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I CAN RESISTEVERYTHINGBUT TEMPTATION.Oscar Wilde’sLADY WINDERMERE’S FANDIRECTED BY CHRISTOPHER LIAM MOOREAUG 14–SEP 8BRUNS AMPHITHEATER, ORINDA

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The arts come aliveat College PrepThe College Preparatory SchoolA private high school for grades 9-126100 Broadway Oakland CA 94618510.652.4364college-prep.orgAmerican Conservatory Theater • BerkeleyRepertory Theatre • Broadway San Jose• California Shakespeare Theater• San FranciscoBallet • San Francisco Opera • SFJAZZ • StanfordLive• TheatreWorks • Weill Hall at Sonoma StateReach aSophiSticatedaudienceUniversity • 5th Avenue Theatre • ACT Theatre •Book-It Repertory Theatre • Broadway Center forthe Performing Arts • Pacific Northwest Ballet •Paramount & Moore Theatres • Seattle Children’sTheatre • Seattle Men’s Chorus • Seattle Opera• Seattle Repertory Theatre •Seattle ShakespeareCompany • Seattle Symphony • SeattleWomen’s Chorus • Tacoma City Ballet • TacomaPhilharmonic • Taproot Theatre • UW WorldSeries at Meany Hall • Village Theatre Issaquah& Everett • American Conservatory Theater•Berkeley Repertory Theatre• Broadway San Jose•California Shakespeare Theater• San FranciscoBallet • San Francisco Opera • SFJAZZ • Stanfordput your business hereLive • TheatreWorks • Weill Hall at Sonoma StateUniversity • 5th Avenue Theatre • ACT Theatre• Book-It Repertory Theatre • Broadway Centerwww.encoremediagroup.comEAP House Ad Reach 1_6V 3.19.13.indd 1August 2013Volume 22, No. 3Paul HeppnerPublisherSusan PetersonDesign & Production DirectorAna Alvira, Deb Choat, Robin Kessler,Kim Love, Jana RekoshDesign and Production ArtistsMike HathawayCPS 070313 bakers 1_6v.pdfAdvertising Sales DirectorMarty Griswold,Seattle Sales DirectorGwendolyn Fairbanks, Jan Finn,Ann Manning, Lenore WaldronSeattle Area Account ExecutivesStaci Hyatt, Marilyn Kallins, Terri ReedSan Francisco/Bay Area Account ExecutivesDenise WongSales AssistantJonathan ShipleyAd Services Coordinatorwww.encoreartsprograms.comPaul HeppnerPublisherLeah BaltusEditor-in-ChiefMarty GriswoldSales DirectorJamie ZillAccount ExecutiveDan Paulus3/20/13 3:00 PMArt DirectorJonathan ZwickelSenior EditorGemma WilsonAssociate Editorwww.cityartsonline.comDougMaggiJimGriffinColleenBenatarBobKoubaRickWiseWalnut Creek | 1500 N. California Blvd. | 925.944.0180Also with offices in Oakland & San Josescottvalleybank.comPaul HeppnerPresidentMike HathawayVice PresidentDeborah GreerExecutive AssistantErin JohnstonCommunications ManagerApril MorganAccountingJana RekoshProject Manager/Graphic DesignCorporate Office425 North 85 th Street Seattle, WA 98103p 206.443.0445 f 206.443.1246adsales@encoremediagroup.com800.308.2898 x105www.encoremediagroup.comEncore Arts Programs is published monthly by Encore MediaGroup to serve musical and theatrical events in WesternWashington and the San Francisco Bay Area. All rights reserved.©2013 Encore Media Group. Reproductionwithout written permission is prohibited.4 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG

er-counselor dress-up day. (All Fridays aredress-up days at Summer ShakespeareConservatory, each week having a theme.)The assembly concluded with an all-campdance rehearsal for a flash mob the kidsand staff would perpetrate on performanceday, to “Footloose”—Huzzah! The camphits of my generation persist!—before thegroups filed out for individual classes. Ichose to spend my first hour or so withthe Riotous Knights, age 13–15, who aredoing As You Like It with director RyanO’Donnell, San Francisco English teacherby day, actor with credits at Berkeley Rep,Shotgun Players, the Marsh, Boxcar, andmany others by night. I sat in on theirvoice/text class, taught by Heidi Abbott,a veteran conservatory teacher and actorwith credits including Marin ShakespeareCompany, Town Hall Theatre, and DiabloActors Ensemble.OK, so now I knew that the quality ofinstruction and direction was a millionlight years beyond that which I received atLakota.* But an even bigger mystery wasabout to be solved for me: What the heckis voice/text?Heidi began the class by getting the kids’attention. “Clap once if you can hearmy voice,” she started, then increasedthe amount of claps until all eyes areon her—a pretty common device in CalShakes educational circles. But what shedid next astounded me: She asked thekids to clap in iambic pentameter. Andthey did it. I mean, it took a few tries...but by the end, it was pretty tight. Therest of the class was spent in a variety ofother exercises meant to connect physicalityto words: The students paired upand told each other simple truths aboutthemselves (I’m 15, I play baseball, I hatethis and that), paying attention to wheretheir voices seemed to live when they didso—head, chest, belly, etc. Then they didthe same with 3–5 lines from their scripts,each student identifying which linescaptured the essence of their particularcharacter. And so on, with stretches andline readings and breathing, standing witheyes closed and sitting to face one anotheragain; taking the words into themselves,ascertaining their tempos, paths, andnative fits, eventually breathing them outin their own individual versions of innatedelivery.It was astonishing. There was some fidgeting,sure, some difficulties with elaboratehairdos—it’s hard to relax into the Alexanderposition with a big, beautiful bun**—but I would never have thought a groupof kids this age could be so focused, sofull of wonder at the connections betweenwords on the page and feelings in thebody.My next stop was the Little Theatre,where the oldest kids—the Queen’s Own,ages 15–18—were studying stage combatwith Carla Pantoja, an award-winning,prolific fight director and another longtimeconservatory instructor. The Queen’s Owngroup is doing Romeo & Juliet, so combatchoreography is both abundant and key.Some kids put on character shoes (bigboots for girls playing boys, high heels forthe formerly sneaker-clad Juliets) beforegetting a short talk on weapons. For theirfirst attempt at the play’s opening fightscene, the students were told to go athalf-speed, and to focus on their connectionpoints and their prescribed steps, butnot to act. The second go-round was atthree-quarter speed, and they began toadd acting, which meant not just moreemphatic line readings but also a lot ofgrunts and oofs. The third run-throughwas at full-speed, the acting at full-throttle,too. For some this was just too muchfun—group leader Travis Smith had to tellthem to stop smiling.Top, the Merry Kinsmen in rehearsal forRomeo & Juliet; bottom, Rachel Fettnerwith some of her Noble Knaves TwoGentlemen of Verona cast.Top, the Riotous Knights in rehearsal for As You Like It;bottom, the Queen’s Own in dress rehearsal for Romeo & Juliet.The fight partners were definitely talkingto each other, giving each other notes ontheir knaps (the sounds actors make tosimulate contact) and otherwise negotiatingthe delicate dynamics of pain-free,convincing stage fighting. It was amazingto watch a bunch of teenagers acting asteams in this fashion—to protect oneanother in acts of violence! One of myfavorite moments of the day was whenthey finished looking at their weapons,and Carla said to one of the Juliets: “Let’sstab you, yeah?” “OK!” the girl repliedcheerfully.Continued on page 15.encoreartsprograms.com 7

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GOOD WOMENBIG LIES:questions without spoilersBY RESIDENT DRAMATURG PHILIPPA KELLYWhen Oscar Wilde propelled himself into London society aftercoming down from Oxford at the age of 26, he aspired tofashion himself in a world that both fascinated and frustratedhim. Very much aware of the superficiality and hypocrisyof Victorian society, he also yearned to be accepted withinit. This struggle is written into his biting cynicism and hisportrayal, again and again, of a world in which appearancesare more socially valued than reality.In 1881, Oscar met Constance Lloyd, the daughter of awealthy London barrister. Many people suspected that hewas attracted to Constance’s family money, but one friend,Ann Arbor, wrote more generously:... Constance shared with Oscar a love of beautyand simplicity of form. Her high intelligence anddeep knowledge of art and literature made her anideal companion at theatres, art galleries andsocial gatherings, yet she combined this witha clinging trust in Oscar which was very endearing.Constance was more than an endearing companion, however.She provided an informed audience for Oscar’s work,and was also a force in her own right, arguing on behalf ofthe Rational Dress Society’s Gazette that no female clothingshould “deform the figure, impede the movements of thebody, or in any way tend to injure the health.” She was awriter and publisher of children’s stories as well as an advo-cate for children to be taught in the nursery to stand againstwar.Perhaps just as important for Oscar, however, was the factthat, once their two sons were born and he turned his tion to extramarital dalliances, Constance looked theattenother10 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG

way, as did all “proper” upper-crust Victorian wives. Theundoing of this rather conventional arrangement wasWilde’s unconventional sexual preference, illegal in VictorianEngland. The Marquis of Queensberry, father ofhis most celebrated lover, Lord Alfred Douglas, accusedWilde of sodomy. Wilde sued him for slander and losthis suit, and was subsequently tried for sodomy andsent to prison for two years’ hard labor, from which heemerged and fled to France, dying just a few years laterat the age of 46.While conducting his own clandestine affairs before his“great disgrace” (he was tried and convicted in 1895),Wilde was writing delectably cynical comedies like LadyWindermere’s Fan and Salomé (1892), A Woman ofNo Importance (1893), and The Importance of BeingEarnest (1895), mercilessly mocking the conventionsof heterosexual upper-class London that are explicitlyparodied in Lady Windermere’s Fan via Lady Plymdale’splea to Mr. Dumby:I want you to take my husband with you [tovisit Mrs. Erlynne, a “fallen woman”]. He hasbeen so attentive lately, that he has becomea perfect nuisance. Now, this woman is justthe thing for him. He’ll dance attendance uponher as long as she lets him, and won’t botherme. I assure you, women of that kind are mostuseful.In Victorian England, upper-class girls were protected,kept like hothouse flowers at home under the tutelageof badly trained governesses, emerging for the marriagemarket poorly educated and praised for skills such asplaying the piano, singing, and basic needlework. Atthe beginning of the Victorian period they had no legalindependence. During the course of the century, lawsgradually changed in favor of women—for example,there was increasing lenience in matters of divorce—culminating in the National Society for Women’s Suffragein 1867, which aimed for liberal individualism,and the Married Women’s Property Act of 1882, whichpermitted women to be in possession of their own property.Slowly, the idea of the “new woman” emerged—awoman who could earn her own living with pride. Theupper stratum, however, strenuously resisted this kindof woman because she threatened its very infrastructure,its leisures and freedoms for men, and its relianceon the woman to stay, dependable and tractable, withinthe home, raising children and taking care of her husband’swelfare.In Lady Windermere’s Fan, Wilde portrays in LadyWindermere a young Victorian woman who “has purityLADY WINDERMERE IS UNSCHOOLEDIN THE ACCEPTED CONVENTIONSOF SUBTERRANEAN SPOUSAL INFIDELITY:SHE ACTUALLY EXPECTS HER HUSBAND TO BE FAITHFUL.encoreartsprograms.com 11

THE LAST GOODBYEConceived and Adapted byMichael KimmelMusic and Lyrics byJeff BuckleyDirected byAlex TimbersSept. 20 – Nov. 3, 2013A MUSICAL ADAPTATIONOF SHAKESPEARE’SROMEO AND JULIETFEATURING THE EMOTIONALAND GORGEOUS SONGS OFJEFF BUCKLEY, DIRECTEDBY THE BRIGHTEST STAR INTODAY’S BROADWAY THEATRE.(619) 23-GLOBE (234-5623)www.TheOldGlobe.organd innocence” and who, as Lady Plymdale states, “goes in for beingso proper.” She is as yet unschooled in the accepted conventions ofsubterranean spousal infidelity: She actually expects her husbandto be faithful. During the 24 hours that mark her 21st birthday, hersense of rectitude comes under unbearable strain in the face of certainOG 071113 goodbye 1_3v.pdfunpleasant revelations. As the plot unfolds, she is forced to come faceto-facewith Mrs. Erlynne, a very attractive mystery woman to whomher husband has been giving large sums of money; and things unravelfrom there. She is assaulted by “reality,” but not by enough realityto make informed choices. So, in the end, she does not discover theidentity of the mysterious but somewhat coarse Mrs. Erlynne; and, asyou experience our production, you might wonder whether “goodness”is dependent on a measure of ignorance. Nothing in life is simple orstraightforward, except if the truth is kept out of sight—as in the caseof Lady Windermere’s Fan, crushed tightly within the strict socialcorseting imposed upon women of position and title. But just becauseone might not see the truth doesn’t mean that it isn’t lying there, likea dog by the door, quietly undermining the very codes that “a goodwoman” tries to live by.The subtitle of the play is intriguing: “A play about a good woman.”Who is the “good woman” of this play—Lady Windermere orMrs. Erlynne? The older woman is undoubtedly “fallen,” while LadyWindermere is, again to quote Lady Plymdale, “a thoroughly goodwoman.” Mrs. Erlynne does learn to act with something other thanself-advancement in mind. Does her ethical expansion suggest thattrue goodness needs to be earned? To borrow from the myths of theBible, just as we cannot know Satan without knowing from wherehe slipped, so, too, we cannot know Saint Paul without knowing thefallen character he once was and still could be.But perhaps, for related reasons, Lady Windermere is indeed the“good woman.” She enters at the beginning of the play with untestedvirtue. In reply to Lord Darlington’s question, “Do you think seriouslythat women who have committed what the world calls a fault shouldnever be forgiven?” she answers resolutely, “I think they should neverbe forgiven.” The events of her birthday test her puritan view of herself;her credulity; her attitude toward a “fallen woman”; and her commitmentto her husband. She comes out of the play with a kinder andbroader view of Mrs. Erlynne (though not a factually accurate one).While she is still in many ways “in the dark,” Lady Windermere doesnow see that life is more complex than she once thought. Is it this—and not her early pronouncements about her own purity—that shapesher, during one very long day, into a truly “good woman”? Or maybe,despite the play’s singular subtitle, there’s room in this stringent Victoriansociety for two good women with two very different qualificationsfor being “good”?12 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG

