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Production support is generously provided by Karon Bales & Charles BeallSupport for the 2014 season of the Tom Patterson Theatre is generously provided by

Richard Rooney & Laura Dinner

UWaterloo DramaScenes from an Execution

by Howard BarkerMarch 2012

University of Waterloo on the world stage

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

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

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

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

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WATERLOO | Canada’s most innovative university for 22 years

UWaterloo DramaScenes from an Execution

by Howard BarkerMarch 2012

University of Waterloo on the world stage

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

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

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

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

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04

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WATERLOO | Canada’s most innovative university for 22 years

MINDS PUSHED TO THE EDGE

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

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

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

Our 2014 Partners and Sponsors

Corporate Partners

Production and Program Sponsors

Individual Partners

In-Kind Sponsors

Sylvanacre Properties Ltd.

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

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

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

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

Stratford’s Greatest Hits

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

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

Performance HostsSeason Hosts

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

Black

CMYK

Pantone

Aylmer Express

Blackburn Radio

Comtran

Famme & Co. Professional Corporation

Pelee Island Winery

Power Corporation of Canada

Pratt & Whitney Canada Inc.

Rhéo Thompson Candies

Steed Standard Transport Limited

The FSA Group

The Woodbridge Company Limited

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MUHAMMAD ROBERT HEFT

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

ERIC RASMUSSEN

May we recommend these selected Forum events . . .

The Radical Middle WayStudio TheatreSaturday, July 26, from 10 to 11 a.m.Muhammad Robert Heft, an international consultant on counter-terrorism, brings together his personal and professional experience in a talk about conversion, radicalization and restoring moderation. $15.

Apocrypha No More: Shakespeare’s Collaborative PlaysStudio TheatreFriday, August 15, from 9 a.m. to noonScholars Eric Rasmussen and Will Sharpe join Festival company members to explore non-canonical plays believed to reveal Shakespeare’s hand. $15.Support for this event is generously provided by Dr. Jules and Josephine Harris.

Table TalkPaul D. Fleck Marquee, Festival TheatreTuesday, August 19, from 11:30 a.m. to 1:15 p.m.Buffet lunch followed by a talk on King John by Professor Ted McGee. $40 with cash bar.

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Masks, Madness and Shakespeare’s SonnetsStudio TheatreThursday, August 21; Saturday, August 30; Thursday, September 4, from 10 to 11:30 a.m.Festival company members use character half-masks to explore the sonnets. Directed and compiled by celebrated director Guy Sprung and master mask teacher Brian Smith. $25.

ARC Ensemble presents “The Hell Where Youth and Laughter Go”St. Andrew’s ChurchSaturday, August 30; Saturday, September 6; Saturday, September 13, from 5:30 to 7 p.m.This preeminent chamber music ensemble performs music born of the First World War, including Edward Elgar’s magnificent Quintet for piano and strings. The concert includes readings of poetry and letters of the time. $30.Night Music is generously supported by Sandra Rotman in honour of Louis Applebaum through The Louis Applebaum Visiting Artists Program.

Authorship on TrialFestival TheatreSaturday, October 4, from 10:30 a.m. to noonChief Justice Beverley McLachlin, of the Supreme Court of Canada, convenes a special panel of judges to consider whether there is sufficient evidence to refute the claim that Shakespeare was the principal author of the canon. With special appearances by Antoni Cimolino and Colm Feore. Free.

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

ARC ENSEMBLE

CHIEF JUSTICE BEVERLEY MCLACHLIN

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

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A Curiously Elusive King: “I am a scribbled form”By Kel Pero Many European crowned heads and noblemen of past centuries are now known to us largely via their nicknames. Some, like Edward the Confessor or Philip the Handsome, might be pleased at the thought; others, like Pepin the Short or Charles the Bald, might be less than flattered. In the case of the Plantagenet King John of England, not one but two epithets have come down to us: he was known as both John Lackland (a fairly literal translation of the medieval French Johan sanz Terre) and John Softsword.

The “lack land” is, perhaps, more logical, and less unkind, than it might seem at first glance: John was the youngest of five sons, and thus not endowed with the promise of great landholdings that at least some of his older brothers would have expected to enjoy. “Soft sword” was meant as a more direct insult: John’s willingness to show fealty to Philip II of France soon after the former came to the English throne, which involved both the ceding of land and payment of money to Philip, led some to consider the new king weak. Either way, neither epithet is particularly auspicious. There is little question that John was one of the most colourful monarchs England has seen. He was reviled in his own time as both personally lustful and politically weak; as king, he openly defied papal power (he was excommunicated for a period

of four years in the middle of his reign); he was forced into the signing of Magna Carta, now considered a fundamental document in the evolution of democracy (although a bit of a flop in John’s own time); and when he died, England was in the grip of civil war. Historians still debate his relative merits or lack thereof, particularly in the areas of administration and law. But for a fifth son, who should really have done little more than, say, form an alliance with a minor noble family through marriage or been shuffled off into the Church, John’s profile is really rather impressive. He managed to outlive all four of his brothers, including the legendary Richard the Lionheart, ruled England for seventeen years, and is a direct forebear of the current monarch, Elizabeth II. He is the only English king of his name. Historically, John is, in many ways, an anomaly, a set of contradictions – a bit of a mystery.

