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Production support is generously provided by the M.E.H. FoundationSupport for the 2014 season of the Tom Patterson Theatre is generously provided by

Richard Rooney & Laura Dinner

UWaterloo DramaScenes from an Execution

by Howard BarkerMarch 2012

University of Waterloo on the world stage

This is a place where imagination meets innovation — a place where unconventional

approaches push performance to new heights and allow talent to soar.

In the community and through research and teaching at our dynamic Faculty of Arts,

University of Waterloo is a proud supporter of the arts. uwaterloo.ca

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WATERLOO | Canada’s most innovative university for 22 years

UWaterloo DramaScenes from an Execution

by Howard BarkerMarch 2012

University of Waterloo on the world stage

This is a place where imagination meets innovation — a place where unconventional

approaches push performance to new heights and allow talent to soar.

In the community and through research and teaching at our dynamic Faculty of Arts,

University of Waterloo is a proud supporter of the arts. uwaterloo.ca

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04

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WATERLOO | Canada’s most innovative university for 22 years

MINDS PUSHED TO THE EDGE

In drama, the greater the conflict, the more riveting the result. This is the beauty of theatre: in a safe environment we watch titanic struggles and laugh or perhaps cry at the outcome. And along the way we gain a little bit of insight. In that light, I am excited to present a season of plays in which the characters are pushed to the very edge of their capabilities – and, in order to cope, must change or die. Metamorphosis, for instance, is at the very heart of A Midsummer Night’s Dream. Events that could be tragic become the stuff of comedy. The opposite takes place in King Lear. The plays in the 2014 season give us extraordinary characters pushed to the edge by war, by desire, by family and, above all, by love. These characters are the most cherished embodiments of our journey as people. We may begin as Alice and in time become Helena, Christina, Cleopatra, Judith Bliss, Mother Courage, Bottom, Don Quixote or Lear. I hope today’s performance will inspire you to see some of the other productions on our 2014 playbill, and to further pursue the themes and ideas embodied in them through the many engaging and entertaining events of our Stratford Festival Forum.

Antoni Cimolino, Artistic DirectorVideos on the season’s theme: stratfordfestival.ca/madness

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We are honoured to acknowledge the following corporations and individuals who have made commitments in the 2014 season:

Our 2014 Partners and Sponsors

Corporate Partners

Production and Program Sponsors

Individual Partners

In-Kind Sponsors

Sylvanacre Properties Ltd.

Support for the 2014 season of the Festival Theatre is generously provided by Claire & Daniel Bernstein

Support for the 2014 season of the Avon Theatre is generously provided by the Birmingham Family

Support for the 2014 season of the Tom Patterson Theatre is generously provided by Richard Rooney & Laura Dinner

Support for the 2014 season of the Studio Theatre is generously provided by the Parnassus Foundation, courtesy of Jane & Raphael Bernstein and Sandra & Jim Pitblado

Stratford’s Greatest Hits

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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:

Black

CMYK

Pantone

Aylmer Express

Blackburn Radio

Comtran

Famme & Co. Professional Corporation

Pelee Island Winery

Power Corporation of Canada

Pratt & Whitney Canada Inc.

Rhéo Thompson Candies

Steed Standard Transport Limited

The FSA Group

The Woodbridge Company Limited

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FORUMExpand your Experience Concerts, debates, talks, comedy, interactive presentations and more...

Table TalkPaul D. Fleck Marquee, Festival TheatreTuesday, August 5, from 11:30 a.m. to 1:15 p.m.Buffet lunch followed by a talk on Antony and Cleopatra by professor Alan Somerset. $40 with cash bar.

Shakespeare’s First FolioStratford Perth Museum, 4275 Huron Road Saturday, August 16, from 9 a.m. to 5 p.m.; Sunday, August 17, from 11 a.m. to 5 p.m.In celebration of the 450th anniversary of Shakespeare’s birth, and for the first time in history, the only copy in Canada of the 1623 edition of Shakespeare’s works – lent to the Festival by the Thomas Fisher Rare Book Library at the University of Toronto – is on display at the Stratford Perth Museum. $15.

The Secrets of the Shakespeare First FolioStudio TheatreSaturday, August 16, from 10 to 11:30 a.m.Eric Rasmussen of the University of Nevada, Reno, spent two decades studying the 232 surviving copies of the First Folio, the collection of Shakespeare’s plays published by his friends after his death. His research resulted in a definitive scholarly work as well as a general-interest book, The Shakespeare Thefts: In Search of the First Folios. While the only Canadian-held copy of the Folio is displayed in Stratford, Dr. Rasmussen shares stories of those who have possessed, lost, stolen and treasured these priceless pieces of cultural history. $25.

May we recommend these selected Forum events . . .

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photo: Michael Lionstar

Sustaining support for the Forum is generously provided by Kelly & Michael Meighen and the T.R. Meighen FoundationSupport for the 2014 Forum is generously provided by Nandita & Julian Wise

Support for Peer into the Playbill is provided in memory of Dr. W. Philip Hayman

Selected Forum Events Supported by

Broadcast Partner

200+ Forum events • April to October 2014stratfordfestival.ca/forum | 1.800.567.1600

CAMILLE PAGLIA

Shakespeare’s HistoryStudio TheatreTuesday, August 19, from 10 to 11:30 a.m.Explore our playbill’s three examples of Shakespearean chronicle: King Lear (legendary), King John (historical) and Antony and Cleopatra (Roman). $25.

Masks, Madness and Shakespeare’s SonnetsStudio TheatreThursday, August 21; Saturday, August 30; Thursday, September 4 from 10 to 11:30 a.m.Festival company members including Ruby Joy, Sarah Orenstein, Gareth Potter, Tyrone Savage and Sanjay Talwar, explore Shakespeare’s Sonnets using character half-masks. The masks liberate a subconscious creative inspiration that facilitates an actor’s mysterious connection between character and poetry. Shakespeare’s sonnets, spoken live, are rendered personal, intimate, powerfully moving and, above all, surprisingly lucid. Directed and compiled by veteran Canadian theatre director Guy Sprung in collaboration with master mask teacher Brian Smith, this presentation is an entertaining and informative glimpse into aspects of the use of masks in the theatre, and an innovative window on the power and poetry of Shakespeare’s Sonnets and the “madness” of acting. $25.

The Dark Women of ShakespeareStudio TheatreSeptember 20, from 5:30 to 7 p.m.Notable feminist and social critic Camille Paglia speaks about Shakespeare and misogyny – what is it about the mystery and ambiguity of women that so frightens men both then and now? $25.

ERIC RASMUSSENSHAKESPEARE’S FIRST FOLIO

Premier OPPOrtunity tO live StePS FrOm the AvOn riverAt thirty-Six FrOnt, StrAtFOrd’S mOSt excluSive AddreSS

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Look where they come:Take but good note, and you shall see in himThe triple pillar of the world transformedInto a strumpet’s fool. Behold and see.

