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“WHAT’S IN A NAME?”

In 2017 we celebrate both Canada’s 150th birthday and our 65th Festival season – a season that explores identity.

Both personal and collective, identity can lend comfort or give pain. It can be used, as by Joseph Surface and Tartuffe, as a mask to deceive others – or, unconsciously, as by Timon, to deceive ourselves. But false identity, like Viola’s gender deception, can also lead to happy discoveries.

Identity can both unite and divide. How can I be myself yet belong to a greater whole? Am I Romeo first? Or am I first a Montague?

In an age of anxiety over immigration, globalization and Brexit, is identity at odds with diversity? In 1914, clinging to a particular definition of Canadian identity, our country betrayed the Sikh passengers of the Komagata Maru – most of whom had served in the British Army and were thus entitled to residency here – by denying them entry.

The Breathing Hole and The Madwoman of Chaillot suggest a profound question: if our sense of identity can stretch to encompass not only other peoples but future generations and perhaps even the land itself, might we discover a deeper sense of what it means to be Canadian? One, perhaps, informed by the spirit of the original and sovereign caretakers of this land: our First Nations.

Finally, as we celebrate our national identity, we might do well to remember that, no matter how we name ourselves, actions, not words, will define us.

“A rose by any other name would smell as sweet.”

Antoni Cimolino Artistic Director

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OUR 2017 PARTNERSAND SPONSORS

WE ARE HONOURED TO ACKNOWLEDGE THE FOLLOWING CORPORATIONS AND INDIVIDUALS WHO HAVE MADE

COMMITMENTS IN THE 2017 SEASON:

Support for the 2017 season of the Festival Theatre is generously provided by Daniel Bernstein & Claire Foerster

Support for the 2017 season of the Avon Theatre is generously provided by the Birmingham family

Support for the 2017 season of the Tom Patterson Theatre is generously provided by Richard Rooney & Laura Dinner

Support for the 2017 season of the Studio Theatre is generously provided by Sandra & Jim Pitblado

INDIVIDUAL THEATRE SPONSORS

CORPORATE THEATRE PARTNER

BMO Financial Group, Corporate Sponsor for the 2017 season of the Tom Patterson Theatre

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

THE STRATFORD FESTIVAL GRATEFULLY ACKNOWLEDGES THE GENEROUS SUPPORT OF THESE CONTRIBUTORS TO OUR SUCCESS:

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“The middle of humanity thou never knewest, but the extremity of both ends,” Apemantus the philosopher famously tells Timon, the prodigal-turned-misanthrope, in William Shakespeare’s Timon of Athens. Apemantus, as they say, nails it: Timon is a man of extremes, a man of excesses, who can’t find the equilibrium that allows others to live in a corrupt and dishonest world.

Even if he doesn’t actually lose his sanity – like King Lear, the other Shakespearean character he most closely resembles – there’s no disputing that Timon undergoes a startling personality change in the course of the play. When we first meet him, he’s a carefree rich man whose compulsive generosity draws friends to him like flies to honey. But after his lavish spending leaves him deeply in debt and in need of a bailout, those same “friends” suddenly prove scarce. Their betrayal causes the naïve Timon to become bitterly disillusioned. So bitterly, in fact, that he furiously repudiates not just them but all of humankind, retiring to the woods to live the life of a root-digging hermit.

Apparently a real Athenian who lived in the fifth century BCE, Timon was already a legendary misanthrope in classical antiquity. Aristophanes mentioned him. So did Plutarch. Shakespeare may have stumbled upon him while reading Thomas North’s English translation of Plutarch’s Parallel Lives, where Timon’s tale is embedded in the biography of Mark Antony – Shakespeare’s source for Antony

AN EXTREME MAN FOR EXTREME TIMES

BY MARTIN MORROW

and Cleopatra. The playwright may also have been acquainted with Timon, or The Misanthrope, a dialogue by the satirist Lucian that contains other elements found in the play.

Timon of Athens first appeared in 1623, in the First Folio edition of Shakespeare’s works. We have no record of its performance during his lifetime and, given the patchy quality of the text, it has often been regarded as an unfinished and possibly abandoned work. Historically, scholars have treated it harshly, contending that some of it was written by others (Thomas Middleton is a favourite candidate) and dismissing it as inferior, both in style and in substance, to Shakespeare’s great tragedies.

Certainly, in conventional terms, the story is lacking: Timon shifts from philanthropy to misanthropy so profoundly and irretrievably that the drama has nowhere to go. As immoderate in his hatred as he was in his liberality, he spends the latter part of the play simply raining curses on anyone and everyone. It’s as if King Lear had ended with Lear raging on the heath.

Such flaws meant that Timon of Athens was largely neglected by the theatre until the late twentieth century, when a string of revelatory productions proved that it could be far more compelling on the stage than on the page. The great Paul Scofield’s performance as a youthful, vital Timon at Stratford-upon-Avon in 1965 forced a reassessment of the character. Among

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those it inspired was Peter Brook, who launched his seminal Bouffes du Nord theatre in Paris in 1974 with a stunning international production.

In Canada, Timon already had a defender in Michael Langham. During his tenure as Artistic Director at the Stratford Festival, Langham staged a 1963 production starring John Colicos, set in the 1920s and ’30s and featuring an original jazz score by Duke Ellington. Although it divided the critics (who bridled at the then-novel idea of setting Shakespeare in the Jazz Age), Langham would come back to the play and direct it for Stratford again in 1991.

This time it boasted an astonishing Timon in Brian Bedford – a performance hailed as a “landmark” by The New York Times when, under the aegis of Tony Randall’s National Actors Theatre, the show later played Broadway to acclaim. (Two other Stratford legends, Robin Phillips and William Hutt, also tackled Timon in a much-talked-about but little-seen production that was part of Phillips’s financially disastrous 1983–84 season at the Grand Theatre in London, Ontario.)

More recently, Stephen Ouimette reiterated Timon’s dramatic power when he directed a 2004 Stratford revival, staged in modern dress and featuring a mighty Peter Donaldson. Now, like Langham before him, Ouimette is revisiting the play and once again unearthing its hidden riches. His Timon for this production is a particularly sly and apt choice: Joseph Ziegler, the subtle, sympathetic actor known to audiences of Toronto’s Soulpepper Theatre for his annual portrayal of Scrooge in A Christmas Carol – a character whose own transformation from man-hater to altruist is the mirror opposite of Timon’s.

There could be no better time for a Timon revival. We are now in an age where extreme contrasts and extreme viewpoints have gained an alarming amount of ground. Society is increasingly divided between the rich and powerful “one percent” and everyone else. We are beset by religious terrorists and fear-mongering politicians who see no middle way, while social media is polluted by the rantings of hate-filled trolls. If Timon were alive today, he might be spewing his misanthropic invective on Twitter.

Then there is the early Timon, blithely unconcerned that his profligate behaviour is plunging him deep into debt, who reminds us of our consumer society in which many people now spend beyond their means and, like Timon, are encouraged to do so by those who benefit from it. When Nicholas Hytner directed an up-to-the-minute version of the play at Britain’s National Theatre in 2012, Guardian critic Michael Billington saw in it “a bitter fable about the precariousness of a credit culture and the insulating effect of wealth.”

Although traditionally categorized as a tragedy, Timon of Athens is just as much a lacerating satire – as critics have pointed out, the play anticipates Jonathan Swift’s “savage indignation,” certainly in the later scenes where Shakespeare gives Timon a litany of blistering tirades that are entertaining in their mad extremism. Connoisseurs of the creative curse will find his sweeping denunciation of Athens outdoes in all but poetry any of the blights that Lear wishes upon his heartless daughters.

As for poetry and rhetoric, there is Timon’s scathing lecture directed at a gang of bandits, in which he finds a model for their larceny in nature itself. (It includes that wonderful line “The moon’s an arrant thief, / And her pale fire she snatches from the sun,” which provided the title for Vladimir Nabokov’s dazzling novel Pale Fire, whose antihero may be as deluded as Timon.)

Then there is Timon’s urging of Phrynia and Timandra, the courtesans of the general Alcibiades, to infect men with syphilis – a feast of comically disgusting imagery that remains toe-curling even in the era of penicillin.