Tom McCamus (King John)

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Just as the monarch John occupies, in many ways, a rather odd place in history, so Shakespeare’s play is unusual within the playwright’s canon. While many of Shakespeare’s works have undergone some degree of ebb and flow in popularity over the centuries, King John, impressively popular in the later part of the nineteenth century, ranked among Shakespeare’s least-frequently performed plays just decades into the twentieth. (The Stratford Festival has been judicious here: this will be the play’s fifth staging in the Festival’s sixty-one-year history, putting King John on a fair footing with the appearance of many of Shakespeare’s histories in Stratford.) Changing tastes in theatre have perhaps seen audience interest shift more toward the introspection of a Henry V or the smooth Machiavellianism of a Richard III and away from the purer pageantry to which King John lends itself as an ensemble piece. This is also a play about which we know little in terms of reception in Shakespeare’s own time; although it was probably written in the mid-1590s, it seems that no published version of it appeared before that contained in the First Folio, which was printed in 1623,

after Shakespeare’s death. No performance of the play is recorded until more than a century after that, in the late 1730s. The play’s origins have proven contentious, at least among some scholars and enthusiasts. It is well established that Raphael Holinshed’s Chronicles of England, Scotland, and Ireland, a popular work of British history whose second edition was issued in 1587, provided Shakespeare with source material for King John (as well as for a number of other plays). But some still maintain that a play entitled The Troublesome Reign of King John, which clearly served as a model for Shakespeare’s King John, was written not by the playwright and poet George Peele but in fact by Shakespeare himself; indeed, two of its three seventeenth-century printings credited Shakespeare as the author. From the murkiness of history and Renaissance publishing comes an onstage character who is suitably elusive. King John is, in many ways, a strangely remote figure in the overall landscape of the play. One of only two of Shakespeare’s kings to speak entirely in verse (the hapless Richard II is the other), John is presented to us as an entirely

Seana McKenna (Constance)

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public figure, and not a terribly sympathetic one. At the very beginning of the play, John’s confederate – his mother, Eleanor of Aquitaine – admits that her youngest son’s position on the throne is more a matter of might than right: “Your strong possession much more than your right, / Or else it must go wrong with you and me: / So much my conscience whispers in your ear, / Which none but heaven and you and I shall hear.” We see him negotiating with or defying princes of the state and Church, dealing with relatives, and issuing orders, all in order to maintain a position of dubious legitimacy; but he never unburdens his heart to the audience in a soliloquy, or to other characters in dialogue, and we get little sense of the character’s interior life. Shakespeare’s John is simply not given to reflection, and doesn’t agonize over personal or political decisions, whether the result thereof is war or murder. He comes across as ambitious, arrogant, and lacking in foresight; we get an inauspicious glimpse of his moral character when he attempts

to blame the loyal Hubert for (supposedly) executing the brutal orders regarding young Prince Arthur that the king himself had given him. John possesses none of the compelling energy and magnetism of Faulconbridge, bastard son of John’s late brother Richard, and lacks the moral high ground of the obsessed and bitter Constance. Perhaps the structure of King John simply doesn’t allow its title character the luxury of much complexity; he is a character entirely in service to the rapid unfolding of action that characterizes the play, just as he is a king entirely in service to the goal of remaining on the throne. At the very end of the play, in saying his final goodbyes to his son and the few noblemen still loyal to him, King John sums up the essence of his – and perhaps anyone’s – position, whether in history or literature, most aptly: “I am a scribbled form, drawn with a pen / Upon a parchment.”

Kel Pero, PhD, is an independent scholar and actor living in Stratford.

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Room for the Imagination Director’s notes by Tim Carroll

After Romeo and Juliet in the Festival Theatre last year, staging King John in the Tom Patterson Theatre feels like moving from the Globe Theatre to the Blackfriars. This shift, from open-air to indoors, is exactly the one that Shakespeare and his company eventually made permanent, just in time for the last few plays he was to write. But even before that, in fact right from the start of his career, it was not uncommon for a play to open in an outdoor theatre and then to be taken indoors, where a smaller audience would perhaps pay more attention and would certainly pay more money. I have no idea whether either of those will be true of the TPT audience. But I know from experience that a play in theGlobe feels different from one in a hall like the Blackfriars.

When a performance was invited to play indoors, whether for the Queen at Hampton Court, the law students at Middle Temple Hall, or the City merchants at the Blackfriars, the nature of the experience must have been profoundly different from that at the Globe: with more surfaces to bounce the sound off, and less space to fill, any music you played could be more subtle and atmospheric (you could even make its source mysterious by keeping the musicians out of sight); the audience would be closer to the action and with less to distract them, which might affect your speaking and playing; and the lighting could be controlled, if only in a very limited sense. In some performances total

darkness was achievable; in others daylight would come through the windows and augment the light of many candles, at least until evening fell.

When I think of one of the history plays – which were all written for outdoor theatres – being performed indoors, I can’t help wondering how these changes must have affected the playing. When I directed the Globe company in Richard II, we started in Middle Temple Hall and moved into the Globe, and that certainly seemed to shift the focus, though not necessarily in ways I would have predicted. Unless we also play outdoors at some point in the summer, we will not have such an opportunity for comparison; but the game I am setting up here is inspired by the idea of Shakespeare’s troupe bringing their King John, which may or may not have been a smash hit at the Rose (we know nothing of its performance history, though it is certainly

Tim Carroll: Photo by Erin Samuell

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too early for the 1599 Globe), to a hall for a performance that starts in the afternoon and finishes as night falls.

That is one aspect of the game. Another is to do with the way that Shakespeare and his contemporaries would have gone about staging history. We know from the wardrobe inventories of the Lord Chamberlain’s Men that they had no “medieval” clothes. It seems clear, in fact, that no one did: if old clothes survived at all, they would be cut up and used for new fashions. So it seems likely that the clothing would have been modern dress – i.e., Elizabethan. Old weapons, on the other hand, did get handed down, and we know that Shakespeare’s company were not bothered about mixing periods when it suited them; so they might have had, as we will, a mixture of rapiers and broadswords

on stage. Similarly, they would have had access to medieval music, some of which was still around, both in manuscript and in oral tradition; and this is why our music will shift between the sixteenth and thirteenth centuries, sometimes within a single piece.

