ABOUT GREENSTAGE GreenStage has been performing Shakespeare’s plays in the Puget Sound area Since 1989. Each sum- mer we make our free Shakespeare in the Park shows available to thousands of area residents, performing before au- diences of up to 500 people. With this summer’s shows, we hit the halfway mark of the thirty-eight plays in Shakespeare’s Canon. We have also produced other classical works and brought original scripts to the Seattle Fringe Theater Festival for three years in a row. Our productions concentrate on story and characters, and put and empha- sis on capturing the life and truth in the plays. As Seattle’s Shakespeare in the Park Company, GreenStage is committed to presenting quality pro- ductions of classical theater and new works in a manner that is available to all. Whenever possible we perform for free, collecting donations after each show. GreenStage’s FREE Shakespeare in the Park program consists of two plays by Shakespeare running in repertory in and around Seattle. We bring these shows to major parks in the city of Se- attle (Lincoln, Woodland, Discovery, Seward and Volunteer) as well as fairs and parks in surrounding areas. GreenStage’s park program is spon- sored by the Seattle Department of Parks and Recreation through the Langston Hughes Cultural Arts Center and Sand Point Magnuson Park, our new home. Enjoy the show! The past year Lori K. Davis, Angie Stutting, Rachel Hornor in Squish David J. Dodge, Amelia Meckler, Ryan Spickard in The Winter’s Tale Kimberly Atkinson and Stephen Loch in Much Ado About Nothing Barzin Akhavan, Peter Balogh and Eli Sklov Simons in Henry IV, Part One
Transcript
ABOUT GREENSTAGE
GreenStage has been performingShakespeare’s plays in the PugetSound area Since 1989. Each sum-mer we make our free Shakespeare inthe Park shows available to thousandsof area residents, performing before au-diences of up to 500 people. With thissummer’s shows, we hit the halfwaymark of the thirty-eight plays inShakespeare’s Canon. We have alsoproduced other classical works andbrought original scripts to the SeattleFringe Theater Festival for threeyears in a row.
Our productions concentrate on storyand characters, and put and empha-sis on capturing the life and truth inthe plays. As Seattle’s Shakespearein the Park Company, GreenStageis committed to presenting quality pro-ductions of classical theater and newworks in a manner that is available toall. Whenever possible we perform forfree, collecting donations after eachshow.
GreenStage’s FREE Shakespeare inthe Park program consists of two playsby Shakespeare running in repertoryin and around Seattle. We bring theseshows to major parks in the city of Se-attle (Lincoln, Woodland, Discovery,Seward and Volunteer) as well as fairsand parks in surrounding areas.
GreenStage’s park program is spon-sored by the Seattle Department ofParks and Recreation through theLangston Hughes Cultural Arts Centerand Sand Point Magnuson Park, ournew home.
Enjoy the show!
The past year
Lori K. Davis, Angie Stutting, Rachel Hornorin Squish
David J. Dodge, Amelia Meckler, RyanSpickard in The Winter’s Tale
Kimberly Atkinson and Stephen Loch in MuchAdo About Nothing
Barzin Akhavan, Peter Balogh and Eli SklovSimons in Henry IV, Part One
What’s happening next. . . .You may be asking yourself, “Hey, doesn’t GreenStage usually do a show in
the fall?” The answer is yes, we generally do. For the past few years, inaddition to our summer shows, we have been producing a play in the falland one in the Fringe Festival in March. As of 2002, however, the SeattleFringe Theater Festival will be moving to mid September, which doesn’t
allow enough time after our summer shows to be prepared for the festival.Because of this we will be changing our season. Instead of producing ashow this fall, we will divert that energy to the mounting of a play that willopen in early February of 2002. So without further ado we present the. . .
GreenStage 2002 season
February
A Touch of the Poet by Eugene O’NeillTo be performed on the grounds of Sand Point Magnuson Park
Summer Shakespeare in the park
We continue our ongoing project of producingShakespeare’s history plays in historical order* with
Henry IV Part TwoPaired up with the ever popular comedy
The Taming of the Shrew.
That’s right, Two and the Shrew in 2002!OK, we know, it’s corny, but. . . . .
* in 1998 we produced Richard II at the Nippon Kan Theater, and lastsummer brought Henry IV, Part One to the parks.