W I L D EM E NBY CONTRIBUTING DRAMATURG LAURA HOPEPictured: Oscar Wildeas Salomé.When Oscar Wilde first penned LadyWindermere’s Fan, he referred to the playunder the working title, A Good Woman.A great deal of attention has been givento this notion of “the good woman”in the play, and the ironic competitionbetween mother and daughter for thistitle. (See Resident Dramaturg PhilippaKelly’s article on the preceding pages ofthis program.) But what about the men?If middle-class and aristocratic womenin Victorian England were repressed andchafing against the bonds of patriarchalsociety, the men of those classes were, inresponse, one big, hot mess. Oscar Wildeand the men of Lady Windermere’s Fanwere no exception. It’s hard to have yoursocial power challenged—it’s harder stillwhen the devices with which others challengeyour power base consist of your ownrhetoric and hypocrisy.Lady Windermere has been raised in thebelief that she should be pure, associatingonly with morally upstanding people.Her husband is so dedicated to keepingher this way that he tries to “protect her”against the knowledge that her mother isalive, and even allows his wife to thinkhe is having an affair with the mysteriousMrs. Erlynne rather than tell her the truth.Her purity cannot be tainted and, by extension,it is implied that certain types ofknowledge are the exclusive realm of husbands.Purity was a big deal for Victorianmen. They were obsessed with it in theirwomen, and they had unresolved anxietiesabout it in themselves. As ProfessorJan Marsh has noted, “Male anxietiesin relation to both physical and mentalhealth in the Victorian era often seemto have concentrated on the supposedlybaleful effects of masturbation, which wasalleged to cause a wide range of physicaland mental disorders, and on venerealdiseases, especially syphilis.” Aristocraticladies were meant to be pure and entirelyignorant of sexuality. Their husbands,meanwhile, were expected to fool around.Some aristocratic men wore special metalanti-masturbation devices, which madecheating on your wife extremely difficult todo physically, if not morally and emotionally.The paradox constructed by the differentexpectations of men and women in marriageis explored by Wilde in an exchangebetween Lady Windermere, the Duchessof Berwick, and the alleged bad boy LordDarlington in Act One:Lady Windermere: …I will have noone in my house about whom thereis any scandal.Lord Darlington: Oh, don’t say that,Lady Windermere. I should never beadmitted!Duchess of Berwick: Oh, men don’tmatter. With women it is different.We’re good. Some of us are, at least.But we are positively getting elbowedinto the corner. Our husbands wouldreally forget our existence if we didn’tnag at them from time to time, justto remind them that we have a perfectlegal right to do so.Lord Darlington: It’s a curious thing,Duchess, about the game of marriage—agame, by the way, that isgoing out of fashion—the wives holdall the honors, and invariably losethe odd trick.Duchess of Berwick: The odd trick?Is that the husband, Lord Darlington?Lord Darlington: It would be rather agood name for the modern husband.encoreartsprograms.com 13

THE EARLY FEMINIST MOVEMENTSEEMED TO BE CALLING FOR THEMEN TO BE AS REPRESSED AS THEWOMEN. WHETHER IT WAS CONSCIOUSOR NOT, IT WAS A HEAVY DOSE OFREVERSE PSYCHOLOGY AT WORK.It is a clever and rather scandalous playon words to have Darlington and theDuchess refer to husbands as “tricks”—slang for a prostitute’s client. Theirexchange highlights the hypocrisy of bothcharacters on the subject of purity. Theycarry out this discussion in front of awoman, Lady Windermere, who is so verypure that she may not even know whata “trick” is. Indeed, in our production,the casting of a man in the role of theDuchess of Berwick adds an extra layer ofgender intrigue: It may further indicate the“trickiness” of husbands is a conversationheld solely between men, relegating LadyWindermere even further outside the powerstructure of Victorian aristocracy.Lady Windermere plays her role of Puritana little too well in that she expects anequal amount of piety from her husband.She was a symbol and a satire of all OscarWilde hated about the burgeoning feministmovement in England, which he feltplaced too much emphasis on “purity,”and the insistence that if wives were goingto be expected to be the snowy-white “Angelsof the House,” their husbands shouldbe required to display an equal portion ofabstentious moral fortitude. Wilde himselfwas ambivalent and contradictory in hisbehavior and attitudes towards sexuality.He allegedly based the character of Mrs.Erlynne on his former lover, the actress LillieLangtry, who dumped Wilde to pursuean affair with the Prince of Wales. Muchlike Mrs. Erlynne, Langtry was “tradingup” the social ladder in the only way trulyopen to women at the time: through hersexual desirability to aristocratic men.Further agitating Wilde, Langtry herselfrefused to play Mrs. Erlynne in the worldpremiere of Lady Winderemere’s Fanbecause she felt it would damage herreputation, and because she argued thatshe could not play the mother of a girl ofMrs. Windermere’s age when she herselfstill played ingénue roles. Wilde was angrywith Langtry for not behaving as he wouldhave her behave; Wilde, however, neverbehaved a day in his life.Despite his own inability to practicemonogamy, and his affairs with both menand women, he wrote to Langtry in 1883that, “I am going to be married to a beautifulgirl called Constance Lloyd, a grave,slight, violet-eyed little Artemis.” In thismissive to the lover who jilted him, Wildefocuses exclusively on Constance’s looksand an idealized image of her, convenientlyleaving out Constance’s abilities as awriter and social critic who gave publiclectures while wearing, as Philippa Kellyphrases it, “baggy pants and sensiblewools.” How could one expect maritalbliss between Lloyd, in her sensible attire,and Wilde, who performed a lecture tourof the United States in velvet pants whilecarrying a lily, and liked to dress up andhave his photo taken as the scantily-cladtitle character of his play, Salomé? Yetmarry her he did, subsequently enactingthe very double-standards regarding menand marriage that he satirized in his plays.There’s ambivalence on a topic, and thenthere’s Oscar Wilde.Early on, Wilde embraced the philosophyof “purity” feminism, but he changed hismind and the tone of his writing on thesubject, when the emphasis on puritybecame a personal problem for him. AsWilde biographer Kerry Powell notes,“…his plays of the 1890s were built onreversals and modifications of this feministpolitics of purity.” Preaching purity has away of coming back to haunt the preacher,and Victorian men, Wilde included, soonfound this out the hard way. The period’scodes of conduct would not allow forwomen to express sexual desire or qualmsabout monogamy, much less act on thoseimpulses. In the absence of that, the earlyfeminist movement seemed to be callingfor the men to be as repressed as thewomen. Whether it was conscious or not,it was a heavy dose of reverse psychologyat work.Early “purity” feminists pushed to dismantlethe Contagious Diseases Acts, whichallowed police to imprison suspectedprostitutes in locked hospitals and forcetreatment upon them in order to controlthe spread of sexually transmitted diseases,such as syphilis. The ContagiousDiseases Acts targeted only women, thusleaving out, as the Ladies’ National Associationmanifesto phrased it, “the sex whoare the main cause, both of the vice andits dreaded consequences.” These samefeminists also pushed for the Criminal LawAmendment Bill, which further sought toexpress compassion for the “fallen women”of prostitution by legally pursuing themen who comprised their clientele. Untilthis point in time, prostitutes bore the solelegal consequences for the profession. Victorianfeminist Ellice Hopkins blamed theproblem on “a fearfully debased manhoodthat is in our midst that respects nothing.”Oscar Wilde became decidedly un-amusedby these feminist tactics, and renouncedhis support for the “purity” feminists. In

a sad irony, the very reforms early feministscalled for in the legal system, initially supportedby Wilde, were the same laws that led tohis conviction on charges of gross indecency,relegating Wilde to hard labor in prison, andhis wife and children to a miserably lonely lifeof penury and exile in France. Although he satirizedand critiqued the hypocrisies of Victorianmorality, he could not escape them. As KerryPowell concludes, “Wilde consciously soughtto enact an alternative masculinity that wouldupset the foundations of Victorian social life—yet he was never able to work out, either forhimself or others, precisely what would constitutethis new kind of man. In both his life anddrama Wilde’s efforts to articulate a new visionof manhood stopped short of their destination:For the more he talked and wrote, the morehe became enmeshed in the web of customand power that he wanted most to break freeof.” This is certainly true of the men in LadyWindermere. The scene in the private men’sclub—wherein Mrs. Erlynne transgressivelyfaces a wolf pack of men in an attempt to saveher daughter from the gendered dards of Victorian morality—has its laughs, butdouble-stanisalso painful. Even in his make-believe worldof the stage, Wilde could not seem to imaginea viable, workable alternative to compulsoryheterosexuality, traditional marriage, and patriarchalgender inequity.Time and perspective, however, gives us a newway to look at the play, and to produce it. AsLady Berwick, Danny Scheie dictates what theproper behavior for a woman should be in Victoriansociety, and seems to relish the inconsistencies.It is fitting for a 21st-century audiencethat a man in a dress be the mouthpiece forthe ambivalence, hypocrisy, and hysteria ofVictorian patriarchal values regarding husbands,wives and, marriage—a little postmodern,deconstructive touch for us to consider ina society that is still waging a battle to establishequal treatment for everyone, whether thatequal treatment be the right to marry who youlove, or the right to sovereignty over your ownbody. Somewhere in the heavens, Wilde, in fulldrag as Salomé, is either laughing or crying inrecognition.Pictured: John William Godward’sThe Mirror, one of the paintingshanging in Lord Darlington’sapartment during this production.THERE’S AMBIVALENCE ON A TOPIC,AND THEN THERE’S OSCAR WILDE.NOTESON CAMPContinued from page 7.My third class of the day was movementwith Rachel Fettner, one of our newer conservatorydirectors and teachers, but onewho started out leading her own groupas an intern three summers ago. This dayshe was working with the youngest group,the Merry Kinsmen (age 8–12)—alsodoing Romeo & Juliet—on their Capuletparty dances, set to a mix of modern pop.I’ve got to hand it to Rachel and groupleader Megan Wicks—keeping the littlesgrounded ain’t easy, especially when askingthem to not dance while the teachersfocus on one or two steps or dancers ata time. But these women were locked inon their small targets; through breathingand stretching and infinite patience, thedances got better and better as the classwent on.After lunch, the camp broke up into afternoonrehearsals. Board member and staffphotographer Jay Yamada and I madethe rounds of the various practice spaces,from Catherine’s frenetically paced Romeo& Juliet dance scenes with the oldestgroup; to Rachel’s Noble Knaves (age12–13) doing a full run-through of TheTwo Gentlemen of Verona in the SPAC; toa more intimate rehearsal with O’Donnell’sRiotous Knights, standing in a circle, rapt,as a boy practiced his ukulele number;and finally, to marvel again at the maturityand focus of the Merry Kinsmen, workingwith director Abbott.Eventually, I had to get on the bus and gohome. OK, so I actually had to get in mycar and head to the Cal Shakes offices fora 3:30 meeting. But just like those halcyondays of my own childhood—whereinI traveled to an alternate reality eachsummer, to experience days of fun andfriendship—leaving Summer ShakespeareConservatory was hard. I’m just glad toknow that I, and these lucky Cal Shakescampers, will always be camp people.*OK, I already knew this, having had the pleasure of meeting manyCal Shakes teaching artists over the years, and seeing them performon stages around the Bay Area.**At Camp Lakota, a little girl once protested that she couldn’t goin the lake because “my mommy said I just had my hair done.” TheBritish waterfront counselor’s response was to throw her in, cackling“I’m your mommy now!”encoreartsprograms.com 15

