage management at the Thousand Islands Playhouse, the Globe,

the Grand and Factory theatres. Awards: Tanya Award, three Guthrie Awards. Et cetera: Holly thanks all those who have made it possible for her to balance her two great loves, the theatre and her son, Jackson. She is ever grateful for all the love and support that surrounds her.

Josue Laboucane2015: Francisco in Hamlet, Sugarsop in The Taming of the Shrew and Costard in Love’s Labour’s Lost. Third season. Stratford: King Lear, A Midsummer Night’s Dream, The Beaux’ Stratagem, Mary Stuart, Measure for Measure, Othello. Birmingham Conservatory: Toby Belch, Twelfth Night (Robin Phillips); Private Lives, Tons of Money (Christopher Newton); Hamlet (Stephen Ouimette); Love’s Labour’s Lost (Martha Henry). Elsewhere: Henry VI, Henry VI: Wars of the Roses, Richard III, A Midsummer Night’s Dream, Measure for Measure, Hamlet, Rosencrantz and Guildenstern Are Dead, Julius Caesar, Timon of Athens (Bard on the Beach); Zachary, The Exquisite Hour

(Relephant); Cowardly Lion, The Wizard of Oz, Toad, A Year with Frog and Toad, Horton, Seussical (Carousel); The Emperor’s New Threads (Axis). Training: Birmingham Conservatory, Studio 58, Canadian National Voice Intensive. Awards: Multiple Jessie nominations, one win; Sydney J. Risk Award. Et cetera: Josue is also a teacher, director and mask maker. Online: “Tweet me @josuelaboucane.”

Gabriel Long2015: Moth in Love’s Labour’s Lost. Third season. Stratford: Sentinel in A Midsummer Night’s Dream (2014), Town Boy in The Merchant of Venice (2013). Elsewhere: DJ in Scout, Corvis in The Bully Effect, Fudge in Tales of a Fourth-Grade Superfudge-a-Mania (Growing in the Arts). Training: Junior acting, Growing in the Arts School of Dramatic and Cinema Arts. Graduate, Music for Young Children program. Awards: Acting scholarship, Growing in the Arts School of Dramatic and Cinema Arts. First Class Honours, Royal Conservatory of Music Grade 4 Piano and Advanced Rudiments. Et cetera: Gabriel loves reading, writing, performing magic tricks and playing drums. He would

like to thank Gita Ashley for opening the world of drama to him. Gabriel would also like to thank Mom, Dad, Jordan, Rachel and Echo (their dog) for supporting him in this amazing opportunity!

Tiffany Claire Martin2015: Katherine in Love’s Labour’s Lost and appears in Hamlet. Stratford debut. Stratford: A participant in the 2014 Birmingham Conservatory. Elsewhere: Tiffany has played Vivian in The Devil We Know (Blyth Festival), Laurie in Spelling 2-5-5 (Carousel Players), Chorus in Black Medea (Obsidian Theatre Company), Feste in Twelfth Night (Humber River Shakespeare), Jill in Tough (Factory Theatre). TV/Online: Sydnie in The Strain (FX Network), Una in Leslieville (a Broken Stairs production), Sam in Sweet Fever (Sandbox Empire). Training: Humber College. Et cetera: “Thank you to all the amazing people who have supported and continue to support my

joy of telling stories. Especially Mr. EAR.”

Shruti Kothari2015: Appears in Hamlet and Love’s Labour’s Lost and understudy in The Taming of the Shrew. Stratford debut. Elsewhere: Princess/Genie in Aladdin (Diversified Productions), Mimi in Rent, Gary Coleman in Avenue Q (Lower Ossington Theatre); Mallory/April in City of Angels (Queen’s Musical Theatre); Nickie in Sweet Charity (Blue Canoe Productions); First Fairy in A Midsummer Night’s Dream (Queen’s Drama); First Witch in Macbeth (BSS/UCC Theatre). Voice Work: Beheader in Far Cry 4 (Ubisoft), Gail in My Dad is Scrooge (Eb Scrooge Productions). Training: Queen’s University, Claude Watson School for the Arts. Et cetera: “Endless love and thanks to family and friends for their

constant support – particularly to my parents for sharing their love of the theatre and for always taking a four-year-old’s, seven-year-old’s and 20-year-old’s dream seriously.”

