Shakespeare Theatre Company's Romeo and Juliet - Pre AP Eng 9 62

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Shakespeare Theatre Company's Romeo and Juliet - Pre AP Eng 9 62

NEW FORMATA publication of the Harman Center for the ArtsASIDESShakespeareTheatre Company’sRomeo and Juliet2008|2009 Issue 1A Conversationwith AssociateArtistic DirectorDavid MusePlus:Reel AffirmationsHappeningsat the Harman1


A publication of the Harman Center for the ArtsASIDESPRODUCTION SPONSORArtistic DirectorMichael KahnLansburgh Theatre450 7th Street NWWashington, DC 20004-2207Sidney Harman Hall610 F Street NWWashington, DC 20004-2207Box Office202.547.1122Administrative Offices516 8th Street SEWashington, DC 20003-2834202.547.3230FAX 202.547.0226Please do not fax ticket exchanges to this number.HarmanCenter.org“Why, then, I thank you all.”Romeo and Juliet, act 1, scene 5The Shakespeare Theatre Company is grateful tofor its support of Romeo and Juliet.Director of Communications and MarketingStacy ShawAssociate Director of CommunicationsLiza LorenzSenior Graphic DesignerSelena RobletoPublications ManagerShawn HelmMEDIA PARTNERPublications CoordinatorAnnie HuntContributing Writers:Lauren BeyeaPeter ByrneAkiva FoxLiza LorenzAsides is published five times a year.1


SHAKESPEARE THEATRE COMPANYDear Friend:Welcome to the newly redesigned Asides magazine. In aneffort to better serve our patrons, we have made a few changesto this well-regarded publication. We’ve chosen a new sizeand format, giving the publication the look of a high-qualitymagazine. We’ve moved to full-color, enabling us to showcaseour production designs and photos. We have created newfeatures, providing more behind-the-scenes interviews withthe artists who create the work on our stage. And we willsometimes combine two plays into one issue, capitalizing oncommon themes and ideas.We also are including more information about the otherdance, music and theatre performances presented by ourpartners at the Harman Center for the Arts. In this issue, youcan read about the Reel Affirmations film festival and the 48Hours for Burma dance performance or peruse the calendar forother events.We hope this new content and design will better reflectthe richness of our productions, while also entertaining,enlightening and informing you. We welcome your feedback,so please email us at Asides@ShakespeareTheatre.org. You canalso write to “Asides Editor” at our administrative offices.The next issue of Asides will feature both The Way of the World andTwelfth Night. It should arrive in your mailbox in September.Thank you for joining us for our 2008–2009 season!Best always,Michael KahnArtistic DirectorShakespeare Theatre Companyat the Harman Center for the ArtsPlease note: Because of the thrust stage configuration forRomeo and Juliet, we cannot guarantee late seating. Pleaseallot extra time to arrive at the performance.2 3


CONTENTSSHAKESPEARETHEATRE COMPANYHARMAN CENTERFOR THE ARTS6Everything Old IsNew Again: AnInterview with DavidMuse by Akiva Fox10Unfair Verona: ThePast Imperfect ofRomeo and Julietby Peter Byrne14Boys Club:All-Male ShakespeareThen and Now16Romeo and JulietCast List17Romeo and JulietArtistic Team18Shakespeare TheatreCompany’s 2008–2009Season20Employer-MatchingGifts to the ShakespeareTheatre Company21The Trial of Socrates22Harman Centerfor the Arts Gala23Happeningsat the Harman24Harman Center for theArts Events25Audience Services26Calendar of Events:September28Calendar of Events:OctoberCover photo: David Muse.At left: James Davis as Juliet. Above (from left to right): Associate CostumeShop Director Jennifer Bilbo and make-up artist Anne Nesmith prepareJames Davis; James Davis; Director David Muse and James Davis.Shot on location at the Omni Shoreham Hotel. All photos by Scott Suchman.4 5


SHAKESPEARE THEATRE COMPANY ROMEO AND JULIETEverything OldIs New AgainAn Interviewwith David Museby Akiva FoxPhoto of David Museand James Davis byScott Suchman.6 7