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PATRICIA MCGREGORA SHAKESPEARE’SWINTER’STALEUP NEXTbelieve again.ALDO BILLINGSLEAL. PETER CALLENDEROMOZÉ IDEHENREMARGO HALLTRISTAN CUNNINGHAMTYEE TILGHMANCHRISTOPHER MICHAEL RIVERABY RESIDENT DRAMATURG PHILIPPA KELLYThe most enduring fairytales are ugly aswell as beautiful, frightening as well ascomforting. And so too with Shakespeare’sA Winter’s Tale, a play that starts out withthe ugly theme of jealousy, also exploredin earlier plays like Othello and MuchAdo About Nothing. In A Winter’s Tale,jealousy serves as a plot mechanism withno rational or even demonstrable cause.King Leontes of Sicilia is struck with asudden suspicion that his pregnant wifeHermione has strayed with his best friend,Polixenes, and that the child she carriesis his friend’s. Thus begins a catastrophicturn of events: Polixenes’ banishment toBohemia, Hermione’s banishment to jail,and the death of Leontes’ only son. Howcan this drama be anything other than atragedy? Well, it can. It becomes a playabout miracles: the miracle of redemptionand the miracle of forgiveness.A Winter’s Tale begins, quite fittingly,with winter. King Leontes’ advisor Camilloattempts to shame him into recognizingthe likely consequences of his precipitousrage: “You never spoke what did becomeyou less/Than this.” But Leontes’ passionis too strong for any self-reflection, and hisjealousy drives the action forward until hisrecently beloved wife, banished and forcedto give birth in a prison, her baby rippedaway from her, speaks profound truth fromthe pit of wrenching exhaustion. It is atruth that Leontes can’t hear and, as withso many of Shakespeare’s dramatic situations,the protagonist’s emotional deafnesscatapults him into a pit of shame.Over the course of 16 years, however,there emerges from the midst of disastera glorious fairytale, complete with thebloom of love, both new and healing. Wemight think of fairytales as something tobe relinquished with childhood toys, butthey are everywhere, waiting to be discoveredif we can believe in the miracle ofrebirth and redemption. This is the heartof A Winter’s Tale. Kings may commit sinsand get away with them; but kings arealso subject to loss and the deepest, mosthuman regret.A Winter’s Tale is not just a fairytale,however: It is also one of Shakespeare’smost feminist plays. The unfortunateQueen Hermione finds herself literally buriedfor 16 years while her husband learnshis lesson about redemption. Eventuallyhe is thankful for her sacrifice, but Shakespearecan’t resist a moment of deliciousirony as the play comes to its close: “Butyet, Paulina,/Hermione was not so muchwrinkled, nothing/So aged as this seems,”Leontes says when Hermione is unearthedand delivered back to him, as if he mightsend her back and get the original versionunbesmirched by time. Embrace her hedoes, nonetheless, and, in this moment ofrenewal, he also receives another reward:the daughter who was so cruelly set adriftat her birth, and who has also been absentfor 16 years.This dark, musical, funny, beautiful, andultimately life-affirming play is directed bythe magnificent Patricia McGregor withmovement by her sister, Paloma, whotogether gave us Spunk last year. Workingagain with much of Spunk’s creative companyand cast, the McGregor sisters willfeature L. Peter Callender as Leontes, AldoBillingslea as his spurned friend Polixenes,Omozé Idehenre as Leontes’ malignedwife Hermione, and Margo Hall as thetruth-telling Paulina, relating A Winter’sTale as a fable with her traveling groupof gypsies. Rounding out the cast is TyeeTilghman as Florizel; Christopher MichaelRivera as the wily Autolycus and Antigonus;and Akili Moree and Zion Richardsonalternating performances as Mamillius.It’s a fitting close to our season: one ofShakespeare’s very last plays, whereinwe see him coming to terms with his ownhumanity, his foolishness as a father, hismeasure of recklessness in his past life,and with the self-forgiveness that is, ultimately,the mark of grace.

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WHO’S WHOALDO BILLINGSLEA*(Lord Windermere)Mr. Billingslea was lastseen at Cal Shakes asSweet Back and Joe in2012’s Spunk. OtherBay Area credits include:Othello, The Hairy Ape,Splittin’ the Raft, andIn the Red & BrownWater (Marin Theatre Company); This Is How ItGoes and Collapse (Aurora); The Elephant Manand Radio Golf (TheatreWorks); A MidsummerNight’s Dream and Coriolanus (ShakespeareSanta Cruz). Mr. Billingslea’s credits outsidethe Bay Area have included the Dallas, Illinois,Oregon, Marin, San Francisco, Utah, and ArabianShakespeare Festivals. Mr. Billingslea is arecipient of the Bay Area Theatre Critics’ CircleAward, a member of PlayGround company, onthe board of the Renegade Theatre Experiment,the advisory board of Gritty City RepertoryYouth Theatre, and is Professor of Theatre andAssociate Provost of Diversity and Inclusion atSanta Clara University.L. PETERCALLENDER*(Mr. Dumby, AssociateArtist)At Cal Shakes: Spunk,Romeo and Juliet(2009), An IdealHusband, King Lear,Man and Superman,As You Like It, NicholasNickleby, The Importance of Being Earnest,Julius Caesar, Richard II, Twelfth Night, AWinter’s Tale. Marin Theatre Company: MyChildren! My Africa!. Berkeley Rep: MajorBarbara, Spunk, Galileo, The Oresteia. AtA.C.T.: A Streetcar Named Desire, Tartuffe,Insurrection: Holding History. Aurora Theatre:Saint Joan, Permanent Collection, The Soldier’sTale. On Broadway: Prelude to a Kiss. NYPublic Theater: Caucasian Chalk Circle, TwelfthNight. Shakespeare Santa Cruz: Taming of theShrew, A Doll’s House. Diablo Actors’ Ensemble:Driving Miss Daisy (Bay Area Critics Award).TheatreFIRST: World Music (Bay Area CriticsAward), Old Times. Thick Description: Richard III,Blade to the Heat. Mr. Callender is the recipientof several Dean Goodman awards, an Elly Award,SF Bay Guardian Goldie Award, and the East BayExpress Best of the East Bay Award.JAMES CARPENTER*(Lord Augustus,Associate Artist)A longtime Bay Arearesident, this willbe roughly his 30thproduction for CST; anAssociate Artist in his13 th season with CalShakes, Mr. Carpenterlast appeared here as Alonso and Master of theShip in The Tempest. Other Bay Area creditsinclude A.C.T., San Jose Rep, Aurora TheatreCo., Magic Theatre, TheatreWorks, MarinTheatre Company, and Shakespeare SantaCruz. He performed at Berkeley Rep in over 30productions in his 12 years there as AssociateArtist, is the Honoree of the BATCC ConsistentExcellence in Theater and Lifetime AchievementAwards, and was named a 2010 Lunt-FontanneFellow from the Ten Chimneys Foundation. Outof-towncredits include: The Old Globe Theatre,Oregon Shakespeare Festival, Yale RepertoryTheatre, Intiman Theatre, Dallas Theatre Center,Arizona Theatre Company, and The Huntington.Television: Nash Bridges. Film: The Rainmakerand Metro. Independents: Singing, Presque Isle,The Sunflower Boy. This one is for Barbara.DAN CLEGG*(Cecil Graham)Mr. Clegg appearedearlier this season atCal Shakes as Romeoin Romeo & Juliet;previously as Tranio andothers in The Tamingof the Shrew (2012),and as Proteus in TheVerona Project (2011). He has appeared locallyin American Conservatory Theater’s A ChristmasCarol (Young Scrooge), Lorraine HansberryTheatre’s Blue/Orange (Bruce), and in a numberof productions with the A.C.T. MFA program.Before moving to the Bay Area, Dan lived inMontreal where he performed in a variety ofshows at Théâtre Olympia, the Rialto, andPlayers’ Theater, including Equus, The Merchantof Venice, The Rocky Horror Show, and TheWoman in Black. Mr. Clegg is also the voiceof Winston in The Winston Show, a new iPadapp created by ToyTalk, a family entertainmentcompany based in San Francisco.NICK GABRIEL*(Lord Darlington)Earlier this season atCal Shakes Mr. Gabrielplayed Tybalt and Parisin Romeo & Juliet;previously as Horatioin Hamlet (2012) andas Marchbanks inCandida (2011). Heis a member of the core acting company atAmerican Conservatory Theater wherefrom hereceived his MFA and where he currently serveson the faculty. At A.C.T. he has appeared inOnce in a Lifetime, Scorched, Arcadia, andEndgame (opposite Bill Irwin). Mr. Gabrielhas also played principal roles in mainstageproductions at Capital Rep, Shakespeare SantaCruz, CenterREP, North Coast Rep, SaratogaShakespeare Company (New York), South CoastRep, the Brooklyn Lyceum, the Berkshire Ballet,San Francisco Symphony Orchestra, FringeNYC,Milwaukee Rep, and the Berkshire Fringe. Hereceived his BFA in musical theater from theUniversity of Michigan and is a Ten ChimneysFoundation Lunt-Fontanne Fellow.EMILY KITCHENS*(Lady Windermere)Ms. Kitchens’ regionaltheater credits includeDell in Grace, or theArt of Climbing (DenverCenter New PlaySummit), Natasha inThree Sisters adaptedby Sarah Ruhl (YaleRepertory Theatre/Berkeley Repertory Theatre);Betsy/Lindsey in Clybourne Park, Belle inA Christmas Carol (American ConservatoryTheater); Miranda in The Tempest, JohnSteinbeck’sThe Pastures of Heaven, Hero inMuch Ado about Nothing (California ShakespeareTheater); Calpurnia in Julius Caesar and Helenain A Midsummer Night’s Dream (ShakespeareSanta Cruz). Ms. Kitchens received her BFA fromthe University of Evansville and her MFA fromA.C.T., where, as a student, she appeared inplays including The Gnädiges Fraulein; Hamlet;L’hiver sous la table; Macbeth, The Mutilated;and O Lovely Glowworm, or Scenes of GreatBeauty. She has served as an actor at The NewHarmony Project several times with writersincluding Theresa Rebeck, Susan Bernfield,David Caudle, and Constance Congdon.RAMI MARGRON*(Lady Plymdale, LadyAgatha, Rosalie,Movement Coach)Ms. Margron was lastseen at Cal Shakes in theensemble of RestorationComedy (2006). Recentcredits include Pericles(Berkeley Rep), PreciousLittle (Shotgun Players), Dogsbody (Intersectionfor the Arts, La Mama) and He Moved Swiftlybut Gently Down the Not Too Crowded Street(Dancers’ Group). Other Bay Area credits:SF Shakes, Magic Theatre, Shotgun Players,Crowded Fire Theater, Mugwumpin, WillowsTheatre, Woman’s Will, Word for Word, PacificRep, Town Hall Theatre, Pear Avenue Theatre,City Circus, and a handful of dance companies.She studied acting at the Bennett Theatre Labin SF, clown and buffoon in Paris, and morethan 20 styles of dance and movement in theUS, Haiti, Cuba, Brazil, and Indonesia. She is acompany member of Crowded Fire Theater andRara Tou Limen Haitian dance company.*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.encoreartsprograms.com 19