In these lines from the opening scene of Antony and Cleopatra, a soldier demands that we see his general, who, with Lepidus and Octavius, is one of the three masters of the world, for what he now is – “the bellows and the fan / To cool a gypsy’s lust” – in contrast to what he once was, a great Roman warrior, like Mars, the god of war himself. What we behold, and see, are Antony and Cleopatra, with her entourage of ladies, a trumpet fanfare and “eunuchs fanning her” (a Folio stage direction), making their entrance with an extravagant, public, erotic performance: “the nobleness of life,”

pronounces Antony, embracing the Egyptian queen in a grand gesture, “Is to do thus.” “Let Rome in Tiber melt.” These two perspectives – that of the noble Roman and that of the superannuated playboy lover for whom not a minute more of life should be spent without pleasure and sport – vividly introduce the central dynamics of the play. Like perspective painting, an astonishing achievement of Renaissance art, Shakespeare’s poetry creates a similar effect. Seen one way a perspective painting reveals a disgusting figure; seen from another vantage point, one worthy of admiration and approval. To the tension thus created, the play adds another rivalry: poetry challenges painting to outdo it in persuasive power. Can it even outdo nature herself in creation? Imagination – “fancy” – challenging

Yanna McIntosh (Cleopatra)

The Clash of Mighty Opposites By Graham Roebuck

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nature is a recurring theme.In his celebrated description of the first

meeting of Cleopatra and Antony on the river Cydnus – she in her barge that “like a burnished throne / Burned on the water” – Enobarbus, Antony’s close follower, a skeptic with a taste for debunking pretensions to honour, is at a loss: “her own person … beggared all description.” All he can say is that she is more wonderful than that painter’s depiction of Venus in which the artist outdid nature itself. As she left the scene, she “made a gap in nature.” Such is the poetic effect of Enobarbus’s rhapsody that Agrippa, a tough soldier of

Octavius, is moved by the (non) description: “Rare Egyptian! … Royal wench! / She made great Caesar lay his sword to bed. / He ploughed her and she cropped.” Cleopatra’s fecundity, like the overflowing Nile, is frequently evoked, as is the phallic nature of swords. Enobarbus memorably summarizes the Queen’s ineffable attraction:

Age cannot wither her, nor custom staleHer infinite variety: other women cloyThe appetites they feed, but she makes hungryWhere most she satisfies.

Perspective art presents two adversarial images. How do we know which is true? Under the spell of theatre we are apt to suspend judgement. “Behold and see,” yes, but another scene follows with equal persuasiveness or beguilement. It may reveal a bitter truth or, as Cleopatra mocks Antony’s protestations of heroic, unparalleled love, “Excellent falsehood!”

These perspectives, delineating the contraries of Rome and Egypt, richly colour the narrative of historical events after the assassination of Julius Caesar – explored by Shakespeare in his earlier Roman play. Revisiting those events, and the psychology of those who enacted them, Shakespeare probes the tension at the heart of things between the perception of individual autonomy and the perception that the sweep of history is purposeful and determined.

As the action expands into the great world of political rivalries, huge ambitions and seemingly inevitable endless warfare, we see that there is no reconciling the contradictory appetites that, paradoxically, consume the rivals. As Octavia, now married to Antony, laments, the gods mock her for praying on behalf of brother and husband. But Octavius instructs his benighted sister – collateral damage in the clash of mighty opposites – to not be troubled, but to “let determined things to destiny / Hold unbewailed their way.” This history of Rome and the story of Antony and Cleopatra – an archetype of love so sublime that the world is well lost for it – were well known in Shakespeare’s time. Usually Octavius is depicted approvingly

Geraint Wyn Davies (Antony)

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for, as the future Emperor Augustus, ending the wars and initiating a period of extended peace. (Octavius anticipates this achievement near the play’s end.) Shakespeare’s main source is the historian Plutarch (AD 46–120), in the 1579 translation by Sir Thomas North, and often his wording is close to North’s. The famous barge speech is almost word-for-word, except for the subtle and brilliant twists Shakespeare gives to the syntax: transforming prose to sublime poetry. He also compresses time, adjusts emphases and opens up plain reports. Especially notable is his Cleopatra of infinite

variety, whereas Plutarch is “Roman” and unsympathetic to a Cleopatra “who did waken and stir up many vices yet hidden in him [Antony].” A hint in Plutarch of heavy drinking by the triumvirs on Pompey’s barge becomes a magnificent scene of bacchanalian orgy, orchestrated by Enobarbus. Roman decorum dissolves in wine. An unnamed servant carries off drunken Lepidus. Enobarbus wryly observes to Menas, Pompey’s right-hand man, who has just privily proposed to Pompey that he could be master of all the world by cutting the triumvirs’ throats, “There’s a strong fellow, Menas.… ’A bears the third part of the world.” So by the superbly realized role of Enobarbus – Shakespeare’s creation, not in Plutarch – a continuous critique of pretension to honour and nobility is established. Indeed, throughout the play,

the secondary characters provide a satirical critique of their self-glorified leaders. Octavius Caesar, man of destiny, emotionally parched but craving control of others, is frustrated by an Antony who won’t conform to the role Octavius assigns him in this great history – namely, a worthy, heroic adversary whose defeat will magnify the victor’s glory. He apostrophizes the absent Antony, “Leave thy lascivious wassails,” and paints a picture of Antony’s extreme fortitude in the face of defeat and famine: “On the Alps / It is reported thou didst eat strange flesh / Which some did die to look on.” A rapid succession of scenes reporting the battles that lead to Antony’s final defeat expose aspects of Antony as if his monumental heroic image is shattering into fragments. He is by turns vindictive, magnanimous, petty, glorious and stoical. Cleopatra prepares us: “Though he be painted one way like a Gorgon, / The other way’s a Mars.” Deserted by Cleopatra and her navy – “Triple-turned whore,” he calls her, who has “sold him to this novice,” he sees his tragic trajectory: “A gypsy hath at fast and loose / Beguiled me to the very heart of loss.” He is and is not himself, “Here I am Antony, / Yet cannot hold this visible shape.” Yet from the shards of Antony and the grim farce of his botched suicide – the ultimate Roman loss – Cleopatra, who was infinite variety, now with immortal longings, becomes “marble constant.” In her magnificent death scene, she paints, and rebuilds, a noble Antony whose “legs bestrid the ocean,” whose “delights were dolphin-like.” Caesar, acknowledging that they are beyond his reach, gazes on the crowned and robed queen: “She looks like sleep, / As she would catch another Antony / In her strong toil of grace.” The Roman victor must acknowledge the magnitude of their victory: “A pair so famous,” for whom he orders a special funeral and grave like none on earth. Graham Roebuck is Professor Emeritus of English at McMaster University.

Throughout the play, the secondary characters provide a satirical critique of their self-glorified leaders.

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William ShakespearePlaywright

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 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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The StorySince the assassination of Julius Caesar, the Roman republic has been ruled by the triumvirate of Octavius, Lepidus and Antony. Antony, however, has been neglecting his political and military responsibilities – and his wife in Rome – as he dallies in Alexandria with Cleopatra, queen of Egypt. After his wife dies, Antony returns to Rome to help Octavius deal with a challenge from the rebel Pompey – and also agrees to marry Octavius’s sister. But as Cleopatra’s lure proves too powerful for Antony to resist, the ancient world is engulfed in a war that will cost many lives and spell the doom of the republic itself.

Antony and Cleopatra has always fascinated me – in part because it’s a challenging play to categorize. It’s so many things: it’s history and it’s comedy and it’s tragedy and it’s romantic. I’m drawn to plays about the controllable and the uncontrollable. Antony and Cleopatra explores that dichotomy. It’s about duality and the struggle to embrace it. It’s about struggling with your whole self

A Play of Infinite Variety Director’s notes by Gary Griffin

when the world is demanding that you be just one part of yourself. One of my designers compared it to The West Wing. That might sound reductive, but what we loved about The West Wing was that it was about what goes on behind the politics and the power and the running of the world. So is this play. We don’t see many large public scenes. We hear what went on in public, people describe what went on – but what we see, what we’re privy to, is what’s behind all that. Shakespeare was quite brilliant about knowing what we don’t need to see. There’s something very adult about Antony and Cleopatra. I’m sure young people will appreciate it in quite a different way, but to me, at almost fifty-four years old, I see its characters wrestling with the issues of middle age, when you realize your life may have arrived. You still learn, you still grow, you still get better, but the life you planned is here, and you make what you can of it. The play also explores the nature of suicide. For most of us, the questions are “Why?” and “Could I have done something?” Shakespeare gives very specific answers here: the reasons for suicide are clear in terms of why – and in each case it’s also clear that it could not have been prevented. Because this play is so vast it’s hard to define, in directing it I’ve been trying to uncover its large canvas. We’ve tried to approach it in a spirit of humility and simplicity, allowing us to recognize ourselves as we newly discover this great story.