Peter McBoyle2015: Sound designer of The Sound of Music, Carousel and Love’s Labour’s Lost. 20th season. Stratford (selected): Crazy for You, Man of La Mancha, Antony and Cleopatra, Fiddler on the Roof, 42nd Street, A Word or Two, Shakespeare’s Will, Jacques Brel, West Side Story. Elsewhere: Peter has been fortunate to work at most major Canadian theatres including Shaw, NAC, Citadel, Theatre Calgary and Canadian Stage. Recent and notable projects include Come Fly Away (Broadway, Vegas, tour); Arrabal (BASE/Mirvish); Sister Act, Catch Me If You Can, West Side Story, Legally Blonde (tours); Barrymore (Livent); Stagger Lee (Dallas Theater Center); The Wild

Party (Acting Up Stage/Obsidian); Vanya and Sonia and Masha and Spike (RMTC/Mirvish); Cinderella (Ross Petty). Training: BA, MA in Music (McGill). Awards: Suzi (Atlanta), Come Fly Away; Dora nomination, Fire. Et cetera: “Thanks to Meghan, Ella and Beatrice for their unending support. Thrilled about Ella’s first year in the company!”

Elizabeth McDermott2015: Assistant stage manager of The Sound of Music, The Taming of the Shrew and Love’s Labour’s Lost. Third season. Stratford: Three Sisters, Bartholomew Fair, Phèdre, Ever Yours, Oscar, As You Like It, King of Thieves. Elsewhere: Miracle on 34th Street (STC); Bella: The Colour of Love (HGJTC); Anne of Green Gables: The Musical, Canada Rocks! (Charlottetown Festival); Night (Human Cargo); Falling: A Wake (Blyth); The Barber of Seville (Soulpepper); Binti’s Journey, Head à Tête, Old Man and the River, Red Kite Brown Box (Theatre Direct); Night of the Living Dead Live! (Nictophobia); Divisadero: A Performance (Necessary Angel); Danny, King of the Basement (Roseneath); Othello,

A Midsummer Night’s Dream, Twelfth Night, All’s Well That Ends Well (SLSF); Yellowman (Nightwood/Obsidian); Late, Black Medea (Obsidian). Awards: Jean A. Chalmers Apprentice Achievement Award (Stratford Festival, 2009 and 2010). Et cetera: “Much love to my family and friends. Thank you for your steadfast support.”

Jennifer Mogbock 2015: Reynaldo in Hamlet, Jaquenetta in Love’s Labour’s Lost and appears in The Taming of the Shrew. Second season. Stratford: Blanche of Spain in King John, Iras in Antony and Cleopatra. Elsewhere: Phebe in As You Like It (Shakespeare Theatre of New Jersey); Bernarda in The House of Bernarda Alba (Theatre of War); Icarus in Damages Tangled (Theater for the New City, N.Y.C.). Film: Quincy Vidal (Yellowhouse Pictures). Training: Birmingham Conservatory for Classical Theatre; BFA, State University of New York (SUNY) Purchase College. Online: www.jennifermogbock.com. Et cetera: “Thank you to Aragorn, family, friends, and my heavenly father.”

Derek Moran2015: Lucianus in Hamlet, Joseph in The Taming of the Shrew and French Lord in Love’s Labour’s Lost. Second season. Stratford: Egeus’s Interpreter in A Midsummer Night’s Dream, Burgundy in King Lear. Elsewhere: Romeo in Romeo and Juliet, Mario in The Game of Love and Chance (Neptune Theatre); Trout Stanley in Trout Stanley (Heart in Hand Theatre); Owen in The Melville Boys (Red Barn Theatre); Cléante in The Miser, The Compleat Wrks of Wllm Shkspr (Abridged), Romeo in Romeo and Juliet and Mug in New Canadian Kid (Sudbury Theatre Centre). Film/TV: Mayday, Lost Girl, Bomb Girls, Being Erica, Murdoch Mysteries, Life With Derek, October 1970.

