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tom patterson
theatre
may 10 TO
sepTember 30, 2012
opens may 31
Support for the 2012 season of the
Tom Patterson Theatre is generously
provided by
Laura Dinner and
Richard Rooney
cymbeline
by William Shakespeare
Antoni Cimolino
General Director
From left: Cara Ricketts,
Graham Abbey, Geraint Wyn Davies
Production support
generously provided by
Barbara & John Schubert
and Diana Tremain
Directed by Antoni cimolino Twitter hashtag: #ssfCymbeline
Des mcAnuff
Artistic Director

Paying homage to the
past, striding forward
to the future
As we celebrate our Festival’s sixtieth season, the glorious
heritage of our past provides us with a clear signpost to the
way ahead. Our pioneering artists and those who supported
them sought to create in Stratford nothing less than the
finest classical theatre in the world. Thanks to their vision
and determination, the adventure that began in 1953 with
two productions in a tent is now North America’s premier
repertory theatre, featuring fourteen productions in five
venues. That same spirit drives us today as we explore
the classics of the past and give birth to the classics of the
future, breaking new ground both on stage and in the other
media by which we reach out to audiences around the globe.
Embodying Stratford’s hallmark marriage of tradition and
innovation, our 2012 playbill ranges from the very roots of
drama, the tragedy of ancient Greece, to some of the finest
playwrights working in Canada today. Shakespearean comedy,
history and romance are complemented by a hilarious
contemporary pastiche of Shakespearean tragedy, while the
season’s varied musical theatre repertoire acknowledges
our own era’s great contribution to the western dramatic
tradition. Meanwhile, the strength of our acting company is
being showcased not only in Stratford but also on Broadway.
Please join us as we celebrate our Festival’s priceless legacy
and begin writing the next extraordinary chapter of its history.
Antoni Cimolino
General Director
Des mcAnuff
Artistic Director
Scan with your QR-enabled device to check out
behind-the-scenes footage from our 60th season.
Our 2012 Sponsors
We are honoured to acknowledge the following corporations and
individuals who have made sponsorship commitments in the 2012 season:
2012 Season Partners
Support for the 2012 season of the Avon Theatre
is generously provided by
The Birmingham Family
Major Sponsor Level
Sponsor Level
In-Kind Sponsors
Stratford’s Greatest Hits
Support for the 2012 season of the Tom Patterson
Theatre is generously provided by
Richard Rooney and
Laura Dinner
The Stratford Shakespeare Festival gratefully acknowledges the
generous support of these contributors to our success:
The Stratford Shakespeare Festival is a non-profit organization with charitable status in Canada* and the U.S.**
*Charitable registration number: 119200103 RR0002 **As defined by Section 501(c)(3) of the Internal Revenue Code

Telling Stories,
Dreaming Dreams
by Alexander Leggatt
Some writers towards the end of their careers
become complacent and start repeating
themselves; Shakespeare became more daring,
and Cymbeline is one of the results. In the opening
dialogue one character fills in another on events,
past and present, of the court to which they both
belong. He is, in effect, filling in the audience; it’s a
shamelessly frank way of bringing us up to speed
on the story so far. And throughout the play various
characters become narrators, telling us what we
need to know to keep up with the story.
Or rather the stories. Shakespeare seems to
be challenging himself to see how many different
narrative threads he can weave together. The
ingredients are familiar: lost children, disguise,
mistaken identity, moles as recognition tokens, a
ring and a bracelet as plot devices, a wicked queen
who dabbles in poison, and a poison that is really
a sleeping drug. In the opening scene the main
storyteller admits that one particular turn in the plot
is incredible but adds, “Yet is it true, sir,” and his
listener replies, “I do well believe you.” That is the
spirit we need to bring to the play.
At the start the main story is that of Innogen,
King Cymbeline’s daughter, who has offended her
2
BELOW | director antoni cimolino with members of the company
in rehearsal. Facing pagE, LEFt tO right FrOm tOp | graham abbey
(posthumus) and cara ricketts (innogen); mike shara (cloten),
yanna mcintosh (queen), antoni cimolino and geraint wyn davies
(cymbeline); tom mccamus (iachimo).
FOLLOWing pagE, FrOm tOp | geraint wyn davies; geraint wyn davies,
yanna mcintosh and cara ricketts with members of the company.
rehearsal photography by erin samuell.
father by marrying Posthumus, the man she loves,
instead of her stepmother’s son, a combination
of dolt and thug appropriately named Cloten. Her
disobedience is particularly serious given that her
two brothers were stolen in infancy, leaving her
heir to the throne, and Cymbeline, having only
one child left, is determined to exert his power
over her. He sends Posthumus into exile, and
Innogen’s anguish at losing her husband is only the
beginning of her problems.
In Rome, Posthumus’s idealistic view of his wife
is countered by the cynicism of Iachimo, who
declares that given half a chance he could seduce
her. Nothing personal; he could do the same to
any woman. Posthumus bets on his wife’s virtue as
though at some level he is not sure of it himself,
and Iachimo travels to Britain, where Innogen
rebuffs his attempt at seduction and he has to
win the bet by subterfuge. Thinking Iachimo has
succeeded, Posthumus, his idealism turned to
its opposite, flies into a jealous rage in which he
denounces all women and sends orders to his
servant Pisanio to kill Innogen.
As Innogen, a British princess, is threatened by
a Roman seducer, Britain itself is threatened by

a Roman invasion. A small island – in Innogen’s
words, “In a great pool a swan’s nest” – is up
against the might of the Empire. The solution for
both stories lies hidden in a remote corner of the
island, the mountains of Wales. Fleeing the court
in disguise, Innogen comes upon her lost brothers,
stolen in infancy by Belarius and now living with him
in a cave, surviving by hunting, a basic wilderness
life far from the danger and intrigue of the court.
They themselves do not know their true identities,
even their true names; and Innogen, dressed as
a boy, comes to them as a stranger. Yet through
all the layers of deception, and without knowing
the literal truth, she and her brothers instinctively
recognize each other, feeling an irresistible pull of
family affection.
Innogen, beset by adversaries – her father, her
stepmother, her unwanted suitor, even the husband
she loves – has come at last to a place where she
is welcomed and loved. She reacts by falling ill. In
the early scenes she was strong-minded, standing
up to her attackers and taking no nonsense from
anyone. It’s as though now that the pressure is
off, her immune system, which has been working
overtime, collapses. But at least her restoration has
begun, though more trials lie ahead.
The lost princes also have a role in the war story.
While Belarius extols the virtues of the simple life,
they are frustrated by it, longing for action in a
larger world. As they recognize Innogen without
knowing the literal truth, they sense their own true
natures, and when war breaks out they come out
of hiding and join with Belarius to turn the tide of
battle, making a heroic stand that turns a British
defeat into a British victory. It’s as though something
hidden in the land has emerged to save it; and
there’s also something in the air. Among the Roman
invaders is Iachimo, repentant for his betrayal of
Innogen, and feeling in defeat that the very air of
Britain has enfeebled him.
Iachimo is not the only character who undergoes
a remarkable change of heart. Posthumus, thinking
his order to kill Innogen has been carried out, is
stricken with remorse even before he learns that
Iachimo was lying and joins the war on the Roman
side, hoping to die for her. Cymbeline makes the
most startling turnaround. Having won the war,
which started over Britain’s refusal to pay tribute to
Rome, he submits to Caesar and promises to pay
the tribute after all. Looking back, we see that the
hawkish spirit that started the war belonged to the
3

Queen and Cloten, the sort of patriots who give
patriotism a bad name.
And the division between Rome and Britain was
never that strict: Posthumus’s father fought the
Romans, yet the Roman Philario became his friend,
and the exiled Posthumus stays in Philario’s house;
Cymbeline himself was trained by Caesar in his
youth; and even as the war breaks out Cymbeline
and the Roman ambassador Lucius treat each
other with courtesy and mutual respect. Posthumus
comes to Britain as a Roman soldier, turns British
to fight for his country, then turns Roman again in
order to die. Shakespeare seems to be looking
forward to a world in which international borders
dissolve and national identities become less
important than our common humanity.
4
As in the characters we see instincts at work
that go beyond conventional wisdom and daylight
reality, as a latent power lies hidden in Britain itself,
so the play as a whole keeps probing below waking
life into a world of dream, vision and nightmare.
We first touch on this world when Iachimo emerges
from hiding into Innogen’s bedroom, closely
examining not just her room but also her body. She
has fallen asleep after reading the story of the rape
of Philomel, and Iachimo’s invasion of her space
seems like her own nightmare being acted out as
she sleeps. She wakes to find her bracelet, a lovetoken
from Posthumus, gone. In a later scene she
wakes to find herself beside a headless corpse
that wears her husband’s clothes; this time the
nightmare invades her waking mind.
Posthumus himself, in prison and awaiting
death, dreams of his lost family. His father and
brothers died before he was born, and his mother
died giving birth to him. Now they appear to him,
pleading with Jupiter to end his sufferings, giving
Posthumus a brief glimpse of the family he never
knew. Then Jupiter himself appears, and while
he promises to restore Posthumus’s fortunes, his
manner is not benevolent but angry: how dare
mere mortals question him? If this is a vision of the
god who rules our lives, the effect is not reassuring.