WHO’S WHOSTACY ROSS*(Mrs. Erlynne, AssociateArtist)Ms Ross lives and worksin the Bay Area. Shewas last seen at CalShakes as Tamora inTitus Andronicus (2011);prior to that, she playedLady Macbeth (Macbeth)and Mrs. Warren (Mrs. Warren’s Profession).Other recent roles include Annie in In the NextRoom, or the Vibrator Play at Berkeley Rep, andA (Terminus) and Jackie (Any Given Day) at theMagic Theatre. Member of Symmetry Theatre,Playground, and Actors’ Equity.DANNY SCHEIE*(Duchess of Berwick,Lady Jedburgh,Associate Artist)Mr. Scheie was last seenat Cal Shakes as PlayerKing in Hamlet (2012).Previous Cal Shakescredits include Gremioin The Taming of theShrew, Dogberry in Much Ado About Nothing,Bottom in A Midsummer Night’s Dream, Festein Twelfth Night, Pericles, The Triumph of Love(also at San Jose Rep), Foppington in RestorationComedy (which he also performed at the OldGlobe in San Diego), Mercutio in Romeo andJuliet, The Merchant of Venice, The MerryWives of Windsor, and Nicholas Nickleby. Thisseason he appeared in the world premiere ofDan LeFranc’s Troublemaker at Berkeley Rep. Hereceived a Bay Area Critics’ Circle award playingNero in Amy Freed’s You, Nero, performed atBerkeley Rep, South Coast Rep, and at ArenaStage in Washington DC. He received other BayArea Circle Awards at the Magic, Aurora, andTheatre Rhinoceros. He has also acted at YaleRep, Trinity Rep, Folger Theater (DC), AsoloRep, Actors Theater of Louisville, PasadenaPlayhouse, TheatreWorks, Marin, A Noise Within,and Shakespeare Santa Cruz (Artistic Director1992–95). He holds a Ph.D. from Cal, BA fromIndiana, and a professorship at UCSC.TYEE TILGHMAN*(Hopper)Mr. Tilghman was seenat Cal Shakes earlier thisseason as Ben Pettus,Jackie Robinson, andmany, many othersin American Night;previously as Jelly andSlemmons in Spunk(2012). He is a recent graduate of the A.C.T.Master of Fine Arts program class of 2013.Select MFA program credits include A Doll’sHouse (Krogstad), A Christmas Carol (Fred),Happy to Stand (Hamed Sahel), Othello (titlerole), The American Clock (Grandpa/Banks), TheWidow Claire (Mr. Vaughn), and Al Saiyid (CountGomez). He appeared in Three Sisters (Solyony)and Love’s Labour’s Lost (Longaville) withChautauqua Theater Company. Other regionalcredits include A Raisin in the Sun and TheMerry Wives of Windsor (Denver Center for thePerforming Arts); Eurydice, The War Anthology,and Yellowman (Curious Theatre Company); ThisIs How it Goes (Paragon Theatre); A MidsummerNight’s Dream (Shakespeare Theatre Company),and An American Daughter (Arena Stage). Mr.Tilghman received a BFA in acting from WestVirginia University.BRUCE CARLTON(Parker)Mr. Carlton understudiedProspero/Stephano andAlonso in last summer’sThe Tempest. Thisseason marks his debutin performance with CalShakes. In the North Bayhe has worked with 6 thStreet Playhouse (Grapes of Wrath, La Cage auxFolles), SRJC (West Side Story, Shakespeare inHollywood), Dreamweavers (Weekend Comedy,Last Act is a Solo), Silver Moon (The Two of Us),Narrow Way (Alice: Revolution in Wonderland),Pegasus (Charley’s Aunt), Raven Players (OurTown), Alive Stage (Elephant Man), and Windsor’sShakespeare on the Green (All’s Well That EndsWell, Comedy of Errors). A particular favoriterole was Tom Hauser (and Abe, of course) inAbraham Lincoln’s Big Gay Dance Party at SRJC.He has also performed with San Diego’s StarlightTheatre, Alameda’s Altarena, and San Francisco’sLamplighters. Follow him at brucecarlton.com.CREATIVE TEAMOSCAR WILDE(Playwright)One of the greatest playwrights of the Victorianera, Oscar Wilde was born in Dublin in 1854to Sir William Wilde, a leading eye/ear surgeonand renowned philanthropist, and Lady JaneFrancesca Wilde, a successful poet andjournalist. Educated at Oxford, he becameinvolved in the aesthetic movement and becamean advocate for ‘Art for Art’s Sake’ (L’art pourl’art); after graduation he moved to London toestablish his multi-continental literary career.Wilde married Constance Lloyd in 1884 andbecame father of two sons. In 1891, the sameyear he published The Picture of Dorian Gray,Wilde began an affair with Lord Alfred Douglas,nicknamed “Bosie,” who became both the love ofhis life and his downfall. Wilde’s marriage endedin 1893. He produced a string of extremelypopular comedies including Lady Windermere’sFan (1892), A Woman of No Importance (1893),An Ideal Husband (1895), and The Importanceof Being Earnest (1895). In April 1895, Wildesued Bosie’s father, the Marquis of Queensberry,for libel, based on the Marquis’ accusation ofhomosexuality. Wilde’s case was unsuccessfuland he was himself arrested and tried for grossindecency. He was sentenced to two yearsof hard labor for the crime of sodomy. Duringhis time in prison he wrote De Profundis, adramatic monologue and autobiography, whichwas addressed to Bosie. Upon his release in1897, Wilde wrote The Ballad of Reading Gaol,revealing his concern for inhumane prisonconditions. He spent the rest of his life wanderingEurope, staying with friends and living incheap hotels. He died of cerebral meningitis onNovember 30,1900, penniless, in a cheap Parishotel.CHRISTOPHER LIAMMOORE(Director)Christopher Liam Mooreis thrilled to be makinghis Cal Shakes debutwith Lady Windermere’sFan. As director, his mostrecent work includes AStreetcar Named Desireand A Midsummer Night’s Dream in the currentseason at Oregon Shakespeare Festival and RedHerring at Artist’s Rep in Portland. In the pastfour seasons at OSF, he has directed The VeryMerry Wives of Windsor, Iowa; August: OsageCounty; Cat on a Hot Tin Roof; and Dead Man’sCell Phone. As an actor, he recently played Jonin Ghost Light, directed by Jonathan Moscone,at both Berkeley Rep and OSF. He has worked attheaters across the country, including AmericanRepertory Theatre, Arena Stage, Yale Repertory,Long Wharf, Mark Taper Forum, South CoastRepertory, Old Globe, and the Guthrie. His filmand television work includes as a series regularon Ten Items or Less on TBS and Murder inSmall Town X on Fox. He has also appeared onFriends, Judging Amy, Third Rock from the Sun,and Star Trek: Voyager. He is a proud foundingmember of Cornerstone Theater Company andworked with the company for 20 years.ANNIE SMART(Set Designer)At Cal Shakes: Blithe Spirit, Candida, Othello,The Tempest, Man and Superman, An IdealHusband, Private Lives, John Steinbeck’s ThePastures of Heaven. Ms. Smart’s other Bay Areawork includes A Doll’s House, Night and Day,and Threepenny Opera at American ConservatoryTheater; Berkeley Rep design credits includeBig Love, Concerning Strange Devices fromthe Distant West, Fêtes de la Nuit, HeartbreakHouse, In The Next Room (or the vibrator play)(also on Broadway at the Lyceum Theatre), TheMystery of Irma Vep, Passing Strange, RitaMoreno: Life Without Makeup, Suddenly Last*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.20 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG

WHO’S WHOSummer, Taking Over (also at The Public NY),Three Sisters (also at Yale Rep), Tiny Kushner(also at the Guthrie and the Tricycle Theatre inLondon) and To the Lighthouse. She’s designedshows for Center REP in Walnut Creek, theMagic, San Jose Rep, and TheatreWorks, andalso for many other major theaters across theUS. Ms. Smart is originally from London whereshe designed sets and costumes for Joint StockTheatre Group, the National Theatre, and theRoyal Court Theatre, among many others. Shecurrently teaches costume and set design at UCBerkeley.MEG NEVILLE(Costume Designer, Associate Artist)Recent credits include The Taming of the Shrewand upcoming The Cocoanuts for OregonShakespeare Festival; Pericles and upcomingTribes at Berkeley Rep; Krispy Kritters in theScarlet Night at Cutting Ball; Ghost Light atBerkeley Rep and Oregon Shakespeare Festival;and God of Carnage at Marin Theatre Company.Her many Cal Shakes credits include An IdealHusband, Mrs. Warren’s Profession, King Lear,John Steinbeck’s The Pastures Of Heaven,Twelfth Night, The Tempest, The Winter’s Tale,Rosencrantz and Guildenstern Are Dead, AMidsummer Night’s Dream, and Love’s Labour’sLost. She has designed costumes for productionsat, among others, A.C.T., the Magic, San JoseRep, CenterSTAGE, South Coast Rep, Yale Rep,Hartford Stage Company, the Atlantic TheaterNYC, Second Stage, NYC, BAM, Dallas TheaterCenter, and Chicago Opera Theater. Ms. Nevilleis a graduate of the Yale School of Drama andresides in San Francisco with her family.YORK KENNEDY(Lighting Designer)Mr. Kennedy’s designs have been seen intheaters across America and in Europe includingBerkeley Rep, Seattle Repertory, AmericanConservatory Theater, the Alley Theatre, DallasTheater Center, Yale Rep, Brooklyn Academyof Music, Arena Stage, and the Denver Center.Awards for theatrical lighting include theDramalogue, San Diego Drama Critics Circle,Back Stage West Garland, Arizoni TheatreAward, and the Bay Area Theatre Critics’ CircleAward. In the dance world he has designedfor Malashock Dance, Brian Webb, and TraceyRhodes. As an architectural lighting designer hehas designed both nationally and internationallynumerous themed environments, theme park,residential, retail, restaurant and museumprojects including the Sony Metreon SendakPlayspace in San Francisco, Warner Bros.Movie World in Madrid, Le Centre de Loisirs inMorocco, and the LEGO Racers 4D attraction inGermany, Denmark, England and the U.S.A. Heis a graduate of the California Institute for theArts and the Yale School of Drama.WILL M C CANDLESS(Sound Designer)Mr. McCandless is a sound designer, composer,and audio engineer based in the San FranciscoBay Area. Designs at Cal Shakes includeSpunk, Blithe Spirit, and Candida. Recentdesign credits include 4000 Miles at AmericanConservatory Theater, The Whipping Man atVirginia Stage Company and Marin TheatreCompany, and The Fourth Messenger at AshbyStage. Mr. McCandless’ designs have alsobeen heard at Aurora Theatre Company, CenterREP, LEVYdance, Magic Theatre, and the SanFrancisco Mime Troupe. He has been a visitingartist at University of San Francisco, St. Mary’sCollege, Sonoma State University, San JoseState University, and Solano College Theatre. Mr.McCandless heads the audio department at CalShakes and is a former collective member of theSan Francisco Mime Troupe.LYNNE SOFFER*(Dialect Coach, Associate Artist)Ms. Soffer has been the dialect/text coach onover 200 productions for theaters includingA.C.T., Berkeley Rep, Seattle Rep, San JoseRep, The Old Globe (San Diego), Dallas TheaterCenter, Arizona Theater Co., Magic Theatre,Marin Theatre Company, TheatreWorks, AuroraTheatre, Word for Word, and PCPA Theaterfest;the world premiere of Moisés Kaufman’s TheLaramie Project at the Denver Center, New York,and Berkeley; and for several films. She has bothacted with and coached dialects and text for CalShakes in the past including Titus Andronicus,Macbeth, Mrs. Warren’s Profession, PrivateLives, Pericles, An Ideal Husband, NicholasNickleby, Restoration Comedy, and Man andSuperman. She currently teaches at A.C.T., MarinTheater Company, and Marin Shakespeare, andworks as an actor at many Bay Area theaters.PHILIPPA KELLY(Production & Resident Dramaturg)Dr. Kelly moved 10 years ago from Australiato live in America with husband, composerPaul Dresher, and son Cole. Her work hasbeen supported by many foundations andorganizations, including the Fulbright, Rockefeller,and Walter and Eliza Hall Foundations. Herlatest book, The King and I (Arden Press)—available for purchase in the Cal Shakes TheaterStore, and now in its third print run—is ameditation on Australian identity through thelens of Shakespeare’s King Lear. The bookhas been celebrated for its poignant andhumorous exploration of Australian life, and forits illumination of various contemporary socialattitudes toward those on the fringes of society.Besides her work for Cal Shakes, Dr. Kelly hasalso been production dramaturg this year for theOregon Shakespeare Festival and Word for WordTheater Company. For the 2013–2014 academicyear she will practice and teach dramaturgy atthe University of California, Berkeley. For mostof the summer she can be found out here at CalDirector Shana Cooper, Resident Dramaturg Philippa Kelly, andactor Rebekah Brockman (Juliet) at the Romeo & Juliet InsideScoop; photo by Jay Yamada.SAVE THE DATES!Meet the cast, bring your teens, andmuch more during the runs of LadyWindermere’s Fan and A Winter’sTale.EVENTSInside ScoopFree panel discussionfeaturing directors andartists—with coffee & icecreamLower-PricedPreviewsBe a part of the processby seeing the show beforethe show opening, at adiscounted price.Opening Night!Mingle with cast, creativeteam, and critics at apost-show party.Meet the ArtistsMatineesPost-show chat withcast & creative teamComplimentaryTuesday TastingsEnjoy pre-show samplesfrom local purveyors.Open-CaptionedPerformancesPerformances featuringopen captioning forpatrons who are deaf orhard-of-hearingInSight MatineePost-show talk with thedramaturgTeen NightsA special pre-showevent for students ages13-18.LADYWINDERMERE'SFANn/a 9/98/14–16 9/25–278/17 9/288/18 & 9/18/20, 27,& 9/3A WINTER'STALE9/29 &10/1310/1, 8,& 158/21 10/28/25 10/6n/a 10/9 & 15For complete descriptions of these andother events, click calshakes.org/events.encoreartsprograms.com 21