SHAKESPEARE THEATRE COMPANY ROMEO AND JULIETRomeo and Juliet director David Muse will stage Shakespeare’s great love story asShakespeare himself first saw it: with an all-male cast. STC Literary Associate Akiva Foxsat down with him to talk about this daring and provocative approach to a classic.Photo of David Museby Scott Suchman.Akiva Fox: What led to your decision todirect Romeo and Juliet with an all-malecast?David Muse: Of all the plays Shakespearewrote, Romeo and Juliet seems to me the onethat’s most stuck in our heads. It’s the onewe can quote the most lines from, and it’sbeen done in stunning fashion in iconicfilm and stage versions. So the all-maleconvention is in part an attempt to makethe play fresh and surprising for me andfor our audiences. Also, some of the mostinfluential productions of Shakespeare Ihave seen have been all-male.AF: What struck you as the effect of an allmalecast in those productions?DM: The production immediately becomesan event that has to do with performanceand theatricality, the acknowledgment onthe part of the actors and the audiencethat this is a play that we’re watching. Ina way, it unlocks this world of imaginativecollaboration between the audience andthe actors.AF: How do you think the all-maleconvention illuminates Romeo and Juliet?DM: This is a play that’s very centered onlove, when gender matters so much. Now,I’m not doing this because I’m interestedin putting a gay male relationship on thestage, but I do think that Shakespeare waspushing some interesting boundaries whenit came to gender in Elizabethan England.This play is set in a very consciouslyconstructed masculine world, and a lot ofwhat propels the grudge and the violencebetween these two families is masculinebravado. And juxtaposed against that areRomeo and Juliet, who behave in ways thatare atypical for people of their gender inthat world.Also, when both of these roles are playedby men, a lot of the performance of theirlove needs to live in the language that theyspeak. And Shakespeare was a writer ofgorgeous poetry, but the reason the lovepoetry in this play is so glorious is in partbecause Shakespeare knew that two youngmen would be performing it. You couldn’tjust count on two actors looking at eachother and realistically being in love in away that the audience was going to buy.And so the actors need to jump into thelanguage and make its power convince usof the power of this love.AF: How hard was it to find male actors toplay women?DM: Casting was very fun and verydifficult. Of course, the hardest role tocast was Juliet, because it was a perfectstorm of casting challenges: he had to beyoung; he had to have enough controlof language to live through the poetry;he had to be a specific physical type; hehad to be able to live one of the mostcomplicated and emotional inner lives ofany Shakespeare character; and he had tobe feminine but not campy. In the end,the qualities I had to prioritize were beingable to walk the emotional journey andhaving the ability to handle the language.Because if you don’t have an actor whois so blow-you-away-good that it banisheswhatever discomfort you’re feeling withthe convention, then the whole evening isnever going to take off. The particular actorwe cast is one whom you are compelled towatch.AF: Do you have anything to say to peoplewho might be wary about an all-maleRomeo and Juliet?DM: Doing a production this way raises alot of eyebrows. But having seen a numberof very successful all-male productions, Ican say that it’s less of a big deal than youthink it is. You sit down in the theatre, andyou give over to it. It’s also odd to me thatthis feels to people like such an innovativeand risky decision, because in a way it’s themost traditional way to do this play. It is atthe same time something that we’ve neverseen before, but also returning the play tothe conditions under which it was created.AF: So if people buy tickets and take theleap with you, what do you think they’regoing to take out of this production thatthey haven’t seen in this play before?DM: What I hope is that they’ll go awaywith an image of this play in their headsthat is different from the romanticizedimage of Romeo and Juliet that’s lodged inour consciousness. So I hope that theyenter the theatre with some skepticism andleave with enthusiasm and surprise at theeffectiveness of what they’ve seen. I hope itfeels fresh and dangerous, which is a waythat we don’t usually think of this play.To read the complete interview with DavidMuse, please visit ShakespeareTheatre.org.89


SHAKESPEARE THEATRE COMPANY ROMEO AND JULIETUNFAIR VERONA:THE PAST IMPERFECTROMEO AND JULIETby Peter ByrneRomeo and Juliet is, for many of us, our first experience withShakespeare. One of his earliest plays, it is also, with thepossible exception of Hamlet, his most familiar. Even thosewho have never read a single line of Shakespeare knowthe names of his doomed hero and heroine, a pair of characters whohave entered into the popular lexicon as Western civilization’s mostrecognized symbol of young love. But whether we are coming to thisplay for the first time or the 20th, Romeo and Juliet rewards us with freshdiscoveries, and even experienced audiences seeing this productionwill be surprised at how much more there is to this play than the welltoldstory of two star-crossed lovers. For while the play is certainly atragedy of love, it is also a tragedy of time—of how the past robs thepresent of the future.Photo of JamesDavis as Juliet byScott Suchman.1011