Gary Griffin

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Designer ShowcaseCharlotte Dean

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Antony and CleopatraBy William Shakespeare

#sfAntony

The Cast Mark Antony Geraint Wyn Davies Cleopatra Yanna McIntosh

Octavius Caesar Ben Carlson Enobarbus Tom McCamus

Mecenas Sean Arbuckle Eros Daniel Briere Man from Sicyon Ryan Field Cleopatra Attendant Ijeoma Emesowum Octavia Attendant Deidre Gillard-Rowlings Octavia Carmen Grant Lepidus Randy Hughson Agrippa Peter Hutt Diomedes Andrew Lawrie Towrus Jamie Mac Dolabella, Thidias Anthony Malarky Iras Jennifer Mogbock Varrius André Morin Scarrus Karack Osborn Cleopatra Attendant Sarena Parmar Ventidius Andrew Robinson Menas, Camidius Brad Rudy Soothsayer Stephen Russell Alexas, Proculeius E.B. Smith Pompey, Clown Brian Tree Charmian Sophia Walker Mardian Antoine Yared

Messengers, Soldiers, Guards, Servants:

Ryan Field, Andrew Lawrie, Jamie Mac, Anthony Malarky, André Morin, Andrew Robinson

UnderstudiesSean Arbuckle (Mark Antony), Daniel Briere (Lepidus, Agrippa, Dolabella, Thidius),

Ijeoma Emesowum (Iras), Ryan Field (Mardian, Alexas, Proculeius), Diedre Gillard-Rowlings (Octavia), Andrew Lawrie (Mecenas), Jamie Mac (Soothsayer), Anthony Malarky (Varrius, Pompey, Clown),

André Morin (Ventidius, Towrus), Karack Osborn (Menas), Sarena Parmar (Charmian), Andrew Robinson (Octavius Caesar, Camidius, Eros, Diomedes),

Brad Rudy (Enobarbus), E.B. Smith (Scarrus), Sophia Walker (Cleopatra)

There will be one 15-minute interval.

Cover Photo: Geraint Wyn Davies and Yanna McIntosh

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AcknowledgementsSpecial thanks to 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. Digital artist Krista Dodson. Page 7 and 8 photography by Don Dixon.

Page 1 photography by V. Tony Hauser.

Artistic Credits Director Gary Griffin

Designer Charlotte Dean Lighting Designer Michael Walton Sound Designer Peter McBoyle Fight Director John Stead

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

Associate Fight Director Geoff Scovell Assistant Director Rona Waddington Assistant Set and Costume Designer Kimberly Catton Assistant Lighting Designer George Quan Fight Captain Daniel Briere

Stage Manager Ann Stuart Assistant Stage Managers Katherine Arcus, Bona Duncan, Jessica Stinson Production Assistant Ian Michael Costello Production Stage Managers Margaret Palmer, Janine Ralph

Technical Director Sean Hirtle

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Backstage Production responsibilities during the performance accomplished by:

Stage Carpenter Paul Gorman Master Electrician Timothy Hanson Property Master Alan Hughes Alternate Melba Bingeman Head of Sound Jim Stewart Wardrobe Mistress Luci Pottle Wardrobe Attendants Heather Diamond, Sheila Filshie, Tracy Houston-McIntyre Swing Laurie Krempien-Hall Wigs and Makeup Show Head Angela Moncur Wigs and Makeup Crew Mallory Reeves

The Birmingham Conservatory for Classical Theatre

From Artistic Director Antoni Cimolino:

Thirty-one 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.

Led 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. Support for the 2014 in-season work of Conservatory participants is generously provided by The Brian Linehan Charitable Foundation and John & Therese Gardner. We thank them for helping us to nurture and support these talented artists.

Past Birmingham Conservatory participants include these members of our 2014 company:

Sarah Afful 2011/12Evan Buliung 1999 (inaugural)Shane Carty 2003Sara Farb 2013Ryan Field 2011Jonathan Goad 1999 (inaugural)Carmen Grant 2010/11Brad Hodder 2011/12Bethany Jillard 2011Dion Johnstone 2003Ruby Joy 2011/12

Josue Laboucane 2012/13Keira Loughran 2005 (associate

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

(coach)Anthony Malarky 2004Gordon S. Miller 2003Jennifer Mogbock 2013Derek Moran 2013Mike Nadajewski 2012

Karack Osborn 2013Sarena Parmar 2013Gareth Potter 2003Andrew Robinson 2012/13Tara Rosling 2001Tyrone Savage 2010/11Laura Schutt 2013E. B. Smith 2010/11Evan Stillwater 2004 (cutter) Sophia Walker 2005Antoine Yared 2012/13

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, RBC Emerging Artist Project, the Philip and Berthe Morton Foundation, Johanna Metcalf and the George Cedric Metcalf Charitable Foundation.

Participants in the 2014 workshop:

Kevin Bennett | Christine Brubaker | Jessica Carmichael | Brett Christopher | Mitchell Cushman Krista Jackson | Birgit Schreyer Duarte | Rona Waddington

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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 John Tiggeloven

Technical Director – Scenic Construction Andrew Mestern Wardrobe Manager Anne Moore Production Administrator Cheryl Bender Design Coordinator Alix Dolgoy Scene Shop Manager Robbin Cheesman Assistant Technical Director David Campbell Technical Management Assistant Michael Besworth Administrative Assistant Cindy Jordan Electronics Technologist Chris Wheeler Transportation Charlie Fox, Ian A. Fraser, Michael Taylor, James Thistle

Properties Head of Properties Dona Hrabluk Assisted by Eric Ball, Ken Dubblestyne, Michelle Jamieson, Kathryn Kerr, Shirley Lee, Jennifer Macdonald, Dylan Mundy, Lisa Summers Properties Buyer Tracy Fulton

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

Scenic Carpentry Head Carpenter Ryan Flanagan Head of Automation Ian Phillips Assisted by Simon Aldridge, David Bedford, Gary Geiger, William Malmo, John Roth, Joseph Saunders, Mark Smith, Geoff Taylor, Cliff Tipping, Joe Tracey

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Wardrobe Head of Wardrobe Bradley Dalcourt Assistant Head of Wardrobe Elizabeth Copeman Seasonal Wardrobe Supervisor Linda Sparks Cutters Johanna Billings, Kim Crossley, Terri Dans, Melanie Farrar-Jackson First Hand Krista Nauman Sewers Susy Arnold, Wendy Bendle, Monica Berg, Denise Bott, Cindy Brown, Susan E. Dick, Sharon Gashgarian, Karen Hancock, Shona Humphrey, Alana Kitson, Olga M. Kouzmina, Debbie Kschesinski, Elizabeth Mastrandrea, Karen Merriam, Silvia Widmer, Joanne Zegers Bijoux/Decoration Kathi Posliff Assisted by Liane Guttadauria Boots and Shoes Connie Puetz Assisted by Sarah Cook Costume Painting Lisa Hughes Dyeing Linda Pinhay Assisted by Sylvia Minarcin Millinery Katarzyna Maxine Wardrobe Buyer Michelle Barnier Interim Wardrobe Buyer Caitlin Luxford Assistant Wardrobe Buyer Penelope Schledewitz Wardrobe Apprentice Grace Kessel Warehouse Supervisor Madonna Decker Warehouse Assistant Valerie Lariviere

Wigs and Makeup Head of Wigs and Makeup Gerald Altenburg Construction Crew Erica Croft-Fraser, Tracy Frayne, Lorna Henderson, Barb Newbery

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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Sean Arbuckle12th season: Duke of Austria, the Lord Bigot in King John, Sergeant, Second Master of Ceremonies in Mother Courage and Her Children and Mecenas in Antony and Cleopatra. Stratford: The Pirates of Penzance, 42nd Street, Titus Andronicus, Three Sisters, The Merchant of Venice, Richard III, Cabaret, The Trojan Women, Macbeth, The Tempest, As You Like It, Agamemnon, Timon of Athens, Electra, The Swanne: Princess Charlotte, London Assurance, Twelfth Night, Who’s Afraid of Virginia Woolf? Elsewhere: Most recently, London Road (Canadian Stage), Othello (Segal Centre) and The Winter’s Tale (McCarter/Shakespeare Theatre). Broadway: The Importance of Being Earnest. National tour: Copenhagen. Regional: Phèdre (ACT); Woman in Mind (Berkshire Theatre Festival);

Humble Boy, James Joyce’s The Dead (Pioneer Theatre); Henry VI (NYSF); The Magnificent Ambersons (Indiana Repertory); The Triumph of Love (Walnut Street); The Spitfire Grill (George Street, world première); The Turn of the Screw (Grand Theatre). Film/TV: Reign, Defiance, Nikita, Hope & Faith, Law & Order. Training: Juilliard.