Training: George Brown Theatre School, Birmingham Conservatory.

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The Taming of the ShrewBy William Shakespeare | Director Chris Abraham

with Ben Carlson, Deborah Hay, Sarah Afful, Peter Hutt, Cyrus Lane, Gordon S. Miller, Tom Rooney, Mike Shara

Production support is generously provided by Larry Enkin & family in memory of Sharon Enkin,

and by Martie & Bob Sachs

Ben Carlson, Deborah Hay. Photo: Don Dixon

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“PERFECTLY executed” THE GLOBE AND MAIL

Thomas Olajide2015: Voltemand in Hamlet, Nathaniel in The Taming of the Shrew and Dumaine in Love’s Labour’s Lost. Second season. Stratford: Oswald in King Lear. Elsewhere: Kwasi in Binti’s Journey (Theatre Direct/Young People’s Theatre); Laurent in Ruined (Obsidian Theatre); Florizel in The Winter’s Tale, Tranio in The Taming of the Shrew, Thane of Ross in Macbeth (Canadian Stage); Quentin in And Slowly Beauty (Belfry Theatre/National Arts Centre); Oliver in Oliver! (National Arts Centre); Abraham in Sia (Pyretic Productions/Cahoots Theatre Company); various in This Must Be the Place (Architect Theatre/Theatre Passe Muraille); John in The Whipping Man (Obsidian Theatre/

Harold Green Jewish Theatre). Film/TV: After School, Broken Promises (Underdog Productions); Little Black Caddy (CBC); Combat Hospital (ABC). Training: Graduate of the National Theatre School of Canada (2010), Birmingham Conservatory for Classical Theatre, Brenda Crichlow Actors’ Studio and Stella Adler Academy of Acting. Awards: Peter Donaldson Award.

Margaret Palmer2015: Production stage manager of the Festival Theatre. 32nd season. Stratford: Maggie has been PSM at the Avon, Tom Patterson and Festival theatres for 24 seasons. Stage-management credits include Henry IV (parts 1 and 2); Iolanthe; The Imaginary Invalid; My Fair Lady; A Man for All Seasons; Kiss Me, Kate; Guys and Dolls; The Government Inspector; Coriolanus; The Mikado (national tour, London’s Old Vic); and Twelfth Night (U.S. tour). Elsewhere: Maggie apprenticed at Neptune Theatre (1966/67), where she appeared as a dead body in The Physicists, and worked at the St. Lawrence Centre (Toronto Arts Productions), MTC and the Grand Theatre. She

stage-managed Eugene Onegin (Manitoba Opera), the first Dream in High Park and the first Dora Awards. She did publicity for the NDWT Company and toured Canada with the Charlottetown Festival. Training: Graduate of the National Theatre School, where she returned to coach last winter.

Janine Ralph2015: Production stage manager of the Tom Patterson Theatre and stage manager of Love’s Labour’s Lost. 25th season. Stratford: 2014: Production stage manager, Tom Patterson Theatre (Mother Courage, King John, Antony and Cleopatra) and stage manager of A Midsummer Night’s Dream: A Chamber Play. Previously: Production stage manager of the Avon Theatre and stage manager of Waiting for Godot, Elektra, Richard III, There Reigns Love, The Gondoliers, The Pirates of Penzance, Gypsy, Carousel, Henry V, An Enemy of the People, One Tiger to a Hill and Henry VIII. Elsewhere: Stage manager of The Sneeze, Talk Is Free Theatre, stage manager of Voyage de

la Vie, Resorts World Sentosa in Singapore, and production stage manager of Pinocchio: The Musical, Singapore Repertory Theatre. She has worked at various theatres in Ontario, including Young People’s Theatre, as well as CBC TV, BBC TV and the Asian Games’ ceremonies in Qatar.

