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

Barbara & John Schubert and Catherine & David Wilkes Support for the 2014 season of the Festival Theatre is generously provided by

Claire & Daniel Bernstein

Production Sponsor

UWaterloo DramaScenes from an Execution

by Howard BarkerMarch 2012

University of Waterloo on the world stage

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

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

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

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

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WATERLOO | Canada’s most innovative university for 22 years

UWaterloo DramaScenes from an Execution

by Howard BarkerMarch 2012

University of Waterloo on the world stage

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

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

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

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

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WATERLOO | Canada’s most innovative university for 22 years

MINDS PUSHED TO THE EDGE

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

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

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

Our 2014 Partners and Sponsors

Corporate Partners

Production and Program Sponsors

Individual Partners

In-Kind Sponsors

Sylvanacre Properties Ltd.

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

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

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

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

Stratford’s Greatest Hits

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

*Charitable registration number: 119200103 RR0002 **As defined by Section 501(c)(3) of the Internal Revenue Code

Performance HostsSeason Hosts

The Stratford Festival gratefully acknowledges the generous support of these contributors to our success:

Black

CMYK

Pantone

Aylmer Express

Blackburn Radio

Comtran

Famme & Co. Professional Corporation

Pelee Island Winery

Power Corporation of Canada

Pratt & Whitney Canada Inc.

Rhéo Thompson Candies

Steed Standard Transport Limited

The FSA Group

The Woodbridge Company Limited

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FORUM

May we recommend these selected Forum events . . .

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

Forum Film Festival: Still DreamingStudio Theatre | Saturday, June 28, from 5:30 to 7:30 p.m.Retired artists in the Lillian Booth Actors Home in Englewood, NJ, and directors from New York’s Fiasco Theater work together to stage A Midsummer Night’s Dream. Directed by Hank Rogerson and Jilann Spitzmiller (2014). $15.

Lear’s Shadow: Contemporary Reflections on Diagnoses, Abuses and Testamentary CapacityStudio Theatre | Saturday, July 19, from 10 to 11:30 a.m.Does King Lear suffer from dementia? Are his daughters guilty of elder abuse? Drs. Mark Rapoport, Carole Cohen and Ken Shulman examine the play and its central character through the lens of their practice as geriatric psychiatrists. Presented in association with the Canadian Academy of Geriatric Psychiatry and Sunnybrook Health Sciences Centre. $25.

Lobby Talk: Sans Teeth, Sans Eyes Festival Theatre lobby | Thursday, July 24, from 11 a.m. to noonIn this talk, Dr. Susan Krauss Whitbourne, psychologist and professor at UMassAmherst, explores the basis for ageism in Shakespeare’s writing and how people today defy these stereotypes. Free.

Lobby Talk: Upon a Wheel of FireFestival Theatre lobby | Thursday, July 31, from 11 a.m. to noonDr. Vivian Rakoff, Professor Emeritus in the Department of Psychiatry at the University of Toronto, and Len Rudner of the Centre for Israel and Jewish Affairs consider King Lear. There may be no other play in the Shakespearean canon in which the gods are called upon so often yet are so absent. As chaos leaks into the universe, whose job is it to clean up the mess? Free.

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Souls Under PressureStudio Theatre | Sunday, August 17, from 10 to 11:30 a.m.“Where is the soul in Shakespeare?” Taking King Lear as their focus, Torrance Kirby and Paul Yachnin of McGill University ask what happens to the human spirit, in Shakespeare’s time and in ours, when people are pushed to the limits of endurance. Colm Feore joins the discussion, offering insights from an actor’s point of view. $25.

“He’s Not Mad, He’s Madly Visionary!”: A Debate on Madness and IndividualityStudio Theatre | Saturday, September 6, from 10 to 11:30 a.m.Literature is rife with colourful characters whose behaviour pushes beyond societal norms. Join Canadian Psychiatric Association members Dr. K. Sonu Gaind, Dr. Susan Abbey and Dr. Richard O’Reilly for this lively debate exploring themes of sanity, mental illness and diagnosis, and societal expectation, based on selected characters from this season’s playbill. $25.

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

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

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

Selected Forum Events Supported by

Broadcast Partner

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

CAMILLE PAGLIA

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DR. K. SONU GAINDDR. MARK RAPOPORT

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

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Measuring LoveBy Alexander Leggatt

King Lear opens with Lear dividing his kingdom among his three daughters, asking which of them loves him most; whoever makes the best speech gets the largest share, so much kingdom for so much love. Goneril and Regan make virtually identical speeches, and get identical shares. This means – simple arithmetic – that Cordelia’s share is now set, even before she speaks. Lear as judge has already picked the winner. But he has reckoned without Cordelia. She sees the absurdity of measuring love by words, and refuses to play. Lear in return leaves her with nothing, not even her identity as his child: “we / Have no such daughter.”

Before long it is Lear’s own identity that is in question. Is he King or not? Though he has given away his power and his revenue, he still expects to be obeyed, and his entourage of a hundred knights both

symbolizes his continuing authority and acts as a source of tension with his daughters. He had intended to settle with Cordelia: now he plans to shuttle back and forth between Goneril and Regan. Goneril protests at having her housekeeping disrupted, and Regan leaves home rather than take her father in. Measuring their love by how much they will cater to his needs, Lear asks if they are really his daughters, and this drives him to an ironic questioning of his own identity: “Does any here know me? This is not Lear.” Beneath the irony is a real fear: to his question, “Who is it that can tell me who I am?” Lear’s truth-telling Fool replies, “Lear’s shadow.” Elsewhere he is not even a shadow: “I am a fool, thou art nothing.”

That word nothing haunts the play. When in the first scene Lear asks Cordelia what she can say to earn the largest share of the kingdom, she replies, “Nothing.” He warns her, “Nothing will come of nothing,” and goes on to annihilate her. In a roughly parallel action, the Earl of Gloucester is tricked by his bastard son Edmund into

Colm Feore (King Lear)

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thinking his other son, Edgar, is plotting to kill him, and denies Edgar as Lear denied Cordelia: “I never got him.” Edgar, reduced to a hunted criminal, adopts the role of the naked madman Poor Tom, declaring it is the only identity he now has: “That’s something yet: Edgar I nothing am.”

We have been in a world of material possessions, material wants and needs. Lear wants his hundred knights, Edmund wants his brother’s land, Goneril wants a tidy, ordered house. The word nothing takes us into the wilderness, and into the

storm, where we confront material reality of a different kind; the reality of deprivation, hunger and pain. Edgar paradoxically disguises himself by taking his clothes off. When clothes define social standing, a naked body is unrecognizable. We have been in the houses of the powerful; now we are in the world of the homeless, and in that world, amid a howling storm, the exiled king and the naked madman confront each other. Lear, who up to this point has been concerned only with himself, sees in a figure from the opposite end of the social scale, one whose suffering he recognizes: “Didst thou give all to thy two daughters? And art thou come to this?” And, having thought that his essence consisted of his title, his power, his entourage, he sees in Tom, “unaccommodated man,” the bedrock of human reality: “Thou art the thing itself.”

This is also the moment when Lear, having feared madness and tried to fight it off,

It is in the exile of madness that Lear sees through the world of material power that used to define him.

surrenders to it. Madness in Shakespeare’s time was seen as a kind of exile from society. Madmen tore at their clothes, as Lear does, and wandered out of their communities into the fields, as Lear does. It is in the exile of madness that Lear sees through the world of material power that used to define him. Respectability is just vice dressed up – “Robes and furred gowns hide all” – and when all are equally guilty justice is meaningless: “Change places and handy-dandy, which is the justice, which is the thief?” As Lear is mad, Gloucester, also driven into the wilderness, is blind, his eyes put out by Cornwall in perhaps the most harrowing scene of physical torment Shakespeare ever wrote. One sense gone, he turns to what remains, seeing through material comfort as Lear sees through material power, imagining in “the superfluous and lust-dieted man . . . that will not see / Because he does not feel” a blindness more terrible than his own.

Learning that he has wronged Edgar, Gloucester longs for a reunion with him, to “see thee in my touch.” For Lear in the opening scene love was a matter of words; for Gloucester, who has learned the importance of feeling, love shows itself through the touch of a hand. Unknown to Gloucester, Edgar is standing beside him as he says this, and he guides his father through the next few scenes, regularly asking him to take his hand. Edgar plays a variety of roles, his own identity steadily emerging through a series of improvisations, and he tries to cure his father’s despair through a demonstration of the mercy of the gods that turns out to be a fake. But through all this the image we keep seeing is the son taking his father by the hand. And when Lear is reunited with Cordelia he does not ask her to declare her love for him in words; he touches her cheek to see if her tears are wet.