I have twice called what we are doing a “game.” I much prefer this word to anything more sombre. I never use the word authentic because it implies a rather anxious straining to get it “right.” The game I call “Original Practices” is one where I use whatever theatre-historical evidence seems interesting and suggestive to create a space where the actors and the audience can combine their imaginations. I have no idea if this is “how they would have done it”; I just hope it creates a liberating environment for the play of Shakespeare’s incredible language.

The StoryKing John of England is visited by an ambassador from King Philip II of France, who demands that John relinquish his throne in favour of his young nephew Arthur, the son of John’s deceased elder brother, Geoffrey, and Constance, the Duchess of Brittany. Defying this challenge to the legitimacy of his rule, John declares war on France. Meanwhile, John is asked to resolve an inheritance dispute between two brothers, Robert Faulconbridge and his sibling, Philip, whom Robert believes to be the bastard son of John’s predecessor, King Richard I (commonly known as “Coeur-de-lion” or “Lionheart”). John offers Philip, “the Bastard,” a knighthood if he will give up his claim to the Faulconbridge estate and follow him instead to the wars in France – a proposal that Philip readily accepts. Every war, however, takes unexpected turns, and as it turns out, France is not the only enemy with whom John will have to contend.

Costume design for

King John by Carolyn M.

Smith

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William ShakespearePlaywright

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

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

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King JohnBy William Shakespeare

This production is dedicated to the memory of Suzanne Turnbull.

The Cast King John Tom McCamus Queen Eleanor, mother to King John Patricia Collins Prince Henry, son to the King Andrew Lawrie Blanche of Spain, niece to King John Jennifer Mogbock The Earl of Pembroke Brad Rudy The Earl of Salisbury Stephen Russell The Lord Bigot Sean Arbuckle Hubert, a citizen of Angiers Wayne Best Robert Faulconbridge, Daniel Briere son to Sir Robert Faulconbridge Philip, the Bastard Graham Abbey Lady Faulconbridge, Brigit Wilson widow to Sir Robert Faulconbridge James Gurney, servant to Lady Faulconbridge Ryan Field Peter of Pomfret, a prophet Peter Hutt English Herald Andrew Robinson English Soldier Rylan Wilkie Executioners Jamie Mac, Anthony Malarky

Philip, King of France Peter Hutt Lewis, the Dauphin Antoine Yared Arthur, Duke of Brittany, nephew to the King Noah Jalava Constance, mother to Arthur Seana McKenna Duke of Austria Sean Arbuckle Melun, a French Lord E. B. Smith Chatillon, ambassador from France E. B. Smith French Herald André Morin French Soldier Karack Osborn Austrian Soldiers Jamie Mac, Anthony Malarky Citizens of Angiers Carmen Grant, Deirdre Gillard-Rowlings

Cardinal Pandulph, the Pope’s legate Brian Tree

UnderstudiesSean Arbuckle (Philip, King of France, Peter of Pomfret), Wayne Best (King John), Daniel Briere

(Philip, the Bastard), Ryan Field (Prince Henry), Deidre Gillard-Rowlings (Blanche of Spain, Lady Faulconbridge), Carmen Grant (Constance), Jeremy Harttrup (Arthur), Andrew Lawrie

(James Gurney), Jamie Mac (Robert Faulconbridge), Anthony Malarky (Duke of Austria, The Lord Bigot, The Earl of Pembroke), André Morin (Chatillon), Karack Osborn (Melun),

Andrew Robinson (Lewis), Brad Rudy (The Earl of Salisbury), E.B. Smith (Hubert), Rylan Wilkie (Cardinal Pandulph), Brigit Wilson (Queen Eleanor)

Cover Photo: Tom McCamus and Seana McKenna

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Artistic Credits Director Tim Carroll

Designer Carolyn M. Smith Lighting Designer Kevin Fraser Composer Claudio Vena Sound Designer Todd Charlton Fight Director John Stead Movement Director Shona Morris

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

Associate Fight Director Geoff Scovell Assistant Director Kevin Bennett Assistant Set and Costume Designer Alyssa Westman Assistant Lighting Designer George Quan Fight Captain Wayne Best

Stage Manager Bona Duncan Assistant Stage Managers Bruno Gonsalves, Renate Hanson Production Assistant Ian Michael Costello Production Stage Managers Janine Ralph, Margaret Palmer

Technical Director Sean Hirtle

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 8 photography by Don Dixon.

Original music for this production composed and recorded byClaudio Vena, Violin, Viola, Guitar, Lute, Percussion, Keyboards

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

Music Credits

There will be one 20-minute interval.

Audience AlertThis production uses candlelight effects that include live flame.

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Backstage Production responsibilities during the performance accomplished by: Stage Carpenter Paul Gorman Alternate Dan Bingeman Master Electrician Timothy Hanson Property Master Alan Hughes Alternate Melba Bingeman Head of Sound Jim Stewart Wardrobe Mistress Helen Basson Wardrobe Attendants Heather Diamond, Sheila Filshie, Tracy Houston-McIntyre, Jane Mallory Swing Luci Pottle Wigs and Makeup Show Head Angela Moncur Wigs and Makeup Crew Barb Newbery Children’s Supervisor Deborah Howes

The Birmingham Conservatory for Classical Theatre

From Artistic Director Antoni Cimolino:

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

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

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

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

Josue Laboucane 2012/13Keira Loughran 2005 (associate

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

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

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

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

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

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

Participants in the 2014 workshop:

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

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

Production Credits Director of Production John Tiggeloven

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

Properties Head of Properties Dona Hrabluk Lead Builder Jennifer Macdonald Assisted by Eric Ball, Ken Dubblestyne, Ksenia Ivanova, Michelle Jamieson, Kathryn Kerr, Shirley Lee, Brian McLeod, Dylan Mundy, Heather Ruthig, 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, Amparo Villalobos, Michael Wharran, Blair Yeomans