SHAKESPEARE THEATRE COMPANY ROMEO AND JULIETPhoto of James Davis as Juliet by Scott Suchman.out as a someday poet, that Tybalt isclearly a born soldier, that Benvolio willmake a fine judge. Verona needs theseyoung people but instead distorts theminto the worst versions of themselves.If their tragedy seems to spring frompoor choices, we might do well to askwhether they ever had any choices tobegin with—whether their fates havenot already been preordained by a citythat holds them prisoners to history.This is a lost generation not becausethey lack the qualities of greatness, butbecause those qualities are distortedby a hostile world not of their making.Shakespeare is canny enough to showus what might become of these childrenin their maturity; Verona’s youth ismirrored in its elders, showing whattime will do to the former: Mercutio’sknowing wit is reflected by the Nurse’sworldly shrewdness, Benvolio’slove—his agonized desires a source ofsad amusement as much to us as tohis companions—in Juliet he gives usquite the opposite: a young womanwho sees more clearly than anyonearound her how the world values solittle what really matters, and prizesso much what does not. It is Juliet whorecognizes that language and truth arenot the same—that “Montague” does notdefine her love, nor “Capulet” her self,that Romeo’s oaths ought not to followconventions, that mortals who swear bythe gods invite their laughter, and thatthe cynical worldliness of her Nurse is,far from the path to salvation, her surestway to hell.Juliet’s most touching moment isher delighted soliloquy to her absenthusband on their wedding night,bidding the steeds that draw the sun to“Romeo and Juliet is a pictureof love and its pitiable fate, ina world whose atmosphere istoo sharp for this the tenderestblossom of human life.”August Wilhelm Schlegel. A Course of Lectures on Dramatic Art and Literature. 1811.On the one hand, fate or chance divertsthis play from a happy ending—onemessenger arrives before another,and thereby ensures the worst ofoutcomes—but even as we feel the pangof this mischance, we must noticethat even if all the right events were tohappen in the right order, it is doubtfulthat the lovers or their peers wouldemerge successfully from their troubledadolescence. For Shakespeare remindsus that it is the nature of youth to livefor the moment, and it is thereforethe responsibility of the mature toguide the younger into an awarenessof decision and consequence. But thedeck is irretrievably stacked against theyoung in this play by an older generationpreoccupied, even obsessed, by a mutualpast. Thanks to its two noble houses andtheir feud, Verona is a city trapped in aformer era, engaged in a civil cold war ofsuch long-standing that no one bothersto mention what caused it in the first place.Everyone seems to accept that Capuletsand Montagues are natural enemies,forgetting that there is always a choice tobe made, a choice between what is andwhat may be. And it is the youth of theplay, unmarred by their parents’ ossifiedbiases, who represent the hope of thatbetter choice.We are accustomed to look for characterflaws in tracing the causes of a tragicdownfall, and Shakespeare does not shyaway from laying much of the blameon the young: Mercutio’s uncontrolledenthusiasm, Tybalt’s rage, Romeo’sexcessive sentimentality, and evenJuliet’s rebellious insistence on her ownpreferred path in life (less offensiveto us than it was to the conservativefamily values of Shakespeare’s time).But as inadequate as these young peopleare, we see in them signs of futuregreatness: one can see without muchstrain that Mercutio’s wit marks himinstinctive diplomacy mirrored bythe Prince’s attempts at peacemaking,Tybalt’s fury by his uncle Capulet’stemper. Young mirrors old, but the latterreminds us that the virtues of youthseldom survive it. Even Juliet’s idealismis shown in unflattering colors in themanipulative actions of Friar Lawrence,a man of infinitely good intentions whomore than any other leads the playto its catastrophic conclusion by hispresumption.But the mere existence of her idealismin the first place is, perhaps, enough togive us some hope. For while Verona’sold men scheme to revenge themselvesin an endless cycle of violence that robswords like “honor” and “justice” oftheir meanings, it is the play’s youngestcharacter—and a young woman, noless—who proves its wisest. If in RomeoShakespeare gives us the poignancyof a very conventional young man inrush in their courses and bring the nightthat will bring Romeo to consummatetheir marriage. But of course she urgesthis without knowing that Romeo hasjust slain her cousin and plunged theplay into its final movement towarddeath. It is a moment of passion thatsurpasses in its sincerity and originalityanything her lover might have offered.This moment, equal parts comic, crueland erotic, captures the spirit of theplay: the young look forward to thenight only in anticipation of the dawnand a fruitful consummation of theiridealistic and headlong desires. ButShakespeare gives us a world they aretoo good for, one that brings darknesswithout renewal, in which lovers makethe grave their marriage home, andwhere the sun for sorrow will not showhis head.Peter Byrne teaches English at Kent StateUniversity.12 13