Lear and Gloucester in their different ways have seen the gross inequality of the world, the gulf that separates rich and poor, and have called for a redistribution of wealth. Homeless and destitute themselves, they can still manage gestures of charity.

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The StoryLear, king of Britain, has decided to step down from the throne and divide the realm among his three daughters: Goneril, who is married to the Duke of Albany; Regan, married to the Duke of Cornwall; and his youngest, Cordelia, who is being wooed by both the Duke of Burgundy and the King of France. In formally announcing this division of the kingdom, Lear requires that each daughter in turn make a speech declaring how much she loves him – only to be enraged by the unexpected result. Meanwhile, the Earl of Gloucester is deceived by his illegitimate son, Edmund, into believing that his legitimate son, Edgar, plans to murder him. Both fathers misjudge their children – errors for which both will pay a terrible price.

Gloucester has enough left that he can say to Poor Tom, “Here, take this purse.” Lear goes further, saying to Gloucester, “If thou wilt weep my fortunes, take my eyes.” Returning to Britain to rescue her father, Cordelia embodies charity of an even deeper kind. Waking in her tent, shrinking at first from the restoration she offers him, Lear assumes the old system of exchange is still at work. As love is rewarded with land, wrong is met with revenge: “If you have poison for me, I will drink it.” By his own admission, she has “some cause.” Cordelia replies, “No cause, no cause.”

In the face of this overwhelming, unconditional love, Lear, who had spent the opening scenes desperately asserting his

own identity, surrenders it. From this point on, he never speaks his own name; his focus is completely on Cordelia. But as in the early scenes love, or what claimed to be love, met with a reward, now love, the real thing, exacts a terrible price. Cordelia, who risked her life to save her father, now loses it, and as she is now the only thing in his life, her death means his. It is a demonstration of love that goes beyond words. Other tragic heroes in Shakespeare die by swords, daggers, or poison; Lear dies of a love so intensely focused that it burns his life away.

Alexander Leggatt is Professor Emeritus of English at the University of Toronto.

Colm Feore (King Lear)

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William ShakespearePlaywright

Born in Stratford-upon-Avon in 1564, William Shakespeare was the eldest son of John Shakespeare, a glover and tanner who rose to become an alderman and bailiff of the town, and Mary Arden, the daughter of a wealthy farmer. The exact date of his birth is unknown, but there is a record of his baptism at Stratford’s Holy Trinity Church on April 26. Since an interval of two or three days between birth and baptism would have been quite common, tradition has it that he was born on April 23 – the same date as his death fifty-two years later. The young Shakespeare is assumed to have attended what is now King Edward VI Grammar School in Stratford, where he would have studied rhetoric, grammar and ancient Roman literature in its original Latin. In 1582, when he was eighteen, he married Anne Hathaway, a farmer’s daughter who was eight years his senior. Anne was pregnant at the time, and the couple’s first daughter, Susanna, was born a few months afterwards in 1583. Twins followed two years later: a son, Hamnet, who died at the age of eleven, and a second daughter, Judith. Nothing further is known of Shakespeare’s life until 1592, by which time he was sufficiently established as an actor and writer in London to be the

target of a literary attack by a jealous fellow playwright, Robert Greene. Soon afterwards, an outbreak of plague forced the temporary closure of the theatres, and Shakespeare turned his attention instead to his long narrative poems Venus and Adonis and The Rape of Lucrece. He also began writing the Sonnets, a series of 154 complex and often ambiguous poems on themes of love, jealousy and mortality that have aroused much biographical speculation. By 1595, Shakespeare was back in the theatre, writing and acting for the Lord Chamberlain’s Men. His income as one of London’s most successful dramatists enabled him, in 1597, to buy a large house called New Place back in Stratford, and in 1599 he became a shareholder in London’s newly built Globe Theatre. In 1603, when James I had succeeded Elizabeth on the throne, Shakespeare’s company was awarded a royal patent, becoming known as the King’s Men. Meanwhile, the playwright continued his business dealings in Stratford and in London, where in 1613 he bought a property known as the Blackfriars Gatehouse. He is believed to have spent increasing amounts of his time in Stratford from around 1609 until his death on April 23, 1616. He is buried in the town’s Holy Trinity Church.

From Left: Antoni Cimolino, Scott Wentworth and Colm Feore

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King Lear documents not only the breakdown of an old king and the destruction of two families but that of an entire country – and by extension, the society we live in today. The play was written in tough times, with growing religious tensions, rapid economic changes that drove extreme income disparity, great divisions between king and parliament that would lead a generation to civil war and end in the beheading of a monarch. In 1606, the play was on some level prophetic. Sadly, perhaps, it always will be.

There are many similarities to the world we live in today. In western society, people under forty years old can be forgiven for suspecting that their parents have mortgaged their future. Being young and finding work has seldom been harder; debt levels will take years to be reduced, while an enormous generation of baby boomers will require more expensive medical care. The baby boomers themselves have parents who at eighty or ninety are having knees and other body parts replaced. The generational tension

A Family to Which We All BelongDirector’s notes by Antoni Cimolino

“Love cools, friendship falls off, brothers divide: in cities, mutinies; in countries, discord; in palaces, treason.” – Act I, scene 2

“Is there any cause in nature that make these hard hearts?” – Act III, scene 6

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of King Lear speaks to us today as never before. And if we can lose patience and empathy with one’s own family members, what hope is there for the poor whom we do not know? Homelessness is a fact that my children’s generation has witnessed and now takes for granted. To me in my youth it was almost the stuff of legend; one only saw “hobos” in Halloween costumes. How has this change come to be so accepted? Lear himself is shocked to discover the homeless poor and in the storm admits, “I have ta’en / Too little care of this.” As a play, King Lear is not simply bleak. It shows us characters who discover true

empathy for others and enter a bigger world where they are members of a larger human family. Giving money to someone he thinks is a homeless man but who is actually his son, the nobleman Gloucester admits his own sins when he says, “Let the superfluous and lust-dieted man / That slaves your ordinance, that will not see / Because he does not feel, feel your power quickly; / So distribution should undo excess, / And each man have enough.” That thought could have come from many of our greatest religious leaders. It could also have come from Karl Marx. But as we hear Gloucester say, “each man have enough,” we all think: how much is enough? That is one question the

With its criticism of religion, economic justice and the monarchy, it would have been a sure ticket to the Tower of London.

play examines, as it is filled with people who try to quantify things. The king asks which of his daughters loves him most so he can reward her with the largest inheritance. Arithmetic is everywhere. The play is about the division of a kingdom, the additions of a king, his subtractors, and about becoming “nothing.” Nothing. A zero without a figure in front of it. This mathematical idea of zero, of nothing, was still new and exciting to European thought in 1606. That you could have 3, 2, 1, 0, -1, -2, -3 was strange. It was difficult to imagine that something could exist yet be invisible. Like the homeless. Lear becomes such a thing. For Shakespeare to have overtly written King Lear about his own time, circa 1606, would have invited disaster. With its criticism of religion, economic justice and the monarchy, it would have been a sure ticket to the Tower of London. Instead, he chose a story from the earliest time period of any of his plays – 800 BCE – and gave it a language that, despite many anachronisms, suggests a distant past. I have set this production in Shakespeare’s own time. It now supports his language of a time past, yet points to the birth of the modern age and the world we live in today. It is ironic that his own time, the very period in which he couldn’t set the play, now ideally suits it. In directing King Lear, I have urged our actors and creative teams to think about the issues it raises for us today. In his journey through madness, Lear finds the need for social justice, faith in humanity, and love, and thereby discovers his soul. But in his and Cordelia’s death, the horror around him, there is no victory for hope. The last words are “We that are young / Shall never see so much, nor live so long.” Perhaps Shakespeare was inviting us – and especially those who are young – to write a different play within our own lives, that of our families and one world.