Most amusing, however, is Timon’s peppery exchange with his self-appointed gadfly, Apemantus, a cynic who finds kinship with Timon’s jaundiced view of humanity even as the two of them hurl insults at each other. But there is a difference between the

two men: Apemantus, for all his asperity, sees clearly; Timon is blinded with hatred. He refuses Apemantus’s friendship even as he rejects an alliance with Alcibiades, who, wronged by the senators of Athens, is preparing to attack the city. Alcibiades (also a historical figure lifted from Plutarch) provides the play with its subplot. He, like Timon, has taken his grievance against a group of citizens to the extreme and plans to bring down all of Athens, but finally is made to listen to reason and seek a more moderate revenge.

Timon’s own rage might have proven cathartic – as perhaps it was to Shakespeare, who, it has been suggested, may have written those tirades to work out some anger of his own. The tragedy is that it doesn’t; Timon’s misanthropy is a dead end that finds solace only in the grave. Unrelenting hatred merely ends up consuming the hater. We are reminded that the only sane path, for ourselves and the world, is one that tempers anger, however justified, with reason. Timon is like those fanatics, whether they be religious zealots or political demagogues, raging futilely at a world that doesn’t – and will never – conform to their ideals.

Martin Morrow is a Toronto-based arts journalist and the president of the Canadian Theatre Critics Association.

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THE STORYRenowned for his extreme generosity, the Athenian nobleman Timon has fallen prey to flatterers and false friends, on whom he showers lavish gifts and extravagant hospitality. His loyal steward, Flavius, tries to warn him of the financial consequences of such reckless expenditure, while the cynical philosopher Apemantus mocks his naivety, but Timon ignores them both. When his money runs out and his creditors demand payment, Timon sends confidently to his “friends” for help. When all refuse him, he throws one last party – one that heralds a dramatic change in his attitude to the world.

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very moment: how do we proceed, and be honourable and kind to each other?

DP: In that regard, is it significant that some male roles are being played by women in this production?

SO: I do believe – just surmising from his work – that Shakespeare thought highly of women and felt that a maternal society might somehow be a better one. One reason, of course, for the preponderance of men in his plays is that the society he was working in didn’t allow women on stage, so female roles had to be played by boys. This play in particular is populated almost entirely by men. I don’t want to do a disservice to the play – but at the same time, I don’t want to do a disservice to the women of the world. So we’ve made some changes: some of the young up-and-coming people in the Senate, for instance, are women, as are some of the creditors and servants who are sent to exact money from Timon. I think our audiences want to see a world more populated with women, a world more reflective of our society today.

David Prosser is the Stratford Festival’s Literary and Editorial Director.

DIRECTOR’S NOTES

DP: Stephen, all previous Stratford Festival productions of Timon of Athens, including your own in 2004, have been in modern dress. Does this say something about the play?

SO: I think some plays work best in their own period, and some just demand to be done in a modern setting. I think this one absolutely does: it speaks to a modern audience, and its message is really important to us today. There’s a little exchange right at the beginning: “How goes the world?” asks the Poet. And the Painter

replies, “It wears, sir, as it grows.” I feel that line has become so important to us. Look at the wear and tear we’ve been putting poor old Mother Earth through. It was true then but it’s even truer now.

TRUER THAN EVERDIRECTOR STEPHEN OUIMETTE AND ASSISTANT DIRECTOR

JONATHAN SEINEN IN CONVERSATION WITH DAVID PROSSER

JS: It’s interesting how often the word now appears in the text. It’s almost a call from the play to put it in a contemporary setting: that it’s happening now.

DP: Stephen, you used the word message. Is this a play with a message?

SO: It has the simplicity of a parable, a morality play – but in that simplicity, there is so much. Ultimately, it’s about friendship: is true friendship possible in a credit society? There’s a beautiful club in Timon’s mind that he thinks everybody belongs to: he believes in it, and he thinks everybody else believes in it as well. But they don’t.

JS: He has a vision of how the world should operate, how people should treat each other. That’s set up beautifully in the first part of the play. It’s exciting to see someone willing to imagine what the world should be, and believe in it so much that he acts as generously as he does. That’s why it’s so heartbreaking in the second half, because the world doesn’t meet his expectations.

SO: And that we think of it as a flaw to have such an open heart. What we see in Timon is a soft, warm and open heart hardening. That’s the tragedy of the play. And based on that conflict, it lets us see somebody go to the darkest place in their soul. We all have days when we’re disheartened, when we just think, “I’m done,” but generally we

carry on. This is a chance to watch, from the safety of our seats, as someone really does decide he’s done with the world. Ultimately, the message is the same as that of King Lear: “Speak what we feel, not what we ought to say.” Be true to your word, be loyal, love other human beings.

JS: The extremes to which Timon goes pose a very contemporary challenge, also to a younger generation. We may consider ourselves politically aware and socially conscious. We keep abreast of current affairs, we think we’re engaged. And we get a bit cynical about our neo-liberal, globalized world. But Shakespeare undercuts that and asks: are you really doing all you can to engage with the world as it is? Are you going to change it, or just be cynical? The play shows us where we’d actually have to go if we wanted to take a real stand outside the world we live in. And therein lies a challenge.

DP: But Timon doesn’t really change things, does he?

SO: The play’s not sewn up in a happy ending. The question it poses is: What do we do now? How do we proceed from here? And that’s what we’re all facing at this

“ It has the simplicity of a parable – but in that simplicity, there is so much more”

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Born 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, 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, 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

WILLIAM SHAKESPEARE PLAYWRIGHT

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.

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TIMON OF ATHENS | BY WILLIAM SHAKESPEARE

SHAKESPEARE’S BEEHIVEStudio Theatre, Friday, June 23, 9–10:30 a.m. From $25

George Koppelman and Daniel Wechsler share how they came to believe that the annotations in an Elizabethan dictionary were penned by Shakespeare and discuss how those notes shed light on his early plays.

THE ELLINGTON/STRATFORD CONNECTIONFestival Theatre lobby, Monday, July 24, 7:30–9:30 p.m. From $25

Michael McClennan leads a performance of Duke Ellington’s 1963 score for Timon of Athens and his 1957 album Such Sweet Thunder, inspired by and dedicated to the Stratford Festival.Support for Forum Music is generously provided by Sandra Rotman in honour of Louis Applebaum through The Louis Applebaum Visiting Artists Program.

SHAKESPEARE AND COMPANY: THE PLAYWRIGHT’S WORLDChalmers Lounge, Avon Theatre, Sunday, July 30, 10:30 a.m.–noon. From $25

Robert Cushman moderates a discussion with Antoni Cimolino, Jeannette Lambermont-Morey and Randall Martin, breaking open the social and theatrical conditions in which the Elizabethan and Jacobean dramatists operated, how the writers interacted, and why this was a Golden Age.

TABLE TALK: TIMON OF ATHENSPaul D. Fleck Marquee, Festival Theatre, Tuesday, August 22, 11:30 a.m.–1:15 p.m. From $42

A delicious buffet meal with a talk on Timon of Athens by Alexander Leggatt. Reserve at least 48 hours in advance.

TimonJoseph Ziegler

PoetJosue LaboucanePainterMike NadajewskiJewellerRodrigo BeilfussMerchantQasim Khan

Flavius, Timon’s stewardMichael Spencer-Davis

TIMON’S SERVANTSFlaminiusTyrone SavageServiliusSébastien HeinsLuciliusJosh Johnston

TIMON’S FRIENDSLuciusRobert KingLucullusRylan WilkieSemproniusOmar Alex KhanVentidiusCyrus Lane

Lucullus’s FriendJessica B. Hill

First SenatorGareth PotterSecond SenatorDavid Collins

Third SenatorQasim KhanFourth SenatorCyrus LaneCaphisZara Jestadt

Old AthenianDavid Collins

ApemantusBen Carlson

AlcibiadesTim CampbellTimandraJacklyn FrancisPhryniaIjeoma Emesowum

CREDITORS’ SERVANTSHortensius, Lucullus’s servantMike NadajewskiPhilotaJessica B. HillTitusQasim Khan

Isidore’s servantMikaela DaviesFirst Servant of VarroRodrigo BeilfussSecond Servant of VarroCyrus Lane

Lucius’s servantMikaela Davies

CupidIjeoma Emesowum

DANCERSMikaela DaviesJessica B. HillZara Jestadt

First StrangerJacklyn FrancisSecond StrangerIjeoma EmesowumThird StrangerMikaela Davies

First BanditCyrus LaneSecond BanditJosh JohnstonThird BanditQasim Khan

Soldiers, Servants, Prisoners, Traders, CitizensRodrigo BeilfussMikaela DaviesIjeoma EmesowumSébastien HeinsJessica B. HillZara JestadtJosh JohnstonQasim KhanRobert KingJosue LaboucaneCyrus LaneMike NadajewskiTyrone SavageRylan Wilkie

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BACKSTAGEProduction responsibilities during the performance accomplished by:

PRODUCTION CREDITS

ACKNOWLEDGEMENTS

A member of the Professional Association of Canadian Theatres, the Stratford Festival engages, under the terms of the CanadianTheatre 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 ofthe International Alliance of Theatrical Stage Employees (IATSE). Wardrobe attendants are members of IATSE Local 924. Scenicartists are members of IATSE Local 828. The musicians, musical directors, conductors, and orchestra contractors engaged by theStratford Festival are members of the Toronto Musicians’ Association, Local 149 of the American Federation of Musicians of theUnited States and Canada.