SHAKESPEARE THEATRE COMPANY ROMEO AND JULIET“The feud in a realistic social sense is theprimary tragic force in the play—not thefeud as agent of fate, but the feud asan extreme and peculiar expression ofpatriarchal society, which Shakespeareshows to be tragically self-destructive.The feud is the deadly rite of passage thatpromotes masculinity at the price of life.”Coppélia Kahn. Coming of Age in Verona. 1978.The Propeller Theatre Company’s production of The Tamingof the Shrew. Photo by Philip Tull.© Shakespeare in Love 1998—Miramax Films/UniversalPictures. All Rights Reserved.Rose Rage, an adaptation of Shakespeare’s Henry VI trilogydirected by Edward Hall, was produced by Chicago ShakespeareTheater (2003) and presented at The Duke on 42nd Street inNew York (2004). Photo by Michael Brosilow.BOYS CLUBAll-Male Shakespeare Then and NowThe film Shakespeare in Love closes withthe chaotic premiere of Romeo and Julietin 1590s London. Shakespeare himselfis pressed into service to play Romeo,and Queen Elizabeth makes a cameoappearance in the audience. But themost surprising turn comes when ayoung woman takes the stage as Juliet.“Stage love will never be true love whilethe law of the land has our heroinesplayed by pipsqueak boys in petticoats,”she had lamented earlier, and for oneperformance she breaks that law.Shakespeare in Love takes plenty of poeticlicense with history, but it also reflectsan astonishing fact: in Shakespeare’sday, no women appeared on stage. Allof his great female roles, from Julietto Viola to Cleopatra, were originallyplayed by young men. Female actors weredenounced as “monsters,” and a visitingFrench company that included womenwas booed off the stage in 1629.When Charles II returned from Francein 1660 to retake the English throne,he allowed women on stage for thefirst time. Before a ground-breakingperformance of Othello featuring a femaleDesdemona, a prologue proclaimed: “Thewoman plays today; mistake me not!No man in gown, or page in petticoat.”A few actors continued to play femaleparts, but within a few years the “pipsqueakboys in petticoats” were gone.The tradition did not disappear entirely;in places where no women were available,such as all-male boarding schools orcolleges, boys played the female partswell into the 20th century. And WilliamPoel experimented with using boy actorsat his historically accurate ElizabethanStage Society in the early 1900s. But theseproductions were seen as curiosities, theresidue of a long-dead and unfortunatecustom of English theatre.More recently, however, a few intrepidcompanies have revived the practice ofall-male Shakespeare, discovering newrevelations about the text and charactersin the process. In 1991, the Britishcompany Cheek By Jowl reintroducedthe world to the possibilities of all-maleperformance with their hilarious anddeeply felt production of As You Like It.The brilliant actor Adrian Lester, whoplayed Rosalind, confessed that he wasinitially terrified at the idea of portrayinga woman. “But as soon as I forgot aboutwhat I looked like in a dress,” he said,“I could concentrate on what it meantto love. It took the play to another level;it was a wholly liberating thing to do.And if you as an actor believe it, then theaudience will, too.” Critics and audiencesalike raved about the production.When a reconstruction of Shakespeare’sGlobe Theatre opened in London in 1997using original performance practices,all-male Shakespeare began to gaintraction. That same year, the youngBritish director Edward Hall formedPropeller Company, which has sincetoured inventive all-male productionsof seven Shakespeare plays around theworld to great acclaim. This fall, theShakespeare Theatre Company joins inwith its all-male Romeo and Juliet, whichwill change the way audiences see one ofShakespeare’s most familiar plays.14 15