Andrew Robinson2015: Cornelius in Hamlet, Gregory in The Taming of the Shrew and Longaville in Love’s Labour’s Lost. Third season. Stratford: The Merchant of Venice, King John, Romeo and Juliet, The Three Musketeers, Antony and Cleopatra, Mother Courage and Her Children. Birmingham Conservatory: Twelfth Night, Hamlet, Love’s Labour’s Lost, Tons of Money. He recently had the pleasure of working in the Incubator on The Aeneid and Cue for Treason. Elsewhere: Andrew recently premièred his second solo show, He Crucified Me (Buddies/Rhubarb – playwright/performer); Our Ajax, Intuition of Iphigenia, Elektra in Bosnia (Women and War Project – Canada/Greece tour); Machina Nuptialis

(Corpus Dance Projects); Bent (Theatre Engine); Russian Dolls (Buddies/Rhubarb – playwright/performer). Training: Birmingham Conservatory for Classical Theatre, Ryerson Theatre School. Awards: Tyrone Guthrie Award.

Tom Rooney2015: Polonius in Hamlet, Tranio in The Taming of the Shrew and Holofernes in Love’s Labour’s Lost. Eighth season. Stratford: Crazy for You, Man of La Mancha, Measure for Measure, Waiting for Godot, Wanderlust, Henry V, The Merry Wives of Windsor, Twelfth Night, As You Like It, The Winter’s Tale, For the Pleasure of Seeing Her Again, Macbeth, Julius Caesar, A Midsummer Night’s Dream, Hamlet and All’s Well That Ends Well. Elsewhere: The Seagull, Someone Else (Crow’s Theatre); Homechild, Beckett: Feck It! (Canadian Stage); My Mother’s Feet (Munich); Hairspray (Toronto and Broadway); Benevolence, Courageous (Tarragon); Hamlet (NAC); Roméo et Juliette

(Shakespeare on the Saskatchewan). Film/TV: Three seasons on CBC’s This Is Wonderland; The Gilda Radner Story; The Day After Tomorrow; Everest ’82 (CBC miniseries) and Flash of Genius. Awards: Two Gemini nominations and a Dora Award for Outstanding Actor 2013.

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HamletBy William Shakespeare | Director Antoni Cimolino

with Jonathan Goad, Seana McKenna, Geraint Wyn Davies, Tim Campbell, Adrienne Gould, Tom Rooney, Mike Shara

Production support is generously provided by Drs. M.L. Myers & the late W.P. Hayman, Jane Petersen Burfield & family,

Esther & Sam Sarick in honour of Antoni Cimolino, Barbara & John Schubert and Catherine & David Wilkes

Jonathan Goad. Photo: Don Dixon

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“Stratford Festival AT ITS BEST” TORONTO STAR

Josh Schmidt2015: Composer for Love’s Labour’s Lost. Second season. Stratford: The Merry Wives of Windsor (2011). Broadway: Brighton Beach Memoirs, House of Blue Leaves. Off-Broadway: ADD1NG MACH1N3 (Minetta Lane); A Minister’s Wife (Lincoln Center); Whida Peru (Premieres, 59E59); Dinner With Friends (Roundabout); Model Apartment (Primary Stages); Dying For It, Three Kinds of Exile (Atlantic); Water By the Spoonful (Second Stage); Fifty Words (MCC Theater); Crime and Punishment (59E59). Chicago: Steppenwolf, Goodman, Writers’ Theatre (Associate Artist). Regional: Over 100 productions across the country at venues including Ford’s Theatre

(Washington, D.C.); Alley Theatre (Houston); 13 seasons at American Players Theatre including the world première of Gift of the Magi (Spring Green, WI). Commissions: Metropolitan Opera, RKO Stage, Acting Up Stage (Toronto), Lincoln Center Theater, Playwrights Horizons, Signature (VA). Awards: Lortel, Outer Critics, Jeff, ASCAP, NEA/TCG.