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Attendants, Gentlemen, Messengers, Servants, SoldiersKarl Ang, Harper Charlton, David Collins, Victor Ertmanis, Xuan Fraser, Callum Hutchinson,

Robert King, Josue Laboucane, Gordon S. Miller, Derek Moran, Laura Schutt, Michael Spencer-Davis

UnderstudiesKarl Ang (Edgar), David Collins (Kent, Old Man), Victor Ertmanis (Captain),

Xuan Fraser (Cornwall), Bethany Jillard (Cordelia), Robert King (Doctor, Herald, Knight), Josue Laboucane (Edmund, Burgundy, King of France), Gordon S. Miller (Fool),

Derek Moran (Albany, Oswald, Curan), Tara Rosling (Goneril), Laura Schutt (Regan), Michael Spencer-Davis (Gloucester), Scott Wentworth (King Lear)

The Cast King Lear Colm Feore

Goneril Maev Beaty Cordelia Sara Farb Regan Liisa Repo-Martell

Fool Stephen Ouimette Kent Jonathan Goad

Gloucester Scott Wentworth Edgar Evan Buliung Edmund Brad Hodder

Albany Michael Blake Cornwall Mike Shara

Oswald Thomas Olajide

King of France Karl Ang Burgundy Derek Moran Curan Xuan Fraser Old Man Robert King Captain Josue Laboucane Herald, Knight Gordon S. Miller Doctor Michael Spencer-Davis

King LearBy William Shakespeare

This production is dedicated to the memory of Jean-Louis Roux.

There will be one 15-minute interval.

Audience AlertThis production uses atmospheric haze, water-based fog,

strobe lights and startling sounds.

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Artistic Credits Director Antoni Cimolino

Designer Eo Sharp Lighting Designer Michael Walton Composer Keith Thomas Sound Designer Thomas Ryder Payne Dramaturges Alexander Leggatt, Toby Malone Fight Director John Stead

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

Associate Fight Director Geoff Scovell Assistant Director Birgit Schreyer Duarte Assistant Set Designer Devon Bhim Assistant Costume Designer Sara Brzozowski Assistant Lighting Designer Tristan Tidswell Fight Captain Jonathan Goad

Stage Manager Anne Murphy Assistant Stage Managers Holly Korhonen, Corinne Richards Apprentice Stage Manager Linsey Callaghan Production Assistant Jocelyn McDowell Production Stage Managers Margaret Palmer, Cynthia Toushan

Technical Director Jeff Scollon

AcknowledgementsSpecial thanks to Jennifer Anderson, MD, St. Michael’s Hospital, Toronto; Sean Blaine, MD,

Stratford; Norman Cruz, MD, Stratford; Shawn Edwards, MD, Stratford; Brian Hands, MD, FRCS (C), medical voice consultant, Vox Cura voice care specialists, Toronto; Simon McBride, MCISc,

MD, London Health Sciences Centre Vocal Function Clinic, London; Laurel Moore, MD, Stratford; David Thompson, MD, Stratford; John Yoo, MD, London Health Sciences Centre, London. Pianos

tuned and maintained by Don Stephenson. Cover photography by Don Dixon. Digital artist Krista Dodson. Page 1 photography by V. Tony Hauser.

Page 7 and 9 photography by Don Dixon.

Cover Photo: Colm Feore

Original music for this production recorded byKeith Thomas, Conductor/Keyboards; Donna-Claire McLeod, English Horn;

Larry Larson, Trumpet/Hunting Horn

Fanfare Musicians: Larry Larson (Fanfare Leader), Soprano Herald Trumpet; Steve McDade, Soprano Herald Trumpet; Kate Stone, Soprano Herald Trumpet;

Rob Stone, Bass Herald Trumpet; Dale-Anne Brendon, Parade Snare Drum

Director of Music: Franklin BraszMusic Administrator: Marilyn DallmanAdministrative Assistant: Don Sweete

Music Credits

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The Birmingham Conservatory for Classical Theatre

From Artistic Director Antoni Cimolino:

Twenty-four members of this season’s company have taken part in our professional training program, the Birmingham Conservatory for Classical Theatre. Founded in 1998, the Conservatory has helped launch the careers of many leading Canadian actors, several of whom I have had the great pleasure of directing here at Stratford.

Directed by Martha Henry, the Conservatory is made possible by the support of the Birmingham family, the Stratford Festival Endowment Foundation and the Department of Canadian Heritage. Support for the 2014 in-season work of Conservatory participants is generously provided by The Brian Linehan Charitable Foundation and John & Therese Gardner. We thank them for helping us to nurture and support these talented artists.

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

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

Ruby Joy 2011/12Josue Laboucane 2012/13Keira Loughran 2005 (associate

producer, Forum and Laboratory) Kennedy C. MacKinnon 1999

(coach)Anthony Malarky 2005Gordon S. Miller 2003Mike Nadajewski 2012

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

Backstage Production responsibilities during the performance accomplished by:

Stage Carpenter David McDonald Alternate Les MacLean Master Electrician Chris Knarr Alternate William Gosling Property Master Jeffrey Hughes Alternate Tim Hartman Head of Sound Scott Matthews Alternate Michael Duncan Wardrobe Master John Bynum Wardrobe Attendants Ina Brogan, Cvetka Fujs, Christine Smith, Debra Yundt Swing Inez Khan Wigs and Makeup Show Head Lorna Henderson Wigs and Makeup Crew Nina Mueller, Mallory Reeves

The Michael Langham Workshop for Classical DirectionFrom Artistic Director Antoni Cimolino:

The Michael Langham Workshop for Classical Direction continues Michael Langham’s tradition of mentorship in a risk-free environment, allowing directors to develop their craft within the rich history and evolving artistry of the Stratford Festival.

We extend our thanks to the Department of Canadian Heritage, RBC Emerging Artist Project, the Philip and Berthe Morton Foundation, Johanna Metcalf and the George Cedric Metcalf Charitable Foundation

Participants in the 2014 workshop:

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

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

Production Credits Director of Production John Tiggeloven

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

Properties Head of Properties Dona Hrabluk Lead Builder Jennifer Macdonald Assisted by Eric Ball, Ken Dubblestyne, Ksenia Ivanova, Michelle Jamieson, Kathryn Kerr, Shirley Lee, Brian McLeod, Dylan Mundy, Lisa Summers Properties Apprentice Matt Leckie Properties Buyer Tracy Fulton Assistant Properties Buyer Jaclyn Zaltz

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

Scenic Carpentry Head Carpenter Neil R. Cheney Head of Automation Ian Phillips Lead Hand Mark Smith Assisted by Simon Aldridge, David Bedford, Mark Card, Ryan Flanagan, Gary Geiger, William Malmo, Stephen Morgan, Wayne Nero, John Roth, Joseph Saunders, Geoff Taylor, Cliff Tipping, Joe Tracey

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Wardrobe Head of Wardrobe Bradley Dalcourt Assistant Head of Wardrobe Elizabeth Copeman Seasonal Wardrobe Supervisor Linda Sparks Cutters Johanna Billings, Terri Dans, Carol A. Miller, Luci Pottle, Jennie Wonnacott First Hands Wendy Bendle, Joanne Davies, Krista Nauman Sewers Susy Arnold, Denise Bott, Caroline Broadley, Cindy Brown, Diana Brown, Marlee Bygate, Susan E. Dick, Evelyn Gascho, Patricia Hawkins-Russell, Kiyomi Hidaka, Alanna Kitson, Anna Lach, Paulette Laporte, Karen Merriam, Magdalene Raycraft, Joan Scheerer, Georgina Schinkel, Laura Snowden, Silvia Widmer, Lindsey Winter, Joanne Zegers, Rebecca Zimmerman Bijoux/Decoration Liane Guttadauria Assisted by Rebecca Dillow, Tami MacDonald, Kathi Posliff Boots and Shoes Sarah Cook Assisted by Karen Beames, Michael Karn, Chantelle Laliberte, Connie Puetz Costume Painting Lisa Hughes Dyeing Linda Pinhay Assisted by Sylvia Minarcin Millinery Helen Flower Assisted by Isabel Bloor, Katarzyna Maxine, Monica Viani Wardrobe Buyer Michelle Barnier Interim Wardrobe Buyer Caitlin Luxford Assistant Wardrobe Buyer Penelope Schledewitz Wardrobe Apprentice Grace Kessel Warehouse Supervisor Madonna Decker Warehouse Assistant Valerie Lariviere

Wigs and Makeup Head of Wigs and Makeup Gerald Altenburg Construction Crew Teddi Barrett, Erica Croft-Fraser, Jessica Elsbrie, Lena G. Festoso, Tracy Frayne, Lorna Henderson, Angela Moncur, Sherri Neeb, Barb Newbery, Mallory Reeves, Christine Vaughan, Stanley Wickens

A member of the Professional Association of Canadian Theatres, the Stratford Festival engages, under the terms of the Canadian Theatre Agreement, professional artists who are members of Canadian Actors’ Equity Association. Stage crew, scenic carpenters, drivers, wigs and makeup attendants, facilities staff and audience development representatives are members of Local 357 of the International Alliance of Theatrical Stage Employees (IATSE). Wardrobe attendants are members of IATSE Local 924. Scenic artists are members of IATSE Local 828. The musicians, musical directors, conductors and orchestra contractors engaged by the Stratford Festival are members of the Toronto Musicians’ Association, Local 149, of the American Federation of Musicians of the United States and Canada.