The mortals do better on their own in the final
scene: having told stories to the audience, they
now start telling stories to each other, and acting
as a group they unravel the complex tangle of
the play’s many storylines. The god vanishes, the
people and their stories remain.
The Roman soothsayer has had a vision in which
he sees an eagle vanishing into the sun. He takes
this as a sign of the final union of Rome (the eagle)
with Cymbeline (the sun). But the disappearance
of the eagle may signify more than that: Rome is
not just united with Britain but absorbed into it,
as Britain in the future was to absorb the stories
of Rome and make them its own stories – such
as the plays of William Shakespeare. Even so the
strange stories of Cymbeline remain to haunt us,
embodying our own dreams and nightmares: our
fear of loss, our need of forgiveness, our hope for
a better world. The stories may be incredible; but
there is something in us that wants, and needs, to
believe them.
Alexander Leggatt is Professor Emeritus of English
at the University of Toronto.

William Shakespeare
Playwright
Born in Stratford-upon-Avon in 1564, William
Shakespeare was the eldest son of John
Shakespeare, a glover and tanner who rose to
become an alderman and bailiff of the town, and
Mary Arden, the daughter of a wealthy farmer. The
exact date of his birth is unknown, but there is a
record of his baptism on April 26. Since an interval
of two or three days between birth and baptism
would have been quite common, tradition has it
that he was born on April 23 – the same date as his
death fifty-two years later.
The young Shakespeare is assumed to have
attended what is now the Edward VI Grammar
School in Stratford, where he would have studied
ancient Roman literature in its original Latin. In 1582,
when he was eighteen, he married Anne Hathaway,
a farmer’s daughter who was eight years his senior.
Anne was pregnant at the time, and the couple’s
first daughter, Susanna, was born a few months
afterwards in 1583. Twins followed two years later: a
son, Hamnet, who died at the age of eleven, and a
second daughter, Judith.
Nothing further is known of Shakespeare’s
life until 1592, by which time he was sufficiently
established as an actor and writer in London to be
the target of a literary attack by a jealous fellow
playwright, Robert Greene. Soon afterwards, an
outbreak of plague forced the temporary closure of
the theatres, and Shakespeare turned his attention
instead to his long narrative poems Venus and
Adonis and The Rape of Lucrece. He also began
writing the Sonnets, a series of 154 love poems
that some critics believe to be at least partly
autobiographical.
By 1594, Shakespeare was back in the theatre,
writing and acting for the Lord Chamberlain’s Men.
william shakespeare
His income as one of the country’s most successful
dramatists enabled him, in 1597, to buy a large
house called New Place back in Stratford, and in
1599 he became a shareholder in London’s newly
built Globe Theatre.
In 1603, Shakespeare’s company was awarded a
royal patent, becoming known as the King’s Men.
Possibly as early as 1610, the playwright retired
to his home in Stratford-upon-Avon, living there
until his death on April 23, 1616. He is buried in the
town’s Holy Trinity Church.
The Story
By taking a widow as his new queen, King Cymbeline of Britain has acquired a stepson, Cloten, whom
he had intended should marry his daughter, the Princess Innogen. However, Innogen – Cymbeline’s
only child since the kidnapping, some twenty years ago, of his two infant sons – has defied her father’s
wishes and instead married the poor but worthy gentleman Posthumus Leonatus. Under sentence of
banishment, Posthumus goes to Rome, where he accepts a wager, proposed by the schemer Iachimo,
concerning Innogen’s fidelity. Meanwhile, the Queen sets in motion some schemes of her own.
5

Dreams of Renewal
and Reconciliation
Director’s notes by Antoni Cimolino
Cymbeline is among Shakespeare’s last plays;
indeed, an increasing number of scholars think it
was his very last. Cymbeline was a king of Britain
at the time of the birth of Christ. During the course
of the play he earns his kingship and regains his
family. In his last plays, his romances, Shakespeare
increasingly used “rough magic” to bring about
happy endings. In Cymbeline this magic is found
in dreaming. The central characters experience
dreams that threaten, surprise and yet prepare
them for growth.
Shakespeare takes the leitmotifs of his life work –
father/daughter conflict, the loss of a son, a husband’s
intense jealousy and the reunion of siblings – and
through dreams brings about perhaps the happiest
ending in the canon. To me, as a father with grown
children, this desire late in life to recast the past is
completely understandable and compelling. Not
because I have bad relations with my children – I
am blessed with a loving son and daughter – but
because I suspect we all as parents wish we had
done a better job: taken more care, been more
generous and shown more understanding. I believe
Shakespeare has cast himself as Cymbeline. His own
life journey has become the source material for this
historical romance.
If Cymbeline is informed by a personal desire
by the writer to rewrite the past, translating an
angry patriarch to a more giving and tolerant
parent, it also entails parallel political and religious
transformations. Cymbeline at the start of the play
is an absolutist tyrant who employs torture against
his enemies. Just like King James, who compared
kings to gods, he tolerates no opposition and
has little in common with his subjects, such as the
“base” Posthumus. This play eerily foreshadows the
revolutionary times that would follow Shakespeare’s
own. The most strident of the aristocratic faction in
Cymbeline, Prince Cloten, is eventually beheaded
after attacking a “slave.” He is shocked that
the commoner is not afraid of his royal person.
Ironically, the audience knows that the commoner is
the true heir to the throne. But the beheading of an
arrogant prince, like King James’s own son Charles,
would become reality in only thirty years’ time.
6
director antoni cimolino
In battle, Cymbeline is captured by the Romans
and saved by those he has wronged or neglected.
At the end of the play he knows that he owes
his crown to them: an old man, two boys and
a peasant. We now have a monarchy made
possible only with the support of commoners, a
constitutional monarchy. In the spirit of justice and
forgiveness, Cymbeline releases all the Roman
prisoners, saying, “Pardon’s the word for all.” This
tyrannical patriarch has grown wise, gentle and
more democratic.
The gods of this pre-Christian world undergo a
similar renovation. The ghosts of Posthumus’s family
come back to him in a dream from the Fields of
Elysium to complain bitterly at the injustice they see
in Jupiter’s treatment of their son and brother. They
want mercy from the Thunder God. Jupiter appears
and tells them that “whom best I love, I cross, to
make my gift, the more delayed, delighted.” Just
as love overcomes revenge in Cymbeline’s life, so
social justice ends tyranny in the body politic, and
mercy subsumes “harsh injuries” from the heavens.
This movement – personal, political and
religious – is of a piece in Cymbeline. And while
it may have been a movement born of a dream,
it brings with it a vision that promises a new pax
Romana in the years to come. Or so perhaps
Shakespeare dreamed. For the unlikely events and
reconciliations of the play seem to underline its
dreamlike qualities, its divergence from the painful
reality of our world.

Cymbeline
By William Shakespeare
Artistic Credits
Director antoni cimolino
Set Designer scott penner
Costume Designer carolyn m. smith
Lighting Designer robert thomson
Composer steven page
Sound Designer todd charlton
Movement sonia norris
Fight Director todd campbell
Dramaturge Jacob gallagher-ross
Assistant Director heather davies
Assistant Set Designer Jennifer goodman
Assistant Costume Designer sara brzozowski
Assistant Lighting Designer Jennifer lennon
Assistant Fight Director kevin robertson
Fight Captain ruby Joy
Movement Captain skye brandon
Stage Manager ann stuart
Assistant Stage Managers katherine arcus,
corinne richards
Apprentice Stage Manager Joyce Zogos
Production Assistant christopher sibbald
Production Stage Manager anne murphy
Technical Director sean hirtle
Cast
the people of britain
Cymbeline geraint wyn davies
Innogen cara ricketts
Posthumus graham abbey
Queen yanna mcintosh
Cloten mike shara
Doctor Cornelius peter hutt
Second Gentleman alden adair
Third Gentleman Josh epstein
Fourth Gentleman brad hodder
Fifth Gentleman cyrus lane
Pisanio brian tree
First Cloten Lord simon bracken
Second Cloten Lord skye brandon
First Lady chick reid
Second Lady naomi wright
Helen ruby Joy
Musician cyrus lane
Messenger to Cymbeline robert king
Belarius John vickery
Guiderius e.b. smith
Arviragus ian lake
First Briton Captain brad hodder
Second Briton Captain alden adair
Posthumus’s Father andrew gillies
Posthumus’s Mother chick reid
Posthumus’s Brothers cyrus lane,
Josh epstein
Jailer robert king
the people of italy
Philario andrew gillies
Iachimo tom mccamus
Frenchman Josh epstein
Dutchman brad hodder
Spaniard robert king
Caius Lucius nigel bennett
Roman Captain cyrus lane
Soothsayer ian d. clark
Jupiter alden adair
Courtiers, Prostitutes, Servants and Soldiers:
alden adair, skye brandon, ian d. clark, Josh epstein,
andrew gillies, brad hodder, peter hutt, ruby Joy,
robert king, cyrus lane, mike shara, naomi wright
Understudies
alden adair (Guiderius), nigel bennett (Belarius),
simon bracken (Posthumus’s Brothers), skye brandon
(Posthumus), ian d. clark (Jailer), laura condlln (Queen),
Josh epstein (Pisanio, Arviragus), andrew gillies
(Cymbeline), brad hodder (Iachimo), ruby Joy (Innogen),
robert king (Doctor Cornelius, Soothsayer), cyrus lane
(Cloten, Caius Lucius, Jupiter), e.b. smith (Philario),
naomi wright (Helen, First Lady, Posthumus’s Mother)
Interval
There will be one 15-minute interval.