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WHO’S WHOShakes, where she is one of the regular pre-showGrove Talk speakers.LAXMI KUMARAN*(Stage Manager)Ms. Kumaran is enjoying her third season atCal Shakes where she has stage managedAmerican Night, Hamlet, Spunk, Candida, andTitus Andronicus. In the Bay Area, Ms. Kumaranhas also stage-managed for San Jose Rep andCenterREP. Before moving to the Bay Area,Ms. Kumaran stage managed in Chicago fora variety of theaters, including the GoodmanTheatre and the Court Theatre. Some of thedirectors with whom she has had the pleasure ofworking include Patricia McGregor, Liesl Tommy,Joel Sass, Jonathan Moscone, Rick Lombardo,Timothy Near, Amy Glazer, Richard Seer, JohnMcCluggage, Kirsten Brandt, Barbara Damashek,Michael Butler, Robert Falls, Mary Zimmerman,David Ira Goldstein, JoAnne Akalaitis, RobertWoodruff, Karin Coonrod, Gary Griffin, andDavid Cromer. Ms. Kumaran has taught stagemanagement classes at San Jose State; NorthernIllinois, DePaul, and Northwestern universities;and currently teaches at the University ofCalifornia Santa Cruz.DEIRDRE ROSE HOLLAND*(Performance Stage Manager)Ms. Holland is excited to be joining Cal Shakesfor the first time this summer. Her regionaltheater credits include: A Minister’s Wife, TheTragical History of Doctor Faustus, Next toNormal, A Christmas Carol 2011 and 2012, andSpring Awakening (San Jose Repertory Theatre);the world premiere of Bonnie and Clyde andThe Laramie Project: Ten Years Later (La JollaPlayhouse); and the Shakespeare Festival 2011,How the Grinch Stole Christmas!, Brighton BeachMemoirs, Broadway Bound, Lost in Yonkers, TheMystery of Irma Vep (Old Globe Theatre). Ms.Holland holds an MFA in stage management fromthe University of California, San Diego.CAL SHAKES PROFILESJONATHAN MOSCONE(Artistic Director)Mr. Moscone is in his 13th season as ArtisticDirector of California Shakespeare Theater, wherehe most recently directed American Night: TheBallad of Juan José. Credits include the worldpremiere of Ghost Light for Oregon ShakespeareFestival and Berkeley Repertory Theatre.Upcoming projects include Alleluia, the Road atIntersection for the Arts, the final installment ofthe Califas project; and Tribes at Berkeley Rep.He is the first recipient of the Zelda FichandlerAward, given by the Stage Directors andChoreographers Foundation for “transformingthe American theatre through his unique andcreative work.” Regional credits include AmericanConservatory Theater, Huntington Theatre,Alley Theater, Milwaukee Repertory Theater,Goodspeed Musicals, Dallas Theatre Center,San Jose Repertory Theater, Intiman Theatre,and Magic Theatre, among others. Mr. Mosconeis a recipient of a Stanford Graduate School ofBusiness Center for Social Innovation Fellowshipand is an adjunct faculty member with A.C.T.’sMFA program. He currently serves as a boardmember of Theatre Communications Group.SUSIE FALK(Managing Director)Ms. Falk was appointed Cal Shakes’ ManagingDirector in February 2009, after serving forfour years as Cal Shakes’ Marketing Director,overseeing all marketing, sales, and publicrelations efforts for the Theater, as well as boxoffice and front of house operations. During hertenure, the company has seen ticket revenueincrease by 24% and completed a rebrandingeffort. She previously served for five years asPress and Public Relations Director for BerkeleyRepertory Theatre. Prior to that, she spent fiveyears in the PR and Marketing Departmentsat American Conservatory Theater, and oneseason as part of the Professional Arts TrainingProgram at Seattle Rep. She served for sevenyears on the board (four as vice president) ofTheatre Bay Area, the local service organizationfor theater companies and theater workers. Sheis a graduate of Vassar College and completedcourse work in organizational psychology atJFK University in Pleasant Hill. She lives inBerkeley with her husband, lighting designer YorkKennedy, and their daughter Pippa.JESSICA RICHARDS(Associate Artistic Director, Casting Director)Ms. Richards is in her sixth season as AssociateAD, and directed casting for all productionsat Cal Shakes last season. As Associate AD,she produced the world premieres of JohnSteinbeck’s The Pastures of Heaven (2010)and The Verona Project (2011). Previously, Ms.Richards served for two years in Cal Shakes’Artistic Learning department where she oversawartist residencies and other in-school programs.As a director, she has worked with Town HallTheatre, Bay Area Children’s Theatre, SF TheatrePub, SF Young Playwrights, CommonwealthClassic Theatre Company (PA), among others.Ms. Richards has been a grantee of the CreativeCapacity Fund’s NextGen Arts Program, and agrant review panelist for the City of Oakland’sCultural Funding Program. She holds a BA intheater and political science from the Universityof Evansville in Indiana.REBECCA NOVICK(Triangle Lab Director)Ms. Novick was the founder of Crowded FireTheater Company and served as its artisticdirector for 10 years, growing the companyfrom an all-volunteer group to one of SanFrancisco’s most respected small theaters. Shehas developed and directed new plays for manytheaters in the Bay Area and elsewhere, and,among other awards, her directing work has beenrecognized by the Goldies for outstanding localartist. Ms. Novick has also held a number of artsmanagement and consulting positions includingserving as interim arts program officer for theSan Francisco Foundation, project coordinatorfor the Wallace Foundation Cultural ParticipationInitiative in the Bay Area, and director ofdevelopment and strategic initiatives for TheatreBay Area. She regularly writes and speakson issues relating to the arts sector; recentpublications include contributions to 20under40,the GIA Reader, Counting New Beans, andTheatre Bay Area Magazine. Ms. Novick has aBA from the University of Michigan in drama andanthropology.CLIVE WORSLEY(Director of Artistic Learning)2013 marks Mr. Worsley’s 11 th year as ateaching artist for California ShakespeareTheater. He was instrumental in developing someof the first integrated arts public school residencyprograms. He is the moderator of the popularStudent Discovery Matinee program, and hastaught all age levels in the Summer ShakespeareConservatories. From 2008–2013, Mr. Worsleyserved as Artistic Director of Town Hall Theatrein Lafayette, where he brought about both artisticand fiscal success. As an award-winning actor hehas appeared on many Bay Area stages includingCal Shakes, Berkeley Rep, TheatreWorks,Marin Theatre Company, the Magic, CenterREP, Shotgun, and others. Mr. Worsley brings alongstanding passion for and holistic philosophyof arts education to this position. He believesstrongly in the power of theater to educate andenrich people of all ages and looks forward tobuilding upon the great success of the ArtisticLearning programs.ELLEN & JOFFA DALE(Executive Producers)Long-time subscribers and donors, Ellen andJoffa Dale live in Orinda. Ellen is serving hersecond stint on Cal Shakes’ Board of Directors;she was also on the board in 1991 when theBruns Amphitheater first opened. While Ellen andJoffa thoroughly enjoy picnics and performancesat the Bruns, the primary focus of their donationsis Artistic Learning. They believe that the livesof children reached by Cal Shakes’ educationprograms are enormously enriched and thatthese children are the artists and audiences ofthe future!KATHY & CRAIG MOODY(Producers)Kathy and Craig Moody love Cal Shakes. Craigis from a theatrical family; his mother and fatherboth acted and directed professionally, and Craigacted through high school, college, law school*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.encoreartsprograms.com 23

WHO’S WHOand summer stock. The Moodys first saw CalShakes’ production of The Taming of the Shrew13 years ago, the same week as the RSC’sinferior production of Shrew at the Herbst. Fromthat time on they have been ardent Cal Shakessupporters, ushering, donating, and bringingfriends to every production. Craig joined the CalShakes Board of Directors in 2012. They haveone child, Ross, a recent graduate of UCLA (BA)and Cambridge (M.Phil) who is still searching forthe perfect job while editing scientific papers.They reside in Piedmont where Kathy is ateacher’s aide. Craig has an antitrust litigationpractice in San Francisco.CALIFORNIA SHAKESPEARE THEATERFounded in 1974, now under the leadershipof Artistic Director Jonathan Moscone andManaging Director Susie Falk, Cal Shakes is anaward-winning, nationally-recognized regionaltheater. Through seasonal productions at ouroutdoor amphitheater, and in year-round schooland community-based programs, Cal Shakesexpands access to the arts and builds diverseownership of our region’s cultural vitality byfostering participatory approaches to the artisticprocess and arts education.OUR CORPORATE PARTNERSBART(Presenting Partner)The Bay Area Rapid Transit District (BART) isa 104-mile, automated rapid transit systemserving over three million people. Forty-fourBART stations are located in Alameda, ContraCosta, San Francisco, and San Mateo counties,and serve to truly connect the Bay Area. BART’smission is to provide a safe, reliable, economical,and energy-efficient means of transportation.BART stations are fully accessible to disabledpersons. With gas prices climbing ever higherand everyone looking to green their commute,BART expects a lot more people will be lookingto BART, as riders get the equivalent of 250miles to the gallon. Don’t forget that you canBART to Bard—Cal Shakes offers a free BARTshuttle from the Orinda BART station. BART…and you’re there!MEYER SOUND LABORATORIES(Presenting Partner)Family owned and operated since 1979,Meyer Sound Laboratories, Inc. designs andmanufactures high-quality, self-powered soundreinforcement loudspeakers, digital audiosystems, active acoustic systems, and soundmeasurement tools for the professional audioindustry. Founded by John and Helen Meyer,the company has grown to become a leadingworldwide supplier of systems for theaters,arenas, stadiums, theme parks, conventioncenters, houses of worship, and touring concertsound-rental operations. Meyer Sound systemsare installed in many of the great venues of theworld, including the Berlin Philharmonie andEstonia’s Nokia Concert Hall; and in severalwell-loved Bay Area venues, such as TheFillmore, Yoshi’s, Berkeley Rep, and Freight &Salvage Coffeehouse. Celine Dion, Metallica,and countless other artists use Meyer Sound’sequipment on tour. Meyer Sound’s main officeand manufacturing facility are located inBerkeley, California, with additional satelliteoffices located around the world.SAN FRANCISCO MAGAZINE(Presenting Partner)San Francisco magazine is proud to celebrate40 years of award-winning coverage of the BayArea lifestyle—from food, fashion, and cultureto politics, trends, and trendsetters. Through itshistory, San Francisco has been honored withmore than 50 awards for editorial and designexcellence. In 2010, it won the most covetedaward in the magazine industry, the GeneralExcellence award given by the American Societyof Magazine Editors—and has been nominatedagain this year. This recognition substantiatesSan Francisco’s passion and commitment topublish the Bay Area’s best magazine—as wellas one of the nation’s best.CITY NATIONAL BANK(Season Partner)Founded in California close to 60 years ago,City National Bank supports organizations thatcontribute to the economic and cultural vitalityof the communities it serves. City Nationalprovides banking, investment and trust servicesthrough 79 offices, including 16 full-serviceregional centers, in the San Francisco Bay Area,Southern California, Nevada, New York City,Nashville, Tennessee, and Atlanta, Georgia.The corporation and its investment affiliatesmanage or administer $59 billion in clientinvestment assets, including $39.7 billion underdirect management. Backed by $27.4 billionin total assets, City National Bank providesentrepreneurs, professionals, their businesses,and their families with complete financialsolutions on The way up ® .LAFAYETTE PARK HOTEL & SPA(Season Partner)The Lafayette Park Hotel & Spa is pleased tosupport Cal Shakes and serve as “home awayfrom home” for Cal Shakes artists. With itsFrench Chateau architecture, legendary service,plush accommodations, award-winning cuisine,and full-service spa, the Lafayette Park Hotel& Spa provides one of the only Four Diamondexperiences in the East Bay. Enjoy amazingcuisine at the Duck Club Restaurant beforethe show, or stop by the Bistro at the Park fora drink afterwards. The Hotel features morethan 10,000 square feet of indoor and outdoormeeting space and is the ideal location for socialevents and corporate meetings. To be sure, themost elegant and memorable events are held atthis “Crown Jewel of the East Bay.”PEET’S COFFEE & TEA(Season Partner)Peet’s Coffee & Tea is proud to be the exclusivecoffee sponsor of California Shakespeare Theater’s2013 season. Peet’s Coffee & Tea has earnedan international reputation for quality since itsfounding in Berkeley in 1966. Peet’s has alsobeen a valued supporter of California ShakespeareTheater since 2001. Peet’s salutes Cal Shakeson another wonderful season of reimagining theclassics and bringing new works to the stage.SOUND ASSOCIATES(Season Partner)Sound Associates, Inc. has been a New YorkCity staple in audio rental and installations since1946, and was awarded a Special Tony Awardin 1980 for introducing the infrared listeningsystem to Broadway theatres. They expandedtheir operations to include Atlanta when theywere chosen to provide sound systems for the1996 Summer Olympics. With the ever-changingtechnical needs for Broadway productions, SoundAssociates has continued to adapt and are nowa full-service audio and video rental companywith hits such as War Horse, the recent revivalof Evita, and long-running hit Hairspray. They arecurrently represented on Broadway by: Matilda,the Musical, Jersey Boys, and the upcoming BigFish.MCROSKEY MATTRESS COMPANY(Production Partner)Locally made. Universally adored. Founded inSan Francisco in 1899, McRoskey MattressCompany has enjoyed longstanding success asa local manufacturer and retailer. By employinghundreds of Bay Area residents who have builttens of thousands of mattresses and box springsthat provide countless comfortable nights ofsleep, McRoskey is truly “embedded” in thecommunity. Using only the finest materials andhand-crafting techniques that have achieveda worldwide reputation, McRoskey has servedgeneration after generation of loyal customerswho appreciate a sumptuous night’s sleep.AFFILIATIONSThis Theater operates under an agreementbetween the League of Resident Theatresand Actors’ Equity Association, the Union ofProfessional Actors and Stage Managers in theUnited States. The Directors and Choreographersare members of the Society of Stage Directorsand Choreographers, an independent nationallabor union. The scenic, costume, and lightingdesigners are represented by United ScenicArtists, Local USA-829 of the IATSE. CaliforniaShakespeare Theater is an Equal OpportunityEmployer.24 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG

“What is aCYNIC? ...A MAN WHO KNOWS THEPRICEOF EVERYTHINGand thevalueOF NOTHING.Oscar WildeTHE OPPOSITE OF CYNICISM?PLANNING FOR THE FUTURE.Including Cal Shakes in your estate planning helps ensure yourpassion for our theater and the value of its programs lives on.For more information, please go towww.calshakes.org/plannedgivingor call Director of Development Megan Barton at510.548.3422 x122.