Katherine ArcusFifth season: Assistant stage manager of Mother Courage and Her Children and Antony and Cleopatra. Stratford: Cymbeline, Elektra, The Winter’s Tale, Three Sisters and Bartholomew Fair, production assistant for the Tom Patterson Theatre’s 2008 season. Elsewhere: Blue Remembered Hills U.K. tour (Northern Stage); Anne of Green Gables: The Musical, The Full Monty (Charlottetown Festival); Head à Tête (Theatre Direct); The Sound of Music (Mirvish); Cinderella (Ross Petty Productions); Homebody/Kabul (Berkeley Street Theatre); Romeo and Juliet, Othello, Hamlet, A Midsummer Night’s Dream, Macbeth (Classical Theatre Project). Film/TV: Writers’ assistant for Kids in the Hall: Death Comes to Town (CBC), story coordinator for Less

Than Kind (HBO Canada), Picnicface (Comedy Network), Zerby Derby (TVO). Training: Technical theatre program at the London Academy of Music and Dramatic Art. Et cetera: Katherine is delighted to return to the Stratford Festival for the 2014 season.

Daniel BriereSecond season: Robert Faulconbridge in King John, Armourer, Ensign in Mother Courage and Her Children and Eros in Antony and Cleopatra. Stratford: Romeo in Romeo and Juliet, Bicarat in The Three Musketeers, Leonardo in The Merchant of Venice. Elsewhere: Ashley in Gone With the Wind (Manitoba Theatre Centre), Dorante in The Game of Love and Chance (Odyssey Theatre), Todd in Courageous (New Stages), Art in The Mail Order Bride (Blyth Festival), Borachio/Friar Francis in Much Ado About Nothing (Driftwood Theatre). Film/TV: Guest appearances on Rookie Blue, The Bridge and Murdoch Mysteries. Training: Mount Royal College Performance Program, National Theatre School of Canada. Online: @DanielJackB. Et cetera: Daniel would like to thank

Katie, Debra and Denis for all of their love and support!

Ben CarlsonSeventh season: Chaplain in Mother Courage and Her Children and Octavius Caesar in Antony and Cleopatra. Stratford: Burleigh (Mary Stuart), Charles (Blithe Spirit), Benedick (Much Ado About Nothing), Fluellen (Henry V), Feste (Twelfth Night), Alceste (The Misanthrope), Touchstone (As You Like It), Leontes (The Winter’s Tale), John Worthing (The Importance of Being Earnest), Brutus (Julius Caesar), Tranio (The Taming of the Shrew), Dumayne (All’s Well That Ends Well), Hamlet. Most Recently: London Road, Canadian Stage. Elsewhere: Ben has worked throughout Canada and the United States. Shaw Festival audiences will remember his Man and Superman, The Return of the Prodigal, All My Sons, among many others. Chicago audiences will remember

his Hamlet, Macbeth and, most recently, Frank in The School for Lies. Film/TV: Saving Hope, The Firm, Rookie Blue, Warehouse 13, Grey Gardens, Angela’s Eyes, Slings and Arrows, The 11th Hour. Awards: Joseph Jefferson, Hamlet; Dora Mavor Moore, The Doll’s House. Upcoming: Pericles, CST.

Kimberly CattonEighth season: Assistant costume designer of A Midsummer Night’s Dream and Antony and Cleopatra. Stratford: Assistant costume design, Othello, Mary Stuart, 42nd Street, Elektra, Camelot, Evita; assistant design, The Little Years, Julius Caesar, The Trojan Women, The Odyssey. Elsewhere: Costume design: Spelling Bee (Randolph Academy); Lord of the Flies (St. Andrew’s College); Love Train, Fever, Mr. Scrooge, Shear Madness (Stage West). Associate design: The Maids (Buddies in Bad Times). Assistant costume design: The Little Years (Tarragon Theatre), Hairspray (Confederation Centre), The Oxford Roof Climber’s Rebellion (GCTC), Rocky Horror (Stage West). Costume coordinator: Spring Awakening (St. Andrew’s College), Fidelio (Canadian Opera

Company), One Hit Wonders (Stage West). Head of wardrobe: California Dreamin’ 2, Guys and Dolls, British Invasion I (Stage West). Kimberly has had her work showcased at Holt Renfrew and the Design Exchange. Training: BAA Ryerson University, fashion design. Awards: Tyrone Guthrie Dama Lumley Bell Award, Stratford Festival.

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Charlotte Dean 17th season: Designer of Antony and Cleopatra. Stratford: Set and costume design for Love’s Labour’s Lost, There Reigns Love, To Kill a Mockingbird, Ghosts, As You Like It. Costume design for The Merchant of Venice, The Brothers Karamazov, Titus Andronicus, The Taming of the Shrew and others. Elsewhere: Designs for the Shaw Festival, the Tarragon Theatre, the Royal Manitoba Theatre Centre, the Charlottetown Festival, Canadian Stage, Theatre Calgary, the Citadel, the Globe Theatre, The Grand Theatre, the Belfry Theatre and the Blyth Festival. Training: Holds a Bachelor of Fine Arts from York University. Awards: Recipient of five Dora Mavor Moore Awards for Outstanding Design, and has been nominated for Sterling Awards and Betty Mitchell Awards.

Recipient of the Virginia and Myrtle Cooper Award in Costume Design for 2009.

Bona Duncan14th season: Stage manager of King John and assistant stage manager of Antony and Cleopatra. Stratford: Stage manager, Romeo and Juliet, The Merchant of Venice, Much Ado About Nothing, The Merry Wives of Windsor, Dangerous Liaisons, Cyrano de Bergerac, Zastrozzi, All’s Well That Ends Well, Fanny Kemble, A Midsummer Night’s Dream, Electra, The Scarlet Pimpernel, Hamlet; PSM, Avon Theatre; assistant stage manager, The Matchmaker, The Taming of the Shrew, Romeo and Juliet, Twelfth Night, As You Like It. Elsewhere: Bona is grateful to have worked in many theatres across our country, including Talk Is Free, Canadian Stage, Soulpepper, The Grand, NAC, MTC, Banff Centre, Citadel, Tarragon and Centaur. Training: A graduate of the technical production

section of the National Theatre School of Canada; BA from Bishop’s University. Et cetera: Bona lives in Stratford with her husband, Dan, and their daughter, Georgia.

Ijeoma EmesowumStratford debut: Pudding in Alice Through the Looking-Glass, Jackie Coryton in Hay Fever and Cleopatra Attendant in Antony and Cleopatra. Elsewhere: The Shaw Festival (five seasons 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), Theatre Direct (Binti’s Journey), Nightwood Theatre (The Aftermath). Training: BFA, University of Windsor.

Ryan FieldThird season: James Gurney in King John, Injured Farmer in Mother Courage and Her Children and appears in Antony and Cleopatra. Stratford: Duke of Bedford (Henry V), Wanderlust, Simple (The Merry Wives of Windsor), Valentine (Twelfth Night). Birmingham Conservatory: Camillo (The Winter’s Tale), Puck (A Midsummer Night’s Dream). Other Theatre Highlights: Romeo and Juliet (Atlantic Ballet Theatre of Canada/Theatre New Brunswick); Oil and Water (Artistic Fraud); Oh What a Lovely War, Window on Toronto, A Chorus of Disapproval, She Stoops to Conquer (Soulpepper); Hair (Canadian Stage); The Taming of the Shrew (ShakespeareWorks); Jacob Two-Two (YPT). Film/TV Highlights: Hannibal (NBC), The Space (host/producer, TVOKids), The

Ladies’ Man (Paramount), System Crash (YTV). Training: Claude Watson School for the Arts, Royal Conservatory of Music, George Brown Theatre School, Birmingham Conservatory for Classical Theatre. Ryan is a recipient of a Tyrone Guthrie award. Online: www.ryanfieldmusic.com. Et cetera: Ryan Field released his second album on iTunes, recorded in Stratford.