Ken Holmeskenholmes.com
206-297-5933
Graphic Design • Web Design • Desktop Publishing
MacbethCast - In order of appearance
The Weird Sisters Rachel HornorMelissa BrooksAndrea Stuart Douglas
a wounded captain Jeffrey SpauldingDuncan - king of Scotland David J. Dodge
Malcom - son of Duncan Jason MarrDonalbain - Son of Duncan Amber Gotlib
Lennox - a nobleman Roy StantonRoss - a nobleman Courtney Sale
Macbeth - a Scottish general Jared LynBanquo - a Scottish general Garth McArdle
Lady Macbeth - wife of Macbeth Liz McGowna servant Andrea Stuart Douglas
Macduff - a nobleman Jeffrey SpauldingFleance - son of Banquo Amber Gotlib
Seyton - a Porter in Macbeth’s household Melissa BrooksThree Murderers Rachel Hornor
Melissa BrooksAndrea Stuart Douglas
Hecate David J. DodgeLady Macduff Amber Gotlib
A doctor Rachel HornorCathness - a nobleman Garth McArdle
Siward - an English general David J. DodgeYoung Siward - Siward’s son Amber Gotlib
Time: After the war.Place: Scotland
Director Ken HolmesStage Manager Laura Garcia
Fight Director Ryan John SpickardCostumes Karen Anson
Props Tony DriscollProduction Manager Linda Lombardi
Triolus & CressidaCAST
The TrojansHector, son of King Priam David J. Dodge
Paris, son of King Priam Amy TillerTroilus, son of King Priam Jason Marr
Aeneas, a Trojan commander Peter BurfordCassandra, daughter of King Priam, a prophetess Libya Taylor
Andromache, Hector’s wife Amy TillerCalchas, a Trojan priest Peter Burford
Cressida, Calchas’ daughter Rachel HornorPandarus, a lord, Cressida’s uncle Eli Sklov Simons
Queen Hecuba Libya TaylorA musician Ron Mather
A Trojan soldier Eli Sklov SimonsThe Greeks
Agamemnon, general commander of the Greeks Kevin HaggertyMenelaus, King of Sparta, Agamemnon’s brother Ron Mather
Helen, Menelaus’ wife, living with Paris Angie StuttingAchilles, a Greek commander Bryony Renner
Ajax, a Greek commander Erin LangfordUlysses, a Greek commander Amelia Meckler
Nestor, a Greek commander Libya TaylorDiomedes, a Greek commander Terence ArtzPatroclus, Achilles’ companion Angie Stutting
Thersites, a scurrilous Greek Jennifer PrattThe Myrmidons Terence Artz
Rachel HornorAngie Stutting
Time: The 7th year of the Trojan War, 13th century, B.C.Place: Troy, and the Greek camp before it.
Director David NochimsonStage Manager Deborah Shigeko Baskin
Fight Director Ryan John SpickardCostumes Joe Shrope
Puppet Christina PayneScenic Design Susannah Anderson
Production Manager Linda Lombardi
MAcbethMAcbethMAcbethMAcbethMAcbeth
The real Macbeth ruled Scotland from 1040-1057. A reign of seventeen peaceful years,which was a mighty long time in those days.Shakespeare wrote a different Macbeth. Thethemes he included in the play were of greatcontemporary interest at the time it was writ-ten. King James, a Scottish king newly on theEnglish throne, liked the theater, andShakespeare’s company became the officialroyal theater company. King James had muchinterest in the subject of witchcraft, even writ-ing a book about the subject, Demonologie.The Gunpowder Plot of 1605, which had al-most destroyed the entire English government,had happened only a year earlier, and KingJames himself deciphered the clue that stoppedit from succeeding. Equivocation, which playsa large part in the Gunpowder Plot, is a con-stant theme in the play.
Taking on the task of directing such afamous play is thrilling, scary, and at times, abit overwhelming. There are so many pre-conceived notions about what this play isabout. Of the many traps that one can fall intowhen taking on Shakespeare, the biggest is tothink that you know what the play is about.Too often a play is fit into a “concept” of theplay, not the other way around. But the con-cept must follow the play or else it just won’twork. In an attempt to avoid this trap, I wentinto this process with as little concept as I could.A basic look for the show was decided on, butnot the meaning of the play. The goal of theproduction is to discover what Macbeth isabout, not to make Macbeth fit a theme.
Almost every production of Shakespearethese days is cut down, and that is not alwaysa bad thing. There are many references inmost of the plays that a modern audience justwon’t get. Macbeth is a bit different in that it isalready a very lean play. It is one ofShakespeare’s shortest, the action is fast andfurious, and every scene and character hasits place. The more I looked at prospectivecuts, and the more we learned about the play
Director’s Notes
through rehearsal, the more we realized thatalmost every word is necessary to tell the story.Consequently, very little has been left out ofthe original script in this production.
These days Macbeth has quite a reputa-tion. Many feel that the play is cursed andrefer to it only as “the Scottish play.” Storiesabound about disasters occurring during per-formance of the play; from mentioning the playby name; or from quoting the play while in atheater. There are many theories about whythe curse exists, most fall into the urban legendcategory. Perhaps the curse legend actuallyexists, not from any supernatural reasons, butbecause many productions over the past hun-dred years or so have failed. Many produc-tions cut the witches from the script or reducetheir importance, trim the scene betweenMalcolm and Macduff in England, and/or rear-range scenes to make cuts work. The problemis that Macbeth is fairly pure just as it is, and themore you cut, the less power it has. Maybethat is the curse.
Rather than cursed, I feel blessed to havebeen granted such a wonderful cast to workwith on this production. Hopefully, by search-ing for the meaning in Macbeth, we have dis-pelled that nasty curse and have avoided thetheatrical traps that Shakespeare unwittinglyset for us.
Then again, maybe there really is a su-pernatural curse that follows the play from pro-duction to production. Perhaps the theoriesand legends are true. Maybe the ghost of thereal Macbeth did curse the play for slanderinghis good name. Or maybe witches did cursethe play after Shakespeare included real in-cantations in the famous cauldron scene. Maybereal devils and demons are invoked everytime the words of this play are spoken. Theycould be out there in the darkness tonight.
Double, double, toil and trouble. . . .— Ken Holmes
George Bernard Shaw said that, with Troilusand Cressida, Shakespeare entered the twen-tieth century. Previously, the play had beenuniversally dismissed as either dramaticallyflawed or obscene, or both. Shakespeare’sdepiction of contradictory and often perverseimpulses expressed by his characters seemedlike careless stagecraft to the sensibilities of ear-lier eras. Moreover, the play lacks a compel-ling hero or a satisfying resolution. Modernpsychology, however, created a context inwhich this erratic behavior and lack of resolu-tion took on an emotional verisimilitude. Andthe escalating destructiveness made possibleby the new technologies of modern warfaregave new resonance to the bleakness whichcharacterizes the military endeavors in the play.