SHAKESPEARE THEATRE COMPANY ROMEO AND JULIETTom Beckett Matthew Carlson Dan CraneJames Davis Aubrey Deeker Drew Eshelman ChristopherRyan GrantTyrone MitchellHendersonCarl Holder Dan Kremer Jeffrey Kuhn Cody Nickell“The world of Romeo andJuliet is a somber, realisticone in which youth is borninto evil and must struggleagainst it ceaselesslyuntil the conflict is endedby inevitable death. ButShakespeare’s tragic visionis not one of resignation ordespair; it is one of defianceand hope, of pride in thosequalities of man that enablehim to survive and achievevictory in such a world.”Irving Ribner. ‘Then I denie you starres’; a Reading of“Romeo and Juliet.” 1959.HubertPoint-Du JourLawrence RedmondTed vanGriethuysenCraig WallaceFinn WittrockCASTARTISTIC TEAMTom Beckett*Lady CapuletBilly FinnEnsembleHubert Point-Du Jour*BenvolioDirectorDavid MuseMusic DirectionBroken Chord CollectiveLiterary AssociateAkiva FoxNathan BennettGregoryChristopher Ryan Grant*Abram/MusicianLawrence Redmond*MontagueSet DesignerScott BradleyVoice and Text CoachEllen O’BrienStage ManagerLurie Horns Pfeffer*Matthew Carlson*Friar John/MusicianDan Crane*MusicianJames Davis*JulietAubrey Deeker*MercutioDaniel EichnerEnsembleDrew Eshelman*NurseTyrone MitchellHenderson*ParisCarl Holder*EnsembleDan Kremer*CapuletJeffrey Kuhn*Lady Montague/PeterDan LawrenceEnsembleCody Nickell*TybaltJon ReynoldsEnsembleTed van Griethuysen*Friar LawrenceCraig Wallace*Prince of VeronaScott HamiltonWestermanSampsonFinn Wittrock*Romeo* Member of Actor’s Equity Association,the Union of Professional Actors andStage Managers.Costume DesignerJennifer MoellerLighting DesignerLap Chi ChuOriginal Music/Sound DesignBroken Chord CollectiveFight DirectionRobin McFarquharChoreographerDaniel PelzigAssistant DirectorDavid PaulAssistant Stage ManagerJeremy B. Wilcox*Castingtelsey + companyAssociate CastingDirectorMerry Alderman16 17


SHAKESPEARE THEATRE COMPANY SEASON PREVIEWSEASON PACKAGES ON SALE NOW!0082009SEASONSUBSCRIBE TODAY202.547.1122ShakespeareTheatre.orgRomeo and Julietby William Shakespearedirected by David MuseSeptember 9 to October 12, 2008Sidney Harman HallSponsored in part by KPMG LLP.The Wayof the Worldby William Congrevedirected by Michael KahnSeptember 30 to November 16, 2008Lansburgh TheatreTwelfth Nightby William Shakespearedirected by Rebecca Bayla TaichmanDecember 2, 2008, to January 4, 2009Sidney Harman HallSponsored by Arlene and Robert Kogod.The Dogin the Mangerby Lope de Vegatranslated and adapted byDavid Johnstondirected by Jonathan MunbyFebruary 10 to March 29, 2009Lansburgh TheatreIonby Euripidesa new version by David Landirected by Ethan McSweenyMarch 10 to April 12, 2009Sidney Harman HallSponsored through the generoussupport of the Alexander P. Onassis PublicBenefit Foundation (USA).Design for Livingby Noël Cowarddirected by Michael KahnMay 12 to June 28, 2009Lansburgh TheatreKing Learby William Shakespearedirected by Robert FallsJune 16 to July 19, 2009Sidney Harman HallCMYK buildPhoto of Paul Romero by Richard Termine. Photo of James Davis as Juliet by Scott Suchman. Photo ofStacy Keach as King Lear by Brian Warling (design and direction by Kelly Rickert).2008–2009 Season SponsorPMS 485 and 28118 19