Deidre Gillard-RowlingsStratford debut: Yvette Pottier in Mother Courage and Her Children and appears in King John and Antony and Cleopatra. Elsewhere: Katherine (The Taming of the Shrew) and the Nurse (Romeo and Juliet, New Curtain), Myra Bennett (Tempting Providence, Theatre Newfoundland Labrador), Minnie (Salvage, Artistic Fraud), Beatrice (The Servant of Two Masters, Wonderbolt), Christine (How It Works, PTE), Mary (Rocking the Cradle, Tarragon), Holly (Kiss the Moon, Kiss the Sun, WCTC), Marilyn (The Battery, Poverty Cove), Helen (February, Rising Tide), Agnes (Marion Bridge, Bare Boards). Film/TV: Heyday! (CBC), Republic of Doyle, Last of the Snow and Four Sisters (shorts). Recordings: The Grey Islands, Hard Light (Rattling Books). Training: BFA,

Memorial University NL. Et cetera: Deidre is a founding member of Bare Boards Theatre. She dedicates her first season at Stratford to her loving and supportive parents.

FROM VANITY TO HUMANITY

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Colm Feore Photo: Don Dixon. Digital Artist Krista Dodson.

Production support is generously provided by Jane Petersen-Burfi eld & Family, Cecil & Linda Rorabeck,

Barbara & John Schubert and Catherine & David Wilkes

Production Sponsor

King Lear Written by William ShakespeareDirected by Antoni Cimolino

With Colm FeoreMaev Beaty, Evan Buliung, Sara Farb, Jonathan Goad, Brad Hodder,

Stephen Ouimette, Liisa Repo-Martell, Scott Wentworth

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Carmen GrantFourth season: Kattrin in Mother Courage and Her Children, Octavia in Antony and Cleopatra and appears in King John. Stratford: Isabel in Measure for Measure. For the Birmingham Conservatory: Titania in A Midsummer Night’s Dream, Paulina in The Winter’s Tale, Goneril in King Lear. Elsewhere: Soulpepper, Segal Centre, Neptune, Manitoba Theatre Centre, Grand, Theatre One, Globe, Alberta Theatre Projects, Toronto’s Young People’s Theatre. Training: Mount Royal College, National Theatre School of Canada, Birmingham Conservatory. Et cetera: Carmen is originally from Tisdale, Saskatchewan.

Gary GriffinFifth season: Director of Antony and Cleopatra. Stratford: 42nd Street, Camelot, Evita, West Side Story. Elsewhere: Broadway: The Color Purple, The Apple Tree. London: Pacific Overtures at the Donmar Warehouse (Olivier Award, outstanding musical production). Off-Broadway: Music in the Air, A Tree Grows in Brooklyn, Pardon My English and The New Moon for City Center Encores!; Saved at Playwrights Horizons; and Beautiful Thing at the Cherry Lane. Associate artistic director of Chicago Shakespeare Theater: Amadeus, Passion, A Flea in Her Ear, A Little Night Music, Sunday in the Park with George and Pacific Overtures. Regional credits include the Old Globe, McCarter, Alliance and Signature theatres. Awards: Eight Joseph Jefferson Awards for direction.

Randy HughsonSeventh season: First Master of Ceremonies, One Eye in Mother Courage and Her Children and Lepidus in Antony and Cleopatra. Stratford (Selected Roles): Lucky (Waiting for Godot), Pompey (Measure for Measure), Uncle John (The Grapes of Wrath), Antigonus (The Winter’s Tale), Senex (A Funny Thing Happened on the Way to the Forum), Jordan Knockem (Bartholomew Fair), Hortensio (The Taming of the Shrew). Elsewhere: Leading roles at the Belfry Theatre, Vancouver Playhouse, Citadel Theatre, Manitoba Theatre Centre, Canadian Stage, The Segal Centre, Neptune Theatre, Soulpepper, Tarragon, Factory Theatre, Theatre Passe Muraille, Alberta Theatre Projects, Centaur Theatre, Blyth Festival, National Arts Centre and many others. Film/TV: Randy has worked

extensively in television, film and radio. Awards: Nominated for eight Dora Mavor Moore Awards, three Edmonton Sterlings, one Calgary Betty Mitchell, three Vancouver Jessies and one Gemini. Randy has won one of each award. Et cetera: “Gratitude and love to Melissa and Georgina.”

Peter Hutt15th season: Philip, King of France, Peter of Pomfret in King John, Commander, Old Colonel in Mother Courage and Her Children and Agrippa in Antony and Cleopatra. Stratford: Includes Measure for Measure (Escalus), Mary Stuart (Aubespine), Othello (Brabantio), Cymbeline (Doctor), Elektra (Old Man), The Misanthrope (Oronte), The Tempest (Alonso), Richard III (Buckingham), The Scarlet Pimpernel (Chauvelin), The Merchant of Venice, Titus Andronicus, Elizabeth Rex (portraying William Shakespeare), Macbeth. Elsewhere: Shaw Festival: 20 seasons including An Inspector Calls, Belle Moral, The Philanderer and Summer and Smoke. Mr. Hutt’s career has taken him across Canada, to the Tarragon, Citadel, Neptune and Grand theatres, Manitoba Theatre Centre,

National Arts Centre and Toronto’s Royal Alexandra. Film/TV: Includes The Age of Dorian, Forever Knight, The Taming of the Shrew (CBC), Breaking All the Rules, Echoes in the Darkness and CBC Television’s much-acclaimed production of Elizabeth Rex. Awards: Dora nomination, Patience (Tarragon Theatre). Et cetera: Mr. Hutt is delighted to return for his 15th Stratford season.

Andrew LawrieSecond season: Prince Henry in King John, Helpful Soldier in Mother Courage and Her Children and Diomedes in Antony and Cleopatra. Stratford: Balthasar in Romeo and Juliet, The Three Musketeers and The Merchant of Venice. Elsewhere: Sharan in Free Outgoing (Nightwood Theatre); John Proctor in The Crucible, Husband in The Bundle, Dorillant in The Country Wife, Alexas in All for Love, Chebutykin in Three Sisters, Orlando in As You Like It (RTS); Jeremiah in Elephants (InspiraTo Festival). Training: Ryerson Theatre School. Awards: Recipient of the Edna Khubyar Acting Award. Et cetera: “Thank you to my family and friends for all of your love and support. I love you all so much!”

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Jamie MacStratford debut: Young Soldier in Mother Courage and Her Children, Towrus in Antony and Cleopatra and appears in King John. Stratford: Birmingham Conservatory: Berowne in Love’s Labour’s Lost. Elsewhere: Jacob Mercer in Salt-Water Moon (Canada’s National Arts Centre), Laurie in Vimy (Great Canadian Theatre Company), Clown in The 39 Steps (Stage West), David Jung in Rockbound (Two Planks and a Passion), Oberon in A Midsummer Night’s Dream (Ryerson Theatre), Michael in The Elephant Song (Beothuk Street Players), Dromio of Ephesus in The Comedy of Errors (Shakespeare by the Sea) and Jerry in The Zoo Story (Reid Theatre). Film/TV: Beauty and the Beast, Republic of Doyle, Covert Affairs, Life With Derek. Training: Ryerson

University, BFA Acting. Awards: For The Elephant Song: Walter C. Chambers Memorial Scholarship, D.A. Matthews Memorial Scholarship, Honorary Chairman’s Award for Best Actor.