Audience Alert
This production uses haze and fog effects.
7

Production Credits
Responsibilities backstage during the performance accomplished by:
Stage Carpenter paul gorman
Alternate dan bingeman
Master Electrician timothy hanson
Property Master alan hughes
Head of Sound Jim stewart
Wardrobe Mistress helen basson
Wardrobe Attendants margie bell bruer,
mary-lou mason,
luci pottle
Swing bonnie deakin
Wigs and Makeup Show Head Julie scott
Wigs and Makeup Crew angela moncur
Music Credit
steven page, Keyboards/Vocals/Guitar/Mandolin/
Recorder/Percussion
Acknowledgements
Special thanks to norman cruz, MD, Stratford;
Jennifer anderson, MD, St. Michael’s Hospital, Toronto;
brian hands, MD, FRCS (C), medical voice consultant,
Vox Cura voice care specialists, Toronto;
simon mcbride, MCISc, MD, London Health Sciences
Centre vocal function clinic; John yoo, MD, London
Health Sciences Centre.
Pianos tuned and maintained by don stephenson.
Front cover image provided by steamco.
Front cover and page 1 photography by andrew eccles.
8
The Birmingham Conservatory for Classical Theatre
Director of Production John Tiggeloven
Production
Technical Director – Scenic Construction andrew mestern
Wardrobe Manager anne moore
Production Administrator cheryl bender
Design Coordinator alix dolgoy
Assistant Technical Director david campbell
Technical Management Assistant michael besworth
Administrative Assistant cindy Jordan
Resident Sound Designer peter mcboyle
Interim Director of Music franklin brasz
Music Administrator marilyn dallman
Electronics Technologist chris wheeler
Transportation charlie fox, ian a. fraser,
michael taylor, James thistle
Properties
Head of Properties dona hrabluk
Assisted by eric ball, lucas commerford,
ken dubblestyne,
carolyn horley,
michelle Jamieson,
kathryn kerr, shirley lee,
Jennifer macdonald,
brian mcleod, dylan mundy,
heather ruthig
Properties Apprentice katherine theriault
Properties Buyer tracy fulton
Assistant Properties Buyer penelope schledewitz
Scenic Art
Head Scenic Artist christopher klein
Assistant Head Scenic Artist daniel mcmanus
Assisted by kevin kemp, lisa summers,
Jo-anne vezina,
amparo villalobos,
michael wharran,
blair yeomans
Scenic Carpentry
From General Director Antoni Cimolino and Artistic Director Des McAnuff
Twenty-five members of the Stratford Shakespeare Festival’s 2012 company have come out of our professional training
program, the Birmingham Conservatory for Classical Theatre. Founded in 1998, the Conservatory has helped to launch
the careers of some of our leading young actors, many of whom we have had the great pleasure of directing. Providing
opportunities for young Canadian artists is part of our mission at the Festival, and we hope you will find it as satisfying as
we do to watch their growth as they share the stage with some of the finest actors in the world.
Under the leadership of Martha Henry, the Conservatory is made possible by the support of the Birmingham family,
the Stratford Shakespeare Festival Endowment Foundation and the Department of Canadian Heritage. Supporting the
2012 in-season work of Birmingham Conservatory participants are Karon C. Bales & Charles E. Beall, The Brian Linehan
Charitable Foundation, Robert Summers-Gill, and Alice & Tim Thornton. We thank them for helping us to nurture and
support these talented artists in our 2012 company:
Head Carpenter neil r. cheney
Head of Automation ian phillips
Lead Hand William malmo
Assisted by simon aldridge, david bedford,
mark card, John currie,
ryan flanagan, craig geiger,
gary geiger, stephen morgan,
wayne nero, John roth,
mark smith, geoff taylor,
cliff tipping, Joe tracey
Alden Adair 2011
Sarah Afful 2011
Kyle Blair 2001
Skye Brandon 2008/09
Dan Chameroy 2003
Laura Condlln 2004
Victor Dolhai 2010/11
Josh Epstein 2010
Ryan Field 2011
Stephen Gartner 2001
Carmen Grant 2010/11
Deborah Hay 1999
Brad Hodder 2011
Luke Humphrey 2011
Bethany Jillard 2011
Ruby Joy 2011
Ian Lake 2007/08
Kennedy C. MacKinnon
1999 (coach)
Gareth Potter 2003
Christopher Prentice 2008/09
Andrea Runge 2009
Tyrone Savage 2010/11
E.B. Smith 2010/11
Evan Stillwater 2004 (tailor)
Sophia Walker 2005

Wardrobe
Head of Wardrobe bradley dalcourt
Assistant Head of Wardrobe elizabeth copeman
Seasonal Wardrobe Supervisor linda sparks
Cutters kim crossley, carol a. miller,
luci pottle, Jennie wonnacott
First Hands wendy bendle, Joanne davies
Sewers monica berg, diana brown,
susan e. dick,
sharon gashgarian,
Jennifer gilbert, June gunn,
patricia hawkins-russell,
marian hughes,
alanna kitson,
debbie kschesinski,
magdalene raycraft,
Joan scheerer,
georgina schinkel,
victoria shillington,
laura snowden, lindsey winter,
Joanne Zegers
Bijou/Decoration kathi posliff
Assisted by susan allerston-richards,
rebecca dillow,
liane guttadauria
Boots and Shoes sarah cook
Assisted by karen beames, michael karn,
connie puetz
Boots and Shoes Apprentice christopher moloughney
Costume Painting lisa hughes
Dyeing sylvia minarcin
Assisted by linda pinhay
Millinery thea c. crawford
Assisted by helen flower, kaz maxine
Wardrobe Buyer michelle ashbourne
Assistant Buyer caitlin luxford
Wardrobe Apprentice chevy barlow
Warehouse Supervisor madonna decker
Warehouse Assistant valerie lariviere
Wigs and Makeup
Head of Wigs and Makeup gerald altenburg
Construction Crew tracy frayne, dave kerr,
alana scheel, Julie scott,
stanley wickens
Additional Wigs by christine vaughan
The Michael Langham Workshop for
Classical Direction
“The Michael Langham Workshop for Classical Direction will continue
Michael Langham’s tradition of mentorship in a risk-free environment,
allowing directors to develop their craft with the rich history and evolving
artistry of the Stratford Shakespeare Festival.”
– Des McAnuff
We extend our thanks to the Department of Canadian Heritage, RBC,
the Philip and Berthe Morton Foundation, Johanna Metcalf, and
Karon C. Bales and Charles E. Beall.
Participants in the
2012 workshop:
Eric Benson
Heather Davies
Alan Dilworth
Andrea Donaldson
Darcy Evans
Varrick Grimes
Kevin Hammond
Rachel Peake
Mumbi Tindyebwa Otu
Kristen van Ginhoven
Aaron Willis
FrOm tOp | andrew gillies (philario); mike shara (cloten).
Funding for artisan apprenticeships is provided by the William H.
Somerville Theatre Artisan Apprenticeship Fund, funded by the J.P.
Bickell Foundation, and by Robert and Jacqueline Sperandio.
A member of the Professional Association of Canadian Theatres, the
Stratford Shakespeare Festival engages, under the terms of the Canadian
Theatre Agreement, professional artists who are members of Canadian
Actors’ Equity Association. Stage crew, scenic carpenters, drivers, wigs
and makeup attendants and facilities staff are members of Local 357
of the International Alliance of Theatrical Stage Employees (IATSE).
Wardrobe attendants are members of IATSE Local 924. Scenic artists are
members of IATSE Local 828. The Festival acknowledges with thanks the
co-operation of the Stratford Musicians’ Association, Local 418 of the
American Federation of Musicians.
9

Graham Abbey
13th season: Posthumus in Cymbeline and Aigisthos in Elektra. Stratford:
Henry V, Macbeth, Romeo, Henry VIII, Jaques, Prince Hal (Henry IV),
D’Artagnan (Three Musketeers), Petruchio (Shrew), Aufidius (Coriolanus),
Berowne (Love’s Labour’s Lost), Algernon (Earnest), Hap Loman (Death
of a Salesman). Elsewhere: Hamlet (Hamlet) (Resurgence); Jeff Skilling
(Enron) (Theatre Calgary); Sam Byck (Assassins) (Talk Is Free/Birdland);
Charles (The School for Scandal), Valère (The Molière Comedies) (Chicago Shakespeare).
Film/TV: Series lead: The Border (CBC). Recurring roles: Degrassi, Murdoch Mysteries,
Covert Affairs, Republic of Doyle. Recent guest star: Flashpoint, Lost Girl, Rookie Blue,
Warehouse 13, Bomb Girls. Recent films: Sarah Polley’s Take This Waltz opposite Sarah
Silverman, Casino Jack, 388 Arletta Avenue, Othello, Defendor, Certain Prey, Stealing
Paradise, Secrets of Eden. Radio: Series regular: Afghanada (CBC Radio). Awards:
Dora Award, Monte Carlo Television Festival nomination. Et cetera: Artistic Director of
Groundling Theatre (Groundlingtheatre.com) “For Heapie.”