Brad Rudy2015: Barnardo in Hamlet, Curtis in The Taming of the Shrew and Dull in Love’s Labour’s Lost. 25th season. Stratford: Pembroke (King John), Bill Sikes (Oliver!), Count (The Count of Monte Cristo), Talbot (Henry VI), Common Man (A Man for All Seasons), Sergeant of Police (The Pirates of Penzance); only actor to appear in all eight “Wars of the Roses” plays, consecutively. Elsewhere: Ratty (A Wind in the Willows Christmas) (ATW), Ted Narracott (War Horse) (Toronto); Gabe (Dinner With Friends) (Theatre Aquarius), Todd (The Book of Esther) (Blyth). Directing: King Lear (Fanshawe College), The Book of Esther (Festival Players of Prince Edward County), Falling: A Wake (ATW),

Girls in the Gang (St. Clair College), Our Town (Mercury Theatre). Teaching: Acting/Voice and Text (Fanshawe, St. Clair colleges); guest instructor (Michigan State, Wayne State, University of Waterloo); fight director (Aquarius, Touchmark, colleges). Jack Hutt Humanitarian Award. Et cetera: “Love to Anne, Emma, Jack and Rob.”

Mike Shara2015: Laertes in Hamlet, Hortensio in The Taming of the Shrew and Berowne in Love’s Labour’s Lost. Seventh season. Stratford: Othello, The Homecoming, The Matchmaker, King Lear, Cymbeline, The Importance of Being Earnest, Cyrano de Bergerac, Twelfth Night, The Beaux’ Stratagem. Elsewhere: Nothing Sacred, Arms and the Man, Rutherford and Son, You Can’t Take It With You, Cavalcade (Shaw Festival); It’s a Wonderful Life, Take Me Out (Canadian Stage); Boeing Boeing (Aquarius); Long Day’s Journey Into Night, The Shunning (MTC); The Great Gatsby (Grand); Our Town, The Way of the World, Black Comedy (Soulpepper); The Amorous Adventures of Anatol

(Tarragon); An Inspector Calls (Theatre Calgary); Richard III, Caesar and Cleopatra (Citadel). Film/TV: Whatever Linda, Murdoch Mysteries, Life With Boys, Little Mosque on the Prairie, The Gathering. Online: @mikeshara. Et cetera: “For my beautiful girls, Carla and Molly.”

Shawn Spicer2015: Trumpet (onstage) in Love’s Labour’s Lost. Stratford debut. This is Shawn’s first appearance onstage at the Stratford Festival. He has spent much of his time in the pit orchestra and doing fanfares over the years. Elsewhere: Shawn has played in orchestras and chamber ensembles across Canada including Symphony Nova Scotia, Toronto Symphony, the Canadian Opera Company, Orchestra London and the True North Brass. Solo appearances: Recently Shawn was featured as soloist playing the Haydn Trumpet Concerto with Orchestra London. Training: Shawn’s studies were at McGill University and Yale University and he is currently finishing a doctorate at the

University of Toronto.

Kate Stone2015: Horn in The Sound of Music, French Horn (onstage) in Love’s Labour’s Lost and Festival Theatre fanfare leader. 19th season. Stratford: Has performed in over 20 musicals at the Festival and has recorded music for many Festival productions over the years. Elsewhere: Member of Orchestra London for 24 years. Held positions with Victoria Symphony and Thunder Bay Symphony and has performed with the NAC Orchestra, KWSO and Tafelmusik. Training: University of Victoria, National Youth Orchestra and National Orchestral Institute. Et cetera: “Love to my awesome boys, Rob, Harrison and William.”