Consequently, there has been a land-slide of theatrical and scholarly activity sur-rounding Troilus and Cressida over the past100 years. As societal attitudes about politics,war, gender roles, and sex have changed, sotoo have changed the ways in which directors,actors, audiences and critics have confrontedthese subjects as they manifest themselves inthe play. Interpretations of some of the charac-ters have shifted drastically: particularlyUlysses, once widely regarded as all-know-ing wise man, now seen as Machiavellianschemer; and Cressida, previously the arche-typal coy temptress, now verging on feministheroine. There has been a great deal of de-bate as to who, if anyone, is the central figurein the play. Troilus, Ulysses, Pandarus,Thersites, and Cressida have all had theirchampions over the centuries. It has also beenargued that there is no center, or that the cen-ter shifts position over the course of the play.Needless to say, whether this is a mark of so-phistication or of carelessness is still open todebate.
But lest we forget, Troilus and Cressidawas written at the dawn of the seventeenthcentury, and the ways in which it reflects thatturbulent time should not be undervalued. Bythe time Shakespeare wrote the play, prob-
ably in 1601, Elizabeth I’s reign, marked by so-cial harmony, economic prosperity, and a wide-spread confidence in England’s place in the world,was coming to an end. There was a great deal ofsocial and economic turmoil lurking under thesurface which, as the powerful and charismaticqueen’s influence receded into memory, wouldreassert itself in the form of a bitter civil war. Theworld of Troilus and Cressida, as a result, is avery uncertain world, sometimes even an inco-herent world. Throughout the play, charactersdiscover that things which they once held asunshakable truth no longer make sense. It’s nowonder that Troilus and Cressida should be re-assessed as the confident prosperity of the Victo-rian era gave way to twentieth century fears andneuroses. Or, for that matter, in the wake of therecent technology economy collapse, raising con-cerns over the stability of our own society as weenter the new millennium.
All this might, understandably, lead one toconclude that Troilus and Cressida would presenta rather daunting prospect, especially on a beau-tiful summer afternoon in the park. There is nodisputing that it amounts to a fractured vision ofan incoherent world, populated by woundedcharacters. What’s wrong with sympathetic char-acters and a good story? In this production, wehave attempted to treat these characters and theirstories sympathetically, while still doing justice tothe incoherence of the world they inhabit. Wehope that the anachronistically modern attitudesand flourishes dotting this classical landscape (aswell as the medieval flavor of the scenery) serveto give a coherently incoherent texture to theworld of the play. We hope that the rampant crossgender casting serves to elucidate the genderrole confusion underlying the masculine entitle-ment to action and the feminine duty as property.We hope that audiences experience the play asa twisted summer action blockbuster. These Tro-jan War heroes are, after all, western civilization’sfirst action heroes. Their trials and tribulationshave always served as entertainment, in all eras,regardless of changing attitudes and understand-ings. Have fun.
— David Nochimson
Director’s Notes
manner very unsuited to the festivities. The guestsleave abruptly and Macbeth decides to seek out thewitches to get a little clarification about the prophesy.
The witches show Macbeth three apparitions,which tell him to 1) beware Macduff, 2) that no manof woman born can harm him, and 3) that he will bejust fine until the forest gets up and walks. Since thelast two apparitions seem to be good tidings, Macbethtakes the warning about Macduff to heart and attackshis castle, killing everyone he can find. Macduff,however had gone off to England seeking Malcolm’shelp in overthrowing Macbeth, and thereby escapedmurder.
Malcolm tests the loyalty of Macduff, and be-comes convinced that Macduff has no loyalty toMacbeth. Macduff then receives the news about theattack on his castle and swears his revenge.
The English, led by Malcolm and Siward, theleader of the English forces, disguise their numbersby holding a tree branch before them while theymarch. Macbeth hears of this, and realizes that theforest is indeed marching toward him, just as theapparition said. He goes into battle anyway andmeets Macduff. During their fight Macbeth learns thatMacduff was “untimely ripped” from his mother’swomb. Not born of woman, just as the apparitionsaid. Macduff wins, just as the apparition said. Thekingdom goes to Malcolm.
MACBETHMACBETHMACBETHMACBETHMACBETH
The play begins as a great battle ends. Duncan,King of Scotland, and his two sons meet a woundedcaptain on the battlefield who tells of Macbeth’s brav-ery in the battle. Duncan also hears that the Thane ofCawdor is a trader. He sentences Cawdor to deathand gives his title to Macbeth. Meanwhile, Macbethand his right hand man Banquo meet three witcheswho greet Macbeth by the titles of Thane of Glamis(which he is already), Thane of Cawdor (which heis and doesn’t know it), and prophesy that he willbecome King (which he can’t really believe.)Macbeth then gets the message about Cawdor andstarts to believe the prophesies. Two down, one togo. Macbeth meets Duncan on the field and incelebration they all head to Macbeth’s castle.Macbeth sends a letter to his wife explaining all thathas happened.
Lady Macbeth, after reading the letter, realizesthat murdering Duncan is the fastest way to the
As the play begins, the Trojan War has been goingon for seven grueling years. Troilus, a young Trojanprince, is infatuated with Cressida, the daughter ofCalchas, a Trojan priest who has abandoned Troy tojoin the Greeks. Pandarus, Cressida’s uncle andTroilus’ friend, has been acting as go-between, butCressida has demurred, despite her interest, afraidthat Troilus’ desire would flag if she revealed her truefeelings.
Meanwhile, the war has reached a frustratingimpasse. Apathy and dissension are spreading onboth sides. Many no longer consider the beautifulHelen worth fighting over, after so much loss of lifeand resources. She has come to be considered acommon whore, her husband Menelaus a cuckold,and her lover Paris a rascal.