Alden Adair
Stratford debut: Jupiter/Second Briton Captain/Second Gentleman in
Cymbeline, appears in Elektra and understudy in The Matchmaker.
Elsewhere: Bard in The Hobbit, Mr. Collins in Pride and Prejudice (Grand
Theatre); Alistair in The Alice Nocturne (Globe Theatre); Proteus in The
Two Gentlemen of Verona, Stephano in The Tempest, Prince Hal in Henry
IV, Part 1 (Shakespeare on the Saskatchewan); Zastrozzi in Zastrozzi,
Dan in Closer (Hectik Theatre). Film/TV: Tideland, RenegadePress.com, Corner Gas, The
Englishman’s Boy, Hybrid, Storming Juno, Dan for Mayor, Flashpoint. Training: BFA in
Acting from the University of Regina, Birmingham Conservatory for Classical Theatre.
Katherine Arcus
Fourth season: Assistant stage manager of Cymbeline. Stratford:
Apprentice stage manager of The Winter’s Tale, Three Sisters and
Bartholomew Fair, production assistant for the Tom Patterson Theatre’s
2008 season. Elsewhere: Previous credits include Anne of Green Gables:
The Musical, The Full Monty (Charlottetown Festival); Head à Tête
(Theatre Direct); The Sound of Music (Mirvish); Cinderella: The Sillylicious
Family Musical (Ross Petty Productions); Homebody/Kabul (Berkeley Street Theatre);
Romeo and Juliet, Othello, Hamlet, A Midsummer Night’s Dream, Macbeth (Classical
Theatre Project). Film/TV: Writers’ assistant for Kids in the Hall: Death Comes to Town
(CBC), story coordinator for Less Than Kind (HBO Canada), Picnicface (Comedy Network).
Training: Graduate of the technical theatre program at the London Academy of Music
and Dramatic Art. Et cetera: Katherine would like to thank her family and friends for their
encouragement, love and support.
Nigel Bennett
Third season: Caius Lucius in Cymbeline and understudy in Wanderlust.
Stratford: Peter Pan, King of Thieves, Richard III, The Merry Wives of
Windsor. Elsewhere (selected): Theatre Aquarius: The Pitmen Painters.
Nightwood: That Face. MTP/Mirvish: Medea. Neptune: Scrooge, Art, Closer,
Hamlet, Who’s Afraid of Virginia Woolf?, Retreat from Moscow, A Few Good
Men, The Price, The Goat, The Sound of Music, Blue/Orange, Betrayal.
Grand, London: Kingfisher Days. Wyndham’s (London, England): The Secret Diary of Adrian
Mole. Film/TV (selected): The Border, Lexx, Forever Knight, At the Hotel, Psi Factor, Strike,
Murder at 1600, The Skulls, Narrow Margin, Murdoch Mysteries, The Kennedys, Counterstrike,
Sea Wolf. Radio: Backbenchers, Trust Inc., Y Soccer. Awards: Gemini, Best Supporting Actor,
1996; ACTRA Maritimes Award, Best Actor 2008 and 2009. Other: Co-author, Keeper of the
King, His Father’s Son, Siege Perilous. Website: www.blackhatstation.com.
Simon Bracken
Stratford debut: First Cloten Lord in Cymbeline and appears in The
Matchmaker. Elsewhere: Hugo in Tomasso’s Party (NextStage Festival);
Balthasar in Romeo and Juliet (Royal Manitoba Theatre Centre); Ensemble
in The Ark: The Theatre of Bertolt Brecht (National Arts Centre); Gordon in
the The Particulars and In General (Pyretic Productions); Eli in Stop Heart,
Hippolito in Women Beware Women, Fiscur in Lilliom (National Theatre
School). Film/TV: The Transporter (HBO). Training: Simon is a graduate of the National
Theatre School of Canada and the University of Manitoba.
10
Skye Brandon
Fourth season: Second Cloten Lord in Cymbeline and Ambrose Kemper
in The Matchmaker. Stratford: Titus Andronicus, Richard III, The
Winter’s Tale, As You Like It, A Midsummer Night’s Dream, Julius Caesar
and Bartholomew Fair. Elsewhere: The Secret Mask, Chimera (PTE);
Reflections/The Little Prince, Mary’s Wedding (Dancing Sky Theatre); The
Pillowman, Fat Pig (Wild Side Productions); Henry IV, Part 1, The Tempest,
The Taming of the Shrew (Shakespeare on the Saskatchewan); Julius Caesar, The Shape
of Things (Theatre Ecstasis); Twelfth Night (Globe Theatre); The Coronation Voyage, It’s All
True (Last Exit Theatre). Directing credits include Pageant (Last Exit) and The Busy World
is Hushed (Northern Light Theatre). Radio: Yann Martel’s The Facts behind the Helsinki
Roccamatios (CBC). Training: Birmingham Conservatory, ACT (San Francisco), University
of Saskatchewan (BFA Honours). Awards: SAT Award (Paulo Coelho’s The Alchemist, DST),
Sterling nomination (The Credeaux Canvas, NLT), Equity Emerging Artist 2005.
Sara Brzozowski
Fourth season: Assistant costume designer of Cymbeline. Stratford:
Assistant designer of Richard III; wardrobe apprentice, 2010; stitcher
for Cyrano de Bergerac, Macbeth, The Importance of Being Earnest,
The Trespassers, Zastrozzi and Rice Boy. Elsewhere: Assistant costume
coordinator for Spring Awakening (St. Andrews College), fashion designer
in Redefining Design, 2008 (Kool Haus), dresser and corset designer
for Corset Fashion Show (Creativ Festival), stitcher for Monster Factory Inc. Training:
Advanced Diploma in Fashion Arts, Seneca College. Awards: Dama Lumley Bell Award for
recognition of achievement in production crafts. Et cetera: Sara is dedicating this season
to her grandmother.
Todd Campbell
Fourth season: Fight director of Cymbeline and stunt coordinator of
Hirsch and Elektra. Stratford: Camelot, Twelfth Night, The Merry Wives
of Windsor, The Homecoming, Dangerous Liaisons, King of Thieves,
Zastrozzi, Bartholomew Fair. Elsewhere: Todd has arranged fights for
Neptune Theatre, Tempest Theatre Group, The Grand Theatre, Sudbury
Theatre Centre, Repercussion Theatre, Canadian Stage, Driftwood
Theatre, Birdland Theatre, Absit Omen Theatre, Tribal Productions, George Brown
University, Kawartha Lakes Summer Playhouse and Resurgence Theatre, to name a few.
Training: Certified fight director and instructor with Fight Directors Canada. Website:
www.riotact.ca. Et cetera: Todd teaches stage combat at Rapier Wit Studios and is a
founding member of the award-winning Riot ACT stunt team. Todd resides in Toronto,
where he works as an actor, director, fight director and teacher.
Todd Charlton
15th season: Sound designer of Cymbeline. Stratford: Last year: Twelfth
Night, The Grapes of Wrath. Other highlights include Palmer Park,
Hamlet, Of Mice and Men, the Swanne trilogy, Ghosts. Elsewhere:
Courageous, Democracy, Scorched, Wild Mouth, among others
(Tarragon); Intimate Apparel (Obsidian/Canadian Stage/Citadel); Rock ’n’
Roll (Canadian Stage); Rent, Oklahoma!, Sweeney Todd, Cabaret, The
Drowsy Chaperone, Grease, Gypsy and many others (Theatre Sheridan); seven seasons
with the Blyth Festival including Vimy, Innocence Lost, Early August, A Killing Snow; many
other companies across Canada. Awards: Four Dora nominations. Training: Honours
English and Drama, UWO; Theatre, Banff School of Fine Arts. Et cetera: Todd is the sound
instructor for Humber College. He lives happily in Stratford with his wife, Melissa, and his
three boys, Harper, Jack, and Devlin.
Antoni Cimolino
25th season: General Director and Artistic Director Designate of the
Stratford Shakespeare Festival. Director of Cymbeline. Stratford: Mr.
Cimolino is General Director of North America’s leading classical theatre
and the largest arts organization in Canada, producing a 14-play season in
five venues with more than 1,000 employees and an annual budget of $60
million. His Stratford directing credits include The Grapes of Wrath, with
Janet Wright; Bartholomew Fair; Coriolanus, with Colm Feore and Martha Henry; As You
Like It, featuring original music by Barenaked Ladies; King John, with Stephen Ouimette;
Love’s Labour’s Lost, with Brian Bedford; Twelfth Night, with William Hutt; The Night of
the Iguana, with Seana McKenna; and Filumena, with Richard Monette. Among his other
accomplishments, Mr. Cimolino was instrumental in establishing the Festival’s Endowment
Foundation, which has raised more than $50 million to date, as well as in the renovation of
its Avon Theatre and the creation of its Studio Theatre. Elsewhere: Antoni recently directed
the acclaimed Canadian première of ENRON at Theatre Calgary. He serves as Chairman of
the National Steering Committee of Culture Days, a coast-to-coast celebration of culture and
the arts in Canada, and has spearheaded the Festival’s involvement in a joint project with
CUSO International, Canada’s international volunteer co-operation agency, to establish a
performing arts and educational centre in the city of Suchitoto, El Salvador.