Scenic Carpentry Head Carpenter Neil R. Cheney Head of Automation Ian Phillips Lead Hands Mark Card, Cliff Tipping Assisted by Simon Aldridge, David Bedford, Ryan Flanagan, Gary Geiger, William Malmo, Stephen Morgan, Wayne Nero, John Roth, Mark Smith, Geoff Taylor, 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, Lela Stairs Murphy, Jennie Wonnacott First Hands Joanne Davies, Krista Nauman, Patricia Taylor Sewers Suzy Arnold, Denise Bott, Caroline Broadley, Cindy Brown, Victoria Bruer, Marlee Bygate, Evelyn Gascho, Karen Hancock, Patricia Hawkins-Russell, Kiyomi Hidaka, Anna Lach, Paulette Laporte, Katelyn Low, Lisa Menzel, Karen Merriam, Magdalene Raycraft, Joan Scheerer, Georgina Schinkel, Sylvia Widmer, Lindsey Winter, Joanne Zegers, Rebecca Zimmerman Bijoux/Decoration Rebecca Dillow Assisted by Liane Guttadauria, Tami MacDonald, Kathi Posliff Boots and Shoes Connie Puetz Assisted by Karen Beames, Sarah Cook, Michael Karn, Chantelle Laliberte 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 Erica Croft-Fraser, Jessica Elsbrie, Tracy Frayne, Angela Moncur, Sherri Neeb, Alana Scheel

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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Graham Abbey15th season: Philip the Bastard in King John, Count Johan Oxenstierna in Christina, The Girl King and understudy in Alice Through the Looking-Glass. Stratford: Iago (Othello), Posthumus (Cymbeline), Henry V, Macbeth, Romeo, Henry VIII, Jaques, Prince Hal, D’Artagnan (Three Musketeers), Petruchio (Shrew), Aufidius (Coriolanus), Berowne (Love’s Labour’s Lost), Algernon (Earnest), Hap Loman (Death of a Salesman). Elsewhere: 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). TV: Series lead: The Border (CBC). Recurring

roles: Degrassi, Murdoch Mysteries, Covert Affairs, Republic of Doyle. Guest star: Flashpoint, Lost Girl, Rookie Blue, Warehouse 13, Bomb Girls. Recent: Guest star, Remedy (Global). Film: Sarah Polley’s Take This Waltz, Casino Jack, 388 Arletta Avenue, Defendor, Stealing Paradise, Secrets of Eden. Recent: Angel on My Tree, released this Christmas. Radio: Series regular: Afghanada (CBC). Awards: Dora Award, Monte Carlo Television Festival nomination. Et cetera: Artistic Director, Groundling Theatre (Groundlingtheatre.com).

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

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

Kevin BennettSecond season: Assistant director of King John. Stratford: The Three Musketeers (assistant director), Macbeth (Michael Langham Workshop for Classical Direction Directors’ Workshop Presentation). Vancouver: Directing: Measure for Measure (Pacific Theatre); King Lear, Hamlet (The Honest Fishmongers); Fallout, Treasure Island (Studio 58); The Loudest Silence, 7 Stories (Templeton Secondary School); Cold Comfort, The Woman in Black (Yogurt Theatre); The Priory (United Players of Vancouver); Macbeth, Pet Stories (Limbo Circus Theatre); To Sea, or Not to Sea (Burnaby Summer Theatre); Paper Boats (Walking Fish Festival). Assistant director: She Stoops

to Conquer (Arts Club); Richard III, Much Ado About Nothing (Bard on the Beach); NiX (The Only Animal, Cultural Olympiad); The Merchant of Venice, Heptademic, The Winter’s Tale, Lot’s Wife (Studio 58). Training: Graduate of Studio 58; RADA’s How to Rehearse directing course.

Wayne Best19th season: Hubert in King John, Recruiting Officer, Farmer in Mother Courage and Her Children and Chancellor Axel Oxenstierna in Christina, The Girl King. Stratford: Last year: D’Artagnan’s Father and Lord de Winter in The Three Musketeers, the Duke in The Merchant of Venice and Montague and Capulet, both successively and alternately, in Romeo and Juliet. In previous seasons: Caliban (The Tempest), Don John (Much Ado About Nothing), Buckingham (Richard III), Macduff (Macbeth), Fluellen (Henry V), Gratiano (The Merchant of Venice), Cornwall (King Lear), Leontes (The Winter’s Tale), Grumio (The Taming of the Shrew), Agamemnon (Troilus and Cressida)

and Mercutio (Romeo and Juliet). Elsewhere: Wayne has appeared as Brutus (Julius Caesar), Antonio (The Tempest), Captain Keller (The Miracle Worker), Karl (Heaven), Abbott (Inexpressible Island), Anderson (Observe the Sons of Ulster Marching Toward the Somme), Quinn (The Affections of May), Phil (The Motor Trade), Johnny (Balconville), Jacob Mercer (Salt-Water Moon), Taylor (K2) and Billy (The Collected Works of Billy the Kid).

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

Theatre School of Canada. Online: @DanielJackB. Et cetera: Daniel would like to thank Katie, Debra and Denis for all of their love and support!

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Tim CarrollThird season: Director of King John. Stratford: Peter Pan, Romeo and Juliet. Elsewhere: Shakespeare’s Globe: Richard II, Macbeth, Romeo and Juliet, The Two Noble Kinsmen, The Tempest, The Golden Ass, Twelfth Night and Richard III (also West End and Broadway). RSC: The Merchant of Venice, A Midsummer Night’s Dream. Artistic Director, Kent Opera: Orfeo, Il re pastore, Acis and Galatea, Albert Herring. Other opera: Britten’s Canticles (Barcelona) and The Turn of the Screw (Oviedo). Other theatre: Fair Ladies at a Game of Poem Cards, The Duchess of Malfi, Victory (Barka Theatre, Budapest); All’s Well That Ends Well (National Theatre, Romania);

Amadeus (National Theatre, Portugal); Peer Gynt (Guthrie, Minneapolis); A Midsummer Night’s Dream (Sydney Opera House); King Lear (National Theatre, Norway). Founder member of The Factory (London), directing three theatre experiments: Hamlet, The Seagull, The Odyssey. thefactory.wikifoundry.com.