The great Trojan warrior Hector challenges aGreek champion to step forward and face him insingle combat. Ulysses, the wily strategist, pro-poses that Hector’s challenge might be used to playsome of the more erstwhile Greek warriors, particu-larly the great Achilles, against each other, therebyrousing them back into action.
Pandarus finally manages to arrange a datebetween Troilus and Cressida. No sooner havethey consummated their love, but the Trojans agree
to send Cressida to her father in the Greek camp inexchange for an important prisoner-of-war, and thelovers are separated.
Ajax, chosen by the Greeks to answerHector’s challenge, fights Hector. Hector, however,abruptly halts the combat, proclaiming himself un-willing to fight Ajax, who is not only half Trojan, buthis blood relative. They embrace, and warriors fromboth sides gather to greet each other warmly. Ev-eryone returns to the Greek camp for a night offeasting. Ulysses guides Troilus to Calchas’ tent,where they witness a tryst between Cressida andDiomedes. Troilus is enraged and vows to huntDiomedes down the next day on the battlefield.
In the morning, Hector prepares himself forbattle, against the wishes of his wife Andromache,who has had ominous dreams. Achilles decides notto fight after all, out of deference to his love for aTrojan princess. Patroclus, Achilles’ faithful com-panion, joins the battle in his place and is killed byHector. Infuriated, Achilles seeks to avenge the deathof his friend. Accompanied by his band of Myrmi-dons, he takes Hector by surprise and they brutallyslaughter him. Both sides retreat, devastated bytheir losses. Troy will fall after three more years offighting. Most of the Greeks will die on their wayback home.
crown. Duncan, the King’s sons and the rest of thenoblemen arrive at the castle and bed down for thenight. Macbeth sneaks into the King’s chamber andkills Duncan with his guard’s daggers, laying theblame on them. The Macbeths go to bed.
Macduff arrives to wake the King, but insteadfinds him murdered. Macbeth, feigning innocence,investigates the crime scene and kills the two bloodsmeared guards just as they are waking up. Whilethe nobles meet to discuss just what to do, the King’ssons, Malcolm and Donalbain, fearing for their lives,flee the castle and the country. This flight makes thetrue heirs to the throne suspects in plotting the mur-der. Macbeth is immediately named King and heplans a feast. Banquo starts to suspect what is goingon, and Macbeth starts to suspect that Banquo sus-pects, so Macbeth has Banquo murdered. Macduff,also lacking trust in the new king, refuses to attendthe feast. During the banquet, the ghost of Banquoappears to Macbeth, causing him to behave in a
Belly DancerEgyptian Cabaret Beledi – 10 years Experience
Public & Corporate Classes / Private Tutoring / Performance
ond summer with GreenStage. She was first seenas Ursula in the 2000 summer production of MuchAdo About Nothing. Andrea has a Bachelor of Artsin Theater from Willamette University. She alsospent the summer of ’95 training with Shakespeare& Co. in Massachusetts, playing the role of Juliet intheir 1995 production of Romeo & Juliet. Andreawas last seen in the 2001 Seattle Fringe TheaterFestival and ArtsWest Revival Festival with FatPigeon Theater Company’s production of BurnmanNow.Laura Garcia (Macbeth – Stage Manager)GS - Henry IV part one, Volpone, Timon of Athens,Root of Chaos, Richard II, Two Noble Kinsmen
This is Laura’s seventh show with GreenStage.She is always proud to be a part of GreenStage inwhatever capacity they need. She has served asstage manager on three productions, assistant di-rector on two, and props on three. She is veryexcited (and has been ever since she heard thesummer line up) about doing ‘The Scottish Play’,being of Scottish heritage herself. She is also happyto be back playing in the parks all summer withwonderful old GreenStage cast members and manynew members to GreenStage. It’s going to be agreat bloody summer! She wishes to thank her
three talented and beautiful daughters for supportingher endeavors. Thank you Joe as usual! XO toFILM from FSLW!!! ‘BUAIDH NO BAS’!Amber Gotlib (Macbeth – Lady Macduff,Donalbain, Fleance, Young Siward)GS - Winter’s Tale
Amber is brimming over with glee to frolic in thesweet summer’s night air all summer long with thistalented troupe of merry misfits. Amber is a gradu-ate from Cornish College of the Arts who wasfortunate enough to have her acting take her to SouthKorea this April as a company member of OpenDoor Theater. Since graduating in 2000, she hasbeen in several Seattle theater productions, includ-ing GreenStage’s The Winter’s Tale, but has beenspending the majority of her time giving herself amuch needed break from the theater world to culti-vate her personal life. She sends her love and thanksto all those who have stuck by her this past year.Kevin Haggerty (Troilus and Cressida –Agamemnon)GS - debut
Kevin cofounded the Angry Red Planet if anybodyremembers back that far. He played Flamineo inThe White Devil once and Algernon in The Impor-tance of Being Ernest. He studied acting with
Susannah Anderson (Troilus and Cressida,Macbeth – Scenic Artist)GS - debut
Susannah does this and that here and there…Karen Anson (Macbeth – Costume Design)GS - debut