THANKSTO OUR DONORSINDIVIDUALSThese contributors made gifts between June 1, 2012 and May 30, 2013. Levels of support are based on cumulative gifts to ourannual fund, tax-deductible portions of gala purchases, and in-kind goods and services. Supporters noted with an asterisk (*)used matching gifts from their employers to multiply their initial contribution. Supporters noted with a diamond (◊) donated at theBenefactor level to our 2013 gala. We strive to ensure the accuracy of these listings. If we have made an error or omission, pleaseaccept our apologies and contact Ian Larue at 510.899.4907 or ilarue@calshakes.org so that we may correct our records.$25,000 and aboveAnonymousEllen & Joffa Dale◊Nicola Miner & Robert Mailer Anderson◊Michael & Virginia Ross◊Sharon & Barclay Simpson◊Jay Yamada◊$10,000 –$24,999Anonymous (3)Henry & Vera EberleKen & Julie ErwinAnn & Gordon Getty FoundationHarvey & Gail GlasserErin Jaeb & Kevin KellyMaureen & Calvin Knight◊Craig & Kathy Moody◊Rachel RendelMichele & John Ruskin◊Barbara Sahm & Steven Winkel◊Alan Schnur & Julie LandresJean Simpson◊Frank & Carey Starn*Buddy & Jodi WarnerGeorge & Kathleen Wolf◊$5,000–$9,999Anonymous (2)The James N. Cost FoundationMary Curran & John QuigleyJoe Di Prisco & Patti James◊Bob Epstein & Amy Roth◊Nancy & Jerry Falk◊Andrew Ferguson & Kay WuVincent Fogle & Emily SparksDavid & Diane Goldsmith◊William & Shand GreenDr. Jeffrey P. Hays & Carole ShorensteinHays◊Ken HitzBarbara E. Jones in memory of WilliamE. JonesNancy Kaible & David Anderson◊Maryon Davies Lewis in honor ofJonathan MosconeAshley & Antonio LucioRichard Norris & David MadsenJanet & Norman PeasePauline Proffett & Matthew FabelaJim & Nita Roethe◊Yvonne & Angelo SangiacomoSondra & Milton Schlesinger◊William & Nathalie SchmickerTeresa & Patrick SullivanTony Taccone & Morgan ForseyHeidi & Charles Triay◊James & Barbara Wesley$2,500–$4,999AnonymousKay & David AakerPat Angell in memory of Gene AngellMarianne & Tom Aude◊Valerie Barth & Peter Wiley*Michael & Phyllis CedarsWai & Glenda ChangDebbie ChinnJosh & Janet Cohen◊Ron ConwayMargaret P. CostJessica & James FlemingElise & Tully FriedmanRena & Spencer FulweilerPatrick W. Golden & Susan OverhauserJanie & Jeff GreenMimi & Peter Haas FoundationArdice Hartry & Paul CoveyRandall & Beverly HawksJohn Kemp & Mary BrutocaoDaisy & Warren KiehnLisa & Scott KovalikBill & Carol LeimbachDebby & Bruce Lieberman◊ in honor ofSharon & Barc SimpsonEileen & Peter MichaelNancy OlsonShelly Osborne & Steve TirrellMary PrchalSam PullaraMaria & Danny RodenMiriam & Stanley SchiffmanJudy & John Sears◊Debbie Sedberry & Jeff KlingmanMary Jo & Arthur ShartsisM.J. Stephens & Bernard Tagholm*Virginia & Thomas SteuberPhyllis & Jim Thrush*Drs. Oldrich & Silva VasicekMuriel Fitzgerald WilsonBeverly & Loring Wyllie$1,000–$2,499Anonymous (2)Frank & Loren AcuñaMelissa Allen & Elisabeth Andreason*Eugene & Neil BarthMegan Barton & Brian HuseJoyce & Charles BattsBarbara & Richard BennettNina & David BondRena BranstenPamela & Christopher CainJo Alice & Wayne CanterburyDarryl CarbonaroPhil & Chris Chernin*◊Linda Clark Phillips & Gordon Phillips◊Michael & Sandra ClelandAlice Collins & Len WeilerCraig Congdon*Debra CrowDonald DavisLois De DomenicoEdward & Denise Del Beccaro◊Jan Deming & Jeff GoodbyLinda Derivi & Steve CastellanosEllen Dietschy & Alan CunninghamBarbara Duff in memory of George DuffRachael & Thomas EberleDonald Engle & Karen BeerninkSusie Falk & York KennedyJoan & Scott FifePeter FisherSally & Michael FitzhughDale & Jerry FlemingSilvio & Mary GaraventaCarol & Richard GilpinJudith & Alexander Glass in honor ofSharon & Barclay SimpsonRobert J. GleesonWerner Goertz & Elizabeth HarveySydney Goldstein & Charles BreyerPamela & John GoodeAnne & Marshall GrodinGarrett Gruener & Amy SlaterSonny & Bruce Hanson◊Tish & Steve HarwoodJoyce Hawkins & John W. SweitzerMargaret HeggJeanne HerbertBonnie & Tom HermanMargaret & Craig IsaacsMalcolm Jones & Karen RocheTimothy Kahn & Anne AdamsElizabeth Karplus in memory of RobertKarplusBruce Kerns & Candis CousinsSheryl & Anthony KleinJean & Jack KnoxSteve & Deidre KolodneyKim & Max KrummelJennifer Kuenster & George MiersGerald N. Kurtz in memory of GraceWong KurtzAdair Langston-Holway & WilliamLangstonGina & David LarueFred Levin & Nancy Livingston, TheShenson FoundationConnie & John LinnemanEileen & Richard LoveJill MatichakTomi & Scott MatthewsElaine & John McClinticJacquelyn McCormick & Michael SalkinNion T. McEvoyCharlie & Casey McKibbenAnn MeadowsPaul & Connie MenziesWalter Moos & Susan MillerJonathan MosconeLinda & Chris MosconePatricia & David MunroLizzie & John MurrayLee Neely & Chelle ClementsCarol & Richard Nitz*Eleanor ParkerBerniece & Charles PattersonDr. & Mrs. Irving PikeJoyce S. RatnerAndrew & Meghan ReadMuriel ReileyPaul A. RenardVelma & Hugh RichmondLesah & Jeffrey RossPatricia & Glenn RudebuschPatti & Rusty Rueff◊Patti & Paul SaxLinda & Will SchieberMartha G. Schimbor in memory ofGertrude BoycheffJo Schuman SilverLaura & Robert Sehr◊Sue & Ralph SeversonMaureen Shea & Allen ErgoGail & Rick StephensSteven Sterns & Barry KlezmerAnna & Kurt StevensonSue & Terry StifflerPaul & Susan Sugarman in honor ofBuddy WarnerChristine & Curtis SwansonAnne Marie & Tom TaylorBarbara & Richard Thompson*Dr. Tom Tighe & Peggy GreenCatherine & Ned TophamCarol Jackson Upshaw◊ in honor ofJonathan MosconeJamie & Gerry Valle*John & Bobbie WilsonDrs. Bonnie Zell & Manuel TorresMichael H. Zischke & Nadin SponamoreMidge & Peter Zischke$750–$999Doree & Andrew BursteinLynn & Bill EvansMimi & Jeff FelsonJames FortuneCharla Gabert & David FraneKathleen & Karl GeierMatthew Goudeau◊Katherine & Chuck Greenberg◊Kristi & Arthur HaighMichael Huston & Marcia Cho*Karin & Patrick JohnstonJames & Rosaleen KellyKate & Thomas F. LoughranSunne & John McPeak in honor ofSharon & Barclay SimpsonMrs. George R. MosconeNancy & Gene ParkerBarbara SklarRobert St. John & M. Melanie SearleNancy ThomasJames Topic & Terry PowellCheryl & Steve Wilske*Barbara & Craig Woolmington-Smith$500–$749Anonymous (4) • Elizabeth & PhilipAcomb • Stephanie & N. ThomasAhlberg • Jose & Carol Alonso • Mary &Leland Anderson* • William Anderson •Paige & Anthony Arata • Paula & SteveArnold • Susan Aumiller & StephenTwigg • Mary Austin • Susan M. Avila& Stephen Gong • Richard & SandyBails • Gretchen Bartzen & Mike Rippey• Stephanie & David Beach • Laura &Paul Bennett • Sara Benson • PaulaBlizzard & David Brown • Monique& Jules Bonjour • Barbara & JackBontemps* • Marilyn & George Bray• Jean & John Brennan • Tina Brier &David Shapiro • Germaine Brown • ErinBydalek & Patrick Bengtsson* • Carmen& Eric Castain • Jason & Flora Chang• Steven & Karin Chase • Stephen G.Cohn & Rose A. Critchfield • Tony Cone& Wendy Rader • Mary & David Cost •26 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG