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Michael Walton2015: Lighting designer of Hamlet, The Sound of Music, Oedipus Rex and Love’s Labour’s Lost. 11th season. Stratford: King Lear, A Midsummer Night’s Dream (2009, 2014), Antony and Cleopatra, Othello, Fiddler on the Roof, The Three Musketeers, Henry V, The Matchmaker, A Word or Two, Twelfth Night, The Misanthrope, The Tempest, As You Like It, King of Thieves, Macbeth, Hamlet (2008). Elsewhere: Così Fan Tutte, directed by Atom Egoyan (Canadian Opera Company); A Word or Two with Christopher Plummer (CTG/Stratford, Los Angeles); Albert Herring (Vancouver Opera/Pacific Opera); Maria Stuarda (Pacific Opera); Enron, The Year of Magical Thinking (NAC);

Yoshimi Battles the Pink Robots, Sideways (La Jolla Playhouse, California); The Other Place, Harper Reagan, Venus in Fur, Cruel and Tender (Canadian Stage); Glenn, A Tender Thing, ’Night Mother (Soulpepper); Peter and the Starcatcher (WCT); Mary Poppins, Next to Normal (Citadel/Theatre Calgary); One Man, Two Guvnors, The Rocky Horror Show (Citadel).

Alyssa Westman2015: Assistant costume designer of Carousel and Love’s Labour’s Lost. Third season. Stratford: Assistant designer, King John and Christina, The Girl King; design consultant, Directors’ Workshop Presentation; assistant costume designer, Romeo and Juliet. Elsewhere: Costume design for Shelley or The Idealist (Fanshawe College); Hippolytos; Dinosaur and A Tranny Tale (Toronto Fringe Festival); The Specimen and A Much Debated Cleaning (Playground). Design assistant: As I Lay Dying (Theatre Smith-Gilmour). Assistant milliner: Bugzzz – A Cautionary Tale (Out of the Box Productions). Abroad: Drawing programs: Paris (Studio Escalier), 2015; Florence (SACI), 2011;

Prague Quadrennial’s Six Acts installation; International Students’ Work Exhibition, Beijing, 2011. Training: BFA with Honours, York University. Awards: Brian Jackson Award, 2014; Ian and Molly Lindsay Young Design Fellow, 2013; Herman Geiger-Torel Memorial Prize, 2012; CASA grant, 2012. Et cetera: Alyssa thanks her loving husband for always supporting her dreams.

Sanjay Talwar2015: Rosencrantz in Hamlet, Tailor in The Taming of the Shrew and King Ferdinand of Navarre in Love’s Labour’s Lost. Fifth season. Stratford: Alice Through the Looking-Glass, Hay Fever, Peter Pan, Dangerous Liaisons, Macbeth, Julius Caesar, Rice Boy, Twelfth Night, Much Ado About Nothing, Coriolanus. Elsewhere: Free Outgoing (Nightwood); Around the World in 80 Days (ATP); Peace in Our Time, Arcadia, Helen’s Necklace, Come Back, Little Sheba (Shaw); The Story (Theatre Columbus); Bombay Black (Cahoots/Arts Club); The Last Days of Judas Iscariot (Birdland Theatre); The Two Gentlemen of Verona, Measure for Measure, Titus Andronicus, director of The

Merchant of Venice and Artistic Director for five seasons (Shakespeare in the Rough); The Winter’s Tale, Romeo and Juliet, A Midsummer Night’s Dream, Twelfth Night (Dream in High Park); Helen’s Necklace (Tarragon and Pi Theatre – Jessie Award). Film/TV: Orphan Black, Puck Hogs, The Border, Flashpoint, Guns, Supernatural, Murder Unveiled. Training: Dalhousie University.