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

ARTISTIC CREDITS

THERE WILL BE ONE

20-MINUTEINTERVAL

Director of ProductionSimon MarsdenProduction AdministratorCarla FowlerAdministrative AssistantCindy JordanAssociate Technical DirectorDavid Campbell

Design CoordinatorMary-Jo Carter DoddTechnical Director – Scenic ConstructionAndrew MesternScene Shop ManagerRobbin CheesmanTechnical Management AssistantMichael Besworth

TransportationCharlie Fox Dirk Newbery B.J. Shaver James ThistleElectronics TechnologistChris Wheeler

UNDERSTUDIES

Rodrigo Beilfuss Alcibiades, Third Bandit

Mikaela Davies Painter, TimandraIjeoma Emesowum Caphis,

Philota, Lucullus’s FriendJacklyn Francis Lucius’s Servant,

Isidore’s ServantSébastien Heins Second Bandit,

Fourth SenatorJessica B. Hill Poet, First Senator,

CupidZara Jestadt Merchant, Jeweller,

Phyrnia, First Stranger, Second Stranger, Third Stranger

Director Stephen Ouimette

Designer Dana OsborneLighting Designer Kimberly PurtellSound Designer Thomas Ryder PayneFight Director John SteadMovement Director Adrienne Gould

Producer David AusterCasting Director Beth RussellCreative Planning Director Jason Miller

Assistant DirectorJonathan SeinenAssistant DesignerCaitlin LuxfordAssistant Lighting DesignerHilary PitmanAssociate Fight DirectorAnita NittolyFight CaptainGareth PotterDance CaptainJacklyn Francis

Stage ManagerMichael HartAssistant Stage ManagersKatie HonekHolly KorhonenMelissa VealProduction Assistant Fran BarkerProduction Stage ManagerJanine Ralph

Technical DirectorSean Hirtle

The drawing Feeding 1, from Wild Man Series by Zachari Logan, is used by kind permission of the artist.

Special thanks to Jared Armstrong. Special thanks also to Jennifer Anderson, MD, St. Michael’s Hospital, Toronto; Sean Blaine, 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; Thomas R. Verny, MD, DHL, DPsych, FRCPC, FAPA, Stratford; John Yoo, MD, London Health Sciences Centre, London. Pianos tuned and maintained by Don Stephenson.

Cover: Joseph Ziegler. Publicity and page 1 photography by Lynda Churilla.

Josh Johnston Third SenatorOmar Alex Khan Old AthenianQasim Khan Ventidius, Second

SenatorRobert King Hortensius, TitusJosue Laboucane FlaviusCyrus Lane Sempronius, LuciusMike Nadajewski Flaminius,

Lucilius, ServiliusGareth Potter ApemantusTyrone Savage Lucullus, First

BanditMichael Spencer-Davis TimonRylan Wilkie Varro’s Servants

Head CarpenterPaul GormanAlternateJohn LoweHead ElectricianTimothy HansonHead PropertySteve Gregg

Head SoundMichael Duncan

Wardrobe HeadInez Khan

Wardrobe AttendantsJane MalloryEmma PawlukJulia Wylie

SwingLuci Pottle

Wigs and Makeup Show HeadJulie ScottWigs and Makeup CrewTracy Frayne

AUDIENCE ALERTAtmospheric haze and fog are used in this production.

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PROPERTIES

Head of PropertiesDona HrablukAssisted byEric BallKen DubblestyneMichelle JamiesonKathryn KerrShirley LeeJennifer MacdonaldBrian McLeodNina MuellerDylan MundyHeather RuthigLisa SummersProperties BuyerTracy FultonAssistant Properties BuyerKathleen Orlando

SCENIC ART

Head Scenic ArtistDuncan JohnstoneAssistant Head Scenic ArtistDaniel McManusAssisted byKevin KempMichael WharranSteve WisemanJessica WuBlair Yeomans

SCENIC CARPENTRY

Head CarpenterRyan FlanaganHead of AutomationIan PhillipsAssisted bySimon AldridgeDavid BedfordMark CardPaul CooperGary GeigerPaul HydeScott KingJohn RothJoseph SaundersMark SmithGeoff TaylorCliff Tipping

WARDROBE

Head of WardrobeBradley DalcourtWardrobe Head – Avon and Studio TheatresElizabeth CopemanWardrobe Coordinator – Tom Patterson TheatreMichelle BarnierCuttersJohanna BillingsKim CrossleyMelanie FarrarFirst HandsKrista NaumanGina SchellenbergSewersMonica BergCaroline BroadleyPam DeichertSharon GashgarianJune GunnShona HumphreyOlga M. KouzminaDebbie KschesinskiAnna LachPaulette LaporteDeborah S. LountElisabeth MastrandreaEmma PawlukCatherine WeberBijoux/DecorationTami MacDonaldAssisted byRebecca DillowLiane GuttadauriaKathi PosliffBoots and ShoesKaren BeamesAssisted bySarah CookMichael KarnChantelle LaliberteConnie PuetzDyeingSylvia MinarcinAssisted byLinda PinhayDyeing ApprenticePenelope SchledewitzCostume PaintingLisa Hughes

MillineryThea C. CrawfordAssisted byHelen FlowerKaz MaxineMonica VianiPurchasing CoordinatorChevy BarlowPurchasing AssistantErin Michelle SteeleToronto Wardrobe BuyerSusan RomeWardrobe ApprenticeNatilee McPhersonWarehouse SupervisorWilliam SchmuckWarehouse AssistantValerie Lariviere

WIGS AND MAKEUP

Head of Wigs and MakeupGerald AltenburgConstruction Lead HandJulie ScottConstruction CrewTracy Frayne

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ACTING COMPANY

1918

RODRIGO BEILFUSS TIM CAMPBELL BEN CARLSON DAVID COLLINS MIKAELA DAVIES

BMO is proud of its long standing partnership with the Stratford Festival and its season sponsorship of the Tom Patterson Theatre.

Great theatre lives here.

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RODRIGO BEILFUSS BIRMINGHAM CONSERVATORY, 2015/162017: Jeweller in Timon of Athens, Tomazo de Piracquo in The Changeling and appears in The Madwoman of Chaillot. Second season. Stratford: Young Siward in Macbeth, Frank Lubey in All My Sons, Fellow Countryman in The Aeneid. Elsewhere (selected): Hamlet (Bravura Theatre), Sea Wall (Theatre by the River), The Comedy of Errors (Shakespeare in the Ruins), The Winter’s Tale (Tom-Tom), The Merchant of Venice (SIR), Measure for Measure (LAMDA), Six Characters in Search of an Author, Richard III, Dido Queen of Carthage, As You Like It (BCCT). Director: Lungs, Cock, Generous and Bull (TBTR), Private Lives (assistant director – RMTC). Training: The University of Winnipeg, London Academy of Music and Dramatic Art, Birmingham Conservatory for Classical Theatre. Online: rodrigobeilfuss.com; @RBeilfuss. Et cetera: There is no such thing as a life of passion any more than a continuous earthquake, or an eternal fever. Besides, who would ever shave themselves in such a state? – Lord Byron.