Todd Charlton17th season: Sound designer of King John and Mother Courage and Her Children. Stratford (selected): Mary Stuart, Taking Shakespeare, The Merchant of Venice, Measure for Measure, Cymbeline, Twelfth Night, Palmer Park, the Swanne trilogy. Elsewhere: The Valley, Flesh and Other Fragments of Love, No Great Mischief, Democracy, Scorched, among others (Tarragon); Hedda Gabler (Shaw Festival); The Clockmaker (Thousand Islands Playhouse); Intimate Apparel (Obsidian/Canadian Stage/Citadel); Rock and Roll (Canadian Stage); Merrily We Roll Along, Spring Awakening, Chicago, Rent, Oklahoma!, Sweeney Todd and many others (Theatre Sheridan); seven seasons

at Blyth including Vimy, Innocence Lost, Early August and many world premières of new Canadian work; and many other productions across the country. Awards: Four Dora nominations for Outstanding Sound Design. Training: Honours English and Drama, UWO; Theatre, Banff School of Fine Arts. Et cetera: He lives happily in Stratford with his wife, Melissa, and his three boys, Harper, Jack and Devlin.

Patricia Collins19th season: Queen Eleanor in King John, Farmer’s Wife in Mother Courage and Her Children and Maria Eleonora of Brandenburg in Christina, The Girl King. Stratford: Measure for Measure, Mary Stuart, The Thrill, Anything Goes, Guys and Dolls, To Kill a Mockingbird, A Delicate Balance, Gigi, Present Laughter, The Importance of Being Earnest, Tartuffe, Medea, Richard II, Pride and Prejudice, The Prime of Miss Jean Brodie, The Night of the Iguana, Juno and the Paycock, Equus, The Stillborn Lover, Hamlet, Les Belles-Soeurs, Twelfth Night, King Lear, Separate Tables, She Stoops to Conquer, The Taming of the Shrew, Bosoms and Neglect. Elsewhere: The School for

Scandal (Chicago Shakespeare); The Importance of Being Earnest, Summer (Canadian Stage); Liaisons Dangereuses (Vancouver Playhouse); Blithe Spirit, Lion in Winter (NAC); A Little Night Music (Grand/Canadian Stage); Wit (GCTC). Film/TV: The Rez, The Adjuster, Speaking Parts, Lady Windermere’s Fan, Wojeck, Artichoke. Awards: Doras, The Europeans (Necessary Angel), White Biting Dog (Tarragon); Critics’, Wit; Gemini, Golden Handshake.

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

MTC, Banff Centre, Citadel, Tarragon and Centaur. Training: A graduate of the technical production section of the National Theatre School of Canada; BA from Bishop’s University. Et cetera: Bona lives in Stratford with her husband, Dan, and their daughter, Georgia.

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

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

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YOU’LL ALSO LOVE THE COMEDY

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

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

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

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

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

Production Sponsor

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Renate Hanson13th season: Assistant stage manager of King John and Christina, The Girl King. Stratford: Renate was assistant stage manager of Hirsch, Do Not Go Gentle, Cyrano de Bergerac, Zastrozzi, The Trojan Women, Love’s Labour’s Lost, King Lear, A Delicate Balance, Coriolanus, Don Juan, As You Like It, The Lark, Timon of Athens, King John, Troilus and Cressida, Antony and Cleopatra, Henry VI: Revenge in France, The Two Noble Kinsmen, The Lunatic, the Lover and the Poet, The Trials of Ezra Pound, Good Mother, Elizabeth Rex, Medea and Titus Andronicus. Elsewhere: Assistant stage manager of A Streetcar Named Desire and Cabaret (Grand Theatre), My Fair Lady (Manitoba

Theatre Centre), Evita (MTC/Theatre Calgary) and Faust (Manitoba Opera). Stage manager of Closer and Scrooge (Neptune Theatre) and Ethan Claymore (MTC/Richmond Gateway Theatre). Training: National Theatre School of Canada. “For Lilli.”

Kevin Fraser27th season: Lighting designer of King John. Stratford: Stratford designs include Romeo and Juliet, Richard III, Shakespeare’s Will, Evita, Peter Pan, Forum, West Side Story, The Importance of Being Earnest, The Music Man, Cabaret, My One and Only, To Kill a Mockingbird, South Pacific, The Glass Menagerie, Guys and Dolls, Inherit the Wind and many more. Elsewhere: Kevin has designed lighting for many theatre and opera productions across Canada. Recent credits include The Comedy of Errors (Neptune Theatre, Halifax), The Mountaintop (Theatre Calgary), Mary Poppins (Drayton Entertainment) and Cirque Ambiente (Canada’s Wonderland). Training: Kevin

is a graduate of Ryerson Theatre School. Awards: Kevin has received five Dora Mavor Moore Award nominations (Toronto) and one Jessie Richardson Award nomination (Vancouver). Online: www.kevinfraserlighting.com. Et cetera: Member of Associated Designers of Canada.

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

(shorts). Recordings: The Grey Islands, Hard Light (Rattling Books). Training: BFA, Memorial University NL. Et cetera: Deidre is a founding member of Bare Boards Theatre. She dedicates her first season at Stratford to her loving and supportive parents.