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Karl AngSecond season: King of France in King Lear, Snug in A Midsummer Night’s Dream and appears in The Beaux’ Stratagem. Stratford: Othello and The Three Musketeers. Elsewhere: Andromache (Necessary Angel/Luminato); The Tempest (Canadian Stage); Macbeth, Twelfth Night and Romeo and Juliet (Driftwood Theatre); The Madness of the Square (Factory Theatre/Cahoots); Banana Boys (fu-GEN); Dying to Be Sick (Pleiades/NAC). Film/TV: Covert Affairs, Nikita, Detentionaire. Training: George Brown Theatre School. Et cetera: “I count myself a fortunate soul. Much love to friends and family, and deepest gratitude to all lovers and supporters of the arts.”

Maev BeatyStratford debut: Goneril in King Lear, Hippolyta in A Midsummer Night’s Dream and understudy in The Beaux’ Stratagem. Elsewhere: La Ronde, Parfumerie (Soulpepper); Proud (Michael Healey); Terminus (Outside the March/Mirvish); Wide Awake Hearts (Tarragon); Ritter Dene Voss (One Little Goat, La MaMa, N.Y.C.); The Taming of the Shrew (Theatre by the Bay); Another Africa (Volcano/Luminato/Canadian Stage); The Mill (Theatrefront); Palace of the End, A Midsummer Night’s Dream (Canadian Stage). Awards: Dora Award winner and seven-time nominee. Online: maevbeaty.com, @sheepnowool. Et cetera: Maev is Co-Artistic Director of Sheep No Wool with her husband, director

Alan Dilworth, and Artistic Associate of Groundwater Productions. Projects she has co-created with these companies include the Edward Bond Festival, Passion Play by Sarah Ruhl, ma jolie, The Unforgetting (SummerWorks Jury Prize), Montparnasse (multi-Dora-nominated, Enbridge playRites Award) and Goblin Market. “For our Esmé Antonia, who just arrived, and for Dorothy Hannon, who will always be.”

Michael BlakeFourth season: Albany in King Lear, Philostrate in A Midsummer Night’s Dream and Sir Charles Freeman in The Beaux’ Stratagem. Stratford: Romeo and Juliet, The Three Musketeers, The Merchant of Venice, Much Ado About Nothing, Henry V, Twelfth Night, The Merry Wives of Windsor. Elsewhere: Albert/Kevin (Clybourne Park) (Citadel); Scientific Americans (SideMart/Segal Centre); Mercutio (Romeo and Juliet), Eilif (Mother Courage), Nativity, A Christmas Carol (NAC); title role (Othello), Angelo (The Comedy of Errors) (Bard on the Beach); Adult Simba (The Lion King) (Mirvish/Disney); Gratiano/Morocco (The Merchant of Venice) (SITR); Mitch (…Spelling

Bee) (Belfry/Arts Club); As You Like It, A Raisin in the Sun, Blink, Three Sisters, Time of Your Life, Threepenny Opera (Soulpepper); Rock and Roll (Canadian Stage); Wilbur County Blues (Blyth); Harriet T, Jacob Two-Two (YPT). Film/TV: Selected: Senior Trip, YTV Rocks, Degrassi Junior High. Radio: Numerous CBC dramas. Training: National Theatre School, Soulpepper Academy, St. Michael’s Choir School.

Sara BrzozowskiSixth season: Assistant costume designer of King Lear. Stratford: Assistant costume designer of Blithe Spirit, Waiting for Godot, Cymbeline; assistant costume and set designer of Richard III; assistant design coordinator of the 2014 Visitors Guide. Elsewhere: Costume buyer of Evil Dead the Musical, 2013 (Randolph Theatre), costume design assistant of The Wedding Singer the Musical (Hart House), assistant costume designer of Hair (Randolph Theatre), assistant costume coordinator of Spring Awakening (St. Andrew’s College), fashion designer in Redefining Design, 2008 (Kool Haus), corset designer for Corset Fashion Show (Creativ Festival). Training: Advanced

Diploma in Fashion Arts, Seneca College. Awards: Proud recipient of the Tom Patterson Guthrie Award, 2013. Et cetera: Sara has also worked as a seamstress in a number of wardrobes throughout Ontario.

Devon BhimSixth season: Assistant set designer of King Lear, Crazy for You, A Midsummer Night’s Dream and The Beaux’ Stratagem. Stratford: Costume assistant, The Grapes of Wrath; set assistant, Tommy, Blithe Spirit, Othello, Much Ado About Nothing, 42nd Street, The Matchmaker, Henry V, The Misanthrope; assistant designer, The Winter’s Tale, Three Sisters. Elsewhere: Alice and Henry Into the Wild (Globe); Woyzeck (Red Light District); Songs for a New World, …Forum, Tick Tick Boom, Over the River and Through the Woods (Rose Theatre); Twistin’ to the ’60s, Spooktacular (Canada’s Wonderland); The Love List (Markham Theatre); As You Like It (Shakespeare in the

Square, Brampton). Associate producer: Opera on the Rocks, A Midsummer Night’s Dream. Other: Stylist for Cedar Fair Entertainment/Tenth and Hudson Inc. Assistant new media designer for Dancap Productions; continues to work in digital graphics for clients throughout North America. Awards: Fabricland Creative Design, Guthrie, Technical Craft Achievement. Training: Sheridan College Theatre Arts, York University.

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Victor ErtmanisSeventh season: Flute in A Midsummer Night’s Dream, Gibbet in The Beaux’ Stratagem and appears in King Lear. “Hi, guys. I’ve got a feeling this season is going to be fun. In 49 years on stage I’ve never been in Lear, and Colm and I haven’t worked together since the early eighties. My wife and daughter love that I’m playing a highwayman in Beaux’ but want me to play a pirate someday. As for Dream, who wouldn’t like to play the amateur thespian cast as Thisbe, the young lady-love to Bottom’s character Pyramus? I’m 61 years old, six foot tall and 200 pounds. Comedy? With Ouimette as Bottom I’ll need to be on my toes. On other fronts: last winter I did a workshop

of The Hamlet Project: Alisa Palmer directing, Ann-Marie MacDonald writing and the indie band Stars investing the music. I got to sing with rock stars! I love my job! www.victorertmanis.com.”

Evan BuliungNinth season: Edgar in King Lear, Titania/Oberon in A Midsummer Night’s Dream and Count Bellair in The Beaux’ Stratagem. Stratford: A member of the inaugural Conservatory. Tom Joad (The Grapes of Wrath), Roger (The Little Years), Mac (King of Thieves), Petruchio, Mercutio, Edgar, Rosencrantz, Lucius (Titus Andronicus), The Swanne, Elizabeth Rex. Elsewhere: Dumptsy (Idiot’s Delight), Jamie (Long Day’s Journey…) (Soulpepper); William Burke (Bloodless, Theatre 20); Yvan (Art, Canadian Stage); Macduff (Macbeth, Chicago Shakespeare); Betty/Edward (Cloud 9), Khashoggi (We Will Rock You), Aragorn (Dora nomination – The Lord of the Rings) (Mirvish). Shaw

Festival, four seasons: Dick Dudgeon (The Devil’s Disciple), Stanhope (Journey’s End), Lomax (Major Barbara), Jack Worthing (…Earnest), Octavius (Man and Superman). Regional: Stanley (Streetcar…, Grand Theatre), Lenny (The Homecoming, MTC). Film/TV: Bitten, Brainwashed, The Listener, Nikita, Copper, Ubisoft. Awards: Jean A. Chalmers, Tony Van Bridge, Tyrone Guthrie awards. Et cetera: He thanks his parents and friends and hopes you enjoy the show.

David CollinsSixth season: Bagshot in The Beaux’ Stratagem and appears in King Lear and A Midsummer Night’s Dream. Stratford: Much Ado About Nothing, Henry V, Richard III (Rivers), Titus Andronicus, The Tempest (Francisco), The Two Gentlemen of Verona, Macbeth (Seyton), Romeo and Juliet (Apothecary), Caesar and Cleopatra (Theodotus). Elsewhere: Shakuntala (Premiere Dance Theatre); The Adventures of a Black Girl in Search of God (Mirvish); The Comedy of Errors, Twelfth Night, Donut City (Canadian Stage); Pusha Man, Ma Rainey’s Black Bottom (Passe Muraille); The Taming of the Shrew (ShakespeareWorks); Top Gun the Musical (Factory Theatre/N.Y.C.); Romeo

and Juliet (Shakespeare in Action); Walls (VECC). Founding member of Obsidian Theatre Company. Film/TV: Murdoch Mysteries, Nikita, The Firm, Trojan Horse, 11 Cameras, ReGenesis, Owning Mahowny, Shoot ’Em Up, The Incredible Hulk, MVP, Warehouse 13, Nurse.Fighter.Boy, The Listener, Rookie Blue, XIII, Stag. Training: MFA, York University. Awards: Dora nominations: Twilight Café, The America Play.