Ian D. Clark
Second season: Soothsayer in Cymbeline and appears in The
Matchmaker and Elektra. Elsewhere: The Pitmen Painters, Theatre
Aquarius; Stuff Happens, Studio 180; The Foreigner, Royal Alex; Humble
Boy, Tarragon; Blue/Orange, Centaur; The Three Musketeers, Citadel;
Shaw Festival veteran; all other regional theatres coast to coast. Selected
U.S. credits: Amadeus, Enchanted April, The Voysey Inheritance, The
Constant Wife, Finian’s Rainbow, Walnut Street Theatre; The Constant Wife, Coconut
Grove, Miami. Film/TV: 14 feature films including Equus, Lilies, The Avro Arrow, Thirty-Two
Short Films About Glenn Gould, That Old Feeling, Cruel Intentions 2, The Boy in Blue; lead
in five television series: Little Men, McPherson’s Herd, Paradise Falls, The Associates,
Road to Avonlea. Most recently: Above Asking (pilot), Flashpoint, Murdoch Mysteries,
Rookie Blue. Awards: Critics, Ohio State, Masque, Best Actor (Miami). Other: Jury member,
Canadian Academy; co-author, For a good time, call…; MA from McGill.
Laura Condlln
11th season: Irene Molloy in The Matchmaker, Chrysothemis in Elektra
and understudy in Cymbeline. Stratford: Credits include Peter Pan (Mrs.
Darling), The Merry Wives of Windsor (Mistress Page), King of Thieves
(Polly), A Midsummer Night’s Dream (Helena), Shakespeare’s Universe:
Her Infinite Variety (the Moll), Pentecost (Amira), The Liar (Clarice/Lucrece/
Sabine), The Duchess of Malfi (Cariola), As You Like It (Audrey), Henry IV,
Part 1 (Lady Mortimer), Timon of Athens (Phrynia). Elsewhere: Beckett: Feck It! (Canadian
Stage/Queen of Puddings Music Theatre); Having Hope at Home, Marion Bridge (Globe
Theatre, Regina); A Christmas Carol (The Grand Theatre); and Over the River and Through
the Woods (Theatre Aquarius). Training: Laura holds a BFA from the University of Windsor
and is a graduate of the Birmingham Conservatory (2005). Awards: Recipient of the Mary
Savidge Award, Stratford Shakespeare Festival.
Heather Davies
Second season: Assistant director of Cymbeline. Stratford: Assistant
director, The Merry Wives of Windsor. Training: Ryerson University (BFA,
Theatre), York University (MFA, Theatre), Webber Douglas Academy of
Dramatic Art, U.K. As Director: At The Grand Theatre: Cinderella (main
stage); Footloose, Anything Goes, Macbeth (High School Projects); The
Little Prince. In the U.K.: Twelfth Night, The Taming of the Shrew (Creation
Theatre); Plunder (Watermill/Greenwich Theatre); Copenhagen, Neville’s Island (Watermill);
Montagues and Capulets (RSC/Capital Centre). Royal Shakespeare Company: Stratford
Talking, The Witch, Desire Under the Elms. Other directing: Toronto Noir (SummerWorks);
Educating Rita, Laughing Wild, Blithe Spirit (English Theatre, Frankfurt); Medea (Richmond,
Virginia). As Associate and Resident Director: For Propeller, The Winter’s Tale (U.K.
and international tour); A Midsummer Night’s Dream (West End); two seasons with the
Royal Shakespeare Company, including the Olivier Award-winning Jacobethan Season
(Outstanding Company Achievement). Website: www.heatherdavies.com.
Josh Epstein
Second season: Third Gentleman/Frenchman/Posthumus’s Brother in
Cymbeline and Barnaby Tucker in The Matchmaker. Stratford: Quintus
(Titus Andronicus), Gas Station Owner (The Grapes of Wrath). Elsewhere:
Barfée in ...Spelling Bee (Belfry/Arts Club – Jessie Award), Freddy in
Dirty Rotten Scoundrels (Playhouse – Jessie and Ovation nominations),
Studies in Motion (Electric Company), Leo in The Producers (Arts Club –
Ovation Award), three seasons with Bard on the Beach (Jessie nomination), The Drowsy
Chaperone (Citadel, NAC), Death of a Salesman (Aquarius), Spitfire Grill (Grand), Seymour
in Little Shop of Horrors (Stage West), The Lord of the Rings (Mirvish). Featured singer at
the 2010 Olympics and with the rock band FP. Film/TV: Hairspray, Breaker High, X-Files.
Josh is co-owner of Motion 58 Entertainment (www.motion58.com), whose films have won
the NSI Drama Prize, Bravo!FACT, NFB FAP, three Leo awards and a development deal
with the Movie Channel. Training: Studio 58, Birmingham Conservatory.
Website: www.joshepsteinonline.com. “4mydad.”
11

Jacob Gallagher-Ross
Third season: Dramaturge of Cymbeline and The Matchmaker and
assistant dramaturge of Henry V. Stratford: Dramaturge of Twelfth Night,
assistant dramaturge of The Tempest. Elsewhere: Dramaturge of Troilus
and Cressida, The Robbers, Edward II (Yale School of Drama). Jacob is a
doctoral candidate in the dramaturgy and dramatic criticism program at
the Yale School of Drama, and an associate editor of Theater magazine.
His essays have appeared in TDR, PAJ, TheatreForum, Theater and Canadian Theatre
Review. He is a guest co-editor of “Digital Dramaturgies,” Theater’s upcoming special
issue on theatre and new media, and a regular contributor to the Village Voice’s theatre
section. In 2011, he participated in the inaugural session of the Mellon Summer School of
Theater and Performance Research at Harvard University. Training: University of Toronto,
Yale School of Drama. Awards: John W. Gassner Memorial Prizes for Criticism, 2007 and
2009 (Yale School of Drama).
Andrew Gillies
Fifth season: Philario in Cymbeline and understudy in The Matchmaker.
Stratford: Sir Hugh Evans (The Merry Wives of Windsor), Stanley (Richard
III), Islander (The Tempest), Panthino/Outlaw (The Two Gentlemen of
Verona), Orlando (As You Like It), Macduff (Macbeth), Valère (Tartuffe),
Bassanio (The Merchant of Venice), Benvolio (Romeo and Juliet).
Elsewhere: Hamlet in Hamlet (Vancouver Playhouse); Cyrano in Cyrano,
Tony Blair in Stuff Happens (Royal Alex); General Burgoyne in The Devil’s Disciple
(Neptune). Fourteen seasons at the Shaw Festival. Theatre Calgary, ATP, National Arts
Centre, Tarragon Theatre, Necessary Angel, Canadian Stage. Manitoba Theatre Centre,
including Frank in Educating Rita, 2010. Film/TV: The Virgin Suicides, Wild Girl, That Touch
of Pink, The Associates, Paradise Falls, Flash of Genius. Training: Simon Fraser University.
Awards: Best-actor nominations: Andrew Allen Award for radio, Dora for theatre. 2009
Merritt Award (best supporting actor) for The Devil’s Disciple (Neptune).
Jennifer Goodman
Second season: Assistant set designer of Cymbeline, Wanderlust and
Elektra. Stratford: The Homecoming (assistant designer). Elsewhere:
Catalyst/Citadel: Hunchback (assistant lighting); Keyano Theatre: Chicago,
The Farnsworth Invention (set); Tableau d’Hôte: Dark Owl, 7 Stories
(set); Wishbone Theatre: Bashir Lazhar (co-production); Shakespeare in
the Park Calgary: Othello, Much Ado… (set, costumes); Studio Theatre:
Eurydice (production), Goodnight Desdemona (costumes), Tideline (lights), Major Barbara
(set); Citadel Young Companies: …Spelling Bee, While We’re Young (set, costumes);
Akpik Productions: Tumit (set); Liquid Meld: How I Learned to Drive (production), Excess
Unwanted Growth (set, costumes); Grant MacEwan: Xanadu (set), Company, Vernon
God Little (set, costumes); Discord & Din: Brilliant Traces (set, costumes). Training: MFA,
University of Alberta, and BFA, Concordia University, theatre design; BA (Honours), Queen’s
University, mathematics/economics; Banff Centre for the Arts. Awards: Montreal English
Critics Circle Award, 7 Stories; Tyrone Guthrie Award. Website: www.jennifergoodman.ca.
Brad Hodder
Stratford debut: Fourth Gentleman/First Briton Captain in Cymbeline,
appears in Elektra and understudy in The Matchmaker. Selected
Theatre: Tybalt in Romeo and Juliet (Neptune Theatre); Darcy in Pride
and Prejudice (Grand Theatre); Paul in Hail (RCAT); Freder in Pains of
Youth, Hedwig in Hedwig and the Angry Inch, Ernest in The Anger in
Ernest and Ernestine (c2c theatre); Harold in Black Comedy (Rabbittown);
Sin in Fear of Flight (Artistic Fraud); Clarke in No Man’s Land, Sebastian in The Tempest
(Rising Tide); Romeo in Romeo and Juliet, Lucentio in The Taming of the Shrew (New
Curtain); Chebutykin in Three Sisters (Studio Theatre). Directing: Henry IV, Part 1, Caesar,
A Midsummer Night’s Dream (New World Theatre Project); The Leisure Society, Autobahn,
The Stendhal Syndrome (c2c). Film/TV: Republic of Doyle, Diverted, Above and Beyond
(CBC). Training: BFA in Acting, University of Alberta. Et cetera: Founding Associate of c2c
theatre and New World Theatre Project.