TIM CAMPBELL2017: Alcibiades in Timon of Athens, Lollio in The Changeling and The Police Officer in The Madwoman of Chaillot. Ninth season. Stratford (selected): Chris Keller in All My Sons, Bunny, Macbeth (twice), Hamlet (twice), Julius Caesar, The Tempest, 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: Credits include Venus in Fur (ATP); Twelve Angry Men, Death of a Salesman, Who’s Afraid of Virginia Woolf? (Soulpepper); A Midsummer Night’s Dream (Shakespeare Theatre Company, Washington, D.C.); Private Lives (Chicago Shakespeare). Film/TV: 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: Dora Award, Best Ensemble (Twelve Angry Men). Past recipient of the Dora Mavor Moore Guthrie Award (for outstanding contribution to the Stratford Festival).

BEN CARLSON2017: Apemantus in Timon of Athens, De Flores in The Changeling and The President in The Madwoman of Chaillot. 10th season. Stratford: Hamlet, Petruchio, Benedick, Leontes, Brutus, Octavius, Fluellen, Feste, Touchstone, Fredrik (A Little Night Music), Beralde (The Hypochondriac), Captain von Trapp (The Sound of Music), Charles (Blithe Spirit), Alceste (The Misanthrope), Jack (The Importance of Being Earnest), Chaplain (Mother Courage and Her Children), Burleigh (Mary Stuart). Elsewhere: Most recently: The Audience, MTC/Mirvish Productions. Shaw Festival: Tanner, Man and Superman; over 25 productions. Chicago Shakespeare Theater: Hamlet, Macbeth, Pericles. Various favourites: London Road, Canadian Stage; Our Town, Soulpepper Theatre; Berowne, NAC; Biff, Death of a Salesman, Neptune Theatre; Marchbanks, Candida, Theatre Calgary; Private Gar, Philadelphia, Here I Come!, Walnut Street Theatre (Philadelphia). Film/TV: The Strain, Reign, The Anniversary, Saving Hope, Rookie Blue, Grey Gardens, Slings and Arrows, The 11th Hour. Awards: Joseph Jefferson, Hamlet; Dora, The Doll’s House.

DAVID COLLINS2017: Old Athenian, Second Senator in Timon of Athens, Vermandero in The Changeling and The Baron in The Madwoman of Chaillot. Ninth season. Stratford: Macbeth, As You Like It, The Hypochondriac, The Adventures of Pericles, The Alchemist, King Lear, A Midsummer Night’s Dream, Much Ado About Nothing, Henry V, Richard III, Titus Andronicus, The Tempest, Caesar and Cleopatra. Elsewhere: Shakuntala (Premiere Dance Theatre); The Adventures of a Black Girl in Search of God (Mirvish); The Comedy of Errors, Twelfth Night, Donut City (Canadian Stage); Pusha Man, Ma Rainey’s Black Bottom (Passe Muraille); Top Gun the Musical (Factory Theatre/N.Y.C.); Romeo and Juliet (Shakespeare in Action); founding member, Obsidian Theatre Company. Film/TV: Watch Dogs 2, 12 Monkeys, Jean of the Joneses, Saving Hope, Murdoch Mysteries, Nikita, The Firm, ReGenesis, Owning Mahowny, The Incredible Hulk, MVP, Warehouse 13, Nurse.Fighter.Boy, XIII. Training: MFA, York University. Awards: Tyrone Guthrie Award. Dora nominations: Twilight Café, The America Play.

MIKAELA DAVIES2017: Third Stranger in Timon of Athens, Beatrice-Joanna in The Changeling and Irma, the Kitchen Girl, in The Madwoman of Chaillot. Second season. Stratford: Katherine, Dauphin, Young Mowbray, Salisbury, Shadow, Lady Attending the Queen in Breath of Kings: Rebellion and Redemption. Elsewhere: Leonora in The Libertine (TIFT), Nurse Jane/Faith Matheny in Spoon River, Rossignol in Marat/Sade (Dora nominations for Best Ensemble), Gittel in The Dybbuk, Mary Warren in The Crucible, Flipote in Tartuffe, Mrs. Cherry in Idiot’s Delight, Natasha in The Thirst of Hearts, Molly Ivors in The Dead (Soulpepper Theatre). Other: Canadian Stage RBC Emerging Artist Program: Director Development Residency. Director of Richard the Second (Secret Shakespeare), Seams (SummerWorks). Director and co-developer of How We Are; associate director of Blackbird (Artscape); assistant director of The Dead (Soulpepper). Training: Soulpepper Academy, Dome Theatre. Awards: Tyrone Guthrie Award recipient, Brian Cloutte Memorial Bursary. Online: @MikaelaLily. Et cetera: “Whether you think you can or you can’t – you’re right.”

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JOSH JOHNSTON OMAR ALEX KHAN QASIM KHAN ROBERT KING JOSUE LABOUCANEIJEOMA EMESOWUM JACKLYN FRANCIS SÉBASTIEN HEINS JESSICA B. HILL ZARA JESTADT

IJEOMA EMESOWUM BIRMINGHAM CONSERVATORY, 2015/162017: Phrynia, Cupid, Second Stranger in Timon of Athens, Diaphanta in The Changeling and appears in The Madwoman of Chaillot. Fourth season. Stratford: Gentlewoman in Macbeth, Phebe in As You Like It, Third Doctor, La Troupe de Molière in The Hypochondriac, Maria in Love’s Labour’s Lost, Jackie Coryton in Hay Fever, Hamlet, The Taming of the Shrew, Alice Through the Looking-Glass, Antony and Cleopatra. Elsewhere: Five seasons with the Shaw Festival including Major Barbara, Serious Money, Ragtime, 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, Love’s Labour’s Lost, Hamlet, The Taming of the Shrew, Macbeth (Stratford Festival HD). Training: Birmingham Conservatory for Classical Theatre; BFA, University of Windsor. Online: Twitter: @UsoIje. Et cetera: “Love and thanks to my family and Jake.”

JACKLYN FRANCIS2017: Timandra, First Stranger in Timon of Athens, The Flower Seller in The Madwoman of Chaillot and appears in The Changeling. Fifth season. Stratford: Past highlights include Celia in As You Like It and Caroline Bingley in Pride and Prejudice. Elsewhere: Citadel Theatre, Blyth Festival, Shakespeare in the Ruff, Canadian Stage, YPT, Theatre Northwest, Sudbury Theatre Centre, Manitoba Theatre Centre, Resurgence Theatre, Theatre By the Bay, Brookstone Theatre, Buddies in Bad Times, Thought For Food, Pencil Kit Productions, The Troubled Souls Co-op, Equity Showcase Theatre, the Toronto Fringe, and SummerWorks. Film and TV: Murdoch Mysteries, Rookie Blue, Flashpoint, Little Mosque on the Prairie, Missing, Train 48, Do No Harm, Starhunter 2300, It’s Always Something, Our Hero, The City, FX: The Series, Falling Fire (feature film). Training: George Brown Theatre School, Banff/Citadel Robbins Academy. Awards: Jean A. Chalmers Award.

SÉBASTIEN HEINS2017: Servilius in Timon of Athens and Charles Surface in The School for Scandal. Second season. Stratford: Aumerle, Prince John in Breath of Kings: Rebellion; Prince John, Mouldy, Le Fer in Breath of Kings: Redemption. Elsewhere (selected): Brotherhood: The Hip Hopera (b current/represented by FOX Entertainment Agency); Mr. Burns: A Post-Electric Play (Outside the March/Crow’s/Starvox); Mr. Marmalade (Outside the March); The Lion King (Mirvish). Film/TV: CTV’s The Listener, SuperChannel’s Darknet, CBC’s Cracked. Training: National Theatre School of Canada. Awards: Tullio Cedraschi Award at NTS, Toronto Urban Film Festival’s City Stories Award for Her Chance to Dream, Best Emerging Artist Award at United Solo Festival in N.Y.C. Online: @sebastienheins; thehiphopera.com. Et cetera: Sébastien dedicates this season to curiosity. He thanks his family, friends, colleagues, and incredible partner, Dasha, for making his life as an artist an epic adventure every day.