Linsey CallaghanSecond season: Apprentice stage manager of King Lear and The Beaux’ Stratagem. Stratford: Production assistant of Fiddler on the Roof, Romeo and Juliet, The Three Musketeers and The Merchant of Venice. Elsewhere: Apprentice stage manager of The Seagull and A Christmas Story (Royal Manitoba Theatre Centre), Initiation Trilogy (Electric Company Theatre), Gifts of the Magi and Joseph and the Amazing Technicolor Dreamcoat (Chemainus Theatre Festival). Training: Graduate of the National Theatre School of Canada’s Production Program.

Antoni Cimolino27th season: Artistic Director of the Stratford Festival. Director of King Lear and The Beaux’ Stratagem. Stratford: Directing credits include Mary Stuart; The Merchant of Venice; Cymbeline; The Grapes of Wrath; Bartholomew Fair; Coriolanus, with Colm Feore and Martha Henry; As You Like It, featuring original music by Barenaked Ladies; King John; Love’s Labour’s Lost, with Brian Bedford; Twelfth Night, with William Hutt; The Night of the Iguana; 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: The Canadian première of ENRON (Theatre Calgary); Twelfth Night (Attic Theatre, Detroit); A Woman of No Importance (Hilberry Theater, Detroit). A champion of the arts and culture, Mr. Cimolino serves as the National Chair of Culture Days, a nation-wide celebration of arts and culture in Canada. He has initiated collaborations with several prestigious theatre companies, including Montreal’s Théâtre du Nouveau Monde, Ottawa’s National Arts Centre, New York’s Lincoln Center and City Center, and the Chicago Shakespeare Theater. He also 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.

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Sara FarbSecond season: Cordelia in King Lear, Cherry in The Beaux’ Stratagem and understudy in A Midsummer Night’s Dream. Stratford: Jessica in The Merchant of Venice, Romeo and Juliet, The Three Musketeers. Elsewhere: Natalie in Next to Normal (Citadel Theatre/Theatre Calgary co-production; also Clearwater Productions, Tarragon Theatre); Adele in The Passion of Adele Hugo (Eastern Front Theatre); A Midsummer Night’s Dream (Canadian Stage); The Sisters Rosensweig (Harold Green Jewish Theatre); Edges, The Long and Winding Road, Tapestries, etc. (Acting Up Stage); Songs for a New World, Scrooge (Rose Theatre); The Wizard of Oz (YPT); Jane Eyre,

Oliver! (Mirvish). Film/TV: The Firm, The Listener, Covert Affairs, Celine. Awards: 2013 Calgary Theatre Critics Award winner, Sterling Award nominee (both for Next to Normal); Robert Merritt Award nominee for Adele Hugo. Training: Birmingham Conservatory, 2013-2014. Online: @sarafarb. Et cetera: “Thanks to NLM, and to mom, dad, sibling people and James. For Auntie Wendy.”

Xuan FraserEighth season: Curan in King Lear and appears in A Midsummer Night’s Dream and The Beaux’ Stratagem. Stratford: Wanderlust (Blount), Henry V (Duke of Burgundy), As You Like It (Le Beau), The Winter’s Tale (Cleomenes), Titus Andronicus (Aaron), The Tempest (Caliban), Macbeth (Witch), Romeo and Juliet (Benvolio), The Three Musketeers (Jussac), The Night of the Iguana (Pedro), Juno and the Paycock, Oedipus Rex (Chorus), Julius Caesar (Pindarus), The Alchemist, The Merchant of Venice, Hamlet. Other Credits: Oberon/Theseus (Shakespeare in Action/Canadian Stage), Thomas Matthews (Toronto the Good – Factory Theatre), Othello (Othello – Driftwood

Theatre), Macbeth (Macbeth – Workman Arts/Shakespeare in Action), Cody (This Is How It Goes – Neptune Theatre), Dubois (Counterfeit Secrets – Artword Theatre, Dora nomination). Recent Film/TV: Nikita, Suits, Insecurity, King, The Rick Mercer Report. “Here’s to pixie feet on my soul. For my lovely lady, Leigh, and my amazing children, Myles, Bailey, Cole, Max, Lyric and Marley!”

Jonathan Goad12th season: Kent in King Lear and Titania/Oberon in A Midsummer Night’s Dream. Stratford: Romeo and Juliet, The Three Musketeers, The Merchant of Venice, Othello, Pentecost, Phèdre, The Music Man, King John, Pericles, Orpheus Descending, Henry IV, Henry VI, Fiddler on the Roof, As You Like It, Fuente Ovejuna, Julius Caesar, The Two Noble Kinsmen, Bartholomew Fair, The Brothers Karamazov, Richard II, Pride and Prejudice. Elsewhere: A Whistle in the Dark, Speaking in Tongues (Company Theatre); Our Class, The Laramie Project (Studio 180); King Lear (Soulpepper); Stones in His Pockets (GCTC); Arcadia (Theatre Junction); Strawberries in January

(Grand). Film/TV: Dorsal, Nikita, Republic of Doyle, Heartland, Murdoch Mysteries, Unnatural History, Othello, The Waking, Rookie Blue, Mutant X. Radio: Hockey: A People’s History. Training: National Theatre School, Birmingham Conservatory, University of Waterloo, Banff Centre. Teaching: NTS, Fanshawe College. Et cetera: “This season is dedicated to Aviva, Nina and their extraordinary Momma.”

Brad HodderThird season: Edmund in King Lear, Starveling in A Midsummer Night’s Dream and appears in The Beaux’ Stratagem. Stratford: Cassio in Othello, O’Kelly in Mary Stuart, appeared in Measure for Measure, Cymbeline and Elektra. Elsewhere: 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); 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). 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 (Acting), University of Alberta; Birmingham Conservatory.

Colm Feore17th season: King Lear in King Lear and Archer in The Beaux’ Stratagem. Stratford: Hamlet, Macbeth, Richard III, Coriolanus, Romeo, Angelo, Benedick, Berowne, Cassius, Petruchio, Oberon, Iago, Iachimo, Leontes, Cyrano, Don Juan, Henry Higgins, Fagin, etc. Elsewhere: Claudius in Hamlet (Public Theater, N.Y.C.), Cassius in Julius Caesar (Belasco Theatre, N.Y.C.), Narrator in Oedipus Rex (COC). Film/TV: The Amazing Spider-Man 2, Jack Ryan, Thor, The Trotsky, Changeling, Bon Cop Bad Cop, Chicago, The Chronicles of Riddick, Titus, The Insider, Thirty-Two Short Films About Glenn Gould, Trudeau, 24, The Borgias, Revolution, Slings and Arrows, Law and Order SVU, The Good

Wife, The West Wing, Sensitive Skin. Training: National Theatre School. Awards: SAG, Gemini, Jutra, Gascon-Thomas, Earle Grey, and in 2014 Mr. Feore was made an Officer of the Order of Canada.

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Holly Korhonen13th season: Assistant stage manager of King Lear and A Midsummer Night’s Dream. Stratford: Assistant stage manager: Blithe Spirit, Mary Stuart, Charlie Brown, The Pirates of Penzance, The Merry Wives of Windsor, The Misanthrope, Kiss Me, Kate, Dangerous Liaisons, The Importance of Being Earnest, Ever Yours, Oscar, Cabaret, My One and Only, The Comedy of Errors, South Pacific, Oliver!, Cat on a Hot Tin Roof, Edward II, The Count of Monte Cristo, Anything Goes, Henry VI. Stage manager: 2006 and 2007 Birmingham Conservatory. Elsewhere: Holly has also worked in stage management at the Thousand Islands Playhouse, the Globe, the Grand and Factory Theatre.

Awards: Tanya Award, two Guthrie Awards. Et cetera: Holly thanks all those who have made it possible for her to balance her two great loves, the theatre and her son, Jackson. She is ever grateful for all the love and support that surround her.