Karen Anson has been sewing since childhood,making her own Halloween costumes and gettinglots of extra candy for her efforts. She has sincesewn everything from little tots’ tutus to showgirls’fan-fare. Self-expression through dance, costum-ing and body art has been a major theme in her life.She is the founder of Life Un Ltd., a companydevoted to expressing life through the arts. As anartist (child, adult and parent) she has enjoyed work-ing with mud, paper, paint, cement, food, airbrush,play-doh, henna, words, flowers, fix-all, and fabric.Macbeth is the first non-dance theatrical show thatKaren has costumed and she is very excited to bea part if this event.Terence Artz (Troilus and Cressida – Diomedes)GS - Winter’s Tale, Volpone, Comedy of Errors,Two Noble Kinsmen
Terence is pleased to be back working with some ofhis favorite people this summer. In past Green-Stage seasons he has appeared as Palomon inThe Two Noble Kinsmen, Dromeo of Ephesus in AComedy of Errors, and Camillo in A Winter’s Tale.Outside of GreenStage you may have seen him asHornby in Carmel Productions’ 2000 Fringe entryA Kind of Alaska, as Andrew Rally in EverettHistoric Theatre’s I Hate Hamlet, or as Daniel Kaffeein the Richland Player’s A Few Good Men (but onlyif you were in the Tri-Cities in 1996, and really, whywould you have been? Come to think of it, whywas he?). He is also currently working on a one-man show entitled Hey! That’s Good Coffee!, butit’ll probably never see the light of day, because,quite frankly, it stinks. So forget I said anythingabout it.Deborah Shigeko Baskin (Troilus and Cressida– Stage Manager)GS - debut
Deborah has worked as an actor and stage man-ager with San Joaquin Delta College, Cornish Col-lege of the Arts, Murphy’s Creek Theatre, and Stock-ton Civic Theater. Favorite roles include Rosalindin As You Like It (SJDC), Helen in A MidsummerNight’s Dream (SCT), Queen Elizabeth in RichardIII (SJDC), and Malcolm in Macbeth (MCT). She
is proud to be working this summer, for the first time,with the wonderful people of GreenStage (thanks toKen, David and Linda). Much love to Brian for hiscontinued support.Melissa Brooks (Macbeth – Weird Sister, Porter,Murderer)GS - debut
Melissa is a recent graduate of Cornish College ofthe Arts. Her Seattle credits include ACT’s BigLove, Seattle Shakespeare Company’s Merchantof Venice, and performing atop the halo of the SpaceNeedle with Cirque du Soleil. She is currently per-forming with the UMO Ensemble doingacrobalancing shows on the halo as well. This isher first performance with GreenStage.Peter Burford (Troilus and Cressida – Aeneus/Calchas)GS - debut
Troilus and Cressida is Peter’s debut with Green-Stage. He recently appeared in the Theatre Underthe Influence productions of The Racket and War ofthe Worlds (as Orson Welles). Peter is a foundingmember of Theatre Paradox and has produced anddirected many of their shows including Betrayal,Rosencrantz & Guildenstern Are Dead, The DumbWaiter, and The Glass Menagerie. His current ad-dictions include photography, scuba diving, travel-ing, digital video, and Diablo 2.David J. Dodge (Troilus and Cressida – Hector;Macbeth – Duncan, Hecate, Old Seward)GS - Winter’s Tale, Ballad of Young Will Jones,Timon of Athens, The Bind, Richard II, Two NobleKinsmen, Midsummer Night’s Dream (98),Cymbeline, As You Like It, Julius Caesar, Measurefor Measure, Love’s Labour’s Lost, TitusAndronicus, Pericles, Twelfth Night, CherryOrchard, Midsummer Night’s Dream
David has been performing with GreenStage since1993. He is the author of The Ballad of Young WillJones and The Bind, which were performed byGreenStage at the Fringe Festival in 2000 and 1999,respectively. He has directed Julius Caesar, Mea-sure For Measure and Pericles for GreenStage.Favorite roles he has performed with the companyinclude Richard in Richard II, Belarius in Cymbeline,Lysander in A Midsummer Night’s Dream, DukeSenior in As You Like It, and Young Lucius in TitusAndronicus.Andrea Stuart Douglas (Macbeth – WeirdSister, Servant, Gentlewoman, Murderer)GS - Much Ado About Nothing
Andrea is very happy to be performing for the sec-
Cast and Crew Biographies
Ron Mather (Troilus & Cressida – Menelaus/Musician)GS - debut
Ron’s introduction to the stage was made by sing-ing the national anthem at a punk rock show inChicago in 1992. While wiping the crowd’s spit offhis face, he realized he had a gift for entertainingpeople. Over the next eight years, Ron recordedand toured with Lunkhead and The Mushuganas,two of Chicago’s finest punk rock bands. This isRon’s first foray into acting. Let the loogies fly.Garth McCardle (Macbeth – Banquo/Cathness) GS - debut
Noted raconteur, playwright and self-spawned world-wide media sensation, Garth is pleased as punchto be making his Seattle debut with his new friendsat GreenStage. Playwright credits include BedtimeStories and Eden: Abridged. Memorable rolesfrom his wayward past include Harold in K2, Garryin Noises Off, Caliban in The Tempest and Puck inA Midsummer Night’s Dream.Liz McGown (Macbeth – Lady Macbeth)GS - debut
Liz makes her GreenStage debut with Macbeth.She studied acting as a child in front of the televi-sion, and then later at Bradford College, MA and theUniversity of North London, UK. After exposingherself to hungry theater crowds in her home stateof Vermont (CATCO, Lost Nation Theater), NewMexico (Vortex Theater), and California (FoothillTheater), she has unpacked, for the time being, inSeattle. Most recently she was seen in the 2001Seattle Fringe Festival with A Theater Near You inHoliday Hullabaloo, and with Next Step Theater inMedea. Look for her in Seattle independent filmsShoot the Girl, The Midnight Chronicles, andMulletville, all to be released, someday. She thanksher lucky stars for being out tonight.Amelia Meckler (Troilus and Cressida –Ulysses)GS - Squish, Winter’s Tale, Henry IV part one,Ballad of Young will Jones, Volpone, Timon ofAthens, Richard II