JESSICA B. HILL BIRMINGHAM CONSERVATORY, 2014/152017: Philota, Lucullus’s Friend in Timon of Athens, Isabella in The Changeling and appears in The Madwoman of Chaillot. Third season. Stratford: Lydia Lubey (All My Sons), Lola (Bunny), Dame Pliant (The Alchemist). Birmingham Conservatory: Duchess of York/Richard (Richard III), Paulina (The Winter’s Tale). Elsewhere: Ilona in The Play’s the Thing, Petra in An Enemy of the People (Segal Centre); Les Zinspirés 2.0 (Théâtre français de Toronto); Lena Horne in Joe Louis: An American Romance (Infinithéâtre); Holly in The Lady Smith (Black Theatre Workshop); Scapin, Much Ado About Nothing (Repercussion Theatre); Tamora in Titus Andronicus (Montreal Shakespeare Theatre Company); Jehanne in Jehanne of the Witches (Tableau d’hôte). Film/TV: 30 vies (Radio-Canada); The Battle of Wills (Informaction). Training: Birmingham Conservatory; McGill University; Dawson College. Awards: Mary Savidge Award (2016); Elsa Bolam Award (2006); Brian Cloutte Award (2005). Online: jessicabhill.com. Et cetera: “Love and gratitude to my family and friends.”

ZARA JESTADT BIRMINGHAM CONSERVATORY, 20162017: Caphis in Timon of Athens and appears in The Changeling and The Madwoman of Chaillot. Stratford debut. Elsewhere: Mrs. Erlynne in Lady Windermere’s Fan, Mayor in The Enchanted and Zinka in The Suicide (George Brown Theatre School); Mary in Lazarus and His Beloved (Broken Hill Theatre). Film/TV: Maggie in The Days of Destitute (Imaginarium Studio Inc.). Training: Birmingham Conservatory for Classical Theatre, George Brown Theatre School, McGill University, Etobicoke School of the Arts. Awards: Dean’s Award, Timsel Challenge Award (George Brown Theatre School). Et cetera: Thank you to Mom, Dad, family and friends for your constant support and inspiration. It means the world.

JOSH JOHNSTON BIRMINGHAM CONSERVATORY, 2014/152017: Lucillius, Second Bandit in Timon of Athens, Handyman in The Madwoman of Chaillot and appears in The Changeling. Third season. Stratford: Shakespeare in Love, The Lion, the Witch and the Wardrobe, Hamlet, Love’s Labour’s Lost. Directors’ Workshop Presentation: Coriolanus in Coriolanus. Birmingham Conservatory: Richmond in Richard III, Proteus in The Two Gentlemen of Verona, Young Shepherd in The Winter’s Tale. Elsewhere (selected): Sebastian in Who’s Under Where? (Lighthouse Festival Theatre); Giri in The Resistible Rise of Arturo Ui (red light district); Sebastian in Twelfth Night (Unit 102); Kenzie in Fleeto (Tiny Room). Film: Joey in Chickens (Moir Movies); Stephen in The Silver Chevy (Sheridan College). Training: BFA in Acting, York University; Birmingham Conservatory for Classical Theatre. Awards: Michael Mawson Award. “Her very silence is the still centre of this turning world.”

OMAR ALEX KHAN2017: Sempronius in Timon of Athens, Trip in The School for Scandal and William Hopkinson in The Komagata Maru Incident. Stratford debut. Elsewhere: As You Like It, Titus Andronicus (Canadian Stage/Shakespeare in High Park); Glengarry Glen Ross, The Seafarer, Romeo and Juliet, Black Coffee (Royal Manitoba Theatre Centre); The Kite Runner (Theatre Calgary/Citadel); Richard III, The Merchant of Venice (Shakespeare in the Ruins); Three Sisters, Iceland (Theatre Projects Manitoba); Betrayal (Winnipeg Jewish Theatre); Pygmalion (Montgomery/Watermark); Moonlight and Magnolias (Prairie Theatre Exchange); The Wanderers (Cahoots). Film/TV: The Strain, Remedy, Killjoys, Todd and the Book of Pure Evil, Less Than Kind, Jack, Wrath of Grapes: Don Cherry II. Online: omaralexkhan.com; @omaralexkhan. Et cetera: Thank you to the Pussycat, for everything.

QASIM KHAN 2017: Merchant, Third Bandit in Timon of Athens, Alonzo de Piracquo in The Changeling and Shoelace Peddler in The Madwoman of Chaillot. Stratford debut. Elsewhere: Hamlet, All’s Well That Ends Well, Das Ding (Canadian Stage); Alligator Pie, Animal Farm, The Crucible, The Royal Comedians, Dirt (Soulpepper); Alice Through the Looking-Glass, Anne of Green Gables, workshop of A Misfortune (Charlottetown Festival); Beneath The Banyan Tree (Theatre Direct); A Craigslist Cantata (Acting Up/ATP/Citadel/NAC); Shannon 10:40 (Videofag); workshops of Later I Can Tell You About Jesus, United Nathans (Studio 180) and Acha Bacha (Theatre Passe Muraille). Film/TV: Riftworld Chronicles, Nikita, Saving Hope, Dan for Mayor, Little Mosque. Training: Soulpepper Academy, University of Toronto/Sheridan. Et cetera: Dora Award nominee and winner (Banyan Tree); International Actor Fellow of Shakespeare’s Globe. Huge thank-you to Robyn and the AMI family; Beth, Jackie, Stephen, Donna; Aysha and Family, Matt, friends for their love, and his beautiful Mum. Follow @theqasimkhan.

ROBERT KING2017: Lucius in Timon of Athens, Health Officer Jadin in The Madwoman of Chaillot and appears in The Changeling. 24th season. Stratford: Macbeth, All My Sons, Hamlet, Shrew, Love’s Labour’s Lost, Three Musketeers, Merchant of Venice, Romeo and Juliet, Richard III, Richard II, Cymbeline, King Lear, Twelfth Night, Measure for Measure, Merry Wives of Windsor, Dream, Pericles, Henry V, Henry VI, Shoemakers’ Holiday, Treasure Island, Count of Monte Cristo, Hunchback of Notre Dame, Grapes of Wrath, Home, Of Mice and Men, The Diary of Anne Frank, Ah, Wilderness!, Quiet in the Land, The Donnellys. Elsewhere: A Wind in the Willows Christmas, The Yalta Game, Afterplay, Falling: A Wake (Alternative Theatre Works); Bolsheviki (world première, Infinithéâtre/ATW); Owen, The Melville Boys (world première, TNB); Blyth Festival, five seasons: I’ll Be Back Before Midnight, Garrison’s Garage, Country Hearts. Et cetera: A proud “Domie” – Dawson College’s Dome Theatre program. Robert lives in Stratford with his wife, Peggy, and children, Mary and Lawrence.

JOSUE LABOUCANE BIRMINGHAM CONSERVATORY, 2012/132017: Poet in Timon of Athens, A Nasty Man in The Madwoman of Chaillot and appears in The Changeling. Fifth season. Stratford: The Lion, the Witch and the Wardrobe, The Aeneid, The Taming of the Shrew, Love’s Labour’s Lost, King Lear, A Midsummer Night’s Dream, The Beaux’ Stratagem, Mary Stuart, Measure for Measure, Othello. Birmingham Conservatory: Twelfth Night (Robin Phillips); Private Lives (Christopher Newton); Hamlet (Stephen Ouimette); Love’s Labour’s Lost (Martha Henry). Elsewhere: Henry VI in Henry VI: Wars of the Roses, Richard III, A Midsummer Night’s Dream, Hamlet, Timon of Athens (Vancouver’s Bard on the Beach); The East Van Panto (Theatre Replacement); The Exquisite Hour (Relephant); The Wizard of Oz, Seussical (Carousel); The Emperor’s New Threads (Axis). Training: Birmingham Conservatory, Studio 58, Canadian National Voice Intensive. Awards: One Jessie Award; Sydney J. Risk Award. Et cetera: Josue also loves teaching, directing and mask-making. Twitter: @josuelaboucane.