Alexander Leggatt Dramaturge for King Lear. Professor emeritus of English at University College, University of Toronto, where he taught till his retirement in 2006, Dr. Leggatt took his BA at the University of Toronto in 1962 and did his graduate work in England at the Shakespeare Institute, leading to a PhD in 1965. His books include Shakespeare’s Comedy of Love (1974), Shakespeare’s Political Drama (1988), English Stage Comedy 1490-1990: Five Centuries of a Genre (1998) and Shakespeare’s Tragedies: Violation and Identity (2005). He is editor of The Cambridge Companion to Shakespearean Comedy (2002). A holder of the Guggenheim and Killam fellowships, he has

given lectures and conference papers in several countries around the world. In 1995 he received an Outstanding Teaching Award from the University of Toronto Faculty of Arts and Sciences, and in 1998 received the Faculty Award in the University of Toronto Faculty Association Awards of Excellence. In 2005 he was elected a Fellow of the Royal Society of Canada.

Robert King21st season: Old Man in King Lear, Boniface in The Beaux’ Stratagem and understudy in A Midsummer Night’s Dream. Stratford: The Three Musketeers, The Merchant of Venice, Romeo and Juliet, Richard III, Richard II, Cymbeline, Twelfth Night, Measure for Measure, The Merry Wives of Windsor, Pericles, Henry V, Henry VI, Hamlet, The Shoemaker’s Holiday, Treasure Island, The Count of Monte Cristo, The Grapes of Wrath, Home, Of Mice and Men, The Diary of Anne Frank, Ah, Wilderness!, Quiet in the Land, The Donnellys. Elsewhere (selected): A Wind in the Willows Christmas, The Yalta Game, Afterplay, Falling: A Wake (Alternative Theatre Works – founding

member); Bolsheviki (world première, Infinithéâtre/ATW); original Owen in The Melville Boys (TNB); Garrison’s Garage, Country Hearts (Blyth Festival, five seasons). Et cetera: Graduate of Dawson College’s Dome Theatre program – a proud “Domie.” Robert lives in Stratford with his wife, Peggy Coffey, and children, Mary and Lawrence.

Bethany JillardFifth season: Hermia in A Midsummer Night’s Dream, Dorinda in The Beaux’ Stratagem and understudy in King Lear. Stratford: Desdemona in Othello, Constance Bonacieux in The Three Musketeers, Katherine in Henry V, Hero in Much Ado About Nothing, Lady Anne in Richard III, Young Kate/Tanya in The Little Years, Cecile in Dangerous Liaisons, appeared in Peter Pan. Elsewhere: Nina in The Seagull, Scarlett O’Hara in Gone With the Wind (world première), Miss Julie in After Miss Julie (RMTC); The Little Years (Tarragon); My Name Is Rachel Corrie (Theatre Panik); How It Works (Tarragon); That Face (Nightwood/Canadian Stage); The Winter’s Tale, Romeo and Juliet (Driftwood

Theatre Group); Tough! (Factory); A Man of No Importance (Acting Up Stage); fIBBER (Theatre Gargantua). Film/TV: If I Were You (Paragraph); Murdoch Mysteries (Shaftesbury); Bloodletting... (TMN). Training: University of Toronto; Birmingham Conservatory for Classical Theatre. Awards: Peter Donaldson Guthrie Award (2012).

Josue LaboucaneSecond season: Captain in King Lear and appears in A Midsummer Night’s Dream and The Beaux’ Stratagem. Stratford: Mary Stuart, Measure for Measure, Othello. Birmingham Conservatory: Toby Belch, Twelfth Night (Robin Phillips); Private Lives, Tons of Money (Christopher Newton); Hamlet (Stephen Ouimette); Love’s Labour’s Lost (Martha Henry). Elsewhere: Henry VI, Henry VI: Wars of the Roses, Richard III, Dream, Measure for Measure, Hamlet, Rosencrantz and Guildenstern Are Dead, Julius Caesar, Timon of Athens (Bard on the Beach); Zachary, The Exquisite Hour (Relephant); Cowardly Lion, The Wizard of Oz, Toad, A Year with Frog and Toad, Horton, Seussical,

Robin Hood, Bird Brain, Pharaoh Serket, Silverwing (Carousel); The Emperor’s New Threads (Axis). Training: Birmingham Conservatory, Studio 58, Canadian National Voice Intensive. Awards: Six Jessie nominations, one win; Sydney J. Risk Award. Et cetera: Josue is also a teacher, director (BC Buds, Alley Theatre, Walking Fish) and mask maker (Carousel Theatre, Vancouver Opera). Online: Twitter @josuelaboucane.

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Clockwise from Top: Colm Feore, Martha Henry, Mike Shara, Bethany Jillard, Lucy PeacockPhoto: Don Dixon. Digital Artist Krista Dodson.

The Beaux’ Stratagem Written by George Farquhar Directed by Antoni CimolinoWith Colm Feore

Martha Henry, Lucy Peacock, Mike Shara, Bethany Jillard, Scott Wentworth

Production support is generously provided by Sylvia D. Chrominska,

Dr. Dennis & Dorothea Hacker and Diana Tremain

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Gordon S. MillerEighth season: Herald/Knight in King Lear and Scrub in The Beaux’ Stratagem. Stratford (selected credits): Andrei in Three Sisters, Benvolio in Romeo and Juliet, Apollodorus in Caesar and Cleopatra, Roderigo in Othello, Flaminius in Timon of Athens. Elsewhere: Mr. Collins in Pride and Prejudice (Globe Theatre); Sheriff of Nottingham in Robin Hood (Globe Theatre); Krogstad in A Doll’s House (Montgomery/TNB); Todd in The Book of Esther (Festival Players of PEC). Film/TV: Fargo, Suits, Republic of Doyle, The Ron James Show, Warehouse 13, Lost Girl. Training: National Theatre School of Canada, Birmingham Conservatory for Classical Theatre. Awards: Tyrone Guthrie

Award (’03, ’07), John Hirsch Award (’04) and the inaugural recipient of the Richard Monette Travel Grant (’09).

Anne Murphy22nd season: Stage manager of King Lear and assistant stage manager of A Midsummer Night’s Dream. Stratford: Anne is pleased to be back for the 2014 season. Elsewhere: This past winter she stage-managed Sleeping Beauty (Globe Theatre). Other productions: 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, Vancouver Playhouse,

Neptune Theatre (production manager for two years), Manitoba Theatre Centre and Expo ’86 in Vancouver. 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.

Derek MoranStratford debut: Burgundy in King Lear, Attendant to Egeus in A Midsummer Night’s Dream and appears in The Beaux’ Stratagem. Elsewhere: Romeo in Romeo and Juliet, Mario in The Game of Love and Chance (Neptune Theatre); Trout Stanley in Trout Stanley (Heart in Hand Theatre); Owen in The Melville Boys (Red Barn Theatre); Cléante in The Miser, The Compleat Wrks of Wllm Shkspr (Abridged), Romeo in Romeo and Juliet, Mug in New Canadian Kid (Sudbury Theatre Centre). Film/TV: Mayday, Lost Girl, Bomb Girls, Being Erica, Murdoch Mysteries, Life With Derek, October 1970. Training: George Brown Theatre School, Birmingham Conservatory.

Thomas OlajideStratford debut: Oswald in King Lear and appears in A Midsummer Night’s Dream and The Beaux’ Stratagem. Elsewhere: Kwasi in Binti’s Journey (Theatre Direct/Young People’s Theatre); Laurent in Ruined (Obsidian Theatre); Florizel in The Winter’s Tale (Canadian Stage); Quentin in And Slowly Beauty (Belfry Theatre/National Arts Centre); Oliver in Oliver! (National Arts Centre); Abraham in Sia (Pyretic Productions/Cahoots Theatre Company); various in This Must Be the Place (Architect Theatre/Theatre Passe Muraille); John in The Whipping Man (Obsidian Theatre/Harold Green Jewish Theatre); Tranio in The Taming of the Shrew, Ross in Macbeth (Canadian Stage); Women

Beware Women, Agamemnon, Liliom, Shouting and Cabaret (National Theatre School). Film/TV: After School, Broken Promises (Underdog Productions); Little Black Caddy (CBC); Combat Hospital (ABC). Training: Brenda Crichlow Actors’ Studio, graduate of the National Theatre School of Canada (2010). Awards: Dora Mavor Moore Award nomination – Best Ensemble (Binti’s Journey).