Amelia Meckler has been working with Green-Stage since the fall of ’98, and has been trying to runaway ever since. Actually she’s had a lot of funplaying Hermione in A Winter’s Tale, Lady WouldBein Volpone, and Lord Lucullus in Timon of Athens,among others. Most recently she directed the FringeFestival “Sell-Out Award Winner”, Squish, forGreenStage. When not bound to this band of merryplayers, Amelia has been seen at Northwest Actor’sStudio in The Blue Moon Chronicles, Summer
Durang Some Are Not and moaning under the sheetsfor Goldenfish’s Bear Peak Reunion. Thanks to thisfine cast and crew and to David for his faith. Love tofamily, Puggy, and my most SweetBoy.David Nochimson (Troilus and Cressida –Director)GS - Timon of Athens
David has lived in Seattle since 1993. He hasperformed with New Mercury, AHA!, ReAct, The-atre Babylon, Theatre Vizzini, Belltown TheatreCenter, Theatre Paradox, A Theatre Under the In-fluence, Annex, and two summers ago, Green-Stage, in Timon of Athens. His most recent perfor-mance was as the mysterious Hedge Brickman inThe Brazilian at Annex. David makes his directo-rial debut with Troilus and Cressida.Jennifer Pratt (Troilus and Cressida – Thersites)GS - debut
In times past, pretty blonde women were cast inplays to portray the beautiful ideal of romantic pur-suits. Interesting, no? You can also enjoy Jennifer’swork at Virginia Mason’s Rheumatology Clinic, theconcession stand at Annex Theatre, and as a drugaddicted kid in front of the check-cashing place onBroadway. My birthday is July 16th, buy me beer.Please.Bryony Renner (Troilus and Cressida –Achilles)GS - debut.
Bryony has a BA in Drama/Dance from Bard Col-lege in upstate New York. In June she completedthe University of Washington’s nine-month certifi-cate program in playwriting.Courtney Sale (Macbeth – Ross)GS - debut
Courtney recently graduated from Cornish Collegeof the Arts where her acting credits included Lin inCloud Nine, Beatrice Johana in The Changeling,and Autolycus in The Winters Tale. She was lastseen as Evalita in ArtsWest’s production of Daddy’sDyin’ Who’s Got the Will? She would like to thankcast and crew.Joe Shrope (Troilus and Cressida – CostumeDesigner)GS - debut
Joe’s interest in costume design spans back to hischildhood when his mother constantly found he andhis friend wrapped up in bed sheets. He has comea long way since then, and is currently an ApparelDesign major at the Art Institute of Seattle. Favor-ites among his design credits include Godspell,Tintypes, Guys & Dolls, Grease, and South Pa-
Mark “The Zen Master of Scene Study” Jenkins forlike three years straight. He was a phone psychicfor a couple years. These days, he studies martialarts at the School of Oom Yung Doe. He’s daddyto two of the sweetest kittens known to man, Eunice& Lupita. And today he gets to speak the words ofWilliam Shakespeare thanks to David “Dave”Nochimson and the folks at GreenStage. Thankseverybody!Ken Holmes (Macbeth – Director)GS - Squish, Winter’s Tale, Much Ado AboutNothing, Henry IV part one, Ballad of Young WillJones, Timon of Athens, The Bind, Root of Chaos,Richard II, Midsummer Night’s Dream, Two NobleKinsmen, Cymbeline, As You Like It, Julius Caesar,Measure for Measure, Love’s Labour’s Lost, TitusAndronicus, Pericles, Twelfth Night, MidsummerNight’s Dream
Ken fell into GreenStage in 1993 and has beentrapped since. But in a good way. He does manythings for the company, including putting this pro-gram together, designing posters, managing the website, and counting the money. In the real world Kendoes free-lance graphic design, wears a tutu forApplemania Singing Telegrams, and acts. Mostrecently he appeared in Big Maggie with NorthernLight’s Productions.Rachel Hornor (Troilus and Cressida –Cressida; Macbeth – Weird Sister, Doctor,Murderer)GS - Squish, Ballad of Young Will Jones, Timon ofAthens
Troilus and Cressida and Macbeth are Rachel’s 4th
and 5th productions with GreenStage. PreviousGreenStage roles include Francie in Squish, Hannahin The Ballad Of Young Will Jones, and Servilius inTimon of Athens. Other recent roles include Katiein Big Maggie with Northern Lights Productions,Rennabelle in Radio Gals at Taproot Theatre, andMarian in The Music Man with Emerald City Play-ers. Rachel is a proud graduate of Whitworth Col-lege where she earned her BA in Acting and playeda wide variety of characters, including Carol inOleanna, Mariana in Measure For Measure, andHucklebee in The Fantasticks. She also lovesimprovisation and often plays on stage with Unex-pected Productions’ TheatreSports and TaprootTheatre’s Nightcap Comedy Improv.Erin Langford (Troilus and Cressida – Ajax)GS - debut
Erin recently graduated from the University of NewMexico with a BA in Theater as well as a minor inMusic. Some of her favorite roles include The Pupil
in The Lesson, Snoopy in You’re A Good ManCharlie Brown, and Guildenstern in Hamlet.Thanks to all those who choose to support the arts.And a special thanks to Natalie and my parents.Linda Lombardi (Macbeth, Troilus andCressida – Production Manager)GS - Henry IV part one, Much Ado About Nothing,Ballad of Young Will Jones, Volpone, Timon ofAthens, Comedy of Errors, Root of Chaos, TheBind, Richard II, Two Noble Kinsmen
Linda has worked as an actor, director, productionmanager, and stage manager with GreenStage,Open Circle, Theatre Babylon, Bridges Rep, andThe Empty Space. Favorite roles include Thaisa/Diana in Pericles, Julie in Miss Julie and Flaviusin Timon of Athens. She is most proud of direct-ing Henry IV, Part I for GreenStage last summer.This summer she directed Say Goodbye to Normain the Mae West Festival. She is a member ofActor’s Equity. Nolite te bastardes carborundum.Jared Lyn (Macbeth – Macbeth)GS - debut