Peter McBoyle19th season: Sound designer of Crazy for You, Man of La Mancha and Antony and Cleopatra. Stratford (selected): Fiddler on the Roof, The Three Musketeers, 42nd Street, A Word or Two, Shakespeare’s Will, The Tempest, Jacques Brel, West Side Story. Elsewhere (selected): Arrabal (BASE/Mirvish); Come Fly Away (Broadway, Vegas, tour); Catch Me If You Can, West Side Story, Legally Blonde (tours); Barrymore (Stratford, Broadway, tour, Toronto); High Society, Gypsy (Shaw); Mary Poppins, Rocky Horror, Cabaret (Citadel); Fire, The House of Martin Guerre (Canadian Stage); The Sound of Music, Oliver!, The Wrong Son (NAC); Medea, Orpheus Descending (MTC/Mirvish); The Little Mermaid, Snow White, Beauty and the Beast, Robin Hood, Cinderella (Ross Petty); Caroline,

or Change (Acting Up/Obsidian). Training: Bachelor of Music, Masters in Sound Recording (McGill). Awards: Suzi (Atlanta) for Come Fly Away, Dora nomination for Fire. Et cetera: “Thanks to Meghan, Ella and Beatrice for their love and encouragement.”

Tom McCamus14th season: King John in King John, March Hare in Alice Through the Looking-Glass and Enobarbus in Antony and Cleopatra. Stratford (selected): Friar Laurence/Romeo and Juliet, Antonio/The Merchant of Venice, Vandergelder/The Matchmaker, Iachimo/Cymbeline, Casey/The Grapes of Wrath, Hook/Peter Pan, Valmont/Dangerous Liaisons, Vershinin/Three Sisters, Apemantus/Timon of Athens, Richard III, MacHeath/The Threepenny Opera, Vladimir/Waiting for Godot, Coriolanus, King Arthur/Camelot, Edmund/Long Day’s Journey Into Night. Elsewhere: Rhett Butler/Gone with the Wind (MTC); Hamlet, Divisadero (Necessary Angel); Thom Pain (Tarragon). Film: Cairo Time (Ruba Nada), The Sweet Hereafter (Atom Egoyan), Long Day’s

Journey (David Wellington), Possible Worlds (Robert Lepage). Awards: Dora, best actor: Abundance (Theatre Plus); Genie, best actor: I Love a Man in Uniform (David Wellington); Gemini and ACTRA, best actor: Waking Up Wally (Dean Bennett). Et cetera: Tom lives on a farm in Warkworth with his wife, actress Chick Reid, and their three dogs.

Anthony MalarkyFourth season: Pikeman in Mother Courage and Her Children, Thidias in Antony and Cleopatra and appears in King John. Stratford: William in As You Like It, Snout in A Midsummer Night’s Dream, Antiochus/Boult in The Adventures of Pericles, The King and I, The Count of Monte Cristo, The Lark, The Tempest. Elsewhere: J.P. Morgan in Ragtime, Louis the Baker in Sunday in the Park with George, Zuvetli in One Touch of Venus, My Fair Lady, The Admirable Crichton, The Cherry Orchard, Trouble in Tahiti and Play, Orchestra, Play (Shaw Festival); Every Letter Counts (Factory Theatre); The Comedy of Errors (Dream in High Park); Les Misérables (Thousand Islands Playhouse); Thuy in Miss Saigon (Drayton Entertainment); Anne of Green Gables (Grand Theatre);

Audience Unveiling Protest (The Co.). Training: Sheridan College, Birmingham Conservatory for Classical Theatre. Awards: Best Papa 2012 – Nico; nominated for Best Papa of Two – results in May. Et cetera: “For SueBlue.”

Yanna McIntoshNinth season: Cleopatra in Antony and Cleopatra. Stratford: Elektra, Cymbeline (Queen), Richard III, Little Years, Winter’s Tale, Dangerous Liaisons, Lady Macbeth, Dream (Titania), Trojan Women (Helen), Palmer Park, The Illusion. Elsewhere: Speaking in Tongues (Company Theatre); This, Syringa Tree, Midsummer Night’s Dream, Petruchio – Taming of the Shrew (Canadian Stage); Ruined (Obsidian/Nightwood – Dora Award); Cloud 9 (Mirvish); Condoleezza Rice – Stuff Happens (Studio 180); Mary Stuart, Phèdre (Soulpepper); The Monument (Obsidian); title roles in Hedda Gabler (Volcano), Belle (Factory/NAC); Generous, Skylight (Tarragon – Dora); Valley Song (New Globe – Dora); Love’s Labour’s Lost, The Bear (NAC); Lambton Kent (Volcano/Edinburgh

Festival); Tartuffe (ART); Trace (co-writer/performer); guest teacher/director (NTS; Humber College). Film/TV: Working the Engels, This Is Wonderland, Riverdale (CBC); Hemlock Grove (Netflix); Suits (USA); The Listener, Doomstown – Gemini Award (CTV); The Line (TMN); The Sentinel, Finn’s Girl, A Raisin in the Sun.

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Jennifer MogbockStratford debut: Blanche of Spain in King John, Baby Whore, Injured Wife in Mother Courage and Her Children and 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: Jennifer was born in Lagos, Nigeria, and raised in Argentina, Houston, Texas, and Ottawa. “Thank you to my family, friends and my heavenly father.”

Margaret Palmer31st season: Production stage manager of the Festival and Tom Patterson theatres. Stratford: Maggie has been production stage manager at the Avon and Festival theatres for 23 seasons. Stage-management credits include Will Power; 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) 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 was

publicity director for the NDWT Company, worked for Fountainhead Theatre in London and toured Canada with the Charlottetown Festival. Training: Graduate of the National Theatre School.

Karack OsbornStratford debut: Colonel’s Servant, Furcoat in Mother Courage and Her Children, Dercetus, Scarrus in Antony and Cleopatra and appears in King John. Elsewhere: Chicago Shakespeare Theater (A Midsummer Night’s Dream, The Taming of the Shrew), Steppenwolf Theatre Company (workshop – The March), Shattered Globe Theatre (Happy Now?), Hartford Stage Company (The Crucible), Eugene O’Neill Theater Center (House of Gold), Highlands Playhouse, Wisconsin Theatreworks (The Buddy Holly Story) and the Adler Studio (La Ronde, Pow’rful Rhyme). As a musician, Karack has also been seen around the United States with The Winter Dance Party, the official recreation of the final tour of Buddy Holly. Training: Birmingham Conservatory, The School

at Steppenwolf and The Stella Adler Studio. Online: Twitter @KarackOsborn. Et cetera: “Love to family, Kameron and the WP2010. Proudly represented by Actors Talent Group – Chicago. All my thanks and respect to Brian.”

André MorinSecond season: Son, Catholic Spy in Mother Courage and Her Children, Varrius in Antony and Cleopatra and appears in King John. Stratford: Motel in Fiddler on the Roof, Petruchio in Romeo and Juliet. Elsewhere: Fenton in The Merry Wives of Windsor, Anselmo in Man of La Mancha (Theatre by the Bay); Henry in Next to Normal (Clearwater Theatre); Malcolm in The Full Monty (Moonpath Productions). Training: George Brown Theatre School. Et cetera: “Much love to all my friends and family, and many thanks to Mom, Dad, Alex, Daniel, Grandma, Caroline, Frank and Shari.”

Sarena ParmarStratford debut: Rose in Alice Through the Looking-Glass, appears in Antony and Cleopatra and understudy in Hay Fever. Stratford: For the Birmingham Conservatory: Princess in Love’s Labour’s Lost. Elsewhere: A Midsummer Night’s Dream (Canadian Stage); Juliet in Romeo and Juliet, Ophelia in Hamlet (Forward Theatre); Beneath the Banyan Tree (Theatre Direct); Lost Voices (Topological Theatre); Iphigenia at Aulis (SummerWorks). Film/TV: Series regular on the Gemini-nominated show How to Be Indie. Co-star in the Disney Original Movie Radio Rebel. Guest star on Flashpoint, The Border and Degrassi. Training: Birmingham Conservatory for Classical Theatre, National Theatre School of Canada. Online: www.sarenaparmar.com, @sarenaparmar. Et cetera: Sarena grew up in

Kelowna, British Columbia. “Thank you to my loving family, mentors and friends.”