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RYLAN WILKIE JOSEPH ZIEGLERCYRUS LANE MIKE NADAJEWSKI GARETH POTTER TYRONE SAVAGE MICHAEL SPENCER-DAVIS

CYRUS LANE2017: Ventidius, First Bandit in Timon of Athens, Alsemero in The Changeling and The Sewer-Worker in The Madwoman of Chaillot. Sixth season. Stratford: Macbeth, As You Like It, Bunny, The Taming of the Shrew, Possible Worlds, Peter Pan, King of Thieves, Cymbeline, Wanderlust. Elsewhere: TomorrowLove (Outside the March); Twelve Angry Men (Soulpepper); The De Chardin Project (Passe Muraille); Tin Drum (UnSpun Theatre); RIFLES (Next Stage Festival); Passion Play (Convergence, Outside the March, Sheep No Wool); Rock ’n’ Roll, Habeas Corpus, Take Me Out, Sweeney Todd, Amadeus (Canadian Stage); Blood Brothers (Theatre Aquarius); Kiss of the Spider Woman (Talk Is Free); You’re a Good Man, Charlie Brown (YPT). TV: Reign, Murdoch Mysteries, Anne of Green Gables: A New Beginning, The Summit. Training: London Academy of Music and Dramatic Art. Awards: Two Dora Awards (Ensemble – Passion Play, Twelve Angry Men). Online: Twitter: @CyrusALane. Beethoven Blog: beethovendays.blogspot.ca/. Et cetera: Love to Joanne and Eliza XO.

MIKE NADAJEWSKI BIRMINGHAM CONSERVATORY, 20122017: Painter in Timon of Athens, Jasperino in The Changeling and A Crank in The Madwoman of Chaillot. Eighth season. Stratford: Mr. Tumnus in The Lion, the Witch and the Wardrobe, Shakespeare in Love, The Aeneid, The Physicists, Hamlet, Peter Sellars’s A Midsummer Night’s Dream: A Chamber Play, Alice Through the Looking-Glass, Romeo and Juliet, Fiddler on the Roof, Camelot, Jesus Christ Superstar (also Broadway), Jacques Brel Is Alive and Well and Living in Paris, As You Like It, A Funny Thing Happened on the Way to the Forum (also Mirvish). Elsewhere: George in Sunday in the Park with George (Talk Is Free Theatre); Emcee in Cabaret (Manitoba Theatre Centre). Other credits include productions with Canadian Stage, National Arts Centre, Western Canada Theatre, Drayton Entertainment, Charlottetown Festival, Talk Is Free Theatre (co-founder), and three seasons with the Shaw Festival. Training: Birmingham Conservatory for Classical Theatre. Online: @mikenadajewski.

GARETH POTTER BIRMINGHAM CONSERVATORY, 20032017: First Senator in Timon of Athens, Antonio in The Changeling and Lifeguard in The Madwoman of Chaillot. 14th season. Stratford: Peter (The Lion, the Witch and the Wardrobe), Aeneas (The Aeneid), Thom (The Last Wife), Sandy Tyrell (Hay Fever), Lodovico (Othello), Don John (Much Ado About Nothing), Dauphin (Henry V), Richmond (Richard III), Hosanna (Hosanna), Ferdinand (The Tempest), Proteus (The Two Gentlemen of Verona), Malcolm (Macbeth) (twice), Romeo (Romeo and Juliet), Nathaniel (Love’s Labour’s Lost), Edgar (King Lear), Gratiano (The Merchant of Venice), Pierrot (Don Juan), Cromwell (Henry VIII). Elsewhere: Thom (The Last Wife) (Soulpepper); Mercutio (Romeo and Juliet) (MTC); Clown (The 39 Steps) (Globe); Simon/Wahab (Scorched) (Citadel/Tarragon); Pierrot (Don Juan) (Théâtre du Nouveau Monde); Narrator (The Rape of Lucrece) (Theatre Ste. Catherine); Henry V (Henry V) (Gravy Bath). Training: NTS, John Abbott College, Birmingham Conservatory. Awards: Michael Mawson Award, Chalmers Training Award. Et cetera: “Much love to Sarah and my girls.”

TYRONE SAVAGE BIRMINGHAM CONSERVATORY, 2010/112017: Flaminius in Timon of Athens, Joseph Surface in The School for Scandal and Georg in The Komagata Maru Incident. Sixth season. Stratford: George Hastings (She Stoops to Conquer), Simon Bliss (Hay Fever), Lorenzo (The Merchant of Venice), Tybalt (Romeo and Juliet), Claudio (Much Ado About Nothing), The Diary of Anne Frank, Oedipus Rex, Alice Through the Looking-Glass, The Three Musketeers, Henry V, The Grapes of Wrath. Elsewhere: Co-creator, director and actor in the Toronto Theatre Critics/Dora Award-winning Chasse-Galerie, Stag and Doe (Neptune Theatre); Plucked (SummerWorks); Wait Until Dark, Howie the Rookie, The Zoo Story (Storefront/Red One Theatre); The Bear, Twelfth Night, Romeo and Juliet, As You Like It, Arcadia, A Musical Called Robin Hood. Directing: Who’s Afraid of Virginia Woolf?, Shrew (Red One). Film/TV: Reign, Wind at My Back, Instant Star, Total Drama Island, Redwall. Training: Birmingham Conservatory, Circle in the Square. Online: Twitter: @savageuponavon.

MICHAEL SPENCER-DAVIS2017: Flavius in Timon of Athens, Alibius in The Changeling and The Waiter in The Madwoman of Chaillot. Seventh season. Stratford: Shakespeare in Love, The Lion, the Witch and the Wardrobe, The Aeneid, Taming of the Shrew, Possible Worlds, Beaux’ Stratagem, A Midsummer Night’s Dream, King Lear, Richard III, Titus Andronicus, Julius Caesar, Bartholomew Fair, Shakespeare’s Universe. Elsewhere: Art (Grand Theatre); Hound of the Baskervilles, Robin Hood (Globe Theatre); The Castle (Storefront); The Pitmen Painters, Boeing Boeing (Theatre Aquarius); Vigil, Lawrence and Holloman (Prairie Theatre Exchange); Having Hope at Home (Neptune); Twelfth Night, The Tempest (Hartford Stage); Innocence Lost (Centaur/NAC); Pride and Prejudice (Theatre Calgary/NAC); The Lonely Diner (Blyth Festival); Putnam County Spelling Bee (Thousand Islands Playhouse); Romeo and Juliet, Twelfth Night (NAC); Medea (Manitoba Theatre Centre/Mirvish); Macbeth, Othello (NAC/Citadel); The Elephant Man, Heaven (Canadian Stage); The Real Thing, Humble Boy (MTC); As You Like It, Einstein’s Gift (Citadel). Online: michaelspencerdavis.com.

RYLAN WILKIE2017: Lucullus in Timon of Athens, Pedro in The Changeling and The Broker in The Madwoman of Chaillot. Fourth season. Stratford: Shakespeare in Love, The Hypochondriac, Pericles, The Alchemist, The Physicists, Christina, The Girl King, Alice Through the Looking-Glass, King John. Elsewhere: Lion in Winter (Grand); Am I Not King? (Zone 41); Enron (Theatre Calgary); Beyond the Farm Show, Having Hope at Home (Blyth); The Story (Theatre Columbus); Blue Planet (YPT); Macbeth, Mother Courage, A Midsummer Night’s Dream (Caravan Farm); A Doll’s House (Globe); East of Berlin, The December Man, Around the World in 80 Days, Shakespeare’s Dog, The Blue Light (ATP); Three Tall Women (MTC). Film/TV: Homefront, Blue Smoke, The Secret of the Nutcracker, See This Movie. Training: NTS. Awards: Stratford’s 2014 John Hirsch Award; Dora, Betty and META nominations; Betty Mitchell Award for Vincent in Brixton. Et cetera: “Much love to KP and my family.”

JOSEPH ZIEGLER2017: Timon in Timon of Athens and Sir Oliver Surface in The School for Scandal. 10th season. Stratford: Macbeth, All My Sons, John Gabriel Borkman, The Diary of Anne Frank, She Stoops to Conquer and The Last Wife. Joseph was part of the Stratford company in the 1980s, acting in Love’s Labour’s Lost, Henry IV, Part 1, A Midsummer Night’s Dream, King Lear, Twelfth Night, The Winter’s Tale, Cymbeline, Pericles, Measure for Measure and many others. In 2000 he directed Paul Gross as Hamlet, and in 2009 he appeared in Morris Panych’s The Trespassers. Elsewhere: Founding member of Soulpepper, where he has directed and acted in many plays: Our Town, Death of a Salesman and A Christmas Carol. Shaw Festival, as actor and director of plays such as When We Are Married, Harvey, Major Barbara and Widowers’ Houses.