New to Seattle, Jared is delighted to have beenfound by GreenStage. “This is a role I have al-ways dreamed of playing.” Jared is also the newdrama director for the Gene Nastri CommunityArts Center in Mulkiteo. Jared has a BFA in The-ater and an MFA in directing and acting for stageand film. Plus a Certificate of Completion from theNational Shakespeare Conservatory in New YorkCity, wich whom he portrayed Bottom in Midsum-mer Night’s Dream. Originally from Denver, hehas lived and performed in Atlanta, Columbus,Chicago and New York City. “I’m extremelypleased to be in Seattle, performing Macbeth, withShakespeare in the park!!”Jason Marr (Troilus and Cressida – Troilus;Macbeth – Malcolm)GS - Henry IV part one, Ballad of Young WillJones, Volpone, Comedy of Errors, The Bind,Richard II, Two Noble Kinsmen
This marks Jason’s fourth summer with Green-Stage, and his first performing in both summershows. His credits with them include Arcite inThe Two Noble Kinsman, Bushy in Richard II,Antipholus of Ephesus in Comedy of Errors, Per-egrine in Volpone and most recently Prince Hal inHenry IV Part I. You may have seen him locallyas Nathan Leopold in Never the Sinner with TheDriftwood Players and as Mick in Big Maggie withNorthern Lights Productions. He is glad to beplaying at the Bard again in our beautiful parks.
Cast and Crew Biographies (cont.)
cific. Joe is pleased to be working with Seattle’sGreenStage this season.Eli Sklov Simons (Troilus and Cressida –Pandarus/Musician)GS - Henry IV part one, Much Ado About Nothing,Ballad of Young Will Jones, Volpone, Timon ofAthens. Julius Caesar, Measure for Measure,Midsummer Night’s Dream, Twelfth Night
Eli is proud to be involved in his eleventh Green-Stage production, appearing in over twenty roles.Eli loves his family, his cat, his friends, playingguitar, and spending his summers in the park doingthis.Jeffrey Spaulding (Macbeth – Macduff)GS - debut
Jeffrey has performed in the Puget Sound Regionsince 1985. An actor, singer and dancer, Jeffreyhas performed at Seattle Children’s Theater, VillageTheater, CLO, Theater Babylon and others. A vet-eran performer, Jeffrey has been associated withmore than 40 musicals and dramatic productions inSeattle.Ryan John Spickard (Macbeth, Troilus andCressida – Fight Choreographer,)GS - Winter’s Tale
A native son of the Northwest, Ryan has beeninvolved in Seattle theater since 1992. Recentproductions have been Grenade by Yusef el Guindifor the Seattle Fringe Festival, GreenStage’s pro-duction last year of A Winter’s Tale, and as thePrince of Aragon in Seattle ShakespeareCompany’s wild-west production of The Merchantof Venice. Ryan holds ten plus years experiencein the martial arts, and is proud to be a member ofthe Society of American Fight Directors (AdvancedActor/Combatant) and the United Stuntman’s As-sociation. He is a graduate of Cornish College ofthe Arts (BFA). Thanks go to Ken H. and David N.for letting Ryan play with shiny things.Roy Stanton (Macbeth – Lennox)GS - Much Ado About Nothing
Roy Stanton has been acting for almost 4 yearshere in Seattle, and has been loving every minuteof it. Roy studied here as a part of the NorthwestActors Studio’s Conservatory Program. Most re-cently, he was seen in Exchange Theatre’s inaugu-ral production of Henry V. Other productions in-clude GreenStage’s Much Ado About Nothing,Twelfth Night with Paper Rose Theatre, Little Mur-ders, The Bacchae, Jeffrey, Noon, Caught In Traf-fic, and Bear Peak for Goldenfish Theatre. Roy is
happy to be working with both GreenStage andKen again, and thanks both for giving him the uniqueopportunity of acting in a kilt. Cheers to all.Angie Stutting (Troilus and Cressida – Helen/Patrochlus)GS - Squish, Henry IV part one, Ballad of YoungWill Jones, Volpone, Timon of Athens
Angie began her theater experience with Green-Stage as the costumer for Timon of Athens, TheBallad of Young Will Jones, Volpone, and Henry IVPart I. But she turned out to be too much of a hamto stay behind the scenes for long. She made herSeattle stage debut in this year’s Fringe Festival asCal in Mary Anne Hales Harding’s Squish. Shewould like to thank David for the great role, and isadding him to the short but sweet list of her favoritedirectors. She has much love for her cast, and somuch respect for everyone involved in both shows.And as always, she would like to thank her momfor giving her confidence in her creativity. Thanks,Mom! Oh, and a big thanks to the Gods for fixingher Dad’s heart. Hi, Dad!Libya Taylor (Troilus and Cressida –Cassandra/Nestor)GS - debut
Libya Taylor holds a Bachelor’s Degree in Perform-ing Arts from Evergreen State College. Her mostmemorable roles have included Lady Macbeth inMacbeth and Beatrice in Much Ado About Nothingwith the Washington Shakespeare Festival. Otherroles in the canon have included Ariel, Helena,Cordelia/The Fool, Maria/Fabian and Lady Anne inRichard III. Most recently she has appeared asGretchen in Vagabond Production’s Trust at NWActor’s Studio, and at ArtsWest in Medea: TheMusical. She is a mezzo-soprano who loves tocook, dance, and lives in West Seattle with herfabulous husband and one small cat.Amy Tiller (Troilus and Cressida – Paris,Andromoche)GS - debut
Amy is a recent transplant from the San Franciscobay area where she performed in several FringeFestival productions, enjoyed two seasons withEntrée to Murder, and performed in productions ofBlack Elk Speaks and The Make-Over. She wouldlike to give a BIG thank you to her husband, Bill, forall the baby-sitting he did during rehearsals andperformances. Thanks Honey!! I couldn’t havedone it without you! XOXO.