Susan & Don Couch* • Jane & ThomasCoulter • Rebecca & Al Courchesne• John F. Cove, Jr. & Natalie Balfour• Jacqueline Carson & Alan Cox •Juliet Cox • Jill & Chuck Crovitz •Edward Cullen & Ann O’Connor • MariaDichov • Eric Dittmar & Gayle Tupper• Corinne & Michael Doyle • DanielleDuCaine & Alex Katz • Kimberly Duir •Karin Eames • Sharon & Leif Erickson• Barbara & Neil Falconer • Mary &Benedict Feinberg • Claudia Fenelon& Mark Schoenrock • Kristin Ferrucci-Fuller & Scott Fuller • Debra & DudleyFournier in memory of Sylvia Stone• Kerry Francis & John Jimerson •Nancy Francis • Maribel & Jack Fraser*• Robin & Peter Frazier • CharlesFreiberg & Andrea Alfano • Mary &Stan Friedman in honor of Susie Falk •Jill & Steven Fugaro • Ernie & JeanneGabiati • Cooksie & Beau Giannini• Casey & Keith Giarman • Laura &William Gorjance • Miriam Green &Andrew Rose • Harriet Hamlin & JamesFinefrock • Remy Hathaway • WarrenHeckrotte • Beatrice Heggie • KristiHelmecke & Philip Hunsucker • Chris& Marcia Hendricks • Dan Henkle &Steve Kawa* • Paul Hennessey & SusanDague • Michael & Lisa Holmes • Ben& Sarah Holzemer • Xanthe & JamesHopp • Phil & Chris Chernin* • Marilyn& Luman Hughes • Leslie & GeorgeHume • Cynthia & Mark Jordan • Bill& Joey Judge • Thomas Koegel & AnneLaFollette • Kathy & Anthony Laglia• Dr. Todd & Pamela Lane • Susan &Donald Lewis • Joy Lienau-Armstrong •Randall & Rebecca Litteneker • KheayLoke & Martha McGrady • ElizabethLowe in honor of Jordan & CameronCostello • Jean & Lindsay MacDermid• Kitty Margolis & Alfonso Montuori •Yvonne Clinton-Mazalewski & RobertMazalewski • Eugene McCabe • Paul& Ellen McKaskle • Kimberly & JerryMedlin • The Hon. George Miller &Cynthia Miller • D. G. Mitchell • Joan& Robert Montgomery • Jennifer& Brian Mosel* • Marilyn & DavidNasatir • Joseph Navarro & BillieJones • Rebecca O’Brien • Marie &Jim O’Brient • Sharon & Bill Owens •Carolyn & Richard Palmer • Dorothy &John Peers • Regina Phelps • MarianaPortella • Mary C. Powelson • KathleenQuenneville • Pam Rafanelli • Ephraim& Lily Regelson • Ellen Richard •Mark Richards & Theresa Speake inhonor of Jessica Richards • RobertaRichards & Robert Semar • Bob Roat• Mark & Claire Roberts • Claire Roth• Julie & Andrew Sauter • Barbara &Jerry Schauffler • Joyce & KennethScheidig • Lucille & John Serwa •James Shankland & Leslie Landau inhonor of the Queen’s Own • David A.Shapiro, M.D. & Sharon L. Wheatley •Cathleen Sheehan & Kenneth Sumner• Neil Sitzman • Gary Sloan & BarbaraKomas • Betsy Smith • Carrie & JasonSmith • H. Marcia Smolens • Stephanie& Robert Sorenson • David Starke •Anna & Barry Tague • Ragesh Tangri• Page & Virginia Thibodeaux • Mrs.Dawson Lane Urban • William VanDyk & Margaret Sullivan • Jeff Wagner• Jackie Wallace • Jennifer & PerryWallerstein • Beth Ann & Michael Ward• Meredith & Jeffrey Watts • ArthurWeil • Marni & Eric Welch • DanaWelsh • Martha Truett & David White •Corinne & David Whittall • Doug Wilson• Nita Yun & Russ Mitchell • Linda &Warren ZittelCORPORATE, FOUNDATION, AND GOVERNMENT SUPPORTWe are grateful for the generous investment of the following foundations, corporations,and government agencies, which support our 2013 artistic and educational programs.Multiyear grants are designated with a double asterisk (**).PRESENTING PARTNERSSEASON PARTNERSPRODUCTION PARTNERS$100,000 and aboveThe William and Flora Hewlett Foundation**The James Irvine Foundation**The Andrew W. Mellon Foundation**$50,000–$99,999AnonymousDean & Margaret Lesher Foundation**$25,000–$99,999City National BankMetLife Foundation and TheatreCommunication GroupNational Endowment for the Arts: Art WorksShakespeare for a New GenerationThe Shubert Foundation$10,000–$24,999Blueprint StudiosThe Dale Family FundThe Sidney E. Frank FoundationWalter & Elise Haas FundThe Thomas J. Long FoundationMCJ Amelior Foundation$5,000–$9,999Archer NorrisBaker Avenue Asset ManagementThe East Bay Community FoundationJohn Muir Health SystemsJP Morgan SecuritiesThe Bernard Osher FoundationPricewaterhouse CoopersThe RHE Charitable FoundationThe Safeway FoundationThe Morris Stulsaft FoundationTheatre Development FundUp to $4,999Alameda TheatreAlpha Omega WineryAquarium of the BayAurora TheaterB Cellars WineryBarbacoa OrindaBerkeley Acupuncture ProjectBerkeley Repertory TheatreCafé RougeCaptain VineyardsThe Carneros InnChez PanisseClif Family WineryCraft DistillersDavidTravelDelfina RestaurantDodge & CoxDuMol Wine CompanyFort Ross VineyardsFrancesThe French LaundryThe FruitGuysAnn & Gordon Getty FoundationThe Mimi and Peter Haas FundHafner VineyardsHarley Farms Goat DairyThe Hellman FoundationHyatt Regency Century PlazaJohn’s GrillJudd’s Hill WineryKQEDIndependent Charities of AmericaLamborn Family VineyardsLeVois VineyardsMeadowood Napa ValleyMuscardini CellarsThe Olympic ClubOriginal Joe’sPier 39PixarPizzaioloRam’s Gate WineryRialto CinemasRock Wall Wine CompanySan Francisco ChronicleSony Computer Entertainment AmericaSt. George SpiritsThe Tech Museum of InnovationTownhouse Bar & GrillUC Berkeley LibraryWalnut Creek Yacht ClubThe Walt Disney Family MuseumWaterbarTasting PartnersBohemian CreameryCarica WinesCoco TuttiCrazy CrunchDandelion ChocolatesDr. KrackerJust a Simple CupcakeMamie and Mahki’s Sweet Potato PiePeet’s Coffee & TeaR&B CellarsUpper Crust PiesUrbano CellarsMatching GiftsAetna FoundationAT&T FoundationBank of AmericaCaterpillar FoundationChevron HumankindElectronic ArtsForest LaboratoriesGoogleHorizon AG-ProductsJohn Wiley & SonsMcKesson FoundationMicrosoft CorporationRegenceJ.P. Morgan Chase FoundationVisaOrganizations ProvidingDonor-Advised FundsThe Charles Piper Cost FoundationIndependent Charities of AmericaJewish Community FoundationThe San Francisco FoundationThe Silicon Valley Community Foundationencoreartsprograms.com 27

OUR MISSIONWe strive for everyone, regardless of age,circumstance, or background, to discover therelevance of theater in their lives by:Making boldly imagined and deeply entertaininginterpretations of Shakespeare and the classics;Providing in-depth, far-reaching, creative educationalopportunities for diverse youth;Developing new models that expand who participatesin making theater, how they participate, and why.BOARDOF DIRECTORSEXECUTIVE COMMITTEEBuddy WarnerPRESIDENTMarshall KidoVICE PRESIDENTKate StechschulteVICE PRESIDENTAlan SchnurVICE PRESIDENTSusie FalkVICE PRESIDENT (EX-OFICIO)Jonathan MosconeVICE PRESIDENT (EX-OFICIO)Jean SimpsonSECRETARYJay YamadaTREASURERIN MEMORYThe Lt. G.H. Bruns III Memorial Amphitheater is named in memory of the lateson of George and Sue Bruns of Lafayette. Lt. George Bruns was born in Hollis,NY, on December 14, 1942. He came to California with his family at the ageof seven, and attended Pleasant Hill High School, where he played football andtook the North Coast Championship in Greco-Roman wrestling. At the Air ForceAcademy, he became the AAU wrestling champion. He earned a Master’s Degreein Mechanical Engineering from Ohio State University. George rode Brahma bullsand saddle broncs, and loved to ride horses through the Siesta Valley wherethe Amphitheater now sits. Lt. Bruns was killed in June 1967, in an automobileaccident just before he was due to ship out for service in Vietnam. CaliforniaShakespeare Theater honors the memory of Lt. George H. Bruns III.ABOUT THE BRUNS AMPHITHEATERSiesta Valley (the home of the Bruns Amphitheater) is one of the original land holdings of theEast Bay Municipal Utility District (EBMUD). In agreeing to lease to the Theater, EBMUD seeksto serve the public with a community facility while preserving the watershed with minimaldisruption to the pastoral surroundings. This land may be open to the public for performancesand private events, but remains restricted private property at all other times.DIRECTORSMichael CedarsPhil CherninMike ClelandJoshua CohenEllen DaleEd del BeccaroDavid GoldsmithSonny HansonErin JaebTony KallingalMaureen KnightCraig MoodyRichard NorrisLinda Clark PhillipsJim RoetheMike RossMichelle RunyonJohn RuskinSharon SimpsonFrank StarnTeresa SullivanADVISORY COUNCILWayne CanterburyBob EpsteinPeter FisherAllison GoldsteinJeff GreenAnne GrodinNancy KaibleJennifer KingLesa McIntoshTapan MunroeSusan RaineyCarole RathfonPeter ReadHugh RichmondJohn SearsFrancesca VietorSarah WoodardPICTURED, TOP TO BOTTOM: TOMMY SHEPHERD AND RYAN NICOLE PETERS IN A STAGED READING OF HAMLET: BLOOD IN THE BRAIN AT THE OAKLAND METRO (2005,PHOTO 28 BY JAY CALIFORNIA YAMADA); ANDY SHAKESPEARE MURRAY AND THEATER DOMENIQUE LOZANO IN MUCH ADO ABOUT WWW.CALSHAKES.ORGNOTHING (2010, PHOTO BY KEVIN BERNE); STUDENTS IN A 2010 SUMMERSHAKESPEARE CONSERVATORY TEXT CLASS (PHOTO BY TRISH TILLMAN); LT. G.H. BRUNS; THE BRUNS AMPHITHEATER (PHOTO BY JAY YAMADA).

2013 COMPANYJonathan Moscone ARTISTIC DIRECTORSusie Falk MANAGING DIRECTORASSOCIATE ARTISTSJenny Bacon, ACTORL. Peter Callender, ACTORRon Campbell, ACTORNancy Carlin, ACTORJames Carpenter, ACTORCatherine Castellanos, ACTORMaryBeth Cavanaugh, CHOREOGRAPHERJulie Eccles, ACTORDaniel Fish, DIRECTORDan Hiatt, ACTORJennifer King, TEACHING ARTISTDomenique Lozano, ACTORJoan Mankin, ACTORAndy Murray, ACTORMeg Neville, COSTUME DESIGNERRyan Nicole Peters, WRITER AND ACTORLisa Peterson, DIRECTORAndre Pluess, COMPOSER/SOUND DESIGNERJake Rodriguez, COMPOSER/SOUND DESIGNERStacy Ross, ACTORMark Rucker, DIRECTORSusannah Schulman, ACTORDanny Scheie, ACTORLynne Soffer, DIALECT AND TEXT COACHOctavio Solis, PLAYWRIGHTStephen Barker Turner, ACTORClive Worsley, TEACHING ARTISTScott Zielinski, LIGHTING DESIGNERARTISTIC LEARNINGClive Worsley, DIRECTOR OF ARTISTIC LEARNINGSteph White, ARTISTIC LEARNING PROGRAMSMANAGERHanah Zahner-Isenberg, INTERIM ARTISTICLEARNING ADMINISTRATION MANAGERJai Ravine, ARTISTIC LEARNING ADMINISTRATIVEASSISTANTClive Worsley, STUDENT MATINEE MODERATORRobin Dolan, Paige Johnson, Philippa Kelly,Joanie McBrien, Takeo Rivera, Cathleen Sheehan,GROVE TALK MODERATORSPRODUCTIONTirzah Tyler, PRODUCTION MANAGERDave Nowakowski, TECHNICAL DIRECTORNaomi Arnst, COSTUME DIRECTORSTAGE MANAGEMENTCorrie Bennett, Laxmi Kumaran, Deirdre RoseHolland, Bethanie Baeyen, Jannette Coté, STAGEMANAGERSDana Gal, Christina Hogan, Cordelia Miller,PRODUCTION ASSISTANTSSCENERYCharlotte Wheeler, ASSISTANT TECHNICAL DIRECTORBaz Wenger, CARPENTERSCENIC ARTLetty Samonte, SCENIC CHARGE ARTISTSophia Fong, Shannon Walsh, OVERHIRE PAINTERSELECTRICSRay Oppenheimer, MASTER ELECTRICIANDan Norman, ASSISTANT MASTER ELECTRICIAN &BOARD PROGRAMMERMelina Cohen-Bramwell, SEASON FOLLOWSPOTSOUNDWill McCandless, HEAD OF AUDIOBrendan Aanes, Eric Andler, Lawton Lovely,Saloman Peña, MIXERSChristopher Lossius, Saloman Peña, EdwardVigen, BACKSTAGE AUDIOCOSTUMES & WARDROBEJessa Dunlap, RENTALS MANAGEREmily White, DESIGN ASSISTANTLisa Angback, CUTTER/DRAPERAries Limon, FIRST HANDShannon Dupont, Linda Ely, Antonia Gunnarson,Coeli Polansky, Suzanne Ryan, Elana Sanders,STITCHERSElena Burlando, CRAFTSPERSONMarcy Frank, CRAFTS OVERHIREErin Hennessy, WIG & MAKEUP DESIGNERShannon Dunbar, WARDROBE LEADEva Herndon, WARDROBEJessica McGinty, Satoe Nagasaka, HAIR & WIGMAINTENANCEFINANCE & ADMINISTRATIONNoralee Rockwell, DIRECTOR OF FINANCEJoyce Fleming, BUSINESS MANAGERJamie Buschbaum, OFFICE MANAGER/EXECUTIVEASSISTANTMarivie Koch, BUSINESS OFFICE ASSISTANTDEVELOPMENTMegan Barton, DIRECTOR OF DEVELOPMENTIan Larue, ANNUAL FUND MANAGERAndrew Page, GRANTS MANAGERShelly Jackson, SPECIAL EVENTS MANAGERKate McDonnell, DEVELOPMENT COORDINATORMARKETING & COMMUNICATIONSJanet Magleby, DIRECTOR OF MARKETING &COMMUNICATIONMarilyn Langbehn, MARKETING & PR MANAGERStefanie Kalem, PUBLICATIONS MANAGERCallie Cullum, GRAPHIC DESIGNER/WEBMASTERPATRON SERVICESPam Webster, PATRON SERVICES MANAGERSteven Bailey, Maria Fortez, Bernadette Hu, KateMcDonnell, Nan Noonan, Colin O’Connor, RhodaSlanger, Sheila Yee, PATRON SERVICES ASSOCIATESBOX OFFICE & FRONT OF HOUSEDerik Cowan, BOX OFFICE MANAGERNessa Cronin, Rachel Frank, Elena Garcia,Sabra Jaffe, Alan Kline, Clio McDonnell, MollyMcEnerney, David Shultz, Deborah Woods, BOXOFFICE ASSOCIATESBeth Buschbaum and Jessica Dunlap, THEATERSTORE ASSISTANT MANAGERSBetsy Ruck, HOUSE MANAGERJordan Battle, Erika Budrovich, Samantha Cook,Carolyn Day, Jamie Harkin, Patricia Kelley, SkylerLarkin, Carol Marshall, Scott Tignor, JuniorViernes, Deborah Woods, HOUSE ASSOCIATES2013 PROFESSIONAL IMMERSION PROGRAMCOMPANYFor information on the Cal Shakes PIP (internship)program, email cshapiro@calshakes.org.Elena Garcia, ARTISTICAddie Bacon, Caety Klingman, LukasPapenfusscline, Jacob Phillips, Miriam Salamah,Sophie Schwartz, Travis Smith, Jacinta Sutphin,Megan Wicks, ARTISTIC LEARNINGGracie Bojorquez, Karina Chavarin, COSTUMEDESIGNSatoe Nagasaka, COSTUME SHOPAnne-Marie Balke, COSTUME SHOP/CRAFTSAlison Burris, PRODUCTION MANAGEMENTJohn Dixon, SCENIC CONSTRUCTION/TECHNICALDIRECTIONHamilton Guillen, LIGHTING DESIGNBrittany White, PROPERTIESKerry Hennessy, SCENIC PAINTINGCheryle Honerlah, Joel Rivas, Angela Rosario,Chris Waters, STAGE MANAGEMENTChristina Novakov-Ritchey, TRIANGLE LABAudrey O’Donnell, MARKETINGAll listings current as of July 25 , 2013TEACHING ARTISTSHeidi Abbott, Elizabeth Carter, CatherineCastellanos, Scott Coopwood, Rachel Fettner,Derek Fischer, Laura Marlin, ZZ Moor, RyanO’Donnell, Laura Lowry, Susannah Martin, CarlaPantoja, Andy Sarouhan, Claire Slattery, AnnaSmith, Cat Thompson, Trish Tillman, GinnyWehrmeister, Wendy Wisely, Marissa Wolf,Elena Wright, Kat Zdan, CONSERVATORY TEACHINGARTISTS & DIRECTORSElizabeth Carter, Scott Coopwood, Derek Fischer,ZZ Moor, Dan Saski, Anna Schniederman, AnnaSmith, Ginny Wehrmeister, Marissa Wolf, ElenaWright, Clive Worsley, Kat Zdan, RESIDENCIES,CLASSES, AFTER-SCHOOL, & WORKSHOPSKaty Adcox, Brett Jones, SUMMER SHAKESPEARECONSERVATORY COORDINATORSGregoria Grigsby-Olson, Tommy Statler, TEACHINGARTIST FELLOWSTHE TRIANGLE LABIntersection for the Arts, COFOUNDERRebecca Novick, DIRECTORARTISTIC & DRAMATURGYJessica Richards, ASSOCIATE ARTISTIC DIRECTORPhilippa Kelly, RESIDENT DRAMATURGLaura Hope, CONTRIBUTING DRAMATURGSonya Taylor, COMMUNITY PARTICIPATIONCOORDINATORClea Shapiro, ARTISTIC COORDINATORPROPERTIESSeren Helday, PROPERTIES MASTERSarah Spero, PROPERTIES ARTISANFACILITIESTrevor Carter, FACILITIES MANAGERManino Mendez, MAINTENANCE TECHNICIANAndrew Megowan, WEEKEND MAINTENANCEPorscha K. Owens, Reva Owens, SHUTTLE DRIVERSPRODUCTION PROGRAMVolume 22, No. 3Stefanie Kalem, EDITOR-IN-CHIEFCallie Cullum, ART DIRECTORencoreartsprograms.com 29