Rob Stone2015: Trombone (onstage) in Love’s Labour’s Lost and Bass Herald Trumpet in Festival Theatre fanfares. 12th season. Stratford: Rob has been playing the trombone at the Stratford Festival for the past 12 years. Elsewhere: While studying music in Los Angeles on a Canada Council grant, Rob had the chance to play alongside jazz greats Jeff Hamilton, John Clayton, Bill Watrous and Louie Bellson. On returning to Canada, Rob taught at Western University, as well as playing with Canadian greats such as Rob McConnell, Lorne Lofsky, Pat LaBarbera and Steve McDade. Rob is also active in the symphonic field, performing regularly with Orchestra London Canada. Awards: In

1993, Rob won the Frank Rosolino Award, given out by the International Trombone Association. This past winter Rob received his fourth Canada Council grant to study in Los Angeles with Bob McChesney. Et cetera: “It’s great to back for another season in Stratford.”

Tristan TidswellIan and Molly Lindsay Young Design Fellow2015: Assistant lighting designer of The Sound of Music, The Taming of the Shrew and Love’s Labour’s Lost. Sixth season. Stratford: Assistant lighting designer of Crazy for You, King Lear, The Beaux’ Stratagem, Fiddler on the Roof, Romeo and Juliet, Taking Shakespeare, The Thrill, 42nd Street, Henry V, Jesus Christ Superstar, The Homecoming, As You Like It, The Two Gentlemen of Verona, Do Not Go Gentle and King of Thieves. Elsewhere: Lighting designer of A Christmas Carol, Little Shop of Horrors (TNB); Miracle on 34th Street (TNB/STC); You’re a Good Man, Charlie

Brown, Becky’s New Car, Henry and Alice: Into the Wild (Globe Theatre). Assistant lighting designer of The Wizard of Oz (Mirvish), Priscilla, Queen of the Desert (Broadway, Mirvish). Training: BFA Honours, Ryerson University. Awards: Tristan is the recipient of the 2015 Ian and Molly Lindsay Design Fellowship at the Festival. He also received the 2009 Wally Russell Lighting Internship and Scholarship (Canadian Opera Company). Online: www.tristantidswell.com. Et cetera: Tristan is a member of the Associated Designers of Canada.

Brian Tree2015: English Ambassador, Gravedigger #2 in Hamlet, Grumio in The Taming of the Shrew and Sir Nathaniel in Love’s Labour’s Lost. 26th season. Stratford: Cardinal Pandulph (King John), Humpty Dumpty (Alice Through the Looking-Glass), Elbow (Measure for Measure), Melvil (Mary Stuart), Pisanio (Cymbeline), Wasp (Bartholomew Fair), Erronius (A Funny Thing Happened on the Way to the Forum), Costard (Love’s Labour’s Lost), Touchstone (As You Like It), Stephano (The Tempest), Joxer Daly (Juno and the Paycock), Mr. Bennet (Pride and Prejudice), Dolly Spanker (London Assurance), Oswald (King Lear), Peter Quince (A Midsummer Night’s Dream). Elsewhere:

Various roles (The Sneeze and other Chekhov one-acts), Talk Is Free Theatre; Jimmy (The Pitmen Painters), Theatre Aquarius; Michael (Someone Who’ll Watch Over Me), Kemp (Vigil), Tarragon Theatre; Bottom (A Midsummer Night’s Dream), Canadian Stage; Harry (The Sum of Us), Belfry Theatre; Jim (Passion), Grand Theatre; the Player (Rosencrantz and Guildenstern Are Dead), Touchmark.

Proudly keeping the arts in the spotlight.

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We’re pleased to support the 2015 Stratford Festival Gala.

Rodgers & Hammerstein’s CarouselMusic by Richard Rodgers | Book and Lyrics by Oscar Hammerstein II

Based on Ferenc Molnar’s play “Liliom”as adapted by Benjamin F. GlazerOriginal dances by Agnes de Mille

Orchestral Reduction by Larry Blank, based on the original by Don WalkerDirector Susan H. Schulman | Choreographer Michael Lichtefeld

with Alexis Gordon, Jonathan Winsby, Evan Buliung, Sean Alexander Hauk, Alana Hibbert, Robin Evan Willis

Production support is generously provided by Cec & Linda Rorabeck

Jonathan Winsby, Alexis Gordon, Photo: Don Dixon

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