Peter Hutt
13th season: Doctor Cornelius in Cymbeline and Old Man in Elektra.
Stratford: Credits include The Misanthrope (Oronte), The Tempest
(Alonso), Richard III (Buckingham), The Scarlet Pimpernel (Chauvelin),
The Merchant of Venice, Titus Andronicus, Elizabeth Rex (portraying
William Shakespeare) and Macbeth. Elsewhere: Shaw Festival: 20
seasons including An Inspector Calls, Belle Moral: A Natural History, The
Philanderer and Summer and Smoke. Mr. Hutt’s extensive career has taken him across
Canada, to the Tarragon Theatre, Manitoba Theatre Centre, Citadel Theatre, Neptune
Theatre, Grand Theatre, National Arts Centre and Toronto’s Royal Alexandra. Film/
TV: Credits include The Age of Dorian, Forever Knight, The Taming of the Shrew (CBC),
Breaking All the Rules, Echoes in the Darkness and the much-acclaimed CBC television
production of Elizabeth Rex. Awards: He earned a Dora nomination for Patience (Tarragon
Theatre). Et cetera: Mr. Hutt is delighted to return for his 13th Stratford season.
12
Ruby Joy
Stratford debut: Helen in Cymbeline and appears in The Matchmaker.
Elsewhere: The Tempest (Theatre by the Bay), Hamlet and The Winter’s
Tale (Theatre80 St. Marks), Evolutionism (The Schapiro Theatre), Look
Back in Anger (The Old Stone House), Sex and the Holy Land (The
Players Theatre), The Libertine (Robert Moss Theater). Film/TV: Chantel
in Republic of Doyle (CBC), Audrey in Oddly Flowers (CFC). Training:
Birmingham Conservatory for Classical Theatre, New York University Tisch School of the
Arts. Website: www.rubyjoy.net.
Robert King
19th season: Jailer in Cymbeline and Gypsy Musician in The Matchmaker.
Stratford: Robert appeared in The Grapes of Wrath, The Misanthrope
and The Merry Wives of Windsor in 2011. Other Stratford credits include
Richard III, Quiet in the Land, Richard II, Henry VI, Hamlet, The Merchant
of Venice, Home, The Diary of Anne Frank, Ah, Wilderness!, A Midsummer
Night’s Dream and Twelfth Night, among others. Elsewhere: Bolsheviki
at Infinitheatre and Alternative Theatre Works; Falling, a wake with Alternative Theatre
Works; Garrison’s Garage and Country Hearts for the Blyth Festival. Robert has performed
in theatres across the country. Et cetera: Robert lives in town with his wife, Peggy Coffey,
and two children, Mary and Lawrence.
Ian Lake
Fifth season: Arviragus in Cymbeline and Orestes in Elektra. Stratford:
Joey in The Homecoming, Silvius in As You Like It, Florizel in The
Winter’s Tale, Demetrius in A Midsummer Night’s Dream, Trouble-All in
Bartholomew Fair, Berowne in Love’s Labour’s Lost. Elsewhere: For
This Moment Alone (Theatre Aquarius); Twelfth Night, Macbeth (BCCT);
Buoyant Billions, Star Quality, Les Deux Aveugles (Theatre Lac Brome);
Amadeus (Segal Theatre); Schoolhouse, Lost Heir (Blyth Festival); Oedipus Rex (Gravy
Bath); Much Ado About Nothing (Resurgence Theatre). Film/TV: Pulling Rank (CFC);
Flashpoint (CTV); Caesar and Cleopatra (Bravo!/CTV); SPIT, a short (Precip Productions);
He Was Perfectly Fine (Sheridan Media Arts). Training: National Theatre School of Canada,
Birmingham Conservatory for Classical Theatre. Awards: Proud recipient of the 2009
Michael Mawson Award. Et cetera: “Thank you so much to my loved ones around the
world for all their help and support.”
Cyrus Lane
Third season: Fifth Gentleman/Musician/Posthumus’s Brother in
Cymbeline and appears in Wanderlust. Stratford: Titus Andronicus,
Richard III, Peter Pan, King of Thieves. Elsewhere (selected): Rock ’n’
Roll, Habeas Corpus, Take Me Out, Amadeus, Sweeney Todd (Canadian
Stage); Kiss of the Spider Woman (Talk Is Free Theatre); The Mercy Seat
(Alchemy Theatre); You’re a Good Man, Charlie Brown (Young People’s
Theatre); Step Right Up! (Theatre Orangeville); Blood Brothers (Theatre Aquarius); two
seasons at the Shaw Festival. Recordings: Voices on videogames Resident Evil: Zero,
Onimusha II and Far Cry 2. Training: London Academy of Music and Dramatic Art. Et
cetera: Cyrus dedicates this season to the memory of Niall McCabe.
Jennifer Lennon
Third season: Assistant lighting designer of Cymbeline, Wanderlust
and Elektra. Stratford: Assistant lighting designer of Richard III, Titus
Andronicus, Kiss Me, Kate and Evita. Elsewhere: Lighting designer of
Other People (Mutual Friends Co-op); Hairspray (Clarkson Music Theatre);
Romeo and Juliet (Shakespeare in Action); Gingerbread Guy (Cow Over
Moon Children’s Theatre); Almost, Again (Go Go Go Productions); Double
Double (Caterwaul Theatre); The Penelopiad Director’s Showcase (Nightwood Theatre);
Nursery School Musical (Fence Post Productions); Dog Sees God, Good As New Festival
(Fly By Night Theatre); and The Bewitched (Theatre@York). Associate lighting designer
of How to Succeed in Business Without Really Trying and Blood Brothers (Drayton
Entertainment). Assistant lighting designer of Hairspray (Charlottetown Festival); Intimate
Apparel (Obsidian Theatre/Canadian Stage); and That Face (Nightwood Theatre/Canadian
Stage). Training: BFA, Theatre Production and Design, York University. Awards: Tom
Patterson Award, 2011.

complete your experience
with a trip to the
take home a piece of the drama with original
clothing and giftware, books and music; this
is the place for every theatre lover! make
every visit unforgettable with a memento
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TWO LOCATIONS
discovery centre, across from the
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downtown in the avon theatre lobby
or shop online at:
stratfordshakespearefestival.com/store
Tom McCamus
12th season: Iachimo in Cymbeline and Horace Vandergelder in The
Matchmaker. Stratford: Selected: The Grapes of Wrath, Peter Pan,
Dangerous Liaisons, Three Sisters, Phèdre, Bartholomew Fair, An Ideal
Husband, Timon of Athens, Richard III, The Threepenny Opera, Waiting
for Godot, Coriolanus, Camelot, Julius Caesar, Long Day’s Journey
Into Night. Elsewhere: Hamlet, Divisadero (Necessary Angel); Misery
(Canadian Stage); The Unanswered Question (NAC); Thom Pain (Tarragon); Mathilde
(Nightwood). Film/TV: Cairo Time (director Ruba Nada), The Sweet Hereafter (Atom
Egoyan), Long Day’s Journey Into Night (David Wellington), Possible Worlds (Robert
Lepage). Awards: Dora Mavor Moore Award, best actor: Abundance (Theatre Plus); Genie
Award, best actor: I Love a Man in Uniform (David Wellington); Gemini and ACTRA Award,
best actor: Waking Up Wally: The Walter Gretzky Story (Dean Bennett). Et cetera: Tom
lives on a farm in Warkworth with his wife, actress Chick Reid, and their three dogs.
Yanna McIntosh
Eighth season: Queen in Cymbeline and Elektra in Elektra. Stratford:
Elizabeth (Richard III), Grace (The Little Years), Hermione (Winter’s Tale),
Mme. Volanges (Dangerous Liaisons), Lady Macbeth (Macbeth), Titania
(Dream), Helen (Trojan Women), Palmer Park, Maria (Twelfth Night), The
Illusion. Elsewhere: Ruined (Obsidian/Nightwood – Dora Award); Cloud
9 (Mirvish); Condoleezza Rice – Stuff Happens (Studio 180); Mary – Mary
Stuart, Phèdre (Soulpepper); The Monument (Obsidian); title roles in Hedda Gabler
(Volcano), Florence Gibson’s Belle (Factory/NAC); Syringa Tree, Midsummer Night’s Dream,
Petruchio – Taming of the Shrew (Canadian Stage); Michael Healey’s Generous, Skylight
(Tarragon – Dora); Valley Song (New Globe – Dora); Love’s Labour’s Lost, The Bear (NAC);
Lambton Kent (Volcano/Edinburgh Festival); Tartuffe (ART); Trace (co-writer/performer);
guest teacher/director (NTS; Humber College). Film/TV: The Listener (CTV); XIII; The Line
(TMN); This Is Wonderland, Riverdale (CBC); Doomstown (CTV – Gemini Award); The
Sentinel, Finn’s Girl, A Raisin in the Sun.