Bruno Gonsalves23rd season: Assistant stage manager of King John and Mother Courage and Her Children. Stratford: Mr. Gonsalves has worked as a production stage manager (Tom Patterson Theatre 2001, 2003-2005), stage manager (The Two Gentlemen of Verona, Palmer Park, The Trojan Women, Henry IV, Part 1, Wingfield’s Inferno, Cymbeline, No Exit, The Lunatic, the Lover and the Poet, Tempest-Tost, Romeo and Juliet, Richard III, Wingfield Unbound, The Boy Friend) and assistant stage manager (The Matchmaker, Jacques Brel is Alive and Well and Living in Paris, Three Sisters, An Ideal Husband, A Midsummer Night’s Dream, Waiting for Godot, Sweet Bird of Youth, Romeo

and Juliet, The Gondoliers, King John, Bacchae, The Merchant of Venice, Uncle Vanya, Bonjour, là, Bonjour). Elsewhere: London’s Grand Theatre (10 seasons), Shaw Festival, Canadian Stage, Manitoba Theatre Centre, Young People’s Theatre, Theatre New Brunswick, Tarragon Theatre, Citadel Theatre, Toronto Dance Theatre, Vancouver Playhouse and Mirvish Productions’ Rent.

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

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Noah JalavaSecond season: Arthur in King John. Stratford: The Boy in Waiting for Godot. Elsewhere: King Arthur in The Gardener King, Hamlet in Hamlet and Orazio Rasponi in The Red Hat (Playmakers! Theatre School); Chorus in Annie Get Your Gun (Stratford Community Players); Brutus in Julius Caesar (Shakespeare in Action); Dr. Faustus in The Tragic History of Dr. Faustus (Edge Hill School); Oliver in Oliver! and Chorus in The Pied Piper of Hamelin (AppleGate School); Tin Man in El Mago de Oz (Xinemi Comunidad Educativa); Artful Dodger in Oliver! (Teatro Tonatico). Recordings: Harmonica on Jarmo Jalava’s album Rites of Passage. Training: Playmakers! Theatre School,

Shakespeare in Action. Et cetera: Noah is truly honoured to be performing on the Stratford stage again.

Jeremy HarttrupSecond season: Citizen of Angiers in King John. Stratford: Young Duke of York in Richard III. Elsewhere: Leo in The Bully Effect, Jimmy Fargo in Tales of a Fourth-Grade Nothing, Bubba in Bubba Begonia, You’ll Be Sorry, based on the book by Gerry O’Brien (Growing in the Arts); Malcolm in Hollywood Arms (Elmira Theatre Company). Film/TV: Rogers Cable TV Volunteer Today promotional video. Training: Growing in the Arts, Kitchener. Awards: Kiwanis Festival of the Performing Arts: 2012 – Third Place (Provincials), 2013 – First Place (Regional); Tyrone Guthrie Award (Stratford, 2011); City of Kitchener Youth Video Contest 2013 – Honourable Mention.

Et cetera: “I’m thrilled to be back in Stratford! Thank you to Mom, Dad, Vincent, Lindsay, my grandparents and Gita Ashley for all their help, encouragement and support!”

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

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

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

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

Doyle, Covert Affairs, Life With Derek. Training: Ryerson University, BFA Acting. Awards: For The Elephant Song: Walter C. Chambers Memorial Scholarship, D.A. Matthews Memorial Scholarship, Honorary Chairman’s Award for Best Actor.

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

Film: Cairo Time (Ruba Nada), The Sweet Hereafter (Atom Egoyan), Long Day’s Journey (David Wellington), Possible Worlds (Robert Lepage). Awards: Dora, best actor: Abundance (Theatre Plus); Genie, best actor: I Love a Man in Uniform (David Wellington); Gemini and ACTRA, best actor: Waking Up Wally (Dean Bennett). Et cetera: Tom lives on a farm in Warkworth with his wife, actress Chick Reid, and their three dogs.

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

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

Seana McKenna23rd season: Constance in King John and Mother Courage in Mother Courage and Her Children. Eighteen Shakespearean roles including Richard III (Stratford Festival); Beatrice, Lady Macbeth (Manitoba Theatre Centre); Hermione (Kansas City Rep); Cleopatra (Centaur); Rosalind (World Stage). Stratford: Mary Stuart, Blithe Spirit, The Matchmaker, Elektra, Dangerous Liaisons, Medea, Phèdre, The Trojan Women, Private Lives, Present Laughter, Fallen Angels, The Glass Menagerie, Night of the Iguana, Good Mother, Shakespeare’s Will. Elsewhere: Over 80 other productions, including Napoli! at San Francisco’s American Conservatory Theater in February; 28 productions

directed by husband Miles Potter. Honours: Queen Elizabeth II Diamond Jubilee Medal, Doctor of Sacred Letters (Trinity College), Honorary MFA in Acting (ACT). Three Dora Awards: Saint Joan (Theatre Plus), Orpheus Descending (MTC/Mirvish), directing Valley Song (New Globe). Jessie Award: Wit (Vancouver Playhouse/Canadian Stage). Genie Award: The Hanging Garden. Executive board member of the Actors’ Fund of Canada. Upcoming: Testament at ACT.

Jennifer MogbockStratford debut: Blanche of Spain in King John, Baby Whore, Injured Wife in Mother Courage and Her Children and appears in Antony and Cleopatra. Elsewhere: Phebe in As You Like It (Shakespeare Theatre of New Jersey); Bernarda in The House of Bernarda Alba (Theatre of War); Icarus in Damages Tangled (Theater for the New City, N.Y.C.). Film: Quincy Vidal (Yellowhouse Pictures). Training: Birmingham Conservatory for Classical Theatre; BFA, State University of New York (SUNY), Purchase College. Online: www.jennifermogbock.com. Et cetera: Jennifer was born in Lagos, Nigeria, and raised in Argentina, Houston, Texas, and Ottawa. “Thank you to my family,

friends and my heavenly father.”