SHAKESPEARE THEATRE COMPANY SUPPORT USEMPLOYER-MATCHING GIFTSMembers of the Shakespeare TheatreCompany know they can enjoy a widerange of exclusive benefits that givethem special access to the theatreand increase their enjoyment of STC’sproductions. What they may notknow is that there is a simple wayto add to their Membership benefitswhile enhancing their support of theCompany: employer matching-giftprograms.Many companies sponsor matching–gift programs and will match all orpart of the charitable contributionsmade by their employees. In manycases, this includes membershipsin non-profit organizations such asthe Shakespeare Theatre Company.Employer matches can double—and insome instances even triple—the valueof the donations employees make.Photo of Daniel Breaker and Gregory Wooddell by Richard Termine.member and will enjoy Sustainerlevelbenefits for the remainder of themembership year after the match isreceived. In this case, that would includean invitation to an Opening Nightperformance, with free parking andan invitation to an after-party with thecast. A one-to-one match on a Benefactor($1,500) membership would make theindividual a Patron-level member for therest of the year, and so on.It is easy to participate in theseprograms. Members can simply asktheir personnel or human resourcesdepartment for the appropriate form.Fill out the form, sign it and send itto STC’s Development Department.We will do the rest! It’s that simple.Members will be informed whengifts are received and they can beginenjoying their new benefits.THE TRIALOF SOCRATESSeptember 16, 2008Sidney Harman HallThe Athenians have convicted him.History has acquitted him. Now you bethe judge.In 399 B.C., the City of Athensconvicted Socrates of corrupting youthand disbelieving in the ancestral gods.He was executed for these crimes. In2007 A.D., Socrates’ fate was appealedat a hearing at the Embassy of Greece,and the decision to convict and executehim was subsequently overturned.Join the Shakespeare Theatre Company,esteemed litigators and a veneratedpanel of judges as Socrates’ ultimatefate is appealed once more.Pantelis Michalopoulos represents thecity of Athens while Abbe David Lowelldefends Socrates. Justice Samuel Alitoleads a panel of judges to render a finaldecision.The evening will begin with a dinnerat 6 p.m. with the trial participants,followed by the trial on stage. Dinnerand trial tickets are $500 per person.Trial-only tickets are $35 and willbe available beginning August 25,2008. Please call 202.547.3230 ext2713 or send an email to Socrates@ShakespeareTheatre.org for moreinformation.The Trial of Socrates is sponsored byThe Doric Column—a partnershipsupporting Greek culture at theShakespeare Theatre Company.What does this mean for STC Members?Matching gifts can really increasemembership benefits. Let’s say that acompany matches a Donor level ($250)membership. He or she is now a $500For more information about STCMembership, please call 202.547.3230ext. 2324 or visit ShakespeareTheatre.org/support.2021


Washington’s “Most Buzzed About” GalaWashington LifeHARMAN CENTER FOR THE ARTS HAPPENINGS AT THE HARMAN“Happenings at the Harman is exactly the kind of program thatrepresents both the spirit and the intent of the new HarmanCenter for the Arts. It’s open to everyone, is inclusive of everyperforming art, and gives viewers—new and old alike—a chanceto see inside the process of what will go on the great stages ofthe Harman Center.”Paul Gordon Emerson, Artistic Director of CityDance EnsembleFREETHEATRE, DANCE AND MUSIC!See It All During Happenings at the HarmanSAVE THEDATEMonday, October 27, 2008The popular free series Happenings atthe Harman returns on September 3 foranother year of breathtaking dance,electrifying music and compellingcultural commentary.Held every Wednesday at noon inThe Forum of Sidney Harman Hall,Happenings at the Harman entertainedmore than 2,000 people in its inauguralseason last year.The 2008-2009 Happenings seasonincludes:• CityDance Ensemble’s innovative andathletic performances• Hesperus’s eclectic early music• Jane Franklin Dance’s enticing blendof music, theatre and choreography• Washington Performing Arts Society’sup-and-coming performersTo find out what’s playing atHappenings in September and October,check out the calendar pages.“With the introduction ofHappenings, the neighborhoodis alive both day and night.“Michael Kahn, Artistic Director of theShakespeare Theatre Company at theHarman Center for the Arts22Under the gracious patronage ofHis Excellency the British Ambassador and Lady SheinwaldGala Co-Chairs Beth Dozoretz and Samia Faroukiandthe Shakespeare Theatre Companyinvite you toThe Harman Center for the Arts Annual GalaFor more information, please call202.547.3230 ext. 2330.Photo of CityDanceEnsemble’s JeromeJohnson and AliceWylie by PaulGordon Emerson.23