THE CHANGELING | BY THOMAS MIDDLETON AND WILLIAM ROWLEYDIRECTED BY JACKIE MAXWELL

WITH BEN CARLSON, MIKAELA DAVIES,TIM CAMPBELL, CYRUS LANE

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ADRIENNE GOULD MICHAEL HART KATIE HONEK HOLLY KORHONEN CAITLIN LUXFORD

ADRIENNE GOULD2017: Movement director of Timon of Athens and professional development program movement coach. 12th season. Stratford (selected): Ophelia in Hamlet (’08/’15), Miranda in The Tempest, Bianca in The Taming of the Shrew, Yasmin in Pentecost, Hero in Much Ado About Nothing, Regina in Ghosts, Phebe in As You Like It, Dot in The Swanne (part 3), Jaquenetta in Love’s Labour’s Lost, Jessica in The Merchant of Venice, Freddy in Tempest-Tost, Margot in The Diary of Anne Frank. Elsewhere: The Matchmaker (director Nicholas Martin), The Rivals (director Roger Rees) (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: Hamlet, The Lady in Question and Nikita. Recordings: Timothy Goes to School. Training: North Carolina School of the Arts, Birmingham Conservatory. Awards: Mary Savidge Award. Et cetera: I love you, Jonny G.

MICHAEL HART2017: Stage manager of Timon of Athens and The Madwoman of Chaillot. 21st season. Stratford: The Adventures of Pericles, Hay Fever, Blithe Spirit, The Tempest, starring Christopher Plummer, The Importance of Being Earnest and King Lear, both starring Brian Bedford, The Taming of the Shrew, A Delicate Balance, The Duchess of Malfi, The Liar, Fallen Angels, The Swanne: George III (The Death of Cupid), The Swanne: Princess Charlotte (The Acts of Venus), The Swanne: Queen Victoria (The Seduction of Nemesis), High-Gravel-Blind, Eternal Hydra. Elsewhere: Liv Stein (Canadian Stage); Constellations (Centaur/Canadian Stage); Body Politic (Buddies); The Death of the King (Modern Times); The Winter’s Tale (Groundling 2016); Bombay Black (Factory); Manon, Sandra and the Virgin Mary (Pleiades); Saint Carmen of The Main (NAC/Canadian Stage); Romeo and Juliet (NAC); Mother Courage and Her Children (NAC/MTC); Wit (Centaur); Real Live Girl (MTC Warehouse); Einstein’s Gift (Grand); Hamlet (Neptune).

KATIE HONEK2017: Assistant stage manager of Timon of Athens, The Changeling and The Komagata Maru Incident. Fourth season. Stratford: Assistant stage manager of As You Like It and John Gabriel Borkman. Apprentice stage manager of Alice Through the Looking-Glass and A Midsummer Night’s Dream: A Chamber Play. Production assistant of the Avon Theatre and of the 2013 Michael Langham Workshop for Classical Direction Directors’ Workshop Presentation. Elsewhere: Assistant stage manager: Tafelmusik; Dance Weekend 2013–2015 (Dance Ontario); Treehouse TV’s Big Day Out (Paquin Entertainment). Apprentice stage manager: Wormwood, Sextet (Tarragon Theatre); Pirates of Penzance, Tuesdays with Morrie (Thousand Islands Playhouse); Orpheus & Eurydice (Opera Atelier); Free Outgoing (Nightwood Theatre). Awards: Jean A. Chalmers Apprentice Achievement Award (2014).

CAITLIN LUXFORD2017: Assistant costume designer of HMS Pinafore and assistant designer of Timon of Athens and The Madwoman of Chaillot. 10th season. Stratford: Assistant costume designer of A Chorus Line and Breath of Kings (2016), six seasons in the wardrobe buyer’s office, seamstress (2009), wardrobe apprentice (2008). Elsewhere: Member of IATSE Local 822 working as a dresser, seamstress and craftsperson for the past 11 years. Head of Creative: Canada’s Wonderland Haunt event 2007. Design assistant: Theatre Athena 2006-07. Training: Diploma in Technical Production for Theatrical Arts from Sheridan Institute. Awards: Sheridan Scholar 2006, Fabricland Creative Design Award 2005 and 2006. Et cetera: Caitlin feels blessed to continually develop her professional skills within her many roles at the Stratford Festival. Many thanks to family and loved ones for their constant love and support, both here and above.

HOLLY KORHONEN 2017: Assistant stage manager of Timon of Athens and The Madwoman of Chaillot. 16th season. Stratford: Assistant stage manager: The Lion, the Witch and the Wardrobe, A Little Night Music, The Taming of the Shrew, Love’s Labour’s Lost, 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, 2007. Awards: Recipient of the Tanya Award and three Guthrie Awards. Et cetera: Holly would like to thank her partner, Steve, and their children, Jennica and Jackson, for all their love and support.

ROMEO AND JULIET | BY WILLIAM SHAKESPEARE DIRECTED BY SCOTT WENTWORTH

WITH SARA FARB, ANTOINE YARED, SEANA McKENNA, MARION ADLER, WAYNE BEST, EVAN BULIUNG, RANDY HUGHSON

PRODUCTION SUPPORT IS GENEROUSLY PROVIDED BY BARBARA & JOHN SCHUBERT

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JANINE RALPH JONATHAN SEINEN MELISSA VEALDANA OSBORNE STEPHEN OUIMETTE THOMAS RYDER PAYNE HILARY PITMAN KIMBERLY PURTELL

DANA OSBORNE2017: Costume designer of Guys and Dolls and designer of Timon of Athens. 17th season. Stratford: Costume designer of 18 productions including The Lion, the Witch and the Wardrobe. Set and costume designer: Henry IV, Part 1. Elsewhere: Recent credits: Androcles and the Lion (Shaw); Bed and Breakfast (Centaur); The Barber of Seville (Pacific Opera/Opéra de Québec); Father Comes Home From the Wars Parts 1, 2 and 3 (Soulpepper); Blithe Spirit, You are Here (Thousand Islands); Joni Mitchell – River (Grand). Awards: Two Dora Awards for Costume Design, 2012 recipient of the Virginia and Myrtle Cooper Award in Costume Design. Online: danaosborne.ca.

THOMAS RYDER PAYNE2017: Sound designer of Timon of Athens, The School for Scandal and Tartuffe. Ninth season. Stratford: Macbeth, The Hypochondriac, Hamlet, The Taming of the Shrew, The Alchemist, King Lear, A Midsummer Night’s Dream, The Beaux’ Stratagem, Othello, The Matchmaker, The Little Years. Elsewhere: Designs for BIBT, Soulpepper, Shaw, Canadian Stage, Tarragon, Factory, Theatre Passe Muraille, NAC, Blyth Festival, RMTC, Theatre Calgary, GCTC, Volcano, Nightwood, Modern Times, Aluna, Crow’s and many others. Film: Blood Harvest, Hero.Traitor.Patriot, Alegra & Jim, Robert’s Circle. Training: Studied composition with James Tenney, Honours BA, York University. Awards: 17 nominations and two Dora Awards for Sound Design and Composition. Et cetera: Started as a songwriter with a four-track tape machine and still endlessly fascinated with the storytelling possibilities of layered sound.

HILARY PITMAN2017: Assistant lighting designer of Timon of Athens, The Changeling, Bakkhai and The Madwoman of Chaillot. Second season. Stratford: Assistant lighting designer of The Lion, the Witch and the Wardrobe and A Little Night Music. Elsewhere: Assistant lighting designer: Sleeping Beauty in Dreamland (Ross Petty Productions); production electrician: Sherlock Holmes U.S./Canadian tour (Starvox Entertainment); production assistant: Drayton Entertainment (2013-2016), IMPACT Theatre Festival 2015 (MT Space). Training: University of Waterloo.