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George QuanStratford debut: Assistant lighting designer of King John, Mother Courage and Her Children and Antony and Cleopatra. Elsewhere: This Is It (The Blood Projects); The Lover (Three Peasants Theatre); Girl Who Loved Her Horses and White Buffalo Calf Woman (Centre for Indigenous Theatre); Fragments (No Parachute Theatre); The Dumb Waiter (Two Wolves); RAW (Ten Foot Pole); Vacant (Triangle Pi); The Russian Play (Spiel Players). Training: Production Design at York University, and animation. Online: www.georgequandesign.com.

Janine Ralph24th season: Production stage manager of the Tom Patterson Theatre. Stage manager of A Midsummer Night’s Dream: A Chamber Play. Stratford: Janine is very happy to return to the Festival, where last season she was production stage manager of the Tom Patterson Theatre and stage-managed Waiting for Godot. Past credits include production stage manager of the Avon Theatre and stage manager of 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: Most recently Janine stage-managed The Sneeze for Talk Is Free Theatre, Barrie. She also stage-managed Voyage de la Vie for Resorts World Sentosa in Singapore and

production-managed Pinocchio: The Musical 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.

Andrew RobinsonSecond season: Farmer’s Older Son in Mother Courage and Her Children, Ventidius, Ambassador in Antony and Cleopatra and appears in King John. Stratford: The Three Musketeers, Romeo and Juliet, The Merchant of Venice. For the Conservatory: Love’s Labour’s Lost, Hamlet, Tons of Money and Twelfth Night. Elsewhere: Ajax in Afghanistan, Intuition of Iphigenia, Elektra in Bosnia (Women and War Project, Canada/Greece); The Bacchae, Agamemnon (HYDRAMA, Greece); Machina Nuptialis (CORPUS, Toronto/Kitchener); Bent (Theatre Engine); Russian Dolls (Rhubarb/YCU); Serious Money (RTS/Nightwood); He Crucified Me, Breeding of Guns (New Voices); Richard III (RTS). Training: Ryerson Theatre School, Birmingham

Conservatory for Classical Theatre. Et cetera: “Thanks to Martha, Ann, the Birmingham family, Mum and Cody!”

Brad Rudy24th season: The Earl of Pembroke in King John, Catholic Spy, Old Soldier in Mother Courage and Her Children and Menas, Camidius in Antony and Cleopatra. Stratford: 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) (Aquarius); Todd (The Book of Esther), Jim (Bordertown Café), Harold English (Mail Order Bride) (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 Instructor (Fanshawe and St. Clair colleges); guest instructor (Michigan State, Wayne State, University of Waterloo). Et cetera: Fight choreography (Aquarius, Touchmark, colleges). “Love to Anne, Emma, Jack and Rob.”

Stephen Russell32nd season: The Earl of Salisbury in King John, Regimental Clerk in Mother Courage and Her Children and Soothsayer in Antony and Cleopatra. Stratford: Credits include Provost (Measure for Measure), Doc (West Side Story), Slim (Of Mice and Men), Mr. Brownlow (Oliver!), Chorus Leader (Oedipus Rex), Cornwall (King Lear) at the Lincoln Center in New York and the title roles in Julius Caesar, Richard II and Henry VI. Elsewhere: He has appeared in theatres across Canada, most recently as Dr. Meade in the world première of Gone With the Wind at the Manitoba Theatre Centre (2013). Film/TV: His most recent film project is the part of Pontius Pilate in The Gospel of John. Et cetera: He lives in Stratford with his wife, Astrid.

YOU’LL ALSO LOVE THE COMEDY

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Stephen Ouimette. Photo: Don Dixon. Digital Artist Krista Dodson.

A Midsummer Night’s Dream Written by William Shakespeare Directed by Chris Abraham

with Stephen Ouimette, Evan Buliung, Jonathan Goad,Bethany Jillard, Chick Reid, Liisa Repo-Martell, Tara Rosling, Mike Shara, Scott Wentworth

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

Drs. M.L. Myers & the late W.P. Hayman and by Martie & Bob SachsPresenter of the Stratford Festival Dream Package

Production Sponsor

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Geoff ScovellFourth season: Associate fight director of King Lear, Crazy for You, King John, Man of La Mancha, Mother Courage and Her Children, Alice Through the Looking-Glass, A Midsummer Night’s Dream, Christina, The Girl King, Antony and Cleopatra and The Beaux’ Stratagem. Stratford: Associate fight director – Romeo and Juliet, The Three Musketeers, Othello, The Thrill. Assistant fight director – Fiddler on the Roof, Cyrano de Bergerac, Guys and Dolls, The Count of Monte Cristo, Cymbeline, Othello. Elsewhere: Fight director – Don Giovanni (Royal Conservatory); Gas (Next Stage); Don Giovanni, War and Peace (COC); The Godot Cycle (Yes Let’s Go); Mirandolina (Soulpepper); Bach at Leipzig (Theatre Athena); Romeo and Juliet (ShakespeareWorks). Film/TV: Stunt performer –

Pompeii, Robocop, Reign, Orphan Black, Splinter Cell: Blacklist, Carrie, The Colony, Total Recall, Being Human, XIII the series, Lost Girl, Nikita, The Listener, Aaron Stone. Training: BFA, Ryerson University. Awards: Paddy Crean Award for excellence in stage combat. Et cetera: “Thank you to John Stead for your friendship, guidance and patience. Thank you to Kasia for all your support. I am a better person for knowing you both.”

Jessica StinsonFifth season: Assistant stage manager of Mother Courage and Her Children and Antony and Cleopatra. Stratford: Assistant stage manager of Measure for Measure, Waiting for Godot, The Best Brothers; apprentice stage manager of Richard III, Titus Andronicus; production assistant of Do Not Go Gentle, King of Thieves, The Two Gentlemen of Verona. Elsewhere: Stage manager of The Power of Harriet T (Carousel Players), After Miss Julie (Red One Theatre Collective). Assistant stage manager of Yankee Tavern (The Grand Theatre), The Wizard of Oz (Globe Theatre). Apprentice stage manager of Sherlock Holmes: The Final Adventure, Joseph and the Amazing Technicolor Dreamcoat, The Last Five Years, Dry Streak, The Syringa Tree, The Pirates of Penzance (The Grand Theatre); Mending

Fences, Harvest, Animal Magnetism (Port Stanley Festival Theatre); Romeo and Juliet (The Driftwood Theatre Group). Training: Jessica is a graduate of the York University Theatre Program.

Ann Stuart33rd season: Stage manager of Mother Courage and Her Children and Antony and Cleopatra. Stratford: Ann has worked in all four of the Festival’s theatres on over 70 productions, including 29 of Shakespeare’s plays, with Artistic Directors Michael Langham, Robin Phillips, John Neville, David William, Richard Monette and Antoni Cimolino. For the past seven years she has worked as coordinator of the Birmingham Conservatory for Classical Theatre under director Martha Henry. Recent Conservatory projects were Hamlet (with 10 Hamlets), directed by Stephen Ouimette, and Love’s Labours Lost, directed by Martha Henry. This is her seventh production with Miss Henry and her first with Gary Griffin. Ann received an unsolicited Guthrie Award for her backstage

photography. An exhibition of her photos, Mine Eye the Witness, is on display at the Festival’s Archives this season.

John Stead21st season: Head of Stage Combat. Fight director of King Lear, Crazy for You, King John, Man of La Mancha, Mother Courage and Her Children, Alice Through the Looking-Glass, A Midsummer Night’s Dream, Hay Fever, Christina, The Girl King, Antony and Cleopatra and The Beaux’ Stratagem. Stratford: Fight director of over 150 productions. Elsewhere: Worked as a fight director across North America on over 450 professional productions, including 15 seasons with the Shaw Festival. Film/TV: Stunt coordinator and action director on over 350 television episodes and films. Teaching: Has taught at numerous universities and colleges, including the National Theatre School of Canada. Awards: Award of Excellence (Canadian International Film Festival), Genre Award for

Best Suspense (BNFF), Derek F. Mitchell Artistic Director’s Award (Stratford Festival), Judges’ Choice Award (15 Minutes of Fame International Film Festival), Tyrone Guthrie Award (Stratford Festival), Best Short First Runner-Up (Ticket to Hollywood International Film and Screenplay Festival) and nominated for a Best Short Award (Directors’ Guild of Canada). Online: As a director: www.johnstead.com. John Stead on IMDB: www.imdb.com/name/nm0824093/. Et cetera: Master Instructor with the Academy of Dramatic Combat.