FYI IMPORTANT INFORMATION FOR OUR PATRONSCONTACT USBox Office: 510.548.9666 or boxoffice@calshakes.org(Mon–Fri, 10am–6pm; Sat, 10am–2pm; Sun 12–4pm)Mailing & Box Office Address: 701 Heinz Ave, Berkeley, CA 94710Website: calshakes.orgSocial Media: Facebook.com/calshakes Twitter.com/calshakesPinterest.com/calshakesGroup Sales (10+): 510.809.3290General: 510.548.3422 or info@calshakes.orgProgram Advertising: Mike Hathaway, Encore Media Group,800.308.2898 x105 or mikeh@encoremediagroup.comFacilities Rental: 510.548.3422 x123Costume Rental: 510.548.3422 x111TICKETS AND SEATINGTicket Exchange & Replacement: Subscribers and FlexPass holders mayexchange tickets at no cost up to 24 hours in advance of the time and dateof their scheduled performance; single ticket holders may do so for a $10fee. If you lose or misplace your tickets, the Box Office can arrange forreplacements at no extra charge.Discounts: For information on discounted tickets for seniors, youth,military, students, age 30 and younger, and rush, visit calshakes.org/discounts.20 for $20 Policy: We’ve set aside 20 $20 tickets for each performancethis season, making it easier for more people to enjoy theater. Simply callthe Box Office starting at noon the day of the show and ask to purchase“20 for $20” tickets. (Subject to availability.)Terrace Seating: If you’re seated in our Terrace or Terrace Preferred sections,you will need to bring your own chair or rent one from us. If youchoose to bring your own, it must be a low-backed beach chair with aseat no more than six inches off the ground and a backrest no taller thanshoulder height. If you need to rent a chair from us, you’ll find them at theupper entrance to the Terrace for just $3.BRUNS AMPHITHEATER100 California Shakespeare Theater Way, Orinda, CA 94563 (not a mailingaddress)Hours: Box office and grounds open two hours before performance time.Come prepared for the outdoors: Blankets are available to the right ofthe main Amphitheater entrance for a suggested $2 donation; pleasedress warmly for cold nights and bring sunscreen and a hat for matinees.To keep yellow jackets at bay, keep food covered whenever possible andpromptly dispose of trash and recyclables. We’ve also found fabric softenerdryer sheets work well to keep repel yellow jackets.Take BART and our free shuttle: Cal Shakes provides free, wheelchairlift-equipped shuttle service between the Orinda BART station and theTheater beginning 90 minutes prior to and at the end of each performance.The shuttle runs approximately every 20 minutes; the final shuttleleaves the Orinda BART station approximately 20 minutes before curtain.Orinda BART pickup is in the BART parking lot to the right of the stationexit; after the show, catch the shuttle on the Sue & George Bruns Plaza.SHARON SIMPSON CENTER AMENITIESCafé by Classic Catering: Offering a wide selection of gourmet meals,wine, beer, Peet’s coffee and tea, hot cocoa, and desserts, the café openstwo hours before the performance and at intermission. Catering is availablefor groups (10+) and special events; call 925.939.9224.Theater Store: Cal Shakes logo wear and other merchandise are availablefor purchase at the Theater Store, located in the Sharon Simpson Center;open before the performance and during intermission.Restrooms: Located to the left of the Theater Store. (Additional restroomsare located in the Upper Grove.)First Aid: For assistance, please go to the House Management Office,located inside to the left of the restrooms.Emergency Phone: Since we ask all patrons to silence cell phones duringperformances, you may leave the House Office phone number (925.254.2395)as your contact number during a performance.ACCESSIBILITYWheelchair Lift-equipped Shuttle: See info above, under “Take BART and ourfree shuttle.”Wheelchair seating: Available in sections A, C, Terrace Rear, and Boxes. Wecan also book seats, adjacent to yours, for up to three companions. (Make sureto request this seating at time of purchase.)Assistive Listening Devices: Available at no charge from the blanket kiosk on afirst-come, first-served basis.Open-captioned Performances: Cal Shakes is proud to provide open captioningfor patrons who are deaf or hard-of-hearing for one performance of eachproduction. See calshakes.org/accessibility for dates and other information onaccess.AMPHITHEATER ETIQUETTEArrive on time: Latecomers will be seated at an appropriate interval at theHouse Manager’s discretion.Silence all electronic devices before the performance begins.Keep the aisles clear during the performance.Do not take photos of the performance. The use of any type of camera, videoor audio recorder in the amphitheater is strictly prohibited. Such devices maybe confiscated at the House Manager’s discretion.Observe all signage including directional signage on the grounds. It is postedfor your safety.Smoking is restricted to area designated: Look for the bench and ashtray onthe plaza across from the café. Electronic cigarettes are allowed in the groves,plaza, and anywhere on the grounds with the exception of the Amphitheater.Be scentsitive: Perfumes or scented lotions may cause discomfort to otherpatrons and may attract yellow jackets. Please keep use to a minimum.Picnicking: You’re welcome to enjoy food and beverages during the performance,but please be courteous to others. Unwrap all items before the performancebegins or at intermission so as not to disturb your fellow patrons.ENVIRONMENTAL STEWARDSHIPRecycling: Please use the labeled recycling bins to discard glass, aluminum,plastic, and paper; a portion of the proceeds from the value of our recycledmaterials is donated to area schools.Solar: Cal Shakes is one of largest solar-powered outdoor professional theatersin the country. The 144 260-watt panels and four 9000-watt inverters of ourTurn Key 37.4 kilowatt DC solar electric system are designed to supply up to98% of the power needs to the Bruns Amphitheater.Living Roof: Like much of the Bruns Amphitheater grounds, the SharonSimpson Center’s living roof boasts native, drought-resistant plants.EVACUATION PLANEXITEXITSTAGEEXITEXITUPPERGROVETHE SHARON SIMPSONCENTEREXIT ROUTEPRIMARY AREA OF REFUGE(MEETING PLACE FOR ALLAUDIENCE MEMBERS)SECONDARY AREA OF REFUGEFIRE HYDRANTSP30 CALIFORNIA SHAKESPEARE THEATER WWW.CALSHAKES.ORG

WitticismsGONE WILDE}Iam so clever that sometimesI don’t understand a singleword of what I am saying.Ah, Oscar Wilde. Was he the cleverest man in all Christendom? Last month, we challenged our online community to go toe-tobrocaded-toewith King Wit himself, offering up their own Wildean aphorisms for a chance to win tickets to see this production ofLady Windermere’s Fan, and to be published in the program. Extra points were awarded to those entries which attributed their lineto a particular character; made the topic Cal Shakes; and/or made the topic one of the plays in our 2013 season.We received more than 50 entries via Twitter and email; the winner is Patricia Milton, who deserves recognition not just for winningthe contest but also for being so inspired that her Wildean witticisms spilled over onto her own blog (www.patriciamilton.wordpress.com)! So congratulations to Patricia, whose ticket-winning entry—deemed by an esteemed panel of dramaturgs andMarketing staff to most encapsulate Oscar Wilde’s aphoristic style—you can read below, along with some of the other entries.THE WINNER:A reputation is like an appendix.It’s uncertain what it’s good for,and when it’s gone, you won’t miss it.—Patricia MiltonTo be married “till death do you part” seems an alarmingencouragement to future criminal activity. —Patricia MiltonLord Darlington (Lady Windermere’s Fan): Never be afraidto take a position, especially a compromising one.—Patricia MiltonNever put a woman on a pedestal; she will only look downon you. —Patricia MiltonCynicism without wit is peevishness. Wit without cynicismis impossible. —Patricia MiltonAlgernon, to Jack (The Importance of Being Earnest):My dear boy, it’s so easy to know what you want in life,until you get it. —Robert EstesLady Bracknell (Lady Windermere’s Fan): I have never onceminded offending people, it’s the least they can do for me.—Robert EstesYou learn something new every day… no matter how hardyou try to avoid it. —Sargent LingGwendolen Fairfax (The Importance of Being Earnest):At dinner parties, I find people tedious and boring, it’sendlessly fascinating. —Carol MarshallOscar Wilde: Everyone thinks they have an inner OscarWilde but in reality it’s just Soupy Sales on a bad day.—Carol MarshallA lack of moral principles is not nearly so frightful as a lackof dinner invitations. —Patricia MiltonThe road to divorce is paved with inattentions.—Patricia MiltonWhen a married woman yields her reputation, that’s asacrifice. When a single one does, that’s marketing.—Patricia MiltonOne deceives more often out of kindness than malice.—Patricia MiltonThe only thing more tragic than an unkempt womanis an unkept one. —Patricia MiltonMrs. Cowper-Cowper (Lady Windermere’s Fan): Whengossip dines out, reputation pays the bill. —Patricia MiltonWhen one can’t follow directions, it’s fun to followthat one. —Juanita PrestonI’m wild about Shaw, but I’m not so sure about Wilde.—PJ RobinsonThe only way to atone for being occasionally a little overstressedis by being always absolutely over-medicated.—Marissa SkudlarekTo decline one opportunity for sex, Miss Fairfax, may beregarded as prudence; to decline a second looks likeprudishness. —Marissa SkudlarekOptimism is the tyranny of the buoyant imagination.—Meg ThatcherTo learn about contests like this one,visit www.calshakes.org/blog,follow us on Twitter @calshakes, orlike us at www.Facebook.com/calshakes.

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