KIMBERLY PURTELL2017: Lighting designer of Timon of Athens, The Virgin Trial and The Madwoman of Chaillot. Ninth season. Stratford: Breath of Kings: Rebellion, Breath of Kings: Redemption, Bunny, The Taming of the Shrew, Possible Worlds, The Last Wife, Alice Through the Looking-Glass, Man of La Mancha, Christina, The Girl King, Waiting for Godot, You’re a Good Man, Charlie Brown, The Little Years, The Blonde, the Brunette and the Vengeful Redhead. Elsewhere: The Shaw Festival, Canadian Stage, Soulpepper, Mirvish Productions, National Arts Centre and the National Arts Centre Orchestra, Theatre Calgary, Manitoba Theatre Centre, Citadel Theatre, Vancouver Playhouse, Necessary Angel, Studio 180, Crow’s Theatre, Pacific Opera Victoria, Opera Philadelphia, Edmonton Opera, among many others. Awards: Pauline McGibbon Award, three Dora Mavor Moore Awards and a Montreal English Theatre Award.

JANINE RALPH2017: Production stage manager of the Tom Patterson Theatre and assistant stage manager of The Changeling. 27th season. Stratford: Last season Janine was production stage manager of the Tom Patterson Theatre and also stage-managed John Gabriel Borkman. Past credits include stage manager of a variety of productions at the Festival, Tom Patterson and Avon theatres and the Masonic Hall. Elsewhere: Janine has stage-managed for Talk Is Free Theatre, Barrie. She stage-managed Resorts World Sentosa in Singapore and production-managed for Singapore Repertory Theatre. She has worked on the Asian Games’ ceremonies in Qatar; in various theatres in Ontario, including Young People’s Theatre; and for CBC TV in Toronto and BBC TV in England.

JONATHAN SEINEN2017: Assistant director of Timon of Athens. Stratford debut. Elsewhere: Directing: Black Boys (Saga Collectif/Buddies in Bad Times/tour); Oblique Strategies (Studio 58 Theatre School); Charisma Furs (SummerWorks/tour); Unknown Soldier (SummerWorks, also playwright); This Must Be the Place (Theatre Passe Muraille/Architect); Deathwatch (lemonTree). Acting: Body Politic (lemonTree/Buddies); Liberation Days (Theatre Calgary); A God In Need of Help (Tarragon); As You Like It (Citadel); Highway 63: The Fort Mac Show (Architect/TPM/tour). Training: Citadel Theatre/Banff Centre, National Theatre School, University of Alberta. Online: jonathanseinen.com; @JonathanSeinen. Et cetera: Jonathan is Co-Artistic Producer of Architect Theatre, Artistic Associate with lemonTree creations, and founding member of Saga Collectif. He was Artist-In-Residence with the frank theatre company in 2016 and is currently a participant in the Canadian Stage RBC Emerging Artist Program: Director Development Residency.

MELISSA VEAL2017: Assistant stage manager of Timon of Athens. 12th season. Stratford: After spending many years as a stage manager and assistant stage manager, Melissa spent 10 seasons in the wig department at the Festival. This past winter she had the honour to serve as the coordinator of the 2016-2017 Birmingham Conservatory for Classical Theatre under directors Stephen Ouimette and Martha Henry. Thank you to all the teachers and coaches, and especially the acting company. Elsewhere: For the past 11 years, she has been the wig and makeup designer at Chicago Shakespeare Theater, where she garnered two Jeff Awards for Artistic Specialization and Wig and Makeup Design. Awards: She is the recipient of four Guthrie Awards including the Jack Hutt Humanitarian Award. Et cetera: Melissa dedicates this season to Winston Morgan. Love and gratitude for all her family.

JOHN STEADANITA NITTOLY

ANITA NITTOLY2017: Associate fight director of Twelfth Night, Guys and Dolls, HMS Pinafore, Romeo and Juliet, Timon of Athens, Treasure Island, The School for Scandal and The Changeling. Second season. Stratford: Assistant fight director: The Three Musketeers, Romeo and Juliet, Fiddler on the Roof, Blithe Spirit, Othello, Measure for Measure, Mary Stuart. Film/TV: Lead stunt double in Dark Matter, stunt actor in KIN; other stunt credits include 12 Monkeys, Ransom, Reign, The Strain. Elsewhere: Fight director and stage combat instructor at the National Theatre School in Montreal.

JOHN STEAD 2017: Head of Stage Combat. Fight director of Twelfth Night, Guys and Dolls, HMS Pinafore, Romeo and Juliet, Timon of Athens, Treasure Island, The School for Scandal and The Changeling. 24th season. Stratford: Fight director, 200+ productions. Elsewhere: 500+ productions, including 16 seasons with Shaw Festival. Film Director: Cyborg Soldier, Troubled Waters, Good Morning Tomorrow, The Waking, The Hot Flash, End Game, Charon’s Obal. TV Director: Dark Matter, Bitten, The Bobby Buck Show, XIII, Lost Girl, Earth: Final Conflict, Tracker, Mutant X, The Dresden Files, The Adventures of Sinbad. 400+ film/TV credits as stunt coordinator/action director. Awards: Award of Excellence (Canadian International Film Festival); Genre Award for Best Suspense (BNFF); Derek F. Mitchell Artistic Director’s Award, Tyrone Guthrie Award (Stratford); Judges’ Choice Award (15 Minutes of Fame International Film Festival); Best Short Award nominee (Directors’ Guild of Canada). Online: johnstead.com; IMDB: imdb.com/name/nm0824093/.

STEPHEN OUIMETTE2017: Director of Timon of Athens. Director: Birmingham Conservatory. 23rd season. Stratford: Shakespeare in Love, The Hypochondriac, The Alchemist, King Lear, A Midsummer Night’s Dream, Waiting for Godot, Twelfth Night, The Homecoming, The Importance of Being Earnest, All’s Well That Ends Well, The Tempest, King John, No Exit, Hamlet, Richard III, Amadeus, Julius Caesar. Director: Timon of Athens (2004). Elsewhere: The Iceman Cometh, directed by Robert Falls (Goodman Theatre, 2012; BAM, 2015); The Alchemist (Yale Rep); Endgame (NAC); Troilus and Cressida, The Taming of the Shrew (Chicago Shakespeare); La Bête, directed by Matthew Warchus (Broadway/West End); leading roles across Canada. Film/TV: Mentors, I Was a Rat, After Alice, Conspiracy of Silence, The Adjuster, Firing Squad. Awards: Gemini (Slings and Arrows), Blizzard (Heater), Doras (Danny and the Deep Blue Sea, Seven Stories, B Movie: The Play), Ottawa Critics Circle (I Am My Own Wife), Sterling (La Bête).

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The Michael Langham Workshop for Classical DirectionOverseen by Antoni Cimolino, Artistic Director, and Martha Henry, Director of the Michael Langham Workshop, this program offers an unparalleled opportunity for directors in the early or mid-stages of their careers to develop their craft within the rich artistry of the Stratford Festival. Participants work as the assistant director on one production in the season as well as being offered classes focused on the classics. In the fall, selected participants direct a short piece of classical theatre performed for an invited audience.

Participants and alumni this season: Graham Abbey, Michelle Boulet, Mitchell Cushman, Alan Dilworth, Charlotte Gowdy, Sarah Kitz, Peter Pasyk, Zack Russell, Jonathan Seinen, Lezlie Wade, James Wallis

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

The Michael Langham Workshop for Classical Direction is sponsored by

The Birmingham Conservatory for Classical TheatreStephen Ouimette leads this intensive professional training program that nurtures talented young actors for a future in classical theatre.

Selected by audition, participants are usually graduates of an accredited theatre training program who have at least two years’ professional experience. Upon completion of the program – which includes, among other activities, classes in voice, movement and text with Festival coaches and distinguished guest instructors – participants are offered places in the following season’s acting company. Thirty-two members of this season’s company are past participants.

The Birmingham Conservatory for Classical Theatre is made possible by the support of the Birmingham family, the Stratford Festival Endowment Foundation and the Department of Canadian Heritage. Support for the 2017 in-season work of Conservatory participants is generously provided by the Marilyn & Charles Baillie Fund, by the Chicago Associates of the Stratford Festival, by John & Therese Gardner and by the Brian Linehan Charitable Foundation.

TWELFTH NIGHT | BY WILLIAM SHAKEPEAREDIRECTED BY MARTHA HENRY

WITH SARAH AFFUL, ROD BEATTIE, BRENT CARVER, LUCY PEACOCK, GERAINT WYN DAVIES,TOM ROONEY, E.B. SMITH, SHANNON TAYLOR

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