Toby MaloneThird season: Dramaturge of King Lear and A Midsummer Night’s Dream. Stratford: Assistant dramaturge of As You Like It, The Merry Wives of Windsor. Elsewhere: Death of a Salesman, Endgame, Oh What a Lovely War, Waiting for the Parade, Exit the King (Soulpepper, three seasons as resident dramaturge); The Tempest, Macbeth, King Lear, Twelfth Night (Driftwood, seven seasons as resident dramaturge); A Midsummer Night’s Dream, The Comedy of Errors (Canadian Stage); Hamlet (Variorum), Blast Shakespeare Series (Poorboy Theatre, Scotland); Kill Shakespeare Live (Kill Shakespeare Enterprises); Shaw; The Grand (London); Thousand Islands

Playhouse; Western Canada Theatre; Arizona Theatre Company. Training: PhD in Shakespearean performance historiography from the University of Toronto’s Centre for Drama, Theatre, and Performance Studies. Online: http://unitdramaturgy.wix.com/unit. Et cetera: Post-doctoral fellow, adjunct faculty at the University of Waterloo’s Department of Drama and Speech Communication; artistic director of Toronto’s Unit Dramaturgy Collective.

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Margaret Palmer31st season: Production stage manager of the Festival and Tom Patterson theatres. Stratford: Maggie has been production stage manager at the Avon and Festival theatres for 23 seasons. Stage-management credits include Will Power; Henry IV (parts 1 and 2); Iolanthe; The Imaginary Invalid; My Fair Lady; A Man for All Seasons; Kiss Me, Kate; Guys and Dolls; The Government Inspector; Coriolanus; The Mikado (national tour, London’s Old Vic); and Twelfth Night (U.S. tour). Elsewhere: Maggie apprenticed at Neptune Theatre (1966/67) and worked at the St. Lawrence Centre (Toronto Arts Productions), MTC and the Grand Theatre. She stage-managed Eugene

Onegin (Manitoba Opera), the first Dream in High Park and the first Dora Awards. She was publicity director for the NDWT Company, worked for Fountainhead Theatre in London and toured Canada with the Charlottetown Festival. Training: Graduate of the National Theatre School.

Thomas Ryder PayneSixth season: Composer and sound designer of A Midsummer Night’s Dream and sound designer of King Lear and The Beaux’ Stratagem. Stratford: Othello, The Matchmaker, Much Ado About Nothing, The Little Years, Hosanna, King of Thieves, Rice Boy. Elsewhere: Designs for BIBT, Soulpepper, Canadian Stage, Tarragon, Factory, Theatre Passe Muraille, NAC, Blyth, Theatre Calgary, GCTC, Volcano, Nightwood, Modern Times, Aluna, Crow’s and many others. Recordings: Recorded two albums with the band Joydrop. Film: Alegra & Jim, Robert’s Circle. Training: Studied composition with James Tenney, Honours BA, York University. Awards: Twelve nominations and

two Dora Awards for sound design and composition. Et cetera: Started as a songwriter with a four-track tape machine and still endlessly fascinated with the storytelling possibilities of layered sound.

Liisa Repo-MartellStratford debut: Regan in King Lear, Helena in A Midsummer Night’s Dream and understudy in The Beaux’ Stratagem. Elsewhere: Liisa recently returned from a cross-country tour of SEEDS, a documentary play by Anabel Soutar about GMOs, for Crow’s Theatre. Favourite past credits include Uncle Vanya, Antigone, Top Girls (Soulpepper); I, Claudia, Eternal Hydra (Crow’s Theatre); Chekhov Shorts and Chekhov Longs (Theatre Smith-Gilmour); The Syringa Tree (the Citadel); and Wajdi Mouawad’s Forests (the Tarragon). Film/TV: Credits include The English Patient, Unforgiven, Republic of Doyle, Flashpoint, Cracked, Murdoch Mysteries and a recurring role on This Is

Wonderland. She won a Gemini for her work in the television movie Nights Below Station Street.

Corinne Richards27th season: Assistant stage manager of King Lear and The Beaux’ Stratagem. Stratford: Festival productions include 19 Shakespearean plays (some multiple times) plus The Thrill, Wanderlust, The Grapes of Wrath, The Homecoming, For the Pleasure of Seeing Her Again, Ghosts, The Lark, Memoir, Home, Les Belles-Soeurs, Phaedra, Alice Through the Looking-Glass, Little Women, The Country Wife, Pride and Prejudice, An Ideal Husband and two shows that toured to New York City. Elsewhere: Corinne has worked for the Grand Theatre, Manitoba Theatre Centre, the National Arts Centre, the Red Barn Theatre and for Douglas Beattie Productions. Training: University of

Waterloo. Et cetera: “I am very excited to work on King Lear for the first time, since it was the first Shakespeare play I saw at the Stratford Festival, when I was 13. This year my son, Timothy, turned 13. I love the way life works!”

Stephen Ouimette20th season: Fool in King Lear and Bottom in A Midsummer Night’s Dream. Stratford: Waiting for Godot, Twelfth Night, The Homecoming, The Importance of Being Earnest, All’s Well That Ends Well, The Tempest, King John, No Exit, Hamlet, Richard III, Amadeus, Julius Caesar. Director of Timon of Athens. Elsewhere: The Iceman Cometh with Nathan Lane and Brian Dennehy (Goodman Theatre, 2012; Brooklyn Academy of Music, 2015); The Alchemist (Yale Rep); Endgame (NAC); Troilus and Cressida, The Taming of the Shrew (Chicago Shakespeare); La Bête with Mark Rylance, David Hyde Pierce and Joanna Lumley (Broadway/West End); leading roles across Canada. Film/

TV: Mentors, I Was a Rat, After Alice, Conspiracy of Silence, The Adjuster, Firing Squad. Awards: Gemini (Slings and Arrows), Blizzard (Heater), Doras (Danny and the Deep Blue Sea, Seven Stories, B Movie: The Play), Ottawa Critics Circle (I Am My Own Wife), Sterling (La Bête).

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Mike SharaSixth season: Cornwall in King Lear, Demetrius in A Midsummer Night’s Dream and Aimwell in The Beaux’ Stratagem. Stratford: Othello, The Three Musketeers, Cymbeline, The Homecoming, The Importance of Being Earnest, The Matchmaker, The Winter’s Tale, Twelfth Night, Cyrano de Bergerac, As You Like It. Elsewhere: Picnic, Nothing Sacred, Cavalcade, Marsh Hay, The Doctor’s Dilemma, The Secret Life, Candida (Shaw Festival); It’s a Wonderful Life, Take Me Out (Canadian Stage); Long Day’s Journey Into Night (MTC); Anatol (Tarragon); The Great Gatsby (Grand); Black Comedy, The Way of the World, Our Town, The Real Inspector Hound (Soulpepper); Picasso at

the Lapin Agile (Aquarius); An Inspector Calls (Theatre Calgary); Richard III, The Cherry Orchard (Citadel). Film/TV: Whatever, Linda, Murdoch Mysteries, Life With Boys, Little Mosque on the Prairie, Queer As Folk, The Gathering. Twitter: @mikeshara.

Laura SchuttStratford debut: Appears in King Lear, A Midsummer Night’s Dream and The Beaux’ Stratagem. Elsewhere: Mrs. Perks in The Railway Children (Marquis/Mirvish), Lydia Bennet in Pride and Prejudice (The Grand Theatre), Kellyanne in Pobby and Dingan (YPT), Anne Catherick in The Woman in White (Theatre Aquarius), Eloise in The Eyes of Heaven (Blyth Festival). Film/TV: Copper (BBC America), The Kennedys (Muse Entertainment), Murdoch Mysteries (Citytv), Rookie Blue (ABC/Global). Training: Birmingham Conservatory for Classical Theatre 2013/2014, George Brown Theatre School, Meadows School of the Arts (Southern Methodist University). Et cetera: Laura

would like to thank her father for his neverending love and support, and dedicates this time in Stratford to the memory of her mother.

Birgit Schreyer DuarteSecond season: Assistant director of King Lear. Stratford: Assistant director, Mary Stuart (2013). Elsewhere: Most recently: Director/translator, Purgatory in Ingleton (SummerWorks). Upcoming: Dramaturge/director, Devil’s Child (by Kleist-Emerging Playwright Prize recipient Maria Milisavljevic), assistant director/dramaturge, To a Flame (Swedish/Finnish/Canadian co-production). Director, Little Pea’s Revolution (United Solo, New York); translator, The Test (Company Theatre), Life of Galileo (Small Wooden Shoe); director/translator, Kaspar & the Sea of Houses (SummerWorks); intern director, Fernando Krapp Wrote Me This Letter (Canadian Stage). Training: Theatre Ontario

Professional Training Program Directing (mentor Josette Bushell-Mingo); University of Toronto (PhD, drama); Munich University (MA, dramaturgy). Awards: SummerWorks Festival Prize for Outstanding Production; nomination, Helen and Kurt Wolff Translator’s Prize. Online: www.birgitschreyerduarte.com. Et cetera: Literary associate, Shaw Festival. Currently: Artistic and dramaturgical consultant, Canadian Stage. Originally from Munich, Germany.