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

FROM VANITY TO HUMANITY

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

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

Barbara & John Schubert and Catherine & David Wilkes

Production Sponsor

King Lear Written by William ShakespeareDirected by Antoni Cimolino

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

Stephen Ouimette, Liisa Repo-Martell, Scott Wentworth

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Shona MorrisSixth season: Head of Movement. Movement director of King John, Mother Courage and Her Children and A Midsummer Night’s Dream. Stratford: Coach, 2003 to 2013; movement director of Romeo and Juliet, The Three Musketeers, Peter Pan, The Winter’s Tale, Dangerous Liaisons, King Lear, Agamemnon, Electra, The Flies. Movement Director: Watford Palace Theatre: Ideal World season – Perfect Match/Override, Our Father, My Mother Said, The Dresser, An English Tragedy, As You Like It, Lysistrata. Chichester Festival: Twelfth Night, Nicholas Nickleby (Toronto/Gielgud Theatre). Io Theatre: The Snow Spider. Director: Swine (National Theatre Studio). Actor: Sarah

Kahn in Chicken Soup with Barley (Tricycle Theatre/Nottingham Playhouse); Augustine: Big Hysteria, Crossfire, Wax (Paines Plough). Film/TV: Tess (Polanski), Little Dorrit, Doctors, Sheppey, D.H. Lawrence: Son and Lover. Training: RAD Ballet; Bristol University, Drama/English; Ecole Jacques Lecoq; Trish Arnold. Awards: Time Out Award; Fringe First. Et cetera: Shona is head of the BA Acting Course, Drama Centre London.

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

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

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

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

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

Janine Ralph24th season: Production stage manager of the Tom Patterson Theatre. Stage manager of A Midsummer Night’s Dream: A Chamber Play. Stratford: Janine is very happy to return to the Festival, where last season she was production stage manager of the Tom Patterson Theatre and stage-managed Waiting for Godot. Past credits include production stage manager of the Avon Theatre and stage manager of Elektra, Richard III, There Reigns Love, The Gondoliers, The Pirates of Penzance, Gypsy, Carousel, Henry V, An Enemy of the People, One Tiger to a Hill and Henry VIII. Elsewhere: Most recently Janine stage-managed The Sneeze for Talk Is Free Theatre,

Barrie. She also stage-managed Voyage de la Vie for Resorts World Sentosa in Singapore and production-managed Pinocchio: The Musical for Singapore Repertory Theatre. She has worked on the Asian Games’ ceremonies in Qatar; in various theatres in Ontario, including Young People’s Theatre; and for CBC TV in Toronto and BBC TV in England.

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

(RTS). Training: Ryerson Theatre School, Birmingham Conservatory for Classical Theatre. Et cetera: “Thanks to Martha, Ann, the Birmingham family, Mum and Cody!”

Brad Rudy24th season: The Earl of Pembroke in King John, Catholic Spy, Old Soldier in Mother Courage and Her Children and Camidius in Antony and Cleopatra. Stratford: Bill Sikes (Oliver!), Count (The Count of Monte Cristo), Talbot (Henry VI), Common Man (A Man for All Seasons), Sergeant of Police (The Pirates of Penzance); only actor to appear in all eight “Wars of the Roses” plays consecutively. Elsewhere: Ratty (A Wind in the Willows Christmas) (ATW); Ted Narracott (War Horse) (Toronto); Gabe (Dinner With Friends) (Aquarius); Todd (The Book of Esther), Jim (Bordertown Café), Harold English (Mail Order Bride) (Blyth). Directing: King Lear (Fanshawe College), The Book of Esther

(Festival Players of Prince Edward County), Falling: A Wake (ATW), Girls in the Gang (St. Clair College), Our Town (Mercury Theatre). Teaching: Acting/Voice and Text Instructor (Fanshawe and St. Clair colleges); guest instructor (Michigan State, Wayne State, University of Waterloo). Et cetera: Fight choreography (Aquarius, Touchmark, colleges). “Love to Anne, Emma, Jack and Rob.”

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

cetera: He lives in Stratford with his wife, Astrid.

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.”

Carolyn M. Smith15th season: Designer of King John. Stratford: Peter Pan, Bartholomew Fair, Shakespeare’s Universe, Othello, The Duchess of Malfi. Costumes: last year’s Romeo and Juliet, Cymbeline, The Grapes of Wrath, The Swanne (three parts). Set design: The Odyssey. Elsewhere (selected): Macbeth (NAC/Citadel), The Way of the World (NAC/Soulpepper), Atlantis (Grand Theatre), Picasso at the Lapin Agile (Grand/Vancouver Playhouse), Through the Eyes (Factory), Smudge (Nightwood), design work on over 16 new Canadian plays and Canadian operas Beatrice Chancy and The Gang. Costumes: Shaw Festival, Neptune Theatre, Necessary Angel, Broadway, film and television.

Training: National Theatre School graduate, further studies at Ontario College of Arts, Banff, Repin Institute. Awards: Jessie Richardson Award: costumes, Scary Stories (Alberta Theatre Projects/Vancouver Playhouse). Honoured as the recipient of the 2010 Virginia and Myrtle Cooper Award in costume design.