HARMAN CENTER FOR THE ARTS EVENTS48 HOURSFOR BURMAAUDIENCE SERVICES48 Hours for Burma is a dance/music performance fundraiser forthe victims of Burma’s CycloneNargis. One-hundred percentof the proceeds will go to theFoundation for the People of Burma.Preceding the concert will be a paneldiscussion with Jonathan Hollander,Artistic Director of Battery DanceCompany, and singer/songwriterMaya Azucena.The performance will includeMartha Graham Dance Company,Battery Dance Company, CityDanceEnsemble and musical guest MayaAzucena.REEL AFFIRMATIONSJoin Reel Affirmations for an eveningof film, magic and Shakespeare!Enjoy the fantastic world of Werethe World Mine, a lightheartedtake on A Midsummer’s NightDream steeped in the fantastical,tumultuous world of the maleadolescent.Gorgeously crafted and accompaniedby a vibrant soundtrack of pop anddance tunes, Were the World Minewill sweep you off your feet!Presented by: Simone Jacobson andFoundation for the People of BurmaWhere: Lansburgh TheatreWhen: September 6; Panel Discussionat 6:30 p.m.; Performance at 7:45 p.m.Tickets: $150How to buy tickets: 202.547.1122 orHarmanCenter.orgAfter the screening, join us for ourClosing Night Gala and AwardsCeremony. Director Tom Gustafsonwill be in attendance.Presented by: One in TenWhere: Sidney Harman HallWhen: October 25—screenings onthe hour from 11 a.m. until 6 p.m.;Closing Night Film and Gala at 8 p.m.Tickets: Screenings: $10Closing Night Film: $20Closing Night Film and Gala: $40How to Buy Tickets:ReelAffirmations.orgSidney Harman Hall610 F Street NWAdministrative Offices516 8th Street SEBox OfficePhone: 202.547.1122Box Office Fax: 202.608.6350Toll-free: 877.487.8849TTY: (deaf patrons only) 202.638.3863HoursWhen there is an evening performance:Mon 10 a.m.–6 p.m.Tue–Sat 10 a.m.–6:30 p.m.Sun noon–6:30 p.m.When there is no eveningperformance:Mon–Sat 10 a.m.–6 p.m.Sun noon–6 p.m.Tom ArbanConcessions andGift ShopsFood and beverages are available onehour before each performance andcan be pre-ordered before curtain forimmediate pick-up at intermission.Harman Hall and Lansburgh Theatregift shops are open before curtain, atintermission and for a short while aftereach performance.Please note: Most neighborhoodrestaurants offer valet parking andwill keep your car until after theperformance. Check on the restaurant’svalet parking closing time.RentalsVisit HarmanCenter.org, emailHCARentals@ShakespeareTheatre.org orcall 202.547.3230 ext. 2206.Lansburgh Theatre450 7th Street NWAccessThe Shakespeare Theatre Company iscommitted to providing full access forpeople with disabilities.Our theatres are accessible to patronswith physical disabilities or mobilityimpairments. Please request accessibleseating when purchasing tickets.Audio-enhancement devices areavailable for all performances. Receiverswith earphones (or neck loops with “T”switch for use with hearing aids) areavailable at the coat check on a firstcomebasis.Please see performance calendar fordates of sign-interpreted and audiodescribedperformances.Program notes in large print and Brailleare available at the coat check.SMITHSONIAN AMERICAN ART MUSEUMAND NATIONAL PORTRAIT GALLERYElevatorto/fromGaragePMI GarageEntranceLANSBURGHTHEATREColonial ParkingGarage EntranceArchives-Navy Mem’l-Penn QuarterStationGallery Pl-ChinatownStationInterpark GarageEntranceSIDNEYHARMAN HALLLansburghTheatreEntranceElevatorto/fromGarageVERIZONHarman Hall EntranceInterpark Garage Entrance6TH STREET NW2425