Anne Murphy
20th season: Production stage manager of the Tom Patterson Theatre.
Stage manager of Wanderlust. Stratford: Anne is pleased to be back for
the 2012 season. Elsewhere: She stage-managed Orpheus Descending
(MTC, Royal Alexandra Theatre), toured the Belfry Theatre’s The Year of
Magical Thinking to the Tarragon Theatre and the National Arts Centre,
toured with Joseph and the Amazing Technicolor Dreamcoat and the
NAC’s The Mikado and worked on The Lion King and Jane Eyre in Toronto. She has
had the pleasure of working across Canada at the Grand Theatre, the Globe Theatre,
Vancouver Playhouse, Neptune Theatre, Manitoba Theatre Centre and Expo ’86 in
Vancouver. She was production manager at Neptune Theatre for two years. Et cetera:
Anne lives in Stratford with her partner, Anne; their son, Callum; daughter Brianna;
Richard, a Nova Scotia Duck Tolling Retriever; Lucy, the cutest Maltipoo ever; and three
beautiful cats.
Sonia Norris
Stratford debut: Movement for Cymbeline. Elsewhere: Sonia’s dynamic
physical approach to actor training vigorously activates the spirit of the
performer, creating vibrantly alive theatre. Teaching, coaching, directing
and creating have taken her around the world working with theatres,
circus artists and professional training programs including Disney, Cirque
du Soleil, HIFA Festival/Young Africa Centre Zimbabwe, Dell’Arte School
of Physical Theatre, Ryerson Theatre School, National Theatre School and universities
across North America and Africa. She currently teaches at the Birmingham Conservatory,
Humber College and Brock University. Directing: Founding Director of ensemble devising
company The Chaos Factory, directing/co-writing When You Stand Alone, I Have a
Dream!, The Girlie Show, Famous Remains of Piggy Palace, Flood. Recently: assistant
director, Taj (Luminato); director of opera Jonathan’s Storm (Ardeleana Opera). Training:
Vancouver Playhouse Acting School, École Lecoq, École Gaulier, Dell’Arte School, MFA
Directing (York University).
Steven Page
Fourth season: Composer for Cymbeline. Stratford: Bartholomew Fair,
Coriolanus, As You Like It. Elsewhere: Singer, songwriter and Canadian
icon Steven Page has made an indelible impression on our country’s
bustling music scene as well as its cultural landscape. With three solo
albums under his belt – The Vanity Project, Page One and A Singer Must
Die (with the Art of Time Ensemble) – as well as the 2012 EP release A
Different Sort of Solitude, the co-founder and former lead singer of the Barenaked Ladies
is busy performing and touring with his new band, writing songs and composing for film
and theatre. Website: www.stevenpage.com.
Scott Penner
Third season: Set designer of Cymbeline. Stratford: Assistant set
designer of Camelot and Peter Pan and assistant designer of Twelfth
Night. Elsewhere: Scott’s recent designs include Richard III, King Lear,
Arcadia, The Great American Trailer Park Musical (Hart House Theatre);
Hair (The Grand Theatre); Twelfth Night, Macbeth, The Adventures of
Huckleberry Finn (Classical Theatre Project); The 25th Annual Putnam
County Spelling Bee (Magnus Theatre/STC) and Lawrence & Holloman (STC); An
Experiment With an Airpump (U of W Drama); I Love You Because (Angelwalk Theatre);
Stranger, Underneath, Jesus Chrysler (Praxis Theatre); The Killing Game, Top Girls
(Randolph Academy); Dom Juan (Theatre Glendon). Scott has assisted in set designer
Michael Levine’s studio for various productions including The Magic Flute (Hungarian
State Opera), A Dog’s Heart (De Nederlandse Opera), Tannhäuser (Royal Opera House).
Training: BFA York University. Website: www.scottpennerdesign.com.
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Chick Reid
10th season: First Lady/Posthumus’s Mother in Cymbeline and Cook/
Gertrude in The Matchmaker. Stratford: The Grapes of Wrath, The
Little Years, An Ideal Husband, The Comedy of Errors, Noises Off,
No Exit, Henry VIII, Much Ado About Nothing, The Two Gentlemen of
Verona, High-Gravel-Blind, Eternal Hydra, Troilus and Cressida, A Fitting
Confusion, Romeo and Juliet, Juno and the Paycock, Sweet Bird of Youth,
Amadeus, The Country Wife, The Merry Wives of Windsor. Elsewhere: Theatres across
Canada and the U.S., including Shaw Festival, Theatre Plus Toronto, the NAC, Grand,
MTC, Neptune, Westben, Broadway, Actors’ Theatre of Louisville. Film/TV: Most recently,
Fairfield Road, Everything She Ever Wanted. Website: www.trilliumview.com. Et cetera:
Ms Reid teaches Shakespeare at Queen’s University, lives on a farm with her husband,
Tom McCamus, and breeds Nova Scotia Duck Tolling Retrievers. She is pleased to be
reprising Alice in The Little Years at the Tarragon Theatre this fall.
Corinne Richards
25th season: Assistant stage manager of Cymbeline and Wanderlust.
Stratford: Over 40 Festival productions including 18 Shakespearean
plays, The Grapes of Wrath, The Homecoming, For the Pleasure of Seeing
Her Again, Home, Memoir, Les Belles-Soeurs, Phaedra, Alice Through
the Looking Glass, Amadeus, Little Women, The Country Wife, Pride and
Prejudice, An Ideal Husband, Ghosts, The Lark and a 1998 tour to New
York with Much Ado About Nothing and The Miser. Elsewhere: Multiple productions at the
Grand Theatre, Manitoba Theatre Centre, the National Arts Centre, the Red Barn Theatre,
Carousel Players and for Douglas Beattie Productions. Et cetera: “Over my 25 seasons
at the Festival, each show has been special in its own way. I have met many wonderful
characters here, both onstage and offstage. But the character who most enriches my life
outside the theatre is my son, Timothy.”
Cara Ricketts
Fourth season: Innogen in Cymbeline and Ermengarde in The
Matchmaker. Stratford: Ruth (The Homecoming), Maria (Twelfth
Night), Celia (As You Like It), Perdita (The Winter’s Tale), Weird Sister
(Macbeth), Portia (Julius Caesar), Hippolyta (A Midsummer Night’s
Dream). Elsewhere: Cathy (Cruel and Tender, directed by Atom Egoyan)
(Canadian Stage), Pauline Newberry (Eternal Hydra) (Crow’s Theatre),
Juliet/Ophelia (Shakespeare: If Music Be...) (Art of Time Ensemble), Beneatha (A Raisin
in the Sun) (Soulpepper, Theatre Calgary), Queen of Sheba (Wise Woman of Abyssinia)
(b current Theatre), Saint Monica (The Last Days of Judas Iscariot) (Birdland Theatre; five
Dora Awards), Antigone (Antigone: Insurgency) (One Little Goat Theatre), Domestic by d’bi
young (Volcano Theatre), Peggy Sue (Born Ready) (Obsidian Theatre). Film/TV: Bonnie
(The Gathering) (Lifetime Network), Cyda Smith (Mayday) (Discovery), The Tower (CBS
pilot with Davis Guggenheim). Training: Humber College. Et cetera: “To Marie-Joseph
Angélique and her passion.”
Mike Shara
Fourth season: Cloten in Cymbeline and Cornelius Hackl in The
Matchmaker. Stratford: Twelfth Night, The Importance of Being Earnest,
The Homecoming, Cyrano de Bergerac, The Winter’s Tale. Elsewhere: The
Great Gatsby (Grand Theatre); Long Day’s Journey Into Night (MTC); Picnic,
Nothing Sacred, You Never Can Tell, Arms and the Man, Misalliance,
Hay Fever, Cavalcade (Shaw Festival); Take Me Out, It’s a Wonderful Life
(Canadian Stage); Richard III, The Cherry Orchard (Citadel); Our Town, Black Comedy, The
Way of the World (Soulpepper); Anatol (Vancouver Playhouse); An Inspector Calls (Theatre
Calgary); Picasso at the Lapin Agile (Theatre Aquarius); Skylight (National Arts Centre). Film/
TV: XIII: The Series (Showcase), Little Mosque on the Prairie (CBC), King (Showcase), The
Gathering (Lifetime), Queer as Folk (Showtime), Due South (CTV).
Carolyn M. Smith
14th season: Costume designer of Cymbeline. Stratford: Peter Pan,
Bartholomew Fair, Shakespeare’s Universe, Othello and The Duchess of
Malfi. Set design for The Odyssey and costumes for The Grapes of Wrath
and The Swanne (all three parts). Elsewhere (selected): Macbeth (NAC/
Citadel), The Way of the World (NAC/Soulpepper), Atlantis (Grand), Picasso
at the Lapin Agile (Grand/Vancouver Playhouse), Through the Eyes
(Factory Studio), An Acre of Time (Tarragon) and design work on over 16 new Canadian
plays and the new Canadian operas Beatrice Chancy (Queen of Puddings Music Theatre)
and The Gang (Autumn Leaf Productions). Costume designs for the Shaw Festival,
Necessary Angel, Neptune Theatre, Broadway and film and television. Awards: Jessie
Richardson Award for costumes of Scary Stories (Alberta Theatre Projects/Vancouver
Playhouse), and honoured to be the recipient of the 2010 Virginia and Myrtle Cooper
Award in costume design.