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

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

Tara RoslingSecond season: Lysander in A Midsummer Night’s Dream, Gipsy in The Beaux’ Stratagem and understudy in King Lear. Stratford: Viola in Twelfth Night, Tempest-Tost. Elsewhere: Mrs. Erlynne in Lady Windermere’s Fan, Enchanted April, When the Rain Stops Falling, Joan in Saint Joan, Catherine in The Heiress, Eliza in Pygmalion, Three Sisters (Shaw Festival); The Penelopiad (Nightwood Theatre); If We Were Birds, Hush and Perfect Pie (Tarragon Theatre); The Glass Menagerie (Theatre North West); Habeas Corpus and The Lonesome West (Canadian Stage); The Miracle Worker (Atlantic Theatre Festival). Film/TV: The Firm, XIII, Murdoch Mysteries, Crash

& Burn, The Dresden Files, Murder in the Hamptons, The Uncles, The Five Senses, Deeply, The War Next Door. Training: York University, Birmingham Conservatory. Awards: Two Dora Awards and three nominations. Online: www.yogabyheart.com. “Thank you, Patrick, my beautiful dance partner, for continually making the impossible possible. Cha cha cha!”

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Eo SharpFifth season: Designer of King Lear. Stratford: Set and costume design: Mary Stuart, The Thrill, Pentecost. Set design: The Swanne, parts two and three. Elsewhere: Set and costume designs for The Seagull, Red, Elizabeth Rex, A Doll House (Segal Centre); Saint Carmen of the Main (National Arts Centre/Canadian Stage); The Comedy of Errors (NAC/Centaur); Champs de Mars, Snowman (Imago); Buried Child (NAC/Segal Centre); Falstaff, Oliver!, A Christmas Carol, And All for Love, The Snow Show, The Changeling (NAC); World Without Shadows (Ship’s Company, Neptune); Deus Meus, Planeteria (Sin 4 Productions); Le Pleureur, Galapagos, Counterposes, Human Collision/

Atomic Reaction, Kaspar Hauser, Medeamaterial (the other theatre). Training: National Theatre School of Canada, scenography program; University of Toronto, BFA Honours. Awards: META Award, Red; Capital Critics Award, Saint Carmen of the Main; MECCA Awards, Looking for Romeo, Human Collision/Atomic Reaction.

Michael Spencer-DavisFourth season: Doctor in King Lear, Egeus in A Midsummer Night’s Dream and Foigard in The Beaux’ Stratagem. Stratford: Richard III, Titus Andronicus, Julius Caesar, A Midsummer Night’s Dream, Bartholomew Fair, Shakespeare’s Universe. Elsewhere: Having Hope at Home (Neptune); Twelfth Night, The Tempest (Hartford Stage); Innocence Lost (Centaur/National Arts Centre); Pride and Prejudice (Theatre Calgary/NAC); The Lonely Diner: Al Capone in Euphemia Township (Blyth Festival); 25th Annual Putnam County Spelling Bee (Thousand Islands Playhouse); Romeo and Juliet, Nativity, Twelfth Night, And All For Love (NAC); Lawrence and Holloman, apple (Prairie

Theatre Exchange); Robin Hood, Sexy Laundry (Globe); Medea (Manitoba Theatre Centre/Mirvish); Macbeth, Othello (NAC/Citadel); The Elephant Man, The Stone Angel, Heaven, The Beard of Avon, Unless, Twelfth Night (Canadian Stage); The Real Thing, Humble Boy (MTC); Via Dolorosa (Winnipeg Jewish Theatre); As You Like It, Blithe Spirit, Einstein’s Gift (Citadel). Film/TV: Murdoch Mysteries, Flash of Genius, The Eleventh Hour.

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

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

Tristan Tidswell Fifth season: Assistant lighting designer of King Lear, Crazy for You and The Beaux’ Stratagem. Stratford: Assistant lighting designer of Fiddler on the Roof, Romeo and Juliet, Taking Shakespeare, The Thrill, 42nd Street, Henry V, Jesus Christ Superstar, The Homecoming, As You Like It, The Two Gentlemen of Verona, Do Not Go Gentle and King of Thieves. Elsewhere: Lighting designer of Miracle on 34th Street, Little Shop of Horrors (TNB); Becky’s New Car, Henry and Alice: Into the Wild (Globe Theatre); Rigoletto (Opera York). Associate lighting designer of Jesus Christ Superstar (LJP). Assistant lighting designer of The Wizard of Oz (Mirvish), Priscilla,

Queen of the Desert (Broadway, Mirvish), La Bohème (Canadian Opera Company). Training: BFA Honours, Ryerson University. Awards: 2009 Wally Russell Lighting Internship and Scholarship (Canadian Opera Company). Online: www.tristantidswell.com. Twitter: @LDTristan. Et cetera: Tristan is a member of the Associated Designers of Canada.

Keith Thomas24th season: Composer for King Lear and Mother Courage and Her Children. Stratford: The Merchant of Venice, All’s Well That Ends Well, The Comedy of Errors, Henry IV, Part 1, Cymbeline, Quiet in the Land, The Two Noble Kinsmen, The Miracle Worker, Little Women, Alice Through the Looking-Glass, A Midsummer Night’s Dream and many more. Elsewhere: Guthrie Theater: A Christmas Carol, The Two Gentlemen of Verona, A Midsummer Night’s Dream, The Merchant of Venice, Three Sisters, Julius Caesar, The Cherry Orchard, Much Ado About Nothing. Gate Theatre, Dublin: A Midsummer Night’s Dream. Shaw Festival: Born Yesterday. NAC: Innocence Lost, The

Donnellys. Segal Centre: Red. Chicago Shakespeare Theater: A Midsummer Night’s Dream. Awards: Shakespeare Theatre, Washington, D.C.: Julius Caesar (Helen Hayes Award). Tarragon Theatre: Amigo’s Blue Guitar (Dora Award). Film/TV: Mordecai Richler: The Last of the Wild Jews. Online: www.keiththomas.ca.

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Scott Wentworth20th season: Gloucester in King Lear, Theseus in A Midsummer Night’s Dream and Squire Sullen in The Beaux’ Stratagem. Stratford: Favourite roles include Tom in John Hirsch’s The Glass Menagerie, Tranio in Richard Monette’s The Taming of the Shrew, Antony in Julius Caesar opposite Colm Feore and Brian Bedford, Hubert in Robin Phillips’s King John, Iago in Brian Bedford’s Othello, the title role in Macbeth opposite Seana McKenna, Sky Masterson in both productions of Guys and Dolls and Bosola in Peter Hinton’s The Duchess of Malfi opposite Lucy Peacock. Last season he starred as Tevye in Donna Feore’s Fiddler on the Roof and Shylock in

Antoni Cimolino’s The Merchant of Venice. Elsewhere: Mr. Wentworth is a Tony-nominated actor, a director and playwright whose work has been celebrated on Broadway, in London’s West End, on television, in films and in theatres across the U.S. and Canada.

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

Poppins, Next to Normal (Citadel/TC); ’Night Mother (Soulpepper); The Rocky Horror Show (Citadel); And Slowly Beauty, The Year of Magical Thinking (Belfry/NAC/Tarragon). Et cetera: Michael would like to thank his fiancée, Tara Ott, for all her love and support over the years. Michael and Tara will be married in June 2014.

Cynthia Toushan18th season: Production stage manager of the Festival Theatre. Stage manager of Crazy for You. Stratford: Shows include Fiddler on the Roof, 42nd Street, Camelot, Kiss Me, Kate, The Music Man, Oliver!, Oklahoma!, West Side Story, My Fair Lady, Man of La Mancha, The Sound of Music, Hello, Dolly! and The King and I. Production stage manager swing for the Festival, Avon, Tom Patterson and Studio theatres. Elsewhere: 25 years with the Canadian Opera Company as a stage manager and choreographer, most recently on Un Ballo in Maschera; White Christmas for Drayton Entertainment with Michael Lichtefeld; production stage manager and resident director of Jersey

Boys, Toronto, 2008 to 2010; 25 years as a singer/dancer and choreographer in Canadian theatre; assistant to Alan Lund. Et cetera: Love to daughters Stephanie and Jennifer, son-in-law Andrew, fiancé Paul and her beautiful granddaughter, Kennedy. Cindy dedicates this season to her brother Tim.

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