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Your donationhelps us topresent free
theater in theSeattle area!
GREENSTAGE DOES FREE THEATERGreenStage is committed to provid-ing quality productions of classicaltheater and new works and insur-ing that they are available for every-one. We perform for FREE when-ever possible, collecting voluntarydonations from our audiences.
Visit www.greenstage.org for moreinformation about our company andour past productions.
You are at one of our shows, soyou know we’re free and we hopeyou will know we’re good. You mayeven be planning on given gener-ously when we pass the hat. Butwe need more. In order for Green-Stage to remain free, we need yourvisible support. We need you tobecome a member. Only throughmembership can you make yoursupport visible. Visible support al-lows us to know that you like whatwe do. Visible support allows usto demonstrate your support tothe community at large. In short,visible support allows us to keepgrowing. It is the best way to in-sure that GreenStage remains thefree, high quality theatrical expe-rience you have come to expect.
OUR HISTORY2001 SEASON
MacbethTroilus and Cressida
Squish by Marianne Hales Harding
2000 SEASONThe Winter’s TaleHenry IV Part One
Much Ado About NothingThe Ballad of Young Will Jones
by David J Dodge
1999 SEASONVolpone by Ben Jonson
Timon of AthensComedy of Errors
Root of Chaos by DouglasSoderberg
The Bind by David J Dodge
1998 SEASONRichard II
The Two Noble KinsmenMidsummer Night’s Dream
1997 SEASONCymbeline
As You Like ItJulius Caesar
1996 SEASONLove’s Labour’s LostMeasure for Measure
1995 SEASONTitus Andronicus
PericlesTwelfth Night
1994-1989 SEASONS(as Shakespeare NW)
Midsummer Night’s DreamCherry Orchard by Anton
ChekhovTwelfth Night
Romeo and JulietTaming of the Shrew
Sponsors
SPECIAL THANKSBryn Black, AT&T Wireless Services, Shari Watts, Terri Arnold,
Sand Point / Magnuson Park, Todd Jamison, Balou, Craig Bradshaw,James Venturini & A Theatre Under the Influence, David Cote,
Cristie Mather, Martha Nochimson, Richard Nochimson
ContributorsProducers $300 +
Glaser Foundation, Charles E. Grant, Daniel Grossbard,Glenn & Shirley Kloss
Partners $50 - $149Joanne Chase, John Davis & Amber Schwanke, Gretchen Day,
Elizabeth Mitchell, Karl Myers, Ed & Marjorie Ringness,Jan Shepard, R.C. Simons & M.L. Buss, Sue Sumoika
Members $25 - $49Moira Russell & Tim Chase, Becca Brenneman, Eric Bultemeier,Nancy Emery, Anna Fletcher, Eric & Cecily Gibson, Bill Healy,Emily Huff, Beth Kirchhoff, Howard Langevelt, James Logerfo,Patrick Rooney, Mark Schleck, Bobbie Simone, Jill Tamane,
Richard & Vanetta Warren, Ray & Shirley Weisgerber,Earl & Bernice Wheatley
The individuals and businesses listed here have donated time,money and/or services to help GreenStage produce free theater.
Without them, we simply could not do what we do.
You can help by donating whatever you can. GreenStage is a 501(c)(3)non-profit organization and all donations are tax deductible.
Ask your employer about corporate matching!
GreenStage acquires space at Sand Point!GreenStage is no longer without a home.
We are now housed at Sand Point, the formerNavy facility. The Seattle Department of Parksand Recreation has been extremely helpful inmaking this move possible.
As part of the move,GreenStage has acquiredstorage and shop space,as well as access to re-hearsal and performancespaces. In 2002 we willbe adding Sand PointMagnuson Park to theSummer Shakespeare inthe Park Schedule. Inearly 2002 we will also be presenting EugeneO’Neill’s play A Touch of the Poet at SandPoint.
For several years GreenStage has beena theater company without a permanent loca-tion. Costumes, props and sets have been trav-eling from basements to Shurgard storage lock-
ers (Shurgard was very helpful by discountingthe space, thank you.) Props and sets havebeen built in garages, backyards and base-ments. Rehearsal space has been rented,
begged and borrowedfrom schools, and wher-ever else there wasroom. Performancespaces for indoorshows have jumpedfrom Langston Hughesto The Nippon Kan toRichard Hugo Houseas well as a few othervenues in town.
Now, for the first time, we have a place tocall home. One location to house everythingGreenStage. Our new space is nearly five timesthe size of our old storage units. Additional de-tails about this move will be posted on our website as they become available.
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