HARMAN CENTER FOR THE ARTS EVENT INFORMATIONCALENDAR OF EVENTSSUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAYCityDance Ensemble’sJason Garcia Ignacioand Alice Wylie. Photoby Paul Gordon Emerson.14H Windows onRomeo andJuliet 1:00H Romeo andJuliet 7:307 8FREE15H Romeo andJuliet 7:45Opening Night1 2 3H Romeo andJuliet 7:30H The Trial ofSocrates(see page 21)916H Happenings:StorytellerJon Spelmannoon10H Happenings:HesperusnoonH Romeo andJuliet 7:30FREEFREE17H Happenings:Washington TohoKoto SocietynoonFREEH Romeo andJuliet 7:30Post-PerformanceDiscussionFREEH Sidney Harman HallL Lansburgh TheatreSign-InterpretedAudio-DescribedH Romeo andJuliet 8:004 5 6L 48 Hours ForBurma(see page 24)11H Romeo andJuliet 8:0018 19H Romeo andJuliet 8:00Presented by theShakespeare TheatreCompany12H Romeo andJuliet 2:00H Romeo andJuliet 8:00Arts on Foot20H Romeo andJuliet 2:00H Romeo andJuliet 8:0013FREESEPTEMBERH Romeo andJuliet 2:00H Romeo andJuliet 7:302122 23H Romeo andJuliet 7:3024H Happenings:Duke EllingtonJazz FestivalnoonFREE25H Romeo andJuliet 8:0026H Romeo andJuliet 8:0027H Romeo andJuliet 2:00H Romeo andJuliet 8:0028H Romeo andJuliet 2:00H Romeo andJuliet 7:3029 30L The Way ofthe World 7:30FREEFREEFREEWindows Discussion SeriesEngage in a lively discussion with local scholars andthe artistic staff.Post-Performance DiscussionsAsk questions of the acting company.Arts on FootA one-day festival that kicks off the fall arts season inDowntown D.C.’s Penn Quarter. Experience visual art,music, theatre, dance, film and creative cuisine.For more information, visit www.artsonfoot.org.26 27


HARMAN CENTER FOR THE ARTS EVENT INFORMATIONCALENDAR OF EVENTSSUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAYFREEFREEFREEFREEWindows Discussion SeriesEngage in a lively discussion with local scholars andthe artistic staff.Post-Performance DiscussionsAsk questions of the acting company.Classics in ContextLearn about the social and cultural context of our plays.ReDiscovery SeriesFree staged reading of lesser-known classics.Reservations required.12L The Way ofthe World 2:00H Romeo andJuliet 7:305L Windows onThe Way ofthe World 1:00H Romeo andJuliet 2:00H Romeo andJuliet 7:30L The Way ofthe World 7:30FREEL The Way ofthe World 7:30613Columbus DayH Romeo andJuliet 7:307L The Way ofthe World 7:3014L The Way ofthe World 2:00L Twelfth NightMeet the Cast(STC members only)1H Happenings:Dakshina DanielPhoenix SinghDance CompanynoonFREEH Romeo andJuliet 7:30L The Way ofthe World 7:30H Happenings:WPAS presentsReverb noonH Romeo and JulietnoonH Romeo and Juliet7:30L The Way of theWorld 7:30Post-PerformanceDiscussionH Sidney Harman HallL Lansburgh TheatreSign-InterpretedAudio-DescribedH Romeo andJuliet 8:002L The Way ofthe World 8:008 9FREEFREE15H Happenings:WashingtonBallet noonFREEL The Way ofthe World 7:30H Romeo andJuliet 8:00L The Way ofthe World 8:0016L The Way ofthe World 8:00H Romeo andJuliet 8:003L The Way ofthe World 8:00H Romeo andJuliet 8:0010L The Way ofthe World 8:0017L The Way ofthe World 8:00Presented by theShakespeare TheatreCompanyH Romeo andJuliet 2:0011L The Way ofthe World 2:00H Romeo andJuliet 8:004H Romeo andJuliet 2:00Classics in ContextL The Way ofthe World 2:00H Romeo andJuliet 8:00L The Way ofthe World 8:00FREEL The Way ofthe World 8:0018L The Way ofthe World 2:00L The Way ofthe World 8:00OCTOBER19L The Way ofthe World 2:00L The Way ofthe World 7:30L ReDiscoverySeries 7:3020FREE21L The Way ofthe World 7:3022H Happenings:CongressionalChorus: Romeoand JulietnoonL The Way ofthe World 7:30FREE23L The Way ofthe World 8:0024L The Way ofthe World 8:0025H ReelAffirmationsFilm Festival(see page 24)L The Way ofthe World 2:00L The Way ofthe World 2:0026L The Way ofthe World 2:00L The Way ofthe World 7:3027H Harman Centerfor the ArtsAnnual Gala(see page 22)28L The Way ofthe World 7:3029H Happenings:HesperusnoonFREEL The Way ofthe World 7:30L The Way ofthe World8:0030L The Way ofthe World 8:0031Photo from Were theWorld Mine, part of ReelAffirmations Film Festival.2829


SHAKESPEARE THEATRE COMPANY ROMEO AND JULIET2Administrative Offices516 8th Street SEWashington, DC 20003-2834A publication of the Harman Center for the ArtsASIDESNEW FORMAT

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