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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.Brian Tree25th season: Cardinal Pandulph in King John, Humpty Dumpty in Alice Through the Looking-Glass and Clown in Antony and Cleopatra. Stratford: Elbow (Measure for Measure), Melvil (Mary Stuart), Pisanio (Cymbeline), Dubois (The Misanthrope), Wasp (Bartholomew Fair), Erronius (A Funny Thing Happened on the Way to the Forum), Costard (Love’s Labour’s Lost), Touchstone (As You Like It), Stephano (The Tempest), Joxer Daly (Juno and the Paycock), Mr. Bennet (Pride and Prejudice), Dolly Spanker (London Assurance), Oswald (King Lear), Peter Quince (A Midsummer Night’s Dream). Elsewhere: Various roles (The Sneeze and other Chekhov one-acts), Talk Is Free

Theatre; Jimmy (The Pitmen Painters), Theatre Aquarius; Michael (Someone Who’ll Watch Over Me), Kemp (Vigil), Tarragon Theatre; Bottom (A Midsummer Night’s Dream), Canadian Stage; Harry (The Sum of Us), Belfry Theatre; Jim (Passion), Grand Theatre; the Player (Rosencrantz and Guildenstern Are Dead), Touchmark. Film/TV: Billable Hours, La Femme Nikita, Forever Knight, eight productions of A Taste of Shakespeare.

Claudio VenaFourth season: Composer for King John. Stratford: Romeo and Juliet, Peter Pan, Hamlet. Elsewhere: Composer, Romeo and Juliet (Canadian Stage), Words in the Dark; assistant conductor/violist, Miss Saigon, Phantom of the Opera, Aspects of Love, Kiss of the Spider Woman; conductor/musical director, Huronia Symphony, Hart House Orchestra, Winds and String Ensemble; violist/accordionist/founding member, Quartetto Gelato; Quintessence. TV: Composer/orchestrator/conductor, The National, Canada Now (CBC). Commercials: Chrysler, Shaw Cable. Documentaries: TO in 24, Johnny Lombardi: The Great Communicator, The Provider. Film: Silver Man, Boy Meets Girl, Only You.

Radio: The Wanderers (CBC); Yo-Yo Ma, NPR April Fool’s show. CDs: La Vita e Un Circo; Ensemble Vivante’s Audience Favourites, The French CD, Tango CD; Quartetto Gelato’s Rustic Chivalry, Aria Fresca; Louis Quilico’s Ricordi D’Italia. Awards: 2011 Gemini Award; two Juno nominations; Debut Artist of the Year, NPR. Online: claudiovena.com.

Alyssa WestmanSecond season: Assistant designer of King John and Christina, The Girl King. Stratford: Assistant costume designer of Romeo and Juliet. Elsewhere: Costume design for Shelley or The Idealist (Fanshawe College); Hippolytos; Dinosaur and A Tranny Tale (Toronto Fringe Festival); The Specimen and A Much Debated Cleaning (Playground). Design assistant for As I Lay Dying (Theatre Smith-Gilmour). Assistant milliner for Bugzzz – A Cautionary Tale (Out of the Box Productions); first hand for The Last Days of Judas Iscariot, assistant cutter for The Bundle, wardrobe for Metamorphosis (York University). Abroad: Prague Quadrennial’s Six Acts installation;

International Students’ Work Exhibition, Beijing, 2011. Training: BFA with Honours, Theatre Production Design, York University. Awards: Ian & Molly Lindsay Young Design Fellow, 2013; Herman Geiger-Torel Memorial Prize, 2012 (award is made annually to an outstanding graduating student in design); CASA grant, 2012. Et cetera: Alyssa thanks her loving husband for always supporting her dreams.

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

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

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Brigit WilsonNinth season: Lady Faulconbridge in King John, Mother in Mother Courage and Her Children and Duchess Erika Brähe in Christina, The Girl King. Stratford: The Swanne, All’s Well, Quiet in the Land, The Hunchback of Notre Dame, Pericles, The Count of Monte Cristo, The Triumph of Love, Cat on a Hot Tin Roof, Orpheus Descending (also MTC/Mirvish), The Merchant of Venice, The Comedy of Errors, An Ideal Husband, Three Sisters, Bartholomew Fair, Peter Pan, The Grapes of Wrath. Elsewhere: The Passion of Narcisse Mondoux, Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean (Grand; also Five & Dime Productions – Dora nomination); Enron (Theatre

Calgary); Merry Wives, Glorious, Man of La Mancha (TBTB); The Ballad of Stompin’ Tom, Another Season’s Harvest (Blyth); The Odd Couple (Segal Centre). TV: Harriet Sims on The Campbells (four seasons), The Hitchhiker, Street Legal, Parole Board, Verdict, various commercials. Film: Beyond Innocence, Anne of Avonlea, The Marriage Bed, Echoes in the Darkness, Lustre.

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

Abray). Recordings: Kojiro Sasaki, Samurai Warriors 2 (KOEI). Training: Dawson College, Concordia University, Birmingham Conservatory. Awards: Peter Donaldson Guthrie Award (2013), G.R. Award (2013), Elsa Bolam Award (2010). Et cetera: “Thank you to my family and friends for your unwavering support.”

Rylan WilkieStratford debut: White Knight in Alice Through the Looking-Glass, Karl Gustav in Christina, The Girl King and appears in King John. Elsewhere: Andy Fastow in ENRON (Theatre Calgary); Collective Creator of Beyond the Farm Show (Blyth Festival); Angel Gabriel/King Herod in The Story (Theatre Columbus); Jolly Goodday in Blue Planet (Young People’s Theatre); Banquo in Macbeth, Eilif in Mother Courage and Her Children, Demetrius in A Midsummer Night’s Dream (Caravan Farm Theatre); Nils Krogstad in A Doll’s House (Globe Theatre); Iago in Othello, Don John in Much Ado About Nothing (Shakespeare in the Park – Calgary); Rudi in East of Berlin, Jean in The December

Man, Phileas Fogg in Around the World in 80 Days, Davy Jones in Shakespeare’s Dog, Hal in Proof, Bill Sikes in Oliver Twist (Alberta Theatre Projects). Training: National Theatre School of Canada. Awards: Betty Mitchell Award for his portrayal of Vincent van Gogh in Vincent in Brixton.

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