E.B. SmithFourth season: Melun, Chatillon in King John, Eilif in Mother Courage and Her Children and Alexas, Proculeius in Antony and Cleopatra. Stratford: Bellievre (Mary Stuart), Abhorson (Measure for Measure), Guiderius (Cymbeline), Pylades (Elektra), Dorset (Richard III), Alarbus (Titus Andronicus). Elsewhere: Manitoba Theatre Centre – Big Sam (Gone With the Wind); Chicago Shakespeare – Seyton (Macbeth), Friar Laurence (Romeo and Juliet); First Folio Theatre – Macduff (Macbeth); Karamu House Theatre – King (King Hedley II, Cleveland Scene Best Production of 2007), Moustique (Dream on Monkey Mountain), Junior (Before It Hits Home). Other credits include the Cleveland Play House, Idaho Shakespeare Festival, Theater Wit in Chicago and two seasons at the Great

Lakes Theater Festival. Film/TV: The Beast (Sony Pictures Television), Ask Gilby, Maybe By Then, Thunder Bay (PBS-TV). Training: Ohio University, Birmingham Conservatory for Classical Theatre. Et cetera: E.B. dedicates his work to his parents and grandmother, and to the memory of his Papa, who will always be in the front row.

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Brian Tree25th season: Cardinal Pandulph in King John, Humpty Dumpty in Alice Through the Looking-Glass and Pompey, Clown in Antony and Cleopatra. Stratford: Elbow (Measure for Measure), Melvil (Mary Stuart), Pisanio (Cymbeline), Dubois (The Misanthrope), 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. Film/TV: Billable Hours, La Femme Nikita, Forever Knight, eight productions of A Taste of Shakespeare.

Sophia WalkerNinth season: Daisy in Alice Through the Looking-Glass, Charmian in Antony and Cleopatra and understudy in Hay Fever. Stratford: Nerissa (The Merchant of Venice), Madame de Chevreuse (The Three Musketeers), Boy (Henry V), Julia (The Two Gentlemen of Verona), Hermia (A Midsummer Night’s Dream), Lady Macduff (Macbeth), Lady Capulet (Romeo and Juliet), Luciana (The Comedy of Errors), Amah (Harlem Duet), to name just a few. Elsewhere: Vanessa in The DIVIDE (AMC/WETV, various directors), Charlee in The BAREing (Temple Street/City Life, Alicia Bunyan-Sampson), Girl in BOBLO (Kitchenband Productions), Salima in the Dora-winning production of Ruined (Obsidian/Nightwood), Menelaus and Kerthia in the Dora-winning The Penelopiad (Nightwood Theatre),

Ursula in Canadian Stage’s Dream in High Park, Rookie Blue (Global/ABC), The Tempest (Melbar Entertainment). Training: Ryerson University, Birmingham Conservatory for Classical Theatre. Awards: Mary Savidge, Michael Mawson and Jean A. Chalmers awards, 2012 Dora. Et cetera: “Love to my family.”

Rona WaddingtonStratford debut: Assistant director of Antony and Cleopatra. Elsewhere: Director: Hamlet (St. Lawrence Shakespeare Festival); The Tempest, King Lear (upcoming) (New Open Space Company, Paris); Trying (Centaur Theatre); A Funny Thing Happened on the Way to the Forum, The Mousetrap, Steel Magnolias (Drayton Entertainment); Dry Streak (Grand Theatre); Apollo of Bellac (Shaw Festival Director’s Project); Oleanna (Sudbury Theatre Centre); Orson’s Shadow (Pilot Group); Chekhov’s The Bear, The SantaLand Diaries, Power Lunch (Lunchbox Theatre); Driving Miss Daisy (Port Stanley Festival Theatre); The Godot Cycle (Toronto Fringe); The Collected Works of Billy the Kid (American Conservatory Theatre, MFA program). Assistant Director: Age of Arousal, The Women

(Shaw Festival); Night and Day (American Conservatory Theatre). Resident director: The Railway Children (Marquis/Mirvish). Awards: Ottawa Critic’s Circle Award, Best Director, Hamlet, St. Lawrence Shakespeare Festival.

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Antoine YaredSecond season: Lewis, the Dauphin in King John, Swiss Cheese in Mother Courage and Her Children and Mardian in Antony and Cleopatra. Stratford: Prince of Aragon in The Merchant of Venice, Planchet in The Three Musketeers, Paris in Romeo and Juliet. Elsewhere: The Fox in Pinocchio, Trent Dolin in Smokescreen and various characters in Alice Through the Looking-Glass (Geordie Productions); Justin in Jesus Jello (Sheep in Fog); Mercutio in Romeo and Juliet, Touchstone in As You Like It and Stefano in The Tempest (Repercussion Theatre); Galoshin in Provincial Anecdotes (Concordia University). Film/TV: Boucherie Halal (Babek Aliassa), Open (Tom Abray). Recordings: Kojiro Sasaki, Samurai Warriors 2 (KOEI). Training: Dawson College,

Concordia University, Birmingham Conservatory. Awards: Peter Donaldson Guthrie Award (2013), G.R. Award (2013), Elsa Bolam Award (2010). Et cetera: “Thank you to my family and friends for your unwavering support.”

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Michael Walton10th season: Lighting designer of King Lear, A Midsummer Night’s Dream and Antony and Cleopatra. Stratford: Othello, Fiddler…, …Musketeers, Henry V, The Matchmaker, A Word or Two, Twelfth Night, The Misanthrope, The Tempest, As You Like It, King of Thieves, Macbeth, A Midsummer Night’s Dream, Hamlet. Elsewhere: Così fan tutte, directed by Atom Egoyan (COC); A Word or Two with Christopher Plummer (CTG/Stratford, Los Angeles); Albert Herring (Vancouver Opera/Pacific Opera); Maria Stuarda (Pacific Opera); ENRON (NAC); Yoshimi Battles the Pink Robots, Sideways (La Jolla Playhouse); Venus in Fur, Cruel and Tender (Canadian Stage); Mary Poppins, Next to Normal (Citadel/TC); ’Night Mother (Soulpepper); The Rocky Horror Show (Citadel); And Slowly

Beauty, The Year of Magical Thinking (Belfry/NAC/Tarragon). Et cetera: Michael would like to thank his fiancée, Tara Ott, for all her love and support over the years. Michael and Tara will be married in June 2014.

Geraint Wyn Davies11th season: Cook in Mother Courage and Her Children and Mark Antony in Antony and Cleopatra. Stratford (selected): Duke Vincentio, Leicester, Cymbeline, Malachi Stack, King Arthur, Falstaff, Stephano, Dylan Thomas, Julius Caesar, Bottom, Polonius, Henry Higgins, Henry V, Bassanio, Tom Fashion, D’Artagnan, Richmond, Edward IV, Hortensio, Antipholus of Syracuse, Pericles. Elsewhere: New York: King Lear (Lincoln Center), Poetic License (The Directors Co.), Do Not Go Gentle (Clurman Theatre), Women Beware Women (Red Bull Theater). Canadian Stage’s The Elephant Man; Shaw Festival, five seasons; Richard III, Cyrano (Shakespeare Theatre Company, Washington, D.C.); Love’s Labour’s Lost (RSC); Hamlet, Henry VIII (Chichester Festival); An Enemy of the People (Lyric

Hammersmith, London); two seasons as Theatr Clwyd’s artistic associate (Welsh National Company). Film/TV (selected): ReGenesis, Murdoch Mysteries, 24, Slings and Arrows, Black Harbour, Airwolf, Forever Knight, American Psycho II, Hypercube, One of the Hollywood Ten, Conspiracy of Fear.

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