E.B. Smith
Second season: Guiderius in Cymbeline and Pylades in Elektra. Stratford:
Dorset in Richard III, Alarbus in Titus Andronicus. Elsewhere: Chicago
Shakespeare Theater – Seyton in Macbeth, Friar Laurence in Romeo and
Juliet; First Folio Theatre – Macduff in Macbeth; Karamu House Theater
– King in King Hedley II (Cleveland Scene, Best Production of 2007),
Moustique in Dream on Monkey Mountain, Junior in Before it Hits Home.
Other credits include work at the Cleveland Play House, the Idaho Shakespeare Festival
and Theater Wit in Chicago, and two seasons at the Great Lakes Theater Festival. Film/TV:
The Beast (Sony Pictures Television), Ask Gilby, Maybe By Then and Thunder Bay (PBS-TV).
Training: Studied acting at Ohio University and the Birmingham Conservatory for Classical
Theatre. Et cetera: E.B. dedicates his work to Moira, his parents and grandmother, and to
the memory of his Papa, who will always be in the front row.
Ann Stuart
31st season: Stage manager of Cymbeline. Stratford: Ann has worked in
all four of the Festival’s theatres on over 70 productions, including 27 of
Shakespeare’s plays, with previous Artistic Directors Michael Langham,
Robin Phillips, John Neville, David William and Richard Monette. This is
her sixth production with Artistic Director Designate Antoni Cimolino. Last
season she stage-managed The Little Years, directed by Chris Abraham.
For the past five years Ann has worked as coordinator of the Birmingham Conservatory
for Classical Theatre under Director Martha Henry. Her most recent Conservatory project
was A Midsummer Night’s Dream, directed by Stephen Ouimette. Elsewhere: Productions
at the Glen Morris Studio, Hart House Theatre, Robert Gill Theatre, Theatre Plus, Grand
Theatre, Arbor Theatre, Canadian Stage, National Arts Centre, Tarragon Theatre, Globe
Theatre, Touchmark Theatre and Royal Haymarket Theatre, London, England.
Robert Thomson
11th season: Lighting designer of Much Ado About Nothing and Cymbeline.
Stratford: Designed 25 productions including The Homecoming,
Dangerous Liaisons, Rice Boy, Zastrozzi, Krapp’s Last Tape/Hughie, The
Taming of the Shrew, Romeo and Juliet, Caesar and Cleopatra, The
Odyssey, Into the Woods and King Lear. Elsewhere: Resident Lighting
Designer: National Ballet of Canada for 12 seasons; designs include Swan
Lake and Romeo and Juliet. Highlights in 25 seasons at Shaw Festival include 10 years as
Head of Lighting Design, Saint Joan, Cavalcade and Cyrano de Bergerac. Recent credits
include The Cosmonaut’s Last Message… (Canadian Stage), The Comedy of Errors (NAC
and Centaur), Krapp’s Last Tape/Hughie (Goodman Theatre, Chicago) and The Pitmen
Painters (Theatre Aquarius). Awards: Sterling for Edmonton Opera’s mounting of Robert
Lepage’s Bluebeard’s Castle and Erwartung; four Dora Mavor Moore Awards.
Brian Tree
23rd season: Pisanio in Cymbeline and appears in The Matchmaker.
Stratford: Dubois (The Misanthrope), Old Shepherd (The Winter’s Tale),
Adam (As You Like It), Wasp (Bartholomew Fair), Erronius (A Funny Thing
Happened on the Way to the Forum), Costard (Love’s Labour’s Lost),
Touchstone (As You Like It), Stephano (The Tempest), Joxer Daly (Juno
and the Paycock), Mr. Dussel (The Diary of Anne Frank), Mr. Bennet (Pride
and Prejudice), Dolly Spanker (London Assurance), Oswald (King Lear), Peter Quince (A
Midsummer Night’s Dream). Elsewhere: Jimmy (The Pitmen Painters), Theatre Aquarius;
Michael (Someone Who’ll Watch Over Me), Kemp (Vigil), Tarragon Theatre; Bottom (A
Midsummer Night’s Dream), Canadian Stage; Harry (The Sum of Us), Belfry Theatre;
Jim (Passion), Grand Theatre; the Player (Rosencrantz and Guildenstern Are Dead),
Touchmark. Film/TV: Billable Hours, La Femme Nikita, Traders, Forever Knight, Street
Legal; eight productions of A Taste of Shakespeare.
John Vickery
Fifth season: Belarius in Cymbeline and Joe Scanlon/Rudolph/Cabman
in The Matchmaker. Stratford: Titus (Titus Andronicus), Antonio (The
Tempest), Duke (The Two Gentlemen of Verona), Ross (Macbeth),
Comte de Guiche (Cyrano), Victor (Zastrozzi), Capulet (Romeo and
Juliet), Holofernes (Love’s Labour’s Lost), Lucius Septimius (Caesar and
Cleopatra). Elsewhere: Broadway: original Scar in The Lion King (also in
L.A.), The Real Thing, The Sisters Rosensweig, Macbeth. He recently worked with Robert
Wilson on The Black Rider and David Hare on Stuff Happens. Other roles include Romeo,
Laertes, Hamlet, Benedict, Dr. Caius, Gower, Pericles, Prince Hal, Richard II, Bolingbroke,
Richard III, Cassius, Brutus, Autolycus, Edgar, Edmund, Malcolm, Macbeth, Don Juan,
Tartuffe, Alceste, Trofimov, Lopahin, Trigorin, Delio and Bosola (twice) in The Duchess of
Malfi. Film/TV: Murder by Numbers, Big Business, Dr. Giggles, Patriot Games, Modern
Family, Without a Trace, NCIS, Frasier, NYPD Blue and all of Star Trek (except Voyager).
Naomi Wright
Stratford debut: Second Lady in Cymbeline and appears in Elektra.
Elsewhere: The 39 Steps (Persephone); The Ugly One (Theatre Smash);
Othello, The Comedy of Errors, The Tempest, Titus Andronicus, The
Taming of the Shrew, Romeo and Juliet (Bard on the Beach); Bird Brain
(Carousel); This Is About the Push (Seventh Stage); Thy Neighbour’s Wife
(Theatre North West); Absurd Person Singular (Arts Club); Life Savers
(Ruby Slippers); Stupidity (Theatre Conspiracy); The Dissociates, Cat and Mouse (Sheep)
(Sea Theatre); The Man Who Shot Chance Delaney, Island of Bliss (Western Canada
Theatre); A Room of One’s Own (Uno). Artistic Associate with The National Theatre of the
World. Film: The French Guy, Insider Trading; as producer – Hop the Twig, My Father’s
an Actor. Awards: Four Jessie Award nominations: Desdemona – Othello, Brigit – Life
Savers, Susan – Stupidity, ensemble – Bird Brain. Training: BFA from UBC. Et cetera:
“Love to M&T, S&F and Ben.”
Geraint Wyn Davies
Ninth season: Cymbeline in Cymbeline and Malachi Stack in The
Matchmaker. Stratford (selected): King Arthur (Camelot), Falstaff (Merry
Wives), Stephano (The Tempest), Dylan Thomas (Do Not Go Gentle), Julius
Caesar, Bottom (A Midsummer Night’s Dream), Polonius (Hamlet), Henry
Higgins (My Fair Lady), Henry V, Bassanio (The Merchant of Venice),
D’Artagnan (Three Musketeers), Hortensio (The Taming of the Shrew),
Antipholus S (The Boys From Syracuse), Pericles. Elsewhere: Canadian Stage’s The
Elephant Man; Shaw Festival, five seasons; King Lear (Lincoln Center); Poetic License
(The Directors Co.); Women Beware Women (Red Bull Theatre); Richard III, Cyrano
(Shakespeare Theatre Company, Washington, D.C.); Love’s Labour’s Lost (RSC); Hamlet,
Henry VIII (Chichester Festival); An Enemy of the People (Lyric Hammersmith, London); two
seasons as Theatr Clwyd’s artistic associate (Welsh National Company). Film/TV (selected):
ReGenesis, Murdoch Mysteries, 24, Slings and Arrows, Black Harbour, Airwolf, Forever
Knight, American Psycho II, Hypercube.
Joyce Zogos
Second season: Apprentice stage manager of Cymbeline. Stratford:
Production assistant, Studio Theatre: Hosanna, Shakespeare’s Will,
The Little Years. Elsewhere: Apprentice stage manager: Blithe Spirit, La
Sagouine, The Play’s the Thing (The Segal Centre); Anderson’s Inkwell,
For Art’s Sake (Geordie Productions); The Turn of the Screw (The Banff
Centre). Stage manager: Summer and Smoke (Dawson College); A View
from the Bridge (Montreal Theatre Ensemble); The Yeomen of the Guard (Savoy Society);
The Rose Tattoo (John Abbott College). Training: Joyce is a graduate of John Abbott
College’s Professional Technical Theatre Program. Et cetera: Joyce thanks her friends and
family for their continued support and encouragement.
let’s meet online!
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